TYPE DESIGN INFORMATION PAGE last updated on
Mon Jun 17 12:59:43 EDT 2013 TYPE DESIGN INFORMATION PAGE last updated on
Mon Jun 17 12:59:43 EDT 2013
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Books on type design |
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A 3d type book by Marion Bataille, Roaring Brook Press, 2008. Video. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Excellent source for finding old books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ada Yardeni
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Adobe's Type 1 Font Format book in PDF format. Don't forget to get the Adobe Technical Note #5015, Type 1 Font Format Supplement as well, which discusses multiple master fonts and counter hints. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Contents of the Adobe Font Folio 9 collection of type 1 fonts. Their 145-page PDF catalog, with samples. The Adobe Type Collection OpenType Edition (ca. 2008) is here and here. The Adobe Type Library Reference Book is a printed specimen book, currently in its 3rd edition, and can be obtained from Amazon, Peachpit or Adobe Press, both in paper and PDF format. The cover price of the printed edition is about 45 US dolllars. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type specialist, and author of numerous books on type. A very nice historical account of the development of type can be found in Type Designs. Their History and Development (1934, Grafton and co., Coptic House, London; the 2nd edition appeared in 1959). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Afrikan Alphabets
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Saki Mafundikwa (Harare, Zimbabwe) gives a synposis of his book Afrikan Alphabets, the story of writing in Afrika (Mark Batty Publ., 2003). He covers all south of the Sahara, and divides things as follows: | ||||||||||||||||||||||||||||||||||||||||||||||||||
Agenturtschi
| Ralf Turtschi's Swiss site that specializes in type publications. A must-buy book for type classification: Schrift vergleichen, Schrift auswählen, Schrift erkennen, Schrift finden (Verlag Hermann Schmidt, Mainz, 1991): 430 pages! Author of TypoTuning (2006) and of Praktische Typografie (1999, Verlag Niggli AG). In 2004, Anatina Blaser made a handwritten style font called Rooster (after Peter Rooster's handwriting), which can be had for free with any order over 59 dollars. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Nice list of German language books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Associazione Italiana Progettazione per la Communicazione Visiva, located in Italy. It has a publishing branch. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Description of the main type work at the Academy of Graphic Arts in Stuttgart. The big names there were Walter Brudi, J.V. Cissarz, F.H.E. Schneidler and Walter Veit. From 1920-1948, F.H.E. Schneidler was head of the graphics division of the Akademie der bildenden Künste Stuttgart. Some stencil alphabet by them (ca. 1930), and later digitized by "Mindofone" as free art deco stencil typeface Glas Deco (2012). Other examples [taken from the book Handsatzschriften des Instituts für Buchgestaltung an der Staatlichen Akademie der bildenden Künste Stuttgart von Walter Brudi, J.V. Cissarz F.H.E. Schneidler und Walter Veit include Veit Antiqua (Walter Veit), Brudi Mediaeval, Brudi Kursiv and Pan (Walter Brudi), Cissarz-Latein. The following typefaces are by F.H.E. Schneidler: Amalthea, Bayreuth, Buchdeutsch Zierbuchstaben, Buchdeutsch, Deutsch Roemisch Fett, Deutsch Roemisch Kursiv, Deutsch Roemisch, Die Zierde, Ganz Grobe Gotisch, Graphik, Halbfette Buchdeutsch, Halbfette Deutsch, Halbfette Schneidler Schwabacher, Juniperus Antiqua, Kontrast, Legende, Schmalfetten Gotisch, Schneidler Antiqua, Schneidler Fraktur Zierbuchstaben, Schneidler Mediaeval Halbfett, Schneidler Mediaeval Kursiv, Schneidler Mediaeval, Schneidler Schwabacher Initialen, SSchneidler Untergrund, Schneidler Werk Latein, Schneidler Zierat, Schneidler, Suevia Fraktur Initialen, Zentenar Fraktur Halbfett, Zentenar Fraktur, Zentenar. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Bror Zachrisson penned Akke Kumlien: 1884-1949 in PAGA, volume 1, number 3, pp. 45-56, 1953. Kumlien studied the history of arts and literature at Uppsala University, which later bestowed on him an honorary doctorate. He was also the founder of the Institute for Research of Materials at the Royal Academy of Arts in Stockholm, the head of the Thiel Gallery's well-known art collection, and the main artistic consultant at P. A. Norstedt&Sons, the royal printing house. His Kumlien transitional face was the first major Swedish-designed typeface in over a hundred years. Specimen. Author of Bokstav och ande (The Letter and the Spirit), and Kunstneren og bokkunsten (Artist and Book Art). MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German type designer. He created Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881) at Genzsch & Heyse. In 1876, he made Neue Schwabacher (normal and halbfett) at Genzsch & Heyse (and Klinkhardt). That same type can also be found at J. John&Söhne and at JG Shelter&Giesecke. Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994). Digital revivals include Schwabacher Mager Gross and Möncgs-Gotisch, both by Gerhard Helzel. Klingspor link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type historian at Reial Academia de Bones Lletres in Barcelona. Born in Barcelona in 1971, Corbeto is responsible for all the publishing activities of the Real Academia de Buenas Letras de Barcelona and the Asociación de Bibliófilos de Barcelona. His field of investigation is the history of printing types and, in particular, the work of Spanish punchcutters throughout the second half of the eighteenth century. At ATypI 2006 in Lisbon, he spoke about the efforts around 1750-1770 to set up the Royal Library type foundry by Juan de Santander and Gerónimo A. Gil. Speaker at ATypI 2009 in Mexico City, where he talked about the punches from the Spanish Royal Printing House. Soon he will publish a specimen and text book on all this. | |||||||||||||||||||||||||||||||||||||||||||||||||||
He designed Faust-Antiqua (1958; this inspired Nick Curtis to design Kaprice NF (2010); in 1993, Steve Jackaman revived it as Faust RR), Leipzig (with Otto Erler in 1963: large x-height), Leipziger-Antiqua (1959, revived by Tim Ahrens in 2004 as JAF Lapture, also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005; and shamelessly digitized by Linotype and sold as Hawkhurst without mentioning the Leipziger Antiqua source, in fact claiming that Hawkhurst is an original), Calendon-Antiqua (1965), Prillwitz-Antiqua (1971), and Magna Kyrillisch (1975). Circa 1975, he created Garamond Cyrillic at Typoart. A specialist of blackletter, he was passionate about Gotische Bastarda. Author of Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz). Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Author of The art of lettering; The history, anatomy, and aesthetics of the roman letterforms (München, K.G. Saur, 1983, original edition in German by VEB Verlag: Dresden, 1971). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 anf 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. He has been teaching typeface design at the Muthesius Kunsthochschule in Kiel between 1995 and 1998 and has taken up that job again in 2005. 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 entiotled FF DIN, the history of a contemporary typeface in the book Made with FontFont. Pic. | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Handbuch der Schriftarten (Leipzig, 1926), a nearly comprehensive listing of all types at all German type foundries at that time. Just the name index of the types takes 38 pages. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Alfa Beta is a text book written by Aldo Novarese in 1964. It is especially useful to learn for the first time about the differences between typefaces and about type classification. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Designer of the beautiful Cyrillic serif family Leksa (a winner at Paratype K2009) and the accompanying Leksa Sans family from 2004-2007. This was followed by equally gorgeous families such as Fence (2009, an ultra-fat artistic beauty). Skoropix is an experimental pixel face done with FontStruct. She also made Belladonna (2008, a stunning modern face for Latin and Cyrillic; a winner at Paratype K2009 and Grand Prize winner at Granshan 2011), Skoropix (with FontStruct), and the experimental face Cless (2009). She spoke about Cyrillic at ATypI 2008 in St. Petersburg. She received a TypeArt 05 award for the display family Fourty-nine face. Alternate URL. At MyFonts, one can buy Gorodets [2009: a Russian decoration face based on traditional wood-painting style from the town Gorodets on the Volga river, Russia], Leksa and Leksa Sans], Blonde Fraktur (2010: written with a quill by Alexandra Korolkova and prepared in digital form by Alexandra Pushkova), Airy (2010, a curly script), Airy Pictures (2010, animal and plant dingbats), Bowman (2010: a blackboard children's script), PT Serif (2011, Paratype's superfamily of 38 fonts, codesigned with Vladimir Yefimov and Olga Umpeleva), PT Circe (2011, a geometric sans family with a neat Thin weight; Third Prize for Cyrillic text faces at Granshan 2011), and Cless (2010: ultra fat and counterless). Together with Isabella Chaeva, she made PT Mono (2012, Google Web Fonts). In 2012, Vasiliy Biryukov and Alexandra Korolkova codesigned the Christmas dingbat font Gingerbread House, together with a plump display face, Gingerbread. MyFonts interview. Kernest link. Klingspor link. View Alexandra Korolkova's typefaces. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Alessio Leonardi
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New York-based designer of the revival fonts Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript, which won awards at the TDC2 2001 competition (Type Directors Club). He is a professor of graphic design at the Hartford Art School at the University of Hartford, specializes in publication design. Author of the bestseller "How to Spec Type", he lives in New York City. He also wrote "Type In Use", "The Elements of Graphic Design" (2002, Allworth Press), and Thinking in Type (2005). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
From the TDC site: Allan Haley is the principal of Resolution, a consulting firm with expertise in type; his clients include Apple, Adobe, Linotype, Xerox, IBM, and Agfa Monotype. He is also currently the Chairman of the Advisory Board of the Goudy International Center at RIT. Allan was executive vice president of ITC, and before that was in charge of typographic development at Compugraphic Corp. (now Agfa Monotype). He writes for publications such as U&lc, How, Dynamic Graphics, and Step-by-Step Graphics. He is highly regarded as an educator, and he is a frequently requested speaker. He has written five books on type and graphic communication. At ATypI in Rome in 2002, he spoke about the development of ITC Bodoni. His books:
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A 320-page book about the origins of the Latin alphabet, by John Man. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Alphabetum
| Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike. He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Uncialis, Insularis Minuscula, Carolingia Minuscula, Gothica Textura Quadrata and Humanistica Antiqua. PDf entitled Fonts For Latin Palaeography (2008-2011), in which Marcos gives an enjoyable historic overview. Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively. Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic). In 2013, he created Cuneus, a cuneiform simulation typeface. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Unconventional artist of the 1930s (b. 1889), who is credited with the art deco face Dignity Roman, which was digitized by Nick Curtis in 2002, and called Day Tripper NF, and also in 2000, when it was called Odalisque NF. He also has it as Heavy Tripp. Author of Modern lettering&design (1929, Chicago: Frederick J. Drake&Co. n.). The alphabets shown in his 1929 book: Poster Headline, Poster Strong, Roman Heavy Poster, Speedball Classic, Dignity Roman, Classic Roman, Roman Bold, Forty-five Degree. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of various books on design and/or typefaces, including History of Graphic Design (Philip B. Meggs, Alston W. Purvis), Creative Type: A Sourcebook of Classic and Contemporary Letterforms (2005, Thames&Hudson, NY; by Cees De Jong, Alston Purvis and Friedrich Friedl), Type: A Visual History of Typefaces and Graphic Styles, Vol. 1 (2009, Taschen; uthors Jan Tholenaar and Alston W. Purvis, edited by Cees De Jong), and Type: A Visual History of Typefaces&Graphic Styles, 1901-1938 (v. 2) (2010, Taschen; edited by Cees De Jong). The latter book features works by type designers including William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, and Adrian Frutiger. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A free PDF version of ATF's Handy Specimen Book: Specimens of Type Borders and Ornaments, Brass Rules, Wood Type, etc. (Buffalo, NY, 1897). Alternate download URL. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
