TYPE DESIGN INFORMATION PAGE last updated on Sat Mar 28 22:27:33 EDT 2020
FONT RECOGNITION VIA FONT MOOSE
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:
A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. Their typefaces:
At ATypI 2013 in Amsterdam, he spoke about New Transport. Winner of the type design prize at the Tokyo Type Directors Club TDC 2019, with Matt Willey, for the New York Times Magazine Olympic font. [Google] [MyFonts] [More] ⦿
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:
Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.
Dutch writer and designer, b. 1960, Amsterdam, who currently lives in Hamburg. He studied at the Royal Academy of Arts in The Hague. From 1987 until 1991 he was the type director at Scangraphic, and from 1991-1994, he was the type manager at URW in Hamburg, at which time he completed URW Imperial, URW Linear, and URW Mauritius.
In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken and Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.
Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image: for more images, see FF DIN Round at issuu.com), FF DIN Round (2010; +Cyrillic; in use; sample), FF DIN Web (2010), Jet Set Sans (for JET/Conoco gas stations), DTL Hein Gas (for Hamburger Gaswerke GmbH), Regenbogen Bold (for a radical left party in Hamburg, a roughened version of Letter Gothic), and Syndicate Sans (2012, for Syndicate Design). He also made FF OCR-F.
Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton, and wrote an article entitled FF DIN, the history of a contemporary typeface in the book Made with FontFont. Speaker at ATypI 2013 in Amsterdam: Legibility according to DIN 1450.
Alvaro Thomáz Oliveira
Alvo Type (or: ATF, or: Alvaro Thomaz Fonts)
Ipatinga, Minas Gerais-based (or Santa Barbara-based, or Belo Horizonte-based) designer of these typefaces in 2011: Gogating Book (a Helvetica-like face), Mytupi, Pirates Writers, Chapenettoer 8 Thin, a large x-height and large-bowl minimalist sans face. This was followed by the bold caps sans typeface Laranja Pro and Laranjha Pro Fraco, Aovel Cool (geometric monoline sans), Aovel Sans Rounded, Aovel Sans Light, Aovel Neo (based on Avant Garde), Yagora (humanist sans), Salika, Sheep Sans (2011), Mariana Family, Extrememame, Timo Roman, AvantFox (based on Avant Garde), Brasil (based on ITC Lubalin), Hasteristico (monoline geometric typeface based on Avant Garde), Amiju Book, DMF Arreia Black (fatted up Helvetica), DMF Cantell, DMF Handwriter, DMF Handatme, BDP Sergipe, BDP Fox, BDP Clien, BDP Up, and BDP Gelly.
Typefaces made in 2012: Flex Display (a free thin sans), Meva (geometric sans), Duase Light (a thin rounded avant-garde geometric sans), Tenue Sans (a distinguished sans---tuxedo required), Cridigo Sans, Cogga (a display sans face), Homizio (a free 6-style geometric sans family), Aliquam, Regencie, Blouding (from blood samples?), Quinfo (avant garde family), Frugal Sans, Agnele Modern (a didone titling face), Salutino, Bondoluo (geometric avant-garde sans, +Light, +Display), Duase (rounded monoline sans).
Typefaces from 2013: Panjo (humanist titling sans inspired by Eric Gill), Grieff (a DIN-like sans), Burne (a geometric all caps sans with elements of Futura and Avant Garde), Suicca (hairline sans), Datidi (custom slab face).
Typefaces from 2014: Homizio Nova (sans), Amper.
Typefaces from 2015: Savass Sans.
Typefaces from 2016: Cerko (a gemoetric circle-based futuristic typeface).
Typefaces from 2017: Beaga (a slab serif named after Belo Horizonte).
Typefaces from 2019: Antropil (a rounded sans), Finis Grotesk (inspired by the Bauhaus movement).
Typefaces from 2020: Hauslan (a sans family).
Home page. Fontspace link, where he is known as authimie. Another Fontspace link. About me page. Behance link. Another Behance link. About Me link. Dafont link. Aka Alvaro Ovelha. Creative Market link. Future URL. Home page of Alvaro Thomaz. [Google] [MyFonts] [More] ⦿
Copenhagen-based designer (b. 1986) of Tal (2014), a full set of numerals in many weights for use on small devices. Tal is advertized as free, but there are no download buttons anywhere.
In 2014, he also created the Open Source fonts Gidole Play (later renamed Gidolinya) and Gidole Sans [micropage], which is patterned after DIN 1451 and uses Euler spirals. Dedicated page for Gidole Sans. Github link for Gidole.
In 2015, he published Gidole Regular and the monoline sans programming font families Monoid and Mono 16, which cover Latin, Greek and Cyrillic. Gidole was forked and extended in 2016 at Open Font Library by Cristiano Sobral as Normung.
He modified the free M+ font to design MonoMusic for chords and tabs.
Managing Director of Clearleft in Brighton, UK. He has a blog, where people were prompted for the names of type families, if they could only buy six of them. Continued here and here. The totals are tallied for you:
Domen Fras completed his masters at London's Central Saint Martin's College of Art & Design in 2000. In 2002 he founded the type & design studio Aparat in Ljubljana, Slovenia. Since 2011 he is a full-time assistant professor at the Faculty of Natural Sciences at the University of Ljubljana. Speaker at ATypI 2014 in Barcelona. His largely experimental work:
Lebanese type designer who runs the London-based Boutros Foundry with Mourad Boutros. She created or co-created the Arabic typefaces Boutros Ads Pro, Boutros Advertising, and Boutros Thuluth Light. She also was one of the four co-designers (with Mourad Boutros, Richard Dawson and Dave Farey) of Tanseek Pro (2008, Monotype), a typeface family for Latin and Arabic. It contains Tanseek Modern and Tanseek traditional.
In 2017, Arlette Boutros designed Boutros Futura, or Futura Arabic, at URW to work harmoniously with the URW-Latin whilst respecting Arabic calligraphic and cultural rules. URW's Futura Arabic contains, of course, as a subset, the regular Latin Futura. Still in 2017, Boutros Fonts added URW Geometric Arabic to Joern Oelsner's URW Geometric.
Berlin-based designer who studied at Hochschule Hannover. In 2016, he created DIN Blind (2016) which is a monospaced DIN adapted to Braille. It follows the E-DIN 32976 norm for tactile writing. [Google] [More] ⦿
German foundry, est. 2009 by Julius Wiescher (b. 1991), who is the youngest son of famous type designer Gert Wiescher. His font Thin Pen (2009) is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch. Other fonts by him: DonJulio and Donna Julia (2008, Autographis, calligraphic script fonts made with Gert), Flatpen (2008, Autographis, with Gert), Norm Pen (2011, based on an ancestor of DIN Schrift), Bold Pen (2011, bold version of Norm Pen), Groucho (2011, a high-contrast flowing script), Authentic (2011, a connected copperplate script), Oldhand (2011, shaky handwriting), Holz Caps (2011, an irregular wood type simulation face), Poing (2011, a flowing calligraphic script), Cri Cri (2011, slab serif comic book face).
French type designer who created these typefaces in 2011: Al-kimiya Font (typewriter style with fun variations), Le Méliès SOFT, Le Méliès (sans), Dinette Ultra (rounded and fat), Dinette (based on DIN), Archipel (thin slab face).
Braille DIN (2005, Fontshop) is due to Jochen Evertz. It follows the DIN specs 32980 and the packing standards of the German pharmaceutical industry. The price (159 Euros) is outrageous for a bunch of dots. [Google] [More] ⦿
Branding with Type
Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the type foundry Alberto Romanos. In 2015, that morphed into Branding with Type.
In 2015, he created the variable width condensed grotesque and poster typeface Bw Stretch, and the bespoke retro-futuristic elliptical sans typeface Flat Sans for the Spanish digital agency Flat101. During Typeclinic 11th International Type Design Workshop, he created the typeface Stretch Caps (2015).
In 2016, he designed Bw Darius (a sharp-edged high-contrast 4-style typeface family), Bw Surco (humanist sans for Latin and Cyrillic), Bw Modelica (a minimal, robust, reliable and pragmatic geometric sans in 64 styles), Bw Modelica Ultra Condensed, Bw Modelica Condensed, Bw Modelica Expanded, and Bw Mitga (a sans with strong personality and a 16 degree angle that dominates the design).
Typefaces from 2017: Bw Nista (Grotesk, International and Geometric), the Cyrillic / Greek expansion of Modelica, called Modelica LGC, Bw Helder (an 18-style sans typeface developed with Thom Niessink), Bw Gradual (an eccentric ink-trapped sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.
Typefaces from 2018: Bw Seido Round (a rounded almost-but-not-quite monoline sans in 12 styles that takes elements from DIN 1451; fiollowed in 2019 by Bw Seido Raw), Bw Vivant (a Peignotian typeface co-designed wih Moritz Kleinsorge).
Cologne-based group of type designers, founded in 1996: Guido Schneider, Hartmut Schaarschmidt, Martin Bauermeister, René Tillmann, Rolf Zaremba. There are many original free fonts here: Amnesia (René Tillmann; now also sold by URW), Anorexia (G. Schneider, 1996), Battery, Battery Seriph, Battery Leak (Tuschemann, 1996), Matula (G. Schneider, 1997), Nobody (G. Schneider), Paul D (Guido Schneider, 1996), Sanctus, SubZero (Guido Schneider, 1996), SynkopSemi, Veto, Visitor (R. Zaremba, 1996), BiaBia (very avant-garde, G. Schneider, 1996), Corpa Gothic (sold by URW++), Cuba (G. Schneider, 1997), Hone (Piano Dog, 1996), Saw, SoloSans (G. Schneider, 1996), Souper, Styptic, Fluxgold (slabserif, G. Schneider 1999), Rotwang (G. Schneider 1998), Styptic (Tuschemann, 1995), Stoneman (Tuschemann, 1998), Jaruselsky (1997, G. Schneider). Well, that is, these fonts have just the basic alphabet and all numbers 3 and 6 have been removed. The full versions are ultra-expensive, at about 110DM per weight (typically, 4 weights per font). More fonts: Temptice (dingbat by A. Groborsch/G. Schneider 98/99, 80DM), Tara (G. Schneider, 1998, 240DM), Corpa Serif (G. Schneider 1998), Fiona Serif, Slab and Script family (2003, G. Schneider). URW marketed these fonts: BF Anorexia, BF Corpa Gothic, BF Corpa Serif, BF Cuba, BF Fluxgold, BF Invicta, BF Jaruselsky, BF Matula, BF Nobody, BF Paul'D, BF Rotwang, BF Solo Sans, BF Stoneman, BF Stypic, BF SubZero, BF Tara.
Custom fonts by Schneider: Girato (Giraffentoast), Fiona (MDR - Mitteldeutscher Rundfunk), Sion Script (Sion Brauerei), Supralux (Super RTL). He is working on Veltro Pro (a script) and Breite Kanzlei (blackletter).
MyFonts sells BF Anorexia (a grunge typeface by Schneider), BF Corpa Gothic (a DIN-like family done in 1997 by Schneider), Corpa Gothic Pro (a 2019 revival of Corpa Gothic), BF Corpa Serif (1997, a slab serif family by Schneider), BF Cuba (a pixel typeface by Schneider), Fiona Script (2006, connected), Fiona Serif, BF Fiona Slab (2006, Guido Schneider), BF Fluxgold (1998, Schneider), BF Invicta (2006, a roman inscriptional family by Schneider), BF Jaruselsky (1997, Guido Schneider), BF Matula (1996, an organic typeface by Guido Schneider), BF Nobody (1995, a roman typeface by Schneider with pointy experimental serifs), BF Paul D (a grunge blackletter typeface by Schneider), BF Rotwang (1997, a transitional typeface by Guido Schneider), BF Solo Sans (1995, Schneider's grotesk family), BF Stoneman (1997, a decorative poster typeface by Schneider), BF Styptic (a grunge paperclip typeface by Schneider), BF Sub Zero (experimental, by Schneider), BF Tara (1999, a humanist sans family by Schneider), BF Girando Pro (a garalde made by Guido Schneider in 2010).
Typefaces from 2018: BF Rotwang Pro (a redesign by Schneider of his 1997 typeface, BF Rotwang; named after C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang relates to the high-contrast transitional and didone styles), BF Konkret Grotesk Pro (a 16-style grotesk family by Guido Schneider with over 1500 glyphs per font).
Brownfox is independent type foundry based in Moscow, and managed by Gayaneh Bagdasaryan. They specialize in the design and production of Latin and Cyrillic fonts for print and for screen. They are the organizers of the first Russian international type conference Serebro Nabora. Their first typefaces in 2012, all posted at Google Web Fonts, include Simonetta (readable angular typeface: see here), Sevillana (curly upright script by Olga Umpeleva), Geometria (a geometric sans by Vyacheslav Kirilenko and Gayaneh Bagdasaryan), and Henny Penny (a playful decorative typeface, also by Olga Umpeleva).
