TYPE DESIGN INFORMATION PAGE last updated on Sat Nov 22 10:20:28 EST 2014

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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]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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100 Beste Schriften aller Zeiten

German FontShop-sponsored site listing the hundred best fonts of all times, compiled by a jury in 2007. There is a lot of good information about each of the fonts mentioned. PDF file compiled by the jury: Stephen Coles, Jan Middendorp, Veronika Elsner, Roger Black, Ralf Herrmann, Claudia Guminski (FontShop) and Bernard Schmidt-Friderichs. Visualization of the list. The list:
  • (1) Helvetica
  • Garamond
  • Frutiger
  • Bodoni
  • Futura
  • Times
  • Akzidenz Grotesk
  • Officina
  • Gill Sans
  • Univers
  • (11) Optima
  • Franklin Gothic
  • Bembo
  • Interstate
  • Thesis
  • Rockwell
  • Walbaum
  • Meta
  • Trinité
  • DIN
  • (21) Matrix
  • OCR A und B
  • Avant Garde
  • Lucida
  • Sabon
  • Zapfino
  • Letter Gothic
  • Stone
  • Arnhem
  • Minion
  • (31) Myriad
  • Rotis
  • Eurostile
  • Scala
  • Syntax
  • Joanna
  • Fleischmann
  • Palatino
  • Baskerville
  • Fedra
  • (41) Gotham
  • Lexicon
  • Hands
  • Metro
  • Didot
  • Formata
  • Caslon
  • Cooper Black
  • Peignot
  • Bell Gothic
  • (51) Antique Olive
  • Wilhelm Klingspor Gotisch
  • Info
  • Dax
  • Proforma
  • Today Sans
  • Prokyon
  • Trade Gothic
  • Swift
  • Copperplate Gothic
  • (61) Blur
  • Base
  • Bell Centennial
  • News Gothic
  • Avenir
  • Bernhard Modern
  • Amplitude
  • Trixie
  • Quadraat
  • Neutraface
  • (71) Nobel
  • Industria, Insignia, Arcadia
  • Bickham Script
  • Bank Gothic
  • Corporate ASE
  • Fago
  • Trajan
  • Kabel
  • House Gothic 23
  • Kosmik
  • (81) Caecilia
  • Mrs Eaves
  • Corpid
  • Miller
  • Souvenir
  • Instant Types
  • Clarendon
  • Triplex
  • Benguiat
  • Zapf Renaissance
  • (91) Filosofia
  • Chalet
  • Quay Sans
  • Cézanne
  • Reporter
  • Legacy
  • Agenda
  • Bello
  • Dalliance
  • Mistral
Follow-up in English. [Google] [More]  ⦿

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 Zealnd, 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, Bitstream 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 faces 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: codesigned with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts). [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.

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 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.
  • Antykwa Pótawskiego text and Computer Moder math. J. M. Nowacki created the font Antykwa Pótawskiego using the MetaType1 system based on a typeface by Polish typographer Adam Pótawski.
  • 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.
  • Bitstream Charter and Math Design. Or URW Garamond and Math Design. Bitstream Charter was donated by Bitstream for use with X Windows. The Math Design fonts for Bitstream 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 Bitstream 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.
[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).

View the Aah Yes typeface library. [Google] [MyFonts] [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 Moern Compress, URW Compress and URW Oklahoma (art deco).

FontShop link. Klingspor link. Linotype link.

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

Achraf Amiri

Prince now lives in Brussels, and has taken a job as 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]  ⦿

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]

[MyFonts] [More]  ⦿

Adam Knights

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

Adrian Frutiger

Famous type designer born in 1928 in Unterseen, Switzerland. He closely cooperates 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 now lives near Bern, Switzerland, and is primarily working with 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.
  • 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.
  • 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). Poster by Devin Lindsay.
  • 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).
  • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. 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.
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.

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]  ⦿

Adrien Midzic
[Fatnobrain]

[MyFonts] [More]  ⦿

Adrien Vasquez

Graduate of the University of Reading in 2011 who lives in Grenoble and Valence, France. His graduation typeface was Modern Seven (2011), a didone family for Latin and Cyrillic that comes with its own Modern Slab Serif. [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]  ⦿

Aixa Aztarbe

Graduate from FADU, University of Buenos Aires, who created the condensed didone typeface Belta (2009). [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 and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), 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 (2003, 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), 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 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, codesigned 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), 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.
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. [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]  ⦿

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 faces 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. [Google] [MyFonts] [More]  ⦿

Albert Boton
[BVS Boton]

[MyFonts] [More]  ⦿

Albert Coy

Badalona, Catalunya-based creator of Antibodi (2014), a textured didone display typeface. [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]  ⦿

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] [More]  ⦿

Alejandro Lo Celso
[Pampa Type]

[MyFonts] [More]  ⦿

Alejandro M. Alarcón

Graduate from FADU, University of Buenos Aires, who created the ultra-condensed didone typeface Taipu (2010). [Google] [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 designer of the stylish and frivolous adaptation called Stile Bodoni (1994). [Google] [More]  ⦿

Alessandro (Alex) Segalini

Freelance Italian graphic designer in Rome (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. He created some fun fonts such as A like Animals (2003, also called A di Animali, an experimental typeface done together with illustrator Anna Donadelli), and 5G (2002, handwriting). He has made custom type such as 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), Phoebus (custom sailing boat vinyl lettering). In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). Since 2007, he is at the Izmir University of Economics, Izmir, Turkey. PDF file with samples of his fonts. Limerick was designed in 2006 together with Marek Brzozowski. At ICTVC 2007, he spoke about 20th century Bodonians. Home page. 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). Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. [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]

[MyFonts] [More]  ⦿

Alex Sheyn
[Avondale Type Co]

[More]  ⦿

Alexander McCracken
[Neutura]

[MyFonts] [More]  ⦿

Alexander Tarbeev
[TFaces]

[MyFonts] [More]  ⦿

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]  ⦿

Alexej Kryukov

Developer of these free font families, quite exquisite and complete:

  • Old Standard TT (2008-2010): 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.
  • 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.
  • Theano Classical fonts: Theano Didot 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.
  • 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] [More]  ⦿

Alexey

Russian graphic and type designer. His mostly experimental faces include Isopronto (2011, geometric), Vampire (2011), Blamed Neverland (2011, a connect-the-dots face), Lighter (techno), and Coffee (2011, ultra-condensed). [Google] [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, MO) 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 if 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 faces 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) 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: Kanona JNL (2010), Karaoke JNL (2010), Mocombo JNL (2010). John Davis created LHF Pipeline (2012) based on Becker's designs.

FontShop link.

Catalog of some of his digitized faces. 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), 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. [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. Scan of the cover of Hoffmann's Schriftatlas (1952), designed by him. [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. In 2012, her blackletter typeface Eskapade Fraktur was published by Type Together. The angular weights Eskapade Regular and Eskapade Italic were added in 2012.

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

At Fontyou, Alisa codesigned the stylish Egyptian typeface Achille FY (2012) with Gia Tran, Gregori Vincens, Valentine Proust and Bertrand Reguron, and Achille II FY (2014) with Valentine Proust and Gregori Vincens. With Gia Tran, Gregori Vincens, Valentine Proust and Elvire Volk, she codesigned the monoline sans display typeface Younion FY (2013). Younion One FY is free at Dafont.

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

The EPS format display typeface Alice FY (2013) was codesigned by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards.

The EPS format frilly script typeface Lullaby FY (2013) was codesigned by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone codesigned by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens codesigned the curvy stressed elliptical sans typeface Bruum FY (2013).