American Type Founders Company: Specimen Book And Catalogue 1923 | The famous ATF catalog from 1923 is available, free to download. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at Columbia University in New York. The Smithsonian possesses most of the original type drawings and many of the matrices, and a number of other institutions and private individuals own matrices. Interestingly, despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of the 20th century, ATF was the dominant American foundry. Their specimen books are classics:
A brief history of ATF by Carol Van Houten. Reference books. View the digital typefaces that are based (fully, or in part) on ATF's typefaces. See also here, here, and here. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Wood type company that was located in Manhattan. Their catalogs include Wood Type Printers Equipment and Supplies (1938) and Printers Supplies Wood Type Metal Type (1960s). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
An exploration of the Latin Modern fonts
| Article in The PracTeX Journal, 2006, no. 1, by Will Robertson, a PhD student in Mechanical/Mechatronic Engineering in the University of Adelaide, South Australia. The Latin Modern family was originally designed by Jackowski and Nowacki to cover as many languages as possible: it has over 69,000 glyphs. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Publisher of "Spécimen des caractères de l'imprimerie du Vatican" (Stampa Vaticana e camerale, 1628). Republished as The type specimen of Vatican Press with an introduction and notes by H.D.L. Vervliet at Menho Hertzberger, Amsterdam, in 1967. See also here for this 49-page book. Some pages: * | * | * | * | * | * | * | * | * | * | * | *. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with André Gürtler of Die Handschrift, Comedia, edition 02-4, 2002. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Andreas Stötzner
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Balius won a Bukvaraz 2001 award for Pradell. Pradell also won an award at the TDC2 Type Directors Club's Type Design Competition 2002. SuperVeloz (codesigned with Alex Trochut) won an award at the TDC2 2005 type competition. At ATypI 2005 in Helsinki, he spoke on Pradell and Super-Veloz. Speaker at ATypI 2006 in Lisbon. At ATypI 2009 in Mexico City, he spoke about the Imprenta Real. Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003). FontFont link. Linotype link. Behance link. His production:
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Phil Baines and Andrew Haslam wrote Type&Typography (2002, with Phil baines) [German version: Lust auf Schrift! Basiswissen Typografie, Verlag Hermann Schmidt Mainz], a crash course in typography that is generally well received. Speaker at ATypI 2007 in Brighton. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Le maître de Garamond" (Editions Stock, 2002), a beautiful book on the life and death of Antoine Augereau, who was Claude Garamond's teacher and mentor. Anne Cuneo was born in 1936 in Italy and lives in Zürich. Comment by Guy Schockaert: Le 24 décembre 1534, place Maubert, accusé d'hérésie, Antoine Augereau est pendu, son corps et ses mains brûlées. Homme de lettres, érudit, théologien, Antoine Augereau était un grand imprimeur, éditeur et graveur de caractères typographiques. Il modela ceux dont nous nous servons encore aujourd'hui, et avec Clément Marot, inventa l'usage des accents et de la cédille. La publication du Miroir de l'âme de Marguerite de Navarre lui coûtera la vie. La Sorbonne, gardienne jalouse d'une orthodoxie figée, désapprouve la pensée de la soeur de François Ier, mais ne peut la condamner. Antoine Augereau paiera pour elle. Racontée par le plus célèbre de ses disciples, l'histoire passionnante et émouvante d'un humaniste prêt à mourir pour défendre ses idées. UN livre à lire absolument et à offrir. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Body Type (1969), reedited in 2011 by Spinhex, Amsterdam, with the help of René Knip. Nijhof and Lee write: Body Type is a re-edition of the legendary naked-women alphabet by Anthon Beeke originally published in 1969. This alphabet, which was published in the famous Kwadraadblad serie by Pieter Brattinga, is a carefully composed representation of the letters of the alphabet using naked women. Beeke made the alphabet as a 'tongue in cheek'response to Wim Crouwel's New Alphabet published in the same serie a year earlier. This new edition which is in colour, is complimented and enlarged with the numbers modelled by naked men all on individual sheets. It also contains a cahier with the history of the alphabet and a block containing the letters which can be used to make a streamer. Creator of the "Nude Alphabet" in Kwadraat (Steendrukkerij De Jong&Co, Hilversum, The Netherlands, 1970), using twelve nude women. This is not a font, but could be the basis for one. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Swedish bookstore offering many valuable historical books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch antique book seller specializing in typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Aon Celtic Art
| Cari Buziak (Calgary, Canada) is the author of Calligraphy Magic---How to Create Lettering, Knotwork, Coloring and More (North Light, 2011). She also created the beautiful freeware Celtic font family Aon Cari (1998, a modern pseudo-Gaelic uncial). Dafont link. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Copyright-free type and typefounding books. Several type specimen books from the University of California Library Collection have been scanned in by Microsoft. Other libraries are participating as well. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hebrew type designer. He now runs a nice Hebrew type blog and news page. This has a great Hebrew Typography Annotated Bibliography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A book by Dan X. Solo that shows 100 alphabets. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Interesting font links. In French, by Yves Perrousseaux. Jef Tombeur describes this as follows: "The Atelier Perrousseaux is a small publishing house having on its catalogue the founder's books but also books, essays, studies by the late Gérard Blanchard, Adrian Frutiger, Ladislas Mandel, François Richaudeau (a linguist) and, soon, René Ponot." [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Publicité-Vignettes-Lettres-Chiffres-Monogrammes et Rehauts Modernes (1930s). That book shows these art deco alhpabets: La Romane, Les Filets (multilined). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Petite histoire de la typographie (1886, Librairie Ch. Delagrave, Paris). This delightful book contains great historic accounts from the fifteenth century, including a section in which he "deals with" the myth of Coster. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Austin Norman Palmer
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Book on typewriter type (edited by Philippe Ernotte&Claude Stassart) with contributions by Fernand Baudin, Hubert Nyssen, Patrick Rogiers, Marcel Moreau, Jean-Pierre Verhegen, Pierre Bergounioux, Nicolas Ancion, Daniel De Bruycker, Veronika Mabardi, François Bon, François Clarinval, and Serge Kribus. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Typography of Devanagari in three volumes, Bombay, Directorate of Languages (1971). This is a very useful set of books for Indic typeface design. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Type Image (2011). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Barnhart Bros. Spindler Type Founders: Book of Type Specimens, 1907 |
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Swiss typography expert at Microsoft who wrote Visual TrueType, a truetype font hinting program, and who helped out with Cleartype. He is also the author of The Raster Tragedy (1997, updated in 2011). Beat Stamm has a Ph.D. in Computer Science. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a face called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:
Drawing of her by Eric Gill. Life story. Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921-1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Benedikt Gröndal
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Swedish art historian whose 1956 PhD dissertation was entitled Svenskt stilgjuteri före âr 1700 (Typefounding in Sweden before 1700). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Benjamin Franklin, Typefounder (1925, Douglas C. McMurtie, New York) describes Benjamin Franklin as typefounder. McGrew writes about Franklin: Prior to 1722 English typefounding was at a low ebb, and most printers in that country used Dutch types. But in that year William Caslon completed the first sizes of his new style, which quickly gained dominance over the Dutch types. This new English style was also extensively exported to other countries, including the American Colonies, where it was popular before the Revolution. In fact, the Declaration of Independence of the new United States was first printed in Caslon's types. Benjamin Franklin met Caslon in London, admired and recommended his types, and used them extensively in his printshop. F. Kerdijk penned the Dutch book Benjamin Franklin. Drukker - Postmeester - Uitvinder en Gezant, 1706-1790 (1956, Drukkerij Trio, 's-Gravenhage), a 16-page booklet that further explains Franklin's multidimensional persona. Further books on Franklin's sideline include Typophiles Chapbook: B. Franklin, 1706-1790 . Franklin's interests in typography and as a printer have caused a number of typefaces to be named after him, such as the famous Franklin Gothic, but also Ben Franklin, Ben Franklin Condensed and Ben Franklin Open (metal types at Keystone Type Foundry. 1919), Franklin's Caslon (2006, P22), Poor Richard RR (named after Benjamin Franklin's "Poor Richard Almanack"), Poor Richard (1994, Projective Solutions: a free font), and Benjamin Franklin Antique (free font by Dieter Steffmann). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 1998, Frederich Friedl, Nicholas Ott and Bernard Stein wrote the voluminous book, Typography: An Encyclopedic Survey of Type Design and Techniques Through History (Black Dog & Leventhal). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type director and manager at Scangraphic in the 1980s and 1990s. Author of a number of thick specimaen volumes including Scangraphic Digital Type Collection A-F (1985), Scangraphic Digital Type Collection G-Z (1985), Scangraphic Digital Type Collection Index (1988), Scangraphic Digital Type Collection Supplement 1 (1988), and Scangraphic Digital Type Collection Supplement 2 A-Z Body types (1988). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Bert Bos studied Mathematics in Groningen (1982-1987), and wrote a thesis about Graphic User Interfaces (1987-1993). He worked on an Internet browser and the surrounding infrastructure for the Faculty of Arts in Groningen and is now working for The World Wide Web Consortium on style sheets and math. He lives in Sophia Antipolis near Nice in France. Author of Cascading Style Sheets---designing for the Web (3rd ed.) (2005, Hakon Wium Lie & Bert Bos). He also created a free transitional family in metafont and opentype for use with TeX, Gladiator and Gladiator Sans (1991). Klingspor link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
View Berthold Wolpe's typefaces. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Benedictus Gotthelf Teubner was a publisher in Leipzig, Germany. One of their typographic oeuvres was Schrift- und Polytypen-Proben (1846), a model book aimed at printers that contains some fonts, decorative borders, printer's ornaments, emblems, and clip-art motifs. Additional link with some images. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
List of well-known typographers, with biographies of people such as Nicolas Jenson, Aldus Manutius, William Caslon, John Day, Johann Froben, William Caxton, and Christophe Plantin. Plus a list of typography books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Great pages with exquisite images taken from old books and manuscripts. On occasion, one finds interesting alphabets and wonderful typographic examples. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Computer science bibliographies on the topic of (mathematical and other) typesetting [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Nelson Beebe's computer science bibliography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
As part of the Ecole Supérieure Estienne (18, boulevard Auguste-Blanqui, 75013 Paris, Tél : 01 55 43 47 47: subway Place d'Italie), this library has many books on typography. Free, 9-12 and 1-5, Monday to Friday, except Wednesdays and during the school holidays. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Bibliothèque virtuelle de livres de typographie
| Jacques André (IRISA-INRIA, Rennes, France) has compiled a great bibliography of type. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Binny&Ronaldson
