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Modern style [Bodoni, Didot, Walbaum, Thorowgood, Computer Modern, etc.]



[Ratio Modern (2011) by Canada Type revives F.W. Kleukens's Ratio Latein face from 1923.]








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100 Beste Schriften aller Zeiten

German FontShop-sponsored site listing the hundred best fonts of all times, compiled by a jury in 2007. There is a lot of good information about each of the fonts mentioned. PDF file compiled by the jury: Stephen Coles, Jan Middendorp, Veronika Elsner, Roger Black, Ralf Herrmann, Claudia Guminski (FontShop) and Bernard Schmidt-Friderichs. Visualization of the list. The list:
  • (1) Helvetica
  • Garamond
  • Frutiger
  • Bodoni
  • Futura
  • Times
  • Akzidenz Grotesk
  • Officina
  • Gill Sans
  • Univers
  • (11) Optima
  • Franklin Gothic
  • Bembo
  • Interstate (1993, Tobias Frere-Jones)
  • Thesis
  • Rockwell
  • Walbaum
  • Meta
  • Trinité
  • DIN
  • (21) Matrix
  • OCR A und B
  • Avant Garde
  • Lucida
  • Sabon
  • Zapfino
  • Letter Gothic
  • Stone
  • Arnhem
  • Minion
  • (61) Blur
  • Base
  • Bell Centennial
  • News Gothic
  • Avenir
  • Bernhard Modern
  • Amplitude
  • Trixie
  • Quadraat
  • Neutraface
  • (71) Nobel
  • Industria, Insignia, Arcadia
  • Bickham Script
  • Bank Gothic
  • Corporate ASE
  • Fago
  • Trajan
  • Kabel
  • House Gothic 23
  • Kosmik
  • (81) Caecilia
  • Mrs Eaves
  • Corpid
  • Miller
  • Souvenir
  • Instant Types
  • Clarendon
  • Triplex
  • Benguiat
  • Zapf Renaissance
  • (91) Filosofia
  • Chalet
  • Quay Sans
  • Cézanne
  • Reporter
  • Legacy
  • Agenda
  • Bello
  • Dalliance
  • Mistral
Follow-up in English.

Credit for some images below: Danielle West. [Google] [More]  ⦿

100types
[Ben Archer]

Educational and reference site run by Ben Archer, a designer, educator and type enthusiast located in England (who was in Auckland, New Zealand, before that). Glossary. Timeline. Type categories. Paul Shaw's list of the 100 most significant typefaces of all times were recategorized by Archer:

  • Religious/Devotional: Gutenbergs B-42 type, Gebetbuch type, Wolfgang Hoppyl's Textura, Breitkopf Fraktur, Ehrhard Ratdolt's Rotunda, Hammer Uncial, Zapf Chancery, Peter Jessenschrift, Cancellaresca Bastarda, Poetica.
  • Book Publishing&General Purpose Text Setting: Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Cheltenham family, Aldus Manutius' roman, William Caslon's roman, Pierre-Simon Fournier's italic, Ludovico Arrighi da Vicenza's italic, Johann Michael Fleischmann's roman, ATF Garamond, Giambattista Bodoni's roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida, Optima, Bauer Bodoni, Adobe Garamond, Scotch Roman, Romanée, ITC Stone family, Trinité, ITC Garamond, Sabon, ITC Novarese, Charter, Joanna, Marconi, PMN Caecilia, Souvenir, Apollo, Melior, ITC Flora, Digi-Grotesk Series S.
  • Business/Corporate: Akzidenz Grotesk, Helvetica, Univers, Syntax, Courier, Meta, Rotis, Thesis, Antique Olive.
  • Newspaper Publishing: Times Roman, Bell, Clarendon, Century Old Style, Ionic, Imprint.
  • Advertising and Display: Futura, Robert Thorne's fat typeface roman, Vincent Figgins' antique roman (Egyptian), Memphis, Fette Fraktur, Avant-Garde Gothic, Deutschschrift, Peignot, Erbar, Stadia/Insignia, Penumbra, Compacta, Bodoni 26, WTC Our Bodoni.
  • Prestige and Private Press: Romain du Roi, Golden Type, Johnston's Railway Sans, Doves Type, Walker.
  • Signage: William Caslon IV's sans serif, Trajan.
  • Historical Script: Snell Roundhand, Robert Granjon's civilité, Excelsior Script.
  • Experimental/expressive: Mistral, Beowolf, Dead History, Behrensschrift, Eckmannschrift, Neuland, Element, Remedy, Template Gothic.
  • Onscreen/multimedia: Chicago, Oakland, OCR-A, Base Nine and Base Twelve, Evans and Epps Alphabet.
  • Telephone Directory publishing: Bell Gothic.

Link to Archer Design Work. [Google] [More]  ⦿

110design
[Alexei Vanyashin]

Russian graphic and web design studio in Moscow, run by Alexei Vanyashin, Fedor Balashov and Kate Semenova. Alexei Vanyashin studied typography at Stroganov University under Dmitry Kirsanov from 2002 until 2003. He graduated in graphic design from the Institute of Design in Moscow in 2008. In 2009-2010, he worked on the Florian Diploma project at the Type and Typography course at the British Higher School of Art and Design in Moscow under Ilya Ruderman. Florian is a 9-style angular (wedge serif) text family. Florian and Geo Text won First Prize at Granshan 2010 in the Cyrillic text typeface category. Alexei designed the curlified Bodonito Display (2009), Eurotesque, Wire (2009, monoline sans), and ModL (2009). Schmale Antiqua (2010) is a very thin Latin and Cyrillic didone typeface that revives a 19th century typeface widely used for setting book titles. Behance link.

Cofounder in 2011 of Cyreal, a Russian foundry. There, he designed typefaces such as Rationale (2011, with Olexa Volochay and VladimirPavlikov), Vidaloka (2011, a didone done with Olga Karpushina), Alike (2009, with Svetlana Sebyakina), and Adamina (2011, a text typeface for small print: free at OFL). I am not sure if Iceland (2011, Cyreal: free at Google Web Fonts) is also his.

Typefaces made in 2012: Junge (a delicate roman face, free at Google Web Fonts, which was inspired by the calligraphy of Günther Jung), Merge Pro Greek and Cyrillic (codesigned with Kosal Sen, Philatype), Jacques Francois and Jacques Francois Shadow (Cyreal: co-designed with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts).

Suisse International Condensed Cyrillic won an award at Modern Cyrillic 2014.

Sumana (2015, free at Google Web Fonts, and published by Cyreal) is a family of Latin and Devanagari fonts for text setting and web usage. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. [Google] [MyFonts] [More]  ⦿

13pt
[Jonathan Corum]

Graphics editor for Science at the New York Times. 13pt is the New York-based design and type studio founded by Jonathan Corum. In the early part f his career, he created typefaces such as FB Agency, Eagle (1994, after initial design by David Berlow in 1989, which in turn was based on M.F. Benton's [or Lucian Bernhard's?] 1933 face, Eagle Bold; a strong font!), Law Italic (1997, for Sam Antupit and Harry N. Abrams---a digitization from a specimen of ATF's Law Italic No. 520), Mesa (1994, a Font Bureau handprinting face), the 5-unit handwriting family Victoria's Secret (1997, from hand-drawn originals provided by Sisman Design), the Bodoni-esque font Winterthur Display (1997, drawn for Harry N. Abrams), Law Italic. Custom typefaces include 2x4 (as part of logos), Columbia University, Liz Claiborne, Miesdings (dingbats for the new student center of the Illinois Institute of Technology), Readers Digest Fleurons (1997), WCS Wildlife (2001, the corporate typeface of the Bronx Zoo and the Wildlife Conservation Society).

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

4th February
[Sergiy Tkachenko]

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

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

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

7GUN

Design site in Moscow. Creators of the geometric figure (Latin) stencil typeface Caribe Modular (2013), which was created as a project for the British Higher School of Art & Design. Intrnal Hybrid (2013) was also completed at the British Higher School of Art & Design in Moscow. Deriz (2013) is a high-contrast didone titling face. Intrnal Hybrid (2013) is a grungy techno Cyrillic typeface. Vintage and Coupage Font emulates various wood type and letterpress styles. [Google] [More]  ⦿

A Survey of Free Math Fonts for TeX and LaTeX
[Stephen G. Hartke]

Article by Stephen Hartke from Urbana, IL, written in 2006. He surveys free math fonts for TeX and LaTeX, with examples, instructions for using LaTeX packages for changing fonts, and links to sources for the fonts and packages. PDF version of the paper. Hartke is a Professor of Mathematics at the University of Illinois at Urbana-Champaign.

He finished a font family called Aurulent Sans and Aurulent Sans Mono (2007), and released the free monospaced font Verily Serif Mono (2006, based on Vera Serif, with same dimensions as Vera Sans Mono). Fontsy link. Alternate URL. Yet another URL. Twentyfour examples of text face/math typeface are showcased. Some are quite disappointing. Here are the better ones (with some text quoted from Hartke's article):

  • Computer Modern (by Don Knuth), still my favorite. Type 1 versions of Computer Modern from Blue Sky Research and Y&Y, Inc. have been made freely available by the American Mathematical Society (AMS). Basil K. Malyshev has also released a free Type 1 version of Computer Modern, the BaKoMa fonts. Computer Modern has been extended to include more characters, particularly for non-English European languages. These fonts include European Computer Modern by Jörg Knappen and Norbert Schwarz (METAFONT only), Tt2001 by Peter Szabó (converted into Type 1 format from METAFONT sources using textrace), CM-Super by Vladimir Volovich (also converted using textrace); and Latin Modern by Bogusaw Jackowski and Janusz M. Nowacki (extended from the Blue Sky AMS fonts using MetaType1).
  • Concrete text with Euler math, or Concrete text with Concrete math. The Concrete font was created by Knuth for his book Concrete Mathematics. Hermann Zapf was commissioned by the AMS to create the math font Euler for use in Concrete Mathematics. Type 1 versions of Concrete in T1 encoding are available in the CM-Super collection, and Type 1 versions of Euler are available in the Blue Sky collection from the AMS and in the BaKoMa collection. The eulervm package by Walter Schmidt implements virtual fonts for Euler that are more efficient to use with LaTeX. Ulrik Vieth created the Concrete Math fonts to match the Concrete text fonts; the only early free versions are implemented in METAFONT. The ccfonts package by Walter Schmidt changes the text font to Concrete and changes the math font to the Concrete Math fonts if eulervm is not loaded. Note that Concrete Text has no bold, but the Computer Modern Bold does just fine for that. However, in 2022, Daniel Flipo developed a free OpenType font based on Vieth's Metafont, also called Concrete Math.
  • Antykwa Poltawskiego text and Computer Modern Math. J. M. Nowacki created the font Antykwa Poltawskiego using the MetaType1 system based on a typeface by Polish typographer Adam Poltawski.
  • Antykwa Toruńska text and math. Antykwa Toruńska was created by J. M. Nowacki using the MetaType1 system based on a typeface by the Polish typographer Zygfryd Gardzielewski. The package anttor has complete math support in both TeX and LaTeX.
  • Kerkis text and math. Kerkis was created by Antonis Tsolomitis by extending URW Bookman L to include Greek and additional Latin characters. The resulting fonts are stand-alone and can be used by applications outside of TeX. A font of math symbols is included, but not used by the LaTeX package. The package kmath uses txfonts for math symbols and uppercase Greek letters.
  • New Century Schoolbook with Millennial math. New Century Schoolbook with Fourier math. The Millennial math font by Stephen Hartke contains Greek letters and other letter-like mathematical symbols. A set of virtual fonts is provided that uses New Century Schoolbook for Latin letters in math, Millennial for Greek and other letter-like symbols, and txfonts and Computer Modern for all other symbols, including binary operators, relations, and large symbols. This font is still in development, but will hopefully be released in 2006. The fouriernc package of Michael Zedler uses New Century Schoolbook for text and Latin letters in mathematics, and the Greek and symbol fonts from the Fourier-GUTenberg package for the remaining mathematical symbols.
  • Palatino and pxfonts, Pazo, or mathpple for math symbols. Young Ryu created the pxfonts collection, which contains Greek and other letter-like symbols, as well as a complete set of geometric symbols, including the AMS symbols. Diego Puga created the Pazo math fonts, which include the Greek letters and other letter-like symbols in a style that matches Palatino. The LaTeX package mathpazo (now part of PSNFSS) uses Palatino for Latin letters, Pazo for Greek and other letter-like symbols, and Computer Modern for geometric symbols. The LaTeX package mathpple (also part of PSNFSS) uses Palatino for Latin letters and slanted Euler for Greek and other symbols. Since Hermann Zapf designed both Palatino and Euler, the designs mesh well. An alternate use of Euler is using the eulervm package. Ralf Stubner added small caps and old-style figures to URW Palladio L in the FPL package, and Walter Schmidt extended these fonts in the FPL Neu package.
  • Utopia and Fourier or Math Design. Utopia was donated by Adobe for use with X Windows. Michel Bovani created Fourier-GUTenberg as an accompaniment to Utopia and is very complete, containing both Greek letters and standard and AMS symbols. The Math Design fonts for Utopia of Paul Pichaureau are also very complete, including Greek letters and AMS symbols.
  • Charter and Math Design. Or URW Garamond and Math Design. Charter was donated by Bitstream for use with X Windows. The Math Design fonts for Charter created by Paul Pichaureau are very complete, including Greek letters, symbols from Computer Modern, and the AMS symbols. Charis SIL might be an alternate source for Greek letters that match Charter more closely. Another possibility for a math font is to use the Euler fonts with the charter and eulervm packages. URW Garamond No. 8 is available under the Aladdin Free Public License as part of the GhostPCL project. The Math Design fonts for URW Garamond created by Paul Pichaureau are very complete, including Greek letters, symbols from Computer Modern, and the AMS symbols.
  • Times or Omega Serif, and txfonts, Belleek, mathptmx, or mbtimes. Young Ryu created the txfonts collection, which contains Greek and other letter-like symbols, as well as a complete set of geometric symbols, including the AMS symbols. The txfonts package also includes a very nice typewriter font, txtt. Belleek was created by Richard Kinch and is a drop-in replacement for the commercial fonts required by the mathtime package (now part of PSNFSS). The LaTeX package mathptmx (also part of PSNFSS) uses Times for Latin letters and Symbol for Greek and other symbols. Michel Bovani created the mbtimes package by using Omega Serif for text and Latin and Greek letters in mathematics. mbtimes also includes symbol fonts and a set of calligraphic letters. Omega Serif is the primary font for Omega, a 16-bit extension of TeX by John Plaice and Yannis Haralambous. The STIX fonts project is a collaboration of several academic publishers to create a set of Times-compatible fonts containing every possible glyph needed for mathematical and technical publishing. These fonts are still in development, with a scheduled release in the middle of 2006. Note: When Adobe introduced Postscript in 1984, they defined 35 core fonts (in 10 typefaces) that must be present in all Postscript interpreters. In 1996, URW++ released a replacement set for the core fonts under the GNU General Public License. The URW++ fonts were primarily released for use with Ghostscript, a free Postscript interpreter. For example, Times is Nimbus Roman No. 9 L, Palatino is URW Palladio L, New Century Schoolbook is Century Schoolbook L and Symbol is Standard Symbols L.

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

Aah Yes

Southampton, UK-based foundry, est. 2006. Font families include Regalese (2008, 8 weights with stylish rounded serifs), Arrow Heaven (2007, 6 styles of fonts with 62 arrows in 40 orientations each), Lydiard (2007, sans cum comic book), Demigrunge (2007), Nidex (2007, caps-only grunge), Rocksolid (2007), Perio (2007, a grungy didone), Havenbrook (2007, a 22-style family), Sudoku Blank (2007), Pikelet (2007, grunge headline face), Sanzettica (2007, a 40-style geometric sans family, but the x-weight is unacceptably large), Hunniwell (2007, felt tip style), Meriden (2007, display sans family), Saint Val (2007), Funkywarp (2006), Cheedo (2006, bi-lined), Old Forge (2006, roman style), Blank Manuscript (2006, music font), Disgrunged ABCD (2006), Disgrunged 1234 (2006), Beeble (2006), Choob Stripes (2006), Diffie (2006), Pixettish (2006), Caldicote (2006, a 13-style serif family), Starbell (2006), Tuzonie (2006, grunge), Cabragio (2006, free-flowing informal), Deltarbo (2006, sans), Write (2006, an almost architectural script), Dascari (2006, an informal headline sans), Smeethe (2006, comic strip face), Crockstomp (2006, grunge), Dorkihand (2006), Meltifex (2006, melting letters), Rappica (grunge), Blue Sugar (2007, grunge), Front Desk (2007), Powdermonkey (2007), Sideshadow (2007), Spiky (2007), Zebra Spots (2007), Amescote (2007, a 6-weight sans), Mivron (2007, outline sans), Puggu (2007, comic strip font), Luzaine (2007), Overlapper (2007), Satron (2007), Stubble (2008, grunge), Newsanse (2008, a 15-style large x-height disaster), Rysse (2008, an 11-style grunge family), Chelp (2008, grunge), Snather (2008: thin, rounded squarish), Keybies (2008, piano key font), Quickle (2008), Pevensey (2008: 21 styles, each with 1200 glyphs, transitional style), Spiraltwists (2008), Music Sheets (2009), Snazzy (2009), Shelflife (2012, a macho sans), Langton (2012, a workhorse sans family), Indipia (2012, a corroded family), Bradwell (2012, condensed sans), Dunsley (2013, a hand-drawn sans), Darnalls (2013, antiqued book face), Stamppad (like a rough rubber stamp pad), Heavenly Bodies, Stripated (2016), Slonk (2016: an ornamental font with a pearl in each outline), Guitar Chords (2016).

Typefaces from 2017: Time Exactly (just type in the four numbers of any time from 0000 to 2359 and it will give you that clock face, in one of 60 styles of your choice), Rebista, Magg (a corroded condensed sans typeface family), Sanstone.

Typefaces from 2018: Hypersans (12 weights), Martian Tiles, Dominoes (a domino tile font).

Typefaces from 2020: Yafferbuddle (a cartoon font).

View the Aah Yes typeface library. [Google] [MyFonts] [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).

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

Abyme

Abyme is a type foundry founded by Adrien Vasquez and John Morgan. Their typefaces:

  • English Egyptian (2011-2017, by John Morgan and Adrien Vasquez). English Egyptian is an interpretation of William Caslon's Two Lines English Egyptian of 1816, considered by some to be the first sans serif printing type to be sold commercially.
  • Nizioleti (2011-2017). An all caps stencil typeface designed by John Morgan and Adrien Vasquez, Nizioleti is named and modeled after the nizioleti, or Venetian street signs. Nizioleti is a typeface consisting of painted letters stencilled within white plaster panels directly onto the city walls, in use since the early 19th century.
  • Berthe (2011-2018), designed by Charles Mazé. Berthe is designed after another typeface called Série no. 16, whose first cuts were produced at the end of the nineteenth century by the Parisian type foundry Deberny & Peignot. It was engraved by Constant and Auguste Aubert under the direction of Charles Tuleu, the adoptive son of Alexandre Deberny whose mother, Laure de Berny, had bought from her lover Honoré de Balzac the printing house he didn't manage to transform in a profitable company. Série no. 16 quickly became a popular choice among printers and found its way into many editions of classic and popular texts. Review by Hrant Papazian, who wrote that it presents a congenial evolution of the theatrical Didone style of type. Lower contrast, fluid structures, humane proportions. It is like a Didot or Bodoni taking leave of the catwalk and relaxing among friends..
  • Mercure (Charles Mazé, 2010-2021). Mercure is based in part on Beaudoire's Elzévir, and also goes back to the epigraphic origins of Perrin's Augustaux.
[Google] [More]  ⦿

Achaz Reuss

In house type designer at Elsner&Flake. He designed an elegant high-contrast art deco display typeface Miami EF in 1994, the broken black lettering typeface EF Splitter, the horizon lettering typeface EF Eastside in 1995, and Nivea in 2000 (for Beiersdorf).

Designer of the Bank Gothic style gaspipe sans family FF QType (2004, FontFont) in Condensed, Compressed, Extended, SemiExtended and Square versions.

In 2007, he created Bodoni Stencil (URW++). Other URW creations include Latin, Nimbus Roman Modern Compress, URW Compress and URW Oklahoma (art deco).

  • In 2022, FontFont released FF DIN Stencil (by Albert-Jan Pool, Achaz Reuss and Antonia Cornelius) and its variable sidekick, FF DIN Stencil Variable.

    FontShop link. Klingspor link. Linotype link.

    Catalog of his typefaces. [Google] [MyFonts] [More]  ⦿

  • Achraf Amiri

    Creative director and founder of Illustrashion Magazine, based in London. Known as Prince, Amiri used to live in Brussels, where he was art director and graphic designer. Home page. In 2010, he published a booklet, Didot Fashion Victim. His fashion-inspired lettering is quite amazing, and so are his fashion illustrations. In 2011, he continues his amazing mixtures of typography and illustration in his design of a wall logo for Boutique no. 7 in Moscow. He also made the hairdo experimental caps typeface Touffe (2011). More fashion and vamp illustrations: Milano 2011, New York 2011, Paris 2011, Sophia Loren, Sofitel Brussels Le Louise (2011). [Google] [More]  ⦿

    Acute Studio
    [Diana Ovezea]

    Born close to the Black Sea coast in Romania, Diana moved to Austria as a child, where she attended the American International School. After graduating from the New Design University in St. Pölten, she worked as a graphic designer, mainly on book and corporate design projects. In 2013, she graduated from the Type & Media program at KABK in Den Haag. Some time later, she set up Acute Studio in Amsterdam under the motto: We like sharp outlines, tight curves, and edgy designs.

    Creator of the hairline face Opium (2010) characterized by teardrop terminals. Creator of Paige (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Marge (2011) is edgy and highly legible even at very small sizes---it was developed at the tipoRenesansa 2nd international type design workshop. Paige Italic (2012) was done at tipoRenesansa 4 and TypeClinic 5 (2012).

    Her KABK graduation typeface was Editura (2013), a a type family for serious publications, magazines, as well as non-fiction books.

    At The 8th International Typeclinic in 2014, she continued work on an untitled text typeface. At Die Gestalten, she published Paiper, an extraordinarily balanced and readable 6-style text family with angular flared glyphs that are genetically related to folded paper strips.

    In 2014, Diana collaborated on the design of HF Stencil with Bold Monday and Studio Thonik. Made for Holland Festival, HF Stencil is based on Glaser Stencil.

    In 2016, Diana published Equitan Sans and Equitan Slab at Indian Type Foundry, marrying industrial era rustiness with modern functionality. In 2017, she designed Tiny Sans and Albert Samuels Clock Type.

    Codesigner in 2017 with Samo Acko and Sabina Chipara of the typefaces Passenger Display (2017) and Passenger Serif (released in 2019: a Clarendon). Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. In 2019, Diana Ovezea and Samo Acko added Passenger Sans, which is characterized by horizontal and vertical terminal strokes and small apertures, and delivers a relaxing read in long texts.

    With Sabina Chipara, she co-designed the 8-weight simplified sans family Bega at Indian Type Foundry. Diana Ovezea also published the sharp-edged 14-style Matteo in 2017.

    At Future Fonts, she published Bizzarrini (together with Sabina Chipara) and Silverspoon, ca. 2018. She writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R). Silverspoon is a contemporary take on Copperplate Gothic.

    In 2019, she released the connected monoline sans script Akin (done with Sabina Chipara) and the geometric sans family Matteo at Indian Type Foundry.

    Typefaces from 2020: Silverknife (a tall and skinny version of Silverspoon), Capra (a headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958).

    At Fontshare, Diana Ovezea and Sabina Chipara released the free calligraphic script Britney.

    In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she published Granblue, a great experimental typeface family for boxing titles.

    Typefaces from 2022: Duplet (a 14-style geometric sans with a techno vibe; by Diana Ovezea and Rafal Buchner at Indian type Foundry), Duplet Rounded (also 14 styles), Duplet Open (the 14-style companion of Duplet).

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

    Adagio Type Foundry
    [Bill Troop]

    From Amagansett, NY, Bill Troop's webless foundry: Bill Troop designed Adagio Didot (130 USD for 4 weights). Bill Troop's present company is Addict Inc., but I could not find a web page. Get News Gothic MM from the Bitstream Type Odyssey CD. See also here. [Google] [More]  ⦿

    Adam Katyi
    [Hungarumlaut (was: Cila Design)]

    [MyFonts] [More]  ⦿

    Adam Knights

    Student at the University of Leeds (UK) who made a nice Bodoni poster in 2011. [Google] [More]  ⦿

    Aditya Bayu Perdana

    Bandung and Jakarta, Indonesia-based designer of these local language fonts in 2014-2015: Prayara (for Kawi), Godhong (for Javanese), Kamo (for Javanese), Ngrawit, Palataran (for Balinese), Liwet (for Sundanese), Lontara and Lontaraq (for Buginese), Wijaya (for Kawi), Mulawarman (for Pallava), Pustaha (for Batak), Lilitan (for Balinese), Aturra (for Javanese), Wulang (for Javanese; based on the 19th century calligraphic handwriting of Serat Jayalengkara Wulang), Tantular (a humanist sans for Latin, Balinese, Batak, Bugis, and Kawi).

    Designer of the multiscript Bodoni typeface Kasira (2015), which covers Latin, Cyrillic, Greek, and Balinese, and the Javanese fonts Nawatura (2016), Bangil (2016) and Makara (2016).

    Typefaces from 2017, designed during his studies at Parahyangan University in Bandung: Nakea (Javanese), Pustaka (Javanese).

    Typefaces from 2018: Batangan (Javanese), Kavali (Sundanese), Jogjakartaip (Javenese), Salapa (for Lontara script), Pustaka Bali (Balinese), Nawatura, Istaka, Dioharudin (Cirebonese script).

    Typefaces from 2019: Merpat (for Balinese), Kataruman (for Sundanese). [Google] [More]  ⦿

    Adler Traldi

    Type foundry, aka Adlertype, from the middle part of the 20th century, located in Pavona, Italy. Their 1978 catalog includes these typefaces: Forma (sans), Impressum, Times, Modulario, Sirio (sans), Esperia (sans), Victoria, Ionic, Excelso, Bodoni, Aulico, some dingbats, and Akkad (simplified Arabic). [Google] [More]  ⦿

    Admix Designs
    [Joe Prince]

    Joe Prince (Admix Designs) was a student at Academy of the Canyons near LA, 2007-2011. His typefaces:

    Google Font Directory link. Additional Google link. Klingspor link. Devian Tart link. Cargo collective link. [Google] [More]  ⦿

    Adolfo Monti

    Codesigner with Francesco "Mistico" Canovaro at Zetafonts / Studio Kmzero in Firenze of the simple bold sans families Duepuntozero Pro (2006-2008) and Arista (2006-2008). He also made Cibreo, Sugo (2006).

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

    Adrian Frutiger

    Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited Adrian Frutiger Typefaces The Complete Works (Birkhäuser Verlag), a 460-page opus based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland. Quote: Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay. He designed over 100 fonts. Here is a partial list:

    • Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
    • Delta.
    • Phoebus (Deberny&Peignot, 1953).
    • Element-Grotesk.
    • Federduktus.
    • Ondine (Deberny&Peignot, 1953-1954). The Bitstream version of this font is Formal Script 421. Adobe, Linotype and URW++ each have digital versions called Ondine. Bitstream's Calligraphic 421 is slightly different.
    • Méridien (Deberny&Peignot, 1955-1957). Digitized by Adobe/Linotype in 1989.
    • Caractères Lumitype.
    • Univers (Deberny&Peignot, 1957). About the name, Frutiger wrote I liked the name Monde because of the simplicity of the sequence of letters. The name Europe was also discussed; but Charles Peignot had international sales plans for the typeface and had to consider the effect of the name in other languages. Monde was unsuitable for German, in which der Mond means "the moon". I suggested "Universal", whereupon Peignot decided, in all modesty, that "Univers" was the most all-embracing name!. Univers IBM Composer followed. In 2010, Linotype published Univers Next, which includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights, and can be rented for a mere 2675 Euros. In 2018, Linotype added Univers Next Typewriter. In 2020, Linotype's Akira Kobayashi dusted off Univers Next Cyrillic and Univers Next Paneuropean.
    • Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
    • Opéra (1959-1961, Sofratype).
    • Alphabet Orly (1959, Aéroport d'Orly).
    • Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
    • Alphabet Entreprise Francis Bouygues.
    • Concorde (1959, Sofratype, with André Gürtler).
    • Serifen-Grotesk/Gespannte Grotesk.
    • Alphabet Algol.
    • Astra Frutiger. A typeface variant of Frutiger licensed under Linotype. It is the font used on the highways in Switzerland.
    • Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. Other names include OPTI Silver (Castcraft), Ares Serif 94, and Sierra. Bitstream published the digital typeface Serifa BT. But it is also sold by Adobe, Tilde, Linotype, URW++, Scangraphic, and Elsner & Flake. The slab serif is robust and is based on the letterforms of Univers.
    • OCR-B (1966-1968, European Computer Manufacturers Association).
    • Alphabet EDF-GDF (1959, Électricité de France, Gaz de France).
    • Katalog.
    • Devanagari (1967) and Tamil (1970), both done for Monotype Corporation.
    • Alpha BP (1965, British Petroleum&Co.).
    • Dokumenta (1969, Journal National Zeitung Suisse).
    • Alphabet Facom (1971).
    • Alphabet Roissy (1970, Aéroport de Roissy Charles de Gaulle).
    • Alphabet Brancher (1972, Brancher).
    • Iridium (1972, Stempel). A didone with slight flaring.
    • Alphabet Métro (1973, RATP): for the subway in Paris.
    • Alphabet Centre Georges Pompidou. The CGP typeface (first called Beaubourg) used in the Centre Georges Pompidou from 1976-1994 is by Hans-Jörg Hunziker and Adrian Frutiger, and was developed as part of the visual identity program of Jean Widmer. It is said that André Baldinger digitized it in 1997.
    • Frutiger (1975-1976, Stempel, with Hans-Jörg Hunziker). In 1999, Frutiger Next was published by Linotype. In 2009, that was followed by Neue Frutiger (a cooperation between Frutiger and Linotype's Akira Kobayashi). In fact, Frutiger, the typeface was made for the Charles De Gaulle Airport in 1968 for signage---it was originally called Roissy, and had to be similar to Univers. It was released publically as Frutiger in 1976. The modern Bitstream version is called Humanist 777. Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006. Other digital implementations of Frutiger: M690 (SoftMaker), Quebec Serial (SoftMaker), Frutus (URW), Provencale (Autologic), Frontiere (Compugraphic), Freeborn (Scangraphic), Siegfried (Varityper). In 2018, under the aegis of Akira Kobayashi, the Monotype Design studio published the 150-language superfamily Neue Frutiger World (including coverage for Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese).
    • Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
    • Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
    • Breughel (1982, Stempel; 1988, Linotype).
    • Dolmen.
    • Tiemann.
    • Versailles (1983, Stempel).
    • Linotype Centennial (1986). Based on Morris Fuller Benton's Clarendon typeface Century, Linotype Centennial was designed for Linotype's 100th birthday.
    • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. In 2021, the Monotype team released Avenir Next Paneuropean (56 styles, by Akira Kobayashi). Avenir Next World, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

      Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). Lovely poster by Ines Vital (2011).

    • Westside.
    • Vectora (1991, Linotype).
    • Linotype Didot (1991). See also Linotype Didot eText Pro (2013), which was optimized by Linotype for use on screens and small devices.
    • Herculanum (1989, Linotype): a stone age font.
    • Shiseido (1992).
    • Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
    • Pompeijana (1993, Linotype).
    • Rusticana (1993, Linotype).
    • Frutiger Stones (1998, Linotype) and Frutiger Symbols.
    • Frutiger Neonscript.
    • Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
    • AstraFrutiger (2002): a new signage typeface for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
    • Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
    • Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
    • In 2019, the Linotype team released variable fonts for Frutiger's main typeface families, Avenir Next Variable, Neue Frutiger Variable, and Univers Next Variable.
    Bio by Nicholas Fabian. Erich Alb wrote a book about his work: Adrian Frutiger Formen und Gegenformen/Forms and Counterforms (Cham, 1998). Winner of the Gutenberg Prize in 1986 and the 006 Typography Award from The Society for Typographic Aficionados (SOTA). Famous quote (from a conversation in 1990 between Frutiger and Maxim Zhukov about Hermann Zapf's URW Grotesk): Hermann ist nicht ein Groteskermann. A quote from his keynote speech at ATypI1990: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

    Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link).

    Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne.

    Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces.

    View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More]  ⦿

    Adrian Kimball
    [WTF (or: Workhorse Type Foundry)]

    [More]  ⦿

    Adriana Perez Conesa

    Adriana Perez Conesa is a Spanish graphic and typeface designer, currently based in Barcelona. She studied art and graphic design at the University of the Basque Country. Graduate of the MATD program at the University of Reading, class of 2020. Her typefaces:

    • Subs and Stuff (2020). These are her graduation typefaces at Reading. Subs n Stuff. Subs uses squarish letterforms with low contrast, large x-height, generous apertures, pixel-traps and clear shapes, all to help reduce the chances of misrecognition and increase legibility. Subs contains two different styles: Micro, intended for low-resolution screen and small sizes, and Text, for high-resolution screens and bigger sizes. Text is also variable in the weight axis. Stuff is a variable subfamily that covers weight and optical size axes. Both typeface families are accompanied by an italic style and support Latin and Arabic scripts.
    • A revival of Augereau Gros Romain (2020).
    • Rockera (2018-2019). Rockera was designed during a four month Typography Design post-graduate course at EINA (University School of Design and Art of Barcelona).
    • Essone (2018). A didone.
    • Aurum Sans (2018). Her graduation project at the University of the Basque Country. Aurum Sans is a geometric typeface in which she combined rationality with humanism.
    [Google] [More]  ⦿

    Adrien Midzic

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

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

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

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

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

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

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

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

    Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).

    Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).

    Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

    Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).

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

    Adrien Vasquez

    Adrien Vasquez is from Grenoble, France. He studied in Valence and the University of Reading (class of 2011). He lives in London and teaches type design at ESAD Valence. His graduation typeface at Reading was Modern Seven (2011), a didone family for Latin and Cyrillic that comes with its own Modern Slab Serif.

    With John Morgan, he founded Abyme in 2017. At Abyme, he published these typefaces:

    • English Egyptian (2011-2017, with John Morgan). English Egyptian is an interpretation of William Caslon's Two Lines English Egyptian of 1816, considered by some to be the first sans serif printing type to be sold commercially.
    • Nizioleti (2011-2017, with John Morgan). Named and modeled after the nizioleti, or Venetian street signs, Nizioleti is typeface consisting of painted letters stencilled within white plaster panels directly onto the city walls, in use since the early 19th century.
    [Google] [More]  ⦿

    Agata Pietraszko

    Polish creator of the curly psychedelic didone typeface Hippie (2010). In 2012, she created a text typeface. Behance link. [Google] [More]  ⦿

    Agung Suwandi

    Or Virgi Ghow, or I Do Not Sleep. Bandung, Indonesia-based designer of these typefaces in 2018: Elsora (vintage slab serif, Western), Asthoria (an all caps art deco sans), Jasmine, Flora SVG (a brush font), Prodigal Signature, Chathing Sans, Him Handwriting, New York (script), Bronx (sans), Theorist, Emelly, Sevilla, Saint Justin (signature font), Goliath, Alter Ego, Honey Buney (sic), Caldera, Barlan Sevilla (script), Royal Morgue, Romantic Blues, Romano, Bronx Awesome (vintage), Salomon Script (signature font), Laluna (sans).

    Typefaces from 2019: Shalima, Gigs Beauty, Trending (an inky script), Butter Scotch (wild calligraphy), Polaroid, Billabong Beach (font duo), Adamantine (a rough-edged sans), Delores (a signature script), Grand Quentin, Aquatic (a didone), Hawaiian (font duo), Velocity SVG (rounded sans), Mariachi (script), Authority (dry brush script), San Andreas, Vallencia.

    Typefaces from 2020: Tokyo Digs. [Google] [More]  ⦿

    Ahmed Eraqi
    [Eraky]

    [MyFonts] [More]  ⦿

    Aiki Chen

    Designer, b. Shanghai, China, who is based in Los Angeles. Designer of the didone typeface Touch (2019). [Google] [More]  ⦿

    Aixa Aztarbe

    Graduate from FADU, University of Buenos Aires, who created the condensed didone typeface Belta (2009). [Google] [More]  ⦿

    Akalollip
    [Loïc Sander]

    Loïc Sander (Akalollip) is a Strasbourg-based graphic and type designer, b. Germany. He is associated with Production Type.

    Creator of the free font family Fengardo Neue (2012, Velvetyne Type Foundry and Open Font Library), a (very) humanist sans with a Gillian lower case g.

    In 2015, he designed the didone typeface family Trianon at Production Type, in Text, Grande and Caption sub-families. Benedikt Bramböck writes: Weighing in at a total number of forty-two styles spread out over four size-specific families, it is certainly not another blunt revival of a Didot typeface. Even more remarkable than the size of the type system is the stylistic scope it covers, including elaborate italics, monolinear Lights, heavily slab-serif-flavored Caption cuts, and Grande styles that verge on becoming stencils---all referencing different works from the golden era of the Didots. With this pluralism of style and character, Trianon almost commands you to use it in all the "wrong"ways, exhibiting flamboyant shapes, flexibility, and individuality. In 2016, he added the gorgeous fat didone typeface Trianon Normande, which was done with the aid of Sandra Carrera, Roxane Gataud and Yoann Minet at Production Type.

    Fontsquirrel link. Loïc Sander at Velvetyne. [Google] [More]  ⦿

    Akira Kobayashi

    Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:

    • Helvetica Neue eText Pro (2013).
    • Dainippon Screen: the kanji font Hiragino Mincho.
    • ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
    • Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
    • Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN, Isonorm and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Akko Condensed (2015), Akko Pro Condensed (2015), Akko Pan-European (2015), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2002, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Avenir Next Paneuropean (2021: 56 styles), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi and Tom Grace unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, co-designed with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
    • Fontshop: Acanthus (2000, large Fontfont family), FF Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
    • Typebox: TX Lithium (2001, The Typebox).
    • Oddities: Skid Row (1990), Socia Oldstyle.
    • Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
    • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
    • Alexey Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.
    • In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk and competes with Rod McDonald's splendid Classic Grotesque (2011-2016)..
    • Member of a type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history. Followed in 2018 by the more restrained Tazugane Info. Variable fonts published in 2022: Tazugane Gothic Variable, Tazugane Info Variable.
    • SST (2017). A set of fonts for Latin, Cyrillic, Thai, Vietnamese, Arabic and Japanese.
    • DIN Next Stencil (2017). Developed together with Sabina Chipara.
    • DIN Next Decorative (mostly textured styles such as Rust, Slab Rust, Stencil Rust and Shadow).
    • Univers Next Cyrillic and Univers Next Paneuropean, both released in 2020, extending Adrian Frutiger's Univers.
    • Shorai Sans (2022) and Shorai Sans Variable (2022). A 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next.
    At ATypI 2008 in St. Petersburg, he ran a Linotype student type design workshop.

    Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.

    View Akiro Kobayashi's typefaces.

    Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. MyFonts interview in 2017. [Google] [MyFonts] [More]  ⦿

    Akira Uchida

    Akira Uchida (Hitachi, Ltd. and TypeBank Co, Ltd) developed a very useful free full Latin/Kanji/unicode "didone style" font called XANO-mincho-U32 (2003). Opentype included. A thing of beauty. Direct download. He also made another full (free) didone-style unicode font, Kandata (2004). Here you can download his Tsuitiku-Kana family from 2004 until 2005. [Google] [More]  ⦿

    Akmal Yusar
    [Picatype Studio]

    [MyFonts] [More]  ⦿

    Akshata Shanbhag

    Graphic designer in Melbourne, Australia, who created the hybrid all caps typeface Baskerone in 2015 as a mix of Baskerville and Didot. As a student, she created various display typefaces. [Google] [More]  ⦿

    Akufadhl (was: Alternatype, or: Akutype, or: Alterna Type foundry)
    [Fadhl Waliy Ul Haqq]

    Cairo, Egypt-based designer, who hails from Surakarta, Indonesia, b. 1996. Akufadhl, or Fadhl Waliy Haqq, or Fadhl Waliy Ul Haqq, started Alternatype, then Akutype, then Akufadhl, and finally Eyetype.

    Creator of the free brush typeface Bruss (2015), the handcrafted Talisman (2015), Labours (2015) and Summer Time (2015), the vintage sans typeface Manufactur (2015), the vintage titling typeface Kertayasa (2015), the marker typeface Halfway (2015), the watercolor brush face Hale (2015), the free display typeface Biliru (2015), the handcrafted Supreme (2015), and the spurred display typeface Travelo (2015).

    Typefaces from 2016: Amarylis, Protea, Geda Brush (thick and inky), Tarquin AT (+Stencil), Macaron (elegant handcrafted style), The Falcone, Supreme (handcrafted), Rolade (rounded sans).

    Typefaces from 2017: Labours (handcrafted poster font), Rolade (a rounded condensed sans), Karmilla (upright didone script), Egalite (slab serif).

    Typefaces from 2018: Kruda Handcrafted Sans, Serafina (a calligraphic script, attributed to Insannita Muthiahs), Kertayasa (a layered and textured typeface family), Naratif Condensed.

    Typefaces from 2019: Generisch Mono, Macaron (a playful take on the blackboard bold genre), Generisch Sans, Hailgen (a reverse contrast text typeface), Genia, Crude Sketch Sans.

    Fontspace link. Creatice Market link. Behance link. YWFT link. Creative Market link for Alterna Type. [Google] [MyFonts] [More]  ⦿

    Alan Meeks

    Prolific type designer, b. London, 1951. Alan started working in 1970 for Graphic Systems as a lettering artist. In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley Script and Belwe. Most of these typefaces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols.

    His oeuvre (sold via MyFonts) includes:

    Galadriel, Kornelia and Sparky are floating around freely in cyberspace.

    FontShop link. Linotype link.

    View Alan Meeks's typefaces. Yet another page with Alan Meeks's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Albert Boton
    [BVS Boton]

    [MyFonts] [More]  ⦿

    Albert Coy

    Badalona, Catalunya-based creator of Antibodi (2014), a textured didone display typeface. He also created the monoline monospaced typeface Bended (2015). Behance link. [Google] [More]  ⦿

    Albert Nolan

    Type designer for PhotoLettering Inc in the photo type era. His type designs include Akimbo 2, Akimbo 3, Brush Bold, Brush Animated Condensed, Brush Expanded 7, Brush Upright 9, Brush Upright Condensed 8, Brush Upright X Condensed 8, Brush Upright X Condensed 10, Caslon Schoolbook, Caslon Schoolbook 7, Caslon Schoolbook Italic 4, Cartoon Medium, Classic Script, Flamingo 2, Flamingo 5, Flight, Frolic Bodoni, Frolic Medium, Knockout, Marionette, Nolan Roman, Rodeo, Rodeo Script, Rumba 7. Vagabond Condensed. [Google] [More]  ⦿

    Albert Pereta
    [La Foneria]

    [More]  ⦿

    Alberto Romanos
    [Branding with Type]

    [MyFonts] [More]  ⦿

    Albion

    A modern font family with Didot influences published by Monotype in 1910. [Google] [More]  ⦿

    Alejandro Inler

    Graphic designer who studied at FADU, University of Buenos Aires, from 1997 until 2005. Creator of these typefaces:

    • Elsie Swash Caps (2012, with Ana Sanfelippo). Free at Google Web Fonts. The this a fashion mag display didone with plenty of additional ball terminals: Elsie is inspired by feminine energy. This new typeface was created to celebrate the world of women, glamour and fashion. It combines the strength of Bodoni with the softness of italics. Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features.
    • Elsie (2012, with Ana Sanfelippo). Free at Google Web Fonts. Elsie was Alejandro's graduation typeface at FADU-UBA.
    • Wendy One (2012). Free at Google Web Fonts, it is loosely based on the Stabilo logotype, and shows the quirkiness of retro futurism.

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

    Alejandro Lo Celso
    [Pampa Type]

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    Alejandro M. Alarcón

    Graduate from FADU, University of Buenos Aires, who created the ultra-condensed didone typeface Taipu (2010). [Google] [More]  ⦿

    Alejandro Paul
    [Sudtipos]

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    Alejandro Paul

    Designer who lives in Buenos Aires and who teaches graphic design and typography at the Universidad de Buenos Aires. He has worked as an art director in prestigious Argentina-based studios, handling high-profile corporate brands such as Arcor, Marta Harff, Morph, SC Johnson, Danone, and Movicom. He runs Estudio Paul. Professor at Facultad de Arquitectura, Universidad de Buenos Aires. Co-creator, with Apostrophe at Apostrophic Laboratory, of Usenet (2000), FontCop I through IV (2000) and the pixel font family Cayetano. Published the dot matrix font Stardust with T-26 in 2000. Designed the gorgeous font Elektora in 2000. He developed with Michael Lynch a 17-font Tennis set of grid-based pixel fonts. At Typeworx, he published Reflex (2002), a commercial 6-style unicase font family. Another web site by Alejandro. Cofounder of DAS, a design studio in Buenos Aires.

    Cofounder of Sudtipos (2003), where he does custom work and creates new typefaces.

    His work there includes Tierra (a titling face), Latinaires (2003-2018: originally called Latina Sans), Reflex, Downtempo (2003), Stardust and Mosaico (1999, pixel face).

    Still at Sudtipos, he digitized the beautiful handwriting/calligraphic typefaces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script typeface Argenta (2004), Oxida (2005), the medieval script typeface Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type.

    For children's orthography, he developed Estrada Hand, on commission for Editorial Estrada. He was working on the serif family Libertina (2004).

    Herencia (2004, a handwriting typeface done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno typeface with a very thin Thin weight) are at Sudtipos.

    The Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on the calligraphic renderings of Charles Bluemlein, shown in a 1943 ink catalog: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde, Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. (Note: Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Lady Dawn and Mr Lackboughs). In 2011, that series was made available at Google Web Fonts.

    Sudestada (2005, Sudtipos) is a handwriting script developed with Diego Giaccone. Cuisine (2005, Umbrella Type) is an informal bold script. Mousse Script (2005, Sudtipos) is based on Glenmoy, a 1932 Stephenson Blake typeface. Suave Script (2005) is a 4am jazz bar script. Ministry (2005) is related in style but less funky, Chocolate (2005) is for sales ads, and Cenizas (2005, with Angel Koziupa) is straight from an old manuscript.

    Whomp (2006, Umbrella) was based on a partial sign-painting font by Alf Becker (1930s), and so was Buffet Script (2006, Sudtipos). Affair (2006, Umbrella) is swashy and calligraphic, while Candy Script (2007) and its italic version Sugar Pie (2011) are based on Argentina's market lettering. Galgo Script (2007) is a brush calligraphic font based on a design of Angel Koziupa.

    Burgues Script (2007) is an ornate calligraphic script based on the lettering of calligraphy teacher Louis Madarasz (1859-1910) (award at TDC2 2008). Burgues Script, Adios Script (2008: it won an award at TDC2 2009), Feel Script and Sugar Pie all won awards at Tipos Latinos 2008.

    Sinfonieta (2006) and Buffet Script are fifties style connected scripts. Feel Script (2007) is based on lettering that calligrapher and logo designer Rand Holub created in 1950 and that was subsequently captured in Intertype's typeface Monterey (1958). Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), Cuisine (2008, food advertising script), Pronto (2008, comic book style, by Alejandro Paul and Angel Koziupa), Grover (2004, rounded sans family), Grover Slab (2004). Burgues Script, Adios Script, Feel Script and Sugar Pie all won awards at Tipos Latinos 2008. Calgary Script (2008, Umbrella) is a pure signpainting job.

    Accolades from all typophiles for his calligraphic wunderkind, Compendium (2008).

    The 2009 haul: Sugar Pie (signage font), Bravissima Script, Theorem (upright semi-script).

    Speaker at ATypI 2009 in Mexico City.

    The year 2010 starts off with a bang, five awards at Tipos Latinos 2010: a grand prize for Brownstone Sans, and four standard awards, for Semilla, Kewl Script (for food packaging and store windows), Calgary Script, and for Business Penmanship.

    Typefaces from 2010 include the baseball lettering typeface Fan Script and the tattoo script face Piel Script (piel=skin), which was influenced by Burgues Script and more remotely by showcard lettering by B. Boley (1930s, Sign of the Times Magazine). Piel Script won an award at Tipos Latinos 2012.

    In 2011, he and Koziupa made the fat signage typeface Aventura and Viento (a grunge version of their earlier 2004 face, Brisa).

    He added one retro connected signage font to the Filmotype collection in 2012, called Filmotype Kitten (original from 1955). Filmotype Zephyr (2012) is an italic roman formal script. Filmotype Yukon (2012) is inspired by the classic Palmer style of penmanship.

    Storefront (2012) is a swashy signage typeface based on an incomplete alphabet by Alf Becker.

    His signage script typeface Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.

    Typefaces from 2013: Rolling Pen (a connected script that recalls the business penmanship genre), Bellissima Script (based on a copperplate calligraphic alphabet from Bellezas de la Caligrafía by Ramón Stirling, 1844).

    In 2014, he helped Panco Sassano, a lettering artist and illustrator from Mar del Plata, who designed the wide connected semi-calligraphic handwriting typeface Horizontes Script (Horizontes subsequently won an award at Tipos Latinos 2016). Still in 2014, he published the fat packaging or signage script Bowling Script, which is based on Freely Drawn Italic, a non-font alphabet by Ernst Bentele (1953).

    In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos).

    Merengue Script (2015, with Panco Sassone) is a fun creamy script, ideal for pastry shops, tea rooms or supermarkets.

    Steak (2016) is a connected vintage signage script based on an Alf Becker design.

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

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

    Rigatoni (2017): A skyline didone based on mid-20th century example by Eugen Nerdinger.

    Bibliophile Script (2017). A pair of copperplate calligraphic typefaces.

    Fixture (2018: a 72-font grotesk family published by Sudtipos).

    Newbery Sans Pro (2018). A simple workhorse sans typeface family that is inspired by German industrial design and the lettering of Eugen Nerdinger.

    Winner at Tipos Latinos 2018 of a type design award for Tennis Set, Bibliophile Script, French Bulldog, Envelove, La Taqueria, and Speakeasy Set (a collection of (copperplate) script, sans, modern, flare and gothic substyles).

    From 2019: Hot Salsa (a retro brush script; with Ximena Jimenez), Old Letterhand, Clockmaker (arts and crafts style), Steak Script (inspired by an old alphabet by Alf Becker), Address Sans Pro (a sans family inspired by Butti and Novarese). In 2019, Alejandro Freitez and Claire Menager, under the art directoship of Alejandro Paul, designed the multistyle wood type look / Western / Victorian / reverse stress / hyper-decorative Presley Slab.

    Typefaces from 2020: Apothicaire (a wonderful quaint serif family in the frivolous didone genre; three variable fonts, 16 styles in all), Inglesa (a penmanship script), Dilemma, Dilemma Serif (Dilemma is a sans/serif type system with 42 styles; it is inspired by the anonymous Polyphème, Cyclopéen and Extra Condensé designs from the early 1900s at the Peignot Fonderie; two variable fonts are included), Sporty Pro (a large sports / athletics font family).

    Typefaces from 2021: Plethora (an 18-style family and two variable fonts that build on Julius Herriet's Old Style Ornamented for Bruce Type Foundry; Alejandro added various frills, ligatures, weights, exaggerating in true Victorian spirit), Magari (a fat face or Normande; Alejandro likens it to Italian classics of the 19th century though), Regional (27 styles, plus variable styles).

    Typefaces from 2022: Wienerin (a revival and expansion of Olympia (1929) by Carl Otto Czeschka, one of the members of The Wiener Werkstätte). [Google] [MyFonts] [More]  ⦿

    Aleksander Shevchuk

    Art director in Moscow, b. 1985. His (mostly free) typefaces include the ultra fat art deco typeface Beyond Cyrillic (2009) and Eyelevation Pro (2009, for Eyelevation magazine (in Russian): free at dafont since 2012), Bifurk Asmod (2006, display face), FatC (2010, a rounded curly didone display face), Kodzini (2008, a great asian simulation face) and SheruPro (2009, another great (free) faux oriental face), AleksandraC (2010, +Vintage: free at Dafont), Beyond (2014).

    Alternate URL. Dafont link. Behance link. [Google] [More]  ⦿

    Alessandra Morcella

    Italian digital art director in the Pesaro Urbino area. Creator of the stylish and frivolous adaptation called Stile Bodoni (1994). [Google] [More]  ⦿

    Alessandro (Alex) Segalini

    Freelance Italian graphic designer, b. near Piacenza, 1976, who graduated with an M.S. in Industrial Design in 2004 from the Politechnic of Milan with a thesis entitled Ernesto Hemingway: una font tra letteratura e tipografia: a font between literature and typography. In it, he describes his typeface Ernesto Hemingway. At ATypI 2005 in Helsinki, he spoke about that same typeface. Initially, he worked in Rome, with interests extending across linguistics, book design, information design, calligraphy, lettering, visual identities, and designing with multiple languages. In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). In 2007, he took a position at the Izmir University of Economics in Izmir, Turkey. In 2010 he co-founded ISType, a lecture and workshop series devoted to encouraging typographic literacy in Turkey. Presently he teaches typography and type design at Texas State University, School of Art & Design. He is the typographer and graphic designer for Contra Mundum Press (CMP), a boutique publisher based in New York and Paris that specializes in world literature and other genres.

    He created these typefaces:

    • A like Animals (2003). Also called A di Animali, this is an experimental typeface done together with illustrator Anna Donadelli.
    • 5G (2002). Handwriting.
    • Custom types: Guia Script (2006, for Gelati Carte d'Or Algida), Guia Script Greek (2006), Quintag (2002, handwriting), Forno (2004, hand-printed), Dolce (2005, a swift brush typeface for Barilla), Unione (2005, for a bank), Pacioli (2005, for Accademia Editoriale in Rome), and Phoebus (custom sailing boat vinyl lettering).
    • Limerick was designed in 2006 together with Marek Brzozowski.
    • In 2009, Segalini published Hemingway Pro, a commercial 9-style sans display family, available from Red Rooster. Hemingway Deco Initials is free though. Hemingway was inspired by the prize-winning novel The Old Man and the Sea (1952, Ernest Miller Hemingway).

    At ICTVC 2007, he spoke about 20th century Bodonians. Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. Home page. PDF file with samples of his fonts. [Google] [MyFonts] [More]  ⦿

    Alessia Mazzarella
    [Typeland]

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    Alex Chavot
    [Apex Type Foundry]

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    Alex Etewut

    Moscow-based artist who created these typefaces in 2016: Buena Onda, Londa (a connected script), Foie Gras (signage script), Fuego, Cama (a thick connected script), Blackthorn, Savoiardi (connected monoline script), Savoiardi Sans, Savoiardi Display, Zimbra (a zebra stripe font), Signal, the Vincent Van Gogh-inspired Absinth, the Russian fairy tale font Anchor, the handcrafted Swan, the weathered Cliché Font, the constructed extraterrestrial font Structure, the geometric solid typeface Forma, the semi-calligraphic Absinthe and Glasgow, the calligraphic oriental brush typeface Yakudza, and the brush typefaces Augenblick and Barbada.

    Typefaces from 2017: Curator (a curvy decorative didone), Gluck (a rounded monoline sans family with outlined and double outlined styles), Laser Dots, Zarathustra (a soft blackletter typeface family), Pedrera and Pedrera Script, Hooley (advertized as a party font), Forma (free counterless typeface), Fuego (calligraphic script), Arc Boutant (a vintage ballpoint-laden text typeface), Moloko (script), Etalon (a 33-style organic sans family), Molodos All Caps, Click (Stripes, Black), Geometry Pair, Venzel (an interesting experimental deco typeface), Batllo (inspired by Gaudi), Pluma (handwriting).

    Typefaces from 2018: Pistoletto (a jelly or toothpaste script inspired by the work of Roy Lichtenstein and Michelangelo Pistoletto), Lento (a monoline script family), Rajomon (a dry brush typeface), Solomonk (an inky script), Ma Tilda, Warka, Abudabi (connected script), Lunar, Tilda (a monoline sans with character), Jeunes (connected script), Danken (a textured all caps typeface family), Salud (a hand-drawn slab serif, with some interesting sketched and arched styles), Hoochie, Brutto (stencil with alyering and coloring potential), Hvala, Mafond (slab serif), Tadaam, Liberal (a simple monoline sans).

    Typefaces from 2019: Etewut Serif, Etewut Sans, New Lobster (sigange script).

    Typefaces from 2020: Vulgary (a glistening oily font family), Spiro 2020 (a rounded sans), Chakra (script), Baker ST (spurred, all caps), Geraldica (a monoline script).

    Typefaces from 2021: Domosed (sci-fi), Riley Wow (a round oily font for emulating glows).

    As Etewut Graphics in Florence Italy, he published Pronto (2018, a monoline sans) and Allora (2018).

    Typefaces from 2022: Domosed Slab Serif. [Google] [MyFonts] [More]  ⦿

    Alex Mogens Galt

    Green Bay, WI-based web producer who is working on a hand-printed version of Bodoni/Didot: see here. [Google] [More]  ⦿

    Alex O. Kaczun
    [Type Innovations]

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    Alex Sheyn
    [Avondale Type Co]

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    Alex Southern

    During his studies at Columbia College Chicago, Alex Southern (Carol Stream, IL) designed the ball terminal-laden typeface Postmodern (2015), which is based on Modern No. 20. [Google] [More]  ⦿

    Alexander Bobrov
    [Indian Summer Studio]

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    Alexander McCracken
    [Neutura]

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    Alexander Slobzheninov

    Designer from Siberia who graduated from Ladislav Sutnar Faculty of Design and Art, University of West Bohemia and is now based in Prague, Czechia. Type, graphic and motion graphics designer who created these typefaces:

    • Octarine (2017). A geometric sans typeface family with two free weights).
    • Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
    • Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
    • Objective and Subjective, two mischievous typeface families published in 2018. Objective was slightly altered and merged with Chris Simpson's Metropolis (2015) in 2020 by Cristiano Sobral in Metropolitano.
    • The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
    • The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
    • The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019. The variable font Grafier can also be purchased from Type Tomorrow.
    • The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
    • The cyrillization of Jeremy Landes's Le Murmure in 2019.
    • Relaate (2019-2020). A multi-genre typeface in which the lower case t and e try to reach for the sky.
    • Right Grotesk (2020, Pangram Pangram). Neutral, functional, slightly hipsterish. First in 51 styles, and then extended to 130 styles, and some variable fonts as well.
    • In 2021, he set out to design one typeface per day for 36 consecutive days. The typefaces explore various ideas and cover almost every imaginable type style: Casual Digital Goose, Chill Out, Damn Low Tech, Flying, Gravity Itself, Ligatureless, Ploite Green Finger, Pretty Dumb Idea, Rembrandt, Those Games, Weird, What A Feature.
    • Typefaces from 2022: Right Sans, Right Gothic (a 98-style variable type family), Weird Serif (a didone for vampires).

    Future Fonts link. Type Tomorrow link. [Google] [More]  ⦿

    Alexander Tarbeev
    [TFaces]

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    Alexander Weis

    Swiss graphic and type designer who lives in Duebendorf but was born in Arbon in 1982. In 2008, he graduated in Visual Communication from the School of Art and Design Zürich.He created the didone typeface Quick Black (2008). [Google] [More]  ⦿

    Alexander Wilson

    Scottish typefounder, b. St. Andrews, 1714, d. Edinburgh, 1784. Educated in London, he started the Wilson foundry in 1742 at St. Andrew's in a partnership with John Baine, and set up shop in Glasgow in 1744, where he began work with Glasgow University Printers, Robert and Andrew Foulis. William Miller (who later started Miller&Richard), Richard Austin and Johann Christian Bauer all worked for Wilson. Wilson's first known specimen sheet was issued in 1772. However, William Rind seems to be using these types as early as February, 1770 in his Virginia Gazette. The business was left to his son Andrew and later to his grandson Alexander. Under Alexander's tenure, it went bankrupt in 1845.

    Several specimen books exist, including A specimen of printing types by Alexander Wilson&Sons, dated 1783. Life and Letters of Alexander Wilson (by Alexander Wilson) was reprinted in 1983 by Diane Publishing Company, and is freely viewable at Google.

    Wikipedia link.

    They are credited with the first British modern face, Scotch Roman, whch became very popular in the United States. Mac McGrew: Scotch Roman is derived from a typeface cut and cast by the Scotch foundry of Alexander Wilson&Son at Glasgow before 1833, when it was considered a novelty letter. The modern adaptation of the typeface was first made in 1903 by the foundry of A. D. Farmer&Sons, later part of ATF. It is a modern face, but less mechanical than Bodoni, and has long been popular. Capitals, though, appear heavier than lowercase letters and tend to make a spotty page. Hansen's National Roman is virtually the same face, with the added feature of an alternate r with raised arm in the manner of Cheltenham Oldstyle. When Monotype copied Scotch Roman in 1908, display sizes were cut to match the foundry face, but in keyboard sizes, necessarily modified to fit mechanical requirements, the caps were lightened and the entire typeface was somewhat regularized. Scotch Open Shaded Italic, a partial set of swash initials, was designed by Sol Hess in 1924. Similar swash letters, but not shaded, were also drawn by Hess and made by Monotype for regular Scotch Roman Italic. Linotype had adapted Scotch Roman to its system in 1903, retaining the heavier capitals, but in 1931, by special permission of Lanston Monotype, brought out Scotch No.2 to match the Monotype version. Compare Atlantic, Bell, Caledonia, Original Old Style. [Google] [MyFonts] [More]  ⦿

    Alexandra Leopoldovna Gophmann

    Russian designer of typefaces who collaborates with Ivan Zeifert and specializes in revivals, cyrillizations and beautiful digitizations, some of them done with Anatole Gophmann. There have been complaints about her practice of borrowing fonts from type designers without asking. One typophile writes: I have cracked open fonts she claims as hers, Bolero, Bickham and others, she has copied and pasted glyphs, copyright data, added Cyrillic and changed the copyright string. As an example, Angelica is a copy of Alejandro Paul's Miss Fajardose. Alejandro has drawn the numerals in his font in 2004 to accompany the letters found in an old catalog of alphabets. There is no other source of the numerals, and Angelica has them. Michael Clark writes: I initiated a battle with the illustrious Alexandra "Bitch" from Russia who has renamed Pouty (FontBureau) and copyrighted [it as] Bolero. She and her partner Anatoly shithead. Available on Fonts101.com for anyone who wants it free. The ass's site, Jagdesh, is in Pakistan and we cannot touch him. 260+ viewings and 140+ downloads. Let's see that is 1400$ I will never see! Others have complained as well about her practice of taking and extending fonts without permission. Anyway, her "fonts" are:

    • A: Adine_Kirnberg (2005, the Cyrillic version), Advokat Modern (2008), Afisha, Afisha Cap, Agatha-Modern, AlexandraScript, Amadeus, American Text C, American-Retro (2008), Ametist [based on Lorelei] (2008), AmpirDeco, Andantino-script (2008), Andantinoscript, Anfisa Grotesk (2008), Angelica, Annabelle, Antikvar (2008), Antikvar Shadow (2008), Antonella Script (2008), Antonella Script X (2008), Antract, Aquarelle, Ariadnascript, Ariston-Normal, Arkadia (2008), Arkhive, Arlekino, Art-Decoretta (2008), Art-Decorina (2008), Art-Metropol, Art-Nouveau Initial (2008), Art-Nouveau1895, Art-Nouveau1895-Contour, Art-Nouveau1900, Art-Nouveau1910, Art-Victorian (2008), ArtNouveau-Bistro, ArtNouveau-Cafe, Artemis Deco (2008), Artemon (2008, psychedelic), Arthur Gothic, Artist-Modern, Astoria Deco (2008), Atlas Deco A (2008), Atlas Deco B (2008), Auction, Augusta One, Augusta Two, AvalonMedium.
    • B: Ball-Point Pen, Bankir-Retro, Barocco Floral Initial (2008), Barocco Initial (2008), Baron Munchausen, Batik Deco (2008), Belukha, BelukhaCapital, BickhamScriptAltFour, BickhamScriptAltOne, BickhamScriptAltThree, BickhamScriptAltTwo, BickhamScriptOne, BickhamScriptThree, BickhamScriptTwo, Birusa (2008), Bodoni Initials (2008), Boleroscript, Bonapart-Modern, Briolin, Brokgauz&Efron, Brokgauz&Efron-Italic.
    • C: Caberne, Cafe Paris C, Calligraph-Medium, Campanella (2008), Capitol Deco (2008), Carmen, Carolina, Casanova (art nouveau) (2008), Cassandra, Castileo (2008), Certificate of Birth (2008), Chocogirl (2008), ClassicDecor (ornaments), Classica-One (2008), Classica-Two (2008), Cleopatra (2008), Conkordia (2008), Cordeballet, Corinthia, Corleone, CorleoneDue.
    • D: Dama Bubey (grunge) (2008), Debut (art deco in the style of Broadway) (2008), Decadance Cursiv (2007), Decor Initial (2009: decorative caps, a Cyrillic extension of a typeface by Pampa Type), Decor Line (2008), DeutschGothic (blackletter), Donaldina (2008).
    • E: Edisson (blackletter), Egipet-Bold, Ekaterina_Velikaya_One (2005), Ekaterina_Velikaya_Two (2005), English Rose (2008), EnglishScript, EseninscriptOne, EseninscriptTwo, Evgenia Deco (2008).
    • F: Fairy Tale (2008), Fantasia (2008), Fata Morgana, Favorit, Favorit Grotesk (2008), Flamingo (2008), Fortuna Gothic FlorishC (2009, blackletter).
    • G: Geisha (2006), Gertruda Victoriana (2008), Globus (2006), Gloriascript, Goudy Decor InitialC (2009, ornamental caps), Goudy Decor ShodwnC, Goudy OrnateC, Graceful Mazurka (2008).
    • H: HeatherScriptOne, HeatherScriptTwo, HeinrichText, Hogarth_script (2005).
    • I: Isabella-Decor, Italy-A (2008), Italy-B (2008), Izis One (monoline sans), Izis Two.
    • K: Kabriolet Decor (2009), Kamelia (2009, Victorian face), Kareta-A (2007), Kareta-B (2008), KarnacOne, KarnacTwo, Konkord-Retro, Konrad-Modern (2008), Konstrukto-Deco (2008) (2008), Kot Leopold (2008), Kumparsita.
    • L: Lastochka (2008), Le Grand, Leokadia Deco (2008), Lombardia, Lombardina One, Lombardina Two, Lombardina-Initial-One (2008), Lombardina-Initial-Two (2008), Lombardina-One-Roman (2008), Lombardina-Two (2008), Ludvig_van_Bethoveen (sic) (2005).
    • M: Majestic X-2, Majestic-, MajesticX, Malahit-Bold, Margaritascript, Marianna, MarkizdeSadscript, MartaDecor One and Two, MartaDecorTwo, Martina Script C, Masquerade (2008), Matilda, Matreshka, Maya (2008), Medieval English, Melange Nouveau (2008), Menuetscript, Metro Modern, Metro Retro B (2008), Metro Retro C (2008), Metro-Retro A (2008), ModernistNouveau, ModernistOne, ModernistThree, ModernistTwo, ModernoNouveau, ModernoOne, ModernoThree, ModernoTwo, Modestina (Victorian), Mon Amour Two (both jointly copyrighted with David Rakovsky) (2008), Mon Amoure One (2008), Monte-Carlo, Monte-Kristo, Monti-Decor A B, Moonlight, Moonstone, Moonstone Stars, Morpheus, Moulin Rouge (2008).
    • N: Nocturne (2005), Nostalgia (2008).
    • O: Old Comedy, OldBoutique, Olietta-script-BoldItalic (2008), Olietta-script-Lyrica-BoldItalic (2008), Olietta-script-Poesia-BoldItalic (2008), Orpheus, Ouverture Script (2004, calligraphic).
    • P: Parisian, Picaresque One, Picaresque-Two (2008), Pilotka (2008), Plimouth, Port-Arthur (2008), Poste Retro (2008), Postmodern One, Postmodern Two, Promenad Deco (2008), Prospect-Deco (2008), Pudelina (2008), Pudelinka (2008).
    • R: Red Sunset, Regina Kursiv (2008), Renaldo Modern, Rochester, RochesterLine, RockletterSimple, RockletterTransparent, Romantica Script, Romashka Deco (2008), Romashulka (2008), Rondo Ancient One (2008), Rondo Ancient Two (2008), Rondo Calligraphic (2008), Rondo Twin (2008), Rosa Marena, Rosalia (2008), RosamundaOne-Normal, RosamundaTwo, Rotterdam, Rubius, Rurintania (sic) (2005).
    • S: Samba DecorC (2006), San Remo, Sapphire C (2008), Scriptorama (a clone of Scriptina), Secession-Afisha, Sevilla Decor X, SevillaDecor, Sladkoeshka (2008), Stereovolna (2008), Stereovolna Black (2008), Stradivari Script (2008), Stradivari Script [the Latin part copyrighted by Grosse Pointe Group] (2008), Stravinski Deco (2008).
    • T: Taverna, Teddy Bear [Latin by House Industries] (2008), Telegraph, TelegraphLine, TelegraphShodwn, TelegraphSmall, Terpsichora (2008, psychedelic), Theater (2009, Victorian), Theater Afisha, Topaz, Trafaret Kit (2008), Trafaret Kit Hatched (2008), Trafaret Kit Transparent (stencil) (2008), Traktir-Modern, Traktir-Modern3-D, Traktir-ModernContour, Turandot.
    • V: Valentina (2008), Variete (2008), VenskiSadTwo-Medium, VenskisadOne-Medium, Vera Crouz, VeronaGothic (blackletter), VeronaGothicFlourishe (blackletter), Veronica-script-One (2008), Veronica-script-Two (2008), Victorian-Gothic-One (2007), Victorian-Gothic-Two (2008), Victoriana, Vizit (2010, engraved face).
    • W: Wolfgang Amadeus Mozart (2005), Wonderland (2008), Wonderland Star (2008).
    • Z: ZanerianTwo, [Google] [More]  ⦿

    Alexandre Saumier Demers
    [Coppers & Brasses]

    [More]  ⦿

    Alexei Chekulayev
    [Double Alex Team]

    [MyFonts] [More]  ⦿

    Alexei Vanyashin
    [110design]

    [MyFonts] [More]  ⦿

    Alexey

    Russian graphic and type designer. His mostly experimental typefaces include Isopronto (2011, geometric), Vampire (2011), Blamed Neverland (2011, a connect-the-dots face), Lighter (techno), and Coffee (2011, ultra-condensed). [Google] [More]  ⦿

    Alexey Kryukov

    Russian developer of these free font families, quite exquisite and complete:

    • Old Standard TT (2006-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more. People have also started using it for mathematical typesetting.
    • Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors. Free download site. Many updates were made to the font package, with copyright notices to Michael Sharpe (2015), Alexey Kryukov (2005), URW++ Design & Development (1999), Valek Filippov (2001), Dmitry 40in (2001), The Omega Project (1996), and the Free Software Foundation (2002, 2003).
    • Theano Classical fonts: Theano Didot (2008) is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin typeface based on some "Old Style" Roman fonts of the late 19th and early 20th century. Pick up Theano Modern C (2012) at Open Font Library, and Theano Didot at CTAN.
    • CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

    He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

    Kernest link. Fontspace link. Another URL. Google Plus link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Alexis Luengas
    [Alexis Luengas Zimmer]

    German type designer in Karlsruhe. He created Rhetorica (2011): Its design is motivated by the elegant roman letters of the Rennaissance, capturing the vitality seen in the hand of masters like Granjon, Garamond, Jenson and Van den Keere, but also neohumanist typographers like Zapf.

    In 2012, Luengas published the Meleo family. This organic semiserif family is characterized by a large x-height, and a contrast between the round nature of the regular style and the angular calligraphic features of the italic styles.

    In 2013, he started work on Didotesque.

    His main project in 2014 was Cavatina, a font for writing music: Cavatina is my misuse (to put it nicely) of the OpenType font architecture, inspired by Travis Kochel's FF Chartwell. Similarly, the font relies on contextual alternates and ligatures to take care of the formatting and allow the support of a wide range of musical grammar. Among others, it is possible to write over four octaves of different notes, key and time signatures, barlines, accidentals, articulations as well as ornamentation, providing a system robust enough to allow fast musical composition. Additionally, I have written an open-source converter that translates the Cavatina text files to MIDI and MusicXML. A browser based text editor with integrated MIDI playback is also provided for those who don't have a Mac. Cavatina exploits the liga, calt and gsub rules in Opentype. [Google] [MyFonts] [More]  ⦿

    Alexis Luengas Zimmer
    [Alexis Luengas]

    [MyFonts] [More]  ⦿

    Alf R. Becker

    Alf Becker (b. St. Louis, IL, d. 1959, St. Petersburg, FL) was a sign artist in the 1930's and 40's. Beginning in January 1932, at the request of editor E. Thomas Kelly, Becker supplied the Signs of the Times (The National Journal of Display Advertising) magazine's new Art and Design section with an alphabet a month, a project initially predicted to last only two years. Misjudging the popularity of the series, it instead ran for 27 years, ending finally two months before Becker's death in 1959, for a total of 320 alphabets. In late 1941, just ten years after the first alphabet was published, 100 of those alphabets were compiled and published in book form under the title 100 Alphabets, by Alf R. Becker.

    The American Sign Museum shows the following death notice, taken from the April 1959 issue of Signs of the Times: A chapter of almost 27 years of extensive influence upon the development of sign and outdoor advertising lettering came to a close March 10 in the passing of Alf R. Becker, whose alphabets had been presented consistently in Signs of the Times since January, 1932. Death came in St. Petersburg, FL, where he had been hospitalized since last November. The funeral services were in St. Louis, March 16. Mr. Becker had operated a commercial sign business in East St. Louis, IL., and was widely known for his lettering ability when requested 27 years ago by the late E. Thomas Kelley, then editor of Signs of the Times, to do a series of alphabets for the magazine. They had estimated that 24 alphabets which would be presented in a period of two years would serve the purpose. The series was so enthusiastically received and so many readers urged continuation that it was projected indefinitely to eventually each a total of 320 before failing health of Mr. Becker forced him to give up that creative work. His last alphabet for ST appeared in the January issue this year. Countless are the signmen and women who broadened the horizons of their lettering ability by thorough study of Mr. Becker's alphabet. In 1941, his book, "100 Alphabets" was published by Signs of the Times, and all 3,000 copies that were printed were sold out long ago. Numerous requests have been received for a reprinting, but in view of the changes of time in lettering styles, it has not been considered advisable. Mr. Becker's failing health in 1957 influenced him and Mrs. Becker moving to St. Petersburg, where they bought a home, and where he went into semi-retirement. His love of the sign business was such that he continued his alphabets in spite of the problems of his illness.

    Many of his typefaces have art deco influences. LHF Monogram at Letterhead is a digital version of one of his fonts. Other digitizations include Whomp (2006) and Buffet Script (2006) by Alejandro Paul (Sudtipos) and Daffadowndilly (2007) and Stony Island NF (after Becker's art deco typeface Chicago Modern), Quaint Notions (2003), and Shaq Attack NF (2011, a wood plank font) by Nick Curtis.

    The Fontry (James Stirling and/or Adkins) is undertaking a grand digitization project, and releases free and pay fonts with names that start with ARB, followed by the font number, the font name, and the month and year of issue. In The Fontry's ARB series, we find ARB-187 Moderne Caps AUG-47 (2013, didone), ARB-85 Poster Script (2011, after a 1939 typeface by Becker), ARB 70 Modern Poster, ARB 93 Steel Moderne, ARB 44 Chicago Modern, ARB 66 Neon (2010, after a 1937 font, +Block, +Line), ARB 85 Modern Poster JAN-39 (2011, after Modern Poster Script, 1939), and ARB 67 Modern Roman, and ARB08ExtremeRomanAUG-32CASNormal (2009; the original is from 1932).

    Jeff Levine created a number of typefaces based on Becker's work as well: Show Card Casual JNL (2018: based on a single stroke brush alphabet by Alf Becker), Casual Signage JNL (2018), Modern English JNL (2018), Kanona JNL (2010), Karaoke JNL (2010), Mocombo JNL (2010). John Davis created LHF Pipeline (2012) based on Becker's designs. Kaitlin Sims designed LHF Becker No. 45 (2015).

    FontShop link.

    Catalog of some of his digitized typefaces. View the digital typefaces that are based on Becker's work. Showcase of Alf R. Becker's fonts. [Google] [MyFonts] [More]  ⦿

    Alfons Schneider

    German type designer, b. 1890, Groitzsch, d. 1946, Mühlberg/Elbe. He studied at the Staatlichen Akademie für graphische Künste und Buchgewerbe in Leipzig, where he taught typography from 1934 onwards.

    Alfons Schneider created the blackletter typeface Franken Deutsch (1934-1939, Ludwig Wagner), and the didone family Pergamon Antiqua (1937, Ludwig Wagner; +Mager, +schmalhalbfett, +halbfett, +fett, +schmalfett), and Pergamon Kursiv (1938).

    L. Wagner mentions the typefaces Pergamon Werkschrift, Pergamon Kursiv halbfett, Pergamon Kursiv kräftig and Pergamon schmalhalbfett. Schneider published all his typefaces at L. Wagner.

    Pergamon was digitally revived in 2016 by Coen Hofmann at URW++ as Fontforum Pergamon. More than a decade before that, Softmaker created its own digital revival, P700 Deco. Franken Deutsch was revived in 2015 by Peter Wiegel as CAT Franken Deutsch. [Google] [More]  ⦿

    Alfred Finsterer

    Type designer (b. 1908, Nürnberg, d. 1996, Stuttgart) who designed fonts at Klingspor such as Duo licht/Duo dunkel (1954). Figura (1954, Stempel) is a condensed didone face. Google] [More]  ⦿

    Alfredo Marco Pradil
    [Hanken Studio]

    [MyFonts] [More]  ⦿

    Ali Hamidi
    [Noer Hadi]

    [MyFonts] [More]  ⦿

    Alien Valley

    Studio in Cluj-Napoca, Romania. Creator of the curly script typeface Violet Night (2015) and the poster typeface Hornhill (2016, Sans and Serif).

    Typefaces from 2019: Whitefield, Alterwave (a sans family), Greenmark (Peignotian), Günterhaus (a didone), AfterOne, Bluristy, Archelaos, Finnmark, Quinlee, Glitterino, Commodus, Exophis, Klausen (inspired by Trajan caps0, Osmund (a clean bold gemetric sans), Multiberry, Helmwick (a signature script), Benfield (wild calligraphy), Clocksmith (a piano key typeface), Westboy. [Google] [More]  ⦿

    Alina Smolina

    During her studies at the British Higher School of Art in Moscow, Alina Smolina created a layered Cyrillic typeface called Colored (2013). Blow to Didot (2013) is a deconstructed didone typeface. Stick Wand (2013) is a Cyrillic stick font. [Google] [More]  ⦿

    Alisa Nowak

    French type designer who studied at Fachhochschule Düsseldorf (2009) and at the Ecole supérieure d'art et de design d'Amiens, France, class of 2011. At ESAD her graduation typeface was called Eskapade. In 2012, the blackletter typeface Eskapade Fraktur was published by Type Together. The angular weights Eskapade Regular and Eskapade Italic were added in 2012.

    With Sebastien Degeilh, she is a partner in Nowak & Degeilh, a French type foundry started in 2012. At Nowak & Degeilh, she created the 3d geometric overlay font family Carton (2012).

    For the next few yours, her work was published by Fontyou:

    • She co-designed the stylish Egyptian typeface Achille FY (2012) with Gia Tran, Gregori Vincens, Valentine Proust and Bertrand Reguron, and Achille II FY (2014) with Valentine Proust and Gregori Vincens.
    • With Gia Tran, Gregori Vincens, Valentine Proust and Elvire Volk, she co-designed the monoline sans display typeface Younion FY (2013). Younion One FY is free at Dafont.
    • Codesigner of Kaili FY (2013): an exotic typeface with crazy ligatures, inspired by Indian scripts, designed by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak.
    • The EPS format display typeface Alice FY (2013). Co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust. Alice FY was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.
    • The EPS format frilly script typeface Lullaby FY (2013), co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering.
    • Exquise FY (2013). A fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.
    • Bruum FY (2013) by Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens. Bruum FY is a curvy stressed elliptical sans typeface.
    • Four typefaces done with Luis Gomes and Jeremie Hornus: Booster FY (2013: a rounded sans), Gauthier FY (2013: a transitional typeface family, followed in 2014 by Gauthier Next FY), Lean-O FY (2013: a slab serif with leaning asymmetrical brackets; see also LeanO Sans in 2014), Marianina FY (2013: a contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders).
    • Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).
    • The slender display typeface Sérafine FY (2013). Co-designed with Jason Vandenberg and Jérémie Hornus.
    • Codesigner with Mr. Zyan of the alchemic hipster font Pyrenees FY (2013).
    • She collaborated with Jérémie Hornus and Fabien Gailleul on the design of the astrological simulation typeface Astral FY (2013). The same group of three collaborated in 2014 on Naive Gothic FY.
    • In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days.
    • Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY.
    • Luis Gomes, Jérémie Hornus and Alisa Nowak co-designed the rounded sans typeface family Booster Next FY in 2014.
    • Joao Costa co-designed the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak.
    • In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus co-designed the blackletter typeface Blackmoon FY.
    • In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus co-designed the wedge serif typeface Ennio FY at FontYou.
    • The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
    • In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak co-designed the classical copperplate script typeface Vicomte FY.
    • Codesigner with Jan Dominik Gillich of Sperling FY (2014, FontYou), a didone-inspired headline or fashion mag display typeface family.
    • Designer of Marianina Wide FY (2014).
    • In 2014, Alisa Nowak, Gregori Vincens and Andrey Kudryavtsev created Achille II Cyr FY.
    • Codesigner of Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak).
    • Still in 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak co-designed Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.

    In 2015, Jérémie Hornus, Clara Jullien and Alisa Nowak co-designed the spurless / organic slightly inflated sans typeface family Diodrum at Indian Type Foundry. Diodrum Rounded (2020, by Manushi Parikh, Jérémie Hornus, Clara Jullien and Alisa Nowak) is a spurless organic sans family.

    In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands.

    In 2016, Alisa Nowak designed the all caps art deco / avant garde typeface family Inbox that comes with many great ligatures and interlocking glyph pairs. It was published at Indian Type Foundry.

    Alpinist (2016) is a humanist sans with a small x-height optimized for magazine design and other editorial applications. The edges are slightly rounded for easy reading. It was designed by Jeremie Hornus and Alisa Nowak. Somehow, it evolved into Alpino at Fontshare.

    In 2016, Jeremie Hornus and Alisa Nowak released Associate Sans and Slab (+Stencil), and Associate Mono at Indian Type Foundry. This is a family with an American gothic look.

    Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.

    Papelli (2016) is an informal typeface family by Alisa Nowak and Julie Soudanne.

    At Fontstore / Fontshare, she released the 6-weight sans typeface Excon in 2017. Excon is named after and a tribute to French designer Roger Excoffon (1910–1983). Excon's letters are top-heavy, a rarely-explored idea in type design Excoffon himself experimented with.

    In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.

    In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta.

    Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare) is a free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020).

    In 2020, Jeremie Hornus, Theo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Stencil (2020, Fontstore). [Google] [MyFonts] [More]  ⦿

    Alit Design (or: Gurita Hitam)
    [Alit Suarnegara]

    A graduate of Institut Seni Indonesia Denpasar Bali who is based in Denpasar, Bali, Alit Suarnegara (Gurita Hitam, b. 1986, Denpasar) created these typefaces:

    • 2022: Psychofun (psychedelic), Lhont Down (a bouncy baseline serif), Spidro Marley (a flared display serif), Bellyman (an art nouveau boutique serif), Hulahoy Typeface (a formal reverse stress script), Bulone (a display serif with curved stems and terminals), Mankey (glyphs with wavy kinks), April Blossom (a scrapbook script), Soka (a 28-style display sans), Mollyn (a 14-style casual sans), Mongek (a 13-style display serif with funky curves), Round Saetan (a ribbon typeface), Putrey (a 9-style display grotesk), Rosehot (a display serif), Maglony (a 9-style font with sharply cut edges and terminals), Nillota (a 13-style display serif), Romans Lovers (a 12-style decorative serif), Maboth Typeface (blackletter), Belong Faith (a spurred tattoo (?) blackletter), Hello Mytoys (a modernized blackletter), Belligoes (blackletter), Boiller (a 14-style Peignotian sans).
    • 2021: Mybook Again (a great swashy calligraphic script meant for romantic events), Radja Lover (a calligraphic font with hairline connectors), Brohoney (a 13-style text family), Two Race (a race car font family), Piersob (a very wide display sans reminiscent of the old Porsche logo font), Black Mild (Victoriana), Decondor (a 14-style delicate mini-serif), Gathell (a 13-style fashion mag serif), Hero Beam (spurred, Victorian), Vaclice Script, Nokarin (a bold calligraphic script), Horseboy Boots (Western, with terminals that emulate hooves), Mokgech (blackletter), Sutray (a rather formal upright script), Mister Honey (Tuscan), Nandola (a fine calligraphic script), Bungker (a layerable hand-drawn slab serif), Brolimo (a 14-style Peignotian sans), Takashimura (a Japanese emulation font), Bunker (a layerable marquee font family), Dronefly, Miloner (a 14-style fashion mag serif), Mono and Friends (handcrafted and rounded), Roby Soho (a simple flared display sans in 12 styles), Saihat (emulating Arabic calligraphy), Gofienda (a calligraphic script), Rusty Store (Victoriana), Chalk and Friend (a sketched typeface), Grunge Decade (art nouveau), Kenoky Coffekan (a 15-style decorative sans and script duo), Botaky and Botaky Script (a wavy display font), Hidrofont (vintage), Roller Alika, Mistic (a decorative serif), Burgie (14 styles: an ink-trapped swashy and inky display serif), Hand Real (a thin monolinear script), Assox (a reverse contrast Tuscan typeface), Balian (a textured typeface that is based on Balinese carvings), Handy Quomte (calligraphic), Brohillo (a display serif).
    • 2020: Karmila, Shary (a 52-style sci-fi sans font that could also be useful in sports), Brave Eighty One (techno, squarish), Mollas (a decorative serif), Crying, Milk and Balls (a 28-style display typeface with rhombic tittles, wedge serifs and razor blade edges---the connection with milk or balls will forever remain mysterious), Boiling, Mallent (brush script), Bemalla (script), Marons (a script/serif hybrid).
    • 2019: Black Quality (inline, vintage), Caibojog (watercolor brush), Bonillo, Balimoon, Mofita, Nahye, Pintgram, Subscriber, Lovina Script , Bolehdong (script), Zamrack, Melloner, Melloner Fun, Beautiful Lovina, Localghost (a signature script).
    • 2018: Controwell (a Victorian script and text collection), Raustila, Rollete Qaku (dry brush), Norffo, Nermola Scripcy Font, Braton Composer.
    • 2017: the script typefaces Rumble Brave Script (as part of the vintage typeface Rumble Brave), Mellony (2017: dry brush script), Raph Lanok (brush style), Jandys, Jandys Dua, Billy Ohio (2017: dry brush), Localghost and Valledofas, and the vintage tattoo typeface Young Heart.
    • 2016: the thin connected script typeface Mooglonk, the signage script Altoys, the decorative didone Florva, the connected script typefaces Asfrogas, Rofitaste (brush style), Qarvic (a sans), Qarvic Icon, Morva (a decorative didone), Young Heart (a free vintage typeface with spurs), and Brushgyo.
    • 2015: Bromello (brush script), Vroffloow (in script and sans styles), Godfeem, Mooglonk, Floren (a display serif), Lawasth, Mooglonk Serif, the brush typeface The Faino, the tattoo font Alitide, the watercolor brush typefaces Roomfer and Norffo, the connect-the-dots typeface Circle Line, and Kemayu.
    • 2014: the beveled typeface Piramid.
    • 2013: the spurred signage typeface Starck.

    Creative Market link. Another Creative Market link. Dafont link. Graphicrier link. [Google] [MyFonts] [More]  ⦿

    Alit Suarnegara
    [Alit Design (or: Gurita Hitam)]

    [MyFonts] [More]  ⦿

    Allan Haley

    Allan Haley was the principal of Resolution, a consulting firm with expertise in type; his clients included Apple, Adobe, Linotype, Xerox, IBM, and Agfa Monotype. He was also the Chairman of the Advisory Board of the Goudy International Center at RIT. He was the Typographic Consultant to Compugraphic Corporation. Haley was principal of Resolution, a consulting firm with expertise in fonts, font technology, type and typographic communication. Allan joined ITC in 1981, and became its executive vice president of ITC. He wrote for publications such as U&lc, How, Dynamic Graphics, and Step-by-Step Graphics. He is highly regarded as an educator, and he is a frequently requested speaker. He has written five books on type and graphic communication. Presently, Allan Haley is Director of Words & Letters at Monotype Imaging.

    At ATypI in Rome in 2002, he spoke about the development of ITC Bodoni. His books:

    • ABCs of Type : A Guide to Contemporary Typefaces, A Step-by-Step Publishing Book (1990).
    • Alphabet : The History, Evolution,&Design of the Letters We Use Today (1995).
    • Type : Hot Designers Make Cool Fonts (1998).
    • Typographic Milestones (Van Nostrand Reinhold, New York, 1992).
    • Phototypography: A Guide to In-House Typesetting and Design (Charles Scribner's Sons, 1980).
    He also writes many essays---one particularly noteworthy is about Bodoni. [Google] [MyFonts] [More]  ⦿

    Alonzo W. Kinsley&Co.

    Albany-based foundry, also called Franklin Letter Foundry (not to be confused with the Franklin Type Foundry in Cincinnati). It opened in 1825 and closed in 1832 when Kinsley died. The 1829 specimen book led James Puckett to develop the beautiful ornamental didone fat typeface Sybarite (2011), which comes in many optical weights. [Google] [More]  ⦿

    Alphabet Innovations International -- TypeSpectra (Was: MM2000)
    [Phil Martin]

    Born in Dallas in 1923, and retired in Florida, Phil Martin had an exciting life, which started as a bombardier in WWII, and went on as a piano bar singer, publisher, cartoonist, comedian and typographer. He died in October 2005.

    Phil established Alphabet Innovations International in 1969 and TypeSpectra in 1974, and designed most of his 400 typefaces (read: film fonts for use in the VGC Photo Typositor) there: Agenda (1976), Americana (1972), Arthur (1970, by Roc Mitchell), Aurora Snug (1969), Avalon (1972), Baskerville (1969), Beacon (1987), Bluejack (1974), Borealis (1970, by Roc Mitchell), Britannic (1973), Bulletin (1971), Celebration (1969, by Roc Mitchell), Century S (1975), Cheltenham (1971), Clearface (1973), Cloister (1975), Corporate (1971, by Roc Mitchell), Corporate Image (1971, by Roc Mitchell), Courier B EF (2004, originally done at Scangraphic), Didoni (1969, a knock-off of Pistilli Roman with swashes added), Dimensia and Dimensia Light (1971, by Roc Mitchell), Dominance (1971), Egyptian (1970), Eightball (1971, some report this incorrectly as a VGC face, which has a different typeface also called Eightball: it was digitized by FontBank as Egbert. Alphabet Innovations' Eightball had other versions called Cueball and Highball, and all three were designed by George Thomas who licensed them to AI), Fat Chance (Rolling Stone) (1971), Fotura Biform (1969), Franklin (1981), Garamond (1975), Globe (1975), Goudy (1969), Harem (1969, aka Margit; digitized and revived in 2006 by Patrick Griffin and Rebecca Alaccari as Johnny), Helserif (1976---I thought this was created by Ed Kelton; anyway, this typeface is just Helvetica with slabs), Helvetica (1969), Introspect (1971, revived in 2012 by SoftMaker as Looking Glass, and by Castcraft as OPTI Looking Glass), Jolly Roger (1970, digitized in 2003 by Steve Jackaman at Red Rooster; Martin says that Jolly Roger and Introspect are his two most original designs), Journal (1987), Kabell (1971), Kabello (1970), King Arthur [+Light, Outline] with Guinevere Alternates (1971, by Roc Mitchell), Legothic (1973), Martinique (1970), Mountie (1970), News (1975), Palateno (1969), Pandora (1969), Pazazzma (1980), Perpetua (1969), Plantin (1973), Polonaise (1977; digital version by Claude Pelletier in 2010, called Chopin Script), Primus Malleable (1972), Quaff (1977), Quixotic (1970), Report (1971), Romana (1972), Scenario (1974), Sledge Hammer (1971), Son of Windsor (1970), Stanza (1971, by Roc Mitchell; this angular typeface was later published by URW), Stark (1970), Supercooper (1970), Swath (1979), Threadgil (1972), Thrust (1971), Timbre (1970), Times (1970), Times Text (1973), Trump (1973), Tuck Roman (1981), Viant (1977), Vixen (1970), Weiss (1973), Wordsworth (1973).

    In 1974, he set up TypeSpectra, and created these type families: Adroit (1981), Albert (1974), Analog (1976), Bagatelle (1979), Cartel (1975), Caslon (1979), Criterion (1982), DeVille (1974), Embargo (1975), Heldustry (1978, designed for the video news at the fledgling ABC-Westinghouse 24-hour cable news network in 1978; incorrectly attributed by many to Martin's ex-employee Ed Kelton: download here), Innsbruck (1975: revived in 2018 by Olexa Volochay as Tyrol), Limelight (1977), Oliver (1981), Opulent [Light and Bold] (1975, by George Brian, an amployee at Alphabet Innovations), Quint (1984), Sequel (1979), Spectral (1974), Welby (1982).

    His fonts can be bought at MyFonts.com and at Precisiontype. He warns visitors not to mess with his intellectual property rights, but I wonder how he can have escaped the ire of Linotype by using the name Helvetica. In any case, the fonts were originally made for use on photo display devices and phototypesetters. Some are now available in digital format.

    Near the end of his life, Phil's web presence was called MM2000 (dead link).

    Check his comments on his own typefaces. URW sells these typefaces: URW Adroit, URW Agenda, URW Avernus (after Martin's design from 1972), URW Baskerville AI, URW Beacon, URW Bluejack, URW Cartel, URW Cloister, URW Corporate, URW Criterion, URW Didoni, URW Fat Face, URW Globe, URW Goudy AI, URW Heldustry, URW Helserif, URW Introspect, URW Legothic, URW Martin Gothic, URW Martinique, URW Pandora, URW Polonaise, URW Quint, URW Scenario, URW Souvenir Gothic, Souvenir Gothic Antique (the Souvenit Gothic family was designed by George Brian, an employee of Alphabet Innovations at the time: it was AI's first text family), URW Stanza, URW Stark, URW Timbre, URW Viant, URW Wordsworth.

    Interview. Bye Bye Blackbird performed by Phil Martin in Largo, Florida.

    The final message on his last web page, posted posthumously read: MARTIN, PHIL, 82, of Largo, died Tuesday (Oct. 4, 2005) at Largo Medical Center. He was born in Dallas and came here after retiring as a writer, singer-songwriter, commercial artist, and comedian. As a high school student, he worked as an assistant artist on the nationally syndicated Ella Cinders, and at 18 wrote and drew Swing Sisson, the Battling Band Leader, for Feature Comics. He was an Army Air Forces veteran of World War II, where he served as a bombardier in Lintz, Austria. On his 28th mission shelling the yards in Lintz, his B-24 was hit and he was listed as missing in action until the war in Europe ended. He was a comedian on The Early Birds Show on WFAA in Dallas. As a commercial artist, he founded two multinational corporations to market typeface designs and is credited for designing 4 percent of all typefaces now used. He also wrote columns and articles for typographic publications. Locally, he sang original lyrics to old pop standards in area piano bars, and in 1999 produced 59 issues of the Web book Millennium Memorandum, changing the title to MM2000 when he issued the first edition of the new Millennium on Jan. 3, 2000. Survivors include his wife, Ann Jones Martin; and a cousin, Lorrie Hankins, Casper, Wyo. National Cremation Society, Largo.

    Phil Martin's digital typefaces.

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

    ALT Foundry
    [Andreas Leonidou]

    ALT is the type foundry of prolific type designer Andreas Leonidou from Limassol, Cyprus, b. 1986. His main work is commercial, but there is also a substantial collection of free fonts.

    He created Foldgami, Apollo 13 (techno, futuristic), Fatgami, Origamia, Paper Roll, Alt Retro (2010, multilined family), Alt Tiwo (2010, fat counterless), Alt Matey (2010, a family that includes a multiline style; the piano key typeface Alt Matey V2 followed in 2012), ALT Lautus (2010, a minimalistic monoline sans family), Japanese Cities Type Experiment (2010), ALT Alternatice (2010), ALT Vxt11 (2010, a high-contrast art deco octagonal face), ALT Aeon (2010, a unicase but multiline family), Alt Re 32 (2010, techno), ALT Mun (2010, a curlified family), ALT Breo (2011, octagonal family), ALT Exline (2011), Jun Script (2011, connected contemporary upright script), ALT Ayame (2011, condensed squarish family ain the piano key style, +Long), Alt UAV31 (2011, an octagonal experiment), Alt Moav (2011, a striking geometric caps face. Images: i, ii, iii), Alt Geko (2011, an art deco caps face), and Archetype (unicase, Bauhaus).

    Free fonts at Devian Tart: Alt Retro (2010, multilined family), ALT Hiroshi (2011, ornamental), ALT Deville (2011, spurred).

    Typefaces made in 2012: DNR001 (hipster style), ALT Kora (for the identity of Drone), ALT Fat (monospaced squarish caps face), ALT Exodus (sci fi face), Alt Wet (a paint splatter face), Alt Sku (ornamental didone face), Alt Robotechnica (pixel face), Exodus (a blackletter style straight-edged typeface), Juk01 (an ornamental mechanical, or steampunk, typeface), Alt Sake (a thin condensed poster typeface).

    Typefaces from 2013: Modu (alchemic, hipster style), Modu Deco, Bely (a severe-looking almost constructivist Latin/Cyrillic typeface).

    Typefaces from 2014: Ren (a free vintage display typeface family).

    Typefaces from 2015: ALT Hazer (a great free shadow sans), ALT Smaq (a family of eight free beveled styles for Latin and Greek).

    The free fonts as of 2015: ALTBELY, AltJoli, AltPixelsGoneBad, AltRe32-Duo, AltRe32-Normal, AltRenDuo, AltRenRegular, AltRenRetro, AltRenShadow, AltRetroBlack, AltRetroBold, AltRetroLight, AltRetroRegular, AltRetroThin, Alt-Twitchy, AltVxt11, Altapollo13, AltAeon-Black, AltAeon-Bold, AltAeon-Light, AltAeon-Medium, AltAeon-Thin, AltAeonRegular, AltAxlDeco, AltAxlRegular, AltDEVILE, AltGeko-AltGeko, AltMateyv2-Black, AltRobotechnica, AltSku, AltSkuItalic, AltUAV31, AltWet, Altapollo13-Black, Altapollo13, althazer, altsmaq2.8, altsmaq4.8, altsmaq6.8, altsmaq8.8, altexodus, altfatgami, altfatitalic, altfatregular, altfoldgami.

    Typefaces from 2016: Sadistic (a free scratchy font), System Code (free programming font).

    Typefaces from 2017: Rekt, Rogue (free).

    Typefaces from 2018: Alt Catwalk (a fashion mag typeface family), Frantic, Looper (a compass-and-ruler font), Silent Scream (a free dry brush font). free).

    Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link. Creative Market link.

    View Andreas Leonidou's typefaces. Home page. [Google] [MyFonts] [More]  ⦿

    Alter

    Mexican designer of the fashion didone typeface Bizzarra (2016), which follows the fat face style, and covers both Latin and Greek. Behance link. [Google] [More]  ⦿

    Alvaro Franca
    [Naipe Foundry]

    [MyFonts] [More]  ⦿

    Alvaro Thomáz Oliveira
    [Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)]

    [MyFonts] [More]  ⦿

    Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)
    [Alvaro Thomáz Oliveira]

    Ipatinga, Minas Gerais-based (or Santa Barbara-based, or Belo Horizonte-based) designer of these typefaces in 2011: Gogating Book (a Helvetica-like face), Mytupi, Pirates Writers, Chapenettoer 8 Thin, a large x-height and large-bowl minimalist sans face. This was followed by the bold caps sans typeface Laranja Pro and Laranjha Pro Fraco, Aovel Cool (geometric monoline sans), Aovel Sans Rounded, Aovel Sans Light, Aovel Neo (based on Avant Garde), Yagora (humanist sans), Salika, Sheep Sans (2011), Mariana Family, Extrememame, Timo Roman, AvantFox (based on Avant Garde), Brasil (based on ITC Lubalin), Hasteristico (monoline geometric typeface based on Avant Garde), Amiju Book, DMF Arreia Black (fatted up Helvetica), DMF Cantell, DMF Handwriter, DMF Handatme, BDP Sergipe, BDP Fox, BDP Clien, BDP Up, and BDP Gelly.

    Typefaces made in 2012: Flex Display (a free thin sans), Meva (geometric sans), Duase Light (a thin rounded avant-garde geometric sans), Tenue Sans (a distinguished sans---tuxedo required), Cridigo Sans, Cogga (a display sans face), Homizio (a free 6-style geometric sans family), Aliquam, Regencie, Blouding (from blood samples?), Quinfo (avant garde family), Frugal Sans, Agnele Modern (a didone titling face), Salutino, Bondoluo (geometric avant-garde sans, +Light, +Display), Duase (rounded monoline sans).

    Typefaces from 2013: Panjo (humanist titling sans inspired by Eric Gill), Grieff (a DIN-like sans), Burne (a geometric all caps sans with elements of Futura and Avant Garde), Suicca (hairline sans), Datidi (custom slab face).

    Typefaces from 2014: Homizio Nova (sans), Amper.

    Typefaces from 2015: Savass Sans.

    Typefaces from 2016: Cerko (a gemoetric circle-based futuristic typeface).

    Typefaces from 2017: Beaga (a slab serif named after Belo Horizonte).

    Typefaces from 2019: Antropil (a rounded sans), Finis Grotesk (inspired by the Bauhaus movement), Finis Text, Finis Text Soft.

    Typefaces from 2020: Dumont (a 27-style structural geometric sans named after Brazilian aviation pioneer Alberto Santos dumont), Hauslan (a sans family).

    Home page. Fontspace link, where he is known as authimie. Another Fontspace link. About me page. Behance link. Another Behance link. About Me link. Dafont link. Aka Alvaro Ovelha. Creative Market link. Future URL. Home page of Alvaro Thomaz. [Google] [MyFonts] [More]  ⦿

    Amanda Childress

    During her studies, Amanda Childress (Apple Valley, CA) created the fashion mag typeface Amity Pro in 2014. This typeface is inspired by Didot and Avenir. Creative Market link. [Google] [More]  ⦿

    Amanda Ranit

    As a student at Portland State University, Amanda Ranit (Portland, OR) created the high-contrast compressed didone typeface Gracie (2015). [Google] [More]  ⦿

    Amanda Rios

    At TypeParis 2017, Amanda Rios designed FD Slab, which is loosely based on didones. [Google] [More]  ⦿

    Amber Lamoreaux

    American designer of a great Bodoni poster in 2019. [Google] [More]  ⦿

    Ambroise Firmin Didot

    Fourth generation Didot dynasty member in Paris, 1790-1876. Oldest son of Firmin Didot (1764-1836), the most influential of all Didot printers. He headed the Didot house with his younger brother Hyacinthe Firmin Didot. He was mainly a printer, and is known for his improvements in papermaking. [Google] [More]  ⦿

    Ambroise Firmin Didot

    Member of the famous French printers family, 1790-1876. Author of Essai sur la Typographie. Paris, typographie de Firmin Didot frère (1851). Bigmore & Wyman mention that This work, an excerpt from the "Encylopédie Moderne," contains the result of the author's lengthened experience, and of his vast theoretical and practical knowledge of the subject. The early history of printing is treated with great clearness and a thorough acquaintance with the best authorities. [Google] [More]  ⦿

    American Mathematical Society
    [Tom Kacvinsky]

    The AMS in Providence, RI, offered the Computer Modern and AMS fonts in type 1 and metafont formats. Free, and for mathematical symbols, the best anywhere. The contact until 2004 was Tom Kacvinsky. Tom hasn't worked at the AMS since 2004. The AMS and CM fonts are copyrighted by the AMS now and are part of the TeX Live distribution. AMS Fonts. [Google] [More]  ⦿

    American metal versions of Bodoni

    All 19th and early 20th century versions of Bodoni can be traced back to Giambattista Bodoni, the pater familias of the modern rational style of typeface. Mac McGrew: There have been numerous interpretations of Bodoni's typefaces, but the most popular in America are those drawn by Morris F. Benton for ATF or adapted from his work by other manufacturers. His Bodoni, Bodoni Italic. Bodoni Book and Italic, and Bodoni Bold and Italic, introduced by ATF in 1910-11, have been duplicated by several sources, as detailed below. The ATF Bodoni series, with its long descenders, was the first new creation to successfully counter the popularity of standard alignment, introduced around the turn of the century. However, it was inspired by the successful revival of the original version of Caslon Oldstyle. Henry L. Bullen encouraged the resurrection of the Bodoni design, first of a series of such recreations, while his Typographic Library at ATF provided the resources for research into the works of the historic master designers.

    Monotype published its own interpretation of Bodoni and Italic in 1911. Mac McGrew: This is its No. 175 series, also based on historic Bodoni types but differing in many details from Benton's design. Notice especially the alternate French oldstyle figures, which depart from the usual style of oldstyle figures; ATF Bodoni also has similar alternate figures in small sizes, although they are rarely seen. In 1930 Monotype adapted Benton's Bodoni design as its No. 375 series. Neither 175 nor 375 suffers from the mechanical restrictions of Monotype's standard arrangement, but because Bodoni Bold and Italic required considerable reproportioning as first cut for that machine, Monotype later brought out Recut Bodoni Bold and Italic, which by means of a special arrangement are very close to ATF's original design. Bodoni Book and Italic were adapted to Monotype after special arrangements became more common. Notice the alternate v and w shown in the specimen of Bodoni Italic; these letters were made by ATF in all three weights of italic but not copied by any other source except Monotype Bodoni Book Italic. Perhaps because of the lighter Bodoni Book, some users apply the name "Bodoni Medium" to the regular weight.

    For newsprint, there were special designs with shorter descenders. McGrew: ATF's Newspaper Bodoni Bold is the same as Bodoni Bold, but with descenders (gjpqy,;Q as shown after the Bodoni Bold specimen) substantially shortened to permit casting each size on a smaller body, from 36/30 (36-point typeface on 30-point body) to 144/120. Ludlow Bodoni Bold offers similarly short- ened descenders in large sizes. ATF Bodoni Bold Italic was cast for a while in the 1960s with greatly shortened descenders though not on smaller bodies. Apparently the intention was to reduce the size of kerns and the chance of breakage.

    Not to be left behind, Ludlow entered the arena. McGrew: Ludlow's first offering in this family was Bodoni Light and Italic, designed by Robert Wiebking and introduced in 1923; it was similar to Monotype Bodoni No. 175 but lighter. Five years later Ludlow brought out True-Cut Bodoni and Italic, designed by Wiebking from original Bodoni works in Chicago's Newberry Library. The serifs and hairlines of this typeface turned out: to be too delicate for practical use, so in 1936 Robert H. Middleton modified the design and it was reissued as Bodoni Modern and Italic. The basic design is the same except for a few redrawn letters, but it is recut a little narrower and with slightly more strength to the hairlines. This is probably the most faithful recreation of Giambattista Bodoni's original types. The third lines of specimens of the latter face, both roman and italic, show some of the original True-Cut Bodoni characters before they were redesigned. Ludlow Bodoni Bold and Italic, cut by Wiebking before 1930, were replaced by Bodoni Trueface Bold and Italic, close copies of the Benton face. Bodoni Trueface and Italic in the regular weight were also added.

    About some condensed versions, McGrew has this to say: Bodoni Bold Condensed was drawn by Sol Hess for Monotype in 1934, and other versions were designed independently by some other sources; such a typeface was drawn by the ATF staff in 1933 but not produced. The basic Bodoni designs were narrowed by Linotype and Intertype in the larger sizes to fit early mechanical restrictions; when later machines permitted full width typefaces in these sizes, the narrow versions were renamed Bodoni Condensed and Bodoni Book Extra Condensed. Intertype also cut Bodoni Bold Extra Condensed and Slim Bodoni.

    ATF's Card Bodoni and Card Bodoni Bold were drawn by Benton in 1912-16. These are adaptations of the standard typefaces to all-caps fonts, with several sizes cast on 6- and 12-point and larger bodies for use on stationery and forms; notice the redrawn J, Q, comma, and semicolon [quote from McGrew].

    Engravers Bodoni is a wide version of Bodoni Bold made the same way. It was drawn by Benton in 1926 but apparently not introduced until 1933.

    Bodoni Bold Shaded was designed by Benton in 1912 for ATF. McGrew: Bodoni Open, also by Benton in 1918, was discontinued after a time and reintroduced in 1930. Bodoni Bold Panelled was designed by Sol Hess for Monotype in 1928; it has no lowercase, points or figures, only the basic characters shown. All three typefaces are adaptations of Bodoni Bold.

    The most striking Bodonis are the very fat ones. McGrew explains the situation in this way: Ultra Bodoni and its variations are now well established under the Bodoni name, but historically they hardly belong here, being more closely related to the nineteenth-century English "fat" typefaces. One reviewer called Ultra Bodoni "an old Bruce typeface with a few redrawn characters." Actually it was entirely redrawn, but the resemblance is there. The Ultra Bodonis do not have the long ascenders and descenders of other Bodonis, and the transition from thick to thin is more abrupt. Ultra Bodoni and Italic, designed by Morris Benton in 1928 for ATF, were also made by Monotype; Intertype made them as Bodoni Modern and Italic. Linotype has Poster Bodoni and Italic, similar to Ultra Bodoni but with somewhat heavier hairlines, designed by C. H. Griffith. Ludlow's Bodoni Black and Italic, designed by Robert H. Middleton in 1930, are distinctly different but generally comparable; a later Condensed version was also designed by Middleton. ATF's Ultra Bodoni Condensed, drawn by Benton in 1930, is rarely seen but his Ultra Bodoni Extra Condensed of 1933 has enjoyed some limited use. Onyx, called Poster Bodoni Compressed by Linotype, is comparable. Ludlow's Bodoni Campanile (called Palisade on Intertype) and Italic are somewhat similar to Onyx, but less formal; they were designed by Middleton in 1936 and 1942 respectively.

    Finally, McGrew draws the attention to Bartlett, Damon Type Foundry's name for its copy of the Bodoni series. He writes: Compare Louvaine, French Round Face, Suburban French. Also see Bauer Bodoni. [Google] [More]  ⦿

    Amparo Guindon

    During her studies in Buenos Aires, Amparo Guindon designed the sketched / engraved didone-inspired typeface Giambattista Unshackled (2016). [Google] [More]  ⦿

    AMS fonts

    AMS Euler (a calligraphic font, designed by Herman Zapf), AMS Cyrillic, AMS Computer Modern, AMS extra math symbols (msam, msbm). In metafont and type 1 formats. [Google] [More]  ⦿

    AMS Fonts (Truetype)

    TTF versions of the American Mathematical Society Computer Modern fonts, aka the BaKoMa fonts by Boris Malyshev. The truetype versions of the AMS fonts are included in PCTeX. [Google] [More]  ⦿

    Amsterdam Continental Types and Graphic Equipment Co.

    Typeface importer and vendor and foundry located on Fourth Avenue and Park Avenue South in New York City, with offices in Burbank, CA, and Chicago, IL. Their typefaces included Annonce Grotesque. Amsterdam Continental ceased operations.

    A Handbook of Types (PDF catalog). [Google] [More]  ⦿

    Ana Requena

    Graphic designer in Zaragoza, Spain, who created the ornamental didone typeface Nadine (2016). [Google] [More]  ⦿

    Ana Sanfelippo

    Argentinian illustrator, calligrapher and graphic designer based in Buenos Aires. Creator of the part calligraphic part Lombardic text family Almendra (2011, free at Google Web Fonts). Almendra, which has been suggested by Ana for use in children's books, won an award at Tipos Latinos 2012 in the typeface family category. It was her graduation typeface at FADU-UBA. In 2012, Google Web Fonts published Almendra Display and Almendra Small Caps. CTAN page for TeX support.

    Ruluko (2012, Google Web Fonts) is a free typeface created by Ana Sanfelippo, A. Díaz and M. Hernández. Google: Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. Ruluko won an award in the text category at Tipos Latinos 2012.

    In 2012, Ana Sanfelippo and Alejandro Inler published the fashion mag didone typeface Elsie at Google Web Fonts. It was accompanied by Elsie Swash Caps.

    Yoshimi Regular won an award at Tipos Latinos 2014.

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

    Ana Zimmermann

    Graduate from FADU, University of Buenos Aires, who created the didone typeface Caspianfont (2008). [Google] [More]  ⦿

    Anastasia Ovsyannikova

    Moscow-based designer of the experimental Latin / Cyrillic typefaces Grungedidot (2013), Multilayer Font (2013), and Modular Font (2013). [Google] [More]  ⦿

    Anatoliy Vasilyevich Shchukin

    Russian type designer, b. 1906, Moscow, d. 1994, Moscow. He was also a graphic artist. He designed type and was project manager at VNII Polygraphmash. His typeface oeuvre either as a designer or project manager:

    • The extensive Cyrillic/Latin didone family "New Standard", based on the text typefaces of the late 19th and early 20th centuries of the Obyknovennaya ("common") group. The digital version was developed at ParaGraph in 1996 by Vladimir Yefimov. ParaType explains: Initially designed for a collection of works by Lenin, this typeface was widely used in Soviet Union for technical and scientific books, both for text and display. Maxim Zhukov pointed out its popularity in Russia: Series No 27 (Neo Didot) had a Cyrillic version. I don't know when it was developed. A lot of books in the USSR and world-wide were set in Neo Didot. Neo Didot was so popular that around 1940 its Soviet clone was developed, Obyknovennaya Novaya Garnitura (Ordinary New Typeface). It was custom-designed for the 4th edition of Lenin's Collected Works (its 1st volume was printed in 1941, and the last one, 39th, in 1967). That typeface was later released for general use. It is now offered in digital form by ParaType, under the name New Standard.
    • Latinskaya (1936, later Literaturnaya). The 1937 version of Literaturnaya is attributed to Schchukin, T. Breyev and G. Bannikova. For a free digital version, see Literaturnaya (2017, Marath Salychow).
    • Paratype Journal Sans and Paratype Journal Sans Cyrillic (1940-1956). Paratype writes: The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexiy Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014. In 2014, Maria Selezeneva cooperated with Alexandra Korolkova on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This is a major extension as explained by Paratype:

      The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940-1956 by the group of designers under Anatoly Shchukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three typefaces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made "irregular" geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new typefaces, such as true italic (the older font had slanted version for the italic), an Inline typeface based on the Bold, and the Display typeface with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen.

    • Roublennaya (1947). Digital revivals include Superstar Grotesk (2022, Ilja Pazderin) and GT Eesti (2015-2016, by Reto Moser at Grillitype). Moser writes: It is a free-spirited interpretation of the Soviet geometric sans serif Zhurnalnaya Roublennaya, first released in 1947 and designed by Anatoly Shchukin.
    • Akademicheskaya (1941).
    • Schkolnaya (1962).
    • Ladoga (1968, Polygraphmash): emulation of flat nib writing. Digitized and extended by Viktor Kharyk in 2005-2006 at ParaType.
    • Rukopisnaya Korobkovoy (1953) and Rukopisnaya Zhihareva (1953): calligraphic typefaces.

    FontShop link. Paratype link. Typo Mania link. [Google] [MyFonts] [More]  ⦿

    Andhika Randy Adhitia

    Surabaya, Indonesia-based designer of the condensed didone typeface family Hollow (2017). In 2018, he designed Local (a sans serif) and Legacy (a geometric sans). His partially free squarish typeface family Dirty (2018) was influenced by Bebas Neue. [Google] [More]  ⦿

    Andinistas
    [Carlos Fabián Camargo Guerrero]

    Bogotá-based Colombian graphic design studio and type foundry Andinistas was founded in 1998 by Carlos Fabián Camargo Guerrero, Lennyn Salinas, Mariangeles Valero, Juan Carlos Valero, Jorge Alexander Camargo Guerrero, Rafael Rincón, and Jordi Teres. It was first located in Caracas, Venezuela, but moved in 2003 to Bogotá, Colombia. New names in its organization include Alexander Moreno. Many of its designers are Venezuelan.

    Among their typefaces: Nikona, Magola (2008, puffy script), Angelita, Pepelepu, Zerotipo, Skuke, Retro, Radio Bemba, Pumarosa, Pr1, Oficia, Nativa, Mongol (free), Lirrot, Leroy (1999-2008, computer screen stripes), Leroy Dingbats (1998-2008), Hiroformica, Hibrida, Guerilla, Guerilla Outline, Gruada, Gancho Petare, Escuedra, Esbelta, DSNett, dia-D, Download, Denego, Cristal, Codiga, Codiga Icon, Codiga Destroy, Codiga Codec, Chacao Petare, Cazon Gothic, Boa, Biol, Ave-cedario, Anaira.

    Cazon (2007, Camargo Guerrero) is a family of calligraphic origin consisting of 7 styles: Gris, Negra, Uno, Dos, Tres, Dingbats A and B and is based on the paintbrush letters found in the popular markets of La Guaira, Caracas. This family won an award in the experimental typeface category at Tipos Latinos 2008. Lirrot (2007) is a 6-style grunge handwriting typeface bordering on the psychotic, and comes with Lirrot Dingbats. It too won an award at Tipos Latinos 2008.

    PP Lepu (1998-2008) is pixel grunge. Josefina (+Dingbats1) is a curly script also made in 2008. Navaja (2008) and Diad are collections of grunge fonts with grungy dingbats. Lucrecia 1 through 3 (2008) is a fat connected script family ranging from clean to splattered.

    Telesforo (2008) radiates anger from its brushy grungy limbs. Telesforo Black won an award at Tiupos Latinos 2012. Ninja 1 and Ninja 2 (2008) are script fonts, and are accompanied by Ninja Dingbats (2008). Dsnet (2008) is a 6-style bare-bones rounded squarish family. Flaminia and Flaminia Dingbats (2008) are useful for food-related signage. Modelia (2008) is thick, informal, and looks like it was brushdrawn. Modelia won an award at Tipos Latinos 2010. Filomena (2008) is a brush family with a goth theme and an accompanying goth dingbats. Obdulia (2008) and Floro (2008) are extreme mural grunge fonts. Marimonda (2009) is grunge calligraphy.

    Typefaces from 2012: Demetria (a hellish script), Ciclope (army stencil), Meteora (a sturdy weathered family), Kamuy (a grunge typeface, with dingbats, that links to Asian comic style lettering, and Japan in the Pacific War), Naturalia (an informal sans family).

    In 2013, he made Gluten (a poster typeface family), Bengala Script (a distant relative of Mistral), Chef Script (a large signage script influenced by Ross F. George's Speedball lettering manual (1957)), Chef Script Dingbats (hilarious restaurant dings and fists), Sumergible Script.

    Typefaces from 2014: Citronela (cartoon or Caribbean hotel signage font family), Bemol (a set of script fonts in craftsman style), Nemocon (creamy script), Acustica (a calligraphic Acustica Script, with didone Acustica Caps, and a decorative Acustica Dingbats), Cereal (+ Script (a vampire script), Skin and Dingbats).

    Typefaces from 2015: Draw (which includes a gorgeous calligraphic Draw Script), Coffee Break (signage script family, +dingbats), Solar (a set of seven handcrafted styles).

    Typefaces from 2016: Enjoy (Script, Caps).

    Typefaces from 2017: Warhol (irregular scripts), Makeup (a crayon font by Carlos Guerrero and Carolina Suarez).

    Typefaces from 2018: Bechamel (a delicious curly brush script), Bechamel Roman (based on the unicase letterings of the movie Willy Wonka and the chocolate factory), Stevia (script).

    Typefaces from 2019: Bleak (an experimental layerable font inspired by wood type, Piet Zwart, Lissitzky and van Doesburg), Nutcake CatchWords.

    Sonora won an award at Tipos Latinos 2014. Combine Script and Combine Caps (layerable colorable fonts), and Nemocon, won awards at Tipos Latinos 2016. Winner at Tipos Latinos 2018 for Clothing, a titling typeface published at Andinistas by Camilo Zamora and Carlos Fabian Camargo.

    Typefaces from 2020: Cherrypie (a food packaging script), Rapsodia (a decorative all-caps family with curl, spurs, Victorian details, and decadent frills).

    Typefaces from 2021: Visible (an inky script family), Caribe (Script, Caps, Shields).

    View the typefaces designed by Andinistas.

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

    Andre Crespo

    Andre Crespo or Andre Sousa (b. 1988, Porto, Portugal) studies towards an MA in communication design in Lisbon, and is involved in BlankGap Inc in Lisbon, a design studio. Behance link. He did Didot Refresh (2010, a Didot revival). [Google] [More]  ⦿

    Andrea Abril

    Photographer and graphic designer in Sevilla, Spain, who created the italic didone stencil typeface Doñ in 2017. [Google] [More]  ⦿

    Andrea Albiac

    During her studoes at ESDA (Design School of Aragon), zaragoza, Spain-based Andrea Albiac designed the uppercase didone typeface Artemisa (2018). [Google] [More]  ⦿

    Andrea Braccaloni
    [Leftloft]

    [MyFonts] [More]  ⦿

    Andrea Leksen
    [Leksen Design]

    [MyFonts] [More]  ⦿

    Andrea López

    Graduate from FADU, University of Buenos Aires, who created the beautiful didone display headline typeface Marea (2009). [Google] [More]  ⦿

    Andrea Rodriguez

    Or Andrea Cataro. A graduate of the Ontario College of Art and Design, Andrea Rodriguez lived and worked in Toronto. During a summer course called Type@Paris (2015), Andrea Rodriguez designed the elegant didone typeface Luz. In 2017, she was a student at ESAD Penninghen in Paris.

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

    André Gürtler
    [Team 77]

    [MyFonts] [More]  ⦿

    André Jammes

    French type and photography historian, b. 1927, who is the son of Paul Jammes, who founded Librairie Paul Jammes in Paris in 1925. Author of many books. Those relevant to typography include:

    • La naissance d'un caractère: le Grandjean---la réforme de la typographie royale sous Louis XIV, Librairie Paul Jammes (1961) and Promodis (1985).
    • Didotiana, recueil d'articles consacrés à Ambroise-Firmin Didot, in Bulletin du bibliophile, 1990-1993, Paris, 1994.
    • Spécimens de caractères de Firmin et Jules Didot, Paris, Librairie P. Jammes Éditions des Cendres, 2002.
    • (with Isabelle Jammes) Collection de spécimens de caractères: 1517-2004, catalog, Paris, P. Jammes Éditions des Cendres, 2006.
    • Alde, Renouard & Didot: bibliophilie & bibliographie, Paris, Éditions des Cendres, 2008.
    [Google] [More]  ⦿

    Andrés M. Briganti

    Buenos Aires-based illustrator and designer, whose studio is called Bureau AMB. HeHe created the hand-printed typeface Stella (2011). Decanata (2012) is a curlified gothic typeface family that comes in styles called Romana, Principia, Fines, Atramenta and Mitis.

    Brodat (2013) is an 8-bit style blackletter typeface inspired by cross stitch patterns. See also the updated Brodat Nou (2018).

    Vera (2013) is an upright fat didone with extreme contrast.

    In 2021, he released the display sans typeface AB Ticena.

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

    Andreas Leonidou
    [ALT Foundry]

    [MyFonts] [More]  ⦿

    Andreas Seidel
    [astype.de (or: Astype)]

    [MyFonts] [More]  ⦿

    Andreas Seidel on Bodoni

    When introducing Preuss' Battista (a Fat Bodoni family), Seidel writes: Giambattista Bodoni made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony. [Google] [More]  ⦿

    Andreas Stötzner
    [SIAS (or: Signographical Institute Andreas Stötzner)]

    [MyFonts] [More]  ⦿

    Andree Paat
    [Kirjatehnika]

    [More]  ⦿

    Andrei Robu
    [Typeverything]

    [MyFonts] [More]  ⦿

    Andrei Zhitkov

    Russian type designer. Agfa/Monotype designer of the Cyrillic fonts Bodoni Poster Cyrillic, Nevsky (Western style), Pskov (octagonal font), Tatlin (in the style of early Russian constructivism). [Google] [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
    [Garcia Fonts&Co]

    [MyFonts] [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 Hoyem

    Californian designer with Linnea Lundquist of a great roman transitional family Aitken commissioned in 2002 for Arion Press. Arion Press writes: Hoyem has taken advantage of twenty-first century technologies in order to revive what is believed to be the first type family cut and cast in America. In 1796 two Scotsmen named Binny and Ronaldson started a type foundry in Philadelphia, the first in the country to endure. By 1800 they had produced a remarkably beautiful and utilitarian type, identified simply as Roman No. 1. It is a Transitional face, between Old Style (as in Caslon) and Modern (as in Bodoni). The type was used by Jane Aitken, daughter of Robert Aitken, the famous printer of the American Revolution, and an accomplished printer herself, for the printing of the first American translation of the Bible, by Charles Thomson, in 1808. It was reintroduced by American Type Founders Company in 1892 under the name Oxford and was used by a succession of fine printers, such as Daniel Berkeley Updike, Bruce Rogers, and the Grabhorn Press. Arion Press has 1,200 pounds of the original type that once belonged to the Grabhorn Press. Oxford was cast for hand composition only and was not adapted for Linotype or Monotype composition. The matrices are now in the collection of the Smithsonian Institution and unavailable for further casting. In 2002, Hoyem worked with type designer Linnea Lundquist, assisted by Andrew Crewdson, to create a digital version of this historic face, which he renamed Aitken. The Memoirs of Benjamin Franklin is its first use for book printing. The Aitken design has been optimized for letterpress printing, allowing for the spread of ink biting into paper just like with the original metal type design cut by Binne&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More]  ⦿

    Andrew Paglinawan

    Andrew Paglinawan (Dubai, UAE) is a self-employed graphic designer, working in the fields of logo design, print design, web design and branding with the majority of his time spent designing and implementing marketing promotions for small businesses such as logos, brochures, letterhead, business cards, and posters. Creator of these typefaces:

    • The free neutral geometric sans family Quicksand (2009---see also the Google Font Directory).
    • Pagli Roman (2008). A fantastic display type that crosses Bodoni and Pistilli Roman.
    • In 2011, he published the free sans family Chiq, which was inspired by Optima.
    • In 2013, Bright Grotesk was first shown. In 2014, Bright Grotesk was published as a commercial font.
    • The free font Manila Sans (2010). See also Manila Sans Bold (2010).

    Dafont link. Klingspor link. Fontspace link. Font Squirrel link. Kernest link. Behance link. [Google] [MyFonts] [More]  ⦿

    Andrey V. Panov
    [Computer Modern Unicode fonts]

    [More]  ⦿

    Andrey V. Panov
    [CM Unicode]

    [More]  ⦿

    Andriy Konstantynov
    [Mint Type (was: PDesign 6.0)]

    [MyFonts] [More]  ⦿

    Andy Bertram

    Designer at the Australian foundry Prototype Font Design of Bodoni Java, City Central, City Estate, Code, Empyre, Interface, Krush, Nippon, Ruby, Special Deluxe, Speedster, Vertigo, Bats Noir, Beds, Bats&Tables, Numb Bats, Sports Bats. Prototype Font Design went out of business some time before 2004. [Google] [More]  ⦿

    Andy Crewdson

    Graduate from the University of California at Berkeley. Andy Crewdson ran the very interesting and entertaining "Lines And Splines" pages until May 12, 2002. He digitized Monica Lewinsky's handwriting (from notes she wrote for Bill Clinton---Stephen Coles later made the Mac version of Monica). On August 1, 2002, he resurfaced with New Series (dead link), in the tradition of Lines and Splines. But this too ended a short time later. There is a lot of speculation and commentary on the web regarding Crewdson's site and its disappearance---read, e.g., Joe Clark's blog. Andy is responsible for the roman transitional family Aitken commissioned in 2002 for Arion Press. Arion Press writes: Hoyem has taken advantage of twenty-first century technologies in order to revive what is believed to be the first type family cut and cast in America. In 1796 two Scotsmen named Binny and Ronaldson started a type foundry in Philadelphia, the first in the country to endure. By 1800 they had produced a remarkably beautiful and utilitarian type, identified simply as Roman No. 1. It is a Transitional face, between Old Style (as in Caslon) and Modern (as in Bodoni). The type was used by Jane Aitken, daughter of Robert Aitken, the famous printer of the American Revolution, and an accomplished printer herself, for the printing of the first American translation of the Bible, by Charles Thomson, in 1808. It was reintroduced by American Type Founders Company in 1892 under the name Oxford and was used by a succession of fine printers, such as Daniel Berkeley Updike, Bruce Rogers, and the Grabhorn Press. Arion Press has 1,200 pounds of the original type that once belonged to the Grabhorn Press. Oxford was cast for hand composition only and was not adapted for Linotype or Monotype composition. The matrices are now in the collection of the Smithsonian Institution and unavailable for further casting. In 2002, Hoyem worked with type designer Linnea Lundquist, assisted by Andrew Crewdson, to create a digital version of this historic face, which he renamed Aitken. The Memoirs of Benjamin Franklin is its first use for book printing. The Aitken design has been optimized for letterpress printing, allowing for the spread of ink biting into paper just like with the original metal type design cut by Binny&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More]  ⦿

    Andy Cruz
    [House Industries]

    [MyFonts] [More]  ⦿

    Andy Mangold

    Born and raised in West Chester, PA, near Philadelphia, he is a student at the Maryland Institute College of Art. Aka Cocoi Anouk.

    In 2010, he created the gorgeous ultra-fat didone watch number set called Pompadour (free). It has already been used tens of times, including in this poster by Jay Schaul (2011). Pompadour can be downloaded/bought at Lost Type Coop.

    Fontspace link. [Google] [More]  ⦿

    Angus R. Shamal
    [ARS Type (was ARS Design)]

    [MyFonts] [More]  ⦿

    Ankush Dhiman

    Toronto-based designer of the modern typeface Kayak (2015). Ankush claims inspiration from Dwiggins. Behance link. [Google] [More]  ⦿

    Ann Pomeroy

    Designer of fonts such as ETwentyFive (1990). At FontHaus, she designed the modern typeface APCorvinus Skyline, Bubba Bold, DecoWave, FSKeyNote, Sitcom, Spire (FontHaus, after an original condensed skyline didone by Sol Hess now in the Lanston Collection as LTC Spire; since 2006, also available at Group Type), Stadion, Tata One, and Tutu One. In 2006, when Solsburg's Group Type was started, some of her fonts started appearing there, such as Spire, Spire Monoline, Spire Extra Light, a condensed didone family heavily based on Sol Hess's Spire (Lanston), Corvinus Skyline (1991; a revival of a condensed modern family by Imre Reiner by the same name), Sitcom.

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

    Anna Babayeva

    During her studies at the Ringling College of Art & Design in Sarasota, FL, Anna Babayeva created the text typeface Vulgar (2013) by mixing elements from Eames Century Modern and Livory. Vulgar is a rounded medium-heavy low-contrast didone. [Google] [More]  ⦿

    Anna Maria Geals

    Graphic and type designer, and design educator at University of Brighton, UK. She worked previously at Dalton Maag (1999-2001). Based in Willingdon, UK, Anna Maria Geals created three-weight didone typeface family Parvenu (2002, Garage Fonts).

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

    Anna Wheeler

    Designer at Type Solutions in 1993 of Modern No. 20. Modern No. 20 is originally a metal font created in 1905 at the Stephenson Blake foundry. [Google] [More]  ⦿

    Anonima Impressori: Graziati Antichi

    Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent graziati antichi: Bodoniano, Claredonia, Elzeviro, Garaldus Corsivo, Graziato, Intestazione elzevire, Raffaello Neretto, Romano Largo. [Google] [More]  ⦿

    Anthony James

    Anthony James (Manchester, UK) is a talented British type designer. iHis typefaces, in chronological ordr:

    • Kaiju (2014). A dashing art deco typeface. Kaiju II followed in 2015.
    • Chase (014). A free monoline sans.
    • QG (2014). A minimalist free typeface.
    • Argö (2014). A commercial decorative fashion mag didone typeface.
    • Global (2014). A slender ball terminal-laden typeface meant for magazine titling.
    • Goku (+Regular, +Stencil; 2014). A multilingual didone fashion mag typeface, initially designed as a stencil font for the Basel & Geneva Watch Launch Event for Watches of Switzerland.
    • Giza (+free Stencil; 2015). A fashion mag didone. It was unfortunately named, as David Berlow's famous Egyptian typeface is also called Giza. After I wrote this in June 2015, I noticed that Giza became Giaza in July 2015.
    • Kingston (2016). A fashion mag typeface derived from didones.
    • Jitzu (2016). A multilingual high-contrast fashion didone in ten styles.
    • Osgard (2017). A swashy blackletter.
    • Ghost Cove (2017).
    • Indulge Script (2017). Formal calligraphy.
    • Kenjo (2018). Fashion mag headline type.
    • Omega Sans (2018).
    • Solar Vesta (2018). A font duo.
    • Qavo (2018). A sharp-edged monoline all caps sans.
    • Mojita (2019). A geometric display typeface, inspired by Japanese art deco, as well as Aztec & Mayan pattern design.

    Facebook page. Buy his commercial typefaces here. [Google] [MyFonts] [More]  ⦿

    Anthony Phan

    From the University of Poitiers, France, Anthony Phan's math symbol package (in metafont) is called mathabx (2002). It extends the Computer Modern mathematical symbol set. Other series by him, all in metafont: Mbb (2000, blackboard outline), Mcalligra (2001), Mxy (2002), Mgrey (2000). In 2011, type 1 outlines were made by Kohsaku Hotta. [Google] [More]  ⦿

    Antoine Boire

    Nantes, France-based designer of the decorative geometric didone alphabet Palansia (2017). [Google] [More]  ⦿

    Anton Didenko
    [Kavoon]

    [MyFonts] [More]  ⦿

    Anton Scholtz
    [Scholtz Fonts]

    [MyFonts] [More]  ⦿

    Antonella Cortes

    During her studies at FADU UBA in Buenos Aires, Antonella Cortes designed the condensed display didone typeface Ay Caramba (2016). [Google] [More]  ⦿

    Antonio Bodoni

    [More]  ⦿

    Antonio Pace

    Italian designer of these typefaces:

    • Linotype Gianotten (1990). Named after Henk Gianotten, this is a Bodoni revival.
    • A logotype and a font for the city of Milan in 2002, called Cita (or Area?).
    • Luiss (2018)ss, i.e., Libera universita Internazionale di Studi Sociali Guido Carli.

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

    Antonio Rodrigues

    Prolific and talented Brazilian designer in London and Brasilia, who created the modular monoline display typeface Colibri (2012), the hairline sans typeface The Fake Blondes (2012), and the fashion mag typeface Models (2012). He created several other modular alphabets and typefaces in 2013, including Boogie (a fat disco typeface), Stay With Me (fashionable fat didone), Concrete Butterflies (2013, paper cutout theme), London (blackboard bold, derived from Bodoni MT Bold) and Cardboard. Berlin (2014) is a group of display typefaces. Subfaces include Berlin, Berlina, Slaberlin and Überlin. He also designed Havana and the free typeface Gili Meno in 2014.

    Behance link. [Google] [More]  ⦿

    Antonio (Tony) DiSpigna
    [Thinstroke]

    [MyFonts] [More]  ⦿

    Antonis Tsolomitis
    [Sophia Kalaitzidou]

    [More]  ⦿

    Anugrah Pasau
    [Lafontype (pr: tardiexwas: Pixifield, Elementype, Fontliner Studio)]

    [MyFonts] [More]  ⦿

    Anuhea Chen

    As a student at Brigham Young University Hawaii, Laie, HI-based Anuhea Chen designed the condensed didone typeface My Big Crap (2018). [Google] [More]  ⦿

    Anupap Jaichumnan
    [Jipatype]

    [MyFonts] [More]  ⦿

    Apex Type Foundry
    [Alex Chavot]

    Lyon and/or Paris, France-based graphic designer and illustrator. He created the geometric fat counterless Tangoes and the monoline sans faceSlim in 2009.

    Aka UnderNoControlTypofoundry.

    Creations in 2012 include the free font Modul (OFL), Lavoir (OFL, based on an old art-deco public bath sign in Lyon), Interval (OFL, monospaced) and Modulo (OFL).

    In 2016, he designed the delightful fat sans display typeface Marsel Black, and writes: What could have happened if Roger Excoffon and Eric Gill gathered in Marcel Olive's backyard in Marseille to share a few Pastis back in the days? In some way, Marsel could be the result of this hypothetical experiment. A colourful fat sans with uncanny high contrasts and utter personality. While flirting with the strangeness of Gill's Kayo, Marsel primarily stands as a very distant hommage to Excoffon's mythical Antique, a reminiscence of a Latin taste for exuberance.

    Typefaces from 2018: Pyros (a didone with Hebrwew influences), Peckham (transitional).

    Home page.

    Typefaces from 2019: Kellar (a smashing quirky headline didone named after Thomas McKellar).

    Typefaces from 2020: Gortex (an agate typeface), Hazel Display Nerw (stencil), Smithee (a condensed American gothic; Alex writes: The basis for Smithee was found in an old French foundry's wood type specimen in the archives of the Musée de l'imprimerie et de la communication graphique, in Lyon), Almeria (a display typeface developed between 2015 and 2020).

    Typefaces from 2021: Practical Grotesk (a Swiss sans), Granit Display (based on granite headstone engravings). [Google] [More]  ⦿

    Apirah Infahsaeng

    Designer and illustrator Apirah Infahsaeng ("Synthetic Automatic", Brooklyn, NY) made Elastic (2004), based on wrapping a series of rubber bands around a 3x3 pegboard grid. Four (2004) takes inspiration from the dot matrix display in the popular children's game Connect Four. Seven Board of Cunning (2004) is a modular paper fold typeface constructed with Chinese tangram puzzle tiles. In 2004, he also made an ascii typeface drawn from Helvetica Neue R, created and manipulated using Microsoft Word [sic], called Helvetica Neue R Microsoft Word. He studied art at the University of Connecticut. In 2008, he drew a custom didone display typeface for New York Magazine. [Google] [More]  ⦿

    Apostolos Syropoulos

    Xanthi, Greece-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis). He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets. It was specially made to print the Philokalia books. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Epi-Olmec (2008) is an Aztec dingbat font. In support of the Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been used in Iceland. Original drawings from the Museum of Sorcery&Witchcraft). He also made Asana Math (2007), which references Young Ryu (2000) and Claudio Beccari (1997-1999).

    In 2016, Pablo Garcia Risueño, Apostolos Syropoulos and Natalia Verges launched the free package SVR Symbols. The glyphs of this font are ideograms that have been designed for use in Physics texts. Some symbols are standard and some are entirely new.

    Still in 2016, he designed the calligraphic Greek font Frederika2016 as an attempt to digitize Hermann Zapf's Frederika font. The font is the Greek companion of Virtuosa by the same designer.

    Kernest link. [Google] [More]  ⦿

    Applied Symbols
    [Selwyn Hollis]

    Applied Symbols, founded by Selwyn Hollis, specializes in custom fonts and graphics for Mathematica. It created OpenType versions of Knuth's Computer Modern fonts. [Considering that the PostScript versions of these fonts by BlueSky are free, I have a problem with Applied Symbols actually selling them.] Another font sold here is UniMath: "This OpenType font contains over a thousand glyphs, including math-italic Roman and Greek alphabets, upper-case blackboard bold, calligraphic, and Euler script, and hundreds of technical and mathematical symbols." In an earlier web life (as Faux Tex Fonts), Selwyn was selling a Mac package with these truetype fonts: Symbolic, MathMode, and KahoeTech. [Google] [MyFonts] [More]  ⦿

    Apply Design Group
    [Thomas Sokolowski]

    German foundry (est. 1989) based in Hannover and run by Thomas Sokolowski, selling mainly display fonts. Thomas made standard ransom note fonts such as Mystery EF Mixed (1990). He also designed about ten clean old typewriter fonts such as Old Typewriter EF Regular, 1990. Other fonts include the ultra-thin Spirit EF, Imprimeur Classique (1989, a computer modern face), Scripture (1990, handwriting).

    Sokolowski founded Apply Design Group in Hanover, Germany, in 1989. Apply Design Typeface Library. Overview.

    Fonts and designers: DNA (by Steven Boss), CasaSeraSera (by Yanek Iontef), Nurse Ratchet (by Don Synstelien), Thordis, Amoebia (by Jens Gehlhaar), Aspera (by Harald Oehlerking), Bastard (1995, Ansgar Knipschild), BigDots (1993, Andreas Klimek-Falke), Birds (Manfred Klein), Blindfish (1992, Jens Gehlhaar), BodoniRough (1998, Thomas Sokolowski), FuturRough, GaramondRough (1997, Christian Terbeck), Rohrfeder-Rough (1997, Christian Terbeck), Bumpers, Casc Seta, Coltrane, Concept One, Concept Two, Cornwall, DamnedDingbats, DeconStruct, Electrobazar, Elside, EthnoFont, Fuzzy (1998, Jonas Gonell), Gagamond (1993, Jens Gehlhaar), Grind (1994, Ansgar Knipschild), Hansel (Catinka Keul, children's handwriting), Homeboyz (1994, Oliver Hoffmann), ImprimeurClassique (a didone font, 1993, Thomas Sokolowski), Indian Summer, Las Bonitas (1992, Thomas Sokolowski), MarieLuise (1994, Dietmar Schmidt), MedLed, Merz (1993, Thomas Sokolowski: not clear idf this is supposed to be a dada typeface), Monterrey (1993, Thomas Sokolowski), MoreKaputt, Mex (1992, Thomas Sokolowski), Mystery (1992, Thomas Sokolowski), Old Typewriter (1992, Thomas Sokolowski), Tierfreund, Thing (1993, Mathias Maassen-Pohlen), Paccer, Rio (1994, Alfred Smeets), Scripture, Spirit, Steelplate, Truck, Uhura (1993, Ansgar Knipschild), Xtronic (1995, Thomas Sokolowski), Tokay, ScreamHot, scanneZ, Fanatique, Euredice, and WhyNot. Great web presentation, and complete character sets. In grunge, Concept is as good as they come, for example.

    The company also sells a CD with erotic icons. CD ROM called "typografica" with high quality display fonts in PostScript. List of fonts. Fonts sold by Faces. Other type designers: Manfred Klein, Alexander Koch, Carlo Krüger, Antje Wolf.

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

    Aqeela Studio

    Aceh, Indonesia-based designer of the following script or signage typefaces in 2018: Refadhiana Lajuba (calligraphic), Annjelina (calligraphic), Willdiyana (calligraphic), Mollgarete, Dino Party (a children's book font), Sweet Dream, Sweet Sweet (a curly script), Milena Hymes Script, Aggie Marder Script, Musche Moulton Script, Marshabella (calligraphic), Cathleen, Angelica, Bella Madelyn, Michelle Stine, Alissa Thomas, Angies Luis Script, Krusyida, Ossellany Script, Austria Script, Motesia (calligraphic).

    Typefaces from 2019: Varelisa, England (a wild script), Sarllina, Amilya (a curly script), Fartos Benofa, Sinta Script, Leone Moliss, Davina Sichelle, Molin (a softly curved serif), Berlin Script, Antonio, Bilges (a display didone), Sarmytos, Mortyni, Beldon, Goliyana (a formal calligraphic script), Mellysa, Osella Estin (a signature font), Mellionery, Antilira, Amerthyna.

    Typefaces from 2020: Autelan (a baseball script), Martonisa (wild calligraphy), Megilan (an upright formal connected script), Modusa (a stylish display serif), Mastura, Mollisa, Agestin, Will Shortz, William (script), Chery Santos (a wild script), Eilee Smith, Cathie Glas (an inky calligraphic script), Coletta Davis, Botterill Signature, England Signature, Brittany Coleman, Douglas, Arabela, Agatha (an open upright script), Melistoria, Michelle Stine, Qorlyna Script, Refadhiana Script, Molisa (script), Gabrina (script), Gogles, Gracelina, Amrelia, Rostina (an upright calligraphic script), Sicheli (a brush script), Amidah (an upright ronde script).

    Typefaces from 2021: Alhirah (a rabbit ear script with heart-shaped tittles), Aulyana (calligraphic), Rosnila (a curly script), Marcha (an upright script), Ellastia (a thin script), Bitsaylen (an inky signature script), Sastica Nora (a hairline rabbit ear script).

    Typefaces from 2022: Batmeton (an elegant formal retro script).

    Fonts2U link. [Google] [MyFonts] [More]  ⦿

    Ardyan Permana
    [Omaikraf Studio]

    [MyFonts] [More]  ⦿

    Ari Rafaeli
    [ARTypes]

    [MyFonts] [More]  ⦿

    Arif Fadilah
    [Luhop Creative]

    [MyFonts] [More]  ⦿

    Arkandis Digital Foundry
    [Hirwen Harendal]

    French foundry, est. 2007, which published many extensive free sans and sans serif families by Hirwen Harendal, who supports Open Source projects. The purpose of ADF is to provide a large number of high quality fonts (174 fonts as of the end of August 2007). Harendal has help from Clea F. Rees, most notably on the TeX part and the extensive Venturis family.

    His typefaces:

    • Accanthis (2009: an alternative for Galliard or Horley Oldstyle).
    • AlbertisADF (from URW-A028), Albertis Titling.
    • Ameris ADF (from URW n33012t).
    • ArrosADF (from URW n021003L).
    • AurelisADF (2009, almost art nouveau).
    • Baskervald ADF (7 years of work according to Harendal: an alternative for New Baskerville).
    • BerenisADF (2008, a didone family), BerenisNo2 (2008).
    • BirkenADF (from URW-n033014t).
    • ColonnadeADF (from URW-n033014t).
    • EditorialisADF (from URW-n033014t).
    • Electrum (like Eurostile and URW City).
    • FenelrisADF (sans).
    • FrontonADF Titling (from URW-n033014t).
    • GaramondeADF (from URW-g043004t), GaramondNo8ADF (from URW g043024t).
    • Gillius ADF and Gillius ADFN (from Vera Sans, an alternative for Gill Sans MT).
    • HelvetisADF (from URW U001).
    • Ikarius (2008, semi-serif; inspired by Hypatia Sans), IkariusNo2 (2008), Ikarius-Serie (2009).
    • Irianis (2008; IrianisADFMath (2009) was made for the TeX math community).
    • Keypad (2010). a dingbat face.
    • LibrisADF (sans, patterned after Lydian).
    • MekanusADF (2009, typewriter style).
    • Mint Spirit (2012) and Mint Spirit No. 2 (2012). An original minimalist sans design. The truetype version is Mintysis (2012).
    • NeoGothisADF (2009).
    • OldaniaADF (2009, art nouveau).
    • OrnementsADF (2009).
    • PalladioADFStyle (a Palatino derived from URW g043023t).
    • RomandeADF (with hints of Caslon, Times and Tiffany; CTAN download).
    • Solothurn (2011). A family developed for Scribus, a free text preparation package that competes with Adobe's InDesign.
    • SwitzeraADF (derived from Vera).
    • SymbolADF (2008, bullets and arrows).
    • Teknis: under development.
    • TribunADF (2009, like Times New Roman).
    • Universalis ADF (2008-2009, a take on Futura). Open Font Library link.
    • VenturisADF, VenturisOldADF, VenturisTitlingADF and VenturisSansADF (2007: alternatives for Utopia).
    • Verana Sans and Serif (from Bitstream Vera Sans and Serif).

    Kernest link. [Google] [More]  ⦿

    Arley-Rose Torsone

    Graduate of RISD, Central Saint Martins College of Art and Design, London, and Parsons School of Design, New York. She created experimental alphabets such as Poop Font (2010). More seriously, she created Grandma's Crooked Finger (2010, a neatly hand-printed typeface with tall ascenders) and Bodoni Dust (2011, an artsy-fartsy didone). Klingspor link. [Google] [More]  ⦿

    Armando Pineda

    Mexico City-based designer of the Capricho (2014), a high-contrast didone with an additional stencil style. In 2016, he designed the blackletter typeface Toska One and Lapin Brush. Creative Market link. A newer Creative Market link. [Google] [More]  ⦿

    Armtype
    [Edik Ghabuzyan]

    Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan (b. 1952) has been creating Armenian computer fonts since about 1988---a total of about 300 digital fonts. In 1997, one of his fonts won the Best Font prize in HiArt Armenian Fonts competition. In 2005, his Vernatun and ArmTimesST fonts were awarded the main prizes and the Titghosagir the first prize in Mashtots-1600 Electronic Fonts competition. In 2006, several of his fonts won the main prizes in Armenian Schoolbook Fonts competition. He has designed Armenian letters in Unicode and later Latin, Cyrillic and Greek letters, preserving a uniform style /across the spectrum. Today, Edik Ghabuzyan works at the National Book Chamber of Armenia as the head of the section of Saving and Creating Armenian Fonts. He won several awards at Granshan 2008, and organized both Granshan 2008 and 2009.

    He created (free) Armenian extensions of Microsoft's Tahoma, GHEA Tahoma (Regular, Bold), in 1996. His winning entries in Granshan 2009 include Aragast (for Cyrillic), Asparez, Parmani, Notgrir, and Diana.

    He also designed Mariam, GHEA Tigran (2008, awarded the Grand price in the Granshan 2008 International Type Design competition), GHEA Koryun (2011), GHEA Gohar (2009), GHEA Aspet (2011), GHEA Lilit (2012, a nice text family), GHEA Narek (2012, a sans family with built-in contrasts), Mijnadaryan (2013), GHEA Arpi (2013), Avandakan (2013), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface related to the modern fat typefaces), GHEA Narek Serif, GHEA Aram.

    Free official fonts of the Armenian Government: Grapalat, Mariam. Most of his fonts cover Latin, Greek, Cyrillic and Armenian.

    A partial list of his typefaces: ASF Angela, ASF Angela Sans, ASF Daniel, ASF Daniel Sans, ASF Daniel Slant, ASF Dar21, ASF George, ASF Goga, ASF Library, AVH Arman, GHEA Anahit, GHEA Aragast, GHEA Araks, GHEA Aram (skeletally related to didone), GHEA Aram Display, GHEA Aram Title, GHEA Ararat, GHEA Aratta, GHEA Architect, GHEA Arpi, GHEA Ashot Erkat, GHEA Aspet, GHEA Ayb (2020: a multilingual sans typeface for Latin, Cyrillic (+Bulgarian Cyrillic, +Ukrainian Cyrillic) and Armenian), GHEA Ayg, GHEA Bekum, GHEA Bever, GHEA Biayna, GHEA Circle, GHEA Davit, GHEA Diana, GHEA Dvin, GHEA Erebuni, GHEA Gohar, GHEA Granshan (an 18-style sans) (2021), GHEA Hayk Davtyan, GHEA Hayk Title, GHEA Helvetica Geo, GHEA Heqiat, GHEA Kamar, GHEA Karpet, GHEA Kars, GHEA Katil, GHEA Khoragir Pro, GHEA Koryun, GHEA Lilit, GHEA Mymekh, GHEA Narek, GHEA Narek Display, GHEA Narek Poster, GHEA Narek Pro, GHEA Narek Serif, GHEA News (2021), GHEA Parisp, GHEA Pastar (2021), GHEA Petur, GHEA Samo (wedge serif) (2021), GHEA Script, GHEA Sepatar, GHEA Shooter (2020), GHEA Tamara (2021), GHEA Tatev, GHEA TatevikArt, GHEA Terti, GHEA Tigran Pro, GHEA Title, GHEA TitleSS, GHEA Urartu, GHEA Vanadzor, GHEA Vem, GHEA Vernagrayin, GHEA Warm (2021), GHEA VoskeDar, GHEA Yerevan, GHEA Yerevan Serif, GHEA Yerkar, GHEA Zartonk (2021: an 11-style display sans for Latin, Cyrillic and Armenian), GHEA Zeytun, HASH Ani, HASH Ani Soft, HASH Anna, HASH Anush, HASH Ashtghik, HASH Ashtghik Serif, HASH Eva, HASH Heqiati, HASH Hripsimeh, HASH Romantic, IT Grinnar, LGSH Liana, MAA Marieta, MAA Sergo.

    GHEA Narek Display won an award at the Morisawa Type Design Competition 2014.

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

    Arnaud Chemin

    Arnaud Chemin studied applied arts in Reims, graphic design in Paris, typography at ESAD Amiens and type design at Ecal (in a Masters program). He worked at Typofonderie and Black Foundry before embarking on the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, where he graduated in 2020. His graduation typeface at KABK was called Epitre---a roman text typeface in which he tries to bring the italic closer to the lower case roman.

    In 2021, he released the ten cut gorgeous in-your-face-deco-didone typeface NN Didot Moderne at Nouvelle Noire. That typeface was renamed NN Didot Modern a few days after its release. [Google] [More]  ⦿

    Arne Freytag
    [Fontador (was: Arne Freytag)]

    [MyFonts] [More]  ⦿

    Arnie Presiado
    [Ink Type Foundry]

    [More]  ⦿

    Aron Jancso

    Extraordinary Hungarian design talent based in Budapest, 1986-2015. I can't find enough superlatives to describe his work or find appropriate words to express my sadness when I learned of his death due to a bicycle accident on September 4, 2015. He was best known for his experimental type projects. He published the masterful Ogaki in 2009, the high contrast didone typeface Sensaway Pro (2010, Die Gestalten), the calligraphic Caligo (2013), the freestyle jazz high-contrast typeface Qalto (2012) and the fat counterless Dubwise Pro (2010) at Die Gestalten. Other typefaces include Milen Serif (2009, organic), Minimalstile (2008), Minimalca (2008, organic), Fade Away and Fancy Fence (2009, geometric blackletter), Muzikal (2010), Type #32 (2010).

    Typographic poster examples: A, B, C, D, E, F, G | H | I | J | K | L | M | N | O | P | Q. Examples of typographically great bike posters: A | B | C.

    Behance link. Facebook link. Flickr link. Die Gestalten link. [Google] [More]  ⦿

    ARS Type (was ARS Design)
    [Angus R. Shamal]

    ARS Type is an Amsterdam-based foundry with some commercial fonts by Angus R. Shamal. Shamal had earlier published fonts with T-26 and Plazm. Fonts can be bought via Fontshop.

    The fonts: AudioVisual1, Code, Kamp, Kamp Serif, Retro City, OCRU, Toycube, Mortal, Maquette (1999-2000), Angelring, ARS Bembo, Contrast, Dandy, EcologyModern, Hartu (handwriting), Temper, ARS Novelty (2011, a free hybrid style face), ARS Polythene (pixel font family), Misanthry, Syntax (OsF format sans serif), CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Exert (T-26), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995), ARSFortune (2000, futuristic), ARS Region (2002, Bauhaus sans), District (experimental), Descendiaan (1998), Zero Rate (futuristic), Tegel (1998, stencil, kitchen tile), Twenty (octagonal, techno), Trio (dot matrix fonts), Maquette (1999), Region, Product (2007, sans typefaces), Mr Archi, Prime (display), Deviata (unicase face), Forum I-AR (after Forum I, a 1948 font by Georg Trump), Freie Initialen-AR (2007, after a 1928 set of caps for Stempel Garamond), Fry's Ornamented (2007; a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796), Graphique-AR (2007; a shaded typeface based on a 1946 design by Eidenbenz for Haas), Gravur-AR (2007; a digital version of a type designed by Georg Trump and issued as Trump-Gravur by Weber in 1960), Initiales Grecques (after a Firmin Didot design, ca. 1800), Lutetia Open (2007; based on Jan Van Krimpen's Lutetia), Old Face Open (2007; a digitization of Fry's Shaded, an open all caps Baskerville cut by Isaac Moore for Fry, ca. 1788), Open Capitals (2007, after Jan Van Krimpen's 1928 typeface for Enschedé called Open Kapitalen), Romulus Capitals (2007; after the caps series by Jan Van Krimpen, 1931), Romulus Open (2007; after the Open series by Jan Van Krimpen, 1936), Rosart 811 (2007; open caps after Enschedé no. 811 by Rosart), Zentenar Initialen (2007; based on blackletter initials of F.H.E. Schneidler, ca. 1937).

    Fontshop link. Designer link at FontShop. [Google] [MyFonts] [More]  ⦿

    Artem Nevsky
    [Nevsky Type]

    [More]  ⦿

    Artur Schmal
    [Original Type]

    [More]  ⦿

    Arty Type
    [James Marsh]

    James Marsh Art&Design (or Arty Type) is a visual arts and illustration company located in Hythe, UK, founded by James Marsh in 2010.

    His typefaces are often modular, and include Somaskript Tall (2012), Origami Incised (2012), Groovy (2012, +Inline: sixties face), Dropout (2012), Rough Diamond (2012), Thorny (2012), Tangent (2011, a geometric monoline sans), Scroll (2010), Marsh Scroll (2011), Tulip (2011, modular, heavy, and counerless), Somatype (2011, über-organic; +Skwosh), SomeSkript and SomaSkript Incised (2012, organic), and Nutcase (2010).

    In 2013, he published Soma Slab, Soma Slab Tall, Angleface, Anglepoise (a paper clip typeface family) and Mortice (octagonally cut).

    In 2014, he designed Sanzibar (a decorative sans), Sliced, Sliced Open, Omni (a minimalist organic monoline sans) and its companion, Omni Serif, and Tangential Semiserif, Tangential Rounded, and Tangential.

    Typefaces from 2015: Storybook (informal script), Sliced, Sliced Open, Sanzibar Schreef (swashy typeface), Galerie, Galerie2.

    Typefaces from 2016: Polke, Avocado Sans, Cyclic Uncial, Cyclic Serif. The Cyclic series was extended in 2018 to include Cyclic Sans.

    Typefaces from 2017: Troika (monoline display typeface), Caché.

    Typefaces from 2018: Sanzibar Script, Cyclic Sans.

    Typefaces from 2019: Sanzibar Script.

    Typefaces from 2021: Cyclic Eclipse (art deco), Bodonieqsque (a decorative didone), Cyclic Elite (a stylish sans).

    View James Marsh's typefaces. [Google] [MyFonts] [More]  ⦿

    ARTypes
    [Ari Rafaeli]

    ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:

    • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
    • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
    • Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
    • Stephenson Blake revivals: Borders, Parisian Ronde.
    • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
    • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
    • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
    • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
    • Max Caflisch (Bauer) revival: Columna.
    • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
    • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
    • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
    • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
    • F. H. E. Schneidler (Bauer) revival: Legende.
    • Herbert Post revival: Post-Antiqua swash letters.
    • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
    • Hermann Zapf revival: Stempel astrological signs.
    • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
    • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
    • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
    • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
    • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
    • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
    • Ernst Bentele revivals: Bentele-Unziale (2007).
    • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
    • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
    • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
    • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
    • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
    • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
    • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
    • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
    • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
    • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
    • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
    • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
    • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
    • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
    • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
    • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
    • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
    • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
    • Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
    • Custom typefaces include Fabrizio (2016), a classical serif typeface family for Hebrew, Latin, Cyrillic and Greek, with hints of Garamond and Caslon. Ari writes that Fabrizio made its first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed.
    MyFonts link.

    View the typefaces made by Ari Rafaeli / ARTypes. [Google] [MyFonts] [More]  ⦿

    Arys Design
    [Iordache Ionut]

    Graphic designer in Dublin, Ireland. His typefaces in 2014 include Tipsy Script, Sketch Up, Woods Woods, Chiply Script, Exuber (a condensed didone), Coplex, Adelaide, Denise, Amalia (a condensed formal script), Paradise (a ronde script), Aberdeen (a vintage handmade typeface) and the extensive typeface family Vernon Sans.

    In 2015, he created Broondy Serif (a didone typeface with wedge serifs), Volare (vintage family), Ellington, Adamina Script (a sturdy connected signage script). Creative Market link. [Google] [More]  ⦿

    Asa Ama

    Studio in Turin, Italy. Behance link. Creators of an extremely contrasted didone face, called Cinema (2009). [Google] [More]  ⦿

    Aspé Djizmedjian

    Cairo, Egypt-based designer of the Latin curly didone typeface Straight Curls (2015). [Google] [More]  ⦿

    Astigmatic One Eye
    [Brian J. Bonislawsky]

    Astigmatic One Eye (AOE) has lots of nice original fonts by Brian J. Bonislawsky (b. 1973, Pittsburgh, PA). Many are free, others are not. AOE joined Font Brothers Inc in 2006. Brian Bonislawsky currently lives in Las Vegas, NV.

    Fontsquirrel link. Dafont link. Fontspace link.

    A partial list of the AOE fonts made in 2011: Engagement (2011, a free brush script at Google Web Fonts), Fascinate (2011, an art deco typeface at Google Web Fonts; +Inline), Original Surfer (2011, a free Google Web Font inspired by a vintage advertisement for the "California Cliffs Caravan Park"), Smokum (2011, a Western / Italian face), Yellowtail (2011, signage face), Redressed (2011), Special Elite (2010, a free old typewriter face), Aclonica (2011).

    Typefaces from 2008 or before: Horseplay AOE (2008, Western style), Cake and Sodomy AOE (2008), Good Eatin AOE (2008), Paradiso AOE (2008, inspired by logotype of the Paris Resort and Casino in Las Vegas), Montelago AOE (2007, a script inspired by the logotype of the Mirage Resort and Casino in Las Vegas), Jack Chain AOE (2007), Henhouse (2007), Schnitzle (2007), Luxurian AOE (2007, inspired by the logo of the Luxor Hotel&Casino in Las Vegas), Digital Disco AOE (2007), Mighty Tuxedo AOE (2007), Makeshift AOE (2007), Clarity AOE (2007, slab serif headline; + grungy version), Red Pigtails AOE (2007), Run Tron 1983 (2002), Eyeliner AOE (2006, Tekton-like), Mother Hen (2007), Gloversville (2007, comic book style), Mighty Tuxedo AOE (2007, condensed sans), Quick Handle AOE (2007), Surfing Bird (2007), Hydrogen (2004), Hardliner (2004, fifties diner style), Big Ruckus (2004), SS Antique No. 5 (2004), Europa Twin (2003), EuroMachina (2003, techno), Lord Rat (2003: papercut sans), Love Anxiety (2003), BuzzSaw (2003), Skullbearer (2003, skull dingbats), Beatnick Blue (2002), Geisha Boy (2002), Mardi Party (2002), Midcrime (2002), Ocovilla (2002), Ruthless (2002), Saltie Doggie (2002), Whiskers (2002), Royal Gothic, Family, Eggit, Jericho, Wild Monkeys (2002), 5FingeredGothSW, AlienArgonautAOE, AlphaMackAOE, AmphibiPrint, AngiomaAOE, AntiChristSuperstar, AntiChristSuperstarSW, AstigmaSolid, BigLimboAOE, BigLimbodOutAOE, BoneRollAOE, BoneRollAOEBold, BoundAOE, BrailleAOE, BulletBallsAOE, ButterflyChromosome, ButterflyChromosomeAOE, ButtonButton, ButtonButtonAOE, CType, CTypeAOE, CelticLionAOE-Bold, CelticLionAOE-BoldItalic, CelticLionAOE-Italic, CelticLionAOE, CharailleAOE, ChickenScratch, ChickenScratchAOE, ClunkerAOE, ClunkerAOE-Bold, CropBats, CropBatsAOE, CropBatsIIAOE, DarkNightAOE, DeadGrit, DeliveryMatrixAOE, DetourAOE, DigitalDiscoAOE, DigitalDiscoAOEOblique, DingleBerries, DoggyPrintAOE, DraxLumaAOE, DungeonKeeperII, DungeonKeeperIIBold, DungeonKeeperIIItalic, EggItAOE, EggitAOE-Italic, EggitOutlineAOE, ElectricHermes, ElectricHermesAOE, ElectricHermesAOECharge, FearAOE, FilthAOE, FishyPrintAOEOne, FishyPrintOneAOE, FishyPrintTwoAOE, FutharkAOE, FutharkAOEInline, FutharkAOEInline, GateKeeperAOE, Ghoulish Fright AOE (2006), GlagoliticAOE (1999, grungy glagolitic), GorgonCocoonAOE, Gotik, GreyAlienSW, HAL9000AOE, HAL9000AOEBold, HAL9000AOEBoldItalic, HAL9000AOEItalic, HandageAOE, HandageAOEBold, HauntAOE, HybridLCDAOE, IDSupernovaSW, IslanderAOE, JokerWildAOE, KillMeCraig, KillMeCraigAOE, Kinderfeld, KittyPrint, KittyPrintAOE, Kornucopia, KornucopiaAOE, LinusFace, LinusFaceAOE, LinusPlayAOE, LinusPlaySW, Lochen, LovesickAOE, Manson, MasterPlan, Mervale Script Pro (2012: a brushy script based on the 1940's Fawcett Publications Mary Marvel comic), Microbe, MooCowSW, MotherlodeLoadedAOE-Italic, MotherlodeLoadedAOE, MotherlodeStrippedAOE-Italic, MotherlodeStrippedAOE, MysterioSWTrial, NightmareAOE, OrnaMental, Pantera, PapaManoAOE, PenicillinAOE (described as a bacterial stencil typeface), PixelGantryAOE, PixelGantryAOEBold, PixelGantryAOEBoldItalic, PixelGantryAOEHeavy, PixelGantryAOEHeavyItalic, PixelGantryAOEItalic, PixelGantryHiliteAOE, PixelGantryHiliteAOEItalic, PoppyAOE, PoseidonAOE, Prick, QuiltedAOE, QuiltedAOEBlack, QuiltedTrial, RippleCrumb, RippleCrumbUltraCon, ROCKY, ROCKYAOE, RustedMachineSW, SSExpAntiqueAOE, Schizm, Schrill, SchrillAOE, SchrillAOEOblique, Scrawn, ScrawnAOE, ScrawnCyrAOE, ScrawnKOI8AOE, ScrewedAOE, ScrewedAOEOblique, ScrewedSW, SeaweedFireAOE, SenthAOE, ShampooSW, ShottyTransferTrial, SkinnerAOE, SlurCrumb, SpatCrumb, SpikeCrumbGeiger, SpikeCrumbSwizzle, SpikeCrumbSwollen, SteelcapRubbingTrial, StruckSW, StrutterAOE, SunspotsAOE, SurferComicTrial, TRANSHUMANALPHABET10, TRANSHUMANKATAKANA20, TannarinAOE, TannarinAOEOblique, TibetanBeefgardenAOE, TibetanBeefgardenAOE, TouristTrapAOE, TransponderAOE, TransponderGridAOE, UglyStickAOE, VanguardIIIAOE-Bold, VanguardIIIAOE-BoldOblique, VanguardIIIAOE-Oblique, VanguardIIIAOE, Ventilate, VentilateAOE, Y2KPopMuzikAOE, Y2KPopMuzikOutlineAOE, YoungItchAOE, ZeichensSW, ZenoPotionAOE, Zombie, BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth (an eerie brush script), Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper (Halloween font), Gargamel Smurf, Invocation, Neuntotter, Geisha Boy, Saratoga Slim, Gobe, Stingwire, Lavatype, Tapehead, Islander, Clunker, Digelectric, Gargamel, Krulo-Tag, Krelesanta, SurferComic, Bound, Culture Vulture, Intruder, Cavalier, Anoxia, Synchrounous (IBM logo style lettering), Luna, Data Error, Lunokhod, Jericho. There are many techno and gothic fonts. Kill Me Craig is the first 26 death scene dingbat font (scenes by Craig Dowsett). KittyPrint takes the LinusFace font concept to more realistic cat head dingbats. Krelesanta (not free) is a funky font inspired by the band Kreamy Electric Santa. The free ButtonButton is useful for making buttons. Lovesick AOE is a scrawly, lovelorn typeface, i's dotted with hearts. Strutter AOE is based on the KISS logo. Senth AOR is a runic font. Charaille is one of the many dot matrix fonts. Cavalero is inspired by the logotype of the Chevy Cavalier.

    At Bitstream in 2001, AOE published Cavalero, Stingwire and Tannarin. And in 2002, he published the comic book font Big Limbo, Euro Machina BT and Islander there. Bio at Bitstream.

    In 2005, Bonislawsky and Sandler realeased 500 fonts, via Bitstream and MyFonts, under the label Breaking The Norm.

    In 2006, Astigmatic published their typewriter collection, which includes Military Document, Bank Statement, State Evidence Small Caps, State Evidence, Urgent telegram, Library Report, Overdrawn Account, Customs Paperwork, Incoming Fax and Office Memorandum.

    From the bio and various pieces of information, one is led to believe that Brian was born in Poland, and now lives in Miami, but that may be wrong.

    In 2010, he placed a free font at the Google Directory, Syncopate. Along the same lines, we find the derived square serif typeface Stint Ultra Condensed (2011, Google Web Fonts) and Stint Ultra Expanded (2012).

    In 2011, several other typefaces followed there, like Ultra (fat didone), Maiden Orange, Special Elite (2010, a free old typewriter face), Just Another Hand, Crushed, Luckiest Guy (comic book face), Aclonica, Redressed, Montezuma (a curly connected upright script), Devonshire (brush script), Fondamento (calligraphic lettering), Yellowatil (connected retro script), Righteous (free at Google Web Fonts: inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano), Ribeye and Ribeye Marrow> (cartoon and/or tattoo style lettering---free at Google Web Fonts), Spicy Rice (2011, free festive display typeface at Google Web Fonts).

    Contributions in 2012: Marcellus (2012, Trajan, flared roman, at Google Fonts and CTAN), Eagle Lake (a free calligraphic font at Google Web Fonts), Uncial Antiqua, Jim Nightshade (2012, free at Google web fonts), Dynalight (2012, a retro script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive), Yesteryear (a retro script loosely based on the title screen from the 1942 film The Palm Beach Story), Parisienne (Google Web Fonts: casual connected script based on a 1960s ad for bras), Shojumaru (Google Web Fonts: an oriental simulation typeface inspired by a poster for the Marlon Brando movie Sayonara), Berkshire Swash (Google Web Fonts), Audiowide (Google Web Fonts), Romanesco (Google Web Fonts: a narrow calligraphic style), Galindo (Google Web Fonts), Oregano (Google Web Fonts: based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's), Peralta (Google Web Fonts: an Egyptian comic book face), Eagle Lake (Google Web Fonts: calligraphic), McLaren (Google Web Fonts: comic book style alphabet), Freckle Face, Hanalei Fill, Hanalei [Polynesian bamboo or tiki lettering], Purple Purse, Margarine, Risque, Clicker Script [image], Stalemate [a gracious script, by Jim Lyles for AOE], Mouse Memoirs, Quintessential [Google Web Fonts: chancery hand], Bigelow Rules, Englebert [Google Web Fonts: from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich], Sacramento [Google Web Fonts: connected script].

    Typefaces from 2013: Freckle Face (grunge), Grand Hotel, Purple Purse (Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously).

    Stiggy & Sands is the American type foundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).

    Typefaces from 2014: Franken Jr AOE Pro (inspired by the title screen from the 1966 Hanna Barbera cartoon Frankenstein Jr), Good Eatin Pro AOE (inspired by the title screen from the 1942 Warner Bros. cartoon Dog Tired), Ghostkid AOE Pro (comic letter style).

    Typefaces from 2015: Shanks Antique 5 AOE (after the newspaper typeface Memorial (1865, Stevens, Shanks & Sons)), Reliquaire AOE (a somber blackletter typeface inspired by Memorial (1881, Boston Type Foundry)).

    Typefaces from 2016: Mailuna Pro AOE (a gothic sans), Kentish AOE Pro (art deco). Reardon AOE (a digitization of a film typeface called Joyce Black by LetterGraphics), Berkmire AOE (1970s style robot-inspired techno font), Blackheath Pro AOE (this typeface started as a digitization of a film typeface called Roberts Square by LetterGraphics), Delaware Pro AOE (art deco), Rutland AOE (a futuristic font that is a digitization of a film typeface called Maccaro by LetterGraphics). In 2016, Brian J. Bonislawasky and Jim Lyles published the rugged octagonal mega typeface family Tradesman at Grype. In 2017, they added the art deco typeface Cowling Sans AOE (which is based on alphabet from "Lettering for Commercial Purposes" by Wm. Hugh Gordon). In 2018, they published the letterpress emulation typeface Prison Pro, Pink Sangria (50s style movie font), Manic Tambourine, Motenacity (a Martian cartoon font), the old typewriter font Office Memorandum Pro, and the Flintstone font Strongman.

    Typefaces from 2021: Klutz AOE Pro (a condensed all caps beatnik font), Data Error AOE Pro (based on early dot matrix printers), Customs Paperwork AOE Pro (based on the NuMode Type No. 61 vintage typewriter), Rinzler AOE Pro (a great stencil font that revives LetterGraphics' Caren), Restraining Order AOE Pro (an old typewriter font), Brazarri AOE Pro (an Aztec emulation font based on MacKeller, Smiths and Jordan's Bizarre from 1884).

    View Astigmatic's typeface library. View the typefaces made by Brian Bonislawsky.

    Fontsquirrel link. Dafont link. Fontspace link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    astype.de (or: Astype)
    [Andreas Seidel]

    Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975, bad saarow, near Berlin, Germany). He lives in Cottbus, Germany. In 1998, he obtained a Masters degree in business administration. In 2007, he and Ingo Preuss set up The German Type Foundry. In 2017, he joined the initial crew at Fust & friends. The typefaces:

    • One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish typefaces are sold as Thunder Bold and Titan Bold.
    • Check his nice weather symbols (not a font).
    • He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
    • He is working on 14th century initials (2003).
    • He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
    • He made Heraut (2003), an art nouveau lettering typeface based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
    • He created Sveva AS Versal (2003, art nouveau).
    • About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
    • In 2004, he created Missale Incana, an interpretation of a typeface from Herbert Thannhaueser.
    • Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
    • He made Missale Lunea (2004). This has astroligical symbols, moon phases and medieval characters.
    • In 2005, the exquisite calligraphic script typeface Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
    • Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
    • He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
    • Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
    • Taiko (2006). A revival of Otto Arpke's Arpke Antiqua (1928, copperplate).
    • ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
    • GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
    • Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014) and Secca Stencil (2015).
    • Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
    • Secca Saloon (2011) is a versatile ornamental Western family.
    • Popsil (2011) is a white-on-black hand-printed poster face.
    • Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
    • Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
    • VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76, VTG Stencil Germany No. 101 (2014, modeled after historic blackletter stencil plates from Bavaria), and VTG Stencil US No. 72 followed in 2014. In 2016, he added Vtg Stencil DIN.
    • VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.
    • Wood Poster Eight (2015) is a free wood type slab serif.
    • Alea Initials (2017, floriated caps).
    • Wood Bonnet Grotesque No 4 (2017).
    • The Vtg Stencil France series (2017) in substyles Vtg Stencil France No1, Vtg Stencil France No3 and No. 5.
    • The expressionist typeface Alarm (2017, Fust & Friends), which is based on an old design of Heinz König also called Alarm (1928, at Trennert).
    • Presto (2017, Fust & Friends), a revival of a script by Helmut Matheis (1970).
    • Vtg Stencil Italy No2 (2018).
    • Rocaie (2018). Decorative caps base on antique rococo letters from a gilding workshop.
    • Wood Heinz No.4 (2019). Wood Heinz No.4 offers up to four printed look variations of all the Latin base letters and figures. An OpenType letter rotator is programmed into the fonts to emulate the randomness of wood type printing. Also: Wood Heinz No.2 (2019).
    • Missale Solis (2019). An uncial typeface that overhauls Missale Lunea (2004).
    • Vtg Stencil UK No2 (2019).
    • Vtg Stencil Marsh (2020). Based on one inch stencils, cut by a Marsh machine. Marsh was an American stencil machine maker in the 1920s.
    • Bonnet Grotesque Narrow (2020). A condensed grotesque family.

    Behance link. Creative Market link. Fust & Friends link. Klingspor link. Home page. See also here.

    View Andreas Seidel's typefaces. [Google] [MyFonts] [More]  ⦿

    Atelier de Design Holistique
    [Joel Maillot]

    Designer in Camboulazet (was: Albi and Toulouse), France, who created the didone display typeface Black Italic in 2014, and the blackletter Gothique, the wavy Dancing Font, Tape Font, Mosaique, the splendid Mono Gorille, Curiosité, the free geometric sans typeface Activitic, and the signage font Shibby in 2016.

    In 2017, he designed Sharpness Grotesk.

    Typefaces from 2018: Joplin (a free experimental pair of typefaces that play on positive and negative spaces), 518 (a free color font), Meta (a courageously named emoji-enriched free monoline rounded sans; I am sure that under pressure from FontShop, it was renamed 518 after a few weeks), Spectacle (free), Fracture (a free blackletter font).

    Typefaces from 2019: Abac (free).

    Typefaces from 2020: Spectacle (free). Behance link. Another URL. Yet another URL. [Google] [More]  ⦿

    ATF 1923 Catalog: Bodoni Series

    Showcasing the best pages from the Bodoni Series in the ATF 1923 Catalog. Fonts include Bodoni (+Italic), Bodoni Bold (+Italic), Bodoni Book (+Italic), Card Bodoni (+Bold), and Bodoni Mortised Ornament. [Google] [More]  ⦿

    Atipo

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

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

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

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

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

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

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

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

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

    Typefaces from 2019: Parking (an all caps art deco by Marc Valli), Basier Mono, Bould, Chaney (caps only, for display).

    Typefaces from 2020: Sawton (a 15-style monolinear condensed geometric sans family consisting of Circular, Industrial and Bauhaus subfamilies), Silka Mono, Wotfard (a malleable geometric sans: time for soulful functionality), Argesta (a fashion mag typeface).

    Typefaces from 2021: Novela ( a rational serif for use in texts), Izoard and Izoard Soft (a monolinear sans inspired by the text on the monument atop the mythical Col d'Izoard in France which is frequently featured in the Tour de France), Strawford (a 14-style monolinear neo-geometric sans), Scilla Display ( an elegant high-contrast serif typeface inspired by the shapes of the flowers with sharp edges and organic curves).

    Typefaces from 2022: N27 (an over-the-top hipster sans classified as avant-garde by Atipo), Stampa (an all caps sans serif typeface inspired by La Stampa's nameplate used by the weekly's sports supplement in Turin in 1902).

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

    Atlas Font Foundry
    [Christoph Dunst]

    Berlin-based foundry, est. 2012 by Christoph Dunst.

    Creators of Novel Mono (2012, Christoph Dünst), Novel Sans (2012), Novel Sans Rounded (2012), and Novel Sans Condensed (2012), Novel Sans Office Pro (2013), Novel Sans Hair Pro (2014), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013), Heimat Didone (2014: a 72-style family of high-contrast didones; some styles should be useful for fashion mags), Heimat Display (2015: characterized by an inverted tail of the y), Novel Display (2017), Edit Serif Pro (2017), Edit Serif Cyrillic (2018), Edit Serif Arabic (2018).

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

    ATypI type classification

    In 1961, ATypI published its type classification system:

    • Humane
    • Garalde
    • Réale
    • Didone
    • Incise
    • Linéale
    • Mécane
    • Scripte
    • Manuaire
    • Fractura
    This is exactly like Maximilien Vox's system with the exception of the addition of Fractura. [Google] [More]  ⦿

    Aubo Lessi

    I do not know whether this graphic designer's name is Aubo lessi or Krzysztof Tryk. In any case, he lives in Otwock, Poland. Dafont link. In 2010, he took Bodoni as a model to design Muscle. [Google] [More]  ⦿

    Augusto Ramirez

    Asuncion, Paraguay-based designer of the free experimentasl Bodoni typeface Bodowi (2019). [Google] [More]  ⦿

    Aulia Rahman
    [ShowUp Type Foundry]

    [MyFonts] [More]  ⦿

    Aurèle Sack

    Aurèle Sack (b. 1977) is a globetrotting Swiss graphic designer specialized in type and editorial design. He focuses mainly on projects within the cultural field. After graduating from ECAL in 2004 (with a sans typeface called AS Gold) Sack worked in Zürich and New York. He currently lives and works in Lausanne, Switzerland. He has been teaching type and editorial design at ECAL since 2010. He has won the Swiss Design Awards three times; in 2006, 2010 and 2014.

    Codesigner in 2006 with Maxime Buechi of a corporate type for NORM called Rhodesia . In 2009, he made AS Garamond in collaboration with Jonas Voegeli, Zürich for Das Magazine. In 2008, Fleurie (typewriter face) was published. Around 2006, he created Omega Bold (a sans, done with Norm in Zürich; now called Omega CT), AS Turquoise, AS Yellow (a didone), Gallery, and LL Purple (Regular, Italic; a serif typeface published at Lineto and co-designed with Norm).

    Initiated as a collaborative type design project by Zurich-based designers Urs Lehni and Lex Trüb, LL Brown (2011, Lineto) has been drawn and developed by Aurèle Sack in the geometric style of Edward Johnston's Johnston (1915) and Arno Drescher's Super Grotesk (1930). LL Brown is being re-launched in 2019 with additional weights, additional non-Latin scripts, and additional Narrow and Condensed cuts.

    Finally, Sack published LL Grey (2004-2016) at Lineto.

    Lineto link. [Google] [More]  ⦿

    Autumn Gochenaur

    Graphic designer in Shipshewana, IN, who created the didone typeface Klassy in 2015. [Google] [More]  ⦿

    Avondale Type Co
    [Alex Sheyn]

    Avondale Type Co is a type foundry established in 2013 and located in the Avondale area of Chicago. It is a type coop that groups several designers. It is a subsidiary of the design studio Bright Bright Great. Its typefaces:

    • By Alex Sheyn of Bright Bright Great: ATC Krueger (2013, an ultra-thin compressed straight-edged sans serif typeface), ATC Rosemary (2013, a didone with heavy contrast and shiny exaggerated ball terminals).
    • Finki Pro (2013). A layered and beveled type family by Quinn Keaveney.
    • Codex (2014). A spurred wrought iron and black death typeface by Justin Siddons.
    • ATC Nasty (2015).
    • ATC Overlook (2014) is a great grotesque sans family by Alex Sheyn. Almost monolined and genetically geometric, it is characterized by a lower case "e" that has a very short tail. Samantha Dion Baker made a free patterned version called ATC Overlook Baker in 2014.
    • ATC Timberline. A wide open sans in 14 styles.
    • The connected script typeface ATC Ripley (2014).
    • The grotesque typeface ATC Duel (2015): Bold and bolder, ATC Duel is an extended grotesque sans-serif font family comprised of over 500 glyphs in 5 weights and 10 styles. Duel is an ultra wide display font whose rounded shapes and sharp edges are inspired by the letterforms and lines of 1960s cars, the Golden Age of automotive design.
    • ATC Fritz (2015): ATC Fritz is a numerals specific display face comprised of over 60 glyphs in 8 layerable fonts. Fritz's numerals are chunky, bold, and soak up color. Inspired by modern sign painting techniques, Fritz works best where numbers need to stand out.
    • ATC Saturn. A rounded octagonal techno typeface.
    • ATC Yara (2016).
    • ATC Arquette (2017). A geometric sans.
    • The free handcrafted typefaces ATC John Doe, ATC Jane Doe and ATC Jay Doe (2017).
    • ATC Abernathy (2019). Described as a soft humanist serif by ATC.
    • ATC Merrin (2019).
    • ATC Hal (2019).
    • ATC Oneshot (2019). A sign painter's font inspired by bodega signage.
    • ATC Doubletap (2019).
    • ATC Vera (2020). A unicase sans.
    • ATC Monarch (2021). A rhombic medieval display typeface by Christian Dexter.

    Behance link for Alex Sheyn. Alex Sheyn's home page.

    Behance link. Other people at Avondale or Bright Bright Great include Drew Rios and Jason Schwartz. We also find typefaces by Quinn Keaveney and Justin Siddons. [Google] [More]  ⦿

    BA Graphics
    [Robert Alonso]

    Bob Alonso (b. Bronx, NY, 1946, d.2007), the founder of BA Graphics in 1994, was a prolific American type designer. With 33 years of experience at NewYork's Photo Lettering, he specialized in calligraphic script typefaces, but not exclusively so. BA Graphics was located in Chester, NY, and later in Toms River, NJ, and now sells its fonts through MyFonts. Many of its fonts published after Alonso's death in 2007 were completed by John Bomparte.

    John Bomparte wrote this obituary: Throughout his career at the legendary Photo-Lettering, Inc. (one that spanned four decades), Bob created original typefaces and tailored type by modifying, revising and filling out families, fashioning pieces of type for hand-lettered jobs, as well as being involved with the updating of a number of well-known logotypes. Bob was blessed with natural teaching abilities; and those in social and professional circles who had the good fortune to know him considered him not just a type designer but a mentor and a friend. As one such person close to him put it, he was a graphic technician [...] back when computers were not even in site for graphic arts, he would take on any intricate&complex graphic project that others would shy away from and come up with a solution that achieved a masterpiece. I'll always remember someone saying "this can't be done" and Bob saying let me see it and a short time later, there it was---done&perfect. I would like to think that attitude rubbed off on me. Along with this gift for teaching and explaining the complex, Bob exhibited a level of professionalism that was unsurpassed. A number of years ago when the need came to make the transition from the traditional to digital way of creating fonts, he rose to the challenge admirably. Towards the last few years of Photo-Lettering, Bob played a vital role in the conversion to digital, of many of the typefaces within the collection, notably those fonts that carry the prefix PL. More recently, Bob Alonso released several fonts through ITC, Adobe and his independent foundry, BA Graphics. Bob was on the cutting edge of his best work, and in the circumstance of his untimely passing, left a measure of unfinished designs. However, the spirit of his typographic talents and his fine sense of humor lives on through the many much-loved, and popular fonts he has left us: fonts such as Cookie Dough, Equate, Elephant Bells and Pink Mouse, to name a few.

    Alonso created these typefaces:

    FontShop link. Klingspor link.

    View Bob Alonso's typefaces. View the BA Graphics typeface collection. An alphabetic listing of Alonso's typefaces. [Google] [MyFonts] [More]  ⦿

    Babylon Schrift Kontor
    [Klaus Bartels]

    Commercial German foundry, est. 2000 by Klaus Bartels (1948-2005). BSK also has on board Wolfgang Talke, Bernd Pillich, and the type experts René Kerfante and Frank Sax. It specializes in major text families, mostly based on fonts from the Berthold collection. Bartels was previously responsible for the digitization of that collection at Berthold, so this is a natural progression. Some amount of renaming of the typefaces seems to have been necessary. Partial list: Adlon Sans BSK, Adlon Serif BSK, Admira BSK, Albion Script BSK, Albion Script 2 BSK, Alte Schwabacher BSK, Ancora BSK, Atlantica BSK, Avenue BSK, Babylon Schreibschrift BSK, Baskerville BSK, Baskerville Text BSK, Bodoni BSK, Bodoni Expert BSK, Bodoni Condensed BSK, Bodoni Text BSK, Bodoni Text Expert BSK, Carissa BSK, Caslon Text BSK, Centra BSK, Champion BSK, Cogita BSK, Elega BSK, Fabiana BSK, Fonica BSK, Francesa BSK, Garamond BSK, Garamond Expert BSK, Herold Reklameschrift BSK, KG privata BSK, KG privata II BSK, KG vera BSK, KG vera II BSK, Lettura BSK, Mirage BSK, Mirage Expert BSK, Mirage New BSK, Pintura BSK, Signal BSK, Standard-Grotesk BSK, Standard-Grotesk Condensed BSK, Standard-Grotesk Extended BSK, Standard-Grotesk Classic BSK, Standard-Grotesk Next BSK, SG Next Condensed BSK, SG Next Extended BSK, SG Next Rounded BSK, SG Next Stencil BSK, SG School BSK, SG School 2 BSK, Story BSK, Supersonic BSK, T & T Form BSK, T & T Form Condensed BSK, T & T Form Ey BSK, Tomos-Antiqua BSK, Tomos-Mediaeval BSK, Trump Tower BSK, Unger Fraktur BSK, Walbaum BSK, Walbaum Expert BSK, Walbaum Fraktur BSK, Walbaum Text BSK. I have no idea what happened after Bartels' death--the page disappeared! [Google] [More]  ⦿

    Badson Studio
    [Kyle Read]

    Badson Studio is a type foundry in Buena Vista (was: Denver), CO, launched by Kyle Read in 2014. Kyle Read (b. 1987 or 1988) hails from the American Northeast and lived in Chatham, NJ. He studied graphic design and printmaking at Savannah College of Art and Design (class of 2010), and has created typefaces for Abercrombie & Fitch in Columbus, Ohio. He studied type design at the Type@Cooper Extended Type Design Program in New York. We believe, but are not sure, that Kyle started Proof&Co. In 2015, these commercial typeface families had been published by Read at Badson Studio:

    • Ermine: The Ermine Type Family is derived from one of the most illuminated eras in American History. President Franklin D. Roosevelt launched his New Deal in 1929 to get America back to work after the now infamous market crash and Great Depression. Between 1935 and 1943, the Works Progress Administration (WPA) was established by presidential order and employed more than 8 million workers. Some of the more visible projects were posters created to promote tourism in the country's National Parks. More than 2,000,000 posters were printed by the Federal Art Project's poster division. Almost all of these posters have been lost or destroyed. The Ermine Family is designed to be reminiscent of this era of public art, drawing from the wonderfully quirky lettering styles of the WPA National Parks Posters themselves.
    • Bota Display: a didone typeface.
    • Guilder: a multiline and outline typeface family.

    Before Badson Studio, Kyle created the layered multiline typeface Pinscher (2013), the rounded sans typeface Penfield (2013), the experimental typeface Geoface (2013), the warm titling typeface Holden (2013), the multiline straight-edged typeface Countdown (2013), and the art deco family Flagpole (2013).

    In 2013, he received the 2013 SOTA Catalyst Award. Home page for Kyle Read. [Google] [More]  ⦿

    Bailleul et cie

    Typefounders in Paris. Their work can be found in Spécimen des caractères de la fonderie Bailleul et cie, rue des Boucheries St.-G. 38. Premier cahier (Paris, Imprimé chez Paul Renouard, rue Garancière, n.5. [ca.1850?]). This is a very ordinary book with only text samples in the typical post-Didot style.

    For a digital revival, see the free didone typeface Bailleul Roman (2019) by Guillaume Litaudon. [Google] [More]  ⦿

    Bakoma fonts
    [Basil K. Malyshev]

    The Bakoma fonts were made by Basil Malyshev, author of Bakoma TeX. BaKoMa TeX uses fonts in ATM compatible PostScript Type 1 format These fonts was produced by automatical conversion from Knuth's Computer Modern MetaFont codes. The conversion technology was designed by Basil K. Malyshev in 1994-1995. Later, the technology was improved to handle hint replacement, and the collection was extended by additional fonts. Some of Bakoma TeX is commercial now, but the fonts are still free. They are originally in type 1, but subsequent truetype and opentype versions have been developed too. Here is a grouped listing:

    • Roman (+italic, +bold, +slanted): cmb10, cmbx10, cmbx12, cmbx5, cmbx6, cmbx7, cmbx8, cmbx9, cmbxsl10, cmbxti10, cmcsc10, cmcsc8, cmcsc9, cmr10, cmr12, cmr17, cmr5, cmr6, cmr7, cmr8, cmr9, cmsl10, cmsl12, cmsl8, cmsl9, cmti10, cmti12, cmti7, cmti8, cmti9.
    • Typewriter: cmcitt10, cmtt10, cmtt12, cmtt8, cmtt9, cmvtt10, cmsltt10, cmitt10, cmtcsc10.
    • Sans: cmss10, cmss12, cmss17, cmss8, cmss9, cmssbx10, cmssdc10, cmssi10, cmssi12, cmssi17, cmssi8, cmssi9, cmssq8, cmssqi8.
    • Computer Modern Exotic: cmdunh10, cmff10, cmfi10, cmfib8, cminch, cmu10, cmtcsc10, cmtex10, cmtex8, cmtex9.
    • Math fonts: cmbsy10, cmbsy5, cmbsy6, cmbsy7, cmbsy8, cmbsy9, cmex10, cmex7, cmex8, cmex9, cmmi10, cmmi12, cmmi5, cmmi6, cmmi7, cmmi8, cmmi9, cmmib10, cmmib5, cmmib6, cmmib7, cmmib8, cmmib9, cmsy10, cmsy5, cmsy6, cmsy7, cmsy8, cmsy9.
    • LaTex fonts: circle10, circlew10, lasy10, lasy5, lasy6, lasy7, lasy8, lasy9, lasyb10, line10, linew10, LCMSS8, LCMSSB8, LCMSSI8.
    • Metafont logo fonts: logo10, logo8, logo9, logobf10, logosl10.
    • AMS fonts 2.1, Euler font family: euex10, euex7, euex8, euex9, eufb10, eufb5, eufb6, eufb7, eufb8, eufb9, eufm10, eufm5, eufm6, eufm7, eufm8, eufm9, eurb10, eurb5, eurb6, eurb7, eurb8, eurb9, eurm10, eurm5, eurm6, eurm7, eurm8, eurm9, eusb10, eusb5, eusb6, eusb7, eusb8, eusb9, eusm10, eusm5, eusm6, eusm7, eusm8, eusm9.
    • AMS fonts 2.2: msam10, msam5, msam6, msam7, msam8, msam9, msbm10, msbm5, msbm6, msbm7, msbm8, msbm9.
    • LamsTeX Commutative Diagram Drawing Fonts, dated 1997: lams1, lams2, lams3, lams4, lams5.
    • Xy-Pic Drawing Fonts, dated 1997: XYATIP10, XYBSQL10, XYBTIP10, XYCIRC10, XYCMAT10, XYCMAT11, XYCMAT12, XYCMBT10, XYCMBT11, XYCMBT12, XYDASH10, XYEUAT10, XYEUAT11, XYEUAT12, XYEUBT10, XYEUBT11, XYEUBT12, XYLINE10, XYMISC10, XYQC10.
    • Computer Modern Cyrillic Fonts, with the Cyrillic extension due to N. Glonty and A. Samarin in Institute for High Energy Physics (IHEP) in 1990: cmcb10, cmcbx10, cmcbx12, cmcbx5, cmcbx6, cmcbx7, cmcbx8, cmcbx9, cmcbxsl10, cmcbxti10, cmccsc10, cmccsc8, cmccsc9, cmcinch72, cmcitt10, cmcsc10, cmcsc8, cmcsc9, cmcsl10, cmcsl12, cmcsl8, cmcsl9, cmcsltt10, cmcss10, cmcss12, cmcss17, cmcss8, cmcss9, cmcssbx10, cmcssdc10, cmcssi10, cmcssi12, cmcssi17, cmcssi8, cmcssi9, cmcssq8, cmcssqi8, cmcti10, cmcti12, cmcti7, cmcti8, cmcti9, cmctt10, cmctt12, cmctt8, cmctt9, cmcu10, cmcyr10, cmcyr12, cmcyr17, cmcyr5, cmcyr6, cmcyr7, cmcyr8, cmcyr9.
    Related links: message by Sebastian Rahtz). Mirror. Polish mirror. TTF versions. Alternate URL. Another URL. Yet another URL. Yet another URL. 1500 non-free fonts have been developed as well. [Google] [More]  ⦿

    Barbara Bigosinska

    Barbara Bigosinska received her master degree in Graphic Design at the Academy of Fine Arts in Katowice, Poland. In 2013, she graduated from the Type & Media program at the KABK in Den Haag. At KABK, Barbara Bigosinska designed the angular text typefaces Barbear and Sambukka in 2013. Since 2014, she runs her own studio in The Hague, offering type design and typography services to international clients.

    For her type revival project at KABK, she picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia reffers to the Roman name of Paris.

    Her KABK graduation typeface family was Mala (2013). Loaded with opentype features and choices of widths, Mala was created for cartographic purposes. It was published by Bold Monday in 2016.

    In 2016 she published Abelard at Indian Type Foundry and wrote: Abelard is a modern (or neoclassical) family with 10 font styles. It is a contemporary take on classic types like Baskerville, Bulmer, and Scotch Roman that has been optimised for text embedding on eReaders. The design features elements ensuring even text color, including case-sensitive forms, prominent punctuation marks, ligatures, and four sets of figures. Each font also contains ornaments resembling pen nibs, bullet points, and arrows.

    In 2017, she published the didone fashion mag typeface family Rion and the text typeface Neco at Fontstore. Rion was republished in 2018 at Indian Type Foundry.

    Typefaces from 2018: Bonny (a decorative serif font family published by Indian Type Foundry; see also Bonny at Fontshare).

    In 2019, Noopur Choksi and Barbara Bigosinska published the sturdy wedge serif text typeface family Sapien at Indian Type Foundry.

    Still in 2019, Manushi Parikh and Barbara Bigosinska released the octagonal athletics font Fielder at Indian Type Foundry. Somehow this octagonal typeface seems to have been evolved into the 5-style free typeface Nippo at Fontshare.

    In 2021, Barbara Bigosinska released the 12-style didone family (+two variable fonts) Boska at Fontshare. Boska has quite extreme contrast and some calligraphic hooks in the c, f, k, r, s, x and z glyphs that make it perhaps less suitable for text but more in line with fashionable displays.

    Bevellier (2019-2021; by Arya Purohit and Barbara Bigosinska) is a 16-style (+variable) rounded condensed organic sans family.

    In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she designed the wonderfully expressive sharp-edged display typeface Sharf. Boska was published as a free font at Fontshare.

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

    Barbara Cain

    Born in 1954 in Löpten, Germany, Barbara cain studied at the Hochschule für Grafik und Buchkunst in Leipzig. Designer at Typoart of Fetta Antiqua and Schmallfette Antiqua, two didone typefaces. [Google] [More]  ⦿

    Barbara Lind

    Designer of some Western-themed typefaces at Adobe in the 1990s. These include

    • Poplar (1990, after a 19th century wood type typeface by William Leavenworth). Poplar has these digital versions made by Nick Curtis: Copper Canyon WBW Demi Bold, Copper Canyon WBW, and Copper Canyon Inline WBW.
    • Madrone (1991, a spaghetti western face---a fat typeface didone, Madrone was digitized from proofs of the wood type collection in the National Museum of American History in the Smithsonian Institution in Washington, D.C.).
    • Adobe Wood Type Ornaments (1990-1991 with Joy Redick).
    • Cottonwood (1989, with Kim Buker Chansler and Joy Redick).

    Linotype link. FontShop link. Typedia link. View Barbara Lind's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Barry Schwartz
    [Crud Factory]

    [More]  ⦿

    Bart Co Design
    [Bartosz Wesolek]

    Or Bart Wesolek, b. 1986. Nowa Sol / Poznan, Poland-based graphic designer, who published the vintage typeface Rheiborn, the display typeface Onufry (based on lettering on vintage cycling posters), the poster typeface Molheim, the letterpress typeface Darmond, the squarish Garthram, the vintage typeface Martslock, the free squarish typeface Rheiborn Sans, the vintage Apothecary collection (Asplin, Garriger, Hagerman, Kimmell and Seidlitz), and the slabbed display typeface Kinshel in 2017.

    His vintage liqour collection (2017) includes

    • Arendt: A thin extended serif typeface (clean, rough)
    • Groston: A squared sans font (clean, rough)
    • Kloster: A lower case blackletter typeface (clean, rough)
    • Othon: A bold sans typeface (beveled, clean, rough)
    • Rozalyn: A western decorative typeface (clean, rough & free shadow version)
    • Theobald: A condensed serif font (rough, rounded & free clean version)
    • Wilhelm: A regular sans & slab display font (clean, rough)

    Typefaces from 2018: the Print Press collection (Blutzen, Fratley, Garnet, Harold, Stilzkin Sans, Stilzkin Slab), Nimitz (a free retro all caps sans), Bosmark (a vintage sketched typeface), Monkstead (a block display family with several textures), Signist, Hartwood, and the Newsstand collection (which includes Presson, Stammark, Brookset, and Darmond).

    Typefaces from 2019: Pelagia (text typeface), Moorland (a fat face didone), Keller (an all caps sans), Mosley (a weathered letterpress emulation font), Madchen Sans (a free retro sans), Maurine (a retro script).

    Typefaces from 2020: Braden Sans, Paschal (serif), Dumont (sans).

    Typefaces from 2021: Frisco (a retro display serif), Landman (a retro font inspired by Murillo/Aldo Manutio typefaces designed by Schelter & Giesecke in 1897), Devon (art nouveau caps), Omnibus (a free art nouveau font), Urban Serif (a condensed slab serif), Irish Poem, Mesnage Slab Serif, The Moonshine Collection (Bastien (art nouveau), Dalton (squarish), Fribois (a monolinear school script), Guilmot, Liboury (a frilly decorative blackletter)).

    Typefaces from 2022: Vespucio (a classic serif), Blokhaus (a bold sans). [Google] [More]  ⦿

    Bartosz Wesolek
    [Bart Co Design]

    [More]  ⦿

    Basil K. Malyshev
    [Bakoma fonts]

    [More]  ⦿

    Basil Solomykov

    Developer of the free metafont-format didone Latin / Cyrillic typeface Obyknovennaya Novaya (2011, in English: ordinary new face). This typeface was widely used in the USSR for scientific and technical publications, as well as textbooks. [Google] [More]  ⦿

    Baskerville: metal type

    Typophiles with opinions on metal versions of Baskerville, giving a nod to Monotype Baskeville, and voicing concern that the digital Baskervilles are too anemic. Wikipedia: Interest in Baskerville seems to have revived in the early 20th century, with Bruce Rogers among others taking an interest in him. [...] Not surprisingly, therefore, the type was revived for mechanical composition in the 20th century. ATF was first, followed by English Monotype in 1923, and thereafter other manufacturers (notably Linotype) followed suit. Monotype Baskerville (Series 169), perhaps the best-known of these revivals was a commercially successful type despite (or perhaps because) it was heavily "cleaned up" by the Monotype drawing office Monotype's was based on a font designed for use at a fairly large size in an edition of Terence's comedies published in 1772. ATF and Linotype used strikes from genuine punches of a smaller size type; it is not therefore surprising that different versions of Baskerville look noticeably different: they are (or may) still be 'authentic'.

    Mac McGrew's discussion, mainly regarding metal Baskervilles in America: There are two distinct varieties of Baskerville in America. Both based on the types of John Baskerville, distinguished eighteenth-century English printer and typefounder, who was noted for his quest for perfection. His types are based on Caslon and other popular typefaces of the day, but are more precise and have a little more contrast, with stress more nearly vertical, making them the first transitional designs between oldstyles typified by Caslon and moderns typified by Bodoni. A consistently noticeable characteristic is the lowercase g, with its lower loop not completely closed. All versions have rather long ascenders, and present an appearance of dignity and refinement.

    On ATF's Baskerville, he writes: The ATF version, which is called Baskerville Roman in foundry specimens but which most typesetters call American Baskerville, is produced from strikes (unfinished matrices) brought from Stephenson Blake, English typefounders, in 1915. In England it is known as the Fry Foundry version, and is said to have been cast from original matrices cut about 1795 by Isaac Moore as a close copy of Baskerville's own types. Small sizes to 14-point tend to be rather light and narrow, while sizes from 3D-point up have more weight and vigor. Production was discontinued about 1950, perhaps because most specimens didn't show the handsome larger sizes in sufficient detail; it was reinstated in 1957 without the sizes below 18-point. ATF Baskerville Italic was designed in 1915 by Morris F. Benton. It is a handsome typeface in itself, but has little in common with its roman mate other than adjustment to the narrowness of small sizes. It is not made above 18- point, nor-since it was reinstated-below small 18-point. Compare Century Catalogue Italic.

    About Linotype Baskerville: Linotype Baskerville, said to be based on original punches which are still in existence, is much like the ATF face, but differs in details of capitals C, Q, W, and lowercase w, y, and &. It was cut in 1926 under the direction of George W. Jones, British typographer. The italic was recut in 1936 under Linotype's program of typographic refinements. Lanston Monotype Baskerville is virtually a duplicate of the English Monotype face, which is based on original letters but is more regularized and has somewhat less contrast between thick and thin strokes than the Fry and Linotype versions. It was cut in 1923 under the direction of Stanley Morison, being derived from the great primer (18-point) size of Baskerville's type, and copied by Lanston in 1931. The Intertype roman typeface is substantially the same as Monotype except for adaptation to mechanical requirements. But while the Monotype italic is considerably narrower than the roman, on Intertype the two typefaces are necessarily the same width.

    Finally, McGrew evaluates Monotype Baskerville: Monotype Baskerville Italic has only the swash-like capitals JKNTYZ of the original, while both Linotype and Intertype have replaced these letters with regular characters in standard fonts, but offer a variety of swashes as alternates. Linotype, Monotype, and Intertype each provide their own versions of Baskerville Bold. All are similar, but the Monotype version is slightly heavier over all; this version was designed by Sol Hess, and is claimed to have been adapted from an original heavy typeface created by John Baskerville about 1757 and not generally known. Linotype and Intertype also have bold italics, the former designed by C. H. Griffith in 1939. (Latin Condensed was called "Baskerville" in ATF's 1898 book.) [Google] [More]  ⦿

    Bauersche Schriftgiesserei

    Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1910-1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1931; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized typefaces include Futura ND (Paul Renner, redigitized by Marie-Therésè Koreman at Neufville in 1999), Edison Swirl SG (late 1800s, digitized by Spiece Graphics), Gable Antique Condensed SG (late 1800s, digitized by Spiece Graphics), Weiß (Bitstream, based on a family made in 1924-1931 by Emil Rudolf Weiss), Bauer Bodoni (1926, FT Bauer, made by Heinrich Jost and Louis Hoell), Bauer Bodoni (Adobe version), Candida (1936, now digitized at FT Bauer), Charme (1957, now available from FT Bauer), Impressum, Imprimatur, Venus (1907-1927, now at FT Bauer), Venus and Hermes (both available at Linotype; Venus is also at URW), Volta (1955), and Phyllis (1911, aka Wieynck Cursive). Other typefaces: Bernhard Cursive (1962), Constantia, Hellenic Wide (1962), Lucian (1962), Cantate (1962), Gillies Gothic (1962), Horizon (1962), Folio (1962), Bauer Beton (1962), Bauer Topic (1962), Bauer Classic (1962), Elizabeth (1962), Cartoon (1962), Trafton Script, Astoria, Lilith, Legend (1937), Fortune, Folio Kursiv, Folio Grotesk (1960), Cantate (1958), Papageno (1958), Verdi (1957), Amalthea (1957), Magic (1955), Steile Futura Kursiv (1955), Columna (1955), Maxim (1955), Tivolischmuck (1950), Symphonie (1938, by Imre Reiner, in 1945 called Stradivarius), Weiß Antiqua (1950), Legende (1950), Quick (1950), Ballé Initials (1940), Beton (1940), Corvinus (1934), Bernhard Roman (1930), Hyperion (1931), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen (1902), Jubilaeums Antiqua (1902), Victoria Antiqua (1902), Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), Enge Gotisch (ca. 1880: digital version by Gerhard Helzel), Ehmcke Antiqua (1921), Batarde (1916), Wieynck-Kursiv (1912), Zweifarbige Grotesk Kursiv, Cursive Renaissance (1912), Manuskript Gotisch (1899; after Wolfgang Hopyl, 1514), Graziosa (1914 or earlier, script face), Kleukens Antiqua (1910), Barlösius Schrift (1906-1907, H. Barlösius), Trianon (1906), Hohenzollern (1902, + Initialen), Telefunken (1959), Sinfonia (script), Amerikanische Alt-Gotisch (1903, influenced by Henry William Bradley's and Joseph Warren Phinney's 1895 art nouveau face, Bradley). Some of their vignettes were captured in Dieter Steffmann's Schluss Vignetten (2002). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More]  ⦿

    Beat Stamm
    [The Raster Tragedy]

    [More]  ⦿

    Beatrice Tonon

    For a school project at Iade Creative University in Lisbon, Portugal, Beatrice Tonon (Treviso, Italy) designed the didone variant Wire Font (2016). [Google] [More]  ⦿

    Ben Archer
    [100types]

    [More]  ⦿

    Ben Bauermeister
    [ElseWare Corporation]

    [MyFonts] [More]  ⦿

    Ben Jones
    [Protimient.com]

    [MyFonts] [More]  ⦿

    Ben Mecke-Burford
    [M-B Creative]

    [MyFonts] [More]  ⦿

    Ben Weiner
    [Reading Type]

    [More]  ⦿

    Bene Ripoll

    Alicante, Spain-based designer of the all caps titling typeface Changla (2019), which was inspired by Bauer Bodoni. [Google] [More]  ⦿

    Benjamin Fox

    British punchcutter and type designer who died in 1877. He was the partner in Besley and Co (est. 1849 by Robert Besley---in fact Besley and Co grew out of Thorowgood and Co in which Besley was a partner until Thorowgood retired in 1849, causing the change of name) in London. He helped Robert Besley in the development and cutting of Clarendon in 1845 at Fann Street Foundry/Thorowgood and Co. [Google] [MyFonts] [More]  ⦿

    Berthold Direct Corp
    [Harvey Hunt]

    Once called Berthold Types and now Berthold Direct Inc, this companay is located in Chicago, IL, and was/is run by Harvey Hunt (1949-2022) and his wife Melissa Hunt, an attorney. The font collection is aristocratic, unpolluted by grunge and cheap thrills, featuring many well-known text type families. On the other hand, typophiles all over the world are aghast at the marketing strategies of Berthold. The fonts, all having "BE" or "BQ" in the font names, originated from Berthold AG in Germany, a company that went bankrupt. Some people argue that the Chicago-based Berthold has no rights to the old Berthold AG collection---a fact documented by Uli Stiehl. But most importantly, the Hunts became famous because of the numerous lawsuits typically related to the selection of font names too close to names in their collection.

    A few months after Hunt's death, Monotype acquired the Berthold collection.

    For many years, on and off between about 1970 and his death in 2009, Günter Gerhard Lange was the typographic director [of Berthold Direct Corp, and its German "predecessor" Berthold]. Lange, along with Bernd Möllenstadt and Dieter Hofrichter, formed the core of Berthold's Type Atelier located in München to continue the development of the Berthold Exklusiv typefaces. The classics in the collection include Akzidenz-Grotesk, Block, City, AG Book, Delta, Formata, Imago and Laudatio. Frequent contributors in the 1970s and 1980s were Friedrich Poppl and Gustav Jaeger.

    There are also many less frequently used older typefaces like Normande (1860), Augustea (1905-1926), and Michelangelo (1950, by Hermann Zapf).

    MyFonts link.

    Cover of their sans catalog. Cover of their modern typeface catalog. [Image: Karim Ahmed uses Normande BT in a beautiful poster]

    The main Berthold typefaces at MyFonts. Large catalog of Berthold's typefaces, given in alphabetical order. See also here. [Google] [MyFonts] [More]  ⦿

    BERTLib (Fontstuff)

    Fontstuff, est. 2005, sells BERTLib, the "Berlin Electronically Remastered Type Library". It has offices in London. Berthold, which folded in 1993, had a 2000+ type collection, which came in the hands of Freydank, Körbis, Pillich, Talke GbR in 1996 who lent it out to Berthold PrePress GmbH in 1997 under the name The Berthold Type Collection. Babylon Schrift Kontor GmbH, the company of Klaus Bartels, offered type 1 fonts from this collection for sale since 2000, but it disappeared some time later when Bartels died. BERTLib acquired the original Ikarus data of the Berthold Type Collection (over 2000 fonts) and set out to make high quality OpenType fonts with full support of all European languages, and fully Unicode-compliant. Slowly, these fonts are now being released by BERTLib. Not to be confused with Berthold Types Ltd from Chicago, who produced its library from Berthold type 1 data, not Ikarus data, of the same collection. Because of typename protection by Berthold Types, BERTLib had to change some font names. Some fonts also cover Cyrillic and Greek, but Maltese and Turkish are standard in all typefaces. More research needs to be done about the Berthold bankruptcy in 1993. They had a lot of debts. How can two different companies "acquire" or "get" the rights and sources of their collection? Who took care of the debts? Were there some underhanded deals? BERTLib twice refused to send me a list of types to which their own names can be matched. No names of digitizers or font BERTLib font designers or BERTLib owners are given. And finally, one has to pay 2.50 Euros just to see a sample of a font. All that makes me think that this company is one of businessmen rather than passionate type designers. Typefaces from these type designers/foundries have been or are being converted right now: Aldo Novarese, American Typefounders, Bernd Möllenstädt, Bertram Grosvenor Goodhue, Bruce Rogers, Claude Garamond, David Quay, Eric Gill, Erik Spiekermann, Facsimilie Fonts, Frederic Warde, Friedrich Berthold, Georg Trump, Giambattista Bodoni, Gustav Jaeger, Günter Gerhard Lange, Hermann Hoffmann, Herbert Post, Inland Type foundry of St. Louis, John Baskerville, Justus Erich Walbaum, Karl Gerstner, Louis Oppenheim, Morris Fuller Benton, Nicolas Cochin, Otl Aicher, Schriftenatelier Taufkirchen, Thomas Maitland Cleland, William Caslon. I created this page with remarks on their fonts. [Google] [More]  ⦿

    Berton Hasebe

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

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

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

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

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

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

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

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

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

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

    In 2020, he released Review (Condensed, Poster, Regular) at Commercial Type, which writes: Berton Hasebe originally drew Review (née Kippenberger) for T: The New York Times Style Magazine. In 2018, a new editor in chief pushed for a complete reimagining of the magazine. What had primarily been an image-focused publication evolved into a text-driven one, with the squarish, commanding Review doing much of the heavy lifting. To facilitate tight setting both horizontally and vertically, Hasebe sheared off Review's overshoots and blunted its exterior curves, producing a dynamic tension with its round counters.

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

    Christian Schwartz and Berton Hasebe originally designed Feature for T: The New York Times Style Magazine in 2018, and wrote: Diagonal stress, mismatched contrast between main strokes and serifs, and sharply angled head serifs conspire to give the face tension, dynamism, and immediacy. The collection has been expanded in 2021 for release by Hrvoje Zivcic, who expanded the weight range and drew italics for the entire collection. Feature Collection now includes Feature Text, Feature Display and Feature Deck. Feature [Google] [MyFonts] [More]  ⦿

    Bertram Kaiser
    [Kaiser Type]

    [MyFonts] [More]  ⦿

    Bertrand Emaresi

    Swiss designer at Font Nest of Miss Hardcore (a macho sans), Miss Suisse (revival of an old Swiss dot matrix passport type), Miss Monde, Miss Cosmos (monospaced didone), Miss Vesalis (revival font from the De humani corporis fabrica, written by Andrea Vesalis in 1555), and Miss Potatoe (grunge family, with Jacques Borel). [Google] [More]  ⦿

    Bertrand Galimard Flavigny.

    Author of La Chronique du bibliophile: La typographie des Didot. [Google] [More]  ⦿

    Bertrand Reguron

    French designer of Achille FY (2012, a slab serif typeface done with Gia Tran, Alisa Nowak, Valentine Proust, Elvire Volk, and Gregori Vincens). This typeface was published at Fontyou.

    Codesigner of Kaili FY (2013: an exotic typeface with crazy ligatures, inspired by Indian scripts, by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak) at Fontyou.

    The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards. The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens co-designed the curvy stressed elliptical sans typeface Bruum FY (2013). In 2013, Denis Moulin, Bertrand Reguron, Valentine Proust and Laurène Girbal co-designed the hipster typeface Theory FY (2013, alchemic).

    In 2014, Gia Tran and Bertrand Reguron co-designed the zombie script Vidok FY (free at Dafont).

    The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.

    Bertrand Reguron, Alice Resseguier and Gia Tran co-designed the retro signage script typeface Coco FY (2014). [Google] [MyFonts] [More]  ⦿

    Best fonts of 2005 (Jan-Jun): Typographica

    The Golden Globe Awards of type design, nominated by regulars at Stephen Coles' Typographica, a selection from the ground up. I feel these are the true winners---unlike all those awards for which one has to apply, pay a fee and be subject to the scrutiny of a "selection committee". Masterfully brought to you by Stephen Coles---bravo! As Stephen himself notes this year (2005), there are three trends: (1) Gone are the days when large commercial outfits put out the bulk of serious type. Nine of the 14 top selections come from one-man studios. Meanwhile, several of the big boys (ITC, Linotype, Monotype, URW) are absent. (2) Nearly every featured font is available in OpenType, and many exclusively so. (3) Xavier Dupré: the Cambodia-based Frenchman is perhaps todays most productive single source of creative type design, rivaled only by Christian Schwartz. Drumrolls:

    • Lisboa (Ricardo Santos): Hrant Papazian writes: Lisboa harbors the sagacity to merely vie for — and thereby achieve — a simple Iberian warmth, something especially difficult in a sans. In the severely over-crowded field of humanist sans-serifs, Lisboa distinguishes itself through completeness (including expert characters and two numeral styles) and technical sophistication (as in its trapping), but mostly by providing two subtly varied cuts: one that helps exhibit the design's particular character; and another that eschews detail for maximal clarity in small sizes.
    • Freight (Joshua Darden). Dyana Weissman: While we move out of the era of the antiseptic sans-serifs, Freight offers refreshing anomalies that warm up the design.[...] This family is insane. Not only because of the 100 styles, but also because of its charming little quirks.
    • Ministry Script (Alejandro Paul). Paul Hunt comments: How do you convey sexiness with type? Use a sultry script face. The only thing more typographically titillating might be a set of canoodling ligatures.
    • Garamond Premier Pro (Robert Slimbach).
    • Deréon (Jean-François Porchez). Chris Rugen writes: When I see Déreon, I see a Whitman and Dalliance mix (two of my favorites) creating something unique. Like Whitman, Deréon gets its body from the Scotch Didone Caledonia.
    • Proxima Nova (Mark Simonson). Kyle Hildebrant: It nestles neatly in a place between the geometric, grotesque, and gothic. Its generous x-height, thoughtfully balanced color, and expert typographic features (small caps, text figures, lining figures, etc.) position it as a prime candidate for extended textual setting.
    • Zingha (Xavier Dupré, Font Bureau). Norbert Florendo comments: Reviewing Zingha is as delightful as discovering several long lost cases of unreleased ATF hot metal typefaces.
    • Vista Sans (Xavier Dupré). Stephen Coles: With its friendly quirks, Vista Sans is a lot like Tarzana — another Emigre font — but succeeds everywhere Tarzana fails. The more distinctive glyphs feel harmonious with the rest of the font, never jarring. Gentle swashes and a large x-height make for a friendly sans that would work just right in so many settings.
    • Cézanne Pro (James Grieshaber).
    • FF Maiola (Veronika Burian). Dan Reynolds drools: Just when you thought your collection's text categories were set, Veronika Burian burst the stable doors open, reviving the Czech genre and its warm idiosyncrasies. A “warm” typeface? FF Maiola solves this puzzle using discrete play of irregularity and multiple angles, hearkening back to Menhart and Preissig's approaches.
    • Maple (Eric Olson). Mark Simonson: Other type designers have mined the 19th century English grotesque, but Eric Olson gives it an energetic crispness which makes earlier attempts seem a bit stuffy. Maple captures the exuberant quirkiness of the grots without slavishly imitating them.
    • Garda (Mario Feliciano). William Berkson notes: With great elegance and style—and alternative characters and ligatures—the set offers superb alternatives to Trajan, Optima, and Futura for titling.
    • Litteratra (Karsten Lücke). Yippie! Keep it up, Karsten! Joshua Lurie-Terrell: It's a sort of roman amalgam of textura and Schwabacher, channeling the expressionist spirit of Vojtech Preissig. [...] It's an entire historical movement.
    • Relato (Eduardo Manso). My compatriot Yves Peters: Emtype Relato combines Dutch purposefulness with Latin sensuality. Its serifs are constructed following a clever principle, and the typefaces look simply gorgeous.
    Honorable mentions: FF Absara Sans (Xavier Dupré), Amor (František Storm), Arrival (Keith Tam), Avebury Black and Open (Jim Parkinson), Ayres Royal (Gert Wiescher), Bembo Book (Robin Nicholas), Bluemlein Scripts (Alejandro Paul), Botanika (Tomáš Brousil), Cabazon (Jim Parkinson), Chocolate (Angel Koziupa and Alejandro Paul), Crank8 (Greg Lindy & Henk Elenga), Deutsche Bahn [PDF] (Christian Schwartz and Erik Spiekermann), Dynasty (Rian Hughes), Fedra Sans Display (Peter Bilak), Flama (Mário Feliciano), Galicia (Rian Hughes), Gill Sans Pro (Monotype), Groovin' (Jason Walcott), Handsome Pro (Nick Shinn), Happy Hour (Jason Walcott), Incognito (Gábor Kóthay), Kaffeesatz (Jan Gerner), Kingfisher (Jeremy Tankard), Lapture (Tim Ahrens), Mashine (Tim Ahrens), Mercury Display & Text (Jonathan Hoefler & Tobias Frere-Jones), Miserichordia (Rian Hughes), Modesto Text (Jim Parkinson), Morice (Stephen Banham), Nerva (Dino dos Santos), Nicholas (Nick Shinn), Ogravan (Tomáš Brousil), Paperback (John Downer), Propane (David Buck), Radiogram (Rian Hughes), Rough Riders and Redux (Michael Hagemann), Sculptura (Jason Castle), ITC Stone Humanist Sans (Sumner Stone), Soap (Ray Larabie), Sovereign (Nick Cooke), Tamarillo (Jason Walcott), Tourette (Jonathan Barnbrook), Wanderer (Michael Hagemann). [Google] [More]  ⦿

    Best fonts of 2006: Typographica

    Stephen Coles and Joshua Lurie-Terrell publish their list of the 23 best fonts of 2006. These are the Oscars of type design. A summary:

    • Guardian, by Paul Barnes and Christian Schwartz. Not yet available for licensing. Proprietary license expires in 2008. Carl Crossgrove: A slab-serif design with a large x-height, low contrast and open aperture, the Guardian superfamily (including the subfamilies Guardian Egyptian, Guardian Sans, Guardian Text Egyptian, Guardian Text Sans, and Guardian Agate) offers the designers of the newspaper a galaxy of expressive weights which most certainly fit the various editorial tones required of such a publication.
    • Titling Gothic, by David Berlow. Mark Simonson says: According to the Font Bureau's promotional copy, Titling Gothic was inspired by Railroad Gothic. To me it feels a more like old standbys Univers and Helvetica, but with the panache of custom-lettered advertising headlines from the fifties and sixties.
    • Estilo, by Dino dos Santos. Chris Rugen states: The geometric simplicity of the characters is the basic step in this stylish Deco face's surprising range.
    • Exchange, by Tobias Frere-Jones. Proprietary commission. Not available for licensing. Commissioned as a replacement for the Wall Street Journal's DowText. Christian Schwartz says: The real genius of this typeface is that it still has enough formal ties to DowText that I really doubt whether many of the readers will notice a difference.
    • Darka, by Gabriel Martinez Meave. Mark Jamra raves: Darka is a fine achievement — not only for its crisp tension and accomplished nuances, but also for its sheer inventiveness. He has thrown the revivalists' rules out the window and, operating from what is obviously a firm understanding of blackletter forms, has created a hybrid which combines elements of gothic cursives, frakturs (uppercase and ascenders) and French lettre bâtardes (lowercase) with a hint of the Spanish-influenced Rotundas thrown in for good measure.
    • FF Milo, by Michael Abink. Cheshire Dave comments: It's like a more modern, more square Gill Sans. The legs and tails (e.g., roman ‘K' and ‘R', italic ‘h', ‘k', ‘m', ‘n', and ‘x') have personality without dominating the design. Anyone searching for a versatile sans would likely be very happy with FF Milo.
    • Fabiol, by Robert Strach. Tim Ahrens loves it: Compared to most other Garalde fonts Robert Strauch's Fabiol is less rational. It has a very sensual touch and an almost "hand-made". It is not irregular or pretentious.
    • Rumba, by Laura Meseguer. Jan Middendorp loves it: Script typefaces are published at a dazzling rate nowadays; but Rumba is one of the most personal and most intelligent ones I've seen in a while.
    • PTL Skopex, by Andrea Tinnes. Jan Middendorp again: With the Gothic expecially, Andrea Tinnes achieved an overall text image that is quite original: it doesn't emanate the late-modernist chill of a latter-day Helvetica or Akzidenz, nor does it try to be “warm” by conforming to the humanist model. If anything, it's close to some American gothics, but becomes more German as it gets bolder. An interesting hybrid.
    • Omnes, by Joshua Darden. Armin Vit comments: The italics truly stole my heart. If you can look at Omnes Black Italic and not feel joy, you have Yoohoo running through your veins and you should get that checked. Omnes is chameleonesque. Last year we designed the identity for a non-profit organization devoted to fighting childhood obesity and we used Omnes for each kind of application and audience without missing a beat.
    • Paperback, by John Downer. Paul Hunt states: Paperback's handsome appearance is enhanced by a range of optical sizes, so everything from miniscule body copy to ginormous headlines looks clean and crisp. The roman exhibits a warmth that is absent from most typefaces following the same rationalist construction principles.
    • Margie Script, by G. Marggraff, Dan X. Solo. Anna Malsberger: Margie is a sexy, robust script that commands attention, a typeface that knows how to play a crowd. Wearing ball terminals and flauncy flourishes like big baubles and gauzy scarves, you might think she was compensating for a lack of substance.
    • Eudald News, by Mário Feliciano. John Downer's opinion: This is a new set of four additions to Mário Feliciano's previous interpretations of typefaces by the 18th Century Spanish punchcutter, Eudald Pradell. The fonts form a handsome quartet: diverse in scope, yet sufficiently tame for newspaper work.
    • KLTF Tiptoe, by Karsten Lücke. Dan Reynolds says: Like his TDC2 Award winning KLTF Litterata, Tiptoe is subtly inspired by early blackletters. Just as scribes would fit more letters onto a page by breaking the curves on their strokes, Karsten tells the forms in Tiptoe who's boss. Instead of letting the curves themselves define weight growth, his unorthodox angles allow for more density without sacrificing letter integrity. The result is a heavy typeface with surprisingly open counters and increased legibility.
    • Odile, by Sibylle Hagmann. Following Yves Peters: Odile is definitely not some half-arsed “fun font” with curly bits all over. The initial caps have a perfectly balanced, interesting texture with carefully designed curves, which are contrasted with abruptly placed straight lines. Just the right amount of flair is added in the Initials, whereas the playful and intricate Deco Initials look like modern reinterpretations of medieval illuminated capitals.
    • Palatino Sans, by Hermann Zapf and Akira Kobayashi. Hrant Papazian comments: The confluence of competence, freedom and kiai (more on that below) evident in Palatino Sans is breathtaking. The sober organicity, the bravado of the raised ‘r', the confident flair of the italic; all done before, but never in such a usable, contemporary whole. The texture of its setting is dynamic yet serene, reminiscent of a masterful exhibit of martial arts. Officially, the brilliance of this effort is ascribed to the old master, Zapf. But I, for one, have to wonder whether this isn't essentially a product of Kobayashi instead, delivering a personal showing of bujutsu.
    • Freight Big and Display, by Joshua Darden. This one was expected by all typophiles. Dyana Weissman explains: This family is insane. Not only because of the 100 styles, but also because of its charming little quirks. The tail of the ‘G', the italic ‘i's, the delicious ‘k'. While we move out of the era of the antiseptic sans serifs, Freight Sans offers refreshing anomalies that warm up the design.
    • Young Finesse, by Doyald Young. According to Peter Bruhn: I am in love with Young Finesse! The subtle slim calligraphic strokes is pure beauty. Based on classic Roman proportions — like a modern, slim and gentle serifless version of Van Krimpen's Lutetia and clear references to Hermann Zapf's Optima — it transcends all references and takes it step further.
    • Esta, by Dino dos Santos. Brad Pityo says: It possesses the characteristics of recent serif typefaces — like Fabiol, Delicato, and Relato — with a Mediterranean-Catalan twist. If Esta's warm and curvy teardrops don't win you over, its versatility will. Esta is economical and humble when set small, but its strokes and counterspaces can also dance beautifully — in a postmodernist sort of way, believe it or not — when set large.
    • Luxury, by Dino Sanchez and Christian Schwartz. Kris Sowersby comments: No longer shall we slum it with Helvetica, fake it with Trajan, or be shamed by out-dated Optima. The Luxury Collection is made available and affordable to us lowly typographic peons and our budget-conscious clients by the style mongers at House Industries.
    • Deutsche Bahn, by Christian Schwartz, Erik Spiekermann, and Tal Leming. Proprietary commission. Not available for licensing. This impressive comprehensive system of fonts was made for the German national rail system (Deutsche Bahn AG) and you can't buy it. Richard Kegler: This practical and well-considered type system was made to suit the many needs of the client and performs with utmost efficiency. It looks great too. However, Linotype and URW++ (as DB Display: 2017) now seem to sell it. In 2007, Schwartz and Spiekermann were awarded a gold medal by the German Desig Council for this system of fonts.
    • Confetti, by Josep Patau. Stephen Coles himself writes: Confetti hits the market at just the right time, joining Signal, Loupot, Zigarre, and Coptek in a group of underexposed retro scripts. Patau writes: The Confetti is a typeface created about 1930 by the defunct José Iranzo foundry in Barcelona, and imitates the forms and gestures of handwriting created with a round nib as Speedball Series B. The original typefaces were a pair, called Escritura Energica and Escritura maravilla.
    • Amalia (OurType), by Nikola Djurek. Eben Sorkin mulls: a type family quietly breaking conventions of matching serifs, modes of contrast, and letter shape — all to good effect. Amalia feels open and approachable despite its Didone contrast usually associated with formality and authority. It also features a finely restrained but almost cheeky exuberance.
    [Google] [More]  ⦿

    Beta Field
    [Michael Leighton Beaman]

    Here is what Beta Field is, in their own words: Beta-field is an interdisciplinary design/research office with a multimodal approach to practice. Our work includes buildings, landscapes, environments, installations, exhibitions, texts, design workshops and research projects. With backgrounds in architecture, industrial design, landscape architecture, and exhibition design, along with experience working as researchers, designers, and educators, we developed a view of design practice that operates through various modes of inquiry, development, and production. We focus not only on the built environment, but also on the effects of design on knowledge, technology and culture.

    The principals are Michael Leighton Beaman and Zaneta Hong. Michael holds a Bachelor's degree in Architecture from North Carolina State University and a Master's degree in Architecture from the Harvard University. He teaches at the University of Virginia and is associated with the Rhode Island School of Design. His research covers speculative future of technology in architecture. Zaneta is a professor in landscape archirecture at the University of Virginia, where she teaches courses in information-based digital practices and materials systems and technology.

    One of Beta Field's projects is the decorative didone typeface Pistilli Mutatio (2017). It is a parametric digitization of John Pistilli's 1964 phototype typeface Pistilli Roman. [Google] [More]  ⦿

    Bianca Trezza

    Graduate from FADU, University of Buenos Aires, who created the didone typeface Mifont (2008). [Google] [More]  ⦿

    Biblioteca Bodoni

    One can view Bodoni's work here. The sample images are small and basically useless. No PDF downloads. [Google] [More]  ⦿

    Big Jack

    Designer of the black didone typeface Bernie (2005). [Google] [More]  ⦿

    Bill Garth
    [Compugraphic Corp.]

    [MyFonts] [More]  ⦿

    Bill Livingstone

    Toronto-based designer of the Arts & Crafts scrapbooking style typeface Crafty Font (2013) and of the wood type Bauer Bodoni-inspired slab serif Bodoni Block Font (2013).

    In 2016, he designed the geometric wedge serif typeface Equinox. Behance link. [Google] [More]  ⦿

    Bill Troop

    Bill Troop, a phenomenal wordsmith, runs Graphos. Just read this quote: Typeface Design is obtuse, incomprehensible, unsuitable, unremunerable, and irresistable. With the aid of the computer, it has never been easier to design a typeface, and never easier to manufacture one. Because of PostScript, TrueType, and font creation programs like Fontographer, Font Studio, and Font Lab, there have never been more typeface designs available, nor have there ever been so many typeface designers active. Yet, just as at all times and places there is very little good of anything to be had, so there are remarkably few fine typefaces available today. Printers now have merely a fraction of the first rate types they had in 1930. He is active in the typophile community, where he is a fervent supporter of high quality and ethical typography. Bill Troop (b. Montreal) grew up in New York and London. He studied classical piano, type design, photography and writing. He is married to the novelist Elspeth Barker, and lives in England.

    Bill designed Busted (2008, Canada Type: grunge family) and the luxurious families Didot Headline (2009, Canada Type) and Didot Display.

    From 2009 until 2011, he cooperated with Patrick Griffin at Canada Type on a monumental revival of Alessandro Butti's Semplicità typeface---the new family is called Semplicità Pro. The designers write: Bill and I spent some time looking closely at Futura, the instant popularity of which in the late 1920s triggered Butti's design. This was for the most part a pleasant process of rehashing what constitues a geometric typeface, musing over the fundamental phallacy of even having such a classification in type while in reality very little geometry is left after the application of the optical adjustments inherently needed in simplified alphabet forms, trying to understand how far such concepts can go before entering into minimalism, and scoping the relativity between form simplicity and necessary refinement. Mostly academic, but very educational and definitely worth the ticket. [...] For an answer to Futura, Semplicità was certainly quite adventurous and ahead of its time. It introduced aesthetic genetics that can be seen in popular typefaces to this very day, which is to say eighty years later. Though some of that DNA was too avant-garde for the interwar period during which Semplicità lived out its popularity, much of it remains as an essential aesthetic typographers resort to whenever there is call for modern, techno, or high-end futuristic appeal. The most visibly adventurous forms at the time were the f and t, both which having no left-side crossbar, with the f's stem also extended down to fully occupy the typeface's descender space. Aside from those two letters, Semplicità's radical design logic and idiosyncracy become more apparent when directly compared with Futura. [...] Futura attempted to go as far as geometry could take it, which ultimately made it too rigid and considerably hurt its viability for text setting. Renner himself acknowledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanist aproach applied to some forms, all of which went nowhere because Futura's momentum and revenue were deemed undisruptable by some- thing so trivial as aesthetic or functionality. William Dwiggins' Metro design, a direct descendent of the Renner's design, went almost diametrically the opposite way of Futura, with the deco facets considerably magnified and the geometry toned down. Butti decided a design that finds the middle ground in that aesthetic tug of war was probably a better idea than either extreme.

    In 2016, Patrick Griffin and Bill Troop co-designed Bunyan Pro, which 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. [Google] [MyFonts] [More]  ⦿

    Bill Troop
    [Adagio Type Foundry]

    [More]  ⦿

    Bitstream Vera Fonts
    [Jim Lyles]

    The Bitstream Gnome project has released a free no-strings-attached typeface family Vera (2003) for the Linux world. Developed by Bitstream's Jim Lyles, Vera comes in didone Serif, Sans and Sans Mono versions, with Bold, Oblique and Bold Oblique weights. The Sans Mono families have a characteristic dotted zero and an almost Z-shaped lower case l, and are in my view far from optimal. The serif fonts are a bit like Carter's Georgia.

    See also here. Download also here or here. Jonathon Delacour complains about the lack of macroned characters, and compares various web browsers and font families.

    Alternate download site. Fontspace link. [Google] [More]  ⦿

    Björn Gogalla
    [Letter Edit]

    [MyFonts] [More]  ⦿

    Blank is The New Black
    [Thomas Johnson Quinn]

    Graphic design studio located in Chicago, IL, which was founded in 2011 by graphic designer Thomas Johnson Quinn (b. 1980, Two Rivers, WI), a graduate of the Rhode Island School of Design (2003).

    In 2009, he created the 4-style pixel/dot matrix family Versteeg. Along the same theme, he made Niemi (2010), Toews (2010) and Huet (2010).

    In 2012, he created the extreme contrast didone typeface Volterra.

    In 2016, he made Pocketknife (sharp-edged and influenced by constructivism).

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

    Blaze Type Foundry (was: Adèle Type Foundry)
    [Matthieu Salvaggio]

    Lyon, France-based designer founded first Adèle Type Foundry and in 2018 renamed it Blaze Type Foundry. Creator of these typefaces:

    • In 2021, Tim Vanhille, Léon Hugues and Matthieu Salvaggio co-designed the blackletter font Emeritus at Blaze Type.
    • Area (2020). Area is a variable typeface family of 88 grotesque fonts. Interestingly, all styles have an inktrapped version.
    • Inferi (2019). Inspired by garaldes.
    • Oroban (2018). A high-contrast text typeface in six styles, Oroban Masuria & Italic, Oroban Hermonthica & Italic and Oroban Elegans & Italic. The name is unrelated to Hungary's despot, Orban.
    • AT Apoc (2017-2018), short for AT Apocalypse. A text typeface that exhibits angst in the face of a bellicose American crackpot. In 2020, varialble and Cyrillic options were added.
    • AT Surt (2017). A 54-style Scandinavian sans typeface family, expanded in 2018. In Normal, Expanded and Extended widths.
    • Scriptures Memoriam (2017). A didone.
    • Scriptures Keops (2017). A didone with angular modifications inspired by blackletter type.
    • Arges (2017). A very condensed American headline sans, updated in 2019.
    • Osmose (2017). A "neoclassical grotesk". He writes that all of his licenses have been sold. Huh?
    • AT Global (2017). A sans.
    • Vuit Grotesk (2016). Not part of the Adele collection.
    • S1 (2013). A sans typeface designed during his studies at L'École européenne supérieure d'art de Bretagne (2012-2014). Not part of the Adele collection.
    • AT Inexpugnable. A free font that was promised for 2017.
    • AT Goliath. A free font that was promised for 2017.

    Behance link. I Love Typography link. Cargocollective link. Type Network link. [Google] [More]  ⦿

    Bling Studio
    [Florencia Alvarez]

    Florencia Alvarez (Bling Studio, Buenos Aires, Argentina) is a graphic designer and illustrator. She created the powerful classical condensed didone-based headline typeface Fleurs du Mal in 2014. A free download is promised soon. [Google] [More]  ⦿

    Blue Vinyl
    [Jess Latham]

    Blue Vinyl (est. 1997) has free and commercial designs by Jess Latham (b. 1974, Birmingham, AL).

    The early typefaces (before 2003): Grumble (1999, grunge), Hot Fudge (2003), Dia De Los Muertos BV (2003, Halloween-style dingbats), Delorita BV (2003), Dance Craze (2002), Redford (2002, black display font), CharmsBV (2002, dingbats), LearningCurve BV (for children), HornyDevils, Princess (girls stuff dings), TurnTable (2001), Vinyl Smooth (2001), StereoLab, 60sChic, Airwave, Cafe Noire, Lucky Charms, Punk Rock, Chains, Slasher, Blue Melody, Sugar Coma (1999, junk food dingbats), Metal on Metal, Hearts, Crushed Out Girl, Nuwave, Deco Cafe, Screen, Rock Star (dingbats), Gothic Ultra Trendy, Film Star, Mary Jane, Turning Japanese, Lushus, Rockabilly, (my favorite thick display letters) Moma Grape, Modular 2000, Cyber Phonic, Comic Zine (3d), Grrlz Stuff, Retro Bats, Terrible Nervz, Pop Up, Moonbow, Tropicana (Luau dingbats), Tiki Tooka, That 70's Ding, Karaoke Superstar, Pippi, Pocket Calculator, Kool Ding, Kool Ding 2, LittleTroubleGirl, Grumble, SeeingStars, AllStarBV, Awesome80sBV, HellcatsBV, HotRodGangBV, Stereolab, SweetHeartsBV, BumbleBeeBV, CandyStoreBV, CHAINSColorFill, ComicZine, CHAINS, EeronautsBV, Charms, Film-Star, JimmyDoodles, LooseCruseBold, LooseCruse, MODULAR, MonkeyWrench, OneTrickPony, PubertyStrike, PUNKROCKColorFill, PUNKROCK, Plexifont (see-through letters), SeeingStars, SooperDooper, TerribleNerves, Pandamonium BV, TrickorTreatBV, WebstarBV, Sonic Reverb (2003), Jacks (2003), Rodeo Girl BV (2003, handwriting), Jacks BV (2003, free), Majorette, Albedo, Retroclassics (two dingbat fonts), Westmore BV, KnockOut, Spellbound (2000), Speedway, Chocolate Mint Surprise, Pinky, Sparky, Glamorous, Bohemian Garden Party (1999), Fashionista (brush), Pink Martini, ValentinesBV, Macrame BV One (2002, single, double and triple-lined commercial font), Macrame Super Triline (2002), Redford BV (2002), Charms, Wedding Wishes (2002, dingbats), Bric A Brac BV (2002), Meringue BV (2002, handprinting), Retro Classics 3BV (2002, dingbats), Roller Baby BV (2003).

    2004: Swan Song (calligraphic), Shimmer (connected cursive handwriting), Spin Cycle, Rock Star 2.0 (dings), Gros Marqueur (marker pen typeface).

    2005: MyScars, My Bleeding Scars, Azuki (Japanese brush simulation), Taroca, Taroca Extras.

    2006: BV Sans (2006), PrintClearly (2006, children's orthographics).

    2007: Save Her (ecological dingbats), Confection (fancy script), Parsley Script, Pointed Brush.

    2008: Synthetique (dot matrix), Lavender Script (calligraphic), Giant Head (ultra fat signage face), Synthetique (thin dot matrix), Print Clearly, Dashed and Bold (simple sans), Disko (comic book style).

    2010: Darlena (a swashy didone), Italian Hand (a connected script), Love Romance (Valentine's day dingbats), Patchouli Display (2009-2010), Secret Admirer (connected script).

    2011: Fancier Script (signage face), Garden Brush (a flowing brush script).

    2013: Blue Vinyl (signage script). Barmbrack (a decorative, almost sign-painted typeface).

    2014-2015: Felt That (connected marker script).

    2016: Relation (connected retro brush script).

    2017: Head Turn (handwriting), Said In Script (handwritten cursive script).

    2018: Enticing Script.

    2020: Fudge Sauce.

    Fontspace link. Font Squirrel link. Dafont link. Klingspor link.

    View the typefaces made by Blue Vinyl. [Google] [MyFonts] [More]  ⦿

    BluGraphic (or: Graphic Pear)
    [Wassim Awadallah]

    BluGraphic (Wassim Awadallah, Beirut, Lebanon; but also claimed to be in Bern, Switzerland) specializes in free vector format graphics and typefaces. These include the modular sans typeface family Form (2014), and a collection of vector format icons (2013), weather symbols (2013) and arrows (2014). In 2017, he designed the tall sans typeface Giraffey, Viana Script, Valencia, Quenos (didone caps), Soigné (italic fashion mag typeface), Rhama Gothic (blackletter), Florence Script, Alvania, Prink Script, Virtuous Slab, Less Sans, Amigo Script and Holland Script. In 2018, he designed Strain and Tempo (a free modular typeface).

    Typefaces from 2019: Lemon&Fresh, Germany (script), Cremona (a free fashion sans), Designer (sans). Behance link. BluGraphic link. [Google] [More]  ⦿

    Bob Tennent

    Canadian computer scientist who used to be at Queen's University in Kingston. In 2006, he published the TeX support files for URW's free family URW Classico (2006), which itself is a free clone of Zapf's Optima. In 2009, he created figbas package for TeX, which contains three Postscript Type 1 mini-fonts cmrj, cmssj, plrj (and associated map file and metric files) with just five "ligatures" for the combinations 2+, 4+, 5+, 6+, and 9+ used in figured-bass notation in baroque music. The fonts are intended for use with Computer Modern (cmr), Computer Modern Sans (cmss), and Palatino/Palladio (pplr), respectively. The PostScript names are FiguredBassComputerModern, FiguredBassComputerModernSans, and FiguredBassPalatino.

    In 2012, he created type 1 versions of two large font packages, Philipp H. Poll's Biolinum and Libertine. [Google] [More]  ⦿

    Bobby Nikolaev Marinov
    [Evolutionfonts]

    [MyFonts] [More]  ⦿

    Bodoni (Dave Farey)

    Dave Farey's great essay on the history and implementations of Bodoni. All Bodoni typefaces published today have genetic material from Giambattista Bodoni's original. Below are various implementations:

    • ATF/Monotype Bodoni, originally designed by Morris Fuller Benton in 1907, and used by Monotype in the 1930s. Linotype's version. Adobe's version. Ultra weights sold by URW as Bodoni No 2. Libre Bodoni (2014, a free font family by Pablo Impallari and Rodrigo Fuenzalida) is based on Benton's Bodoni.
    • Bodoni Modern (R.H. Middleton, 1930s, for the American Ludlow foundry). See his 1936 Bodoni Campanile, sold by Bitstream as Modern 735. URW offers Black and Stencil weights.
    • Bauer Bodoni (Heinrich Jost, 1926). Dave Farey argues for its delicacy but still calls it a bastard. Neufville has the original design, with Linotype, Bitstream, Adobe and URW offering derivatives.
    • Berthold Bodoni Antiqua (1935), a descendant of ATF Bodoni, resurrected in the 1970s by Günter Gerhard Lange. This was continued by Karl Gerstner in the 1980s and is available as IBM Bodoni from URW. See also the URW version of Bodoni Antiqua.
    • Berthold Bodoni Old Face was designed in 1983 by Günter Gerhard Lange
    • WTC Our Bodoni designed by Massimo Vignelli in 1989 for the World Typeface Corporation. For display only. Related to the ATF version.
    • FF Bodoni Classic (FontShop, 1994). Designed in a two-year period by Gerd Wiescher, this is the first Bodoni version that tried to stick closely to Bodoni's original drawings. Farey complains that the italics are not tilted enough though. Check also Wiescher's FF Bodoni Classic Handdrawn (1997).
    • ITC Bodoni is another faithful interpretation developed by Sumner Stone, Holly Goldsmith and Jim Parkinson. These come in 6, 12 and 72 point ranges and form an extensive extremely useful family. Versions sold by URW and Linotype.
    • Bodoni Old Fashion by URW.
    • Bodoni Classico, designed by Franko Luin at Omnibus.
    • FB Bodoni: just two digitizations based on Benton's 1933 Ultra Bodoni Extra Condensed, by Richard Lipton in 1992. Clearly, for display only.
    • URW Bodoni.
    • Linotype Gianotten: Created by Antonio Pace in 2000, this typeface is said to go back directly to the Bodoni Museum in Parma.
    • Ambroise, Ambroise Firmin (condensed) and Ambroise François (2001, extra condensed), 30 fonts in all, are splendid fonts named after Ambroise Didot by their creator, Jean-François Porchez. Many say that they are closer to Bodoni than to Didot--just look at the question mark, but Porchez based his work on late style Didot's published around 1830.

    View various Bodoni Antiqua / Bodoni Old Face typefaces. [Google] [More]  ⦿

    Bodoni: Rodolfo Capeto

    Rodolfo Capeto on Bodonis: ITC Bodoni, mentioned by William, is very good. Of its three 'optical' variants, ITC Bodoni 72 and ITC Bodoni 6 were based on, respectively, a large and a small Bodoni original design. ITC Bodoni 12 was an interpolation of these two. Gunter Gerhard Lange's Berthold Bodoni Old Face is another revision that tries to bring some irregularity and "humanity" to the design. In this it contrasts with the earlier Berthold Bodoni, which is quite "geometric". [Google] [More]  ⦿

    Bodoni: Thierry Bouche

    Thierry Bouche's opinion on Bodoni: Digital prepress must have lost something on the road. Personally, the digital didone I prefer is Linotype Didot by Frutiger, although it's somewhat suboptimally spaced, the letter shapes are brilliant (including the italics). It works well for text and has very nice display caps for titling or dropping. Most other didots/bodonis are either draft-horses which correspond to some low contrast unelegant newspaper typefaces, or luxury toys like hoefler's. I liked very much the Oldface concept by Berthold, but never found any use to it: if somebody could point me towards some interesting&effective use of it, I'd be glad.

    He continues: Most of XIXth century books and even newspapers were printed using didones (well, newspapers rapidly evolved towards what blackwell calls transitional mécanes). On some great works by Firmin-Didot (like Racine's complete theater work orginal edition) for which he designed the most excessive and radical didone with hair-thin serifs, the 10 pt text is a pure pleasure to read at length. This required a very smooth paper and careful printing, but it worked. It is strange to see that the digital technology has not found yet the way to this level of quality. Yes, digital didots are hard to use as text typefaces; they're superb at very high res&large point size, but fail to work for text. This is not the design's fault, but technology's (or implementation?).

    Erich Alb adds about Linotype Didot: I like that one too. The story is, that after the possibility of high resolution on Printers Adrian Frutiger decided together with Linotype, to produce a new Didot. AF [Adrian Frutiger] became from an Antique Book dealer in Pairs an original copy of a Didot Book, (printed letterpress of course) and took the forms from there, but gave a personal note to his new typeface. He wanted to have the greatest contrast as possible in . However, AF knew that it only was possible to set in Display size, he never thought to used in 8 pt. However, the type is still not so much in use. Probably hasn't been discovered enough. [Google] [More]  ⦿

    Bodoni Ultra

    View various digital implementations of Bodoni Ultra. [Google] [More]  ⦿

    Bodoni Z37
    [Ray Larabie]

    In 2020, Ray Larabie published the 96-style didone family Bodoni Z37. Almost all current Latin-based languages are supported as well as Greek and Cyrillic. Four weights, four widths, italics and three optical sizes (Z37L for large, Z37S for small and Z37M for medium) multiply to 96 styles. He writes: what really sets it apart from other typefaces in its category are flat sides and a geometric deco style. [Google] [More]  ⦿

    Bodoni's books

    Adam Koster from Oak Knoll in Delaware describes three of Bodoni's publications:

    • "FREGI E MAJUSCOLE INCISE E FUSE DA GIAMBATTISTA BODONI, DIRETTORE DELLA STAMPOERIA REALE". Parma, Italy: 1771. First edition of Bodoni's first type specimen book. It contains a preface by Bodoni describing the types and ornaments used in the earlier part of his career showing his admiration for the rococo style of Fournier, whom he copied in a flattering manner. "Granted that the most agreeable features of the book are copied, this "specimen" of 1771 is one of the most tasteful and charming volumes of its kind in existence.  Each page is surrounded with borders, of which scarcely one is bad, or scarcely two alilke.  The types are old style, but their delicacy shows current tendencies, being especially true of the italic.  The book is enormously instructive to compare with Bodoni's great, chilly masterpieces, the "Oratio Dominica" and the "Manuale Tipografico" of 1818"  (Updike, Printing Types, Vol. I, p.184). Illustrated with more than 400 type ornaments and several pages of capitals...Majuscole ornate e CARATTERI Moderni.  Giambattista Bodoni (1740-1813) had recently (1768) been appointed director of the Duke of Parma's private press, the Stamperia Reale,  on his way to becoming the most celebrated printer in Europe, and a leader in the development of the modern letter form. " If (Bodoni) was careful in his choice of paper, he relied still more on his type and from 1771 onwards issued a series of typographic manuals, which show the love and labour that he was continuously lavishing on the fashioning and perfecting of this weapon...there is something peculiarly satisfying in the thought of this man through all the vicissitudes of one of the most stormy periods of European history, heedless of changes of regime, cheerfully, unswervingly and successfully pursuing his artistic ideals (Brooks, preface, xi)."  With the Borghese family coat of arms gilt-stamped on front boards. The Borghese family, originally from Siena and later from Rome, produced one pope, Paul V, several cardinals, many prominent citizens, and were noted patrons of the arts and letters.
    • "Epithalamia exoticis linguis reddita. Parmae Ex Regio Typographeo", 1775. With engraved title page vignette, head- and tail-pieces and historiated initals after Ferrari. Considered one of Bodoni's finest type specimen books, it contains the alphabets of twenty-five exotic languages, including Tibetan, Phoenician and Coptic. Has a poem by Conte Della Torre di Rezzonico.
    • "MANUALE TIPOGRAFICO." Two volumes. Parma, Italy: 1818. Bodoni's most substantial and famous type specimen. (Brooks 1216, Updike, Printing Types, II, pp. 169-171). This last specimen to be issued by Bodoni, "with a Discorso by his widow and Prefazione by Bodoni, appeared in 1818, five years after his death. It was completed under the care of his widow and Luigi Orsi, who was for twenty years foreman to Bodoni. Signora Bodoni, writing to M. Durand, of Metz, from Parma (November 14, 1817), says: 'The Manuale Tipografico in two volumes on papier-velin-the only kind of paper used for it-is not yet completed, but it will be, without fail, at the beginning of the coming year. I dare to believe that book-lovers will thank me for having published a volume which is so very important to Typography. The reception which it will have, will make up for the trouble it has cost me (although Bodoni has left the blocks or models for it) and the considerable expense which I shall have had to incur before it is finished. Also, in view of the fact that but 290 copies are struck off, I cannot dispose of them at less than 120 francs, without any reduction. M. Rosaspina has engraved au burin the portrait after one which the celebrated Appiani... painted in oils, which is a striking likeness.'" (Updike II, p.169) The first volume contains a discourse by Vendova Bodoni and a preface by G.B. Bodoni and is followed by the Latin type specimens. Twenty-six separate typefaces are described, each displayed in several different point sizes and most with specimens in Roman and italic. The display of the individual specimens in so many variations is particularly dramatic, the specimens for majuscole alone comprise 108 variations. The second volume displays thirty-four non-Latin type specimens including: Greek, Hebrew, Arabic, Armenian, Cyrillic, Tibetan, and many others. Many of these span multiple pages and present type in varying sizes. The Greek and Russian typefaces are the most comprehensive, with many pages devoted to large and impressive variations. This section is followed by specimens of 1036 decorative borders (Fregi), each designed to work with specific Bodoni typefaces, specimens of ornaments and rules, and specimens symbols for algebra, chemistry, astronomy, and music notation. Several of these are contained on large folding plates.
    [Google] [More]  ⦿

    Boguslaw Jackowski
    [Latin Modern fonts]

    [More]  ⦿

    Bogusław Jacko Jackowski

    Polish type designer involved in GUST.org fonts for Polish such as QuasiTimes, QuasiPalladio, QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). He developed the Latin Modern fonts (2003, type 1) based on Knuth's Computer Modern fonts. In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus. [Google] [More]  ⦿

    Bomparte's Fonts
    [John Bomparte]

    Bomparte's Fonts is John Bomparte's (b. Port of Spain, Trinidad, 1959) foundry in Wake Forest, NC. A graphic and type designer, John Bomparte was the assistant to, and a protege of renowned type designer Ed Benguiat, at the legendary Photo-Lettering Inc. It was there that John was surrounded by other great type designers such as Tony Stan, Vic Caruso, Vincent Pacella and Bob Alonso.

    John designed the art deco sans typeface Hamptons BF, and another art deco headline face, Take Two BF.

    In 2006, he published the 12-style family Blackletter Sans and the exquisite poster semi-Greek simulation art deco typeface Abstrak BF (modeled after a 1931 ATF font by Robert Foster called Abstract).

    In 2007, he surprises with the 1920s poster font Michelle BF, the hand-printed Brandy BF, its follow-up Johnny Script BF (2008), the quirky Freaky Frog BF, the dot matrix halftone effect font Subliminal BF, the frizzy Glow Gothic BF (2007), and the gorgeous swashy 3-style blackletter family Black Swan BF (2007).

    His 2008 typefaces: Jacky Sue BF (based on the hand of Jackie Geerlings), SoHo Nights BF, Hamburger Font BF (a rounded fat face), and the art deco sans serif typefaces Sidewalk Cafe BF (2008) and Hamptons BF (2 weights).

    Emerge BF (2009) is a flare serif inspired by Admiral, c.1900, from the Keystone Type Foundry. Freedom Writer BF (2009) is a connected handwriting script face.

    Danielle BF (2010) is hand-printed, based on the hand of Danielle Paradis. Factor BF (2010) is an electronic / futuristic / techno face. FingerSpeller BF (1994) is an American sign language typeface. Retroscript BF (2010) and Capistrano BF (2010) are beautiful connected scripts.

    In 2011, he added the fat felt tip pen typeface Sherbet BF and the funky rounded display typeface Dragonfly BF. In that same year, he published the stunted black wood type typeface Squat (BA Graphics, based on earlier work of or with Bob Alonso).

    Typefaces from 2012: Rockport BF (a gaspipe font inspired by 19th century wood types), Wilmington Script BF (an upright loopy connected script).

    In 2014, Seagrass BF, a connected script, and My Write Hand BF were published.

    Footloose (2015, BA Graphics) is a dynamic script typeface that was unfinished when Bob Alonso died. John Bomparte finished it.

    Typefaces from 2016: Shandy BF (a playful connected script).

    Typefaces from 2018: Petals BF. A flourished curvaceous ornamental didone.

    Typefaces from 2021: Between The Lines BF (a display typeface with some Super Veloz vibe).

    Klingspor link. Catalog of some of his commercial fonts. [Google] [MyFonts] [More]  ⦿

    Bonez Designz
    [Fiona Clarke]

    Fiona Clarke (aka Dead Duckling, Fie Clarke, and Bonez Designz) lives in Birmingham, UK, where she studied at Birmingham City University. She created the angular typeface Do You Like My Font Andy (2011), Cubee (2011, very fat and cubic), Boutique (2011, grunge), Anorexia (2011, a shrieky scribbled face), Time to Scribble (2011, sketched face).

    In 2012, Fiona added Bonez, A Gothique Time (grungy blackletter).

    Typefaces from 2013: Bernadette, Inky (heavy brush), Nebula, Harsh Hand.

    Typefaces from 2014: Mary (art deco), Bernadette.

    In 2015, she made Gothic Scribble (inky script), Sun & Rain, Apotheque, Bernadette Display, Bitter Sweet (a blackletter tattoo font) and Mary Outline.

    Typefaces from 2016: Sun + Rain, Anti, Anti Display.

    Typefaces from 2017: Farbe (dry brush script), Nineteen43 (a decorative didone pushed to extreme contrast), Maeve (art deco influenced by the didone style).

    Typefaces from 2018: Night Braille.

    Typefaces from 2020: Nineteen43 (a decorastive didone pushed to extreme contrast), Dias de Follaje (a floral sans).

    Dafont link. Devian Tart link. Behance link. Another Behance link. Dafont link [Google] [MyFonts] [More]  ⦿

    Bonnie Clas

    Bonnie Clas has completed her B.F.A. and M.F.A. at Savannah College of Art and Design as a major in Graphic Design with a minor in Drawing. She has been developing her career by taking positions as a designer, illustrator, and letterer for SpotCo, Rodrigo Corral Design, and Hsu+Associates in Manhattan. She lives in New York City. Creator of TWD Sans (2011, semi-blackletter), Mecano Neue (2011), Kule Script (calligraphic, for a clothing brand), Kule Slab (2011, didone), Lady Chatterly (curly fashion mag face), Lacie (curly typeface for Latin and Cyrillic), Methodenstreit (2011, arts and crafts face), Habana (2011, Lost Type), Feverish (2011, experimental), Burlesque (art deco). She also did the lettering for tens of projects. [Google] [More]  ⦿

    Borges Lettering (was: CBdO Fonts Foundry)
    [Charles Borges de Oliveira]

    The CBdO Fonts Foundry is headed by Charles Borges de Oliveira (b. New Orleans, 1971) and is located in Arlington, WA. Borges's typefaces are mostly scripts, signage typefaces and comic book style typefaces. many of them were first done at or are copublished with Letterhead Fonts.

    He also sells through Font Bros and Letterhead. Klingspor link.

    View the typeface library of Charles Borges. Fontspring link. Interview in 2013.

    View Charles Borges's typefaces. Adobe link. [Google] [MyFonts] [More]  ⦿

    Boris Veytsman

    Creator of the GillCM family in 2010: Unslanted italic Computer Modern fonts based on Eric Gill's ideas. He also created JAMTimes, expanded Times Roman as used in Journal d'Analyse Mathematique. He also made mdputu (2010), a package of virtual fonts with italics, upright digits, and punctuation for use with Adobe Utopia in mathematical texts. In 2011, he published pcarl, a TeX support package for Adobe Cason Open Face.

    In 2016, Sergei V. Znamenskii and Boris Veytsman, now with the Mathematics Department, Princeton University, published the cmtiup package. The cmtiup package can replace the cmti package in the Computer Modern fonts since it simplifies typesetting of mathematical texts. In 2016, the Computer Modern text italic (cmti) fonts were modified by unslanting all punctuation and digits and embedding the corresponding italic corrections into the kerning. [Google] [More]  ⦿

    Branding with Type
    [Alberto Romanos]

    Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the type foundry 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 hipster sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.

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

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

    Typefaces from 2021: Bw Pose (Bw Pose No 3 and Bw Pose No 5, two times twelve fonts: didone typefaces with additional features such as uninterrupted slabs in the No3 family, and occasional wedges in the uppercase).

    Behance link. Creative Market link. Home page of Alberto Romanos.

    Typefaces from 2022: Bw Fusiona (a workhorse sans family). [Google] [MyFonts] [More]  ⦿

    Brass Fonts
    [Guido Schneider]

    Cologne-based group of type designers, founded in 1996: Guido Schneider, Hartmut Schaarschmidt, Martin Bauermeister, René Tillmann, Rolf Zaremba. There are many original free fonts here: Amnesia (René Tillmann; now also sold by URW), Anorexia (G. Schneider, 1996), Battery, Battery Seriph, Battery Leak (Tuschemann, 1996), Matula (G. Schneider, 1997), Nobody (G. Schneider), Paul D (Guido Schneider, 1996), Sanctus, SubZero (Guido Schneider, 1996), SynkopSemi, Veto, Visitor (R. Zaremba, 1996), BiaBia (very avant-garde, G. Schneider, 1996), Corpa Gothic (sold by URW++), Cuba (G. Schneider, 1997), Hone (Piano Dog, 1996), Saw, SoloSans (G. Schneider, 1996), Souper, Styptic, Fluxgold (slabserif, G. Schneider 1999), Rotwang (G. Schneider 1998), Styptic (Tuschemann, 1995), Stoneman (Tuschemann, 1998), Jaruselsky (1997, G. Schneider). Well, that is, these fonts have just the basic alphabet and all numbers 3 and 6 have been removed. The full versions are ultra-expensive, at about 110DM per weight (typically, 4 weights per font). More fonts: Temptice (dingbat by A. Groborsch/G. Schneider 98/99, 80DM), Tara (G. Schneider, 1998, 240DM), Corpa Serif (G. Schneider 1998), Fiona Serif, Slab and Script family (2003, G. Schneider). URW marketed these fonts: BF Anorexia, BF Corpa Gothic, BF Corpa Serif, BF Cuba, BF Fluxgold, BF Invicta, BF Jaruselsky, BF Matula, BF Nobody, BF Paul'D, BF Rotwang, BF Solo Sans, BF Stoneman, BF Stypic, BF SubZero, BF Tara.

    Custom fonts by Schneider: Girato (Giraffentoast), Fiona (MDR - Mitteldeutscher Rundfunk), Sion Script (Sion Brauerei), Supralux (Super RTL). He is working on Veltro Pro (a script) and Breite Kanzlei (blackletter).

    MyFonts sells BF Anorexia (a grunge typeface by Schneider), BF Corpa Gothic (a DIN-like family done in 1997 by Schneider), Corpa Gothic Pro (a 2019 revival of Corpa Gothic), BF Corpa Serif (1997, a slab serif family by Schneider), BF Cuba (a pixel typeface by Schneider), Fiona Script (2006, connected), Fiona Serif, BF Fiona Slab (2006, Guido Schneider), BF Fluxgold (1998, Schneider), BF Invicta (2006, a roman inscriptional family by Schneider), BF Jaruselsky (1997, Guido Schneider), BF Matula (1996, an organic typeface by Guido Schneider), BF Nobody (1995, a roman typeface by Schneider with pointy experimental serifs), BF Paul D (a grunge blackletter typeface by Schneider), BF Rotwang (1997, a transitional typeface by Guido Schneider), BF Solo Sans (1995, Schneider's grotesk family), BF Stoneman (1997, a decorative poster typeface by Schneider), BF Styptic (a grunge paperclip typeface by Schneider), BF Sub Zero (experimental, by Schneider), BF Tara (1999, a humanist sans family by Schneider), BF Girando Pro (a garalde made by Guido Schneider in 2010).

    Typefaces from 2018: BF Rotwang Pro (a redesign by Schneider of his 1997 typeface, BF Rotwang; named after C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang relates to the high-contrast transitional and didone styles), BF Konkret Grotesk Pro (a 16-style grotesk family by Guido Schneider with over 1500 glyphs per font).

    Typefaces from 2021: BF Garant (a 20-style geometric sans with open counters, tapered spurs and diagonal cut ascenders and descenders).

    Klingspor link.

    View Guido Schneider's typefaces. [Google] [MyFonts] [More]  ⦿

    Breana Nash

    Atlanta, GA-based desigfner of Deliq (2014), a fat typeface inspired by Stilla (1973, François Boltana). [Google] [More]  ⦿

    Brett T. Johnson
    [Simeon out West Foundry]

    [MyFonts] [More]  ⦿

    Brian J. Bonislawsky
    [Astigmatic One Eye]

    [MyFonts] [More]  ⦿

    British Letter Foundry
    [John Bell]

    John Bell (1746-1831) was a London-based publisher of several periodicals and newspapers. He founded the British Letter Foundry in 1788, with Richard Austin as punchcutter. The foundry closed in 1798.

    John Tranter tells the story: John Bell, an English publisher and bookseller, advertised a book called The Way to Keep Him in The World newspaper in London in June 1787, saying: 'J. Bell flatters himself that he will be able to render this the most perfect and in every respect the most beautiful book, that was ever printed in any country.' That was a tall order. In his quest for perfection he set up a type foundry, and hired a young punchcutter named Richard Austin to cut a new typeface for him. The face, named after Bell, was based on a typeface designed some thirty years before by John Baskerville, another perfectionist. Baskerville had said 'Having been an early admirer of the beauty of Letters, I became insensibly desirous of contributing to the perfection of them.' Though Baskerville went broke eventually, his typeface was indeed very close to perfection, and went on to become one of the most popular typefaces of all time. John Bell's type foundry didn't do well. He closed down his shop within two years and went on to other things, and his typeface sank almost without trace in England. Newer trends in typefaces (Didot in France, and Bodoni in Italy) eclipsed the modest elegance of Richard Austin's design. The Americans, though, took a shine to it. It was copied as early as 1792, and always remained popular there. A complete set of type cast from Bell's original matrices was purchased by the American Henry Houghton in 1864 and installed at his Riverside Press. He thoughtlessly labelled it 'English Copperplate'. Later, the distinguished American book designer Bruce Rogers used the typeface frequently, naming it 'Brimmer', after the author of a book he'd seen the typeface used for when he worked as a young man at the Riverside Press. The designer Daniel Updike also worked at Riverside, and also used the 'English Copperplate' type extensively in later years, naming his version of it 'Mountjoye'. Bell's type would have remained obscured by these disguises perhaps forever, but for the alert eye of Stanley Morison. He was doing research at the Bibliothèque Nationale in Paris in 1926 when he came across a copy of the first specimen sheet of type samples issued from John Bell's foundry in 1788. No copy of it existed in England at that time, and Morison recognised the typeface immediately as the original of the 'Brimmer' and 'Mountjoye' fonts used in America. He researched the matter and in 1931 published an important monograph which, as the type scholar Alexander Lawson says, 'returned the name of John Bell to its proper place in the pantheon of English printers'. The typeface was unique in another way. Until Richard Austin cut the typeface in 1788, all numerals were traditionally written like lower-case letters -- small, with some numerals hanging below the line. Bell is the first typeface to break with that tradition cleanly: Austin's numerals are larger than lower-case letters (at two-thirds the height of the capitals) and sit evenly along the line. The trend was taken up. These days the numerals in most printed matter are (unfortunately) the full size of the capital letter, and are called titling figures, ranging figures, or lining figures.

    See also here. FontShop link. [Google] [MyFonts] [More]  ⦿

    British Standards for Type Classification

    Typeface classification according to "British Standards 2961:1967" (or BS 2961), British Standards Institution, London, 1967.

    • Humanist: Centaur, Jenson, Verona, Kennerley.
    • Garalde: Stempel Garamond, Garamond, Caslon Old Face, Granjon, Sabon, Bembo.
    • Transitional: New Baskerville, Baskerville, Caslon, Fournier, Perpetua.
    • Didone: Bodoni, Bauer Bodoni, Torino, Walbaum.
    • Mechanistic: Clarendon, Memphis, Rockwell, Lubalin.
    • Lineal
      • Lineal Grotesque: Franklin Gothic Demi-Bold, Franklin Gothic, News Gothic, Alternate Gothic.
      • Lineal Neo-Grotesque: Helvetica Light, Akzidenz Grotesk, Folio, Helvetica, Univers.
      • Lineal Geometric: Avant Garde Medium, Avant Garde, Futura, Eurostile, Erbar.
      • Lineal Humanist: Gill Sans, Goudy Sans, Optima.
    • Incised: Albertus, Latin, Friz Quadrata.
    • Script: Brush Script, Mistral, Park Avenue, Zapf Chancery.
    • Manual: Neuland, Broadway, OCR-A, Pritchard.
    • Black Letter: Fette Fraktur, Old English, Goudy Text, Wilhelm Klingspor-Schrift.
    • Non-Latin.
    [Google] [More]  ⦿

    Bropix
    [Dirk Schuster]

    Bropix is a foundry in Trier, Germany, est. 2011, by Dirk Schuster. Bropix created Nouvelle Vague (2010-2011), a fat didone fashion mag headline face.

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

    Bruna Oliveira

    During her studies in 2015, Espinho, Portugal-based Bruna Oliveira designed the compass-and-ruler didone typeface Tuesday Morning. [Google] [More]  ⦿

    Bruno Maag
    [Dalton Maag]

    [MyFonts] [More]  ⦿

    Bruno Saez Lopez

    Graphic designer in Madrid. Creator of the free heavy didone display typeface Regattia (2017, +Regattia Stencil). [Google] [More]  ⦿

    BVS Boton
    [Albert Boton]

    Albert Boton is a Parisian type designer and teacher, born in 1932 in Paris. In 1957 he started work at Deberny&Peignot under Adrian Frutiger. From 1958 to 1966 he helped create several typefaces for the Hollenstein phototype catalog. In 1968 he became the art director for Robert Delpire publishers, but continued designing typefaces for the Hollenstein collection and later for Mecanorma and Typogabor. From 1968 to 1997 he was a teacher of type design and calligraphy at the École nationale des arts décoratifs (ENSAD) in Paris. From 1988 to 1998 he taught type design at the Atelier National de Recherche Typographiques. In 1981 he became art director and head of type department at the design agency Carré Noir. Interview in the ENSAD Journal B. His company is called BVS Boton.

    He is the designer of Berthold's Boton family (1986), FF Bastille Display package (2002, consists of FF Aircraft, FF Aircraft TF, FF District Bold, FF District Bold TF, FF Studio, FF Studio TF, FF Zan), FF Elegie (2002, art nouveau, a take on Auriol), Agora (1990, Berthold: a lapidary typeface), Chadking (1958), Roc (1959), Brasilia (1960), Primavera (1963), Rialto (1964), Black Boton (1970), PL Brazilia (PhotoLettering, a sans family), Zan (1970), Pharaon (1971, a great fat slab, eventually digitized by Monotype), Pampam (1974), Hillman (1972, an Egyptian family at Mecanorma), Tzigane (1973, a condensed family at Mecanorma), Chinon (1973, Mecanorma), Hudson (1973), Boton and Navy Cut (1986, for Mecanorma), the Scherzo family (at the Agfa Creative Alliance), Carré Noir (1996, also at Agfa), Bellini, Praxitel, Albotoni Book (made in 1974 originally), Kit, FF Page (2003, in PageSans and PageSerif families). Since 1998, he distributes his own fonts through BVS Albert Boton:

    Albotoni Book (made in 1974 originally), Kit, FF Page (2003, in PageSans and PageSerif families), FF Tibere (2003, a classic roman family), FF District (2004, a squarish sans family) are some his latest typefaces.

    Citroen's logo font at Delpire.

    Klingspor link. Bio at FontFont. Pictures of an exposition in 2003. Linotype link. FontShop link. MyFonts link.

    Aude Degrassat wrote a thesis on Boton in 2008 at Estienne.

    Picture.

    View Albert Boton's typefaces. [Google] [MyFonts] [More]  ⦿

    C. Deschamps

    French engraver who lived in Paris (at Grande-Rue-Saint-Marcel, No. 4, Saint-Denis). In 1827, Jules Didot the Elder published this book: Didot. Recueil des vignettes et fleurons gravés sur cuivre et acier et polytypés par C. Deschamps, graveur, Grande-Rue-Saint-Marcel, No. 4 a Saint-Denis (Paris: Imprimerie de Jules Didot ainé). [Google] [More]  ⦿

    Cadson Demak

    Thai foundry in Bangkok (ex Cadson Demak pi), est. 2002. It originally published picture fonts designed by several designers including Anuthin Wongsunkakon, Supisa Wattanasansanee, and Pitipa Silapipat.

    These included Pok Pong (2008, crazy animals---a great typeface), Planto (2008, plants), PawPack (2007, animals), POBox (2002), Gun Smith (2007, guns), Sun Burst (2007, kaleidoscopic), Arronts (2008, arrows), Cake Walk (2008, food dings), PalPack (2008), RetroTraveler (2008), Speak-Up (2008, text ropes), Road Show (2007, road sign outlines).

    Fonts sold through T26 and MyFonts. Home page.

    In 2009, Latin fonts were added, such as Option Sans (Anuthin Wongsunkakon: a reworking of his Coupe), Carbon Plus (Anuthin Wongsunkakon: a reworking of his Carbon of 2003 at T26), and Bangkokean (Anuthin Wongsunkakon) and Knight Sans (by Ekaluck Peanpanawate). Cadson Demak himself designed Bangkokean (2009, serif family), Carbon Plus (2009, rounded octagonal), Gun Smith (gun dingbats), Symbloc (dingbats), and Sun Burst (caleidoscope style dingbats) at T-26. In 2008, he created Robo (T-26, robot dingbats). In 2009 he made Bolder (a shadow face).

    Due (2011) is a clean humanist sans family.

    New Son Gothic No1 through No 7 (2012) is a widely spaced gothic sans family.

    In 2015, Cadson Demak published the free Thai / Latin loopless Thai and Latin sans typeface family Kanit (2015, Google Fonts), the free sans family Dizhitl, the free Thai / Latin didone display typeface Chonburi (Google Fonts link; Github link), the free Thai / Latin typeface Sriracha (deverloped with Pablo Inpallari), and the free informal Latin / Thai script typeface Itim (Google Fonts link. Github link).

    Typefaces from 2016 include Trirong (Google fonts), Taviraj (Google Fonts), Google Font Athiti (Thai and Latin: Github link), the Google Font Maitree, the sans typeface Mitr (Google Fonts), Prompt (Google Fonts), Pridi (Google Fonts, and the Google Font Pattaya (a Thai extension of pablo Impallari's Lobster: Github link).

    Typefaces from 2018: Texpi Sans (Latin only), Srisakdi, Niramit, Mali (handcrafted), Krub (sans), KoHo (sans), Kodchasan (monoline rounded sans), K2D, Fahkwang (Peignotian, inspired by old Thai newspapers), Charmonman (inspired by Zapfino), Chakra Petch (octagonal), Bai Jamjuree.

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

    Caio Kondo

    During his studies in Piracicaba, Goiania, Brazil, Caio Kondo designed the sans typeface Goiania (2014), the blackletter typeface York (2016) and the free didone typeface Chamuyo (2018).

    In 2019, Caio Kondo designed the custom typeface Wixx Mono.

    In 2020, he co-founded Inari Type with Satsuki Arakaki in Campinas, Brazil. With Satsuki Arakaki, he designed Nikkei Maru (2020) and Mori Gothic (2020), a seven-style geometric sans. Nikkei Maru is a tribute to Japanese immigration done typographically. The project started from a collection of photographs of the ships that brought Japanese immigrants to the American continent, and from our interest in researching the history of immigration, fueled by our own ancestry. In addition to the intercontinental transit, the research also addresses the arrival and establishment of Nikkei---Japanese living abroad and their descendants---on the new continent. The immigration process inspired other aspects of typography, such as newspapers from the Nikkei communities that were a reference for the lower case, and different experiences lived by immigrants which are represented in the dingbats.

    In 2021, he published the 3-weight decorative serif family PP Eiko at Pangram Pangram. Characterized by sharp triangular serifs, PP Eiko is inspired by the work of Eiko Ishioka, a multitalented Japanese artist. It seeks to convey the spirit of his work in these typographic explorations. It is an original serif font with high contrast, including the syllable alphabet kana (hiragana and katakana), it can be seemlessly paired with Mincho style kanji fonts. [Google] [MyFonts] [More]  ⦿

    Caio Santana

    Graphic designer from Sao Paulo. He created the didone typeface Cortigiana (2011) during his studies. [Google] [More]  ⦿

    California Type Foundry (21st century)
    [Dave Lawrence]

    This type foundry was started in 2019 by Dave Lawrence, perhaps to honor and revive the California Type Foundry from the 20th and 19th centuries. Their typefaces:

    • CAL Bodoni Casale (2019). This typeface has been painstakingly crafted from hi-res scans of 4 original Bodoni printings. It is a splendid reproduction, although the ear of the lower case g is too small with respect to the overhangs on the lower case a and r.
    • CAL Bodoni Terracina (2020). An italic didone family.
    • CAL Bodoni Palazzo (2020). An exact reproduction of Bodoni's largest display caps typeface.
    • CAL Bodoni Ferrara Origin (2020). A spectacular display serif.
    • Hermanz Titling (2021). A chiseled capitalis monumentalis titling font in Trajan style based on inscriptional caps drawn by Hermann Zapf.
    • Oceanwide (2021). He describes this revival of one of Frutiger's forgotten geometric sans designs: Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes. Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections. Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after. My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u. Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted. Fourth, I extended the weight into the light and extra light ranges. Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration. Here is Frutiger's design philosophy, in his own words: "If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful." The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple.
    [Google] [MyFonts] [More]  ⦿

    Callum Templeman

    Callum Strachan Templeman is the Sydney, Australia-based designer of the outlined didone typeface Zetterberg (2016). This typeface was done during his studies at Billy Blue College of Design. [Google] [More]  ⦿

    Calvin Buchanan Jr

    St. Paul, MN-based designer of a Bodoni-Helvetica hybrid (2004). [Google] [More]  ⦿

    Camila Acosta

    Graphic designer in Montreal who created the italic didone typeface Vogue in 2017---her Vogue is not at all related to the well-known geometric sans Vogue. Behance link. [Google] [More]  ⦿

    Camila Lembo

    Buenos Aires-based designer of the modern display typeface Catrina (2015). [Google] [More]  ⦿

    Camila Peralta

    Berlin-based designer of the didone display typeface Canelé (2015). Behance link. [Google] [More]  ⦿

    Camila Suarez

    Miami, FL-based designer of Axana (2019), a didone typeface with modified horizontal terminals. [Google] [More]  ⦿

    Camilla Heegaard Severinsen

    During her studies at the Danish School of Media and Journalism, Camilla Heegaard Severinsen designed the didone display typeface Contrast Display (2015). [Google] [More]  ⦿

    Camille Moisset

    Based in Steenvoorde, France. Designer of the free font KM Standard TT (2014, OFL) during a course at ERG in Brussels. This typeface is based on Alexey Kryukov's Old Standard TT (2006-2008). It is a bold didone family for Latin, Cyrillic and Greek with small stencil cuts in the Latin section.

    A shop sign for the Fontainas Bar in Brussels inspired her to design the vernacular typeface Fontainas (2015) Behance link. [Google] [More]  ⦿

    Camille Palandjian

    Paris-based designer of Fattern (2016), an ultra heavy typeface in the didone tradition. Behance link. [Google] [More]  ⦿

    Camilo González Lowy

    Graduate from FADU, University of Buenos Aires, who created the fat didone italic typeface Milk Shake (2009). [Google] [More]  ⦿

    C&C (or: Cataloged)
    [Coline Sunier]

    C&C is the studio of Coline Sunier (who graduated from ESAD Grenoble Valence, France in 2006 and from ESAD Strasbourg in 2008) and Charles Mazé (a graduate of KABK Den Haag in 2009) in Brussels. Their typefaces:

    • Single Stroke CC (2011).
    • Série Seize (2011): Ongoing revival project of Deberny & Peignot's Didot Série Seize. The book series initiated by Swiss artist Laurent Kropf will provide the frame and use to develop this type family. Série Seize was cut in the second half of the 19th century and was widely used in Europe until the end of metal type.
    • Zoo (2010). A font done for Bénédicte Ramade, it is a revival of a children's alphabet seen in The Zoo (1960, M.E. Gagg).
    • DeVinne (2010). Digitized caps for the poster/program Ideas for the Future of Art.
    • BAT (2009, a Charles Mazé typeface). A didone family that originated from Charles's work at KABK.
    • Astral (2009). A decorative caps face.
    • Mercator (2009, Charles Mazé). Revival of Mercator Regular (Dick Dooijes, 1909-1998) based on a type specimen edited by Letterfoundry Amsterdam / Tetterode in the mid-sixties.
    • In 2012, Stéphanie Vilayphiou, Alexandre Leray, Coline Sunier and Charles Mazé co-designed the readable typeface Dauphine Regular, which can be downloaded from Github and Open Font Library. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design). Dauphine is a sans-serif font inspired by lettering in late 19th and early 20th century maps.

    Typecache link. [Google] [More]  ⦿

    Candace Uhlmeyer
    [DH Type Visionaries]

    [More]  ⦿

    Carine de Wandeleer

    Carine de Wandeleer was born in Argentina to a French-Belgian immigrant family. She studied fine arts and graphic design at University of Buenos Aires, but lives and works in Spain.

    Kycka (2011) is a hand-printed slab serif family designed for children's books. Karty (2011, Eurotypo) is a blackboard bold pair of typefaces inspired by Baskerville. Marilyn (2011, Eurotypo) is an informal bouncy heavy sans face. Natalie (2011) is a condensed slab serif face.

    In 2012, she published the connected script family Gilda, the informal cursive typefaces Zanya, Miss Seshat (Eurotypo) and Belha, the script typeface Lirio (Eurotypo), the hand-printed Pimpin, and the fat finger family Souffle.

    Typefaces from 2013: Aleka (a vampire script in the style of Bombshell Pro), Mots (a light feminine script), Vernaccia, Eydis (connected script), Bonna (a successful calligraphic family), Rocha (funky cartoon style), Mussa (a curly children's book font), Onna (multiline script), Blondy (curly signage script), Gemma (connected script), Gemmadonati (another connected script), Lavinia (signage script), Ameglia (seductive upright flourished vernacular script).

    Typefaces from 2014: Juliette, Urbis (curly script), Tansy (a charming connected script), Flamenca (connected script), Mde Sade (flowing wedding script), Nubila, Gardeny (script), Eroli (connected calligraphic script), Andria (script), Kumma (script), Tout, Tout Web Icons, Tout Restaurant Icons.

    Typefaces from 2015: Parisi (calligraphic script), Scintillae Script, Santa Rita (signage script), Kira (brushy font), Amorino, Aprilis (signage script), Redbird (brush script), Muscari (connected script), Ambar (connected script with a roman caps set called Ambar Serif).

    Typefaces from 2016: Lyllo, Redmoon Basic, Sond (brush script), Nuit (an informal typeface based on hand-printing), Wildly (brush type), Bloem (Script and Sans), Brun (brush typeface), Joias, Scriptum (brush script).

    Typefaces from 2017: Halley, Brighten (brush script), Decize (an ornamental didone), Tapa (a sharp-serifed text family), Serenus, Pasteque, Galia, Mikha, Mikha Sans, Junius.

    Typefaces from 2018: Anemos (a powerful retro signage script), Bernyck (retro script), Mathylda Script (a calligraphic signature font), Cinefile, Stanffords (a brush script paired with Stanffords Sans), Clauques Script and Sans (a signature script), Jacine (Sans+Script), Pial, Mont Rose (based on examples published in Script Lettering (1957, M. Meijer)), Barcares, MyBella (a casual calligraphic script), Skyr Pro (handcrafted), Gageac (a decorative didone), Atmosfera (a glamour sans based on didone contrast), Waylom (script).

    Typefaces from 2019: Novata, Violant (a medieval script), Manises (inspired by a text written on a 16th century tile), Mostaza (a signage script), Trauville (calligraphic), Magie, Magie Slim, Beauville Script (a retro script), Bovary (a calligraphic script).

    Typefaces from 2020: Turer (all caps, in the Tekton or Koch Antiqua genre), Indalo (a casual script), Rhodes (a calligraphic typeface), Calinda, Aulas (a decorative serif), Raspail (copperplate calligraphy), Calagio (a casual script), Clichy (a casual sans), Colomby (copperplate round English handwriting), Rembord (an inclined script), Montigny (emulating an 18th century roundhand script).

    Typefaces from 2021: Verbum (a casual bold script), Grao (a casual script), Tarnese (a calligraphic script), Real Blues (script), Brabon (a heavy signage script), Escaut (a wide inky script).

    Typefaces from 2022: Cockcrow (a connected sans), Castagna (a calligraphic script). [Google] [MyFonts] [More]  ⦿

    Carl Crossgrove
    [Terrestrial Design]

    [MyFonts] [More]  ⦿

    Carla Rocha

    Graphic designer in Angra do Heroismo, Portugal. Creator of Chronica (2012), a decorative baroque typeface which was inspired by a didone typeface used in 1830 by Chronica de Terceira on the Azores. [Google] [More]  ⦿

    Carlos Fabián Camargo Guerrero
    [Andinistas]

    [MyFonts] [More]  ⦿

    Carlos Santiago

    Interactive designer in Chicago who created a beautiful Didot poster in 2012. He also created a custom icon set for a hotel in midtown Chicago in 2012.

    Behance link. [Google] [More]  ⦿

    Carolina Laudon
    [Laudon Type]

    [More]  ⦿

    Carolyn Wassmer

    At Cornish College of the Arts, Carolyn Wassmer (Seattle, WA) designed the didone caps typeface Flourish (2017). Behance link. [Google] [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...):

    • Allzweck MvdR (2010-2011), a revival of a sans typeface influenced by Planzkissen by Mies van der Rohe. This was commissioned by Neue Nationalgalerie.
    • The corporate typeface Cisco Sans (2010), which is positioned midway between Helvetica and Akzidenz Grotesk.
    • Fira Sans (2013, for Firefox; with Erik Spiekermann). Google Web Font link. Mozilla download page. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017. CTAN link.
    • Krikrikrak and Blumenkohl (2013, children's scripts).
    • PTL Manohara (2010, Primetype: a humanist sans by Botio Nikoltchev), Sadgirl(2006, Primetype), and PTL Maurea (2005, Primetype). Ralph du Carrois made many more fonts at Primetype prior to the establishment of Carrois Type design.
    • Free Google Web Fonts made in 2012: ABeeZee (Anja Meiners: a sans typeface created to help children), Carrois Gothic, Carrois Gothic SC, Finger Paint (brush face).
    • Icon fonts for a number of companies: Bosch (2011), Herzberger Bäckerei (2011), Hybride Iconwelt (2007), Ponce, Russian Rail, Sentres Wettericons, ZDF Nachrichten.
    • Several typefaces were created in cooperation with Erik Spiekermann's group between 2007 and 2012. These include work on Meta Serif Pro (2011), Meta Science (2012: done for De Gruyter, it is based on Meta and Meta serif), FF Meta (2008: some thin italic weights), TERN or Trans European Road Network (2007-2008), ZDF Nachrichten (2009, plus many icons), Lautschrift (2012: a phonetic script done for Erik Spiekermann to add to his Meta and Meta Serif families), and Unit Slab Pro (2009).
    • Inarea Sans (2003) and Inarea (2003-2005).
    • FR Classic (2002). This typeface was used in the redesign of the Frankfurter Rundschau. This didone is based on a reworking of LT Gianotten by Antonio Pace.
    • Two condensed sans typefaces done for the subway system in Rome in 2005. Some icons were also made in that project.
    • Share (2006). A free techno monospaced family made for the TYPO3 Association.
    • An angular grotesk done in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.
    • Suzuki (2006) is a corporate gothic font that replaces Franklin Gothic at Suzuki as house style.