In 2013, we also find Super Disco (an art disco layered typeface family by Gayaneh Bagdasaryan). Institut (2013) is an industrial-strength sans typeface designed by Vyacheslav Kirilenko with participation of Gayaneh Bagdasaryan.
In 2013-2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.
Typefaces from 2014: Gerbera (a sans face co-designed with Vyacheslav Kirilenko), Formular (by Vyacheslav Kirilenko and Gayaneh Bagdasaryan: a Swiss sans family for Latin and Cyrillic), Activist (a minimalist all caps typeface commissioned by the Anticorruption Foundation).
Typefaces from 2015: Nolde (a Latin / Cyrillic titling typeface named after german-Danish printer Emil Nolde; by Vyacheslav Kirilenko and Gayaneh Bagdasaryan).
Typefaces from 2016: Wermut (a dagger-serifed transitional Latin / Cyrillic text typeface family by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, published at Brownfox).
Typefaces from 2017: Aeroport (by Gayaneh Bagdasaryan & Vyacheslav Kirilenko).
Christoph Dunst is a graphic and type designer living and working in Berlin, Germany. He studied at the Royal Academy of Fine Arts in Den Haag, The Netherlands, where he graduated with a degree in graphic and typographic design and a masters in type design. In 2006 he founded the design studio Büro Dunst in Den Haag, which he moved in 2009 to Berlin, lock, stock and barrel. In 2012, he set up Atlas Font Foundry.
Designer of the text family Novel, which won an award at TDC2 2009. He calls his Novel Sans Pro (2011) a new humanist grotesque face---a contradictio in terminis. In 2011, he added Novel Mono Pro, a monospaced grotesk family, and Novel Sans Condensed Pro, a great family for information design. In 2012, Novel Sans Rounded Pro followed. In 2015, Christoph added Novel Sans Rounded Italics Pro.
German type foundry, est. 2014 by Philip Lammert. Lammert studied communication design in Düsseldorf, Germany, and Guatemala City. In 2017, he embarked on a Masters program at the HAW Hamburg under the supervision of Jovica Veljovic. Philip's typeface Peter (2014) is a neo-grotesque sans. Very basic, it shows humanist touches in the heavier weights.
Graduate of Kunstschule Wandsbek in Hamburg, Germany. Designer at URW++ of FontForum CSPaket, CSCourtHandD (medieval calligraphy based on the handwriting of monks in the 16th century), CSFuzzyLogD and CSTakahashiD (oriental simulation, a hommage to the Japanese Manga artist Katsuhiro Otomo and his character/figure Takashi from the Akira-Manga). His fonts are sold under the name CS Fonts, and through URW++, and through MyFonts.com. [Google] [MyFonts] [More] ⦿
CAT Design Wolgast
Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:
The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.
His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.
A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel.), 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)).
In 1871-1872, C.E. Fetzer proposed a mathematically defined (raster-based) grotesk called Runde Groteskschrift. It was not a complete alphabet, but according to Albert-Jan Pool, it was the ancient ancestor of FF DIN. [Google] [More] ⦿
Started in 2008, this web place by Norwegian entrepreneur Roger S. Nelsson (based in Honningsvåg, Norway) sells fonts by Ray Larabie, Brian Kent, Nick Curtis, Derek Vogelpohl and Kevin King that were originally freeware fonts. Nelsson reworked them (more glyphs, more multilingual) and asks about 10 dollars per font now. He says his fonts now cover these Latin languages: Afrikaans, Albanian, Basque, Belarusian (Lacinka), Bosnian, Breton, Catalan, Chamorro, Chichewa, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino (Tagalog), Finnish, French, Frisian, Galican, German, Greenlandic, Guarani, Hungarian, Icelandic, Indonesian, Irish (Gaelic), Italian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Luxembourgian, Malagasy, Maltese, Maori, Northern Sotho, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romance, Romanian, Saami (Inari), Saami (Lule), Saami (North), Saami (South), Scots (Gaelic), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Spanish, Swedish, Tswana, Turkish, Turkmen, Ulithian, Walloon, Welsh, Yapese.
Designer at FontStruct in 2008 of cowboy_hippie and Syndrome X (DNA-look typeface inspired by Syndrome BRK by Brian Kent). Nelsson's fonts are Classic Trash BRK Pro, Dynamic BRK Pro, Galapogos BRK Pro, Genotype BRK Pro, King Cool KC Pro (kid's hand; done with Kimberly Geswein), Lamebrain BRK Pro, Matrise Pro and Matrise Text Pro (dot matrix), Phorfeit BRK Pro, Syndrome BRK Pro, Technique BRK Pro, Vigilance BRK Pro, Grapple BRK Pro. The "BRK" refers to Brian Kent, the original free font designer.
In 2009, he added a number of fonts that were done by Nick Curtis some years before that (hence the "NF"): Boogie Nights NF Pro (art deco face), Copasetic NF Pro, Coventry Garden NF Pro, Pro, Fontleroy NF Pro, Hamburger Heaven NF Pro, Monterey Popsicle NF Pro, and Wooden Nickel NF Pro. Trypewriter Pro (2009) is based on Kevin King's Trypewriter. Helldorado Pro (2009) is a Tuscan wood type style typeface based on a font by Levente Halmos.
Designer of Isbit Pro (2012, a magnificent melting ice cube-shaped superlliptical typeface family), Familiar Pro (2011, designed with the same metric as Helvetica but "better than Arial"), Bloco Pro (2010, fat counterless face), Trump Town Pro (2009, athletic lettering slab serif), Geometric Soft Pro (2009), Geometry Script Pro (2010, upright connected script), DIN Fun Pro (2011), Infantometric Pro (2012), Foobar Pro (2012) and Cheap Pro Fonts Serif (2009).
Typefaces from 2013: Adultometric Pro (narrow monoline sans).
Swiss type designer at Fontnest who designed these fonts: Neuro (2006), Lubmin (2008). He writes: The Lubmin typeface is a product of adaption of a standard character set (by VEB Typoart, Dresden) that was applied on roadname signs in the former Democratic Republic of Germany. It is, as far as documented, a production of early Prussian standard typefaces, which were also pattern for nowadays DIN font. The type went into action in many ways: Road signs, railway and military signals and also car plates; so almost anywhere a functional, easy reproduceable type was needed. The original letters were often different from road sign to road sign, because the signpainters had a variable elaborateness in painting the letters; some shapes are much more angular than others. So it had been a way of finding a compromise in this case. Also some points were interpreted in a new way, curves had been changed a little bit to accord readability aspects; but all in all, the Lubmin type is as original as in the time of the #Iron Curtain#. His future site. [Google] [More] ⦿
Christian Schwartz was born in 1977 in East Washington, NH, and grew up in a small town in New Hampshire. He attended Carnegie Mellon University in Pittsburgh, Pennsylvania, where he graduated in 1999 with a degree in Communication Design. After graduation, he spent three months as the in-house type designer at MetaDesign Berlin, under the supervision of Erik Spiekermann. In January 2000, he joined Font Bureau. Near the end of 2000, he founded Orange Italic with Chicago-based designer Dino Sanchez, and left Font Bureau in August 2001 to concentrate full-time on developing this company. Orange Italic published the first issue of their online magazine at the end of 2001 and released their first set of typefaces in the beginning of 2002. Presently, he is an independent type designer in New York City, and has operated foundries like Christian Schwartz Design and Commercial Type (the latter since 2009). He has designed commercial fonts for Emigre, FontShop, House Industries and Font Bureau as well as proprietary designs for corporations and publications. In 2005, Orange Italic joined the type coop Village.
His presentations. At ATypI 2004 in Prague, he spoke about "The accidental text face". At ATypI 2006 in Lisbon, he and Paul Barnes explained the development of a 200-style font family for the Guardian which includes Guardian Egyptian and Guardian Sans. FontShop's page on his work. Bio at Emigre. At ATypI 2007 in Brighton, he was awarded the Prix Charles Peignot. Jan Middendorp's interview in October 2007. Speaker at ATypI 2009 in Mexico City, where he announced his new type foundry, simply called Commercial.
A partial list of his creations:
Christoph Koeberlin: Best of 2010
German page by Christoph Koeberlin, who names his "best fonts of 2010".
Swiss type designer, b. 1979, Winterthur. He studied graphic design at the Hochschule für Gestaltung und Kunst Luzern. His typefaces:
In 2016, he published Rising Sun, a further step in the development of the successful free sans typeface family Raleway, initially designed by Matt McInerney as a single thin weight, and then expanded into a 9-weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini.
In 2016, he extended Andika New Basic (by Victor Gaultney, Annie Olsen and Pablo Ugerman) and published it as the free typeface Quebec. Still in 2016, he extended Hector Gatti's Archive (2012-2015, Omnibus Type), and called it Ushuaia (Open Font Library). Andreas Larsen's DIN emulation typeface Gidole was extended by Cristiano to Normung (2016). One of URW's GhostLib fonts was extended in 2016 by Cristiano to the U001 sans typeface family.
Typefaces from 2017 include Miedinger (a take on Helvetica, actually first conceived in 2015) and Petra Sans (based on Cantarell).
In 2018, he adapted Philipp H. Poll's Libertinus Mono (2012) to add a slashed zero, and called it Corbi Mono S.
Darren Embry's list of technical drawing fonts
Darren Embry's list of technical drawing fonts in 2020:
Favorite fonts as listed by designers, with votes tallied:
Digital Type Company (DTC)
Volker Schnebel is a German type designer, b. 1950. He started out in 1977 at URW. In 1981, he was consultant for Compugraphic, where he developed 800 bitmap fonts for DEC. With Fritz Renzo Heinze, he founded the Digital Type Company in 1985 in Hamburg. He digitized the 50 basic type families of Monotype, including Arial and Times. He developed the Latin portion of Hiragino Mincho. From 1990 until 1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer. He also is a type designer for Profonts.
He designed Kronos-Trilogie, DTC Hermes, Imperial and Joker DTC (now at URW++). He digitized Hunziker's Siemens family, and made custom type for Swiss Re and ZF. He created FAZ-Fraktur (with G.G. Lange, at URW, the house font of the Frankfurter Allgemeine Zeitung based on Fette Gotisch; well, Times Ten and Eighteen are the other house fonts of that newspaper) and Biblica (with Kurt Weidemann). He created the Handelsblatt newspaper headline font and corporate type for Swiss Re, ZF, Fujitsu, A1 Easy, and other companies.
At MyFonts, one can buy Black Market DTC, Hermes DTC and Imperial DTC as well as the SoftMaker families Dirty, Funky, Rough, which come in a total of 37 mostly grungy styles and are dated 1999.
In 2010, he created Linda (hand-printed, Profonts), Marita Pro (Profonts), Manuel Pro (Profonts) and Martin (a sans; Profonts).
In 2014, Profonts published his text typeface Martin Pro.
In 2008, Volker Schnebel designed all the fonts in Nimbus Sans ME, the Middle East range of Nimbus Sans, including Arabic, Farsi, Cyrillic and Hebrew. It was published by URW Global at MyFonts in 2016.
In 2016, URW++ published Schnebel's 48-style typeface family Kronos Sans Pro and Kronos Sans ME (covering Latin, Greek, Cyrillic, Hebrew and Arabic), and his 48-style URW DIN. Still in 2016, URW publised Bernd Möllenstädt's text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were filled in under the guidance of Volker Schnebel.
Typefaces from 2017: URW Form (80 styles, based on Futura), and Schnebel Sans Pro (48 styles), actually designed in 2016, and perhaps his crowning achievement. He writes: It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me Schnebel Sans represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. It is perhaps a renaming of Kronos Sans Pro.
In 2018, he published the 36-style family Schnebel Slab Pro at URW.
In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic.
German highway, railway and industrial typeface that is based on strict specifications. It was used on German cars for license plates, as well as on German trains. Linotype writes: The abbreviation "DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1936, this standards committee settled upon DIN 1451 as the primary lettering style for use in the areas of technology, traffic, administration, and business. The committee chose a sans serif design because of its legibility, and because its forms are also easy to reproduce. This typefaces design was not foreseen to be used in advertisements or other "artistically oriented purposes," and there were disagreements about its aesthetic qualities. Nevertheless, the DIN typeface has been set everywhere in Germany since its adoption, especially on signs for town names and traffic directions. Over the decades, it has managed to make its way into advertisements, too, perhaps because of its ease of recognition. The contemporary font version of DIN 1451 has been adopted and used by designers in other countries as well, solidifying its world-wide design reputation. Try it out today for signage, magazine layouts, book covers, or flyers. DIN 1451s industrial heritage makes it surprisingly functional in just about any conceivable application. Poster by Federico Arguissein (2013). [Google] [More] ⦿
Frenchman Marie Alfred Cornu proposed his famous Cornu spirals in 1874, also known as Klothoids. They have the desirable property that curves can blend smoothly into lines, much more so than Bezier curves can blend into straight lines. Bezier-based outlines thus exhibit the characteristic kinks. To avoid them, one has to resort to design by hand. This has annoyed the designers of FF DIN Round (Albert-Jan Pool, FontShop). Clearly, there is a need to broaden the palette of curves from which type designers can choose. The FF DIN Round designers "simulated" the klothoid by using more Beziers than normal, to trick the eye.