| In 1796, Archibald Binny (ca. 1762-1838) and James Ronaldson (1769-1841 or 1842) (some say 1768-1842) started the first permanent American type foundry in Philadelphia in 1796, called Binny&Ronaldson. James, a business man from Edinburgh was the financial fhalf of the pair. In 1809 and 1812, they published America's first specimen book. The only complete copy of this book is at the Rare Book and Manuscript Library of Columbia University, and is entitled "A Specimen of Metal Ornaments" (Philadelphia, Fry and Kammerer, 1809). MyFonts page. MyFonts sells Isabella, a font by ATF/Kingsley that can be traced back to Binny&Ronaldson. It also offers Really Big Shoe NF (Nick Curtis, 2009), which is based on Ronaldson's Oxford. Dick Pape published the free fonts Binny & Ronaldson English Two Line Orn (2010), Binny & Ronaldson Great Primer Two Pica (2010), and Binny & Ronaldson Primer Two Line Orn (2010). James Ronaldson published Specimen of Printing Type, from the Letter Foundry of James Ronaldson, Successor to Binny&Ronaldson; Cedar, Between Ninth and Tenth Streets, Philadelphia (Philadelphia: J. Ronaldson, 1822). Acquired by Johnson&Smith in 1833, it became L. Johnson&Co. in 1843, and finally MacKellar, Smiths&Jordan in 1867. The latter company was the largest typefounder in America when in 1892 it was amalgamated with many others into ATF. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the (German) thesis Type and Image (2003). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Making Digital Type Look Good" (London, 2001), tauted as a comprehensive analysis of the current state of font technology, preceeded by a history of type development and an exploration of the changes that the digital revolution has brought about. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Adam Koster from Oak Knoll in Delaware describes three of Bodoni's publications:
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USA service for searching out-of-print books. This page has a list with books on printing. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gunnlaugur Briem is selling his own lettering book collection. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Books on Wood Type, as listed by the Design Division of the Department of Art and Art History at The University of Texas at Austin:
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List of type books useful for identifying fonts. Maintained by Mike Yanega. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of a book on data visualization, Magic Ink Information Software and the Graphical Interface (2006). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
2002 graduate from the Maryland Institute College of Art, Baltimore. Rumored to be working on a typeface called Composite. Author of Lettering&Type: Creating Letters and Designing Typefaces (2009, with Nolen Strals). See also here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Brush Lettering is a tutorial book written by Eliza Holliday and Marilyn Reaves. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
BuyMyFonts (or: BMF)
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In 2002 he founded Buy My Fonts that produces typefaces for corporate applications and also for standard use. Speaker at ATypI in Rome in 2002. In 2004 he published his book From the Cow to the Typewriter: the (true) History of Writing. The Alberobanana project tries to suggest an alphabet that could have been. In 2007, he started the pixel font project BMF Elettriche. Available from MyFonts, it includes 648 styles. Speaker at ATypI 2007 in Brighton. Linotype link. Typefaces.de site. His fonts include
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Cade Type Foundry
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Typefaces include Jenson Old Style No. 58, Goudy Lanston No. 279, and Caslon Old Style Italic 3371. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Alternate URL. Alternate URL. These files haver 42 e-books on penmanship, for a total of 300MB. The list:
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Spanish publisher carrying Spanish translations of many popular typography books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
John Berry discusses this wonderful Nebiolo specimen book from the 1950s. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Cari Buziak
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Renowned Canadian type designer and designer (b. Welland, Ontario, 1912, d. 1968). His typefaces:
Author of Design with Type (1952, revised and expanded in 1967). John Berry discusses Dair's seven different kinds of contrast, size, weight, form, structure, texture, color and direction. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Viennese author of Das Buch der Schrift enthaltend die Schriftzeichen und Alphabete aller Zeiten und Völker des Erdkreises (1878, Vienna), which has now been reprinted. It contains a goldmine of symbols. Discussion (in Russian). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swedish author (b. Stockholm, 1938) in 1974 of a book about Western ideograms. Its title was the Swedish equivalent of "Symbols - Western ideograms". This book is an encyclopedia and has for each new edition been revised and substantially enlarged. Its first English language edition was published in 1991 in the US under the title Dictionary of Symbols (ABC-CLIO, 1991, 596 pages). The latest published revised and much enlarged English language edition appeared in 1995 under the new title Thought Signs The semiotics of symbols - Western non-pictorial ideograms. Review. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In the late 19th century, Dr. Carl Hrachowina (1845-1896) taught at the Arts and Crafts School in Vienna. Among his students were Franz von Matsch and Gustav Klimt. He selected and published a series of study aids. Author of Initialen, Alphabete und Randleisten verschiedener Kunstepochen (1897, Carl Graeser, Vienna), and of Vorlagen für das Kunstgewerbe 1. Band. Künstliches Alphabet von J. Th. de Bry (1886, Carl Graeser, Vienna). Example of his lettering. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dick Pape digitized these ornamental caps faces, naming them by page number: BizarreAlphabets-Page108, BizarreAlphabets-Page112, BizarreAlphabets-Page114, BizarreAlphabets-Page116a, BizarreAlphabets-Page116b, BizarreAlphabets-Page117a, BizarreAlphabets-Page117b, BizarreAlphabets-Page121, BizarreAlphabets-Page14, BizarreAlphabets-Page22, BizarreAlphabets-Page24, BizarreAlphabets-Page62, BizarreAlphabets-Page66, BizarreAlphabets-Page74, BizarreAlphabets-Page76, BizarreAlphabets-Page78, BizarreAlphabets-Page92, BizarreAlphabets-Page93Bold, BizarreAlphabets-Page94, BizarreAlphabets-Page95, BizarreAlphabets-Page96-Dusty, BizarreAlphabets-Page98, BizarreAlphabets-Page99. Download here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Carolina de Bartolo
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Catherine Dixon is a freelance designer, writer, and Senior Lecturer in Typography at Central Saint Martins College of Art&Design, London. She completed her PhD, A description framework for typeforms: an applied study at Central Saint Martins in 2001. She has worked together with Phil Baines on book designs for Phaidon Press; Laurence King; and for the award-winning Penguin Books Great Ideas series. She is a frequent contributor to Eye. Other writing includes a web site and the book Signs: lettering in the environment (Laurence King 2003). Speaker at ATypI 2006 in Lisbon on the topic of Nicolete Gray's Lisbon (with Phil Baines). At ATypI 2009 in Mexico City, she spoke on Lambe-lambe letters: Grafica Fidalga, São Paulo a project she undertook with Henrique Nardi (Tipocracia). Speaker at ATypI 2010 in Dublin, where she dealt with a lettering project for the Pozza Palace in Dubrovnik, and took people on a lettering walk of Dublin. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Modern Lettering from A to Z (1932), a book which shows many alphabets. Example. There are several art deco alphabets. Another example (scanned by Sam Judge). This book has inspired several digital revivals, most notably by Nick Curtis. see, e.g., Black Party NF (2008, a 3d face). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editor of the two-volume book A Visual History of Typefaces and Graphic Styles 1901-1939, and A Visual History of Typefaces and Graphic Styles 1628-1900. Both volumes were published by Taschen. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of A Show of Hands (Typographica, 1953, pp. 4-11). The journal Typographica was edited by Herbert Spencer and published sporadically between 1949 and 1967. This article has many images of printer's fists and pointing hands. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type Directors Club President in 2009, Charles Nix, has compiled a long list of books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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In 2006, Paul Hunt designed a set of connected calligraphic scripts, called P22 Zaner. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Calligrapher and painter, b. 1943, Birmingham, UK. He made several calligraphic fonts: Cantabria (first developed at Camberwell School of Art and loosely based on the work of poet and artist, David Jones), Daniel, Fiorentina, Helena, Penkridge, Ullswater (brush script), Umbria (classic calligraphy). Corporate/custom typefaces: RKO Century Warner, Guinness (Cranks Health Foods font redesign). Author of these books:
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Author of Type Specific: Designing Custom Fonts for Function and Identity (2005, RotoVision). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swedish author of Bokstaven, ordet, texten, Ordfront (1997). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swedish author (b. 1946) of Typografisk håndbok (1998, Ordfront & Ytterlids; see also Ordfront/Ordfront Galago, Sweden, 2004), and of "Bokstaven, ordet, texten, andra utgåvan, första tryckningen" (Ordfront förlag, 1998). Old URL. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Type Studies The Norstedt Collection of Matrices in the Typefoundry of the Royal Printing Office (Norstedt Tryckeri, Stockholm, 1983), in which we find reproductions of all metal typefaces in the collection of the Norstedt foundry. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
From MyFonts: Punchcutter for the Imprimerie Nationale, Paris, where he works with Nelly Gable. Author of La Lettre - La Gravure du Poinçon typographique / The Punchcutting (Wissous, 1998). He works at the Cabinet des poinçons. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Coauthor with Steven Heller in 2000 of "Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type", Watson-Guptill, New York. Christine Thompson, designer at the New York Times on the Web since the site's inception in 1995, has won multiple awards for her work in interactive media. She lives in New York. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Christopher Burke
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Graduate of the Master of Design program (MDes) at NSCAD University, 2010, in Halifax, Nova Scotia, where he was born and still lives. Typographer and enthusiastic supporter of open source projects. He says: I conduct experimental research designed to support or refute typographic conventions in accordance with objective measures of human performance and empirical data. Useful subpage on type literature. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Cláudio Rocha
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Clarence Pearson Hornung
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The book Early Advertising Alphabets, Initials and Typographic Ornaments (1956), edited by Clarence P. Hornung, led Dick Pape to creates these digital fonts in 2008: AltDeutsch, Amorette1889, ArabesqueDesign, BreiteEgyptienne (2008), BreiteverzierteClarendon, ChiswickPressGothicInitials, EarlyScrollAlphabet, EarlySignboards, EnglandInitials1880, ErhardDatdolt, FlorentineInitials, FlorentineInitialsReverse (2008), GothicChancery1880s, GothicClosedLetter (2009-2010, Lombardic), Hollandisch-Gothic (2010), JudendstilAlphabet (2009), LilyoftheValley, Papillon 1760 [First shown in Paris in 1760, and reprinted by Clarence P Hornung in Dover Pictorial Archive Series: Early Advertising Alphabets, Initials a nd Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface], Phantasie (2009-2010), RomaineMidolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007). Download here. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Parisian printer, whose 1742 book Épreuves générales des caractères qui se trouvent chez Lamesle is at the Rochester Institute of Technology. A facsimile was published by A.F. Johnston in 1965 at Menno Hertzberger&Co, Holland: The Type specimens of Claude Lamesle, a facsimile of the 1st edition printed at Paris in 1742. Among many other types, this book has a Civilité. The Capsa family (2008, Dino dos Santos) was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
His typefaces:
Examples of calligraphic alphabets drawn by him and shown in his Histoire de la calligraphie française (2006): Bastarda, Cancellaresca, Carolingian, Cursive gothic 1410, Luxeuil, Roman Capitals, Roman cursive 1st century, Roman cursive 4th century, Rustica 1st century, Textura 14th century, Textura 15th century, , Tourneure 15th century, Uncial 4th century. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Street Fonts: Graffiti Alphabet From Around The World (Thomas & Hudson). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2012, Claudia Walde (Germany) published Street Fonts. Graffiti fonts from around the world. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with John Lane in 1993 of " Proef van Letteren, welke gegooten worden in de Nieuwe Haerlemsche Lettergietery van J.Enschedé 1768". An Enschedé specimen book with a companion volume with notes by John Lane. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Colgate Collection at McGill University is Canada's finest type book and specimen collection. It probably rivals any collection in North America as well. The link leads you to just the first half of the type specimen collection (Text format for most of that list). Part of the collection on typography. Part of the collection on typefounding and type-cutting. I know that there are fine books at Harvard and other Ivy League libraries, but none (!!!) allows the use of scanners or digital cameras in the rare books divisions. Duplication is possible at a cost well above the purchase price of the (rare) book if you need a reasonable number of copies. But McGill is open for business. Free, democratic, accessible to "the people", even the poor, the way it should be. Cameras and scanners are allowed. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander. Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press. The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s. The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani. Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (Monotype: based on letters drawn by Eric Gill in 1906 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Christopher Plantin (1960, Cassell and Co, London). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jef Tombeur's site on orthotypography (in French). One can buy at this site the comprehensive book by Jean Meron entitled Orthotypographie : recherches bibliographiques (2002), which has a preface by Fernand Baudin. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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List of books compiled by Jay Vegso at the Computing Research Association regarding the advantages and disadvantages of copyright. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Cristóbal Henestrosa
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Ari Rafaeli designed the delicate caps face Curwen Initials based on drawing by Jan van Krimpen in 1925 for the Curwen Press. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Lessons in Engraver's Script (1914) and Ninety-five Lessons in Ornamental Penmanship (1914). Jones lived in Brockton, MA. The former book contains one full formal calligraphic alphabet by Jones himself. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Inside Paragraphs, written for a foundational typography course. Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Loupot's St. Raphael poster), Eggwhite (2001, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic), Occupant Gothic (2000, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay. His Amira (Font Bureau) and (Spanish-feeling) Zocalo (Font Bureau) won awards at TDC2 2004. At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine. His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings. Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco. In 2008, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli. In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007-2010, 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 face 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. View Cyrus Highsmith's typefaces. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Art du tracé rationnel de la lettre (1934, Société Française d'Éditions Littéraires et Techniques, Paris). The text shows how to trace letters in different styles. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Deutsche Schriftgiessereien und die künstlerichen Schriften zwischen 1900 und 1930" (1997, S. Roderer Verlag, Regensburg). Graduate from the University of Leipzig. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dan X. Solo
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Dan X. Solo
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Dan X. Solo
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Dan X. Solo: Art Deco Display Alphabets
| Dan Solo wrote Art Deco Display Alphabets (1982, Dover Pictorial Archives). The images of the book were scanned in by Google. View them here [large web page warning]. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Dan X. Solo: His books
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Born in Providence, 1860, he died in Boston in 1941. Typographer, printer, historian and author, best known for his classic book "Printing Types: their History, Forms and Use" (1922, Harvard University Press). He designed Montallegro. Britannica entry. OCR-scanned text of his book. Volume 1 and Volume 2 of his book have been scanned in. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Daniel Mellis (Chicago) printed a small book in 2010 based on 19th century ornamented metal typefaces from the collection at Wells College. These include Tinted, Tasso, Banquet, Antique Extra Condensed, Aquatint, Dandy, Modoc, Columbus, Art Gothic, Rubens, Yukon Pointed, Tuscan Stellar, Halftone, Obelisk, Alpine, Gothic Shade, Ruskin, Condensed Roman, Ray Shade, Tuscan Floral, Souvenir and Aurora Uncial (Victor Hammer, ATF---never produced, but rediscovered by Theo Rehak). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author with Gilmar Wendt and Hans Peter Willberg of Schriften erkennen: eine Typologie der Satzschriften für Studenten, Grafiker, Setzer, Kunsterzieher und alle PC-User (1997, Verlag Hermann Schmidt, Mainz). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
American penman. Author of Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). His book contains some explicit alphabets: Roman, Italic Roman, Gothic, German text, Old English, Church Text, Medieval, Egyptian, German Round Hand, Marking and Rustic (elaborate caps). One of the initial caps in that text led Robert Fauver to create the free font Dirty Ames (2006). Handdrawn portrait of Ames found in "Real Pen Work" (1881, knowles and Maxim). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
David Bergsland
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Author of American Type Design&Designers (Allworth Communications, Inc., 2004). Google has a free preview of the entire book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Legibility: Techniques of Investigation (1998) and Type on the Screen. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Designing Typefaces" (2002), a book that profiles some current typographers (Jonathan Hoefler, Jonathan Barnbrook, Akira Kobayashi, Zuzana Licko, Jean-François Porchez, Rian Hughes, Carlos Segura, Erik Spiekermann, Jeremy Tankard, Matthew Carter, Erik van Blokland), and has a 12-page type tutorial and a glossary. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Kindersley's MoT Serif (1952) was submitted for use on UK signs to the British Ministry of Transport, which eventually selected designs of Jock Kinneir and Margaret Calvert. The book face Octavian was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. He also created Itek Bookface. Kindersley was known for his letterspacing system. Author of Optical Letter Spacing for New Printing Systems (Wynkyn de Worde Society/Lund Humphries Publishers Ltd, 1976) and Computer-Aided Letter Design (with Neil E. Wiseman). The Cardozo Kindersley workshop, which Kindersley founded and was later continued by cardozo, writes: Kindersley Street (aka Kindersley Grand Arcade; pictures found by people on typophile: I, II), our new face based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised. Linotype link. FontShop link. MyFonts link. Wikipedia. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of A Constructed Roman Alphabet, a Geometric Analysis of the Greek and Roman Capitals and of the Arabic Numerals (David R. Godine, Boston, 1982). Each character of his roman alphabet is described using compass and ruler in the style of the romain du roi. Wonderful! [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editor of American Proprietary typefaces (New York: American Printing History Association, 1998). This book has contributions by the following people:
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French graphic designer, journalist and photographer. In 2004, he started work in Istanbul for a branding company. Director of the collection Atelier Perrousseaux, and frequent speaker at design and type meetings. | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Letter Perfect The Art of Modernist Typography 1896-1953 (San Francisco, 2001). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
New York-born founder of the wireless publishing company AirMedia, who designed a character in the September 11 charity font done for FontAid II. CV at MyFonts. Author of An Annotated Bibliography of Typography, Letterpress Printing & Other Arts of the Book (2003, Five Roses Press, New York), of Overviews of Printing Types, and of Introduction to Letterpress Printing. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
He is about to publish a book on the letterers at Hallmark. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editor of "Metro Letters," (2003, a 144-page book, University of Minnesota Design Institute), which shows work by Peter Bilak (Peter Bilak, graphic design&typography/Typotheque), Erik van Blokland and Just van Rossum (LettError), Gilles Gavillet and David Rust (Optimo), Sybille Hagmann (Kontour), Conor Mangat (Inflection), and Eric Olson (Process Type Foundry), done in a design competition for the twin cities of Minneapolis and Saint Paul, Minnesota, as part of the Twin Cities Design Celebration 2003. The LettError contribution is a type family called Twin. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Delve Fonts (was: Delve Media Arts)
| Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at the Savannah College of Art and Design, designed signage, print projects and web pages in addition to designing custom typefaces, worked for Fontshop, and in 2004, joined the type team at Agfa Monotype, which morphed into Monotype Imaging, Redwood City, CA. From Asheville, NC, he moved around and ended up in San Francisco. In 1996, he founded Delve Fonts in Berkeley, CA (in fact, Delve Media Arts, and later renamed Delve Fonts). He has collected a virtually complete list of books on typography. Author index. New books. One of the first places to consult, in my view. New type books. MyFonts link. Designer of these typefaces:
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Delve Withrington
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Researcher at the National Print Museum in Dublin, and one of the world's top experts on Irish type design. Author of Irish Type Design: a history of printing types in the Irish character (Blackrock: Irish Academic Press, 1992). He obtained a doctorate from Trinity College Dublin for work completed on the subject of the Irish Character in Print. He was Art Director of the University of Iowa Press for a number of years before returning to Ireland. He was a lecturer in design at the Dublin Institute of Technology, where he held the position of Head of the Departments of Visual Communication and Fine Art. At ATypI in 2003, he spoke about Irish type design: the Canadian connection. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designing with Type
| Designing with Type is a growing resource for typography students and educators maintained by James Craig, author of Designing with Type (1999). Links to commercial foundries. Also check the student design subpage. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
The UIUC School of Art's annotated graphic design bibliography. Dead link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Extinct type foundry, which published a Specimen Book in 1951. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dick Pape
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Book in German published by enschedé en zonen in Haarlem in 1919. Now available on the web, it deals with blackletter type. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Housed at Columbia University, The Digital Scriptorium is a growing image database of medieval and renaissance manuscripts that unites scattered resources from many institutions into an international tool for teaching and scholarly research. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Digital Type Design Guide
| Book by Sean Cavanaugh and accompanying 220 font CD with most well-known families (TTF and T1). [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Don Knuth's 700-page book (1999) on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Font links and discussions. Book discussions. [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. Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:
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This company published an unbelievable 900-page catalog in 1920 entitled "Campionario Caratteri e Fregi Tipografici". Gerald Lange on Typo-L wrote this: "Makes you weep. The decorative devices and ornamental initials are unbelievable, many of which I have never seen anywhere before. Almost 900 pages worth of salivating." [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Dollfus Mieg Company was founded in 1800 by Daniel Dollfus (1769-1818) and Anne-Marie Mieg (1770-1852). In the 1890s and again in 1901 it published Monograms and Alphabets for Combination, a book with alphabets and monograms for cross-stitching. This book served as example for several digital fonts. Paulo W (Intellecta Design) made Dolphus Mieg Monograms (2011) and Dolphus Mieg Alphabet (2011). There is also the interesting Victorian outline family Sappho Monogram (2010) by Brian J. Bonislwasky. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Professor of computer science at Stanford University, who by himself changed the world of mathematical and scientific typesetting when he developed TeX in the 1980s. That system needed fonts, so he developed a program called Metafont that permits a simple software description of a glyph. And with Metafont, and the help of Hermann Zapf, he created the Computer Modern type family. This is a tour de force, because each letter in the 72 original fonts has only one descriptive program that contains several parameters. Different parameter settings yield the typefaces, from italic to roman and bold, from 5pt to 10pt and 17pt optical settings, and from sans to serif and typewriter. Since a few years ago, he is Professor Emeritus of The Art of Computer Programming at Stanford University. In 1983, Hermann Zapf and Donald Knuth headed a project to develop a font set called Euler. One implementation of that is AMS Euler Text. Author in 1998 of Digital Typography (CSLI Publications). His METAFONT Book is free. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Mackellar, Smiths&Jordan: Typographic Tastemakers of the Late Nineteenth Century (Oak Knoll Press, New Castle, DE, 2008). Description by Oak Knoll Press: This is the first full-length study of the leading American type foundry of the nineteenth century. It is an interesting history of the foundry from both a business and a design point of view. The emphasis is on the design of the hundreds of typefaces that were produced by the foundry, from its inception in the 1860s until its merger with most other American foundries at the end of the century. The author describes (with many detailed photographic illustrations) how changing business conditions and technical improvements in typefounding interacted with changes in public taste to modify, over the decades, the appearance of the typefaces that Americans found in their publications. While this is a study of only one of many American foundries, in many ways MacKellar, Smiths&Jordan can stand as an exemplar of all the rest. It was the descendant of the first successful American type foundry, Binny and Ronaldson, started in Philadelphia in 1796. Extensive business records of the firm exist, as do scores of type specimen books and promotional publications of the foundry. All of these have been used extensively by the author. The scores of typefaces illustrated and described are considered as the ever-changing output of a corporation, with lesser emphasis on the individual creators of each typeface. At the turn of the twentieth century, taste turned away from the florid, ornamented style of the earlier decades. Mr. Clouse has shown in this well-written study that the earlier styles were very successful in their own time and should be judged on that basis. A completely illustrated appendix showing MS&J's patented typefaces is extremely helpful. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
His typefaces include McMurtrie Title, Ultra-Modern&Italic (1928, an art deco typeface published at Ludlow), and Vanity Fair Capitals. Jim Spiece's UltraModernClassicSG is based on Ultra-Modern. And so is Steve Jackaman's Ultra Modern RR (Red Rooster). FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
An inexpensive collection of books by Dover Press with mostly copyright-free drawings, bookplates, ornaments and illustrations. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Doyald Young
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Doyald Young: Logotypes and Letterforms
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Steve Heller writes: When digital programs like Fontographer made it easy for anyone with a computer to create typefaces, many of them purposefully inelegant, he advocated a high level of craftsmanship that he believed had been lost. In so doing, Mr. Young challenged a new generation to reject so-called grunge design in favor of precision. When the American Institute of Graphic Arts awarded Young its 2009 Medal for Lifetime Achievement, Marian Bantjes wrote Taste. Practicality. Formality. Understated prestige. The combination of those qualities forms as perfect a descriptor of Young’s work as any you are likely to find, both in the process and the result. Although he is widely known for his elegant curves and scripts, he has never been a showy designer---there is not a trace of ego in his work. The range of letterforms able to flow at any time from his hand is great, and there is no way to particularly define Young's mark unless you have seen the hand-drawn comp. That is where his work is unmistakable: perfect letterforms drawn in pencil at a surprisingly small size without so much as a mark of hesitation or awkwardness. The style varies but the fluidity and perfection do not. Links and media: Scott Erickson's movie on Doyald Young. FontShop link. Short obituary and video. Longer video about his life. Steven Heller's obituary in the New York Times. Obituary by Marian Bantjes for AIGA. He was adored and respected for his craft and gentleness. Portrait. Another portrait (credit: Louise Sandhaus). Author of several influential texts:
His typefaces include the extra bold condensed sports scripts fonts Home Run Sanscript (1999) and Home Run Script (1999, a connected bold retro signage script), Young Gallant (2010, a formal calligraphic script based on the alphabets his teacher, Leach, trained him on), ITC Eclat (1985, 1992, fat script face, which was used for titles by Comedy Central and the Queen Latifah movie Beauty Shop), Young Finesse (2003, an Optima-inspired thin headline face used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script). [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Curator of the Plantin-Moretus Museum in the early part of the 20th century, and author of Antwerpsche Druckerye (Brussel, N. V. Standaard-Boekhandel, and Amsterdam, P. N. Van Kampen en Zoon, and Antwerpen, J. E. Buschmann, s. a.), a 153-page book on foundries and printers in Antwerp. Coauthor with Marius Audin of Die Civilité-Schriften des Robert Granjon in Lyon und die flämischen Drucker des 16 / Jahrhunderts (Wien, Bibliotheca Typographica, Herbert Reichner, 1929). That last book is a German version of Les caractères de civilité de Robert Granjon et les imprimeurs flamands (1921). Some of the findings in that beautiful book are reported here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
DRAIM
| Author of La Lettre dans le Décor et la Publicié Modernes (1930s). That book shows some unnamed art deco alphabets. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Printing Type Designs - A New History from Gutenberg to 2000 (Akros Publications, Fife, Scotland, 2000). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dunwich Type Founders
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Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Editor of Ausgewählte Druckschriften in Alphabeten, which was published in Leipzig by the Verein Leipziger Buchdruckereibesitzer as an educational aid. The Bund für deutsche Schrift has scanned in a third of the pages and put it on one of their CDs. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Modèles de Lettres D'Art Nouveau (Imp. Firmin Didot & Cie, Paris). This book of art nouveau alphabets inspired several digital recreations, such as Dick Pape's Lettres Majuscules Fantasie and Lettres Minuscules Fantasie in 2013. Download Pape's fonts here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Coauthor with Jürgen Siebert and Erik Spiekermann of The FontBook, published by FontShop International in 1998, with additions and updates in the following years. Robert Stacey situates Cleary in the history of Canadian design [because Cleary lived and died in Toronto], when he talks about the 1980s: Typographic design integrity continues to be defended, meanwhile, against trendiness and clutter by such private-press and fine-printing luminaries as Coach House Printing's Stan Bevington, Hemlock Press's David Clausen, Giampa Textware Corp.'s Gerald Giampa, Imprimerie Dromadaire's Glenn Goluska, Dreadnaught Design's Robert MacDonald, Canadian Art's John Ormsby, Aliquando Press's Will Rueter, and the late Ed Cleary, of the venerable Cooper&Beatty Typographers and the more recent Font Shop. As their work serves to remind us, the "democratization" of type and print through desktop publishing software and hardware, and the attendant access of thousands of typefaces, increases rather than decreases the need for taste, discernment and restraint to be brought to bear on the management of textual and visual materials. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editions 205
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There is also a publishing component to Editions 205. Works published by them include Tout le monde connaît Roger Excoffon (2011), which was written by Alan Marshall (director of the Musée de l'imprimerie, Lyon), Tony Simoes Relvas, and Thierry Chancogne. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
French publisher which has a nice series of books on writing. These include "Le Verbe géomètre Numérographies et écritures mathématiques" (Valère-Marie Marchand, 2004), "Lettres Latines Rencontre avec des formes remarquables" (Laurent Pflughaupt), "Les alphabets de l'oubli Signes et savoirs perdus" (Valère-Marie Marchand), "Le Bruissement du calame Histoire de l'écriture arabe" (Sophia Tazi-Sadeq), and "Entre Ciel et Terre Sur les traces de l'écriture chinoise" (Shi Bo). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British typefounder, d. 1835. Son of Joseph Fry, the founder of the Fry Letter Foundry in Bristol. Quoted from MyFonts: In 1784 he introduced a raised roman letter for the blind, and was awarded a prize by the Edinburgh Society of Arts. Louis Braille's system of lines and dots ultimately proved better. In 1787, he and his brother Henry took over the Fry Letter Foundry from their father. Credited with many great faces, including Fry's Baskerville (1768) and Fry Moxon (or Graisberry), a Gaelic typeface, Fry A Gothic Capitals (ca. 1819), an angular transitional Gaelic face, and Fry B Gaelic Capitals, a transitional Gaelic face (Everson mentions the date 1836, but that would be one year after his death...) and Priory Text. Mac McGrew writes: Priory Text was the blackletter of the Fry Foundry in England, with some sizes dating back to about 1600, and most sizes shown in 1785. It was revived by Talbot Baines Reed for his History of the Old English Letterfoundries in 1887, and DeVinne used it for his edition of Philobiblon in 1889. The Dickinson foundry, a forerunner of ATF, issued it as Priory Text about that time. It is very similar to Caslon Text (q.v.). BB&S made a near-duplicate type, originally called Reed Text, but later shown as Priory Black Text. Although the latter was shown as late as 1925, these faces had generally been replaced earlier by Cloister Black (q. v.) and other Old English faces with more refined draftsmanship. About the Gaelic types, Brendan Leen writes: In 1819, Edmund Fry cut a type once again commissioned by the British and Foreign Bible Society. The design of the Fry type signifies a departure from the angular minuscule toward the more rounded form of the half-uncial, a characteristic of Irish typography in the nineteenth century. Sample of Fry Irish type from The Two First Books of the Pentateuch. Author of Pantographia (1799, Cooper&Wilson, London), a work that shows the scripts of many languages [a careful digitization of some can be found in the font family Pantographia (2010) by Intellecta Design]. The full title is Pantographia; Containing Accurate Copies of All the Known Alphabets in the World; Together with an English Explanation of the Peculiar Force or Power of Each Letter: To Which Are Added, Specimens of All Well-Authenticated Oral Languages; Forming a Comprehensive Digest of Phonology. Examples from that book: Bastard, Bengallee and Berryan, Bulgarian and Bullantic, Chaldean. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Professor of typography at the Faculdad de Bellas Artes (FBA) of the Universidad del Pais Vasco (UPV) in Bilboa. Eduardo Herrera and Leire Fernández (a colleague at FBA UPV) developed a Bastarda based on work of Juan de Yciar. They wrote about it in Recuperación y digitalización de la letra bastarda de Juan de Yciar (GFM Grafema, No. 1, April 2009). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Modern Business Penmanship (1903, American book Company). Image from that book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Edward Johnston