    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]  ⦿

    Casady&Greene (Fluentlaserfonts)
    [Terry Kunysz]

    Casady&Greene, Inc. started out as two separate little companies, CasadyWare and Greene, Inc. CasadyWare, which was founded by Robin Casady in August 1984, began producing Fluent Fonts, which were bitmapped typefaces for the Macintosh. The 1984 set of fonts have copyright lines that mention Richard A. Ware. As soon as PostScript fonts appeared, CasadyWare got hold of the first version of Fontographer and produced the first downloadable PostScript fonts, even beating Adobe, the originators of PostScript, to the punch. These were marketed as Fluent Laser Fonts (FLF) out of Carmel, CA.

    The FLF series includes Abilene (Western), Alexandria (1986, slab serif family), Black Knight (1991, blackletter), Bodoni FLF (1986), BodoniUltra (1986, a fat didone), Bonnard (art nouveau), ButtonHighlight, ButtonPlain, Calligraphy (1986), Campanile (a great didone face), Checkbox, Chicago FLF (free at OFL), Collegiate (1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo stencil), Desperado, Dorovar Carolus (1988, Carolingian; see also D790 at Softmaker and Carolingia (1991, William Boyd)), DryGulch, Epoque (art nouveau), FattiPatti, Fletcher Gothic (1992, art nouveau), Galileo (1987, didone), Gazelle (1988, calligraphic script), Gatsby (1986, pure art deco), Giotto, Gregorian (1986, English Gothic style blackletter), Harlequin FLF (1990), Highland Gothic (1992), Jott, Kasse (1992), Kells (modern round Gaelic font, 1988), KeyCaps, La Peruta, Meath (modern round Gaelic font, 1988), Michelle (1992, art deco, marquee face), Micro, MicroExtend FLF (1986, like Microgramma), Monterey (1986, Peignotian), Moulin Rouge (1992, an art nouveau typeface by Richard A. Ware), Nouveau (1990, art nouveau), Paladin (1988, blackletter), Pendragon (1991), Phoenix Script FLF (1990), Prelude (1986, connected script), Regency Script (1986, calligraphic copperplate script), Right Bank (1986, art deco), Ritz (1986, art deco in the style of Broadway), Rocko (1992, rounded like VAG Round), SansSerif FLF (1986, a large geometric sans family), Sedona Script (1990, connected, calligraphic, semi-psychedelic), Slender Gold (1992, script), Vertigo (1992, condensed monoline sans), VertigoPlus, Zephyr Script (1986, brush script).

    Many fonts were digitized by Richard Ware, and some were designed by Mike Wright. The contact was Terry Kunysz in Salinas, CA.

    On July 3, 2003, Casady&Greene closed it doors permanently. However, one of its designers, Mike Wright, writes: I believe that all the fonts that were developed by the company are now in the public domain. Robin Casady and I are thinking of putting up a site with free downloads of all of the old C&G public domain fonts--mainly as a way of attracting Mac users to see iData 2.

    Robin Casady in 2003: I founded Casady Company in 1984 to publish fonts for the new Macintosh. The name changed with incorporation to CasadyWare, Inc. Around this time I met Mike Greene who was looking for a software project to do after SpellsWell. I talked him into doing a program that became QuickDEX. Later CasadyWare, Inc. merged with Greene, Inc. and became Casady & Greene, Inc. Over the years, my role in management reduced as my interests in other areas developed. In the last ten years I have had no official management duties at C&G. About a year ago I removed myself from the Board of Directors.

    Some fonts could be found at TypOasis [defunct link]. Fontex link. Font Squirrel link. [Google] [More]  ⦿

    Castle Type
    [Jason Castle]

    Designs by Jason Castle from San Rafael, CA, who studied psychology at Dominican University of California. He does custom font design and sells commercial typefaces through MyFonts and FontShop. Blog. These include:

    • A: AfrikaBorders, Afrika Motifs, Agency Open (M. F. Benton, 1934, revival Jason Castle), Agency Gothic Inline, Ampersands, Azbuka (2005, a heavy slab serif).
    • B: Brasileiro (2007, an art deco face).
    • Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script, Cradley (2015, a Caslon titling family with Greek and Cyrillic, named after the birthplace of William Caslon).
    • D: Deko Initials (1993, discontinued in 2007; based on NADA0 drawn in 1972 by Marcia Loeb), Dionisio (2008, didone).
    • E: Eden (Bold, Light; originally designed by Robert H. Middleton in 1934).
    • F: Fat Freddie, Futura CT and Futura CT Inline (2007, based on Futura ND, but discontinued after only a few weeks).
    • G: Goudy Lombardy (Lombardic), GoudyStout, Goudy Text, Goudy Trajan (1994-2010, free; +alternates).
    • H: Handsome (2002, nice finger dingbats, aka fists).
    • J: Jensen Arabique (left field art deco, based on work of Gustav Jensen, 1933).
    • K: Koloss (art deco).
    • L: Latin CT (2008, 6 styles), Latin Wide, Laureat, Lise Informal (2008, hand-printed), Lombardy.
    • M: Maximilian CS (Rudolf Koch, 1917), Metropolis Bold and Shaded (based on the 1932 Stempel cut as designed by W. Schwerdtner), Minotaur (2008, an original monoline design based on an Oscan votive inscription from the second century BC; looks like simulated Greek).
    • N: Norberto (2009, an all-caps Bodoni; +Stencil).
    • O: Ogun (2008, inspired by an Egyptian-style Russian block alphabet and useful for athletic lettering; formerly named Azbuka).
    • P: Plantain (2002, a digital version of Plantin Adweight, a 1913 typeface by F. H. Pierpont), Plantain Stencil (2009), Progreso (2010, a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s).
    • R: Radiant, Radiant Extra Condensed CT (both Radiants are revivals of Roger Middleton's typeface by that name, 1940), Ransahoff (2002, ultra condensed didone), Rudolf (1992, based on Rudolf Koch's German expressionist work such as Neuland).
    • S: Samira (2008, art nouveau style; based on Peter Schnorr's Schnorr Gestreckt, from 1898), Shango (1993, based on Schneidler Initials by F.H.E. Schneidler (1936), and including a digital version of Schneidler Cyrillic (1992); extended in 2007 to Shango Gothic and in 2008 to a 3-d shadow version, Shango Chiseled, and in 2009 to Shango Sans), Sculptura (2005, an all caps typeface based on Diethelm's Sculptura from 1957), Sencia (2008, based on Spanish art deco stock certificate lettering from 1941), Sonrisa (2009, art deco family---Sonrisa Thin is free), Standard CT (a neo-grotesque family), Standard CT Stencil (2012: free).
    • Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).
    • V: Vincenzo (2008, a slabby didone), Warrior (2009, a 3d font based on Ogun; +Shaded).
    • X: Xavier (art deco family based on Ashley Crawford by Ashley Havinden, 1930, revival by Jason Castle in 1992).
    • Z: Zagora, Zamenhof (2011: an all caps poster face with constructivist ancestry, named after the inventor of Esperanto), Zuboni Stencil (2009, Latin and Cyrillic, constructivist and perhaps even military).

    Klingspor link. Behance link.

    View Jason Castle's typefaces. [Google] [MyFonts] [More]  ⦿

    CAT Design Wolgast
    [Peter Wiegel]

    Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

    • In 2019: Kufi Pattern.
    • In 2018: Aurach Tri (a trilined typeface), Googee (monoline circle-themed sans), Gianna (medieval script), Hamburger Schwabacher.
    • In 2017: Eyechart (heavy slab serif), Border Control (inline), Espresso Dolce (rounded sans), Gotisch Weiss, Halt (a dry brush typeface after Walter Hoehnisch's Stop from 1939), Kanzler, Llewie (rounded sans), Schulze Werbekraft (expressionist, after Arthur Schulze, 1926).
    • In 2016: Ronaldson Gothic (after a MacKellar, Smiths & Jordan Co original), Vorgang (a great 1920s geometric sans), 5by7 (LED pixel font), BP 12-22 (industrial sans), u DIN 1451 Mittelschrift, Flubby, Gaeilge (Irish / uncial), Junior CAT (after Hans Heimbeck, 1936), CAT Liebing Gotisch (after Kurt Liebing), Tippa (an old typewriter font based on Adler Tippa 1).
    • In 2015: Nuernberg (blackletter), CAT Schmalfette Thannhaeuser (blackletter), Offenbacher Reform (a revival of Offenbacher Reform, a blackletter typeface by Roos & Junge), Autobahn (blackletter), Barloesius Schrift (after Georg Barloesius's Barlösius Schrift, 1906), CAT-Franken-Deutsch (after Alfons Schneider, 1936), Fuckin Gwenhwyfar, CAT Kurier (a script after Herbert Thanhaeuser's Kurier from 1939), CAT Linz, CAT Rhythmus (a sharp-edged black grotesk after a Schriftguss AG original), DIN Schablonierschrift (DIN-based stencil), CAT North Licht, Feronia, Fette National Fraktur (after Walter Hoehnisch, 1934), Grobe-Plakat-Fraktur, CAT Childs (fifties style cursive typeface), Jena Gotisch (decorative caps), Kabinett Fraktur (after Johann Friedrich Unger, 1793-1794), Wattauchimma (heavy hipster sans), Friedolin (blackletter), Lorem Ipsum, Symphonie (a calligraphic script, reviving Imre Reiner's Symphonie (1938), also called Stradivarius (1945)), Power (a retro techno typeface), Krugmann Brush, Omega.
    • In 2014: BernerBasisschrift1, BernerBasisschrift2 (school script), Berolina, Brausepulver (after Brause & Co., 1912), Fette Mikado (psychedelic style oriental look), Germanica, Gloria, HentimpsCirclet (blackletter), Hofstaetten (blackletter), Kleinsemmering, KuenstlerGotisch (blackletter), LacledeCAT (psychedelic), NeptunCAT, Neue Zier Schrift (a mischievous curly script), Pommern Gotisch, Reclame, CAT Report (retro brush script), Rueck-Italic, Rueck, RueckLeft, RueckLicht, RundschriftCAT (hairline ronde), Standard Graf (German expressionist and hexagonal typeface), Teutonic, VerzierteFavorite, VictoriaCAT, AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold, Moda, Contrast: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
    • In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
    • Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
    • In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
    • In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), Helvetia Verbundene (making Helvetica into a school script? The original typeface was by Carl Albert Fahrenwaldt 1901), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
    • In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, Tschichold, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
    • Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic typeface made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde typeface made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

    Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

    The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.

    His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.

    A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), CAT Eckmann, Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel), CAT Neuzeit and CAT Neuzeit Schatten (2012-2014), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), VarietĂ© (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), VrĂĄngö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).

    Abstract Fonts link. Dafont link. Kernest link. Klingspor link. CAT Fonts link. Fontesk link. [Google] [More]  ⦿

    CBS Didot

    The orphaned CBS Didot was based on Freeman Craw's custom font CBS Didot from 1970. [Google] [More]  ⦿

    C.E. Coryn

    Type designer (1893-1983) of the photo type era who worked for Photolettering Inc. His typefaces there include: Beauchamps Expanded Italic, Belgique Bold, Belgique Bold Italic, Berkshire, Bodoni Bold Italic, Cameroon, Centidot Condensed 2, Centidot Semi Condensed 2, Century Thin, Century, Chateau 2, Classique, Classique Italic, Classique Wide, Continental Condensed, Didot Light, Didot Light Italic, Didot Medium Italic, Didot Bold, Didot Bold ItalicDidot Demi Bold Expanded, Didot Extra Condensed, Distingue Thin, Elite Didot, Elzevir 3, Elzevir 3 Italic, Elzevir 4, Escorial Extra Condensed, Ester, Etroit Didot Condensed 2, Etroit Didot Condensed Obl., Etroit Didot Condensed 3, Expanda, Galaxy Didot, Marquis, Noblesse, Onyx Condensed Italic, Overture Script Light, Palladium, Rheinlander Bodoni Light, Rheinlander Bodoni 4, Soverign 3, Soverign 3 Italic, Venice, Venice Wide.

    Several of these typefaces were digitized by the reincarnated PhotoLettering by House Industries. The latter include Coryn Galaxy Didot (2013, Tania Raposo).

    There was a discussion on Typedrawerrs in 2021 regarding Photo-Lettering's Centidot Contempora. Florian Hardwig wrote there: Photo-Lettering's Centidots combine Century-like shapes with Didot hairlines. Centidot Contempora is shown in the Alphabet Thesaurus, Vol. 2 (1965) in five numbered weights, without designer credits. It was preceded by Coryn Centidot, drawn by C.E. Coryn (1893-1983). The fact that Centidot Contempora's name isn't preceded by the designer's family name suggests it was produced by the staff of Photo-Lettering, Inc. And as it was derived from an existing idea, no individual designer got credit. As far as I know, there is no digitization available. Stylistically related typefaces [include] Mort Modern, Eames Century Modern, Trivia Serif, Zahrah. [Google] [More]  ⦿

    César Puertas
    [Typograma]

    [MyFonts] [More]  ⦿

    César Rodríguez

    Mexican type designer in Queretaro. Award winner at Tipos Latinos 2010 for his experimental typeface Masiva. In 2013, he created the art deco typeface Roberta, which is characterized by various alternates, including some that are influenced by Didot.

    Behance link. [Google] [More]  ⦿

    Cecilia Kimsa

    Graduate from FADU, University of Buenos Aires, who created the didone typeface Sabayon (2008). [Google] [More]  ⦿

    Celeste Peney

    Graduate from FADU, University of Buenos Aires, who created the didone typeface Fegs (2008). [Google] [More]  ⦿

    Century: A timeline

    A timeline on the development of Century, with bits and pieces taken from The Century family (Paul Shaw, for Fine Print magazine), which in turn was based on material from Mac McGrew. Also check these typophile opinions. I have added personal comments and items to complete the picture.

    • Theodore Low DeVinne (1829-1914), printer of The Century magazine, designed a stronger, bolder and more readable typeface for the magazine and commissioned Linn Boyd Benton (1844-1932) of ATF to cut it.
    • L.B. Benton cut it on the newly invented Benton punch-cutting machine and in 1895 was christened Century Roman. Afterwards, a companion typeface was created for ATF by L.B. Benton: Century no. 2, later called Century Broad-face. This typeface became the basis for Century Expanded, designed by L.B.'s son, Morris Fuller Benton in 1902 [Image by Heather Leonhardt]. Over the course of three more years, the italic, bold and bold italics were developed.
    • Then after a few more years, Morris Fuller Benton developed Century Oldstyle. Paul Shaw writes While the essential appearance of Century Roman and Century Expanded derived from Bodoni and Didot, that of Century Oldstyle seems to have been based on Caslon.
    • 1915: Century Book, a redevelopment of Century Oldstyle.
    • Soon after, ATF was approached by Ginn&Co., the textbook publisher, with a request for a new typeface for schoolbooks. M.F. Benton began review of research done at Clark University on the relationship between the legibility of type and the eyesight of children. Consequently, Benton increased the space between letters, the x-height of each letter, and the weight of each stroke, and balanced the color of the type by opening up the counters. The result was Century Schoolbook, completed in 1919.
    • In 1964, ATF commissioned Charles E. Hughes to design a new proportion for Century Expanded... the result, Century Nova, was more condensed.
    • Under license from ATF, Tony Stan designed the sixteen-weight ITC Century family between 1975 and 1980 for International Typeface Corporation. [ITC Century Light and Ultra were released in 1975 while the other styles appeared only in 1980]. It has the large x-height that is characteristic of many typefaces of ITC in that time period. Nick Shinn: The color of ITC Century is not good at smaller text sizes.
    • David Berlow: New Century Schoolbook was designed from 1979 until 1981 in the New York Lettering office of Merganthaler Linotype based on Century Schoolbook, long after the Bentons had passed on. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a near exact copy, only being moved from a 54 unit to a 2000 or so unit design. Matthew Carter did a lot of the work on New Century Schoolbook.
    • Grad (Phil Martin, 2004, Mark Simonson Studio) was a redesign of the classic Century Schoolbook for Martin's personal use in the early '90s.
    • See also Modern Century by SoftMaker. In addition, Centrum is an old Bitstream name for ITC Century back when they were in the cloning business.

    View various commercial digital versions of Century Schoolbook. [Google] [More]  ⦿

    Cercurius (was: Lars Törnqvist Typografi)
    [Lars Törnqvist]

    Born in Karlstad, Sweden, in 1952, Lars Törnqvist now lives in Stockholm. Lars Törnqvist's designed many typefaces, first at Lars Törnqvist Typografi, and then at Cercurius:

    • Dialekt Svi: a series of three phonetic fonts for Swedish dialects.
    • Dialekt Uni (2001): a huge Unicode phonetic font that includes the West European characters, the characters and diacritics of the Swedish dialect alphabet and most of the IPA characters.
    • Fitzronald (2013). Based on Ronaldson Old Style (Alexander Kay, 1884).
    • Hnias (2004): a unicode runic font.
    • Remington Reseskrivmaskin (2000): a typewriter font.
    • DecCode (2000) and HexCode (2000): numerical fonts.
    • Pitmanita, a font containing the characters of Sir James Pitman's Initial Teaching Alphabet. This alphabet was used in many English schools in the 1960s.
    • Morsealfabetet, a Morse-Code font.
    • Korsstygn 1, a cross-stitch font.
    • Tant Brita (2006), Tant Ingrid (2006), Tant Ulla (2006), Tant Gertrud (2006), Tant Lilian (2006): stitching typefaces.
    • Knappast (2006), Knappolog (2013), Endast (2006), Emedan (2006): letters in circles or rounded rectangles.
    • Karolinus Fraktur (2006): A slightly regularized digital version of a late Baroque Fraktur type, probably from the beginning of the 18th century, issued by the Norstedts type foundry in Stockholm in 56 point size as Sju petit fraktur nr 2.
    • Simpliciter Sans (2006), a rounded sans family in three styles, based on the standard round-pen ink lettering used on technical drawings in the middle of the 20th century.
    • Huruvida (2006). Varvid and Varvid Caps (2006, a bilined tubular caps stencil face).
    • Vibertus (2007): a didone headline typeface based on Gras Vibert (1840, Vibert, for the Didot type foundry).
    • Yxlofon (2015). a dot matrix display typeface.

    And a jump list for Fraktur fonts. MyFonts link to his foundry, Lars Törnqvist Typografi.

    View Lars Törnqvist's typefaces. [Google] [MyFonts] [More]  ⦿

    Cesar Araya

    Chilean type designer in the Latinotype team. Corporative Sans, Corporative Sans Rounded and Corporative are large typeface familes created by the Latinotype Team in 2015. In particular, they were developed by Javier Quintana and Cesar Araya, under the supervision of Luciano Vergara, and Daniel Hernandez.

    Check out Biblioteca (2015) by Roberto Osses, Cesar Araya, Patricio Gonzalez and Diego Aravena: this typeface won an award at Tipos Latinos 2016.

    In 2017, Sergio Ramirez, Cesar Araya and the Latinotype Team developed the information design super-large typeface family Informative (+pictograms as a tribute to Gerd Arntz: Informative Alimentation, Informative City, Informative Energy, Informative People, Informative Politics, Informative Sports, Informative Work).

    In 2016, Cesar Araya and Daniel Hernandez co-designed the very Latin / curvy / warm slab serif typeface family Hernandez Niu. In addition, Bercz Design Studio, Latinotype Team, Rodrigo Fuenzalida, and Cesar Araya co-designed the expressive typeface family Snatch, which comes with Snatch Dingbats.

    In 2019, Cesara Araya and Fadhl Waliy Haqq published the didone variant Bunta.

    Together with Alfonso Garcia, Cesar Araya designed the spurless sans family Branding SF (2019, Latinotype).

    Typefaces from 2020: Organetto (at Latinotype: a 50-style all caps headline or poster typeface based on early 20th century examples), Spock (2020: a 48-style demi-sans demi-slab family by Luciano Vergara, Cesar Araya and Rodrigo Fuenzalida), Corporative Slab (developed together with the Latinotype team, it is characterized by asymmetric roof slabs on the lower case x and y). [Google] [MyFonts] [More]  ⦿

    Character
    [Herbert F. Van Brink]

    Prolific Woodland Hills, CA-based typophile and type designer (1937-2013) whose portfolio consisted largely of revivals and who used the alias Character for his typographic work. The Los Angeles Times posted this obituary: Herb passed away after a brief fight against esophageal cancer. He was a 42 year resident of Woodland Hills CA. Son of the late Jean and Mary Van Brink, he was born in Manhattan, graduated from Stuyvesant High School (1952) and Queens College (1956) and always considered himself a New Yorker. He had a long career in Information Technology and retired from Arco. He loved traveling, bowling, genealogy, and was a bridge Life Master among his many interests. He was a trickster and a perfectionist. He leaves his wife, Paula, his son, David Van Brink and DIL Deb Culmer of Santa Cruz CA, his daughter Qarin Van Brink and SIL James Ray of Burien WA, grandchildren Amelia and Wilhelmina Ray Van Brink, brother and sister-in-law Jeffrey and Louise Van Brink of E. Northport NY and nephews Matthew and Jordan Van Brink.

    His typefaces:

    • Animal dingbat fonts: AbecedarianZoo (2003, created from an alphabet in Art Explosion 200,000), Turf&surf (2005).
    • Alphadings: Jennifer's train (2011), ABCPlay (2005), DiddleTheMouse (2005), Silly Set (2005), Stone Carving (2005), Snow Persons (2005), Alaskan Ice (2005), Peppermin Canes (2005), USStarsNStripes (2003, first called USFlags), XmasTree (2002), XmasTree II (2004), Xmas Alpha (2005).
    • Erotic alphabets: Flotner (2002, based on a scan of the human character alphabet by Peter Flötner (1534)), SilvestreBodies (2006, based on a figurative alphabet designed by Joseph Balthazar Silvestre in 1834, with engravings made by Girault), ErotiCaps Outline (2007), ErotiCaps Solid (2007), WeygelBodies (2006, adapted from Martin Weygel's 1560 interpretation of Peter Flotner's 1534 figurative alphabet).
    • Stained glass themed fonts: ModernStainedGlass (2007), ModernStainedGlass2Tone (2007).
    • Capital alphabets: Cameo Antique (2011, after Cameo Antique on page 17 of The Solotype Catalog of 4,147 Display Typefaces---a shaded outline version of the typeface called NightShade, on the same page of Dan Solo's book; the only known digitized fonts of NightShade are "Shadowed Serif" by James Fordyce (1994) and NigelSadeSH, from Soft Horizons (1993)), Modern French Capitals (2010, after a set of capitals drawn by Alphonse Mucha), Mucha French Capitals (2010, similar?), Marcel Caps (2007; based on "Crossroads" by August Will (1891)), WoodLook (2007, an improvement of 101's Wooden Alpha BlockZ), 3DAlphabet (2008, based on an alphabet coloring book designed by Jean Larcher, 1978), RomantiqueInitials (2007, based on work by Aridi), Blistered, BlisteredFramed, BlisteredReverse (2005, based on Marwan Aridi's Blister from the Initial Caps Vol I), ChiseledRound, Contemporary CH (2010), CourierInitials (2005, based on an alphabet by Johan)), Eclectica (2003, party-theme), FeathersInYourCaps (2002), FlowerSketches (2002), LACETRIM (2002), LeafyStencil (2003), QuiltedStippled (2004, based on an embroidery alphabet created by DesignsInStitches), RetroCapsBW (2004), RetroCapsWB (2004), Rope5 (2004, rope font), Rustic Black Shadow (2011. He explains: In the Solotype Catalog of 4,147 typefaces, RUSTIC is shown with a black shadow. RUSTIC WHITESHADOW has a white shadow. However, the Solotype digital font named RUSTIC has no shadow. Similar no-shadow fonts are also available as Pinewood (by Rick Mueller and one by Dieter Steffmann) and as Woody (by DincType). As of October, 2011, no digitized version of Rustic Whiteshadow is known. Character has produced a font named RusticBlackShadow, which matches the font named Rustic in the Solotype Catalog. Dick Pape had created an earlier version named Pepin Press Caps FA204, based on fonts contained in the Pepin Press book Fancy Alphabets. ), THINROPE (2002), VALENTINEHEARTS (2002), Printed Circuit (2005), SportsABC (2005), Feathered Flight (2005), Joe Clement (2007, Western pixel face), Ribbon Shadow (2007).
    • Fonts based on scans from Awesome Alphabets (Mike Artell, 1999, Good Year): SketchBoards, SketchBones, SketchClothes, SketchLogs (2005), SketchPencils, SketchPipes, SketchTools, all done in 2005.
    • Athletic lettering: Collegiate Heavy Outline (2006), Real Madrid 2011-2012 (2011, an expansion of a font by "Adriano"), The Football League (2011), Adidas Euro 2008 (2011), Puma World Cup 2010 (2010: based on Crepello, a custom-made font by Paul Barnes for Puma, that was used on the jersey of Italy, Switzerland and Uruguay during the 2010 FIFA World Cup), Adidas Unity (2010), LINKEB+Regular (2008) uses the lettering of the Geaux font used by LSU.
    • Pixel or dot matrix style fonts: Dash It All (2007, based on Cooper Black), Even Hearted (2007, an improvement of CK More Hearts), Square 9x9 (2007).
    • Brush typefaces: Skippingbrush (2006), GraffitiPaintBrush (2008).
    • Dingbats: Being Sport Pictograms (2008).
    • Scanbats: PilobusSilhouettes (2010) is based upon a human alphabet photographed by John Kane.
    • Techno: BultacoDual (2010), Dr Who 42 (2007), London MMXII (2008), ArrowheadLake (2009, +Shadows, +Sunlit; based on the nearly blackletter typeface Arrowhead from the Solotype Catalog and alphabet books).
    • Historic typefaces: Driftwood 67 (2011, Driftwood on page 67 of The Solotype Catalog of 4,147 Display Typefaces), ArrowheadLake and ArrowheadLakeShadows (2011, based on Solotype Catalog p.74), Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces),Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces), Pepin FA288 (2011, based on Matra, or Bifur, on page 54 of The Solotype Catalog of 4,147 Display Typefaces by Dan X. Solo), Varicka (2010, from "Decorative Condensed Alphabets", by Dan Solo, p. 94. It is similar to Red Rooster's Triple Gothic Condensed, but the Solo's font has different features), MaxfieldParrish140 (2007: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank C. Brown, 1921. This is a different source than the P22 Parrish font family.), Ronde Antique (2009, based on page 110 of the Verlag Gerlach 1881 catalog).
    • Other: Scramble Mixed (2006, scrabble face), Happy Fourth, Emperor AN (2009: this semi-art nouveau typeface is Emperor on page 42 of The Solotype Catalog of 4,147 Display Typefaces---not the same as Dan Solo's Emperor at MyFonts), Wood Gothic Caps (2011, blackletter), WoodWud (2011), Gallia Two (2010, based on a font found on page 55 of The Solotype Catalog of 4,147 Display Typefaces as Gallia No. 2), Charleston (2010, based on page 46 of The Solotype Catalog of 4,147 Display Typefaces), Azteca Regular (2010: based on Azteca Condensed by Dan X. Solo, page 74 of The Solotype Catalog of 4,147 Display Typefaces), Othello Fill and Solid (2011, derived from Othello on page 155 of The Solotype Catalog of 4,147 Display Typefaces), Sharons Shadows (2010, +Bold), Masked Menace (2012, based on Bodoni Poster).

    Fontspace link. Dafont link. Fontspace link. And another one. See also at abfonts. Dafont link. [Google] [More]  ⦿

    Charles Borges de Oliveira
    [Borges Lettering (was: CBdO Fonts Foundry)]

    [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Charles Gibbons
    [Oddsorts]

    [MyFonts] [More]  ⦿

    Charles Laboulaye
    [Fonderie Générale]

    [More]  ⦿

    Charles Mazé

    Charles Mazé is a graduate of the Type and Media program at KABK, 2009. There, he designed a didone typeface (Bat Font) that has more warmth than classical didones in the hope of making scientific texts set in modern typefaces less boring. He did this by fattening up the italics. After graduation he moved to Brussels but now he is back in Paris.

    In 2009, he started a revival of Mercator, a sanserif typeface by Dick Dooijes and G. W. Ovink designed in 1959 at the Amsterdam Type Foundry.

    He set up Cataloged in Brussels with Coline Sunier. In 2012, Stéphanie Vilayphiou, Alexandre Leray, Coline Sunier and Charles Mazé co-designed the readable typeface Dauphine Regular, which can be downloaded from Github and Open Font Library. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design). Dauphine is a sans-serif font inspired by lettering in late 19th and early 20th century maps. Github link for Dauphine.

    He works with Coline Sunier since 2009. They were fellows at the French Academy in Rome's Villa Medici in 2014 and 2015, and are now graphic designers in residency at Contemporary Art Center CAC Brétigny. Charles is part of the teaching staff of Atelier National de Recherche Typographique (ANRT) in Nancy, France.

    At Abyme, he published two typefaces:

    • Mercure (2010-2021). He writes in 2021: Mercure, designed by Charles MazĂ©, is the result of an inquiry into Latin epigraphy and the typographic forms associated with that discipline. Epigraphy is the study of Ă©critures exposĂ©es (exposed writings), typically ancient or classical inscriptions engraved in stone or metal. The developments in mid-nineteenth century Latin epigraphy required new methods to transcribe classical inscriptions into print, which in turn required and inspired new typefaces. The Caractères Augustaux of 1846, produced by the printer Louis Perrin and the punchcutter Francisque Rey in Lyon, was the first typeface specifically designed for the transcription of the Roman capitalis monumentalis, used for the first time in 1854 in Alphonse de Boissieu's Inscriptions antiques de Lyon. It was soon followed by the Latins épigraphiques of the Imprimerie Nationale (Paris, 1854) and Ferdinand Theinhardt's Monumental (Berlin, 1863). At the same time, in reaction against the use of the prevalent Didot style, some French printers and publishers turned their attention to other typographic sources. While they found suitable models for the lowercase in typefaces produced during the French and Dutch Renaissance, the regain of interest for Roman inscriptions would provide a template for the uppercase. Around 1858, Théophile Beaudoire, sous-directeur of the Fonderie Générale in Paris, published his Elzévir (after the Dutch Renaissance printers Elsevier), one of the first typefaces to define this pattern. Mercure, which is based in part on Beaudoire's Elzevir, also goes back to the epigraphic origins of Perrin's Augustaux. Its Regular and Italic styles are completed by an additional fixed-width style, Transcript, a set of signs and symbols for the transcriptions of Latin inscriptions into print with fragmented, false, broken or missing letters. Mercure Transcript is included with any license of Mercure Regular or Italic. A study of the first three typefaces for Latin epigraphy in France and Germany, written by Charles, will soon be published in the Abyme Revue.
    • Berthe (2011-2018). Berthe is designed after another typeface called Série no. 16, whose first cuts were produced at the end of the nineteenth century by the Parisian type foundry Deberny & Peignot. It was engraved by Constant and Auguste Aubert under the direction of Charles Tuleu, the adoptive son of Alexandre Deberny whose mother, Laure de Berny, had bought from her lover Honoré de Balzac the printing house he didn't manage to transform in a profitable company. Série no. 16 quickly became a popular choice among printers and found its way into many editions of classic and popular texts. Review by Hrant Papazian, who wrote that it presents a congenial evolution of the theatrical Didone style of type. Lower contrast, fluid structures, humane proportions. It is like a Didot or Bodoni taking leave of the catwalk and relaxing among friends.. Author of the related article Abîmées (2021).
    [Google] [More]  ⦿

    Charles Nicholas Cochin

    Parisian copperplate engraver, b. Paris, 1715, d. Paris, 1790. His work influenced the letter shapes of Baskerville, Didot and Bodoni. His engraved tall-ascendered letters have been preserved in many fonts bearing the Cochin name. One of the best revivals is by Georges Peignot in 1913. The irregularities of the metal are well preserved in the digital typeface Nicolas Cochin (+Italic) (P22/Lanston). Monotype made a Cochin Open face.

    In 1977, Matthew Carter expanded Peignot's revival into the three style family Cochin---the digital versions are sold, e.g., by Linotype. Another family by Linotype is Nicolas Cochin LT (2004)---it is a variation that is taller, rounder, and less archaic than Cochin. Finally, we find a digital version by URW simply called Nicolas Cochin.

    For an Arabic extension, see Badr (1970, Osman Husseini, Linotype).

    Cochin is now one of the standard Apple fonts---it is in the basic font set on the iPad and elsewhere on Apple computers.

    View and compare various digital typefaces related to Cochin. [Google] [MyFonts] [More]  ⦿

    Charles Nix
    [New Fonts]

    [MyFonts] [More]  ⦿

    Charles William Smith

    Designer of John Hancock and Lowell. According to McGrew: The John Hancock series was originated by Keystone Type Foundry and, introduced in 1903; however, it was patented in 1907, with the patent assigned to Charles William Smith, probably the designer. It was named for the president of the Continental Congress and first signer of the Declaration of Independence. It is a plain, no-frills, hard-working typeface, modern in character but without the hairlines of Bodoni. Serifs are short and square, but, those on the lighter strokes have diagonal brackets. The lowercase is large, with short ascenders and descenders. Letters are normal roman shapes, except for the open-tailedg, and the e with its slanted crossbar. There are two cap R's in the regular width, and two m's in regular and Extended-the round-top version is unusual. The Monotype copies of 1912 follow the general character of the typefaces, but has a horizontal crossbar, alternate characters are omitted, and proportions are changed somewhat; Condensed has slightly rounded fillets on some serifs. The Outline goes unusually small, but in small sizes the thin strokes are not opened. Compare Bold Antique. Contact Bold Condensed, Hampton, Lowell.

    About Lowell, McGrew writes: Lowell was introduced by Keystone Type Foundry in 1905. The patent was issued to Charles W. Smith, probably the designer. It is somewhat similar to Cheltenham Oldstyle, but much more mechanical, with small square serifs which are unbracketed except on the arms of EFLTZ. It has many of the characteristics of the same founder's much heavier John Hancock. Compare Kenilworth.

    The images below are from the ATF catalog from 1923.

    John Hancock and John Hancock Condensed were digitized as Hancock Pro (1994-2017, Steve Jackaman, Red Rooster). [Google] [More]  ⦿

    Charles-J. De Mat

    Belgian typefounder in Brussels, about whom John A. Lane writes in Early Type Specimens in the Plantin-Moretus Museum: Little is known about the Joniaux foundry and the possibly related foundry of Charles-J. de Mat, both in Brussels, and their history cannot be written without research in the Brussels archives and a comparison of the few specimens known to survive. This goes beyond the scope of the present catalogue, but I present what little information I can to encourage further study. I have found no record of Joniaux's foundry beyond the information in the present 1828 specimen and the directories for 1830, 1832, 1833 and 1851-1870. The directories for 1826 and 1840 record no foundry bearing Joniaux's name or at the adress he used from 1828 to 1833. The directory for 1833 and type specimens of 1833 and 1837 record C.J. de Mat&Cie, all on Rue de la Batterie, where Joniaux appears in the directories for 1851 and later (though the house number changes several times). This scanty information allows no certain conclusion, but perhaps the foundries of Joniaux and De Mat merged to form De Mat&Cie sometime in the years 1837 to 1839, and De Mat withdrew sometime in the years 1840 to 1850 so that the foundry then continues under the Joniaux name. Since the nature of the relationship between the two firms, if the were related, remains uncertain, I include the De Mat foundry's names and adresses in the chronology above, even for the period before it became De Mat&Cie. De Mat operated a printing office and at least in 1837 also called himself a bookseller and paper maker [boekverkoper volgens mij vanaf 1825!], so the foundry may have taken on a subsidiary role around that time. I know of no specimens by either firm after 1837/38. The present specimen explicitly states that some of its types were cut by Termonia in imitation of Didot's, but I have found no other reference to a punchcutter of this name. The name appears to [be] Belgian, and may come from the area around Hasselt in the province of Limburg. I have not found it in Brussels, so the foundry may have acquired the punches from a punchcutter residing elsewhere. [Google] [More]  ⦿

    Charlie Zinno

    Argentinian graphic and type designer, b. 1984. Director of Name Agency. Award winner at Tipos Latinos 2010 and selected in 2010 to be part of the Premios de Diseño Joven del Centro Cultural de España for his text typeface Latinité Roman and The Dot (2009-2012, a fashion mag ornamental didone typeface).

    Charlie writes: Latinité is a text typeface inspired by an French artistic movement called La Graphie Latine. The design of this typeface is based on the calligraphic gesture. The typeface proportions and low contrast make it suitable for small text sizes. The design was influenced by ITC Mendoza, all of Crous-Vidal's work, and even Bram de Does's Lexicon.

    For The Dot, inspiration came from the original fonts in Vogue and Harper's Bazaar, Herb Lubalin's take on contrasted typefaces, and François Boltana's Stilla. He writes: When I was in the final stages of the creative process I started to relate The Dot with the image of a soprano singer. Usually they are beautiful, neat and full bodied women. They have a sort of elegance which is transmitted by their voice and completed by their image, and I wanted something like that for The Dot. The Fat version was finished and it was impossible not to imagine how it might look if it become Extra Thin. So, if The Dot Fat was a Soprano The Dot Extra Light would be the Contralto. For the eight weights of The Dot, Ricardo Santos helped out. The Dot was part of an exhibition called Efervescente produced by CCEBA in Rosario, Argentina.

    Personal web site. MyFonts link. Old URL to Estudiomínimo. [Google] [MyFonts] [More]  ⦿

    Charline Chambre

    Art director in Paris who designed the high-contrasty didone typeface Gouttype (2017). Behance link. [Google] [More]  ⦿

    Charlotte Wiltz

    Parisian designer of the stylish fashion mag semi-didone typeface Vague (2014) and of the modular typeface Point Barre (2014). [Google] [More]  ⦿

    Chau Tran

    Graphic designer in Ho Chi Minh City, Vietnam. Under the heading Another Bodoni font update, he published images of a Bodoni font in 2017. I wonder whether this is a tweak of an existing Bodoni font or just a plain "font in use". [Google] [More]  ⦿

    Chauncey H. Griffith

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

    Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style typefaces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group.

    He designed or co-designed the following fonts, all at Mergenthaler:

    • Baskerville (1939, Linotype).
    • Bell Gothic (1937-1938). Now available at Bitstream. Font Bureau has its own version, Griffith Gothic (1997-2000, by Tobias Frere-Jones): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this typeface for newspaper work, the former with special figures and other characters for setting racetrack results, the latter in 1941 with other special characters for stock market details. The basic Bell Gothic was also cut by Intertype in 1939. Compare No. 11 and No. 12, shown under Numbered Faces, previously used for directory work. Imitations include OPTI Benet (Castcraft). Poster by Jaime Schweitzer. View digital versions of Bell Gothic.
    • Bookman (1936, after the 1960 original by Alexander Phemister at Kingsley ATF).
    • Corona (1941), a narrow newspaper typeface with large x-height. Corona was designed to meet the rigorous requirements of high-speed printing, and is still the chosen type of many American daily newspapers. Mac McGrew: Corona was drawn and cut by Linotype under the direction of C. H. Griffith in 1941. It is a member of the "Legibility Group" of faces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona. Digital revivals include C795 Roman (Softmaker), News 705 BT (Bitstream).
    • Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
    • The didone-style newspaper typeface Excelsior (1931, Linotype). At Bitstream, this is News 702. URW calls it Excius, and SoftMaker's version is Exemplary. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype typeface intended primarily for newspaper work, Excelsior is available in closely graded sizes, including odd and some half-point multiples.
    • Granjon (1928-1930, with George William Jones at Linotype). MyFonts: Claude Garamond's late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype&Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon's seventeenth century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon's romans, Plantin and Galliard. Granjon is a little less crisp in cut than either Sabon, Stempel Gararmond or Berthold Garamond, but makes a magnificent and most readable text face, as shown in Reader's Digest since its founding. Mac McGrew: Granjon was designed for Linotype in 1928 by George W. Jones, distinguished English printer, to meet his own exacting requirements for fine book and publication work. It is derived from classic Garamond sources, but with refinements made possible by modern methods of punch cutting. In fact, one critic has called it "the purest form of Garamond." It is named for Robert Granjon, mid-sixteenth-century punch cutter noted in particular for his italics, from which the present Granjon Italic was derived. Granjon Bold, by C. H. Griffith, was added in 1931. Lanston Monotype acquired reproduction rights to the typeface from Mergenthaler.
    • Ionic No. 5 (Linotype, 1925). Mac McGrew: Ionic is a general name for a style of typeface which is closely related to the Clarendons (q.v.). Plain, sturdy designs with strong serifs and little contrast, the Ionics were popular in the latter part of the nineteenth century. Although many founders offered them, they were generally gone by early in this century. A few received a new lease on life when they were copied by Monotype, Linotype, or Intertype. Two new Ionics appeared in this century. Ionic No.5 was designed by C. H. Griffith in 1926 for Linotype, as a newspaper text face. It features a large lowercase with short ascenders and descenders, with no fine lines or serifs to break down in stereotyping, and no small openings to fill up with ink. This is one of a few typefaces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
    • Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
    • Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif typeface known as Memphis or Girder, designed by Rudolf Weiss about 1929, which did much to revive interest in this old style. Memphis Light and Bold were introduced by Linotype in 1933, Italics and Unique Caps in 1934, Medium in 1935, and other variations up to 1938. The Extra Bold versions were designed by C. H. Griffith. Alternate characters are available in some versions to more nearly approximate the appearance of Stymie or Beton (q.v.). The Lining versions are comparable to small caps in the regular versions, being propor- tionately wider and heavier than caps, and have no lowercase; there are several sizes each in 6- and 12-point, permitting various cap-and-small-cap combinations, in the manner of Copperplate Gothic. Also see Ward; compare Cairo, Karnak. Digital versions are everywhere. The Bitstream version is Geometric Slabserif 703.
    • Linotype Monticello was designed by Griffith in 1946. Its design is based on James Ronaldson's Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965-1981. Mac McGrew: Monticello is a Linotype recreation of America's first great typeface, Binny&Ronaldson's Roman No.1, cut about 1796 by Archibald Binny in Philadelphia. His was the first permanent American type foundry. After about 30 years, the Binny typeface fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the typeface was renamed Oxford (q. v.). In 1943 Princeton University Press announced plans for publishing a 52-volume edition of The Papers of Thomas Jefferson. As President, Jefferson had personally written to friends in France, introducing a Binny&Ronald- son representative who was seeking a source of antimony to replenish the shortage which threatened the young typefounding industry in this country. Jefferson also referred in this letter to the importance of type to civilization and freedom. In addition, the popularity of this typeface coincided with the most prominent years of Jefferson's life. Therefore Linotype suggested that a recutting of the typeface would be most appropriate for the Jefferson books, and the publisher heartily agreed. C. H. Griffith, Linotype typographic consultant, made a detailed study of Binny's type and redrew it in 1946 for the requirements of Linotype composition and modern printing conditions. It is a vigorous transitional face, somewhat similar to Baskerville but slightly heavier and a little crisper.
    • Opticon (1935, Linotype). Mac McGrew: Opticon was designed in 1935 by C. H. Griffith for Linotype. It is a member of what that supplier calls its Legibility Group of typefaces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
    • Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This typeface is lighter and airier than most such typefaces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
    • Poster Bodoni (1920). Digital versions of Poster Bodoni or a textured ornamental version of it include Poster Bodoni (Bitstream), Modern 721 (Bitstream), OPTI Poster Bodoni Compressed (Castcraft), Bodoni Poster (Softmaker), Bodnoff (Corel), Poster Bodoni (Tilde), Poster Bodoni WGL4 (Bitstream), Saphir (Linotype), Bodoni Poster (Linotype), Bodoni poster (Adobe; same as the Linotype version), and Bodoni Ornamental (FontMesa).
    • Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
    • Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper typefaces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper typefaces. Compare Excelsior, Ionic, Rex, etc.
    • Non-Latin typefaces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.

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

    Chelsea Herbert

    Graphic designer in Birmingham, UK, who made Didot Reverse (2012), an Italian typeface. [Google] [More]  ⦿

    Chelsea Trembath

    During her studies at Yoobee School of Design in Wellington, New Zealand, Chelsea Trembath created the ball terminal-laden didone poster typeface Railway (2015). [Google] [More]  ⦿

    Chiara La Rosa

    Bachelor of Design in Visual Communication at University of Technology Sydney. She created a playful didone typeface called Adelia (2012). [Google] [More]  ⦿

    Chloe Boureau

    Parisian designer of a glitched version of Bodoni called Filoni (2020). [Google] [More]  ⦿

    Chris van Rooyen

    Cape Town, South Africa-based designer of Metatype (2014), a typeface created as a hybrid of Bodoni and Metro Nova. [Google] [More]  ⦿

    Christian Dexter

    Wilmington, DE-based designer in 2019 at Avondale Type Co of ATC Anais (a headline didone) and ATC Nasty (gooey). Other typefaces include ATC Bramford (2019) and AG Mercury Sans (2019).

    In 2021, he released ATC Monarch (a rhombic medieval display typeface0 at Avondale. [Google] [More]  ⦿

    Christian Jung
    [Christian Pannicke]

    [More]  ⦿

    Christian Pannicke
    [Christian Jung]

    Christian Pannicke (Christian Jung) is a typeface designer and art director based in Berlin. His typefaces:

    • During his communication design studies in Berlin in 2013, Christian Pannicke created three typefaces, Aggi (a great carefully manicured display face), Alir (a modular squarish sans) and Neiga (a noteworthy free monoline Swiss slab serif described by Christian as glasklar und einfach).
    • The didone display typeface Agigi (2014), possibly renamed from Aggi.
    • The macho geometric sans serif typeface Amok (2014).
    • The roundish sans typeface Rodina (2014).
    • He designed Neue Cafe Grotesk for a final school project entitled Typography as a cultural embassy in the architecture of Berlin.
    • Nora (2014) and Nora Bold (2016): wedge serif magazine titling typefaces.
    • The letterpress emulation typeface family Heinrich (2017), which comes with several inline and textured styles.
    • The 20-style layerable poster typeface family Faust (2018).
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    Christian Schwartz

    Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.

    His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new type foundry, simply called Commercial.

    FontShop link. Font selection at MyFonts.

    A partial list of his creations:

    • FF Bau (2001-2004): Art direction by Erik Spiekermann. Released by FontShop International. He says: Bau is based on Grotesk, a typeface released by the Schelter&Giesecke type foundry in Leipzig, Germany at the end of the 19th century and used prominently by the designers at the Bauhaus. Each weight was drawn separately, to give the family the irregularity of the original, and the Super is new.
    • Neutraface (2002, House Industries) and Neutraface Condensed (2004). Art directed by Ken Barber and Andy Cruz. MyFonts offers Neutraface Slab Text, Neutraface Slab Display, Neutraface Display and Neutraface Text. Schwartz states: Neutraface was an ambitious project to design the most typographically complete geometric sans serif family ever. We didn't have many actual samples of the lettering that the Neutras used on their buildings, so it ended up taking a lot of interpretation. There was no reference for the lowercase, so it's drawn from scratch, looking at Futura, Nobel, and Tempo for reference. Stephen Coles reports: Reminiscent of the recent FB Relay and HTF Gotham, Neutraface is an exaggerated Nobel with nods to Bauhaus and architectural lettering. Yes, and maybe Futura? Maggie Winters, Ioana Dumitrescu, Nico Köckritz, Nico Kockritz and Michelle Regna made great Neutraface posters.
    • Neutraface No. 2 (2007), discussed by Stephen Coles: By simply raising Neutrafaces low waist, most of that quaintness is removed in No. 2, moving the whole family (which is completely mixable) toward more versatile, workhorse territory. This release is surely Houses response to seeing so many examples of Neutraface standardized by its users. Also new is an inline version. Who doesn't love inline type? It so vividly recalls WPA posters and other pre-war hand lettering. There are other heavy, inlined sans serifs like Phosphate, but one with a full family of weights and text cuts to back it up is very appealing. A typophile states: Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this.
    • At House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.
    • Farnham (2004, Font Bureau) and Farnham Headline (2006, Schwartzco). Commissioned by Esterson Associates and de Luxe Associates. Winner of an award at TDC2 2004. Based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem in the mid-to-late 1700s. Schwartz: Truly part of the transistion from oldstyle (i.e. Garamond) to modern (i.e. Bodoni) Fleischman's romans are remarkable for their energy and "sparkle" on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. In the 1800s, Fleischman's work fell into obscurity as tastes changed, but interest was renewed in the 1990s as digital revivals were designed by Matthew Carter, the Hoefler Type Foundry, and the Dutch Type Library, each focusing on a different aspect of the source material. I think the DTL version is the most faithful to the source, leaving the bumps and quirks inherent to metal type untouched. I've taken the opposite approach, using the source material as a starting point and trying to design a very contemporary text typeface that uses the basic structure and character of Fleischman without duplicating features that I found outdated, distracting, or unttatractive (i.e., the extra "spikes" on the capital E and F, or the form of the y).
    • FF Unit (2003-2004, Fontshop, designed with Erik Spiekermann). A clean and blocky evolution of FF Meta intended as a corporate typeface for the Deutsche Bahn (but subsequently not used).
    • Amplitude (2001-2003, Font Bureau), Amplitude Classified and Amplitude Headline. A newspaper-style ink-trapped sans family, unfortunately given the same name as a 2001 font by Aenigma. Winner of an award at TDC2 2004. The typeface selected by the St Louis Post Dispatch in 2005. One of many agates (type for small text) successfully developed by him. This page explains that they've dumped Dutch 811 and Bodoni and Helvetica and Franklin Gothic and News Gothic (whew!) for various weights of Amplitude, Poynter Old Style Display and Poynter Old Style Text. AmplitudeAubi was designed in 2002-2003 by Schwartz and Font Bureau for the German mag AutoBild.
    • Simian (2001, House Industries): SimianDisplay-Chimpanzee, SimianDisplay-Gorilla, SimianDisplay-Orangutan, SimianText-Chimpanzee, SimianText-Gorilla, SimianText-Orangutan. Designed at Font Bureau. Art Direction by Ken Barber and Andy Cruz. Schwartz: "Although Simian's roots are in Ed Benguiat's logos for the Planet of the Apes movies, Simian wound up veering off in its own direction. The display styles look very techno, and we really went nuts with the ligatures, since this was one of House's first Opentype releases."
    • Publico (2007): A predecessor of Guradian Egyptian. Schwartz writes: During the two year process of designing the typeface that would eventually become Guardian Egyptian, Paul Barnes and I ended up discarding many ideas along the way. Some of them were decent, just not right for the Guardian, including a serif family first called Stockholm, then renamed Hacienda after the legendary club in the Guardian's original home city of Manchester. Everyone involved liked the family well enough, but it didn't fit the paper as the design evolved, and several rounds of reworking left us more and more unsure of what it was supposed to look like. In the summer of 2006, Mark Porter and Esterson Associates were hired to redesign Publico, a major Portuguese daily newspaper, for an early 2007 launch. He asked us to take another look at Hacienda, to see if we might be able to untangle our many rounds of changes, figure out what it was supposed to look like in the first place, and finish it in a very short amount of time. Spending some time away from the typeface did our eyes a world of good. When we looked at it again, it was obvious that it really needed its "sparkle" played up, so we increased the sharpness of the serifs, to play against softer ball terminals, and kept the contrast high as the weight increased, ending up with an elegant and serious family with some humor at its extreme weights. As a Spanish name is not suitable for a typeface for a Portuguese newspaper, Hacienda was renamed once more, finally ending up as Publico. Production and design assistance by Kai Bernau. Commissioned by Mark Porter and Esterson Associates for Publico
    • Austin (2003): Designed by Paul Barnes at Schwartzco. Commissioned by Sheila Jack at Harper's&Queen.
    • Giorgio (2007): Commissioned by Chris Martinez at T, the New York Times Sunday style magazine. Small size versions produced with Kris Sowersby. Not available for relicensing. A high contrast condensed "modern" display typeface related to Imre Reiner's Corvinus. Ben Kiel raves: Giorgio, like the fashion models that it shares space with in T, the New York Times fashion magazine, is brutal in its demands. It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. [...] Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page.
    • Empire State Building (2007): An art deco titling typeface designed with Paul Barnes for Laura Varacchi at Two Twelve Associates. Icons designed by Kevin Dresser at Dresser Johnson. Exclusive to the Empire State Building.
    • Guardian (2004-2005): Commissioned by Mark Porter at The Guardian. Designed with Paul Barnes. Not available for relicensing until 2008. Based on an Egyptian, this 200-style family consists of Guardian Egyptian (the main text face), Guardian Sans, Guardian Text Egyptian, Guardian Text Sans and Guardian Agate.
    • Houston (2003): Commissioned by Roger Black at Danilo Black, Inc., for the Houston Chronicle. Schwartz: As far as I know, this typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type. The italic (particularly the alternate italic used in feature sections) also borrows from Nebiolo Jenson Oldstyle, and there is a hint of ATF Jenson Oldstyle in places as well.
    • Popular (2004): Commissioned by Robb Rice at Danilo Black, Inc., for Popular Mechanics. An Egyptian on testosterone.
    • Stag (2005): Commissioned by David Curcurito and Darhil Crooks at Esquire. Yet another very masculine slab serif family. Schwartz writes I showed them a range of slab serifs produced by French and German foundries around 1900-1940, and synthesized elements from several of them (notably Beton, Peignot's Egyptienne Noir, Georg Trump's Schadow, and Scarab) into a new typeface with a very large x-height, extremely short ascenders and descenders, and tight spacing. Also, we find Stag Sans (2007, Village) and Stag Dot (2008, Village).
    • Plinc Hanover (2009, House Industries). A digitization of a blackletter font by Photo Lettering Inc.
    • Fritz (1997, Font Bureau). Schwartz: "Fritz is based on various pieces of handlettering done in the early 20th century by Ozwald Cooper, a type designer and lettering artist best known for the ubiquitous Cooper Black. Galapagos Type foundry's Maiandra and Robusto are based on the same pieces of lettering."
    • Latino-Rumba, Latino-Samba (2000, House Industries). Art Direction by Andy Cruz. Designed with Ken Barber. Jazzy letters based on an earlier design of Schwartz, called Atlas (1993).
    • Pennsylvania (2000, FontBureau). A monospaed family inspired by Pennsylvanian license plates. Schwartz: "Thai type designer Anuthin Wongsunkakon's Keystone State (1999, T26) is based on the exact same source."
    • Plinc Swiss Interlock (by Christian Schwartz and Adam Cruz for House Industries). Based on originals by PhotoLetteringInc.
    • Luxury (2002, Orange Italic, co-designed with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline typefaces made (jokingly) for use with luxury items. The six-weight Luxury family at House Industries in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
    • Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
    • Unfinished typefaces: Masthead, Reform, Bitmaps, Bilbao, Boyband, Addison, Elektro, Sandbox, Vendôme, Bailey.
    • Fonts drawn in high school: Flywheel (1992, FontHaus), Atlas (1993, FontHaus, a "a fairly faithful revival of Potomac Latin, designed in the late 1950s for PhotoLettering, Inc"), Elroy (1993, FontHaus), ElroyExtrasOrnaments, Hairspray (1993, "a revival of Steinweiss Scrawl, designed in the mid-1950s by Alex Steinweiss, best known for his handlettered record covers": HairsprayBlonde, HairsprayBrunette, HairsprayPix, HairsprayRedhead), Twist (1994, Precision Type and Agfa), Zombie (1995, Precision Type and Agfa), Morticia (1995, Agfa/Monotype), Gladys (1996, an unreleased revival of ATF's turn-of-the-century Master Script).
    • Ant&Bee&Art Fonts (1994-1995): three dingbat fonts, Baby Boom, C'est la vie, and Raining Cats&Dogs, based on drawings by Christian's aunt, Jill Weber. Released by FontHaus.
    • Digitizations done between 1993-1995: Dolmen (Letraset), Latino Elongated (Letraset), Regatta Condensed (Letraset), Fashion Compressed (Letraset), Jack Regular (Jack Tom), Tempto Openface (Tintin Timen).
    • Hand-tuned bitmap fonts: Syssy, Zimmer's Egyptian, Elizzzabeth, Newt Gothic, Trags X, Tibia, Fibula, Tino, Digest Cyrillic (based on Tal Leming's Digest). Free downloads of the pixel typefaces Newt Gothic, Tibula and Fibia here.
    • At Village and Orange Italic, one can get Local Gothic (2005), now in OpenType, a crazy mix of Helvetica Bold, Futura Extra Bold, Franklin Gothic Condensed and Alternate Gothic No. 2. It is a collection of alternates one can cycle through---thus a for of randomization.
    • FF Oxide (2005), a Bank Gothic style stencil family. FF Oxide Light is free!
    • Graphik (2008), a sans between geometric and grotesk made for thew Wallpaper mag. Kris sSwersby writes: In a sweltering typographic climate that favours organic look-at-me typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen&pick up the latest copy of Wallpaper magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time. See also Graphik Wide (2018).
    • In 2011, he created a 22-style revival of Helvetica called Neue Haas Grotesk (Linotype), which offers alternates such as a straigt-legged R and a differently-seriffed a. It is based on the original drawings of Miedinger in 1957.
    Schwartz also made numerous custom fonts:
    • Houston (2003). Winner of an award at TDC2 2004, a type family done with Roger Black for the Houston Chronicle. Schwartz: This typeface is the first Venetian Oldstyle ever drawn for newspaper text, and only Roger Black could come up with such a brilliant and bizarre idea. The basic structures are based on British Monotype's Italian Old Style, which was based on William Morris's Golden Type.).
    • Popular (2004). A thick-slabbed typeface drawn for Popular Mechanics, commissioned by Robb Rice at Danilo Black, Inc.
    • FF Meta 3 (2003, hairline versions of type drawn by Richard Lipton and Erik Spiekermann).
    • Eero (2003). Based on an unnamed typeface drawn by Eero Saarinen for the Dulles International Airport. Art Directed by Ken Barber and Andy Cruz. Commissioned by House Industries for the Dulles International Airport.
    • ITC Officina Display (2003). The Regular, Bold and Black weights of this typeface were originally developed by Ole Schäfer for Erik Spiekermann's redesign of The Economist in 2000 or 2001. The ITC conglomerate decided to release it in 2003. I revised parts of Ole's fonts, and worked with Richard Lipton to adapt the Light from a version of Officina Light that Cyrus Highsmith had drawn several years earlier for a custom client. I also added more arrows and bullets than anyone could possibly need, but they were fun to draw. Released by Agfa.
    • Symantec (2003). Designed with Conor Mangat based on News Gothic by Morris Fuller Benton (Sans) and Boehringer Serif by Ole Schäfer, based on Concorde Nova by Günter Gerhard Lange (Serif). Advised by Erik Spiekermann. Commissioned by MetaDesign for Symantec Corporation.
    • Harrison (2002). Based on the hand of George Harrison, was commissioned in 2002 by radical.media.
    • Chalet Cyrillic (2002, House Industries).
    • Benton Modern (2001). Based on Globe Century by Tobias Frere-Jones and Richard Lipton. Commissioned by Font Bureau for the Readability Series. Designed at Font Bureau. Microsite.
    • Caslon's Egyptian (2001). Commissioned by Red Herring. Designed at Font Bureau. Around 1816, William Caslon IV printed the first know specimen of a sans serif typeface: W CASLON JUNR LETTERFOUNDER. A complete set of matrices for captials exists in the archives of Stephenson Blake, and Miko McGinty revived these as a project in Tobias Frere-Jones's type design class at Yale. In 1998, Cyrus Highsmith refined Miko's version, giving it a more complete character set for Red Herring magazine. In 2001, they came back for a lowercase and 3 additional weights. I looked at Clarendon and British vernacular lettering (mainly from signs) for inspiration, and came up with a lowercase that does not even pretend to be an accurate or failthful revival.
    • David Yurman (2001). Based on a custom typeface by Fabien Baron. Commissioned by Lipman Advertising for David Yurman. Designed at Font Bureau.
    • Coop Black lowercase (2001). Based on Coop Black by Ken Barber and Coop. Commissioned by House Industries for Toys R Us. Designed at Font Bureau.
    • Interstate Monospaced (2000-2001). Based on Interstate by Tobias Frere-Jones. Commissioned by Citigroup. Designed at Font Bureau.
    • Vectora Thin (2000). Based on Vectora by Adrian Frutiger. Commissioned by O Magazine. Not available for licensing. Designed at Font Bureau.
    • LaDeeDa (2000). Informal lettering, art directed by Mia Hurley. Commissioned by gURL.com. Designed at Font Bureau.
    • Poynter Agate Display (2000). Based on Poynter Agate by David Berlow. Commissioned by the San Jose Mercury News classified section. Designed at Font Bureau.
    • FF DIN Condensed (2000). Based on FF DIN by Albert-Jan Pool. Commissioned by Michael Grossman for Harper's Bazaar. Designed at Font Bureau.
    • VW Headline Light&VW Heckschrift (1999). Based on Futura by Paul Renner and VW Headline by Lucas de Groot. Art directed by Erik Spiekermann and Stephanie Kurz. Commissioned by MetaDesign Berlin for Volkswagen AG.
    • 5608 (1999). Stencil typeface for Double A Clothing.
    • Bureau Grotesque (1996-2002). Designed with FB Staff including David Berlow, Tobias Frere-Jones, Jill Pichotta, Richard Lipton, and others. Mostly unreleased. Some styles commissioned by Entertainment Weekly. Designed at Font Bureau.
    • Guardian Egyptian (2005). A 200-font family by Schwartz and Paul Barnes for The Guardian.
    • In 2007, Schwartz and Spiekermann received a gold medal from the German Design Council for a type system developed for the Deutsche Bahn (German Railway).
    • 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. Because the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.
    • In 2014, Christian Schwartz and Dino Sanchez co-designed the roman inscriptional typeface Gravitas. The name was already in use by Riccardo de Franceschi (since 2011), Laura Eames (since 2013) and Keith Tricker (since earlier in 2014), so there may be some emails flowing between these type designers. They write: The primary inspiration for Gravitas was Augustea Nova, Aldo Novarese's quirky and spiky Latin interpretation of the Roman inscriptional caps for the Nebiolo Type Foundry, released in a single weight in the 1950s. It's fairly common to see Augustea Open these days, but his lowercase apparently didn't survive the transition to phototype. Many designers have tackled the problem of matching a lowercase to the classical Roman capitals, with decidedly mixed results. The Bold Italic was drawn by Jesse Vega.
    • Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

      Also in 2014, Christian designed the custom typeface Poets Electra for the American Academy of Poets. It extends and modifies W.A. Dwiggins's Electra (1940).

    • Tanja (2016). A dot matrix typeface designed by Christian Schwartz and Paul Barnes and based on the monolinear Marian 1554, Tanja began life as the proposed logo for a German publisher.
    • Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
    • MoMA Sans (2017). For the Museum of Modern Arts.
    • Zombie (2022, at FontHaus).
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    Christian Schwartz
    [Commercial Type (Was: Schwartzco)]

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    Christoph Dunst
    [Atlas Font Foundry]

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    Christophe Badani
    [Typophage]

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    Christopher Haanes

    Oslo-based Norwegian who was born in Cheltenham, UK, in 1966. Haanes teaches calligraphy, lettering and typography, and is a freelance calligrapher, book designer and typographer. He designed many alphabets, which are mostly calligraphic, but he has also drawn some old Roman lettering and blackletter alphabets. His blog (in Norwegian) has interesting typographic threads, such as this educational comparison between Antiqua typefaces like Brioso, Adobe Jenson, Bembo, Adobe Garamond, ITC New Baskerville and Linotype Didot. This thread looks at sans typefaces. He designed a calligraphic alphabet specifically for Cappelen Damm in 2008, which was digitized by Sumner Stone as Litterat. [Google] [More]  ⦿

    Christopher J. Fynn
    [Software&Fonts for Bodhic Languages&Script]

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    chr_s

    Designer who used FontStruct in 2009 to create Staring at the Sky, Early Bird Catches The Worm, Bernstein, Plaskett, Fimbriae, Hard Light, Inauguration, Kunchey Wide, Kunchey, Worst Seats in the House, Burden and 2x2 Struct (pixel-geometric art deco).

    Faces made in 2010: Sweet Henry (compact, rounded), Bobolink, Carapace, Riley (optical illusion face), Overfeed (Futura-inspired stencil), Corpus Torsion, Penkala, Mongrel, Guayule (attractive ultra fat didone), Filamentous, Dizygotic (squarish sans), Decorum (condensed display face).

    Faces from 2011: Sam Sleeps (in the style of Impact), Trepan, Tools of the Trade (dingbats).

    Typefaces from 2012: Pilaster (influenced by Yakov G. Chernikov), Pochoir (stencil face), Tourniquet. [Google] [More]  ⦿

    Cincinnati Type Foundry

    Cincinnati-based foundry (est. 1817), also called Oliver&Horace Wells, Horace Wells, Agant, and L.T. Wells, Agent. Among digitizations, we find French Ionic (Dan X. Solo, Solotype: quite ugly--based on an 1870 Clarendon derivative by the Cincinnati Type Foundry).

    Free specimen books on the web:

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    Cindy Kinash
    [Cultivated Mind]

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    Cirilica

    This site devoted to Cyrillic type and typography has many Cyrillic fonts. The "cir" series listed below, as well as the NK and most other series were designed in 2006-2007. The list:

    • Evangelie-Ucs
    • Feofan-Ucs
    • Irmologion-Caps-Ucs-SpacedOut, Irmologion-Caps-Ucs, Irmologion-Caps-ieUcs-SpacedOut, Irmologion-Caps-ieUcs, Irmologion-Caps-kUcs-SpacedOut, Irmologion-Caps-kUcs, Irmologion-Ucs-SpacedOut, Irmologion-Ucs, Irmologion-ieUcs-SpacedOut, Irmologion-ieUcs, Irmologion-kUcs-SpacedOut, Irmologion-kUcs
    • Lugomir-E, Lugomir
    • Pochaevsk-Caps-Ucs-SpacedOut, Pochaevsk-Caps-Ucs, Pochaevsk-Caps-ieUcs-SpacedOut, Pochaevsk-Caps-ieUcs, Pochaevsk-Caps-kUcs-SpacedOut, Pochaevsk-Caps-kUcs, Pochaevsk-Ucs-SpacedOut, Pochaevsk-Ucs, Pochaevsk-ieUcs-SpacedOut, Pochaevsk-ieUcs, Pochaevsk-kUcs-SpacedOut, Pochaevsk-kUcs
    • Psaltyr-Ucs-SpacedOut, Psaltyr-Ucs, Psaltyr-ieUcs-SpacedOut, Psaltyr-ieUcs, Psaltyr-kUcs-SpacedOut, Psaltyr-kUcs
    • RUSIJA-01, RUSIJA-02
    • SBibSlav
    • Slavjanic-Ucs-SpacedOut, Slavjanic-Ucs, Slavjanic-ieUcs-SpacedOut, Slavjanic-ieUcs, Slavjanic-kUcs-SpacedOut, Slavjanic-kUcs
    • StaroUspenskaya-Caps-Ucs-SpacedOut, StaroUspenskaya-Caps-Ucs, StaroUspenskaya-Caps-ieUcs-SpacedOut, StaroUspenskaya-Caps-ieUcs, StaroUspenskaya-Caps-kUcs-SpacedOut, StaroUspenskaya-Caps-kUcs, StaroUspenskaya-Ucs-SpacedOut, StaroUspenskaya-Ucs, StaroUspenskaya-ieUcs-SpacedOut, StaroUspenskaya-ieUcs, StaroUspenskaya-kUcs-SpacedOut, StaroUspenskaya-kUcs
    • Triodion-Caps-Ucs-SpacedOut, Triodion-Caps-Ucs, Triodion-Caps-ieUcs-SpacedOut, Triodion-Caps-ieUcs, Triodion-Caps-kUcs-SpacedOut, Triodion-Caps-kUcs, Triodion-Ucs-SpacedOut, Triodion-Ucs, Triodion-ieUcs-SpacedOut, Triodion-ieUcs, Triodion-kUcs-SpacedOut, Triodion-kUcs
    • Vertograd-Ucs
    • Zlatoust-Ucs-SpacedOut, Zlatoust-Ucs, Zlatoust-ieUcs-SpacedOut, Zlatoust-ieUcs, Zlatoust-kUcs-SpacedOut, Zlatoust-kUcs
    • cirEVROSTILE-Crn, cirEVROSTILE-CrnEkst, cirEVROSTILE-CrnEkstKos, cirEVROSTILE-CrnKond, cirEVROSTILE-CrnKondKos, cirEVROSTILE-CrnKos, cirEVROSTILE-Deb, cirEVROSTILE-DebKos, cirEVROSTILE-Med, cirEVROSTILE-MedEkst, cirEVROSTILE-MedEkstKos, cirEVROSTILE-MedKond, cirEVROSTILE-MedKondKos, cirEVROSTILE-MedKos, cirEVROSTILEe-Crn, cirEVROSTILEe-CrnEkst, cirEVROSTILEe-CrnEkstKos, cirEVROSTILEe-CrnKond, cirEVROSTILEe-CrnKondKos, cirEVROSTILEe-CrnKos, cirEVROSTILEe-Deb, cirEVROSTILEe-DebKos, cirEVROSTILEe-Med, cirEVROSTILEe-MedEkst, cirEVROSTILEe-MedEkstKos, cirEVROSTILEe-MedKond, cirEVROSTILEe-MedKondKos, cirEVROSTILEe-MedKos
    • cirHELVn-Crn-E, cirHELVn-Crn, cirHELVn-CrnEkst-E, cirHELVn-CrnEkst, cirHELVn-CrnEkstKos-E, cirHELVn-CrnEkstKos, cirHELVn-CrnKond-E, cirHELVn-CrnKond, cirHELVn-CrnKondKos-E, cirHELVn-CrnKondKos, cirHELVn-CrnKurziv-E, cirHELVn-CrnKurziv, cirHELVn-DebEkst-E, cirHELVn-DebEkst, cirHELVn-DebEkstKos-E, cirHELVn-DebEkstKos, cirHELVn-DebKond-E, cirHELVn-DebKond, cirHELVn-DebKondKos-E, cirHELVn-DebKondKos, cirHELVn-DebKurziv-E, cirHELVn-DebKurziv, cirHELVn-DebOkvir-E, cirHELVn-DebOkvir, cirHELVn-Debeo-E, cirHELVn-Debeo, cirHELVn-MedEkst-E, cirHELVn-MedEkst, cirHELVn-MedEkstKos-E, cirHELVn-MedEkstKos, cirHELVn-MedKond-E, cirHELVn-MedKond, cirHELVn-MedKondKos-E, cirHELVn-MedKondKos, cirHELVn-MedKurziv-E, cirHELVn-MedKurziv, cirHELVn-Medijum-E, cirHELVn-Medijum, cirHELVn-StandEkst-E, cirHELVn-StandEkst, cirHELVn-StandEkstKos-E, cirHELVn-StandEkstKos, cirHELVn-StandKond-E, cirHELVn-StandKond, cirHELVn-StandKondKos-E, cirHELVn-StandKondKos, cirHELVn-StandKurziv-E, cirHELVn-StandKurziv, cirHELVn-Standard-E, cirHELVn-Standard, cirHELVn-SvetEkst-E, cirHELVn-SvetEkst, cirHELVn-SvetEkstKos-E, cirHELVn-SvetEkstKos, cirHELVn-SvetKond-E, cirHELVn-SvetKond, cirHELVn-SvetKondKos-E, cirHELVn-SvetKondKos, cirHELVn-SvetKurziv-E, cirHELVn-SvetKurziv, cirHELVn-Svetli-E, cirHELVn-Svetli, cirHELVn-TezEkst-E, cirHELVn-TezEkst, cirHELVn-TezEkstKos-E, cirHELVn-TezEkstKos, cirHELVn-TezKond-E, cirHELVn-TezKond, cirHELVn-TezKondKos-E, cirHELVn-TezKondKos, cirHELVn-TezKurziv-E, cirHELVn-TezKurziv, cirHELVn-Tezak-E, cirHELVn-Tezak, cirHELVn-Tnk-E, cirHELVn-Tnk, cirHELVn-TnkEkst-E, cirHELVn-TnkEkst, cirHELVn-TnkEkstKos-E, cirHELVn-TnkEkstKos, cirHELVn-TnkKond-E, cirHELVn-TnkKond, cirHELVn-TnkKondKos-E, cirHELVn-TnkKondKos, cirHELVn-TnkKurziv-E, cirHELVn-TnkKurziv, cirHELVn-VrloCrnKond-E, cirHELVn-VrloCrnKond, cirHELVn-VrloCrnKondKos-E, cirHELVn-VrloCrnKondKos, cirHELVn-Vtnk-E, cirHELVn-Vtnk, cirHELVn-VtnkEkst-E, cirHELVn-VtnkEkst, cirHELVn-VtnkEkstKos-E, cirHELVn-VtnkEkstKos, cirHELVn-VtnkKond-E, cirHELVn-VtnkKond, cirHELVn-VtnkKondKos-E, cirHELVn-VtnkKondKos, cirHELVn-VtnkKurziv-E, cirHELVn-VtnkKurziv
    • cirJUNTD-S-CrnKond, cirJUNTD-S-DebKond, cirJUNTD-S-DebPKond, cirJUNTD-S-MedKond, cirJUNTD-S-MedPKond, cirJUNTD-S-PDebKond, cirJUNTD-S-PDebPKond, cirJUNTD-S-ShabKond, cirJUNTD-S-SvetKond, cirJUNTD-S-SvetPKond, cirJUNTD-S-VSvetKond, cirJUNTD-S-VSvetPKond, cirJUNTD-Se-CrnKond, cirJUNTD-Se-DebKond, cirJUNTD-Se-DebPKond, cirJUNTD-Se-MedKond, cirJUNTD-Se-MedPKond, cirJUNTD-Se-PDebKond, cirJUNTD-Se-PDebPKond, cirJUNTD-Se-ShabKond, cirJUNTD-Se-SvetKond, cirJUNTD-Se-SvetPKond, cirJUNTD-Se-VSvetKond, cirJUNTD-Se-VSvetPKond
    • cirKVITm-01-Crn-E, cirKVITm-01-Crn, cirKVITm-01-CrnKurziv-E, cirKVITm-01-CrnKurziv, cirKVITm-01-Deb-E, cirKVITm-01-Deb, cirKVITm-01-DebKurziv-E, cirKVITm-01-DebKurziv, cirKVITm-01-Kniga-E, cirKVITm-01-Kniga, cirKVITm-01-KnigaKurz-E, cirKVITm-01-KnigaKurz, cirKVITm-01-MedKurziv-E, cirKVITm-01-MedKurziv, cirKVITm-01-Medijum-E, cirKVITm-01-Medijum, cirKVITm-01-Standard-E, cirKVITm-01-Standard, cirKVITm-01-StdKurziv-E, cirKVITm-01-StdKurziv, cirKVITm-01-SvetKurz-E, cirKVITm-01-SvetKurziv, cirKVITm-01-Svetli-E, cirKVITm-01-Svetli, cirKVITm-01-Tnk-E, cirKVITm-01-Tnk, cirKVITm-01-TnkKurziv-E, cirKVITm-01-TnkKurziv, cirKVITm-01-VDeb-E, cirKVITm-01-VDeb, cirKVITm-01-VDebKurziv-E, cirKVITm-01-VDebKurziv, cirKVITm-01-VSvetKurz-E, cirKVITm-01-VSvetKurziv, cirKVITm-01-VSvetli-E, cirKVITm-01-VSvetli, cirKVITm-02-Crn-E, cirKVITm-02-Crn, cirKVITm-02-CrnKurziv-E, cirKVITm-02-CrnKurziv, cirKVITm-02-Deb-E, cirKVITm-02-Deb, cirKVITm-02-DebKurziv-E, cirKVITm-02-DebKurziv, cirKVITm-02-Kniga-E, cirKVITm-02-Kniga, cirKVITm-02-KnigaKurz-E, cirKVITm-02-KnigaKurz, cirKVITm-02-MedKurziv-E, cirKVITm-02-MedKurziv, cirKVITm-02-Medijum-E, cirKVITm-02-Medijum, cirKVITm-02-Standard-E, cirKVITm-02-Standard, cirKVITm-02-StdKurziv-E, cirKVITm-02-StdKurziv, cirKVITm-02-SvetKurz-E, cirKVITm-02-SvetKurziv, cirKVITm-02-Svetli-E, cirKVITm-02-Svetli, cirKVITm-02-Tnk-E, cirKVITm-02-Tnk, cirKVITm-02-TnkKurziv-E, cirKVITm-02-TnkKurziv, cirKVITm-02-VDeb-E, cirKVITm-02-VDeb, cirKVITm-02-VDebKurziv-E, cirKVITm-02-VDebKurziv, cirKVITm-02-VSvetKurz-E, cirKVITm-02-VSvetKurziv, cirKVITm-02-VSvetli-E, cirKVITm-02-VSvetli, cirKVITv-01-Crn-E, cirKVITv-01-Crn, cirKVITv-01-CrnKurziv-E, cirKVITv-01-CrnKurziv, cirKVITv-01-Deb-E, cirKVITv-01-Deb, cirKVITv-01-DebKurziv-E, cirKVITv-01-DebKurziv, cirKVITv-01-Kniga-E, cirKVITv-01-Kniga, cirKVITv-01-KnigaKurz-E, cirKVITv-01-KnigaKurz, cirKVITv-01-MedKurziv-E, cirKVITv-01-MedKurziv, cirKVITv-01-Medijum-E, cirKVITv-01-Medijum, cirKVITv-01-Standard-E, cirKVITv-01-Standard, cirKVITv-01-StdKurziv-E, cirKVITv-01-StdKurziv, cirKVITv-01-SvetKurz-E, cirKVITv-01-SvetKurziv, cirKVITv-01-Svetli-E, cirKVITv-01-Svetli, cirKVITv-01-Tnk-E, cirKVITv-01-Tnk, cirKVITv-01-TnkKurziv-E, cirKVITv-01-TnkKurziv, cirKVITv-01-VDeb-E, cirKVITv-01-VDeb, cirKVITv-01-VDebKurziv-E, cirKVITv-01-VDebKurziv, cirKVITv-01-VSvetKurz-E, cirKVITv-01-VSvetKurziv, cirKVITv-01-VSvetli-E, cirKVITv-01-VSvetli, cirKVITv-02-Crn-E, cirKVITv-02-Crn, cirKVITv-02-CrnKurziv-E, cirKVITv-02-CrnKurziv, cirKVITv-02-Deb-E, cirKVITv-02-Deb, cirKVITv-02-DebKurziv-E, cirKVITv-02-DebKurziv, cirKVITv-02-Kniga-E, cirKVITv-02-Kniga, cirKVITv-02-KnigaKurz-E, cirKVITv-02-KnigaKurz, cirKVITv-02-MedKurziv-E, cirKVITv-02-MedKurziv, cirKVITv-02-Medijum-E, cirKVITv-02-Medijum, cirKVITv-02-Standard-E, cirKVITv-02-Standard, cirKVITv-02-StdKurziv-E, cirKVITv-02-StdKurziv, cirKVITv-02-SvetKurz-E, cirKVITv-02-SvetKurziv, cirKVITv-02-Svetli-E, cirKVITv-02-Svetli, cirKVITv-02-Tnk-E, cirKVITv-02-Tnk, cirKVITv-02-TnkKurziv-E, cirKVITv-02-TnkKurziv, cirKVITv-02-VDeb-E, cirKVITv-02-VDeb, cirKVITv-02-VDebKurziv-E, cirKVITv-02-VDebKurziv, cirKVITv-02-VSvetKurz-E, cirKVITv-02-VSvetKurziv, cirKVITv-02-VSvetli-E, cirKVITv-02-VSvetli
    • cirMETA-Crn-Eksp, cirMETA-Crn-br1, cirMETA-Crn-br2, cirMETA-CrnKurziv-Eksp, cirMETA-CrnKurziv-br1, cirMETA-CrnKurziv-br2, cirMETA-CrnKurzivVM-Eksp, cirMETA-CrnKurzivVM-br1, cirMETA-CrnKurzivVM-br2, cirMETA-CrnVM-Eksp, cirMETA-CrnVM-br1, cirMETA-CrnVM-br2, cirMETA-MedKurziv-Eksp, cirMETA-MedKurziv-br1, cirMETA-MedKurziv-br2, cirMETA-MedKurzivVK-Eksp, cirMETA-MedKurzivVK-br1, cirMETA-MedKurzivVK-br2, cirMETA-Medijum-Eksp, cirMETA-Medijum-br1, cirMETA-Medijum-br2, cirMETA-MedijumVM-Eksp, cirMETA-MedijumVM-br1, cirMETA-MedijumVM-br2, cirMETA-Standard-Eksp, cirMETA-Standard-br1, cirMETA-Standard-br2, cirMETA-StandardVM-Eksp, cirMETA-StandardVM-br1, cirMETA-StandardVM-br2, cirMETA-StdKurziv-Eksp, cirMETA-StdKurziv-br1, cirMETA-StdKurziv-br2, cirMETA-StdKurzivVM-Eksp, cirMETA-StdKurzivVM-br1, cirMETA-StdKurzivVM-br2
    • cirMRD-CrnKond-E, cirMRD-CrnKond, cirMRD-CrnKondKurz-E, cirMRD-CrnKondKurz, cirMRD-DebKond-E, cirMRD-DebKond, cirMRD-DebKondKurz-E, cirMRD-DebKondKurz, cirMRD-StdKond-E, cirMRD-StdKond, cirMRD-StdKondKurz-E, cirMRD-StdKondKurz, cirMRD-SvetKond-E, cirMRD-SvetKond, cirMRD-SvetKondKurz-E, cirMRD-SvetKondKurz
    • cirTNORcrn, cirTNORcrnE, cirTNORcrnKurziv, cirTNORcrnKurzivE, cirTNORkurziv, cirTNORkurzivE, cirTNORnorm, cirTNORnormE, cirTNORsvetli, cirTNORsvetliE, cirTNORsvetliKurziv, cirTNORsvetliKurzivE
    • cirWNK-D-Crn-E, cirWNK-D-Crn, cirWNK-D-CrnKurziv-E, cirWNK-D-CrnKurziv, cirWNK-D-MedKurziv-E, cirWNK-D-MedKurziv, cirWNK-D-Medijum-E, cirWNK-D-Medijum, cirWNK-D-StandKurziv-E, cirWNK-D-StandKurziv, cirWNK-D-Standard-E, cirWNK-D-Standard, cirWNK-D-SvetKurziv-E, cirWNK-D-SvetKurziv, cirWNK-D-Svetli-E, cirWNK-D-Svetli, cirWNK-P-Crn-E, cirWNK-P-Crn, cirWNK-P-CrnKurziv-E, cirWNK-P-CrnKurziv, cirWNK-P-MedKurziv-E, cirWNK-P-MedKurziv, cirWNK-P-Medijum-E, cirWNK-P-Medijum, cirWNK-P-Standard-E, cirWNK-P-Standard, cirWNK-P-StdKurziv-E, cirWNK-P-StdKurziv, cirWNK-P-SvetKurziv-E, cirWNK-P-SvetKurziv, cirWNK-P-Svetli-E, cirWNK-P-Svetli, cirWNK-S-Crn-E, cirWNK-S-Crn, cirWNK-S-CrnKurziv-E, cirWNK-S-CrnKurziv, cirWNK-S-MedKurziv-E, cirWNK-S-MedKurziv, cirWNK-S-Medijum-E, cirWNK-S-Medijum, cirWNK-S-Standard-E, cirWNK-S-Standard, cirWNK-S-StdKurziv-E, cirWNK-S-StdKurziv, cirWNK-S-SvetKurziv-E, cirWNK-S-SvetKurziv, cirWNK-S-Svetli-E, cirWNK-S-Svetli, cirWNK-T-Crn-E, cirWNK-T-Crn, cirWNK-T-CrnKurziv-E, cirWNK-T-CrnKurziv, cirWNK-T-MedKurziv-E, cirWNK-T-MedKurziv, cirWNK-T-Medijum-E, cirWNK-T-Medijum, cirWNK-T-Standard-E, cirWNK-T-Standard, cirWNK-T-StdKurziv-E, cirWNK-T-StdKurziv, cirWNK-T-SvetKurz-E, cirWNK-T-SvetKurz, cirWNK-T-Svetli-E, cirWNK-T-Svetli
    • cirWTNbroj-Crn, cirWTNbroj-CrnKurziv, cirWTNbroj-Deb, cirWTNbroj-DebKurziv, cirWTNbroj-Kniga, cirWTNbroj-KnigaKurziv, cirWTNbroj-MedKurziv, cirWTNbroj-Medijum, cirWTNbroj-PoluDeb, cirWTNbroj-PoluDebKurziv, cirWTNbroj-SvetKurziv, cirWTNbroj-Svetli, cirWTNind-NegKrug-01-E, cirWTNind-NegKrug-01, cirWTNind-NegKrug-02-E, cirWTNind-NegKrug-02, cirWTNind-NegKrug-Deb-E, cirWTNind-NegKrug-Deb, cirWTNind-NegKrug-Med-E, cirWTNind-NegKrug-Med, cirWTNind-NegKvad-01-E, cirWTNind-NegKvad-01, cirWTNind-NegKvad-02-E, cirWTNind-NegKvad-02, cirWTNind-NegKvad-Deb-E, cirWTNind-NegKvad-Deb, cirWTNind-NegKvad-Med-E, cirWTNind-NegKvad-Med, cirWTNind-PozKrug-01-E, cirWTNind-PozKrug-01, cirWTNind-PozKrug-02-E, cirWTNind-PozKrug-02, cirWTNind-PozKrug-Deb-E, cirWTNind-PozKrug-Deb, cirWTNind-PozKrug-Med-E, cirWTNind-PozKrug-Med, cirWTNind-PozKvad-01-E, cirWTNind-PozKvad-01, cirWTNind-PozKvad-02-E, cirWTNind-PozKvad-02, cirWTNind-PozKvad-Deb-E, cirWTNind-PozKvad-Deb, cirWTNind-PozKvad-Med-E, cirWTNind-PozKvad-Med, cirWTNslo-Crn-E, cirWTNslo-Crn, cirWTNslo-CrnKond-E, cirWTNslo-CrnKond, cirWTNslo-CrnKurziv-E, cirWTNslo-CrnKurziv, cirWTNslo-Deb-E, cirWTNslo-Deb, cirWTNslo-DebKond-E, cirWTNslo-DebKond, cirWTNslo-DebKurziv-E, cirWTNslo-DebKurziv, cirWTNslo-Kniga-E, cirWTNslo-Kniga, cirWTNslo-KnigaKond-E, cirWTNslo-KnigaKond, cirWTNslo-KnigaKurziv-E, cirWTNslo-KnigaKurziv, cirWTNslo-MedKond-E, cirWTNslo-MedKond, cirWTNslo-MedKurziv-E, cirWTNslo-MedKurziv, cirWTNslo-Medijum-E, cirWTNslo-Medijum, cirWTNslo-PoluDeb-E, cirWTNslo-PoluDeb, cirWTNslo-PoluDebKond-E, cirWTNslo-PoluDebKond, cirWTNslo-PoluDebKurz-E, cirWTNslo-PoluDebKurziv, cirWTNslo-Svetli-E, cirWTNslo-Svetli, cirWTNslo-SvetliKond-E, cirWTNslo-SvetliKond, cirWTNslo-SvetliKurziv-E, cirWTNslo-SvetliKurziv, cirWTNslo-VM-Crn-E, cirWTNslo-VM-Crn, cirWTNslo-VM-CrnKurziv-E, cirWTNslo-VM-CrnKurziv, cirWTNslo-VM-Deb-E, cirWTNslo-VM-Deb, cirWTNslo-VM-DebKurz-E, cirWTNslo-VM-DebKurziv, cirWTNslo-VM-Kniga-E, cirWTNslo-VM-Kniga, cirWTNslo-VM-KnigaKurz-E, cirWTNslo-VM-KnigaKurziv, cirWTNslo-VM-MedKurz-E, cirWTNslo-VM-MedKurziv, cirWTNslo-VM-Medijum-E, cirWTNslo-VM-Medijum, cirWTNslo-VM-PoluDeb-E, cirWTNslo-VM-PoluDeb, cirWTNslo-VM-PoluDebKurz-E, cirWTNslo-VM-PoluDebKurz, cirWTNslo-VM-SvetKurziv-E, cirWTNslo-VM-SvetKurziv, cirWTNslo-VM-Svetli-E, cirWTNslo-VM-Svetli
    • cirZAPFINO-Dodatak, cirZAPFINO-Dva, cirZAPFINO-Tri
    • Other fonts at the site: ATLANTIDA, Azbuka03_D, Azbuka04, Azbuka05_D, Azbuka06, BAS-CELIK_K, BAS-CELIK_N, BAS_CELIK, BLAGIVEST_5_UKRAS, BLAGO, BLAGOVEST, BLAGOVEST_2, BLAGOVEST_3, BLAGOVEST_4, BLAGOVEST_4s, BLAGOVEST_5, BLAGOVEST_5s, BLAGOVEST_6, BRRR, Blagovest_1, Brock-Script_D, Nikola-Kovanovic-Cirilica-Pisana-Nova_D, DVOJNICE, FRULA, GORAN, GORAN_C, IVAN, Izvestija, JAGODINA, JAGODINA_PRAZNA, JAGODINA_PRAZNA_KOSA, KARTE, KOPNO, KURZIV_CRNI_D, KURZIV_D, Kovanovic-Cirilica-Polupisana, Kovanovic-Cirilica-Stampana, LITOS_S, LUSA, LithosC-Light, LithosD, MAJA, MORAVA, Miroslav, MiroslavCrn, MiroslavljevoJevandjelje, MiroslavljevoOriginal, MonahCifre, MonahKurentLevi, MonahKurentSrednji, MonahVerzalLevi, MonahVerzalSrednji, NAOPAK, NIKOLA, NIKOLA_L, the NK series (over 100 fonts), NK_01d_Pisana, NK_02_Dekorativni_D, NK_03, NK_04_Politika, NK_05-Italic_D, NK_GRCKA, NK_IRMOLIGION, NK_KOMBI_BROJEVI_1, NK_KOMBI_BROJEVI_2, NK_Monotype-Corsiva, NK_SLAVJANICA, NK_VITEZ, NK_Zlatoust_IE, NOCNA-PATROLA, NOCNA-STRAZA, NOTE, Naum, PETRICIC, PI01, PI02, PI03, PI04, PI05, PI06, PISTALJKA, PRAVOSLAV, PRST, PRST_S, PSALTIR, Penta-Light, Pisar-Cifre, Pisar-Ligature, PisarKurentLevi, PisarKurentSrednji, PisarVerzalLevi, PisarVerzalSrednji, the RADE series, the RALE series, the SLOBA series, SPOMENAR2, SPOMENAR3, SPOMENAR4, SPOMENAR5, SPOMENAR6, SPOMENAR7, SPOMENAR8, SRP, the SRPSKA_KNIGA series, SRP_E, STRAZAR, SVETI_SAVA, SVETI_SAVA1, SVETI_SAVA2, SVETI_SAVA3, SVETI_SAVA4, SVETI_SAVA5, SVETI_SAVA6, SVETI_SAVA7, SVIRALA, SavaPro-Black, SavaPro-Bold, SavaPro-Light, SavaPro-Medium, SavaPro-Regular, SavaPro-Semibold, Stencil, TEKILA, the TESLA series, TRAG, TRUBA, TipikStudenica, VAZDUH, VA_KO_VO, VIZANTUM, VIZANT_U, VODA, the VUK series, ZABAVNIK, ZEDJ, ZIVA. Most of these are again by Nikola Kovanovic.
    • The Garamond family: GMOND-PodNaslov-Crn, GMOND-PodNaslov-CrnKurz, GMOND-PodNaslov-Med, GMOND-PodNaslov-MedKurz, GMOND-PodNaslov-PCrn, GMOND-PodNaslov-PCrnKurz, GMOND-PodNaslov-Std, GMOND-PodNaslov-StdKurz, GMOND-PodNaslovS-CrnKurz, GMOND-PodNaslovS-MedKurz, GMOND-PodNaslovS-PCrnKurz, GMOND-PodNaslovS-StdKurz, GMOND-PodNaslovVM-Crn, GMOND-PodNaslovVM-CrnKurz, GMOND-PodNaslovVM-Med, GMOND-PodNaslovVM-MedKurz, GMOND-PodNaslovVM-PCrn, GMOND-PodNaslovVM-PCrnKurz, GMOND-PodNaslovVM-Std, GMOND-PodNaslovVM-StdKurz, GMOND-Prikaz-Crn, GMOND-Prikaz-CrnKurz, GMOND-Prikaz-Med, GMOND-Prikaz-MedKurz, GMOND-Prikaz-PCrn, GMOND-Prikaz-PCrnKurz, GMOND-Prikaz-Std, GMOND-Prikaz-StdKurz, GMOND-Prikaz-SvetKurz, GMOND-Prikaz-Svetli, GMOND-PrikazS-CrnKurz, GMOND-PrikazS-MedKurz, GMOND-PrikazS-PCrnKurz, GMOND-PrikazS-StdKurz, GMOND-PrikazS-SvetKurz, GMOND-PrikazVM-Crn, GMOND-PrikazVM-CrnKurz, GMOND-PrikazVM-Med, GMOND-PrikazVM-MedKurz, GMOND-PrikazVM-PCrn, GMOND-PrikazVM-PCrnKurz, GMOND-PrikazVM-Std, GMOND-PrikazVM-StdKurz, GMOND-PrikazVM-SvetKurz, GMOND-PrikazVM-Svetli, GMOND-Regular-Crn, GMOND-Regular-CrnKurz, GMOND-Regular-Med, GMOND-Regular-MedKurz, GMOND-Regular-PCrn, GMOND-Regular-PCrnKurz, GMOND-Regular-Std, GMOND-Regular-StdKurz, GMOND-RegularS-CrnKurz, GMOND-RegularS-MedKurz, GMOND-RegularS-PCrnKurz, GMOND-RegularS-StdKurz, GMOND-RegularVM-Crn, GMOND-RegularVM-CrnKurz, GMOND-RegularVM-Med, GMOND-RegularVM-MedKurz, GMOND-RegularVM-PCrn, GMOND-RegularVM-PCrnKurz, GMOND-RegularVM-Std, GMOND-RegularVM-StdKurz, GMOND-Sitan-Crn, GMOND-Sitan-CrnKurz, GMOND-Sitan-Med, GMOND-Sitan-MedKurz, GMOND-Sitan-PCrn, GMOND-Sitan-PCrnKurz, GMOND-Sitan-Std, GMOND-Sitan-StdKurz, GMOND-SitanS-CrnKurz, GMOND-SitanS-MedKurz, GMOND-SitanS-PCrnKurz, GMOND-SitanS-StdKurz, GMOND-SitanVM-Crn, GMOND-SitanVM-CrnKurz, GMOND-SitanVM-Med, GMOND-SitanVM-MedKurz, GMOND-SitanVM-PCrn, GMOND-SitanVM-PCrnKurz, GMOND-SitanVM-Std, GMOND-SitanVM-StdKurz, GMONDe-PodNaslov-Crn, GMONDe-PodNaslov-CrnKurz, GMONDe-PodNaslov-Med, GMONDe-PodNaslov-MedKurz, GMONDe-PodNaslov-PCrn, GMONDe-PodNaslov-PCrnKurz, GMONDe-PodNaslov-Std, GMONDe-PodNaslov-StdKurz, GMONDe-PodNaslovS-CrnKurz, GMONDe-PodNaslovS-MedKurz, GMONDe-PodNaslovS-PCrnKurz, GMONDe-PodNaslovS-StdKurz, GMONDe-PodNaslovVM-Crn, GMONDe-PodNaslovVM-CrnKurz, GMONDe-PodNaslovVM-Med, GMONDe-PodNaslovVM-MedKurz, GMONDe-PodNaslovVM-PCrn, GMONDe-PodNaslovVM-PCrnKurz, GMONDe-PodNaslovVM-Std, GMONDe-PodNaslovVM-StdKurz, GMONDe-Prikaz-Crn, GMONDe-Prikaz-CrnKurz, GMONDe-Prikaz-Med, GMONDe-Prikaz-MedKurz, GMONDe-Prikaz-PCrn, GMONDe-Prikaz-PCrnKurz, GMONDe-Prikaz-Std, GMONDe-Prikaz-StdKurz, GMONDe-Prikaz-SvetKurz, GMONDe-Prikaz-Svetli, GMONDe-PrikazS-CrnKurz, GMONDe-PrikazS-MedKurz, GMONDe-PrikazS-PCrnKurz, GMONDe-PrikazS-StdKurz, GMONDe-PrikazS-SvetKurz, GMONDe-PrikazVM-Crn, GMONDe-PrikazVM-CrnKurz, GMONDe-PrikazVM-Med, GMONDe-PrikazVM-MedKurz, GMONDe-PrikazVM-PCrn, GMONDe-PrikazVM-PCrnKurz, GMONDe-PrikazVM-Std, GMONDe-PrikazVM-StdKurz, GMONDe-PrikazVM-SvetKurz, GMONDe-PrikazVM-Svetli, GMONDe-Regular-Crn, GMONDe-Regular-CrnKurz, GMONDe-Regular-Med, GMONDe-Regular-MedKurz, GMONDe-Regular-PCrn, GMONDe-Regular-PCrnKurz, GMONDe-Regular-Std, GMONDe-Regular-StdKurz, GMONDe-RegularS-CrnKurz, GMONDe-RegularS-MedKurz, GMONDe-RegularS-PCrnKurz, GMONDe-RegularS-StdKurz, GMONDe-RegularVM-Crn, GMONDe-RegularVM-CrnKurz, GMONDe-RegularVM-Med, GMONDe-RegularVM-MedKurz, GMONDe-RegularVM-PCrn, GMONDe-RegularVM-PCrnKurz, GMONDe-RegularVM-Std, GMONDe-RegularVM-StdKurz, GMONDe-Sitan-Crn, GMONDe-Sitan-CrnKurz, GMONDe-Sitan-Med, GMONDe-Sitan-MedKurz, GMONDe-Sitan-PCrn, GMONDe-Sitan-PCrnKurz, GMONDe-Sitan-Std, GMONDe-Sitan-StdKurz, GMONDe-SitanS-CrnKurz, GMONDe-SitanS-MedKurz, GMONDe-SitanS-PCrnKurz, GMONDe-SitanS-StdKurz, GMONDe-SitanVM-Crn, GMONDe-SitanVM-CrnKurz, GMONDe-SitanVM-Med, GMONDe-SitanVM-MedKurz, GMONDe-SitanVM-PCrn, GMONDe-SitanVM-PCrnKurz, GMONDe-SitanVM-Std, GMONDe-SitanVM-StdKurz
    • Vezbanka_1.0, Vezbanka_1.1, Vezbanka_1.2, Vezbanka_1.3, Vezbanka_1.4, Vezbanka_1.5, Vezbanka_1.6, Vezbanka_1.7, Vezbanka_1.8, Vezbanka_1.9, Vezbanka_2.0, Vezbanka_2.1, Vezbanka_2.2, Vezbanka_2.3, Vezbanka_2.4, Vezbanka_2.5, Vezbanka_2.6, Vezbanka_2.7, Vezbanka_2.8, Vezbanka_2.9, Vezbanka_3.0, Vezbanka_3.1, Vezbanka_3.2, Vezbanka_3.3, Vezbanka_3.4, Vezbanka_3.5, Vezbanka_3.6, Vezbanka_3.7, Vezbanka_3.8, Vezbanka_4.0, Vezbanka_4.1, Vezbanka_4.2, Vezbanka_4.3, Vezbanka_4.4, Vezbanka_4.5, Vezbanka_4.6, Vezbanka_4.7, Vezbanka_4.8, Vezbanka_5.0, Vezbanka_5.1, Vezbanka_5.2, Vezbanka_5.3, Vezbanka_5.4, Vezbanka_5.5, Vezbanka_5.6, Vezbanka_5.7, Vezbanka_5.8, Vezbanka_6.0, Vezbanka_Hrana
    • The Bodoni family: nkBODcirCrn, nkBODcirCrnE, nkBODcirCrnEkond, nkBODcirCrnEkurziv, nkBODcirCrnKond, nkBODcirCrnKurziv, nkBODcirKniga, nkBODcirKnigaE, nkBODcirKnigaEkurziv, nkBODcirKnigaKurziv, nkBODcirNorm, nkBODcirNormE, nkBODcirNormEkurziv, nkBODcirNormKurziv, nkBODcirPoster, nkBODcirPosterE, nkBODcirPosterEkomp, nkBODcirPosterEkurziv, nkBODcirPosterKomp, nkBODcirPosterKurziv, nkBODcirPosterUCEkomp, nkBODcirPosterUCkomp, nkBODcirPosterUEkomp, nkBODcirPosterUkomp.
    [Google] [More]  ⦿

    Clarat Vucher

    Avignon, France-based creator of the squarish typeface Georges (2014) and the pre-didone typeface Le Fabla (2015). [Google] [More]  ⦿

    Claude Pelletier

    Quebec-based typographer and type designer (aka Diogene) who specializes mainly in revivals of obscure or old typefaces.

    Dafont link. Yet another URL. Abfonts carries many of his fonts. Fontspace link.

    His typefaces:

    • Aerolite C Pone (2013). A calligraphic connected copperplate script.
    • Angelica CP (2011). After a Fotostar font, Angelica, ca. 1960.
    • Banner Star (2012). An American flag-themed display typeface.
    • Barrio CP (2011). An inline face based on a Neufville original.
    • BeansCP (2010, after a font found on page 10 of Art Deco Display Alphabets: 100 Complete Fonts by Dan X. Solo).
    • Bienetresocial (2003), BienetresocialBold (2003).
    • Bizarre and Bizarrerie (2010; based on Edwards and Inland, both designed in 1895 by Nicholas J. Werner at the Inland Type Foundry; renamed in 1925 by BBS)
    • Bloque Demo (2011). Experimental.
    • Bold (2008)
    • Bolina (2015). A copperplate calligraphic script after Dan X. Solo's alphabet shown on page 12 of Dan X Solo. Script and Cursive Alphabets (1987, Dover).
    • Bonte Divine (2017).
    • Carre (2009, athletic numerals).
    • Caslon CP (2012, based on Caslon 223 Bold).
    • Champignon (1999-2009, a formal calligraphic script)
    • Chartrand (2010, Victorian)
    • Chomage (2009)
    • Chopin Script (1999-2010, calligraphic; after Polonaise by Phil Martin)
    • Constanze Initials (2010). After Constanze Initials by Joachim Romann (1956).
    • Crayonnette (2000-2001). Same as his earlier font Derniere (1999).
    • DeClaude (2010, patterned and named after DeVinne)
    • Dojo CP (2011)
    • Dynamic CP (2010, based on page 48 of The Solotype Catalog of 4,147 Display Typefaces as Dynamic Deco)
    • Ebony (2011). Based on a Marder&Luse design from 1890. Ebony is on page 38 of 100 Ornamental Alphabets by Dan X. Solo and also on page 43 of The Solotype Catalog of 4,147 Display Typefaces.
    • Embrionic 85 (2012, +Swash Caps) and Embrionic 55 Swash (2012): an ink trap sans display family modeled after Robert Trogman's Embrionic in the FotoStar collection.
    • Essai (2003)
    • Euclid CP (2011): based on an 1880 typeface at Central Type Foundry.
    • Fancy Text (2004, blackletter)
    • Fantaisie1 (1999)
    • Gourmandise (2013), an exquisite Normandian-style didone display typeface.
    • Grandee CP (2014). Claude says that it is based on T.H. Grandee, but that is too cryptic for me...
    • Haricot (2010, a fat modular typeface based on Beans in the Dan Solo catalog)
    • Humeur (2001-2002, funny smilies)
    • IEC5000 (2011). A symbol font with electrical and other icons.
    • Initiales Medium (2011).
    • Jeux Cache (2016). A boxed letter font.
    • JohnHancockCP-Medium (2010, bold didone)
    • Landi Echo (2011). A remake of Landi Echo by Alessandro Butti (1939-1943).
    • La Tribune (2011). A newspaper type.
    • Le Golf or Le Trou (2010, art nouveau typeface by Antoine Szczebanski, digitized by Claude Pelletier; also on page 71 of the Solotype catalog)
    • Les Etoiles (2013): an inline typeface
    • Les Tuyaux (2018). A great slinky font.
    • Lionel CP (2010, a multiline typeface inspired by Letraset's 1973 typeface Stripes)
    • Louisa CP (2015). A free calligraphic copperplate script. Louisa CP is Louisa on page 56 of Script and Cursive Alphabets: 100 Complete Fonts by Dan X. Solo.
    • Malvern (1999)
    • Manquis CP (2012). A roman typeface.
    • Maratre (2013). A delicious connected copperplate calligraphic script that revives (or is almost identical to) François Boltana's Aurore (1993).
    • Monterey Wide (2011). A Tuscan ornamental face, based on a showing on page 22 of The Solotype Catalog of 4,147 Display Typefaces.
    • Motscroises (1997)
    • Niaisage (2012). A lachrymal caps only typeface.
    • Oxford CP (2010, a multiline face, based on the 1960s typeface by Christine Lord)
    • Pasdecourbe (2003)
    • Pasdenom (2001, no punctuation)
    • Peak CP (2020). A revival of VGC's photo font Peak.
    • Pepinot (2012), an art nouveau typeface based on Coral Inline on page 190 of The Solotype Catalog of 4,147 Display Typefaces.
    • Pistilli Roman (2011, after the original by Pistilli)
    • Postface (2012). A bold signage script face.
    • Rita Smith (2012). After Primavera by Rita Major.
    • Rogers, Rogers2 (1997). He says that it is not his font---that he just rearranged the glyphs. According to Claude, can be found in the book Treasury of Authentic Art Nouveau Alphabets, ed. Petzendorfer, Plate 23. It was made in 1902 by A.V. Haight for Inland Type foundry.
    • Salamandre (2012). A tall 19-th century style slab typeface based on Iguana, a design of Sally-Ann Grover.
    • Simplement (2011) is Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces.
    • Stylie Stymus (2012).
    • Threshold (2014).
    • TriangleETcircleShadow, TriangleETcircleShadowed (2010, 3d iron work style face)
    • UptightC (2010, multiline face).
    • Whitin Condensed Black (015). Whitin Condensed Black is Whitin Black Condensed on page 151 of The Solotype Catalog of 4,147 Display Typefaces.
    • YagiUHFNo2 (2012).
    • Zenith CP (2016). A free connected calligraphic (wedding) script typeface.
    [Google] [More]  ⦿

    Claudia Ferreira

    Designer in Vila Franca de Xira, Portugal, who is studying at ESAD.CR (Caldas da Rainha, Portugal). She created the elegant high-contrast condensed serif typeface Sophis (2012), which has elements of a didone. [Google] [More]  ⦿

    Claudia Fratantonio

    Designer of the didone family Grenelle (2019) with standard and reverse contrast. Grenelle was developed during a workshop at Type Paris 2019. [Google] [More]  ⦿

    Claudia Mendez Cordero

    Graphic designer in Huelva, Spain, who created the fashionable typeface New Didonas Sans Serif (2013). [Google] [More]  ⦿

    Claudio Beccari
    [LXfonts]

    [More]  ⦿

    ClearlyU BDF font

    Mark Leisher's creation: "ClearlyU is a set of BDF (bitmap) 12 point, 100 dpi fonts that provides glyphs that can be used for Unicode text. The font contains over 4000 glyphs, including numerous additional glyphs for alternate forms and ligatures. The ClearlyU typeface was originally inspired by Donald Knuth's Computer Modern typeface, but has been slowly evolving into something else." Supported are: Navajo, Armenian, Cyrillic, Georgian, Greek and Coptic, Hebrew, Lao, Thai. [Google] [More]  ⦿

    Cliche Internet Alias

    Designer of the display didone numerals typeface Clement Five (2014). [Google] [More]  ⦿

    Cloveron Media
    [Mary Anne Remulla]

    Filipino designer of the ornamental and swashy didone typeface Enchanter (2021). [Google] [MyFonts] [More]  ⦿

    CM Unicode
    [Andrey V. Panov]

    Free font package from 2009 by Andrey Panov, specially adapted for TeX. CM Unicode (or: Computer Modern Unicode) is an OpenType and Type 1 unicode version of Knuth's Computer Modern font family. The OIpenType fonts include CMUBright-Bold, CMUSerif-BoldItalic, CMUSerif-BoldSlanted, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBoldOblique, CMUBright-SemiBold, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUSerif-Bold, CMUBright-BoldOblique, CMUClassicalSerif-Italic, CMUTypewriter-Italic, CMUConcrete-BoldItalic, CMUConcrete-Bold, CMUConcrete-Roman, CMUConcrete-Italic, CMUSerif-BoldNonextended, CMUSerif-Roman, CMUSansSerif-Oblique, CMUSerif-RomanSlanted, CMUSansSerif-BoldOblique, CMUSansSerif, CMUSansSerif-DemiCondensed, CMUTypewriter-Oblique, CMUSansSerif-Bold, CMUTypewriter-Bold, CMUSerif-Italic, CMUTypewriter-Regular, CMUTypewriter-BoldItalic, CMUSerif-UprightItalic, CMUTypewriterVariable-Italic, CMUTypewriterVariable.

    Alternate download site. Google Plus link. [Google] [More]  ⦿

    cmbright: Computer Modern Bright
    [Walter Schmidt]

    Family of sans serif metafonts based on Donald Knuth's CM font. It is lighter and less obtrusive than CMSS. Together with CM Bright there comes a family of typewriter fonts, CM Typwewriter Light, which look better in combination with CM Bright than the CMTT fonts would do. The whole package is by Walter Schmidt. A commercial-quality type 1 version of these fonts is available from Micropress. Free versions are available, in the cm-super font bundle (the T1 and TS1 encoded part of the set), and in hfbright (the OT1 encoded part, and the maths fonts). Development spanned 1996-2004. [Google] [More]  ⦿

    cmoe

    Computer Modern metafont with Old English letters. By Julian Bradfield. [Google] [More]  ⦿

    cmolddig

    A package for TEX users developed in 1999 by Rowland McDonnell to automatically replace lining figures in Computer Modern by old style figures. [Google] [More]  ⦿

    CM-Super font package
    [Vladimir Volovich]

    CM Super is a huge type 1 family of fonts released under the GNU license by Vladimir Volovich in October 2001. For the cognoscenti: The CM-Super package contains Type 1 fonts converted from METAFONT fonts and covers entire EC/TC and LH fonts (Computer Modern font families). All European and Cyrillic writings are covered. Each Type 1 font program contains ALL glyphs from the following standard LaTeX font encodings: T1, TS1, T2A, T2B, T2C, X2, and also Adobe StandardEncoding (585 glyphs per non-SC font and 468 glyphs per SC font), and could be reencoded to any of these encodings using standard dvips or pdftex facilities (the corresponding support files are also included). Fonts were created using TeXtrace (based on AutoTrace and Ghostscript), t1utils and a bunch of Perl scripts, and were optimized and hinted using FontLab 3.1. The set of UniqueID values was registered at Adobe. Each font shape comes in 14 font sizes ranging from 5pt to 35.83pt (or 11 font sizes for typewriter fonts ranging from 8pt to 35.83pt). The developers offer this overview:

    The list of provided font shapes is included below: rm, Modern Roman sl, Modern Slanted ti, Modern Italic cc, Modern Caps and Small Caps ui, Modern Unslanted Italic sc, Modern Slanted Caps and Small Caps ci, Modern Classical Serif Italic bx, Modern Bold Extended bl, Modern Bold Extended Slanted bi, Modern Bold Extended Italic xc, Modern Bold Extended Caps and Small Caps oc, Modern Bold Extended Slanted Caps and Small Caps rb, Modern Roman Bold bm, Modern Roman Bold Variant ss, Modern Sans Serif si, Modern Sans Serif Slanted sx, Modern Sans Serif Bold Extended so, Modern Sans Serif Bold Extended Slanted tt, Modern Typewriter st, Modern Typewriter Slanted it, Modern Typewriter Italic tc, Modern Typewriter Caps and Small Caps vt, Modern Variable Width Typewriter vi, Modern Variable Width Typewriter Italic dh, Modern Dunhill Roman fb, Modern Fibonacci Medium fs, Modern Fibonacci Slanted ff, Modern Funny Roman fi, Modern Funny Italic Each font shape comes in 14 font sizes ranging from 5pt to 35.83pt (or 11 font sizes for typewriter fonts ranging from 8pt to 35.83pt). Also, the following 13 one-sized font shapes are included, Computer Modern SliTeX Sans Serif Quotation sfli8, Modern SliTeX Sans Serif Quotation Inclined sflb8, Modern SliTeX Sans Serif Quotation Bold sflo8, Modern SliTeX Sans Serif Quotation Bold Oblique sfltt8, Modern LaTeX Typewriter isflq8, Modern SliTeX Sans Serif Quotation Invisible isfli8, Modern SliTeX Sans Serif Quotation Inclined Invisible isflb8, Modern SliTeX Sans Serif Quotation Bold Invisible isflo8, Modern SliTeX Sans Serif Quotation Bold Oblique Invisible isfltt8, Modern LaTeX Typewriter Invisible sfsq8, Modern Sans Serif Quotation sfqi8, Modern Sans Serif Quotation Inclined sfssdc10, Modern Sans Serif Demi Condensed Also, the following 14 fonts from Computer Modern Concrete family are included (font file names correspond to the scheme used in EC Concrete fonts), .. sform10, Modern Concrete Roman sfosl5 .. sfosl10, Modern Concrete Slanted sfoti10, Modern Concrete Italic sfocc10, Modern Concrete Caps and Small Caps Also, the following 19 fonts from Computer Modern Bright family are included (font file names correspond to the scheme used in European Computer Modern Bright fonts), Computer Modern Bright Roman sfbmo{8,9,10,17}, Modern Bright Oblique sfbsr{8,9,10,17}, Modern Bright Semibold sfbso{8,9,10,17}, Modern Bright Semibold Oblique sfbbx10, Modern Bright Bold Extended sfbtl10, Modern Typewriter Light sfbto10. Modern Typewriter Light Oblique Fonts were created using TeXtrace (based on AutoTrace and Ghostscript), t1utils and a bunch of Perl scripts, and were optimized and hinted using FontLab 3.1. The set of UniqueID values was registered at Adobe. We use AGL compliant glyph names when possible (there are some glyphs which are neither present in AGL nor in Unicode). It should also be noted that the fonts use precise (non-integer) glyph widths which better match the TFM widths than just rounding to the nearest integer. These widths are generated using the best approximation (based on continued fractions) with the denominator not exceeding 107 to fit in 1 byte in CharString. Apparently, such subtle technique was used first in BSR/Y&Y CM fonts. I'd like to thank Peter Szabo for TeXtrace, Martin Weber for AutoTrace, and FontLab Ltd. for providing a copy of FontLab. It should be noted that while creating these fonts we intentionally and on principle used only automatic methods which do not require font designers talents. The aim was to use TOTALLY automatic conversion of METAFONT fonts to Type 1 format, automatic optimization and hinting, with the best achievable quality of final Type 1 fonts, to be able to re-generate the fonts if necessary (e.g., when a new version of original METAFONT fonts will be released). Undoubtedly, there are fields for improvement of this approach, which we will use in future versions of the fonts, but even now the fonts seem to look and print quite good (we hope :-). It appears that careless approach to FontLab's optimization and auto-hinting facilities could lead to loss of quality of the original font (some glyph shapes could be broken), so we used the most precise optimization, and hope that optimized and hinted fonts are indeed better than original traced fonts (also, they are significantly smaller in size). So far, we did not find any bugs in optimized fonts. There are 434 Type 1 outline fonts (*.pfb) in the CM-Super font set, and they cover 2536 TeX fonts!

    Read about the package in CM-Super: Automatic creation of efficient Type 1 fonts from METAFONT fonts (Vladimir Volovich, TUGBoat, 24(1):75-78, 2003). The font names: ISFLB8, ISFLI8, ISFLO8, ISFLQ8, ISFLTT8, SFBBX10, SFBI0500, SFBI0600, SFBI0700, SFBI0800, SFBI0900, SFBI1000, SFBI1095, SFBI1200, SFBI1440, SFBI1728, SFBI2074, SFBI2488, SFBI2986, SFBI3583, SFBL0500, SFBL0600, SFBL0700, SFBL0800, SFBL0900, SFBL1000, SFBL1095, SFBL1200, SFBL1440, SFBL1728, SFBL2074, SFBL2488, SFBL2986, SFBL3583, SFBM0500, SFBM0700, SFBM0900, SFBM1000, SFBM1095, SFBM1200, SFBM1440, SFBM1728, SFBM2074, SFBM2488, SFBM2986, SFBM3583, SFBMO10, SFBMO17, SFBMO8, SFBMO9, SFBMR10, SFBMR17, SFBMR8, SFBMR9, SFBSO10, SFBSO17, SFBSO8, SFBSO9, SFBSR10, SFBSR17, SFBSR8, SFBSR9, SFBTL10, SFBTO10, SFBX0500, SFBX0600, SFBX0700, SFBX0800, SFBX0900, SFBX1000, SFBX1095, SFBX1200, SFBX1440, SFBX1728, SFBX2074, SFBX2488, SFBX2986, SFBX3583, SFCC0500, SFCC0600, SFCC0700, SFCC0800, SFCC0900, SFCC1000, SFCC1095, SFCC1200, SFCC1440, SFCC1728, SFCC2074, SFCC2488, SFCC2986, SFCC3583, SFCI0500, SFCI0600, SFCI0700, SFCI0800, SFCI0900, SFCI1000, SFCI1095, SFCI1200, SFCI1440, SFCI1728, SFCI2074, SFCI2488, SFCI2986, SFCI3583, SFDH0500, SFDH0600, SFDH0700, SFDH0800, SFDH0900, SFDH1000, SFDH1095, SFDH1200, SFDH1440, SFDH1728, SFDH2074, SFDH2488, SFDH2986, SFDH3583, SFFB0500, SFFB0600, SFFB0700, SFFB0800, SFFB0900, SFFB1000, SFFB1095, SFFB1200, SFFB1440, SFFB1728, SFFB2074, SFFF0900, SFFF1000, SFFF1095, SFFF1200, SFFF1440, SFFF2488, SFFI0900, SFFI1000, SFFI1095, SFFI1200, SFFI1440, SFFI1728, SFFI2074, SFFS0500, SFFS0600, SFFS0700, SFFS0800, SFFS0900, SFFS1000, SFFS1095, SFFS1200, SFFS1440, SFFS1728, SFFS2074, SFIT0800, SFIT0900, SFIT1000, SFIT1095, SFIT1200, SFIT1440, SFIT1728, SFIT2074, SFIT2488, SFLB8, SFLI8, SFLO8, SFLQ8, SFLTT8, SFOC0500, SFOC0600, SFOC0700, SFOC0800, SFOC0900, SFOC1000, SFOC1095, SFOC1200, SFOC1440, SFOC1728, SFOC2074, SFOC2488, SFOC2986, SFOC3583, SFOCC10, SFORM10, SFORM5, SFORM6, SFORM7, SFORM8, SFORM9, SFOSL10, SFOSL5, SFOSL6, SFOSL7, SFOSL8, SFOSL9, SFOTI10, SFQI8, SFRB0500, SFRB0600, SFRB0700, SFRB0800, SFRB0900, SFRB1000, SFRB1095, SFRB1200, SFRB1440, SFRB1728, SFRB2074, SFRB2488, SFRB2986, SFRB3583, SFRM0500, SFRM0600, SFRM0700, SFRM0800, SFRM0900, SFRM1000, SFRM1095, SFRM1200, SFRM1440, SFRM1728, SFRM2074, SFRM2488, SFRM2986, SFRM3583, SFSC0500, SFSC0600, SFSC0700, SFSC0800, SFSC0900, SFSC1000, SFSC1095, SFSC1200, SFSC1440, SFSC1728, SFSC2074, SFSC2488, SFSC2986, SFSC3583, SFSI0500, SFSI0600, SFSI0700, SFSI0800, SFSI0900, SFSI1000, SFSI1095, SFSI1200, SFSI1440, SFSI1728, SFSI2074, SFSI2488, SFSI2986, SFSI3583, SFSL0500, SFSL0600, SFSL0700, SFSL0800, SFSL0900, SFSL1000, SFSL1095, SFSL1200, SFSL1440, SFSL1728, SFSL2074, SFSL2488, SFSL2986, SFSL3583, SFSO0500, SFSO0600, SFSO0700, SFSO0800, SFSO0900, SFSO1000, SFSO1095, SFSO1200, SFSO1440, SFSO1728, SFSO2074, SFSO2488, SFSO2986, SFSO3583, SFSQ8, SFSS0500, SFSS0600, SFSS0700, SFSS0800, SFSS0900, SFSS1000, SFSS1095, SFSS1200, SFSS1440, SFSS1728, SFSS2074, SFSS2488, SFSS2986, SFSS3583, SFSSDC10, SFST0800, SFST0900, SFST1000, SFST1095, SFST1200, SFST1440, SFST1728, SFST2074, SFST2488, SFST2986, SFST3583, SFSX0500, SFSX0600, SFSX0700, SFSX0800, SFSX0900, SFSX1000, SFSX1095, SFSX1200, SFSX1440, SFSX1728, SFSX2074, SFSX2488, SFSX2986, SFSX3583, SFTC0800, SFTC0900, SFTC1000, SFTC1095, SFTC1200, SFTC1440, SFTC1728, SFTC2074, SFTC2488, SFTC2986, SFTC3583, SFTI0500, SFTI0600, SFTI0700, SFTI0800, SFTI0900, SFTI1000, SFTI1095, SFTI1200, SFTI1440, SFTI1728, SFTI2074, SFTI2488, SFTI2986, SFTI3583, SFTT0800, SFTT0900, SFTT1000, SFTT1095, SFTT1200, SFTT1440, SFTT1728, SFTT2074, SFTT2488, SFTT2986, SFTT3583, SFUI0500, SFUI0600, SFUI0700, SFUI0800, SFUI0900, SFUI1000, SFUI1095, SFUI1200, SFUI1440, SFUI1728, SFUI2074, SFUI2488, SFUI2986, SFUI3583, SFVI0800, SFVI0900, SFVI1000, SFVI1095, SFVI1200, SFVI1440, SFVI1728, SFVI2074, SFVI2488, SFVI2986, SFVI3583, SFVT0800, SFVT0900, SFVT1000, SFVT1095, SFVT1200, SFVT1440, SFVT1728, SFVT2074, SFVT2488, SFVT2986, SFVT3583, SFXC0500, SFXC0600, SFXC0700, SFXC0800, SFXC0900, SFXC1000, SFXC1095, SFXC1200, SFXC1440, SFXC1728, SFXC2074, SFXC2488, SFXC2986, SFXC358. [Google] [More]  ⦿

    Cody Jones

    Vancouver-based graphic designer who created the fat didone typeface Fat Bros (2013, free). Behance link. [Google] [More]  ⦿

    Coen Hofmann

    Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy, and finally into a type designer.

    Designer at URW++/Fontforum of

    • Admira (2019). A revival of the striped all caps money font Admira (1940, Schriftguss).
    • Altrincham (2003).
    • Caxtonian Black (2012). A blackletter.
    • Globus Cursive (2015, +Cyrillic). This cursive font is a revival of a font by Friedrich Hermann Wobst (1932, D. Stempel AG).
    • Gothic Initials (2015). After an original from 1821 by Firmin Didot's foundry.
    • Holland Gothic (2012). A blackletter.
    • Jason Uncial (2012). A unicase uncial design.
    • Perugia Cursive (2003). A gorgeous calligraphic script based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
    • Pinel Pro (2014). A revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.
    • Ramona (2004). A shaded typeface.
    • Revis (2011). A formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later.
    • Romeo (2004). A 3d beveled shadow face.
    • Sax (2008). A didone typeface family.
    • Seizieme Pro (2013). Based on the 1905 font Série 16 by Peignot, which was mainly used for scientific publications.
    • Signpainters Script (2013). A connected copperplate script.
    • Silvestrini (2003). A gorgeous Gando-style ronde. Based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
    • Sirius and Sirius Caps (2003). A garalde family developed together with British type designer Neville Brown.
    • Technotype (2011). A revival of Herbert Thannhaeuser's 1952 slab serif family Technotyp.
    • Thomas Schrift and Thomas Versalien (2015). Based on Friedel Thomas's Thomas Schrift and Thomas Versalien from 1956-1958.
    • URW Akropolis (2016, URW++). A revival of the cigar box open typeface Acropolis designed by the Ludwig Wagner foundry in Leipzig in 1940.
    • Pergamon (2016, URW++). A wonderful 10-style didone typeface family that revives, extends and modernizes Pergamon Antiqua first designed in 1937 at Ludwig Wagner in Leipzig by Alfons Scheider.
    • Marli (2016). A revival of the cursive typeface Korso by F. Schweimanns (1913).
    • Moewe (2017). An open typeface in the blackboard bold genre that revives Möwe (1929, Heinz Beck for Genzsch & Heyse).
    • Golf (2017). Golf was originally designed by Henry Reinhard Möller in 1935 for Schriftguss KG. Coen Hofmann redrew the capitals and then added lower case letter and Cyrillic alphabets.

    Klingspor link. View Coen Hofmann's typefaces. [Google] [MyFonts] [More]  ⦿

    Coert De Decker
    [Kustomtype]

    [MyFonts] [More]  ⦿

    Colin Poon

    Canadian graphic and type designer who was born in Calgary and lives in Vancouver. He designed the didone typeface Outlier Italic (2010). [Google] [More]  ⦿

    Coline Kupiec

    During her studies at École de Design Nantes Atlantique, France, Coline Kupiec created the condensed fashion mag typeface Essertine (2014) and the plumpish didone typeface Roundness (2014). Behance link. [Google] [More]  ⦿

    Coline Sunier
    [C&C (or: Cataloged)]

    [More]  ⦿

    Commercial math fonts

    Listing produced by the math Font Group (part of TUG):

    [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.

    Typefaces sold by them:

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

    The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Greg Gazdowicz joined in 2014. Hrvoje Zivcic helps with font production.

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

    Compugraphic Corp.
    [Bill Garth]

    This company existed as Compugraphic and Agfa Compugraphic from 1960-1995. The timeline:

    • Founded in 1960 in Brookline, MA, by Bill Garth and Ellis Hanson (Chief Engineer of Photon, Inc). The intention was to apply computer technology to typesetting. The company would go on to influence the world of photocomposing with its low cost typesetters.
    • In 1963, the company relocates to Reading, MA, and introduces its Linasec I and II, the first general typesetting computers.
    • In 1967, the company relocates to Wilmingon, MA, forms a Type Group and an engineering department, and releases its first typeface, Bodoni.
    • In 1968, Compugraphic introduces the phototypesetters CG 2961 and CG 4961. In 1969, the 7200 Headliner machine (the first keyboard-operated machine to set headlines and display type) was added, followed, in 1970, by the Area Composition Machine (ACM) 9000, in 1971 by the CompuWriter machines, in 1973 by the VideoSetter I and II, in 1974 by Unified Compuser and ExecuWriter, in 1975 by UniScan and UniSetter, and in 1977 by the EditWriter 7500, the Mini-Disk Terminal, and the Mini-Disk Reader..
    • The first typeface exclusively developed by Compugraphic, is released, Holland Seminar. It was created by Hollis Holland in 1973.
    • 1974: The purchase of T. J. Lyons Press, gives Compugraphic the rights to nearly 2,500 old and antique typefaces.
    • In 1981 Agfa bought 51% of Compugraphic, increased that to 80% in 1983 and finally they merged outright in 1989. The new company name is Agfa Corporation.
    • In the late eighties, they proposed the scalable format FAIS as an alternative for type 1 and truetype. This format did not survive long.
    • In 1992 Miles, Inc (Pittsburgh, PA) bought Agfa/CG. In 1995 Miles changed name to Bayer Corporation. Agfa is the imaging division of this comnpany.
    • Finally, in 1999 Agfa (after acquiring Monotype in '97) became independent of Bayer. They now own the ITC catalog (and, by virtue of that, the former Esselte/Letraset font catalog too) as well as the others they picked up through the years.

    MyFonts sells Garth Graphic (Compugraphic, and now Agfa/Monotype, by Constance Blanchard and Renee le Winter, based on earlier sketches of John Matt, 1979) and Phenix American (Agfa-Monotype), and named in honor of Bill Garth. Noteworthy is the 1988 catalog "The TypeBook".

    Images of some typefaces: CG Garamond (now Monotype; see also Garamond Antiqua and Garamond Kursiv), CG Times (now Monotype).

    Timeline at the Monotype Imaging site.

    Compugraphic collection of fonts (with CG in the name). [Google] [MyFonts] [More]  ⦿

    Computer Modern font consortium

    The Computer Modern fonts and the AMS fonts have been made available in "PS" Type 1 format by a Consortium including: AMS, BSR, Y&Y, Elsevier, IBM, SIAM, and Springer. The CM font part of this distribution can be found on the AMS site and also on CTAN. [Google] [More]  ⦿

    Computer Modern fonts
    [Donald E. Knuth]

    Donald Knuth's Computer Modern family was developed by Stanford's most famous computer science professor, Don Knuth, in the 1970s and 1980s, with the help of Hermann Zapf and a group of people at Stanford University. It was a monstrous achievement, that started first with the development of the Metafont graphic description language for glyphs. The 72 original fonts are free. They are described by a set of 36 parameters. Each glyph is a carefully crafted computer program written in Metafont. It stands today as the prime example of parametric font design. Many individual fonts were designed using Metafont, but not one came has come close in scope and achievement to the Computer Modern collection.

    The Computer Modern fonts, and their derivatives, are the main fonts used by the scientific community thanks to the TeX typesetting system. Derivatives include Lucida (by Knuth's colleague at Stanford, Charles Bigelow). Lucida is used by Scientific American. The commercial MathTime font family originally developed for the American Mathematical Society (AMS) by Michael Spivak, and then extended by Y&Y, and the AMS, includes a large set of mathematical characters.

    Included in the CTAN subdirectories, where one can download the fonts and the sources, are now three sets of type 1 PostScript fonts, Basil K. Malyshev's BaKoMa fonts, the American Mathematical Society (or Bluesky) versions, and the Paradissa font collection for Computer Modern, Euler and Computer Modern Cyrillic, also by Basil K. Malyshev. There are also PostScript type 3 versions of the Computer Modern fonts. Doug Henderson made some outline fonts (in metafont). Concrete is a metafont family designed for Knuth's Concrete Mathematics book by Knuth himself between 1987 and 1999. In the three decades that followed the development in the late seventies, only rarely have glyphs been corrected or altered---one such instance was an error in cmmib5.

    Truetype version of the fonts are here.

    Download Computer Moder Unicode (or CM Unicode) either in PostScript or OTF formats. This family is called CMU (2007) and font names are standardized as CMU Serif, CMU Typewriter Text Regular, CMU Bright Bold Extended, and so forth. This set was created by Alexey V. Panov. [Google] [MyFonts] [More]  ⦿

    Computer Modern PostScript Fonts

    A choice of three collections: Bakoma, Paradissa and Blue Sky Research (the latest entry). The Bakoma fonts were made by Basil K. Malyshev (1993; read this message by Sebastian Rahtz). Another download site (afm, tfm missing though). See also here. [Google] [More]  ⦿

    Computer Modern PostScript Fonts from Blue Sky Research

    CTAN mirror of PostScript versions of Knuth's Computer Modern PostScript Fonts, previously distributed by Blue Sky Research and Y&Y Inc are now freely available for general use. This has been accomplished through the cooperation of a consortium of scientific publishers with Blue Sky Research and Y&Y. Members of this consortium include: Elsevier Science, IBM Corporation, Society for Industrial and Applied Mathematics (SIAM), Springer-Verlag, and the American Mathematical Society (AMS). [Google] [More]  ⦿

    Computer Modern TT fonts

    TrueType versions of the Computer Modern fonts. Check also here. Contains the monospaced typewriter type cmtt. [Google] [More]  ⦿

    Computer Modern Unicode fonts
    [Andrey V. Panov]

    Andrey V. Panov developed the Computer Modern Unicode fonts in 2003-2007 by conversions from metafont sources using textrace and fontforge (former pfaedit). He wanted to create free good quality fonts for use in X applications that support many languages. Currently the fonts contain glyphs from Latin1 (Metafont ec, tc), Cyrillic (la, rx) and Greek (cbgreek) code sets. There are 33 fonts in the family: CMUClassicalSerif-Italic, CMUSansSerif-Bold, CMUSansSerif-BoldOblique, CMUSansSerif-Demi-Condensed, CMUSansSerif-Oblique, CMUSansSerif, CMUSerif-Bold-Nonextended, CMUSerif-Bold-Slanted, CMUSerif-Bold, CMUSerif-BoldItalic, CMUSerif-Italic, CMUSerif-Roman-Slanted, CMUSerif-Roman, CMUSerif-Unslanted-Italic, CMUTypewriter-Bold, CMUTypewriter-BoldItalic, CMUTypewriter-Italic, CMUTypewriter-Oblique, CMUTypewriter-Regular, CMUTypewriterVariable-Italic, CMUTypewriterVariable. The fonts come in type 1, OpenType and SFD, the universal spline format used by FontForge. The CMU Bright subfamily was added some time later in 2007.

    Istok Web (2011) was published at the Google Font Directory.

    In 2008, he made Heuristica (or Evristika), a serif family that extends Adobe's Utopia (for Latin, Greek and Cyrillic). Heuristica was improved in 2014 by Andreas Nolda as Utopia Nova. Open Font Library link for Heuristica. Download site for Heuristica.

    Free download. Direct download.

    Alternate URL. Kernest link. Klingspor link. [Google] [More]  ⦿

    Concrete

    In November 1999, MicroPress Inc started selling at 100USD the full set of Knuth's Concrete Text and Math fonts in Type 1 format. These fonts can be used by any standard TeX drivers that can work with Type 1 fonts (dvips, for example) on Wintel, OS/2 and Linux/Unix platforms. Concrete Fonts are essentially a full replacement for the Computer Modern Fonts; they are slightly darker and more legible for online (pdf) publications. The Concrete Set includes forty Type 1 fonts (.pfb): Concrete Text (12 fonts): cccsc10 ccmi10 ccr10 ccr5 ccr6 ccr7 ccr8 ccr9 ccsl10 ccsl9 ccslc9 ccti10 + Concrete Math (28 fonts): xccam10 xccam5 xccam6 xccam7 xccam8 xccam9 xccbm10 xccex9 xccex7 xccex8 xccex10 xccbm9 xccbm6 xccbm8 xccbm7 xccbm5 xccmi9 xccmi5 xccmi6 xccmi7 xccmi10 xccmi8 xccsy10 xccsy5 xccsy6 xccsy7 xccsy8 xccsy9 as well as the matching .pfm, .tfm, .afm, and .inf files. [Google] [More]  ⦿

    Concrete Math fonts
    [Ulrik Vieth]

    Ulrik Vieth (University of Duesseldorf, Germany) designed an alternative for Computer Modern. Concrete by itself may be used as a complete replacement for Computer Modern. Since Concrete is considerably darker than Computer Modern, this may be of particular interest for use in low-resolution printing or in applications such as posters or transparencies. Personally, I find this collection wonderful. Alternate early URL.

    Ulrik Vieth created the Concrete Math fonts to match the Concrete text fonts; the only early free versions are implemented in METAFONT. The ccfonts package by Walter Schmidt changes the text font to Concrete and changes the math font to the Concrete Math fonts if eulervm is not loaded. Note that Concrete Text has no bold, but the Computer Modern Bold does just fine for that. However, in 2022, Daniel Flipo developed a free OpenType font based on Vieth's Metafont, also called Concrete Math. [Google] [More]  ⦿

    Concrete (metafont)
    [Donald E. Knuth]

    Metafont family designed for Donald Knuth's Concrete Mathematics book by Donald Knuth himself between 1987 and 1999. It looks a little like a cross between American Typewriter and Computer Modern Roman. There are Roman and Italic typefaces. [Google] [MyFonts] [More]  ⦿

    Conjectatione

    Kiev, Ukraine-based designer of the great decorative didone typeface Mayotto (2019) and the free curly vector format font Lollipop (2019). [Google] [More]  ⦿

    Coppers & Brasses
    [Alexandre Saumier Demers]

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

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

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

    The list of their retail and custom fonts:

    • Guillon (2016). Manufactured for Studio Feed.
    • GSM Grotesque (2016). A custom typeface by Coppers and Brasses and Studio Feed, for GSM Project.
    • Caserne (2015). A custom stencil typeface designed with Samuel Larocque for the Montreal-based studio Caserne.
    • CCM Grotesk (2015, Latin and Cyrillic). A custom typeface for Canadian sporting goods brand CCM, with a textured version. The Cyrillic was overseen by Russian type designer Maria Doreuli.
    • VLNL Wurst (2015, VetteLetters). This wurst-themed typefaces comes in three styles, Brat, Blut and Bier Wurst. The interesting aspect of this font is that Demers developed a special Wurst Schreiber software for drawing segments as sausages in RoboFont.
    • Double (2015, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family from condensed to wide with wedge serifs, a copperplate feel, and slight flaring. Ideal for display work.
    • Canal (2015, Étienne Aubert Bonn). A fantastic retail sans typeface family: Canal is a typeface family inspired by the blue collar, hard working people that were the late 19th and early 20th centuries labor force of the new continent. It is a sturdy workhorse with a wink of humanism.
    • Martha (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A retail typeface family with curvy typewriter influences, some monospaced styles and a grotesque to boot.
    • Klaus (2014, Étienne Aubert Bonn). Developed for personal web and paper work.
    • Théorie (2014, Alexandre Saumier Demers and Étienne Aubert Bonn). A techno stencil typeface commissioned by UQAM's Bureau de Design for the Bâtisseurs of the science faculty award.
    • Lewis (2014, Alexandre Saumier Demers). A font system for typesetting mathematics in TeX, developed at KABK.
    • Alphonse (2014, Alexandre Saumier Demers). An elegant garalde custom text typeface.
    • Nurraq (2013, Étienne Aubert Bonn). Developed as a school project at KABK, Nurraq is a multi-script typeface system that matches a Latin serif text typeface with a Canadian aboriginal syllabics character set for the Inuktitut language.
    • Compass (2013, Étienne Aubert Bonn). A revival based on the early drawings of Monotype Plantin series 110 by Frank Hinman Pierpont and Fritz Stelzer.
    • MLS Soccer (2012). A handcrafted 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. Google Fonts link. Github link.
    • Mortier (2021): A typeface inspired by old hand-painted advertisements on brick walls---many of which still exist as ghost signs in cities across the world. This unique style of lettering was influenced by precomputer techniques wherein sign painters would use the brick wall on which they were painting as a reference for laying out their text.

    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]  ⦿

    CORE.NU Fonts
    [Martin Fredrikson Core]

    Free fonts by Swedish designer Martin Fredrikson Core (b. Gothenburg, 1970), whose real name is Martin Lexelius:

    • Chank fonts: Industri No. 35 (2002), Oh La La (2002 screen font), Sauerkrauto (2000), Som Ett Hus (2001).
    • T4 fonts: Corpse Grinder (gothic font), Kantor (2002, since 2007 commercial at T4), Motor Mouth (2006).
    • Fountain fonts: Borgstrand (styles called Regular, Web, Stencil, Hellas; originally a Fountain Type font, it migrated in 2015 to Martin Lexelius Core's foundry), Filt (2001, a fat display face), Jalapeño (Mexican-style diner display, see here), Malmö Sans (2000, Fountain Type, and 2015 at his own type foundry).
    • CORE.NU fonts (mostly free): Backstabber Grotesk, Backstabber Roman (1999), Banditos, Bilprovning Gothic, Blocky Smocky (2002), Bodoni Natural, Bodoni Slapp (2000), Bongonaut (1999), Boy-O (2002), Bunth Serif (1999), Daniel Hando, Darlito, Das Kavel Gotisch, Dot City (1999), DrunkPunk (2002), Executive Producer, Fizzo (1998), Flake Anfang (1999), Funky Mushroom (2000), Gentleman Caller (2002 (pixel font), Grill Sans (2000 (a funny hotdog and hamburger dingbat font, together with Finn Hallin and Simon Grdenfors), Felvetica (2001), Il Tempo Gigante (2001 (extra wide screen font), Isterburk (2001), Komputter (2002), Lager Neon, Lindhagen Script, Marfhaus (1998 (his take on the Bauhaus "Universal" unicase font), Messages, MuskelBengt (2000), No Reklamo, Nuderflaken (2002), Oblata Kurrenta (1999), Pixelette (1998), Plugger, Practicamente, RunStop, Sarcastic Girl Scout Bitch (2000), Sensory Input (2001), Serge Hand, Small Talk (1999 (nice screen font family with styles called Tight, Tight Mono, Wide, Wide Mono), Stiffy99, The Perfect Font.
    FontShop link. MyFonts link for the Martin Lexelius type foundry. MyFonts link for Cre. [Google] [MyFonts] [More]  ⦿

    Corinne Chesher

    Graphic designer in Toronto who created the didone typeface Corina in 2013. [Google] [More]  ⦿

    Corvinus

    Corvinus is a didone family developed between 1932 and 1935 by Imre Reiner, consisting of Corvinus, Corvinus italic, Corvinus semibold, Corvinus semibold, Corvinus bold, and Corvinus Skyline. It was published by Ludwig&Mayer and separately by Bauersche Giesserei. Lanston's 1948 font Glamour was based on it. Many digital versions exist:

    • Group Type (Mark Solsburg, Ann Pomeroy): Corvinus Skyline (1991).
    • Font Bureau (Jane Patterson): Skyline was commissioned from Font Bureau by Condé Nast specifically for Traveler magazine. In 1992, Patterson designed the headline typeface Skyline Bold Condensed.
    • P22/Lanston: LTC Glamour (2006, Colin Kahn), based in first instance on Lanston's 1948 font Glamour.
    • The Font Company: Corvinus Skyline (1993).
    • Dennis Ortiz-Lopez: OL Corvinus Bold Condensed (1993), OL Corvinus Versailles.
    • FontHaus: APCorvinus Skyline (Ann Pomeroy). It is this version that later became Group Type's through Ann's association with that foundry.
    • Opticast/Castcraft: OPTICorvinus-Skyline.
    • Image Graphics: Corvinus Skyline.
    • Softmaker (Martin Kotulla): C794 Roman.
    [Google] [More]  ⦿

    Cory Angen

    Graphic designer in Minneapolis, MN, who started life in North Dakota. He created the (free) tall sans display typeface Insanability (2010). He also made a Didot specimen poster. Home page. [Google] [More]  ⦿

    Cosimo Lorenzo Pancini

    Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). In 2002, Pancini developed Targa, TargaMS and TargaMSHand (for comic books?), basing his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.

    The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts).

    MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.

    In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. See also Coco Gothic Pro (2021).

    In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.

    Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. In 2021, he published the 48-style (+variable) font family Coco Gothic Pro. This is a redrawn and expanded set of fonts: Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicita) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. [...] A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true typographic time machine, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties' minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century. There is also attention to Darkmode and there is coverage of Cyrillic and Greek.

    Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).

    In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.

    In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.

    Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.

    Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.

    Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.

    Hello Script and Hello Sans can be used for layering and coloring. The Christmas-themed version is Hello Christmas.

    Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.

    In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.

    Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.

    Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).

    In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

    In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).

    His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.

    In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.

    In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.

    In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.

    In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.

    In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.

    Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.

    Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.

    In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).

    In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weight and width axis.

    In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. Late in 2020, they added Erotique Sans, the sans version of Erotique, also designed by Cosimo Pancini and Maria Chiara Fantini.

    Late in 2020, he co-designed the 46-style font family Eastman Grotesque together with Francesco Canovaro and Andrea Tartarelli. This monolinear sans with a tall x-height comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs. The typeface evolved from Zetafonts' earlier Bauhaus-inspired typeface Eastman (2020). Later fonts in this family include Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).

    In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.

    Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.

    Coco Sharp (2021) is a 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.

    Co-designer of Heading Now (2021), a 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.

    Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero). A German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy. Pancini, its main designer, writes that it explores the impossible territory between antiqua and blackletter.

    Geppetto (2021) is a frivolous Tuscan font that started out as a revival of a condensed Tuscan wood type family appearing in the 1903 Tubbs Wood Type catalog and which was probably derived from an 1859 typeface by William Hamilton Page. Pancini built a variable font on top of it and calls it a font for fake news.

    In 2021, Pancini added Coco Tardis as a variable font with a time travel slider to the Coco Gothic family.

    Millard Grotesque (2021) is a true "grot" in the Akzidenz Grotesque sense of the word. This typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.

    Pancini's Descript (2021) is a variable script font with two axes, slant and speed of writing.

    Milligram (2021) is a very tightly set grot by Cosimo Pancini and Andrea Tartarelli. [Google] [MyFonts] [More]  ⦿

    Counterpoint Type Studio
    [Jason Anthony Walcott]

    Established in 2013 by Hollywood, CA-based Jason Walcott (formerly operating as JAW Fonts and as Jukebox Type), b. 1971, Michigan, Counterpoint Type Studio started marketing fonts in that same year. The first batch included India Ink (2013), Raspberry Jam (a delightfully curly vampire script), Profiterole (a feminine pastry shop script), and Califunkia (pure psychedelia), and Domani CP (a faithful digital revival of an old photo-typositing typeface called ITC Didi. Originally designed by Herb Lubalin and Tom Carnese, Domani brings to life a font that has been somewhat neglected by the digital era until now).

    In 2014, he added Swashington.

    In 2015, he designed Plectrum CP (a Peignotian sans typeface family with very large x-height). Later in 2015, he set up Jukebox Collection.

    Typefaces from 2016: Schmalfette CP. He writes: SchmalfetteCP is the result of another collaboration between designers Jason Walcott and Rob King. King suggested that Walcott revive this wonderful and somewhat forgotten sans serif typeface from the mid 1950s. Originally designed by Walter Haettenschweiler in 1954, Schmalfette Grotesk was used for many years in the German magazine Twen. The typeface was notoriously hard to acquire at the time and graphic designers in the USA often resorted to cutting letters from the Twen magazines and reusing them in their own designs. Later, when digital type came along several typefaces very similar were created that claimed to be digital revivals of Schmalfette Grotesk. However, they are actually only loosely based on the original. The proportions are different and in some cases a lower case was added. The original font was all caps. [Google] [MyFonts] [More]  ⦿

    Craft Supply
    [Nazzar Saputra]

    Kediri, Indonesia-based designer of the monoline script and sans typeface Quetty (2017), the rhythmic script font Quitman (2017), the geometric sans typeface Francy (2017), the signage script font Danilla (2017), the all caps sans typeface family Stockport (2017), Stockport Rounded (2017) and the great creamy super-heavy signage script typeface Kidding Script (2017).

    Typefaces from 2018: Rustelyn (script), Sweet Buttermilk (Script, Sans), Lucylane (a monoline script), Blusty Script, Riffle (a skyline typeface), Melvis, Deluce (a luxury serif), Dutchy, Aguero (a luxury serif font), Finland, Finland Rounded (rounded monoline sans), Coldiac (an all caps luxury serif), Tigreal (a vintage slab serif), Road Race, Road Race Extra, Logam (sans), Houston Sports (spurred), Studly (a layered font), Morning Gold, Houston Italic, Comodo (sans), Rainly (brush SVG), Offlander (condensed sans), Offlander Rough (free), Salvalyn, Bafora (dry brush SVG font), the sans typeface Bondie Condensed, Bondie Extrude, Troye Serif (display didone), Troye Sans, Troye Script, Boardley Script (layerable retro signage font), Rotterin (a free signage script), Giveny (caps only fashion serif), CS Mulan (Victorian), Pastelyn, Belgium (a distinguished all caps sans), Finland (sans), Rickies (brush), Bravely, Houston (a semi-octagonal font by Wahyu Hadi Yuana), Pommel (a free script by Wahyu Hadi Yuana), Prestage (condensed all caps sans), Prestage Outline, Lovelyn (display serif), Espoir (a Peignotian font by Wahyu Hadi Yuana and Nazzar Saputra), Espoir Serif, CS Juicy (a color font), Retrocycles (monoline display sans), Fadelyn (script and sans), CS Gordon, CS Harley (sans), CS Maria, CS Nancy (sketched), CS Rocky, CS Roger, CS Rosalia, CS Sandreas.

    Typefaces from 2019: Giroud (a free copperplate font), Cattus, Rovey, Vendeur, Colbiac, Angelic Bonques Script, Angelic Bonques Sans (a formal sans), Railly (dry brush), Gold Coast (vintage, all caps), Gold Coast Rough, Souther (brush script), Passtyn (Script, Sans), Larissa, Duskey (a weathered vintage typeface by Wahyu Hadi Yuana and Trio Nazzar Saputra), Rolves, Kitten Days, Jadyn Maria (signature script), Betty Rose, Fenord (a heavy sans), Adelya, Groce, Qualey, CS Nancy Inline, Manyland, Marques (wedge serif), Jocker (a vintage layered spurred typeface family), Nordin (sans), Masitha (script), Croco (Peignotian sans).

    Typefaces from 2020: Marques Vintage, Monocole (all caps sans), Mondeur, Espano (all caps, serif), Celine Peach (Sans, Script), Marlyn.

    Typefaces from 2022: Funkley (funky and psychedelic). [Google] [MyFonts] [More]  ⦿

    Craig Ward

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

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

    Home page. [Google] [More]  ⦿

    Creative Toucan (was: Leo Supply Co)
    [Leonard Posavec]

    Cakovec, Croatia and Washington Park, WA-based designer (b. 1995) of preponderantly grunge typefaces. In 2013, he created Funny Classic, Lion Pro, Lover, War is in the Air (military stencil), Aussen (squarish), Ensione (outlined), Rangle, Gaon, Momgers, Escapea (athletic lettering), Campus A (athletic lettering), Zebraliner, The Alistaren, Goteros, Collegerion (athletic lettering face), Prestinia Pro (grungy serif face), Fast Ostrich, Funny Trip, Boro, Electric (grungy face), On The Left, Power Balloon, Heavy Bomb (grungy), Kid From Hell, Army Stamp (rough army stencil), Jump Party, Comic Type, Commy, Faster, Fati, Funny me, Hypnotize, Half Half, My Day, Totally Outline, First Day, Funny Kid, Waterline, Piranha, Fish (grunge face), Modern Sketch, Beboline (dymo label grunge), Metalic (sic), Moter (grungy outline face), Privjet, ShadowM (shaded typeface), Old Movie, Strong Boy, Russian Line, Long Leg, Cool Day, Jungle Tree, Funny Teca, End of Era, DeLeo, Buble Muble, Morris, Funky Monkey, Leonards (a scratchy typeface), Dead John (grunge), Square Baby (grunge), Handwriter, Outline Storm, Mejiko (grungy Western font), Bird Fly, Died, Close To (grungy dymo label font).

    Typefaces from 2014: Dabre, Handeer, Bad Land, Thron, 806 Typography (wood style didone), Rypote.

    Typefaces from 2015: Debeli Bridge (faded, grungy and gorgeous), Rustal, Madalen, Stiquez, Vallyns (grungy, stamped typeface), Falsthan (brush face), Areson, Summeron (brush script), Surpal Lovely (Victorian kitsch), Summer 2, Megeon (+Grunge), Dabre Grunge (textured caps).

    Typefaces from 2016: Taramda, Endless Script, Riot Ton, Dabre (grungy stamped style), La Tequila (Western font), Originals (painted letters), Originals is out, Avenue Drift, Amoky (sketched), Bastielle Script, Ipsum Script, Baroquey Script, Pomah Type (brush script), Vrown Fox (dry brush), Time Machino (dry brush), The Gohe Go, My Boquet Script, The Sellen, Baley Sun, Brushed Traveler, Salone Strand, Aple Time (brush), Bert Loch (brush), Brushed Car, Last and Chaos (brush), Thin Zeus (brush), Top Light (fat brush typeface), Summer Soul Script, Summter (connected script), Summdraw, Planine Script, Samtak Script, Astel Script, Rostek Old, Megiline, Sally Script, Rolley, Naila Script, Amoky (textured letterpress emulation typeface family), Reeld (dry brush typeface), Stamped Navy (textured).

    Typefaces from 2017: Musterion (brush script), Wolvos (rough brush), Xenos, Descolorido, Mushroom (an angulara children's book font), California Jackpot, Zondas, Codiac (rough brush), Gullias (signage script), California or California Jackpot (brush font), Rhinos Rocks (brushy), Quick Toy (inky brush script), Italiano (dry brush), Gode (thick brush), Ananas Lips, Kiwano Apple, Cup of Sea, Fly N Walk, Sign 45 (vintage grungy poster style), Jaoy, Gas Rock, Acids.

    Typefaces from 2018: Storehouse (a vintage all caps copperplate family with small wedge serifs; by Nicolas Massi and Leonard Posavec; it includes a stencil style), San Francisco, Quick Pick (brush), Mick's, Jumper, Alask (brush), Royal Twins, Clas (brush script), Yolloy, Scolarship (sketched).

    Typefaces from 2019: Planina, Athletica (letterpress style), Costa La Vista (font duo), Springs, Originals 2 (dry brush), Astana.

    Typefaces from 2020: Myla (a display typeface).

    Typefaces from 2021: Surfbars (a dry brush font for outdoors usage; also supports Cyrillic).

    Fontspace link. Creative Market link. Old URL. Another Creative Market link. Dafont link. Fontplanet link. [Google] [MyFonts] [More]  ⦿

    Creative Ultra (was: Creative Whoa, Symufa, or Creative Tacos)
    [Syed Faraz Ahmad]

    Lucknow, India-based designer who started out as Symufa, and then as Creative Whoa. Designer of the handcrafted Rushda (2016), Papercutting (2016), Aiza Shine Serif (2016), Holiday Craft Girly (2016, by Aiza Fatima), Christmas Script (2016), Emily Gold Awesome (2016), Slim Taco (2016) and Ibrat (2016), the fat brush script font Usama (2016) and the brush typeface Symufa Flow (2016).

    Typefaces from 2017: Damean, Candace, Christmas Script, Ulyssa, Hanma, Carla, Abasalom, Amidala, Vanett, Kaayla, Habel, Cabales, Barden, Zayley, Ceica, Maleah Sans, Vannah, Ireene Serif, Jerrick, Perkin, Talissa, Stay Wanderer, Immani, Acacio serif, Charlton, Earwyn Serif, Catheryn, Ailish (free), Adney, Ackley, Lisandro, Janecia Serif (angular style), Hagito Serif, Abiah Sans, Hadwin Serif, Erynn Serif, Ethan (wedge serif), Alodie, Ainsley Sans, Adyson Sans, Jesusa Serif, Jerricca Serif, Chrys Sans, Cartland Serif, Brydon Serif, Orrick Slab Serif, Adenn Sans, Dayleen Sans, Cordaro Sans, Carra Serif, Adriell Sans, Diedra Serif, Cleantha Serif, Cordaro Serif, Carra Serif, Birtle Serif, Axell Serif, Ahijah, Aderes Serif, Achazia Serif, Brycen Serif, Jaavon (fashion mag serif typeface), Cheston Slab Serif, Treyton, Shaaron, Severn Sans, Darrion (slab serif), Naava (slab serif), Tabner, Garvin (slab serif), Jotham, Sumer, Sharis serif, Jerrad, Orrick (slab serif), Ethan (wedge serif), Zack Thin, Abril, Haytham Slab Serif (free), Khwaja, Jennet Brush, Asma (curly script), Jaraad Script, Yessica Sans, Rockley (sans), Cason, Carita (text typeface), Glennda, Starlyn, Hommer (mini-serifed), Adouliss Mag (a great angular design), Wrenn Sans, Medric Serif, Erica Script, Timm Serif (high contrast fashion didone), Veera Serif, Sondra Serif (lapidary, flared), Abira Sans, Montrell Serif, Spark Serif, Jassmine Hand Written, Berton Sans, Beacher (sans), Varina, Mercuric Fancy, Deron Sans, Edina Sans, Adley (sans), Aariel (sans), Hurst (sans), Azel, Aaliyah (fashion font), Barnes Serif, Zimra Serif, Zisel (sans), Bethan (sans), Abner, Abed Serif, Aludra (serif), Myron Serif, Aster Slab Serif, Anaan (sans), Aara Serif, Zack Serif, Alex Sans, Vengeance (sans), Aaron (sans), Aaron Serif, Adon, Alex, Maaz Serif, Thomas Mag (fashion mag family), Zahra, Zack, Aagaz, Barden, Erica, Asbah, Aiden, Anzil, Zahra, Alayna, Aaminah, Atifa Serif, Barkat, Adouliss, Amirah, New Year 2017, Dr. Usama, Yadon (a fashionable Peignotian), Tyra, Abell (an angular typeface family), Akiva.

    Typefaces from 2018: Saarah Fresh, Pierson, Moisses, Wensley (roman caps), Cammron Serif (roman caps), Enrique Sans, Zevida, Aimen Serif, Aarianna, Farhan, Nasya, Mahlon, Jadrien, Ahsan, Gayora Slab, Haana Slab, New Year 2018 Brush, Carolin, Galvin Slab Serif, Sharoon, Bellinor, Fonzy, Hacca, Abeetha.

    Typefaces from 2019: Adrina, Solomon, Qanaya, Yarelli, Edingu, Eadita, Daecca, Cansu, Madelin, Caelan, Banquo, Haddie, Aabel, Hyman, Maiah, Walcot, Hyogo, Fabyen, Gerard, Hadasa, Yafeu Sans, Benett, Yahir, Raanan, Geldwine, Karlton, Abrasha, Linnett (a geometric sans), Cador (a fashion mag font), Daaron (sans), Yessica, Ammar, Eadfrid, Boulia, Stay Writer, Soulmarker, Dusty Chalk, Xantheus, Adallyn, Badrick, Paulose, Labor Union Serif.

    Aka Symufa. Creative Market link. Dafont link. Home page. Aka Creativewhoa. Creative Fabrica link. [Google] [More]  ⦿

    Crud Factory
    [Barry Schwartz]

    Barry Schwartz (b. 1961) is a scientist who lives in St. Paul, MN. He grew up mostly in Kendall Park, NJ, and studied electrical engineering from 1984 until 1990 at Rutgers. He is a fervent and exemplary supporter of the idea of Open Source fonts and software. He runs Crud Factory. His fonts:

    • BonvenoCF-Light (2006). A geometric OpenType format typeface for Latin scripts, having all the letters for Esperanto.
    • Fanwood Text (2011, a Venetian old style typeface). This is a free version of Fairfield (1940-1947, Rudolf Ruzicka). For a commercial version, check Bitstream's Transitional 551.
    • Goudy Bookletter 1911 (2008) is a revival of Goudy's Kennerley Old Style Roman from 1911.
    • Goudy Old Style 14-point (2009).
    • Juvelo (2009). A delicate roman serif face.
    • Linden Hill (2010, OFL). A two-style (roman, italic) revival of Goudy's Deepdene.
    • Prociono CF (2007). See also here.
    • OFL Sorts Mill Goudy (2009). A revival of Goudy Oldstyle and Italic.
    • KisStMTT (or: Sorts Mill Kis) (2010). Based a bit loosely on the early-20th-century revival of Jenson / Kis drawn by Sol Hess for Lanston Monotype.
    • He adapted some glyphs of Gentium for better display with Adobe Reader, and called the new type family Temporarium (2007-2008).
    • Valley (2009). A take on Walbaum.

    Links: Another URL. Dafont link. OFL link. Font Squirrel link. Googlecode link. Devian tart link. The League of Moveable Type. Abstract Fonts link. Kernest link. Klingspor link. Google Plus link. [Google] [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]  ⦿

    Crystal Kluge
    [Tart Workshop]

    [MyFonts] [More]  ⦿

    CSTM
    [Ilya Ruderman]

    CSTM Fonts is a digital type foundry in Moscow founded by Ilya Ruderman and Yury Ostromentsky in 2014. Educated as graphic designers, Ilya and Yury have created many custom typefaces and Cyrillic versions for a well-known Latin typefaces. Since 2008 Ilya Ruderman is curating the Type and Typography course at the British Higher School of Art and Design (Moscow).

    Closely associated with Commercial Type, Ilya Ruderman added Cyrillic versions to Paul Barnes's Austin (2003) typeface in 2009 and 2016.

    In 2015, Ilya and Yury published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House). It was followed in 2016 by Kazimir Text.

    In 2017, they published the almost brutalist wayfinding sans typeface family Navigo (which was used by Gillibrand's presidential campaign in 2019 and 2020, and by Moscow's Zoloto Group), and the experimental (hipster) typeface CSTM Xprmntal 01.

    Pilar (2015) is a poster sans for Latin and Cyrillic. Giorgio Sans Cyrillic (2016, Ilya Ruderman) is a cyrillization of Christian Schwartz's condensed fashion didone typeface Giorgio Sans.

    In 2017, he published Stratos Cyrillic (at Production Type, with Yury Ostromentsky; a Cyrillic version of Yoann Minet's 2016 geometric grotesque typeface Stratos: it received a Type Directors Club New York Certificate of Excellence 2017).

    In 2020, Ilya Ruderman and Yury Ostromentsky released the variable sans typeface Normalidad, which started in 2019 as a custom design for MTS, a Russian mobile network operator.

    Type Today link for CSTM Fonts.

    In 2021, CSTM Fonts released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. Behance link. Type Network link. Future Fonts link. [Google] [MyFonts] [More]  ⦿

    Cucu Supriyadi
    [Seventh Imperium]

    [MyFonts] [More]  ⦿

    Cultivated Mind
    [Cindy Kinash]

    Cindy Kinash is an apparel graphic designer from Canada. She started the Cultivated Mind foundry in 2012, and made a reputation as a script font designer. She published the hand-printed poster typefaces Amour (2012), Happy Cloud (2012), Have a nice day (2012, +Ornaments), Gionni (2012), Dreamy Hand (2012), Taluhla (2012) and Hello I Like You (2012). Requiem (2012) is grungy.

    Cocobella (2012) is a delightful Treefrog-style connected brush script. Luella (2012) is a vintage poster font family. It includes several typefaces with ornaments.

    Typefaces from 2013: Pacific Northwest (hand-drawn poster typeface), Mimbie (+Kitschy Ornaments, +Spooky Ornaments, +Social Media Icons), Maisy.

    Typefaces from 2014: Westcoast Letters, the curly typeface Veronia (2014, with Callie Hegstrom), Local Market (with Charles Gibbons), True North (with Charles Gibbons: a set of letterpress emulation and poster typefaces in all caps; +Extras), Ciao Bella (with Charles Gibbons: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments), La Chic (sic) (a poster font family on a didone body, with several sets of frilly frames), Pacific Northwest Letters, Pacifc Northwest Labels, Azaelia (hand-painted; comes with a dingbat font that has handmade frames, page dividers, ribbons and fancy flourishes).

    Typefaces from 2015: Mulberry Script, Glamour Brush, True North Textures (letterpress emulation; with Charles Gibbons), Wanderlust (watercolor brush script), Wanderlust Collection (including Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments).

    Typefaces from 2016: Viva Beautiful, Garden Grown (brush script; +US B, +US C Caps), Local Brewery (vintage script). Local Brewery evolved in 2020 into Local Brewery Collection, and includes Icons, Extras, a monoline script and a tall all caps monolinear sans.

    Typefaces from 2017: Northwoods (handcrafted sans).

    Typefaces from 2018: Beauty Club (a script and a didone text family), City Streetwear, Beauty Style, Bushcraft (a geometric monoline script).

    Typefaces from 2019: Garden Collection, Viva Beautiful Collection, Northwoods Rough, Eastville Square (signage script).

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

    Cuong Nguyen
    [vncmr]

    [More]  ⦿

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

    Cyril Cathelain

    During his studies in Lille, France, Cyril Cathelain created the decorative didone typeface Awaken The Muses (2015). [Google] [More]  ⦿

    Cyril Mikhailov

    Based in Kaliningrad, Russia, Cyril Mikhailov created the free sans typeface Schist (2014, Latin & Cyrillic) and the free blackboard bold typeface Fakedes Outline (2014).

    In 2015, he made the fatty free bubblegum font Jazzball, which covers both Latin and Cyrillic, and the free handcrafted fat didone poster typeface Pelmeshka.

    Typefaces from 2017: Langendorf (a passport cover font), Krabuler (free; by Cyril Mikhailov and Misha Panfilov).

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

    Cyrus Highsmith
    [Occupant Fonts]

    [MyFonts] [More]  ⦿

    D. Stempel (or: Stempel Studio)

    Frankfurt-based type foundry started in 1895 by David Stempel. Took over Roos&June in 1915. Gained a majority share in Klingspor Bros in 1917. Takes over Leipzig's Heinrich Hoffmeister foundry in 1918 and Leipzig's W. Drugulin foundry in 1919. Gains shareholding in the Haas'sche type foundry in 1927, and Benjamin Krebs in 1933. It becomes owner of Klingspor in 1956. In 1985 D. Stempel's type division was taken over by Linotype, and became Linotype's type department. Stempel's history, 1895-1955. Designers and fonts:

    • J. F. G. Binder: Binder Style (1959).
    • J. Boehland: Balzac (1951).
    • H. Bohn: Mondial (1936).
    • Walter Brudi: Orbis (1953), Pan (1954).
    • W. Buhe: Buhe Fraktur (1915).
    • W. Chappell: Trajanus (1939).
    • J. Christiansen: Christiansen Schrift (1909).
    • F. Heinrichsen: Gotenburg (1935-1937).
    • K. Hoefer: Prima (1957), Zebra (1965).
    • H. Hoffmeister: Amts Antiqua (1909), Stempel Fraktur (1914).
    • Holzhausen: Holzhausen Antiqua (1916).
    • M. Jacoby-Boy: Bravour (1912).
    • M. Kausche: Mosaik (1954).
    • F. W. Kleukens: Gotische Antiqua (1914), Helga Antiqua (1913), Ingeborg Antiqua (1910), Kleukens Fraktur (1911), Omega (1926), Radio Latein (1923, display didone).
    • R. Koch: Anzeigenschrift Deutsch (1923).
    • H. König: Heinz-König-Setzmaschinen-Fraktur (1913).
    • E. Meyer: Tannenberg (1933-1935).
    • Hans Eduard Meier: Syntax (1968).
    • H. Möhring: Elan (1928), Elegant Grotesk (1928).
    • C. Wilhelm Pischiner: Neuzeit Grotesk (1929).
    • H. Pauser: Petra (1954).
    • I. Reiner: Bazar (1956), Mustang (1956).
    • P. Renner: Renner Antiqua (1939).
    • H. Rhode: Humboldt Fraktur (1938).
    • F. K. Sallwey: Present (1974).
    • A. M. Schildbach: Montan (1954).
    • F. Schweimanns: Diana (1909), Propaganda (1901), Graziella (1905), Korso (1913).
    • W. Schwerdtner: Metropolis (1928), Mundus Antiqua (1929), Standard Latein (1929).
    • J. Tschichold: Sabon (1967).
    • M. Wilke: Diskus (1938), Gladiola (1936), Konzept (1968).
    • Friedrich Hermann Wobst: Globus (1932).
    • Rudolf Wolf: Memphis (1930).
    • Hermann Zapf: Gilgengart, Kompakt (1954), Melior (1952), Michelangelo (1950, roman caps), Optima (1958), Palatino (1950), Saphir (Linotype, 1953), Sistina (1951), Virtuosa (1952, revived in 2009 as Virtuosa Classic at Linotype with the help of Akira Kobayashi).
    • G. Zapf-von Hesse: Diotima Antiqua (1952), Smaragd (1953).
    • Staff: Büxenstein Antiqua (1912: revival by Gerhard Helzel), GerhardHelzel-BuxensteinFraktur-after-DStempel-1912.png">Büxenstein-Fraktur (1912: revival by Gerhard Helzel), AltSchwabacher, Europe, Eurostile, Forma, Garamond, Künstlerschreibschrift (1902), Univers, and the typewriter types Deberny, Haas and Olive.

    Specimen book of 1920.

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

    D. Stiasteny

    Typefounder in Brussels. His work can be found in Épreuve des caractères de la fonderie de D. Stiasteny (Bruxelles, Rue de Cerf, no 23, son 1re. 1841). This book, sloppily put together, shows didone influences, typical of the epoch. No full type showings though. [Google] [More]  ⦿

    Dai Nippon Printing Co

    Dai Nippon Printing Co., or DNP, est. 1876, is one of the largest comprehensive printing companies in the world. It was originally known as Shueisha. Designers of the Japanese typeface family DNP Shueitai. They write: Shueitai is a typeface that has been undergoing development for more than a century. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called Shueitai, a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts.

    The DMT Shuei family, published in 2018, consists of DMT Shuei Mincho Pr6 Light, DMT Shuei Mincho Pr6 Medium, DMT Shuei Mincho Pr6 Bold, DMT Shuei YMincho Std Medium, DMT Shuei YMincho Std Bold, DMT Shuei Shogo Mincho Std Heavy (a didone style), DMT Shuei Gothic Kin Std Light, DMT Shuei Gothic Kin Std Medium, DMT Shuei Gothic Kin Std Bold, DMT Shuei Gothic Gin Std Light, DMT Shuei Gothic Gin Std Medium, DMT Shuei Gothic Gin Std Bold, DMT Shuei MGothic Std Light, DMT Shuei MGothic Std Bold, DMT Shuei Anti Std Bold, DMT Shuei 4go Std Medium, and DMT Shuei 4goB Std Heavy. [Google] [MyFonts] [More]  ⦿

    Daidala
    [Jonathan Coltz]

    Jonathan Coltz (University of Minnesota) writes eloquently about typography. He praises Linotype Janson Text, Linotype Sabon and Hoefler's Requiem, and condemns the awful digitization of Dwiggins' Electra by Linotype. Check his November 2, 2002 posting on the state of Greek fonts. His favorite typefaces, with discussion: FF Alega, FF Kievit, Requiem, Scene, FF Avance, FF Scala/FF Seria, Pastonchi (also here), LT/MT Sabon, Aetna. He also wrote opinions on FF Angie, Pastonchi, Ehrhardt, Avenir, Mendoza, FF Celeste, Syntax, Mrs Eaves, FF Meta, FF Eureka, TheMix, Loire, Columbus, Apollo, FF Super Grotesk, ITC Bodoni, and Kepler. [Google] [More]  ⦿

    Daler Mukhiddinov

    Highlands Ranch / Denver, CO-based designer of the free all caps ink-trapped typeface Krisha (2019), the free piano key stencil typeface Modernia (2019), the sans typeface Floane (2019), the heavy sans typeface Goodlight (2019), and Tele Brush (2019).

    Typefaces from 2020: Rondal (a free condensed didone), DM Retrograde (pixelish). [Google] [More]  ⦿

    Dalia Sherif

    Designer in Cairo, Egypt. In 2016, she designed the Arabic poster typeface Methali, which is based on Naskh and Diwani scripts. In 2015, she designed the decorative Latin didone typeface Couturier. [Google] [More]  ⦿

    Dalila Capelli

    Bergamo, Italy-based designer of Dalila Garamond (2015), a hybrid of Garamond and Bodoni/Didot targeted for use in fashion mags. Dalila Garamond was a student project. [Google] [More]  ⦿

    Dalton Maag
    [Bruno Maag]

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

    The Dalton Maag team designed these commercial fonts:

    • Airbnb Cereal (2018). A sans typeface commissioned by Airbnb. Dalton Maag describes it as playful, open and simple.
    • Aktiv Grotesk (2010). Published as an alternative to Helvetica, a typeface Bruno hates with a passion. It also covers Chinese, Japanese and Korean. In 2020, it became a 3-axis (weight, width, italic) variable font.
    • Aller Typo.
    • Almaq.
    • Blenny (2014). A fat face didone by Spike Spondike.
    • Bligh (2015). A three-weight sans family.
    • Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
    • Cordale: a text family.
    • Dedica (2007): a didone face.
    • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
    • Elevon (2012). By Bruno Maag and Marconi Lima.
    • Fargo (2004): a humanist sans in 6 weights.
    • Foco. A sans family.
    • Grueber (2008): a slab serif.
    • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
    • Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
    • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
    • Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
    • Objektiv.
    • Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
    • Pan (1996). A text family at 1500 US dollars per style.
    • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
    • Prometo. An organic stressed sans.
    • Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
    • Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
    • Setimo (2015). By Fernando Caro. A distinguished sans.
    • Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
    • Southampton.
    • Sparkasse Serif (2003-2005). A custom typeface.
    • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
    • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
    • Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
    • Tornac (2013). A casual script.
    • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
    • Verveine (2009). A casual script by Luce Averous.
    • Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

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

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

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

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

    Dalton Maag created the custom typeface family Facebook Sans in 2017.

    Bressay (2016). Stuart Brown led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016. Later additions include Bressay Arabic [designers not identified by Adobe] and Bressay Devanagari [designers not mentioned by Adobe].

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

    Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.

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

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

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

    Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).

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

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

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

    Dan Carr
    [Golgonooza Letter Foundry]

    [MyFonts] [More]  ⦿

    Dan Reynolds
    [TypeOff]

    [MyFonts] [More]  ⦿

    Daniel Bär
    [Pyroglyphix]

    [More]  ⦿

    Daniel Cantor Triana
    [Nerve]

    [More]  ⦿

    Daniel Hernandez
    [Hernández Type (was: Estudio de diseño Calderón)]

    [MyFonts] [More]  ⦿

    Daniel Iglesias Arreal

    As a student at EASD Soria in Palencia, Spain, Daniel Iglesias Arreal (aka Dani Bydani) designed the free didone typeface Soria (2016) and the free geometric sans family Vision (2017) that was inspired by El Lissitsky. Vision was published by Pixel Surplus and Fontfabric.

    Typefaces from 2018: Pardal (a slab serif).

    Typefaces from 2021: Triakis (octagonal). Fontown link. [Google] [More]  ⦿

    Daniela Gianotti

    Graphic designer in Buenos Aires, where she studied at FADU, UBA. In 2011, she created a lachrymal didone typeface. In 2015, she designed Herbario. [Google] [More]  ⦿

    Daniela Shinzato

    Graduate from FADU, University of Buenos Aires, who created the party-line didone typeface Pochoclo (2008). [Google] [More]  ⦿

    Danilo De Marco

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

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

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

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

    Danya Orlovsky

    Or Danila Orlovsky. Student at the Stroganov Moscow State Academy of Applied and Industrial Arts, 2006-2012. Danya (Danila) is the Moscow-based designer of the constructivist version of Didot called Circus Didot (2010, Paratype).

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

    Darden Studio
    [Joshua Darden]

    Joshua Darden is an exceptionally gifted typeface designer with a studio in Brooklyn, NY. Joshua Darden (b. 1979, Northridge, CA) founded the ScanJam Design Company in 1993, together with Tim Glaser. At ScanJam, he designed numerous retail and custom typefaces. In 2000, Josh Darden left Scanjam to work for the Hoefler Type Foundry. In 2004, he founded Darden Studio. In 2005, he joined the type coop Village. He has lectured at the University of California Santa Barbara and at Parsons School of Design and School of Visual Arts. Interview with Josh Darden. Old URL. FontShop link.

    Typefaces designed by Darden:

    • Index (Garage, with Tim Glaser), review by Fred Showker).
    • Birra Stout (2008): a free chunky beer label font. Followed by Birra Bruin (2019, by Elena Schneider at darden Studio): a German expressionist typeface.
    • Jubilat (2008). Darden writes: Commissioned by Michael Picon for First; further development underwritten by Tatler Asia&La Semaine. Recipient of a Type Directors Club award as Untitled. Jubilat explores the history of the slab serif in six weights, with generous curves and efficient spacing in both dimensions. Its large lowercase and high contrast make it suitable for headlines, decks, and sidebars.
    • Bergamot (under development).
    • Profundis (1999, with Timothy Glaser; Profundis andd Profundis Sans in three styles each, all accompanied by Ornaments).
    • Vittoria.
    • OUT (Garage, with Tim Glaser).
    • Grosvenor.
    • Firth.
    • di Valzer.
    • Hauteur.
    • Cassandra.
    • GarageFont.
    • HolyCalliope (1999, with Timothy Glaser).
    • Omnes (2005, Village). This has a hairline weight.
    • Diva (Garage, with Tim Glaser, 1996). See also Omnes Cyrillic (designed by Eben Sorkin, John Hudson, Joshua Darden, Maxim Zhukov, and Viktoriya Grabowska) and Omnes Arabic (designed by Joshua Darden and Titus Nemeth).
    • Locus.
    • Interact (Garage).
    • Freight (2004-2009, Garage): an extensive, all-round family of typefaces including Freight Sans Pro, Freight Display Pro, Freight Micro Pro, Freight Text Pro, and Freight Big Pro (2005; its heavier weights are high-contrast didones). The slab serif, sans and serif versions are related and derived from each other, in some cases, by snap-on technology (in the spirit of Thesis or Scala or Nexus). Freight Sans Condensed Pro followed in 2012 and Freight Sans Compressed Pro in 2015. Freight Micro Pro (2009) was specifically created for use in phone books and small size applications. Freight Macro Pro is more suited for corporate branding. Review by John Berry. Freight Neo Pro (a humanist sans) was published in 2013. In 2015, he offered the free font Freight Big Bold (2005) via Open Font Library. Freight Round Pro was added in 2016. Finally, in 2017, Freight moved to Type Network.
    • Josh Darden collaborated with Chrstian Schwartz on Erik Spiekermann's FF Meta Headline (2005).
    • Virtuoso Life (2005): a proprietary custom display typeface for the Virtuoso Limited magazine.
    • Corundum Text (2006): a fantastic and full family based on Fournier's pre-modern alphabet from 1742. It covers all European languages and comes with almanac symbols, ligatures, zodiac symbols, the works. Corundum Text won an award at TDC2 2007.
    • Untitled (2006, Joshua Darden Studio). It won an award at TDC2 2007.
    • Dapifer (2011) and Dapifer Stencil (2015). Commissioned by Mucca Design for One Atlantic. By Joshua Darden, with design and production assistance by Thomas Jockin, Scott Kellum, Noam Berg, and Lucas Sharp.
    • Halyard (2017). An information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.
    [Google] [MyFonts] [More]  ⦿

    Daria Fox

    Creator of a couple of great Bodoni posters. I also like the geometric typography in the brand design of Karaoke Kafe. [Google] [More]  ⦿

    Dario Sepe

    As a student at AANT (Accademia delle Arti e Nuove Tecnologie, Rome), Rome-based Dario Sepe created the free diodone font Blasone HC (2015). I could not figure out where the download link would be, but it is nevertheless claimed to be free. [Google] [More]  ⦿

    Darius Wells

    This New York printer, was the first to produce wood type commercially, in 1827, after having invented the lateral router with David Bruce. Saxe says that the preferred woods were maple, pear, and cherry, and to a lesser extent boxwood, mahogany, and holly. Maple won out by 1850. His first specimen book (1828) now resides at Columbia University. Wells, the inventor, was born in Johnstown, NY, in 1800, and died in Paterson, NJ, in 1875. His company was first called D. Wells&Co., but becomes Wells&Webb in 1839 when Wells forms a partnership with E.R. Webb, who had earlier that year bought the company of Leavenworth and Debow from George Bruce. In 1854, Wells sells his partnership to Webb, and so we have E.R. Webb&Co. Webb dies in 1864, and the company reverts to Heber Wells, the youngest son of Darius Wells, Alexander Vanderburgh and Henry Low---it is now Vanderburgh, Wells&Co. Hever Wells buys out the others, and the company becomes just Heber Wells. This last company was absorbed by Hamilton in 1898.

    Revivals of the wood types of Darius Wells include AWT Page Antique Black (2013, Dick Pape; after an 1828 typeface by Darius Wells) and AWT Wells Roman Extrabold (2013, Dick Pape; after an 1828 fat typeface typeface by Darius Wells). [Google] [MyFonts] [More]  ⦿

    Darja Peklaj

    Designer of the didone typeface Duality (2008). [Google] [More]  ⦿

    Dave Lawrence
    [California Type Foundry (21st century)]

    [MyFonts] [More]  ⦿

    Dave Rowland
    [Eclectotype (was: Schizotype)]

    [MyFonts] [More]  ⦿

    Dave West

    Type designer of the photolettering era (1960s) whose work is slowly but surely being digitally revived by Nick Curtis, and by Photo-Lettering, the House Industries subsidiary that bought the PhotoLettering Inc type collection. FontShop link. His typefaces:

    • The slightly psychedelic typeface West Banjo. Nick Curtis's Fiddle Sticks (2007) is based on this typeface. For another digital revival, see Plinc Banjo (2017, Mitja Miklavcic at House Industries.
    • Elephant Gothic, a fat deco face. Remade by Nick Curtis as Elephunky NF (2011).
    • Nick Curtis believes that Stymie Black Flair may also be due to him, and he based his Tutti Paffuti NF (2007) on the latter face.
    • African Queen was revived by Curtis as Djibouti NF (2007), a minimalist tribal African alphabet.
    • Nickelodeon. Revived by Curtis as Lily Hilo NF (2008).
    • Barnum Block (Western face), done in 1960 at PhotoLettering Inc. This became Cg BarnumBlock at Compugraphics. The Compugraphics collection is now sold by Monotype. See also PL Barnum Block.
    • Behemoth (1960, PhotoLettering): a slab serif. This too became a Compugraphics face, Cg Behemoth Semi Condensed. See also PL Behemoth Semi Condensed.
    • Bubble Gum (late 1960s). This bubblegum / cartoon font was finally digitized in 2011 by Jess Collins for House Industries, and is now called Plinc Bubblegum (2021).
    • Futura Casual inspired Nick Curtis to draw Occidental Tourist NF (2010).
    • Walnetto Casual (Photolettering) is another psychedelic face. For a digitization, see Nick Curtis's Jackalope NF (2010). West Barnum Ultra, designed by Dave West and digitized by Ben Kiel&Adam Cruz at House Industries in 2011, was film no. 5494 in the original Photo-Lettering archive.
    • West Thud.
    • West Kerpow, a comic book typeface, late 1960s. This was digitized in 2011 by Allen Mercer at House Industries as Plinc Kerpow.
    • West Italiano, or simply Italiano. A Bodoni-style italic. In 2015, Steve Ross and Ken Barber at House Industries digitally revived this typeface as Plinc Italiano.
    • West Emperor Script. A connected didone script.
    • West Nouveau Compact (Pyschedelitype 5619 in the PLINC collection of 1968). See, e.g., Pyschedelitypes (Alphabet Directions No. 8), Photo-Lettering, Inc., 1968. In the Curvy Block Lettering style of Viennese secessionist Alfred Roller. The same face appears in Castcraft's Encyclopedia of Phototype Styles (1978) as Cetus Black.
    • West Fifth Dimension (1971), an Alfred Roller-inspired psychedelic typeface that was shown in PLINC's Alphabet Thesaurus Vol. 3 (1971).
    [Google] [MyFonts] [More]  ⦿

    David Berlow

    David Berlow (b. Boston, 1955) entered the type industry in 1978 as a letter designer for the Mergenthaler, Linotype, Stempel, and Haas typefoundries. He joined the newly formed digital type supplier, Bitstream, Inc. in 1982. After Berlow left Bitstream in 1989, he founded The Font Bureau, Inc. with Roger Black. Font Bureau has developed more than 300 new and revised type designs for The Chicago Tribune, The Wall Street Journal, Entertainment Weekly, Newsweek, Esquire, Rolling Stone, Hewlett Packard and others, with OEM work for Apple Computer Inc. and Microsoft Corporation. The Font Bureau Retail Library consists mostly of original designs and now includes over 1,000 typefaces. In a video made for Mike Parker's TDC medal in 2011, Mike Parker says that David Berlow is the most talented type designer he ever met. David lives in Martha's Vineyard.

    At ATypI 2004 in Prague, David spoke about Daily types. At ATypI 2009 in Mexico City, he spoke on The heart of my letter, (and the online version). Since that time he has been very active and vocal on the issue of high quality web fonts. Speaker at ATypI 2011 in Reykjavik and at ATypI 2014 in Barcelona.

    David Berlow Type Specimens (free pdf). Another type specimen booklet. Interview by A List Apart in 2009. Speaker at ATypI 2010 in Dublin. FontShop link. www.typovideo.de/david-berlow. David Berlow on web fonts. Interview by The Boston Globe. His typefaces:

    • Agency FB (1995). After Morris Fuller Benton's squarish typeface from 1932-1933 for American Typefounders.
    • Amstelvar (2017). A variable (or parametric) font at Font Bureau. Contributors include David Berlow, Santiago Orozco, Alexandre Saumier Demers, and David Jonathan Ross. Open Font Library link, where one can download the font. Github link.
    • Apres (2008, a sans with 40 styles). David Berlow and staff drew Apres as part of a series designed originally for the Palm Pre smart phone, for use both on the device and in print marketing. Simple, open letterforms and generous proportions provide a clear, comfortable, and inviting experience for navigation and readability.
    • Belizio (1987-1988), a beautiful Clarendon-style slab serif modeled after the 1958 original slab serif by Aldo Novarese called Egizio Corsiva Nero. Claudio Piccinini would have liked Font Bureau to acknowledge Aldo Novarese's Egizio as the source of this family.
    • Belucian (1990, by David Berlow and Kelly Ehrgott Milligan. Several weights exist, including Demi and Ultra.
    • Berlin Sans (1997).
    • Bureau Grotesque (1989). This 27-style family is now called Bureau Grot. Font Bureau's blurb: The current family was first developed by David Berlow in 1989 from original specimens of the grotesques released by Stephenson Blake in Sheffield. These met with immediate success at the Tribune Companies and Newsweek, who had commissioned custom versions at the behest of Roger Black. Further weights were designed by Berlow for the launches of Entertainment Weekly and the Madrid daily El Sol, bringing the total to twelve styles by 1993. Jill Pichotta, Christian Schwartz, and Richard Lipton expanded the styles further, at which point the family name was shortened to Bureau Grot.. Note: there is a custom version called M&C Saatchi Grotesque with truetype data created by dtpTypes in 1998.
    • CalifornianFB.
    • CheltenhamFB.
    • Custer RE (2014), a typeface for small on screen use. The Font Bureau blurb: In 2009, a book from 1897 in the library of the University of Wisconsin caught David Berlow’s attention. It was set in a clear text face---a predecessor of Bookman---cast by the Western Type Foundry who called it Custer. Upon noting how well the typeface worked in point sizes of 6 and 7 points, Berlow developed it into a member of the Reading Edge series specifically designed for small text onscreen. Custer RE is a broad and approachable typeface drawn large on the body with a tall x-height to maximize its apparent size when set very small. The minimal stroke contrast and the hefty serifs let it stay exceptionally clear down to a font-size of 9px. Font Bureau.
    • Decovar (2017). A variable font. Github link, where one can freely download the font family. See also Open Font Library.
    • Desdemona (1992). An art nouveau face.
    • Eagle (1889-1994). This art deco typeface Font Bureau Eagle was started in 1989 for Publish. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series.
    • Eldorado.
    • Empire.
    • Esperanto (1995).
    • ITC Franklin Gothic (1991). In 2008, David Berlow added Condensed, Compressed and Extra Compressed widths to Vic Caruso's 1979 ITC Franklin interpretation (which had Light, Medium, Bold and Black), and Font Bureau sells a complete ITC Franklin now. In 2010, Berlow completed his definitive revision of ITC Franklin, a single new series of six weights in four widths for a total of 48 styles. Typeface review at Typographica.
    • Giza (an Egyptian family.
    • Hitech (1995).
    • Juliana Text (2009), a rebirth of Sem Hartz's Juliana (1958, Linotype), a popular narrow legible paperback text face.
    • Kis FB (2007): a revival of old style types by Nicholas Kis from ca. 1700.
    • Letras Oldtsyle (1998). Letras Oldstyle was commissioned by Letras Libres, the reigning literary magazine published by Enrique Krauze in Mexico City. This garalde series was inspired by the earliest typefaces cut in the Americas in the early 1600s by printer Henrico Martinez. Proofs survive in the Biblioteca Nacional. Letras Oldstyle stands as the first typeface ever cut in the Americas, the root of American type design.
    • Meyer Two (1994). Based on a 1926 type by L.B. Meyer.
    • Millenium BT Bold Extended (1989, Bitstream). Also known by insiders as Starfleet Bold Extended, this font was used on federation starship hull markings until episode ten. MyFonts link.
    • Moderno FB (1995): an exhibitionist didone in 32 styles, for Esquire Gentleman. In 1996 Berlow cut new styles with Richard Lipton for El Norte. In 1997, Roger Black ordered new weights for Tages Anzeiger. It grew further when the Baltimore Sun, with FB Ionic as text, was redesigned. The whole series was then revised for Louise Vincent, Montreal Gazette, with further styles added in 2005 for La Stampa. [It is my favorite type family at Font Bureau.]
    • Momentum (2018). An in house variable font family for use on the Type Network web site.
    • Nature (1995).
    • Numskill (1990).
    • Old Modern.
    • Online Gothic (1995).
    • Ornaments.
    • Phaistos (1990-1991). A flared angular design done with Just van Rossum, and inspired by Rudolf Koch's Locarno.
    • Poynter Agate.
    • Reforma: Based on Giza.
    • Rhode (1997).
    • Roboto Flex (2017). A large free variable typeface family by David Berlow on commission for Google; based on Christian Robertson's original Roboto. Google Fonts link. Github link. Google redits Font Bureau, David Berlow, Santiago Orozco, Irene Vlachou, Ilya Ruderman, Yury Ostromentsky and Mikhail Strukov.
    • Romeo.
    • Scotch Roman (1993).
    • Skia (1993, Apple). A Greek simulation sans, in the style of Twombly's Lithos, co-designed with Matthew Carter for Apple's QuickDraw GX project.
    • Skyline.
    • Titling Gothic FB (2005): Berlow spent 10 years developing FB Titling Gothic in seven weights of seven widths each for use as display and headline romans. It was inspired by the popular ATF Railroad Gothic and grew out of Berlow's own Rhode.
    • Throhand: a classic family based on metal type found at the Plantin Moretus Museum in Antwerp.
    • Truth FB (1995).
    • Village.
    • Vonness (2007): a newspaper sans family. Font Bureau: Vonness was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauersche Giesserei's Venus, 1907-1910. Berlow expanded the ideas behind the series to 56 fonts.
    • Yurnacular (1992, part of FUSE 4).
    • Zenobia (1995).

    View David Berlow's typefaces. Another catalog of David Berlow's fonts. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

    David Engelby
    [David Engelby Foundry]

    [MyFonts] [More]  ⦿

    David Engelby Foundry
    [David Engelby]

    Copenhagen-based creator (b. Jutland, Denmark) 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. It was followed in 2019 by Copenhagen Grotesk Nova.

    Typefaces from 2016: Leducation (a didone family combined with a touch of European decadence).

    Typefaces from 2017: Verger (inspired by William Morris's Golden Type), Verger Sans.

    Typefaces from 2018: Space Show (an atractive rounded sans for clear and big display typography including wayfinding, infographics and posters), Comic Tantrum (free demo), Verger Book, Kiks, Gothic Tantrum, Jutlandia Slab (which was redesigned in 2020 as Jutlandia Pro).

    Typefaces from 2019: College Tantrum (an octagonal athletic shirt font). [Google] [MyFonts] [More]  ⦿

    David Farey

    Type designer who was born in London in 1943. Dave Farey runs Housestyle Graphics with Richard Dawson in London. He was well-known for running the successful auctions at many ATypI meetings. His typefaces for various foundries:

    • Panache Typography: the artsy typeface Cupid, Azbuka (sans family).
    • ITC: ITC Beesknees (1991), the sans-serif family ITC Highlander (1993), ITC Ozwald (1992, a beautiful fat face), ITC Johnston, and ITC Golden Cockerel family (1996, with Richard Dawson, an Eric Gill revival). The former three are part of the Linotype library. ITC Beesknees has been remade and extended by Nick Curtis as Arbuckle Remix (2008). Another revival, by Thomas E. Harvey, is BeesWax (1992-1993).
    • Agfa: Zemestro (2003, a 4-weight sans tapped as a typeface for television). His Creative Alliance typefaces: Abacus (art nouveau), Blackfriar, Bodoni Unique, Breadline Normal, Cachet, Cavalier, Classic, Cupid, Font Outline, Gabardine, ITC Golden Cockerel, Greyhound Script, ITC Johnston, Little Louis, Longfellow, Maigret (art nouveau), Revolution Normal, Stanley, Stellar, Virgin Roman Normal (art nouveau), Warlock.
    • Galapagos: Ersatz (2002, with Richard Dawson, at Galapagos, originally done at Panache).
    • HouseStyle Graphics: ClassicFranklin family (2000-2001).
    • FontHaus: Aries (1995), a font designed by Eric Gill (1932).
    • Monotype: Azbuka (2008-2009): a 20-style sans family by Richard Dawson and David Farey.
    • Elsner&Flake: Caslon EF Black.
    • OEM work: TimesClassic (2000-2001) for The London Times.
    • P22: In 2021, he was part of a big effort by P22 to revive and extend Johnston's Underground to P22 Underground Pro [Richard Kegler (1997), Paul D. Hunt (2007), Dave Farey (2021), James Todd (2021) and Patrick Griffin (2021) contributed at various stages]. Farey's contribution was to the italics.
    View David Farey's typefaces.

    FontShop link. Klingspor link. Biography at Agfa. [Google] [MyFonts] [More]  ⦿

    David Fernando Espinosa Martínez
    [Type Sailor]

    [More]  ⦿

    David Kerkhoff
    [Hanoded]

    [MyFonts] [More]  ⦿

    David Quay

    British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1967, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded The Foundry with Freda Sack and Mike Daines in London. The Foundry also develops custom typefaces, marks and logotypes for companies inernationally these include a special typeface to be readable at very small sizes for Yellow pages, corporate fonts for BGplc (British Gas) NatWest Bank, and signage typefaces for both RailTrack in the UK and the Lisbon Metro system in Portugal. After Freda's death, he set up The Foundry Types with Stuart de Rozario. He taught typography and design at the Academie St. Joost, Hogeschool Brabant from 2001-2003. He taught part-time at IDEP in Barcelona, and lives and works in Amsterdam. In 2009, he started selling his fonts at MyFonts. He is also a designer at Retype in Den Haag, The Netherlands. His fonts, in chronological order:

    • Custom lettering and type for the Penthouse calendar.
    • 1983: Santa Fe (monoline script), Agincourt (1983, Letraset and ITC, blackletter), Blackmoor (1983, ITC, English-style blackletter).
    • 1984: Titus, Vegas.
    • 1985: Quay, Milano.
    • 1986: Bronx (brush script).
    • 1987: Bordeaux (a skyline font family, Letraset), Bordeaux Script.
    • 1988: Latino Elongated, Mekanik.
    • 1989: Aquinas, Robotik, Helicon (1989, Berthold).
    • 1990: Quay Sans (a humanist sans based on Syntax), Digitek, Teknik.
    • 1991: Letraset Arta.
    • 1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek (angular design, ITC).
    • 1993: Marguerita (curly vampire script).
    • 2010: Kade (Re-Type---it is a display/semi display sans family of fonts based on vernacular lettering photographed around the harbours of Amsterdam and Rotterdam).
    • 2011: Bath (2010-2011), a typeface developed with Ramiro Espinoza for the signage and orientation of the city of Bath. It comes in Bath Serif and Bath Sans versions.
    • Foundry Gridnik (2016, The Foundry). Influenced by Wim Crouwel's work: Foundry Gridnik was developed from the single weight monospaced typewriter face, originally created by Dutch designer Wim Crouwel in the 1960s.
    • Foundry Tiento (2020). A magnificent very Latin didone family with exquisite hairline ligatures.
    • Fernhout (2021). The prototypical kitchen tile typeface. Quay was inspired by an icomplete alphabet Wim Crouwel designed in 1963 for an exhibition poster font the Dutch painter Edgar Fernhout at the Van Abbemuseum.

    List of his typefaces, or revivals, at MyFonts: Bordeaux (Elsner+Flake), Bronx (Elsner+Flake), Agincourt (ITC), Aquinas (ITC), Blackmoor (ITC), Bordeaux (ITC), Bronx (ITC), Coptek (ITC), Digitek (ITC), La Bamba (ITC), Lambada (ITC), Latino Elongated (ITC), Letraset Arta (ITC), Marguerita (ITC), Mekanik (ITC), Milano (ITC), ITC Quay Sans (ITC), Robotik (ITC), Santa Fe (ITC), Scriptek (ITC), Teknik (ITC), Vegas (ITC), Titus (Linotype), Kade (Re-Type), Metallic Sky (SoftMaker), Foundry Sans (The Foundry), VLNL Hollandsche Nieuwe (VetteLetters).

    View David Quay's typefaces. Klingspor link. FontShop link. Linotype link. View David Quay's typefaces. [Google] [MyFonts] [More]  ⦿

    David Rust
    [Optimo]

    [More]  ⦿

    David Thometz's top 10 favorite text typefaces

    • Hightower (Font Bureau: Tobias Frere-Jones, 1994-1996, based on Nicolas Jenson) and Cloister Old Style (Font Company/URW++; Nicolas Jenson; Morris Fuller Benton, 1897): "Nicolas Jenson's model is, in many typophiles' judgement, simply the best roman ever designed. Morris Fuller Benton's Cloister Old Style is by far my favorite of all the attempts to revive Jenson. ITC's Legacy Serif is too sterile, Adobe Jenson Pro lacks the same charm, and Monotype's Centaur is just a bit too spindly. Monotype's Italian Oldstyle and Jim Parkinson's Parkinson are good, but diverged a bit too much from the original form. Cloister Old Style has enough meat on its bones to print well at small sizes, but its forms are intriguing enough to keep it interesting at larger sizes. The Font Company/URW++ cut is the best that I've found, although its outlines are on the klunky side. Tobias Frere-Jones' Hightower is another font based on the same form. I haven't had it long enough to judge it completely fairly, but so far it has satisfied my expectations. It is slightly more sterile than Cloister, but not such that it completely loses its charm, and its outlines are better that any cutting of Cloister that I've yet come across. "
    • Cheltenham Old Style (Bitstream; Hannibal Ingalls Kimball, Bertram Grosvenor Goodhue, Morris Fuller Benton, 1896-1911; 1990): "Demand the original design, as Bitstream's version has followed, and burn all copies of ITC's bastardization. Cheltenham Old Style is absolutely not for everyday use. Still, for those occasions when it is appropriate, it's a font you can kick off your shoes by the fire to read."
    • Stempel Garamond (Stempel/Linotype AG; Claude Garamond, c.1480-1561; 1924): "This is a truly beautiful text font, and the only "Garamond" in which both the roman and the italic are based on Claude Garamond's work, and not Jean Jannon's."
    • Mrs Eaves (Emigre; Zuzana Licko, 1996): Emigre's version of Baskerville isn't particularly true to Baskerville's design, but Zuzana Licko's alterations result in a fresh, new typeface that is well-suited to the realities of today's digital printing demands. The italic is especially beautiful, and the range of ligatures is (with a few exceptions) a bonus.
    • FF Scala and FF Scala Sans (FontShop; Martin Majoor, 1990).
    • HTF Didot (Hoefler Type Foundry; Firmin Didot, c.1784; Jonathan Hoefler, c.1992?) and Didot LH (Linotype AG; Firmin Didot, c.1784; Adrian Frutiger, 1992): "Didot is currently my favorite of the didone fonts, and both of these versions are good, each having different strengths. Still, Berthold Bodoni Old Face, Berthold Bodoni Antiqua, Bauer Bodoni and Berthold Walbaum slip into my top tier from time to time."
    • Perpetua (Linotype AG; Eric Gill, c. 1925-1930; 1959; 1991): Strangely, Perpetua's flowing grace and stately structure is often too beautiful to be used for certain texts, which is why I don't use it even as often as I'd like.
    • Serapion (Storm Type Foundry; Frantisek Storm, 2001): Serapion is klunky and untamed, but filled with a beautiful energy. William Berkson says in 2012: Well, I don't think Serapion is a good text face, because it's color is too uneven. You can get variety by doing uneven color, easily. To get variety while also getting even color to me is the challenge. Storm is a good designer, but to me this one is not a success. Large it's ugly as well, if you ask me. To me it's visually incoherent.
    • Plantin (Agfa-Monotype; Frank Hinman Pierpont, ?): The original is much better than its descendant, Times New Roman.
    • Bookman/Old Style (Ludlow, 1925; Merganthaler-Linotype, 1936; Agfa-Monotype ?): AGFA-Monotype has the best version that I've found; Bitstream's is okay. Avoid ITC's parody.
    [Google] [More]  ⦿

    David Trooper
    [DTrooper Foundry]

    [MyFonts] [More]  ⦿

    Daylight Fonts
    [Shinya Okabe]

    Japanese foundry with excellent web pages on early 20-th century type design. Shin Oka, or Shinya Okabe (b. 1976, based in Himeji) created various revival fonts in or just before 2009, many connected in some way to Tom Carnase and the phototype era. He specializes in 1970s and 1980s typefaces, often with open counters and high contrast. His fonts:

    • Bentley (2010). This is the same as Avant Garde Gothic.
    • Bernhard Neo DF (2010).
    • Caslon223 DF (after ITC/LSC Caslon 223 by Tom Carnase). Other Caslons include Caslon Headlione DF (2010) and Caslon Swash DF (2010).
    • Didot DF (2008).
    • Garamond DF (2010).
    • Grouch DF (after ITC Grouch by Tom Carnase and Ronne Bonder)
    • Lubalin Graph DF (after ITC Luabalin graph by Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna)
    • Busorama DF (after ITC Busorama by Herb Lubalin and Tom Carnase)
    • L&C Hairline DF (after L&C Hairline by Herb Lubalin and Tom Carnase)
    Additionally, they identified the fonts on many covers and albums from the 1960s and 1970s. Further revivals of photolettering era fonts:
    • Baby Teeth (2009): after the art deco typeface of Milton Glaser, 1968, PhotoLettering.
    • CBS Didot (2009): after the original by Freeman Craw, 1970s.
    • Indigo (2009): after a font by Albert Hollenstein, 1970s.
    • Pacella Collegiate (2009): after Vincent Pacella's typeface at PhotoLettering.
    • Penny Bee (2009): a Peignot lookalike.
    • Tiffany Heavy With Swash (2011). A swashy Didot display face. This type was used by Quentin Tarantino's movie Jackie Brown in 1997. Tiffany Heavy (Ed Benguiat, Photolettering) is basically identical to Benguiat Caslon Swash (1960s) and to Foxy Brown (1974). Similar typefaces include LSC Book with Swash by Herb Lubalin and Tom Carnase (ca. 1970).
    • Wexford (2009): after the typeface of Richard A. Schlatter, VGC, 1972.
    They are working on Permanent Massiv (after a 1962 Ludwig&Mayer font by Karlgeorg Hoefer---comparable to Impact or Compacta in its massiveness and masculinity), Michel, Didoni, Tiffany, Ginger Snap, Patriot, Motter Ombra, Pistilli Roman, Benguiat Caslon (a large size display Caslon by Ed Benguiat at PhotoLettering; digitized at House Industries by Christian Schwartz and Bas Smidt), and Via Face Don.

    In 2020, Shin Oka released the caslon-sinspired Ivy Ivy, the piano key version of a fat Bodoni, the fashionable Gara Gara, the 1970s font Bern Bern, Super Bodo Bodo, the art deco / Bauhaus typeface Sophi Sophi, the art deco typeface Fifty Four, the fashion mag typeface Rache Rache, the Peignotian sans typeface Mid Mid Sun Sun, and the display didone Fau Fau. [Google] [MyFonts] [More]  ⦿

    D.C. Scarpelli
    [The Ampersand Forest]

    [MyFonts] [More]  ⦿

    De Passe&Menne
    [Jean Baptist De Panne]

    Dutch foundry from 1842-1856, bought by Nicolaas Tetterode in 1856. Formerly, De Passe&Cie in 1841. Jean Baptist De Panne (b. Brussels, ca. 1806, d. Amsterdam, 1844) was a Belgian who had been a foreman of Firmin Didot in Paris. Kornelis Elix, an Amsterdam based typefounder, asked him to come to Amsterdam, where De Passe worked for him from 1837 on. In 1841, De Passe created his own foundry, only to die in 1844, a year after his first specimen was published. That specimen derived mostly from the Th. Lejeune foundry in Brussels, which was active there from 1836-1838. Specimen in the Amsterdam University Library. [Google] [More]  ⦿

    Dear Type
    [Veneta Rangelova]

    Dear Type is run by Bulgarian type designer Veneta Rangelova, who is based in Sofia. In 2015, she created the creamy signage typeface, the accompanying Lifehack Sans, Lifehack, the casual script typefaces Hello Headline and Brunette, and the bold brush script Renovation.

    Typefaces from 2016: Blooms, PhotoWall (casual connected script), BeachBar (a large signage script family), Amberly (a connected script), Amberly Sans, Guess (a connected script set accompanied by an all caps geometric sans family, Guess Sans).

    Typefaces from 2017: Galiano (Text, Serif and Regular: the Text is italic, the Regular is a swashy script, and the Serif is a didone), Odds (a casual sans and dingbat family), Moments, Timeout.

    Typefaces from 2018: Karlie (script and serif duo).

    Typefaces from 2019: Roosk, Fits.

    Typefaces from 2020: Romper (rounded, monoline, handcrafted), Skate (a cursive typeface).

    Typefaces from 2021: Binomic (a monospaced sans with typewriter slabs for some letters and a swan-shaped lower case ell.

    Behance link for Veneta Rangelova. [Google] [MyFonts] [More]  ⦿

    Decorated Initials
    [Stephen Coles]

    Stephen Coles's list of decorated initials:

    [Google] [More]  ⦿

    Deepanjali Singh

    Mumbai, India-based designer of the experimental typeface Dissected Didot (2015). Behance link. [Google] [More]  ⦿

    Denee Wall

    Designer of the didone typeface twenty Regular (2019). [Google] [More]  ⦿

    Denis A. Serikov
    [OT Lab]

    [More]  ⦿

    Denis Gorohovskiy

    Kiev, Ukraine-based "designer" of the sans typefaces Axiom (2016) and Equilibrium (2016), Arsenal Slab (2016), Parabola (2016, geometric display font), the hairline avant-garde typeface Amsterdam (2016), the minimal rounded sans typeface family Straus (2016), the sans family Aurora (2016), the condensed sans display typeface Tokiozza Light (2016) and the circle-based display typeface Parabola (2016).

    Typefaces from 2017: Arson (sans family), Arthur, Adderley, Ashley, Azalea, Havana (a great super-heavy display sans), Atlas, Alicia, Martin, Apollo, Aroma, Tilt (modern geometric sans), Napster (ultra-condensed sans), Equilibrium, Arizona (condensed rounded sans), Argentina (a smooth high-contrast brush typeface), Aroma, Melony Sans, Argo (rounded monospaced sans), Aura (squarish sans), Bloke, Arnold Thin, Arnold Black (heavy geometric titling sans), Anima (rounded sans), Axiom Sans, Arcadia (minimalistic sans), Diod (a tall minimalist sans), Diod Bold, Aurora Thin, Emerald Modern Serif (a skyline typeface), Aqueduct, Arcanzas (a didone, +3D), Alabama (squarish and tall small caps), Antsy (a slab serif that comes across as a typewriter font), Steady Hand (handcrafted caps). Graphicriver link.

    Now, alert typophiles have pointed out that most---if not all---of Gorohovskiy's fonts are renamed and plainly stolen fonts. I leave the images on my site for the historical record. Here is a list of equivalences, as reported by this Italian blog:

    • Bebas Neue (Adderley)
    • Canter Bold (Alabama)
    • Chivo (Arthur)
    • Dense (Aroma)
    • Gotham with unofficial (pirated corporate) Cyrillic part (Arson Pro)
    • Josefin Sans (Arsenal Sans)
    • Josefin Slab (Arsenal Slab)
    • Long Tall Sally EEN Plain (Emerald)
    • Source Sans (Equilibrium)
    • TT Chocolates (Arnold)
    • Uniform Black by Miller Type Foundry (Tilt)
    • Vidaloka (Arcanzas)
    • Vollkorn (Martin)
    As a result, Gorohovskiy's Creative Market account has been suspended. But why did Creative Market let this matter go on for a full two years? Incompetent editors? As a matter of fact, another distributor, Graphicriver, still has not removed his account as of late February 2018. His sales there amount to about 900 dollars, so this is plain theft. But then again, is this very different from Book Antiqua (Monotype's copy of Palatino) and Fotura (Linotype's not-so-subtle copy of Futura)? [Google] [More]  ⦿

    Denis Roegel
    [LaTeX Navigator]

    [More]  ⦿

    Dennis Hotson

    Graphic designer in Melbourne, Australia, who designed a didone typeface in 2016. Behance link. [Google] [More]  ⦿

    Dennis Ludlow
    [Sharkshock]

    [MyFonts] [More]  ⦿

    Device Fonts
    [Rian Hughes]

    Rian Hughes studied at the LCP in London before working for an advertising agency, i-D magazine, and a series of record sleeve design companies. Under the name Device he now provides design and illustration for the advertising, entertainment, publishing, and media industries. He works from Richmond, UK, as a comic book artist, letterer and typefounder---his foundry is called Device. He creates mostly display type. List of fonts. Interview. Review by Yves Peters. Monotype Imaging page. Interview by Die Gestalten. Various (overlapping) font listings, still unorganized.

    • Dingbats: Pic_Format, Mastertext Symbols, MacDings, RiansDingbats, Autofont.
    • FontFont fonts: Identification (1993), Revolver, Rian's Dingbats, LustaOneSixtySans, Knobcheese, CrashBangWallop, and Outlander.
    • [T-26] fonts: English Grotesque (1998), Data90 (2003; a free FontStruct typeface that is virtually identical to Data90 is Bitrate by Kummaeno (2010)), Flak Heavy (2003, stencil), Flak (2003, stencil), Freeman (2003), Klaxon (2003, kitchen tile font), Cordite, Substation (2003), September (2003), West Way (2003), Egret (2003), Paralucent Complete (2003), Paralucent Condensed, Paralucent Stencil (2003), Mercano Empire (2003), Iconics (2003), Cantaloupe (2003), Gravel (2003), Acton (blocky screen font, 2002), Ainsdale, Amorpheus, Anytime Now (alarm dingbats), Bingo, Blackcurrant (Blackcurrant Cameo (1997) is free), Bordello, Elektron, Haulage (U-Haul lettering, 2002), WexfordOakley, Telecast, Terrazzo, Transit, Untitled, Scrotnig, Skylab (2002), Silesia (1993), SlackCasual, Ritafurey, Reasonist-Medium, Regulator, GameOver, Novak, Quagmire, PicFormat, Jakita Wide (2000, techno font), Metropol-Noir, Motorcity, Mastertext, Mystique (2002), MacDings, Lusta, Laydeez, Sinclair, Paralucent (sans serif), Judgement, Bullroller, Zinger (a fifties font), Citrus (2002), Popgod (2003), Range (2000, a futuristic font), Hounslow, Jemima, Griffin, GranTurismo, Gargoyle, Foonky, DoomPlatoon, Darkside ("remixed" by FontStructor Kummaeno in his Ubangi (2011)), Kallisto (2010), Kallisto Lined (2010), Cyberdelic, Contour, and the very original Stadia Outline family (Stadia is a kitchen tile font).
    • List of all fonts by Rian Hughes, as of 2004: Acton, Ainsdale, Amorpheus, Anytime Now, Bingo, Blackcurrant, Bordello, Bull Roller, Chascarillo, Contour, Cottingley (1992), FF CrashBangWallop, Cyberdelic, Darkside, Data90, Doom Platoon (1996), Elektron, English Grotesque, Flak, Foonky, Freeman, Game Over, Gargoyle, Gran Turismo, Griffin, Haulage, Hounslow, Iconics, FF Identification, Jakita, Jemima, Judgement, FF Knobcheese, Laydeez Nite, Lusta (big family), Mac Dings, Mastertext, Men Swear, Metropol Noir, Motorcity, Mystique, Novak, FF Outlander, Paralucent, Pic Format, Platinum, Quagmire, Range, Reasonist, Register (A and B), Regulator, FF Revolver, FF Rian's Dingbats, Ritafurey, Scrotnig, September, Silesia, Sinclair, Skylab, Slack Casual, Space Cadet, Stadia, Substation, Telecast, Terrazzo, Transmat, Untitled One, Vertex, Westway, Wexford Oakley, Why Two Kay, Zinger.
    • At Veer, in 2005, these Device fonts were published: Gentry, Gridlocker, Valise Montreal, Custard, Box Office (moviemaking letters), Sparrowhawk, Monitor, Moonstone, Miserichordia, Yolanda (a great playful medieval text typeface in three styles: Duchess, Princess, Countess), Gusto, Dauphine, Rogue, Ritafurey, Dynasty, Radiogram, Xenotype, Roadkill (grunge), Payload (stencil family comprising Regular, Outline, Spraycan, Narrow, Narrow Outline, Wide, Wide Outline), Catseye, Electrasonic, Absinthe (psychedelic style), Straker, and Chantal (brush).
    • In 2006, Veer added these: Profumo, Ironbridge, Cheapside, Battery Park (grunge), Forge, Shenzhen Industrial, Hawksmoor (grunge), Coldharbour Gothic, Wormwood Gothic (grunge), Chase (grunge), Diecast, Roadkill Heavy, Tinderbox (fuzzy blackletter), Dazzle (multiline face), Nightclubber (art deco), Klickclack (2005, comic book or cartoon caper typeface), Vanilla (art deco), Wear it's at (grunge), Diecast, Drexler, Box Office (movie icon font).
    • Fonts from 2007: DF Conselheiro (2007, grunge), DF Glitterati (2007), Indy Italic (script), DF Apocrypha (2006, rough outline), DF Quartertone (2007), DF Lagos (2007, rough stencil), DF Pulp Action, DF Reliquary #17 (2006, grunge didone), DF Dukane (2007, octagonal grunge), DF Strand (2007, striped stencil), DF Rocketship from Infinity (2006, futuristic), DF Appointment with Danger (2006), DF Las Perdidas (2006, grunge stencil), DF Kelly Twenty (2007, grunge stencil), DF Heretic, DF Roadkill, DF Ironbridge, DF Forge, DF Shenzhen Industrial, DF Hawksmoor, DF Cheapside, DF Battery Park, DF Saintbride, DF Profumo, DF Coldharbour Gothic, DF Wormwood Gothic, DF Tinderbox, DF Flickclack, DF Vanilla (multiline art deco face), DF Chase, DF Nighclubber (art deco jazz club face), DF Diecast, DF Dazzla, DF Zond Diktat (grunge), DF Yellow Perforated, DF Mulgrave (grunge), DF Ministry B, DF Ministry A (with a hairline weight), DF Gridlocker, DF Gentry, DF Valise Montréal (grunge), DF Custard, DF Box Office, DF Roadkill, DF Payload Wide, DF Payload Narrow, DF Catseye Narrow, DF Catseye, DF Yolanda, DF Xenotype, DF Telstar, DF Straker, DF Sparrowhawk, DF Rogue Serif, DF Rogue Sans Extended, DF Rogue Sans Condensed, DF Rogue Sans, DF Ritafurey B, DF Ritafurey A, DF Radiogram, DF Pitshanger, DF Payload (stencil), DF Outlander Nova, DF Moonstone, DF Monitor, DF Miserichordia, DF Interceptor, DF Gusto, DF Glitterati, DF Galicia (2004), DF Galaxie, DF Electrasonic, DF Dynasty B, DF Dynasty A, DF Drexler, DF Dauphine, DF Chantal, DF Absinthe, DF Register Wide B, DF Register Wide A, DF Register B, DF Register A, DF Quagmire B, DF Cordoba (2007, grunge), Mellotron (2004, stencil), Seabright Monument (2007), Charger (2007, grunge).
    • T-26 releases in 2007: Klickclack, Hawksmoor (grunge), Heretic, Ironbridge (old letter simulation), Battery Park (grunge), Chase (grunge), Cheapside (grunge), Dazzle (multiline art deco), Diecast (grunge), and Forge (grunge).
    • T-26 releases in 2008: Automoto (fat multiline deco face), Straker (organic). Also from 2008: Mission Sinister (grunge), Gonzalez (grunge).
    • FontBros release in 2009: Filmotype Modern. Other Filmotype series fonts include Filmotype Miner (2012), Filmotype Manchester (2012), Filmotype Meredith (2012), Filmotype Marlette (2012), Filmotype Mansfield (2012), Filmotype Power (2012) and Filmotype Major (2012: this is based on a typeface used as the titling font for the popular children's book by Dr. Seuss entitled One Fish Two Fish Red Fish Blue Fish, 1960). Other 2009 fonts: Degradation (grunge).
    • Creations in 2010: Pod (2010, fat round stencil), Korolev (2010, a 20-style monoline sans family based on communist propaganda from 1937), DF Agent of the Uncanny (2010, brush face), DF Destination Unknown (2010, Kafkaesque brush), DF Maraschino Black (a sleek, sophisticated high-contrast swash capital font).
    • Creations in 2011: DF Capitol Skyline, DF Capitol Skyline Underline and DF Capitol Skyline Capitals (a multi-weight all-caps pair that epitomizes Streamline Moderne), DF Korolev (a 20-weight sans serif family based on lettering by an anonymous Soviet graphic designer who did the propaganda displays at the Communist Red Square parade in 1937. Named in honor of Sergey Pavlovich Korolyov, or Korolev, considered to be the father of practical astronomics). In 2018, Korolev was expanded to Korolev Rounded and Korolev Rough.
    • Typefaces from 2012: Ember (informal script), Kane (based on the Batman logo), Glimmer Glossy, Glimmer Mate, Galleria (avant-garde caps), Clique (flared sans).
    • Typefaces from 2013: Wulf Utility (grungy), Charterhouse (an aggressive black sans), Filmotype Melon (after a 1959 original, this is an offbeat Googie era doo-wop typeface), Filmotype Melody (similar to Melon), Filmotype Mellow (also similar to Melon), Raw (worn wood type), Cadogan (a rhythmic connected script), Whiphand (brush face), Steed (heavy codensed masculine sans inspired by the titles of the Avengers TV show), State Stencil (Clean and Rough: in the style of Futura Black), Korolev Military Stencil (named after Sergei Korolev, father of Soviet astronautics, and based on signs from the Red Army parade of 1932), Armstrong (a 1950s automobile font).
    • Typefaces from 2015: 112 Hours (numerals font).
    • Typefaces from 2016: Typex (an angular yet rounded monospaced typewriter or OCR-style typeface based on the lettering used on Alan Turing's and Tutte's famous code-breaking machine at Bletchley Park, the Bombe, and the subsequent British answer to the German Enigma machine, the Typex), Serenity (a legible sans family).
    • Typefaces from 2017: Pitch (a heavy block sans in chrome and solid variants), Shard (originally commissioned for Nickelodeon's 3D reboot of the Teenage Mutant Ninja Turtles franchise), Championship Inline, Mood (a great liquid deco font), Grange, Grange Rough, Dazzle Unicase, Urbane (sans), Urbane Rounded, Albiona (a modern take on Clarendon; includes Albiona Heavy Stencil), Albiona Soft (a rounded version of Albiona), Pact (a modular geometric font).
    • Typefaces from 2018: Rutherford, Salvation (a potato cut font), Kano (inspired by the work of Dutch furniture designer and architect Gerrit Rietveld, one of the principal members of the Dutch artistic movement De Stijl), Rogue Sans Nova, Fairtrade (rough-edged font), Goddess (Victoriana), Neuropa (a five-weight semi-extended sans that projects a muscular corporate authority), Worthington Arcade (a caps-only lapidary typeface), Zeno (a piano key stencil typeface), Vektra (an experimental crosshatch-textured typeface), Recon (a quartz display font), Kinesis (Kinesis is inspired by the work of Dutch furniture designer and architect Gerrit Rietveld, one of the principal members of the Dutch artistic movement De Stijl. It is a modular headline font, constructed from white, black and grey overlapping rectangles), Freehouse (Freehouse is a reinterpretation of the well-remembered Watney's logo, a brewery and pub chain infamous for its poor quality beer and brutalist decor.), Zipline (a great multiline typeface), Argent Sans, Craska (a multiline font), Panther Black, Carilliantine (art nouveau with many interlocking letter pairs), Regulator Nova, Broadside, Bubblegum Pop, Heft (a heavy slab serif), Faction (stencil style), Metaluna (techno, engineering), Magnetron (futuristic), Urbane Rough, Urbane Adscript (a monoline semi-linking sans), Revolver (original from 1992), Albiona Inked (a Clarendon).
    • Typefaces from 2019: Gerson Rand, Gravesend Sans (an all caps sans family based on the unique typeface used for the iconic grass-green signage for the now-defunct Southern Railway in England).
    • Other: Customised Foonky Starred, Altoona, DfAncestorITC, DfAttitudesPlain, HotRod (2002).
    • Typefaces from 2020: Breach (a display typeface with partitioned capital letters), Epiphany (stencil), Aurore Grotesque (an elegant geometric art deco sans family with small x-height), Faculty (a geometric sans with large x-height), Fathom (a flared serif typeface), Atomette (a stylized comic book typeface family), Conquera (a stylish extended caps-only font in five weights plus an inline), Dare (a tape font, that borrows a pinch of the hand-drawn swagger of Bauer's Cartoon (designed in 1936 by H. A. Trafton), used as Dan Dare's signature logo in the British boy's comic Eagle, and also the upward-pointing serifs of machine-moderne typefaces such as Dynamo (designed by K. Sommer for Ludwig & Mayer in 1930), Urbane Condensed.
    • Typefaces from 2021: Maximum (a blocky techno or sports font), Paralucent Slab (a monolinear slab serif), Guildhall (a 10-style strong-willed mechanical font family), Broadside Text (14 styles), Cynosure (a 14-style elliptical sans), Valvolina (a geometric display typeface inspired by Italian Futurismo), Chassis (a sci-fi or computer game font), Fomalhaut (a space exploration font), Disclosure (a grungy font), Sheffield Fiesta (a squarish font based on the brutalist concrete landmark nightclub in Sheffield, now the Odeon Cinema), Grange Text (a 14-style sans), Wilko (a fat rounded poster typeface), Farthing (a 5-style wedge serif).
    • Typefaces from 2022: Bradbury Five (a vernacular / bubblegum / supermarket / cartoon typeface in 18 styles), Tracker (an inline space-age disco font from the 1960s or 1970s, reminiscent of the Mexico City olympics font), Salient (a 12-style didone).

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

    DH Type Visionaries
    [Candace Uhlmeyer]

    Candace Uhlmeyer provided a bit of type history through the work of Johannes Gutenberg (1398-1468), William Caxton (1422-1491), Aldus Manutius (1450-1515), William Caslon (1692-1766), John Baskerville (1706-1775), Giambattista Bodoni (1740-1813), William Morris (1834-1896), Frederic W. Goudy (1865-1947), Eric Gill (1882-1940), and Jan Tschichold (1902-1974). [Google] [More]  ⦿

    Diamond Bodoni

    A rhombic Monotype font with Bodoni letters in rhombic (diamond-shaped) windows. Unknown designer. [Google] [More]  ⦿

    Diana Ovezea
    [Acute Studio]

    [MyFonts] [More]  ⦿

    Didem Ogmen

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

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

    Didones
    [Ludwig M. Souzen]

    A list compiled by Ludwig M. Souzen, a typographer and printer in Bertem, Belgium:

    • VII.1 Giambattista Bodoni (ca 1791)
    • VII.1.A ORIGINAL
    • VII.1.A.a Giambattista Bodoni, Manuale Tipografico)
    • VII.1.B METAL REVIVALS
    • VII.1.B.a Morris Fuller Benton (ATF, 1907)
    • VII.1.B.b Monotype, 1930s
    • VII.1.B.c Bauer Bodoni (Bauer, Heinrich Jost, 1926)
    • VII.1.B.d Berthold Bodoni Antiqua, 1930s
    • VII.1.B.e R.H. Middleton (American Ludlow foundry, 1930s)
    • VII.1.C PHOTO COMPOSITION
    • VII.1.C.a Berthold Bodoni (Gunter Gerhard Lange, 1970)
    • VII.1.C.b Berthold Bodoni Old Face (Gunter Gerhard Lange, 1983)
    • VII.1.C.c IBM corporate identity (Karl Gerstner, 1980s)
    • VII.1.D DIGITAL REVIVALS
    • VII.1.D.a Monotype 135 Bodoni (Monotype, 1921)
    • VII.1.D.b Bauer Bodoni Std (Heinrich Jost, 1926)
    • VII.1.D.c Monotype 357 Bodoni Std Book (Monotype, 1932)
    • VII.1.D.d Bodoni Std
    • VII.1.D.e WTC Our Bodoni (Massimo Vignelli, 1989)
    • VII.1.D.f Berthold Bodoni
    • VII.1.D.g Berthold Bodoni Old Face
    • VII.1.D.h Bodoni Old Fashion (URW++)
    • VII.1.D.i Bauer Bodoni URW
    • VII.1.D.j Bauer Bodoni BT (Bitstream)
    • VII.1.D.k EF Bodoni
    • VII.1.D.l EF Bauer Bodoni
    • VII.1.D.m FF Bodoni Classic [+ Swashes&Chancery] (Gert Wiescher, 1994)
    • VII.1.D.n ITC Bodoni (three opticals: six, twelve&seventy-two; Sumner Stone e.a. 1994)
    • VII.1.D.o Linotype Bodoni Classico (Franko Luin, 1995)
    • VII.1.D.p Linotype Gianotten (Antonio Pace, 2000)
    • VII.1.D.q Filosofia (Zuzanna Licko, Emigre)
    • VII.1.E INTERPRETATIONS (bodoniennes)
    • VII.1.E.a Fenice (Aldo Novarese)
    • VII.1.E.b Iridium (Adrian Frutiger, Stempel, 1972)
    • VII.1.E.a FF Acanthus (Akira Kobayashi, FontFont)
    [Google] [More]  ⦿

    Didot

    Bios of the main members of the Didot family: François Didot (1689-1757), François-Ambroise Didot (1730-1804), his son, Pierre-François Didot (1731-1795), the second son, Pierre Didot (1761-1853), the oldest son of François-Ambroise, and Firmin Didot (1764-1836), the second oldest son of François-Ambroise. Belgians may be interested in Pierre, who used the fonts of his brother Firmin and had them improved by Vibert. Pierre Didot published Specimen des caractères and Specimen des nouveaux caractères in 1819. His son Jules (1794-1871), who succeeded him in 1822 in the Didot foundry, moves the foundry to Brussels in 1830 and sells it to the Belgian government to start its "imprimerie nationale". Jules returns to Paris, sets up a new printing shop, loses his mind in 1838, and sells all his material. The Didot family: extracted from the forthcoming "Bibliography of printing" (Bigmore, E. C. (Edward Clements), 1838?-1899; Wyman, C. W. H. (Charles William Henry), 1832-1909; book published by Wyman&Sons in 1878). Scan of the original Didot typeface. [Google] [More]  ⦿

    Didot: Brands

    Didot is everyhere, on fashion mag covers like Vogue and Bazaar, on billboards, and in brand logos such as Hilton, Dior, cK, Boss, Yves Saint-Laurent, Giorgio Armani, Zara and Guess. [Google] [More]  ⦿

    Didot family
    [François Didot]

    A wiki page on the Didot dynasty in France, started by François Didot (son of Denis Didot), a merchant born in Paris in 1689. He died there in 1757. In 1713 he opened a bookstore called La Bible d'or ("The Golden Bible") on the Quai des Grands-Augustins. François Didot was a learned man, and held by his colleagues in great esteem. His most famous sons were François-Ambroise Didot (1730-1804) and Pierre-François Didot (1732-1795). But it was only the third and fourth generations of Didot heirs that made an impact on type design by the creation and commercialization of the modern high-contrast and ultra-rational typefaces now known as didones. [Google] [MyFonts] [More]  ⦿

    Didot or Bodoni

    The typophiles discuss some Didot choices and tell us the best ways for recognizing a Didot from a Bodoni. On the choices for Didot:

    • Linotype Didot
    • Frutiger's Didot
    • HTF Didot
    • Ambroise (Porchez)
    • Canada Type has their new Didot, but it's self admittedly not a faithful Didot.
    • Didot Elder (François Rappo)
    • FF Holmen (Per Baasch Jørgensen)
    • Carmen (Andreu Balius)
    On the ways of recognizing them. In general, Didot's are mre rigid (thinner hairlines, untapered serifs (or: lack of bracketing) as in the tops of "W", "V" and "l"). But some Bodoni's have untapered serifs and some Didot's are tapered, hmmm. Florain Hardwig (see graphic) identifies the characters that give it away for him: "a" (Didot has a droopy counter), "l" (top), "W" (top), "t" (Bodoni's top very tapered), "J" (Bodoni drops below baseline), "Q" (Bodoni has a dog's tail, Didot has a French feather). [Google] [More]  ⦿

    Diederik Corvers
    [Ogentroost]

    [MyFonts] [More]  ⦿

    Diego Maldonado
    [Notdef Type]

    [MyFonts] [More]  ⦿

    Dieter Hofrichter
    [Hoftype]

    [MyFonts] [More]  ⦿

    Dieter Steffmann

    FontShop was the name of Dieter Steffmann's foundry in Kreuztal, Germany (not to be confused with the FontShop foundry and font vendor). He made about 600 self-proclaimed "old-fashioned" fonts, and among these many Fraktur fonts. His site became too expensive to run, and was for about two decades hosted by Typoasis. His fonts can now de downloaded afrom 1001 Fonts. Alternate URL. Current list of fonts. See also here. New stuff. Fontspace link. A nice essay about Fraktur fonts accompanies the fonts. News. As Dieter puts it: I am not a designer but I add missing letters to public domain fonts in order to get a complete character set and I hint the fonts and create new weights (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:

    • Acorn Initialen (2000), Adine Kirnberg (2000, after David Rakowski's Adine Kirnberg Script, 1991), AI Parsons (1999: a simple conversion to truetype of AI Parsons (1994, Inna Gertsberg ans Susan Everett), which in turn revived Will Ransom's Parsons from the 1920s), Albert Text (2000), Alpine (2000), Altdeutsche Schrift (1998: a rotunda), Alte Caps (2000: white on black), Alte Schwabacher (2000, +Shadow), Ambrosia (2000), American Text (2000: a blackletter), Aneirin (2000: Lombardic), Angel (2000: an ironwork font), Anglican Text (2000: a frilly blackletter), Angular (1999: +Inline, +Shadow), Ann-Stone (2000: boxed art nouveau caps), Antique No. 14 (2000: fuzzy hand-crafted letters), Arabella (2000: script), ArabesqueInitialen (2002), Argos George (1999, an art nouveau font after Georges Lemmen's George-Lemmen-Schrift (1908); Steffmann added Argos Geirge Contour), Aristokrat Zierbuchstaben (2002, after a house font at Ludwig&Mayer, 1911), Ariston Script (2000: a formal calligraphic script), Art Nouveau Initialen (1999), Attic Antique, Augusta (2000: a rotunda; +Shadow).
    • Baldur (2000: art nouveau; +Shadow, +RoughSliced; after a schelter typeface from 1895), Ballade Bold (2002, a Schwabacher font based on Ballade Halbfette designed by Paul Renner in 1937; +Contour, +Shadow), Barock Initialen (2002: an incomplete decorative initials typeface), Becker (1999; +Shadow, +Inline), Beckett-Kanzlei (2001), Behrens-Schrift (2002: an art nouveau-inspired blackletter typeface based on an original by Peter Behrens), Belshaw (2000: a Victorian decorative serif), Belwe (2002, after an original by Georg Belwe, 1913; Gotisch, Vignetten), Benjamin Franklin Antique (2000, after a warm wood type designed in 1991 by Walter Kafton-Minkel simply called Benjamin), Berlin Squiggle Condensed, Bernhard Schmalfett, Bier und Wein Vignetten (2002, based on drawings from the Bauersche Giesserei), Billboard, Bizzaro, Black Forest (2000, blackletter; +Text, +ExtraBold), Black Knight (1999: blackletter), Blackletter (2001; +ExtraBold, +Shadow), Blackwood Castle (2000: an almost Lombardic blackletter; +Shadow), Breitkopf Fraktur (2000), Bretagne Gaelic (1999), Brian James Bold (2000, +Contour), Bridgnorth, Broadcast Titling (2000, 3d caps), Broadway Poster, Brock Script (2000: formal calligraphic script).
    • Cabaret (2000: all caps, +Contour, +Shadow), Campanile (2000: Victirian), Camp Fire (2000: wooden plank font), Canterbury Old English (2001: blackletter), Cardiff (2000: textured caps), Cardinal (2000: almost Lombardic; +Alternate, +Anglican), Carmen (1998: art nouveau style; +Shadow), Carrick Caps (2000), Caslon Antique, Caslon Fette Gotisch, Cavalier (2000), Celtic Frames (2000), Celtic Hand (2000), Challenge (2000; +Contour, +Shadow), Chelsea (2000: a serif), Chopin Script (2000, a formal penmanship script identical to Polonaise), Christbaumkugeln (1999: art nouveau alphadings consisting of Christmas ornaments), Chursächsische Fraktur, Cimbrian (2001: blackletter), Circus Ornate Caps (2001, a Western or circus font), Cloister Black Light (2001: blackletter), Coaster Black (2001, +Shadow), Coelnische Current Fraktur (2000), Colchester Black (2001: an ornamental blackletter), College, Courtrai (2000: a decorative blackletter), Coventry Garden, Cruickshank (2000: art nouveau caps).
    • Damn Noisy Kids (2002: a heavy brush font), Davy's Dingbats, Debussy, Decorated Roman Initials (2003), Deutsch Gotisch (2002: an expressive blackletter font; +Dutesch Gotisch Heavy, +Outline, +Shadow), Deutsche Uncialis (+Shadow) (2000), Deutsche Zierschrift (2002, after Rudolf Koch, 1919-1921), Devinne Swash (2000), Digits (2000), Direction (2000: letters with embedded arrows), Dobkin Script (2000: after David Rakowski, 1992, Domino, Domo Arigato (1999: oriental emulation), Dover, Driftwood Caps (2000: a wooden plank font), Due Date (2000: a grungy stencil typeface), Duerer Gotisch (2001), Duo Dunkel (+Licht), Durwent (2001: a rotunda).
    • Easter Bunny (after a 1994 font by Apropos Creations), Easter Egg (2001; after a 1994 font by Apropos Creations), Eckmann Initialen (2002, after the famous art nouveau typeface from 1900 by Otto Eckmann), Eckmann Plakatschrift (2002), Eckmann-Schrift (2002), Eckmann Titelschrift (2002), Eckmann Schmuck (2002), Egyptienne Zierinitialen (2002), Egyptienne Zierversalien (2002), Ehmcke-FrakturInitialen (2002), Ehmcke-Schwabacher Initialen (2002), Eichenlaub Initialen (2000), Eileen Caps (2000; after David Rakowski, 1992), Eisenbahn (2002, based on train vignettes at Bauersche Giesserei), Elzevier Caps (2000; after David Rakowski), Enge Holzschrift (2000; +Shadow), English Towne Medium (2000: a Fraktur), Epoque (1999; an art nouveau typeface; +Shadow, +Inline), Erbar Initialen, Estelle, Evil of Frankenstein, Express (1999).
    • Faktos (1998; a rip-off of Cory Maylett's Faktos, 1992; +Striped, +Contour, +Shadow), Fabliaux (2000: Lombardic caps), Fancy Card Text (2000: a textura), Fat Freddie (2000: a fat all caps font; +Shadow, +Outline), Faustus (2000: a Schwabacher), Fenwick Woodtype (blackletter: 2001), Fette Caslon Gotisch (2001), Fette Deutsche Schrift (2002, a revival of a Rudolf Koch font from 1908), Fette Egyptienne, Fette Haenel Fraktur (2000), Fette Kanzlei (2002), Fette Mainzer Fraktur (2001), Fette Steinschrift (2002), Fette Thannhäuser (2002; after Herbert Thannhäuser, 1937-1938; +Schattiert), Fette Trump Deutsch (20002, after Georg Trump, 1936), Firecat, Flaemische Kanzleischrift (2000: calligraphic), Flowers Initials (2000: floriated caps), Forelle (2002: a retro script; +Shadow), Fraenkisch Spitze Buchkursive (2002; after Lorenz Reinhard Spitzenpfeil, 1906), Fraktur Coelnische Current (2000), Fraktur Schmuck (2001: ornaments), Fraktur Shadowed (2001), Fraktur Theuerdank (2000: a Schwabacher), Frederick Text (2001: a blackletter), Futura Script.
    • Gabrielle (1999: a retro script), Ganz Grobe Gotisch (2000), Gebetbuch Fraktur (2000: a Schwabacher), Gebetsbuch Initialen (2001), Germania (2001, a revival of the 1903 blackletter typeface by Heinz König called Germania as well), Germania-Versalien, Gille Fils Zierinitialen (2002, after Gillé Fils, ca. 1820), Gingerbread Initials (Victorian initials, after an original from ca. 1890), Globus, Gloucester Initialen (2001), Gorilla Black (2000: rounded elephant feet font), Gotenburg A+B (2002, after Friedrich Heinrichsen), Gothenburg Fraktur (2000), Gotische Initialen (two different sets with the same name, one from 2000 and one from 2002), Gotisch Schmuck (2002, Fraktur), Goudy Initialen (2000), Goudy Medieval (2000), Goudy Thirty (2000), Grange (1999), GrenzschInitials (2001), Grusskarten Gotisch (2001), Gutenberg Textura (2000).
    • Haenel Fraktur Fett, Hansa (1999: art nouveau), Hansa Gotisch (2001: a textura), Hansen (1998; +Contour, +Shadow), Happy Easter (1994, by Apropos Creations: art deco caps), Harrowgate (2001: a textura), Hazard Signs (2000), Headline Text (2001: a textura), Hercules (1999: art nouveau), Herkules (2004: art nouveau), Hermann-Gotisch (2002; after an original by Herbert Thannhaeuser, 1934), Herold (2002), Hippy Stamp (2000: after rubber stamps from the 1960s), Hoedown (2000; +Shadow), Holla (2001; after Rudolf Koch), Holidayfont, Holtzschue(2000: a circus font, after David Rakowski, 1992), Honey Script (2000: a retro script), Horror Dingbats (2000; after Letters from the Claw, 1998), Houtsneeletter, Humboldt Fraktur (2002-2005; after a Schwabacher font by Hiero Rhode, 1938; +Zier, +Initialen).
    • Iglesia Light (2002), Iron Letters (2000), Isadora Original.
    • Jan Brad, Journal Dingbats, Jahreskreis (seasonal dingbats, 2002), JSL Blackletter Antique (2000, by Jeffrey S. Lee), Jugendstil Fraktur (originally designed by Heinz Koenig, 1907-1910), Jugendstil Ornamente (2002, art nouveau ornaments, after Schelter & Giesecke).
    • Kabinett Fraktur, Kaiserzeit Gotisch (2001), Kanzle (2001)i, Kanzlei Initialen (2002), Kalenderblatt Grotesk (2000), Kashmir (2001: an arts and crafts typeface), Kinder Vignetten (2002), KingsCross (2001: blackletter), Kinigstein Caps (2000: art nouveau initials after David Rakowski, 1990), Klarissa (2000), Kleist Fraktur + Zierbuchstaben (2002, after Walter Tiemann, 1928), Koch Antiqua (2002), Koch Antiqua Zierbuchstaben (2002), Koch Initialen (2000, after Rudolf Koch, 1922), Koenigsberger Gotisch (2001), Koenig-Type (2002; a Jugendstil Fraktur originally designed by Heinz Koenig, 1907-1910), Kohelet (2001), Koloss, Konanur Kaps (2000, after David Rakowski, 1991), Kramer, Krone Bold.
    • La Negrita (2000, +Shadow), Latina (2001: script), Lautenbach (2001, +Zierversalien), Legrand (1999: art nouveau), Lemiesz (2000), Lettres ombrées ornées (2002, based on a typeface by Schriftgiesserei J. Gillé, 1820), Linolschrift (2000, +Heavy, a linocut font as in the Munch paintings), Lintsec (2000, a stencil typeface, after David Rakowski, 1992), Liturgisch + Zierbuchstaben (2002, after Otto Hupp, 1906), Logger (2000, after David Rakowski, 1991), Lohengrin Fraktur (2000), Long Island Antiqua, Louisianne (1998-2000: +Contour, +Shadow; a bold upright connected script), Ludlow Dingbats (2000, after Ludlow, 1930), Luthersche Fraktur (2000).
    • Mainzer Fette Fraktur, Marker Felt (2001), Marketing Script (1999, +Shadow, +Inline), Marlboro (2000), Maximilian (2002, a Fraktur font and decorated caps based on Rudolf Koch, 1914; +Zier), Mayflower Antique (2000), Mediaeval Caps (2000), Medici Text (2002: an ornamental blackletter), Menuetto (1994, after K.R. Field), Messing Lettern (2000), Metropolitain (2000, an art nouveau font like the ine used for the Paris metro; +Contour, +Condensed), Middle Saxony Text (2001), Moderne Fraktur (1999), Monats-Vignetten (2002, based on drawings by Franz Franke for Bauersche Giesserei, 1920), Montague (2000), Monument (2002, after Oldrich Menhart, 1952), Mordred (2000), Morgan Twenty-Nine (1999: Victorian caps), Morris Roman Black (2002, after William Morris, 1893), Morris Initialen (2000, after William Morris).
    • Napoli Initialen (2000), Neptun Gotisch (1999), Neugotische Initialen (2002, after an original from 1890), North Face (2000), Nougat (2000), Nougat Nouveau Drop Caps (2000), Nubian (after Walter T. Sniffin's font from 1928).
    • Olde English, Old English Five (2000: blackletter), Old Town (2000: Western), Old London (2000: blackletter).
    • Packard Antique (2000), Paganini Text (2000: blackletter), Pamela (2000: an ornamental blackletter), Paris Metro (1998; +Outline), Parsons Heavy (2000, after Bill Ransom, 1918), Paulus Franck Initialen (2002), Penelope (2000, Victorian), Peter Schlehmil (2002, after Walter Tiemann, 1918-1921), Peter Schlemihl Fraktur, Picture Alphabet (2000; after an original from 1834), Pilsen Plakatschrift (2000), Pinewood (2000, like wooden branches), Pinocchio (based on a psychedelic typeface by Gustav Jaeger, TypeShop, 1994), Plakat-Fraktur (2001), Plakat Antiqua, Plastisch (2002: ornamental caps), Plastische Plakat Antiqua (2002), Plum Script (2000: an upright script)), Pointage (2000; after David Rakowski, 1992), Polonaise (1999: a formal calligraphic script), Polo Semi (2000), Powell Antique (2000), Prince Valiant (1999: blackletter), Printer's Ornaments One (after Blake Haber, 1994), Prisma (2003, a four-line typeface inspired by Rudolf Koch's Prisma), Progressive Text (2001), Puritan (2000, +Swash).
    • Quentin Caps (2001: Tuscan).
    • Rediviva (2002), Rediviva Zierbuchstaben (2002: a Schwabacher font after a 1905 typeface at Benjamin Krebs designed by Franz Riedinger), Reeperbahn (1999; aka Rope), Regatta Relief, Reiner Script, Relief Grotesk (2003), Revue Decor, Reynold Art Deco (2000: arts and crafts; +Contour), Rheinische Fraktur (1999: after a 1905 Stempel font called Arminius Fraktur and Rheinische Fraktur), Rio Grande, Rockmaker (2000, after David Rakowski, 1992), Roland 92000. +Shadow, +Contour), Rolling No. 1 ExtraBold (2000), Roman Antique (+Italic) (2000), Romantik Initialen (2000), Romantiques (2002: ornamental caps, perhaps a circus font), Rondo, Rosemary Roman (2001: a great calligraphic script based on Rosemary Hall's Rosemary Roman), Roskell (1998: a poster font, +Bold, +Shadow), Roslyn Contour (2000), Rossano (2000, +Shadow), Rothenburg Decorative (2000: a frilly blackletter), Rothenburg Fraktur, Royal Initialen (1999), Roycroft Initials (2000), Rudelsberg (Schrift, Initialen, Schmuck: a typeface family in Munch Jugendstil style, based on Otto Eckmann's Eckmann from 1901).
    • Saddlebag Black (2000: Western), Saloon ExtraBold, Saltino, Salto, Sans Plate Caps (2000), San Remo (2000: a Parisian art nouveau typeface), Sans Serif Shaded (2000, after a font by Stephenson Blake), Savings Bond, Schampel Black (2001: a blackletter), Schmalfette Fraktur (2000; +Schattiert), Schluss-Vignetten (2002, also from Bauersche Giesserei), Schmale Anzeigenschrift + Zierbuchstaben (2002, after Rudolf Koch's Deutsche Anzeigenschrift, 1916-1923), Schmuck Initialen (2001), Schwabacher (2002), Sebaldus-Gotisch (2002, a blackletter after H. Berthold's Sebaldus Gotisch from 1926), Sentinel (decorative caps from 2001), Sesame (2000, +Shadow), Shaded (2002, a take on Sans Serif Shaded by Stephenson, Blake & Co. Ltd., Sheffield), Sholom (1999: Hebrew emulation), Showboat Caps (2000), Shrapnel (2000: in the font, we find a reference to David Rakowski, 1992), Siegfried (2001, art nouveau, based on a typeface by Wilhelm Woellmer), Simplex, Sixties, Snowtop Caps (2001), Starburst (2000; after a 1990 font by David Rakowski), Steelplate Textura (2002), Stencil Display, Subway (2001: Black, Shadow), Supermarkt.
    • Tanach (2003: Hebrew emulation), Tannenberg (Fette Gotisch, Fett, Umrandet, Schattiert: after Emil Meyer, 1933-1935), Thannhaeuser Fette Fraktur, Thannhäuser Zier (2002; original by Herbert Thannhauser, 1937/38), Theuerdank Fraktur (2000; after Schoensperger's Theuerdank, 1517), Thorne Shaded (2002, a shaded didone based on a Robert Thorne design of 1810), Tierkreiszeichen (2002, zodiac signs, based on drawings by Franz Franke for Bauersche Giesserei), Tintoretto (2000, after a Schelter & Giesecke original), Titania (2001; after Titania by Haas, 1906), Titling Roman Antique, Tobago Poster (2001; +Shadow), Tone And Debs (2002; after a 1991 snow capped font by D. Rakowski; identical to Snowtop Caps in 2001), Tonight (2002: a marquee font), Topic, Toskanische Egyptienne Initialen (2003: after a 1889 font by Schelter & Giesecke), Transport Pictorials, Tribeca (2001, after a David Rakowski original), Trocadero Caps, Trucker Style ExtraBlack, Turtles (2000; an extension of Turtles by Neale Davidson), Typographer Caps (2000), Typographer Fraktur (2002), Typographer Gotisch (2002), Typographer Holidayfont (2002: Christmas dingbats), Typographer Rotunda (2002), Typographer Subway (2011), Typographer Textur (2002, Fraktur), Typographer Uncial Gotisch (2002), Typographer Woodcut Initials (2002), Typographer's Schmuck-Initialen.
    • Uechi Gotisch, Uncialis Deutsche, Unger Fraktur Zierbuchstaben (2002; after an ornamental caps typeface by Julius Nitsche done in 1908), Unicorn (2000).
    • Vadstena Rundgotisch, Varah Caps, Ventura Bold (2000), Verve (+Shadow, 2000), Victorian Initials (2001), Victorian Text (2001), Viking (2000), Vivian (2000, +Shadow), Vogeler Initialen (2002, aka Vogeler Caps), Volute (1999: art nouveau caps).
    • Walbaum Fraktur (after Justus Erich Walbaum, 1800), Wallau Deutsch, Wallau Rundgotisch, Wallau Unzial and Wallau Zierbuchstaben (2002; originals by Rudolf Koch 1925-1930), Walthari Text, Washington Text, Waterloo Relief, Wave, Weiß Initialen (2000), Weiss Lapidar (2002, revival of a typeface by Emil Rudolf Weiss), Weiss Rundgotisch (1998; Bold and Shadow), Werbedeutsch (2002, original by Herbert Thannhaeuser, 1934), Westminster Gotisch (2001: Lombardic), Wharmby (2000, a shadow font), White Bold (2003, a shadow font), Wieynk Fraktur (2002, +Initialen, + Caps Round; after a Schwabacher by Heinrich Wieynck, 1912), Wieynk Fraktur Vignetten (2001), Will-Harris Caps (2002, after David Rakowski, 1992), Woodcut.
    • Yellow Submarine (1995; after Stanley Davis's Amelia, 1966), Yentus (2001: Hebrew emulation), Yonkers (2001: a Rundgotisch font), Yorktown (2000: a Western wood type emulation font).
    • Zallman Caps (2000, after David Rakowski, 1991), Zentenar Fraktur (2003: after Friedrich Hermann Ernst Schneidler, 1937), Zentenar Zier (2002; after F.H.E. Schneidler, 1937), Zierinitialen 1 (2002, after an original from ca. 1800), Zierinitialen Two (2002; based on Deutsche Zierschrift by Rudolf Koch), Ziffern und Pfeile, Zither Script, Zodiac Pictorials.

    A set of TeX service files for many of the decorative caps fonts was published by Maurizio Loreti from the University of Padova.

    The collection is now also available in OpenType. 1001Fonts link. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. Home page. [Google] [More]  ⦿

    Dieu et mon droit
    [Jas Rewkiewicz]

    Jas Rewkiewicz ("Dieu et mon droit") was a Swiss graphic design student at ECAL (Lausanne) who made Armstrong (a revival of Letraset Neil Bold), Didot MAT (serifless Didot tailored for Man About Town magazine), Didot Builder, Eugenie (a didone), LOL (a clean sans), Miranda Sans, Miranda Serif and Roma 1560. He lived in Lausanne but is now in London, where he works as a graphic designer. Normandia Bold (2007) is in the spirit of the extra-black high contrast Didot caps typefaces. Fournier RD (2007) is his interpretation of the famous Fournier typeface. Doop (2007) is a basic sans made for a client in London. Ultra (2007) is based on a Clarendon, inspired by Beton and finally its borrowing certain details from more extreme fonts like the Gill Sans Ultra Bold and the Maple from Process Type Foundry. Bonbon (2009) is a stylized headline font designed for the unique typographic style of Bon magazine. Industria (2009, Light Italic, Light, and Medium) is a corporate font family of the Saturday Group. Neo Futura Book (2009, in progress) is a contemporary interpretation of Paul Renner's classic. [Google] [More]  ⦿

    Digital Ink

    Two custom designs for newspapers, Ink Bodoni and Ink Nulek, can be purchased here for 35 and 22 dollars respectively. Digital-Ink is located in Toronto. Makers of the InkFontDingbats font, 1996. [Google] [More]  ⦿

    Digital Typeface Studio (was: Evas Unique Fonts)
    [Eva Barabasne Olasz]

    Aka Eva Barabas, and as Digital Studio. Ireland-based designer of Zenfyrkalt (2015, decorative textured caps), Papyrus EBO (2015), and Cirkus (2015, curly font).

    In 2016, she designed Kristaly (connected script), Rubican (connected script), FlypFlop (thin connected script), Dingfleur (floral dingbats), Dingsprinkle (ornaments), Lacy (textured), Coalpen, Digi Stamps One (flowery ornaments), the textured typefaces Leaffy (decorative caps) and Hyppolit, the ornamental typeface Zending, Karykas, the curly script Pyktor, Symca, Dood Leafs, Pypats, the textured typeface Zensyrom, Doodlowers, Doodletters, Woodys, the stylish display typeface Lynzer, the curvy Roucorns, the sans typeface Dyane, the pendant typeface Proxanys, the display typeface Chowes, the bubble-themed Amydor, the textured typefaces Sanzen and Bubbles, the sketched typeface Stone Story, the handcrafted Clarissa, Cally Script and Sanlabello, the mask dingbat font MaskbyEBO, the curly decorative all caps typefaces Zsylett and Zsynor, Rythmus and Popcorn.

    Typefaces from 2017: Maudlyn (script), Hakyt (script), Atyla (script), Welga, Bynda (script), Kylets (script), Martyn (script), Balton (handcrafted), Zengo (ornamental caps), Chyga (Victorian, curly), Geryta, Leafyction, Edyra (textured caps), Simpla (textured caps), Digidon (textured caps), Trefay (calligraphic script), Fonix (textured caps), Haloven (Halloween font), Sylabus, Icing Cookies, Clarissa, Floryan (floriated caps), Flory Anna, Nebulo, Storyteller (floriated didone), Mandings, Zenyth, Beadwork, Eszty (calligraphic), Divat, Kahir (exquisite decorative caps), Zen3, Moaren (sketched), Moare (fingerprint texture), Stone Story (textured), Stampy, Wyllam, Dyane (sans), Manuell (a heavy display didone), Labrint (textured), Zenone (textured decorative initial caps), Zensyrom (textured caps), Marmelad, Filigran (a textured didone), Chamylle (leafy font), Balloony (comic book style), Bemydor (textured caps), Eggshell Mosaic (textured caps), Portabell (textured caps), Stampy Light (outlined shadow typeface), Tendrils (textured caps), Retrograph (textured caps), Digizen (textured all caps typeface).

    Typefaces from 2018: Lamor (heart-themed textured caps), Zentyp (decorative textured initials), Square Frames, Seamless Patterns, Tiptak, Adetar, Seryfan, Blysher, Katalyn, Agrifan, Bokretan, Hebydia (calligraphic), Westyler (script), Pepitas, Sthencyl (script), Bykars (curly), Hegran (Victorian, with curls), Monogram Framer, Grafyk, Orhydea (upright script), Denka (textured caps), Dathyn, Agrish, Olyber, Sayes Script, Layers (with snowy TV screen texture), Dafodyl, Rubynt, Ofaly, Gudlak, Natyl, Vytorla Mix (curly script), Gaby, Kiraly, Meybi (heart script), Sofye, Emryt, Vytorla, Sybelia, Alyfe, Bigdey, Amagh.

    Typefaces from 2019: Gitar, Feba, Arthegos (script), Quilty (script), Trinyta, Lyra (textured caps), Astoria, Judyth, Artopyl, Stokyt, Janzen (tribal texture caps).

    Typefaces from 2020: Storyk (script), Pegro Stencil, Framed Monograms, Beprity Stencil (a script), Direkt Stencil, Dings, Sati, Hapyster, Stager, Lathyn, Welga, Agrifan, Atyla, Hegran (curly Victorian), Orhydea (a rabbit ear script), Dyobar (a stencil font), Cytar, Valtin (decorative caps for Valentine's day). Creative Market link. Creative Fabrica link. [Google] [More]  ⦿

    Digzhics

    Small page on Anglo-American point, Didot point, Pica and Cicero. [Google] [More]  ⦿

    Dimitri Bruni
    [Norm]

    [More]  ⦿

    Dina Bukva

    Dina Bukva (Vienna, Austria) designed the ball terminal-laden didone typeface Farfalla in 2015. [Google] [More]  ⦿

    Dino Art Corporation

    Cyrillic fonts by the Dino Art Corporation, dating from 1993, include Cirilica60, Cirilica80, AmericanUncialCirilica, ArabiaCirilica, AardvarkCirilicaBold, AardvarkCirilica, ArialCirilicaBold, ArialCirilicaItalic, Arial-Cirilica, ArialCirilicaBoldItalic, AristonCirilicaBoldItalic, AtletaCirilica, BahamasCirilica, BangkokCirilicaBold, BangkokCirilica, BedrockCirilica, BekerCirilicaBold, BodoniCirilicaBold, BodoniCirilicaItalic, BodoniCirilica, BodoniRomanCirilica, BodoniCirilicaBoldItalic, BookCirilicaBold, BookCirilicaItalic, BookCirilica, BookCirilicaBoldItalic, BremenCirilica, BroadwayCirilica, BrushScriptCirilica, CaligraphCirilica, CenturyCirilicaItalic, CenturyCirilica, CzarCirilicaBold, CzarCirilicaItalic, CzarCirilica, CzarCirilicaBoldItalic, GoliatCirilicaBold, Goliat-Cirilica, HelveticaCirilicaBold, HelveticaCirilicaItalic, HelveticaCirilica, HelveticaCirilicaBoldItalic, HippoCirilicaBold, Madrone-Cirilica, MemorandumCirilica, Miroslavljeva-Cirilica, MurmanskCirilica, OdessaScriptCirilica, RenfrewCirilica, SouthernCirilicaItalic, Southern-Cirilica, TimesCirilicaBold, TimesCirilicaItalic, Times-Cirilica, TimesRomanCirilicaItalic, TimesRomanCirilica, TimesRomanCirilicaBoldItalic, TimesCirilicaBoldItalic, UnicornCirilica. They can be downloaded at the site of the Serbian Orthodox Church. [Google] [More]  ⦿

    Dino dos Santos
    [dstype]

    [MyFonts] [More]  ⦿

    Diogo Oliveira

    Portuguese designer (from Porto) who used FontStruct to make the modular (slabby or octogonal) typefaces Sexta-Feira (+Sans) and Mini-Bodoni in 2008-2009. As Grupo3, he designed the strong all caps monoline sans titling typeface Grupo3 (2014) for Ed Design Graphic & Web as part of the corporate design work they did for a Portuguese architecture company. Free download at Open Font Library. In 2017, he moved to Wuppertal, Germany.

    Home page. Behance link. Open Font Library link. Github link. FontStruct link. [Google] [More]  ⦿

    Diogo Pisoeiro

    Tomar, Portugal-based designer of the angular typeface Aga (2011), Alpha (2011, sci-fi), Espasmo (2011, futuristic and triangular, in 22 weights: Ten Dollar Fonts), Espasmo Hand (2011, a curvy version), Ladoni (2011, an angular version of Bodoni), the futuristic monoline typeface Omega (2011), and of the very experimental families Xing Xang Xung (2011) and Que (2011). In 2011, he started a commercial foundry.

    Typefaces from 2012 include Barceloneta (an alchemic typeface at Ten Dollar Fonts) and Magna (a gorgeous fat didone typeface).

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

    Dirk Schuster
    [Bropix]

    [MyFonts] [More]  ⦿

    Dirtyline Studio
    [Hendra Maulia]

    Banda Aceh, Indonesia-based designer of the script typefaces Humblle Rought (sic) (2015), Nirmana (2015, brush type), Cecilia Script (2015), Stay High (2015, graffiti influence), Gracias Script (2015), Bowlist (2015), Miguella Script (2015), Islander Brush (2015), Zailla Script (2015), Funkiess (2015), Scarlet (2015), Amanda (2015, calligraphic), Natasya (2015, a creamy signage font), Violla Script (2015), Seulanga (2015), Cornish (2015), Butller (2015), Twice (2015), Evelyn (2015), Steelmond (2015), Humble (2015; also spelled Humblle with two l's), Swirlesque (2015) and Jeumpa (2015). Aka Dirty Line Type.

    Typefaces from 2016: The script typefaces Tendencia, Bull Stander (+Slab), Black Pearl Sans, Befolk, Wild Heart, Kick Hornet (brush style), The Beard, Drama Queen Script, Valiente Brush, Beautiful Dreams, Tropical (2016, in Brush Script, Brush, Brush Caps, Sans and Monoline styles), Rising Script, Rising Brush, Be Grateful, Sweetline, Lightening Sript, Zailla Script, Adorabelle Script, The Luxury, Harbour (brush type). In addition: Mortuguais, Black Heat (Victorian), Sweetline and Neptern (a Saul Bass style font).

    Typefaces from 2017: Significent, Lindsey Smith Script (signature font), Axewell, Matchstic (retro signage), The Booster (baseball script), Cursive Script, Kindness Typeface (signage brush), Conquer (dry brush), Significant, The Boundaries (signage script), Blinded (fat brush script), Maldives Script, Mind Blowing (brush), Skywalker (brush script), Reshuffle Script.

    Typefaces from 2018: Specta Retro Script (2018, a signage script by Hendra Maulia and Aulia Rahman), Hype Beast (brush font), Shockwave (SVG brush font), Humblle Rought (sic), Brewery (SVG font), Shanders (brush script), Hoodson (signage script), Emberblaze (brush font).

    Typefaces from 2019: Blackink (a tattoo font), Hatch (brush script), Matao Serif (a decorative didone typeface done with Aulia Rahman), Black Theory (brushed), Magnison Script (signage script), Hoodson Script, Hyperflow, Baby Boomer, Hereditary, Stereohead (dry brush), Metafora, Metafora Sans (free).

    Typefaces from 2020: Dx Sitrus (a 12-style display family), DX Rigraf (a 55-font sans, with a variable typeface on the side; the i and f are slab serif glyphs though), Hedgehock (a signage script), Hatch Brush (a dry brush script), Skywalker (a brush script), Matriver (a dry brush script), Adolle Bright (a quill pen script), Emerat (a heavy script), Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia), Balecimo (a wild script), Scalter (a 42-style sign lettering typeface with Serif, Sans, Script and Variable options), Hazzard (script), Casta (a display serif in 55 styles; with a variable font), Cynthia Blooms (a signature script), Baby Boomer, Significent, Aliva Brush Script, Reshuffle Sans, Ancient Zurich, Rustler Barter (a display font done with Aulia Rahman), Neue Metana (a wide display sans by Aulia Rahman and Hendra Maulia), Mabrick Serif, Mabrick Signature.

    Typefaces from 2021: Wagon (an 18-style sharp-serifed typeface family with a dancing baseline), Dx Gaster (a 15-style display or headline serif, with two variable fonts tossed in the mix), Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Scalter, Harmond (a 47-style display serif family with art nouveau charm), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

    Type department link.

    Typefaces from 2022: Garcia (a Picasso-esque display typeface by Aulia Rahman and Hendra Maulia), Consta (an 8-style display serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More]  ⦿

    Dmitriy A. Horoshkin
    [DX Type Foundry]

    [MyFonts] [More]  ⦿

    Dmitry Arakelov
    [Fontop]

    [MyFonts] [More]  ⦿

    Dmitry Bag
    [Dmitry Savin]

    [MyFonts] [More]  ⦿

    Dmitry Kirsanov

    Type designer Dmitry Kirsanov (b. Orenburg, Russia, 1965) graduated from the Orenburg Art School in 1987. He worked freelance for Yuzhnyi Ural publishing company in Orenburg. After attending the Moscow State University of Printing (1996), he joined its Department of Print Design in 1997 as an instructor of typographic design and computer graphics. From 1996 on he worked at ParaGraph International, designing typefaces. Since April 1998 Kirsanov works for ParaType. His page has essays on the history of serif and sans serif, and on font matching. Would be great for an introductory course. He designed a Cyrillic version of ITC Bodoni 72 (2000, called PT ITC Bodoni, Paratype) and ITC Bodoni 72 Swash (2001). PT Mas d'Azil (Paratype, 2002) and PT Mas d'Azil Symbols are prehistoric lettering and pictorial fonrs based on images discovered in a prehistoric cave of Mas-d'Azil, France. He created Magistral (1997, based on a clean look sans display typeface of Andrey Kryukov), Venetian 301 (2003, Paratype; a Cyrillic version of Bitstream's Venetian 301, which in turn was based on Bruce Rogers' Centaur, which in turn goes back to the 1470s alphabets of Nicolas Jenson), News Gothic (2005, a Cyrillic family based on the perennial News Gothic sans family), and Mag Mixer (2005, an industrial-look mechanical typeface based on Magistral).

    In 2018, Albert Kapitonov and Dmitry Kirsanov revived the early 20th-century typeface Lehmann Egyptian from the Berthold and Lehmann type foundries in St. Petersburg, and published it at Paratype.

    His talk at ATypI 2008 in St. Petersburg is on the first didones in Russia.

    Paratype page. FontShop link. Klingspor link.

    View Dmitry Kirsanov's typefaces. [Google] [MyFonts] [More]  ⦿

    Dmitry Rastvortsev

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

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

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

    His funny DR Krokodila won an award at Paratype K2009.

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

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

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

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

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

    In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today. On commission for Vinnytsia, he designed the free typeface family Vinnytsia ((a lapidary) Serif, Sans, City). He finished 2019 with the free sans-serif-display superfamily Kyiv Type, which consists of KyivType Variable, KyivType Sans, KyivType Serif, and KyivType Titling.

    Typefaces from 2020: DR Krapka Rhombus, DR Krapka Round, DR Krapka Square (a set of dot matrix typefaces).

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

    Dmitry Savin
    [Dmitry Bag]

    Russian designer in Arzamas (b. 1987) of the free Latin / Cyrillic typeface Juste (2012). Other Latin / Cyrillic typefaces from 2012 include Doux, Font Pont, Firma, Polina, Even (elliptical), Provincial, Jazzy (sans), Frank (curly), Palaver (serifed), Firma, JWH (a didone family), Katomka, and Rustaud.

    In 2013, he published Pont (a slab serif typeface) and Woodburn (a Cyrillic constructivist typeface).

    Dafont link. Behance link. Fontspace link. Aka Dima Bag or Dmitry Bag. [Google] [MyFonts] [More]  ⦿

    Dominika Langosz

    Wroclaw, Poland-based type designer, who joined Three Dots Type, Marian Misiak's type foundry, in 2017. Creator of Broken Stamp (2013), an angular typeface developed during Typeclinic 6 in 2013. During Typeclinic 7, he created the calligraphic humanist serif typeface Hazel (2013).

    In 2014, he designed the text typeface Tilia. At Typeclinic 2015, he added Tilia Italic, and at Typeclinic 11th International Type Design Workshop, he completed Tilia Heavy (2015). Tilia was further extended at Typeclinic 12th International Type Design Workshop in 2016. At the 13th Typeclinic in Slovenia in 2016, Damian designed Juno, and adjusted Tilia.

    At Three Dots Type in 2019, he released the didone typeface family Heneczek Pro, which was co-designed with Dominika "Nika" Langosz. He wrote: Named after Teodor Heneczek, Silesian printer and publisher who started out the first Polish-language printing house in Upper Silesia (XIX century). Heneczek was ordered by the Municipal Public Library in Piekary Slaskie to commemorate the 200-th birthday of Teodor Heneczek. An extended and upgraded version of Heneczek called Heneczek Pro was designed for display purposes and text-heavy documents. Heneczek features a great set of arrows and pointers.

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

    Dominika "Nika" Langosz

    Polish designer of Heneczek Pro (2018), a didone family that was published by Wroclaw-based Three Dots Type. They wrote: Named after Teodor Heneczek, Silesian printer and publisher who started out the first Polish-language printing house in Upper Silesia (XIX century). Heneczek was ordered by the Municipal Public Library in Piekary Slaskie to commemorate the 200-th birthday of Teodor Heneczek. An extended and upgraded version of Heneczek called Heneczek Pro was designed for display purposes and text-heavy documents. Heneczek features a great set of arrows and pointers. [Google] [More]  ⦿

    Donald E. Knuth
    [Concrete (metafont)]

    [MyFonts] [More]  ⦿

    Donald E. Knuth
    [Computer Modern fonts]

    [MyFonts] [More]  ⦿

    Donald E. Knuth

    Professor of computer science at Stanford University, who by himself changed the world of mathematical and scientific typesetting when he developed TeX in the 1980s. That system needed fonts, so he developed a program called Metafont that permits a simple software description of a glyph. And with Metafont, and the help of Hermann Zapf, he created the Computer Modern type family. This is a tour de force, because each letter in the 72 original fonts has only one descriptive program that contains several parameters. Different parameter settings yield the typefaces, from italic to roman and bold, from 5pt to 10pt and 17pt optical settings, and from sans to serif and typewriter. Since a few years ago, he is Professor Emeritus of The Art of Computer Programming at Stanford University.

    In 1983, Hermann Zapf and Donald Knuth headed a project to develop a font set called Euler. One implementation of that is AMS Euler Text.

    Author in 1998 of Digital Typography (CSLI Publications). His METAFONT Book is free.

    In 2013, he received the Peter Karow Award in typography. [Google] [MyFonts] [More]  ⦿

    Donald Knuth's FTP site

    In Stanford. Has the Computer Modern metafont family and the AMS fonts. [Google] [More]  ⦿

    Donald P. Goodman III

    Donald P. Goodman III is a practicing attorney in the Commonwealth of Virginia, a graduate of the William and Mary School of Law and of Christendom College with a degree in history and a minor in classical languages. He has contributed several TeX packages for setting religious texts such as catechis (for catechisms) and liturg (for Catholic liturgical texts). In that context, he has designed the DRM font package in 2014.

    The DRM (Don's Revised Modern) family of fonts are in Metafont format (for use with TeX). It has many optical sizes and comes in roman, italic and small caps styles. In addition, it has many ornaments, and symbols. Although written in Metafont, the author also provides a set of 103 (!!!) Opentype fonts. The opticals include 5pt (pearl), 7pt (minion), 8pt (brevier), 9pt (bourgeois), 10pt (long primer), 12pt (pica), 14pt (english), 16pt (great primer), 20pt (paragon) and 24pt (double pica). The table below gives a fuller optical size naming picture and its relationship with traditional American and British ways of listing type sizes. There are also Greek fonts. At the publication date, September 2014, the author was still working on the kerning---expect an improved package soon. The DRM fonts are wedge-serifed, and incorporate an odd mix of style elements---some terminals are didone, but other elements are more transitional or Caslonesque. Free download of the 6MB package.

    Designer of Dozenal (2008), a metafont package for typesetting documents in base twelve. It includes a macro by David Kastrup for converting positive whole numbers to dozenal from decimal (base ten). It also includes a few other macros, redefines all the standard counters to produce dozenal output, and provides Metafont characters, in Roman, italic, slanted, and boldface versions of each, for ten and eleven (the Pitman characters preferred by the Dozenal Society of Great Britain). These characters were designed to blend well with the Computer Modern fonts. [Google] [More]  ⦿

    Doni Purwoko
    [Zeenesia Studio]

    [MyFonts] [More]  ⦿

    DooType
    [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. Coan joined Fabio Haag Type. Their fonts:

    • Estado Serif (2006), co-designed with Ericson Straub (Straub Design) and Fabio Augusto for use in the Jornal O Estado do Paraná.
    • DooSans (2006): custom design for the magazine abcDesign.
    • Ninfa (2006-2008), an organic serif face. He calls it a modern semi-serif. Whatever. Ninfa won an award at Tipos Latinos 2008 in the non-text typeface category. Ninfa Serif followed in 2012. Ninfa Serif won an award in the typeface family category at Tipos Latinos 2012.
    • Encorpada Black (2011) is a fat didone display face. It was extended to Encorpada Pro in 2012. Encorpada Classic was published in 2013. Encorpada Classic and Encorpada Pro won awards at Tipos Latinos 2014. In 2014, he published Encorpada Essential. In 2015, Eduilson added Encorpada Classic Compressed and Encorpada Classic Condensed.
    • Fluence (2012) is a calligraphic typeface family. Fluence won an award at Tipos Latinos 2012.
    • Tres Tres Chic (2012) is a very thin geometric fashion mag headline face.
    • Maestra (2012) is a calligraphic copperplate script. Gorgeous, mouthwatering, heavenly, just about the perfect font. Future brides and grooms need look no further than this for wedding invitations.
    • Niks Sans (2012).
    • dT Delicatta (2012, revised in 2017) is a formal connected calligraphic script face, destined to win many awards.
    • Unimed Sans, Unimed Slab and Unime Serif (2013) is a bespoke typeface family done for a Brazilian health insurance company, Unimed.
    • Typefaces from 2014: Bommer Slab and Bommer Slab Rounded. Bommer Slab won an award at Tipos Latinos 2014. Accura (2014, a sans typeface created together with Thiago Bellotti).
    • In 2015, he designed the techno sans family Sica (+Expanded, +Condensed) with Volnei Antonio Matrté Coan at DooType. Sica won an award at Tipos Latinos 2016.
    • Bommer Sans (2016). A Latinized (i.e., curvy) humanist sans.
    • dT Jakob (2017). This typeface started out in 2007 as a revival by Gustavo Soares in Paul van der Laan's class at KABK of Jakob Erbar's grotesk from 1927. It was refined and completed in 2017 at dooType with the help of Eduilson Wessler Coan. In 2018, Gustavo Soares and Eduilson Coan developed the variable inline and shadow font dT Jakob Variable Concept.
    • dT Ampla (2018). A sans with some warmth.
    • Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.
    • Seiva (2021, by Henrique Beier, Eduilson Coan and Fabio Haag). A distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology.

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

    Dot Colon (also: Arro, Alt Rivet)
    [Sora Sagano]

    Japanese foundry, formerly Alt Rivet. Superb free fonts: Route 159 (2016, a sans designed for legibility), Eunomia (2013, a sci-fi sans), Seshat (2012), Penna (2011, beautiful hairline sans), Ferrum (roman capitals inspired by the logo of the Final Fantasy series), Medio (didone), Vegur (sans), all developed from 2004 until 2011. Tenderness (2007) is a high-legged beauty of art deco heritage loosely inspired by Garamond and Optima.

    In 2014, Seshat became available via TipoType and in 2016 vie Open Font Library. They published the sans family Aileron in 2014 as well. Open Font Library link for Aileron.

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

    Double Alex Team
    [Alexei Chekulayev]

    Cyrillic type outfit, whose fonts were mostly designed by Alexey Chekulaev in the mid 1990s as extensions of Latin fonts. Double Alex stands for Alexey Gunin and Alexey Chekulaev. The list of fonts, all in Cyrillic and many in Latin as well:

    • Decorative: Angelica (1996), Apostol, Arabskij (1993, Arabic simulation typeface based on an artwork of designer Oleg Snarsky), ArtScript, Blagovest (a series of Old Slavonic types), BorjomiDecor, CalipsoCyrillic, CalligraphRuss, Camerton, CooperDAT, CoventryCyr, Demosfen, Drops, E2, E4, Electronica, ElectronicaS, Eskiz, 1, Eskiz, 2, FavoritTraf, Finist, Hitman, Inicial, Italiansky, Jokey, Josephine, KeyFont, Kisty, Manuscript, Mistica, Mobul, Nelma, Ottisk, Petrovsky, PresentDAT, Radius, Repriza, SansDecor, Strob, SuvenirRus, TabloFont, Triline, Verbena, Vodevile.
    • Sans serif: Acsioma (1996), AcsiomaNext, Apical (1995, based on Agfa Aurora; Apical Bold is identical to Bitstream's Aurora Bold Condensed; for another version, see Castcraft's OPTI-Aurora Grotesk No. 9), Bastion, BastionKontrast (1992; co-designed with Alexey Gunin, and based on Helvetica), Blits, Block A, Block B, Bloknot, CyberCyr, Ecyr, Eurofont, Favorit, Favorit, Condensed, Freestyle, Kekur, Mania, MetRonom, Normalize, Orenburg, PaperGothic, Pinta, Plastica, Positiv, Pravda, Priamoj, PriamojProp, Regina, Rostislav, Rotonda, Rubrica, Sistemnyj, TornadoCyr.
    • Serif: Adamant, Alliance (1995, based on Berkeley Old Style by Frederic W. Goudy, 1938), APCCourier, APCGaramond, BaskervilleDAT, Bodoni Cyrillic (1970), Borjomi, ClassicRuss, Coliseum, Diet Didot (2006, published by Paratype in 2014 as DietDidot), Egypetskij, Grand, Grenader, Ideal, Jargon, Laguna, Latinskij, Legenda, Madrigal, Metropol, Shakula (1996, a heavy slab serif by Alexey Chekulaev, based on Monotype's Rockwell), Surpriz (1993, by Alexey Chekulaev, based on ITC Souvenir by Benguiat), Talisman, Vacansia.
    • Special: Interfont, Plumb.
    Alexei Chekulayev is the Russian designer of Rubrica (1996, Double Alex Font Studio), Angelica (1996, Double Alex Font Studio), Acsioma (1996, Double Alex Font Studio) and Alliance (1995, Double Alex Font Studio, a Cyrillic version of Goudy's Berkeley Oldstyle). He worked on these Linotype families: Univers, Sabon, Wiesbaden Swing, Stencil (1997, after the 1937 original by Gerry Powell), San Marco, and Linotype Bariton (1997: a great poster typeface in the Zeitgeist of the 1930s).

    In 2014, he designed these typefaces at Paratype: Suvenir Rus (inspired by (psychedelic) artwork of Grigory Klikushin; the original at Double Alex is from 1994), Demosfen (Greek simulation font). Still in 2014, Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.

    Typefaces from 2021: Ice Cream (a supermarket font), Altruiste (a ten-style decorative slab serif), Postulat (a 16-style geometric slab serif).

    Linotype link. Klingspor link. Another MyFonts link. Paratype link.

    View Alexey Chekulayev's typefaces. [Google] [MyFonts] [More]  ⦿

    Douglas C. McMurtrie
    [McMurtrie: The Didot Family of Typefounders]

    [More]  ⦿

    Douglas Crawford McMurtrie

    Author (1888-1944) of over 400 books on printing and typography. His life story is told by Scott Bruntjen and Melissa L. Young in Douglas C. McMurtrie, bibliographer and historian of printing (Metuchen, N.J. : Scarecrow Press, 1979). A partial list of his books, limited to the history of typography:

    His typefaces include McMurtrie Title, Ultra-Modern&Italic (1928, an art deco typeface published at Ludlow), and Vanity Fair Capitals. Jim Spiece's UltraModernClassicSG is based on Ultra-Modern. And so is Steve Jackaman's Ultra Modern RR (Red Rooster).

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

    Drako Mallafoglia

    During his studies in Bologna, Italy, Drako Mallafoglia designed the foliate typeface Leafont (2014), the art deco typeface Security (2016), Dots (2016), and the upright ornamental copperplate-inspired didone typeface Cupcake (2016). [Google] [More]  ⦿

    Drew Rios

    Graphic designer in Sarasota, FL. Behance link. He has designed some futuristic typefaces. His best work is the didone display face Rokit (2009), which has funky didone-specific ligatures. With Roberto Quinones, he published Gandhi (2010, an art deco face). [Google] [More]  ⦿

    dstype
    [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. Acta Var (2020) has two axes, weight and optical size.
    • 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.
    • Apice (2022). A highly structured calligraphic typeface with five optical sizes.
    • Apud and Apud Display (2010): a high-contrast serif family.
    • Aquila (2004).
    • Ardina (2016). Done with Pedro Leal, this text typeface family has three optical sizes.
    • Boldina (2004). A fat informal poster family with 18 weights and styles.
    • Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
    • A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
    • Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
    • Ception (2001): a futuristic sans family.
    • Cimo (2017). A distinguished condensed sans.
    • Cultura, and its improved version Cultura New (2013), a text book typeface family.
    • Decline (1996).
    • Denso (2019). By Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes.
    • Digno (2022). A fuzzy text typeface family.
    • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
    • Enorme (2020). Ultra massive and modular 3000-glyph mastodont of a constructivist font, by Pedro Leal and Dino dos Santos.
    • 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). Both are loosely based on ATF's Times Gothic.
    • Lucius (Sans, Serif) (2022). The Lucius type family began as an attempt to reproduce the Principios Methodicos para as Letras Aldina e Roman---Typo Portuguez, but went went way beyond that in its multi-faceted execution.
    • The Quase family (2017): Quase is a very free interpretation of the types found in the Specimen of Printing Types by William Caslon from 1785. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Subfamilies: Quase Headline (12 styles), Quase Poster, Quase Display, Quase Text.
    • Idem and idem Display (2021).
    • 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) and Keiss Text (2021). A Scotch roman with a lot of contrast. Keiss Text comes in twelve styles and features short descenders and ascenders, along with three very distinct optical sizes. It was designed with contemporary newspapers in mind. In 2021, he added Keiss Title, Keiss Condensed, Keiss Big (14 styles) and Keiss Condensed Big.
    • Large (1999) and Large Pro (2006).
    • In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format.
    • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): the 31 styles were all made in 2007.
    • Logica (2016). A classical text typeface.
    • Maga (2012). A text family.
    • Methodo (2005): calligraphic penman typefaces.
    • Missiva (2004).
    • Monox and Monox Serif (1998-2000): a monospaced family.
    • Ni Sans, Ni Slab, Ni Serif (2018).
    • Musee (2006): a transitional family with ornaments and borders.
    • Nerva (2004). A subdued Trajan typeface with flaring.
    • Nitida (2017). A 114-font family with five optical sizes.
    • Nyte (2012). A serifed text family.
    • Otite (1995).
    • Outside (1996): grunge.
    • Parco (2021). A compact headline typeface with large x-height.
    • 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).
    • Pratico UI and Pratico Slab UI (2022).
    • Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
    • Priva Pro (2006): a sans family that includes Greek and Cyrillic).
    • Prumo (2011-2012). A 92-font family originally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
    • Quadricula (1998).
    • Quaestor and Quaestor Sans (2004). Roman inscriptional typefaces.
    • Recita (2019). A sturdy oldstyle text typeface family.
    • Resea (2004) and Resea Consensed: Bank Gothic style typefaces.
    • Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. In 2020, a variable font was added to Solido. Codesigned with Pedro Leal.
    • Synuosa (1999): an experimental typeface showing only the top half of the characters.
    • Tecla (2018). After Printype, a typeface developed in the early twentieth century for the Oliver Typewriter.
    • Terminal (1996).
    • Titan and Titan Text (2003).
    • User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
    • Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
    • Ventura (2007): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
    • Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print.
    • Volupia (2005): a connected advertising face.

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

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

    DTP Types Limited
    [Malcolm Wooden]

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

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

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

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

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

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

    In 2008, DTP announced a new newspaper and magazine text family, Arbesco DT (PDF), based on a 1980s photolettering family (see also here), and a simple 24-style architectural sans family called Sentico Sans DT (elliptical). They also published the marker family Pen Tip DT Lefty in 2008.

    In 2009, the calligraphic Trissino DT was published: it was named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.

    In 2020, he released Hastrico DT (a 13-style grotesque family), Hastrico DT Condensed.

    View the DTP Types typeface library. [Google] [MyFonts] [More]  ⦿

  • DTrooper Foundry
    [David Trooper]

    Dave Trooper (New Jersey) was associated with the photo type foundry VGC. Almost 40 years later, he set up his own digital type foundry, DTrooper Foundry, which publishes digital versions of his typefaces. Creator of these typefaces:

    • Trooper Roman (1974, VGC), a didone display face. [Klingspor puts the date at 1976] TypeShop made TS Toledo based on this idea, especially Toledo TS-XBold. Another digital clone is Talon (BuyFonts). Infinitype / Softmaker have a set called Toledo. And Nikita Vsesvetsky extended it cyrillically to Troover (SoftUnion, 1994). Dave's own digital font Trooper Roman Bold Display was finished in 2013. The typeface is characterized by the left-leaning "o". In 2020, Jordan Davies published Trooper Roman Black.
    • Trooper Grotesque (2010). This too is based on his own VGC font from the 1970s.
    • Trooper Jazzerini (2011). An elegant geometric avant-garde typeface with weights from hairline to bold.
    [Google] [MyFonts] [More]  ⦿

    Dunwich Type Founders
    [James Walker Puckett]

    Dunwich Type Founders (or: DTF) in Boulder, CO (was: New York City) is run by James Walker Puckett (b. 1978, Virginia), who graduated from the Corcoran College of Art and Design in Washington, DC. Blog. Behance link. Fontspring link. Type Library. Typefaces:

    • Armitage (2010). A grotesque sans family.
    • The squarish signpainting family Downturn (2009).
    • He is working on a (nice!) revival of Fry's Baskerville, which is based on a scan of types cut in 1768 by Isaac Moore.
    • Lorimer (2011) is a gothic sans serif that was inspired by 19th century inscriptions in the yard of New York's St. Mark's Church. Some weights are free. In 2011, this was followed by Lorimer No. 2 and Lorimer No. 2 Condensed. In 2012, there was an announcement that Lorimer was no longer being distributed. But that was contradicted in 2015, when James placed Lorimer No. 2 Stencil (2011) at the Dafont site for free download.
    • New Constructivist Beta (2007).
    • Recovery (2008, TypeTrust). The grunge version of Recovery is Black Monday (2009, with Silas Dilworth): it has several glyphs for randomization.
    • The 1829 specimen book of Alonzo W. Kinsley's Franklin Letter Foundry led James Puckett to develop the splendid ornamental didone fat face Sybarite (2011), which comes in many optical weights.
    • The friendly superelliptical black poster typeface Gigalypse (2012).
    • Becker Gothics (2013). A revival of five typefaces from Ornamental Penmanship (1854, George Becker): Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences.
    • Ironstrike and Ironstrike Stencil (2014). Ironstrike pays homage to industrial and constructivist lettering.
    • Uniblok (2015). A free blocky font.
    • Rhodium Libre (2015, free at Google Fonts), designed for use on screens at small sizes and the Latin and Devanagari scripts. Historical models for Rhodium's design are Fortune (aka Volta; by Konrad Bauer and Walter Baum) and Rex (by Intertype).
    • Padyakke (2015) is a libre Kannada font.
    • Antarctican (2017, Dunwich Type Founders): Antarctican hybridizes ruler and compass geometry and American wood type. Some styles are monospaced.
    • Barteldes (2018). A fashion mag typeface family.
    • Margherita (2021). A free sturdy typeface family based on urban lettering in Italy.