However, the designers failed to note a remarkble property of Bezier curves. If one places the first three Bezier points on a line (the start point and two control points), and the last (end) point off the line, then the transition away from the line is "cubic", not "quadratic". Now, a simple math exercise shows that klothoids have precisely this cubic behavior that is so eye-pleasing. Did Pool try this trick? Why was it not used? [Google] [More] ⦿
DIN is a set of typeface norms set by the Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1919, Germany had its first (Grotesk) typeface for technical drawings that followed strict norms, the DIN 16. This was followed in 1927 by DIN 1451. The latter set of raster-based specifications was developed under the guidance of Siemens engineer Ludwig Goller in 1926-1927. The DIN 1451 would be further developed and broadened over the years, leading to DIN Engschrift and DIN Mittelschrift (1931). Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used in Germany from 1936 until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:
Ukrainian type designer (b. 1977, Buryn) who graduated from Sumy State University in 1999. Since 2002, he creates digital fonts. He also works at Dancor advertising in Sumy, Ukraine, since 1997. Very prolific, his work includes a substantial number of commissioned typefaces for magazines and companies.
He received a TypeArt 05 award for the display family DR Galushki (and DR Galushki Hole, 2011), which was designed for children's books. Other creations: LQ Wow and LQ Anisett (2010, for women's magazine LQ), LQ Didot (2011, also for LQ), Dekapot (grunge), Gomorrah (2013), Usquaebach (2013), Kinescope (2013), Goshen (2013), Rhode Black (2014), UT Magazine (2014), Madmix (2014, for Esquire), Variety Square (2015, for the nmagazine Variety), DR Agu (comic book face), DR Agu Sans (2013), DR Agu Script (2016), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif, Tsar Peter, Pelican (for Esquire magazine), Fugue.
In 2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.
In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shnvchenko, a famous Ukrainian poet, artist and philosopher.
In 2016, he designed the op-art typeface family DR Lineart.
In 2017, he published the military stencil font DR Zhek.
In 2018, he designed DR Ukrainka, which is inspired by the lettering works of these Ukrainian artists of the 1920s: Vasyl Yermilov, Vasyl Krychevscky, Heorhiy Narbut. He also designed Sumy for the branding type for the city of Sumy, Ukraine.
Rastvortsev won an award in the kanji category at the 22nd Morisawa Type Design competition in 2019 for DR Kruk.
In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today. On commission for Vinnytsia, he designed the free typeface family Vinnytsia ((a lapidary) Serif, Sans, City).
Swiss graphic designer. Creator of My First Font (2012, based on DIN).
This was a studio started in 1994 by Albert-Jan Pool in Hamburg. I do not know of many public typefaces made there, but some brand-designed typefaces saw the light there. For example, SapientSans (1995) is a custom design based on FF DIN. It can be found here. [Google] [More] ⦿
Eifoni is the studio of Eivind Fonnaas Nilsen in Oslo. Elvind has done several complete typefaces. These include a corporate typeface called Supersexy (2010), for Laid, the only Norwegian producer of high-end sex toys. For his master project at KHiB (Bergen National Academy of the Arts), under the guidance of Andrea Thinnes and Rachel Troye, he used graffiti as a starting point to create the pair of typefaces called the Bomber and the Artist (2007). His typefaces include Supersexy and Oslo Sans.
At Skin Design Studio, he created the all caps DIN-like typeface Skin Extra Regular for in-house use.
Eivind Fonnaas Nilsen
Free custom-designed fonts for the European Space Agency:
Evasion: Ten Best Typefaces of 2008
Jérémie Werner is a freelance graphic designer from Strasbourg, France, who runs graphic design studio Evasion. He published his list of the ten best typefaces of 2008 (in French). Here we go:
F37 (or: Face37)
Fabrizio Schiavi Design (or: FSD)
Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.
Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.
[T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.
Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Essential Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.
He does some custom typeface design, such as the innovative sans serif family called CPCompany (2000). Other clients include Ferrari and Philip Morris.
In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.
Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).
The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.
In 2016, he designed the custom corporate typeface R&M in art nouveau style.
At ATypI in Rome in 2002, he spoke about the need for more fonts.
Karlgeorg Hoefer designed Fälschungserschwerende Schrift (or FE Schrift) in 1978, motivated in this manner: Following a spike in automobile thefts through the early 1970s---many of which involved tampering with stolen tag numbers to elude police detection---the German government commissioned a new license plate typeface. It was December 1977, and Germany was still raw from a recent rash of hijackings, murders and suicides associated with the Red Army Faction.
Hoefer's typeface can be viewed here and here, in a wonderful article by Benjamin Tiven on Hoefer's FE Schrift, with all its odd asymmetries to render license plate forgeries difficult. After a four year testing period, FE Schrift was rejected, only to be resurrected in 1994 thanks to a directive by the EU to use nationally distinct license tags. [Google] [More] ⦿
Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).
U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus. Anton Koovit and Yassin Baggar offer a new take on U8 in their UCity typeface family (2019).
Typefaces from 2012 include Adam Serif (a book and magazine typeface family).
In 2013, Anton Koovit and Yassin Baggar co-designed the low x-height typeface family Baton.
In 2014, he created Aleksei.
In 2017, he designed the free sans font family Aino (+Bold, +Headline) for use by the Estonian government.
FE Mittelschrift and FE Engschrift are the German typefaces used on automobile license plates. The FE stands for fälschungserschwerend, or hard to forge: for example, it is no longer possible to make a P into an R or a 3 into an 8 with a black marker pen. Developed from 1978-1980 by Karlgeorg Hoefer with the assistance of others such as the University of Giessen. It replaced the old DIN in 1994 and is an absolute monstrosity showing to what extremes governments will go in the name of security. Incredibly, several digital fonts have been made to resemble it, as if anyone would want to use it for anything other than on toilet paper wrappers:
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic. Picture. Typegoodness link. YWFT link.
View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies. Still in 2015, we find Nexa Script.
In 2017, Plamen Motev and Svetoslav Simov co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009). Svetoslav Simov, Plamen Motev and the Fontfabric team (Vladislav Jordanov, Stan Partalev, Mirela Belova, Jacklina Jekova, Nikolay Petroussenko) produced Zing Rust, Zing Sans Rust and Zing Script Rust in the same year: it consists of 521 handmade typefaces.
In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont. Svet Simov and Svetlin Balezdrov co-designed the humanist sans family Squad, and Simov published the free all caps flared terminal font Colus in 2018. Gilam was designed in 2018 by Ivan Petrov, Plamen Motev and Svetoslav Simov---it is based on DIN, but is more geometric and has obliquely cut terminals.
In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head). Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free). [Google] [MyFonts] [More] ⦿
FontShop's best of 2010, among the fonts that can be bought there:
Francesco Mistico Canovaro
German designer (b. Berlin, 1971) who studied Visual Communication at Kunsthochschule Berlin Weissensee from 1993-1998. Shortly after finishing art school in 1998 and two visits to the UK as an exchange student, she founded her own studio for graphic design, type design and typography. She has lectured on type design and typography at Designakademie Berlin since 2003. In 2005, she started Fraugerlach. At ATypI 2006 in Lisbon, she spoke about type in the streets of Berlin (PDF of Verena's presentation). At ATypI 2010 in Dublin, she spoke about her personal experiences with cultural oppression (censorship) in Algeria in 2009. Speaker at ATypI 2013 in Amsterdam: Ala has a pen - a remixed type workshop in Katowice [a report on a type design workshop held in poland in 2012].
Author of Karbid From lettering to type design (2013, coauthored with Fritz Grögel and published by Ypsilon Éditeurs). This book was released on the occasion of the ATypI 2013 conference.
The PTL fonts in the list below were published at Primetype in 2002. Verena Gerlach created these typefaces:
German designer of GP.F La Muerte (2005, with Ollie Peters), GP.F Bitur 1.0 (2005, bitmap fraktur font), GP.F Mudam (2005, with Ollie Peters) and Jado (2005, FF DIN modified for Jadolabs GmbH). GP.F Bitur 1.0 is on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). MyFonts link. Creator of Deja Rip and Deja Web (2010, with Elena Albertoni; Cyrillic included), a family of eight sans typefaces sold via Anatoletype. [Google] [MyFonts] [More] ⦿
FE Mittelschrift is the German car plate font designed between 1978 and 1980 by Karlgeorg Hoefer (1914-2000) together with the University of Giessen (Dept. of Physiology and Cybernetic Psychology). FE is the abbreviation of the German word fälschungserschwerend (difficult to forge). Characters were designed individually so that a C could not be made into an O and so forth. The typeface was first used on cars in 1994. Article by Susanne Schaller, with comments by a number of people. Martin Core claims his Sauerkrauto (2000) font was based on images of the license plates. Spiekermann dislikes the typeface because the letters have no relationship to each other: he calls it a complete forgery. [Google] [More] ⦿
Gesine Todt is a Berlin-based graphic and typeface designer. She studied type design under Lucas De Groot at FH Potsdam from 2004 until 2006, where she created the sans typeface Gabelle. At HTW Berlin University she studied graphic design and graduated in 2007.
In 2009 she graduated with an MA in Typeface Design from the University of Reading. Since then she works as a freelancer and enjoys the view from her studio in Berlin Kreuzberg. Her graduation project at Reading involved the sans typeface You Are Here. This typeface was made for wayfinding, and was compared in her thesis with famous wayfinding typefaces such as FF Info Display, FF DIN, Folio, Frutiger, ITC Johnston, Simple, Univers, Vectora, OfficinaSans, and Interstate.
In 2011, she put one her typefaces up for free download at Google Web Font Directory: Amaranth (an upright italic; see also Open Font Library), Bigshot One (a showy didone display face), Snippet (2011), Leckerli One (2011, fat signage face).
Graphic designer in Cincinnati, OH. She writes about her typeface Abe (2012): Abe Regular was designed to give the classic typeface Din a humanist touch. With a focus on subtle contrast, natural curves and a dancing baseline; Abe is the less intense, country version of the rigid classic.
Hasan Abu Afash
Indian type designer (b. 1969) from Cochin in Kerala. He designed IndusLL (1994, a roman typeface with features of Lithos) for Linotype's TakeType library "based on the still undeciphered pictographic script of the Indus Valley civilization, circa 5000 BC". He designed the dingbat typeface Chihnangal, and the following commercial Malayalam fonts: Puthuma, Unniyarcha, Indulekha, Ravivarma, Ambili, Kingini, Thulasi, Orma, Harisri, Atham, Aarcha, Unniyarcha, Nila, Chirutha, Thumba, Vartha&Pampa. He studied under R.K. Joshi. He runs Design Difference, which has created these typefaces (text almost literally taken from their site):
A list (in German) of typefaces used by companies (often specially designed). Translated and partially reprodused here. We also took info from this subpage.
Hi is the foundry of Swiss type designer Megi Zumstein, b. 1973, together with Claudio Barandun. Megi is the creator of Albis (2005, squarish, Bringolf Irion Vögeli), Dorfbeiz (2009, HI), Idol Stencil (2004, Bringolf Irion Vögeli), V&A-Outline (2003, Graphic Thought Facility). All her typefaces are in the orbit of DIN and VAG Rounded.