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Born in Uruguay in 1872, he died in the UK in 1944. A medical doctor, he taught all his life at the Central School of Arts and Crafts in London and at the Royal College of Art in London. From 1910-1930, he designed fonts for the Cranach-Presse in Weimar, which was owned by Count Harry Kessler. In 1916, he makes a typeface for the London Underground (helped by Eric Gill). Johnston's London Transport type is reworked by Colin Banks in his New Johnston (1979). His fonts show a strong influence by Eric Gill: Hamlet-Type (1912-27, designed for a Shakespeare edition, Cranach Press, 1929), Imprint-Antiqua (with Gerard Meynell and J. H. Mason, 1913; +Imprint Shadow; digital forms exist at Monotype [Imprint MT], URW [Imprint URW, preferred over the MT version by some of my correspondents], SoftMaker [I771], and Bitstream [Dutch 766]), Johnston Sans Serif (1916). A version of the London Underground typeface (1997) was digitized by P22 foundry. In 2007, P22 extended that typeface to a 21-style multilingual collection called P22 Underground Pro. At ITC, Dave Farey and Richard Dawson recreated a Johnston sans serif family with 3 weights, aptly called ITC Johnston. Nick Curtis created Underground NF in 1999. Many other designers aped Johnston's Underground as well. Hamlet, the almost-blackletter script, was revived by Manfred Klein and Petra Heidorn as HamletOrNot. In 2012, Greg Fleming published Railway Sans as a free open source font at OFL. It is based upon Johnston's original drawings and work started by Justin Howes just before his death. Edward Johnston is a book published by Priscilla Johnston (London, 1959). Author of Writing&illuminating,&lettering (1917, J. Hogg, London; original done in 1906). Writing Illuminating Lettering at Amazon. Scans of some lettering by him: illuminations (1917), modernized half uncial (1906), Calligraphy by Johnston. Digital fonts based on alphabets from the 1906 book include Edward's Uncial 1904 (2011, David Kettlewell). Links: Linotype, FontShop, Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of "A dissertation upon typographical founders and foundries" (1778) and "A catalogue and specimen of the typefoundry of John James" (1782). These were published in 1961 at Oxford University Press, edited with an introduction and notes by Harry Carter&Christopher Ricks. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designer of ETBembo, about which he writes: ETBembo is a Bembo-like font for the computer designed by Dmitry Krasny, Bonnie Scranton, and myself. It will be used in my next book, Beautiful Evidence. My earlier books on analytical design were set in lead (!) in Monotype Bembo, an excellent book font. When converted to an electronic font, Monotype Bembo became thin and spindly (the computer people ignored "squeeze," the slight spreading of ink when the lead type hits the paper). So we made our own computer version and also made a few design changes (ligatures, several problems with the pi font, some letterforms, creation of a semibold). ETBembo is used in "The Cognitive Style of PowerPoint." It is just our house font and I'm not in the type business so it will not be commercially available. Tufte goes on to say that he thinks that Yale should make Matthew Carter's Yale font available for free to the whole world. Funny poster by Mark Goetz related to Tufte's stance on the typographic and infographic "qualities" of Powerpoint. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The Irish character in print, 1571-1923 (with an introduction by Alf MacLochlainn), New York: Barnes&Noble, 1924 (1969). The book was originally written in 1924. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A discussion of Russian typography books. In Russian. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Nelson Beebe's bibliography of articles that appeared EPODD, the Electronic Publishing Journal. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jim Rimmer's RTF Isabelle (roman and italic), made in 2006, is based on two delicate serif faces by Friedlander. Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters) and Linotype Friedlaender borders were revived in 2006 by Ari Rafaeli. In 2005, Andreu Balius was commissioned to digitize the typeface now sold by Neufville Digital: Elizabeth ND (2007, 3 styles). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ellen Lupton is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City. Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. Ellen Lupton was the keynote speaker at AypI2006 in Lisbon. In that talk, summarized here, Ellen Lupton discusses the benefits of truly free fonts (Perhaps the free font movement will continue to grow slowly, along the lines in which it is already taking shape: in the service of creating typefaces that sustain and encourage both the diversity and connectedness of humankind.) and provides key examples: Gaultney's Gentium, Poll's Linux Libertine, Peterlin's Freefont, Bitstream's Titus Cyberbit, and Jim Lyles' Vera family. She is the editor of D.I.Y.: Design It Yourself (2006). In 2007, she received the AIGA Gold Medal. Her introduction to the major typefaces. Speaker at ATypI 2010 in Dublin. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Die Drucker der Wagnerschen Buchdruckerei in Ulm 1677-1804 Band II Vignetten Signete Initialen (Universitätsverlag Konstanz, Konstanz, 1984). A typical vignette. Vignette 142. Vignette depicting Silvanus. The Wagnerschen Buchdruckerei issued this Schreibschrift in 1765. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962. Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruders students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions. Quotes from Shaw's piece:
IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel). Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Great typography and design book by Alexander Branczyk, Jutta Nachtwey, Heike Nehl, Sibylle Schlaich, and Jürgen Siebert, Thames&Hudson, 1999. Now also on-line. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Book containing specimen of 6300 commercial digital typefaces, compiled by Paul Morency and josé Perez (2004). It comes with a handy on-line font database. Paul Morency has been in the advertising and printing field for more than 20 years. José Perez is a self-employed pre-press technician, providing services to printers, digital photography, page layout and printing services. Both are based in Montreal. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Barcelona in 1964. Graphic design teacher at Elisava in Barcelona since 1988. Director of the Master on Advanced Typography at the Eina school of art and design, in collaboration with the Autonomous University of Barcelona. He also teaches a Master's course on art direction and advertising at Ramon Llull University. Author of Twenty-two tips on typography (that some designers will never reveal) and twenty-two things you should never do with typefaces (that some typographers will never tell you) (Actar). At type-o-tones in Barcelona, Enric Jardi created Neeskens, Retòrica Buida (1995), Retòrica-Plena (1995), Deseada (1995), Escher, Magothic, Mayayo (great display font!), Peter Sellers, Poca, Radiorama (1995), Verdaguera (1995), Wilma (1995-2007: a chromatic type system), Xiquets Forever (1995, dingbats). Klingspor link. Type-o-tones link. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of An Essay on Typography (1931, revised in 1936). For a French edition, see Eric Gill Un Essai sur la Typographie (Boris Donné and Patricia Menay, Ypsilon Editeur, 2011). His typefaces include
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Eric Kindel is a designer, writer and Lecturer in the Department of Typography&Graphic Communication at The University of Reading. He lives in London. Eric Kindel's project at Central Saint Martins College of Art&Design (London) includes an on-line survey of typeforms. At ATypI in Rome in 2002, he spoke about stencil letters ca. 1700. This talk was followed by a talk on the same topic at ATypI 2006 in Lisbon (with Fred Smeijers). His research (jointly with Fred Smeijers, James Mosley and Andrew Gillmore) involves stencil making, ca. 1700 according to an apparatus escribed in a late seventeenth-century text compiled by Gilles Filleau des Billettes for the French Royal Academy of Sciences. He also researches the Parisian stencil maker Gabriel Bery, from whom Benjamin Franklin purchased a large set of letter stencils and decorative borders in 1781. The stencil set survives in the collections of the American Philosophical Society (APS) in Philadelphia, and was first examined in 2001 as part of the project described above. Editor of Typeform dialogues: a comparative survey of typeform history and description, compiled at Central Saint Martins College of Art&Design (Hyphen Press, 2004), which has articles by himself and Catherine Dixon (who writes on type classification). He describes his research on stencil letters at Reading as follows: The period under consideration begins in the sixteenth century and ends in the present day. The intention is to recover, if possible, a relatively continuous history of stencil letters and stencilling (in the Americas and Europe) by drawing together artefacts and practices that are in many cases now largely forgotten. In addition to forming a broad view of how stencil letters have been designed, made and used over the past five centuries, specific practices will also be examined through an on-going series of articles and papers. The first, `Marked by time', was published in issue 40 of Eye magazine: it offered two contrasting instances of stencil letter-making in Germany and the United States in the mid-twentieth century. Another, `Stencil work in America, 1850-1900', was published in Baseline 38 and unearths innovations in the manufacture and use of stencils in America in the second half of the nineteenth century, and the stories of some of their makers. The article also draws on the writings of Mark Twain for whom stencils served as a literary device on several occasions. And a third, longer, article `Recollecting stencil letters' has been published in Typography papers 5. It discusses the many forms stencil letters take, and how their form is influenced by a number of factors. The article is based on the study of period writings and MSS., patent specifications, collected artefacts and other primary documents and materials. See also Patents progress: the Adjustable Stencil (Journal of the Printing Historical Society, no. 9, 2006). In Typography papers 7, he wrote about another stencil method in a paper entitled The Plaque Découpée Universelle: a geometric sanserif in 1870s Paris (2010). Speaker at ATypI 2011 in Reykjavik on the topic of stencils. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Zürich, 1945. Trained as compositor (lead) and as Monotype keyboard operator. Studied Typography and Type from 1969-1971 at the Basel Gewerbeschule under Robert Büchler (the director was Emil Ruder) and André Gürtler. Instructor for type apprentices in Basel, and free-lance book designer in Zürich and Cham/Zug since the 80s. Owner and publisher and editor at Syntax Press (which he founded in 1964) and later at Syndor Press Cham/Switzerland from 1996-2002. He sold Syndor Press in 2002 to Niggli Verlag Sulgen. Editor of several books by Adrian Frutiger, Hans Ed. Meier and René Groebli (a photographer). Author of "Adrian Frutiger Formen und Gegenformen/Forms and counterforms" (Cham, 1998), "Adrian Frutiger Lebenszyklus/Life cycle" (Cham, 2000), and An Introduction to the History of Printing Types (London, 1998; the original publication was in 1961). He continues to spend much of his time assisting Frutiger, Andrél Gürtler, H.E. Meier, Alfred Hoffmann and other important figures in Swiss typography who are also his close friends. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Erik Lindegren (Swedish calligrapher and typographer, 1918-1996) ran the Erik Lindegren Grafisk studio in Askim, Sweden, and is the author of "ABC of Lettering and Printing Types". [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Don Hosek reviews the major books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Estudio CH
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Designer of Espinosa, mentioned here. Author of Espinosa. Rescate de una tipografía novohispana (México, Designio, 2005), a book about Antonio de Espinosa, a 16th century Mexican typographer, who in all likelihood cut the Espinosa type. The commissioned text family Fondo (2007) won an award in the TDC2 2008 competition and at Tipos Latinos 2008 (for extensive type family). Creator of the angry hand-printed face Prejidenjia (2008, with Luis Novoa). Speaker at ATypI 2009 in Mexico City, where he introduced the work of 16th century printer Antonio de Espinosa to the world. Espinosa Nova (2009) won an award at TDC2 2010 and a grand prize at Tipos Latinos 2010. Guaca Rock (2009) is a stone chisel face based on the logotype of the rock band Botellita de Jerez. Gandhi (jointly designed with Raul Plancarte) won an award at Tipos Latinos 2012. Fontsy link. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Lettering book edited by Kevin Horvath&Jerry Lobato (1988). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Explorations in Typography