    Creative Market link. https://fonts.ilovetypography.com/fonts/dunwich-type-founders">I Love Typography link. Github link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Dusan Jelesijevic

    Serbian graphic designer located in Gornji Milanovac, Serbia. Cofounder in 2009 with Slobodan Jelesijevic, his father, of the Serbian foundry Tour de Force. Creator of these typefaces:

    • Dusan Script (2009, Ascender: a monoline informal hand-printed script).
    • Artvod (2009, slabby and octagonal at the same time).
    • Qiltray (2009, handwriting for long texts).
    • Punkerro Crust (2009, delicious scratchy type).
    • Rough the Type (2009, blackboard style).
    • Shuma (2009, handwriting).
    • Dolina Script (2010).
    • Econs (2010, ecology dingbats).
    • Sensor (2010, an ink-trap monoline face).
    • Enforcer (2010, an elliptical headline sans).
    • Epruveta (2009).
    • Passage (2010, a great art deco family, including Initials and Borders).
    • Amanet (2011). A flared display face.
    • Osmacka azbukovica (2011). A Cyrillic font made by his kids in school.
    • The clean-cut semi-humanist sans family Centim (2011).
    • The Egyptian typefaces Saxophone Soprano and Saxophone Baritone.
    • Debelly (2011), one of the best typefaces to come out of Tour de Force. They say about this elegant fat poster face: Debelly is catchy fat typeface, with lovely geometric shapes. Inspired with contrast strokes, with square joins, Debelly gives an impression of retro style combined with contemporary trends. It is designed specially for packaging, posters, logotypes or headlines, even it can be pretty handfull in smaller sizes. Contains 375 glyphs.
    • Epitet (2011). A simple monoline family built around elegant elliptical shapes.
    • Refren (2012): A monoline script face.
    • Equator (2012): An avant-garde caps headline family.
    • Brisko Sans (2013). A straightforward sans family. Extended to Brisko Display (2012).
    • A day before Serbia was crushed by the Belgian soccer team, Dusan published the organic sans typeface Publio (2013).
    • Kamenica (2013). A display sans. Followed in 2017 by the gorgeous Kamenica Texture typeface family.
    • Nervatica (2013). A children's book font.
    • Lasta (2013) is an informal serif typeface advertized as poetic.
    • Selektor (2013). A geometrical almost techno sans family. This was followed by Selektor Slab (2013).
    • Bartender (2013). A copperplate typeface.
    • Lumier (2013). An all caps geometric sans family inspired by art deco posters from the interwar period. Followed by Lumier Texture and Lumier Rounded (2018).
    • Scholle (2014). A bouncy two-style inline family with cartoonish elements.
    • Hedon and Hedon Display (2014). A hedonistic sans that exhibits the sort of contrast one finds in inscriptional types.
    • Lumberjack (2014). A bouncy fat cartoon typeface. Not to be confused with Thiago Bellotti's Lumberjack (2013, Mushroom Type), it was renamed 24 hours after its first appearance to Lumberjacky.
    • Trampoline (2014). A funky typeface.
    • Dondolare (2014). A primitive hand-drawn typeface.
    • Balcon (2014) and Balcon Round (2014, a condensed rounded sans).
    • Scripton (2015). An urban wall brush type.
    • Manzello (2015: a workhorse text typeface).
    • Pleyo (2015). Hand-crafted, perhaps for children's books.
    • Dusan Script (2015).
    • Fartitudo (2015). Just for the name alone, this typeface deserves a medal. Fartitudo is a 3-style handcrafted all caps poster family in a genre that was kickstarted by Pintassilgo in Brazil.
    • Avram Sans (2016).
    • Dambera (2016) and Dambera Retro (2016). A connected script, perhaps suitable for children's books. Crazymond (2016). Hand-crafted semi-connected script.
    • Lunatino (2016). A poster script.
    • Plonker (2016). An all caps hand-printed typeface.
    • Fine New Bonbons (2016). A quaint candy store script.
    • Napolitanka (2016). A delicate high-fashion hifgh-contrast didone.
    • Businessland (2016). A rough handcrafted poster typeface.
    • Escondida. A high-contrast connected script.
    • Alonga (2017). A serif family with considerable contrast characterized by sharp triangular serifs.
    • Nula (2017). A 22-style humanist sans typeface family.
    • Mymoon (2017: a geometric sans in 22 styles), Mymoon Stencil, Mymoon Stencil Texture.
    • Landsick (2018). An intense script.
    • Blond (2018). A sans family that tends towards the humanist side.
    • Penfriend (2018). A script typeface.
    • Modny (2018). A fashion mag Peignotian sans family with a gorgeous inline style.
    • Stropha (2018). A compact slab serif family.
    • Hlad (2018). A distinguished 5-weight incised / lapidary typeface family.
    • Masny (2019). A no-nonsense modern sans family in 22 styles.
    • Connectica (2019). A retro connected script.
    • Dietal (2019). A condensed squarish military parade slab serif. Accompanied by Dietal Sans (2019).
    • Mondish (2019). A stylish sans family, perhaps best suited for fashionable environments.
    • Edicia (2019). A charming serifed typeface family.
    • Plaisir (2020). A serifed text family that oozes style.
    • Roanne (2020). a 44-style sans family characterized by a yawning lower case a.
    • Prego (2020). A 23-style Peignotian sans.
    • Prelom (2020). A retro wedge serif family in 15 styles.
    • Hartia (2020). A 10-style serif.
    • Silqa (2020). An art deco typeface on Novichok.
    • Finoteca (2020). A beatnik font.
    • Kondes (2020). A 20-style condensed squarish sans with variable styles.
    • Lupio (2021). In 20 styles: a variable and static geometric sans family.
    • OK Moral (2021). A Western font.
    • Ragazzi (2021). A 21-style with a didone skeleton but dwarfed serifs and sharper terminals.
    • Metropola (2021). A Victorian era sans accompanied by a variable font.
    • Stray (2021). An 18-style geometric sans for Latin and Cyrillic, with pinched connections.
    • Ancress (2021). A wide geometric sans in 14 styles.
    • Klaud (2021). A 14-style slab serif of Clarendon pedigree.
    • Fabular (2021). A twelve-style display serif.
    • Cat Fight (2021).
    • Bottled Moon (2021). A Victorian serif.
    • Povetarac (2021) and the superfamily consisting of Povetarac Didone, Povetarac Display, Povetarac Sans (2022). Each subfamily has 6 or 12 styles and contains a variable font.
    • Poruka (2022). A monolinear script.
    • King of August (2022). A retro signage script.

    Behance link. MyFonts link. His most popular typefaces showcased. Fontspring link. Klingspor link. View Dusan Jelesijevic's typefaces. [Google] [MyFonts] [More]  ⦿

    Dutch ligatures

    Zip file with German and Dutch ligatures such as fb, fk, ffb, ffk, fj, ffj, and so forth. Expert page by Gert-Jan C. Lokhorst. For the Computer Modern family. [Google] [More]  ⦿

    DX Type Foundry
    [Dmitriy A. Horoshkin]

    Russian type designer specializing in historical revivals of old Cyrillic typefaces. creator of these Latin / Cyrillic typefaces:

    • DX Akademisch Historisch (2017) and DX Akademisch Schmalfett (2017). Based on Academic narrow bold by the foundry of G. Berthold (St. Petersburg), which in turn is based on the bold, narrow type Sorbonne, 1905-1908 (H. Berthold, Berlin).
    • DX Ampir Border.
    • DX Angelus Mediaval (2017), which is a revival of Angelus Mediaval (H. Berthold, before 1904).
    • DX Cicero (2016).
    • DX Decoration and DX Decoration Two
    • DX Doklad10M
    • DX Egyptian Fett (2017). A revival of a Latin / Cyrillic slab serif typeface from ca. 1870.
    • DX Egyptian Tight
    • DX Elsevier Book
    • DX Grazhdanskiy1710
    • DX Halbfette Mediaval
    • DX Kirillovskiy (2016). Based on font samples in the catalogs of the O.O. Gerbek foundry and the Imperial Academy of Sciences, 1852, 1870.
    • DX Kometa (2017, after the art nouveau typeface Komet by Benjamin Krebs, 1907).
    • DX Lateinisch and DX Lateinisch Book (2013-2015). Based on Lateinisch (1899, Peter Schnorr for H. Berthold, Berlin). The original Cyrillic version goes back to 1901 at Berthold in St. Petersburg.
    • DX Malachite Ornament.
    • DX Medieval Book
    • DX Modern Grotesk (2016). Based on New Grotesque from the foundry of Otton Osipovich Gerbek, which is a Cyrillic version of the Mediaval-Steinschrift font, released in 1908 by J.G. Schelter & Giesecke, Leipzig.
    • DX Old Standard Condensed, DX Old Standard Grotesk No2 (2020), DXOldStandard Condensed No2 (2020), DX Old Standard Revilion and DX Old Standard Wide.
    • Ornament DX Classic Bold.
    • DX Orpheus Ornament (2016).
    • DX Palmyra (2014-2015). O.I. Lehman's Cyriilic font on which DX Palmyra is based was released in 1910 and is in turn based on Ingeborg-Antiqua (1909, Friedrich Kleukens for D. Stempel, Frankfurt).
    • DX Poster
    • DX Rossico Border (2016). Based on a design by O.I. Lehman from 1914.
    • DX Rublenyi
    • DX Russian 1812
    • DX Sprigs Border.
    • DX WolffElsevier (2016).
    • DX Yunost
    [Google] [MyFonts] [More]  ⦿

    Dyana Weissman
    [Kerns&Cairns]

    [MyFonts] [More]  ⦿

    Eaver Studio (or: Wahyu & Sani Co)
    [Wahyu S. Adi Wibowo]

    Wahyu & Sani Co is the duo of Sani Sanjaya and Wahyu Wibowo in Magelang, Indonesia. In 2021, Wahyu Wibowo set up Eaver Studio. Designers of the display typeface Bouncy Hunter (2016), the dry brush typeface Little Antelope (2016), the script typeface The Signals (2017, Serif, Script), and the signage brush typeface Handstyles (2016).

    In 2019, they designed Genera (a 44-style almost monoline sans family; by Wahyu Wibowo), Kiyana Display (a high-contrast display sans), the 18-style sans typeface Creo, the stylish typeface Regatto, the connected script Lambo, the techno typeface Tenika, the flared typeface Pocus Primera, the fashion mag typeface Kiyana, the flared serif typeface Serat, the font duo Melanic Black, the script typeface Heinsler, the display typeface Borui and the 20-style geometric sans typeface Guerrer (by Wahyu Wibowo).

    Typefaces from 2020: Frock (a swashy 16-style sans), Algera (a 20-style spurless, almost organic, sans), Berka (a 14-style mixed genre sans), Regave (a 24-style (+variable) typeface inspired by Danish lettering of Knud Valdemar Engelhardt (1882-1931) who designed the street signs for the Copenhagen suburb of Gentofte. Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they are still in use today; Regave features the cut-off Danish g), Neufreit (an 18-style sans), Morn (an interesting geometric sans in 20 styles: all counters, e's excepted, are perfect circles), Scatio (an information design sans family), Goldbill (a 56-style geometric sans with short (Goldbill XL), regular or tall (Goldbill XS) ascenders and thus inversely proportional x-heights; + two variable styles).

    Typefaces from 2021 at Wahyu & Sani: Serat Ultra, Revaux (a decorative didone; 14 styles), Geliat (a sans in 44 styles).

    Typefaces from 2021 at Eaver Studio: Biryllo (script), Tenar Black (a display serif influenced by Souvenir and Cooper Black).

    Typefaces from 2022: Genera Grotesk (22 styles, plus a variable font).

    MyFonts link for Sani Sanjaya. [Google] [MyFonts] [More]  ⦿

    Eclectotype (was: Schizotype)
    [Dave Rowland]

    Type foundry in Sheffield, UK, first called Schizotype, and in 2021 renamed Eclectotype because this is not a foundry that likes to stick to trends or expectations. Its designer, Dave Rowland (b. 1982, Chesterfield) grew up in Sheffield, UK, but was based in Japan, the Philippines, Liverpool, Surat Thani, Thailand, and Koh Samui, Thailand [where he presently lives]. MyFonts Interview.

    He created these fonts in 2009: Quesadilla (signage type, Mexican simulation face), Quesadilla Shadow, Schizotype Scrolls, Quiff, Toothpaste, Astroboy (connected script), Decolletage (art deco), Kazumi Sans, Acid Haus, Dr. Black, Dr. Eric, Soyo Gogo, BMX radical (brush), Team, Miami Hopper, and Tubularis (multiline face), Sickle, Klique (futuristic display face), Uncle Eric (a cartoon face), Praline Smooth (connected script in the style of Mistral), Kwaktur, (blackletter typeface based on the logo of Belgium's Kwak beer), Blackball (another blackletter) and Modulogue (a modular display family).

    Additions in 2010: Christmas Tuscan (a modular Tuscan), Masonic Lodge, Mook (a retro, unicase, bubble font), Toothpaste 2, Gaden Sans (organic monoline typeface that includes a hairline weight), Sizemore (all caps slab headline face), Quickscript (signage face), New Wave.

    Fonts designed in 2011: Brag Pro (like Brag, a Cooper Black alternative), Brag Stencil Pro, Chestnut (curly, hand-printed), Brag (a fat round face in Cooper Black style), Gelato Script (a connected signage face), Brag Stencil (2011), Streetscript (2011, brushy signage face).

    In 2011, he created a quaint text family, Vulpa, with quirky foxtail terminals.

    Typefaces from 2012: Margot (a rounded slab serif described as a lovechild of American Typewriter and Cooper Black), Range Serif (an angular typeface), Pastiche Brush (a brushy connected script inspired by the titles of the 1959 movie Imitation of Life (Wayne Fitzgerald)), Quayside (a bulbous baseball or signage script).

    Typefaces from 2013: Alight Slab (hairline slab), Anultra Slab (a heavy bold slab serif), Ollie (a connected baseball or signage script), Urge Text (an extensive modern text family with ample language support and plenty of mathematical symbols, and large ball terminals).

    Typefaces from 2014: Range Sans (a grotesque sans family with the quirky angular cutouts inherited from Range Serif), Samui Script (upright connected script), Streetscript Redux (signage script), Price Didone (created for setting elegant price tags).

    Typefaces from 2015: Oldskool Script (a connected signage script; one of many quite different commercial fonts with the same name), Hazel Script (a great flowing calligraphic script designed around the time of the birth of his first child, Hazel; the name may create confusion as there is a famous BB&S metal font with the same name), Mastadoni (a fat didone for headlines and fashion mags), Kake (a great creamy sign-painting font), Bali Script (creamy signage script), Flat Sans.

    Typefaces from 2016: Cinema Script (retro movie script), Chill Script (a retro non-brush signage script), Blanket (a soft cursive font, ideal for children's books), Schizotype Grotesk (a very original angry geometric grotesk, with bucketloads of pizzazz), Astrid Grotesk, Asterisk Sans Pro (a versatile humanist sans family for Latin, Greek, and Cyrillic), Strelka Ultra (a retro space age typeface), Revla Serif (beatnik style, emulating randomly positioned handlettering).

    Typefaces from 2017: Duckie (a bubblegum or creamy signage script), Tusque (a layered decorative Tuscan typeface), Ekamai (a tight non-connected creamy signage script), Quinella (seventies script), Delfino Script (retro signage script), Tchig Mono (a special, almost hipster monospace typeface family), Revla Sans (beatnik style), Revla Sans Text, Eroika Slab (a robust wedge serif family).

    Typefaces from 2018: Aziga (descrived by Dave as a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone), Revla Slab (bouncy, beatnik), Galix (subdue futuristic sans family), Gelato Luxe (an update of his earlier Gelato Script), Engria (an angular brush-inspired text typeface).

    Typefaces from 2019: Gelato Fresco (a warm flowing script), Amica Pro (a stocky part humanist part geometric workhorse sans), Galix Mono, Backstroke, Gigantic (an exercise in ultra-fatness).

    Typefaces from 2020: Gelica (a 14-style retro soft serif family influenced by Cooper Black, Goudy Heavyface and Ludlow Black), Capsule (a reverse-stress high-contrast rounded sans-serif), Sausage (a friendly fat rounded typeface that is is unapologetically bold and bulbous. Influenced by magnetic fridge letters, hot dogs and 70s phototype fonts, it is retro, but not cloyingly so).

    Typefaces from 2021: Revla Round (a child-friendly version of Revla Sans), Megumi (a formal hairline fashion mag script), Yink (a bulbous psychedelic experiment).

    Klingspor link. Behance link.

    Showcase of Schizotype's typefaces at MyFonts. Fontspring link. MyFonts interview. [Google] [MyFonts] [More]  ⦿

    Edgar Olivas

    Creator of a beautiful Day of the Dead postcard series in 2009. He says: The Tzompantli, or wall of skulls was another element taken from the Aztec culture. These racks were built to display the sacrificial victims or those deceased at wars. The grin. In all these characters the grin is related to Mictlantecuhtli’s mocking smile. Some anthropologist say that this enigmatic gesture, depicted in one sculpture, seems to smile or mock ironically of those who typeface or will typeface him one day. Three posters were created as well, for silkscreen painting. The skulls in the postcards were designed using an ornamental and illustration style called DIDOQUE, which emulates the baroque ornamentation and is constructed on whole letters and pieces, signs, glyphs of the DIDOT typography. Didoque, is a portmanteau word and concept result of the words Didot and Baroque. The Didoque illustrations he Published in 2014 were based on HTF Didot.

    IN 2014, Olivaswas based in Milan.

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

    Edik Ghabuzyan
    [Armtype]

    [MyFonts] [More]  ⦿

    Editions 205
    [Quentin Margat]

    French foundry and publishing house, est. 2011 by Damien Gautier and Quentin Margat, and located in Villeurbanne. Their fonts:

    • Amiral. A stencil face by Damien Gautier.
    • Bloo. A geometric family by Damien Gautier.
    • Caporal. A semi-stencil by Damien Gautier and Quentin Margat.
    • Colonel. A stencil by Damien Gautier and Quentin Margat.
    • LeBeaune. A lapidary engraved roman caps font by Damien Gautier and Quentin Margat, originally intended for the wine city of Beaune. Le Beaune New was published in 2013.
    • LeChaufferie. A large multiline opentype typeface by Damien Gautier.
    • LeFrançois. A Peignotian titling face by Damien Gautier.
    • Beretta (2011-2012). A dot matrix typeface by Damien Gautier.
    • Alcala (2011). A roman typeface family by Damien Gautier and Quentin Margat.
    • Maax (2011). An information design sans typeface family. In 2013, Damien Gautier added Maax Mono and Maax Rounded, and in 2019 Maax raw.
    • Norr. A versatile family originally intended for the visual identity of the region of Valenciennes. It includes a round style, a slab style, a sans, and a didone style.
    • Robin (2010). An arrows dingbat typeface by Damien Gautier and Delphine Sigonney.

    There is also a publishing component to Editions 205. Works published by them include Tout le monde connaît Roger Excoffon (2011), which was written by Alan Marshall (director of the Musée de l'imprimerie, Lyon), Tony Simoes Relvas, and Thierry Chancogne.

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

    Edmi Montoya

    Kansas City, MO-based creator of the sans typeface Mimo (2012), which was her graduating project at FADU / UBA in Buenos Aires. It was inspired by books for 8 to 13-year old children. Allegro (2011) is a display typeface based on didones---it was developed during her studies in Buenos Aires.

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

    Eduard Gustav Haenel
    [Schriftgiesserei Eduard Haenel]

    [More]  ⦿

    Eduardo Dulin

    Eduardo Dulin is a graphic and type designer from Mar del Plata, Argentina. In 2021, he designed the single weight condensed didone typeface Alfonsina. [Google] [MyFonts] [More]  ⦿

    Eduardo Omar Rodríguez Tunni

    Buenos Aires-based graphic designer and prolific type designer who runs Graphic Design Firm. Since 2005, he has been teaching typography together with Marcela Romero and Pablo Cosgaya at the Centro Cultural Ricardo Rojas. Behance link. Klingspor link. Fontspace link. Google Plus link. Interview by MyFonts. His typefaces, haphazardly organized:

    [Google] [MyFonts] [More]  ⦿

    Eduilson Wessler Coán
    [DooType]

    [MyFonts] [More]  ⦿

    Edward Benguiat

    Born in New York in 1927, Ed grew up in Brooklyn. He died in 2020. Ed was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 typefaces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.

    Ed Benguiat taught at SVA in New York for more than fifty years.

    Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:

    • ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
    • ITC Modern No. 216 (1982: a didone text family). The Softmaker versions are called M791 Modern and Montpellier. Ed writes: It's a revival of the classic British Modern design. I tried to capture the dignity and grace of the original designs, but not make it look stuffy. Moderns were often numbered to distinguish different versions. 216 East 45th street was where I worked when I drew the ITC Modern No. 216 font.
    • Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
    • ITC Barcelona (1981). Ed writes: I was one of the design consultants for the 1992 Olympics in Barcelona, Spain. What could be more appropriate then to design a typeface for the event? The design of the ITC Barcelona font family, with its soft triangular serifs set the mood for the soft-spoken Catalan people.
    • ITC Bauhaus (1974-1975). ITC Bauhaus was co-designed with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype version is Dessau. The Bitstream version is Geometric 752.
    • ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). This eponymous comic book (or art nouveau style) typeface family appeared in the 1980s on the covers of Stephen King novels and Choose Your Own Adventure books, in the copyright notice at the beginning of all Paramount Pictures' VHS tapes and in title sequences for Quentin Tarantino's films, the Next Generation series of Star Trek films in the mid-to-late '90s, and the recent Netflix series Stranger Things. It was revived as Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical. Benguiat Pro ITC was published in 2008.
    • Benguiat Roman (1960s).
    • PL Bernhardt (Photo-Lettering, 1970), modeled after a 1930-1931 design by Lucian Bernhard.
    • ITC Bookman (1975). See B791 Roman on the SoftMaker MegaFont XXL CD (2002).
    • Calendar (1960s).
    • ITC Caslon 224 (1983). In 1960, he added Benguiat Caslon Swash, and in 1970, Caslon 223 followed. See C790 Roman on the SoftMaker MegaFont XXL CD (2002), and Caslon CP (2012, Claude Pelletier). Christian Schwartz and Bas Smidt at House Industries digitized Benguiat Caslon.
    • ITC Century Handtooled (1993).
    • ITC Cheltenham Handtooled (1993).
    • ITC Edwardian Script (1994).
    • ITC Garamond Handtooled.
    • ITC Korinna (1974): after a 1904 typeface called Korinna by Berthold. Michael Brady thinks it is very close to the Berthold original.
    • Laurent (1960s).
    • Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
    • ITC Panache (1987-1988). Ed writes: I put my heart, soul, sweat and tears into the design of the ITC Panache font family. I was striving to create an easy to read, legible typeface. I know in my heart that I accomplished what I set out to do. Not only is it easy to read, it's also sophisticated.
    • Scorpio (1960s).
    • ITC Souvenir. Kent Lew: Benguiat revived Benton's Souvenir for ITC in the '70s and that was well-received for a while. On the other hand, look what happened after that. Souvenir in the ATF 1923 catalog looks really nice, IMO. Souvenir in the '70s seems cliché now. Souvenir these days would be downright dorky. Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a typeface that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
    • ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
    • PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspired typeface.
    • In 2004, House Industries released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
    • He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
    • Lesser known Photolettering typefaces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments: a western wood type font), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, (Benguiat) Montage (a fat face didone revived in 2018 at House Industries by Jess Collins and Mitja Miklavic), Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedelic types. In 2021, Donald Roos digitized Plinc Buffalo for House Industries.

    Links: Linotype, CV by Elisa Halperin. Daylight Fonts link (in Japanese). Catalog by Daylight, part I, part II.

    Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black.

    FontShop link. Klingspor link.

    View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google] [MyFonts] [More]  ⦿

    Effie Herdi

    Jakarta-based designer of Belleric (2012, a didone with curls and excessive ball terminals). [Google] [More]  ⦿

    e-foundry (was: GUST)

    The Polish TEX users group evolved into GUST and then e-foundry. Here you can find goodies in truetype and type 1 such as

    • QuasiHelvetica: based on NimbusSans, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
    • QuasiCourier: based on Nimbus Mono, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
    • QuasiChancery: based on URW Chancery L, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
    • QuasiBookman: based on URW Bookman L, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
    • QuasiTimes: based on Nimbus Roman No9, modified by Bogusław Jackowski.
    • QuasiPalladio: based on URW Palladio, modified by Bogusław Jackowski.
    • Antykwa Półtawskiego: based on work by Adam Półtawski (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
    • Antykwa Toruńska: based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki.
    • The Latin Modern (LM) family of fonts is expected to eventually replace Computer Modern, the first family of fonts designed by Donald E. Knuth for TeX. By Jackowski and Nowacki, this is a major undertaking.
    • The TeX Gyre (TG) collection aims at remaking of the freely available fonts distributed with Ghostscript. Included in this set is the Courier and URW Nimbus Mono revival TeX Gyre Cursor (2008): Cyrillic glyphs were added by Valek Filippov, Vietnamese characters were added by Han The Thanh, and the general work was done by B. Jackowski and J.M. Nowacki. Other styles include TeX Gyre Adventor, TeX Gyre Heros, TeX Gyre Chorus, TeX Gyre Bonum, TeX Gyre Schola, TeX Gyre Termes, TeX Gyre Pagella.
    • Kurier and Iwona. Kurier was designed in pre-computing times by Malgorzata Budyta, digitized and extended by Janusz M. Nowacki. He went on to design Iwona, which is based on Kurier. Iwona is named after Janusz's daughter.
    • Cyklop (2008), a two-style sans headline typeface by Nowacki based on a 1920s type by the "Odlewnia Czcionek J. Idzkowski i S-ka" type foundry in Warsaw.

    Fontspace link. [Google] [More]  ⦿

    Eimantas Paskonis

    Eimantas Paskonis is a type designer from Vilnius, Lithuania, who graduated from Vilnius College of Technology and Design. He created the fat didone typeface Magnola (2011). At the end of 2011, Magnola was renamed Magnel. It has 865 glyphs and about 200 ligatures, swashes and diacritics. Magnel Display followed in 2016.

    He is working on a poster typeface called Kelmas.

    Hazelnut Pro (2012) is a beautiful high-contrast rounded poster family. It seems to be a renamed version of Kelmas.

    Typefaces from 2013 include the titling sans family Neris. Some free weights of Neris.

    In 2015, Eimantas designed the free German expressionist typeface family Varna.

    In 2017, he designed Signato, a free signature font with loads of alternates. It is based on the manuscript of the Act of Independence of Lithuania, dated 1918.

    Grandis (2019) is a large sans family with a techie feel originally intended for video games. Eimantas writes: The font had to be readable while maintaining sci-fi feel and also to not rely on kerning (most video games don't support it). This meant a large x-height, steep diagonals and squared bowls to reduce the amount of white space between letters.

    Cargocollective link. Old Cargocollective link. [Google] [MyFonts] [More]  ⦿

    Ekaterina Malinina

    At the British Higher School of Art and Design in Moscow in 2015, Ekaterina Malinina designed the Latin/Cyrillic text typeface Jurgen and the condensed fashionable Latin/Cyrillic didone typeface Matthias. [Google] [More]  ⦿

    Eko Setiawan
    [Emyself Design]

    [More]  ⦿

    El Corsario

    Rapidshare links to several font families such as Helvetica, GillSans, Futura, Frutiger, Bodoni, Baskerville. [Google] [More]  ⦿

    Electronic Book Technologies

    Free fonts CMBX10, CMBX5, CMBX7, CMEX10, CMMI10, CMMI5, CMMI7, CMR10, CMR5, CMR7, CMSL10, CMSY10, CMSY5, CMSY7, CMTI10, CMTT10, SILDoulosIPA-Regular. These fonts are said to be produced by Knuth, but "produced by Electronic Book Technologies" in 1994. I am puzzled about this statement. These are just truetype versions of Knuth's Computer Modern fonts. [Google] [More]  ⦿

    Electronic Book Technologies

    Electronic Book Technologies has truetype versions of Knuth's Computer Modern fonts: CMBX10, CMBX5, CMBX7, CMEX10, CMMI10, CMMI5, CMMI7, CMR10, CMR5, CMR7, CMSL10, CMSY10, CMSY5, CMSY7, CMTI10, CMTT10. [Google] [More]  ⦿

    Elena Genova
    [My Creative Land]

    [MyFonts] [More]  ⦿

    Elena Novoselova

    Born in Ioshkar-oila in 1984, Elena Novoselova graduated from the Moscow State University of Printing Arts in 2006. She also teaches at the British Higher School of Art and Design in Moscow. From 2006 until 2011, she designed type and worked as a calligrapher at Art Lebedev Studio, where she made ALS Dereza (2010, a grotesk comic book style typeface for children's books), ALS Mezzo (2009, a flared sans), ALS Heino (2008, a decorative typeface with two styles that was inspired by a piece of lettering in an old magazine), ALS Klementina (2011, a calligraphic cursive typeface based on brush pen handwriting), ALS Bingley (2012, a wonderful transitional text face based on a tombstone script in Oxford), and ALS Mirta (2007-2008), a mild slab serif family that is easy on the eye. Co-designer with Ksenia Erulevich and Taisiya Lushenko of Yandex (2013), a corporate typeface done for Art Lebedev Studio.

    She designed NWT Bodoni (2016).

    MyFonts interview. Art Lebedev link. [Google] [MyFonts] [More]  ⦿

    Eleonora Lana

    Designer, with Juan Pablo de Gregorio at the Chilean type foundry Letritas of Isabel (2016), a very Latin text typeface family, feminine and didone-inspired. It has a unicase style.

    In 2017, Juan Pablo de Gregorio and Eleonora Lana added Isabel Condensed and Isabel SemiCondensed.

    In 2019, the Letritas team and Eleonora Lana co-designed the rounded sans typeface Delfino. Still in 2019, she designed the chubby round sans typeface Duddy. [Google] [MyFonts] [More]  ⦿

    Elif Karabulut

    Elif Karabulut (Eskisehir, Turkey) created a teardrop and ball terminal-laden set of didone caps and called it Ivy Bodoni (2013).

    Behance link. [Google] [More]  ⦿

    Ellen Tjahjana

    Graphic designer in Melbourne. Creator of the bespoke typefaces Quin (2012, didone) and Quinlyn (2012, rounded display face). [Google] [More]  ⦿

    Elliot Hutchinson

    Graphic design student at Swinburne University TAFE in Australia. Creator of the extremely contrasted didone display typeface Refined (2012). [Google] [More]  ⦿

    Ellmer Stefan
    [The Pyte Foundry]

    [More]  ⦿

    Elsa Lorich

    Paris-based designer of the Bodoni revival Hello (2015), the warm rounded text typeface Zebu (2016) and the modular condensed sans typeface ModuloOuLipo (2016). For Citroen, she co-designed the wide sans typeface Cabrio (2016) with Philippe Gauthier. She also did a Bodoni revival called Bodoni 1818 (2016). [Google] [More]  ⦿

    Elsa Rodrigues

    Portuguese illustrator and designer who created the didone typeface Qwirky Regular (2011).

    In 2017, together with Ines Coelho, she designed the playful display typeface Barna.

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

    ElseWare Corporation
    [Ben Bauermeister]

    Founded by Ben Bauermeister and Clyde McQueen in 1990, former employees of Aldus. Based in Seattle, it created for Hewlett-Packard FontSmart (a product that gives users 110 fonts and a font-management technology for HP's LaserJet 5L, 5P and 5Si printers in an innovative and compressed format). It also made FontWorks (a truetype font generation engine for Windows), Infinifont (a parametric font generation system), and PANOSE (a fonty classification system). On December 21, 1995, HP bought the company and that was the end of it. The in-house type designer was Karl Leuthold. They produced about 340 "clones" of the major typeface styles, including Albertus, AntiqueOlive, Arial, AugustaEC, BistroEC, BodoniEC, BookAntiqua, BookmanEC, BookmanOldStyle, CGOmega, CGTimes, CafeEC, CenturyGothic, CenturySchoolbook, Clarendon, CourierEC, EtnaEC, GaramondEC, GeneraEC, GillSans, Goudy-Old-Style-EW, GraphosEC, InformaEC, LetterGothic, LetterSansEC, MentorEC, MetrostyleEC, ModalEC, NewTributeEC, OperinaEC, Ozzie, SchoolbookEC, StationEC, StriderEC, StylusEC, TerasEC, TerasMonospaceEC, Univers, VillageOldstyleEC, WilmingtonEC. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Elvina Karimova

    Saint Petersburg, Russia-based designer of Capsula (2019: a Cyrillic piano key stencil font) and Speaker Icons (2019). She also cyrillicized the didone typeface Elephant (2019). [Google] [More]  ⦿

    Elvire Volk Leonovitch

    French designer of Younion FY (2012, a monoline display sans serif typeface done with Alisa Nowak, Valentine Proust, Gregori Vincens, Gia Tran). This typeface was published at Fontyou. Younion One FY is free at Dafont.

    Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.

    MyFonts link for Fontyou.

    Designer at Hubert & Fischer in 2014 of Rubik One and Rubik Mono One, freely downloadable from Google Web Fonts. These slightly rounded heavyweight fonts were designed under the art direction of Hubert & Fischer. They were originally created for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. Github link.

    In 2016, she created Meroweg, a font for monetary inscriptions. She also revived a Pierre-Simon Fournier typeface called Lilliputien, which is intended to be used at 5pt size. For the Musée de la Toile de Jouy, she created a didone stencil typeface. Finally, for the identity of IMEC (l'Institut Mémoire de l'Édition Contemporaine) she designed a sturdy typeface. [Google] [MyFonts] [More]  ⦿

    Emfoundry
    [Jon Melton]

    Emfoundry is the micro font foundry of type designer Jon Melton, whose first degree in art dates back to 1984. It was created originally as part of his MA in Typographic Design postgraduate studies at the Cambridge School of Art within Anglia Ruskin University in 2007. Jon Melton is course leader for BA (Hons) Graphic Design at the CSA. His academic research as a senior lecturer at this university informs his work that focuses upon key moments in type design evolution.

    His typefaces are not commercially available, They inclde:

    • Fount Sans 1756 (2018), a revival typeface of the 18th century, the legacy for all the countless sans serif fonts today. Speaker at ATypI 2018 in Antwerp, where he explains that revival: The search for the origin of today's commercial sans serif typography has become something of a holy grail for type historians. The earliest known example of a deliberately geometrical serifless letterform was confirmed back in the late 1990s, on a plan-drawing title block for a new parliamentary building. It was produced whilst on the grand tour by the architect John Soane. Duly exhibited at the Royal Academy in 1779, it marked the start of Soane's utilising this then-radical letterform on his design drawings and for inscriptions on buildings. Prior to Soane's exhibited "Design for a British Senate House," there is a void. Scholars are aware that the sans serif originates within the letterforms of Greece and the informal inscriptions of the Roman Empire. But what inspired Sir John Soane to use it, for what appears to be the very first time?
    • Cuban Revolt. Cuban Revolt was inspired by a plantation sugar sack from the 1960s, which utilised a sans serif letterform with modeling curves and counters created during a traditional hand-cut stencil process in silk screen printing. It has a constructivist feel.
    • Russian Revolt. Russian Revolt was created via a regularization of the modeling of its comrade font Cuban Revolt. It is a faux-Russian display face with a range of contextually (Cyrillic) inspired alternate glyphs that reflect the experimental typography of dadaism, suprematism and constructivism.
    • Cuba Libre & Cubana.
    • English Open, or "Georgian English Open Initials & Titling". English Open was derived from the letterforms of metal engravers, and examples of these are readily found on armorial silver and maps produced over one hundred years earlier than the first available open typeface specimens. Its character follows the steel and copper plate engravers of the 18th century, and is ultimately informed by the open types of the period such as Cocaine, Moreau-Le-Jeune, Fournier, Fournier Le Jeune and Rosart.
    • Empire Initials, Empire Initials mark the end of informed neoclassical and revivalist ornamentation, and the beginnings of ostentation and the over-adornment so representative of Victorian eclecticism. White-out decorated fat types were produced within a very short Late Regency period, from the 1820s-40s, of fevered expression within the decorative arts.
    • English Vernacular. The letter is informed by generations of 17th and 18th century armorial silver and goldsmiths, glass engravers, topographic and political print gravurists, signwriters and our provincial stone carvers who developed English vernacular, the Georgian artisan letter.
    • Bifurcated Bodoni. EM Bifurcated Bodoni represents a missing piece of the typographic evolutionary puzzle, with its Archaic and Deviant alternates exhibiting tentative and restrained characters and ornamentation, such as median decoration, internal tracery cusping and Romanesque letter formations. [...] The transition has been increased and the proportions expanded pointing towards the predominant display Fat Faces of the period; while the serif bifurcates subtly to represent early tentative experiments within what became known as the Tuscan form.
    • Classic Soane: Classic Soane is created in homage to the Regency architect Sir John Soane and his refined classical vernacular.
    • Pure Soane Sans. Melton explains this inscriptional sans:,i>Pure Soane Sans forms part of a reappraisal of the Regency architects intensions for inscriptional letterforms following a recent discovery of an overlooked early Sans serif letter on a pair of gate houses in Norfolk. These buildings were recorded as erected between 1790-92 with two Greyhound statues including inscriptional motos on stone plynths contemporary to the building. The letters have distinctive widths and features, particularly the 'G' and 'J' which shares an idiosyncratic partial serif that is also seen on Soane's titling on the better known drawings for his proposed Norwich (Castle) Gaol. These features have provided the clues to a new Sans Serif Typeface firmly based upon the 18thC origin of the seref-less letter.
    • Ogilby's Britannia (Britannia Regular, Britannia Italics, Britannia Swashes): Ogilby's Britannia reflects the engraved letterforms published in Britain's first Road Atlas published in 1675. John Ogilby employed numerous Surveyors, Weywisers (measuring wheel), Cartographers, Plate Engravers and Printers in the production of his revolutionary book. This typeface seeks to capture the engraver's vernacular of the 17th century, utilising the ichnographic ornaments and cartographic letterforms used on Ogilby's post roads strip maps, which applied a standardised unit mile for the very first time.
    [Google] [More]  ⦿

    Emigre
    [Zuzana Licko]

    Sacramento, CA-based foundry established in 1984 by Zuzana Licko and Rudy Vanderlans. They were "in" during the grungy early 1990s, but ran out of steam and out of fashion around the turn of the century. They had their own magazine, and were in the limelight in the 1990s. Massimo Vignelli famously said at a meeting: Emigre is the worst thing that ever happened to this country. It's unbelievable the damage they have done. A total disaster. [Laughter] You laugh, but you should cry.

    Lea Chapon's thesis at Estienne in 2006 was entitled Emigre : typographie et critique de la typographie---strangely, it was removed from the school's web site---Emigregate? The typophiles are not gentle with their critique. In the collection, we find these fonts: Arbitrary (1992), Awkward (1991), Berkeley (1990), Citizen (1990), Elektrix (1990), EmigreEight (1990), EmigreFifTeen (1990), EmigreFourTeen (1990), EmigreTen (1990), EmperorEight (1990), EmperorFifTeen (1990), EmperorNineTeen (1990), EmperorTen (1990), IndustrySans, KubotaFont (1991), Lunatix (1990), Marvelous (1991), Matrix (1988-1991), NeoTheo, Oblong (1990), STICadillac (1990), Sample (1990), Senator (1990), Simplex, TemplateGothic (1991), TotallyGlyphic (1990), TotallyGothic (1990), Transportation (1990), UniversalEight (1990), UniversalNineTeen (1990), VariexBold (1990), VariexLight (1990), VariexRegular (1990), Zenith (1990). Also, by designer:

    • Nancy Mazzei and Brian Kelly: Backspacer (1993).
    • Zuzana Licko: BaseMono (1997, a monospaced family), BaseNine (1995), BaseTwelve (1995), Dogma (1994), Filosofia (1996, Emigre's (unicase) version of Bodoni), Hypnopaedia (1997), Journal (1993), the Lo-Res family (pixel fonts at sizes 9, 12, 15, 21, 22, 28, made in 2001), Modula (1990-1995), MrsEaves (1996, Emigre's version of Baskerville), Mr Eaves Sans (2009), Mr Eaves Modern (2009), Narly (1993), Program OT (2013, a rounded sans family), Quartet (1993), SodaScript (1995), Solex (2000), Tarzana (1998), Triplex (1990), Whirligig (1994).
    • Bob Aufuldish and Eric Donelan: BigCheese (dings, 1993), ZeitGuys (1994, funny dingbats).
    • John Hersey: Blockhead (1995, Alphabet and Illustrations), Thingbat (1995).
    • Conor Mangat: BoksHeavy (1994), BoksThin (1994), Platelet (1994, inspired by California license plate systems---organic and quite dysfunctional).
    • John Downer: Brothers (1999), Council (1999), Triplex Italic (1990), Vendetta (1999).
    • Sibylle Hagmann: Cholla (1999).
    • Frank Heine: DallianceFlourishes (2001), DallianceRoman (2001), DallianceScript (2001), Motion (1993), OaklandEight (1990), OaklandFifTeen (1990), OaklandSix (1990), OaklandTen (1990), Remedy (1992).
    • P. Scott Makela: DeadHistory (1994).
    • Miles Newlyn: Democratica (1992-1993), Missionary (1992), SabbathBlack (1994).
    • Rodrigo Cavazos: EideticNeo (2000).
    • Jonathan Barnbrook: Exocet (1992), Manson (1993), Mason (1993).
    • Edward Fella: FellaParts (1993), Outwest (1993).
    • Jeffery Keedy: KeedySans (1991).
    • Mark Andresen: NotCaslonOne (1995).
    • Claudio Piccinini: Ottomat (1996).
    • Rudy VanderLans: Suburban (1994).
    Alternate URL.

    View Zuzana Licko's typefaces. Alphabetical listing of Zuzana Licko's typefaces. [Google] [MyFonts] [More]  ⦿

    Emil Karl Bertell
    [Fenotype]

    [MyFonts] [More]  ⦿

    Emma Cameron

    Emma Cameron (Ensign Design, New Zealand) modified a didone typeface by adding triangles to stems in her experimental typeface Pleiade (2012). [Google] [More]  ⦿

    Emmanuel Beffara

    Located at the University of Paris, Emmanuel Beffara designed the French Cursive font (2004), a cursive hand-writing font family in the style of the French academic running-hand. It comes in Metafont format. Experimental type 1 versions are available too: TeX-fcbx10, TeX-fcc10, TeX-fcf10, TeX-fcr10. See also here (last updated in 2004). He also created CMLL (2006, type 1), a set of symbols used in Linear Logic, designed for use with standard Computer Modern fonts.

    University link. [Google] [More]  ⦿

    Emo Risaliti

    Italian designer (b. Prato, near Florence, 1959) of Kniff (1993, Font Bureau). He lives and works in Agliana (Pistoia). He is involved in poster design, corporate imaging, and wine label design. At ATypI in Rome in 2002, he described the development of the highly original and beautiful tall narrow didone typeface Kniff for logo and display purposes. For an experimental sports shirt font, one might consider his Summertime (1993). Home page, where one can savour his wine labels. [Google] [MyFonts] [More]  ⦿

    Emyself Design
    [Eko Setiawan]

    Denpasar, Bali-based designer of the connected script typefaces San Joaquin (2018), Lightober (2018), Lakeland (brush font), Winterskol (2018: formal calligraphy), Lofinight (2018), Faithless (2018: font duo), Anaheim Script (2018: free), Neira (2018) and Senja (2018), and the handcrafted typefaces Windasa (2018), Sarada (2018, a slab serif), Inku (2018, a slab serif) and Shinigami (2018: a haunting brush font). He also designed the blackletter typeface Fullerton (2018), the font duo Ourense (2018) and the flared terminal typeface Queenstown (2018).

    Typefaces from 2019: Kurashiki Brush, Yerington, De Ginkgo (a stylish serif), San Francisco (font duo), Blue Lagoon (a bold sans and a glitch style called Wave), Sunset Road (a rounded blackletter), Alma Toran (a rotunda), Furano Gyo (a condensed slab serif), Furano (a condensed serif), Desuka Slab, Reschensee (a Speedball font), Swampcity, Novodevichi (Russian emulation font), Bielefeld (blackletter).

    Typefaces from 2020: ED Vitinia (blackletter), ED Ashglen Script, ED Northridge Sans (a 9-style sans), ED Lithosphere (a fashion mag serif), Candytuft (a thorny-serifed typeface), Bielefeld Next (blackletter), Black Orchid (blackletter), Balsamine Script, Lungwort (a text typeface), ED Celandine (blackletter), Cyrene Sans, Point Dume (a font duo), The Broads (a roman family), Failynn (thorny-serifed), Washboard (condensed), Fullerton Next (blackletter), Palmdale (a smooth script), Corbyn, Corbyn Serif (7 styles), Baliem (a blackletter), Kudoes, Logrono (a brush script), Silverdale, Pink Coast, Francoeur, Rosinweed, Nevers, Golden Cape.

    Typefaces from 2021: ED Phoebe, ED Lavonia (a stylish calligraphic script), ED Muglins (a display serif), ED Bienova, (a condensed display serif), ED Bedivere (a 10-style sans), ED Begonia (a blackletter with flower petal terminals and a jogging capital K), ED Cerfoglio (a serif), ED Daffodil (a Schwabacher with smooth edges), ED Faliraki (a modern gothic), ED Vacaville Script, ED Fettle, ED Ocher, ED Fettle Serif (10 styles), ED Morrigan (blackletter), ED Randgrid (a display serif), ED Sonar (a cursive typeface), ED Eklutna (a didone display serif with Q-tip terminals), ED Muskrat, ED Brigid (Celtic, uncial), ED Cretheus (a display serif), ED Fayetteville Script (calligraphic), ED Floriane Serif.

    Typefaces from 2022:

    Type department link. [Google] [More]  ⦿

    Engraver's Bodoni

    A wide all caps didone typeface published by American Typefounders ca. 1928. [Google] [More]  ⦿

    Enrique Hernandez

    Chilean type designer based in Santiago. Father of Latinotype's Daniel Hernandez. Designer of the 4-style didone typeface Santis (2013, Latinotype), which was based on Didot (with curly terminals on a, d, h, t and u).

    In 2014, he created the slightly flared slab serif family Clasica (Latinotype), which was inspired by Zapf's Optima. Triump (2014, Latinotype) is a relatively simple rounded sans that comes witha nice inline for titling.

    Typefaces from 2015: Triump Rough (a full range of 26 textured weathered typefaces), Clasica Sans (contrasted sans with oh so slightly flared stems).

    Typefaces from 2016: Isidora (a warm Latin sans, extended in 2019 to Isidora Soft).

    Typefaces from 2017: Isidora Sans (a 28-style reworking of Isidora), Javiera (a geometric sans with humanist elements thrown in).

    Typefaces from 2018: Emy Slab (an Egyptian with soft terminals).

    Typefaces from 2019: Goldplay (based on Isidora Sans), Monckeberg (a fashion mag sharp-edged serif family).

    Typefasces from 2020: Grobek (32 styles; a soft serif with negative diagonal stress and inward curling terminals), Winden (a 28-style classical slab serif, partially based on Isidora). [Google] [MyFonts] [More]  ⦿

    EPS51

    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]  ⦿

    Eraky
    [Ahmed Eraqi]

    Banha, Egypt-based designer of these typefaces in 2019: Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hurringtown Script (with Koi and JAF34), Eraky, Zamoka (a swashy display style).

    Ahmed Eraqi published Chattelyne (a curly font) at Zet Design. With Nohamad Foda, he designed Luxury Home, a Latin slab serif with lower case letters of unequal x-height, Zamoka (2019: a deco typeface), and Hamis (2019) Hamis Vol 2 (2019), a festive display typeface family.

    Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), British Vehicle JNL (based on the UK license plate font created by Charles Wright in 1935; with Jeff Levine), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Nohamad Foda).

    Typefaces from 2021: Foda Egypt (a 12-style serif by Ahmed Eraqi and Nohamad Foda), Foda Slab (2021: an Arabic slab serif by Ahmed Eraqi and Nohamad Foda), Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda).

    Typefaces from 2022: Foda Display (a display typeface for Latin and Arabic by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta Rounded (by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta (a 10-style sans with a preference for 90-degree junctions in unusual places; by Ahmed Eraqi, Nohamad Foda and Esraa Amer). [Google] [MyFonts] [More]  ⦿

    Eric Bonillo

    Graduate of the Faculty of Fine Arts of the Polytechnic University of Valencia. Madrid, Spain-based designer of the fat didone display typeface 1994 (2017). Its design is based, according to Bonillo, on Pistilli Roman (John Pistilli) and Paris Pro (Moshik Nadav). [Google] [More]  ⦿

    Eric de Berranger

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

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

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

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

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

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

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

    Klingspor link. FontShop link.

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

    Eric Schmitt
    [RichyType]

    [More]  ⦿

    Erik Bertell
    [Erik Jarl Bertell]

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

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

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

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

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

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

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

    Typefaces from 2020: Laurel (by Teo Tuominen, Emil Bertell and Erik Bertell: a 4 style sans with amnay wedge elements), Resolve Sans (by Teo Tuominen, Emil Bertell and Erik Bertell: an extensive grotesk super family of 124 fonts: from compressed to extended, thin to black), Rockford Sans (2020: an 8-style geometric sans with large x-height and slightly rounded corners; Emil Bertell, Erik Bertell and Teo Tuominen), Walden (a heavy rustic serif typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Klik (a geometric sans family with Bauhaus influences, by the dynamic trio of Emil Bertell, Erik Bertell and Teo Tuominen).

    Typefaces from 2021: Imagist (a 12-style sharp-edged serif by Emil Bertell, Erik Bertell and Teo Tuominen), Alonzo (a 24-style Peignotian sans by Emil Bertell, Erik Bertell and Teo Tuominen), Maine (a 12-style modernized book antiqua by Emil Bertell, Erik Bertell and Teo Tuominen), Lagom (a 16-style slab serif with some Clarendon charm; by Emil Bertell, Erik Bertell and Teo Tuominen), Wonder (a 12-style rounded serif in the style of Windsor; by Emil Bertell, Erik Bertell and Teo Tuominen), Grand Cru (a refined serif family with 36 styles; by Emil Bertell, Erik Bertell and Teo Tuominen).

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

    Erik Biebinger

    Trier, Germany-based designer of these typefaces: Arktiz (2015), Tullius (2017: a weathered all caps didone). [Google] [More]  ⦿

    Erik Jarl Bertell
    [Erik Bertell]

    [MyFonts] [More]  ⦿

    Erik Spiekermann
    [What makes a good typeface?]

    [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). Developed jointly with Christian Schwartz and Josh Darden.
    • Bosch Sans and Bosch Serif (2004).
    • The SeatMeta family (2003) for Seat.
    • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
    • A Volkswagen company family based on a correction of Futura.
    • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
    • Tech (2008, FontStruct), a rounded squarish headline face.
    • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. Open Font Library link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. CTAN link. Google Web Fonts download page. Google web Fonts published Fira Sans Condensed (2012-2016) and Fira Sans Extra Condensed in 2017.
    • In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.
    • In 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.
    • In 2022, Erik Spiekermann, Anja Meiners, and Ralph du Carrois published the neo-grotesque superfamily Case at Fontwerk. It includes Micro and Text subfamilies.

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

    FontShop link.

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

    Erik van Blokland
    [LettError]

    [MyFonts] [More]  ⦿

    Erika Mendez Liceaga

    During her studies in Monterrey, Mexico, Erika Mendez Liceaga created the didone typeface Blonde (2016). [Google] [More]  ⦿

    Erin Meekhof

    As a student at Maryland Institute College of Art, Baltimore, MD-based Erin Meekhof designed the didone Cyrillic typeface Shamshyna (2016). Behance link. [Google] [More]  ⦿

    Ermin Mededovic
    [Lettermin Type Foundry (was: Ermin Design)]

    [MyFonts] [More]  ⦿

    Esquivel Type foundry (was: Aeasea Type Foundry)
    [Raul Esquivel]

    Raul Esquivel is a designer, illustrator and photographer in Los Angeles, CA. He founded Aeasea Type Foundry in 2014 and Esquivel Type foundry in 2015 and sells his typefaces via Creative Market.

    Typefaces from 2014: Isomoth Pro, Knell (a hand-drawn art deco-styled poster face), Goodway Slab, Fissure, Metros (a geometric sans family with two free weights).

    In 2015, he made the didone-style typeface Wolf Shadow, the slab serif Bark Slab, and Bowie Sans.

    Typefaces from 2017: Leonidas (vintage, almost wood type, all caps typeface family), Legion. Creative Market link. Newer Creative Market link. [Google] [More]  ⦿

    Esteban Estomba

    Graduate from FADU, University of Buenos Aires, who created the didone typeface Heavyink (2008). [Google] [More]  ⦿

    Etcetera Type Company (or: ETC; was: Finck Font Co)
    [Tyler Finck]

    Graphic designer and musician (b. 1982) at the New York studio AWP who grew up in Maine and is currently based in Ithaca, NY. In 2018, he founded Etcetera Type Company, which is based in Spencer, NY.

    His typefaces:

    • The fat counterless caps typefaces Blackout and Blackout Midnight (2008). Blackout Sunrise (2013) is an outlined face and Blackout 2am is a reversed font. Blackout Noon followed in 2014. Free download of Blackout at the League of Movable Type.
    • Ostrich Sans (2011). This typeface comes in many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed by the layered monoline sans typeface family Ostrich Proper (+Inline).
    • Knewave (2011, Google Web Fonts). A brush signage face. League of Movable Type link.
    • Porter Sans (2013). A large wide headline type family. It has a free inline outline weight. Later additions include Porter Sans Ink (2014) and Porter Rough (2016). Porter FT, which includes new rounded styles, was added in 2017.
    • Elm (2013). Hand-printed.
    • Lickety Split (2013). A crayon or brush face.
    • Almost (2013). A poster typeface.
    • Guilder (2011-2013). A free typeface family with an inline thrown in.
    • Ithaca Sans (2013).
    • Fartlek Sans (2014). A handcrafted poster typeface.
    • Katahdin (2014). A free font.
    • Upstater (2014). A a classical American gothic with shaded and layered styles.
    • Grandstander (2014). A comic book face. Grandstander Classic (2017). In 2020, Grandstander became a free Google font---and a two-axis variable font was added for the occasion.
    • Boo City (2014). A pixel face.
    • Didactic Display (2014). A grungy typeface.
    • Upstater Ink (2014). A grungy typeface.
    • Finck32A (2014).
    • Saturnight (2014). A heavy brush typeface.
    • Typocopia (2014). A letterpress emulation typeface.
    • Taurus Mono (2014). An outline font.
    • Southpaw (2014). A nice informal hand.
    • Chawp (2014). A crayon face.
    • Mr. Brunch (2014). A brush face.
    • Gluten FT (2014).
    • Flabbergast (2015). A didone.
    • Korsque (2015). A layered typeface.
    • Bico (2015). A rounded condensed organic typeface.
    • Ichabod (2016). An antiqued serif typeface.
    • Altitude Condensed (2016).
    • Imbue (2016). A condensed didone poster typeface (also called a skyline typeface) at Google Fonts. See also Imbue FT (2017). ETC Imbue (2019) is a variable font version of Imbue with a variation in optical size from Text to Display.
    • Retrograde (2016). A monoline and monospaced organic sans.
    • Plainview (2016). A squarish and fat typeface.
    • Nonesuch (2016). A condensed sans.
    • Juju (2016). An octagonal layered typeface family.
    • Atiga (2017).
    • Mr Brunch FT (2017). A children's book font.
    • League Mono (2017). A free font.
    • ETC Gluten (2018). An organic font family.
    • ETC Epilogue (2018). A variable sans font. Github link. Google Fonts link. Prologue (2020) is a reworking of ETC Epilogue.
    • ETC Anybody (2018-2020). A 72-style variable font with weight, width and slant axes. Free at Google Fonts. He writes: Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. Github link.
    • Furrow (2018). A grungy sans.
    • Cease (2018). A squarish techno typeface.
    • ETC Trispace (2019). A variable font with weight and width axes, based on League Mono.
    • ETC Tourney (2019). A variable octagonal font, playing on the theme of outline versus inline. Free Google Fonts download (2020-2021). Github link.
    • Struthio (2019). A rounded sans.
    • Birdo (2020). An inline typeface.
    • Gluten (2021). A free script font family at Google Fonts.

    Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. YWFT link. Old home page. Behance link. Github link. [Google] [MyFonts] [More]  ⦿

    Ethan Nakache

    French type and graphic designer who graduated has a Bachelor's degree in graphic and type design from ENSAV La Cambre, Brussels (2019). Designer of Sprat (2020), an 18-style variable font with two axes (width and weight) that was inspired by Eric Gill. It features long sharp serifs and high contrast between thin and thick. Free download.

    Other typefaces from 2019 and 2020 include the architecturally inspired Structa and the decorative text typeface Talona, which is rooted in Didot. Github link. Type Department link. Fontsquirrel link. Use Modify link. [Google] [More]  ⦿

    e-Types

    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:

    • Jonas Hecksher: Cendia (1997), DenmarkSerif (1998), Mega (1999), Olic (1999), Point Sans (1999), Point Serif (1999), Underton (1998), Movie (2001, a very black sans), iD:00 (2001, a sans), Fletch (1998, a sans), DeLuca (Bodoni-like, 2001), NinetySix K (2001, a serif).
    • Jens Kajus: Premiere (2001, a sans).
    • Rasmus Koch.
    • Rasmus Drucker Ibfelt.
    • Marie Lübecker.
    • Adrian Täckman.
    Jazz is a free font of the month at TypOasis. Press won an award at the TDC2 2003 competition. In 2006, they open a sub-foundry called Playtype. Alternate URL. Types at Playtype are shown without mention of who the designers are---here is a list as of 2007: Access (sans), Access Code, Bingo Sans and Serif, Bon (pixelish), Cable, CVendia, Contribute, Danmark Serif and Book, Deluca (roman), Fletch (sans), GT (sans), iD:00 (Sans, Serif and Slab Serif), Italian Plate, Julius, Laura, MDD, Mega+ (sans), Millton (sans), Movie (condensed headline sans), New-Press (heavy slab serif), Ninetysix K (sans), Point (Mono, Sans and Serif), Premiere (sans), Symphony (roman), Primo Sans and Serif, Press Sans and Serif, Trood (octagonal), Underton Sans and Serif, Zetta Sans and Serif. [Google] [More]  ⦿

    Eugen Nerdinger

    German type and graphic designer (b. 1910, Augsburg, d. 1991, Augsburg) who created this text family in 1945. Coauthor with Lisa Beck of Schriftschreiben Schriftzeichnen (1977, München) and Kalligraphie (1988, München). Older texts by him include Alphabete (1974, München), Zeichen, Schrift und Ornament (1960, Callwey, München), and Buchstabenbuch (1954, Callwey, München). Nerdinger was active in the German resistance against the Nazis and was arrested in 1942 by the Gestapo and convicted to three and a half years of prison and forced labor. After the war, he worked chiefly at the Augsburger Kunstschule.

    One of his alphabets led to Lola (2013, Laura Meseguer). The workhorse Newbery Sans Pro (2018, Alejandro Paul) and the skyline didone Rigatoni (2017, Alejandro Paul) are also based on Nerdinger's examples. [Google] [More]  ⦿

    Eugene Moklyak

    A designer in Moscow who created a hairline Cyrillic didone typeface called Apple (2011). In 2006, he graduated from the Faculty of Design and Fashion. [Google] [More]  ⦿

    Eugenijus Paulauskas
    [Naujas Vytis]

    [More]  ⦿

    Eunsung Do

    During her studies at the School of Visual Arts in New York, Long Island City, NY-based Eunsung Do created Fontissimo (2014, a Peignotian typeface) and Ink (2014, a plump didone typeface). In 2011 and 2012, she studied interior design at Kookmin University in Korea. [Google] [More]  ⦿

    European Computer Modern fonts (EC fonts)

    Joerg Knappen and Norbert Schwarz developed this metafont family. [Google] [More]  ⦿

    Eurotypo
    [Olcar Alcaide]

    Institute in Benalmadena, Spain (was: Santa Severa), where one can take 4-week courses at 1450 Euros a shot on the Etruscan alphabet, Trajan, Cuadrata and Rustic Roman Capital letters, and related subjects. They also organize lettering tours in Italy and guided tours in various musea. The teachers are Alberto Di Santo (Professor of the visual communication, Tor Vergata University, Rome; Professor of Graphic Design, Istituto Europeo di design, Rome; Professor of editorial design, La Sapienza University, Rome; Professor of Typography, C.F.P. Sinalunga, Siena) and Olcar Alcaide (b. 1952, Argentina, Professor of Graphic and Typography Design, University of Buenos Aires; Professor of Typography, University of Lanús, and Professor of Graphic Design, Marbella Design School, Spain). Type link jump page.

    Eurotypo is also the foundry of Olcar Alcaide.

    Catalog of Olcar Alcaide's typefaces.

    In 2010, he published the text family Antium and the warm signage typefaces Mijas Ultra and Lila Pro Heavy.

    Typefaces from 2011 include Lila pro, Atenea (a humanist sans family), Agerola Script (a fat flowing signage face), Teja (signage face), Zalea (yet another signage face), and Nabu Pro (a connected signage script). Equalis (2011M, with Juan Lavalle) is a monoline slab typeface with a huge x-height and wide open counters. It was followed by Equalis Stencil (2011). Ravel (2011) is a fat signage script face. Atenea Egyptian (2011) is a solid slab serif family. Berta (2011) is a signage brush typeface with connected and unconnected versions. Optic Art (2011) is an ornamental typeface with building blocks that can be used for overlays. Creator of Eurotypo Bodoni Bold (2011).

    Typefaces from 2012: Cubus (dingbats), Saxo Deco (art deco), Moliere (2012, an elegant didone family with outspoken ball terminals), Melon Script (a fat curvy signage script family), Riky (comic book family), Chipa (a signage and package design script), Heket (an expressive curly script), Lenga (a slab serif typeface family), Mikal (brush script). Duktus is a 1940s style script in the style of Donatello (1935, Wagner & Schmidt), Troubadour (1927, Wagner & Schmidt), Liberty Script (1927, Willard T. Sniffin), Trafton Script (1933, Howard Allen Trafton), and Coronet (1937, R.H. Middleton).

    Picture.

    Typefaces from 2013: Dignus (influenced by Bank Gothic and Eurostile), Bague (old Dutch style with little contrast, in the style of Jan Van Krimpen), Lugo (a heavy signage or advertising script), Brittes (copperplate script), Talis (contrast-rich sans family), Fiesole (display family with an awkward back-curled lower case d), C Duflos (after a bâtarde coulée by Claude Duflos, a French engraver who was acitve around 1690).

    Typefaces from 2014: Talks (creamy signage script), Fiume (calligraphic script), Predy, Daevon (copperplate script), Beily (letterpress style), Ritts (a heavy script-like display family), Ritts Cursive (in the style of the brush signage scripts descending from Robert E. Smith's Brush Script for ATF in 1942).

    Typefaces from 2015: Valentia (a semi-copperplate calligraphic script followed by Valentia Condensed in 2016), Stabia, Digatte Quill (connected script), Digatte (connected monoline cursive script).

    Typefaces from 2016: Duero (signage script), Turia (calligraphic script), RRollie (a lapidary typeface based on the roman inscriptions), Valentia Nit (a copperplate typeface enriched with swashes and extensions).

    Typefaces from 2017: Citix (a great calligraphic / penmanship script), Citix Two Condensed, Alfabetica (humanist sans), Merick.

    Typefaces from 2018: Fortezza (a stiifened didone), Portoluce, Hotdogger (a cursive brush font family), Hotdogger Extras (dingbats), Favarotta, Vikive (a grotesque family), Aretino (a renaissance text typeface), Mirabella, Lectio.

    Typefaces from 2019: Palio (a condensed tall didone), Fractus (blackletter), Blackduck (blackletter), Sgraffio (copperplate script).

    Typefaces from 2020: Eolia A (a 12-style low contrast grotesque typeface), Breda (a 12-style geometric sans), Breda Two (six additional condensed styles), Marcus Traianus (in the Trajan style, with lowercase included as well), Eurotypo Sans, Eurotypo SII, Eurotypo BKL (a Baskerville-inspired family), Cannoli (a retro brush lettered signage script).

    Typefaces from 2021: Zornale (a 7-style text family inpsired by the Zornale, an original manuscript that contains a daily record of the books acquired by the Venetian bookseller Francesco de Madiis, between 1481 and 1488), Alacant (a 14-style slab serif with elliptical shoulders), Tre Giorni (a carefully designed script in solid and outline styles), Due Giorni (a rhythmic calligraphic script), Sagasti (a text typeface with straight serifs), Calcis (a 10-style sans), Rufolo (an 8-style lapidary typeface influenced by Robert Hunter Middleton's Stellar (1929), William A. Dwiggins' Albertus (1932) and Hermann Zapf's Optima (1952)).

    Typefaces from 2022: Zornale Title.

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

    Eva Barabasne Olasz
    [Digital Typeface Studio (was: Evas Unique Fonts)]

    [More]  ⦿

    Eva Frey

    Eva Frey (Vienna, Austria) created Rotonda Roman (2013, a serifless didone), and Rotonda Text Sans and Serif (2013). She studied at the New Design University Sankt Pölten, from 2010 until 2013. [Google] [More]  ⦿

    Eva Yarza Hilario

    London-based designer of the minimalist monoline sans typeface Plastic Crowds (2013, with Marta Yarza): Inspired by old cinema marquees and by the 60s advertisements of NASA, we created this unique upper case typeface for the art collective Plastic Crowds. In 2014, she added Orchid (2014), a ball terminal typeface influenced by didone fat typefaces. She was also involved in the design of a custom typeface for the Banh Mi 11 store in London, together with Sam Phong Nguyen and Sergio Tatoli. She also co-designed Japanica (2014, a free experimental Asian simulation typeface, with Marta Yarza).

    Home page at Universidad Complutense de Madrid. [Google] [More]  ⦿

    Evan Pittson

    New York City-based designer of Harvest Display (2015: an Italian art deco-inspired geometric sans typeface) and Orbit Display (2015, an all caps fashion mag didone typeface). It seems that Harvest Display was renamed Precita after one day. In 2017 he designed Meca. [Google] [More]  ⦿

    Evgeny Zotov

    Russian designer of the elegant Latin / Cyrillic script typefaces Elza (2012, a revamping of Elzevir), and Cheldon (2010) and of a cyrillized version of Walbaum. Zotov lives in Krasnoyarsk. In 2014, he designed the signage / packaging font Label Food.

    Behance link. [Google] [More]  ⦿

    Evolutionfonts
    [Bobby Nikolaev Marinov]

    Bobby Nikolaev Marinov (Evolutionfonts, est. 2010, Sofia, Bulgaria) designed Sofia City (2011, a decorative hand-drawn family), Dimitrina (2010, informal sans typeface redesigned in 2012) and Smallstep (2011, Peignotian).

    In 2012, he created the didone-based signage script family Alecko [Alecko Plain is free], and the rounded typeface Boffin: A simple little typeface for all things technical. A faux monospaced, semi-serif with rounded corners that you will never forget. The name comes from a British slang word that means "tech-savy person". Or simply "nerd".

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

    Ewa Glowacka

    Polish designer. At Typeclinic 12th International Type Design Workshop, she created Canterel (2016), a didone typeface. [Google] [More]  ⦿

    Extratype (was: Textaxis)
    [Iñigo Jerez Quintana]

    Textaxis was Spanish/Catalan foundry run by Barcelona-based Iñigo Jerez Quintana since 1995. In 2015 it was renamed Extratype. Iñigo Jerez's beautiful typefaces include Eina (2013, first designed as a corporate typeface fpr the EINA school in Barcelona), ASM (2013, Type O Tones: ASM stands for the Santa Monica Arts cultural center in Barcelona, where the monospaced typeface ASM has been in use as the custom typeface from 2008 onwards), Poster (2013, plus Display and Monster styles: a fat excessive didone family published by Type O Tones), Scozia (2011, didone), Amy, CX Type, School (fat octagonal face), Hidalgo, 112 Type, Point (2011, rounded typewriter family), Papers (2011, a fat fashion mag didone display family), Slim (2011), Batin (2005, neat garalde family), Palo (2000), Dinamo (1999), Oneline (1998), On Serif (2001), On Sans (2001; with On-Serif, a winner at Bukvaraz 2001), Blok (2004, poster face), Blak (heavy version of Blok), Track (2004, octagonal), Plus (2004, octagonal), Bonus (2004, ink trap face), Interfunktionen (2004, old typewriter), SuiteSerif (2003), Xquare (2003), Interpol (2002), Maeda (2002), Luomo (2002), Borneo (2002), Suite (2001), Self (1999, sans family), Valeria (1997, liquid serif), Inercia (1995, a rounded organic sans done at Garcia Fonts), Latina Sans (1998, a winner at Bukvaraz 2001), Latina Serif (1998), Textaxis (2000, sans).

    Typefaces either made or extended in 2015 when the company was renamed Extratype: ASM (an industrial monospaced sans: ASM stands for the Santa Monica Arts cultural center located in Barcelona where ASM was the corporate typeface from 2008-2013), Blak (a chubby typeface originally designed for the now defunct magazine Suite), Poster (a fat face family, i.e., with ultra-black didone excesses and high contrasts).

    In 2020, he released the 56-style text family Chamberi (co-designed with Francisco Torres) and wrote: ChamberĂ­ is designed to be Vogue Spain's bespoke typeface. An ambitious typographic branding project made for one of the most iconic magazine headers of the world, it defines the Spanish edition's personality through a blending of the functionality of 19th century modern romans (also known as Scotch typefaces) and the gestural expressiveness of typographic Baroque. Chamberi is a peculiar combination of the rational and the delicate, the sturdy and the feminine. It is offered in Text, Headline, Display and (fashion mag) Super Display sub-families.

    Suite won an award at the TDC2 2003 competition. His Quixote text family (2005) won an award at TDC2 2006 and at Tipo-Q.

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

    Eyetype / Typestation
    [Fadhl Waliy Haqq]

    Fadhl Waliy Haqq (hailing from Surakarta, Indonesia) ran Alternatype, Akutype and Akufadhl before setting up Eyetype and Typestation. At Eyetype, he published the didone variant Bunta (2018-2019, with Cesar Araya). In 2018, Fadhl designed Mustache, Thick, Solution and Quick On (MyFonts mentions that Roiyani Teungku designed this).

    At Typestation, he published Rapido (2019).

    A 2019 font reportedly by Roiyani Teungku at Eyetype is Platanos (a signage script). Also in 2019, we find Bandet which was originally designed by Ayi Teiry in 2017.

    Typefaces from 2020: Agustrush, Bettylavia (a rabbit ear script), Kentrell Scripts (also by Ayi Teiry).

    Typefaces from 2022: Kingswell (a thin handwriting font). [Google] [MyFonts] [More]  ⦿

    Eyho

    Plenty of Turkish fonts here: CrazyCreaturesBold, CreepyRegular, DavidaBoldBT-Regular, GalleriaPlain, IglooLaser, MilanoLet, PioneerITCbyBT-Regular, TurkmenBodoni, TurkmenCoopertino (1995, Murad Khadjiew), TurkmenDecor, TurkmenHelveticaNormal (1994, Vagif Zeynalov), TurkmenJikharev, TurkmenParkAvenue-Normal (1995, Murad Khadjiew), TurkmenParsek, TurkmenStandardPosterC (1995, Murad Khadjiew), TurkmenTimesNormal (1994, Vagif Zeynalov). [Google] [More]  ⦿

    F37 (or: Face37)
    [Rick Banks]

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

    • F37 Xan (2010). A counterless geometric typeface based on a geometric solid typeface from 1925 by André Vlaanderen.
    • F37 Form (2010). A mimimalist circular experimental (Bauhaus?) font. He writes about Form: After looking at Armin Hoffman's Die Gute Form poster and Herbert Bayer's universal typeface I constructed an alphabet based on their letterforms. Inspired by Wim Crouwel's Soft Alphabet, I constructed a grid to create the modular alphabet and programmed very tight letterspacing into the font lending itself to the style of Die Gute Form.
    • F37 Bella (2011). An extremely contrasted didone display typeface. He says that he was influenced not only by Didot, but also by Pistilli and by Tschichold's Saskia. F37 Bella won an award at TDC Tokyo 2012. See also F37 Bella Pro (2020), in Text, Hairline, Stencil and Display substyles.
    • F37 Ginger (2013). A Swiss geometric sans inspired by the work of Herb Lubalin, Jan Tschichold and Paul Renner. The customized version of F37 Ginger, Boots Sharp (2019), was commissioned by Coley Porter Bell and True Story as part of an extensive rebrand. F37 Ginger Pro was released in 2019.
    • F37 Neue Grotesque (2013).
    • F37 Stencil Bella (2013).
    • F37 Glaser Stencil (2015).
    • F37 Bolton (2016). A sans family influenced by the style of Berthold's G.G. Lange.
    • F37 Jan (2016). Inspired by Jan Tschichold's geometric sans-serif and Matthew Carter's Bell Centennial font, F37 Jan features pronounced ink traps.
    • F37 Jagger (2017). A sans inspired by Edward Johnston's London Underground font.
    • F37 Bergman (2017). A Peignotian typeface family that revives a revival Hans Möhring's Florida typeface. The Swedish director Ingmar Bergman consistently used Florida in his films.
    • BHF Beats (2018): Working alongside Wolff Olins we were comissioned to create the new font for the British Heart Foundation. The letterforms are based on their iconic logo featuring waves of a heart beat.
    • F37 Bobby (2018). A warm text typeface.
    • F37 Ping Pong (2018). A 1970s style dot matrix font that was inspired by the 1970s Letraset font Pinball created by Alan Dempsey.
    • F37 Factory (2019). Named after Andy Warhol's The Factory in New York City, F37 Factory was inspired by stencil letters etched into marble in what was once a Hovis flour mill in Ramsgate. That building was designed by E. W. Pugin. F37 Factory was originally conceived for a commercial development project for Want Marketing and commissioned by London design studio Bold & Bold.
    • F37 Judge (2019). Banks's take on DIN and old wood types.
    • F37 Moon (2019). Influenced by Avant Garde and Futura, in 14 styles.
    • F37 Flux (2019). Experimental and intestinal.
    • F37 Neuro (2019). A Swiss sans family.
    • F37 Beckett (2020). A sans based on British road signs from the 1930s. F37 Beckett pays homage to the British Ministry of Transport's 1933 alphabet.
    • F37 Stout (2020). An octagonal family base on a letterpress font called Stoutheart.
    • F37 Gruffy (2020). A grotesque.
    • F37 Hooj (2020). A geometric sans family.
    • F37 Wicklow (2020). A 24-style wedge serif inspired by the Gaelic letter carvings by Irish sculptor Michael Biggs in Dublin. It includes a set of stencil fonts as well.
    • F37 Snake (2020). an octagonal industrial stencil typeface inspired by John Carpenter's film Escape From New York.
    • F37 Caslon (2020). He explains why the world needs another Caslon: F37 Caslon is our personal take on a stone-cold classic. Originally designed by William Caslon in 1726, this old-style serif has fascinated typographers ever since. Over the years, the font has been tweaked, reworked, modernised, pulled, stretched, squashed and embellished, as successive generations have created their own versions of Caslon, particular to their times and tastes. We have taken the best of these seminal Caslon revisions to create our own super family in a huge range of weights and styles. Our cut features a tall x-height, old-style numerals, capital italic swashes, ligatures and discretionary ligatures.
    • F37 Grotesc (2021). Inspired by Pica Sans.
    • F37 Attila (2021). A sans serif is inspired by Albert Auspurg's Krimhilde (1933).
    • F37 Drago (2021). A serif typeface based on Columbus (1892).
    • F37 Wyman (2021). F37 Wyman is based on lettering work created by graphic designer Lance Wyman in 1976, which was commissioned as part of the graphic identity marking 200 years of American Independence.
    • Corporate typefaces include Dunlop Sans, F37 Selfridges (=F37 Bella), F37 Avid (=F37 Ginger), Pamela (for Foilco), F37 Zip (for the hotel chain), Pizza Pilgrims, Dar Headline (octagonal), Lloyds Bank (icons).
    • F37 Lineca (2021). A fifteen-weight geometric sans with a strong emphasis on the horizontal.
    • Ocado (2021). A custom sans done for a grocery company.
    • Stonewall (2021). A sans font for Stonewall, a cmpany that has championed a world where LGBTQ+ people everywhere are free to be themselves and enjoy life fully.
    • F37 Incise (2021). A heavy, experimental display font, inspired by stone cutting.

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

    Fábrica de tipos
    [Vicente Lamónaca]

    Uruguayan foundry, est. 2011, which also acts as an open forum and blog, on which active participation is welcomed. Their first fonts (which used to be at TipoType) are both by Vicente Lamónaca. They are

    Other fonts in progress: El Tano (2011, a delightful and funky didone experiment by Lamónaca). Rodolfo Fernández Alvarez (who is from Montevideo, Asunción and Málaga) developed EzquerraCursiva (2010), a brush and signage face, based on the work of anarchist painter and letterer Francisco Ezquerra, who was active in Uruguay from ca. 1950 until ca. 1970, after fleeing Spain before World war II.

    View Vicente Lamonaca's typefaces. [Google] [MyFonts] [More]  ⦿

    Faberfonts
    [Frank Béla]

    Frank Béla (b. 1978, Orosháza, Hungary) is a graphic design student at Krea Art School in Budapest who uses the pseudonym Fabergraph. Home page. Blog. In 2010, he started out commercially as Faberfonts. Dafont link. Behance link. Klingspor link.

    He created the ink trap font Portrait Of A Lady (2009), FR Irisz (2009, didone family), Pontifex (2009), the hand-printed Munkácsy 1120 (2009), the unicase Reka Sans (2009), the thick-thin Azur (2009), the simple sans Babyface (2009), the medieval sorcery font Elmulas (2009), the Valentine;s Day font Sapet (2009), the avant garde sans family Hopper Sans (2009) and the ultra-fat typeface Rendezvous (2009). Callimachos (2009) is a fun triple-lined hand-printed headline typeface (with a Cyrillic version added in). Azur Title Font (2009) is a hairline slabbed typewriter type. Pasta Simpla (2009, followed by FR Pasta Mono in 2010) is another experimental jewel. Hobbista (2009) mixes symbols and glyphs. FR Rama Nous (2009) is a free modular font. In 2009, he also made Arrow, Enamel Paint Type, Belonging (Roman caps).

    Commercial fonts made in 2010: FR Unalom, FR Sniccer (stencil), FR Ceruza, FR Minta (a dingbat typeface to make labyrinthine patterns; +Two), FR Tabula (beveled face), FR Smaragdina, FR Mintry One and Two (pattern fonts), and a custom alphabet for Esquire Russia, FR Hopper (monoline sans family).

    Activity in 2011: A didone-inspired typeface called MFA Dagi that was was commissioned for a catalog of an exhibition at The Museum of Fine Arts (Budapest, Hungary). [Google] [MyFonts] [More]  ⦿

    Fabian De Smet

    French graduate of ESIAJ (Albert Jacquard), class of 2014, who works in Brussels. In 2015, he designed the (great!) free 14-style typeface family Butler, which was influenced by Bodoni and Dala Floda, and includes great styles for use in fashion magazines and on posters, in addition to several stencil styles. Open Font Library link. [Google] [More]  ⦿

    Fabiano Procopio

    Piracicaba and/or Sao Paulo, Brazil-based graphic designer who created the decorative high-contrast fat face didone Coltrane in 2014 and the Coltrane Display v2 in 2016. These typefaces are no longer available. [Google] [More]  ⦿

    Face Type
    [Marcus Sterz]

    Austrian foundry located in Vienna, est. in 2008 by Marcus Sterz (b. 1971) and Andrej Waldegg. MyFonts link. Unless exlicitly mentioned, all typefaces are by Marcus Sterz. You Work For Them link.

    • Adria Grotesk (2013). This was followed by Adria Slab (2014).
    • Aldrans (2009, minimal sans).
    • Anymals (2008) is one of my favorites: it has dingbats of imaginary undersea monsters.
    • Asimov (2009). What is this?
    • Baustelle Thin (2009, hairline sans).
    • Bikra (2010, Plain and Stencil).
    • Blitzplakat (2009). A poster face, white on black.
    • Darjeeling (2010) is a display family inspired by both Optima and Bodoni.
    • Doll (2008), Dollbats (2008).
    • Flint (2008). A hand-drawn squarish face.
    • Gerber (2009, pixel face).
    • Grafinc (2009). An ultra fat art deco. See also Grafinc Rounded.
    • Hausbau (2009, experimental).
    • Idrans Medium (2010). A poster face.
    • With Georg Herold-Wildfellner, he created the Victorian family Ivory in 2009.
    • Letterpress (2009) is an experimental grungy family in which he mixes glyphs of three classics, Jakob Erbar's Phosphor (Ludwig&Mayer Foundry, ca. 1923), Aurora (1912, Johannes Wagner Foundry) and Permanent Headline or simply Headline (Karlgeorg Hoefer).
    • Lignette Script (2011) is an extensive loopy monoline script font.
    • Loki (2009). A decorative pixel family.
    • The Marlowe family (2010) is pure art deco elegance---a play on geometric forms and elegance. Subfamilies include Marlowe Cocktail and Marlowe Swirl.
    • Moki (2011).
    • Mono Lisa (2020) by Marcus Sterz, in collaboration with programming experts Andrey Okonetchnikov and Juho Vepsäläinen. A commercial programming font to compete with Fira Code, Source Code, and Jetbrains Mono.
    • Motto (2009). An art deco typeface in the style of the Italian Futurismo of the 1920s, designed for using with two colors.
    • Mouse (2008-2009, pixel), Mousedings (2008).
    • Newcastle (2014).
    • Notdef (2009). A strange experiment.
    • The handwriting typeface Palma (2008).
    • Pinback (2009, techno).
    • Plaquette (2018). A collection of retro typefaces ranging from Victorian to Bauhaus to the sixties.
    • Publica Sans (2016). A clean geometric sans typeface family. Publica Play (2016) is a playful, and even more organic, sans that exploits many OpenType features. Publica Slab (2017) and Publica Sans Round (2021) complete the collection.
    • Scrap Outline (2008).
    • Slug (2009). A geometric typeface made for bicoloring.
    • Status (2009, super fat art deco).
    • Strangelove Next and Strangelove Next Slab (2010). This beautiful typeface was inspired by Stanley Kubrick's movie Dr. Strangelove. The original titles were designed by Pablo Ferro, who is one of the most acclaimed film title designers, especially famous for his hand-drawn lettering. Dr. Strangelove is a hairline face.
    • Substance (2013). A sans family.
    • Wenzel (2009). Handprinted.

    Facetype's typeface library. See also here. View Marcus Sterz's typefaces.

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

    FactoryType Studio (was: One Dollar Font, Factory 738, Today Pixels)
    [Wahyu Setiya Rahmawan]

    Bali, Indonesia-based designer of the geometric sans typeface family Cleon (2015: a geometric monoline sans), the handcrafted Brook (2015), and the brush script typefaces Kinemon (2015) and Aurora (2015). In 2016, he designed the rounded sans typefaces Reiju, Ichiji and Tony Tony, the handcrafted Jacks Script, Jacks Sans, Buho, Buho Sans, and the pixel family Abeja Tribe.

    Typefaces from 2017: Lovely Pudding (script), Phephe (a modernist arts-and-crafts font), Rouge Sans (rounded sans), Franky, Roger Serif (slab serif), Roger Sans, Moscato Script, Brulee Sans and Brulee Script, Big Mom Sans and Big Mom Script (round printed script).

    Typefaces from 2018: Opera (a 10-font all caps family that includes an inline and a stencil), Smoothie (font duo), Brownie (font duo), Ace Sans (caps only), Ace Serif (slab serif), The Dalmation (textured octagonal caps family), Robin, Bastille (a techno stencil), Django.

    Typefaces from 2019: Michelangelo (semi-stencil), Mike Sans (an 8-style squarish sans), Maya (signature script), Maya Sans, Leonardo Rounded, Leo Sans, Leo SemiRounded, Leonardo.

    Typefaces from 2020: Kinemon, Tony Tony (a condensed sans), Cream Opera (a sans family, including a stencil), Leonardo Sans (geometric, all caps), Benn (a bold squarish typeface family), Beckman (a geometric sans family).

    Typefaces from 2021: Lethbridge Script, Roseau Slab (five weights), Vaughan Pro (a 21-font stylized sans), Tombstone, Castlegar Script, Dubbo (like Cooper Black), Campbell, Brant (a swashy bold serif), Nova Scotia (script), Trail (incised), Ontario Script, Manitoba Script (inky), Alberta Signature Script, Gosford, Redland (a 5-style creamy display typeface), Rockdale (a 5-style luxury serif in the didone genre), Edensor (an 11-style stylish display serif), Alexandria Eschate (a sophisticated display serif), Welland (an 11-style decorative didone), Koldby (11 styles; a descendant of Didot), Maya Duo (a monolinear script), Benn Beckman (an all caps sans family), Trio Smoothie (a sans and script trio).

    Typefaces from 2022: Buche (a 12-style display serif), FTMilky (a vintage display serif; ten styles), King Sans (a 10-style Peignotian sans), Buche (a 12-style display serif), Newgate (a 10-style elephant foot serif). Creative Fabrica link. Old URL for Today Pixels. [Google] [MyFonts] [More]  ⦿

    Fadhl Waliy Haqq
    [Eyetype / Typestation]

    [MyFonts] [More]  ⦿

    Fadhl Waliy Ul Haqq
    [Akufadhl (was: Alternatype, or: Akutype, or: Alterna Type foundry)]

    [MyFonts] [More]  ⦿

    Fail Better

    Barcelona-based designer of a didone typeface called Agnes (2014). [Google] [More]  ⦿

    Faldy Kudo
    [Kudo Creative (or: XD Creative)]

    [MyFonts] [More]  ⦿

    Falstaff

    Falstaff is an English fat face type produced by the Monotype Corporation in 1931 [some say 1935]. Monotype later added the textured party font Falstaff Festival.

    Digital versions: Falstaff (Adobe), Falstaff (Monotype). Later derivations and extensions include two typefaces by Frantisek Storm, Hercules (2001) and Trivia Serif (2012), and Business Lunch JNL (2021) by Jeff Levine. [Google] [More]  ⦿

    Fann Street Foundry / Reed&Fox

    Fann Street Foundry is a defunct London-based foundry, started by Robert Thorne in 1794. It specialized in display types, often Victorian in nature towards the end of the 19th century. The foundry was bought by William Thorowgood in 1820, by Robert Besley in 1849, became Reed&Fox in 1866 and closed in 1906. Its designs passed to Stephenson Blake.

    Fann Street Foundry Reed&Fox (1873, London) is one of their specimen books.

    The Reed and Fox typefaces Viennese and Corinthian were combined in 2014 in Nick Curtis's digital typeface Genever NF. Johannes Lang and Stefan Ellmer revived Viennese in 2013 as Brevier Viennese, and Jason Wolfe reinterpreted it in 2021 in his https://www.wolfehall.com/projects/samuelbradleydam">Bradley Dam (2021). [Google] [MyFonts] [More]  ⦿

    Fannie D

    During her studies in Montreal, Fannie D created the didone display typeface Demice (2015), which is based on Fenice. [Google] [More]  ⦿

    Fat Faces

    Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth century. Called didone in the 1954 the Vox-ATypI classification system---after Firmin Didot and Giambattista Bodoni---, it is characterized by narrow and unbracketed (hairline) serifs, the vertical orientation of weight axes, the strong contrast between thick and thin lines (with horizontal parts thinner), and ball terminals. The beginning of the nineteenth century saw the development of bold lettering for advertizing. Fat faces describe fat didones, which showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively.

    Commercial Type describes them as follows in their promotion of Isambard: In the early years of the nineteenth century, Latin typeface design gained self-awareness and set about trying to exert suasive force. How to harvest attention? How to make a message shout above the clamor of competing messages? How to sell a product? Typefaces grew bigger and bolder, and then almost impossibly inflated. So-called "fat faces" were the first real innovation of the century. They piled weight onto modern serif skeletons until they couldn't shoulder any more. Like balloon animals (or Jeff Koons sculptures), fat faces seem bulky beyond all reason, but their pronounced contrast gives them grace, and they require extraordinary finesse and virtuosity to execute (and to use). They have endured in popular culture, managing to find a niche in every period of graphic design, never not projecting an air of outrageous coolness. [Google] [More]  ⦿

    Fedor Sorokin

    During his studies at the British Higher School of Art and Design in Moscow, Fedor Sorokin designed the modular Bauhaus stencil typeface Ründstük (2012) and Russian Dolls Font (2012).

    In 2013, he published the free typeface Bodonika, a fun dada font, the result of what if Helvetica f u c k s Bodoni? [Google] [More]  ⦿

    Felix Auer

    Felix Auer is an art director, graphic designer and illustrator from Vienna. He graduated from dieGraphische in 2008. Since then he worked together with g-b.at in Vienna, at Twopoints.net in Barcelona, and at gantnerundenzi, Ogilvy & Mather, Himmer, Buchheim & Partner.

    In 2012, Roland Hörmann and Felix Auer co-designed the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis), which was published by Phospho. [Google] [MyFonts] [More]  ⦿

    Felix Bonge

    Felix Bonge (b. Hamburg, Germany, 1982) studied communications design at the Design Department of the Hamburg University of Applied Sciences (HAW) in 2005 under Jovica Veljovic. Since 2012 he teaches type design at the HAW Hamburg and is part of the design studio Allerzeiten. His typefaces:

    • Levato (2011-2012, Linotype). A 5-style low x-height antiqua with calligraphic and didone influences.
    • FF Bauer Grotesk (2014, Fontfont), co-designed by Thomas Ackermann and Felix Bonge. Fontfont writes: FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the Art Deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, Bauer Grotesk stands out for not being so dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval O is a good example of this approach, as are characteristic shapes like the capital M or the unconventional varying stroke endings on the c and s which give them a less constructed look.
    • Faba (2014). Based on his diploma thesis.
    • Allmono, a monospaced font that forms part of the corporate identity of Allerzeiten.

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

    Fenotype
    [Emil Karl Bertell]

    Fenotype, a Finnish type foundry, has the original (often techno) designs of Emil Bertell (b. 1983, Helsinki) and his brother Erik Bertell and wife Kea Bertell. Emil has been studying graphic design at University of Art&Industrial Design in Helsinki since 2004. He designed most of his typefaces during 2001-2004, and works as a freelance illustrator. Behance link.

    Typefaces made in 2002: Disco (prismatic), Lakmus, Valimo, FUTU, Test1, Foton Torpedo, Cheaptype, Personal Computer, Copycut, Unicode 0024, HKI Metro, HKI NightLife, Digital Kauno, Fenotravels (dingbats), Tivoli, Kosmonaut, 10124, JouluFonttiFenotype, Testi, 1laitos, 1120, 0629 (2002, a kitchen tile font), 0927, 0210, FTdingsprevi, Fenotypedings#lego3, Genotype, NeoPangaia, NeoPangaia 2, Nipponblocks, Pectopah, Personalcomputer, Pouttu, Samarin (2002, athletic lettering), Unicode0024, URALphat, URALthin, URAL, URAL3d (all Latin/Cyrillic fonts with incomplete punctuation though), Automania (multiline), Copycut, Halo, 222_2003, Tantor, Letters, Rikos, Lastu, ThreeTheHardWay, Bukkake, Halo. Emil's brother Erik designed Neon (paperclip face), Mama and Mama Round (paperclip typefaces). In private email, he calls himself Carl. The foundry evolved from 2theleft.

    Fonts made in 2003: Military Dingbats, 08 02 03 Fenotype, Projectsfenotype, Rock-it.

    Fonts made in 2004: Scandinavian Titan white, Scandinavian Titan, Acid Test 2, Acid Test (texture typefaces), 080203, Letters11, Linja, Projects, Rock it, Simpletype. Commercial typefaces: Sapluuna, Shortcut, Transeuro-Express, Omega-Uros, Fenotype Dings, Military Dingbats, Nippon Noodle. Typefaces made in 2004: Kolari, Kolari Light, FTfaces, Twisted Ontogenesis. Alternate URL.

    In 2005: RoundAbout, Nihilist Philosophy, Boogie Monster, Chunky Hunk (Western), Diy Typeface (kitchen tile style), Futuretro (stencil-like), 3TheHardWayOverrun, Pedant Dilettante, FT Rosecube, FT Blockbuster, 3TheHardWayRMX, Adios Gringo (Western face), Helsingfurt (3d oil glow face), Cream Soda (liquid), Thashed Paper Bag, Big Medium.

    In 2006: Rock It Deluxe (grunge), Cassette (dingbats), Kings Garden (Japanese trees as dingbats).

    MyFonts link, opened in 2009, where one can buy 080203, 3 The Hard Way Overrun, 3 The Hard Way RMX, Adios Gringo, Depth Charge, FT Helsingfurt, FT Roundabout, FT Scandinavian Titan, FT Twisted Ontogenesis, Ice Cream Soda, Kings Garden, Kolari, Nihilist Philosophy, Old Note, Rock It, November Script, and Majestic Mishmash (ransom note caps), Digital Kauno (2002, upright script), 10.12, EB Vintage Future, Fenotype Dingbats, FT Forest, FT Funghis, FT Military Dingbats, FT Weapon of Choice, Motel Xenia, URAL, Valima.

    Additions in 2010: Linguine (connected script), FT Telegraph (slab serif), FT Brush, FT Industry Machine, FT Giorgio, Killer Elephant (signage), FT Supervisor (ultra-condensed), FT Dead Mans Diary (scribbly), FT Grandpa Script (grunge calligraphy), FT Stamper (angular lettering), FT Tantor (fat, rounded), FT Bronson (fat display typeface with mustache dings thrown in), FT Master of Poster (bi-level display typeface with many ligatures and interlocking letters), FT Hidden Forest (tree dingbats), FT Mammoth (grotesque headline face), Rikos (futuristic), Squarendon Extra Bold (2010, a Clarendon), FT Moonshine Script (a Treefrog style face), Billboard (a hand-printed rounded caps family), EB Bellissimo Display (rounded monoline sans), Malamondo (an all caps display typeface with a large number of interlocking ligatures), Linja (2002 and 2010, a rounded ultra condensed family), Punavuori (2002 and 2010: a monoline sans family), Signor (2010, a rounded all caps family), Mrs. Lolita (connected script), Funghi Mania (mushroom dingbats), Funghi Mania Script, Darlington (very open upright connected script family), Archipelago (+Caps: an upright connected script), Tower (pieces that enable one to modularly construct towers when stacked; created as a school assignment at the University of Industrial Art&Design Helsinki in 2006), Monster (just as Tower but for monsters), Verna (informal face with ball terminals), Verner (2010, a connected script version of Verna), Verner (2010, a connected script version of Verna).

    Typefaces from 2011: Pepita Script (an upright connected script with small lachrymal terminals), Pepito (its nonconnected version), Barber (upright script family), Banzai Bros (a fat caps-only signage face), Mishka (an upright connected script with tear drop terminals).

    In 2012, he created Salamander Script, Taiga (connected upright script), Mercury Script (a set of upright connected script typefaces), Slim Tony (a bubblegum retro signage face) and Mercury Ornaments.

    Typefaces from 2013: No. Seven (a successful brushy signage or baseball script), Alek and Alek Ornaments (an upright signage script), Voyage (a vintage script), Barracuda Script (brushy signage face), Bonbon (signage script), Bonbon Ornaments, Scaramouche (a playful connected script).

    Typefaces from 2014: Larry (sturdy connected script), Silver (upright connected script), Powder Script, Peaches And Cream (creamy signage or baseball script), In and Out (a connected retro signage script), The Carpenter (a script family in the style of Mercury Script).

    Typefaces from 2015: HMS Gilbert (a collection of 14 hand-crfated vintage types), Lager (a signage script family with adaptable swashes and other opentype goodies), Vanilla Shot, Journey (a smooth and elegant vintage script family of four weights and a matching ornament set, packed with alternate characters, and, in Bertell's style, perfect connections between glyphs), Tea Biscuit (signage script), Skipper, Skipper (connected script), Frost (a signage typeface that is just right, a sure award winner), Monday (sign apinting typeface).

    Typefaces from 2016: Jazz Script, Fragola (sign painting font), Syrup (sign painting font), Cosmopolitan (monoline connected script), Bluebell (copperplate calligraphic script), Inkston (vernacular brush script together with the standard handcrafted sans and text styles), Beaujolais (brush script), Black Script (a heavy signage script), Beaujolais (an organic brush script), Cold Brew (signage script), Inkheart (tattoo style).

    Typefaces from 2017: Camper (monoline script, accompanied by Camper Print), Aether Rain (thin script), Thang, Big Fish, Bolton (Bolton Script and Bolton Script, and the degraded Bolton Print pack), Vodka (Slab, Sans, Pen and Brush), Poster Brush, Fresh Press (signage style), Praktika (grotesk), Praktika Rounded, Blossoms, Kitchen (sign painting brush), Letterpress Studio, Takeaway, Aether Rain, Pitcher (baseball script), Karu (a workhorse sans), Bluebell (calligraphic), Roster (signage script), Dog Days, Catsy, Alfons (in Script, Display, Sans, Serif, Tiki, Extras and Ornaments subfamilies), Cosmopolitan (monoline script and sans pair), Snooker (retro signage script), Salty (a creamy brushed signage typeface).

    Typefaces from 2018: Aster Script, Audrey (a monoline script and sans duo), Galatea (a 48-style sans family by Erik and Emil Bertell), Double Porter (an 18-style font collection with scripts, sans, and grunge faces thrown in the mix), Matchstick, Fruitos, Corner Deli (a layerable set of fonts in script and sans styles), Bayamo (a brush script done for Monotype), Sidecar (a connected monoline neon sign script, and a matching sans), Ginger John, Brush Marker, Shirataki (monoline soft pen script), Ash (a crayon font), Breakfast Script, Dallas Print Shop (a display family by Teo Tuominen and Emil Karl Bertell), Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell). Elixir, Maestri (a classical connected scrupt by Teo Tuominen and Emil Karl Bertell), Popcorn (brush script), Cherry (signage script), Goodwater, Signature Script, Kingfisher (a beer botle signage script), Sonder (brush script).

    Typefaces from 2019: Taurus (an all caps logotype family by Emil Bertell, Erik Bertell and Teo Tuominen), Ex Libris (a high contrast flared serif titling font), Riley (a retro sign painting script), Allison Script, Milky (a sign-painting brush script), Portland (a reverse contrast typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Zeit (a transitional text typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Boardwalk Avenue Rough (a monoline script and a weathered all caps sans), Avion (a sans family by Emil Bertell, Erik Bertell and Teo Tuominen), Yes Script, Gainsborough (script), Florian (a roman typeface with crisp edges and some contrast), Vogue Sans (a haute couture all caps contrast sans), Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Chai (an expressive sans / serif hybrid), Rainmaker Script (monoline), Aequitas (a stylish sharp-edged roman typeface family), Tapas (by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Lawrence (a stylish roman typeface), Kallio Brush (a signage brush script), Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Felicity Serif (a juicy bold high-contrast serif), Las Palmas (Brush, Pen, Slab, Condensed), Honey Drops, Explorer, Boardwalk Avenue (a sans/script font duo), Skye (a heavy decorative didone), Leftfield (a retro baseball script), Steak And Cheese, Agile Sans (a humanist sans by Emil Karl Bertell, Erik Jarl Bertell, and Teo Tuominen), Punk Rocker, Silverline, Perfume (Pen, Brush and Sans), Hops And Barley, Allison.

    Typefaces from 2020: Laurel (by Teo Tuominen, Emil Bertell and Erik Bertell: a 4 style sans with amnay wedge elements), Omnipop (Sans, Brush, Script), Paper Tiger (a Victorian Script accompanied by a condensed flared serif in two weights and a chunky sans serif), Resolve Sans (by Teo Tuominen, Emil Bertell and Erik Bertell: an extensive grotesk super family of 124 fonts: from compressed to extended, thin to black), Gambler (a 14-style display type collection), Rockford Sans (2020: an 8-style geometric sans with large x-height and slightly rounded corners; Emil Bertell, Erik Bertell and Teo Tuominen), Slacker (a brush script), Grand Atlantic (a vintage display package), Magnolia (Brush, Serif), Walden (a heavy rustic serif typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Klik (a geometric sans family with Bauhaus influences, by the dynamic trio of Emil Bertell, Erik Bertell and Teo Tuominen), Rose Garden Deluxe (a font duo), Felicity (a heavyweight display sans).

    Typefaces from 2021: Alonzo (a 24-style Peignotian sans by Emil Bertell, Erik Bertell and Teo Tuominen), Imagist (a 12-style sharp-edged serif by Emil Bertell, Erik Bertell and Teo Tuominen), Maine (a 12-style modernized book antiqua by Emil Bertell, Erik Bertell and Teo Tuominen), Briston (a bold creamy serif in the Windsor genre), Lagom (a 16-style slab serif with some Clarendon charm; by Emil Bertell, Erik Bertell and Teo Tuominen), Skillet (a chubby Cooper Black-genre typeface full of hedonism and joie de vivre), Kings Valley (a decorative serif), Shaker Script (monolinear), Wonder (a 12-style rounded serif in the style of Windsor; by Emil Bertell, Erik Bertell and Teo Tuominen), Ellie Script (a signature script), Dirty Sundae (a casual font), Grand Cru (a refined serif family with 36 styles; by Emil Bertell, Erik Bertell and Teo Tuominen), Kiosk (a 4-style vintage headline typeface family in Script and Sans versions).

    Typefaces from 2022: Blood Orange (in the Cooper Black / Windsor / Souvenir genre), Tomato Ketchup (supermarket kitsch in the fat rounded Windsor genre).

    Dafont link. Behance link. Creative Market link. MyFonts interview.

    View the Fenotype typeface library.

    View Emil Bertell's typefaces. [Google] [MyFonts] [More]  ⦿

    Fernando Haro

    Las Palmas de Gran Canaria, Ampuero and Laredo, Spain-based designer (b. 1971) who set up deFharo. Creator of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.

    In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).

    In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.

    In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.

    Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).

    Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.

    Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.

    Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals).

    Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family).

    Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter).

    Typefaces from 2020: Anoxic (a squarish monoline sans).

    Typefaces from 2021: Humato (a sturdy font for weightlifters), Probeta (a squarish techno sans family in 42 styles), Speeday (a speed emulation sans).

    Creative Market link. OFL link. Behance link. Dafont link. Devian tart link. Abstract Fonts link. Fontspace link. [Google] [MyFonts] [More]  ⦿

    Fernando Paravela

    Graphic designer in Sao Paulo. Creator of the fat didone Burlesque (2015), which is promised to be free. Behance link. [Google] [More]  ⦿

    Fiona Clarke
    [Bonez Designz]

    [MyFonts] [More]  ⦿

    Firmin Didot

    Celebrated Parisian punchcutter (b. Paris 1764, d. Mesnic-sur-l'Estrée, 1836), son of the printer François Ambroise Didot, and grandchild of the Didot printing business founder, François Didot. He produced the earliest modern typeface about 1784. Designer of a sloped script typeface called Anglaise (1809). He became the director of the Imprimerie Impériale type foundry in 1812. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with establishing the use of the Modern classification of typefaces. The types that Didot used are characterized by extreme stroke contrast, by the use of straight hairline serifs and by the vertical stress of the letters.

    Digitizations of his typefaces:

    • Linotype Didot has 12 weights, and was digitized in 1991 by the Linotype crew and Adrian Frutiger.
    • Hoefler type foundry makes a 42-weight Didot HTF, which I believe is superior to the Linotype version.
    • LetterPerfect has made a Didot LP family.
    • His Initiales Grecques (ca. 1800) was digitized by ARTypes in 2007: see here.
    • URW Firmin Didot is a digitization of a typeface made in 1927 by Ludwig & Mayer, which in turn was true to the original.

    Biography by Nicholas Fabian. Linotype link. FontShop link. MyFonts link. Wikipedia. [Google] [MyFonts] [More]  ⦿

    Flanker (or: Studio di Lena)
    [Leonardo Di Lena]

    Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts:

    • Bodoni Flnk.
    • CNR lineare: athletic lettering.
    • Didot Flnk.
    • Doppio Senso: inspired by the 1992 traffic signal typeface in Italy, Transport D.
    • Elettra (2013). A transitional typeface with extra long serifs and several didone traits. For display work.
    • Flanker: classical roman face.
    • Flanker Garaldus (2012). Based on a 1956 font by Aldo Novarese.
    • Griffo Flnk: A multistyle family after typefaces like Bembo.
    • Imperator: a classical roman face.
    • Italian Typewriter (2012). A family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties.
    • Lello: another classical roman face.
    • Magnificat (2011): after Friedrich Peter's ornamental font from 1975. Free download at Dafont.
    • Marantz: fat art deco face, after the logo of the sound system company.
    • Marlboro Flnk: ultra condensed and tall.
    • Poliphili (2017). This is a serious attempt at a revival of the elegant typeface used in Hypnerotomachia Poliphili (1499, publ. Aldus Manutius) that was cut by Francesco da Bologna. That roman font in turn was a revised version of the type used in 1496 for Pietro Bembo's De Aetna.
    • Flanker Ruano (2013). Based on a chancery typeface by Raffaelo Bertieri (1926).
    • Selene (2013). A monoline sans. Followed by Selene Book (2021: a 14-style geometric sans with art deco influences in some styles).
    • Semplicità (2014-2015): a remake of the art deco sans by Butti and Novarese in 1930.
    • Shock to the system: an original in the cyberpunk style.
    • Sony: after the Sony logo letters.
    • Flanker Tanagra (2022). Leonardo writes about this condensed vintage serif: In order to give new imput to the art of typeface design in Italy, Nebiolo Company held, in March 1910, an artistic competition for a new alphabet conception, so the best-ranked design would be transformed into a real new typeface. 42 competitors participated and, although the first prize was not technically awarded, "Ancora" resulted as the best typeface, created by the designer-typographer Natale Varetti of Turin. Nonetheless, the new alphabet was transformed into a full-fledged metal typeface in 1924, renamed "Tanagra" in honor of the Greek city in the center of Boeotia.
    • There's nothing money can't buy: a sans.
    • Titano: an original art deco sans family.
    • Total Eclipse: futuristic.
    • Traiano: Trajan column style.
    • Travertino: a sans workhorse family.

    The outfit was known as JFDooM Flanker's Fonts, between 2001 and 2004. The fonts then were slightly different. They included BodoniFlnk, BodoniFlnkCor, BodoniFlnkCorGrass, BodoniFlnkGas, CNRLineare, DidotFlnk, DidotFlnkCorsivo, DidotFlnkCorsivoGrassetto, DidotFlnkGrassetto, Emblema-della-Repubblica-Italiana, Frantisek, GaramondFlnkNormale, GaramondFlnkCorsivo, GaramondFlnkCorsivoGrassetto, GaramondFlnkGrassetto, GriffoFlnkCorsivo, GriffoFlnkCorsivoGrassetto, GriffoFlnkGrassetto, GriffoFlnknormale, Lellocorsivobold, Lellocorsivo, Lello, MarlboroFlnk, Magnificat, There's-nothing-money-can't-buy, Poker, ShocktothesystemCorsivo, ShocktothesystemVuoto, Sony, Bjork-Isobel, Imperator, Traiano, Rdclub. Most fonts have Greek and Cyrillic letters as well.

    View Leonardo Di Lena's typefaces. [Google] [MyFonts] [More]  ⦿

    Flat-It
    [Ryoichi Tsunekawa]

    Japanese foundry in Nagoya that offers free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:

    • 2021: Best Choice (a monospaced sans), Short Films (an art deco sans in twelve styles), Golden Decades (a 16-style sans that borrows from several sans genres).
    • 2019: Mid Century Sans, Tamba Sans, Rama Gothic Rounded, Bio Sans Soft.
    • 2018: Fairweather (clean sans), Kaneda Gothic (a basic severe condensed gothic), Vincente (a tall condensed display didone family).
    • 2017: Calling Code (monospaced programming font), Commuters Sans (elegant wide sans), Mighty Slab, Rigid Square (octagonal), Taro.
    • 2016: Bio Sans, Gomme Sans, Quiet Sans, Siro (sans).
    • 2014: Pero (condensed rounded organic sans), Kiro (minimalist organic sans), Graphie (modern geometric sans), Compasse (semi-condensed sans), Como (rounded sans).
    • 2013: Spoon (organic, rounded, monoline sans family), Antoinette Monogrammes (based on early 1900s embroideries by Janon Co; with frames), Clonoid (a sci-fi family that pays tribute to arcade game logos in 80s and 90s), All Round Gothic Demi (a sans based on perfect circles), Griffon (copperplate titling face), Antique Spenserian (based on Spencerian Script by Mackellar, Smiths and Jordan).
    • 2012: Geom Graphic (a retro sci-fi family that can be considered as a squarish version of Eurostile), Sheepman (modular), House of Cards, Space Colony (a lovely monoline futuristic techno family), Rama Slab (an antiqued wood-style slab serif), Rama Gothic. An antiqued sans serif family that recalls the wood type era), Diamond Ring (an art deco typeface inspired by Japanese cosmetics-packaging designs and posters from the late 19th and early 20th centuries), Controller (techno meets organic in this rounded squaris sans family), Revolution Gothic (an extended version of PAG Revolucion), 2008, which was inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s; Revolution Gothic P followed in 2014), Diamond Ring (art deco).
    • 2011: Yummo (monoline organic sans), Sheepman (based on the wood type No. 506 of William Page), Onick (2011, an art deco neojaponist fat display face done for Wordshape), Shiva (2011, hairline sans), Mocha Mattari (2011, grunge), Dharma Slab (2011, inspired by 1800s-style wood type), Dharma Gothic (2011, +P), Rama Gothic (2011, also inspired by 1800s-style wood type), Dimensions (2011, squarish), Design System (2011, a large family based on 70s style techno typefaces), Speedometer (2011, condensed piano key face).
    • 2010: Stereo Gothic (2010: an extended all caps slightly techno sans family), Behrensmeyer Vigesimals (2010, a pixel format connected script), Civilite Vigesimals (2010, pixelized Civilite), Flat10 Arts and Crafts (2010), Flat20 Hippies, Flat10 Segments (2010), Flat10 Antique (2010), Flat20 Gothic (2010), Flat20 Streamer (2009, pixelized ribbon font), Flat10 Fraktur, Flat10 holy, Flat10 Holly, Flat10 Stencil, Flat20 Headline, Flat10 Artdeco, Word From Radio (2008-2010). Cigarette (2007, Bauhaus/Peignot-style).
    • 2009: African Elephant Trunk (2009), Concrete Script, Concrete Stencil (2009, a stencil calligraphic script), Perfect Magic (2009), HT Maison (2009, signage face), HT Farmacia (2009, connected school script), HT Espresso (2008, upright script), HT Cartoleria (2008, connected script), HT Cafe (2009), Sneaker Script (2009).
    • 2007-2008: Bistro Mono (2007, an awkward monoline face), Thousands (2007), Balaghat (2008), Garash Script (2008, a Halloween face), Woodstamp (2008), Banana (2008, brush script), Rebel Train Goes (2007, a piano key font), Rouge (2007, an elegant lipstick-on-the-bathroom-mirror pair of typefaces), Yasashii (2007, a great geometric art deco Broadway-style family, famous for being used in Damien Chazelle's La La Land, the 2017 blockbuster movie), Lily Wang (calligraphic script), Nothing (2007), Garash (2007, Arabic simulation), Moon Star Soul (2007, Western saloon font), Grandes Vacances (+ Une, Deux) (2007), Pansy Bo (calligraphic), Dremie (2007, an art deco headline typeface with Open and Fill weights), Grandes Vacances (2007, based on 19th century billboard letters), Xesy (2007, a fantastic "ronde" high-contrast upright connected script), Deluta Black (2007, a soft blackletter), Cotoris (2007, a 4-style family that takes inspiration from Koch Antiqua and the art nouveau movement).
    • 2006: Daisy Lau (calligraphic), Agedage Luxeuil (based on a monasteric script from the 8th century), Agedage Cancellaresca, Agedage Beneventan, Agedage Simple Versal (2006, Lombardic caps simplified), Amsterdam Modern (art nouveau influences), Flat10 [Holly, Holy, Stencil, Fraktur] (a set of pixel typefaces), Machiarge (a heavy connected brushed signage script), Chic Hand (connected script), Double Dagger (geometric stencil family), Fault (an art deco striped lettering face), Killernuts (headline serif typeface with brush stroke endings), Underconstructionism! (a rectangular look family with associated dingbats), Machia (decorative script), Kiwi (geometric hairline), Bagel (roundish comic book face), Jaguarundi (distressed), Boycott (distressed), Tokyotrail (futuristic techno family), Coconut (noisy outline face), Coconut Split, Fresh Tomato (LED simulation), El Piedra (letterpress emulation), Dried Tomato (LED simulation), Dutch Style, Mocha Harrar (great stencil face), 103 (experimental, Bank Gothic style), Airhead, ArealBlack, Awkward, BagelNew, BagelOld, Banbino, Bebas (2005, industrial sans), Bebas Kai (2014: free!), Bebas Neue (2010: free!), Bebas Neue Bold, Berlin89, Blackout (redesigned in 2011 as the ulta-narrow Dimensions), Boycott (grunge), Built-1970, Bunyan, Busted, Camera (2007), Canstop, Chiangmai (Thai simulation face), DBLline, Dijkstra, Dutchstyle, Fling, Graphite, Harcomaso, Hiexplosive, Hitech, Honeycomb, Junkmix, Kanatypo, KemikalHi, Machia (a calligraphic family), Meegoreng, Mikrob, Natsupopy, Overwork, Palsu, Plamo, Plasitico, REC001, REC002, REC003, Resistance, SQRT, STdigi (LED font), Shandy, Superstar, Tembaga, Tenaga, Tomodachi, Tragedia, Trucker, VRdigital, VRembroidery, Welcome2M, Workaholic, Zeebraa, plot-A, plot-K, Appendix 3, Gesso (grunge), Pusab (ultra round; one free weight), Sushitaro, Typewrong, Celtics Modern (a Celtic family of fonts). At T-26, he published CRZ (2006), Guppy, Ohana (octagonal), Picnica (2006), and Wearetrippin.

    MyFonts link. Fontsquirrel link for their free fonts such as Bebas (2005, industrial sans), Boycott, Gesso, and Pusab.

    Typefaces from 2022: Senpai Coder, Madromit (a layerable futuristic font inspired by the early computer fonts), Tokyo Olive (art deco), Poipoi (a layerable 3d or bubblegum font).

    YWFT link. Bagel & Co. link. Klingspor link. Dafont link. Dafont link.

    Interview.

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

    Flop Design
    [Kato Masashi]

    Japanese site with original fonts by Kato Masashi (b. 1973), who lives in Takasaki (Gunma prefecture, Japan): Parismatch (2004), SAKUalp (2000, handwriting), Steeltype, Broadband, Hivision, Cinematime, Ultracomic, Ice Cream, Be Happy, Summer Beauty, Flyermix, Cheerscript, Breakstyle, Breakfont, Round, H-Five, Natsucomi, Long Vacation, Lovers, Breakfont (2003, graffiti style), Pokkaman, BeHappy, Natsucomi, Momolcan, Seasons Dings, Electron, Round, Lovers, FlyerMix (fifties style), CheerScript (comic book style), Hi-Five (pixel font), Summer Beauty, SummerDrive, White Day, Long Vacation, Amayadori (high contrast kana font), Fuyucomi, Icecream, Pickett, 321, Pingpong, Frontline, Ginza, Yago (nice free dings), Polaris, 321eng, 321kana, APPLE, CLIQUE, Clover (kitchen tile font, 1998), DIGI, Eneneng, Enenhira, FDalp, FDwhie, Hnoodle, Hanko (free black on white stamp font, 1998, see also here), MKCuer, MOOGIRLALP, MOOMILKKANA, Noodle, Origami, Pers, SA0kmh, SA100kmh, SA50kmh, SK0kmh, SK100kmh, SK50kmh, Template6, Tenten, Ami Font, Speedfont, Supercar, Sakura, Regoty, Shopping Famiry, Ticket, Yohic, Recording, Akachan, Wafont, Frontbit7, MusicNetwork, Yakitori (free handwriting font), Ticket, Folkdance (pixelized people), Human Building (dings of famous buildings), Bunny (free), Frontline0, Side5 (pixel font), Side6, Side7. Some pixel fonts, many techno fonts, some kana fonts, and the Japanese kids dingbat font, Folkdance. Some fonts, such as his Latin/Japano font ShoppingFamily (1998), are sold by Font Pavilion. Major Japanese free font links.

    In 1999, he published the AMI screen pixel font series in Digitalogue's DPI72 package. Other commercial fonts: Pine Apple, the WM family, Cutie Girl, Astratic, PictPlasma, Minivan, Frontbit 7, Ginza, Zoological.

    Free fonts as of 2007: Aiko, a 4-weight rounded sans with support for Latin and kana (see also here). Fonts made in 2007-2008: MobileDisco, AbbeyRoad-Alternative, HighwayStar, Kompakt, AbbeyRoad, Prefuse, Readymade (didone inspired by Corvinus and Giorgio).

    Additions in 2009: Kanna W4, Sweet Doughnuts (rounded sans).

    Fonts made between 1998 and 2008: 321, AirExpress, AirTickt, AMAYADORI, AMIFONT, APPLE, ASTRA, AYANO, BeHappy, bitneon, BORDER7, BREAKFONT, BroadBand, BUNNY, CALENDER, CheerScript, CinemaTime, CLIQUE, CLOVER, CutieGirl, Departure, DIGIT, ELECTRON, FlyerMix, FolkDance, FOLKDANCE2, FrontBit, FRONTLINE, FRONTLINE01, FUYUCOMI, GINZA, HANKO, HappyEnd, hiFive, HumanBuild, IceCream, ICHIGO, JAPON2, KAKIZOME, KEYMODE, LabLife, LongVacation, LoversMINIMONO, MKCUTTER, MOMOKAN, MooFont, MusicNet, NATSUCOMI, Nenga, Noodele, OnePiece, oneBox, Origami, ParisMatch, Pers, Pickett, PICTdings, PictPlasma, PineApple, PingPong, pokkaman, Polaris, PopStar, Puzzle, Recoya, REGO, ROUND, SAKURA, SAMACAN, Seazons, Shopping, SIDE5, SIDE51byte, SIDE6, SIDE61byte, SIDE7, SPEED, STAMPER, SteelType, SummerBeauty, SummerDrive, SuperCar, Template5, TenTen, Ticket2, UltraComic, WHITEday, Yabako, Yago, Yakitori (handwriting of Mayumi Kakegawa), Yothic, Zoological, Nippondings, Caredings, TraficSignsWLD, TraficSigns, JPN, Kamondings, Kamondings2, Kurashidings, Okonomi, FunnyFace, Hotsuma, Toyokuni, Constellation, SunnyDay, BOXdings, Machinedings, CLICKdings, Berrys, Container Box, Twinkleline, Minivan, Akachan.

    Dingbats: Kurashidings, IchigoC, TraficsignsWLD, TraficsignJPN, Nenga, Kamondings2, Kamondings, Breakstyle, Pictdings, Zoological, Caredings, Clickdings, Funnyface, seasons, Pictplasma, Humanbuilding, Nippondings, Yago, Boxdings, Toyokuni, Constellation (astrological symbols), Machinedings, Hotsuma, Folkdance, Calender.

    Japanaese handwriting fonts: Aiko, Haruka, Syuntaro, YUKI, Ryunosuke.

    Futuristic/ geometric fonts: MobileDisco, AbbeyRoad-Alternative, HighwayStar, Kompakt, AbbeyRoad, Prefuse.

    "Funny" fonts: IchigoR, Ultracomic, Amayadori, Parismatch, hanko, LongVacation, Cinamatime, Natsucomi, Okonomi, IceCream, Yakitori, Cutiegirl, Monokan Wa, Shopping, Lovers, Fuyucomi, Berrys, Akachan, Bunny, Clover, Pokkaman, Pickett, Electron.

    Cool fonts: Sunnyday, HiVision AirTicket, Lablife, Flyermix, Popstar, AirExpress, Broadband, Recording, Breakfont, Frontline, Ami, Minivan, Side5, Side6, Summerdrive, Digit, Supercar, Frontline00, BeHappy, Steeltype, Onepiece, Puzzle, Astlatic, Stamper.

    Download page of their free silhouette dingbat images. In 2014, they created the free art deco typeface Jazzkissa. In 2018, they published the full CJK font Soukou Mincho (by Ken Lunde and Masataka Hattori) at Fontsquirrel for free download.

    Dafont link. Abstract Fonts link. Fontspace link. Direct access. Alternate URL for free stuff. And another URL. Klingspor link. Fontsquirrel link. [Google] [More]  ⦿

    Flore Mazzonetto

    Toulouse-based designer of the script typeface Nausicaä (2012) and the multilayered grungy didone typeface Nova (2013).

    Behance link. [Google] [More]  ⦿

    Florencia Alvarez
    [Bling Studio]

    [More]  ⦿

    Florencia Fochesatto

    As a student in UADE, Buenos Aires, Florencia Fochesatto created the ball-heavy didone typeface Clarice (2013). [Google] [More]  ⦿

    Florent Schirrer

    Mons, Belgium-based creator (b. 1985) of the free hand-drawn didone typeface BodoFlo (2013), ABlockyFont (2014, iFontMaker font), and of Hipsterish Pro (2015; buy it here; despite the name, the typeface is closest to the arts-and-crafts style of 1895), Marker Pen (2015), Feltipen Pro (2015), Thin Font (2014), Tape Type (2015, iFontMaker), and Large Font (2014).

    Aka Hello I'm Flo. Jellycube link. Dafont link. Behance link. [Google] [More]  ⦿

    Florian Hardwig

    Florian Hardwig (b. near M¨nchen) is a graphic designer based in Berlin, Germany, where he runs a studio together with Malte Kaune, Kaune & Hardwig. Since 2007, he has been teaching Typography at the Brunswick School of Art. Florian can frequently be found on Typophile, where he is one of the moderators of the Type ID Board. Co-editor of Fonts In Use, he collects and takes pictures of peculiar letterforms in print and in the wild. He spoke at ATypI 2007 in Brighton. His "manuscribe" is a research project on international school scripts and the dialects of handwriting. His slides on this project. In 2017, he helped Jan Middendorp start up the Fust & Friends foundry in Berlin.

    Fust & Friends link. Flickr page. Comparison of Bauer Bodoni and Linotype Didot. A piece on school scripts. [Google] [More]  ⦿

    Florian Zietz
    [Librito.de]

    [MyFonts] [More]  ⦿

    Floriane Jacqueneau

    French designer who made the decorative didone typeface Didonnette (2011) and the handcrafted Homemade (2014). [Google] [More]  ⦿

    Flow14
    [Kyle Johnston]

    Kyle Johnston (Flow14) is the Overland Park, KS-based designer of the free graffiti font Milk (2002), Bodolive (2003, a mix of Bodoni and Antique Olive), Sporty (2002, college lettering font, free in the Rumpus sub-page), Meteors (free download, click on Rumpus), Midwest (click on Work, then Type; based on Senator Ultra, on commission for Midwest Graphics), and Jellyphant Round (2002).

    Creative director at Garmin. Behance link. Linkedin link. [Google] [More]  ⦿

    Fo Da
    [Nohamad Foda]

    Banha, Egypt-based designer of Calligra (2019: a serif font with calligraphic swashes), Rasoav (2019: a display or logo font), Roxon (2019: an organic rounded sans by Ahmed Eraqi and Nohamad Foda), Hamis and Hamis Vol 2 (2019: a festive display typeface by Ahmed Eraqi and Nohamad Foda), Zamoka (2019: a deco typeface, done with Ahmed Eraqi), Luxury Home (2019, with Ahmed Eraqi), a Latin slab serif with lower case letters of unequal x-height.

    Typefaces from 2020: Hamis Pro (a jazzy piano key typeface), Rigot (a modern fashion mag typeface by Ahmed Eraqi and Nohamad Foda), Tioxo Sans (a poster or logo font by Ahmed Eraqi and Nohamad Foda), Stazin (a striking Arabic / Latin display typeface by Ahmed Eraqi and Nohamad Foda), SolKing (an Arabic typeface by Ahmed Eraqi and Nohamad Foda), Viking Drink (an 8-style decorative didone, with accompanying blackboard bold; done with Ahmed Eraqi).

    Typefaces from 2021: Foda Egypt (a 12-style serif by Ahmed Eraqi and Nohamad Foda), Foda Slab (2021: an Arabic slab serif by Ahmed Eraqi and Nohamad Foda), Foda Freestyle (an Arabic display font by Ahmed Eraqi and Nohamad Foda), Foda Sans (126 styles, for Latin and Cyrillic, by Ahmed Eraqi and Nohamad Foda), Foda Kufi (by Ahmed Eraqi and Nohamad Foda).

    Typefaces from 2022: Foda Display (a display typeface for Latin and Arabic by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta Rounded (by Ahmed Eraqi, Nohamad Foda and Esraa Amer), Quta (a 10-style sans with a preference for 90-degree junctions in unusual places; by Ahmed Eraqi, Nohamad Foda and Esraa Amer). [Google] [MyFonts] [More]  ⦿

    Fonderie Deberny&Peignot

    The timeline of this French foundry of the 19th century and early 20th century:

    • Gustave Peignot's type foundry was taken over by his son Georges Peignot when Gustave died. Georges's son Charles took it over when Georges and his three brothers were all killed in The Great War.
    • 1923: The foundry becomes Deberny&Peignot when the Laurent&Deberny foundry was purchased. Merger with Girard et cie.
    • 1923-1960: Charles Peignot directed the creation of a series of original designs.
    • Phototype era: Starting in the late fifties, the company prepared the fonts for Lumitype, European Photon. In the sixties, Charles Peignot invested heavily in Lumitype, which used up some of the money to buy control of Deberny&Peignot, and let Charles go.
    • Deberny&Peignot closes in 1979 (some say 1972...), at which time the designs passed to the Haas'sche type foundry in Basel/Münchenstein. Haas in turn was merged into D. Stempel AG in 1985, then into Linotype GmbH in 1989, and is now part of Monotype Corporation. Starting in 1925, Deberny & Peignot types were distributed in the United States by Continental Type Founders Association.
    Their collection includes typefaces by:
    • A.M. Cassandre: Acier Noir (1936), Bifur (1928-1929), Peignot (1937), Touraine (1947, with Charles Peignot).
    • Bernard Naudin: Naudin (1911-1924). A set of open capitals that complement this typeface were sold in France as Champlevé and in the United States as Sylvan.
    • Robert Girard: Astrée (1921). The Stephenson Blake version is Mazarin (1926).
    • Georges Auriol: Auriol (1901-1904), Auriol Laberur, Auriol Champlevé, Française allongée, Française légère, Robur Pale (ca. 1912; variations are known as Royal Lining and Claire de Lune).
    • Marcel Jacno: Chaillot, Film (1934), Jacno (1950), Scribe (1937).
    • Imre Reiner: Contact (1952), Floride (1939).
    • Maximilien Vox: Eclair (1935).
    • Georges and Charles Peignot: Le Garamont (1912-1928). That is to say, from 1912-1914, they directed the development of this Garamond based on Jean Jannon's roman. The typeface was finished by Henri Parmentier in 1926.
    • M. Deberny: Sphinx (1925).
    • Henri Bellery-Desfontaines: Bellery-Desfontaines (1910-1912).
    • P. Roy and A. Marty: Cochin, Nicolas-Cochin (1912), and Moreau-le-Jeune (later copied by Ludwig & Mayer as Sonderdruck).
    • A. Giraldon: Giraldon (1900).
    • Eugène Grasset: Grasset (1898).
    • Adrian Frutiger: Égyptienne, Méridien (1957), Ondine (1954), Phoebus (1953), Président (1954), Univers (1957).
    • Rémy Peignot: Cristal Initiales (1955).
    • G. Vidal: Amethyste (1954), Bolide (1954).
    They also published Banjo (1930), Baskerville (1916), Calligraphiques Noires (1928, see also Ludwig&Mayer), Compactes Italiques, Cyclopéen, Firmin Didot, (cut from the original punches), Fournier-le-Jeune (1913), La Civilit&eacutye;, Olympic (1937, also known as Slimblack), Pharaon (1933), Polyphème (1926), Romain Ancien (1899, an Elzevir), Série 16, Série 18, Style moderne (ca. 1903, sold today as Fantastic), the garalde typeface Ancien, and the didone typeface Gras Vibert [for a digital version of Gras Vibert, see Vibertus (2007, Latrs Yörnqvist)].

    Many specimen books were published by them. For their vignettes, see Spécimen de vignettes typographiques (Paris, Rue Visconti, 17, près le Palais des Beaux-Arts, faubourg Saint-Germain. [1870]) and Vignettes typographiques: attributs mélanges armes, médales (Paris, 1886). Early work is shown in Les créations de la fonderie typographique Deberny et cie depuis 1878 (1889) and in Les nouvelles creations de la fonderie typographique Deberny&cie (1895). Fancy type is shown in Les caractères d'affiches. Extrait du Livret typographique (Paris, 1905). Older fleurons are in Nouvelle série des fleurons de la fonderie de Laurent et Deberny (ca. 1844). Other publications by them include Album de clichés et gravures (1934), Premières épreuves du Caractère Peignot dessiné par A. M. Cassandre (Paris: 1937).

    Digital revivals include Sonderduck Antiqua (2008, Gerhard Helzel). Sphinx (1925) was revived by Steve Jackaman as Sphinx RR (1925), and by Douglas Olena as FFD Sphinx (1995).

    Peignot foundry genealogy.

    View the digital typeface that are descendants of Deberny.

    FontShop link.

    References: Wikipedia. History of Peignot, by Georges Peignot's grandson Jean-Luc Froissart. Rochester Institute of Technology: History of Deberny et Peignot [dead link]. And finally, the book L'or, l'âme et les cendres du plomb. L'épopée des Peignot, 1815-1983 (2004, Jean-Luc Froissart: Paris: librairie Tekhnê). [Google] [MyFonts] [More]  ⦿

    Fonderie Française

    French foundry. Designers of some beautiful often didone typefaces, such as the fat face Liliom (see Slimblack for a similar typeface). They also produced well-known Victorian decorative capitals under the names Romantiques No. 1 through 5. The Egyptian typefaces are called just that, Egyptiennes (Narrow, Bold, Italic). Henry Chaix made the display roman typeface Editor in 1937.

    Revivals include Liliom Pro (2012, Ralph M. Unger). [Google] [More]  ⦿

    Fonderie Générale
    [Charles Laboulaye]

    Paris-based foundry. Their work can be found in Épreuves de caractères. Aphe René&cie, successeurs de Firmin Didot, Molé, Lion, Tarbé, Crosnier, Éverat, Biesta, Pasteur, Laboulaye (Paris, Fonderie générale des caractères français et étrangers, 30, rue Madame, 30. Typographie Adrien Le Clere, 29, rue Cassette, 1858) and in Épreuves de caractères. Ch. Laboulaye&cie (Paris, Fonderie générale des caractères français et étrangers, rue de Madame, 30, Faubourg Saint-Germain, [ca.1852]; BnF Gallica mentions 1853). The foundry grew out of the fonderie de Lion et Laboulaye frères as this title suggests: Specimen des caractères de la fonderie de Lion et Laboulaye frères, rue Saint-Hyacinthe-Saint-Michel, 33 (Paris, Imprimerie de Casimir, 1838). The early "graveurs" in the foundry were Vibert, Jacquemin and Lombardat. Later, artists such as Loeillet, Porthaux and Ramé (creator of nice imitations of "caractères anglais") were added. Charles Laboulaye lived from 1813 until 1886. Several characters in Porchez's Ambroise, such as the "y" and "g", can be found here in the Neuf (or petit romain no. 5) and Onze (ou Cicéro no. 1). < [Google] [More]  ⦿

    Fonderie Normale
    [Jules Didot]

    Foundry in Brussels, which published a specimen book entitled Specimen des caractères de la Fonderie Normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (1819). Like so many printers in Belgium at the time, its foundry was heavily influenced by and dependent upon Didot.

    In 1914, Enschedé republished it with a foreword that tells the story of the Fonderie Normale: i, ii, iii. Some sample pages from that book: Ecriture, Ecriture, Fantaisies, Gothique, Gothique Ornée No. 1489, Grec, Romain, Didot. Link to the 1914 text. [Google] [More]  ⦿

    Fonderie Peignot et Fils

    French foundry established and run by Georges Peignot and his son Charles. In 1923 it merged with Girard Et Cie to become Fonderie Deberny&Peignot. Their collection includes Nicolas Cochin (1912) and typefaces by:

    • G. Auriol: Auriol (1903).
    • G.+C. Peignot: Garamont (1912-1928).
    • A. Giraldon: Giraldon (1900).
    • Eugène Grasset: Grasset (1898).
    They also published the Garalde typeface Ancien, Série 16 (19050 [digitized as Seizieme Pro in 2013 by Coen Hofmann], the didone typeface Gras Vibert [for a digital version of this, see Vibertus (2007, Lars Törnqvist)], and Sphinx (1925) [which was revived by Steve Jackaman as Sphinx RR, and by Douglas Olena as FFD Sphinx (1995)].

    Many specimen books were published by them. For their vignettes, see Spécimen de vignettes typographiques (Paris, Rue Visconti, 17, près le Palais des Beaux-Arts, faubourg Saint-Germain. [1870]). Early work is shown in Les créations de la fonderie typographique Deberny et cie depuis 1878 (1889) and in Les nouvelles creations de la fonderie typographique Deberny&cie (1895). Fancy type is shown in Les caractères d'affiches. Extrait du Livret typographique (Paris, 1905). Older fleurons are in Nouvelle série des fleurons de la fonderie de Laurent et Deberny (ca. 1844). Peignot foundry genealogy.

    MyFonts hit list for typefaces by Peignot or in the style of Peignot's typefaces. Compare Peignotian typefaces. [Google] [More]  ⦿

    Fonderie Turlot

    Big Paris-based foundry, with an extensive factory. Their work can be found in Caractères de labeurs de la fonderie A. Turlot (rue de Rennes, 128, Paris [ca.1896?]), Filets (Paris, 128, rue de Rennes, [ca.1898?]), Spécimen des caractères anciens de la fonderie Turlot (Paris, 1885; PDF file; see also this PDF file) and Réglure. Fonderie Ch. Derriey, A. Turlot, successeur (rue de Rennes, 142, Paris [1880]). See also "Caractères de labeurs de la fonderie A. Turlot" (1896).

    In 1880, they had acquired the Fonderie Charles Derriey. The major specimen book, Spécimen général de la fonderie Turlot, Henri Chaix, gendre, et cie successeurs (1910, 508 pages) [see also here] seems to indicate that the foundry was sold to Henri Chaix in 1910. The latter book is comprehensive. The "Néo-Didot" series mentions Fonderie J.-V. Éon, Turlot, successeur. Other niceties: "signes mathématiques", signes divers, the "Javanaises" (oriental simulation fonts, p. 103), the gorgeous vignettes (ex.: hibou, Japonaise, Nénuphar, Galvanos Modernes), and the hilarious "silhouettes reclames". This book has many illustrations of the start of the art nouveau style. Finally, in 1914, they published Spécimen Général (1914, Fonderie Turlot, Henri Chaix et cie, Paris: 454 pages).

    Scan of the caps typeface Lettrines Renaissance. Scans from the 1885 specimen book: Elzevir No. 3, Elzevir No. 3, Filets Elzeviriens, Gothiques blanches, Initiales Elzeviriens. [Google] [More]  ⦿

    Fonderie Turlot: Spécimen Général

    Berlintypes published the contents of the 454-page Spécimen Général, Fonderie Turlot (Henri Chaix et cie, Paris, 1914). By chapter:

    • 2. Elzeviers et Labeurs de Luxe: Elzévier Français, Elzévier Vieux Français, Elzévier Anglais, Elzévier No 3, Elzévier Plantin, Caractères Louis XV, Salammbo.
    • 3. Series de Labeurs: Néo-Didot, Néo-Didot Gras. Also: Vieux Style, Bibliophiles, Caractères pour Labeurs.
    • 4. Caractères pour Journaux: Examples for newspaper typesetting with references to the types used.
    • 5. Caractères Étrangères: Caractères Russes, Caractères Allemands, 1re Série, Caractères Allemands, 2me Série, Caractères Allemands, Gras, Caractères Grecs, Gras, Caractères Grecs, Penchés, Caractères Grecs.
    • 6. Caractères pour Affiches.
    • 8. Caractères de Fantaisie:
      • Antiques serrées grasses, Antiques simples, Antiques noires, Antiques grecques, Antiques serrées maigres, Antiques penchées grasses, Antiques penchées noires.
      • Egyptiennes effilées, Egyptiennes Etroites, Egyptiennes condensées, Egyptiennes serrées, Egyptiennes 1re Série, Egyptiennes 3me Série, Egyptiennes 2me Série, Egyptiennes larges, Egyptiennes grasses, Egyptiennes penchées noires.
      • Caractères Louis XV.
      • Latines larges, Latines noires allongées, Latines noires, Latines noires larges.
      • Vignettes Glycine.
      • Normandes 1re Serie, Normandes 2me Série, Rouennaises, Normandes larges, Etroites modernes, Allongées demi-grasses, Allongées grasses, Caractères gras allongés, Condensées, Bretonnes.
      • Italiennes.
      • Athéniennes.
      • Métropolitaines.
      • Vénitiennes.
      • Norvégiennes.
      • Elzévir gras éclairé.
      • Vignette Légére.
      • Elzévir Plantin (Romain, Italique).
      • Salammbo.
      • Canadiennes.
      • Chicago, Chicago Large.
      • Lyonnaises.
      • Latines penchées.
      • Vignette Décorative.
      • Excelsior.
      • Moscovites.
      • Transvaaliennes serrées, Transvaaliennes.
      • Péruviennes.
      • Phillipines.
      • Vignettes Chrysanthème.
      • Pittoresques droites, Pittoresques penchées.
      • Provençales.
      • Ondines.
      • Zodiaques maigres, Zodiaques noires.
      • Roxanes, Roxanes 4 oeils.
      • Caractères d'écriture.
      • Caractère Machine à écrire.
      • Bâtardes lithographiques.
      • Filets-Vignettes.
      • La Taille-Douce Azurée droite, La Taille-Douce Azurée penchée.
      • Antiques Litho No1, Antiques Litho No2, Antiques Litho No3, Antiques Litho No4.
      • Monastiques.
      • Vignettes Florale.
      • Initiales Elzévir 1re Série, Initiales Elzévir 2me Série, Initiales Elzévir 3me Série.
      • Antiques maigres serées, Antiques allongées, Antiques maigres larges.
      • Initiales Antiques noires, Initiales Antiques Greques, Initiales Égyptiennes allongées, Initiales Italiennes, Initiales Etroites allongées, Initiales Bretonnes, Initiales Demi-allongées, Initiales Classiques allongées, Initiales Classiques, Initiales Modernes.
      • Romaines droites, Romaines penchées.
      • Initiales Latines larges, Initiales pour annonces anglaises, Latines éclairées, Latines blanches.
      • Romanes.
      • Parisiennes.
      • Fantaisies diverses (8 designs, numbered).
      • Lettrines Renaissance.
      • Lettres ornées.
      • Monogrammes.
    [Google] [More]  ⦿

    Font Mesa
    [Michael Hagemann]

    Michael Hagemann's creations have a 1850-1920 style or at evoke the Wild West. Font Mesa was located in Naperville, IL, but is now based in Las Vegas, NV.

    Free fonts include Cactus Sandwich (Mexican simulation face), Timepiece (originally called Tax Cut), Timepiece 3D, Magic School One and Two (2004, two Harry Potter typefaces), Wild Ride, Corleone (2001: see also here), Corleone Due (2001), MightyRapids (2001: discontinued) and the Ferrari logo font FerroRosso (2002).

    Michael Hagemann's commercial fonts by year of production:

    • 2001: La Mesa (2001), Maverick's Luck (2001), Desperado (2001), Rio Mesa, Maverick's Luck (based on a bank document from 1876), La Macchina (2001, Lamborghini car lettering)
    • 2002: Brewmaster Modern (lettering of Budweiser Racing), Saddlery and Saddlery Post (Western-style caps: a revival of Minaret by Ihlenberg in 1868; Solo calls it Trocadero), FerroRosso (lettering as in the Ferrari logo), Stampede (a family based on lettering used in document from the Chicago, Indiana&Eastern Railway Co. in 1902), Main Event (a Tuscan font, based on Tuscan Ornate, or Bracelet, fonts that date from before 1860; originally called Main Strike in 2003), Red Dog Saloon, Rough Riders (great Western-style caps), Draft Beer.
    • 2003: OK Corral (revival of Caslon and Catherwood's Italian from 1821), OK Corral Lined (same as OK Corral with layers; called Italianate Barnum by Dan Solo), Gold Standard (a Tuscan font based on a few letters found on an old Gold Certificate from 1882), Rodeo Clown (based on Carnival), Taqueria, Cove.
    • 2004: Bronc Stomper, Open Range, Saloon Girl (a spurred version, Tex Mex, appeared in 2021), Gillé Classic an exquisitily detailed family based on work by Joseph Gillé, 1820's, and implemented elsewhere under the names Circus, Roma and Madame; this was originally called Home Style; some say that the original goes back to Silvestre and not to Gillé; because of this, finally renamed Maison Luxe in 2017; the condensed versions, released in 2021, are Mi Casa and Mariachi), Miss Scarlett (Gone with the Wind poster lettering), Open Range, High Noon, Draft Beer Classic (2002-2005, connected 50s script), High Country, American West, West Wind, AmericanPop (Coca-Cola font).
    • 2005: Buckhorn (a Tuscan style Western or circus font; renamed Circus Wagon in 2020), Rodeo Roundup (rope font; Solo called it Rope Initials), Algerian Mesa (32 fonts; extended to the gigantic font family Tavern in 2017, with further development in 2020 in Bay Tavern and Bayside Tavern; the original Algerian goes back to Stephenson and Blake), Conestoga (circus font), Rough Riders (a nice Western font based on the logo of the Beach Creek Railroad Company in the 1860s), Rough Riders Redux, Mesa Pointe (pointing hands, from 19th century sources), Black Pearl (an ornamental blackletter typeface based on an original from ca. 1860; it has two beautiful manicules; some say it is based on an 1860 font called Rimmed Black by West, published by Farmer&Little), Saloonkeeper (inspired by the Leinenkugels brewing label), Wanderer (inspired by the title logo of the TV show The Wild West), Lynchburg (inspired by the Jack Daniels Green Label Whiskey logo).
    • 2006: Flatrock (a revival of Inverted Shaded by Julius Herriet, done at Conner in 1886; Solo calls it Big Cat; in 2020, Flat Rock was renamed Big Cat by Hagemann), Livery Stable (revival of GlypticShaded by Ihlenburg at MS&J, 1878. See also Glyptic and Glyptic No.2, 1878), Happy Holly Day, Main Street (a Tuscan typeface that revives Soutache by Julius Herriet and Bruce, 1873).
    • 2007: Birdcage (2007, after a lettering sample in Rob Roy Kelly's American Wood Type book), Lonestar, Lonestar Western, Railhead (2007: 4 styles, a revival of an 1870s type style that was originally available from both Bruce's New York and James Conner's&Sons type foundries called English Two-Line Ornamented No.4; an earlier version was English, done in 1853 by Caslon, Austin, Woods and Sharwoods; and before that, the typeface was created by a German designer in 1849), Flying Dutchman (2007, a revival of a MacKellar, Smiths&Jordan Co Kanzlei-style font from 1876), and Western Sky (2007, a revival of a late 1800s Italian font known as Italian Slab Fancy or Dodge City: it is Italic Ornate from Smith, 1874, MS&J). Country Western (2007, 11 styles; plus versions called Country Western Script and Country Western Swing) is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh&Wells. Abbiente (2007) is his first foray into the world of Bodoni and Didot. Buffalo Bill (2007) is a beautiful Western style font that revives a classic from James Conner's foundry from 1888 [Solo also calls it Buffalo Bill].
    • 2008: Gold Rush and Gold Spur (2008) are further Wild West style families, based on typos from the Bruce Foundry, 1865. Silverland (2008, 8 styles; a revival of Ornamented No. 1490 by Ihlenberg, 1874, Bruce) and Belgian (2008, 5 styles; a revival of Ornamented No. 1515 by Julius Herriet, 1861, Bruce) are further revivals of typefaces from the Bruce Foundry.
    • 2009: Spanish Main (revival of an old MacKellar Smiths&Jordan blackletter font named Sloping Black, 1896; others mention Witham and MS&J and give the date 1869), Spanish Rose, Black Rose (spiky blackletter based on BlackOrnamented No. 532, Ihlenberg, 1873, Bruce), Bella Rose (2009, blackletter), Broadgauge Ornate (revival of an 1869 Western poster typeface by Ihlenberg at MacKellar Smiths&Jordan). Apple Pie (2009) is some sort of Bodoni Ornate---it revives and extends a William Hagar Type Foundry face, ca. 1850 [MS&J added a lowercase in 1869]. This was followed immediately by Bodoni Ornamental. Hickory (2009) is an ornamental Western face, a revival of an old unnamed font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths&Jordan and James Conner's Sons.
    • 2010: Gunsmoke is a Far West font, a revival of a James Conner's Sons font that has been around the block under different names such as Extended Clarendon Shaded, Original Ornamented and Galena [Solo called it Galena]. Night Train is another Far West font.
    • 2011: Gold is a multi-style slab serif font family based on the classic Gold Rush (1865, Bruce), with the shadows removed. Images: Gold Black, Gold Thin.
    • Undated: Cowboy Serenade (based on Phidian by Ihlenberg, 1870, MS&J; Solo's names: Eureka, Shaded Phidian), Gold Fever (based on Caxtonian, 1878, MS&J), Old Thunder (based on a Tuscan typeface from the 1800s).
    • 2013: Great Western, Cowboy Western, Cowboy Rodeo.
    • 2014: Magnum Sans.
    • 2015: Grillmaster (a basic sans family consisting of 128 fonts).
    • 2016: Pitmaster.
    • 2017: Ribfest (a Tuscan circus font), Texicali, Alta Mesa (Wild West wood type).
    • 2019: Marlin Geo, a large sans typeface family---a modern geometric take on Helvetica. Michael writes on Creative Market: You may have noticed a new FontMesa font released on June 17th called Geovetica, Monotype has asked me to rename the font because it's too close to their best selling product. Marlin is the new name choice for our new font with the geometric version [Marlin Geo] being released first. Marlin Geo has many opentype features and comes with italics (at a 12 degree angle) and a slanted version (at a 6 degree angle). See also Marlin Soft (2019).
    • Fried Chicken (2020). A 32-style slab serif family intended for supermarket or food product advertizing.
    • Philadelphian (2020). A Western or billboard font family based on a MacKellar, Smiths & Jordan font from 1867 by the same name.
    • Taco (2020). A multistyle Mexican party font.
    • Tortilla (2021). A 24-style Tuscan typeface, a flat-sided version of Fontmesa's Saloon Girl and Tex Mex font families.
    • Marzano (2021-2022). A 30-style blend of Futura, Helvetica and his own Marlin.

    Klingspor link. Fontspace link. Dafont link. Creative Market link. MyFonts page. View Michael Hagemann's typefaces. Abstract Fonts link, [Google] [MyFonts] [More]  ⦿

    Fontador (was: Arne Freytag)
    [Arne Freytag]

    German type designer in Hamburg (b. 1967) who studied at Kunstschule Alsterdamm Hamburg (1992-1996). Arne designed Arne Freytag (1998), Linotype Freytag Regular (2002) and Linotype Freytag Pro (2012).

    His Manometer (2014) is a pneumatic ultra-black slab serif typeface with soft corners and fine counters. Manometer Sans (2014) is the sans version.

    His Quitador (2014) will make even the most zealous bureaucrat boringly happy. Quitador Sans followed in 2016.

    In 2015, Arne published Curve, a fashion didone.

    Author of Toward a new typeface A type design project (Comedia, 2005, vol. 2).

    Typefaces from 2016: Punto (dot matrix font), Signage (dot matrix style).

    Typefaces from 2017: Quador (squarish serif), Ador (humanist sans).

    Typefaces from 2018: Ador Hairline, Punto Poly (a stackable dotted stroke font), Quador Display.

    In 2019, Arne published the soft serif family Bionik and the minimalist geometric sans typeface family Object.

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

    Fontan2.com
    [Ivan Hristov]

    Interesting geometric and experimental typefaces by Ivan Hristov in Bulgaria:

    Behance link, where one can find tens of beautiful logotypes as well. [Google] [MyFonts] [More]  ⦿

    Fontanasia

    Michal Kvasnihka's Czech site with Czech versions of the Computer Modern fonts, CS Concrete, and a handwriting font called Slabikar. [Google] [More]  ⦿

    Fontaste
    [Miguel Reyes]

    Miguel Reyes (b. 1984) is a graphic and type designer from Puebla, Mexico, who studied at Benemérita Universidad Autónoma de Puebla. He obtained a Masters in Type Design from Centro de Estudios Gestalt Veracruz. Since 2010, he cooperates with Typerepublic in Barcelona. Founder of Fontaste. Graduate of the TypeMedia program at KABK Den Haag in 2012.

    His graduation project consisted of two display typefaces, Naila (a wedge serif) and Rocco (a fattish round sans face).

    Typefaces at Fontaste, ca. 2013: Plastilina (+Display, +Deco: signpainter family), Sancho, Candela (signpainter script).

    He joined Commercial Type in New York City in 2013. Miguel's grandest achievement to date is Duplicate (2013, Commercial Type: with Christian Schwartz), a typeface family that comes in three substyles, 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. Because the Ionic genre has long been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts. Duplicate Ionic won an award at TDC 2014.

    Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

    Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.

    Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.

    In 2015, Miguel Reyes designed the high-contrast sharp-edged yet curvy typeface family Canela at Commercial Type. It was followed in 2018 by Canela Condensed and Canela Text.

    Ayer is an elegant condensed display typeface designed by Miguel Reyes between 2016 and 2019 for the fashion magazine W. Ayer (Commercial Type) was designed to be malleable and to assert a strong personality at a variety of scales. Commercial Type writes: Ayer Poster has the extremely high contrast that is typical of a fashion typeface and features four different italic styles: the workmanlike italic featured in all optical sizes, a chaotically beautiful Cursive with a full complement of swash capitals, a sharply stylish Angular, and Miguel's decidedly non-traditional interpretation of the staid Blackletter genre. In comparison, Ayer also has high contrast, though less so than the Poster. Finally, Ayer Deck is a low-contrast sans serif with gentle flaring.

    Co-designer in 2019 with Paul Barnes of the fat face Isambard: The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.

    In 2021, he designed the inky script typeface Candy Darling (with Christian Schwartz; commissioned by Richard Turley for Interview magazine) and Canela Blackletter (inspired by the long tradition of blacketter in Mexico) at Commercial Type.

    In 2022, he designed the italic script typeface Eugenia at Commercial Type. Its four distinct fonts were derived from the 18th century work of Giambattista Bodoni. Eugenia was drawn to accompany Eugenio Serif, the design created for La Repubblica's weekly women's magazine D. [Google] [More]  ⦿

    Fontbilisi (was: Germán León)
    [Germán León]

    Fontbilisi was established by German Leon (b. Madrid, Spain) in 2013. For a while, he was located in Tbilisi, Georgia. Since 2014, he is in Lima, Peru. In 2017, his MyFonts page places his origins in Ukraine. He explains: He was born in Madrid, but crisis and love brought him to Tbilisi, Georgia, from where he is currently designing.

    His first typeface is the quaint Latin slab serif Miraflores (2012). In 2013, he published GL Tetuan (a slab serif that covers Latin, Cyrillic, Georgian and Greek) and GL Benicassim (a sans for Latin and Cyrillic). The foundry Germán León was renamed Fontbilisi that same year.

    In 2017, Leon published GL Parla (a decorative, even playful, typeface derived from didones). Linkedin link. [Google] [MyFonts] [More]  ⦿

    Fonteria CD
    [Manfred Klein]

    "The 50 Fonteria fonts were made in the nineties when Manfred started to play with digital type. This compilation was intended to be distributed commercially, but somehow it came to nothing. So Manfred decided to distribute the collection as free fonts - for private use* only." In 2001, Fonteria CD was produced. It had these creations: Artist, BodoniTwinsCaps, Caslonia, CircusOne through CircusFour, Clown, CrazyTimes, Emmenthaler, Ermir, Erpressung, FloRaTialen, GaraNitials, GaraSans, Imre, Jockey, Jonas, KL1GridZebra, KL1MonoSansInvers, KL1MonocaseSerif, KleinsDancingSlapzerif-Light, Laurens, LernschrittABC, Mighty, MightySpecial, MirrorKleinShadows, MonoAlphabet, MonoAlphabetSerif, Monument, Mutoni, PfeileOne through PfeileThree, Pointout, RootsOfMatisse, SMHand, SaltoOne, SaltoTwo, SonnCar, Steamdecor, StonageStamp, Stoneage, WalNuss, Zoography-Normal. [Google] [MyFonts] [More]  ⦿

    FontGroup
    [Michael Hernan]

    Creator of the Neotechnic series of (free) fonts: Accudigit Regular, Accudigit Body, Parma, Intermatrix (1998), Matricies, Hako, Basic. The designer, Michael Hernan made these fonts between 1995-1998, and writes: About Neotechnic Series: This series of Fonts reflect the information industry at the end of the 20th century and its obsession with classification. Each typeface captures a different aspect of our recent info-culture. He obtained an MA in typeface design from the University of Reading in 2008. At Reading, he designed Pseudo (2008). He started FontGroup in 2008, but that no longer exists (and the link died). His old site, sitehernan, has not been updated in many years. The last typefaces shown at FontGroup before its demise included: Isoglyph (2009), Pseudo (2008-2009), Helvetica Kiss Fit (2006), Helvetica PointSign, Helvetica MultiDigit, UnicaDeux (2006, after an André Gürtler design), KataKana, Galactic Slab, Hako (dot matrix), Bodoni Arabic Numerals, Accudigit Body (1997, pixel face), AfterModule (1997, pixelish), Basic RCT (1995, pixel face), Block Normal (1993), EuroPop, 469 (numerals), g1055, InterMatrix (1998, dot matrix), Matricies Positive (1996, gridded), Matricies Negative (1996), Newer Alphabet, Octane (2005, octagonal and geometric), Fuiji Numbers (pixel face), Parma Sixtyeight (1996, inspired by a No. 6 on the side of Nelson Piquet's 1984 Brabham Racing car), Photo Numbers (pixel face), Pre Recollect, Quartz, Readable Dog, Shasyoku Moji II, Steiner Numbers (2005, numerals), Week Day, Alumi (1996, a squarish typeface based on a design by Saul Bass), Astra (1996, after a 1973 Letraset typeface called Star Marquee), Epps Evans (1995-1997, after Herbert Spencer), New Alphabet (1996, experimental, minimal, based on Wim Crouwel's alphabet), Volume Control (1999, dings), Fine Line (1994), Humana, Clock Face (1995, numbers for clocks). See also here. [Google] [More]  ⦿

    Fontop
    [Dmitry Arakelov]

    Russian designer based in Turkey. Creator of these typefaces in 2017: Roadster Script, North Star, North Script, Phonema (a stylish display sans), Synopsis (a condensed fashion mag serif), Tropical Script (a gorgeous Treefrog style curly script), Okelani Script (another gorgeous Treefrog style curly script), Roadster (a decorative script), Follow Script (a wide connected calligraphic script), Construct (layered, beveled), Defocus.

    In 2017, at YWFT, he published YWFT Sugar. He also designed Constructor (a layered, beveled typeface), Presto Script, Synopsist and Paramaribo (a delicate upright hand-lettered typeface) that year.

    Typefaces from 2018: Cutcut (a party time paper cutout typeface), Bon Ami, Good Day (a delicate handcrafted coffeeshop typeface), Turkuaz (a comic book family), Episode (an ultra-condensed tall poster typeface), Skyscraper (a tallcondensed hexagonal typeface).

    Typefaces from 2019: QSansPro (a workhorse sans), Legatum (a classical roman font inspired by the old inscriptions in Rome).

    Typefaces from 2020: Avayo (a 9-style modern sans), Sansmatica (38 condensed techno fonts), Formatica, Ascent Pro (a geometric sans), Factum (a didone hybrid with high contrast styles culminating in some stencil types).

    Typefaces from 2021: Uplift (a 6-style font characterized by mechanical notches and a certain blue collar appeal), Hygge Sans (a 34-style simple sans). [Google] [MyFonts] [More]  ⦿

    Fonts and font facilities supplied with ghostscript

    Information on fonts in ghostscript. Discussed are the 35 free URW type 1 fonts, Basil Malyshev's Paradissa fonts for Computer Modern, the use of the Fontmap, the prfont.ps program for printing a sample sheet, the free Hanzi font (Chinese) by Jackson Technologies, the free Kanji type 1 fonts by Tetsurou Tanaka of the Department of Engineering, University of Tokyo, N. Glonty and A. Samarin's CM Cyrillic fonts, the bdftops (BDF font to type 1 font) conversion program, and many technical details. [Google] [More]  ⦿

    Fontself
    [Pierre Terrier]

    Lausanne and/or Paris-based type site related to a project conceived and designed by two graphic designers, Franz Hoffman and Pierre Terrier from studio koilinen, and a software developer, Marc Escher. A quote: It provides the ability to create fonts that preserves the gestures of a given handwriting and the original look of the drawing appliance (ball-point pen, pencil, ink, paper, etc.)

    Fontself allows one to make fonts directly in Adobe Illustrator and Adobe Photoshop. It appears that one can create, with their commercial software an Opentype font by simple dragging and dropping an image with the individual letters. It works on both Mac and Windows. This, in turn can be used to simulate handwriting. Fonts (format unclear, not downloadable) include grunge typefaces (Agrotesk, Linexspray), handwriting (Psycho, Mascara, Meriem, Bic, Ehcadnarac, Manu, Signo, Manuscript), and scanned text typefaces (Baskerville, Garabig, Franklin Multi, Sabon, Gothique, Dido). Fontself also provides an editor for creating color fonts. Creative Market link. [Google] [More]  ⦿

    Fonts.ge

    Huge Georgian font archive: AALiteraturulibold, ACADEMIURYAV-Bold, ACADEMIURYAV, ACADEMIURYAV, ACADEMIURYP, AGogeb, AGorda, AGrigoliaH, AGrigoliaL, AGroteskN, AMerabgecadzeh, ANusxuri, AParisuli, ARTANUJI, ASakartvelo, AShesha, ATtbilH, AZacademiury, AZacademiuryBold, AZacademiuryBoldItalic, AZacademiuryItalic, AacadHN, AacadLN, AcadMtavr, AcadNusx, AcadNusxGeo, AcadNusxWd, AcademicNormal, Academiury-ITV, Academiury-ITVBold, Academiury-ITVItalic, Academiury, AchveulBold, AchveulH, AchveulL, AdamianiERI, AdumbadzeHN, Adumbadzel, Akademiuri-mtavruli, Akademiuri, Akademiuri, AkademiuriBJG, Aladini, AmartveNormal, AmicoGeo, Amiran, AmiranSP, ApakizH, ArachveulebriviThin, ArachveulebriviThinSP, ArialCyrMT, ArialCyrMT, ArialGEO, ArialMT, Ashemok, AsoMtavruly-ITV, AsoMtavruly, AtbilisiL, Avaza, AvazaMtavruli, AvazaMtavruliSP, BPGAlgeti, BPGAlgeti, BPGAlgetiCompact, BPGAlgetiCompact, BPGBoxo-Boxo, BPGBoxo, BPGClassicMedium, BPGDedaEna, BPGDedaEnaBlock, BPGDedaEnaNonblock, BPGGlaho-Bold, BPGGlaho, BPGGlaho2008, BPGGlaho2008, BPGGlahoArial, BPGGlahoArial2008, BPGGlahoArial2008, BPGGlahoArialV5, BPGGlahoMix, BPGGlahoSP, BPGGlahoTraditional, BPGGlahoTraditionalArial, BPGIngiri2008, BPGIngiriArial, BPGIngiriArial2008, BPGIngiriBArial, BPGIrubaqidze, BPGIrubaqidze, BPGMikheilStefane, BPGNinoElite, BPGNinoEliteCaps, BPGNinoEliteCond, BPGNinoEliteCondCaps, BPGNinoEliteExp, BPGNinoEliteExpCaps, BPGNinoEliteRound, BPGNinoEliteRoundCond, BPGNinoEliteUltra, BPGNinoEliteUltraCaps, BPGNinoMedium, BPGNinoMediumCaps, BPGNinoMediumCondenced, BPGNinoMkhedruli-Bold, BPGNinoMkhedruli-Bold, BPGNinoMkhedruli, BPGNinoMkhedruli, BPGNinoMkhedruliBook, BPGNinoMkhedruliBook, BPGNinoMtavruli-Bold, BPGNinoMtavruli-Bold, BPGNinoMtavruli, BPGNinoMtavruliBook, BPGNostalgia-Bold, BPGNostalgia-Bold, BPGNostalgia, BPGNostalgia, BPGNuskhaModern, BPGPaata, BPGPaataCaps, BPGPaataCond, BPGPaataCondCaps, BPGPaataExp, BPGPaataExpCaps, BPGPaataUltra, BPGPaataUltraCaps, BPGParaGraphChveulebrivi, BPGParaGraphChveulebrivi, BPGPhoneSansMini-Bold, BPGPhoneSansMini-BoldItalic, BPGPhoneSansMini-Italic, BPGPhoneSansMini, BPGRioni, BPGRioniArial, BPGRioniContrast, BPGRioniVera-CondensedLight, BPGRioniVera, BPGRioniVeraLight, BPGSans, BPGSerif, BPGTahomaGlaho, Babuka, BabukaMtavruli, BalavMtavr, Balaveri, Barnaba, Beka, Bolnisi, BolnisiMtavruli, Bondo, BordeauxGeorgian, BrushScriptGeorgian, Calligraphy, Chveul, ChveulebriviTT, ChveulebriviTTOki, Chveulebrivy-ITV, Chveulebrivy-ITV, Chveulebrivy-ITVBold, Chveulebrivy-ITVBoldItalic, Chveulebrivy-ITVItalic, Chweulebrivi-Book, Constitution, Daviti, DejaVuSans, DejaVuSans, DumbaMtavr, DumbaNusx, Dumbadze-ITV, Dumbadze-ITVBold, Dumbadze-ITVBoldItalic, Dumbadze-ITVItalic, DumbadzeCapsGGE, DumbadzeCondGGE, DumbadzeGGE, DumbadzeItalicGGE, DumbadzeNormal, DumbadzeSmallGGE, DumbadzeTD, DumbadzeTFNormal, Eka, EkaHor, Elguja, Fido, G&G_Ilia-Bold, G&G_Ilia-Normal, G&G_Ilia-Normal, G&G_IliaM, G&G_IliaMBold, G&G_IllliaM-Normal, G&G_Shirim-Normal, GEODumbaMtavr, GEOGrigolia, GEOKolkhetmtav, GEOKolkhetmtav, GEOKolkhetnusx, GEOKolkhetnusx, GEOKolkhety, GEOKolkhetyBold, GEOKolkhetyMtavBold, GEOLitMtavr, GEOLitNusx, GEOLortkipanidzeNormal, GEOLortkipanidzeNormal, GEOZaza, GEOZhorzholadze, GEO_AKADEMIURI, GEO_DUMBADZE_MT, GEO_KOLHETI, GEO_KOLHETI_MT, GF-Satellite-17-Mt-Bold-Italic, GF-Satellite-17-Mt-Bold, GF-Satellite-2-Mt-Italic, GF-Satellite-2-Mt, GF-Satellite-3-Mt-Bold, GF-Satellite-6-Mt-Bold-Italic, GF-Satellite-6-Mt-Bold, GF-Satellite-6-Mt, GFSatellite28Mt-Italic, GFSatellite28Mt, GFSatellite2MtBold, GFSatellite2MtBoldItalic, GFSatellite3Mt-BoldItalic, GGogebashviliNormal, GNMmamuk, Gancxadebebi, Gancxadebebi, Geo-Gza, Geo-TabidzeNusx-ASTER, GeoABC, GeoABC, GeoAcadMtavr, GeoAcadMtavrBold, GeoAcadNusxBold, GeoAcadNusxNormal, GeoAcademiuri, GeoAcademiuriItalic, GeoAladdin, GeoAlami, GeoAmiran, GeoArial, GeoArialBold, GeoArialBoldItalic, GeoArialItalic, GeoAvazaMtavr, GeoAvazaNusx, GeoBalaveri, GeoBauhausMtavr, GeoBauhausNusx, GeoBecker, GeoBernhardFashion, GeoBodoni, GeoBombay, GeoBordeauxMtavr, GeoBordeauxNusx, GeoBrushScript, GeoCalligraphy, GeoChveuMtavrBold, GeoChveuMtavrNormal, GeoChveuNusxBold, GeoChveuNusxNormal, GeoCourier, GeoCourier, GeoCourierBold, GeoCourierBold, GeoCourierBoldItalic, GeoCourierBoldItalic, GeoCourierItalic, GeoCourierItalic, GeoDabali, GeoDedaena, GeoDevi, GeoDochanashviliMtavr, GeoDochanashviliNusx, GeoDumba-Bold, GeoDumba-BoldItalic, GeoDumba-Italic, GeoDumba, GeoDumbadze-Regular, GeoDumbadze, GeoDumbadzeItalic, GeoDumbadzeMtavr, GeoDumbadzeMtavrBold, GeoDumbadzeMtavrBoldItalic, GeoDumbadzeMtavrItalic, GeoDumbadzeNusx, GeoDumbadzeNusxBold, GeoDumbadzeNusxBoldItalic, GeoDumbadzeNusxItalic, GeoEka, GeoEklesia, GeoElguja, GeoGediMze, GeoGeorge, GeoGogebashvili, GeoGorda, GeoGordeladze, GeoGothic, GeoGraniti, GeoGremi, GeoGrigoliaMtavr, GeoGrigoliaMtavrBold, GeoGrigoliaNusx, GeoGrigoliaNusxBold, GeoGrigoliaPolygraph, GeoGrigoliaPolygraphBold, GeoGrotesk, GeoIliaMtavrBold, GeoIliaMtavrNormal, GeoIliaNusxBold, GeoIliaNusxNormal, GeoInstitution, GeoKalamiMtavr, GeoKalamiNusx, GeoKaterina, GeoKiknadze, GeoKokhodze, GeoKolkheti, GeoKolkhetiBold, GeoKolkhetiBoldItalic, GeoKolkhetiItalic, GeoKolkhetiMtavrBold, GeoKolkhetiMtavrNormal, GeoKolkhetiNusxBold, GeoKolkhetiNusxNormal, GeoKvamli, GeoKvebliani, GeoLadoGrigolia, GeoLiterMtavrBold, GeoLiterMtavrNormal, GeoLiterNusxBold, GeoLiterNusxNormal, GeoLiterSmall, GeoLiteraturuli, GeoLiteraturuliBold, GeoLiteraturuliBoldItalic, GeoLiteraturuliItalic, GeoLiteraturulyN, GeoLiteraturulyNBold, GeoLiteraturulyNBoldItalic, GeoLiteraturulyNItalic, GeoLordkipanidzeTT, GeoLortkipanidzeBold, GeoLortkipanidzeMtavrBold, GeoLortkipanidzeMtavrNormal, GeoLortkipanidzeNormal, GeoMaghali, GeoMartve, GeoMdzimiseburiNormal, GeoMistral, GeoMrgvlovaniNormal, GeoMrudeNormal, GeoMziuriMtavr, GeoMziuriNusx, GeoNanaZhorzholadze, GeoNaniko, GeoNapraliani, GeoOrqidea, GeoPakizi, GeoParagraphic, GeoPhunjiMtavr, GeoPhunjiNusx, GeoPicasso, GeoPixel, GeoPreston, GeoRustaveli, GeoSabechdiMtavr, GeoSabechdiMtavrASTER, GeoSabechdiNusx, GeoSabechdiNusxASTER, GeoSakarMtavr, GeoSalkhino, GeoScript, GeoShemoqmedi, GeoShesha, GeoShirim, GeoSiradze, GeoSlim, GeoSoftLiter, GeoTabidze, GeoTbilisiMtavr, GeoTbilisiNusx, GeoTiko, GeoTimes, GeoTimesBold, GeoTimesBoldItalic, GeoTimesGeorgian, GeoTimesItalic, GeoTimesMtavr, GeoTimesNusx, GeoVenuri, GeoVenuriBold, GeoVenuriBoldItalic, GeoVenuriItalic, GeoVeziriMtavr, GeoVeziriNusx, GeoVicroASTER, GeoVictoriaNormal, GeoWWWTimes, GeoWWWTimesBold, GeoWWWTimesBoldItalic, GeoWWWTimesItalic, GeoXelnaceri, GeoXibli, GeoXucurNusx, GeoZaza, GeoZghapariMtavr, GeoZghapariMtavrASTER, GeoZghapariNusx, GeoZghapariNusxASTER, Geodum, GeorgiaNET, GeorgianTimesBold, GeorgianTimesNormal, GigaMsxviliMtav, GigaMsxviliNusx, GigaNewMtav, GigaPirveliMtav, GigaPirveliNusx, GigaTxeliMtav, GigaTxeliNusx, Gogebashvili-ITV, Gogebashvili-ITVBold, Gogebashvili-ITVBoldItalic, Gogebashvili-ITVItalic, GogebashviliNormal, GogebashviliTFNormal, GoturiGoturi, GremiMtavr, GremyCond, Grigolia, Grigolia, GrigoliaMta, GrigoliaMtavr, GrigoliaPolygraph, GrigoliaPolygraphBold, Grotesk, Grotesk, Ia, Imedi, Ioane, IoaneOqropiri, KA_KOLHETI, KA_LITERATURULI, KA_LORTKIPANIDZE, KGDCourierCyrPSzura, Kolkhety-ITV, Kolkhety-ITV, Kolkhety-ITVBold, KolkhetyTeleTypeNormal, KvadroMt, LadoGrigolia, Lali, LitMtavrPS, LitNusx, Literaturuli-Book, LiteraturuliITV, LiteraturuliTD, LiteraturuliTDBold-Italic, LiteraturuliTDBold, LiteraturuliTDItalic, Literaturuly-ITV, Literaturuly-ITVBold, Literaturuly-ITVBoldItalic, Literaturuly-ITVItalic, Literaturuly, Liziko, LortkipanidzeNormal, MTMchedlidze1, MTMchedlidzeHelnatceri1, MTMchedlidzeNushuri, MZIURI1Light, Margo, Migdebuli, MistGeorgian, Muqara, NTHarmonicaPS-Normal, Naniko, New_2, PakizyITV, PataraNino, Peikari, Phatima, Phunji, PhunjiMtavruli, SPAcademi, SPAcademiBold, SPAcademiMTBold, SPBalavari, SPChveulebriviBold, SPChveulebriviMTBold, SPChveulebriviMTMedium, SPChveulebriviMedium, SPDumbadzeBold, SPDumbadzeMTBold, SPFebos, SPGogebashvily, SPGorda, SPGremi, SPGrigolia, SPGrigoliaBold, SPGrigoliaMT, SPGrigoliaMTBold, SPGrotesk, SPKolhetiBold, SPKolhetiMTBold, SPKolhetiMTMedium, SPKolhetiMedium, SPLiteraturuly, SPLiteraturulyBold, SPLiteraturulyMT, SPMdzime, SPPakizi, SPParliamentBold, SPParliamentMTBold, SPParliamentMTMedium, SPParliamentMedium, SPRustavely, SPSakartvelo, SPShemokmedi, SPSiradze, SPSiradzeBold, SPVenaBold, SPVenaMedium, Saba, SakarMtavr, SanHelBold, Sanet, Sggg1, Shalva, ShemoMtavr, Sylfaen, Sylfaen, TalguriRS, Tamaz, Tamta, Targamos, TbilisiCaps, TeoHeavy, TimesNRCyrMT, TimesNewRomanPSMT, Tinano, UCNOBICOMThin, Zaza, ZazaDU, ZazaSP, Kolkhety-ITV, literaturuli_BJG_2000-Bold, misha.nd-cristal, misha.nd, sb_ge. [Google] [More]  ⦿

    Fontshop free fonts

    Fontshop free fonts: Interoffice (dingbats), Dingbests, Xcreen (pixel font), René Louis (Richard Beatty), Arsis (a condensed didone font by Elsner&Flake), Moved (Garage), Digi Antiqua (Linotype), DigiGrotesk (Linotype), Pushkin (handwriting, Paratype). Plus free versions of ATM Light 4.61 for Macintosh and ATM Light 4.1 for Windows 95/98/ME/NT4. [Google] [More]  ⦿

    FontShop: Hairline slab serifs

    Quoting the FontShop feed:

    [Google] [More]  ⦿

    FontShop: Top Ten for 2007

    FontShop has posted its top ten fonts of 2007:

    • ARS Maquette by Angus R. Shamal of ARS Type, a neo-grotesk.
    • FF Meta Serif by Erik Spiekermann, Christian Schwartz and Kris Sowersby.
    • Brisa, a script typeface by Alejandro Paul and Angel Koziupa.
    • Freight Big and Display (Joshua Darden) win in the "most elegant over 64pt" category.
    • Taz III by Lucas de Groot.
    • The connected script typeface Kinescope by Mark Simonson.
    • A collection of grunge typefaces by Rian Hughes (Device): Battery Park, Chase, Roadkill Complete, Wormwood Gothic, Forge.
    • Armchair Modern by Stefan Kjartansson, a futuristic face.
    • Ambroise, a didone special by François Porchez.
    • Softmachine by Nick Shinn.
    • Anziano a delicate classic text family by Stefan Hattenbach.
    [Google] [More]  ⦿

    FontShop: Top Type of 2009

    This FontShop list includes best-sellers, most-blogged-about and groundbreaking typefaces in the FontShop stable in 2009:

    • Sangbleu: The Fine Lined Fashionista---With gossamer strokes and a classical stature, SangBleu was born to be set at 150 pt. on the pages of a glossy magazine. Pic.
    • Geogrotesque.
    • Mousse Script: "best retro script", a revival and expansion of Stephenson Blake's Glenmoy. Pic.
    • Effra: A sans for all seasons. Pic.
    • Heroic Condensed, by TypeTrust. Pic.
    • FF Dingbats 2.0. Pic.
    • Axel: A Spiekermann family. Pic.
    • Olicana: Nick Cooke's flowing handwriting face. Pic.
    • Milo. Pic.
    • T-Star, by Die Gestalten. Pic.
    • Ingeborg: a fun didone family by Michael Hochleitner. Pic.
    • Typonine Stencil: Most sophisticated stencil. Pic.
    • Head Pro: For Gearhead and Techjunkies. Pic.
    • Mr Eaves Sans and Mr Eaves Modern, by Emigre: Mr Eaves Modern is classy and high-legged. Pic.
    • Mic 32 New: A contemporary sans by Chris Dickinson. Pic.
    • Unit Slab: By Spiekermann and co. Pic.
    • Dessau: 1930 meets 1980 meets 2010. Pic.
    • Lexia: A slab for all seasons. Pic.
    • Perec: Most literary. Pic.
    • Metroscript: Best sports script---I guess they mean baseball, as played in the 1950s. Pic.
    • Ludwig: Most unconventional revival. Pic.
    • Pinup: Most cuddly curves. Pic.
    • Kulturista: a slab family that rocks harder than Rockwell. Pic.
    • Carmen: The Iberian didone. Pic.
    • Alpine Script: The most delicious script (for signage or food packaging). Pic.
    • Regime: A slab with a swing. Pic.
    [Google] [More]  ⦿

    FontSite
    [Sean Cavanaugh]

    Online font site run by Sean Cavanaugh (b. Cape May, NJ, 1962) out of Camano Island, WA. This used to be called Title Wave Studios. Since 1996, Sean Cavanaugh is the head of FontSite. In the archives, one can/could find essays on writing style, rules of typography, and a comparison by Thomas Phinney (program manager of Latin Fonts at Adobe) of T1 and TTF. The Fontsite 500 CD (30 USD) offers 500 classical fonts with the original names, plus a few names I have not seen before, such as Bergamo (=Bembo by Francesco Griffo), Chantilly (=Gill Sans), Gareth (=Galliard), Noveo sans (=Neuzeit Grotesk), Palladio (=Palatino), Savoy (=Sabon), URWLatino, Unitus, Toxica, Publicity, Plakette, Pericles, Opus (=Optima), Melville, Function, Flanders, Cori Sans, Binner. Uli Stiehl provides proof that many of the fonts at FontSite are rip-offs (identical to) of fonts in Martin Kotulla's (SoftMaker) collection. This is perhaps best explained that Sean Cavanaugh's last real job was director of typography for SoftMaker, Inc., where he oversaw the development and release of SoftMaker's definiType typeface library and associated products [blurb taken from Digital Type Design Guide: The Page Designer's Guide to Working With Type, published in 1995 by Hayden Books].

    Free fonts: Bergamo, CartoGothic (1996-2009), CombiNumerals. At MyFonts, the CombiNumerals Pro and CombiSymbols dingbat families are available since 2010. The site has a number of fonts with the acronym FS in the name, so I guess these are relatively original (but I won't swear on it): Allegro FS, Beton FS, Bodoni Display FS (+ Bold, Demibold), Bodoni No 2 FS (+ Ultra, Bodoni Recut FS (+Bold, Demibold), and so forth. His 500 Font CD has these fonts:

    • Garalde, Venetian: Bergamo, Bergamo Expert, Bergamo SC&OsF, Caslon, Caslon Expert, Gareth, Garamond, Garamond Expert, Garamond SC&OsF, Garamond Condensed, Garamond Modern, URW Palladio, URW Palladio Expert, Savoy, Savoy Expert, Savoy Small Caps&OsF, Vendôme.
    • Slab Serif: Clarendon, Glytus, Typewriter, Typewriter Condensed.
    • Script: Commercial Script, Deanna Script, Deanna Swash Caps, Hudson, Legend, Mistral, Park Avenue, Phyllis, Phyllis Swash Caps, Vivaldi.
    • Uncial: American Uncial, Rosslaire.
    • Blackletter: Fette Fraktur, Fette Gotisch, Olde English.
    • Borders and symbols: Celtic Borders, Deanna Borders, Deanna Flowers, Picto, Sean's Symbols.
    • Transitional: URW Antiqua, Baskerville, Baskerville Expert, New Baskerville.
    • Didone, modern: Bodoni, Bodoni Expert, Bodoni Small Caps&OsF, Modern 216, Walbaum.
    • Sans serif: Chantilly, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Cnd. SC&OsF, Function, Function Small Caps&OsF, Function Condensed, Goudy Sans, Opus, Opus Small Caps&OsF, Syntax, Letter Gothic.
    • Decorative: Ad Lib, Algerian, Arnold Boecklin, Binner, Caslon Antique, Chromatic, Copperplate Gothic, Davida, Delphian Open Titling, Function Display, Glaser Stencil, Goudy Handtooled, Handel Gothic, Hobo, Honeymoon, Horndon, Mercedes, Mona Lisa, OCR-A&OCR-B, Plakette, Reflex, Salut, Stop, Toxica, VAG Rounded.
    Some more fonts: Alperton, Anaconda, Arizona, Bamboo, Bellhop, Bellows Book, Bernhard Modern FS (2011), Boehland (a revival of Johannes Boehland's Balzac, 1951), Le Havre. MyFonts link. Fontspace link. His art deco fonts, as always without "source" and confusing Victorian, art nouveau, and psychedelica with art deco, include Rimini, Arnold Boecklin, Eldamar, Erbar Deco, Rangpur, Pinocchio, Azucar Gothic, Boyle, Busorama FS, Winona, Abbott Old Style, Almeria (after Richard Isbell's Americana) and Adria Deco, Bernhard Modern FS (2011). FontSpring link. [Google] [MyFonts] [More]  ⦿

    Fontsmith
    [Jason Smith]

    Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retailed his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham was one of the in-house type designers. In January 2020, Fontsmith was acquired by Monotype.

    Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), 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), Severstal (2009), and Moto GP (2020: a custom techno / sports font).

    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.

    Most of Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:

    • FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. Followed by Emanuela Conidi's FS Albert Arabic. In 2007, Jason Smith designed the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well.
    • FS Aldrin (2016). A rounded sans by Phil Garnham.
    • FS Alvar (2007, Jason Smith and Phil Garnham). A modernist utilitarian headline font family inspired by the work of Alvar Aalto.
    • FS Benjamin (2018). A flared sans serif by Stuart De Rozario.
    • FS Blake (Emanuela Conidi). A sans with some inherent tension.
    • FS Brabo (2015, Fernando Mello). Named after Brabo in Antwerp, FS Brabo was inspired by the Plantin Moretus museum and the garalde styles (Bembo, Garamond, Plantin). FS Brabo won an award at Tipos Latinos 2016.
    • FS Clerkenwell (2004, Jason Smith and Phil Garnham). A slab serif.
    • FS Conrad (2009). A multiline display face by Phil Garnham.
    • FS Dillon. Influenced by the Bauhaus quest for simplicity.
    • FS Elliot (2012). By Nick Job.
    • FS Emeric (2013, Phil Garnham). A large humanist slightly angular sans family. Dedicated web site.
    • FS Hackney. An assertive sans typeface family by Nick Job.
    • FS Industrie (2018). A 70-style techno / mechanical sans family by Fernando Mello and Phil Garnham.
    • FS Ingrid. A humanist sans family by Jason Smith.
    • FS Irwin (2017). An incised typeface inspired by New York, FS Irwin is a sans serif with calligraphic roots.
    • FS Jack (2009, Jason Smith and Fernando Mello). A confident sans family that was awarded at Tipos Latinos 2010.
    • FS Joey (2009, Jason Smith and Fernando Mello). An organic sans typeface family.
    • FS Kim (2018). A joyful display typeface family by Krista Radoeva.
    • FS Kitty (2007, Jason Smith and Phil Garnham). In the Japanese kawaii style.
    • FS Koopman (2018). A sans family designed by Andy Lethbridge and Stuart De Rozario. A hybrid sans workhorse that takes inspiration from Swiss grotesks, American gothics and early British grotesques
    • FS Lola (2006). Originally designed for Wechsler Ross&Portet by Phil Garnham, it is advertised by Fontsmith as a transgender type.
    • Lost + Foundry (2018, Pedro Arilla and Stuart de Rozario). The Lost & Foundry family of seven fonts includes FS Berwick, FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland and FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless. Fontsmith's designers Stuart de Rozario and Pedro Arilla worked with M&C Saatchi London to develop the fonts.
    • FS Lucas (2016). A geometric sans by Stuart de Rozario.
    • FS Maja. A curvy display typeface.
    • FS Matthew. A sans family.
    • FS Me. 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. Codesigned by Jason Smith, Mitja Miklavcic and Phil Garnham.
    • FS Meridian (by Kristina Jandova). A rhythmic geometric sans family with circular forms.
    • FS Millbank (2015). A wayfinding typeface family by Stuart de Rozario.
    • FS Neruda (2018, by Pedro Arilla). A transitional storytelling text family named after Chilean poet Pablo Neruda.
    • FS Olivia (2012). An angular poetic text typeface family by Eleni Beveratou.
    • FS Ostro (2018, Alessia Mazzarella). A modern typeface family in text and display versions. It brings warmth and fresh air to the cold Italian didones. Its more subdued and less contrasted text version was influenced by Scotch romans. There are also genetic elements of Spanish display types.
    • FS Pele (2007). An ultra fat typeface by Jason Smith and Phil Garnham.
    • FS Pimlico (2011, Fernando Mello). A humanist display sans.
    • FS Rigsby (2005). A sans.
    • FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
    • FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
    • FS Sally (Jason Smith and Phil Garnham). FS Sally Pro won an award at Granshan 2016.
    • FS Sammy (Satwinder Sehmi, Jason Smith). A script typeface.
    • FS Shepton (2015). A calligraphic brush script by Andy Lethbridge.
    • FS Siena (2016). A luxurious fashion mag typeface given a new life in 2016 by Krista Radoeva. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.
    • FS Silas Sans (2008, Jason Smith, Bela Frank, Fernando Mello and Phil Garnham).
    • FS Silas Slab (2015, Bela Frank).
    • FS Sinclair (2007-2008). A rounded octagonal typeface by Jason Smith and Phil Garnham.
    • FS Sophie (2004). A feminine sans typeface.
    • FS Split Sans and FS Split Serif (2019, Jason Smith and Fernando Mello). Has a variable type option.
    • FS Truman (2012, Jason Smith and Fernando Mello). A sans family.
    • FS Untitled (2016, Jason Smith and Fernando Mello). Developed for screens.
    [Google] [MyFonts] [More]  ⦿

    Form Studio

    Form Studio (Los Angeles, CA) created the didone display typeface Metropolitan (2014). Behance link. [Google] [More]  ⦿

    Forte Type
    [Jarbas Gomes]

    Foundry est. in 2007 in Vitória, ES, Brazil, by Jarbas Gomes (b. Vitória, 1981) from a work experience with Outras Fontes foundry, of Ricardo Esteves Gomes. A graphic designer, he graduated from Espérito Santo Federal University in 2005. In 2007, he designed the gorgeous ultra-contrasted black family Boldoni (T26). The monoline circular arc typeface Cirkel Pro was published in 2010. Boldoni Gray won an award at Tipos Latinos 2008.

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

    Fragtype
    [Rodrigo Fuenzalida]

    Graphic and type designer from Caracas, Venezuela, b. 1981, who moved first to Buenos Aires and then to Santiago in Chile. While mainly a type designer, he also practices calligraphy. He was involved in and set up multiple type foundries, including Fragtype. Fuenzalida designed these typefaces:

    • The art deco faces Erre.
    • The experimental typefaces Tructura, Tangram, Sicodelica (multiline), SuperC (2009, tall condensed) and Pixid (2010, pixel face).
    • Concrete Stencil (2010). Stencil meets calligraphic script.
    • Fux (2010). A rounded monoline sans.
    • 7Tees.
    • Aushaus: letters like music notes. This is also called Aubhaus.
    • Gerd (2009). An artsy stylish piano key font that used to be free.
    • LINE_A and K5 (multiline).
    • Cubo (aka Khubo, 2009, Die Gestalten). This 3d geometric family was a grand prize winner in the experimental typeface category at Tipos Latinos 2010.
    • Factur (2011) is an angular typeface.
    • Isosibilia. A 3d face. This typeface won an award winner in the experimental typeface category at Tipos Latinos 2010.
    • The connected upright script face Nedo.
    • The grunge typeface Belt.
    • The stencil Bodoni typefaces Giambo Stencil (2009, Die Gestalten) and Giambattista.
    • Titan (2011). A fat rounded poster face, downloadable from Google Web Fonts.
    • Fux (2010). A basic monoline sans family.
    • Poetsen One (2012) is a rounded signage sans typeface co-designed with Pablo Impallari.
    • Racing Sans (2012). A techno typeface that conjures up speed. Codesigned with Pablo Impallari, it is free at Google Web Fonts.
    • With Nicola Massi, he created the textura typeface Pirata+One (2012, Google Web Fonts).
    • Hermeneus One (2013, with Pablo Impallari) is a slab serif.
    • Tweegi (2013) is an elegant super-condensed serif typeface family.
    • Kardia (2014) is a rounded slightly elliptical warm-hearted sans family.
    • Libre Baskerville (2012, Google Web Fonts, Open Font Library, Github, and CTAN) was developed together with Pablo Impallari. It is based on 1941 ATF specimens, but it has a taller x height, wider counters and minor contrast that allows it to work on small sizes in any screen.
    • Libre Caslon (2012-2014). A free typeface family co-designed with Pablo Impallari.
    • Raleway (2010-2013). This popular free sans typeface family was started by Matt McInerney in 2010 and completed by Pablo Impallari and Rodrigo Fuenzalida in 2013. In 2017, it was extended to Rawline.
    • Libre Bodoni (2014) was developed by Pablo Impallari and Rodrigo Fuenzalida based on Morris Fuller Benton's Bodoni types---they optimized the glyphs for use on the web. Github link. Google Fonts link.
    • Latina (2015) is a humanist sans typeface family developed with the Latinotype team. It won an award at Tipos Latinos 2016. Its headline styles have exaggerated humanist features, while its text styles are more subdued.
    • In 2016, Latinotype published the 32-style Corporative Sans Round Condensed, which was developed by Elizabeth Hernandez and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernandez.
    • Libre Franklin (Pablo Impallari and Rodrigo Fuenzalida) is a revival of Morris Fuller Benton's 1912 classic, Franklin Gothic. Created in 2015, it was only published in 2016 at Google Fonts. Github link.
    • Taberna (2016). A vintage copperplate style family based on design trends in bar signage, liquor packaging and street wear. Codesigned by Jorge Cisterna at Latinotype.
    • Letteria Script (2017, Latinotype). A signage script family.
    • Winner at Tipos Latinos 2018 of a type design award for Mixta (Joya Type Foundry).
    • In 2018, Daniel Hernandez and Rodrigo Fuenzalida enlarged the fat all caps slab serif Latinotype typeface Rita that was originally started in 2010.
    • Market (2018, Latinotype) is inspired by hand-painted grocery store signs.
    • In 2019, Latinotype published the great super-slab typeface Breton which was designed by Daniel Hernandez and Rodrigo Fuenzalida.
    • In 2018, he published Multiple at Latinotype. Partly geometric and partly humanist, it has Sans and Slab subfamilies.

      In 2019, Alfonso Garcia and Rodrigo Fuenzalida released Utily Sans at Latinotype. Utily Sans is a slightly humanist take on Futura.

      In 2019, Fuenzalida released Atenas through Los Andes. It emerged as a mixture of science fiction and calligraphy, with notable influences of Eurostile and Microgramma. There is a fully stocked stencil subfamily, Atenas Stencil.

    • Mixta (2020, Latinotype). A total of 54 typefaces with these subfamilies: Mixta Sharp, Mixta Pro, Mixta Didone. Includes weights from Hair to Heavy.
    • Spock (2020). A 48-style demi-sans and demi-slab family by Luciano Vergara, Cesar Araya and Rodrigo Fuenzalida.
    • In 2020, he co-designed Ragtag (a ragtag of capitals) with Alexander Wright for In-House International.
    • Mixta Essential (or: Mixta Ess) (2020, Latino Type). A 12-style hybrid of a didone-inspired rectangle-shaped serif and a sharp wedge serif.
    • In 2020, Rodrigo Fuenzalida, Alexander Wright and Michelle Benaim Steiner co-designed the exaggerated reverse stress (or: Italian) typeface Pata Slab at In-House International. All uppercase characters were built to fit precisely inside a square, so they are all the same width and height.
    • Mumford (2021). An 18-style display sans.
    • Outfit (2021, Google Fonts). Github link. This geometric font family was originally designed for the brand company Outfitio and On Brand Investments Pty Ltd. It includes a variable font.
    • In 2022, Rodrigo Fuenzalida and Alexander Wright published the decorative angular typeface family Broker at In-House International.

    Klingspor link. Abstract Fonts link. Behance link. Kernest link. YWFT link. Creative Market link. MyFonts link. Dafont link. Another Behance link. Google Fonts link. [Google] [MyFonts] [More]  ⦿

    François Boltana

    French type designer based in Toulouse, b. 1950, d. 1999. He was an early graduate of Scriptorium de Toulouse (1972). In his lifetime, Boltana achieved a great deal of success, including the Morisawa Prize in 1990. From 1975 until 1997 he was also a freelance graphic designer. Brief CV. Read his article in Cahiers GUTenberg, Ligatures&calligraphie assistée par ordinateur (1995). Fontshop link. Frank Adebiaye wrote François Boltana et la naissance de la typographie numérique together with Suzanne Cardinal in 2012.

    His fonts:

    • Aurore (1993): a calligraphic copperplate script typeface. For a free revival, see Claude Pelletier's Maratre (2013).
    • The typewriter font Capitole (1974).
    • Champion (1989): a wonderful copperplate calligraphic font inspired by the models of Joseph Champion (1754-1759).
    • Frédéric.
    • Geneviève (1969, Hollenstein Phototypo).
    • Girus.
    • Lineameca (1970, Hollenstein Phototypo).
    • Messager (1991); in two styles, Romain and Tradition.
    • Oscar.
    • Prosper.
    • Rabelais (1997): for this effort, he obtained the Meilleur Ouvrier de France en 1997 award.
    • Toscan.
    • Toulouse.
    • Stilla (1973): a modern psychedelic high-contrast ornamental didone display typeface with many ball terminals. In 1990, Elsner&Flake published Stilla EF. It is also in the Scangraphic collection as Stilla SH. Linotype too has a version of Stilla. Softmaker's version is called Salmon Pro. Stilla is often incorrectly credited to Middleton.
    [Google] [More]  ⦿

    François Didot
    [Didot family]

    [MyFonts] [More]  ⦿

    François Rappo

    Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. He is Head of the Master in Art Direction at ECAL/University of Art & Design Lausanne. His typefaces:

    • The gorgeous revival family Didot Elder (published at Optimo, 2004), which is based on work by Pierre Didot from 1819.
    • The stylish typewriter family CEO (2005, Optimo).
    • At B&P Foundry, the serif family LaPolice BP (2007-2008).
    • The Theinhardt family (2009, Optimo), which was named after the (generally accepted) designer of the first sans. It covers Latin, Greek and Cyrillic. An update was issed in 2018.
    • At B&P Swiss Typefaces, he published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.
    • Genath (2011, Optimo). Erik Spiekermann twitters: Best Caslon alternative yet. The typeface is based on a baroque type from the Genath foundry in Basel, and is based on a specimen from 1720 that is most likely Johann Wilhelm Haas's first design in Basel.
    • Clarendon Graphic (2015, Optimo). Comprehensive, perfect, all-encompassing, a new standard for Clarendon. It has 26 styles including some stencil cuts.
    • Plain (2014), Apax (2016) and Rand (2019), a trilogy of grotesque typefaces. Rappo writes: As Plain investigated the rational simplicity of modernism and Apax re-evaluated the visual grammar of constructivism, Rand explores the shapes that brought a certain spirit and warmth to the rigidity of modern design---emerging notably from The New York School. While some glyphs like the a inherit the clarity of Swiss rationalism, other glyphs borrow from design icons such as the from the Westinghouse logo by Paul Rand. Rand also features a nice Rand Mono subfamily.
    • Practice (2016). A typeface family for magazines.
    • JJannon (2019). A revival of Jean Jannon's type from 1641. This 16-style family is crisp and sharp-edged.

    Swiss Type Design link. Pointypo piece on him. [Google] [More]  ⦿

    François Thibaudeau
    [Thibaudeau's classification]

    [More]  ⦿

    François-Ambroise Didot

    Older son of the Didot printing business founder, François Didot, 1730-1804, Paris. François-Ambroise Didot inherited the work of his father François. Appointed printer to the clergy in 1788. He published "Artois" (Recueil de romans français, 64 volumes), "Dauphin" (a collection of French classics in 32 volumes, edited by order of Louis XVI), and a bible. More importantly, he invented a new printing-press, improved typefounding, and was the first to print on vellum paper. About 1780 François-Ambroise Didot adapted the point syste for sizing typefaces by width, using units of 1/72 of the pre-metric French inch. His "point", later named the didot after him, became the prevailing unit of type measurement throughout continental Europe and its former colonies, including Latin America. In 1973 it was metrically standardized at 0.375 mm for the European Union. Meanwhile, the English-speaking world adopted a "point" based on 1/72 of the smaller English inch. [Google] [MyFonts] [More]  ⦿

    Francesco Messina
    [Polystudio]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Francisca Monteiro

    Portuguese graphic designer who created the fashion mag didone typeface Esther Display (2014). [Google] [More]  ⦿

    Francisco Medina Walker

    Graduate of the Universidad de Belgrano, Argentina. He combined design elements of Gill Sans and Didot when he created the headline / fashion mag typeface Bangguar (2012). [Google] [More]  ⦿

    Francisco Torres

    Aka Senhor Baltazar. At Type@Paris 2016, Francisco Torres (Antwerp, Belgium, and Porto, Portugal) designed Emigrant Serif for small wine companies in Portugal.

    In 2020, Iñigo Jerez (Extratype) released the 56-style text family Chamberi (co-designed with Francisco Torres) and wrote: ChamberĂ­ is designed to be Vogue Spain's bespoke typeface. An ambitious typographic branding projeect made for one of the most iconic magazine headers of the world, it defines the Spanish edition's personality through a blending of the functionality of 19th century modern romans (also known as Scotch typefaces) and the gestural expressiveness of typographic Baroque. Chamberi is a peculiar combination of the rational and the delicate, the sturdy and the feminine. It is offered in Text, Headline, Display and (fashion mag) Super Display sub-families. [Google] [More]  ⦿

    Franck Montfermé

    Parisian type designer (b. 1972) who made the classical (old-style ligature) text font family Arcis and Arcis Sans in 1997. In 2010, he published the retro script Creamy Script at T26.

    In 2013, he joined the Fontyou and co-designed the ball terminal beauty Squirrel FY with Gia Tran. The letters of this ultra-fat didone reveal audacious geometric smoothness at large sizes. Together, Jérémie Hornus and Franck Montfermé designed the feminine italic typeface Maryleen FY (2013, Fontyou).

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

    Frank Béla
    [Faberfonts]

    [MyFonts] [More]  ⦿

    Franko Luin
    [Omnibus Typographi]

    [MyFonts] [More]  ⦿

    Frantisek Storm
    [Storm Type Foundry]

    [MyFonts] [More]  ⦿

    Frederic Warde

    Born in Wells, Minnesota as Arthur Frederick Ward, 1894, d. New York, 1939. He enlisted in the United States Army in 1915 and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918. On demobilisation he worked as a book editor for Macmillan&Co before undergoing training on the Monotype machine, after which he worked for the printers Edwin Rudge. He had met Beatrice Becker in 1919 and they married in December 1922. Warde was Printer for Princeton University (1922-1924). The couple moved to England in late 1924 for Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The marriage did not last; they separated in 1926, and quickly divorced, though the break-up was an amicable one. Afterward Warde lived in France and Italy, where he became involved in Giovanni Mardersteig's Officina Bodoni. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press. He had his name changed several times, first his last name to Warde, and then his first name first to Frederique and then to Frederic. Warde returned to America permanently and he worked again for Edwin Rudge from 1927 to 1932, and also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939.

    His typographic work:

    • Based on the fifteenth century letters of Nicolas Jenson, Centaur (originally called Arrighi) was first designed by Bruce Rogers in 1914 for the Metropolitan Museum, and parts of the typeface (like the italic) were done by Warde in 1925. This was called Arrighi Italic (a smooth version of Blado) but became Centaur Italic (Monotype, 1929). Warde was inspired by the italic forms on the Italica of Ludovico Vicentino, a 16th century typeface. However, his capitals are more freely formed (not vertical, for example). Warde designed a revival of the chancery cursive letter forms of Renaissance calligrapher Ludovico degli Arrighi. This italic, titled Arrighi, was designed as a companion to Bruce Roger's roman typeface Centaur.

    Author of Monotype Ornaments (1928, Lanston Monotype Corp) [this book is freely available on the web thanks to Jacques André]. Many ornaments in this book have been digitized; see, e.g., Arabesque Ornaments (for the 16th century material) and Rococo Ornaments (for the 18th century ornaments). Warde also published the following privately in 1926 with Stanley Morison: The calligraphic models of Ludovico degli Arrighi, surnamed Vicentino---a complete facsimile and introduction by Ludovico degli Arrighi.

    Digital fonts based on his work include LTC Metropolitan (Lanston), Centaur (Monotype and Linotype versions) and Arrighi BQ (Berthold; this font has romans by Bruce Rogers and an italic by Frederic Warde).

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

    Frederick W. Lambert

    British type and graphic designer who taught at the London College of Printing and headed Letraset. His typefaces:

    • LetterForm No. 2 (1953). See Letter Forms: 110 Complete Alphabets (by Fred Lambert, Dover, 1972; edited by Theodore Menten; 19 editions of that book were published between 1964 and 1990).
    • Sans Stencil (1959).
    • Compacta (1963, Letraset) is a super-condensed heavy industrial sans-serif family that can be used in phone directories, ads for airplanes, and masculine newspapers. It is in the gaspipe genre that descended from Schmalfette Grotesk, led to Haettenschweiler and Impact, and to Matthew Carter's masthead type for Private Eye. Compacta ended up in the digital as ITC Compacta and found its way to the Linotype collection, and by osmosis, to the Bitstream collection since 1990 (where the font took on a life as Swiss 930 and as Compacta Bold BT), and at Scangraphic in 2004 (as Compacta SH). Compacta's style was popular in the early 1960s: Rolling Stones albums such as Aftermath and 12x5 and The Who's I Can See For Miles either use Compacta or are in a similar style. It was in use on the cover of The Sexual Fetish (1965). It was also used as the titles and credits font for shows such as Emergency and The Six Million Dollar Man, as well as on-screen by NBC Sports from 1991 to 1995, and in the TV series Baywatch. It has been used by the Seattle Mariners Major League Baseball team since 1993. Compacta appeared as the logo typeface for World Wrestling Federation's television program SmackDown from 1999 to 2001.
    • Annlie (1966, Letraset). A strong black didone typeface with beautiful numerals that later became an ITC font, ITC Annlie.
    • Linear (1969, Letraset).

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

    Fredrick Nader

    Canadian designer of the didone typeface Frisco (2002, with Alejandro Paul) at Typeworx in Toronto, a company which he co-founded. He is also the well-known type designer "Apostrophe" at Apostrophic Lab [dead link] in Toronto, where he created hundreds of full font families. He was the main industrial custom type designer in Toronto. Interview: Who is Apostrophe?. MyFonts admits that Nader's current whereabouts are unknown. [Google] [MyFonts] [More]  ⦿

    Free math fonts

    Listing produced by the math Font Group (part of TUG):

    [Google] [More]  ⦿

    FreeFonts4All
    [Ofir Shavit]

    The Tel Aviv, Israel-based author of the font editor Font Ark created a few (free) fonts himself: Hebrew Alphabet (2015, a ribbon font), Kloe (2014: a sans in 12 styles), Agent (2014: octagonal typeface), Octopus (2014: an 18-style geometric sans family), Fritz (2014) and Rodus (2014). Ofir studied Industrial design at Bezalel Academy of Art & Design Jerusalem.

    In 2015, he made the 12-style didone family Goral, which has a Peignotian sans set, FF4A Goral, and a serif set, FF4A Goral Serif. In 2016, he designed the sans typeface family Aran.

    Typefaces from 2017: Adiva (a stunning eccentric typeface with one free weight).

    In 2018, he designed the Hebrew typefaces OS Villi Stens, OS Gibor, OS Egul and OS Zusha, and a wonderful Latin cursive typeface.

    Behance link. Free font link. [Google] [More]  ⦿

    Freeman Jerry Craw

    Or Freeman Godfrey Craw. Type designer from East Orange, New York, born in 1917, who was associated with ATF. He died in 2017.

    Excerpts of his obituary in the Star Ledger: Graphic artist and designer renowned internationally as innovator in visual identity field, created many recognizable typefaces that bear his name. Freeman Godfrey Craw, 100, of Tinton Falls, N.J., passed away peacefully on Monday, May 1, 2017. Mr. Craw had lived in Tinton Falls since 2001. Prior to that, he had been a long-time resident of Short Hills, N.J. Known to family and friends as Jerry, he forged a highly distinguished and decorated career in graphic art, calligraphy, and topography. Born and raised in East Orange, N.J., Jerry graduated from Cooper Union For The Advancement of Science and Art in 1939. Upon graduation he became a designer with the American Colortype Company in New York City. In 1943, he joined Tri-Arts Press Inc. as its art director, and in 1958, he was named vice president of the company. In that capacity, he had complete graphic control over the most interesting and impressive printing produced in the U.S. during the 1950s and 1960s. During this time, he created unique visual identity programs for numerous prestigious business and institutional clients, including CBS and IBM. In 1968, he left Tri-Arts to establish his own company, Freeman Craw Design as a specialist in design-for-printing. As an independent design consultant and art director, Jerry maintained a full-time office of designers and artists to better serve the complete needs of his clientele. He provided a broad range of graphic and production services, including photography, typography, illustration, composition, platemaking and printing. He also served as manager of production and graphics for Rockefeller University Press at that time. Jerry was considered one of the best graphic artists in the world, and his body of work has been described by colleagues and industry insiders as "legendary." He was best known to fellow topographers for his many type designs commissioned by American Type Founders Company. Among these are Craw Clarendon, Craw Clarendon Book, Craw Clarendon Condensed, Craw Modern, Craw Modern Bold, Craw Modern Italic, Ad Lib, Canterbury, Chancery Cursive, Classic, CBS Sans and CBS Didot. Jerry's calligraphic works were held in such high regard that permanent collections were established at the of the Museum of Modern Art and the Cooper-Hewitt Museum of New York, a division of the Smithsonian Institution, as well as the Whitney Museum of American Art. He also had a number of one-man exhibitions in New York, Chicago, and London, and was an honorary member of the Gutenberg Museum in Mainz, Germany. Additionally, in 1946, he was a founding member of the Type Directors Club, which today is still the leading international organization devoted to excellence in topography. He was also the recipient of numerous national and international awards and citations for excellence in graphic design. Jerry wrote and designed for the following publications: American Artist, Fortune, Graphis, Print Magazine and the Saturday Evening Post, to mention only a few. He even found time as a guest lecturer at institutions including Yale University, Rensselaer Polytechnic Institute, Kean University, The New York School of Visual Arts, as well as the Universities of Alabama, Utah, and Maryland.

    His obituary contains this paragraph about Jerry's great personality: Jerry was warmhearted, gregarious, and passionate about his art. His intelligence and gentle nature always shined through. He was good humored, loved to be around people, and always seemed to get along with everyone, even strangers. He considered himself a "hopeless Francophile," and was heavily influenced by School of Paris painters like Degas, Braque, Picasso, and particularly Modigliani. Having traveled extensively throughout France, he developed a keen appreciation of French culture, French architecture and, of course, French wine. He even taught himself the language and became fluent in it. Jerry loved a good bottle of Chateauneuf du Pape, but would love sharing it with family and friends even more. His warmth, humor, and creativity will be sorely missed by all who knew and loved him.

    Designer of

    • Craw Clarendon (ATF, 1955-1960), based on the Benjamin Fox/Robert Besley Clarendon of 1845. Now available as OPTI Craw Clarendon (Castcraft), Craw Clarendon EF (Elsner & Flake), or Craw Clarendon (2013, Jordan Davies), for example. Mac McGrew writes: In 1955, ATF commissioned Freeman Craw to develop an American version of the Clarendon letter, resulting in Craw Clarendon. The following year Craw Clarendon Book, a lighter weight, was released, and Craw Clarendon Condensed in 1960. Craw has commented that as a designer of type he faced different problems than as a designer with type. Perhaps this and the alleged rush production resulted in unfortunate compromise, as some sizes are small for the body, with excess shoulder. Otherwise they are excellent and deservedly popular typefaces. The normal widths are also made by Monotype. Also see Clarendon.
    • Craw Modern (1958). Mac McGrew writes: Craw Modern is a contemporary interpretation of the modern roman style, designed by Freeman Craw for ATF in 1958. It is a very wide face, with large x-height and short ascenders and descenders, otherwise somewhat the character of Bodoni but a little less formal. Craw Modern Bold followed, and in 1964 Craw Modern Italic was introduced. These typefaces have the same general proportions and some of the general design characteristics as the same artist's Craw Clarendon, but the similarity ends there and the typefaces should not be considered part of the same family. Compare Modern Roman, Litho series. Digital versions include Craw Modern (2012, Group Type) and OPTI Craw Modern (Castcraft).
    • Ad Lib (ATF, 1961). This was revived as Ad Lib in 2010 by SoftMaker. Nick Curtis remade it as Oo Boodlio Doo NF (2011). Bitstream's version is simply called Ad Lib. Vladimir Pavlikov made a Cyrillic version at Paratype in 1999. Mac McGrew writes: Ad Lib is an irregular, novel gothic letter, designed by Freeman Craw in 1961 for American Type Founders, probably in response to the new-found freedom of photolettering techniques. The effect, suggestive of a woodcut technique, was reportedly achieved by cutting the letters out of a black sheet material with scissors. The complete font as shown features alternate designs for a number of characters; in addition, it is aligned so that several characters can be inverted to form additional alternates, such as u for n and vice versa. It is made only in three sizes. The alternate characters were later discontinued. Samoa, a nineteenth-century typeface, had somewhat similar invertible characters.
    • Special commissions: Canterbury, Chancery, Classic, CBS Sans, and CBS Didot (1970s; for private users and manufacturers of film and digital type equipment). CBS Didot (2009, Daylight Fonts) is a revival of Craw's CBS Didot. For other digitizations, see K22 My Didot (2012, by Toto), Opti Didot CBS Special by Castcraft Software and an unattributed free font called CBS Didot.
    He received a TDC medal in 1988 for lifetime achievement in typography. Link at TDC. FontShop link. [Google] [MyFonts] [More]  ⦿

    French Round Face

    Mac McGrew: French Round Face was originally called Didot Roman or simply Modern, was one of the first revivals of the typefaces cut by Firmin Didot in France about 1784. This was cut for Monotype in 1910, under the direction of J. Horace MacFarland and William Dana Orcutt. The italic is unusual in that some lowercase letters have serifs like the roman. No. 16 on Linotype and Intertype is similar but heavier. Compare Suburban French. [Google] [More]  ⦿

    Frida Medrano

    During her studies in Monterrey, Mexico, Nueva Leon-based Frida Medrano created the creamy didone display typeface Kalnia (2014). In 2017, she designed the free "variable font" Fraktur typeface Jabin.

    Recipient of The Society of Typographic Aficionados Catalyst Award in 2018. She now cooperates in type design projects at TypeMade. [Google] [More]  ⦿

    Friedrich Althausen

    Potsdam, Germany-based designer (b. 1981) who studied Media Systems (Informatics) and Visual Communication at the Bauhaus University Weimar and is working as a freelance designer since 2008. Creator of the free fonts Vollkorn-Brotschrift (2006, text face), Elise Meincke logotype (didone), and Halbstark (2006, a fancy display face). Vollkorn microsite for the most recent downloads. Vollkorn supports many scripts, including Latin and Cyrillic. In 2014, Vollkorn 3.0 was published. Open Font Library link. Site dedicated to Vollkorn.

    In 2014, he published the thin but striking fashion mag and all caps titling typeface Uberschrift at FDI.

    In 2020, he released the variable font CoronaFaceImpact, which has three axes, Effects from wearing a face mask, Change of look due to closed hairdressers, and Results of home schooling.

    Behance link. Kernest link. Old URL. Interview with Friedrich Althausen. Google Plus link. Github link. [Google] [MyFonts] [More]  ⦿

    Friedrich Wilhelm Kleukens

    German type designer, 1878 (Achim)-1956 (Nürtingen). Studied in Berlin. Founder in 1900, with F.H. Ehmcke and Georg Belwe, of the Steglitzer Werkstatt, which he left in 1903. He taught at the Leipzig Academy of Graphic Design and Book Arts from 1903 until 1906. Thereafter he taught in Darmstadt and worked at private presses. From 1924 until 1931, he was advisor at D. Stempel AG, where he made, e.g., Gotische Antiqua (1914), Helga (1912, with round wide lower-case letters), Helga Antiqua (1913), Ingeborg Antiqua (1910), Omega (1926: art deco), Kleukens Scriptura (1926), Ratio Latein (1923), and Kleukens Fraktur (1910-1911) [sample scans: sample text, Zierbuchstaben, alphabet]. Still later, he made Trennert Fraktur (1931) at J.D.Trennert&Sohn. He also made Gutenberg-Fraktur.

    Many of his typefaces were revived. Kleukens Antiqua (Bauersche Giesserei, 1910) was revived by Nick Curtis in 2007 as Kleukens Antiqua NF and by Christine Gertsch at KABK in 2012 as Kleukens Antiqua. Kleukens Scriptura was digitally revived as Kleukens Kursiv NF (2010, Nick Curtis). The Scangraphic collection has his Trieste (1910). Petra Heidorn and her group created a revival of Kleukens Fraktur. Canada Type (Kevin Allan King and Patrick Griffith) published Ratio Modern (2011), a spectacular revival of Kleukens' 1923 didone face. Omega was revived by Ralph M. Unger in 2020 as RMU Omega. [Google] [MyFonts] [More]  ⦿

    Frieze Didot

    Frieze Didot is a free font designed by Amy Preston and Joe Porter for Frieze Magazine in 2016. At Typedrawers, Frode Bo Helland decries the fact that they have knicked the outlines of a free font, Theano Didot by Alexey Kryukov, and that some time earlier they were caught stealing the outlines of Linotype Didot. [Google] [More]  ⦿

    Fry's Canon

    A fat face privately held by Kinoch Press. Berry, Johnson and Jaspert: This type, originally from Fry's foundry was cast by Stephenson Blake for Kynoch Press and Curwen Press. One of the earliest of the Fat Faces, dating from 1808. The design is that of the modern face, with an exaggeration of the contrast between thick and thin strokes. The exaggeration is however less than in the contemporary type Thorowgood. [Google] [More]  ⦿

    Fulvio Bisca

    Italian illustrator and designer from Torino (b. 1970) who made Antitled, a sans serif family at T-26 (2001, completed in 2004). Ex-graduate of Institute G.B. Bodoni in Torino in 1989.

    In 2010, he made Cutoff Pro (URW++, +Bold), a serif family with serifs cut off in odd ways, and which covers all European scripts, including Cyrillic and Greek. One could say that it is a hyper-organic typeface.

    Typefaces from 2014 include Vertebrata.

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

    Fundicion Tipografica Richard Gans
    [Richard Gans]

    The Richard Gans Foundry is a defunct Spanish foundry which existed from 1888-1975. Richard Gans was the son of a medic from Karlsbad, Austria. He emigrated to Spain in 1874, and died in 1925. Until 1936 the foundry was led by Mauricio Wiesenthal, but in 1936, his children, Ricardo, Manuel and Amalia Gans Gimeno, now adults, took over. Ricardo and Manuel were assassinated during the Civil War. The foundry was used to make ammunition, and after the war, Amalia Gans and then Reinaldo Leger Tittel started anew in run-down buildings. The foundry operated roughly from 1881-1975. Throughout its existence, types were designed by a number of people from within and outside the foundry. Designers included José Ausejo Matute (d. 1998), Antonio Bilbao (who created Escorial in 1960), the son Ricardo Gans, and Carl Winkow. In the post-war era, Reinaldo Leger and Amalia Garcia Gans made typographic decisions on which types to produce, and acted as typographic directors. Richard Gans' grandson, José Antonio Gans García, is still alive today. Manuel Lage informed me in 2017 that he has inherited the Richard Gans collection.

    Six specimen books were published with titles like Fundicion Richard Gans Muestrario Edicion V. The first and second editions, rare books indeed, were published between 1883 and 1903. Editions 3 through 6 appeared in the period 1903-1922. The 1922 edition is here in its entirety (thanks to J.R. Penela). See also here. In 1965, a small catalog was published under the name Tipos Gans. The National Library in Madrid has Muestrario de Richard Gans (Madrid, Richard Gans, 1903, 410 pages) and Catalogo provisional (Madrid, 1950).

    On the web, the most complete discussion of Richard Gans is in the PDF file Fundicion Tipografica Richard Gans Historia y Actividad 1888-1975 (2004) by Dimas García Moreno and José Ramón Penela.

    Catalog of font names.

    Fonts: Until 1925, there were basically no original types. Almost everything in the specimen books of that era is due to German foundries, principally those of Wilhelm Woellmer in Berlin and Edmund Koch in Magdeburg. Some of those typefaces in common with Koch include Grotesca Chupada Redonda, Ronda Universal. Early types in this category also include Escritura Selecta, Escritura Favorita, Escritura Luis XV (it is being digitally revived by Manuel Lage), Gótico Globo (blackletter), Gótico Uncial (blackletter), Nueva Titular Adornada, Tipos de Adorno, Latina Moderna, Grotesca Ancha, Grotesca and Grotesca Chupada. Many, if not most of these, saw the light at the end of the 19th century and survived until 1965.

    It is fashionable now to revive all the typefaces. Nick Curtis created a few (see below), and Paulo W (Intellecta Design, Brazil) did many more. Intellecta Designs revivals include Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Animals, Gans Italiana, and Gans Titania.

    The original Gans types can be categorized as follows:

    • Aldine.
    • Anchas Americanas.
    • Antigua El Greco (+Adornada, Cursiva, Negro, Negro Cursiva, Seminegro, Seminegro Cursiva, Titular), aka El Greco Antique. Weights include Antigua El Greco (1924), El Greco Adornado Titular (with Mexican-style sawteeth). Greco was the inspiration for Melina BT (Nick Curtis, 2003). Curtis' Melina Fancy is based on Greco Adornado. For a free version of Adornado, see GrekoDeco (1992, Dave Fabik). Revived as Kifisia Antigua NF in 2005 by Nick Curtis.
    • Antigua. See the digital family Gans Antigua (2006, Paulo W). The Antigua series includes weights like Esbelta, Estrecha, Heraldo, Heraldo Cursiva, I, I Cursiva, I Titular, Mercantil, Negra, Prolongada, Universal, Universal Cursiva, Universal Negra, Universal Negra Cursiva, Universal Negra Estrecha, Universal Seminegra, Veneciana, Veneciana Cursiva, Veneciana Cursiva Fantasia.
    • Antigua Manuscrito: a semiscript typeface designed by Hermann Delitsch at the Royal Academy of Graphic Arts in Leipzig. Delitsch was Tschichold's teacher. Digitized as a family by Paulo W as Gans Antigua Manuscrito (2006).
    • Antigua Progreso (1923) (+Cursiva, Negra): an interesting serif face. A digital version called Bellini was made by A. Pat Hickson, 1992. Linotype sells Greco (DsgnHaus, 1996) which really is Progreso.
    • Arabe.
    • Atlántida.
    • Azures.
    • Bodoni and Bodoni Redonda.
    • Carmen, Carmen Adornada, Velázquez, Españolas Adornadas, Antigua Adornada, Utopian, Tipos de Adorno, Americanas (Tuscan style), Americanas-Titular, Elzevirianas Adornadas: Late 19-th century style display typefaces. Paulo W (Intellecta Design) created the beautiful digital family Gans Tipo Adorno (2006). He also made the family Gans Titular Adornada (2006).
    • Cartel.
    • Cursiva Comercial.
    • Dalia (or Ibarra Vaciada): a two-line display face. Similar to Delphian Open Titling (Middleton, Ludlow, 1928).
    • Decorativa. Digitally revived by Manuel Lage as Decorativa RGf in 2017 and Volvoreta RG LG in 2021.
    • Egipcia in weights called Estrecha, Negra and Nueva, ca. 1923; Egipcia Progreso (1923). The serifs are Venetian, heavy and oblique in the lower case. The ascenders and descenders are short and the strokes have almost no contrast, giving the typeface a stocky appearance. The e has a diagonal Venetian stroke, while the tail of the g is open.
    • Elzeviriano: Anchas, Adornado, B, B Cursiva, Chupado, Ibarra, Ibarra Cursiva, Ibarra Titular, Negro.
    • Escorial: a display typeface with Koch Antiqua influences, designed ca. 1960 by Antonio Bilbao. Additional weights include Cursiva, Seminegra and Titular. It is being digitally revived by Manuel Lage.
    • Escritura Juventud (1950, Joan Trochut Blanchard): a great script with lots of identity and swing. Other Escritura styles: Decorativa (Manuel Lage is working on a digital revival), Gloria reformada, Isabel, Luis XV, Selecta.
    • Espanolas.
    • Etienne Ancha.
    • Filetes de Bronce, Filetes de Metal.
    • Fulgor (1930): a connected script face.
    • Gacela.
    • Galeria Coruna. Revived by Manuel Lage in 2008 as Galeria Coruna LG. In 2017 Lage was working on a further refinement of this typeface.
    • Gaviota.
    • Gloria (already listed above under Escritura), Gloria Reformada (1930): a connected script family. Gloria was revived by Nick Curtis in 2005 as Pismo Clambake NF.
    • Gótico Cervantes (1928): blackletter with regular and ornamental caps.
    • Gótico Globo: art nouveau style with blackletter influences. Revived by Intellecta Design in 2007.
    • Gótico Uncial (blackletter).
    • Graciosa (+Gris).
    • Griego.
    • Grotesca Ancha (+Fina, Negra, Nueva, Vaciada).
    • Grotesca Antigua.
    • Grotesca Chupada and Grotesca Chupada Redonda: a rounded sans.
    • Grotesca Colón.
    • Grotesca Compacta.
    • Grotesca Cursiva (+Seminegra).
    • Grotesca Estrecha Hercules.
    • Grotesca Mercantil, Grotesca Mercurio, Grotesca Negra Cursiva.
    • Grotesca Ideal (Negra, Fina, Entrelina), Grotesca Favorita, Grotesca Reformada.
    • Grotesca Radio: a geometric no-contrast sans. Styles: Editorial, Estrecha Fina, Estrecha Negra, Fina, Fina Cursiva, Negra, Negra Cursiva, Seminegra, Seminegra Cursiva. For a revival and reinterpretation, see Radar (2019) by Marta Sanchez Marco for Type-o-Tones.
    • Helenica (+Ancha, Ancha Negra, Ancha Seminegra, Cursiva, Seminegra).
    • Ibarra (1931) and Ibarra Cursiva: a tall ascender garalde family. Ibarra Negra, Ibarra Negra estrecha, Ibarra Vaciada, Ibarra Redonda. See also under Elzeviriano above. Iniciales Ibarra.
    • Imán: a shadow headline all-caps face. This was digitally revived in an authoritative way by Manuel Lage in 2016 as Iman RG.
    • Inglesa Excelsior.
    • Italiana (Cursiva, Titular), 1951, a black caps face. Italienne (Chupada, Moderna).
    • Luxor (+Cursiva, Negro, Negro Estrecho).
    • Manos (manicules, fists).
    • Maquina de Escrebir.
    • Maruxa. Manuel Lage is working on a digital version of this script type.
    • Normanda (Ancha Negra, estrecha Negra).
    • Nueva Antigua No. 1 and No. 2. Nuevas Titulares Adornadas.
    • Orlas de Linea.
    • Preciosa: Showboat-style Western look.
    • Primavera: a condensed sans. Paulo W digitized a condensed family called Gans Lath Modern (2006). See also the extension Primavera (2016, Manuel Lage).
    • Radio Bicolor: a headline sans family.
    • Radio Gris. Scans of the Radio catalog of 1930.
    • Radio Lumina: a display sans. Digitized as Gans Radio Lumina (2006) by Paulo W at Intellecta Design.
    • Regina (+Estrecha), Helios, Vulcano (1920s): art nouveau style. Ludlow's Vulcan Bold is based on Vulcano.
    • Renacimiento Ancha.
    • Romana I (+Cursiva, Egipcia, Estrecha, Negra).
    • Royalty.
    • Senefelder: engraved look all caps.
    • Talla Dulce (+Cursiva).
    • Tipo Sombreado, Tipos Adornados, Tipos de Texto.
    • Titania (1933): an elegant two-line poster face. See the revival (2006, Nick Curtis).
    • Veneziana Negra.

    showcase-gans/">View the digital revivals of typefaces by Gans. [Google] [More]  ⦿

    Gabor Zoltan Vad

    Gabor Vad studied design at the University of West Hungary, and typography at Moholy-Nagy University. Budapest, Hungary-based designer of the partially free octagonal robotic typeface Giant Robot Army (2017) and the gorgeous fat didone typeface Arbitrum (2017).

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

    Gabriel Abreu Lugão

    Brazilian designer of Kasper (2010, octagonal) and Lugon-Moulin (2010, a didone face). [Google] [More]  ⦿

    Galdino Otten

    Cartoonist from Recife, Brazil, b. 1966, whose sense of humor and artsistic prowess shine in his dingbat fonts. Dafont link. Fontsy link.

    Creator of the experimental Almost Sanskrit (2009), Zodiac Nice (2009, astrological symbols), Xilo in Zodiac (2009), Xilo-Cordel-Literature (2009, dingbats), Cordel Circo Mambembe (2010), Inside Issue (2009), Stretched Signature Flex (2009), Action of the time (2009, grunge), the dingbat typeface Ugly Cars (2010), the grunge typeface Capitão Galdino (2008), the grunge typeface Saltpeter-N-Fungus (2010), Texture Road (2010, more grunge), BSB DF 50 (2010, grunge), Fine Serif (2009), and the nice dingbat typeface Ochent Silibrina (2009).

    Fonts made in 2010: Sport 4 Ever (dingbats for Olympic Games), 60sPop (multiline face), DotSpot (dot matrix), IRON H METAL (tattoo, gothic), IngaStoneSigns (stone age glyphs), Ode2PasteUp (hand-printed), WideSquare (pixelish), ActionoftheTimeNewUL, BSBDF50, Haus-Sweet-Haus, INSIGHT-ISSUE-NEW, Movie Filmstrip, SquareChalk, Action Of The Time New (grunge), CordelValentine (dingbats), IngaStoneSigns (petroglyphs), SustainableAmazon, VeryDamaged (grunge), ParkTechCG (letters as in wired circuits), kidSWritten, Iron H MetallLight, LaceNice (knitted look), Ode2PasteUp, TextureRoad (grunge).

    Fonts from 2011: Booklet Cordel (sketched), Cordel Encarnado, Nuclear Accident (texture face), Noncircular (techno), Old Press (grunge), Old Typography (grunge).

    Fonts made in 2012: New Press (condensed sans family, +Eroded), Sketch Wall, Comic Gibi, Own Written, Comica BD (comic book shadow font), Cartoon Relief (a 3d cartoon typeface), Riscada Doodle (scratchy hand), Sketch Nice, Needlework Good (a stitching font), Biscuit Made, Just Skinny, Crazy Style, After Cheret (hand-drawn 3d shaded outline face), Spots in the mirror, TNT Xplosion, Escrita Toska (curly script), Cordel Movies (moviemaking dingbats), Fine N Tall, Cordel Groteska, From Street Art (free graffiti font), Sketch College (sketched athletic shirt font), Thin Press (grungy vernacular type), Sketch Serif, Relief BD, Maxxi Serif (very heavily slabbed serif face), Semi Cursive Gut, Sketch Coursive (sketch face), Salt Pet Non Eroded, Advanced Architecture, Very Fine Serif (a monoline Egyptian), Sketch Nothing, Freehand Nothing, Shark Attack (curly), Do Doodle, Maybe Pollock (dust texture face), Xilo Prosa (grunge), Thin Design, Amazon Palafita (hand-drawn 3d outline face), Snow Times, Snow Traces, USSR Army (rough army stencil with a Russian feel), Needlework US (stitch font), Old Scribe (Greek lapidary face), Nickel Bumpy, Soviet Style (stencil face), Top Modern (heavy slab serif), Lettering Set New, Carton East, Not Tuned TV (sketch font), Scar Bleed (scary font), Maxxi Dots (texture face, +Shadows), Dots Land Gotika (grungy blackletter), Stefanie Dots (textured letters), Karamuruh (textured caps), Broken Type (grunge: a glaz krak font), Touppeka (a Kafkaesque, tribal or painter's font), Old Dreams (grungy), Bad King (sketched typeface), False 3D (hand-printed 3d outline typeface), True2D, I Wrote All, Resistance Until The End.

    Typefaces from 2013: Serifa Comica (comic book slab), Press Style Serif (letterpress style), Press Style Large, Triatlhon In (sic: a Greek simulation face), Go 2 Old Western (grungy wood type), Old Serif Gut, Press Style (letterpress style typeface), Dust Serif, Thing Press, Thin Grotesk Serif, Before Collapse (glaz krak face), Stencil Style New (a military stencil), Damaged Serif, Press Serif Cool, Press Feeling, Sketch Toska, Link Parties, Almost Cartoon, Cartoon Toy, Toy Toy Toon, Fine Style (didone caps), Fine Sans (Peignotian), Beyond Blackboard, Forgotten Junk (grunge).

    Typefaces from 2014: Simply Rounded, Cartoon 2 Packages, Pain N Bleed, Yummy Lollipop, Hippie Movement, Rotunda Geo, Old Figaro Cursive, Cute Cartoon, Sketch Gothic School (sketched blackletter), Fine College (hatched athletic lettering face), Press Felling Eroded (letterpress emulation), School Book New (sketched), Stencil Cargo Army (military stencil), Fine Eroded, Grunge Poster, Education Is A Way, Cartoon Blocks, Cartoon Bones, Cursive Option, Odd Press (letterpress emulation), Cartoon Tunes, From Cartoon Blocks (3d), Hippie Movement, Yummy Lollipop, Needlework Perfect, Press Gutenberg (blackletter), Unic Calligraphy, Roundfed Eroded, Children's Book (outlined), Neon 2 News, Good Choice (shaded letterpress emulation), Cartoon 2 Us, O 10 Type, Dust West (grungy Western style), Comic Balloon, Caligraf 1435 (pirate era script), No Name Sans, Top Secret Stamp (grungy stencil), Fine Blackboard (blackboard bold, inline), Press Style Extra L (letterpress), Sounds Good (geometric sans), Sounds Eroded (shaded letterpress font), Cartoon Blocks Christmas, Street 2 Art (graffiti font).

    Typefaces from 2015: Snaps Taste (a grocery store or comic book font), Snaps Taste Christmas, Calligraphy Hand Made, Silly Aliens (dingbats), Sketch Match (3d, sketched), Cartoon 4 Sports (dingbats), Kids Book, Almost Japanese (oriental simulation font, +Comic, +Cartoon), Inga Stone Redesigned, Money Money Plus (engraved money font emulation), Thin Cool, Old N New Media (dingbats), Thinkers World (scanbats of famous intellectuals), Magical Cord, Quick Writing, Eroded 2 Much, Stencil Army WW I (military stencil), Stencil WW II (military stencil), D-Day Stencil (military stencil), Western Bang Bang (weathered Western font), Modern Serif, Modern Serif Eroded, Money Money (handcrafted engraved currency font), Almost Japanese Smooth (oriental simulation typeface), Write Righ, Ease Christmas (dingbats), Sketch Script Cool, Ficticcia College.

    Typefaces from 2016: Doodle Cafe Scents (dingbats), Christmas Cookies, Coffee Written, Soft Marshmallow, Niagra Faults, Sketch Toronto, Sketch Fine Serif, Sketch Handwriting, Typewriter Press, Typewriter Style, Sketch 3D, Maple 3 Cartoon (snow-covered letters).

    Typefaces from 2017: Crazy Krabs, Old Barbwire, Gregory Packaging, Ghost Army Stencil, Old Wise Sketch (sketched blackletter), Packaging Funny, Blackboard Restaurant, Kavernosa (bony typeface), Little Kid.

    Typefaces from 2018: 1927 Epoque, Cartoon Toy Turbo, Old Wise Lord (blackletter), Handmade Memories, Silly Cartoon, Old Press Original, Pet Shop, Cute Script, Dust West College (hatched), New Comic BD.

    Typefaces from 2019: Eco Bamboo (Cartoon, Fun), Karamuruh Turbo (all caps with a quilted texture), Cordel Junina, Cordel de Mangai (240 dingbats), Cordel Rustika.

    Typefaces from 2020: Beach Party Cartoon. [Google] [More]  ⦿

    Galini Scarlatou

    Athens, Greece-based designer of the creamy didone typeface Shrimp (2017). Behance link. [Google] [More]  ⦿

    Ganesha Balunsat

    Freelance designer in Berlin who graduated from the California College of the Arts in San Francisco. Creator of the didone typeface Evoque (2014). In 2012, she created Nightclub Wayfinding Icons.

    Behance link. [Google] [More]  ⦿

    Garcia Fonts&Co
    [Andreu Balius Planelles]

    Experimental foundry, est. 1993 in Barcelona by Andreu Balius who lives in Santa Maria de Martorelles near Barcelona. It existed for a few years and evolved into Typerware.

    Garcia/Typerware offered about 50 fonts, including some very artsy typefaces, such as Garcia Bitmap (1993), Playtext (Andreu Balius, 1995), Matilde Script (Andreu Balius, 1994: an embroidery face), 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), and Vizente Fuster (1995), all by Andreu Balius and Joancarles Casasin, 1993-1995.

    The list of typefaces as of 2007: Afligidos deudos (1996, grunge typeface by Adi&arave; Gual), Alexis (1997, handwriting typeface by Alexis Rom), Alfallufat, (1998, fun display family by Saíz), Alquimia (1995, grunge typeface by Estudi Xarop), Ariadna (1988-1989, pixel typeface by Andreu Balius), Braille (1999, by "Txarly Brown", a Braille simulation face), Bubbles (1996, dot matrix typeface by Franco Bonaventura), BuckShot (1994, total grunge by Malcolm Webb), Bunghole (1996, grungy pixel typeface by Michael G. Kippenhan), Calypso (1997, Txarly Brown), Cartolina (2000, poster stencil typeface by Jordi Fosch), Cero (2001, sans typeface by Miguel M. Velacoracho), Dinamo (1993, Andreu Balius), Dr. Zaius (1997, André Nossek), Euroface 80mph ad 100mph (1996, Peter Bilak: a joke typeface that reads more easily as one speeds up on a highway), Fabrique (1993, Andreu Balius), Floridax (1997, a stunning stencil typeface by Txarly Brown), Freddie Frog (1996, Malcolm Webb), Funny (2001, caps for kids, by Jordi Fosch), Futuda (1993, grunge by Balius and Perez Casasin), Game (2002, by Miguel M. Velacoracho), Garage (1997, grunge by Fabrice Trovato), Garcia Bitmap (1993, Balius), Garcia Bodoni (1995, an experimental Bodoni by Balius and Perez Casasin), Garcia Snack's (1993-1995, snack bar lettering by Balius and Perez Casasin), Helvetica Fondue (1993-1994, Helvetica with cheese holes; by Balius and Perez Casasin), Hispana (1996, by José M. Ribagorda), Hokvo (1994, pixel style typeface by Perez Casasin), Inercia (1996, a rounded sans by Inigo Jerez), Inmaculatta (1997, grunge by Roberto Saenz Maguregui), Jam Jamie (1996, painted letter simulation typeface by Malcolm Webb), Janson (1997, grunge by Harald Weber), Juan Castillo Script (1995, by Balius and Perez Casasin, based on the handwriting of an old man in Albacete), Joroña (2001, Kafkaesque caps by Jordi Fosch), Kentucky (1997, grune by André Nossek), Loop Ultra (1996, Franco Bonaventura), Loreakop (1995, irregular hand by Txarly Brown), Martí Hand Script (1998, Saíz), Matilde Script (1993-1994, Balius), MCK mono (2005, pixel typeface by Milos Radosavljevic), Mi Mama Me Soba Script (1994, grunge script by Balius and Perez Casasin), Network (1996, Alex Gifreu), Ninja type (1995, kana-lookalike by Txarly Brown), Ozó Type (1994, an overprinted type by Balius and Perez Casasin), Pantacas (1998, grunge by Nicolas Gallardo), Panxo Pinxo (1996, David Molins), Parkinson (1994, grunge typeface by Balius and Perez Casasin), Playtext (1993-1996, Balius), Popular (1997, Sergi Ibañez), Proceso Sans (1996, only crosses, by Pablo Cosgaya), Rocky (1997, grunge by Harald Weber), Route 66 (1997, Francesc Vidal), Sablon (2005, a stencil typeface by Marcus Schreiter), Simple (2001, experimental typeface by Romulo Fernandez), Skupitajo (1998, graffiti letters by Nicolas Gallardo), SoundFiles (1998, totally off-the-wall experimental typeface by Reto Brunner), Surface (2001, grunge by Jordi Fosch), Temble (1993, Balius), Tiparracus (1994, dingbats by Balius and Perez Casasin), Trash (1996, grunge typeface by Matthias Rawald), Vertigo (1996, a Kafkaesque typeface by Txarly Brown), Visible (handwriting by Fabrice Trovato, 1997), Vizente Fuster (1995, handwriting by Balius and Perez Casasin based on scripts seen in the Sant Antoni market), Water Knife (1995, a medieval calligraphic script revival by Laudelino L.Q), Weird (1996, an experimental typeface by Mladen Balog). [Google] [MyFonts] [More]  ⦿

    Gareth Hague

    British type designer. With David James, [T-26] co-designer of AES, August. At Alias (a company he founded with David James in London), he made Barb (2016, a wide stencil typeface), Asperity (2012), Asphalt (2012), Aspic (2012), Caustic and Caustic Web (2012, chiseled), Lily (2012), Oban (2011, a gorgeous high-contrast didone family influenced by Thorowgood; with blackboard bold styles included), Ano (2012, a simple circle-based monoline sans family; followed in 2018 by the straight-edged Ano Angular), Cactus (2004, a condensed typeface family), Aspic (2011, a signage script), Asphalt (2011, signage script), Perla and Perla Outline (2004, an elegant artdeco unicase didone with teardrop terminals), Klute (Black, Capitals, White: an ugly and useless octagonal family that could be used for gnawing German expressionist pieces), Anomoly (2004), Key, Elephant, Harbour (2008: a medieval, broken look, with wedge serifs), Civility (2002, connected handwriting), Factory, Aminta, Granite (1995), Intimo, Jackdaw, Progress, Progress Two (2012), Sylvia, Jude (1999, a big text family), Mantis, Metropolitan, Metsys (1997), Pop (triline font), Sister (1995), Text.

    In 2009, he designed 2012 Headline for the London Olympics---typophiles are generally disappointed with this daring design in the general angular category, and refer to better representatives of this genre such as Cyrus Highsmith's Occupant Gothic, Emigre's Elektrix, Hubert Jocham's Keks, and Chris Lozos's Dez Sans Script.

    With David James, he designed Noah Text (2013).

    In 2018, he designed Quair: Quair mixes typographic and graphic reference points, most notably from market-stall trader lettering and from Thorowgood and Scotch nineteenth-century typefaces. He also published the stencil typeface High in 2018.

    Typefaces from 2019: Schism One, Schism Two, Schism Three [these are serifless versions of Alias Didot with various amounts of contrast. They are more modulated and twistier than Peignot], Vertical (a humanist sans with vertical terminals: a squarish, high-shouldered shape, suggesting Roger Excoffon's Antique Olive).

    Fontworks interview. Catalog of Gareth Hague's typefaces. FontShop link. Klingspor link. MyFonts interview. [Google] [MyFonts] [More]  ⦿

    Garrett Boge

    Seattle-based type designer (b. 1951, Spokane, WA) who founded LetterPerfect Fonts in 1986. He designed many wonderful typefaces, and specializes in particular in classical roman (renaissance, Trajan) typefaces. Creator of a revival of Free Roman, designed by Ross George, or the fun handwriting font Bermuda LP (1996), the wonderful wonderful wonderful Spumoni (1990, possibly based on a Speedball example; similar to Art Department JNL made in 2011 by Jeff Levine), the original jungle family Kolo (with Paul Shaw, 1996; an Adobe face), the OldClaude family (with Paul Shaw, 1993, 1997, also at Adobe; named after Claude Garamond), ChevalierLP (great caps!), DidotLP (1995, now at Adobe), Longhand (handwriting, 1998), Spring (clean script, 1990), DeStijl (1990), Hardwood (1990), Hadrian Bold (1990), Koch (1990), Longhand (1998), Roslyn (1990), Silhouette (1990), Tomboy (1990), Visage (1990), Wendy (1990, 1997, also at Adobe), Uppsala (with Paul Shaw, 1998), Manito (1990), Florens, Pontif (a Trajan font done with Paul Shaw, 1996), Cresci (with Paul Shaw, 1996), Catacomb, Philocalus, Sabina, Stockholm (1998, with Paul Shaw), Göteborg, Kryptic, Binney, Pietra (with Paul Shaw, 1996), Donatello (with Paul Shaw, 1997), Ghiberti (with Paul Shaw, 1997), Beata (with Paul Shaw, 1997). All of these fonts are available at LetterPerfect. He has made others too, such as Creme (1990), InkjetNine, InkjetSeven (1992, for ReadersDigestInkjetFonts). Unclear if he also made NYCaslon in 1990 for Monotype. At Letterperfect, Kathy Schinhofen, Garrett Boge and Myron McVay together designed the whimsical curly connected script family Jackalope LP (2011).

    After a fontmaking hiatus, he released these fonts in 2020:

    • Boge Text.
    • Bramante LP. An original all caps Trajan-style display font modeled after a fifteenth-century inscription in the church of Santa Cecilia in Trastevere, Rome. The name is a tribute to the pre-eminent Renaissance architect Donato Bramante, whose Tempietto (1502, San Pietro in Montorio) marked the beginning of the High Renaissance in Rome.

    FontShop link. Bestselling typefaces at MyFonts. Klingspor link.

    View Garrett Boge's typefaces. [Google] [MyFonts] [More]  ⦿

    Garrett Boge
    [LetterPerfect]

    [MyFonts] [More]  ⦿

    Garrick Van Buren
    [Kernest]

    [More]  ⦿

    Gary Gillot

    Chairman at Gillot Images Ltd, Wycombe Marsh, Buckinghamshire, UK, which is involved in marketing and advertising. Designer of Carousel (1966), a high-contrast black didone titling face, which was published by ITC, Elsner&Flake, and Linotype. The Carousel typeface was used as a titling typeface in a wonderful set of children's books by Alain Grée published by Casterman in the 1960s.

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

    Gary Munch
    [MunchFonts]

    [MyFonts] [More]  ⦿

    Gebr. Klingspor: Schriftkartei

    In 1950, Gebr. Klingspor published a nice small booklet simply called Schriftkartei. The images below are from that book. [Google] [More]  ⦿

    General Type Studio
    [Stéphane Elbaz]

    General Type Studio is a New York-based type foundry founded by Stéphane Elbaz, a graduate of ENSAD in Paris, class of 2004. Since 2008, he lives in New York, where he is a freelance designer and teaches at Cooper Type. As of 2018, the font production is in the hands of Mathieu Réguer.

    In 2003 at ENSAD, Elbaz co-designed the experimental typeface Caffeine with Benjamin Raimbault and Eric Bricka. His Geneo (2008: an eight style nearly transitional serif) won an award at TDC2 2009. Geneo was published in 2012 by Typofonderie.

    Now an established designer, he created didone titling typefaces for the Stiletto mag in 2008.

    Other typefaces designed before General Type Studio was started: Sephora Pro (2015, ZeCraft), Galante (2005, a text typeface), Primota (2008, a strong grotesque), Etan (2008, an eroded text face), and PSFournier (2016, Typofonderie: a great revival of Fournier's French transitional typefaces).

    Typefaces at General Type Studio:

    • Mier A and Mier B (40 styles, 2018). A sans family that marries the grotesque and geometric styles.
    • Cambon (16 styles). A contemporary flared serif influenced by Louis Perrin (1795-1865) and Berthold Wolpe (1905-1989).
    • Pilat (48 styles). They write: Pilat is a constructed grotesque developed with a large range of weight and width variations. Its base structure, commonly called a superellipse or Lamé curve, could be described as a circle trapped inside a box. Though the letter-shape predates the 20th century, it is mostly seen as an expression of the post World War II era---a glorifying combination of craft and technology. Pilat won an award at the Type Directors Club's Type Design Competition 2019.
    [Google] [MyFonts] [More]  ⦿

    Genilson Lima Santos

    Genilson Lima Santos is the Salvador, Brazil-based designer (b. 1985, Bahia) of Stilu (2015, sans), Jenelson (2006), the stroked font Styllo (2007), the brushy Carybe (2011), the all caps sans typeface Linna (2016), the display typeface Victorine (2016), the rounded sans family Baldini (2016), the high-contrast all caps Cellophane (2016), the text typeface Petralina (2016), the rounded Bauhaus-inspired sans typeface family Rosa Maria (2016), the multicolor layerable rounded poster typeface Buba (2016), the free wide unicase sans typeface family Urucungo (2016), and the semi-didone display typeface Salinas (2016).

    Typefaces from 2017: Hibiscus, Blackye (a delicious black rounded sans for Latin, Greek and Cyrillic), Somma (geometric sans), Tryal (formal calligraphic), Love Moon, Urbanpolis (sans).

    Typefaces from 2019: Dynamo (a retro-futuristic typeface), Hellen (a revival of the flared classic Koch Antiqua from 1922).

    Typefaces from 2020: Auster (a serif family), Giovanna and Giovanna Sans (a luxurious roman caps typeface).

    Typefaces from 2021: Yacht (a ligature-themed display serif), Milagre (by Edileno Capistrano Filho and Genilson Santos; a free party font based on text seen on azulejos [tiles] at Fundação Casa de Jorge Amado in Largo do Pelourinho, Salvador, Brazil, with text by writer James Amado, lettering by artist Floriano Teixeira and engraving on the tiles by ceramist Udo Knoff in 1987), Arienne (a frivolous all caps font), Mirabela (a fashion mag serif), Serafina (a decorative serif).

    Typefaces from 2022: Kolbo (a pure wedge serif display typeface), Amabella (a sharp-edged serif). [Google] [More]  ⦿

    Georg Salden
    [TypeManufactur (was: GST Georg Salden Typedesign)]

    [More]  ⦿

    Georg Trump

    A giant of German type design, b. Brettheim, 1896, d. München, 1985. Active with Berthold in Berlin from 1930-1935, and with C.E. Weber in Stuttgart from 1937 onwards. From 1934 until 1953, he succeeded Paul Renner as the Director of the Meisterschule für Deutschlands Buchdrucker in München. In 1982 he was awarded the TDC Medal. Ph. Luidl and G.G. Lange published "Hommage für Georg Trump" in 1981. Linotype link. FontShop link. His production:

    • At C.E. Weber: Mauritius (1967: his last typeface; revived in 2013 by Canada Type as Mauritius), Amati (1951, a narrow didone typeface with short ascenders and descenders; see Amati Pro (2010, Ralph M. Unger) and Amati AR (2011, Ari Rafaeli)), Codex (1954-1955; a calligraphic face; digital version by Linotype; see also Bitstream's Calligraphic 421), Delphin I (1951 at Weber), Delphin II (1955, at Weber), Forum I (1948, a 3d chiseled face: a digital version from 2007 by ARS Type is called Forum I-AR), Forum II (1952, also digitized by AR Types), Jaguar (1964-1965, a fun script with a wild African look, revived in 2004 at Canada Type as Tiger Script and again in 2010 as Trump Script), Palomba (1954-1955, an angular calligraphic script; revived by Ari Rafaeli in 2011 as Palomba AR and by Canada Type in 2004 as Ali Baba), Signum (1955, revided by Patrick Griffin at Canada Type in 2005 as Trump Gothic West; revived by Ari Rafaeli in 2011 as Signum AR, and again by Patrick Griffin in 2013 as Trump Gothic Pro and Trump Soft Pro), Time Script (+Light, +Medium, +Bold) aka Tioga Script (1956; digital versions by Linotype and SoftMaker), Trump Mediaeval (1954-1960; the Bitstream version is called Kuenstler 480; in 2010, Vladimir Yefimov and Isabella Chaeva cyrillicized the Bitstream family under the same Kuenstler 480 name at ParaType). See also Trump Mediaeval Office.
    • At Berthold: City (1930-1937: a great slab serif, ideal for athletic lettering, 1930; the mager appeared in 1937). This typeface was marketed at Berthold as City BQ and City BE. The Bitstream version seems to be called Square Slabserif 711. Other digital versions: Centrum (SoftMaker), Commerce, Cyklop (Scangraphic), Cyclop (Scangraphic). At Berthold, he also did the blackletter typeface Trump Deutsch (1935-1936). Digital versions of the latter include Trump Deutsch (2011, Ralph M. Unger), Fette Trump Deutsch (2002, by Dieter Steffmann) and Trump Deutsch by Klaus Burkhardt.
    • At Wagner: Schadow Antiqua (1937, a slab serif). Schadow includes mager (1937), halbfett (1938), kursiv (1942), Werk (1942), schmalfett (1945) and fett (1952). It is almost a copy of Jakob Erbar's Candida (1936). Digital revivals include one at Bitstream, also called Humanist Slabserif 707. See also S671 Slab (SoftMaker), Schadow Antique (URW) and Sheridan (SoftMaker). The most recent effort based on Scahdow is David Jonathan Ross's Gimlet (2016, 112 styles).

      He also designed Forum I (1948), Forum II (1952), Amati (1952), Signum (1955).

    • Stempel took over many German foundries. It shows these Trump fonts: Trump Mediaeval (1954-1962), Time Script (1956-1957), Trump Gravur (1960, revived in 1995 by Alan Jay Prescott as New Trump Gravur, 2006 by Ari Rafaeli, in 2007 by ARTypes as Gravur AR, and in 2011 by Ralph M. Unger as Jobs Gravure), Jaguar (1965, a script), Mauritius (1967).

    Klingspor link.

    View the typefaces made by Georg Trump. [Google] [MyFonts] [More]  ⦿

    George D. Matthiopoulos

    Professor of Type design and Typography at the School of Graphic Arts of the Technical Institute of Athens. He also teaches at the Department of Graphic Design and Visual Communication, University of West Attica. He is head of the design team and a type designer at the Greek Font Society. He is the Art Director of Indigo Associates specializing in book design, corporate identity and typographic communication for museum exhibitions. He has written the textbook of the course Type History and Design for the Greek Open University (2002) and he has translated in Greek Viktor Scholderer's Greek Printing Types: 1465-1927 (Typophilia, 1995) and Robert Bringhurst's "The Elements of Typographic Style (University of Crete Press, 2001).

    Speaker at ATypI 2007 in Brighton and at ATypI 2008 in St. Petersburg (where he spoke about Greek book design, 15th-20th centuries). At the GFS, he was involved in these free high quality font families:

    • GFS Artemisia was designed by Takis Katsoulidis and digitized by George Matthiopoulos in 2001.
    • GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapfs Palatino). Open Font Library link.
    • GFS Bodoni (1992-1993) is a didone designed by Takis Katsoulidis and digitized in 2005 by George Matthiopoulos.
    • GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
    • GFS Solomos (2006). He writes: From the middle of the 19th century an italic font with many calligraphic overtones was introduced into Greek printing. Its source is unknown, but it almost certainly was the product of a German or Italian foundry. In the first type specimen printed in Greece by the typecutter K. Miliadis (1850), the font was listed anonymously along others of 11pts and in the Gr. Doumas undated specimen appeared as 11pt Greek inclined. For most of the second half of the century the type was used extensively as an italic for emphasis in words, sentences or exerpts. In 1889, the folio size Type Specimen of Anestis Konstantinidis publishing, printing and type founding establishment also included the type as Greek inclined [9 & 12 pt]. Nevertheless, the excessively calligraphic style of the characters, combined with the steep and uncomfortable obliqueness of the capitals, was out of favour in the 20th century and the type did not survive the conformity of the mechanical type cutting and casting. The font has been digitally revived, as part of our typographic tradition, by George D. Matthiopoulos and is part of GFS type library under the name GFS Solomos, in commemoration of the great Greek poet of the 19th century, Dionisios Solomos.
    • GFS Gazis (2007). These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFSAmbrosia, GFSEustace-Regular, GFSFleischman-Regular, GFSGaraldus, GFSJackson-Regular, GFSNicefore.

      He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, is based on a typeface cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry in the baroque style that prevailed in the mid-18th century.

    • GFS Neohellenic (1993-2000, Takis Katsoulidis and George D. Matthiopoulos). They explain: In 1927, Victor Scholderer (British Museum Library curator), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a Latin version. GFSNeohellenicMath was published in 2018: The font GFSNeohellenicMath was commissioned to the Greek Font Society (GFS) by the Graduate Studies program "Studies in Mathematics" of the Department of Mathematics of the University of the Aegean, located on the Samos island, Greece. The design copyright belongs to the main designer of GFS, George Matthiopoulos. The OpenType Math Table embedded in the font was developed by the Mathematics Professor Antonis Tsolomitis. The font is released under the latest OFL license, and it is available from the GFS site at http://www.greekfontsociety-gfs.gr. The font is an almost Sans Serif font and one of its main uses is for presentations, an area where (we believe) a commercial grade sans math font was not available up to now.
    • GFS Philostratos (2008). A rounded Latin / Greek sans after Maurice Eduard Pinder's Griechische Antiqua.
    • GFS Pyrsos (1995). He writes: This typeface first appeared in the late 20s and was used as an alternative italic type to the most commonly used Greek italics at the time, coming from Germany (Leipzig). The name commemorates the edition of the Greek encyclopaedia Pyrsos (1927-1933) from which the types were taken.
    • GFS Goschen (2009): a Greek typeface named for the German publisher Georg Joachim Göschen, who, at the turn of the 19th century, saw to the creation of a new cursive type for use in an edition of the New Testament in Greek. The typeface was cut by Johann Prillwitz, and was influenced by the Greek types of Bodoni.
    • GFS Decker (2007). This is a revival of an uncial Greek that was used by both Oxford and Cambridge University Press in the late 1800s, designed by Deckersche Giesserei in Germany. /UL> [Google] [More]  ⦿

    George Douros
    [Unicode Fonts for Ancient Scripts]

    [More]  ⦿

    George Everet Thompson
    [No Bodoni Typography]

    [MyFonts] [More]  ⦿

    George F. Trenholm

    American type designer (b. Cambridge, MA, 1886, d. Weston, MA, 1958). He designed Nova Script at Intertype in 1937. Other typefaces: Cornell (incl. Italic), Egmont Decorative Initials, Georgian Cursive, Trenholm Old Style&Cursive, Trenholm-Bold, Trenholm-Shaded Capitals, Waverly (incl. Italic). Some of his ornaments that appeared in ATF catalogs were digitized in American Pi NF (2006, Nick Curtis). Nova Script Recut One&Two (2011, Jim Spiece) revives Nova Script.

    Mac McGrew writes:

    • Cornell is an original, contemporary roman typeface of distinctive character. designed for Intertype by George Trenholm, who was typeface design coun- selor for that company. The roman and italic were introduced in 1948, with Cornell Bold in 1955.
    • Georgian Cursive is a script typeface designed by George F. Trenholm in 1934; it was cast by Machine Composition Company in Boston in one size. It has some resemblance to Coronet and to Trafton Script, but is a little less formal; letters do not connect.
    • Trenholm is an oldstyle type family designed by George F. Trenholm, Boston artist and designer, for BB&S. That company's specimen book of 1925 shows the series as being in preparation, but it was 1927 before the roman and bold were advertised as being completed, and at that time the Cursive was still being cut. In 1928 the Shaded Capitals were still listed as being cut. In 1929 BB&S was merged with ATF, and no evidence that this series was cast by ATF after that time has been found, although matrices were later listed in ATF's vaults. The roman and bold were rather conventional oldstyle designs, with sharply inclined serifs on the top of lowercase strokes, but no great distinction. The cursive was a mixture of that and italic, with no serifs at the top of ascenders. Cursive caps were distinctly that, and the shaded capitals even more so. Perhaps the series would have been successful if it had been available for a longer time, but it quickly became a rarity.
    • Nova Script was designed by George F. Trenholm in 1937 for Intertype. It is a monotone cursive design, with narrow lowercase and unusual capitals. and has small serifs on some of the letters. The inclination is slight, to keep it within the limitations of straight matrices, and it was made only in one size. Compare Camera, Card Italic.
    • Waverley was drawn by George Trenholm and introduced by Intertype 1 in 1940 as a modern roman that is less severe than Bodoni. It is derived from Walbaum, from the Berthold foundry in Germany, but is not a close copy. Alternate characters available include long descenders, oldstyle figures, a slightly descending cap J, and a K with a curved taillike the R. There are also several swash capitals for the italic. Compare Baskerville, Bell, Bodoni, Caledonia, Clarion, Scotch Roman.

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

    George Nesbitt

    American wood type designer of the 19th century. His 1838 specimen book of wood typefaces is famous in typophile circles.

    Several of his creations have been digitized:

    • Fat Face No. 20 (by Dan X. Solo, 2005; based on a didone headline from 1838).
    • Penny (by Jordan Davies, 2007; based on a didone headline from 1838).
    • Octagon French (a 3d beveled typeface due to George Nesbitt, 1838, revival by Paulo W, Intellecta Design, 2010). In 2020, Jeff Levine revived it as Octagonist.
    • His Antique Extended (1838) was revived as a wood type in 1900 by Tubbs & Co.
    • A more extensive, and free, collection is provided by Dick Pape (2013) is his AWT or American Wood Type collection. These include AWT Nesbitt Gothic (+Bold, +Round), AWT Nesbitt Octagon, AWT Nesbitt Roman (+Condensed, +XCondensed, +Extended, +Ornamented), and AWT Nesbitt Venetian.
    [Google] [MyFonts] [More]  ⦿

    George Tulloch

    British typefounder based in Oxford. His typefaces include Guillaume (2015): Guillaume is a small family of text fonts with its roots in the French sixteenth century. The roman is based on the types of Guillaume Le Bé (c. 1525-1598), and the italic on those of Claude Garamont (Garamond) (d. 1561). The italic is especially attractive.

    In 2016, he designed Analogia, which is a digital interpretation of types used in the mid eighteenth century in books printed at Leuven, Belgium, by Martin van Overbeke.

    In 2018, he published the text typeface Cunaeus and explains: Cunaeus is intended primarily for use in running text. It brings together the types of two renowned sixteenth-century punchcutters: the roman is an interpretation of a pica font cut [in 1551] by Ameet Tavernier (ca. 1522-1570), and the italic that of a pica font [from 1565] of Robert Granjon (1513-1589/90). Granjon's italics have inspired a number of revivals in the past, but usually of his more slanted styles; the present digitization features the lesser slant of his so-called droit style typical of the mid 1560s.

    At the end of 2018, he designed Whittington, a revival of a congenial modern typeface of the mid nineteenth century, unassuming and businesslike with an even colour that reads comfortably over long stretches. It is intended primarily for use in running text.

    In 2019, he released Miklos, which is based on the "mediaen" roman and italic cut by Miklos Kis in Amsterdam ca. 1680. [Google] [MyFonts] [More]  ⦿

    Georgi Krumov

    Designer in Varna, Bulgaria, who made the fashion mag extreme-contrast typeface Profile (2011), the free didone typeface Dotty (2012), and the elliptical Latin/Cyrillic typeface Google] [More]  ⦿

    Georgia Baker

    During her studies, Hamilton, New Zealand-based Georgia Baker created the didone typeface Black Estate (2015). [Google] [More]  ⦿

    Gerald Giampa
    [Lanston Type Co]

    [MyFonts] [More]  ⦿

    Geraldson Chua

    New York City-based designer of a great set of fat didone numerals (2014). Behance link. [Google] [More]  ⦿

    Gerard E. Bernor

    Designer of freeware/shareware fonts, some of which refere to TQF, or "Typset Quality Font): 3-DHotDog, AardvarkBold, AbbotDemi, Andros, Architech, Aristocrat, Ashford, BambiBold (a black didone face), Bankrupt, Blackwoods, BoltedBold, BrushArt, CloisterBlack, DoubleTrouble, GalacticFuss72-Condensed, GalacticFuss72-Ext, GalacticFuss72-SPBold, GalacticFuss72, GalacticFuss72Stch, GalacticFuss72SupCon, Galla, Gallery, HotDog, TQFAllisonScript, TQFAnimals, TQFElectronics, TQFFlorentine, TQF Freight Train, TQFFruitfulBlack, TQFMachine, TQFPCMedium, TQFPlants, TQFWordTrain.

    Dafont link. [Google] [More]  ⦿

    Germán León
    [Fontbilisi (was: Germán León)]

    [MyFonts] [More]  ⦿

    German Di Ciccio

    During his graphic design studies in Buenos Aires, German Di Ciccio created the free Mexican party font Kilauea (2015), the free brush typeface Nirvana Is Dead (2015) and the chalky caps alphabet Drawn Bodoni (2015). In 2016, he designed the free extreme-contrast display typeface Eclipse. [Google] [More]  ⦿

    German Type Foundry

    German type cooperative established in 2006 in Ladenburg. Designers associated with it include Andreas Seidel, Ingo Preuss and Michi Bundscherer. Behance link. Some fonts:

    • Hellmuth Tschörtner (1911-1979) designed the garalde typeface Tschörtner-Antiqua in 1955. This family became very popular as a workhorse in the DDR, and was digitized in three optical weights as GTF Toshna Std (2008, German Type Foundry) by Andreas Seidel.
    • Prillwitz (2005, Ingo Preuss): a new interpretation of the beautiful and extensive 1790 original didone by Johann Carl Ludwig Prillwitz. Other versions published before the GTF family include Prillwitz Antiqua by Albert Kapr and Werner Schulze (1971-1987). This is a newsprint type. Prillwitz Pro was published in 2015.
    • Phoenica (1998, Ingo Preuss) and Phoenica Condensed: a humanist grotesk family meant as a coroporate type.
    • Secca (2009, Andreas Seidel) is a simple sans family rooted in early German grotesque type designs.
    [Google] [More]  ⦿

    Gerry Chapleski
    [words+pictures]

    [MyFonts] [More]  ⦿

    Gerry Powell

    Type and industrial designer, b. 1899, New York. He had his own design studio and became director of the American Type Founders company, commonly known as ATF. His typefaces:

    • Onyx (1937, ATF). Onyx was designed by Gerry Powell for ATF in 1937. It is a modernization of Modern Roman Bold Extra Condensed, and is virtually an extra condensed version of Ultra Bodoni. Mac McGrew: Linotype classifies the typeface with Poster Bodoni, their equivalent to Ultra Bodoni. Onyx Italic was designed by Sol Hess for Monotype in 1939, and is made as mats only by that company. Onyx is also cast by the [Lettergieterij] Amsterdam foundry as Arsis.

      Digital versions include Onyx (Bitstream), Onyx (Monotype), Onyx (Tilde), OPTI Onyx (Castcraft), and Onyx MT (Adobe). Arsis is now marketed by Linotype and URW. About Onyx versus Arsis, there has been some discussion by type lovers. Apparently, both were released in 1937, Onyx by ATF and Arsis by Tetterode. It is believed both foundries had a deal on the exchange of some typefaces. Lanston Monotype had a metal Onyx that was probably copied from the ATF version, and the Monotype UK metal Onyx was probably a copy of Lanston Monotype. The current digital version of Monotype seems to be made after the Monotype UK metal version. The Bitstream digital version was copied from the ATF Onyx typeface.

    • Stymie (ATF, 1935-1937, with Sol Hess). This was a Morris Fuller Benton design from 1931 created in reaction to the popular slab serif Memphis. Now available at Bitstream.
    • Stencil (ATF, 1937). Versions of this rounded stencil typeface exist at Bitstream, Linotype (1997, a Cyrillic version by Alexey Chekulaev), URW++, Adobe and Elsner&Flake. Mac McGrew: Stencil is a heavy roman letter with white breaks in the thinner strokes as though done with the traditional cut-out stencil. There are two versions of the type, both issued in 1937. The one drawn by R. Hunter Middleton for Ludlow appears to have reached the market first, having been advertised in June of that year. Its basic letter is much like a Clarendon (compare Craw Clarendon). The ATF version by Gerry Powell was ready the following month; it is narrower but has a bolder effect. Neither font has lowercase, but the ATF typeface is cut in a range of sizes, while Ludlow offers only one size.
    • Daily News Gothic (1938, ATF). Cut for the Daily News newspaper.
    • Spartan Bold Condensed (1940, ATF).

    FontShop link. Klingspor link.

    View Gerry Powell's typefaces. [Google] [MyFonts] [More]  ⦿

    Gershom Plotkin

    Israeli type designer. At MasterFonts, he created the seemingly identical didone typefaces Shalom MF (2008) and Genuzot MF (2008). Their Hebrew subsets are different however. [Google] [MyFonts] [More]  ⦿

    Gert Wiescher
    [Wiescher Design]

    [MyFonts] [More]  ⦿

    Gesine Todt

    Gesine Todt is a Berlin-based graphic and typeface designer. She studied type design under Lucas De Groot at FH Potsdam from 2004 until 2006, where she created the sans typeface Gabelle. At HTW Berlin University she studied graphic design and graduated in 2007.

    In 2009 she graduated with an MA in Typeface Design from the University of Reading. Since then she works as a freelancer and enjoys the view from her studio in Berlin Kreuzberg. Her graduation project at Reading involved the sans typeface You Are Here. This typeface was made for wayfinding, and was compared in her thesis with famous wayfinding typefaces such as FF Info Display, FF DIN, Folio, Frutiger, ITC Johnston, Simple, Univers, Vectora, OfficinaSans, and Interstate.

    In 2011, she put her typefaces up for free download at Google Web Font Directory: Amaranth (an upright italic; see also Open Font Library), Bigshot One (a showy didone display face), Snippet (2011), Leckerli One (2011: a fat signage typeface).

    Fontspace link. Klingspor link. Fontsquirrel link. Google Plus link. [Google] [More]  ⦿

    Gia Tran

    Gia Tran is a self-taught calligrapher and type designer. He has worked for Dragon Rouge, 4uatre and A&Mcreative in Paris, as well as Saffron Brand Consultants in Madrid. Gia was the Type Director at the French foundry FontYou, which was founded by Gregori Vincens in 2013. He also teaches calligraphy and type design at various graphic design and visual communication schools such as Strate College Designer, Intuitlab and ESAV Marrakech. With Brahim Boucheikha, he founded the Paris and Casablanca-based design studio Babelfont.

    Under the cover of Type Lovers and/or Fontyou in Paris, Gia Tran created the medieval typeface Court Hand (2012) and the blackletter typeface Gothic Fraktur (2012). He also did some great calligraphic pieces.

    In 2013, together with Gregori Vincens, Alisa Nowak, Valentine Proust, and Elvire Volk at FontYou, Gia Tran created the monoline geometric sans typeface Younion FY. Younion One FY is free at Dafont. With Franck Montfermé, he co-designed the ball terminal beauty Squirrel FY. The letters of this ultra-fat didone reveal audacious geometric smoothness at large sizes.

    Codesigner of Kaili FY (2013: an exotic typeface with crazy ligatures, inspired by Indian scripts, by Gregori Vincens, Bertrand Reguron, Gia Tran and Alisa Nowak) at Fontyou.

    The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards. The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran and Jason Vandenberg created the decorative typeface Ella FY (2013, Fontyou). Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens co-designed the curvy stressed elliptical sans typeface Bruum FY (2013).

    Beaurencourt FY (2013) is a 19th centery secretary's hand co-designed with Jeremie Hornus.

    Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).

    At Fontyou, Benjamin Lieb, Gia Tran and Julien Priez co-designed the hand-drawn typeface Brixton FY (2013). Not to be confused with two earlier typefaces called Brixton, one by Tom Chalky, and one by Luke Ferrand. Since two of the three Brixtons are commercial, I expect FontYou to change the name imminently.

    In 2014, Gia Tran and Bertrand Reguron co-designed the zombie script Vidok FY (free at Dafont). Together, Elliott Amblard (France) and Gia Tran created the bold signage / retro baseball script typeface Paname FY at FontYou in 2014. Minuit FY (2014, by Jason Vandenberg and Gia Tran) is a beautiful angular angry calligraphic display typeface. The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.

    Bertrand Reguron, Alice Resseguier and Gia Tran co-designed the retro signage script typeface Coco FY (2014).

    Alice Resseguier and Gia Tran co-designed the girly script typeface Lola Lola FY (2014). This typeface was forcibly renamed Chelly FY a few days after its first appearance, possibly because there already was a typeface called Lola by Laura Messeguer.

    Codesigner with illustrator Quentin Vijoux of the hand-printed typeface Léon FY (2014).

    In 2014, he published the modular kitchen tile typeface Dorum FY with Julien Thébault.

    Benjamin Lieb and Gia Tran co-designed the 4-style retro display family Belleville FY (2014).

    With Evgeny Tkhorzhevsky, he designed the creamy signage script typefaces Maio FY (2014) and Kumiz FY [Maio renamed].

    Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak).

    Another URL. Behance link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Giambattista Bodoni

    Italian typographer and type designer, b. Saluzzo (1740), d. Parma (1813). Bodoni began his career as a typesetter at the Vatican's Propaganda Fide printing press in Rome before setting up a Royal Press (Stamperia Reale) for the Duke of Parma. In 1782, he was appointed court typographer for Charles III of Spain and opened his own printing press, Tipi Bodoni. Bodoni designed hundreds of fonts in his lifetime. In 1788, he published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and was full of ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. Today, most of his work resides in the Museo Bodoni of Parma.

    The early modern attempts at recreating his type are due to ATF (ATF Bodoni by Morris Fuller Benton, 1907-1915), Mergenthales Linotype Bodoni (1914-1916), Haas Bodoni (1924-1939), Bauer Bodoni (by Louis Hoell, 1924), and Berthold Bodoni (1930). Today, Linotype lists 114 weights/versions/faces of Bodoni. Some find Bodoni too severe, but I like its proud upright strong and mathematically exact look.

    Links: The story of Bodoni Open. Bio by Nicholas Fabian. Another URL for that piece by Fabian. Another bio. FontShop link. MyFonts link. Wiki. Another wiki. Giambattista Bodoni, génie ou assassin? (2007, Jonathan Perez's thesis at Estienne). Linotype link. Klingspor link

    Pink poster below created by Michael Robinson (Raleigh, NC). [Google] [MyFonts] [More]  ⦿

    Giambattista Bodoni
    [Manuale Tipografico: 1818 (full)]

    [More]  ⦿

    Giambattista Bodoni
    [Manuale Tipografico: 1818 (partial)]

    [More]  ⦿

    Gianluca Sandrone

    Gianluca Sandrone is a graphic designer in Perugia and Bolzano. He started working at LaMatilde Studio in Turin, and obtained an MA in communication and graphic design from ISIA in Urbino, Italy, in 2014. In 2015 he started working as a collaborator at Bcpt and CoModo coop. in Perugia. In 2018 he began teaching editorial and graphic design at IID in Perugia.

    His typefaces:

    • In 2021, CAST released the wonderful monospaced Bauhaus-inspired typewriter family Xanti Typewriter by Gianluca Sandrone.
    • BCPT Norcia (2019) is a custom didone stencil typeface designed for the brand identity of Renzini, one of the market leaders in the cold meat industry, a company with deep roots in Umbria.
    • BCPT LG Corporate (2017). Sandrone writes: LG Corporate font was created more than 20 years ago, when Listone Giordano decided to move from traditional Bodoni used in its communications to a variation with much visual impact for redesign of its logo. [...] Therefore the studio decided to evolve the trademark into a complete titling font to be used systematically for the entire product collections.
    • Issra (2021). A titling typeface.
    • CocaCola (2017). A multiline display typeface custom designed for Mauro Bubbico, which now is officially part of the graphic identity of the Cola Cola Museum in Gravina di Puglia. It is inspired by lettering seen in Federico Fellini's d film credits.
    [Google] [More]  ⦿

    Gianluca Teti on Bodoni

    Gianluca Teti writes in 2014 about the uses of Bodoni, including its utility in the fashion industry (Vogue, Giorgio Armani) and as a superb and classy headline type. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Giovanna Magda

    During her studies at Universidade Federal do Ceara, Fortaleza. Brazil-based Giovanna Magda designed the decorative didone typeface Aurora (2017). [Google] [More]  ⦿

    Giovanni Mardersteig

    German type designer (b. Weimar, 1892, d. Verona, 1977). He started out in Kurt Wolff's München-based press in 1919, founded the Officina Bodoni, which moved first to Montagnola and then in 1926 to Verona. In 1968, he won the Gutenberg Prize. Here is the laudatio of Rudolf Hagelstang for the first Gutenberg prize winner (in German): Die Jünger Gutenbergs sind eine internationale Gesellschaft. Wenn wir heute einen ihrer Meister ehren, so blicken wir dabei weder auf die Stadt noch auf Länderfahnen, sondern fühlen uns mit dem Preisträger Giovanni Mardersteig als Bürger jenes Landes, das das Vaterland der Vaterländer ist: die Kunst. He became a perfectionist and printed exquisite books of the highest typographical standards. Hagelstang said that Mardersteig came as close to the ideal as possible. People referred to him as the prince among printers, the "Fürst der Drucker" or "Principe dei stampatori". His typefaces:

    • Dante (1947-1952, Officina Bodoni; 1957-1959, Monotype). The first digital release of Dante was in 1993. It was cut from 1947 until 1954 by Charles Malin for the private press of Officina Bodoni in Verona. This is a marvelously balanced serif family based in part on Luca Pacioli's renaissance face. It also has a Dante Titling style. Adobe says this about the family: Giovanni Mardersteig started work on Dante after the Second World War, when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book typeface with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, it was adapted for mechanical composition by Monotype in 1957. The new digital version has been redrawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. It was issued in 1993 in a range of three weights with a set of titling capitals, and is now available from Adobe. Dante is a beautiful book typeface which can also be used to good effect in magazines and periodicals. Monotype issued Dante Etext in 2013.
    • Fontana (1961, Monotype): designed for the Glasgow publisher Collins in 1936 (for the Collins dictionary), and based on a type cut by Alexander Wilson of the Glasgow Letter Foundry about 1770. It is an old style numbered typeface with some relationship to Baskerville.
    • Griffo (1928-1930, Officina Bodoni): designed for use in Mardersteig's own private press. Related to Dante, but more flowing.
    • Zeno (1937, Officina Bodoni). Based on early Italian romans; the punches were cut by Charles Malin.
    Books on the Officina Bodoni include Giovanni Mardersteig: stampatore, editore, umanista (Valdonega, 1989). The Officina Bodoni: an account of the work of a hand press, 1923-1977 (Valdonega, 1980; a translation of "Die Officina Bodoni: das Werk einer Handpresse, 1923-1977" by Maximilian-Gesellschaft (1979)).

    In 1967, Monotype published The Work of Giovanni Mardersteig with 'Monotype' Faces (London). This text was set in Monotype Dante and printed by Stamperia Valdonega Verona. It contains an insert with an advance specimen of the Monotype Dante Series no. 592, designed by Hans Mardersteig. [Google] [MyFonts] [More]  ⦿

    Giuditta Brusadelli

    Graphic designer in Lecco, Itay, who made a type-based portrait of Bodoni in 2009. [Google] [More]  ⦿

    Giuseppe de Lama

    Italian author of Vita del cavaliere Giambattista Bodoni: tipografo italiano, e catalogo cronologico delle sue edizioni, Volume 1 (1816), a biography of Giambattista Bodoni, and a catalog of his work. Local download. [Google] [More]  ⦿

    Giuseppe Salerno
    [Resistenza]

    [MyFonts] [More]  ⦿

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

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

    • 161 Vergilius (2010)
    • 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
    • 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
    • 825 Karolus (2009), and 825 Lettrines Karolus (2009).
    • 1066 Hastings (2009).
    • 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
    • 1420 Gothic Script (2008).
    • 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
    • 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenberg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
    • 1462 Bamberg (2008).
    • 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
    • 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
    • 1470 Jenson-SemiBold (2008).
    • 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
    • 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
    • 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
    • 1484 Bastarda Loudeac (2008).
    • 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
    • 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanist script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
    • 1492 Quadrata (2008).
    • 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
    • 1495 Bastarde Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
    • 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
    • 1509 Leyden (2008; a Lombardic typeface inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
    • 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
    • 1512 Initials.
    • 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
    • 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 typeface published in La Operina.
    • GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
    • GLC 1525 Durer Initials (2010). Sample R.
    • 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
    • 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
    • 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
    • 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
    • 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
    • 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
    • 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
    • 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
    • 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
    • 1543 HumaneJenson-Bold (2008, after the typeface used in Vesalius' 1543 book De humani corporis fabrica).
    • 1543 HumaneJenson-Normal (2008, same source).
    • 1545 Faucheur (2011) is a rough garalde typeface that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
    • 1546 Poliphile (2009), inspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
    • 1550 Arabesques (2008, caps).
    • 1557 Civilité Granjon (2010).
    • 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
    • 1565 Renaissance (2010), inspired by French renaissance decorated letters.
    • 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
    • 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
    • 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
    • 1585 Flowery (2009): inspired by French renaissance decorated letters.
    • 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
    • 1590 Humane Warszawa is a rough-edged garalde typeface inspired by a font carved circa 1590 for a Polish editor.
    • 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
    • 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
    • 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
    • GLC 1619 Expédiée (2015). A grungy Civilté.
    • 1621 GLC Pilgrims (2010).
    • 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
    • 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
    • GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
    • 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
    • GLC 1669 Elzevir (2011) was inspired by the font typefaces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
    • GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
    • GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
    • 1682 Writhed Hand: very irregular handwriting.
    • 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
    • 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
    • 1695 Captain Flynt.
    • 16th Arabesques (2008, an exquisite ornamental caps scanfont).
    • 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
    • GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
    • 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
    • 1742 Frenchcivilite (2008).
    • 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
    • 1756 Dutch (2011).
    • 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
    • 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
    • 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
    • 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
    • 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
    • 1791 Constitution (2011).
    • 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
    • 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
    • 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
    • 1809 Homer (2011), a grungy typeface named after the "homer" message pigeons.
    • 1815 Waterloo (2008): a handwriting typeface originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
    • 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
    • 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
    • 1845 Mistress (2009): calligraphic script.
    • 1848 Barricades Italic, a quill pen italic.
    • 1859 Solferino (2009).
    • 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
    • 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
    • 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
    • 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
    • 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
    • 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
    • 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
    • GLC 1886 Romantic Initials (2012).
    • 1890 Registers Script (2008): inspired by the French "ronde".
    • 1890 Notice (2009): a fat didone family.
    • 1902 Loïe Fuller (art nouveau face).
    • 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
    • 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
    • 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
    • 1906 Titrage (2009): a didone headline typeface from the same newspaper.
    • Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
    • 1920 French Script Pro (2010).
    • 1920 My Toy Print Set, 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
    • 1968 GLC Graffiti (2009).
    • 1917 Stencil (2009; with rough outlines).
    • 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
    • 2009 Primitive (2016).
    • 2009 GLC Plantin Pro (2016).
    • 2010 Pipo Classic: a grungy typewriter slab serif family.
    • 2010 Cancellaresca Recens (2016).
    • 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
    Creative Market link. Fontspring link. [Google] [MyFonts] [More]  ⦿

    Gluk Fonts
    [Grzegorz Luksza]

    Aka Grzegorz Luk and just Gluk, Grzegorz Luksza is a Polish type designer (b. 1973) who specializes in ultra-decorative and experimental typefaces.

    Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).

    He published the elegant serif family Foglihten (2010), which includes the inline typefaces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone typefaces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013).

    Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).

    Creations from 2012: Charakterny, Garineldo, Mikodacs (an Impact-like black display sans), Yokawerad (a didone headline face), Resagokr, Nikodecs, Garineldo SC.

    Typefaces from 2013: Etharnig, Namskin, Namskout (a layered heavy display face), Prida 65 (spurred antique face), Ketosag, Prida 61, Gatometrix, Glametrix, Gallberik.

    Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.

    Typefaces from 2015: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt.

    Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5.

    Typefaces from 2017: Prosh 4B (a variable color font), BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface).

    Typefaces from 2018: BroshK, Rostef (all caps titling typeface), Fogthree.

    Typefaces from 2019: ResotE, ResotE-Pastels (a color font), ResotYc (a decorative unicase font), Resot Yg, Liserif (a kinetic SVG font).

    Typefaces from 2020: Digico M (a color font), Resotho (a wide all caps geometric sans).

    Dafont link. Digart link. Fontspace link. Dafont link. Open Font Library link. Scribus Stuff link. Fontspace link. Kernest link. Abstract Fonts link. Behance link. Font Squirrel link. Klingspor link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Golgonooza Letter Foundry
    [Dan Carr]

    Dan Carr (b. Cranston, RI, 1951-2012) was an American poet, type designer, typographer, printer, teacher, punchcutter, environmentalist, human rights activist and New Hampshire State Representative (2008-2010). Carr received his BA at Clark University in Worcester, Massachusetts. In Boston, in 1979 he and his partner Julia Ferrari, started the Golgonooza Letter Foundry & Press, a hot metal Monotype graphic design and composition house, which they moved to Ashuelot, NH, in 1982. Together they created Trois Fontaines Press in 1997, a limited edition fine press. Carr taught typography, and the history of typography at Keene State University in Keene, NH. He died after a struggle with cancer.

    At Golgonooza they produced high-quality letterpress books for a wide variety of clients. Dan Carr is the designer of the great-looking text fonts Lyons and Cheneau, 1990-1994, as well as Regulus (a metal font created in 1998 that earned him the title of Master Typographic Punchcutter of France in 1999), Philosophie, Genesis Numerals, and Beckett Bodoni, at the Golgonooza Letter Foundry. He won a Bukvaraz 2001 award for Parmenides (a metal type for archaic Greek). His digital typeface "Cheneau" was chosen for a judges' choice award by the Type Directors Club in 2000. Both Dan Carr's Parmenides Greek and Christopher Stinehour's Diogenes Greek were commissioned by the printer Peter Koch for The Fragments of Parmenides.

    Alternate URL. Klingspor link. Caxton Club link. [Google] [MyFonts] [More]  ⦿

    Good Programmer Typeface

    A wiki on good typefaces for programming (distinguishing between 0 and O, i, 1 and l, 2 and Z, 5 and S, 8 and B, quotes, and so on, are important issues). As of this writing, the list includes the following, with Andale Mono and Bitstream Vera the clear winners:

    • Andale Mono (by The Monotype Corporation, free from Microsoft)
    • BitstreamVera Sans Mono (by Bitstream, Inc.)
    • Fixedsys or 8514OEM (Windows-specific)
    • JMK/Neep
    • Lucida Console
    • ProFont
    • Trebuchet MS
    • Monaco
    • Computer Modern
    • Proggy Clean, Proggy Square, Proggy Small, and Proggy Tiny
    [Google] [More]  ⦿

    Google Font Directory: Greek

    Greek fonts available for download at the Google Font Directory. As of May 2011, these included Jura, Caudex, Play, Didact Gothic, Nova, Open Sans, Ubuntu, Anonymous Pro, GFS Didot and GFS Neohellenic. [Google] [More]  ⦿

    Goudy Modern and Goudy Open

    The first of these types designed by Frederic Goudy was Goudy Open (1918), which Goudy says was suggested by the caption of a French engraving. MacMcGrew: The letter forms have a modern feeling, something the designer had not attempted before, but without the formal rigidity of modern types such as Bodoni. Serifs are slightly bracketed and curves are more generous, suggestive of more traditional forms. After the Open roman was produced, Goudy experimented with filling in the white line; the effect pleased him, so he ordered the cutting of a solid face from the same patterns. The result is Goudy Modern. Both of these typefaces were designed in 1918, matrices were cut by Robert Wiebking, and type was cast by Goudy's Village Letter Foundery. Both typefaces were copied by Monotype in 1924. Goudy Modern Italic was designed the following year to accompany the roman face; in this case the solid typeface was made first. Goudy Open Italic was also made in 1919; it is identical to the Modern Italic except for the white line. In these italics, cap C and S have the lowercase form, with ball shapes instead of serifs. In the specimens, only the Modern Italic is not quite complete. Note the redesigned J and Q of 60-point Goudy Open; the 60- and 72-point sizes have caps only, practically full body size-no lowercase or figures. Also see Goethe.

    D.J.R. Bruckner on the French engraving that inspired Goudy for Goudy Open: Goudy said the face was suggested by the caption on a French engraving used as a frontispiece to Alfred Pollard's "Fine Books". Walter Tracy has shrewdly suggested that the inspiration for going to such a source was the success of the Cochin type, issued bv Lanston Monotype in 1916, adapted from the Cochin issued in Paris in 1912 by Deberny and Peignot, based on lettering in eighteenth-century French engravings. He also points out that there are only seventeen lower case letters and four capitals in the inscription in the Pollard book, so the rest of the Goudy face must have been his own.

    Berry, Johnson and Jaspert give the dates 1918 (at lanston Monotype), 1928 (at Monotype) and 1929 (at Caslon).

    Digital versions: Goudy Modern MT (Adobe), Goudy Modern MT (Monotype), LTC Goudy Modern (Lanston Type Company), Goudy Modern 94 (Franko Luin, 1994). [Google] [More]  ⦿

    Gradient (was: Mindburger Studio)
    [Milos Mitrovic]

    Milos Mitrovic's foundry in Bergen, Norway, is called Gradient. Before that, he set up Mindburger Studio in 2015 in Nis, Serbia, before relocating to Norway.

    His early typefaces included the 1920s style sans family Bambino (2014), which was influenced by Futura. In 2015, he published Bambino New.

    Typefaces from 2016: Bergen Sans (a modern geometric sans advertized in this manner: [...]clean and stylized Scandinavian geometry, partnered with explosive post Bauhaus type aesthetics[...]), Noir (based on early 20th century geometric sans models; in 12 styles, for Latin, Greek and Cyrillic).

    Typefaces from 2017: Bergen Mono, Bergen Text (a great geometric sans family).

    Typefaces from 2019: Radial (a variable sans), Linear Sans.

    Typefaces from 2020: Poly Sans (+Mono).

    Village link.

    Typefaces from 2021: Okay Serif (a decorative didone for Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Grant Milne

    Graduate of De Montfort University Leicester. Leicester, UK-based designer of the ISTD logotype in 2012. ISTD stands for International Society of Typographic Designers. Also in 2012, he created the ornamental didone typeface GCM22 (HypeForType): GCM22 is also based on the letterforms of typographers; John Pistilli, Herb Lubalin and Si Scott. The ornate letterforms are based around the art of Turkish Ebru marbling, which is painting on water to create decorative patterns. His portfolio also contains several beautiful ornate typographic pieces.

    In 2013, he created the lachrymal typeface Pluvia (2013).

    In 2016, he designed the fat brush typeface Brom.

    His fonts are sold via HypeForType. Behance link. Dafont link. [Google] [More]  ⦿

    Greater Albion Typefounders (or: GATF)
    [Paul James Lloyd]

    Paul J. Lloyd's type foundry in Western Australia, est. 2008. Lloyd (b. UK) made over 100 free truetype fonts before that. He writes: What we will offer is new designs, replete with Edwardian Fun, Victorian distinction, or any other piece of elegance we can manage.

    Edwardian creations from 2008-2010: Ark Wright (traditional shop signage), Adantine, Goldbarre, Brosse, Crewekerne, Crewekerne Magna and Crewekerne Magister (arts and crafts face), Larchmont, Brissard, Brossard (slab serif), Bonavia, Bonavia Blanc, Clementhorpe, Veneribe, Chiara Script, Howlett, Svengali Roman, Bonning and Bonnington (1920's style families with ideas from University Roman), Absinette (2009, art nouveau), Bamberforth, Tumbletype, Vertrina, Bromwich, Great Bromwich, Fleete, Helenium. Chipping emulates the Edwardian 1920s. In 2012, he added the Bolton Commercial family (late Edwardian, early art nouveau).

    Art deco typefaces: Oakland (2011, multiline typeface gleaned from a 1930s French car ad), Zenia (2010, trilined), Plebe (Plebia, 2008: a grotesk emulating the 1930s), Whitehaven (2008, an extensive art deco family with several shadow weights), Merry Fleurons (2008, Christmas ornament dingbats), Braxia (2008), Keynsia (fifties style art deco family with Peignot influences).

    Other typefaces: Haymer is a large sans family made in 2010. Clunic (2008) is a blackletter face. Tectura (2008) is a handwriting font. Eldridge is a slab serif family. Aliqua (2009), Chipperly (2009) and Syondola (2008, Tuscan) are Wild West families. Terazza Tilings (2009) and Valentine's Fleurons (2009) are dingbat typefaces. Additions in 2009 include Lowndes (soft blackletter), Christmas Fleurons, Merry Snowmen, Cherritt (described as a Victorian era Courier), DoodleBirds, Halloween Fleurons, ButtonFaces, Sabio (neither slab nor sans), Daub (brush graffiti font), Sabinard (a modern swash face), Cullions (futuristic blackletter), Coronard (blackletter / roman hybrid), Easter Fleurons, Chapter Initials, Paveline (19th century calligraphic script), Mellin Sans and Open, Gildersleeve (evoking the 1920s Arts and Crafts movement), Stannard (a 1920's advertising inspired small caps face), Slattery (a horizontally shaded fun face), Slatterine (2009, more retro futurism), Spillsbury (2010, Victorian family), Cirflex (2010, geometric display typeface based on arcs of circles), Oxonia (2010, a classic roman family) and Vectis (classic Roman elegance, another small caps face).