Arabic typography web site and font foundry established in 2007 by Hasan Abu Afash, an Arab designer living in Gaza/Palestine. Typefaces: HS Dream (2019), HS Gold (2018), HS Almisk, HS Almisk Serif (2018: modern kufi style), HS Aleman (2018: a kufi /naskh hybrid), HS Alnasma (2017), HS Alhoson (2017), HS Alwajd (2016), HS Almajd (2016), HS Rahaf (2015, covering Pashtu, Persian, Urdu, Kurdish Sorani, Kurdish Kirmanji, and Arabic), HS Alnada (2015, kufi), HS Headline (a fat calligraphic didone display typeface by Gunnlaugur Briem (Latin) and Hasan Abu Afash (Arabic, based on the simple lines of Naskh calligraphy), HS Ali (2015; designed using equal amounts of anger and sorrow, Hasan writes: HS Ali was designed in memoriam of my brother---Ali Abu Afash who was martyred during the last aggression on Gaza in summer 2014), HS Alhuda (2014, Kufi font), HS Almaha (2014: this font combines the features of linear Naskh and modern Kufi), HS Almidad (2014), HS Ishraq (2013), HS Alkitab (2013), HS Albadr (2013), HS Almohandis (2007-2011, Arabic display face), HS Alhandasi (2007 and 2011), Hasan AlQuds family (2004, a display typeface done with Mamoun Sakkal), Hasan Hiba, Hasan Enas (Arabic text typeface), Hasan Elham (2006, a modern Kufi art deco face), Hasan Ghada (2007-2008, based on modern Kufi calligraphy--first known in 2002 as KactTitle), Hasan Manal (2008, Kufi style), Hasan Aya (2007, Kufi style famaily based on Corel's 1992 typeface Bedrock), Kouffi Fatemic, Safwat, HS Amal. In 2008, Hasan Hiba and Hasan Noor (a classic squarish Kufi face) were upgraded to the DecoType font format for use in WinSoft Tasmeem which is now bundled with InDesign CS4---thanks to a cooperation with Mirjam Somers. Still with Somers, he upgraded the Basim Marah display typeface (2008) for Tasmeem. Basim Marah was drawn by Basim Salem Al Mahdi from Iraq and then digitized by Hasan himself. The same year, Hasan developed an OpenType project for Alinma TheSans fonts which are based on TheMix Arabic (designed by Luc(as) de Groot and Mouneer ElShaarani for Al Inma Bank, Saudi Arabia). Later he developed the OpenType features for Jumeirah Arabic which was designed by Pascal Zoghbi (29letters) and Huda AbiFares (Khatt) for Jumeirah International, UAE. He developed the OpenType layout features needed for the Arabic script system in the Seria Arabic fonts family which was designed by Pascal Zoghbi for FontShop International, as well as the Chams fonts family which was designed by Al Mohtaraf Assaudi for the redesign of the Shams Newspaper in Saudi Arabia and the Arajhi fonts for Alrajhi Bank. Since 2002 Hasan has worked and collaborated with Mamoun Sakkal in several projects, such as the Burj Dubai Shilia project, Sakkal Baseet and the Microsoft project which included the updating of the OpenType instructions for fonts such as Tahoma, Microsoft Sans Serif (1997), Arial, Times New Roman, Segoe, Courier, Time New Roman, Ms Uighur and Majalla UI. In 2009-2010, he cooperated with Parachute to make DIN Text Arabic.
Discussion of highway signage fonts by John Berry, who reports:
Type home of Dave Farey and Richard Dawson, est.2005, to develop and repair type. Based in London. Commissioned typefaces: CWS Script, DIN Display, McDonalds (a typeface in use by that chain since 1998, based on an idea of Geoff Halpin), The Times (1999). [Google] [More] ⦿
Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.
Scott Ulrich (Incinerator) is the designer of freeware/shareware fonts in 1993: CheapSignage-Standard, CriminalHand, DINGarbageschrift, Distemper, EvilClown, Garbageschrift, Garden, GeekSkinny, Misfortune, SeverelyExtreme, TapeGun, Thickhead.
German type personality (b. 1973, Fulda) who studied visual communication at the Bauhaus University in Weimar. She is involved in type at the Museum für Druckkunst Leipzig and in the DIN committee for type classification. Founder of Kupferschrift, a type expertise firm based in Weimar and Düsseldorf. Alternate URL. She is a professor of Kommunikationsdesign und Typografie and head of the department FB Design at the HBK (Hochschule der Bildenden Künste) Saar. She researches the classification of typefaces, the history of grotesks and legibility.
She is co-author of Helvetica Forever (Lars Müller Publishers) and Buchstaben kommen selten allein, a typographic reference book.
Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. At the latter meeting she introduces Type Record, a data base on typefaces run by her and Nick Sherman. Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal. [Google] [More] ⦿
Intel, with the help of Monotype, produced the free sans typeface family Clear Sans in 2013. Another download link. Clear Sans was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions.
The Typophile comments are all scathing: some say it is too close to DIN or Transport, too conservative. They also ask how the name can survive given that there are already typefaces named Clear Sans (2013: the infinitely more interesting sans typeface by Neil Summerour) and Clearview (2004: the famous American road signage typeface family by James Montalbano and Don Meeker)?
Ivan Petrov is based in Saint Petersburg, Russia. Bulgarian codesigner with Julia Zhdanova of the free typeface Artifika at Cyreal and Google Font Directory in 2011. He is currently located in Moscow.
At Cyreal, he published the free font Volkhov (2011; download at Fontsquirrel), a low-contrast serifed typeface with a robust character, and the didone typeface Prata (2011; for a free version, see here). He also created a number of beautiful experimental typefaces in 2011.
Bolgariy (2012) is a warm display typeface made for advertising Bulgaria.
In 2014, he published the 18-style sans serif typeface system Glober at Fontfabric. Inspired by strong German grotesques such as DIN and Dax, it has a great spectrum, from hairline (called Thin) to Heavy. Glober won an award at Modern Cyrillic 2014.
Typefaces from 2015: Stimul (a monoline unicase san).
Typefaces from 2016: Tavolga (a curvy sans family), Rossiya (a corporate Peignotian Cyrillic / Latin typeface for the rebranding of Rossiya Air Company).
Typefaces from 2018: Gilam (by Ivan Petrov, Plamen Motev and Svetoslav Simov: based on DIN, but more geometric and with obliquely cut terminals).
Ivo Grabowitsch presents the ten best fonts of 2010 and the honorable mentions. Ivo works at FontShop, so there is a bit of a bias towards FSI fonts, but it is still a good list.
Joao Pedro Jacques
Aka Josema Uros. Self-taught programmer in Barcelona, b. 1956, who set up the type foundry Type-O-Tones in 1992. He is also involved in Neue in Barcelona. Since 1993 he has been teaching at Eina, Elisava, ESDI and IDEP. His typefaces:
Julius Klinkhardt Schriftgiesserei
Julius Klinkhardt designed typefaces such as the blackletter font Neue Schwabacher (1922, Berthold). He ran the Julius Klinkhardt Schriftgiesserei in Leipzig in the late 19th century, after having acquired the type foundry of Gustav Schelter in 1871. It was taken over by Berthold in 1920. Their typefaces include Flora Ornamente (1906), Lithographia (1895), Secessions Schriften (1906), Baldur (1903, art nouveau; for a digital revivcal, see Alan Presott's New Baldur APT, 1996), Britania-Gotisch (1900, also known as Altgotish, and as Kloster Gotisch, and as Mammut Gotisch), Breitkopf Fraktur (just like versions of this typeface at C.F. Rühl (1912)), Helios Reklameschrift (revived by Ralph M. Unger in 2017 Affiche), Stempel (1912) and Berthold (1919)), Rosen Zierat (ca. 1910), Negro (1908), Elvira (1908), Cornelia Einfassung (1908), Hubertus Schmuck (1909), Filigran Ornamente (1910), Doris Ornamente (1917), Stigma Ornamente (1911), Bastard gross (a Kanzlei typeface with mager and fett versions), Werkschrift Germanisch (ca. 1880), Tango-Cursiv (1914), and Bismarck-Gotisch gross, all digitally revived by Gerhard Helzel. His TipTop (ca. 1900) was digitized under the same name by Petra Heidorn (2004). Tip Top Pro (2008, URW++) is a commercial revival of the same typeface by Ralph M. Unger.
On EBay, they were selling the specimen book: See here. Their main specimen books are Gesamt-Probe der Schriftgiesserei Julius Klinkhardt in Leipzig und Wien (1885, 690 pages) and Oktav-Probe II (1890, 452 pages). See the cover of an earlier specimen book.
Some type designers:
Examples from their catalog from 1890: Fette Universal, Garnitur XII and XIII, Garnitur XIV, Kurrentschrift, Verzierte Merkur Kanzlei, and Neue Cursiv Zierschrift, Antika and Italia Grotesk Versalien, drawing of a boudoir, Enge Egyptienne, Fette Cursiv, Fraktur, Halbfette Fraktur, Holz Schriften (wood type), more wood type, drawing of horses, Moderne Fette Fraktur, monograms, Neue Fette Fraktur and Victoria Gotisch, Neue Fette Fraktur, Neue Schmale Fette Egyptienne, Romanische Gotisch, Rundschrift Polytypen, Schmale Antiqua, Schmale Fraktur, Schmale Halbfette Grotesk, Schwabacher, Silhouette Initialen, Stickmuster Typen, vignetten, more vignetten, Zierschriften, more Zierschriften, Zweifarben-Schriften. [Google] [More] ⦿
Justin Bost (Washington, DC) graduated from the Corcoran College of Art + Design in Washington, DC, with a degree in Graphic Design. He morphed DIN and Didot together, two genetically incompatible parents, and created the mutant typeface Balance (2011). [Google] [More] ⦿
Designer of the lettering for traffic signs in Norway, called Trafikkalfabet (1965). This was digitized in 2006 by Jacob Øvergaard. Examples here and here. In the last link, Ralf Herrmann explains the flaws: It bears a resemblance to the German DIN typeface, but it also has some unique features, some of them are good, some are bad. Both typefaces share a very simple geometric design and they are good examples of typefaces, that look like they were made on the drawing-board of an engineer rather than designed by a type designer. [...] A type designers knows how to optically adjust geometrical shapes to make them look right. The tip of the M needs to go below the baseline and the dot of the i needs to be wider than the stem. But the design of the Trafikkalfabetet typeface rather aims at consistent values. As a result, the dot of the i is way too small, especially for a typeface that should be legible at great distance. The spacing of the typeface has the similar problems. Uniform values for left and right sidebearings cannot create uniform spacing. [Google] [More] ⦿
Eric Olson's sans family Klavika (2004) has many followers. Yves Peters writes: Klavika is a versatile workhorse typeface. Despite its clean design, it manages to retain a certain warmth and openness. The roman sports a lovely lowercase a, a cute little alternate ampersand, and one of the most beautiful lowercase g's I have seen in this type of design. The fact that it is released as fat OpenType is just icing on the cake and gives the competition a serious run for its money. Eric Olson explains: I was a little reluctant about the typeface for several months and even shelved it completely at one point. Anytime you apply some amount of simple geometry (in this case, straight sides) to a typeface the chances for stylistic overlap become great. Faces like DIN, Sophisto, Bell Gothic etc. have straight sides so the push to differentiate from them was tough. In the end I just forgot about it and tried to make an open, solid and logical typeface. Hopefully something flexible and rugged. Similar typefaces, as listed by Stephen Coles:
Kostic Type Foundry
Nikola Kostic is a graphic design graduate from the Faculty of Applied Arts (Belgrade), 2003. He works as graphic and type designer in Belgrade, Serbia. Together with his father, type designer Zoran Kostic, he set up Kostic Type Foundry in 2010. His first commercial font there is the Old Slavonic simulation face Taurunum (2011). He also made the Battlefin text family (2011), the organic Pagewalker (2011), and the slab family Battleslab (2011).
Typefaces from 2012: Kostic Serif (2012) is a classical transitional family co-designed by Nikola and Zoran. Argumentum is a balanced and stylish display face. Breakers is a sans typeface family that covers all weights, from Thin to Ultra. Its companion is Breakers Slab.
Typefaces from 2013: Bicyclette (a wonderful sans family, from Thin to Black, with small x-heigt, wide spacing, and gentle understated rounding).
Typefaces from 2014: Taurunum Ferrum (an octagonal iron and steel style typeface), Chiavettieri (a robust text typeface that won an award at Modern Cyrillic 2014), Briller (a gorgeous extra-wide display sans typeface in six weights).
Typefaces from 2016: Mongoose (a great condensed sans serif made for posters, headlines and logotypes).
Typefaces from 2017: Altivo (a wiorkhorse sans family with wide proportions, generous x-height, loose spacing, ink traps, large apertures and low stroke contrast, ideal for information design).
Typefaces from 2018: Rizado Script (a great copperplate calligraphic script that coording to Kostic epitomizes la dolce vita: it won an award at the Type Directors Club's Type Design Competition 2019), Monotalic, Roc Grotesk (a sans serif grotesk inspired by American wood types).
Typefaces from 2020: Allotrope (a 100-strong technical sans family ranging from Compressed to Wide).
Latinotype was founded in 2007 by Felipe Soto and Miguel Hernández, and is based in Concepción, Chile. Catalog of their typefaces. Latinotype now also includes the work of Daniel and Enrique Hernandez, Luciano Vergara and Joaquín Contreras. Their typefaces:
Also written Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial type foundry Lettersoup.
Share Tech Mono (2012, Google Web Fonts) is a monospaced sans face. Share Tech (2012, Google Web Fonts) is its proportional version. Both are derived from Share (2012, Google Web Fonts). He helped with the Greek and Cyrillic portions of FF Meta Serif.
Corporate fonts by Botio include MMH Netrange Cyrillic + Greek + Arabic, Cisco, Meta Science and Exploratorium Sans. He designed the icons for Museo de Art de Ponce.
In 2014, Botio designed the humanist sans typeface family PTL Manohara (Primetype) for Latin and Cyrillic.