Towards the end of 2013, she published four typefaces with Luis Gomes and Jeremie Hornus: Booster FY (a rounded sans), Gauthier FY (a transitional typeface family, followed in 2014 by Gauthier Next FY), Lean-O FY (a slab serif with leaning asymmetrical brackets; see also LeanO Sans in 2014), Marianina FY (a contemporary condensed 24-style headline sans family with simple strokes. Characterized by kinks in the ascenders).

Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak codesigned the humanist sans typeface Klaus FY (2013).

The slender display typeface Sérafine FY (2013) was codesigned by Jason Vandenberg, Jérémie Hornus and Alisa Nowak.

Codesigner with Mr. Zyan of the alchemic hipster font Pyrenees FY (2013).

In 2013, she collaborated with Jérémie Hornus and Fabien Gailleul at FontYou on the design of the astrological simulation typeface Astral FY. The same group of three collaborated in 2014 on Naive Gothic FY.

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak codesigned the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak codesigned the very humanist sans family Saya FY and Saya Semisans FY. Luis Gomes, Jérémie Hornus and Alisa Nowak codesigned the rounded sans typeface family Booster Next FY in 2014. Joao Costa codesigned the thin lachrymal typeface Zitrone FY in 2014 at FontYou with Jérémie Hornus and Alisa Nowak. In 2014, Monica Munguia, Alisa Nowak and Jérémie Hornus codesigned the blackletter typeface Blackmoon FY. In 2014, Matthieu Meyer, Alisa Nowak and Jérémie Hornus codesigned the wedge serif typeface Ennio FY at FontYou. The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak. In 2014, Joachim Vu, Jérémie Hornus and Alisa Nowak codesigned the classical copperplate script typeface Vicomte FY. 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 codesigned 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 squezed g. [Google] [MyFonts] [More]  ⦿

Allan Haley

From the TDC site: Allan Haley is the principal of Resolution, a consulting firm with expertise in type; his clients include Apple, Adobe, Linotype, Xerox, IBM, and Agfa Monotype. He is also currently the Chairman of the Advisory Board of the Goudy International Center at RIT. Allan was executive vice president of ITC, and before that was in charge of typographic development at Compugraphic Corp. (now Agfa Monotype). He writes 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.

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 I like in particular 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 faces (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), 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), 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 faces. URW sells these faces: 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 Andreas Leonidou, a graphic design student from Limassol, Cyprus, b. 1986. Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link.

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, +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, 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 ornmaental mechanical typeface), Alt Sake (a thin condensed poster typeface).

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

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

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

Alvaro Thomáz Oliveira

Ipatinga, Minas Gerais-based (or Santa Barbara-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 (humanistic 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.

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. . [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]  ⦿

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

The AMS in Providence, RI, offers the Computer Modern and AMS fonts in type 1 and metafont formats. Free, and for mathematical symbols, the best anywhere. Contact: Tom Kacvinsky. 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 faces 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 faces 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" faces. 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]  ⦿

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]  ⦿

Ana Sanfelippo

Argentinian designer of the part calligraphic part Lombardic text family Almendra (2011, free at Google Web Fonts). Almendra 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. Poster by Melisa Rivas.

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. [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]  ⦿

Anatoly Shchukin

Russian type designer and project manager in 1940 at Polygraphmash during the design of 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. He designed Paratype Journal Sans (1994, Latin letters) and Paratype Journal Sans Cyrillic. He is also credited with Ladoga (1968, Polygraphmash; digitized and extended by Viktor Kharyk in 2010 at ParaType), Rukopisnaya Korobkovoy (1953, calligraphic), and Rukopisnaya Zhihareva (1953, calligraphic). FontShop link. [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).

Sonora won an award at Tipos Latinos 2014.

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 Braccaloni
[Leftloft]

[More]  ⦿

Andrea López

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

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 codesigned 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 (Compugraphic).
  • 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 is commercially unavailable thanks to Linotype and Scangraphic. Linotype especially stands to lose a lot of Helvetica money if it ever appears. Michael Hernan digitized Unica Deux in 2006. PDF of Unica. The Ministry of Type calls it the ultimate archetypal sans serif face.

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

Andrés M. Briganti

Buenos Aires-based illustrator and designer, whose studio is called BAMB. 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. Vera (2013) is an upright fat didone with extreme contrast.

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

Andreas Leonidou
[ALT Foundry]

[MyFonts] [More]  ⦿

Andreas Seidel
[astype.de]

[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]  ⦿

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 faces, 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 faces. 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 faces 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 Binney 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 Binney&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.

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

Andrey V. Panov
[Computer Modern Unicode fonts]

[More]  ⦿

Andrey V. Panov
[CM Unicode]

[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 Binney 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 Binney&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More]  ⦿

Andy Cruz
[House Industries]

[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]  ⦿

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]  ⦿

Anthony James

Another one of my favorite designers, Anthony James (Manchester, UK), has this license for his refreshing art deco typeface Kaiju (2014): It is absolutely free and can be used for personal or commercial use. Downloads: Bold, Regular.

Chase (2014) is a free monoline sans. QG (2014) is a minimalist free typeface. Argö (2014) is a commercial decorative fashion mag didone typeface. The slender ball terminal-laden Global (2014) is also meant for magazine titling.

Goku (2014, +Regular, +Stencil) is a multilingual didone fashion mag typeface, initially designed as a stencil font for the Basel & Geneva Watch Launch Event for Watches of Switzerland.

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

Anton Scholtz
[Scholtz Fonts]

[MyFonts] [More]  ⦿

Antonio Bodoni

[More]  ⦿

Antonio Pace

Italian designer of the Linotype Gianotten family (1990, named after Hen Gianotten), a Bodoni revival of sorts. He also designed logotype and a font for the city of Milan in 2002, called Cita (or Area?).

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

Antonio Rodrigues

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.

Behance link. [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-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 href="http://openfontlibrary.org/member/asyropoulos">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 also has references to Young Ryu (2000) and Claudio Beccari (1997-1999). 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]  ⦿

Ari Rafaeli
[ARTypes]

[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 Eurostyle 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.
  • 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-Std (2009, a take on Futura).
  • 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. She created expermintal 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). [Google] [More]  ⦿

Aron Jancso

This guy is something else---I can't find enough superlatives to describe his work. A very creative freelance graphic designer from Budapest, he is best known for his experimental type projects. He published the masterful Ogaki in 2009, the high contrast didone typeface Sens Away Pro (2010), 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), District (experimental), Descendiaan, Zero Rate (futuristic), Tegel (1998, stencil, kitchen tile), Twenty (octagonal, techno), Trio (dot matrix fonts), Maquette (1999), Region, Product (2007, sans faces), 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 shadowed 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). [Google] [MyFonts] [More]  ⦿

Artur Schmal

Born and raised in Den Haag, Artur was formed at the KABK in type and media. At OurType, he designed Parry and Parry Grotesque in 2006. Schmal claims that it was inspired by Edmund Fry and Thorowgood.

Klingspor link. [Google] [More]  ⦿

ARTypes
[Ari Rafaeli]

ARTypes is based in Chicago, and is run by Ari Rafaeli. UK-based pre-press production specialist who has made type 1 font revivals in 2006-2007, listed below. I am confused as this outfit seems to have grown out of Angus R. Shamal's ARS Type in Amsterdam. Who is who and what is what? List of 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.
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. [Google] [More]  ⦿

Asa Ama

Studio in Turin, Italy. Behance link. Creators of an extremely contrasted didone face, called Cinema (2009). [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 (2011, free 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), 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), 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 (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, 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. Second list: BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth, Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper, 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 faces followed there, like Ultra (fat didone), Maiden Orange, Special Elite, 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), 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 typefoundry 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).