    Creations in 2010: Windevere, Albion's White Christmas, Paragon (a great didone display family with a wood type feel), Compton (slab serif family), Mexborough, Morover (Schwabacher family), Anavio (a classical roman family), Corvone (3d-effect font), Granville (Victorian), Corton (Victorian), Wellingborough (Victorian), Worthing (Victorian), Ark Wright (traditional shop signage), Bonaventure (art nouveau), Federal Streamliner (1950s feel techno face), Deva (classical roman), Crucis Ornaments (crosses), Bronzino (a roman with Arts and Crafts roots), Bertoni (2010, a didone family), Pardon Me Boy (train dingbats), Woodruff (Open Face fonts with a wood type look), Jonquin (based on a WWI poster; +Incised), Luscombe (1920s display family; +Parva), Movella (futuristic from the 1950s), Magdalena Sans (2010: a clear monoline sans), Endymion (2010: Tuscan), Paget (a Tuscan experimental all caps face), Portello (Victorian).

    Typefaces made in 2011: Admiral (art nouveau), Tuscaloosa (Tuscan face), Eccles (bombastic Victorian), Wolverhampton (pre-Victorian), Doncaster (Victorian family), Metropole (art nouveau family), Corsham (stone engraved lettering family), Leibix (casual), Albia Nova (an elegant futuristic organic face), Flapper (art nouveau face), Bertolessi (curly Victorian), Tulk's Victorian Banner (all caps banner face), Fitzgerald (Victorian all caps face), Cleveden (Victorian headline family), Spargo (an extensive set of early 20th century-look engraved typefaces for official documents and securities), Bettendorf (2011, based on a 1900s masthead typeface), Wolvercote (2011, similar to Bettendorf), Pittsburgh (2011, a Western-style engraved face), Chubbly (2011), Portmeirion No. 6 (2011, a Victorian / circus design), Bronzetti (2011; images: i, ii, iii, iv, v, vi), Sophie J (hanprinted), Dem Bones (2011, glyphs made from bones), Stout (2011), Birmingham New Street (a Victorian family inspired by the hand lettered title on a 19th century railway map), Beckinslade (ornamental blackletter).

    Production in 2012: Alfere Sans Stripes, Albion's Americana (Western stars and stripes face), Tudor Perpendicular (blackletter), Amici (rounded headline face), Amie (rounded sans), Wolverton Text (Edwardian family), Vinea (10-style display family), Par Avion (retro futuristic), AstroBats (retro sci-fi dingbats), Beeching (+Shadowed), Gondolieri (didone meets Tuscan), Penrose Slabserif (an Escher-like trompe l'oeuil 3d face), Haldane (art nouveau, Arabic look), Solidarius (chubby, fat felt-tip pen font), Bluebottle (angular display face), Merrivale (Victorian), Future Runes (runic simulation), Coliseo, Alfrere Sans (inspired by a 1950s television caption style), Tectura II (Lloyd's answer to Comic Sans), Secombe (Edwardian caps family), Milligan, London Court (Tudor-era caps family).

    Typefaces from 2013: Speedblur, Belhampton (Edwardian), Merry Baubles (Christmas tree dings), Merry Bauble Letters (Christmas alphadings), Wroxeter (blackletter), Thurbrooke (+Banner, +Initials, +Black, +Reverso, all based on 19th century banner headings and engraved lettering), Bourne (a rounded type system), Henrician (a set of eight Tudor style display typefaces), Belle Jardin (art deco marquee face), Lavery (Edwardian), Baldione (a stylized didone), Chequers (a vintage poster face), Turvy Topsy (fat finger face), Merrivaux (faux medieval), Blout (German expressionist typeface), Easter Egg Letters, Isometrica (a banner typeface family), Valentine's Letters, Imperial Granum (roman titling face), Brollo (chunky display face).

    Typefaces from 2014: Albions Very Old Masthead, Albions Engraved Black, Albions Old Masthead, Albions Incised Masthead, Albions Black Holly, Zanderley (pure Victoriana, +Initials), Landsdowne Commercial, Friendly Shaded Sans, Trivette, Wellmere Sans, Uncia Black, Henry VII, Greene and Rollins (layered Victorian typeface), Barollo, Alfrine, Alfrere Banner (+Incised), Lugano, Lanvier (1930s-style caps typeface family), Bonlivet (a hyper-decorative capitals alphabet from the late Victoian or early art nouveau era), Ames Text (a didone family with rounded brackets), Ames Roman (related to didones but with wedge serifs), Ames Weathered, Ames Shadow, Ames Shaded, Amersham (vintage signage family, 2013-2014).

    Typefaces from 2015: Netherland Perpendicular (Victorian blackletter), Ledbury (Victorian), Ambergate (Edwardian poster face), Empyrean (futuristic, yet curvy), Flinscher (1920s script), Signwriter Standard, Display Hatched, Albions Marker No.1 (a charming outlined marker pen typeface inspired by Bembo and Caslon), Joyvrie, Kinver (Victorian), Nationale (Victorian), Doges Banner, Doges Darker (Victorian), Doges Delight (Victorian), Doges Venezia (Victorian).

    Typefaces from 2016: Buntisland, Elmcourt, Allorette, Albion Sharp Italic, Deco Metro (art deco), SpeedSwash (blackletterish), Stridere (blackletterish), SpeedSketch.

    Typefaces from 2017: Shervington, Cantebriggia 1207 (a weathered blackletter), Algreve, Alambart, Duquesne Dark Woodcut, Courtold Shadow, Athabasca (Wild West Tuscan), Fargo Tuscan, Millerstown (Western), Millerstown Races, Old Millerstown, Sasparillo (Tuscan), Sasparillo Fizz, Wylgate, Herald Banner.

    Typefaces from 2018: Garstang Engraved, Halliwell Casual, Portculliard, Rotham Industria, Sombrieul (Edwardian), Shervington Engraved (a shaded typeface that appears hand-engraved on copper-plate).

    Typefaces from 2019: Dewhirst Display, Rakia (retro futuristic), Eurobia (art nouveau style).

    Typefaces from 2020: Draughtsman Engraved, Draughtsman Label Hand (Victorian), Civic Triline.

    Typefaces from 2021: Albion Seventies, Portculliard Engraved (an engraved ultra-decorative blackletter).

    Type announcements. Behance link. Klingspor link. Abstract Fonts link. Font Squirrel link. Kernest link. Abstract Fonts link. Hellofont link.

    View all typefaces by Paul Lloyd. Images of Paul Lloyd's best-selling typefaces. Greater Albion Typefounders: typeface collection. View Paul Lloyd's Victorian typefaces. [Google] [MyFonts] [More]  ⦿

    Greek Font Society

    The Greek Font Society was founded in 1992 by the late Michael S. Macrakis (1924-2001) as a Non-Profit Organization with the expressed aim of contributing to the research of Greek typography. The Society was founded initially by the Kostopoulos Foundation, with further support provided by the Greek Ministry of Culture, the Leventis Foundation, Regis College-USA, the Maliotis Foundation and the Girondelis Foundation. From 2004 until 2006, the Board of Directors consists of M.V. Sakellariou (President). L. Macrakis (Vice-President), D.G. Portolos (Secretary), L.G. Savidis (Treasurer), G.E. Agouridis, A.G. Drimiotis, and A. Giakoumakis. GFSs type design programme began through the collaboration of painter-engraver Takis Katsoulidis with type designer George D. Matthiopoulos. Since then, GFS has designed a growing list of Greek polytonic (fully-accented) fonts which include various historical revivals and new designs with respect to typographic tradition. In addition, GFS was commissioned to design fonts for the Athens Academy, The Athens Archeological Society, the Institute of Speech amongst others. Furthermore, GFS organised an International Conference, Greek Letters: from Tablets to Pixels at the Institute Français dAthènes in 1995, and has been active in the publication of works on Typography. For this aim GFS edited and designed the proceedings of the Conference: Michael S. Macrakis (edit), Greek Letters: from Tablets to Pixels, Oak Knoll Press, Newcastle-Delaware, 1996. The artistic collaborators include George D. Matthiopoulos, Michail Semoglou and Natasha Raissaki. Finally, they are making some high quality free fonts, such as:

    • GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapf's Palatino). Open Font Library link.
    • GFS Bodoni (1992-1993): a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos. See also GFS Bodoni Classic (Greek only).
    • GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
    • GFS Callierges Greek, based on the types of Zacharias Callierges (15th century), digitized by George Matthiopoulos.
    • GFS Porson Greek, digitized by George Matthiopoulos in 1995. This is based on the types of Richard Porson of the 18th century.
    • GFS Artemisia (2001), by painter-engraver Takis Katsoulidis and digitized by George D. Matthiopoulos. Open Font Library link.
    • GFS Complutensian Greek, digitized by George Matthiopoulos and Antonis Tsolomitis. This was based on the types of Arnaldo Guillen de Brocar (16th century). Now called GFS Complutum (2007).
    • GFS Neohellenic (1993-2000, Takis Katsoulidis and George D. Matthiopoulos). They explain: In 1927, Victor Scholderer (British Museum Library curator), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a Latin version. A further extension, GFSNeohellenicMath, was published in 2018: The font GFSNeohellenicMath was commissioned to the Greek Font Society (GFS) by the Graduate Studies program "Studies in Mathematics" of the Department of Mathematics of the University of the Aegean, located on the Samos island, Greece. The design copyright belongs to the main designer of GFS, George Matthiopoulos. The OpenType Math Table embedded in the font was developed by the Mathematics Professor Antonis Tsolomitis. The font is released under the latest OFL license, and it is available from the GFS site at http://www.greekfontsociety-gfs.gr. The font is an almost Sans Serif font and one of its main uses is for presentations, an area where (we believe) a commercial grade sans math font was not available up to now.
    • GFS Elpis (2006, Natasha Raissaki), an original design which tries very hard to match the Greek and Latin parts of its alphabet.
    • GFSSolomos (2006) by George D. Matthiopoulos.
    • GFS Theokritos, a redesign by George D. Matthiopoulos of a font created by Yannis Kefallinos (1894-1958) in the 1950s. Free at Open Font Library.
    • GFS Baskerville (2007) by Antonis Tsolomitis.
    • GFS Gazis (2007, George Matthiopoulos), about which they write: During the whole of the 18th century the old tradition of using Greek types designed to conform to the Byzantine cursive hand with many ligatures and abbreviations - as it was originated by Aldus Manutius in Venice and consolidated by Claude Garamont (Grecs du Roy) - was still much in practice, although clearly on the wane. GFS Gazis is a typical German example of this practice as it appeared at the end of that era in the 1790s. Its name pays tribute to Anthimos Gazis (1758-1828), one of the most prolific Greek thinkers of the period, who was responsible for writing, translating and editing numerous books, including the editorship of the important Greek periodical (Litterary Hermes) in Wien.
    • These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFS Ambrosia, GFS Eustace, GFS Fleischman-Regular, GFS Garaldus, GFS Jackson-Regular, GFS Nicefore. He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, is based on a typeface cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry in the baroque style that prevailed in the mid-18th century.
    [Google] [More]  ⦿

    Greek (Silvio Levy)
    [Silvio Levy]

    Silvio Levy's Greek metafont package based on Computer Modern. [Google] [More]  ⦿

    greektex

    greektex by Yiannis N. Moschovakis (Dept of Mathematics, UCLA) and George Spiliotis is also based on Silvio Levy's Greek metafonts and Donald Knuth's Computer Modern. [Google] [More]  ⦿

    Greg Eckler

    Graphic and type designer and art director in Washington, DC, and Woodbridge, VA. He is a professor of communication design at Northern Virginia Community College (NOVA). Before that, he taught graphic design at George Mason University and at The Art Institute of Washington.

    Creator of Skatekey (2012, hexagonal: free), Atreyu (2011, a blackletter typeface that is free at Lost Type), Swarm (2010, hexagonal modular face), Blackhaus (2009), a mix between Futura and Cloister Black (Morris Fuller Benton, 1904). He also made the pixelish typeface SWARM (2009), Tercio (2010, a pastiche slab-serif of wood&metal tendencies in his own words---fresh and different), and Camisado (2010, free humanist sans).

    In 2013, he published the didone typeface family Forsyth.

    Typefaces from 204: Barrelroom (art deco), Demolin (wedge serif), Heretique (bold bracketed serif), Xyst (modular condensed slab serif), Highpoint (extra-condensed sans), Pergola (rounded modular modern sans-serif), Unholy (spiked semi-serif inspired by metal music), Zero (geometric sans), Quartzous (video game pixel face), Aztlan (Aztec-look typeface), Ordo (condensed sans), Barbed, Covalent (dot matrix), Eschelon, Furious (chamfered), Sagebrush (Western), Vias (circuit font), Chambray (condensed sans), Grout, Manifold, Razor&Blade.

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

    Greg Gazdowicz

    Born in 1988 in Gaithersburg, MD, Greg Gazdowicz studied at the Maryland Institute College of Art. He completed the Type@Cooper Extended program in 2014. After graduation, he joined Commercial Type.

    Codesigner with Lucas Sharp of the bubblegum and bubble bath typeface Doughboy Pro (2013, published by Pagan & Sharp).

    In 2016, he published Robinson at Commercial Type, which writes: Inspired by calligraphic sans serifs like Warren Chappell's Lydian and R. Hunter Middleton's Samson, Greg Gazdowicz aimed to make a contemporary sans that used the hallmarks of calligraphic construction to add visual interest without being explicitly calligraphic. The result is a crisp, refreshing sans with a kinetic personality. Robinson is evocative of American book cover lettering from the middle of the 20th century while feeling cleanly contemporary.

    He drew the italics of Publico Text Mono (Christian Schwartz and Paul Barnes) in 2014.

    Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes) is a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.

    In 2019, Commercial Type released Caslon Ionic by Paul Barnes and Greg Gazdowicz. They write: Bolder and more robust than the modern, yet lighter and more refined than the Egyptian, the Ionic with its bracketed serif was another innovation of the nineteenth century. Lesser known than Thorowgood's Clarendon, Caslon's Ionic No. 2 is a superb example of the form and greatly influenced the newspaper fonts of the next century. With additional weights and a matching Egyptian companion, Antique No. 6, it is a masterpiece of type designed to be robust and legible. Antique No. 6 was designed by Paul Barnes in 2019.

    In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesue Open, and the related Thorowgood Egyptian.

    In 2022, Commercial Type and Greg Gazdowicz released Roboto Serif at Google Fonts and wrote: Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. [Google] [MyFonts] [More]  ⦿

    Greg Ponchak
    [SINDSINDSIND]

    [MyFonts] [More]  ⦿

    Group Type
    [Mark Solsburg]

    Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type typeface fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type typeface fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

    • Aquiline. An absolutely wonderful 16th century script.
    • Arbor Brush (2012). A brush font that seems almost painted.
    • Aries. A 1995 revival of a lapidary typeface by Eric Gill.
    • Bank Gothic (1994). A revival of Morris Fuller Benton's original---see also Bank Gothic BT. Now also Bank Gothic Distressed.
    • Bristol (1994). In Adornado and Solid substyles. Based on a design by Stevens Shanks.
    • Broadway Poster.
    • Carpenter Script (1995). Revival of an old connected ATF script by James West.
    • Caslon Antique (1993). Based on an original by Bernd Nadall.
    • Cloister Initials (2006). A revival of an illuminated caps typeface by Goudy.
    • Cooper Poster.
    • Corvinus Skyline (1991). By Ann Pomeroy. A revival of a condensed modern family by Imre Reiner by the same name.
    • Craw Modern (2012). A revival of Craw Modern by Freeman Craw (1958, ATF).
    • Diane Script.
    • Fortis (2012), formerly Atlas. In the wood style of Latin Wide, with heavy sharp triangular serifs.
    • Girder Poster.
    • Gotico Black. A blackletter.
    • Grosse Pointe Metro (2006-2009). A great Bauhaus style sans family based on William Addison Dwiggins' Metro #2). See also Detroit Metro.
    • Grotesca (1995).
    • Laughin. Andrew Smith contributed his Laughin, which was earlier at FontHaus.
    • Maxim.
    • Ovidius Script. A medieval simulation script, dated 2006, designed by Thaddeus Szumilas. Comis in Light, Medium and Bold.
    • Poster Gothic.
    • Raleigh Gothic (1995). A typeface based on Morris Fuller Benton's design. See also Raleigh Gothic RR for a different revival.
    • Regular Joe (2006). An out-of-place childish handwriting font.
    • Ronde Script (2012). This ronde comes from the French side. Group ype says that it was modeled after Parisian Ronde by the Chappelle foundry in Paris, but its roots go back to Nicolas Gando.
    • Schneidler Initials (1995). Revival of Friedrich Hermann Ernst Schneidler's Trajan-style typeface.
    • Sitcom. Ann Pomeroy contributed Sitcom.
    • Spire. By Ann Pomeroy. A condensed didone family heavily based on Sol Hess's Spire (Lanston).
    • Stradivarius.

    View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

    Grzegorz Luksza
    [Gluk Fonts]

    [MyFonts] [More]  ⦿

    G-Type
    [Nick Cooke]

    Nick Cooke is a British type designer based in Otley, West Yorkshire, and/or Newent, UK, who has been at it since 1982 as a lettering artist. He founded G-Type in 1999. Nick started as a lettering artist in London in 1982 crafting type by hand for book jackets. His typefaces:

    • Accent Graphic (1997, a Peignotian fashion mag sans).
    • Amulet (2002, a Celtic look face).
    • Avocet (2006).
    • Chevin (2003, sans family, +Std, +Chevin Pro, +Chevin Eco, a version with perforatons).
    • ITC Dartangnon (1998). A hand-printed script probably named after Dartagnan.
    • Digitalis (2000).
    • Geetype (an upright script inspired by cigarette pack lettering by the great A. M. Cassandre).
    • Gizmo (a beautiful chaotic brush handwriting face).
    • Goskar (2020). A forceful reverse stress script.
    • Houschka (an Avenir lookalike; see also Houschka Rounded (2006), Houschka, Houschka Rounded Alt (2011), Pro (2009), and Houschka Alt Pro (2011), featuring weights from hairline to extra bold).
    • Morpeth (2008, a sturdy sans family).
    • Nubian (sans family).
    • Olicana (2005, a nice casual connected script face), Olicana Rough, Olicana Smooth (2007) [note: everyone likes Olicana: Eben Sorkin writes The primary reason it was so powerfully and instantly popular was the font's voice, a personality both complicated and unique. On the one hand it has a casual and authentic sense of vivacity and fun. On the other hand this expressiveness is intermittent; it continuously but gently teases the eye.].
    • Organon Sans and Organon Serif (2009). These families are lapidary---they have tapered stems.
    • FF Penguin (1995).
    • Precious Sans (2002), Precious Serif (2003). In 2014, he followed that up with Precious Sans Two.
    • Remora Sans (2017). An extensive humanist sans serif consisting of the effervescent Remora Sans and its business partner Remora Corp. Both styles include five individual width sets ranging from the condensed W1 to the extra-wide W5.
    • Rollerscript (2012). A connected informal script with enough bells and whistles to evoke true handwriting.
    • Saltaire (2019). A decorative didone.
    • Sherborne (2020). Nick writes: Inspired by a comment in a letter from Eric Gill to Stanley Morrison, Sherborne has waisted vertical stems, meaning they curve inwards to give an elegant appearance resulting in a typeface of supreme legibility and beauty. Sherborne references its calligraphic roots featuring tapered stems, angled axes and bracketed serifs so could be considered a Humanist Old Style with a distinctly modern twist.
    • Sovereign Display (2008: an engraved or dollar bill style typeface; one free weight of this serif family could be found here).
    • Ver Sacrum (2022). An art nouve au-inspired typeface that was lost by Nick Cooke due to a disk crash.

    Klingspor link. Behance link. View all typefaces by Nick Cooke (G-Type). View Nick Cooke's typefaces. Font Squirrel link. [Google] [MyFonts] [More]  ⦿

    Guido Schneider
    [Brass Fonts]

    [MyFonts] [More]  ⦿

    Guillaume Litaudon
    [Yomli]

    [More]  ⦿

    Guillermo Mendoza

    During his studies at ESDA (Spain) and ESAD of Matosinhos (Portugal), Guillermo Mendoza co-designed Didona en do menor (2018) together with Maria Sancho Garcia. This typeface combines Didot with musical elements. [Google] [More]  ⦿

    Gustav Jensen

    Gustav Boerge Jensen was a Danish industrial designer of the art deco era (b. Copenhagen, 1898, d. 1954), artist and letterer. He 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. Jeff Levine added Danish Script Initials JNL (2019) to the collection of revivals. [Google] [MyFonts] [More]  ⦿

    Gustave F. Schroeder

    Punchcutter, b. 1861 (Berlin), who made many typefaces. He worked at the Central Type Foundry and then ATF in the late 1800s, and was living in St. Louis, MO, in 1891 and in Mill Valley, CA in 1892. The Inland Printer announced in 1895 that Schroeder had joined the Pacific States Type Foundry in San Francisco. His typefaces straddle the Victorian, arts and crafts and art nouveau eras.

    His typefaces include:

    • Victorian style typefaces at Central Type foundry, done early in his career: Apollo (1888), Atlanta (1885, based on a design of Andreas V. Haight), Harper (1882, curly), Hogarth (1883), Jeffderson (1890), Jupiter (1888), Lafayette (1885), Morning Glory (1884), Scribner (1883), Victoria (1886, with Nicholas J. Werner), Victoria Italic (1891), Washington (1886). Apollo was revived by Nick Curtis in 2014 as Gloriosus NF.
    • At Marder, Luse and Co: French Old Style Extended.
    • At Pacific States: Aldus Italic (before 1891), Sierra (before 1897).
    • Arts and crafts typefaces at Central Type Foundry: Eccentric (1881, available in digital form at Monotype (Agfa), Solotype, Jeff Levine (2020: called Oddly Nouveau JNL), and Adobe. There is also a free version, Eccentrical, from an unknown designer.
    • Art nouveau typefaces done at Central Type Foundry: Art Gothic (1885), Multiform No. 1 through No. 4 (1892).
    • Othello (1886, Central Type Foundry). A black condensed rounded typeface that became very successful thanks to its revival (copy?) by Morris Fuller Benton. Digital versions include Bathysphere (2013, by Seymour Caprice) and Nick Curtis's Iago NF (2011).
    • Geometric Condensed (1882, Central Type Foundry, with W.W. Jackson). Revived in 2014 under the same name by Robert Donona.
    • For Barnhart Bros and Spindler: Era (1891) and Era Condensed No. 5 (1891). These typefaces were done with Nicholas J. Werner. Pastel was originally called Era.
    • For ATF: Empire Initials (ca. 1898), McCullagh No. 2 (1897, a remarkable art deco typeface twenty years ahead of its time). Patent application for McCullagh.
    • Geometric (+Italic, Condensed, Antique). Done in 1881 at Central Type Foundry. The Condensed and Antique are from 1883. For a digital version, see HWT Geometric (2013) by Hamilton Wood Type / James Grieshaber.
    • DeVinne (1890-1896, Central Type Foundry). This design was sold to Stephenson Blake. Digital versions available at Bitstream and Wooden Type Fonts. Bitstream writes about its version: This revival of the Bruce Foundry's No. 11 is typical of the nineteenth century types derived from the work of Didot and Bodoni; the typeface remains popular with lawyers and government printers. In fact, Theodore Low De Vinne opposed this kind of design as hard to print and read; he had Century designed to replace it.
    • Other typefaces at Central Type Foundry: Cushing Old Style (1890), Erebus (1889), Hades (1889), Johnston Gothic (1892, with Nicholas J. Werner), Laclede (1897), Novelty Script (ca. 1891), Old Style Bold (1886), Old Style Script (1887), Quaint Roman (1890 or 1895), Royal Script (1887), Typewriter (1884), University (1889). Mac McGrew on Royal Script: Royal Script originated with the Central Type Foundry branch of ATF in St. Louis in 1893. It is much like the later Typo Script, but wider. In spite of that similarity, it appeared in ATF specimen books as late as 1968. In the 24- and 30-point sizes there are normal and small versions of lowercase, caps being the same. Early specimens designated these large and small sizes as No.1 and No.2 respectively, later specimens as No. 551 and No. 552. Hansen's Newton Script is the same design.
    • The angled serif font family Romana (1892). Digital versions by Linotype, Elsner & Flake (called EF Romana) and Bitstream. Bitstream puts this didone design in the proper context: The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals. About 1860, as Phemister was cutting the Miller & Richard Old Style in Edinburgh, Theophile Beaudoire turned the idea of the Lyons capitals into a complete Oldstyle typeface, with similar overwhelming success; it was generally known as Elzevir in France and Roemisch, Romanisch, Romaans or Romana in Germany, Holland and Switzerland. In 1892, Gustav Schroeder, at the Central Division of ATF, expanded the series, adding a boldface under the name DeVinne. It was promptly copied, initially in Europe by Ludwig & Mayer, and spread rapidly throughout the US and Europe, becoming the best known member of the series. ATF made popular an ornamental form under the name De Vinne Ornamental.
    • Patent applications: unnamed face for BBS (1891), another unnamed face (1893), an unnamed art nouveau face and another unnamed serif face (1893, for VJA Rey).

    FontShop link. Google patent link.

    Typefaces by him at MyFonts. [Google] [MyFonts] [More]  ⦿

    Gustave Mayeur
    [Mayeur Type Foundry]

    [More]  ⦿

    Gustavs Andrejs Grinbergs

    Born in Riga, Latvia, in 1943, he has mainly cooperated (since 1990) with Tilde in the font development of East-European languages, and has created the AG fonts collection for Cyrillic. He specializes in Cyrillic and East-European extensions of prominent typefaces (such as the ones in the Bitstream collection). His typefaces:

    FontShop link. Linotype link. Klingspor link.

    MyFonts collection. View Grinbergs's typefaces. [Google] [MyFonts] [More]  ⦿

    Günter Gerhard Lange

    Known to his peers as GGL. German type designer, born in Frankfurt-an-der-Oder in 1921, d. 2008. He fought in World War II and lost his leg in a battle in France. Starting in 1941, Lange studied as apprentice of Georg Belwe at the Academy of Graphic and Book Arts in Leipzig. After graduation in 1945, until 1949, he was assistant of Professor Walter Tiemann, while also practicing painting and graphic design independently. In 1949, he continued his studies with Professors Hans Ullmann and Paul Strecker at the Hochschule für Bildende Künste in West Berlin. From 1950 onwards, he worked at Berthold AG in Berlin, where he designed his first type, Arena in 1951. In 1955, he became Reader in Typography at the Meisterschule für Graphik, Druck und Werbung in West Berlin. One of his many students was Manfred Klein. He also was Advisor in Visual Communications and Reader at the U5 Academy of Graphic Design and Art Direction Munich, and Instructor at the School of Applied Art in Vienna. H. Berthold AG's artistic director from 1961 to 1990, Lange was responsible for the creation and meticulous production of many of Berthold's typefaces. According to Dieter Hofrichter, his motto was 8 point is the moment of truth (when proofing typefaces). In 1989 he received the Frederic W. Goudy Award from the Rochester Institute of Technology (RIT). Recipient of the year 2000 TDC medal. After ten years of retirement from his position as Berthold AG's artistic director, Lange resumed his design activities in 2000 at Bertholdtypes (now Berthold Direct Inc) in Chicago. Bio at ATypI.

    Lange's own designs include his revivals of many classical typefaces. Here is a list, all Berthold typefaces:

    Yvonne Schwemer-Scheddin writes a day after his death: Dear type friends, yesterday morning, the 2nd of December 2008, Günter Gerhard Lange died, 87 years old. We lost an upright, steadfast fighter for quality in type design. Not only Berthold's artistic director, but a friend and objective adviser to many who needed personal help or an evaluation in type design. GGL was Berthold. For Berthold GGL "enhanced" many type designs of other well known type designers. His valued critizism was a great help, because it came from a positively tuned man. GGL transferred the lead heritage and its classical type typefaces into photocomposition and into the digital format on a high aesthetic and historically authentic level - as for instance Garamond or Van Dijk. Akzidenz-Grotesk is not thinkable without GGL. Bodoni Old Face one of the best contemporary text typefaces. With his sans serif Imago you can be different and yet classical. And the Americans should be pleased with the revival of Deepdene, which he also turned into a well working textface with a distinct character. But perhaps most important of all, he relentlessly encouraged the young, teaching and talking up to almost the end. Thus opening fences, eyes and hearts to art, architecture, literature and for the values of studies and love for the correct details without which the whole would not function. He was a rare communicator, because he lived his convictions and values. He became an example, a light of orientation. We lost a passionate type lover and expert---an authentic man. An era has come irreversible to its end.

    Credit for some images below: Danielle West. [Google] [MyFonts] [More]  ⦿

    H. Didot, Legrand et cie

    Foundry in Paris. Its work can be found in Specimen des caractères de la fonderie Polyamatype de H. Didot, Legrand et cie, rue du Petit-Vaugirard, no 13 (Paris, Imprimerie de E. Duverger, rue de Verneuil, no 4. 1828). Of course, we have mostly modern typefaces in this book! [Google] [More]  ⦿

    Haas'sche Schriftgiesserei

    German/Swiss foundry established in 1790 (however, see timeline below) and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. Linotype takes over Haas in 1989. Their collection includes:

    • Kompakte Grotesk (1893)
    • Steinschrift (1834). See also here.
    • Enge Grotesk (ca. 1870)
    • Commercial-Grotesk Halbfett (1940)
    • Altgrotesk halbfett (1880)
    • Haas gotisch schmal. This typeface was digitally revived by Gerhard Helzel.
    • Bodoni-Kursiv, Bodoni-Antiqua (Bodoni, 1780). The 1924 cuts of Bodoni formed the basis of Berthold Bodoni, which can now be had under that name in digital form.
    • Ideal-Antiqua (ca. 1880)
    • Caslon Antiqua and Caslon Kursiv (William Caslon, London, 1720)
    • Alt-Fraktur and Fette Alt-Fraktur (ca. 1840)
    • Fette Gotisch (ca. 1860)
    • Halbfette Normande (1850) and Normande fett (by Thorne, London, 1810)
    • Nürnberger Schwabacher (originally, ca. 1600, published in 1930)
    • E.A. Neukomm: Bravo (1945), Chevalier (1946). Digital forms of Chevalier can be found at Agfa and LetterPerfect. Elsner&Flake's Escorial is another digital form of it. And so is PrimaFont's Chauvinist.
    • A. Auspurg: Castor (1924), Pollux (1925).
    • Hermann Eidenbenz: Graphique (1941), Clarendon (1953). Clarendon became a Linotype face.
    • Adrian Frutiger: Ondine (1954), a calligraphic font done at Deberny et Peignot before it was taken over by Haas.
    • Walter J. Diethelm: Diethelm Antiqua (1945-1950).
    • M. Miedinger: Helvetica (1957), Horizontal (1964), Pro Arte (1954). Helvetica became Linotype's big prize face.
    • Eugen+M. Lenz: Profil (1943-1947). In the digital era, Profil became Decorated 035 at Bitstream.
    • P. Wezel: Constellation (1970).
    • H. Baumgart: Quirinale (1970).
    • Richard Gerbig: Riccardo (1941, a script face).
    • Edmund Thiele: Superba (1934), Normale Grotesk (1942), Troubadour Lichte (1931, script). Troubadour survives digitally as Rechtman Script (Intecsas). Superba was digitally revived by Red Rooster as Superba Pro (1992 and 2017).
    • Anzeigen Grotesk (1943, Haas / Linotype) is a heavy condensed sans in the style of Impact. Modern digital versions include Anzeigen Grotesk (2009) by URW and Anzeigen Grotesk (2006) by Linotype.
    • Estienne is a condensed roman with small pointed serifs that revives a nineteenth century design. Not to be confused with the old face Linotype estienne.
    In Chronik der Haas'schen Schriftgiesserei (2002), Hans Reichardt describes this timeline:
    • 1654: Johann Jakob Genath (1582-1654) runs a print shop and foundry in Basel.
    • 1708: His son Johann Rudolf Genath (1638-1708) leaves the foundry to his second son Johann Rudolf Genath II.
    • 1737: Johann Rudolf Genath II has no children and makes Johann Wilhelm Haas (1698-1764) his official heir. Haas had come from Nürnberg to Basel in 1718 to work with Genath.
    • 1745: Haas takes over, and dies in 1764. His son Wilhelm Haas Münch (1741-1800) then takes over.
    • 1772: Wilhelm invents a hand press, and in 1776 develops a system for printing maps.
    • 1790: Publication of Epreuves des caracteres d'usage ordinaire dans l'imprimerie. Local download.
    • 1800: Wilhelm is succeeded by his son, Wilhelm Haas Decker (1766-1838).
    • 1830: Wilhelm Haas Decker leaves the business to his son Georg Wilhelm Haas (1792-1853) and to Karl Eduard Haas (1801-1853).
    • 1852: Two employees, Jakob Haas and G. Münch take over. But in 1857, they sell the company to Otto Stuckert (1824-1874) who lived in Lörrach.
    • 1866-1895: The Basler Handelsbank was the main investor in the business, and sells it in 1895 to Fernand Vicarino.
    • 1904: Max Krayer becomes owner.
    • 1921: A new plant is built in Münchenstein.
    • 1924: Work on a new cut of Bodoni has started. Later, Stempel and Berthold would use this type, and it became well-known as Berthold Bodoni.
    • 1927: The company becomes an AG (Aktiengesellschaft) and strikes business cooperation deals with D. Stempel AG and H. Berthold AG.
    • 1940-1941: Caslon Antiqua and Kursiv (1940) and Riccardo (1941) are created.
    • 1941: Ideal Roman is cast. Berry, Johnson and Jaspert write: This Haas revival is a condensed semi-bold nineteenth-century design, which is almost a Fat Face. There is the usual long spur to the G, curled tail to the R, and long serifs in the E, F and T. Ascenders and descenders in the lower case are very short. Cf. Contact. The present design is cast from 1941 matrices, and the identical type is cast by Stempel, who call it Jeannette. The type is quite different from Amsterdam and Intertype Ideal.
    • 1944: Eduard Hoffmann becomes Director when Max Krayer dies.
    • 1945-1958: In the Post World War II boom, these typefaces were created: Bravo (1945), Graphique (1945), Chevalier (1946), Profil (1947), Clarendon kräftig and fett (1953), Pro Arte (1954), Neue Haas-Grotesk halbfett (1957), Neue Haas-Grotesk mager (1958).
    • 1968: Alfred Hoffmann succeeds Eduard Hoffmann.
    • 1972-1982: An expansion period follows. The company takes over Deberny&Peignot (Paris) in 1972, Fonderie Olive (Marseille) in 1978, and Grafisk Compagni (Copenhagen) in 1982.
    • 1989: Linotype takes over Haas and dissolves the company. Linotype itself keeps the name and the rights to the typefaces, and gives the foundry to Walter Fruttiger, who continues that part of the business as Fruttiger AG.
    • 1990: Società Nebiolo (Turin) is taken over.

    View the Haas typeface library. See also here. [Google] [MyFonts] [More]  ⦿

    Han The Thanh
    [vnr]

    [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:

    • Neue Einstellung (2021). A nine style geometric sans that exudes rigidity and mechanical precision.
    • Ouido (2021). A condensed old style serif family with twelve cuts.
    • Pianono (2021). A curly typeface named after a Filipino dessert.
    • Nuova Volte (2021). A carefully designed sans family.
    • Compound Sans (2021). In 45 styles, plus a variable font.
    • Trinkle Sans (2020).
    • HK Requisite (a 9-style low contrast sans) (2020).
    • Terminal Guise (2020). An 8-style monolinear geometric sans with open counters (except on the lower case o).
    • Luckybones (2020).
    • Action Sans (2020). A free almost monolinear sans.
    • Open Sauce Sans, Open Sauce One and Open Sauce Two (2020). He writes about these three large free sans families: Open Sauce is a font superfamily that I developed for Creative Sauce's internal type system. It is a compact typeface that is optimised for better viewing small text on screen and print. Open Sauce (Sans, One and Two) is under the SIL Open Font License and is going to be actively developed, improved and tested. One small modification is Cristiano Sobral's Criativa Sans (2020).
    • Yelena (2020). A brush script.
    • Keiner (2020). A rigid monolinear sans typeface family.
    • Cosmic Octo (2020). A blocky display/poster typeface for an experimental ice cream recipe venture.
    • Snah (2020). A playful free all caps typeface.
    • Belina Script (2020).
    • Itzkarl (2020). An all caps typeface with flared terminals.
    • Anahaw (2020). A foliate typeface modeled after palm leaves.
    • Batangas (2020). Free.
    • Lumi Sans (2019).
    • Device (2019). A sans that supports orange-dyed fascists, oil industry buffoons and climate change deniers.
    • Stenzel (2019). a stencil typeface.
    • Nourd (2019).
    • Suprapower SE (a display sans) (2019). Heavy and wide, for posters, packaging, headline and titles.
    • Sauce Grotesk (2019). Sauce Grotesk is a sans serif typeface that James Birch and Alfredo Marco Pradil developed for Creative Sauce's internal type system.
    • TEG (2019).
    • Enreal (2019).
    • Arca Sentora (2019). A geometric sans.
    • Serif 420 (2019).
    • Guise (2019). A Swiss style sans family.
    • Grantipo (2019), A sans family inspired by Cerebri Sans, Helvetica and Akzidenz Grotesk. .
    • HK Sentiments (2018). A neutral / geometric sans.
    • Natrix Sans (2018). A free grotesque family without italics.
    • Reminisce (2018). A Peignotian sans typeface family.
    • Aeon Hexa (2018). Alfredo explains that he tried to amalgamate the features of Helvetica and Cerebri Sans.
    • Acari Sans (2018). A free typeface by Alfredo Marco Pradil (Latin part) and Stefan Peev (Cyrillic portion). Based on HK Grotesk (2015).
    • HK Kontrast (2018). An angular wedge serif typeface.
    • HK Yavimayan (2018). A text typeface with flaring.
    • HK Focus (2017).
    • HK Gothic (2017). Twelve styles.
    • HK Compression (2017). A bold compressed all caps sans.
    • HK Carta (2017). A text typeface with didone elements.
    • HK Spec (2017).
    • HK Zercon (2017). A free sans.
    • HK Concentrate (2017). A sans typeface family.
    • Arlene (2017). A didone typeface family.
    • Barter Exchange (2017).
    • HK Blocker (2017), a heavy rounded sans.
    • Zwizz (2017). A Swiss typeface family.
    • Cerebri Sans (2017). Free download.
    • HK Nova (2017). A geometric sans family inspired by Century Gothic and Futura. The Medium weight is tweetware. See also HK Nova Narrow and HK Nova Rounded.
    • Illuma (2017). A free headline sans typeface.
    • Number 23 (2017). A text typeface family.
    • HK Caslon (2017).
    • Polarity (2017).
    • Placid Amor (2016). Copperplate style.
    • Ludema (2016). An informal sans typeface, made by Joao Symington..
    • Alienware (2016). A custom typeface for Dell's Alienware computers.
    • Extremis Compakt (2016). A custom typeface for Extremis.
    • Number 23 (2016). A Caslon-style text family.
    • El Enra Rounded (2016). A condensed headline sans.
    • Faldore (2015-2016). A simple sans typeface family.
    • Hans Grotesque (2016). A sans designed for long texts.
    • Decalotype (2016). A free sans typeface.
    • HK Compakt (2016). Inspired by Akzindenz Grotesk.
    • HK Serif (2016).
    • Jellee (2016). A very soft heavy rounded sans typeface. Download.
    • El Enra (2016). A free bold condensed sans.
    • Type 36 (2016). A clean geometric sans.
    • Arco Perpetuo (2016). A free subtly rounded sans family.
    • Industri (2016). A tweetware sans.
    • Okomito (2016). A sans with large open counters. Okomito Medium is free. Okomito Next was released in 2020.
    • 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), Neue Einstellung (2015), 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, HK Grotesk Wide in 2020, and Uacari Legacy by Cristobal Sobral in 2020), Industri (2015, caps only headline face), Monoist (2015, monospaced), Glacial Indifference (2015, Bauhaus-inspired), Malakas (2015), Genome (2015) and Gen Light (2014, OFL).
    • Arca Majora (2014) and Arca Majora 2 (2016). A free heavy geometric sans face.
    • SAG Block (2014).
    • Ahamono and Ahamono Monospaced (2012-2015). Originally, this was a free rounded monospace typeface with typewriter features.
    • Neue Hans (2014), Hanken Round (2014, a free rounded sans), Neutrage (2014, a neutral signage sans).
    • Hard Edge (2014). An octagonal typeface.
    • Teknik (2014). A technical sans typeface.
    • Bullet (2014).
    • The grotesk typefaces Primary Hans (2014) and Hans Kendrick (2014) and Neue Hans Kendrick (2016). Both have elements of Avenir and Futura, and are characterized by a relatively small x-height. Followed by the art deco sans-inspired Neo Hans in 2019.

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

    Hannes von Döhren
    [HVD Fonts]

    [MyFonts] [More]  ⦿

    Hanoded
    [David Kerkhoff]

    Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe / Vaassen, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and hand-printed typefaces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Fontspring link. Klingspor link.

    In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:

    [Google] [MyFonts] [More]  ⦿

    Hans Bohn

    German type designer, b. Oberlahnstein, 1891, d. Frankfurt am Main, 1980. He worked mostly for Ludwig&Mayer. Creator of these typefaces:

    Klingspor link. FontShop link. View Hans Bohn's typefaces. [Google] [MyFonts] [More]  ⦿

    Hans Schneider

    Creator of the phototype didone typeface Ronco at Photolettering. [Google] [More]  ⦿

    Hans van Maanen

    Dutch science journalist who has published extensively in the Volkskrant. He is also into fine arts and illustration, and has even designed a few fonts. MyFonts page. Klingspor link.

    • His first production was Lexington and Lexington Handtooled (2006, a revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic. A typical art deco signage typeface which can be bought at Canada Type, and is characterized by its rabbit-eared k, l, b, d and h).
    • He also digitized and expanded Aurora Grotesk (1912, Johannes Wagner foundry) and called it Annonce (2006, Canada Type).
    • As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type).
    • Dutch Mediaeval (2007, 9 styles) is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik De Roos classic. Followed in 2013 by Dutch Mediaeval Book ST (done together with Patrick Griffin), which was engineered specifically for science writing.
    • Freco (2006, Canada Type): an art deco font.
    • Circulaire (2009, Canada Type) is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
    • Adams (2008, Canada Type) is a revival and major expansion of Dolf Overbeek's Studio typeface and Flambard, its bold counterpart, originally published by the Amsterdam Type Foundry in 1946 and 1954, respectively.
    • Lotto: A brush typeface originally designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955. Revived by Van Maanen at Canada Type in 2009.
    • Diploma (2009, Canada Type) is a revival of Diplomat, a metal type made by the in-house team of Ludwig&Mayer and first published in 1964.
    • Roos (2009): A 10-style revival and extension of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Patrick Griffin at Canada Type.
    • Archie (2010): a heavy techno sans banner face, done at Canada Type as a revival of work by Martin Meijer.
    • Agent (2010, Canada Type) is another revival of work by Martin Meijer.
    • Aragon (2010, Canada Type): Advertised as a workhorse Dutch Garamond family. Includes an open style called Aragon Initials.
    • Naga (+Naga Outline, 2011, Canada Type) is Hans van Maanen's original creation of art deco shapes intersected with intricate mazes of what could be Celtic or Mesoamerican knotwork art.
    • Zilvertype (2012). A 590-glyph typeface revival published by Canada Type: Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour. Followed in 2014 by the expanded Zilvertype Pro.
    • Minuet (2007) revives Schlesinger's Rondo.
    • Grippo (2012). A layered font in six styles, with a general art deco look.
    • Gaulois (2012). Based on Scribe (1937, Marcel Jacno), an art deco era signage and advertising script.
    • Wilke Kursiv (2013) is based on Martin Wilke's Wilke Kursiv from 1932.
    • Aragon ST (2013, with Patrick Griffin). Related to Garamond, this family was designed for science writing, thanks to the incorporation of SciType. SciType is a flexible combination of oft-ignored letterforms and innovative OpenType programming that can be incoporated into existing text fonts in order for them to function seamlessly when including common science formulas and equations in regular text.
    • In 2015, Hans cooperated with Patrick Griffin on the sturdy small text typeface Leo.
    • Basilio (2017). a revival and expansion of the italienne typeface Hidalgo (1939, Stefan Schlesinger for Lettergieterij Amsterdam).
    • Der Mond (2018). A stick font.
    • Pala (2018). A condensed semi-bold sans typeface that is based on the tyopes seen on posters by activists.
    • Monostad (2019).
    • Litige (2019). A bold titling sans.
    • Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces.
    • Boerenzij (2019). A stencil type commissioned by Wapke Feenstra for an exposition in Rotterdam.
    • Mmomo (2019).
    • Artist in Space (2019). A commissioned typeface.
    • Normandia (2021, by Patrick Griffin and Hans van Maanen). A digital revival of the fatface typeface Normandia by Alessandro Butti at Nebiolo (1946-1949).
    [Google] [MyFonts] [More]  ⦿

    Hanson Chen

    Hong Kong-based designer. His typeface Walk-On (2015) was originally created as a corporate typeface for fashion brand Wang & Lynch. Part art deco, part decorative didone, it is a prototypical fashion mag titling typeface. Behance link. [Google] [More]  ⦿

    Hans-Peter Greinke

    Graphic designer in Berlin, b. 1936, Deutsch Wette. He designed typefaces in the 1980s at the East German type foundry Typoart. These include Typoart Baskerville (1982), Typoart Egyptienne (1989) and Typoart Walbaum (1984). These typefaces can be purchased from Elser & Flake. [Google] [More]  ⦿

    Hao Chi Kiang

    Sweden-based designer / programmer who developed a free mono-spaced version of Alexey Kryukov's popular didone font Old Standard, and called it New Heterodox Mono (2019-2021). It is intended as a programming font. [Google] [More]  ⦿

    Happyloverstown
    [Jonathan Calugi]

    Very talented Pistoia, Italy-based designer (b. 1982). His typefaces:

    A follower of Calugi writes: Jonathan is a young illustrator hailing from Pistoia, Italy. It's nearly impossible to not recognize his signature style: what at first appears to be a child-like doodling, a closer look will reveal a world of intricate, carefully crafted patterns and eccentric geometric forms. Hellofont link. Behance link. Dafont link. [Google] [More]  ⦿

    Harald Harders
    [hfbright]

    [More]  ⦿

    Harmonais Visual (or: Ampersant Studio)
    [Max Duy T]

    Ho Chi Minh City, Vietnam-based designer of the display serif typeface HV Weist Havanah (2019), the rounded sans Pinocchio (2019), the script typeface Autograph (2019), the grungy font Pinewood (2019), the free Peignotian typeface HV Simplicité (2019) and the decorative serif typeface HV Feliz en Vista (2019).

    In 2020, he designed HV Constantine (roman, decorative), Dear Ivy (a fashion mag didone), the chic one-style font HV Muse, the fashion mag sans HV Clio, the all caps art belle epoque typeface Carlo Monaco and the rounded sans Pinocchio.

    Typefaces from 2021: HV Florentino (a fragile serif), HV Argentine (a fashion mag font), Preston (a stylish sans), HV Cocktail (a bold display serif in the Windsor genre), HV Olive and Figs (a thorny display serif), HV Harietta (a Peignotian sans), HV Christo (with thorny serifs). [Google] [MyFonts] [More]  ⦿

    Harvey Hunt
    [Berthold Direct Corp]

    [MyFonts] [More]  ⦿

    Hason Nio

    Pattani, Thailand-based designer of the ball terminal typeface Hasonio (2017) for Thai. Unclear whether his/her name is Hasun Taleh or Hason Nio. [Google] [More]  ⦿

    Hattori Supply Co (was: Corgi Astronaut)
    [Sergio Haruo]

    Jundiai, Sao Paulo-based designer of Joliet Serif (2017), Millenia (2017), Filena (2017, a sans family), Boxing (2017, a mini-spurred slab serif), Gotcha (2017), Sprout (2017, thin condensed sans), Clutch (2017), Longway (2017, copperplate style), Destrukt (2017), Bridal (2017, a condensed family with some free weights), Alyssum (sans), Space Cowboy (2017), Cookit (2017, a free wood emulation font), Glubby (2017, a plump typeface), Rearden Steel (2017), the fat rounded typeface Hit And Run (2017), and the free all caps sans typeface Thruster (2017).

    Typefaces from 2018: Palash.

    Typefaces from 2019: Okana (a 16-style condensed sans), Lucita (rounded sans), Camilie (thin sans).

    Typefaces from 2020: Perugia (a decorative didone). [Google] [More]  ⦿

    Hausschriften

    A list (in German) of typefaces used by companies (often specially designed). Translated and partially reprodused here. We also took info from this subpage.
    CompanyTypeAlternate typeYet another typeStill another type
    ARDThe Sans The Serif
    AirBerlinMeta
    AirbusHelvetica Neue Times New Roman Arial
    Akzo NobelSymbol
    AralAral V2 Medium Baskerville BQ
    AudiAudi Antiqua Audi Sans
    BMWBMW Helvetica
    BonnfinanzFrutiger Adobe Garamond Bodoni Book
    BoschBosch Sans/Serif
    BundesregierungDemos
    CDUFF Kievit
    Credit SuisseCredit Suisse Type
    DHLFrutiger Minion
    DRKGill Sans Rockwell
    DSKThe Sans5
    DaimlerChryslerCorporate ASE
    Deutsche BahnHelvetica
    Deutsche BankDeuBa Univers
    Deutsche PostFrutigerHelvetica
    E.ONPolo
    FordFord Light/Bold
    HeinekenHeineken Sans/Serif
    HenkelHelvetica Neue Swift EF Arial Times New Roman
    IKEAIkea
    LangenscheidtTrade Gothic
    Linde AGLinde Dax
    LufthansaHelvetica
    MephistoFutura Book
    MercedesCorporate A/E/S
    MitsubishiAlpha Headline
    NissanNissanAG
    NiveaNivea Sans
    NokiaNokia Sans/Serif
    OpelOpel Sans
    PioneerMeta
    PorscheFranklin Gothic
    RocheMinion Imago
    SchoolChevin
    ShellFutura LT Bold
    SiemensSiemens Sans/Serif/Slab Serif
    SparkassSparkasse Lt/Rg
    TUITui
    TengelmannSyntax
    UBSUBS Headline Frutiger 45
    UPSDax
    VWVW Headline Utopia
    VeluxFutura
    VolvoVolvo Broard
    WDRMeta Minion
    Zeche ZollvereinChevin
    CompanyTypefaceFoundryDesignerBasisApplication
    ŠkodaSkoda SansDalton Magg
    3SatGill SansMonotypeEric Gill
    ADACFranklin GothicLinotypeMorris Fuller Benton
    AEGRotisAgfaOtl Aicher
    AMDGill SansMonotypeEric Gill
    ARDThe SansLucasFontsLucas de Groot
    ARDThe SerifLucasFontsLucas de Groot
    AVMInfoFontFontErik Spiekermann, Ole Schäfer
    AVMMetaFontFontErik Spiekermann
    AWDAWDInterstate
    AXAErasITC
    AdidasAdiHausDIN
    AdobeMyriadMonotype
    AdobeMinionAgfaRobert Slimbach
    AirBerlinMetaFontFontErik Spiekermann
    AirbusTimes New RomanMonotype
    AirbusArialMonotypePatricia Saunders, Robin Nichols
    AirbusNeue HelveticaLinotype
    Akzo NobelSymbol
    AldiFuturaElsner+FlakePaul Renner
    AllianzFormata CondensedHeadlines
    AppleApple Myriad
    AralBaskerville BQ
    AralAral V2 Medium
    ArcorMemphisLinotypeChauncey H. Griffith
    ArvatoBliss
    AudiAudi Antiqua
    AudiAudi SansUnivers
    B.Braun Melsungen AGRotisAgfaOtl Aicher
    BMWBMW TypeHelvetica
    Beck'sSyntaxLinotypeHans Eduard Meier
    Berliner ZeitungWalbaumLinotypeJ. E. WalbaumHeadlines
    Berliner ZeitungUtopiaMonotypeText
    BertelsmannUtopiaMonotype
    BertelsmannUniversLinotypeAdrian Frutiger
    BonnfinanzBodoni BookBitstreamGiambattista Bodoni
    BonnfinanzAdobe GaramondAgfaClaude Garamond, Robert Slimbach
    BonnfinanzFrutigerLinotypeAdrian Frutiger
    BoschBosch Serif
    BoschBosch Sans
    BulthaupRotisAgfaOtl Aicher
    Bundesagentur für ArbeitCorporate SURW++Kurt Weidemann
    BundesregierungNeue Demos
    BundesregierungNeue Praxis
    C&ACA Info Type
    C&ACA Corporate Type
    CDUCDU KievitKievit
    CanonDendaNew
    Commerzbank AGCommerzbank HeadlineStymie Black
    CosmosDirektGeometric Slabserif 703BitstreamLogo
    CosmosDirektUnivers CondensedLinotypeAdrian Frutiger
    Credit SuisseCredit Suisse Type
    DA direktFrutigerLinotypeAdrian FrutigerFliesstext
    DA direktLinotype ErgoLinotypeLogo
    DAB BankDAB Bank OfficinaOfficina
    DHLFrutigerLinotypeAdrian Frutiger
    DHLMinionAgfaRobert Slimbach
    DRKHelveticaLinotypeMax Miedinger
    DRKArialMonotypePatricia Saunders, Robin Nichols
    DSKThe SansLucasFontsLucas de Groot
    Delta AirlinesDeltaDalton Magg
    Der SpiegelSpiegel Sans (a 32 style American gothic family)LucasFontsLucas de GrootFranklin Gothic
    Der SpiegelSpiegel SerifLucasFontsLucas de GrootLinotype Rotation
    DetaxFrutigerLinotypeAdrian Frutiger
    Deutsche Bahn AGDB Sans CondensedURW++
    Deutsche Bahn AGDB SansURW++
    Deutsche Bahn AGDB HeadURW++
    Deutsche Bahn AGDB NewsURW++
    Deutsche Bahn AGDB SerifURW++
    Deutsche BankDeutsche Bank UniversUnivers
    Deutsche Post AGFrutiger CondensedLinotypeAdrian FrutigerHeadlines
    Deutsche Post AGMinionAgfaRobert Slimbach Fliesstext
    Deutsche TelekomTeleAntiquaURW++
    Deutsche TelekomTeleGroteskURW++
    Deutsche TelekomTeleLogoURW++
    Deutsche WelleBemboAgfaFrancesco Griffo, A. Tagliente Fliesstext
    Deutsche WelleDW InterstateInterstate
    Die GrünenCorpus GothicFountainPeter Bruhn
    Die Linke/PDSMetaFontFontErik SpiekermannFliesstext
    Die WeltFranklin GothicLinotypeMorris Fuller Benton
    Die WeltExcelsiorLinotypeChauncery H. Griffith Text
    Die WeltTimesBQHeadlines
    Direct LineGill SansMonotypeEric Gill
    Dr. OetkerDr. Oetker TiffanyTiffany
    Dänisches BettenlagerFuturaElsner+FlakePaul Renner
    E-PlusFrutigerLinotypeAdrian Frutiger
    E-PlusOCR PlusLinotypeAdrian FrutigerOCR F
    EnBW AGDINFontFont
    ErcoUniversLinotypeAdrian Frutiger
    ErcoRotisAgfaOtl Aicher
    Eurex (Deutsche Börse AG)SyntaxLinotypeHans Eduard Meier
    Ev. JohanneswerkArialMonotypePatricia Saunders, Robin Nichols
    Ev. JohanneswerkHelveticaLinotypeMax Miedinger
    FC Bayern München AGFCB InterstateInterstate
    FSBNews GothicLinotypeMorris Fuller Benton
    FSBUniversLinotypeAdrian Frutiger
    Festo AGMetaFontFontErik Spiekermann
    Financial TimesUtopiaMonotype
    Financial TimesWalbaumLinotypeJ. E. Walbaum
    FordFord ExtendedHelvetica
    Frankfurter Allgemeine ZeitungEighteen
    Frankfurter Allgemeine ZeitungTimes Ten
    Frankfurter Allgemeine ZeitungFAZ FrakturURW++Fette Gotisch
    Fraunhofer-GesellschaftFrutigerLinotypeAdrian Frutiger
    Fujitsu Siemens ComputerRotisAgfaOtl Aicher
    GE (General Electric Company)GE Inspira
    GermanwingsBliss
    Gothaer (Versicherung)MetaFontFontErik Spiekermann
    Heidelberg GruppeHeidelberg GothicNews Gothic
    Heidelberg GruppeHeidelberg AntiquaSwift
    HeinekenHeineken Sans
    HeinekenHeineken Serif
    HenkelSwift
    HenkelNeue HelveticaLinotype
    HenkelArialMonotypePatricia Saunders, Robin Nichols
    HenkelTimes New RomanMonotype
    IGEPAIGEPA RaldoURW++
    ING DiBaStone Sans
    IkeaIkea SansFutura
    IkeaIkea SerifNew Century Schoolbook
    Industrie- und HandelskammerRotis SansAgfaOtl Aicher
    Industrie- und HandelskammerRotis SerifAgfaOtl Aicher
    J.M. Voith AGVoith HelveticaHelvetica
    JaguarDINFontFont
    Jet (Tankstelle)JetSans
    Kabel DeutschlandKabel UnitFF Unit
    LBSLBS The SansThe Sans
    LangenscheidtTrade GothicLinotypeJackson Burke
    LekkerlandLL SariFF Sari
    Linde AGLinde DaxFF Dax
    Linotype Library GmbHUniversLinotypeAdrian Frutiger
    LufthansaHelveticaLinotypeMax Miedinger
    MINIMINITypeRegularDalton MaagFliesstext
    MINIMINITypeHeadlineDalton MaggHeadlines
    MazdaBaseTwelve SansHeadlines
    MazdaFrutigerLinotypeAdrian FrutigerText
    McDonald'sAkzidenz Grotesk
    Mecklenburg VorpommernMyriad Pro
    Mecklenburg VorpommernLithograph
    MediaMarktFranklin GothicLinotypeMorris Fuller Benton
    MephistoFutura BookElsner+FlakePaul Renner
    MercedesCorporate EURW++Kurt Weidemann
    MercedesCorporate AURW++Kurt Weidemann
    MercedesCorporate SURW++Kurt Weidemann
    MitsubishiAlpha Headline
    MobilcomNeue Helvetica ExtendedLinotype
    Müller (Drogerie)MuellerSchriftGill Sans
    Münchner RückUniversLinotypeAdrian Frutiger
    N-TVInfo OfficeFontFontErik Spiekermann, Ole Schäfer Laufbänder
    NDRNDR Sans
    NissanNissanAG
    NissanNissan StandardURW++
    NiveaNivea Sans
    NokiaNokia SansErik Spiekermann
    NokiaNokia SerifErik Spiekermann
    OBIObi SansElsner+Flake
    OpelOpel SansFutura
    PAGE (Magazin)GST PoloTypeManufacturGeorg Salden
    Paul Hartmann AGFrutiger NextLinotypeAdrian Frutiger
    PeugeotGill SansMonotypeEric Gill
    PioneerMetaFontFontErik Spiekermann
    Plus (Supermarkt)The SansLucasFontsLucas de Groot
    PorscheNews GothicLinotypeMorris Fuller Benton
    PorscheFranklin GothicLinotypeMorris Fuller Benton
    Postbank AGFrutigerLinotypeAdrian Frutiger
    Premiere WorldPremiere GothicFranklin Gothic
    PumaPuma PaceDalton Magg
    Quelle (Versandhaus)Quelle InterstateInterstate (1993, Tobias Frere-Jones)
    RBBInterstate (1993, Tobias Frere-Jones)Font BureauTobias Frere-Jones
    RTL aktuellBank GothicBitstreamMorris Fuller Benton
    RWERWE Corporate
    RamaRama Typo
    RavensburgerThe SansLucasFontsLucas de Groot
    RocheMinionAgfaRobert Slimbach
    RocheImago
    RocheMinionAgfaRobert Slimbach
    RocheImago
    SPDThe SansLucasFontsLucas de Groot
    SaabGill SansMonotypeEric Gill
    Sat.1SAT1DigitalSansDigital Sans
    SchoolChevin
    Schwäbisch Hall AGCharlotte SansThe Sans
    ShellFutura LT BoldElsner+FlakePaul Renner
    SiemensSiemens SerifURW++
    SiemensSiemens SansURW++
    SiemensSiemens SlabURW++
    SmartSmart CourierCourier
    Sparda BankClarendonLinotypeH. Eidenbenz Headlines
    Sparda BankITC Officina SansAgfaErik Spiekermann Fliesstext
    SparkasseSparkasse LightDalton Magg
    SparkasseSparkasse RegularDalton Magg
    Stuttgarter ZeitungDTL Argo
    Stuttgarter ZeitungGulliver
    Süddeutsche ZeitungExcelsiorLinotypeChauncery H. Griffith Text
    Süddeutsche ZeitungHelveticaLinotypeMax MiedingerHeadlines
    TU DresdenDIN BoldFontFont
    TU DresdenUnivers 45LinotypeAdrian Frutiger
    TUITuiDalton Magg
    Tagesspiegel (Berlin)Franklin GothicLinotypeMorris Fuller Benton
    Tagesspiegel (Berlin)PoynterFont BureauFliesstext
    Tagesspiegel (Berlin)CalifornianFont BureauFrederic W. Goudy, David Berlow Headlines
    TalklineNeue HelveticaLinotypeText
    TalklineRockwellMonotypeF. H. Pierpoint Headlines
    Taz (Berlin)Taz IIILucasFontsLucas de Groot
    Taz (Berlin)LF TazLucasFontsLucas de Groot
    Taz (Berlin)The AntiquaELucasFontsLucas de Groot
    Taz (Berlin)TazTextLucasFontsLucas de Groot
    TchiboInterstate (1993, Tobias Frere-Jones)Font BureauTobias Frere-Jones
    TengelmannSyntaxLinotypeHans Eduard Meier
    UBSFrutiger 45LinotypeAdrian Frutiger
    UBSUBS Headline
    UPSUPS Sans
    VWUtopiaMonotype
    VWVW Headline
    VattenfallInterstateFont BureauTobias Frere-Jones
    VeluxFuturaElsner+FlakePaul Renner
    VobisInterstate (1993, Tobias Frere-Jones)Font BureauTobias Frere-Jones
    VodafoneVodafone Font FamilyDalton MaggInterFace
    VolvoVolvo Broard
    WDRMinionAgfaRobert Slimbach
    WDRMetaFontFontErik Spiekermann
    Wilo AGWilo PlusFF Plus
    Xbox 360Convection
    XeroxWalbaumLinotypeJ. E. Walbaum
    Yello StromYello DINFF DIN
    ZDFHandel GothicURW++Logo
    ZDFSwiss 721Helvetica
    ZF FriedrichshafenZF SerifURW++
    ZF FriedrichshafenZF SansURW++
    Zeche ZollvereinChevin
    comdirectDaxFontFontHans Reichel
    dm DrogeriemarktDM CochinCochin
    dm DrogeriemarktDM The SansThe Sans
    e·onGST PoloTypeManufacturGeorg Salden
    kabel einsDIN 1451FontFont
    mdr (Mitteldeutscher Rundfunk)can you (read me?)
    tegut...tegut-SansOfficina Sans

    Credit for some images below: Danielle West. [Google] [More]  ⦿

    Heather Christianson

    Illustrator and designer in Minneapolis who created an ornamental didone typeface called Garbanzo Beans in 2012. [Google] [More]  ⦿

    Heinrich Jost

    German type designer (b. Magdeburg, 1889-d. Frankfurt, 1948). He was art director at the Bauersche type foundry in Frankfurt am Main for most of his life, and led that company from 1922-1948. Brief CV. His typefaces:

    • Aeterna (or Jost Mediaeval, 1927, Ludwig&Mayer). Berry, Johnson and Jaspert write: Mediaeval in German is used with much the same meaning as our Venetian. The type is of rich colour, has small serifs and short descenders. The capitals vary in width, E, F and L being narrow, corresponding with some well-known Roman inscriptions, e.g., those of the Trajan column. There are two M's and N's, one having no top serifs. U has the lower-case design and W no middle serif. e has the Venetian form, the g an odd rectangular ear. The dot on the i is diamond-shaped. The italic has capitals consistent with the roman; the inclination is very slight and in the lower case some letters are upright. It is rather like a Goudy italic. There is also an italic and a bold. Aeterna, as the type is now called, is a slightly revised version. Intertype (Berlin) made a metal version early on. Digital revivals include Aesop on the SoftMaker MegaFont XXL CD (2002).
    • Fraktur (1925).
    • Atrax (1926, shaded bold roman capitals, Bauersche Giesserei).
    • Bauer Bodoni (1926, at Bauersche Giesserei, with Lois Hoell), a font about which many people rave. In 1977 Aaron Burns declared that Bauer Bodoni is probably the most beautiful Bodoni ever designed. Images: Poster by Charles Brooks.
    • Beton (1930, Bauersche Giesserei), a slab serif with a characteristic y-foot serif extending to the right). McGrew's comments on Beton: A square-serif typeface designed by Heinrich Jost for Bauer Type foundry in Germany, copied by Intertype in 1934-36. Beton Wide was added by Intertype in 1937 to fit two-letter matrices with the Extra Bold. Like the other members, it features several unusual design details, but several alternate characters and a set of redesigned figures are furnished to more nearly approximate American square-serif designs. Unlike other such typefaces, serifs are bracketed on strokes which would be thin in contrasting romans. Bauer also made Beton Light, Medium Condensed, Bold Condensed, and Open versions, some of which have been copied here by secondary suppliers. Beton Open has sometimes though incorrectly been called Stymie Open. Many foundries have digital versions of Beton: Linotype, Berthold (Beton BQ), Elsner and Flake (Beton EF), and Scangraphic (Beton SB, Beton SH). The Esfera NF family (2010, Nick Curtis) is a playful digital extension that uses ball terminals, and has a regular y. Bevan (Vernon Adams, 2011) is a free Google Web Font.
    • Alfrodita (FT Nacional, 1946), shaded capitals with very small serifs and formed by four parallel lines.

    View digital versions of Beton. View Heinrich Jost's typefaces. [Google] [MyFonts] [More]  ⦿

    Heinz Waibl

    Italian graphic designer, b. 1931. He was Max Huber's assistant from 1950 until 1954, and joined Massimo Vignelli's Unimark in 1967. In 1974, he founded the studio Signo. He heads the visual design program at Politecnico di Milano. [Google] [More]  ⦿

    Helena Pérez Garcia

    Graphic designer, illustrator and photographer in Valencia, Spain, who created a thin monoline typeface called Miranda Sans (2011), a slabby didone typeface called Cecilia (2011) and an experimental minimalist typeface called Rota (2011, with Pablo Funcia). Behance link. [Google] [More]  ⦿

    Hellmut G. Bomm
    [HGB]

    [MyFonts] [More]  ⦿

    Hendra Maulia
    [Dirtyline Studio]

    [MyFonts] [More]  ⦿

    Hendrick Rolandez
    [Moinzek]

    [More]  ⦿

    Hendry Juanda
    [Letterhend Studio (or: Magang Letterhend)]

    [MyFonts] [More]  ⦿

    Henk Gianotten

    Dutch type connoisseur after whom Antonio Pace's Linotype Gianotten (1990) is named. Born in 1940, he worked for 40 years in the production and distribution of graphic arts equipment and fonts, at companies such as Tetterode, BT and Buhrmann. As a student of Willem Ovink, he got very interested in legibility of typefaces. On his own contributions to typography, he writes: Since 1964 I was involved on the production of our typefaces for Morisawa. Later on we produced typefaces for photocomposition for Bobst (Autologic), Berthold, Compugraphic, A.M., Harris Composition, Itek, Scangraphic and others. Tetterode owned the rights for typefaces like Nobel, Lasso, Polka, Orator, Promotor, Lectura and Hollandsche Mediaeval. LinotypeLibrary owns the licenses for these fonts since October 1 2000. Gianotten left Tetterode in 2000. News about LinotypeGianotten. Linotype's press release. PDF samples of LinotypeGianotten. Article on Gianotten by Wim Westerveld in 2006. [Google] [More]  ⦿

    Henri Didot

    Born in Paris in 1765, he died there in 1862. He was the son of Pierre-François Didot (1731-1793), who in turn was the youngest son of the Didot printing business founder, François Didot. Henri is remembered for his microscopic types. For producing type he invented the Polymatype, which consisted of a long bar of matrices into which hot metal was poured. Over a hundred letters could be founded at once. Henri Didot engraved the assignats---the paper money used during the French Revolution. [Google] [MyFonts] [More]  ⦿

    Henri Friedlaender

    Born in Fulnek, Sudetenland, in 1904, he died in Jerusalem in 1996, after having spent most of his life as head of the Hadassah College in Jerusalem. He designed Hadassah Hebräisch (1958). Winner of the Gutenberg Prize in 1971. Henri Friedlaender designed Aviv, Hadar, and Shalom for IBM. Discussion of the Haddasah type by William C. Fontaine.

    William C. Fontaine writes in the Dartmouth College Library: In 1931 Henri Friedlaender was the foreman of the typesetting division of the Offizin Haag-Drugulin, an eminent Leipzig publisher that specialized in the printing of books in semitic languages. That year the Schocken Publishing Company placed a request for a twentieth-century, modern Hebrew typeface; it was a query that would captivate Friedlaender for the rest of his life. At the time, he was still a young man of twenty-seven, but another twenty-seven years would pass before his work would come to fruition with the creation of the Hebrew Hadassah typeface. The lack of a modern Hebrew type was acutely felt by the publishing industry in the early twentieth century. All of the existing typefaces were fatally flawed and barely legible. In addition, they had a medieval appearance that was wholly inappropriate for most printing jobs. In order to appreciate the magnitude of this problem, imagine having to read the New York Times in a gothic font because no other typefaces were available. Henri Friedlaender was the first to admit he was ill-prepared for this formidable challenge, but his knowledge of calligraphy and printing, as well as his aesthetic vision, gave him the tools to succeed where others had failed. As with any pioneering effort, the landscape was characterized by the complete absence of any guideposts. He had no idea what the final design would look like; indeed, he did not even know whether or not it would have serifs. His only guides would be his own aesthetic sensibilities and philosophy of typography. He knew the type would have to be simple, modern, and elegant, yet transparent to the reader. Without the quality of transparency, any type design would fail, no matter how good it might be otherwise. In the end, the type would attract too much attention to itself and defeat its efforts to communicate the author's text to the reader. To begin his work, Friedlaender made a survey of the existing Hebrew fonts. While everyone knew the existing Hebrew types were unsatisfactory, no one had made a thorough study to find out what made them so. The main problem, according to Friedlaender's research, was that the Hebrew alphabet never made an adequate transition from manuscript letter to typeface as had Roman letters. The Hebrew typefaces were more or less copies of the manuscript letters, incorporating all of their deficiencies and exhibiting few of their virtues. Some designers tried to apply the principles of Roman typography to Hebrew in an effort to avoid the extensive work that would be required to make this transition. These attempts failed miserably. The principles of Roman typography, known as Didot-Bodoni, emphasized horizontal lines with bold, dark, strokes and minimized vertical lines with hairline strokes. When this technique was used to produce Hebrew type, the result was barely tolerable. Obviously, Friedlaender's new design could not emerge from improving on any of the existing fonts. He would have to design a new typeface from scratch, from the fundamental basic forms of the Hebrew alphabet. Only then would he be able to create a type that would be a true typeface, and not merely a copy of the written letter. It was clear that he would have to conduct a thorough study of Hebrew writing in an attempt to discover its basic, fundamental forms; but a historical catalog of Hebrew letters did not exist, so Friedlaender began the daunting task of compiling his own. He photographed examples of different styles wherever he could find them: from tombstones, manuscripts, books, and anything that contained Hebrew letters from different periods and in different styles. It was here that his training in calligraphy in Leipzig during the 1920s came to the fore. Hermann Delitzsch, one of Friedlaender's teachers, was an expert in the scribal methods of copying old manuscripts. He had taught Friedlaender how to dissect a manuscript letter and determine what kind of writing implement was used as well as the angle needed to produce the various components of each letter. Friedlaender used these techniques to analyze the letters and isolate their most fundamental basic forms. From his study he saw the emergence of two major styles of Hebrew lettering: the Ashkenazi, which is the heritage of the Jews of Europe, and the Sephardi, which is of the Orient and Mediterranean. Written with a wide-nibbed reed, the Sephardi letters had strong horizontal and vertical lines that minimized the contrast among the lines in each letter. However, as the Sephardi style developed, a thinner reed was used to introduce more contrast within the letters. Ironically, the script became less legible. A number of letters could be easily confused. In addition, Friedlaender felt that some of the letters were too dark, especially the aleph. It was this late Sephardi script after which most early typefaces were modeled, and the defects of this script were subsequently inherited by these typefaces. The Ashkenazi style, however, employed a quill instead of a reed, which permitted much more contrast because of its ability to make heavy lines as well as very thin lines. This enabled the scribes to introduce new basic forms that helped distinguish some letters from others. However, this style was very ornate and was by its very nature gothic in appearance. Friedlaender began to see the direction his new type would take when he examined his scroll of Esther, which was copied by a scribe in the late eighteenth century. He could recognize the strengths of the Ashkenazi form as well as the improvements that the scribe made to minimize its weaknesses. In addition, the scribe did not slavishly follow the ornate tendencies of the Ashkenazi style. The result was a script that capitalized on the basic forms in both the Sephardic and Ashkenazic styles and lacked the usual gothic appearance. While Delitzsch's technique for analyzing letters was invaluable, it was his training under Rudolf Koch that he drew upon for designing the new typeface. Friedlaender's first full-time job was in the late 1920s as a typesetter in Ofenbach at the Klingspor workshop, and it was there that he came in to contact with Koch. In the evenings he attended Koch's calligraphy workshop. Although Koch was a gifted artist, Friedlaender noted that what was most important was his contact with the man. For here was an artist whose life embodied the spirituality and beauty that were evident in his work. It was a quality that many remarked on, and it struck a sympathetic chord with Henri Friedlaender, a student of Jewish mysticism and the wisdom of the East. Another source that would influence Friedlaender's project was Hugh J. Schonfield's The New Hebrew Typography, which was sent to him by the typographer Stanley Morison. After reading this book Friedlaender realized that he had to expand his goal from creating a single Hebrew typeface to a family of type: normal, bold, and cursive styles as well as punctuation and numerals. He also faced the question of designing the type for typesetting machines, which would require that each letter be the same width whether it was in normal, bold, or cursive form. As the situation in Germany worsened, it became clear to Friedlaender that he would have to leave. By 1932 the Nazi party had become the largest one in the Reichstag and was growing in power. So, in that year, he left the country where he had spent twenty-two of his twenty-eight years and went to the Netherlands to work as the art director at the Mouton publishing house in The Hague. There he became involved in designing book jackets and doing freelance work for other publishers. In 1936 he began his career as an educator, teaching typography and lettering in Amsterdam. All the while he continued his work on his Hebrew typeface, trying to capture the basic forms in his drawings. By 1941 he completed the first draft. In May of that same year, the Netherlands was invaded by Germany, and Friedlaender knew he would soon have to go underground. In the beginning of 1942, he packed up his drawings and photographs and buried them in his back yard in the hope that both he and his work would survive the war. While he was in hiding, he kept his professional and spiritual life alive through his calligraphy, producing excerpts from Biblical texts as well as wisdom from Hassidic and Eastern sages. The Netherlands was liberated in 1945 and although much of his work was destroyed, the drawings and photographs of his letters survived. Once again, he was able to support himself by doing freelance book-design work. He now began the task of looking for a type foundry that would work with him on casting the type. A number of obstacles stood in the way, the least of which was that the foundries already had more work than they could handle. In addition, no one at the foundries was in a position to evaluate the quality of Friedlaender's design. For all they knew, it would be a complete failure. But with the intercession of G.W. Ovink, a noted Dutch typographer, Friedlaender was able to convince the Lettergieterij Amsterdam to take a chance on his Hebrew type in 1949. A year later, Friedlaender took up the role of teacher by moving to Israel to become the head of the Hadassah Apprentice School of Printing in Jerusalem. There he began training the new generation of Israeli printers and graphic artists. Meanwhile, he continued his work with the Lettergieterij Amsterdam on the new typeface. When the first trial casting was made in 1950, it revealed a number of defects in the type. The normal and bold typefaces were entirely too dark. In addition, they were too stiff and rigid. Here Friedlaender's extensive study of Hebrew characters paid off again. He realized that Hebrew letters, unlike Roman letters, do not consist of any completely straight lines. The only solution was to redraw all the letters using a ruler and a french curve, a time-consuming and arduous process. The problems with the cursive typeface were so extensive that it had to be completely redesigned, and as a result, it was shelved. When the photographic copies of the new drawings came back in 12- and 24-point size, it was clear that more changes needed to be made. The type had a constricted feeling, and it was only after he cut apart the letters into separate pieces that he saw the solution to the problem. A number of letters appeared narrower than they actually were, and by shifting parts of some of the letters (the he, het, and taw), he changed the cramped feeling the type had on the page. Friedlaender described it as a striking confirmation of one of the fundamentals of the 'secret doctrine' of writing -- and mutatis mutandis of all art and all life: the non-written forms, the remaining white space, both between the letters and inside of them, is more significant than the written forms themselves. (Lao-Tze's eleventh Saying already deals with this.) After this breakthrough, a number of other minor corrections were made, and in 1958, the work on the text and boldface type was completed. Named after the Hadassah Apprentice School of Printing, the typeface became very popular both inside Israel and out. Perhaps the reason for this is Henri Friedlaender's guiding principle for type design. The typographer, if he is successful, will remain anonymous to the reader. The type should be pleasant and be a means of artistic expression, but only on a subliminal level; the typographer should remain in the background, focusing the reader's attention on the text. Friedlander's success at following this principle is evident from the many contemporary Hebrew texts using his type. He did, however, receive recognition for his contribution to typography and book design, when in 1971 he was presented the Gutenberg Prize, the highest honor for typographers. The Hadassah Hebrew type came to Dartmouth in an indirect way, a journey which began, in a sense, even before Henri Friedlaender undertook its creation. In 1926 Joseph Blumenthal established the Spiral Press in New York City. His aim was to enjoy himself in the pursuit of his livelihood, which meant producing fine books to the highest typographic standards. He made several trips to Europe, including one in 1928 that took him to Rudolf Koch's workshop in Offenbach. When he met this master printer and typographer, he expected to be granted only a short interview. But instead he was given an extensive tour of the workshop and spent a better part of the day with Koch, discussing graphic arts. His connections to the European world of printing benefited him throughout his professional life. And they paid off handsomely when, in the late 1950s, he was asked by the Limited Editions Club to produce a fine bilingual edition of the section of the Talmud known as Pirke Avot, or 'The Wisdom of the Fathers.' Dissatisfied with the available Hebrew fonts, which he thought 'looked like Kosher delicatessen signs,' he searched for a suitable type. Through his contacts he was able to discover Friedlaender's Hadassah design and obtain an advance casting from Amsterdam. The Spiral Press, which for forty-five years had lived up to its purpose, was closed in 1971 by Joseph Blumenthal. A few years later, Mr. Lathem purchased the remaining printing equipment, including this Hadassah Hebrew type, from Mr. Blumenthal. He presented this equipment to the College when, together with Mr. Lansburgh and Mr. Stinehour, he helped bring about the re-establishment of the Graphic Arts Workshop.

    Author of Toward a modern Hebrew, Printing & Graphic Arts 7:43-56, 1959, of Modern Hebrew lettering, Ariel: A Quarterly Review of the Arts and Sciences in Israel, 4:6-15, 1962, of Modern Hebrew type typefaces, Typographica, 16:4-9, 1967, and of The making of Hadassah Hebrew, pp. 67-84, in: The development of the square letter by Moshe Spitzer. In his writings, Friedlaender severely criticizes the Hebrew typefaces Chayim and Aharoni. Hadassah, he writes, was influenced by three typefaces from H. Berthold AG (Meruba, Frank Ruehl, Stam), a typeface designed by Marcus Behmer commissioned by the Soncino Gesellschaft der Freunde des Juedischen Buches society, which used it to print the Pentateuch in the Officina Serpentis printing press in Berlin in the 1930s, and letters drawn by Berthold Wolpe. [Google] [MyFonts] [More]  ⦿

    Herb Lubalin

    Born in New York in 1918, Herbert Frederick Lubalin died there in 1981. Founding editor and art director of U&lc from 1973-1981. Co-founder of ITC in 1969, together with Edward Roundthaler and Aaron Burns, as a result of the marriage of Lubalin Burns & Co (est. 1969) and PhotoLettering Inc. Professor at the Cooper Union in New York from 1976-1981. Director of the avant garde magazine Fact between 1965 and 1967.

    His fonts: Pistilli Roman (VGC, see here; with John Pistilli), L&C Hairline (ca. 1966, VGC, with Tom Carnase), ITC Avant Garde Gothic (with Tom Carnase, Gschwind, Gürtler and Mengelt, 1970-77; see Avignon on the SoftMaker MegaFont XXL CD, 2002), ITC Busorama (1970), Ronda (1970), ITC Lubalin Graph (1974; see Square Serif on the SoftMaker MegaFont XXL CD, 2002; poster by Pablo Monachese), ITC Serif Gothic (with Tony DiSpigna, 1974; see Serenade Two on the SoftMaker MegaFont XXL CD, 2002). His companies: Herb Lubalin Inc (1964-1969), Lubalin, Smith&Carnase Inc (from 1975 onwards).

    In 1985, Gertrude Snyder and Alan Peckolick published Herb Lubalin. Art Director, Graphic Designer and Typographer (New York). Retrospective at ITC.

    Revivals: Receding Hairline NF (2014, Nick Curtis) revives L&C Hairline. Pudgy Puss (2007, Nick Curtis) is an ultra-fat modern digital display type based on Fat Face (Herb Lubalin, Tom Carnase).

    Linotype link. Klingspor link. FontShop link.

    View Herb Lubalin's typefaces. [Google] [MyFonts] [More]  ⦿

    Herbert F. Van Brink
    [Character]

    [More]  ⦿

    Herbert Thannhäuser

    Designer born in 1898 in Berlin, who died in 1963 in Kleinmachnow. He worked in various Berlin graphics bureaus. He was artistic consultant at Max Krause and for many printing shops. From 1933 until 1940, he was artistic consultant at Schelter&Giesecke in Leipzig. From 1951 on, he was artistic director at VEB Typoart in Leipzig. Bio at BfdS. Bio at Linotype. Bio at Klingspor. MyFonts link. A brief biography by Gertrud Thannhaeuser in Die deutsche Schrift, volume 1095, 1992: A, B, C, D.

    His typefaces:

    • At D. Stempel AG: Adastra (1928), Schwung Adastra (1931). Adastra was revived in 1995 by Douglas Olena / Keystrokes and by Neil Summerour in 2011 as Rhythm.
    • At Typoart: Kurier (1939, a brush typeface digitized by Canada Type's Rebecca Alaccari as Puma (2004) and by Peter Wiegel in 2015 as CAT Kurier), Typoart Didot Antiqua, Kursive and Halbfett (1958), Erler Versalien (1953, Typoart: digital versions include Erler Titling (2015, Ralph M. Unger), Missale Incana (2004, Andreas Seidel) and Erler Versalien (2006, Ari Rafaeli)), Typoart Garamond (see Garamond No. 4 by URW) and Garamond No. 5 by Elsner&Flake) and Typoart Garamond Kursiv (1955), Lotto (1955, brush script, revived as Lotto in 2009 by Hans Van Maanen, Canada Type), Liberta Antiqua (1957; revived by Ralph M. Unger as Trybuna in 2013, and by Elsner & Flake as Liberta TA in 2017), Kursive, Antiqua Halbfett and Antiqua extrafett (1956), Liberta Antiqua schmalhalbfett (1959), Liberta Antiqua schmalfett (1960), Magna, Magna Kursiv and Magna Halbfett (1968; see Magna EF by Elsner&Flake, dated 1962 by them), Meister Antiqua (1952, digitized and extended by Ralph M. Unger in 2011 as Meister Antiqua; images: i, ii, iii), Meister Kursiv (1952), Meister Antiqua halbfett (1952), Technotyp schmalhalbfett (1960).
    • At Schriftguss: Gravira (1935; a stylish multilinear typeface revived as Gravira in 2021 by Ralph M. Unger), Großdeutsch (1935), Hermann Gotisch (1934; revived in 2002 by Dieter Steffmann and in 2015 by Ralph M. Unger as Staufer Gotisch), Kornett (1939), Parcival Antiqua (1930, or is it 1926?; revived in 2016 by Ralph M. Unger as Parcival Antiqua), Parcival Kursiv (1930), Parcival Antiqua fett (1932), Technotyp and Technotyp halbfett (1948), Technotyp Kursiv, Technotyp fett and Technotyp extrafett (1949), Technotyp schmalfett (1951), Thannhaeuser Fraktur and Thannhaeuser Fraktur halbfett (1927-1939, Schelter&Giesecke; Delbanco has a digital version called DS Thannhaeuser Fraktur; Thannhaeuser Fraktur (2013, Ralph M.Unger) is a redesign of Typoart's Thannhaeuser Fraktur)), Thannhaeuser Fraktur schmallfett (1939) and Werbedeutsch (1933). The Lindenthal brothers revived Thannhaeuser Fraktur (Mager, magere Zierversalien, Schmalfett and Halbfett). Delbanco revived these ca. 2001. See also Werbedeutsch by Dieter Steffmann (2002).
    • At Schriftguss AG: Thannhaeuser Schrift (1929), Thannhaeuser Schrift Kursiv (1933), Thannhaeuser Schrift halbfett (1934). The slab serif family Technotyp was revived in its entirety by Coen Hofmann at URW++ in 2011 under the same name.
    • Other typefaces: Buick schmalfett. This was digitally revived by Nick Curtis in 2014 as Strassenmeister NF.
    FontShop link. Klingspor link.

    View Herbert Thannhaeuser's typefaces. [Google] [MyFonts] [More]  ⦿

    Hermann Zapf

    Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.

    He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.

    Awards:

    • 1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
    • 1973 Gutenberg Prize, City of Mainz.
    • 1975 Gold Medal, Museo Bodoniano, Parma.
    • 1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
    • 1987 Robert Hunter Middleton Award, Chicago.
    • 1994 Euro Design Award, Oostende.
    • 1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
    • 1999 Type Directors Club award for Zapfino (1998), New York.
    • 2010 Bundesverdienstkreuz 1. Klasse.

    Some publications by Hermann Zapf:

  • Feder und Stichel (1949, Trajanus Presse, Frankfurt)
  • About Alphabets (1960)
  • Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original.
  • Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed.
  • Orbis Typographicus (1980)
  • Hermann Zapf and His Design Philosophy (Chicago, 1987)
  • ABC-XYZapf (London, 1989)
  • Poetry through Typography (New York, 1993)
  • August Rosenberger (Rochester, NY, 1996).
  • Alphabet Stories (RIT Cary Graphic Arts Press, Rochester, 2008). Review by Hans Hagen and Taco Hoekwater.
  • My collaboration with Don Knuth and my font design work [just an article], TUGboat 22:1/2 (2001), 26-30. Local download.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman and Crown Italic (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison Cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgengart Fraktur (1938, D. Stempel). Some put the dates as 1940-1949. It was released by Stempel in 1952. Revivals include RMU Gilgengart (2020, Ralph M. Unger), and Gilgengart by Gerhard Henzel.
    • Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos, GFS Heraklit. Later improvements followed by Antonis Tsolomitis and finally in 2020 by Daniel Benjamin Miller.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2002, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. Palatino was designed in conjunction with August Rosenberger, In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985, 59 styles), URW Antiqua, URW Palladio (1990).
    • Hallmark Uncial (Hallmark).
    • Virtuosa Script (1952, D. Stempel). Zapf's first script face. Revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi.
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    Books and references about him include:

    Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].

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

  • Hernández Type (was: Estudio de diseño Calderón)
    [Daniel Hernandez]

    Estudio de diseño Calderón in Chile had the work of two Chilean designers:

    • Daniel Hernández has some free fonts at Dafont and Font Squirrel. Klingspor link. His award-winning fonts include Stgotic textura (2006), Stgotic Fracktur (pixel blackletter), and the (free) unicase piano key font Pincoya Black (2008), which was based on Spanish Civil War poster, and won an award at Tipos Latinos 2010. He calls his ultra fat Roxy (2009) tipografia desde el culo del mundo.

      Behance link. His Flickr page. His lettering.

      Hernandez Bold (2010, Sudtipos) has slabs, serifs, and plenty of round curves. It won an award at Tipos Latinos 2012.

      Rita (2010, Sudtipos) is an ultra-slab all caps typeface inspired by the fat wood types. In 2018, Daniel Hernandez and Rodrigo Fuenzalida enlarged Rita.

      Designer of the free text font Belgrano (2011).

      Merced (2011) is a thin monoline sans. Sanchez (2011, Latinotype and YWFT) is a slab serif family with a free weight. In 2013, he published the beautiful sequel, Sanchez Slab, which is patterned after Rockwell. Sanchez Niu (2017) is another slab serif in this family.

    • Javier Quintana created the smooth and delectable text family Berenjena in 2007. He also made the roundish display typeface Botota (2007), which is reminiscent of market signage in Santiago.
    • Monroe (2010, Sudtipos, and revised in 2018, Latinotype) is a swashy slab family. See it in action in this I Love New York poster.
    • Patagon (2011, Latinotype) is a rounded wood-inspired poster typeface done with Daniel Hernandez and Luciano Vergara.
    • Guadalupe (+Gota, 2011, Latinotype). A hairline didone family with sufficient contrast and frilliness to satisfy the fashion mags.
    • Andes (2011, Latinotype). This is a playful slightly swashy sans family. Followed by Andes Italic (2012) and Andes Condensed (2012). See also Andes Rounded (2014) and Andes Neue (2019), which has 56 styles.
    • Bosque (2012) is a wood style family co-designed with Paula Nazal at Latinotype.
    • Magallanes (2012, Daniel Hernandez) is a contemporary neohumanist sans serif typeface family covering Ultra Light to Black. This typeface was followed by the 8-style Magallanes Essential (2012) and by Magallanes Condensed (2013).
    • Trend (2013). A layered type system done together with Paula Nazal Selaive. Followed by Trend Hand Made also in 2013 and Trend Rough in 2014.
    • With Eli Hernandez, Daniel Hernandez published the unicase typeface family Grota in 2013.
    • Roble (2013): A slab serif font family which Daniel places halfway between Andes and Sanchez. It is characterized by its clampy backbitten lower case c. The slab serif Roble Alt (2013) has eight weights of two fonts each.
    • Together with Miguel Hernandez at Latinotype in 2014, Daniel Hernandez designed the 1930s tall-ascendered sans family Arquitecta, which is promoted as an alternative for Futura, Kabel and Avant Garde. It was followed later that year by Arquitecta Office and Arquitecta Standar. They also co-designed Texta, a geometric sans for all. His Newslab (2014) family is a combination of Andes, Sanchez and Roble; the Regular and Italic styles are free.
    • In 2016, Cesar Araya and Daniel Hernandez co-designed the very Latin / curvy / warm slab serif typeface family Hernandez Niu.
    • The foundry became Hernández Type at some point. The fonts there, repeated from the former foundry, include Patagon, Merced, Hernandez Bold, Monroe, Pincoya Black Pro, Rita Bold and Fat, and Pincoya Black Free.
    • In 2016, Daniel Hernandez, now studying at the KABK in Den Haag, The Netherlands (2014-2018), created Lxy, an interesting dynamic (animated) display typeface made entirely with the Python programming language in Drawbot. At Latinotype, he published Basic Sans, Basic Sans Cnd and Basic Sans Narrow.
    • In 2016, Bruno Jara Ahumada, Alfonso Garcia, Luciano Vergara, Daniel Hernandez and the Latinotype Team designed the roman square capital headline typeface family Assemblage.
    • In 2017, Paula Nazal and Daniel Hernandez co-designed Trenda, a geometric sans family based on the uppercase of Trend. The rounded edge version of Trenda is Boston [16 styles; corrections and review by Alfonso Garcia and Rodrigo Fuenzalida].
    • Peckham (2018). An 8-style slab serif named after the birthplace of Vincent Figgins. Digital editing and corrections by Alfonso Garcia.
    • The Reinvention of Rita (2018). A slab serif.
    • In 2019, Latinotype published the great super-slab typeface Breton which was designed by Daniel Hernandez and Rodrigo Fuenzalida. Daniel Hernandez added the geometric sans family Biennale in late 2019.
    • In 2020, he released Magazine Grotesque at Latinotype. It is characterized by an overhanging umbrella lower case a, and an overbiting lower case e.
    • Facundo (2020, Paula Nazal Selaive and Daniel Hernandez, at Latinotype) is a 14-style geometric sans family.
    • In 2020, Luciano Vergara, Daniel Hernandez and Alfonso Garcia co-designed the 54-style sans family Aestetico. They introduce Formal and Informal subsets of fonts so that the family covers several sans genres.
    • Apparel (2020, Latinotype) is a 20-font display serif family inspired by the MacFarland series in the 1912 ATF catalog, which in turn was based on Heinz Koenig's Roemische Antiqua (1888, Genzsch&Heyse). It was designed by Daniel Hernandez and Alfonso Garcia.
    • Hernandez Bros (2021). By siblings Daniel and Eli Hernandez. This is a 7-style sharp-edged serif family loosely based on Bulfinch by William Martin Johnson (1903, ATF).

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

    Hernan Lucio

    Graphic and interface designer from Buenos Aires. His Caligrafia Experimental (2011) is an embryo of a great typeface. At FADU UBA, he designed the blackletter typeface Not Gothic (2011) and the fatted up didone display typeface Schön (2011).

    Behance link.

    Example of his information design. [Google] [More]  ⦿

    hfbright
    [Harald Harders]

    In 2002, Harald Harders used mftrace to turn Walter Schmidt's cmbright from Metafont into PostScript. The font names and the file names begin with 'hf' for 'harders font'. This has been done for not getting mixed up with the commercial cmbright fonts by MicroPress. "hfbright" are the type 1 versions of the OT1-encoded and maths parts of the Computer Modern Bright fonts. The list: HFBR10, HFBR17, HFBR8, HFBR9, HFBRAS10, HFBRAS8, HFBRAS9, HFBRBS10, HFBRBS8, HFBRBS9, HFBRBX10, HFBRMB10, HFBRMI10, HFBRMI8, HFBRMI9, HFBRSL10, HFBRSL17, HFBRSL8, HFBRSL9, HFBRSY10, HFBRSY8, HFBRSY9, HFSLTL10, HFTL10. [Google] [More]  ⦿

    HGB
    [Hellmut G. Bomm]

    HGB is Helmut G. Bomm's design studio. Bomm was born in 1948 in Backnang, Baden-Württemberg. Stuttgart-based type designer who publishes his type designs with Linotype and URW++.

    Catalog of some of his typefaces:

    Exposition of his work in 2004 (site includes a bio). Linotype link. FontShop link. Klingspor link. View Hellmut Bomm'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]  ⦿

    High Contrast Serifs: Stephen Coles's List

    Stephen Coles points out the jewels in the FontShop store.

    [Google] [More]  ⦿

    HiH (Hand in Hand)
    [Tom Wallace]

    Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:

    • Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
    • Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
    • Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
    • Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
    • Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
    • Künstler Grotesk (2005): a simple blackletter caps typeface based on a design seen in Petzendorfer's book.
    • Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
    • Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
    • Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr Gestreckt (2006), an art nouveau typeface from 1898.
    • Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
    • Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
    • Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
    • Antique Tuscan No. 9 (2006). One of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817.
    • Secession (2006): a sans family with art nouveau twists.
    • French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
    • T-Hand Monoline (2007): a printed script family.
    • Figgins Antique (2007): an all-caps black slab serif headline typeface based on Figgins, ca. 1815.
    • Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
    • Regina Cursiv (2007): an art nouveau design that revives a typeface published by H. Berthold Messinglinienfabrik und Schriftgiesserei around 1895.
    • Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
    • Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
    • Austin Antique, based on Richard Austin's 1827 antique typeface.
    • Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
    • Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
    • Patent Reclame (2007): an art nouveau typeface first cast around 1895 by Schriftgeisserei Flinsch, and then by Stephenson Blake, ca. 1896.
    • Jugendstil Initials (2007): an all caps decorative blackletter typeface designed by Heinrich Vogeler around 1905.
    • Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
    • Brass (2007): two blackletter typefaces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
    • Auchentaller (2007), a monoline art nouveau typeface inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
    • Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
    • Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Type foundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
    • Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
    • Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
    • Yes Dear (2008) is a funny hyper-curly blackletter face.
    • Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed typeface was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
    • Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
    • Hispania Script (2008): revival of a pirate map script typeface called Sylphide by Schelter & Giesecke (1896) (and not Schelter & Giesecke's Hispania).
    • Cloudy Day (2008), an alphading.
    • HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau typeface that HiH revived in 2008 as Seuchter Experimental.
    • Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (1906, Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the H particularly. See also Nick Curtis's Petrushka NF (2012). Footnote: Fonts in Use refer to the metal typeface Petrarka by Schelter & Giesecke (1900) and Milton (by Societa Augusta). The Solotype catalog has a related typeface, Ophelia.
    • Haunted House (2008), Halloween-themed fonts.
    • Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
    • HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
    • Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
    • The heavy art deco typefaces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
    • Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
    • HiH Large (2009) is a poster sans.
    • Mira (2009) is an art nouveau / Victorian typeface patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
    • Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
    • Fantastic ML (2009): an art nouveau typeface originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
    • Gundrada ML (2010): a medieval style typeface inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
    • Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
    • Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
    • Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
    • Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.
    • Habana Deco ML (2013).
    • Chicago Ornaments (2015). a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of Monroe Street in Chicago, Illinois. This collection was shown in their 1890 catalog. Some of them were designed by William F. Capitain. Included in the font are a set of Victorian caps inspired by Ernst Lauschke's Dormer (or Pekin, 1888).

    View Tom Wallace's fonts. View the typefaces designed by Tom Wallace. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Hirwen Harendal
    [Arkandis Digital Foundry]

    [More]  ⦿

    HiStroke

    HiStroke is an East-European font maker that produced a number of East-European extensions of Western fonts in 1992. Many of these are in the 6MB font file at this site: AndromedaCE, ArchitectMediumCE, BlackKnightMediumCE, BlippoExtHeavyCE, BodoniUltraCE, BodoniUltraCondCE, BonnardMediumCE, BroadwayCE, CalligraphyMediumCE, ChicagoMediumCE, CoventryScriptMediumCE, CutOutsMediumCE, DorovarCE, DublinBoldCE, EpoqueMediumCE, FaktosMediumCE, FattiPattiBoldCE, FletcherGothicMediumCE, GiottoBoldCE, GoodCityModernMediumCE, GregorianMediumCE, HighlandGothicBoldCE, KasseBoldCE, KellsMediumCE, LaPerutaBoldCE, MeathMediumCE, MichelleBoldCE, MicroBoldCE, MoulinRougeMediumCE, NewsGothicWideItalicItalicCE, NouveauMediumCE, PaladinMediumCE, RevueItalicItalicCE, RightBankMediumCE, RscanaithCE, VertigoBoldCE, ZephyrScriptMediumCE. See also here. [Google] [More]  ⦿

    Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)
    [Jonathan Hoefler]

    Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones, or HFJ for the cognoscenti. However, a legal problem between Jonathan and Tobias led to a corporate divorce in 2014---the company is renamed again The Hoefler Type Foundry. In September 2021, Monotype acquired Hoefler, and that is the end of that chapter. Their typefaces:

    • Acropolis.
    • Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and in Wells Fargo's branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
    • Champion Gothic.
    • Chronicle Text. In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. See also Chronicle Display. In 2016, Hoefler published Chronicle Hairline. In Wired Magazine, Margaret Rhodes writes that it is for men who wear dress shoes without socks. Chronicle Hairline is a didone that breaks the didone rules. It is rounder, asymmetric (as in the mouth of the C), and as Hoefler puts it, more musical. As of 2016, the Chronicle typeface family consists of the display styles Chronicle Hairline, Chronicle Display (+Condensed, +Compressed), and Chronicle Deck (+Condensed), and the 60-style Chronicle Text family, which comes in G1, G2, G3 and G4 subfamilies.
    • Many custom and branding typefaces, including, e.g., General GG (2005-2007) and typefaces for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum.
    • Cyclone.
    • Decimal (2019). A sans based on early wristwatch typefaces, i.e., the microscopic letters used by Swiss watchmakers in La Chaux-de-Fonds.
    • Didot. HTF carefully designed and complete families include HTF-Didot (1991) in 42 weights/variations, originally designed for Harper's Bazaar; based on the grosse sans pareille no. 206 of Molé le jeune.
    • Eyes Only (2019). A stencil typeface.
    • Forza (2010). A sans typeface. Not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten.
    • Geometer Screen Fonts. Free Mac fonts.
    • Giant.
    • Gotham (2003). The stylish sans typeface made famous by Obama. See also Gotham Rounded.
    • Historical Allsorts. This includes Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials and Historical-StAugustin.
    • Hoefler Text (+Ornaments). This antiqua text typeface consists of 27 fonts made in 1991-1992, and is distributed with many Apple products.
    • Hoefler Titling.
    • Ideal Sans. A slightly flared humanist sans. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans. In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and handcrafted feeling.
    • Idlewild (2012). A wide sans typeface family.
    • Isotope (2018). A squarish typeface family. Not to be confused with Isotope by Fábio Duarte Martins, designed six years earlier.
    • Inkwell (2017). Hoefler writes: Inkwell is provided in a range of styles with which readers already have clear associations: a bookish Serif and a cleanly printed Sans, a conversational Script, a ceremonial Blackletter, a fancy Tuscan for decoration, and a stately Open for titles. Each style is offered in six weights, from a technical pen Thin to a graffiti marker Black. Inkwell is a name used as far back as 1992 by Sam Wang, and additional older fonts called Inkwell exist by Dan Solo, Philip Cronerud and MXB Foundry.
    • Knockout. The Knockout collection was designed to celebrate the beauty and diversity of nineteenth century sans serif wood types.
    • Knox.
    • Landmark (2013). In Regular, Inline, Shadow and Dimensional styles. A collection of architectural caps which started out as a custom typeface for Lever House in New York.
    • Leviathan.
    • Mercury Text and Mercury Display.
    • Nitro & Turbo (2016). Hoefler writes: We designed Nitro for Pentagram's Michael Bierut, as part of a new identity for the New York Jets football team. Originally named Jets Bold, Nitro is rooted in the styles of lettering used by the team throughout its fifty-year history: even as its logotype evolved, it consistently used heavy, slanting forms to imply force and movement. and ends with corporate babble: Nitro embodies this indomitable spirit in the context of a fresh, contemporary design. About the naming: AF Nitro was made by Sylvia Janssen at the very popular Die Gestalten Studio in Germany, in 2001. It will be fun to watch that battle between giants. Not to mention that lesser known players also made commercial fonts called Nitro more than a decade earlier---these include Jack Wills at Sign DNA and Markus Schroeppel (in 2004).
    • Numbers. In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).
    • Obsidian. In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Sparklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow).
    • Operator, Operator Mono, Operator Screensmart and Operator Screensmart Mono. The non-typewriter typewriter type..
    • Peristyle (2017). A stylish condensed typeface family with piano key elements, and described by Hoefler as dramatic.
    • Quarto.
    • Requiem (1991-1994).
    • In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), but that font disappeared from their listing.
    • Ringside.
    • St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)
    • Sagittarius (2021). A soft-edged compact semi-futuristic headline sans. In keeping with tradition, Hoefler dismisses or ignores the fact that the name Sagittarius was taken by a handful of other fonts since about 22 years ago.
    • Saracen.
    • Sentinel. Sentinel (1999) is HFJ's take on a Clarendon. I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, Comicraft, Dieter Steffmann and Sentinel Type. Anyway, in 2020, Sentinel got un upgrade (with smallcaps and ornaments) in 2020 in Sentinel Pro.
    • Shades (2003). In Cyclone, Topaz, Giant and Knox weights.
    • Surveyor (2014). An exquisite mapmaker and newsprint didone font family with Fine, Display and Text subfamilies.
    • The Proteus Project.
    • Topaz.
    • Tungsten (2009) and Tungsten Rounded. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton). Not to be confused with Tungsten (2005, Sparklefonts).
    • Uncategorized early typefaces: Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF.
    • Verlag (2006). A 30-style art deco-inspired semi-Bauhaus geometric sans family based on six typefaces originally designed for the Guggenheim. HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.
    • Vitesse (2010). The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. In 2020, Jonathan Hoefler added the inline Cesium, which forced him to modify the glyphs somewhat.
    • Whitney. In 2004, they produced an amazing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances. See also Whitney Condensed and Whitney Narrow.
    • Ziggurat.

    Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. At ATypI in 2002, he received the Charles Peignot award.

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

    Hoftype
    [Dieter Hofrichter]

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

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

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

    • In 1990, Berthold published Hofrichter's Vergil as a Berthold Exklusiv.
    • In 2000, Berthold released a joint effort of Lange and Hofrichter, a Scotch type named Whittingham.
    • In 2001, he released the newly enhanced Akzidenz-Grotesk (Berthold).
    • Futura Serie BQ (2000, Berthold). This is a new version of the well-known geometric sans serif typeface design by Paul Renner and the Bauer type foundry.
    • Bodoni New Face (Berthold).
    • Gerstner Next (2007, Berthold). This typeface is based on Karl Gerstner's Gerstner Original BQ of 1987.
    • His first commercial typeface at Hoftype is the Impara Sans family in ten styles (2010). Images:i, ii, iii, iv.
    • The medium-contrast slightly flared sans family Epoca (2010, Hoftype), and the 12-style sister family Epoca Classic (2012).
    • The text family Argos (2011, Hoftype).
    • Erato (2011, Hoftype) is a beautiful garalde family.
    • Cala (2011, Hoftype) is a modernized renaissance/garalde family.
    • Corda (2011, Hoftype) is a scriptish serif family.
    • Cassia (2011, Hoftype) is a subdued Egyptian family.
    • Sonus (2011, Hoftype) is a humanist sans family.
    • Sina (2012), which is sure to win awards, is an elegant, pleasant and readable type family characterized by relatively tall ascenders and imperceptible flaring. Sina Nova (2012) is a slimmer version.
    • Foro (2012) is a 16-style slab serif family. A softer rounder version is called Foro Rounded (2013). In 2014, Foro Sans was added---it too comes in 16 monoline styles.
    • Ashbury (2012) is a text family that has elements of Caslon and Baskerville.
    • Sixta (2012) is an eight-style sans family.
    • Hofrichter writes about the roundish serif text family Civita (2012): Civita is a new "Modern Type" with a high stroke contrast, distinct formal features, and a strong personality. It has a fluid ductus but nonetheless a solid structure.
    • Carat (2012). In 2015, the nearly identical typeface Mangan was published---I am befuddled.... Mangan Nova (2015) is the semi-condensed version of Mangan.
    • Capita (2013). A rounded slab serif designed for warmness and easy reading.
    • Quant (2013) is a very elegant contrasted text family, possibly more appropriate for display than for long texts. Quant Text (2013) is the optimized 8-style text version of the Quant family. It comes with a slightly greater width, stronger hairlines and stronger serifs which stabilizes it for small text.
    • Qubo (2013) is a 14-style sans family with contrast in the joins.
    • Equip (2013) is a versatle geometric sans that comes with 16 styles. See also Equip Slab (2013), Equip Condensed (2013) and Equip Extended (2013).
    • Pesaro (2014) was inspired by early prints from Venice like Jensen and Manutius. It is a warm legible text family with Hofrichter-style flaring in strategic places. This beautiful typeface is not be confused with a 2001 typeface by Joachim Müller-Lancé that is also called Pesaro.
    • Campan (2014). A semilinear typeface with hook-serifs and tall x-height.
    • Orgon (2014) jumps right to the head of the pack In the rounded organic sans world. This neutral, uncomplicated and unpretentious sans wows, especially in the heavier weights. It is accompanied by Orgon Slab (2014). In 2020, he added the elliptical square-cut Orgon Plan.
    • Cargan (2014). Advertized as a gentle versatile slab serif typeface family.
    • Carnas (2015) is a rounded elliptical sans family with simple forms and huge counters.
    • Danton (2015). A sturdy typeface family for maazines in Hofrichter's patented Gehry style---no ninety degree angles, avoid monoline, ban symmetry.
    • Halifax. A new interpretation of classic English Sans types such as Gill and Johnston in 16 styles.
    • Calanda (2015). A sturdy slab serif family in 16 styles.
    • Carnac (2015). A sharp version of the minimalist monoline sans typeface family Carnas that features crisper edges.
    • Marbach (2016). An angular serifed text typeface that combines classical and modern elements.
    • Taxon (2016). A 12-style contemporary sans related to Optima and Imago.
    • Carrara (2016). A humanist text typeface family chjaracterized with blunted but poiunty serifs.
    • The Economist (2016). A custom type.
    • Croma Sans (2017). A 16-style workhorse / advertising sans.
    • Urania (2017). In the style of the early sans serif typefaces, in particular Ferdinand Theinhardt's types.
    • Cardillac (2018). A didone.
    • Shandon Slab (2018).
    • Candide (2018). A neoclassical typeface for use in magazines and newspapers, characterized by pointy terminals. Followed in 2019 by Candide Condensed.
    • Tangent (2019).
    • Askan (2019). An 18-style text typeface. Followed by Askan Slim (2019).
    • Trada Sans (2020). A sans family in the neighborhood of Univers and Helvetica. Followed by Trada Serif (2020).
    • Empira (2020). a 20-style transitional typeface family with sharp, almost pointy, edges.
    • Capricho (2021). A transitional text family with slight flaring and tall ascenders and descenders.
    • Galvani (2021). An 18-style geometric sans.
    • Contane (2021) and Contane Text (2021: 20 styles). A sharp-edged headline or display serif. Followed in 2022 by Contane Condensed and Contane Text Cnd.
    • Madigan (2022). An 18-style text typeface with some didone features.

    Interview by Dan Reynolds for MyFonts.

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

    Holger Mertz

    Stuttgart-based designer created Chidoni, a marriage of Chicago and Bodoni, for the collection of experimental fonts at FUSE95. [Google] [More]  ⦿

    Holly Goldsmith
    [Small Cap Graphics]

    [MyFonts] [More]  ⦿

    Holofontes
    [Hugo Cristo]

    Holofontes is a Brazilian foundry, established in 2004 by Hugo Cristo from Jd da Penha, Vitoria. Typefaces: HF Bayer, HF Ceramic, HF Conillon Black, HF Contras, HF Daft, HF Design Az San, HF Dutra, HF Fastne, HF Health, HF Health Blac, HF Janaina Roman, HF Logic, HF Maxwell, HF Minotau, HF Neo Bodoni, HF Newslin, HF Painted, HF Phocus San, HF Quadredondo, HF Round Gothi, HF Slab, HF Tecnométric, HF Tim Maia, HF Visualice. Before Holofontes, Hugo Cristo ran Design AZ. He also makes custom type, such as this face specially designed for reading from TV screens. [Google] [More]  ⦿

    House Industries
    [Andy Cruz]

    Foundry located in Yorkly, DE. House Industries is run by Rich Roat and Andy Cruz with designer Ken Barber as Typography Director. Originally founded in 1993 by principals Andy Cruz and Rich Roat, House Industries has grown into a studio which sells unique display typography, illustration and design services, and, most recently, clothing and accessories. Fonts sell for 50 USD per face, and about 175 USD for ten. Many of the typefaces are grungy or special effect fonts, and all font names have the word "house" in them, as in the graffiti font Phathouse. Custom font service available. Alternate URL. Free fonts: United Stencil, House Slant, SpaceAgeRound.

    Type designers: Andy Cruz (Warehouse, Roughouse), Allen Mercer, Ken Barber, Jeremy Dean, Kristen Faulkner, Nicole Michels, David Coulson, Tal Leming, Ben Kiel.

    The early typefaces by House include United Sans (octagonal and stencil), Neutra (2002, a 30-weight stylish architectural sans family named after architect Richard Neutra), Global Font (renamed to Bullet), the Chalet Milan, Cologne, Hong Kong, Los Angeles, Paris, New York, London and Tokyo font families (in versions called 60s, 70s and 80s), Chalet Silhouettes, the Simian font collection (2001: OrangUtan, Chimpanzee, Gorilla, Sacred Scroll).

    In 2003, they released the Shag Collection, which includes Shagbats, Exotica, Mystery and Lounge. Andy Cruz designed Roughouse (1993) and Printhouse (1994), and co-designed Spookhouse and HauntedHouse in 1996 with David Coulson. House published House (2004, Gestalten Verlag), a 240-page specimen book. Also in 2004, they released five typefaces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures), Ed Roman (animated bounce), Ed Script, Ed Gothic andi Bengbats.

    In 2005, they started digitizing the PhotoLettering collection, which they had acquired in 2003. This was done in partnership with Christian Schwartz and Erik van Blokland. They published Holiday Gothic, Holiday Sans and Holiday Script in the same year.

    In 2006, the 105-font family United was published. The six-weight Luxury family, also done in 2006, contains three serif text weights called Luxury Text, as well as three display typefaces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs). They were designed by Christian Schwartz and Dino Sanchez.

    In 2007, we welcome Burbank, a large casual and quirky sans family, and Blaktur, a blackletter typeface which an award for display typeface at TDC2 2008. The lively signpainting typefaces Studio Lettering Sable, Studio Lettering Slant and Studio Lettering Swing also won awards in that competition. Show and Tell is their blog.

    In 2009, the low-to-zero contrast Alexander Girard family was published. 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.

    Additions in 2010 include Eames Century Modern (+Poster Numerals, Cover Numerals, Thin, Ornaments, Stencil, +Black Stencil), a 26-style family of medium-to-low contrast modern typefaces in the Clarendon mode that feature nifty tricks on the ligature side---jointly developed by Erik van Blokland and House Industries type designers Andy Cruz and Ken Barber. Blacktur is a blackletter family.

    In 2012, House Industries was busy digitizing typefaces from the Photo-Lettering collection. Some of the typefaces in that collection have the prefix Plinc or PLINC in the name. This included typefaces such as Worthe Numerals (fat didone numbers) and Norton Tape (by Kimberly Winder; based on the stencil paperfold typeface Norton Tape by S.E. Norton).

    Among typefaces added in 2013 and 2014, we note Velo Serif designed by House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel. At MyFonts: Velo Serif Text and Velo Serif Display.

    In 2016, they published Municipal Cast. Municipal (a font family inspired by the beefy iron letterforms on manhole covers; by Ken Barber, Quentin Schmerber of Production Type, Teja Smrekar, and Ben Kiel), which was released in 2020.

    In 2021, House Industries started selling its fonts through MyFonts. [Google] [MyFonts] [More]  ⦿

    House of Burvo
    [Matthew Burvill]

    House of Burvo is the UK-based foundry of Matthew Burvill (b. 1984, Kent, UK) located in Colwyn Bay, Wales. His typefaces:

    • Big Softie (2011). A fat round bubble gum typeface destined to become a hit. It is Burvill's most popular typeface.
    • Checks (2010). Patterns for checks.
    • FreeDee (2010). A 3d typeface.
    • GHS (2010). GHS stands for Geometric Hairline Serif. It is influenced by the didone style.
    • Links (2010, modular).
    • NK Fracht Round and NK Fracht Square (2010). An octagonal typeface family.
    • Neue Konstrukteur Round and Neue Konstrukteur Square (2010, an engineered, mechanical typewriter font).
    • Poster Hand (2010).
    • Sequencia (2011). A monospace and semi-monospace typeface done at Die Gestalten.
    • This collection of typefaces from 2007: Angel of Death (techno), Architect, Baby's Definate Hit (art deco heavy stencil), Beauty Full (rounded), Burvo (art deco stencil), Bürvo Konstrukteur (octagonal), Indivisual (art deco stencil), Killer (octagonal), Neg Space (pixelish), Optical (geometric, experimental), PUMP (ultra black art deco).

    MyFonts link. Behance link. Klingspor link.

    View Matthew Burvill's typefaces. [Google] [MyFonts] [More]  ⦿

    Housseynou Fall

    Communication Design student at Parsons the New School for Design in NYC in 2013. Creator of the curvy didone typeface Jaz (2013, Friday Fonts. [Google] [More]  ⦿

    HP FontSmart Fonts Section

    Free Hewlett-Packard TrueType fonts: Bodoni, Ozzie Black, Garamond, Euro Sign, Euro Sign Mono, Dark Courier. Fonts are gone. [Google] [More]  ⦿

    HS Fonts (was: HermesSoft Type Library)
    [Ivan Neytchev]

    Company and font vendor run by Ivan Neytchev from Plovdiv, Bulgaria, which was founded in 1989. The fonts are designed by a team of Bulgarian type designers who used to work for Monotype in the 1980s. Makers of high quality (expensive) Cyrillic, Western, Greek, Central European, and Baltic typefaces, plus multiple master fonts.

    Discussion of some typefaces: Universum MM: Free demo of a limited character set of the new Universum multiple master font, developed by HermesSoft. They also made the sans serif font Grotesk MM.

    Note: Most fonts were made in 2004 and 2005. Some can be found now on standard font archives, such as Helen BG (a Helvetica clone by Vassil Nikolov).

    The font list: Bell House Bg, Brilliant Bg (a very nice didone; closest to Berthgold or URW Bodoni), Egyptian Bg, Erika Bg, Fresco Bg, Grotesk Bg, Helen2 Bg, Helen Bg (2004), Hermes Bg, Helen Pro, HS Compact Bg (close to Nimbus Sans Cond Black by URW++), HS Garamond Bg, KK3045 Bg, M06 Bg, Platinum Bg, Renault Bg, School Bg, Tempora Bg, Universum Bg, Viol Bg.

    In 2020, they started selling fonts via MyFonts. The fonts there include KK3045 Pro by Kuncho Kunev. [Google] [MyFonts] [More]  ⦿

    HTF Didot

    Hold your horses! From Jonathan Hoefler's masterful hand, we get 6 times 7 Didot fonts in HTF Didot (1991), a typeface first developed for Harper's Bazaar. Interestingly, each of the 6 standard font weights comes with 7 design sizes, 6pt, 11pt, 16pt, 24pt, 42pt, 64pt and 96pt. At 299 dollars, the package is not cheap, but Firmin Didot (1764-1836) would certainly approve, were he alive today! [Google] [More]  ⦿

    Hubert Jocham

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

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

    View Hubert Jocham's typefaces. Another view.

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

    Hugo Cristo
    [Holofontes]

    [More]  ⦿

    Hungarumlaut (was: Cila Design)
    [Adam Katyi]

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

    • In 2009, he created 9Pixel.
    • In 2010, he designed a typeface called Ringua, and the great Totfalusi Sans Serif, his BA final project at Sopron's Institute of Applied Art.
    • In 2012: Ursin (techno, octagonal), Ursin Rounded.
    • His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.
    • In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.
    • Also in 2013, he published Infinity Space Icons.
    • Nubu (2014). A thin fashion mag sans custom made for the fashion design group NUBU.
    • Telkmo: A Custom font by Adam Katy and Miles Newlyn for Telkom South-Africa.
    • In 2015, he designed the monospaced typeface Menoe Grotesque for Latin, Greek and Cyrillic, which was inspired by an old Continental typewriter. Menoe can be used as a programming font.
    • Ost (2016). A custom typeface for Ost Konzept, is a clothing brand established in 2016 in Hungary by Aron Sasvari and Oliver Lantos, and named after the German word for East, as a symbol of the formerly isolated Eastern-European reality, the results a disorted viewpoint of fashion.
    • Magen. Magen is a one-style, headline typeface with translation contrast, based on sketches with a broad-edged pen. A custom design for The Revere, a bi-weekly, student-run, foreign affairs periodical.
    • For the Laszlo Moholy-Nagy Design Grant (named after Bauhaus artist Laszlo Moholy-Nagy), he created the ink-trapped custom typeface Mohol in 2017.
    • Kleine Titel is a custom typeface for the Styrian Kleine Zeitung daily newspaper.
    • Laslo (2018) is a sans typeface with variable widths. It was inspired by the letter a of a Bauhaus Tapetenmusterbuch from 1934.
    • Amen Display (2018). This didone grew out of Gewaard: I made the first sketches and digital files at my Type and Media studies as a revival project under the name Gewaard. Project leader: Paul van der Laan. The Medium weight is an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of c.1906. I have found the original typeface in an old prayer-book, from Butzon and Bercker, Kevelaer, 1904. The type was set in large size, in 24 pt. Since 2013 I have redrawn the letters several times, but I've found its clear voice only five years after the first sketches. In 2018 I redesigned all the characters with more geometric details and a comletely new italic style.
    • Supergravity (2018-2020).

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

    Hustle Supply Co
    [Jeremy Vessey]

    Jeremy Vessey (Hustle Supply Co, Charlottetown and/or Cornwall, PEI, Canada) created these commercial typefaces in 2014: Parlour (a grungy vintage typeface), Native (quaint style), Instapress (letterpress emulation).

    In 2015, he designed the vintage typeface Arbour, the free octagonal caps-only typeface Cast Iron, the handcrafted Yosemite, Wayfarer, American Tradition, Growler Script, Yonder and Longshore. He also made the old whisky label-inspired Höchstadt, and the brush typeface Sitka, which will have to be renamed once Microsoft's lawyers hear about the name, which coincides with MS Sitka (2013, Matthew Carter et al).

    Typefaces from 2016: Bourbon Grotesque, Holtzberg (a free letterpress emulation font), Bonfire, Belfast (brush style), Buffalo, Gibson Script (vintage label font), Hochstadt (a whiskey-inspired sans serif), The Great Outdoors, Summer Hearts, Oatmeal Stout (a vintage beer label font, with Rough, Hatched and Aged substyles that can be mixed and matched), Whiskey (letterpress emulation), Greenstone, Hochstadt Rounded, Hochstadt Serif, Pathways, Restless Youth, Yorkshire (brush script), Hustle Script (retro connected script done with the help of Scott Byrne).

    Typefaces from 2017: Ciderhouse, Boathouse (brush script), The National (condensed sans, in 12 styles, including aged, weathered versions), Renegade (dry brush), North Port (dry brush), Rustico (a free dry brush font), Gastro Pub (a 3d layered typeface family), Harper Script, The Brewers Collection, Everyday Script and Sans, Genuine Sans and Script (by Jeremy Vessey and Stephanie Arsenault).

    Typefaces from 2018: Calibre Super Condensed, Purveyor (vintage all caps), Rothmans (a heavy monoline script), Bolder (an OpenType SVG font), JV Signature (an opentype SVG font for signatures), Köhler (a condensed textured typeface family), Restless (brush script), Secret Society (spurre), Berringer, Portrait (signature script), the Artisan collection (letterpress set: Heinberg, Holtzman, Trade Supply, Barley Script).

    Typefaces from 2019: Purveyor, Avondale (monoline script), The Great Outdoors (all caps sans), Huscon (vintage label style), HSCO John Hancock (a signature font), Heather Oliver (a signage script), Haroldson (condensed sans), Youthful (dry brush script).

    Typefaces from 2020: Athletic Dept, Kendrick Serif, Arbour, The Shoreman (vintage, all caps).

    Typefaces from 2021: Hatchet Arrow (Victorian), Parkshore, The Sterling Bros (+Stencil), National (a 12-style ultra condensed all caps typeface), Artisans Moniker (a signage script), Wayward, Headline (a headline sans), Ashfort Brush Script, Hastington Script, Bohemian Hunter (a vintage wedge serif), Hustle Brush (a dry brush typeface), Birchfield (vintage), Acreage (a decorative serif), The Handwritten Watermark (script), Waves (a condensed all caps didone), Quartz Grotesque, Athletic Dept.

    Typefaces from 2022: Nolan (a free dry brush SVG font). [Google] [More]  ⦿

    Huy Fonts
    [Juan José Lopez]

    Huy Fonts is a foundry in Madrid run by Juan José Lopez. In 2016, he designed the great poster typeface Black Pack, which is inspired by the odd bold plastic shops signs from the 60s and 70s.

    With Inés Atienza, Juanjo designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co. Inés Atienza and Juanjo López are members of the Familia Plomez association, a small printshop based in Madrid that devote their efforts to promote everything about letterpress printing, calligraphy, and lettering.

    Lopez made Choriza and Choriza Sans (2013: sausage-inspired type), Adoquin (2013), the informal sketchified family Bodoniez (2011), Chiripa (2011, hand-printed), Hands Up (2011, various hands, including "thumbs up", "a OK", "the finger", and fists), Paquita Pro (2011, informal lettering; this children's book font was remodeled in 2016 as Paquita Next), Ultramarina (2011, a quaint face based on wood type headline examples), and Pichi (2011).

    Designer of the Scotch modern typeface Schotis Text (2017), the cartoon font family Xunga (2017) and the angular text typeface family Pliego.

    Earlier, Lopez was a T-shirt designer, who also used the name Juanjo Lopez. Old page of Juanjez Nikis.

    At Dafont, one could download the headline handwriting font Paquita (2006), a predecessor of Paquita Pro. See alo Fontstore / Fontshare's Paquito (2017).

    In 2021, he released the 70-strong thick-and-thin poster sans typeface Rotulo, which was inspired by Jano's Spanish movie posters. Later in 2021, he designed Graveur (he writes: Graveur is a Renaissance style text face based in the work of the French punchcutter Robert Granjon (1513-1589). Working on original artifacts kept in Museum Plantin-Moretus in Antwerp, observation of his punches, matrices and printed materials resulted in a extense type family that tries to capture the overall style of Granjon rather than simply being a slavish copy of a particular source. Started as my project at Expert Class in Type Design in Antwerp, Graveur has grown to become a typeface with four optical sizes and seven weights, plus italics and an ornaments font. It also has variable font).

    Klingspor link. Home page. I Love Typography link. Behance link.

    View Juanjo Lopez's typefaces. [Google] [MyFonts] [More]  ⦿

    HVD Fonts
    [Hannes von Döhren]

    Hannes von Döhren (b. 1979, Berlin) is a Berlin-based designer (b. 1979). His foundry is HVD Fonts. He started out with free handwriting and grunge fonts such as HVD Comic Serif Pro (2009, an alternative to Comic Sans, according to HVD), The Subway Types (2009, a graffiti family: Shik (New York), Deon (Paris) and Etan (Berlin) came together to show the typical tag styles of their respective metropolitan areas. The fonts were digitized, spaced, kerned and programmed by Hannes von Döhren).

    Later he went commercial, first at T-26, and then under his own label, HVD Fonts. His typefaces: Shelton (2008, T-26), HVD Peace (2008, an army stencil font), HVD Comic Serif (2007, a serifed spoof on Comic Sans), HVD Rowdy (2007), HVDSpencils-Block (2007, stencil), HVDSpencils (2007, stencil), HVD Steinzeit (2005), HVD Edding 780, HVD Rawcut (2005), HVD Age 11 (2006), HVD Shelton (2008, T-26: wood type grunge), HVD Bodedo (2009, potato-Bodoni lettering), Quench Pro (2008, Linotype), HVD Peace (2008), and HVD Poster (2006, grunge).

    Typefaces made in 2009: Grandma (great hand-printed style---move over, Comic Sans), Christmas Dingbats, ITC Chino (a soft-edged signage and sans family, done with Livius Dietzel), Klint (sans family, +Rounded), Brevia (a soft sans in seven styles), Cowboyslang (a Western slab serif family), Embryo (superblack), Embryo Open, and Opal, a classy old style text family with tall ascenders. Bumper (2009) is an ultra-black sans family in a style related to Impact.

    Typefaces from 2010: FF Basic Gothic (a grotesk family done with Livius Dietzel), Reklame Script, Shelton (grunge), Blow Up is a fat balloon font. His masterpiece of 2010 and perhaps of his career thus far is the Brandon Grotesque family that relives the 20s and 30s. [A year after I wrote the previous sentence, Brandon Grotesque won an award at TDC2 2011, and all during 2011, it was the most sold typeface at MyFonts. It was followed in 2018 by Brandon Grotesque Condensed.] Livory (2010, with Livius Dietzel) is a rounded serif type family of four fonts influenced by the French Renaissance Antiquas from the 16th century.

    Production in 2011: Brix Slab (2011, with Livius Dietzel), Brix Slab Condensed (2011, with Livius Dietzel:(24 styles in all), Pluto (16-style semi-scriptish sans family, +Italics), Cheap Pine (a wood type caps family), Supria Sans (free web font family; +Black). Together with Supria Sans Condensed, this 36-style family is a basic sans workhorse. It won an award at TDC2 2011.

    Typefaces from 2012: Shelton Slab (eroded wood type or dirty letterpress look), Diamonds (geometric caps only family), Pluto Sans, Love Potion No. 10.

    Typefaces from 2013: Embryo Tiny, Niveau Serif (an engravers / copperplate style typeface), Niveau Grotesk, Mikado (signage family for games, food and advertising with a lot of genetic material from Brandon Grotesque: Mikado Bold Demo is free), Brandon Text (similar to, but with a higher x-height and more rounded corners than Brandon Grotesque, it is more appropriate for long texts and small print), FF Mark (together with Christoph Koeberlin and the FontFont team: this font is marketed as Ze new Germanetric sans; one weight is free).

    Typefaces from 2014: Brix Sans (2014, created using precisely engineered glyphs for corporate or information design; with Livius Dietzel), Brandon Printed (a caps-only letterpress version of Brandon Grotesque).

    Typefaces from 2015: Brandon Grotesque Office (screen-optimized; specially designed for Microsoft Office applications, it has 4 styles), Brandon Text Office (also made for Microsoft Office applications), Goodlife (a hand-lettered collection, consisting of Brush, Sans, Script, and Serif styles), Americane Condensed and Americane (based on American wood types).

    In 2016, Christian Koeberlin designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers. It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017.

    Typefaces from 2018: Giulia (a creamy cutesy baby shampoo font family).

    Typefaces from 2020: Brandon Text Condensed (in 12 styles), Bouba Round (a round sans family for small devices and wayfinding), Fabrikat Normal.

    Typefaces from 2021: Palast (Text, Display, Poster; with Bernd Volmer).

    Abstract Fonts link. Another URL. Font Squirrel link. I Love Typography link. Fontsy link. View Hannes von Döhren's typefaces. [Google] [MyFonts] [More]  ⦿

    Hybi Types
    [Peter Hübner]

    Peter Hübner (b. 1961, Germany) was educated as typesetter in pre-digital times. Creator of Hybi 4 Script (1999, handwriting). His Hybi5 font family (2015) is a cross between antiqua, grotesque and brush script. See also Hybi5 Finescript (2019). The didone family Hybi10 Metal (2019) has spiky alternates for use by heavy metal bands and tattoo parlours in the backstreets of Hamburg.

    Typefaces from 2020: Hybi11 Amigo (a ten-style organic sans), Hybi4 Script Neo.

    Typefaces from 2021: Hybi12 Arome (a hybrid of brush and sans). [Google] [MyFonts] [More]  ⦿

    Hype Type Studio
    [Paul Hutchison]

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

    Behance link. [Google] [More]  ⦿

    I. Ramos

    FontStructor who made Bodoni Future Image (2010). [Google] [More]  ⦿

    Ian Party
    [Swiss Typefaces]

    [More]  ⦿

    Ian Party
    [Newglyph]

    [More]  ⦿

    Ibycus
    [Pierre MacKay]

    Pierre A. MacKay (Dept of Classics, University of Washington) has a Greek Latex package, which has metafonts that extend the Greek metafonts by Silvio Levy. It features the necessary breathing marks and accents for use with ancient Greek text. It also includes the digamma character and the numerals qoppa and sampi (the numerals appear in lowercase type only). Ibycus4 is a Greek typeface, based on Silvio Levy's realization of a classic Didot cut of Greek type from around 1800. Since 2004, this package includes type 1 fonts as well. The project is supported by Walter Schmidt and Harald Harders (who did some metafont to type 1 conversions). [Google] [More]  ⦿

    Icelar

    Spanish art student (in 2013). FontStructor who created these typefaces in 2013: Beauvoir, Lancaster, Figaro, Abel, Cawdor (octagonal), Dilior (a didone), Harmond (blackletter), Antelopes, Godiva (blackletter), Autumn, Sasanida, Help I Need Somebody (circle-based geometric sans), Goodbye Fontstruct, Fairy Tale Vanishing, Slanton, Kyrie, Eat Me, De Stijl, Chiara, Hecate, Stancyl (piano key), Ionica, Winty's Gothica, Vintage America, El Greco, Fairy Tale, Ozawa, Donibo Display, Decade (blackletter), Donibo, Weirdy Moves (+Party), Bliss (crayon font), Ibsen (a dark copperplate style inspired by an Ikea logo), Avenzo, Avenzo Mad Serif, The Code of Honour (constructivist), Yago, Vienna Cafe Big (art nouveau), Castillian (Textura, +SmallCaps), Lumpy, Origami (3d face), Baldur2 (a lava lamp typeface), Trinity (Victorian), Patterns For Everyone, Evangelion, Scriptura, Maverick, Giralda, Freak Fraktur, Vienna Cafe (art nouveau), Sportiva (Small Caps, Deco1, Deco2 [blackboard bold], Sans, Alternates 1, Alternates 2, Alternates 3, Regular), Carmina, Hieronimus (a pixelish typeface inspired by Bauhaus: +Slab, +Stencil).

    Typefaces from 2014: Bronzino, Hagia, Decodrops, Kobe Slab, Enoe (blackletter), Adagio, Nemesis (thin avant garde sans), Shalott (geometric sans), Origami, Kobe Regular, Kobe Stencil, Giovanni (textura blackletter), Decan, Thoreau (blackboard bold), Blue Requiem, Funky Business, Red Requiem, Dreamcatcher, Drastic, Retropix, Vanity Strong, Dotchild, Reya (blackletter).

    Typefaces from 2015: Stanwyck (stencil), Tiberian (roman caps), Dresde Sans, Fraktur in the Forest, Dingbat Tribe, Action (in the style of Impact), Hibiscus (sans), Oranienbaum (a stylish serif), Amphora (sans), Lazzaro (squarish), Pineapple Juice, Sheldon.

    Typefaces from 2016: Watercolor (an art deco sans inspired by Carlos Winkow's Grotesca Radio), Hipster, Lakme Mondrianesque, Humanist Sans.

    Typefaces from 2017: Dublin, Dresde Serif. [Google] [More]  ⦿

    Idea mag

    Great Japanese design magazine, possibly the best design mag out there today, often featuring articles on typography. It published Typography Today, a book edited by Helmut Schmid that introduces selections from 88 designers. It traces the course of modern typography from Lissitzky, Tschichold, Zwart, Emil Ruder, Karl Gerstner, Herb Lubalin, to Wolfgang Weingart, Wim Crouwel and Kohei Sugiura. The new edition includes art by Neville Brody, April Greiman and Ahn Sang-Soo. See also IDEA NO. 305: Type Design Today (2004), which has articles by

    • Robin Kinross: "Some features of the font explosion"
    • Jean-François Porchez: "Type design that changed the outlook of Paris"
    • Fred Smeijers: "From punchcutting to digital type design"
    • Akira Kobayashi: "Originality and Redesign of Typeface"
    • André Baldinger: "Succeeding experimental typefaces"
    • LettError: "Twin Cities - Typeface represent a city"
    • François Rappo: "Didot Elder - Radical revival of Historical Typefaces"
    • Matthew Carter: "Yale University Typeface Project"
    [Google] [More]  ⦿

    Identitype

    Typefoundery, est. 2016 located in Aceh, Indonesia. Publisher of the signage typeface Specta Retro Script (2018, by Hendra Maulia and Aulia Rahman).

    In 2019, they released the decorative didone typeface Matao Serif, which was designed by Aulia Rahman and Hendra Maulia.

    Typefaces from 2020: Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia).

    Typefaces from 2021: Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

    Typefaces from 2022: Garcia (a Picasso-esque display typeface by Aulia Rahman and Hendra Maulia), Consta (an 8-style display serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More]  ⦿

    Igor Rossi

    Designer who used FontStruct in 2008-2010 create these fonts: Dutch (gridded), IR Fritz The Fat, IR Zephyr Light (geometric, IR Kohler (multiline), IR Dotted Condensed, IR Pieces, IR City Blocks, IR-2Stijl-Box, IR-2Stillj-Regular (both are De Stijl fonts, one the negative of the other), IR-Beringer, IR-Blackfolded, IR-Depthorama, IR End of the Line (multiline), IR-Fitzgerald-Heavy-Display, IR-Fountain, IR-HugoTheHuge, IR-Kohler (multiline), IR-Labyrinth, IR-MechanicalChildScript-Regular, IR-Pixel-Condensed, IR-RetroBlocks-Display, IR-Spiral, IR-Stones-Deco, IR-Summer-Drops-Display (extreme contrast and didone balls), IR-UniSans-Heavys, Crouwel's Paper Cuts (kitchen tile), Crouwel's Stedelijk Alphabet (pixel face), IR UniSans Heavy, IR Zephyr Black, IR Zephyr Black, IR Letters and Stripes, IR Summer Games. [Google] [More]  ⦿

    Ilya Ruderman

    Russian type design graduate of the Moscow State University of the Printing Arts (2002) and Type & Media at KABK in Den Haag, The Netherlands. Cofounder in 2005 of Daily Type. Type professor of considerable influence, who teaches at the British Higher School of Art and Design in Moscow since 2008. In 2014, Ilya Ruderman and Yury Ostromentsky founded CSTM. Creator of these typefaces:

    • Praline Pro (Paratype, 2006-2007). A retro script. Award winner at Paratype K2009.
    • Big City Grotesque. This also won an award at Paratype K2009.
    • Best Life Serif. Codesigned with Yuri Ostromentsky. This typeface won an award at Paratype K2009.
    • Beetlejuice Script. Also an award winner at Paratype K2009.
    • Ilya Ruderman and Paul Barnes published Austin and Austin Cyrillic in 2007-2009 at Commercial Type, and write: 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.
    • In 2010, Ilya Ruderman spearheaded an extensive project for traffic signage and information in Moscow called Permian for the city of Perm. The Permian family has slab, sans and serif components. Permian won Second Prize in the Cyrillic typeface competition at Granshan 2011, and won an award at Modern Cyrillic 2014. Free download at Open Font Library and Art Lebedev Studio.
    • Ilya's Meteor Script (2011) won Third Prize in the display text category at Granshan 2011.
    • Cyrillic versions of Austin (mentioned above), Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.
    • In 2015, Ilya Ruderman and Yury Ostromentsky published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House). It was extended in 2017 to Kazimir Text.
    • In 2016, Ilya Ruderman and Olga Pankova published Big City Grotesque Pro at CSTM Fonts. Ilya Ruderman created the first version of (the humanist sans) BigCity Grotesque for Bolshoi Gorod magazine (Big City). It was the first magazine sans serif with Cyrillic ligatures, and won an award in 2009 in the international competition, Modern Cyrillic 2009. In the 2016 version, by Olga Pankova, the shapes of the letters have been updated, and there are new upright and italic styles, small capitals and new ligatures and non-alphabetic symbols.
    • In 2020, Ilya designed the Cyrillic component of Atlas Grotesk and Atlas Typewriter, a typeface family by Susan Carvalho and Kai Bernau at Commercial Type, originally done in 2012.
    • Co-designer with Yury Ostromentsky and Nikita Kanarev at CSTM Fonts of the 18-style exprimental typeface family Lurk (2020). It is based on an earlier version that was specially designed for the Russian youtuber Yury Dud.
    [Google] [MyFonts] [More]  ⦿

    Ilya Ruderman
    [CSTM]

    [MyFonts] [More]  ⦿

    Imprimerie de A. Fain

    Foundry in Paris. Its work can be found in Épreuves de caractères de la Fonderie et de l'Imprimerie de A. Fain (Paris, 1832) and in Specimen des caractères de la fonderie Polyamatype de H. Didot, Legrand et cie, rue du Petit-Vaugirard, no 13 (1828). [Google] [More]  ⦿

    Indestructible Type
    [Owen Earl]

    Owen Earl (Indestructible Type, Seattle, WA) takes a new look at old classics. He reinvents them from scratch, and redesigns each glyph very carefully. Some of his work is completely free, and other typefaces are commercial. His fonts:

    • Besley (2017). A redesign of Robert Besley's Clarendon. For modern times, the x-height has been increased, and a totally new italic has been added. Buy it at FontSpring. A Fatface weight was added in 2020, and the font family is now entirely free.
    • The free sans typeface Geo (2013).
    • The free sans typeface Quizzical (2015).
    • Renner (2017). A revival, from scratch, of Paul Renner's Futura. Totally free! Github link. FontSpring link. Open Font Library link. A major update, Renner 3.0, followed in 2018---it includes a variable font, a blacker Black and the thinnest Hairline ever. And due to a trademark dispute Renner became Jost in August 2018. In 2019, Cyrillic characters were added to Jost. Google Fonts link. See also the derived family Venryn Sans (2020).
    • Bodoni (2015). With Bodoni 6 and Bodoni 12 subfamilies. Includes a delicious Bodoni 6 Fatface. Extended in 2020 to amny optical sizes (6, 11, 16, 24, 36, 48, 72, 96), and a variable font. Github link. Google Fonts link for Bodoni Moda (2020; 64 styles). Bodoni Moda has optical choices in the static fonts, and is accompanied by a 2-axis (weight, italic) variable font. Github link.
    • Jones (2016).
    • Miedinger (2015). A clone of Helvetica. Only two weights were ever finished. Github link.
    • Umbra (2017). A variable Opentype font with two sliders---distance of the shadow, and time of the day.
    • Gnomon (2017). A free variable font: Gnomon is the first font ever to respond to the user's actual time. The shadow of Gnomon changes location throughout the day in relation to the time.
    • Copperplate CC (2020, at the Cowboy Collective).
    • Railroad Gothic CC (2020, at the Cowboy Collective).
    • Engraving CC (2020, at the Cowboy Collective).
    • Tiffany Gothic CC (2020, at the Cowboy Collective).
    • Drafting Mono (2021). A typewriter-like font but in which slabs are added not just to the lower case i and l as was the practice in the past. In eight styles.

    Aka Ewon Rael. Github link. Another Github link. FontSpring link. Facebook page. Fontsquirrel link. [Google] [More]  ⦿

    Indian Summer Studio
    [Alexander Bobrov]

    Alexander Bobrov (Indian Summer Studio, or simply Indians, Moscow) designed the vintage didone typeface family Dodo (Latin and Cyrillic) from 2008-2012. This beautiful typeface is in a style similar to Nick Shinn's scotch Modern and Alexey Kryukov'sOld Standard but was developed independently based on old books from 1930s (printed with 1860s to 1910s metal type). His web site shows lots of calligraphic work, but also a few typefaces such as Oriental Font (2015), Photon Display (2014) and Trafareta (2015, stencil).

    Typefaces from 2016: Historical Stencil Font USSR 1980 (2016), Geometric Sans Serif, Tanuki, Curly Cyrillic Sans, Historical Geometrical Art Nouveau Study, Indian Stylized Cyrillic, Historical USSR (constructivist), IBM Selectric Typewriter, 1966 Olympia SF DeLuxe Cursive (typewriter font), Moscow Metro, Cynzel (cyrillization).

    Typefaces from 2019: Funny Toons (a rounded cartoon family by Ekke Wolf and Alexander Bobrov), Selectric Century (a Scotch Modern / Schoolbook typeface modeled after the famous IBM Selectric golfball font), Aldo New Roman (a modern version of the typeface cut by Francesco Griffo for Venetian printer Aldus Manutius around 1490AD).

    Typefaces from 2020: Air Force 30 Stencil (the official US military fonts/lettering used in U.S. Air Force, U.S. Army, U.S. Navy, U.S. Marine Corps, based on their technical specifications), Oriental Kaishu (all caps, oriental simulation), Selectric Melt, Air Force (the official US military fonts/lettering used by US Air Force, US Army, US Navy and US Marine Corps, designed based on the Military Standards and Technical Manual; covers Latin, Cyrillic and Greek), Stone Age (a neolithic font), Selectric Pyramid (a typefwriter font based on Rudolf Wolf's Memphis from 1929), Selectric (a 1315-glyph (!) revival of IBM's famous golfball typeface, Selectric), Dymond (a dymo label font).

    Typefaces from 2021: Science Fiction (rounded, squarish), USSR (a squarish Russian cold war propaganda font; Latin and Cyrillic), Age (squarish and rounded; for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Indie Fonts II CD

    Indie Fonts is a series of two books covering the work of many independent foundries. In 2003, it was followed by Indie2, which includes a number of free fonts. On the Indie Fonts II CD, which accompanies the book, we find these fonts:

    • Atomic Media: Genetica, Genetica Bold.
    • Feliciano: 34-Landscope.
    • Galapagos: Nikki New Roman GD.
    • Holland Fonts: MaxMix, Chip-1.
    • Identikal: ID-01 Left, ID-01 Right.
    • ingoFonts: Charpentier Renaissance, Deutsche Schrift Callwey, Exogum, Josef Normal, Klex.
    • Jukebox: Fairy Tale JF, Walcott Gothic-Sunset.
    • Mark Simonson: Anonymous (2001, a free typewriter truetype version of Anonymous 9, a freeware Macintosh bitmap font developed in the mid-90s by Susan Lesch and David Lamkins. It was designed as a more legible alternative to Monaco, the mono-spaced Macintosh system font), Mostra One Regular, Mostra Two Regular, Mostra Three Regular.
    • Neufville: Futura ND Medium, Futura ND Medium Oblique.
    • Nick's Fonts: Anabelle Matinee NF.
    • No Bodoni: Claudium.
    • Sherwood: Founders.
    • Storm Type Foundry: Lido, Lido Italic, Lido Bold, Lido Bold Italic, Lido Condensed, Lido Condensed Bold, Walbaum Text Italic OT.
    • Terminal: Rawlinson OT.
    • Underware: Unibody-8 Roman, Unibody-8 Italic, Unibody-8 SC, Unibody-8 Black.
    • Union Fonts: Hot Metal.
    • YouWorkForThem: Riblah Regular.
    [Google] [More]  ⦿

    Inessa Mitrozor

    Graphic designer who graduated from the National Design Institute in Moscow. As a student at TypeType Education in 2016-2017, she created the high contrast modern antiqua typeface Capella. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team).

    In 2019, TypeType published TT Tsars, a 20-style font family with five subfamilies. It is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century and seen on book title pages in Russia. A reference for the development was Abram Shchitsgal's book Russian Civil Type. The fonts were designed by Marina Khodak, Inessa Mitrozor, Nadezhda Polomoshnova and the TypeType Team. [Google] [MyFonts] [More]  ⦿

    Infinitype

    German company that sells 9999 fonts on a CD for 229 USD. In 2017, Infinitype 4 has 7444 fonts for 299 USD. One can download 20 fonts for free, as a teaser. The company is run by Martin Kotulla, owner of Softmaker, who also made the MegaFont CD. Many (most?) fonts are licensed from URW and come with a performance guarantee. Font catalog. Most fonts cover all European languages. Font catalog. Direct download of that catalog. Font name equivalences. The list: Aargau, Abott Old Style, Accent, Accolade, Adelon (lapidary), AdLib, Advertisers Gothic, Aldebaran, Alfredo, Allstar, Alternate Gothic, Alte Schwabacher, American Text, Ancona, Ancona Condensed, Ancona Extended, Ancona Narrow, Antigone, Antigone Compact, Antigone Nord, Antigone Condensed, Antiqua, Artistic, Avignon, Avignon Condensed, Avignon PS, Ballad Script, Ballantines (a broad-nib script), Balloon, Barbedor, Barbedor Osf, Baskerville, Baskerville Nova, Baskerville Old Face, Bay Script, Belfast Serial (a remake of Forsberg's Berling), Belfort, Bellboy, Benjamin [based on ITC Benguiat; identical to Softmaker's B693 Roman], Benjamin Condensed, Benjamin Gothic [free here; this comic book style typeface is based on ITC Benguiat Sans (1979-1980) and is similar to B691 Sans from Softmaker)], Benson, Bergamo, Bergamo Osf, Bernhard Condensed, Bernhard Fashion, Bestseller, Bilbao, Birmingham, Bluff, Boa Script, Bodoni, Bodoni Display, Bodoni No. 2, Bodoni Recut, Bodoni Recut Condensed, Bodoni Standard, Bonita, Book PS, Boston, Boulder, Bravo, Bristol, Broadway, Broadway Engraved, Brush Script, Bryce, Calgary, Calgary Osf, Cambridge, Cambridge Serial, Canossa, Canyon, Carlisle, Casablanca, Casad, Caslon, Caslon Antique, Caslon Osf, Caslon Elegant, Casual, Cathedral Open, Centrum, Century Old Style, Century Expanded, Century PS, Century Schoolbook, Chandler, Chantilly, Chantilly Condensed, Chantilly Extra Condensed, Chantilly Display, Chantilly Serial, Chatelaine, Cheltenham, Cheltenham Condensed, Cheltenham Old Style, Cheltenham Extra Condensed, Cimarron, Clarendon, Clarendon Serial, Clearface, Clearface Serial, Cleargothic, ClearGothic Serial, Colonel, Comix, Commercial Script, Compressed, Computer, Concept, Concept Condensed, Congress, Cooper Black, Copperplate Gothic, Copperplate Condensed, Cornered, Courier PS, Curacao, Curzon, Deco B691, Deco Black, Deco C720, Deco C790, Deco F761, Delano, Delaware, Denver, Derringer, Diamante, Digital, Durango, Disciple, Egyptian Wide, Egyptienne Standard, Elegant Script (revival of the 1972 Berthold formal calligraphic typeface Englische Schreibschrift), Elmore, Ennis, Entebbe, Estelle, Ewok, Expressa, Falcon, Farnham, Fette Engschrift, Fette Mittelschrift, Flagstaff, Flipper, Florence Script, Fraktur, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Condensed Osf, Franklin Original, Frascati, Fremont, Front Page, Fuego, Function, Function Condensed, Function Display, Function Script, Gainsborough, Gandalf, SoftMaker Garamond, SoftMaker Garamond Condensed, SoftMaker Garamond No. 7, Garamond Elegant [based on Letraset Garamond], Garamond Nova, Garamond Nova Condensed, Garamond Original, Garamond Standard, German Garamond"> [based on TypoArt Garamond], Giulio, Glasgow Serial [based on Georg Salden's Polo, 1972-1976], Glendale Stencil, Gotisch, Goudita, Goudy Catalogue, Goudy Handtooled, Goudy Old Style, Goudy Heavyface, Granada, Grenoble, Grotesk, Handmade Script, Harlem Nights, Helium, Henderson, Hobo, Hoboken, Hobson, Honeymoon, Horsham, Hudson, Huntington, Iceberg, Illinois, Imperial Standard, Inverserif, Isonorm, Istria, Italian Garamond [based on Simoncini Garamond], Japanette, Jessica, Joseph Brush, Jugendstil, Kaleidoscope, Karin, Kingston, Koblenz, Kremlin Script, Leamington, Letter Gothic, Lingwood, Litera, Livorno, Lyon, Macao, Madeira, Malaga, Marriage, Marseille, Marseille Serial, Maurice, Medoc, Melbourne, Melville, Mercedes, Metaphor, Mexico, Micro, MicroSquare, MicroStencil, Moab, Mobil Graphics, Montreal, Napoli, Neutral Grotesk, Nevada, Newcastle, Nicolas [after Lanstpn's Nicolas Cochin], OCR-A, OCR-B, Oklahoma, Old Blackletter, OnStage, Opus, Organ Grinder, Orkney, Ornitons, Osborne, Otis, Palazzo, Palladio, Palmer, Pamplona, Park Avenue, Pasadena, Pedro, Pelota, Peoria, Persistent, Persistent Condensed, Persistent Osf, Philadelphia, Pizzicato [based on Letraset's Plaza], Plakette, Pollock, Prescott, Prestige, Quadrat, Raleigh, Roman PS, Salmon, Sans, Sans Condensed, Sans Diagonal, Sans Extended, Sans Outline, Sans PS, Sans PS Condensed, Savoy, Savoy Osf, Saxony, Scott, Seagull, Sebastian [based on ITC Serif Gothic], Sigvar [based on ATF's Baker Signet], Soledad, Square Serif, Stafford" [based on Rockwell MT], Stafford Serial, Sterling, Stratford, Stymie, Sunset [a version of ITC Souvenir], Sunset Serial, Sydney Serial, Tabasco, Tampa, Tampico, Tioga Script, Toledo [based on Trooper VGC], Typewriter, Typewriter Osf, Typewriter Condensed, Unic, VAG Rounded, Velo, Veracruz, Verona, Violin Script, Winona, Worcester. [Google] [More]  ⦿

    Inge Kubel

    UK-based type designer who won an award at Granshan 2009 for Vogue, a didone display typeface she designed with Henrik Kubel. [Google] [More]  ⦿

    Ingo Preuss
    [preussTYPE]

    [MyFonts] [More]  ⦿

    Ingo Zimmermann
    [Ingofonts]

    [MyFonts] [More]  ⦿

    Ingofonts
    [Ingo Zimmermann]

    Ingofonts is a foundry in Augsburg started by Ingo Zimmermann (b. 1967) in 1994. It offers Fraktur fonts, handwriting fonts, sans serif fonts, Antiqua fonts and some pixel fonts. Full fonts go for 50 USD a piece and up. Some fonts are free. Many fonts are adaptations or revivals of historically important fonts. Ingo also practices calligraphy, and in particular, calligraphy for wine labels. The list:

    • Absolut Pro (2008) is a classy sans family that comes in Regular, Licht, Thin and Schmuck.
    • Amhara (2009): An experimental font inspired by the Ethiopic writing system.
    • Analogue (2010).
    • Anatole France (1997-2021). An art deco font in the style of Plakat Schrift by the munich-based printer Georg D. W. Callwey.
    • August Sans (2013).
    • Auxerre. A wedge-serifed text typeface. Ingo writes: Auxerre is a precursor of Etienne, which later became popular as an advertising script of the 19th century.
    • Banknote 1948 (2010).
    • Behrens Schrift (2008) is based on Behrens' famous 1902 Jugendstil typeface for Rudhard'sche Giesserei. Behrensschrift iF Plus (+Schmuck) followed in 2021.
    • Biró Script is a handwriting font (2007-2012, +Biro Script Plus, 2020) named after the inventor of the ballpoint pen, Laszlo Joszef Biro, 1899-1985.
    • Boule Plus (2020). A fat round circle-based bubblegum font family in Gras, Contour and Brilliant styles.
    • CharpentierBaroqueIF, CharpentierClassicItaliqueIF, CharpentierClassicistiqueIF, Charpentier Renaissance Pro (1996 and Pro version from 2020; modeled on Roman Capitalis). Charpentier Classicistique Pro (2020; earlier called Classicist) is an absolutely charming didone display typeface family with an award quality Black. In 2014, he added Charpentier Sans Pro for Latin, Greek and Cyrillic with the Pro version following in 2020.
    • Chiq Pro. After Apple's Chicago.
    • Conté Script (2014). A phenomenal effort towards the creation of a typeface that emulates real handwriting. It even has three-letter ligatures to achieve the desired reality. Based on Ingo's own hand, it also achieves a crayon effect. See also Conte Script Plus (2020).
    • Countries of Europe (2008). Outlines of countries. Free download.
    • DeBorstel Brush Pro (2009): brush face.
    • De Display (2010). A gridded type system.
    • De Fonte (1995): a grungy blurred overexposed Helvetica. See also De Fonte Plus (2020).
    • Déformé: a grungy Clarendon.
    • Deko-Blakk, Deko-Yello (art deco typefaces from 2007).
    • DeKunst (1995, deconstructivist). DeKunst Initialen (2007) is Bauhaus-inspired.
    • DePixel (1999: based on Apple's Geneva and Chicago; and Illegible DePixel).
    • Deutsche Schrift Callwey (1998). A free Sütterlin script that is based on a script sample from around 1920/30 by Karl Schäffer. DeutscheSchriftCallwey (1998): a free handwriting typeface in the style of the 1800s that was later taught in German schools under the generic name of "Sütterlin type".
    • Rudolf Diesel Rudolf (2008-2009): Based on the handwriting of the inventor of the Diesel motor, Rudolf Kristian Karl Diesel (1858-1913).
    • Die Überschrift (1998): headline sans.
    • EconoSans Pro (2020). A 28-style sans that is meant to save space by squishing the letters together.
    • Faber Eins, Faber Zwei (1996, legible sans family), Faber Drei, Faber Gotic (2002, +Text, +Gothic, +Gotic Capitals; a Textura based on Gutenberg's blackletter from 1450), Faber Fraktur (1994), Faber Sans Pro (2011). This comes with a great all caps Deko style.
    • Façacde Pro (2007). An art nouveau brush typeface found in a 1900 booklet by Karl Otto Maier (a publisher in Ravensburg) entitled Schriften-Sammlung für Techniker Verkleinerte Schriften der wichtigsten Alphabete. Cyrillic version.
    • Fixogum (1998, scratchy handwriting).
    • Fundstueck (2021). A simplified squarish typeface.
    • Graz2006 (1994, a sans family for the 2006 OlumTypographerpic Games in Graz; later renamed by Linotype to Olympia).
    • Guhly (2011). An organic family.
    • Gutenberg (1995, a textura).
    • Handschrift (2007). Expressionist and rough.
    • Hedwig Pro (2021). A tall condensed sans; 12 styles.
    • Hero (angular handwriting).
    • Josef (2000), Josefov (2003, slab serif for Josef), JosefPro (2006, a free sans family), Josefa Rounded Pro (2020: a rounded sans family).
    • Klex Plus (1997): a calligraphic or watercolor brush font.
    • Koch Schrift (1998-2021). A Schwabacher used by the Deutsche Reichsbahn and first developed by Rudolf Koch in 1909, first known as Neudeutsch and later as Koch Schrift. An earlier version of Zimmermann's Koch Schrift was called Schwabacher Deutsche Reichsbahn.
    • Lech Sans (2020). A humanist sans family.
    • LeDrôle Lettering Pro (2020).
    • LettreCivilitdeGranjon (1997, a reworking of S. Moye's font by that name).
    • Maier's No. 8 (2002) and Maier's Neue No. 8 based on forms found in work of Karl O. Maier from before 1914, which already has the geometrical simplicity characteristic of the Weimar period. Maiers No. 21 (2006) and Maiers Nr 21 Pro (2021) are based on a script found in the magazine Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete (Karl O. Maier, Otto Maier Publishing House, Ravensburg, ca. 1910)---a hand-crafted font for technicians. Finally, Maiers Nr. 42 Pro (2020) is a brush-painted art nouveau typeface based a pamphlet of script samples from around 1900 that was issued by Otto Maier's publishing house in Ravensburg, Germany.
    • Marleen Script (2011, with over 400 ligatures).
    • Menschenalphabet (1997), based on Peter Flötner's alphabet from 1534.
    • Novello Pro (2009): The serifed counterpart of his Absolut Pro family.
    • OlympiaBuchIF, OlympiaFettIF, OlympiaHalbfettIF, OlympiaLeichtIF, OlympiaSemiSansBuchIF
    • Palmona Plus (2008). A German expressionist blackletter after Karl Schaeffer (1939). Palmona Plus was published in 2020.
    • Saeculum (1996, cursive connected handwriting).
    • Rudolf Diesel (2008-2009): Based on the handwriting of the inventor of the Diesel motor.
    • Toby Font (2006(. A 3d doodle font for children.
    • Wendelin Pro (1996). A grotesque family. The Pro was released in 2020.
    • Whole Europe (2008, outlines of countries), now called Countries Of Europe. Pick it up, togeter with many suppoirt files for TeX by Herbert Voss, at CTAN.
    Dafont link. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Ink Type Foundry
    [Arnie Presiado]

    Commercial foundry run by Arnie Presiado. Creators of Bierstedt (2017: based on the lettering of the early nineteenth century German architect and poster artist, Ludwig Hohlwein), Porterhouse (2017: an ultra heavy handmade font based on the lettering of the early nineteenth century German architect and poster artist, Ludwig Hohlwein), Pistiline (2011, after John Pistilli's Pistilli Roman) and Febiger Bold (2011, a round geometric sans). [Google] [More]  ⦿

    Insigne Type Design Studio (was: Dooley Type)
    [Jeremy Dooley]

    Insigne Type Design Studio (est. 2006) is run by Jeremy Dooley, b. Columbia, SC, 1981, who received a masters in graphic design at Savannah College of Art and Design in 2005. He lived in Atlanta, GA, and is now in Knoxville, TN. From 2004 until 2006, he ran Dooley Type in Greenville, SC. Behance link. Klingspor link. Font squirrel link. Creative Market link. MyFonts interview. His fonts:

    • 44th President (2009, based on Obama's handwriting).
    • Aberlyth (2006). An informal script face.
    • Ainslie (2014), Ainslie Slab (2014), Ainslie Sans (2014) and Ainslie Contrast (2020: a 42-style sans).
    • Antigen (2007) is futuristic.
    • Arendahl (2007) is a connected but irregular handwriting font.
    • Ashemore (2012). Production assistance for Ashemore was provided by Lucas Azevedo and Marcelo Magalhaes. Followed by Ashemore Softened (2012).
    • Avaloc (2006) is an expanded sans.
    • The Aviano superfamily. Aviano Wedge (2012), Aviano Slab (2007), Aviano Serif (2008), 2009 Aviano Didone (2009), Aviano Flare (2010), Aviano Sans (2010), Aviano Future (2011), Aviano Contrast (2012), Aviano Gothic (2013), Aviano Sans Layers (2013), Aviano Copper (2018), Aviano Didone (2019). Aviano Titling (2007) is inspired by Trajan. Aviano Silk (2015) is a bilined decorative titling typeface. Aviano Royale followed in 2016.
    • Barcis (2013). An organic sans family.
    • Beastias (2006). An informal script face.
    • Belda (2017). An elegant serif family of fonts that grew from the ancient roman capital. Followed by the 54-style Belda Didone (2020). A 54-style didone family without ball terminals.
    • Biortec (2004).
    • Biscuit Boodle (2008) is a fun and crazy script from Portland Studios illustrator Justin Gerard. Biscuit Boodle Ornaments (2009, dingbats).
    • Blue Goblet (2005) is a Treefrog-style script developed for the pending illustrated childrens book from Portland Studios, The Blue Goblet. It was co-designed by Cory Godbey of Portland Studios and Jeremy Dooley. In 2011, Cory Godbey added Blue Goblet Christmas Ornaments.
    • Boncaire Titling (2012) was iInspired by the type elements of 17th century map of Curacao made by Dutch cartographer Gerard Van Keulen.
    • Brigette (2007) is an ink-splattered calligraphic script.
    • Cabrito (2013). A typeface for children's books. Followed by Cabrito Inverto (2014) for reversed stroke stress---some of its heavier styles have a Western appearance. In 2014, Cabrito Sans was added to the set. Cabrito Semi followed in 2015, the playful Cabrito Didone in 2016, Cabrito Contrast in 2018, and Cabrito Flare and Cabrito Serif in 2019.
    • Caridade.
    • Carta Marina is a family of medieval map text typefaces and dingbats (2007).
    • Cartes (2020). A charming 54-style family with chancery ascenders, and a roaring twenties handcrafted appeal.
    • Cavole Slab (2011).
    • Celari Titling (2014).
    • Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.
    • Chennai and Chennai Rounded (2007) are playful display sans typefaces. Chennai Slab (2009).
    • Chypre (2017). A techno sans family.
    • Civane (2017). A flared inscriptional typeface family.
    • Coegit (2012). A sans family that offers Compressed, Compact and Condensed subsets.
    • Cohort (2010, elliptical sans).
    • Coupe (2003).
    • Dever (2015) is a 107-style family of rough and weathered letterpress typefaces with industrial octagonal skeletons.
    • Dienstag (2008, 8 styles).
    • Daito (2018). A welcoming soft slab serif typeface family.
    • Donnerstag (2010, extended slab serif).
    • Dulcian (2017). A bright open sans family.
    • Eigerdals (2010, rounded sans family).
    • Enocenta (2013). A penmanship typeface family done with Cecilia Marina Pezoa.
    • Enzia (2009, an elegant sans family).
    • Evalfey (2021). Formal calligraphic.
    • Fizgiger (2006). An informal script face.
    • Florencia (2007) is a vintage script.
    • Foverdis (2010, a calligraphic family that includes a hairline).
    • Gineso (2016). A set of 48 slightly condensded and squarish headline typefaces. Followed by Gineso Titling (2016) and Gineso Soft (2018).
    • Grayfel (2015). A 42-style sans typeface family characterized by flush horizontal or vertical terminal endings.
    • Grenale (2013). A flashy in-your-face didone family from Thin to Heavy. Grenale #2 (2013) is a curvy sans that is almost a monoline. In 2015, Dooley launched Grenale Slab.
    • Haboro (2016). A 54-font strong didone family with wedge serifs replacing the standard rectangular ones. It has no ball terminals. Followed by Haboro Slab (2016), Haboro Soft (2016), Haboro Serif (2016), Haboro Sans (2016), Haboro Contrast (2017), and Haboro Slab Soft (2020).
    • Honeydrop (2017). A brush script.
    • Insigne Abstractions (2007) and Insigne Fleurons (2008) are dingbats.
    • Jon Cary (2004, the handwriting of John Kerry).
    • Kairengu (2007) is a comic book family.
    • Kasuga (2008) and Kasuga Brush (2009) are fresh new scripts with oriental undertones.
    • Kidela (2007) is a sassy scrapbook family. Kidela Sketch (2009).
    • Kochi (2015). A 54-font rounded organic sans typeface family.
    • Le Havre (2008) is a gorgeous 8-style geometric art deco sans with tall ascenders. In 2010, the Le Havre Sketch family was added. We also have Le Havre Rough (2014, a bit of letterpress feel thrown in), Le Havre Rounded (2009), Le Havre Titling (2012), Le Havre Layers, Le Havre Hand (2015) and Le Havre Width (2017).
    • Look (2015). In Sans, Script, and Serif subfamilies, this super-collection blends a bit of vernacular signage with weathered letterpress.
    • Lorelei (2007, Insigne) is a bouncy script family.
    • Lourdes (2007) is an informal script.
    • Madeleine (2007) is a basic handwriting face.
    • Madurai (2012). A simple monoline sans superfamily. Madurai Slab (2013) has 54 styles.
    • Mahalia (2008) is a retro script.
    • Majidah and Majidah Potens (2006) are medieval scripts.
    • Mandrel (2017). A typeface with sharp serifs. Followed by Mandrel Didone (2021: a 54-style didone).
    • Marintas (2012).
    • Maris (2015). A curly script.
    • Massif (2008) is an aggressive sans family.
    • Metairie (2018). A connected high-contrast script.
    • Mirantz (2019). A 54-style text typeface family.
    • Mittwoch (2009, organic serif).
    • Montag (2007) is a casual rounded sans family in six styles.
    • Mr Darcy (2015). A Tuscan all-caps typeface.
    • Mynaruse Flare (2018). An update of Mynaruse (2010), which is a roman inscriptional titling family---it is characterized by skinny flared serifs.
    • Nanumunga (2007) is a comic book style face.
    • Natalya (2007) is a connected calligraphic script. Natalya Monoline (2007). Natalya Swashes (2009, calligraphic).
    • Newcomen (2008) is a 4-style roman titling face.
    • Obline (2004, sans).
    • Oita (2014). An octagonal typeface family.
    • Olidia (2008) is calligraphic.
    • Orewelia (2004, grunge face).
    • Pauline Didone (2011, a curly didone family). Pauline Script (2008) is a monolinear retro script.
    • Pershal (2021). A 54-style family, described as an oddball sans.
    • Plathorn (2014). Inspired by the Wild West, this generous typeface family uses flaring in a thousand ways to recreate the feel of that era.
    • Promethian (2005, futuristic).
    • Quarca (2013). A 36-font sans family with a sturdy rounded square look.
    • Quatie (2013). A curvaceous family: Quatie draws much of its inspiration from the industrial brawn of the railroad and the unique characteristics of Cherokee letterforms, giving it an atypical form not usually found in an industrial slab (accring to Dooley).
    • Questal (2007) is a unicase serif face.
    • Qurillian (2006, legible sans).
    • Radona (2021). A 54-style geometric sans described as the typeface version of Synthwave.
    • Ranelte (2016). A condensed sans series with techno or DIN appeal. The textured versions are collected in Ranelte Deco (2017).
    • RendtPhysic (2006).
    • Ript Cure (2005).
    • Sabler Titling (2016). An all caps typeface family with tapered flared strokes.
    • Sancoale (2011, an organic sans family, from Thin to Black). Sancoale Narrow (2011). Sancoale Softened (2012). Sancoale Slab (2012). Sancoale Slab Soft (2013), Sancoale Gothic (2022: 48 styles; a subdued and calming version of Sancoale, with quiet futurism).
    • Sangli (2015). A 54-style rounded organic sans typeface family.
    • Savigny (2011). Images: Savigny Black Extened, Savigny Regular Condensed.
    • Savory Paste (2007). Grunge.
    • Schorel (2019). A 54-style Scotch roman.
    • Senlot (2018). A 54-strong sans family. In 2019, Senlot Sans and Senlot Serif (2019) were added. Senlot Didone followed in 2021.
    • Serofina (2010, a calligraphic face).
    • Shrike2003 (2003).
    • Sildetas (2010, a high-contrast script typeface with tear drop terminals).
    • Sociato (2022). A 54-style baroque text family with didone roots. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being.
    • Solitas (2015). A rounded 42-style geometric sans family. Followed by Solitas Slab (2015), Solitas Serif (2017) and Solitas Contrast (2021; a 42-style display sans family described as sensual by Jeremy Dooley).
    • The sans family Sommet (2008; see also Sommet Rounded (2008), Sommet Slab, 2010, and Sommet Serif (2011, a wedge serif family)) is futuristic. Sommet Slab Rounded (2011).
    • Sophima (2021). A weathered script family.
    • Soprani (2020). A 54-font set with considerable flaring and thorny serifs, based on a vintage plaque from the 1920s.
    • Sovba (2009, upright italic).
    • Steagal (2013). A geometric sans with a 1930s American feel.
    • Steam Court (2015). A combination of steam punk and blackletter.
    • Stefania (2007) has two calligraphic/chancery styles. Its aged version is called Stefania Antique (2008).
    • Stratham (2007) is a medium to black family of legible sans typefaces.
    • Terfens (2007) is an informal and quite rounded sans serif with inspiration from chancery scripts like Stefania. Terfens Contrast (2021) is an 48-style sans with calligraphic traits.
    • Torcao (2013). An elliptical anthroposophic typeface family.
    • Ultine (2016), an utilitarian sans family.
    • Valeson (2020). A vintage display typeface with a kneeling art nouveau lower case n.
    • Valfieris (2006). Valfieris Aged (2007) imitates medieval printing.
    • Varidox (2019). A variable font with a roundish slab serif design.
    • Verao (2018) and Verao Ornaments. A calligraphic script.
    • Vergils (2021). A 54-style sans that tries to instill the spirit of the eighties and electronic music genres like Synthview.
    • Waialua (2019). A script typeface with a variable font option.
    • Waimea (2019). A variable script font produced with the help of Lucas Azevedo.
    • Winsel (2019). A flared typeface influenced by British nostalgia, vintage signage and typographic ancestors like Edward Johnston and Eric Gill. Perfect for typesetting speeches by Winston Churchill.
    • Wreath (2016). A script typeface family.
    • Xalapa (2008) is a grunge family.
    • Yevida and Yevida Potens (2006, scripts).
    • Yorkten (2015): 54-style monoline sans family. See also Yorkten Slab (2017).
    • Youngblood (2008, +Youngblood Antique, 2010) is non-connected.

    Catalog of their typefaces. View Jeremy Dooley's font library. View Jeremy Dooley's typefaces. Adobe link. [Google] [MyFonts] [More]  ⦿

    Intaglio

    Prolific designer of these typefaces at FontStruct in 2008: Mausoleum, Quarantino, Strontium (heavy octagonal), Redactor (inline; athletic lettering), Coppertones, Copperthief Gothic, Disarticulate, Adamantine, Spindlery, Thalamicus, Monolog, Abstruction, Banned Rotunda, Less Rotunda, Blabbermouth, Hackney, Circumfence, Circle Play, Outlandish, Cannibaal, Valedictory, Hegemony, Sansibal, Shoptima, Toobatu, Dwarven, Evonce, Magog, Fuego, Empyreus, Upscale, Quickie, Svengali, Amanuensis (hairline), Whitechapel, Interzone, Annexia, Mugwump, Misterioso, Slitcom, Mud Indigo, Integer, Optimist, Interim, Tredd (athletic lettering face), Brilliant Corners, Palimpsest, Trudge Fix, Plangent Shaven, Plain James Bond, Spikeful, Plain James, Portia, Juliette, Rotunda One, Dystopian, Fed Up, Mag Lev, Eensy, Simpatico, Afterburn, Fongeray, Less-Sirvere, Levio-sah, Oddity-oldstyles, Planar-light, Plangent, Plangent-semi-serif, Plangent-shaven, Prester-John, Spin Doctrine, Tabula, X-Sirvere, abricado, aubrey, chunki-phat, chunki-slim, chunki, cold-shoulders, emerald-city, epistrophy, experiment, flawa-pawa, fongamatah, gematria-experiment1, gematria, malinki, massif, modnera, nutty-slab, okey-dokey, patina, planar-book, planar, plangent, simplex-b, slantfest, slinky, solidad, solitude, souvlaki, space-oddity, spin-doctrine, splayful, too-much-caffeine, travelclock-alt, travelclock, tredd, trudge-fix, Zinzan (blocky headline face), Sir Vere (haha---he writes A Bodoni that won't take its meds; still, a great-looking simulation of Bodoni's balls), More Sirvere and Less Sirvere (derived from Sir Vere), Ugly Beauty, Tito Puente, Plain James Bold (octagonal), and First Sampler.

    Faces from 2009: Infrastruct Hairline, Untag, Scansion, Manganesi, Curly Queues, Culdeslack, Clerestory, Snurkle, Arabica, Mishmash, Processor, Insomnia, Spatial Test, Furtiva, Wedgistry, Semiotica, Prince Edward, Imprimatur, Reverie, Spikenard (octagonal), Brusque (heavy slab serif), Flikki Crude, Crudenza, Arvid, Makizmo (black mechanical), Purdy, Whaddya, Timaru, jehoshophat, Octane, Purdy, spikenard, Slabba Dabba Doo, Attempa, Meshugge, Shvoss, Ruffian, Leterodoxi, Anuva, Jehoshophat, Tagliana (typewriter style), Mocktura (fat octagonal), Pustulate, Fuego, Souvlaki, Palimpsest, Onsquared (about which he writes Please excuse the X. He badly needs to go for a pee), Octavia (octagonal art deco face), Queasy Peasy, Slubgob, Squibnib, Micro Splotchika, Mixter (octagonal), Odile, Transept.

    Typefaces from 2010: Ropey Sans, Compositor, Dooble Trouble, Flopsical, Dulcet, Sprig Latin, Flux, Yabadaba, Holdem (Western style), Elvira (octagonal), Adhoc, Little Schema, Fiddledy-Dee, Triplecheck, Rusty Blades, Crudenza, Zingaling (kitchen tile), Ornery, Strictly Boardroom, Serif Test, Merenge, Ugly Sister, Cholestera (heavy mechanical face), Prefab.

    Production in 2011: Albedo (Egyptian), Candyrock Mountain, Cooperite (Cooper Black relative), Ran Tan, Rangitoto (fat, almost-blackletter face), This Little Piggy, Boxica (an angry angular face), Carpathian (almost blackletter), Kinnybuns (almost art deco), Wallachia (stencil blackletter), Ubend (organic, almost LED face), Quickstep, Basket Case, Flik Flack, Effigy, Laguna, Barbary.

    Typefaces from 2012: Vertical Hold, Heresy Arcfun (a play on positive and negative spaces), Morphology (wide elliptical display face), Sausinges.

    Typefaces from 2013: Chinoiserie. [Google] [More]  ⦿

    Intellecta Design (or: Monocracy Types)
    [Paulo W]

    Intellecta Design is a design company in Brazil run by Paulo W (b. 1970) from Recife. In 2020, he also set up Monocracy Types. Paulo W is a gaúcho (Brazilian southerner), with interests in multiple areas, including poetry (he has published the digital opus Magical Book), graphic design and, most recently, type design.

    Dafont link. MyFonts. MyFonts link. Abstract Fonts link. YWFT link. Behance link. Blog. Home page. Fonthaus. Monotype. Eshops. Facebook. Flickr. Klingspor link. Wordpress. Devian tart. T26. Linkedin. Identifont. Linotype. ITC. Faces.co. His typefaces:

    • Free fonts: Inductive Resonance (2014: connected script), Retrodings (+Two, 2014), Living In The Past (outlined Tuscan face), Rough Ornaments Free (2014), CornPop Three (borders), Too Good To Be True (2013, retro script), Blanchard Inland (2013), Living Together (2013), Arresto (2013, brush script), Hertziano (2013, non-connected fat script), Japanese Tourist (2013), Nouveau Never Dies Free (2013), The Beat Goes On (2012, fifties script), Stencix (2012), Figgins Brute Trash (grunge), Fontaniolo Beveled (2011, ornamental caps), Czech Gotika (2011), Random Dingbats (2011), Victorian Free Ornaments (2011), Rustic (2011), Armorial (2011), Woman Silhouettes (2011), The Nile Song (2010, hieroglyphics), Smith Typewriter (2009), Sign Flags (2010, semaphore dingbats), Senectus Morbus (2010), MesoAmerica (2010, Indian symbols), ClassicSketches (2010, dingbats), Columns (2010, dingbats of Greek and Roman columns), EasyCuneiform (2010), EasyLombardicTwo (2010), EasyOpenFace (2010, blackboard bold style), Egidia (2010), Significante (2010, dingbats with, e.g., gender symbols), WhiteDominoes (2010, domino pieces), Easy Heraldics (2010), Intellecta Heraldics (2010), Heraldic Devices (2011), KidingsFree (2010, dingbats), RoughTuscan (2010), The French (2009, Fleur de Lys dings), AprendizCaligrafico (2010), Volitiva (2006, Trajan caps and chancery lower case, all based on work by Ludovico Vicentino Arrighi), Gaivota (2006), KurrentKupferstichThin (2006), PaulKlein (2010), PaulKleinTwo (2010), PortuguesArcaicoLectura (2005), ReproxScript (2009, based on Jerry Mullen's Repro Script from 1953-1954), RickGearyHomage (2007, scanbats), WestBalaio (2006, ornamental caps), Corto Maltese (2006, scanbats), Renaissance Coiffure (2006), Renaissance Ornaments (2007), Renaissance Shoes (2012, free), TTF Tattoef (2006, tattoo-inspired dingbats), ExperiTypo5 (2006), Lower Metal (2006), Geometric Serif PW (2006), Geometric (2006), Geometric Petras PW (2006), War II Warplanes (2005), Carbono (2005), Times New Vespasian (2005), BoldBold (2005), Vengeance (2005), Doppleganger (2005), Chancelaresca (2005), Cursivo Saxonio (2005), Gotische Minuskel 1269 (2005: a Kanzlei Schrift after Dekan Hermann zu Soest, 1269) and Guto Lacaz (2005, dingbats).
    • Richard Gans revival project: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada (2006), Gans Ibarra (2006, after Carlos Winkow's Elzeviriano Ibarra), Gans Antigua (2006), Gans Antigua Manuscrito (2006), Gans Radio Lumina (2006), Gans Fulgor (2006), Gans Carmem Adornada (2006), Gans Italiana (2006, extensive Italian-style slab serif family), Gans Titania (2007), Gans Titania Adornada (2007), Gans Titular (2007), Gans Gotico Globo (2007: 9 styles by Iza W), Gans Royality (2007: 3 styles by Iza W), Gans Headpieces (2008), Gans Rasgos Escritura (2010: filets---followed in 2011 by Rasgos Escritura Nuevos), Gan Esquinazos (2010, frames), Gans Blasones (2010, shields), Gans Neoclassic Fleurons (2008), Gans Classical Fleurons, Gans Ding.
    • Wood-inspired typefaces: Dead Wood Rustic (2007), Taranatiritza (5 wood type styles, after William Hamilton Page), Majestade (2007, by Iza W---two Tuscan style typefaces), Decorative Tuscanian (2007), Concave Tuscan (2010, wood type), Palermo (2007, by Iza W---Tuscan style family), Teatro (2009, Tuscan), Bruce Double Pica (2009, Tuscan; the Beveled weight is free), Antique Extended (2010, slab serif wood type), Dark Wood (2009, gothic), Dark Wood Beveled (2011).
    • Charles Bluemlein's script revivals: Bluelmin Kisaburo (2013), Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012). (2012).
    • Blackletter: Salterio (2012, +Trash, +Three, +Gradient, +Shadow, +Shadow Two), Leothric (2011, bastarda), Bruce 532 Blackletter (2011, after George Bruce), Schneider Buch Deutsch (2007, +Trash, +Shadow, +Shadow Two), Schneidler halb fette Deutsch (2009, +Beveled), Schneidler Zierbuchstaben, Hostetler Fette Ultfraktur Ornamental (2007, blackletter caps), Gothic 16 CG (2007), Gothic 16 CG Decorative (2007, blackletter caps), Schneidler Grobe Gotisch (2008, Iza W, T-26), Allerlei Zierat (2008, ornament fonts based on a 1902 catalog of Schelter & Giesecke), Allerlei Zierat Capitals (2007), Psalter Gotisch (2009, a blackletter after the Benjamin Krebs blackletter face by the same name, ca. 1890), Münster-Gotische (2009, a blackletter family after a 1896 typeface by the same created by Schelter&Giesecke), Koberger N24 Schwabacher (2007), Student's Alphabet (2007, blackletter), Like Gutemberg Caps (2007), Nürnberg Schwabacher, Gotische Frame (2007: four framed blackletter styles by Iza W), Gotische (2007: ten ornate blackletter styles by Iza W), Gothic Garbage, Gothic Shadow, Gothic Trashed, Gothic Flourish (2009), Gotica Moderna (octagonal, blackletter), AltDeutsch (2007, four severe blackletter fonts by Iza W), Fin Fraktur, Gotische Bouffard, Heimat RGS, Gothic Handtooled Bastarda (2006), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Gothic Handtooled Bastarda (2006).
    • Historical revivals: Pantographia (2010: a digitization, as is, of several alphabets from Edmund Fry's Pantographia, 1799), Caslon2000, Caslon B, Delamotte Large Relief (2010), Figgins Brute (2007: 8 heavy Egyptian styles by Iza W based on Figgins' 1817 specimen book), Erased Figgins Brute (2007), Gras Vibert (2007, a didone family; followed by Gras Vibert Two in 2009).
    • Erotic or human alphabets: American Way of Life (2011), Roman Silhouettes (2011), Silvestre Weygel (2007, named after Martin Weygel'a erotic alphabet from 1560, which in turn was based on Peter Flötner's 1534 alphabet), Gravure (caps typeface made of human silhouettes), Innocence (2007, dingbats of girls).
    • Medieval chancery hand: Portugues Arcaico (2005, three medieval handwriting styles), Kurrent Kupfertisch (2006, a medieval hand done with Fernanda Salmona), Dovtrina Christam 1622 (authentic old manuscript face), Catania (2007, exquisite medieval caps in 3 styles by Iza W).
    • Typewriter typefaces: Remix Typewriter (2012), Smith Trash (2012), Neo Bulletin (2010, +Trash), Remington PW (old typewriter face), Olivetti Linea (old typewriter face), Erased Typewriter 2 (2007: 4 styles by Paulo W), RIP Typewriter (2009), Shadow Typewriter (2007), Underwood Typewriter (by Iza W).
    • Calligraphic: Broken Kiss (2015), Derniere Script (2015), Bradstone Parker Script (after Zaner's penmanship), Jan van den Velde Script (2011, based on the penmanship of Jan van den Velde as illustrated in vna den Velde's 1605 book Spieghel der schrijfkonste; developed jointly by Paulo and Iza W), Penabico (2010, with Iza W); Penabico is a free interpretation of the copperplate script styles to be found in the Universal Penman, London, 1741, by George Bickham---it contains over 1500 calligraphic glyphs and 250 ornaments. Samples of Penabico: i, ii, iii, iv, v, vi, vii, viii, ix), Easy Calig, Intellecta Mixed Script (2008), Spencerian Constancia (2008), Calligraphia Latina Soft4 (2010, quilled ornaments), Intellecta Script commercial (2009), Spencerian By Product (2009), Spencerian Palmer Penmanship Pro (2010), Indenture English Penman (2010), Calligraphia Latina (2008-2010, in weights called Soft2, Dense, 3, Soft4, Mixed, Square Edition).
    • Victorian, Edwardian: Engel (2007, by Iza W in 15 styles that have a 1870s look), Compendium (Victorian), Costado (2009, a Victorian / Western face).
    • Ornamental caps: Campi (2009), Doppel Mittel Lapidar Azure (2012), Musirte Antiqua (2012), The House of Usher (2012), Peterlon (2012), Dolphus Mieg Alphabet (2011, +Two), Dolphus Mieg Monograms (2011), Human Nature (2011), English Arabesque Revival 1900 (2011), Imprenta Royal Nonpareil (2011), XVI Century Shaw Woodcuts (2011), Ichweis Caps (2011), Cherubim Caps (2011), Rara Beleza (2011), Gothic 1880 Revival (2011), Angelicaps (2010), Unnamed Caps Two (2010), VertiCaps (2010) Rebimboca Caps (2010), Rebimboca Beveled (2012, free), Rebimboca Gradient (2012, free), Rebimboca Trash (2012, free), Rebimboca Outlined (2012, free), Republica Presente (2010), Speedball Metropolitan Caps (2010, after a design by Ross F. George), Nice Initials (2010), Morphelic (2010), DurerGotischCapitals (2010), Egmontian (2007, ornamental caps family), Saducismus Triumphatus (ornamental caps), Vogus (Victorian caps), Victorian Ornamental Capitals (2009) and Frompac 1889 Arabesque (2007) [both are classical arabesques published in Ludwig Petzendorfer's Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven fur die praktischen Zwecke des Kunstgewerbes, 1889], Lettrines Petin (+Ornée), Numa Initials (2006), Gradl Initialen, Vampirevich (2009, ornamental caps), Paulus Franck 1602 (2006, ornate caps), Geodec (2006, baroque caps), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Cadels (2007, ornate caps by Iza W), Manuscript XIV Century (2007, by Iza W--four Lombardic caps), Merona (2007, by Iza W--ten Lombardic caps fonts), Selena (2007, by Iza W---ornate Victorian caps), Leyenda (great Victorian era ornamental caps), Mixed Capital Style (2007, caps), Lenda (2008, capitals), Kidnaped at Old Times (2008, ornamental caps, ransom note style), Mortised Capitals, Is Not ABrazilian Font (hand-printed blackboard bold caps), Robur The Conqueror (2009, ornamental caps), Georgia Capitals (2009), Decadence avec Elegance (exaggerated ornamental caps).
    • The American Advertise series: American Advertise No. 9 (2008), American Advertise No. 17 (2007, 19th century caps), American Advertise 018 and 019 (2008), American Advertise Square Series (2007), American Advertise 003 (2012), American Advertise 004 (2010), American Advertise 005 (2010), American Advertise 006 (2010, alphadings), American Advertise 007 (2010, ornamental caps).
    • Ornaments, fleurons: Transportation Dings *2015), Cornucopia of Dingbats Eight (2015), Animals Old Cuts Two (2015), Unpublished Ornaments Two (2013), Classix (2012), Cornucopia of Dingbats (2012-2014, +Two, +Three, +Four, +Five, +Six, +Seven), Cornucopia of Ornaments (2013; +Two, +Three, +Four, +Five, +Six, 2014), Cornucopia Caligrafica (2012), Vintage Hands (2012), Human Silhouettes (2012; +Free, 2013; +Two, 2013; +Human Silhouettes Three, 2013; +Four, 2013; +Five, 2014; +Six, 2014; +Seven, 2014; +Eight, 2014; +Nine, 2015), Easy Fleurons (2012), Floreale Two (2012), Neoclassic Fleurons Free (2011), Calligraphic Frames Soft (2011, +Two), Jugendstil Flowers Free (2011), Easy Ornaments (2011), Blasons (2011), Blasons Free (2012), Armorial (2011), Monograms Soft (2010, with Iza W), Easy Tiles (2010), Free Tiles (2010), Rough Fleurons Two (2010), Vegetable Breathe (2010), Corn Pop Plus (2010), Mortised Fleurons (2010), Mortised Ornaments (2011), Mortised Ornaments Free Two (2013), Golden Times (2010), Stahlhelme und Kronen (2010), Rough Fleurons (2006), Nouveau Never Dies (2009, ornaments), GeodecBruceOrnamented6 (2006, after a sample from the Bruce Type Foundry), Grave Ornamental (2006), BlackOrnaments (2008), Hera Hedelix (2009, ornamental tiles), Mortised Ornaments (2009), Soft Fleurons (2007), Half Flower (2007), Frames 1 (2007, by Iza W), Flower Essences, Micro Fleurons (2009), Naturella (2009, leaf and grape dingbats by Iza W), Black Fleurons (2010), Easy Fleurons Two (2011), Intellecta Borders (2008, by Iza W), Intellecta Style (2007, borders).
    • Fonts made before 2007: Brute Aldine (2007, Western family), Bad Situation (2007, after a design by Freeman Delamotte from 1864), Benjamin Franklin (2007), Geodec Petras Enhanced (2006), Deutsche Poster (2006), FatFontGrotesk (2006), Orchis (2006, an art deco family by Iza W), Fantis (2006), Frompac (2006, with Iza W), Geodec Fog (2006), Intellecta Modern (2006), Intellecta Modern 2 (2006), Intellecta Romana Humanistica (2006), Advantage (2006, together with Iza W), Biza (2006, together with Iza W), Elegancy (2006, together with Iza W), Estiliza (2006, a sans family together with Iza W), Experitypo 4, Stairway to Heaven, Copperplate PW, Dings PW, Roger Dean, Gliphs PW, Luxeuil, Watchtower Bible 1965, Gabinete Portugues (11 fonts), Elara (2009), Xilografuras (dingbats), Beta, Alta, Paleolitica Nacional, Shakespeare Studs, Copperplate collection (5 fonts), Wine, Ampersamp, James Poem, Leal Conselheiro, Haeckel Enygma, Iza B, Of, Lementa (2006, ornate family), Pirates (dingbats), Wire Clip (2009), Divina Proportione (2009, dingbats), Tharagaverung (2007), Correo (2009, a nice manly bold face), Titivilus (2007, Roman lettering), Pirates De Luxe (2007, dingbats), Geodec Minuskel (2006), Geodec Spyral (2006), Copperplate Decorative (2006), Feosa (2006), Francesco Decorative (2006, Iza W), Geodec Petras Enhanced (2006), Ibarra Flourished (2006), Intellecta Decorative 017 (2006), Intellecta Decorative 018 (2006), Intellecta Slab Bold (2006), Kansas Decorative (2006), Pingente (2006), Sixties Living (2006), Caractere Doublet (2007), DeutschePosterSteinschrift (2007; by Iza W), Bailarina (2007), GP Casual Script (2007), Colonia Portuguesa (2007), Contouration (2007), Deco Experiment 3 (2007), Floresco (2007), Flower Jars (2007, by Iza W---a very nice idea), Frutisis (2007), Intellecta Monograms (2007: 19 monogram fonts by Paulo W), Intellecta Monograms Random Sample (2012-2013: several typefaces), Peloponeso (2007, by Iza W), Porcupine (2007, by Iza W), Southern Flight (2007, by Iza W---condensed), TTF TTTOEF 4 (2007, by Iza W---dingbats), GeodecBruceFlourished, HostetlerNormande, Victorian Ultra Parphernalia (2007), Angels (2007), Angels Free (2013), Mondrongo (2007), Oorlog (2007).
    • Fonts in 2008: Das Riese (3d engraved caps, +Shadow), Economica (sans, T26), Antiqua Double 12, Bad Baltimore (+Beveled, +Typewriter), Calligraphia Latina (2008-2009, in weights called Soft2, Dense, 3, Mixed, Square Edition, Free), Fry's Alphabet, Grissom (bug dingbats, by Iza W), Latinish (by Iza W), Lettering Deco (by Iza W), Litho Romana Inland, Quadratta Serif (a slab serif by Fernando Diaz), TTF TATTOEF 7 (by Iza W).
    • Fonts made in 2009: Eingraviert (engraved; scans: i, ii, iii), Eingraviert Beveled (2011), Greko Roman Oldstyle, Ortodoxa do oriente, Sans Square, Speedball (by Iza W, Victorian style), Speedball Western Letters (after Ross F. George's lettering), Elara (2009), Intellecta Roman Tall, Force Brute & Ignorance, Sunamy Caps, Starret, The Pilgrim (alphadings), Renaisperian (alphadings), Real Caps Two, Mateus Bold (4 bold styles), Intellecta Crafts (arts and crafts family), Bruce 1490, Bradley Dingies (five dingbat typefaces, after William H. Bradley), Allerlei Zierat Renaissance, Grave Plus, the grungy Monkey series (Victorian Monkey, Monkey Poesy, Monkey Messed Gutenberg Caps, Monkey Was Here, Monkey Insinuation, Monkey In The Middle Ages), Montezuma (dingbats), Grotesque and Arabesque, Calhambeque (old car dingbats), Eiger (2009, a 3d sketched headline face).
    • Faces made in 2010: Polen, Pencraft (capitals were inspired in Swagger Capitals, an original design from Carl Stephen Junge, at Barnhart Brothers & Spindler; lowercase based Pencraft Specials, an ornamental variation of the Pencraft Oldstyle series, as displayed in the BBS catalog from 1922), Salamemingoe (children's hand), BarberPoles, Beware the neighbors (scary), BlackInitialText, CaligrafiaDivina, CornPop, CowboyHippie Pro, Grotesca3-D, Nardis, Senzacuore, Speedball Metropolitan Poster (2010, after a design by Ross F. George), TagWood, Tosca, TypographyTribute, Zooland, Bubbleboddy-Fat, bubbleboddylight-Light, Pretoria Gross (a Victorian family done with Iza W), Wood Font Five (wood plank font), Wood Font Four, Herr Foch (art nouveau), Rebimboca, Octagon French (a 3d beveled typeface due to George Nesbitt, 1838), Picuxuxo (retro futuristic, comic book style), Large Old English Riband, Ornamental Riband, Kidings (Dutch dingbats), Hostil (originally done in 2007: a headline family; followed by Hostil Shadow Two (free, 2012) and Hostil Gradient (free, 2012)), Grotesca, Heptagon French, Antiquariaat (condensed), Cortinado, Sanoxio (3d headline face), Violentia (grunge), Swirlies (spiral dings).
    • Faces from 2011: Dia de los Muertos (fantastic skeletal masks), Inland Becker, Rasgos Escritura Nuevos, Jaggard (2007, a renaissance penmanship caps typeface modeled after Joachim Romann's Queen (1954-1956, Stempel)), Jaggard Two, Naive Ornaments Black, Augustus (+Beveled: roman letters), Sayonara (oriental simulation face; the Beveled style is free), Trash Barusa (inline ornamental face), Free Ribbons, Black Ornaments Three, Calligraphia Latina Soft 5, Heraldic Devices Premium, Ornate Blackboards, Benjamin Franklin Beveled, Baltimore Typewriter Beveled, Bernardo Beveled, Van den Velde Script (a free interpretation of the work of the famous master penman Jan van den Velde, found in the Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe (Haarlen, 1605)), Indenture English Penmanship, Penmanship Birds and Ornaments (2012), Beware The Neighboors Shadow (texture face), White Free (shadow face), Delamotte Large Relief Beveled.
    • Typefaces made in 2012: Porosa, Presto, Derradeira (signage script), About Sweet Memories (brush script), Intellecta Ribbons, Irrelevante (beveled caps), Laus Sus Chris (Christian dingbats), Unpublished Ornaments, Heavy Squared Writing (brush face), Mezcla Titan, Sweet About (retro script), Publicité, Hard to read monograms, Free Medieval, Doctor Polidori (initial caps), Mixed Silhouettes (One through Five), Glosilla Castellana Cursiva (inline type family), Sayonax (a textured version of the oriental simulation typeface Sayonara), Wood Stevens (free), Rockabilly (fifties script), Interdite Script (heavy calligraphic face), Prismatica (free), Cristalid (free prismatic face), Zed Leppelin (free), Neo Bulletin Outline (free), Neo Bulletin College (2012), Victorian Free Ornaments (+Two), Spanish Army Shields (+Two), Varius Multiplex, Stephens Heavy Titling.
    • Typefaces from 2013: Face of Yesterday (calligraphic script), Ribbon in the sky, Dreamer (a flowing upright semi-connected script), Vorname (blackletter), Barocque Capitals, Close To You (a rabbit-eared script), Wappen (heraldic shields), Eletroz (hand-printed), Morcrepito (blackletter), Metropolitan Poster Black, Animal Silhouettes, Intellecta Pointers and Hands, The Loyalist (script), Vonnegut (a left-leaning script), Perhaps Love (left-leaning script), So Lonely (script), Exposition (upright script), Plaster of Paris (connected script), Volstead (connected script), Versitia (connected script), Porongo (heavy brush script), Fat Fantasy, Das Krieg (soldier dingbats), Corn Pop Two (ornamental corners), Corn Pop Four, Corn Pop Five, Astrodings, Vulnavia Sans (comic book face), Capitular Heraldica, Mirella Initials Ornamntals (a swashy calligraphic script; with Iza W), Carpete (retro script), Free Writer, Round Hand, Exclusivite (fifties script), Hertz Oscillations (fat retro script), Heavy Rock (fifties script), Raindrops (retro script), Ralph Walker (ronde), Exiles (retro signage script), Mr. Richmond Caps (art nouveau alphadings), Berengard Caps Two.
    • Typefaces from 2014: Prester John, Animals Old Cuts, Take a Pebble, Corn Pop Five (borders), Kidnapped at German Lands (ransom note font), Kidnapped at German Lands 2, Kidnapped at German Lands 3, Kidnapped at German Lands 4 (finished in 2016).
    • Typefaces from 2015: Rogeer (script), Chart Moss, Eliensee, Speedball Ragged, State Bridge, Derniere Script, Grissom Four (dingbats of critters), Das Modern, Zona Pro (a sans family).
    • Typefaces from 2016: Ares Modernos, Soldier William Holmes (vintage handwriting), Doctor Russel (script), Hollandisch Closed (blackletter), Rough Flowers (floral ornaments), Equis (crosses), Mattaaus (a counterless poster font), Holland Morleau (a Kanzlei style blackletter font), Rough Vignettes, Rechnung (a bejeweled didone), Alphabet Fantasie (decorative caps), Phantasinian (blackletter), Loosing Memory (blackletter), Laandbrau (blackletter), Lord Radcliff.
    • Typefaces from 2019: Penmanship Feather.
    • Typefaces from 2020: Victorian Alphabets (a weathered engraved money font; despite its name, this is just one alphabet), Mortised Vignettes, Mortised Caps, Monocracy Cuts And Clips, Sincelo Ornaments, Augusta Torino Ornaments (based on art nouveau ornaments from Societa Augusta Torino), Renouveau (art nouveau).

      Typefaces from 2021: Gotteslob (blackletter), Cotton Mather (a medieval blackletter), Josef Wein Moderne Blackletter (after an alphabet by Josef Heim from the 1900 book Moderne Schriften / herausgegeben und verlegt von Josef Heim, Supernouveau (art nouveau ornaments).

    Showcase of Intellecta Design's fonts, numbering 554 as of early 2017. [Google] [MyFonts] [More]  ⦿

    Iñigo Jerez Quintana
    [Extratype (was: Textaxis)]

    [MyFonts] [More]  ⦿

    Ionic (newspaper) typefaces
    [Uli Stiehl]

    In these two PDF files (in German, dated 2009), Uli Stiehl compares various Ionic typefaces---these are types often used in newspapers. The Ionic typefaces date from ca. 1850 and were designed for small point sizes like 8pt. The pater familias of the Ionic typefaces is Ionic no. 5 (C.H. Griffith, 1926). In the digital age, we rediscover it as Bitstream's News 701 BT and in a severely modernized fashion, as Ionic No 5 (2021, by Malou Verlomme and Clement Charbonnier Bouet for Monotype).

    Other names and versions include Aurora BT (also called News 706 BT) based on Jackson Burke's original metal font Aurora, Imperial BT, Corona (Linotype), News 705 BT (which is Bitstream's Corona), Nimrod MT, Clarion MT. Monotype's Ionic MT is, according to Stiehl, too spindly and useless at small point sizes. The comparisons also cover typefaces further afield, such as Concorde BT, Bembo, Century Schoolbook URW, Bembo Book MT, Utopia PS Adobe, Plantin MT, Vectora LT, Textype (or Century 731 BT), Excelsior LT. He has a scan of a Mergenthaler Linotype catalog from 1950 which advertises Ionic No 5 in sizes from 5 to 12pt. [Google] [More]  ⦿

    Iordache Ionut
    [Arys Design]

    [More]  ⦿

    iPad fonts
    [Michael Critz]

    Michael Critz lists the 109 iPad fonts (44 families): Academy Engraved LET, AcademyEngravedLetPlain, AmericanTypewriter, AmericanTypewriter-Bold, AppleGothic, Arial-BoldItalicMT, Arial-ItalicMT, ArialMT, Arial-BoldMT, ArialHebrew, ArialHebrew-Bold, ArialRoundedMTBold, Baskerville, Baskerville-Bold, Baskerville-Italic, Baskerville-BoldItalic, BodoniSvtyTwoITCTT-Bold, BodoniSvtyTwoITCTT-Book, BodoniSvtyTwoITCTT-BookIta, BodoniSvtyTwoOSITCTT-Book, BodoniSvtyTwoOSITCTT-BookIt, BodoniSvtyTwoOSITCTT-Bold, BodoniSvtyTwoSCITCTT-Book, BodoniOrnamentsITCTT, BradleyHandITCTT-Bold, Chalkduster, Cochin-BoldItalic, Cochin-Italic, Cochin-Bold, Cochin, Copperplate-Bold, Copperplate, Courier, Courier-Oblique, Courier-BoldOblique, Courier-Bold, CourierNewPS-BoldMT, CourierNewPS-ItalicMT, CourierNewPS-BoldItalicMT, CourierNewPSMT, DBLCDTempBlack, Didot-Italic, Didot, Didot-Bold, Futura-Medium, Futura-CondensedExtraBold, Futura-MediumItalic, GeezaPro-Bold, GeezaPro, Georgia-Bold, Georgia-BoldItalic, Georgia-Italic, Georgia, GillSans-BoldItalic, GillSans-Bold, GillSans, GillSans-Italic, STHeitiJ-Medium, STHeitiJ-Light, STHeitiK-Light, STHeitiK-Medium, STHeitiSC-Light, STHeitiSC-Medium, STHeitiTC-Light, STHeitiTC-Medium, Helvetica-Oblique, Helvetica-BoldOblique, Helvetica, Helvetica-Bold, HelveticaNeue, HelveticaNeue-BoldItalic, HelveticaNeue-Bold, HelveticaNeue-Italic, HiraKakuProN-W6, HiraKakuProN-W3, HiraMinProN-W3, HiraMinProN-W6, HoeflerText-Black, HoeflerText-Italic, HoeflerText-BlackItalic, HoeflerText-Regular, MarkerFelt-Wide, MarkerFelt-Thin, Optima-BoldItalic, Optima-Regular, Optima-Bold, Optima-Italic, Palatino-Italic, Palatino-Bold, Palatino-Roman, Palatino-BoldItalic, Papyrus, PartyLetPlain, SnellRoundhand-Bold, SnellRoundhand, Thonburi-Bold, Thonburi, TimesNewRomanPSMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-ItalicMT, TrebuchetMS-Italic, Trebuchet-BoldItalic, TrebuchetMS, TrebuchetMS-Bold, Verdana-BoldItalic, Verdana, Verdana-Bold, Verdana-Italic, ZapfDingbatsITC, Zapfino. [Google] [More]  ⦿

    Irene Vlachou
    [Irene Vlachou Type]

    [More]  ⦿

    Irene Vlachou Type
    [Irene Vlachou]

    Or Eirini Vlachou, b. 1981, who works between Athens and Bristol, UK. Graduate of of Vakalo School of Art & Design in Athens and the University of Reading, where she earned the nickname Miss Fontlab before graduating there with a Masters in 2004. Type designer who used to be at POPtype in Athens. From 2013 to 2019 she was senior designer and variable font expert at Type-Together. From January 2020 she is back to full time freelancing Greek and variable fonts. In June 2019, together with Laurence Penney, she initiated the experimental project FauxFoundry, a webfont service offering fallback fonts, such that multiple scripts can be presented with reasonable fidelity to the web designer's intent, even when the primary font does not support those scripts. Currently working for Greek, thus providing Greek fallback fonts for fonts that do not contain Greek. The system takes measurements from Latin fonts that correspond with the set of parametric axes developed by Type Network. Her typefaces:

    • Prisma (2004). A typeface that covers both Latin and Greek.
    • Colvert Greek (2012, Typographies.fr). Colvert is a joint effort of Irene Vlachou, Jonathan Fabreguettes (Perez), Kristyan Sarkis and Natalia Chuvatin.
    • At Cannibal Fonts, she created the corporate typeface Ballisage Greek (2007), a Hellenization of Ballisage. With Panos Haratzopoulos of Cannibal, she also made the corporate typefaces Esquire Greek and Crank Greek (2004, for Esquire), and Amplitude and Franklin Antiqua Greek (2007, for Autobild).
    • Designer of Parmigiano Greek (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini.
    • In 2017, in collaboration with Laurenz Brunner, she worked on the Greek counterpart of the Documentata exhibition identity font, Bradford Greek.
    • Since 2017 she has been participating in the Google Summer of Code on behalf of the Greek Open Source Community, as a mentor on the Greek expansion of the libre fonts Arima Madurai, Cantarell and Eczar.
    • In 2018, she published Stratos Greek at Production Type to complement Yoann Minet's Stratos from 2016.
    • In 2018 together with Emilios Theofanous and Frank Grießhammer she reworked the Greek set of Source Serif Pro.
    • At Type-Together she has engineered three variable fonts: Protipo Variable, Portada Variable and Bree Variable. Her other type projects at Type Together include Adelle Mono, Adelle Greek, Adelle Sans Greek, Alverata Greek, Athelas Greek, and Literata Greek.
    • In early 2019, her Unica77 Greek was released by Lineto, a design in progress for almost two years in collaboration with Christian Mengelt from Team'77, Unica's original designers.

    Speaker at ATypI 2019 in Tokyo on the topic of Parametric Fallback Fonts for the Web. Klingspor link. Cannibal Fonts link. Github link. [Google] [More]  ⦿

    Isis Imaging Corporation

    Commercial fonts by this company are sold at Precision Type. There is the Midway font family, as well as the condensed didone titling typeface Ohsolong, and the stone age font Ice. [Google] [More]  ⦿

    Italo Typo Tour

    Italian type tour, showing pictures of found type, with maps and commentary. Part of Social Design Zine. For example, one is called Bodoniana. The other subpages are grouped around themes as well. [Google] [More]  ⦿

    iTunes

    The iTunes script collection has 25 free fonts that Apple gives away. View. List: Academy Engraved, Algerian Condensed, Arriba Arriba, Avant Garde Mono, Banco, Blackmoor, Bodoni SvtyTwo, Braganza, BraganzaSC, Cabaret, Hazel, Jazz, Jenson Old Style, Mona Lisa Solid, Portago, Princetown, Santa Fe, Savoye, Shatter, Souvenir Mono, Synchro, Temble, Type Embellishmnt One, University Roman Bold, Ziggy. [Google] [More]  ⦿

    Ivan A. Derzhanski

    Ivan A. Derzhanski works at the Institute for Mathematics and Computer Science of the Bulgarian Academy of Sciences in Sofia. His fonts include

    • CASYL: CASYLTEX (Canadian Aboriginal Syllabics TeX) enables you to typeset Cree/Inuktitut text. The package by Ivan A. Derzhanski was developed in 1999 and is based on James Evans' syllabic script.
    • eiad (IAD's Computer Modern Irish Family of Founts): a metafont family for Gaelic, dated 1993. It was modelled on Irish Texts Society "An Irish Corpus Astronomiae".
    [Google] [More]  ⦿

    Ivan Gladkikh
    [TypeType]

    [MyFonts] [More]  ⦿

    Ivan Hristov
    [Fontan2.com]

    [MyFonts] [More]  ⦿

    Ivan Neytchev
    [HS Fonts (was: HermesSoft Type Library)]

    [MyFonts] [More]  ⦿

    Ivan Petrov

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

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

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

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

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

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

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

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

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

    Ivan Repiso

    Barcelona-based designer of Fettoni Boktur (2016), an experimental typeface that mixes Bodoni and Fette Fraktur. [Google] [More]  ⦿

    Ivy Liu

    Zuwei (or Ivy) Liu is the Bayside, NY-based creator of Minimal (2013), a didone caps typeface with extreme contrast to the poit that the thin strokes actually disappear. [Google] [More]  ⦿

    J Foundry (was: Greyscale Type)
    [Jason Vandenberg]

    Jason Vandenberg (Greyscale Type and later J Foundry, Toronto) created the 8-style Grey Sans family in 2013. Gia Tran and Jason Vandenberg created the decorative typeface Ella FY (2013, Fontyou). The slender display typeface Sérafine FY (2013) was co-designed by Jason Vandenberg, Jérémie Hornus and Alisa Nowak. At the end of 2013, Jason Vandenberg and Jérémie Hornus co-designed the groovy poster typeface Jack FY.

    In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days.

    Minuit FY (2014, by Jason Vandenberg and Gia Tran) is a beautiful angular angry calligraphic display typeface. Still in 2014, he published the Peignotian fashion mag typeface families Bodoni Sans, Bodoni Sans Display, and Bodoni Sans Text.

    Typefaces from 2015: Abrade (a 12-style geometric sans with medium x-height and perfect rhythm covering Hairline to Ultra).

    Typefaces from 2016: Fourth (a baseball or roundhand script family), Town (a 124-style all caps art deco and lettering typeface family with enormous potential). Town includes subfamilies for Display, Inline, Outline, Lines (prismatic), 3 Dimensional, Shadow, Text, Emboss, Stencil, Chic and Contrast, and can be used for layering.

    Typefaces from 2017: Colby (a workhorse hand-drawn sans family).

    Typefaces from 2018: Stash (signage script).

    Typefaces from 2019: Marsden (114 styles: a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively).

    Typefaces from 2020: Mello (an informal grotesque).

    Typefaces from 2021: Cutmark (a 60-style octagonal industrial typeface family that features common 45 degree chamfered corners, flattened ink traps and wide apex forms; Cutmark Variable contains the full family of styles in a single file with width, weight and slant axes).

    Typefaces from 2022: Sundry (44 styles; J Foundry's take on the early 20th century grotesque).

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

    Jack Jennings

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

    Jackson Cavanaugh
    [Okay Type]

    [MyFonts] [More]  ⦿

    Jacopo Atzori

    Editorial and type designer based in Lausanne, Switzerland. During his communication design studies in Milan, Jacopo Atzori created a decorative caps typeface in 2013 for 6:00am Skateboard Culture Magazine. Check also his oriental Nike Tour lettering for the same magazine in 2012.

    Jacopo Atzori (Milano), Vicky Chinaglia (Roma) and Matteo Giordano (Alessandria) co-designed Anatomia in 2013-2014 during their studies at Politecnico di Milano (Italy) under the guidance of professors Marta Bernstein, Michele Patané and Andrea Braccaloni. It is a grotesk with peculiarities (such as the terminals on a and t) inherited from the Scotch Roman model found in the 1930 book by Giulio Chiarugi, Anatomia dell'Uomo.

    Graduate of ECAL in Lausanne, class of 2016. During his studies at ECAL, he published the display typeface Piet (2017) and the slab serif typeface Gioco (2016). [Google] [More]  ⦿

    Jacques André

    French type professor (b. 1938) who designed some experimental fonts such as Delorme (1989). Jacques André has been working in the field of structured documents and digital typography since 1980. He was the leader of the European Didot Project concerned with the digitization of types. He is Research Director at INRIA (the French National Institute on Computer Science) in Rennes, and his work covers the digitization of ancient books and the encoding of their fonts and glyphes.

    Author of Histoire de l'écriture typographique: Le XIXe siècle français (2013, with Christian Laucou). From the blurb: Pour montrer toute la richesse de cette période, les auteurs ont choisi d'en raconter les aventures successives: les Anglais avec l'invention des caractères gras, des égyptiennes et des sans-sérifs; la fonderie GillĂé qui devient celle de Balzac puis de De Berny et qui rejoindra, à l'aube du XXe siècle, celle des Peignot; la saga des Didot, de la rigueur de Firmin à l'extravagance de Jules; l'Imprimerie royale, puis impériale ou nationale, ses caractères orientaux et ceux de labeur, qui perdureront tant qu'il y aura du plomb; Louis Perrin, qui réinvente les elzévirs; les grandes fonderies françaises, qui rivalisent d'invention et de copies, et, enfin, les évolutions techniques de tout le siècle. The book also contains chapters by Alan Marshall, Alice Savoie and Matthieu Cortat.

    Author of Caractères numériques: introduction, in: Cahiers GUTenberg, 1997, pp. 5-44. Author of Histoire de l'écriture typographique---Le XXe siècle, (Atelier Perrousseaux, Gap, France, 2016). [Google] [More]  ⦿

    Jae-Joon Han

    Jae-Joon Han studied visual design at Hongik University College of Arts, and learned Hangeul design from Dr. Byung-Woo Kong, a pioneer of Hangul mechanisation. From the late 1980s to the mid-1990s, Jae-Joon Han designed Hangeul fonts, such as Konghan and Han. He published these theses: Design Philosophy and Principle of Hangeul and The Sustainable value of Hangeul. Currently (in 2015), he is a director of the King Sejong Commemoration Project and chairman of the Korean Society of Typography, as well as a professor at Seoul Women's University Department of Visual Design. [Google] [More]  ⦿

    Jake Luedecke
    [Luedecke Design Font Co (was: LDF Fonts)]

    [More]  ⦿

    Jakob Erbar

    Born in Düsseldorf in 1878, died in Köln, 1935. A teacher at the Köner Werkschule, he designed these typefaces:

    • Candida (Ludwig&Mayer, 1936). Erbar drew the Candida typeface for the Ludwig & Mayer foundry shortly before his death in 1935. The typeface was released posthumously in 1936. An italic designed by Walter Höhnisch was published the following year and a reworked version was produced in 1945. Bold weights followed in 1951. Both Candida and the italic are mediocre modern typefaces. Digital revivals: Candida EF (Elsner+Flake), Candida (URW), Candida (Adobe), Candida (Tilde), Candida SB (Scangraphic Digital Type Collection), Candida SH (Scangraphic Digital Type Collection), Candida (Linotype), Candida (Bitstream) and Candida (2021, Michelle Devlin). See this Candida Antiqua booklet by Ludwig & Mayer, ca. 1960.
    • Erbar-Fraktur (1936, Ludwig&Mayer). The Fett was published in 1938.
    • Erbar Grotesk (1926-1930, Ludwig&Mayer). The Kräftig and halbfett weights are especially attractive, and contributed to the popularity. Some publications mention the time range 1922-1930. Linotype (London) published two weights of Linotype Erbar, and Mergenthaler Linotype four weights of Erbar Condensed. Digital interpretations: Erbar (Linotype), URW Erbar (2009, URW), Erbar AT (Linotype), dT Jakob (Eduilson Wessler Coan and Gustavo Soares at dooType), Journal Sans (designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk; digital revival in 1994 by Olexa Volochay at ParaType; in 2014 designer Olexiy Volochay made some corrections in original digital data and extended character set; The family was re-released by ParaType in 2014), URW Erbar Neo Mini (2010), Neu5Land (2018, a free font by Uwe Borchert).
    • Erbar Initialen (Ludwig & Mayer). Dieter Steffmann revived it as the free font Erbar Initialen. See also Eller Initials (2012, SoftMaker) and Kudos Kaps Five NF (2006, Nick Curtis).
    • Erbar-Kanzlei (1913, Ludwig & Mayer).
    • Erbar Mediaeval (1913-1914, for Ludwig and Mayer). Erbar Mediaeval Lichtfett (1922) is an inline typeface. Erbar Mediaeval inspired Nick Curtis's Jacopo Mediaeval NF (2012, Nicks Fonts).
    • Erbar Unziale and Unziale Halbfett (Ludwig & Mayer).
    • Feder-Grotesk (Ludwig&Mayer, 1908, an early sans). Later weights came about between 1909 and 1925. Feder Grotesk inspired Olexa Volochay's free web font Federo (2011). Dick Pape's free version is called Initialen Feder Grotesk (2010).
    • Grotesk lichtfett (Ludwig & Mayer). An inline typeface designed before 1923.
    • Koloss (Ludwig&Mayer, 1923). The art deco typeface Koloss was digitized by many---check for example Koloss SB (Scangraphic), Koloss EF (Elsner+Flake) and Sonrisa (2011, CastleType).
    • Lautsprecher (1931, a script typeface at Ludwig&Mayer).
    • Lucina (1926, Ludwig&Mayer).
    • Lumina (1928, Ludwig&Mayer).
    • Lux (1929, Ludwig&Mayer). An inline art deco typeface. Revived in 2021 by Ralph Unger as RMU Luchs.
    • Phosphor (1922-1930, Ludwig&Mayer, a very famous inline typeface. Digital revivals: Phosphate Pro (2010, Steve Jackaman (ITF) and Ashley Muir at Red Rooster Collection), Zamenhof (2011, CastleType), Letterpress Phosphor (2009, Marcus sterz at FaceType), Phosphor (Monotype).

    Linotype page. Typedia link. FontShop link. Klingspor link.

    Catalog of some of his digitized typefaces: they include Canyon (SoftMaker), Humanist Slabserif 671 (Bitstream) and a custom typeface by Reymund Schroeder and Andrej Loll. Various digital versions of Candida. Jakob Erbar typeface showcase. [Google] [MyFonts] [More]  ⦿

    Jakub Spurny
    [Spurnej Type Foundry]

    [MyFonts] [More]  ⦿

    James Clough

    James Clough (b. 1947, London) studied typographic design at the London College of Printing. In 1971 he moved to Milan to work as a designer, typographer and calligrapher. Since 1990, he has been teaching the theory and history of typography and visual communication at various institutions including the Milan Polytechnic University (since 2002) and the ISIA of Urbino. He lectures on many aspects of calligraphy, type design and the history of typography in Italy, Britain and Switzerland. Recent essays of his research for English and Italian publications include a study of the various editions of the Hypnerotomachia Poliphili (first printed by Aldus Manutius in 1499), types used by the earliest printers in Milan and Venice, the 20th century revivals of Bodoni's types and a study of historical and contemporary script types. In 2005 he curated the Mondovì Museum of Printing. He is on the scientific board of Bibliologia, and wrote the introduction to volume 2 in 2007.

    James Clough co-founded the ACI (Associazione Calligrafica Italiana). He is a member of the Nebiolo History Project, and has been CAST's editor and adviser since its inception in 2013.

    In 2015, James Clough and Chiara Scattolin coauthored Alphabets of Wood: Luigi Melchiori & the history of Italian wood type (Tipoteca Italiana, Cornuda, Italy). David Wolske writes: Alphabets of Wood is the most recent and arguably the most beautiful addition to the new wave of wood type scholarship. It is also important because it is the first publication to seriously examine the historical and cultural significance of Italian wood type manufacturers. In the first part of the book, James Clough calligrapher, writer provides a broad historical overview of wood block printing, from fourteenth- and fifteenth-century hand carved imagery and text through the nineteenth-century American origins of moveable wooden type. In Chapter 6 Clough introduces us to Luigi Melchiori, a skilled designer and manufacturer of wood type, active during the late nineteenth and early twentieth centuries in the Veneto Region of Italy. Through beautifully paced layouts, sumptuous photography, and a richly textured typographic palette, Melchiori's life, work, and legacy are situated in the context of other Italian wood type manufacturers. In the second part of Alphabets of Wood, Chiara Scattolin digs deep into the archive of wood type fonts, specimen books, tools, and documents held by Tipoteca Italiana. Detailed testimonies from peers help to humanize "the Bodoni of wood type," making it easy for contemporary typographers, graphic designers, letterpress printers, and artists to recognize themselves in the pride and craftsmanship Melchiori brought to his work. Every chapter of the book is illustrated with stunningly handsome antique wood type specimens. Two eight-page letterpress inserts on a toothy, soft-white paper stock provide an arrestingly modern counterpoint. The Stamperia of Tipoteca Italiana printed all sixteen frame-worthy pages using original wood type from Tipoteca's Wood Type Archive. Typographically the book echoes the best of Italian design, finding a harmonious balance between industrial sharpness and sensuous fluidity.

    He also wrote Signs of Italy (2015, Lazy Dog Press). [Google] [More]  ⦿

    James Marsh
    [Arty Type]

    [MyFonts] [More]  ⦿

    James Montalbano
    [Terminal Design]

    [MyFonts] [More]  ⦿

    James Walker Puckett
    [Dunwich Type Founders]

    [MyFonts] [More]  ⦿

    Jamie Otelsberg

    Jamie Otelsberg is a visual designer originally from Los Angeles, CA, and living in Essen, Germany. She is currently working for a Bay Area-based design firm and volunteering at a human-computer interaction lab in Kerala, India. She currently works at OH No Type Co. in Oakland, California. Graduate of TypeWest, class of 2021. Her graduation typeface, Theka, is a casual Latin display type family that was originally inspired by hand-painted municipal signs and ads seen everywhere in rural South India, especially on roadside walls. As most of the signs are in Malayalam, Theka was an experiment to see how a type recipe derived from Malayalam lettering could apply to a Latin type design.

    At Type Cooper 2020, Jamie designed Ruhling, wich is loosely inspired by Elizabeth Friedländer's almost fat face Elizabeth. [Google] [More]  ⦿

    Jan Dominik Gillich

    Codesigner with Alisa Nowak of Sperling FY (2014, FontYou), a didone-inspired headline or fashion mag display typeface family. [Google] [MyFonts] [More]  ⦿

    Jan Erasmus
    [CyberGraphics]

    [MyFonts] [More]  ⦿

    Jan Erlinghagen

    Berlin-based graphic designer. He created the display typefaces Fana Bold (2012, Volcano Type) and Fana Didone (2012, Volcano Type). His thesis entitled Menschenbild und Piktogramm (2012) explores the use of gender symbols in pictograms.

    Behance link. [Google] [More]  ⦿

    Jan Fromm

    Jan Fromm (b. 1976, Berlin) is a freelance graphic designer who has studied graphic design at the University of Applied Science in Potsdam. He works in the fields of illustration, web, corporate and type design for several firms in Berlin. Since 2004 he has worked for Luc(as) de Groot at FontFabrik.

    He created the legible and very simple sans family Camingo (2006: 7 weights, 56 styles in all; read comments), Camingo Dos (2008, 28 styles, elliptic roundings), CamingoDos Condensed and SemiCondensed (each with a further 28 styles), Camingo Dos Office (2011), Camingo Code (2013, a free family for programming), Camingo Mono (2013) and Camingo Slab (2017).

    Rooney (2010) is a warm rounded serif family. Rooney Sans (2012) is a rounded humanist sans.

    In 2015, he published the 16-style sturdy subtly stressed sans family Komet (and Komet Pro).

    In 2019, he released Capito at Future Fonts: Capito originates from experimenting with different angles of the broad nib pen, in order to find the right form for a sturdy and readable serif typeface. As a result, Capito has a slightly reversed contrast that emphasizes the horizontal flow, while preserving the character and readability of classical serif letters.

    In 2022, Jan Fromm released the versatile (variable) type system Nice at Fontwerk. Nice transports the baroque aesthetic to 2022, and includes four optical sizes and 56 styles in total. Proof&Co writes that Nice is a real masterclass in serif design.

    FontHaus link. . Behance link. Future Fonts link.

    View Jan Fromm's typefaces. [Google] [MyFonts] [More]  ⦿

    Jan Rambousek

    Czech designer (1895-1976) of the didone family Brno Z (Grafotechna, 1959). [Google] [More]  ⦿

    Jan Tonellato
    [Synthview]

    [MyFonts] [More]  ⦿

    Jan Weidemüller
    [Ultra Kühl]

    [More]  ⦿

    Jan-Christian Bruun
    [JC Design Studio]

    [MyFonts] [More]  ⦿

    Jan-Henrik Arnold
    [JHA]

    [MyFonts] [More]  ⦿

    Janice Fishman
    [Janice Prescott]

    Janice Fishman (Sunnyvale, CA) was previously known as Janice Prescott. Her typefaces include

    • Together with Holly Goldsmith, Jim Parkinson and Sumner Stone, Janice Fishman designed the following families: ITC Bodoni 12 Book (1994), ITC Bodoni 6 Book (1994), and ITC Bodoni 72 Book (1994).
    • Shannon (1982, Agfa / Monotype). A slightly flared typeface developed with Kris Holmes.

    Linotype link. FontShop link. MyFonts link for Janice Prescott. Monotype link for Janice Prescott. FontShop link for Janice Prescott. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Janice Prescott
    [Janice Fishman]

    [MyFonts] [More]  ⦿

    Janna Barrett

    During a summer course called Type@Paris (2015), Janna Barrett created the didone typeface family Bananova, a contraction of bananas and bossa nova. Wordpress link. [Google] [More]  ⦿

    Janusz Marian Nowacki
    [PL fonts]

    [More]  ⦿

    Janusz Marian Nowacki

    Polish type designer in Grudziadz (Stycznia) involved in the restauration of historical Polish type designs. At GUST.org, he created fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk), Antykwa Toruńska (1995, based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki). Alternate URL for the latter face.

    He runs FOTO ALFA. At the latter page, you can find these fonts in which Nowacki participated: Antykwa Torunska, Antykwa Pótawskiego, Rodzina krojów PL, Rodzina fontów LM (Latin Modern), Quasi Palatino, Quasi Times, Quasi Bookman, Quasi Courier, Quasi Swiss, Quasi Chancery. The Quasi series are Polish versions of standard URW and Ghostscript fonts. The Rodzina series are Polish versions of the Computer Modern families.

    In 2005, he placed these fonts on CTAN: Kurier and Iwona. Kurier is a two-element sans-serif typeface. It was designed for a diploma in typeface design by Malgorzata Budyta (1975) at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski. The result was presented with other Polish typefaces at the ATypI conference in Warsaw in 1975. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Iwona covers all of these too and is Nowacki's alternative to Kurier. Both sans font families have many useful mathematical symbols as well.

    In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus.

    In 2008, two styles of Cyklop were published. This was a generalization and extension of a historical type.

    He writes: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the w underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface.

  • Boguslaw Jackowski and Janusz Marian Nowacki created Latin Modern using Metatype1 based on Computer Modern, but extended with many diacritics. The list: lmb10, lmbo10, lmbx10, lmbx12, lmbx5, lmbx6, lmbx7, lmbx8, lmbx9, lmbxi10, lmbxo10, lmcsc10, lmcsco10, lmr10, lmr12, lmr17, lmr5, lmr6, lmr7, lmr8, lmr9, lmri10, lmri12, lmri7, lmri8, lmri9, lmro10, lmro12, lmro8, lmro9, lmss10, lmss12, lmss17, lmss8, lmss9, lmssbo10, lmssbx10, lmssdc10, lmssdo10, lmsso10, lmsso12, lmsso17, lmsso8, lmsso9, lmssq8, lmssqbo8, lmssqbx8, lmssqo8, lmtcsc10, lmtt10, lmtt12, lmtt8, lmtt9, lmtti10, lmtto10, lmvtt10, lmvtto10. [Google] [More]  ⦿

  • Jarbas Gomes
    [Forte Type]

    [MyFonts] [More]  ⦿

    Jas Rewkiewicz
    [Dieu et mon droit]

    [More]  ⦿

    Jason Anthony Walcott
    [JAW Fonts (Jukebox Type)]

    [MyFonts] [More]  ⦿

    Jason Anthony Walcott
    [Jukebox Collection]

    [MyFonts] [More]  ⦿

    Jason Anthony Walcott
    [Counterpoint Type Studio]

    [MyFonts] [More]  ⦿

    Jason Castle
    [Castle Type]

    [MyFonts] [More]  ⦿

    Jason Smith
    [Fontsmith]

    [MyFonts] [More]  ⦿

    Jason Vandenberg
    [J Foundry (was: Greyscale Type)]

    [MyFonts] [More]  ⦿

    Java Pep

    Surakarta, Indonesia-based designer (b. 1995) of the script typefaces Humienly (2017) and Mellifret (2017). In 2018, he designed The Youther, Ruthen Back (brush script), Scary Sign (a crayon font), Hand Strike, Land of Laugh, Rough Sketch and Sunderlines.

    Typefaces from 2019: Lizelie (a calligraphic script), Hallo Berthany, Kongfusher (a retro signage font), Scary Sign, Sans Andreas, Sunbathe (an elegant script), Yackien, Rhythmic, Kingfisher (a layered retro script font), Windmill, Aromatic Ginger, De Luxious, Adelica Brush, Reallishmy, Choko Milky, Balltimore (sic) Sans.

    Typefaces from 2020: Pure and Lovely (calligraphic script), Pure and Lovely (calligraphic script), Aesthetica (a wild calligraphic script), Metafiz (a display didone), Magical Source (a display serif), Cagile (a 4-style Peignotian sans), Garlic, Hey Beibeh, Happy Birthday, Kirana Delova, Santiago, Expressiveness (or The Expressions), Rextions, Mendoan Script.

    Typefaces from 2021: Mickstone Crush (a heavy brush script), Brilliant Grunge (a stylish serif), Craved Story (inline, 8 styles), Avegas Royale (a stylish sans), Gexo Sans (a 10-style sans), The Lord Music (a spurred inline typeface), Beyond Worth (a decorative flared typeface), Castle Rocks (an eight style display typeface with flared terminals), Keystone (a display sans), Mutually Beneficial.

    Typefaces from 2022: Versatile Letters (a bold signage script). [Google] [MyFonts] [More]  ⦿

    JAW Fonts (Jukebox Type)
    [Jason Anthony Walcott]

    JAW Fonts (and before that, JAW Arts Fonts, and Jukebox Type) was founded by Jason Walcott (b. Trenton, MI, 1971) from Hollywood, CA. Jason grew up in New Jersey, and now resides in Southern California. He graduated from Kean College of New Jersey (now Kean University) in 1997 with a BFA in illustration. JAW Fonts features many elegant calligraphic and comic book style typefaces. JAW Fonts ceased operation in 2003 and Jason reintroduced his collection of fonts in a revised form under the new name of Jukebox Type.

    The original list of typefaces includes Acroterion JF (2002, formal script), Adage Script JF (2002, formal script), Alpengeist, Andantino (2003), AnnabelleJF (2002, a formal script), Baileywick Curly, Baileywick Festive, Baileywick Gothic, Baileywick Happy Grams (star dingbats), Baroque Text JF (2003, a great Fraktur font based on a hand-lettered alphabet drawn by Ross George), Boxer Script, Bronson Gothic, Buena Park (2001, Victorian vintage type influenced by Clarendon), Cathexis (2010, a heavy poster font), Cavetto, CharadeJF (2001, informal script), Debonair, Fairy Tale, Fanfare (2004, a bouncy serif family), Fenway Park, Friki Tiki, Geometric Soul (2004, an art deco all caps face), Gypsy Switch, Holiday Times, Hucklebuck (2003, upright connected signage face), Jeffriana, John Andrew JF, KonTiki (a family published in 2002 containing Aloha, Enchantment, Hula, Kona, Lanai, Lounge and Trader), Lady Fair, Luxury Royale (2003), Manual Script JF (2002), Martini (2004, a brush script), Mary Helen, Opulence JF (2002, formal script font), Peregroy, Periwinkle (2006), Cabernet (2006, frilly didone), Polynesian (2004, Hawaiian-look typeface that could also pass for an oriental simulation face), Primrose JF (2002, formal script), Rambler Script, Randolph, Retro Repro (2002, based on a script by Jerry Mullen from 1953), Saharan, Scriptorama (Hostess, Markdown and Tradeshow), Shirley Script JF (2003), Southland, Spaulding Sans, Stanzie, Stella Ann (2005), Stephanie Marie JF (2003), Tamarillo (2005), TwisterJF (2003), Valentina Joy, Varsity Script, Viceroy, Walcott Gothic (Fountain, Hollywood and Sunset), Groovin (2005, Umbrella Type), Wonderboy. The fonts of this West Hollywood, CA-based foundry can be bought at MyFonts.com. In 2003, he started Jukebox Type and started offering his fonts at Veer. In October 2003, Veer acquired Jukebox Type outright.

    In 2005, they added Rootin Tootin (Western style), Dulcimer (soft script), Block Party, Dandelion, Marmalade (idyllic script).

    In 2006, he created Jukebox Bookman, a 6-weight family, and the brush script typeface Stephanie Marie.

    In 2007, he added Hellenic Wide (after a 19th century ATF font), GiggleScript JF, Savoir Faire (after a handlettered slogan in 1940 for Chesterfield cigarettes), Lollipop.

    2008 additions: Hogwash (paintbrush face), Antiquities Technobaby.

    2009 additions: Cynthia June (calligraphic).

    Typefaces from 2010: Eloquent (a didone in the style of Pistilli).

    Counterpoint Type Studio was established by Walcott in 2013. In 2013, Jason designed the psychedelic typeface Califunkia and the calligraphic script typeface Profiterole. Domani CP (2013, CounterPoint)) is a faithful digital revival of an old photo-typositing typeface called ITC Didi. Originally designed by Herb Lubalin and Tom Carnese, Domani brings to life a font that has been somewhat neglected by the digital era until now.

    This is the list of fonts sold by MyFonts in 2015. It is just a subset of the fonts made by Walcott:

    Jukebox Type has these typefaces:

    Klingspor link. View the Jukebox Type typeface library. View the JAW Fonts typeface library. [Google] [MyFonts] [More]  ⦿

    Jay Harris

    Student who lives in Sparks, NV. Creator of an extreme-contrast didone headline typeface called JIST (2014). [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    JB Foundry
    [Jean Boyault]

    JB Foundry was established by Jean Boyault (b. 1960, Suilly La Tour, France), a type designer who lives in Suilly La Tour. He is the designer of the cursive and other school fonts for teachers, all free and made in 2006-2007: JBCursive, JBEtude-Regular, JBMatrice, JBBatonRond-Bold, JBBatonRond-Extra, JBBatonRond-Italic, JBBatonRond-Regular, JBChantier, JBCursive++Feutre, JBCursive++Marqueur, JBCursive++Normal, JBFil, JBRond, JBScolaireT1-Bold-Italic, JBScolaireT1-Bold, JBScolaireT1-Italic, JBScolaireT1, JBScolaireT2-Bold-Italic, JBScolaireT2-Bold, JBScolaireT2-Italic, JBScolaireT2.

    Typefaces made after 2007: Simple Ronde (2011, upright connected script), JB Etude (2007), JB Script (2010), JB Haut>, JB Lames (2008), JB Elegant (2008), JB Cursive, JBStyle (2008), JB Fil Std (2009) and JB Calli (2008).

    Commercial typefaces: JB Davayé (2010, connected upright script), Belladone (2010, a graceful display family), Maceriam (2010, +Nova, +Putri, +Lapide: letters cemented into walls---a great idea).

    From 2011: Old French School Bold (upright connected script), Filature (a monoline connected upright script).

    Typefaces from 2012: Only One Dollar (a shaky script), JB Cursive 3, Purple Line, Purple Deco, Suilly La Tour, Typha Latifolia, Bouclettes (a curly upright typeface).

    Typefaces from 2013: Friandise (a decorative typeface reserved for chocolate enthusiasts), Capucine (a chocolate store pair of typefaces), Cuivrerie (a flared interlocking typeface based on lapidary inscriptions found in Bourgogne), Suilly La Tour (calligraphic script), Gaston (a large script family), Typha, Centaurea (a beautifully executed layered type system based on a didone with curved serifs), Toubib (hand-printed).

    Typefaces from 2014: Hirondelle (connected script), Lecteur Heureux (connected upright loopy script), Happy Reader (connected script), Hopeful Giraffe (a very tall and thin upright script).

    Typefaces from 2015: HopefulGrasshopper (a fun printed script), Henri Modeste (an experimental didone typeface), Gaston (upright connected ronde script), R+C (the ultimate explicit ruler-and-compass technical drawing typeface with filled, outlined and sketched substyles).

    Typefaces from 2016: Belle Allure (connected upright school script).

    Typefaces from 2017: Badinerie (flowery semi-connected connected script), Badinerie Love (with hearts added), badinerie Christmas.

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

    JC Design Studio
    [Jan-Christian Bruun]

    Danish graphic designer in Lyngby. He made the following typefaces:

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

    Jérémie Gauthier

    Nantes, France-based student-designer of the free stencil typeface Stanley (2019) and the free decorative didone typeface Kate (2019), which is clearly intended for use by the fashion industry.

    In 2020, he published the free fashionable typeface Bigilla. [Google] [More]  ⦿

    Jérémie Hornus

    Frenchman Jérémie Hornus studied typography at Le Scriptorium de Toulouse, France and the University of Reading, where he graduated in 2006. He worked at Dalton Maag, where he designed Tornac (which became a retail typeface in 2013 at Dalton Maag), a connected script face, and was involved in brand identity for clients such as Burberry, Toyota, HP, Nokia, Danish Industries, Dubai Metro, Manchester Metrolink, and the city of Southampton.

    Currently located in Paris, he set up his own commercial foundry in 2013. He also started publishing some of his typefaces at the French type coop Fontyou in 2013. His typefaces:

    • Kefa (2006), a Latin/Ethiopic family with slab serif origins and a futuristic twist. Kefa is an Apple system font. In 2013, he published Kefa II Pro and in 2020 Kefa III (at Black Foundry).
    • Schoiffer Sans. A soft slightly flared sans inspired by Enschedé's Roman No6, also known as the Scheffers or Quentell types.
    • Together, Jérémie Hornus and Franck Montfermé designed the feminine italic typeface Maryleen FY (2013, Fontyou).
    • The connected script typeface Tornac (retail typeface from 2013 at Dalton Maag).
    • Beaurencourt FY (2013). A vintage 19th century connected secretary's hand script codfesigned with Gia Tran.
    • Booster FY (2013, with Alisa Nowak and Luis Gomes). Luis Gomes, Jérémie Hornus and Alisa Nowak co-designed the rounded sans typeface family Booster Next FY in 2014.
    • Gauthier FY (2013, with Alisa Nowak). A transitional typeface family. In 2014, Jeremie Hornus and Julien Priez co-designed the hairline typeface Gauthier Display FY.
    • Lean-O FY (2013, with Alisa Nowak and Benjamin Lieb). A slab serif with leaning asymmetrical brackets. Has a hairline weight. See also LeanO Sans in 2014.
    • Marianina FY (2013, with Alisa Nowak). A contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders.
    • The slender display typeface Sérafine FY (2013) was co-designed by Jason Vandenberg, Jérémie Hornus and Alisa Nowak.
    • Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).
    • At the end of 2013, Jason Vandenberg and Jérémie Hornus co-designed the groovy poster typeface Jack FY.
    • In 2013, he collaborated with Alisa Nowak and Fabien Gailleul at FontYou on the design of the astrological simulation typeface Astral FY. The same group of three collaborated in 2014 on Naive Gothic FY.
    • In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. With Midzic and Nowak, Hornus co-designed the very humanist sans typeface family Saya FY (2013) and Saya Semisans FY.
    • Joao Costa co-designed the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak.
    • In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus co-designed the blackletter typeface Blackmoon FY.
    • In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus co-designed the wedge serif typeface Ennio FY at FontYou.
    • The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
    • In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak co-designed the classical copperplate script typeface Vicomte FY.
    • Wes FY (2014). A sans family modeled after Futura.
    • Hansom FY (2014) and Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak). An organic sans and slab with very large bowls.
    • In 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak co-designed Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.
    • In 2015, Jérémie Hornus, Clara Jullien and Alisa Nowak co-designed the spurless / organic slightly inflated sans typeface family Diodrum at Indian Type Foundry.
    • In 2015, Jérémie Hornus and Clara Jullien co-designed Eurosoft (Indian Type Foundry). Eurosoft is an elliptical monoline techno sans typeface family that is especially attractive in the heavier weights.
    • Volkart (2015, Indian Type Foundry). An 18-style neo-grotesk.
    • At Indian Type Foundry, Jérémie Hornus and Julie Soudanne co-designed the Spencerian calligraphic copperplate style script typeface Spencerio (2016).
    • Tabular (2016): a monospaced programming font by Jérémie Hornus and Julie Soudanne for Indian Type Foundry.
    • Intercom (2016). A bare bones sans with tapered terminals and very short ascenders and descenders.
    • In 2016, as Black Foundry, Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali.
    • Switzer (2015-2021, Fontshare). A free 18-style neo-grotesk, named Switzer for its Swiss style roots. The terminals are slightly rounded and the appearance is timeless. This seems to Hornus's take on Helvetica.
    • In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry in France.
    • In 2016, he designed the connected calligraphic script typeface Rosaline (free version at Fontshare) and the heavy slab serif poster typefaces Thug and Thug Rough for Indian Type Foundry. Github link.
    • In 2016, Julie Soudanne and Jérémie Hornus designed the condensed movie title and credit typeface Title.
    • Alpinist (2016) is a humanist sans with a small x-height optimized for magazine design and other editorial applications. The edges are slightly rounded for easy reading. Designed by Jeremie Hornus and Alisa Nowak. Somehow, it evolved into Alpino at Fontshare.
    • In 2016, Gaetan Baehr and Jeremie Hornus co-designed Hate at Indian Type Foundry. This is the best Halloween and horror movie font ever made, period. The font has 510 glyphs, and each letter has three variants. Letters have spooky-looking hairs or roots sprouting from their zombie outlines.
    • Supreme (2016-2021, by Jérémie Hornus and Ilya Naumoff at Fontshare). A 14-style engineering sans with straight-sided almost monolinear letters.
    • In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.
    • In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta.
    • Associate Sans (2019, Jérémie Hornus and Alisa Nowak). A sans family with an American gothic look. Matching font families include Associate Slab, Associate Sans Stencil, Associate Slab Stencil, and Associate Sans Mono.
    • Diodrum Rounded (2020, by Manushi Parikh, Jérémie Hornus, Clara Jullien and Alisa Nowak). A spurless organic sans family.
    • Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare). A free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020).

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

    Jean Baptist De Panne
    [De Passe&Menne]

    [More]  ⦿

    Jean Boyault
    [JB Foundry]

    [MyFonts] [More]  ⦿

    Jean Lochu

    French designer (b. 1939), calligrapher by training, who lives in Villeneuve-Saint-Georges. He is the designer of Sélune (1998, Creative Alliance, with influences of Grandjean and Didot), Garonne (1972, Hollenstein Phototypo), Loire (1991-1997, Creative Alliance), and Rhône (1987, Mecanorma).

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

    Jean-Baptiste Levée
    [Production Type]

    [More]  ⦿

    Jean-Baptiste Morizot
    [Phantom Foundry]

    [MyFonts] [More]  ⦿

    Jean-François Porchez
    [Typofonderie (was: Porchez Typofonderie)]

    [MyFonts] [More]  ⦿

    Jean-François Porchez
    [ZeCraft]

    [MyFonts] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Wood type]

    [MyFonts] [More]  ⦿

    Jeff Levine: Wood type
    [Jeff Levine]

    Digital renderings and simulations of wood type by Jeff Levine include Advertiser JNL (2009), Alderman JNL (2020: a wide slab serif typeface based on the classic wood type Antique Light Face Extended), Antique Unique JNL (2017, a revival of a wood type called Ten Line Antique Compressed No. 7), Blacksmith JNL (2011, based on a brass stencil image), Brenham JNL (2011), Buckdance JNL (2005, Tuscan), Bushwick JNL (2011, caps-only sans), Cattleman JNL (2013, a condensed French Clarendon), Cattle Trail JNL (2019: after Latin Condensed), Chamfer Engraved JNL (2020: a chamfered sans serif wood type design with a right side engraving line from the 1800s was found within the pages of the Thorowgood Foundry), Cherrywood JNL (2020: based on the classic Columbian from the William H. Page Wood Type Company (circa 1870), Cherrywood JNL is a bold slab serif type design), Clarenwood JNL (2014), Clarenwood Stencil (2015), Clarified JNL (2020; based on William H. Page's Clarendon Extended wood typeface), Compressed Wood JNL (2020: extrapolated from J.G. Cooley's Roman Triple Extra Condensed Fifty Line), County Clerk JNL (2020: after the vintage Hamilton wood typeface Gothic Special), Daily Tablet JNL (2014: based on wood type used for newspaper headlines), DuBois Block JNL (2008), Early Edition JNL (2020), Eccentric Wood Type JNL (2020), Elida JNL (2011, a didone all caps wood type family), Elk Grove JNL (2009, based on a wood type called Facade), Emporia JNL (2011), Engine Company JNL (2013), Final Edition JNL (2015), Fort Courage JNL (2014, a French Clarendon), Framingham JNL (2010, a widened version of Nostrand JNL), General Merchandise JNL (2020: after the condensed slab serif Antique X Condensed, ca. 1840, by Wells and Webb), General Merchant JNL (2013), Gristwood JNL (2015), Hayfork JNL (2011), Ingomar (2006), Lenorah JNL (2009), Local Printer JNL (2020: based on William Page's wood typeface Skeleton Antique, ca. 1865), Lockup JNL (2009), Longwood JNL (2014), News Event JNL (2020), Normandy Isle JNL (2011), Northfork JNL (2010, based on a William H. Page wood type alphabet called Parisian, circa 1857-58), Nostrand JNL (2009, condensed wood type), Notification JNL (2011), Nouveau Sans JNL (2014, art nouveau-inspired wood type), Octagonist (2020: a 3d beveled typeface that revives George Nesbitt's Octagon from 1838), Old Wood JNL (2013), Ornery Polecat JNL (2014: Western style), Page Printer JNL (2020: after William H. Page's Skeleton (1948)), Payson (2009), Pleasantwood JNL (2014), Presswood JNL (2020: based on the title font used on the cover of a specimen book issued by the Delittle Wood Type Company of York, England), Primitive Tuscan JNL (2014), Rachelle JNL (2009, Italian), Ranch Hand JNL (2013), Reverse Gothic JNL (2014), Roman Wood Type JNL (2012, in the Clarendon Condensed style), Rounded Sans Wood JNL (2015), Roundwood JNL (2020: spurred), Rustic Setting JNL (2013), Saddle Tramp JNL (2013), Sagebrush JNL (2014: modeled after French Clarendon), Sales Book JNL (2013), Sales Event JNL (2014), Sandalwood JNL (2020: based on a sans wood type seen in Rob Roy Kelly's American Wood Type), Shadowland JNL (2014), Shadowlawn JNL (2014), Sidewinder JNL (2013, an ultra-compressed wood type), Splinters JNL (2009, wood pieces), Slabserif Grotesk JNL (2020: based on a wood type design called Antique Light Face), Slabserif Wood JNL (2020), Stockville JNL (2012), Streamwood JNL (2014), Strongbox JNL (2009), Table Wood JNL (2020: based on the wood type Concave Tuscan Extra Condensed), Tamarac (2006, slab-serif wood type), Tent Show JNL (2014, based on a French Clarendon circus style), Teterboro JNL (2010; although built from scratch, this slab serif has a wood type feel), Texarkana JNL (2011, based on a classic condensed wood type from the 1800s, and embellished with stars), Topanga JNL (2010, ultra-condensed sans serif wood type), Trail Boss JNL (2011), Troubadour JNL (2011, ornamental wood type), Unadorned JNL (2017, an ornate spurred wood type font), Weekend Tabloid JNL (2009, a sans serif wood type), Western Wood Type JNL (2015, a Clarendon), West Fork JNL (2020: after Latin Extended by Hamilton, 1888), Westward JNL (2014: circus lettering typeface), Winnetka JNL (2009, octagonal wood type inspired by Cooley Antique Tuscan Condensed---a printer's wood type manufactured in 1859 by J.G. Cooley), Woodbranch JNL (2016), Wood Clarendon JNL (2020: after Hamilton Clarendon Condensed, 1899), Wood Condensed Grotesk (2014), Woodcraft JNL (2013), Wood Fancy Reverse JNL (2020), Wood Gothic JNL (2020: based on Hamilton Gothic Bold (Hamilton Wood Type Foundry, circa 1889), Woodhaven Initilas JNL (2014), Woodlawn JNL (2013, outlined), Wood Line JNL (2018, based on wood type), Woodline (2019: very different from Wood Line JNL), Woodmark JNL (2014: based on William H. Page's New Process No. 507), Wood Nouveau (2014), Wood Poster Display JNL (2014), Wood Rounded JNL (2020: an interpretation of Caslon Rounded), Wood Sans Narrow JNL (2017, based on examples of an extra condensed Hamilton Wood Type), Wood Serif Poster JNL (2020), Wood Stencil (2019), Wood Tuscan JNL (2014), Wood Type Bodoni JNL (2013), Wood Type Calendar JNL (2016), Wood Type Grotesk JNL (2014), Woodwork JNL (2014). [Google] [MyFonts] [More]  ⦿

    Jelloween Font Foundry
    [Tjarda Koster]

    Dutch designer (b. 1985, Smallingerland), aka Jelloween, who designed the pixel fonts Blinkie 10 (2007), Silky Wonderland (2006, pixel face), Spinach (2006), Spinach Outline (2006), Webbies (2006, web dingbats in pixel format), Chewy Blossom (2006), Charriot Deluxe (2006), Charriot (2006), Spacy Stuff (2006), Smirnof (2006: an elegant dot matrix face), Every Day (2006), JL Quixs (2006, sans), Skinny (2005), Cyborg (2006, futuristic), Cranberry Blues (2006) and Pixelicious (2006). She also made the dingbat typeface Jellodings (2007, free here), the alphading typeface Alien-ABC (2006), the modern sans display typeface Ambrosia (2006), the bouncy typewriter typeface Humble Bee (2006), the 10-style simple sans family Machinato (2007), Tjarda Hand (2007), and the grunge typefaces Thoughts (2006; see also here), Smudgers (2006), Zhang (2007, slightly gothic), Vinegar (2008, free didone typeface), Jellobrush (2008), Puppeteer (2008, grungy blackletter), Happy-Go-Lucky (2010, dingbats) and the funky family Gubblebum (2007, free). Jesterday (2011) is a bouncy sans family.

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

    Jen Wagner

    Jennifer Wagner (Nashville, TN; was: Denver, CO) designed these typefaces:

    • In 2022: Essential Sans (16 styles and one variable font), California Coast (a bold display serif), Casa Sol.
    • In 2021: Avanti (script), Mezcal (a thin display serif), Runaways, Levitate (an experimental sans and serif combination), Barnaby (a 2-style text typeface), Montmartre (a display serif), Kyrie (a display serif), Bonne Nuit (script).
    • In 2020: Violet, Ostuni (script), Larkspur (a fat finger font), Amora, Bastia (a transitional typeface), Oliver Label, Palmer Lake.
    • In 2019: Rylan, Margo, Palmer, Tangerine Skies (font duo), Halifax, Capri (Sans, Serif), Lyon (Sans, Script), Paris (Sans, Script), Noelle (a wedge serif), Rylan, Norfolk.
    • In 2018: Sorrento, Folsom (sans), Modena, Versailles, Albany, Osaka, Phoenix (a geometric sans family), Amaro (script), Sucre (condensed sans), Paris (SVG font duo), Laguna Beach (font duo), San Clemente (script), London (luxurious style), Rome (sans), Dallas (vintage sans), Calgary, Wink Wink (font duo), Nashville, Adelaide, Bordeaux (script), Oxford (sans).
    • In 2017: Milan (vintage sans), Prague, Sydney (font duo), Manhattan (high contrast city chic), San Diego (informal sans), Newport (brush script), Joshua Tree, Charleston (signature script), Knoxville, Malibu, Bronx (blackboard bold), Stockholm (sans), Ontario (four-layer sans), Tokyo (sans), Rochester (handcrafted), Brisbane (script), Florence (script), Montauk (all caps), Brooklyn (sans).
    • In 2016: Aleppo, Edinburgh (a didone), Paris (a heavy brush typeface), Christmas Town (handcrafted), Glasgow, Austin, North Pole, Chicago (handcrafted), Oceanside (a great romantic brush script), Louisville, Los Angeles (avant garde sans), Kingsland (a vintage sans), Baton Rouge, Venice (fashion mag style), Nashville (handcrafted), Manhattan (an all caps didone), Anchorage (sans), Athens (minimalist sans), Santa Barbara, Orlando, Jackson Script, Denver, the avant garde typeface Sacramento, the brush typeface Atlanta, the sans typefaces Pasadena, Vancouver and Portland, Portland Serif, the stencil typeface Faroe and the handcrafted typefaces Seattle, Dana Point and Honolulu.
    [Google] [MyFonts] [More]  ⦿

    Jennifer DeAngelis

    Born in New Jersey in 1985, Jennifer DeAngelis Gunn still lives in New Jersey, where she runs the graphic and web design company Jennifer DeAngelis Design (est. 2008), which is also listed on MyFonts. DP Fonts (est. 2010) sells fonts created by Jennifer and her New York college friend, Amanda Pastenkos.

    Jennifer designed the intricate wool strand-themed font Strands (2010) and the children's hand Right Height (2010). Majordomo (2010) is a pretty hand-drawn didone.

    The first DP Fonts font on MyFonts is the dingbat typeface Wintery Mix (2010). In 2011, Jennifer published the hand-printed 3d outline typeface Marquee, Mermaid NY (mermaid dingbats), Donald (hand-printed outline face), Bluebird (2011, a connected italic script), Quail (2011, grunge), REST BORT (2011, a hand-drawn blackboard bold family), White Rabbit (2011, a gorgeous hand-printed swashy caps face), Monocle86 (avant-garde), the grungy Snatch n Sniff, and the warped zebra typeface WEALD.

    Creations from 2012: the white on black tiled typeface Inthabox, the art deco typeface Esther.

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

    Jennifer Farley

    Web designer Jennifer Farley writes occasionally about typefaces. In this piece, she introduces some Bodonis. [Google] [More]  ⦿

    Jennifer Karen Patrick

    Graphic design student from Baton Rouge, LA, who is making a Bodoni Semi-serif (2003). [Google] [More]  ⦿

    Jens Kutilek

    Jens Kutilek studied Communication Design in Braunschweig. After graduating he founded the web design agency Netzallee. He works at the font technology department at the Berlin office of FSI (FontShop International) since 2007. Jens Kutilek had a small typology page proving that Arial is not Helvetica, Courier is not Courier New, and Times-Roman is not Times-New Roman. That page disappeared. His typefaces:

    • Azuro (2011). Designed by Georg Seifert and fine-tuned by Jens Kutilek, and published by FontShop.
    • Bulette Bold (2008). A fat octagonal / mechanical design.
    • The free font Comic Jens (2007-2009), a free alternative to Comic Sans: see here. See also the update Comic Jens UI (2014).
    • Conta: A coding font. Monospaced and proportional variants, italics.
    • The sturdy 6-style typeface family FF Hertz (2015) that was influenced by German cartographic alphabets.
    • FF Uberhand. An 11 style marker pen font family---casual and informal---that could serve as a replacement and improvement of Comic Sans.
    • Grotesk 812: A condensed grotesque typeface.
    • Helvers (2011). A blend of Univers and Helvetica.
    • Homecomputer (2019). Two-axis variable interpretations of monospaced pixel fonts for the Commodore 64 and Amiga home computer systems from the 1980s, with adjustable effects to simulate artifacts of old CRT displays. Github link for the open source fonts. Particular fonts include Workbench and Sixtyfour.
    • Malerblock: A signpainter's typeface.
    • Mergenthaler Antiqua (2012). A digitization of a forgotten typeface by Hermann Zapf.
    • Pathos: A monumental sans-serif with classical proportions.
    • Selectric Century: A digitization of the Century typeface from IBM's Selectric Composer.
    • Soccer Sans: A constructivist sans with extra low legibility. Ideal for soccer kits.
    • Stecker: A typeface made of round elements.
    • Sudo (2009-2013). A programming font family developed from Experimental 710.
    • Topography: A version of the classic German cartography typeface.

    Github page with many of his unfnished typefaces. Github page with free programming and system fonts such as Arimo, Clear, Cousine, Droid, Fira, Material Icons, Noto, Open, Roboto, Source, Special Elite, Tinos, and WinJS Symbols. [Google] [MyFonts] [More]  ⦿

    Jeremy Dooley
    [Insigne Type Design Studio (was: Dooley Type)]

    [MyFonts] [More]  ⦿

    Jeremy Mickel
    [MCKL (was: Mickel Design)]

    [More]  ⦿

    Jeremy Steiner

    Graphic design student at The Art Institute of Indianapolis, 2011. Creator of the experimental typeface Rocco (2011)--think Rockwell marries Didot. He also made the tattoo / blackletter typeface Feral Wolf (2011). [Google] [More]  ⦿

    Jeremy Tankard
    [Jeremy Tankard Typography]

    [MyFonts] [More]  ⦿

    Jeremy Tankard Typography
    [Jeremy Tankard]

    Jeremy Tankard established Jeremy Tankard Typography in 1997, after corporate design work at Addison Design Consultants and Wolff Olins. This Londoner made some extraordinary and daring font families. In many of his typefaces, Jeremy mixes upper and lower case letters for more impact. A list of his typefaces:

    • FF Disturbance (1993, a unicase based on Sabon).
    • Alchemy (1998). Mystical. To be used with Enya's music in the background.
    • Blue Island (1999, Adobe).
    • The Shire Types (1998, consisting of Shire-Cheshire, Shire-Derbyshire, Shire-Shropshire, Shire-Staffordshire, Shire-Warwickshire, and Shire-Worcestershire). Shire Pro followed in 2011 and Shire Arabic in 2012. Shire is based on idiosyncratic vernacular lettering seen across Britain.
    • Enigma (1999-2015). A great text typeface family with influences going back o Hendrik van den Keere.
    • Shaker (2000) A sans serif with some flaring.
    • Harmony Greek, a typeface that netted him a Bukvaraz 2001 award alongside the Shire Types and Shaker.
    • Aspect (2002). A typeface with many ligatures and swashes.
    • Bliss (Agfa Creative Alliance). Bliss Pro (2006), a sans family, covers Latin, Greek and Cyrillic ina harmonious fashion.
    • Corbel (2004). A sans family made for Microsoft's ClearType project, for which he received a TypeArt 05 award.
    • Custom designs: Epsilon (a very bold face, supposedly designed for the Düsseldorf branch of Frogdesign) and Harmony (for Telstra in Australia).
    • Kingfisher (2005). A transitional petit-Bodonesque serif family.
    • Arjowiggins (2006). Tankard cooperated with Arjowiggins and design agency Blast on AW Inuit that was commissioned by ArjoWiggins for the launch of the Inuit paper: it is a unicase Latin font inspired by Inuit letterforms. See also at MyFonts. The typophiles are unjustly upset at this sort of typeface though.
    • Trilogy (2009). This extensive typeface family consists of Trilogy Sans Compressed, Trilogy Sans Condensed, Trilogy Sans Normal, Trilogy Sans Wide, Trilogy Sans Expanded, Trilogy Egyptian Normal, Trilogy Egyptian Wide, Trilogy Egyptian Expanded, and Trilogy Fatface.
    • Fenland (2012). A 14-style ink-trapped sans.
    • Redisturbed. A classical unicase typeface.
    • Capline (2014). A bilined all-caps typeface family for titling work. It won an award at Modern Cyrillic 2014.
    • Queezoid (2015).
    • Pembroke (2014). A British geometric typeface family with many weights ranging from Hair to Ultra.
    • De Worde (2017). An italic typeface family in seven weights to celebrate the 60th anniversary of e Wynkyn de Worde Society.
    • Wayfarer (2017). He writes: The typeface was originally commissioned for use with a new wayfinding system for the city of Sheffield in the UK. As Sheffield was the home to the type foundry, Stephenson. Blake & Co. it had been thought that their type, Granby Condensed would be suitable. The Granby family of types was developed during the 1930s as Stephenson, Blake's contribution to the general cashing in of other foundries on the popularity of Monotype's Gill Sans and the geometric sans serifs being introduced by the continental type foundries.
    • Hawkland and Hawkland Fine (2018). A text typefaceC with didone and transitional elements.
    • Brucker (2019). An 8-style angular expressionist typeface family.

    Fontfont write-up. Alternate URL. Interview by Planète Typographie. Interview by Brendan Staunton. I Love Typography link. FontShop link. Klingspor link. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Jeremy Vessey
    [Hustle Supply Co]

    [More]  ⦿

    Jess Collins

    Type designer associated with House Industries in Delaware. His typefaces:

    • At House Industries, Jess Collins and Mitja Miklavic revived Ed Benguiat's great fat face didone typeface (Benguiat) Montage in 2018.
    • In 2011, he digitized Bubble Gum, a bubblegum / cartoon font first designed by Dave West in the late 1960s. House Industries sells it since 2021 as Plinc Bubblegum (2021).
    [Google] [MyFonts] [More]  ⦿

    Jess Latham
    [Blue Vinyl]

    [MyFonts] [More]  ⦿

    Jessica Gordon

    Graduate of the University of Washington, class of 2013. Seattle-based creator of the didone typeface Violet (2014). At the Seattle Typeface Workshop in 2012, Alison Atwell, Ryan Byarlay, Jessica Gordon and Fanny Luor created Caswell, a copperplate face. Behance link. [Google] [More]  ⦿

    Jesus Camarero
    [Jesus's Diary]

    [More]  ⦿

    Jesus's Diary
    [Jesus Camarero]

    Sevilla, Spain-based designer of Gothic Exotic Typeface (2014), a modified didone typeface in a slightly gothic mask. Behance link. Hellofont link (for buying his typefaces). [Google] [More]  ⦿

    JHA
    [Jan-Henrik Arnold]

    Jan-Henrik Arnold (JHA, Berlin, Germany), b. 1980, studied first in Konstanz and then in Berlin at the University of Applied Sciences in Potsdam where he was taught by Luc(as) de Groot. He works mainly as a type designer. His typefaces from 2013: JHA Zucker (a fat didone stencil), JHA Libre (elliptical sans, +Pro), JHA Yeni Zaman (geometric sans with roots in the 1930s).

    In 2014, he published Bodoni Ritalic, a backslanted Bodoni Italic.

    In 2015, Arnold created the transitional typeface family JHA Times Now and the chiseled typeface Tetraktys (inspired by Friz Quadrata).

    In 2016, he released the text typeface Praeneste.

    Typefaces from 2017: JHA My Happy 70s. [Google] [MyFonts] [More]  ⦿

    Jill Pichotta

    Jill Pichotta began working for Font Bureau as an apprentice with David Berlow in 1991, honing her skills on projects for Rolling Stone, Esquire, Condé Nast Traveller, The New York Times and Apple Computer. She has managed the production of retail releases for independent designers since 1993, and has contributed several typefaces at Font Bureau. In 2016, Jill Pichotta became Principal Product Manager for Type Network, overseeing type development and quality for the company's global alliance of foundry partners. Jill Pichotta's typefaces:

    • Gangly (1996-1998). Codesigned with Joe Polevy.
    • HipHop (informal printing, 1993).
    • RomeoSkinnyCondensed (1991). One of the thinnest fonts on earth.
    • Rats (with Jean Evans, 1997).
    • FB Garamond Text and Display (1992-2000). Modeled after Ludlow's Garamond done in 1929 by Douglas Crawford McMurtrie and Robert Hunter Middleton.
    • Californian FB Text and Display (1994-1999). Done in cooperation with David Berlow and Richard Lipton.
    • Aardvark.
    • A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Richard Lipton and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.
    • Caslon FB (1992, Font Bureau) comes with this text: Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslons romans. The best of the Caslon Bolds originated at the Keystone Type Foundry of Philadelphia, whose Caslon Bold Condensed appeared about 1905, probably drawn by R.F. Burfeind. Jill Pichotta revised his Bold Condensed&drew the Bold Extra Condensed.

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

    Jillian Barkley

    Brooklyn, NY-based designer of the deconstructed didone typeface Lunera (2015). Behance link. [Google] [More]  ⦿

    Jim Bogenrief

    Jim Bogenrief (Pasadena, CA) modified ITC Tiffany when he created the fancy didone fashion mag typeface AM Debbie (2012).

    Behance link. [Google] [More]  ⦿

    Jim Lyles
    [Bitstream Vera Fonts]

    [More]  ⦿

    Jim Parkinson
    [Parkinson Type Design]

    [MyFonts] [More]  ⦿

    Jimena Zeitune

    Graphic designer in Buenos Aires who graduated from UBA. Bob Dylan and Bodoni inspired her to create the curiously-serifed typeface Dylan (2010). Behance link. [Google] [More]  ⦿

    Jipatype
    [Anupap Jaichumnan]

    Bangkok, Thailand-based designer (b. 1996) of the free Latin / Thai italic text typeface ADC Somros (2017). In 2019, he designed the sans typefaces Ananatason, Boriboon, Serithai and Jipatha (for Latin and Thai), the variable typeface Adirek, the elliptical sans Petchlamoon, the techno typeface Pattanakarn, the rounded sans typefaces Opun Mai, Longdoosi and Monkhang, the slab serif Kulachat and its companion Kulachat Serif, the squarish typefaces Gamlangdee and Honor, the contrast-rich text typeface Priyati (for Latin and Thai), and the roundish typeface Thanmon, the informal typeface Laedoomai and the chancery script Chanceri.

    Typefacesfrom 2020: Asangha (90 styles), Luktao (rounded and elliptical, for Latin and Thai). Uturna Round, Banburi (a creamy display typeface), Namasakarn (a soft serif), Monradok (a rounded sans for Latin and Thai), Dumondi (a rounded casual sans), Prachason (a Latin/Thai sans family), Prachamati.

    Typefaces from 2021: Dimsum (oriental emulation), Prachason Neue, Athachantr (a Latin/Thai didone family), Kitchakan (a condensed sans), Mommi (a soft bold sans), Yodnam (a teardrop-themed font), Cakerolli, Jella (a supermarket font), Biski (a rounded supermarket sans).

    Typefaces from 2022: Anachak (an 18-style squarish sans), Santiphap (a slab serif), Jaturat (octagonal), Pcast (an 18-style squarish sans), Opkrop (an 18-style packaging sans), Phongphrai. [Google] [MyFonts] [More]  ⦿

    J.J. Green

    Creator of the metafont fge (2007), which has special symbols so that one can properly typeset Frege's Grundgesetze der Arithmetik. Green states: This package contains several characters derived largely from the Computer Modern fonts, (c) D.E. Knuth. The spritus lenis accent is a simplified version of that in the Ibycus font by Pierre A. MacKay. CTAN link. Download here. [Google] [More]  ⦿

    Joachim Julius Siercke

    Post-war German type designer (b. 1914) with the Bauersche Giesserei, who made fonts such as the connected script typeface Privat (1966) and Cantate (1958), one of the boldest fonts in the formal copperplate tradition, according to R.S. Hutchings. Cantate has lots of color variations, almost like a script version of Didot. Privat was revived in 2005 by Canada Type as Quiller. [Google] [More]  ⦿

    Joan A. Alegret
    [Tipomnatica (was: La Tipomatika)]

    [MyFonts] [More]  ⦿

    Joan Ramon Pastor Rovira
    [Ultra Types]

    [MyFonts] [More]  ⦿

    Joana Macedo

    Lisbon-based designer of the decorative didone typeface Aquila (2014) and the modular typeface Layo (2015). Behance link. [Google] [More]  ⦿

    Joana Maria Correia da Silva
    [Nova Type Foundry]

    [MyFonts] [More]  ⦿

    Joancarles P. Casasín

    Catalan type designer (b. Barcelona, 1969). In 2018, he joined the faculty in the Masters program in typographic design at Elisava. Joancarles has taught in most of Barcelona's design schools and still gives master classes and workshops at Spanish Universities about how to use or design type and on programming for graphic and type designers.

    He made ITC Belter and FF FontSoup.

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

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

    In 2017, he joined Type Together as a font engineer.

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

    Joancarles P. Casasín
    [Typerware]

    [MyFonts] [More]  ⦿

    Joao Oliveira
    [Onrepeat Studio]

    [MyFonts] [More]  ⦿

    Joaquim Massana
    [Tipos Reunidos (or: Petit Comite)]

    [MyFonts] [More]  ⦿

    Joaquin Kunkel

    During his studies at New York University Abu Dhabi in Abu Dhabi, United Arab Emirates, Joaquin Kunkel designed the didone text typeface Marcela (2017). [Google] [More]  ⦿

    Joe Finocchiaro
    [Joe Finocchiaro Design]

    [More]  ⦿

    Joe Finocchiaro Design
    [Joe Finocchiaro]

    Joe Finocchiaro runs a corporate identity studio in New York, and specializes in custom typeface, symbol and logo design. His corporate font families include Roma 2002, the sans serif Ernst and Young family (1999), Air Canada (1994), the sans serif font Etna (2002), the sans serif family Largo (2002), a stencil font for the Performing Arts Center of Greater Miami (1999, based on Futura), the CHW font (1997) for Catholic Healthcare West (serif), Cargill (1994), the beautiful flared sans serif Wunderman Cato Johnson (1997), the PNC font (1993, for the PNC Bank, based on Fry's Baskerville, 1768), the Lincoln Life font (1994, in all-caps style like Bank Gothic), the Scotiabank corporate alphabet, the serifed Clinique (1997) for Clinique Laboratories Inc, Colgate (1993, based on Eras), the didone font Formica (1996), the didone family Tiffany, Tiffany Numerals, Tiffany SmallCaps (2000) for Tiffany&Co, the condensed sans family Schlumberger (1998), the sans family Orazio (2002), a logotype for Iberia (1997) and Univers AirService (1997), The NewYorkTimes (2000, a logo-matching typeface), some type for Avis (1999). He cleaned up the Cunard typeface (by Eric Gill), the Arthur Andersen typeface (1999) and the Deloitte Touche corporate typeface. Joe accepted money from the unscrupulous polluter Monsanto, the questionable Sultan Bin Abdulaziz Al-Saud Foundation and the crooks at Arthur Andersen. [Google] [More]  ⦿

    Joe Prince
    [Admix Designs]

    [More]  ⦿

    Joel Maillot
    [Atelier de Design Holistique]

    [More]  ⦿

    Johan Skybäck

    Graphic designer in Melbourne. From 2003 until 2009, he worked on the stunning didone family Södermalm. [Google] [More]  ⦿

    Johann Karl Ludwig Prillwitz

    German type designer and typefounder (b. Braunschweig, 1759, d. 1810, Jena). His foundry was located in Jena. In 1790, he published a 14-style antiqua and kursiv with weights from Nonpareille up to Grobe Sabon called Proben neuerr Didotscher Lettern. In 1798, he published a specimen book entitled Didotschen 1797 Lettern that showed 33 Fraktur typefaces, 8 Schwabachers, 9 Greek typefaces, and 36 styles/weights of a didone family. His son Johann Heinrich Christian (b. 1789), also a typefounder, died a month before his father in 1810.

    A refererence text is Die erste Probe Didotscher Lettern aus der Schriftgiesserei J. C. L. Prillwitz zu Jena (Ernst Crous, 1926, Berlin).

    Digital revivals: GFS Goschen (2009, George D. Matthiopoulos: a Greek typeface named for the German publisher Georg Joachim Göschen, who, at the turn of the 19th century, saw to the creation of a new cursive type for use in an edition of the New Testament in Greek. The typeface was cut by Johann Prillwitz, and was influenced by the Greek types of Bodoni), Ingo Preuss (who says that Prillwitz's didone is from 1790, well before the first Walbaum) made a digital didone typeface called Prillwitz in 2005. This family is separately optimized for display, news print and books in styles called Prillwitz Display, Display NP and Prillwitz Book. Prillwitz Pro (Ingo Preuss) was published in 2015. Albert Kapr and Werner Schulze had earlier created Prillwitz Antiqua, Kursiv and halbfett at Typoart in 1970 and 1987. There is also a typeface family Prillwitz EF (2009, Elsner & Flake).

    A reference text is Die erste Probe Didotscher Lettern aus der Schriftgiesserei J. C. L. Prillwitz zu Jena (Ernst Crous, 1926, Berlin). See also Die Jenaer Schriftgiesser seit dem Jahr 1557 (H. Koch, 1956, Mainz).

    Ingo Preuss explains the importance of Prillwitz in typography: Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. [...] All German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after.

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

    Johann Michael Fleischmann

    Or Fleischman, with one "n". A German punchcutter (b. Nuremberg, 1701, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. Enschedé's 1768 specimen book, Proef van Letteren shows most of his typefaces, starting as early as 1734. All his surviving punches and matrices are now in the possession of the Enschedés. His work influenced even Bodoni. His foremost typeface is the 8-point roman from 1739. That typeface has seen many metal versions, and even more digitizations. Among the metal re-cuts, one was due to Georg Belwe. There is a Fleischmann typeface at L. Wagner (1927), and a version at Typoart. Berry, Johnson and Jaspert write: His roman types are rather condensed and of a large x-height. His design is approaching the modern; the stress in some letters is vertical and the serifs are nearer the horizontal. In the upper case the long arms of the E and the squareness of the M are to be noted. In the lower case the g is conspicuous with bulbous ear and rounded link The italic rather less steeply inclined than the old face italics but still somewhat irregular The figures are still old face. Among the digitizations, we have:

    • At the Dutch Type Library, DTL Fleischmann (1992, Erhard Kaiser).
    • Fleischmann BT Pro (2002, Charles Gibbons). Heralded by the typophiles as outperforming the DTL Fleischmann.
    • While studying at KABK in 2012, Hrvoje Zivcic did a revival of Fleischmann's 8-point roman from 1739 entitled Slagerij.
    • A liberal revival called Gilly was developed by Porter Gillespie in 2015 at Type@Paris.

    Fleischmann created blackletter typefaces such as Holländische Gotisch (1739-1760, digitally revived by Gerhard Helzel; Manfred Klein and Petra Heidorn made the free revival also called Holland-Gotisch, in 2005 and mention that their source was "Nederduits"; see the Fleischmann Flamande), Mediaan Duyts (1744) and Fleischmann Gotisch (ca. 1750, digitally revived by Ingo Preuss in 2004 as Fleischmann Gotisch PT, by SoftMaker in 2016 as Fleischmann Gotisch Pro, and by Alter Littera in 2012 as Nederduits).

    Fleischmann was also renowned for his work on music typography. He worked for the publisher Johann Gottlob Immanuel Breitkopf, who was interested in improving the typography of musical notation. Fleischmann created a complex music notation font that proved unsuccessful in the marketplace, but was subsequently used to create many designs including the decorative edging on the first Dutch banknote called the roodborstje (robin). [Google] [MyFonts] [More]  ⦿

    Johannes Küster
    [Typoma]

    [More]  ⦿

    Johannes Lehmann
    [Ossip I. Lehmann Type Foundry]

    [More]  ⦿

    John Baskerville

    Birmingham-based British writing master, stonecutter, letter designer, typefounder and printer (1706-1775). Designer of transitional typefaces. In 1757, he created his famous serif typefaces, which were called transitional as they were somewhat between the old style typefaces of William Caslon and the modern types of Bodoni and Didot. He increased the thick-thin contrast over that found in Caslon's types, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper. The modern types became more popular than Baskerville, and people had to wait until 1917 when Bruce Rogers revived Baskerville's type for the Harvard University Press, followed by Stanley Morison's revival in 1924 for the British Monotype Company. Linotype introduced it in 1931.

    In modern times, we find the 1978 rendering of ITC New Baskerville by Matthew Carter and John Quaranda. Linotype offers 38 Baskerville typefaces. URW Baskerville has 51 styles.

    Publications include Essai d'épreuves des caractàres de la fonderie de Baskerville (Paris, ca. 1750). Local download.

    Biography by Nicholas Fabian. CV in Spanish. Wikipedia. In 2009, the Baskerville Project was conceived, an animated movie with David Osbaldestin as its Creative Director, and Caroline Archer and Ben Waddington as researchers. Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

    John Bell
    [British Letter Foundry]

    [MyFonts] [More]  ⦿

    John Bomparte
    [Bomparte's Fonts]

    [MyFonts] [More]  ⦿

    John Bonadies
    [Mpress Interactive]

    [MyFonts] [More]  ⦿

    John Pistilli

    Born in 1925, died in 2003. He worked for the advertising agency Sudler & Hennessey, where he was head of lettering design. Frances Elfenbein met him first in 1957 at Sudler&Hennessey. She writes: John was the most skilled and creative letterer I had the privilege of knowing. He did the finished lettering for most of the designs Herb Lubalin created [at S&H], always adding refinements to the very rough sketches he received from Herb. In addition he created his own very beautiful roman serif typeface. He was "the Man" for lettering, and each and every art director in the agency sought to have him work on their project...of course Herb came first. When I broke my ankle skiing in 1963, John lettered the word "Love" in script on my cast...he was a sweet guy, and professionally very modest in spite of his formidable talent. Herb started his own design firm in 1964. John did not go with him, preferring to remain at S&H until his retirement. Tony Carnese who had been trained by John inherited his mantle and worked in the same greystone as Herb Lubalin Inc. I worked in the office alongside John in the mid '80's at S&H. He frequently sang as he lettered, always a surprise to people who realized that he stuttered when he spoke. [...] He had an enormous amount of patience. In the late 1950's we still had to use metal (Monotype) for large point sizes. Herb hated the letterspacing and line spacing that resulted from the shoulders and leading on individual characters. He achieved the results he wanted (very tightly kerned letters and tightly leaded lines) by having John cut apart each individual letter from clay-coated proofs only to reassemble the letters and lines. This was a monstrous task when the type was 24pt Century Expanded. John did it and never complained, and to tell the truth he agreed that the text did look much better. Thank you Frances for sending me this touching description.

    In 1964, Herb Lubalin made a typeface with him called Pistilli Roman (photocomposition format only, VGC). There are also Bold and Black weights. It is one of the most gorgeous extreme-contrast didone headline typefaces ever made. A picture of the VGC typeface competition poster. Revivals of Pistilli Roman:

    • Photo faces: Bodidot (Lettergraphics), Estella (Mecanorma).
    • In 1969, Phil Martin made a swashy film font version of Pistilli, called Didoni, which had many new characters.
    • Didoni, without the swashes, was digitized in the 1990s by the infamous Font Company (which closed shop in 2001 to go into the porn business).
    • Font Company had done that digitization through URW, and so, URW started selling URW Didoni.
    • OptiPirogi (Castcraft) is similar to Pistilli Roman.
    • Eloquent JF Pro (Jason Walcott, Jukebox) was made in 2010.
    • In 2011, at the height of the fat didone craze, Claude Pelletier made a free revival, also called Pistilli Roman.
    • There is also Pistiline (2011) by Ink Type Foundry.
    • In 2012, Nick Curtis created Spiffily NF, also in the same style.
    • Solotype offers Pistilli Roman, Pistilli Roman Bold Slope (an italic), and Pistilli Roman Open No. 1 and No. 2.
    • For a parametrized version of Pistilli, see Pistilli Mutatio (2017) by Beta Field (Michael Leighton Beaman and Zaneta Hong).

    Klingspor link. Poster by Michaela Kriener. [Google] [MyFonts] [More]  ⦿

    John Stephenson
    [Stephenson Blake]

    [MyFonts] [More]  ⦿

    John Viner

    Designer of ITC Bodoni Brush (1995), Tiger Rag (1989) and ITC Viner Hand (1995). [Google] [MyFonts] [More]  ⦿

    Johnny Isaacs

    Johnny Isaacs (Oh Momma, UK) created the didone caps typeface Red (2011, work still in progress). [Google] [More]  ⦿

    Johnson & Drake
    [Samuel Johnson]

    Samuel Johnson of Johnson & Drake (UK) designed the high contrast didone typeface SüR in 2012.

    Link for buying the fonts. [Google] [More]  ⦿

    Jon Melton
    [Emfoundry]

    [More]  ⦿

    Jona Saucedo
    [Non Foundry]

    [More]  ⦿

    Jonas Hecksher

    Jonas Hecksher holds a degree from The Royal Danish Academy of Fine Arts and 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. Playtype is currently based in Vesterbro, Denmark.

    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 (1998: a condensed display serif inspired by the old streets signs of Copenhagen, featuring tall x-heights, shaped drops and curved numbers), Geometric, Hall, HomeDisplay, Hazelwood, HermesBaby (old typewriter), Hill (2005: grotesque), HomeText, ID00 Sans (large family), ID00 Serif, ItalianPlate, JPSpecial Sans, JPSpecial Serif, JazzHouse (2007: a neo-grotesque), Mari (2006: a monolinear modern sans serif with a sense of nordic simplicity), MoviePlaytype, New Press, Noir Text, Nord Dingbats (circled letters), Norwegian, Play (2011, a minimalistic sans serif typeface, free at Google Fonts; CTAN TeX support), PrimoSerif (2000), 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) done for the National Museum of Denmark. See here.

    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: Hafnia Sans, La Fontaine.

    Typefaces from 2018: The Wave (sans).

    Typefaces from 2019: Melanzine (sans).

    Typefaces from 2020: Royal Theatre Serif (a didone), Royal Theatre Sans. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Jonathan Calugi
    [Happyloverstown]

    [More]  ⦿

    Jonathan Carhart

    During his studies at Huntington University, Bloomfield, NE-based Jonathan Carhart created the high-contrast didone typeface Mirrors (2016). [Google] [More]  ⦿

    Jonathan Coltz
    [Daidala]

    [More]  ⦿

    Jonathan Corum
    [13pt]

    [MyFonts] [More]  ⦿

    Jonathan Hoefler
    [Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)]

    [MyFonts] [More]  ⦿

    Jonathan Perez
    [Typographies.fr]

    [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]  ⦿

    Jonathan Reich

    Graphic designer in Buenos Aires. During his studies at FADU / UBA, he created the didone typeface Goliath (2011). [Google] [More]  ⦿

    Jordan Davies
    [Wooden Type Fonts (was: American Wood Type and, Wooden Type)]

    [MyFonts] [More]  ⦿

    Jordi Embodas
    [Tipografies]

    [MyFonts] [More]  ⦿

    Jorge Cisterna Avendaño

    Chilean type designer in Santiago who created the heavy slab serif / signage typeface Bock (2008; images: i, ii, iii), the fat Muralista (2008, Latinotype), the signage font Quinchao Script (2008), and the fat slab serif typeface Bock (2011). Behance link.

    In 2011, he cofounded Los Andes Type, and published the mural and/or poster font Muralista there.

    In 2012, he published the beautiful bold round typeface Altiplanica.

    In 2015, Jorge Cisterna published the humanist sans typeface Brocha (32 styles, Latinotype), the low contrast slab serif typeface Decour, Decour Soft, and the humanist sans typeface Blanc at Latinotype.

    Typefaces from 2016: Taberna (a vintage copperplate style family based on design trends in bar signage, liquor packaging and street wear; with Rodrigo Fuenzalida), Queulat (Latinotype: a slab serif), Queulat Condensed, Cover Sans (Latinotype), Queulat Soft. A humanist geometric typeface family in which every stroke ending is horizontal or vertical.

    Typefaces from 2017: Fibra (Los Andes: a beautiful geometric sans designed for display; advertized as avant-garde, although in my view there are slightly too many curves for that label to apply), Weekly (a semi slab serif), Atlan (at Latinotype; with Daniel Hernandez). A geometric sans typeface family.

    In 2018, inspired by Herb Lubalin's serif Gothic, Jorge Cisterna and Bruno Jara co-designed the layerable font family Lumiere at Latinotype.

    Other typefaces from 2018: Cagliari (Latinotype; a display didone with high contrast, based on his earlier typeface Queulat), Recoleta (Latinotype), Fibra One (Los Andes: a display sans).

    In 2019, Jorge Cisterna and Bruno Jara developed the vintage layerable typeface Blackberry (Los Andes). Blackberry is inspired by vintage packaging and old fashion ads. It has woodtype characteristics such as angular serifs, and light and diagonal curves.

    Typefaces from 2020: Kenac (a serifed text typeface with a negative optical axis).

    Typefaces from 2021: Brutalista (a 14-style sans inspired by the architectural brutalist style).

    Behance link. Link to his studio, Edwards Asociados. [Google] [MyFonts] [More]  ⦿

    Jorge León Dumpierrez

    Born in 1987 in Las Palmas de Gran Canaria, this graphic designer worked in Bacelona for two years at Folch Studio and Clase BCN. Today, he lives in the Canary Islands.

    He created Foster (2010, a didone italic) and the display typefaces Joker Serif and Joker Slab Serif (2010). Tauromaquia (2012) was inspired by bull fights. Futura and medieval symbology influenced Jorge in the creation of the alchemic typeface Avariciya (2013). Tiempo (2013) is a Peignotian sans.

    Behance link. [Google] [More]  ⦿

    Jorgensen Fonts
    [Per Baasch Jørgensen]

    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).

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

    Jorim

    FontStructor who made Botura 27 (2011), which he claims is a random mix of Bodoni and Futura. What remains is more monoline, and slabby than anything else---almost no Bodoni in there. [Google] [More]  ⦿

    José Miguel Solé B

    Chilean graphic designer. He has designed a number of typefaces in 2010: Alfa Slab (based on Thorowgood's 1821 typeface Six Lines Pica Egyptian) and Ahoy (a vintage font).

    As Capitan Leniz on FontStruct, he made a number of pixel typefaces, such as Titulo, Jolo12 and Jolo16.

    In 2011, he made a number of free typefaces at Google Web Fonts:

    Fontsquirrel link. [Google] [More]  ⦿

    José Scaglione

    José Scaglione (b. Rosario, Argentina, 1974) is a graduate of the MA program of the University of Reading, 2005. He was co-founder and art director of Vision Media Design Studio in Argentina and Multiplicity Advertising in USA; and he was a part-time lecturer for four years at the Visual Comunications Institute of Rosario, teaching design for the internet. He lectured on typography at post-graduate level at the National University of Rosario and presently teaches at the at the University of Buenos Aires. He runs his own design studio, specializing in editorial design and branding. In 2006, he started Type Together with Veronika Burian. In 2013, he became President of ATypI.

    His books include Cómo crear tipografías. Del boceto a la pantalla, and Introducción al estudio de la tipografía (in collaboration with Jorge de Buen Unna). His fonts:

    • Abril (2010) is a didone font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. It won an award at Tipos Latinos 2012. Abril Fatface is free at Google Font Directory. Abril Titling was published in 2013.
    • Fabula (2005), about which he writes: Based on a series of drawings by Sue Walker and originally digitized by Vinnie Connaire, Fabula is the new display typeface for the cover of Collins Children Dictionaries. Its basic monolinear structure and stroke economy are the foundation for this typeface.
    • OUP Math&Pi: This Math and Pi font was designed to match the typefaces used by Paul Luna and Nadja Guggi in the new design of the Oxford University Press Dictionaries: Argo and Swift, designed by Gerard Unger.
    • With Veronika Burian, he designed the text typeface TT Carmina (2006). This morphed into Karmina Serif (2007), a complete text family, and later Karmina Sans (released in 2009, 12 styles). Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007, and at Tipos Latinos 2010. Karmina, Bree and Ronnia were selected as part of the travelling exhibition Tipos Latinos 2008.
    • Athelas (2006), an outgrowth of his studies at Reading. It now ships with Apple's Mavericks OS.
    • Ronnia (2007), designed with Veronika Burian at Type Together: a humanist sans family.
    • Bree (2008, with Veronika Burian): a 5-style display sans with a cursive a and e.
    • Adelle (2009, with Veronika Burian): a 12-style slab serif engineered for intensive editorial use. Adelle Mono was added in 2020.
    • The Google web font Jockey One (2011, with Veronika Burian).
    • Tablet Gothic (2012). A joint design of Veronika Burian and José Scaglione, it is a grotesque meant for titling.
    • In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony.
    • In 2016, Veronika Burian and José Scaglione co-designed Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons. Winner at Tipos Latinos 2018 of a type design award for Portdada.
    • Protipo (2018) is a large information design sans family designed by Veronika Burian and José Scaglione.
    • In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence.
    • In 2021, Veronika Burian and José Scaglione designed Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

    Karmina, Bree and Ronnia, all co-designed with Veronika Burian, won awards for extensive text families at Tipos Latinos 2008. Karmina won an ED Award in 2007 and Athelas won a first prize in the Gransham competition 2008. Bree won a bronze award in the 2009 edition of the ED Awards competition. Bree Serif (2009) won an award at Tipos Latinos 2014. Abril wan gold at the ED Awards.