In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova. Later in 2016, he published the nearly geometric sans family Quasimoda, which covers a full range of weights, from Hairline to Heavy.
A partial list of fonts used on or inspired by license plates: AFCarplates, Alpha Headline Pro Bold, Alpha Headline, Bryant-BoldCondensed, CPMono, DIN 1451 Engschrift LT Alternate, DIN 1451 Mittelschrift LT Alternate, Europe Numberplates (Belgium, France, Italy, Switzerland), FB Pennsylvania, FE-Mittelschrift, FirstUSA, FTNSauerkrauto, FTNSauerkrauto-Alternative, FTNSauerkrauto-Regular, FTNSauerkrauto-SC, Fucked Plate, Garage Gothic, Hydra-Bold, HydraText-Black, HydraText-Bold, Italian Plates 1999, Kenteken, KeystoneState-Native, KeystoneState-Relative, License Plate, Licenz, Mandatory, Misproject, Motorway, Penitentiary Gothic, PlateletHeavy, PTF-Nordic, Route66CondensedNF, Route66NF, SNV Becker, SNV Display, UK Number Plate, Zurich Cn BT Bold. [Google] [More] ⦿
Engineer at Siemens who developed the raster specifications for DIN 1451 in 1926-1927. Among the tens of DIN implementations, let us cite a free one at Open Font Library, uDIN 1451 Mittelschrift (2016, Peter Wiegel), which is based on Peter Wiegel's Alte DIN 1451 (2009), with a slightly modified letter t. See also Alte DIN 1451 Mittelschrift on Github and here. [Google] [More] ⦿
Encore magazine. In issues 13 through 18, we find articles by Albert-Jan Pool on the history of DIN typefaces and in particular, FF DIN. Annoying background noise when this site is open. [Google] [More] ⦿
Or Matthew Hinders-Anderson. Climate activist and lead designer for 350.org. His abridged CV in his own words: Born in Columbus, Ohio. Played with Legos. Loved to draw. Played drums in a high school band. Started messing around in Photoshop. Became a vegetarian. Studied green architecture at Western College (Oxford, OH). Discovered that making posters and websites was more fun than building models. Moved to Washington DC to intern at Free Range. Moved to San Francisco to work for 350. Made some good friends. Ate too many burritos. Moved to Brooklyn for the hell of it.
In 2014, Matthew created the free sans typeface family Klima for the climate movement: Klima is my version of a more relaxed DIN: slightly wider, with a similar geometric foundation but more plainspoken. In three weights with obliques, free for non-commercial, non-climate denial use. It is exquisite and quite good, except perhaps that the italics are just obliques (slanted romans).
In 2015, he made OCR-B, extending Adrian Frutiger's 1968 design towards more languages (by adding accents of all sorts) and making the weight lighter.
The all caps sans typeface Graph was used in websites, signs and posters for the 2014 People's Climate March in New York City. It is designed to be a display-oriented companion to Klima. It was inspired by typefaces like DIN 1451 Engschrift, Tungsten and Trade Gothic Bold Condensed.
In 2015, Graph was supplemented with Graph Paris in view of the major U.N. climate conference in Paris. It is characterized by the curvy elliptical A, V and W.
Dutch graphic designer student (b. 1982) who is based in Zwolle. He no longer makes type. His typefaces:
French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.
Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.
MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus (athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne, Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter), Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina (anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda, Ortem, Polka (a brush typeface), Renault, Rondo (retro script), Roslyn, Sayer Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop (stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant, Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African look font).
Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.
The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.
A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.
Graphic designers in Paris. Behance link.
Creators of a type family in 2007 called DIN Interpretation, which comes with a stencil style. Before that, they created PacBit (2009, pixel font), BlaBla (2003, a script typeface for comic books), Empowered (2009, a comic book family for the series BD Empowered), SamSam (2007, hand-printed), Crush (2006, pixelish), Blake & Mortimer (2008, based on the comic books series by E.P. Jacobs entitled Blake & Mortimer), and Caron (2006, a geometric sans family created for the Croulay vineyard). [Google] [More] ⦿
Graphic Design graduate of Solent University in Southampton, UK, who lives and works in Bergen, Norway. Her experimental typeface Mir Sans (2012 and 2013, vol. 1 and 2) is based on DIN.
A rather puzzling news item reached us in January 2011---the MoMA in New York has acquired 23 digital typefaces for its collection. I wonder how one acquires a typeface? Is there only one original? The typefaces were chosen with a foresight of the scope of the digital revolution, and they all significantly respond to the technological advancements occurring in the second half of the twentieth century. Each is a milestone in the history of typography. One can easily set up a web site that shows those 23 fonts, so what is the point of all this? The 23 acquired typefaces are:
Monospace fonts: Christopher Widdowson
Christopher Widdowson (Quiji, Australia) listed, showed, and compared these monospaced fonts for showing computer code, but that page disappeared. Here is that list.
Monotype Imaging Holdings Inc. is accepting entries through Nov. 7, 2010 for the first Web Font Awards, an international competition designed to recognize web sites that incorporate exceptional use of Web fonts. Prizes include two $3,000 cash awards, Apple iPad mobile digital devices and various typeface offerings from Monotype Imaging. Winning entries will be determined at a live judging event on Nov. 16, 2010, during the Future of Web Design conference, Nov. 15-17, in New York City. Winning entries of the Webfont Awards, in order: (1) The fifth issue of the German design magazine, Design Made in Germany, set in FF DIN, and designed by Martin Rack, (2) Armin Vit's Quipsologies, a division of UnderConsideration, uses Typekit fonts, (3) The German real estate database Markert Immobilien, which uses DIN Web Pro.
Namrata (Bangalore and later Ahmedabad, India) graduated as a visual communication designer from Srishti School of Art, Design and Technology in Bangalore, India. After a couple of years of drawing type at Indian Type Foundry, she went on to pursue the discipline further at Cooper Union in New York and received her Masters in Type and Media at KABK Den Haag, The Netherlands, in 2018. Her typefaces:
New York-based foundry run by Charles Nix (b. 1967, Ohio), who studied tye design at The Cooper Union. Charles Nix is professor of Typography and Book Design at the Parsons School of Design, New York. His foundry was helped by Wong Chee (digitization) and Stefano Arcella (ornament design). Fonts: Melaka, Batak, Nani, Tuk Tuk, Christmas (a softened blackletter with Christmas ornaments), Nix Rift (serif: the official typeface of the Cooper Union), Huta Bulon, Samosir, Island Special. Batak became ITC Batak (2002).
Charles Nix digitized the Augereau family for George Abrams in 1997 and manages the Abrams Legacy Collection, which also offers Abrams Venetian.
Typefaces in the New Fonts collection are derived from a rich variety of sources---from 15th century Spain to 21st century Sumatra. The Sumatran Series of fonts is inspired by hand-painted letterforms from commercial signage in the tiny village of Tuk Tuk on the island of Samosir in Northern Sumatra. The series consists of six typefaces: Batak, Nani, Tuk Tuk, Samosir, Melaka, and Huta Bolon.
In May, 2015, Charles joined Monotype as a Senior Type Designer, and later became its Type Director. His work at Monotype:
Designer and art director from San Diego, CA, who studied at San Diego State University. Working on this display sans face (2006) and on Stitch Gothic (2006, sans). This other display sans (2006) is a large family that competes with DIN, Franklin Gothic (slightly) and Interstate (1993, Tobias Frere-Jones). [Google] [More] ⦿
Gogoll was born in Hamburg where he studied type design with Jovica Veljovic at the Fachhochschule Hamburg. He is a freelance graphic designer since 1997. Designer at Bitstream of the Drescher Grotesk family (2001-2002), a geometric design named after Arno Drescher, which consists of Drescher Grotesk Light, Book, Roman and Demi. This revival of Drescher's Super Grotesk of 1930 (Schriftguss) was awarded the 1999 Kurt Christians Award.
He was at some point working on Klartext 128, a barcode font with 46 weights, the display typeface Kreiss and FF DIN Italic (with Albert-Jan Pool).
In 2017, he published the headline font Gwent for the game Gwent (CD Projekt).
In 2019, he designed Night Sans and Night Serif.
Nofont is an absolutely wonderful Swedish type experiment page with many pixel fonts. The free fonts by Solna, Sweden-based Andreas Carlsson include Artek-BloxFilledTwiggy (1998, pixel font), Artek-BloxFilled, Artek-BloxTwiggy, Artek-Blox, Artek-OutlineTwiggy, Artek-Outline, Artek-Regular, Artek-Twiggy, ChemicalBreakfast-Normal, ChemicalBreakfast-Outline (1999), CWebLarge (2000, pixel font), CWebSmall, Ihateyou (2000), MWeb (pixel font), Positions-AttheMovies (abstract forms). Commercial fonts: DIN Cafe, Megafat (pixel font), NoInitials (caps). Experimental/futuristic fonts: Distribution, Intershitty, Sentenced, Tube, Klum, Click Megafat. Dingbats: I Hate You, Positions. It seems the fonts are no longer available for distribution.
Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line. In 2016, he set up Occupant Fonts as part of the Type Network.
In September 2017, Morisawa announced the establishment of "Morisawa Providence Drawing Office" in Providence, RI, as its new base for developing Latin fonts. Cyrus Highsmith, who had served as a designer for Font Bureau for many years, and who started Occupant Fonts in 2015, has been appointed as its creative director. By this move, Morisawa acquired Occupant Fonts.
Author of Inside Paragraphs, written for a foundational typography course. Matthew Carter writes: Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that's not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language, and a legible typeface for the text.
Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Charles Loupot's St. Raphael poster from 1948), Eggwhite (2000-2018, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic; see also Benton Sans Wide, 2013), Occupant Gothic (2000-2018, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.
At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.
His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.
Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco. See also Quiosco Display.
In 2006, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli. Scout is a utilitarian sans serif series that was followed in 2013 with Scout RE---four styles optimized for screen text and small sizes in print. In 2016, he added Scout Text.
In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007 until 2010, he developed Salvo Sans (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.
Typefaces from 2015: Antenna Serif.
Typefaces from 2016: Gasket, Gasket Unicase, Gasket Uncial.
Typefaces from 2017: Allium.
Typefaces from 2018: Allium Text.
Speaker at ATypI 2013 in Amsterdam: Don't design web fonts Its theme is: The successful type series of the future will be the ones that can move between media. He says that new typefaces should be smarter than the devices that use them.
Quoting: In the early days of computer optical character recognition, there was a need for a font that could be recognized by the computers of that day, and by humans. The resulting compromise was the OCR-A font, which used simple, thick strokes to form recognizable characters. The font is monospaced (fixed-width), with the printer required to place glyphs 0.254 cm (0.10 inch) apart, and the reader required to accept any spacing between 0.2286 cm (0.09 inch) and 0.4572 cm (0.18 inch). The OCR-A font was standardized by the American National Standards Institute (ANSI) as X3.4-1977. X3.4 has since become the INCITS and the OCR-A standard is now called ISO 1073-1:1976. There is also a German standard for OCR-A called DIN 66008. [Google] [More] ⦿
In 1968, American Type Founders produced OCR-A, one of the first optical character recognition typefaces to meet the criteria set by the U.S. Bureau of Standards. The design is simple so that it can be read by a machine, but it is slightly more difficult for the human eye to read. OCR-A follows the 1981 standard set by the American National Standards Institute (ANSI), X-3.17-1981 (size I). The same design is also specified for the German DIN 66008 standard. The letters are rounded and octagonal, a true monstrosity in vogue ca. 2001 in Swiss and German graphic design circles. [Google] [More] ⦿
A project started by Open source supporters in Belgium (Pierre Huyghebaert, Harrisson, Philip May, Nicolas Maleve and Femke Snelting) and executed by Paulo Silva in Portugal in the form of the free typeface OpenDinSchriftenEngshrift (2009), which is based on the master drawing of DIN for the Prussian Railways.
They state: In the coming year, we will be working on a new digital rendering of the classic DIN font with the aim to release it in the public domain. We chose DIN (often referred to as "the German Autobahn typeface") as a starting point for a few reasons. First of all, because it is one of the rare typefaces that was released into the public domain from the moment it was designed in 1932. While the original drawings remain freely available, various type foundries have copyrighted digital renderings (such as FontShop's FF DIN). Secondly because its particular history brings up many questions about standards, their political implications and relations to use. In 1936 the German Standard Committee decided DIN should be employed in technology, traffic, administration, and business, with the idea to facilitate the development of German engineering and industry. [Google] [More] ⦿
Open Source Publishing (or: OSP)
Free software project based in Belgium and run by four people (and I quote from their web page):
Rasmus Lund Mathisen is a prolific Danish type designer who lived in Copenhagen. At the School of Design of KAKD (The Royal Danish Academy of Fine Arts), he obtained a BA (2008-2011) and an MA (2011-2014). After graduation Rasmus joined Overtone in Aarhus. Overtone specializes in branding and corporate type design.