View Astigmatic's typeface library. View the typefaces made by Brian Bonislawsky. [Google] [MyFonts] [More]  ⦿

astype.de
[Andreas Seidel]

Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975). He lives in Cottbus, Germany. Home page. See also here. In 2007, he and Ingo Preuss set up The German Type Foundry. 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 faces 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, uncial). 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).
  • 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).
  • 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 followed in 2014.
  • 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.

Klingspor link.

View Andreas Seidel's typefaces. [Google] [MyFonts] [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. Its designer studied graphic design in Salamanca. Atipo produced the donationware typeface Cassannet in 2012: this beautiful sans typeface is modeled after art deco lettering by Cassandre. Images: i, ii, iii, iv, v, vi, vii, viii, ix, x.

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.

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.

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). The Heimat series is characterized by an inverted tail of the y.

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]  ⦿

Avondale Type Co
[Alex Sheyn]

Avondale Type Co is a typefoundry 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 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).

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, is an American typographer who designed Damage Control (1993, grunge), Mango Gothic (1991), Pimento (1998), Shooby (1992), Pink Mouse (1992, psychedelic), Tequila (1992, a bouncy play on Didot), Alex (1996, child's hand), Chicken Soup (1993), PC Gothic (2005), Rust Bucket (1994), ITC Aftershock (1996), ITC Outback (1997), ITC Serengetti (1996), ITC Ziggy (1997), Gusto Black (2003), Vinchenso (2003), Blog (2007, 1890's style display egyptian), Nine One One BA (2007, grunge). He also designed the clean handwriting typeface Zipty Do, Serendipity (2006), CEO Roman (2007), Paladium Gothic (2007, a sans), Snip Tuck (1994, a headline face), Rancho Grande (1995), Radiance Brush (1997, a casual brush script), and Sahara Bodoni (1996). 33 years of experience at NewYork's Photo Lettering, and specializing to some extentv in calligraphic script faces, but not exclusively so. BA Graphics was located in Chester, NY, and later in Toms River, NJ, and now sells its fonts through MyFonts.

The complete list: ITC Aftershock, Alexandra Script (a formal script), Allure, Alons Antique, Alons Classic, Angular, Animated Gothic, Barnboard, Bedrock, Bodoni Roma (1993), Cabernet Sauvignon (2007, a take on Didot---I can't believe BA Graphics trademarked this name!), Cafe Aroma, California Sans, Calafragalistic (1992), Caslon Manuscript (1992), Champ Ultra (1995, Western billboard font), Chunky Monkey, Cookie Dough, Crackers, Crescent, Down Under, Elegante, Elephant Bells, Ellington Manor, Equate (1993), Extreme (chalk writing, 1996), Felicity Script, Flix, Freaky Friday Extreme, French Vanilla, Galactic, Geo (2000), Granny Smith, Gusto Black, Headline Gothic, High Intensity, Island Sans, Italian Didot, Kresson Black, Linear Gothic, Lorraine Script, Mardi Gras, Mega (1993, a fat mini-spurred didone), Milano, Nightmare, ITC Outback, Pecos, Ravenwood, Red Dawg, Relaxed Fit, Richmond Hill, Road Gothic (1996), Robertson, Senegal, ITC Serengetti, Shazam, Sign Gothic Bold Condensed, Slam Dunk, Sleepy Hollow, Swank Gothic, Title Gothic Light, Torino Modern, Triumph Gothic, Vinchenso Regular, Wackado, Yakety Yak (1994), Zany, ITC Ziggy, Zipty Do, Queen of Hearts (1991, script), Steel Magnolias (1995, blackletter family), Steeplechase (1992, wild West saloon font), Waimea (1992, poster font), Black Rising (2006, a black military style face), Summer Nights (1993, script), Sugar Shack (1995, curly script), Beaches and Cream (1996, a sans turned into a connected script), Jr High (1994, sports lettering).

Alonso Flair with its flared pants (2008) and Squat (2011, a stunted black wood style face) were started by Alonso, but finished after his death by John Bomparte, who 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.

The final font listing at MyFonts: ITC Aftershock, Alex, Alexandra Script, Allure, Alons Antique, Alons Classic, Alonso Flair, Angular, Animated Gothic, Bad Boy, Barnboard, Bedrock, Bodoni Roma, Brawn, Cabernet Sauvignon, Cafe Aroma, Calafragalistic, California Sans, Cedar Key, CEO Roman, Champ Ultra, Chardonnay, Chicken Feet, Chicken Soup, Chunky Monkey, Clearmont, Coffee Black, Cookie Dough, Crescent, Deco Inline, Deep Rising (2006, constructivist), Down Under, Elegante, Elephant Bells, Ellington Manor, Equate, Extreme, Fashion Didot (1994), Felicity Script, Flix, Fraggle, Freaky Friday Extreme, French Vanilla, Galactic, Geo, Grandeur, Granny Smith, Gusto Black, Hatari, Headline Gothic, High Intensity, Island Sans, Italian Didot, Jr High, Ka Boink, Ker Pow, Key West, Klingon, Kresson Black, Linear Gothic, Lorraine Script, Malibu Heights, Manchester, Mardi Gras, Mega, Metro Gothic, Milano (2004, a didone face), Mission Hills, National Gothic, Nightmare, Oh Sweet Pea, ITC Out of the Fridge, ITC Outback, Paladium Gothic, PC Gothic, Pecos, Pink Mouse, Queen Of Hearts, Radiance Brush, Rancho Grande, Range Gothic, Ravenwood, Relaxed Fit, Road Gothic, Robertson, Rust Bucket, S&L Gothic, Sahara Bodoni, Senegal, Serendipity, ITC Serengetti, Shadow Gothic, Shangrala, Shazam, Shore Bodoni, Sign Gothic Bold Condensed, Slam Dunk, Sleepy Hollow, Sleezy, Snaggle, Snip Tuck, South Beach, Spice, Steel Magnolias, Steeplechase, Summer Nights, Swank Gothic, Tequila, Thats Amore, Title Gothic Light, Triple Condensed Gothic, Triumph Gothic, Vinchenso Regular, Wackado, Waimea, Wall Street Gothic, Wonka (1996, named after Willy Wonka), Yakety Yak, Zany, ITC Ziggy, Zipty Do.

FontShop link. Klingspor link.

View Bob Alonso's typefaces. View the BA Graphics typeface collection. [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]  ⦿

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. [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 Cain

Designer at Typoart of Fetta Antiqua and Schmallfette Antiqua, two didone faces. [Google] [More]  ⦿

Barbara Lind

Designer of Adobe Wood Type Ornaments (1990-1991 with Joy Redick), Cottonwood (with Kim Buker Chansler and Joy Redick), 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.), Poplar (1990, after a 19th century wood type typeface by William Leavenworth). Mostly fonts with a Western theme. Poplar has another digital version: Copper Canyon WBW Demi Bold, Copper Canyon WBW, and Copper Canyon Inline WBW, all by Nick Curtis.