    Coauthor of these books:

    Speaker at ATypi 2006 in Lisbon, the Third International Conference on Typography and Graphic Communication in Thessaloniki 2007, 3CIT in Valencia, and ATypI 2008 in St. Petersburg, where his talk was entitled From laser printer to offset press. Speaker at ATypI 2009 in Mexico City, where his talk (with Andreu Balius) is entitled A sign to convey sound. Speaker at ATypI 2017 Montreal.

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

    Josef Týfa

    Czech designer (b. 1913, Nachod Beloves, d. 2007) who lived and worked in Prague. Before the Second World War, he designed advertisements for Bata, Prazdroj, Thymolin and others. He later started to design the graphic elements of signs and fonts. FontShop link. Czech postage stamp designed by him in 1965. Týfa lived and worked in Prague. Before the Second World War, he designed advertisements for Bata, Prazdroj, Thymolin and others. He later started to design the graphic elements of signs and fonts. His typefaces:

    • The partially didone typeface Týfova antikva (Grafotechna, 1959). See ITC Tyfa (1998) by Fr. Storm. In 2006, ITC Tyfa Pro finally appeared. ITC explains: In 1960, a Czechoslovakian design competition was held to determine the best new Czech typeface for book composition. The winner was designed by Josef Týfa, a respected advertising and exhibit designer who had embarked on a career change to concentrate on the typographic arts. Týfa's winning design was made into fonts for the Linotype typecaster, and was also available as hand-set type by the Czech type foundry Grafotechna. Although the design found immediate and continued popularity in Czechoslovakia, it saw little use elsewhere. Political delays Eighteen years later, another Czech type designer, Jan Solpera, sent ITC a letter suggesting that it should consider releasing Týfa as an ITC typeface, thus giving the rest of the world a chance to use the design. Unfortunately, at the time Solperas letter was sent, the Iron Curtain was still firmly drawn. Cold War politics made communication between the U.S. and people in Communist countries difficult at best, and often impossible. It wasn't until another twelve years had passed, in 1990, that ITC was able to correspond with Týfa. Týfa was willing to license his design to ITC, but all he had to offer were the thirty-year-old original drawings on yellowing paper. At the time, ITC was not producing digital fonts. The design continued to languish. In 1995 another Czech type designer, Frantisek Storm, approached Týfa and proposed digitizing the typeface under the elder designers direction. Týfa agreed. To build Týfa's design into a family of digital fonts, Storm started with scanned images of the original drawings for metal type. Maintaining the personality and basic characteristics of the metal original was a primary objective for the two designers. However, as the new digital typeface family was developed, a number of subtle changes were made. Curves were softened, serifs were modified, and other analog noise was removed without detracting from the distinctive character of the design. Structurally, ITC Tyfa is a neoclassical design, with a vertical axis, pronounced contrast between thick and thin strokes, and thin serifs with no bracketing joining them to the stems. The curves and the variations of thick and thin show exuberance far beyond most neoclassical types. The last sentence is exaggerated: ITC Tyfa has nothing of the modern mathematical exactness of Bodoni or Didot---I find it even inconsistent. It is warmer, yes, but it also betrays the didone spirit.
    • Kolektiv (1952, Grafotechna). A transitional roman face, done with S. Duda and K. Misek.
    • At StormTypeFoundry, his Týfa typeface became Tyfa Text, and his Academia (1968), made for scientific texts, became Academica (2007): its digitization was the result of a cooperation between Týfa and Storm. Storm says: During 2004 Josef Týfa approved certain differences from the original drawings in order to bring more original and timeless feeling to this successful typeface. Vertical stem outlines are no more straight, but softly slendered in the middle, italics were quietened, uppercase proportions brought closer to antique principle. Light and Black designs served (as usual) as starting points for interpolation of remaining weights. In 2021, Frantisek Storm added Academica Sans.
    [Google] [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Joseph Pinel

    Frenchman Joseph Pinel called himself a typographical engineer, but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. In 1899 he supervised French 10pt No2, a typical French didone typeface, as well as other typefaces. It appears that this and some other typefaces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype, a composing machine invented by Pinel. The Dyotype was a complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on two drums, hence the name of the machine. The Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. A lack of sufficient capital prevented the commercializing of this composing machine.

    Pinel's French 10pt No. 2 was digitally revived by Coen Hofmann in 2014 at URW++ as Pinel Pro. [Google] [More]  ⦿

    Joseph-Gaspard Gillé

    Typefounder in Paris (d. 1827) who became famous for his borders designed in the 1790s. There are folios of his from around 1808-1810 entitled "Choix de nouvelles Vignettes de la Fonderie de Gille fils, à Paris, rue Jean-de-Beauvais, no. 28". Gille started directing the Fonderie de Gille fils (his father was a famous typographer, so he distinguished himself as Gille fils) in 1789. He was influenced by Didot in the design of his lush vignettes, borders and rules.. His work can be found in Recueil de divers caractères, vignetts et ornemens de la fonderie et imprimerie de J.G. Gillé (Paris, De l'imprimerie de Gillé fils, 1808). This house specialized in ornaments, fancy letters, and script letters. In September 1827, it was bought by Honoré de Balzac. [Google] [More]  ⦿

    Josh Parenti

    Student at Ringling College of Art + Design in Sarasota, FL. He merged Memoriam Pro and Didot HTF to obtain the curly didone poster typeface Lush Script (2011). [Google] [More]  ⦿

    Joshua Darden
    [Darden Studio]

    [MyFonts] [More]  ⦿

    Joshua Grzybowski

    Type designer from Minneapolis, Minnesota, b. 1974. He created the monoline upright connected script family Hennepin (2011), and the ultra-fat art deco slab typeface Thickset (2011), and its companion hairline slab typeface Thinset (2011). Mere (2011) is a monoline geometric sans. Simpleton (2011) is a fat display face. Calhoun (2011) mixes a liquid style with tear drop terminals.

    Mortadella (2012) is a hand-drawn burly-looking sans. Mol (2012) is a mini-serifed didone display face.

    MyFonts link. Behance link. Cargo Collective page. Klingspor link. YWFT link. [Google] [MyFonts] [More]  ⦿

    Joshua Mayfield
    [Mayfield Type Foundry]

    [MyFonts] [More]  ⦿

    Joshua Ownby

    Or Josh Ownby. Graphic designer in Knoxville, TN, who created these handcrafted typefaces in 2017: Catalogue (didone stencil), Sweet+Salty, Fresh Squeezed, Putnam, Coyote, Nashville (vintage all caps wedge serif), Tobacco, Troubadour, Mingus (rounded sans), Westmore (monoline script), Twig, Equinox.

    He also designed the sans typefaces Chloe (Peignotian sans), Fiona (2017), Fragile (2017, fashionable, with a lot of contrast and great use of ball terminals), Houston (2017), Von Bond (2017), Seafarer (2017, a beachy art deco font), Sinclaire (2017, clean and nearly art deco), Violet (2017) and Moonshine (2017).

    Typefaces from 2018: Olivia (fashion didone).

    Typefaces from 2019: Riley (a striking modern headline typeface). [Google] [More]  ⦿

    Jørgen Brynhildsvoll

    During his graphic design studies at Westerdals school of Communications in Oslo, Jørgen Brynhildsvoll created the delicate didone typeface Debut Display (2013). Later he designed the wide display typeface Raissa (2017).

    Behance link. [Google] [More]  ⦿

    Jörg Knappen

    Prolific German metatype designer, who works at the University of Mainz in Germany. He is responsible for the massive European Computer Modern fonts (EC fonts), and the fc fonts for African languages (metafont only). He also designed a Bashkirian metafont. [Google] [More]  ⦿

    Juan Cantero

    Barcelona-based creator of Mason (2011, a fat didone display face). [Google] [More]  ⦿

    Juan José Lopez
    [Huy Fonts]

    [MyFonts] [More]  ⦿

    Juan Martinez

    Graduate from FADU, University of Buenos Aires, who created the typeface Qhanqa (2010), a didone headline or poster face. [Google] [More]  ⦿

    Juan Moreno

    Graphic designer from Bogota, Colombia, who is based in Barcelona. At Eina in Barcelona in 2016, he designed the crisp didone-inspired text typeface Sabores. Unlike Didot or Bodoni, Sabores has no ball terminals, only axe-like serifs giving it a cruel look. [Google] [More]  ⦿

    Juan Pablo de Gregorio
    [Letritas]

    [MyFonts] [More]  ⦿

    Juan Pablo De Gregorio Concha
    [Letritas]

    [More]  ⦿

    Juan Villanueva

    Peruvian type designer who grew up in Clifton, NJ, studied at Type@Cooper in 2014 and has a BFA from Montclair State University. He is currently based in Brooklyn, NY, works for Monotype, and teaches typography at The City College of New York. His typefaces:

    • Typefaces at Type@Cooper: Gregorio (2014), Horacio (2014), Motto (2013: a revival).
    • Porter (2014).
    • Flatbush Grotesk (2014).
    • Sagrantino (2017). A breezy script typeface designed at by Karl Leuthold, Juan Villanueva and Carl Crossgrove. It comes in Highlight and Shadow substyles.
    • Trilce (2018).
    • Walbaum (2018). Co-designed at Monotype by Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun. This is a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.
    • Futura Now (2020). A 107-style family by Steve Matteson, Terrance Weinzierl, Monotype Studio and Juan Villanueva, that includes variable fonts as well as subfamilies called Text, Display, Headline, Inline, Outline, Shadow and Script).

    In 2020, he accused the TDC, of which he was a board member, of racism and resigned. A few days later, the TDC shut down, at least temporarily. [Google] [MyFonts] [More]  ⦿

    Judy Ko

    Judy Ko revived a condensed didone typeface from the Cincinnati Type Foundry typeface called Condensed No. 4 in 2012. [Google] [More]  ⦿

    Jukebox Collection
    [Jason Anthony Walcott]

    This is the new foundry of Hollywood, CA-based Jason Walcott, who formerly ran JAW Fonts, Jukebox Type, and Counterpoint Type Studio. JAW Fonts ceased operation in 2003 and Jason reintroduced his collection of fonts in a revised form under the new name of Jukebox Type. Established in 2015, Jukebox Collection started out with these typefaces, which are mainly remastered and recycled typefaces from JAW Fonts and Jukebox Type with original designs going back to the period 2001-2007, roughly spaeking:

    View the Jukebox Collection typeface library. [Google] [MyFonts] [More]  ⦿

    Jules Didot
    [Fonderie Normale]

    [More]  ⦿

    Jules Didot

    Fourth generation Didot dynasty member in Paris, 1794-1871. Son of Pierre Didot. Jules Didot is famous for his invention of round-edged initials, to take the place of the sharp-edged ones. In 1817, he took over his father's foundry and ran it until 1825. In 1824, he published two identical books, Livre pour un petit garçon bien sage and Livre pour une petite fille bien sage (both printed by Nepveu, Paris), to help children read. In 1825 he took his printing plant to Brussels and founded the Royal Printing House there. Relevant here is the publication Specimen des caractères de la fonderie normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (Haarlem: Joh. Enschedé en Zonen, 1914).

    After a few years in Brussels, he returned to Paris and published many books and engraved several typefaces, which were shown in Spécimen de la nouvelle fonderie de Jules Didot l'ainé (1842, imp. Bethune et Plon, Paris).

    Jules Didot had a neurological disease that forced him tto spend the latter part of his life in a psychiatric hospital. [Google] [More]  ⦿

    Julia Begher

    Munich, Germany-based designer of Vienna Classica (2014, a stencil didone) and Noham (2014, a playful redesign of Gotham). [Google] [More]  ⦿

    Julia Boudet Caldas

    Julia took an ordinary Bodoni, and fiddled with the serifs---making them asymmetric and wedged--- in the creation of Nuova Bodoni (2012). She is based in Rio de Janeiro. [Google] [More]  ⦿

    Julia Stepanova

    Graphic designer in Moscow. Creator of the Latin/Cyrillic typefaces Cilesta (2013, curvy fat didone), Arnie Slab (2013, a wood style fat slab named after Arnold Schwarzenegger), Mr. Fox (2013, script) and Atletic (sic) (2013, octagonal). [Google] [More]  ⦿

    Julia van der Vorst

    's-Hertogenbosch, Netherlands-based designer of the elegant display didone typeface Julia (2016). Behance link. [Google] [More]  ⦿

    Julie Antczak

    Graphic designer in Kolding, Denmark, who created the high-contrast display didone typeface Oh Boi (2015) and the monospaced sans typeface Kaxe (2018). [Google] [More]  ⦿

    Julie Matulla

    Paris-based designer of the ball terminal typeface Gaea (2017) for the fashion industry. [Google] [More]  ⦿

    Julie Soudanne

    French type designer. Her typefaces include:

    • Typefaces designed during her graphic design studies at ECV in Paris: the pixelish typeface QR Code (2014), an untitled modular typeface (2014), Wagon (2015, a modular expressionist typeface), and Electra Text (2015, a futuristic version of Dwiggins's Electra).
    • At Type@Paris in 2015, she created the angular text typeface Pressure which has strong calligraphic roots.
    • In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands.
    • In 2016, Julie published the art deco sans typeface Eileen: Eileen is named after the Irish furniture designer Eileen Gray (1878-1976). She was a pioneering Modernist, and this typeface is a fitting typographic tribute to her work.
    • At Indian Type Foundry, Jérémie Hornus and Julie Soudanne co-designed the Spencerian calligraphic copperplate style script typeface Spencerio (2016).
    • Tabular (2016): a monospaced programming font by Jérémie Hornus and Julie Soudanne for Indian Type Foundry. See also Tabular at Fontshare.

      In 2016, Julie Soudanne and Jérémie Hornus designed the condensed movie title and credit typeface Title.

    • Papelli (Indian Type Foundry, 2016): an informal typeface family by Alisa Nowak and Julie Soudanne.
    • In 2017, Jérémie Hornus, Julie Soudanne and Alisa Nowak designed the attractive titling didone typeface Zesta.
    • Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017, at Black Foundry). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
    • Baro (2018). A geometric layerbale typeface family published by Indian Type Foundry.
    • Interlink (Indian Type Foundry). A monolinear all caps stencil typeface characterized by many stencil ligatures.

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

    Julien Priez

    Julien Priez (b. 1986, Montreuil, France) studied typography and type design at Ecole Supérieure Estienne des Arts et des Industries Graphiques in Paris (2006, 2008). In 2010, he worked at Atelier Pierre di Sciullo in Montreuil. Recently, he was affiliated with the French type foundry FontYou. His typefaces:

    • Rag FY (2013). A wavy brush typeface co-designed by Julien Priez, Sofia Proisy and Charles Privé at FontYou.
    • Le Normandie (piano key face). Le Normandie was expanded at Fontyou in 2014 to a gorgeous display triple of fonts, Normandie FY (Modern, Gothic, Italian). Der Klaus (2011) is a blackletter version of Normandie.
    • Le Montreuil (2010). An experimental poster typeface family done at Estienne with the help of Michel Derre, Margaret Gray et Franck Jalleau.
    • Le Briqueterie (2010). Done with Pierre di Sciullo's studio: a modular pixelish family.
    • Le Baaf (2010). Done with Margaret Gray: an experimental titling face, based on the stained glass windows of a cathedral in Ghent, Belgium.
    • Le Composite (2010). An imaginary letter font made under the guidane of Michel Derre and Franck Jalleau.
    • Le Jimmy (2009). A typeface done to invoke the 1930 mafia. A beautiful idea executed with the help of Michel Derre, Margaret Gray and Franck Jalleau.
    • Typetool (2010). An ornamental caps typeface).
    • At Fontyou, Benjamin Lieb, Gia Tran and Julien Priez co-designed the hand-drawn typeface Brixton FY (2013). Not to be confused with two earlier typefaces called Brixton, one by Tom Chalky, and one by Luke Ferrand. Since two of the three Brixtons are commercial, I expected FontYou to change the name.
    • In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days.
    • The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
    • In 2014, Jeremie Hornus and Julien Priez co-designed the hairline typeface Gauthier Display FY.
    • Mandinor FY (2014) is a decorative didone typeface---it comes with separate Gothic (blackletter) and Italian (Western) variants, and is accompanied by Mandinor Ornaments FY. Still in 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak co-designed Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.
    • Boogy Brut (2020). A pointy decorative serif with many calligraphic influences. At Bureau Brut.
    • Julien also drew many calligraphic alphabets, some of which will eventually become fonts.
    • Michel Derre and Julien Prez jointly won the Bronze Medal in the Latin category for Abelha in 2016 at the Morisawa Type Design Competition 2016.

    Behance link. Julien Priez Drawing link. [Google] [MyFonts] [More]  ⦿

    Julieta Pisani

    Graduate from FADU, University of Buenos Aires, who created the condensed black didone typeface Newpress (2009). [Google] [More]  ⦿

    Juliette Seban

    Graphic designer in Paris who created the italic didone typeface Doucette in 2017 during a workshop led by Jean-Baptiste Levée. Behance link. [Google] [More]  ⦿

    Julio Cesar Ceh

    Pacajus, Brazil-based designer of these typefaces:

    • The free sans display typeface Pura (2018).
    • The free didone typeface Julius.
    • Hitmo (2018). A free sans family. The chamfered version Hitmo Sans 2.0 was published in 2021.
    [Google] [More]  ⦿

    June Lin

    San Francisco-based designer of A Modern Typeface (2011), which is a refreshing take on the didone genre by lengthening and making oblique the thick slanted strokes. [Google] [More]  ⦿

    Jurairat Pattararakkul

    Aka Jane Jurairat. During her studies in Bangkok, Jurairat Pattararakkul designed the didone style Thai typeface DokSiDa (2016) and the Thai sans typeface JongKol (2015). [Google] [More]  ⦿

    Juraj Chrastina

    Freelance designer from Slovakia, b. 1981, Zilina. He set up shop at MyFonts in 2009. His typefaces:

    • 2009: Stanislawski (display sans), Bonatti (simplified sans), Motyka (an octagonal family).
    • 2010: Cassin (dingbats), Birkenmajer (blackletter and curly), Ruman (a piano key font not unlike many of the modular fonts made over at FontStruct), Komarnicki (geometric---it is largely based on arcs of a circle), Batura (ornaments), Flexi Social Icons (a set of 64 social network and media buttons), Messner (a hairline sans), Kammerlander (a high-contrast all caps Peignotian face that Juraj claims is well suited for fashion mags), Runout (a black marker face), Walker (a floral dingbat face), Trango (an unevenly spaced fun childish hand-printed face), Chogolisa (an elliptical sans family).
    • 2011: Primitive Icons (dingbats), Manaslu (his first cartoon font), Baltoro Sans (humanist sans), Masherbrum Slab Thin (hairline slab for fashion mags), Latok (a fat keyhole-themed art deco display face), Makalu (a flower dingbat typeface inspired by the lovely drawings of the famous illustrator Zdenìk Miler), Besley Hand (hand-printed didone), Ambassador (a hairline roman capitals face, ideal for glossy fashion mags. Its high-contrast Peignotian companion is Snob), Greenhorn (a comic book face), Gamba (an elliptical typeface), Valibuk (a strong black sans headline face), Lomidrevo (a grunge stencil derived from Valibuk), Baronessa (hand-printed poster face), Baron (hand-printed poster face).
    • 2012: Rumbarak (inspired by the titles of a few old Czech movies for children), Boudoir (a hand-printed poster face), Fimfarum (a wonderful set of hand-printed poster typefaces that can be mixed and matched for certain effects).
    • 2013: Gentleman (a sans family from hairline to black), Amundsen (an all-caps stencil typeface), Smart Labels (badges), Lustig (an interlocking poster font), Hilton Sans and Hilton Serif (fashion mag headline typefaces kerned and spaced by Igino Marini), Handy Labels, Loco (a counterless geometric art deco face), Charmante (hand-drawn poster typeface).
    • 2014: Fram (an uppercase stencil typeface for Latin and Cyrillic), General (neutral sans family with a very thin hairline weight).
    • Fonts from 2015: Vagabundo (hand-brushed), Britva (a glaz krak typeface derived from Valibuk).
    • Typefaces from 2016: Gerlach Sans, Gibon (a cartoon font).
    • Typefaces from 2017: Mysteria (hipster sans).
    • Typefaces from 2019: Freud (a 9-style sans).

    Pic. Myfonts link. Creative Market link. Klingspor link. Fontspring link. Behance link.

    Showcase of Juraj Chrastina's typefaces at MyFonts. Behance link.

    View Juraj Chrastina's typefaces. Showcase of Juraj Chrastina's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

    Just in Type (was: Tipomovel)
    [Tony de Marco]

    Just in Type (ex-Tipomovel) is a Brazilian foundry run by Tony de Marco (b. 1963) and his brother Caio de Marco in Sao Paulo since 2005. They were joined later by Diego Maldonado. Tony de Marco was an illustrator for Folha de S. Paulo, 1987-1994. He co-edits Tupigrafia with Claudio Rocha Franco.

    As a type designer, he created over 50 typefaces for the newspaper Noticias Populares, for America Online, and the magazines Moderna, Saraiva, FTD and Atica. Free fonts at the Tipomovel site included Ariana, Beabá, Bloco, CyberComix, Cyber Rounded, Cyber-Zinha, Digital Typewriter, Egly (my favorite--a Bodoni with curly serifs), Futura Vítima, Futura Vítima Bold, Futura Vítima Extra Bold, Games, Genoveva, Helvetica Backlight, Illinoise, Macmania Bold, Neurastenic, Notícias Populares, Oficina Bold, Pin ups, Pixel, Pravda, Sequestro, Simbolo, Splash, Stalin, Sumô, Super Braille (created for the Dorina Nowill Foundation), Times Change, Tipografia, Toxic Bodoni, Web Power, Zine. Samba LT (2003, Linotype, designed with Carlo de Marco; this art deco typeface was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century) won an award at the Linotype International Type Design Contest 2003.

    Just in Type typefaces include HallowHell Dingbats (2006, Halloween dingbats), Drop It (2005, dot matrix), Illinoise (2005, techno-grunge, by Tony and Caio de Marco), Kindergarten (a school font), Pixel Zoo (2008, dingbats), Inferno Dingbats (2008), Brazil Pixo Retro (2007, rune simulation), Fractal (2010), Concreta (2011, a stencil typeface in the style of Josef Albers, done with Niko Fernandez).

    In 2012, Tony de Marco and Diego Maldonado co-designed Garoa (a black rounded sans). Influenced by Herb Lubalin, it was derived from the free font Garoa Hacker Clube (done with Diego Maldonado).

    In 2014, Bernardo Faria and Tony de Marco created the masculine typeface family Terrorista, and wrote this blurb: Terrorista is a homage to everyone who fought against the Millitary Regime in Brazil from 1964 to 1985. The Terrorista Marighella features generous inktraps, fits perfect for small sizes. Terrorista Dilma has the same design as the Marighella, but without inktraps, made for display. The last typeface from the package is Terrorista Lamarca, stencil version. This is the font for the political propaganda machine.

    Completely in line with Tony's exuberant and delightfully mischievous views, he published Represent (2017), a typeface with sexual orientation symbols that can be compared with Luc Devroye's own Sekushii font from 2002.

    In 2019, Tony de Marco and Monica Rizzolli released the free octagonal typeface family Tomorrow at Just in Type. Github link. Open Font Library link.

    Typefaces from 2020: Letrix1 (a programmed experimental variable font).

    Typefaces from 2021: Just Pixo (a seven-weight pixacao font by Tony de Marco and Monica Rizzolli designed for monumental type sizes and vertical alignments, and released by Latinotype; +a variable font).

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

    Just van Rossum

    Dutch experimental nutty (in the good sense!) and prolific type designer (b. Haarlem, 1966) who created famous fonts such as Beowolf, Brokenscript, BeoSans, Trixie, Flixel (FUSE 2), and Schulbuch. He is also a font software expert who has initiated many ideas in the areas of type software. He teaches type design and programming at the Royal Academy of Fine Arts (KABK) in Den Haag, The Netherlands, both in the bachelor graphic design program as well as in the Type and Media master course.

    Just graduated in 1989 from the Royal Academy of Fine Arts (KABK), where he studied under Gerrit Noordzij. After stints at Monotype in the UK and MetaDesign in Berlin he became an independent type designer, focusing on software design for type. He collaborated with Erik van Blokland under the name LettError. It is at that time that he published FF Beowolf has been included in the permanent collection of the MoMa in New York. He co-wrote RoboFog with Petr van Blokland in the mid-nineties, which can be regarded as a forerunner of RoboFont, and has been a very influential scripting type design tool in Python. His TTX/FontTools library is a crucial building block for lots of font software. He also wrote the original version of the DrawBot application.

    He designed Phaistos (1990-1991, the Font Bureau, with David Berlow), which was inspired by the flared angular designs of Rudolf Koch such as Locarno). Designer or co-designer at LettError of LettErrorRobot-Chrome (2001), FFTrixie (X-files original), FF Advert (1991, a flared sans family), FF Justlefthand, FF Schulschrift (1991; in versions A, B and C following the German school script recommendations), FF StampGothic (1992), FF Confidential (1992, grunge), FF Karton (1992, a grungy stencil face), FF Flightcase (1992, a grungy didone stencil), FF Dynamoe (1992, a dymo label font, white on black), FF Hands, FF Brokenscript (1990, blackletter), Federal, and the random font Beowolf (1990, with Erik van Blokland).

    FF Schulbuch (1991-1992) is a series of fonts based on the historical textbook types used in Northern and Southern Germany, and Bavaria. The Nord (North) variant is the closest relative of Helvetica. At FUSE 11, he designed What You See/What You Get (with Erik van Blokland).

    Speaker at ATypI 2016 in Warsaw on The Sound of Shapes & Shape of Sounds.

    Bio at Emigre. FontShop link. Klingspor link. FontFont link.

    View Just van Rossum's typefaces. [Google] [MyFonts] [More]  ⦿

    Justin Bost

    Justin Bost (Washington, DC) graduated from the Corcoran College of Art + Design in Washington, DC, with a degree in Graphic Design. He morphed DIN and Didot together, two genetically incompatible parents, and created the mutant typeface Balance (2011). [Google] [More]  ⦿

    Justin Kostelansky

    Pittston, PA-based creator of Grecian Gunslinger (2012, octagonal and slabby), Kostel Infinity Sans (2012, gaspipe typeface), Defiance (2012, a didone headline typeface designed for photographer Ronald N. Tan's upcoming book "Defiance"), Hedron (2012, octagonal and slabby), and Kostel Slab Serif (2012).

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

    Justus Erich Walbaum

    Born in 1768 in Steinlah (Braunschweig), Walbaum died in Weimar in 1839 [Jay Rutherford puts his death in 1838]. This German punchcutter and typefounder introduced the modern (i.e., didone) lettershapes. In 1796, he acquires printer Ernst Wilhem Kircher's type foundry in Goslar, and moves it to Weimar in 1803. He runs the foundry until 1836, at which point he sold it to F. A. Brockhaus in Leipzig. In 1918, H. Berthold AG in Berlin gains possession of art of the Walbaum foundry and some of its matrices. Walbaum produced Walbaum Fraktur (1800) but is best known for his didone masterpiece, the Walbaum (1804), aka Walbaum Antiqua and kursiv. Klingspor pins the date at 1800. The early modern metal versions include Walbaum 374 (1933 and 1934, Monotype), and the later ones Walbaum 674 (1957, Monotype) and the Typoart version. Versions and revivlas from the digital age:

    • Walbaum LT (Linotype). This family has 34 weights.
    • Walbaum SB and Walbaum SH (Scangraphic).
    • G.G. Lange's Berthold Walbaum Book is based on the 16 point size of Walbaum's 1804 typeface and has great contrast in stroke weight [see Walbaum Display on the SoftMaker MegaFont XXL CD, 2002]. Berthold released Berthold Walbaum Book in 1975. It is well-suited for body copy, particularly for formal documents that need a contemporary flair, as well as for headlines.
    • Khunrath's revival called Justus (2008, Open Font Library) has six styles and is free.
    • Walbaum Text (2002) by Frantisek Storm. Storm also released Walbaum 10 Pro (2010) and Walbaum 2010 Pro (2010), which are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he also offers Walbaum Grotesk Pro (2011).
    • Walbaum Antiqua Pro (2013, Ralph M. Unger).
    • In 2018, Monotype's Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun co-designed Walbaum, a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.

    Walbaum Fraktur (ca. 1800, Berthold) is called W650 Blackletter and Walbaum Fraktur on the SoftMaker MegaFont XXL CD (2002) and DS-Walbaum Fraktur by Delbanco. Softmaker later realeased Walbaum Fraktur No. 2 Pro and Walbaum Zierfraktur Pro. URW also has a version, Walbaum Fraktur, and Linotype's is also called Walbaum Fraktur. See also Scangraphic's Walbaum Fraktur SH and Walbaum Fraktur SB, Dieter Steffmann's Walbaum Fraktur (2002), and Elsner and Flake's EF Walbaum Fraktur.

    In 2010, Mallory Wiegers published a couple of insightful posters on Walbaum's modern typefaces.

    Linotype link.

    MyFonts listing of digitizations of his work. Kernest link. [Google] [MyFonts] [More]  ⦿

    K22 Fonts
    [Toto]

    Quezon City or Kyusi (Philippines)-based designer of revivals and opportunistic typefaces, who is quite active on newsgroups like alt.binaries.fonts. His production is impressive:

    • Typefaces from Dan Solo's books: Pluto Outline (2012), a 3d beveled typeface from page 82 of Solo's Outline Alphabets. K22 Angular Text (2012, an interpretation of Herman Ihlenburg's 1884 Victorian typeface Angular Text at MacKellar, Smiths and Jordan), K22 Helve Cursive (based on Helvetica Serif by Dan Solo; other digitizations include Pen Tip (WSI) and Renania (Intellcta)), K22 Spiral Swash (Victorian), K22 Athenian Wide (2011: K22 Athenian Wide is Athenian Wide on page 5 of Circus Alphabets: 100 Complete Fonts by Dan X. Solo; see also Tobias SSK), K22 TriLine Gothic (2011, a multiline art deco typeface based on Ross F. George's TriLine Gothic from 1956), K22 Timbuctu (2011: this is the Arabic simulation typeface Timbuctu on page 73 of The Solotype Catalog of 4,147 Display Typefaces and on page 95 of Special Effects and Topical Alphabets: 100 Complete Fonts by Dan X. Solo), K22 Didoni (2011, + Swash: a fat typeface based on Didoni from page 33 of Swash Letter Alphabets: 100 Complete Fonts by Dan X. Solo and also on page 140 of The Solotype Catalog of 4,147 Display Typefaces), K22 K22 Eureka (2010, based on Eureka from Dan X. Solo's book "Circus Alphabets, 100 Complete Fonts"), K22 Monastic (2010, based on Monastic from Victorian Display Alphabets by Dan X. Solo), Solo Ornaments (2003, based on Solo's books), K22 Eclair (2010, a decorative Western typeface Toto found in Dan X. Solo's book on Victorian alphabets, but which in fact dates back to Hans Brehmer in 1868), K22 Karnak Deco (2009, a slab serif based on Karnak Deco from the Moderne Alphabets by Dan X. Solo and published by Dover Publications in 1999).
    • Revivals of Letraset phototypes: K22 Lucifer No. 1 (2012, a beveled neon-look face).
    • Typefaces from 101 Alphabets (W. Ben. Hunt and Ed. C. Hunt, The Bruce Publishing Company, New York, 1958): Saisa (2011, art deco face), K22 Amihan (2011, an art deco face, after this original).
    • MICR fonts: K22 GKW Computer (2011, a MICR font which is based on KW Computer from ATF, and looks very similar to Moore Computer), Auto Mission (2011, after Auto Mission was derived from the MICR font Automation Shaded on page 3 of Solo's Special Effects and Topical Alphabets, and is more complete than Otto Mason SH, the Soft Horizon digitization of Automation).
    • Fonts based on work by Ross F. George: K22 TriLine Gothic (2011) is based on Tri-Line Gothic by Ross F. George in Speedball Text Book, 17th Edition, 1956.
    • K22 Xanthus (2012, based on Xanthus Computer, a dry transfer (or rub-on) font from Mecanorma).
    • K22 Stile Ballmer (2011, after an art deco typeface made by Walter Ballmer for Olivetti), Mallary (2011, based on Mallary from page 43 of Dan X. Solo's Moderne Alphabets).
    • K22 Landi Linear (2011, after Nebiolo's Landi Linear).
    • Le Pochoir (2011, an art deco stencil typeface (à la Futura Stencil) based on an alphabet from Plate 40 of La Lettre dans la Peinture et la Publicité by Jean Joveneaux, Paris, 1987), Le Pochoir Creux (2011), Lettre dans le decor (2011, based on an alphabet from "La Lettre dans le Decor et la Publicité Modernes").
    • Splash Gordon (2011, +Inline; after the title of Flash Gordon, the movie).
    • Soccer shirt fonts: Brooks Chile (2011, used by Chile in the 2010 world cup), SwitchImage FC Copenhagen (2011, used by FC Kopenhagen), Azmie WC2010 South Korea (2010), SwitchimageACMilan (2010), FCBarcelona (2010), Azmie WC2010 United States (2010), Azmie WC2010 England (2010), Azmie WC2010 Australia (2010), Azmie WC2010Brazil (2010, based on a vector image by Kuala Lumpur-based Azmie for the Brazilian World Cup team), Azmie WC2010Portugal, Azmie WC2010Netherlands, Azmie2Slovenija-2010, Real Madrid 2011 (2010), ABFonts RCD Mallorca 2012 (based on the shirts of Real Club Deportivo Mallorca, for the 2012-2013 season).
    • K22 EricGill Shadow (2011, after Gill's 1929 face, Gill Sans Shadow 338; and K22 EricGill Shadow Line, an inline version).
    • Sajou Fancy Gothic (2011, based on pages 3 and 4 of Sajou No. 236, a late 19th century French embroidery booklet).
    • RAWB (2010, ultra fat family).
    • Linyat Bilog (2010). A geometric monoline typeface.
    • K22 Ambelyn Condensed (2010, based on Ambelyn Condensed, page 2 of Condensed Alphabets: 100 Complete Fonts by Dan X. Solo and also page 21 of The Solotype Catalog of 4,147 Display Typefaces where it is called Ambelyn), K22 Spiral Swash (2010, based on Spiral Swash from Dan X. Solo's Swash Letter Alphabets (p79)).
    • Art Jam MakingFaces (2003, a great dingbat font based on designs found in Image Club Graphics' volume 30, called Art Jam).
    • Town Sketches Bandstand (2003, based on volume 35 (Sketches On The Town)).
    • Fonts based on Aridi's designs: Nabel Initials (2005, based on Marwan Aridi's Nabel from the Initial Caps Vol I), Anabel (2005, a simpler version of Nabel Initials), Blister Caps (2005, based on the Blister set from the Aridi Initial Caps Vol. 1), RegalAlt, RegalInitials (2005, based on the Regal set from the Aridi Initial Caps Vol. I), SpringAlt, SpringInitials (2005, based on the Spring set from the Aridi Initial Caps Vol. I), VictorianaAlt, VictorianaInitials (2005, based on the Victoriana set from the Aridi Initial Caps Vol. III), Tuscan Initials (2005, based on more of Marwan Aridi's alphabets), Napoli Initials (2009, more Aridi capitals), Gothic Initials (2009, Aridi-based), Romant Initials (2009, Aridi-based), Royal Initials (2009, Aridi-based), Stone Initials (2009, also based on Aridi).
    • K22 You Know Who (2004, dingbats based on Dark Mark from the Harry Potter books).
    • Gidget Cameo (2004).
    • K22 Xerxes (2003, a stone carving typeface).
    • Dover Birds (2012, based on the Birds Alphabet Coloring Book by Ruth Soffer, Dover Publications).
    • K22 Spotty Face (2012, +Cyrillic) is a dot matrix font based on Tony Huggett's Spotty (Zipatone).
    • K22 Gadget Lined (2012) is an art deco typeface based on Gadget Lined by Peter Bennett at Zipatone. See also K22 Gadget (2014).
    • K22 Lawenta (2012). A teepee-styled typeface (check also Nick Curtis's Wigwam NF). He says: The font is based on the alphabet on page 63 of 101 Alphabets by W. Ben. Hunt and Ed. C. Hunt (The Bruce Publishing Company, New York, 1958).
    • K22 My Didot (2012). This is one of three known digitizations of CBS Didot.
    • K22 Aking Didot (2012). free.
    • K22 Plural (2013) is a revival of the op-art font Plural made in 1971 by Vicente Rojo for the Mexican magazine Plural.
    • Sabbath Paranoid (2018). It is based on the letters used in Paranoid, the 1970 album of Black Sabbath.
    • UP Fighting Maroons (2018). An unreleased custom font based on the sports font on the shirts of the Fighting Maroons at the University of the Philippines. The original Fighting Maroons font, called Maroons (Sharp Strong, Wide) is an octagonal family by AJ Dimarucot, Joanna Malinis of Plus63 Design Co., and Dan Matutina of Plus63 Design Co.
    Alternate URL. Fontspace link. Partial catalog from 2010. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Kadi Koroma

    During her studies at York University in Toronto, Kadi Koroma created Requiem (2013), a display typeface based on didone elements. Serendipity (2014) is a free caps-only teardrop typeface. In 2015, she created a free vector format native Indian symbolism font, Ohitika (2015). Behance link. [Google] [More]  ⦿

    Kai Büschl

    Born in 1971, Kai Büschl studied graphic design at the University of Applied Science Augsburg, Germany from 1993-1998. One of the three cofounders of Lazydogs Type foundry in Augsburg, Germany. In 2005 Kai was appointed visiting professor at the HBK Saar (University of Fine Arts Saarbrwücken).

    In 2017, he developed the didone typeface family LD Moderne Antiqua (and LD Moderne Antiqua fat) with three optical sizes for each style. LD Moderne Antiqua Fat finds its model in fat modern style typefaces of the seventies. In 2018, it was followed by the Clarendon style LD Moderne Slab. Proof & Co write: LD Moderne Slab is a tidy and classic take on the Clarendon style, with its more square proportions, Its proud and definitive features, and its well heeled serifs. It's clean, it's neat, it's rather nicely put together---in other words, it's a serious study in subtlety. If you set a line of it in open white space, stand back and let the letters breathe, it suddenly takes on a prestigious and stately vibe, and that's a result of the million tiny little things going on in its design that you wouldn't otherwise note but are working hard to express a modern refinement. I like LD Moderne Slab because its an unexpectedly elevated and quiet offering in a field of louder personalities. [Google] [More]  ⦿

    Kaiser Type
    [Bertram Kaiser]

    Munich, Germany-based designer of the classical antiqua typeface Equipe (2015)---think lively Didot. He also made a series of calligraphic alphabets in his Schriftfamilie project (2015).

    In 2019, he released the calligrpahic blackletter font Kaiser Fraktur, which was inspired by original manuscripts of Johann Neudörffer and Leonhard Wagner.

    In 2021, he published Pontina (a 6-style ball terminal didone) and the chancery script Humanista , which features a choice of calligraphic swash caps or Zapf-like italic caps (in the Pro version only).

    Typefaces from 2022: Triole 21 (a rotunda). [Google] [MyFonts] [More]  ⦿

    Kaitlyn Daum

    Greenville, SC-based creator of the didone typeface Nuvo (2012). [Google] [More]  ⦿

    Kaitlyn Haddlesey

    During her graphic design studies at the Ontario College of Art and Design University, Kaitlyn Haddlesey created the serifed typeface Oliver (2013), which is a hybrid on a didone body. Imogen (2014) is along the same lines. [Google] [More]  ⦿

    Karate Graphics

    Derby, UK-based logo and identity studio. Designers of Bodoni Hand (2005). Home page. [Google] [More]  ⦿

    Karl Gerstner

    Born in Basel in 1930, died in Basel, January 1, 2017. Karl Gerstner designed these typefaces:

    • Gerstner Programm (1963-1967). See also Opti Gurney Med Expanded by Softmaker. Fontsinuse writes that it is an attempt to work Akzidenz-Grotesk into a Univers-like system of harmonized weights and widths, initiated by Karl Gerstner at GGK (Gerstner, Gredinger und Kutter) Basel, drawn by Christian Mengelt, and produced by Berthold for the Diatype. Released from 1964 on. [Gerstner on Swiss Type Design] G.G. Lange claims that it was not available commercially. [Homola quoting from an interview in Typographische Monatsblätter 2/2003] In his monography though, Gerstner mentions that the typeface was launched by Berthold, and it is shown in the E1 Fototypes catalog. After the demise of the Diatype, it was still carried by VGC. In Programme entwerfen Gerstner says it was successfully issued by Aaron Burns in the US. In 2017, Lineto published a revival by Stephan Müller also called Gerstner Programm. It also published a translation of a 1963 article on Gerstner Programm by Karl Gerstner that appeared in Der Druckspiegel.
    • KG Privata. Renamed KG Vera.
    • Gerstner Original (1987, Berthold). Sold as Gerstner BQ. See Gerling on the SoftMaker MegaFont XXL CD, 2002. Berthold markets his extensive sans family Gerstner Next (2007, with Dieter Hofrichter), which is based on and almost identical to Gerstner Original BQ (1987).
    • The Akzidenz-Grotesk family (1962, Berthold) and Akzidenz-Grotesk Buch. See Atkins on the SoftMaker MegaFont XXL CD, 2002.
    • In the 1980s, he designed a didone for IBM's identity. That typeface is now available from URW++ under the name IBM Bodoni.

    Gerstner is best known for his eccentricity in design, and his use of equally eccentric type (often Grotesk) to accompany his designs. The designer as programmer Karl Gerstner Review of 5x10 Years of Graphic Design is a book on Gerstner's influence as a designer, edited by Manfred Kröplien Hatje Cantz. He was trained under Armin Hofmann and Emil Ruder at the School of Design in Basel. He co-founded GGK (Gerstner Gredinger und Kutter), a leading Swiss advertising agency in 1963. GGK has been responsible for a number of promotional campaigns and corporate identities.

    His books include Integral Typography (1959), The New Graphic Art (1959), Designing Programs (1963), and Compendium for Literates (1970). In 1972, an entire issue of Typografische Monatsblatter was devoted to Gerstner. Also in 1972, he wrote Kompendium für Alphabeten (last edition: 2000, Verlag Niggli AG).

    Klingspor link. Short video on Gerstner by Melanie Hofmann. Obituary at Swissinfo. Gerstner's work is now available in the Helvetica Archives thanks to his own donation (in 2006) and that of his daughter (after his death). [Google] [MyFonts] [More]  ⦿

    Karl-Heinz Domning

    Creator (b. 1938, Lasdehnen, Germany) of typefaces at VGC, such as Domning Antiqua (1966). In the Berthold Types Collection, he has Quadra 57 BQ (1974, a great slab serif), Viola (1973, didone) and Simone BQ (1974, didone).

    Klingspor link.

    View Karl-Heinz Domning's typefaces. [Google] [MyFonts] [More]  ⦿

    Kat J. Weiss

    Hong Kong-based designer of the didone typeface Paolini (2013). Cargo Collecrtive link. [Google] [More]  ⦿

    Katarzyna Olga Jarecka

    Warsaw Poland-based designer of Etykieta (2014), a thin didone typeface. [Google] [MyFonts] [More]  ⦿

    Katatrad (was: Behaviour)

    The idea of Katatrad originally comes from the vision and support of Cadson Demak design team. Started out by a type design exhibition project and transformed itself to a boutique font collection. Katatrad, which is located in Bangkok, offers fonts from new and up coming designers from Thailand. The collection is also available in standard Latin set and Latin&Thai version of the same font. Stawix Ruecha (Katatrad) designed the super-contrasted didone family Xree (2011) and the rounded octagonal family Nubb (2012). They cover Thai and Latin. Katatrad was previously known as Behaviour, est. 1996. In 2006, Katatrad published Fiber Eno, a cross between OCRA and OCRB. In 2005, they did OCR-Be. In fact, many of their typefaces have octagonal roots. Katatrad published Beauty in 2011. Pharmasee (2011) has medical dingbats.

    In 2012, Stawix was established in Bangkok.

    In 2015, the Katatrad team and Cadson Demak (and especially Thanarat Vachiruckul) published the free loopless Thai / Latin typeface Prompt. It won an award at Granshan 2016.

    In 2018, they designed Niramit (Google Fonts, Cadson Demak).

    In 2019, Katatrad developed the free version Readiness of their geometric sans typeface family Prompt.

    Images of their best-selling typefaces. [Google] [MyFonts] [More]  ⦿

    Katja Zerko

    Slovenia designer of the didone typeface Mucek (2014). [Google] [More]  ⦿

    Kato Masashi
    [Flop Design]

    [More]  ⦿

    Kavoon
    [Anton Didenko]

    Moscow (was: Krasnodar), Russia-based designer of the brush script typefaces Geneva (2016, a fat signage brush font), Florence Brush (2016), Brownie Brush (2016), Jumper Script (2016), Leviafan (2016), Kelium (2016) and Milestone (2016), and the handcrafted Kelium Grotesque (2016) and Milestone Grotesque (2016).

    Typefaces from 2017: Adevale (script), Mystique Script (dry brush), Adevale Script (signage), Highlander Marker, Goliath Script, Goliath (brush script), Gineva (brush), Mystique Marker, Emerald Script (brush script), Keyline Script (brush script).

    Typefaces from 2018: Black Stone Marker (a script), Shadowy (script), Supreme (brush script), Fjord (or Fjoerd) (condensed didone), Tyrium, Zenith (brush font), Sicily Script (dry brush).

    Typefaces from 2019: Berlingo (a dry brush SVG font), Airborne (a rythmic signage script), Hidden Soul (a forceful script), HM Lemonade.

    Typefaces from 2020: Modestine (script), Rectory (a fun art deco sans that fiddles with glyph widths), Camijo (a contemporary wedge serif with angular elements), Garine (an art deco typeface with many interlocking pairs of letters), Superline (a tall sports font), Metroline (a script and condensed sans duo).

    Typefaces from 2021: Ratyin (a brush font).

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

    KC Fonts
    [Kevin Christopher]

    Canadian creator (b. Regina, SK) of the free typefaces Subway Novella (2011, grunge), Death From Above (2011, grunge), My Girl is Retro (2011, grunge), Eclipse (2011, shadow face), Chemical Reaction (2011, grunge), Shotgun Wedding (2011, grunge), Smoke in the Woods (2011, grunge), Indie Press (2011, texture face), Fat Cat (2011), Bluprint (2011), Square Flo (2011), Serial Publication (2011, grunge), Criminology (2011, textured face), Yoghurt (2011, curly script), Crashed Out (2011, textured face), Scribble Box (2011, sketched), Demento (2011), Verbal Diarrhea (2011), Ol' Cowboy (2011, grunge), Urban Jungle (2011, grungy caps-only face), Overcast Skies (2011, grunge), Good Morning Afternoon (2011) and Seedy Motel (2011). He also made the hand-printed Western Swagger (2011), the grungy mural typeface family Media Blackout (2011), the white on black typeface All Ages (2011), In The Garden (2011), Past Due (2011, didone grunge), and the drippy Rainy Day Vandal (2011).

    Commercial typefaces: Pewter (2012), Varsity Playbook (2012, sketched), Subway Novella (2012).

    Typefaces made in 2012: This Line-Up (grungy), None Shall Pass (grungy stencil), Black Asylum (horror movie grunge), Jonze (rubber stamp grunge), Main Event (grunge), Pewter, Black Asylum (grunge), Transit Diplay (noisy), Muddy Tractor, Load up on guns (grunge), Tragic Vision (grunge), Closure, Rocky Shore (grunge), Kraft Nine, Hooverville (copperplate/engraved typeface), Misery Loves Company, All Ages (grunge), By The Throat (scribbly, fat), Faded Memory, Varsity Playbook, Headliner No. 45 (a heavy poster face), Dro (another poster face), The Biz (grunge), Scorched Earth, Gunslinger (grungy wood type), Friday Night Lights (athletic lettering), Noises in the Attic (grunge), Jonze and Jonzing (grungy poster typeface in the style of Veneer).

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

    Typefaces from 2017: Type Xero (grungy and texrtured).

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

    Kelly Farmer

    During her Master of Fine Arts studies at Savannah College of Art and Design (SCAD) in Savannah, GA, Kelly Farmer created the decorative display typeface Cato (2013) and the decorative didone teardrop titling typeface Fella (2013).

    Link to Pluck Design. [Google] [More]  ⦿

    Kelsey Scherer

    Graphic designer in Washington, DC, who created the ornamental didone caps typeface Mandrake (2012). [Google] [More]  ⦿

    Kenji Enos

    West Sacramento, CA-based designer of the rounded sans Simplex (2012), the tall-legged Twiggy Display (2012), the sans family Locksmith Display (2012, an experiment on inline), the arched shadow headline typeface Architype (2012), the bicolored geometric typeface El Grito (2012), Squirrel Display (2012), the geometric layered typeface Chunky Display (2012), and the Western slab typeface Slabtastic Display (2012).

    Typefaces from 2013 include Samuel Display (+Clean, +Ruff), Industry Display (+Raised, +Inline, +Lined: an octagonal typeface family), Winter Display (a spurred typeface), Delilah Display, Wellington Display. The Condensed weight of this family is tweetware. Rockefeller Display has mini-slabs characteristic of copperplate. Barker Display is a condensed straight-edged typeface. Elizabeth Display has so many different crazy terminals that it must be classified as high-Victorian.

    Typefaces from 2014: Euclid Display (octagonal, free), Cornelius Display (weathered slab serif), Quentin Display.

    Typefaces from 2015: Magnolia Display (free), Bear Display (a heavy octagonal typeface), Mable Display (spurred vintage typeface).

    Typefaces from 2016: Bear (modular and squarish), Rosemary Display (a great slab serif family), Magnolia Display, Quentin Display v.2, Ember Display (a high-contrast didone), Elder Display (a free transitional style typeface).

    Typefaces from 2018: Kenjiboy Village Plus (reverse stress psychedelia).

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

    Kentype
    [Pawel Kenig]

    Designers of these typefaces: Blue Marker Pro (2016: fat finger font), Ramshackled Pro (2017: scratched textured letters), Romanestique Pro (2017: tall didone), Vintage Paris Pro (2017: inline style). [Google] [More]  ⦿

    Kernest
    [Garrick Van Buren]

    A site that offers to host fonts for use in @fontface tags on web pages. I do not quite understand the pricing---somewhere it says, for example, that Abia Wide by Tkachenko will cost 15 dollars per year and per web site. It is unclear who pays who in the triangle "web site (html page) maker", "font designer", "Kernest". I believe that some are free. Fontue is a free open-source, web font server built for Kernest.com. The list of designers participating in this effort is impressive.

    The list of designers as of March 2010: A. Korolkova | Aj Paglia | Alec Julien | Alexander Fell | Alexander Kalachev | Alexey Kryukov | Alexey Maslov | Andrew Paglinawan | Andrey V. Panov | Andy Chung | Annie Olsen | Apostolos Syropoulos | Apostrophic Labs | Ascender Corporation | B. Jackowski | Barry Schwartz | Ben Weiner | Bernd Montag | Bitstream | Bo Linnemann | Brandon Schoech | Caius Chance | Cal Henderson | Caroline Hadilaksono | Chank Diesel | Charles Bigelow | Choz Cunningham | Chris Miller | Christian Ghirardi | Christophe Féray | Coji Morishita | Colin Willems | Daniel Johnson | Daniel Midgley | Darren Rigby | Dave Crossland | Derek Weathersbee | Diego Quintana | Dieter Steffmann | Dimitri Castrique | Dot Colon | Dustin Norlander | Eat Street Fontmaking Workshop | Ed Merritt | Edgar Tadeo | Eric Schiller | Fontsite | Fredrick Nader | Friedrich Althausen | Garrett Le Sage | Georg Seifert | George Triantafyllakos | Giovanniello | Graham Meade | Greyscale | Gurkan Sengun | Haley Fiege | Han The Thanh | Harold Lohner | Hiran Venugopalan | Hirwen Harendal | J.M. Nowacki | James Puckett | Jan Gerner | Jan Sonntag | Janusz M. Nowacki | Jason Kottke | Jeffrey Visser | Jeroen Klaver | Jess Latham | Johan Aakerlund | Johan Mattsson | John Stracke | Jon Hicks | Jovanny Lemonad | Juan Pablo De Gregorio | Justus Erich Walbaum | Kris Holmes | La Tipomatika | Libertine Open Fonts Project | Lithu K Kumar | Ludivine Loiseau | M+ Fonts | Manfred Klein | Marcelo Magalhaes | Mark Simonson | Marko Jovanovac | Markus Waeger | Matt Mc Inerney | Matthew Welch | Meredith Mandel | Michael Tension | MĂĄrten Nettelbladt | Nadia Knechtle | Nick Curtis | O. Umpeleva | Orgdot Consortium | Oscar Marchal | Patrick Broderick | Paul Lloyd | Paulo Silva | Peter Hoffman | Peter Wiegel | Philipp H. Poll | Philippe Cochy | Ralph Oliver Du Carrois | Raph Levien | Richard A. Ware | Robby Woodard | Robert Norton | Rodrigo Fuenzalida | Rogier Van Dalen | Roman Yershov | Ryoichi Tsunekawa | Ryoichi Tsunekawa Bagel | Sil Nrsi Team | Sebastian Mechelk | Sergiy Tkachenko | Sparanoid | Steeve Gruson | Stephen C. Gilardi | Stephen G. Hartke | Steve Jordi | Steve Matteson | Thatcher Ulrich | Thomas Schraitle | Tino Meinert | Tom Murphy 7 | Tom Tor | Tup Wanders | Tyler Finck | V. Yefimov | Valek Filippov | Vic Fieger | Victor Gaultney | Wolf Bain X | Yann Le Coroller | Yeah Noah | Yusuke Kamiyamane | Zygfryd Gardzielewski | Afrojet | Catrina | Craig Kroeger | Ficod | Gluk | Inkboy | Laura Kristen. [Google] [More]  ⦿

    Kerns&Cairns
    [Dyana Weissman]

    American type designer, b. 1980, who graduated from the RISD, and worked at Font Bureau (as Senior Custom Designer) and Type Network (as Custom Type Director) in Boston. She set up Kerns & Cairns, also in Boston. Interview at Daidala. Interview by Christian Palino. Her typefaces:

    • Materot: calligraphic.
    • She expanded the Benton Sans family into an ultra for Toyota, commissioned by Saatchi&Saatchi.
    • Baskerville was modified by her for Northeastern University (via Korn Design).
    • She made a font for learning handwriting for TouchMath.
    • Apotek (2020): a squared counter typeface family based on lettering on old medicine bottles seen in Oslo.
    • Benton Modern Display (2008), co-designed with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.
    • A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Richard Lipton and Jill Pichotta): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.
    • Escrow Reading Edge (2016, Font Bureau). An extension of Cyrus Highsmith's Scotch Roman, Escrow (2006).
    • Syfy Hero and Syfy Sidekick.
    • Waldorf Astorai. An art deco typeface inspired by the lettering on the facade of Waldorf Astoria Hotel at 301 Park Avenue in New York City.
    • Comedy Sans. A 12-style typeface commissioned by Comedy Central.
    • Firdevs (2022). A digitization of a Victorian typeface drawn in Silivri Prison by political prisoner and journalist Fevzi Yazici, and named after Fevzi's wife.
    • CTV Sans. For the Canadian TV network.
    • ESPN College Football. A custom varsity font family developed together with Victoria Rushton and loyalkaspar.
    • Peacock Sans (2020, with Victoria Rushton). A custom typeface for Peacock, NBC Universal's video streaming platform.
    • GRab=vity Grotesk (2021, with Victoria Rushton and CSTM Fonts).

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

    Kerra Sunderlin

    Cincinnati-based graphic designer who created the modern typeface Klare in 2013. [Google] [More]  ⦿

    Kevin Christopher
    [KC Fonts]

    [MyFonts] [More]  ⦿

    Khunrath

    Designer of the didone font family Justus (2008), named after Justus Erich Walbaum, ca. 1800. Six styles: Roman, Versalitas, Bold, Italic, ItalicOldstyle, Oldstyle. Open Font Library link. Font Squirrel link. [Google] [More]  ⦿

    Kimmy Design
    [Kimmy Kirkwood]

    Kimmy Kirkwood (b. 1988, Seattle, WA) (Kimmy Design) studied at Chapman University, and lives in Santa Monica, Orange County. He graduated in 2018 from the University of Reading's MATD program.

    Kimmy created a gracious curly calligraphic script face, Madeleine (2010), which is based on a logo she designed for Hotel Le Sirenuse.

    At Dafont, one can download Kuppel (a hairline display sans) and Hammer Head, both done in 2010 as well.

    Phase two of Kimmy's career started late in 2010 as Kimmy Design, where one now has to pay for Madeleine (2010) and Katelyn (2011). Addison (2011) is a wood type Western circus poster font in two styles, West and Circus.

    In 2012, Kimmy created the counterless art deco typeface Chelsnuts, the worn wood type typeface Cpl Kirkwood, Elizabeth Script, and Paper Cutout Pro.

    In 2013, Kimmy published Lunchbox Slab, the grungy Appareo, the condensed minimalist sans family Maxwell Sans, its companion Maxwell Slab, the scriptish typeface Lunch Box, and the bold headline family Station (inspired by old train station typography).

    Typefaces from 2014: Catalina (hand-drawn typeface family with sub-styles called Anacapa, Avalon, Clemente Script, Typewriter and Extras, ideal for hand-drawn menus, table cards, chalkboards, and wall quotes), Amorie (a skinny hand-drawn family, with styles called Modella, Nova, SC and Extras).

    Typefaces from 2015: Avaline Script, Baker Street (vintage hand-drawn typeface family), Burford (a 16-style vintage layered family), Burford Rustic (layered font family).

    Typefaces from 2016: Bourton (a layered font for vintage yacht club or whiskey bar logos; it is the sans version of Burford; sufamilies include Drop, Lines and Outlines), Rainier (handcrafted).

    Typefaces from 2017: Evanston Alehouse (octagonal, beer bottle style, slightly copperplate), Bourton Hand.

    Typefaces from 2018: Clifton (his MATD graduation typeface): Clifton is a modern type family with many weights and contrast styles. It supports Latin scripts as well as Greek, Cyrillic and Arabic. Originally intended as a book typeface, it was designed so that all the weights and styles would work together as a cohesive family.

    Typefaces from 2019: Refinery (an 85-style octagonal family based in early 20th century signage), Evanston Tavern (Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time.), Winslow Book (a playful modern Scotch).

    Typefaces from 2020: Roadhouse (a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to prohibition), Winslow Title (a decorative didone family), Winslow Title Script (monoline), Hawkes (Sans, Script, Variable Width Sans).

    Typefaces from 2021: Madley (a 12-style soft slab serif).

    Typefaces from 2022: Bourton Text (an elliptical sans in 42 styles). [Google] [MyFonts] [More]  ⦿

    Kimmy Kirkwood
    [Kimmy Design]

    [MyFonts] [More]  ⦿

    Kirjatehnika
    [Andree Paat]

    Kirjatehnika is the type design practice of Andree Paat in Tallinn, Estonia. Their typefaces as of 2020:

    • Alloy Grotesk Heavy.
    • Alloy Slab Heavy. Alloy Slab is an old-timerly slab-serif based on the charming clunky Great-Primer Antique (George Bruce & Co.,1848).
    • Bougie Regular. An exaggerated didone.
    • Frukt Heavy. Psychedelic and puffy.
    • Goofy Bold. Goofy is a soft and playful reverse-contrast typeface based on the phototype era font Global by Aldo Novarese (1978).
    • Ladna Sans Medium.
    • Libre Office Sans (2016). A free font drawn in the open-source program Libre Office. No punctuation.
    • Maxi (2020, Dinamo). An experimental hipster-inspired gemetric sans family designed by Dinamo (Johannes Breyer and Fabian Harb) and Andree Paat).
    • Metropol Black. A revival attempt of the original by Aldo Novarese (1966).
    [Google] [More]  ⦿

    Kitya Toropowski

    Moscow-based designer of these typefaces in 2018:

    • Keleti (2018). A pixelized typeface.
    • Lahti (2018). A stylish fat didone derivative based on compass-and-ruler. Covers Latin and Cyrillic.
    [Google] [More]  ⦿

    Klaus Bartels
    [Babylon Schrift Kontor]

    [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:
    Retail

    • Feijoa (2007, a serif family for text, Village).
    • National (2007, a sans serif family, Village). This type family won an award at TDC2 2008. Duncan Forbes: National is slightly mannered, which becomes more apparent in the heavier weights yet it still remains simple, subtle and serious. [...] It has a human charm that gives such warmth and learned beauty to text.
    • FF Meta Serif (2007, Serif counterpart of FF Meta, with Erik Spiekermann and Christian Schwartz).
    • Galaxie Copernicus (2009) is a large x-height serif family done at Village in cooperation with Chester Jenkins. It was inspired (from very far) by Plantin's types. Another outgrowth of Plantin is Tiempos (2018), in Fine, Headline and Text subfamilies, which has both Times New Roman and Copernicus Galaxie as its parents.
    • Domaine Text and Display, in 48 styles (2013). Wedge serif on a didone skeleton. The Domaine Sans Display and Domaine Sans Fine subfamilies are exquisite fashion mag typefaces.
    • Founders Grotesk (2010). Roughly based on Miller&Richard Grotesque (No. 4, No. 7, No. 3), from a 1912 Miller&Richard specimen book. The proportions are just right---I will place my bets on this one for several best of 2010 award lists. The Condensed and X-Condensed are from 2011, and Founders Grotesk Text was published in 2013. Founders Grotesk Mono followed in 2014.
    • Metric (2011). A sans family with hints of art deco in the heavier weights. It is paired with Calibre (2011). Sowersby writes: Metric&Calibre are a pair of typefaces that share a fundamental geometry yet differ in the finish of key letterforms. Metric is a geometric humanist, sired by West Berlin street signs. Calibre is a geometric neo-grotesque, inspired by the rationality of Aldo Novarese's seldom seen Recta. They were conceived as a pair but function independently of each other. In a clever twist, Metric offers vertical stroke endings and Calibre horizontal ones in a selected number of glyphs.
    • Tiempos Text and Tiempos Headline (2010). Named for Times New Roman, this type has influences from the Egyptian Galaxie Copernicus, which is based on Plantin, as well as from Times New Roman.
    • FF Unit Slab (2007, with Erik Spiekermann and Christian Schwartz).
    • Newzald (2007), an economical text serif based on rough lettering found in New Zealand. Review of Newzald at Typographica.
    Custom
    • Pitch (2011). A typewriter face.
    • Hardys (2008), an elegant serif typeface custom designed for Australia's Constellation Wines. Hardys won an award at TDC2 2009. Hardys reviewed at Typographica.
    • Serrano (2008): a sans family designed for the Bank of New Zealand. It will be available for licensing starting in October 2013. In addition, it won an award at TDC2 2009.
    • Eliza (2003).
    • NZ Rugby Chisel (2006, The All Blacks Typeface).
    • Hokotohu (2007, a typeface for the Moriori).
    • Victoria Sans and Serif (2007, custom typefaces for Victoria University).
    • Methven Flow.
    • Rewards (2006). A serif family designed with Chester Jenkins for American Express.
    • Financier (2014). A corporate typeface done for Financial Times.
    • The blackletter pixel font Pixel Fraktur (2002).
    • The pixel script font Nobody came to class (2003).
    • Pixel uncial (2003).
    • Luca Titling (2003, an ancient roman titling typeface based on inscriptions from 1590).
    • Mono, Mono Pre (2003).
    • Kilbernie Sans (2003), Kilbirnie Serif (2004).
    • Klim Sans (2004).
    • A Slabb (2004, a slab serif), Slabb (nice slab version of Klim Sans).
    • Karv (2005, alternative for Trajan), Karv Sans.
    • National Condensed and National Compressed (2007).
    • Aperture (2007), a sans for small sizes.
    • Valencia (2007), a warm didone.
    • Salamanca (2005).
    • Sevilo (2005).
    • Zinc (2005).
    • Elegantia (2005, based on Polyphilus).
    • Karbon, Karbon Serif (2006: raves from the typophiles!). Karbon is an open, geometric sans serif with a contemporary spartan finish. It is an exploration of Paul Renner's reductionist Futura concept channelled through the proportions of Eric Gill's eponymous sans, with a slight nod towards Jan Tschichold's Uhertype sans-serif. Includes seven weights in roman and italic.
    • The Italian (negative stress) typeface Maelstrom (2018). Review by Bethany Heck.
    • In 2015, the custom octagonal typeface Pure Pakati was developed at Whybin TBWA Auckland for Tourism New Zealand. Its design team comprised Philip Kelly (design director), Karl Wixon (Maori design consultant), Kris Sowersby (type designer) and Rangi Kipa (Maori carver). Pure Pakati blends the traditions of wood type with the traditional indigenous carving style of Aotearoa (New Zealand) in a hand-carved and digital fonts. It won an Nga Aho Award from the Designers Institute of New Zealand and Nga Aho Inc in 2015.
    • Domaine Sans (2014, with Dave Foster) won an award in the TDC 2015 Type Design competition.
    • Stern Metric (2011).
    • The monospaced / typewriter typeface family Pitch Sans (2018).
    • Geograph (2017-2018) was designed by Kris Sowersby and engineered by Noe Blanco. Panos Haratzopoulos designed Greek versions. The Geograph fonts are currently licensed for the exclusive use of National Geographic. It is a comprehensive replacement of several typefaces that National Geographic had been using such as Verlag and Neue Haas Grotesk. Free download.
    • Heldane (Text, Display) (2018), designed by Kris Sowersby and engineered by Noe Blanco: Heldane is a contemporary serif family inspired by the renaissance works of Hendrik van den Keere, Claude Garamont, Robert Granjon and Simon de Colines. Rather than emulating a specific font, Heldane amalgamates the best details from these sources into a cohesive whole. The classical typographic foundations of Heldane are refined with rigorous digital drawing. I consider Heldane a third generation garalde typeface drawn from secondary sources. The first generation are 16th century works from the likes of Van den Keere, Garamont, Granjon and De Colines. The second generation are 20th century conscious metal revivals. By conscious, I mean the concerted effort to revive a specific style, whether the source was accurate---like Stempel Garamond; or not---like American Type Foundry Garamond No.3. The third generation are those made since 1955, after the re-discovery of the Plantin-Moretus archives and subsequent scholarship. These are types like Sabon, Galliard, Adobe Garamond and Renard. The designers of these faces skilfully exploit modern scholarship, disambiguation of punchcutters, and trace accurate lines to their primary sources. Heldane won an award at the Type Directors Club's Type Design Competition 2019.
    • The Future Mono (2018). A superb take on Futura, which Kris describes as follows: Imagine if Paul Renner moved to Japan and Kyota Sugimoto asked him to adapt Futura to a typewriter. A mono version of Futura thanks to a great plastic surgeon. the Future Mono v0.2 was released at Future Fonts in 2020.
    • Soehne or Söhne (2019). Superlatives fail me. This complete sans family in Normal, Mono, Schmal, and Breit subfamilies is described by Sowersby as follows: Söhne is the memory of Akzidenz-Grotesk framed through the reality of Helvetica. It captures the analogue materiality of Standard Medium used in Unimark's legendary wayfinding system for the NYC Subway.. Engineered by Noe Blanco, and with help from Dave Foster and Tim Kelleher.
    • Signifier (2019). A digital remake of the Fell types. Sowersby calls his own attempt brutalist. The outcome is sharp-edged and very much 21st century stuff.
    • Manuka (2019-2021, by Dave Foster and Noe Blanco). Award winner at 25 TDC in 2022. Compressed typefaces for large sizes. Described by Klim Type: With deviant details pilfered from Teutonic timber type, Manuka grafts a contemporary antipodean aesthetic onto 19th century German root-stock. Tight spacing, closed apertures and sharp joins make a compelling texture, like sunlight sparkling through a forest canopy.
    • Untitled Sans and Untitled Serif (2020). Klim writes that they are quotidian typefaces: Untitled Sans is a plain, neogrotesk sans validated by the ideas of Jasper Morrison and Naoto Fukasawa's Super Normal project. Untitled Serif is drawn from the old-style genre of typefaces: the post-Caslon, pre-Times workhorses offered by almost every metal type foundry of the time. Untitled Sans and Untitled Serif are related neither by skeleton nor a traditional aesthetic connection, but by concept only.
    • Epicene Text & Display (2021, by Dave Foster and Noe Blanco). Award winner at 25 TDC in 2022. These are baroque typeface families inspired by the work of 18th century masters J-F. Rosart and J.M. Fleischmann. AIGA describes the result as a baroque typeface celebrating ornamental idiosyncracy.

    In 2020, he started writing the text The Art of Letters. [Google] [MyFonts] [More]  ⦿

    Kliros

    Designers of Triod (19999), a bold Latin/Cyrillic didone. [Google] [More]  ⦿

    KLT Kompiuteris Lietuviskai

    Lithuanian font archive with fonts from ElseWare, Microsoft, Monotype and Fotonija: Albertus-Bold, AlbertusExtraBold-Regular, ArialNarrow-Italic, ArialNarrow-Bold, ArialNarrow-BoldItalic, Bodoni-Regular, Bodoni-Italic, Bodoni-Bold, Bodoni-BoldItalic, BodoniBlack-Regular, BrushScriptLT, CGOmega-Regular, CGOmega-Italic, CGOmega-Bold, CGOmega-BoldItalic, CGTimes-Regular, CGTimes-Italic, CGTimes-Bold, CGTimes-BoldItalic, Clarendon-Book, Clarendon-Bold, ClarendonCondensed-Bold, ClarendonExtended-Bold, CenturyGothic-Italic, CenturyGothic-Bold, CenturyGothic-BoldItalic, CourierLTBold, CourierLTItalic, CourierLT, CourierLTBoldItalic, Garamond-KursivHalbfett, GillSansLight-Regular, GillSansLight-Italic, GillSans-Regular, GillSans-Italic, GillSansCondensed-Regular, GillSans-Bold, GillSans-BoldItalic, GillSansCondensed-Bold, GillSansExtraBold-Regular, GoudyOldStyle-Regular, GoudyOldStyle-Italic, GoudyOldStyle-Bold, GoudyOldStyle-BoldItalic, GoudyOldStyleExtrabold-Regular, Graphos-Regular, Graphos-Italic, Graphos-Bold, Graphos-BoldItalic, HelveticaLTBold, HelveticaLTItalic, HelveticaLT, HelveticaRS, HelveticaLTBoldItalic, LetterGothic-Regular, LetterGothic-Italic, LetterGothic-Bold, LetterGothic-BoldItalic, MetrostyleExtended-Regular, Metrostyle-Regular, MetrostyleExtended-Bold, Metrostyle-Bold, MonospaceLT, AntiqueOlive-Regular, AntiqueOlive-Italic, AntiqueOlive-Bold, AntiqueOliveCompact-Regular, OzzieBlack-Regular, OzzieBlack-Italic, Strider-Regular, TimesLTBold, TimesLTItalic, TimesLietRoman, TimesLietRomanBold, TimesLietRomanBoldItalic, TimesLietRomanItalic, TimesLT, TimesRS, TimesLTBoldItalic, UniversLightCondensed-Regular, UniversLightCondensed-Italic, UniversExtended-Medium, UniversExtended-MediumItalic, Univers-Medium, Univers-MediumItalic, UniversCondensed-Medium, UniversCondensed-MediumItalic, UniversExtended-Bold, UniversExtended-BoldItalic, Univers-Bold, Univers-BoldItalic, UniversCondensed-Bold, UniversCondensed-BoldItalic, Arial-Black, Impact, ArialMT, Arial-BoldMT, Arial-BoldItalicMT, Arial-ItalicMT, CourierNewPSMT, CourierNewPS-BoldMT, CourierNewPS-BoldItalicMT, CourierNewPS-ItalicMT, TimesNewRomanPSMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-ItalicMT, Verdana, Verdana-Bold, Verdana-Italic, Verdana-BoldItalic. [Google] [More]  ⦿

    Kohei Ishikawa

    Japanese designer of the didone fashion magazine typeface simply called #01 (2011). Behance link. [Google] [More]  ⦿

    Kris Sowersby
    [KLIM (or: Klim Type Foundry)]

    [MyFonts] [More]  ⦿

    Krismagraph
    [Ratna Krismawati]

    Krismagraph is an independent typeface design studio based in Temanggung, Indonesia, founded in 2018 by type designer Ratna Krismawati. Typefaces from 2021: Esthetique (a condensed sanitized sans), Morgana (a fashion mag serif), Svarga (a fashion mag serif).

    Typefaces from 2022: Chlara (a stylish serif), La Chore Typeface (a high contrast fashion mag didone), Chlara, Orange Avenue (a fashion mag typeface), Mocktaile, Rebelleon Typeface (a fashion mag serif). [Google] [MyFonts] [More]  ⦿

    Krista Likar

    During her studies, Ljubljana, Slovenia-based Krista Likar created the exaggerated serif typeface Serifnik (2015) and the gorgeous sans display typeface Kros (2015).

    In 2016, she designed the slab serif typeface Josephine.

    In 2020, she released Sopran through Type Salon, an independent type design studio based in Ljubljana, Slovenia, founded by Alja Herlah and Krista Likar. Sopran is an attractive didone display style in which the traditional ball terminals have been replaced by vertical hairline serifs.

    Co-designer with Alja Herlah of Spektra (2020, Type salon), a black condensed sans that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable typeface with an italic axis.

    In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke. [Google] [MyFonts] [More]  ⦿

    Kristian Allen Larsen

    Oslo-based designer and illustrator. In 2010, he created a didone display typeface with art deco motifs and a bit of Pistilli Roman, called Gotheco Regular. [Google] [More]  ⦿

    Kristine Arth

    Kristine Arth (San Francisco, CA) is the founder and principal designer behind Lobster Phone. During a workshop at Type Paris 2018, she designed Mademoiselle Didot, a curvaceous typeface that celebrates the human form with references to Firmin Didot and Eero Saarinen. [Google] [More]  ⦿

    Kristof Gajdo

    Graphic designer in Budapest. He made a Bodoni MT derivative (2009, a counterless and Bodoni all caps face, with the serifs guillotined off) and used it in several glitzy jobs. [Google] [More]  ⦿

    Kristyan Sarkis
    [TPTQ Arabic Type Foundry]

    [More]  ⦿

    K.T. Kristian Möller
    [KTKM]

    [MyFonts] [More]  ⦿

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

    Kudo Creative (or: XD Creative)
    [Faldy Kudo]

    Banyuwangi, Indonesia-based designer of the script typefaces Carmilla (2018), Mollucash (2018), Saturday Night (2018), Southwarks (2018), Charlottes (2018), Black Sweet (2018) and Hypertiroid (2018: drawn with a nibbed calligraphic pen).

    In 2019, he released the monoline sans typefaces Shafira and Grayson.

    Typefaces from 2020: Daffodile, Gadies (an organic sans), Emphatic (a display serif), Bonitha Octavy (script), Pramodia (a signature script), Cornelia (a titling typeface), Gloria Ramsey (a display serif), Honey&Lovely.

    Typefaces from 2021: Native Txt (an 18-style transitional text family), Giane (a 16-style serif family), Giane Gothic Sans (54 styles), Vegas x (an inline typeface), Cantiqe (a didone), Loistave (an imperfectly kerned 6-style transitional text typeface), Cavello (an 8-style slab serif), Osande (an organic neo-grotesk in 14 styles).

    Typefaces from 2022: Magnify (16 styles; a geometric sans inspired by Futura). [Google] [MyFonts] [More]  ⦿

    Kustomtype
    [Coert De Decker]

    Kustomtype is Coert De Decker's type foundry in Otegem, Belgium. Coert (b. 1966) created KTF Roadbrush (2014) and KTF Roadstar (2012, a retro connected script).

    Coert started his career as an assistant type cutter and stone carver in 1983, and founded the Kustomtype foundry in 2011.

    In 2013, he published the frame family Label Pro XL, the stencil typeface family Bomber TV and the stencil typeface Crate Pro. The Far West poster style and circus font styles are recalled in the 19th century wood type revivals Wood Factory, Buffalo Western and Buffalo Circus.

    Typefaces from 2014: Atlantic Cruise (avant garde), Copperhead (a titling all-caps typeface influenced by Goudy's Copperplate), Biscuit Pro (monoline sans), Medoc (a didone titling face).

    Typefaces from 2015: Starbounder (stencil), Integra Chic, Chic Chalk, Romantico, Annexxus, Beatboy.

    Typefaces from 2018: Fontwax (inspired by 1960s sign painting), Luckystrikes (a heavy comic book style typeface that was inspired by 1950-style advertising of these well-known American cigarettes), America Line (based on posters from the 1930s for the Holland-America Line made by Dutch graphic designer Wim ten Broe), New York Line (based on the Holland America Line inscription at Hotel New York in Rotterdam), Comicblast (based on the style of several Belgian comic book artists), Steampunk (a slab serif inspired on sixties hand-lettered French movie poster of Charles Bronson).

    Typefaces from 2019: Newbeats (based on a poster of the film A Hard Day's Night starring the Beatles), Burlesk (Regular and Inline; based on the paper cutout letters in a 1950s Bollywood movie poster), Soundboy (a beatnik typeface that pays homage to Elvis Presley: it was drawn by hand from a number of images from Elvis's Blue Hawaii film), Poppin (a beatnik family), Sunbeam (a branding sans), Stonetype (an all caps for stonemasons, by an ex-stonemason), Initials BB (a hand-printed typefaces; BB stands for Brigitte Bardot).

    Typefaces from 2020: Doggybag, Strak (a squarish typeface family that celebrates the tight, precise lines in the work of Belgian comic strip artist Eddy Vermeulen), Deaffont (an experimental font specially designed for a music video and album concept by the metal band Deafcon), Mars Model (futuristic, sci-fi). [Google] [MyFonts] [More]  ⦿

    Kutan Ural

    Graphic designer from Ankara, Turkey, who wotked in Istanbul and is now based in London. Creator of Chapul (2013, hand-drawn typeface inspired by protest wall writing in the Gezi uprising), KTN Fingerwriting (2011), Uzun (2012, piano key typeface), Istanbul (2013, a bilined headline face), and Sans Serif Didot (2011, a Peignotian face), Brek (squarish), Mode.

    Typefaces from 2017: Wesley Gothic (free).

    Dafont link. Behance link. Hellofont link. [Google] [More]  ⦿

    Kyle Johnston
    [Flow14]

    [More]  ⦿

    Kyle Read
    [Badson Studio]

    [More]  ⦿

    L. Léger

    Foundry in Paris. Its work can be found in Spécimen des divers caractères, vignettes et fleurons des fonderie et stéréotypie de L. Leger, graveur, neveu et successeur de P.F. Didot (Paris, Place de l'Estrapade, no.28. [ca.1832]). This book has many Didot's (but no full sets), and many bookplates. Leger (1799-1835) was the nephew and successor of P. F. Didot. [Google] [More]  ⦿

    La Fonderie

    La Fonderie is a new French group of young typographers that may be consulted on all matters typographic. Based in Paris, and led by typographers Stéphane Gambini and Eric de Berranger. All fonts are by de Berranger. Another URL, and yet another URL.

    Font list: ITC Berranger Hand, Collos, Garaline, Hamely, Hector, Helwissa, Jandoni (a nice Bodoni titling face), June (a Garamond/Jenson like serif family), Koala, Malcom, Maxime, Mosquito, Nle2b210 (old typewriter font by de Berranger and Nicolas Leduc, 1997), ITC Octone, Oldbook, PackTrash or Ysselair (old typewriter/dymo font inspired by FF Dynamo, 1998), Troiminut. [Google] [More]  ⦿

    La Foneria
    [Albert Pereta]

    Albert Pereta is a communication designer associated with Eina University in Barcelona. In 2010, he and Santi Grau co-founded the foundry La Foneria. Designer of some beautiful fonts: Kadabra (2010, a high-contrast octagonal didone), Coconut (a warm Latin signage face), Kranne (a thin slab serif), Locked. [Google] [More]  ⦿

    Lacey Verhalen

    Together with Natalie Siderius, Lacey Verhalen (Seattle, WA) created the didone typeface Bardot (2014). They write hat they wanted to make chic and cheeky. Behance link. [Google] [More]  ⦿

    Ladislas Mandel

    Born in 1921 in Transylvania, he trained at the Fine Arts Academy of Budapest (Hungary) and then at the Beaux-Arts in Rouen (Normandy, France). Ladislas Mandel was a stonecutter, painter and sculptor. However, he spent his life in France, mostly as a type designer at Deberny&Peignot, where he worked since 1954. In 1955, he headed the type atelier. He was taught by and cooperated with Adrian Frutiger during nine years at Deberny, finally succeeding Frutiger in 1963 as type director. In 1955, he was in charge of the transformation of the Deberny type repertoire from lead to phototype. He created original designs under the label International Photon Corporation, and turned independent designer in 1977. After that, he specialized in typefaces for telephone directories, and made, e.g., Colorado in 1998 with Richard Southall for US West. He cofounded the ANCT in Paris in 1985 and taught there and at Paris VIII. In 1998, he published the book Ecritures, miroir des hommes et des sociétés (éditions Perrousseaux), which was followed in 2004 by Du pouvoir de l'écriture at the same publisher. He died on October 20, 2006.

    • His typefaces for the Lumitype-IPC (International Photon Corporation) catalogue include originals as well as many interpretations of famous typefaces: Arabica Arabic (1975), Aster (1960-1970), Aurélia (1967), Baskerville (1960-1970), Bodoni (1960-1970), Bodoni Cyrillic (1960-1970), Cadmos Greek (1974), Cancellaresca, (1965) Candida (1960-1970), Caslon (1960-1970), Century (1960-1970), Clarendon (1960-1970), Edgware (1974), Formal Gothic (1960-1970), Frank Ruehl Hebreu (1960-1970: this is one of the most popular Hebrew typefaces ever), Gill Sans (1960-1970), Gras Vibert (1960-1970), Hadassah (1960-1970), Haverhill (1960-1970), Imprint (1960-1970), Janson (1960-1970), Mir Cyrillic (1968), Modern (1960-1970), Nasra Arabic (1972), Néo Vibert (1960-1970), Néo-Peignot (1960-1970), Newton (1960-1970), Olympic (1960-1970), Plantin (1960-1970), Rashi Hebreu, Sofia (1967), Sophia Cyrillic (1969), Sphinx (1960-1970), Textype (1960-1970), Thai (1960-1970), Thomson (1960-1970), Times Cyrillic (1960-1970), Univad (1974), Weiss (1960-1970).
    • Types done or revived at Deberny&Peignot: Antique Presse (1964, Deberny&Peignot), Times (1964). A note here: many type experts believe that Antique Presse is not by Mandel. According to Production Type, it was established that Adrian Frutiger, then art director of Deberny&Peignot, was more likely the mind behind Antique Presse. As further proof, Antique Presse quite blatantly follows Frutiger's Univers pattern on many levels.
    • Types for phone directories: Clottes (1986, Sneat - France Telecom), Colorado (1998, U.S. West, created with the help of Richard Southall), Galfra (1975, Seat, Promodia, Us Seat, English Seat: there are versions called Galfra Italia (1975-1981), Galfra Belgium (1981), Galfra UK (1990), and Galfra US (1979-1990)), Lettar (1975, CCETT- Rennes), Letar Minitel (1982-1983), Linéale (1987, ITT-World Directories), Lusitania (1987, ITT-World Directories), Nordica 1985 (ITT-World Directories: Nineuil says that this is done in 1987-1988), Seatypo Italie (1980).
    • Other typefaces: Portugal, Messidor (1983-1985, old style numerals font for the Imprimerie Nationale), Solinus (great!!, 1999), Laura (1999).
    Ladislas Mandel, l'homme derrière la lettre is Raphael de Courville's thesis in 2008 at Estienne. In 1999, Olivier Nineuil wrote Ladislas Mandel: Explorateur de la typo français (Etapes graphiques, vol. 10, pp. 44-64). Olivier Nineuil's description of his achievements. [Google] [MyFonts] [More]  ⦿

    Lafontype (pr: tardiexwas: Pixifield, Elementype, Fontliner Studio)
    [Anugrah Pasau]

    Makassar, Indonesia-based designer (b. 1995) of Botdoh Script (2016), Hallelujah (2016, brush script), Zephan (2016, calligraphic font), Antebras (2016, a brush script with over 1000 glyphs and ligatures) and Fundamental Script (2016).

    Typefaces from 2017: Kindentosca (handwriting), Welinedion (brush script), Bethadyn, Bawakaraeng, Bidaq, Bidaq Brush, BisQuid (signage script), Nestle (retro script), Quixo (a didone not to be confused with Griesshammer's 2010 typeface FF Quixo), Hallelujah, Demotia, Look.

    Typefaces from 2018: Antebas (script), Aksara (a sans type).

    Typefaces from 2019: Mithella (rounded sans), Antebas (a sans for Latin, Greek and Cyrillic), Belista (font duo), Herbit (a handcrafted sans family), Cabrion (a sans family), Malino (a low contrast humanist sans family with very open counters).

    Typefaces from 2020: Scaffold (a condensed grotesk), Aretha (a 14-style sans), Celliad (a monoline script), Saltines, Hindia (a rounded heavy script), Pelita (a humanist sans family).

    Typefaces from 2021: Protofo (a 16-style geometric sans), Cedora (a 14-style sans).

    Creative Market link. Dafont link. Behance link. Graphicriver link. Creative Market link for Pixifield. [Google] [MyFonts] [More]  ⦿

    Lam Bao
    [Yellow Type Foundry]

    [More]  ⦿

    Lanston Type Co
    [Gerald Giampa]

    The Lanston Type Co was based in PEI, Canada, moved in 2002 to Vancouver, and moved later that year to Espoo, Finland. In 2004, Lanston was sold to P22. It has classic and wonderful offerings such as Albertan, Bodoni, Caslon, Deepdene (Frederic Goudy, 1929-1934; see D690 Roman on the SoftMaker MegaFont XXL CD, or URW Deepdene, or Barry Schwartz's Linden Hill (a free font)), Goudy Oldstyle, Jacobean Initials, Kennerly, Kaatskill, Water Garden and Jefferson Gothic. Owned by Gerald Giampa (b. 1950, d. Vancouver, 2009), who wrote me this: Frederic Goudy worked for us for 29 years. We manufactured Monotype casters and keyboards. The English sister company sold casters to England and the Commonwealth and we sold to the Americas and wherever else practical. Tolbert Lanston, our founder, was the inventor of Monotype. We still sell matrices and were punching them until several years ago. Soon we expect to have the equipment moved and operational once again. We are placing it into America's largest printing museum which is in Andover close to Boston. However there is a possibility that it will end up in Hull Québec. Our previous type director was Jim Rimmer of Vancouver, noted type designer. He designs, cuts and cast type in lead. Our typeface Albertan was designed by Jim and is very successful. John Hudson and Ross Mills of Tiro were directly inspired by our facilities in Vancouver. I encouraged them towards type design. The beautiful Bodoni 26 (unicase) can be bought at FontShop. Atlantic 35 (1909-1935) is a modern family first used by the Atlantic Monthly in 1909.

    The fonts: Albertan No. 977, Albertan Bold No. 978, Albertan Title No. 980,&Inline No. 979, Bodoni No. 175, Bodoni Bold No. 2175, Bodoni 26 (a Lanston unicase based on an interpretation by Sol Hess), No. 175, Caslon Old Style No. 337, Caslon Bold No's 637,&537, Deepdene No. 315, Figures Square No. 132, Flash No. 373, Fleurons C, Fleurons Granjon Folio, Fleurons Folio One, Forum No. 274, Francis No. 982, Garamont No. 248, Globe Gothic No's 240,&239,&230, Goudy Initials No. 296, Goudy Old Style No. 394, Goudy Thirty No. 392, Goudy Village (#2) No. 410, Hadriano Stone-Cut No. 409, Hadriano Title No. 309, Jacobean Initials, Jefferson Gothic No. 227, Jenson Old Style No. 508, Kaatskill No. 976, Kaufmann (Lanston Swing Bold) No. 217, Kennerley Old Style No. 268, Metropolitan No. 369, Obelisk No. 2577, Pabst Old Style No. 45, Pabst Old Style Open, Spire No. 377, 20th Century No. 605, Vine Leaves C, Vine Leaves Folio One, Vine Leaves Folio Two, Water Garden Ornaments. P22 writes this about Lanston: In the late 1800s, Tolbert Lanston licensed his technology to an English sister company and became a major international force. Lanston grew rapidly with America's pre-eminent type designer, Frederic Goudy, holding the position of art director from 1920-1947. The Philadelphia-based Lanston Monotype eventually parted ways with its English counterpart. English Monotype became simply known as Monotype from that time forth. Lanston was acquired by American Type Founders in 1969. After a series of other owners, the company found its way to master printer Gerald Giampa, who moved it to Prince Edward Island in 1988. During its time of transition, Lanston continued supplying the American market for monotype casters until January 21, 2000, when the hot-metal component of Lanston was tragically destroyed by a tidal wave. Giampa was one of the earliest developers of PostScript fonts. After the loss, he focused on digitization to an even greater extent. Under his stewardship, Lanston's classic typefaces were digitized in a style that was true to the sources, which are the brass and lead patterns from which the metal type was made. The past few years have seen Giampa and Lanston travel from Canada to Finland, and back again. Now, Lanston has completed another journey back to the United States to come under the care of a new steward: P22. Giampa is answering the call of the sea. He has traded his type founder's hat for that of a ship's captain to sail the northern Pacific coast. During his shore leaves, Giampa will act as typographic consultant to Lanston-P22. The P22 Lanston collection (2005-2006) was designed wih the help of people such as Paul Hunt and Colin Kahn. It includes these typefaces:

    Fonts can be purchased from MyFonts where all fonts have the prefix LTC. Obituary of Giampa and links to obituaries.

    Catalog of the Lanston typeface library. View the typefaces designed by Lanston. A more extensive page of Lanston Monotype typefaces. [Google] [MyFonts] [More]  ⦿

    Lara Rodgett

    Graphic designer based in London who graduated from Wimbledon College. Creator of Stanley (2012, an adaptation of Bauer Bodoni Bold). [Google] [More]  ⦿

    Larissa Fischinger

    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]  ⦿

    Lars Bergquist
    [Timberwolf Type]

    [MyFonts] [More]  ⦿

    Lars Törnqvist
    [Cercurius (was: Lars Törnqvist Typografi)]

    [MyFonts] [More]  ⦿

    LaTeX Navigator
    [Denis Roegel]

    General links on typography and fonts, compiled by Denis Roegel (with earlier contributions by Karl Tombre who is no longer involved). Very, very useful. This page contains, among other things:

    • METAFONT for Beginners (Geoffrey Tobin)
    • The METAFONT book (TeX source) (Donald E. Knuth)
    • How to Create Your Own Symbols in METAFONT and for use in LaTeX Documents (Richard Lin)
    • Milieu -- METAFONT and Linux: A Personal Computing Milieu (Thomas Dunbar)
    • Simple drawings with METAFONT (Zdenek Wagner)
    • Some METAFONT Techniques (article from TUGboat, 10 pages) (Yannis Haralambous)
    • List of all available Metafont fonts
    • Liam Quin's Metafont Guide (last version)
    • MetaFog: Converting METAFONT Shapes to Contours (Richard J. Kinch)
    • METAFONT source
    • Design of a new font family (slides) (Gerd Neugebauer) (1996)
    • PERL Module for reading .tfm files (Jan Pazdziora) (1997)
    • fig2mf (UNIX manual) (Anthony Starks)
    • bm2font (Friedhelm Sowa)
    • Essay on math symbols by Paul Taylor
    • drgen genealogical symbol font by Denis Roegel, 1996
    • Chess fonts
    • The Marvosym Font Package (Martin Vogels)
    • Eurosymbol, another font for the euro symbol
    • Lots of stuff on virtual fonts
    • P. Damian Cugley's Malvern (Greek) font
    • Yannis Haralambous's Omega project
    • DC and EC fonts by Joerg Knappen
    • Technical notes on Postscript fonts, and Postscript fonts in TEX
    • Computer Modern type 1 fonts
    • Articles on computer typography by Sebastian Rahtz, Aarno Hohti&Okko Kanerva, Richard J. Kinch, Basil K. Malyshev, Hirotsugu Kakugawa, Karl Berry, Victor Eijkhout, Vincent Zoonekynd, Tom Scavo, David Wright, Erik-Jan Vens, and Nelson H. F. Beebe.
    • Articles on mathematical symbol fonts
    • Links to essential pages for Cyrillic, Japanese, Berber, Khmer, Chinese, Korean, Greek, Indic, Syriac, Hebrew, Hieroglyphic, Tibetan, Mongolian, African fc
    At FontStruct, he created Sixer (a pixel face) and Smallish (bold unicase). [Google] [More]  ⦿

    Latin Modern fonts
    [Boguslaw Jackowski]

    Boguslaw Jackowski, aka Jacko, writes about this large typeface family, developed from 2003-2009 by himself and J.M. Nowacki: The Latin Modern fonts are based on the Computer Modern fonts released into public domain by AMS (copyright (C) 1997 AMS). They contain a lot of additional characters, mainly accented ones, but not only. This family is free and in type 1 format. Developed by B. Jackowski&J. M. Nowacki thanks to Metatype. See also here. Font names: LMCaps10-Italic, LMCaps10-Regular, LMRoman10-Bold, LMRoman10-BoldItalic, LMRoman10-Italic, LMRoman10-Regular, LMRoman12-Bold, LMRoman12-Italic, LMRoman12-Regular, LMRoman17-Regular, LMRoman5-Bold, LMRoman5-Regular, LMRoman6-Bold, LMRoman6-Regular, LMRoman7-Bold, LMRoman7-Italic, LMRoman7-Regular, LMRoman8-Bold, LMRoman8-Italic, LMRoman8-Regular, LMRoman9-Bold, LMRoman9-Italic, LMRoman9-Regular, LMRomanDemi10-Italic, LMRomanDemi10-Regular, LMSans10-Bold, LMSans10-BoldItalic, LMSans10-Italic, LMSans10-Regular, LMSans12-Italic, LMSans12-Regular, LMSans17-Italic, LMSans17-Regular, LMSans8-Italic, LMSans8-Regular, LMSans9-Italic, LMSans9-Regular, LMSansDemiCond10-Italic, LMSansDemiCond10-Regular, LMSansQuotation8-Bold, LMSansQuotation8-BoldItalic, LMSansQuotation8-Italic, LMSansQuotation8-Regular, LMSlanted10-BoldItalic, LMSlanted10-Italic, LMSlanted12-Italic, LMSlanted8-Italic, LMSlanted9-Italic, LMTypewriter10-Italic, LMTypewriter10-Regular, LMTypewriter12-Regular, LMTypewriter8-Regular, LMTypewriter9-Regular, LMTypewriterCaps10-Regular, LMTypewriterSlanted10-Italic, LMTypewriterVarWd10-Italic, LMTypewriterVarWd10-Regular.

    These 72 fonts were renamed lmb10, lmbo10, lmbx5, lmbx6, lmbx7, lmbx8, lmbx9, lmbx10, lmbx12, lmbxi10, lmbxo10, lmcsc10, lmcsco10, lmdunh10, lmduno10, lmr5, lmr6, lmr7, lmr8, lmr9, lmr10, lmr12, lmr17, lmri7, lmri8, lmri9, lmri10, lmri12, lmro8, lmro9, lmro10, lmro12, lmro17, lmss8, lmss9, lmss10, lmss12, lmss17, lmssbo10, lmssbx10, lmssdc10, lmssdo10, lmsso8, lmsso9, lmsso10, lmsso12, lmsso17, lmssq8, lmssqbo8, lmssqbx8, lmssqo8, lmtcsc10, lmtcso10, lmtk10, lmtko10, lmtl10, lmtlc10, lmtlco10, lmtlo10, lmtt8, lmtt9, lmtt10, lmtt12, lmtti10, lmtto10, lmu10, lmvtk10, lmvtko10, lmvtl10, lmvtlo10, lmvtt10, lmvtto10. In addition, there now 20 math fonts: lmbsy5, lmbsy7, lmbsy10, lmex10, lmmi5, lmmi6, lmmi7, lmmi8, lmmi9, lmmi10, lmmi12, lmmib5, lmmib7, lmmib10, lmsy5, lmsy6, lmsy7, lmsy8, lmsy9, lmsy10.

    In 2013, they published one large opentype font, Latin Modern Math, which has as authors B. Jackowski, P. Strzelczyk and P. Pianowski.

    Articles about the Latin Modern Fonts:

    • Boguslaw Jackowski and Janusz M. Nowacki. Latin Modern: Enhancing Computer Modern with accents, accents, accents. TUGboat, 24(1):64-74, 2003. See here.
    • Boguslaw Jackowski, Janusz M. Nowacki, and Piotr Strzelczyk. MetaType1: a METAP OST-based engine for generating Type 1 fonts. MAPS, 26:111-119, 2001. See here.
    • Boguslaw Jackowski, Janusz M. Nowacki, and Piotr Strzelczyk. Programming PS Type 1 fonts using MetaType1: Auditing, enhancing, creating. TUGboat, 24(3):575-581, 2003. See here.
    [Google] [More]  ⦿

    Latinotype

    Latinotype was founded in 2007 by Felipe Soto and Miguel Hernández, and is based in Concepción, Chile. Catalog of their typefaces. Latinotype now also includes the work of Daniel and Enrique Hernandez, Luciano Vergara and Joaquín Contreras. Their typefaces:

    • Stgotic Textura and Pintana (Daniel Hernandez) are pixel font award winners at Tipos Latinos 2008.
    • Patagon (2011, Latinotype) is a rounded wood-inspired poster typeface done with Daniel Hernandez and Luciano Vergara.
    • Selaive (2011, Paula Nazal) is a geometric monoline sans with an extreme hairline weight, Selaive Light.
    • Sanchez (2011) is a large slab serif family. The Regular weight is free at Fontsquirrel.
    • In 2011, he cofounded Los Andes Type, and published the fat round typeface Fatta (2011) there.
    • Mija (2011). Inspired by vernacular signs.
    • The Google Web Font Ceviche One (2011). This is an angular yet curvy extra black expressionist sans serif type.
    • Sail (2012). A didone script.
    • Sofia (2012). An upright script, free at Fontsquirrel.
    • Tikal Sans (2012).
    • Lolita (2012, Miguel Hernandez). A playful rounded sans family.
    • Chela One (2012). A bold condensed brush script, free at Google Web Fonts.
    • Arquitecta (2014, by Daniel Hernandez ad Miguel Hernandez). A 1930s sans with small x-height, great readability and an odd g, promoted as an alternative for Futura, Kabel or Avant Garde. It was followed later in 2014 by Arquitecta Office and Arquitecta Standar.
    • Via Sans (2014, Daniel Peralta). A wayfinding typeface family inspired by Steile Futura and DIN 1451.
    • In 2014, he co-designed Uomo with Tania Chacana at Latinotype. Uomo is a contemporary typographic system that explores the geometric sans style and Italian art deco in combinations of four widths and three weights.
    • In 2014, Daniel and Miguel Hernandez co-designed Texta, a geometric sans for all.
    • In 2015, the Latinotype team developed the 60-style semiserif typeface family Corporative [Corporative was developed by Javier Quintana and Cesar Araya, under the supervision of Luciano Vergara, and Daniel Hernandez], the 64-font family Corporative Sans, the 64-style Corporative Soft [Corporative Soft was developed by Javier Quintana, Eli Hernandez and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernandez], the 32- style Corporative Sans Round Condensed (dated 2016; developed by Elizabeth Hernandez and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernandez], and the 28-style headline wood-inspired Titular.
    • Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.
    • Lota Grotesque (2017).
    • Inter Sans (2017). An information design sans. In 2021, they released Inter, which was advertized as a sans Rockwell.
    • Letteria Pro (2021). A script/sans/slab font trio by the Latinotype team.
    • Rebrand (2021). A 33-style Latin sans in Text and Display versions.
    • Osbourne (2021). A 20-font wedge serif that revives Keystone Type Foundry's Salem.

    View the Latinotype typeface library. View Miguel Hernandez's typefaces. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Laudi Gracivia

    Graphic design student at Bina Nusantara University in Jakarta, Indonesia, b. 1991. Creator of the special blackboard bold typeface Boudeline (2011), which is based on Bodoni. Also check out her art deco poster (2011). Home page. [Google] [More]  ⦿

    Laudon Type
    [Carolina Laudon]

    Laudon Type Design is a one woman type studio dedicated to typography, type design 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. She currently teaches at Berghs School of Communication in Stockholm. 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), John Rounded (a fat marker font), Derome Sans, Gamlestadsstencil, and Länsförsäkringar Rubik.

    Graduate of the TDi program at the University of Reading, UK, 2017.

    In 2020, Carolina became president of ATypI. Her term lasts until 2022. [Google] [More]  ⦿

    Laura Coombs

    Creator of the italic didone typeface Cumulus (2012) at The Cooper Union. [Google] [More]  ⦿

    Laura Eames

    During her fine arts studies, Laura Eames (Nashua, NH) created the high-contrast didone display typeface Gravitas (2013). [Google] [More]  ⦿

    Laura Gimena Espeso

    Graduate from FADU, University of Buenos Aires, who created the typeface Wide Drops (2010), a gorgeous ornamental fat didone. [Google] [More]  ⦿

    Laura Verazzi

    Graduate from FADU, University of Buenos Aires, who created the didone typeface Bella Donna (2008). [Google] [More]  ⦿

    Laurie Field

    In 2001, Laurie Field developed a Greek metafont, LFB as a companion for Computer Modern. SShe says: This is a Greek font I wrote in METAFONT several years ago after being inspired by the Bodoni typefaces I had seen in the old books in my school library. [Google] [More]  ⦿

    Layton Filmset

    London-based film type company. They sold and/or used the main typefaces at the time. I do not believe that they ever made original type. Just for history's sake, a few shots from their catalog: Andrich Minerva, Arnholm Medium Sans, Bodoni, Craw Clarendon Condensed, display typefaces (list), Ehrhardt, Jana, Jana, lightline Gothic, Modern No. 20, Pistilli Roman, text typefaces (list). [Google] [More]  ⦿

    Lazar Dimitrijevic
    [Posterizer KG]

    [MyFonts] [More]  ⦿

    Lazydogs Type foundry
    [Oliver Linke]

    Lazydogs Type foundry is a German foundry located in München (and before that, Augsburg), est. 2005, by Oliver Linke, Robert Strauch and Kai Büschl. Strauch left in 2014. They do custom and retail type work. Oliver Linke (b. 1971, Odenwald, Germany) studied graphic design at the University of Applied Sciences Augsburg, Germany and the University of Missouri, Kansas City (19931-1998). He continued his studies in art history, art education and philosophy (2000-2005) at the University of Augsburg. He teaches type design and typography at the Designschule München (and before that, at the Blocherer Schule) and Augsburg. By 2017, Lazydogs was run by just two of its founders, Oliver Linke and Kai Büschl.

    Lazydogs published some commercial typefaces, such as Fabiol (2005, a garalde by Robert Strauch), a winner at the TDC 2005 type competition. Oliver Linke created the Lazydogs Finn family (2006, a gorgeous delicate sans).

    At ATypI 2007 in Brighton, he spoke about Masterpieces of Johann Neudörffer the Elder (1497-1563). In 2007, Oliver Linke and Christine Sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg).

    Other typefaces: Pandera (2008, Robert Strauch), Vela (2010, a text typeface), North (2008, Trine Rask), Alena (2012-2017, Roland Stieger).

    Typefaces from 2013: Streets of London (a complete lapidary font family out of a capital alphabet designed by the British stone cutter and type designer David Kindersley (1915-1995), a former apprentice of Eric Gill).

    Typefaces from 2018: the didone families LD Moderne Antiqua (+Fat) and LD Moderne Slab by Kai Büschl.

    Typefaces from 2019: LD Grotesk (Regular, Condensed, Wide), LD Fabiol Pro.

    Typefaces from 2020: LD Elsnac (a roman typeface family), LD Genzsch Antiqua (by Michael Wörgötter: a revival of Genzsch Antiqua (or Nordische Antiqua)).

    Typefaces from 2021: LinkeHand Pro. [Google] [MyFonts] [More]  ⦿

    LCT (or: Atelier La Casse)
    [Quentin J. Stavinsky]

    LCT stands for La Casse Typographique, a graphic and type design studio in Nantes, France, started in 2013. One of its partners, Quentin J. Stavinsky, created the didone caps typeface LCT Palissade (a titling didone with bracketed serifs). Other typeface by La Casse include LCT Baladur (a legible text typeface), LCT Pims (signage script).

    In 2015, he published LCT Sbire (a stylish take on the humanist / renaissance tradition, with ample flaring of the strokes).

    Typefaces from 2016: LCT Ragnarok PE (a copperplate display typeface for Latin, Greek, and Cyrillic).

    Typefaces from 2018: LCT Picon. [Google] [MyFonts] [More]  ⦿

    Leander Lenz

    Darmstadt, Germany-based graphic designer who used FontStruct in 2009 to create Afrobeat (+II, a piano key family), Afroblack (piano key typeface), Samoa, Serpentine, Freestyle, Criss Cross (2008), Apollo, Samoa (+Ultabold), Underground> (inspired by Pincoya Black), Freestyle, Shadow (fat rounded), Explorer, Beatboy Rounded, Contemporary (kitchen tile face), Fiesta (2009, ultra-fat octagonal), Battista (2009, an organic font with Bodoni influences), Boldy (2009), Breezy (2009, octagonal, ultra-fat), Jin-Jin (playful), Odyssey (art deco ultra-black), Disco Queen (2009), Sketch (slab serif), Mister O (+Bold), Clockwise, My Name Is Font, Beatboy Square, Mister O (dot matrix), No Room For Squares, Accident (Grotesque, Arabesque (a gridded version)), Tony Montana (+Divided), Turning Point, VincentVega (+Outline, +Bold), Beatboy (pixel family), Circles Horizon, Papua (ultra fat), Papua Square (kitchen tile), Winky Light, Winky, Circles, Nu Edge Regular, Cosmos, Toasty, Around The Block, Wave (kitchen tile), Nu Edge, OneMore Time (stencil), Techno Mouse (white on black pixel face), Techno Dog.

    Behance link. [Google] [More]  ⦿

    Leanne Rousseau

    Graphic designer in Tornto who graduated from Humber College. Creator of the curlified didone typeface Rousseau (2013).

    Dafont link. [Google] [More]  ⦿

    Leftloft
    [Andrea Braccaloni]

    Leftloft is a visual communications studio in Milan, founded in 1997 by graphic designer Andrea Braccaloni (b. Bologna, 1973), Francesco Cavalli, Bruno Genovese and David Pasquali. The studio is mainly engaged in corporate identity, and now also has an office in New York. Andrea Braccaloni teaches visual communication at the III Faculty of Architecture/Design at the Politecnico di Milano. At ATypI in Rome in 2002, he spoke about new typefaces he designed the old-fashioned way, as a handicraft. Within the studio, there is a small lab for type design, called "Die kleine Fonderie", at which Andrea Braccaloni and Veronika Burian are active. Designs include LL Egeo (1999, shifted letters), LL Mila (2002, a condensed sans with a trademark "g"), LL Etica (2001-2002, a sans family that derives its name from Helvetica, and has soft strokes and wide apertures---in 2009, Etica Seriffo was published by Type Together as the "trappist type family"; see also LFT Etica Sheriff in 2016, and LFT Etica Mono in 2019), LL Chicane (2001, geometric and experimental, between paperclip and neon sign), LL Impresa (2001, octagonal-themed font), LL SanSiro (masculine sans family), LL EU (a delicate sans), LL Alice ditalunghe (transitional text face), LL Officiel (extreme didone titling face, developed for French fashion magazine L'Officiel, in collaboration with Patricia Sartori), LL Crudo (experimental, now LFT Crudo), LL Ubu Re (2002, made by lines and circles only), Lemon (1998), L'Amante Perduto (1999), Solferino Text (2007, with Luciano Perondi, for Corriere della Sera), Brera (2007, a sans family by Leftloft and Molotro).

    In 2014, Leftloft published the semi-techno wayfinding typeface family LFT Iro Sans at Type Together. It has a unicase set of styles.

    In 2020, he released the flared humanist sans typeface LFT Arnoldo at TypeTogether.

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

    Leif Frimann Anisdahl

    Norwegian type designer. Some of his work:

    • The house fonts for NKL, designed in 1967 together with Carl Tørris Christensen. NKL, the Norges kooperative landsfor, used their work for in-house fonts and logotypes. The fonts were produced by Dagfinn Sæther.
    • Oslo Gothic, for Den norske Creditbank (DnC), 1973.
    • The Norsk Hydro typeface (1970), which was later digitized.
    • An all-caps typeface for Storebrand-Norden, 1970.
    • With Reidar Holtskog, he designed in 1990 a Bodoni/Gill hybrid now known as Det norske alfabet (the Norwegian alphabet). This beautiful typeface was used in travel brochures and elsewhere by the Norwegian Information and Foreign Office.
    See here. [Google] [More]  ⦿

    Leila-Marie Jreige

    During her graphic design studies in Toulouse, France, Leila-Marie Jreige created the Bauhaus-meets-Didot typeface Baudone (2014) and the angular workhorse typeface Scriba (2014). [Google] [More]  ⦿

    Leksen Design
    [Andrea Leksen]

    Andrea Leksen (Leksen Design, Seattle, WA) has a Master of Design degree from Duncan of Jordanstone College of Art & Design, Dundee, Scotland, and a BA in Music Arts Administration from Whitworth University, Spokane, WA. She has been a freelance designer since 2003. She teaches at Seattle Pacific University. Her typefaces include:

    • Nordique (2015). A circle-based simple Scandinavian-style sans typeface. It is related to Nordeco (2020).
    • Bemis (2013). Based on the engraved type on the historical Bemis building in Seattle, this is a typeface with a large x-height. The peppermint-striped Christmas version is called Candy Cane Lane (2015).
    • Cristoforo Italic (2013). Done with Thomas Phinney, this is a Victorian H.P. Lovecraft typeface. In 2012, Thomas had started work on Cristoforo, a revival of Hermann Ihlenburg's Victorian typeface Columbus (1890, ATF) and its accompanying American Italic, also by Ihlenburg. Kickstarter project. Phinney notes that it is known as the typeface of Call of Cthulhu, the H.P. Lovecraft roleplaying game, and as the original logo for Cracker Jack.
    • Mr Gabe (2022). A didone display typeface.
    Creative Market link. [Google] [MyFonts] [More]  ⦿

    Lene M. Arensdorff Kristiansen

    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.

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

    Leonard Posavec
    [Creative Toucan (was: Leo Supply Co)]

    [MyFonts] [More]  ⦿

    Leonardo Di Lena
    [Flanker (or: Studio di Lena)]

    [MyFonts] [More]  ⦿

    Letritas
    [Juan Pablo de Gregorio]

    Juan Pablo De Gregorio Concha lived in Santiago, Chile, where he founded Letritas in 2006. He is presently based in Barcelona. Home page of Sabia Usted. Blog with entries on themes such as legibility. Designer of these typefaces:

    • Chucara Serif (2003) and Chucara Text (2003): free at Dafont. Followed by Chucara Next (2021), a 16-style text typeface with inward serifs.
    • Los Niches (2007). A playful hairline sans, about which Anna Malsberger writes: The lowercase f puffs out its chest with exaggerated aplomb, and t splits into a script stem reminiscent of a table grab a cocktail and pull up a chair to watch the show.
    • Comalle (2008, Umbrella type). An organic roman with a comic book mind.
    • Romeral (2004, slab serif), a custom typeface for the University of Chile (2007).
    • Curico (2004).
    • Beauchef (2011, Cabinet Type). Beauchef is an organic monoline sans serif typeface, originally created to meet the needs of the Center for Mathematical Modeling, University of Chile. The design is cold as steel and rather abstract and lifeless, which reflects the ideas most people have about advanced mathematics. However, true mathematicians like warm, curvy and passionate letters and symbols. Beauchef was republished by Latinotype in 2015.
    • Los Niches (2011). A clean monoline sans family with some swashes. Published by Latinotype in 2012.
    • Pret-a-porter (2016). A calligraphic script typeface family accompanied by Pret-a-porter Slab.
    • Isabel (2016). Designed together with Eleonora Lana, Isabel is a very Latin text typeface family, feminine and didone-inspired. It has a unicase style. In 2017, Juan Pablo de Gregorio and Eleonora Lana added Isabel Condensed and Isabel SemiCondensed.
    • Condell Bio Poster (2016). A fat rounded sans. The larger Condell Bio family (published in 2017) was started in 2006.
    • Molde (2017). A neo-grotesque inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century.
    • The great layered vintage typeface Biscotti (2018).
    • Squalo (2018). A sans family.
    • Liliana (2018). A geometric sans with mischievous and frivolous alternates.
    • Vicky (2019). A slab serif.
    • Duddy (2019). A rounded sans.
    • Copihue (2020). A humanist sans family.
    • Stadtmitte (2020). An information design typeface family.

    Letritas home page. Creative Market link. Dafont link. Klingspor link. Kernest link. Behance link. [Google] [MyFonts] [More]  ⦿

    Letritas
    [Juan Pablo De Gregorio Concha]

    Juan Pablo De Gregorio Concha is the Chilean designer (b. 1978) of the hip Bodoni typeface Isbel la Romana (2002). Alternate URL. Creator of Chúcara (2003), a typeface developed as part of his thesis for the School of Design of the Catholic University of Chile. His blog, Letritas, has many interesting technical type discussions. His other blog is Garabatitos. I especially like his article on the logical decomposition of letter forms. [Google] [More]  ⦿

    Letter Edit
    [Björn Gogalla]

    Berlin-based type foundry, est. 2012 by Björn Gogalla. Typefaces published in 2014 include the fat didone typeface family Barkley Poster and Barkley Block (2014), and the ornamental typeface Moskau Pattern (2013), as well as the geometric sans Moskau Grotesk (2013).

    Gogalla writes: The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). [...] The lettering display on the roof was created by the graphic artist Klaus Wittkugel (1910-1985). He was Professor at the School for Applied Arts in Berlin, created many posters, book covers and postage stamps, and was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. Moskau Grotesk comes with a great hairline weight, ExtraLight.

    In 2014, he designed Flaco. [Google] [MyFonts] [More]  ⦿

    Letterhead Studio VG Fonts
    [Valery Golyzhenkov]

    Letterhead Studio is located in Moscow. One of its designers, Valery (or Valerio) Golyzhenkov (b. 1965, Moscow) cofounded Letterhead Studio in 1998 with Yury Gordon and Olga Vasilkova, and has since designed over 100 typefaces. Still based in Moscow, he published the following Cyrillic fonts at Letterhead: 04.07 (1998), 532 Antique (2020), Accademico (2020), AeroBonus (2010-2014: for Aeroflot), Aeronautic (2020), Alfavita (awarded at Paratype K2009), ArtChronika, Artificio (2020), Atlas 1904 (2010), Atmosferico (2019), Barrytone (2005), Basalino (2020), Bort#1 (2000), Bramb (2019), Capitul (2015), CardHolder (1997), Channel (2004-2007: 24-style rectangular family), Chellebrity (2004, screen), DBL Cheque (2009, 22 styles), Cracker (1997), Cubes (2000), DBL Check, Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Dicesimo (2019), Do Not Touch (1997), Dotlandino (2020: a dot matrix family), Dream Team (2000), Edgipto (2020), Edicolta (2020), Fabiola (2020), Feidi (2020), First Prize (2016, techno style inspired by Futura Display), Florisel (2020), Formalista (2001, squarish), Gamering (+Sans, 2009: a game font), Garbage (1997), GarbEdge (1997), Garmony (1997), Gibra (2020), Grammatik or Grammatika (1997), Haarddy (2020), HandsOn (1997, children's book font), Hole Down (1997), Ice Cola (2000), Interchargeable (2020: an all caps sans), Kabotage (1998, octagonal), Karkas, Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Lexica (2010), Libellula (2018: a monoline display sans), Local Xellebrity (2010), Magrit (2020), Matrrolla (2001, octagonal), Medved (2010, angular), Method Two (2016: organic sans), Mnickers, Mono (2000), Monomania (2017), Musor (1997), Odessa 1832, OneCode (1998), Panetteria (2019), Pecorino (2019), Pricelist (2017), Primitiv (1998), Principal (1998-1999), PsyType (2013, an organic sans family done at Letterhead), Quando (2019: deco), Recruit (2004, octagonal), Remont (2000), Romb (2010, a Latin / Cyrillic poster typeface family), Rounded Slab (2009), Rounds (basic dingbats), Samizdat (2019), Silver Winner (2000), Sklad (2000), Soyombo Serif (2020), Soyombo Sans (2020), Stampit (2000), Svyaznoy, Uglaya (2019), Ugloed (2019), Upadok (1997, futuristic), Vestimentarno (2019: rounded sans), WTF Didot (2016, by Valery Golyzhenkov and Letterhead for WTFashion Magazine), WTF Special (2015), YE Stencil (2009), Zanoza (2005), Zaplyv (1997), Zeppelino (2020: a sharp-edged slab serif).

    Paratype link. Dailytype link. Klingspor link. Behance link. Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

    Letterhead Studio VV Fonts
    [Vsevolod Vlasenko]

    Letterhead Studio is located in Moscow. One of its designers is Vsevolod Vlasenko (b. 1981), who graduated from Stroganov Moscow State University of Arts and Industry, Master of Design program, in 2005. He is currently located in Prague, where he is senior designer at Live Ocean. He created these typefaces:

    • Dreamland Roman (2008-2009). Curly letters.
    • Unhooked Roman and Johnny The Hook Roman (2008-2009).
    • Bookvarium (2010). A playful didone.
    • Insomnia (2007). A slightly curly almost upright script.
    • Unhooked Cyrillic (2014).
    • Noodle (2014).
    • Light Dreams (2015). A hyper-curly floriated font.
    • Dictio (2018).
    • Artuso (2021). A tall modulated all caps display typeface that Blake Edwards would have used in the Pink Panther series had it been available back then.

    Behance link. His graphic design and photography studio. Live Ocean link (Vilnius, Lithuania). [Google] [MyFonts] [More]  ⦿

    Letterhead Studio YG
    [Yuri Gordon]

    Letterhead is Yuri Gordon's (b. Moscow, 1958) Moscow-based foundry which publishes mainly Cyrillic fonts. Its coowners are Valery Golyzhenkov and Olga Vassilkova and it was established in 1998. It evolved from Garbage Type Foundry. Not to be confused with Chuck Davis' Letterhead. The main designer is Yuri (or: Jury) Gordon, the Moscow-based designer of the Type Directors Club 1999 award-winning designs Dve Kruglyh and FaRer Cyrillic, available from Paratype. URL at Yakovlev's Foundry. Picture. Article in the Moscow Times (2006), in which he proclaims: Better to make five fun and tasty new display fonts than one old, boring (and you thought it would look fresh!) text font. He is a graphic designer, illustrator, type designer, engraver and copyrighter. He is Art Director of several magazines.

    • Yuri Gordon created AntiQuasi (2008, a nice lightly slabbed serif family), Babaev [1996; inspired by the Russian Art Nouveau typefaces, initially created as a part of a corporate identity programme for Babayevskoye AO of Moscow], Artemius (custom designed family for Art Lebedev Studio), Barrizmo (2004), Bistro (1997, hand-printed), Chantage (2000, handwriting), Conqueror Text, Conqueror Slab and Conqueror Display (large families), Conqueror Sans (2005-2010), Conqueror Text (2005-2010), Costa Brava (2003, fun script described as beach type), Costa Dorada (2003), Dva Probela (1997-1998), Dve Kruglyh (1997, unicase), Excession (1999), FaRer [1994; art deco typeface inspired by the work of Russian graphic artists Vladimir Favorsky (1886-1964) and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935. Dedicated to the Moscow Underground (Metro). Obtained an award at the 1997 TDC competition], Forward No. 10 (1995-1996), Forward Grotesque No. 9 (1998-2000), Gordoni (his take on Bodoni), GiardyOla (2008-2019), Handy, HotSause (1997, irregular handwriting), Karkas (2004, a manly sans), Little Shift (1999), Method (2002, a sans family), Minusmanscript (1998, calligraphic), Mr. Mixter (2011), Non System (2000), OptiMyst (1997), ResPublicana (1999), Sivtzev Vrazhek (1999, + mono), Michelle (2004, medieval), Naylorville (2004), Probel (1997-1998).
    • Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script).
    • Valery Golyzhenkov's fonts from before 2000 are typically destructionist. He made 04.07 (1998), Bort#1 (2000), CardHolder (1997), Chellebrity (2004, screen), Cracker (1997), Cubes (2000), Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Do Not Touch (1997), Dream Team (2000), Formalist (2001), Gamering (+Sans, 2009: a game font), Garbage (12997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997), Hole Down (1997), Hot Sauce (2009, Yuri Gordon), Ice Cola (2000), Kabotage (1998, octagonal), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Matrrolla (2001, octagonal), Mono (2000), Musor (1997), OneCode (1998), Primitiv (1998), Principal (1998-1999), Recruit (2004, octagonal), Remont (2000), Rounds (basic dingbats), Silver Winer (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
    • Custom typefaces for companies or special projects: 19oclock (2004, Yuri Gordon: for Vernost Kachestvu confectionery factory), AlfaBank, Always, Anteus, Artemius, Alexey, Atlas-1904, Bat Sans, Bat Roman, Calendarus, Carlis, Cifirki, CTC Screen, Digrol, Digimag, Esquire, Gulliver UTS, Gurmania_MA (2004, handwriting), Hi Afisha, In CaST, Ka, Kater, Komet, Kostro, Lumene Script, N.B.T., Nochnoi Dozor, Odessa, Progress Custom, Redd's, Robb Report New, Rolling Stone 2003, Rolling Stone 2005, Romb (2010), Rosbank Sans, RMA 2006, Salon Script (2007, calligraphic), Salon Antiqua (2007), Seventeen, N.Side, W.Side, Sivtzev Vrazhek, Snickers, Sovereign, STS Vizion, Svyaznoy RF (2008, sans), ToShi, Trust, Whiskas lettering, Zabava.
    • Typefaces and/or lettering from 2007-2009: Barocco Mortale (2005-2007curly script), Barocco Mortale Borders, Alfavita (ornamental caps by Goluzhenkov), Fleurs du Mal (2008, a Baudelarian antiqua, mischievous and decadent), DBL Cheque (by Goluzhenkov), Medved (by Goluzhenkov), YE Stencil (by Goluzhenkov), 21Cent (2009, related to Century; +Cyrillic; +Thin; +Black; advertised as not Century, not Clarendon, this fresh family is sure to win awards), Antiquasi (2008), Around the world, Bazaarban (2009, for Harper's Bazaar), Blacksteel, Citizen M (art deco), EsqGuardi (for Esquire), the curly Naska, with accompanying dingbats Naska Kozliki, the bird dingbats Udo Birdo, and more at Flickr.
    • Production in 2012: Digital October, Red Square (constructivist), Red Ring (art deco sans), Baker Street 221B (anglomane grotesque).
    • In 2013: Clarendorf (a hand-printed spoof on Clarendon), Bonvalet (large x-height sans), Bazaart (an art deco typeface for Harper's Bazaar), The drop-dead gorgeous condensed American slab and sans serif typefaces Mr Palker and Mr Palkerson.
    • Typefaces from 2014: 20 Kopeek (sans family with steampunk influences).
    • Typefaces from 2015: Buffon (a spaghetti Western italian typeface), Mr Palker Dad, Mr Palker Dadson.
    • Typefaces from 2018: Atomic Alice (a simple stocky sans family).

    Author of the acclaimed 384-page book Book of Letters From  to ” (2007, Art. Lebedev Studio).

    Behance link. Art by Yuri. Issuu link. Klingspor link. Behance link for Yuri Gordon. Art Lebedev link.

    View Letterhead YG's typefaces. [Google] [MyFonts] [More]  ⦿

    Letterhend Studio (or: Magang Letterhend)
    [Hendry Juanda]

    Hendry Juanda runs Letterhend Studio in Yogyakarta, Indonesia. He designed the signage script typefaces Redoura (2016) and Kadisoka (2016), and the accompanying Redoura Serif (2016) and Kadisoka Monoline (2016). Hendry also designed the handcrafted typefaces Signerella Script (2016, +Sans), Motherline (2016), Motherline Sans (2016), Mukadua (2016: a beatnik serif and a script), Sakra (2016) and Sakra Script (2016).

    Typefaces from 2017: Kaylar Script (formal calligraphy), Keylar Serif, Legion, Hipsterious (signage script), Megattor, Dear Jane (a signature script), Wonder Stark (a rhythmic script), Kingbirds (monoline script), Mandatory (Sans+Script), Modesta Script, Romzul Sans (a fat finger font by Muhammad Romzul Khoir), Kanuda (by Galih Prasetyo), Aamonoline (by Ageng Jatmiko), Fad Script, Ageng Sans (by Ageng Jatmiko), Anisa Sans, Morsel, The Lentigo, Quinible, Storytella, Rose Colored, Swiftone, Antone (letterpress family), Retrology (monoline script), Claytonia, Pipetton (brush Script and Sans), Marttabuck (retro), Gloriant Signature Script, Jouska, Brooklyn (dry brush), Holiday, Take Easy (dry brush), Larizo (brush script), Vanillate (monoline retro script).

    Typefaces from 2018: Sabatons, Autogate (font duo), Sharon Baker, Blue Phantom Script, Dologan, Bolica, Jaceline, Youther (brush script), The Goldies, Carllosta (curly), Black Space (brush style), Anjani Script, Melania Monoline, Calasans (retro layered), Arlington (spurred, Tuscan), Pastelle (SVG brush font), Diana Webber, Caligor (a vintage headline typeface), Greatly, Belymon Script (a great signage script), Majestika Script (signage script), Nagoya (monoline script), Charlotta Script, Stronger (vintage style), Vanillate (connected monoline script), Pipetton (script), Roseville (calligraphic: by Hendry Juanda and Sarid Ezra), Rupture, Gustolle (a great watercolor brush font in OpenType SVG format), Riverside (monoline script), Bulgaria Script, The Majority (calligraphic script), Blacklite (signage script), Athalia Script, West Hood (Western), Fort Collins (font duo, by Sarid Ezra at Letterhend), Flanders Script (a signage script), Thirdlone (a monoline script), Bigstorm, Melania Script (named after the first golddigger), Motherline, Harsey (a 16-font toolbox of signage scripts and dingbats), Dearday Script, Dearday Sans, Blodders, Callonsky Script, Kulon, Quicken, Reklase, Skizzle, Storytella, Brighter.

    Typefaces from 2019: Shockbar (a Halloween font), Chanide Script, Girly Moods, Padlock (a great retro script), The Rouged (monoline script), Karatone, Kingdrops, William Letter Signature, Billskates, Dorothy Clark, Chord Brights (a Victorian typeface), Sequents, LS Olive 01 Script, Bargitta (an SVG brush script font by Hendry Juanda and Sarid Ezra), Hellone Script, Sharon Baker (by Hendry Juanda and Sarid Ezra), Daniella Evans (a display serif by Hendry Juanda and Sarid Ezra), Leafstar, Righton (a signage script by Hendry Juanda and Sarid Ezra), Lotustail (by Henry Juanda and Sarid Ezra), Radicals, Seriously (a display sans), Rupture, North Avellion, Majestika Script, Palmbell (a signature font by Hendry Juanda and Sarid Ezra), Fokers (Victorian), Frankest (Script, Serif; with a Victorian feel), Danielle Harris, Callonsky Script, Murphy Script, Lanoline Script, Bittergrace Script (by Hendry Juanda and Sarid Ezra), Bordemile (a copperplate calligraphic script by Henry Juanda and Sarid Ezra), Daybird Script, Amerta Misty, Wonderstory, Kingbirds Rough (monoline), Rupture Stamp (for signage), Gorgone (a one-style didone by Henry Juanda and Sarid Ezra), Stomper, Caligor, Asterone (a wide all caps sans), Venettica Script (a signature script), Hougbon Script, Philomena Script, Cephalonia, Birmingham Script (calligraphic), Hillstown (Sans and Script).

    Typefaces from 2020: Billrocks (a condensed all caps sans), Greybridge (a fine retro script), Lava Cookies, Just Because, Moraline Script (a baseball signage script), Lemonade Peach, Mayburn (a retro signage script), Fillerglad (a signature script), Breadfast, Della Brian (script), Sailritme (wild, calligraphic), Stacylia, Stacylia, Salty Unicorn (a monolinear marker pen font), Super Giants, Gingerly, Creeplens, Donthank (a fat finger font), The Viperion, Blantika, Maritosca (wild, calligraphic), Thirtylane Script, Winland (a brush script), Ballmarks (wild, calligraphic), Mellodate, Braleno (a shaky font), Siregar, Camie (a wedge serif), Hugiller (a high contrast ball terminal fashion mag serif), Mildistance (a tall calligraphic script), Midgeto (a casual all caps typeface), Crimson Black (a brush typeface), Duke Charming (a decorative serif), Lucky Spark, Blue Jones, Sunshine Valley, Hello Christine (a rough-edged script), Revalina (a wild calligraphic script), Ranshell (a chalky script), Malliandra Script (a wild calligraphic script), Vistaria Notes (a wide flowing calligraphic script), Achiever, Bullgine (blackletter), Billion Reach (a signature script), The Randi (a monoline script), Yorkson (a signage script), Laverty Castaroza (all caps, art nouveau), Kandani (a creamy signage script), Fragtude (a creamy script), Quick Counters, Kaeliwritten, Heaven Wanders (a lively vintage hand-printed typeface), Chillday Script, Redberries, Foretelling Script, The Stegris (a decorative serif), Bayland (a signage script), Darthon, Caligonia, Deluge (a heavy script), Laterlocks (a display typeface), Baille Simpson (a dry brush script), Kanote (an all caps cartoon font), Black Ground, Franceur, The Wanters, Alburgone (an all caps quaint shop front lettering typeface), Annette Bradford, Winstreak (a brush font), Madegra (a decorative serif), Samrose (a dry brush font), Dehors (a Tuscan circus font), Compania (a wild script), Neography (a formal script), Shakuro Brush (oriental brush), Rascals, Wednesdom, Chirpy, Altia (Script, Sans, Slab Serif, Signature, Hand, Brush, Dingbats), Stargation, Buttoni, Radgrows, Linkgray, Monday Bay, Brown Chunkers (a vintage label font), Squiborn (a hand-drawn athletics font), Brilliantly, Holystone, Detroit (a handcrafted slab serif), Spring Note, Bigtown (a heavy hand-lettered slab serif), Naville (a 6-style all caps sans family), The Proactive (script), Wardrum Pro (a wide sans) and Wardrum, Kinderline Script (monoline), Kingdrops, The Kogles Script (retro), Conseration (a condensed sans). Hopkins Angela, Blue Phantom, Gladiolus Script, Calvous (spurred and weatheed), Fort Smith (penmanship calligraphy), Ramdone (a creamy signage script), Devilion (a signage script), Cortair (a vintage typeface), Kingbirds (a monoline script), Purefell Script, Rangkings (serif), The Holloway (Victorian), Roquen (a rustic typeface), Gloriant.

    Typefaces from 2021: The Riskeys (a tall stylish serif), Brandice (blackletter), Carllosta (a Victorian font), Dountyland (a monoline script), Garten House (Victoriana), Hello Sierra Sans (a child's hand), Marla Griselda (a formal script), Nachinta (script), Winter Rosetta (a curly script), Distoniare (a thin calligraphic script), The Moon Milter (a vintage all caps display font), Asper Crown (a nature park display font), Delgian (script), Astropicks (a marker bpen font), Cerlistine (a fat finger script), Fintbar (a fat all caps display font with an oversized chin), Madre Rose (a stylish unicase typeface), Norvin (vintage caps), Roundkind, Sentra (a wide hand-crafted display font), Stone Masher (script), Beast Party (a Halloween font), Hollow House (a Halloween font), Blowsters (a dry brush mural font), Rumble Born (a bean font), Stano Sans (rounded), Amillia Rochete (a delicate signature script), Shopie Minclair (a fine pencil script), Sign Paintoh (a sign painter's font), Wednesday Island (script), Sinister Mind (a horror font), Divine Stone (a brush font), Pinsmalle (a signage script), Radnick (a plumpish retro font), Wackets, The Royal Chambers (decorative caps, with a hint of art nouveau), Shopie Minclair (a refined script), The Morshine (Victorian), Beauty Culture (an angled calligraphic script), Allarmante (a horror font), Billanta (a retro signage script), Galpike (a 9-style sans with modulated stems), Magnitude (a stylish display sans with large x-height), Romans Story (stylish caps), Stay Strong (a dry brush script), Cardila (a monoline retro signage script), Explore Magic (hand-printed), Kingslayer (a graffiti font), Marina Bullock (a flowing rabbit ear script), Dustland (a retro signage script), Haystack (script), Sakura Town (Japanese brush emulation), Boldistrike (a retro signage script), Maleryan (a delicate formal calligraphic script), Sellina Word (a calligraphic script with irregular line thickness), Servegin (a display serif), Shelbie Roger (Victorian), Stumble (a signage script), Foresight (a vintage script), Cordoba Sans (vintage caps), Badgear (a monoline script), Edellyn Script (tall and elegant), Glorify Sans (an 8-style decorative sans), Wellytonia Package (a scrapbook script), Turesco (a creamy caps typeface), Black Space (a horror brush SVG font), Slime Yogurt (a fat finger font), Black Hymned Script, Pompano (a lively almost vernacular headline sans), California Quotes (brush script), Rosterine (a vintage condensded display font), Between Days (a display serif), Crescent Slim (a stylish display serif), Captivate (script), Flumbery White (a thin tilted script), Modern Prestige, Olive Vine (a lively brush script), Graystera (an elegant script), Morning Glints (a marker pen font), Native Roast (a vintage layered typeface), Menleader (script), Neophyte (a flared vintage typeface), Dankfield (condensed, squarish), Sogate (a bold script), Hollow Sky (a thin script), Boosley (a condensed supermarket script), Killviners (blackletter), Chenile Deluxe (a vernacular supermarket font) Silvestern (a vintage display font), Arnette Script (a calligraphic script), Margoline (an elegant formal calligraphic script), Pinmold (a geometric stencil font), Eligated (all caps, vintage), Garmouth Display (a Victorian era advertizing font), Bugheds (blackletter), Candleton, Riotous, Baverley Astone (script), Belmistate (a fine rhythmic brush script), Hulberk (an all caps slab serif), Mogaster (a monolinear script), Black Rockets (a dry brush script), Glady Script (a bold signage script), Yesternight (a bottom heavy script), Welroseltone (a stylish calligraphic font), Bold Garage (an inky unusually elegant typefacre), Bright Clones (hand-printed) Grand Wilson (a font duo), Merodine (calligraphic), Appears (a decorative serif), Mounties (tall caps with flared terminals), Quatro, Ground Castle (a display serif), Linestay (a signage script), Alessia Harvey (a signature font), Caramel Chestnut, Londers (an upright bold script), Hubstone (a brush font), Oversouth (vintage, hand-drawn), Bright Gesture (a lachrymal font), Center Voyage (an all caps display typeface), Asteria Royalty, Georude (hand-printed), Raksana (a bold upright script), Aesthetic Notes, Broadley (a vintage font duo), Chopader (a vintage font duo), Wimp Stars (a beatnik font), Brown Holmes, Mortina (a vintage font duo), Dustown (a rounded handcrafted sans), Holymore, Lamberds (a rhythmic script), North Mountain (a decorative flared typeface), Butter Slices, Portalica (an all caps italic font with plenty of ball terminals), Evening River (an optimistic and playful script), La Graziela (formal copperplate calligraphy), Metro Capitals, Davenvale, Earthgate (a vintage penmanship font), Vindale (a retro reverse stress script), Better Hobby (a layerable cutout font), Bouldster (a bottom-heavy psychedelic script), Melorist (a display sans), Benorante, Millgrove (a condensed spurred typeface), Asterluck (a fat finger font), Boinger (wide, octagonal), Rimeland (calligraphic), Ansylia, Mantaray.

    Typefaces from 2022: Arturico (a frivolous art deco font), Calmine Font Duo (a bold vintage script), Foresight, Penster Bross, Mayhome (script), Rivervale (flared hand-crafted caps), Rontage (a late 19th century-style display typeface), Bert Watson (a tall thin upright script), Honnie (Greek emulation), Livemono (6 styles), Caldeisa (a creamy script), Coral Candy Regular Slant (a blocky plump unicase typeface), Hanstone (script), Hintown Slant (arts and crafts era caps), Liviatica (a wavy display serif), Rosie Brown (a font duo), Growline (an all caps display sans), Lion Parade (a vintage apothecary script), Praysire (a sharp-edged display serif), Bashiton (a monolinear script), Crainzel (notched caps), Garetra (a stylish serif), Moon Slayer (a scrapbook brush font), Growlies (a fat finger script), Ridge Cliff (a massive slab srif), The Bristers Sans (a font duo), Augify (a hipsterish display serif), Dustyland (a monoline script), Primore Castle (hand-crafted), Merry Brook (script), Monstroux (a brush font), Blue Carousel (an informal brush script), Bastinson (a thin monoline script), Happy Sparkle (an inky treefrog script), Arinkoln, Backdown (script), Krostenia (a monoline script), The Bardian (script), Black Rocket (hand-printed), Kaglia (script), Cyberion (sci-fi), Groovy Friends (hand-printed), Calfine (a bold condensed poster typeface with small wedge serifs), Fountencil (a blackletter stencil), Logirent (a minimalist logo font), Logirent, Hermush (art nouveau caps).

    Aka Magang Letterhend. Behance link. Dafont link. Graphicriver link. Dafont link. Creative Market link. Fontesk link. [Google] [MyFonts] [More]  ⦿

    LetterMaker
    [Teo Tuominen]

    Teo Tuominen is a fearless Finnish type designer and letterer based in Helsinki. Teo has a background in graphic design and has a masters degree in type design from the TypeMedia program in Den Haag, The Netherlands, class of 2013. Designer of Kaiser (2011, a sans designed for print and screen), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia.

    From 2010 until 2012, Paul D. Hunt (Adobe) and Teo Tuominen developed the monospaced programmimg font family Hasklig.

    Creator of the round signage / cartoon typeface Winnie the Hoop (2012, inspired by Winnie the Pooh).

    In 2013, he graduated from the Type & Media program in Den Haag, with a typeface family called Binky that was inspired by wood type. Before that, he graduated from the Pekka Halonen Academy in 2009 and the Lahti Institute of Design in 2012.

    He also designed Tartufe (2013), and drew the italics of Source Code Pro for Adobe in 2014.

    In 2015, Emil Karl Bertell and Teo Tuominen joined forces at Fenotype when they designed the retro connected signage script typeface Tea Biscuit.

    Typefaces from 2016: HK 1917 (originally drawn as custom lettering for the label of a gin called Helsingin. HK 1917 is based on the headline font used in the set of statutes from 1917 that started the prohibition in Finland), Paradise Sans (a custom typeface family designed for Paradise City Beverage Company; it includes a stunning stencil style), Warrior Sans (a custom typeface for specialty coffee company Warrior Coffee).

    Typefaces from 2017: Wolby (brush-lettered), Trevor (a kind slab serif), Floki (condensed sans), Wolt Display (for the food delivery service Wolt), Walter (Type Together; Teo writes that Walter originally began as a revival of an unidentified typeface used in a Dutch version of the play Tartuffe by Molière), Kaarna, Winnie The Hoop (signage script), Airo (a monospaced slab serif with reversed contrast).

    Typefaces from 2018: Geria (a hand-drawn sans), Papillon Script (a monoline script; with Emil Karl Bertell, at Fenotype), Calton and Calton Stencil (a utilitarian workhorse sans serif family), Quida (a flared display duo with sans and script, +Quida Rough), Vieno, Banto (wedge serif), Dallas Print Shop (a display family by Teo Tuominen and Emil Karl Bertell), Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell), Maestri (a classical connected scrupt by Teo Tuominen and Emil Karl Bertell).

    At Future Fonts, he published the wedge serif typeface Banto (2018) and the experimental typeface Chippo (2018).

    Typefaces from 2019: Portland (a reverse contrast typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Taurus (an all caps logotype family by Emil Bertell, Erik Bertell and Teo Tuominen), Zeit (a transitional text typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Avion (a sans family by Emil Bertell, Erik Bertell and Teo Tuominen), Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Tapas (2019, by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Saiga (Future Fonts).

    In 2019, he released Luna at Future Fonts. Luna features high contrast and dashing details.

    Typefaces from 2020: Laurel (by Teo Tuominen, Emil Bertell and Erik Bertell: a 4 style sans with amnay wedge elements), Resolve Sans (by Teo Tuominen, Emil Bertell and Erik Bertell: an extensive grotesk super family of 124 fonts: from compressed to extended, thin to black), Rockford Sans (2020: an 8-style geometric sans with large x-height and slightly rounded corners; Emil Bertell, Erik Bertell and Teo Tuominen), Ompu (Future Fonts: a heavy condensed sans serif), Walden (a heavy rustic serif typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Klik (a geometric sans family with Bauhaus influences, by the dynamic trio of Emil Bertell, Erik Bertell and Teo Tuominen).

    Typefaces from 2021: Imagist (a 12-style sharp-edged serif by Emil Bertell, Erik Bertell and Teo Tuominen), Alonzo (a 24-style Peignotian sans by Emil Bertell, Erik Bertell and Teo Tuominen), Maine (a 12-style modernized book antiqua by Emil Bertell, Erik Bertell and Teo Tuominen), Lagom (a 16-style slab serif with some Clarendon charm; by Emil Bertell, Erik Bertell and Teo Tuominen), Wonder (a 12-style rounded serif in the style of Windsor; by Emil Bertell, Erik Bertell and Teo Tuominen), Grand Cru (a refined serif family with 36 styles; by Emil Bertell, Erik Bertell and Teo Tuominen).

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

    Lettermin Type Foundry (was: Ermin Design)
    [Ermin Mededovic]

    Croatian designer who lives in Ljubljana. He is owner and type designer at Lettermin (since 2012) and design director at Delo Publishing House. Creator of fonts such as Board, Counter (dot matrix), DeeDot, Dirty Karlson, Dope, EnfontTerrible (grunge), Exer, Fractual (Fraktur), Frizider (connected 50s style lettering), Gliberto, Jogurt Pi, Kelih, Latirilica, Malomorgen (Fraktur), Manifestina, Ministry of Defense, NoBodyType, Omar Sans and Omar Sans Plus (1999, Typohteque), Pope-Regular, PopeInline, Siscia, Sugestica, Tune, Telekom Pi, Video-Flat.

    At Plazm he published Centrifuga (1996), Board (1995). In 2005, he finished the design of a 40-style a typeface family for Delo, one of the leading Slovenian daily newspapers.

    In 2014, he created Lipa Agate (Type Together), a workhorse sans serif for use in very small type sizes. Similarly, Ingra (2015) is a 30-style sans family designed for use in magazines, with weights ranging from hairline to extra bold.

    In 2016, Ermin published Fino, Fino Sans and Fino Stencil at Type Together, which advertizes is as a dramatic, contemporary family that scales beyond the world of looks by tapping into archetypes. It amplifies the most theatrical aspects of the Didone, while bringing an uncommon flexibility of style and variation to any type palette. Tall and stately, this is a caps-only typeface system.

    In 2019, Omar sans was retired by Typotheque and Mededovic rejuvenated this octagonal design as Edge Sans. In 2021, he added Edge Slab. [Google] [MyFonts] [More]  ⦿

    LetterPerfect
    [Garrett Boge]

    Established in Seattle in 1986 by Garrett Boge: Since 1986, LetterPerfect has supplied carefully-crafted, original display fonts to designers and desktop publishers. We now offer over 50 unique designs in 2 distinctive lines: Viva la Fonts&Legacy of Letters. Many fonts were inspired by Trajan roman lettering and by the great Italian renaissance artists.

    Letter Perfect's typefaces include Catacomb, Philocalus, Sabina, Beata, Donatello, Ghiberti, Cresci, Pietra, Pontif, Stockholm, Göteborg, Uppsala, Didot LP, Kolo, Visage, Bermuda, Old Claude, Wendy, Tomboy, Spumoni, Spring, Silhouette, Roslyn, Longhand, Manito, Kryptic, Koch, Hardwood, Hadrian Bold, Florens, DeStijl, Chevalier Light, Binney.

    View Garrett Boge's typefaces. [Google] [MyFonts] [More]  ⦿

    LettError
    [Erik van Blokland]

    LettError is a foundry in Den Haag, founded by the interesting duo, Just Van Rossum (b. 1966) and Erik van Blokland (b. Gouda, 1967). Many of their fonts can be found in the FontFont library.

    Erik van Blokland is a graduate of the Royal Academy of Art in The Hague (KABK), class of 1989. He develops niche tools for type design and font production and has been involved with Tal Leming in the development of the UFO (for font sources) and WOFF (for font binaries) formats. Since 1999, he is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Erik developed many type software tools such as the acclaimed type interpolation tools MutatorMath and Superpolator, and the teaching tool TypeCooker.

    Their typefaces:

    • At FUSE 11, Erik designed FF Beowolf (1989-1990, a randomized font, sometimes still called Beowulf; with Just van Rossum), FF Erikrighthand, FF Kosmik (1993), FF Trixie (based on an old typewriter: Trixie was taken from a typed sample from a typewriter owned by a friend in Berlin, Beatrix Günther, or Trixie for short.) and FF Zapata. Trixie was at FontShop until it was bought by Monotype. In 2023, it was withdrawn from the Monotype library.
    • Erik created LTR ThePrintedWord and LTR TheWrittenWord (2001), both free fonts designed to be unreadable.
    • LTR Salmiak (2001).
    • Critter (2001) and New Critter.
    • Bodoni Bleifrei.
    • LTR BitPull.
    • Federal: great dollar bill lettering font family, which earned him an award at the TDC2 Type Directors Club's Type Design Competition 2002.
    • What You See/What You Get (with Just Van Rossum).
    • At FUSE 2, Erik published Niwida.
    • FFAdvert.
    • Schulschrift.
    • FFHands.
    • FFBrokenscript.
    • LTR Monsta.
    • In 2005, Erik and his brother Petr made the Künstlerbrüder-Schriftfamilie of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst in 2005.
    • Jointly with Erik Spiekermann and Ralph du Carrois, Erik developed Axel (2009), a legible system font.
    • His masterpiece, in my view, is the 2009 family Eames Century Modern, finished at House Industries, a take on Clarendon. It won an award at TDC2 2011. A special extra award was given at that competition for Eames Poster Numerals. For another complete modern Clarendon family, see Canada Type's Clarendon Text.
    • Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber.
    • In 2016, he published Action Condensed at Commercial Type. Action Condensed was designed for the screen. Each of the family's four weights has three grades of the same width, allowing text to change weight on rollover without disrupting the layout. In 2020, he added Action Text in 16 styles, with Bright and Dark options. And variable styles.

    Erik speaks often about his work. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3].

    Klingspor link. FontShop link. Wired interview. Shop. FontFont link. [Google] [MyFonts] [More]  ⦿

    Levi Szekeres

    Cluj, Romania-based creator (b. 1973) of Levi Brush (2004, brush face), Levi ReBrushed (2012), Lipsum (2011, hand-printed), Levi Marker, Levi Crayola, Lorem Ipsum, LeviNaiveLetter1 (grunge), LeviWindowsExtraLight (pixel face), Pxlxxl (2012, pixel face). These were all made under the alias Scotch Kitsch Sandwich.

    In 2013, he made Pxl, Pxll and Pxlxxl Cond. In 2014, he published the stencil typeface Rubber and the condensed roundish sans typeface Ruler. In 2015 he made HermanoMayor, HighVoltage-Rough, HighVoltage, Ruler-Modern.

    Typefaces from 2016: Ruler Stencil, Loveletter No. 9, Ruler Volume, Hermano Alto Chisel (octagonal), Fashion Fetish, Gotcha Gothic, Hermano Alto, Supercaligrafilisticexpialidoc, Cry Brush, Loveletter No. 9, Post Scriptum.

    Typefaces from 2017: Sugar & Vinegar (a rounded art nouveau typeface), Fat Flamingo 5 (didone fat face), Hermanoalto Unicase, Ogonek (a great sans family), Ogonek Unicase, Golden Age.

    Typefaces from 2019: Windows Outline, Windows Dots, Pxlxxl, Virgula Vulgaris (a text typeface).

    Dafont link. Home page. Old URL. Behance link. [Google] [More]  ⦿

    LHFONTS
    [Olga Lapko]

    Package written in Metafont by Vladimir Volovich, Alexander Berdnikov, Andrey Khodulev and Olga Lapko. Based on Computer Modern and a few other metafont sources, this package covers Cyrillic. As part of Bakoma TeX, the metafont set was converted to type 1 by Basil K. Malyshev using mf2ps. That package now contains 304 type 1 fonts in T2A TeX encoding. The fonts are available in Adobe Type 1 format, in the CM-Super family of fonts. [Google] [More]  ⦿

    Lián Types
    [Maximiliano Sproviero]

    Argentinian foundry located in Buenos Aires, est. in 2008 by Maximiliano Sproviero (b. 1987, Buenos Aires). It specializes mainly in gothic, uncial, script and handwriting typefaces. Sproviero graduated from FADU, University of Buenos Aires in 2008 with a script thesis typeface called Colofon.

    His fonts from 2008 include Devil Kalligraphy, Pumba (great futuristic rounded look), Tobogan (retro), Kiwi Sans Serif, School Rainbow, Suave Calligraphy, Tonika (handwriting), Goddess (handwriting), Cursivessca (calligraphic; 4 styles), Friendship (6 styles), Chechelo Lawyer (modern italic condensed), Quijote Italic (calligraphic with tall ascenders and descenders), Miscelanea (arabesques), Lunga (a condensed hairline family consisting of Real Ligada, Exacta, Versalita and Extras), Mabela (a rounded fat display font), Red Wagon (ultra-condensed), Valeria Script (swashy), Kalligrand (2008, a tall calligraphic face), Intima Script One, Two and Three (described by him as a sensual calligraphic script family), and Paradise Script (96 styles, all calligraphic).

    Creations from 2009: Kaligrafia, Galana, Mon Amour Script (hyper-calligraphic), Oh Lara (also hyper-calligraphic), and Quijot sauvage (a 7-style calligraphic feat).

    In 2010 he made these typefaces: Parfait Script (a high-contrast calligraphic script), Kanikama, Breathe Pro (calligraphic with didone serifs), Boston Script.

    Creations from 2011: Reina (a curvaceous didone family, +Engraved). He updated this in 2021 to the 45-style Reina Neue.

    At Tipos Latinos 2012, Maximiliano Sproviero won awards in the display type category for Aire (2012, a thin curly didone family), Breathe Pro, and Reina. At TDC 2013, he won an award for the copperplate script Erotica. Erotica also won an award at Tipos Latinos 2014.

    Typefaces from 2013: String (a hairline Spencerian script), Brand (a signage script family), Agile Pro (a hairline swashy calligraphic family), Bird Script (which an award at Tipos Latinos 2014), Live Pro.

    Typefaces from 2014: Selfie (connected monoline signage script), Heroe (a script that takes Lubalin and Caslon to the extreme), Dream Script (a chancery script that won an award at Tipos Latinos 2016), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).

    Typefaces from 2015: Seventies (a funkadelic typeface), Indie (a signage script family that won an award at Tipos Latinos 2016), Model (a hairline fashion mag calligraphic script family).

    Typefaces from 2016: Lubaline (decorative caps inspired by Herb Lubalin), Skill (signage type: winner at Tipos Latinos 2018 of a type design award).

    Typefaces from 2017: Posh (a fat didone), Fluire and Fluire Caps (a greeting card font pair), Preta (almost psychedelic script), Vinyle (a remarkable monoline decal script).

    Winner at Tipos Latinos 2018 of a type design award for Lubaline, Posh and Preta.

    Typefaces from 2018: Burger (a fast food slab serif bonanza), Fleur (inspired by some lettering in Palais Garnier in Paris---Sproviero calls this the Napoleonic style), Pantera (a lively pointed brush calligraphic typeface family), Girasol (based on sketches by Susana Maurette), Rafaella (all caps---described by Sproviero as coquette).

    Typefaces from 2019: Hot Script (monoline), Elipses (a Peignotian sans family in 7 styles), Fabulous Script, Breathe Neue.

    Typefaces from 2021: Selfie Neue Rounded (40 styles), Selfie Neue Sharp (39 styles), Ballet VF (Maximiliano Sproviero: a variable Spencerian penmanship font with optical sizing from 16pt to 72pt---a technical feat accomplished with the help of Eduardo Tunni and the Omnibus team; free at Google fonts; Github link),

    Klingspor link. Behance link. Interview by MyFonts in 2014. [Google] [MyFonts] [More]  ⦿

    Liana Shushanyan

    Armenian type designer. Her typeface LGSH Liana won an award at Granshan 2017. In 2021, she published LGSH Davit (a typeface family with didone roots; for Latin, Armenian and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Libor Sztemon

    Czech site with helpful tables of all Latin and Slavic alphabets. Downloadable fonts made by Libor Sztemon in 2001 for his software, Liborsoft, include CNR-Solca, Casy-EA-Bold (a didone), Casy-EA, Darseni-e-Afshenasi, Dee-Sathairn, Euransi-e-Nauromane, FZDHTJW--GB1-0, FZHLJW--GB1-0, GaramondWLHalbfett, Havirov, Johaansi-ye-Peyravi (blackletter), Khorshide_Iran, LiborsoftInternational, LinguaLatina, Masnavi-e-Nauromane, OldMoravianGlagolitic, Ostrava (a copy of Flyer), PrydEuro-Cymraeg, Shahanshah-e-Xatt, TNRLiboriusVII, TempsEuro-Catalan, Times-NR-Czech, Times-NR-Greenlandic, Times-of-EuransiLS, Times-of-SlaviskPSMT, Times-of-Slavs, Times-of-Tajiki, Times-of-the-West, TimesNREuskaraEuransiEsperanto, TimesNewRomanHungarian, Velehrad, VelehradBold, Zemanho-ye-Darseni, Ardashir-e-Urofarsi, Daftar-e-Urofarsi, Gam-e-Urofarsi, Jahan-e-Urofarsi, BohemiaLS, BohemiaPS-BoldLS, BohemiaPS-BoldItalicLS, BohemiaPS-ItalicLS, LiborsoftCzechia, MoraviaLS, Moravia-BoldLS, Moravia-BoldItalicLS, Moravia-ItalicLS, SilesiaLS, SilesiaPS-BoldLS, SilesiaPS-BoldItalicLS, LiborsoftSilesiaPS-ItalicLS, Miyane-ye-Urofarsi (Liborsoft), Name-ye-Urofarsi, Parvane-ye-Urofarsi, Peyk-e-Urofarsi, Sadsale-ye-Urofarsi, ahpur-e-Urofarsi, Setare-ye-Urofarsi, Siyah-e-Urofarsi, Times of Tajiki, Tarik-e-Urofarsi, Zeman-e-Darseni, Zaman-e-Urofarsi, TimesNREuskaraEuransiEsperanto, Friulan Nazzi-Faggin (2001, a didone). Another directory. [Google] [More]  ⦿

    Librito.de
    [Florian Zietz]

    Florian Zietz (b. Salzgitter-Bad, Germany, 1967) studied graphic design at Fachhochschule Hildesheim and participated in the German art and design school's exchange program with the University of Wisconsin-Stout. Since completing his studies in 1994, he has been working as a freelance graphic designer and illustrator for a variety of clients. Creator of the dingbats typeface FF Headz (2005), which won an award at TDC2 2006. Librito is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Besides FF Headz (dingbats), they created Just Seven (2010, a child's hand), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, modular, octagonal, slightly stencilish; based on grids similar to those used in train station and airport signage), Stars (2009, dingbats), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). Viktor (2011) is based on wood type.

    In 2012, he published the Sketchimpact family (a sketched version of Impact) and the roughened antiqua typeface Argento.

    Typefaces from 2014: Ahoy (based on cruise line posters), Neometrix (3d, layered, outlined and hand-drawn).

    Typefaces from 2015: Fatone (a high contrast semi-didone caps family, with wood type ancestry).

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

    Liebefonts
    [Ulrike (Wilhelm) Rausch]

    German commercial foundry, est. 2009 by Ulrike Rausch (formerly Ulrike Wilhelm), a Berlin-based illustrator and graphic designer, who graduated in communication design from Potsdam University of Applied Science. MyFonts sells Liebe Ornaments (2010), Liebe Doni (2011, a hand-printed didone), LiebeKitty (2010, cat dings), LiebeMenu (2010, restaurant dingbats), LiebeFish (2009, fish dingbats), LiebeChristmas (2009, dings), LiebeCook (2009, dings), LiebeTweet (2010, birdies), LiebeEaster (2010), LiebeMenuLettering (2010), Liebe Erika (2010), Liebe Klara (2012, cursive), Liebe Ruth (2013: an organic typewriter type family), Liebe Doris (2014, a brush face) and Liebe Robots (2009, robot dingbats), Liebe Lotte (2015), Liebe Lotte Swell (2015), LiebeGerda (2016), Supermarker (2020, at Fontwerk: a marker font with randomized glyphs to minimize repetitions), Liebe Heide (2020: handwriting emulation).

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

    Lilla Toth

    Graphic design student at the Buda Drawing School (2010-2012), who lives in Budapest. She created Jillit (2012), a didone display typeface that plays with ball terminals. [Google] [More]  ⦿

    Lily Bather

    During her studies at Universidad Iberoamericana, Lily Bather (Dallas, TX) created the didone display italic typeface Florence Italic (2013). Behance link. [Google] [More]  ⦿

    Linnea Lundquist

    Noted calligrapher, who also designs type. Stigmata won the Silver prize in the Morisawa Type Design Competition in 1999. It is her fantastic interpretation of European Gothic Cursive writing from the Middle Ages and early Renaissance. Linnea is responsible for the roman transitional family Aitken commissioned in 2002 for Arion Press. Arion Press writes: Hoyem has taken advantage of twenty-first century technologies in order to revive what is believed to be the first type family cut and cast in America. In 1796 two Scotsmen named Binny and Ronaldson started a type foundry in Philadelphia, the first in the country to endure. By 1800 they had produced a remarkably beautiful and utilitarian type, identified simply as Roman No. 1. It is a Transitional face, between Old Style (as in Caslon) and Modern (as in Bodoni). The type was used by Jane Aitken, daughter of Robert Aitken, the famous printer of the American Revolution, and an accomplished printer herself, for the printing of the first American translation of the Bible, by Charles Thomson, in 1808. It was reintroduced by American Type Founders Company in 1892 under the name Oxford and was used by a succession of fine printers, such as Daniel Berkeley Updike, Bruce Rogers, and the Grabhorn Press. Arion Press has 1,200 pounds of the original type that once belonged to the Grabhorn Press. Oxford was cast for hand composition only and was not adapted for Linotype or Monotype composition. The matrices are now in the collection of the Smithsonian Institution and unavailable for further casting. In 2002, Hoyem worked with type designer Linnea Lundquist, assisted by Andrew Crewdson, to create a digital version of this historic face, which he renamed Aitken. The Memoirs of Benjamin Franklin is its first use for book printing. The Aitken design has been optimized for letterpress printing, allowing for the spread of ink biting into paper just like with the original metal type design cut by Binny&Ronaldson. For this book, the type has been printed from photopolymer plates. In 2008, she joined Mark van Bronkhorst at Sweet Fonts and designed Sweet Upright Script with him. [Google] [MyFonts] [More]  ⦿

    Linotype Library GmbH

    Large type German foundry Linotype controlling over 4000 fonts. The company was located in Bad Homburg since 1998. It was acquired by Monotype Imaging in 2006, after more than a decade under the helm of Bruno Steinert. On January 29, 2024, Monotype sent this message: As part of a consolidation of its online offerings, the Monotype Group has decided to discontinue the operation of Monotype GmbH's online store LinoType, effective 28.03.2024, and to transfer/novate this business unit in its entirety to MyFonts Inc. of 600 Unicorn Park Drive, Woburn, MA 01801---also a company of the Monotype Group. And that is the end of Linotype.

    Linotype wrote about itself in 2008: Linotype GmbH, based in Bad Homburg, Germany and a wholly owned subsidiary of Monotype Imaging Inc., looks back onto a history of more than 120 years. Building on its strong heritage, Linotype develops state-of-the-art font technology and offers more than 9,000 original typefaces, covering the whole typographic spectrum from antique to modern, from east to west, and from classical to experimental. All typefaces (in PostScript(tm) and TrueType(tm) format as well as more than 7,000 fonts in OpenType(tm)) are now also available for instant download at www.linotype.com. In addition to supplying digital fonts, Linotype also offers comprehensive and individual consultation and support services for font applications in worldwide (corporate) communication. It publishes frivolous/experimental font collections under the name Taketype (1 through 4 now), and regularly publishes reworked classic and original text type families such as Compatil, Vialog, Satero, Linotype Sabon, Linotype Frutiger, Linotype Optima, and Linotype Univers. Its designers. A time line:

    • 1886: Ottmar Mergenthaler invented the Linotype machine.
    • 1890: Mergenthaler establishes the Mergenthaler Linotype Company in Brooklyn, USA.
    • 1895: The D. Stempel foundry was born.
    • 1915: D. Stempel takes over the type foundry Roos&Junge, Offenbach (established in 1886).
    • 1917: D. Stempel acquires a majority share of the type foundry Klingspor Bros., Offenbach.
    • 1918: D. Stempel takes over the type foundry Heinrich Hoffmeister, Leipzig (established in 1898).
    • 1919: D. Stempel acquires the type division of W. Drugulin, Leipzig (established in 1800) and a share of the type foundry Brötz&Glock, Frankfurt (established in 1892).
    • 1927: D. Stempel acquires a shareholding in the Haas'sche type foundry in Basel/Münchenstein (established in 1790).
    • 1933: D. Stempel acquires a shareholding in the type foundry Benjamin Krebs (Successors), Frankfurt (established in 1816).
    • 1956: D. Stempel AG acquires full ownership of the type foundry Klingspor Bros., Offenbach (established in 1906).
    • 1963: Linotype takes over the type foundry Genzsch + Heyse, Hamburg (established 1833).
    • 1970: Stempel takes over part of the type collection of C.E. Weber (Stuttgart, est. 1927).
    • 1972: The Haas'sche type foundry in Basel/Münchenstein takes over the type foundry Deberny&Peignot, Paris.
    • 1978: The Haas'sche type foundry takes over Fonderie Olive, Marseille (established in 1836).
    • 1985: Linotype takes over of the type division of D. Stempel AG.
    • 1989: Linotype takes over the Haas'sche type foundry (established in 1790).
    • 1990: Linotype AG merges with Hell GmbH to become Linotype-Hell AG.
    • 2006: Acquired by Monotype Imaging.
    • 2024: On January 29, 2024, Monotype sent this message: As part of a consolidation of its online offerings, the Monotype Group has decided to discontinue the operation of Monotype GmbH's online store LinoType, effective 28.03.2024, and to transfer/novate this business unit in its entirety to MyFonts Inc. of 600 Unicorn Park Drive, Woburn, MA 01801---also a company of the Monotype Group. And that is the end of Linotype.

    MyFonts link for Linotype Design Studio.

    Catalog of the typefaces in Linotype's library [large web page].

    View Linotype's library of typefaces in alphabetical order. [Google] [MyFonts] [More]  ⦿

    Lipton Letter Design
    [Richard Lipton]

    Calligrapher, sign painter, and graphic and type designer from Milton, Mass., who was born in New York, studied design and photography at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. In 2016, he joined Type Network, where his fonts can be bought. MyFonts page. MyFonts interview in which his modesty comes to the fore. His typefaces:

    • Alhambra: a calligraphic typeface.
    • Apotek: based on lettering on old medicine bottles seen in Oslo.
    • Arrus BT (Bitstream, 1991). This is a serif typeface with heavy calligraphic influences. The capitals are roman inscriptional. More typefaces in this style are to come, he promised in 2010.
    • Avalon (1995, calligraphic): based on the calligraphic writing of Austrian artist Friedrich Neugebauer.
    • Bennet Text, Bennet Display (36 styles: a wedge serif news text family), Bennet Banner (36 styles). This high contrast didone-themed superfamily (but for the wedge serifs) can't shed that "look at me" vibe. The initial idea for Bennet came from Moth Design's logotype and stationery system for the North Bennet Street School in Boston.
    • Benton Modern Display (2008, co-designed with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.). See also here.
    • Bickham Script (1997, Adobe): The 2004 OpenType Pro version has hundreds of ligatures and substitute forms. See also Bickham Script 3 (2014). Review of Bickham by Timothy Rolands. Bickham Script is based on examples from Bickham's The Universal Penman. Poster by Fernanda D'Andrea (2013). Bickham Script 3 won an award at Modern Cyrillic 2014.
    • Bodoni FB (1992, Font Bureau, a headline bold based on Benton's 1933 Ultra Bodoni).
    • Bremen (Bitstream), Bremen (1992, Font Bureau). This German art deco face was influenced by the poster lettering of Ludwig Hohlwein in 1922. Munich is an angular version of Bremen.
    • Bureau Grot. One of Font Bureau's bestsellers.
    • Canto (2011, Font Bureau) is a 32-style roman family that started out from the Trajan inscriptions via a few styles called Canto Brush to smooth and delicate styles such as Canto Pen. New styles were added in 2017.
    • Cataneo BT (Bitstream, 1993; with Jacqueline Sakwa): an elegant chancery cursive based on the calligraphic work of the 16th-century writing master Bernardino Cataneo.
    • Ecru
    • Escrow Banner (2016). An extension of Cyrus Highsmith's Scotch Roman, Escrow (2006).
    • Hoffmann (1993): a display family that is based on lettering by Lothar Hoffmann.
    • Meno (1994, Font Bureau). Lipton explains his oldstyle design: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam. In 2016, he extended Meno to a 78-style superfamily. In 2021, MyFonts released Meno Text and in 2022 Meno Display (36 styles) and Meno Banner (36 styles).
    • Miller Banner (2010, Font Bureau): a completion of Matthew Carter's Scotch family Miller, that has banner and titling styles, and adds styles with extreme contrast and hairline serifs.
    • Moderno FB
    • Munich.
    • Nutcracker.
    • Rocky (2008, Font Bureau, with Matthew Carter).
    • Savanna Script (2013). A connected tightly spaced calligraphic script in three weights.
    • Shimano: an industrial geometric font.
    • Shogun (with Margo Chase, 1995).
    • Sloop Script (a penmanship script, 1994), inspired by the lettering of Raphael Boguslav. Sloop Script won an award at Modern Cyrillic 2014. Type Network published Sloop Script Pro in 2018. MyFonts relesed Sloop Script Pro in 2021.
    • Talon

    • Tangier (2010, Font Bureau): a Spencerian calligraphic family that was part of the 2008 redesign of Glamour Magzine.

      A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Jill Pichotta and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.

    • Delaney (2016).
    • Collier (2018). A 150+-style lapidary flared stem typeface family ranging from Compressed to Extra Extended widths.
    • Englewood (2022). A script whose inspiration for Englewood came from the calligraphic hand of Philip Grushkin.

    I Love Typography link. Klingspor link. FontShop link. Type Network link. MyFonts interview.

    View Richard Lipton's typefaces. [Google] [MyFonts] [More]  ⦿

    Lisa Najewitz

    Wismar, Germany-based designer of the beautiful didone fashion mag typeface Giorgio (2015), which was part of a school project supervised by Andreas Froloff. All her pther work is equally outstanding---winess the calligraphic blackletter lettering piece called Affenzirkus (2015). [Google] [More]  ⦿

    Lise Takeno

    As a student in Paris, Lise Takeno designed the Futura / Didot hybrid Gatsby (2016). [Google] [More]  ⦿

    Liz DeLuna

    American designer of these typefaces:

    • Litho Compressed (2016), which is a revival of a typeface designed by William Schraubstadter as Litho Condensed in 1908. Litho Compressed was published as part of the Litho Family by the Inland Type Foundry from 1907-1911 and the American Type Foundry in 1912. The Litho Family was intended to imitate a style of lettering popular with lithographers when lettering and designs were drawn on lithographic stones.
    • Bequeath (2016). Liz explains: The Bequeath typeface is based on gravestone inscriptions carved by Uzal Ward between 1752 and 1792. Ward's lettering style was expressive with a tall x-height, curled finials and a trumpeted lower case t and f. For some of the glyphs alternates were created, in order to include some of the more atypical letter forms, like the slanted uppercase A. Glyphs were also created for the death heads and some of the other decorative flourishes on the headstones. The intention was to create a distinctive digital typeface for use in contemporary design contexts, with reverence to its historical roots.
    • Bowery (2016). Liz: The Bowery typeface is based on letter forms carved into a stone plaque located in the Bowery Mission meeting room on the Lower East Side of Manhattan, dated ca. 1895. In creating the digital typeface design the intention was to retain the eclectic qualities and features of the carved letter forms while transforming them into a cohesive typeface. In order to address the idiosyncrasies inherent in the letter forms alternates were created for some of the glyphs.
    [Google] [More]  ⦿

    Loïc Galland

    Charolles, France-based designer of the workshop project didone typeface Villa Zervos (2015). [Google] [More]  ⦿

    Loïc Sander
    [Akalollip]

    [More]  ⦿

    Lorenzo Miola

    Designer in Ferrara, Italy. In 2018, Lorenzo Miola, Luca Pedali and Lorenzo Richetta co-designed the didone stencil typeface Affettato for a school project. [Google] [More]  ⦿

    Lorenzo Richetta

    Designer in Brandizzo, Italy. In 2018, Lorenzo Miola, Luca Pedali and Lorenzo Richetta co-designed the didone stencil typeface Affettato for a school project. [Google] [More]  ⦿

    Lorenzo Simo Hernández

    Designer of Pleasant Despair (2002), Bad Future (2002), the decorative didone typeface Nostalgia (2005), the Basque lettering font Basca (2001), Mestral (2001, an artsy tall freeware font) and Passeig A and B (2002). Dafont link. [Google] [More]  ⦿

    Lorvad (or: Printers Devil)

    Free font outfit, active from 1991 until 2008. They made Bellbottom Laser (1991, from the hippie days), Spatz (1993, Tuscan), Medusa (1991, like Arnold Boecklin), Bodidly Bold (2008), CartWright (1991, Western face), Judas Caps (spiky letters), OxNard, Black Forest (blackletter), Oswald Black, Albatross, Get A Grip, Down Wind, Inka Bod, and Loop de Loop. [Google] [More]  ⦿

    Lou Reichling

    During his DSAA typographie studies at École Estienne in Paris, Lou Reichling recreated a didone typeface and called it Phèdre (2013). He based it on a typeface by Pierre Didot, 1819. [Google] [More]  ⦿

    Louis Höll

    Punchcutter, 1860-1935. He created Bremer Presse Bibeltype (1926, Bremer Presse). Also in 1926, Heinrich Jost, leader of the Bauersche Schriftgiesserei and Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni (published, e.g., by Adobe; in 1977 Aaron Burns declared that Bauer Bodoni is probably the most beautiful Bodoni ever designed). He also cut all typefaces for P. Behrens, F.H. Ehmcke and E.R.Weiss with the Klingspor and Bauer/Flinsch foundries.

    Mac McGrew: Emerson and Emerson Italic---a completely different style, unrelated to the one above---were designed by Joseph Blumenthal, New York printer and book designer. The original version was hand-cut by Louis Hoell in Germany, and the typeface was cast by the Bauer Foundry in 1930. It was called Spiral for the press at which this distinguished typographer produced many notable books, and was renamed Emerson when the Monotype Corporation of London recut it in 1935. It is a modernized oldstyle letter, adapted for photogravure reproduction, but retaining a reasonably light face, fairly condensed. Wikipedia on Emerson: The typeface's first appearance was in a special, private-press edition of Ralph Waldo Emerson's essay Nature, and so the Monotype version became known as Emerson. Emerson can be recognised for its distinctive foot serifs on the lowercase a, d and u, and its wide capitals (especially the M). The typeface shares characteristics with the classic renaissance types, and its soft, blunt appearance was designed to suit photogravure reproduction.

    For a digital revival of Spiral / Emerson, see Spiral (2014) by AR Types / Ari Rafaeli. [Google] [MyFonts] [More]  ⦿

    Luan Tran

    Senior designer in Ho Chi Minh City, Vietnam. Creator of two teardrop-themed all-caps vector format typefaces in 2013, Elegance and Lovers. In 2013, he created the curly serif caps typeface Romance, the decorative didone typeface Venus (2013), Floral Typeface (floral caps), and the ball terminal typeface Noble. He also created a set of icons for Octavian Back Office (2013). [Google] [More]  ⦿

    Lucas Benjamin Sharp
    [Sharp Type]

    [MyFonts] [More]  ⦿

    Lucas Yuji Honma

    Brazilian designer associated with Nakata Studio. During his studies in Bauru, he created Vitruvian O (2013), a gorgeous sketched antiqued didone typeface that was inspired by Leonardo Da Vinci's drawings in The Vitruvian Man (1490). [Google] [More]  ⦿

    Lucía Estévez

    Graduate from FADU, University of Buenos Aires, who created the strange didone typeface Tagua (2008), with its dog-eared g. [Google] [More]  ⦿

    Luciana Sanchez Guerrero

    Graduate from FADU, University of Buenos Aires, who created the typeface Siesta (2008), a condensed didone. [Google] [More]  ⦿

    Ludlow
    [Robert Hunter Middleton]

    Foundry in Chicago run by Robert Hunter Middleton. Myfonts.com writes that its type library was largely derivative, with some original scripts. After Middleton's death, and Ludlow's demise, most of the typefaces from the Ludlow library were licensed exclusively to International TypeFounders, Inc., (ITF) and are part of the Red Rooster collection. Fonts by Middleton at Ludlow include Bodoni Campanile, Bodoni (see Bodoni D Black by URW, and Bodoni Campanile Pro (2017) by Steve Jackaman), Coronet, Mandate, Lafayette (now sold by Font Bureau), Tempo (see Tempo by Monotype), and Umbra (now sold by Bitstream and Monotype).

    Ludlow house typefaces revived by Steve Jackaman include Caslon RR Extra Condensed, Chamfer Gothic (the original being from ca. 1898), and Gothic Medium Condensed.

    A renewed Ludlow was established in 2001 and is run from the UK. Current (2002) catalog: Admiral Script (Robert H. Middleton's formal script, 1953: see the digital revival by Ralph Unger in 2005), Adrian VGC (2003), Annonce Grotesque (Wagner&Schmidt, 1914), Delphian Open Title (Robert H. Middleton), Flair (connected writing, 40-50s style), Franklin Gothic ExCnd Title, Founders Garamond (based on the Berner type specimen of 1592), Lotther Text (blackletter based on an alphabet of Melchior Lotther, 1535), Ludlow Ornaments (2001), Ludlow Stygian (art deco, which inspired Nick Curtis' 2009 font Kharon Ultra NF), Maxim (Peter Schneidler, hand-printed font from 1955), Orplid (Hans Bohn), Samson (Robert H. Middleton), Speedball Roman, Ludlow Stencil (1937, Robert H. Middleton; a digital revival includes Jeff Levine's Favorite Stencil JNL (2015)), Tempo MedCond (Robert H. Middleton), Theda Bara (great titling type), Vulcan Shaded (based on the design of the Richard Gans Foundry in Madrid), Karnak Black (Egyptian slab serif originally designed by Robert Hunter Middleton in 1930), Oriana (blackletter font based on a design of the Imprimerie Nationale, Paris), Ludlow Square Gothic (revival/modernization of a 1920s font by Robert Wiebking for Ludlow), The Hardy Arcade (like Umbra), Ogre, Vulcan Bold (a display font inspired by a 1925 design of the Richard Gans Foundry, Madrid), Walbaum. Crestwood (2006, Ascender) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.

    References: Ludlow Typefaces A Supplement, November 1933, Ludlow Typefaces Typefaces Recently Produced, April 1936, Ludlow Typefaces [Edition D] (between 1940 and 1956).

    View a list of digital typefaces derived from the metal typefaces at Ludlow.

    Ludlow Foundry: List of some digital fonts. [Google] [MyFonts] [More]  ⦿

    Ludlow Typefaces

    A type specimen book of the Ludlow Typograph Company (2032 Clybourn Avenue, Chicago), published between 1940 and 1958. The list of typefaces shown: Artcraft, Bodoni (Bold, Black), Bodoni Campanile, Bodoni Modern, Bookman, Cameo, Caslon, Caslon Old Face Heavy, Caslon Heavy Italic, Century, Chamfer Gothic, Cheltenham Oldstyle, Cheltenham Cursive, Cheltenham Wide, Commerce Gothic, Condensed Gothic, Coronet, Clearface Bold, Cushing Antique, Delphian Open Title, Eden, Eleven, Engravers Bold, Eusebius, Extra Condensed, Franklin Gothic, Fraktur No. 16, Garamond, Gothic Bold Condensed Title, Gothic Extra Condensed, Greenwich, Hauser Script, Headline Gothic, Hebrew Modern, Karnak, Lafayette Extra Condensed, Laureate, Lining Litho, Lining Plate Gothic, Ludlow Black, Mandate, Mayfair Cursive, Medium Condensed Gothic, Number 11, Old English, Plantin, Powell, Radiant, Record Gothic, Samson, Square Gothic, Stellar, Stencil, Stygian Black, Tempo, True-Cut Caslon, Ultra-Modern, Umbra, Underwood Bold, Victoria Italic. [Google] [More]  ⦿

    Ludwig M. Souzen
    [Didones]

    [More]  ⦿

    Ludwig&Mayer

    Big German foundry active in the first half of the 20th century. It was absorbed by Neufville in 1984, which will make its typefaces available in digital form. Type designers and typefaces:

    • House typefaces: Allemannia Fraktur (1908, or: Alemannia Fraktur; a digital revival in 2018 by Mew Varissara Ophaswongse), Allright (1936), Altenburger Gotisch (1928), Aristokrat Zierbuchstaben (1911: digital revival by Dieter Steffmann in 2002), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Die Mode (1914-1915), Diplomat (1964, see the digital version Diploma by Hans van Maanen, 2009), Excelsior (1914, script face), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Kupferplatte (1950), Largo (1939), Magnet (1951), Manolo (art nouveau: revival in 2019 by Ralph Unger as RMU Manolo), Nelson (1902, art nouveau), Wren, Samson Script, Luminous, Behrens. Kudos Kaps NF (2006, Nick Curtis) is a set of five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, and an engraved set--they are based on typefaces from the Ludwig&Mayer library.
    • Albert Christoph Auspurg: Rasse (1924), Mona Lisa (1930), Brigitte (1935), Krimhilde (1934)
    • Hans Bohn: Allegro (1936-1937)
    • Jakob Erbar: Erbar-Grotesk (1922-1930), Lucina, Lumina, Lux, Phosphor, Koloss (1923), Candida (1936, a mediocre didone family), Feder Grotesk (1910), Fette Feder Grotesk, Erbar
    • Hace Frey: Charleston (1967, Alphonse Mucha-style display face)
    • G. Germroth: Germroth-Deutsch (1935, blackletter)
    • Erhard Grundeis: Achtung (1932)
    • Karlgeorg Hoefer: Stereo (1968), Permanent (1962), Headline (1964), Elegance (1968), Big Band (1974)
    • Walter Höhnisch: Tempo (1930), Werbeschrift Deutsch (1933), National (Fraktur, 1933-1934), Schräge National (1937), Skizze (1935, a script face), Stop (1939), Antiqua die Schlanke (1938-1939), Express (1952), Candida Italic (1937), Slender (1939)
    • Heinrich Jost: Aeterna (or Jost Mediaeval, 1927)
    • Walter Ferdinand Kemper: Colonia (1938-1939, a humanist sans)
    • Wilhelm Krause: Professor-Krause-Fraktur (1930, blackletter)
    • Paul Eduard Lautenbach: Prägefest (1926)
    • Richard Ludwig: Augenheil (1908)
    • Helmut Matheis: Charme (1957-1958, calligraphic), Slogan (1959, connected script), Primadonna (1956, a formal script), Matheis Mobil (1960), Compliment (1965, an angular vertical script)
    • Joshua Reichert: Reichert-Gotisch (1930s).
    • Imre Reiner: Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others), Corvinus (ca. 1932), Stradivarius (1945)
    • Lorenz Reinhard Spitzenpfeil: Welt-Fraktur (1910), Werk-Fraktur (1918)
    • Alfred Riedel: Domino (1954: a fat face)
    • Georg Schiller: Lyrisch (1907)
    • Arthur Schulze: Werbekraft (1926)
    • Ilse Schüle: Rhapsodie (1949-1951, bastarda)
    • Johannes Schweitzer: Dominante (1959)
    • Francesco Simoncini: Aster (or Aster Simoncini, 1958), Life (1965), Armstrong (1970), Simoncini Garamond (1961)
    • K. Sommer: Dynamo (1930)
    • Hans Wagner: Altenburger Gotisch (1928, Fraktur font), Welt (1931, slab serif), Wolfram (1930, a heavy upright italic).
    • Eugen Weiss: Hoelderlin (1937-1938, blackletter)
    [Google] [MyFonts] [More]  ⦿

    Luedecke Design Font Co (was: LDF Fonts)
    [Jake Luedecke]

    Jake Luedecke (LDF Fonts, or Luedecke Design Font Co) (b. 1999) is the Dallas, TX-based creator of preponderantly hand-printed and pixel typefaces. These include:

    Fontspace link. Dafont link. Old URL. Behance link. Old URL. Creative Market link. Another Fontspace link. [Google] [More]  ⦿

    Luhop Creative
    [Arif Fadilah]

    Luhop was founded in 2020 by Indonesian designer Arif Fadilah. Creator of the handcrafted all caps typeface Love Honey (2020). Typefaces from 2021: Loadkew (a 4-style serif family with some contrast in the strokes), the display serif Recoiled, the display didone Nortika, the stylish ligature font Roy Carkton, and the Peignotian typeface Giselle Dalicia.

    Tyopefaces from 2022: Roland Bryon (a dagger-serifed typeface), LC Sousgerynuen (a display serif). [Google] [MyFonts] [More]  ⦿

    Luiza Fonseca

    Natal, Brazil-based designer of the hand-sketched didone typeface Dobino (2016). [Google] [More]  ⦿

    Lukas Gerber

    Zug, Switzerland-based designer of the brush typeface Blemished (2008), the ornamental caps typeface Polar Shift (2010), the didone stencil typeface Femoralis (2010), the hand-printed typeface Camille Javal (2012, named after Brigitte Bardot in Le Mépris by Jean-Luc Godard), and the athletic lettering typeface Limbus (2015).

    Fontsy link. Home page for his illustrations and graphic design. Dafont link. Behance link. [Google] [More]  ⦿

    Lukas Krakora
    [Typewriterfonts.net]

    [More]  ⦿

    Lukas Schneider
    [Revolver Type Foundry]

    [MyFonts] [More]  ⦿

    Lukasz Dziedzic
    [tyPoland]

    [MyFonts] [More]  ⦿

    Luke Stonehouse

    Brisbane, Australia-based student-designer (at Griffith University) of the all caps didone typeface Marcella (2019). [Google] [More]  ⦿

    Luvburn
    [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]  ⦿

    Luzi Gantenbein
    [Luzi Type]

    [MyFonts] [More]  ⦿

    Luzi Type
    [Luzi Gantenbein]

    Luzi Gantenbein (Luzi Type, Bern, Switzerland) is a type designer, b. 1988, Fläsch, Switzerland. He created the vernacular all caps wall paint typeface Valparíso (2010, Volcano). At the Hochschule der Künste Bern, he designed the angular family Rijeka (2011, Volcano), the Avenir/Futura-genre typefamily Buenos Aires (2011), and the multilayer family Lisboa (2011).

    Luzi made the sans typeface Cadiz in 2013. Cadiz Italic was finished in 2014. Livorno (2013) is a sturdy round-serifed text typeface.

    In 2014, she created the masculine wedge serif typeface Beirut.

    In 2015 she finished the titling sans typeface Faro which has two sub-versions, Lucky and Sad. She also published Faro (a typeface that by virtue of stroke curvature emulates sadness or hapiness), Messina Modern, Messina Sans (+Mono), and Messina Serif.

    Typefaces from 2016: Assembly (a symbol archive for the globalized world), Lynstone (sans), Nantes (transitional text typeface), Koper (a rough woodcut typeface with polygonal outlines that were inspired by Vojtech Preissig).

    Typefaces from 2018: Recife (an editorial typeface inspired by Times and Plantin).

    Typefaces from 2019: Spezia (sans).

    Typefaces from 2021: Portonovo (a Garamond / Caslon style font based on the typeface used in the Martyrologium Romanum; a book printed by the Plantin Press in 1690), Termoli (a Scotch roman inspired by Linn Boyd Benton's Century Roman).

    Klingspor link. Behance link. Home page. Behance link for Luzi Type. Fontdeck link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    LXfonts
    [Claudio Beccari]

    A collection of free metafont and type 1 fonts made in 2008 by Turn-based Claudio Beccari designer for mathematical slide presentations. These are genealogically related to Knuth's Computer Modern fonts. The fonts: lcmbsy8, lcmex8, lcmmi8, lcmmib8, lcmsy8, leclb8, lecli8, leclo8, leclq8, llasy8, llasyb8, llcmss8, llcmssb8, llcmssi8, llcmsso8, lmsam8, lmsbm8, ltclb8, ltcli8, ltclo8, ltclq8. [Google] [More]  ⦿

    Lydia Rodriguez

    Mexico City-based designer of the ball terminal-laden didone typeface Quidea (2014). [Google] [More]  ⦿

    Lynne Yun

    Lynne Yun is a type designer based in Brooklyn who specializes in lettering and calligraphy. She holds a BFA from School of Visual Arts and a postgraduate certificate in typeface design from Type@Cooper. Lynne has worked with a broad range of clients (including Anheuser-Busch, Samsung, Sherwin-Williams and London Book Review to name a few) and held positions at Apple, Publicis, Deutsch, and was a full-time type designer at Monotype, starting in 2017. Lynne Yun is the founder of the Brooklyn-based studio Space Type Continuum (with Kevin Yeh), which operates at the intersection of type, design, and technology. The studio specializes in creating experiential letterforms of all kinds, from typeface design to generative typography. Speaker at TypeCon 2018. Lynne Yun also made an on-line course called Foundations oof Type Design (2021).

    Her typefaces:

    • Trade Gothic Display (2017, Monotype). Two multi-layer display styles. Based on Jackson Burke's classic Trade Gothic (1948), and in particular, Trade Gothic Condensed Heavy, Trade Gothic Display adds five embossed, beveled, layerable and colorable styles.
    • Constant (2018). A playful didone inspired by a specimen from Constantin in 1834.
    • Ampersandist (2018). In the angular calligraphic style that characterizes the work of Oldrich Menhart and Villu Toots.
    • Walbaum (2018, Monotype). Walbaum is a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts. In the font's credits, Lynne Yun is also mentioned.
    • Trade Gothic Inline (2018, Linotype).
    • HWT Etta (2020, Lynne Yun and Maxime Gau). The HWT Etta font (in East and West versions) is part of the Hamilton Wood Type and Printing Museum's Type Legacy Project.
    [Google] [MyFonts] [More]  ⦿

    M. Moullet

    Author of 100 Alphabets Publicitaires Dessinés par M. Moullet (1946, Editions Caboni, Bruxelles). Alphabets from that book include Letters in relief, Fancy Character, Ornamental Antique (art deco), Fancy Antique (multiline art deco), Fancy Antique 2 (a different style altogether), Pochoir (stenciled).

    Some of Moullet's fonts were digitized by Dick Pape in 2011 and 2012 and can be downloaded here. Pape's fonts: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke. Download page.

    Jeff Levine revived some of Moullet's typefaces: Silly Behavior (2019), Old Sport JNL (2018), Relaxation JNL (2017), Peppermill JNL (2017), Script Spot Initials JNL (2017), French Lettering JNL (2017), Martial Arts JNL (2017, an oriental simulation font), Relaxation JNL (2017). [Google] [More]  ⦿

    Maciej Wloczewski
    [Picador]

    [MyFonts] [More]  ⦿

    Maddy Angstreich

    During her studies at Washington University in St. Louis, MO, Maddy Angstreich designed the text typeface Galileo (2019: a didone with altered angular terminals) and the free variable typeface Jailbird (2019), in which the size of dominos changes.. She also designed the pixel typeface Dot Dot Dot (2019). [Google] [More]  ⦿

    Made Type
    [Maxim Schepin]

    Maxim and Denis Schepin are the Krasnoyarsk, Russia-based designers of these fonts:

    • The free Latin / Cyrillic typeface Barista (2017).
    • Made Winter (2017).
    • Good Time Grotesk (2017), Good Time Script (2017).
    • Made The Artist (2017), The Artist Script (2017), The Artist Sans (2017). Free download.
    • The free Made Waffle Slab (2017) and Made Waffle Soft (2017).
    • The free pair Made Likes Script (2017) and Made Likes Slab (2017).
    • Evolve Sans (Latin and Cyrillic), 2018. A free ten-style futuristic typeface family.
    • Made Bruno (2018). A yummy fashionable fat decorative didone.
    • Made Cannes (2018). A free all caps Peignotian typeface family.
    • Made Canvas (2018). A great fashion mag typeface with lots of elegant contrast.
    • Made Future X and Made Future X Header (2018). Free for personal use.
    • Made Soulmaze (2019).
    • Kenfolg (2019). A wedge serif titling typeface.
    • Made Coachella (2019). A didone without ball terminals.
    • Made Saonara (2019). A fashion mag all caps didone. Free trial.
    • Made Florence Sans and Script (2019).
    • Made Sunflower (2019).
    • Made Dillan (2019). A free warm yummy-yet-sturdy rounded typeface.
    • Made Mirage (2020). A fashionable typeface family. Free demo.
    • Made Outer Sans (2019).
    • Made Bon Voyage (2020).
    • Made Tommy and Made Tommy Soft (2020).
    • Made Gentle (2020). A plump poster typeface inspired by Cooper Black.
    [Google] [More]  ⦿

    Magenta

    Free Greek fonts in the Polytonistis software pack. Windows. Alternate URL for MgAntique, MgAvantG, MgBodoni, MgFuture, MgOldTimes. There are also sets of unicode fonts for Greek (single accent and multiaccent/polytonic), Latin, Turkish, and West and East European languages. This site carries these free Magenta Latin/Greek fonts, made in 2004: MgOpenCanonica-Bold, MgOpenCanonica-BoldItalic, MgOpenCanonica-Italic, MgOpenCanonica, MgOpenCosmetica-Bold, MgOpenCosmetica-BoldOblique, MgOpenCosmetica-Oblique, MgOpenCosmetica, MgOpenModata-Bold, MgOpenModata-BoldOblique, MgOpenModata-Oblique, MgOpenModata, MgOpenModerna-Bold, MgOpenModerna-BoldOblique, MgOpenModerna-Oblique, MgOpenModerna. The latter fonts were implemented/digitized by Alexias Zavras and Konstantinos Margarites. They can be modified and used for further development, in the style of the Bitstream Vera fonts. [Google] [More]  ⦿

    Maggie Tunggono

    During her art studies in Jakarta, Maggie Tunggono created the teardrop didone typeface Viot (2014). [Google] [More]  ⦿

    Malcolm Wooden
    [DTP Types Limited]

    [MyFonts] [More]  ⦿

    Malek Ghozlan

    Dubai, UAE-based designer of some Arabic typefaces in 2015, including the didone typeface Domaine. [Google] [More]  ⦿

    Malgorzata Sobczyk

    During her studies, Dabrowa Gornicza, Poland-based Malgorzata Sobczyk designed the didone typeface Gallop (2019). [Google] [More]  ⦿

    Malte Herok

    Malte Herok studied Communication Design at the HTW Berlin (2010) and wrote a research thesis there on typeface revivalism. Since 2007, Malte is working as a freelance graphic designer in his hometown Berlin. In 2011, he picked up a Masters degree from the type and media program at KABK. Starting from a single skeleton design, he derived didone, slab serif and grotesque styles in his Cassise family (2011, KABK). Images of Cassise Egyptian Black, Cassise Grotesque Black and Cassise Modern Fat face.

    In 2010, he cofounded Type Department with Jürgen Huber. [Google] [More]  ⦿

    Manfred Klein
    [Manfred Klein's Fonteria]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [Fonteria CD]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [Typoasis output before 2001]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [TypOasis, 2002]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [Manfred Klein: Sample glyphs]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [TypOasis 2004]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [Manfred Klein: Derivatives of Bodoni]

    [MyFonts] [More]  ⦿

    Manfred Klein
    [TypOasis 2003]

    [MyFonts] [More]  ⦿

    Manfred Klein: Derivatives of Bodoni
    [Manfred Klein]

    Even though Manfred has dabbled in the creation of most styles of text type, he is at his best when he lets his creativity loose on a great classical type design. Of the hundreds he could have chosen to play with, Manfred always returns to Bodoni, the most rational of all text typefaces, and therefore the easiest to draw a moustache on. Just enjoy these designs: AirdriedParmaFont, BaumWell, BigBrotherClassizism, Bodidota, BodoblackSquares, BodoblackSquaresInvers, Bododisks, BodoniFlying, BodoniTwinsCaps, BodoniXT, BodonisBulemy, Bodonitown, BohrDonni, BradbOGilvy, BradburysShadowPaseo, Brandomi-Medium, Centuriqua-Ultra, CheerioFatItalic, ClassizismAntiquaBook, CybaPeeTX-height, CybaPeeTX-heightOblique, GiambattistaDueMille-Oblique, GiambattistaDueMille, GiambattistaVsPetit, Handiqua, HasBodoniScribbled, HelpUsGiambattista-SmallCaps, HelpUsGiambattista, KaterRino, Katrina-Normal, LimesCondensed, Mutoni-Bold, Mutoni-Normal, Mutoni-Normal, Napoleodoni-Bold, Napoleodoni, Napoleon-Bold, Napoleon-Light, ObliquaRomana, ParmaPetit-HeavySwinging, ParmaPetit-Italic, ParmaPetit-Normal, ParmaPetitFlyingRound, ParmaPetitNormal, ParmaPetitOutline, ParmaPetitSCItalic, Practiqua, ScrapTiqua, ScribbleDoni, Steepiqua, SteepodoniRoman, SwingingPetidoni-Heavy, SwingingPetidoni, Tangodoni, ThinManGiambattista, VivaBodoni, WalbaumTorsoThree-Regular, WaldoniNewTorsi, WildBradoni.

    Download page. Download all these fonts in onze zip file. [Google] [MyFonts] [More]  ⦿

    Manfred Klein: Font Hosting

    In July 2017, Typoasis / Moorstation shut down. Run by Petra Heidorn out of Hamburg, Germany, it hosted her own fonts, as well as those of the popular and talented type designer and artist Manfred Klein (Frankfurt, Germany). Manfred, who was an active type designer from the late 1990s until about 2007, created over 3600 fonts in that period. Those fonts are now hosted at my site, thanks to Petra Heidorn. Manfred's oeuvre is too large to consume and analyze in one sitting or even one month.

    This zip file contains all his fonts. For those interested in particular styles, please visit this web page for downloads of individual fonts, or fonts grouped by these themes: 3d, Africa, aliens, animals, architecture, arrows, astrology, birds, calligraphy, cave style, codex, Christmas, dada, decorative caps, didone style, dingbats, display style, Egypt, eyes, fists, Fraktur, handcrafted typefaces, Karla, kids, Laurens, masks, medieval styles, Mexico, monsters, native themes, ornaments, painters, peace, people, pixel fonts, runes, Sans, serif, slab, stencil, stone age, typewriter, uncial, wood and woodcuts. [Google] [More]  ⦿

    Manfred Klein: Sample glyphs
    [Manfred Klein]


    [Google] [MyFonts] [More]  ⦿

    Manfred Klein's Fonteria
    [Manfred Klein]

    Frankfurt-based designer (b. 1932, d. 2018) whose creative output is so large that he deserves a separate web page. His URL at Moorstation from 2000-2007. New page on him by Florian Rochler. Font squirrel link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Manuale Tipografico: 1818 (full)
    [Giambattista Bodoni]

    In 1788, Giambattista Bodoni published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and teemed with ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. All images of the 1818 book are here. [Google] [More]  ⦿

    Manuale Tipografico: 1818 (partial)
    [Giambattista Bodoni]

    In 1788, Giambattista Bodoni published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and was full of ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. Some images of the 1818 book are in this page. [Google] [More]  ⦿

    Manuel Galle

    Reinach, Switzerland-based designer of Lusi (2014), a didone typeface created during his studies at Schule für Gestaltung Basel. In 2015, he designed the Peignotian typeface Bebo. [Google] [More]  ⦿

    Manuel Olmo-Rodriguez

    Visual communications designer from San Juan, Puerto Rico, who operates as OlmoCs. Behance link. Logo and type designer. His typefaces by date:

    [Google] [More]  ⦿

    Manvel Shmavonyan

    Moscow-based Armenian type designer (b. 1960, Artashat, Armenia) and graphic artist. In 1984 graduated from the Moscow Poligraphic Institute, department of Polygraphic Product Design. He worked for the Type Department of Committee of Print in Yerevan, and for the publishing houses Ayastan, Luys and Sovetakan Grokh. At Microsoft's request, in 1999, he was consulted for the Armenian section of the Sylfaen project.

    Creator of PT Margarit Armenian and Asmik (1997, Armenian, based on PT Petersburg, 1992, by Vladimir Yefimov), available from ParaType, where he is an active type designer. These fonts won awards from the Type Directors Club in 1999.

    At ParaType, he also published Propisi Cyrillic + western (1997, a school script family), PT Henman Pictograms (2001, based on Armenian ornaments revived by Henrik Mnatsakanyan), Cooper BT (2000, a Cyrillic version of the Bistream family by the same name), Henman Western, Karolla Western (2002, art nouveau face, based on an alphabet of Lucian Bernhard, 1912), Zagolovochnaya Western (2002, based on a Caslon model from 1725), Haverj Western (2004, flared mini-serifed typeface with an f and a j ready for the paralympics), PT Margarit (1997, based on PT Bodoni by A. Tarbeev), Bardi (2004, Paratype, an extra compressed decorative stenciled typeface based on the lettering created in 1970s by the Armenian type designer Henrik Mnatsakanyan (1923-2001)), Haverj (2004, Paratype, also based on Mnatsakanyan's work), and PT Noah (1997, to accompany Tagir Safayev's PT FreeSet, 1992).

    Asmik, and Humanist 531 Cyrillic (the latter co-designed with Isay Slutsker) won awards at Bukvaraz 2001.

    In 2007, he designed the text and display family Susan (Paratype; award winner at Paratype K2009), which was named after his wife. Award winner at Granshan 2008.

    In 2010, he designed the Ripe Apricot humanist sans family (ParaType). Narevik (2011, Paratype) is a dynamic low contrast design with slightly rounded triangle serifs.

    In 2011, he created the free Google Web Font Marmelad, meant for headlines.

    Jacques Francois and Jacques Francois Shadow (2012, Cyreal) were co-designed with Alexei Vanyashin. They are revivals of the Enschedé no. 811 type specimen (ca. 1760) by Jacques François Rosart (1714-1774), made for Enschedé Printing House. Free at Google Web Fonts.

    Typefaces from 2013: Vaccine (a slab serif family, ParaType). This was followed in 2014 by the humanist Vaccine Sans (2014, with the help of Alexandra Korolkova and Gayaneh Bagdasaryan).

    In 2015, he made Levnam (ParaType), a sans with wide proportions for small text.

    In 2016, Alexander Lubovenko and Manvel Shmavonyan co-designed the 30-style Latin / Cyrillic workhorse sans typeface family Mediator, which was followed in 2017 by Mediator Serif.

    In 2018, Alexandra Korolkova and Manvel Shmavonyan designed Fact at Paratype. Fact is based on Frutiger. The fact type system contains 48 upright styles with variations in width and weight and eight italics of normal width.

    Vast (2021, Paratype) is a 56-style sans family, with three variable fonts, by Manvel Shmavonyan and Alexander Lubovenko. Choices are from thin to black and regular to extra wide.

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

    Marath Salychow

    Marath Salychow (b. 1980) is the Moscow-based designer of the free typefaces Alhueia (2001, for Greek) and Akademie Alte (2016, for Latin and Cyrillic; based on a Berthold original from 1910).

    In 2017, he designed the free typeface Literaturnaya, which is modeled after Anatoly Schtschukin's Literaturnaya (1936). He also made the free didone typeface Chekhovskoy that year, after the Elizavetinskaya typeface (1904, Lehmann foundry, Saint Petersburg).

    Typefaces from 2018: Elisabethische (after Jelisawethinskaja, 1904, Lehmann Foundry), MGA (a great Latin / Cyrillic Garamond), Akademitscheskaya (a revival of the Akademitscheskaya Berthold Garnitur from 1910).

    Typefaces from 2019: Kornilow. A free didone-Baskerville hybrid for Latin and Cyrillic, named after White Army general Lawr Georgijewitsch Kornilow.

    Open Font Library link. [Google] [More]  ⦿

    Marc Oriol

    During his studies at EINA in Barelona, Marc Oriol designed the didone display typeface Lobby (2015). [Google] [More]  ⦿

    Marc Ramirez

    Barcelona-based designer of the fat didone typeface Biggie (2019). [Google] [More]  ⦿

    Marcelo Di Carlo

    Graduate from FADU, University of Buenos Aires, who created the italic didone typeface Sleepy (2009). [Google] [More]  ⦿

    Marcelo Quiroz Duarte

    Chilean type designer, who contributes to Latinotype. Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.

    In 2017, he designed Diplome Script (a copperplate calligraphic script published by Latinotype).

    In 2020, he released the 18-style semi-calligraphic semi-Trajan typeface family Emperator at Latinotype. [Google] [MyFonts] [More]  ⦿

    Marcus Sterz
    [Face Type]

    [MyFonts] [More]  ⦿

    Margarida Veiga

    For a project in Joana Correia's class at Escola Superior de Artes e Design, Portugal, Porto, in 2015, Margarida Veiga designed the display typeface Alma and the didone typeface Asa. Her series of self-portraits is a hilarious must-see. [Google] [More]  ⦿

    Marginal Type
    [Vincent Lacombe]

    Graduate of Atelier National de Recherche Typographique in Nancy, France, class of 2020. His graduation thesis was entitled Les caract®rave;res gothiques russes [Cyrillic blackletter typefaces]. During earlier graphic design studies at ECV Bordeaux (2012-2017), he created the display typeface Astek (2015) and the circle-based experimental typeface Ecotype (2016).

    Now located in the Bordeaux area, he is doing some corporate graphic and type design for the local wine industry. In the context of his ANRT thesis, he designed a Latin / Cyrillic blackletter, Tamara Gothic (2018-2020) and a Latin / Cyrillic copperplate script, Sokolov 1821 (2018-2020). In 2020, he also designed the Scotch Roman typeface Album, and revived a Cyrillic didone by Moscow's S. Selivanovsky foundry (done between 1826 and 1834) as a font simply called Selivanovski (2020). [Google] [More]  ⦿

    Margot Laborde

    Margot Laborde (New York) designed the thin swashy didone typeface called Bon Bon (2011). [Google] [More]  ⦿

    Maria Clara Serna Molina

    Graphic designer in Medellin, Colombia, who created the decorative didone typeface Mandalario in 2015. [Google] [More]  ⦿

    Maria José Casarin

    Creator (b. 1990) of the grungified didone typeface Bombu (2012). [Google] [More]  ⦿

    Maria Ramos Silva
    [Marsi Desino]

    [MyFonts] [More]  ⦿

    Maria Sancho Garcia

    During her studies, Maria Sancho Garcia (Huesca, Spain) co-designed Didona en do menor (2018) together with Guillermo Mendoza. [Google] [More]  ⦿

    Mariana Alen

    Art director and lettering artist in Buenos Aires, Argentina. She graduated from University of Buenos Aires, where she also completed the postgraduate Career in Type Design and is currently completing a Master'´s Degree in Typography Designer of the didone display typeface Goût (2014) and the warm wood type-inspired semi-Tuscan typeface Dobro (2014), which was finished during her studies at FADU / UBA. She calls Dobro a bluegrass typeface. It was designed, according to her web site, for a special edition of Rolling Stone magazine. Dobro was produced and finished by Sudtipos in 2019. [Google] [MyFonts] [More]  ⦿

    Mariana Mac Loughlin

    Graduate from FADU, University of Buenos Aires, who created the black didone typeface Cloverflieds (2008). [Google] [More]  ⦿

    Marica
    [Miphol Studio]

    [More]  ⦿

    Marie-Michelle Dupuis

    Trois-Rivières, Quebec-based graphic designer who published the free display typefaces Aery (didone stencil) and Fancy in 2014. In 2015, she created the free blackboard bold typeface Stoked. Home page. Behance link. [Google] [More]  ⦿

    Marija Rnjak

    Croatian calligrapher and type designer, based in Belgrade, Serbia. Graduate of the Faculty of Applied Arts in Belgrade. During TypeClinic 5 in 2012 in Trenta, Slovenia, she created Prouge, which is described as a soft didone that is best for titling, but can be successfully used also in smaller sizes down to 12 pt.

    Creator of the Cyrillic typeface Vuk (2012), which is named after and based on the handwriting of Vuk Stefanovic Karadzic, a Serbian philologist and linguist who was the major reformer of the Serbian language. In 2015, Vedran Erakovic and Marija Rnjak finally published Vuk at LatterPalette. Thanks to some OpenType features, this typeface does a good job at emulating real handwriting.

    In 2016, Marija designed the didone typeface Nocturno BG (Latin and Cyrillic) at Tipometar. [Google] [More]  ⦿

    Marija Veteroska

    At Typeclinic 2015, Macedonian designer Marija Veteroska created the didone book typeface Basna (2015). During Typeclinic 11th International Type Design Workshop, she continued woork on Basna (2015). Behance link. [Google] [More]  ⦿

    Marijah Protic Paunovic

    Multimedia designer in Lisbon who created Wonder (2012), a filled in ornamental Didot typeface. [Google] [More]  ⦿

    Mariko Takagi

    From her CV: Having lived and worked as a half-Japanese and half-German in Germany for a long time, the focus of my artworks was to create books about Japanese culture. The intention of writing and designing books about Japanese topics was to make German readers curious about the strange and foreign culture and to give them insights into it. In the last eleven years I have published six books talking about Japanese culture. Since 1998, I ran my own design office with a focus on corporate design, corporate publishing and catalogue design. Since 2002 I was teaching at several Universities in Germany. Moving to Hong Kong and teaching as an assistant professor at the Academy of Visual Arts of Hong Kong Baptist University (HKBU) since 2010 gives me new influences and inspiration for starting research projects focused on Chinese typography. My background of teaching typography as well as graphic design in Germany over eight years gives me the necessary background for starting a research project not only to learn more about my new cultural environment, but also to make the Hong Kong design culture more visible to international audiences.

    At Typography Day 2012 she spoke on Typographic Culture of Hong Kong.

    Speaker at ATypI 2012 in Hong Kong: Typography between Chinese complex characters and Latin letters. Speaker at ATypI 2013 in Amsterdam: Hanzigraphy. In the latter talk, she deals with the problem of the joint use of Latin and Chinese on pages. The research project Hanzi-Graphy: Typographic translation between Latin letters and Chinese characters will be published late in 2013 by a publisher in Hong Kong.

    In 2014, she graduated from the MATF program at the University of Reading. Her graduation typeface was Gion, a serif typeface for multi-lingual typesetting in Latin, Japanese and Chinese. She writes: As a contemporary interpretation of Modern typefaces, Gion synthesises historical stylistic features of Modern typefaces with characteristics and qualities that ­enhance comfortable and continuous reading in longer text.

    Speaker at ATypI 2016 in Warsaw on Tanaka Ikko and the Japanese Modern Typography. A convergence of Western inspiration and Japanese aesthetics. In that presentation, she spoke about Tanaka Ikko (1930-2000), the Japanese grand master of graphic design, and emphasized his encounter with typography. [Google] [More]  ⦿

    Marina Gonzalez Meyer

    During her graphic design studies, Buenos Aires-based Marina Gonzalez Meyer created the didone typeface Baran (2014) and the hand-drawn typeface Beirut (2012, inspired by Alex Trochut's and Luke Lucas's work). [Google] [More]  ⦿

    Marina Martins Chaccur

    Marina is a Brazilian graphic designer and teacher, who graduated from Fundação Armando Alvares Penteado FAAP. She has an MA from the London College of Communication. In 2011, she obtained a Masters in the type and media program at KABK, Den Haag. She was a designer and college tutor in Sao Paulo, Brazil, but now lives in Den Haag, The Netherlands.

    She spoke at ATypI in Lisbon on vernacular Brazilian type and the current state of Brazilian type design. On her site we can find some sketchbooks, and a proposal for a blackletter face, among many other type-related goodies.

    At KABK, she designed the type system Chic (2011). This family includes fashion mag styles from a roman sans to curly caps and a "chic" didone.

    In 2013, she created the beveled caps typeface O Melhor de Sao Paulo, which is based in part on Jackson Cavanaugh's Alright Sans Ultra.

    In 2014, Crystian Cruz and Marina Chaccur co-designed the sans custom typeface UOL for the Brazilian internet provider.

    Behance link. [Google] [More]  ⦿

    Mario Arturo

    Barcelona-based graphic designer (b. 1963). Dafont carries his free fonts, which are often revivals, or fonts based on scans from Dover books. The list of his typefaces:

    • Amarfil (2012). Traced from the Dubbelde Auguftyn Capitalen typeface by father and son Izakk and Johan Enschedé.
    • Angelface (2014). Mario writes that it is loosely based on the Lariata typeface. It was traced from the 1993 edition of the Novum Press book Schreibschriften/Script Types, compiled by Michael Rau & Rosemarie Kloos-Rau.
    • Better Heather (2000): a cleanup of De Nada's script font Heather.
    • Bodoni Fragile Sharp (2018). A Bodoni stencil.
    • Boizenburg (2013). An art nouveau caps typeface.
    • Brennan (2012). A heavy slab serif typeface.
    • Brook Flair (2012). Mario explains: This font is traced from the book Alphabete 2 by Erhardt D. Stiebner and Helmut Huber for Novum Press (1990). I added the missing swashy characters and punctuations. From what I understand, this is a variation of a typeface called Macbeth that was designed in the 1950's for Filmotype.
    • Dean Martin and Dean Martin Swing (2012). A retro font and its curly cousin.
    • Doris Day: an upright connected script.
    • Echedo (2018). This typeface was traced from an unnamed ornamental Roman alphabet from the 1958 edition of 101 Alphabets by W. Ben Hunt and Ed.C. Hunt. Originally published as 60 Alphabets in 1935.
    • Esplanade Script (2015). Published at Aring Typeface.
    • Flamingo (2015). A revival of a condensed titling typeface (+Inline) family designed in 1929 by Louis Oppenheim at H. Berthold Schriftgiesserei A.G.
    • Galeries (2001): based on a type that appeared on a receipt from a store called Galeries Sant Jordi in the 1960s in Pineda de Mar, Catalunya.
    • Halo Handletter (1997): taken from Brushstroke and Free-Style Alphabets-100 Complete Fonts (Dover).
    • Helvelow: based on Helvetica.
    • Individual (or: Initial): calligraphic all caps face. Scanned from an alphabet book.
    • Japan (1997): a brush stroke font based on a scan from Brushstroke and Free-Style Alphabets-100 Complete Fonts (Dover).
    • Lisbon Script (2014). Based on a script shown in Schreibschriften/Script Types (1993, Michael Rau & Rosemarie Kloos-Rau, Novum Press).
    • Lombard (2018). This typeface was traced from an unnamed orient alphabet from the 1943 edition of «New Letters and Lettering» by Paul Carlyle and Guy Oring.
    • Masana (2011). An upright connected script family inspired by the handwriting of Catalan photographer Josep Masana from Barcelona who was also a publicist in the 1930's. Followed by Masana Grata, Masana Maxima and Masana Extras in 2011.
    • Mister Sinatra and Mister Sinatra Slim (2012).
    • Oz's Wizard (2012). Based on scans of L. Frank Baum's The Wonderful Wizard of Oz (1900), which used a typeface designed by Goudy.
    • PetuniaBounce (1997): based on a Dan Solo typeface from Brushstroke and Free-Style Alphabets-100 Complete Fonts (Dover).
    • Riddle (Riddle Upright and Riddle Script, 2010-2013): based on the typeface used on the Frank Sinatra&Nelson Riddle LP "Only the Lonely". With help from Harold Lohner. Continued in Riddle Upright (2013).
    • Rom (2001): inspired by Barcelona's Rom Caffe logo.
    • Rough Spring: based on Spring by Letterperfect.
    • Sahara (2000): based on the font Arbot.
    • South Pacific. Inspired by a phrase from The ABC of Lettering (1965, J.I. Biegeleisen, Harper & Row Publishers,NY. See also this OFL link.
    • Thick Deco: art deco face.
    • You're Invited (2014). An invitation script font that revives a script found in Lettering (1916, Thomas Wood Stevens). The typeface was designed by Lawrence Rosa and later refined by Mario Arturo.

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

    Mariona Valdes

    Creator of the modern typeface Regen Condensed (2014) during her studies in Barcelona. Behance link. [Google] [More]  ⦿

    Mark Davis

    Type designer based in Brooklyn, NY. In 2014, as an intern at Typefounding (St. Louis, MO), he developed a typeface pending distribution by House Industries. In 2015, he joined Font Bureau, where he designed MF Ambulia Text (his graduation project at Type@Cooper in 2015), MF Abagnale (original headline sans from 2014), and MF Gaussian, under the umbrella of Font Bureau's Senior Font Designer, Cyrus Highsmith.

    MF Gaussian (2015) is a multiple-master didone named after the mathematical averaging process, since its bold regular weight is the average between a Didot and a Clarendon. MF Ferrans Sans and MF Alizarin were small projects from 2013. Buffalo (2014), mentioned above, is a digitization of Ed Benguiat's Benguiat Buffalo Ornamental. Based on Donald Roos's digitization of Benguiat Buffalo, it was created for Ben Kiel during an internship at Typefounding. This typeface is pending online distribution by House Industries. The luxury brand logo typeface MF Flair (2014) was the precursor of MF Gaussian.

    In 2016, he became graphic designer at BuzzFeedNews. Just before Election Day in 2016, he used samples of Donald Trump's scribbles to make the free comic book font BF Tiny Hand. Read what BuzzFeedNews's Ben King has to say.

    Behance link. Twitter link. Fontspace link for BF Tiny hand. [Google] [More]  ⦿

    Mark De Winne

    Mark Yehan de Winne (Singapore) graduated from Temasek Polytechnic and Lasalle College of the Arts with a BA(Hons) in Graphic Design. He then worked as a book designer and educator for three years, before starting Relay Room, a typography-led creative studio he co-founded with his wife in Singapore. Graduate of the Type & Media program at KABK in Den Haag in 2014. His graduation typeface is Morris. He writes: A homage to the fat typefaces and decorative ornamented type from the Victorian era, Morris is a contemporary attempt intended for display purposes. Each master packs a proverbial punch; clean lines are contrasted with sweeping curves and sharp serifs---a full range of details to delight and tickle any typographic fancy. Morris consists of 4 connected styles (Roman, Medium, Bold, Heavy), which are complimented by 2 striking stencil styles (Black, Black Italic). Facebook link. [Google] [More]  ⦿

    Mark Simonson
    [Mark Simonson Studio]

    [MyFonts] [More]  ⦿

    Mark Simonson Studio
    [Mark Simonson]

    Mark Simonson Studio is located in StPaul, MN. Mark founded Mark Simonson Studio around 2000, and describes himself as a freelance graphic designer and type designer. From his CV: Early in my career I worked mainly as an art director on a number of magazines and other publications including Metropolis (a Minneapolis weekly, 1977), TWA Ambassador (an inflight magazine, 1979-81), Machete (a Minneapolis broadsheet, 1978-80), Minnesota Monthly (Minnesota Public Radio's regional magazine, 1979-85), and the Utne Reader (1984-88). I was head designer and art director for Minnesota Public Radio (1981-85) and an art director for its sister company, Rivertown Trading Company (1992-2000). During that time, I designed over 200 audio packages, including most of Garrison Keillor's, along with several hundred products (t-shirts, mugs, rugs, watches, etc.) for the Wireless, Signals, and other mail order catalogs. I have frequently done lettering as part of design projects I'm working on. This has always been my favorite part, so in 2000 I opened my own shop specializing in lettering, typography and identity design. I've also been interested in type design since my college days. I started licensing fonts to FontHaus in 1992, and since starting my new business, stepped up my efforts in developing original typefaces. I now have more than 70 fonts on the market with many more to come. This is increasingly becoming the focus of my activities. His fonts:

    • Coquette (2001). He says: Coquette could be the result of a happy marriage of Kabel and French Script.
    • Anonymice Powerline (2009-2010). This is probably a hack by some people based on Anonymous. It is available in some Github directories.
    • Kandal: a 1994 wedge serif, now also at MyFonts).
    • Proxima Sans (1994, a geometric sans, rereleased in 2004), followed in 2005 by his massively successful Proxima Nova in 42 styles/weights. Followed by Proxima Nova Soft (2011). The rounded version of Proxima Nova is Proxima Soft (2017). For a variable font that captures all styles, see Proxima Vara (2021). In 2022, he added Proxima Sera (an 18-style workhorse serif that combines old style forms with contemporary and modern typefaces).
    • Mostra (2001): based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. Look at the Light and Black versions, and drool...... The 2009 update is called Mostra Nuova. Selected styles: Mostra Nuovo Bold, Mostra One Light, Mostra Three Bold, Mostra Two Heavy.
    • In 2001, he made the Mac font Anonymous. Its updated version is Anonymous Pro (2009-2010), a TrueType version of Anonymous 9, which was a freeware bitmap font developed in the mid-90s by Susan Lesch and David Lamkins. It was designed as a more legible alternative to Monaco, the mono-spaced Macintosh system font.
    • In 1998 and 2001, he produced the (free) 3-style Atari Classic family.
    • In 2003, he released Blakely Bold and Heavy (an art deco font first done for the Signals mail order catalog). The original Blakely is from 2000.
    • Goldenbook Light, Regular, and Heavy, based on the logotype of the 1920s literary mag called "The Golden Book Magazine".
    • Metallophile Sp 8 Light and Light Italic (2008): a "faithful facsimile of an 8-point sans as set on a 1940s-vintage hot metal typesetting machine".
    • Refrigerator Light and Heavy, Refrigerator and its extension Refrigerator Deluxe (2009) (geometric sans).
    • Changeling Light, Regular, Bold, Stencil, and Inline (2003): a redesign and expansion of China, a VGC photo-typositor typeface from 1975 by M. Mitchell, which includes unicase typefaces; see also Changeling Neo, 2009.
    • Sanctuary Regular and Bold: a computerish typeface based on lettering in the 1976 movie Logan's run--later withdrawn from the market.
    • Sharktooth (+Bold, +Heavy).
    • Felt Tip Roman, Woman and Senior (based on his own handwriting). Felt Tip Senior (2000) is based on the hand of Mark's father. Felt Tip Woman Regular and Bold are based on the handwriting of designer Patricia Thompson.
    • Filmotype Gay (2011).
    • Filmotype Honey (2010): fifties brush lettering face. For a free alternative, see Honey Script (2000) by Dieter Steffmann.
    • Raster Gothic Condensed Regular and Bold (12 fonts total), and Raster Bank (a pixelized version of Bank Gothic).
    • Other free bitmap fonts for the Mac [the PC version was made by CybaPee]. MyFonts page.
    • He digitized Phil Martin's family, Grad (2004, inspired by Century Schoolbook, and originally done by Martin in 1990).
    • His 2006 production includes three script typefaces: Kinescope is a connected script based on title lettering in Fleischer Studios' animated Superman films from the 1940s. Snicker is a cartoony block letter type. Both were published at Font Bros. And Launderette is a connected very slanted script based closely on lettering used in the titles of the 1944 Otto Preminger film, Laura.
    • In 2007, he revived and extended Filmotype Glenlake (2007, sold at Font Bros).
    • Lakeside (2008) is a flowing 1940s-style brush script. It was inspired by hand-lettered titles in the classic 1944 film noir movie Laura.
    • In 2008, he revived Filmotype Zanzibar, about which he writes: That Zanzibar is nearly an anagram of bizarre seems fitting. The surviving people from Filmotype (later Alphatype) have not been able to tell us who designed this gem, so we have no record of the designers intentions. Released in the early 1950s, it seems somewhat inspired by the work of Lucian Bernhard (Bernhard Tango, 1934) and Imre Reiner (Stradivarius, 1945). At first, it appears to be a formal script, but there are no connecting strokes. It would be better described as a stylized italic, similar to Bodoni Condensed Italic or Onyx Italic, with swash capitals.
    • Filmotype Vanity (2008) is an outline typeface based on a 1955 design by Filmotype. It was derived from Filmotype Ginger.
    • Filmotype Alice (2008) is casual handwriting. However, MyFonts now credits Patrick Griffin with the digitization.
    • Filmotype MacBeth (2008) is a freestyle face.
    • Filmotype Ginger (2008) is a heavy display typeface with an aftertaste of Futura.
    • Boxy2 (2008) and Boxy1 (2008) are severely octagonal typefaces made to test out FontStruct. See also bubblewrap.
    • In 2008, Mark Solsburg and Mark Simonson cooperated on the digital revival of the calligraphic Diane Script, originally designed in 1956 by Roger Excoffon.
    • In 2009, Mark worked on SketchFlow Print, a font for Microsoft. It will be bundled with the next version of Christian Schormann's Expression Blend, part of Microsoft's Expression Studio suite. The fonts, based upon the handwriting of architect Michaela Mahady of SALA Architects, Inc., give that well-known architectural printing look (like Tekton).
    • Filmotype Gem (2011). A sans headline typeface that was first drawn by Filmotype in the 1950s.
    • Bookmania (2011) is a revival of Bookman Oldstyle (1901) and the Bookmans of the 1960s, but with all the features you would expect in a modern digital font family. Especially, Simonson's Bookmania story is worth reading.
    • In 2018, he published the 25-style Acme Gothic at Fontspring. He explains: Acme Gothic (2018) is based on the thick and thin gothic lettering style popular in the U.S. in the first half of the twentieth century. There have been typefaces in this genre before, but they were either too quirky (Globe Gothic), too English (Britannic), too Art Deco (Koloss), too modern (Radiant), or too Art Nouveau (Panache). None captures the plain, workman-like style of Acme Gothic.
    • Parkside (2018) is a script typeface inspired by typefaces and lettering of the 1930s and 1940s. Parkside uses OpenType magic to automatically select letter variations that seamlessly connect to the letters coming before and after.
    • In 2018, he emulated wood type in his HWT Konop at P22. Named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003, this typeface is monospaced in both x and y directions so that letters can be stacked vertically and horizontally. All proceeds go to the Hamilton Wood Type and Printing Museum.
    • Etna (2020). A 30-style text and display family that started out from William H. Page's Victorian wood type Aetna (1874), and was remolded by Simonson into a useful typeface family though still distinctly linked to its ancestor. Etna includes three different condensed widths in all six weights (intended for display use), four different figure styles, alternate characters, true small caps, and a selection of dingbats, including arrows, stars, asterisks, and manicules.

    Links to his typefaces, in decreasing order of popularity: Proxima Nova, Bookmania, Mostra Nuova, Proxima Nova Soft, Coquette, Refrigerator Deluxe, Felt Tip Roman, Grad, Changeling Neo, Goldenbook, Lakeside, Kinescope, Metallophile Sp8, Blakely, Felt Tip Woman, Snicker, Felt Tip Senior, Kandal, Sharktooth, Anonymous, Raster Bank, Raster Gothic.

    FontShop link. Fontspace link. MyFonts interview. View all typefaces designed by Mark Simonson. Fontspring link. Google Plus link. Klingspor link. Abstract Fonts link. Kernest link. I Love Typography link. Font Squirrel link. [Google] [MyFonts] [More]  ⦿

    Mark Solsburg
    [Group Type]

    [MyFonts] [More]  ⦿

    Marlène Dulude

    For a school project at Collège Ahuntsic in Montreal, Marlène Dulude added lacy things and curly endings to a Didot when she made the feminine didone typeface Quinte (2015). Behance link. [Google] [More]  ⦿

    Marquet

    Type foundry in Lyon. Its work was published in Épreuves des caracteres de la fonderie du sr. Marquet (Lyon, ca. 1770). Even though this appeared in 1770, we already find many types with the characteristic square didone serifs, although with less contrast than a typical Didot face. Many publications from the pre-Bodoni and pre-Didot period already show a convergence towards the didone trend. In 1923 (and reprinted in 1935), Douglas C. McMurtrie published A Mysterious Type Specimen on a typeface by Marqet: page 3, page 4 (where he notices that Marquet's type is difficult to categorize, and is different from anything he had seen in the types of Lammesle, Mozet. Gillé, or Fournier le jeune), a scan of the type, some vignettes. [Google] [More]  ⦿

    Marsi Desino
    [Maria Ramos Silva]

    Spanish designer Maria Ramos Silva (Marsi Desino, Santiago de Compostela) was born in Santa Comba (A Coruña) in 1982. She created Fifont (2010) and Caracol (2010, a wedge-serifed hand-printed face).

    Designer of Calada (2013), a workhorse sans serif typeface developed during Typeclinic 6 and Typeclinic 7 in 2013.

    In 2015, she graduated from the MATD program at the University of Reading. Her graduation typeface, Sastre, is curved, angular, stressed, ink-trapped, and angry. It covers Latin, Greek and Hebrew, and can be used for stitching patterns.

    In 2016, she finished the fantastic slab serif typeface Knile at Atipo. Two of the sixteen weights are free.

    In 2018, Noel Pretorius and Maria Ramos set up NM Type. Together, they designed the custom typeface Meister for Jägermeister. Still in 2018, Maria Ramos and Jordi Embodas co-designed Nomada Didone.

    In 2019, Noel Pretorius and Maria Ramos co-designed Movement, a free experimental variable font inspired by dance movements. In 2021, they created Trisco, a custom font for Centro Galego de Arte Contemporánea.

    Speaker at ATypI 2018 in Antwerp on the topic of typewriter type. [Google] [MyFonts] [More]  ⦿

    Marta Erica Bernstein

    Originally from Milan, she is currently Associate Creative Director at Studio Matthews (Seattle, WA), developing EGD and wayfinding systems.

    Graduate of the Type and Media program at KABK, 2009. There, she designed the serif family Alice, specifically for magazines. She is working on Bolano in 2010 about which she writes: It is based on my brush calligraphy, tamed down to a book typeface.

    Marta Bernstein is a partner at TM (Tiemme Studio), an architecture and design studio based in Seattle. She has a decade long experience in developing identities across various media, and designing wayfinding and signage systems. Marta is an adjunct professor in Typography at Milan's Polytechnic, visiting professor in Architecture and Design at University of Navarra and regular lecturer for the Interior Design master at Tongji University, Shanghai.

    In 2014, Marta Bernstein was a founding partner in the new CAST type foundry. She was associated with LS Design in Milan.

    She wrote A Hundred Years of Type 1813-1908 Typefounders and Printers in Italy from Bodoni's death to the foundation of Augusta company in Turin (Master degree dissertation developed with Emanuela Conidi. Supervisor: Prof. James Clough at Politecnico di Milano, July 2006; in Italian: Cento Anni di Caratteri 1813-1908).

    Cargo Collective link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    Marta Yarza
    [The Yarza Twins]

    [More]  ⦿

    Marte Frøyse Vidvei

    Graphic designer in Gjovik, Norway. Creator of the text typeface Adonia (2013). She explains: Adonia was developed during a two week long type design workshop with Veronika Burian from TypeTogether. Adonia is especially inspired by Didot and Bodoni. The characteristics of Adonia are high and abrupt contrast between thick and thin strokes, vertical axis, horizontal stress, small aperture and elegant curves. Adonia is conceived specifically for headlines and big sizes, ideally suited for text in sizes ranging from 20 pt. [Google] [More]  ⦿

    Martín Sommaruga

    Uruguayan type designer. Since 2001, he has been teaching in Communication and Design at the ORT University in Uruguay. Award winner at Tipos Latinos 2010 for his humanist sans large x-height typeface family MVD Rambla. In 2011, he published the Rambla family at TipoType (+Rambla Alt Libro)---see also at MyFonts.

    In 2013, he designed the humanist sans family Amelia at TipoType and Underground. He added Amelia Rounded in 2015. Amelia won an award at Tipos Latinos 2016.

    At Tipos Latinos 2012, Martín Sommaruga won an award in the display type category for the didone typeface family Rufina Regular. Rufina Ornaments followed in 2015.

    In 2013, he designed Amelia Basic, a soft very humanist sans typeface family.

    At Google Web fonts, one can download free versions of Rufina and Rambla. Rufina was published at TipoType in 2014.

    Marin&eacite; (2014; see also Marin&eacite; STD) is an unstrict geometric sans published by TipoType. It was followed in 2017 by Mariné Rounded.

    In 2016, he designed Rufina Stencil.

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

    Martin Fredrikson Core
    [CORE.NU Fonts]

    [MyFonts] [More]  ⦿

    Martin Katibi
    [Valentino Vergan]

    [MyFonts] [More]  ⦿

    Martin Kotulla
    [SoftMaker Software GmBH (or: freefont.de)]

    [MyFonts] [More]  ⦿

    Martin Lexelius

    Born in Gothenburg, Sweden, in 1970, Martin Lexelius (aka Core, aka Martin Fredrikson Core) started his career in the 1990s an an artist and freelance illustrator. Then he designed type, publishing at Chank's place, at T4, at Fountain, and at his own outfit, Core, where one can find his free fonts. Martin Fredrikson Core (b. Gothenburg, 1970), whose real name is Martin Lexelius:

    • Chank fonts: Industri No. 35 (2002), Oh La La (2002 screen font), Sauerkrauto (2000), Som Ett Hus (2001).
    • T4 fonts: Corpse Grinder (gothic font), Kantor (2002, since 2007 commercial at T4), Motor Mouth (2006).
    • Fountain fonts: Borgstrand (styles called Regular, Web, Stencil, Hellas), Filt (2001, a fat display face), Jalapeño (Mexican-style diner display, see here), Malmö Sans (2000 (styles Regular, Alts&Ligatures, Bold, Oblique, Bold Oblique, Headline, Small Caps, Small Caps Lining Numbers, Small Caps Lining Numbers Mono, Small Caps Bold).
    • CORE.NU fonts (mostly free): Backstabber Grotesk, Backstabber Roman (1999), Banditos, Bilprovning Gothic, Blocky Smocky (2002), Bodoni Natural, Bodoni Slapp (2000), Bongonaut (1999), Boy-O (2002), Bunth Serif (1999), Daniel Hando, Darlito, Das Kavel Gotisch, Dot City (1999), DrunkPunk (2002), Executive Producer, Fizzo (1998), Flake Anfang (1999), Funky Mushroom (2000), Gentleman Caller (2002 (pixel font), Grill Sans (2000 (a funny hotdog and hamburger dingbat font, together with Finn Hallin and Simon Grdenfors), Felvetica (2001), Il Tempo Gigante (2001 (extra wide screen font), Isterburk (2001), Komputter (2002), Lager Neon, Lindhagen Script, Marfhaus (1998 (his take on the Bauhaus "Universal" unicase font), Messages, MuskelBengt (2000), No Reklamo, Nuderflaken (2002), Oblata Kurrenta (1999), Pixelette (1998), Plugger, Practicamente, RunStop, Sarcastic Girl Scout Bitch (2000), Sensory Input (2001), Serge Hand, Small Talk (1999 (nice screen font family with styles called Tight, Tight Mono, Wide, Wide Mono), Stiffy99, The Perfect Font.
    FontShop link. [Google] [MyFonts] [More]  ⦿

    Martin Lorenz
    [TwoPoints.net]

    [MyFonts] [More]  ⦿

    Martin Majoor

    Dutch type designer born in Baarn in 1960, who works in Arnhem and Warsaw. Showcase of his most popular typefaces. Type designs:

    • His 1993 Scala text family (which includes both sans and serif sub-families, as well as goodies such as the fist font FF Scala Hands, 1998) is great and well-balanced---one of the best fist fonts ever made. Scala is in the style of W.A. Dwiggins's Electra.
    • He designed Telefont List and Telefont Text for the Dutch phone company PTT Telekom in 1994. He writes: The 1994 design of the Dutch telephone book can partly be seen as a reaction to the iconic 1977 phonebook designed by the modernist Wim Crouwel with Jolijn van der Wouw. Crouwel's late-modernist design, featuring the typeface Univers in lowercase-only text, had been christened The New Ugly by Dutch writers. In the following years, the original Crouwel design had been watered down considerably, and by the early 1990s, its usability had reached an all-time low. When Jan Kees Schelvis and Martin Majoor began their drastically renewed design of the phonebook, they set themselves a list of strict requirements: a new typeface, a better hierarchy, improved usability, and paper-saving typography. Majoor was responsible for both the new typeface (later named Telefont) as well as the book's microtypography. In 2018, it was announced that the last telephone book had been published.
    • He created Scala Jewels in 1997.
    • FF Seria and FF Seria Sans (2000). These families received awards at the Bukvaraz 2001 competition.
    • In 2004, he published FF Nexus Mix, FF Nexus Sans, FF Nexus Serif, and FF Nexus Typewriter.
    • He started a project with Pascal Zoghbi on the development of Sada (2007), an Arabic companion of FF Seria. In 2009, Sada was renamed FF Seria Arabic and published by FontFont.
    • In 2010, he started work on Questa Sans (a typeface with a special y). The Questa project is a type project of Jos Buivenga and Martin Majoor---Questa is a squarish Didot-like font that Jos originally had planned in one display style only. It turned out to be a perfect basis to apply upon Martin's type design philosophy about the form principle of serif and sans. Questa was finished in 2014 and now includes Questa Sans, Questa Serif, Questa Slab and Questa Grande. Finally, the Questa project became the Questa Foundry.
    • His corporate typefaces include Deutsche Telekom.

    Interview at Typotheque. MyFonts interview.

    To understand Majoor, read his article My type design philosophy. At ATypI 2004 in Prague, he spoke about his experiences as a designer and type designer in Poland.

    The text José Mendoza y Almeida (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions to type design.

    Majoor's Flickr page. Speaker at ATypI 2010 in Dublin. At ATypI 2018 in Antwerp, he spoke on the history of Telefont. His type design blog. Klingspor link. FontShop link.

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

    Martin Silvertant

    Dutch freelance graphic, logo, type and web designer, b. 1989. He operated as MS Designs. In 2010, he made an extensive comic book / fat finger typeface called Dion which was used in a national Dutch campaign "Zonder Cash ben je nergens" (You're nowhere without Cash). Celente (a transitional typeface) is also from 2010. Modani is an unfinished didone from 2010.

    He writes: I am now working on several typefaces including a modern grotesque typeface called Dagon Sans, an antique humanist/grotesque typeface called Crouton Grotesque, a sturdy transitional typeface with oldstyle elements called Icarus (+ Icarus Sans) and a modern serif called Hagel (+ Hagel Slab).

    In 2011, he created Icarus (text family), Icarus Sans, Triumviraat (+Display, +Sans, a flared family), Kolibrie (humanist sans), Noorderlicht (after Gerrit Noordzij's Ruse), and Noorderlicht Sans (both were discontinued), Crouton Grotesque, Celcius (his most complete font family yet) and Dagon.

    Typefaces from 2012: Dion Sans, Crouton Grotesque, Scaenarium Unus (free blackletter / metal band / tattoo font), Hagel (serif family), Hagel Slab and Hafnium (angular typeface), Aghari Sans.

    In 2013, he published the text typefaces Daser and Santi.

    Typefaces from 2016: Zilver (a letterpress emulation text typeface based on Fleischmann's work).

    Dafont link. Deviantart link. Ba'al web site [Ba'al is the name Martin uses for projects for Metal bands]. [Google] [More]  ⦿

    Martino Mardersteig

    Son of Giovanni Mardersteig, born in 1941. At nineteen he started setting type by hand at the Officina Bodoni under the guidance of his father. He studied at the Akademie für Graphische Gewerbe in Munich and joined the Stamperia Valdonega in Verona. Since 1974, he is the owner of Stamperia Valdonega. At ATypI in Rome in 2002, he spoke about traditional typography. [Google] [More]  ⦿

    Marty Bee

    Marty Bee is a designer and medical illustrator in Sulphur, LA. He has designed both free and commercial typefaces.

    His commercial fonts are available from Plazm and T-26: Slumgullion (1993, a party headline font), Flowerchild, CropCircles, Gargantua, SonofStarmanA, StarmanPict.

    At Plazm, he did Cibola (1995, nice dingbats), Wet and Wilde (1994) and Three Rivers (1994), for example.

    Some more fonts: Wildside (1994, angular and gothic), Cheap Motel, Halloweenies, Flowerchild, Sangreal (1994, gothic), Scaredycat, SidTheSpider, Slasher (2000), Slumgullion (1993, ornamental caps), Space Cowboy, Stiletto (2000), Saguaro (2000, angular), Cactus Pete, MyShoes, Tropicana (1994, chiseled look), Trapping, Galleon, Goblin Moon (scary), Ghost Bayou (blood drip face), Big Bubba, Lafitte (2000, a didone display face), Daytripper, Contraband (grungy), Fat (1994, oriental simulation face), Fat Sushi, Beatnik, Kerouac (1994, a Kafkaesque face), PostModern Oblique (2000), PricklyPear (2000, angular and angry), AtomicSushi.

    The font WheresMarty by an unknown designer is named after the world-wide search for Marty. Where are you, Marty?

    Free fonts at Fontspace: Freakout, Frankenstein, Atomic Sushi (1999, oriental simulation face), Manzanita (1990), Hill William (2011, brush face), Kris Kris (2000, gothic; an even sharper and more condensed version of Stiletto), Porpoise (1994, pixelish).

    FontShop link. Moorstation link, where one can also find Calypso (1997, after Excoffon's Calypso, 1958), which Marty claims as not done by him. The Calypso typeface at that site was made by Martin Pfeiffer, in fact.

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

    Mary Anne Remulla
    [Cloveron Media]

    [MyFonts] [More]  ⦿

    Massimo Vignelli

    Famous Italian typographer and graphic designer, b. 1931, Milan, d. 2014. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest disign firm of its day. He left Unimark in 1971, to set up Vignelli Associates in New York City with his wife Lelli.

    He dismissed Emigre as a garbage pail of design. Famous for his designs and opinions, he once said that a designer should only use these five typefaces: Bodoni, Helvetica, Times Roman, Century and Futura. Another quote along the samne lines: In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.

    In his Vignelli Canon (free PDF book on design), he mentions these six: Garamond (1532), Bodoni (1788), Century Expanded (1900), Futura (1930), Times Roman (1931) and Helvetica (1957) [However, in that booklet he uses 8 different type families: the above six, and Gill Sans and Univers]. Yves Peters' reaction: Massimo Vignelli clearly hasn't got a clue. It's not the first time a quote of his makes me cringe. I hope you appreciate I'm trying real hard to stay polite. Frankly, if I ever heard anyone say: "a music lover should only listen to 5 artists: Elton John, Celine Dion, Billy Joel, Whitney Houston and Luciano Pavarotti" I'd go to great lengths to ridicule the billy sastard. Nevertheless, in the eyes of many designers, he is a role model and an icon. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International).

    Famous quotes:

    • I like the instant gratification that design gives---a continuous orgasm.
    • At the end of the day there is time for everybody. The one thing that unifies the good guys is their sense of responsibility.
    • The life of a designer is a life of fight: fight against the ugliness.
    • I don't think that type should be expressive at all. I can write the word 'dog' with any typeface and it doesn't have to look like a dog. But there are people that [think that] when they write 'dog' it should bark.
    • Unfortunately, there are designers and marketing people who intentionally look down on the consumer with the notion that vulgarity has a definite appeal to the masses, and therefore they supply the market with a continuos flow of crude and vulgar design. I consider this action criminal since it is producing visual pollution that is degrading our environment just like all other types of pollution.
    • If you do it right, it will last forever.
    • A grid is like underwear. You wear it but it's not to be exposed.
    • If you design one thing, you can design everything.
    • I like it to be visually powerful, intellectually elegant, and above all, timeless.
    • A designer without a sense of history is worth nothing.
    • In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.
    • The life of a designer is a life of fight: fight against the ugliness.

    Discussion of his work by the typophiles. Report of his presentation at ATypI 2006 in Lisbon.

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

    Math fonts

    William F. Adams lists possible math/text font combinations (all except the last one free):

    • Computer Modern
    • Euler
    • Fourier (designed to harmonize with Utopia)
    • mathpazo (like mathptmx, hybrid setup to get maths for Palatino)
    • tx/px fonts (Times and Palatino-like --- these set tight and have spacing problems IMO)
    • Belleek (this is a stand-in for MathTime)
    • Esstix / Stix . Stix is free at CTAN.
    • pa/ta/hvmath &c. from Micropress
    [Google] [More]  ⦿

    Mathias Olin Bender

    During his studies at the School of Visual Communication in Haderslev, Denmark, Mathias Olin Bender designed the spurred didone typeface El Paso (2016). [Google] [More]  ⦿

    MathMaker Fonts

    Commercial site that offers TrueType and PostScript fonts for use in Mac text processing software. By Mountain Lake Software in San Francisco. They advertise "The affordable way to type math", but omit to mention that TEX and the Computer Modern fonts are free and better than any other competing product as of 1999. [Google] [More]  ⦿

    Matteo Giordano

    Jacopo Atzori (Milano), Vicky Chinaglia (Roma) and Matteo Giordano (Alessandria) co-designed Anatomia in 2013-2014 during their studies at Politecnico di Milano (Italy) under the guidance of professors Marta Bernstein, Michele Patané and Andrea Braccaloni. It is a grotesk with peculiarities (such as the terminals on a and t) inherited from the Scotch Roman model found in the 1930 book by Giulio Chiarugi, Anatomia dell'Uomo. Behance link. [Google] [More]  ⦿

    Matteo Milone

    During his studfies in Syracuse, Italy, Matteo Milone created the high-contrast didone typeface Saluzzo (2013), which was named after Bodoni's birthplace. [Google] [More]  ⦿

    Matthew Burvill
    [House of Burvo]

    [MyFonts] [More]  ⦿

    Matthew Carter

    Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo Type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.

    John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:

    • The Microsoft screen fonts Verdana (1996), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and the humanist sans typeface Tahoma (1994). Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
    • Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
    • Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
    • Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
    • Alisal (1995, +Bold).
    • ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. This typeface was originally conceived in 1965. Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
    • The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
    • Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
    • Walker (1994), designed for The Walker Art Center.
    • Ionic Number One (1999, Carter&Cone).
    • Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
    • Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
    • Big Figgins (1992) and Big Figgins Open (1998, based on the decorative didone types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
    • Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana typefaces produced by Dynalab in Taiwan.
    • Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
    • Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
    • Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
    • Bell Centennial (Linotype-Mergenthaler, 1975-1978), a legible heavily ink-trapped family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There are also digital Linotype and Bitstream versions. AT&T commissioned the font to replace their previous typeface choice Bell Gothic for their 100th Anniversary.
    • Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
    • New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
    • Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
    • Helvetica Greek (Linotype).
    • Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
    • Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
    • Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
    • Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitstream's Typo Upright.
    • Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
    • Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
    • Auriga (1970). (Wallis dates this in 1965 at Linotype.)
    • CRT Gothic (1974).
    • Video (1977).
    • V&A Titling (1981).
    • Deface (in the FUSE 18 collection).
    • Madrid (2001), done for the Spanish newspaper El País.
    • Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
    • Durham, a sans serif family for US News&World Report.
    • Airport.
    • Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
    • For Microsoft: Georgia, Verdana, Tahoma (1994), Nina.
    • Freehand 471 (Bitstream). A chunky slightly angular script.
    • New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
    • Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
    • Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
    • Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
    • Time Caledonia.
    • Wiredbaum, for WIRED.
    • Wrigley (for Sports Illustrated). Matthew Carter designed Roster in the 1990s, and it was adopted as a display face for Sports Illustrated under the name Wrigley. Jesse Ragan was instrumental in later expanding the family from its original seven styles to the current 60. In 2015, Carter & Cone and Font Bureau released an expanded 60-style family of this typeface under the new name Roster.
    • Benton Bold Condensed (for Time Magazine).
    • Foreman Light (for the Philadelphia Inquirer).
    • Newsbaum (for the New York Daily News).
    • Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
    • Times Cheltenham (2003), which replaces in 2003 a series of headline typefaces including Latin Extra Condensed, News Gothic, and Bookman Antique.
    • The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
    • DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere. Since 2018, available from URW++. Additions to DTL Flamande by Lukas Schneider.
    • Meiryo UI, Meiryo UI Bold, Meiryo UI Bold Italic, Meiryo UI Italic (2004). Meiryo is a modern sans serif Japanese typeface developed by Microsoft to offer an optimal on screen reading experience and exceptional quality in print, as part of the Cleartype project. The Japanese letterforms are generously open and well-proportioned; legible and clear at smaller sizes, and dynamic at larger display sizes. The beauty of Meiryo is that it sets text lines in Japanese with Roman seamlessly and harmoniously. Meiryo was designed by a team including C&G Inc., Eiichi Kono, Matthew Carter and Thomas Rickner. It won a 2007 type design prize from the Tokyo Type Directors.
    • Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
    • Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
    • Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
    • In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
    • MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link. Sitka won an award at Modern Cyrillic 2014.
    • Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
    • Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles. Big Moore won an award in the TDC 2015 Type Design competition.
    • Role (2019, Sans, Slab, Serif, Soft). A superfamily published at Morisawa and Fontelier. Matthew Carter, Shotaro Nakano, and Kunihiko Okano co-designed Role Serif at Morisawa.

    Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2019 in Tokyo on the topic of Expressing Vocal Tones through Typography.

    Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

    View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Matthieu Salvaggio
    [Blaze Type Foundry (was: Adèle Type Foundry)]

    [More]  ⦿

    Max Duy T
    [Harmonais Visual (or: Ampersant Studio)]

    [MyFonts] [More]  ⦿

    Maxim Schepin
    [Made Type]

    [More]  ⦿

    Maximiliano Sproviero
    [Lián Types]

    [MyFonts] [More]  ⦿

    Maximilien Vox
    [Vox type classification]

    [More]  ⦿

    Mayeur Type Foundry
    [Gustave Mayeur]

    The Mayeur Type Foundry was based at 21 Rue de Montparnasse in Paris and operated from 1882 until 1919 under the direction of Gustave Mayeur (1837-1891).

    Somehow, Fonderie Mayeur evolved (in an unclear manner, to me at least) from l' ancienne Maison Battenberg, created in 1843 by Battenberg, graveur and fondeur, located in rue du Dragon, 20, Paris. Battenberg's gorgeous engravings include vignettes du moyen age, vignettes raisins, vignettes grimpantes, vignettes rubans, vignettes treillage, tetes de chapitre, culs de lampe, fleurons, titling ornaments and initials. Their specimen books have many jewels, such as this Mauresques Noires (1898). Gustave Mayeur is credited with the Wedding Plate Script typeface.

    Mayeur died in 1891. Allainguillaume succeeds the widow Mayeur in 1892. The company was bought by Saling in 1904 and later sold to the Fonderie Typographique Française in 1921.

    Mayeur's work can be found in these publications:

    • Fonderie typographique Gustave Mayeur, ancienne maison Battenberg (1880). Local directory.
    • Nouvelle collection des anciens types du XVIIe siècle imités par la Fonderie Gustave Mayeur (Paris, Fonderie typographique Gustave Mayeur, 21--rue du Mont-Parnasse, 1883) (1888 edition).
    • Spécimen-album de la fonderie Gve Mayeur, Allainguillaume&cie, succrs. Labeurs&journaux, initiales&caractères variés de fantaisie, vignettes, ornements, etc (Paris, 1895). Later revisions: Spécimen-album de la fonderie Gve Mayeur, Allainguillame&cie, succrs. Labeurs&journaux, initiales&caractères variés de fantaisie, vignettes, ornaments, etc (Paris, rue du Montparnasse, no 21-VIe arrondissement [1897], 343 pages, a comprehensive specimen book), 1900 edition, 288 pages, 1903 edition, 329 pages.

    Most of these books are simply magnificent, if only for the splendid use of frilly ornaments and borders, initial caps, Normandes (heavy didone titling typefaces), Italiennes (Western or Egyptian style), and emblems (such as the Armoiries des villes de France).

    One of the publications by Allainguillaume, ca. 1904-1910, is Clichés typographiques: caractères d'imprimerie Mayeur: gravure, clichés, sujets, attributs divers, médailles (Paris). [Google] [More]  ⦿

    Mayfield Type Foundry
    [Joshua Mayfield]

    Graphic designer in Greenfield, SC.

    Creator of Jesper (didone), Durham, and Sinbad (art nouveau) in 2012.

    In 2013, he set up his own commercial foundry, also in Greenfield. His first commercial release is Roloi (2013), a layered numbers font in art deco lettering style. It has many clock symbols as well. In 2016, he designed Durham Latin (a vintage industrial revolution Latin typeface).

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

    M-B Creative
    [Ben Mecke-Burford]

    M-B Creative is a British type foundry in Presteigne, Pows, est. 2013 by Ben Mecke-Burford, or just Ben Berford, who has created many stunning art deco and other typeface families.

    Typefaces made in 2013 include MB Noir (an art deco sans), the experimental minimalist MB Negative Space, the piano key typeface MB Sixtythree, the gorgeous art deco/avant garde titling typeface MB Deco, and the circle-based monoline typeface MB Geometrixa.

    In 2014, he published MB Vintage (sic: an art deco sans family), MB Empire (a sans that goes back to Gill Sans), MB Narrow (a compressed sans family), MB Edwardsson (handwriting font) and MB Picture House (an all caps art deco typeface family).

    Typefaces from 2020: Faustian (medieval, blackletterish), Nuovo Deco (an improvement of MB Deco), Loopkin (a playful fashion mag didone). [Google] [MyFonts] [More]  ⦿

    MCKL (was: Mickel Design)
    [Jeremy Mickel]

    Jeremy Mickel runs a design studio in Los Ange;les, where he moved to from Minneapolis in 2015. Before that, he was located in Brooklyn, New York and Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.

    He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:

    • Router (2008, Jeremy Mickel): a rounded sans family.
    • Baro (2010, Chester Jenkins and Jeremy Mickel): Baro is inspired by memories of Antique Olive Nord, Roger Excoffon's landmark design originally commissioned for Air France in 1956. Nord, the heaviest weight of Antique Olive, was the starting point, but Baro shares DNA with other Village designs, including Apex New and Mavis.
    • Eventide (2009, Jeremy Mickel): octagonal and 3d family based on ideas by Paul Carlyle in the early 1940s. That Carlyle typeface had also made it into the PhotoLettering collection in 1971. Eventide was developed into a family at House Industries under the art direction of Ken Barber and Christian Schwartz, and won an award at TDC2 2011.
    • Superior (2010, Jeremy Mickel): a high-contrast transitional "nearly didone" face. Superior Title (2013) is described as a high-contrast missing link between Times and Bodoni. It was designed for fashion publications.
    • Shift (2010, Jeremy Mickel): a slab serif family that won an award at TDC2 2011.
    • Gonesh (2009, Jeremy Mickel): a great new sans family.
    • Aero (2010, Village Type) was developed in cooperation with Chester Jenkins. This poster family, inspired by Excoffon's Antique Olive, was awarded at TDC2 2011.
    • Letterboxes (2008). A stencil typeface that was part of a collaborative project with John Caserta at the Design Office.
    • Plinc Flourish (a 2011 digitization by Jeremy Mickel for House Industries). Based on William Millstein's Millstein Flourish, an upright script first designed for PhotoLettering Inc in the early 1940s.
    • Union (2011). A basic sans family, ideal for corporate design.
    • Jeremy Mickel created a digital version L.Harl Copeland's (prismatic, beveled, roman caps) Trillium typeface [originally done at Photolettering] in 2011 at the new digital Photolettering / House Industries.
    • Fort is a sans family published in 2012 by Village.
    • Playoff Sans and Playoff Serif (2015).
    • Adidas has partnered with MCKL to create an innovative suite of variable fonts. These fonts are being used across a wide spectrum of applications, including Creative Direction, Product Design, Graphics, Communications, Digital Experiences, and the brand campaign for the upcoming World Cup. In 2015, Mickel expansed the Adineue Pro family. In 2017 they started the first Adidas Variable Font, Adineue CHOP Variable, an octagonal athletic sans in a wide range of weights from hairline to black, and widths from extra-condensed to extra-wide. In 2018, Mickel embarked on Adineue Pro Variable.
    • Rosa Sans (2019: by Jeremy Mickel and Pentagram). A free geometric grotesk (in their own words) sans family.
    • Trust (2020). A flared typeface first used for the identity of the Commission on Presidential Debates (Trump versus Biden).
    • Logic Monospace and Logic Monoscript (2020). Mickel writes: Logic Monospace takes inspiration from midcentury typewriter fonts, including IBM Selectric's Advocate and the ubiquitous Courier, with additional references in slab serifs like Stephenson Blake's Scarab. While there are many great script typewriter fonts, including Olympia and Aristocrat, Logic Monoscript is a novel creation, with few examples of true connecting monospace scripts in existence.
    • Uber (2020). A custom job for Uber.
    • Owners (2021). iJeremy explains: Owners is an expressive family of fonts that takes inspiration from the dynamic energy of handmade signage as seen around Los Angeles.
    • RedHat Display, Text and Mono subfamilies. The open source fonts were originally commissioned by Paula Scher / Pentagram and designed by Jeremy Mickel / MCKL for the new Red Hat identity. Mickel writes: Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles, made for headlines and big statements, are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. In 2021 we added Light and Light Italic styles, and a Monospace family. Variable fonts with a weight axis are available. RedHat's official site.

    Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    McMurtrie: The Didot Family of Typefounders
    [Douglas C. McMurtrie]

    Scans of an 8-page booklet by Douglas McMurtrie published in Chicago in 1935: The Didot Family of Typefounders. [Google] [More]  ⦿

    Medialoot
    [Tony Thomas]

    Graphics cooperative in Philadelphia that sells some fonts. These include:

    • From 2019: Elouise, Ragnarok (rune emulation font), Dalston (monoline script).
    • From 2018: Oakwood (rustic), Drive-in (inline), Annabelle (script), Aviator (art deco caps), Outdoors (a park signage font), Maria Signature, Fault (a glitch font), Neon Tubes Cursive.
    • From 2017: Lipstick (handcrafted), Oak Barrel, Listicons, Circle Monogram Font, Mammoth (a formal didone, tending towards the fat face genre).
    • From 2016: Monarchy Rough, Neon Tubes (a paperclip font), Shoreditch.
    • From 2015: Andea (+Clean, +Rounded, +Rough).
    • From 2014: Monarchy (a tall humanist meets slab serif font family by Birmingham, UK-based Tony Thomas), Asche, Meddle (rounded sans), Viro (humanist sans by Tony Thomas).
    • From 2013: Operator, Sketch Slab, SkooledSerif.
    • From 2012: Monsters, Jamie's Hand, On Air (a retro radio or broadcasting font, art deco style)Sketch-It.
    Most fonts are made by Nathan Brown (Austin, TX). Medialoot's community manager is Jenn Coyle (Philadelphia, PA). Behance link for Tony Thomas. Creative Market link. [Google] [More]  ⦿

    mediumrare

    Time-consuming web page of an upstart foundry. No free fonts here. Designs: Outré Bodoni, Skreen 9, Aasche Gothic, Formica, Beetle. [Google] [More]  ⦿

    Megan Harney

    Dallas, TX-based designer of the elegant hand-sketched didone typeface Whimsy (2015). Dafont link. [Google] [More]  ⦿

    Mehmet Abaci
    [Studio Typo]

    [More]  ⦿

    Mei-Li Trahan-Perreault

    At College Ahuntsic in Montreal, Mei-Li Trahan-Perreault designed the decorative didone typeface Aguichante in 2016. Behance link. [Google] [More]  ⦿

    Melle Diete

    Berlin-based foundry run by Melle Diete, an ex-disciple of Lucas de Groot at the University of Applied Sciences in Potsdam. Before her studies she worked in several design agencies on typographic projects. Her typefaces are based on her natural illustrative handwriting. Her fonts are mostly published at Volcano Type. They include:

    Klingspor link.

    Interview by MyFonts.

    She also has beautiful illustrations. [Google] [MyFonts] [More]  ⦿

    Mercedes Moltedo

    Graduate from FADU, University of Buenos Aires, who created the mollified fat didone cursive typeface Kramer (2009).

    Behance link. [Google] [More]  ⦿

    MetaType

    From its developer, Serge Vakulenko: "Metatype is a set of utilities and scripts for creating TrueType fonts using Metafont language. It also includes two font families, named TeX and TeX Math, based on the D. Knuth's Computer Modern fonts, but extended with Greek, Cyrillic and other characters. Metatype and TeX fonts can be used under the GPL license." The TeX family consists of TeXBold, TeXBoldItalic, TeXItalic, TeXMono, TeXMonoItalic, TeXMath, TeXMathBold, TeXMathBoldItalic, TeXMathItalic, TeXNarrow, TeX, TeXSans, TeXSansBold, TeXSansBoldItalic, TeXSansItalic, TeXWide. It comes in TTF and BDF formats. Free software in pre-alpha development, for Windows and X11/UNIX/Linux. The code is in C and Python. [Google] [More]  ⦿

    MGI Software

    MGI Software used to sell some fonts. In 1997, they released renamed/reworked fonts such as Antigoni, Aucoin, Bedini (like Bodoni), Eurostar (like Eurostile), Gourmand (like Garamond), MGIArchon, MetroNouveau, Palladius (like Palatino), Peinaud (like Peignot), Schindler [see also here and here], Vianta (a formal script face). Alternate URL. Eurostar can be found here. These are all rip-offs: Gourmand is Garamond, Eurostar is Eurostile, Palladius is Palatino, and so on. In January 2002, MGI Software was acquired by California-based Roxio Inc. MGI Software is famous as a leading global provider of digital photo and video editing software. I could not find the fonts at Roxio, so I propose that someone start offering the fonts for free. If Roxio does not react within a reasonable period, then it's too late, and all those (low quality) goodies can be traded and exchanged without any fear of reprisals. Update on my remark from 2003: Microsoft now offers Schindler for download, how about that? Fontica link. [Google] [More]  ⦿

    Michael A. Hernandez Jr

    Illustrator and painter. Designer of the sans typeface Ever After (1999), based on the titling font in the movie Ever After. He also created the didone headline typeface Pottery Barn (2006). Dafont link. Yet another URL. [Google] [More]  ⦿

    Michael Critz
    [iPad fonts]

    [More]  ⦿

    Michael Gene Adkins
    [The Fontry]

    [MyFonts] [More]  ⦿

    Michael Hagemann
    [Font Mesa]

    [MyFonts] [More]  ⦿

    Michael Hernan
    [FontGroup]

    [More]  ⦿

    Michael Hochleitner
    [Typejockeys]

    [MyFonts] [More]  ⦿

    Michael Jarboe
    [Reserves (or: AE Type)]

    [MyFonts] [More]  ⦿

    Michael Leighton Beaman
    [Beta Field]

    [More]  ⦿

    Michael Parson
    [Typogama]

    [MyFonts] [More]  ⦿

    Michele Hauer

    Campbell / San Diego, CA-based designer of the decorative didone typeface Misha Nova (2017) and the minimalist sans typeface South America (2017). Behance link. [Google] [More]  ⦿

    Michelle Uyeda

    During her studies, Torrance, CA-based Michelle Uyeda created the ball terminal-laden didone display typeface Doheny (2015). [Google] [More]  ⦿

    Mickael Hoebregs

    Belgian typographer, type designer, painter, sculptor, graphic designer, teacher, and artist from Berloz, Belgium, who is now based in Liège. He teaches typography and designed several experimental typefaces between 2002 and 2017: Hoebregs Didone, Hoebregs Grotesk, Incise, Azur Classical, DIN Serif, Architype Hoebregs (Alpha, Beta), Architype Gamma, Architype Delta, and Architype Epsilon. He studied at Ecole de Recherche Graphique Belge de Bruxelles, and took courses from Neville Brody and Lucas de Groot in the late nineties. [Google] [More]  ⦿

    Miguel Angel Hernández Montoya

    Miguel Hernandez is a graphic designer, type designer, illustrator and teacher in Santiago de Chile. Born in 1977 in Concepcion Chile, he studied Graphic Design at Universidad del BioBio State University in Chillan, Chile. He currently teaches Typography at Universidad Diego Portalesand and Universidad de las Americas in Santiago de Chile. Miguel contributed greatly to the early success of the Chilean type foundry Latinotype which he cofounded in 2007 with Felipe Soto in Concepción, Chile. In 2011, he cofounded Los Andes Type. Some time in or just before 2015, he broke his relationship with Latinotype. In 2015, he set up ABC Alphabets by Chileans together with Tania Chacana. In 2020, Joaquin Contreras and Miguel Hernandez Montoya set up Archetypo.xyz from their new base in Germany. His typefaces:

    Before Latinotype, Miguel Hernandez created many pixel typefaces. The typefaces made in that period before 2007 include:

    • The truly perfect pixel font family Fundamental (2003).
    • The pixel font Sligthest.
    • The sans family Chile (2004), Chile Sans (2005). Chile Sans won at the Tipos Latinos 2008 competition.
    • The highway signage typeface Optica (2004).
    • The fifties diner-style screen font Detroit 45 (2002).
    • The bitmap display font Kuppa (2003).
    • The church stone engraving simulation typeface Finaita (2002).
    • The Western pixel font Arizona (2003, perfect!).
    • The bitmap handwriting font Wolfgang Bold.
    • The screen font Screenager (2002).
    • The funky bitmap font Groobit.
    • Minority (2002, a very small screen font).
    • Fundamental (2002, a very original screen font, with ligatures for "rr" and "LL", for example), which was subsequently published at tipografia.cl.
    • The ultimate pixel font Miguel's Three Dots (2002).
    • The pixel display font Circa (2002).
    • The pixel fonts Capitalista, Garadot (2003, a fantastic pixel version of an elegant Garamond) and Harmonica.
    • The script pixel fonts Anticrisp (2003) and Essential Bold.
    • The gray pixel typeface Sushi (2004, hiragana, katakana, Latin).
    • The serif font Quetzal (2003).
    • The bitmap family Sugar (2003).
    • The bitmap family Apple (2004, based on Apple's Chicago).
    • At Atomic Media, he released Carbona and Carbona Bold in 2002, as well as 12 bitmap fonts in 2003: Maya, Fundamental, Azteca, Tekilla, Aymara, Minority, Quadratis, Carnoa Plain&Bold, Machina Typewriter, Dotic (blackletter), Mezcal, Circa.
    • In 2004, he joined Ultra Pixel Fonts, where he made the pixel typefaces Orbital, Sugar, Odyssey, Solar, Voltage, Jetson.
    • At Latinotype, he made Picara Sans (2007, an organic sans), Cadena (2007, a rounded sans which won at Tipos Latinos 2008), Love (2007, ultra fat rounded) and Mote (2007, rounded sans display face).
    • Co-designer with Tania Chacana of ABC Normal (2016) which they motivate in this way: Normal is a working horse for the Modern Grotesk Canon, result of study of the models from Theinhardt, Renner, Novarese & Gerstner; avoiding to reveal a personal style. There is a 2021 version as well, ABC Normal, a 24-style modern grotesk still with large x-height, again by Miguel Hernandez Montoya, with production assistance of Tania Chacana.
    • Designer of the sans typeface AA Idea (2021).
    • Uomo (2021, Alphabets by Chileans). Created by Miguel Hernandez, Tania Chacana and Miguel Hernandez Montoya, this 27-style all caps typeface features Italian art deco elements. /UL>

      MyFonts page for Miguel Hernandez Montoya. View Miguel Hernandez's typefaces. Another look at Miguel Hernandez's typefaces. [Google] [MyFonts] [More]  ⦿

    Miguel Reyes
    [Fontaste]

    [More]  ⦿

    Mike Charness
    [WSI: Weatherly Systems Inc]

    [More]  ⦿

    Mike Hill

    Crewe and/or Manchester, UK-based designer of Order (2019: a free dystopian typeface), Helton (2019), Cedar Ridge (2018: a condensed all caps sans family), Sketchmate (2018: a marker pen font), Rhode (2018: Sans + Stencil), Flare (2018: a free high-contrast display typeface), Amphi (2017: a modern serif, +stencil, +glitched), Kodek (2017: monoline sans), Halken (2017), Claxton (2017), Daze (2017: a quaint sans), Fiore (2017), Ornate (2017, art deco), Polar (2017, brush font), Samson (rounded sans, 2017), Reign (2017, a stately all caps serif), Lucid (2016, a poster sans with a castrated e), Daybreak (2016), Blok (2016, an all caps rounded poster typeface in Regular and Rough styles), Venture (2016, a rounded poster sans typeface), Fifty Five (2016, a free art deco typeface), Highrise (2016, a tall sans display typeface), Quoyle (2015, curled and non-curled: a vintage typeface) and Order (2015, +Rounded, +Outline: a free sans family). [Google] [More]  ⦿

    Miklos Ferencz

    Graduate of Moholy-Nagy University of Arts and Design, Budapest, Hungary. His early work covers Errer (2014), a display typeface done for a French / Hungarian magazine. France-based designer of the didone typeface Constantin (2017), which is based on the gros canon size of a typeface sold by the Constantin widows, who operated a type foundry in Nancy, France, in the middle of the 19th century, La fonderie de veuve Constantin ainé et Constantin jeune.

    In 2019, he released Mozsar, a unicase poster display typeface.

    In 2020, he revived the 7 pt (colonel) text Dutch oldstyle typeface in which the famous bible of Nicholas Kis is printed in 1685 in Amsterdam. This typeface was his research project at ANRT. [Google] [MyFonts] [More]  ⦿

    Milica Meksic

    Novi Sad, Serbia-based designer of a didone display typeface for Latin and Cyrillic (2016). [Google] [More]  ⦿

    Milos Mitrovic
    [Gradient (was: Mindburger Studio)]

    [MyFonts] [More]  ⦿

    Mina Arko

    Slovenian designer (Ljubljana, b. 1983) of the futuristic monoline sans family Nouvelle during the design workshop TipoBrda in 2008. It was perfected and started selling at MyFonts in 2011. In 2009, she created Afrikana, an alphabet with a decidedly African theme.

    During TipoBrda 2010 in Ljubljana, she designed the didone numbering typeface Kampula.

    In 2014, she cooperated with Gaja Meznaric Osole on the commercial casual hand-printed script Jadran, which was created as an homage to a cult children's magazine named Ciciban. [Google] [MyFonts] [More]  ⦿

    Mindofone Fonts

    Dallas, TX-based creator of the free art deco stencil typeface Glas Deco (2012), which is based on a specimen found in Hoffmanns Schriftatlas: Das Schriftschaffen der Gegenwart in Alphabeten und Anwendungen, Stuttgart 1930. Another download site. View the original.

    Creator of Mexico 86 (2011), a bilined headline typeface that was modeled after the Mexico 1986 World Cup logo font, which in turn was based on Avant Garde Extra Light. Free download at abfonts.

    Creator of Twin Mo 1 (2012, bilined).

    In 2013, he/she created Hadley Numerals (based on the numbers originally generated by Gunter Gerhard Lange for his Derby typeface), and Hadley Stencil (based on the letters originally generated by Gret Mengelt-Mergenthaler and Walter Ballmer for their Swiss typeface TEXPO). Free download.

    North Dallas Forty (2012, free) is based on the custom letters in the original 1979 movie posters and marketing materials for the film North Dallas Forty.

    In 2011-2012, Dick Pape created a number of free fonts based on designs pointed out to him by Mindofone, and he calls them his Mindofone collection, 86 files strong. They include French Alphabets (FA) and French Advertising Alphabets (FAA). The French Advertising Alphabets were designed by M. Moullet in Brussels in 1946.

    The FAA series: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke.

    The FA series consists first of all of digitizations that are from a booklet by signpainter Roumond entitled 32 Alphabets Modernes, published in Paris by A. Charayron and Léon Duran, some time in the 1930s. Pape's 32 fonts are FAModerne0369, FAModerne0562a, FAModerne0562b, FAModerne0946aBold, FAModerne0946bBold, FAModerne1367a, FAModerne1367b, FAModerne2021a, FAModerne2021b, FAModerne2491a, FAModerne2491b, FAModerne2491c, FAModerne2491d, FAModerne4441, FAModerne5204, FAModerne5204a, FAModerne5204b, FAModerne5204c, FAModerne6183a, FAModerne6183b, FAModerne6518a, FAModerne6518b, FAModerne6518c, FAModerne6518d, FAModerne7287a, FAModerne7287b, FAModerne7666, FAModerne7798, FAModerne9002a, FAModerne9002b, FAModerne9321a, FAModerne9321b.

    The other fonts in the FA series are FAAntique2748, FAAntiqueShaded, FACondensedGothic, FACondensedReversedGothic, FAGillSignWritersGuide, FAGothicInitials, FAHerrickSignWriters, FAJeuSubstantoBold, FAPutti, FARoundSans4901, FAThin3394, FATransportReversed4858, FAUltraLight, FAVineInitials, FAWildFlowers.

    Further typefaces by Dick Pape: Cathedral (2011, a sketched expressionist face, based on Martin Wait), ColorLinesFont (2010, based on work by Anton Gridz), ColorOutLinesFont, FuroreMexicoCameo, FuroreMexicoNormal, FuroreMexicoPlain, FuroreMexicoWide. The Furore series was made in 2011 based on Furore No. 11 The Mexico Issue (Piet Schreuders, Amsterdam, 1978).

    Dick Pape font download page. [Google] [More]  ⦿

    Mint Type (was: PDesign 6.0)
    [Andriy Konstantynov]

    Ukrainian Andrey Konstantinov (b. 1981, Moscow, lives in Kiev) graduated from the National Technical University of Ukraine in 2002. He lived for some time in Tallinn, Estonia. He ran PDesign 6.0, and later established the commercial foundry Mint Type.

    His typefaces generally cover Latin and Cyrillic: Tecco (techno), Radix, Aera Sans, Aera Serif, Careless Hand Script (2005), Guarda Sans (2012), Vitra Sans (2005), Terra Sans (2005), Terra Semi Slab (2005), Terra Slab (2005), Radix (2004), Cyntho Pro (2012, a geometric sans), Cytia Pro (2012, a geometric sans with built-in contrast), Cytia Slab Pro (2013), Lytiga Pro (2012, a 48-font techy sans family, starting with hairline weights).

    Typefaces from 2013: Pancetta Pro (elliptical sans), Pancetta Serif Pro, Clinica Pro (a clean non-geometric sans), Cyntho Slab Pro, Cytia Slab Pro, Espuma Pro (a soft humanist sans family with lots of curviness), Ristretto Pro (a narrow display sans), Ristretto Slab Pro.

    During the riots and revolution in Ukraine in 2014, Andrey designed Anglecia Pro, a text typeface in Text, Display and Title subfamilies. Just before the 2014 elections in Ukraine, he designed the geometric partially humanist sans typeface Proba Pro, which has wide spacing and small x-height---the regular and italic styles are free.

    Synerga Pro (2014) is a humanist slab serif with rounded terminals.

    In 2015, he published the newspaper typeface Diaria Pro, which started out during a course at EINA in Barcelona. Diaria Sans Pro and Quiza Pro (a geometric display sans) were published in 2016.

    In 2016, Oleh Lishchuk and Andriy Konstantynov co-designed the rounded scientific or technical paper font Midpoint Pro.

    Typefaces from 2017: Skema Pro (a 84-style serif text family with Livro, Text, Omni, News, Title and Display subfamilies), Excentra Pro (a sans family with stroke variation and inclined axis), Opinion Pro (by Oleh Lishchuk), Orchidea Pro.

    Typefaces from 2019: Ponzu (a stencil-style display sans), Greenwich (a modern-looking humanized sans-serif typeface with open aperture inspired by Gill and Johnson; +Cyrillic), Closer Text (a sans with overclosed apertures), Cyntho Next Slab, Cyntho Next (advertized as Swiss and Dutch).

    Typefaces from 2020: Ki (a monospaced display typeface inspired by older VCR / camcorder OSD (on-screen display) fonts), Fiorina (a 72-style didone family in four optical sizes).

    Typefaces from 2021: Accia Forte (a 16-style serif with large x-height), Accia Variable, Accia Moderato (a 16-style serif with large x-height), Accia Piano (a 16-style serif with large x-height), Accia Sans (a 16-style humanist sans), Accia Flare (also in 16 styles), Extatica (a 16-style eclectic (or: hipster) sans), Inerta (an 18-style geometric/neo-grotesk hybrid for Latin and Cyrillic).

    Klingspor link.

    View Mint Type's typefaces. Hellofont link. Behance link. Old URL. [Google] [MyFonts] [More]  ⦿

    Miphol Studio
    [Marica]

    ShenZhen/Hong Kong-based photographer, b. 1989, who currently lives in Miami, FL. Alternate URL. Miphol Studio is related to Marica Typographic Design Studio, run by Marica. Creator of the elegant hairline sans family ULT Sans (2007). She says that, inspired by FF Milo and Stainless, it took her over two weeks of straight work just to get the beta out. She also made the squarish stencil typeface SquareX (2008), the mechanical typeface Incognita (2008), and the semi-serif typeface ChanorSans (2008). Her latest: the gorgeous constructivist-marries-didone headline typeface Modern 9, and Melor (2008, a simple sans family in two styles done for Miphol Studio). [Google] [More]  ⦿

    Miratype
    [Nina Miranda]

    Nina Miranda (Miratype, Lisbon, Portugal) created Transistor (2014), a circuit font built on a didone base. [Google] [MyFonts] [More]  ⦿

    Mish Stark

    Brisbane, Australia-based designer of the didone display typeface Faline Bold (2012). Other typefaces by Mish include 2B Slab (2012) and Configurate (2012). All his typefaces are free at Flux Collective, but one really needs to work hard to find all. [Google] [More]  ⦿

    Mitja Miklavčič

    Slovenian designer who lives in Postojna. His typefaces:

    • He created Gf H2O Sans in 2005 font at Gigofonts. This is a humanist sans done with Matevz Medja.
    • Tisa is a slab-serif inspired text family that won an award at TDC2 2007. It has useful features such as ink traps and uiformized math symbol and number widths across all styles in the family. In fact, the Latin/Cyrillic type family Tisa was his project at the University of Reading, where he graduated in 2006. He wrote a nice essay on the history of Clarendon (2006). In 2008, he published Tisa as FF Tisa at FontFont. Tisa won a TDC award. In 2012, he added the superfamily FF Tisa Sans (FontFont).
    • Mitja worked full-time at Fontsmith and now continues to collaborate with the team on some type design projects. His Fontsmith cooperation led to these typefaces:
      • FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
      • FS Me (2009). A sans family designed for readers with a learning disability. It was co-designed by Mitja Miklavcic, Jason Smith, Emanuela Conidi, Fernando Mello and Phil Garnham. FS Me was researched and developed in conjunction with---and endorsed by---Mencap, the UK's leading charity and voice for those with learning disability. Mencap receives a donation for each font licence purchased.
      • FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. FS Albert supports 60 languages, including Greek, Cyrillic and Latin.
      • FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
    • At House Industries, Jess Collins and Mitja Miklavic revived Ed Benguiat's great fat face didone typeface (Benguiat) Montage in 2018. In 2014, House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-designed Velo Serif Text and Velo Serif Display. In 2017, he revived Dave west's 1960s classic at PhotoLettering Inc, Banjo, as Plinc Banjo. Still at House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.
    • In 2020, he published the experimental modular typeface Trico Script at Fleha Type.
    • Davison Spencerian (at House Industries, by Mitja Miklavcic, Ben Barber and Ken Kiel). A digital revival of Dave Davison's 1946 Spenerian script Davison Spencerian.
    [Google] [MyFonts] [More]  ⦿

    Modern No. 20

    Stephenson Blake made this beautiful didone typeface in 1905. Several digital versions exist:

    [Google] [More]  ⦿

    Modern Typography
    [Paul Barnes]

    Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes (b. 1970), typophile extraordinaire. It is promised to have plenty of material for the typophile. In the 1990s, Paul Barnes worked for Roger Black in New York where he was involved in redesigns of Newsweek, US and British Esquire and Foreign Affairs. During this time he art-directed Esquire Gentleman and U&lc. He later returned to America to be art director of the music magazine Spin. Since 1995 he has lived and worked in London. He has formed a long term collaboration with Peter Saville, which has resulted in such diverse work as identities for Givenchy and numerous music based projects, such as Gay Dad, New Order, Joy Division and Electronic. Barnes has also been an advisor and consultant on numerous publications, notably The Sunday Times Magazine, The Guardian and The Observer Newspapers, GQ, Wallpaper, Harper's Bazaar and Frieze. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Barnes was awarded the Black Pencil from the D&AD. They were also nominated for the Design Museum Designer of the Year. In September 2006, with Schwartz he was named one of the 40 most influential designers under 40 in Wallpaper. He cofounded Commercial Type with Christian Schwartz. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000).

    His typefaces:

    • The (free) font Pagan Poetry (2001), done for one of the sleeves on Björk's albums. The font was made for Show Studio (see also here and here).
    • Codesigner with Christian Schwartz in 2005 of the 200-font family Guardian Egyptian for The Guardian, about which he spoke at ATypI 2006 in Lisbon.
    • In 2007, he worked with Peter Saville on the Kate Moss brand. As a font, he suggested a variation on Brodovitch Albro, a typeface by Alexey Brodovitch, the famous art director of Harper's Bazaar from 1934-58. The Creative Review reactions to this typeface are a bit negative though.
    • In 2003, he created Austin, a high-contrast modern typeface. Now available at Schwartzco and at Commercial Type, Christian Schwartz writes: When hired to design a new headline typeface for Harper's&Queen, Britain's version of Harper's Bazaar, Paul thought to flick back through the pages of its 60's precursor, the über cool Queen. The high contrast serif headlines were lovely, but a little too expected in a contemporary fashion magazine. Some time poring through specimens in St Bride's Printing Library inspired the perfect twist: rather than taking our cues from Didot or Bodoni, we would start with [Richard] Austin's first creation, turn up the contrast, tighten the spacing and make a fresh new look that would look bold and beautiful in the constantly changing world of fashion. The end result is Richard Austin meets Tony Stan, British Modern as seen through the lens of late 1970s New York. iThe Cyrillic version was designed in 2009 and 2016 by Ilya Ruderman (CTSM Fonts).
    • Dala Floda (1997-now) is based on gravestone inscriptions, and was turned in 2010 into a logotype stencil family at Commercial Type. As a stencil family, it is praised by the typophile community. Realted is the semi-stencil typeface family Dala Moa.
    • Publico was designed from 2003-2006 with Christian Schwartz, Ross Milne and Kai Bernau. Originally called Stockholm and then Hacienda, and finally Publico for a Portuguese newspaper by that name. Publico Text Mono (Christian schwartz and Paul Barnes) was commissioned in 2012 for Bloomberg Businessweek. Greg Gadzowicz added the italics, which are optically corrected obliques, in keeping with the un-designed aesthetic, in 2014.
    • Brunel (1995-now): an English modern, this is an anthology of the late eighteenth and nineteenth century English foundries. It was drawn from original source material, most notably the Caslon foundry and the work of John Isaac Drury).
    • Marian (2012) is a type experiment based on Garamond, consisting of 19 hairline styles with names referring to dates between 1554 and 1812. Commercial Type writes: Marian is a series of faithful revivals of some of the classics from the typographic canon: Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis and van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight, revealing the basic structure at the heart of the letterforms. Together they represent a concept: to recreate the past both for and in the present. [...] Faithful to the originals, Marian comes with small capitals in all nine roman styles, with lining and non-lining figures, with swash capitals (1554, 1740, 1800&1820), alternate and terminal characters (1554&1571). And like the hidden track so beloved of the concept album, Marian is completed by a Blackletter based on the work of Henrik van den Keere.
    • His classics series, mostly influenced by old Britsh type foundries, includes Figgins Sans (original 1832), Besley Grotesque, Caslon Antique, Fann Street Clarendon, Caslon Italian, Blanchard, Thorowgood Sans, Antique No. 6, Antique No. 3, and Ornamented (original c. 1850 at Caslon, Barnes use a Steven Shanks interpretation).
    • 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.

      Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.

      In 2014, Dave Foster and Paul Barnes (Commercial Type) designed Marr Sans. They write: The influence of Scotland in typefounding belies the nation's small size. Marr Sans, a characterful grotesque design, was inspired by a typeface from the 1870s found in the work of James Marr & Co. in Edinburgh, successors to Alexander Wilson & Sons. From a few lines in three sizes, and only one weight, Paul Barnes and Dave Foster have expanded the family from Thin to Bold, plus an Ultra Black weight, a wider companion to the six lighter weights. While Graphik and Atlas represent the greater homogenity of twentieth century sans serifs, Marr, like Druk, revels in the individuality of the nineteenth century, and is like an eccentric British uncle to Morris Fuller Benton's Franklin and News Gothics.

    • Le Jeune (2016, Greg Gazdowicz, Christian Schwartz and Paul Barnes): a crisp high-contrast fashion mag didone typeface family in Poster, Deck, Text and Hairline sub-styles, with stencils drawn by Gazdowicz. This large typeface family comes in four optical sizes, and was originally developed for Chris Dixon's refresh of Vanity Fair.
    • Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere.
    • Gabriello (2015) is a soccer shirt font designed by Paul Barnes and Miguel Reyes: Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, it was later used at that year's World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Cote d'Ivoire, and Ghana.
    • 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.
    • Chiswick (2017), a series of three typefaces families based on vernacular forms found in the British Isles from the eighteenth century.
    • Darby Sans, Darby Sans Poster, Darby Serif, done together with Dan Milne, and published in 2014 and 2019 at Commercial Type, respectively.
    • The Commercial Classics series from 2019:
      • Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
      • Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
      • Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
      • Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
      • Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
      • Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.
      • Rapha (2018, Serif, Sans). A bespoke typeface at Commercial Type for the cycling clothing company.
      • In 2019, Commercial Type released Caslon Ionic by Paul Barnes and Greg Gazdowicz. They write: Bolder and more robust than the modern, yet lighter and more refined than the Egyptian, the Ionic with its bracketed serif was another innovation of the nineteenth century. Lesser known than Thorowgood's Clarendon, Caslon's Ionic No. 2 is a superb example of the form and greatly influenced the newspaper fonts of the next century. With additional weights and a matching Egyptian companion, Antique No. 6, it is a masterpiece of type designed to be robust and legible. Antique No. 6 was designed by Paul Barnes in 2019.
      • In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesque Open (based on Thorowgood's Seven-Line Grotesque Open), and the related condensed headline typeface Thorowgood Egyptian.

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

    View Christian Schwartz's typefaces.

    His St Bride Type Foundry. Dafont link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Modern Vector (was: Lauritta)

    Russian designer of the free calligraphic typeface LS Long Calligraphy (2016) and the high-contrast didone typeface family Babylon (2016). Other typefaces: Colorado (2017: sans), LS Burlesque (2017: inky calligraphic watercolor script). [Google] [More]  ⦿

    Moinzek
    [Hendrick Rolandez]

    Moinzek is Hendrick Rolandez, a designer in Bethoncourt, France who studied engineering at the institute of technology of Montbéliard.

    He created the free art deco sans typeface Magna (2012), as well as a free and purely geometric typeface, ORI (2011), specifically for use in the design of logos.

    In 2012, the condensed high-contrast fashion mag headline typeface Coco, also free, was published in eight styles. The 47 typeface (2012) pays homage to vintage lettering from 1947.

    In 2013, Rolandez published the free contrasted fashion mag 12-style font family Valkyrie. Still in the didone fashion mag style, we find Glamor (2013), a free 24-font family.

    In 2014, he created the free fashion mag typeface family Vanity.

    Typefaces from 2021: Lea (a fashion mag didone).

    Behance link. Dribble link. Aka Moinzek. [Google] [More]  ⦿

    Molly Bramlet

    Chicago-based graphic designer who has a BA from DePaul University. She based her Bodoni Poster Script typeface (2012) on Bodoni Poster Italic.

    Cargocollective link. [Google] [More]  ⦿

    Monday Type
    [Sebastian Hilgetag]

    Monday Type is a typefoundry established in 2021 by Sebastian Hilgetag in Berlin. Sebastian Hilgetag obtained a Master of Arts degree from Fachhochschule Potsdam under Luc(as) de Groot. After his graduation he worked as a freelance designer for agencies such as Stan Hema (formerly, Meta Design), Realgestalt and Leo Burnett.

    In 2021, he released Lilith Script Pro (a smooth creamy script), Lilith Script Pro Narrow, and the 21-style extra condensed didone typeface Fiona Pro.

    Typefaces from 2022: Kate Slab (22 styles), Kate Slab Pro Ultra Expanded, Kate Slab Pro Expanded. [Google] [MyFonts] [More]  ⦿

    Monotype Bodoni

    Originals of Monotype Bodoni: Bodoni 135, Bodoni No. 175, Bodoni No. 375, Bodoni No. 275, Bodoni Bold Condensed No. 775 (Hess), Bodoni Bold Panelled No. 575, Bodoni Bold Shaded No. 194, Recut Bodoni Bold No. 975, Ultra Bodoni No. 675, Bodoni Book No. 875.