His typefaces include:
London, UK, and Athens and Kifissia, Greece-based type foundry started in 2001 by Panos Vassiliou. It specializes in fine multilingual (usually Latin, Greek and Cyrillic) typeface families. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 2001 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type. Apart from its commercial line of typefaces, Parachute offers bespoke branding services for corporate typefaces and lettering. Customers include Bank of America, the European Commission, UEFA, Samsung, IKEA, Interbrand, National Geographic, Financial Times, National Bank of Greece, Alpha Bank and many others.
Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.
At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:
Their type blog is called Upscale typography.
Portuguese type designer in Porto, b. 1972, who created NewBodonesque (2004-2005) as part of Pedro Amado's Typeforge open source font project. Creator of Gentesque (2009), an Open Font Library family based on a scan of the Gentium family. Aka Nitrofurano.
In 2009, he and others started work on OpenDinSchriftenEngshrift, an open source typeface that is as close as possible to the original DIN font done for the Prussian Railways. It was made with open source tools such as Inkscape and FontForge.
In 2014, he published Cyrillic versions of Not Courier Sans (2008, Ludivine Loiseau).
Here we go, in order: Freigh Text, Helvetica Condensed, Freight Sans, Helverica, Modus, Akzidenz-Grotesk, Metroflex Uni, Meta 1, Son Gothic, FF DIN, Bauer Text Initials, Interstate, District, Freight Micro, Mockingbird, Frutiger, Cezanne Pro, Clarice, Zapfino, Meta 2, Fono, Metroflex Narrow, Futura, The Sans Basic, Akzidenz-Grotesk Condensed. [Google] [More] ⦿
At iFontMaker, Pietro Cesare Bologna designed these typefaces in 2016: Hand Din Engschrift, HandDin 2.0, HandDin 1.0, Pit 2016 Script, Pit 2016 Extrude, Manolibera, Walt Pit (Walt Disney script), Giovedi (a great poster script), Susanna, Hand Dillium, Bollicina. Earlier, he made HandtypeCondensed and Bollicina Type Hand (2010, hand-printed). Aka Pitbol. Old iFontmaker link. [Google] [More] ⦿
Type designer based in Sofia, Bulgaria. As a student working with Fontfabric in Sofia, Bulgaria, Plamen Motev designed the free circle-themed slightly condensed retro typeface Phenomena (done together with Radomir Tinkov) and the free 8-style narrow grotesque family Akrobat for Latin and Cyrillic in 2016.
Typefaces from 2018: Gilam (by Ivan Petrov, Plamen Motev and Svetoslav Simov: based on DIN, but more geometric and with obliquely cut terminals).
Rasmus Lund Mathisen
Ray Larabie's classification
Ray Larabie is upset with the lack of relevance of older type classification systems. There is not enough variation for the display, sans and decorative styles that are being produced nowadays. His classification proposal made in October 2011 [all comments are his]:
Joe Clark's article on reviled fonts, with selections of hated or poorly designed fonts offered by typographers. The list has Fago, Reiner Script, Rotis (hated by Unger), Helvetica, Chicago, DIN (hated by Porchez), Arial and Souvenir. [Google] [More] ⦿
Revolver Type Foundry
German type designer born in Frankfurt in 1973. He studied in Offenbach at the Hochschule für Gestaltung. He assisted Akira Kobayashi with some projects, and still lives in Frankfurt. In 2017, Lukas Schneider set up Revolver Type Foundry.
At Typeoff.de, he created the Western billboard typeface Jeans (2004), AT Stencil (2004) and the kitchen tile typeface Disco3000 (2004). At the Hochschule, he created Gazoline, a grotesk face. Lukas Schneider has free-lanced for companies in Frankfurt as well as for the magazine form and for Linotype. He runs his own studio in Frankfurt, called Protago Graphic, and most recently started Snider Inc, also in Frankfurt.
He custom designed in 2006-2007, under the supervision of Prof. Johannes Bergerhausen and Prof. Ulysses Voelker at Fachhochschule Mainz the Plus family (for the Plus supermarket). In particular, one font is called Plus Exklusiv Medium. Another custom design is DRAFTFB for Eikes Grafischer Hort, a hand-printed typeface that covers Latin and Cyrillic.
In 2016, Lukas published Expose at Indian Type Foundry. This 4-style sans typeface is "constructed" or "engineered" for use in headlines.
Typefaces at Revolver Type Foundry: Damien (2017, in Display and Text subfamilies), Dinamit (2016: a terrific DIN Breitschrift, abandoned by the German DIN norming institute around 1936), Mondial Text (2016: a striking didone based on Hans Bohn's Mondial from 1930), Mondial Display (2016), Newson (a low contrast wayfinding sans with plenty of dingbats---hey, Frankfurt Airport managers, is anyone paying attention?).
Richard Diaz Granados
Roger S. Nelsson
Sabina Chipara (or: Kipara) was born in 1987 near the seaside in Constanza, Romania. She moved to Bucharest to study graphic design at the National University of Arts in Bucharest, Romania, and at EINA Centre Universitari de Disseny i Art de Barcelona. She took the TDi program at the University of Reading, UK, in 2016. Speaker at ATypI 2018 in Antwerp, where she surveys the archaic Romanian alphabets. She is currently based in Amsterdam. Her typefaces:
Aaron earned a Bachelor's degree in Asian Studies, with a minor in Japanese, at Whitman College in Walla Walla, WA. Aaron is a graduate of the University of Reading in 2011, where he earned an MA in typeface design. His graduation typeface was Saja (2011), which covered Latin and Korean. In the Fall of 2011, he joined the Microsoft Typography team.
In 2015, at Microsoft, he designed the free sans typeface Selawik, which is metrically compatible with the infamous Segoe UI. Selawik now also exists as a variable font.
In 2016, het up his own type foundry in Seattle, Saja TypeWorks. At Saja TypeWorks, he published the sans-serif typeface Salish, which is inspired by the art of the Salishan tribes in the Northwest Americas: It draws heavily on the concept of the ovoid, a wide ovular shape that is flat on the bottom and top heavy, that is central to the art style known as Formline. Language support includes some 200 Latin-based languages as well as the necessary orthographies for all Salishan languages, including: Comox, Sliammon, Klahoose, Pentlach, Sechelt, Squamish, Halkomelem, Nooksack, Straights Salish (Saanich), Lushootseed, S'Klallam, Quinault, Upper Chehalis, Lower Chehalis, Cowlitz, Bella Coola, Ditidaht, Tseshaht, Nuu-chah-nulth, Ehattesaht-Nuchatlaht, Kwak'wala, Shuswap, Lillooet, Thompson River Salish, Coeur d'Alene, Columbia-Moses, Colville, Okanagan, and Montana Salish. Haida (a non-Salishan language) is also supported.
At FontStruct, he designed Syzygy.
In 2017, he published HWT Aetna at P22. Aetna is a sturdy roman wood type first see in William H. Page's 1870 specimens.
Aaron Bell digitized the free logo font Air America in 2018. He writes: This font was produced for William G. Sherman who recreated this alphabet from samples of the logo and other sources from the airline company Air America.
In 2018, he published the free DIN-based sans typeface Bahnschrift for Microsoft at Open Type Library. The font posted at Open Font Library is flawed (look at the capital A), so I wonder if that post was done by an impostor.
For Microsoft's Windows 10, he designed the open source monospaced font Cascadia Code. The plan is to add support for Greek, Cyrillic, Vietnamese, Arabic and Hebrew during 2020.
Sandra Winter is a German font designer and graphic artist based in Frankfurt am Main. After training in advertising, she studied Communication Design in Darmstadt, and type design at the University of Reading (where she graduated with an MA in 2006). She works now at Linotype, Germany, and as a freelance designer.
In 2009, while at Linotype with Akira Kobayashi, she worked on DIN Next, a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. It was published at Linotype as DIN Next Pro.
In 2012, Sandra Winter and Akira Kobayashi published Avenir Next Rounded.
In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk, and competes with Rod McDonald's splendid Classic Groyesque. Klingspor link. [Google] [MyFonts] [More] ⦿
Several groups are generally distinguished:
Classic (mostly sans) typefaces at FontShop: FF Meta® is one of these — and the recent launch of headline and ultralight styles breathe new life into the Erik Spiekermann masterpiece. Other classics that look great on screen include Avenir, FF Dax®, Interstate, FF DIN®, and the Thesis Series (TheSans®, TheSerif®, and TheMix®). [Google] [More] ⦿
Graphic design student at the University of Applied Arts in Vienna. Before that, he was art director in his native Turkey (b. Izmir, 1989), where he studied computer engineering at Bahcesehir University. Behance link.
Creator of the 3-weight type family Bled (2012), which has some rounded cornes and feels like a distant relative of DIN. A lot of design thought went into this typeface. We are promised a free download soon.
About the type used on German license plates. FE-Schrift by Karlgeorg Hoefer (1914-2000) replaces the older DIN-Schrift. FE Schrift is based on the letterforms of a little known typographer (the article does not say who). [Google] [More] ⦿
Graduate of Central Saint Martins College of Art and Design in London. He started out designing fonts for [T-26] and Garagefonts, but is also (or, perhaps, mainly) a letterer. In 2000, Lester joined Agfa Monotype. Typefaces:
Graz, Austria-based designer of Graz T-Type (2014), a multiline typeface for traffic signage. Stratos Sans (2015) is inspired by geometric forms and the German Normschrift (DIN) that is typically used in architecture and engineering. Behance link. [Google] [More] ⦿
He created the minimalist high-contrast Qag (2009, Mostar Design Company), Muneris (2010, squarish), some experimental typefaces, the minimalist geometric sans typeface Monolite (2013), Berque (2010, a minimalist rounded sans typeface with hints of DIN), Kolg Gothic (2011), Jirue (2011, high-contrast didone), Kajf (2011, piano key face), NERC (2011, avant-garde), ARGN (2011, a rounded monospaced stencil family), FOSU (2010, hairline avant-garde sans, at HypeForType), Kosumi (2014, experimental), Roxic (high contrast art deco typeface), Shine Pro (2014, a neutral sans), and Squoosh Gothic (2014, a headline sans).
Smashing Magazine: 80 Beautiful typefaces for professional design
Vitaly Friedman, editor-in-chief of Smashing Magazine, an online magazine dedicated to designers and developers, gives us his list of best commercial fonts in 2009:
The typophiles were asked in 2003 to list the 20 essential typefaces to start a design career. Here we go, unedited:
Stereo Type Haus
Stereo Type Haus (or STH) is a commercial foundry in Brooklyn, NY, est. 2000, offering fonts by Rick D. Granados ((b. Miami, FL, 1970): Bucks (graffiti font), Bushwick (handwriting), Ballbuster, Bedford (2010, an award-quality dot matrix family inspired by mosaic lettering by Heins&LaFarge, architects of the IRT (Interborough Rapid Transit) in New York City: Bedford hints at the station names on platform walls which date back to 1904 but modernize it through a rigid grid system and rounded corners), Bockhold (2010, a humanist take on DIN), Broadcast (neat stencil face), Konstrukt (stencil), Construkt (2009, a unicase stencil), Falcon, Gran Torino, Roller Girl, Opera (2005, with Ros Knopov), Prisma 2012 (2010, an octagonal multiline face), Radiac (2010, a monoline squarish unicase face), Rukbat, Stylus, Schmearox, Tech Stencil (2000), Noise&Hum, STH Sirena (2006, inspired by hand-painted signage found in "Little Haiti" Miami, Florida), Boris Dworschak (Partisan East, Partisan West, Basic, Gaijin. Other designers include Nikola Djurek (Cornerset (pixel), Aiseman), Luis Valle&R.D. Granados (Lillian, a script face), Arnold Steiner (Statica, Organic Mechanic), Michael Clarke (Paris), Carlos Alfonso (Locut, 2Bit), Denise Wilton (Stereobitz, a stereo dingbat face), Nikola Djurek (Tribeca, Magasine, Soho, Novella) and unnamed author fonts such as Palleta, Rook, STH Kit 1, Stereobytes (audio dingbats), Stereobytes Vintage (hi-fi dings), Nomad (a deconstructivist stencil face).
Fonts sold by MyFonts: the DIN-inpired 6-style sans family Superbastone (2006), the futuristic Stereotype family (2005), the skull dingbat font Catacumbes (2006), the ransom note font Cavillus (2006), the dog dingbat font Charliedog (2006), the leafs dingbat font FontFoliae (2006), the Stencil G family (2006) and the rounded octagonal family Pied de Poule Text (2006) were co-designed by all three founders.
In 2007, they added Insects (dingbats), Design We Like (dingbats), MyFace (an award-deserving collection of typefaces), Friz Biz (simple children's hand), Washing Machine (dingbats), Superbastone (sans family), Superclosed, Supersquared, Superstarlike, and Superwood.