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

Barry Schwartz
[Crud Factory]

[More]  ⦿

Basil K. Malyshev
[Bakoma fonts]

[More]  ⦿

Basil Solomykov

Developer of the free metafont-format didone Latin / Cyrillic typeface Obyknovennaya Novaya (2011, in Emglish: 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 faces 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 faces 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, 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, 1950; 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 faces 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). Other faces: 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 (1956), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen, 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). 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]  ⦿

Ben Archer
[100types]

[More]  ⦿

Ben Bauermeister
[ElseWare Corporation]

[MyFonts] [More]  ⦿

Ben Jones
[Protimient.com]

[MyFonts] [More]  ⦿

Ben Weiner
[Reading Type]

[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

Once called Berthold Types and now Berthold Direct Inc, this companay is located in Chicago, IL, and was/is run by Harvey and Melissa Hunt. It was acquired by Monotype in 2011. The font collection is aristocrated, 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.

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 faces 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 Typefoundry 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]  ⦿

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

In 2014, Gia Tran and Bertrand Reguron codesigned 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 codesigned 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, harkening 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 faces 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 faces 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 faces 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 faces 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 faces — 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 now seems 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]  ⦿

Bianca Trezza

Graduate from FADU, University of Buenos Aires, who created the didone typeface Mifont (2008). [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). 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 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. He designed Busted (2008, Canada Type: grunge family) and the luxurious families Didot Headline (2009, Canada Type) and Didot Display. Images of Didot Display: i, ii, iii, iv.

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 faces 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 acknow- ledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanistic 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. [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 is run 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.

Klingspor link. [Google] [MyFonts] [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).

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

View the typefaces made by Blue Vinyl. [Google] [MyFonts] [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 faces 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.
  • 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. Images: i, ii, iii, iv.
  • 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 Antiquq / 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 faces, 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 faces; 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'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 faces 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 faces 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 faces, 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]  ⦿

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. [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. [Google] [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 faces of all time. John Bell's type foundry didn't do well. He closed down his shop within two years and went on to other things, and his typeface sank almost without trace in England. Newer trends in typefaces (Didot in France, and Bodoni in Italy) eclipsed the modest elegance of Richard Austin's design. The Americans, though, took a shine to it. It was copied as early as 1792, and always remained popular there. A complete set of type cast from Bell's original matrices was purchased by the American Henry Houghton in 1864 and installed at his Riverside Press. He thoughtlessly labelled it 'English Copperplate'. Later, the distinguished American book designer Bruce Rogers used the 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]  ⦿

Bruno Maag
[Dalton Maag]

[MyFonts] [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 faces 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), ITC Elan (1985, lapidary), ITC Eras (1961-1976), 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), 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, FF Tibere. Since 1998, he distributes his own fonts through BVS Albert Boton: Albotoni Book (made in 1974 originally), Kit, Memo, Pompeii (1993), Linex Sweet, FF Page (2003, in PageSans and PageSerif families), FF Cellini (2003, Albert's take on Bodoni), FF Tibere (2003, a classic roman family), FF District (2004, a squarish sans family) and Linex Sans (Agfa, 2003) are some his latest typefaces.

Citroen's logo font at Delpire.

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]  ⦿

Caio Santana

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

Calvin Buchanan Jr

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

Camille Moisset

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. [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 codesigned the readable typeface Dauphine Regular, which can be downloaded here. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design).

Typecache link. [Google] [More]  ⦿

Candace Uhlmeyer
[DH Type Visionaries]

[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]  ⦿

Carrois Type Design
[Ralph du Carrois]

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

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

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

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).

The FLF series includes Abilene (Western), Alexandria (1986, slab serif family), Black Knight (1991, blackletter), Bodoni FLF (1986), BodoniUltra (1986, a fat didone), Bonnard (art nouveau), ButtonHighlight, ButtonPlain, Calligraphy (1986), Campanile (a great didone face), Checkbox, Collegiate (1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo stencil), Desperado, Dorovar Carolus (1988, Carolingian), DryGulch, Epoque (art nouveau), FattiPatti, Fletcher Gothic (1992, art nouveau), Galileo (1987, didone), Gazelle (1988, calligraphic script), Gatsby (1986, pure art deco), Giotto, Gregorian (1986, English Gothic style blackletter), Harlequin FLF (1990), Highland Gothic (1992), Jott, Kasse (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 Microgamma) , 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 can be found at TypOasis. Fontspace link. Fontex link. Font Squirrel link. Scan of some fonts. Dafont link. [Google] [More]  ⦿

Castle Type
[Jason Castle]

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

  • A: AfrikaBorders, Afrika Motifs, Agency Open (M. F. Benton, 1934, revival Jason Castle), Agency Gothic Inline, Ampersands, Azbuka (2005, a heavy slab serif).
  • B: Brasileiro (2007, an art deco face).
  • Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script.
  • D: Deko Initials (1993, discontinued in 2007; based on NADA0 drawn in 1972 by Marcia Loeb), Dionisio (2008, didone).
  • E: Eden (Bold, Light; originally designed by Robert H. Middleton in 1934).
  • F: Fat Freddie, Futura CT and Futura CT Inline (2007, based on Futura ND, but discontinued after only a few weeks).
  • G: Goudy Lombardy (Lombardic), GoudyStout, Goudy Text, Goudy Trajan (1994-2010, free; +alternates).
  • H: Handsome (2002, nice finger dingbats, aka fists).
  • J: Jensen Arabique (left field art deco, based on work of Gustav Jensen, 1933).
  • K: Koloss (art deco).
  • L: Latin CT (2008,, 6 styles), Latin Wide, Laureat, Lise Informal (2008, 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), 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).
  • Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).
  • V: Vincenzo (2008, a slabby didone), Warrior (2009, a 3d font based on Ogun; +Shaded).
  • X: Xavier (art deco family based on Ashley Crawford by Ashley Havinden, 1930, revival by Jason Castle in 1992).
  • Z: Zagora, Zamenhof (2011: an all caps poster face with constructivist ancestry, named after the inventor of Esperanto), Zuboni Stencil (2009, Latin and Cyrillic, constructivist).

Klingspor link. Behance link.

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

CAT Design Wolgast
[Peter Wiegel]

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

  • In 2014: 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: 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), HelvetiaVerbundene (making Helverica into a school script?), 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, 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 faces 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), 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 (Sans-serif, based on German school primer), Fibel Süd (Fibel Sued) (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.), 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), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (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. [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 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). [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 ischaracterized 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: 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.

  • 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 letter, 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.
[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 faces.
  • 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 typefoundry).

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

View Lars Törnqvist's typefaces. [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 shadowed 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 faces: 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 faces: 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. Yet another URL. 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
[Charles Daoud Type (or: CD Type)]

[MyFonts] [More]  ⦿

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

Charles Daoud (CD Type, est. 2013) is a graphic designer and art director in Laval, near Montreal. He was born in Montreal in 1980. His typefaces include:

  • Dense (2013). A free geometric sans serif typeface family.
  • Dual (2014). A geometric sans with many features that will make hipsters happy. Dual 100 is one of the finest hairline sans faces of the recent past. Dual 300 is free.
  • Quartier (2011). A sans headline typeface.
  • Voga. A stylish high-contrast condensed didone with a free Medum weight.

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

Charles Gibbons

Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office.

Designer in 2001 of Aphasia at Bitstream. He co-designed Full Moon Suite with Mary Trafton at Bitstream in 2001. These include FM Black Cherry Moon, Alternate, Ligature, and Doubles. This family won an award at the TDC2 2003 competition.

In 2002, he designed Fleischmann BT Pro, a family heralded by the typophiles as outperforming the DTL Fleischmann.

In 2011, he helped out Stuart Sandler in his Filmotype project, and created the identical lively freestyle faces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same typeface but renamed 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).

Typefaces from 2014: Local Market (with Cindy Kinash: hand-drawn collection of typefaces), Filmotype Western (an italian, or reversed stress, typeface based on a Filmotype design from 1955), True North (+Extras: a vintage letterpress emulation set of fonts designed for posters and banners), Ciao Bella (with Cindy Kinash at Cultivated Mind: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments).