    Digital versions include Bodoni MT. [Google] [More]  ⦿

    Monotype: Cyrillic

    Cyrillic fonts by Monotype: Andalé, Andalé Mono, Andalé Sans, Arial, Arial Narrow, Arial Rounded, Book Antiqua, Bookman Old Style, Century Gothic, Century Schoolbook, Monotype Corsiva, Courier, Cumberland, Gill Sans, Gill Sans Light, Haettenschweiler, Impact, Letter Gothic, Monotype News Gothic, Nimrod, Parma (=Bodoni), Perpetua, Plantin, Rockwell, Thorndale, Thorndale Mono, Times New Roman. They also have Monotype Glagolitic and Monotype Old Bulgarian and Old Bulgarian Slawjanski, two old church Slavonic typefaces. [Google] [More]  ⦿

    Monotype ESQ Fonts

    Monotype's ESQ fonts (enhanced screen quality) are designed for TVs and monitors. A list of their fonts: Albertus, Albany, Andalé LineDraw, Andalé M Sans, Andalé Mono, Andalé Mono bold, Andalé Mono CP437, Andalé Mono CP737, Andalé Mono CP850, Andalé Mono CP852, Andalé Mono CP855, Andalé Mono WGL, Andalé Sans, Andalé Sans bold, Andy, Andy bold, Apollo, Apollo italic, Apollo semi bold, Arial, Arial black, Arial black italic, Arial black Latin 1/2/5, Arial black WGL, Arial bold, Arial bold italic, Arial bold italic Latin 1/2/5, Arial bold italic WGL, Arial bold Latin 1/2/5, Arial bold WGL, Arial CE, Arial CE bold, Arial CE bold italic, Arial CE italic, Arial italic, Arial italic Latin 1/2/5, Arial italic WGL, Arial Latin 1/2/5, Arial Monospaced, Arial Monospaced bold, Arial Monospaced bold oblique, Arial Monospaced oblique, Arial Narrow bold italic Latin 1/2/5, Arial Narrow bold Latin 1/2/5, Arial Narrow italic Latin 1/2/5, Arial Narrow Latin 1/2/5, Arial Rounded, Arial Rounded bold, Arial Tur, Arial Tur bold, Arial Tur bold italic, Arial Tur italic, Arial WGL, Monotype Baskerville, Monotype Baskerville bold, Monotype Baskerville bold italic, Monotype Baskerville bold italic Latin 1/2/5, Monotype Baskerville bold Latin 1/2/5, Monotype Baskerville italic, Monotype Baskerville italic Latin 1/2/5, Monotype Baskerville Latin 1/2/5, Bell, Bell bold, Bell bold italic, Bell italic, Bembo, Bembo bold, Bembo bold italic, Bembo italic, Monotype Bernard condensed, Binner Gothic, Blueprint Web, Blueprint Web bold, Monotype Bodoni book, Monotype Bodoni book italic, Book Antiqua bold italic Latin 1/2/5, Book Antiqua bold Latin 1/2/5, Book Antiqua CE, Book Antiqua CE bold, Book Antiqua CE bold italic, Book Antiqua CE italic, Book Antiqua italic Latin 1/2/5, Book Antiqua Latin 1/2/5, Bookman Old Style, Bookman Old Style bold, Bookman Old Style bold italic, Bookman Old Style bold italic Latin 1/2/5, Bookman Old Style bold Latin 1/2/5, Bookman Old Style italic, Bookman Old Style italic Latin 1/2/5, Bookman Old Style Latin 1/2/5, Buffalo Gal, Century Gothic bold italic Latin 1/2/5, Century Gothic bold Latin 1/2/5, Century Gothic italic Latin 1/2/5, Century Gothic Latin 1/2/5, Century Schoolbook, Century Schoolbook bold, Century Schoolbook bold italic, Century Schoolbook bold italic Latin 1/2/5, Century Schoolbook bold italic WGL, Century Schoolbook bold Latin 1/2/5, Century Schoolbook bold WGL, Century Schoolbook CE, Century Schoolbook CE bold, Century Schoolbook CE bold italic, Century Schoolbook CE italic, Century Schoolbook italic, Century Schoolbook italic Latin 1/2/5, Century Schoolbook italic WGL, Century Schoolbook Latin 1/2/5, Century Schoolbook WGL, Monotype Clarendon, Monotype Corsiva Latin 1/2/5, Courier CE, Courier CE bold, Courier CE bold italic, Courier CE italic, Courier LD, Courier LD bold, Courier LD bold italic, Courier LD italic, Courier New bold italic Latin 1/2/5, Courier New bold italic WGL, Courier New bold Latin 1/2/5, Courier New bold WGL, Courier New CP437, Courier New CP437 Bold, Courier New CP737, Courier New CP737 Bold, Courier New CP850, Courier New CP850 Bold, Courier New CP852, Courier New CP852 Bold, Courier New CP855, Courier New CP855 Bold, Courier New italic Latin 1/2/5, Courier New italic WGL, Courier New Latin 1/2/5, Courier New WGL, Courier Tur, Courier Tur bold, Courier Tur bold italic, Courier Tur italic, Creepy, Creepy Latin 1/2/5, Cumberland, Curlz, Cyrillic: Arial, Cyrillic: Arial bold, Cyrillic: Arial bold inclined, Cyrillic: Arial inclined, Cyrillic: Courier, Cyrillic: Courier bold, Cyrillic: Courier bold inclined, Cyrillic: Courier inclined, Cyrillic: Times Bold A, Cyrillic: Times Bold inclined A, Cyrillic: Times New Roman A, Cyrillic: Times New Roman inclined A, EraserDust, EraserDust Latin 1/2/5, Facade Condensed, Felix Titling, Footlight, Footlight light, Monotype Franklin Gothic extra condensed, Monotype French Script, Forte, Monotype Garamond, Monotype Garamond bold, Monotype Garamond bold italic, Monotype Garamond bold italic Latin 1/2/5, Monotype Garamond bold Latin 1/2/5, Monotype Garamond bold WGL, Monotype Garamond italic 156, Monotype Garamond italic 156 WGL, Monotype Garamond italic Latin 1/2/5, Monotype Garamond Latin 1/2/5, Monotype Garamond WGL, Gill Alt One bold italic Latin 1/2/5, Gill Alt One bold italic WGL, Gill Alt One bold Latin 1/2/5, Gill Alt One bold WGL, Gill Alt One italic Latin 1/2/5, Gill Alt One italic WGL, Gill Alt One Latin 1/2/5, Gill Alt One WGL, Gill Sans, Gill Sans ALT1, Gill Sans bold, Gill Sans bold ALT1, Gill Sans bold condensed, Gill Sans bold extra condensed, Gill Sans bold italic, Gill Sans bold italic ALT1, Gill Sans bold italic Latin 1/2/5, Gill Sans bold italic WGL, Gill Sans bold Latin 1/2/5, Gill Sans bold WGL, Gill Sans condensed, Gill Sans condensed bold Latin 1/2/5, Gill Sans condensed Latin 1/2/5, Gill Sans extra bold, Gill Sans extra bold Latin 1/2/5, Gill Sans extra condensed bold Latin 1/2/5, Gill Sans italic, Gill Sans italic ALT1, Gill Sans italic Latin 1/2/5, Gill Sans italic WGL, Gill Sans Latin 1/2/5, Gill Sans light, Gill Sans light ALT1, Gill Sans light italic, Gill Sans light italic ALT1, Gill Sans shadow, Gill Sans Shadow Latin 1/2/5, Gill Sans ultra bold, Gill Sans ultra bold condensed, Gill Sans ultra bold condensed Latin 1/2/5, Gill Sans ultra bold Latin 1/2/5, Gill Sans WGL, Ginko, Ginko Latin 1/2/5, Gloucester bold, Gloucester bold condensed, Gloucester bold extended, Gloucester Old Style, Glowworm, Glowworm Latin 1/2/5, Haettenschweiler, Haettenschweiler Latin 1/2/5, Haettenschweiler WGL, Impact, Impact Latin 1/2/5, Impact WGL, Imprint Shadow, Kidprint, Kidprint Latin 1/2/5, Monotype Letter Gothic, Monotype Letter Gothic bold, Monotype Letter Gothic bold oblique, Monotype Letter Gothic Latin 1/2/5, Monotype Letter Gothic LineDraw, Monotype Letter Gothic LineDraw bold, Monotype Letter Gothic oblique, Monotype Letter Gothic WGL, Letter Gothic CP437, Letter Gothic CP437 Bold, Letter Gothic CP737, Letter Gothic CP737 Bold, Letter Gothic CP850, Letter Gothic CP850 Bold, Letter Gothic CP852, Letter Gothic CP852 Bold, Letter Gothic CP855, Letter Gothic CP855 Bold, Monotype Lydian, MICR, Monotype News Gothic, Monotype News Gothic bold, Monotype News Gothic bold condensed, Monotype News Gothic bold italic, Monotype News Gothic bold italic Latin 1/2/5, Monotype News Gothic bold italic WGL, Monotype News Gothic bold Latin 1/2/5, Monotype News Gothic bold WGL, Monotype News Gothic CE, Monotype News Gothic CE bold, Monotype News Gothic CE bold italic, Monotype News Gothic CE italic, Monotype News Gothic condensed, Monotype News Gothic Cyr, Monotype News Gothic Cyr bold, Monotype News Gothic Cyr bold inclined, Monotype News Gothic Cyr inclined, Monotype News Gothic Gre, Monotype News Gothic Gre bold, Monotype News Gothic Gre bold inclined, Monotype News Gothic Gre inclined, Monotype News Gothic italic, Monotype News Gothic italic Latin 1/2/5, Monotype News Gothic italic WGL, Monotype News Gothic Latin 1/2/5, Monotype News Gothic WGL, Nimrod, Nimrod bold, Nimrod bold italic, Nimrod italic, Monotype Old English Text, Monotype Onyx, Ocean Sans bold, Ocean Sans book, OCR-A, OCR-B, Pepita, Perpetua, Perpetua bold, Perpetua bold italic, Perpetua italic, Plantin, Plantin bold, Plantin bold EXPERT, Plantin bold italic, Plantin bold italic EXPERT, Plantin EXPERT, Plantin italic, Plantin italic EXPERT, Rockwell, Rockwell bold, Rockwell bold condensed, Rockwell bold italic, Rockwell condensed, Rockwell italic, Rockwell light, Rockwell light italic, Sabon, Sabon italic, Sabon semi bold, Sabon semi bold italic, Sassoon Infant Pro, Sassoon Infant Bold, Sassoon Sans, Sassoon Sans Bold, Monotype Script bold, Monotype Sorts, Swing bold, Theatre Antoine, Theatre Antoine Latin 1/2/5, Thorndale, Times New Roman bold F, Times New Roman bold italic F, Times New Roman bold italic Latin 1/2/5, Times New Roman bold italic WGL, Times New Roman bold Latin 1/2/5, Times New Roman bold WGL, Times New Roman CE, Times New Roman CE bold, Times New Roman CE bold italic, Times New Roman CE italic, Times New Roman F, Times New Roman italic F, Times New Roman italic Latin 1/2/5, Times New Roman italic WGL, Times New Roman Latin 1/2/5, Times New Roman Tur, Times New Roman Tur bold, Times New Roman Tur bold italic, Times New Roman Tur italic, Times New Roman WGL, Twentieth Century bold, Twentieth Century bold condensed, Twentieth Century bold italic, Twentieth Century bold italic Latin 1/2/5, Twentieth Century bold Latin 1/2/5, Twentieth Century condensed bold Latin 1/2/5, Twentieth Century condensed medium Latin 1/2/5, Twentieth Century medium, Twentieth Century medium condensed, Twentieth Century medium italic, Twentieth Century medium italic Latin 1/2/5, Twentieth Century medium Latin 1/2/5, Twentieth Century ultra bold, Twentieth Century ultra bold Latin 1/2/5. [Google] [More]  ⦿

    Monotype: Greek

    Greek fonts by Monotype: in the monotonic series, Albany, Andalé, Andalé Mono, Andalé Sans, Arial, Arial Narrow, Arial Rounded, Book Antiqua, Bookman Old Style, Century Gothic, Century Schoolbook, Monotype Corsiva, Courier, Cumberland, Gill Sans, Haettenschweiler, Impact, Letter Gothic, Monotype News Gothic, Nimrod, Parma (=Bodoni), Perpetua Titling, Rockwell, Thorndale, Thorndale Mono, Times New Roman. In the polytonic category: Andalé Mono, Monotype Greek 90, 91, 92 and 472, Greek Sans Serif 386, New Hellenic, Porson Greek and Times New Roman Greek. [Google] [More]  ⦿

    Monotype Modern

    The first typeface released by Lanston Monotype was Monotype Modern (1896). It is a Victorian take on the didone style. [Google] [More]  ⦿

    Monotype Parma

    Monotype's Parma family (2008) is a didone that covers Latin, Greek and Cyrillic. Related to LTC Bodoni (Lanston) and Bauer Bodoni (Bitstream). [Google] [More]  ⦿

    Monotype's type classification system

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

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

    Morgan Sobel

    New York City-based graphic design student. She created Arielle (2010) and some stunning pattern tiles (2010). [Google] [More]  ⦿

    Morris Fuller Benton

    Prolific American type designer (b. 1872, Milwaukee, d. 1948, Morristown, NJ), who published over 200 alphabets at ATF. He managed the ATF type design program from 1892 until 1937. Son of Linn Boyd Benton. MyFonts page on him. Nicholas Fabian's page. Linotype's page. Klingspor page. Unos tipos duros page. His fonts include:

    • 1897: Cloister Old Style (ATF). [Stephenson Blake purchased this from ATF and called it Kensington Old Style, 1919] [Cloister (2005, P22/Lanston) is based on Jim Rimmer's digitization of Benton's Cloister.]
    • 1898: Roycroft. Mac McGrew on Roycroft: Roycroft was one of the most popular of a number of rugged typefaces used around the turn of the century, when printing with an antique appearance was in vogue. It was inspired by lettering used by the Saturday Evening Post. then a popular weekly magazine, and has been credited to Lewis Buddy, a former Post artist and letterer, but ATF says it was designed "partly" by Morris Benton, about 1898. Gerry Powell, director of typographic design for ATF in the 1940s, says, "Roycroft was first known as Buddy, changed when it was adopted by Elbert Hubbard for the Roycroft Press." Henry L. Bullen, ATF librarian and historian, says, "The first font of type to be made from matrices directly engraved on the Benton machine was 24-point Roycroft. October 4, 1900." While the machine was originally designed in 1884 to cut punches rather than matrices, it is doubtful that no fonts of mats were cut before 1900. Roycroft is also said to be the first typeface for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many typefaces of the day had a number of alternate characters. For this face. ATF gave specific instructions for their intended use: "M with the short vertex, in words the letters of which are open; R with the long tail, as a final letter in all-cap words; the wide h, m, and n, as a final letter only; t with the swash tail, as a final letter but not too frequently; u with the descending stroke, in words having no descending letters; ct ligature, wherever possible; the long s and its combinations, in antique work." Roycroft Open was cut in 1902, probably from the same patterns as the parent face. Roycroft Tinted is a very unusual face, in which the typeface is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this typeface was cut by the Dickinson Type Foundry branch of ATF in Boston, and includes the same special characters as Roycroft. Compare Post Oldstyle.
    • 1900: Century Expanded (1900: poster by Heather Leonhardt). This was a complete redraw of Century Roman which was designed in 1894 by his father, Linn Boyd Benton, for Theodore Low DeVinne, the publisher of Century Magazine. Digitizations by Elsner&Flake, Bitstream and URW.
    • 1901: Linotext (aka WedddingText).
    • 1901-1910: Engravers.
    • 1901: Wedding Text (some put this in 1907), Old English Text, Engravers' Old English (a blackletter font remade by Bitstream). Wedding Text has been copied so often it is sickening: Wedding Regular and Headline (HiH, 2007), Dan X. Solo's version, Comtesse, Elite Kanzlei (1905, Stempel), Meta, Lipsia, QHS Nadejda (QHS Soft), Blackletter 681, Marriage (Softmaker), Wedding Text TL (by Tomas Liubinas).
    • 1902: Typoscript.
    • 1902-1912: Franklin Gothic. Digital versions exist by Bitstream, Elsner&Flake (in a version called ATF Franklin Gothic), Red Rooster (called Franklin Gothic Pro, 2011), Linotype, and ITC (ITC Franklin Gothic). Discussion by Harvey Spears. Mac McGrew: Franklin Gothic might well be called the patriarch of modern American gothics. Designed in 1902 by Morris Fuller Benton, it was one of the first important modernizations of traditional nineteenth-century typefaces by that designer, after he was assigned the task of unifying and improving the varied assortment of designs inherited by ATF from its twenty-three predecessor companies. Franklin Gothic (named for Benjamin Franklin) not only became a family in its own right, but also lent its characteristics to Lightline Gothic. Monotone Gothic, and News Gothic (q.v.). All of these typefaces bear more resem- blance to each other than do the typefaces within some other single families. Franklin Gothic is characterized by a slight degree of thick-and-thin contrast; by the double-loop g which has become a typically American design in gothic typefaces; by the diagonal ends of curved strokes (except in Extra Condensed); and by the oddity of the upper end of C and c being heavier than the lower end. The principal specimen here is Monotype, but the basic font is virtually an exact copy of the ATF typeface in display sizes, except that Monotype has added f- ligatures and diphthongs. Franklin Gothic Condensed and Extra Condensed were also designed by Benton, in 1906; Italic by the same designer in 1910; and Condensed Shaded in 1912 as part of the "gray typography" series. Although Benton started a wide version along with the others, it was abandoned; the present Franklin Gothic Wide was drawn by Bud (John L.) Renshaw about 1952. Franklin Gothic Condensed Italic was added by Whedon Davis in 1967. Monotype composition sizes of Franklin Gothic have been greatly modi- fied to fit a standard arrangement; 12-point is shown in the specimen-notice the narrow figures and certain other poorly reproportioned characters. The 4- and 5-point sizes have a single-loop g. Gothic No. 16 on Linotype and Inter- type is essentially the same as Franklin Gothic up to 14-point; in larger sizes it is modified and more nearly like Franklin Gothic Condensed. However. some fonts of this typeface on Lino have Gagtu redrawn similar to Spartan Black. with the usual characters available as alternates; 14-point is shown. Western Type Foundry and later BB&S used the name Gothic No.1 for their copy of Franklin Gothic, while Laclede had another similar Gothic No. 1 (q.v.). On Ludlow, this design was originally known as Square Gothic Heavy with a distinctive R and t as shown separately after the Monotype diphthongs; when the name was changed to Franklin Gothic in 1928, it was redrawn, closer to Franklin Gothic but still a bit top-heavy; the unique R was retained in standard fonts but an alternate version like that of ATF was made available separately; also a U with equal arms, a single-loop g, and a figure 1 without foot serifs. Ludlow Franklin Gothic Italic, partially shown on the third line of the specimen, is slanted much more than other versions, to fit the standard 17 -degree italic matrices of that machine. Modern Gothic Condensed and Italic (q.v.) are often though not properly called Franklin Gothic Condensed and Italic, especially by Monotype users. Also see Streamline Block.
    • 1903: Alternate Gothic (ATF). See Alternate Gothic Pro Antique (Elsner&Flake), Alternate Gothic No2 (Bitstream), Alpin Gothic (by Team77), League Gothic (2009-2011, The League of Movable Type), and Alternate Gothic No1, No2 and No3 (see the URW version). Mac McGrew: Alternate Gothic was designed in 1903 by Morris F. Benton for ATF with the thought of providing several alternate widths of one design to fit various layout problems. Otherwise it is a plain, basic American gothic with no unusual features, but represents a more careful drawing of its nineteenth-century predecessors. The Monotype copies in display sizes are essentially the same as the foundry originals, with the addition of f-ligatures. The thirteen alternate round capitals shown in the first line of Alternate Gothic No.1 were designed by Sol Hess in 1927 for Monotype, hence the "Modernized" name; with these letters the design is sometimes referred to as Excelsior Gothic. Monotype keyboard sizes, as adapted by Hess about 1911, are considera- bly modified to fit a standard arrangement; caps are not as condensed as in the original foundry design. In 6-point, series 51 and 77 are both the same width, character for character, but some letters differ a bit in design. Note that these two narrower widths are simply called Alternate Gothic on Monotype, while the wider version is Alternate Gothic Condensed! Alternate Gothic Italic, drawn about 1946 by Sol Hess for Monotype matches No.2, but may be used with other widths as well. Condensed Gothic on Ludlow, is essentially a match for Alternate Gothic No.1, but has a somewhat different set of variant characters, as shown in the third line. There is also Condensed Gothic Outline on Ludlow, introduced about 1953, essentially an outline version of Alternate Gothic No.2. On Linotype and Intertype there is Gothic Condensed No.2 which is very similar to Alternate Gothic No. 1 in the largest sizes only, but with even narrower lowercase and figures. Also compare Trade Gothic Bold and Trade Gothic Bold Condensed. For a free version of Alternate Gothic No. 1, see League Gothic (2009-2011, The League of Movable Type).
    • 1904: Bold Antique, Whitin Black [see OPTI Bold Antique for a modern digitization], Cheltenham (digitizations by Bitstream and Font Bureau, 1992), Cloister Black (blackletter font, see the Bitstream version: it is possible that the typeface as designed by Joseph W. Phinney).
    • 1905: Linoscript (1905). Originally at ATF it was named "Typo Upright". Clearface, about which McGrew writes: Clearface was designed by Morris Benton with his father, Linn Boyd Benton, as advisor. The bold was designed first, in 1905, and cut the following year. The other weights and italics were produced through 1911. As the name implies, the series was intended to show unusual legibility, which it certainly achieved. The precision of cutting and casting for which ATF is noted produced a very neat and handsome series, which had considerable popularity. Clearface Heavy Italic has less inclination than the lighter weights, and is non-kerning, a detail which helped make it popular for newspaper use; the specimen shown here is from a very worn font. Some of the typefaces have been copied by the matrix makers. But the typeface Monotype calls Clearface and Italic is the weight called Bold by other sources. Monotype also includes Clearface Italic No. 289, a copy of the lighter weight. Revival and expansion by Victor Caruso for ITC called ITC Clearface, 1978. Also, American Extra Condensed, an octagonal mechanical typeface revived in 2011 by Nick Curtis as Uncle Sam Slim NF.
    • 1906: Commercial Script (versions exist at Linotype, URW, Bitstream (called English 144), SoftMaker (2012), and Elsner&Flake), Miele Gothic, Norwood Roman.
    • 1907: Lincoln Gotisch, named after Abraham Lincoln. This found found its way from ATF to Schriftguss, Trennert und Sohn, and Ludwig Wagner. Digital revivals include Delbanco's DS Lincoln-Gotisch. Compare with Comtesses, Lipsia, Elite Kanzlei, Lithographia and Wedding Text.
    • 1908: News Gothic, Century Oldstyle (digital versions by Bitstream, Elsner&Flake, and URW), Clearface Gothic (1907-1910: digital revivals include Clear Gothic Serial (ca. 1994, SoftMaker) and Cleargothic Pro (2012, SoftMaker). McGrew: Clearface Gothic was designed by Morris Benton for ATF in 1908, and cut in 1910. It is a neat, clean gothic, somewhat thick and thin, which incorporates some of the mannerisms of the Clearface (roman) series. However, it can hardly be considered a part of that family. There is only one weight, and fonts contain only the minimum number of characters.
    • 1909-1911: Rugged Roman. McGrew: Rugged Roman was designed for ATF by Morris F. Benton in 1909-11. It was patented in 1915, but the earliest showing seems to have appeared in 1917. It is a rugged face, as the name says, of the sort that was popular early in the century, but appears to have no relation to other typefaces having the name "Rugged." It somewhat resembles Roycroft, but is lighter. But to add to the uncertainty, fonts contained a number of ligatures of the kind which were more common in the early 1900s, in addition to the usual f-ligatures.
    • 1910: Cloister Open Face, Hobo (1910, strongly influenced by the Art Nouveau movement; Hobo Light followed in 1915), ATF Bodoni (Bitstream's version is just called Bodoni, and Adobe's version is called Bodoni Book or Bodoni Poster or Bodoni Bold Condensed, while Elsner&Flake call theirs Bodoni No Two EF Ultra; Font Bureau's version has just two weights called BodoniFB-Bold Condensed and Compressed). McGrew writes about Hobo: Hobo is unusual in two respects---it is drawn with virtually no straight lines, and it has no descenders and thus is very large for the point size. It was designed by Morris F. Benton and issued by ATF in 1910. One story says that it was drawn in the early 1900s and sent to the foundry without a name, which was not unusual, but that further work on it was continually pushed aside, until it became known as "that old hobo" because it hung around so long without results. More time elapsed before it was patented in 1915. The working name was Adface. Hobo was also cut by Intertype in three sizes. Light Hobo was also drawn by Benton, and released by ATF in 1915. It is included in one list of Monotype typefaces, but its series number is shown elsewhere for another Monotype face, and no other evidence has been found that Monotype actually issued it.
    • 1911-1913: Venetian, Cromwell. Mac McGrew: Cromwell is a rather playful typeface, designed by Morris Benton in 1913 but not released by ATF until three years later. It uses the same capitals as Cloister (q.v.) and has the same small x-height with long ascenders and descenders, but otherwise is quite different, with much less formality. Notice the alternate characters and the double letters including overhanging f's.. Cromwell was digitized by Nick Curtis in 2010 as Cromwell NF. Mac McGrew on Venetian: Venetian and Italic were designed by Morris F. Benton for ATF about 1911, with Venetian Bold following about two years later. They are rather reserved transitional typefaces, almost modern, instead of classic designs of Venetian origin as the name implies. The result is closer to Bodoni than to Cloister. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later typeface by the same designer, which has similar characteristics but more grace and charm.
    • 1914: Adscript, Souvenir, Garamond (with T.M. Cleveland).
    • 1916: Announcement, Light Old Style, Goudy Bold. Mac McGrew writes: Announcement Roman and Announcement Italic were designed by Morris F. Benton in 1916, adapted from steel or copperplate engravings, but not completed and released until 1918. These delicate typefaces have had some popularity for announcements, social stationery, and a limited amount of advertising work, but are a little too fancy for extensive use. Oddly, some of the plain caps shown in the specimens, both roman and italic, do not seem to appear in any ATF specimens. Foundry records show that a 48-point size of the roman was cut in 1927, but no other listing or showing of it has been found. In fact, sizes over 24-point were discontinued after a few years, and all sizes were discontinued in 1954.. Digitizations: Announcement Roman was revived by Nick Curtis in 2009 and called Society Page NF. Rebecca Alaccari at Canada Type revived it as Odette in 2004. See also Castcraft's OPTI Announcement Roman.
    • 1916-1917: Invitation. For a digital revival, see Sil Vous Plait (2009, Nick Curtis).
    • 1917: Freehand.
    • 1917-1919: Sterling. Digitizations include Howard (2006, Paul D. Hunt), Argentina NF (2009, Nick Curtis), and Argentina Cursive NF.
    • 1918: Century Schoolbook (1918-1921). (See ITC Century (Tony Stan, 1975-1979), or the Century FB-Bold Condensed weight by Greg Thompson at Font Bureau, 1992. For Century Schoolbook specifically, there are versions by Elsner&Flake, Bitstream and URW. Bitstream has a monospaced version.) URW Century Schoolbook L is free, and its major extension, TeXGyre Schola (2007) is also free.
    • 1920: Canterbury. Mac McGrew: Canterbury is a novelty typeface designed by Morris F. Benton for ATF in 1920, when trials were cut, but not completed for production until 1926. It features a very small x-height, with long ascenders and descenders; monotone weight with minute serifs; and a number of swash capitals. It is primarily suitable for personal stationery and announcements. Compare Camelot Oldstyle. Digital versions were done by Nick Curtis in his Londonderry Air NF (2002-2004), and Red Rooster in the series Canterbury, Canterbury OldStyle, and Canterbury Sans.
    • 1922: Civilité. Mac McGrew on the ATF Civilité: Civilite in its modern adaptation was designed by Morris Benton in 1922 and cut by ATF in 1923-24. The original version was cut by Robert Granjon in 1557 to imitate the semi-formal writing then in vogue, and is believed to be the first cursive design cut in type. It became popular for the printing of poetry and for books of instruction for children, where the type itself could serve as a perfect model of handwriting. The first of these books was titled La Civilite puerile, printed at Antwerp in 1559. The books were so popular that the design came to be known as "civility" type. Other interpretations of the letter have been made, including Cursive Script, cut in the nineteenth century in 18-point only from French sources by ATF predecessors and by Hansen, but Benton's seems more attractive and legible to modern eyes. The French pronunciation of ci-vil'i-tay is indicated by the accented e, which was used only in ATF's earliest showings. The many alternate characters were included in fonts as originally sold; later they were sold separately and finally discontinued, although the basic font was still listed in recent ATF literature. Also see ZapfCivilite. Compare Freehand, Motto, Verona.
    • 1924: Schoolbook Oldstyle.
    • 1926-1927: Typo Roman.
    • 1927: Chic (American Typefounders; doubly shaded capitals and figures), Gravure, Greeting Monotone, Goudy Extra Bold. The art deco typeface Chic was revived by Nick Curtis as Odalisque NF (2008) and Odalisque Stencil NF (2010).
    • 1928: Parisian, Bulmer (revival of William Martin's typeface from 1792 for the printer William Bulmer; digital forms by Monotype, Adobe, Linotype, and Bitstream), Broadway (1928-1929, see two styles offered by Elsner&Flake, Linotype, Bitstream, and 11 weights by URW), Goudy Catalogue, Modernique, Novel Gothic (ATF, designed with Charles H. Becker), Dynamic. Novel Gothic has seen many digital revivals, most notably Telenovela NF (2011, Nick Curtis), Naked Power (Chikako Larabie) and Novel Gothic SG (Jim Spiece). Images of Bulmer: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii.
    • 1929: Louvaine. McGrew: Louvaine series was designed by Morris F. Benton for ATF in 1928. It is an adaptation of Bodoni (the working title was Modern Bodoni), and many of the characters are identical. Only g and y are basically different; otherwise the distinction is in the more abrupt transition from thick to thin strokes in this series. In this respect, Ultra Bodoni has more affinity to Louvaine than to the other Bodoni weights. The three weights of Louvaine correspond to Bodoni Book, Regular, and Bold. This series did not last long enough to appear in the 1934 ATF specimen book, the next complete one after its introduction. Compare Tippecanoe.
    • 1930: Benton, Engravers Text, Bank Gothic (see Bitstream's version), Garamond-3 (with Thomas Maitland Cleland), Paramount (some have this as being from 1928: see Eva Paramount SG by Jim Spiece). McGrew: Paramount was designed by Morris Benton in 1930 for ATF. It is basically a heavier companion to Rivoli (q. v.), which in turn is based on Eve, an importation from Germany, but is heavier than Eve Bold. It is an informal typeface with a crisp, pen-drawn appearance. Lowercase is small, with long ascenders and short descenders. Vertical strokes taper, being wider at the top. It was popular for a time as an advertising and announcement type.
    • 1931: Thermotype, Stymie (with Sol Hess and Gerry Powell). Stymie Obelisk is a condensed Egyptian headline face---the latter was revived by Nick Curtis as Kenotaph NF (2011).
    • 1932: Raleigh Gothic Condensed (the digital version by Nick Curtis is Highpoint Gothic NF (2011)), American Text (blackletter). Mac McGrew: Raleigh Gothic Condensed was designed by Morris F. Benton for ATF in 1932. It is a prim, narrow, medium weight gothic face, with normally round characters being squared except for short arcs on the outside of corners. The alternate characters AKMNS give an even greater vertical appearance than usual. At first, this typeface was promoted with Raleigh Cursive as a stylish companion face, although there is no apparent relationship other than the name. Compare Phenix, Alternate Gothic, Agency Gothic.
    • 1933: American Backslant, Ultra Bodoni (a great Bodoni headline face; see Bodoni FB (1992, Font Bureau's Richard Lipton). About Agency Gothic, McGrath writes: Agency Gothic is a squarish, narrow, monotone gothic without lower- case, designed by Morris F. Benton in 1932. It has an alternate A and M which further emphasize the vertical lines. Sizes under 36-point were added in 1935. Agency Gothic Open was drawn by Benton in 1932 and introduced in 1934; it follows the same style in outline with shadow, and probably has been more popular than its solid companion. Triangle Type Foundry, a Chicago concern that manufactured matrices, copied this typeface as Slim Open, adding some smaller sizes. ATF's working titles for these typefaces, before release, were Tempo, later Utility Gothic and Utility Open. Compare Raleigh Gothic Condensed, Poster Gothic, Bank Gothic. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency (1995, David Berlow at FontBureau), Agency Gothic (by Dan Solo) and OPTI Agency Gothic (by Castcraft).
    • 1934: Shadow, Tower (heavy geometric slab serif), Whitehall. Font Bureau's Elizabeth Cory Holzman made the Constructa family in 1994 based on Tower. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency Gothic (1995, David Berlow at FontBureau) and Agency Gothic by Castle Type. Eagle Bold followed in 1934. McGrew: Eagle Bold is a by-product of the depression of the 1930s. The National Recovery Administration of 1933 had as its emblem a blue eagle with the prominent initials NRA, lettered in a distinctive gothic style. Morris Benton took these letters as the basis for a font of type, released later that year by ATF, to tie in with the emblem, which businesses throughout the country displayed prominently in advertising, stationery, and signs; naturally it was named for the eagle. Compare Novel Gothic. USA Resolute NF (2009, Nick Curtis) is based on Eagle Bold.
    • 1935: Phenix. This condensed artsy sans was revived in 2011 at Red Rooster by Steve Jackaman and Ashley Muir as Phoenix Pro.
    • 1936: Headline Gothic. For a digital version, see ATF Headline Gothic (2015, Mark van Bronkhorst, Igino Marini, & Ben Kiel at American Type Founders Collection).
    • 1937: Empire. This ultra-condensed all caps skyline typeface was digitally remade and modernized by Santiago Orozco as Dorsa (2011). Jeff Levine reinterpreted it in 2017 as Front Row JNL. Bitstream also has a digital revival.
    Linotype link. FontShop link. Picture.

    Typefaces alphabetic order:

    • Adscript
    • Agency Gothic (+Open
    • Alternate Gothic No.1 (+No.2, +No.3)
    • American Backslant
    • American Caslon&Italic
    • American Text
    • Announcement Roman&Italic (1916). For digital revivals or influences, see Friendly (2012, Neil Summerour), Odette (2004, Canada Type) and Society Page NF (2009, Nick Curtis).
    • Antique Shaded
    • Bank Gothic Light (+Medium, +Bold, +Light Condensed, +Medium Condensed, +Bold Condensed). For digital versions, see Bank Gothic AS Regular and Condensed (2008, Michael Doret).
    • Baskerville Italic
    • Benton (Whitehall)&Italic
    • Bodoni&Italic (+Book&Italic, +Bold&Italic, +Bold Shaded, +Bold Open)
    • Bold Antique (+Condensed)
    • Broadway (+Condensed). The prototyical art deco typeface (1928-1929).
    • Bulfinch Oldstyle (1903).
    • Bulmer&Italic
    • Canterbury
    • Card Bodoni (+Bold). 1912-1916.
    • Card Litho (+Light Litho)
    • Card Mercantile
    • Card Roman
    • Century Expanded&Italic
    • Century Bold&Italic (+Bold Condensed, +Bold Extended)
    • Century Oldstyle&Italic (+Bold&Italic, +Bold Condensed)
    • Century Catalogue&Italic
    • Century Schoolbook&Italic (+Bold)
    • Cheltenham Oldstyle&Italic (+Condensed, +Wide)
    • Cheltenham Medium&Italic (+Medium Condensed, +Medium Expanded, +Bold&Italic, +Bold Condensed&Italic, +Bold Extra Condensed&Title, +Bold Extended, +Extrabold, +Bold Outline, +Bold Shaded&Italic, +Extrabold Shaded, +Inline, +Inline Extra Condensed, +Inline Extended)
    • Chic
    • Civilite
    • Clearface&Italic (1907, +Bold&Italic, +Heavy&Italic)
    • Clearface Gothic: a flared version of Clearface.
    • Cloister Black
    • Cloister Oldstyle&Italic (+Lightface&Italic, +Bold&Italic, +Bold Condensed, +Cursive, +Cursive Handtooled, +Title&Bold Title)
    • Commercial Script
    • Copperplate Gothic Shaded
    • Cromwell.
    • Cushing Antique (1902).
    • Della Robbia Light
    • Dynamic Medium
    • Eagle Bold
    • Empire (1937). A skyline typeface.
    • Engravers Bodoni
    • Engravers Old English (+Bold)
    • Engravers Bold
    • Engravers Shaded
    • Engravers Text
    • Franklin Gothic&Italic (+Condensed, +Extra Condensed, +Condensed Shaded)
    • Freehand (1917). Mac McGrew: Freehand, a typeface based on pen-lettering, was designed for ATF by Morris Benton in 1917. The working title before release was Quill. Derived from Old English, it is an interesting novelty, and has had quite a bit of use. Compare Civilite, Motto, Verona.
    • Garamond&Italic (+Bold&Italic, +Open)
    • Globe Gothic (+Condensed, +Extra Condensed, +Extended, +Bold&Italic)
    • Goudy Bold&Italic (+Catalogue&Italic, +Extrabold&Italic, +Handtooled&Italic, +Title)
    • Gravure
    • Greeting Monotone
    • Headline Gothic
    • Hobo&Light Hobo (1910). For digital versions, see Informal 707 (Bitstream), Hobbit (SF), Homeward Bound (Corel), Hobo No2 (2012, SoftMaker), Bogo (2016, Harold Lohner), and Hobo (Bitstream).
    • Invitation (+Shaded)
    • Light Oldstyle
    • Lightline Gothic&Title (1908). For a revival, see Benton Gothic Thin NF (2014, Nick Curtis).
    • Lithograph Shaded (1914, with W.F. Capitain).
    • Louvaine Light&Italic (+Medium&Italic, +Bold&Italic)
    • Miehle Extra Condensed&Title
    • Modernique
    • Monotone Gothic&Title
    • Motto (1915). Mac McGrew: Motto is a calligraphic typeface designed by Morris F. Benton for ATF in 1915. It is similar to the same designer's Freehand, drawn a couple of years later, but has plainer capitals, heavier thin strokes, and shorter descenders. But letters combine into legible words with a pleasant, hand-lettered appearance. Also compare Humanistic, Verona. For a digital version, see Motto by Juan Kafka.
    • News Gothic (+Condensed, +Extra Condensed&Title)
    • Norwood Roman
    • Novel Gothic
    • Othello
    • Packard (+Bold)
    • Paramount
    • Parisian
    • Pen Print Open
    • Phenix
    • Piranesi Italic (+Italic Plain Caps, +Bold&Italic, +Bold Italic Plain Caps)
    • Poster Gothic (1934).
    • Raleigh Gothic Condensed (1934).
    • Rockwell Antique
    • Roycroft
    • Rugged Roman
    • Schoolbook Oldstyle
    • Shadow
    • Souvenir (1914). Revived in 1977 by Ed Benguiat as ITC Souvenir, but a total failure as a type design. Simon Garfield: Souvenir was the Comic Sans of its era, which was the 1970s before punk. It was the typeface of friendly advertising, and it did indeed appear on Bee Gees albums, not to mention the pages of Farrah Fawcett-era Playboy. Mark Batty from International Typeface Corporation (ITC) on one of his best-selling fonts: A terrible typeface. A sort of Saturday Night Fever typeface wearing tight white flared pants. Garfield also retrieved this quote by type scholar Frank Romano in the early 1990s: Real men don't set Souvenir. Digital revivals also include Sunset Serial by Softmaker, and ITC Souvenir Mono by Ned Bunnel.
    • Sterling&Cursive
    • Stymie Light&Italic (+Medium&Italic, +Bold&Italic, +Black&Italic)
    • Thermotypes
    • Tower Condensed (1934). Revived by Photo-Lettering Inc as PL Tower.
    • Typo Roman&Shaded
    • Typo Script and Typo Script&Extended (1902)
    • Typo Shaded
    • Typo Slope
    • Typo Upright&Bold
    • Ultra Bodoni&Italic (+Condensed, +Extra Condensed)
    • Venetian&Italic (+Bold)
    • Wedding Text&Shaded

    View Morris Fuller Benton's typefaces. A longer list. A listing of various digital versions of News Gothic. More News Gothic-like typefaces. Even more News Gothic-like typefaces. [Google] [MyFonts] [More]  ⦿

    Morris Fuller Benton's Venetian

    Venetian and Venetian Italic are typefaces that were designed by Morris Fuller Benton about 1911. Venetian Bold followed circa 1913. McMcGrew writes: They are rather reserved transitional typefaces, almost modern, instead of classic designs of Venetian origin as the name implies. The result is closer to Bodoni than to Cloister. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later typeface by the same designer, which has similar characteristics but more grace and charm.

    Digital revivals include the free typeface family HK Venetian (2016, Alfredo Marco Pradil). [Google] [More]  ⦿

    Morvan Yohann

    Nantes, France-based graphic designer who established studio Acetone / Graphik in 2002. Creator of these fonts: Epik (2014, hipster typeface done with Nicolas Galkowski), BisoNaBiso (2014, hipster typeface) and BTD (2014, an ultra-contrast didone with disappearing stems). Behance link. [Google] [More]  ⦿

    Moshik Nadav

    Extraordinarily talented type and graphic designer in New York City, who is the uncontested fashion magazine type designer. Before New York, he was in Jerusalem, where he studied at Bezalel Academy of Art and Design. He also did one exchange student term at OCAD in Toronto. His work is geared toward the fashion industry and fashion publications in general. Behance link. He created these typefaces:

    • Moshik Hebrew (2010).
    • Some Latin display faces (2009).
    • His Moshik typeface (2010) has upper and lower cases that emulate chic jewelry.
    • In 2011, he created an extraordinarily beautiful didone display family called Paris (followed in 2013 by Paris Pro) about which he writes: Paris is a new typeface that inspired by the world of fashion. Paris Typeface should be in use by the most popular fashion magazines and super luxury brands. Paris typeface include awesome ligatures and sexy numerals. Paris typeface include 9 different styles: Paris Regular, Paris Regular Exit, Paris Regular Strip, Paris Regular White, Paris Ultra Light, Paris Bold, Paris Bold Exit, Paris Bold, Strip, Paris Bold White.
    • A few months after Paris came the art deco marquee version called Paris Strip (2011).
    • In 2015, the ultra-sharp high-contrast fashion mag decorated didone typeface Lingerie was published. Advertized as the sexiest, most powerful typeface yet, it was upgraded to Lingerie XO in 2017, and Lingerie Wild Pro in 2019.
    • In 2020, he released Segol, a stunning 24,000 glyphs in an orgy of swirls and seductive curves.
    [Google] [More]  ⦿

    Moulin Rouge

    The orphaned font Moulin Rouge (2012) is a didone headline typeface after a curl treatment. [Google] [More]  ⦿

    Mozilla: MathFonts

    Roger B. Sidje explains math coding issues for math font families in Mozilla such as AMS/Computer Modern, Basil K. Malyshev's version of Computer Modern, Design Science's MT Extra, and Wolfram's math set. [Google] [More]  ⦿

    Mpress Interactive
    [John Bonadies]

    Type foundry set up in 2013 in Champaign, IL, by John Bonadies who has an MFA in graphic design from the University of Illinois. In 2011, he set up an iPad application in which one can move wooden letters around as in a letterpress. He says: LetterMpress will be a virtual letterpress environment---released first on the iPad---, that will allow anyone to create authentic-looking letterpress designs and prints.

    The typefaces are based on letterpress and/or vintage wood type, and have names that are prefixed by MPI.

    In 2013, Mpress Interactive published MPI Roman Condensed (based on a typeface from Showcard Machine Company), MPI Old Style, MPI Bodoni Ultra, MPI Sardis (after Warren Chappell's Lydian from 1938, ATF), MPI Republic Gothic, MPI No. 510 (based on a design by William H. Page, 1887), MPI No. 508 (based on William H. Page, 1890), MPI No. 507 (based on William H. Page, 1890), MPI Headline Modified (also called Modified Gothic by some type manufacturers, it is based on a typeface by Hamilton Manufacturing Company from 1897), MPI Gothic, MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western typeface based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original), MPI Nouveau, MPI Delittle (based on a wood type by DeLittle), MPI Deco (art deco caps), MPI Atlas (slightly art nouveau typeface based on a font by Day & Collins), MPI Circle Sans (white on black letters). [Google] [MyFonts] [More]  ⦿

    MT Neo Didot

    MT Neo Didot was designed in 1904 at Monotype. With less contrast than the original Didot typefaces, it is appropriate for texts. Some suggest that the closest we have to MT Neo Didot in digital form is Peter Mohr's Fayon (2010, OurType). But Maxim Zhukov pointed out its popularity in Russia: Series No 27 (Neo Didot) had a Cyrillic version. I don't know when it was developed. A lot of books in USSR and world-wide were set in Neo Didot. Neo Didot was so popular that around 1940 its Soviet clone was developed, Obyknovennaya Novaya Garnitura (Ordinary New Typeface). It was custom-designed for the 4th edition of Lenin's Collected Works (its 1st volume was printed in 1941, and the last one, 39th, in 1967). That typeface was later released for general use. It is now offered in digital form by ParaType, under the name New Standard. That clone was by Anatoly Shchukin at Polygraphmash. Also, Maxim is referring to the Paratype version done in 1996 by Vladimir Yefimov. [Google] [More]  ⦿

    MToT

    MToT (My type of type) provides users with a web-based typeface specimen collection. Users are able to take a typeface from anywhere on the web and catalog it for their own reference. Collections can be organized via tags, and shared with other MToT users or kept private. Examples include ITC Founder's Caslon, ASffair, and Bodoni. [Google] [More]  ⦿

    Muhittin Günes

    Istanbul, Turkey-based designer of the free stencil typeface family Temiz (2017) and the free monospaced regular and stencil typeface pair Muar Mono (2018).

    In 2018, Fatih Hardal and Muhittin Gunes set up Bold Type Istanbul. Both graduated from Marmara University Faculty of Fine Arts. They co-designed the sans typeface families Bold Type Modern (2018) and Bold Type Grotesk (2018).

    In 2019, Muhittin Günes released the ink-trapped variable font Ranua, the fashion mag typeface Zermatt, the art deco sans typeface MT Maeve Deco, and the 14-style Muana Grotesque.

    Typefaces from 2021: Olten (a didone-based display serif), Gronland (a sans serif typeface designed in 2018-2021 and inspired by Swiss public transport signage, NYC wayfinding systems and Greenland), Tofua (a hybrid between a didone and a gothic cathedral). [Google] [MyFonts] [More]  ⦿

    MunchFonts
    [Gary Munch]

    Gary Munch (born 1953) is the Stamford, CT-based principal of MunchFonts. He teaches at Norwalk Community College and at the University of Bridgeport Shintaro Akatsu School of Design.. His typefaces:

    • GMAhuramazda (runes).
    • Calligraphic.
    • Candara (2005), a flared typeface done for Microsoft's ClearType project. Candara received a TypeArt 05 award.
    • GMChanceryModern.
    • Munch produced three new Cherokee fonts in 2011 in response to a request by Joseph Erb, of language technology and education services at the Cherokee Nation: Chancery Modern ProCherokee (a sleek sans serif semi-cursive font), Neogrotesk Cherokee (a multipurpose workhorse design), and Munch Chancery Cherokee (a calligraphic font that resembles handwriting). The Cherokee Nation is using Munch Chancery at its Cherokee Immersion School.
    • GMClavier.
    • GMDuomo.
    • Linotype Ergo.
    • The 8-weight didone font family GMFidelio is my favorite.
    • Finerliner (linked handwriting).
    • GMGlobe.
    • GMHieroglyphic.
    • GMHyperspace.
    • GMLondinium (1993, a blackletter face), and GM Londinium Versals (a Lombardic face).
    • GMMage.
    • GMMedallion. An architectural writing font made in 1997.
    • GMMeter.
    • GMMunchfonts.
    • GMMunchies.
    • GMNanogram.
    • GMPepRally.
    • GMPrentice.
    • Linotype Really (1997). An almost-didone family with Cyrillic and Greek extensions for which he received an award at the TDC2 2001 competition, and obtained third prize at the 3rd International Digital Type Design Contest by Linotype Library. It was updated to Really No2 in 1999.
    • GM SPQR. A Trajan type family.
    • UrbanScrawlButtah, UrbanScrawlChill, UrbanScrawlDown, UrbanScrawlFly.
    • GM Wodensday.

    Klingspor link. FontShop link. Linotype link. Old home page.

    Showcase of Gary Munch's fonts. [Google] [MyFonts] [More]  ⦿

    Museo Bodoniano

    The Bodoni Museum in Parma. [Google] [More]  ⦿

    My Creative Land
    [Elena Genova]

    Elena Genova (My Creative Land, Edinburgh, Scotland) specializes in digitized handwriting fonts. She designed these commercial typefaces in 2014: Ariadne (connected curly script), Veryberry (curly script, + Cyrillic), Handy Sans Condensed (+Distressed; for Latin and Cyrillic), Handy Casual Condensed.

    In 2015, she designed the brush typefaces Celestial, Dessert Menu (Sans and Script), Botanica (Sans, Script, Ornaments) and Evenfal and the script typefaces Storyteller (a great connected script in Script and Casual sub-styles ideally suited for children's books), Allegretto Script (calligraphic), Catfish (monoline and connected), Rosalinda Script, Aristelle Script (+Aristelle Sans: identical to Ariadne) and La Veronique.

    Typefaces from 2016: Sunshine Daisies (handwritten type system), Nefelibata (in Brush and Sans versions), La Parisienne, La Veronique Two, New Storyteller.

    Typefaces from 2017: Above the Sky, Lovingly Friends (a collection of sixteen handcrafted typefaces), Scandiebox, Brushability, Rockeby (32 fonts, which she describes as slightly more geometric than Block Berthold but much softer than the industrial Din Next; see also Rockeby SemiSerif and Rockeby Brush).

    Typefaces from 2018: Adventures Unlimited (a connected monoline script and a super-condensed sans companion), Brushberry (dry brush script), Absolute Beauty (a monoline signature script and accompanying thin serif), Combinado (Sans, (a didone) Serif, Text, Script), Brooklyn Heritage (Sans and Script), Palomino (a crayon script), Beautiful Minds (a fashion mag typeface family; +Stencil).

    Typefaces from 2019: Contempora Script and Contempora Sans Condensed, Freethinker, Hello Bloomie (a watercolor SVG font), Above the Beyond, Lumios Marker (a marker pen font), Lumios Typewriter (old typewriter), Beautifully Delicious (Sans+Script duo).

    Typefaces from 2020: Dreaming Outloud (a fat finger font), Roca (a plump serif influenced by Windsor and Cooper Black), The Youngest, Praline MCL (a chocolate store Serif and sans pair), Balerno Serif (a lachrymal didione).

    Typefaces from 2021: Parlare (a flowing script), Lumios Brush (a bold brush script), Boss Jock JNL (an informal font based on the title and credits from the 1965 film Strange Bedfellows), Peachi (a 6-style soft serif typeface with rounded terminals), Carelia (a didone display typeface for Latin and Cyrillic).

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

    MyFonts: Bestsellers for November 2011

    The fifty best-selling typefaces at MyFonts, as reported by them on November 4, 2011. The trends remain steady---art deco or vintage sans typefaces, the old Helvetica in its many disguises such as Bitstream's Swiss 721, and didone fashion mag typefaces. [Google] [More]  ⦿

    MyFonts: Bodoni

    Top-ranked fonts at MyFonts on the theme "Bodoni". Also, check this large web page with all typefaces at MyFonts labeled as or related to Bodoni.

    Pink poster below created by Michael Robinson (Raleigh, NC). Lower case g poster below created by Mirella Llamas Bejar (Barcelona) in 2014. [Google] [More]  ⦿

    MyFonts: Classicist typefaces

    Typefaces that are tagged as classicist at MyFonts. This is just another word for modern or didone. [Google] [More]  ⦿

    MyFonts: Didone typefaces

    Large web page with all didone typefaces at MyFonts. [Google] [More]  ⦿

    MyFonts: Didot

    Top-ranked fonts at MyFonts that emulate Didot. [Google] [More]  ⦿

    MyFonts: Fat typeface didones

    A list of one hundred fat typeface didones. [Google] [More]  ⦿

    MyFonts: Narrow didone typefaces

    The narrow or condensed didone look is very popular in newspaper circles. This page shows about 100 such typefaces as culled cfrom the MyFonts collection. [Google] [More]  ⦿

    MyFonts: Normande

    The main Normande typefaces at MyFonts: Normande is the so called fat face, an ultra heavy didone display face. The original was by Berthold. [Google] [More]  ⦿

    MyFonts: Vibert "g"

    Typefaces that have the characteristic "Vibert lower case g". [Google] [More]  ⦿

    Naile Valiulin

    Moscow-based designer of the deconstructed Cyrillic didone typeface Muzej Panorama (2016), which was created for the imagined identity of the Museum Panorama Borodino Battle (between Russia and France) as part of a school project at the British Higher School of Art & Design. [Google] [More]  ⦿

    Naipe Foundry
    [Alvaro Franca]

    Naipe Foundry is the type design, lettering & font production company set up in 2018 by Alvaro Franca and Felipe Casaprima (and before that, Leandro Assis as well). Alvaro Franca is a graphic designer from Rio de Janeiro who studied at ESDI in Rio and EINA in Barcelona. He teaches at Domestika and ELISAVA in Barcelona. He created Aladdin Sans (2011) when he was studying at ESDI in Rio. Other early typefaces by him include the wedge serif text typeface Selsdon (2015) and the didone numerals typeface Baleia Heavy (2015), which was influenced by Herb Lubalin's style.

    In 2016, he created the 9-width titling or poster typeface family Bonde and wrote: It is the result of a year long research project on the hand painted lettering used in Rio de Janeiro tramways between 1868 and 1966. The carioca engineers who lettered the original signs used compression and expansion of letters so that station names of all sizes would occupy the same horizontal space. Because they didn't have lettering training or a model to follow, they had to come up with their own unique solutions for the problem of width variation in letterforms. Bonde applies these quirky and ingenious designs to a multi width type family, but adapts letterforms for contemporary use in their original function: signage and wayfinding.

    In 2016, he designed the informal typeface Noturna. In 2017-2018, he participated in the Type Expert program at the Plantin-Moretus Institute in Antwerp.

    He won an award at Tipos Latinos 2018 for Discordia (Naipe Foundry and Future Fonts): Developed originally for use in magazines, the goal was to create a concise text family that blurred the lines of type classification, mixing things that normally don't go together but which could be persuaded to play nice this one time. In 2020, Hebrew support was added thanks to Ben Nathan. In 2021, MyFonts published Discordia and credited Felipe Casaprima and Alvaro Franca.

    In 2020, Naipe released Pacaembu. Advertized as a tropical art deco sans, this seven-style sans serif typeface by Alvaro Franca and Felipe Casaprima finds its roots in Brazilian soccer. In particular, it took inspiration from the stone lettering found in the 1940 art deco style Sao Paulo Municipal Stadium, also known as Estadio Pacaembu. A variable style is included.

    Future Fonts link. https://fonts.ilovetypography.com/fonts/naipe-foundry">I Love Typography link. [Google] [MyFonts] [More]  ⦿

    Nana Fogh

    During her graphic design studies, Randers, Denmark-based Nana Fogh created the modified didone display typeface Jola (2013). [Google] [More]  ⦿

    Nasir Udin

    Bali-based designer who used to run Mahameru Type. As Nasir Udin, his typefaces include Opheline (2020: a nine-style all caps display serif by Nasir Udin and Haidi Shabrina) and Elgraine (2020: an 18-style transitional typeface family with a large x-height).

    Typefaces from 2021: Mylon (a 14-style Peignotian fashion mag sans by Nasir Udin and Haidi Shabrina), Mauren (a 14-style text typeface with an almost chancery script italic set), Debira (a 14-style wedge serif with a coathanger lower case f that is de rigueur in 2021; with Heidi Shabrina), Fonseca Grande, Departura (sans), Montas (a 7-style decorative serif by Nasir Udin and Haidi Shabrina), Karsten (a 27-style bastard didone named after Dutch architect Thomas Karsten who designed many buildings in Java).

    Typefaces from 2022: Incognia (a 10-style classical roman display serif), Rasbern (a 16-style display serif with elephant feet).

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

    Natalia Mercol

    Buenos Aires-based Natalia Mercol is a talented illustrator and print designer who is into colors. In 2010, she created a hairline typeface that was derived from Bauer Bodoni, called King Serif. [Google] [More]  ⦿

    Natalia Popova

    During her studies at IED in Moscow in 2013, Natalia Popova created an unnamed modern typeface. [Google] [More]  ⦿

    Natalia Verdejo

    Graphic designer in Santiago, Chile. She created the italic didone typeface Pituca (2012). [Google] [More]  ⦿

    Natalie Rauch

    From 2009 until 2013, Natalie Rauch studied towards a Bachelors in Communications Design at the Hochschule für Technik und Wirtschaft Berlin, Germany. In 2014, she obtained a Masters in Type Design at the University of Reading, UK. During an internship at Carrois Type Design in 2012, she created the experimental sharp-edged typeface Kink. For her Bachelors in 2013, she created the modern fashion mag typeface Anouk.

    For her Masters at Reading, she developed the angular typeface family Raikka (2014). Raikka is a forceful unconventional multiscript typeface family that covers Latin, Greek, Cyrillic and Hebrew. It is characterized by a calligraphic almost fuzzy italic that is in sharp contrast to the more severe regular weight. It was published in 2016 at bBox Type, where she also published Lonne (2017).

    In 2019, she designed the fat high-waisted art deco typeface Oggle at Future Fonts. Type Department link. [Google] [More]  ⦿

    Natasha Taylor

    Boston, MA-based creator of the classy didone typeface Dallaglio (2014). [Google] [More]  ⦿

    Naujas Vytis
    [Eugenijus Paulauskas]

    Developer of a free family of Lithuanian didone fonts called Vytis (2005). These fonts are quite complete and cover Latin, Cyrillic and Armenian as well. Copyright rests with AKL: Atviras kodas Lietuvai, a Lithuanian Free Software Foundation. Earlier, Paulauskas made the brush typeface ForteU (1998, Klaipeda). [Google] [More]  ⦿

    Naum Type
    [Pyotr Bushuev]

    Peter or Pyotr Bushuev is the Pskov, Russia-based designer of the geometric typeface families Umbero (2016, retro deco) and Kontora (2016, for Latin and Cyrillic). He also designed the brush typeface Burelom (2015).

    Typefaces from 2017: Juxta (Sans, Sans Mono, Script), Juxta Sans Mono, Ravensara Antiqua Stencil, Ravensara Sans, Ravensara Serif (a high contrast fashion mag font derived from didones; in Sans and Serif styles).

    Typefaces from 2019: Base + Bloom (experimental).

    Typefaces from 2020: Strikt (a viariable pixelish font on a 3x3 grid with two axes, weight and animation), Cascadeur (Pyotr writes: Cascadeur is a variable modular sans with 3 axes, a modernistic hommage to space-age typography).

    Type Department link. [Google] [MyFonts] [More]  ⦿

    Nav Raw
    [Rajesh Rajput]

    Rajesh Rajput (since 2014 with Cognizant Technologies, Gurgaon / Delhi, India) designed the free 5-style stencil typeface family Break in 2015. Interestingly, a guy called Steven Han calls it his font in 2016. He worked for four months on an elaborate decorative set of 26 capitals under the project name Type Soul (2015).

    With Raina Agarwal, Rajesh Rajput designed the free scratchy font Chemin in 2015.

    From his home base in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla), the free variable condensed sans display family Thunder (2017) and Gorgeous (2017, a free tall fashion mag typeface family).

    Typefaces from 2018: Morganite (a free condensed movie credit sans in 18 styles),

    Typefaces from 2019: Emberly (a free 54-style didone, with a variable option).

    Typefaces from 2021: Mango Grotesque (a free 18-style+variable condensed elongated sans font family), Moniqa (a free 162-style (+variable font) family of art deco typefaces for Latin and Cyrillic).

    Typefaces from 2022: Meshed Display (a free display serif family with a fashion mag didone vibe).

    Behance link. Behance link for Nav Raw. [Google] [More]  ⦿

    Nayelli Jaraba

    Buenos Aires-based designer of the decorative didone typeface Ma Rimbon (2017). [Google] [More]  ⦿

    nazlfrag

    FontStructor who made many fonts, including the unicase typeface Nerug (2010, based on the futuristic logo of the TV show Gruen Transfer), the Stringbead family (2010), Silicon Neon Straight (2010), Therlea (2010, an angular fat didone face), Globus (white on black), Miagan (pixel face), Mertinal (2010: a graph theory face), Xharon (2010: a techno stencil), Deebee Dee (2010: like Futura Black), Logoremix (kitchen tile face), Logoremix Thin, Ragett, Ells Split Peas, Barowin, Desert Bean (floral face), Tonkted (knotted face), Belumt, Plink (blocky futuristic face).

    Typefaces from 2011: Recused, Recused 3x3, Trec Funch (an artsy stencil face), Tied Lance, Curdevic. [Google] [More]  ⦿

    Nazzar Saputra
    [Craft Supply]

    [MyFonts] [More]  ⦿

    Neil Summerour
    [Positype]

    [MyFonts] [More]  ⦿

    Nerve
    [Daniel Cantor Triana]

    Daniel Cantor Triana (aka Nerve) runs his own studio in Bogota, Colombia. He created the rounded octagonal typeface family Artificia (2013) and the extreme didone poster typeface Shibuya Grotesk (2015). Behance link. [Google] [More]  ⦿

    Neubau Berlin (or: NB Typography, or: Neubau Laden)
    [Stefan Gandl]

    Stefan Gandl was the designer at Designer Shock in Berlin of the pixel fonts DS1D, DS2D, DS3D, DSClone, DSClone3D, DSCutout, DSImitate, DSMufdi, DSMufdi3DL, DSMufdi3DR, DSNSW45, DSNSW55, DSNSW65, DSNSW75, DSNSW85, DSNSW95, DSP9RMX (with Markus Angermeier), DSP9RMX3D, DSSQR35, DSSQR45, DSSQR55, DSSQR553DL, DSSQR553DR, DSSQR65, DSSQR75, DSSQR85, DSTicket35, DSTicket45, DSTicket55, DSTicket65, DSTicket75, DSTicket85, DSTicket95, DSVDOTXT1, DSVDOTXT2, DSVDOTXTError. At the end of 2001, he established Neubau Berlin or NB Typography. He created DS Yakuti (experimental) and DS Lane (2001, trilined) at Die Gestalten. Fonts at Neubau include NB55RMS, NB55RBX, NB55RLS, NB55MS, NB55BX, NB55SET, NBFETT, NBFORM, NBRUND, NBTRANSFER, NBUNIVERS, and NBBLOCK, which are all mostly futuristic-looking designs. In 2008, they added the beautiful 6-weight (35, 45, 55, 65, 75, 85) NBGrotesk family (+Mono, +Mono Stencil), also by Stefan Gandl. In the Neubau series, we also find the gorgeous didone display typeface NB Antiqua Nero (+Italic), NB Antiqua Roman, Antiqua Libro, and NB Typewriter.

    NB Architekt and NB Architekt Neue (2015) pay tribute to blueprint typefaces used during the Letraset era. The typeface is a classic modern monoline monospace that was originally designed by Gandl in 2002 and named NB55RMS.

    Neubau made a concerted effort in the Akzidenz Grotesk genre. The classical AG became the starting point for the development of Neubau's distilled grotesque NBGrotesk (2008)---a strongly restricted, grid-based, brutally honest and optically non-corrected mono line type system comprising 28 styles. An optically balanced version of NB Grotesk's skeleton resulted in Neubau's popular NB International (2014) type system paying homage to the "international style" era. Coming full circle with NB International's conceptual successor---NB Akademie---(2016-2020) is a more distinctive and refined follower inspired by the studio homegrown Berlin influences. The in house, non-retail and beta versions of NB Akademie are called NB National. Gandl writes: The typeface's infuences and naming go way back to legendary German type designer Ferdinand Theinhardt and his revolutionary typeset Royal Grotesk (1880) designed for the publications of the Königlich-Preußischen Akademie der Wissenschaften zu Berlin. After selling his own type foundry Ferd. Theinhardt Schriftgiesserei Berlin Theinhardt's Royal Grotesk became internationally successful as Berthold's Akzidenz Grotesk (1896)---the godmother of all modern grotesque typefaces.

    Other typefaces: NB Plan Pro, Postmates (2017).

    Alternate URL. Yet another URL. [Google] [More]  ⦿

    Neue Didot Schriftgiesserei

    Defunct foundry. [Google] [More]  ⦿

    Neufville Digital

    Fundicion Tipografica Neufville SA is a foundry based in Barcelona, headed by Wolfgang Hartmann, which writes about itself: Neufville Digital produces and markets the fonts from Fundicion Tipografica Neufville, Bauersche Giesserei, Ludwig&Mayer, Fonderie Typographique Française and Fundicion Tipografica Nacional.

    List of typefaces. MyFonts link.

    Fonts include a newly digitized Futura family (Paul Renner, 1928), in the Bauer Classics collection.

    In the collection Grafia Latina, we find Diagonal ND (Antoni Morillas, 1970), Uncial Romana (Ricardo Rousselot, 1996), Pascal ND (José Mendoza y Almeida, 1959), Sully-Jonquieres (José Mendoza y Almeida, 1980), Fidelio ND (José Mendoza y Almeida), Llerda ND, Paris ND, Flash ND and Arabescos ND, all by Enric Crous Vidal (1945 to 1953). They write: Within the GRAPHIE LATINE collection Neufville Digital releases the works of famous typographers like José Mendoza y Almeida, René Ponot, Tomas Vellvé, Antonio Morillas, Ricard Giralt Miracle, Ricardo Rousselot, Juan Trochut and others. The BAUER CLASSICS collection includes the many typefaces from the Bauersche Giesserei. The first fontfamily available is FUTURA that has been completely digitized anew to meet today's professional demands. Many other fonts are to follow. Neufville Digital produces and markets the fonts from Fundición Tipográfica Neufville, Bauersche Giesserei, Ludwig&Mayer, Fonderie Typographique Française and Fundición Tipográfica Nacional. You will certainly be familiar with famous typefaces like Futura, Bauer Bodoni, Weiss, Folio, Imprimatur and many others from the rich type founding era. Neufville Digital digitizes them from their original artwork using state of the art technology and makes them available in compliance with the latest standards.

    Among the fonts to be reissued, we cite a few.

    From Ludwig&Mayer: Allemannia Fraktur (1908), Allright (1936), Altenburger Gotisch (1928), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Diplomat (1964), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Krimhilde (1934), Kupferplatte (1950), Largo (1939), Magnet (1951), Wolfram (1930). From FT Neufville: Antiqua (1850).

    From FT Nacional: Astur (1940), Belinda (like 15th century Spanish calligraphic writing, with fine curved serifs on the tips of the ascenders), Cervantes, Elzeviriano, Hispalis (1940), Imperio (1949), Inglés (1940), Interpol (1950), Numantina (1940; for a digital version, see Nick Curtis's Numancia NF (2011)), Radar (1940), Romana, Victoriana (1940).

    From the Bauersche Giesserei: Astoria (1911), Azurée (1908), Baron (1911), Baroness (1911), Baskerville-Antiqua (1923), Batarde (1915), Bauer Bodoni (1926), Fette Antiqua (1850), Lithographia (1895), Manuskript Gotisch (1899), Noblesse (1908), Steile Futura, Stephanie (1890), Times-Antiqua, Venus (1907).

    From FT Française: Bizerte, Italienne, Romantiques (1937), Stylo (1937). Their Catalogo de tipos (1978) shows many other typefaces too, so, with some repetition, we find the handwriting/script typefaces Vigor, Sinfonia, Privat, Sirena, Maxim, Litografia, Leyenda (Legend), Bernhard Cursive and Adagio, the federal money typeface Azuree (1908), the typewriter family Ibematic, OCR A-1, the blackletter typeface Gotico (or Manuskript-Gotisch), the outline fonts Royal and Columna, the checkbook typeface Litho, the display typefaces Nobleza and Carnaby, the Egyptian family Epoca (=Beton), as well as Homera (=Hyperion), Corvinus, Volta and Impressum. Galaxy ND (2006) is a mysterious, organic and quite useless typeface.

    Go here for a description of the old printing machines.

    Check also the Fundicion Tipografica Bauer in Barcelona and Visualogik Technology and Design in the Netherlands.

    Showcase of Neufville's fonts. Neufville Digital's typeface library. Neufville Digital's collection of fonts:

    [Google] [MyFonts] [More]  ⦿

    Neutura
    [Alexander McCracken]

    Neutura was formed in 2003 by Alexander McCracken, who is located in San Francisco. His typefaces have a large geometric component: Aerion, Aperture (slab serif family), Autobahn, Belfast (octagonal black-bowled headline face), Cerie Outline, Children (paperclip face), Circle (avant garde style), Deuce (ultrafat), Deuce Round (fat and counterless), Estrella (2011, a high-contrast fat vogue didone titling face), Frank (fat and counterless), Frank Stencil, Frank3, Gulden Draak (blackletter), Interpol (texture face), Magnum (2006, for Neo2 magazine: free), Maisalle, Neutrino (ultra-fat futuristic beauty, 2006), Neutura (clean geometric sans family), Orange (geometric hairline sans), Orange Round, Rabbit, Register (architectural sans), Royale (fat decorative didone), Sabre (octagonal), Sarcophagus (very original blackletter), Slayer Heavy, Spade (fat and counterless), SPQRExlight, Syrup (paperclip font), Vendella (2011), Wafer (ultrafat). At T-26, he published Children (2006, a paperclip font), Deuce and Sarcophagus.

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

    Nev Petkova

    Sofia, Bulgaria-based designer of the didone titling typeface Omantala (2017) an the thin Cyrillic sans / stencil typeface Kinetika (2017). [Google] [More]  ⦿

    Nevsky Type
    [Artem Nevsky]

    Russian designer of the crisp fashion mag sans font Miracle (2020) and the free fashion mag serif typeface New York (2020).

    Typefaces from 2021: NT Wagner (a round elephant feet serif in the Windsor genre), NT Josefine (a free didone descendant), Harmony (a didone modified for use in fashion mags). [Google] [More]  ⦿

    New Fonts
    [Charles Nix]

    New York-based foundry run by Charles Nix (b. 1967, Ohio), who studied tye design at The Cooper Union. Charles Nix is professor of Typography and Book Design at the Parsons School of Design, New York. His foundry was helped by Wong Chee (digitization) and Stefano Arcella (ornament design). Fonts: Melaka, Batak, Nani, Tuk Tuk, Christmas (a softened blackletter with Christmas ornaments), Nix Rift (serif: the official typeface of the Cooper Union), Huta Bulon, Samosir, Island Special. Batak became ITC Batak (2002).

    Charles Nix digitized the Augereau family for George Abrams in 1997 and manages the Abrams Legacy Collection, which also offers Abrams Venetian.

    Typefaces in the New Fonts collection are derived from a rich variety of sources---from 15th century Spain to 21st century Sumatra. The Sumatran Series of fonts is inspired by hand-painted letterforms from commercial signage in the tiny village of Tuk Tuk on the island of Samosir in Northern Sumatra. The series consists of six typefaces: Batak, Nani, Tuk Tuk, Samosir, Melaka, and Huta Bolon.

    In May, 2015, Charles joined Monotype as a Senior Type Designer, and later became its Type Director. His work at Monotype:

    • In 2017, Charles Nix designed the free typeface family D-DIN that is based on DIN 1451. He writes: Datto uses a DIN-font as primary corporate font and commissioned Monotype to create several styles, for internal use and to be open sourced under a SIL OFL v1.1 license. Nix then went on to design these for Monotype, and thus for Datto Inc.
    • In 2018, he published Hope Sans (Monotype), which mixes retro sans styles with 1970s playfulness. Hope Sans won an award at the Type Directors Club's Type Design Competition 2019.

      In 2018, Monotype's Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun co-designed Walbaum, a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.

    • He was part of a team at Monotype that developed Helvetica Now in 2019 at Monotype, together with Jan Hendrik Weber and others. Monotype writes: Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 48 fonts, consisting of three distinct optical sizes: Micro, Text and Display.
    • Ambiguity (2019, Charles Nix for Monotype). This large typeface family comes in five distinct subfamilies, Tradition, Radical, Thrift, Generous and Normate.
    • Helvetica Now Variable (2021). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles.

    FontShop link. Klingspor link.

    View Charles Nix's typefaces. Fontsquirrel link for D-DIN and Datto. [Google] [MyFonts] [More]  ⦿

    New Plastic Weapons

    In January 2004, Nick Shinn reviews the best radical designs of the 21st century: Lingua (Eric Olson), Sebastian (Frantisek Storm), Dalliance (Frank Heine), Lux Sans (Greg Lindy), Infinity (Chester and Rick Valicenti), Panoptica (Nick Shinn), Unibody (Underware), Klaxon (Rian Hughes), Perla (Gareth Hague), Alfon and Giacomo (both by James Montalbano). Nick does not like Fago, Info, Zine and Section, labeling them exercises in orthodoxy. On the other hand, he calls the playful didone Perla "modern jazz". Of Sebastian, he says that it "conveys the exotic glamour of impossible worlds." [Google] [More]  ⦿

    New Tropical Design Studio
    [Tom Cunningham]

    Byron Bay, Australia-based designer of these fonts in 2018: Modernist Milk (stencil), Signwriter, Cloak (stencil), Stamp & Co, Merchant (vintage sans), Big Show (layerable), Sea Spray (experimental minimalist stencil).

    Typefaces from 2019: Farmhouse, Sophillia (an elegant sharp-edged display typeface), Modernica Tropico (a fashion mag titling typeface), Grange (a fine high-contrast fashion font), Dahlia (a mini-serifed font), Sunflora (a fashion font with some linked letters), Rockwell (a wedge serif---it takes a loy of chutzpah to design a typeface called Rockwell that is not a slab serif...), Botanica (an all caps fashion font), Coast & Co, Hunter, Marigold, MariSans, Work & Wear, Avalanche (a warm vintage wedge serif), Kinfolk, Wrangler, Sundays.

    Typefaces from 2020: Salsico, Milkman, Evangelina (a hipsterish fashion mag font), Culture, Commune, Zephyr, Classico, Analogue, Gallery Modern (a sharp-edged display serif), Mattina Sera SVG (a dry brush typeface by Laura Bennett for New Tropical Design), Geomatik (a minimalist sans), Tangerine (a 1970s style display typeface), Sage (a high contrast decorative didone), Monte Carlo (a stylish all caps typeface).

    Typefaces from 2021: Ginger (a romantic and artsy display serif), Silvera (a display serif), Stoned Youth (a disturbing graphic sans), Sign Writer, South Pacific, Grange (an extreme contrast fashion mag typeface), Vineyard (an ornate serif), Raygun Grotesk, Evangelina (a hipster display serif), Cost del Sol, Angelica (a display serif), Seaker (a decorative serif), Palm Springs, Starlight (a decorative serif), Palm Tree Icons (in vector format), Yorker (a decorative serif), Future Classic Sans, Lost Lovers (a boutique font), Sunshower Dreams.

    Typefaces from 2022: Evangelina (a fashion mag typeface), Dark Paradise (serif). Type Department link. [Google] [More]  ⦿

    Newglyph
    [Ian Party]

    Swiss type foundry set up by Ian Party in Lausanne in 2020, with a focus on variable font technology. All newglyph typefaces are variable fonts with three axes of variation: weight, width and contrast. Their initial typefaces in 2020:

    • Atacama. A 90-style garalde.
    • Antarctica. A 132-style neo-grotesque. In 2021, 132 italics were added.
    • Amazonia. A 90-style neo-classic didone.
    • Alaska. A 110-style geometric sans. In 2021, 110 italics were added.
    • Alpaga. A variable sans font family with two axes, boldness and width.
    • Aloha
    • Africa
    • Armada. A display sans.
    • Azaka

    Additions in 2021:

    • Azteca. A didone-inspired typeface with graffiti influences.
    • Angela. An ultra-condensed display font to be used for large lettering.
    • Baikal. A grotesk Swiss sans serif with italics, 132 fonts in total.

    The team:

    • Ian Party (founder, CEO, design director).
    • Daniela Retana (founder, custom fonts director).
    • Dennis Moya Razafimandimby (founder, creative director).
    • David Massara (graphic and type designer).
    [Google] [More]  ⦿

    Nick Cooke
    [G-Type]

    [MyFonts] [More]  ⦿

    Nick Curtis
    [Nick Curtis: Typefaces from 2012]

    [MyFonts] [More]  ⦿

    Nick Curtis: Typefaces from 2012
    [Nick Curtis]

    Typefaces made by Nick Curtis in 2012:

    • Capital Ideas 1 NF features numbers and uppercase letters rendered in nixietube displays, along with an alphabet patterned after Milton Glaser's Hologram. Capital Ideas 2 NF features K. H. Schaefer's Versalien (1927, Schriftguss AG) and Walter Haettenschweilers Breitfette Unziale (1958).
    • Iso Metrix NF: Based on Isonorm, developed by the International Standards Organisation in Switzerland in 1980.
    • Koralle NF: Based on a crisp monoline sans typeface in the 1915 catalog of Schelter & Giesecke.
    • Recepts NF: a futuristic typeface with a neo-retro twist, based on the logotype for the 1990s tank-warfare videogame for the Mac, Spectre.
    • Rio Rita NF: based on lettering by Samuel Welo.
    • Spiffily NF (2012): a fat didone based on John Pistilli's Pistilli Roman (VGC, 1970s).
    • Trochilida NF: Based on the multiline open typeface style caps typeface by Albert Auspurg (1915, Schelter & Giesecke), which was originally called Kolibri.
    • Welo Casual NF: based on Samuel Welo's work.
    • Jacopo Mediaeval NF (2012). Based on Jakob Erbar's Erbar Mediaeval (1914, Ludwig & Mayer).
    • Easy Eights NF (2012). A revival of the octagonal typeface Octic (1884, Palmer & Rey).
    [Google] [MyFonts] [More]  ⦿

    Nick Shinn
    [Shinn Type]

    [MyFonts] [More]  ⦿

    Nicki van Roon

    Graduate of The School of Visual Communication in Haderslev, Denmark.

    Aarhus, Denmark-based creator of the didone display typeface Corydon (2012). [Google] [More]  ⦿

    Nico Inosanto
    [Nootype]

    [MyFonts] [More]  ⦿

    Nico189

    Located in Milan, Italy, this graphic artist is the author at Behance of Bodoni tree (2009). [Google] [More]  ⦿

    Nicolas Szernek

    Nicolas Szernek is a graphic designer in Curitiba, Brazil. He created the high-contrast didone titling typeface Fiction Is Forever (2010). [Google] [More]  ⦿

    Nicole Cichovski Begot

    Sao Paulo-based designer of Moonlight (2014, a didone typeface). [Google] [More]  ⦿

    Nicole Santos

    Porto, Portugal-based designer of the high-contrast didone fashion mag typeface Concha (2012-2013). This typeface was created during her studies at ESAD in Matosinhos. [Google] [More]  ⦿

    Nicolette Seeback

    New York City-based designer of Stamp Type (2016). This is a physical derivation of a didone font, as she explains: This type was created by drawing designs into the thick strokes of Bodoni letters. I transferred the designs onto linoleum and carved stamps. I then used black acrylic paint to stamp onto paper. The results are imperfect and messy. Behance link. [Google] [More]  ⦿

    Nina Miranda
    [Miratype]

    [MyFonts] [More]  ⦿

    Niram Factory
    [Tharique Azeez]

    Niram Factory is run by Tharique Azeez, the London, UK and Sri Lanka-based designer of the commercial (originally, free) hand-drawn outline font Verumai (2014), the hand-drawn Solvanam (2014), the handcrafted Melampus (2014), the hand-drawn slab serif Amutham (2014), Aaram (2014, a monoline circle-based sans family), Rain & Neer (2014), the hand-drawn Ecstatic (2014), Nimiran (2014), Neythal (2014, free), Neythal Tamil (2014, free), Padagu (2014, a poster font), Besty (2014, a display typeface family), and the shaky hand font Rise Star Hand (2014). In 2011-2013, Kosala Senevirathne, Siva Puranthara, Lasantha Premarathna and Tharique Azeez co-designed the free stencil typeface family Post No Bills (Fontsquirrel link).

    Typefaces from 2015: Chaseera (a display sans with pizzazz), Neythal (free Comic Sans style Latin / Tamil typeface), Marziona (a gorgeous heavy brush font), Silgoumy (connected monoline script), Goldes, Tamil Didot.

    Typefaces from 2016: Icings (a free handcrafted typeface), Pavanam (a free Google Font for Latin (based on Vernon Adams's Pontano Sans) and Tamil; Github link), Kavinavar (a free Google Font for Latin and Tamil, whose slanted letterforms for Tamil are inspired by a manuscript by Kavivanar M. A. Azeez (1948-2002), a Tamil poet and educator who lived in Sri Lanka).

    Typefaces from 2017: Sofeeda (a free handcrafted typeface).

    Typefaces from 2021: Stick No Bills (a Latin / Sinhala font by Kosala Senevirathne, Siva Puranthara, Lasantha Premarathna and Tharique Azeez, Google Fonts, Mooniak).

    Dafont link. Fontspace link. Creative Market link [for buying his typefaces]. Behance link. Open Font Library link. Home page. Fontsquirrel link. [Google] [More]  ⦿

    No Bodoni Typography
    [George Everet Thompson]

    Glenview / Chicago, IL-based foundry run by George E. Thompson (b. 1945, Chicago). George Thompson teaches at the Art&Design Department of Columbia College Chicago since 1986: He has a deep involvement in letterpress printing and co-founded Columbia's private press, the Calhoun Press, named for John Calhoun, the first printer in Chicago. He also founded his own Spurius Press, devoted to publishing matters of typography and named for Spurius Carvillus, the ancient Roman credited with designing the letter G.

    Expensive but high quality typeface families designed by Thompson include Estiennium (quirky humanist sans), Isbellium (a sans serif version of Dick Isbell's Americana type, the last type cut in metal by American Type Founders), Nirvanium (wedge serif), ITC Oldrichium (2011, angular lettering in the style of Oldrich Menhart), Parmatype, Parisette, Marseillette, Lyonette, and Berlinette (2001).

    MyFonts is selling these fonts now: Claudium NB (2002), Crowbird Pro Bold (2012), Dog Butter (2004, a curly monolinear upright script with small x-height; followed by Dog Butter Pro in 2021), the eerie didone font Floridium NB (2002, based on wood type from the 1800s), Ms Kitty NB (2002, a fun face), Parma Typewriter NB (based on Bodoni), and Tinman Pro (2011).

    In 2013, George published the dingbat typeface Ovoid Two Zero, ITC Oldrichium.

    FontShop link. Klingspor link. Behance link.

    View the No Bodoni typeface library. [Google] [MyFonts] [More]  ⦿

    No Hype For Me
    [Renato Forster]

    As a reaction against HypeForType and other hyped up outfits, No Hype For Me (Renato Forster) in Sao Paulo, Brazil, is bent on giving away fonts for free. Type designs from 2008: Wolf, Fulk (upright connected script).

    In 2009, Forster made the all caps sans typeface NoType, and made an organic didone, Voor. These typefaces are free.

    His lettering.

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

    Nobi Kashiwagi

    In 1995, Nobi Kashiwagi moved to Brooklyn, New York City, from Japan to study photography at Parsons School of Design where she graduated with a Bachelors in Fine Art. Nobi has been working at the acclaimed fashion-advertising agency AR New York, she 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, she designed a lowercase for Trajan. In 2017, she tweaked Avant Garde and called it Avant Garde Grotesque. In 2018, he published the text typeface family Wintour, and in 2019 the text typefaces Saggio and France. [Google] [More]  ⦿

    Noer Hadi
    [Ali Hamidi]

    Serang, Indonesia-based designer (b. 1992) in 2019 of these free typefaces at his own type foundr: Faester, Lafiatika (script), Dafiati (brush script), Almanar (Arabic emulation), Ngosngos Sans, Carlos (script), Junaedi (a signature script), Mini Moment, Ovalis, Commemorate, Digress (a brush font), Digital Signature, Shallows (a dry brush script), Dear Rialy (a free signature font), Bacoter (dry brush), Anndanlusia, Upil Kering, Kunette Kid, Adhelpia, Belinda, Seneca (a block sans typeface), Thunaedy, and Rikailu.

    Retail typefaces from 2019: Rosmatika (a decorative didone).

    Typefaces from 2020: Galloped, Mango Drink, Jet Brush, Cardias, Fearlessly, Gultan Bonte, Qaphiten, Redotika, Onagri.

    In 2020, he founded Brithos Type with Abdullah, where he published additional typefaces such as Bray Notes (2020). [Google] [MyFonts] [More]  ⦿

    Nohamad Foda
    [Fo Da]

    [MyFonts] [More]  ⦿

    Non Foundry
    [Jona Saucedo]

    Designer in Monterrey (and before that, Torreon), Mexico, who created the grid-based compass-and-ruler typeface Monoriel (2013), and the sans typefaces Odd (2018) and Non Sans.

    From 2017-2019, Jona Saucedo developed the fashion mag typeface Non Monaco.

    In 2019, he released Non Ophelie Display and in 2020 Non Natural Grotesk. Behance link for Jona Saucedo.

    Typefaces from 2021: Non Boek Display (a modernized high-contrast didone).

    Type Department link. [Google] [More]  ⦿

    Nootype
    [Nico Inosanto]

    Nootype (Nico Inosanto) is a Swiss type foundry in Neuchatel. Typefaces made in 2013 include Merry Scriptmas (free didone), the geometric sans family Radikal, and Selfico, which is characterized by a symmetric g and y. Selfica (2013) is the sans companion of Selfico.

    Fitigraf (2013) is a mix between a classical serif font and graffiti street art.

    Agilis (2013) is a free text typeface with bulging glyphs.

    Helia (2013) is a 16-style sans family. Helia Core (2013) is a companion typeface.

    Dorica (2013) is a 14-style sturdy stocky serif family optimized for small point sizes.

    Felice (2013) is a classic text family that defies classification.

    Retrostar (2013) is a sans typeface that mixes some humanism wirth art deco.

    Typefaces from 2014: Kleide (a scriptish typeface family).

    Typefaces from 2016: Primera (a wide sans), Stratic Script, Solanel (sans), Devinyl (a potpourri of all caps styles with Inline, Acier, Fold, Inline, Line, Vinyl and Stencil versions), Rubiesque (a mix of humanist and grotesque elements in a sans), Rubis (the serifes companion of Rubiesque).

    Typefaces from 2017: Solanel (sans).

    Typefaces from 2018: Qiproko (stencil).

    Typefaces from 2019: Bric Sans (octagonal; a college font family), Nicolette Script (by Nico Inosanto and Nicky Laatz), Bricbrac (octagonal and layered).

    Typefaces from 2020: Strikt Sans (an 8-style curvy sans), Lazare Grotesk. [Google] [MyFonts] [More]  ⦿

    Norddeutsche Schriftgießerei

    Berlin-based foundry established in 1921 by Johannes Wagner together with his brother Ludwig and his brother-in-law Willy Jahr. That business moves to Ingolstadt in 1949. Their metal types included Krystal-Grotesk, Grotesk Pfeiler (1927: a tall radio font), Reporter (Carlos Winkow, 1938), Kurmark (1934, blackletter; revived by Gerhard Helzel; it was also published originally with Wagner & Schmidt) and Kabinett-Fraktur (1938, also called Unger-Fraktur as it is based on work of Johan Friedrich Unger; Unger-Fraktur also made it to Berthold, ca. 1925), and Sütterlin-Schreibschrift (1939). [Google] [More]  ⦿

    Norm
    [Dimitri Bruni]

    Norm is a graphic design studio in Zürich, founded in 1999 by Dimitri Bruni (b. 1970) and Manuel Krebs (b. 1970). In 2005, Ludovic Varone (b. 1977) joined NORM. NORM took responsibility for the corporate identity of Swatch watches (2010-2015) and for signage at the SANAA designed Musée du Louvre-Lens (2010-2012). In 2011, they were awarded the Swiss Grand Prix for Design. They designed

    • Normetica (1999, at Lineto; now retired). Monospaced.
    • Prima (1999, at Lineto; now retired).
    • LL Simple (1999-2000). Monospaced. A redesign with the hep of Giliane Cachin is in the works.
    • LL Replica and LL Replica Mono (2008). A gridded sans family.
    • LL Riforma (2012-2017).
    • LL Purple (2006). A didone family by Aurèle Sack and Norm.
    • Tetra B (1999). A monospaced typeface.
    • Regular (1999, Binnenland). It was extended later by Nik Thoenen.
    • Corporate typefaces by Norm include Omega and Swatch.

    Typedia link. Lineto link. [Google] [More]  ⦿

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

    Charles Daoud is a graphic designer and art director in Laval, near Montreal. He was born in Montreal in 1980. He set up Charles Daoud Type, or CD Type, in 2013 and renamed his type foundry North Type in 2018. His typefaces include:

    • Dense (2013). A free geometric sans serif typeface family.
    • Dual (2014). A geometric sans with many features that will make hipsters happy. Dual 100 is one of the finest hairline sans typefaces of the recent past. Dual 300 is free.
    • Locke (2016). A stunning stylish slab serif typeface family.
    • Quartier (2011). A sans headline typeface.
    • Radio Canada (2017). A custom corporate humanist sans typeface for the French TV network in Quebec, co-designed by Charles Daoud and Alexandre Saumier-Demers of Coppers and Brasses. Google Fonts link. Github link.
    • Voga (2014). A stylish high-contrast skyline condensed didone with a free Medium weight.
    • Grand (2018). He writes: Inspired by old school sign painting techniques, Grand is a display condensed sans serif that isn't shy to put its foot down. Regular and Italic are free.
    [Google] [MyFonts] [More]  ⦿

    Notdef Type
    [Diego Maldonado]

    A disciple of Tony de Marco, this Sao Paulo, Brazil-based designer has worked on digital magazines in Brazil such as Elle (fashion), Audi Magazine (lifestyle) and Trip (lifestyle). He set up Just in Type with Tony de Marco. Later he started his own foundry, Notdef Type. His typefaces:

    • The rounded avant garde typeface Garoa (2011, Just in Type). Codesigned with Tony de Marco.
    • The free font Garoa Hacker Clube Bold was published at OFL in 2013. They write: Inspired by the 70s design, specially on Herb Lubalin's work, the typeface Garoa is a rounded mechanical display font without optical compensations, ideal for large bodies.
    • In 2013, he created the informal children's book typeface Sapeca, a script full of ligatures and alternates.
    • The connected spaghetti-inspired script typeface Pasta Script (2015, Just in Type).
    • Sorvettero (2015). Designed with Tony de Marco, Sorvettero is a sans, layered and unicase typeface inspired by some wood signs in Descansapolis, a neighborhood of Campos do Jordao. It won an award at Tipos Latinos 2016.
    • Befter Sans (2016). A humanist sans typeface family with flared strokes.
    • Suit Sans (2016, Just in Type), Suit Sans STD (2017, Just in Type).
    • Tupa (2017, a squarish techno titling sans with interlocking ligatures).
    • Couturier (2018, Latinotype). A didone typeface family with several surprises (f and y, for example) and possible applications in fashion mags. Followed in 2019 by Couturier Poster.
    • Railroad Text (2018). A custom sans for Eisenbahn beer.
    • ND Type One (2019). A sans family.
    • Wright (2020). A 48-style art deco sans family with small x-height and wide letters for headline or display use.
    • Galadali (2021). A confident flared-terminal serif in six styles.
    • Nd Harquied (2021). A 7-style hipster sans with deep ink traps meant as a Halloween font.
    • Nd Tupa Nova (2021). An 11-style (+variable) squarish font family with support for both Latin and Cyrillic. In this slightly constructivist genre, one of the best fonts around.

    Behance link. Old URL. Creative Market link for Just in Type. [Google] [MyFonts] [More]  ⦿

    Nova Type Foundry
    [Joana Maria Correia da Silva]

    Graduate of the University of Reading in 2011, who was born in Porto, Portugal. Joana worked as an architect and graphic designer in Portugal. She currently lives in the UK and/or Porto, Portugal. Since 2011, she teaches type design at ESAD (Escola Superior de Artes e Design).

    In 2010, under the supervision of Dino dos Santos at ESAD, Joana designed an unnamed bastarda / chancery typeface that is based on originals by Francisco Lucas.

    Creator of the script typeface Violet (2011).

    Artigo (2011) is an angular type family for Latin, Hindi and Greek that was created during her studies at Reading. Artigo won Second Prize for Greek typefaces at Granshan 2011. It also won an award at TDC Typeface Design 2018. In 2017, Ndiscovered published Artigo Global and Artigo Pro. Artigo Display followed in 2018. In 2020, Nova Type Foundry republished Artigo, Artigo Display.

    In 2012, she published the didone text typeface Cantata One at Google Web Fonts. Quando (Google Web Fonts) is a serifed text typeface inspired by brushy handwritten letters seen on an Italian poster from the second world war.

    In 2013, at MSTF Partners, a Portuguese consultancy, she created Writers Font (2013). This is a script typeface by Joana Correia that combines the handwriting of famous Portuguese authors. For example the A is by José Luis Peixoto, the B by José Saramago and the C by António Lobo Antunes. Link with the story.

    Still in 2013, she showed an unnamed unicase sans typeface and participated in the Canberra typeface competition.

    In 2014, she made the round connected script typeface Jasmina FY (Fontyou), the Google Web Font Karma (for Latin and Devanagari: Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. It was published by the Indian Type Foundry; see also Open Font Library), and Canberra FY (at Fontyou: a short-serifed typeface family).

    In 2015, Adrien Midzic and Joana Correia co-designed Saya Serif FY. Still in 2015, she published the humanist sans typeface family Vyoma at Indian Type Foundry. Amulya (2015-2021) is another humanist sans, now in 8 styles with two variable fonts, published by Correia at Indian Type Foundry's Fontshare.

    In 2016, Joana Correia and Natanael Gama co-designed the Latin / Tamil typeface Arima Madurai (free at Google Fonts). Their Arima Koshi (2016) covers Tamil, Malayalam and Latin.

    In 2016, Joana Correia and Natanael Gama co-designed the connected typeface Tidy Script at Indian Type Foundry.

    In 2017, Joana published Laca Pro: Laca is a semi-sans serif inspired by retro Portuguese packaging of soaps. Laca is the Portuguese word for hairspray. Free download. Laca Text (2018) is a sans serif version of Laca. For Nova Type versions, see Laca (2019) and Laca Pro (2020). The latter versions cover Greek and Cyrillic as well.

    In 2018, Joana published the soft script typeface Lemongrass: It was inspired by brush lettering and the sea and the strong winds that exist in Porto.

    At Future Fonts, she released the didone typeface Alga (2019), in which ball terminals are replaced by genuflections.

    She was the principal designer of the sans family Varta (2019, Sorkin Type), which is available from Google Fonts and Github. Assistance of Viktoriya Grabowska and Eben Sorkin.

    Typefaces from 2020: Loretta (with Abel Martins; see also Future Fonts; Loretta is a low contrast text typeface that comes in 12 styles), Loretta (Future Fonts: a low contrast text typeface in 12 styles; by Joana Correia and Abel Martins).

    Interview in 2021. Behance link. Another Behance link. Old home page. Joana Correia link at Behance. Future Fonts link. Type Department link. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

    Nuno Alves
    [UFF Portugal]

    [MyFonts] [More]  ⦿

    Nurron Shodiqin
    [Nurrontype (was: Neuron Neuron, or: Neuron Type)]

    [MyFonts] [More]  ⦿

    Nurrontype (was: Neuron Neuron, or: Neuron Type)
    [Nurron Shodiqin]

    Bandung, Indonesia-based designer of the tuxedoed art deco typeface Marcopolo (2019), the fashion mag typeface Prague Display (2019), the ball terminal extravaganza Brand (2019) and the inline Victorian typeface Larson (2019).

    In 2020, he designed the Victorian display typeface Migaela, the decorative serif typeface Nakilla, the curly decorative serif typeface Brasika Display, the Victorian typeface Sign Shop (with Pieter Bielous), Gentlemen Revival, the decorative didone typefaces Glinde and Lastone, and the octagonal typeface Mars Outline.

    Typefaces from 2021: Barbra (reverse stress, psychedelic), Longstride (a flared almost uncial typeface), Longstride (a flared almost uncial typeface), NT Tonight Show (a 12-style flared display family; in this font, Shodiqin attempted to instill a showbiz atmosphere as he admits being a fan of David Letterman's Tonight Show), Aschere (a psychedelic display typeface), Molen (a decorative serif), Molenilo (a medieval display typeface).

    Typefaces from 2022: NT Brick Sans (pixelish).

    Type Department link. [Google] [MyFonts] [More]  ⦿

    Occupant Fonts
    [Cyrus Highsmith]

    Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line. In 2016, he set up Occupant Fonts as part of the Type Network.

    In September 2017, Morisawa announced the establishment of "Morisawa Providence Drawing Office" in Providence, RI, as its new base for developing Latin fonts. Cyrus Highsmith, who had served as a designer for Font Bureau for many years, and who started Occupant Fonts in 2015, has been appointed as its creative director. By this move, Morisawa acquired Occupant Fonts.

    Author of Inside Paragraphs, written for a foundational typography course. Matthew Carter writes: Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that's not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language, and a legible typeface for the text.

    Interview at MyFonts.

    Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Charles Loupot's St. Raphael poster from 1948), Eggwhite (2000-2018, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic; see also Benton Sans Wide, 2013), Occupant Gothic (2000-2018, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.

    His Amira (Font Bureau) and (Spanish-feeling) Zocalo (Font Bureau) won awards at TDC2 2004.

    At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.

    His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.

    Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco. See also Quiosco Display.

    In 2006, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli. Scout is a utilitarian sans serif series that was followed in 2013 with Scout RE---four styles optimized for screen text and small sizes in print. In 2016, he added Scout Text.

    In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007 until 2010, he developed Salvo Sans and Salvo Serif (Font Bureau), which were originally called Boomer Sans and Serif. They were released in 2011.

    In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic typeface that dashes off decorative blurbs, signs, and headlines with a lively, angular zest), Heron Sans and Heron Serif at Font Bureau, which writes: Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith's warmth and energy.

    In 2013, he published Icebox at Font Bureau---a font that is based on a set of magnetic letters found at a variety store.

    Typefaces from 2014: Tick and Tock, two stencil styles.

    Typefaces from 2015: Antenna Serif.

    Typefaces from 2016: Gasket, Gasket Unicase, Gasket Uncial.

    Typefaces from 2017: Allium.

    Typefaces from 2018: Allium Text.

    Speaker at ATypI 2013 in Amsterdam: Don't design web fonts Its theme is: The successful type series of the future will be the ones that can move between media. He says that new typefaces should be smarter than the devices that use them.

    In 2015, he received the coveted Gerrit Noordzij Prijs. His illustrations were the subject of an exhibition and a book, both called Products Of A Thinking Hand (Typotheque / KABK, 2018).

    View Cyrus Highsmith's typefaces.

    Klingspor link. FontShop link. MyFonts interview. Old Font Bureau link. [Google] [MyFonts] [More]  ⦿

    Octavo Edition

    Collection of antique printed materials including Giambattista Bodoni's Manuale Tipografico (Parma, 1818), Albrecht Dürer's De Symmetria Partium in Rectis Formis Humanorum Corporum, Libri in Latinum Conversi (proportions of the human form, Nüremberg, 1538), Aldus Manutius's Hypnerotomachia Poliphili, Geoffroy Tory's Champ Fleury (1529). Check out the Alfabeto Figurato (alphabet etching) by Florentine artist Giovanni Battista Braccelli (Naples, 1632), and his wonderfully surprising book Bizzarie di Varie Figure (Livorno, 1624). [Google] [More]  ⦿

    Oddsorts
    [Charles Gibbons]

    Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office. Chuck has partnered with various typefoundries such as Bitstream, Filmotype, Sideshow, Tart Workshop, Device, and Cultivated Mind. The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. Working with Stuart Sandler and Crystal Kluge at Tart Workshop, he developed the method by which their Aya Script delivers its characteristic curlicue ribbons. His types grace book covers, greeting cards, film titles, museum façades, and the seal of the United States Copyright Office. At present, he teaches typography and type design at Tufts University in Boston. In 2015, he set up Oddsorts. His typefaces, in more or less chronological order:

    • Aphasia BT (2000, Bitstream). He writes: A meeting of Byzantine and Art Deco forms, Aphasia began as a series of handwritten captions to accompany drawings in the early 1990s.
    • At Oddsorts, he published Bradley Wayside and Bradley Chicopee in 2015: Begun in 2000 as a wedding gift for the designer's wife and used privately for years, they're finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments.
    • In 2014, Charles Gibbons and Cindy Kinash co-designed Ciao Bella (first published at Cultivated Mind, and in 2016 at Oddsorts). It features a handcrafted copperplate script style, and several flower ornaments about which they write: The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. What's truly innovative about Ciao Bella's ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning---even most word processors.
    • Full Moon Suite (2001, Bitstream). Co-designed with Mary Trafton. Includes FM Black Cherry Moon, Alternate, Ligature, and Doubles. FullMoon BT won an award at the TDC2 2003 competition.
    • Fleischmann BT Pro (2002). A family heralded by the typophiles as outperforming the DTL Fleischmann.
    • Various Filmotype fonts for Stuart Sandler's Filmotype project. In 201, he designed the identical lively freestyle typefaces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero. The renaming was done under various scenarios of pressure. In 2011, he also made the signage typeface Filmotype Atlas. In 2012, he created the art deco fat didone typeface Filmotype Rose, and the fine brush letter signage typeface Filmotype Havana. Filmotype Adonis (2012) is a clean hand-drawn typeface. Filmotype Royal (2012) is a transitional typeface family. Typefaces from 2013: Filmotype Orlando (cartoonish), Filmotype Parade (cartoonish), Filmotype Zeal (a formal almost-copperplate script). In 2014, he added Filmotype Western (an italian, or reversed stress, typeface based on a Filmotype design from 1955), and in 2015 Filmotype Wand. Filmotype Maxwell (2019) is a revival of an interlocking Filmotype font from the 1960s.
    • Greenleaf (2019).
    • Local Market (2014). With Cindy Kinash. A hand-drawn collection of typefaces.
    • True North (+Extras, +Textures: a vintage letterpress emulation set of fonts designed for posters and banners), 2014-2015. Done together with Cindy Kinash.
    • Winooski (2015) is a fun cartoon typeface.

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

    Ofir Shavit
    [FreeFonts4All]

    [More]  ⦿

    Ogentroost
    [Diederik Corvers]

    Ogentroost is the typographic wing of Dutch corporate identity designer Diederik Corvers, who is located in Dordrecht near Rotterdam, where he runs Klaar Ontwerpen.

    He made these corporate identity typefaces: Thoth, Quattron, 123Interim, Ogentroost (1993-2013, an italic for posters, and an accompyanying humanist sans), Durertype Capital and Digital (1992-2012), Export (2002: a rounded stencil), Together (1997, a script), CrossWord (another stencil), Suomi (2004, an elliptical sans), Suomi Slab (2005). The Suomi Ultra weight is free.

    Early typefaces include Cross (2003, a stencil type), Landvast (2006), Ogle (2006, a monospaced typeface), Oldskool Black (2007, a fat poster typeface), Paintstripper (2010, a piano key stencil face), Rule (2011, a gothic with humanist traits).

    Typefaces from 2012: Ancona, Beep Beep (an experimental textured typeface), Novus (2012-2013, a didone based on the logo he made for the Dutch National Television news show Nieuwsuur).

    In 2014, he published Serious Sans, the grown-up brother Comic Sans never had. The limited character version of this font is free. The full typeface is at MyFonts.

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

    Okay Type
    [Jackson Cavanaugh]

    Jackson Showalter-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 Sotch Roman / Baskerville / didone family that won an award at TDC 2012.

    In 2016, he was asked by Mac Lewis, artistic director at Playboy, to design a new headline typeface for the magazine. Cavanaugh designed a heavy slab serif for the occasion.

    In 2019, he released the ultra-black typeface family Okay. [Google] [MyFonts] [More]  ⦿

    Olcar Alcaide
    [Eurotypo]

    [MyFonts] [More]  ⦿

    Oleg Matison

    Russian designer of the free Latin / Cyrillic didone typeface Elisabethische (2018). It is a revival of the Jelisawethinskaja Lehmann-Garnitur (1904), with modern additions such as the rubel sign and proper German ß ligatures. Home page. [Google] [More]  ⦿

    Oleg Pospelov

    Saint Petersburg, Russia-based designer of the free didone typeface Oranienbaum (2012), which was produced under the art directorship of Jovanny Lemonad. Google Web Fonts link. [Google] [More]  ⦿

    Olga Karpushina

    Designer of the Latin/Cyrillic very humanist Private Sans (2010, +Bold) while she was a student at the British Higher School of Art and Design in Moscow. In 2011, she published the free contemporary serif face Lora and Vidaloka (a didone done with Alexei Vanyashin) with Cyreal.

    In 2012, Olga published the 3d display humanist sans stencil typeface Sirin Stencil at Google Web Fonts. [Google] [MyFonts] [More]  ⦿

    Olga Lapko
    [LHFONTS]

    [More]  ⦿

    Oliver Linke
    [Lazydogs Type foundry]

    [MyFonts] [More]  ⦿

    Omaikraf Studio
    [Ardyan Permana]

    Omaikraf was founded in 2013 by Denpasar, Bali-based designer Ardyan Permana (b. 1980). Creator of these typefaces in 2020: Adelaide Sky (a handcrafted display typeface), Merkurius (a retro diner or speed font), Chahna (handcrafted), Kaliquas (handcrafted), Tegal (all caps, bold sans), Phalang (futuristic), and Agni (a medieval font).

    Typefaces from 2021: Seminyak (script), Budapest Girl, Anger Styles, Wrath Styles, Rotterdam (a tall radio font), Surabaya (a decorative condensed ball terminal didone), Phalang. [Google] [MyFonts] [More]  ⦿

    Omnibus Typographi
    [Franko Luin]

    Fonts designed by talented Swedish designer Franko Luin (born in Trieste, Italy in 1941, to Slovenian parents). Luin immigrated to Sweden in 1961. After studying at the Grafiska Institutet during the 1960s, Franko Luin spent two decades as a print designer for Ericsson before becoming independent. In the 1990s he was involved in multimedia and typeface design. In 1996, he founded his own typographic studio, Omnibus Typografi. At some point, he led a course in Web Typography at the Berghs School of Communication in Stockholm. Franko Luin passed away on September 15, 2005, in Tyresö, Sweden. Autobiography. Obituary by Dan Reynolds. Linotype pages on Luin.

    His typefaces, all at Linotype:

    View Franko Luin's typefaces. [Google] [MyFonts] [More]  ⦿

    On the history of sans serif

    Linotype had pages on the history of sans serif ("Grotesk" in German), from its inception in 1816 in England and the early versions of William Caslon and Vincent Figgins (1832), through the Akzidenz Grotesk (1900), Reform-Grotesk (1904) and Venus (1907). [Google] [More]  ⦿

    Once Blind Studios
    [Randy Wilcox]

    Randy and Leisa Wilcox run Once Blind Studios in Nashville, TN, where it moved after first starting in Los Angeles in 2001. They designed the grungy typefaces Rhyolite (2015), Goldfield (2015) and Gold Dust (2015), which were created in the style of ghost town and gold rush lettering. Jerome (2015) is a vintage didone newsprint font.

    Typefaces from 2016: Deadwood (Western, spurred).

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

    Ong Chong Wah

    Born in Malaysia in 1955. His type designs include

    • Mahsuri Sans (Monotype). Characterized by an awkward spiky italic f. Why?
    • Ocean Sans (1993). Designed in 1993 by Chong Wah of Monotype, Ocean Sans is a two-axis multiple master typeface that ranges from normal to extended in width, and light to extra bold in weight.
    • Footlight (1986, Monotype).
    • Abadi (1987, Monotype), a sans serif.
    • Delima (1993, Monotype). A sans serif.
    • Chong Old Style (2009) and Chong Modern (2009), two beautiful sans families: Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor, according to Monotype. It has a bit of the Peignot feel. Chong Old Style is a sans family in the tradition of Goudy Old Style.
    • Bookman Old Style (Monotype). A digital version of Morris Fuller Benton's classic.

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

    Onrepeat Studio
    [Joao Oliveira]

    Onrepeat is the type foundry established by Joao Oliveira (b. 1986) in 2011. Oliveira is (was?) a communication design student at Escola Superior de Artes e Design (ESAD) in Matosinhos, Portugal. 1986. He also freelanced as a designer in Porto before moving to London. His typefaces:

    • Gothular (2011).
    • The 12-style artistic piano key display sans family Bohema (2011).
    • The super-high-contrast didone fashion mag typeface system Port (2013). Port was revisited in 2014 and led to the exquisite 10-style experimental didone typeface Port Vintage.
    • Nympha (2020). In his own words, it is a luxuriously exuberant serif typeface, exuding femininity and glamour.
    [Google] [MyFonts] [More]  ⦿

    Onyx

    Onyx was designed by Gerry Powell for ATF in 1937. It is a modernization of Modern Roman Bold Extra Condensed, and is virtually an extra condensed version of Ultra Bodoni. Mac McGrew: Linotype classifies the typeface with Poster Bodoni, their equivalent to Ultra Bodoni. Onyx Italic was designed by Sol Hess for Monotype in 1939, and is made as mats only by that company. Onyx is also cast by the Amsterdam foundry as Arsis.

    Digital versions include Onyx (Bitstream), Onyx (Monotype), Onyx (Tilde), OPTI Onyx (Castcraft), and Onyx MT (Adobe). In this selection, Bitstream's version stands out because it less condensed and has a round left lobe of the lower case a---not Monotype's squishy "a". View various commercial Onyx typefaces. [Google] [More]  ⦿

    Optimo
    [David Rust]

    Optimo is a Lausanne-based foundry established in 1997 by ECAL graduates Stéphane Delgado, Gilles Gavillet and David Rust. In 1998, they relocated to Geneva. Over the years, the foundry slowly developed a library of classic typefaces available for print, web, and mobile environments. The company publishes original typefaces designed by type designers such as François Rappo, Ludovic Balland, Joost Grootens and Team 77. All Optimo fonts are available exclusively from their web site.

    Their early typefaces included Aerial, Chip, Flexo MM (1998, David Rust), Circuit (2002, David Rust; on the CD in Nathan Gale's type 1 book), Didot Elder (2004, a true revival of a family by Pierre Didot, 1819; it has devil-tailed S's and is similar in many places to Porchez's Ambroise. It was designed by François Rappo), Kornkuh, Nova MM, Steiner, Autologic, Detroit MM (1997), Kabin, Normal, 2000, Optimal (a kitchen tile font), Politics (squarish typeface by Gilles Gavillet), Montana (stencil by Gilles Gavillet), CEO (typewriter style by Rappo), Veglia, Zero. Most fonts are futuristic or experimental, with a few sans serif fonts thrown in at well. In 2003, David Rust and Gilles Gavillet co-designed Cargo (stencil), Hermes (typewriter type), Index and Politics. In 2006, Philipp Herrmann created the slab serif typeface Piek. [Google] [More]  ⦿

    Orell, Gessner, Fuessli&co

    Typefounders in Zürich since the mid 18th century. One of its founders was the artist Johann Caspar Füssli, 1706-1782. Their work can be found in Épreuves des caractères de la fonderie de Orell, Gessner, Fueslin&compagnie. A Zuric (Zurich, 1781). This book already shows some didone influences, but its main typefaces are all Fraktur, with sizes in Sabon, Grosze Missal, Kleine Misaal, Grosze Canon, Kleine Canon, Mignone, Garmond and Petit. It offered a Garmond Schwabacher too.

    Publishers of Épreuves des caractères de la fonderie de Orell, Gessner, Fuessli&compagnie. A Zuric (Zurich, 1782). Local download of the 1782 book.

    The company still exists today, and specializes in cartography as Orell FüssliKartographie AG. [Google] [More]  ⦿

    Original Type
    [Artur Schmal]

    Born and raised in Den Haag, Artur Schmal was formed at the KABK in type and media. He founded Original Type in 2018. In 2021, Original Type joined Type Network. His typefaces:

    • At OurType, he designed Parry (+Condensed) and Parry Grotesque (+Condensed) in 2006. Schmal says that it was inspired by Edmund Fry and Thorowgood. Parry gets its name from John Parry, whose painting A London Street Scene (1840) captures the typographic landscape of the Victorian Era. Type Network: Parry has its roots in the robust slab serif typefaces that appeared in the Victorian age. It is not a revival though, and its aesthetics make it truly a contemporary typeface. The soft curves and quirky serifs combine with sharp cut stroke endings to produce a text image that is softer than the rigid nature of most slab serifs.
    • Kufam. Artur writes: Kufam is the result of the collaboration between me and my design partner Wael Morcos in the second edition of the Typographic Matchmaking project in which we set out to design a typeface containing both Arab and Latin scripts that would complement each other. The typeface finds its inspiration in sources far apart from each other in both time and distance: the Arabic Kufi script in the lowercase and dutch urban lettering seen in the twenties and thirties of the previous century in the capitals of the Latin. The font supports the Arabic and Persian scripts. In 2014 Kufam was published on the now defunct type label OurType, where the font development team expanded the character set from Standard to Pro and remastered the fonts. Kufam was available on OurType until 2017. From 2018 Kufam was reworked to meet Google Fonts Latin Expert and Arabic character sets and in 2020 Kufam was made available on Google Fonts (with Wael Marcos). Github link.
    • Bonnie. A friendly geometric sans. In 2014 Kufam was published on the now defunct type label OurType, where the font development team expanded the characterset from Standard to Pro and remastered the fonts. Kufam was available on OurType until 2017. In 2018, Kufam was reworked to meet Google Fonts Latin Expert and Arabic character sets and in 2019 Kufam was made available on Google Fonts.
    • Several custom typefaces.

    Home page of Arthur Schmal. Old URL. [Google] [More]  ⦿

    Orjan Nordling

    Örjan Nordling (b. 1958) is a partner in Pangea Design AB in Stockholm. He studied graphic design in Stockholm and at Basel's School of Design. His typefaces include Nordling BQ (excellent Swedish design award, 1996), DN Bodoni (for headlines in the Swedish newspaper Dagens Nyheter, 2000), and custom typefaces for Göteborgs Posten, Helsingin Sanomat, and If Insurance. Nordling and Fredrik Andersson co-designed Berling Nova (2003-2004) and Berling Nova Sans (2007) at Linotype with advice from Akira Kobayashi. Both typefaces grew out of Forsberg's Berling (1951-1953). In 2002, he created a matching sans for Dagens Nyheter, DN Grotesk. This evolved in 2009 into a pay font at FontFont, FF Dagny (FF Dagny OT Thin is free!). Enighet, done for The Swedish Trade Union Confederation in 2008 together with Fredrik Andersson, won a merit award at the EDAwards in 2008. [Google] [More]  ⦿

    Ossip I. Lehmann Type Foundry
    [Johannes Lehmann]

    Foundry in St. Petersburg in the late 19th century, est. 1854. Their typefaces include Renata (1901), Gasetny Chorny (Newspaper Black), Black Grotesk (1874), Yelisavetinsky (1904-1907, a didone family for Baltic, Cyrillic and Latin with shapes that go back to the Russian Academy of Sciences in the 18th century, after designs by Alexander Leo; for a free digital revival, see Elisabethische (2018) by Oleg Matison), Diamant (1937, a 3d shadow headline lineale), Obiknovennaya (1940s) and Obiknovennaya Novaya (1940s).

    Revivals include Standard Poster (a Paratype font by V. Yefimov, 1992, which was based on a design from 1986 at Polygraphmash, and which in turn was inspired by the fat didone styles of the Ossip Lehmann type foundry), Chekhovskoy (2017, by Marath Salychow), Elisabethische (by Marath Salychow, 2018), and Elizabeth (Paratype).

    In 2013, Vasily Biryukov published the Peignotian typeface Romanovsky at Paratype: Romanovsky is a font developed on the base of samples from the catalogue of Ossip Lehmann foundry in Sankt Petersburg. Original Latin design that was used for Romanovsky can be found in Feder Grotesk by Jacob Erbar. The current digital font is not a scanned version of Lehman's samples but a newly drawn typeface that differs from the original in many details.

    In 2018, Albert Kapitonov and Dmitry Kirsanov revived the early 20th-century typeface Lehmann Egyptian from the Berthold and Lehmann type foundries in St. Petersburg, and published it at Paratype.

    Lehmann's typeface 1812 by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets. It was revived and extended in 2020 by Viktor Kharyk and Konstantin Golovchenko as 1812. [Google] [More]  ⦿

    OSTYPE
    [Yury Ostromentsky]

    Yuri Ostromentsky is a type and graphic designer. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has worked as a designer and art director for publishers and design studios. From 2004 to 2012, he served as art director of the magazine Bolshoi Gorod (Big City), for which he created several display typefaces as well as several original typefaces and Cyrillic versions of Latin fonts in collaboration with Ilya Ruderman. His typefaces were honored at the Contemporary Cyrillic 2009 and 2014 competitions. In 2004 he and Ruderman, Dmitri Yakovlev and Darya Yarzhambek created DailyType, a website.

    Yuri ran OSTYPE as part of KunstGroup.ru. His typefaces include PrinsenGracht [Text (+Caps, +Italic), Display (+Caps, +Italic)], Poza, SSN Antique, Pilar, and Gegangen. His type system Best Life Serif (codesigned with Ilya Ruderman) won an award at Paratype K2009.

    He became associated with Custom Fonts, and designed RIA in 2013. RIA won an award at Modern Cyrillic 2014.

    In 2014, Ilya Ruderman and Yury Ostromentsky founded CSTM. In 2015, Ilya and Yury published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House).

    Typefaces from 2017: Stratos Cyrillic (at Production Type, with Ilya Ruderman; a Cyrillic version of Yoann Minet's 2016 geometric grotesque typeface Stratos: it received a Type Directors Club New York Certificate of Excellence 2017), Pseudo Russian.

    Co-designer with Nikita Kanarev and Ilya Ruderman at CSTM Fonts of the 18-style exprimental typeface family Lurk (2020). It is based on an earlier version that was specially designed for the Russian youtuber Yury Dud.

    Typefaces from 2021: CSTM Xprmnntl 03 (in uncial Cyrillic, gothic blackletter and inbetween styles). In 2021, CSTM Fonts released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. At the end of 2021, Ostromentsky designed and published the 20-style (+variable font) Elzevir-inspired Maregraphe at CSTM / Type Today wth the help of Mikhail Strukov and Ilya Ruderman.

    Typefaces from 2022: Zhivov (an experimental Latin / Cyrillic typeface based on early Cyrillic graphics). [Google] [MyFonts] [More]  ⦿

    OSX fonts

    A list of the basic Latin fonts in a standard OS X installation, anno 2004. See also here: #Gungseouche.dfont, #HeadlineA.dfont, #PCmyoungjo.dfont, #Pilgiche.dfont, AlBayan.ttf, AlBayanBold.ttf, AmericanTypewriter.dfont, Apple Chancery.dfont, Apple LiSung Light.dfont, Apple Symbols.ttf, AppleMyungjo.dfont, Arial, Arial Black, Arial Narrow, Arial Rounded Bold, ArialHB.ttf, ArialHBBold.ttf, Ayuthaya.ttf, Baghdad.ttf, Baskerville.dfont, BiauKai.dfont, BigCaslon.dfont, Brush Script, Chalkboard.ttf, CharcoalCY.dfont, Cochin.dfont, Comic Sans MS, Copperplate.dfont, Corsiva.ttf, CorsivaBold.ttf, Courier New, DecoTypeNaskh.ttf, DevanagariMT.ttf, DevanagariMTBold.ttf, Didot.dfont, EuphemiaCASBold.ttf, EuphemiaCASItalic.ttf, EuphemiaCASRegular.ttf, Fang Song.dfont, Futura.dfont, GenevaCY.dfont, Georgia, GillSans.dfont, GujaratiMT.ttf, GujaratiMTBold.ttf, Gurmukhi.ttf, HelveticaCY.dfont, HelveticaNeue.dfont, Herculanum.dfont, Hoefler Text.dfont, Kai.dfont, Krungthep.ttf, KufiStandarGK.ttf, MarkerFelt.dfont, MonacoCY.dfont, MshtakanBold.ttf, MshtakanBoldOblique.ttf, MshtakanOblique.ttf, MshtakanRegular.ttf, Nadeem.ttf, NewPeninimMT.ttf, NewPeninimMTBold.ttf, NewPeninimMTBoldInclined.ttf, NewPeninimMTInclined.ttf, NISC18030.ttf, Optima.dfont, Papyrus.dfont, PlantagenetCherokee.ttf, Raanana.ttf, RaananaBold.ttf, Sathu.ttf, Silom.ttf, Skia.dfont, Song.dfont, Thonburi.ttf, Times New Roman, TimesCY.dfont, Trebuchet MS, Verdana, Webdings, Zapfino.dfont. [Google] [More]  ⦿

    OT Lab
    [Denis A. Serikov]

    Denis Serikov (OT Lab) is the Moscow-based Russian designer of DionisiiOTF (2003), the caps font Remeslo (2002), the Cyrillic font Clip Condensed (2002), the dingbat fonts EL Symbols (2003), Notice (2002-2007, a useful dingbat family), Notice2 (2006) and Notice3 (Notice3 (2007, household icons) DisplayOTF (2002, dot matrix), Display (2009, +3D, gridded typefaces), Remeslo STD (2009, ornamental didone), Rusticus STD (2009, roman), Rusticus (2004, semi-uncial), Agatha (2001, like Toulouse Lautrec), Display 3D (2003, pixelized face), Grafoman (weather and finger dings), DestinyLight, Shashki (2010, a game of checkers font), and the Latin/Cyrillic font Joke. His commercial typefaces are listed here. They include Pi (2009, weather and other dingbats), TUI Type Pro (a rounded sans, 2008, at Dalton Maag) and White Wind (2005, a pixel face, at Dalton Maag). Scazanie (2005) is a future project.

    Metrofont (2013, free) contains navigation and warning signs for transportation systems.

    In 2018, he published the free Latin / Cyrillic / dingbat font Dacha.

    Forum / Blog (in Russian). Dafont link. Behance link. Font Squirrel link. [Google] [More]  ⦿

    Owen Earl
    [Indestructible Type]

    [More]  ⦿

    Owen Strain

    Designer who used FontStruct in 2009 to make Bodotty (didone dot matrix face). [Google] [More]  ⦿

    P22 Type Foundry
    [Richard Kegler]

    Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.

    The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (free in 2003 and P22 Snowflakes (retail) in 2020, finishedd by Richard Kegler and Terry Wüdenbachs), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio (Flat, 3D; in the style of Il Futurismo), P22 Basel Roman (2020, Richard Kegler: an update of a 2015 typeface, P22 Basel, based on a garalde font used by Johannes Herbst (aka Ioannes Oporinus) in 1543 to publish Andreas Vesalius' On the Fabric of the Human Body (De humani corporis fabrica) in Basel), Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, P22 Brass Script Pro (2009, Richard Kegler; based on an incomplete script fond in a booklet from Dornemann&Co. of Magdeburg Germany, ca. 1910 entitled Messingschriften für Handvergoldung; for years, P22 and MyFonts claimed that Michael Clark co-designed this, but Michael does not want any credit, as he did only about 20 letters), Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), P22 FLW Exhibition, P22 FLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), Garamouche (2004, +P22 Garamouche Ornaments; all co-designed with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by Paul D. Hunt as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), P22 Preissig (and P22 Preissig Calligraphic, 2019), Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre and Miranda Roth), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).

    In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).

    Bio and photo.

    In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.

    P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence.

    At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.

    Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).

    Typefaces from 2020: Showcard Script (by Terry Wüdenbachs, based on an original of Beaufont at the Hamilton Wood Type Museum, custom designed by the Morgan Sign Machine Company of Chicago).

    Typefaces from 2021: P22 Glaser Houdini (a layerable family, after Glaser's Houdini from 1964), P22 Glaser Babyteeth. Kegler writes: In 2019, P22 Type Foundry met with Milton Glaser (1929-2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. Milton Glaser's inspiration for his Babyteeth typeface came from a hand painted advertisement for a tailor he saw in Mexico City. He was inspired by that E drawn as only someone unfimilar with the alphabet could have concieved. So he set about inventing a completelly ledgible alphabet consistant with this model. P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. In 2021, he published the 3d art deco shadow font P22 Glaser Kitchen which is based on Big Kitchen (1976).

    MyFonts interview.

    View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google] [MyFonts] [More]  ⦿

    Pablo Impallari

    Very prolific Argentinian type designer (b. 1976) located in Rosario. His extensive repertoire:

    Dafont link. Fontspace link. Google font directory link. Klingspor link. Abstract Fonts link. Fontsquirrel link. Google Plus link. On Snot and Fonts link. Another Google Plus link. Creative Market link Behance link. Blog. Home page. [Google] [More]  ⦿

    Pablo Menéndez

    Graduate from FADU, University of Buenos Aires, who created the typeface Faegon (2010, a fat didone display face).

    FADU UBA link. [Google] [More]  ⦿

    Pampa Type
    [Alejandro Lo Celso]

    Alejandro Lo Celso, a graphic and type designer born in 1970 in Córdoba, Argentina, was art director at several publishing media in Buenos Aires. He has written several articles for typo magazines, and taught typography at the University of Buenos Aires. In 2000 he completed his MA in Typeface Design at the University of Reading (UK). In 2001, he obtained a post-diploma at the Atelier National de Recherche Typographique, Nancy (France). He teaches typography at the Universidad de las Americas in Puebla, Mexico, and at Centro Gestalt in Veracruz, and is Principal of Pampa Type in Mexico City. As Pampa Type grew, it brought several excellent type designers on board, such as Jorge Iván Moreno Majul and type designers Francisco Gálvez Pizarro, Francis Ramel, and Oscar Yáñez. In 2021, pampa type joined Type Network. His typefaces:

    • Rayuela (2001). Rayuela comes in these weights: Rayuela-Italica, Rayuela, RayuelaChocolate, RayuelaLUZ, RayuelaLigera-Italica, RayuelaLigera, RayuelaLigeraVersalitas, RayuelaMiscelaneas, RayuelaVersalitas. Rayuela (hopscotch) was a winner at the Bukva:raz type design competition held by the ATypI, Moscow 2001. Rayuela Chocolate 2.0 (2005) won at TDC2 2006.
    • Quimera (2002, +Quimera Compacta). Quimera is a display family that contains an admirable heavy condensed sans, Quimera Compacta.
    • Lo Celso's typeface Borges won a Judge's award at the 2002 Morisawa Competition. An 11-style version of this text family is at T26 (2007). Borges is a text typeface with a natural rhythm and a splended inline style. [Note: Ulay&Ulay have had a font called Borges since the 1990s, so I don't understand how this name can legally stand.]
    • Arlt (2005) won an award at the Creative Review Type Competition 2005. It comes in many styles such as Arlt Blanca, Gris, Negra, Super Negra, Titulo Blanca, Titulo Negra, Titulo Hueca, Deco 1, Deco 2, as well as a number of grunge styles called Arlt 7 Locos (T-26, 2008): Amor Brujo, Astrologo, Buscador de Oro, Erdosain, Jorobadito, Juquete Rabioso, Rufian Melancolico. Lo Celso writes: Arlt is a contemporary interpretation of the alphabet which finds inspiration in some classic sources. The italics are linked to the glamorous, mannerist typography of 17th century Baroque (Dutch designer Christoffel van Dijck, Hungarian printer Miklós Kis). While the romans are a new attempt at capturing the warmth and vehemence of Expressionism. This style may be traced back to the 18th century: the singular work of German punchcutter Christian Zinck, and later to some 20th century East European type designers such as Preissig, Dyrynk, Menhart, and Frantisek Storm, probably today's finest representative. Now available from MyFonts, Arlt is indeed a thing of beauty.
    • In 2008-2009, Lo Celso, François Chastanet, Géraud Souliol and Laure Afchain cooperated on the identity type for the city of Toulouse, called Garonne. Along the lines of Arlt, Garonne is an almost didone typeface in romain, italique, petite caps, titrage caps and titrage étroite.
    • Perec (+Perec Blanca, +Perec Negra). Winner at Tipos Latinos 2010. It is partitioned into the subfamilies Perec, Perec Ludique and Perec Lunatique.
    • Margarita. Winner at Tipos Latinos 2010, a great celebration of Bodoni's titling typefaces, named after his widow, Margherita; with an Open style called Luce.
    • Passion One (2011, Alejandro Lo Celso, Google Web Fonts is a powerful heavy sans in the style of Impact.
    • Atahualpa (2017): Inspired in the works of Atahualpa Yupanqui, central figure in Argentinean folk music, Atahualpa is an original type design that goes beyond reverse contrast, interpreting the qualities of a sturdy slab serif style with a delicate sense of drawing. This gives Atahualpa a unique spirit of power and warmth, apt to create gentle reading atmospheres in text as well as persuasive headings, logos, and other display uses. Winner at Tipos Latinos 2018 of the grand prize.
    • Winner at Tipos Latinos 2018 of a type design award for Reforma (2018), a free custom typeface made for the University of Cordoba, Argentina.

    Klingspor link. Behance link. Interview.

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

    Panache
    [Richard Dawson]

    British foundry (est. 1990) headed by Richard Dawson (New Milton Hampshire, UK), who runs (ran?) Housestyle Graphics with Dave Farey. Richard Dawson and Dave Farey co-designed the Eric Gill typeface now known as ITC Golden Cockerel (1996).

    The Panache library contains these typefaces, many of which are revivals: Abacus (art nouveau), Amethyste, Apache, Aries (a family), BodoniUnique, BolideScript, Boris, BreadlineNormal, Britches-Script, Cachet, Cameo-Outline, Cameo-OutlineShaded, Cameo-Solid, Cavalier, Classic, Cupid, Demonstrator, EborScript, Erazure, Fancy-Extended, Fancy-ExtendedOutline, FontOutline, FontSolid, FrenchLetters-Plain, FrenchLetters-Raised, Gabardine, Goldwater, GreyhoundScript, Heatwave, LettresEclatees (a family), LittleLouisOne, LittleLouisThree, LittleLouisTwo, Longfellow, LutherFonts, Paleface, Parade, Pike, RaleighGothic, RevolutionNormal, Ringworld, RioChico, RioGrande, RioMedio, RioNegro, RoslynGothic, RoundSans, Rubylith, Sixpack, Slimline, Stanley, ToolCities, TorinoModern, VirginRomanNormal (Agfa, an art nouveau face), Warlock.

    Richard Dawson designed Letraset Comedy with Dave Farey, based on a particular lettering style by British lettering artist, Cecil Wade. With Farey, he also made Letraset Collins, and Azbuka (2008-2009, Monotype: a 20-style sans family).

    MyFonts page. Linotype page. FontShop link. Klingspor link.

    Catalog of Richard Dawson's typefaces. [Google] [MyFonts] [More]  ⦿

    Panos Vassiliou
    [Parachute]

    [MyFonts] [More]  ⦿

    Parachute
    [Panos Vassiliou]

    London, UK, and Athens and Kifissia, Greece-based type foundry started in 2001 by Panos Vassiliou. It specializes in fine multilingual (usually Latin, Greek and Cyrillic) typeface families. He is a graduate of the University of Toronto, Canada with a major in Applied Science and Engineering. Following his University of Toronto graduation, he studied Graphic Communications at Ryerson University. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 2001 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type. Apart from its commercial line of typefaces, Parachute offers bespoke branding services for corporate typefaces and lettering. Customers include Bank of America, the European Commission, UEFA, Samsung, IKEA, Interbrand, National Geographic, Financial Times, National Bank of Greece, Alpha Bank and many others.

    Myfonts link. Behance link.

    Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.

    At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:

    • Adamant
    • PFAgora Pro: Agora Sans, AgoraSerif, AgoraSlab.
    • Amateur
    • PF Archive Pro (2004). He received a design award for his typeface Archive at the E AWARDS 2004. It has special typographic features and multilingual support for all European languages including Greek and Cyrillic.
    • Armonia
    • Astrobats
    • Bague Universal and Bague Sans (2014). A geometric grotesk that dares to be different. Accompanied by Bague Slab Pro (2014), PF Bague Inline Pro (2014), and PF Bague Round Pro (2014).
    • Baseline
    • Beatnick
    • Beau Sans (2011). Inspired by Bernhard Gothic.
    • A custom didone font for Greece's Benaki Museum (2020-2021).
    • PF Benchmark Pro (2014).
    • Bodoni Script (2009).
    • PF Brummell (2016). A sans characterized by sharp angled terminals and a diamond dot on the i.
    • Bulletin Sans (2000-2005)
    • Centro (Centro Sans, Centro Serif, Centro Slab) a typeface originally developed for the redesign of the Financial Times Deutschland. PF Centro Pro family (Sans, Serif, Slab, a trillion styles) won an European Design Award in May 2008 in Stockholm and at Paratype K2009. It was completed by PF Centro Serif Compressed, PF Centro Sans Condensed and PF Centro Sans Compressed in 2015. In 2016, he published PF Centro Slab Press.
    • PFChampion Script Pro (2004-2008). A much lauded connected calligraphic script that is based on a calligraphic script by Joseph Champion, 1709-1765. Winner at Paratype K2009 and Granshan 2010. Images: i, ii iii, iv, v. The 4245-glyph family comprises Cyrillic, Latin and Greek subfamilies.
    • Cosmonut (sic) (2002). A retro futuristoc typeface made by Dimitris Foussekis.
    • PF Das Grotesk Pro (2014). Panos writes: Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton.
    • DaVinciScript (2001-2006). A Treefrog-style script typeface by Vassiliou and Dimitris Foussekis.
    • PF Dekka (2014). This solid elliptical sans family was influenced by Monaco's outline version called MPW. It includes PF Dekka Mono.
    • PF DIN (2010): PF DIN Display (2002-2005), PF DIN Mono, PF DIN Serif (2016; this great serif version of DIN---a first---contains a wealth of goodies: just look at the great weather icons; it won an award at Granshan 2016), PF DIN Stencil Pro (2010), PF DIN Stencil, PF DIN Stencil B (2016), PF DIN Text Pro, PF DIN Text Condensed, PF DIN Text Compressed, PF DIN Text Arabic, and PF DIN Text Universal. With Latin, Cyrillic and Greek coverage, each font has about 1300 glyphs. The designs go back to the lettering of the Prussian railways around 1900. In 2013, PF Din Text Pro was published. In 2021, the three-axis (weight, width, italic) variable type system PF DIN Max saw the light.
    • Eco Park. A 3d outline face.
    • PF Encore Sans (2009). A rich and versatile sans family supporting Greek, Latin and Cyrillic.
    • PF Fuel Pro
    • PF Fusion Sans (1996-2006)
    • PF Garamond Classic.
    • PF Goudy Intials and PF Goudy Ornaments. A winner at Paratype K2009.
    • PF Grand Gothik (2019). A large grotesque typeface family with three subfamilies and a variable font option. He writes: Grand Gothik is a postmodern, multiscript, multifaceted and variable type system which shines at its heavier extended versions with its hip, expressive, almost brutal energy. Grand Gothik's design space includes 3 axes for weight, width and one for italics. It is available as a variable font or as five separate opentype families---compressed, condensed, normal, wide and extended. Each family comes with 9 weights spanning from Extra Thin to Black plus italics.
    • PF Handbook (2005-2007, sans family)
    • HausSquare
    • HellenicaSerif. Chiseled look, Greek simulation face.
    • PF Highway Sans (2001-2015). Highway Sans Pro is based on the standard typefaces used for highway signs and other byways open to public travel in the United States. These standards were established by the US Federal Highway Administration in 1966 following several studies which were conducted at the California Department of Transportation in the 1940s. It covers Latin, Greek and Cyrillic.
    • House Square. A Bank Gothic lookalike.
    • PF Isotext (2005). Meant for technical documentation, it is modeled after Isonorm.
    • Kids, KidsStuff
    • Libera
    • Lindemann and PF Lindemann Sans (2012).
    • PF Marlet (2019). A sharp-edged humanist sans family fit for fashion mags: Marlet Titling, Marlet Finesse, Marlet Swash, Marlet Display, Marlet Text. PF Marlet, collected three awards one after the other, a year after appearing on Luc's best-of-2019 list. First, the coveted TDC Certificate of Typographic Excellence 2020 (at 23RDC), followed by another one from European Design Awards, a third distinction from Tokyo TDC and a fourth crown, Red Dot Award 2020, all in 2020.
    • Mechanica A and B, 2002-2006. Octagonal families.
    • PF Mellon (2019). A modernist variable grotesque influenced by nineteenth and early twentieth century condensed sans serif typefaces such as Stephenson Blake's Grotesque No.77 and ATF's Alternate Gothic.
    • PF Monumenta (2002-2006). A majestic lapidary roman family.
    • Muse
    • Online (One, Two and Three). Pixelish family.
    • PF Ornamental Treasures (2008). Byzantine ornaments and borders.
    • PF Pixelscript
    • Playskool
    • Psychedelia (2003, Dimitris Foussekis). A psychedelic typeface.
    • Regal Pro and Regal Finesse Pro: Award-winning high fashion display didone families, 2010-2012, originally designed for the Grazia magazine. Awards include Red Dot Awrd 2012, Communication Arts Annual Competition 2012, Creative Review Type Annual 2011, European Design awards 2011, EBGE awards 2011, Granshan Awards 2010. See also PF Regal Swash and PF Regal Stencil.
    • PF Reminder Pro (2003). A hand-printed typeface.
    • Scandal
    • PF Spekk (2020). A simple versatile geometric sans for Latin, Greek and Cyrillic.
    • PF Square Sans Pro, PF Square Sans Condensed Pro (2013).
    • PF Stamps (2002-2006). A grungy stencil typeface by Panos Vassiliou and George Lygas.
    • PF Synch Pro (2006). An industrial strength slab-serif typeface.
    • PF UEFA Super Cup (2013).
    • PF Uniform
    • PF Venue (2017). Semi art deco, and free-spirited, a great poster typeface family.
    • VideoText
    • PF Wonderbats (2003). Funky and strange animals.
    • Wonderland (2006). By Dimitris Foussekis.

    Their type blog is called Upscale typography.

    Catalog. View all typefaces designed by Parachute.

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

    Parkinson Type Design
    [Jim Parkinson]

    Jim Parkinson's Parkinson Type Design is based in Oakland, CA. This prolific type designer was born in 1941 in Richmond, CA, and lives in Oakland, CA. Originally, a letterer, he went digital in 1990. His Keester and Azuza typefaces won awards at the TDC2 Type Directors Club's Type Design Competition 2002. MyFonts on Jim Parkinson and on his Parkinson Foundry. His impressive output:

    • Typefaces at the Parkinson Foundry: Fresno (2001, inline gothic), Hotel (2001, inline caps), Azuza (2001, a Latin serif family designed for newsprint; some italics were based on Dwiggins' Electra), Amboy (2001, inline like for signpainting), Chuck (2004, a display titling face), Richmond (2003, a geometric sans family in the spirit of Dwiggins' Metro, Erbar by Jakob Erbar and the Underground type of Edward Johnston), Modesto (2001, strikingly similar to John Downer's Panatela, even though both admit that this an unbelievable coincidence; Parkinson's copperplate gothic evolved from Parkinson's lettering on the famous Ringling Bros. and Barnum&Bailey Circus logo), Balboa (2001, a 19th century style condensed sans; extended to a wonderful chromatic layering typeface family in 2015 as Balboa Plus), Sutro (2003, a 19-style slab serif family), Wigwag (2003, a display family inspired by the mid-twentieth century Speedball lettering of Ross George and the work of Samuel Welo and Cecil Wade), Amador (2004, blackletter), Cabazon (2005, blackletter), Avebury (2005, blackletter based on types from the Caslon Foundry), and the lovely Benicia (2003, influenced by GoldenType). He writes about Azuza: In the 1990s I drew a text face for the San Francisco Chronicle. It was based on W. A. Dwiggins's Electra and incorporated many features of the Linotype Legibility Series: More compact, with a taller lowercase X-height, etc. That type was called Electric and it was the Chronicle's text face for nearly a decade, surviving several redesigns. From that, I made Azuza, a more detailed and sensitive style.
    • At ITC (now Linotype), he designed ITC Bodoni, ITC Bodoni Twelve, ITC Bodoni Seventy Two, ITC Roswell Two, ITC Roswell Four (1998) and ITC Roswell Three (1998).
    • His typefaces at Font Bureau include Antique Condensed Two, Buster, Comrade (1998, nice poster font, after the constructivist lettering by Belgian artist Jozef Peeters), El Grande (1991, fat display face), Parkinson (1994), Poster Black (1993), Showcard Gothic (1997), Showcard Moderne.
    • At the Agfa Creative Alliance, he published Showcard Moderne, Antique Condensed Two, Bonita, Commerce Gothic (1998), Diablo (1996), Dreamland (1999, retro-futuristic), Fancy Stuff (1999), Generica Condensed (1994, grotesk), Industrial Gothic (1997), Mojo (1996; psychedelic, in the lettering style that was popularized by 1960s San Francisco artists Wes Wilson and Rick Griffin), Pueblo (1998).
    • At Adobe, one can find Montara, his striking and psychedelic Mojo, and the gorgeous Jimbo.
    • At FontFont, we have the FF Moderne Gothics series [FF Motel Gothic (1996), FF Matinee Gothic (1996), FF Goldengate Gothic (1996)] and FF Catch Words (1996).
    • At Chank, he created Keester (2001).
    • He designed the 4-weight family Electric for the San Francisco Chronicle (it was close to Dwiggins' Electra), but the Chronicle is no longer using it.
    • Parkinson Electra (also based on Dwiggins's type) was published by Linotype in 2010.
    • Typefaces from 2012: Meatball (fat lettering-style typeface), Hoosier Daddy (Western font).
    • The list of newspapers and magazines using his fonts: Activa, Atlanta Journal, Birkenstock, Boston, Brownsville Herald, The Daily Cardinal, Charlotte Observer, Charleston Post&Courier, Chicago Tribune, The Citizen, Journal of Comm, Cromos, Daily Californian, Dallas Morning News, Rochester D&C, Financial Morgen, Design Magazine, Detroit Free Press, Editor&Publisher, El Graphico, National Enquirer, Entrepreneur, Esquire, SF Examiner, The New Examiner, Fast Company, New Fast Company, Montreal Gazette, Hamilton Spectator, Herman Miller, Ilta=Sanomat, InStyle, Kathemerini, Las Vegas Life, Newsweek.
    • Typefaces from 2014: Sutro Deluxe (a layered chromatic wood type emulation font family that extends his 2003 font, Sutro).
    • Typefaces from 2017: Sutro Initials (a chromatic layered pair of fonts), Aluminia (a revival of Dwiggins's Electra) designed exclusively for use in Bruce Kennett's book on W.A. Dwiggins.

    MyFonts interview. FontShop link. More FontShop material on him. Klingspor link.

    View Jim Parkinson's typefaces. [Google] [MyFonts] [More]  ⦿

    Parmigiano Typographic System

    Italian type designers Riccardo Olocco and 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. Finally, the language extensions include Parmigiano Arabic (by Rana Abou Rjeily), Parmigiano Cyrillic (by Irina Smirnova) and Parmigiano Greek (by Irene Vlachou). The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that. [Google] [More]  ⦿

    Patrick Griffin

    Type designer at Canada Type. Wikipedia tells us that Patrick Griffin had been locked away in a mental institution by Carter and Barbara, after he walked in on his mother performing oral sex on Jackie Gleason. He had a nervous breakdown and was sent to a mental hospital, where he came to the conclusion that Gleason was evil because he was fat, leading him to hate fat people. However, that is a different Patrick Griffin. The real Patrick Griffin, a graduate of York University, lives and works in Toronto, where he founded Canada Type and made it the most successful Canadian type foundry. 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.
    • Bananas (2020). An 18-style informal sans.
    • P22 Barabajagal (2018): P22 Barabajagal is a unique take on the display fat face by way of doodling fun. Somewhat informed by the shapes of an uncredited 1960s film type called Kap Antiqua Bold, this font's aesthetic is the stuff of boundless energy and light humour. This is the kind of font that makes you wonder whether it was drawn with rulers, protractors and compasses, or just by a mad doodler's crazy-good free hand.
    • Bigfoot (2008), the fattest font ever made (sic).
    • Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter typeface designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
    • Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script typeface made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
    • Bluebeard (2004), a blackletter face.
    • Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
    • Boondock (2005): a revival of Imre Reiner's brush script typeface Bazaar from 1956.
    • Borax (2011-2021). An ode to the typography scene of New York City and Chicago in the late 1970s.
    • 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.
    • P22 Folkwang Pro (2017, at P22). A revival of Hermann 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.
    • P22 Klauss Kursiv (2018). A revival, at P22, of Karl Klauss's crisp fifties script typeface Klauss Kuriv (1956-1958, Genzsch & Heyse).
    • 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, co-designed 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 (2011,(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.
    • 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.
    • 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, Helmut Matheis, Ludwig&Mayer).
    • Normandia (2021, by Patrick Griffin and Hans van Maanen). A digital revival of the fatface typeface Normandia by Alessandro Butti at Nebiolo (1946-1949).
    • 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).
    • Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces.
    • 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 the reverse stress font Sintex 1 (Aldo Novarese, Nebiolo and VGC, 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.
    • HWT Tangent (2021, at P22). This revives a Morgans & Wilcox wood typeface known as Tangent in the Hamilton Manufacturing collection (after Hamilton took over Morgans & Wilcox).
    • Patrick Griffin did the final mastering in 2021 for P22 Underground Pro, which was developed over the years by Richard Kegler (1997), Paul D. Hunt (2007) and finally, Dave Farey (2021) and James Todd (2021). This comes close to being thee ultimate implementation of Johnston's Underground.
    • Filmotype Andrew (2021). A bold and wide extension of the retro casual script font Filmotype Athens.
    • Ronaldson Pro (2021). A revision and extension of Griffin's 2006 font, Ronaldson Old Style. It now has four weights and two variable fonts.

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

    Patrick Lallemand
    [Superscript]

    [More]  ⦿

    Paul Barnes
    [Modern Typography]

    [MyFonts] [More]  ⦿

    Paul Brent
    [Polyglyphic]

    [MyFonts] [More]  ⦿

    Paul D. Hunt
    [Pilcrow Type]

    [MyFonts] [More]  ⦿

    Paul Davidson

    Prince George, BC-based free-lance designer of Kaiser (2003, a fun distant display relative of Bodoni and Dalliance), Steampunk Metron (2002), a hookish font, the soft boulder sans serif font Epoch (2003), Coquitlam Gothic (2003), and Abbotsford (2003). At Union Fonts, he created Epoch (2003) and Cosmorton (2002). [Google] [More]  ⦿

    Paul Hutchison
    [Hype Type Studio]

    [More]  ⦿

    Paul James Lloyd
    [Greater Albion Typefounders (or: GATF)]

    [MyFonts] [More]  ⦿

    Paul Shaw
    [The Digital Past]

    [More]  ⦿

    Paul Shaw

    Paul Shaw's choice of 100 best typefaces of all times:

    • 1-10: Gutenberg's B-42 type, Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Akzidenz Grotesk, Gebetbuch type, Cheltenham family, Helvetica, Aldus Manutius' roman.
    • 11-20: William Caslon IV's sans serif, William Caslon's roman, Pierre-Simon Fournier's italic, Futura, Times Roman, Chicago, Bell, Ludovico Arrighi da Vicenza's italic, Univers, Romain du Roi.
    • 21-30: Johann Michael Fleischmann's roman, Clarendon, ATF Garamond, Giambattista Bodoni's roman, Century Roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida.
    • 31-40: Ionic, Golden Type, Robert Thorne's fat typeface roman, Wolfgang Hopyl's textura, Vincent Figgins' antique roman (Egyptian), Johnston's Railway Sans, Optima, Bauer Bodoni, Adobe Garamond, Breitkopf Fraktur.
    • 41-50: Bell Gothic, Courier, Trajan, Mistral, Doves Type, Scotch Roman, Syntax, Snell Roundhand, Memphis, Robert Granjon's civilitĂ©.
    • 51-60: Fette Fraktur, Ehrhard Ratdolt's rotunda, Romanee, ITC Stone family, TrinitĂ©, ITC Garamond, Avant-Garde Gothic, Oakland, Deutschschrift, Hammer Uncial.
    • 61-70: Beowolf, Meta, OCR-A, Sabon, ITC Novarese, Zapf Chancery, Rotis, Base Nine and Base Twelve, Peter Jessenschrift, Excelsior Script.
    • 71-80: Bitstream Charter, Peignot, Erbar, Cancellaresca Bastarda, Joanna, Dead History, Behrensschrift, Eckmannschrift, Poetica, Marconi.
    • 81-90: PMN Caecilia, Stadia, Imprint, Souvenir, Thesis, Apollo, Penumbra, Melior, Neuland, Flora.
    • 91-100: Element, Walker, Remedy, Template Gothic, Digi-Grotesk Series S, Compacta, Antique Olive, Bodoni 26, Evans and Epps Alphabet, WTC Our Bodoni.
    [Google] [More]  ⦿

    Paula Bustos

    Graduate from FADU, University of Buenos Aires, who created the didone display typeface Anette's Font (2009). [Google] [More]  ⦿

    Paula Nazal Selaive

    Santiago de Chile-based creator of Selaive (2011, Latinotype), a geometric monoline sans with an extreme hairline weight, a bold, and several curly alternates. She also made the curly swashy script typeface Dulce (2011; Dulce Pro appeared in 2013 at Latinotype). Dulce has slight teardrop terminals.

    In 2012, she and Daniel Hernandez created the Bosque family at Latinotype, which comes with six variants, Normal, Wood, Shadow, Wood Shadow, Dingbats and Shadow One. Julieta is a curly swashy thin monoline typeface family. Romeo (Latinotype) is a swashy curly condensed unicase typeface.

    In 2013, with Daniel Hernandez, she designed the layered type system Trend, also at Latinotype. See also Trend Rough (2014).

    In 2014, together with Daniel Hernandez, she created the upright good-spirited coffee shop script Showcase. It is morally supported by a set of Ornaments and a few Sans and Slab styles.

    Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.

    In 2016, she designed the delicate display didone typeface family Camila (Latinotype), for which she was influenced by Coco Chanel.

    In 2017, Paula Nazal and Daniel Hernandez co-designed Trenda, a geometric sans family based on the uppercase of Trend. The rounded edge version of Trenda is Boston [corrections and review by Alfonso Garcia and Rodrigo Fuenzalida].

    In 2018, Paula Nazal and Daniel Hernandez co-designed the monoline connected script font Save The Date.

    Facundo (2020, Paula Nazal Selaive and Daniel Hernandez, at Latinotype) is a 14-style geometric sans family. [Google] [MyFonts] [More]  ⦿

    Paulo Goode

    English designer in West Cork, Ireland. In 2014, he designed the classical roman caps typeface Carrig---not Trajan, but still influenced by stone carving. He also created the similar typefaces Carrig Roman (2015), Carrig Italic (2015), Carrig Refined (2015), Carrig Rough (2016), Carrigeen (2014), and Carrig Pro (2017). Woodford Bourne (2015, 8 weights for 16 fonts in all, from Hairline to Black) is a 19th century grotesque typeface that pays homage to the historic stone cast type in the building façades of the former Woodford, Bourne & Co. in Cork City, Ireland. It was imprioved and extended in 2016 as Woodford Bourne Pro. Arundel (2015) is a beveled medieval typeface.

    Typefaces from 2016: Didonesque (didone headline typeface characterized by a large x-height and slightly curved v, w and y), Fnord (a serif family designed with a mischievous streak), Fnord Display (in Engraved, Inline and Woodcut styles), Eponymous (an experiment with chunky serifs), Pseudonym (a subtly falred sans with interlocking and unicase features).

    Typefaces from 2017: Didonesque Ghost (a stylish very contrasted didone typeface family), Banjax (humanist sans, followed in 2018 by Banjax Notched), Faded Grandeur (inspired by stone engravings that have withered and decayed over time), Torus (a rounded monoline organic sans; see also Torus Variations (2018): Torus Notched, Torus Inline, Torus Outline and Torus Biline), Meccanica (an intoxicating nuts and bolts-style engineering typeface).

    Typefaces from 2018: Eurocine (this is in the wide elliptical sans genre: This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer's Folio, and Aldo Novarese's Eurostile), Polyphonic (a 60-font slab serif family), Majesty (flared, incised), Verbatim (a 60-font sans family that was inspired by the best (and worst) of 1970s science fiction TV shows and movies, and aims to extract the essence of futuristic type from that era).

    Typefaces from 2019: Didonesque Script, Modica (an 18-style geometric sans that came from Technica), Technica (a more conservative rounded geometric sans / techno family than his earlier Meccanica), Rhetoric (a semi-cursive typeface), Quorthon (blackletter, in Black, Dark and Grey substyles), Yolk (a sans family based on the shape of an egg yolk), Transcend (an all caps titling typeface), Ergonomique (a humanist sans in 18 styles), Eloquence (a renaissance font family), Didonesque Stencil.

    Typefaces from 2020: Rodia (an 18-style oddball (sic) geometric typeface inspired by the iconic RADIO signage that was once in place at 5041, Pico Boulevard, Los Angeles in 1985), Arise (an 18-style text typeface family characterized by hooked terminals), Slabber (a slab serif inspired by 19th century wood type), Audacious (a 20-style decorative serif), Cream (a warm text family, with the heavier weights leaning towards Cooper Black), Sqwared, Logik (sci-fi).

    Typefaces from 2021: Evoque (a 36-style contrast-rich text typeface; followed in 2022 by the 16-style family Evoque Text which includes two variable fonts), Sienna (14 styles and two variable fonts; a warm soft serif with some angular design elements that make it a great choice as a text typeface), Torus Pro, Harmonique (a 32-style incised serif).

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

    Paulo W
    [Intellecta Design (or: Monocracy Types)]

    [MyFonts] [More]  ⦿

    Pavel Korzhenko
    [Vintage Voyage Design]

    [MyFonts] [More]  ⦿

    Pavel Teimer

    Czech type and graphic designer, 1935-1970. He created a Walbaum/Didot-style roman in 1967 called Teimer's Antiqua. It was submitted to Grafotechna in 1967 but never manufactured. Suitcase Type Foundry (Tomas Brousil) started work on its digitization in 2005, and published it in 2006. Some letters were modified. The 24-style family is called Teimer Std. In 1992, Klara Kvizova and Jan Solpera copublished the booklet Teimer's antiqua - a design of modern type roman and italics. [Google] [MyFonts] [More]  ⦿

    Pawel Kenig
    [Kentype]

    [More]  ⦿

    Péter Szabó
    [Tt2001]

    [More]  ⦿

    Pedro Arilla

    Spanish type foundry, est. 2016 by Pedro Arilla (b. 1984, Ejea de los Caballeros), who runs Don Serifa, a beautiful and informative Spanish type blog, and is based in Zaragoza, Spain. Pedro studied graphic design at Escuela Superior de Diseño de Aragón. In 2018, he joined Fontsmith as type designer.

    His typefaces include the free didone typeface Valentina (2012).

    In 2016, he published the humanist sans typeface family Mestre, which, in his own words, is a German & Dutch-inspired geometric sans-serif.

    In 2017, Pedro graduated from the University of Reading with the multi-script typeface pair Rock (for Latin, Greek and Cyrillic) and Roll (for Latin, Arabic and Japanese).

    In 2018, Fontsmith published the mammoth sans family FS Industrie.

    Still in 2018, Arilla released FS Neruda at Fontsmith. This transitional storytelling text family is named after Chilean poet Pablo Neruda.

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

    In 2020, Monotype released Bunbury, FS Rosa (a soft serif family influenced by Cooper Black and Windsor), FS Renaissance, a stencil serif typeface by Pedro Arilla and Craig Black.

    Behance link. Home page for Pedro Arilla. [Google] [MyFonts] [More]  ⦿

    Pedro Caldas

    During his studies at ESAD Matosinhos, Pedro Caldas (Porto, Portugal) designed the didone typeface Florentino (2015) and the slab serif typeface Arbela (2015). [Google] [More]  ⦿

    Pedro Julien
    [Luvburn]

    [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 2020, a variable font was added to Solido.

    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 inspired by W.A. Dwiggins, 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; +Script). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis).

    Typefaces from 2018: Glitched (an experimental variable spacing font), Striver (a crisp contrasted curvy display typeface), Certo Slab and Certo Sans, Foreday (a forward-looking typeface family with associated variable font, covering sans, serif, semi-sans and semi-serif), Perfil (an inline and swashy high end script).

    Typefaces from 2019: Akut (a purely angular typeface with some rounded corners), Denso (by Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes), Jornada (a multistyle family with a Fraktur, a chancery, a bookish style called Libro, a news text serif, a clean sans, a slab serif, a monospace, and a penmanship script, all in one family dubbed hygienic post-punk by Leal).

    In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format. Pedro also designed Effigy (a text typeface with slightly ballooning stems), Haste (a typeface that flirts with reverse contrast), Mescla and Enorme (an ultra massive and modular 3000-glyph mastodont of a font, together with Dino dos Santos; based on constructivist principles) in 2020.

    Typefaces from 2021: Orla (a straightforward interpretation of the Skeleton Antique No2 from the Stephenson, Blake & Co. foundry; for the sans, the serifs were removed), Elaine (+Ombre, +Fleurer; a complete baroque / Elzevir family influenced by Jacques-François Rosart in its ornamental styles). [Google] [MyFonts] [More]  ⦿

    Pedro Lobo
    [Uppertype]

    [More]  ⦿

    Pedro M. Martins

    Portuguese designer who studies at the Universidade de Aveiro. He created Adaptoni (2012, FontStruct) using ideas from Bodoni. [Google] [More]  ⦿

    Per Baasch Jørgensen
    [Jorgensen Fonts]

    [MyFonts] [More]  ⦿

    Petar Toskovic

    Lisbon, Portugal-based designer of the octagonalized didone typeface Metropole (2015). [Google] [More]  ⦿

    Pete Bella

    Assistant Professor of visual communications and a professional designer based in West Henrietta, NY. Creator of the fat typeface Belladoni (2014).

    Twitter page. [Google] [More]  ⦿

    Peter Bilak
    [Typotheque]

    [MyFonts] [More]  ⦿

    Peter Bilak

    Slovakian type designer (b. 1973), who lives in The Netherlands. Bio at FontFont. Designed: FF Atlanta, FF Craft (Kafkaesque), Champollion, Collapse, Didot Sans (unpublished), Decoratica (great display font, unpublished), Desthetica (grunge, but nice!), FF Eureka, FF Eureka Sans (2000), FF Eureka Mono (2001, FontFont), FF Eureka SansCond, FF Eureka Symbols (2002), FF Eureka CE, FF Eureka Sans CE, FF Eureka Sans Office (2011), FF Eureka Mono Office (2011), Fountain Pen (free fountain pen nib dingbat font), FF Masterpiece (wacky), FF Orbital, Fedra Sans (2001, a de-protestantised version of Univers, originally a corporate font for Bayerische Rück, a German insurance company), Fedra Bitmap (2002), Euroface (1996, Typerware, a scribbly font allegedly more legible than Helvetica at 80km/h), HolyCow and The Case. Essays on typography and design. Editor of dot dot dot. He also made AccentKernMaker, a font utility. Peter Bilak now lives in The Hague, The Netherlands, at the same address as Paul van der Laan. Free dingbat font FountainPen (Mac). At ATypI 2004 in Prague, he spoke about white spaces in typography. Speaker at ATypI 2005 in Helsinki. [Google] [More]  ⦿

    Peter Gabor

    Born in Budapest in 1957, but Parisian since 1957. Designer and type artist who made many custom and magazine fonts. Blog. There is an ongoing feud between Porchez and Gabor which has invaded the internet waves. Gabor's blog and Porchez's blog are the stages for this royal battle. Generally, Gabor decries the hypocrisy in the type industry and calls for the Foundation of a Sir Francis Drake Society. The Book Antiqua/Palatino case and the Bitstream/Linotype battle irked Gabor, and he likes to expose type designers whose fonts are too close to others. Among his creations:

    • American Match. For Paris Match.
    • Elle Gabor. A great fashion-conscious geometric sans family. For Elle magazine.
    • Firmin Didot.
    • Futura Canal.
    • Gabor 2000 (TypoGabor Phototitrage, 2000).
    • Gabor Script (TypoGabor Phototitrage, 1975).
    • Les Échos.
    • Libération (1994). Four typefaces for the newspaper.
    • Manu Script Short (1995). A free script font based on his own handwriting.
    • Mermoz (TypoGabor Phototitrage, 1988). A roman style mini-serif family.
    • Moka Presse.
    • Nintendo: a pixel face.
    • Sade (Salon Sade, 1976).
    • Serge Lutens: a severe Calvinist face.
    • Total: commissioned by the gas company.
    • Yves Saint-Laurent.
    [Google] [More]  ⦿

    Peter Hübner
    [Hybi Types]

    [MyFonts] [More]  ⦿

    Peter Langpeter

    German illustrator, cartographer, calligrapher, and logo and typedesigner who has his own studio, LP Design, since 1995. Designer of the classical script typeface LP Pinselschrift (2009, URW++), the bush script LP Pinsel Satt (2013, URW++), and the signage / bamboo script typeface LP Bambus (2009, URW++).

    LP Saturnia (2013, URW++) and LP Saturnia Sans (2017, URW++) is a roman antiqua typeface: The aim was to create a modern interpretation of the classical Roman letters (Capitalis Monumentalis or Trajan by Carol Twombly), avoiding the archaic look of these letter forms.

    LP Philharmonia (2014; +Outline in 2017) is a one-style didone typeface. In 2015, he designed the Peignotian typeface family LP Lazise (Regular, Lapidar, SemiSerif, Serif), and published it in the URW Fontforum collection.

    In 2016, still at FontForum URW++, he published LP Hand Eins and the slightly tapered lapidary typeface LP Cervo.

    Typefaces from 2017: LP Harmonia (calligraphic). LP Horizont Caps.

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

    Peter Mohr

    Type designer at OurType, born in Germany. He graduated from AIK (Academy for Information and Communication Design) in Dresden in 2003, and studied type design at the Hochschule für Grafik und Buchkunst in Leipzig in 2009, graduating with a thesis on Didot printing types. He still lives in Leipzig, and entered the type scene with a bang in 2010, when he published the pre-didone family Fayon (OurType). Fayon is a fresh interpretation of the early Didot style---the contrasts are not extreme, making this a legible family. Discussion by the typophiles.

    In 2007, Maurice Goeldner and Peter Mohr co-designed the custom typeface Hivo Slab.

    Klingspor link. [Google] [More]  ⦿

    Peter Saville

    Graphic designer (b. Manchester, 1955). Creator in FontShop's FUSE 5 collection of the stencil font Flo Motion. At his site, one can download a number of fonts under the label "N.O." (New Order). These are (I think) Saville's modifications of some typefaces by SSi and Bay Animation: N.O.- Ceremony (of ElseWare: Albertus Medium Regular), N.O.- Substance 1987 (of BodoniBookSSiBook), N.O.- Blue Monday '88 (of Bay Animation: ChiselWide), N.O.- Mesh/1981 - 1982 (of Bay Animation: (FujiExtended), N.O.- 1981 (of Bay Animation: FusiNormal), N.O.- Perfect Kiss/Low-life (of Bay Animation: Geo579Condensed), N.O.- 1993 (of Bay Animation: Hanzel), J.D.- Closer/LWTUA (of SSi: HeliosSSi), N.O.- Movement (seems to be a 1998 original), and N.O.- Brotherhood (of Salina Display SSi).

    Biography.

    Vitaly Friedman, on advice from Wolfgang Hartmann, states that N.O 1981 is indeed licensed and that other fonts presented in the Peter Saville Graphic Design Fonts Collection are the illegal copies of licensed, copyrighted fonts as well.

    Dafont link. [Google] [More]  ⦿

    Peter Wiegel
    [CAT Design Wolgast]

    [More]  ⦿

    Petra Sucic Roje

    Graduate of the Faculty of Architecture, University of Zagreb, Croatia. Zagreb-based architect and designer. Creator of the fat didone typeface Eva (2017), which was renamed Evuschka in 2018. Eva / Evuschka won an award in the TDC Typeface Design competition in 2017. Behance link. [Google] [MyFonts] [More]  ⦿

    Phantom Foundry
    [Jean-Baptiste Morizot]

    Type designer at the open source type foundry Velvetyne in Paris. His creations there include Trickster (2017: blackletter), Bluu Next (2014, a free wedge serif typeface) and Steps Mono (with Raphael Bastide).

    In 2015, he switched to the commmercial camp, and cooperated with the Fontyou team in the production of the didone typeface family Télémaque FY, which brings Didot in its most rigid and tuxedoed manner, for the black-and-white fashion mags showing James Bond with a black bowtie and spotless high-contrast shirt.

    In 2016, Alisa Nowak, Julie Soudanne and Jean-Baptiste Morizot co-designed Graphico (Indian Type Foundry): Its letterforms are industrial and square-sided. The typeface looks like the product of precision mechanics: it should be featured together with tech---either old tech like appliances or watches, or new tech like apps and laptop stands. Still for Indian Type Foundry in 2016, he designed the hipster sans typeface family Bobo---perhaps one of the greatest hipster typefaces of all times. Bobo stands for bourgeois Bohemian---I am not sure it is identical to gauche caviar, but that is the societal class the author of this typographic encyclopedia belongs to.

    In 2016, Morizot designed the high contrast wedge serif newspaper typeface families Editor and Editor Condensed, the 6-style techno font Technor (free at Fontshare; squarish with inflated horizontal strokes), and the car license plate font License at Indian Type Foundry.

    In 2017, as part of the new Black Foundry, he extended his free font Bluu and even added a variable font to the set, as well as a collection of emojis. The new name is Bluusuuperstar: Bluu Suuperstar is a brutalist serif typeface featuring very prominent triangular-wedges for serifs and terminals. Bluu Suuperstar's letters have a tall x-height, and the diamond dots are a chief characteristic of the design. Notches like these [diamonds] are found in several blackletter designs; but most-famously in the romain du roi created for Louis XIV. Nothing in Bluu Suuperstar is soft or cuddly; this is a sharp typeface, and you could cut yourself on its letters. The separate emoji font, designed by Gaëtan Baehr, is wittily named Bluumoji, and it includes 73 glyphs.

    In 2018, Morizot set up Phantom Foundry, where he published Super Fat Bob (2018) and Phantom Sans (2018: trying to bring some warmth to the geometric sans genre, and now also a variable typeface).

    Typefaces from 2019: Cosmetic (Indian Type Foundry: a high-contrast fashion mag sans family), TXT25 (an unconventional extreme-axis (variable) text typeface).

    Typefaces from 2020: Karrik (a free britalist font designed with Lucas Le Bihan), Token (at Future Fonts---on purpose, Morizot mixes discordant styles to create a Frankenstein monster of a typeface; he added Token Bebop in 2021), Kola (a molecular rounded stencil typeface published at Indian Type Foundry; free at Fontshare)

    Typefaces from 2021: Pally (at Fontshare; a 3-style asymmetric rounded sans with a playful children's book or comic strip rhythm), Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare; a free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020)), NaN Tragedy (an 8-style serif with display and Text subfamilies, and a variable font option; Tragedy is classical and sturdy, yet mischievous and unconventional).

    Fontshop link. Future Fonts link. Home page. Fontsquirrel link. Jean-Baptiste Morizot at Velvetyne. [Google] [MyFonts] [More]  ⦿

    Phil Martin
    [Alphabet Innovations International -- TypeSpectra (Was: MM2000)]

    [MyFonts] [More]  ⦿

    Philipp Möckli

    Graduate of the Vorkurs program at the Basel School of Design and of Academy of Art and Design Basel, class of 2014. Basel, Switzerland-based designer of the modified and mollified didone typeface Pedal (2014). Behance link. [Google] [More]  ⦿

    Philippe Grandjean de Fouchy

    Engraver, b. Macon (1666), d. Paris (1714). In 1695, king Louis XIV of France commissioned a typeface, which until today is described as the first digital font, and at least as the first mathematicallly defined type, the Romain du roi (1702), used by Grandjean in Médailles sur les principaux énvenémens du règne de Louis-le-Grand, avec des explications historiques. (1702). This text was illustrated by sebastien Leclerc (1637-1714). See here and here for background. A specimen is here. Discussion at typophile.

    Romain du roi was digitized by Frank Jalleau under the name Grandjean and in 2008 by Gert Wiescher as Royal Romain (link). Wiescher writes: Royal Romain was commissioned by the most famous king of France, Louis XIV the Sun King. A group of Scientists set off to work on the task of producing the ultimate font for the king of all kings. After years of elaborations Philippe Grandjean then started to cut the final punches for the Imprimerie Royale and finished his part of the work with the fonts first appearance in the magnificent Médailles sur les principaux énvenémens du règne de Louis-le-Grand, avec des explications historiques. (1702). The complete set of 21 sizes of roman and italic letters was finished by Grandjean's successor Jean Alexandre and completed by Louis Luce in 1745. The font went by the name of Romain du Roi and was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for Fournier and Bodoni.

    Another digital versuion exists, Romain BP and Romain BP Headline (2007), by Ian Party of B&P Typefaces. Ian Party writes: Based on the Commission Jeaugeon's models and on Philippe Grandjean's classic character, the Romain BP celebrates the marriage of geometric rationality and elegance, of science and craftsmanship. The Romain BP Text is actually closer to the Commission's model than Grandjean's Romain du Roi. It is more synthetic in its structure, more radical, and thus, more modern. It is a contemporary text typeface based on a structure that was created in 1690, not a revival mimicking Greandjean's shapes.. [Google] [MyFonts] [More]  ⦿

    Photo-Lettering Inc

    A subsidiary/part of House Industries in Yorklyn, DE. I quote: Photo-Lettering was a mainstay of the advertising and design industry in New York City from 1936 to 1997. PLINC, as it was affectionately known to art directors, was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering. It employed such design luminaries as Ed Benguiat and sold type drawn by the likes of Herb Lubalin, Milton Glaser and Seymour Chwast as well as countless other unsung lettering greats. The company is best known by most of today's graphic designers for its ubiquitous type catalogs. Physically, the collection takes up about 1500 cubic ft (42 cubic meters) of space and consists of film negatives and positives of most of the 6500 fonts produced in the company's 55 years. There are also countless patterns, cartouches, borders and dingbats, all of which have been preserved in film negative form. Each negative is approximately 28 in (71 cm) by 5 in (13 cm) high. House Industries, a Yorklyn, Delaware-based independent type foundry, purchased the entire physical assets of Photo-Lettering in April of 2003. Through a partnership with Ken Barber, Christian Schwartz and Erik van Blokland, House Industries is carefully digitizing select alphabets from the collection and plans to offer them through a modern web-based interface. The Photo-Lettering interface has allowed us to reach beyond the rigid confines of typography to offer extended features such as layering, color control and multiple master interpolation over six axes. With some of the most talented minds in display typography behind this new display lettering system, users of the system will enjoy the same refined typography as the original Photo-Lettering customers.

    A snapshot of their production, as of mid 2012, in alphabetical order:

    • Atrax. A Mexican simulation typeface.
    • Aztec. A videogame typeface.
    • Banjo Playbill. A tear drop typeface.
    • PL Barclay Outline.
    • BenguiatBuffalo. By Ed Benguiat.
    • BenguiatCaslon, BenguiatCaslonOutline, BenguiatCaslonPlain. By Ed Benguiat.
    • BillSeeWhimsy.
    • PL Brazilia (sans).
    • Brickhouse.
    • PL Britannia.
    • Brixen.
    • BrodovitchAlbro.
    • Bubblegum, Bubblegum Drop.
    • Carlyle Eventide. A 3d titling face.
    • CarusoRoxy.
    • Chicamakomiko.
    • CopelandMilo. A connected script by L.H. Copeland.
    • CopelandTrilliumFills, CopelandTrilliumOutline. A beveled prismatic typeface by L.H. Copeland.
    • DARegatta. A flared didone.
    • DAmicoGothic. A casual flared typeface.
    • DavisonBaroque. A Western / Tuscan typeface.
    • ExotiqueJSplit.
    • FederalReserve.
    • FederalTwelveDiagonal, FederalTwelveHorizontal. These are engraved copperplate typefaces.
    • PL Fiorello (squarish sans).
    • Galaxy Didot (based on a didone typeface by C.E. Coryn).
    • Goliath. A fat Egyptian typeface with a wood style flavor.
    • HanoverBold. A nice Fraktur typeface.
    • HaslerCircus. A Tuscan circus font.
    • HenrionBA. A beveled typeface with several layers.
    • HouseGothicWide. A shaded unicase typeface.
    • Housebroken. A two-layer stencil caps face.
    • PL Latin.
    • Mierop Inline. A bilined art deco typeface.
    • Millstein Flourish. A beautiful tall-descender typeface.
    • PL Modern Heavy Condensed.
    • Neutra Inline, Neutra Thin. Neutra Thin is a phenomenal geometric hairline sans.
    • Norton Slapstick. A wood simulation typeface by S.E. Norton.
    • Norton Tape. A stencil paper-fold typeface by S.E. Norton.
    • Quaint. After an ornamental typeface from 1938 by Paul Carlyle and Guy Oring.
    • Quicksilver.
    • Quintet. A calligraphic connected script
    • Raymund Circus (+Inline, +Outlined).
    • Smidgen. A signage face.
    • Sodachrome.
    • StanSlope.
    • SuperstarScript. A bubblegum typeface.
    • SwissInterlock.
    • SwissTwoTone. A display sans with two layers.
    • Tiki Palms.
    • TimesSquare. A dot matrix typeface.
    • Tuggle. An oil slick typeface.
    • Voodoo House.
    • PL Westerveldt. A sans revived by Monotype.
    • WestBarnumUltra, WestBarnumUltraDrop. A fat Egyptian typeface by Dave West.
    • WestBehemoth, WestBehemothItalic. Egyptian typefaces by Dave West.
    • WestEmperorScript. A fat didone by Dave West.
    • WestThud. A fat signage typeface by Dave West.
    • West Elephant. By Dave West.
    • West Italiano. A didone by Dave West.
    • West Kerpow. A comic book typeface by Dave West, late 1960s. This was digitized in 2011 by Allen Mercer at House Industries as Plinc Kerpow.
    • Worthe Numerals. Fat didone numerals revived by Ben Kiel at House Industries in 2012.
    [Google] [More]  ⦿

    Pi Luo

    Creator of Misu Kim (2005), Earth Kid (2005, grunge), and the handwriting fonts Asian Guy (2005, oriental simulation face), Asian Girl (2008) and Alien Strawberry (2008, double strokes) and the ransom note typeface Black Casper (2009). In 2009, he created the paint drop typeface Clarisse, the outlined grunge typeface University High, and the grungy typefaces Make Juice, James Han and Northwood High. Celeste Hand (2009) is a handwriting face, while Gordon Heights (2009) is a soft sans. SCRATCH (2009), Irvine High (2010), Lexington High (2010) and INFECTED (2009) are grungy. Gothical (2009) is a grunge version of Fette Fraktur. White Tie Affair and Valerie Hand date from 2005. Creations from 2010: Rocketshop Town (eroded futuristic face), Lemons Can Fly (children's hand). In 2012, he started work on a didone called Serina.

    Devian Tart link. Font Squirrel link. Another link. [Google] [More]  ⦿

    Picador
    [Maciej Wloczewski]

    Warsaw, Poland-based type designer who studied at Warsaw Academy of Fine Arts. His company is called Picador Studio. Some of his typefaces are also available from the new Polish type foundry Capitalics. Creator of the sans typeface Fela (2014). Fela was designed for books and posters for young children by employing simple handcrafted glyphs. Graphen (2014) is a handcrafted typeface family that seems destined for posters. Mato Sans is a large sans family for Latin and Cyrillic.

    Kaboom (2015) is an animal dingbat font.

    In 2016, he designed the high-contrast poster typeface family Artigua (with Wiktoria Galecka).

    Praho Pro (2017) is a high-contrast didone-inspired typeface family for headlines that mixes wedge serifs with traditional rectangular didone terminals. Covering both Latin and Cyrillic, it is part of Warsaw Types---a project based on Warsaw's local typographic heritage. The project, presented at the Museum of Praga, is a collaboration of 12 young Polish type designers.

    In 2018, he published the flared terminal typeface Picador Sans and the art deco typeface Disalina.

    Typefaces from 2019: Kotto Slab, Jagerlay (a branding font, slightly retro sci-fi, yet strong and angular).

    Behance link. Newer Behance link. Home page. Behance link for Picador Studio. [Google] [MyFonts] [More]  ⦿

    Picatype Studio
    [Akmal Yusar]

    Indonesian designer, b. 1987, who is based in Aceh. In 2017 he created the script typefaces Danliny Script, Almirra Script (dry brush), Rollent (calligraphic script), Sakhiya Script, Kalisha Script, Gallisia Script (calligraphic), Attention Script, Felicity Script, Gloretha Script (swashy), Hilwen Script, Claudette, Butterfly Script and Nightcall Script, and the calligraphic typeface Munira Script (2017).

    Typefaces from 2018: Formabbis (a brush script), Chellora (Victorian), Realvish (brush script), Conserina (a condensed script), Shirelda Script (calligraphic), Thuressia Script (a formal calligraphic typeface), Hadhelia Script, Martinail, Suhainora, Stayreed, Rishella (signature font), Barbara Script.

    Typefaces from 2019: Graphemic (all caps, art deco), Baltster (a creamy casual typeface), Blangkist (dry brush script), Quinter (a spurred Tuscan typeface), Srikandy (a retro signage script), Celiya Script, Konseric, Bhontage (monoline script), Sandoval, Martinail (signage script), Klibers (script), Shintosa Script (formal calligraphy), Suhainora, Nigthwel (a retro signage script) and the elegant modern italic typeface Thestone.

    Typefaces from 2020: Satnight Script, The Jophie Sans (a rounded sans), Gravia (a one-weight geometric sans). [Google] [MyFonts] [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]  ⦿

    Pierre Defossez

    Lille-based designer of a ball erminal-experiment called Alpha (2013). [Google] [More]  ⦿

    Pierre Didot

    Born in Paris in 1761, he died there in 1853. He was in the third generation of the Didot dynasty of printers, son of François-Ambroise Didot. Wikipedia: Pierre Didot was awarded a gold medal at the exhibition of 1798, for his edition of Virgil. By order of the Government, his presses were established in the Louvre, where they remained during the Consulate. The celebrated Louvre editions are Virgil, Racine, Horace, and La Fontaine. The board of examiners of the 1806 exhibition pronounced the Racine edition "the most perfect typographical production of all ages". Pierre Didot was also a poet and translated in verse the fourth book of Georgies, the first books of Horace's Odes, and wrote a number of original poems. Didot published this book in 1819: Specimen des nouveaux caractères de la fonderie et de l'imprimerie de P. Didot, l'ainé, chevalier de l'ordre royal de Saint-Michel, imprimeur du roi et de la chambre des pairs (Paris). [Google] [MyFonts] [More]  ⦿

    Pierre MacKay
    [Ibycus]

    [More]  ⦿

    Pierre Terrier
    [Fontself]

    [More]  ⦿

    Pierre-François Didot

    Youngest son of the Didot printing business founder, François Didot, 1732-1795 (some sources say 1731-1793, and others 1732-1793). Pierre-François Didot founded a paper factory in Essonne and made improvements in type-founding. [Google] [MyFonts] [More]  ⦿

    Pierre-Simon Fournier

    French typefounder (b. Paris, 1712, d. Paris, 1768) also called Fournier le jeune.

    • His books. Author of Manuel Typographique, two volumes published in 1764 and 1766. Nijhof&Lee write: The first volume is one of the major source books on the processes of making printing types in the era of the hand press. Volume two includes a comprehensive specimen of the types and ornaments of Fournier's own foundry, most of which he cut himself, and as such provides a record of one of the most remarkable personal achievements in the history of typefounding. The books are available as a Darmstadt Facsimile reprint (1995). He published other theoretical works, such as a 1737 manuscript on the spacing between letters for readability.
    • His life. Son of typefounder Jean-Claude Fournier, he became famous as a type theoretician. He created his own point system in 1737, 14 years after the Frenchh government decreed that types should have standards. In 1739, he created his own foundry. The king of France, Louis XIV, commissioned new types for use during his reign, and turned to Fournier. Reproduction of these types by others was not tolerated. And so, Fournier modèles des caractères were in use throughout Louis XIV's reign. They had huge contrasts (after all, they just predated the outbreak of didones) and were crammed with rococo ornaments. Other contemporaries elsewhere, such as J.M. Fleischman and J. Enschedé, started imitating Fournier's style. In the 1750s, his career was at its peak. He advised royalty in Sweden and Sradinia on types, and set up a printing shop for Madame de Pompadour. He developed musical types in cooperation with J.G.I. Breitkopf in 1756. But other printers thoroughly disliked Fournier. There were several literary battles between rival typefounders, such as between Gando and Fournier, and between Ballard (a music symbol typfounder who held a monopoly before Fournier in that area) and Fournier. Fournier's type foundry existed until the 19th century.
    • His typefaces. The Fournier MT family by Monotype (1924-1925) was based on the types cut by Pierre-Simon Fournier (ca. 1742) and was called St Augustin Ordinaire in Fournier's Manuel Typographique. These were the firtst transitional typefaces after the privately owned romains du roi. Mac McGrew: Fournier is an aristocratic roman typeface which had its inception in letters engraved and cast by Pierre Simon Fournier, a famous mid-eighteenth-century French typefounder. It is transitional, almost modern, in character, with a distinct French flavor, but with more grace and style than traditional French oldstyle designs. This modern character influenced the later work of Bodoni. This adaptation was made by English Monotype in 1925, and copied by Lanston Monotype in 1940. The specimen of the roman shown here is from English Monotype, in the absence of a good American specimen, but the italic is from Lanston. Narcissus-Roman (1995, Font Bureau) is based on a 1745 design of Simon Pierre Fournier, and a 1921 version of it called Narcissus by Walter Tiemann for Klingspor, and was digitized by Brian Lucid in 1995. Jim Spiece's version is called Narcissus SG. In 1768, he designed an ornamental all caps face, which Peignot produced as Fournier le Jeune. More elaborate caps were added by ATF in the 1920s, and the current digital version by P22/Lanston, also called Fournier le Jeune, is based on that [see LTC Fournier Le Jeune]. Alan Jay Prescott created APT New June (1996) based on Fournier le Jeune. In 2007, Tjorbjörn Olsson (T4) created Museum Fournier, inspired by a set of Rococo capitals designed by Pierre Simon Fournier le Jeune, ca. 1760. The matrices are part of a set imported to Sweden by J.P. Lindh in 1818 from Breitkopf&Härtel in Leipzig, Germany. They are now in the Nordiska Museum in Stockholm. Jas Rewkiewicz's Fournier RD (2007) is an interpretation of the famous Fournier typeface. The Castcraft version of Fournier is called OPTI Fourquet. Joshua Darden's Corundum Text (2006) and typeface Griesshammer;s free font Source Serif (2014, Adobe) are also based on Fournier. The ambitious PS Fournier (2016, Stéphane Elbaz) is perhaps one of the best digital revivals. At B&P Swiss Typefaces, François Rappo published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.

    Pauline Nuñez graduated in 2007 from Ecole Estienne with a thesis entitled Pierre-Simon Fournier, typographe absolu, typographe accompli?.

    Publications by Pierre-Simon Fournier dit le jeune:

    Klingspor link. FontShop link.

    View some digital typefaces based on designs by Fournier. [Google] [MyFonts] [More]  ⦿

    Pilcrow

    Jonathan Hoefler explains the origins of the pilcrow: Like most punctuation, the paragraph mark (or pilcrow) has an exotic history. It's tempting to recognize the symbol as a "P for paragraph," though the resemblance is incidental: in its original form, the mark was an open C crossed by a vertical line or two, a scribal abbreviation for capitulum, the Latin word for "chapter." Because written forms evolve through haste, the strokes through the C gradually came to descend further and further, its overall shape ultimately coming to resemble the modern "reverse P" by the beginning of the Renaissance. Early liturgical works, in imitation of written manuscripts, favored the traditional C-shaped capitulum; many modern bibles still do. A capitulum is by no means out of place in a modern font, either: top row center is H&FJ Didot, whose neoclassical origins suggested the inclusion of a shape from antiquity. [Google] [More]  ⦿

    Pilcrow Type
    [Paul D. Hunt]

    Type and graphic designer from Joseph City, AZ. His first degree was from Brigham Young University. He was a type designer at P22/Lanston from 2004-2007. In 2008, he obtained an MA in typeface design from the University of Reading where he designed the typefaces Grandia and Grandhara (Indic). In January 2009, he joined Adobe just after Thomas Phinney left. He lives in San Jose, CA. His talk at ATypI 2014 in Barcelona was entitled The history of non-Latin typeface development at Adobe.

    He created Howard (2006, a digitization of Benton's Sterling), P22 Allyson (2006, based on Hazel Script by BB&S; a winner at Paratype K2009), the P22 FLWW Midway font family (2006-2018: Midway One, Two and Ornaments; based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright from 1913---tall-legged and casual), Kilkenny (2005, P22), a Victorian-style font based on the metal types named Nymphic and Nymphic Caps which were designed by Hermann Ihlenburg in 1889. This typeface has almost 1000 glyphs and comes in OpenType format. It includes Cyrillic characters. Check the studies here and here. For another revival of Nymphic Caps, see Secesja by Barmee.

    Designer of the display typefaces Seventies Schoolbook (2004) and Interlocq (2004).

    Hunt also digitized Goudy's Village (2005). Village was originally designed by Fredric Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005). Hunt's version was eventually released in 2016 by P22/Lanston as LTC Village.

    He revived Hazel Script (BB&S), which he renamed Allyson (2005).

    Still in 2005, he created a digital version of Sol Hess' Hess Monoblack called LTC Hess Monoblack.

    In 2006, he published a nice set of connected calligraphic script fonts, P22 Zaner. Bodoni 175 (2006, P22/Lanston) is a revival of Sol Hess' rendition of Bodoni. He was working on Junius (2006), a revival/adaptation of Menhart Antiqua. Frnklin's Caslon, or P22 Franklin Caslon, was designed in 2006 by Richard Kegler and Paul Hunt in collaboration with the Philadelphia Museum of Art. This slightly eroded font set includes faithfully reproduced letterforms digitized directly from images of impressions made by Benjamin Franklin and his printing office circa 1750. It comes with a set of ornaments.

    In 2007, he used Goudy's 1924 typeface Italian Old Style in the development at P22/Lanston of LTC Italian Old Style. That typeface was remastered and extended to cover several languages by James Grieshaber in 2011.

    In 2014, Paul Hunt finished work on the wood type revival font HWT Bulletin Script Two (P22 & Hamilton Wood Type). This backslanted psychedelic typeface can be traced back to the wood type manufacturers Heber-Wells (Bulletin Condensed, No. 5167), Morgans and Wilcox (Bulletin Script No. 2, No. 3184), Empire Wood Type (1870: Bulletin Script), Keystone Type Foundry (1899: Bulletin Script), Hamilton (117), and Wm. H. Page & Co (No. 111 through No. 113).

    Free fonts at Google Web Fonts: Source Sans Pro (2012; Source Sans Pro for the TeX crowd), Source Code Pro (2012, a companion monospaced sans set by Paul D. Hunt and Teo Tuominen). Source Serif Pro, its Fournier-style relative, was developed at Adobe by Frank Grießhammer. They can also be downloaded from CTAN and Open Font Library.

    Fun creations at FontStruct in 2008-2009: Possibly (a stencil loosely based on the Mission Impossible series logo), Probably (same as Possibly but not stenciled), Med Splode, Arcade Fever, negativistic_small, New Alpha_1line, New Alpha_4line, New Alpha_bit, New Alpha_dot [dot matrix font], New Azbuka [after Wim Crouwel's New Alphabet from 1967], positivistic, slabstruct_1, slabstruct_too, structurosa_1, structurosa_bold, structurosa_bold_too, structurosa_caps, structurosa_faux_bold, structurosa_leaf, structurosa_script, structurosa_soft, structurosa_tape, structurosa_too, structurosa_two, Slabstruct Too Soft, Structurosa Clean Soft, Structurosa Script Clean, Structurosa Clean, Structurosa Clean Too, Structurosa Clean Leaf, Structurosa Boxy, Stucturosa Script Heavy.

    In 2010, he designed he programming font Sauce Code Powerline. Well, this is probably a renaming of Source Code by some hackers. Just mentioning that sauce Code is on some Github pages.

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

    PL fonts
    [Janusz Marian Nowacki]

    The PL fonts are a set of Polish extensions of the Computer Modern fonts. The type 1 and metafont code is in the public domain. Created by Janusz M. Nowacki, the 77 fonts are PLCaps10-Regular, PLDunhill10-Regular, PLFibonacci8-Regular, PLFunny10-Italic, PLFunny10-Regular, PLInch-Regular, PLMathExtension10-Regular, PLMathExtension9-Regular, PLMathItalic10-BoldItalic, PLMathItalic10-Italic, PLMathItalic12-Italic, PLMathItalic5-Italic, PLMathItalic6-Italic, PLMathItalic7-Italic, PLMathItalic8-Italic, PLMathItalic9-Italic, PLMathSymbols10-BoldItalic, PLMathSymbols10-Italic, PLMathSymbols5-Italic, PLMathSymbols6-Italic, PLMathSymbols7-Italic, PLMathSymbols8-Italic, PLMathSymbols9-Italic, PLRoman10-Bold, PLRoman10-BoldItalic, PLRoman10-Italic, PLRoman10-Regular, PLRoman12-Bold, PLRoman12-Italic, PLRoman12-Regular, PLRoman17-Regular, PLRoman5-Bold, PLRoman5-Regular, PLRoman6-Bold, PLRoman6-Regular, PLRoman7-Bold, PLRoman7-Italic, PLRoman7-Regular, PLRoman8-Bold, PLRoman8-Italic, PLRoman8-Regular, PLRoman9-Bold, PLRoman9-Italic, PLRoman9-Regular, PLRomanDemi10-Regular, PLSans10-Bold, PLSans10-BoldItalic, PLSans10-Italic, PLSans10-Regular, PLSans12-Italic, PLSans12-Regular, PLSans17-Italic, PLSans17-Regular, PLSans8-Italic, PLSans8-Regular, PLSans9-Italic, PLSans9-Regular, PLSansDemiCond10-Regular, PLSansQuotation8-Italic, PLSansQuotation8-Regular, PLSlanted10-BoldItalic, PLSlanted10-Italic, PLSlanted12-Italic, PLSlanted8-Italic, PLSlanted9-Italic, PLTeXExtended10-Regular, PLTeXExtended8-Regular, PLTeXExtended9-Regular, PLTypewriter10-Italic, PLTypewriter10-Regular, PLTypewriter12-Regular, PLTypewriter8-Regular, PLTypewriter9-Regular, PLTypewriterCaps10-Regular, PLTypewriterSlanted10-Italic, PLTypewriterVarWd10-Regular, PLUnslanted10-Regular. The fonts were originally created by Janusz M. Nowacki in 1997 and released during the meeting of the Polish TeX Users Group (GUST) in Bachotek. Several minor bugs were removed during a few years of using the fonts. Total re-arrangement of the collection and adaptation to the Windows environment took place out in 2000 and was carried out by the JNS TEAM (Boguslaw Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). [Google] [More]  ⦿

    Plamen Petrov

    Bulgarian designer of the tall slab serif Carnival VP (with Vladimir Fedotov) and the ligature font Slang (2019, at Vladimir Fedotov's VP Creative Shop).

    Typefaces from 2020: Black Gold VP (a high contrast display font; with Vladimir Fedotov), Kompot (a condensed all caps decorative serif; co-designed with Vladimir Fedotov), Chalga VP (a decorative serif co-designed with Vladimir Fedotov), Ablation (a 6-style all caps geometric sans jointly done by Vladimir Fedotov and Plamen Petrov), Midnight Tales (vintage decorative caps jointly done by Vladimir Fedotov and Plamen Petrov), Akros (a fashion mag font by Vladimir Fedotov and Plamen Petrov), Daylight Dreams (a festive all caps typeface by Vladimir Fedotov and Plamen Petrov), Zink VP (a bold all caps sans by Vladimir Fedotov and Plamen Petrov), Billionaire Club (art deco caps; by Vladimir Fedotov and Plamen Petrov), Blackpaper (a negative space font by Vladimir Fedotov and Plamen Petrov), Metria Street (a monolinear condensed interlocking sans by Vladimir Fedotov and Plamen Petrov), Monday Boulevard (an all caps art deco typeface by Vladimir Fedotov and Plamen Petrov), Sombre (a negative space font by Vladimir Fedotov and Plamen Petrov), Bubbble Gum (a 9-style rounded monolinear sans by Vladimir Fedotov and Plamen Petrov), Equinox VP (a futuristic all caps font by Vladimir Fedotov and Plamen Petrov), Inertia (a logo font family, with Vladimir Fedotov), Inure (a ball terminal typeface, with Vladimir Fedotov), Papillon VP (with Vladimir Fedotov), Bungalow VP, Fika VP (a rounded and modular typeface by Vladimir Fedotov and Vladimir Fedotov), Kavo Serif (a 5-style all caps didone by Vladimir Fedotov and Plamen Petrov), Kavo Inline (with Vladimir Fedotov), Kavo Sans (with Vladimir Fedotov), Quilin (decorative and swashy; with Vladimir Fedotov), Silver Queen (a ball terminal typeface; with Vladimir Fedotov), and the weathered Greenth (2020; with Vladimir Fedotov).

    Typefaces from 2021: Aisling (a six-style ultra-compressed sans), Stolen Love (a 16-style fashion mag serif), Cruell (a high contrast ball terminal laden fashion headline typeface), Mother VP (a high-contrast fashion font with plenty of ball terminals), Magoa (a serif typeface with extreme contrast), Sorcha (a ball terminal display font by Vladimir Fedotov and Plamen Petrov) Christmas, French VP (an all caps glamour font adorned with gigantic ball terminals; with Vladimir Fedotov), Perfectly Splendid (a ball terminals all caps typeface; with Vladimir Fedotov), Italian VP (a 21-style tall slab serif in which the bold weight is still thin by international standards; with Vladimir Fedotov), Huova (a decorative all caps serif by Vladimir Fedotov and Plamen Petrov), Kompot Slab (by Vladimir Fedotov and Plamen Petrov), Unique VP (a fashion mag titling font with many ligatures and swashes), Chalga VPoutline (a classy outline font by Vladimir Fedotov and Plamen Petrov), Mila VP (a disturbing sans & serif hybrid), Kompot Sans (an all caps titling sans by Vlamen Petrov and Vladimir Fedotov), Kompot Display, Avoqado (a 6-style all caps sans with features of DIN; by Vladimir Fedotov and Plamen Petrov), Kuchek (a ligature-rich decorative serif, with Vladimir Fedotov).

    Typefaces from 2022: Forbidden Love (a condensed fashion mag serif), Vintage Mintage (a display serif), Lonely Moon VP (a delicate yet eerie typeface), Malinger VP (an elegnat display serif), Sign That (a wild script), Trixie Script, Enchanted Love (a 7-style display sans). [Google] [MyFonts] [More]  ⦿

    Plau (was: Niramekko)
    [Rodrigo Rocha Saiani]

    Rodrigo Saiani is a graphic and type designer who graduated from Parsons School of Design. In 2006, he founded Niramekko, which he ran with his brother Gustavo Saiani until 2013. Niramekko became Plau, now located in the Botafogo suburb of Rio de Janeiro. The type and graphic designers associated with Plau design include the cariocas Gabriel Menezes, Carlos Mignot, Valter Vinicius Costa, Rodrigo Saiani, Felipe Casaprima, and the expatriate in Köln, Germany, Ana Laura Ferraz. Plau joined Type Network in 2021. Saiani teaches type design at Miami ad School / ESPM in Rio de Janeiro.

    Saiani's first typeface was Swiss: Motiva Sans (2009). 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 co-designed 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 handcrafted branding typeface Dariquim.

    Collaboration between Plau and Rede Globo, Globotipo (2018: a collaboration between Plau and Rede Globo) is a family of 30 fonts made exclusively for the Brazilian TV chain Rede Globo.

    In 2018, he designed the custom restaurant menu and branding typeface Chez Lalu, the creamy retail typeface Manteiga, and the sturdy sans typeface family Vinila (with Flora de Carvalho).

    Typefaces from 2019: Reserva (Sans, Serif, Display), Muda (a corporate typeface for the fashion brand Oficina Muda; type design by Ana Laura Ferraz, Carlos Mignot, Gabriel Menezes and Rodrigo Saiani).

    Typefaces from 2020: Salsero (a display typeface with Latin vibes), the video game font family (+stencil, +Cyrillic) either called Killing Sans or Nine to Five, co-designed with Carlos Mignot.

    Plau joined forces with the NotCo creative team in 2021 to design their custom typeface, NotFont. The brief was to create a typeface with unexpected logic. The Kabel-style geometric typeface won a bronze medal at the Brasil Design Award 2021 competition. Other bronze medal winners at that competition by Plau include custom typefaces for In Brands (called In Type), XP Investimentos (XP Lighthouse is the name of the typeface) and Exame Invest (a didone).

    In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). Still in 2021, Carlos Mignot and Rodrigo Saiani designed a few hip typefaces for the Brazilian TV channel Canal Brasil. Their Canal Brasil woin the gold medal and grand prize at the Brasil Design Award 2021 competition.

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

    Playtype

    Place to buy fonts made by E-type designers. Located in Vesterbro / Copenhagen, it was started in 2006. Another URL. The typefaces were designed by Jonas Hecksher (JH), Henrik Kubel (HK), and Jens Kajus (JK). By category:

    • Humanist sans: Abidale (JH), Bingo Sans (JH), Flavin (HK), ID00 Sans (JH, a huge family), Ole (HK), Parsons Green (HK), Premiere (JK), Test (HK), Triumph (HK).
    • Grotesk: Academy Sans (JH), Battersea 2010 (HK), Boing (HK, fat rounded), Cabo (JK), Contribute (JK, semi-octagonal), Dane (HK), Fletch Text (JH), Grot 10 (HK), Hall (JH), Hill (JH), Jazz House (JH), Lettre Gothic (JH), London (HK), Magna (HK), Mari (JH), Naive (HK), Norwegian (JH), Republic (JH), The Wave (JH), Vertigo (JH), Willumsen (JH).
    • Slab serif: Academy Serif (JH), FM (HK), Outsiders (HK, typewriter style).
    • Geometric sans: Agita (JK), Cubitt Solid (HK, rounded octagonal and techno), Geometric (JH), Juli Sans (2016: by Rasmus Michaëlis and Torsten Lindsø Andersen), Noir Text (JH, avant-garde), Nosferato (HK, squarish), Square (HK, squarish).
    • Monospaced: Access Code (JH), Italian Plate (JH).
    • Square Sans: JP Special Sans (JH), Zetta Round and Zetta Sans (JH).
    • Didone: De Archie (JH), JP Special Serif (JH), Monday (unknown designer), Venti Quattro (JH).
    • Garalde: ID00 Serif (JH), Primo Serif (JH).
    • Modern: Bingo Serif (JH), Kunstuff (HK), Maximum (HK).
    • Display serif: CPH Signs, De Archie Display (JH), Fru Olsen (JH), Home Display (JH), Impacto (HK), Signsystem (HK), S4AE (HK), Symphony Display (JH), Trojan (HK), Vogue Floral (HK), Vogue Paris (HK).
    • Ordinary body text serif: Home Text (JH), Typewriter (HK).
    • Stencil: Danmark (HK), Staton (HK).
    • Various display types: 4590 (HK, thin octagonal), 60 Display (HK), Agriculture (HK), Archi (HK), Aveny T (HK), Banknote (HK), Bauhause (HK, kitchen tile face), CPH Tram (HK), CWM (HK, octagonal), Collecting (unknown designer; +Stencil), Copenhagen (HK), Donny Playtype (unknown designer; fat face), Du Nord Dingbats (JH, circled letters), Elephant (JH, art nouveau), Eyes Lies (unknown designer), Gameover (unknown designer), Glendale (JK, Peignotian), Hazelwood (JH), Hermes Baby (JH, old typewriter), Julius (JH), Klampenborg 2010 (HK), Movie Playtype (JH), New Press (JH, slab serif), Optic (unknown designer, dot matrix), Ornamenta (HK), Safety (JH), Speed Playtype (JH, octagonal, techno), Tagstyle (HK, hand-printed), Tempo Playtype (JK, dot matrix), Tobe (HK, mechanical), Trood (JH, octagonal), Zadie (HK, ornamental).
    • Dingbats: Flowers (HK).
    • Commissioned typefaces include Nouvel (inspired by Jean Nouvel's architecture for Koncerthuset, the new concert venue designed for the Danish Broadcasting Corporation) and Medic (designed for emergency medicine).
    • Variable fonts: Cutalic (2020).
    [Google] [More]  ⦿

    pmy.lv

    Four full Korean truetype fonts: CR (a Korean extension of Bodoni), HYRGoThic-Medium (HanYang Systems, 1995), Mhansek (MorrisDesign), YetR-HM (Human Computers, 1996). [Google] [More]  ⦿

    Point sizes

    A point size explanation, gleaned from "RSD99"'s posting.

    • The PostScript point: exactly 72 to the inch. [When the PostScript page description language was being designed by Adobe Systems (Jim Warnock and Charles Geschke), the PostScript point was defined as being exactly 72 points to the inch. Warnock and Geschke had an extensive knowledge of real-world printing, and of computerizing that process. They apparently took the position that 1/72.27000072 was ridiculous and overly computationally intensive, and decided to use 1/72 for the value of the point.] In other words:
      • 1/72 inch
      • or 0.013888888888 inches (the "8" is an endlessly repeating decimal)
      • or 0.352777777777 millimeters (the "7" is an endlessly repeating decimal)
      This is the point system used by nearly all software nowadays.
    • The "American Printer's Point": proposed in 1886, it is roughly 72.27000072 to the inch. [The traditional American printer's point was defined by the American Typefounders Association in 1886. This convention was used by printers in the United States and England, and is still in use by those printers who use cast metal type. It is sometimes referred to as the "Anglo-Saxon point." The value of 0.013837 inches is from the NIST Handbook 44, Appendix C.]
      • 1/72.27000072of an inch
      • or 0.013837 inches
      • or 0.3514598 millimeters
    • The Didot point (of the 18th century ... roughly 1770): roughly 67.55818249 to the inch [Usually written xx ptD, the Didot point was originally defined in 1770 as 1/72th of the French Royal Inch. This French Royal Inch was 27.07 mm long, which was slightly longer than the English inch of the time. The Didot point is commonly used by continental European printers and typesetters. Since it is visibly slightly larger than the commonly used Anglo-Saxon "printer's point," the Didot point is sometimes called the 'fat point.']
      • 1/67.55818249 of an inch (roughly)
      • or 0.014802056 inches
      • or 0.3759722222 millimeters
    • There are also historical "point" measurements by Fournier (1737) and Truchet (1695), and one by the French printer Imprimerie Nationale.
      • Points (l'Imprimerie nationale): The l'Imprimerie nationale point was defined as 0.4 millimeter. It is now obsolete.
      • Points (Truchet, 1694): The Truchet point is defined as 1/12th of 1/12th of the French Royal foot. It was never accepted by the printing industry, and is now obsolete.
      • Points (Fournier, 1737): In 1737 Pierre Fournier formulated the first definition of the point as being 1/12th of the French "Cicero" type size. The "Cicero" was then 0.1648 inches, so the Fournier point was approximately 0.013733 inches. This definition was originally presented in his booklet "Tables des Proportions qu'il faut observer entre les caractères."
    [Google] [More]  ⦿

    Point system

    I quote from a web page that is gone: The point measurement was developed as a standard in the 19th century by Pierre Simon Fournier and F(irmin) Didot. Known as the Didot Point System, 12 points equal one cicero. The British/American version (proposed by Nelson Hawks in 1878) is based on the pica - which is also 12 points, or 4.233 millimetres, but is actually slightly smaller that a Didot Point. The point size is determined by measuring the distance from the ascent line (top of the capitals) to the descent line (bottom-most descender). To confuse matters, many European countries measure type in millimetres (1mm equals 2.85pt). [Google] [More]  ⦿

    Pol Campmany

    Spanish designer in Barcelona who made a series of Didot posters in 2011. [Google] [More]  ⦿

    Polo Folio

    Cali, Colombia-based creator of the hybrid typeface Baut (2013), obtained by crossing Bauhaus with Bodoni. Poker Pro (2013) is an experimental typeface. Behance link. [Google] [More]  ⦿

    Polyglyphic
    [Paul Brent]

    Los Angeles-based Paul Brent (b. 1974, Los Angeles) created Caslon Latina (1965---a Caslonesque face, yes, but with the contrast and feel of a didone), Dubai (sans) and Sinclair (2011, display sans).

    In 2013, he published the slightly flared and calligraphic sans called Sandena. He confesses to influences of Optima and Palatino. [Google] [MyFonts] [More]  ⦿

    Polystudio
    [Francesco Messina]

    Francesco Messina (b. 1952, Udine) is a graphic designer and principal of Polystudio in Tricesimo, Udine. He is the creator of Bomfield, a semi-serif version of Fairfield and Bodoni, created in his "Bompiani graphic project". Quite interesting!

    Bio. [Google] [More]  ⦿

    Positype
    [Neil Summerour]

    Positype was founded in 2002 by Athens and/or Jefferson, GA-based designer and type designer Neil Summerour (b. 1972, Azores, Portugal). Neil began developing typefaces in 1996 with the 1996 Olympic Brick Paver Project proprietary typeface. He is the co-principal and senior designer of Athens-based interactive, design, and advertising agency Genetic:ICG. In the summer of 2003, he began teaching Advanced Electronic Design in the Graphic Design Department at The University of Georgia.

    Swash & Kern is the bespoke lettering and typeface design alter ego of Neil Summerour.

    In 2001, Neil published his first two type designs with [T-26] Digital Type Foundry in Chicago, IL. Since then, he has released tens of font families including hiragana and katakana fonts. Positype fonts are sold by Myfonts.com and [T-26].

    Klingspor link. Facebook link. Blog. Behance link. Union Fonts link.

    The list of his fonts:

    • Aago (2017). A 54-style sans family.
    • Aaux, Aaux Office (2002), Aaux Pro (2004), Aaux Next (2009, 72 typefaces), Aaux Alphanumera, Aaux Emoticons.
    • Agent Sans (2021). An economical 22-style sans intended to be warm although the name seems to contradict that.
    • The Air superfamily (2011), which consists of 81 sans typefaces. Followed by Air Soft (2011), Air Pro (2021), Air Pro Condensed (2022) and Air Pro XCondensed (2022). He writes about Air: Heavily influenced by Summerour's Aaux Next typeface and Akzidenz-Grotesk, the typeface features a very efficient footprint, logical weight options, small caps, expanded numeral sets, extensive language support, and 5 total widths.
    • Altar (8-weight Gothic family).
    • Akagi (2008): 20 style sans family. Extended and refreshed in 2011 into Akagi Pro.
    • AMP (at Union fonts).
    • Anago (2012) is a softly rounded sans family, the product of a designer addicted to designing sans families.
    • Anarcharsis (2002): a serif family inspired by incomplete rubbing made from a stone wall located in the Bahamas.
    • Angel Script (2009, TypeTrust).
    • Baka (2005, a fantastic scratchy handwriting face), Baka Too (2006; followed in 2010 by Baka Expert).
    • The Bodoniesque family (Umbrella Type).
    • Cherry Blossoms (2018). A crayon script.
    • Claustrum (2003).
    • Clear Sans (2013). Starting from a monoline rather geometric set of thin weights, this typeface family morphs into a more humanist beast, with a, b, d and g having a squeezed look at the intercepts. And maybe because of that, this unclassifiable typeface is quite appealing. Followed by Clear Sans Text and Clear Sans Screen.
    • Courage (2019). A high contrast ultra black poster typeface.
    • Couture (2015) and Couture Sans (2015). Summerour was charmed by Imre Reiner's Corvinus when he designed this extremely high-contrast pair of fashion mag typeface families together with Mary Catherine Pflug.
    • Cynapse (2003; or Cynapse Pro. 2004, 12 weights). A sans family.
    • In 2018, Martina Flor and Neil Summerour published the layerable Tuscan typeface family Decorata.
    • Delphi (2014). A decorative multiline typeface by Lily Feinberg and Neil Summerour.
    • Directors Gothic (2013, Lettering Inc). A large retro sans family.
    • Donatora (2004).
    • Dream Big (2019). A swashy script typeface with weathered edges.
    • Ego (2003, octagonal family).
    • Epic (2007-2009, a 12-style contemporary garalde).
    • Ether, Ether Connected.
    • Eva (2003).
    • Filmotype Dancer (2012).
    • Filmotype Harvard (2015). Based on a Filmotype brush script from 1955.
    • Filmotype Horizon (2011).
    • Flirt Script (2014). Flirt Script won an award at TDC 2014.
    • Friendly (2012). In part based on Morris Fuller Benton's upright script typeface Announcement.
    • Fugu (2009, rough-outlined script family, winner at TDC2 2010).
    • Ginza (2008, a squarish techno family), and Ginza Narrow (2011).
    • Good Karma (2017). A sumi brush font. See also Good Karma Smooth (2020).
    • Grava (2018, twenty fonts) and Grava Display: Quirky and sharp, Grava is Neil Summerour's injection of warmth within the geometric sans font category.
    • Halogen (2012). An organic wide techno sans family. In 2014, he added Halogen Slab and Halogen Flare (flared). All have hairlines.
    • Headcold (2004).
    • Hype (2019). A collection of 432 low contrast gothic sans typefaces consisting of three subfamilies of 144 fonts each: Hype vol 1, Hype vol 2, Hype vol 3.
    • Ice Cream (2021). A creamy vernacular non-connected script for food packaging.
    • Iru1, Iru2.
    • Juicy (T-26, 2004, brushdrawn family).
    • Kari and Kari Pro (2005): a connected upright script. Kari Display (2009). Redrawn in 2020 and released as Kari (2020).
    • Kryptk Flash (2003).
    • Kurosawa Bastard, Kurosawa Hand, Kurosawa Sans, Kurosawa Serif, Kurosawa Hiragana, Kurosawa Katakana.
    • Love Script (2014). A high energy high contrast brush pen / marker script. Love Script won an award in the TDC 2015 Type Design competition.
    • Luce (2004).
    • Lush Script (2011). A connected script inspired by the 1940s.
    • Lust (2012), a curvy hight-contrast didone in the Pistilli style. Neil: The result yielded a rather diverse typographic gene pool: a little Scotch Modern, a little Didone and Didot, a dominant dose of Caslon, and a pinch of Baskerville-- all wrapped up in the leggy body of a Brazilian supermodel. A confident, self-reliant typeface that shows just enough to keep everyone staring and leave them wanting more. Followed by Lust Slim (2014). In 2015, these were extended to the large families Lust Pro [dedicated page] and Lust Pro Didone.
    • Lust Script (2013). This is a curvier, sexier (Neil's words) version of Lust. For use in fashion magazines and large sizes.
    • Macha (2012). A sans family. In 2015, this was followed by Lust Hedonist, which has Didone, Italic and Script sub-styles---the ultimate fashion mag typeface. In 2021, he added Lust Sans (a 12-style high-contrast fashion mag typeface family), Lust Didone (a 6-style contribution to the fat face genre), Lust Stencil (six styles), Lust Text (ten styles).
    • The Type Trust: Magneta (2009, The Type Trust). Includes a Condensed subfamily.
    • Marshmallow (2017). A super-creamy high-contrast script typeface straight from a parisian bonbonnerie.
    • Murecho (2021). Murecho is a low-stroke contrast, flat terminal sans serif Japanese typeface designed for text settings in Japan. It covers Hiragana, Katakana, and Kanji (JOYO+). It also supports Latin, Cyrillic, and Greek.
    • Muscle (2009, TypeTrust---a futuristic family).
    • Nori (2010): a calligraphic brush typeface obtained by applying the Pilot Japan Kanji Fude brush pen on paper. It has over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals. Awarded at TDC2 2011.
    • Organic (2009). A rounded warm sans family. In 2021, he published the 16-style Organic Pro.
    • Penumbra.
    • Plastek (2004-2009).
    • The R.E.M. Athens project involves three fonts published in 2009, REM Orange, REM Accelerate and REM Tourfont. They are based on ideas by Chris Bilheimer for the band R.E.M. (Michael Stipe and Chris Bilheimer). Both attended the fine arts program at the University of Georgia. Michael Stipe, singer and lyricist, formed R.E.M. in 1980. Bilheimer began working with the band in 1994.
    • In 2019, Martina Flor and Neil Summerour released the extensive typeface family Ribbons at Positype.
    • Romp (2009, condensed hand-printed).
    • Reserve (2018). A text typeface family designed to accompany Summerour's Scotch typeface family.
    • Rhythm (2011). An italic inline and solid display family based on ATF's Ratio (ca. 1930) and Herbert Thannhaeuser's Adastra (1928).
    • Rough Love (2014). A brushy crayon script.
    • Scotch (2017). An 31-style scotch roman typeface family consisting of Scotch Text, Scotch Display (more contrast), Scotch Deck (for subheads) and Scotch Dingbats. In 2020, he added Scotch Compressed to the set.
    • Shameless (2013). A connected penmanship-style script.
    • Sneakers (2003-2004): athletic lettering family. Also, Sneakers Script and Sneakers Max (2019: rounded and ultra fat).
    • So Lovely (2019).
    • Tactical (2011, octagonal mechanical face; +Stencil).
    • In 2012, he won the Second Akashi Prize in the kanji (!!!) category of the Morisawa Type Design Competition for Tegaki. Tegaki also won at TDC 2013.
    • Truss Ultra Light (2006): hairline architectural font.
    • Vekta Serif (2009), Vekta Neo and Vekta Sans (2009, a sans family at TypeTrust).
    • Wasabi Condensed and Wasabi (2010): an organic elliptical family, based on Iru.
    • Yumi (2003, techno font, Union Fonts).

    His life in hiw own words: Neil Summerour is a type designer, lettering artist, calligrapher and designer based in Georgia, USA with one foot in Takamatsu, Japan. After graduating from The University of Georgia Lamar Dodd School of Art with a BFA in Graphic Design, he soon found himself opening his own studio to deal with the flow of freelance work. [...] Neil opened his personal type foundry, Positype, in 2000 to feed his ever-growing desire for type design. He later co-founded TypeTrust (2002) with Silas Dilworth as his addiction to type and lettering grew. [...] He was an adjunct art professor at The University of Georgia in graphic design and taught graphic design at the Governor's School for the Arts. [...] As a typeface designer, he has published over 60 typeface families and produced numerous custom typefaces for clients worldwide. [...] He has won the Type Directors Club Certificate of Excellence in Type Design in 2010 and 2011 for Fugu and Nori, respectively.

    Showcase of Neil Summerour's fonts. [Google] [MyFonts] [More]  ⦿

    Posterizer KG
    [Lazar Dimitrijevic]

    Lazar Dimitrijevic, who set up the foundry Posterizer KG, was born in 1981 in Bajina Basta, Serbia, and lives in Kragujevac, Serbia. He obtained a Master of Graphic Design from the Department of Graphic Design, FILUM Kragujevac, Serbia. Presently, he is art director at Design Studio BOX.

    His first font, Art Decor (2009), is a brush typeface in the style of Treefrog. Koma Latin (2009) is a roughly outlined script face. Bajka (2010) is a wonderfully entertaining Baskerville family (Latin, Cyrillic, dingbats, ornamental caps) made for children's fairy tale books. Scarface (2010) is a sublime scratchy hand ideal for torture movies. Kaligraf Latin (2010) is a rough-edged calligraphic face.

    In 2012, he published Collage BB (hand-drawn didone), the heavy Egyptian typeface Posterizer KG at DizajnDesign. This font was created for Celebration of 5 years anniversary of Design Studio Box from the city of Kragujevac (KG), the industrial city of Serbia. Posterizer KG (+Rounded) contains all the Latin and Cyrillic glyphs. Posterizer KG Inline and Posterizer KG Rough (a letterpress emulation version) were added in 2013. Posterizer KG Sketch followed in 2015.

    Still in 2012, he designed the ink splatter typeface Oops, and the calligraphic typefaces Cal Humanistic Cursive (a renaming of Cal Humanist Corsiva, posibly under pressure from Monotype), Cal Humanist Minuscule and Cal Humanist Corsiva.

    He also creates stunning calligraphic works.

    Cal Roman Capitals (2012) is a Trajan typeface. In the same calligraphic series, we find Cal Rustic Capitals (2012), Cal Square Capitals (2012), and Cal Uncial (2012).

    Typefaces from 2013: Posterizer KG Sketch, Cal Expressive, Cal Bakerly (calligraphic script in the style of Arthur Baker), Cal Cursive Roman, Cal Rustic Black, Cal Neuland Bold (after the German expressionist typeface Neuland by Rudolf Koch), Cal Gothic Bastard, Cal Gothic Fraktur, Cal Fraktur Modern, Cal Rotunda, Cal Gothic Textura, Cal Carolingian Minuscule, Cal Carolingian Gothic, Cal Insular Minuscule, Cal Insular Majuscule, Cal Beneventan Minuscule.

    Typefaces from 2014: Cal Neuland Shadow, Mozzart Sketch (a decorative hand-sketched version of Mozzart Sans, a slightly rounded, neo-Grotesque corporate font, that was originally created for the Belgrade-based company Mozzart DDO; followed in 2015 by Mozzart Rough).

    In 2015, he designed Drina (brush typeface), My Way (a TreeFrog style handwritten face).

    Typefaces from 2016: Bali Beach (brush script), Omorika (a rustic handcrafted sketched serif typeface).

    Typefaces from 2017: Workshop Brush (dry brush), Workshop Marker, Workshop Pencil.

    Typefaces from 2018: Miro (after the lettering in Joan Miro's art), Ernest (based on the hand of Ernest Hemingway), Natron (rounded condensed sans; +Pictograms).

    Typefaces from 2019: My Tara (a thick brush script), Natron Rough, Kalli Hand, Kalli Sketch.

    Typefaces from 2020: Panorama KG (based on the principle nothing below the baseline), Hubble (a rhythmic display typeface with thorny serifs), Liceum (a rhythmic calligraphic script for Latin and Cyrillic), Cal Fraktur Brush, Cal Roman Black, Cal Roman Modern, Cal Uncial Rough.

    Typefaces from 2021: PKG Roman Capitals (Trajan capitals with a hand-drawn finish, for Latin and Cyrillic), Monodia (a slab serif and its glitched version). [Google] [MyFonts] [More]  ⦿

    Présence Typo
    [Thierry Puyfoulhoux]

    Friendly French Agfa Creative Alliance designer (b. 1961) who lives in Baratier. He was an ex-student of José Mendoza at the Imprimerie Nationale à Paris. He started Présence Typo in 2000. He published numerous typefaces in various places:

    • ITC: ITC Korigan Light (1997), ITC Friz Quadrata Italic (2003, to complete the ITC Friz Quadrata of 1965), Friz Quadrata Bold Italic (1994).
    • Agfa creative Alliance: Alinea (1995-1997).
    • Présence Typo: Cicero (1995; Cicero2 is promised), Bebop (1996), Adesso (1999), Classica (a very elegant family, 1999), Classica Gallic (2001), Madisonian (1999), Tschichold (1999, the only lineale typeface by Tschichold drawn in 1933-1936 for the Uhertype photo-typesetting machine), Presence (1998), Prosalis (1998), Tangram (2001), Tuxedo (1999, a fun didone experiment), Kouros (2003, a Greek simulation font), Indigo Sans (2003), Indigo Serif (2003), Classica Prestige, BigTicy (2005), Ubik (2004, an 8-weight sans family), Diana and Princess (2004, calligraphic typefaces, after designs by Roger Excoffon in 1956). A.M. Cassandre's Cassandre (1968) was largely unfinished, after having been turned down by Berthold and Olivetti. It was finished in a revival of sorts (3 weights) by Thierry and is still called Cassandre (2003) [Cassandre Original includes only the letters drawn by A.M. Cassandre. Cassandre Normal and Bold are completed and expanded interpretations of the original drawings of 1968. Cassandre was the last typeface designed by the great poster artist and type designer A.M. Cassandre (1901-1968)]. Fonts available at MyFonts include Fusion Engraved, Fusion Standard, Laricio, Tandem, and Zipper, Placebo Sans (2003), Tuxedo (1999, a fun didone experimental face), Placebo Serif.
    • Typotek: Tangram (1999, letters and dingbats made from triangles and squares), Présence (1999, sans serif), Classica (1999, serif), and Prestige (1999, serif).
    • Custom fonts: Add Electric City, Add Iron, ITC Friz Quadrata Italic (2003, to complete the ITC Friz Quadrata of 1965), Père Castor Flammarion (designed for Flammarion by José Mendoza and digitized by Thierry), Option Italique (designed as an italic for Optima), ITC Korigan (uncial).

    Klingspor link. FontShop link. Linotype link.

    View the typefaces designed by Thierry Puyfoulhoux. [Google] [MyFonts] [More]  ⦿

    preussTYPE
    [Ingo Preuss]

    Ingo Preuss studied art at HBK Dresden (1976-1980) and graphic design from 1984-1989. In 1989, Ingo Preuss launched Cubus, a graphic design studio. Since then he also does freelance type design and illustration. Preusstype (est. 2003 in Dossenheim, and now Ladenburg, Germany) is his present foundry. In 2007, he also started an affiliation with The German Type Foundry.

    • Adora (2010-2015). An information design superfamily that consists of Adora Compact PRO, Adora Normal PRO, Adora Compressed PRO, and Adora Condensed PRO.
    • Amita. A contemporary sharp serif.
    • Anthea (2014). A transitional text typeface family.
    • Arventa (2010): Arventa Sans Pro was the basis for the system, but the Slab is not just a Sans with sticking Serifs. Arventa Slab Pro is delicately crafted form the outlines of the Sans.
    • Athanasius (2017-2018). a baroque font family.
    • Aureata (2015). A vintage text typeface family (+Inline) that reminds me of the style of Lucian Bernhard in the early part of the 20th century.
    • Babine (2003). Children's handwriting.
    • Badgirls (2003). Hhandwriting.
    • Barocco (2017). In Text and Display subfamilies. A traditional book font.
    • Baroque Borders A and Baroque Borders B (2004).
    • Battista (2005). A fat Bodoni family in Regular, Italic, Open, Stroke&Ornate.
    • Care Instructions Pi (2005). With US and EU symbologies.
    • Colombo (Normal, Outline). A revival of Columbian (1891, Hermann Ihlenburg).
    • Daphne (2004). After a calligraphic script by Hildegard Korger.
    • Daring. A revival of Hermann Ihlenburg's art nouveau font Childs (1892).
    • Compressa (2006). A strong condensed grotesk.
    • Floridana. A digital version of Hildegard Korger's handwriting font from 1965.
    • Ebura (2004).
    • Elara Sans and Elara Round.
    • Fleischmann Gotisch PT (2004). A digital revival of Fleischmann's gorgeous Fraktur typeface Groote Canon Duyts (1744).
    • Gekko (2003). In the style of Treefrog.
    • Instance (2014-2016). A high-contrast almost Peignotian sans family characterized by a karate chop k.
    • Korger Hand (2004). After the 1965 calligraphy of Hildegard Korger.
    • Language Code.
    • Lavina Sans. A humanistic sans.
    • Linotype Scrap (1997) and Linotype Funny Bones (1997).
    • Moto Guzzi Logo (2020). A logo font.
    • Neue Steinschrift (2006). A 6-style condensed geometric sans. The Pro version contains 814 glyphs.
    • Phoenica Std (2007, +Mono (for programming), +Hairline). A 12-style
    • PicNic (2003). Handwriting.
    • Placebo (2003).
    • Prillwitz (2005). A didone typeface of 1790, cut by Johann Carl Ludwig Prillwitz well before the first Walbaum. Prillwitz Pro was published in 2015.
    • Rosalia (2004). Based on the 1964 brush typeface Stentor by Heinz Schumann.
    • Scooter (2003).
    • Scootting.
    • Scribana. An Italian renaissance script.
    • Sebaldus. A heavy blackletter typeface, after Sebaldus Gotisch (1926, H. Berthold).
    • Sinkwitz Gotisch (2007). A revival of a 1942 typeface by Paul Sinkwitz.
    • Sipora (2016). A classic grotesque.
    • Spitting Image (2003).

    FontShop link. View Ingo Preuss's typeface library. [Google] [MyFonts] [More]  ⦿

    Print and Penmanship 1450-1830

    Course by James Mosley at l'Institut de l'Histoire du Livre (IHL) in Lyon, France, from October 14-17, 2002. Limited to twelve persons. 450 Euros. A beautiful course content: Introduction---the writing, of the Roman capital to the tiny Gothic. The discovery of the Roman capital in Italy to the 15 E century. L B Alberti, Felice Feliciano, Luca Pacioli, Geoffroy Tory, Albrecht Dürer. The invention of printing works and Gothic character. The Italian writing: scrittura umanistica and corsiva cancellaresca. Roman characters and italics in Italy and France, 1470-1600. Nicolas Jenson, Francesco Griffo, Claude Garamond, Pierre Haultin, Robert Granjon, Guillaume Bé. Literature of the engraving of the punches and the foundry of the characters: Joseph Moxon (London, 1683), Jacques Jaugeon (Paris, 1704) Pierre-Simon Baker (Paris, 1764). Characters with the "taste hollandois". Hendrik van den Keere, Nicolas Briot, Christoffel van Dijk, Nicolas Kis, Joseph Moxon, William Caslon. Towards a new penmanship 1560-1740 G.F. Cresci, Lucas Materot, Louis Barbedor, Charles Snell, George Bichkam. Of the "Roman of the roi" in Didot. Philippe Grandjean, John Baskerville, Pierre-Simon Baker, François-Ambroise (and others) Didot, Giambattista Bodoni. A new typography: use of the conceited person-face, antique and the Egyptian woman in printed publicity. [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, Quentin Schmerber and Loic Sander. In 2020, the support team included Hugues Gentile, Dorine Sauzet, Suehli Tan and Igino Marini. 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 (2008): an extension and OpenType completion of the glyph tables of Porchez's LeMonde Courrier (2002).
    • 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. It became a retail font at Typofonderie 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 (by Levée, assisted by Emmanuel Besse and Hugo Marucco). This sans family can be bought at Production Type. For Gemeli Micro (2018), Gemeli's x-height was enlarged, extenders shortened, stance widened, spacing loosened, and forms simplified.
    • 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).
    • Plinc Beaux Arts Didot (2014). A classical didone digitized from the original Photo-Lettering film matrix by Jean-Baptiste Levée for House Industries.
    • 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 and Proto Slab Condensed 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, Jean-Baptiste Levée). Initially intended as a sans version of Times New Roman, Levée's explorations take him far afield through his flirtation with reverse stress and his back-rotated small o. He writes: 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 7-style sharp-edged book face by Jean-Baptiste Levée related to Mrs. Eaves, and freely available at Google Fonts. Levée describes the influence of the French Elzevir on Spectral. 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.
    • Cardinal Classic and Cardinal Fruit (2018). A large transitional typeface family by Jean-Baptiste Levée, Yoann Minet and Quentin Schmerber. The tightly set and high impact photojournalism typeface family Cardinal Photo was added in 2020.
    • Media Sans (2018). A typeface family with tight spacing and some extra condensed styles to be used in headlines and on posters. It was influenced by Frutiger's Antique Presse (at Deberny & Peignot) and some European typefaces of the 1960s and 1970s, such as the tightly letterspaced Brasilia, the squarish caps of Eurostile, and the oddly contrasted Antique Olive.
    • LVMH Air (2018). A knife-edged fashion typeface family custom designed for LVMH (Moet Hennessy & Louis Vuitton), a French multinational luxury goods conglomerate that specializes in snob appeal.
    • Duperré Sans (2018). A custom sans by Jean-Baptiste Levée and Quentin Schmerber for École Duperré.
    • Acier (2019). A bi-colored revival of Cassandre's Acier (1930, Deberny & Peignot).
    • Tesseract (2019). A display typeface with edges as sharp as a bamboo-cutting machete. Stuff for James Bond movies.

    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]  ⦿

    Protimient.com
    [Ben Jones]

    Ben Jones (b. 1980, Buckinhamshire, UK) was a student of typography and graphic communication in Reading (2000-2004). He got his Masters in Typeface Design from the University of Reading in 2011. MyFonts link for Protimient.

    His typefaces:

    • Billingsley (2005, Protimient: a script based mainly on a writing specimen of the penman Martin Billingsley, originally published in 1618).
    • Buxus (2005, T26: a shaded display family).
    • Cale (2004).
    • Caligne (2004), Caligne Sans (2004).
    • Clarence (2007) is a sturdy 2-style serif family.
    • Eksja (2009) is a humanist slab serif family which to me feels a lot like a sans family---the slabs added as an afterthought.
    • Emrys (2011) is his graduation typeface at Reading: Emrys is a modulated sans typeface for scripts including Latin, Greek, Armenian, Arabic and Cyrillic. Emrys won Third Prize at Granshan 2011. Emrys morphed into Amrys, which was published in 2019 by Monotype.
    • Gilibert (2005, T-26, a decorative didone face).
    • Greenwood (2006, Protimient: a monospaced, cursive typewriter script, based on a typewritten letter from a Mr J. G. Greenwood Esq. to a branch of the National Westminster bank in Oxfordshire, Great Britain, dated 6th June 1904).
    • Joanna Nova (2015, Monotype). A great 18-font update of Gill's original slab serif, Joanna. There is coverage now of Greek and Cyrillic.
    • Lightbox (2004, Protimient). A legible monoline sans family. See also the different later design Lightbox 21 (2021: an 18-style rather pure geometric sans family that runs the range from hairline to very black).
    • ModernModern (2004, Protimient: a squarish didone).
    • Nosta (2006, a nice modern text family).
    • NotanuthaSerif1 (2005, text face; see also here).
    • Pasquinade (2005, blackletter).
    • Stobart (2006) is a script font based on the characters written in a letter by Henry Stobart, dated 1899. It is an Opentype handwriting typeface with 1200 glyphs with heavy character substitution.
    • Travis (2005, Protimient: a legible sans family).

    View Ben Jones's typefaces. [Google] [MyFonts] [More]  ⦿

    Pushpananda Ekanayaka

    Creator of the Sinhala font FMEconbldBold (1998) and known for his FM Abhaya (1996), the most widely used Sinhala typeface, an interpretation of the earliest Sinhala letterpress typefaces. The name Abhaya comes after the King Abhaya (474 BC to 454 BC) who ruled Sri Lanka in the ancient kingdom of Upatissa Nuwara. This site offers FMArjunnx, FMBasurux, FMDeranax, FMEmaneex, FMGanganeex, FMGemunux, FMSamanthax, all made in 1998. Here we have FMBasurux, FMBindumathix, FMDeranax, FMEmaneex, FMGanganeex, FMGemunux, FMMalithix, FMRajanthax, FMEconbldBold, FMAbhayax, FMArjunnx. His MalithiWeb (2004) is here.

    In 2016, Abhaya Libre was published by Google Fonts, which writes: Abhaya Libre is the Unicode compliant and complete libre version of Pushpananda Ekanayakes's FM Abhaya font, the most popular Sinhala typeface on Earth, with a new and original Latin [didone style] designed by Sol Matas. For the Opentype engineering, Matas and Ekanayaka were helped by Pathum Egodawatta and Ayantha Randika. All was supervised by Mooniak, a collective of designers and creatives based in Sri Lanka. The Mooniak type studio works with designers to produce quality fonts for South Asian scripts, and supports free culture by releasing almost all of their work under libre licenses. [Google] [More]  ⦿

    Pyotr Bushuev
    [Naum Type]

    [MyFonts] [More]  ⦿

    Pyroglyphix
    [Daniel Bär]

    Daniel Bär (Pyroglyphix) is a talented Swiss designer in Lausanne. Type subpage. Creator of the monoline grotesk typeface GT Skeletor (2009, Grilli Type). This typeface can be stretched and compressed at will without losing its effectiveness. While studying at ECAL in Lausanne, he made the gorgeous fat didone display face Pyrose (2008), the all caps sans headline typeface Pyroplastic (+Fat). At ECAL in 2010, he made the Bauhaus-inspired PYROhbau (a scripted font system based on a skeleton). Behance link. [Google] [More]  ⦿

    Quan Ika

    Chicago, IL-based designer of the monolinear octagonal typeface family ATC Saturn (2015, Avondale Type Company) and the high-contrast fashion mag didone typeface Madison (2015).

    In 2016, he designed the very functional monospaced programming font ATC Harris. Behance link. [Google] [More]  ⦿

    Quentin J. Stavinsky
    [LCT (or: Atelier La Casse)]

    [MyFonts] [More]  ⦿

    Quentin Margat
    [Editions 205]

    [MyFonts] [More]  ⦿

    Rafael Jordán/0Oliver

    Rafael Jordan Oliver, aka Barry Bianco, is a graphic designer and calligrapher in Valencia, Spain, b. 1983, Alzira. Graduate of EASD in Valencia, class of 2013. His typefaces:

    • A geometric Futura / Bauhaus style typeface family called Geometric Obsession (2012).
    • The curly all-caps typeface Nord Type, which is based on the modern letters of Gregorio Muñoz at Valencia's train station L'Estació del Nord. It was his graduation project at EASD.
    • The commercial didone typeface Didac (2014). The Italic followed in 2015-2016. Buy it here.
    • At Type@Paris in 2015, he designed Carmen Maria (named after his wife), a sharp-serifed fashion mag typeface rooted in Carolingian calligraphy.
    • Las Naves Condensed (2017). A grotesque typeface designed under the art direction of Sebastian Alos for "Las Naves" foundation.
    • Bantha Sans and Bantha Serif (2017). Sturdy multi-purpose typefaces.
    • Bianco Slab (2017, Fontstore).
    • Brava Slab (2018). Almost monolinear, with Latin curves in the italics. Followed in 2019 by Brava Sans.
    • Ostium (2019). An inline unicase font with proportions close to classical romans.
    • Carmensin (2020). A humanist text family characterized by smooth curves, a large x-height and open counters. It includes a Display subfamily and some stencil styles.
    • Redoneta (2020). A 12-style geometric sans. Followed in 2022 by Redoneta Rounded (12 styles).
    • Tannen (2021). A layerable blackletter family, and an interpretation of Erich Meyer's Tannenberg (1933-1935).
    • Tannen (2021). A layerable German expressionist blackletter family, and an interpretation of Erich Meyer's Tannenberg (1933-1935).
    [Google] [MyFonts] [More]  ⦿

    Raffaella Isidori

    It is well-known that a Didot or Bodoni without serifs turns into a high-contrast sans comparable to Peignot. I call these Peignotian typefaces. A real beauty in this genre was created in this manner by Milan, Italy-based designer Raffaella Isidori in 2011 entitled Bodoni Bare. Home page. [Google] [More]  ⦿

    Rajesh Rajput
    [Nav Raw]

    [More]  ⦿

    Ralph du Carrois
    [Carrois Type Design]

    [More]  ⦿

    Ralph du Carrois
    [Seite4]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Ralve Khor

    Kuala Lumpur, Malaysia-based designer of the fun experimental display typeface Badoni (2018). [Google] [More]  ⦿

    Ramakrishna Saiteja

    Ramakrishna Saiteja (Bangalore, India) studied Graphic Design at DJ Academy of Design in Coimbatore, India. He did his final project with Indian Type Foundry (ITF). While at ITF, Ramakrishna designed a few Indic scripts, including Coorg Kannada, Coorg Kannada Sans, and a Latin type design. In collaboration with ITF colleagues Jonny Pinhorn and Nikhil Ranganathan, he worked on the Telugu and Kannada extensions for the ITF typeface Akhand.

    Presently, Ramakrishna is working independently on another Classic Kannada type design and plans to pursue an MA in Visual Arts (Graphic Design and Visual Communication) at Academy of Arts, Architecture & Design in Prague. During his studies in Bangalore City, India, Ramakrishna Saiteja (b. 1994) created the monoline techno sans typeface Nova Gothic (2013). In 2015, he published Deccan at Indian Type Foundry. Deccan is loosely based on didones.

    In 2016, Ramakrishna Saiteja and Shiva Nallaperumal published the free Kannada / Latin typeface family Kolar. Each font's character set includes 925 glyphs. This massive range supports hundreds of unique Kannada-script conjuncts. Kolar's Latin script characters are all modified from Pablo Impallari's Libre Baskerville series.

    His Coorg Kannada typeface (2017) is designed for newsprint.

    Winner of the SOTA Catalyst award in 2017. Indian Type Foundry link. [Google] [MyFonts] [More]  ⦿

    Ramiz Guseynov
    [TipografiaRamis]

    [MyFonts] [More]  ⦿

    Rana Abou Rjeily

    Based in Beirut, Lebanon, Rana studied graphic design and graduated from Central Saint Martins London with an MA in communication design. In 2011 she published Cultural Connectives, which bridges Arabic and Latin scripts. Designer of Parmigiano Arabic (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini. Following a term coined by Thomas Milo, Bodoni's Arabic s Eurabic: it is the Arabic type created in Europe to imitate Arabic script without enough knowledge of or access to true Arabic script expertise. [Google] [More]  ⦿

    Rana Rmeily

    Designer in Stuttgart, Germany, who created the didone typeface Liv (2011) during her studies at SPD in Milano. Behance link. [Google] [More]  ⦿

    Randy Wilcox
    [Once Blind Studios]

    [More]  ⦿

    Raph Levien

    Type and technology expert and computer scientist presently working for Google in Mountrain View, CA. His blog was totally dedicated to free and open software. Raph Levien is a software engineer and tech lead of Android Text on the Android UI Toolkit team at Google. A well-known software guru, he was a lead developer for Gfonted and Spiro (a font editor), and helped out with Gimp, among many other things. Raph's previous work includes Google Fonts and the open source Ghostscript PostScript/PDF engine. The topic for his PhD in Computer Science from the University of California, Berkeley, is on better techniques for interactively designing curves, and he also used these tools to design Inconsolata, one of the fonts available on the font API (see CTAN).

    Inconsolata (2005) became an instant hit as a monospaced programming font. It was modified by Raph Levien and Kyrill Tkachev as late as 2011. Further modifications were done by Michael Sharpe. CTAN link. See also Open Font Library for this relative of Franklin Gothic.

    Raph is working on a revival of ATF Century Catalogue, and proposes it as a replacement for the skinny Computer Modern fonts used in TeX. Other fonts in the pipeline include Century Catalogue, Bruce Rogers' Centaur types, Museum Caps, LeBe Titling, LeBe Book, ATF Bodoni and ATF Franklin Gothic.

    Raph's type page, where one can download his didone fonts ghr10 and ghmi10 (2009) and look at Soncino Italic (2009), a lively informal text font.

    In 2007, he finally published the Museum Fonts package (see also Open Font Library) based on historical metal Centaur fonts, all free. He writes:

    • Museum Sixty is based on 60 point metal Monotype Centaur. The source for A-Z& is the specimen page opening American Proprietary Typefaces, ed. David Pankow. The primary source for the lowercase is the original Centaur specimen booklet by Lanston Monotype, London, 1929.
    • Museum Fourteen is based on 14 point metal Monotype Centaur. The primary source is the text of Americal Proprietary Typefaces.
    • Museum Bible is based on 18 point metal Bible Centaur. The source is the booklet, "An Account of the Making of the Oxford Lectern Bible", Lanston Monotype, Philadelphia, 1936.
    • Museum Foundry is based on the 14 point original foundry version of Centaur, as cut by Robert Wiebking of Chicago. The source is "Amycus et Célestin", printed at the Museum Press in New York, 1916.

    Speaker at ATypI 2011 in Reykjavik and at ATypI 2015 in Sao Paulo. Klingspor link. [Google] [More]  ⦿

    Ratna Krismawati
    [Krismagraph]

    [MyFonts] [More]  ⦿

    Raul Esquivel
    [Esquivel Type foundry (was: Aeasea Type Foundry)]

    [More]  ⦿

    Ray Cruz
    [Cruz Fonts]

    [MyFonts] [More]  ⦿

    Ray Larabie
    [Bodoni Z37]

    [More]  ⦿

    Reading Type
    [Ben Weiner]

    Reading Type is a UK enterprise that offers free fonts designed by Ben Weiner, a British information designer specialising in internet work. Fonts: Acknowledgement (2001, heavy slab serif), Bentham (2008, didone), Crop, Geo (1999, a squarish typeface completed in four hours---influenced by modernist designers such as Theo van Doesberg and Herbert Bayer), GeoOblique, Lineastraightforward, Puritan (grotesque), PuritanBold, PuritanBoldItalic, PuritanItalic, RolloutBold, RolloutBoldItalic, RolloutPlain, RolloutRegularItalic, St. Margaret's Cross (2008, a Victorian Gothic revival cross drawn over a photo of a stone cross in the masonry of St Margaret's church, Oxford, England). Acknowledgement (2001, OFL) is an Egyptian face.

    Dafont link. Another URL. And another Open Font Library URL. Fontsquirrel link. Google Code link. Klingspor link. Fontspace link. Google Plus link. [Google] [More]  ⦿

    Red Rooster Type foundry
    [Steve Jackaman]

    Red Rooster is a Cedars, PA-based foundry run by Steve Jackaman (b. 1954, Greenwich, London). Steve started out at London's Face Photosetting. Red Rooster was founded in Philadelphia in 1990 and has about 500 fonts, mostly complete text families in the classical mould, revivals of Ludlow and other foundries, and revivals of fonts by Canadian designer Les Usherwood from the phototypesetting era. Families of fonts:

    • Alexon (1993, by Les Usherwood), Alghera Pro (1996, Pat Hickson), Alphabet Soup (2007, a delicatessen signage typeface based on an 80s font he did while at Typographic House in Boston), Alys (calligraphic), Appleyard (1992, A. Pat Hickson), Aquarius (2007, based on a VGC font by that name), Argus (1992, Les Usherwood and Paul Hickson)
    • Badger, Bannock Brae Gothic, Banque Gothique, Barnsley Gothic (2017, a copperplate relate to Steelplate Gothic), Bassuto, Beckenham (1992, Les Usherwood and Paul Hickson), Bellini (an Egyptian family), BlockGothic (1996, Steve Jackaman at the Rabbit Reproductions Type foundry), Bodoni Black Condensed (after R.H. Middleton, 1930), Bodoni Campanile Pro (1998 and 2017, after R.H. Middleton, 1930), Byron
    • Cameo, Canterbury, Canterbury Old Style (1992, by Ray Vatter and Steve Jackaman after a 1920 original by Morris Fuller Benton at ATF), Canterbury Old Style Pro (2017, a remastering by Steve Jackaman), Canterbury Sans (a tall-ascender sans family based on the 1920-1926 design by Morris Fuller Benton for ATF), Casablanca (1997, avant-garde typeface based on Carlos Winkow's Electra), Caslon Extra Condensed (based on a Ludlow face), TCCentury (1996, Les Usherwood and Steve Jackaman at the Rabbit Reproductions Type foundry), Century New Style, Chamfer Gothic (after a condensed Ludlow typeface, ca. 1898), Chase, Chelsea (1993, Les Usherwood and Steve Jackaman), Claremont, Coliseum (1992, by A. Pat Hickson and Julie Hopwood for ITF). Steve Jackaman completely redesigned, redrew, and improved the Coliseum family in 2017 and called it Coliseum Pro. That redesign also produced the sister typefaces Clydesdale and Torpedo), Commander (1994, Steve Jackaman), Consort (1994, Steve Jackaman), ConranScript, Creighton (2009, a sans family), Coronet (after a 1937 typeface by R.H. Middleton).
    • Dominus, Dundee (1993, A. Pat Hickson), Dungeon (based loosely on a VGC design by Dick Jensen, Serpentine, 1972).
    • El Paso (2011, a Western/Mexican simulaton typeface based on El Paso from the Face Photosetting collection), Elston, Equestrienne, Erasmus, EuropaGrotesque, Extension
    • Faust (1993: based on a 1958 typeface by Albert Kapr), Flexion Pro (2007, by Hal Taylor and John Langdon), Florentine Cursive (after a 1956 script by R.H. Middleton), ForumTitling, Franklin Gothic Pro (2011, with Ashley Muir), French Fries (2017, handcrafted), Frenchy.
    • Garamond RR Light (after a 1929 typeface by R.H. Middleton), Gargoyle RR (Based on an Adrian Williams design, circa 1976 and Brook Type in 1903 designed by Lucien Pissarro for his private press, Eragny Press), GilmoreFahrenheit, GilmoreSansExtBolExtCondTitl, Gothic Extension, Gothic Medium Condensed (after a 1939 Ludlow typeface), GoudyY38, Grand Canyon (2002, a condensed slab serif family based on wood type). GroveScript
    • Hancock Pro (2017), Hauser Script (after a 1934 Ludlow font by Georg Hauser), Helium (1994, a mini slab serif face), Hess Old Style (1993, a revival of the garalde typeface Hess Old Style by Sol Hess for Lanston, 1920-1923), Honduras
    • Inverness, Iron Maiden RR
    • Jardine, Javelin, Jolly Roger (2003, a digitization of a 1970 font by Phil Martin), Jubilee
    • Keyboard, Kingsley, Kingsrow
    • Leighton, Lesmore, Los Alamos (2007, a condensed sans companion of Grand Canyon), Lodestone Pro (2017; based on Marvin (1970) by Face Photosetting).
    • Madrid (based on Nacional, a 1941 typeface by Carlos Winkow), Maximo, Mechanic Gothic DST, Megaphone, Motorcross (2008, after an art deco font from 1930 by Ludwig&Mayer)
    • NewJohnston
    • PallMall, Phoenix Pro (2011: after Morris Fuller Benton's condensed typeface Phenix American, 1935), Phosphate (based on Phosphor by J. Erbar, 1922-1930; contains a nice Inline; Phosphate Pro Solid and Inline was done with Ashley Muir in 2010), Pipeline, Poor Richard, Portobello (loosely based on Aldo Novarese's Pontecorvo)
    • Quest
    • Radiant RR (after a 1938 typeface by R.H. Middleton), Railroad Gothic Pro (2017: an American caps-only grotesque based on a Ludlow original, ca. 1900), Raleigh, RRRaleighGothic, Razor Bill (based on the original typeface from Face, London, circa 1972), Ribbit, RivoliInitials
    • Rocklidge Pro (2011, with Ashley Muir). Based on Jana (Richard D. Juenger, VGC, 1965).
    • Roman Tyres (1997).
    • SaintLouis, Salzburg, Schiller Antiqua (based on Nacional's Hispalis), Sandbox (2017, after a typeface from the Robert D. DeLittle Foundry, ca. 1888), Schindler, Secret Service Typewriter (2002, based on a 1905 proof of an early Remington typewriter font from the Keystone Type Foundry), Shinn, Shortwave Gothic, Silverado, Sinclair, Sphinx (1992, Steve Jackaman, based on a 1925 design by Deberny&Peignot), Stanhope, Steelplate Gothic Pro (1993 and 2017: a copperplate gothic based on Robert Wiebking's original, ca. 1918), Stirling, Superba Pro (1992 and 2017, after Hass's Superba, 1928-1930), Sycamore
    • TCAdminister (1994, Les Usherwood and Steve Jackaman), Tempo, Thingbat, TitanicCondensed, Triple Condensed Gothic (a movie credit font)
    • Ultraduck, Ultra Modern RR (after a 1928 art deco typeface by Douglas McMurtrie).
    • Venezuela (2000, Mexican simulation face, based on Albert Auspurg's Vesta from 1926, created by Pat Hickson), Veronese
    • Waverly, Willard Sniffin Script (2007, based on Willard Sniffin's 1930s ATF brush script called Keynote)
    • Yeoman Gothic
    • Xctasy Sans (2002, an avant-garde family influenced by the 1960s typeface Design Fineline)
    FontShop link. MyFonts link.

    Text listing of their typefaces. Alphabetic catalog of the Red Rooster typeface library [large web page warning]. [Google] [MyFonts] [More]  ⦿

    Redfield-Kendrick-Odell Co

    New York City-based publishers of these books:

    [Google] [More]  ⦿

    Renan Vizzotto

    Florianopolis, Brazil-based creator of Black Sea Type (2013), a curvy fat didone typeface. He also created Walking Stick Typeface (2016). [Google] [More]  ⦿

    Renato Forster
    [No Hype For Me]

    [More]  ⦿

    Reserves (or: AE Type)
    [Michael Jarboe]

    Reserves (and, since 2012, AE Type) is a commercial foundry offering mostly techno faces. It is located in Carlsbad and Cardiff-by-the-Sea, CA, and run by Michael Jarboe. Mike graduated from the Maryland Institute College of Art, and now lives and works in San Diego.

    The earliest typefaces: Base (stencil), Evac (octagonal), Claes (a heavy blacked out display typeface named after Swedish sculptor Claes Oldenburg), Raider, Error (LED simulation face), Reserves03 (2009), Output II (2009), Scape (octagonal stencil), Void, Vacant (2009, monoline stencil), Debacle (2009), Scam (2009; a fun geometric experiment), Immortality, Asecs, Analog SE, Scheme (pixel face).

    Typefaces made in 2010: Idiom (2010, a piano key family inspired by P22 Albers), Vector RG (2010, an octagonal typeface inspired by the 1979 Atari Asteroids video game UI screen font), Sevigne (2010, monoline geometric avant-garde sans that looks a bit like a stencil), Velvet (2010, a heavy rounded block retro typeface inspired by the typeset album covers of the protopunk rock band The Velvet Underground), Monocle (2010, monospaced and monoline geometric sans).

    Typefaces made in 2011: Scape (2011, rounded monoline stencil family), Velvet (2011), Defense (2011, octagonal slabbed stencil), Offense (2011, strong octagonal mechanical family), Vanitas Bold (2011, Peignotian fashion mag typeface rooted in didones).

    In 2012, Mike published Enamel (a condensed sans family---the inline version of Sorren), Sorren (a condensed sans influenced by neo-grotesque designs, and dada in style), Sorren Ex, Vanitas Stencil and Memoire (a charming fashion mag monoline hairline stencil).

    Typefaces from 2013: A large Neue Haas Grotesk / Helvetica-style sans family called Acronym, from Hairline to Extra Black and Outline.

    Typefaces from 2014: Reload (octagonal), Reload Stencil (military stencil). Reload Alt and Reload Alt Stencil were added in 2015.

    Typefaces from 2015: Averes Title (a sharp geometric sans titling typeface), Averes Title Roman (fashion mag styles).

    Klingspor link. Behance link. Flickr site. Behance link. MyFonts link.

    View Mike Jarboe's typefaces. [Google] [MyFonts] [More]  ⦿

    Resistenza
    [Giuseppe Salerno]

    Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Valencia, Berlin and Turin. Studio Resistenza was cofounded by Giuseppe Salerno and Paco Gonzales.

    In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).

    Other work: an art deco poster.

    Direct links to his fonts: Zaza, Afrobeat, Vito Sans, Luxx, Wonder Wall, Afrobeat Light.

    Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011), Adelaida (hand-printed poster face), Monella (octagonal).

    Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo (decorative modern art-inspired caps), Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).

    Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.

    Typefaces from 2014: Stencil Creek, Elastica (handcrafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script, extended in 2018 to Nautica Sottile and the monoline version Nautica Line), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, co-designed with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), Rachele (a monoline connected script with a large x-height), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).

    Typefaces from 2015: Modern Love (brush script), Mela (a gorgeous pointed brush / walnut ink typeface), Turquoise (a calligraphic serif type influenced by capitalis romana; not to be confused with Ahmet Altun's Turquoise typeface from 2011; co-designed with Paco Gonzalez, it was extended in 2019 in Turquoise Inline, and a new version was added in 2021, Turquoise Tuscan), Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script).

    Typefaces from 2016: Xmas Wishes, Gianduja (2016, a chocolate box script typeface family co-designed with Andrea Tardivo and Paco Gonzalez). Apero (a handcrafted emulation of sans and slab styles; the sans serif was inspired by vintage local liquor labels), Respect (a brush script sign painting typeface), Mentha (a calligraphic connected script typeface).

    Typefaces from 2017: Peperoncino Vintage, Shabby Chic (wide signature script), Merendina (rounded sans family), Adore You (dry brush script), Quaderno Slanted (monolinear connected script), Love Wins (a collection of signage type phrases), Beach Please (watercolor brush), Timberline (dry brush script), Orbita (stencil shadow), Modern Love Slanted (brush style), Gessetto (a chalk lettering family).

    Typefaces from 2018: Pesto Fresco (a wonderful 28-font layerable font family for use in hand-lettered posters), Instamood (a casual script), Auster (an unconventional flared and reverse contrast sans; followed in 2019 by Auster Rounded by Paco Gonzalez and Giuseppe Salerno, and in 2020 by Auster Variable), Smoothy (brush script), Voguing (a multiline typeface inspired by the movement and glamour of the 80żs and New York ballrooms scene), Beach Please Vintage, La Bodeguita (calligraphic), Contigo (with Paco Gonzalez; see also Contigo Vintage ), Story Tales (folklore style, with many choices of textures and possibility of layering), DreamTeam (multilined).

    Typefaces from 2019 co-designed by Paco Gonzalez and Giuseppe Salerno: the brush typefaces Pando Script and Parkour, the Tuscan family Royale, the chalk font Dolce Caffe Chalk, the brush script Batticuore, the bry brush script typeface Blue Jeans, the layered handcrafted sans typeface Dolcissimo, and the font duo Sunday Morning.

    Typefaces from 2019 by Giuseppe Salerno: SmoothyPro (with Paco Gonzalez), Auster Slab (a reverse stress slab).

    Typefaces from 2020: Vermouth (a layerable font based on Italian signs from the 1960s), Big Mamma (a hand-printed slab serif by Giuseppe Salerno and Paco Gonzalez), Suerte (a reverse contrast display type, inspired by Aldo Novarese's Estro; with Paco Gonzalez), Norman (a fashion mag typeface by Paco Gonzalez and Giuseppe Salerno), Royale Italic (Tuscan; with Paco Gonzalez), Groupie (a psychedelic delight), Hello Fresh (with Paco Gonzalez), Nostalgia and Nostalgia Flowers (with Paco Gonzalez), Tresor (a romantic flared sans; with Paco Gonzalez), Pesto Fresco Italic (with Paco Gonzalez).

    Typefaces from 2021: Industria Serif (54 styles; by Giuseppe Salerno and Paco Gonzalez), Guess What (hand-printed), Little Boxes (a fat finger font), Notes (a notebook script family), Annuario (an 48-style sans initially created for a calendar), Norman Stencil, Norman Variable, Videomusic (script), Norman Fat (a decorative high-contrast razor-sharp serif).

    Typefaces from 2022: Oddity (a stylish calligraphic script).

    His type blog is called It's Not My Type. Behance link. Creative Market link. Klingspor link. Creattica link. [Google] [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. Free version at Fontshare.

    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?).

    Designer of DTL Gros Canon at Dutch Type Library, which writes: The first part of the DTL [Gros] Canon Project included the digitization of three types by the Flemish Renaissance punchcutter Hendrik van den Keere (ca.1540-1580): Gros Canon Flamande (textura type, 1571), Gros Canon Romain (roman type, 1573), and Canon d'Espaigne (rotunda type, 1574). The latter is almost ready for release.

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

    Rhythm n Type

    Type foundry in Barcelona, est. 2011. Creators of the fatty didone face Bendita (2011).

    Postscript: Joan Alegret's type foundry, La Tipomatika seems related---at least, the typeface Bendiat seems to be shared across these two typefoundries in Barcelona. [Google] [MyFonts] [More]  ⦿

    Rian Hughes
    [Device Fonts]

    [MyFonts] [More]  ⦿

    Ricardo Diaz Angulo
    [Ridian Type]

    [More]  ⦿

    Riccardo Olocco

    Prior to a four-year stint as a lecturer in typography at the faculty of design and Art of the free University of Bolzano (2009-2013), Italian type designer Riccardo Olocco freelanced as a graphic designer in Milan and elsewhere in Italy. He graduated in 2014 from the MATD program at the University of Reading, UK. In 2019, he obtained his Ph.D. at Reading's Faculty of Typography and Graphic Design. In his thesis, A new method of analysing printed type: the case of 15th-century Venetian romans, he focuses on 15th-century Venetian roman types, combining the use of bibliographical knowledge and analysis of letterforms.

    Riccardo writes on type design and type history. Besides his ongoing investigation into Francesco Griffo's roman types, his research with James Clough on Bodoni's types will be published by Codex. He is also a member of the Nebiolo History Project.

    Designer, with Michele Patanè, of the commercial caps typefaces Cordial Bloom (2009) and Cordial Cherry (2009).

    Together with Jonathan Pierini, Olocco 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, he was a founding partner in the new CAST type foundry in Bolzano. His typefaces at CAST include

    • Brevier (2014). This typeface was designed for setting long texts in small or very small type sizes---the name Breveir refers to 8 point size in ancient times.
    • Gramma (2014). A compact temporary sans with large x-height.
    • Zenon (2014, for Latin, Bengali, Greek and Cyrillic) and the sans version, Zenans. His graduation typeface in the MATD program at the University of Reading, UK. He writes: is a sum of different styles, from Francesco Griffo to Granjon, from modern typefaces to the first sketches of Times New Roman. Zenon is an apparently Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri. Zenon was published by CAST in 2015.
    • Arzachel (2017, CAST). A flared terminal humanistic sans.
    • In 2018, Luciano Perondi and Riccardo Olocco designed the newspaper and information design typeface Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.
    • In 2021, Miles Newlyn, Riccardo Olocco and Krista Radoeva co-designed New Spirit, a 10-style typeface that revives the comfort food font Windsor.

    Speaker at ATypI 2018 in Antwerp on the topic of Nicolas Jenson's roman type. [Google] [MyFonts] [More]  ⦿

    Riccardo Sartori

    Designer at FontStruct, aka Riccard0. Creator in 2009 of Noptical (+Short, +Narrow, +Compact, +Elder, +Round, +Wide, +Tall), Rough Vut (outline face), Semiserio Linea, Snake's Tongue (Tuscan), Angul (runic), Elegance (+Serif), Black Agate, Black Diamond, Maccheroni.

    In 2010, he added Linea Chiara (white on black), Amanuensis (blackletter) and Claredont (like Clarendon) and Claredont Stencil (2011).

    In 2011, he did the Yin Yang typeface Taiji, Noptical (+2x2), Genjimon, Festive, and the stencil typeface Vertical Basic.

    FontStructions from 2012: Belltower (a narrow didone), Stark (inspired by the Iron Man movie logo).

    Typefaces from 2019: Calzoleria. [Google] [More]  ⦿

    Richard Dawson
    [Panache]

    [MyFonts] [More]  ⦿

    Richard Demeter
    [Richarts]

    [MyFonts] [More]  ⦿

    Richard Gans
    [Fundicion Tipografica Richard Gans]

    [More]  ⦿

    Richard Kegler
    [P22 Type Foundry]

    [MyFonts] [More]  ⦿

    Richard Lipton
    [Lipton Letter Design]

    [MyFonts] [More]  ⦿

    Richard T. Austin

    London-based punchcutter (1768-1830) who had his own foundry, The Imperial Letter Foundry, in London. Before that, he had worked at John Bell's British Letter Foundry from 1788-1798 (when the foundry closed) as a punchcutter, and at William Miller's foundry in Edinburgh. His typefaces:

    • Tooled Roman (1788).
    • Bell (1788, British Letter Foundry). Originally cut for John Bell by Richard Austin in 1788. Monotype made a metal version in 1931. Available at Monotype in digital form as BellMT (see Monotype Bell 341). It is also available as B694 Roman and Baltimore on the SoftMaker MegaFont XXL CD (2002). Mac McGrew: Bell as cut by Lanston Monotype in 1940 is a copy of the typeface of the same name cut in 1930 by English Monotype at the instigation of Stanley Morison, and was originally cut by Richard Austin for the English printer John Bell in 1788. Lanston describes it as a delicate and refined rendering of Scotch Roman, but without the unduly heavy capitals and some other objectionable characteristics of that face. English Monotype says the letters are open and inclined to roundness; they possess a certain crispness reflecting a French copperplate engraved inspiration. The typeface has been referred to as the first English modern face, with its sharply contrasted shading, vertical stress, and the earliest consistently horizontal top serifs on the lowercase. Bruce Rogers found an unidentified typeface at Riverside Press in 1900; he called it Brimmer and used it to good effect in book work. The same typeface was called Mountjoye by D. B. Updike at the Merrymount Press. It was later identified as Bell, and this may have led to its resurrection by English Monotype.

      The French explain Bell as a British typeface halfway between transitionals (such as Baskerville) and modern typefaces (such as Bodoni or Didot, the "didones").

    • Fry's Ornamented (1796, British Letter Foundry). Also known as Ornamented No. 2 cut by Austin for Dr. Edmund Fry. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt sizes. A digital version by ARTypes in 2007 is also called Fry's Ornamented (2007). David Rakowski made a digital version called Beffle in 1991.
    • Austin's Pica No. 1 (1819). One of the first modern typefaces in Britain.
    • Porson (1806, Caslon Foundry). This Greek typeface is based on the handwriting of the English classicist Richard Porson's transcription of the Medea. Richard Austin was commissioned by the Cambridge University Press to cut it, from 1806 onwards. It was cast by Caslon foundry, but it never appeared in their specimens. It was completed and used only after Porson's death in 1808, in the editions of plays of Euripides produced by Cambridge scholars. Bringhurst notes that after its first appearance, it was soon copied by other founders, and was released by Monotype with some corrections in 1912. By the end of the 19th century, together with New Hellenic (by Victor Scholderer), it had become the main Greek type used in Britain.
    • Scotch Roman (1813, William Miller / Miller&Richardson). This didone typeface was revived in 1907 by Monotype Corporation. It is considered as the first British modern typeface. Also known as Georgian or Brimmer [when Bruce Rogers found the typeface at the Riverside Press in 1900, he used it for books under the name Brimmer]. D.B. Updike used another font of this type at his Merrymount Press where it was called Mountjoye. Scotch Roman#2 (1920) is a revival by Linotype.
    • Antique (ca. 1827). This was revived in 2007 by HiH as Austin Antique.

    One of the most remarkable digital revivals and extensions of his work is also called Austin. Originally designed by Paul Barnes as headline type for the British magazine of fashion Harper's & Queen, of Hearst Magazines UK, Austin is a loose revival of the typefaces cut by Richard Austin in the late 18th century. Referencing Austin's original creation, Paul Barnes turned up the contrast, tightened the spacing and came up with a fresh, new, bold and beautiful look for the constantly changing world of fashion. Barnes himself describes the face as "a British Modern with the styling and sheen of New York in the 1970s." The Cyrillic version was designed in 2009 and 2016 by Ilya Ruderman (CTSM Fonts).

    FontShop link. Klingspor link. Wikipedia link.

    View Richard T. Austin's typefaces. Alexa Stephenson's detailed image of Bell. View Richard Austin's typefaces. [Google] [MyFonts] [More]  ⦿

    Richarts
    [Richard Demeter]

    Bradford, UK-based designer of these typefaces in 2019: Amberday (a fashion-conscious font based on Didot with design details that were also used earlier by Porchez in his Ambroise), Aberneth (blackletter), 10 Linea, Gotlib (blackletter), Blackdays (blackletter), Flamingosans, Geom (geometric solid), Metropolitan (script), Eleanor, South Wind (script), Kosmos (script).

    In 2020, he released Lineam (an ocatgonal typeface). [Google] [MyFonts] [More]  ⦿

    RichyType
    [Eric Schmitt]

    Eric Schmitt's foundry established in 2006 in Frankfurt am Main. Some of his fonts are free and all have at least free demos. The list, as of early 2007: RT Cornelia (organic sans), RT Elsa, RT Francesca (a roman type in the style of Francesco Griffo's lettering), RT Francesca-bold, RT Francesca-italic, RT Gerda, RT Gerda-bold, RT Gerda-italic, RT Gerda-light, RT Gerda-light-italic, RT Klara Sans-bold, RT Klara Sans-italic, RT Klara Sans, RT Klara-Semibold, RT Klara-Tooled, RT Klara-italic, RT Klara-regular, RT Klebelettera (grunge), RT Le Papa (a Bodoni-inspired script), RT Paula (Futura-inspired), RT Questa, RT Questa-hoppel, RT Questa-italic, RT RichySans-bold, RT RichySans-kursiv, RT RichySans-light, RT RichySans, RT Tankstella (an experimental stencil). RT Magellan (2007) is a free medieval map font.

    Klingspor link. [Google] [More]  ⦿

    Rick Banks
    [F37 (or: Face37)]

    [MyFonts] [More]  ⦿

    Ridian Type
    [Ricardo Diaz Angulo]

    In 2017, this Mexico City-based graphic designer created a number of individual glyph type posters. His typefaces, ca. 2017-2018 include Revolutia (a didone), Anima Serif (a Venetian), Anima Sans (a humanist sans). Home page. [Google] [More]  ⦿

    Riley Cran

    Graphic designer in Seattle, WA. He cofounded Lost Type Coop in 2011 with Tyler Galpin. His Canaveral (2011, Lost Type) is a squat serifed font for maximum clarity in tight spots. Governor (2011, Lost Type) is an art deco alphabet inspired by the apartment signage of Miami Beach. Muncie (2011) is an industrial / mechanical sans headline face, perfect for coal mine strikes. The condensed sans serif Fairview was created in 2013.

    In 2015, he designed the muscular sans typeface Moriston (Lost Type), which builds on Miller & Richard's Grotesque #7. The typeface is named after Riley's grandfather, Glenn Morison Chronister.

    In 2016, Riley Cran published the super-charged upright connected script typeface Escafina.

    In 2017, Aaron James Draplin and Riley Cran co-designed the industrial typeface DDC Hardware at Lost Type. Still in 2017, Riley Cran and Neil Secretario co-designed Calafia Casual Script.

    Riley Cran strted off 2018 with a phenomenal contribution, a 56-style didone typeface family, Mort Modern, which was inspired by the lettering of Mortimer Leach.

    Another URL. Klingspor link. [Google] [More]  ⦿

    Rizki Maulana
    [Rizkimau's Art Gallery]

    [MyFonts] [More]  ⦿

    Rizkimau's Art Gallery
    [Rizki Maulana]

    Aceh, Indonesia-based designer of the display typefaces Queen (2016) and Royal (2016, +Italic: fashion didone style with swashes, ligatures, and all possible OpenType tricks). Creative Market link. [Google] [MyFonts] [More]  ⦿

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

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

    • FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
    • Amitié (2009): a garalde family.
    • Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
    • Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
    • Atze (2010): a comic book family.
    • Behrensschrift D (2007): after the jugendstil typeface Behrens Schrift, 1902, by Peter Behrens.
    • FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
    • Bradley (2005): blackletter, after the original by William H. Bradley.
    • Breite Kanzlei (2007).
    • Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
    • Brocken (2011) is a signage typeface inspired by a design of Volker Küster (1960s).
    • Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
    • FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
    • Card Pro (2006): a decorative display based on Ella Cursief (1916, Sjoerd Hendrik de Roos, Lettergieterij Amsterdam).
    • Chaweng (2006, Profonts): an oriental all caps simulation face.
    • Civilite URW (2005).
    • Compliment (2004, casual script). Based on a 1965 script by Helmu Matheis for Ludwig & Mayer.
    • Cranach (2007): a blackletter typeface modeled after Kuenstler Gotisch from the Krebs Foundry.
    • Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
    • Dominique (2010, profonts): an informal typeface.
    • FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
    • Edda Pro (2008). An art nouveau typeface that revives a Heinrich Heinz Keune typeface from 1900.
    • Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
    • Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
    • Eurobrush Pro (2007, Profonts): handwriting.
    • EuroSans (2008).
    • Euroscript Pro (2006, Profonts): school script typeface based on his own handwriting.
    • Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
    • Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
    • Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
    • Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
    • Gmuender Elan Pro (2011) is a 1950s style script face.
    • Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
    • Graphique Pro (2008): shaded caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
    • Handel Slab (2009): a 6-style extension of Trogram's 1980 typeface Handel Gothic.
    • Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
    • Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
    • Profonts>Impression (2008): art deco.
    • Jessen Schrift (2004): after the Rudolf Koch blackletter typeface by that name.
    • FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
    • Legende (2002): a script typeface based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
    • Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971 until 1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
    • Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
    • The Maszynysta family of heavy industrial sans typefaces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
    • Maxim (2003, Profonts): The heavy brush typeface Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
    • New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
    • Old Borders and Lines (2010). A free font.
    • Ornella (2008): Jugendstil.
    • Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
    • Pedell (2009): a casual script.
    • Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
    • In 2012, Ivana Koudelkova co-designed the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts.
    • Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
    • Roberta (2003): art nouveau typeface after obert Trogman's typeface for FotoStar.
    • FontForum Signs and Symbols (2006).
    • Splendor (2009): a revival of a brush script typeface by Wilhelm Berg, Schriftguss, 1930. See also Splendor Pro (2014).
    • Sportowy (2009): an outline face.
    • Stanford (2011). A sports lettering face.
    • Stiletto (2006): a medieval script.
    • Fontforum Stripes (2007): a multistripe op art display typeface based on a Letraset font from 1973 by the same name.
    • Fontforum Thalia (2006): retro font.
    • Tintoretto (2006): shadow display face based on an origonal by Schelter & Giesecke.
    • Tip Top Pro (2008): a Julius Klinkhardt art nouveau typeface revival.
    • FontForum Unciala (2005): a revival of Oldrich Menhart's typeface Unciala (1953, Grafotechna).
    • Unger Chancery (2005).
    • Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
    • Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
    • Profonts Woodpecker (2008).
    The list of RMU fonts:
    • Affiche (2017). A revival of Helios Reklameschrift of the Klinkhardt foundry.
    • Aldo Manuzio (2017). After a house typeface from 1897 by Schelter&Giesecke.
    • Amati Pro (2010): after Georg Trump's condensed didone face, Amati, 1951.
    • Antiqua Florenz (2021). A revival and extension of Paul Zimmermann's Antiqua Florenz (1960, Ludwig & Mayer), which is based on Venetian romans.
    • Avus Pro (2012). A sans family that extends Gert Wunderlich's Maxima (1970).
    • Baroque Pearl (2016). A pearly typeface that revives Peter A. Demeter's Fournier Geperlt (1922, Schriftguss).
    • Behrens Kursiv (2013). After a 1906 original by Peter Behrens.
    • RMU Belvedere (2020). A revival of Heinrich Wieynck's art nouveau / fin-de-siècle typeface Belvedere (1906, Bauer).
    • RMU Bison (2020). A revival of Julius Kirn's brush script Bison (1935-1938, C.E. Weber).
    • Bernhard Blackletter (2016). After Lucian Bernhard's extrafette Bernhard Fraktur (1921).
    • Bernhard Cursive Extra Bold (2010).
    • Borghese (2015). An art nouveau font after a Schelter & Giesecke original from 1904.
    • Borgis Pro (2012). A Clarendon-style text family.
    • Boulette (2015, a fat creamy script).
    • RMU Bowery (2019) A revival of Old Bowery (1933, ATF)).
    • Bravura Pro (2013). After G.G. Lange's Publica.
    • Bricklayers (2012). An original fat slab display face.
    • Brillant (2009): art nouveau and ultra heavy.
    • Butti (2011). A script family paterned after Fluidum (1951, Alessandro Butti, Nebiolo).
    • Cable Condensed (2014). Based on Koch's Kabel.
    • Caesar Pro (2011). A flared sans typeface after Caesar Schrift (1913, Georg Schiller, C.F. Rühl).
    • Capitol Pro (2012). An art deco typeface based on Capitol (Karl Hermann Schaefer for Schriftguss, 1931).
    • Carina Pro (2017). A calligraphic script typeface based on Rautendelein (1929, Schriftguss).
    • Carla Pro (2013). A broad-nibbed script modeled after Ballantines Script (Elsner & Flake, 1974; see also Ballantines Serial by SoftMaker).
    • Carlsbad (2018). A couple of art nouveau typefaces based on originals from 1895 by H. Berhold called Regina Cursiv and Hansa Cursiv.
    • Caslon Gotisch (2009): after the original by William Caslon from 1763.
    • Celebration (2009): blackletter.
    • Circensis (2016). A Western circus font based on a concept of Fritz Richter.
    • Claudius (2010): after a 1937 blackletter font at Klingspor.
    • Constanze Pro (2012). A light cursive typeface based on Constanze (1954, Joachim Romann, Klingspor).
    • Contact Pro (2010): after Contact, a 1963 font by Helmut Matheis.
    • Dante Alighieri (2018). Based on a Schelter & Giesecke original.
    • Daphnis (2016). A revival of Daphnis (1929, Walter Tiemann).
    • Deutschmeister (2017). A textura blackletter typeface after Deutschmeister by Berthold Wolpe for Ludwig Wagner in 1934. (Some dispute that Wolpe made this font.)
    • Diamant Pro (2012). A transitional serif face.
    • Emilia (2016). Based on Weiss Antiqua (1928) by Emil Rudolf Weiss.
    • Neue Echo (2016). Based on Echo for Schriftguss.
    • Elbflorenz (2020). A revival of Albert Auspurg's display typeface Miami (1934, Schriftguss).
    • Emilia Gotisch (2016). After Weiss Gotisch (1936) by Emil Rudolf Weiss.
    • Emilia Fraktur (2021). A revival of Emil Rudolf Weiss's Weiss Fraktur (1913).
    • Erler Titling (2015). After Erler Versalien (1953, Herbert Thannhaeuser for Typoart).
    • Eurotech Pro (2011): a slabby techno family.
    • Faulkner Pro (2011): a connected heavy signage script based on Alan Meeks's Kestrel.
    • Fette Kanzlei (2019).
    • Fette Unger Fraktur (2010).
    • Fichte Fraktur (2020). After Walter Tiemann's Fichte Fraktur (1934).
    • Fontanesi RMU. An ornamental caps typeface that revives Aldo Novarese's Fontanesi (2018).
    • Forelle Pro (2010): after the original Forelle script typeface by Erich Mollowitz, 1936.
    • Frankenberg Pro (2012). An antique script face.
    • Gabor Pro (2014). A connected copperplate script.
    • Gaby Pro (2017). A revival of Hans Möhring's script typeface Gabriele (1938 or 1947, C.E. Weber).
    • Garamond Antiqua Pro (2015).
    • RMU Gilgengart (2020). A revival of Hermann Zapf's Fraktur font Gilgengart (1938).
    • Gillray Pro (2015). A copperplate script after Hogarth Script (by Harald Bröder for Typoart).
    • RMU Gloria (2019). After Gloria (1898, Emil Gursch).
    • RMU Gong (2020). Based on Arno Drescher's Super Grotesk Schmalfett first released in 1933 at Schriftguss.
    • Gmuender Gravur (2011). A 3d shadow face. Gmuender Antiqua Pro (2015) is influenced by the metal font Imprimatur (1952-1955, Konrad F. Bauer and Walter Baum). Gmuender Kanzlei (2018) is a blackletter typeface.
    • Goethe Fraktur (2022). A revival of a blackletter typeface by Wilhelm Woellmer (1905).
    • Gravira (2021). A revival of Herbert Thannhaeuser's Gravira, released by Schelter & Giesecke in 1935 .
    • Haenel Antiqua (2020, based on a 19th century antiqua by Eduard Haenel) and Haenel Fraktur (2011, after Haenel Fraktur, ca. 1840).
    • Hanse Textura (2020). A revival of a textura by Hermann Zapf.
    • RMU Helion (2020). A revival of the 3d titling typeface Helion (1935, Arno Drescher for Schriftguss Dresden).
    • RMU Herkules (2019). After a late 19th century font by Bauer and Berthold called Reklameschrift Herkules.
    • Hoelderlin (2018). After Eugen Weiss's Hoelderlin blackletter font (1937).
    • Hoyer Script (2017). After Hanns Thaddeus Hoyer's Hoyer Schoenschrift (1939, Stempel).
    • Hupp Fraktur (2016). After Otto Hupp, 1911.
    • Impuls (2010): a brushy typeface based on Paul Zimmermann's Impuls (1945).
    • Initials RMU One (2012) consists of revivals of Rudhardsche Initialen (Otto Eckmann, ca. 1900) and Walthari Initials (ca. 1900, Rudhardsche Giesserei). Initials RMU Two (2012) consists of revivals of Jubilaeumsinitialen (by Bauersche) and Augsburger Initialen (by Peter Schnorr, 1901).
    • Jean Paul Fraktur (2021). A revival of Breitkopf's Fraktur font Jean-Paul-Schrift (1798).
    • Jobs Gravure (2011). It had to happen---a few days after Steve Jobs' death, Unger released the beveled engraved typeface Jobs Gravure, which is an extension of Trump Gravur (1954, Weber).
    • Jolly Polly (2012): a curly non-connected script face.
    • Kis Antiqua Pro (2018). A revival of Hildegard Korger's Kis Antiqua at Typoart.
    • Kleist Fraktur (2010): after Walter Tiemann's original.
    • Kompress Pro (2013). Two compressed sans typefaces.
    • RMU Kontrast (2021). An art deco typeface that revives Kontrast (1930, F.H.E. Schneidler at Weber).
    • Koralle RMU (2018). A revival of Schelter and Giesecke's Koralle (1915).
    • Korpus Pro (2014). A text typeface family. Followed later in 2014 by Korpus Sans Pro.
    • Korpus Serif Pro (2021). A revival and extension of Timeless (Typoart) that covers Greek, Latin and Cyrillic.
    • Leibniz Fraktur (2012) is modeled after the famous Genzsch & Heyse blackletter font.
    • Lenbach (2021). Inspired by a German font from the Victorian era.
    • Liliom Pro (2012). A beautiful fat didone typeface based on an original from the Fonderie Française.
    • Lipsia Pro (2011). An angular serif family.
    • Literatura Pro Book (2012).
    • Litfass (2021). A revival of an art nouveau font by Flisch.
    • Lutetia Nova (2014). A fresh two-style take on Jan van Krimpen's Lutetia (1924).
    • RMU Luchs (2021). A redesign of Jakob Erbar's inline all caps art deco font Lux (Ludwig & Mayer, 1929).
    • Luxor Pro (2010): a Victorian/Western display face.
    • Lyrica (2014). A revival of the informal blackletter typeface Lyrisch (1907, Georg Schiller).
    • RMU Magnet (2021). A redesign and revival of Magnet (1951, Arthur Murawski at Ludwig & Mayer).
    • RMU Manolo (2019). Based on the art nouveau typeface Manolo (Ludwig & Mayer).
    • Manutius Pro (2012).
    • Meister Antiqua (2011, +Bold, +Book). A Typoart original from 1951 in the tall flared ascender serif genre, revived and extended.
    • Mitropaschrift (2016). An octagonal original.
    • Mobil Pro (2011). A semi-script typeface in the fifties style of Matheis.
    • Monument (2010): a 3d shadow roman caps face created after Oldrich Menhart's Monument.
    • Narziss (2018). A revival of Walter Tiemann's Narziss from 1921.
    • RMU Neptun (2021). A revival and extension of the art nouveau typeface Neptun by Aktiengesellschaft fuer Schriftgiesserei und Maschinenbau, Offenbach.
    • Neue Kurier (2011). Typoart's popular signage script font in a new, completely remastered version.
    • Neue Muenchner Fraktur (2010).
    • Neue Schwabacher (2021). After Albert Anklam's Neue Schwabacher (Genzsch & Heyse, 1876).
    • Neue Thannhaeuser (2011).
    • Old Towne Pro (2010): a Western font.
    • RMU Omega (2020). After Omega, an art deco typeface by Friedrich Kleukens at Stempel in 1926.
    • Orbis Pro (2016). A revival of Walter Brudi's shadow typeface Orbis (1953, Stempel).
    • Orplid Pro (2019). a layerable typeface that revives and extends Hans Bohn's all caps Bauhaus era typeface Orplid (1929).
    • Parcival Antiqua (2016). A revival of Parcival Antiqua (1926, Herbert Thannhaeuser).
    • Parfum (2013). A low x-height script that was inspired by Howard Allen Trafton's Quick (1933, bauer).
    • Parler Fraktur (2018). A revival of Friedrich Poppl's Poppl Fraktur.
    • Parler Gotisch (2011). A blackletter face.
    • RMU Pittoreske (2019). A decorative Victorian typeface.
    • Plastica Pro (2015, a chiseled typeface inspired by a J. Lehmann design).
    • RMU Pergola (2021). A vintage shadow typeface inspired by a late-19th century font of Georg Giesecke.
    • Post Fraktur (2014) and Postillon (2014). After Herbert Post, 1933-1937.
    • Primana Pro (2012). A seductive geometric grotesk family.
    • Prinzess Gravur (2010): a blackletter typeface modeled after Prinzeß Kupferstichschrift (1905, Berthold).
    • Prisma Pro (2011). Revival and extension of Rudolf Koch's multiline typeface Prisma (1931).
    • Reklame Fraktur (2016). After Reklame Fraktur by Albert Christoph Auspurg, 1914.
    • Reflex Pro (2018). All caps, with an inline style.
    • Reznicek Pro (2011) is a post-Victorian pre-art nouveau typeface named after Ferdinand von Reznicek (1868-1909), one of the leading artists and illustrators of those times.
    • Rekord Antiqua (2020). A revival of the art nouveau era text typeface Rekord Antiqua (1911, Wagner & Schmidt).
    • Rhythmus Pro (2016). After a Schriftguss AG and Schelter&Giesecke original grotesk, and extended to cover Cyrillic.
    • Ridinger Std (2012). Based on Riedingerschrift (Franz Riedinger, 1906, for Benjamin Krebs Succ.).
    • Ronde Pro (2011): roundhand script.
    • Royal Grotesque (2021). A revival of Wotan by Wagner & Schmidt, 1914. Did this typeface become RMU Royal Sans (2022)?
    • Salzmann Fraktur (2019). A revival of Max Salzmann's blackletter font released by Schelter & Giesecke in 1912.
    • Saskia Pro (2016). Revival of Jan Tschichold's Saskia (1931, Schelter & Giesecke).
    • Schmale Anzeigenfraktur (2009): based on Koch's Schmale Deutsche Anzeigenschrift, 1923, Klingspor.
    • Schmale Mediaeval (2020). Based on Schelter & Giesecke's Schmale Mediäval (1840).
    • Schmuckinitialen (2009): an ornamental caps typeface in the art nouveau style based on Walthari Initials [Walthari (1899, Heinz König for the Rudhard'sche Giesserei) in the upper case and Eckmann Initials (ca. 1900, by Otto Eckmann, Germany's chief art nouveau type designer) in the lower case].
    • Schreibmeister (2021). Ralph's interpretation of Arno Drescher's formal cursive typeface for Ludwig Wagner (1958, Leipzig).
    • Schwabacher Book (2013).
    • Sebaldus (2019). A heavy blackletter typeface, after Sebaldus Gotisch (1926, H. Berthold).
    • Senatsfraktur (2020). After Friedrich Bauer's Senats Fraktur done in 1907 for Genzsch & Heyse.
    • Concordia (2020). A revival of Sensation Schmalfett (1914, Heinrich Hoffmeister).
    • Siegfried Pro (2017). A revival of the art nouveau typeface Siegfried (1900, Wilhelm Woellmer).
    • RMU Skizze (2021). This revives Walter Höhnisch's script typeface Skizze (1935, Ludwig&Mayer).
    • Staxx Pro (2013). A prismatic typeface.
    • Staufer Gotisch (2015). An engraved blackletter typeface modeled after Herbert Thannhaeuser's Hermann Gotisch (Schriftguss, 1934).
    • Steinschrift Pro (2015). A single style condensed sans serif.
    • Sylphe Pro (2019). A vintage script font that revives Schelter & Giesecke's Isabel (not Sylphide, as claimed by him).
    • Tablica (2017). After Karl-Heinz Lange's DDR telephone directory font Minima (1984).
    • Thannhaeuser Fraktur (2013) is a redesign of Typoart's Thannhaeuser Fraktur.
    • Thomasschrift (2014). A rustic typeface that revives and extends Thomas-Schrift by Friedel Thomas (1957-1958, Typoart).
    • Titanschrift (2011). A yummy soft and fat display face.
    • Tombola (2018). After an alphabet from the 1920s by Otto Heim.
    • RMU Trianon, renamed RMU Trifels (2020). After Heinrich Wieynck's Trianon (1905, Bauersche Giesserei).
    • Trocadero Pro (2010): an extension and revival of Trocadero Kursiv, 1927, Albert Auspurg, Trennert.
    • Troubadour Pro (2010): In Medium and Engraved styles.
    • Trump Deutsch (2011): a blackletter face, after the 1935 original by Georg Trump.
    • Trybuna (2013). Based on Herbert Thannhaeuser's Liberta Antiqua (1958), but completely redrawn.
    • Turnier (2019). A revival of G.G. Lange's derby (1952-1953).
    • Tyton Pro (2013). A brush script after Heinz Schumann's famous 1964 Stentor.
    • Typoskript Pro (2010): a revival of Hildegard Korger's Typoskript, first done at TypoArt in 1968.
    • Unger Fraktur (2010): after a 1793 design by Johann Friedrich Unger; includes fett and mager.
    • Walbaum Antiqua Pro (2013). A revival of Justs Erich Walbaum's didone classic.
    • RMU Wallau (2019). After Rudolf Koch's rotunda typeface Wallau (1926-1934).
    • Werbedeutsch (2021). A revival of the blackletter typeface Buchdeutsch (Ernst Schneidler, 1926).
    • Wieynck Fraktur (2019). after Heinrich Wieynck's Wieynck Fraktur (1912).
    • Wieynck Gotisch (2018). After Wieynck Gotisch (1926, Heinrich Wieynck).
    • Zentenar Fraktur (2010): mager and halbfett; after the 1937 workhorse by Ernst Schneidler at Bauer.
    • Zierfraktur (2010): after Deutsche Zierschrift, an engraved blackletter font that was cut by Rudolf Koch between 1919 and 1921 for Klingspor.

    Ralph made some typefaces outside URW/Profonts and RMU, such as Stripes (2014, a prismatic typeface puvlished by Thinkdust).

    Klingspor link.

    View Ralph M. Unger's typefaces. [Google] [MyFonts] [More]  ⦿

    Robbie de Villiers
    [Wilton Foundry]

    [MyFonts] [More]  ⦿

    Robert Alonso
    [BA Graphics]

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    Robert Besley

    British typefounder and punchcutter, active from about 1840-1860. He succeeded William Thorowgood at the Fann Street Foundry in 1849. Credited with cutting the first Clarendon (1845), a fat typeface with thick slabs. This was also the first registered typeface, ever. See also here. Stephenson Blake acquired Clarendon when it bought the Sir Charles Reed type foundry, and issued the typeface as Consort. Typophile discussion on Besley's Clarendon from which I quote a few passages.