In 2008, we saw the publication of Retrofont, a very condensed high contrast sans.
In 2009, the dot matrix typeface Superpois saw the light.
Suitcase Type Foundry
Suitcase Type is a Czech foundry, est. 2003 by Tomas Brousil (b. 1975), who lives in Prague. He graduated from the Prague Academy of Arts, Architecture and Design (Type Design and Typography, MgA. 2009) where his graduation project was the 96-family Tabac typeface system, published in 2010. He teaches in the Type Design and Typography department of the Prague Academy of Arts, Architecture and Design.
The Tabac family started with Tabac Sans in 2010. It was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big.
Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face).
2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes.
Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif.
Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family).
Typefaces from 2013 include the roundish sans family Ladislav: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. The g consists of two disjoint circles.
Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness).
Typefaces from 2015: Pacifista (stencil).
Typefaces from 2016: BC Novatica (by Tomas Brousil and Marek Pistora, t Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.
Brousil made many corporate or identity fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union).
Tagir Safayev is a Russian type and graphic designer. He created more than one hundred fonts, among which ITC Stenberg (1997, Cyrillic simulation face), which was originally called Rodchenko (a stencil font). Tagir Safayev is also active in book design and advertising. From 1991 until 2003 he worked as a type developer for ParaType. In 1995 he received the Rodchenko Award of the Society of Designers of Russia for Rodchenko typeface [look for Rodchenko here (italic version) and here, or for the ParaType family (1996-2002)]. He is a member of the Moscow Artists Union and of the Association Typographique Internationale (ATypI), and a co-founder of the Type Designers Association, Moscow. He won an award at Bukvaraz 2001 for Serp'n'Molot (2001, meaning hammer and sickle; forms inspired by lettering of Sergey Chekhonin (1878-1936)). Professor of the National Design Institute of the Designers Union of Russia. Teacher at the Higher Academic School of Graphic Design in Moscow. Currently staff designer at ParaType in Moscow. Faces: Bloc (ParaGraph, 1997, based on Hermann Hoffmann's Bloc from 1908), Black Grotesk (1997, based on Gasetny Chorny ("Newspaper Black"), of the O.I. Lehmann foundry, St.Petersburg, 1874, and Kompakte Grotesk (Haas)), PT Courier (1990, ParaGraph), PT Courier Monotonic Greek (1990), PT Courier Polytonic Greek (1990), PT DIN Condensed (1997), Birch (1995, handwriting, ParaGraph), PT FreeSet (1991-2000, based on the Frutiger typeface family), LEF Grotesque (1999), PT Epsilon (1995, handprinting), Etienne (Kremlin Pro (2010, Paratype), PT Hermes (1993; Based on Placard MT Condensed typeface (Hermes Grotesk by Wilhelm Woellmer, 1911) of the Lange type foundry (St.-Petersburg), an adaptation of Hermes Grotesk, of the Woellmer type foundry (Berlin, 1911). This sans serif with its old-fashion stability looks well in advertising and display typography), Bitstream Humanist Cyrillic 521 (1999), PT Plain Script (1995, comic book lettering), PT Irina (1995, caps-only comic book face), ITC Kabel Cyrillic (1993, after the Original Kabel, 1976, Vic Caruso), Frutiger (1992, after the 1976 original), Meta+ Cyrillic (2000), Mirra (1999), ITC New Baskerville Cyrillic (1993, ParaGraph), ITC Banco (2000: the Cyrillic version of the font by Phill Grimshaw, 1997, which in turn was based on Roger Excoffon's Banco at Fonderie Olive in 1952), Bank Gothic (1997: a Cyrillic version of the 1930-1933 original by Morris Fuller Benton at ATF), ITC Officina Sans Cyrillic (1995), PT Proun (1993, a Cyrillic version of Choose One/Ten), PT Rodchenko (1996), ITC Stenberg (1997), ITC Stenberg Inline (1997), Swift Cyrillic (2002), PT Yanus (1999, originally created as a corporate identity for Aeroflot), PT Unovis (2001, inspired by the Russian avant garde of the 1920s), this unfinished Cyrillic version of Trajan (1994-1996), and Serp n'Molot (2001). At ATypI 2008 in St. Petersburg, he spoke about the various Cyrillic adaptations of Cheltenham done in the last century, prior to his own Cyrillic extension for NYTimes Cheltenham, done in 2008.
In 2012, he designed these typefaces: Kinghorn 205 (Egyptian), Kinghorn 105, Kamerik105 (+Kamerik 105 Cyrillic, 2014), Kamerik205 (an avant garde type family with many weights, including a hairline), Karben, KarbenMono (a mono-width sans family in the style of DIN), Karben 205 Mono, Karben 205, Karben 105, Karben 105 Mono, Kessel105, Kessel205 (a geometric sans family influenced by Futura; see also Kessel 105 Remix, 2016, and Karben 105 Stencil, 2016), Kettering105, Kettering205 (a slabby almost typewriter typeface influenced by Lubalin and similar avant garde styles), Kiruna (a legible and very open sans family), Kursk105, Kursk205 (constructivist), Kaleko 105 and 205 (Gill Sans-style sans families with large x-heights; see also Kaleko 105 Remix (2016) and Kaleko 105 Round Remix (2016), and the more geometric and medium x-height families Kaleko 105 Text and Kaleko 205 Text (2018)).
Typefaces from 2014: Kelso (an outline font with outlines that consist of a single continuous line), Klef (a geometric sans influenced by Avant Garde), Kenwyn (a playful bullet-holed Egyptian; +Stencil), Korbin (a semi-geometric grotesque family), Kandel 105 and 205 (geometric, tri-line, display and headline font).
Typefaces from 2015: Kinsey.
Typefaces from 2017: Kittle Round (stencil), Kittle Rough, Kitami (monoline sans), Keymer (a sans typeface family inspired by Margaret Calvert's Transport typeface), Keymer Thug (distressed), Keymer Radius (a rounded version), Keymer Block (a grungy version).
Typefaces from 2018: Kessel 105 Text, Klamp 105 (a tall geometric sans with a handicapped g, followed in 2019 by Klamp 105 Mono), Klamp 205 (a tall geometric sans with a fine two-storeyed g, Klamp 205 Mono).
The logos of Web 2.0
Stephen Coles identifies and classifies the fonts used in some of the best web-specific brands. He declares lime green to be the official color. His categories are
Born in Boston in 1976. Graduated with an MA in Typeface Design from-the University of Reading and studied at the Rhode Island School of Design. After graduation, he worked briefly for Jeremy Tankard and Font Bureau. In 2005, he worked briefly for Porchez Typofonderie. He currently lives in Heidelberg, Germany.
He designed these typefaces:
Speaker at ATypI 2017 Montreal.
Total Font Geek
Nate Halley (aka Total font Geek) is the creator of free fonts, mostly made with FontStruct. The handwriting typefaces were made with MyScriptFont.
Typefaces from 2014: Casale Finale NBP, Mozart NBP (pixel face).
Typefaces from 2013: Halleyvetica Neue NBP (hand-printed), Grishenko Opiyat NBP (inspired by Spaceport, House Industries), Cinema Gothic NBP (octagonal), NBP Readout, Dexter NBP, Roentgen NBP (pixel face), Super Thing NBP, On Strike NBP, Quantifier NBP, Voyager NBP (sci-fi face), Cellblock NBP, Klassiq NBP, Rosenkrantz (pixel face), Octapost (octagonal), Snare Drum One NBP, Meyer Gothic NBP (octagonal), Mindfuct NBP (squarish), Miranda NBP, Spire NBP (squarish), Casale Two NBP (pixel face), Kernel Panic, Sebastian Gothic NBP, Theorem NBP, Signus Digital Round (pixel face), Signus Bold, Saville Row NBP, Kernel Panic NBP, Guru Meditation NBP (pixel face), Mayfair NBP (pixel face), Calibration Gothic NBP Latin (pixel face), Mercutio NBP Basic (pixel family), Plutonium NBP (octagonal), Mr. DNA NBP, Mr. Kamikaze NBP, Kraftwagen Grotesk (inspired by DIN).
The list of typefaces made in 2012: Astragal NBP (pixel face), Nine by Five NBP (pixel font), Lionel Micro NBP (pixel font), Brighton NBP (2012), Brighton Two (2012, +Sans, +Serif, +Gothika), Synchronizer NBP (pixel face), Blackpool NBP, Forty Seven NBP, Motorik NBP, Spyware NBP, Balthasar Regular (pixel face), Kensington Gothic NBP (sci-fi), Energy Dome NBP, Mushroom Kingdom NBP, Nintendo Dingbats NBP, Skyline Beach NBP (octagonal), Book Report, Stevenage NBP, Northside NBP (fat finger face), Please Don't Leave NBP, Raven Sans NBP (inspired by Bank Gothic), Raven Serif NBP, Grishenko Novoye NBP (+Cyrillic), Nintendo Dingbats NBP, Wensleydale Gothic, Dear Katie (hand-printed), Prospero NBP (pixel font for game consoles), Middle School Crush NBP, Kinderarten NBP, Class Project NBP, Aristotelian NBP (Greek simulation font), Akron NBP (Akron Sans NBP, Akron Serif NBP), Erbos Draco Nova NBP (dot matrix font), Shylock NBP (dot matrix face), JustAnotherDay NBP, Soo Bawlz NBP (athletic lettering font based on the logotype from the Hardcore Devo albums), Beautiful World NBP, Basil Gothic NBP, Halleyvetica NBP, HalleyScriptThin NBP, GradeSkooler NBP, GrishenkoNBP (rounded techno sans), Glasstown NBP, Kinishinai NBP (octagonal), Corporate Gothic NBP, Erbos Draco Monospaced NBP (dot matrix face), Smart Patrol NBP (pixel face), Recombo NBP (+Round), Zarbville NBP (pixel face), Weird Science NBP (sci-fi typeface), Sharp Objects NBP, Casale Micro NBP, Dilithium Pixels NBP, Casale NBP, One Time NBP, Schutzgitterhaus-Grotesk NBP.
The typophiles are listing traffic system typefaces used in various countries. Here is a partial list extracted from that thread. Images collected by Ralf Herrmann.
Russell Bean (Type Associates of Pyrmont, Australia, est. 1993) is an Australian type designer (b. Parkes, NSW, 1947). He worked in many ad agencies and later in the studios of the local photolettering houses, redrawing typefaces for filmfont setting as well as hand-composing headlines using photo-mechanical devices.
In the early seventies, he designed a five-weight Avant-gardish family named Virginia (now also digitized).
He then worked for the Los Angeles studio of Lettergraphics International in charge of lettering, logo design and converting type designs to film fonts. It was at this time (1973) that the Washington Family was completed. Upon his return to Australia that year, he teamed up with a long time colleague to form a design and art group in Sydney.
Russell has been responsible for the creation of many Australian icons, including the Qantas logo. Russell Bean has served on the executive committees of The Australian Type Directors' Club and Australian Graphic Design Association.
Typefaces available from MyFonts include Bougainville (1994-2005, a condensed sans family), Fremantle (1994), Beanwood Script (1997, a calligraphic script co-designed with David Wood), Craigie Halpen, Eumundi Sans [also available in the Agfa Creative Alliance], Eumundi Serif, Linear, Melissa, Rhodamine Blue, Sanguine (2004, handwriting), Semaphone (brush writing), Washington (1973, art deco family--really nice geometric letterforms with at least one hairline weight), and Xaltier.
In 2007, he added the Threepoints East, North and West sans typefaces.
About the Avant-Garde-style geometric sans family Virginia (2008), Bean writes: she was the most popular headline typeface around, at least in my home town in the year of her release circa 1970. That was the year my five-weight design won the inaugural (and only) Lettergraphics International Alphabet design competition and shut out 5000 competitors. Alas, Lettergraphics ceased to trade from its LA studios after the mid-80s and Virginia's two-inch film fonts were left to collect dust on the cutting room floor.
The Koomerang family and Karmel (flare-legged retro display) were added in 2008.
In 2009, Bean created Comp Sans 226, Argyle Rough, Empirical (12-style DIN-like sans family), Dotmap (pixel family) and Macquarie Heavy.
In 2010, he made the poster signage typeface Hangtime.
In 2013, he published the hand-printed typeface famiy Progeny.
He is associated with Keith Morris in the type foundry Bean & Morris.
Typefaces from 2019: Aodaliya (an ultra-condensed typeface family).