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

Charles Mazé

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. 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 codesigned the readable typeface Dauphine Regular, which can be downloaded here. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design). [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 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 faces, 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 RR (1994, 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]  ⦿

Charlotte Wiltz

Parisian designer of the stylish fashion mag semi-didone typeface Vague (2014) and of the modular typeface Point Barre (2014). [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 faces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group.

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

  • Baskerville (1939, Linotype).
  • Bell Gothic (1937-1938). Now available at Bitstream. Font Bureau has its own version, Griffith Gothic (1997-2000, by Tobias Frere-Jones): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this 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" offaces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona.
  • Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
  • Excelsior (1931, Linotype). At Bitstream, this is News 702. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype 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 faces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
  • Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
  • Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif 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 faces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
  • Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This typeface is lighter and airier than most such faces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
  • Poster Bodoni (1920). Digital versions by Bitstream (Poster Bodoni BT Roman, and Moder 721), Castcraft (OPTI Poster Bodoni Compressed), Softmaker (Bodoni Poster) and Corel (Bodnoff).
  • Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
  • Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper faces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper faces. Compare Excelsior, Ionic, Rex, etc.
  • Non-Latin faces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.

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

Chelsea Herbert

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

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 Pannicke

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).

In 2014, he published the didone display typeface Agigi, possibly renamed from Aggi, the macho geometric sans serif typeface Amok, and the roundish sans typeface Rodina. He also designed Neue Cafe Grotesk for a final school project entitled Typography as a cultural embassy in the architecture of Berlin. Nora (2014) is a wedge serif magazine titling typeface.

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

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 typefoundry, 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 typefoundry 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. 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.
  • 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).
  • 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 Typefoundry'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."
  • Luxury (2002, Orange Italic, codesigned with Dino Sanchez). Gold, Platinum and Diamond are the names of the 1930s headline faces 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 faces, called Platinum (art deco), Gold, and Diamond (all caps with triangular serifs).
  • Los Feliz (2002, Emigre). Based on handlettered signs found in LA.
  • Unfinished faces: 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 faces 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.
  • 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.
  • 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.
  • 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 fo 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.
  • In 2014, Christian Schwartz and Dino Sanchez codesigned 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).

[Google] [MyFonts] [More]  ⦿

Christian Schwartz
[Commercial Type (Was: Schwartzco)]

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Christoph Dunst
[Atlas Font Foundry]

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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 faces like Brioso, Adobe Jenson, Bembo, Adobe Garamond, ITC New Baskerville and Linotype Didot. This thread looks at sans faces. 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 book on the web: Fifteenth book of specimens Compact Edition from the Central Type Foundry (1882, Cincinnati). At the time of that printing, Henry Barth was president, assisted by Charles Wells and William P. Hunt.

Judy Ko revived a condensed didone typeface from the Cincinnati Type Foundry typeface called Condensed No. 4 in 2012. [Google] [More]  ⦿

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]  ⦿

Claude Pelletier

Quebec-based typographer and type designer (aka Diogene) who specializes mainly in revivals of obscure or old typefaces.

Dafont link. Yet another URL. Abfonts carries many of his fonts. Fontspace link.

His typefaces:

  • Salamandre (2012). A tall 19-th century style slab typeface based on Iguana, a design of Sally-Ann Grover.
  • Aerolite C Pone (2013). A calligraphic connected copperplate script.
  • Angelica CP (2011)
  • Banner Star (2012). An American flag-themed display typeface.
  • Barrio CP (2011). An inline face.
  • BeansCP (2010, after a font found on page 10 of Art Deco Display Alphabets: 100 Complete Fonts by Dan X. Solo).
  • Bienetresocial (2003), BienetresocialBold (2003).
  • Bizarre and Bizarrerie (2010; based on Edwards and Inland, both designed in 1895 by Nicholas J. Werner at the Inland Type Foundry; renamed in 1925 by BBS)
  • Bloque Demo (2011). Experimental.
  • Bold (2008)
  • Carre (2009, athletic numerals).
  • Caslon CP (2012, based on Caslon 223 Bold).
  • Champignon (1999-2009, a formal calligraphic script)
  • Chartrand (2010, Victorian)
  • Chomage (2009)
  • Chopin Script (1999-2010, calligraphic; after Polonaise by Phil Martin)
  • Constanze Initials (2010). After Constanze Initials by Joachim Romann (1956).
  • Crayonnette (2000)
  • DeClaude (2010, patterned and named after DeVinne)
  • Derniere (1999)
  • Dojo CP (2011)
  • Dynamic CP (2010, based on page 48 of The Solotype Catalog of 4,147 Display Typefaces as Dynamic Deco)
  • Ebony (2011). Based on a Marder&Luse design from 1890. Ebony is on page 38 of 100 Ornamental Alphabets by Dan X. Solo and also on page 43 of The Solotype Catalog of 4,147 Display Typefaces.
  • Embrionic 85 (sic) (2012, +Swash Caps) and Embrionic 55 Swash (2012): an ink trap sans display family.
  • Essai (2003)
  • Euclid CP (2011): based on an 1880 typeface at Central Type Foundry.
  • Fancy Text (2004, blackletter)
  • Fantaisie1 (1999)
  • Gourmandise (2013), an exquisite Normandian-style didone display typeface.
  • 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)
  • 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
  • Lionel P (2010, a multiline typeface inspired by Letraset's 1973 typeface Stripes)
  • Malvern (1999)
  • Manquis CP (2012). A roman typeface.
  • Maratre (2013). A delicious connected copperplate calligraphic script.
  • Monterey Wide (2011). A Tuscan ornamental face, based on a showing on page 22 of The Solotype Catalog of 4,147 Display Typefaces.
  • Motscroises (1997)
  • Niaisage (2012). A lachrymal caps only typeface.
  • Oxford CP (2010, a multiline face, based on the 1960s typeface by Christine Lord)
  • Pasdecourbe (2003)
  • Pasdenom (2001, no punctuation)
  • 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 Typefoundry.
  • 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).
  • YagiUHFNo2 (2012).
[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 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]  ⦿

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

At URW++ in 2011, he revived Herbert Thannhaeuser's 1952 slab serif family, Technotyp, under the same name. Revis (2011) is a formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later. Jason Uncial (2012, URW++) is a unicase uncial design. Holland Gothic (2012, URW++) and Caxtonian Black (2012, URW++) are blackletter typefaces.

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

Typefaces from 2014 include Pinel Pro (URW++), 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.

Klingspor link. [Google] [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.

  • 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.
  • 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.

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

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

  • 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 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. Download site.

    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's 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 URL. [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 faces. [Google] [MyFonts] [More]  ⦿

    Coppers & Brasses
    [Alexandre Saumier Demers]

    Quebec-based type designer Alexandre Saumier Demers set up Coppers & Brasses in 2011 in Montreal together with Etienne Aubert Bonn. Both graduated from the graphic and type design program at UQAM in Montreal. 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.

    Home page. [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, 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. MyFonts link for the Martin Lexelius typefoundry. 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]  ⦿

    Counterpoint Type Studio
    [Jason Anthony Walcott]

    Established in 2013 by Hollywood, CA-based Jason Walcott (JAW Fonts, 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. [Google] [MyFonts] [More]  ⦿

    Craig Ward

    Designer who was based in London but now works in New York. Creator 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).

    Home page. Klingspor 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.