    • About the first instance of piracy, James Mosley explains: The Clarendon type of the Besley foundry is the first type actually designed as a related bold that is, made to harmonize in design and align with the roman types it was set with. It was registered in Britain in 1845 under the new Ornamental Designs Act of 1842. But when protection ran out after only three years, the other founders also thought a related bold was a good idea. This is how Besley reacted.
    • About Consort, another tpyeface of Fann Street from the same era, Mosley writes: The light weight of Consort, an excellent type I think, was another Fann Street type of the 1840s or 1850s, and was presumably cut by Benjamin Fox. It doesn't match the Clarendons closely, though, having unbracketed serifs. The story of the bold and the italic is a rather sad one. They were made by H. Karl Görner, who was born in Germany in 1883, was taken on in 1907 as assistant punchcutter with Stephenson, Blake&Co., Sheffield and stayed with them for the rest of his life. He died in 1964. Görner was probably trained to cut steel punches, but the work I know about was cut in typemetal, and electrotypes were grown to make matrices for casting. This was quite a usual practice, in the UK and the US at least, from the later 19th century onwards. I was told that, years before, Görner had made the type that was thought up by Robert Harling and marketed by Stephenson Blake under the name of Chisel. He cast type from matrices for Bold Latin Condensed and incised lines into the face. When SB wanted a bold and an italic to complete the Consort series, Görner cast a bold slab-serif from some quite early matrices and pared it down to make Consort Bold. I dont know if he had a model for the italic. Probably not. I think they are awful types travesties of the original cuttings of Clarendon.
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    Robert Fuster
    [ZE fonts]

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    Robert Hunter Middleton
    [Ludlow]

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    Robert Hunter Middleton

    American designer (b. Glasgow, 1898, d. Chicago, 1985), who spent his entire life at Ludlow Typograph Company (retiring in 1971) and built an impressive type library, creating over 100 typefaces. He received a doctorate in Fine Arts from Transylvania University. Ludlow hired him in 1923, where he became type director in 1993. He retired from the Ludlow Typograph Company in 1971. At Ludlow, he had to create solid commercial variations of existing typefaces for the Ludlow machine and come up with practical new designs. Bio by Nicholas Fabian. One can also consult the M.A. dissertation of Stephen Glenn Crook at the University of Chicago, entitled "The contribution of R. Runter Middleton to typeface design and printing in America" (1980), which lists his 98 typefaces of his 24 type familes. His oeuvre:

    • Eusebius (1924). This page explains that Ernst Detterer started work for Ludlow on Nicolas Jenson in 1924. Middleton drew Nicolas Jenson Italic at Ludlow in 1929, followed by Bold, Bold Italic, and Roman Open series in later years. In 1937 the family was renamed Eusebius. Nicolas Jenson SG is a revival at Spiece Graphics in 1995 by Jim Spiece.
    • Ludlow Black (1924). Mac McGrew: Ludlow Black was designed by Robert H. Middleton for Ludlow in 1924. It is very similar to Cooper Black, the most apparent differences being the concave serifs and the greater slant of the italic. Also compare Pabst Extra Bold.
    • Cameo (1927, a chiselled font). Mac McGrew: Cameo was designed by R. Hunter Middleton for Ludlow in 1926. It is derived from a heavy version of Caslon, with a thin white line within the left side of each heavy stroke, giving a very pleasing appearance. A 1926 Ludlow ad says of it, "Designed and punches produced in our own plant". Apparently it was the first, or one of the first, so produced. Compare Caslon Shaded, Caslon Openface, Caslon Shadow Title, Gravure, Narciss.
    • Caslon Extra Condensed. See Caslon RR Extra Condensed by Steve Jackaman.
    • Delphian Open Titling (1928).
    • Stellar (1929, a serifless roman done 29 years before Zapf's Optima!). Mac McGrew: Stellar and Stellar Bold were designed by R. Hunter Middleton for Ludlow in 1929 as a less severe alternative to the monotone sans-serifs which were coming into great popularity. There is moderate thick-and-thin contrast, and strokes flare slightly toward the ends, while ascenders and descenders are fairly long; all this gives a feeling of warmth and pleasantness. Cap M is widely splayed, and sloping strokes are cut off at an angle. An alternate A, E, and H in both weights have the crossbar extended beyond the left upright, and there is an alternate U without the extended vertical stroke. Compare Optima, Lydian, Radiant.
    • Garamond (1929-1930, see the Font Bureau revival FB Garamond, and Steve Jackaman's Garamond RR Light).
    • Tempo (1930-42, a sans family) and Tempo Heavy Inline (1935). Mac McGrew: Tempo is Ludlow's answer to the sans serifs which gained popularity in the late 1920s. The entire series was designed by R. Hunter Middleton, director of Ludlow's department of typeface design. The Light, Medium, and Bold weights were introduced in 1930, Heavy and several variations in 1931, and other variations over the next decade or more. They are generally a little different from other sans serifs, and include some innovations not found elsewhere. The most distinctive characteristics are found in the Light Italic and Medium Italic, which have a somewhat more calligraphic feeling and less stiff formality than other such typefaces, and which also offer alternate cursive capitals, rare in sans serifs. But there are more inconsistencies in Tempo than most other families. For instance, the Light, Medium, Bold, and Heavy Italics are designed with a moderate slope of 10 degrees to fit straight matrices without too much gap between letters; this works well enough in the lighter weights, but produces a loose effect in the more rigid heavier weights. But the two largest sizes of Tempo Bold Italic and some of the other italics are designed to fit italic matrices with a slant of 17 degrees, which is rather excessive for sans serifs, especially the condensed versions, although it is handled well. Variant Oblique characters are available for Medium Italic which get away from the calligraphic feeling; only these and none of the cursive characters are made in (Tempo continues) the largest sizes. Tempo Bold Extended and Black Extended show the influ- ence of other European grotesques, with much greater x-height and some characters unlike those in the normal and condensed widths. There are a number of alternate characters for many of the Tempos. especially in the Medium, Bold, and Heavy weights; their use converts Tempo to an approximation of Kabel or other series. But a few alternates are not enough to create the effect of Futura, apparently demanded by some users, so Tempo Alternate was created in several weights, and introduced about 1960. This is close to Futura, except that the italic has Ludlow's 17-degree slant, much greater than Futura's usual 8 degrees. This family-within-a-family also has some alternate characters in some weights, to further convert the typeface into an approximation of other European grotesques. Tempo has been quite popular with newspapers, and to a lesser extent for general commercial printing. Compare Futura, Sans Serif, Erbar, etc. Also see Umbra.
    • Karnak (1931-42, a slab serif family). Mac McGrew: Karnak is a family of square-serif types designed by Robert H. Middleton for Ludlow, beginning in 1931, when the light and medium weights were introduced, with other weights and widths announced as late as 1942. Like Stymie, the other extensive American square-serif series, it is derived from Memphis, and all three series are very similar. Most members of the Karnak family are most easily distinguished by the cap G. Karnak italics are also distinguished by a greater slant to fit Ludlow's 17-degree matrices, except 14-point and smaller in Karnak Intermediate Italic and Medium Italic, which are made on straight matrices and slant about 10 degrees. Light and medium weights have several alternate round capitals as shown; the very narrow Karnak Obelisk also has comparable alternate round AEMNW. Compare Cairo, Memphis, Stymie. One magazine article speaks of Karnak Open, but this has not been found in any Ludlow literature.
    • Lafayette (1932).
    • Mayfair Cursive (1932). Revived as Mayfair (2006, Rebecca Alaccari, Canada Type).
    • Umbra (1932). Mac McGrew: Umbra was designed by Robert H. Middleton for Ludlow in 1932. It is essentially a shadow version of Tempo Light, in which the basic letter is "invisible" but there is a strong shadow to the lower right of each stroke. Compare Shadow. Images: URW Umbra.
    • Eden (1934, a squarish didone). See digital revivals by Jason Castle called Eden Light and Eden Bold, 1990, and by Steve Jackaman and Ashley Muir at Red Rooster called Eden Pro (2010).
    • Mandate (1934).
    • Ludlow Bodoni (1936; see Bodoni Black Condensed by Steve Jackaman, and Modern 735 (Bitstream's version of Middleton's Bodoni)). Bodoni Campanile (1930; see Bodoni Campanile Pro (1998 and 2017) by Steve Jackaman). Bodoni Modern (1930). See a digital revival called PL Modern Heavy Condensed.
    • Coronet (1937). This is Ribbon 131 in the Bitstream collection and Coronet by Steve Jackaman.
    • Flair (1941).
    • Admiral Script (1953).
    • Condensed Gothic Outline (1953).
    • Cloister Open Face (1920).
    • Florentine Cursive (1956). See Florentine Cursive by Steve Jackaman.
    • Formal Script (1956).
    • Radiant (1938, see EF Radiant at Elsner+Flake, and Radiant RR at the Red Rooster foundry). McGrew: Radiant was designed by Robert H. Middleton for Ludlow, and introduced in 1938, with additional members of the family being added over the following two or three years. It is a precise, thick-and-thin, serifless style, express- ing the modem spirit of the forties while breaking away from the ubiquitous monotone sans-serifs. Radiant Medium is actually about as light as possible to maintain thick-and-thin contrast, but bold and heavy weights offer substantial contrast. All upright versions have as alternates the round forms of AKMNRW, as shown with some of the specimens. Italics have the standard 17-degree slant of Ludlow italic mats, which is rather extreme for serifless typefaces, except for small sizes of Medium Italic, which are made on straight mats and are redesigned with about 10-degree slope. Like most Ludlow typefaces, all versions of this typeface have fractions and percent marks available as extras. Thick-and-thin serifless typefaces are rare in this country. Compare the older Globe Gothic; also Empire, Stellar, Lydian, Optima, and Czarin, which aren't really in the same category.
    • Record Gothic (1927-61).
    • Samson (1940). Mac McGrew: Samson is a very bold, sturdy typeface designed by R. Hunter Middleton in 1940 for Ludlow. It is derived from lettering done with a broad pen, and retains much of that feeling. The name was chosen to denote power and strength. It has been popular for newspaper advertising in particular. Compare Lydian, Valiant. An interpolation between a signage typeface and a poster face, it was revived as Ashkelon NF (2011, Nick Curtis).
    • Square Gothic.
    • Stencil (1937-1938). A Cyrillic was made by Victor Kharyk.
    • Wave (1962), a connected brush script. Digitizations include Coffee Script (2006) and Middleton Brush (2010), both by Patrick Griffin at Canada Type. Mac McGrew: Wave was designed for Ludlow in 1962 by Robert H. Middleton. It is a 1 medium-weight script, not quite joining, with a brush-drawn appearance and thick-and-thin contrast. The apparent angle is quite a bit more than the 17-degree slope of Ludlow matrices, but letters fit together compactly without noticeable looseness, and form smoothly flowing words. Compare Brush. Mandate, Kaufmann Bold.
    • Andromaque. Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of Andromaque in 1995.
    Among his books:
    • "Making Printer's Typefaces" (1938, The Black Cat press, Chicago, IL). In this book, he shows his own creations for Ludlow matrices, and talks about typography in general.
    • Chicago Letter Founding (1937, The Black Cat Press, Chicago, IL). Middleton calls Chicago the printing center of the nation, and goes on in this small booklet about the lives and contributions of people like Robert Wiebking, Frederic Goudy, Bruce Rogers, Oswald Cooper, and himself.

    Linotype link. Drawing.

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    Robert M. Wilson
    [Robert Wilson]

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    Robert Thorne

    English punchcutter and typefounder (1754-1820, North London), designer of the first fat typefaces, founder of the Fann Street Foundry in 1794 and active until his death in 1820, when his foundry was sold to William Thorowgood a few months after his death. Designer of one of the first fat didone typefaces, Thorowgood (1809), and of Thorne Shaded (1820; Thorne Shaded was part of the Reed foundry material, had defective matrices, so Stephenson&Blake had it recut by Karl Gomer in 1938-1940). iAs metal typeface, Thorowgood was featured in 1953 by Stephenson and Blake.

    Quoting from the typophile wiki: In 1794 Robert Thorne purchased the foundry of Thomas Cottrell, a former employee of the original William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. By 1798 Thorne had replaced all of Cottrell's types with his own designs and in 1801 was the first type founder to begin showing the fat typeface types. He went on to design many popular display typefaces. He also moved the foundry to Fann St. renaming it the Fann Street Foundry. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery though he was never involved in the type founding business. Subsequently many of the types identified as Thorowgood's are actually the designs of Robert Thorne.

    Author of Specimen of Printing types (1794, 1803, 1814).

    Digital revivals of his types:

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    Robert Wiebking

    Born in Schwelm, Germany, 1870, Robert Wiebking emigrated to the United States in 1881 with his father Hermann Wiebking, and became an apprentice engraver in Chicago. After another apprenticeship in 1884, with C.H. Hanson in Chicago, he became an independent professional matrix engraver in 1892 in that city for several American and English founders and for Ludlow, who cut many of Goudy's types, as well as types for Bruce Rogers and Robert H. Middleton. In 1894 Robert Wiebking and Henry H. Hardinge (also from Chicago) built the first successful machine for engraving type matrices. In 1896, they became partners and set up Wiebking, Hardinge & Co in 1901, manufacturing matrices for type foundries. This led them to set up the Advance Type Foundry in Chicago. He died in 1927 in Chicago.

    Designer of these typefaces:

    • Advertiser's Gothic (Regular and Condensed, Outline, Condensed Outline) (1917, Western Type foundry). This was interpreted as an art deco typeface by Nick Curtis in his Bellagio NF (2006). It was revived by HiH as Advertisers Gothic (2008). HiH's blurb: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S 1916. See our Publicity Headline. In 2010, SoftMaker did its own revival, called Advertisers Gothic. Personally, I find this Wiebking typeface ugly and useless.
    • Artcraft&Bold&Italic (display typefaces originally designed for Barnhart Bros&Spindler (1911-1913; Jaspert lists Artcraft as a 1930 publication at Ludlow, and Klingspor as western Type Foundry typefaces from 1911-1913). Mac McGrew: Artcraft was designed in 1912 by Robert Wiebking and featured under the name of Craftsman in the first ad for his short-lived Advance Type Foundry, operated by Wiebking, Hardinge&Company, in Chicago. A short time later, the typeface was advertised as Art-Craft, and later as one word---Artcraft. Advance was soon taken over by Western Type Foundry, for whom Wiebking designed Artcraft Italic and Artcraft Bold a year or two later. Western in turn was taken over by Barnhart Brothers&Spindler in 1918. BB&S was already owned by ATF but operated separately until 1929; in the meantime, though, Artcraft and a number of other typefaces were shown in ATF specimens as well as those of BB&S. Artcraft has an unusual roundness in some of its serifs and line endings and a line of it produces a rolling feeling; some characters have curlicues, such as the long curl at the top of the a and and the exaggerated ear on the g. A number of auxiliary characters were made for roman and italic fonts; as these were sold separately, they were overlooked by many printers and typographers. The boldface has fewer eccentricities. Artcraft was a popular typeface for a number of years; the roman was copied by Monotype in 1929 without the fancy characters, and all three typefaces were copied by Ludlow. Adaptation in 1924 of Artcraft Italic to the standard 17-degree slant of Ludlow italic matrices was the second assignment of Robert H. Middleton (after Eusebius, q.v.) at that company. Hansen called it Graphic Arts. One source attributes the Artcraft family to Edmund C. Fischer, otherwise unidentified, but the details stated here are more generally accepted and seem to fit known facts better. For digital versions, see OPTI Artcraft (by Castcraft), Artcraft Pro (Jim Ford at Ascender), Artcraft URW (2001), Heirloom Artcraft (2013, Nathan Williams) or Federlyn NF (2011, Nick Curtis).
    • Bodoni Light&Italic (Ludlow), Bodoni Bold&Italic.
    • Caslon Clearface&Italic (1913, BB&S).
    • Caslon Catalog (1925, BB&S), Caslon Light Italic.
    • Collier Old Style.
    • Engraver's Litho Bold&Condensed (1914, BB&S), Engraver's Roman&Bold (available as Engravers EF Roman), Engravers Litho Bold, Engravers Litho Bold-Condensed.
    • Invitation Text (1914, Western Type Foundry).
    • Laclede Old Style (1920, Laclede Type Foundry). The Laclede Type Foundry was absorbed by BB&S, and the typeface was renamed Munder Venezian.
    • Modern Text (1913, Advance Type Foundry).
    • Munder Venezian&Italic (1924-1927, BB&S, aka Laclede Oldstyle).
    • Square Gothic.
    • Steelplate Gothic (1907) and Steelplate Gothic Shaded (1918), both at Western Type Foundry. A Copperplate Gothic style typeface. Digital revival by Steve Jackaman as Steelplate Gothic Pro (2017).
    • True-Cut Bodoni&Italic.
    • World Gothic&Italic (both also with Condensed).
    • Venus Bold Extended (1924). The Venus typeface was at Bauersche Giesserei from 1907 until 1927. Digital descendants (mostly not copies) include Venusian Ultra NF (1924, Nick Curtis), Venus (URW++), Venus SB (Scangraphic Digital Type Collection), Venus (Linotype), Eurydome (2010, by Stephen Boss at Emboss), Akazan (2007, Typodermic), Scout (2008, Cyrus Highsmith for Font Bureau).

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

    Robert Wilson
    [Robert M. Wilson]

    Typespec is a type foundry in Epsom, England, est. in 2011 by Robert Wilson (b. Brighton, 1984), a graphic designer based in London. Creator of HorseFace (2010, a mini-slabbed supergeometric typeface with didone roots), Block Face (2009, a free techno family).

    Wilson went commercial in 2009, and started selling his fonts via MyFonts: Radium (2009) is a modular geometric typeface family---is this one of the first FontStruct fonts to be sold for money? Berfa (2011) is an ultra-black typeface.

    Dafont link. Behance link. Home page. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Robin Mientjes
    [Tiny Type Co]

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    Robin Nicholas

    Born in Westerham, KE (1947). He joined the Monotype drawing office in 1965 and moved to the type design department in 1968, where he became manager in 1982. In 2009, he is head of typography at Monotype. Klingspor link. Robin Nicholas's typefaces:

    • With Patricia Saunders and a team of ten, he co-designed the Arial family at Monotype, an outgrowth of a program for low resolution sans typefaces started in 1982. I do not have to add anything here---Arial was made to mimic Helvetica and to adopt the same metrics. No other motivation. No higher artistic ideals. No admission from Nicholas, and no apologies. Arial is a stained 1982 stamp on the rest of Robin Nicholas' life.
    • Still at Monotype, he made Nimrod (1980), which was first used by the Leicester Mercury in its year of introduction. Nimrod became a popular newspaper type.
    • He created Plantin Headline Condensed (1995).
    • He had a hand in the development and revival of Bell, Centaur, Clarion (a newspaper text face), Janson, Van Dijck and Walbaum, all between 1982 and 1989, all at Monotype. A blurb: Nicholas has directed the design of fonts such as the Clarion and Columbus fonts, as well as the digital versions of many Monotype typefaces including the Bell, Centaur, Dante, Monotype Janson, Fournier, Van Dijck, Monotype Walbaum, Bulmer and Pastonchi designs.
    • He had a hand in Columbus (1992, Monotype). Ascender writes: Columbus has a fresh and lively hand-drawn feel but works well with today's computer systems and printers. An excellent text face, Columbus can also be used for display in advertising, posters, flyers and headlines, where the true elegance and beauty of the letters can be seen. Columbus was designed by Patricia Saunders and directed by Robin Nicholas in 1992 to celebrate the quincentenary of the voyage from Spanish shores by Christopher Columbus. The regular weight is based on types used in Spain by Jorge Coci circa 1513, and the italic is derived from a font cut by Robert Granjon circa 1543 and used by Bartolome de Najera in 1548 to print a famous manual by the writing master Juan de Yciar.
    • He has done custom font projects for British Airways, Scandinavian Airlines, Barclays Bank, Opel automobiles (see Opel Sans; more here on this derivative of Futura; posted here), and Ikea (Ikea Sans is based on Futura and Ikea Serif on New Century Schoolbook).
    • In 2003, he published the Felbridge family and Fairbank MT (a chancery hand) at Agfa-Monotype.
    • Cambria, Jelle Bosma's 2006 typeface for Ascender and Microsoft, was a joint effort with Steve Matteson and Robin Nicholas.
    • In a project started in 2002 at Monotype, and finished in 2005, he created Bembo Book. Monotype's page explains: Originally drawn by Monotype in 1929, Bembo was inspired by the types cut by Francesco Griffo and used by Aldus Manutius in 1495 to print Cardinal Bembo's tract de Aetna. A beautiful design with tall ascending lowercase and elegant letterforms, Bembo has been a favourite for book setting for over 70 years. No italic was used in the Aldine de Aetna work so another source was needed. This was found in a publication by the writing master, Giovantonio Tagliente, produced in Venice circa 1524. Considered by many to be one of Stanley Morisons finest achievements during his tenure as Typographical Advisor to the Monotype Corporation, Bembo has consistently been a best selling typeface, both in its original hot metal form and in todays digital formats. Not intended to be a facsimile of Manutius work, Bembo was drawn to embody the elegance and fine design features of the original but marry them with the consistency of contemporary production methods and to ensure that the typeface would work satisfactorily with high speed printing techniques. The first phototypesetting and digital versions were based on hot metal 9 point drawings. This gave good legibility in small sizes, due to a comparatively large x height, but lacked some of the elegance present in larger hot metal sizes. This new digital version of Bembo, called Bembo Book, has been designed to be more suited to text setting in the size range from 10 point to 18 point. Based on the hot metal 10/18 point drawings, which were used to cut all sizes from 10 point to 24 point, this new typeface has been carefully drawn to produce similar results to those achieved from the hot metal version when letterpress printed. The project started in 2002 when a high quality UK Printing House asked for a digital version of Bembo which would give a similar appearance on the page to the 13 point hot metal they were currently using. Hot metal drawings were digitised and extensive editing was carried out on the resultant outlines to ensure that design features and overall colour from the digital output remained close to that of the letterpress product. The resultant typeface is slightly narrower than existing digital versions of Bembo, it is a little more economical in use and gives excellent colour to continuous pages of text. Ascending lowercase letters are noticeably taller than capitals, giving an elegant, refined look to the text.
    • In 2009, he co-designed Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Alice Savoie, also working at Monotype Imaging's UK subsidiary, and Delve Withrington based in the U.S. 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.. The web version by Linotype in 2013 is called Ysobel eText Pro. It has larger x-height and wider spacing.

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    Roch Modrzejewski
    [ROHH]

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    Rocio Colmenero Megias

    Jaen, Spain-based designer of the energetic didone-on-cocaine typeface Lalola (2018) during her studies at Escuela de Arte Jose Nogue Jaen. [Google] [More]  ⦿

    Rod McDonald

    Born outside Pince Albert, Saskatchewan, Rod McDonald is perhaps the greatest Canadian type designer ever. First based in Toronto and later in Lake Echo, Nova Scotia, he designed the great Cartier Book family in 2000 based on the work of Carl Dair, who had started Cartier in the sixties, but died in 1968 with his Cartier unfinished. He won an award at the TDC2 2003 competition for his text family Laurentian---a typeface commissioned by Macleans magazine as part of a design project to refresh the 96-year-old publication. McDonald began as a lettering artist in the 1960s, and was a freelance type designer for most of his life, contributing custom creations to Mclean's Magazine, General Motors and Toronto Life magazine. He runs Smashing Type, and Rod McDonald Typographic Design, and he used to run Stylus Lettering&Typography Inc, 131 Bogert St, North York, ON. He was professor of typography at the Ontario College of Art, Toronto, ON, and also taught at NSCAD University in Halifax.

    The Stylus fonts included Bodoni Open Condensed (Rod McDonald, 1993), Fanfare Recu (Louis Oppenheim, 1927, revival by Rod McDonald, 1993; reworked in 2012 by Canada Type as Louis; see also here), Goudy Globe Gothic (revival by Rod McDonald, 1993), Loyalist Condensed (Rod McDonald, 1993), Regency Gothic (Rod McDonald, 1992: in the movie credit genre). He designed ITC Handel Gothic at ITC. In 2004, he designed Smart Sans, a bold, compressed, sans serif design in three weights, suited for setting headlines and display copy) as a tribute to the late Sam Smart, a Canadian type designer (d. 1998) who helped establish the first Type Directors Club in Toronto.

    In 2007, he became a Design Fellow for Monotype Imaging where he creates new and revived typefaces.

    In 2006, he created Slate (an 18-style sans family) and in 2008, Egyptian Slate. Both typefaces were released by Monotype. Slate became quite popular and was used in the Blackberry. In 2011, Slate was reissued and given a second life, but now as Gibson, with the help of Patrick Griffin and Kevin King at Canada Type. The Gibson typeface family sells for less than one style of Monotype's Slate. For other digital brothers of Egyptian Slate, we refer to Rockwell, Stafford Serial (Softmaker), Rambault (Softmaker), Roctus (URW), Slate (Bitstream) and Geometric Slabserif 712 (Bitstream).

    Rod McDonald created the 14-style Classic Grotesque (2011, Linotype) which is based on the older German grotesks, Ideal Grotesk and Venus (1907), and is related to the Monotype Grotesques, ca. 1926 that gave rise to Arial. In 2016, Monotype published the vastly expanded 54-style Classic Grotesque. Metronews Canada tells the story of Classic Grotesque. At a TDC meeting in New York, Patrick Griffin said: One thing he's not saying, because this guy doesn't like to toot his own horn: it's the biggest thing to ever be released by a Canadian. It's the largest and the longest, just in terms of how much time it took. It's the biggest thing to ever come out of Canada in terms of type design.

    In 2013, Rod McDonald launched Goluska, named to honor the late Canadian typographer Glenn Goluska, whose letterpress collection was acquired by Gaspereau Press in 2012. Glenn Goluska admired Dwiggins's work, and so Goluska was influenced to some extent by Dwiggins's Caledonia. The Goluska typeface was finished in 2021 with production assistance of Patrick Griffin at Canada Type.

    In 2021, he published Louis at Canada Type. Louis is a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927. It was also expanded into three variations, including a soft-cornered style, and a rough woodcut one.

    Author of A Glossary of Typographic Terms (2013).

    Keynote speaker at ATypI 2017 Montreal. Youtube video of that talk entitled "Type Night In Canada".

    FontShop link. Linotype link. Agfa-Monotype link. Klingspor link. View Rod McDonald's typefaces. [Google] [MyFonts] [More]  ⦿

    Rodrigo Fuenzalida
    [Fragtype]

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    Rodrigo López Fuentes

    Chilean type designer who studied at Universidad de Chile and teaches at Pontificia Universidad Catolica de Chile. Santiago, Chile-based co-founder, with Sergio Leiva Whittle, of Untype in 2017.

    He won an award in the display type category at Tipos Latinos 2012 for Needham Black, and at Tipos Latinos 2010 for his text typeface Amaranta.

    In 2016, he published the humanist sans typeface family Aromo at Underground and the likable slab serif Rogliano at TipoType. Rogliano Pro followed in 2019 at Untype: Rogliano Pro is a 70-font humanist slab serif super family (7 weights on 5 styles each plus matching italics) that while maintaining a strong and direct backbone, sustains a warm undertone that nods to the lettering and lithographic posters of the Victorian era. It contains William Morris-influenced borders.

    Co-designer, with Sergio Leiva Whittle, of the 18-style wedge serif typeface family Nikola (2017), which won an award at Tipos Latinos 2018. In 2018, they published the humanist sans typeface family Axios.

    In 2018, Lopez Fuentes published the major workhorse sans typeface Wozniak, which is named after Steve Wozniak as a tribute to the pioneers of the digital revolution, and has all the bells and whistles of a modern typeface.

    Typefaces from 2020: Madero Slab (monolinear, in 42 styles; with Sergio Leiva Whittle), Mondo (a great display typeface characterized by incised terminals and a humanist ductus), Mondo News (20 styles), Tectonica (a decorative didone by Rodrigo López Fuentes, in Poster, Engraved and Swash styles: it appears to be almost identical to his 2019 font family Tectonic).

    Typefaces from 2021: Suave Pro (an 18-style humanist sans with rounded terminals). [Google] [MyFonts] [More]  ⦿

    Rodrigo Rocha Saiani
    [Plau (was: Niramekko)]

    [MyFonts] [More]  ⦿

    Rodrigo Veloso

    Rodrigo Veloso (Salvador, Brazil) created the didone typeface Umane and the display typeface Jeet Kune in 2013. [Google] [More]  ⦿

    ROHH
    [Roch Modrzejewski]

    Roch Modrzejewski (ROHH, Krakow, Poland) established ROHH in 2015. That same year, he published the organic script typeface Rumi, the 22-font sans workhorse typeface Xyngia, the squarish typeface Bietka and the creamy italic titling typeface Aloe, which was inspired by headlines from 1930s newspapers.

    In 2016, he published the 27-style vintage condensed sans typeface family Ganges (sans), the 27-style Ganges Slab, the script typeface Rumi (based on handwriting discovered at Jagiellonian University Library in Krakow), the curvy sans serif family Kasia, Pusia (a rounded organic sans family) and the clean geometrc sans typeface family Tosia.

    Typefaces from 2017: Akwe Pro (a 164-style grotesk typeface characterized by a tapered italic f, large x-height and stroke endings cut at a 10 degree angle), Paneuropa Nova (a minimalist geometric sans that revives Paneuropa (1931, Idzikowski Foundry), itself a take on Futura), Paneuropa Retro (closer to the original than Nova).

    Typefaces from 2018: Karibu (a 100-strong sans family), Bozon (a minimalist geometric grotesk), Qualion (a 30-style modern geometric grotesk), and Qualion Text. Qualion Round was added in 2020.

    Typefaces from 2019: Montreux Grotesk (132 fonts: advertized as a universal sans, it is a slightly more geometric approach to Helvetica and Swiss design in general), Amfibia, Eckhart (a 74-font family of modernized didones in Poster, Text, Display, Headline and Color subfamilies).

    Typefaces from 2020: Conthey (a unicase sans), Teramo (56 fonts in for optical sizes, and two variable fonts; an angular serif with design proportions of 15th and 16th century masters such as Francesco Griffo or Claude Garamond).

    Typefaces from 2021: Conthey Inline (42 styles, a layerable retro look; includes three variable fonts), Rothorn (a 20-style geometric sans; includes a variable font), Kefir (an eight-style typeface with the plumpness of Cooper Black and Windsor; +a variable font).

    Typefaces from 2022: Paneuropa 1931 (an 18-style revival of Paneuropa, a Polish Futura relative made by Idzikowski Foundry in 1931). [Google] [MyFonts] [More]  ⦿

    Roman Extended Fatface

    Fatface refers to a ultra-black didone style, credited to Robert Thorne in England in the early 1800s. It was introduced in wood type by Darius Wells in his 1828 wood speciman catalog, Letter Cutter. Most other early wood type manufacturers mimicked this style. An extended Fatface can be found in the 1838 book by George Nesbitt, First Premium Wood Types Cut by Machinery, where the design is credited to Edwin Allen. Hamilton Wood Type gives a partial list of extended Faftface wood types:

    • Heber & Wells: Roman Expanded (No. 5150) (Later Hamilton 5150), (and an even wider) Roman Extended (No. 5151) (later Hamilton 5151).
    • Wm. H. Page: Roman Extended (No 239).
    • Cooley: Roman Extended No.1.
    • Allen: Roman Extended.
    • Bill Stark & Co.: Roman Extended.
    • Knox: Extended Roman.
    • Morgans & Wilcox: Roman Extended.
    • Tubbs: Roman Extended (No 2028).

    Digital versons:

    • HWT Roman Extended Fatface (2014). By Jim Lyles at Hamilton Wood Type / P22.
    • AWT Wells Roman Extrabold (2013, Dick Pape; after an 1828 fat typeface didone by Darius Wells).
    [Google] [More]  ⦿

    Romane Hupel

    During her studies in Paris, Romane Hupel designed a modular typeface (2017). In 2018, she added the Latin / Cyrillic didone typeface Garasir. [Google] [More]  ⦿

    Ron Ruedisueli
    [Sed4 Type Foundry (or: Sed4tives)]

    [More]  ⦿

    Ross Frazier

    Bloomington, IN-based designer of Deco Alphabet (2012).

    Behance link.

    He also found and letterpress-printed a Bodoni-style typeface found in the Hamilton Wood Type Museum. [Google] [More]  ⦿

    Rovika Sanap

    For a school project, Rovika Sanap (Jakarta, Indonesia) designed the diamond-studded didone typeface Trisula in 2017. Behance link. [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).

    Typefaces from 2018: Gliko Modern (an award winner at the Type Directors Club's Type Design Competition 2019).

    Typefaces from 2019: Flecha (a sharp and streamlined old-style typeface made for editorial design that won an award at 23TDC in 2020), Staff (a neo-grotesk from X Wide to XXX Condensed).

    Typefaces from 2020: Flecha Bronzea (M, L: the condensed version of Flecha).

    Typefaces from 2021: Azo Super (a heavy display font), Staff Grotesk (a low key sans family derived from Abreu's 2019 font, Staff), Gineto (a grotesque developed from the brevier size of Gothic no. 4, a nineteen century design by the New York type foundry Farmer, Little & Co), Chassi (in three optical sizes, S, M and L: a revival of Garamond as a genre, slightly reinterpreted for our times; I duisagree though with the word "slightly").

    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]  ⦿

    Ruh Al-Alam

    London-based designer of an Arabic Didot typeface in 2013. Behance link. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Ruiwei Kho

    Singapore-based creator of the compass-and-ruler didone typeface Reedling (2015). With its long ascenders and descenders, and stylish details, it is useful for fashion magazines. [Google] [More]  ⦿

    Ryan Corey

    Los Angeles-based graphic and type designer, b. 1975. MyFonts link. He created these typefaces: Fairport (2007, an all caps poster typeface), Pentangle (2009, art deco), Fortress (2009, ultra black), Calendaar (2009, monospaced), Occidental (2009, sans), Sir Lord Baltimore (2009, serif family). Fonts from 2010: Auberon (2010, a fat didone display face).

    His latest typefaces include Abraxis (2013, a decorative alchemic typeface) and VolumeFour (2018: a heavy, geometric art deco sans-serif display typeface inspired by the custom lettering of Black Sabbath's Vol 4 album).

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

    Ryoichi Tsunekawa
    [Flat-It]

    [MyFonts] [More]  ⦿

    S. Selivanovsky Foundry

    Extinct 19th century foundry based in Moscow. One of its Cyrillic didones designed between 1826 and 1834 was digitally revived in 2020 by Vincent Lacombe (Marginal Type) in 2020 as Selivanovski. [Google] [More]  ⦿

    Sabrina Bortoloso

    Designer in Buenos Aires. In Pablo Cosgaya's course at UBA, she created the high-contrast dodone-inspired fashion mag typeface Viphnori (2012). [Google] [More]  ⦿

    Sabrina Ekecik

    During her studies at Ecole Estienne in Paris, Sabrina Ekecik created the experimental typeface Burlesque Figures (2013). She also designed an original octagonal bespoke typeface for Europalia India (2013).

    In 2014, she developed a fat didone typeface characterized by a Q with a ball terminal tail, and a handwriting typeface, Blanchard, that is based on manuscipts by typographer Gérard Blanchard (1927-1998). Still in 2014, Sabrina designed the manicured sans typeface family Helado (with Simon Becker and Benjamin Campana) and the free VAG Rounded-Fette Fraktur hybrid called Vagtur (with Simon Becker).

    Typefaces from 2015: Paco (a falred display type), Bagnino (an elongated typeface family created for the Bains Douches municipaux de Paris), Berliner (blackletter).

    https://www.behance.net/Ekeciksabrina">Behance link. Home page. [Google] [More]  ⦿

    Saint-Léger Didot

    Born in Paris in 1767, he died in St. Jean d'Heurs in 1829. He was the son of Pierre-François Didot (1731-1793), who in turn was the youngest son of the Didot printing business founder, François Didot. He made paper in the Didot factory in Essonne. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Sait Maden

    Noted Turkish graphic and type designer, 1932-2013. Author of Baslangicindan Bugune Turk Grafik Sanati/Turkish Graphics from the Beginning till Today (Cevre-Mimarlik ve Gorsel Sanatlar Magazine, 1979-80) and Turk Grafik Sanatinin Dunu, Bugunu/The Yesterday, Today of Turkish Graphic Arts (Cumhuriyet Donemi Turkiye Encyclopedia, 1984, vol 3).

    His typefaces include an organic sans and a tall didone. [Google] [More]  ⦿

    Sam Howard

    During his graphic design studies at Liverpool Art and Design Academy, Sam Howard created the fashionista didone typeface Pensiero (2013) and showed its use as a wine bottle label. [Google] [More]  ⦿

    Samantha Dicriscio

    Montreal-based designer of the didone typeface Bijoux (2016), which was inspired by women's jewelry. [Google] [More]  ⦿

    Sameer Salvi

    Indian designer of the modular typeface Charisma (2018) and the decorative didone typeface natura (2018). [Google] [More]  ⦿

    Samo Ačko

    Ljubljana, Slovenia-based creator of CE Star (2006, a highway font for Eastern Europe), and Grill Serif Extra Bold Wide Latin Lover Case during the design workshop TipoBrda in 2008. In 2011, he designed Morgana, a daring wedge-serif medieval fortress face, while participating at the tipoRenesansa 3rd international type design workshop in Ljubljana. In 2014, he created the great headline and poster font Bad News Sans Extreme.

    Codesigner, with Diana Ovezea, of the typefaces Passenger Display and Passenger (2017, Indian Type Foundry). Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. Passenger Serif (released in 2019) on the other hand is a Clarendon. In 2019, Diana Ovezea and Samo Acko added Passenger Sans, which is characterized by horizontal and vertical terminal strokes and small apertures, and delivers a relaxing read in long texts. Facebook link. [Google] [MyFonts] [More]  ⦿

    Samuel Johnson
    [Johnson & Drake]

    [More]  ⦿

    Sandra Carrera

    Sandra Carrera (b. 1986), originally from Spain and Switzerland, has a Masters in art direction and type design from ECAL, Lausanne, Switzerland, and holds a BA in Visual Communication from HEAD, Geneva. Her degree project was a typeface called Gandarela typeface, a personal interpretation of of Baroque Spanish types.

    Sandra interned at Commercial Type during the summer of 2013, where she worked on Marian Text 1554 and Marian Text 1880. Type designer at Production Type since 2014. In 2014, she made the elegant type system Picara with subfamilies for Text (serifed), Text Sans, Display (modern, fashion mag styles), Stripes and Dual (semi-striped). She writes: Pícara is a bookish typeface family, a tool for graphic designers, which takes its roots into the Spanish 18th type design century, while being a free interpretation of a specimen showing the letters of Antonio Espinosa de los Monteros. Its "cut with a knife" shapes and tight curves, give Pícara a digital and contemporary texture as well as a singular identity, while being readable and functional.

    At Production Type, she cooperated on Countach in 2014: 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. . Countach was developed by Superscript2, J.-B. Levée, Sandra Carrera and Irina Smirnova.

    Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere. [Google] [More]  ⦿

    Sandra Waihuini

    In 2013, Sandra Waihuini (Washington, DC) used Bauer Bodoni as a background to create Mauwa, an intricate ornamental caps typeface. Graduate of Corcoran College of Art and Design in DC, class of 2013. [Google] [More]  ⦿

    Sandro Dujmenovic

    Zadar and/or Zagreb, Croatia-based designer. Creator of Renedi Sans (2007), a 21st century version of Didot.

    In 2014, he designed Réal, a fashion mag typeface family (Homme, Serif, and Femme) that is imagined as a custom type for Yves Saint Laurent. Réal Serif is a lapidary typeface, while Réal Homme is a contrasted almost Peignotian sans typeface. [Google] [More]  ⦿

    Santiago Orozco
    [Typemade]

    [MyFonts] [More]  ⦿

    Sara Cramer Rasmussen

    During her studies in Haderslev, Denmark, Sara Cramer Rasmussen designed a hyper-contrasted didone typeface called Artemes (2013). [Google] [More]  ⦿

    Sarah Fløe Stenberg

    Graphic designer in Montreal, who created the didone typeface Panamera in 2017. [Google] [More]  ⦿

    Sarah Lazarévic

    Ex-student at the Ecole Estienne in Paris (b. Estonia) whose diploma work consisted of the creation of typeface in the style of a first century typeface found in an archeological site near Millau in France. Graphic and type designer in the 15th arr. in Paris. Her early typefaces:

    • Métallo (2005): a futuristic text family.
    • Vitalis (2005): titling stone-carved typeface in the style of a first century typeface found in an archeological site near Millau in France.
    • Néva (2005): a Cyrillic didone face.
    • Pop (2005).

    Designer of the Fournier era family Rameau (2011, Linotype). Linotype writes: Sarah Lahzarevic is a graphic designer and typographer. She has worked for ten years with the photographer Max Yves Brandily. She is now working as a freelance graphic and type designer for clients such as the French Post Office (La Poste), Millau City Council and the International Francophone Organisation. She teaches graphics and typography at the Ecole Professionnelle Supérieure d'Arts Graphiques et d'Architecture de la Ville de Paris (Graduate Training School in Graphic Arts and Architecture in Paris). She is also developing her own work in copper-plate engraving. She derived the italics of Rameau from the manuscript of the opera Les fêtes de l'hymen et de l'amour, the music for which was composed by Jean-Philippe Rameau in 1747. Linotype: In the 18th century, musical compositions were published in the form of impressions from copper plates that had been hand-engraved in contrast with books and other texts, which were printed from moveable lead type. The italic letters of Rameau include many ligatures and are thus typical of the engraving style of the period.

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

    Saranna Drury

    Saranna Drury (New Zealand) created the ornamental didone typeface Debussy Script (2012).

    Behance link. [Google] [More]  ⦿

    Sarid Ezra

    Yogyakarta, Indonesia-based designer of the handcrafted typefaces Sakra (2016, a script published at Letterhend), Sarid Ezra (2017), Retrology (2017), King Birds (2017), Megattor Script (2017), Dear Jane Script (2017: a signature script by Hendry Juanda), Wonder Stark (2017: by Hendry Juanda), Mandatory (2017), Modesta Script (2017), Antone (2017), Better Red (2017), Madgue (2017, monoline script), Beautiful Holiday (2017: monoline script), Dear Disya (a chalk script) (2017), Shutter Stone (2017, signature script), Hello Stranger (2017), Vanillate (2017: monoline script), Gloriant Signature (2017), Signerella Script (2017, signature font), Claytonia (2017, by Hendry Juanda), Rose Colored (2017), Quinible (2017), Mukadua (2017: a beatnik font by Hendry Juanda), The Lentigo (2017), Morsal (2017: free).

    Other typefaces from 2017 include Bitter Rose (free), Suddenly (signature script), Historia Sky and Billenia.

    Typefaces from 2018: Roseville Script (calligraphic: by Hendry Juanda and Sarid Ezra), Daytonia, Carrol Wild, Royalite, Historia Sky, Headley (monoline font duo), Scarlette Script, Bellatrone (script), Edinburgh (SVG brush font), Carrol Standard (sans), Richardson Script (a signature font), Audacity (font duo), Daviton (SVG brush by Sarid Ezra), Rossie Kelly (SVG brush), Sirens, Magdaline, Stephen Gillion (an inky script), Allison Style (font duo), Black Mountage (dry brush font), Merova (serif), Rotrude Sans (in 16 styles), Aurelie Smith (a signature script, and ornaments), Soredime (a great rabbit ear signature font), Hughson (a monoline script), Morriles (SVG brush), Strong Heart (font duo), Auckland Script (signage font), Camilla (signature font), Big Reputation (font duo), Briberra (a brush script) (free version), Carrol Sans, Kaylar, Brighter, Hipsterious (signage font: by Hendry Juanda).

    Typefaces from 2019: Fokers (Victorian), Bargitta (an SVG brush script font by Hendry Juanda and Sarid Ezra), Gorgone (a one-style didone by Henry Juanda and Sarid Ezra), Sharon Baker (by Hendry Juanda and Sarid Ezra), Daniella Evans (a display serif by Hendry Juanda and Sarid Ezra), Lotustail (by Henry Juanda and Sarid Ezra), Palmbell (a signature font by Hendry Juanda and Sarid Ezra), Bittergrace Script (by Hendry Juanda and Sarid Ezra), Bordemile (a copperplate calligraphic script by Henry Juanda and Sarid Ezra), Loverica (a tall elegant titling typeface), Wonderstory (a dry brush script), Point Panther (all caps, display), Dua Rosé, Black Mountage (brush script), Quirkily, Callistera Script, Fort Collins (font duo, by Sarid Ezra at Letterhend), Seriously (at Letterhend), Callistera Script (a signature script), Troyline, Marquis, Elaine Hanks (script and dingbats), Katherine.

    Typefaces from 2020: Briberra (a brush script), Bitter Rose (a brush font), Swifted (a stylish sans), Pearlone (a stylish stencil), Cloudster (an all caps titling sans), Carrol (a 16-style unkerned all caps sans), Carentro, Lindsay Brown, Karelle (decorative serif), Beautifull Weakness (a wild inky script), Augillion (a bold decorative serif), Bread Crumbs, Troyline (a retro script), South Louisville (a painter's script), Shutter Stone, Sirens (a bold headline sans), Shutter Stone, Crooked Hooks (a brush font), Headley (a monoline script), Mister London (a monoline script and sans duo), Roller Cores (a roller paint typeface), Scary Things (all caps, wedge serif), Quinstar, Lequire (a logotype), Routhers (a creamy signage script), Chequers, Lindsay Brown, Audrey Mirages (a decorative serif), Mandalika (a display serif), Branders, The Postgates (a calligraphic script), Louise Walker (Serif, Script), Fragilly, Bombalurina (a script), Goldbrick (wild calligraphy), Dropgray (a stylish sans), Mandalika.

    Typefaces from 2021: Billy Magie (a smooth stencil typeface), Broken Drive (grunge), Future History, Krafika (a modern display typeface), Vierra Moon (a fat finger script), Lighters (a minimalist sans), Duarose (a vintage all caps font), Klopers (a display typeface), Planet Gamers, Freaky Story (a horror font with pointy dagger terminals), Freaky Story (a horror font with pointy dagger terminals), Consent (a playful display font derived from didone caps), Desira (a decorative art gallery serif), Proxemic (a bold sans intended for use in logos), Fireside (a techno logo font), Psyche Lover (psychedelic), Baligo (a fat finger font), Retrips (a bold rounded display serif), Blink Twice (a wavy font), Holybuck (a signature script), Diamond Bridge (a stylish display serif), Adoria (a sci-fi logo font), Folklore Story (script), Strong Girls (an all caps display serif), Space Boards (a sci-fi font), Hisquins (a diamond-themed all caps typeface), Herkings (an all caps display typeface), Collingar (a lachrymal serif), Claire Murphy (a stylish italic serif), Daviton (an SVG brush font), Cherions (a rough brush font), Sertona (a bold display typeface), Daisy Lovers, Louise Walker (a meaty display serif), Carrol Wild (a vintage all caps sans), Edinburgh (a dry brush font), Redrains (a decorative serif), Designors (hand-printed, all caps), Hello Friday Vector (a grungy handcrafted typeface), Angel Charms, Blackpast (a notched all caps sans), Hillray (a stylish bold sans), Love Board (an all caps typeface with some ink run), Cloudy Aurora (font duo), Duarose Serif, Reminder Notes, Explore Wonders (a watercolor font), Shaping Heart (a decorative typeface with hairline serifs), Cronera (handcrafted), August Stories (a display serif), Brolink (tech, sci-fi), Laginchy (a quirky decorative serif), Argue (a decorative serif adoned with hipsterish lower case f and t), New Orleans (an inky script), Glendale (a variable width all caps sans), Ezra (italic), Coachella (a soft serif), Burgundy (a sans with ball terminals and swashes), Cherish Today (a cutout font), Blank Moment, Saphira (a smooth display typeface), Slightly Marker (a brushed marker pen font).

    Typefaces from 2022: Crazy Party (hand-crafted reverse stress caps), Philosophy (a feminine display typeface), Maglite (a lachrymal display serif), <,a href="https://www.myfonts.com/fonts/sarid-ezra/winder/">Winder (a pure display font), Black Point (a stencil / script font duo), Daily Spark (a font duo), Maginors (starry, all caps), Nefilt (a wavy display serif), Stay Tuned (a crayon font), Bodwars (techno logo).

    Behance link. Dafont link. Creative Market link for Letterhend. Creative Market link for Sarid Ezra. Graphicriver link. [Google] [MyFonts] [More]  ⦿

    Sarita Loredo

    Graphic designer in Leesburg, VA, who created the creamy didone typeface Omelette du (sic) Fromage (2014). Behance link. [Google] [More]  ⦿

    Sascha Timplan
    [Stereotypes.de]

    [MyFonts] [More]  ⦿

    Sascha Wohlgemuth

    Sascha Wohlgemuth (Schmieso, Dortmund, Germany) designed the mini-slabbed family Gemba in 2010. He also made the octagonal typeface Mango (2010). In 2015, he published the curvy didone typeface Renegade.

    New Behance link. [Google] [More]  ⦿

    Satia Hayu Prabowo

    Indonesian designer of the heavy script typeface Arucard (2017) and the script typefaces Standley (2017) and Homeland (2017). In 2021, he published Bloery (a 14-style+2 variable font neo-grotesque family with wide glyphs), the 18-style semi-didone family Madone (for Latin and Cyrillic) and the 18--style (+2 variable fonts) condensed sans typeface family Kolage at Runsell Type.

    In 2022, he released the 14-style geometric sans typeface Grotica at Runsell Type. [Google] [MyFonts] [More]  ⦿

    Saumya Goyal

    During her studies at National Institute of Design, Ahmedabad, graphic design student Saumya Goyal created Harriet Bengali (2015). It is based on the didone typeface The Harriet Series (2013, Jackson Cavanaugh). In 2017, she designed the semi-serif typeface Cinquante. [Google] [More]  ⦿

    Sauter fonts

    John Sauter has prepared alternate parameter files that make it possible to generate the Computer Modern fonts at any point size. This seems to work well from 4 to 40 point sizes. The files were maintained almost from the beginning by Jörg Knappen, but will be maintained from January 1999 on by Jeroen Nijhof. Current version is 2.4. [Google] [More]  ⦿

    Sbstn Bkrc

    Grenoble, France-based designer of Moderne (2015), a tall didone revival created in a workshop in 2014 led by Jean-Baptiste Levée and Yoann Minet. Behance link. [Google] [More]  ⦿

    ScanVec

    Outfit which made many font families in 1990, including these: American-Classic, Artcraft, Auburn, Autopista, Avenue, Belwe, Bengel, Bengi, Bloom, Booty, Branding, Broadway, Brophy, Brush, CG-Bodoni, CG-California, CG-Century, CG-Clearface, CG-Cloister, CG-Frontiera, CG-Mellinza, CG-Nashville, CG-Omega, CG-Palacio, CG-Pontiflex, CG-Poster, CG-Trade, CG-Trade, CG-Triumvirate, CG-Trump, Callistyle, Camelot, Carolina, Carolina, Caslon-540, Ccrige, Charlotte, Circular, Claredon, Commercial, Compressed, Computer, Cooper, Copperplate, Crest, Deco, Dom, Domino, Doron, ETC, Egyptian, English, Estelle, Europa, Expo, Extend, Exway1, Exway2, Fancy, Fancy, Fleer, Forecast, Fortune, France1, France2, France3, Franklin, Frieze, Futura, Garamond, Garth, Gem, Gothic, Goudy, Highway, Hobo, Hotdog, Journal, Klass, Laddy, Lilt, Lubo, March, Microstyle, Mon_1, Mon_2, Mon_3, Mon_4, Mon_5, Mon_6, Mon_7, Mon_Block, Mon_BlockShadow, Mon_Gothic, Moon, Murray, Musketer, News, Nuevo, Old, OldEnglish, Park, Quill, Raphael, Roven, Sabon, Sans, Scene, Scripta, Shady, Shape, Shot, Signature, Stymie, Superior, Tarry, Transport, Tropez, Typewriter, Uncial, Velvet, Wide, Windsor, Yearbook, Zarana. The link has a full list of the font names. Download link. [Google] [More]  ⦿

    Scholtz Fonts
    [Anton Scholtz]

    Scholtz Fonts was started by Anton Scholtz (b. Durban, 1941) in 1997. This South African design company is located in Durban, where the Zulu culture of the region has greatly influenced Anton's font design. Klingspor link

    Scholtz sells a fine selection of display types that ooze African themes. An alphabetical list:

    View the typefaces designed by Anton Scholtz. [Google] [MyFonts] [More]  ⦿

    Schriftgiesserei Eduard Haenel
    [Eduard Gustav Haenel]

    Schriftgiesserei Eduard Haenel is a Berlin-based foundry operational in the 1840s, run by Eduard Haenel (b. 1804, Magdeburg, d. 1856, Berlin), who was a type founder and book printer. His life's story. His father Christian Jacob Haenel had a printing shop since 1798 in Magdeburg, the Hänelsche Hofbuchdruckere, which Eduard took over in 1824 after his father's death. In 1830, he started also some typefounding, and slowly started operating in Berlin as well. He let his staff cut many vignettes, ornaments, ornamental typefaces and typefaces, and imported many English and French types. The Magdeburg office burnt down, and Eduard moved completely to Berlin, where he worked until selling the business in 1852 to Carl David. The Magdeburg Druckerei continued with Eduard's brother and his sons until 1945 as the Magdeburger Qualitätsdruckereien. Eduard made the so-called Fette Haenel-Fraktur (ca. 1840), specially designed for headlines. He also cut Haenel Antiqua.

    Haenel-Fraktur was digitized by many, including Ralph Unger (who made Haenel-Fraktur in 2011), Walden Font (with Fette Haenel Fraktur), and Dieter Steffmann (2000; as Fette Haenel Fraktur). Haenel Antiqua was revived by Gerhard Helzel and separately, in 2020, by Ralph Unger.

    In 2017, Pierre Pané-Farré (Forgotten Shapes) set out to revive some poster typefaces by Eduard Haenel. These include:

    • Breite-Fette Antiqua FSL (2017): Breite-Fette Antiqua FSL is the digital re-issue of an unidentified display typeface which---from ca. 1850 onwards---was part of the type case in the printing workshop of Oskar Leiner in Leipzig. It can not be said whether it was a custom-made design or if the typeface was distributed commercially by a foundry.
    • Doppel-Mittel Egyptienne FSL (2017): Doppel-Mittel Egyptienne FSL is the digital re-issue of Doppel-Mittel Egyptienne by Eduard Haenel, Magdeburg. It was advertised 1833 in "Schrift- und Polytypen-Probe. Zweite Lieferung. Blatt 25-72." and again 1834 in "Neueste Lettern", a supplement to the "Journal fuer Buchdruckerkunst." Doppel-Mittel Egyptienne itself was a re-casting of Two-Line English Egyptian No. 1 originally shown in 1821 by William Thorowgood, London.
    • Schmale Egyptienne N.12 FSL (2017). By Pierre Pané-Farré: Schmale Egyptienne N.12 FSL is the digital re-issue of Schmale Egyptienne No. 12, 28 Cicero Kegel advertised in 1841 in "Proben der Affichen-Schriften von Eduard Haenel. Berlin."

    References: Schriftgiesserei, Schriftschneiderei und Graviranstalt (1847, Eduard Haenel), a 490-page book of type specimens. [Google] [More]  ⦿

    Schriftguss AG

    German foundry that was located in Dresden. Designers include

    • Otto Arpke: Designer of the fat display typeface Arpke Antiqua (Schriftguss, 1928).
    • Carl Albert Fahrenwaldt, who made the Minister family in 1929 based on garalde types (Adobe and Linotype have their own versions). He also made Edelweiß (1937), Prominent (1936), and Symbol (1933).
    • Heinrich Wieynck made Wieynck-Werkschrift (1930) and WieynckGotischLicht (1926).
    • Peter Schneidler made the handwriting Mistral-like typeface Maxim in 1955 (Ludlow's version).
    • Peter A. Demeter: the shaded roman capital typeface Holländisch (1922-1926), which also comes with Bold and Extended weights.
    • Fritz Müller: Armin-Gotisch (1933).
    • Martin Wilke: Burgund (script face).
    • Willy Schumann: Butterfly (1927, script), Butterfly Halbfette (1928), Troubadour Magere (1927).
    • Walter Schnippering: Pentape (1935, script).
    • K. H. Schaefer: Orchidea (1937, script), Schaefer Versalien (1927, lineale titling font on a shaded background), Capitol (1931, a lineale with an extra vertical stroke on the left of each glyph typical of art deco; for a revival, see Capitol Pro (2012, Ralph M. Unger).
    • A. Auspurg: Lido (1936, script).
    • Arnold Drescher: Energos (1932, script).
    • W. Berg: Divina (1930, script), Splendor (1937, script).
    • Peterpaul Weiß: Kursachen (1937, blackletter). Digitized and extended by Patrick Griffin at Canada Type in 2005 as Blackhaus.
    • Paul Sinkwitz: Sinkwitz-Gotisch (1942).
    • Gerhardt Marggraff: the blackletter typeface Marggraff-Deutsch (Halbfette and Fette in 1939, Leichte in 1940), Marggraff Light Italic (1929).
    • H.-R. Müller: Fao (1938). Nick Curtis used this as the basis for his Fargo Faro (2007).
    • K. Lehmann: Lehmann-Fraktur (1919).
    • J. Lehmann: Diamant (1937).

    House typefaces include Gilden-Fraktur (1937), Jasmin (1929, blackletter), Jean-Paul-Schrift (1798), Härtel Roman (1928, a didone family) and the Plakatstil font Ohio in 1924, on which Nick Curtis based his ITC Zinzinnati (2001). One of their catalogs was published in Dresden around 1930. A 1925 catalog in Spanish includes Cursiva Minosa, Versaes Schaefer, Cursiva Saxonia Preta, Wieynk Gothic, Rembrandt Meia Preta, Grotesca VI Mercur, Hollandeza Larga, Versaes Kress, Romana Hamburguesa, Typo Klinger, vignettes, tipos de cartel, and other typefaces.

    Samples of their work: Aldine Schmalfett, Ambassador, Mimosa, Maximum, Appell (1934), Artista, Belwe Antiqua Licht Versalien, Bodoni, Cooper, Druckhaus, Echo, Helion, Diamant, Duplex, Milo, Fette Copra Kursiv, Fette Gotisch, Gladiator, Aktuell, Energos, Burgund, ElegantKursiv, Grossmuetterchen, Grotesk, Grotesk Breite, Junior, Kurier, Fanal, Flamme, (a logo), Marko, Milo, Faro, Luxor, Admira (1940: revived in 2019 by Coen Hofmann), Ramona, Parlament, Patria, Pfeil, (a poster Plakattype), Rautendelein [a calligraphic typeface revived by Ralph M. Unger in 2017 as Carina Pro], Rhythmus [revived in digital form by Ralph M. Unger as Rhythmus Pro in 2016 and by Peter Wiegel in 2015 as CAT Rhythmus], Romantisch, Saskia, Schreibmaschinenschrift 512, Steinschrift, Super-Grotesk, Super-Kursiv, Super-Grotesk, Super Blickfang Initialen, SupremoVersalien, Tausendschoen, Unger Fraktur. [Google] [More]  ⦿

    Schriftklassifikation nach DIN 16 518

    Type classification (in German) according to the DIN 16 518 system invented in 1964. Pages by Bernhard Schnelle. I will use his German nomenclature, and quote his examples of each style.

    • I. Venezianische Renaissance-Antiqua: Amalthea, Ascot, Berkeley Old Style, Centaur, Concorde, Deepdene, Eusebius, Goudy Italian, Guardi, Horley Old Style, Jersey, Lutetia, Menhart-Antiqua, Normandy, Seneca, Schneidler-Mediaeval, Trajanus, Verona, Weidemann, Worcester Round.
    • II. Französische Renaissance-Antiqua [garalde types]: Aeterna, Aldus-Buchschrift, Bembo, Berling, Charter, Comenius-Antiqua, Garamond, Granjon, Leipziger Antiqua, Meridien, Michelangelo, Octavian, Palatino, Perpetua, Plantin, Sabon-Antiqua, Trump-Mediaeval, Van Dijck, Vendome, Weiß-Antiqua.
    • III. Barock-Antiqua [transitional types]: Baskerville, Bernhard Modern, Bookman, Caledonia, Caslon, Century, Century Schoolbook, Cheltenham, Cochin, Diotima, Ehrhardt, Imprimatur, Janson, Life, Nicolas Cochin, Poppl-Antiqua, Raleigh, Schoolbook, Scotch, Tiffany, Times.
    • IV. Klassizistische Antiqua [modern or didone types]: Bauer Bodoni, Bodoni-Antiqua, Linotype Centennial, Corvinus, De Vinne, Linotype Didot, Ellington, Falstaff, Fat Face, Fenice, Madison-Antiqua (Amts-Antiqua), Normande, Tiemann-Antiqua, Torino, Walbaum-Antiqua.
    • V. Serifenbetonte Linear-Antiqua [slab serif]: Aachen, Clarendon, Memphis, Old Towne, Pro Arte Schadow-Antiqua, Serifa, Volta.
    • VI. Serifenlose Linear-Antiqua [sans]: Akzidenz-Grotesk, Antique Olive, Avant Garde Gothic, Cosmos, Delta, Erbar-Grotesk, Eurostile, Folio, Franklin Gothic, Frutiger, Futura, Gill, Helvetica, Univers.
    • VII. Antiqua-Varianten: Abbot Old Style, Amelia, Americana, Arnold Böcklin, Banco, Calypso, Churchward, Cooper Black, Dynamo, Eckmann, Glaser Stencil, Hobo, Lasso, Mexico Olympic, Plastica, Profil, Souvenir, Stop, Superstar, Tintoretto, Traffic, Washington, Windsor, Zipper.
    • VIII. Schreibschriften [scripts]: Arkona, Amazone, Bison, Boulevard, Brush Script, Caprice, Charme, Choc, Diskus, Englische Schreibschrift, Künstler-Schreibschrift, Lithographia, Mistral, Reiner Script, Rondo, Signal, Swing, Vivaldi.
    • IX. Handschriftliche Antiqua: American Uncial, Antikva Margaret, Arcade, Codex, Delphin Dom Casual, Hadfield, Klang, Koch-Antiqua, Libra, Lydian, Ondine, Poetica, Post-Antiqua, Prima, Ritmo, Solemnis, Studio, Time Script.
    • X. Gebrochene [Fraktur, blackletter], subdivided into Xa Gotisch, Xb Rundgotisch, Xc Schwabacher, Xd Fraktur, Xe Fraktur-Varianten.
    • XI. Fremde Schriften [foreign types]: all non-Latin typefaces.
    [Google] [More]  ⦿

    Schrift-Klassifikationen

    Type classification at typografie.info. By Ralf Hermann. Interesting to get used to the German terminology, so here we go:

    • Venezianische Renaissance-Antiqua (ca. 1470): Venetians such as Berkeley Old Style, Centaur, Deepdene, Horley Old Style, Kennerley Old Style, Trajanus, Schneidler-Mediaeval, Seneca.
    • Französische Renaissance-Antiqua (ca. 1540, humanist): Garamond, Aldus-Buchschrift, Bembo, Berling, Diethelm-Antiqua, Goudy, Palatino, Sabon-Antiqua, Trump-Mediäval, Weiss-Antiqua.
    • Barock-Antiqua (1750, transitional): Baskerville, Caslon, Imprimatur, Janson-Antiqua, Poppl-Antiqua, Tiffany, Times-Antiqua.
    • Klassizistische Antiqua (1800, didone, modern): Bodoni-Antiqua, Didot, Madison-Antiqua, Torino, Walbaum-Antiqua.
    • Serifenbetonte Linear-Antiqua (1850, slab serif) Egyptienne: American Typewriter, Beton, City, Lubalin Graph, Memphis, Rockwell, Serifa, Stymie.
    • Serifenbetonte Linear-Antiqua Clarendon: Clarendon, Impressum, Melior, Volta.
    • Serifenbetonte Linear-Antiqua Italienne: Figaro, Hidalgo, Memory, Old Towne, Pro Arte.
    • Serifenlose Linear-Antiqua (1850, sans): Akzidenz-Grotesk, Avant Garde Gothic, Avenir, Berthold Imago, Franklin Gothic, Frutiger, Futura, Folio, Gill Sans, Helvetica, Kabel, Meta, Neuzeit-Grotesk, Rotis Sans, Stone Sans, Syntax, Univers.
    • Antiqua-Varianten: Arnold Böcklin, Blur, Eckmann, Exocet, Mambo Bold, Moonbase Alpha, Revue.
    • Schreibschriften: Ariston, Ballantines, Berthold-Script, Commercial Script, Diskus, Englische Schreibschrift, Künstlerschreibschrift, Lithographia, Mistral, Slogan.
    • Handschriftliche Antiqua: Arkona, Delphin, Dom Casual, Express, Impuls, Justlefthand, Poppl-College, Post-Antiqua, Vivaldi.
    • Gebrochene Schriften (blackletter): Gotisch (Fette Gotisch, Wilhelm-Klingspor-Gotisch), Rundgotisch (Tannenberg, Wallau, Weiss-Rundgotisch), Schwabacher (Alte Schwabacher, Renata), Fraktur (Fette Fraktur, Neue Fraktur, Unger-Fraktur, Walbaum-Fraktur, Zentenar-Fraktur), Fraktur-Varianten (Breda-Gotisch, Breite Kanzlei, Rhapsodie).
    [Google] [More]  ⦿

    Scotch Roman

    Wikipedia: Scotch Roman refers to a class of typefaces popular in the early nineteenth century, particularly in the United States and to a lesser extent the United Kingdom. These typefaces were modeled on an original 1839 design by Samuel Nelson Dickinson, founder of the Dickinson Type Foundry in Boston, who had the design cut by Richard Austin, and cast by Alexander Wilson and Son in Glasgow, Scotland. This is wrong, because Richard Miller died in 1830. The William Miller foundry's Scotch Roman is from 1813.

    The Scotch Roman typefaces are in the modern (didone) style, with long ascenders and an elegant aura that make them agreeable to the eye. Present day typefaces in the shadow of Scotch Roman include Caledonia, Georgia (Matthew Carter), and Escrow (Font Bureau).

    Mac McGrew: Scotch Roman is derived from a typeface cut and cast by the Scotch foundry of Alexander Wilson&Son at Glasgow before 1833, when it was considered a novelty letter. The modern adaptation of the typeface was first made in 1903 by the foundry of A. D. Farmer&Sons, later part of ATF. It is a modern face, but less mechanical than Bodoni, and has long been popular. Capitals, though, appear heavier than lowercase letters and tend to make a spotty page. Hansen's National Roman is virtually the same face, with the added feature of an alternate r with raised arm in the manner of Cheltenham Oldstyle. When Monotype copied Scotch Roman in 1908, display sizes were cut to match the foundry face, but in keyboard sizes, necessarily modified to fit mechanical requirements, the caps were lightened and the entire typeface was somewhat regularized. Scotch Open Shaded Italic, a partial set of swash initials, was designed by Sol Hess in 1924. Similar swash letters, but not shaded, were also drawn by Hess and made by Monotype for regular Scotch Roman Italic. Linotype had adapted Scotch Roman to its system in 1903, retaining the heavier capitals, but in 1931, by special permission of Lanston Monotype, brought out Scotch No.2 to match the Monotype version. Compare Atlantic, Bell, Caledonia, Original Old Style. [Google] [More]  ⦿

    Scott Calo

    FontStructor, aka truth14ful, who made these pixelish typefaces in 2010: Ball Point, Symbol Sans, Balance sans, Tetris, Math, Marquee, Spacewave, Math, Evening (a stencil based on the EVE logo). In 2011, he made the flared serif typefaces Sophistry Serif Compact and Sophistry Serif Modular, the pixel typefaces fs Gaux 7px Bold (2011), fs Gaux 9px, fs Gaux 7px, and fs Gaux 5px Bold, as well as the avant-garde style Plato Sans, fs Salted Library (2011, a headline font based on the old Union Pacific logo) and Lindenmayer Dingbats (based on IFS fractals---looks like a Sierpinski triangle). FS Greener Grass V2 (2011) is a grotesque headline typeface that imitates FS Greener Grass by Agent Demonic Ladybug. fs Pincoya (2011) and its renamed version, fs Pink Oil (2011) imitate Pincoya Black (Daniel Hernandez). fs Schultasche (2011) is a grotesque face. fs Hudson (2011) is a fat display typeface named after Walter Hudson, one of the heaviest people who ever lived. fsCentury Humanist (2011) is a condensed sans. fs Kaputt (2011) is a pixel face.

    Typefaces from 2012: fs Off The Chain, fs Halo, fs Liberty, Sukai Tsuri (tall condensed face), fs Lesen (perfectly square white on black typeface), fs Washington One, fs Schultasche, fs Savant garde (pixel face), fs Mechanuscript (Trajan caps; +Celtic), fs Gaux (+Ambigram, +9px: pixel typefaces), fs Hard Times (high contrast didone face), Avica, fs Torvalds, fs Titanium, fs Neuron, fs Inception, fs OffTheChain.

    Typefaces from 2013: Dragon Slayer FS.

    Typefaces from 2014: Turnin Two, Down with Jezebel FS, FET Title 2014, fs Messenger, Klein Bottle, Amohat New, ECDb.

    One of my favorites in this collection is fs Hällvetyka 2011), a tall display typeface for posters and murals. [Google] [More]  ⦿

    Sébastien Bakirci

    Grenoble, France-based designer of the didone typeface Type Moderne in 2014, during a workshop given by Jean-Baptiste Levée and Yoann Minet. Behance link. [Google] [More]  ⦿

    Sébastien Morlighem

    Professor of the history of typography and type design at Ecole Estienne in Paris (since 1997) and, since 2009, at the Ecole supérieure d'art et de design d'Amiens. Born in 1971, he was trained at the same school by Franck Jalleau and Michel Derre in type design and calligraphy. He holds a PhD from the University of Reading. Morlighem lives in Paris.

    At ATypI 2009 in Mexico City, he spoke on the contributions of José Mendoza to French typography. José (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions.

    In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem wrote Roger Excoffon et la fonderie Olive.

    In 2012, he was a Ph.D. student at thE university of Reading and had as thesis topic 'The 'modern face' in France and England (1780-1830): typography as an ideal of progress.

    Author of the essay Robert Thorne and the origin of the modern fat face (2017, 28 pages): It is usually believed that the typefounder Robert Thorne (1753-1820) was the first to have introduced in the early 19th century the fat face, a swollen offspring of the new modern types then in vogue. Sébastien Morlighem's essay intends to reassess his precise role in its development as well as other English founders. It is built on a re-reading of several key texts and a careful survey of original specimen books from the Thorne, Caslon & Catherwood, Fry & Steele and Figgins foundries. Co-edited with Alice Savoie in the Poem Pamphlet series.

    Speaker at ATypI 2019 in Tokyo on the topic of The Sans Serif in France: The Early Years (1834-1844). [Google] [More]  ⦿

    Sean Cavanaugh
    [FontSite]

    [MyFonts] [More]  ⦿

    Seattle 12: Seattle Typeface Workshop

    At this workshop organized in Seattle in 2012 by Karen Cheng and François Porchez, students developed the following typefaces:

    • Brianna Ailie, Jenny Alarco, Tom Conroy, Kaitlan Hamby, and Sydney Mito created the sans typeface Bakery.
    • Alison Atwell, Ryan Byarlay, Jessica Gordon and Fanny Luor created Caswell, a copperplate face.
    • Rachel Jacques, Chloe Myers, Olivia Peterschmidt, and Lia Prins created the impish text typeface Dulce.
    • The didone stencil typeface Rille was created by Katarina Batina, Elly Chao, Nick Simmons and Ryan Smith.
    • Melody Ericksen, Daphne Hsu, Dana Lee and Jon Sandler created the squarish typeface Vetta (2012).
    [Google] [More]  ⦿

    Sebastián Garbrecht

    Graduate from FADU, University of Buenos Aires, who created the fat didone typeface Botero (2009). [Google] [More]  ⦿

    Sebastian Hilgetag
    [Monday Type]

    [MyFonts] [More]  ⦿

    Sebastian Matamoros

    Mexico City-based designer of the display didone typeface Textsy (2016). [Google] [More]  ⦿

    Sebastian N

    Austrian designer of this didone semiserif (2005). [Google] [More]  ⦿

    Sebastian Nagel

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

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

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

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

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

    Canapé Serif (2013, FDI) has four styles. Microsite.

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

    Sed4 Type Foundry (or: Sed4tives)
    [Ron Ruedisueli]

    Dutch professional music producer and audio engineer who founded his own record label. He also makes (mostly free) fonts. His work:

    • A FontStruct series called STF Letters op Maat, which attempts to recreate all alphabets designed by Dutch Bauhaus designer Jurriaan Schrofer (1926-1990). That list: STF Cutout 1985 (+Solid), STF JS Bevel (+Fill), STF Grafisch, STF Etage Aanduiding (17x17-Inline 1, 17x17-Inline 2, 17x17-Medium Fill, 17x17-Multiline, 17x17-Full Fill, 5x5 Matrix, Hi-res) [op-art, prismatic], STF Gemeentereiniging, STF Berlage (after the letters Schrofer originally designed for The "Beurs Van Berlage", a commodity market building located in the centre of Amsterdam. Later it was also digitalized and used to for the Dutch passport), STF Elevated (3d shadow typeface), STF Semiotica (Incised Outline, Incised, Book, Regular, Title), STF Sater, STF Sans Severe (Light, Heavy, Outlined, Multilines), STF Sans Rounded, STF Avant-Garde i10, STF Schrofer Modular Blocks, STF Social Human Trends (Outlined, Solid, Fill Isolated, Outined Isolated), STF Girokantoor, STF Marx (Solid, Striped), STF Squared Sans, STF Onleesbaar Alfabet (Stroke, Solid, Outlined), STF Bols Jaarverslag, STF Bredero (for the Bredero Bouwbedrijf), STF A.S.C. Communications, STF Connaissance et Langage, STF Paspoort, STF Last Warning (v1), STF Connected Squares (+Fill, +v2 Headline, +v2 Fill, +v2 Outline).
    • Other FontStruct typefaces, now over 180 in all, made in 2017-2018. Included are STF Down Vote, STF Slab Inn (a Western font), STF Polygon Window (hexagonal), STF Kalender (based on a 1976 calendar with octagonal letters by Wim Crouwel), STF See You in 2019 (a tiled font), STF Uni (a varsity font), STF Geo Gothique, STF Tegel (a kitchen tile font), STF Don't Count on Me, STF Hyster (a modernist stencil), STF Der Zyklus, STF Scriptorium (blackletter), STF Paradox, STF Sutoraipu Origami Multiline, STF Sutoraipu Origami Filled Stencil, STF Futureline, STF Frescher (Escher-inspired), STF Whiskey-A-Go Go, STF Labrat (op-art, prismatic), STF Tranziztor, STF Otto Font Schirach (mosaic lettering), STF BFG (condensed piano key style), STF Ace of Maze, STF Amsterdam School, STF Neon Flux, STF Wendingen 1922 (based on a old brochure by Wendingen for the Internationale Theater Tentoonstelling Amsterdam 1922; letters designed by Hendricus Theodorus Wijdeveld (1885-1987)), STF Van Nelle (based on an early 1900's poster ad for Van Nelle coffee), STF Purple Maze, STF Militia Stencil, STF Idiocracy (stencil), STF Rode Draad, STF Praesens (based on the lettering found in the second issue of Polish avant garde architectural magazine Praesens), STF Fabricon (a De Stijl stencil; +Outline, +CrossSection), STF Defrag, STF Trilineae, STF Bolsjewie (constructivist), STF Kraftwerk (a tiled typeface; after a 2015 poster by Chuck Sperry for Kraftwerk), STF De Stijl, STF Portfolio Peeters (a tribute to Belgian modernist artist Jozef Peeters (Antwerp, 1895-1960), based on the folder art for his 1921 linocut portofolio), STF Sector 7 (military stencil).
    • Pax Romana. Based on the capitalis monumentalis seen at the base of Trajan's Column.
    • STF Espionaje. Inspired by the lettering found on a vintage sheet music cover art for "La Java bousculée" (1924).
    • STF Oudvreugde's Ontwaken. Based on the Dutch deco lettering of Dutch graphic designer Frederika Sophia (Fré) Cohen (1903-1943). The letters were taken from a book cover design for the "Arbeiders-jeugdcentrale Amsterdam" which was published in 1924.
    • Typefaces from 2019: STF Blauhaus (Bauhaus-inspired), STF Type O Negative, STF Bodidone, STF Textualis Batavicum (blackletter), STF Alhambra Blvd, STF Type O Negative, STF Ein Berliner, STF Geo Grotesque (in the style of TT Norms and LL Circular), STF Innercity (art deco), STF Photonia (futuristic), STF Square Grylls, STF Mizollen (labyrinthine), STF Mr Bob Doubalina, STF Plateau Disco (groovy), STF Uncialis Modularis (uncial).
    • Typefaces from 2020: STF Schlanke Schöne, STF Care Sensitive.

    FontStruct link. [Google] [More]  ⦿

    Seite4
    [Ralph du Carrois]

    Berlin-based design company, est. 2003, run by Ralph du Carrois and Jenny Horn. It ceased to exist, but du Carrois now runs Colaborate (sic): A four-style sans family done in 2001 for StudioMiR (free).

  • The Pixelpath series (2002): PiPaA35, PiPaB35, PiPaC35, PiPaD35. Free. [Google] [More]  ⦿

  • Selwyn Hollis
    [Applied Symbols]

    [MyFonts] [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]  ⦿

    Sergio Haruo
    [Hattori Supply Co (was: Corgi Astronaut)]

    [More]  ⦿

    Sergiy Tkachenko
    [4th February]

    [MyFonts] [More]  ⦿

    Serif bracketed modern display: FontShop selection 2010

    FontShop compiled its list of bracketed modern (didone) display typefaces, all related to Clarendon or ionic in spirit. These include URW Craw Clarendon, ITC Modern No. 216, Benton Modern Display, Moderno, Escrow Display Normal, Modern Extended (URW), DeVinne OT (Bitstream), Scotch Modern, Century 25 OT (Bitstream), and Modern No. 20 OT (Bitstream). Not surprisingly, Bitstream and Font Bureau dominate this list, and I am glad to see Nick Shinn's Scotch Modern in there as well. [Google] [More]  ⦿

    Serif fonts

    Serif fonts have sub-categories in most classification systems. Here are a few that recur in most classification systems.

    • Renaissance, or old style typefaces, such as Garamond or Palatino. Also called garalde, these typefaces show almost no variation in thickness. Terminal balls are non-existent.
    • Baroque or transitional typefaces, such as Baskerville or Times Roman. These have greater variations in thickness.
    • Classicist, didone, or modern typefaces. These are created according to geometrically precise norms, and show a great variation in thickness. Examples include Bodoni, Didot and Walbaum.
    • Slab serif typefaces such as Rockwell or Memphis. These are characterized by slabby or blocky serifs.
    [Google] [More]  ⦿

    Serif fonts that emulate handwriting

    Stephen Coles lists serif fonts that emulate handwriting:

    • Salmiak by Just van Rossum and Erik van Blokland
    • Blackout Serif by Kemie Guaida
    • FF Handwriter and FF Matto by Alessio Leonardi
    • FF Providence Roman by Guy Jeffrey Nelson
    • FF Oneleigh by Nick Shinn
    • Fiddlestix, Jot, and Moonbeam by Ronna Penner
    • Blue Type and Blue Century by Benoit Desprez
    • Bodoni Slapp by Martin Fredrikson
    • Gararond by Pierre DiSciullo
    • Hannover Modern by José Manuel Urós
    • Aunt Mildred by Akemi Aoki
    • Stinky School Book by Britton Walters
    • Alghera Pro by Pat Hickson
    • McKracken by David Buck
    • custom font for Oeresundsbron 1 / 2 / 3 by Peter Bruhn
    • Stanyan by Rich Kegler and Rod McKuen
    • Hombre by Thomas Oldfield
    • FourScore Titling, Dannette, and Dannette Outline by Fonthead Design
    • Guilford by Scriptorium
    • Olduvai by Randy Jones
    • Gorey by Dame Hex (after Edward Gorey's hand)
    • Ogdred Weary by Jesse Reklaw (after Edward Gorey's hand)
    [Google] [More]  ⦿

    Seryozha Rasskazov
    [Zeh Foundry]

    [More]  ⦿

    Seventh Imperium
    [Cucu Supriyadi]

    Bandung, Indonesia-based type foundry est. 2015, showcasing typefaces designed by Cucu Supriyadi. Cucu left Seventh Imperium in 2020 to set up a new type foundry, Thirtype. His initial work is largely Victorian, characterized by spurious curls or spurs:

    • Agneya (2015). A calligraphic brush script with an urban street art vibe.
    • Screter (2015). A spurred tattoo font with a blackletter feel.
    • Artonic (2015). A tattoo script.
    • Bellico (2015). A signage script.
    • Black Future (2015). A blackletter / tattoo /metal band font.
    • Bolyar (2015). An all caps display typeface. Almost an exact copy of FM Bolyar Pro (2013, Vasil Kateliev and Jordan Jelev).
    • Clarize (2018). A high-contrast didone family. Followed by Clarize Display (2019), which has a great Engraved style.
    • Egory Castle (2015).
    • Goldana (2017). A great layered font family that emulates chromatic type.
    • Heiders (2018, a 72-style script and sans typeface family).
    • Kyouking (2015).
    • Lockon Velline (2015).
    • Lunair (2019). A layerable script family.
    • Midnight Coffee (2015).
    • Monstice (2018). A stylish vintage typeface family with textured and inline styles.
    • Revorioum (2015).
    • Swiftel (2015). A layered creamy signage script font.
    • Gratinoli (2019).
    • Truens (2019). A vintage font collection.
    • Exorts Compressed (2020). A great compressed ultra black octagonal typeface family.
    • Autherical (2020). A Fraktura font.

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

    Sharkshock
    [Dennis Ludlow]

    Dennis Ludlow (Sharkshock Productions, Raleigh, NC) started making mostly free fonts in 1999. On August 28, 2001, Dennis announced that he would stop producing fonts, forever. To prove himself wrong, he became more prolific trhan ever, and ultimately started designing retail fonts as well.

    His early typefaces include Hot Pizza (2001), Hawaiian Punk, Royal Acidbath, Little Caesar, Subway, Holiday India, Mobsters, Dallas Cowboys (Western look, 2004), Dark Crystal, Queen of Camelot (2015), Green Eggs and Spam (2015), Ludlow Strong Ale (2015, German beer label font), Space Angel (2014), Electrox, Cowboys, Dolphins, Viking Stencil, Lexust (2002), Padaloma (2002), Fujita Ray (2002), Willy Wonka, Hursheys, Grinched (a Halloween or beatnik font), Honda, Busch Gardenz, Holiday India (2000), Simpsons, Blockbusted, IHOP, Chicken Fool A, Playtoy (2000: like the masthead of Playboy), Cowboys (2001), Dreamscar (2001, has a Cyrillic version), Mr. Goodbaur, Dr. Peppers, Oreos, Air Millhouse, Fruitopia, Raiders, TGI Friday, Jolly-Raunchy, Mouser, Pirate-Keg, Fujita Ray (2015), Modeccio (2015, art deco), Wendyville (2015, Western), Vonique 64 (2015, avant-garde style), Your Royal Majesty (2015, a unique blackletter-inspired vampire script), Hackney Block (2015), Thunder Lord (2015, an outlined variant of Raiderfont), Republica Minor (2015), News of the World (2015: a news headline font), TH3 Machine (2015), Funkrocker (2015, inky, grungy), Tiki Tropic (2015: a tiki font), TypoGraphica (2015, a strong geometric sans), Vonique 92 (2015, circle-based fashion sans), Reisenberg (2015, a black titling sans; v2.0 dates from 2018). There is also a medium-sized categorized archive, with subsections such as cartoon fonts and movie fonts.

    Typefaces from 2016: Twiddlestix, Konigsberg (rounded sans), Wicked Mouse (looney tunes typeface), Heathergreen (a tall condensed sans), Wonderbar (psychedelic), College Block (athletic lettering), Death Star, Ring of Kerry (uncial style), Blockletter (octagonal), Café Françoise, Cronus (round monoline sans), Suissnord (a wide sans display typeface), Grinched 2.0 (an update of Grinched), Red Seven (futuristic), Enchanted Land (derived from the blackletter genre), Freakshow (ornamental ransom note font), Deutschlander (a condensed sans for movie credits and similar applications).

    Typefaces from 2017: Lemonade Stand, Dark & Black, Hennigar (a heavy compact sans in the spirit of Impact), Durango Western, Banbury (a heavy display didone), United Kingdom (techno), Goldoni, Kingsmen.

    Typefaces from 2018: Bloomsburg (a 6-style organic sans; +Cyrillic), Stupid Meeting (an all caps display typeface), Medusa Gothic, Carson (tall grotesque), Collegeblock 2 (an octagonal varsity font), Medusa Gothic, Royal Crescent (sans), Praetoria, Papaya Sunrise, Helmswald Post (blackletter).

    Typefaces from 2019: Deutschlander 2.0 (an organic monoline sans, with coverage of Cyrillic and Greek), Zanzabar (a genie lamp or Arabic emulation typeface), Vonique 43 (an organic fashion mag sans), Delacorso Outlines (tall decorative caps), Kwixter Sketch (for Latin and Cyrillic).

    Typefaces from 2020: Stupid Meeting (an all caps sans with a comic book feel, appropriately named to describe most COVID era Zoom work sessions), Toyster (a plumpish typeface), Wonderbar 2 (psychedelic, all caps), Boldstrom (a tightly spaced heavy industrial sans), Reisenberg, Snicker Snack, Crosshatcher (a sketched font), Czesko (a skyline font), Storybook Ending (a mix of uncial and Tuscan), Toyster (a bubblegum font).

    Typefaces from 2021: Kamryn (a display serif), Mouser (an organic geometric sans in six styles), Dottingham (a Victorian typeface), Tempestua (a sharp bold display sans), Lemonade Stand, Brontoburger (a vernacular typeface).

    Typefaces from 2022: Jumbalo (a bubblegum font).

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

    Sharp Type
    [Lucas Benjamin Sharp]

    Lucas Sharp is a designer (b. 1986, San Francisco) set up Sharp Type in Brooklyn, NY, and later in New York City proper. Before that, Lucas Sharp was involved with Typeslashcode in New York. In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY, but they split a few years later. In 2015, Lucas Sharp and Chantra Malee [at Sharp Type, Malee handles business, brand management, marketing, graphic design and sales] started Sharp Type in New York City. In 2020, the collaborators and type designers included Josh Finklea, Connor Davenport, Marc Rouault, My-Lan Thuong, Calvin Kwok, and Justin Sloane. Lucas Sharp's typefaces:

    • Happy Stache (2010). A blackletter.
    • Hera (2010). A ball terminal-laden ornate didone done for his thesis at Parsons. His talent shines through his award-quality ornamental didone family, Hera Big (2010), which is an extension of his earlier thesis work.
    • Designer Sucks (2010). An ultra-fat and counterless typeface.
    • The free fat counterless typeface Doughboy (2010). In 2014, Greg Gazdowicz and Lucas Sharp co-designed Doughboy Pro, a bubble bath typeface.

      Lucas Sharp does penmanship drawings such as Go Big Or Go Home (2010) and We're on a roll (2010).

    • Together, Pagan and Sharp published Malleable Grotesque Regular (2011).
    • Sharp Sans (2013, Incubator subfoundry of Village). Sharp Sans is a geometric sans with a non-geometric semi-curvy italic. Sharp Sans No. 2 (2015) is more geometric. It has Bayer / Bauhaus alternates, Lubalin avant garde style interlocking capitals, and pays tribute to those styles. Sharp Sans No. 2 (2015, Incubator): While Sharp Sans No. 1 ends its round monolines with diagonally sheared terminals, Sharp Sans No. 2 shears those terminals on a 90 degree angle.
    • Ogg (2013) is a fashion mag typeface inspired by the hand lettering of 20th century book designer and calligrapher Oscar Ogg. Ogg won an award at TDC 2014. Review by Bethany Heck.
    • Frauen [Roman, Script] (2015, Incubator). A calligraphic pair. The Roman is partially based on the calligraphy of Friedrich Neugebauer [on the cover of an almanac of Berlin debutantes published in 1945 titled, Die schönsten Frauen der Welt], and partly Lucas's own creation. Production assistance from Wei Huang.
    • Sharp Sans was modified in 2016 for Hillary Clinton's campaign, on commission for Michael Bierut of Pentagram. They write: The newest iteration of Sharp Sans was conceived for the Hillary Clinton 2016 campaign. Michael Bierut and the Pentagram team chose Sharp Sans Display No.1 as the main typeface of the campaign identity, but such a monumental project required a sturdier and more utilitarian typeface. The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communications. What sets the new Sharp Sans apart is a raised x-height, and newly opened counters that make it optimal for both text and display layouts; a new, more versatile approach, of which the two Display versions were not previously designed for. The set has Slab and Stencil styles as well.
    • In 2016, Sharp designed a custom Trajan-inspired typeface for Anthonly Lent, the jeweler.
    • Sharp Grotesk (2017), 259 fonts strong and several years in the making. Village writes: Sharp Grotesk sits at the intersection of mid-century modernist rigor and Victorian hand-hewn vernacular. Lucas considered Adrian Frutiger's monumental Univers suite of fonts, with its grid of multiple weights and widths, applying this underlying construction principle to letterforms echoing the forms of American and northern European wood types. Sharp Grotesk won sixth prize in the TDC Typeface Design competition in 2017.
    • Lucas Sharp and Connor Davenport finished the Dutch oldstyle typeface Eros Text in 2017. Eros Text was influenced By Jan van Krimpen's Sheldon and Bram de Does's Lexicon. Eros Text B has longer ascenders than Eros Text A.
    • Halyard (2017). An information design sans typeface family by Joshua Darden, Lucas Sharp and Eben Sorkin.
    • Respira Black (2017). A contemporary blackletter inspired by Spanish and English models from the 15th and 16th centuries.
    • Sharp Slab (2018).
    • Beatrice and Beatrice Display (2018) by Lucas Sharp assisted by Connor Davenport and Kia Tasbihgou: Beatrice is a new kind of typeface. The family is an exploration of contrast methodologies, combining various aspects from the canon expansionist systems, inverted contrast, and the contrast behavior of standard sans-serif grotesks. These methodologies were dissected and used as cornerstones in building our own system, with the final result landing largely in unexplored territory. Built on the foundation of a traditional American Gothic but with tight-as-can-be spacing, the superfamily spans a robust set of weights and includes 2 optical sizes: a super high-contrast, tightly packed Display cut, as well as a standard low-contrast cut, designed to function beautifully in a wide range of optical sizes.
    • In 2019, Lucas Sharp and Marc Rouault wrapped up Doyle at Sharp Type. The chubby Doyle interpolates between Cooper Black and ITC American Typewriter.
    • In 2021, Lucas Sharp and My-Lan Thuong, assisted by Wei Huang and Marc Rouault, designed Salter. Slater Roman is based on calligraphic book jackets by Georg(e) Salter from 1941, and Salter Italic is inspired by two of Oscar Ogg's book jacket alphabets from 1942.

    Type catalog, 2010. [Google] [MyFonts] [More]  ⦿

    Shealyn McGee

    Traverse City, MI-based graphic designer and photographer, who studies at Grand Valley State University. She made some helpful type posters that illustrate typeface classification. A | B | C | D | E. [Google] [More]  ⦿

    Sheehan Sista

    Graphic designer in Leipzig, Germany. Creator of the tall condensed sans typeface Novus (2018) and the didone typeface Initium (2018), which was created under supervision at the Academy of Visual Arts in Leipzig. [Google] [More]  ⦿

    Sheyla Lopez

    Zaragaoza, Spain-based designer of the thin all caps didone typeface Lopez (2016). [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 done in 1999; 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 2004, he released Nicholas, a Jensonian 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).

    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.

    In 2018, Nick Shinn published Phiz, a diverse suite of 27 decorative fonts based on Figgins Sans Extra Bold.

    Designer of Boxley (2016), a superelliptical sans typeface family.

    At the end of 2020, he published the 14-style condensed rounded sans typeface family Aptly. o

    Typefaces from 2021: Buslingthorpe (a tall-necked typeface in which the x-height is only 29% of the ascender height, beating classic tall fonts such as Rudolf Koch's Koch Antiqua, and Lucian Bernhard's Lucian and Bernhard Modern).

    Speaker at ATypI 2017 Montreal.

    MyFonts interview. I Love Typography link. FontShop link. Klingspor link.

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

    Shinya Okabe
    [Daylight Fonts]

    [MyFonts] [More]  ⦿

    ShowUp Type Foundry
    [Aulia Rahman]

    Or Aulya Rahman. Banda Aceh, Indonesia-based designer of the signage script typefaces Mekar Script (2016) and Nelda Script (2015). In 2016, he made the connected monoline script font Sakura, the logotype script The Angel (removed after a few days, but then reinstated), the script package Beauty Sunset, the handcrafted typeface Oliver, the poster typeface Lumberjack, the brush font Strength Script, and the connected signage typeface Florance Script.

    In 2017, he designed Bagman (connected monoline script), The Moon (a free brush script), Alaska (a fat brush script), Maveric (a dry brush script) and Signature Script.

    Typefaces from 2018: Margents (signage script), Specta Retro Script (2018, with Hendra Maulia).

    Typefaces from 2019: Lumberjack, Oliver, Matao Serif (a decorative didone typeface done with Hendra Maulia), The Night (curly script).

    Typefaces from 2020: Monesta (an 18-style sharp-edged display serif; +a variable style), Nagaiya (a 15-style display sans (+a variable cut) characterized by sharp spurs; by Aulia Rahman and Hendra Maulia), Rustler Barter (a display font done with Hendra Maulia), Neue Metana (a wide display sans by Aulia Rahman and Hendra Maulia), Masculine Script.

    Typefaces from 2021: Markisa (an 18-style humanist sans and a variable font), Magtis (a 10-style retro fashion mag serif by Aulia Rahman and Hendra Maulia), Magis (a 21-style display sans), Cigra (a decorative serif by Aulia Rahman and Hendra Maulia).

    Typefaces from 2022: Garcia (a Picasso-esque display typeface by Aulia Rahman and Hendra Maulia), Consta (an 8-style display serif by Aulia Rahman and Hendra Maulia). [Google] [MyFonts] [More]  ⦿

    Shuji Kikuchi
    [Sugargliderz]

    [MyFonts] [More]  ⦿

    SIAS (or: Signographical Institute Andreas Stötzner)
    [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 books), Abendschroth Scriptive, Albyona 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 Mashtots who also invented the Armenian alphabet in 405).

    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).

    Typefaces from 2015: Andron 2 EIR Corpus (uncial, Gaeli), Artemis Sans (Greek version of Arthur Sans), Ardagh (a Gaelic / Irish version of Arthur Sans). Don Sans (a sturdy sans).

    Typefaces from 2016: Popelka (an uncial fairy tale font modeled after the opening sequence of the 1973 movie Drei Haselnüsse für Aschenbrödel).

    MyFonts. Behance link. Abstract Fonts link. Klingspor link.

    Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google] [MyFonts] [More]  ⦿

    Sigfried Odermatt

    Swiss type designer, b. 1926, Neuheim. In 1968, he set up Odermatt & Tissi in Zurich together with Rosemarie Tissi. Creator of Antiqua Classica (1971, a high-contrast didone; Engler Text-Bild-Integration AG), and Marabu (1972, a counterless octagonal display face; Engler Text-Bild-Integration AG). [Google] [More]  ⦿

    Silvio Levy
    [Greek (Silvio Levy)]

    [More]  ⦿

    Simeon out West Foundry
    [Brett T. Johnson]

    Brett T. Johnson (b. Loveland, CO, 1972) runs Simeon out West Foundry in Englewood, CO. He sells fonts based on ideas from Byzantine, Ge'ez and old slavonic scripts, and Eastern Orthodox manuscripts. Brett Johnson was born in Loveland, CO, in 1972. The creations: Typewriter Olympia SM8 (2016, based on old Olympia SM and SF typewriters fromthe 50s and 60s), Radonezh (2016, old Slavonic simulation font family), Simeon's Handwritten Blackletter (2008), Pseudo-Hellenic (2008, a Greek and Latin didone pair), Tiblisi (2008, a Georgian simulation face), Pentopolis (2008, based on an ancient Coptic script), Svati Sava (2008, a Serb-look font), Muscovite Manuscript (2005), Pravoslavnie (2005), Alexandria (2005), Alaskaya (2006), Svati Nikolai (2005), Thebes (2005), Suzdal (2005), Kniga Molitva (2005), Vladimir (2005), Scetis (2005), Adis Ababa (2008). Colonial Press (+Italic) (2008) is based on work by William Caslon I (1692-1766). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Simon Spring

    Speicher, Switzerland-based creator of the commercial vector format fonts Bodoni-X (2014, a modification of Bauer Bodoni Bold) and Spatium-X (2014, squarish and bilined). In 2017, he designed the mechanical octagonal all caps typeface Play.

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

    Simon Walter

    Graphic designer and illustrator in Darmstadt who created an erotic alphabet called Schriftverkehr (2010) out of letters from various fonts. Other typefaces by him include Type Faces (2009), and Familie Bodoni (2009).

    Behance link. [Google] [More]  ⦿

    SINDSINDSIND
    [Greg Ponchak]

    Greg Ponchak (SINDSINDSIND) is a graphic designer in North Royalton (Cleveland), OH. His company was called SINDSINDSIND, but in 2013, he sold his outfit to Thinkdust.

    He created the minimalist high-contrast Qag (2009, Mostar Design Company), Muneris (2010, squarish), some experimental typefaces, the minimalist geometric sans typeface Monolite (2013), Berque (2010, a minimalist rounded sans typeface with hints of DIN), Kolg Gothic (2011), Jirue (2011, high-contrast didone), Kajf (2011, piano key face), NERC (2011, avant-garde), ARGN (2011, a rounded monospaced stencil family), FOSU (2010, hairline avant-garde sans, at HypeForType), Kosumi (2014, experimental), Roxic (high contrast art deco typeface), Shine Pro (2014, a neutral sans), and Squoosh Gothic (2014, a headline sans).

    (Dead) Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Slobodan Jelesijevic
    [Tour de Force Font Foundry]

    [MyFonts] [More]  ⦿

    Small Cap Graphics
    [Holly Goldsmith]

    Holly Goldsmith has a BA in Art from Brooklyn College. She worked first at (Mergenthaler) Linotype, then at Photo Lettering and World Typeface Center before moving to Los Angeles. In LA, she worked at Xerox's type design department for a few years before starting her own company, Small Cap Graphics, where she is engaged in both graphic design and custom type design, with clients such as Agfa Monotype, ITC, DsgnHaus, Disney Corporation and Margo Chase Design.

    She designed Novella (1996, DsgnHaus: an Arts and Crafts font), ITC Bodoni Six (1994, with Jim Parkinson, Sumner Stone, Janice Fishman), ITC Bodoni Twelve (1994, with Sumner Stone, Jim Parkinson and Janice Fishman), ITC Bodoni Seventy-Two (1994, with Sumner Stone, Jim Parkinson, Janice Fishman), Bossa Nova MvB (1995, at MvB Design), MVB Peccadillo (2002, with Alan Dague-Greene), Havergal (1994, Agfa), and ITC Vintage (1996, with Ilene Strizver).

    At Bitstream, she designed Melanie BT (a script typeface), Liorah (2000, a connected script), Hank BT, Missy BT, Ryan BT (2000, jungle font), Raven, Raven Evermore.

    Linotype link. FontShop link. Klingspor link.

    View Holly Goldsmith's typefaces. [Google] [MyFonts] [More]  ⦿

    Smashing Magazine: 17 more free quality fonts
    [Vitaly Friedman]

    Vitaly Friedman continues his listing of high quality free fonts. This new list of seventeen includes: Bitstream Vera, Legendum, Garogier, JUnicode, Computer Modern Unicode (Bright, Serif, Sans Serif), mgOpenCosmetica, mgOpenModerna, jGaramond, Chrysanthi Unicode, Linux Libertine, Andron Scriptor, Porson, FF Milo, Teamouse, Vollkorn. And this page has seven more: Sling, Cicle, Existence Light, FF Mt, FF Vlan Narrow Bold, and Faceplate. More nice free fonts. And more. And more. [Google] [More]  ⦿

    Soffi Beier

    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) and Type Tricks (2017).

    Designer of these typefaces:

    • The 8-style sans family Engel (2005). Followed by Engel New Sans (2010, at Die Gestalten), Engel New Serif, and eventually, Engel New (2017, The Northern Block).
    • Pemba Script (2005, Die Gestalten). A connected 1950s era script.
    • The rounded sans typeface family Ovink (2011). Published in 2017 by The Northern Block. It 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, The Northern Block), which was named after legibility expert Herbert Spencer.
    • Pyke (2011, released by The Northern Block in 2021). A 12-style Bodoni-inspired variation (with optical scaling: Display, Text, Micro) on the didones, named after legibility researcher Richard Lionel Pyke. Spencer and Pyke are two phenomenal contributions to the field, sure to garner her a closetful of awards.
    • The sans / serif / open typeface family Karlo (2015, at Die Gestalten). Karlo is inspired by Edward Johnston's letter forms and calligraphy and has the characteristic Gill Sansian ear of the lower case g. In 2018, it was republished by The Northern Block. She writes: In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities.

    Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam on the subject of typeface legibility. Her talk at ATypI 2014 in Barcelona was entitled The voice of a typeface. Speaker at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw on The legibility of letters and words and at ATypI 2017 in Montreal on The legibility of numerals. Speaker at ATypI 2018 in Antwerp on the topic of stroke weight and letter width. Speaker at ATypI 2019 in Tokyo on the topic of Age-Related Deficits and Their Effects on Reading. [Google] [MyFonts] [More]  ⦿

    Sofia de Haas

    Mexico City-based designer of the didone typeface Dehaas (2015). [Google] [More]  ⦿

    Sofía Arhancet

    Graduate from FADU, University of Buenos Aires, who created the ultra-condensed didone typeface Joker (2010).

    FADU UBA link. [Google] [More]  ⦿

    SoftMaker Software GmBH (or: freefont.de)
    [Martin Kotulla]

    SoftMaker, Martin Kotulla's German foundry in Nürnberg, is selling the 10,000-TrueType font Megafont XXL CD (50 USD, www.megafont.de). Every month, a different font or font family (TT and T1) is given away for free. The MegaFont XXL has most standard Monotype/Adobe/Linotype families (up to 1995/1996). They say that most fonts are licensed from URW++ and Brendel Informatik (Cologne). Contents of MegaFont XXL's predecessor, MegaFont Profi CD, here. Since early 2001, you can download one font family from the CD MegaFont XXL here. Martin Kotulla also started infiniType, a collection of 5050 fonts at a good price (Mac and PC). That collection grew to 7444 fonts in InfiniType 4 in 2016. The XXL series has character sets for Western and Central European languages, Turkish, and Celtic, and comes with many expert sets. For historical accuracy: older packages by Softmaker include the 3333-font (TT and T1) MegaFont Profi CD-2.0 (99DM), the 5000-font MegaFont Euro (50 Euro), the Truepack Profi-CD and the 500-font TypeMaker 5.0 Profi-Pack (10DM).

    Their early fonts were renamed and had the attribute Serial in the name. Samples of some of these fonts/families: Adelon Serial (1996, after Albertus MT), Melbourne Serial, Nashville Serial (+Heavy), Nevada Serial, On Stage Serial, Ornitons Serial, Penthouse Serial, Plakette Serial, Priamos Serial, Quadrat Serial, Quebec Serial, Riccione Serial, Rochester Serial, Salzburg Serial, Stafford Serial, Sunset Serial, Sydney Serial, Thames Serial, Toledo Serial, Valencia Serial (Heavy), Valencia Serial (Xlight), Verona Serial, Volkswagen Serial, Wichita Serial.

    In 2008, SoftMaker started selling fonts on MyFonts: fonts there include the 28-style Suetterlin family (2008), based on the handwriting taught in German schools in the first half of the 20th century, Harald Handwriting (2009), Agilo Handwriting (2009), Wally Handwriting (2009), Vittorio Handwriting (2009), Turandot Handwriting (2009), Tommi Handwriting (2009), Veneto Handwriting (2009), Tolomeo Handwriting (2009), Sarx Handwriting (2009), Salew Handwriting (2009), Roxana Handwriting (2009), Renate Handwriting (2009), PizPaz Handwriting (2009, Mexican style), Schneid Handwriting (2009), Pietro Handwriting, Phil Handwriting, Nadine Handwriting, Kuno Handwriting, Larissa Handwriting, Lizzy Handwriting, Juri Handwriting, Jeff Handwriting (2009), Josh Handwriting (2009), Jelena Handwriting (2009), Jaro Handwriting (2009), Jacques Handwriting (2009), Hilly Handwriting (2009), Harico Handwriting (2009), Hakon Handwriting (2009), Stone Handwriting (2009), Federico Handwriting (2009), Fabio Handwriting (2009), Emmi Handwriting (2009), Davio Handwriting (2009), Alec Handwriting (2009), Brian Handwriting (2009), Armand Handwriting (2009), Claude Handwriting (2010), Cathy Handwriting (2010), Clay Handwriting (2010), Danielle Handwriting (2010), Feliks Handwriting (2010), Foster Handwriting (2010), Giorgio Handwriting (2010), Giovanna Handwriting (2010), Guga Handwriting (2010), Giuliano Hanriting (2010), Carlo Handwriting (2009), Brouet Handwriting (2010), Bjarne Handwriting (2009), Fuego (2015: a retro script, after Letraset's Flamenco), Agnieszka Handwriting (2009) and Thery Handwriting (2009).

    Additions in 2010: Tabasco (a geometric based on the phototype font by John Schaedler), Tabasco Twin (a bilined typeface after John Schaedler's Paprika), Advertisers Gothic (a revival of a 1917 typeface by Robert Wiebking), Ad Lib (a revival of a quirky 1961 typeface by Freeman Craw for ATF), Accent (brush face), Flagstaff (oblique techno face), Cornered (with angular pieces), Abilene (Western; caps only), Comix, Cathedral Open (nice open face), Boa Script (2010), Bryce (2010, brush script), Brush Script (2010, after the original ATF font by Robert E. Smith from 1942), Bernhard Fashion (2010), Abbott Old Style (2010, after a 1901 semi-Victorian font by Joseph W. Phinney), Artistic (2010, after Ariston, a 1933 typeface by Martin Wilke), Elegant Script (2010, a revival of Berthold's Englische Schreibschrift), Garamond Serial (2011), the Suetterlin family.

    The typefaces remastered in 2012 include Chandler Pro (this is Rofer Excoffon's 1955 brush typeface Choc; see also Staccato 555 by Bitstream and Chalk by Corel), Cheltenham Pro, Cleargothic Pro (after Morris Fuller Benton's flared version of Clearface, Clearface Gothic, 1907), Cooper Black Pro (+Stencil), Bristol Pro, Tioga Script Pro (after Georg Trump's 1956 script by that name, but aka Time Script).

    Free download: Huntington-Bold [-> Handel Gothic], Huntington-Light, ImperialStd-Bold [-> URW Imperial] ImperialStd-BoldItalic, ImperialStd-Heavy, ImperialStd-HeavyItalic, ImperialStd-Italic, ImperialStd-Medium, ImperialStd-MediumItalic, ImperialStd-Regular, ImperialStd-Xbold, ImperialStd-XboldItalic, KremlinScript-Bold [-> Kuenstler Script], RaleighSerial-Bold, RaleighSerial-Heavy, RaleighSerial-Regular, Scott [-> Stop], TiogaScript-Bold [-> Time Script], TiogaScript-Light, TiogaScript-Medium.

    Handwriting fonts shown at MyFonts in 2013: Allan Handwriting, Andrew Handwriting, Eleanor Handwriting, Enrico Handwriting, Estelle Handwriting, Jay Handwriting, Jaz Handwriting, Jesco Handwriting, Justine Handwriting, Kris Handwriting, Laszlo Handwriting, Lennart Handwriting, Luitpold Handwriting, Manolo Handwriting, Marbo Handwriting, Marcello Handwriting, Murielle Handwriting, Pablo Handwriting, Paolo Handwriting, Pascal Handwriting, Picto Handwriting, Rainer Handwriting, Reyno Handwriting, Ronaldo Handwriting, Teje Handwriting, Theo Handwriting, Valerian Handwriting, Vincent Handwriting, Vogel Handwriting, Volker Handwriting, Wilma Handwriting.

    The blackletter collection published in 2016 by SoftMaker includes these typefaces: Albrecht Duerer Fraktur Pro, Barock 1720, Breitkopf Fraktur Pro, Coburg No1, Coburg No2, Coelnische Current Pro, Diamant Gotisch Pro, Fleischmann Gotisch Pro, Fraktur No2 Pro, Fraktur No3 Pro.

    Later in 2016, SoftMaker published its revival collection, which includes Alternate Gothic Pro, Amsterdamer Garamont Pro, Antiqua Pro, Balloon Pro (brush), Caslon Antique Pro, Century Old Style Pro, Elmore Pro (architectural hand), Falcon Pro (retro brush), Cheltenham ExtraCondensed Pro Bold, Casual Pro (a copy of Thomas Nevison's Casual Pro from 1935), Garamond Nova Pro, Giulio Pro (a copy of Gillies Gothic), Josephs Brush Pro (a copy of Joseph Churchward's Churchward Brush), Malaga Pro (a copy of Roger Excoffon's Mistral), Melville Pro (after Murray Hill), Pedro Pro (a revival of the brush script Dom Casual by Peter Dombrezian, 1950-1953, at ATF), Salmon Pro (a revival of François Boltana's Stilla from 1973), Soledad Pro (based on Helmut Matheis's Slogan (1959, Ludwig & Mayer)), Somerset Pro (a revival of the Letraset font Shamrock designed in 1978 by Alan Withers), Sterling Pro (based on Stentor, designed in 1964 by Heinz Schumann at Typoart), Violin Script Pro (based on Vladimir Script by Vladimir Andrich, 1978).

    Typefaces from 2019: American Text (after an original condensed textura by Morris Fuller Benton), Angelo (after a Victorian typeface called Anglo by Barnhart Brothers ans Spindler, ca. 1895), Balloon No2 (just like SoftMaker's Balloon, based on Max Kaufmann's Balloon from 1939 at ATF), Balzac (after Johannes Boehland's Balzac from 1951), Amber (after Amelia by Stanley Davis, 1964), Karin Pro (a revival of OttoWeisert's art nouveau script Kalligraphia), Beale Charming (2019, after an art deco typeface by Collis Clements, ca. 1974), Bernhard Condensed No2, Bluff No2 (2012-2019, after Julius Kirn's brush script Bison, 1938), Boss (2012, after the sci-fi typeface ITC Bolt (1970, Tom Carnase and Ronne Bonder)), Broadway No2 (2012), Cavalier (2012), Century Schoolbook Pro (2019: after Morris Fuller Benton's typeface from 1919), Century PS Pro (2019: after New Century Schoolbook), Commercial Script No2 (2012, after Morris Fuller Benton's Spencerian script), Cristoforo (2012: after Columbus, a Victorian typeface by Hermann Ihlenburg), Dillon No2 (2012, after Jan Van Dijk's Demian), Disco (2012), Dom (2012; after Peter Dombrezian's Dom, 1952), Durango No2 (2012; after K. Sommer's Dynamo, 1930), Egyptian Wide (2012, after walter H. McKay's Egyptienne from 1952), Eller Initials (2012), Entebbe (2012: after F. Scott Garland's Enviro, 1982), Estelle (2012, based on Vince Whitlock's Equinox from 1988), Florentine (2012, after Ludvig S. Ipsen's ATF Florentine Old Style (1896)), Fraktur No2 (2012, after Johann Christian Bauer's Fette Fraktur, 1850), Frenzy (2012), Giulio No2 (2012, after William S. Gillies's Gillies Gothic, 1935), Greyhound (2012), Harlekin (2012, after Colin Brignall's retro script Harlow Solid (1977)), Hobo No2 (2012, after Morris Fuller Benton's Hobo, 1910), Hubert (2012, after Jan van Dijk's Van Dijk from 1982), Hudson (2012, a brush script), Ingrid (2012), Inverserif (2012), Japanette (2012, an oriental simulation face modeled after Barnhart Brothers and Spindler's 1893 font, Wedge Gothic ML, aka Japanet), Kalligraphia (2012, after Otto Weisert's art nouveau script, Kalligraphia, from 1902), Legend Script (2012, after F.H. Ernst Schneidler's faux Arabic simulation font Legende from 1937), Looking Glass (2012, after Phil Martin's Introspect, 1971), Messing (2012, after W. Schwerdtner's Metropolis from 1928), Metallic Sky (2012, after Mekanik, a Letraset typeface from 1988 by David Quay), Mister Big (2012, after Juergen Riebling's Mr. Big from 1972), Openface No2 (2012, after Augustea Open done in 1951 by Alessandro Butti and Aldo Novarese), Organ Grinder (2019, based on Franz Heigemeir's Organda from 1972), Paladin (2012, a blackletter, also called P650 Blackletter and Excalibur), Pergamon (2012, a deco hairline sans modeled after Premier Lightline (1969, Colin Brignall for Letraset)), Pinocchio (2012, based on a psychedelic typeface by Gustav Jaeger from 1973; earlier called P732 Deco by SoftMaker), Pretoria (2012, earlier called P820 deco by SoftMaker; a revival of the Edwardian typeface Pretorian by P.M. Shanks and Sons, ca. 1880s), Publicity Gothic (2012, based on Sidney Gaun's 1916 typeface for BBS), Quartz (2012, after Alan Birch's LCD from 1981), Reflex (2012, based on Refracta, made in 1988 by Martin Wait), Regency Script (2012: was R690 Script), Rosa (2019, after Herb Lubalin's ITC Ronda, 1970), Rough Script (2012, based on Imre Reiner's Reiner Black, 1955), Rovinj (2012, after a font by Phil Martin), Shotgun (2019, based on a film font from 972 by J. Looney for VGC), Siegfried (2012, art nouveau style), Slager (2012, based on Flash by Edwin Shaar, 1937), Sprint (2012, after Aldo Novarese's Sprint from 1974), Station Script (2012, after a 1946 typeface pair, Studio and Flambard, by Adolf Overbeek), Status (2012, after Michael Neugebauer's Squire from 1980-1987), Tico (2019), Unziale (2012), Yorkshire (2019, formal calligraphy), Zanzibar (2019, after a 1950s Filmotype font), Zephyr (2019; after Rofger Excoffon's Mistral, 1953).

    View the Softmaker library of typefaces. See also here. [Google] [MyFonts] [More]  ⦿

    Software&Fonts for Bodhic Languages&Script
    [Christopher J. Fynn]

    Fantastic page about Tibetan and Dzongkha (Bhutanese) typography and word processing maintained by London-based Christopher J. Fynn. TibKey software is a context sensitive Tibetan Keyboard for Windows 3.1x and '95, and Tibetan fonts. Many great links. He designed CJFUchen and Tibetan Modern A (1994). In 2006, he designed a gorgeous Bhutanese style Tibetan script digital font in OpenType format called Jomolhari. This font also covers Latin. Download it also here and at Google Fonts. In 2009, he created Tibetan BZDMT Uni, a decorative Tibetan unicode font with a didone Latin included---it is based on the freely available BanZhiDa BZDMT font and is trademarked by the BZD Corporation. In 2010, he created DDC Uchen, a font he Dzongkha Development Commission in Bhutan. They have made it publicly available for free distribution under the terms of the Open Font Licence. This font is now used by Kuensel, the national newspaper of Bhutan, as the main font in their daily Dzongkha language edition. It is also used in many books and government publications.

    Also check Fynn's list of Tibetan fonts. Open Font Library link. Jomolhari link at the Free Tibetan Font Project. Fontspace link. Pic. [Google] [More]  ⦿

    Sohokid

    Argentinian designer of Ginebra Bolds (2007), an exaggerated didone display face. [Google] [More]  ⦿

    Sol Hess

    American typographer and type designer, b. 1886, Philadelphia, d. 1953. He was a man with class and style, who influenced many through his work. He managed the Lanston library from early in the 20th century (he joined Lanston in 1902) until the second World War. He created many of its typefaces himself, and commissioned many from Frederic W. Goudy. His typefaces (LTC stands for Lanston Type Company):

    • Alternate Gothic Modernized.
    • LTC Artscript (Lanston Monotype, 1940; digital version in 2005 at P22/Lanston). McGrew: Artscript is a delicate calligraphic letter designed by Sol Hess for Monotype, which calls it "an attempt to convert into rigid metal the graceful penmanship of the ancient scribe. ..based on the writing of Servidori of Madrid (1798)." It was designed in 1939 but not released until 1948, because of wartime restrictions. It is a pleasing design for limited use, but its delicacy requires special care in handling. Compare Heritage, Lydian Cursive, and Thompson Quillscript.
    • In 1928, he created the now famous Broadway Engraved. P22 writes: LTC Broadway was originally designed by Morris Benton. Sol Hess added a lower case in 1929 and also drew Broadway Engraved for Lanston Monotype. That font is now available in digital format from LTC/P22. Other digital fonts include OPTI Broadway Engraved from Castcraft, Broadway Inline (Softmaker), B820 Deco (Softmaker), B821 Deco (Softmaker), Deco 901 (Bitstream) and Bravo (Corel).
    • Bodoni 26: a unicase interpretation of Bodoni by Hess at Lanston, designed by Giampa; digital version at P22/Lanston in 2005.
    • Bodoni No. 175 (remastered in 2006 by Paul Hunt).
    • LTC Bodoni Bold.
    • Bruce Old Style No. 31: a transitional font at Lanston Monotype in 1909. Now a Bitstream face. Based on Bruce Old Style No. 20 from Bruce Foundry (1869).
    • Linotype states that Sol Hess is responsible for a version of Cochin Bold (1921): Georges Peignot designed Cochin based on copper engravings of the 18th century and Charles Malin cut the typeface in 1912 for the Paris foundry Deberny&Peignot. The font is named after the French engraver Charles Nicolas Cochin (1715-1790) although its style had little to do with that of the copper artist's. The font displays a curious mix of style elements and could be placed as a part of the typographical Neorenaissance movement. Cochin is especially large and wide and was very popular at the beginning of the 20th century. Note: Cochin is now sold by Linotype, Adobe, Monotype, URW++ and Bitstream (as Engravers' Oldstyle 205).
    • English Caslon no 37.
    • Flash.
    • Goudy Bible (1948). Mac McGrew: Goudy Bible is a modification of Goudy Newstyle (q.v.), adapted by Bruce Rogers with the assistance of Sol Hess for use in the Lectern Bible Rogers designed for World Publishing Company in 1948.
    • Goudy Bold Swash.
    • Goudy Heavyface Open (1926) and Condensed (1927). Mac McGrew: Goudy Heavface and Italic were designed by Goudy in 1925 in response to a strong request by Monotype for a distinctive typeface on the order of the very popular foundry Cooper Black. Such typefaces had little appeal for Goudy, and he always felt that Monotype was disappointed in his efforts, but the result is more informal than other similar types, and has had considerable popularity. Note the extra set of figures and the unusual number of tied characters and ornaments in the font. Goudy Heavyface Open is a variation produced by Monotype in 1926, probably designed by Sol Hess, who designed Goudy Heavyface Condensed in 1927. Compare Cooper Black, Ludlow Black, Pabst Extra Bold. See LTC Goudy Heavyface, or Goudy Heavyface (Bitstream).
    • Hadriano Stone-Cut.
    • Hess, Hess Bold (1910). Mac McGrew: Hess Bold was designed by Sol Hess for Monotype about 1910, as a companion typeface for Goudy Light, drawn earlier by Frederic W. Goudy. Of medium weight, it accurately reflects the characteristics of the lighter face with a high degree of legibility, but neither typeface is distinguished. There is also an italic by Hess.
    • Hess Monoblack. A great display poster typeface that looks like a hand-drawn version of Nicolas Cochin. Mac McGrew: Hess Monoblack is a Monotype typeface that no doubt was drawn by Sol Hess, but it has not been found in any accounts of his work nor in the regular specimen books. The showing here is reproduced from Monotype's "specimen on request" sheet; no other information has been found except that there are only two sizes with seventy-seven characters each, a practical minimum for cap-and-lowercase fonts. Compare Greco Bold. See P22/Lanston for a digital version called LTC Hess Monoblack done by Paul Hunt in 2005.
    • Hess New Bookbold (1946). Mac McGrew: Hess New Bookbold was designed for Monotype in 1946 by Sol Hess. with italic the following year; both were released in 1948. An adaptation of Garamond Bold, the typeface was reproportioned to fit a new standard arrangement which was intended to make it readily available for use with several standard oldstyle typefaces still in common use at the time, but little use seems to have been made of it. Ascenders and descenders are shorter than in Garamond, anticipating later phototype trends, weight is slightly greater, and letters are more tightly fitted.
    • Hess Old Style (1920-1923). Mac McGrew: Hess Old Style was designed about 1920 (one source says 1912) by Sol Hess for Monotype, which says it was modeled after a typeface shown by Nicolas Jenson about 1479. It is neat, but does not have much in common with Centaur, Cloister, and other typefaces based on Jenson's work. However, it is a little heavier than most of them and so works to good advantage on smooth papers. The italic followed in 1922. Revived by Steve Jackaman in 1993 as Hess Old Style RR.
    • Hess Neobold (1933-1934). Mac McGrew: Hess Neobold was designed by Sol Hess for Monotype in 1934. It is a narrow, bold, and very squarish gothic with small serifs, designed for attention-getting display in a style of the day, but never made in more than one size. Compare Airport Tourist (Futura Display), Othello.
    • Hess Title (+Italic, 1910). Mac McGrew: Hess Title and Italic were the first type designs drawn by Sol Hess. Produced in 1910 as advertising types, they were designed for and first used by a prominent New York department store. Only the roman was made in display sizes.
    • Italian Old Style Wide.
    • Janson.
    • LTC Jefferson Gothic: an adaptation of News Gothic Extra Condensed drawn by Sol Hess in 1916; digital version at P22/Lanston in 2005. Mac McGrew: Jefferson Gothic was originally Monotype's copy of News Gothic J Extra Condensed, using the same foundry name. In 1916 Sol Hess designed several alternate round capitals; matrix fonts include both styles of these letters, but no lowercase. Baltimore Type called it Tourist Extra Condensed. Compare Phenix.
    • Kennerley Open Caps.
    • Laurentian.
    • Martin (+Italic). Mac McGrew: Martin and Italic are listed as a Monotype production of 1945, adapted by Sol Hess from old sources, but no specimen or further information has been found.
    • New Bookman.
    • Onyx Italic (1939, for Monotype). The italic version of Gerry Powell's 1937 ATF typeface Onyx, a condensed version of Poster Bodoni.
    • Pendrawn (1934). Mac McGrew: Pendrawn was designed for Monotype about 1933 by Sol Hess. It retains much of the quality of sixteenth-century hand-lettering, and is generally modem in character without the severity typical of most modem types. Serifs are long and thin, slightly concave, but those at the top of lowercase stems are slanted as in oldstyle types. Stems taper slightly toward the ends, and figures are hanging. Round letters tend toward an egg shape, with the small end down. It has been made only in two sizes: regular 36-point as a complete font and 36H4 as oversize capitals only.
    • Postblack Italic.
    • Post-Stout Italic.
    • Poster or Hess Poster. Mac McGrew: Poster or Hess Poster is a heavy, narrow, very compact gothic designed by Sol Hess for Monotype. Its general appearance suggests a contemporary serifless design but in fact there is a slight hint of serifs. The slightly splayed M and the single-bowl g are suggestive of British grotesques. Ascenders and descenders are short, giving a large x-height, and the typeface is closely fitted.
    • Slimline (1939). Mac McGrew: Slimline was designed by Sol Hess in 1939 for Monotype. It is a lightweight, very narrow, monotone typeface with tiny serifs and a number of alternate round characters. It has had some use for stationery. Compare Huxley Vertical.
    • Spire (1937): a condensed didone, see the digital LTC Spire in the Lanston collection. Mac McGrew: Spire is a modernization of the old modern roman extra-condensed style. drawn by Sol Hess for Monotype in 1937. There is no lowercase, but there are several alternate round characters. Compare Greenwich, Modern Roman Extra Condensed, also Empire, Slimline. Spire is also the name of a dissimilar BB&S face, cut in 1898 or earlier and shown as late as 1927. Spire has been digitized/revived by Ann Pomeroy under the same name for FontHaus and then Group Type. LTC Obelysk Grotesk was designed by the Lanston Drawing Office in the late 1980s. This typeface is a reconstruction of Spire. The skeleton of Spire Roman stands with the serifs removed. Like Spire, this font has no lower case, but does offer alternate cap styles in some of the lower case positions.
    • Squareface (1940). Now available digitally as LTC Squareface from LTC/P22. Mac McGrew: Squareface was designed by Sol Hess in 1940 as a variation of Stymie Extrabold. A number of characters are the same for both typefaces, but normally round letters have been squared considerably, with only slightly rounded corners. It makes a vigorous display face, and harmonizes well with other square-serif designs.
    • Stationers Gothic (1942-1948). Mac McGrew: Stationers Gothic Light and Bold were designed by Sol Hess for Monotype in 1942, and Medium in 1944, but wartime and post-war conditions delayed their release until 1948. They are similar to the Bank Gothics. following a style of squared letter popular for copperplate engraved stationery and announcements, and in effect constitute a more contemporary form of the style typified by Copperplate Gothics. Like the others, there are several sizes on each of several different bodies, making various cap-and-small-cap combinations easily practical.
    • Style Script (1940). Mac McGrew: Style Script was designed by Sol Hess for Monotype in 1940. It is a popular bold thick-and-thin cursive style, which has had considerable use in advertising. It is somewhat like the earlier Coronet Bold of Ludlow, but heavier and with a greater x-height; some characters seem to make a conscious effort to differ.
    • Stymie.
    • Tourist Gothic (Lanston, 1909; now available digitally as LTC Tourist Gothic from LTC/P22). Mac McGrew: Tourist Gothic is a Monotype copy of Modern Condensed Gothic with a set of several round alternate caps designed by Sol Hess in 1928. (Sizes under 14-point continued under the Modern Condensed Gothic name, without the alternates.) In 1938 Hess drew a matching Tourist Gothic Italic, which added to the popularity of the face, although it lacks the round characters. The Outline Gothic Medium Condensed (or Franklin Gothic Condensed Outline) from some sources is actually an open version of Tourist Gothic. Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes.
    • Twentieth Century was designed by Hess between 1936 and 1947 as a monoline version of Paul Renner's Futura. Mac McGrew: Twentieth Century is Monotype's copy of Futura (q.v.), and in display sizes is essentially an exact copy, while composition sizes are only slightly modified. Several additional versions were drawn for Monotype by Sol Hess, including Twentieth Century Bold Italic and Extrabold Italic in 1937, Extrabold Condensed Italic in 1938, Ultrabold in 1941, Ultra bold Condensed in 1944, and Medium Condensed Italic and Ultra bold Italic in 1947. Some of these weights have different names than their counterparts in the original Futura series or other copies; see the list under Futura for comparison of these names as well as technical data. The main version is sold by Monotype as Twentieth Century MT. The digital type foundry Lanston, or LTC, sells LTC Twentieth Century. Hess Gothic Round NF (2008, Nick Curtis) is based on Twentieth Century. The design was reinterpreted by Herb Lubalin as Avant Garde in the 1970s. Curtis' version softens the harsh geometry of the original designs with rounded line endings. Revivals and derivations of Twentieth Century Poster include Renard Moderne NF (2010, Nick Curtis).
    • Ward (1942). McGrew: ard or Montgomery Ward is an adaptation by Sol Hess in 1942 of Memphis Light, specially redesigned for use in the large catalogs of that mail-order company. Strokes are lightened a bit, and the x-height is increased slightly. It was cut by Monotype for private use. One reference says there were light and medium weights; another says there were roman and italic in normal width and also an extended version. The latter account seems more authentic.

    Digital descendants of Sol Hess: LTC Hess Monoblack (Lanston Type Company), Hess Old Style (Red Rooster Collection), Hess Gothic Round NF (Nicks Fonts), Twentieth Century (Monotype), LTC Squareface (Lanston Type Company), Broadway Engraved SH (Scangraphic Digital Type Collection), Bruce Old Style (Bitstream), LTC Jefferson Gothic (Lanston Type Company), LTC Spire (Lanston Type Company), LTC Swing Bold (Lanston Type Company), LTC Artscript (Lanston Type Company), LTC Twentieth Century (Lanston Type Company), LTC Tourist Gothic (Lanston Type Company), Renard Moderne NF (Nicks Fonts), Goudy Heavyface (Bitstream), Broadway (Monotype), LTC Broadway (Lanston Type Company), Broadway (Linotype), LTC Hadriano (Lanston Type Company), Cochin (Linotype), LTC Bodoni 175 (Lanston Type Company), Stymie (Bitstream), Engravers Oldstyle 205 (Bitstream), LTC Bodoni 26 (Lanston Type Company), LTC Obelysk Grotesk (Lanston Type Company), Century Gothic (Monotype), Spire (GroupType), Havel (T4), Alternate Gothic Pro Antique (Elsner+Flake).

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

    Sol Matas

    Argentinian type designer born in Buenos Aires who graduated from Universidad de Buenos Aires, and worked initially at Saatchi & Saatchi agency in Buenos Aires. Since 2001 she runs her own studio Sonnenshine specializing in branding and custom type design, working for companies from Latin America, Europe and the United States. She co-founded the type foundry Huerta Tipografica with fellow Argentinian designers in 2009. iIn 2013, she moved to Berlin, where she focused on developing fonts for Latin, Cyrillic, Greek, Oriya and Devanagari. Since 2019 she runs Hungry Type Society.

    Award winner at Tipos Latinos 2010 for her caps only text typeface Parque Chas (done with Juan Pablo del Peral), created for maps and information design.

    At Huerta Tipográfica [an Argentinian type foundry and coop that unites Juan Pablo Del Peral, Carolina Giovagnoli, Sol Matas and Andrés Torresi], she published Bitter HT (2011, a contemporary slab serif) and Parque Chas HT. Bitter is free at Google Web Fonts. Specially designed for on screen use, it won an award at Tipos Latinos 2012. Bitter HT was Sol's graduation typeface at FADU-UBA and covers Latin and Cyrillic. Bitter was extended to the Devanagari typeface Kadwa in 2015, which can be obtained for free at Google Web Fonts.

    In 2016, Abhaya Libre was published by Google Fonts, which writes: Abhaya Libre is the Unicode compliant and complete libre version of Pushpananda Ekanayakes's FM Abhaya font, the most popular Sinhala typeface on Earth, with a new and original Latin [didone style] designed by Sol Matas. [Google] [More]  ⦿

    Soledad Garcia Rodriguez

    Graduate from FADU, University of Buenos Aires, who created the typeface Kilogramica (2010), a fat didone display face. [Google] [More]  ⦿

    Sophia Kalaitzidou
    [Antonis Tsolomitis]

    Greek type designer who co-digitized GFS Baskerville with George D. Matthiopoulos in 2007. The Greek Font Society explains: John Baskerville (1706-1775) got involed in typography late in his career but his contribution was significant. He was a successful entrepreneur and possesed an inquiring mind which he applied to produce many aesthetic and technical innovations in printing. He invented a new ink formula, a new type of smooth paper and made various improvements in the printing press. He was also involved in type design which resulted in a Latin typeface which was used for the edition of Virgil, in 1757. The quality of the type was admired throughout of Europe and America and was revived with great success in the early 20th century. Baskerville was also involved in the design of a Greek typeface which he used in an edition of the New Testament for Oxford University, in 1763. He adopted the practice of avoiding the excessive number of ligatures which Alexander Wilson had started a few years earlier but his Greek types were rather narrow in proportion and did not win the sympathy of the philologists and other scholars of his time. They did influence, however, the Greek types of Giambattista Bodoni and through him Didot's Greek in Paris. The typeface has been digitally revived as GFS Baskerville Classic by Sophia Kalaitzidou and George D. Matthiopoulos and is now available as part of GFS' type library. Open Font Library link. [Google] [More]  ⦿

    Sora Sagano
    [Dot Colon (also: Arro, Alt Rivet)]

    [More]  ⦿

    Spike Spondike

    American designer in the UK, who created the voluptuous didone fatface Blenny (2014, Dalton Maag). Blenny covers Latin and Thai. In 2013, she created the tongue-in-cheek typeface family Nokia Pure Klingon, also at Dalton Maag. Pilar Cano, Spike Spondike and the Dalton Maag team won an award at Granshan 2014 in the Thai typeface category for HP Simplified.

    Bressay (Dalton Maag), a Scotch roman co-designed in 2015 by Tom Foley, Sebastian Losch, and Spike Spondike (design lead by Stuart Brown), won an award at TDC 2016.

    Dalton Maag's Hanna Donker and Spike Spondike won an award at Granshan 2016 for Intel Clear Thai.

    Cargocollective link. [Google] [More]  ⦿

    Spurnej Type Foundry
    [Jakub Spurny]

    Spurnej Type Foundry was founded in 2014 in Prague, Czechia, by Jakub Spurny. In 2014, Jakub designed Senohraby, an uppercase display typeface inspired by an old sign at the Senohraby train station that is now slowly chipping away. Senohraby Paint emulates a flat brush and features a few scratches and irregulartities.

    In 2020, he released Ghitta Bodoni Cancellaresca, which revives a chancery typeface from Bodoni's Manuale Tipografico (1818). The typeface family is named after Bodoni's widow, widow Margherita (Ghitta) Dall'Aglio who published that 1818 edition of Manuale Tipografico. [Google] [MyFonts] [More]  ⦿

    Stanislav Tomsej

    Graphic designer in Prague and Katowice, Poland. Behance link. He has many great examples of typographic compositions and creative lettering, such as Carigraphy (2009, hand-drawn letters on a Cadillac). He designed the condensed didone family Fidentia (2010), Cukrik Type (2009, glyphs like pieces of candy), Pampas (2009, a curvy multiline face), and a whole bunch of hand-made typefaces. Digart link. [Google] [More]  ⦿

    Stanley Dai

    Web designer in San Francisco who created the decorative didone typeface Ogee in 2018. [Google] [More]  ⦿

    Start a design career

    The typophiles were asked in 2003 to list the 20 essential typefaces to start a design career. Here we go, unedited:

    • Sean Glenn: MetaPlus (FontShop), Helvetica Neue (Adobe), Mrs. Eaves (Emigre), Gotham (Hoefler Type Foundry), 20th Century (Monotype), Base (Emigre), Agency (Font Bureau), Simian (House Industries), Agenda (Font Bureau), OCR-B (Adobe), Formata (Adobe), Caxton (Adobe), Scala Sans (FontShop)
    • Letter Tiep: Akzidenz Grotesk BQ, Univers, Frutiger Next (or Avenir?), Today Sans (or Syntax / Gill Sans?), The Sans, Trade Gothic (or News Gothic/Vectora?), Futura, Minion, Palatino, Berthold Baskerville (or Storm's John Baskerville / Monotype Bulmer), Filosofia, Lexicon nr2 ($$$), Officina Sans&Serif (or the FF Info series), Adobe Caslon, Bembo (or HTF Requiem), Stempel Garamond, Joanna (or Scala?), Clarendon (or Giza?)
    • Jay Wilkinson: Akzidenz Grotesk BQ, Helvetica neue, Avenir (or Futura), Frutiger, Trade Gothic, Franklin Gothic, Optima, Bodoni (or Didot but not filosofia), Adobe Garamond, Adobe Caslon, Minion, Hoefler, Dante, Sabon, Perpetua, Requiem (or Bembo), Centaur, Clarendon, Shelly (or Snell Roundhand), Fette Fraktur (or Goudy Text)
    • John Gordon: Blackletter, Centaur, Janson, HTF Requiem, Bembo, Caslon, Garamond, Baskerville, Palantino, HTF Didot, Perpetua, Electra, Clarendon, Akzidenz Grotesque, Helvetica Neue, Futura, Franklin Gothic, Trade Gothic, Poetica, Shelly
    • Keith Chi'hnag tam: Minion Pro, Myriad Pro, Sabon Next, Monotype Baskerville (or Berthold), HTF Didot, Perpetua, Monotype Gill Sans, Berthold Akizidentz Grotesk, Thesis Sans, Swift, ITC Charter, FF Meta, PMN Caecilia, Adobe Caslon Pro, FB Miller, Adobe Syntax, ITC Franklin Gothic, Bitstream Futura, Monotype Bembo, Snell Roundhand
    • H.D. Schnellnack: Neue Helvetica, FF DIN, Clarendon, Thesis Sans, Garamond Pro OTF or Neue Sabon, Myriad Pro OTF, Mrs Eaves OTF, FF OCR or FF Letter Gothic, Rotis Sans and SemiSans, Futura, Scala, TAZ III OTF, Univers, Bauer Bodoni, Franklin Gothic or Bureau Grotesque, Bell Gothic or Interstate (1993, Tobias Frere-Jones), Jenson Pro OTF or Warnock Pro or Kepler, Thesis Serif or Thesis Mono, Zapfino
    [Google] [More]  ⦿

    Stawix
    [Stawix Ruecha]

    In 2012, Stawix was established in Bangkok by Stawix Ruecha (b. 1986, Bangkok). At Stawix, Ruecha published these typefaces:

    • Seravee (2012). A didone family.
    • Soin Sans (2012). A beautiful geometric sans family. Followed by Soin Sans Pro (2013) and Soin Sans Neue (2016), an almost perfectly crafted modern geometric typeface family.
    • Letra Pro Headline (2012). A manicured and permed didone.
    • Chercher (2014). A slab serif.
    • Rleud (2014). A neutral sans family which has 160 fonts in four widths, 10 weights, small caps and italics---the works. There are four free demo fonts. This is a useful sans family that is more elliptical in its curvature. Ruecha says that he intended to create the industrial design mood of DIN while importing the humanism of Dax.
    • Dalle (2014). A daring and gutsy display sans with very open counters and surprising straight elements in all letters of the word harkman.
    • Crique Grotesk (2014). A neohumanist sans.
    • Amsi Pro (2015). Inspired by Block Berthold, this rounded sans typeface has extremely short descenders, but works very well in the Narrow and Ultra styles. See also the 48-style Latin / Thai update, Amsi Pro AKS (2020). In 2021, this was followed by Amsi Grotesk (54 styles).
    • Sans Beam (2016).
    • Goudar HL (2017). A rounded semi-techno sans typeface.
    • Brock Pro (2017). I fun 10-style sans family that celebrates Block Berthold and other 19th century wooden letterpress types. Its terminals are consistently vertical or horizontal for a clean uncluttered feel.
    • Merlod (2017). Based on Latin American sign painting in substyles called Norme, Autre and Queue.
    • Sarun Pro (2018).
    • Infoma (2018). An almost organic grotesk family by Stawix Ruecha and Kawisara Vacharaprucks.
    • Cobe (2020). An organic monolinear rounded elliptical sans family in 18 styles. Stawix Ruecha calls it an aerodynamic font.
    • The 18-style geometric slab serif Chom (2021, at Wundertype).
    • Eastlane (2021). An 18-style humanist sans. It includes a variable font.

    You Work For Them link. [Google] [MyFonts] [More]  ⦿

    Stawix Ruecha
    [Stawix]

    [MyFonts] [More]  ⦿

    Stéphane Elbaz
    [General Type Studio]

    [MyFonts] [More]  ⦿

    Steeve Gruson

    French creator of Grutch Grotesk (2008), Grutch Handed (2007), a 3d-oil-stain simulation face. He also made GrutchConstrukt, GrutchLine, GrutchShaded (2008). [Google] [More]  ⦿

    Stefan Cristian Cioroianu

    Romanian designer of these free fonts in 2007: Antique roman (2 styles), Artistic swash, Caslon Swash, Cioroianu font (handwriting), Collage anonymous (ransom note), Fraktur, Human letters (scanbat face: an old erotic capitals face), Lapidary roman, Title page 1600 (scanbats). In 2008, he made the "aged" didone typeface 1600 and Century Modern Italic. In 2010, he created Century Modern TT Regular, Century Modern Shadow, and Ornament Borders.

    Another Fontspace link. A third Fontspace link. [Google] [More]  ⦿

    Stefan Gandl
    [Neubau Berlin (or: NB Typography, or: Neubau Laden)]

    [More]  ⦿

    Steinberg Soft- und Hardware GmbH (and Steinberg Media Technologies)

    Music software company in Hamburg, Germany, which also employs designers in England. Some of their music typefaces are downloadable from Github. A partial list:

    • Academico (2017). A free and open-source soft didone typeface family developed for distribution with the Dorico music-notation program.
    • Bravura (2020, Daniel Spreadbury): Bravura draws on the heritage of the finest European music engraving of the 19th and early 20th centuries, with a bolder and more substantial look than most other music fonts: thin strokes are slightly thicker than in other fonts, improving the overall blackness of the font and its legibility when read at a distance.
    • Cubase Score Font (2000).
    • Petaluma (2018, Anthony Hughes) and Petaluma Script (2018, Daniel Spreadbury). A musical handwriting font based on the handwriting of Ernie Mansfield and Ann Krinitsky, the hand copyists for Sher Publishing's Real Book series.
    [Google] [More]  ⦿

    Stephanie Henry

    During her studies at Maine College of Art, Stephanie Henry (Portland, ME) designed the didone typeface Mary (2018). [Google] [More]  ⦿

    Stephanie Zubia

    Stephanie Zubia (Juarez, Mexico) designed the high-contrast experimental typeface Louvre in 2013. [Google] [More]  ⦿

    Stephen Coles
    [Decorated Initials]

    [More]  ⦿

    Stephen G. Hartke
    [A Survey of Free Math Fonts for TeX and LaTeX]

    [More]  ⦿

    Stephenson Blake
    [John Stephenson]

    Founded in 1819 in Sheffield by toolmaker John Stephenson (died in 1864), silversmith William Garnett and financier James Blake, initially largely based on the purchase of the foundry of William Caslon III and IV in 1819. In 1829 Garnett left to become a farmer. The company was renamed Blake&Stephenson in 1830, but Blake died soon after. It became Stephenson, Blake&Co. in 1841. John Stephenson died in 1864, the year after he handed control to his son Henry. The company grew by acquiring most British typefoundries: Fann Street Foundry (1906); Fry's Type Street Letter Foundry; H.W. Caslon&Sons (1937); Miller&Richard (1952). The matrices and other old typographic equipment to Monotype and can be seen in the Type Museum of London. MyFonts provides this update: Members of both the Stephenson and Blake families still sit on the board of the present company. In 2001, according to managing director Tom Blake, the foundry was still producing some type in zinc, but by 2005 the company was wound up. There are plans to turn the former premises into an apartment complex.

    In 1996, all remaining materials (punches, matrices, specimen books) were sold to Justin Howes' Type Museum. The information in The Ancestry of British Typefounding and the complete list of the Stephenson-Blake typefaces comes from Roy Millington's Stephenson Blake The Last of the Old English Typefounders, The British Library, London, 2002. Today, Stephenson Blake continues in manufacturing only.

    Partial typeface list: Algerian (URW), Brittanic (Linotype), Baskerville Old Face (URW), Blackfriars (1920; a reversed-contrast Victorian typeface; digitally revied as a variable font by Roberto de Vicq de Cumptich at Delve Fonts as Tuppence), Carlton (1910s, digitized by Letraset in 1983; some say the original is F.H. Ehmcke's Ehmcke Antiqua, 1909), Chisel (an engravers typeface done in 1939 by Robert Harling; digital version at URW), Consort [the Stephenson Blake version of Clarendon], Doric Bold (Adobe), Elongated Roman (1937: a revival of the Victorian condensed and elongated fat faces, in the genre of Slimback), Fry's Ornamented No. 2 (many digitizations exist, e.g., Beffle (1991, David Rakowski)), Grotesque No 9 (URW), Impact (Linotype, Adobe), Kingston (with almost square counters and eyes), Klang (by Will Carter), Latin (URW), Latin Wide (1940), Latin Antique (1880s; a woodish typeface revived by Nick Curtis in 2011 as Indubitably NF; Monotype also had a metal version of this), Old Town No 536 (Western face, see Linotype), Playbill (a 1939 western saloon typeface by Robert Harling; digital versions at Bitstream, Linotype, and URW), Sans Serif Shaded (revived by Dieter Steffmann in 2002), Tea Chest (1939, an all-caps stencil typeface revived in 2011 by Nick Curtis as East India Company NF; Sigrid Claessens and Günther Flake revived Tea Chest Stencil in 1999 for Apply Interactive), Thorowgood, Verona (1923), Vivaldi (now at Linotype), Windsor (Bitstream, URW, Linotype, after a 1903 original by Sir William Kirkwood at Stephenson Blake), Wood Indexes (fists), Marina Script (1936, a copperplate script), Parisian Ronde (acquired from the Inland Type Foundry in 1905), Imperial Script (late 1800s formal script not unlike Firmin Didot's Anglaise, 1809), Bologna (script face, 1946), Glenmoy (script face, 1932, digitized and expanded in 2005 by Alejandro Paul as Mousse Script (Sudtipos) and in 2007 by Nick Curtis as Glengary NF, and in 2012 by Vernon Adams as Norican at Google Web Fonts), Francesca Ronde (1948), Granby (1930, a humanist sans family based on Edward Johston's types; revivals include one by Steve Jackaman and Ashley Muir called Granby Elephant (2011), and the main digital revival, from 2011, by Elsner and Flake called Granby EF), Recherché (revived by Nick Curtis as Plus de Vagues NF (2006)), Youthline Script (1952, a copperplate script for the banking and insurance industry, digitized and extended into a 7-weight family in 2005 by Rebecca Alaccari and Patrick Griffin as Sterling Script (2005)).

    Some type specimen, and a discussion of some typefaces, by yours truly.

    Scans of some old typefaces: Britannic Italic (1906), Flemish (for a digital semi-revival, see Dan Solo's Brussels), Freehand Script, Olympian.

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

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

    Stereotypes.de
    [Sascha Timplan]

    Stereotypes is Sascha Timplan, a German type and graphic designer from Trier, b. 1979, who studied Communication Design at FH Trier.

    He created these typefaces:

    • 2009: St Substance, St Booka Shade (purely geometric), ST Moviehead, an ultra-condensed family (Dafont), St. Atmosphere (fat, rounded), St Transmission (free), St Shadowplay, St-Lorie (connected upright script), St Notorious (after the titling font in Hitchcock's Notorious---a beautiful high-legged serif face), St Technique, St Atmos (a commercial ink trap plaything), St Mika, Apfelstücke (a hookish face).
    • 2010: St Marie (a nice free typewriter typeface), St Ryde, Fridge (casual sans family), St Frika, Friska.
    • 2011: Elsa (sans), Villa Didot (this layered font family was created for the posters of the club VillaWuller).
    • 2012: Florence (a swashy poster typeface that was also influenced by VillaWuller), St Transmission (industrial sans), Flenja (a narrow retro didone family), Christmas Numerals.
    • 2013: Sarre (sans), Prism (prismatic, multiline typeface, influenced by Rudolf Koch's Prisma and Herb Lubalin's Avant garde).
    • 2014: Timplan published a large antiqua family with wedge serifs in the heavier weights, Christel Text excepted, partitioned into three subfamilies, Christel Text, Christel Display, and Christel Poster. His main contribution in 2014 is the great Stereotesque (a grotesque family). Together with Lukas Bischoff, he created the athletic lettering typeface family Atletico.
    • In 2016, Sascha Timplan and Lukas Bischoff published the handsome sans typeface family Golden Sans [no relationship with Tarin Yuangtrakul's Golden Sans from 2010 or Heitor Latosinski's Golden Sans from 2013]. Free Golden Sans Light demo.

    Behance link. Blog. Klingspor link. Dafont link. Abstract Fonts link. Interview by MyFonts in 2014.

    Showcase of Sascha Timplan's fonts. [Google] [MyFonts] [More]  ⦿

    Steve Jackaman
    [Red Rooster Type foundry]

    [MyFonts] [More]  ⦿

    Steve Mehallo

    Steve Mehallo was born in San Francisco in 1967. He is a freelance graphic designer, educator, illustrator and font designer specializing in brand strategies, custom font development and logos. His clients have included Monotype, Microsoft, Ascender Corp, The Unicode Consortium, Netscape, TiVo, Nike, The David and Lucile Packard Foundation, The Learning Company and several more. He is also a past president of the Art Directors and Artists Club of Sacramento, board member of Another Poster for Peace, was the lead curator of the contemporary graphic design exhibition Spoken With Eyes at the UC Davis Design Museum and has taught design courses at UC Davis, Santa Clara University, The Art Institute of California and Sacramento-based American River College. First Redwood City, CA, and now Sacramento, CA-based. Creator of these fonts:

    • The street lettering font Alta California in 1994 (Agfa): Alta California is a ransom note-style sample of wood type and other types.
    • The beautiful old typewriter family Chandler 42 at Psy/Ops.
    • MartiniAtJoes family (1996-1997) is available through Agfa-Monotype and PsyOps: futuristic meets the 50s.
    • Niedermann Grotesk (2011). He writes: It is a peculiar style of lettering---which was originally inspired by the Sachplakat (object poster) work of Lucien Bernhard---and adapted for hot metal in 1908 by Hermann Hoffmann. 100 years ago, the style became a workhorse of the German printing industry.
    • Escoffier Capitaux (2008) is named for culinary legend Auguste Escoffier (1846-1835) and inspired by lettering used in vintage French advertising---including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938), with a hearty serving of 1960s ligatures influenced by the work of Herb Lubalin (1918-81) as well as a twist of Claude Garamond (1480ish-1561).
    • TwentyFourNinetyOne (2008, Ascender Corp) is a reinterpretation of the alphabet of 1919 by Theo van Doesburg.
    • Jeanne Moderno (2009) is an art deco take on Bodoni, in 9 styles.

    Klingspor link. FontShop link. Blog. MyFonts link.

    View Steve Mehallo's typefaces. [Google] [MyFonts] [More]  ⦿

    Steven Wulf

    Dortmund-based digital media designer who is working on this Bauhaus-inspired geometric sans (2006). Working on the Baskerville-like typeface Eris Avec (2006), the great masculine sans headline typeface Tobacco (or Tabak) (2007), this rough didone (2007) and the clean sans Knubbel (2007). [Google] [More]  ⦿

    Stevie Dutson

    Orem, UT-based designer of Fern Alphabet (2016), a floral caps typeface based on the didone typeface Madrid by Antonio Rodrigues. Behance link. [Google] [More]  ⦿

    Stine Juhl

    At the Royal Danish Academy of Fine Arts School of Design, Stine Juhl created a fashion mag didone typeface in 2017. [Google] [More]  ⦿

    Stjepan Fileki

    Serbian designer of the calligraphic Cyrillic/Church Slavonic script Miroslavs gospel, which is based on calligraphic characters from the 12th century. NeoplantaBG (2009) is a didone face for Latin and Cyrillic. See also here for a free download. [Google] [More]  ⦿

    Stone Type Foundry
    [Sumner Stone]

    The Stone Type Foundry in Guinda (ex-Rumsey and ex-Palo Alto), CA, is Sumner Stone's outfit, which he founded in 1990. Born in Venice, Florida in 1945, Sumner Stone is a major designer, and creator of the Stone family. He studied calligraphy with Lloyd Reynolds at Reed College in Portland, Oregon, and then went to work for Hallmark cards as a lettering artist. In 1979, he became type director at Autologic, and in 1984, he became the Director of Typography at Adobe Systems (until 1989). His typefaces:

    At ATypI 2007 in Brighton, he spoke about The foundation of the humanist sans serif. As of 2008, his entire collection can be licensed for 20 computers in an educational lab for just 300 dollars. Scripps College pages. CV at Agfa. Bio at Linotype. Page at Emodigi. His lecture in 2007 on W.A. Dwiggins. PDF file of his work. Signature. 2012 Newyear's card. Interview by MyFonts in 2014. FontShop link. Klingspor link.

    View Sumner Stone's typefaces. Summary overview of Sumner Stone's typefaces. [Google] [MyFonts] [More]  ⦿

    Storm Type Foundry
    [Frantisek Storm]

    Storm Type is a major Czech foundry that offers the inspiring work of Frantisek Storm (b. 1966, Prague). Most typefaces are made by Storm himself. The typefaces:

    • Aaahoj: a ransom note font.
    • Abald (2005): Abald adds to the number of "bad-taste" alphabets as seen on faded commercial inscriptions painted on neglected old houses.
    • Academica: Josef Týfa first published Academia in 1967-68. It was the winning design in a competition for scientific typefaces, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes in plain, italic and semi-bold designs. In 2003 Josef Týfa and Frantisek Storm began to work on its digital version. The new name Academica distinguishes the digital execution (and modifications) from the original Academia. In 2021, Frantisek Storm added Academica Sans.
    • Aichel: originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelenà Hora). It has a stone-chiseled look.
    • Alcoholica
    • Alebrije (2015). A 42-cut exaggerated cocaine-driven typeface family with instantly recognizable v and w that have slabs on their baselines.
    • Amor Sans and Amor Serif (2005).
    • Amphibia (2016). A lapidary typeface family.
    • Andulka (2004): 24 weights for use in books, mags and newspapers. Extended in 2011 to Andulka Sans.
    • Antique Ancienne, Moderne&Regent (2000): Baroque typefaces.
    • Anselm Sans and Serif (2007): 20 styles about which Storm writes The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. It won an award for superfamily at TDC2 2008. It covers Greek as well.
    • Areplos (2005): Based on Jan Solpera's 1982 typeface with serifs on top and serifless at the bottom.
    • Bahnhof: poster typeface from the 1930s.
    • Baskerville Original Pro (2010) comprising Baskerville 10 Pro, Baskerville 10 Cyr, JBaskerville, and JBaskerville Text. This is an important and thoroughly studied execution starting from photographs of prints from Baskerville's printing office, ca. 1760.
    • Beletrio and Beletria (2018). Beletria (26 styles) is intended as a modern book type. Beletrio is a peaceful accompanying sans.
    • Bhang (2011) is a flat brush signage family of exceptional balance.
    • Biblon (2000; note: ITC Biblon is a watered down version of Biblon, so please go for the original, not the ITC version). Biblon Pro (2006) is even better; 6 weights.
    • Briefmarken (2008): letters that look dented like postage stamps.
    • The 64-style Carot type system (2020), which consists of Carot Sans, Carot Display, Carot Slab and Carot Text.
    • Clara Sans and Clara Serif (2014). Based on sketches by Rotislav Vanek, and published at Signature Type Foundry.
    • Clichee
    • Cobra (2001)
    • Comenia Script (Radana Lencov&acaute;), an upright script with a handwritten look for teaching writing.
    • Comenia Text (2006): a serif family for school books. Also called Comenia Pro Serif.
    • Compur (2000).
    • Coroner (2018). A blackletter first sketched in 1988.
    • Defender (2008): a heavy slab family.
    • Digita (2004)
    • Dracula (2017). A great blackletter family.
    • Dynamo Grotesk (1995): Storm's 60-weight sans family going back to the early sans traditions. In 2009, this was updated to Dyna Grotesk Pro.
    • Enamelplate (2011).
    • Etelka (2005, 42 styles): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008. Etelka Sans and Etelka Slab were released in 2019.
    • Evil
    • Excelsior Script (1995-1996), perhaps renamed Excelsor Script around 2000.
    • Farao (a great Egyptienne font in 3 weights)
    • Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shaded (Geist + Deko) variations.
    • Gallus Konzept (2007, in many weights):
    • Carolingian-Roman-Gaelic-Uncial script, or an exploration into how the Latin alphabet could look were the evolution of the Carolingian Minuscule to stop in the 8th century AD in Sankt Gallen.
    • Genre: a modern face.
    • Fenix 21 through 23 (2010): An elliptical sans family that includes a hairline (21).
    • Header (2009): a magazine headline family.
    • Hercules (2001). A didone family originally influenced by Monotype's fat face Falstaff (1935).
    • Hexenrunen (2006, + Reverb): a runic simulation face.
    • Ideal Gothic
    • Inicia (2018). A sans originally drawn in the 1980s.
    • Jannon (this is a formidable Garalde family). Jannon Pro appeared on MyFonts in 2010.
    • Jannon Sans (2011).
    • Jannon Text Moderne (2001): thicker hairlines and smaller x-height than Jannon Text, thus more generally useful
    • Jasan (2017). A 36-strong sans family with lots of wide styles.
    • JohnBaskerville (2000)
    • JohnSans (2001, a 72-weight sans version of Baskerville)
    • Josef Sans (2013, with Jan Solpera). A humanist sans family related to Josef Tyfa's Tyfa Roman (Tyfa Antikva).
    • Juvenis (2003)
    • Kompressor: techno typeface
    • Lexicon Gothic: newspaper and magazine type family, created in 2000. Renamed Lexon Gothic.
    • Libcziowes: based on the oldest lettering found in Bohemia, on a gravestone in Libceves dating from 1591
    • LidoSTF (2001, free): a redrawn Times with lots of individuality, yet still a newspaper typeface
    • Lokal Script (2009): a large hand-printed letter family.
    • ITC Malstock (1996-1997), a condensed film poster face.
    • Mediaeval
    • Metron (2004, a digital version by F. Storm and Marek Pistora after a huge sans design from 1973 by Jiri Rathousky, which was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. In 1986, the metro started using Helvetica): this typeface is eminently readable!
    • Modell: techno
    • Monarchia [The Monarchia family, consisting of three designs, is a transcription of "Frühling" of the German type designer Rudolf Koch, enriched by a bold and text design]
    • Moyenage (2008): a 25-style blackletter family for Latin and Cyrillic, almost an experiment in blackletter design and flexibility. Winning entry at Paratype K2009.
    • Mramor (1988-2013). A roman caps typeface with lower case added. Storm: The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Even so, ten display styles are left.
    • Negro
    • Ohrada: condensed upper case
    • Ornaments 1+2
    • Ozdoby 1+2 (great dingbats): The set includes heraldic figures, leaves, decorative endings, various skull forms, weather signs, borders and many more.
    • Patzcuaro
    • Pentagramme
    • Pentagraf: a slab serif
    • Pepone and Pepone Stencil. Designed for setting belles-lettres, this serifed family defies classification.
    • Pivo (2006), a connected diner script inspired by Bohemian beer labels.
    • Plagwitz (2000, blackletter). Plagwitz poster by Lissa Simon (2012).
    • Politic (2004): a clunky fat octagonal family made for billboards, flyers, posters, teabags, and matches for the green Party in the 2004 Czech elections. Caps only.
    • Preissig Antikva + Ornaments: a 1998 digitization and interpretation of Preisig's polygonal type from 1925. The Pro version is from 2012.
    • Preissig 1918: a typeface by Vojtech Preissig cut in linoleum
    • Preissig Ozdoby
    • Regent Pro (2015): a rustic Baroque typeface that oozes energy out of its semi-transitional semi-didone orifices.
    • Quercus Whiteline, Quercus 10, Quercus Serif, and Quercus Sans (2015). Four large families, created for informational and magazine design, corporate identity and branding. The sans has a Gill flavor.
    • Regula Text and Regula Old Face. Regula is named after the secular monastic order Regula Pragensis. Initially, the digitized font (regular old Face, which is now free) had jagged edges and a rather narrow range of applications until the summer of 2009, when Storm added text cuts. Regula was a baroque alphabet faithfully taken over from a historical model including its inaccuracies and uneven letter edges.
    • Rondka (2001)
    • Sebastian (2003, a sans with a funky italic), about which he writes: Sans-serif typefaces compensate for their basic handicap---an absence of serifs---with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. More# Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.
    • Serapion (a Renaissance-Baroque Roman typeface with more contrast than Jannon)
    • SerapionII (2002-2003): early Baroque
    • Solpera (digitization of a type of Jan Solpera, 2000)
    • SplendidOrnamenty (1998, a formal script font)
    • Splendid Quartett: an Antiqua, a sans, a bold and a script. Stor writes: The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period.
    • St Croce (2014). Based on worn-out lettering on tombstones in the St. Croce Basilica in Florence, this is a flared lightly stenciled typeface family.
    • Technomat (2006): this typeface takes inspiration from matrix or thermal dot printers.
    • Tenebra: a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols
    • Teuton (2001): a severe sans family inspired by an inscription on one German tomb in the Sudetenland
    • Traktoretka
    • Trivia Sans (2012), Trivia Serif (2012, a didone), Trivia Serif 10 (2012), Trivia Grotesk (2012, 48 cuts), Trivia Gothic (2013), Trivia Slab (2012), and Trivia Humanist (2013, a strong wedge serif family: I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts).
    • Tusar (2004): a digitization of a type family by Slavoboj Tusar from 1926
    • Tyfa ITC + Tyfa Text: Designed by Josef Týfa in 1959, digitized by F. Storm in 1996.
    • Vida Pro (2005), a big sans family designed for TV screens. Vida Stencil Demo is free.
    • Walbaum Text (2002). Walbaum 10 Pro (2010) and Walbaum 120 Pro (2010) are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he offers Walbaum Grotesk Pro (2011).
    • Wittingau (2016). A wonderful decorative blackletter typeface family, with a great set of Wittingau Symbols.
    • Zeppelin (2000): a display grotesk
    This foundry cooperates in its revivals with experienced Czech designers Ottokar Karlas, Jan Solpera and Josef Týfa.

    Alternate URL. Myfonts write-up.

    At ATypI 2004 in Prague, he spoke about his own Czech typefaces, on his Czech Typeface Project, and on the life of Josef Týfa.

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

    Studio Typo
    [Mehmet Abaci]

    Mehmet Abaci (b. 1978) is based in Istanbul. In 2014, he established Studio Typo, where one can buy his typefaces. Limited forms of the fonts can be downloaded fpr free from the Dafont site.

    Creator of the elegantly plump rounded sans typeface Vinyl Cuts (2013), Samatya (2013, a unicase piano key typeface), Boldie (2013), Laundry Day (2013, alphadings), and the wood log typeface Timbers (2013).

    Typefaces from 2014: Smush, Slim Fir (athletic lettering), Typonome, Typo Slab, Neons, E-Square (sci-fi typeface), Screamer, Typoline (piano key typeface), Omniblack (flared display face), Papillons (flared caps), Typoster (a great fat geometric slab serif typeface family accompanied by an equally great shaded outline style), Typo Comica (a family drawn to compete with Comic Sans), Tipo Press, Manyeto (calligraphic), Quatroline (prismatic typeface), Wardoom, Cabold Comic, Digiform, Akaju (oily fat typeface with lighting effects), Almira, Bonebastic, Comic White Rabbit, Sinema (a bit of retro movie art deco), Sober, Cali Brush, Tiny Plate, College Player, Smart Kid, Barbed, Wideroy, Angella (+outline: a poster family), Megi Sans.

    Typefaces from 2015: Bro 4D (outlined 3d capitals), Typo GeoSlab, H&B Sketch (a gorgeous sketched didone), Mixiva (a six-style athletic lettering slab serif family), Typo Sketch (sketched font), Malter Sans, Parole Script, Degaws (a great sketch font), Typo Comics, Gribal, Gribal Shadow, Early Times (a sans family), Quizma (an elegant sans family), Super Seven (shaded), Typo Slab Inline, Type Slab Irregular, Geoma (hairline geometric sans), Double Bubble (bubblegum typeface), Mona Bella, Typo Grotesk, Typo Grotesk Rounded, The Matic, Typografix (avant garde sans), Move X (techno family), Savaro Stencil (in the geometric style that is characteristic of Futura Black), MindBlue (sans), A Space.

    Typefaces from 2016: Wox Striped (multiline typeface), Wox Modelist (organic sans), Aprikas (sans), Meltix (techno sans family), Widolte (sans family), Mayeka, The Wireframe, Typo College (athletic lettering), Halftone Poster, Chocolate Bar (oily and gleaming), Type Round (circle-based sans typeface family).

    Typefaces from 2017: Zelta Six (octagnal), Wida Round (round sans), Prestij (geometric sans), Typo Style, Naughty Squirrel (fat poster typeface family that includes hatched and shadow styles), Typo Quik, Ageta (bubblegum style), Rock On (glaz krak typeface), Typo Square, Typo Angular Rounded, Planetium-X (monoline, techno), Big Pixel (octagonal), White Festive, Watchword Hairline.

    Typefaces from 2018: At the Midday, Typo Hoop (rounded circle-based sans family), Typo Longest (tall condensed sans), Maccos (a multilined font family), Asectica, Magettas (rounded monoline sans), Bluefish, Bluefish Eroded, Bluefish Scratched, Quesat (rounded sans), Quesat Striped.

    Typefaces from 2019: Manti Slab College, Pesta Stencil, Type Draft (a drafting font), Pages Grotesque (a caps only geometric sans), Typo Cut-Out, Swera, Minalis (futuristic).

    Typefaces from 2020: Typo Cut-Out Shaky, Typo Oval, Typo Formal (a tall monolinear sans), Typo Ring (circle-based, monolinear), Manti Slab, Manti Sans (+Fixed), Geco Strong (a fat sans), Tually, Slabten (an inline typeface), Minalis Double (an inline typeface). Home page. Fontspace link. [Google] [More]  ⦿

    Sudtipos
    [Alejandro Paul]

    Alejandro Paul's Argentinian foundry is called Sudtipos. Veer writes about Paul: Alejandro Paul is one of the founders of the Sudtipos project, the first Argentinian type foundry collective. He taught graphic design and typography at the Universidad de Buenos Aires from 1996 until 2004 and has worked as an art director in prestigious Argentina-based studios, handling high-profile corporate brands such as Arcor, Marta Harff, Morph, SC Johnson, Danone and Movicom. He has walked away with awards from several design competitions. In 2003, he began working with artist Angel Koziupa, designing fonts and lettering for several top packaging agencies. In 2006 he was a speaker at TMDG06, the largest Latin American graphic design event - more than 4,000 designers were in attendance. His work has been featured in publications around the globe, including Step and Creative Review. He has walked away with awards from numerous design competitions. He has received two Type Directors Club TDC2 awards, in 2008 for Burgues Script and in 2009 for Adios Script. He teaches a postgraduate typography program at the University of Buenos Aires, where he previously taught graphic design.

    Sudtipos has made a reputation as the place to go to for script and signage type.

    Faces include Brownstone Sans (2010), Brownstone Slab (2013), Politica (2008, an architectural lettering superfamily, used, e.g., by Discovery Channel), Domingo (by Ariel Garófalo), Plumero (connected handwriting font by Diego Giaccone, which is also in the Umbrella Type collection), Murga (display font by Alejandro Paul based on lettering of Angel Koziupa, 2003), and these typefaces by Alejandro Paul: Tierra, Latinaires (2003-2018), Reflex (unicase), Downtempo, and Stardust. Free fonts: Mosaico (2003, pixel typeface by Alejandro Paul), Mabella (2001, Ramiro Espinoza), Rolinga (Carlos Carpintero). Divina (2004) is a Latinized digitization of Kurrent (designed by Rudolph Koch in 1927 and cut in 1935). Myfonts link. Pictures of their fonts in use. YouWorkForThem link. Blog / Facebook group.

    Additions in 2010: Business Penmanship (which is based on models of American business education penmanship, ca. 1900). Poem Script is another Spencerian face---it won an award at TDC2 2011 and at Tipos Latinos 2012.

    Fonts from 2011: Calgary Script (brush signage face), Viento (a lively version of Brisa, 2004, another font done with Angel Koziupa), Semilla (2011, a retro script based on an alphabet drawn by Ernst Bentele in 1953).

    Fonts from 2012 include the angular pair Bayoneta Pro and Machete Pro, both co-designed by Alejandro Paul and Angel Koziupa. Platinus Script Pro (done with Angel Koziupa) is a wedding font.

    His Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.

    In 2013, he created Seashore Script (described as a feminine script, it has horizontal stress and is backslanted; some may consider it an Arabic simulation typeface).

    At Tipos Latinos 2014, Alejandro Paul cleaned up, winning awards for Bellissima Script, Seashore Script, Auberge Script (a penmanship font in the style of the French bâtarde and coulée), and Bayoneta.

    Typefaces from 2014: Jugo Script (a supermarket script, done with Angel Koziupa), Courtesy Script (a connected Zanerian script based on a model from 1876).

    Typefaces from 2015: Blog Script (an informal handwriting font, with Carolina Marando), Auberge Script (which was started in 2014).

    Typefaces from 2016: Wink (a connected script font co-designed with Joluvian), Henderson Slab and Henderson Sans (a large slab serif family loosely based on an alphabet drawn in 1906 by Albert Du Bois for the Henderson Sign Painter Book), Prangs (a thinly connected italic didone named after Prussian-American printer and lithographer Louis Prang (1824-1909)).

    Typefaces from 2017: In 2017, Tropical (with Joluvian: this package contains a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look).

    Typefaces from 2018: Fixture (a 72-font grotesk family published by Sudtipos).

    Typefaces from 2019: Replete Sans (a seven-style mainly art deco typeface inspired by early 20th century lettering on metropolitan buildings all over the world), Tafel Sans (a contemporary take on early- to mid-century geometric fonts).

    Typefaces from 2020: Antica (a wedge serif based on Latin poster and billboard typefaces from the 19th century).

    Typefaces from 2021: Statement Sans (an 18-style neo-humanist sans with an exquisite Black weight, by the Sudtipos team; it includes a variable font).

    Klingspor link.

    View Alejandro Paul's typefaces. Adobe link. [Google] [MyFonts] [More]  ⦿

    Sugargliderz
    [Shuji Kikuchi]

    Shuji Kikuchi from Hadano, Kanagawa, Japan, was born in 1972 in Osaka. His foundry, est. 2006, is called Sugargliderz.

    Free fonts: Frail (2011, a 6-style grungified didone family), Cuneiform (2006-2008, this is a cuneiform simulation font), Fragment Core, Proto Uncertain (handwriting), Shears, Unnamed.

    Commercial fonts: Puchiflit (2020: a typewriter slab serif that according to Kikuchi is a felt tip pen font), Pinch Remix (2020: hand-printed), Oddlini (2019: a 360-style basic grotesk family that covers all widths; it has obliques instead of italics), Oddlini 2 (2019), Knock Type (2017, a kana-Latin-Braille transcription font), Du (2016, a hand-printed font), Magendfret (2016, a warm typewriter family), Artlessness (2015), Bush (2014), Nora Pen (2014, a didone influenced by Walbaum), Uncertain Felttip (2008), the Palindrome family (2006, experimental), Pinch (2007, hand-printed), ScratchWithTheCoin (2007, grunge), Bagworm (2007, four styles, influenced by Tekton), Decay (2008, grunge), Beg Before (2008, grunge), Beg After (2008, grunge), Phoebus Palast (2008), Kropotkin (2008, 24 styles of a sturdy early 20th century grotesk), Rebuild-Square (2009, totally square family), Ponytail (2009, rounded), Violadabraccio (2009, serif), Lettera, Bush, Long Haul Trucker (2009, alphading/logo font), Michel (2009, didone).

    Klingspor link. Dafont link.

    View Shuji Kikuchi's typefaces. [Google] [MyFonts] [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 started with Tabac Sans in 2010. It 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, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big.

    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 2016: BC Novatica (by Tomas Brousil and Marek Pistora (Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.

    Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda, followed in 2020 by Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles).

    Typefaces from 2020: Atyp BL (+variable), Atyp (+variable). A 25-style sans family remotely influenced by Bauhaus.

    Typefaces from 2021: Crabath (a 72-style transitional typeface family based on the 1761 specimen book of Czech typefounder Vaclav Jan Krabat; this family covers several optical ranges, from Subhead to Display to Text, and features wonderful initial caps).

    Typefaces from 2022: Atyp Kido (a 6-weight and variable rounded sans family for Latin, Greek and Cyrillic).

    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]  ⦿

    Sumner Stone
    [Stone Type Foundry]

    [MyFonts] [More]  ⦿

    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 type foundry, Produce. In 2013, he co-designed 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 co-designed 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).

    In 2018, he published Satra (Latin / Thai) for the movie. Home page. Behance link. [Google] [MyFonts] [More]  ⦿

    Superior Type
    [Vojtech Riha]

    Type foundry in Prague, Czechia, est. 2014 by Vojtech Riha (b. 1989), who studied at the Technical School of Ceramics in Karlovy Vary, and at the Studio of Typography of the Academy of Arts, Architecture and Design in Prague.

    His typefaces:

    • Vegan (2014): a modern, structured sans featuring delicate, humanist elements. Vegan was inspired by Stanislav Marso's distinctive shadow font Vega (1956, Grafotechna). This workhorse family has six styles and six matching italics.
    • Kunda Book (2015). This text won a bronze medal at the European Design awards.
    • The sans typeface family Hrot (2016). He writes: Grown organically from the soft aesthetics of Swiss and German airline posters, Hrot is a versatile sans-serif family with eighteen distinctive cuts. Works perfectly in elegant headlines and gives perfect impact to any logotype.
    • At Briefcase Type, he published BC Dres (partly octagonal), Kakao (hand-drawn: when drawing Kakao, he frequently referenced Bohumil Lanz and Zdenek Nemecek's book Typeface in Advertising (published by Merkur Publishing House, Prague, 1974)), BC Pramen Sans and Slab, BC Motel Sans and Slab and BC Steiner in 2014. Dres reappeared in 2019 at Superior Type.
    • In 2018, Vojtech Riha and Matyas Machat co-designed Slavia and Slavia Press + Repress. The former is a socially awkward 1910-era grotesque, and the latter two typefaces are letterpress style cousins.
    • In 2020, Riha released the geometric sans typeface family Raptor.
    • Lenora (2021). A fashion mag didone that flirts with the fatface in its heavier weights. Covering Latin, Greek and Cyrillic. John Boardley opines: A kind of RuPaul meets Bodoni in this self-assured, sassy and supremely sumptuous new family.
    [Google] [MyFonts] [More]  ⦿

    Superscript
    [Patrick Lallemand]

    French graphic design and typographic company, est. 2006 in Lyon by Patrick Lallemand and Pierre Delmas Bouly. Typefaces created by them include various logotypes, as well as RCT (2008, experimental, geometric), Timing (2008, clock-based iconic work), AZL3 (2007, a fantastic ultra-fat didone poster typeface developed for the Rendez-Vous 2007 Exhibition), Merendez Mono (2007, a monospaced sans done for the same exhibition), MinimalBloc (modular composed of squares and quarter circles), Helmut (2010, a great font with interlocking letters), Progress Type (2010; more interlocking letters), and Basics (2008, a versatile modular sans family). For Kiblind, they create several modular lettering experiments. [Google] [More]  ⦿

    Svetlana Yermolaeva

    Russian type and graphic designer at Polygraphmash. She made the Cyrillic typeface Izhitsa (1988), based on Kyrillitsa (1982), inspired by the typographic poluustav of the Printing Office of the Russian Empire Academy of Science (late 19th century). A decorative (shadow) style was added at ParaGraph by Alexander Tarbeev in 1994, and a Latin alphabet followed in 2009 thanks to Oleg Karpinsky.

    At Intermicro, she designed Mysl (1992-1996, together with Isay Slutsker and Emma Zakharova). She also made Tip Bodoni, Kirillitsa, Izhitsa and created a Cyrillic version of ITC Anna (with Vladimir Yefimov and Alexander Tarbeev).

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

    Swiss Typefaces
    [Ian Party]

    Swiss Typefaces is a foundry run by Ian Party (Territet, Switzerland, b. 19777, Lausanne) and Emmanuel Rey. It evolved from B+P Swiss Typefaces and BP Type Foundry, where BP stands for Buechi et Party. Maxime Buechi is still loosely affiliated with Swiss Typefaces but is now spending more time in London. Ian Party studied first at ECAL in Lausanne and then at the KABK in The Hague. In 2004, he cofounded B&P Type Foundry with Maxime Buechi. Since 2005, he teaches type design at ECAL in Lausanne. Home page of Ian Party. The new site B+P Swiss Typefaces was born in 2011, and it was renamed just Swiss Typefaces at the end of 2013. Swiss Typefaces is headquartered in Vevey, Switzerland. Their fonts:

    • Romain BP and Romain BP Headline (2007). Party writes: Based on the Commission Jeaugeon's models and on Philippe Grandjean's classic character, the Romain BP celebrates the marriage of geometric rationality and elegance, of science and craftsmanship. The Romain BP Text is actually closer to the Commission's model than Grandjean's Romain du Roi. It is more synthetic in its structure, more radical, and thus, more modern. It is a contemporary text typeface based on a structure that was created in 1690, not a revival mimicking Greandjean's shapes..
    • Sang Bleu (2008), designed for the magazine SangBleu. This is a fantastic set of fonts based on the structure of Romain du roi. The collection also extends to extremes unusual like the Hairline Compressed or the Hairline Sans, providing graphic designers very strong stylistic tools. It includes light serif typefaces and very structured and geometric sans typefaces. I expect this project to be showered with awards. In 2014, Romain and SangBleu will be combined in a new SangBleu.
    • Celsiane (2007), a sans typeface with a chiseled-in-stone feel. Still being developed, it is based on Party's work at ECAL in 2004.
    • Esquire (2009): A custom headline typeface originally designed in 2007 for the gentleman's magazine Esquire under the art directorship of David McKendrick. It will be commercially released in 2009.
    • Aurora (2008, an experimental geometric face): not available.
    • Hebdo (2008): a private typeface for the swiss news mag L'Hebdo. It has two slab weights and nine sans weights.
    • Rosette BP: a serif typeface under development.
    • Didot BP: Codesigned with Maxime Buechi in 2003, this will be released in the spring of 2009.
    • La Police BP is a serif typeface by François Rappo.
    • Folkwang (2008): an exploration in the area of artsy transitional typefaces.
    • Codesigner in 2006 with Maxime Buechi of a corporate typeface for the Centre for Curatorial Studies Bard&Hessel Museum, New York.
    • BP Diet (2009) is an extremely fat and rounded jello-fed typeface. Chris Lozos calls it morbidly obese.
    • Suisse BP International (2011) by Ian Party is a very "Swiss" sans family by Ian Party. At the start of 2014, the Suisse collection consists of Suisse Works (a serifed family), Suisse Neue (with small slabs and/or serifs) and Suisse International (a sans; +Condensed, +Mono).
    • New Fournier BP (2011) is a 24-style Fournier family by François Rappo.
    • Simplon BP (2011) and its monospaced brother Simplon BP Mono (2011) were made by Emmanuel Rey. This geometric sans was made for information design purposes. Now just called Simplon.
    • Euclid Flex (2012-2013). This sans family does something unique in the type world---it uses opentype to provide a smorgasbord of alternate styles for each weight---a mammoth undertaking! These substyles are called pixel, mixed, unicase, dotted, one-line, cut, hidden, drops, contrasted, zigzag, circular, triangle, square, and street. It grew out of a 2010 typeface by Emmanuel Rey called Euclid BP.
    • New Paris (2014). A didone family with text and headline versions and a non-contrast sans version called Skyline. New Paris is characterized by soft-cornered vertices in the M, N, V and W.
    • Azer (codesigned with Wael Morcos and Pascal Zoghbi) won an award at TDC 2014.
    • Ikanseeyouall (2018): A fantastic exaggerated bulbous fat Caslon popularized in the 1970s and 1980s by designers like Tom Carnase and Ed Benguiat. Other typefaces in their experimental lab include Black Mamba, Kopyme, Vogy Smog, Euclid Mono, Krsna, Brrr, Euclid Stencil and Riviera.
    • Riviera Nights (2020). A sharp-edged sans family with narrow joins. Apparently, this typeface is usaed by Rolls Royce.

    Klingspor link. [Google] [More]  ⦿

    Syed Faraz Ahmad
    [Creative Ultra (was: Creative Whoa, Symufa, or Creative Tacos)]

    [More]  ⦿

    Sylvain Tremblet

    Geneva, Switzerland-based designer of the elliptical didone typeface Sqin (2015). Sqin stands for square and thin. [Google] [More]  ⦿

    Synthview
    [Jan Tonellato]

    Jan Tonellato is an independent Polish web and graphic designer (b. 1979, Poznan), currently living in Paris. He attended the 2010 type design master class at Poli-Design (Politecnico) in Milan. Since 2019, Synthview's fonts are available from Adobe Fonts.

    He created Novecento (2011), a useful 32-style uppercase-only sans family that covers every European language, and is loaded with plenty of opentype features. Six weights of it were free. It became a hugely successful commercial typeface in the two years after its publication. In 2013, Novecento Slab was published. In 2016, he added the layered typeface Novecento Carved and in 2020 Novecento Slab Rough.

    In 2019, he published the high-contrast 5-optical-size didone typeface family Operetta (Fontspring link).

    In 2021, he released Contralto (a fashionable high contrast sans in 40 styles).

    Fontsquirrel link. MyFonts link for Synthview. Klingspor link. Behance link. Fontspring link. Home page. Adobe Fonts. [Google] [MyFonts] [More]  ⦿

    Takis Katsoulidis

    Greek painter/engraver/type designer born in Messini. He studied at the School of Fine Arts in Athens and at Ecole des Beaux-Arts in Paris. He was director of the school ATO (Doxiadis school of Art), professor and head of the Graphic Design department at the Technological Educational Institute (TEI) of Athens. He has also worked as a consultant for many publications while he is well known as a stamp designer. Takis is a well-known engraver, with a large number of personal exhibitions, participations and distinctions in various Biennale and international exhibitions. In 2003, his hometown Messini honoured him by establishing the Engraving Museum Takis Katsoulidis at the old City Hall. He is the author of the book The Design of Letter", and is collaborating with Cannibal since 2001.

    Takis designed a didone called GFS Didot in 1994. This was digitized in 2005 by George Matthiopoulos and is now available as a nice free set of OpenType fonts through the Greek Font Society Open Font Library. This Greek family has a matching Latin alphabet based on Palatino. The fonts can be used for both Latin and Greek, so here is a great free family. The GFS writes about GFS Didot: Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korai, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enlightment. The typeface eventually arrived in Greece, with the field press which came with Didots grandson Ambroise Firmin Didot, during the Greek Revolution in 1821. Since then the typeface has enjoyed an unrivaled success as the type of choice for almost every kind of publication until the last decades of the 20th century. GFS Bodoni (1992-1993) is a didone designed by Takis Katsoulidis and digitized in 2005 by George Matthiopoulos. GFS Artemisia was designed by Takis Katsoulidis and digitized by George Matthiopoulos in 2001.

    GFS Neohellenic (1993-2000, Takis Katsoulidis and George D. Matthiopoulos). They explain: In 1927, Victor Scholderer (British Museum Library curator), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a Latin version..

    Creator of the Greek typeface Apollonia and of the Byzantian typeface Genesis Polytonic. He publishes some of his creations at Cannibal Fonts: Apollonia, Autokratika, Genesis Katsoulidis, Metamoderna.

    In 2017, he designed the monolinear curvaceous serif typeface Messiniaka. Dimitris Bovolos contributed to the digital design, with the final editing of Vasilis Georgiou and Panos Haratzopoulos.

    Chrysanthos Christou (Member of the Academy of Athens and Professor of the History of Modern Art) and Manos Stefanides (curator of the National Gallery of Greece) wrote a book on Katsoulides' work. Klingspor link. [Google] [More]  ⦿

    Tambov State Technical University

    Huge archive with mainly Russian truetype fonts (maybe over 2000), and some Latin, symbol, unicode, and dingbat fonts. There are too many fonts to mention single typefaces. Noteworthy is the TeamAxis collection from 1994 by Dmitry Komissarov (ArtSans, CourtierC, KarinaC, KursivC, TenseC), the Soft collection, many ParaGraph fonts (such as the Cyrillic version of Didot, PG_Didona_Cyr, 1992). Alternate URL. [Google] [More]  ⦿

    Tania Esses

    Designer of the didone typeface Red Velvet (2015). [Google] [More]  ⦿

    Tania Oliveira

    Porto, Portugal-based designer of a didone typeface in 2015. [Google] [More]  ⦿

    Tania Raposo

    Graphic designer from Portugal who obtained a Bachelors in Graphic Design from ESAD.CR in Caldas da Rainha, and a Masters in type design from KABK, Den Haag, 2010. She interned for one year with Rob Saunders in California (where she was curatorial assistant at Letterform Archive), taught at the California College of the Arts, San Francisco City College and Type@Cooper West program (where she also was program coordinator), and was based for some time in Brasilia, Brazil. Currently she lives in the Netherlands where she works as freelancer, collaborating with the foundry Feliciano Type, and teaching typography at the Type and Media Master.

    At KABK, she designed the Guia family in2010 for pedestrian wayfinding. In 2009, she did a revival (still at KABK) of Frank Hinman Pierpont's 1925 face, Horley Old Style. In 2016, she designed the pixel font TatiFox (FontStruct).

    Also check her type portraits: Ang San Suu Kyi, Jose Ramon Horta, Mahatma Gandhi, Martin Luther King, Nelson Mandela.

    In 2018, House Industries published Coryn Didot and writes: Coryn Didot updates the Modern type style's elegant hairline strokes and crisp serifs by introducing a seductive squircular silhouette. Truly a font for lovers of alluring typography. Coryn Didot is based on a Photo-Lettering alphabet drawn by C.E. "Les" Coryn. The original appeared in the company's 1965 Alphabet Thesaurus Vol. 2 under the name Galax Didot. A revised design, introduced in the early 70s as Galaxy Didot, served as the basis for House Industries' version which was digitized by Tania Raposo in 2013. [Google] [More]  ⦿

    Taro Terashita

    Designer at Ehime University in Japan who created an extension of Computer Modern in 2010 to cover the long s that was in use in old Latin texts. The font family is called Old Latin. [Google] [More]  ⦿

    Tart Workshop
    [Crystal Kluge]

    Minneapolis, MN-based illustrator and lettering artist. Designer who sells her script fonts through Font Bros, where she receives digitization support from Stuart Sandler. Her work is also sold via Tart Workshop. Alternate URL. Another URL. MyFonts link.

    In 2007, she made Silverstein and Seasoned Hostess. In 2008, she added Henparty Sans and Serif (casual curly scripts), and Darling Monograms. The calligraphic Nelly Script (copperplate script) and Nelly Script Flourish followed in 2009. Carrotflower (2009, hand-printed) comes with Carrotflower Christmas Icons, Carrotflower Invitation Icons, and Carrotflower Celebration Icons.

    Her designs in 2010 include Barocca (a monogram font, done with Stuart Sandler) and Nelly Frames.

    In 2011, she published the quaint teahouse typefaces Bookeyed Jack and Bookeyed Suzanne.

    At Google Web Fonts, we find Chelsea Market (2012), Butterfly Kids (2012, a curly script) and Princess Sofia (2012, a tipsy script).

    Crystal Kluge and Stuart Sandler made the children's party font Crafty Girls Pro (2010, with Stuart Sandler at Neapolitan).

    Typefaces from 2012: Emily's Candy (a curlified didone: free at Google Web Fonts), Madelinette (connected script). Codystar (a dot matrix face) is free at Google Web Fonts. Sugarplum (with Stuart Sandler) is a cheerful casual typeface. Aya Script (with Stuart Sandler) is a script with adjustable ribbons at front and rear of the letters. San Rafael is an upbeat curly script. Bookeyed Nelson is a tall caps only poster typeface. The teenage script typefaces Princess Sofia Royale Pro, Butterfly Kids Pro and Emily's Candy Pro and the bohemian typefaces Chelsea Marketplace Pro and Chelsea Market Open Pro were published by Crystal Kluge and Stuart Sandler at Neapolitan.

    Typefaces from 2013: Bookeyed Sadie (a quaint curly ball terminal typeface).

    Typefaces from 2014: Amoretta (a curly font family, co-designed with Stuart Sandler), Bookeyed Martin (another vintage curly script, with Stuart Sandler).

    Typefaces from 2016: Cherripops (by Crystal Kluge and Stuart Sandler).

    Typefaces from 2019: Madelinette Grande (by Stuart Sandler and Crystal Kluge: created by hand with traditional pointed pen, it includes calligraphic penmanship and rustic styles), Bella Monograms.

    Typefaces from 2021: Bon Marche (a curly vernaculat script by Stuart Sandler and Crystal Kluge), Los Angelino (a script by Stuart Sandler and Crystal Kluge), La Bohemienne deLuxe (a calligraphic script by Stuart Sandler and Crystal Kluge), Epicursive Pro (a script by Stuart Sandler and Crystal Kluge), Hey Eloise (hand-crafted).

    Klingspor link.

    View Crystal kluge's typefaces. Google Plus link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Tasha Wentling

    American designer of Suburbs (2017: handcrafted sans), and Tokyo 2020 (2017: probably not the official Olympic Games font). [Google] [More]  ⦿

    Tassos Hatzipanagos

    Graphic designer in Athens, Greece. Creator of the Bodoni / Clarendon-inspired Phadom's Old Groove (2016), a Latin / Greek typeface that can be bought at Revolge. Behance link. [Google] [More]  ⦿

    Tasuki's blog
    [Vit Brunner]

    Vit "Tasuki" Brunner (Czechia) recommends the 14 best free fonts. Summarizing his recommendations:

    • Antykwa Torunska is an original typeface created by Polish type designer Zygfried Gardzielewski in 1960. It was digitized by Janusz Marian Nowacki. The font contains many diacritical marks, math symbols, and comes in many weights.
    • Typo Latin Serif is a slab serif (Egyptian) typeface with an extremely large x-height. It was created by Manfred Klein.
    • The DejaVu fonts are extensions of the free Bitstream Vera typefaces.
    • Palatino (Hermann Zapf) is gorgeous, period. Palladio L is a free Palatino clone created by URW in cooperation with Hermann Zapf. Download it in URW fonts pack (together with 79 other fonts).
    • Gentium, a typeface for many languages by Victor Gaultney. Extensive unicode support.
    • Optima by Hermann Zapf. A free version: MgOpen Cosmetica.
    • Bembo is a nostalgic antiqua created by Francesco Griffo in 1496. Cardo (David Perry) is based on Bembo.
    • Vollkorn is an old style numerals typeface created by Friedrich Althausen.
    • Computer Modern is a didone typeface created by Don Knuth.
    • Avant Garde (Herb Lubalin) can be downloaded in the URW font pack where it is known as URW Gothic L.
    • Goudy Bookletter 1911 is a revival of Frederic Goudy's Kennerley Old Style by Barry Schwartz.
    • Helvetica by Max Miedinger. Magenta Ltd has a free version in its MgOpen pack: MgOpen Moderna.
    • Geo Sans Light (Manfred Klein) is based on Futura, a geometric typeface created by Paul Renner in 1926.
    [Google] [More]  ⦿

    Tatiana L

    During her studies at FADU / UBA in Buenos Aires, Tatiana L designed a condensed didone display typeface called Montag (2013).

    Behance link. [Google] [More]  ⦿

    Tatukiyo Sakaguti

    Osaka-based designer (b. 1981) who recreated Simon-Pierre Fournier Le Jeune's Modèles des caractères de l'imprimerie (1742, Paris). Download site. In 2014, he published the ornament set Kado 108Z, and recreated a set of botders and ornaments originally designed by Enschede and Sons in 1891. As Feel Design, he specializes in high quality textures and patterns.

    Typefaces incl;ude the didone Bodoni F (2016), which can be bought here. [Google] [More]  ⦿

    Taylor Cash

    Spartanburg, SC-based creator of Seagram (2012), a high-contrast fashion serif typeface that is based on the Seagram building in Manhattan, and was inspirewd by Didot and Archer Hairline.

    Behance link. [Google] [More]  ⦿

    Taylor Lane
    [Taylor Lane Typography]

    [More]  ⦿

    Taylor Lane Typography
    [Taylor Lane]

    Sexy compositions of letters in the shapes of pin-ups by LIDA Agency in the UK. Creative and Art Director: David Harris. Typographers: David Harris, Justin Shill, Stuart Addy, Jan Hansen. Additional URL. Miss Bodoni, Miss Meta, Miss Sabon, Miss Serifa, Miss Perpetua, Miss Bembo, Miss Joanna, Miss Gothic. [Google] [More]  ⦿

    Team 77
    [André Gürtler]

    Born in 1936 in Basel, Switzerland's André managed the design office at Deberny&Peignot in the late fifties and early sixties. He taught production letter design at the Künstgewerberschule in Basel from 1965 onwards. He started Team 77 with Christian Mengelt and Erich Gschwind in order to make a correct grotesk improving over past grotesks, including Helvetica.

    Gürtler's typefaces:

    • Basilia (1978, Haassche Schriftgiesserei). This didone typeface family is available from URW and Linotype who has the date 2004 for its latest digital version.
    • The slab serif Egyptian 505 (1966, VGC). First Prize in the 1966 VGC National Type Face Design Competition, developed in cooperation with his students. This became Egyptian 505 at Bitstream and Linotype.
    • Media (1976, Bobst Graphic, with Chr. Mengelt and Erich Gschwind).
    • Signa (1978, Bobst Graphic).
    • LinoLetter (1978). A slab serif co-designed with Reinhard Haus. The digital version at Linotype is dated 1992. Adobe also sells this typeface.
    • ITC Avant Garde Gothic (1971-1977). With Edward Benguiat, Tom Carnase, Christian Mengelt and Erich Gschwind. ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin designed the logo and its companion headline typeface. Lubalin and Tom Carnase, a partner in Lubalin's design firm, worked together to make a full typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977.
    • Alpin Gothic (1974, Compugraphic, and Team77). This is Alternate Gothic No. 2 in the early Bitstream collection, and goes back to Morris Fuller Benton's typeface from 1903.
    • Cyrillic Gothic (Compugraphic).
    • Haas Unica (1980, Haas). Hrant Papazian writes: Unica is amazing. The only grot I like - although some people don't think it's a grot - which would explain my attraction! It avoids both the sterility of Univers and the... well, idiocy, of Helvetica. [...] art of it is Gurtler's mystique. Another is the amazing "rationalization" exercise Team 77 carried out in making it (elaborated just as amazingly in a small publication I have a copy of). I guess the main reason I can cling to is that it's not "naive". Most old grots (like Akzidenz) are like backwards villagers to me, and new grots (like FF Bau) are urbanites pretending to be villagers. In comparison, Unica is like an urbanite who has had to move in with his villager in-laws, but has decided to make the best of it. On the other hand, I suspect this is exactly why some people think Unica is not in fact a grot - it's a geo in grot's clothing. Stephen Coles writes: Scangraphics Digital Type Collection (which included Haas Unica) was purchased by Elsner + Flake in 2003, to which they added font-specific Euro and @ symbols in 2004. The revamped typeface was set to be sold by Scangraphic and its distributors, but Linotype is currently preventing the release, citing trademark violations. Although similarities to other typefaces often occur between foundries, it is rare that one finds typefaces that have been shelved indefinitely due to such resemblances. In truth, the real problem lies within a dispute over who owns the name Haas Unica, rather than any resemblance infringment. Haas Unica was commercially unavailable for a long period thanks to Linotype and Scangraphic. Linotype especially stood to lose a lot of Helvetica money if it ever appeared somewhere else. Michael Hernan digitized Unica Deux in 2006. And then finally, in 2014, Linotype itself released a digital version, Neue Haas Unica (by Toshi Omagari). PDF of Unica. The Ministry of Type calls it the ultimate archetypal sans serif face.
    • Media77 (2015), published at Optimo, after an orih=ginal design for Bobst Graphic going back to 1974. They write: In 1974, the designers André Gürtler, Christian Mengelt and Erich Gschwind were commissioned by Bobst Graphic to draw a new text typeface specifically conceived for phototypesetting. Rather than a constraint, they considered that the technical parameters of the composing system could bring interesting typographic solutions detached from the usual historical classifications: not another historical replica, but the design of a contemporary typeface with a modern aesthetic. Media was originally released by Bobst Graphic in 1977 and immediately featured in the issue 8/9 of Typographische Monatsblätter. Forty years later, the redrawing of Media by Team 77 is extraordinarily sophisticated: very legible at small sizes and full of refined details at display sizes, Media77 proposes a unique asthetic for text and headlines..

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

    Ted Czyzewski

    Pennsylvanian creator of an unnamed didone all caps face (2011). No downloads. [Google] [More]  ⦿

    TeGeType
    [Thierry Gouttenègre]

    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. For use on screen, he slightly rounded the corners and released the result as Cinio Text in 2019.
    • 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).
    • Dilectus (2019). Originally intended for musea, this lapidary typeface takes inspiration from paleochristian engravings.
    • 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.
    • Oculi Magni (2020). Specially designed for small and tight texts, the glyphs have maximal x-height.
    • 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]  ⦿

    Teo Tuominen
    [LetterMaker]

    [MyFonts] [More]  ⦿

    Terence Bergagna

    Designer at the Australian foundry Prototype Font Design (which he founded in 1992) of Academy, Baseline, Bodoni Anorexia, Bodoni Catwalk, Fat Neon Inline, Flanger, Funky Reverb, FuzzBox, Galley Family, Gimp, Gimp's Brother, Gimp's Sister, Hardwear Nth, Hardwear Sth, Mezzo Family, National Guard, Next century, Next Times, Pseudo Deco, Spy Force, Tank Gothic, Uni code, X-Kommunicate. Prototype Font Design went out of business some time before 2004. [Google] [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. In 2019, he declared at Typedrawers: I'm so tired of type design, so we must assume that threw in the towel. 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 2020, ITC Orbon (1995-1996: a strange experimental typeface), ITC Nora (1997), ITC Freddo (1996, a fat poster typeface).
      • Kaboodle (2018). A wood type with extended Latin, Greek and Cyrillic.
      • 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 National Park Service's road signs. It was created to replace Clarendon and uses James Montalbano's wife's last name.
      • Shenandoah. A display type based on the wood letters at Shenandoah National park.
      • Social (2012). A rounded sans family for on-line use.
      • Tangent (2007): A geometric sans in sixteen styles.
      • Trilon, Trilon Compressed, Trilon Condensed, Trilon Expanded (2009): A sans typeface family. Montalbano calls it a 21st century gothic.
      • VF Sans, VF Sans Condensed (2011). An avant-garde family with 32 styles. James explains its release: Back in the late 90s I designed a family of sans serif fonts for Vanity Fair magazine. I based them on various sans serif designs from the 1930s with nothing particular in mind. They have been compared to Intertype's Vogue, and I do see the connection, but it wasn't my intention of doing a Vogue revival. They have been kept out of circulation these last many years at Vanity Fair's request, but it appears that during the last few years Vanity Fair has lost interest in them. They no longer grace the front cover of the magazine, and they appear with less and less frequency inside the publication. I've also noticed several pirated uses of them as they have popped up on some book jacket designs. So with Vanity Fair's permission I felt it time to set them free.
      • Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie, Yo Zelda. The Yo series (2010) consists of 200 didone styles. It is subdivided into Yo Andy, Yo Frankie, Yo Lucy, Yo Sophie and Yo Zelda. This didone family has two axes (weight, extension) with 100 regular members finished in 2010 and 100 italics added in 2014. They reach in alphabetical order from condensed (Andy) to extended (Zelda).

      Montalbano designed custom corporate fonts for Condé Nast Publications, Warner Music, The American Medical Association, the U.S. National Park Service, Vanity Fair, Brides, Gourmet, Mademoiselle, Sassy, Details, Glamour, Jane, Self and Book. The list of font names, with links:

      • Collins Geometric.
      • DM Marquee. A dot matrix all caps design created for Mother NY for their client, Daily Motion.
      • Early Learning Sans. A family of 12 fonts designed for MeadWestvaco's Early Learning Products division for use in educational products teaching young students the basics of letter construction.
      • Fordham Chapel. Based on wood carved lettering from a Fordham University chapel honoring fallen alumni.
      • Fortune Titling. Based on the Fortune logo.
      • Glamour Display, Glamour Script. The latter is a roundhand script. Both were done for Glamour magazine.
      • JCP News Gothics. Created for DDB Chicago, for use in the It's all in there campaign for JC Penney. Should work with existing Monotype News Gothic fonts.
      • Johan Gothic. A condensed sans serif designed for Conde Nast Sports for Women, which changed its name to Women's Sports, which then changed its name to Women's Sports and Fitness. The type was named for the art director who commissioned it.
      • Lucky Gothic.
      • Mens Vogue-Mayeur. Mayeur Display, an original design created in 2005 for Men's Vogue. Based on 19th Century French text types from the Parisian foundry of Gustave Mayeur.
      • Now Playing. As part of the renovation of The Apollo Theatre, Now Playing was designed to reflect the plastic marquee lettering of the 1940s.
      • NPS Roadway. Montalbano writes: Designed to replace the Clarendon road guide sign typeface that the U.S National Park Service used as part of their identity. NPS Roadway was tested by Pennsylvania Transportation Institute and was found to decrease legend length by 10-15% while increasing readability by 11%. Part of a total redesign of the Park Service identity (that included the Rawlinson series of fonts) the font has been approved by FHWA (Federal Highway Administration) for use on all Federal roads.
      • Skinny Eric. A painfully thin version of Gill Sans, designed for Self Magazine.
      • Social. Two weights of a rounded sans serif design to compliment the Living Social logo design.
      • VF Didot, VF Sans, VF Sans Condensed, VF Script. All done for Vanity Fair. VF Didot is a slightly condensed design based on the many New York didot alphabets drawn during the 1940s and 50s. VF Sans is Vanity Fair's workhorse. VF Script is an original script created for Vanity Fair Magazine in 1999, loosely based on lettering found on a French Automobile Poster from the mid-1920s.
      • Vogue AG, Vogue Didot Extended. Vogue AG is a nine-weight sans serif design mixing elements of Futura and Avant Garde Gothic. The Extra Light weight was designed for Vogue magazine in 2004 while the remaining weights were added in 2007 and updated in 2011.

      Klingspor link. FontShop link. Linotype link. Behance link. View James Montalbano's typefaces done at ITC. [Google] [MyFonts] [More]  ⦿

    Terminal Design

    Fonts include Didot Display, Progressive Psycho, Senza. [Google] [More]  ⦿

    Terrestrial Design
    [Carl Crossgrove]

    Terrestrial Design is Carl Crossgrove's web site. Crossgrove graduated from Rochester Institute of Technology in Printing /Typography, and has shown a life-long interest in calligraphy and lettering. Now based in San Francisco, he has worked at Adobe, where he designed the Multiple Master hand-printed (semi-Celtic or stone-carved) families Reliq (1998), Reliq Std Active and Reliq Std ExtraActive in 2002, and where, with the help of Kim Buker Chansler and Carol Twombly, he co-designed the Western fonts (Adobe's Wood Series) Origami (hookish, in the expressionist style of Menghart and Preissig), Pepperwood (1994), Ponderosa (1990), Rosewood (1994) and Zebrawood (1994). He was also active at ITC (ITC Minska, 1996) and Agfa Monotype (Origami, a Menhart or Preissig style family; and Mundo Sans, 2002: a 14-weight humanist family, which includes a fantastic hairline sans).

    Other fonts by Crossgrove include Othello (2002, with Steve Matteson), Wakerobin (based on hand-painted billboards, posters and signage lettering of the mid-19th century), Scripsit (which was named Judges' Choice in Serif Magazine's 1996 type design competition), Tarantella Script, Ranunculus, Penmark, Curlz MT (1995, Monotype; with Steve Matteson).

    Beorcana (2006) is a 28-part serifless roman in the style of Optima or typefaces like Albertus, Stellar, Tiepolo, Barbedor, Lydian and Amira. In the making since 1992, this flared calligraphic book typeface was released by Monotype in 2006. Stephen Coles states: Beorcana is Crossgrove's best and most complete design yet. I can declare from personal experience that it is beautifully drawn and sets very well, small or large, thanks to three optical size masters. It will be a hit with fans of calligraphic sans serifs like Optima. It won an award at TDC2 2007 and was one of the best types of 2007. Florian Hardwig writes: The typeface has no serifs, yet its the opposite of a grotesque. It exhibits the rhythmic contrast and the humanist proportions of a renaissance roman. Its letters please with vividly dancing forms in every detail. However, this obvious calligraphic derivation never seems inappropriately fancy even the spruce swash italics are down-to-earth in a convenient way. The Thin isn't anemic and the Ultra isn't heavy-handed. Crossgrove really knows his stuff. Beorcana Pro (2006-2013) comes in Regular, Display and Micro styles.

    Nebulon (2008) is an organic typeface that won an award at TDC2 2009. This retro-futuristic, soft superelliptical display sans-serif design was renamed Biome a year later.

    With Rod McDonald, he created Egyptian Slate (2009, Monotype).

    Linotype published ITC Galliard Etext in 2013, after the 1978 garalde typeface by Matthew Carter called ITC Galliard. It lists Carl Crossgrove as its designer.

    In 2014, Crossgrove published the Burlingame typeface family at Monotype. He calls this sans collection sturdy, muscular and decisive.

    From 2003 until 2014, he designed the OEM Monotype font Halesworth Etext.

    In 2017, he published the comic book typeface family Cavolini at Monotype. Still in 2017, Karl Leuthold, Juan Villanueva and Carl Crossgrove co-designed the breezy script typeface Sagrantino (Monotype) in Regular, Highlight and Shadow substyles.

    In 2018, Monotype's Carl Crossgrove, Charles Nix, Juan Villanueva and Lynne Yun co-designed Walbaum, a reimagined superfamily with 69 total fonts, in five optical sizes. Monotype writes: Walbaum was meticulously crafted by Monotype's Carl Crossgrove, Charles Nix, and Juan Villanueva to bring Justus Erich Walbaum's high contrast didone style masterpiece to the 21st century. Walbaum has over 600 glyphs with OpenType typographic features like small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Also included in the family are three decorative and ornament fonts.

    At the end of 2018, he published the rough-edged calligraphic typeface Amarone at Monotype.

    Typefaces from 2019: Mundo Serif (Monotype).

    Linotype page. Adobe's page. MyFonts page. FontShop link. Klingspor link.

    View Carl Crossgrove's typefaces. [Google] [MyFonts] [More]  ⦿

    Terry Kunysz
    [Casady&Greene (Fluentlaserfonts)]

    [More]  ⦿

    Tertia Nash

    During her studies at the University of Reading, UK, Tertia Nash created the sharpened didone typeface Nova (2014) and another didone derivative, Gee (2014). [Google] [More]  ⦿

    Tetterode Nederland (or: Lettergieterij Amsterdam)

    Aka Type Foundry Amsterdam, and Lettergieterij Amsterdam voorheen Tetterode, this influential foundry in the Netherlands operated from 1851 until 1988. A lot of the material about Tetterode can now be found at the University of Amsterdam. Its type designers included, most famously:

    • Sjoerd Hendrik de Roos (from 1907). Lettergieterij Amsterdam had the greatest success with the Hollandsche Mediaeval and other designs by De Roos. He also drew several foreign typefaces. De Roos edited Berthold Grotesk into the best-selling Nobel (1929) and released Libra in 1938. He also designed materials such as ornaments, initials and vignettes.
    • Dick Dooijes (from 1926). Dooijes certainly made his best work with the Lectura (1969), a classic text type that was created in consultation with aesthetic consultant G. W. Ovink. He is also well known for Mercator (1959) which was known as "the Dutch Helvetica".
    • Leonard H. D. Smit (from 1949). He designed the script typeface Amazone (1958).
    • Other type designers included Imre Reiner (Reiner Script, 1951), Walter H. McKay (Columbia, 1956), Henri Friedlaender (the Hebrew face Hadassah, 1958), José Mendoza y Almeida (Pascal, 1961), Gerry Powell (Arsis, 1938, a copy of ATF's Onyx, 1937), Jan Tschichold, Georg Salter, Stefan Schlesinger and Henk Krijger.

    Typefaces not mentioned above include Batak (1855), Gracia (1927, script face), Hercules (1926---a fat upright scriptish typeface with bunny ears, digitized in 2011 by Nick Curtis as Herkimer Bunrab NF), Orator and Promotor. [Google] [MyFonts] [More]  ⦿

    TeX Gyre Project

    The TeX Gyre Project was started in 2006 as the brainchild of Hans Hagen (NTG). It is described in The New Font Project (Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), presented at BachoTeX2, 2006). From the project, which is being implemented by GUST's e-foundry guys, Boguslaw Jacko Jackowski and Janusz M. Nowacki aka Ulan: All of the Ghostscript font families will eventually become gyrefied as the result of the project. Gyrefication, also called LM-ization, was first applied to the Computer Modern Fonts and their various generalizations with the result known as the Latin Modern (LM) Fonts. The Gyre fonts each have 1200 glyphs that cover basically all European scripts (including Latin, Cyrillic and Greek), and have Vietnamese characters added by Han The Thanh, and Cyrillic glyphs by Valek Filippov. Available in Type 1 and OpenType, they come under a very liberal license (free, modifiable, unlimited use, and a request to rename altered fonts). The TeX Gyre fonts are

    • Adventor: family of four sansserif fonts, based on the URW Gothic L family, which in turn is based on ITC Avant Garde Gothic, designed by Herb Lubalin and Tom Carnase in 1970. Open Font Library link.
    • Bonum (2006), based on the URW Bookman L family: TeXGyreBonum-Bold, TeXGyreBonum-BoldItalic, TeXGyreBonum-Italic, TeXGyreBonum-Regular.
    • Cursor: based on URW Nimbus Mono L, which itself mimics Bud Kettler's Courier.
    • Heros (2007): based on the URW Nimbus Sans L family, but heavily extended---eight typefaces of 1200 glyphs each. With the release of Heros, their QuasiSwiss fonts becomes obsolete. This is, in fact, the Gyre version of Miedinger's Helvetica. .
    • Pagella (2006), based on the URW Palladio L family (and thus, indirectly, Zapf's Palatino): TeXGyrePagella-Bold, TeXGyrePagella-BoldItalic, TeXGyrePagella-Italic, TeXGyrePagella-Regular. In 2013, we find Tex Gyre Pagella Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. Greek symbols were taken from the Math Pazo font by Diego Puga. The calligraphic alphabet was taken from the Odstemplik font. The Fraktur is based on Euler. The sans part is DejaVu Sans, and the monospaced alphabet is taken from Latin Modern Mono Light Condensed.
    • Termes (2006), based on the Nimbus Roman No9 L family (and thus, by transitivity, Stanley Morison's Times-Roman): TeXGyreTermes-Bold, TeXGyreTermes-BoldItalic, TeXGyreTermes-Italic, TeXGyreTermes-Regular. In 2013, we find Tex Gyre Termes Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. The Fraktur part is based on Peter Wiegel's Leipziger Fraktur. The sans serif part uses TeX Gyre Heros. The monospaced part is based on TeX Gyre Cursor. In 2017, the Open Font Library published a slightly updated and darker TG Roman.
    • Schola (2006, based on the URW Century Schoolbook L family, designed by Morris Fuller Benton in 1919: TeXGyreSchola-Bold, TeXGyreSchola-BoldItalic, TeXGyreSchola-Italic, TeXGyreSchola-Regular.
    • Chorus (2007): derived from handwritten letterforms of the Italian Renaissance as used by Hermann Zapf in ITC Zapf Chancery (1979). TeX Gyre Chorus is based on the URW Chancery L Medium Italic font, but heavily extended. The Vietnamese and Cyrillic characters were added by Han The Thanh and Valek Filippov, respectively.
    Articles: The New Font Project (BachoTeX 2006 article by Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), TeX Gyre Project (2006) by Bogusaw Jackowski, Janusz M. Nowacki and Jerzy Ludwichowski, and TeX Gyre Project II (2007) by the same three authors.

    Fontspace link. [Google] [More]  ⦿

    Textism: Bulmer

    Designed by Morris Fuller Benton in 1928, based on William Martin (1792), this typeface is England's answer to Didot and Bodoni. Textism [dead link] wrote: In the late 18th century, printing technology had evolved to the point where fine details in letterforms and illustrations would hold up on printed pages. In Italy and France, Bodoni and Didot were printing with new types featuring hairline filigree, and high contrast between strokes and serifs, design elements that would have fallen apart in the rough printing situations previously available. William Martin's Bulmer is a more restrained product of this transition, and it shares some of the characteristics of type designed by Martin's contemporary John Baskerville. I find Bodonis and Didots unusable for text, but this digital rendering of Bulmer is quite good, although over lengthy reading its fanciness tends not to go away.

    View digital versions of Bulmer. More digital versions of Bulmer. [Google] [More]  ⦿

    TFaces
    [Alexander Tarbeev]

    Alexander Tarbeev is Russian type designer, graphic artist and tutor. He graduated from Moscow Electrotechnical Institute of Communication in 1979 and Moscow Polygraphic Institute in 1988, and worke in the type department of NII Polygrafmash (Institute for Scientific Research of Printing Machinery, Moscow). Between 1989 and 1997, Tarbeev worked as type designer at ParaGraph. He set up the type studio TFaces in Moscow.

    Designer of Cyrillic versions of ITC typefaces like ITC Garamond, ITC Benguiat Gothic, Friz Quadrata and other Cyrillic typefaces. Other typefaces by Alexander Tarbeev include BetinaScript, BigCity, Dagger, DenHaag, Diderot, Gauge, Jakob, Lissitzky, Montblanc, Matterhorn, Pankov, Pollock, Smarty and Tauern. He also designed typefaces for Russian magazines such as Afisha, Bolshoi Gorod, Kak, Smart Money, Ezhenedelny Zhurnal, and (the Russian version of) L'Officiel, and for newspapers such as Vedomosti and Noviye Izvestiya.

    Alexander Tarbeev is professor and head of type design department at Moscow State University for Printing Arts (currently a branch of Moscow Polytechnic University). He also taught at British Higher School of Art and Design (Moscow), and Moscow State University, Faculty of Journalism..

    Showcase of Alexander Tarbeev's typefaces at MyFonts.

    List of the new designs and the old typefaces designed since 1988 for NPO Poligraphmash, ParaGraph/ParaType and TFaces: Academy, AdverGothic, ITC Anna, ITC Baltica, ITC Benguiat Gothic (1994-1997, ParaGraph; he made the Hebrew typeface Benzion in 1991 based on Benguiat Gothic as well), ITC PT Benzion, FF Beowolf, PT Bernhard, PT BetinaScript (1992, based on the handwriting of the German graphic artist Betina Kuntzsch), PT Bodoni (1989-1997), MathFont 1 (1987, Polygraphmash, based on the math font of Kudryashevskaya Encyclopedicheskaya, 1960-74, a typeface by Nikolai Kudryashev and Zinaida Maslennikova), PT Compact, PT Courier (1997; the original Cyrillic weights were done by Tagir Safayev), PT Crash (1995), PT Dagger (1996), Den Haag, Dots, DoubleClick, PT Drunk (1997), Exposure, PT FixSys (1995, pixel font), ITC Friz Quadrata (1997, ParaGraph, based on the typeface by Ernst Friz for Visual Graphic Corp. in 1965), PT Futuris, ITC Garamond (1993-1995, based on Tony Stan's 1975 version), PT Graffiti (1996, ParaGraph), PT Hermes (1993, ParaGraph), Inform, Izhitsa (1994: he added a shadow syle to Svetlana Yermolaeva's 1988 original), PT Jakob (1994), [kAk), Lazurski, PT Matterhorn (1993), PT MonoCondensed (1990), PT Montblanc (1993), PT Newton (1994, ParaGraph, a phonetic font), PT Pollock (1995), PT Pragmatica (1989), Sketch, PT Star (1995), PT Tauern (1993, extra compressed), Titanic, PT Wind (1995, based on TextBook, 1987, by Emma Zakharova).

    Honorable Mention at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Den Haag.

    Free fonts made for fun at FontStruct in 2008: giammba, schlange, squaresans, squaresans_heavy, TFa BCode (extremely condensed), TFa KnightRider.

    In 2019-2020, he designed the large text, headline and letterpress family Gauge (Type Today). [Google] [MyFonts] [More]  ⦿

    Thanarat Vachiruckul
    [Type 714]

    [MyFonts] [More]  ⦿

    Tharique Azeez
    [Niram Factory]

    [More]  ⦿

    The Ampersand Forest
    [D.C. Scarpelli]

    Scarpelli's design and production clients have included the California Attorney General's Office, Napa/Sonoma Magazine, the American Cancer Society, Catholic Healthcare West, UC Hastings School of Law, Chevron, Frito Lay, the Oakland A's and the San Francisco Giants. He regularly designs theater graphics for companies throughout the Bay Area, and is resident Graphic Designer for 42nd Street Moon, Bay Area Musicals, and Silicon Valley Shakespeare. Additionally, he has created and edited several art books in the collection of the San Francisco Museum of Modern Art. His original training is in the theater. With his husband Peter Budinger, he has written and directed several plays, and appeared in numerous productions. They were theater majors, playwrighting students, and improv disciples together at Yale University. Scarpelli is currently Associate Director of the School of Web Design + New Media at the Academy of Art University, San Francisco. He designed these typefaces:

    • Donovan Display (2021). A modern tall display serif in twelve styles.
    • Pawl (2020). A 48-style elliptical sans family. He writes: Pawl lives in the same visual landscape as fantastic modular superfamilies like Eurostile, Agency, Geogrotesque, Barlow, and even the great American Gothics.
    • Worriment (2019: a vampire typeface).
    • The extroverted display typeface family The Fudge (2019), which comis in Skinny, Sleek, Thicc and Chonk styles.
    • Pamplemousse (2019), originally called Chelsea Morning: A family of casual-but-chic Sunday-morning display faces. Pamplemousse started out as a typeface based on the lettering of Gustav Klimt in his poster for the first exhibition of the Vienna Secession movement (Art Nouveau). This drifted into an homage to Rea Irvin's iconic masthead typeface for the New Yorker magazine. Finally, with the addition of a lowercase (absent from Irvin's typeface), a significant revision away from both Klimt and Irvin into a more casual space, Pamplemousse was born.
    • Ampir. A casual Modern typeface, suggestive of gilt sign-maker letterforms, influenced by the modular type forms of Yakov Chernikov. Roman and Cyrillic character sets.
    • Disquiet: Disquiet is a weird little display typeface designed to convey the free-floating anxiety of the mid-20th century. It is based on a single nongeometric form: the temple piece of a pair of horn-rimmed glasses---the kind worn by sweaty little men in offices who always seem to run the world in Atomic Age thrillers.The form is hexagonal, to give each letter a sense of being locked in---trapped. The double stroke gives it a nasty little bit of queasiness. And the negative spaces within the letters form mini-glyphs of their own---perfectly geometrical inside the fractured outer strokes.
    • Swonderful (2019). An art deco typeface family with many different styles of interlocking.
    • Haggis (released in 2020, but designed earlier): Haggis was intended to be a pseudo-sans-serif version of a traditional Insular Uncial. A bastard child of pub signage and rubber duckies, Haggis is not without its charms, and it certainly doesn't take itself too seriously.
    • Mrs Keppel: Inspired by Stephenson Blake's 1884 typeface Windsor Light Condensed (made famous by Woody Allen's title sequences), Mrs Keppel finally appends an italic to this iconic face. Gentle in its design but firmly anchored in the fin-de-siècle, Mrs Keppel moves us forward to the 1910s, redolent of Ragtime and spiked tea. Named for the mistress of King Edward VII, who was likewise illegitimately linked to a Windsor.
    • Donovan Display (2021). A modern tall display serif in twelve styles.
    • Wiblz Serif (2021). A 12-style didone.
    • Carollo Playscript (2021). A ten-style slab serif that is inspired by typewriter type.
    • Nerone (2021). A slightly despotic display typeface.
    • Budinger Oldstyle (2021). A ten-style semi-Venetian renaissance text typeface.
    • Tremendo (2021). A 48-style gothic sans with many hipster elements such as the coathanger lower case f.
    • Wodehouse (2021). A vintage display trio with a hint of deco.
    [Google] [MyFonts] [More]  ⦿

    The Digital Past
    [Paul Shaw]

    Article by New York-based calligrapher and type specialist Paul Shaw. It talks about the main events in the timeline of digital type (but forgets to mention Computer Modern, does not stress Metafont enough, and omits any mention of the work of Bezier and de Casteljau on Bezier curves), and ends by formulating a strategy for increasing the price of type. [Google] [More]  ⦿

    The European Computer Modern Fonts

    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 Font Company

    Dan Barthell's Phoenix, AZ-based foundry, was founded in 1988. It produced about 400 fonts. It was merged into Precision Type Foundry in 1993. Its fonts can now be bought via URW or Ascender.

    Stuart Sandler (The Font Diner) explains: Dan Barthel was the owner of The Font Company out of Phoenix, AZ and now lives in Ft Myers, FL . . . I have his phone number if you wanted to REALLY get all the inside scoop . . . Generally speaking, he was among the first groups along with a handful of young employees he trained to scan and digitize fonts from filmstrips and did a number of conversions for Harry Brodjian of Alphatype typefaces in the late 1980s. Among those included were Parade and Contemporary Brush Bold which were eventually licensed by Robert Norton for Microsoft . . . I'm certain they used the Ikarus system to make their digitizations . . . The Font Company eventually went on to digitize a good amount of typefaces and nearly all of them were distributed by the Precision Type Company until it closed its doors in the mid-2000s . . . Get your hands on one of those catalogs to see the entire library they released . . . At some point in the 1990s Dan decided to close up shop and tossed all the assets digital or otherwise and start over in another business but walked away from the font business all together regardless . . .

    The fonts: Abbey, Accolade, Adelon (patterned after Albertus MT), Adroit, Advertisers, Aggie, Amanda, Amber, American, Annual, Apache, April, Art Gothie, Artcraft, Ashley, Atrax, Avalon, Avon, Baker Signet, Ballantines, Balloon, Balzac, Baucher Gothic (a headline, tall and geometric typeface designed by URW Studio in 1995 according to some sources---unclear where it originated), Bauer Topic, Beacon, Beale, Bee, Benjamin, Bernhard, Bible, Bluejack, Boa Script, Brittany, Bulmer, California Grotesk, Cartel, Cartoon, Casablanca, FC Caslon, Century Expand, Charter Oak, Chevalier, Chinat, Cloister, Contemporary Brush, Continental, Cooper Old Style, Corporate, Corvinus Skyline, Craw Modern, Criterion, Danmark, FC Deepdene, Diamante, Didoni, Digital, Din 16, Disco, Egizio, Elaine, Erbar, Expressa, Fanfare, Firmin Didot, Florentine, Frency, Gatsby, Geshexport, Glamour, Glasgow, Globe, Gorden, Harem, FC Heldustry, Helenic, Helium, Helserif, FC Highway Gothic, Hildago, Hobo, Holly Script, Howland, Hudson, Huxley Vertical, Impact, Introspect, Inverserif, Japanette, Jay Gothic, Kelles, Kennerley, Kenneth, Koloss, Largo, Leasterix, Legothic, Lightline Gothic, Lucida Type, Marcato, Martin Gothic, Martinique, Mr Big, Napoli, Nashville, Newport Land, Novel Gothic, Neuland, Ondine, Organ Grinder, Ornitons Heavy, Paladin, Pandora Black, Parade, Pasadena, Pekin, Permanent Headline, Philly Sport, Pinnochio, Plakat, Polonaise, Precis, Pretoria, Promoter, Publicity, Quratz, Quint, Racer, Radiant, Regency, Reiner, Rochester, Roger, Rolling Stone, Roman Shaded, Roman Stylus, Roman Solid, Ronda, Roundest, San Serif, Scenario, Sevilla, Shotgun, Siegfried, Souvenir Gothic, Spire, Stanza, Stark, Thor, Ticonderoga, Timbre, Toledo, Torino, Umbra, Veracruz, Viant, Viking Gothic, Village, Vixon, Woodcut, Wordsworth, Yorkshire, Zanzibar and Zola. Other fonts: AGBuch, AGrotesk, Accent-Normal, Aggie-Normal, AlternateGothic, AmericanGothic, AntiqueOlive, Apache, BAVGarde, BOSGoudy, BakerSignet, Bauer Topic (1999-2002), BernhardModern, BrodyNormal, CaslonC224, CaslonC37, CaslonC637, Centaur, CenturyExpanded, Cochin, DisneyPrint, ECBGill, Exquisit, Flash, Folio, GaramondM, Grotesk, IceAge, ImpactCondensed, Imprint, Jenson, Latin, Laudatio, Lynton, MagicSymbols, MBrighton, Michelangelo (a roman caps typeface based on Hermann Zapf's Michelangelo from 1950), NewportLand, NovelGothic, Nueland, Panache, QuaySans, RealtyExecutives, Roman, SpiritCraw, Univers, Venus. In 2009, the elegant transitional---almost modern--- high-legged typefaces Roman Solid and Roman Stylus (outlines) are shown as part of the URW++ collection.

    Ascender sells these fonts: Accent, Amber, Amber Italic, Amelia, American Text, American Uncial Regular, April, Artcraft Pro, Avon, Balloon Bold, Balzac, Baucher Gothic, Bernhard Gothic Light, BoaScript, Cartoon, Chinat, Contemporary Brush, Cowgirl, Devinne, Digital, N 16, Erbar, Expressa, Fanfare, Florentine, Geshexport, Glasgow ExtraBold, Handel Gothic, Hastings, Hobo, Hobo Bold, Holly Script, Hudson, Koloss, LeAsterix, Nashville, Novel Gothic, Nueland, Nueland Inline, Opportunity, Pasadena Family, Philly Sport, Pretoria, Quartz, Reiner, Resonance, Souvenir Gothic, Stanza, Thor, Ticonderoga, Umbra, Viant, Woodcut, Zanzibar, Zola. [Google] [More]  ⦿

    The Fontry
    [Michael Gene Adkins]

    The Fontry is a Watts, OK, based outfit, est. 1992 by Michael Gene Adkins (b. 1965, OK) and James L. Stirling (b. 1964, OK): Digital type for computer-aided signmaking, with fonts designed for signmakers by signmakers.

    Since 2009, they have been producing various digitizations of alphabets designed by Alf R. Becker in the 1930s and 1940s. Gene Adkins designed ARB-187 Moderne Caps AUG-47 (2013, didone), ARB 85 Modern Poster JAN-39 (2011, after Modern Poster Script, 1939), ARB-70 (1995), ARB-67 (1998), ARB-66 Neon (2010, +Block, +Line), ARB-44 (1995), ARB-96 Jitter Display DEC-39 (1999), SCRIPT1 ARB-85 Poster Script Normal (2000), ARB-66 Neonline Block, ARB114 Hillbilly Roman JUN-41 Normal (1999), ARB-187 Moderne Caps AUG-47 CAS family (2009, a beautiful didone display face), the ARB 08 Extreme Roman AUG-32 CAS family (2009), ARB-218 Big Blunt (2010), ARB-218 Neon Blunt.

    Another product is the Wild Bunch Pak #3: Danthr Skal, Kastaka, Gas Bumps, Skrawl 613, Sharrpe Gothik, Levo Fraz, Kommerce, Stellar Spice, Infected Hurt.

    Wild Bunch Pak #2 (50 USD) has Marbles&Strings, Keetoowah, Peppermint, Ghixm (2008: a retrospective of the horror comics and movie posters of the 1960s and the 1970s), Klash, all outline fonts. In Wild Bunch Pak #1, look for Toxia. Race Pak #1 contains 5 chiseled fonts, including ARB67, Brannt Chiseled, Excursions, JLS Ultra, and Race Checkers. 50 USD. There are also Greek Pak #1 (12 Greek fonts for 25 USD, including GRK Orbit, GRK Universe City, GRK Albert, and GREK Bodnaut) and Signfaces Narrow Pak #1. At Garagefonts, Wild Larra, Wild Ruts, Wild Toxia, Wild Nobody families (1999), Jackport (2014, athletic lettering and Western typeface family).

    Adkins also designed the commercial font First Vision at GarageFonts in 1998. Review at &Type. List of the fonts on his CD.

    MyFonts sells FTY Garishing Worse (2011---there is a free version at Dafont), SCRIPT1 Team (2010), SCRIPT1 Toon (2010), SCRIPT1 Voodoo Script (1999-2009, signage script), What Sound Pounds (2009), WILD3InfectedHurtNormal (2010), WILD1 Firstvision (1997), WILD1 Larra (1997, grunge), WILD1 Nobod (1997, grunge), WILD1 Ruts (1997), WILD1 Toxia (1997) and the blackletter typefaces Ironhorse and Ironrider (2007), revivals of classic wood type typefaces. FontShop link.

    Some fonts are inspired by sign painter Frank H. Atkinson. These include the Broken Poster series done in 2010, FHA Modernized Ideal Classic (2011), and FHA Nicholson French (1999-2014: art nouveau).

    In 2008, The Fontry published the Greek Font Set, Copper Penny DTP (after Copperplate Gothic, but with lower case included), Droeming (an eerie family) and Earth A.D. (more eerie stuff, metallic, and with sharp serifs). It then generated a break-away subfoundry that carries fonts solely designed by James Stirling, Fontry West. Fontry West is located in Tulsa, OK. At MyFonts, these Fontry West fonts can be bought: Iron, WILD1 Firstvision, WILD1 Larra, WILD1 Nobody, WILD1 Ruts, WILD1 Toxia, WILD2 Ghixm, Greek Font Sets 1 and 2 (not Greek, only Geek-ish, made for fraternity use), and a large Comic Fanboy set which includes glyphs painted with stars and stripes (CFB1 American Patriot, CFB1 Captain Narrow, CFB1 Shielded Avenger, all made by Adkins). The CFB1AmericanPatriot family (2009), and the SCRIPT1 Rager Hevvy family (2009) are free here. JLS Overkill (2009, Bloque, Stencil, Grunge, Champion [athletic lettering], Hammer) is a sturdy family covering everything from SUV-strength stencils to grunge stencils and macho slab serif headline typefaces. After Disaster (2008), FHA Eccentric French Normal (2008, wood type after an alphabet created by Frank H. Atkinson in 1908), WHATSOUNDPOUNDS?Normal (2009) are free at Dafont. Sinder (2010) is a grunge face. FTY Konkrete (2010) is constructivist, and has a beveled weight. FTY Strategycide (2010-2018) is a similar severe headline sans family. Sinder (2010) and Demon Sker (2011) are free grunge typefaces. American Purpose (2011) is a grotesk family. American Purpose Casual and American Purpose Stripe (2011) are follow-ups. Garishing Worse (2011) is a casual bold face. Sharpe Gothik (2011) is hand-drawn. American Captain (2011, a manly retro squarish propaganda headline face; see also American Captain Patrius 02 FRE). Deathe Maach (2012) is a sturdy 6-style display family. Avengeance (2012) is a techno typeface. FHA Condensed French (2012, by Michael Gene Adkins and James L. Stirling) and FHA Nicholson French (1999-2014, art nouveau) are based on Frank H. Atkinson's examples.

    Typefaces from 2013: FHA Broken Gothic (a layered chiseled family done with James Stirling, based on Broken Poster by Frank H. Atkinson), FTY SKRADJHUWN (a flared family), Iron Man of War (with layering effects, +001Rivet), Iron Man of War 2 NCV, RACE1 Brannt (prismatic, beveled, art deco), FTY Skorzhen (mini-spurred), FTY Speedy Casual, FTY Skradjhuwn NCV (comic book family).

    Typefaces from 2014: FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling), FTY Varoge Saro Noest.

    Typefaces from 2015: FHA Sign DeVinne (after a popular sign painting design by Frank H. Atkinson named after DeVinne).

    Typefaces from 2016: FTY Delirium (+Neon), Delirium NCV.

    Typefaces from 2017: FTY Galactic VanGuardian.

    Typefaces from 2021: Fty Old Sport (a slab serif athletic lettering font family, one of the best in this genre).

    Typefaces made by Fontry West. Typefaces by Mike Adkins.

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

    The Lioness

    American art student who made a Bodoni type anatomy poster in 2011. [Google] [More]  ⦿

    The Pyte Foundry
    [Ellmer Stefan]

    The Pyte Foundry was established in 2015 by Ellmer Stefan in Oslo, Norway. During the course of the year 2016 Ellmer Stefan released a new free display font every consecutive Monday. They explain: Paying tribute to the typographic diversity of the 19th century, this project's aim is not historical accuracy---none of the typefaces are strict revivals of specific typefaces produced in the Victorian era. It is rather a revival in spirit---indulging into stylistic manifoldness and idiosyncratic hyperbolism. The digital fonts are generated using a component-based system that globally applies changes made to independently adjustable letter parts, such as stems or serifs. This approach mirrors the production methods envisioned for the making of wood types around 1880: in American Wood Type 1818-1900 (Van Nostrand Reinhold Company, New York; 1969) historian Rob Roy Kelly refers to a series of inventions by William H. Page using interchangeable modules in the creation of wood type letters enabling the rapid manufacturing of new styles.

    The list of typefaces from 2016: Prhyme, Alcove, Mortar, Plakat, Cabaret, Antique, Galore (piano key style), Lyrics, Protocol, RoutineA, RoutineB, Routine C, KinkA, Kink B, Moloch, Symptom, Residue (ultra-condensed), Perdu (Western, Italian), Turmoil, Polymer, Houdini (wide slab serif), Umbra (shaded style), Montage (mechano style), Flounce (Tuscan Western font), Throng (piano key style), Italian (reversed stress style), Epitome (ultra-condensed didone), Overdose (Italian), Overdone, Gyrator, Henry I, Plumb A, Blockage, Seryph (stitching font), Octango (a chiseled typeface), Potpourri (decorative caps), Persiflage, Radiator Italic, Ortho (octagonal), Nihilist, Errata, Dosage, Radiator, Vulture, Filocalus, Latency, Postulate, Syzygy, Cuneiform, Cuneimorf, Absolu (a great decorative titling typeface family), QFWFQ.

    In 2016, he designed Levvel Script (brushy), and Sentralen Oslo.

    Skald (2017) is a set of three typefaces designed for a series of classics issued by Norwegian publishing house Skald Forlag.

    In 2018, he designed the custom type system Diller Scofidio + Renfro (for the New York-based architecture firm).

    In 2019, they released Triptych (Roamn, Italick, Grotesque). He writes: Triptych consists of three distinct styles amplifying the notion of structural differentiation within a typeface family. The triplet of Roman, Italick [sic] and Grotesque is designed to take on clearly defined hierarchical functions in a typographic system. Roman and /Italick are irreverently free interpretations of the sturdiest of all sturdy book faces ever produced, namely O.S. (Old Style Antique No.7 by Miller & Richard of Edinburgh first issued in 1858). Most probably not designed by Miller & Richard's prime punchcutter Alexander Phemister. Despite its name, Triptych is of secular, utilitarian nature: its unsentimental, at times mechanical drawing makes for a stubbornly robust and economic design. Bare any bourgeois flamboyance it is suited for confident and hardworking typography. Where other typefaces are promoted as workhorses, this one is a mule.

    Also, for the celebration of Norwegian sculptor Gustav Vigeland's 150th birthday in 2019, he released the wedge serif roman inscriptional capital typeface Gustav Display. Still in 2019, he added the bespoke flared lapidary typeface Hamran and the custom typeface Aurlands Display.

    In 2020, he designed the economical sans family Oslo Sans for the City Council of Oslo. He also released Compagnie, a set of three typefaces that are a digest of various French and Swiss wood type Grotesques from the second half of the 19th century. [Google] [More]  ⦿

    The Raster Tragedy
    [Beat Stamm]

    An authoritative look by Microsoft's Beat Stamm at different methods for rendering outline fonts on screens or gridded devices. First written in 1997, it was updated in 2011, and is now available as a useful web-based essay/book. Excerpts from his conclusions:

    • Prima facie it would seem that turning outline fonts into pixels is a straightforward if not trivial problem: The outlines are blessed by the designer, scaling the outlines is mathematically exact, and turning on interior pixels follows strict rules. In theory, this doesn't sound like it requires any rocket science. In practice, however, we are still rendering fonts on the wrong side of the Nyquist limit, regardless of the anti-aliasing methods.
    • Given the resolutions of 96 to 120 DPI on today's desktop or laptop screens, I can not single out a combination of rendering method and hinting strategy that, simultaneously, satisfies every end-user's preferences, addresses both scalable and reflowable layouts, and always best represents the type designer's intent.
    • It may come as a surprise that the type designer's intent is not readily encoded in the outline font format---certainly not in the TrueType format. TrueType outlines are partitioned lists of control points along with flags making them on or off-curve points. But that's just about it: there are no explicit concepts of stems, crossbars, or serifs, let alone concepts like positioning crossbars at the visual center between the baseline and the cap height.
    • Most of the Raster Wars I read about in the blogosphere become supremely futile fights in cyberspace. Really! What's the point? Some people like broccoli, some people don't---however healthy it may be. People's tastes vary, be it in cuisine or in typography. But if done properly, hinting can cater to the varying tastes in font rendering.
    • Whether or not you need hinting at 300 DPI, despite all of today's anti-aliasing, depends on your typophile standards. If they are anything like those of die-hard audiophiles, preferring 192kHz/24bit or even Vinyl over CD---let alone MP3---playback, then hinting doesn't go away, even at 200 or 300 DPI. Instead, advanced hinting can be extended to more sophisticated opportunities such as Optical Scaling and other aspects of Micro-Typography.
    • Back in 1990, when the first scalable font formats appeared on the market to render text in black-and-white on low resolution screens, hinting was a necessary evil. To turn scattered pixels into coherent---if pixilated---characters and make text somewhat readable, you had to use some form of hinting. Today I see hinting as an opportunity to get on-screen text rendering as close to the art of printing as the available screen technologies allow.
    [Google] [More]  ⦿

    The Typehead Chronicles of Thomas Christensen
    [Thomas Christensen]

    Information and specimen of all historically important typefaces: Akzidenz Grotesk, Aldus, Antique Olive, Avant Garde, Avenir, Baskerville, Bell, Bembo, Bodoni, Bulmer, Caslon, Centaur, Century Old Style, Cheltenham, Dante, Frutiger, Galliard, Garamond, Gill Sans, Goudy Old Style, Granjon, Helvetica, Janson (Kis), Minion, Mrs. Eaves, Optima, Palatino, Perpetua, Sabon, Syntax, Times New Roman, Today, Trump Medieval, Univers, Walbaum. [Google] [More]  ⦿

    The Typographic Archives

    Also called Graphion's Online Type Museum, or earlier, Graphion, a site by Michael sanbon that disappeared in 1999. Subsections:

    [Google] [More]  ⦿

    The Yarza Twins
    [Marta Yarza]

    The Yarza Twins, born in Vigo (Spain), are Eva and Marta Yarza. Marta graduated in 2012 with a degree in construction engineering. In 2014, she studied communication design (MA program) at Central Saint Martins (University of the Arts, London (UK)). During her studies in London, Marta Yarza created Square Print (2014, a free artsy typeface), Japanica (2014, a free experimental Asian simulation typeface, with her twin sister Eva Yarza), and Plastic Crowds (2013, with Eva Yarza), about which they write: Inspired by old cinema marquees and by the 60s advertisements of NASA, we created this unique upper case typeface for the art collective Plastic Crowds. In 2015, they designed Horas, Orchid (a decorative didone), Haustraks, and Sound Reactive.

    In 2016, Eva and Marta Yarza designed the almost polygonal typeface Batavier.

    In 2017, they published the industrial sans typeface FIA Formula E and the wide sans typeface Hilario YT.

    The Yarza Twins shop (where one can buy some of their fonts). Behance link for Eva Yarza. Behance link for Marta Yarza. [Google] [More]  ⦿

    The ze fonts

    The zd fonts by Constantin Kahn are virtual T1 encoded Computer Modern fonts based on (OT1) Computer Modern, Times, and Helvetica fonts, intended to simulate dc fonts. Robert Fuster has adapted the Kahn's package to ec fonts. The resulting virtual fonts are named according to the ec fonts names, changing ec by ze. [Google] [More]  ⦿

    Théo Guillard

    Toulouse and now Paris, France-based freelance designer, who created Izy (2014), Autumn (2014, a textura face), Easy (2014, a fat display typeface), and Gerhard (2014, a take on Bernhard Gothic, 1930).

    In 2016, he designed the inline didone typeface Zina at Indian Type Foundry and Fontshare.

    In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.

    In 2018, he designed the great angular typeface Sharpie Script (free at Fontshare).

    Guillard won the bronze medal in the Latin category at the 22nd Morisawa Type Design competition in 2019 for Easy.

    In 2019, he released Carmin at Future Fonts. Carmin is like a hipsterized uncial.

    In 2020, he published the fat stone cut calligraphic typeface Grenat. Future Fonts link.

    Zodiak (2021, Jérémie Hornus, Gaetan Baehr, Jean-Baptiste Morizot, Alisa Nowak, and Théo Guillard at Fontshare) is a free 24-style text family with Century-like newspaper roots and sturdy bracketed slab serifs that was originally named Claire (2020).

    Gambarino (2016-2021, Fontshare). A condensed, single-weight serif face for headlines. [Google] [MyFonts] [More]  ⦿

    Theodor Walbaum

    Weimar-based foundry. [Google] [More]  ⦿

    Theresa Quedenfeld

    Lancaster, PA-based designer of Holiday Fat Face (2017). [Google] [More]  ⦿

    Thibaudeau's classification
    [François Thibaudeau]

    In 1921, François Thibaudeau (1860-1925), a French typographer, proposed a simple classification system based on serifs:

    • Triangular serifs are called Elzevir (or antique, as in Jenson and Garamond). When they are geometrically rigorous triangles, the style is called Latin. Heavy Elzevir types are called deVinne types.
    • Didot typefaces, now called didones: these are characterized by rectangular serifs.
    • Egyptians have rectangular serifs on top and bottom of thickness equal to the stroke width. When the bottom slabs are rounded on the inside, he calls them égyptiennes anglaises (English Egyptians). Another subfamily of the Egyptian types are the Italian types, which have thick slabs and reverse stress.
    • "Antiques" (or: lettre baton): sans-serif typefaces such as those drawn by the Greeks and Romans.
    • Hellenic types: these have triangular serifs and feature bi-concave strokes.
    • Trait de plume types: these often have triangular serifs, but the glyphs are almost drawn by a pen, as in many art nouveau typefaces.
    Thibaudeau later added the Script and Display sections to the list above to categorize types used in advertising.

    Franços Thibaudeau wrote the art nouveau-styled Manuel français de typographie moderne, faisant suite à "La Lettre d'imprimerie"... Cours d'initiation... par la pratique du croquiscalque, ou manuscrit typographique (1924). He also wrote La Fonderie Typographique Française Album d'alphabets pour la pratique du croquis-calque, édité spécialement pour le Manuel français de typographie moderne de F. Thibaudeau (ca. 1920, impr. de G. de Malherbe, Paris). Local download of the latter book in PDF format [15.7MB]. [Google] [More]  ⦿

    Thidarat Thaiyanon

    During a summer course called Type@Paris (2015), Thidarat Thaiyanon (Thailand) designed the high contrast curve-enhanced modern typeface Merci. [Google] [More]  ⦿

    Thierry Fétiveau

    French freelance graphic and type designer who started his own commercial type foundry in 2014. Now based in Nantes, Thierry was educated in Nantes and studied Typography & Language at ESAD in Amiens, France, class of 2014. His typefaces:

    • Andersen. His graduation project from Nantes.
    • Batutah (2013-2014). A Latin / Arabic bicephalic typeface family for his graduation project at ESAD. "Batutah" refers to the Arab pilgrim Ibn Batutah who traveled from Spain to China in the thirteenth century. This Latin / Arabic typeface is intended primarily for magazines.
    • Futago (2013). A fashion mag hiragana and katakana didone. Thierry: Futago is a Japanese typeface of 141 glyphs intended to go with Latin typefaces from Didot family. Its name, which means twin, expresses clearly its objective: to be used in bilingual texts in order to create a graphic unity. This typeface has been selected by the website Typography Served in 2013.
    • Wilson (2013). A visit by Laura Mesaguer led Thierry to the development of a 3-style Tuscan stencil typeface called Wilson (2013).
    • Dark Times (2013). An extra-light revival of a gothic textura.
    • Lewis (2014). A Tuscan stencil typeface.
    • For the comic book artist Milena Picard, he custom-designed the comic book typeface family Anelim (2017).
    • The art deco all caps Utopiales (2018): This typeface has been tailor-made for the Utopiales, an international science-fiction festival at the Cité des Congrès in Nantes. The Cité des Congrès in Nantes asked me to create a new titling typeface only in capitals following their art deco inspirations. I based it on the letters of this period found in the streets of Nantes that are part of the history and identity of the city.
    • In 2019 he made a typeface, Bouclard, on commission for the publishing house Bouclard in Nantes.

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

    Thierry Gouttenègre
    [TeGeType]

    [MyFonts] [More]  ⦿

    Thierry Puyfoulhoux
    [Présence Typo]

    [MyFonts] [More]  ⦿

    Thinstroke
    [Antonio (Tony) DiSpigna]

    Italian type designer, b. 1943, Forio d'Ischia, Italy, who emigrated to the USA. Di Spigna graduated from from New York City Community College in 1964 and then from Pratt Institute in 1967. His first design job was at Bonder&Carnase. In 1969, he joined Lubalin Smith Carnase Inc. He founded his own studio, Tony DiSpigna Inc in 1973. DiSpigna taught typography at the Pratt Institute, the School of Visual Arts and the New York Institute of Technology. In 2009, Tony Di Spigna and Bill Hilson (a colleague at Pratt) founded Thinstroke, which joined Type Network in 2021.

    DiSpigna's typefaces:

    • ITC Serif Gothic. Designed in 1972 by Herb Lubalin and Tony DeSpigna for the International Typeface Corporation, it is a "cold" almost copperplate typeface. Serif Gothic started as a scribble sketch for a French shirt company, Hechter Chemise, a client of Herb Lubalin. The sketch made it into a presentation by Tom Carnase, but was rejected by the client. Type Network writes: During a rare slow day at the office, Di Spigna decided to develop and sketch the remaining capitals, adding a lower case and some alternate characters. In his free time, he decided to finish the design with ink and white paint. Despite it being Di Spigna's first full typeface, Serif Gothic went on to become quite popular. Serif Gothic was used for the original Star Wars films's posters.
    • Playgirl.
    • ITC Lubalin Graph (with Herb Lubalin).
    • Fattoni (1968).
    • DiSpigna Roman (1969). One of his arly typefaces at Lubalin Smith Carnase Inc. He writes: When I got out of school at Pratt in 1967, I fell in love with Herb Lubalin's posters of his new typefaces, especially Pistilli Roman. (See page 34 of the Herb Lubalin book by Alan Peckolick.) I vowed that someday I would do one even better and heavier in weight. So, in 1969, I designed DiSpigna Roman in pencil on tracing paper, and executed it on heavy stock bond paper with the traditional ink and white clean up paint-the way we did all executions of letterform and typefaces back then. It became one of the first faces we digitized when we created Thinstroke. This typeface harkens directly back to 1969. I still love Pistilli, but I do think my DiSpigna Ultra is heavier with more luscious curves. DiSpigna Ultra (2022) can be found at Type Network.
    • ITC Korinna (1974). Designed together with Ed Benguiat).
    • WNET.
    • Spignarian Script (2021). A creamy formal calligraphic script published by Thinstroke.
    • DiSpence Script (2021). A Spencerian script published by Thinstroke.

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

    Thomas A. Rickner

    American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He graduated from the Rochester Institute of Technology. He lives in Madison, WI, and is currently employed by Monotype, after a short period at Ascender. He co-designed a revival of W.A. Dwiggins' beautiful Eldorado family, Amanda (1996), Hamilton, the Western font Buffalo Gal (1992-1994, TTGX variations font done while he was at Apple). He worked at Monotype from 1994 onwards, where he hinted Carter's Georgia, Tahoma, Nina and Verdana fonts, for example, commissioned by Microsoft. While employed by Apple Computer, Tom oversaw the development of the first TrueType fonts to ship with Apples System 7. He worked on a freelance basis for Font Bureau for the last 12 years. He has worked on custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia. His custom fonts include a revival of Bodoni to serve Lexmark as their new corporate typeface. His experience with non-Latin scripts is broad, having designed fonts for the Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. Tom also played a key role in the development of fonts for Agfa Monotype's proprietary stroke font format. In his own words, However I did the bulk of the drawing for Siegel's Graphite, and I did about 1/2 of the Tekton MultipleMaster (with Jill Pichotta and Tobias Frere-Jones on the other half of the masters) while in Palo Alto. In 2004, he co-founded Ascender Corporation, where he published

    • Arial Mono (Ascender).
    • Buffalo Gals (1992 and 2016): Buffalo Gals is one of the very first variable fonts, originally made in 1992 for an Apple TrueType GX developer CD. It was intended to push the boundaries on the number of stylistic axes in a font, with 6 axes in total, none of them being weight or width. Based upon wood type of the late 1800s, Buffalo Gals enables control over features with names like Cookies, Fringe, Hooves, Concavity and Bracketing. It offers 144 distinct combinations of these attributes, and seemingly infinite intermediate interpolations as well. Free download here.
    • Circus Poster Shadow (2005): based an 1890s Tuscan style wood type.
    • Goudy Borders (2009) and Goudy Forum Pro (2009), a revival and expansion Frederic W. Goudy's "Forum Title" (1911, inspired by Roman inscriptions on the Trajan's column monument).
    • Hamilton (Ascender). A wood type face.
    • Rebekah Pro (2006): a revival of ATF's Piranesi family, the regular being designed by Willard Sniffin, and the remaining weights designed by Morris Fuller Benton. Tom Rickner first revived Benton's Italic for use in his wedding invitations for his marriage to Rebekah Zapf in 2006. He completed the character set in 2009.
    Will-Harris interview. Agfa bio. Ascender Corporation bio. FontShop link. MyFonts link. Klingspor's PDF. [Google] [MyFonts] [More]  ⦿

    Thomas Christensen
    [The Typehead Chronicles of Thomas Christensen]

    [More]  ⦿

    Thomas Heylen

    Graphic designer from Lier, Belgium, who made an expressive and hilarious type poster that features Didot and Helvetica (2010). Home page. [Google] [More]  ⦿

    Thomas Johnson Quinn
    [Blank is The New Black]

    [MyFonts] [More]  ⦿

    Thomas Sokolowski
    [Apply Design Group]

    [More]  ⦿

    Thomas Vree

    Dutch type designer, b. 1967, Amsterdam, who now works in Dundas Valley, Ontario, Canada, in pre-press and the print trade. He has had wonderous encounters with other type designers. He made 47 digital typefaces. As far as I can tell, no sales, and no downloads. Behance link. A partial list:

    • Amazon (1996). Most letters are didone, but some serifs are Bodoniesque.
    • Amsterdam: A compendium of experimental typefaces done starting in 1988. He writes: My initial forays into type consisted of hacking Letraset, distorting it on photocopiers, playing around with it on stat cameras, then adding to that with tech pens, etc. Then in early 88 I started drawing type on the computer. I was doing fanzines, gig posters, logos, tape covers, etc. and I knew instinctively that I wanted to use typefaces other than the ones I had at my disposal. My choices at the time were very limited, and nothing I had access to accurately conveyed the look I thought would be appropriate for say an experimental electronic combo. So I started drawing my own typefaces.
    • Bass Bin (1997). A first hint of grunge.
    • Boloni (1996). A Bodoni face.
    • Cosmodrome (1992).
    • Cryptonym (1995). A mishmash of fonts reconstructed to give something magical.
    • Dirigible (1993). A slightly convex display face.
    • Dread (1991). In the style of Kisman's Fudoni and Makela's Dead History.
    • Engravers Initials 2 and 3 (2011). These are Victorian über-ornamental semi-blackletter typefaces based on designs found in Dan X. Solo's Gothic and Old English Alphabets from Dover Publications.
    • Faith. Thomas writes: Back in 94, 95 Paul Sych of Faith asked me to do the production work on a typeface package he was going to release through Thirstype. I created the analphabetic, accented characters, set up the kerning tables, and in some cases, created variants (italic, bold, outline, etc.) One of the typefaces was Wit, which was inspired by the experimental typography of Kurt Schwitters. The set of typefaces Thomas did included Wit, Fix Plain Mix, Fix Sin Mix, Fix Ram Hog Mix, and USeh.
    • Freddy. A digital version of an art nouveau typeface that Morgan Press had been using in the 1960s [those psych typefaces were mostly inspited by art nouveau].
    • Gyrosol (1997).
    • Jarkko. Based on old sign painter lettering.
    • Lucas: a sans family.
    • Lucifah: comic book lettering.
    • Mau Gothic: a bold weight of W.A. Dwiggins's Gothic, on commission for Bruce Mau Design.
    • Nephilim (1996).
    • Penetralia (1990). An ultra-condensed face.
    • Percolator. An organic face.
    • Poser (1995): A comic book face.
    • Puffage (2010): a typeface made up of pot leaf elements.
    • Ray Gun: a type done for a Ray Gun flyer.
    • Reklame. With hints of Avant Garde.
    • Snug Industries Font (a logotype done with Tony Elston).
    • SubRosa (1992). A squarish condensed face.
    • Thornaments. A set of symmetric ornamental symbols.
    Behance link. [Google] [More]  ⦿

    Thorowgood Foundry
    [William Thorowgood]

    English punchcutter and typefounder who died in 1877. He worked at the Fann Street foundry in London and was active ca. 1820-1849. He is best known for one of the early sans serifs, Grotesque (1832) [note: that name is still in use today to refer to sans serif typefaces based on 19th century models], with a square M and equal width caps. Stephenson Blake and Monotype published a number of grotesques and numbered them as in Grotesque No. 33. It is generally accepted that Thorowgood released the first sanserif lowercase in 1834. He did several other types, including a Clarendon (1848).

    Quoting from the wiki: In 1794 Robert Thorne had purchased the foundry of Thomas Cottrell, a former employee of William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery. Though he was never involved in the type founding business before this Thorowgood made the foundry initially successful by publicizing Thorne's typefaces. Many of the types identified as Thorowgood's are actually the designs of Robert Thorne. Thorowgood went on to issue new specimens and added more typefaces including Frakturs, Greeks, and Russian types which he obtained from the Breitkopf and Härtel foundry of Leipzig, Germany. In 1828 he also purchased the Edmund Fry foundry which had a large collection of foreign language types as well. Robert Besley became a partner in the firm in 1828, and on Thorowgood's retirement in 1849, Besley took over the foundry.

    FontShop link. Linotype link.

    Modern digital revivals:

    • A super-black, super-contrasted didone typeface simply called Thorowgood (Elsner&Flake, Scangraphic, and Linotype).
    • In 2019, Commercial Type released the Thorowgood Grotesque collection by Paul Barnes and Greg Gazdowicz. It is accompanied by the subfamilies Thorowgood Grotesque Dimensional (beveled) and Thorowgood Grotesque Open, and the related Thorowgood Egyptian.
    • Chamfer Engraved JNL (2020, Jeff Levine). A chamfered sans serif wood type design with a right side engraving line.
    [Google] [MyFonts] [More]  ⦿

    TigerWorks CD (URW)

    The fonts on the TigerWorks CD of 1994: AlteSchD, DomCasualD, EnglischeSchT, URWAntiquaT series, URWBaskerT series, URWBodoniT series, URWClarendonT series, URWEgyptienneT series, URWGaramondT series, URWGroteskT series, URWImperialT series, URWLinearT series, URWTypewriterT series. [Google] [More]  ⦿

    Tilde (was: AG Fonts)

    Reinis Ludvik's Riga-based Latvian font design and software development company sells high quality fonts (adapted from Bitstream fonts) for Baltic, Cyrillic, Turkish and Eastern European languages. Includes the AG Baltia fonts by Andrejs Grinbergs. Commercial Cyrillic fonts based on Bitstream fonts.

    The Tilde/AG Fonts collection published between 1991-1995 also includes these families designed by Andrejs Grinbergs: AGAalenBold, AGBengaly, AGCenturion, AGCrown, AGFriQUer, AGGalleon, AGGloria, AGLetterica, AGMelanie, AGNewHandbook, AGOpus, AGOpusHR, AGPalatial, AGPresquire, AGReverence, AGZeppelin.

    The Bitstream-based collection comprised these typefaces in 2015: Aachen, Aldine 401, Aldine 721, Allegro, Alternate Gothic, Am Beauty, Amazone, Amelia, Americana, Amerigo, Aurora, Baker Signet, Balloon, Baltic Ornaments, Bank Gothic, Baskerville, Bell Centennial, Belwe, Bernhard Fashion, Bernhard Modern, Bernhard Tango, Blippo, Bodoni, Bremen, Broadway, Brunch Pro, Brush 445, Brush 738, Brush Script, Calligraph 421, Candida, Carmina, Cataneo, Caxton, Century Old Style, Cheltenham, Clarendon, Classical Garamond, Cloister Black, Cloister, Commercial Script, Constellation Pro, Cooper, Copperplate Gothic, Davida, Della Robbia, Dom, Egyptian 505, Elegant Garamond, Empire, English 111, English 157, Engravers Gothic, Engravers Old English, Exquisite Pro, Flareserif 821, Flemish Script, Folio, Formal 436, Fraktur, Franklin Gothic, Freehand 471, Freehand 521, Freehand 575, Freehand 591, Futura, Futura Black, Geometric 231, Geometric 415, Geometric 706, Geometric 885, Geometric Slabserif 703, Gothic 720, Gothic 725, Gothic 821 Condensed, Goudy Handtooled, Goudy Heavyface, Goudy Old Style, Handel Gothic, Hobo, Humanist 521, Humanist 531, Humanist 777, Huxley Vertical, Impress, Impuls, Incised 901, Informal 011, Kaufmann, Kette Pro, Kuenstler 480, Lapidary 333, Letter Gothic 12, Liberty, Libra, Lucian, Lydian, Lydian Cursive, Matt Antique, Mirarae, Mister Earl, Monterey, Murray Hill, News 702, News 705, News 706, News Gothic, Nuptial, OCR-B-10, Onyx, Oranda, Orator 10, Original Garamond, Parisian, Park Avenue, Piranesi, Poster Bodoni, Prestige 12, Raleigh, Revue, Ribbon 131, Rigaer Tango Pro, Robusta, Romana, Roundhand, Schadow, Scintilla Pro, Seagull, Serifa, Shotgun, Snow Cap, Snowbird, Square 721, Staccato 222, Staccato 555, Starfighter, Stencil, Swiss 721, Tango, Tourandot Pro, Transitional 521, Transitional 551, Umbra, University Roman, VAG Rounded, Waldorf Pro, Wedding Text, Windsor, Zapf Calligraphic 801, Zapf Elliptical 711, Zapf Humanist 601, Zurich.

    MyFonts link where one finds Starfighter TL (2012, a font family for gamers), Snowbird (2011, informally hand-printed family), Constellation Pro (geometric sans family), Kette Pro and Rigaer Tango Pro (calligraphic script).

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

    Tim Brayshaw
    [twisty.com]

    [More]  ⦿

    Tim Donaldson

    Not to be confused with the (much older) British type designer and calligrapher, Timothy Donaldson. This Tim Donaldson was born in Tauranga, New Zealand, in 1986.

    Donaldson made Pyes Pa (2010-2011), in Headline and Poster styles, high-contrast calligraphic script versions of Bodoni in the style of Canada Type's Memoriam (2009).

    The Otama Typeface Project: Otama (2011) is a free didone typeface family with its own dedicated web page. Well, "free" became "not quite free", as the complete Otama family is now priced at 400 dollars. Otama Italic was completed in 2012.

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

    Timberwolf Type
    [Lars Bergquist]

    Lars Bergquist is the Swedish type designer (b. 1936) who runs Timberwolf Type in Sollentuna, just outside Stockholm. Bergquist designed numerous successful text families and display typefaces, including the free Beryll typeface. In 2016, the collection moved over to (was bought by?) 3IP. Some offerings:

    • Old Style romans: Sarabande (1998; based on Jean Jannon's famous "Garamond" of 1621), Pavane (1998, based on a text typeface by Rudolf Koch), Philomela (2000, also at PsyOps), Montrachet (2002, Fountain: a garalde family), Monteverdi (Fountain: with Granjon's Plantin Ascendonica italic).
    • Baroque/transitional: Leyden, Leyden News (PsyOps, 2000), Baskerville 1757 and Baskerville Caps (1998; winner of a Bukvaraz award in 2001, available at Type Quarry).
    • New Style Romans: Millennium, Eleonora (1999), Prospero (1998, a didone family), Waldstein (2003, Fountain: a Scotch typeface).
    • Sans typefaces: Millennium, Millennium Sans, Millennium Linear, New Millennium, New Millennium Sans and New Millennium Linear (2000).
    • Display typefaces: Diorite (2005, a calligraphic angular family), Corsiva Italica (2003), Paracelsus (2003, Fountain: a modern version of Schwabach), Foliant Blackletter (German 15th C Textur), Zeppelin Bauhaus Gothic, Berserk Scandinavian runes, Escorial (at PsyOps), Paestum (2001, a Greek simulation family), Sekhmet (2000), Praetorian, Pressroom (2003), Proconsular, Palaestra (the latter three are inspired by informal, painted Roman wall writing), Triumphalis Caps (also inspired by Roman imperial inscriptions), Bucintoro (1999, a modern version of the rotunda blackletter), Midnight (2000; a neon light/ blackboard bold family), Karolin Fraktur (at Psy/Ops: Fraktur modeled after the Bible of King Charles XII, printed in Stockholm in 1703), Rococo Titling (2001, ornate titling caps based on work done by Jacques-François Rosart (1714-1777) and Pierre Simon Fournier (1712-1768), and the Renaissance family Ronsard (at PsyOps, 2000).
    Some fonts are available at Fountain, Psy/Ops and Type Quarry. Bukvaraz gave him an award for Absolut Type, a classic Renaissance family, so I wonder if that is not the same as Baskerville 1757. Lars says that Absolute Vodka complained, so the type is sold by Psy/Ops as Aalborg (2002). He published Whitenights at Linotype in 2003. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Tiny Type Co
    [Robin Mientjes]

    Tiny Type Co. was established by Dutch graphic and type designer Robin Mientjes in 2016, in Oslo, Norway. Robin writes about herself: Robin Mientjes is a genderqueer feminist type designer, with an obsession for baking, cooking, and thoughtful graphic design. She's been designing for print and web for fifteen years, and studied at the KABK. Her typefaces:

    • She contributed to the open source font project Open Baskerville (2009).
    • Dover Display in Sans and Serif versions (2012-2016), with some contrast, sharp edges, and historic influences from the British types Caslon and Gill Sans. Dover Text (Sans and Serif) followed in 2017. Mientjes: Dover Serif Text is a modern Caslon, and Dover Sans Text is the Gill Sans you've always wanted to pair it with. Together, they do it all.
    • Hume (2016): a collection of sans and display typefaces for the redesign of BNordaaker.
    • Peaches. A pixel font designed for a comic book artist.
    • Charlotte Greeven. A high-contrast didone typeface created for fashion designer and illustrator Charlotte Greeven.
    • Antikva. An angular design based on Oldrich Menhart's Manuskript Antikva (1943). It was developed during her studies at KABK.
    • Monumental Grotesk (2016). Based on the architectural lettering of Piet Zwart for his friend, Hendrik Berlage.

    Home page. [Google] [More]  ⦿

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

    Antaviana Typeface Division is a Catalan foundry, est. ca. 2002. It went also under the name Astramat and was also known as ANTAVIANA SERVEIS INTERACTIUS, SCCL. Located in Lleida, it is run by Josep Patau i Bellart (b. 1971, Les Borges Blanques, Lleida). Patau i Bellart offered free fonts, as well as commercial fonts. He has emerged as one of the most talented contemporary Spanish type designers. In 2011, he started Tipo Pepel [MyFonts link] in Les Borges Blanques. Josep Patau's typefaces:

    • Free typefaces: Lletraferida (2011, a didone), Negrona (2011, a revival of Lucian Bernhard's Bernhard Negro, 1930), Perolet, Lango, Gimenells, Arbeka, Rosango, Antaviana, FoxScript (1996, old typewriter), Unregistered, and FistroRatted (grunge).
    • At Astramat, one could download these fonts: Anmari (2002), Antaviana (1996), Arbeka (2002), FAXADA (2001, by Cel Tico Petit), FoxScriptNormal (1996, old typewriter), Gastada (2001, another grunge font by Cel Tico Petit), Gimenells (2001, pixel font), Gorchs (2007, script font), Klander (1999, pixel font), Lang (2001, pixel font family), Masterfly (2007, T-26), Omellons (2001, pixel font family), Perolet (2001, Bauhaus style), Pixelade (2001, pixel font), Rosango (1996), Tiquet (2001, grunge font by Cel Tico Petit), Ultrafat (2007, T-26), Fistro Ratted. Fontspace link for Astramat.
    • T-26 fonts: the screen typeface PixScript (2004), the screen icon dingbat font Pixelade Icons (2003), the art nouveau headline font Gisele (2003, angular art deco titling face), Masterfly (2007), Gopal (2004), Gourmet (2004, based on a type from the 1923 ATF catalog), Confetti (2006, connected fifties style face based on a 1930 type called Escritura Maravilla and Escritura Energica by the José Iranzo foundry in Barcelona), the pixel family Bit Kit (2003), Houdini Icons (20 pixel web icon dingbat typefaces, 2004).
    • At ATypI 2009 in Mexico City, he explained the typographic work of the goldsmith Manuel Peleguer: The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of the goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the "Real Sociedad Económica Valenciana de Amigos del Pais". The result was a modern transitional typeface, with good legibility and neoclasical forms, equal in quality to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer founded a press and a font foundry in 1784. Patau Bellart created a type family based on Peleguer's work called Peleguer (2009, + Ornaments).
    • Anduaga, a calligraphic typeface from the 18th century, won the Laus Prize (said to be the Spanish equivalent of the type Oscars). Anduaga is the interpretation of the script that Joseph of Anduaga proposed for teaching the first letters in the 1780 book Arte de escribir por reglas y sin Muestras ...
    • Valliciergo (2011) is a 100+-glyph calligraphic / copperplate script font that is inspired by samples from Caligrafía inglesa published in Madrid in the late nineteenth century by Spanish calligrapher Vicente Fernández Valliciergo.
    • Dafont page, where one can download Ventura Edding (2008, hand-printed).
    • Kids Script (2011). An upright connected school script.
    • Trajana Sans (2011) is a sans-serif typeface family based on the shapes and proportions of the characters on the Trajan Column in Rome.
    • Farrerons Serif (2011) is a very readable family with angular and humanist underpinnings.
    • Chupada (2012) is an ultra-condensed font family noted for their exaggerated x-height, which consists of five different weights.
    • Chopped Black (2012) was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. It was Linotype's version of ATF's popular Cooper Black.
    • Paralex (2012) is a 12-style geometric slab typeface family.
    • Boxed (2013) is an 18-weight squarish sans family. Followed in 2017 by Boxed Round.
    • Cinta (2013). A large humanist sans family with a full range of weights starting with hairline. It also has Cyrillic.
    • Bridone (2013), for British didone. A didone family that inherits some features from Victorian era British slab serif typefaces. Fashionable, beautiful, and useful.
    • Sisco (2014) is an 18-style elliptical techno family with large x-height.
    • Book Cover (2014) is a fat headline typeface.
    • Tiquet (2014). A dot matrix typeface.
    • Milio (2014). A ten-style wedge-serif transitional typeface family for newsprint and magazines.
    • Naste (2014). A sixteen-style geometric sans family that adds details and character to the classical geometric sans typefaces such as Futura. It is a bit wider than usual and covers Cyrillic.
    • Pobla (2015). A text serif with angular, almost fractured.
    • Dupla. A large multilingual sans family.
    • Trepa (2015). A stencil family with various choices of textures, which was inspired by commercial signs and the 1960s French art movement Graphie Latine.
    • Itaca (2016). A 48-style sans family with very open counters.
    • Mario (2017). A typeface family for arcade games and children.
    • Werdet Script (2017). A calligraphic penmanship script which is named after calligrapher Jean-Baptiste Werdet who was a penman in Bordeaux in 1809 and later a professor at Ecole Normale Superieure in Paris.
    • Geo Deco (2019). A geometric art deco sans family.
    • Frontis (2019). A transitionl roman typeface family inspired by the roman lettershapes that Asensio y Mejorada drew in 1780.
    • Kongress (2019). An elliptical sans family for corporate identities.
    • Labernia (2019). A large didone family based on the font used in Diccionari de la Llengua Catalana (1864, by Pere Labernia, Barcelona): Labernia and Labernia Titling are characterized by ball terminals that are turned inwards.
    • Indecise (2020). A nostalgic 50-style sans family that reminds us of type designs by Enric Crous-Vidal and José Mendoza y Almeida.
    • Frenchute (2020). A great 36-style garalde family inspired by the type used in the 1727 text Le Chemin Royal de la Croix.
    • Gina (2020). A great readable 16-style humanist sans family. Sixteen styles including a hairline.
    • Samplex (2020). Bellart's take on the neutral Swiss sans genre.
    • Bauen (2020). A Bauhaus-inspired geometric sans typeface family.
    • Bazinga (2020). A display typeface family characterized by square counters. Perhaps a children's book font.
    • Romulo (2020). A 12-style transitional roman typeface.
    • Kheops (2020). A 14-style slab serif.

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

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

    TipografiaRamis
    [Ramiz Guseynov]

    Ramiz Guseynov was born in Russia and educated as an architect and graphic designer. After moving to the USA in 1991, where he worked as a graphic designer, Ramiz Guseynov became a part-time type designer who published his work at T-26. In 2004, he set up his own foundry, TipografiaRamis in Highland Park, IL.

    Klingspor link. Behance link.

    His typefaces:

    View Ramiz Guseynov's typefaces. [Google] [MyFonts] [More]  ⦿

    Tipografies
    [Jordi Embodas]

    Jordi Embodas is a Barcelona-based graphic designer, b. 1977. After studying at ELISAVA (1995-1999) and at GH Essen, Germany, he started working at Estudi Juste Calduch in Barcelona (from 2001 onwards). He designs type since 2005 and set up Tipografies in Barcelona for that purpose in 2010. Jordi teaches typography at the design schools from Barcelona Elisava and Idep. His typefaces:

    • Orenga (2005-2008).
    • Pona (2009, text face). Pona can be considered as a a calligraphic sans family, with flared glyphs. Pona Display followed in 2011.
    • Bulo (2012, a legible sans family, from Hair Blond to Ultra Black). Noe Blanco has helped with the development of Bulo Rounded, and Max Saladrigas with Bulo Extreme.
    • Trola (2013, a text serif family). Trola Text was co-designed with Noe Blanco. In 2017, the 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.
    • Nomada (2014). A 4-style sans family specially designed for the web and screens. Followed in 2018 by Nomada Incise, a solemn typeface family with flared stems, and one of the best lapidary typefaces of the past five years. Still in 2018, Maria Ramos and Jordi Embodas co-designed Nomada Didone, and Jordi Embodas added Nomada Slab (2019), Nomada Sans and Nomada Serif (2019).
    • For Universitat Oberta de Catalunya, he designed UOC Sans and UOC Serif in 2016.
    • Cuatrecasas (2017). A flared custom sans and serif typeface family done for Mucho.
    • Folha Grafico (2018) and Folha Texto (2018).
    • Kymco (2019). A wide all caps sans family done for the motorcycle company Kymco.
    • Tinta Broken Coated, Tinta Broken Uncoated, Tinta Coated (2021). A 12-style flared sans. Followed by Tinta Uncoated (2021).

    Behance link. Village link. Another link. Klingspor link.

    Interview by Unostiposduros. Juste Calduch link. [Google] [MyFonts] [More]  ⦿

    Tipomnatica (was: La Tipomatika)
    [Joan A. Alegret]

    Joan A. Alegret (Tipomatica; formerly "La Tipomàtika") is a Barcelona-based Catalan designer (b. 1987) who studied graphic communication at Escola Massana in Barcelona. Creator of the free geometric sans families Candela (2009), Cicle (2007) and Newcicle (2007), and the absolutely rectangular sans family Simply Mono (2007).

    Joan's first commercial typeface is the didone fat typeface Bendita (2011), done for Bonart magazine. Muro (2013) is a heavy sans face. Chispa (2013) aand Verano (2013) are free hand-printed typefaces.

    Dafont link. Font Squirrel link. Fontsy link. Kernest link. Klingspor link. Creative Market link. Behance link. Old URL. Dafont link. [Google] [MyFonts] [More]  ⦿

    Tipos das Letras

    Tipos das Letras (TdL) is an independent digital type foundry, created in 2013 by Aprígio Morgado, Ricardo Santos and Rúben Dias. Together, they designer the modern typefaces TDL Ruha Hairline and TDL Ruha Latin in 2014 and TDL Ruha Crown in 2017. [Google] [MyFonts] [More]  ⦿

    Tipos Reunidos (or: Petit Comite)
    [Joaquim Massana]

    Barcelona-based type and graphic and visual identity designers who published these fonts in 2006 at T-26: Brotxa (2007, fat hand-printed face), Canvas (a stencil experiment), Mequetrefe (2007, T-26, an informal 3-d block letter family), Cuca (an informal printed script family), La Fuente Dingbats, La Fuente (playful script and dingbats for sales signs), Cobalt, Dotdotis, Diario tuc-tuc (2005), Diamant.

    Petit Comite, the other name for Tipos Reunidos, was established by Quim Massana (the type designer) and Yolanda Martín. Tatiana Vallejo is a Mexican designer who also contributes. The Don family (T-26, 2007) is a fat didone display font with stylistic changes--it includes Don Paco Bold, Don Pancho Bold, Don Pascual Bold and Don Pepito Bold, and Cobalt (2002, T-26) is a 3-weight stencil family.

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

    Tjarda Koster
    [Jelloween Font Foundry]

    [MyFonts] [More]  ⦿

    Tom Carnase

    Type designer Thomas Paul Carnase was born in The Bronx, New York City in 1939. He graduated from New York City Community College in 1959. Carnase started making fonts in the photolettering era, and lived through the transition to digital. In the 1960s, he opens the studio Bonder & Carnase Inc. From 1969 until 1979, he is vice-president and partner of the agency Lubalin, Smith, Carnase Inc. In 1979, he founds the Carnase Computer Typography studio. In 1980, Carnase becomes co-founder and president of the World Typeface Center Inc., an independent type design agency. He manages the in-house magazine Ligature published by the World Typeface Center from 1982 to 1987. Besides type design, Carnase has designed graphics for packaging, exhibitions, corporate identities and logos for numerous clients, including ABC, CBS, Coca-Cola, CondéNast Publications, Doubleday Publishing and NBC. He has held teaching positions at the University of Cincinnati in Ohio, the Pratt Institute in New York, the Herron School of Art in Indiana, the Parson's School of Design in New York, the Cleveland Institute of Art in Ohio, the University of Monterrey in Mexico, and the Rochester Institute of Technology in New York, among others. His fonts include:

    • Fonts at WTC: WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, WTC 145. Clones of Favrile abound: OPTI Favrile (Castcraft), Fascinate (NovelFonts), Francois (Serials).
    • At LSC (LSC stands for Lubalin Smith Carnase Inc, an agency he co-ran in the 70s), he created a number of typefaces such as LSC Book, LSC Condensed and LSC Caslon No. 223.
    • ITC Busorama, a geometric titling typeface that started with an ad for a bus company. Busorama, despite its innate ugliness, has been copied tens of times. Nick Curtis managed to turn it into an art deco typeface in 1999 with his Ritzy Normal.
    • With Herb Lubalin, he designed L&C Hairline (ca. 1966, VGC) and L&C Stymie Hairline (1973, VGC).
    • At ITC: ITC Manhattan (1970), ITC Avant Garde Gothic (with Herb Lubalin and Ed Benguiat, 1970), ITC Bolt Bold (with Ronne Bonder, 1970), ITC Gorilla (with Ronne Bonder, 1970), ITC Grizzly (with Ronne Bonder, 1970), ITC Grouch (with Ronne Bonder, 1970: this Caslon headline typeface was mimicked and extended in 2011 by Tomi Haaparanta as Grumpy Black; see also Softmaker's Zepp and Bitstream's Dutch 791), ITC Machine (with Ronne Bonder, 1970), ITC Pioneer (with Ronne Bonder, 1970), ITC Ronda (with Ronne Bonder, 1970), ITC Tom's Roman (with Ronne Bonder, 1970), ITC Fat Face Western, ITC Pioneer No. 2, ITC Honda, ITC Didi (a high contrast didone revived in 2013 by Jason Anthony Walcott as Domani CP), ITC Bernase Roman, ITC Neon (1970; jointly by Ronné Bonder and Tom Carnase; based on Prisma, and initially shown by Photo-Lettering as Neon; Prisma in turn was based on Rudolph Koch's Kabel; digitizations include Neptune (FontBank, 1990-1993) and the free shadowed Multistrokes (Manfred Klein, 2003)), and Milano (with Ronne Bonder).
    • L'Eggs, ca. 1969. A custom font for a line of hosiery to be called L'eggs by designer Roger Ferriter and Tom Carnase.
    Author of Type: the best in digital classic text fonts (1995, Graphis, with Baruch Gorkin), about which Hrant Papazian writes: I just went through the Carnase/Gorkin book - I'd forgotten how lousy it is---please don't buy it.

    FontShop link. Klingspor link.

    View Tom Carnase's typefaces. [Google] [MyFonts] [More]  ⦿

    Tom Cunningham
    [New Tropical Design Studio]

    [More]  ⦿

    Tom Kacvinsky
    [American Mathematical Society]

    [More]  ⦿

    Tom Wallace
    [HiH (Hand in Hand)]

    [MyFonts] [More]  ⦿

    Tomás Brousil
    [Suitcase Type Foundry]

    [MyFonts] [More]  ⦿

    Tomato Košir

    Prolific Slovenian graphic designer (b. 1978, Kranju) who made the typefaces Geotip (1998, geometric experiment), Grotesca (1998), Russia (1999, Cyrillic simulation font), Stisca (1999), Walbotomy (2000, Walbaum letters rotated to make other letters), Circularum (2000), Quadra (2000, a squarish font), QuadraII, Mikona (2000) and J477 (2000, underbelt and uppercut, left and right versions of minimalist ideas). He is designing the corporate identity of the Ministry of Culture of the Republic of Slovenia. Designer of the sans typeface Finting (2006).

    Cofounder of the TipoBrda type design conferences, held annually since 2006 in Slovenia.

    From 2010 until 2012, he organized four type design workshops in Slovenia called tipoRenesansa. From 2012 onwards, these events were renamed TypeClinic. They are typically held in February and August of every year.

    Creator of the futuristic experimental typeface Laufr during the design workshop TipoBrda in 2008. From 2011 until 2013, he designed the didone family Rastignac (+Italic). Rastignac Bold appeared in 2014 and the excellentissimo didone fashion mag beauty Rastignac Black in 2015.

    He finished his master's degree in 2007 at the Department for Design, Academy of Fine Arts and Design in Ljubljana. In 2010 he became Assistant Professor at Academy of Fine Arts and Design in Ljubljana. In the same year, he created Spacioneza. Other typefaces, designed ca. 2016: Mikona, Quadra, QuadraII, Stiska, Walbotomy, Circularum, Geotip, Grotesca, Russia (constructivist, or Cyrillic simulation font). .

    Behance link.

    Lolita Band poster (2010). [Google] [More]  ⦿

    Tony de Marco
    [Just in Type (was: Tipomovel)]

    [MyFonts] [More]  ⦿

    Tony Thomas
    [Medialoot]

    [More]  ⦿

    Toto
    [K22 Fonts]

    [More]  ⦿

    totwo (or: Atelier Otadoya)

    Yana Kutyina and Andrey Belonogov together form totwo (or Atelier Otadoya), a studio in Moscow. Their typefaces include the award-winning calligraphic Latin / Cyrillic font Kalimantan (2012-2013) by Yana Kutyina. In 2014, they designed the counterless display typeface Nerpa. In 2016, they cooperated with Valery Golyzhenkov on the great vintage typeface system Triplet in Erste, Zweite and Dritte styles. Triplet won an award at Granshan 2017. [Google] [More]  ⦿

    Tour de Force Font Foundry
    [Slobodan Jelesijevic]

    Slobodan Jelesijevic (b. 1951) is a Serbian type designer, born and based in Gornji Milanovac, Serbia. He graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts, University of Arts, Belgrade. He is a typeface and graphic designer and illustrator, and teaches graphic communication at the Faculty of Art in Nis, Serbia. In 2009, he and Dusan Jelesijevic founded Tour de Force.

    In 2009, he designed ITC Nova Lineta (chiseled look font), ITC Pino (a bouncy light-hearted typeface designed for a children's magazine), Belco (a sans and slab serif by Slobodan Jelesijevic), Punkerro Crust (a delicious scratchy type by Dusan Jelesijevic), Qiltray (handwriting for long texts), Horrorama (rough brush signpainting face), Oblik and Oblik Serif (by Slobodan), Rough the Type (2009, hand-printed), and Znak Symbols.

    Typefaces from 2010: Demis (a decorative typeface by Slobodan), Oblik Classic (by Slobodan--an organic sans family), Oblik Bold, Trubadur (a triangularly serifed typeface by Slobodan).

    In 2012, he made Kvadra (a slabbed family), Vezus (a flared sans family characterized by a capricious w) and Prored (an elegant sans family).

    In 2013, he published Vezus Serif, which was followed in 2014 by Vezus Serif Texture.

    In 2014, Slobodan finished the sans typeface family Galeb and Galeb Texture.

    Typefaces from 2015: Jeles (a rounded didone typeface family with large x-height).

    Typefaces from 2016: Galeb Stencil, Galeb Stencil Texture.

    Typefaces from 2018 by Slobodan: Dopis (a neo-grotesque).

    Typefaces from 2019 by Slobodan: Artartika (Sans, Slab: high-waisted).

    Typefaces from 2020: Jumbox (a 5-style ragtag poster typeface family).

    MyFonts link. Klingspor link. Agfa/Monotype link. Fontspring link.

    Catalog in 2010. [Google] [MyFonts] [More]  ⦿

    TPTQ Arabic Type Foundry
    [Kristyan Sarkis]

    Sarkis has a BA in Graphic Design from Notre Dame University, Lebanon, and a Master's from the Design in Type and Media program at the The Royal Academy of Art in The Hague, The Netherlands. He has worked in the fields of graphic design and branding/advertising, and has taught at Virginia Commonwealth University (in Qatar). He was an independent graphic and type designer based in The Hague, The Netherlands, and is currently in Amsterdam. In 2015, he cofounded TPTQ Arabic Type Foundry. Flickr page.

    In a KHTT interview, he writes: My first real experience with type was when I was working with Mohtaraf Beirut Graphics (2007), one of the leading design houses in Lebanon. Mohtaraf has a strong affinity to Arabic type and has produced several beautiful Arabic typefaces. Back then, I was given a task to start drawing a typeface. I was hesitant at first, but got very quickly into it. The design director Yara Khoury noticed that I 'have a knack for this', and encouraged me to go on with it. I was delighted to have the opportunity to understand a lot more about type under Yara's direction, and with some eye-opening sketches from Ali Assi, to research the calligraphic styles and explore the beauty of the Arabic script. I had very limited technical knowledge in font development at the time, therefore after I did the original digital drawings on Adobe Illustrator, Greta Khoury, my colleague at the time, who was and remains one of my biggest sources of inspiration, took over the project, did her magic tricks with it, and produced it into a working font in Fontlab Studio. I owe my start in type design to Yara Khoury and Greta Khoury and to an endless fascination with the Arabic script and the ethereal art of Arabic calligraphy. This drove me to work on self-initiated typefaces which eventually culminated in pursuing a higher education in Type Design at The Royal Academy of Art in The Hague. There, it all went to a whole new level, with countless additional inspirations: from the great teachers that we had, to all the lecturers and the amazing amount of information that was given to us.

    His typefaces:

    • Thuraya (2010) is his thesis project at KABK: Thuraya is a display Arabic typeface that explores a contemporary context for the Diwani script. It won an award at TDC2 2011.
    • Still at KABK, he did a revival called Almost Didot (2010).
    • Coco (2010) is a rounded serif text typeface under development.
    • About Vespertine Arabic, he writes: Vespertine is a linear font designed specifically for the icelandic artist Björk by M/M Paris. Though seemingly a childish handwriting, the typeface is unusual, tricky and cursive with intricate curves. These characteristics, along with the thickness, x-height, counters and hand movement were meticulously studied and implemented in the Arabic version without undermining its legibility.
    • He also created Always Arabic, an Arabic companion of the Latin house font Always used by the feminine hygiene product company by the same name.
    • Amale is a modern Arabic display typeface suitable for newspaper headlines, book titles and logotypes.
    • Designer of Colvert Arabic (2012, Typographies.fr).
    • Louvre Abu Dhabi Logotype (2013).
    • Greta Arabic (2011), which was designed for newspapers, won an award at TDC 2012 and again at TDC 2016.
    • Kanun (2016-2017) by Krystian Sarkis is an Arabic signage type family carefully crafted to also handle long texts. It is the Arabic counterpart of Typotheque's November. Co-designer with Maha Aki of the Latin / Arabic typeface Kanun Stencil (2021), a playful typeface inspired by industrial signage and mechanical stencilling. Kanun Stencil is equipped with a collection of transportation and travel-related signs, symbols, icons, and various sets of arrows for signage and wayfinding systems. Kanun is meant as an Arabic counterpart of Peter Bilak's November.
    • Teshrin (2017). A warmer version of Kanun, still well equipped for information signage and wayfinding projects.
    • Qandus (2017-2019). A Latin / Arabic cooperative typeface by Kristyan Sarkis and Laura Meseguer.

    Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Juan Luis Blanco, 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. Personal home page. [Google] [More]  ⦿

    Trevor Gessay

    Milwaukee, WI and now Chicago, IL-based creator of these typefaces in 2012-2013: Yeti (squarish), Paris 1889, Abakka (futuristic, octagonal), Neue School (octagonal, athletic lettering), Runaway, Bastard.

    In 2014, he designed Fruit Stand (vernacular signage face), the modular sans typefaces Maceland and Lynial, and the stylish Centurion.

    Behance link. [Google] [More]  ⦿

    TSIPA

    Based on Knuth's Computer Modern, TSIPA is a phonetic metafont made by Hajime Kobayashi, Rei Fukui, and Shun Shirakawai in 1992, improving the older WSUIPA phonetic font. However, it too has now been superseded by TIPA, a 256-position font. [Google] [More]  ⦿

    Tt2001
    [Péter Szabó]

    Tt2001 "a TeX .pfb font collection, converted to .pfb in 2001 by the author of TeXtrace, using TeXtrace. It contains almost _all_ the EC (European Computer Modern) and TC (Text Companion) fonts in all possible design sizes, _all_ the AMS fonts in all possible design sizes, plus some more." Note: the EC fonts (European Computer Modern) and TC fonts (Text Companion) were drawn by Jörg Knappen and Norbert Schwarz. The AMS fonts were converted by Bluesky in 1992 from Knuth's Computer Modern (CM) fonts. The font set was created by Hungarian computer scientist Péter Szabó in 2001. [Google] [More]  ⦿

    twisty.com
    [Tim Brayshaw]

    Bristol, UK-based Tim Brayshaw's creations (free): Block Titling (very original!), Bodoni Mutant, Candle (fresh and artsy outline font), Grunge, MixAndMatch, Ogimus (Ogham style--not finished), Staidier not Stadia. His LinkedScript is not at the site. Books about fonts.

    Dafont link. [Google] [More]  ⦿

    TwoPoints.net
    [Martin Lorenz]

    Design bureau in Barcelona, Hamburg and Berlin, est. 2007, with fonts that are mainly due to German type designer Martin Lorenz. The list of typefaces:

    • TpFloral (2006) is a modular typeface inspired by Kombinationsschrift (1926, Josef Albers). It is based upon two basic elements, a quarter circle and a square.
    • TpStretch (2002).
    • TpKurier Sans and Serif (2006). A redesign of Courier. Followed by TpKurier-Contrast (2008), TpKurier-Filled (2009) and TpKurier-Calligraphic (2010). In 2013, Vette Letters published VLNL Tp Kurier (2013, a monospaced typewriter face; + Serif, + Callig Regular).
    • TpMartini (2008) is a didone family that was used for the identity of Bambi Mint. It was published in 2013 by Vette Letters as VLNL Tp Martini.
    • TpLlum (2008) is a typeface that was designed for the festival Montjuïc de Nit. It was published in 2012 by Vette Letters.
    • TpDuro (2010) is a blackletter typeface.
    • In 2017, TwoPoints was commissioned to design a typeface for ESPN The Magazine's NBA Preview issue.
    • At Vette Letters, he published VLNL TpDuro (2019: a blackletter inspired by an Albrecht Dürer design from 1525; with Juanra Pastor).
    • VLNL Tp Bar Paco (2014, inspired by the vernacular type found in traditional Spanish bars in Barcelona).
    • Tp Rawkost (2019), Tp Marte (2019), Tp Luna (2019).
    • In 2019, they were commissioned by ESPN to make a special display font, ESPN Next. In 2018, they designed the arc-and-circle typeface Gold Rush for an ESPN Magazine issue about the female athletes participating in the Winter Olympics in Pyeong Yang.