Type classification systems
Dead link. Joao Pedro Jacques' Brazilian page listing type classification systems: Maximilien Vox (1954), ATypI (1961), DIN 16518 (1964), BS 2961 (1967), Monotype (1970), Bitstream (1986), Linotype (1988), Adobe (1991), Microsoft (1991), URW++ (1996), PANOSE Latin (1997). [Google] [More] ⦿
Typefaces no one gets fired for using
Cameron Roll is a freelance new media designer, author, and speaker. He has a blog in which the most trustworthy typefaces are listed. Taking votes from 61 typophiles gave these results:
Typeforum presents the best fonts in the world. Ingo Preuss' list:
Ingo Krepinsky (b. 1976, Eschwege) graduated in 2000 from Fachhochschule Hannover, and in 20903 from Hochschule für Künste Bremen, where he specialized in typography. He is a cofounder and type designer at Typonauten, a Bremen-based commercial font foundry started in 1998 (together with Christoph Hanser and Stefan Krömer). MyFonts sells these fonts: Freakshow (2005, grunge), Nautilo Font System (2002, a futuristic font family), Oklahoma (2003, Wild West, handpainted look; the Pro version from 2012 was done with Gunnar Link), Toon Town (2005, a comic book typeface done with Stefan Kroemer), B-Movie Retro (2007 a brush font series with Florian Schick and Stefan Kroemer), B-Movie Splatter (2007, a grunge version of that family).
Newsletter (2007) is an extensive no-frills sans family influenced by fonts like OCR-B and DIN. Newsletter Stencil was published at Volcano Type. Creator (with Gunnar Link and Stefan Kroemer) of Royal Oak Decor (Victorian ornaments), Royal Oak Sans (Edwardian headline sans) and Royal Oak Serif (Western headline face).
Other commercial fonts: Dimitri (Cyrillic simulation), Flarrow, Grebbelinsky (nice dingbats), Killvetica, Litterae Diaboli, Mosaixxs, Nautilo (pixel font), Navtilo (pixel font), R2D2 (futuristic), Sheffield (sans), Singapur (2002, a gambling dingbat font), Oklahoma (2002, Egyptienne), Transarc, Uxmal (unicase with Mexican ornaments), Weimar (Bauhaus style), Estelec (Cyrillic simulation), Trixel (2002, free pixel font), Sport1, Spacelord (2013, sci fi face).
In was waiting for this moment, but in 2015, Typonauten published the free slogan typeface Je Suis Charlie. Other free fonts include the dingbat face BremerSchriftkoffer (2010).
The typophiles suggest typefaces for the identity of an engineering firm. Mostly sans typefaces, but a few serif typefaces have crept into the list as well. Choices include DIN, NeoTech Sans, Klavika, Cachet, Router, Flama, Section, Morgan, Gravur Condensed, Isocteur, Isonorm, Meta Serif, Chevin, Serifa. [Google] [More] ⦿
Vasily Biryukov graduated from Stroganov University of Industrial and Applied Arts in Moscow as graphic designer specializing mostly in periodicals. Russian designer of Chift, a typeface that won an award at Paratype K2009. Chift (2009) was published by Alexandra Korolkova's foundry.
In 2013, he published the Peignotian typeface Romanovsky at Paratype: Romanovsky is a font developed on the base of samples from the catalogue of Osip Lehman foundry in Sankt Petersburg. Original Latin design that was used for Romanovsky can be found in Feder Grotesk by Jacob Erbar. The current digital font is not a scanned version of Lehman's samples but a newly drawn typeface that differ from the original in many details.
Velvetyne Type Foundry (or: VTF)
Versch Ontwerp consists of Joris Budel (1984, Nijmegen, The Netherlands) and Yorick de Vries (1985, Lelystad, The Netherlands). Creators of the free font Habitat (2009), a grungy DIN "custo-made for Habitat de Rotte". Another URL. [Google] [More] ⦿
At Walter van Rijn's site, called Symbiotext, one finds a description of his Symbiote projects. One of these led to the grunge-style typeface Symlogidins (2012, free at OFL). This sans typeface is partially based on OSP-DIN.
In 2014, Walter van Rijn created the Latin/Cyrillic typeface Putintin, showing both languages at the same time. He explains: If you type on a Latin keyboard the Latin letters appear on top and on a line underneath appears the Cyrillic, creating two lines of text at the same time. Please double the font size to get a readable text. If you type on a Cyrillic keyboard the Cyrillic appears on top with the Latin underneath. Putintin was created in response to the Russian annexation of the Crimea, which clearly breached UN resolutions and memoranda affirming Ukraine's territorial integrity, which Russia signed as well. To be precise, Resolution 2625 of 24 October 1970 and the Budapest Memorandum of 5 December 1994 (the Memorandum on Security Assurances in Connection with Ukraine's Accession to the Treaty on the Non-Proliferation of Nuclear Weapons). OK now it is confirmed that the UN is dead, we need to re-establish East West communication, for which I propose this font. It is free at Open Font Library. This typeface remixes work by Harrisson, Pierre Huyghebaert, Femke Snelting, Ivan Monroy-Lopez, Yi Jiang, Nicolas Malevé and Ludivine Loiseau.
In 2016, in keeping with socially relevant type design, he published Sym Being Human, and writes: I have inserted words within the capitals of this digital font. Words which are only readable by us, humans, and not by the computers which use the font. The words relate to the human rights and freedoms as they are formulated in the Universal Declaration of Human Rights 1948.
German type designer, b. Offenbach, 1904, d. Offenbach, 1989. Creator of Neuzeit Grotesk (1928-1929, Stempel, 6 styles---leicht, mager, halbfett, fett, schmalhalbfett, schmalfett) while he worked at Stempel, where he was an apprentice from 1918-1922 and a full time employee from 1922-1940. See also Neuzeit Grotesk (URW++: the first four styles only), DIN Neuzeit (Linotype), Geometric 706 (Bitstream: the schmal styles), N692 Sans (SoftMaker), and Neutral Grotesk (2002, SoftMaker). In 2006, Akira Kobayashi produced Neuzeit Office (Linotype), modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and Linotype's design studio in 1966. Neuzeit S itself was a redesign of Pischner's DIN Neuzeit.
Minor typefaces by him include Barcarole (1939, Stempel, a shadow caps face) and Tory Gotisch (unpublished blackletter).
Digital versions and relatives of Neuzeit Grotesk: Neuzeit Grotesk (URW++), DIN Neuzeit Grotesk (Adobe), DIN Neuzeit Grotesk (Linotype), Neuzeit S (Linotype), Neuzeit Office (Linotype), Neuzeit S (Adobe), Heimat Display (Atlas Font Foundry), Karben 105 Stencil (Talbot Type), Heimat Mono (Atlas Font Foundry), Karben 205 (Talbot Type), Karben 105 (Talbot Type), Heimat Stencil (Atlas Font Foundry), Heimat Didone (Atlas Font Foundry), Peter (Calligrafiction), Heimat Sans (Atlas Font Foundry), Karben 105 Mono (Talbot Type), Karben 205 Mono (Talbot Type).
After the second world war, he became an independent graphic designer in Offenbach. Sometimes his name is spelled C. Wilhelm Pischiner or Wilhelm C. Pischiner.
Or John Karlopoulos, b. 1967, Thessaloniki. He studied graphic design in Athens and type design at Ecole Estienne in Paris.
At Cannibal, he designed CF Block (1997), Bodoni Greek CF, CF Charlemagne (1996), Delta Carlo (2000, for Delta D Magazine), FF DIN (2002), Franklin Gothic ITC Hell (1999), CF Kaveros (1997), Klak CF (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos, based on Greek movie posters from the 40s, 50s and 60s), CF Leftism (1996), CF Matrix Dot (1999), CF Salamis (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos), CF Serpentine (1998), CF Suprematica (1998), and CF XRay (1995).
In 2016, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the calligraphic script typeface CF Ariston and the connected script typeface CF Astir. In 2017, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the Greek brush script typeface CF Splendid (with two substyles, Serano and Special). [Google] [More] ⦿
Greek designer (b. 1962, Soufli) of Greek versions of FontFont fonts, such as FF Providence Greek (2000) and FF Providence Office Greek (2001).
In 1995, he cofounded Cannibal Fonts with Panagiotes (Panos) Haratzopoulos. At Cannibal, in 1995, he created CF Meneloas (children's font), CF Kouroudis Select (display face), CF Kouroudis Graffiti, CF Stamp, CF Urania, CF Venus (a wide caps face), CF Eteocles (1996), CF Criton and CF Compacta (a Greek version of Compact). Delta Kouroudis is a custom font done in 2000 for Delta Magazine.
Zetafonts is a font foundry created by Francesco Canovaro, Cosimo Lorenzo Pancini and Debora Manetti. Almost all of these fonts were created as part of the design process for logos and printed materials. Many were created for the experimental magazine ego[n]. Foundry in Florence, Italy, although the Behance page places them in the United States. [z]fonts is the font development section of Studio Kmzero, a Florence (Italy) based Design and Communication Agency. Studio Kmzero is an Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini.
Also called ZeroFont.
Francesco Canovaro and Adolfo Monti are the designers of the simple bold sans typeface Arista (2007). They also made the basic sans typefaces Cibreo, zProzak-Bold, zProzak and zProzakLight in 2006, and Sugo in 2007. We also find Antipasto (2007, clean elegant sans, by Matteo Di Iorio), Arsenale White and ArsenaleBlue (2009, children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro and Jonathan Calugi), Bistecca (2005, a bellissima extra-condensed serif font created for ego[n] 5 and for the cover of ego[n] 4), Braciola (2006; monospaced and octagonal, with stencil styles added), Bubblebody, Byron (2006, handwriting), Delizioso (2008, art deco), Docporn (comic book style), Duepuntozero Pro (2006-2008), Handvetica (2005, arched), Happyfruhzero, Modulo3 (2008, an artsy beauty), New Romantic (curly grunge), Prozak (2006), Sala de Fiestas (2005-2006, free download at OFL), Senzacuore, Square80 (2009), Sugo, Taller Evolution (2009, geometric sans), Taller, Tallest (2009, ultra-condensed), Targa Monospace (inspired by license plate lettering), Targa (2002), TargaMS (2002), TargaMSHand (2002), Tutor (2006, rectangular, pixelish---what I call a piano key font), Toller (2009, ultra-condensed), Filetto (2009, a sans modeled after DIN 1451 done with Francisco Canovaro and Katiuscia Mari).
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra).
The free font Amazing Infographic was published in 2016.
Zetafonts (or: Studio Kmzero, or: ZeroFont)
Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. It has evolved into Italy's premier and most prolific type foundry. Canovaro's Behance link. Also called ZeroFont and Zetafonts, this type foundry exhales joy---in every design and presentation, the passion of the designers bubbles to the surface. Blending a delicious sense of humour and a great aesthetic taste, Zetafonts is a typographic delight. Their typefaces:
Corporate typefaces were designed for Lucca Comics and Games, Digitalic Magazine, Kair, Unicoop, and Istituto Europeo di Design.
Zoran Kostic (b. Belgrade, 1947) graduated from the Faculty of Geodesy of Belgrade University and completed post graduate studies of photogrammetry at ITC Enschede, The Netherlands. He started out as a programmer for geodesy and photogrammetry, and then opened a DTP studio in Yugoslavia in 1987. In 1987, out of necessity, he designed a PostScript Cyrillic font in type 3.
He cyrillicized many Latin typefaces: AvangardaCyr (Avantgarde), DINGraverCyr (DINEngshrift), ErazmoCyr (Eras), FuturCyr (Futura), FuturCyrCond (Futura Condensed), GilesCyr (GillSans), HelvetiaCyr (Helvetica), HelvetiaCyrCond (Helvetica Condensed), LitografCyr (Lithos), LubalinCyr (LubalinGraf), MasinaCyr (Industria).
He also made these original typefaces: DesignerRound (Cyrillic and Roman), Resavac, KosticSans (Cyrillic and Roman), KosticSerif (Cyrillic and Roman), Sketch (Cyrillic and Roman), Oktoih. Oktoih is one of the few fonts that reproduce the earlist Slavonic printings.
Designs at Linotype: Linotype SimpleSquare (Cyrillic and Roman) and Linotype DesignerSquare (Cyrillic and Roman), as well as Lapidary Capitals (2005, roman capitals), WhySquare (2004) and JustSquare (2004). The Square series, 56 weights in all, were designed during the Serbian war in 1999. So was the monoline geometric sans family Designer RD (1999).
In cooperation with the Belgrade typographer Djordje Zivkovic who designed them, he made FlahScript, Garamond, LepiScript, Manasija, Naisus, Ravanica, Traian.
Finally, he published "HilandarskiUstav", which was reconstructed on the basis of handwriting gospels "Cetvorojevandjelje of Patriarh Sava IV", found at the Monastery Chilandarios, Mount Athos, in the 14 century. It is a font with 4.356 glyphs and symbols. Old URL.
He made the Old Slavic scripts Monah (6.400 characters), Glagoljica and Gradjanica.
Together with his son Nikola Kostic, he set up The Kostic Type Foundry in 2010 in Belgrade, Serbia.
He co-designed the Old Slavonic simulation face Taurunum with Nikola Kostic in 2011. Batke (2011) is a rounded sans family. Kostic Serif (2012) is a classical transitional family co-designed by Nikola and Zoran.