    Pic. [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 faces 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. [Google] [MyFonts] [More]  ⦿

    Crystal Kluge
    [Tart Workshop]

    [MyFonts] [More]  ⦿

    Cultivated Mind
    [Cindy Kinash]

    Cindy Kinash is an apparel graphic designer from Canada. She started the Cultivated Mind foundry in 2012. She published the hand-printed poster faces Amour (2012), Happy Cloud (2012), Have a nice day (2012, +Ornaments), Gionni (2012), Dreamy Hand (2012), Taluhla (2012) and Hello I Like You (2012). Requiem (2012) is grungy.

    Cocobella (2012) is a delightful Treefrog-style connected brush script. Luella (2012) is a vintage poster font family. It includes several typefaces with ornaments.

    Typefaces from 2013: Pacific Northwest (hand-drawn poster typeface), Mimbie (+Kitschy Ornaments, +Spooky Ornaments, +Social Media Icons), Maisy.

    Typefaces from 2014: 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).

    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 beaiutiful medieval font). He then released Transition, Lalibela (2009, didone), Pixeluxe and Azania (Tuscan, Western). Other fonts include Sade (a relative of Garamond), Export Unicase (12999, stencil), Mzansi (2007, an African look font), Shaftciti (2008, military stencil), Pixeluxe (2010), Giramundo (2010), Transition (2006).

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

    CyberLogic

    Free original truetype fonts for mathematics: this includes truetype versions of Knuth's Computer Modern family, and a Cyberlogic Fractions font. [Google] [More]  ⦿

    Cyrus Highsmith

    Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line.

    Author of Inside Paragraphs, written for a foundational typography course. Matthew Carter writes: Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that's not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language, and a legible typeface for the text.

    Interview at MyFonts.

    Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Loupot's St. Raphael poster), Eggwhite (2001, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic; see also Benton Sans Wide, 2013), Occupant Gothic (2000, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.

    His Amira (Font Bureau) and (Spanish-feeling) Zocalo (Font Bureau) won awards at TDC2 2004.

    At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.

    His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.

    Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco.

    In 2008, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli.

    In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007 until 2010, he developed Salvo Sans (slabby) and Salvo Serif (Font Bureau), which were originally called Boomer Sans and Serif.

    In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic 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.

    Speaker at ATypI 2013 in Amsterdam: Don't design web fonts Its theme is: The successful type series of the future will be the ones that can move between media. He says that new typefaces should be smarter than the devices that use them.

    View Cyrus Highsmith's typefaces.

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

    D. Stempel (or: Stempel Studio)

    Frankfurt-based typefoundry 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: B¨xenstein Antiqua (1912: revival by Gerhard Helzel), GerhardHelzel-BuxensteinFraktur-after-DStempel-1912.png">Büxenstein-Faktur (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]  ⦿

    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]  ⦿

    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 and fabio Luiz Haag have 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, Vienna and Hong Kong.

    Bruno Maag designed these commercial fonts:

    • Aktiv Grotesk (2010) was published as an alternative to Helvetica, a typeface Bruno hates with a passion.
    • Co (2007): a rounded monoline minimalist sans codesigned by Bruno Maag and Ron Carpenter.
    • Cordale: a text family.
    • Dedica (2007): a didone face.
    • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
    • Fargo (2004): a humanist sans in 6 weights.
    • Foco: sans family.
    • Grueber (2008): a slab serif.
    • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
    • King's Caslon
    • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family.
    • Magpie (2008) is a serifed family---Dalton Maag was able to trademark the name Magpie despite the fact that Vincent Connare had created a typeface by that name in 2000. Well, as with so many of Maag's announcements, it took siome time before he gave credit to Connare---in fact, Magpie isConnare's font.
    • Pan (1996). A text family at 1500 US dollars per style.
    • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
    • Royalty (1999): a stunning art deco display family.
    • Southampton.
    • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
    • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
    • Tondo Corp (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
    • 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.
    • 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 faces: 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.

    Typefaces at Dalton Maag from 2014 include Soleto (a simple sans) and Prometo (an organic stressed sans). Soleto (Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter) won an award at Tipos Latinos 2014. In 2014, Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva codesigned the rounded organic sans typeface Oscine (Dalton Maag).

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

    View the Dalton Maag typeface library. [Google] [MyFonts] [More]  ⦿

    Dan Carr
    [Golgonooza Letter Foundry]

    [MyFonts] [More]  ⦿

    Dan Reynolds
    [TypeOff]

    [MyFonts] [More]  ⦿

    Daniel Bär
    [Pyroglyphix]

    [More]  ⦿

    Daniel Hernández Sanchez
    [Hernández Type (was: Estudio de diseño Calderón)]

    [MyFonts] [More]  ⦿

    Daniela Gianotti

    Graphic designer in Buenos Aires, where she studies at FADU, UBA. In 2011, she created a lachrymal didone typeface. [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 Catania, Sicily, who created the didone typeface Rachel and the partly tweetware sans typeface family DDM in 2014. [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 founded the ScanJam Design Company in 1993, together with Tim Glaser. At ScanJam, he designed numerous retail and custom faces. In 2000, Josh Darden left Scanjam to work for the Hoefler Type Foundry. In 2005, he joined the type coop Village. 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 font.
    • 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).
    • Locus.
    • Interact (Garage).
    • Freight (2004-2009, Garage): an extensive, all-round family of typefaces including Micro, Sans and Text versions. 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). In 2005, Freight Big (the heavier styles are high-contrast didones) and Freight Display were added. Freight Sans Condensed Pro followed in 2012. 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 humanistic sans) was published in 2013.
    • 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.
    [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]  ⦿

    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 Rowland
    [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.
    • 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.
    • 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.
    • West Italiano. A didone.
    • West Emperor Script. A connected didone script.
    [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:

    • AgencyFB.
    • Belizio (1987-1988), after the 1958 original slab serif by Aldo Novarese called Egizio. 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.
    • 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.
    • 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.]
    • 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.
    • 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 (2005) 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. [Google] [MyFonts] [More]  ⦿

    David Farey

    Type designer ho 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. Biography at Agfa. 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).
    • Agfa: Zemestro (2003, a 4-weight sans tapped as a typeface for television). His Creative Alliance faces: 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.
    View David Farey's typefaces. [Google] [MyFonts] [More]  ⦿

    David Fernando Espinosa Martínez
    [Type Sailor]

    [More]  ⦿

    David Kerkhoff
    [Hanoded]

    [MyFonts] [More]  ⦿

    David Rust
    [Optimo]

    [More]  ⦿

    David Thometz's top 10 favorite text faces

    • 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 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

    Japanese foundry with excellent web pages on early 20-th century type design. They created various revival fonts in 2009, all connected in some way to Tom Carnase, including

    • Bentley (201)=0). 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 faces 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, and Via Face Don. [Google] [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]  ⦿

    Decorated Initials
    [Stephen Coles]

    Stephen Coles's list of decorated initials:

    [Google] [More]  ⦿

    Denis A. Serikov
    [OT Lab]

    [More]  ⦿

    Denis Roegel
    [LaTeX Navigator]

    [More]  ⦿

    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 geometric of all text faces, and therefore the easiest to draw a moustache on. Just enjoy these designs: AirdriedParmaFont, Bamboo, BaumWell, BodoblackSquares, BodoblackSquaresInvers, Bododisks, BodoniFlying, BodoniTwinsCaps, BodoniXT, BodonisBulemy, Bodonitown, Brandomi-Medium, Centuriqua-Ultra, CheerioFatItalic, ClassizismAntiquaBook, CybaPeeTX-height, CybaPeeTX-heightOblique, Cybatiqua, GiambattistaDueMille-Oblique, GiambattistaDueMille, GiambattistaVsPetit, Handiqua, HasBodoniScribbled, Katrina-Normal, LimesCondensed, Lipsiantiqua-Regular, Mutoni-Bold, 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 (2004), VivaBodoni, WaldoniNewTorsi, WildBradoni, Bodidota (2005), BohrDonni (2005), HelpUsGiambattista (2005), FlyWithMe (2005), Chaplone (2006, a Bodoni stencil), Parma Initialen MK (2006). [Google] [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)), 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).
    • 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: 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).
    • Other: Customised Foonky Starred, Altoona, DfAncestorITC, DfAttitudesPlain, HotRod (2002).