    In 2019, TwoPoints published On The Road To Variable (Victionary). [Google] [MyFonts] [More]  ⦿

    Tyler Finck
    [Etcetera Type Company (or: ETC; was: Finck Font Co)]

    [MyFonts] [More]  ⦿

    Type 714
    [Thanarat Vachiruckul]

    Designer whose last name is sometimes spelled Vachirukul. He published the dingbat typefaces Bulleta One and Two (2011) at the Thai foundry Katatrad. This pair of typefaces is meant to provide bullets for lists and tables.

    In 2014, Thanarat created the rounded humanist sans typeface Montio (Montio), the stencil typeface Vanage (Katatrad), the fashion mag didone sans typeface family Vage, and the monoline thin sans family Malina (Katatrad).

    His typeface Muttayat won an award in the Thai typeface category at Granshan 2014.

    In 2015, still at Katatrad, Thanarat Vachiruckul created the humanist sans typeface family Rigo.

    Typefaces from 2016 include Danos (a sans family inspired by the classic industrial grotesque and geometric typefaces) and Stenka (stencil). Prompt won an award at Granshan 2016 in the Thai typeface category.

    Typefaces from 2017: Sango (rounded sans), Ramston (a humanist sans in 20 styles published by Katatrad), Cabarno (a condensed sans typeface family published by Katatrad).

    Typefaces from 2018: Kodchasan (Google Fonts, Cadson Demak), K2D (Google Fonts, Cadson Demak).

    Typefaces from 2019: Hergon Grotesk (Katatrad).

    You Work For Them link. [Google] [MyFonts] [More]  ⦿

    Type Innovations
    [Alex O. Kaczun]

    Alex Kaczun is a type designer and type expert based in Northport, NY. At MyFonts he wrote: Much of Alex's career was spent at the premier type foundry, Linotype-Hell, where he was the principal type designer and worked on many font projects aimed at modernizing the Linotype Library. Alex managed the development of The Adobe PostScript Font Library and created multiple master fonts for Apple Computer's QuickDraw technology. In 1980, he joined a small group of entrepreneurs and pioneered the development of the world's first digital font library at Bitstream, then located in Cambridge, Massachusetts. Afterwards, Alex took a position at Bozell-Worldwide, a large international advertising company, where he was type director and managed the front desk at the CPS Group. The company is well known for their successful "Got Milk" ad campaign. At Bozell, Alex honed his skills in graphic design, desktop publishing, prepress print production and the web.

    His early typefaces include Axion (2012, a futuristic, techno-looking type family; +RND, +SSF, +SER, +RX14, +STN (a stencil version)), BottleKaps (1992) at Linotype. Also at Linotype, he worked on the Fairfield family, designed in 1939 by Rudolf Ruzicka, completing the job in 1991. He also made outlines for Bell Centennial based on Matthew Carter's bitmaps. He runs Type Innovations.

    He designed the following fonts at Galapagos: Beatnik (1997), Android (2010, beveled techno family), Big Boy (2010, a heavy wood type), CaltexNovaSans (Galapagos), Contax (1997, Galapagos: Alex says about this family: Contax is the new Univers for the 21st century), Contax Sans (2011---this typeface is Peignotian in its light weights, and has subtle and not-so-subtle stem variations), Eclipse (1997, shadow beveled face), Extreme SDans (1997), Innovage (1997, a new Helvetica for the 21st century, in his own words), New Renaissance (1997, a true roman face), Shockwave (1997), Golum (1997), Swordtail (Galapagos, 1997, a hip hand-printed font), New Age (Galapagos, 2002), Extreme Sans (Galapagos, 2002).

    Other typefcaes: Kaczun Oldstyle Bold (2010), Doc Holliday (2010, a Western face), Hippyfreak (2010), Mister Twiggs and Misses Twiggs (2010), Geomatrix (2010, geometric stencil face), Oronteus Finaeus (2010, like lettering from a map dated 1531), Piccadilly Circus (2010, a Western face), Switched On and Off (Galapagos, 1997), Racetrack (2010: an octagonal multiline display face), Mandelia (2010: a wedge-serif display face).

    Typefaces from 2011: New Age Gothic (a kind of 21st century copperplate), Scion (wide techno logo family), Dexter (2011, an artsy grotesque), Metalica (2011, a pointy cult type family).

    Typefaces from 2012: Edgar No. 9 (heavy baroque slab serif in the style of 19th century wood type), Langston (outlined and octagonal), Ekeras V2 (inline face), Mecanica, Mariamne (a spurred typeface based on Contax), Axion SER (a triangle-serifed typeface), Beatnik Barbie (a beatnik font influenced by Jack Kerouac), Nadia (a modern stencil interpretation of Granjon Oldstyle).

    Typefaces from 2013: Directors Cut Pro (this geometric antique font was a second prize winner at the Canberra Typeface Competition), Ambriel (a curly didone that mixes in Victorian frillies), Sansational (or Sensational sans: an ultra-condensed sans family), My Darling (a bastardized didone fashion mag face), Envisage (grotesk).

    Typefaces from 2014: Renovatio Deco (a spurred stencil), Crypton (sci-fi face).

    Typefaces from 2015: Nadia (a stencil version of Granjon Oldstyle).

    Typefaces from 2017: Gothica (stencil), Decrypt H1, Decrypt He2 (hipster style), Decrypt 02, Decrypt 01 (this geometric sans with hipster capitals evolved from Contax Pro in 1997 and was finally published in 2017).

    Typefaces from 2018: Grande Sans (stylized caps with sharp triangular corners).

    Showcase of Alex Kaczun's typefaces. [Google] [MyFonts] [More]  ⦿

    Type Navigator

    Fontshop's on-line search engine makes locating a font in the Fontshop library simple. Completely visual and mouse-driven, this is a step forward. A test for modern correctly showed that Fontshop offers these modern typefaces: FF Acanthus (Kobayashi), FF Bodoni Classic (Wiescher), FF Cellini (Boton) and FF Danubia (Solt-Bittner). The software was developed by Hansjörg and Robert Stulle. [Google] [More]  ⦿

    Type Republic
    [Andreu Balius Planelles]

    Catalan foundry headed by Andreu Balius (b. 1962), who is based in Barcelona and Son (Alt Aneu), Lleida. Balius holds a PhD in Design from the University of Southampton (UK) and teaches typography and type design at EINA, University School of Design and Art, in Barcelona.

    Balius set up Garcia Fonts in 1989. He co-founded Typerware in 1996 (which existed until 2001), where he managed type-related projects for La Vanguardia newspaper, La Fura dels Baus and Primavera Sound Festival. In 2003, he launched Type Republic, catering to clients such as SEAT/Wolkswagen group, Victoria's Secret, Acciona, Ferrovial, and designed text typefaces for newspapers such as La Gaceta, Tribuna (Salamanca, Spain) and La Discusion (Chile).

    Some fonts sold through MyFonts:

    • Pradell (2003). This is a Latin text family based on original Spanish 18th century type specimens cut by Catalan punchcutter Eudald Pradell (1721-1788). Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. He added Pradell Arabic some time later.
    • In 2008, Balius designed the curly dance-fest themed Carmen for the new edition of Prosper Merimée's drama. In 2012, Type Republic designed the fashion didone typeface Carmen Fine Display for Victoria's Secret.
    • Mecano (2007, geometric sans).
    • Taüll (2007, Basque meets blackletter).
    • Czeska (after woodcuts by Vojtech Preissig).
    • Super Veloz (2005, with Alex Trochut). This fantastic layered type system is based on Joan Trochut-Blanchard's modular typeface. SV Marfil (2004) and SV Fauno were created from Superveloz modules. In 2020, Andreu Balius and Ricard Garcia released The Superveloz Centenary Collection at Type Republic to honor Joan Trochut's 1942 masterpiece. It consists of SV Mambo, SV Jazz, SV Bebop, SV Bolero, SV Swing and SV Twist. In 2021, Ricard Garcia and Andreu Balius added the large family SuperVeloz Caps which consists of SV Caps Bebop SV Caps Bolero SV Caps Jazz SV Caps Mambo SV Caps Swing and SV Caps Twist.
    • Barna (2011), a slightly humanist textbook sans, and Barna Stencil (2011).
    • Trochut.
    • Matilde (connected pixel script).
    • Proximus (2014). A corporate typeface for the Belgian communication company.
    • Patufet (2018-2019). By Andreu Balius and Ricard Garcia. A warm text family inspired by Catalan folk tales. For hairlines, one can't go thinner than Patufet Finet. In 2020, they added Patufet Mono.
    • Poblet (2018: Solid, Diamond, Bevel). By Andreu Balius and Ricard Garcia. A stylish titling or display typeface that includes a vintage inline style.
    • Rioja (2014-2015). This sans typeface family was first designed for the identity of University of La Rioja, in Logroño, and it was further developed in 2014 for commercial distribution.
    • Tuqbal Pro (2015-2019, by Andreu Balius and Juan Luis Blanco). Tubqal Pro is a tri-script type family based on its previous Tubqal typeface commissioned by the Khatt Foundation as part of the Typographic Matchmaking in the Maghrib 3.0, the 3rd edition of the multi-script typographic research project of the Khatt Foundation. It includes Latin, Arabic (+Farsi) and Tifinagh (for the Tifinagh based languages: Tamazight (Central Atlas), Kabyle, Tamazight (Standard Moroccan), Tachawit, Tachelhit, Tagdal, Tamahaq, Tahaggart, Tamasheq, Tarifit, Tamajaq, Tawallammat, Tamajeq, Tayart, Tumzabt, Zenaga).
    • Aloma (2017-2020). A delicate fashion mag typeface best suited for titling, Aloma is inspired by Aloma, a novel written in 1938 by Catalan writer Mercè Rodoreda. The typeface refers slightly to art deco headlines and to the Catalan Noucentisme movement.
    • Groundbeat (2020). A stencil family by Andreu Balius and Ricard Garcia.

    Custom / bespoke typefaces include Carmen VS (for Victoria's Secret, New York), Ferrovial, Dsignes (a wayfinding sans), VLC (for Valencia Tourism Bureau), Lladro (sans), Forum.

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

    Type Sailor
    [David Fernando Espinosa Martínez]

    Type Sailor is David Espinosa (born in 1986) who lives in Bogotá. He graduated from the Universidad de Bogotá Jorge Tadeo Lozano as graphic designer and advertiser. He is a descendant of Antonio Espinosa de los Monteros, first royal printer of the viceroyalty of Nueva Granada.

    He designed these typefaces:

    • In 2021: Chapinero (blackletter, serif and sans system).
    • In 2020: AmaLita (handcrafted), Font Negra (a spurred blackletter typeface done for a client, Mao Fonnegra).
    • In 2019: Monteros (text typeface), TS Chapinero (blackletter).
    • In 2017: Monteros (a revival of an old style typeface by Antonio Espinosa de los Monteros), Gautama (an organic sans).
    • In 2014: Internerd, Old Providence New Roots (a poster typeface co-designed with Mateo Rivano), Santander (a great didone family).
    • In 2013: Vercingetorix (monoline informal sans), Persifal (calligraphic typeface), Ygraine, Urania, Zephiroth (a semi-connected script), X-Classified (very grungy typewriter typeface), Salme (Treefrog-style script), Joyeux, Fugitiva (an ornamental Western saloon or circus font), Tomsk.
    • In 2012: Pelida, Valpuesta, Walkiria (an informal blackletter), Quattro (a techno family), Olimpia, Luisa, Merlot (like caps in the style of William Morris), Bizancia (Arab simulation face), Imelda, Epifanía, Nero d'Avola (a great calligraphic script), Round, Avanti (calligraphic), Street Dork (stencil face).
    • In 2011: Daniela (hairline sans), Glamourousse (sans), Caro (pixel), Carolina (sans), Kermesse (an octagonal font).
    • In 2010: Davidcito (handwriting) and Hug Femmes (sans).

    He says that his inspiration comes from the female form, which always has been associated with classic typography.

    Dafont link. Iphoneruler link. FontM link. Facebook link. Issuu link. Behance link. [Google] [More]  ⦿

    Type Together
    [Veronika Burian]

    Foundry est. in 2005 by Veronika Burian (Czechia) and José Scaglione (Argentina). TypeTogether's library of retail fonts includes

    • Karmina (Veronika Burian / José Scaglione, a text typeface for newspapers, winner of the ED Awards) and Karmina Sans (12 styles). Award winner at Tipos Latinos 2010. Karmina, Bree and Ronnia were selected as part of the travelling exhibition Tipos Latinos 2008.
    • Athelas (José Scaglione / Veronika Burian, 2008, a calm and balanced 4-style book type family, winner of the first prize at the Granshan 2008 competetion).
    • Ronnia (Veronika Burian / José Scaglione, a flexible sans serif for editorial use with 28 styles).
    • Maiola (an award-winning calligraphic serif family by Burian).
    • Crete (Veronika Burian, 2007, inspired by lettering in a chapel in Crete, winner of the Gransham 2008 competition; ideal for posters). Followed by Crete Round (2011).
    • Bree (Veronika Burian / José Scaglione, 2008). A 10-style upright italic with a matchting oblique for display usage. In the years that followed, Bree was substantially expanded: Bree is available in Greek (by Irene Vlachou), Cyrillic (by by Veronika Burian, with expert support by Vera Evstafieva), Arabic (by Azza Alameddine) and Thai (by Cadson Demak's Panuwat Usakulwattana). Bree Latin now supports Pinyin and features improved Vietnamese diacritics (with the help of Donny Truong). Bree Devanagari (by Pooja Saxena) is in the works.
    • Adelle Sans. A 12-style slab serif family made in 2009. Award winner at Tipos Latinos 2010. Adelle Condensed followed in 2013. With the help of Erin McLaughlin and Vaibhav Singh, Adelle Sans Devanagari was finished in 2017. Adelle Mono was added in 2020.
    • Abril (2010) is a didone font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. It won an award at Tipos Latinos 2012. Abril Fatface is free at Google Font Directory. Abril Titling was published in 2013-2014.
    • Jockey One (2011) is a free sans typeface at Google Font Directory.
    • Birdy (2011). A free angular inline typeface by Veronika Burian.
    • Fonts by third party designers: Cora (by Bart Blubaugh), Alizé (2009, by Tom Grace) and Givry (by Tom Grace: a bastarda typeface), Iskra (2012, by Tom Grace; not to be confused with Iskra by Edgar Reyes, 2009), Gitter (a modular type with letters built up of triangles).
    • Tablet Gothic (2012). A joint design of Veronika Burian and José Scaglione, it is a grotesque meant for titling. Tablet Gothic won an award at Tipos Latinos 2014.
    • Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romanesque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. PDF file.
    • In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony, which won an award at Tipos Latinos 2016.
    • TypeTogether and Design Sessions Studio collaborated in the development of a logotype and an associated type family for the government-owned TV channel and Radio station of Puerto Rico, WIPR Unicase.
    • Protipo (2018) is a 52-font information design sans family designed by Veronika Burian and José Scaglione. This was a major team effort. Irene Vlachou will soon finish the variable font production. The information icons were designed by Luciana Sottini. Kerning by Radek Sidun and engineering by Joancarles Casasin.
    • In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence.
    • Postea (2021). A geometric sans with some eccentric details and variable font support. Noemi Stauffer writes: Postea comes with a collection of Bauhaus-inspired geometric patterns and ornaments and a suite of icons that can be called up simply by enclosing their names between a pair of colons, and choosing the correct stylistic set. Now that is typographic magic!
    • Type Together made many custom typefaces. These include Abril Almeria(for Spanish newspaper La Voz de Almeria), Athelas Apple Books (for Apple iBooks), Bodoni Stencil (for Levi's---based on ParaType Bodoni), ClarĂ­n Titulos(for Argentine newspaper Clarin), Karmina Cyrillic (for Bible Society in Russia), Spore (for Electronic Arts), Twinkl Cursive (for Twinkl educational materials), Twinkl Sans, WIPR (for Puerto Rican broadcaster WIPR), NRK Etica Super and Slab, Bree Peru, Literata Book, Qlikview Sans.
    • In 2021, Veronika Burian and José Scaglione designed Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

    Speaker at ATypI 2017 Montreal.

    MyFonts link. Klingspor link.

    Type Together occasionally published educational books as well. In 2022, they released Building Ligatures The Power of Type.

    MyFonts interview.

    Catalog of the Type Together typeface library. Adobe link. [Google] [MyFonts] [More]  ⦿

    Typedia: Typeface classification

    The classification from the Typedia community:

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

    Typejockeys
    [Michael Hochleitner]

    Typejockeys is a graphic and type design company based in Vienna, Austria, established in 2008 by Anna Fahrmaier, Thomas Gabriel and Michael Hochleitner. Stephan Kirsch and Franziska weitgruber joined the team later. They do posters, editorial and book design, web and screen design, corporate design and signage, and custom type and lettering. Michael Hochleitner obtained an MA in typeface design from the University of Reading in 2008.

    His graduation typeface was Ingeborg, a readable didone text family created specifically for periodicals and books. I predict that Ingeborg will win many awards. [Note: Well, a year after my prediction, Ivo Grabowitsch declared it to be the best typeface of 2009, and TDC2 2010 awarded it as well]

    Other typefaces include Drunk Type (2008) and Tender (2008).

    Premiera (2009) is a type family made for small print.

    Henriette (2012) is a beautiful slab serif revival family motivated and developed as follows: In the 1920s the Viennese government decided to standardize the street signs across the city. A typeface was especially constructed for the purpose. It was available in a Heavy and a Bold Condensed version, to support short street names as well as longer ones. As the years went by, the typeface was adopted and redrawn by several enamel factories. These adaptations lead to variations on the design, and to the fact that there isn't a Viennese street sign font but 16 different versions. Henriette is not a digitization of any of those versions; rather, it is influenced by all of them. The italic versions are completely original and designed to accompany the Roman.

    Typefaces from 2014: Carabelle (roundish upright script based on Nebiolo's Calipso), Sauber Script (a warm signage script; for Cyrillic, see here), Freude (roundish script).

    Typefaces by Typejockeys in 2015: Vito (60 style sans family by Thomas Gabriel described by them as follows: Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety).

    In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.

    Typefaces from 2019: Antonia (a crisp variable headline text typeface by Franziska Weitgruber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Post Sans (for Austrian Post; by Michael Hochleitner, Anna Fahrmaier and Stephan Kirsch).

    Corporate typefaces besides those mentioned above: Mautner Script (for Mautner Markhof), The Bank Script, Johannes Trapl (typographic development), Cafe Am Hof (lettering), Piatnik (lettering), Drei Script (a variable font for Three Hutchison), OMV Highlight (an inline font for Latin and Cyrillic).

    Typefaces from 2021: Win2Day (a lotto jackpot font).

    MyFonts interview in 2014.

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

    Typeland
    [Alessia Mazzarella]

    Italian-born graduate of the MATD program at the University of Reading, class of 2013. Before that, she received a Bachelor of Arts in Graphic Design from Central Saint Martins, London and a Bachelor of Arts in Graphic and Multimedia Design from Sapienza, University of Rome. She currently lives and works in the UK.

    For her graduation program, she created the typeface family Prakashan for Odia (Oriya) and Latin. The Latin comes in a low-contrast Light and a quite striking and lively high-contrast Black. Prakashan won an award at Granshan 2014.

    Other typefaces by her include SMN (a display typeface that is based on metal letters located in Florence's Santa Maria Novella train station) and Xstitch (a multi-layered typeface designed as part of the One Day Font project while studying at Central Saint Martins, London).

    In 2014, she created Rossella Hairline.

    In 2015, with Jonathan Hill of The Northern Block, she designed Monsal Gothic, a modern gothic sans which was influenced by News Gothic, Benton and Whitney.

    In 2016, she published the free angular Latin/Gurmukhi typeface Langar at Google Fonts. Github link.

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

    In 2020, she co-designed Marble with Vaibhav Singh at URW. Marble is part of Asterisk Type Collection by URW Type Foundry. Marble is a modern sans serif with a distinct character and comes in 108 styles plus variable fonts.

    Behance link. Home page. Github link. [Google] [MyFonts] [More]  ⦿

    Typemade
    [Santiago Orozco]

    Santiago Orozco (b. 1981, Monterrey) is Typemade in Monterrey, Mexico. He is currently also working for DaniloBlack / Type Network as an information architect. iHis present headquarters is in San Pedro, Nuevo Leon, Mexico.

    He created the free geometric typeface Josefin Sans (2010) using a small x-height---people have suggested it as a free alternative for Neutraface. Josefin Sans was followed by Josefin Slab [see this poster by Cauex Pascoa], and both were extended to many weights. Free downloads from the Google Font Directory.

    In 2011, he published Dorsa (a modern interpretation of the ultra-condensed skyline typeface Empire (1937, Morris Fuller Benton, ATF) with some personal details thrown in), Antic, and Clark Hairline, a sans serif with a calligraphic touch. He explains: The idea to create this typeface was to make it geometric, elegant and kind of vintage, special for titling. It is based on 1927 Rudolf Koch's Kabel, 1930 Rudolf Wolf's Memphis, 1927 Paul Renner's Futura.

    Typefaces from 2012: Antic Slab (Google Web Fonts: designed for use in the headlines of newspapers and magazines), Antic Didone (Google Web Fonts). Italiana (Google Fonts) was designed for use in the headlines of newspapers and magazines. It is inspired by the calligraphy of the Italian masters.

    In 2015, Khaled Hosny and Santiago Orozco cooperated on the Latin / Arabic typeface Reem Kufi. Github link. Khaled, who designed the Arabic part, explains: Reem Kufi is a Fatimid-style decorative Kufic typeface, as seen in the historical mosques of Cairo. It is largely based on the Kufic designs of the late master of Arabic calligraphy, Mohammed Abdul Qadir, who revived this art in the 20th century and formalized its rules.

    Speaker at ATypI 2017 Montreal, where his motto was Kill the pointer, kill the mouse, referring to user interfaces for font selection and variable fonts. Google Plus link. Klingspor link. Behance link. Google Font Directory link. [Google] [MyFonts] [More]  ⦿

    TypeManufactur (was: GST Georg Salden Typedesign)
    [Georg Salden]

    Born in Essen, Germany, in 1930, Georg Salden is the nephew of Helmut Salden (1910-1996), a book and font designer in the Netherlands and a resistance fighter against Hitler.

    From 1950 until 1954, Georg studied advertising design at the Folkwang School in Essen (1950-1954). Later, he taught typography for five years at Folkwang. Until 1971, he was a freelance graphic designer specializing in typography and calligraphy.

    In 1966, he received an award in the international VGC competition in New York for the headline typeface York. He completed three fat weights of York (VGC) and four heavy weightys of Angular (VGC) before 1973.

    At Berthold AG in Berlin, he completed the phototypes Transit in 1969 and Daphne in 1970.

    From 1971 onwards, he cooperated with six German and 24 international foundries, producing about ten fonts per year, under the name GST (Georg Salden Types) and later Context-GmbH. For example, he did 35 fonts for Fototransit. Between 1972 and 1984, he created these typefaces: Aster 4.2, Polo (7 styles), Bilbao, Caslon (4 styles), Basta (5 styles), Stresemann (8 styles), Parabella, Mäander, Brasil (8 styles), Magnet, Hansa, Bonjour, Tandem, Futuranea (a rounded set of 18 styles; royalties for the name were paid to Bauersche Giesserei), Congress (6 styles), Ready, Salut, Loreley (4 styles), Loretta (4 styles), Gordon (7 styles), Volante, Tap (3 styles), Sketchy (4 styles), Gallopp, 1 Videon, Deutschkurrent, Corvey (2 styles), Klicker and Dalli (2 styles).

    In 1977, he converted some of his headline typefaces into text fonts for the Diatronic, spending a lot of time on the kerning tables.

    Before 1988, he drew Basta, Polo, Tap, Turbo, Gordon, Brasil, and Dalli. These were digitized by hand between 1989 and 1992 on the Ikarus system. The families were also expanded. For example, just for Polo, we have these styles: 11, 22, 66, 77, G, Fino, schmal, eng, extracondensed, kyrillisch and griechisch, with old style and lining figures in both Mac PostScript and PC truetype formats. New typefaces in this productive period include Carree, Axiom, Votum, Zitat, Rolls, Essenz, Planet, Trigon, and Deutschkurrent. Videon got four new heavy weights, and Daphne was redesigned for use as a text typeface.

    In 2003, he set up Typemanufactur which he managed until 2008 with Daniel Resing and Tanja Link. Typemanufactur sold the GST typeface library. In 2009, Ludwig Uebele took over this company by himself. He takes care of the web presence, the font licensing, web font production, opentype production and all managerial aspects. After the end of all contracts with VGC, Berthold AG and GST/Context GmbH, all rights of the font collection belong to Georg himself.

    Nowadays, he is critical of the lack of quality in recently designed typefaces. In FontBlog, we find a discussion of the Polo vs. Meta controversy, in German, with a reply by Erik Spiekermann who says that his FF Meta was influenced by many types, not just Polo, but also Syntax, News Gothic and Akzidenz Grotesk. The success of Polo reaches beyond FF Meta. For example, Walter Brendel's Glasgow Serial is also based on Polo. Typophile discussion.

    Also noteworthy is Georg's success in the removal of Revis (2011, Coen Hofmann, URW) from the URW library as it was judged too close to Daphne.

    Scans and technical discussions of some of his typefaces:

    In 1993, Benjamin Kempas made a 12-minute documentary in Georg Salden's life and work entitled Der Schriftgelehrte.

    Behance link. Fontshop link. Klingspor link. Bio. Wikipedia link. What A Character is a web site dedicated to Salden's fonts. [Google] [More]  ⦿

    TypeOff
    [Dan Reynolds]

    Typeoff was an Offenbach-based German type collective, est. 2004 by Daniel John Andrew Reynolds (b. 1979, Baltimore, MD), who blogs happily and frequently. Dan grew up in various cities in the USA, received a BFA in graphic design from the Rhode Island School of Design (RISD) in 2002, and moved to Germany in 2003 to study typography with Professor Fritz Friedl at Hochschule für Gestaltung in Offenbach. Dan was an intern at Linotype, and is still affiliated with Linotype. In 2004, he founded Typeoff.de. In 2007 he moved to the University of Reading for an MA in typeface design. Afterwards, he returned to Germany where he is based in Berlin and, for some time. In 2017, he helped Jan Middendorp set up the new foundry Fust & Friends. In 2018, he submitted his type history PhD dissertation at the University of Braunschweig, Germany, and joined LucasFonts in Berlin.

    Typefaces created by the collective include Argos, AT Stencil, Disco 3000, Ignaz Text, Ignaz Titling, India Gothic, Janus, Jeans, Pater Noster, Proportia, Sweet Pea, Teppic, Used to Love Her. The designers include the founder Dan Reynolds, and his collaborators David Borchers, Lara Glück, Till Hopstock, and Lukas Schneider.

    Dan's own typefaces at TypeOff include Ignaz Text (2004, originally called Ignaz Textura, and based on letters he found on a sepulchral memorial outside of St. Ignaz church in Mainz (Germany)), Ignaz Lombard Caps (2004), Ignaz Titling (2004), Janus (2004, a pixel face), Pater Noster (2004-2009, an uncial), Proportia (2004, a geometric sans), Sweet Pea (2004, an octagonal face), and Used to Love Her (2004, experimental). He is working on a Lombard Capitals face (2004), Teutonia Serif (2005, based on Teutonia, a geometric display typeface that was cut in Offenbach by the Roos & Junge type foundry in 1902; this squarish family is released under the name Mountain at Volcano Type in 2006) and Farewell Street (2004, sans family). Working on this condensed didone (2007).

    In 2007, he worked with Kobayashi at Linotype to produce a revival and extension of a 1930 sans family of Morris Fuller Benton, and named it Morris Sans (+Small Caps), which could be viewed as an organic version of Bank Gothic. Morris Sans was published in 2008 by Linotype.

    In 2008, he designed the serif family Martel in partial fulfilment of the requirements for the MA in typeface design at the University of Reading---it covers Latin and Devanagari. Martel Sans was published in the (free) Google Fonts collection in 2015. It was finished in 2014 in cooperation with mathieu Réguer. Github link.

    He is working on a Condensed Serif.

    Malabar (2008) won an award at TDC2 2009. Malabar also won the German Design Prize in Gold 2010. See the Linotype version Malabar Etext (2013).

    In 2013, Dan did a digital revival of Harold Horman's Western reverse stress typeface Carnival at House Industries. The original dates back to the 1940s when Horman co-founded PhotoLettering Inc.

    Codesigner with Matthew Carter in 2010 of Carter Sans (ITC), a flared lapidary typeface family.

    With Mathieu Réguer, he created the libre a monolinear, geometric sans typeface family Biryani (2015, Google Web Fonts) for Latin and Devanagari.

    In 2017, he published Rustic.

    In 2020, Eben Sorkin, Pria Ravichandran, Inga Ploennigs and Dan Reynolds co-designed the sans family Karow at URW.

    Type events of 2008 reviewed by Dan. Volcano Type link. Speaker at ATypI 2010 in Dublin and at ATypI 2011 in Reykjavik. Klingspor link. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw on Did photography kill punchcutting?. Speaker at ATypI 2018 in Antwerp on the topic of Jean Midolle's typeface Midolline. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Typerware
    [Joancarles P. Casasín]

    Typerware is a foundry in Barcelona set up in 1993 by Andreu Balius and Joancarles P. Casasín. It offers the following original fonts: TW Czeska, TW FaxFont, TW NotTypeWriterButPrinter, FF FontSoup, Matilde Script, Garcia Bodoni.

    Canas Cister Abbey font project.

    Creators of the award-winning typeface Universitas Salamantini (Andreu Balius and Joancarles P. Casasín).

    Interview with Penela. [Google] [MyFonts] [More]  ⦿

    Typesgal

    Hungarian designer of commercial fonts (from 2012 onwards, as Typesgal), located in Puspokhatvan, Hungary:

    • Bar D (2012). A geometric sans serif.
    • BarQ (2012). A geometric sans family.
    • Yerninde (2012), a softened blackletter, and its grunge version, Varaninde (2012).
    • Dirnaith (2012, grungy army stencil), Roth Dirnaith (2012), and Laden Dirnaith (army stencil). Awery (2012) is a more civil stencil face.
    • Blood and Blade (2012). A gothic blackletter pair of typefaces.
    • Carannorov (2012). Followed by the spurred version called Sigil (2012).
    • Miog (2012). A hand-printed typeface.
    • Coire Italic (2012). A cursive script.
    • Lissain (2013). A decorative pair of Bodoni typefaces.
    • Selya (2013). A calligraphic script.
    • Ganton (2013). A fat didone.
    • Carten (2013). A retro signage script.
    • Ranyeski (2014, Cyrillic simulation).
    • Trumpit (2014).
    • Litoland (2014). Based on texts of old American litographic maps from the 1920s.
    • Arellion (2015). A pearly script typeface.
    • Elley (2015). A signage script.
    • Doriel (2016).
    • Sewstain (2018).

    Dafont link for Typesgal. Facebook link. [Google] [More]  ⦿

    TypeShop Collection
    [Walter Florenz Brendel]

    The TypeShop collection was at some point, ca. 2006, part of Elsner&Flake, and its fonts could be licensed via MyFonts. Elsner&Flake provided the history behind this collection and its developer, Brendel: The originator of the big TypeShop Font Collection was Walter Florenz Brendel (1930-1992). As far back as 1972 he had the idea of an electonic and digital system for typeface plotting and cutting as well as automatic modification and reproduction. Before 1972 when type users demanded their type color to be a little lighter or little darker, Brendel as the owner of over 28 typeshops across Europe employing about 600 people, could not meet their demands with the existing typefaces. Consequently he developed a method to satisfy their needs. Brendel was the originator of the concept and the contributor and partner in the development of IKARUS by Dr. Peter Karow. He cut typefaces based on mathematical increments that would allow type weights to be graduated in equal steps. Thanks to his perfectionism, type users can have the luxury of choosing a specific type weight out of seven from as many as 65 font-families in the TypeShop Collection. Mr. Brendel was an accomplished professional type designer. Lingwood, Montreal, Volkswagen, Derringer and Casablanca and many more were his creations. He was a design collaborator for Congress, Litera, Worchester and others. Today all of this fonts complete with a Euro currency symbol are available in four font formats including OpenType.

    That view of Brendel is perhaps not held by most type designers, who regard Brendel's collection as highly derivative.

    Albert-Jan Pool: Walter Brendel (1933-1992) was the founder of Brendel Informatik, Brendel & Pabst and the Type Shop group of phototypesetting houses. He also co-founded the European Typeface Corporation (ETC) which was connected with Typo Bach, another group of phototypesetting houses. Brendel's Serials were based on existing typeface designs, which had typically been made fit for creating a range of 7 weights from extra light to extra bold by interpolation. The Serials Typeface Collection used to be exclusively available through Brendel's Type Shops, Typo Bach and others. The German type designer Georg Salden created another range of exclusive typefaces, they were only available through the GST group of typesetting houses. Similar to Brendel's Type Shops and Adrian William's Club Type, the GST group also tried to enforce customer loyalty by offering typefaces that were exclusive to their group. As all of these typesetting houses worked for the same advertising agencies, their typeface libraries show many similarities. Some of these similarities were created on purpose, some of them not. Some of them are just copies, some of them are re-engineered designs, some of them are adaptations of existing designs, some of them are originals.

    Elsewhere, Elsner&Flake write: Brendel ordered the development of exclusive phototypesetting typefaces in the 70s and the beginning of the 80s for the phototypesetter he himself built, Unitype, which had their basis partially in historical but also in contemporary designs.

    For what it is worth, here are the font family names: Volkswagen TS, Clear Gothic TS, Franklin Gothic TS, Old Baskerville TS, Accolade TS, Baskerville TS, Belfast TS, Bernstein TS, Bodoni TS, Broadway TS, Casablanca TS, Casad TS, Castle TS, Colonel TS, Clearface TS, Congress TS, Denver TS, Derringer TS, Diamante TS, Digital TS (square gothic), Dragon TS, Enschede TS, Expressa TS, Florida TS, Formula TS, Garamond TS, Gascogne TS, Glasgow TS, Goudita TS, Goudy TS, Granada TS, Grenoble TS, Hamburg TS, Helium TS, Hoboken TS, Horsham TS, Koblenz TS, Leamington TS, le Asterix TS, Le Obelix TS, Limerick TS, Lingwood TS, Litera TS, Media TS, Melbourne TS, Montreal TS, Napoli TS, Nashville TS, Nevada TS, Ornitons TS, Pasadena TS, Penthouse TS, Plakette TS, Plymouth TS, Priamos TS, Quartz TS, Ragtime TS, Ravenna TS, Riccione TS, Rochester TS, Roundest TS, Salzburg TS, Seagull TS, Toledo TS, Veracruz TS, Verona TS, Wichita TS, Worchester TS.

    Name equivalences between the TypeShop collection and other fonts.

    View TypeShop's library of typefaces. Another link to TypeShop's library of typefaces. [Google] [MyFonts] [More]  ⦿

    TypeType
    [Ivan Gladkikh]

    Prolific Russian designer (b. 1986) whose real name is Ivan Gladkikh and working alias is Jovanny Lemonad . Jovanny lives in St. Petersburg. From 2003 until 2008, he studied audovisual engineering at The Bonch-Bruevich Saint-Petersburg State University of Telecommunications. In the early part of his career, most of his typefaces were free. In 2013, he set up the commercial type foundry TypeType. Most of his typefaces cover both Latin and Cyrillic.

    His typefaces include Scada Sans Two (2009), Furore (2009, octagonal), Fontin Sans Cyr (2009, the Cyrillic version of Jos Buivenga's Fontin Sans), Metro (2009, constructivist), Dited (2009, dot matrix: free), Days and Days One (2009, sans), and the attractive display typefaces Otscookie (2009, geometric and experimental), 20db (2008, high-contrast titling with didone features), Cuprum (2006-2012: a free sans family) and Molot (2008, with Roman Yershov). In 2008, he added to this list the grunge or handwriting typefaces FFUPuzzle, London (designed with Olga Kozlova) and Neucha (hand-printed), as well as the modern black display typeface 20db. Together with Eric Lebedco, he created the organic typeface Philosopher (2008). In 2006, he cooperated on the rounded Cyrillic typeface ZopaCyr. With Oleg Zhuravlev, he created the octagonal family Bender (2009, award winner at Paratype K2009). Creator of the corporate type family Ice and Flame (2009), an organic typeface based on Philosopher.

    CDMA (2010) is a rounded sans for corporate use. Nixie One (2011) is a free thin typewriter style face. Yeseva One (2011, as in "yes, Eva, bring me another beer") is a free ornamental serif face. Numans (2011) is a free wide sans face. https://fonts.google.com/specimen/Numans">Google download.

    Creations from 2012 include the frees typeface Oranienbaum (an antiqua created with Oleg Pospelov). He produced the free font Prosto (2012), which was designed by Pavel Emelyanov [see also Google Web Fonts]. Russo One (2012, Google Web Fonts) is a macho sans. Stalin One (2012) is a constructivist typeface co-designed with Alexey Maslov---it is free at Google Web Fonts.

    Typefaces from 2013: Imperial One (a free constructivist font based on the corporate font for the game role playing game The Mandate), Underdog (angular), Supermolot (an extension of his 2008 typeface Molot, a modern techie square grotesk with elements of Soviet style; extended in 2015 to TT Supermolot (by Olexa Volochay), in 2016 to TT Supermolot Condensed, and in 2018 to TT Supermolot Neue, by Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).

    In 2014, TypeType published TT Slabs (followed in 2015 by Olexa Volochay's TT Slabs Condensed), TT Drugs (by Nadyr Rakhimov, Phill Nurullin and Olexa Volochay: followed in 2015 by TT Drugs Condensed), TT Souses (hand-drawn sans family geared towards children's books and village design applications), TT Prosto Sans (followed in 2016 by Olexa Volochay's TT Prosto Sans Condensed), TT Rounds (a basic rounded sans typeface family by Olexa Volochay and Nadyr Rakhimov), TT Days Sans (TypeType: a pro version of his free font Days), TT Squares (an octagonal typeface family; see also TT Squares Condensed, 2016, by Olexa Volochay), TT Russo Sans), and TT Rounds Black.

    Typefaces from 2015: Free Ride, TT Compotes (a series of handcrafted typefaces), Hitch Hike (handcrafted typeface co-designed with Annastasia Samsonova), Accuratist (a hisper font by Jovanny Lemonad and Elena Shkerdina), Dita Sweet (a free art deco typeface co-designed by Ksenia Semirova and Jovanny Lemonad), TT Marks (a sign painting typeface family), TT Firs (a Scandinavian cold sans family, expanded in 2018 as TT Firs Neue by Philipp Nurullin and Ivan Gladkikh), Eleventh Square (art deco by Evgeny Tarasenko), TT Rounds Condensed, TT Books Script (a fifties style script), TT Crimsons (for short and emotional inscriptions), TT Masters (signage type), TT Inters (a great rhythmic script font), Frenchpress, TT Chocolates (a geometric grotesque with art deco hints), TT Bluescreens (30-style condensed sans family for movie trailers), TT Directors (designed for movie titling and trailers).

    Typefaces from 2016: TT Lovelies Script, TT Chocolates Condensed (by Olexa Volochay), TT Bells (an old style typeface family based om broad nib pens; by Nadyr Rakhimov and Olexa Volochay), TT Walls (a wall menu script family), TT Lakes (54 fonts in all; by Olia Leykina and Olexa Volochay), TT Corals (with Olexa Volochay: humanist sans typeface family), Bristol (children's hand), TT Octas (octagonal style, by Olexa Volochay), TT Teds (a narrow geometric sans family), TT Blushes (brush script), Romochka (handcrafted), TT Coats (a handcrafted antiqua), Bully (with Aigul Gilmutdinova), TT Rabbits (ten handcrafted typefaces for children's books, with substyles April, Bro, Chilli, Dummy, Elf, Fatso, Goody, Hyper, Idol, Junior), Suwikisu (free African-themed typeface based on a design by Egor Myznik), TT Moons (a condensed serif family), TT Cottons, Matias (by Vitaliy Tsygankov and Jovanny Lemonad), TT Pines (a sans based on paper cutouts).

    Typefaces from 2017: TT Backwards (an experimental script and grotesque font family inspired by the typographic scenery in the USSR in the late 70s and early 80s; by Tanya Cherkiz, Sergey Kotelnikov, Philipp Nurullin and the TypeType Team), TT Knickerbockers, TT Polls (modern modular slab serif inspired by American sports graphics; by Olexa Volochay, Tanya Cherkiz and Nadyr Rakhimov, TT Norms (by Nadyr Rakhimov and Olexa Volochay), TT Berlinerins (Script, Sans: based on vernacular type in Berlin, the sans emulates wood type), TT Milks, TT Pubs (didone; +Stencil), TT Limes (23 handcrafted typefaces, from Sans, to Slab and Dingbats), TT Hazelnuts (display sans).

    He also has a lively type blog (in Russian).

    Typefaces from 2018: Ivan Gladkikh and Pavel Emelyanov, with the technical assistance of Marina Khodak, Vika Usmanova and Nadyr Rakhimov, designed TT Commons. TT Commons is a universal sans family originally created for the branding and in-house use of TypeType, but it was finally released due to many requests. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles. Still in 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. The TT Rounds family was reworked in 2018 into TT Rounds Neue by Ivan Gladkikh, Philipp Nurullin and the TypeType Team. At the end of 2018, TypeType published TT Supermolot Neue (Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).

    In 2019, Pavel Emelyanov and Ivan Gladkikh released the 20-style geometric sans typeface TT Hoves, which is intended for use in architecture, design, industry, science, astronomy, drawing, high tech, research, space and statistics.

    Typefaces from 2021: TT Commons Classic (a 24-style geometric sans by Ivan Gladkikh, the TypeType Team, Pavel Emelyanov and Marina Khodak; it includes two variable fonts).

    Alternate URL. Behance link---on Behance, he uses the name Ivan Gladkikh. Fontsquirrel link. Google font directory link. Klingspor link. Dafont link. Abstract Fonts link. Old home page. [Google] [MyFonts] [More]  ⦿

    Typeverything
    [Andrei Robu]

    Andrei Robu is a super-artist, award-winning photographer, art director, illustrator, type designer and rising star based in Barcelona. Andrei started freelancing ca. 2002 shortly landing clients like Sprite and Coca-Cola. In 2006 he became Chief Graphic Designer at Leo Burnett, Bucharest, Romania. In 2008 he joined Acme as a managing partner and design director. After three and a half years he left Acme and started his own practice. In 2014 he relocated to Barcelona where he works together with his partner Andreea Robescu. During his career he founded a few platforms for promoting other talents: Designers Go To Heaven (2009-2017), Calligraphica (2012-2017), Typeverything (2011).

    Andrei creates key visuals for branding, packaging, events and artist collections. He has worked with clients such as Adobe, Apple, Bloomberg, Nike, Jordan Brand, Stella Artois, Dailies, Fenwick London, Mastercard, Vodafone, VISA Epos, Coca-Cola, ESPN Magazine, Billboard, Wired, The Golden Globes, Exxon, Toyota, Hiscox.

    In 2011, he set up Typeverything in Barcelona. Typeverything features Andrei Robu's typefaces as well as those of other type designers such as Cahya Sofyan, Felipe Calderon, Natanael Gama, Adam Fathony, Matteo Broillet, Simon Walker, Drew Melton, Jason Carne, Lewis McGuffie, and Fer Cozzi.

    In his early type designs, we find extraordinary colored geometric experimental typefaces made in 2007 such as Idea, Trick Fun, Trick Squared, Trick (wow!).

    In 2009, he made Bs, Merci, Metropolis, Origami, and Think. In 2011, this was followed by Funky. These early typefaces are not featured in his foundry, Typeverything.

    His commercial typefaces:

    • Berry (2022). A seven-style+variable font family that oozes mischief and flexes its muscles.
    • Boldoni (2021). A fat face family.
    • Bourbon St (2020). A flashy experimental Marilyn-Monroe-just-walked-into-the-room kinda typeface.
    • Brule (2020). A throwback to the larger-is-better 1970s.
    • Champ (2021, by Cristi Bordeianu and Andrei Robu). A starkly incised display typeface family ranging from fashionable ultra-heavy to a flared thin. It includes a variable font as well.
    • Choco or Robu Choco Script (2017). An upright signage script.
    • Cottonhouse (2019). A Victorian typeface Cottonhouse by Andrei Robu, Kevin Cantrell and Arlo Vance.
    • Deia (2021). Advertized as a 7-weights bracketed serif that will do wonders on packaging projects.
    • Faroe (2022). A 7-style+variable font: a contemporary take on the art-nouveau period.
    • Fat Stencil Numerals (2016).
    • Fitzroy Display (2014). This art deco typeface was co-designed with Kevin Cantrell for the Fitzroy Condos in New York.
    • Flako Stencil.
    • Friseur. A supermarket script based on the 18th-century English roundhand.
    • Graf (2021). A very bold display and poster typeface that livens up the show with strategic ink traps.
    • Kitsune (2015). A thin connected script typeface published at The Designers Foundry. Re-released in 2019 by Typeverything.
    • Loggia (2020). A fashion mag typeface.
    • Loto Sans (2021). A geometric sans family.
    • Marques (2020). A luxurious display font.
    • Misfits (2018). A blackletter typeface.
    • Mochi (2021). An 8-style display sans with pointy terminals.
    • Motorino (2016). A connected retro script typeface.
    • Mr. Banks (2019) and Mr. Banks Serif (2020). Mr Banks is a stencil font.
    • Palace (2022). Based on vintage luggage labels from The Belle Époque (1890-1910).
    • Raval. A blackletter.
    • Roa Display. An angular and angry wedge serif.
    • Robu Bold. A retro signage script typeface originally created in 2010. Released in 2015 at The Designers Foundry. Re-released in 2019 at Typeverything.
    • Robu Grotesk (2017).
    • Robu Display (2017). In the fat didone genre.
    • Robu Stencil (2017).
    • Sharpie Pro (2020). A vernacular marker pen font.
    • Sports Numerals or Robu Sports Numerals (2017).
    • Vance Serif (2018). With Kevin Cantrell. They write: Vance Serif began as a proprietary typeface for Clayton Vance Architecture. Inspired by classical Roman architecture and proportions, Vance burgeoned from geometric angles and slants to decorative swashes and serifs to give life and nuance; architecture vivified by the human persona.
    • Writer (2022). A graffiti font.
    • Zufo (2017). A great children's book or comic strip typeface family.

    Subpage with more experimental type. Flickr page. Behance link. Behance link for Typeverything. Old web site. Typeverything link. [Google] [MyFonts] [More]  ⦿

    Typeworx

    Short-lived Toronto-based commercial foundry (2002-2003). The fonts included: Plumero Script (2002, a sublime connected handwriting font by Diego Giaccone). Reflex (2002, a unicase techno-style font family by Alejandro Paul), Domingo and DomingoAlternates (2002, a funky sans serif pair by Ariel Garofalo) and Frisco (2002, a gorgeous fat didone typeface by Fredrick Nader). Freddy Nader continued for some time his general advertising and graphic design work at Hardcover Communications [dead link]. [Google] [More]  ⦿

    Typewriterfonts.net
    [Lukas Krakora]

    Czech designer of the grunge monospace font Urania Czech (2006) and of the didone numbers-only font Stöhr Numbers (2006). In 2009, he made the old typewriter typeface Bohemian Typewriter (based on the Czech Remagg typewriter). In 2010, that was followed by another typewriter font, USIS 1949, which was based on United States Information Service reports from 1949.

    In 2012, he made the old typewriter typeface Albertsthal Typewriter.

    His typewriter typefaces of 2013 include Lucky Typewriter, Hollywood Starfire and Vera Type.

    In 2014, he made Hermes 1943 (old typewriter font), Susanne Nouveau, Modern Typewriter and Elegant Typewriter.

    Typefaces from 2017: Earth 2073 (rounded retro-futuristic), Dearborn Type, Oceanside Typewriter, Dresden Elektronik, 1938 Stempel, 1952 Rheinmetall (another old typewriter font).

    Typefaces from 2018: Prager Headlines.

    Typefaces from 2019: Speedwriter (an old typewriter font).

    Typefaces from 2020: Dogtown Typewriter, Victoria Typewriter, Orange Typewriter, Volkszeitung 21 (letterpress emulation).

    Typefaces from 2021: Mechonat Ktiva font (primarily a Hebrew typewriter font but it also contains basic Latin character set).

    Home page. Another link. Fontspace link. Abstract Fonts link. Dafont link. 1001 Fonts link. [Google] [More]  ⦿

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

    Dresden (East Germany)-based font studio that evolved from the former East German centralized press, VEB Typoart. VEB Typoart operated from 1948 until 1989, when it was renamed Typoart GmbH. Typoart GmbH dissolved mysteriously in 1995, perhaps due to bankrupcy.

    MyFonts catalog of digitizations. Timeline as provided by Typoart-Freunde, a project of Jay Rutherford at the Bauhaus University in Weimar (and published in 2007 in a book by the same title, Heinz Wohlers Verlag, Harrlach):

    • 1945: Schriftguß KG (before that, Gebr. Butter) produces type again.
    • 1946: Schelter&Giesecke in Leipzig becomes VEB Druckmaschinenwerk Leipzig.
    • 1948: Schriftguß KG becomes VEB Schriftguß Dresden. This is the true start of Typoart.
    • 1951: the foundry section of VEB Druckmaschinenwerk Leipzig is absorbed by the VEB Schriftguß Dresden. Herbert Thannhaeuser becomes art director. We see the name Typoart.
    • 1952: Herbert Thannhaeuser publishes Papier und Druck, and creates Meister-Antiqua and Technotype.
    • 1957: Typoart is in full production now. An eyecatcher is Albert Kapr's Leipziger Antiqua.
    • 1958: Thannhaeuser publishes his Liberta Antiqua and Garamond Antiqua. The Party decides that all private industrial property now belongs to the state.
    • 1961: Typoart absorbs Ludwig Wagner KG in Leipzig and Norddeutsche Schriftgießerei Berlin. The Berlin wall is built.
    • 1962: There is some negative press about Typoart's domination by Thannhaeuser's designs. VEB Typoart is absorbed by Vereinigung Volkseigener Betrieb (VVB) Polygrafische Industrie.
    • 1963: Thannhaeuser dies. Albert Kapr becomes art director.
    • 1965: The annual production reaches 4,5 million matrices. Purchase of the Digiset machine, built by Firma hell in Kiel, which is the first machine for electronic typesetting.
    • 1967: Sabon Antiqua appears.
    • 1970: Typoart is now owned by SED. In the DDR, all phototype printing is now done in Berlin, Leipzig and Dresden.
    • 1971: Typoart is now producing its own phototype for the Linotron 505. Their prime productions include Maxima (by Karl-Heinz Lange; based on Gert Wunderlich's Linear-Antiqua) and Prillwitz-Antiqua (Albert Kapr).
    • 1973: Albert Kapr publishes Typoart-Typenkunst, in which 19 typefaces are showcased.
    • 1976: Phototype fonts are developed for Diatype, Diacomp (such as Maxima, Liberta, Garamond-Antiqua, Tschörtner-Antiqua, Leipziger-Antiqua), and 2NFA (Russian). Detlef Schäfer becomes head of research and development.
    • 1977: To help with the digital transition, Norbert du Vinage joins Typoart.
    • 1980: New types include Kleopatra, Biga, Zyklop, Quadro and Molli.
    • 1987: Albert Kapr hands the art directorship to Norbert du Vinage. Publication of the first phototype catalog by Typoart.
    • 1989: Publication of Fotosatzschriften, Typoart's typeface program. Typoart folds.
    • 1990: VEB Typoart is changed into a GmbH with 230 employees.
    • 1991: Eckehart Schumacher Gebler acquires all of Typoart's matrices. This collection is kept in the Werkstätten und Museum für Druckkunst Leipzig GmbH. Typoart GmbH and HL Computer (Karl Holzer's company) are joined.
    • 1995: Typoart GmbH still has 100 employees. It offers typefaces in truetype and postscript formats. Albert Kapr dies in Leipzig. The demise of Typoart is mysterious, and not much is known about who owes what to whom. The copyright status of its typefaces remained uncertain. This page mentions the present situation. Andreas Seidel explains that Typoart has digitized lots of its type typefaces using Ikarus, and that the rights are held by Mr. Holzer, who may be in some financial trouble. He says that no living Typoart designers have received any royalties or public recognition.
    Typoart Freunde and Typowiki have partial lists of typefaces. Here is my own:
    • Agitator (1960). By Wolfgang Eickhoff. This rough-brush typeface was digitally revived in 2007 by Patrick Griffin at Canada Type as Merc.
    • Alte Schwabacher: blackletter by Herbert Lemme.
    • Antiqua (fett, kursiv fett and schmalfett) by Barbara Cain. A didone family.
    • Baskerville (1982) by Volker Küster and Peter Greinke.
    • Bembo: Typoart's version is by Erhard Kaiser.
    • Biga: a shaded headline typeface made by Fritz Richter in 1985.
    • Caslon-Gotisch: a blackletter typeface originally created by William Caslon in 1760, it was brought to Leipzig from England in 1904 by Carl Ernst Pöschel.
    • Eckmann: a soft blackletter, dating from 1900.
    • Egyptienne. By Hans-Peter Greinke.
    • Erler Versalien (1953, Herbert Thannhaeuser). Digital versions: Erler Titling (2015, Ralph M. Unger), Missale Incana (2004, Andreas Seidel).
    • Garamond (1955): the metal Typoart version is by Herbert Thannhaeuser. The digital version is Garamond No.5 at Elsner&Flake. See also here. URW published a different digital version, Garamond No. 4. And Infinitype / SoftMaker says that its German Garamond is based on TypoArt's.
    • Fleischmann: a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added.
    • Halbfette Baskerville: an interpretation of Baskerville by Volker Küster.
    • Hogarth Script: an elegant script based on 18th century copperplate originals by William Hogarth. Font by Harald Brödel. Digital versions at URW, Softmaker (as Hobson), Alexandra Gophmann (Cyrillic version, 2005), Ralph M. Unger (as Gillray Pro, 2015), Castcraft (as OPTI Historic Script), Linotype and Elsner&Flake. Incredibly, Linotype owns the Hogarth Script trademark.
    • Kis Antiqua: Hildegard Korger's interpretation of this classic Dutch Antiqua by Nikolaus Kis. For a digital revival, see Ralph Unger's Kis Antiqua Pro (2018).
    • Kleopatra: a double-line decorative typeface by Erhard Kaiser (1985), digitized in 1989.
    • Leipziger Antiqua: a very legible Antiqua designed by Albert Kapr in 1959, developed for phototypesetting by Hans-Peter Greinke, and further developed in digital form by Tim Ahrens in 2002 as Lapture.
    • Liberta Antiqua and Kursiv: a robust house typeface from 1958 made by Herbert Thannhaeuser. Klingspor gives the date 1956.
    • Lotto (1955). By Herbert Thannhaeuser.
    • Luthersche Fraktur: a blackletter by Volker Küster and Herbert Lemme, digitized in 1989.
    • Magna: a DDR magazine text typeface from 1968, by Herbert Thannhaeuser. In 1975, Albert Kapr added Cyrillic letters. Karl-Heinz Lange developed the phototype. URW, Linotype and Elsner&Flake (who owns the trademark) have a digital version.
    • Maxima: a sans family by Gert Wunderlich (1970). Elsner&Flake (who owns the trademark), Linotype and URW have a digital version.
    • Minima: Karl-Heinz Lange's narrow sans designed for the DDR's telephone directory in 1984. Revived by Ralph M. Unger in 2017 as Tablica.
    • Molli: a comic book typeface by Harald Brödel.
    • Neutra (1968): A variant of Clarendon, rendered more legible by Albert Kapr. Used in the DDR for advertising.
    • Nidor: a slab serif by Harald Brödel.
    • Norma-Steinschrift: a house sans.
    • Prillwitz (1971-1987): a didone by Albert Kapr and Werner Schulze based on the original from 1790 by Johann Carl Ludwig Prillwitz. Elsner&Flake have a digital version. See also the 2015 revival by Ingo Preuss called Prillwitz Pro.
    • Polo by Carl Pohl. URW++ has a digital version.
    • Primus: a 1962 workhorse family (with Magna and Timeless) for the magazines in the DDR. Conceived in 1962, it was later adapted in Phototype by Karl-Heinz Lange. However, the Berthold Phototypes book of 1982 and Klingspor Museum put the date of creation at 1950.
    • Publika: a sans typeface developed between 1981 and 1983 by Karl-Heinz Lange. Sometimes spelled Publica.
    • Quadro: a four-line showstopper typeface by Erhard Kaiser.
    • Roesner Versalien (1960). By Wolfgang Roesner.
    • Schwabacher T09, T20 and T48. By Herbert Lemme.
    • Sinkwitz Gotisch and Versalien (1950). By Paul Sinkwitz.
    • Stentor: a brush script by Heinz Schumann (1964). Digital versions by Scangraphic, Ralph M. Unger (2013, as Tyton Pro), Elsner&Flake and URW. Rosalia (2004, Ingo Preuss) is based on Stentor.
    • Super Grotesk: a legible sans by Arno Drescher (1930, Schriftguss). Super Grotesk Buchtype (kursiv and halbfett) are placed in 1951. For a digital version, see FF Super Grotesk (1999, Svend Smital).
    • Technotyp (1951). By Herbert Thannhaeuser.
    • Thomas Schrift (1956). By F. Thomas.
    • Timeless (1982). See also Elsner&Flake and URW. In 2021, Ralph Unger revived and extended Timeless, calling it Korpus Serif Pro.
    • Tschörtner Antiqua and Kursiv (1955). By Helmut Tschörtner.
    • Typo Skript (1968). By Hildegrad Korger.
    • Typoart Didot (antiqua, kursiv and halbfett). Added in 1958 by Herbert Thannhaeuser.
    • Typoart Garamond (1955). By Herbert Thannhaeuser.
    • Walbaum (1984): a didone by Hans-Peter Greinke based on Walbaum's originals.
    • Zyklop: an art nouveau/Jugendstil face by Fritz Kossack.

    References on Typoart:

    • Walter Begner: 25 Jahre Typoart Dresden In: Papier und Druck, Leipzig 6/1973.
    • Walter Begner: Entwurf und Herstellung von Schrifttypen in Ostdeutschland. In: Leipziger Jahrbuch zur Buchgeschichte. Jahrgang 6 (1996), pages 405-436.
    • Albert Kapr and Hans Fischer: Typoart Typenkunst. Leipzig, 1973.
    • Albert Kapr and Detlef Schäfer: Fotosatzschriften, Itzehoe, 1989.
    • Detlef Schäfer: Fotosatzschriften Type-Design+Schrifthersteller, VEB Fachbuchverlag Leipzig, 1989.
    • Norbert du Vinage (as artistic director of Typoart): 40 Jahre Typoart---vier Jahrzehnte intensives Bemühen um niveauvolle Schriften. In: Papier und Druck, Leipzig 11/1988.

    Personal home page of Jay Rutherford. MyFonts link.

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

    TypOasis, 2002
    [Manfred Klein]

    The fonts produced in 2002 by Manfred Klein: Bauhouse, ClassiCaps Xmas 2002, GGothique MK, Lombardic, Mouse Traces, Music Elements, DreiDreiDreiBlack, Griffo's Font, Noisy Buttons, Hamlet ToBeOrNot, Oszillo Caps, Cave Paintings, Rodgauer (a CODEX-like font), Prinz Eugen (medieval font), DreiDee Sketches, Typo Cubes, AustralBats, RoundMouseBats, Torynitialen, Wood Cutted, FlowerPower, Graf Typo (a CODEX-like family), Solitaire, Breeze, Eyes, Lead Types Heap, Petit Fleur, ABCari, Floralalpha, Karlas ABC-Start, OliJo Bold, Athena Handwritten, The BroadWay, MK Squares, Incunitials, Luc's Plants, Monte Petito, Before Alphabets 4, Threedimensional, Blind Reading, Zebral Caps, Before Alphabets 3, Braille Latin, Tangoasis, Katrins (handwriting of Katrin Dillmann, Manfred's daughter), Laurens Erste (handwriting of Laurens Dillmann, Manfred's grandson), Tangodoni, Typesetters TV, Unscreen, Caps MKS, Haunted, Mouse Scribbles, RunishMK, Fatsans, Rotten Script, Stormy, Strong Dots, Caro Mio, Reduce 2 Max, Pudels Kerning, Cheerio, Gersans, ArabDances (Arabic simulation font, with Cybapee), Slab Serif Written, Shalom (Hebrew simulation), Bloxx Serif, Kara Ben Nemsi (an Arabic simulation font), Remember Cassandre, Wieynk Caps Round, Fragment Caps, Golden Swing, Tango Macabre (a gorgeous font in which letters are made with skeletons), Eye Beings, Frax Handwritten, HotsBlots, Latin China (oriental lettering), Dinos Fragments, HotchPotch, SketchBats, AmorE, Chinawestern (oriental simulation), Valentine Flies, AmorEatPersia, AmorEmoticons, Artfacts, The Kiddies, ConstrAccident, Kochs Roots, AnimSilhous, Framed Frax Caps, K-Arrows, GridEx Gallery, K-Arrows B, Swinging Petidoni, Big Swinging SlabS, Relief Caps, Shapes 1-3, Petitscript, Shapes Four, Fullsize Sans, Petitscript Italic, Shapes A 1-3, Imperium Serif, Big Broken, Semaphore, MKalligFrax, Pix Caps, Slabsoft, Windy City, Slabsoft, Windy City, Timeless, Against Rules, Berolina, FabCreatures, CookinDada, FoodnDrinks One, HabSpass-HaveFun, Mighty, Klammeraffen Italic, Elefontitis Xtreme, Cairotiqua Freestyle, Eastereggs, Cave People, RandoMiKa, Big Ella, Hands Subversive 1+2, Build Your Own People, Antroposofia, EasterChicken, GridRiding, Irish Sketches, KidPicts, MatrixbuK, Dornspitz Grotesk, PeaceBats, Arte FS, Eagles Buttons, BlowinInWind, Cave Popart, Karla 1B, Crosses, SharkJockey, Toscanienne, SilhousTwo, Kleins Three Pixel, Religionen, Shapes One-Popart, Shapes Two, ShapesTwo, QuickBats, QuickWritten, KidsDrawings, QuickBats 1.1, Shapes Strokebrushes, SteepQuickHand, Steepiqua, Sleepklill, Steepodoni, New Aliens, SteepTypewriter, CarpetParts, Fourfeeters, Steepidien, Yumiya Arrows, HotHats FS, Eyes Gallery, Steeprump, Zebra Shapes, GrafFitty, KidsArt, Klones, Belly Sans Condensed, Tshirts Springtime, Landscapes, Pastfuturum, typOasis Uncial, ABC Thru, Parma Petit, SpaceLiving, FS Funkturm, TorysTools, Aero Sans, MouseToons, Parma Petit Outline, KL1 MonoCaseKrux, Remember Reiner, Frungtura FS, Perforation Strip, Weimar, Gothic Caps, HumanPartsPoetry, Archetypo Bricks, Human Parts, Big Dots, Spiders Club, MirrorBlack, Mirror Chicken, MonoMouse, MousefraKtur, AmericanNatives, DaVincy Cut, Mouse Liturgic Sketches, MKlunger FS, Waldoni New Torsi, Bradburys Shadow Paseo, Horses, Jessica Plus, Farm Animals, Fat Free Frax, BugsNFriends, Gut Joe Black, People Sketches, Human Parts, Cycling, MousePen, Unknown Heads, NowTheWeather, Qbicle MK, Strange Friends, AfroBats, AmNativeTwo, Bayreuth Fraktur, FingerSinging, Cuxhaven Times, Schwabach Duemille, Balloons, MathRosetts, Folks, Frankophile, Caslonish Fraxx, Has Bodoni Scribbled, Peace Damaged, Wrong Types Shadows, AnimaliaScissored, Bredda, Variations In Geo Dur, QuarrelerPlus, Montages Surrealistiques, Twinset Sans, The Muscle Fetish, Mammothisch, Animali Silhouetti, EleFontissimo, Neopan, Animals Two, Loopings, Logovals, Spiderish FS, Jugendstil FS, LucSan Faces, Crazy Written, Luc Plants Growin Again, Klein Hollywood, For Kids, Total Krass, Pesces Bizarri, Headbirthes Two FS, Stampede, Tribut to Warhol, DadaSchwitters, Van Doesburg, KleinScribere, MK Uncilae, FranKlein, Tschich and Near Jan Tschich (unicase type suggested by Jan Tschichold in 1929), MK Logo Sketches, Something FS, Stencilia, Kritzel Three, Steep Oldstyle, Steepimbo, Cairotiqua Light, SteepSlab, Toms Beings (a great!!!! collection of critters), FraktSketch, MouseGrafitty, Luther Stencil, RudolfsBats, Blackberry Plants, Circus Klein, Klein Reunion, Squashed Random, Strokey, Uncial Buttons, WaComToon, JohannesButtons, BlackWhiteGrids, Johannes Buttons / Bricks+Traces, MAntiKwa, Vehicles, EyesNStrokes, Babelfish Children, Chaos, MKarolingish, Swiss Cheese, Archibeta, Frankly Spoken, Hardware, Neptunia, Rotunda Espagna, Hardware, Arabuttons, Bodoni Flying, Eggheads Crying, PopNonsens, ScrapTiqua, St Dinah, Confusica, Crazygrams, Human Redesign, Crazyness, MKorsair, Big Caesar, MoveU, MyMedieval, RodauButtons, RodauButtonsInverse, Owls&Friends, Obliqua Romana, Oggi Angular, JohG Diamonds, Ornamen, SlabStick, Morbus Parkinson Fraxx, FolksTypo, AidaSerifaCondensed, Big Cheese, Viecher, MKOCR, Decollagena, Concrete Poets, Swinging Sans, KlausBFraktur, Peitinho, Openbuttons, MCapitals, Cavebats 1-4, BonSans, Folks, Gotica Caps, SketchesForPainting, XmasSketches, FolksCircleNegative, FolksCirclePositive, FolksDecoon-Light, KarlasBats, KleinSlabSerif, KleinSlabSerifBold, CantaraGotica (Fraktur), Logomatique (experimental, minimalist), LogomatiqueShadow, LogomatiqueBold, WorkWithGrids1202, WorkWithGridsButtons, WorkWithGridsRandom, WorkWithGridsStageC, Living Yesterday, Xmas 2002, Schneesterne, CaveBats 1A+2B, Nautilus, LateBirds, SpiralusKrux, SpiralusFaces, Smokescreen (with Petra Heidorn). 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    TypOasis 2003
    [Manfred Klein]

    Manfred Klein's typefaces from 2003: FictionBeings, MK Silhouetta Round, FlyOnYou, Karlas Bats, Maenneken, Spiralish Two, WhoIsTheTerrorist, Avanti Dilettanti, Aggressors Bats, Aztecish, Corrodet, Lorbeer, BastardusSans, BaumWell, Bodonitown, WellrockSlab, Cassandra, PreventiveWarOval, Damagedpixfont, EuropeanTypewriter, KarlasStrokemen, PreventiveWarQuestion, Birds With Types, Cubism Creatures, MourningTrauer, BirdsXtreme, BirdsToolbox, WantedTerrorists, TheRoots, MK Latino Plain, AndBullets, Androidish, BirdsToolbox, BookHeads, CorrodetClassicaps, Damagedpixfont, LateBirds, LateBirdsFS, LateBirdsThree, MKStencilsansBlack, MatisseTraces, MexiKOrnaments, MkLatinoPlain, NonCommercial, PreventiveWarQuestion, QuickBirds, SpiralusFaces, SpiralusKrux, TheRoots, WantedTerrorists, WhereIsTheBirdsDealer, BlueMoonsByDay, BlueMoonsInverse, BruchschriftMK, HalfsAreEnoughLatin, Latine, RandomFrax, Solitaires, SuperSansMKringel, SuperSansStrange, WildBirds, AreHalfsEnough, GeometricWanderlust, HeadfeetersPartialDisturbed, LuziFer, MouseStrokes3D, MouseStrokesCont, MouseStrokesInverseShadow, OlisWebButtonsInvers, PeaceThruGuns, SaulsRandomBirds, Fragmenta, Remi Wacom, Crazy World, Democratic Peace Warriors, OrnithoLogics, People, HelloCleoPetra, VertigoComic, Romi Petito (Miro drawings imitated), LogoFacesToolbox, WirewalkersVertigo, AidaSerifObliqueMedium, BuddhasBigArmy, GridExerciseSerif, Guernica38Remember, LogoFacesArtists, LogoModaRoma, LogoModels, LogoModelsBowToBoss, Silhouettes03, SteepTypewriterMedium, SuddenFall, WoodTypesMK, BrokenSans, FutstencilSerif, MKTypobricks, SegmentaSans, WhyMar, Xperimentypo FS, HouseGhosts, MKEyeMinals, StrangeBeings, AlwaysBig, Old Constructed Caps, Fat Floralphabet, MannohK Serif, TheyWasNiceMurdersAlways (an anti-war font basic on Guernica), DadaDa, FrancoforteSerifus, Arrowbytes, DingsbumsBats, HeadsTorsi, VollkegelSerif, NiceMurders, Burklein, Comicontemporary, ConstrxiaBlackInline, DadasDreams, EgyptAxt, KleinBricksNegative, AntiquaInGrid, GiveMeFive, Bitsbats, SilhouettesInGrids, BigSlabHammer, BurkleinOblique, JustOldFashion, KleinsanBold, Oliver, Gipfelkoepfe, HolySimplicity, Standing Buttons, 52 Letters, FriendlyFire, Lettersoup, Manga Axt, SplinterMKaps, GiambattistaVsPetit, TypoGhosts, ZagZag, MotionTools, MouseDroodles, Topnotches, TypoAnarchycalEyes, LaCittaShadow, Venezia, ReadingHelpersInvers, RoughRockys, SchulVokalDots, Analphabetism, Circularia, HalfCircleAlphabetXP, Multistrokes, Unzialish, ChildrenDingbats, EveryPictureTellsAStory, OgiRema, CrazyCrazySans, Sketched Alphabet, HerrCoolesWriting, Julius Caesar Black, AliensNew, PadBats, WaPicts, ImperiumLatineSerif, KleinsForgottenRoman, Helixal, MKDrawings, MKDrawingsPeople, FriendlyFireBullets, BirdsAndOtherBeings, Pinocchionish, PointGallery, Spiralicus, AfroDesigns, Frontal, MangaMaterial, NiceNeighbours, HerdeckeSans, ParmaCrazy, QuadrigAlphabetTwo, HellasDust, WildBradoni, Sketchiqua, FragmentuM, LogoHalfnHalf, MKSzene, Neudoerffer, StrokesNBullets, CircusStars, Facialish, Kleerikale, Kleinkeys, OnKleesTraces, NearAldus, NearJanTschich, Climbers, Krakelfabet, Amoebats+Climbats, ClimbersPhantasies, Karlas, Anarchists, Masks, SpaceCrew, Latins, Characters, FrontalButtons, GernKleinThree, MouseScribbles, Scannings, KidsFirstPrintFont, CuneyChars, VenetianBlind, MKartoonKoepfe, MouseAsBrush, SilhouFaces, TaurusCowboys, ShakeySlabserif, BodoniXT, EyelecBats, HowDrawAFish, Klill-LightTallX, MissingLinks, SansBroadway, Serifsketchia, SprayersFriends, LetterBuildings, SpaceAttacks, MouseAsPainter, MouseLearnMiro, CybaPee, ConstrxiaBlack, LetterBuildingsRoundContrast, RunningLetters, ZenFrax, ZenFraxCondensed, Gestures, HotJuly, JulySketches, KleinsBirds10, RoundHeads, SketchedBats, CybaPeeBlack, MKSansTallX, MKSerifTallX, BlaxxerifaBeta, CyclopsBlax4Dirk, Cyclop, EclectHeads, Graphis, TheManyMKFaces2, PetitLatin, Bowing, BowingInverse, ElectronicFaces, MKSansTallXMedium, MKSerifTallXMedium, ConstruCaps, PhantasticBeings, SpaceBeings, Traffic, HopeRound, Artefakte, AstroBats, AstroBatsFS, AstrobatsTwo, BabelSans-Bold, BabelSans-BoldOblique, BabelSans-Oblique, BabelSans, CalendarDigits, Drivers, DynamicBeings, FloralOne, FloralTwo, GreekArt, JamboRound, LinoCapsA, LinoCapsAR, LinocapsB, LinocapsBR, LombardiCaps-Round, LombardiCaps, LosAngeles, OsterinselPlus, PixCaps, PixCapsRound, PixCapsShadow, SecretWriting, SlabTallX-Medium, SlabTallX, SportsCartoons, ToolsMK, TypoSlabserif-Light, WeLoveAmericasWisdom, Pixelsplitter, Gonzales Sans, Spiralanautics Two, Circulum, Handiqua, typOasis-Initials, Griddies, InCrossFires, MKreatures, Weapons, Imprimerie, FarmersWrite, MKPixelProject, VeryOblique, AgroFont, SketchedMen, Imprimerie Bold, FoolOnTheHill, FoolsThree, TeleCom, AllesNurGeklaut, MKImprovisations, ZigZagOne, ZigZagTwo, ZigzagAnimals, RunishQuill, DomesticAnimals, HappyBirthday, KLEINigkeiten, TypoLatinSerif, DoodlesWritten, PointerSisters, QuadratZiffern, TypoShadows, MonAmourFraktur, SchaftstiefelKaputt, Birds11, Impossibile, PersonaRondo, Brandomi, GeoSansLight (based on Futura), LatinCondensed, AidaOopsXtra, BodoBlackSquares, BodoDisks, ThreeDeeTwoBeta, TypoBoxesRdTwo, Let'sDance, SilhouettesSocled, StoneAgeFeelings, BorisBlackBloxx (used by Brisbane for its branding), BorisBlackBloxxDirty, Latinia, JonasFragments, WildThingShadow, BallettAbsurdo, CarneVale, CatsDogs, HalloWien, Völkerfreundschaft, OldSansBlack, SteinAntikLight, AntiquaInGrid, SteinAntik, AnimalsMeetings, ArteAfrique, BraveOldWorld, Minidom, MonsTheSecondA, MonsTheSecondB, NipponsMonsBats, SpontanoCondenso, Stadtmusikanten, WacoGraphireSketches, KlitschKOtiqua, IronFraktur, Mons03Beta, Mons04, Pointillism Toolbox, BlackGapSans, DingsUndDas, DingsUndDasRunde, Faces, ForAlchemistsOnly, HalloWienTheTramps, MediaevalBats, MonsTheFifth, Peacetiqua, PickABack, TheTrampsTrash, Abstracta-Bold, AbstractaGrid, EdgedFaces, EdgedFacesKantig, HelloViennaMacabre, Menschen, SchulVokalDotless, Tremolo-DemiBold, Tremolo, Typomolecule, WacoFaces, DirtyThinkwitz, GetierAnimalish, Katrina-Normal, KleinsTypesoup, Koepp, Movieboards, NeudoerfferScribbleQuality, NewEarthCitizens, NewsRoar, OldTypographicSymphony-Regular, OldTypographicSymphony-Round, RupturedSans, SketchesByDuerer, SketchesInTypoasis, SlimSansSerif-Bold, SlimSansSerif, Snoutlike, Squaredances, Wacollection, Wacominals, AntikWaCom, FraxBrix, MKBritishWriting, MKRunes-Light, MKRunes, PointsNDotsImprovisations, DadaGrid, ReadItOrDada, VisualImpressions, AugenEyes, DuerersMinuskeln, GothicMajuscles, KyrillaSansSerif-Black, KyrillaSansSerif-Bold (Cyrillic simulation), LombarDuerer, Mdoodled, WittewittMajuscles-Flourish, WittewittMajuscles-FlourishBricks, ScribbleABit, DadaMeetsStoneage, HarpersBizarre, KarawaneSilhous, KritzelBirds, LightUnciale, Look, Nonserif-Regular, PalatinosTypeSoup, SansXHigh, StoneAgeAgain-Normal, TypoasisBoldGothic, UnderlineMonospace, Wacomedians, AbstractConcretLogo, Animalia, AnimaliaTwo, ClassizismAntiquaBook, HansFraktur, IrishUnciAlphabet, MBats, MKBats, Olivia-Normal, SlabserifXhigh, SuprematismFour, SuprematismOne, SuprematismThree, SuprematismTwo, TypesAntiques, WasWoodcuts, AnimalShadows, ArtGoesPixeled, BellaMusica, BirdsOThree, BlaxxConPersona, CaricaturesHeads, CartoonHeads, Children, FraxInCage, FraxInCageLeftOblique, FraxInCageRightOblique, HansSchoensCapsInGrid, HollaMediaeval-Bold, HollaMediaeval-BoldOblique, HollaMediaeval-Oblique, HollaMediaeval, KleinFeodoraCaps, Leibniz-Regular, NewEarthResidents, OtherPeople, PickUpBats, VierfachRund, WacomicCondensed-Medium, WysiwygBats, XmasBalls. 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    TypOasis 2004
    [Manfred Klein]

    Manfred Klein's typefaces from 2004: Bauernschrift (the original Bauernschrift, published in 1911 by Bauersche Gießerei, had a Jugendstil form and a classical gothic form), ArthritishSpringtime, Declared, DigitsCarpet, FraktKonstruct, GalleriaGeometricaA, GalleriaGeometricaB, Logotrainer, MKLatin-Bold, MKLatin-BoldOblique, MKLatinLight, MkLatinLight-Oblique, OldiesButGoodies, RomaMonumentalBC, SportSatyre-Medium, Uncitronica-Medium, Nasenbear, CircusEarth, FolksXXHeavy, PoliticiansWorking, AlkoInitialsFramed, AlkoInitials, CutAwayOne, FragmentBO4, FragmentF, LetterSoupMainz, MKaos-Regular, Menschenskinder, RodGauApesInitials, StoneCapsIngrid, TangramBlack, TangramWhiteBlack, TixBats, TypoApish, Ubahn-Light, Ubahn, UltraCondensedSansSerif, WalbaumTorsoThree-Regular, ArrowFaces, Associations, AssociationsBirds, DotCapsMK, FrakturaFonteria, GuernicaMemories, MultiCapsOne, MultiCapsTwo, Schwabach, SketchesOfSpain, DotsCapsTwo, KleerikaleConBlack, ManiaK, MonksWriting, MonospaceTypewriter, PablosChildren, RuebenNosesFour, SometimesSmiley, TherapeuticApplications, TraditionellSans-Bold, TraditionellSans-Normal, VForVictory, EuroGyptians, Fabeltiere04, GiambattistaDueMille-Oblique, GiambattistaDueMille, KlillLightCondensed, PhonebookFont, PreColumbus, StrokeBorn-Bold, StrokeBorn, TracesOfKandinsky, Amputation, EarthquakeTypewriter, HandwrittenSlim, MyPrivateZoo, PotatoMonsters, RoundOpArt, Sansumi-DemiBold, Sansumi-Regular, Sansumi-UltraLight, Santana-Black, Santana-BlackCondensed, Santana-Bold, Santana-RegularCondensed, Santana, SantanaXtraCondensed, WacObats, Warlord, AfterAtomWar, AnAlphaBetIsmXtreme, AnalphabetismBats, Eulenspiegel, FlyingWomen, FraktalConPablos, KleinsTypen, Napoleodoni, BackgroundBricks, Decreations, Faustant, Faustitalic, GeoGraphics, GuantanamoHumanism, LipoDVectorized, MKritzeleien, Napoleodoni-Bold, ReadingRailroad3D, ReadingRailroad, SchoenspergerCaps, StageGlyphs, StageGlyphsTwo, CarneVale, Cock-Bold, Cock-Italic, Cock (high ascender face), FranklySpokenTwo, GenManipulated, GenManipulatedRounded, KarlasAndManfreds, Lipsiantiqua-Regular, PostConstructivism, PostConstructivismInvers, SketchedCassiusBroken, SpaceGarbage, WinterCoat, Artistiques-Bricks, DoubleBrokenTextura, GoetheGothic, GoetheGothicBold, GoetheGothicOblique, PabloSansCaps, PreRomanCaps, RodgauHeads, ScribblesCalligraphique, SomeParts, SomePartsAlphabet, WomanWithDoveTwo, WritersFont, Russian, SpikyBrush, TechnoMK, Bastarda-K, LuFraktorso, OldGreekButtons, SchwabachScribbles, ToscanButtons, TrajanusBricks, Couples, LookForLeonardo, Morphes, NanaBallett, Rocky, BeastlyBats, ChildrenSketchings, CloseUp, IdenOfMarch, OrnaRosettes, StrangePeople, SurReal, TrajanSmallCaps, Aprilapril, Confuseyecons, Cucumbers, DuererUnd, Exhumations, MankBalloons, MankZieglers, OptimusPrinceps, OptimusPrincepsSemiBold (roman Trajan style), SlabRomana-Bold, SlabRomana-BoldOblique, SlabRomana-Oblique, SlabRomana, CapsRandomish, CapsRandomishBricks, CondensansPaneurope-Medium, CondensansPaneurope-MediumOblique, CondensansPaneurope-Oblique, CondensansPaneurope, HansSchoenspergerRandomish, HelloSirPeter, MankSans-Medium, MankSans-MediumOblique, MankSans-Oblique, MankSans, StencilBricksMK, StencilBricksRandom, AfriquArtes, EggsOne, EggsTwo, EggsnPills, FaceToFace, KarlasWelt, LookBrokenTypes, Schablonski-LessFat, Schablonski (stencil), BlaxxOnGrid, DancingVampyrish, EmkaSansCondensed-Bold, EmkaSansCondensed, Othermil, OwlsNOtherWitches, PrisonBricks, Renaiss-Italic, Runners, VignettSketches, AbsoluteImprovisations, Aparta, BlackLiving, Blowing, BullerBuPapercut-BoldOblique, BullerBuPapercut, CryArgentina, EnFace, EyeBeings, KidsPhantasies, Klats, Linearus, LinearusCentSix, Monofred-UltraLight, Pabloesques, Planless-Bold, Planless, ScribbleDichFrei, SilhouettesAnimalish, Spontifex, Spontifex, TokyoFrankfurtRound, XamStern, BlackSplinters, Linolphabet, Tomahawked, Typobricks, AmericanInhabitants, HypocriSymbols, LastWit, MK-Symbols, StrokesFonds, ThinkBats, UseBats, Klimes, MonoSpatial, Architypogra, CaslonDadaesque, Cuneate, CuneateCaps, MauMauKlein, FatGrafCalliKlein, CavePaint, Goblins, NudesSilhous, RainyDay, AidaSerifaShadow, BodonisBulemy, SuperSansCondLight, Adonis-Bold, Batmania, CactusBlossom, CrazyCrazySans, Eyeballs, FacesAndCaps, FigaroFigaro, FraxBricKs, LaughBajazzo, M-sKetches, MKGrotesque, MoreMonK, NextGeneration, Orcas, PragRoman, RomanGridCaps, StrangeCharacters, TypoTracesOne, Typotraces-Cinque, Typotraces-Four, Typotraces-Three, Typotraces-Zwo, UmDieEckePlus, Vampyrish, VespasianCaps, VespasiansFlorials, Wacofaces04, ZagzagHeads, Klexalfabeta, GotischeMajuskel, PompejiPetit, Birrrdds, Spontcomic, SprayersSujets, TypoElements, WacoMusish, BemBolz, BrokenRoman-Bold, MarinumBreezed, SansFat, Africaans, AllHands, AlwaysPeople, BauAHaus-Black, DeconstructaWide-ExpandedUltra, GrafFittyPunk, LeArchitect, MiszellenKOne, MiszellenTwo, OhLauri, Shamanbats, TrajanusBriX-Invers, TrajanusBricks, TrajanusBricksXtra, Wenceslas-Oblique, Wenceslas, Monofred Ultralight Update, GenotypiPrototype, VivaBodoni, WhatsHappened, Cancellereska, JuniusIrish, LombardPlattfuß, SketchesDuererInvers, TornielloInitials, Birds-Relaunch, KoeppHeads, MiszellenThree, ImperiumCond, KleinsWrittenCaps, SigismundoDiFanti, Zwiebelfisch, ChildWritten, KleinKallig, GoGo, FantasyBats, KarlasMiszellen, LosAngelesBold, MiszCinque, MiszellenQuattro, MouseTraps, LittleRock, Dinotiqua-Heavy, MountFirtree, FarmFont, Karlas704, MesoFaunaBats, PhaistosAlphabet, Quicktypes, AbstractBats, AztecBats, BienMaya, ForefathersSketches, HumanDeformations, MiszellenJuly, NativeAmericans, OldEgyptGlyphs, PeoplesParts, RainmansWeatherreport, SheAndHe, MKlimesCondensed, SansBlack, WinterthurCondensed, MonoSerifBased70, Rehacles, RustiCalligraphia, ScrapDealer, Vampyriqua, Zebraesq, FracturiaSketched, FracturiaSketchedCaps, OrnamentInitials, CavePeoplePainting, FontBetaOne, HierobatsSketches, PrehistFantasies, Roundlings, VampyrBats, WacoheadsTwo, Cybatiqua, HassianUncial, PittoresqJugendstil, BonFood, PoeticRound, ReligionSpirituality, Running Gnomes, WesternPastHeroes, WritersReaders, AdAstra, Practiqua, DistroyA, DottyShadow, QuickMary, QuickMax, StrokeyHand, EasterIslandsToday, EthnicReconstructions, MotherAfrica, Scherenschnitt, Napoleon, Newspaper, RoundSlabSerif, DisPropBold, FishHooks, VariationsForImre, GoticaBastarda, ImresFraktur (modeled after a blackletter by Reiner), ToskanaCapsRound, KidsStuff, MKDingBats, Offbeats, PeopleSketches, StrangeTypes, WeatherBats, MoldauQua, Postertypes, ThinManGiambattista, AnimalTypeFaces, DoubleFaces, ItalianEvolution, TodayRunes, BeachBats, MiszellenEight, PrettyPeople, ZeroPoints, Scherenschnitt, ScissorThree, Crosses, MayanMexican, MKarlasBats, LimesCondensed, SkiCargo, MonogramsToolbox, SerifCaps, SpaceDreams, TaxTaxation, ArrowsCompetition, Damaged, TypewriterCondensed, AfricanAngels, AfricanArtifacts, AfricanQueens, CaviarBats, CircusClowns, Hands, HelloDoc, MedicoBats, ModernPeace, SchoolStuff, LatinumTall-X, LucaPacioliCaps, LucaPacioliRough, UnclassicQuill-Condensed, ChildrenBats, Sketched, Egypt, SlimSans, WeekdaysRomanSlant, AbcariFond, Gastronom, HalfEnough-Bold, HelloweeniA, Mkristall, Stoerung, WildQuill, Artests, Burlesque, Exercises, FacesFaces, MenFiftyTwo, MSkizzen, BradbOGilvy, Centuriqua-Ultra, Ogirema, Africain, Angelinos, Assoziazione, BadCircumstances, FacesTypes, Gymnastics, HalloweenTwo, KidsStuffAdded, Proportions, Roaring29, ToyToy, WellnessBoom, WoodcutsOne, WoodcutsTwo, Bamboo, SansBlackSmall, FilledABC, FolksInCubes, SprayersTypes, JoeCaxton04, AfricEggs, BusinessPeople, DueMillePix, EarlyMidage, Musicus, NiceBoys, Sculpturs, SilhouettA, WildAnimalsOne, WoodcutAnimals, RomanSerif, RomanSerifOblique, DiskO-LightInverse, GreeKish, BatsDa, Djungle, E-Motions, EyesTests, HalloweensUfos, OldEgyptOne, OldEgyptTwo, RareClothes, SeeItInMuseum, SFAliens, Shamanish, TrafficVehicles, Users, Sansibar-CXCondensed, KidsFirstABC, KleinsKrempelTypes, QuasimodoCaps, VisitCard, ZigZagThree, QuadrataRomaMediumOblique, Climbers, EmkaBats, Homunculus, ReligiousSymbols, Schoolish, GrotesqueBoldTallX, RightSo, RomanWoodcut, Diogenes, HappyBirdsday, ProthesisBlack, StylosCapitale, Kinderkram, ReallyAnimalishOne, ReallyAnimalsTwo, VoteMe, JoaoCond-Light, JoaoImprovisations, LeiterplattenSans, ProthesisCaribiqu, ArmadaPirata, Bikers, DancingPeople, DeepSwimmers, Engel, MusicMuseal, PiratesOne, PiratesTwo, PiratesThree, PiratesSymbols, PreColumbats, RohrschachEtcetera, SciencesBats, Swimming Beautys, TrialNError, TwelveYearsAfter, WintersAbstract, WoodcutsAgain, YoungScene, UglyQua, SchneidlerSolitaires, Bibelschrift (with Petra Heidorn), CircusAir, FreeLife, Mirodish, Pixelsoup, PrositBats, Sports, Unlucky, WorkingClassHero, XmasOne, Zoobats, GeosansLightOblique, HoffmanFL, HamletOrNot (with Petra Heidorn), AstroCalligraphs, AstroDingbats, AtHome, BiblishPictures, BusyPeople, FamousBuildings, Landscapes, MoreDancing, Neighbours, RomansAntePortas, Seefahrer, Shopping, TheaterSymbols, Callimundial, OgiremaSlab, Delitsch Initialen, HartzVier, Hingehudelt, Hingeschludert-Black, MatisseThree, MrKlein, RemiDur, Burgfest, DelitschInitialen, UncialeOrnamentale, UncialeXpressLight, AbermalsAnimals, Buddhism, BuyMe!, LifeEyecons, LifeIcons, Tourists, Wintersports, FourEarsArrows, MensFriends, MKartoonsHeads, OetzisTimesWillCome, SportsTraining, XmasBatzz, ClassicBats, FramesAnd, HistoricMoments, OldFramesSymbols, PabloInTown, RomanArchitectura, Sleep, VeryBusy, BrokenHand, Burtinomatic (blackletter based on Burte Fraktur), MonumentA, Athena, DisPropSans, Zyprian, MiscellenDec04, MiszellenK, MoreBusy, OldTestament, ScienceFictions, Taucher, XmasOnMoon, Weiß Fraktur (with Petra Heidorn), DeutscherSchmuck (with Petra Heidorn, based on Schmuck für Deutsche Druckschrift by E. Ege, 1922), SchmaleGotischMK (after type by Ernst Schneidler), SchmalfetteGotisch (with Petra Heidorn, again based on Ernst Schneidler), SchneidlerSchwabachInitials, Serpentina, Schooltime, HistoricPeople, WYSIWYG, MK-Signatures, TheManyMKFaces. [Google] [MyFonts] [More]  ⦿

    Typoasis output before 2001
    [Manfred Klein]

    These are all free creations by Manfred Klein before or in 2001: Aftermath Manhattan, Aida Oops, Airdried Parma Font, Aliens, Amazon, AnthroPosoph, Architypo, Bullets 1+2, Casual Stencil, Cats, Circle Initials Freestyle, ClassiCaps, Claudius Imperator, Creepy, DisProporz, Dizzy, Eagle Konfetti, Feathered, First TypoManiacs, Flying Carpets, Furioso, Glitter, Glyptographs, Grid Exercise, Grid Scribbles, Headbirth (a great font with caricatures of men composed of deformed letters only), Headfeeter, Headfeeter 3, Hello Mr Pharao, IntourisTiqua, Kenzotiqua, Kidge&KidgeBoxes, Kleins BinAerfabet, Kleins First Bricks, Kleins Moons, Kleins Pharao I+II, Kleins Round Fragments, Kleins Sausages, Kleinsan (Japanese letterform simulation), Klill For Typesetters, Linoleu, Mannes Heads, MK Bats, MKonstrukTshirts, MutanTrios, My Nippon, Neu Gothic, Old Roman Klein, Oli Klein Bats (drawing by Manfred's son, 2001), Papercuts, Petra Font, Pointilism, Pompeji, Rainy Day, Remember Manhattan, Remember Scribbled Type?, Roots Koch Three, Rosett Klung, Sailing Strong Breeze, Sanstencil, Scribbled Astrobats, ScribbleDoni, SternenHimmel, Total Floral, Uncial Virtual, Uncitron Swinging Bold, Xmas Gingerbread, Grid Zebra, RuniK100-Bold, RuniKleinFreeform (2001, great simulated runes), Brix Round, AZ-Fusione, ClassiCaps Xmas, AngloSaxon, Betonia, Was A Screenfont, Kleins First Script, PetriFree, Aida Serif, Roaring Twenties, RoaringTwenties 2, TypeWriters Substitute, Free Bradbury, Twiggy, Arrowbix, Solunciale, Dada's Traces, AppleWine, Sumo Heavy, Petit San, Sketch Cameos Round, NipponToon, CrazyTimes, Give Euro A Face, Kids Kas, DymoFontInvers, K-Neptuns, Smile And Train, Free Bradbury Sans, Funny Faces, PointerSisters, Kritzel One, Quick Greek, Kleins Heraldry Box, Mercato Light+Bold, Silhous, Vertigo, CircleSigns, Warum 2001, MKlammeraffen, Dillefanten, Hallelujah, OhRosetta, Backgrounders, Cave AB, Broken ABC, XPFourTwoContour Medium, Karlas 1st Font, Frogs And Men, Pixel Nonsens, Latin Lovers Runes, Roundheads, Wacbats, CalliPsoGrafia, Typeface Eggs, Gourmet Icons, Hacke It!, Square Heads, FroxXMedium, FirstBricksMirored, Sportive, WacbatsItalic, MKartuhns, Typos, Free People, OliJo Sans Italic, FlyingSwimming, Clone Products, OliJo, Gutenbergs Traces.

    Some of these fonts saw rather unknown extensions. For example, TypeWriters Substitute had Bold and Italic extensions by Manfred after Ramsey Margolis (Wellington, Aotearoa New Zealand) asked for them. His friend John Houston who worked for the Guardian in the UK supplied Opentype versions of these fonts. [Google] [MyFonts] [More]  ⦿

    Typofonderie (was: Porchez Typofonderie)
    [Jean-François Porchez]

    Jean-François Porchez (b. 1964) lived in Malakoff near Paris until 2006, when he moved to Sèvres, and from there to Clamart in 2008. He studied at the Atelier Nationale de Recherche Typographique (or ANRT), and caught the world's attention when he created a new type family for Le Monde in 1994. His fonts Angie and Apolline were prize-winning entries at the Morisawa Typeface competition. He received the Charles Peignot award in 1998, and many awards at Bukvaraz in 2001 for fonts such as Ambroise and Anisette. He runs an increasingly important foundry, Porchez Typofonderie, and is the main typographical driving force in France today. He set up ZeCraft. Until 2004, he taught typography at ENSAD in Paris, and teaches occasionally at Reading. From 2004 until 2007, he was President of ATypI. His fonts:

    • Airco Std (2020). An italic at 27 degrees to evoke speed.
    • Allumi PTF (2009---Eurostile meets Frutiger). Allumi comes in 27 styles. In 2021, Allumi Inline was added. Allumi Dingbats (2009) is free: it has several fists and arrows.
    • Alpha Poste (2005). A sans family for the group La Poste.
    • Ambroise, Ambroise Firmin (condensed) and Ambroise François (extra condensed) (2001, 30 fonts in all). Inspired by late style (1830s) Didot's, and with g, y and k as in the types of Vibert, the Didot family punchcutter as per the specimen books of the Fonderie Générale. This family was updated and extended with a new italic in 2016 as Ambroise Pro.
    • Angie (1995, FontFont). A flared humanist sans in six styles.
    • Anisette (1997, Font Bureau), Anisette Petite (2001-2008). Anisette is an art deco / avant garde family. The Petite is trending towards a more standard geometric sans. Anisette Pro Petite appeared in 2013.
    • The Typelab fonts Antwerpen (1993) and Antarée (1993).
    • Apolline (1995-1998, Porchez Typofonderie).
    • Arcane (1997, Ogilvy-Quérac).
    • Ardoise (2010). An extension of the Charente typeface (1999), which Porchez designed for the daily La Charente Libre, following the simple style of Franklin Gothic. The typeface extension to normal widths was developed from 2006 by Porchez and was used in 2010 in the redesign of the magazine Pelerin. Porchez: Ardoise PTF and its 45 series could be considered as an homage to Antique Olive. [...] It is virtually immune to distortion.
    • Audace Std (2020). A curvy sans.
    • Bienvenue (1999-2000, for France Telecom), Francetelecom-Demi (1999-2000, also for France Telecom).
    • Charente (2000).
    • AW Conqueror (2010). Jean-François Porchez was approached at the end of 2009 by Reflex Image to create a set of typefaces to relaunch the Conqueror papers collection. AW Conqueror is a family of free fonts available at the slow, chaotic and dysfunctional Conqueror.com / Arjo Wiggins web site. Styles include AW Conqueror Sans, AW Conqueror Slab, AW Conqueror Inline, AW Conqueror Didot and AW Conqueror Carved (with horizontal stripes as in money fonts). Not to be confused with the 2005 family called Conqueror by Yuri Gordon.
    • Courrier (1997).
    • Deréon (2005). Custom design for Beyoncé Knowles, remotely related to Dwiggins' Caledonia.
    • Disney Channel (1997).
    • Henderson Serif & Sans [2006). A Baskerville-meets-Arial family conceived by J.-F. Porchez, but extended and perfected by J.-B. Levée.
    • La Terre (1994-2000). Circulated on abf under the names BAAAAALaTerre-Regular in 2002.
    • Le Monde Journal (1997), Le Monde Sans (1997), Le Monde Livre and Le Monde Livre Classic (1997), Le Monde Journal Ipa (2003, a phonetic family), Le Monde Costa (Costa Crociere), Le Monde Courrier (2002).
    • Linotype Sabon (2002). An interpretation of Tschichold's Sabon. This project was conceived at Type Sexy Night in Leipzig with a thoroughly drunk Bruno Steinert.;
    • Lion (1998, Peugeot automobiles).
    • Pyrénée (1996, Albert Boton, Carré Noir).
    • Mencken (2005). For the Baltimore Sun, dubbed a contemporary Didot by JFP himself. Mencken replaces Retina for the stock tables and small print---Retina was originally created by typographer Tobias Frere-Jones of Hoefler&Frere-Jones for use in The Wall Street Journal, but seems harder to read than Mencken). In 2017, it was developed into a 163-style family, consisting the low contrast transitional Mencken Text, and the Scotch didone Mencken Head. It was also used near the end of presidential campaign of Emmanuel Macron. It is named after American journalist and satirist Henry Louis Mencken (1880-1956). For a retail version, see Mencken (2020, Typofonderie).
    • Parisine (1996). Read about the history here. Parisine Office was done in 2005 for the RATP. Other weights include Parisine Clair, Parisine Sombre, Parisine Plus.
    • Renault Identité (2004). Designed for Renault, and based on lettering by Eric de Berranger.
    • Retiro (2006-2009). A Didot headline suitably ibericized for the magazine Madriz. Winner at TDC2 2010.
    • Singulier (2012) is a geometric sans typeface created for Yves Saint Laurent Parfums. It was inspired by the monogram and logotype called Yves Saint Laurent that was created by Cassandre in the early 1960s.
    • Sitaline (a corporate type for SITA, 1998).
    • Vuitton Persona (2007). An all-capital two-color custom font designed for Louis Vuitton Malletier. Retail since 2008.
    • Ysans was conceived in 2010 and published in 2017. Influenced by Cassandre's lettering, this geometric sans is aimed at the fashion industry. Its beveled multiline version is Ysans Mondrian.
    • In 2020, he designed Arteria, a compressed display typeface family inspired by Italian shop signs and wood types.
    • In 2021, Porchez developed the wonderful copperplate calligraphic typeface family Altesse, which is a typographic adaptation of the scripts engraved by the French copperplate masters from the 19th and 20th centuries. Altesse comes in many optical sizes. It won the grand prize in the 2022 Tokyo TDC competition.
    • In late 2021, he released Astronef Super, a retro-futuristic typeface family with seven weights pushed to the extreme on both ends.

    FontFont write-up. Adobe write-up. Bio. At ATypI 2004 in Prague, he spoke about Parisine and legibility.

    In 2014, Adverbum published the French/English book Jean François Porchez L'excellence typographique---The haute couture of typeface design, which has pieces by Karen Cheng, Aaron Levin, Muriel Paris and Sumner Stone.

    Linotype link. Behance link. Another Behance link. FontShop link. MyFonts link. MyFonts interview in 2009. Behance link. Speaker at ATypI 2010 in Dublin.

    View the typefaces made by Typofonderie Porchez. Adobe link. [Google] [MyFonts] [More]  ⦿

    Typogama
    [Michael Parson]

    Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.

    Most of Parson's fonts cover both Latin and Cyrillic.

    In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).

    In 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons (dingbats for golf), Wingbat (aircraft dingbats).

    In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).

    In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (a modular sharp-edged blackletter with illuminated capitals), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).

    Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans that won an award at Modern Cyrillic 2014), Fuera (2011: a bilined typeface, T26).

    In 2013, he published Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera (2011), Ignorance (an American 19th century style penmanship font), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers Latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (2011, a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (2012, an elliptical sans family), Pictypo (2012, a useful icon typeface).

    In 2014, he updated the interlocking poster display typeface Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Lale (2014), which won an award in the TDC 2015 Type Design competition, uses the opentype features to set up a font system for flowers. Jane (2014) is a rounded sans typeface family. Vulgat (2014) is a vibrant display typeface based on uncial letterforms. Elsuave is a free rounded piano key typeface.

    Typefaces from 2015: Chickenz, Framez, Jackazz, Raubam (free), Martinaz (signage script).

    Typefaces from 2016: Auro (rounded sans), Dejecta (rough and ragged), Apollonius (a swashy didone), Rosengarten (vintage type influenced by Lucian Barnhard), Deleplace (influenced by didones), Furius (Tuscan style).

    Typefaces from 2017: Kurstiva (an informal sans family), Banja (a plump signage script), Bignoy (Wild West, modernized), Kimbo (octagonal), Mensrea (organic sans with beveled, inline, and various layered and graffiti styles), Nibbles (a food truck-inspired dingbat typeface), Huggy (an art nouveau typeface influenced by the work of Heinrich Heinz).

    Typefaces from 2018: Brinnan (a wide sans), Zoltana (a floriated, abll terminal-laden fancy titling typeface), Genesa, Kufin (a free Kufic emulation typeface), Madden (an angry dry brush poster typeface).

    Typefaces from 2019: Ahsing (oriental look font), Convexion (a creamy display typeface), Vidocq (based on 19th century woodcut styles).

    Typefaces from 2020: Fiducia (inspired by the first Swiss banknotes), Gorgonzo (a creamy bold typeface designed for attention grabbing headlines), Thrifty (a clean minimalist sans family).

    Typefaces from 2021: Oildale (an oily and creamy display typeface), Conica (a fine extra bold condensed poster typeface).

    Typefaces from 2022: Xotor (a double-inline or prismatic font with octagonal outlines).

    Behance link. Klingspor link. Hellofont link. MyFonts link.

    View Michael Parson's typefaces. [Google] [MyFonts] [More]  ⦿

    Typograma
    [César Puertas]

    Cesar Puertas is the Bogotá, Colombia-based designer, who teaches typography at Jorge Tadeo Lozano University (2005-2007) and National University of Colombia (2009-). He is the co-founder of ADG Colombia (Colombian Association of Graphic Designers). He graduated from the National University of Colombia in 1999, and got an MA in Type and Media from KABK in 2009. He is currently associate professor at Universidad Nacional de Colombia and type designer at Typograma, his own design studio. His typefaces:

    • Puertas Sans (2005).
    • ITC Obliqua (2007), a humanist sans family with handwritten influences, discussed here.
    • Urbana (2007). A humanist sans family having a few odd glyphs such as a very wide "w". Monotype link. Review by Typographica.
    • Bolívar (2007) and Bolívar Dingbats (2007). A contemporary calligraphic display typeface inspired in the handwriting of Simón Bolívar, the liberator of South America.
    • Buendia (2009). His graduation type family at KABK was Buendía. Available from Bold Monday and Fontshop.
    • La Republica (2010). Custom high-contrast didone typeface for a Colombian newspaper. Review by The Case & Point.
    • Robofan (2010, techno; +Symbols).
    • Legitima (2011) is a text font family inspired by the types found in the third edition of the Italian book La Cicceide Legitima, printed in 1695. It was originally developed in 2009 during his studies in the Type & Media program. Its weight and x-height, optimized for 10 point-size, makes it an ideal choice for book design and anything with running text.
    • Ancizar (2013). A family of 26 sans and serif fonts designed for the National University of Colombia. Ancizar won an award at Tipos Latinos 2016.
    • Bufalino Display (2014) is a custom design for El Malpensante. Jointly designed by Cesar Puertas and Juan Sebastian Cuestas, it won an award at Tipos Latinos 2016.
    • In 2016, Cesar Puertas and Jan Filipek co-designed the newspaper typeface Bagatela for La Republica.
    • Translation (2017) is a typeface designed to teach the strokes and stroke order to calligraphy students.

    Puertas received many awards at Tipos Latinos 2012: Legitima Regular and Italica won in the text category; while Buendia and La Republica won in the typeface family category. La Republica also won an award at TDC 2012. Speaker at ATypI 2013 in Amsterdam: Algorithm for the assessment of text typefaces using design parameters.

    Dafont link. Klingspor link. Monotype link. Flickr page. Behance link. Home page. [Google] [MyFonts] [More]  ⦿

    Typographica's Favorite Fonts of 2004

    Stephen Coles (Typographica) lists the best fonts of 2004. Comments from the Typographica community of type designers. The winners:

    • Bello: Akiem Helmling, Bas Jacobs, Sami Kortemäki
    • Olduvai: Randy Jones
    • Auto: Akiem Helmling, Bas Jacobs, Sami Kortemäki
    • Versa: Peter Verheul
    • Whitney: Tobias Frere-Jones
    • GalaxiePolaris: Chester Jenkins
    • Bickham Script: Pro Richard Lipton
    • Avenir Next: Adrian Frutiger, Akira Kobayashi
    • NeoSans and NeoTech: Sebastian Lester
    • PTF Costa: Jean-François Porchez
    • Klavika: Eric Olson
    • Ed Interlock: Ed Benguiat, Ken Barber, Tal Lemming
    • Farnham: Christian Schwartz
    • Amira: Cyrus Highsmith
    • FF Absara: Xavier Dupré
    • FTF Rongel V2: Mario Feliciano
    • FF Legato: Evert Bloemsma
    Honorable mentions: Fresco (Fred Smeijers), Akkurat (Laurenz Brunner), Andulka (Frantisek Storm), Metron (Frantisek Storm), Didot Elder (François Rappo; discussion at Typographica), Lexicon Headline (Bram de Does), Cycles (Sumner Stone), Magma (Sumner Stone), Zapfino Extra Pro (Hermann Zapf, Akira Kobayashi, Adam Twardoch), Stratum (Eric Olson), FindReplace (Eric Olson), DTF Hefeweizen (David Thometz), Costa Jean (François Porchez), Borges (Alejandro Lo Celso), RePublic (Tomá Brousil), Delicato (Stefan Hattenbach), Brea (Corey Holms), Ferox (Miles Newlyn), Pill Gothic (Christian Robertson), Mr Sheppards (Alejandro Paul), Cabernet Italic (Jason Walcott), Hucklebuck (Jason Walcott), Dear Sarah Pro (Christian Robertson), FF Max Demi Serif (Morten Olsen), FF Hydra Text (Silvio Napoleone), FF Bau Italic (Christian Schwartz), Fleischmann Gotisch PT (Ingo Preuss), FTF Merlo (Mario Feliciano), LHF Billhead (Tom Kennedy). [Google] [More]  ⦿

    Typographies.fr
    [Jonathan Perez]

    French foundry, est. 2008, by Jonathan Perez and Laurent Bourcellier. Graduates from the Ecole Estienne in Paris, they have made the following fonts:

    • Chapitre (2013): It is based on the principle of the endless knot, a symbol used particularly in Hinduism and Buddhism. As its name implies, an endless knot has no beginning and no end. It also echoes many works in the history of writing which you must be familiar with, like Irish and Anglo-Saxon illuminations of the Middle Ages or Flemish calligraphy of the 17th century. Chapitre won an award at TDC 2014.
    • Colvert (2012): A family comprosed of four families, Colvert Arabic (by Kristyan Sarkis), Colvert Cyrillic (by Natalia Chuvatin), Colvert Greek (by Irene Vlachou) and Colvert Latin (by Jonathan Perez).
    • The free font Ifao N Copte, a Unicode-compatible font with 809 glyphs for Coptic. By Perez.
    • Unicopte (by Bourcellier) and Copte Scripte (2008, by Bourcellier and Perez; it won an award at TDC2 2009). Discussion.
    • A hieroglyphic font. By Perez.
    • Joos (2009) took its inspiration from an italic, ca. 1530, by Joos Lambrecht, from Gent, Belgium, who was one of the great printers and punchcutters of the 16th century.
    • Extensions of Syntax and ITC Slimbach for Vietnamese (with the help of Pauline Nuñez, Valentine Proust and Mathieu Réguer) for the National Museum of Asian Arts Guimet.
    Jonathan Perez is a graphic and type designer. He graduated in 2007 from Ecole Estienne in Paris with a provocatively-titled thesis, Giambattista Bodoni, génie ou assassin?. In 2009, Jonathan set up his own site, JonathanPerez.cm, where he plans to publish some Latin typefaces. Fontspace has some free fonts by Perez, such as Ifao n Copte.

    I Love Typography link. Klingspor link. [Google] [More]  ⦿

    Typographische Maßsysteme: Der metrische Punkt

    Wolfgang Beinert's German page on various point systems. From his page:

    1 Punkt (Didot-Punkt) = 0,376 mm
    1 Point (Pica-Punkt) = 0,351 mm
    1 Pica = 4,216 mm
    1 Inch = 25,399 mm
    1 Cicero = 12 Didot-Punkte = 4,404 mm
    1 mm = 2,66 Punkt
    1 mm = 0,237 Pica
    1 mm = 2,846 Points
    1 mm = 0,0394 Inches


    03 Punkt = Billant
    04 Punkt = Diamant
    05 Punkt = Perl
    06 Punkt = Nonpareille
    07 Punkt = Kolonel
    08 Punkt = Petit
    09 Punkt = Borgis, Bourgeois
    10 Punkt = Korpus, Garmond
    11 Punkt = Rheinländer
    12 Punkt = Cicero [ab 12 pt. auch Schaugröße genannt]
    14 Punkt = Mittel
    16 Punkt = Tertia
    18 Punkt = Paragon
    20 Punkt = Text
    24 Punkt = 2 Cicero, Doppelcicero
    28 Punkt = Doppelmittel
    32 Punkt = Doppeltertia
    36 Punkt = 3 Cicero, Doppeltertia
    48 Punkt = 4 Cicero, Kanon
    72 Punkt = 6 Cicero, Kleine Sabon
    84 Punkt = 7 Cicero, Grobe Sabon
    96 Punkt = 8 Cicero
    [Google] [More]  ⦿

    tyPoland
    [Lukasz Dziedzic]

    Typoland is the Warsaw-based foundry of Lukasz Dziedzic (b. 1967, Warsaw), est. 2014. Before that commercial venture, he was mostly creating free typefaces or commercial typefaces through FontShop / FontFont. Quoting Adam Twardoch: Rather than to finish high school, he worked as a sound technician and occasionally actor at a children's theatre group, spent a year working as a carpenter helper rebuilding 13th-century churches, he lent his voice and bass guitar skills to the band Dunski Jazz, and worked as a software developer at the Polish patent office. During the first free Polish elections of 1989, he briefly worked as a newsboy for Gazeta Wyborcza, the newly-launched, first independent daily newspaper in the country. A year later, he joined the design department of Gazeta Wyborcza and spent seven years there, co-creating the layouts of the main newspaper and its weekly companion magazine, for which he drew his first typeface. He later worked for several other publishing houses in Warsaw (since 2003 at Axel Springer Polska), designing newspapers and magazines. In the same time, Lukasz drew over a dozen typeface families ranging from large Latin and Cyrillic text families to single display styles. Many of these fonts were originally created for a particular newspaper or magazine layout. Some of them went into regular use or were used occasionally (in Poland: Gazeta Wyborcza, Vita, Przyjacióka, Fakt, Lub Czasopismo, Go Niedzielny, Telewiat, Komputer wiat, in Russia: OK!, in Germany: OK! and PAGE), others were never utilized.

    In 2007, Lukasz created a three-style Latin and Cyrillic corporate family for empik, one of Poland's largest press and music retail store networks. At the same time, FontShop International released two of Lukasz Dziedzic's families (FF Clan and FF Good). Work on FF Clan had started in 2006.

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

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

    Lato is a sanserif typeface family designed in the summer of 2010 by Lukasz Dziedzic In December 2010 the Lato family was published under the open source Open Font License by his foundry tyPoland, with support from Google. In 2013-2014, the family was greatly extended to cover 3000+ glyphs per style with the help of Adam Twardoch and Botio Nikoltchev. The Lato 2.010 family now supports 100+ Latin-based languages, 50+ Cyrillic-based languages as well as Greek and IPA phonetics. In the process, the metrics and kerning of the family have been revised and four additional weights were created. A further update in 2019 is renamed Verano Sans. Microsite. Open Font Library link. At OFL, the help of Adam Twardoch and Botio Nikoltchev is acknowledged. CTAN link. In 2013, Lato TR (for Turkish) was published by Fatih Günes: free download.

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

    In 2014, he published the sans family Ringo (Typoland) and the free typeface family Carlito (a sans family adopted by Google for ChromeOS as a font-metric compatible replacement for Calibri---it would be interesting to understand the motivation for Google's decision to do that). Download Carlito here.

    In 2015, he published the perky script typeface family FF Eggo (FontFont).

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

  • Typoma
    [Johannes Küster]

    Typoma is Johannes Küster's place in the web. He is a mathematician, type designer and designer, who graduated in mathematics from Munich Technical University. During his studies, he got involved in the typesetting and production of mathematical books. In 2000, he founded his own office, typoma, and is now working mainly on typesetting scientific books, designing mathematical fonts, and writing and talking about mathematical typesetting and scientific typography. Johannes lives in Holzkirchen, Germany. At ATypI 2004 in Prague and at ATypI 2005 in Helsinki, he spoke about fonts for mathematics. Speaker at ATypI 2011 in Reykjavik. His contributions:

    • He is currently involved in 20-style (5 optical sizes times 4 weights) mega-project for adding over 2000 mathematical glyphs to Adobe's Minion family, which was released in February 2009 under the name Typoma MbMath, and in April 2009 as Minion Math.
    • To the German book Detailtypografie (2nd ed., 2004), he contributed the chapter about mathematical typesetting, and an extensive annotated list of mathematical symbols.
    • He is working on LatinModernMath to accompany Boguslaw Jackowski's Latin Modern, a free font set that provides an alternative for Computer Modern in TeX.
    • He is also working on mathematical extensions of Euler (with Hermann Zapf) and Computer Modern (called newmath).
    [Google] [More]  ⦿

    Typomancer
    [Warit Chaiyakul]

    Warit Chaiyakul (Typomancer) is a type designer from Bangkok, Thailand. He created the upright connected script typeface Rhyme Casual (2012) and its unconnected cousin Rhyme Formal (2012).

    All of Warit's typefaces cover Latin and Thai. Warit also designed Wongklom (2012, a rounded sans), Theorem (2012, didone), Charm (2012, serifed face), Conflict (2012, sans), Arch (2012).

    In 2013, he published Acid (an upright script), the rounded didone typeface family Lynx, the hybrid didone family Felis, the rounded humanist sans family Lounge, the calligraphic script family Mist, and the Latin / Thai sans typeface Quark.

    Dawnora (2014, +Initials, +Headline) is a flared swashy display type family. Auxilia (+Condensed) is a geometric sans typeface family.

    Typefaces from 2015: Cline (slab serif and sans), Cline (a slab and sans family), Lince (16 fashion mag typefaces rooted in didones), Felis Script.

    Typefaces from 2016: Eirlys (a sharp-edged typeface with a medieval or Irish character), Conflict (sans), Ounce (a didone typeface), Cloud (some weights are free).

    Typefaces from 2017: Cloud Soft (soft rounded sans; free LightBold weight), Gwyner, Charm (a warm rounded sans).

    Typefaces from 2018: Muirne (a Celtic semi-serif typeface family), Pinala (script and sans duo).

    Typefaces from 2019: Cloud Lucent, Cloud Script (free).

    Typefaces from 2020: Belynos. [Google] [MyFonts] [More]  ⦿

    Typophage
    [Christophe Badani]

    Christophe Badani (b. 1969, Marseilles) is a French type designer. He resides in Boulogne-Billancourt, France. His typefaces:

    • Ambre Script (1999). Based on Carolingian forms.
    • Berto (2000, +Decoration). A digitization of a 1950s Cyrillic simulation typeface by Joseph Bertocchio (1907-1978), which has, in addition, nice ornaments.
    • IndexLT (1998).
    • Romaine.
    • Linotype Rough (1998).
    • Theo.
    • Transilienne.
    • Trevor.
    • Custom fonts: Akerys, Alstom (2007, a sans typeface done with Stephane Gabrielli), BD Asterix (2003-2005), Ciboulette (2006, script done for Auchan), Darty Sans (for Darty; with Stephane Gabrielli), Eurodatacar (2007: a stencil typeface done with Stephane Gabrielli), Fédération Française de Basketball (or FFBB; read about it here), Graphèmes (2007, a sans typeface done with Stephane Gabrielli), Lacoste Sans (2002, for Lacoste; The typophiles find it too close to TheSans), Lancômes (2004, a hairline connected script), Lune de Miel (handwriting, 2002, for YSA; has many alternate double and triple letter combinations, and tries to simulate real handwriting), MAAF, Peugeot (done in 2009 with Stephane Gabrielli), Pimkie, Roland Garros (+Serif) (2015; the stunning family is also called just RG), Seenk (2005, with J.-B. Levée), Sogea, Ubisoft (2003, developed in collaboration with the Seenk agency (design&MixMedia studio) for the video game company Ubisoft: it won the "Trophée d'Or" award at the Intergraphic Congress in Paris in January 2004, and consists of Ubisoft Imagine, Ubisoft Petz, Ubisoft Text, Ubisoft Title One & Ubisoft Title Two), Vinci Sans and Vinci Serif (2007, with Stephane Gabrielli), Weber.
    • Jo (2013). A swashy set of capitals.
    • VTF Mister Pixel and VTF Mister Pixel Tools (2003-2011, at Velvetyne).
    • Elior (2014). A corporate typeface.
    • GACD (2016): custom type.
    • Vinci Script (2016). A custom script for Vinci. The Arabic was designed by Mathieu Réguer.
    • Trends Tag (2016). A custom sans.
    • Eurodatacar (2016). A rounded stencil typeface.
    • Cloche d'Or (2016). Custom all caps alphabets for Minale Design Strategy Brussels. Designed by Christophe Badani (lead), Maha Mouidine, and Léo Guibert. It includes Normal, Hatch, Inline Bright, Inline Dark, Stencil and Outline styles.
    • DS (2017). A didone typeface family for DS Atomobiles. By Serge Cortési and Christophe Badani.
    • Veuve Clicquot Ponsardin (2018). A commissioned typeface foor the champagne company--by Christophe Badani and Stéphane Gabrielli.
    • Pllafont (2018). A bespoke typeface for Palladium.

    Christophe runs Typophage, a type activity center. Interview with Planete Typographie. Some of his fonts are also at Typotek. In 2004, he joined Ultra Pixel Fonts, where he made the pixel typeface Mr. Pixel. His historical pages explain about things such as Quadrata (first century roman lettering).

    Dafont link. Klingspor link. FontShop link. Linotype link. Badani's personal site. Behance link. Christophe Badani at Velvetyne. [Google] [MyFonts] [More]  ⦿

    Typotheque
    [Peter Bilak]

    Typotheque is an initiative of Peter Bilak and ui42 out of Bratislava (Slovakia), and later, The Netherlands: Typotheque is an Internet-based independent type foundry. It offers quality fonts for PC and Macintosh platforms in standard European character set and in CE (central european) character set. All fonts have full (european) character sets, are thoroughly tested and manually kerned.

    Typotheque also offers its own type utilities: AccentKernMaker and FontAgent. In 2000, with Stuart Bailey, Peter Bilak co-founded art and design journal Dot Dot Dot. Along with Andrej Kratky he co-founded Fontstand.com, a font rental platform. Peter is teaching at the Type & Media postgraduate course at the Royal Academy of Arts, The Hague.

    Free fonts: Remix Typotheque and RaumSüd.

    Commercial fonts: Fedra Sans (2001, 30 weights), Holy Cow (2000), Champollion (2000), Eureka (2000), Eureka Phonetik (2000), Eureka Arrows (2000), Eureka Glyphs (2000), Jigsaw (Light and Stencil, 2000, by Johanna Balusikova), Fedra Mono (2002), Fedra Bitmaps (2002), Fedra Serif (2003, 48 weights, with a characteristic shy female A, toes pointing inwards), Fedra Serif Display (2006) and Fedra Arabic (2006) .

    Greta (2006-2007, Greta Text and Greta Display) is a newspaper type family designed initially for the main Slovak newspaper, SME. Greta Text won an award at TDC2 2007. It is also being used by the Sunday Times (along with Sunday Times Modern by Emtype and Flama by M. Feliciano). Greta Symbol (2012) is a 10-style 1200-glyphs-per-style superfamily of symbols commonly used in newspapers, magazines and online publications. Finally, Greta Mono (by Peter Bilak and Nikola Djurek) saw the light in 2015. Codesigner with Daniel Berkovitz of Greta Sans Hebrew (2015), which won an award at TDC 2016 and was released in 2017. Greta Sans supports Latin, Greek, Cyrillic, Armenian, Arabic, Hebrew, Devanagari, Thai and Hangul. Greta Sans was designed by Peter Bilak, produced together with Nikola Djurek. Irina Smirnova designed the Cyrillic version. The Latin part has been published in 2012, the Cyrillic and Greek in 2015. In 2015, Greta Sans was recognised by the Tokyo TDC. The Arabic version was designed by Kristyan Sarkis and published in 2015. Greta Sans Devanagari was published in 2017, designed by Hitesh Malaviya at ITF under the supervision of Satya Rajpurohit. The Thai version was designed by Smich Smanloh from Cadson Demak, and published in 2019. This Hangul version was designed by Sandoll designers Yejin We and Jinhee Kim, and directed by Chorong Kim.

    In 2005, Collins Fedra Sans and Serif were published for use in the Collins dictionaries. A slightly modified version of Fedra Sans is used by the Czech Railways.

    In 2008, Peter Bilak, Eike Dingler, Ondrej Jób, and Ashfaq Niazi created the 21-style family History at Typotheque: Based on a skeleton of Roman inscriptional capitals, History includes 21 layers inspired by the evolution of typography. These 21 independent typefaces share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles. History 1, e.g., is a hairline sans; History 2 is Peignotian; History 14 is a multiline face; History 15 is a stapler face, and so forth.

    In 2009, Bilak published the extensive Irma (Sans, Slab) family, which includes a hairline. Typotheque's other designer is Johanna Balusikova.

    Collection of over 90 articles on type design by by Stuart Bailey, Michael Bierut, Peter Bilak, Andrew Blauvelt, Erik van Blokland, Max Bruinsma, David Casacuberta, Andy Crewdson, Paul Elliman, Peter Hall, Jessica Helfand, Steven Heller, Roxane Jubert, Emily King, Robin Kinross, Rosa Llop, Ellen Lupton, Martin Majoor, Rick Poynor, Michael Rock, Stefan Sagmeister, and Dmitri Siegel.

    In 2011, he created Julien, a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter. It feels like a mix of Futura, Bauhaus, and geometric modular design.

    Julien (2012) is a playful geometric display typeface loosely inspired by the early 20th century avant-garde.

    Karloff (2012, Typotheque: Positive, Negative, Neutral) is a didone family explained this way: Karloff explores the idea how two extremes could be combined into a coherent whole. Karloff connects the high contrast Modern type of Bodoni and Didot with the monstrous Italians. The difference between the attractive and repulsive forms lies in a single design parameter, the contrast between the thick and the thin. Neutral, the offspring, looks like a slab face. They were made by Peter Bilak, Nikola Djurek and Peter van Rosmalen.

    Lumin (2013) is a family that includes slab-serif, sans serif, condensed and display typefaces, and no attept is made to make them uniform in style.

    Lava (2013) is a magazine typeface originally designed for Works That Work magazine. It was extended to a multilingual workhose typeface family. It as extended in 2021 to Lava 2.0, at which time they added a variable version of Lava that does this size-specific tracking optimization automatically---Typotheque calls it optical spacing. By 2021, Lava covered Latin, Greek, Cyrillic, Devanagari, Telugu and Kannada. Typotheque collaborated with type designers Parimal Parmar, who drew the Devanagari; and Ramakrishna Saiteja, who drew Kannada and Telugu companions for Lava Latin, designed by Peter Bilak.

    For Musée des Confluences in Lyon, France, Typotheuqe designed the custom sans typeface Confluence (2014).

    For Buccellati Jewellery and Watches in Milan, Typotheque made the classy sans typeface Buccellati in 2013.

    In 2016, Peter Bilak, Nikola Djurek and Hrvoje Zivcic published the Uni Grotesk typeface family at Typotheque. It is based on Grafotechna's 1951 typeface Universal Grotesk, which in turn is based on 1934 design by Vladimir Balthasar. Noteworthy also is the prismatic style Uni Grotesk Display.

    In 2016, Peter Bilak designed the wayfinding sans typeface family November for Latin, Greek, Cyrillic and Hebrew. Its rounded version is October. November, co-designed by Peter Bilak, Irina Smirnova and Kristyan Sarkis, won two awards at Granshan 2017. November Stencil was published in 2018.

    The Q Project was conceived in 2016 by Peter Bilak, and published in June 2020. Nikola Djurek produced the Q Shape 01, loosely based on the Edward Catich's basic brush strokes from his book The Origin of the Serif: Brush Writing and Roman Letters. Bilak explains: The Q Project is a game-like [modular] type system that enables users to create a nearly infinite number of variations. Inspired by toys like Lego or Meccano, Q invites you to explore its vast creative space and discover not only new solutions, but also new problems. Q consists of ix uppercase Base fonts and 35 attachments that can be added as individual layers (Q Base and Serifs). It also comes with a variable font with a motion axis (Q Mechanic), as well as three levels of basic shapes that can be combined into new forms (Q Shapes).

    In 2021-2022, Typotheque custom-designed the humanist sans typeface NRK Sans for the Norwegian broadcaster, NRK.

    History won an award at ProtoType in 2016.

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

    UFF Portugal
    [Nuno Alves]

    Nuno Pedro Soares Alves (b. 1978, Lisbon) is the FontStructor who made Terramoto (2010), an earthquake font.

    In 2012, he went commercial as UFF Portugal, located in Tomar. His commercial typefaces include Branca Poster (2012: a high-contrast fat didone poster family), and Shearman STD (2012: a rounded octagonal typeface). [Google] [MyFonts] [More]  ⦿

    Uli Stiehl
    [Ionic (newspaper) typefaces]

    [More]  ⦿

    Ulrik Vieth
    [Concrete Math fonts]

    [More]  ⦿

    Ulrike (Wilhelm) Rausch
    [Liebefonts]

    [MyFonts] [More]  ⦿

    Ultra Kühl
    [Jan Weidemüller]

    Designer in Berlin, Germany, who created these typefaces:

    • The octagonal / blackletter typeface Blak (2016-2017, The Designers Foundry).
    • The ornamental didone family typeface Koor (2017).
    • The fun reverse stress display typeface family Guzi Warp (2018, at Ultra Kühl). Has a variable font version.
    • The crisp typeface family Para Supreme (at Ultra Kühl and The Designers Foundry). Has a variable font version.
    • The sans typeface family Siaga (2019). Siaga was initially designed in 2015 as part of the Studio Weidemüler identity.
    • Gram (2019). This typeface family fuses the functionality of classic mid-twenties century German sans-serif typefaces with the precise qualities of Swiss typefaces.
    [Google] [More]  ⦿

    Ultra thin typefaces

    This discussion on TYPO-L is about ultra-thin typefaces. Those proposed include

    • Jonathan Hoefler's Didot family.
    • Font Bureau's Benton Sans, Nobel and Interstate (1993, Tobias Frere-Jones).
    • Taz III by Luc(as) de Groot, the extended version of what once was Tazzer. It has 5 (five) weights of hairline versions alone.
    • Phil Martin's Martin Gothic Thin.
    • ITC Bodoni.
    [Google] [More]  ⦿

    Ultra Types
    [Joan Ramon Pastor Rovira]

    Wete, or Wete Cacahuete, or Joan Ramon Pastor Rovira, or Juanra Pastor, or Juanra Wete Pastor, is a Barcelona-based graphic and type designer, b. 1984. He set up Ultra Types in 2012.

    Typefaces created by him include the useless monstrosity called Combo (2009), the hand-printed Deibi (2009, free), the text typeface Alba Serif (2010), and the fantastic geometric/mathematical caps face Roke 1984 (2010).

    TP Duro (2011) is a blackletter typeface inspired by an Albrecht Dürer design from 1525. It was published in 2019 at Vette Letters in cooperation with Martin Lorenz: VLNL TpDuro. Favela (2011) is a free tattoo face.

    In 2012, he designed an experimental / futuristic set of numbers for a Yorokobu magazine section called Numerografia. Still in 2012, he created the Alexander Grotesk typeface family (which can be bought at Ten Dollar Fonts), and Ut One (modular, arc-based).

    In 2013, he designed the sans typeface Reefont Condensed on commission for Reebok [under the creative direction of Manuel Lemus]. 4YFN (4 Years Fro Now, 2013) is a minimilaist custom typeface created for an event organized by Mobile World Congress. He also designed Stela UT (a layered stencil font) in 2013. Cairo Slab UT (2013) is based on an alphabet found in 100 alphabets publicitaires (1946).

    In 2014, he made an experimental connect-the-dots typeface with Drawbot. Intangibles is a custom-designed didone titling face. UT Rounded is free.

    In 2015, Wete made the angular brutalist display typeface UT Nickel.

    In 2018, Oscar Cobo and Wete co-designed the piano key variable font UT Morph, which was inspired by Wim Crouwel's Nagasaki poster.

    In 2019, Wete designed the logotype for TCM (Turner Classic Movies) and the identity and wayfinding symbols for Hotel El Call.

    Typefaces from 2021: UT Barrel (a fat face with serious ink traps).

    Behance link. Dafont link. Abstract Fonts link. Personal home page. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Ultra-thin serif typefaces

    List of commercial typefaces fitting the bill, by Stephen Coles:

    [Google] [More]  ⦿

    Umbrella Type

    Marketed by Veer, this collection, started in 2004, brings us fonts by Alejandro Paul (Kautiva, 2004), Alejandro Paul and Angel Koziupa (Argenta (2003, a playful script), and Brisa (2004, another casual script)), HabanoST, Malbeck, Mobley, Murga, and Tiza), Corey Holms (Mince, Brea), Wayne Thompson (Bosin), Miles Newlyn (the blackletter typeface Ferox), Neil Summerour (Donatora (2004, a Bodoniesque revival), Headcold (2004), Ayumi (2004), the casual handwriting family Luce, and the athletic lettering family Sneakers), Randy Jones (Olduvai, 2004), Mike Cina (Trisect (2004)), Jonathan Macagba (Exposition and Exposition Rounded (2004, a type revival influenced by an Italian poster designed by Leopoldo Metlicovitz in 1906 for the opening of the Simplon Tunnel), Libris (2004, a great and very clean revival of a 12th century Spanish script), Poster (2004, partially influenced by Egon Schiele's hand-lettered poster for the 1918 Vienna Secession)), Alfredo Graziani and Alejandro Paul (Mama Script (2004, a medieval script)), Stefan Hattenbach (New Global), Christian Robertson (Pill Gothic), Michael Doret (Orion) and Diego Giaccone (Plumero). [Google] [More]  ⦿

    Undercover

    Designer in 2019 of Ken Arock (a didone headline typeface) and Anggrek (a script typeface). [Google] [More]  ⦿

    Unicode Fonts for Ancient Scripts
    [George Douros]

    This is a fantastic source of free high-quality fonts for scripts of the greater Aegean vicinity, Egyptian Hieroglyphs, Meroitic, Sumero-Akkadian Cuneiform, Musical Symbols and all Symbol Blocks in the Unicode Standard. George Douros is their Greek font designer. His free fonts come with this exemplary footnote: In lieu of a licence: Fonts in this site are offered free for any use; they may be opened, edited, modified, regenerated, posted, packaged and redistributed. Many of his fonts contributed to important section in the GNU Freefont project. Here is the list:

    • Abidos (2018). An attempt to catalogue about 8000 Egyptian hieroglyps. His Nilus font (2018) catalogues the Gardiner hieroglyphs.
    • Aegean (2007-2012). Covers Basic Latin, Greek and Coptic, Greek Extended, some Punctuation and other Symbols, Linear B Syllabary, Linear B Ideograms, Aegean Numbers, Ancient Greek Numbers, Ancient Symbols, Phaistos Disc, Lycian, Carian, Old Italic, Ugaritic, Old Persian, Cypriot Syllabary, Phoenician, Lydian, Archaic Greek Musical Notation. Other things in it: Linear A, Cretan Hieroglyphs, Cypro-Minoan, Ancient Greek Alphabets, Phrygian, Old Italic Alphabets (Cumaean, Archaic Etruscan, Neo Etruscan, Ancient Latin, Lugano, Faliscan, Marsiliana, Messapic, Middle Adriatic South Picene, North Picene, Oscan, Umbrian), the Arkalochori Axe and Anatolian Hieroglyphs.
    • Aegyptus (2007-2020) and Gardiner. Over 7000 hieroglyphs. In addition, we have Basic Latin, Greek and Coptic, Egyptian Transliteration characters, some punctuation and other symbols.
    • Akkadian (2007). Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Ugaritic, Cuneiform, Cuneiform Numbers and Punctuation.
    • Alexander (2007, text typeface built around the Greek letters originally designed by Alexander Wilson in 1744; compare with Wilson Greek (1996, Matthew Carter) and Junicode (2006, Peter S. Baker)). The Latin and Cyrillic parts are based on Garamond.
    • Alfios. Lowercase upright Greek were designed in 1805 by Firmin Didot (1764-1836) and cut by Walfard and Vibert. The typeface, together with a complete printing house, was donated in 1821 to the new Greek state by Didot's son, Ambroise Firmin Didot (1790-1876). Lowercase italic Greek were designed in 1802 by Richard Porson (1757-1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures); it is available in regular, italic, bold and bold italic.
    • Anaktoria. Douros: Grecs du roi was designed by Claude Garamond (1480-1561) between 1541 and 1544, commissioned by king Francis I of France, for the exclusive use by the Imprimerie Nationale in Paris. Greek in Akaktoria is based on a modern version of Grecs du roi prepared by Mindaugas Strockis in 2001. Lowercase Latin stems from the titles in the 1623 First Folio Edition of Shakespeare. Scott Mann & Peter Guither prepared a modern version for The Illinois Shakespeare Festival in 1995. Cyrillic has been designed to match the above Greek and Latin.
    • Analecta (2007, Byzantine style). An ecclesiastic scripts font, in Byzantine uncial style, covering Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Coptic, typographica varia, Specials, Gothic and Deseret.
    • Anatolian
    • Aroania: In 1927, Victor Julius Scholderer (1880-1971), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. Aroania is a modern recast of Victor Scholderer's New Hellenic font, on the basis of Verdana.
    • Asea (2020, Latin-Greek-Cyrillic). A modern font based on Firmin Didot's Greek type.
    • Assyrian.
    • Atavyros. Douros writes: Robert Granjon (1513-1589) produced his Parangonne Greque typeface (garmond size) at the instigation of Christophe Plantin as a counterpart to Garamond's Grec du roi, in Antwerp Holland, between 1560--1565. It was used in Plantin's multilingual Bible of 1572. Versions of Granjon's type were used for the 1692 edition of Diogenes Laertius and for the Greek-Dutch edition of the New Testament in 1698, both published by Henric Wetstenium in Amsterdam. A digital revival was prepared by Ralph P. Hancock for his Vusillus font in 1999. Latin and Cyrillic are based on a Goudy typeface.
    • Avdira. Douros: Upright is based on the lowercase Greek letters in the typeface used by Demetrios Damilas for the edition of Isocrates, published in Milan in 1493. A digital revival was prepared by Ralph P. Hancock for his Milan (Mediolanum) font in 2000. Italic Greek were designed in 1802 by Richard Porson (1757-1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810.
    • Maya. Maya covers the glyphs in J. Eric S. Thompson's A Catalog of Maya Hieroglyphs (1962, University of Oklahoma Press).
    • MusicalSymbols (2007) or Musica (2013). Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Byzantine Musical Symbols, (Western) Musical Symbols, Archaic Greek Musical Notation. There is also the Greek musical notation font EE Music (2018) for Hellenic ecclesiastic music.
    • UnicodeSymbols (2007, in the Computer Modern style) and UniDings (2013). It has every imaginable symbol: Basic Latin, Latin-1 Supplement, Latin Extended-A, IPA Extensions, Greek, Cyrillic, Cyrillic Supplementary, General Punctuation, Superscripts and Subscripts, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, CJK Symbols and Punctuation, Yijing Hexagram Symbols, Vertical Forms, Combining Half Marks, CJK Compatibility Forms, Specials, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tile Symbols, Domino Tile Symbols.
    • Symbola (2013) is an unbelievably rich font. It contains Basic Latin, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek and Coptic, Cyrillic, Cyrillic Supplement, General Punctuation, Superscripts and Subscripts, Currency Symbols, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Braille Patterns, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, Supplemental Punctuation, Yijing Hexagram Symbols, Combining Half Marks, Specials, Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tiles, Domino Tiles, Playing Cards, Miscellaneous Symbols And Pictographs, Emoticons, Ornamental Dingbats, Transport And Map Symbols, Alchemical Symbols, Geometric Shapes Extended, Supplemental Arrows, and Symbols of occasional mathematical interest. It is one of a hanful fonts that dares to have a glyph that shows the middle finger. Github link for free download. see also Symbola Goomoji (2013).
    • Unidings. Various glyphs and icons.

    Since George permits redistribution, I am offering his work for download here. [Google] [More]  ⦿

    Untype

    Free fonts made by New York-based Untype include the destructionist typefaces FutureDirt, BodoniBoldPieces, Tuertest, BodoniScratchedBold, Velvetica. All these fonts were made in early 2004 with the help of Fontifier. [Google] [More]  ⦿

    Uppertype
    [Pedro Lobo]

    Portuguese foundry in Guimaraes and Porto, est. 2011 by Pedro Lobo, that sells Yorker (2012, a layered athletic lettering font), Borba (2012, a beautiful inline typeface), Sahara (2012, an antique shadow caps face), Akila (2012, a fashion mag didone), Public (2012, art deco marquee face), Scape (2012), Smart (2012, inline caps face), Desk (2012, shadow caps face), Kleiner (2012), Fabrica, Wannabe (octagonal), Kodhigo (slab serif), Molesk (2011, a free slab display face), Tabbaco (connected retro script) and Jono (2011, art deco).

    Typefaces from 2013: Player (a layered beveled typeface system), Porto (tweetware), Woodstik (a tall gothic wood type layered sans family that plays with texture and letterpress), Darko (alchemic, designed under the motto Uppertype goes hipster), Player (a layered type system), Bonie (organic sans).

    In 2015, he made the cursive school script font London Script and the vintage handcrafted Vintagefolk.

    Typefaces from 2016 include Roska (a free stencil type) and Twoface (an Escher-style impossible font).

    In 2018, he published the layered multiline stencil font family Issue, the multiline typeface The Social, and Borba Neu. [Google] [More]  ⦿

    US fonts in 40s and 50s

    Fonts popular in the US in the 40s and 50s as listed by typophiles: Alternate Gothic / Alpin Gothic, Futura, Garamond, Baskerville, Century, Caslon, News Gothic / Trade Gothic, Stymie / Memphis / Beton, Poster Bodoni, Onyx, Metrolite, Metromedium, Metroblack, Rockwell, Kaufmann, Balloon, Bank Script, Mademoiselle (Thompson), Alexey Brodovitch (Vogue). [Google] [More]  ⦿

    V. Sarela
    [Yautja]

    [More]  ⦿

    Valérie Desrochers

    Art director and illustrator in Montreal. Designer of Subinter (2003) at Subtitude, together with Sébastien Théraulaz. She also designed Subytro (2006, a didone titling face), Subalde (2005), Subelek (2009, a heavy geometric face) and Suboel (2005, Christmas icons pixelized; with Theraulaz). Behance link. [Google] [More]  ⦿

    Valentine Avondo-Bedone

    Graphic designer in Lyon, France, who created the signage icon set Signalétique Bellecour (2015) and exquisite didone lettering for a milk bottle company called Maison Nacrée (2015). [Google] [More]  ⦿

    Valentine Proust

    Artistic director in Paris whose type designs are published through Fontyou. Her typefaces:

    • The connected handwriting font Yumana (2012).
    • Younion FY (2013, with Alisa Nowak, Gregori Vincens, Elvire Volk, Gia Tran). Younion One FY is free at Dafont.
    • Achille FY (2012). A slab serif typeface done with Gia Tran, Alisa Nowak, Gregori Vincens, and Bertrand Reguron. She also created Achille II FY (2014, a slab serif by Alisa Nowak, Valentine Proust, and Gregori Vincens).
    • The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.
    • The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering.
    • Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou.
    • In 2013, Denis Moulin, Bertrand Reguron, Valentine Proust and Laurène Girbal co-designed the hipster typeface Theory FY, an alchemic typeface.
    • The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
    • In 2014, Proust designed Meeko FY, a Latin display typeface genetically linked to the didones.

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

    Valentino Vergan
    [Martin Katibi]

    Kenyan graphic designer who released Zanna (a stylish didone) and Balbek (a bold condensed sans) in 2021.

    Typefaces from 2022: Enoway, Velbina (luxurious vintage caps), Qellia (an elegant display sans). [Google] [MyFonts] [More]  ⦿

    Valery Golyzhenkov
    [Letterhead Studio VG Fonts]

    [MyFonts] [More]  ⦿

    Vanessa Bisky

    For Martina Flor's type design class at Fachbereich Design Dessau's Department of Design (in Dessau, Germany), Vanessa Bisky created the ball terminla-laden didone display typeface Minna Drop (2014). [Google] [More]  ⦿

    Vasco Pedrosa

    Lisbon, Portugal-based designer of the didone typeface Herga (2016). [Google] [More]  ⦿

    Vasiliy Khromov

    Moscow, Russia-based designer of the Cyrillic typeface Bodoni Comic Sans Crosstype (2016). [Google] [More]  ⦿

    Vedran Vaskovic

    Art director at McCann. Montreal-based designer of the free didone stencil typeface Saint George (2018) which is loosely based on Carter's Georgia.

    In 2015, he made the free blackletter typeface Blackberg. In 2019, he released the free beveled typeface Supremacy. [Google] [More]  ⦿

    Velimir Pavic

    Croatian Masters student in graphics technologies and engineering in Zagreb, 2010-2011. He created the modular display typeface Fade (2010) which makes creative use of ball terminals. Quarity (2011) is an experimental labyrinthine face.

    In 2013, during his doctoral studies at the Faculty of Arts in Zagreb, he created Touch, a piano key typeface on a didone base. [Google] [More]  ⦿

    Veneta Rangelova
    [Dear Type]

    [MyFonts] [More]  ⦿

    Vera Schäper

    Vera Schäper created Schwanensee (2010, 26plus), a playful variation on Bodoni. It was developed as a corporate type for a ballet. [Google] [More]  ⦿

    Verónica Grandjean

    Graduate from FADU, University of Buenos Aires, who created the fat didone typeface Giambattista Illuminame (2009). Could she be related to the real Grandjean? [Google] [More]  ⦿

    Veronika Burian
    [Type Together]

    [MyFonts] [More]  ⦿

    Vibert

    French typefounder, born ca. 1775. Vibert, Vibert Pè et Fils, and Vibert Fils, operated a foundry in Paris from 1797 onwards. He was the Didot family's punchcutter. There is a publication in 1805 entitled Epreuves des caractères de la fonderie de Vibert et Luy, Paris (16 pages). Deberny named a didone typeface after him, Gras Vibert. Paulo W made a 4-style family, also called Gras Vibert (2006, Intellecta Design). For another digital version of Gras Vibert, see Vibertus (2007, Lars Törnqvist). [Google] [More]  ⦿

    Vicente Lamónaca
    [Fábrica de tipos]

    [MyFonts] [More]  ⦿

    Vicky Chinaglia

    Jacopo Atzori (Milano), Vicky Chinaglia (Roma) and Matteo Giordano (Alessandria) co-designed Anatomia in 2013-2014 during their studies at Politecnico di Milano (Italy) under the guidance of professors Marta Bernstein, Michele Patané and Andrea Braccaloni. It is a grotesk with peculiarities (such as the terminals on a and t) inherited from the Scotch Roman model found in the 1930 book by Giulio Chiarugi, Anatomia dell'Uomo. [Google] [More]  ⦿

    Victoria Rushton

    After attending high school in Singapore, Victoria Rushton (New York City) studied at RISD (the Rhode Island School of Design) and graduated in 2013 with a degree in Illustration. In 2014 she joined Font Bureau and later Type Network as a staff designer, and lived in Boston. Under the guidance of Cyrus Highsmith at RISD, she created the text typeface Sylvia in 2012 for the poems of Sylvia Plath who committed suicide in 1963.

    In 2015, she designed the Font Bureau font Marcia, a didone with many quirks and curvy surprises.

    In 2016, she designed Embury Text. Victoria explains: Contrasting characteristics like soft round curves, sharp end strokes, exaggerated oval counters, punched in slab-like serifs, and swelling swashes play subtly off of each other, offering an unexpectedly immersive experience to the reader.

    In 2017, she designed the connected script typeface Gautreaux, which is inspired by a lettering style from Tommy Thompson's The Script Letter called "free style lettering."

    In 2021, Victoria, together with Type Network and Kerns&Cairns, designed the corporate typeface Peacock Sans for NBC.

    At Future Fonts in 2021, she released the Spencerian script typeface Kadabra, which was started by (her late partner) Dai Foldes, who in turn was inspired by the work of calligrapher Jean Larcher.

    Lovegrove (2021) is a display typeface designed by Dai Foldes and Victoria Rushton for their wedding invitations. It was inspired by the calligraphy of Raymond DaBoll and has been expanded into a variable font with a swash axis.

    Interview in 2015 by Type Thursday. Font Bureau link. Type Network link. Future Fonts link. [Google] [More]  ⦿

    Viktor Kharyk

    Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. In 2012, he cofounded Apostrof with Konstantin Golovchenko. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts, and is particularly interested in revivals of ancient, forgotten, or historically important typefaces and writing systems. His work:

    • At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
    • At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
    • At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving typeface based on a 1967 font by Iraida Chepil for Polygraphmash).
    • At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
    • Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
    • Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
    • Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 typeface by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval typefaces done at Elsner&Flake together with Marina Belotserkovskaja).
    • Other typefaces: Lili (multilined), Rutenia (by Henadij Zarechjuk and Viktor Kharyk, as part of Vasyl Chebanyk's Ukrainian Alphabet project).

    At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 typeface Ladoga (+Text, +Display, +Ladoga Armenian) won an award at Paratype K2009.

    In 2016, Henadij Zarechnjuk and Viktor Kharyk designed Dnipro for Apostrof. The Cyrillic version of this font follows Ukrainian decorative traditions, initiated by Georgy Narbut and Mark Kirnarsky in the 1920s and continued until the 1980s. The Latin part has an uncial character.

    Typefaces made in 2018: Algor, Zluka (with Henadij Zarechnjuk; named after The Act Zluka, or Ukraine's Unification Act of 1919), XX Sans, Yurch (developed by Henadij Zarechnjuk and Viktor Kharyk by samples of calligraphic lettering by Ukrainian book designer Volodymyr Yurchyshyn), Chebano (based on the calligraphy of Ukrainian artist Vasyl Chebanyk), Zahar Berkut (developed by Henadij Zarechnjuk and Viktor Kharyk following the lettering by Ukrainian artist Georgiy Yakutovich),

    Typefaces from 2020: Homenko (by Viktor Kharyk, Henadij Zarechnjuk and Konstantin Golovchenko: an update and extension of Vasyl Homenko's metal Ukrainian typeface from 1963-1967), Bethencourt (an uncial typeface co-designed with Vsevolod Buravchenko).

    A special project published in 2020: 1812 (by Viktor Kharyk and Konstantin Golovchenko). This is a 14-style revival and further development of the typeface 1812 by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets.

    At ATypI 2005 in Helsinki he spoke about Ukrainian fonts. At ATypI 2007 in Brighton, his talk is entitled Old Slavic alphabets and new fonts. At ATypI 2009 in Mexico City, he spoke (well, was supposed to speak) on Old Roman Styles and Cyrillic. Speaker at ATypI 2013 in Amsterdam, where he explains the development and multilingual extensions of Ladoga.

    MyFonts page. Victor's friends: a Ukrainian/Russian news blog. FontShop link. Author of Non-Latin Fonts Cyrillic and Other (2004, Düsseldorf).

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

    Viktor Solt-Bittner

    Or just Viktor Solt. Born in 1970, Viktor lives in Vienna. He teaches typography and handwriting at the Joanneum in Graz, works in information design and advertising, and is involved in 3-D animation.

    Designer of Voluta Script (Adobe, 1998), ITC Johann Sparkling (ITC, 1998: a calligraphic script face), ITC Ballerino (ITC, 1999, a great calligraphic script), Leander Script (2012, Adobe) and FF Danubia (2002, an extensive didone text family). All his work has strong calligraphic influences with energetic swashes, rough contours, and looping ascenders and descenders.

    Plantago (2014). Viktor Solt-Bittner drew logo sketches for an insurance company. After they rejected the design, he turned the sketches into a font family. Later, in 2018, Plantago was expanded, developed and completed by Schriftlabor's type directors Franziska Hubmann and Lisa Schultz.

    In 2017, Viktor Solt-Bittner designed the industrial sans typeface family Attorney as a custom font for a law firm. It has unconventional---even threatening--- serifs and some hard corners. The typeface was produced by Schriftlabor's type director, Lisa Schultz, and will be enjoyed by hordes of heartless lawyers.

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

    Viktor Vukasinovic

    Besançon, France-based designer of Aspirat (2018) and Re:Caravelle (2018), which were inspired by Enric Crous Vidal's Caravelle (1957). Aspirat's lower case a though suffers from a bad bout of midriff atrophia. He also designed the high-contrast didone Comté (2018), and the sans typeface Valdamour (2018), which was commissioned by the Communauté de Communes du Val d'Amour.

    In 2019, he published Franche. [Google] [More]  ⦿

    Vincent Lacombe
    [Marginal Type]

    [More]  ⦿

    Vintage Voyage Design
    [Pavel Korzhenko]

    Aka P. Rudakov and Pasha Korzhenko, and operating as Vintage Voyage Design. Perm, Russia-based designer of the vintage handcrafted typefaces West End (2015, spurred Western typeface family), Winter Holidays (2015), The Sugar Cane (2015, eroded signage script), Montana (2015), Canyons (2015), Forest Tramp (2015), Heart of Gold (2015, a think inky brush), La Fa Salt (2015, a connected monoline script), Robinson (2015, handcrafted), Rise (2015, rough brush), Stout (2015, +Stout Roughen), Jack's Guitar (2015) and Bough (2015).

    Typefaces from 2016: Chameleon (rough brush), Les Paul (beatnik style), 1994 Fancy, The First Division (an elegant handcrafted Peignotian typeface family), The Aviator, Ocean Beach (weathered athletic lettering font), Fenway Script (baseball script), Fenway Sans, Octanis (display family in Sans, Slab, Serif, and Rounded Sans sub-styles), Compare (a vintage wedge serif typeface inspired by the mafia), Unchained (Western typeface), The Selvedger (signage script), Driver (a retro speed emulation typeface family), Pasternak Script.

    Typefaces from 2017: The Bartender (a 14-font vintage typeface family with some letterpress styles), Easy Rider (a layered road movie brush script font), The New America (penmanship script), Ace of Spades (grungy), Cavalcade (a layered serif typeface inspired by American and European typography of early 20th century, from movie posters to design of alcohol bottles like Martini, Cinzano and Campari), Old Standard (sans, script), Season Times (Sans+Script), Roadstar (a vintage speed emulation techno font).

    Typefaces from 2018: VVDS Pacifica (a hand-lettered bold signage script inspired by American branding typography from the end of the 20th century), Le Bonjour (a retro sans), The Voyage Culture (font duo), Afterglow (a didone), VVDS The Bimbo (circus fonts), Two Letter Monogram, Diamond Monogram, Circle Monogram, Circle Frames, Harbour (a free decorative blackletter, +Harbour Decor: 2017-2018), Sandwich (a large 3d beveled typeface family), The Telegraph (transitional newspaper type), Golden Horn (a layered vintage typeface).

    Typefaces from 2019: VVDS Organum (a decorative typeface for operas and phantasms), The Pretender (a package inspired by vintage American sign painting), VVDS Praliner (an all caps sans for display), Le Bonjour (Peignotian), Kristopher (a fancy serif), Nurnberg (an expressionist, modernized blacletter), The British Telegraph (based on vintage British headline type), Halau (a tiki font), Halau Serif, Sign Painter (a monoline Script, a layerable Sans, and two Decor ornamental styles, all based on Victorian era signs).

    Typefaces from 2020: The Ruby (a 56-font and icon collection), VVDS Minorica (a handrwritten collection in ten styles), VVDS Rashfield (in the soft serif genre), VVDS London Oatmeal (Sans, Script), VVDS Sunshine Bridge (a creamy brush script), VVDS Benigne Sans (a wide geometric sans), VVDS La Truffe (a bold decorative didone), VVDS Big Tickle (a handcrafted retro family).

    Typefaces from 2021: VVDS Clementia (a stylish condensed serif), Urbanchrome (an SVG letterpress emulation font), VV Neonica (a 12-style neon font family), Grodsky (a stylish 4-style antiqua), The Country Blues (a throwback to the fifties), Surfbird (a 30-style western family), VVS Nobleman (a stylish serif in four styles).

    Behance link. Creative Market link. Vintage Voyage Design. You Work For Them link. [Google] [MyFonts] [More]  ⦿

    Visien Vinesa

    Graphic designer in Jakarta. Creator of Mirage (2012), an ormanental typeface based on Bodoni. Behance link. [Google] [More]  ⦿

    Vit Brunner
    [Tasuki's blog]

    [More]  ⦿

    Vitaly Friedman
    [Smashing Magazine: 17 more free quality fonts]

    [More]  ⦿

    Vladimir Nikolic

    Belgrade, Serbia-based designer (b. 1981) of these typefaces:

    • The dingbat fonts Canavarlar (2020: funny men), Haircut (2020: women's hairdos), Ornament Borders (2020), Gourdy (2020: birds), Lizards (2020), Mantra (2020), All Star (2020), Speel (2020), Soavely (horses) (2020), Forma (2020), Hell Beasts (2020), Mistresses (2020), Paraiso (2020), Crow (2020), Traverser (2020: crosses), Cats (2020), Dogs (2020), Negative-Heads (2020), Otu (2020), Wakazi (2020), Risk (2020), Wurm (2020), Beard Man (2020), Hoder (2020), Damen (2018), Damen 2 (2020), Foliga (2020), Solo Drinker (2020), Congress (2020), Farmacy (2020), Elections (2020), Emergency (2020), VN Arrows (2020), Hexagonos (2020), Automobiles (2020), Cars (2020), Emoji Boom (2020), Bestia (2020), Aliens (2020), Insect (2020), Bytost (2020), Monstero (2020), Aveto (2020), Dancing Cat (2020), Atradimas (2020), Womanhood (2020), Figur (2020: an alien insect font), Halfwits (2020), Silly Donkey (2020), Crazy Monkey (2020), Round Masks (2020), The Quick Dog (2020), Flying Birds (2020), Maskid (2020), Monstra (2020), Bull Skulls (2020), War Items (2020), Public Transport (2020), Loomad (2020), Mokhabiso (2020: African patterns), Record (2020), Mulher (2020), Heroez (2020), Bulls (2020), Madarak (2020: birds), Bold People (2020), Munari (2019: a collection of drawings based on Bruno Munari's book "Artista e designer" from 1966), Screws (2019), White Mouse (2019), Schepselen (2019), Glatze (2019), Crosses (2019), Chefs (2019), Diamond Blocks (2019), Hexagons (2019), Maumbo (2019), Circles (2019), Enfeite (2019), Pigs (2019), Mythos (2019), Kreaturen (2019), Baby Alien (2019), Body Moving (2019), Various Boys (2019), Lines and Objects (2019), Mouvman (2019), Watch (2019), Credit Card (2019), Cycles (2019), Devil Emoji (2019), Fare (2019), Mund (2019), Labbra (2019), Circular Ornaments (2019), Cranium (2019), Ugok (2019), Ansigter (2019), Tsim (2019), Schmetterlinge (2019), Jungfrau Maria (2019: religious icons), Knights Helmets (2019), Kinderskizzen (2019), Wolves (2019), Various Cats (2019), Owls (2019), Spiral Object 3D (2019), Zodiac Signs (2019), Cyborg (2019), Duck (2019), Cat 3D (2019), Object 3D (2019), Circle and Line (2019), Various Girls (2019), Dulcet (2019), Erotic Symbols (2019), Frauen (2019), Pierre the Vampire (2019), Robotter (2019), Middle Finger (2019), Claudio The Cat (2019), Medusa (2019), Veggie (2019), Pablo (2019), Fishes (2019), Dream of Picasso (2019), Stam (2019), Animality (2019), Ink Drops (2019), Faces (2019), Bayan (2019), Froggy (2019), Senhoras (2019), Diamondo (2019), Skallen (2019: skulls), Swimmers (2019), Churches (2019), Easter Icons (2019), Lippen (2019), Gullar (2019), Bankwesen (2019), Creatures with Horns (2019), Vehicles (2019), Various Hands (2019), 3D Animals (2019), Abantu (2019), Herr (2019), Menge (2019), Funny Aliens (2019), Mustachos (2019), Kids Drawings (2019), Tierfarm (2019), Troep (2018), Women Heads (2018), Cats and Dogs (2018), Wanita (2018), Eyez (2018), Animales (2018), Peoples (2018), Mobile Icons (2018), Controllers (2018), Womano (2018), Lost in Space (2018), Blumen (2018: flowers), Tetriso (2018), Snowflake (2018), Meine (2018: masks), Horoscopicus (2018), Esoterica (2018), Astrologicus (2018, astrolical symbols), Abbild (2018: African masks), Being (2018: monsters), Gebell (2018), Headed (2018), Falter (2018), Filling (2018), Anichka (2018), Cyclopia (2018), Buggus (2018), Opa (2018), Messe (2017), Head of Idol (2018), Diavolo Nero (2017: funny silhouettes).
    • The boxed or encircled alphabets Audience Capitals (2020), Galileo (2020), Compare (2020), Compare-Light (2020), Hexagonas (2020), Select (2020), Before (2020), Before-Dark (2020), Boxes (2020), Boxes-Extravagant (2020), Boxes-Fancy (2020), Calf-Negative (2020), Capital-Relationship (2020), Pyxidas (2020), Capitalica (2020), Tundra (2020), Ordinary Capitals (2020), Broadway Capitals (2020), Browser Capitals (2020), Capitalismo (2019), Schwarzenberg Capitals (2019), Retrospective Capitals (2019), Official Capitals (2020), Impression (2020), Oriental (2020), and Letters in Circles (2018).
    • Shadowed caps: Cleopatra (2021), Farmers Market (2021), Erkekler (2021), Assignation (2021), Greek Tragedy (2021), Distorted (2021), Lightshow (2021), Credenza (2021), Ragusa (2021), Comunismo (2021), Scordia (2021), Gazelle (2021), Organ (2021), Strizhi (2021), Umoya (2021), Ninja Justice (2021), Unlimited (2021), Unicorns (2021), Labyrinth (2021), True Artisans (2021), Poker (2021), Donald (2021), Ferrari (2021), Booster (2021), Madness (2021), Favorita (2021), Vitamin (2021), Robot (2021), Robust (2021), Engine (2021), Whether (2021), Nucleus (2021), Trunk (2021), Ombre (2021), Viscosus (2021), Jewelry (2021), Verge (2021), Pursue (2021), Keener (2021), Visor (2021), Korvo (2021), Squash (2021), Scum (2021), Darker (2021), Education (2021), Cimice (2021), Tomb (2021), Bambola (2021), Calla (2021), Rump (2021), Complex (2021), Razor (2021), Driveller (2021), Karambol (2021), Princino (2021), Berger (2021), Adopted (2021), Bugbear (2021), Samara (2021), Talisman (2021), Waterway (2021), Megabus (2021: a marquee font), Roller (2021), Numerica (2020), Bond (2020), Gloom (2020: a marquee font), Chalkboard (2020: sketched), Unboxing (2020: techno), Antennas (2020), Secca (2020), Umfo (2020), Sabbia (2020), Squirrel (2020), Byzan (2020), Debtor (2020), Bridge (2020), Familie (2020), Lake (2020), Roma (2020), Tissue (2020), Bombay (2020), Osteology (2020), Restroom (2020), Speaker (2020), Bebika (2020), Center (2020), Gismo (2020), Fierce (2020), Gambler (2020), Afterparty (2020), Birdbrain (2020), Boner (2020), Divine (2020), Gelatin (2020), Lost (2020), Marshland (2020), Quadri (2020), Shadow (2020), Stairs (2020), Superba (2020), Techno (2020), Underman Book (2020), Wired Capitals (2020), Fineliner (2020), Fictive Kinship (2020), Exotica (2020), Ural (2020), Devianza (2020), Kultur (2020), Unmute (2020), Antiqua (2020), Chains (2020), Scheme (2020), Stumble (2020), Aroma (2020), Beans 2 (2020), Cover (2020), Cronica (2020), Fundament (2020), Horna (2020), Loce (2020), Mademoiselle (2020: art nouveau), Melodia (2020), Penny (2020), Taikun (2020), Assault (2020), Athletica (2020), Baraka (2020), Brassica (2020), Builder (2020), Chancellery (2020), Gwara (2020), Pliez (2020), Recinzione (2020), Right (2020), Rimes (2020), Seal (2020), Service (2020), Scorpions (2020), Terraces (2020: American flag font), Wedding Cabbage (2020), Wild Girl (2020), Tragedy (2020), Indos (2020), Starfish (2020), Vintage (2020), Adriatica (2020), Funeral (with American flag texture) (2020), Voleur (2020), Calzino (2020), Peshkop (2020), Metzger (2020), Asshole (2020), Puppet (2020), Broeksel (2020), Hals (2020), Escort (2020), Vortex (2020), Dades (2020), Boild Hedgehog (2020), Mermer (2020), Grower (2020), Rainbow (sketched) (2020), Baise (2020), Necklace (2020), Angels (2020), Smuggler (2020), Dommage (grungy) (2020), Squalor (2020), Fusto (2020), Course (2020), Fisheye (2020), Baiser (2020), Banda (2020), Cantaloupe (2020), Canto (2020), Begriff (2020), Trapeze (2020), Arabeska (2020), Silver (2020), Wasco (2020), Kosaken (2020), Triangle (2020), Banquet (2020), Demode Capitals (2020), Cultus Capitals (2020), Idiot Capitals (2020), Granary Capitals (2020), Liberta (2020), Montblanc (2020), Granary (2020), Blanket (2020), Tuyaux (2020), Wolf (2020), Comeback (2020), Oliba (2020), Idiot (2020), Trailer (2020), Bricks (2020), Toys (2020), Luxury (2020), Hertz (2020), Signal (2020), Serenada (2020), Kurven (2020), Schnecke (2020), Mona (2020), Sierra (2020), Search (2020), Tranchante (2020), Eccentric (2020), Fast (2020), Mosquito (2020), Speed-of-Light (2020), Thanks (2020), Album (2020), Boyhood (2020), Ending (2020), Trend (2020), Universal-Serial-Bus (2020), Fixed (2020), Kings (2020), Holiday (2020), Range (2020), Numbers (2020), Shipman (2020), Officer (2020), Video (2020), Order (2020), Route (2020), Cosa-Nostra (2020), Clowns (2020), Unique (2020), Voyeur (2020), Shape (2020), Brigadier (2020), Allora (2020), Spartacus (2020), Advisor (2020), Ambis (2020), Cables (2020), Genesa (2020), Horse (2020), Laptop (2020), Pork (2020), Mafioza (2020), Mucho (2020), Athens (2020), Audience (2020), Rotor (2020), Mundo (2020), Olympus (2020), Border (2020), Scale (2020), Survival (2020), Trouble (2020), Turnabout (2020), Catharsis (2020), Parade (2020), Discoteque (2020), Rude (2020), Fame (2020), Safran (2020), Ausweis (2020), Mechanica (2020), Moscowian-Party (2020), Beers (2020), Strengthen (2020), Tempo (2020), Unreal (2020), Poetico (2020), Bach (2020), Bach-Fat (2020), Energy (2020), Alexandra (2020), Basket (2020), Cushion (2020), Model (2020), Organiser (2020), White (2020), Anabela (2020), Cannibal (2020), Casablanca (2020), Castle (2020), Control (2020), Crazy (2020), Crazy-Gradient (2020), Emotion (2020), Honey-Bunny (2020), Knockout (2020), Linearo (2020), Murmure (2020), Polished (2020), Reon (2020), Sparrow (2020), Storms (2020), Street-Stars (2020), Franchise (2020), Pencil (2020), Ruanda (2020), Pepito (2020), Megalomania (2020), Rouleaux (2020), Frozen (2020), Together (2020), Saldo (2020), Museum (2020), Network (2020), Hunk (2020), Cultus (2020), Creator (2020), Flow (2020), Blocchi (2020), Possession (2020), Bad Germans (2020), Discounted (2020), Traversal (2020), Mangalica (2020), Murmansk (2019), Summer Candy (2019), Question (2019), Second Channel (2019), 3D Models (2019), Memory (2019), Computer (2019), Diversity (2019), Elastic Letters (2019), Businessman (2019), Kuchen (2019), Demode (2019), Objective (2019), Medication (2019), Nonsense (2019), Plagiat (2019), Toledo (2019), Tricks (2019), Common (2019: a trompe-l'oeil font), Mafia (2019), Releases (2019), Extradition (2019), Shoot To Kill (2019), Groowing (2019), Enough (2019), President (2019), Silence (2019), Dressed (2019), Already (2019), Hocus Pocus (2019), Password (2019), Ready (2018) and Messages (2017).
    • The ornamental caps typefaces Mahal (2021), Stamp (2021), Hell Door (2021), Tangram (2021), Custom (2021), Remake (2021), Studio (2021), Adagio (2021), Oxidizer (2021), Mondial (2021), Paraglide (2021), Tattoo (2021), Developer (2021), Dama (2021), Lobby (2021), Gabaritos (2021), Sence (2021), Ombre (2021), Cresa (2021), Anniversary (2021), Wire (2021), Triton (2021), Lamina 92021), Hangup (2021), Years (2020), Dowry (2020), Sephora (2020), Jewels (2020), Straightforward (2020), Dance (2020), Necklace (2020), Maria (2020), Taxi2 (2020), Outlaw (2020), Combat (2020), Chewed (2020), Fantasy (2020), Observation (2020), Cure (2020), Pioneer (2020), Near (2020), Kleid (2020), Unitas (2020), Tomato (2020), Blader (2020), Canal (2020), Baked Snails (2019), Alcoholic (2019), Bonjour (2019), Zylinder (2019), Phenomenal (2019), Surfaces (2019), Success (2019: as in De Stijl), Retailer (2019: multilined), Havana (2019: multilined), Mechanismo (2019) and Pencil Letters (2019).
    • The display typefaces Trader (2020), Oysters (2020), Furious Ride (2020), Portfolio (2019), Pontos (2019), Swordsman (2019), Regular (2019), Andrey (2019), Retrive (2019), Connected (2019), Locator (2018), Tracking (2018), Iceberg (2018: snow-capped letters), New Amsterdam (2018), Ana (2018), Enemy (2018), New Yorkers (2018), Happy Day at School (2018), Focused (2018), Modish (2018), Beholder (2018) and Principality (2017).
    • The alphadings Birthdays and Parties (2021), Bahanalia (2020), Icecreams (2020), Brailler (2020), Night Dreams (2020), Flower Capitals (2020), Jingle Bells (2020), Neuron Capitals (2020), Easter Time (2020), Hearts and Arrows (2018), Penguins (2018), Kitties (2018), Doggy (2018), Teddy Bears (2018), International Capitals (2018), Aafia Capitals (2018), Answer Capitals (2018), Beholder Capitals (2018).
    • The circuit font Simple Repairs (2021).
    • The 3d typefaces Sharp (2021), Edited (2021), Three Dimensions (2020), Rental (2020), Shiny Blocks (2020), Turbulence (2020), Labor (2020), Worship (2020), Fantasy-3D (2020), Zucker (2020: stacked blocks) Perfetto (2020), Rude-3D (2020), Lover (2020), Kasten (2020), 3D Models (2019), Tricks (2019) and Metallic (2019).
    • The multiline typefaces Yiphi (2021), Porker (2020), Formula (2020), Laguna (2020), Hypochondria (2020), Majestic (2020), Vibes (2020), Tubes (2020), Yogurt (2020), Turkish (2020), Question (2019), Pancake (2019), Remained (2017), Liquidrom (2018), Second Channel (2019), 3D Models (2019), However (2019), Confarreatio (2018) and Fudged (2018).
    • The textured typefaces Incompetent (2021), Autumn (2021), Sangria (2021), Studio (2021), Kino (2021), Elixir (2021), Espace (2020), Mistress (2020), Heritage (2020), Silicone (2020), Hornettio (2018), Ignorant (2018), Americans (2020: the American flag embedded into the glyphs), Pollution (2020), Jakob (2019), Diversity (2019), Townscape (2019), Patriotic (2019: American flag theme), Meshes (2018), Complained (2019), Duration (2018) and its solid counterpart, Duration Book (2018).
    • The Slavonic emulation typeface Russian Land (2017) and the Cyrillic emulation typefaces Monarch (2021), Cold War (2021), Beograd (2020), Ukrainian Princess (2019), Territory (2019), Kalinka (2019), Rubles (2018), Maniac (2018), Jurij (2018), Kachusha (2018), Soviet Program (2018), Armenia (2017), Fontograd (2018) and Russian Spring (2017).
    • The constructivist typefaces Tokarev (2017), Russiano (2018), Suggested (2018), Hungaria (2018) and Schwachsinn (2018).
    • Art deco typefaces: Cavalier (2021), Performer (2021), Angelica (2019), Protocol (2019), Retrospective (2019), Leculier (2018, after an alphabet in Georges Leculier's art deco lettering book from ca. 1930), Better (2018), Critical (2017).
    • Art deco caps: Reverse (2020), Bathroom (2019), Idiotism (2019).
    • The chess fonts Schach (2020) and Wisdom Chess (2020).
    • The weather icon font Weather Symbols (2020).
    • The decorative sans typefaces Shock (2021), Energia (2021), Pitviper (2021), Nemesis (2021), Addiction (2021), Nehad (2021), Chewer (2021), Nightfall (2021), Gourmet (2021), Flipside (2021), Layered Letters (2019), Imbecile (2019), Answer (2018), Hours (2018), Abandoned (2018), Sea Gardens (2017), Forvertz (2018), Yeysk (2018) and Closeness (2018).
    • Sans: Wollicht (2021), Ministro (2021), Lonely (2021), Noix (2021), Messina (2021), Samara (2021), Rickrack (2021), Broadcaster (2021), Catamaran (2021), Official (2019).
    • Comic book fonts: Reset (2021).
    • Artsy fonts: Hornstick (2021), Kikundi (2021), Shanghai (2021), Skewed (2021), Company (2021), China (2020).
    • The headline sans typefaces Finance (2020), Marija (2020), Fashion (2020), Magazine (2020), Policemen (2020), Impressum (2019), Educated Deers (2019), Hindenburg (2019) and Fixation (2018).
    • The rounded organic sans typefaces Hofmann (2020), Adelino (2020), Available (2018) and Biysk (2018).
    • The handcrafted typefaces Diana (2020), Flood In London (2019), Milord (2018), Sex and Breakfast (2018), Sweet Handwrite (2018), Industrial Revolution (2018), Oh Maria (2017), Sofija (2017) and Travelling (2017).
    • The bubblegum typefaces Roller (2020), Jellies (2020), Designero (2019), Bubblicious (2019) and Icecreamer (2017), and its oily companions Gummy (2018) and Liquid (2018).
    • The heavy deco typefaces Guest (2019), Bigger (2018), Hours (2018), Intransitive (2018: Dutch deco), Theatrical (2017) and Consequences (2017).
    • The beveled fonts Iron (2020), Rising (2020), Novgorod (2020), Troy (2020), Fake Hope (2019), Diamond Ring (2019), Playback (2018) and Member (2018).
    • The starred caps typefaces Farmers Market (2021), Donald (2021), Citizen (2021), Wizard (2021), Adrenaline (2021), Diabolo (2021).
    • The stencil fonts Browser (2019), Serbia (2019), Belgrado (2019), Further (2019), Generals (2018), Mayor (2018) and Olga (2018).
    • The semi-stencil all caps typefaces Restaurant Menu (2019), Queen Dea (2019), Latest (2019) and Large (2019).
    • The fat rounded sans typefaces Guest (2019) and Subscribe (2019).
    • The Western fonts Newlywed (2020) , Tombola (2019), Permission (2019), Alexander (2019), Retrosonic (2019), Kasplysk (2019).
    • The experimental typeface Typo Layer (2019).
    • The German expressionist outline typeface Robert (2018).
    • Current Moment (2019): a digitized "Zuccini" plate by Frits Jonker.
    • The LED fonts Remaster (2021), Ringing (2022), Gigabytes (2020), Error (2020) and Technology (2018).
    • The octagonal athletic lettering fonts Academy (2021), Junk (2020), Barbara (2019), Soccer (2020), and Soccer League (2018) and the outlined athletic font Onderneming (2018).
    • Leculier (2018). After an alphabet in Georges Leculier's art deco lettering book from ca. 1930.
    • The speed fonts Live News (2020) and Speed Racing (2019).
    • Essere (2018).
    • The squarish typefaces Archipelago (2021), Haine (2020), Augsburg (2020), Legionary (2020), Cyber Princess (2019), Professor (2019), Layers (2018) and Cataclysmo (2017).
    • Driving Around (2018).
    • The decorative floral caps typefaces Floral Capitals (2018) and Narcissus (2018).
    • Gradientico (2018). A textured didone.
    • The Greek simulation font Meteora (2018).
    • Griddy Blocks (2018) and Blocky Letters (2018).
    • Decorattio (2018).
    • Ordinary (2018) and Mina is Gone (2018).
    • The trilined typeface Trio (2017).
    • The connected handwriting typeface Eric's (2016).
    • The military typefaces Login (2018), Commanders (2017) and Hunt (2017, after an alphabet by the Hunt Brothers in their 1930s book Lettering of Today).
    • The neon typeface Bubble 3D (2017), and the neon and shadow font family Magia (2019).
    • Schaeffer (2017). A revival of the famous multiline typeface Fatima (1933, Karl Hermann Schaefer).
    • The grungy typefaces Horizont (2020), Cosmas (2020), Drunk Millionaire (2019), Leave No Fingerprints (2018), Haziness (2017) and Victorious (2017).
    • The molecular typeface Neuron (2019).
    • The inline caps typefaces Panther (2021), Africa (2021), Look (2019) and Speed (2019).
    • The inline typefaces Green (2020), Bernard (2020), and Games (2017).
    • The display serif typefaces Kandinsky (2021), Funia (2021), Army Guys (2021), Hoodie (2019).
    • The marquee typefaces Squad (2021), Grotto (2021), Megabus (2021), Plagiat (2019), Dropped (2019), Casino (2018) and Chicago (2018).
    • The layerable marquee font Rockefeller (2018).
    • Movie fonts: Film Letters (2018).
    • The outlined typeface Important (2018).
    • The white-on-black typeface Circusant (2019).
    • The didone typeface Vogue (2018).
    • The geometric solid typeface family Ivan (2019).
    • The geometric sans typeface Occupied (2017).
    • Rise of Kingdom (2017).
    • Cartoonish (2017).
    • Hesitation (2017). A rounded handcrafted poster font.
    • Leben and Leben Shadow (2018).
    • Braillenum (2018).
    • The condensed grotesks Around (2020), Heinrich (2019) and Schwarzenberg (2019).
    • Schreibmaschine (2017). A dusty old typewriter font.
    • The vintage initial caps typefaces Nautiica 3d (2018), Fantasy Capitals (2018) and Herne Capitals (2018).
    • The Arabic emulation typefaces Bayram (2020) and Sinbad (2018).
    • Herne (2018).
    • Passage (2018).
    • Knotty (2018).
    • The Mexican style font Mexicanera (2018), Dilemma (2018: Mexican Calavera skulls), and Mexican Tequila (2018).
    • The techno typefaces Flight 21 (2019), Cyber Princess (2019), Passionate Relationship (2019), Neighbor (2018), Bombardment (2018) and Leprosy (2018).
    • The avant-garde typeface Typolino (2018).
    • Regensburg (2018).
    • The ultra-fat typefaces Crime (2020), Owners (2018) and Housebreak (2019).
    • The prismatic typefaces Jumble (2020), Boogie Woogie (2019), Running (2019), Bigger Italic (2018; based on Bigger Book), Linerine (2018) and Cosmology (2018).
    • Failed (2018).
    • The codex typefaces Grille (2020), Compass (2020) and Measurements (2018).
    • Damages (2018).
    • The circle-themed fonts Sparks (2020) and Condition (2018).
    • The textured typefaces Mitesser (2020), Object (a meshed font) (2020), Noisy Walk (2020), Brightness (2020), Mistress (2020), Heritage (2020), Silicone (2020), Hornettio (2018) and Ignorant (2018).
    • The oriental simulation fonts Dasvidaniya Book (2020), Pearl Harbor (2020), Chinese Dragon (2019), Sudoku (2019), Hiroshima (2019) and Kamikaze (2018).
    • Monograms: Quintete (2020), Formogram (2020), Diamond Monogram (2020), Ribbon-Monogram (2020), Bulged Monogram (2020), Monogramus (2019), Blocky Monogram (2018) and Monograma (2018).
    • Blackletter: Bramble Princess (2021), Drunks (2021), Cosmopolite (2020).
    • Fists: The-Point (2020).
    • Scanbats: Retro-People (2020), Vladimir (2019: Putin scanbats), Portraits de Femmes (2019: scanbats), Notre Dame and Notre Dame de Paris (2019: scanbats), Hollywood Actors (2019: scanbats), European Leaders (2018: scanbats), Trumpolina (2018: Trump scanbats).
    • Word fonts: Black-Lives-Matter (2020).
    • Plank fonts: Wooden Planks (2020).
    • The outlined typefaces Carwash (2020), Hypno (2020), George (2020), 3D Letters (2018), Milk & Chocolate (2018: trilined), Czar (2018), Classica (2018) and Created (2018).
    • The glitch fonts Elderberry (2021), Sparkle (2021), Eclairages (2021), Nectar (2021), Check Your Connection (2020), Horizons (2020) and Searching For Signal (2019).
    • The glaz krak font Smashed (2018).
    • The circus font Amigo (2020).
    • The kitchen tile font New Message (2020).
    • The 3d dingbats typefaces Basic Objects (2020: geometric shapes) and Jigsaw Puzzles 3D (2018).
    • The modular typefaces Orenburg (2018), Broadway (2018) and Assyrian (2018).
    • Escher style: Illusion (2019), Vologda (2019).
    • Slinky typefaces: Rings (2020), Zylinder (2019), Pipes (2019).
    • Lombardic caps: Moher (2020), Dublin (2020), Moderno (2020).
    • Ransom note caps: Today (2020).
    • Artistic font: Meute (2020).
    • Halftone fonts: Tourner (2020), Cinquecento (2020), Devotion (2020), Gulliver (2020), Bamboo (2020).
    • Ornaments: Adornos (2020).
    • Antique caps: Grandes (2020), Reveler (2020: from Draughtsman's Alphabets (1877) by Hermann Esser)).
    • Funny faces: Isitolo (2020).
    • Angular caps: Milk (2020), Strike (2020), Worldwide (2020).
    • Tall sans caps: Bungler (2020), Shakeout (2020).
    • Mecano typefaces: Shakers (2020).
    • Titling sans: Steinberg (2020).
    • Titling serif: Love (2020).
    • Break (2020).
    • China (2020).

    Creative Fabrica link. [Google] [More]  ⦿

    Vladimir Vendiktorich Yefimov

    Vladimir Yefimov (b. Moscow, 1949, d. Moscow, 2012) was the art director and a co-founder of ParaType, Ltd., Moscow (since 1992; before that, starting in 1988, it was called ParaGraph, and he had been staff designer there since its inception). He lectured on type design at the Stroganov Higher School of Arts and Crafts, Moscow (1995-96) and the Higher Academical School of Graphic Design, Moscow (1997-98). He worked at the type department of NPO Polygraphmas (1973-1991). He is the designer of many Cyrillic typefaces, and several Indian, Greek, and Hebrew typefaces, and author on typography and type design.

    His typefaces include Bitstream Kis Cyrillic, AdverGothic (1989, after Advertisers Gothic by Robert Wiebking from 1917), Futuris, Futura PT (1991, 22 styles in all, after Renner's famous 1927 design), Compact (1991, ParaGraph, based on Anons by Gennady Baryshnikov), Decor (1989, after a typeface by Gennady Baryshnikov), Zhikharev (1989, after a 1953 original by Igor Zhikharev), Arthur (1994, TypeMarket, based on Agfa Marigold by Arthur Baker, 1989), Fraktura (1987, a Latin Fraktur typeface based on Justus E. Walbaum's Walbaum Fraktur), PT Didona (1992), PT ITC True Grit (1997, a Cyrillic version of Michael Stacey's ITC True Grit from 1995), PT Octava (2000, earlier (1996) called Scriptura Russica, a family commissioned by the Russian Bible Society and based on Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. Octava won the Grand Prix of the Golden Biennale in 1996), Standard Poster (1992, based on a design from 1986 at Polygraphmash, inspired in turn by the fat didone style of the Ossip Lehmann type foundry (St.Petersburg)), Mason Sans Cyrillic (2002, Paratype, extending the Mason Sans family of Barnbrook at Emigre (1992)), Petersburg (1992), PT Compact (1991), PT ITC Fat Face (1993, with the help of Gennady Baryshnikov), PT ITC Zapf Chancery (1993, with the help of Gennady Baryshnikov), PT ITC Flora (1993, with help from Emma Zakharova, an extension of Unger's 1989 font ITC Flora), PT Pragmatica (1989, with Alexander Tarbeev and later Isabella Chaeva), the Cyrillic version of ITC Avant Garde Gothic (Paratype, 1993), the Cyrillic version of ITC Charter (1999, called PT ITC Charter) and the Cyrillic version of Barnbrook's Mason. He oversaw the development of the PT Sans (Open Font Library link) and PT Serif superfamilies in 2010-2011. PT Serif was co-designed with Olga Umpeleva and Alexandra Korolkova.

    In 2012, Isabella Chaeva and Vladimir Yefimov created a Cyrillic version of Roundhand BT (1966, Matthew Carter) for ParaType. The typeface was posthumously released.

    Yefimov Serif (2014) is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized business-like nature. It is one of the last original typefaces by Vladimir Yefimov. The typeface was completed by Maria Selezeneva and released by ParaType in 2014. The companion typeface is Yefimov Sans (2015, by Alexandra Korolkova and Maria Selezeneva).

    Adam Twardoch's announcement of his death: Today, the co-founder of ParaType, prolific type designer and teacher Vladimir Yefimov has died in Moscow. Both his original typefaces and his masterful Cyrillic extensions of existing Latin typefaces were truly impressive. He even attempted multi-script extensions such as that of ITC Avant Garde. Among my favorite text typefaces (or actually, serif screen typefaces) is Vladimir's Octava. Matthew Carter praised Vladimir's Cyrillic version of ITC Charter, which I think is one of the finest Cyrillic alphabets ever designed. I was also very fond of Vladimir's Cyrillic extension of Kis, which John Hudson described as "one of his favourite Cyrillic text types as well as a remarkable exercise in historic imagination." Vladimir often collaborated with other designers, many of them were his former students. One of the last projects that he participated in was the monumental PT Sans (Open Font Library link, Github link) and PT Serif project. But he was not only dedicated, skillful and artistically refined---but also kind, generous, modest, warm and funny. I first met him in 1998 at the ATypI Lyon conference, and greatly enjoyed all the subsequent occasions that I could spend some time with him. It's been a great pleasure and a true privilege knowing him (a bit).

    Brief CV. At ATypI 2004 in Prague, he spoke about the origin and history of Cyrillic letters. At ATypI 2008 in St. Petersburg, he spoke about designing Latin/Cyrillic fonts.

    Obituary by Maxim Zhukov.

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

    Vladimir Volovich
    [CM-Super font package]

    [More]  ⦿

    vncmr
    [Cuong Nguyen]

    vncmr is a Vietnamese extension of the Computer Modern Roman font family. v1.0 was by Cuong Nguyen (1991). v2.0 and up are by By Werner Lemberg. [Google] [More]  ⦿

    vnr
    [Han The Thanh]

    Vietnamese versions of the Computer Modern fonts developed by The Thanh Han, in mwetafont and type 1 formats. The fonts are accompanied by vntex which lets one handle the T5 encoding used in the fonts. [Google] [More]  ⦿

    Vogue Fonts and more

    "Miss at le Playa" takes through a tour of fonts used by fashion mags and fashion houses. On its cover, Vogue uses Didot Display, while Vogue Paris uses the free Exotica and Dogwood, as well as Romantiques. Chanel's logo uses Blue Highway Expanded Bold. For Jimmy Choo, it is University Roman LET, while Dior prefers Nicolas Cochin T Regular. Dolce and Gabbana play it safe with Futura SH-Dem Bold and Light. [Google] [More]  ⦿

    Vojtech Riha
    [Superior Type]

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    Vonquednow

    Vonquednow (Hamburg, Germany) created several typefaces in 2014, such as FV and Zeitgeist. In 2013, they designed XPO (a didone display typeface accompanied by a blackletter typeface). Behance link. [Google] [More]  ⦿

    Vox type classification
    [Maximilien Vox]

    In 1954, Maximilien Vox published his type classification system:

    • Humane
    • Garalde. This term, a combination of Aldine and Garamond, was coined by Vox.
    • Réale
    • Didone
    • Mécane
    • Linéale. Also a term invented by Vox. The term remnained in use until the 1980s when it was replaced by sans serif.
    • Incise
    • Scripte
    • Manuaire
    • Fractures
    • Non-Latines
    The type classification scheme's into nine categories translates as follows in French: manuaire, humane, garalde, réale, didone, mécane, linéale, incise, scripte. ATypI proposed the addition of two more, (in French) fractur and orientale, to get eleven styles. See also here. English translation of that French list by Paul Hunt. Invented by Maximilien Vox in 1952, it was adopted in 1962 by the Association International Typographique (ATypI). Quoted from that English translation, with corrections:
    • The humanists: Humanist typefaces gathers the first character Romans created with the 15th century typefaces by the Venetian printers, taking as a starting point the humanist manuscripts of the time. These typefaces, rather round in opposition to the Gothics of the Middle Ages, are characterized by short and thick serifs, and a weak contrast between full and untied. These typefaces are inspired in particular by the Carolingian minuscule, imposed by Charlemagne in his empire.
    • The garaldes: This group is named in homage to Claude Garamond (16th century) and Aldus Manutius. The garaldes have finer proportions than the humanists, and a stronger contrast between downstroke and upstroke.
    • The realists (réales): The realists are the result of the will of Louis XIV to invent new typographical forms, on the one hand to find a successor in the Garamond, on the other hand to compete in quality with different the printers from Europe. More contrast than in the previous two groups, the types are more rational and the axis is quasi-vertical.
    • The didones: The didones are named after Didot and Bodoni. These typefaces, dating from the end of the 18th and the beginning of the 19th century, recognizable thanks to their great contrast, the verticality of the characters and their horizontal and fine footings. They correspond to the Didot of Thibaudeau's classification.
    • the mécanes: The name of this group evokes the very mechanical aspect of these types, which are characteristic of the industrial age, the middle of the 19th century. There is almost no contrast, and rectangular slabs hold up the characters. These are also called slab serifs or egyptians.
    • The lineals: This group combines all typefaces without serifs (called sans-serif). These correspond to the antiques of the Thibaudeau classification.
    • The incised types: evoking the engraving in stone or metal. Small and triangular footings, almost like sans-serifs.
    • The scripts: The scripts cover types based on formal penmanship. They seem to be written with the quill, with a strong slope. The letters can often be connected to eachother. The famous English typefaces form part of this family.
    • The manuaires: the manuaires are based upon letters traced with a feather.
    • The blackletters: also called gothic, these typefaces are characterized by pointed and angular forms.
    • The non-Latin typefaces.
    [Google] [More]  ⦿

    Vsevolod Vlasenko
    [Letterhead Studio VV Fonts]

    [MyFonts] [More]  ⦿

    W. Chufarofsky

    Most of Chufarosky's fonts are here (browse around on that site). Designer with M. Slutsker of the Cyrillic fonts a_RomanusCaps, a_StamperCameoSpinDow (Arsenal, 1997), as well as AlgeriusNrCmDn, AlgeriusNrCmUp, AlgeriusNrDcCm, AlgeriusCmDc2Cmb, AlgeriusCmDgStr, AlgeriusCmFtz1, AlbionicTitulCmGrd and AlbionicTitulCmWb and many more. Chufarofsky was heavily involved in the Arsenal mega-collection of the early 1990s. Fonts by him in that collection include AAlbionicBW, AAlbionicNrOtl, AAlbionicTitulCm, AAlbionicTitulCmDn, AAlbionicTitulCmTw, AAlbionicTitulCmUp, AAlbionicTitulNrCm, AAlbionicTitulNrSh, AAlbionicTtlRgBt, AAlgerius, AAlgeriusCaps, AAlgeriusCapsNr, AAlgeriusCmFtz1, AAlgeriusNr, AAlgeriusNrCm, AAlgeriusNrCmDn, AAlgeriusNrCmUp, AAlgeriusNrDcCm, AAlgeriusOtl, AAlternaOtl, AAlternaSh, AAlternaTitul3D, AAlternaTitulBW, AAlternaTitulCmDnOtl, AAlternaTitulCmOtl, AAlternaTitulCmUpOtl, AAlternaTitulNrCm, AAntiqueGr, AAntiqueTitulDcFr, AAntiqueTitulGr, AAntiqueTitulTrCmDnOtl, AAntiqueTitulTrCmOtl, AAntiqueTitulTrCmUpOtl, AAntiqueTitulTradyCm, AAntiqueTrady, AAntiqueTradyNr, AAntiqueTtlTrdCmDn, AAntiqueTtlTrdCmUp, AAvanteBs, AAvanteBsExtraBold, AAvanteBsExtraBoldItalic, AAvanteBsItalic, AAvanteIntBold, AAvanteIntBoldItalic, AAvanteIntBook, AAvanteIntBookItalic, AAvanteLtDemiBold, AAvanteLtDemiBoldItalic, AAvanteLtLight, AAvanteLtLightItalic, AAvanteTckHeavy, AAvanteTckHeavyItalic, AAvanteTckMedium, AAvanteTckMediumItalic, AAvanteTitlerCpsLCBold, AAvanteTitlerCpsLCBoldItalic, AAvanteTitlerCpsLCLight, AAvanteTitlerCpsLCLightItalic, ABentTitul, ABentTitulCmDnNr, ABentTitulCmDnOtlNr, ABentTitulCmTwNr, ABentTitulCmUpNr, ABentTitulCmUpOtlNr, ABighausTitulCmDnOtl, ABighausTitulCmOtl, ABighausTitulCmUpOtl, ABighausTitulOtlDr, ABodoniNova, ABodoniNovaBold, ABodoniNovaBoldItalic, ABodoniNovaBrkBold, ABodoniNovaBrkBoldItalic, ABodoniNovaItalic, ABodoniNovaNr, ABodoniNovaNrBold, ABodoniNovaNrBoldItalic, ABodoniNovaNrItalic, ABodoniOrtoNrTtlCmDn, ABodoniOrtoNrTtlCmUp, ABodoniOrtoTitulBlack, ABodoniOrtoTitulNrBlack, ABodoniOrtoTitulSpDnBlack, ABodoniOrtoTitulSpUpBlack, ABosaNova, ABosaNovaBWBold, ABosaNovaBold, ABosaNovaCm, ABosaNovaCmBold, ABosaNovaCmDnOtl, ABosaNovaCmGr, ABosaNovaCmUpOtl, ABosaNovaDc2Fr, ABosaNovaDcFr, ABosaNovaOtlBold, ABosaNovaSh, ABosaNovaSl, ABragga, ABraggaDr, ABraggaOtl, ABraggaOtlSh, ABraggaStars, ABraggaStrip, ABraggaTitulDcFr, ABraggaTitulGr, ABraggaTitulMar, ABraggaTitulMarDn, ABraggaTitulMarUp, ABraggaTitulOtlDcFr, ABraggaTitulSpDn, ABraggaTitulSpUp, ABremen, ABremenBldOtl, ABremenBold, ABremenBoldItalic, ABremenCaps, ABremenCapsBold, ABremenCapsBoldItalic, ABremenCapsItalic, ABremenCapsNr, ABremenCapsNrBold, ABremenCapsNrBoldItalic, ABremenCapsNrItalic, ABremenCm, ABremenCm3D, ABremenCmObl, ABremenCmOtl, ABremenCmOtlObl, ABremenCmOtlRevObl, ABremenCmRevObl, ABremenDcFr, ABremenItalic, ABremenNr, ABremenNrBold, ABremenNrBoldItalic, ABremenNrItalic, ABremenSl, ABremenlCmOtl3DSh, ACampus, ACampus2OtlBold, ACampusBW, ACampusBWBold, ACampusBold, ACampusCaps, ACampusCapsBold, ACampusCapsNr, ACampusCmCorner, ACampusCmDn, ACampusCmOtlBold, ACampusCmUp, ACampusGrDcFr, ACampusGrav, ACampusGravBold, ACampusMarine, ACampusMarineDn, ACampusMarineUp, ACampusNr, ACampusOtl, ACampusOtl3DShad, ACampusOtlBold, ACampusOtlDcFr, ACampusOtlShBold, ACampusPrLying, ACampusPrspDnSh, ACampusSl, ACampusSpots, ACampusStrip, ACampusStripDn, ACampusStripUp, ACityNova, ACityNovaBold, ACityNovaBoldItalic, ACityNovaItalic, ACityNovaLt, ACityNovaLtItalic, ACityNovaOtlBold, ACityNovaTitulBWBold, ACityNovaTitulBWLt, ACityNovaTitulCmBold, ACityNovaTitulIntStr, ACityNovaTitulStars, ACityNovaTtD3StrCmb, ACityNovaTtD4StrCmb, ACityNovaTtlCmGr, ACityNovaTtlCmOtl, ACityNovaTtlCmSp, ACityNovaTtlCmSwLt, ACityNovaTtlCmTwLt, ACityNovaTtlShTwLt, ACityNovaTtlSpDnLt, ACityNovaTtlSpUpLt, AConceptoNrBold, AConceptoNrBoldItalic, AConceptoTitulGr, AConceptoTitulLdBk, AConceptoTitulLdBkSh, AConceptoTitulNrBW, AConceptoTitulNrCm, AConceptoTitulNrCmGr, AConceptoTitulNrLdGd, AConceptoTitulSpDnOtl, AConceptoTitulSpUpOtl, AConceptoTtlCmOtlDnNr, AConceptoTtlCmOtlUpNr, ACooperBlackCm, ACooperBlackCmDn, ACooperBlackCmObl, ACooperBlackCmTw, ACooperBlackCmUp, ACooperBlackOtl, ACooperBlackTiulBW, ACopperGothCapsBold, ACopperGothCmDnOtl, ACopperGothCmUpOtl, ACopperGothCpsExp, ACopperGothTitulBold, ACopperGothTitulSh, AFuturaRound, AFuturaRoundBold, AFuturaRoundBoldItalic, AFuturaRoundDemi, AFuturaRoundDemiItalic, AFuturaRoundItalic, AFuturica, AFuturicaBlack, AFuturicaBlackItalic, AFuturicaBook, AFuturicaBookItalic, AFuturicaBsBold, AFuturicaBsBoldItalic, AFuturicaBsLight, AFuturicaBsLightItalic, AFuturicaExtraBlack, AFuturicaExtraBlackItalic, AFuturicaExtraBold, AFuturicaExtraBoldItalic, AFuturicaItalic, AFuturicaLtSemiBold, AFuturicaLtSemiBoldItalic, AFuturicaLtThin, AFuturicaLtThinItalic, AFuturicaMedium, AFuturicaMediumItalic, AFuturicaNord, AFuturicaNordItalic, AGrotic, AGroticBold, AGroticBoldItalic, AGroticExtraBlack, AGroticExtraBlackItalic, AGroticExtraBold, AGroticExtraBoldItalic, AGroticItalic, AGroticLt, AGroticLtBold, AGroticLtBoldItalic, AGroticLtItalic, AGrotoCmOtlDn, AGrotoCmOtlUp, AHuxleyRough, AMachinaOrtoSht, AMachinaOrtoSpt, AModernoCaps, AModernoCapsItalic, ARubricaCnBold, ARubricaCnBoldItalic, ARubricaXtCn, ARubricaXtCnItalic, ASignboardTitulDrp, SimplerBU3DExtr, a_AlbionicTitulBrk-Bold, a_AlbionicTitulInfl-Bold, a_AlbionicTtlCmDc1Cmb-Bold, a_AlbionicTtlCmDc2Cmb-Bold, a_AlgeriusBlw, a_AlgeriusBrk, a_AlgeriusCmDc1Cmb, a_AlgeriusCmDc2Cmb, a_AlgeriusRough, a_AlternaBrk, a_AlternaCmDc1Cb, a_AlternaCmDc2Cb, a_AlternaCmDc3Cb, a_AlternaCmDc4Cb, a_AlternaSw, a_AlternaTitulCmDvBk, a_AntiqueTradyBrk, a_AntiqueTradyTtlB&W, a_AntiqueTrdCmDc1Cb, a_AntiqueTrdCmDc2Cb, a_AntiqueTrdCmDc3Cb, a_Assuan-Bold, a_Assuan, a_AssuanBrk-Bold, a_AssuanBrk, a_AssuanNr-Bold, a_AssuanNr, a_AssuanOtl, a_AssuanTitul3DUp-Bold, a_AssuanTitulB&W-Bold, a_AssuanTitulCm, a_AssuanTitulCm1St, a_AssuanTitulCmBrk, a_AssuanTitulCmFr, a_AssuanTitulCmOtl, a_AvanteCmGrdStr-Bold, a_AvanteCpsLCBrk-Bold, a_AvanteCpsLCBrk-Light, a_AvanteCpsLCBrkHll, a_AvanteOtl-Heavy, a_AvanteTitul2Otl-Heavy, a_AvanteTitulB&W-Heavy, a_AvanteTitulCm-Bold, a_AvanteTitulCmFsh, a_AvanteTitulCmFshOtl, a_AvanteTitulCmOtl-Bold, a_AvanteTitulGr-Heavy, a_AvanteTitulInline, a_AvanteTitulStr-Heavy, a_BentTitulBrk, a_BentTitulCmNr, a_BentTitulCmOtlNr, a_BentTitulDcFr, a_BentTitulNr, a_BentTitulOtl, a_BentTitulRoughNr, a_BighausTitul-ExtraBold, a_BighausTitul3D, a_BighausTitulB&W, a_BighausTitulBrk-ExtraBold, a_BighausTitulBrkHll, a_BighausTitulCm, a_BighausTitulCmGr, a_BighausTitulOtl, a_BodoniOrtoNrTtlCm, a_BodoniOrtoTitulSh-Black, a_BosaNovaCmOtl, a_BosaNovaCpsBrk, a_BosaNovaGdStr-Bold, a_BraggaTitul, a_ConceptoTitulBrOtl, a_ConceptoTitulBroken, a_ConceptoTitulNrFy, a_ConceptoTitulNrWv, a_ConceptoTitulOtl, a_ConceptoTtlCmBr, a_ConceptoTtlCmOtlNr, a_CooperBlack, a_CooperBlackNr, a_CooperBlackRg, a_CopperGothCm, a_CopperGothCmOtl, a_CopperGothDcFr-Bold, a_CopperGothSl, a_CopperGothTitul3D, a_CopperGothTitulB&W-Bold, a_EmpirialBrk, a_GroticRoghXBlack, a_GroticRough-Bold, a_GroticRoughObl-Bold, a_GroticSh-Bold-Italic, a_GroticSh-Bold, a_GroticTitulB&WHv, a_GroticTitulCmB&WHv, a_GroticTitulCmOtlHv, a_GroticTitulCmSwHv, a_GroticTitulGrHv, a_GroticTitulHvCm, a_GroticTitulOtlHv, a_GroticTitulShHv, a_Groto, a_GrotoB&W, a_GrotoCm, a_GrotoCmGr, a_GrotoCmOtl, a_GrotoGr, a_GrotoOtl, a_GrotoSh, a_GrotoStrGr, a_HuxleyRough-Bold, a_JasperCaps-Bold, a_JasperCapsNr-Bold, a_JasperCapsOtlNr, a_JasperCapsSh, a_LatinoTitulBr, a_LatinoTitulPlDc, a_MachinaNova3DSh, a_MachinaNovaBrk, a_MachinaNovaDrp-Regular, a_MachinaNovaStDc, a_MachinaNovaStarD-Bold, a_MachinaOrtoCaps-Bold, a_MachinaOrtoCaps, a_MachinaOrtoCmSw, a_MachinaOrtoDgStr, a_MachinaOrtoSls-Bold, a_MachinaOrtoSls, a_ModernoOtl3DSh, a_MonumentoTtlDcCm, a_MonumentoTtlNrCmSw-Bold, a_MonumentoTtlNrDcCm, a_SimplerE3D, a_SimplerStrs, a_StamperBrk.

    Most of the Chufarovsky-Slutsker typefaces are at Arsenal, and were digitizations of earlier Western typefaces. An example would be Avant Garde Gothic Book Cyrillic (1970, Herb Lubalin and Tom Carnase, digitized in 1997). [Google] [More]  ⦿

    Wahyu S. Adi Wibowo
    [Eaver Studio (or: Wahyu & Sani Co)]

    [MyFonts] [More]  ⦿

    Wahyu Setiya Rahmawan
    [FactoryType Studio (was: One Dollar Font, Factory 738, Today Pixels)]

    [MyFonts] [More]  ⦿

    Walbaum: Some digital fonts

    A list of digital typefaces derived from Walbaum's original didone design. [Google] [More]  ⦿

    Walk-On

    Walk-On (2015) is a free didone-inspired fashion mag typeface in AI format. There is no indication who made it, so I will classify it as orphaned. [Google] [More]  ⦿

    Walter Florenz Brendel
    [TypeShop Collection]

    [MyFonts] [More]  ⦿

    Walter Käch

    Teacher of Adrian Frutiger, b. 1901, Ottenbach, Switzerland. Pic. Here, you can find wonderful advice for making well-adjusted alphabets. In this wikipedia, we read: At the age of 16, Frutiger was apprenticed as compositor to a printer in the nearby town of Interlaken for four years and attended classes at the Zürich School of Arts and Crafts. (Rauri) Under the tutelage of Walter Käch from 1949 to 1951, students learned type design by rubbing forms from Roman inscriptions. The students then applied the knowledge learned from these ancient letterforms to their own type creations. The students came to realize that the way the inscriptions were made was an outline applied with a pen, and then chiseled into the rock. When students were first learning to design typefaces, they used pens to create flowing letterforms. Then students moved on to work with pencil. No instruments, such as rulers were used- everything was done by eye, and corrections had to be made by scraping the markings off with a knife. Frutiger respected Käch, and felt he was a fine teacher who allowed many different views to be prevalent. However, the young student disagreed with his teacher on how technical and defined forms should be. Käch was a calligrapher, and thought because punch cutters used a grid their forms were too harsh and technical. His typefaces are all dated 1949 and were published by ZHdK Zurich:

    Author of the lettering manual Schriften/Lettering/Ecritures (1949), which, according to Peter Bain, establishes a conversation between typeface designers, typefounders, and those who were drawing letters in a typographic age. [Google] [More]  ⦿

    Walter Schmidt

    Erlangen, Germany-based metafont and TeX specialist who has designed numerous font packages and developed many others. His work is always free and he has provided the TeX community invaluable typeface support. A list of his work:

    • Based on Euler and CM, he also developed the Euler math fonts (2001). Also called Euler-VM.
    • mathpple defines the type 1 font family "Palatino" (ppl) as the default roman font and use the "mathpple" fonts for typesetting math with LaTeX.
    • ECC, or European Concrete Computer Modern: a metafont implementation of Donald Knuth's Concrete fonts, providing T1 text fonts and TS1 text companion fonts.
    • Codeveloper with Malte Rosenau of the Bera fonts, based on Bitstream's vera family.
    • Extensions of some of the free URW fonts. For example, Walter Schmidt extended URW Palladio L in his FPL Neu package. He has also worked on URW Letter Gothic and URW Garamond No. 3.
    • Creator of cmbright, a family of sans serif metafonts based on Donald Knuth's CM font. It is lighter and less obtrusive than CMSS. Together with CM Bright there comes a family of typewriter fonts, CM Typwewriter Light, which look better in combination with CM Bright than the CMTT fonts would do.
    • Designer of the free font Augie, a type1 font simulating informal American style handwriting (2000), based on an earlier font called Augie by Steven J. Lundeen (1997).
    [Google] [More]  ⦿

    Walter Schmidt
    [cmbright: Computer Modern Bright]

    [More]  ⦿

    Warit Chaiyakul
    [Typomancer]

    [MyFonts] [More]  ⦿

    Warnery Frères

    Foundry in Paris that succeeded P. Digney. It was founded in 1857 in Saint-Germain-en-Laye by Digney who used to be director of the Fonderie Générale in Paris. Its work can be found in Spécimen de la Fonderie de caractères et de blancs Warnery frères (Paris, Usine et bureaux: 8, rue Humboldt, maison de vente: 6, rue Des Forges (place du Caire), June 1882 [1884]). A similarly-titled specimen was also published in 1899. More than half of their 1922 catalog consists of vignettes. In 1934, they published Catalogue Général.

    The Musé de l'imprimerie de Lyon lists specimens of these typefaces: Antiques Warnery (1922), Cyrano, Didot, Egyptienne Warnery, Elzévir Warnery, Fantasques Warnery, Gauloises, Goliath, Gras Warnery, Humboldt, Jenson, Machine à Écrire, Mammouth, Mozart, Ophelia (art deco), Papyrus (rounded script), Ronsard, Récamier, Stridon, Universelles Warnery, Vautour, Vignettes Warnery, Vénitiennes, Zéphyr.

    Among the revivals of these typefaces, a noteworthy contribution was made in 2018 by Juliette Collin at 205TF with her Salmanazar typeface family, which is based on Antiques Warnery No. 1. [Google] [More]  ⦿

    Wassim Awadallah
    [BluGraphic (or: Graphic Pear)]

    [More]  ⦿

    Werner Schneider

    German scribe, type designer and calligrapher, born in Marburg in 1933 or 1935, who studied under Friedrich Poppl at the Werkkunstschule in Wiesbaden from 1954 to 1958, where he started teaching in 1959. He became a professor at the Fachhochschule Wiesbaden in 1973.

    He designed Medita (1979), Sublima (1981), Schneider-Antiqua (1987, Berthold) and Schneider Libretto BQ (1995, Berthold: a didone family).

    In 1988, he made "Euro Type" for the German Federal Transportation Ministry in order to optimize the legibility of and standardize transportation typefaces.

    In 2002, in cooperation with Helmut Ness, this family evolved into the 22-weight and 14-dingbat signage family Linotype Vialog and Vialog LT Signs (mainly arrows), which is now used in the subway system of Munich.

    In 2003, he created the Senatus family (Berthold), after Roman inscriptions.

    In 2006, he designed the calligraphic family Sunetta.

    In 2007, he published the text type system Satero Sans and Satero Serif at Linotype.

    The Aeneas font family by Tiro Typeworks (1994) is based on his work.

    Linotype bio. FontShop link. Klingspor link.

    View Werner Schneider's typefaces. [Google] [MyFonts] [More]  ⦿

    Wesley M. Pastrana
    [Weslo Fonts]

    [MyFonts] [More]  ⦿

    Weslo Fonts
    [Wesley M. Pastrana]

    Weslo Fonts is the foundry of Wesley M. Pastrana, a San Juan, Puerto Rico-based graphic designer (b. 1989).

    He designed the didone family Malibu (2010), the sans family Dark Moon, the avant garde typeface Demon Breeze (2010, renamed Devil Breeze), the unicase sans family Wet Dreamz (2010), and the display typeface Illegal Curves nd Orgasmo (octagonal), Galactik (sci-fi) and Rewind in 2010. In 2014, he published Avant Retro (art deco) and Olim Futura.

    Several fonts can be downloaded here. Fontspace link. Dafont link (under the name Illegal Curves). Home page. Klingspor link. Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿

    What makes a good typeface?
    [Erik Spiekermann]

    Erik Spiekermann reveals his rules for a good typeface:

    • What makes a good typeface is decided by the users, not the designer.
    • Most good typefaces have been designed for one purpose, they do not come from a designers whim: Bodoni designed all his typefaces for specific books, Times was designed for the newspaper, Frutiger for signage at Charles de Gaulle airport, Helvetica to appeal to certain graphic designers, Bell Gothic for the American telephone books, Gill for a shopfront, Century for a magazine, and Meta for the German post office.
    • There are certain laws of perception as well as cultural traditions which a typeface has to adhere to: it has to look almost like all the others.
    • Just be a little different.
    [Google] [More]  ⦿

    Which Bodoni?

    A thread on Typophile regarding the choice of a version of Bodoni. The comments and opinions can be summarized as follows:

    • Almost everyoner agrees that ITC Bodoni, with its optical weights, is the superior Bodoni. Read about it in an article by Dave Farey. Jon Coltz praises it as one of the few readable Bodonis. See also here.
    • David Thometz lauds Berthold Bodoni Antiqua and Berthold Bodoni Old Face. He recalls that Bringhurst recommended Berthold Bodoni in The Elements of Typographic Style (p. 207) as well as the Bauer Bodoni designs. John Butler thinks the Berthold Bodoni Old Face zeros are the best anywhere.
    • Several posters point out that for some jobs, Didot-style typefaces may be better. Laurels went to HTF Didot and Linotype Didot.
    • In a related thread, the discussion focused on Didots. Here the winners were Monotype Walbaum and Frantisek Storm's Walbaum Text.

    View various Bodoni Antiquq / Bodoni Old Face typefaces. [Google] [More]  ⦿

    Wiescher Design
    [Gert Wiescher]

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

    • Scripts: Prima Script (2017: for menus and cookbooks), Marmelade (2015, +Fruits, a set of dingbats), Triana (2014, a thin monoline penmanship script named after a Spanish sailor on the Pinta who in 1492 was the first to see America---in this case the Bahamas), Floral Script (2014, copperplate style script), Sherlock Script (2014: this comes with Sherlock Stuff (fingerprints) and Sherlock Stuff Dots (ink stains)), Felicita (2013, a swashy copperplate script), Vividangelo (2013, after the handwriting of a real person), Dreamline (2013, connected monoline cursive wedding scripts in A, B and C styles), Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat brushy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic typeface with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, hand-printed school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
    • Sans: Brute Sans (2018), Xpress (2018), Xpress Rounded (2019), Classic Sans (2017, a revival of Theinhardt Grotesk), Classic Sans Rounded (2017), Maxi (2017), Nic (2017), Azur (a large almost geometric sans famly with 1950s Roger Excoffon-style French flavours, called a Medterranean grotesk by Wiescher himself), Royal Sans (2017, after Theinhardt's Royal Grotesk---the forerunner of Akzidenz Grotesk--- from 1880), Docu (2016, a workhorse elliptical sans family), Viata (inspired by Bauhaus), Noticia (2016, in the Bauhaus tradition, with very pointy v and w, and a bipartite k; not to be confused with the 2011 Google Web Font Noticia Text by José Solé; followed in 2019 by Noticia Rounded), Avea (2015), Aramis, Nota Bene (2015: squarish, narrow, technical), Nota (2015, technical and cold: the rounded version, Nota Rounded, followed in 2019), Dylan Condensed (2014), Dylan Copperplate (2014), Supra (2013, grotesk: Supra Thin is free. See also Supra Condensed (2013), Supra Mezzo (2013, between regular and condensed), Supra Extended (2013), Supra Rounded (2015), Supra Classic (2014), and Supra Demiserif (2013, slab serif derived from Supra)), Dylan (geometric sans), Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family; see the new versions Moanin and Julienne Piu, 2017), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Futura Classic (2006), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
    • Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Classic Fleurs (2014, ornamental caps), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
    • Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
    • Engravers: Dylan Copperplate (2014), Cavaliere (2010), Guilloche A (2009), Guilloche B (2013, op-art borders), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
    • Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a typeface commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter typeface based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
    • Slab serif: Slam Normal (2017), Slam Rounded (2017), Suez (2017: with extra tall ascenders and descenders), Egyptia (2010), Egyptia Rounded (2010).
    • Typewriter: Lettera (2014), Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
    • Decorative: Tric (2017, art deco), Franklin Gothic Raw Semi Serif (2015), Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic typeface derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Cassandre's Acier Noir, 1936), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain, which in turn is based on the famous romain du roi), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus, and in 2020 to New Yorker Type Classic and New Yorker Type Pro; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
    • Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
    • Stencil typefaces: Dripps (2010, handpainted, perhaps brutalist), Red Tape Plus (2014).
    • Comic book fonts or brush fonts: Breezy (2015), Caboom (2014).
    • Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
    • Art deco: Trix (2017), Zelda (2017, named after F. Scott Fitzgerald's wife).
    • Commissioned and special typefaces include a version of the logotype for the Munich's newspaper Abendzeitung, Maxi (variable width sans), NIC Grotesk, Tric (art deco), a Cyrillic version of Bodoni Classic for Vogue Moscow, a special Bodoni Classic for Ringier Publishers in Zurich, and Red Tape, a typeface that is on permanent exhibition at the German National Library in Leipzig.
    • Typefaces from 2019: Elita (a condensed sqaurish typeface), Artis Sans, Sigma Condensed and Sigma (simplified readable sans families), Cosma (an elegant high-contrast text family with tapered upstrokes and crossbars, but otherwise didone roots), Quincy (a bebop typeface that started from some letterutouts), Phoebe (an elliptical techno family), Phoebe Rounded, Polygon A, Polygon I, Polygon X.
    • Typefaces from 2020: Bullets Bannertype, Alpha One (a counterless experiment), Exec (a 14-style sans family), Exec Corners, Exec Demiserif, Penta (a grotesque family with large counters that make the ExtraLight style quite striking), Penta Rounded.

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

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

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

    Wikipedia: Open Source Font

    A German wiki entry on Open Source fonts, listing Bitstream Vera, Caslon Roman, Computer Modern, DejaVu, Gentium, GNU Unifont, Junicode, Liberation fonts, Linux Libertine, MPH 2B Damase. [Google] [More]  ⦿

    Willard T. Sniffin

    Designer at American Type Founders from 1927-1933. Catalog of some of his digitized typefaces. He made these fonts:

    • Adonis (1930, ATF). McGrew writes: Popular for stationery and announcements but with little use otherwise. Lines are monotone throughout, and lowercase letters are linked, although it is not really a script. There are alternate versions of several of the capitals. The 30-point size was cut, but seldom if ever shown. Revived by Jim Spiece as Adonis Old Style SG (1994).
    • Hollwywood (1932, ATF). McGrew's comments: It was intended for smart, contemporary advertising, announcements, and stationery, but some of the characters have quaint shapes, suggestive of nineteenth-century styles. Compare Gothic Novelty. Revived by Jim Spiece in 1994 as Hollywood Deco SG and by Nick Curtis in 2009, with improvements, as Tinseltown NF.
    • Keynote (1933, ATF), an informal script face. McGrew writes: Its name was suggested by the political campaigns of the previous year. There is variation in weight of strokes, and letters are unconnected, but there are a number of logotypes of connecting pairs of letters. Inclination is slight, permitting it to be cast on straight bodies with little overhang. Compare Raleigh Cursive by the same designer. Digitally revived in 2005 by Steve Jackaman as Willard Sniffin Script, and by Monotype---without mentioning Sniffin...---as CgChaplin (2016).
    • Liberty (1927, ATF). McGrew: [ ...] was designed presumably to counter the importation of Bernhard Cursive (Bernhard Schoenschrift), which it greatly resembles. It differs in the crossbars of A and H, which have loops in them, the hooked ascenders of bdhl, and some lesser details, but it is a delicately handsome, unconnected script, with very small lowercase and very tall ascenders. On Intertype it is known as Lotus. Also compare Pompeian Cursive. Digital versions include Liberty (Bitstream) and Reliant (Intellecta Design).
    • Newport (1932, ATF), an extra condensed novelty gothic / art deco face. McGrew: Caps occupy almost the entire body, and lowercase letters are tall, with short ascenders and very short descenders. In 48-, 60-, and 72-point sizes, descenders are cast on bodies 6 points larger. The round capitals CDGPR include arcs that are less than half a circle, joining stems at an acute angle. AEFH feature very low crossbars. The normal M is splayed, with the vertex ending short of the baseline, and is the W inverted. There are also an alternate M and W, consisting of three parallel lines with rounded top or bottom. In addition to characters shown in the specimen here, there are a cent mark and a small superior dollar mark, made only in 24-point and larger. Compare Jefferson Gothic, Phenix. Revived in 1994 by Jim Spiece as Newport Classic SG, by URW as URW Newportland, and by Nick Curtis in 2009 as Jazzfest NF.
    • Nubian (1928, ATF). McGrew: It is a wide, very heavy design with extreme contrast of thick and thin strokes, and has very short serifs. The lowercase g has an uncompleted tail, and the i and j have semicircular dots. Compare Ultra Bodoni, Cooper Modern. The Broadway style signage font Nubian Black was revived and interpreted by Nick Curtis in his Slam Bang Theater NF (2002). Also check The Nubian: a new fashion in types (ATF, 1928). Local download.
    • Piranesi (1930, ATF), a light display typeface with tall ascenders, short descenders, and an almost script italic. Named after an eighteenth-century Italian engraver. McGrew explains: Piranesi was designed by Willard T. Sniffin for ATF in 1930. It is a very delicate roman, with long ascenders and rather short descenders, and is named for an eighteenth-century Italian engraver. Other versions were added by Morris Benton: PiranesiItalic, also in 1930; PiranesiBoldItalic in 1931; and Piranesi Bold roman in 1933. The italics are more characterful and have more of a calligraphic feeling, especially in the cursive capitals, but a separate set of Plain Capitals-essentially a slanted version of the roman was produced for each of the italics. Oldstyle figures were made for all versions, and lining figures were also available for the bold roman. Both romans and both sets of italic plain capitals were still shown by ATF in recent specimens. There seems to be no explanation for the high series number of Piranesi Italic Plain Caps, but that is how it appears in ATF literature. PiranesiItalic, with regular cursive capitals, was also made by Intertype under the name Minuet. Piranesi was remade by Bitstream.
    • Raleigh Cursive (1929, ATF). Mac McGrew: Raleigh Cursive is a spirited design by Willard T. Sniffin, drawn in 1929 for ATF but introduced in 1930. It has a pen-drawn quality, with precise lowercase letters which don't quite connect, and flourished capitals. There are two versions of cap Rand T, and several lowercase ligatures, as shown. Sizes over 36-point were discontinued in the late 1940s. Raleigh Initials were designed by the same artist at about the same time. They closely follow the style of Raleigh Cursive, but are more freely drawn. For each size, J and Q are cast on the next larger body size. Compare Park Avenue, Piranesi Bold Italic. For a digital version and extension, see the two-style Redwood (2007, Rebecca Alaccari, Canada Type).
    • Rivoli and Rivoli Italic (1928, ATF). McGrew says: They are delicate typefaces with a nervous, pen-drawn quality, and are very similar to Eve and Eve Italic, designed by Rudolf Koch in Germany a few years earlier. However, Rivoli has the extra hairline on all sizes of caps in both roman and italic, whereas Eve has this line only on italic caps in sizes from 14-point up. Compare Paramount, which is essentially a bold version of Rivoli. A revival by Paul Hickson at Rooster Types is entitled Rivoli Initials [see also here].
    • Rosetti (1931, ATF). McGrew: This is a thick-and-thin, serifless face. Many of the capitals are informal, and some have an extra swash version. In lowercase letters such as hand m, the ascending stroke leaves the stem at a low point. Compare Parisian, Optima, Radiant, Czarin, Lydian. Revived by Nick Curtis as Rassetta NF and Rassetta Swash Caps NF (2005).
    FontShop link. Klingspor link. View Sniffin's typefaces. [Google] [MyFonts] [More]  ⦿

    William Addison Dwiggins

    Martinsville, Ohio-born illustrator, calligrapher, typographer, book designer, author, type designer and puppeteer, 1880-1956 (Hingham, MA). Pic (1955). All his typefaces were designed for the Mergenthaler Linotype Company, where he worked for 27 years. He also was Acting Director of the Harvard University Press, 1917-1918. In 1919, he founded the Society of Calligraphers, Boston, and was in fact an accomplished calligrapher, who drew many ornaments and designed many jackets. Dwiggins studied lettering under Goudy in Chicago while a student at Frank Holme's School of Illustration. When Goudy moved to Hingham, Dwiggins followed and was to work there for the rest of his life. As a puppeteer, he often used the pseudonym Dr. Hermann Puterschein. His papers:

    • Some why's and wherefore's of the shapes of roman letters (1919), a short essay full of quotes, some good, but mostly derogatory, regarding the main text types in vogue at the time, such as Century, Caslon, Cheltenham, Pabst, Cadmus and Scotch.
    • WAD to RR, a letter about type design, Department of Printing and Graphic Arts, Harvard College Library, Cambridge, MA, 1940. In this letter to a friend, RR, entirely written in a beautiful hand, he explains how to make type.

    His typefaces:

    • Arcadia (1943-1947). Mac McGrew: Arcadia was an experimental typeface designed by William A. Dwiggins for Mergenthaler in 1943-47, used in Some Random Recollections, by Alfred A. Knopf for the Typophiles as Chapbook XXII in 1949.
    • Caledonia (1938-1939). Known as Transitional 511 at Bitstream, New Caledonia at Adobe, and New Caledonia at Linotype. See C651 Roman on the SoftMaker MegaFont XXL CD, 2002. Nicola Caleffi complains that New Caledonia and BT 511 are too weak and miss old style figures.

      Mac McGrew: Caledonia and Caledonia Italic were designed by William A. Dwiggins for Linotype in 1938, with Caledonia Bold and Bold Italic added two years later. A Bold Condensed version was produced by Lino for newspaper head- line use. Caledonia has been described as a modernization of Scotch Roman (and Caledonia is the ancient name for Scotland), but it is more than that. It also shows the influence of the Bulmer typeface, with a large portion of Dwiggins' individuality. He describes the typeface as having a "liveliness of action. [...] quality is in the curves---the way they get away from the straight stems with a calligraphic flick, and in the nervous angle on the under side of the arches as they descend to the right." Being designed specifically for the Linotype and its mechanical limitations, rather than being adapted from a foundry face, Caledonia Italic is particularly successful, and the whole family has become very popular. In text sizes, short descenders may be cast on nominal body sizes, while the more handsome long descenders (not made for italics) require one point larger body size. Compare Baskerville, Bulmer, Scotch.

    • Caravan Borders (1938). Four fonts available at Linotype (1976).
    • Charter (1946). Mac McGrew: Charter was an experimental, special-purpose typeface designed by William A. Dwiggins for Mergenthaler between 1937 and 1942. An upright script, only the lowercase and the few other characters shown were completed. For tests, these were combined with Electra caps. It was used in a limited edition book, The Song Story of Aucassin and Nicolete, designed and printed in 1946 by S. A. Jacobs at the Golden Eagle Press, Mt. Vernon, New York, with Electra small caps in place of regular caps. Between 2010 and 2018, Cristobal Henestrosa developed the titling typeface Royal Charter, a digital revival of Charter. With the help of Oscar Yanez, this became a retail typeface at Sudtipos called Mon Nicolette.
    • Eldorado (1953). Berry, Johnson and Jaspert give an earlier date, 1951. Created after a 16th century early roman lowercase by Jacques de Sanlecque the elder. Revived in 1993 at Font Bureau as Eldorado by David Berlow, Jane Patterson, Tobias Frere-Jones, and Tom Rickner. Mac McGrew: Eldorado is a contemporary roman designed by W. A. Dwiggins for Linotype about 1950, based on early Spanish models. The lowercase is compact, with a small x-height and long ascenders. Several italic letters have cursive or decorative forms; also notice the cap Y, with curved, serifless arms.
    • Electra (1934-1935), a text typeface with a distinctive Q but otherwise unobtrusive glyph shapes. Known as Transitional 521 at Bitstream. Mac McGrew: Electra is a contemporary modern typeface designed by W. A. Dwiggins for Linotype. The light weight was drawn in 1935, the bold a few years later. Aside from its readability and distinctive character, Electra is distinguished by a choice of italic forms. Electra Italic is really a sloped roman, while Electra Cursive, released in 1944, is more nearly a conventional italic form; only the lowercase is different. Like a number of the better Linotype typefaces, Electra also has a choice of short descenders, which will cast on the nominal body, or long descenders, which must be cast one point larger. Compare Fairfield. A digital revival was done by Jim Parkinson in 2010: Parkinson Electra. Parkinson did another revival in 2017, Aluminia, exclusively for use in Bruce Kennett's 2017 book on W.A. Dwiggins. In 2018, Laura Garcia attempted a revival while studying at Type West.
    • Experimental 267D.
    • Falcon (published in 1961) is an experimental font at Mergenthaler Linotype. Mac McGrew: Falcon was designed during World War II for Linotype by William A. Dwiggins and released in 1961. It seemed to him, he said, "to hit the middle ground between mechanical exactitude and the flow and variety of a written hand-suggesting some of that flow and variety but controlling it, so the letter can be repeated."
    • Hingham (1937-1943). Mac McGrew: Hingham was an experimental newspaper face, originally called Newsface, designed between 1937 and 1943 by William A. Dwiggins, for improved readability. Only the 7-point size was cut by Mergenthaler, and it was used only for tests.
    • Metro (1929-30). This famous sans serif family was published by Linotype in 1936-1937. It is also called Metroblack, and sometimes dated 1928. In digital format, it is known as Geometric 415 at Bitstream, and Metro Office, Metro #2, Metrolite, Metromedium and Metroblack at Linotype. It is DH Sans at FontHaus. It was revived as Examiner NF by Nick Curtis (2009). It lives another life as Grosse Pointe Metro at Group Type. Mac McGrew: Metrolite and Metroblack were designed by William A. Dwiggins and introduced by Linotype in January 1930, as the first American typefaces to join the trend to sans serif started by Futura and Kabel. These typefaces are less mechanical than the European imports, and were promoted as being less monotonous and illegible. The first two weights were soon followed by Metrothin and Metromedium. In 1932 several characters were redesigned; thereafter the series was promoted as Metrothin No.2, Metrolite No.2, Metromedium No.2, and Metroblack No.2, including the redesigned characters, but the original characters were available as extras. Metrolite No.2 Italic was shown in 1935, along with Lining Metrothin and Lining Metromedium, which are like the small caps of the regular typefaces. Italics for Metromedium No.2 and Metroblack No.2 were shown in 1937. Metrolite No.4 Italic and Metrothin No.4 Italic are essentially the same design but narrower, for mechanical purposes. Unique Capitals are made for some sizes of Metrothin and Metromedium. Alternative figures are made as follows: Gothic No. 39, for Metrothin No.2, similar to Spartan Light. Gothic No. 40, for Metrolite No.2, similar to Spartan Medium. Gothic No. 41, for Metroblack No.2, similar to Spartan Black. Gothic No. 42, for M etrothin No.2, similar to Kabel Light. Gothic No. 43, for Metrolite No.2, similar to Kabel Medium. Gothic No. 44, for Metromedium No.2, similar to Kabel Bold. Gothic No. 45, for Metroblack No.2, similar to Sans Serif Extra Bold.
    • Stuyvesant (1942-1947). Mac McGrew: Stuyvesant and Stuyvesant Italic were designed in 1942-47 by William A. Dwiggins, inspired by a quaint Dutch type cut by J. F. Rosart about 1750, and used in 1949 in The Shelby Letters, from the California Mines, 1851-1852, published by Alfred Knopf. An entirely different Stuyvesant, a novelty design, was made by Keystone before 1906, perhaps before 1900.
    • Tippecanoe (1944-1946). McGrew writes: Tippecanoe was an experimental typeface designed in 1944-46 by William A. Dwiggins for Mergenthaler, on the Bodoni-Didot theme. It was used in a book by Elizabeth Coatsworth, a friend of Dwiggins, The Creaking Stair, published in 1949 by Coward-McCann. Compare Louvaine Bold [by Morris Fuller Benton]..
    • Winchester (1944). Revived as ITC New Winchester by Jim Spiece. Mac McGrew: Winchester Roman and Winchester Uncial with their italics were completed in 1944 by William A. Dwiggins, the Uncial being an experiment aimed at making the English language easier to read by eliminating some of the ascenders and descenders typically used in this language. Italic caps and other characters were drawn in 1948 but not cut. Although made on Linotype matrices by Mergenthaler, fonts of hand type were cast and used only by Dwiggins and Dorothy Abbe beginning in 1950 at the Puterschein-Hingham Press, where they were partners until his death in 1956. In the specimen shown here, the uncial f appears in both italic alphabets. A regular italic f was cut but apparently not cast.
    • He worked with multiple typewriter manufactures including Underwood, Remington Rand, and IBM, but none of them were finished. He left a number of intriguing drawings which are now kept at the Boston Public Library. In his Dossier, Toshi Omagari combined these materials to make a cohesive monospaced typeface family: the upright was taken from a drawing of monospaced lowercase for an unknown client, and the italic was from the work he did for Underwood which he called Aldine.

    Matt Desmond created Dwiggins Deco in 2009 and writes: 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. A free version called Dwiggins Initials KK was designed in 2012 by John Wollring. Noteworthy also is Stefan Hattenbach's Dwiggins Script (2018), developed together with Glenn Sjökvist.

    Books about Dwiggins include Bruce Kennett's W.A. Dwiggins A Life in Design (2017, Letterform Archive).

    Linotype link. FontShop link. Klingspor link. MyFonts link. Bio by Nicholas Fabian. Flickr picture group for Dwiggins.

    View digital typefaces based on the work of Dwiggins. View W.A. Dwiggins's typefaces. [Google] [MyFonts] [More]  ⦿

    William Dana Orcutt

    Book designer, typographer and author (b. 1870, West Lebanon, d. 1953, Boston). Designer of French Round Face&Italic, Humanistic, Laurentian, Suburban French&Italic, and Verona. McGrew comments on each face:

    • Suburban French is one of Monotype's first independent recreations of typefaces from classic sources abroad. It was cut about 1911 at the suggestion of J. Horace MacFarland, prominent Pennsylvania printer, and was adapted to Monotype under the supervision of MacFarland and William Dana Orcutt, a well known typographer and book designer in New England. Its source is said to have been a Didot oldstyle first cut about 1804, but the Monotype typeface was first introduced under the name of Bodoni Roman. The double serifs at the top of lowercase vertical strokes are a distinguishing feature. Compare French Round Face.
    • Verona is ATF's adaptation about 1951 of Bologna, which had been cut by Stephenson Blake in England in 1948. It is said to have been cut from Stephenson Blake's drawings, but lining figures were drawn to replace the hanging figures which Stephenson Blake had featured. The name was changed to avoid having disrespectful printers call it "baloney," yet retaining an Italian connotation. At the time ATF did not realize that Stephenson Blake had in turn adapted the design from an earlier ATF face, Humanistic (q.v.), drawn by William Dana Orcutt in 1904. With or without its later modifications, which are minor, this typeface retains more of the appearance of hand-lettering than almost any other cut in metal, and composes into a beautiful page with properly close spacing. Compare Freehand, Motto, Heritage, Thompson Quillscript. Incidentally, when ATF took Verona as a new name for Stephenson Blake's Bologna, they also overlooked the fact that Stephenson Blake uses the name Verona for their copy of BB&S-ATF's Munder Venezian.
    • French Round Face, originally called Didot Roman or simply Modern, was one of the first revivals of the typefaces cut by Firmin Didot in France about 1784. This was cut for Monotype in 1910, under the direction of J. Horace MacFarland and William Dana Orcutt. The italic is unusual in that some lowercase letters have serifs like the roman. No. 16 on Linotype and Intertype is similar but heavier. Compare Suburban French.
    • Humanistic was designed by William Dana Orcutt and privately cast by ATF in 1904 for the University Press, Cambridge, Massachusetts. It is a careful rendering into type of the round humanist writing of the Renaissance period, based in particular on the 1485 manuscript of Antonio Sinibaldi's Virgil in the Laurentian Library at Florence, Italy. This is considered by some to be hand-lettering in its most beautiful form, and occurred after the development of roman types as we know them. In 1940 this type was adapted to Monotype keyboard composition, under the direction of Orcutt and Sol Hess, the 21-point size being used for a large edition of Science and Health. The Monotype cutting, known as Laurentian closely follows the foundry version, including some but not all of the original alternate characters. A few years later the design was modified by Stephenson Blake in England, and issued as Bologna; this in turn was adapted by ATF as Verona (q.v.).
    Note: Humanistic/Verona were digitally extended in 2006 by Ray Larabie as Mikadan (Typodermic). Klingspor link. [Google] [More]  ⦿

    William Hagar

    New York-based typefounders who published their work in Specimen of printing types and ornaments, from the type and stereotype foundry of William Hagar (New York, 1850). William Hagar was born in 1798 in Rutland, VT. He moved to New York in 1816 where he worked with Elihu White at the White Type Foundry. In 1823, he took over George B. Lothian's part of the foundry of Lothian&Pell to form Hagar&Pell, who were the first to introduce Scotch to American printersi (Hagar had asked David Bruce Jr. to cut the punches for the lightface series). This company was dissolved in 1830. Hagar's Scotch never sold well---the first successful Scotch family was credited to James Conner, who had bought the original punches and a few more cuts by Edwin Starr. In 1835 Hagar returned to typefounding to buy an interest in the foundry of his friend, Elihu White. This became White&Hagar. White died in 1836, and Hagar continued until 1839. From 1840 until 1842 he was a partner of George B. Lothian, who had a legendary temper. The company William Hagar was established a bit later thanks to the purchase by Caleb Bartlett, Hagar's friend, of the machinery of James Conner who had financial problems. In 1845 Hagar purchased his partner's interests, and he was the sole owner until 1852 when he sold the foundry to his sons, William and John. He died in 1863. The business declined due to the inexperience of the children and the mounting competition and would later become ATF. In 1887, the business was sold to three other New York typefounders.

    Among digital revivals of its typefaces, we cite Apple Pie (2009, William Hagemann, FontMesa), an extension of an ornate Bodoni all caps typeface by Hagar, ca. 1850. See also AWT Hagar Concave Tuscan Shade (2013, Dick Pape. [Google] [More]  ⦿

    William Leverette

    FontStruct artist who in 2008 created Jaguarundi and Jaguarandi Scanline, two African look fonts. He also made the slab serif typeface Instruct Serif and its sans brother Instruct Sans, Block Bottom, and the stylish typefaces Asgard Annarr, Asgard Oldstyle, Asgard Titling Small Caps, Asgard Elongated, Asgard Small Caps, Billy Baud, Asgard, Asgard Ultra, Asgard Titling and Asgard Heavy. He also started the bulldog-jawed slab family Slabgard (+SmallCaps). His latest experiments are with the 3-d metal look, as in Cool Iron, Hot Lead and Hot Iron. His tiled typefaces Tic Tac Toast and Digital Dust are also great. He also made Structurosa Shadow, Squarely, StarStruct and the creative pixel series Med Led 1.1, Med Asylum, Med All, Med Lsd, Med Ish, Private Pixels Italic. Check also his tall piano key fonts Coltrane Compressed, Coltrane Display and Coltrane Gothic. He added a scary ghost series Medula, Medula Black and Med Yeti and variations on Structurosa called Structurosa Neo and Neo II. Leaf Ultra, Leaf Poister, and Leaf Poster Dashed use leaves to form letters. Designer in 2009 of Zingaling (kitchen tile), Slubscript, More Latin Trajedy (+Titling Capitals). Allegorica (2009) is what a medieval stencil might have looked like. Jettletter (2009) is a blackletter face. As Will I, he made these typefaces in 2009: More Latin Trajedy (pixel typefaces), Djangogh (2009, a piano key face; see also Djangogh Unpenned, 2013, and Djangogh 2x, 2011) and Starfokker.

    Fonts made as Will I in 2010 include Slab, Asgard Annarr, Slubscript, Jettletter, Zingaling LC, MiniMallow, LitBit, WPA Go Thin (nice mechanical typeface cloned from Stephen Coles' WPA Gothic), Spark Bit, Fat Bit, Frosty Bit, Esau, iChip (pixel face), Allegorica 2.0b, Spark Bit, Stampede (Western face).

    Creations from 2011: Sketch Bit (grunge), fs Kronos (angular), Geodoni Extra Black Condensed (in the piano key genre), Archly Gothic, Zingaling LC (art deco kitchen tile typeface cloned from Intaglio's Zingaling), W Stripes The Font (texture face), Polygonal ii (octagonal and counterless), Ohm Run Slab, fs Cogni (bike chain font), fs Cognate (similar), fs Pythagoras, fs Rondeau.

    In 2012, he revised RM Uncialic (by Ray Meadows) to RMUncialic+, and added fs Light (white on black), fs Galactica and fs Isthmus (piano key stencil family in several styles).

    In 2013, he published fs Floresta, fs UnStruct, fs Fermat (roman lettering), fs Alhambra, fs Radiata and 1/8ish center square (gridded). [Google] [More]  ⦿

    William Martin

    British typefounder and punchcutter (1757-1830) who trained under Baskerville, and was active as supplier to the Boydells, Nicols, the Bewicks, and Bulmer, 1776-1815. Born in Birmingham, he died in London in 1815 (others say 1830). In 1792, he designed the Bulmer typeface for the Shakespeare Press.

    Morris Fuller Benton's ATF version of the Baskerville style text typeface cut by William Martin for the English printer and publisher, William Bulmer, is called Bulmer. It is available from Bitstream in two styles, and from Monotype as Bulmer MT. ATF released the design in 1928.

    Adobe and Monotype, which have a multistyle family [much larger than the Bitstream family], now called Bulmer MT, write: Designed in 1792, the Bulmer types are named not after their designer, William Martin, but after the printer who used them so well in his Shakespeare [sic] Press editions. In fact, it was Morris Fuller Benton who gave them the name back in 1928 when he was creating revivals for American Type Founders. Originally, Martin's type was the English answer to the sharp, fine letterforms of Italy's Bodoni and France's Didot type foundries. But the Bulmer types did more than imitate the starkness of the modern-style Didot-Bodoni types. By condensing the letterforms, giving the strokes higher contrast, and bracketing the serifs slightly, Martin made his typefaces both beautiful and practical.

    Poster by Daniel Berkowitz.

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

    William Scott Simpson Jr

    Graphic designer and illustrator in the St Louis area in Missouri. Scott Simpson graduated with a Bachelor of Fine Arts in graphic design and illustration from Southeast Missouri State.

    FontStructor who made Paper Cutout WSS (2011, counterless, geometric, Bauhaus?), De Stijl Mag (+Rounded, 2011), Randstand, Randstand Slab, Randstand Fat Face (art deco), and Randstand Practical (2011).

    In 2012, he published the free sans typefaces Gram (hairline), Merit (part of a student project to redesign Home Depot's brand identity), Mermaid (a bold didone) and Young.

    Dafont link. [Google] [More]  ⦿

    William Simmelkiær
    [William Simmelkiær Skriftstøberi]

    [More]  ⦿

    William Simmelkiær Skriftstøberi
    [William Simmelkiær]

    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.

    Their 1912 specimen book entitled Skriftprover confirms that the foundry was quite active. [Flickr site for that 1912 specimen book. Another pic of that book. And another one. And another one.]

    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]  ⦿

    William Thorowgood
    [Thorowgood Foundry]

    [MyFonts] [More]  ⦿

    Wilton Foundry
    [Robbie de Villiers]

    The Wilton Foundry, which started out in Wilton, CT, but is now in Chattanooga, TN), was founded in 2003 by Robbie de Villiers. It published the semi-stencil typeface EM (2018), Brew (2018), Context Regular (2017: a condensed inline typeface), Målestok (an octagonal logo font family), Yotta (2017, a thin monoline sans specially designed for the fashion retail industry), Werk Serif (2017), Clareza (2016, a clean geometric sans), Leuk (2016, a playful sans), Maker (2015, a fresh rectangle-studded techno-display typeface), Saluzzo (2015, a contemporary calligraphic stencil interpretation of Bodoni), Twine (2014, a warm rounded stencil type inspired by the Plantin typeface which in turn is based on Robert Granjon's Gros Cicero of the 16th century), Cielo (2012, a sans family with some contrast), Marcus (2012, a roman type family in the Trajan style), Typetonic (2011, techno), Skript (2011, a stencilish script), Vallassina (2011, like a child's hand), Bellezza (2010), Pagina (2010, humanist sans), Rijk (2010, calligraphic), Saycheez (2009), Chamber (2009, serif face), Ciseaux (2009), Terzo (2009, calligraphic), Werk (2009, 12-style sans family), Velouté (2008, script), Diario (2009, blackboard script), Carnegie Classic (2009, calligraphic), Ziro (2008, almost a comic book font), Suzie Q (2007, hand-printed), Brasserie (2007, connected script), Chateau (2007, calligraphic script), Pointe (2007, a blackboard script), Atto Sans (2007), Santa Cruz (2007, a serifed headline face), Marzipan (2007, a whimsical script), Spark (2007), Fete (2006, formal script), Flax (2006), Portfolio (2005), Cyan (2006, a compact serif typeface reminiscent of Trajan; updated in 2016 as Cyan Neue), Ceres (2009, related to Cyan), Cyan Sans (2006), Petronella (2006, medieval script), Pezzo (2006, calligraphic script), Canette (2006, calligraphic script), Vecta Serif (2005), Vecta (2005, sans family; also published in 2006 as Vecta DT (DTP Types)), Cinnamon (2005, children's handwriting), Cilantro (2005, fun handwriting, and its niece Hanna (2008)), Misspink (2005, stone-age simplicity), Brown Fox (2005, script), Celsius (2005, felt tip face), Plumage (2007, formal high contrast calligraphy), Plato (2005, faded roman caps), Diplomat (2006, calligraphic), Duet (2004, calligraphic; also published in 2006 as Duet DT (DTP Types)), Spark (2005), Anno Rex (2005), Hampton, SCelsius, Gluestick, Duet Bold (2005, calligraphic), Duet-Flourishes (2004), Duet2Deux, Duet-Regular (2005), Nobodi Bodoni (2005), About Face (2004, script), Benjamin (2003, a geometric sans), Paella (2005), Boondoggle (2005, curly face), Monotonose (2004), Password (2004), LoosieGoosie (2004), Pippin (2005, transitional serif), Carnegie (2004, calligraphic), LatextBold (2003), ModusBoldItalic (2003), Nantucket (2004), Nicolas (2005), Oslo (2005, a legible sans family), Sepia (faded look), Belair.

    Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.

    Unio (2012) is a rounded slab family designed to be sturdy and legible.

    In 2017, Wilton Foundry published Yotta, Marcus, Chateau, Pagina, Plato, Beurre, Vecta Serif, Cyan Neue, Buckle, Suzie, Unio, Attic Sans, Blau (hand-chiseled, angular text typeface) and Taglio, a contemporary calligraphic interpretation of incised or inline engraving or carving.

    Typefaces from 2018: Chartre, EM, Mijne, Brew, De La Croix (a stencil sans inspired by the works of Eugène Delacroix, leader of the Romantic School) , Halla (a light monoline sans).

    Typefaces from 2019: Kular (monospaced), Zentral (an awesome 2-style sculptural font with the angularity of old Czech masters such as Preissig and Menhart).

    Typefaces from 2020: Obo Regular (a diamond-studded display typeface), Rito (monospaced).

    Home page.

    View Robbie de Villiers' typefaces. Home page. [Google] [MyFonts] [More]  ⦿

    Winston Scully

    Winston Scully is a type designer, lettering artist, and graphic designer living and working in San Francisco, California. He graduated from Southeastern Louisiana University, worked for a while in branding and packaging from Baton Rouge, LA, and studied at Type@Cooper West in San Francisco, before setting up Continental Type with Scott Biersack in 2017.

    Creator of the free typeface Davy Crockett (2015), a great titling display type that is genetically related to the fat face didones.

    In 2016, he designed Highground (Bold, Stencil), a typeface he started during his studies in 2016 at Type@Cooper West. He writes: The early stages of Highground were inspired by Nicholas Jenson's Rotunda. [...] Highground is a fun typeface for your punk band to make shitty posters to hang on electrical poles around town. [Google] [MyFonts] [More]  ⦿

    Wooden Type Fonts (was: American Wood Type and, Wooden Type)
    [Jordan Davies]

    Wooden Type Fonts (was: American Wood Type) is founded and run by Jordan Davies from South Hero, VT: Historically accurate reproductions of wood type produced in the 19th century in a variety of styles. This is a work of passion and dedication by Jordan Davies. Jordan's other passion is painting. His (digital) wood typefaces include these original designs: Bevan Condensed, Bevan Medium (based on Melior), Inline Regular, London Light, London Heavy, Neo Geo Block, Quirk, Slab Four Rounded (+Ext), Slab Four Rounded Italic, Slab Four Rounded Revised, Slab Four Rounded Super. MyFonts link. Digital revivals:

    Showcase of his most popular fonts at MyFonts. Klingspor link. [Google] [MyFonts] [More]  ⦿

    words+pictures
    [Gerry Chapleski]

    Gerry Chapleski (b. Bahamas, 1957) used to make fonts under the names Gerry Chapleski Design and Editable Graphics. His foundry is now called Words++Pictures, and is located in Broomfield, CO. He specializes in grungy modifications of well-known styles.

    MyFonts sells these typefaces: Alien, Andalusia, Ave Maria, Babino, Babushka (2001), Bastante, Basterg, Blogger, Bodacious, Cabra, Chefic, Chiva, Circuit, Classico, Coalities, Cobrag, Conduct, Constitution, Cordoba, Crate, Curse, Decon, Domo, Dupe, Flash, Flute, Function, Geek, Geo, Geomed, Gross, Grotto, Gus, Highway, Hippie, Houdini, Ingots, Jose, Kinko, Kunkeltown (a stencil font), Kutztown, Leubner (2002), Lifer, Limbo, Liturgy, Marta, Mencilbold, Minsk (2001, like Babushka, a gorgeous Cyrillic imitation font), Moda, Muchobastante, Mypure, Obelika, Onesystem, Preacher, Prodigy, Qwerty, Random, Readme, Rescue, Seviche, Shrek, Sign, Spam, Spike, Student, Sweat, Topogigio (2002), Totti, Version2, Vindex, Vivacious, Zocrab.

    View Gerry Chapleski's typefaces. Klingspor link.

    Freeware fonts: Crate (a stencil font, 2001), Circuit (2001), Alien (2002), Onesystem (2002), Vindex (2002), Shrek (2002), Seviche (2001), Flute (stencil, 2001) and Supa (2002, OCR font).

    Fonts not listed above: Bank, Blanco, Blip, Bodega, Boot, Caslost, Deconstruct, Dente, Lagrima, Life, Liquor, Recog, Stenciloni, Tainted, Verve. [Google] [MyFonts] [More]  ⦿

    World Typeface Center (WTC)

    New York company founded by Tom Carnase before the digital era started. Its typefaces include most prominently, WTC Our Bodoni (1990, Massimo Vignelli) and Goudy WTC. WTC Veritas was designed by Ron Arnholm for WTC. WTC Cursivium was designed in 1986 by Jelle Bosma. David Weinz designed WTC Neufont (1987). Tom Carnase designed or had a hand in WTC Carnase Text, WTC Favrile (1985), WTC Goudy (sold by URW++), WTC Our Bodoni (with Massimo Vignelli), WTC Our Futura, and WTC 145.

    The current president seems to be Bert DePamphilis, who as director of Presstek has been sued for securities/stock violations. DePamphilis was a member of ATypI. [Google] [MyFonts] [More]  ⦿

    Wrongly named typefaces

    Funny piece by Hoefler and Frere-Jones about wrong names for type. He cites the Series Gutenberg by Nebiolo, which is plain art nouveau, and the Didot Series in 1888 by the Cincinnati Foundry, but which is just plain old Victorian stuff. Some quotes:

    • This is the Caxtonian typeface, produced by the San Francisco type foundry of Palmer&Rey, and appearing in their 1889 catalog. Its name presumably honors William Caxton (c. 1415-1492), best remembered as England's first printer, though this design suggests a gold rush pioneer, or a Dodge City vaudevillian. (Or perhaps your local watering hole has Caxtonian Stout on tap?)
    • [About a page that says "Garamond" in a 1920 Fonderie Typographique Française catalog]: here in the Album d'Alphabets is the proud declaration "GARAMOND," atop a showing of the late ninteenth century American typeface known today as Bookman. I'd love to use this typeface for the cover of an album called "Berlioz," which contains nothing but marches by John Phillips Sousa.
    [Google] [More]  ⦿

    WSI: Weatherly Systems Inc
    [Mike Charness]

    Mike Charness's Huntsville, AL-based foundry used to offer a huge number of handwriting fonts, and thousands of other fonts at rock bottom prices, in all font formats. It stopped selling fonts to end users or licensing fonts for redistribution in 2003, but continues OEM work.

    Lists of font names:

    • Robert Long discussed the fonts, and mentioned in some cases the original fonts they were modeled after (read: copied, tweaked and renamed).
    • A partial list found in internet archives and corrected by Herbert Van Brink is here. A list annotated by Robert Long and kindly sent to me by Richard George, is here.
    • Michael Yanega published a list of the WSI Hand names and their equivalences on the ClickArt Handwritten Fonts CD.
    • Ulrich Stiehl provides a further list and explanations: Anastasia is Anna, Avian is Avant Garde, Basset is Baskerville, Bastian is Buster, Boston is Bodoni, Bulletin is Flyer, Aladdin is Legende, Palisade is Palatino, and so forth.

    WSI had barcode fonts, MICR fonts (such as CheckNums-MICR), some foreign language fonts, and many dingbats. The full collection could at one point be downloaded here. The handwriting font collection (known as WSI Hand) was downloadable from here, here and here. Apparently, these handwriting fonts were obtained by first selling a handwriting font service, and then selling a CD with the created fonts.

    WSI is no longer selling fonts and has this ironic line: WSI's fonts are not freeware, but are commercial software protected by copyright. Now, how did WSI start up its business? I quote from this archived page: We don't sell directly to end users, but rather provide fonts to software publishers who sell our fonts under their own labels. Current and past licensees include PowerUp, Spinnaker, SoftKey, Wayzata, Canon, Fuji, Epson, Serif, Borland, Novell, Maxis, Cosmi, Xoom, Dynamix/Sierra Online, Synergistic Software, Expert Software, IMSI, Parsons Technology, MySoftware, Abstract Software, Dunlop Corp., Case Inc., GraphicCorp, CAI, Creative Wonders, The Learning Company, Current Inc., Pierian Springs Software, Lookout World, Palladium Interactive, Philips Publishing, AIG, Asymetrix, Media Graphics, Knowledge Adventure, WIZ Technology, Paper Direct, Sanctuary Woods Multimedia, GST/GSP, Baudville, Zedcor, and many others. [Google] [More]  ⦿

    WTF (or: Workhorse Type Foundry)
    [Adrian Kimball]

    Self-described as a small type foundry from Utah with a stencil fetish. The typefaces, most of which have variable font versions:

    • Workhorse Script Dot (2022). A fantastic pearlized script.
    • Workhorse Script Stencil (2020).
    • Workhorse Script (2020). A formal calligraphic typeface family.
    • WTF Didot (2020). A straightened didone with squarish terminals and a French flag feel.
    • WTF Geometric Polka (2018).
    • WTF Geometric Inline (2018).
    • WTF Geometric (2020).
    • WTF Geometric Stencil (2018).
    [Google] [More]  ⦿

    Xenia Malkova

    Moscow-based designer of the Latin / Cyrillic didone typeface Botntan (2019). [Google] [More]  ⦿

    XPDF and X-Windows type 1 fonts

    How to set up X-windows Type 1 fonts for use with xpdf. Deals mainly with the Bakoma fonts (type 1 versions of the Computer Modern fonts). [Google] [More]  ⦿

    Yael Goldstein

    As a student in Baltimore, MD, Yael Goldstein designed the diamond-studded decorative didone typeface Gambit in 2016, which is advertized as a playing card font. [Google] [More]  ⦿

    Yai Salinas

    Graphic designer from Buenos Aires, Argentina, at some point located in Madrid, Spain, who made the free purely geometric typeface called Geometric Way in 2010.

    In 2014, Yai made the free decorative caps typeface Craft (for craftsmen), the Greek-inspired caps typeface Hera and Destroy (2014: futuristic ornamental initials. Free download). In 2014, Tano Veron and Yai Salinas co-designed the free vector format colored display typeface Carioca.

    In 2015, Yai Salinas created the hipster typeface Hera, the free blueprint font Craft Font, free vector font Helana (color, all caps) and the free decorative caps typeface Sea.

    Typefaces from 2016: The free experimental draftsman typeface Lieben, the free textured ink-saving Arial GTI and Times GTI, the high contrast didone-inspired free fashion mag typeface Ginebra (revitalized in 2022 as GinZwei), the free decorative blackletter typeface Ethelvina, and the free thin connect-the-dots typeface Fina (which was designed for Design Hooks).

    Typefaces from 2017: Gaia (floral caps), Aires (a free color font at Fontself), the free textured color typeface Electra, the free colorful all caps Ariel Black typeface.

    Typefaces from 2018: Mercurio SVG (+color), Iris SVG, Russia 2018 (color fonts), Portugal, Sppain, Germany, England, France, Argentina, Flux (a nicely textured all caps color slab serif), Agatha (a free tall condensed slab serif).

    Typefaces from 2019: Margo (floral initial caps), Renata (a text family), Flora (textured caps), Easter (textured caps), Antiça, Crack (decorative caps), Christmas, Itze (a colorful textured all caps typeface), Demeter, Regia (floriated caps), Venus (free).

    Typefaces from 2020: Kaliope (a delicate and daring fashion mag display typeface), Acelga (a warm text typeface), Mora, Cut & Paste (a ransom note font), Nagy (Memphis-style exuberant capital letters), Block (3d), Konga (a wonderful color font).

    Typefaces from 2021: Mood Font (colourful and festive), Cleo (decorative caps).

    Flickr page, where she goes under the name Dopamina. Behance link. Dafont link. Creative Market link. [Google] [More]  ⦿

    Yanina Walter

    Graduate from FADU, University of Buenos Aires, who created the typeface Bariloche (2010), an ornamental fat didone face. [Google] [More]  ⦿

    Yasunori Tada

    Tokyo-based designer of the Latin didone typeface Fibonacci (2015) that is based on the golden ratio for its proportions. He also made Subway (2015), the ghoulish typeface Ghost (2014) and the blackletter typeface Square (2015).

    In 2016, he designed the (Latin) modular compass-and-ruler typeface Bamboo. [Google] [More]  ⦿

    Yautja
    [V. Sarela]

    This is one of the most talented FontStructors, but also an active musician. On Behance, he/she is listed as Van Saarland from Hameenlinna, Finland, and on FontStruct since 2014 as V. Sarela, from Oulu, Finland.

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

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

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

    Typefaces from 2014: Brigadier, Freelight (rounded stencil), Stencilae, Protocol Sans, Vicenti, Submachine, Dalecarian, Equantum, Twiphex, Waremann, Wolfen, Waltraud, Carat, Teotihuacan, Rendez-Vous (+II), Major (didone), Ambiente, Kiova Captura (based on the font used in Kiev camera manuals), Glissando, Vibrixean (sci-fi), Licoricette, Protagon (Greek simulation), Rewinder, Ardeus (futuristic, LED simulation), Techsyna (sci-fi), Rezonans (piano key style), Modern Vision, Trideko Display (multilined typeface), Xeometro (octagonal), Verbica, Megalith (a great black slab), Calibro.

    Typefaces from 2015: Coffee,-Juice,-Food-2, Electric-Blue, Karakteristika (blackletter tattoo font), Memogo (horizontally-lined font), Proximitro, Stratus, Super-Eurobeat, Verdisquo, HI-NRG, Modern Vision (based on a font used in the opening credits of The Terminator, The Running Man, Class of 1999), Workflow (stencil), Blackwing.

    Abstract Fonts link. Behance link. Dafont link. [Google] [More]  ⦿

    Yaw-Jen Lin

    Yaw-Jen Lin (Department of Computer Science and Information Engineering, National Taiwan University, Taipei, Taiwan) and Tzao-Lin Lee made these truetype versions of the Computer Modern family in the 1990s: CM_Dunhill-Regular, CM_Fibonacci-Regular, CM_Funny-Italic, CM_Funny-Regular, CM_Math-Extension, CM_Math-Italic, CM_Math-ItalicBold, CM_MathSymbol-Bold, CM_MathSymbol-Regular, CM_Roman-Bold, CM_Roman-BoldSlantedExt, CM_Roman-Regular, CM_Roman-Slanted, CM_RomanCaps-Regular, CM_RomanExt-Bold, CM_SansSerif-BoldExt, CM_SansSerif-Regular, CM_SansSerif-Slanted, CM_SansSerifCondensed-DemiBold, CM_SansSerifQuotation-Italic, CM_SansSerifQuotation-Regular, CM_SlantedTypewriter-Regular, CM_TeX_Extanded-Regular, CM_Text-BoldItalicExt, CM_Text-Italic, CM_Typewriter-Italic, CM_Typewriter-Regular, CM_TypewriterCaps-Regular, CM_Unslanted-Italic, CM_VariableWidthTypewriter-Regular. Lin reports that he has written a free utility for converting metafont fonts into truetype fonts, but I could not locate that software anywhere.

    Earlier, ca. 1993, he made eight Chinese fonts in the so-called NTU series. These fonts can be downloaded here. [Google] [More]  ⦿

    Yellow Type Foundry
    [Lam Bao]

    Xanh Mono is a monospaced didone typeface for Latin and Vietnamese, designed in 2020 by Lam Bao and Duy Dao. It can be downloaded from Google Fonts.

    In 2021, Lam Bao, Tony Le and Vietanh Nguyen co-designed Be Vietnam Pro, a multi-style neogrotesque typeface family for Latin and Vietnamese. Github link. Google Fonts link. [Google] [More]  ⦿

    Yeo Yu Xin

    Graduate in Visual Communication from Nanyang Polytechnic, Singapore. Now based in Tampines, Singapore, Yeo Yu Xin created Didot Zebra (2013), a typographic illustration based only on parts of glyphs in Linotype Didot. [Google] [More]  ⦿

    Yiannis Karlopoulos

    Or John Karlopoulos, b. 1967, Thessaloniki. He studied graphic design in Athens and type design at Ecole Estienne in Paris.

    At Cannibal, he designed CF Block (1997), Bodoni Greek CF, CF Charlemagne (1996), Delta Carlo (2000, for Delta D Magazine), FF DIN (2002), Franklin Gothic ITC Hell (1999), CF Kaveros (1997), Klak CF (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos, based on Greek movie posters from the 40s, 50s and 60s), CF Leftism (1996), CF Matrix Dot (1999), CF Salamis (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos), CF Serpentine (1998), CF Suprematica (1998), and CF XRay (1995).

    In 2013, John Karlopoulos, Vassilis Georgiou, and Panos Haratzopoulos co-designed the Latin / Greek signage typeface CF Majestic (2013, Cannibal).

    In 2016, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the calligraphic script typeface CF Ariston and the connected script typeface CF Astir. In 2017, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the Greek brush script typeface CF Splendid (with two substyles, Serano and Special). [Google] [More]  ⦿

    Ying Chang

    During her studies at Type@Cooper in New York in 2015, Ying Chang designed the didone typeface family Evelina. Behance link. [Google] [More]  ⦿

    Yoann Minet

    Graduate of Ecole Estienne in Paris, who lives in Paris, where is the lead designer at Production Type. Yoann Minet (b. 1988, Tulle) created many typefaces:

    • Typefaces from 2015: Zahrah (a ten-style didone published by Indian Type Foundry), Granville (a Peignotian sans by Jean-Baptiste Levée).
    • Typefaces from 2014: Minotaur [Minotaur won an award in the TDC 2015 Type Design competition], Minotaur Sans (extended in 2017 to Minotaur Lombardic and Minotaur Lombardic Sans), Countach (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. ; developed by Superscript2, J.-B. Levée, Sandra Carrera and Irina Smirnova).
    • 2013, DSAA Design Typographique, Ecole Estienne, Paris: Traulha (wedge serif with horizontal stress), Ostia. Traulha is available from Extra Brut.
    • 2012-2013, DSAA2 Design Typographique, Ecole Estienne, Paris: De Malfête (after a roman by Garamond in 1530, and an italic buy Simon de Collines), Grotique Gothesque.
    • 2012, apprenticeship with Ludovic Balland: Stanley (a retail typeface at Optimo co-designed with Ludovic Balland), Theater Basel (a bespokle typeface done with Ludovic Balland), Swiss Art Awards (a font developed with Ludovic Balland for the identity of the Swiss Art Awards).
    • 2011-2012, DSAA1 Design Typographique, Ecole Estienne, Paris: Capitale (a sans done under the direction of Franck Jalleau), Forez (a high-contrast wayfinding font for the chalet de François Mauriac in Saint-Symphorie).
    • 2007-2011, Ecole de Communication Visuelle or (ECV) in Bordeaux, France: Bernadette (handwriting font based on the writing of Yoann's mother), Oxymore (2010, slab serif).
    • 2012-2013: Ostia Antica is commissioned by Maquettes et Mise en pages designed and is co-designed bt Hugo Anglade, Laure Afchain and Thomas Petitjean for the exhibition catalogue Pasolini Roma in 2013. Extended in 2018 to a large retail family, which is available from Extra Brut.
    • In 2014, he created Clifton Regular, a revival of Athenian (1896, British Type Foundry). This type is similar to Fantail (ATF, and Franklin Type Foundry, 1889). Published at 205 Corp.
    • In 2014, he made the bespoke typeface Stratos with art direction by Emmanuel Labard. Stratos was retailed in 2016 and won an award in the TDC Typeface Design competition in 2017.
    • In 2016, as Black Foundry, Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali.
    • In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry in France. Github link.
    • Dr (2017, Production Type). A display sans typeface family that is deliberately weird.
    • Droulers (2017). A monospaced display type for Bureau Brut.
    • Totentanz (2017). A playful didone done for Bureau Brut.
    • At Production Type in 2018, he cooperated with Jean-Baptiste Levée and Quentin Schmerber on Cardinal Classic and Cardinal Fruit, a large transitional typeface family. With Quentin Schmerber's help, he also published the 5-style text typeface Sainte Colombe in 2018. The tightly set and high impact photojournalism typeface family Cardinal Photo was added in 2020.

    Interview by Ligature.ch. Personal home page. Behance link. [Google] [MyFonts] [More]  ⦿

    Yomli
    [Guillaume Litaudon]

    Web developer, and editor of Editions Yomli, who is based in Tours, France. Github link.

    Designer of the free didone typeface Bailleul Roman (2019), which is based on an 1850 typeface by Bailleul et Cie, which in turn was derived from Justus Erich Walbaum's didone from ca. 1800. Bailleul et cie was a Parisian foundry mainly active during the 19th century. Its work can be found in Spécimen des caractères de la fonderie Bailleul et cie, rue des Boucheries St.-G. 38. Premier cahier and L'EternitĂ© par les astres by Auguste Blanqui in 1872.

    In 2016, he designed Latte, as a slight modification of Lukasz Dziedzic's Lato (2010-2013). [Google] [More]  ⦿

    Yony Fernando Huaman

    Graduate from FADU, University of Buenos Aires, who created the skinny display typeface Dammar (2010), a condensed fashion mag cover page face. Now an illustrator in Buenos Aires, he created the modular display typeface Eva (2014) and the exaggerated curly fat typeface didone Dan (2014). [Google] [More]  ⦿

    Yoon Hee Kim

    New York City-based creator of an unnamed modular typeface in 2013. Jeju (2013, named after the South Korean island on which she grew up) is an ornamental didone typeface.

    Behance link. [Google] [More]  ⦿

    Youssef Habchi

    Strasbourg and now Metz, France-based creator of Ormont Light (2013), a free geometric sans titling typeface.

    Marbre Sans (2014) is a free Peignotian fashion mag typeface. Still in 2014, Youssef designed the free sans family Kirvy and the free calligraphic connected script typeface Brotherhood Script, which on January 18, 2015, was by almost a factor of two the most downloaded font at Dafont.

    In 2015, he published the thin calligraphic typeface Distant Stroke, the athletic lettering font Sablon Up (College, College Alt), the textured typeface Sablon Washed and the calligraphic Darleston. Steamster and Beastform are rhythmic pen scripts. Indelible is a dry marker script, while Milton One and Two are copperplate calligraphic scripts.

    Typefaces from 2016: Tasty Birds (a handcrafted tall all caps didone family), Highjack, Road Rage (angry brush script), Blacksword (a flowing script).

    Typefaces from 2017: Quinzey (monoline pen font), Crabmeal, Javacom (signature script), Antro Vectra (handwriting), Infinite Stroke (connected script).

    Typefaces from 2018: Mafakanev, Stingray, Hughs (script), Dulcelin (script).

    Typefaces from 2019: Reglisse (an oily font), North Wave (a tilted script), Deuxieme Rang (a ronde), Fishes Friends (a fat finger or marker pen font), Spring Romance (wreaths), Retwisted, 62 Dragz (a speed track font), Midnight Drive, Buvard, Sand Dunes (a dry brush script).

    Typefaces from 2020: Eternate (monoline script), Gavabon (sketched), Superficious.

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

    Yuliya Gorlovetsky

    Graphic designer in San Francisco. While studying at The Cooper Union in New York, she created a revival of the bulky condensed bold modern typeface Coronation (2012). [Google] [More]  ⦿

    Yuri Gordon
    [Letterhead Studio YG]

    [MyFonts] [More]  ⦿

    Yury Ostromentsky
    [OSTYPE]

    [MyFonts] [More]  ⦿

    Y&Y

    Past foundry of Charles Bigelow, Kris Holmes, and Berthold Horn, which ceased operations near the start of the 21st century. They had the following font sets: Galilei, XY_Pic fonts (Nine ATM compatible fonts in Adobe Type 1 format for use with Ross Moore and Kristoffer Rose's XY Pic drawing package for TeX), Y&Y American Mathematical Society (AMS) fonts (Computer Modern, Euler), Y&Y European Modern (EM) fonts, Y&Y Lucida fonts (1996), LucidaBrightAstro, Lucida Bright Expert, LucidaConsole, Lucida Fixed Narrow, Lucida Greek, Lucida Latin, Lucida Sans Cyrillic and Latin 2, Lucida Sans Hebrew, Lucida Sans Linedraw, Lucida Sans School, Lucida Sans Unicode, Y&Y MathTime 1.1 fonts, Y&Y MathTime Plus fonts, Y&Y TeX Pi fonts, Alan Jeffrey Geometric Sans Serif Blackboard Bold, Ralph A. Smith Formal Script typeface (based on R. Hunter Middeleton), Jeremy Gibbons and Alan Jeffrey St. Mary's Road Symbolic Logic, Roland Waldi extension of LASY symbol --- version 2.0, APL (free), Crufty (free old typewriter font), Finger (free finger dingbats), MarVoSym (free).

    The Lucida collection (Lucida Blackletter, Lucida Bright, Lucida Bright Math, Lucida Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting, Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter, and Lucida Unicode) is being distributed by Ascender Corporation from 2005 onwards. There is also a dedicated commercial site, Lucida Fonts. [Google] [More]  ⦿

    Zac Jacobson

    Milwaukee-based graphic designer who made a Didot Typography poster in 2010. [Google] [More]  ⦿

    Zaher Almajed

    Zaher Al Majed is an art director in Manama, Bahrain. In 2014, he designed the free lion claw-inspired compass-and-ruler typeface Zodiaclaw, and the free ITC Fenice modification Meticulous Ariel. During his computer and communication engineering studies at Ahlia University (Bahrain) in 2015, he created the free circle-based font Alien Glyph (2015).

    In 2016, he designed the free display typeface Averoster. In 2017, he published the fashion mag didone typefaces Quartz (free) and Ahpuch Apollyon (free). [Google] [More]  ⦿

    Zdenka Giacintova

    Czech designer of the didone typeface Johana (2014). [Google] [More]  ⦿

    ZE fonts
    [Robert Fuster]

    Virtual type 1 fonts presented by Robert Fuster (1997-2000, Departament de Matemàtica Aplicada, Universitat Politècnica de València, 46071 València, Spain). "The zd fonts by Constantin Kahn (kahn@math.uni-hannover.de) are virtual T1 encoded Computer Modern fonts based on (OT1) Computer Modern, Times, and Helvetica fonts, intended for simulate dc fonts. (Waine Sullivan's dm fonts are another approach to the substitution of dc fonts by virtual ones.) Because dc fonts are now obsolete, I've adapted the Kahn's package to ec fonts. The resulting virtual fonts are named according to the ec fonts names, changing ec by ze (zerm1000.vf simulates ecrm1000, and so on)." [Google] [More]  ⦿

    ZeCraft
    [Jean-François Porchez]

    ZeCraft (Clamart, France) was founded by Jean-François Porchez as a vehicle for bespoke typefaces. An outgrowth of Typofonderie Porchez, it has created fonts for Arjowiggins, the Baltimore Sun, Beyoncé Knowles, Le Monde, Louis Vuitton, Public Transport in Paris (RATP) and Yves Saint Laurent Beauté. Some samples:

    • Retiro was specially designed for the Madriz magazine in Madrid. Based on the stereotypical Didot masthead of women's magazines like Tatler, L'Officiel and Vogue, and named after a park in Madrid, Retiro is a daring interpretation of Spanish typography. Retiro is a Castilian and Andalusian vernacular didone. Started in 2006, it became a retail font at Typofonderie in 2015. It won a Granshan award in 2012 and a certificate of excellence at the Type Directors Club 2010 competition.
    • Parisine is a large family used for maps and external communication in the Parisian train network, the RATP. It comprises the dot matrix family Parisine Girouette, the 4-style sans family Parisine Office, and the 12-style sans family Parisine Plus. This is Porchez's main sans workhorse family, and was being updated and extended almost annually between 1998 and 2016. Currently it has 32 fonts, including Compressed and Narrow subfamilies. Porchez: It can be considered as a more human alternative to the industrial-mechanical DIN.
    • Déreon was custom made for Beyoncé.
    • Henderson BCG was created for the Boston Consulting Group.
    • Vuitton Persona and Vuitton Malletier are layered typefaces done for Vuitton. This was completed by adding Vuitton Cabinet d'Ecriture.
    • AW Conqueror was done for Arjowiggins.
    • Singulier is a beautiful geometric sans family created for Yves Saint Laurent.
    • The Costa typeface family began life as a corporate typeface for Costa Crociere, an Italian cruise company which still uses it. Costa is based on ligatured logotype Costa designed by Landor Associates. In 2000, Costa won a TDC award for bespoke typefaces.
    • Bienvenue is an exclusive corporate typeface designed for France Telecom in conjunction with Landor Associates, which was in charge of a new corporate identity.
    • Endless Story is an exclusive corporate typeface designed in 2007 by Jean-François Porchez for the Russian Vozrast group. It was inspired by Eric Gill's Perpetua, and developed in conjunction with Aaron Levin and Stories Design. It covers Latin and Cyrillic.
    • Alpha Poste is custom sans typeface designed by Jean-François Porchez in January 2005 for the identity and logotype of La Banque Postale launched in January 2006 in France as a subdivision of Groupe La Poste.
    • Macif is an all caps exclusive bespoke typeface designed by Jean-François Porchez in April 2006 for the new identity and logotype of the insurance company Macif launched in 2006 by BETC Design group.
    • Lion is a corporate typeface designed in 1999 by Jean-François Porchez for Automobiles Peugeot. The bespoke typeface, developed in conjunction with EuroRSCG Design, Paris, is used by Peugeot for all the brand names used on their cars.
    • It is possible to work for two enemies. After Peugeot in 1999, JFP did a custom typeface for its arch-enemy Renault, called Renault Identité in 2004. This was done in cooperation wirth Eric de Berranger.
    • Tron Uprising is a bespoke inline all caps typeface designed in 2012 for the American animated science fiction television series for excluse use by Walt Disney Company.
    • Script Fleury Michon (2013) is a bespoke typeface done for the ready-meals products created by Fleury Michon (France & Canada).
    • Hinduja (2013) is a wide all caps custom font for the Indian conglomerate Hinduja.
    • Nespresso (2014) for the Nespresso brand. An elegant art deco geometric monowidth sans family, wasted on poor coffee---especially the Nespresso capsules are quite bad, but marketing and good brand design does miracles.
    • GL Bader (2015) is rooted in the long history of the Galeries Lafayette which was founded in 1894 by Théophile Bader and Alphonse Kahn in Paris. This neo-grotesque sans serif family, along with GL Kahn, accompanies the new visual identity and communication campaign launched in September 2015. The design of GL Bader is influenced by the brand created by Peter Knapp and Jean Widmer in 1958. Accompanied by GL Kahn.
    • For the Boston Consulting Group, ZeCraft developed BCG Henderson.
    • TypeCon Counter for TypeCon 2017 in Boston. Creative director: Bobby C. Martin, extremely contrasted stencil didone typeface designed by Zecraft on the basis of AW Conqueror Didot.

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

    Zeenesia Studio
    [Doni Purwoko]

    This Purbalingga, Indonesia-based designer (b. 1994) uses the names Abu Rumaisha Doni and Doni Purwoko. His typefaces: Farm Bluster (2020), Hay Billy (2020), Classic Blody (2020), Maron American (a fat finger font) (2020), The Hungry (a supermarket script) (2020), Madista Calligraphy (2020), Kid Candy (2020), Romantica Story (2020: a monolinear script), Adhellia (2020), Fresh Pineapple (2020), Hello Agatha (2020), Catterpillar (a fat finger font) (2020), Jalliestha (a monoline script) (2020), Rumaisha (2020), Beauty Butterfly (2020: a decorative serif), Menthari (2020), Honey Batterfly (2020: a heavy display sans by Abu Rumaisha Doni), and Rebahan (2020: modular caps).

    Typefaces from 2021: Better Delight (script), Dream to Berich (a bold curvy almost psychedelic display serif in the Cooper Black genre), Magical Signature (a sharp-edged display serif), Boldblaster (a creamy signage script), Bolderist (a bold wedge serif display typeface), Chocoladine (a creamy dessert font), Faither (script), Kalyant (an unpretentious 6-style sans), Neo Alcatraz (sci-fi), Satnight (a dry brush script), Vince (art deco), Willpower (a 10-style slab srif), Willond (a fat finger font), Baskuline (a grungy script), Gatinlose (a dry brush script), Sathiresa (a dry brush script), The Gaston Swisea (a brush script), Bromo Plateau (a stylish script and serif font duo), Hexi (an 18-style serif, seemingly identical to Sign Studio's Hexi), Magic Romance (a plump display serif that features many ball terminals), Beauty Hamida (a thin monoline script), Butter Carney (script), Hello Molarine (a scrapbook script), Simple Pen (art deco), Cherry Blossoms Script, Lemonilla (a fat finger font), Dream Miracless (a scrapbook script), Golden Blast (a fat finger font), Reds Aglonema (an informal monolinear typeface), Marwah Signature, Battle Bingo (a casual font), Choco Candy, Ice Cream Grande (an ice cream store or comic book font), Lovely Forever, Sintyabelinda (a monolinear signature script), Amsterland, Chikybard (an upright display serif), Little Humble (a scrapbook font), Queen Emirates (all caps, copperplate serifs).

    Typefaces from 2022: Bright Melody (a bouncy bold display typeface), Bulgaria Script (a bold calligraphic upright script), Silkstone, Silkstone (script), Kedira Signature, Amore Dreaming (a font duo). [Google] [MyFonts] [More]  ⦿

    Zeh Foundry
    [Seryozha Rasskazov]

    Seryozha Rasskazov is a graphic and type designer, lettering artist, and sign painter from St. Petersburg, Russia, who studied at ECAL's Master in Type Design program in Lausanne, 2020-2022. Under the supervision of Kai Bernau, he designed the optically optimized variable didone stencil typeface Didonist (2021).

    We believe that he created the art nouveau typeface Flory (2021) at Zeh Foundry. He may also have been involved in the development of the Latin / Cyrillic hipster family Russian Tourist Brand (2021). [Google] [More]  ⦿

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

    Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. It has evolved into Italy's premier and most prolific type foundry. Canovaro's Behance link. Also called ZeroFont and Zetafonts, this type foundry exhales joy---in every design and presentation, the passion of the designers bubbles to the surface. Blending a delicious sense of humour and a great aesthetic taste, Zetafonts is a typographic delight. Their typefaces:

    • Adlibitum (2018). A textura blackletter typeface family.
    • Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
    • Aliens and Cows (2016). An ultra-condensed all aps sans family by Canovaro.
    • Arturo (2018), by Francesco Canovaro.
    • Atlantica (2017). A signage script family.
    • Lightstrike (2016). A thin (and free) brush font by Canovaro.
    • Byom (2016). A tweetware organic sans typeface family by Francesco Canovaro.
    • Adlery (2016, +Cyrillic). A brush script by Cosimo Lorenzo Pancini.
    • Adlibitum (2016). A blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro.
    • Morbodoni (2016). A display didone by Cosimo Lorenzo Pancini and Francesco Canovaro.
    • Altair (2016). A display sans by by Francesco Canovaro based on Digitalino.
    • Aquawax (2015). A sans family by Canovaro and the Zetafonts team. Extended in 2019 to Aquawax Pro by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli.
    • Armonioso (2014). A creamy connected signage script.
    • A Day Without Sun (2014, by Cosimo Lorenzo Pancini).
    • Another Shabby (2014, a primitive script by Francesco Canovaro).
    • Antipasto (2007, by Matteo Di Iorio). A clean elegant sans by Canovaro.
    • Arista (2007) and Arista 2.0 (2010). A simple rounded bold sans typeface designed by Francesco Canovaro and Adolfo Monti. In 2017, Francesco Canovaro updated these to Arista Pro.
    • Arsenale White and Arsenale Blue (2009). Children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro, Andrea Mi, Debora Manetti, Katiuscia Mari, and Jonathan Calugi.
    • Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima. Some weights are free.
    • Bimbo >(2018). A child emulation handwriting font developed as an extension and redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi.
    • Bistecca (2005). A bellissima extra-condensed serif font created for ego[n] 5 and for the cover of ego[n] 4.
    • Braciola (2006). Monospaced and octagonal, with stencil styles added.
    • Brushstrike (2015). By Canovaro.
    • Byron (2006). Handwriting.
    • In 2010, Canovaro designed the plumpish bubblegum typefaces Bubblebody Fat and Bubbleboddy Extra Light. These fonts were discontinued in 2016 and replaced by Bubbleboddy Neue.
    • Bulletto (2015). A retro baseball script.
    • Cibreo. A basic sans typeface by Canovaro and Monti.
    • Cinematografica (2017). An ultra condensed small caps movie typeface used in the advertising campaign for Lucca Comics 2017 Festival. This film noir family features eight weights from thin to heavy with open type alternate glyphs and some full word ligatures.
    • The rounded geometric sans family Cocomat (2015, Zetafonts, by Cosimo Lorenzo Pancini, Debora Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.
    • Cocosignum (2017). Cocosignum Corsivo Italico and Cocosignum Maiuscoletto are both based on Italian art deco styles.
    • Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).
    • Delizioso (2008). Art deco.
    • Digitalino (2013).
    • Docporn (comic book style).
    • Duepuntozero Pro (2006-2008). A condensed rounded sans famly by Adolfo Monti and Francesco Canovaro. The Pro version was released in 2019.
    • Filetto (2009). A sans modeled after DIN 1451 done by Canovaro, Debora Manetti and Katiuscia Mari.
    • Florentia (2017). An 18-style lapidary typeface family influenced by the renaissance and luxury.
    • In 2018, Debora Manetti and Francesco Canovaro designed the brush handwriting font Freehand Brush.
    • Handvetica (2005). Arched.
    • Happy Frush Zero (2014). A random note font.
    • Happy Funghetto (2015). Fifties style lettering.
    • Heading Pro (2017). A condensed sans typeface by Francesco Canovaro. Followed in 2018 by Heading Pro Ultra Compressed, Heading Pro Extended, and Heading Pro Text.
    • Hello Script (2015). Curly and calligraphic.
    • Modulo3 (2008). An artsy beauty.
    • New Romantic (curly grunge).
    • Panforte (2013) and Panforte Serif (2013): hand-drawn typefaces. Panforte Pro followed in 2017.
    • Prozak. Consists of zProzak-Bold, zProzak and zProzakLight (2006). A basic sans typeface by Canovaro and Monti.
    • Sala de Fiestas (2005-2006). Free download at OFL.
    • Square80 (2009).
    • Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
    • Sugo (2007). By Canovaro and Monti.
    • Taller (2009, ultra-condensed), Taller Evolution (2009), Tallest (2009, ultra-condensed).
    • Targa Monospace. Inspired by license plate lettering.
    • Targa (2002), TargaMS (2002), TargaMSHand (2002). Cosimo Lorenzo Pancini, who developed Targa in 2002, based his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.
    • Tutor (2006). Rectangular, pixelish---what I call a piano key font.
    • Zerocalcare is a typeface family created for the branding of Lucca Comics & Games Festival 2016. It is based on the digitised handwriting of italian comic artist Zerocalcare, and it uses open type substitutions to mimick the flow of real handwriting. Free at Dafont.
    • Double Bass (2018): A jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.
    • Another Shabby (2018) is a brush script typeface family designed by Francesco Canovaro for Zetafonts with Cyrillic letters designed by Alina Golovan.
    • Sugo Pro (2018, Francesco Canovaro, Andrea Tartarelli). It was designed in 2006 by Francesco Canovaro in two weights (regular and extralight) and later used by Cosimo Lorenzo Pancini as base inspiration for the design of the successful Zetafonts' Cocogoose Pro typeface. In 2018 the family was completely redesigned by Andrea Tartarelli, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics. The restored and revamped version is named Sugo Pro Classic. In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.
    • Extenda (2018) is a thin-to-wide grotesque advertising or movie credit family with some of the DNA of Impact or Compacta. By Francesco Canovaro and Andrea Tartarelli.
    • In 2019, Blacker Sans (Francesco Canovaro, Andrea Tartarelli) and Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli) were released. The 63-strong fashion mag powerhouse Blacker Sans Pro (Francesco Canovaro, Andrea Tartarelli) followed in 2020. Zetafonts writes: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs.
    • The extreme wedge serif and reverse stress typeface family Blackest (2018, Andrea Tartarelli and Francesco Canovaro).
    • In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic and the condensed rounded monoline techno sans typeface family Iconic.
    • Klein (2019) is (in their words) Zetafonts' love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner's iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions---with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full coverage of Latin, Cyrillic and Greek. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to French nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.
    • Kitsch (2019, Francesco Canovaro, Andrea Tartarelli and Maria Chiara Fantini) mixes angular medieval elements and old style letterforms. Thicker (2020, by Francesco Canovaro and Andrea Tartarelli). They write: A geometric sans typeface on steroids, it was first designed in the muscular extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism..
    • Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini).
    • As part of the free font set Quarantype (2020), Francesco Canovaro designed Quarantype Chillout and Quarantype Sunshine. Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Quarantype Sunshine design by Francesco Canovaro, which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.
    • Eastman (2020, by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau) is a 178-font geometric sans workhorse family with Bauhaus genes developed for maximum versatility both in display and text use, with a wide weight range and a solid monolinear design featuring a tall x-height. It comes with a two axis variable font (weight, italic angle). It was followed by the 46-style font Eastman Grotesque (2020, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli), which comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs, and the 88-style Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).
    • Garbata (2020). A round typeface loosely based on Windsor and Cooper Black, having a variable type option that offers many weights. Between sans and serif.
    • Bogart (2020, Francesco Canovaro and Andrea Tartarelli). An homage to the low-contrast oldstyle fat faces, like Cooper Black (Oswald Bruce Cooper, 1922), Windsor and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932), and more recently, Bookman.
    • Stadio Now (2020). A revival by the Zetafonts team of Aldo Novarese's Stadio (1974), a reverse contrast sans that was published only as a rub-on transfer typeface. It comes with a multi-axis variable font that greatly enlarges the design space.
    • Amazing Slab (2021). A 20-style typeface family designed by Francesco Canovaro, Mario de Libero (who did the inline versions), Sofia Bandini and Andrea Tartarelli, developed from the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Characterized by outward-pointing top serifs, this typeface is designed for use in athletic lettering, logos and titling. Zetafonts writes: Mixing an Egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene---a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the extrabold letterforms drawn by Francesco Canovaro for his StartupItalia logo, that informed the display design of the four darkest weights (from medium to black).
    • Coco Sharp (2021). A 62-style sans feast, and two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.
    • Arsenica (2021). A 43-style decorative serif by Francesco Canovaro for Zetafonts, and developed by a design team that included Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. It comprises two variable fonts and subfamilies Display, Text, Alternate and Antiqua.
    • Asgard (2021). A 72-strong experimental display sans superfamily with a 3-axis (weight, width, slant) variable font, designed by Francesco Canovaro, Andrea Tartarelli ans Mario De Libero.
    • Heading Now (2021). A 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.
    • Salad and Salad Interlock (2021-2022). These typefacea are based on vernacular signpainting, extending Debora Manetti's Sala de Fiestas.
    • Bakemono (2021). Canovaro writes: the design space of fixed vs. proportional width, mixing the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy. The name of the typeface comes from the Japanese shape-shifter monsters that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. bakemono supports Latin, Cyrillic, Aarabic and kana, and comes with a variable font option.

    Corporate typefaces were designed for Lucca Comics and Games, Digitalic Magazine, Kair, Unicoop, and Istituto Europeo di Design.

    Behance link. Zetafonts home page. View the Zetafonts library. Abstract Fonts link. I Love Typography link. MyFonts link. Type Department link. [Google] [MyFonts] [More]  ⦿

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