    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]  ⦿

    Didem Ogmen

    Graphic 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.
    [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 (drie 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]  ⦿

    Dieter Hofrichter
    [Hoftype]

    [MyFonts] [More]  ⦿

    Dieter Steffmann
    [Dieter Steffmann's Homepage]

    [More]  ⦿

    Dieter Steffmann's Homepage
    [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 is now hosted by Typoasis. 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 weigths (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:

    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. 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 faces. 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]  ⦿

    Digzhics

    Small page on Anglo-American point, Didot point, Pica and Cicero. [Google] [More]  ⦿

    Dimitri Bruni
    [Norm]

    [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. Some are also here. [Google] [More]  ⦿

    Dino dos Santos
    [dstype]

    [MyFonts] [More]  ⦿

    Diogo Oliveira

    Portuguese designer who used FontStruct to make the modular (slabby or octogonal) faces Sexta-Feira (+Sans) and Mini-Bodoni in 2008-2009. Home page. [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]  ⦿

    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).

    His talk at ATypI 2008 in St. Petersburg is on the first didones in Russia.

    Picture. Paratype page. FontShop link. Klingspor link.

    View Dmitry Kirsanov's typefaces. [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]  ⦿

    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]  ⦿

    DooType
    [Eduilson Wessler Coán]

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

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

    Dot Colon (also: Arro, Alt Rivet)
    [Sora Sagano]

    Japanese foundry, was Alt Rivet. Superb free fonts: Eunomia (2013, a sci-fi sans), Seshat (2012), Penna (2011, beautiful hairline sans), Ferrum (roman capitals), Medio (a didone), Vegur (sans), all developed from 2004 until 2011. Tenderness (2007) is a high-legged beauty of art deco heritage.

    In 2014, Seshat became available via TipoType. They published the sans family Aileron in 2014 as well.

    Arro. [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; codesigned 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, DietDido (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 Bariton (1997: a great poster typeface).

    In 2014, he designed these typefaces at Paratype: Suvenir Rus (inspired by (psychedelic) artwork of Grigory Klikushin), Demosfen (Greek simulation font).

    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]  ⦿

    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. Pic. Klingspor link. Dino created these typefaces:

    • Access (1997).
    • Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family.
    • Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
    • Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
    • Anubis (2003): a unicase face.
    • Aparo (2013). A plumpish elegant high-contrast script face.
    • Apud and Apud Display (2010): a high-contrast serif family.
    • Aquila (2004).
    • 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.
    • Cultura, and its improved version Cultura New (2013), a text book typeface family.
    • Decline (1996).
    • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
    • Esta (2004-2005): extensive (transitional) text and newsprint family.
    • Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
    • Ezzo: a sans family.
    • Factor (1997).
    • Finura (2009): this typeface has hints of University Roman.
    • 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.
    • Kartago (2005): based on Roman inscriptions from Cartago.
    • Large (1999) and Large Pro (2006).
    • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): this 31 styles were all made in 2007.
    • Maga (2012). A text family.
    • Methodo (2005): calligraphic penman faces.
    • Missiva (2004).
    • Monox and Monox Serif (1998-2000): a monospaced family.
    • Musee (2006): a transitional family with ornaments and borders.
    • Nerva (2004). A subdued Trajan typeface with flaring.
    • Nyte (2012). A serifed text family.
    • Otite (1995).
    • Outside (1996): grunge.
    • Plexes (2003). See also Plexes Pro (2006).
    • Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
    • Poesis (1999).
    • Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
    • Priva Pro (2006): a sans family that includes Greek and Cyrillic).
    • Prumo (2011-2012). A 92-font family oroginally 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 faces.
    • Resea (2004) and Resea Consensed: Bank Gothic style faces.
    • Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. Codesigned with Pedro Leal.
    • Synuosa (1999): an experimental typeface showing only the top half of the characters.
    • Terminal (1996).
    • Titan and Titan Text (2003).
    • User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
    • Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
    • Ventura (2006): 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).
    • Volupia (2005): a connected advertising face.

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

    DTPTypes Limited
    [Malcolm Wooden]

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

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

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

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

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

  • Typefaces from 2007: Rustikalis DT, Appeal DT, Fatbrush DT, Kardanal DT, Pamela DT (semi-blackletter).

    In 2008, DTP announced a new newspaper and magazine text family, Arbesco DT (PDF), based on a 1980s photolettering family (see also here), and a simple 24-style architectural sans family called Sentico Sans DT (elliptical). They also published the marker family Pen Tip DT Lefty in 2008.

    In 2009, the calligraphic Trissino DT was published: it was named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.

    View the DTP Types typeface library. [Google] [MyFonts] [More]  ⦿

  • 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 digotal typefoundry, 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".
    • 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.

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

    Dunwich Type Founders
    [James Walker Puckett]

    Dunwich Type Founders (or: DTF) in New York City 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.
    • 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.

    Creative Market link. Klingspor link. [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]  ⦿

    Dyana Weissman

    American type designer, b. 1980, who graduated from the RISD, and worked at Font Bureau 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: based on lettering on old medicine bottles seen in Oslo. Benton Modern Display (2008), codesigned 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.

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

    Edgar Olivas

    Creator of a beautul 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

    Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan 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), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface realted to the modern fat faces), GHEA Narek Serif. Most of his fonts cover Latin, Greek, Cyrillic and Armenian.

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

    Editions 205
    [Quentin Margat]

    French foundry, est. 2011 by Damien Gautier and Quentin Margat, and located in Villeurbanne. Their fonts:

    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. [Google] [MyFonts] [More]  ⦿

    Eduard Gustav Haenel
    [Schriftgiesserei Eduard Haenel]

    [More]  ⦿

    Eduardo 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 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 faces 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 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 (text family). The Softmaker versions are called M791 Modern and Montpellier.
    • Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
    • ITC Barcelona (1981).
    • ITC Bauhaus (1974-1975). ITC Bauhaus was codesigned with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype ersion is Dessau. The Bitstream version is Geometric 752.
    • ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). Comic book style faces called 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 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).
    • 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 a very very close to the Berthold original.
    • Laurent (1960s).
    • Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
    • ITC Panache Book (1987).
    • Scorpio (1960s).
    • ITC Souvenir (1977). 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 faces 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 faces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, Benguiat Montage, Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedlic types.

    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.

    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.

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

    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]  ⦿

    Elsa Rodrigues

    Portuguese illustrator and designer who created the didone typeface Qwirky Regular (2011).

    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]  ⦿

    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 codesigned 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 doiwnloadable from Google Web Fonts. These slightly rounded heavyweight fonts were designed under the art direction of Hubert & Fischer. They were originally creeated for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. [Google] [MyFonts] [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. 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), 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. [Google] [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]  ⦿

    Enrique Hernandez

    Chilean type designer based in Santiago. 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.

    Behance link. [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]  ⦿

    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 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
    • 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 it was cloned off Meta.
    • Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann, promised for May 2007. Kris Sowersby will also help, but the 2007 deadline seems to have been optimistic.
    • ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
    • Boehringer Sans and Antiqua (1996): custom types.
    • Grid, which appeared in FUSE 3.
    • Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
    • NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
    • Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
    • Heidelberg Gothic (1999).
    • Symantec Sans and Serif (2003): custom types.
    • FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
    • ITC Officina Display (2001).
    • FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005).
    • Bosch Sans and Bosch Serif (2004).
    • The SeatMeta family (2003) for Seat.
    • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
    • A Volkswagen company family based on a correction of Futura.
    • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
    • Tech (2008, FontStruct), a rounded squarish headline face.
    • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. Google Web Fonts download page.
    • 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.

    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]  ⦿

    Esteban Estomba

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

    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 faces Mijas Ultra and Lila Pro Heavy.

    Typefaces from 2011 include Lila pro, Atenea (a humanist sans family), Agerola Script (a fat flowing signage face), Teja (signage face), Zalea (yet another signage face), and Nabu Pro (a connected signage script). Equalis (2011M, with Juan Lavalle) is a monoline slab 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: 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).

    Creative Market link. Klingspor link. [Google] [MyFonts] [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): 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 faces. 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. [Google] [More]  ⦿

    Evgeny Zotov

    Russian designer of the elegant Latin / Cyrillic script faces 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]  ⦿

    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) established F37 (Face37) in 2010 in London, UK. He created F37 Xan (2010, a counterless geometric typeface based on a geometric solid typeface from 1925 by André Vlaanderen) and 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.

    Type Trumps are playing cards that feature the main typefaces.

    Bella (2011) is an extremely contrasted didone display face, available as F37 Bella at Hype For Type. 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.

    Other typefaces include Ginger (2013, a Swiss sans inspired by the work of Herb Lubalin, Jan Tschichold and Paul Renner.), F37 Neue Grotesque (2013), F37 Stencil Bella (2013).

    In 2014, he published F37 Ginger (a geometric sans family).

    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

    • Chau FT. This family contains Chau Philomène (2010), Chau Trouville (2010), Chau Marbella (2010) and Chau La Madeleine (2010).
    • Económica FT (2007).
    • Mary Todd (2014). A condensed sans for short bursts of text.
    • Muzarela (2011. 50 styles of this squarish family).
    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]  ⦿

    Fabiano Procopio

    Piracicaba, Brazil-based graphic designer who created the free decorative high-contrast didone typeface Coltrane in 2014. Behance link. [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).
    • 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).
    • Scrap Outline (2008).
    • Slug (2009). A geometric typeface made for bicoloring.
    • Status (2009, super fat art deco).
    • Strangelove Next (2010). This beautiful typeface was inspired by Stanley Kubrick's movie Dr. Strangelove. The original titles where 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. [Google] [MyFonts] [More]  ⦿

    Fail Better

    Barcelona-based designer of a didone typeface called Agnes (2014). [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. [Google] [MyFonts] [More]  ⦿

    Fatnobrain
    [Adrien Midzic]

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

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

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

    In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak codesigned the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak codesigned the very humanist sans family Saya FY and Saya Semisans FY.

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

    Dafont link. Klingspor link. Behance link. Another Behance link. [Google] [MyFonts] [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 codesigned the refined didone fashion mag display typeface Aquus (+the outline version, Aquus Linearis), which was published by Phospho. [Google] [MyFonts] [More]  ⦿

    Fernando Haro

    Las Palmas de Gran Canaria, Spain-based designer (b. 1971) 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).

    OFL link. Behance link. Dafont link. Devian tart link. Abstract Fonts link. Fontspace link. [Google] [More]  ⦿

    Firmin Didot

    Celebrated Parisian designer (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. 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. Pic.

    Regarding 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. And 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.

    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, made beteen 1998 and 2009:

    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.

    Commercial fonts at Flanker via MyFonts: Garaldus (2012, based on a 1956 font by Aldo Novarese), Italian Typewriter (2012, a family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties).

    Typefaces from 2013: Flanker Ruano (based on a chancery typeface by raffaelo bertieri, 1926), Selene (monoline sans).

    Dafont carries Magnificat, a 2011 revival of the ornamental typeface by Friedrich Peter. [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.

    Dafont link. Abstract Fonts link. Fontspace link. Direct access. Alternate URL for free stuff. And another URL. Klingspor 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-nased creator (b. 1985) of the free hand-drawn didone typeface BodoFlo (2013) and of the hand-drawn Hipsterish (2014), Thin Font (2014) and Large Font (2014). Dafont link. [Google] [More]  ⦿

    Florian Hardwig

    Florian Hardwig is a graphic designer based in Berlin, Germany, where he runs a studio together with Malte Kaune. 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. 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. Flickr page. Comparison of Bauer Bodoni and Linotype Didot. A piece on school scripts. [Google] [More]  ⦿

    Flow14
    [Kyle Johnston]

    Kyle Johnston (Flow14) is the Overland Park, KS-based designer of the graffiti font Milk (2002), Bodolive (2003, a mix of Bodoni and Antique Olive), Sporty (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 (free on the Rumpus page). [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 faces 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, and the didone typeface Gras Vibert [for a digital version of this, see Vibertus (2007, Lars Törnqvist)].

    Sphinx (1925) was revived by Steve Jackaman as Sphinx RR (1925), 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 faces. Compare Peignotian typefaces. [Google] [More]  ⦿

    Fonderie Deberny&Peignot

    The timeline of this French foundry of the 19th century and early 20th century:

    • Gustave Peignot's typefoundry 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 typeface 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.
    • George 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, 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]). 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 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 faces, such as the fat typeface Liliom. They also produced well-known Victorian decorated capitals under the names Romantiques No. 1 through 5. The Egyptian faces 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

    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]). 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 (aris, 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. 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 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. [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, and 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. Éor, 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 is located in Naperville, IL.

    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 (2002, lettering of Budweiser Racing), Saddlery and Saddlery Post (2002, Western-style caps: a revival of Minaret by Ihlenberg in 1868; Solo calls it Trocadero), FerroRosso (2002, lettering as in the Ferrari logo), Stampede (2002, a family based on lettering used in document from the Chicago, Indiana&Eastern Railway Co. in 1902), Main Strike (a Tuscan font, based on Tuscan Ornate, or Bracelet, fonts that date from before 1860), Red Dog Saloon (2002), Rough Riders (2002, great Western-style caps), Draft Beer (2002).
    • 2003: OK Corral (2003, 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 (2003, a Tuscan font based on a few letters found on an old Gold Certificate from 1882), Gillé Classic (2004, 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), Rodeo Clown (2003, based on Carnival), Taqueria, Cove.
    • 2004: Bronc Stomper, Open Range, Saloon Girl, Miss Scarlett (2004, 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: Rodeo Roundup (2005, rope font; Solo called it Rope Initials), Algerian Mesa, 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 (2005, pointing hands, from 19th century sources), Black Pearl (2005, 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 (2005, inspired by the Leinenkugels brewing label), Wanderer (2005, inspired by the title logo of the TV show The Wild West), Lynchburg (2005, inspired by the Jack Daniels Green Label Whiskey logo).
    • 2006: Flat Rock (a revival of Inverted Shaded by Julius Herriet, done at Conner in 1886; Solo calls it Big Cat), 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 ce=reated by a German designer in 184999999999), 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.

    Klingspor link. Fontspace link. Dafont link. Creative Market link. MyFonts page. [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 faces, 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.

    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. [Google] [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, Stonag