| Explorations in Typography Mastering the Art of Fine Typesetting is both the title of a 2011 book and the name of a web site by Carolina de Bartolo and Erik Spiekermann. Carolina is located in San Francisco. The site is worth a visit, as users can "set" their own text. Their own blurb: [The book] is a vast collection of beautiful typesetting examples. Page after page, a brief article by Erik Spiekermann has been set in hundreds of different ways in hundreds of different typefaces, creating an extended visual taxonomy of typesetting that allows you to learn by looking. With complete type specifications on every page and examples set in hundreds of faces (many from the FontFont library), the aggregate effect is an ersatz type catalog as well as an extensive resource of typesetting ideas. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author with R. Lepsius of Liste de Hieroglyphischen Typen aus der Schriftgiesserei F. Theinhardt (1875, Berlin). It lists hieroglyphic symbols available from Theinhardt's foundry. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Regole editoriali, tipografiche & redazionali (Publishing, Typographical & Editorial Rules) (Istituti Editoriali e Poligrafici Internazionali, Pisa - Roma, 2004), with a Preface by Martino Mardersteig and a Postscript by Alessandro Olschki. Professor at the Istituti Editoriali e Poligrafici Internazionali, Pisa - Roma. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Photo era foundry set up in the 1960s by John McConnell and Chris Dubber in London. I could only find Pluto Outline, the art nouveau face Desdemona (a digital version was created in 1992 by David Berlow at Font Bureau and in 1994 by Richard Beatty; Letraset showed Desdemona in its 1981 and 1986 catalogs; the original is from the late 19th century by Karl Brendler&Soehne, Vienna), Stack, and Oxford (a multiline face) on-line. Steve Jackaman worked in the studio in Newman Street and Hanway Place, and recalled El Paso (a Western/Mexican simulation face) when he created El Paso Pro (2011, Red Rooster). According to Wes Wilson, Face Photosetting led the way by launching a number of Art Nouveau revivals which were taken from Ludwig Petzendorfer's "A Treasury of Authentic Art Nouveau Alphabets". A selection of these, which included Arnold Böcklin, Edel Gotisch and Eckmann Schrift, were made more widely available when Letraset produced them for their dry transfer product. They published a number of books and catalogs, ca. 1976-1977: Face headline catalogue [1981/82] (1977), Specimens of Delittle's wood type, Face book of faces, Type catalogue (1976). Some of the faces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fraktur.de gives information on books on Fraktur writing. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Belgian typographic expert and writer (b. Bachte-Maria-Leerne, 1918, d. Grez-Doiceau, July 16, 2005), and author of "How Typography Works (and why it is important)" (New York: Design Press). This is a translation of La Typographie au Tableau Noir (Retz, Paris, 1984), a book entirely written by hand! Uitgeverij de Buitenkant published "Fernand Baudin, typograaf, typographiste, book designer". Baudin wrote "L'Effet Gutenberg" (1974, Editions du Cercle de la Librairie). He was active in the Rencontres de Lure, the ATypI, and was instrumental in the creation of the curriculum of the Plantin Genootschap in Antwerp. Another reference. Exposition Fernand Baudin from April 14 until May 27, 2000 at the Royal Library of Belgium. In 2004, he received the Laureate Honoris Causa award from the Plantin Society's Institute of Printing and Graphic Arts. CV (doc file in French). CV (txt file in French). Elly Cockx-Indestege et Georges Colin wrote Fernand Baudin ou La typographie au service du lecteur (2000, Bibliothèque royale de Belgique, Brussels). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Books on graphic design and typography. This store is located in New York (159 Prince Street, Soho), and takes electronic orders (free shipping in the USA). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dr Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their non-Latin fonts and typesetting schemes, notably those using Arabic and Indic scripts such as Devanagari. Since 1989 she has worked as a consultant, author, lecturer, and type designer. In 2003 Fiona joined the Department of Typography and Graphic Communication at the University of Reading, England as a part-time sessional lecturer on non-Latin type. The Adobe Thai typefaces were commissioned to from Tiro Typeworks and collaboratively designed by Fiona Ross, John Hudson and Tim Holloway in 2004-2005 for use with Adobe Acrobat (production by Tiro Typeworks). Vodafone Hindi (2007, with Tim Holloway and John Hudson) won an award at TDC2 2008. Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). Bio at ATypI. Her books and/or essays:
Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Flashfonts
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Scans and photographs of old type specimen books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fonderie Normale
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In 1914, Enschedé republished it with a foreword that tells the story of the Fonderie Normale: i, ii, iii. Some sample pages from that book: Ecriture, Ecriture, Fantaisies, Gothique, Gothique Ornée No. 1489, Grec, Romain, Didot. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
A fantastic (and huge) book by Erik Spiekermann, J&uul;rgen Siebert&Mai-Linh Thi Truong, showing over 24,000 fonts. A must for every serious font person. Publisher: FontShop International [June 1998] ISBN: 3-930023-02-4. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Searching for a designer or a font? Look no further than the FontBook. It has over 25,000 fonts listed. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
MIS Press book by Stephen Moye: a complete guide on typeface design using Fontographer. ISBN 2-55828-447-8. July 1995. 30USD. Out of press, but since the entire book is on the web, who cares? [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Nice specimen book with hundreds of fonts. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
fonts.info
| Ralf Hermann (Jena, Germany) is the designer of Agendia (2002), a free experimental Antiqua-Schrift (see also here), and Logotypia (2003, a face for logotype applications). Moderator of the typografie.info type forum (in German). Author of Index Schrift (2003). In 2004, he set up fonts.info to sell his fonts. Schriftgestaltung.de is a web site he runs with Georg Seifert. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Sean Cavanaugh's huge selection of books on fonts and typography, offered in cooperation with Amazon. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Pixaçao: Sãp Paulo Signature (2007, XGPress), and Cholo Writing: Latino Gang Graffiti in Los Angeles (2009, Dokument Press). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Vendor of old type books, based in Nottingham, UK. Type specimen books. Books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British book designer (b. London, 1891, d. Lavenham, Suffolk, 1975). He ran Nonesuch Press (founded in 1923) using Monotype machines. Coauthor with Herbet Simon of Fleuron Anthology (1973, London: Ernest Ben Limited), which contains many of the journal The Fleuron's best articles. [Note: Stanley Morison edited The Fleuron, which appeared as a series in the 1920s.] [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author (b. 1876) of Letters&Lettering: A Treatise With 200 Examples (1921, Bates&Guild Co, Boston). This book shows many decorative alphabets. Alternate URL. Yet another URL. Examples from that book: Alphabet after Serlio, An outline caps face, A Roman caps face. The best page on Chouteau Brown, complete with all images from his 1921 book. Some of Chouteau Brown's own lettering from that 1921 book: Incised English Script, 15th Century English Gothic Blackletter, 16thCentury German Blackletter, Capitals adapted from Renaissance era medals, Classic Roman Capitals, English Gothic Letter 15th Century, English Incised Script from a tombstone in Westminster Abbey, 18th Century French Script Capitals, German Blackletter (from brass), Italian Renaissance Capitals from a Marsuppini tomb, Italian Renaissance Capitals from Santa Croce, Florence, Italian Uncial Gothic Capitals from the 14th century, Modern American Letters, Modern American Letters for rapid use, Modern American Lowercase, Modern German blackletter, Modern German capitals, Spanish Script from the latter part of the 17th century, Spanish Script capitals, early 18th century, Uncial Gothic Capitals 13th century, Uncial Gothic Capitals 14th century, Uncial Gothic Initials 12th century, Venetian Gothic Capitals 15th century. The Siamese style in Brown's 1912 book inspired Nick Curtis's digital font Owah Tagu Siam (2007). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The Shaping of our Alphabet (1955, Alfred A. Knopf, New York), a 228-page type history book. His oeuvre. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Frank Heine
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Author of Typencyclopedia: A User’s Guide to Better Typography . A type guru, he is Professor emeritus of Rochester Institute of Technology and founder of Electronic Publishing Magazine in 1976. He occasionally writes on early printing technology, such as here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Aka Fred Afrikyan. Yerevan, Armenia-based architect, letterer and type designer who wrote The Art of Letter-Type by Fred Africkian. 120 Tables of Armenian decorative types (1984). See also here. Taboo (Canada Type) is a Latin typeface inspired by lettering from Africkian's book. Patrick Griffin of Canada Type writes: Virtually unknown in the West, Africkian was one of the most talented eastern block artists. Though mainly a calligrapher working with traditional tools, he embraced geometry on multiple occasions for the sake of drawing simple modern Armenian and Cyrillic alphabets. Though he normally tried to maintain in his work a certain homage to Mesrop Mashtots (5th century Armenian monk who invented the Armenian alphabet), his late 1970s experiments made use of so many modern elements that the results were hailed as "real art mingled with science." Examples of his lettering: A, B, C, D, E, F, G. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fred Smeijers
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In 1998, Frederich Friedl, Nicholas Ott and Bernard Stein wrote the voluminous book, Typography: An Encyclopedic Survey of Type Design and Techniques Through History (Black Dog & Leventhal). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Digital typefaces based on his work include Museum Initials (2007, John B. Wundes), Bad Situation (Intellecta Design, 2007: based on an 1864 design called Example Alphabet). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German type designer (b. Dorste, 1863, d. Schönberg, 1943). In 1882, he becomes the type director at the foundry of Schelter&Giesecke in Leipzig, until 1890, and again from 1896-1898. From 1898 until 1911, he is the head of printing at Genzsch&Heyse, first in München and then in Hamburg. From 1911-1924, he taught at the Staatlichen Gewerbeschule Hamburg. At Genzsch&Heyse, he designed Albingia (1906), Bürgerschafts Fraktur (1907; Schnelle claims 1913), Genzsch Antiqua (1906), Genzsch Kursiv (1906), Genzsch Antiqua halbfett (1908), Genzsch Kursiv halbfett (1908), Genzsch Antiqua fett (1910), Genzsch Antiqua schmallfett (1910), Genzsch Fraktur (1931), Genzsch Fraktur halbfett (1932), Heyse Antiqua (1921), Heyse Antiqua halbfett (1924), Heyse Kursiv (1921), Senats Fraktur (1907), Senats Fraktur halbfett (1908), Germanische Antiqua (1911), Germanische Antiqua halbfett (1912), Germanische Kursiv (1911), Hamburger Druckschrift (1904; halbfett and fett in 1908). The first appearance of Nordisk Antiqua (or Genzsch-Antiqua) was in 1906 with a single weight under the name of "Nordisk Antiqua". In 1912 a family of seven weights was announced under the name "Genzsch-Antiqua" honoring the foundry in Hamburg where Bauer had been the manager of composing and printing since 1900. As the foundry Genzsch&Heyse had a lot of customers in Scandinavia, their Nordisk Antiqua became widely spread over the north of Europe. Gerhard Helzel has a digital revival of the Genzsch Antiqua family, in mager, halbfett and kursiv. all his other faces appeared at J.D. Trennert&Sohn: Fortuna (1930), Friedrich-Bauer-Grotesk (1933), Friedrich-Bauer-Grot. kräftig (1934), Friedrich-Bauer-Grot. halbfett (1934), Friedrich-Bauer-Grotesk fett (1934), F.-Bauer-Grot. schmalhalbfett (1934), Friedrich-Bauer-Grotesk licht (1934), Trennert Antiqua (1926), Trennert Kursiv (1927), Trennert Antiqua halbfett (1927), Trennert Antiqua fett (1929), Trennert Kursiv fett (1930), Trennert Antiqua schmalhalbfett (1929), Trennert Latein (1932). Author of Chrobik der Schriftgiessereien in Dutschland und den deutschsparchigen Nachbarländen (1928, Offenbach am Main). A PDF file exists that was made and expanded by Hans Reichardt in 2011. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch/French book seller with hundreds of old type books for sale. Their outlet is at 26, Rue des Béguines, 41100 Vendôme, France. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Schrift mit Zirkel und Richtscheit (Leipzig, 1955). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Das Buch des Setzers (1948), an overview of the hand composition typefaces available by German type foundries at the end of World War II:
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Great service in which many old books woith alphabets have been fully scanned. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Distributor in Barcelona of Neufville fonts, est. 1995. The fonts can also be bought at MyFonts. Ownership: the successors of Georg and Carlos Hartmann: Wolfgang and Vivian Hartmann. Digital type production director is Antoni Amate. Bauertypes also has a nice set of books and typoe catalogs for sale. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with Steve Heller of New Ornamental Type. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Influential French type activist, b. Le Florez, 1927, d. 1998. Author of Aide au choix de la typo-graphie (Atelier Perousseaux, Reillanne, 1998) and Pour une sémiologie de la typographie (1979). Well-known for leading the Rencontres internationales de Lure for many many years. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Gene Gable
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Author of "An Introduction to the History of Printing Types" (London, 1998). The original publication was in 1961. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of Becker's Ornamental Penmanship and Draughtsman's Letter Book (1854). This book was used by Monogram Fonts Co in the creation of Noir Monogram (2009). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designer in Barcelona, who published a small booklet enttled Sixties and Type. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
ATypI states: "Gerald Cinamon was born in Boston, received his MFA Degree in Design at the School of Art and Architecture, Yale University, and has lived in London since 1961. He freelanced for numerous publishers and eventually became Chief Designer at Penguin Books for almost 20 years. His books regularly were chosen for the Best Books of the Year shows. He has written studies of designers and is now especially interested in lettering and design history." He wrote "Rudolf Koch: Letterer, Type Designer, Teacher" (2000, Oak Knoll Press and The British Library) and spoke at ATypI 2003 in Vancouver on Koch's work. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
He published De Handen van de Zeven Zusters with Willem Dijkhuis (Van Oorschot, Amsterdam, 2001), describing his life's work. Nijhof&Lee writes: Gerrit Noordzij, calligrapher, letter-designer, typographer, writer and educator has been one of the most influencial forces in modern day Dutch typography; during his years as educator at the Royal Academy of Arts in The Hague he has had an important influence on the younger generation of letter designers after 1970. Besides having designed the "Dutch Roman" (1980), the "Batavian" (1980) and more recently the "Remer", Noordzij has worked as graphic designer for various Dutch publishers. Since 1978 he has been the "house" designer for the publishing company "Van Oorschot"(who published this book) producing a remarkable oeuvre of work much of which has been acclaimed and awarded. Other books by him include The Stroke of The Pen and De Staart van de Kat. His typefaces:
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Type reading lists compiled by Gerry Leonidas, who teaches at the University of Reading. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gilbert Powderly Farrar
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Giovambattista Palatino
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Palatino is also the name of a famous typeface designed in 1948 by Hermann Zapf at Linotype. Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino Nova in 2005 and Palatino Sans and Palatino Sans Informal in 2006 as a joint effort of Hermann Zapf and Akira Kobayashi. Copies or near-copies of Zapf's paltino include Book Antiqua (by Monotype, distributed by Microsoft---this face did not have Zapf's blessing and may well have led Zapf to resign from ATypI), URW Palladio L (on which Zapf collaborated), TeX Gyre Pagella (free), Zapf Calligraphic 801 (by Bitstream, approved by Zapf), Zapf Renaissance Antiqua (by Scangraphic), Paltus (URW), Palladium (Compougraphic), Palm Strings (Corel), Parlament (Scangraphic), Patina (Alphatype), pal (GoScript), Palladio (by SoftMaker), palazzo (by SoftMaker), and FPL Neu (based on URW Palladio L). View various digital implementions of Zapf's Palatino. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Glossary of Typesetting Terms (1994, University of Chicago Press) was written by Richard Eckersley, Charles M. Ellertson, Richard A.ngstadt and Richard Hendel. Downloads: i, ii, iii. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Google's book scanning project. Books available starting in August 2006 include Jan Middendorp's Dutch Type and hundreds of others. The pages come in low quality JPG format, about 90k per page. Furthermore, the right-click download function is disabled. The only way to get an entire book is to click on every page in the browser, and then check the cache on your computer, which should have each page in its JPG format---a painful process that will take a good hacker to automate. Text pages are sometimes in PNG format. Grabbing text for quotations, as one can do in PDF files for example, is impossible. So, in summary, Google Books is useful for advertising purposes, to make one buy the book. It is useless for those wishing to do some serious reading or those interested in the fine details of type specimen or other images. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Authors of A Collation of Specimens Displaying the Types&Typography of Broadsheets and some other Ephemeral Printing all now hung out to dry (2007, Incline Press, Oldham). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Klingspor link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Retrofonts (2010, Mark Batty Publ.), a 560-page book that comes with a CD that contains 222 fonts. These are basically old freeware and shareware fonts by Dieter Steffmann, Nick Curtis, and others---all easily found on web archives. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gruso Schriftenmappe: Eine Auswahl schöner Gebrauchsschriften für Maler, Graphiker, Schaufensterdekorateure und verwandte Berufe. Heft 3 and Heft 4 (1952) are booklets with tens of alphabets. They were scanned in by Michael Stoll. I cleaned up a subset of the scans, reorganized the set, and commented on them. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gunnlaugur S.E. Briem
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Home page. Books for sale. Keynote speaker at ATypI 2011 in Reykjavik. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type designer (1872-1950) who reconstructed Gutenberg-Textura (1928, Stempel). In 1916, he published a book on the Frankfurt-based foundry of Benjamin Krebs, Nachfolger, Die Schriftgiesserei Benjamin Krebs Nachf., Frankfurt a.M. Ein Beitrag zur Geschichte des Frankfurter Schriftgiesser-Gewerbes. Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei was published in 1919 at Elsevier. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gustavo Machado
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The Gutenberg Bible on-line, free! This is a book with an unreadable layout and annoying typography, an example of what not to do when you set a book. Its only interest is that it was a historical milestone. At the British Library. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Günter Schuler is a German author interested in good typography. Among the things he seels are the Cleverprinting DTP-Typomter (a handy sheet for measuring type sizes, both absolute and relative), TypeSelect Schriftenfächer (a wall paint-style foldout with typefaces), and Grundkurs Typografie und Layout (an introductory book on typography). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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London-based larger than life Welsh bon vivant, and author of Encyclopaedia of Fonts (December 2005, Cassell Illustrated, London), a book that can be considered as a digital successor of Jaspert, Berry & Johnson. The coverage is up to the present. The fonts are classified in one of about 40 styles, and are shown in chronological order within each style. Gwyn has worked on it for four years. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hungarian professor at the Department of Computer Graphics and Library and Information Science, Institute of Mathematics and Informatics, University of Debrecen, Debrecen, Hungary. She is a frequent speaker on Hungarian typography at EuroTEX and TUG metings. Author of Contemporary Hungarian Types and Designers (TUGboat, vol. 24, 2003, pp. 527-529). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
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Handwriting Models
| Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Graphic design graduate of the Academy of Fine Arts Minerva, Groningen, The Netherlands. With Karolina Lijklema, he runs the studio Lijklema Design in Warsaw, Poland. Author of Free Font Index (2008, The Pepin Press, Amsterdam). It contains comprehensive letterproofs of more than 500 fonts from 35 type foundries in 17 countries and interviews with 6 font designers. All fonts contained in the book are included on the accompanying CD and are licensed for personal and commercial use. The following have contributed fonts to this CD: Astigmatic One Eye Typographic Institute, Brain Eaters Font Co, Brode Vosloo, Bumbayo Font Fabrik, Dieter Steffmann, Fenotype, Flat-it type foundry, Fonthead Design Inc., GUST e-foundry, Grixel, Igino Marini, Janusz Marian Nowacki, La Tipomatika, Larabie Fonts, Manfred Klein Fonteria, MartinPlus, Misprinted Type, Nick's Fonts, Objets Dart, Reading Type, Rob Meek, SMeltery, Shamfonts, Sonntag Fonts, Typedifferent, Typodermic Fonts, VTKS DESIGN, Vic Fieger, WC Fonts, Yanone, boodas.de, defaulterror, eightface, exljbris, pizzadude.dk. As far as I can tell, all these fonts can be downloaded for free from the usual web archives. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Co-author with Friedrich Forssman of "Erste Hilfe in Typographie. - Ratgeber für den Umgang mit Schrift," Mainz: Hermann Schmidt, 1999. He wrote 15 books in all, including, e.g., Wegweiser Schrift, "Schriften erkennen" (with Monika Müller, Ravensburg, 1981), "Buchkunst im Wandel" (Frankfurt, 1984), "Lesetypografie" (with Friedrich Forssman, Mainz, 1997), and was an influential figure in the German printing scene. Willberg died on 30 May 2003 in Eppstein near Frankfurt. Obituary by Erich Alb. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type historian in the Frankfurt area. He has diligently compiled information on most German typefaces ever made. In 2008, Spatium Magazin has just released a DVD containing a collection of 3,000 images scanned from the pages of many 20th century German type foundry catalogs. The news announcements and forum discussions are positive. Four DVDs in all are planned. Included are scans of type specimen cards, brochures, and catalogs from various foundries, such as Bauer, Klingspor, Ludwig & Mayer, Stempel, C. E. Weber, Berthold, Genzsch & Heyse, Joh. Wagner, Flinsch and Schelter & Gieseke. In addition, books like Seemann's Handbuch der Schriftarten, Abraham Horodisch's Die Schrift im schönen Buch unserer Zeit, and Emil Wetzig's Ausgewählte Druckschriften in Alphabeten are scanned as well. Table of contents. All images on the DVD are at 150 dpi resolution. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in 1929 in Balm/Lotstetten, Germany. He studied typefounding in Schaffhausen from 1944-1948, and worked as typesetter in printing shops in Zürich and Stockholm from 1951-1959. From 1959-1994, he taught typographic design in various schools, and from 1993-1998, he was a free-lance book designer associated with Niggli. Author of "Der typografische Raster The Typographic Grid" (Zürich, 2000), and "Typografie Schrift Lesbarkeit" (Verlag Niggli AG, Switzerland, 1996). The latter (highly recommended) book surveys legibility issues in type choices, and closes with a classification of post-1945 typefaces. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Berlin in 1938, Hans-Jürgen Wolf studied graphic arts and painting with Richard Blank at the Design Institute of Berlin. As a graphic artist, he joined the studio of Schering AG in Berlin. Author of Geschichte der Typographie (Historia, 1999) and Geschichte der graphischen Verfahren (Historia, 1990), a detailed work on the history of typesetting and printing machine companies. Designer of Wolf Antiqua (1966, VGC). This typeface is available as Justine (NovelFonts) and OPTI Julie (Castcraft). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Universalgeschichte der Schrift (Campus-Verlag, Frankfurt, 1991), a book that deals with the history of type and many typeface systems. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Deutsche Schreibschrift, Lehrbuch (2002). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Harry C. Pears
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Father of Matthew Carter, typographic historian, and archivist of the Oxford University Press, who lived in the UK from 1901-1982. Author in 1969 of "A view of early typography: up to about 1600". This will be reissued by Hyphen Press in 2002 and is reviewed by Andy Crewdson. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the technical textbook "Newspaper typography", Stanford University Press, Stanford, CA, 1942. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Martin's Complete Ideas (1930s). Creator of the art deco alphabet Modern Thick and Thin. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Heidrun Osterer (b. 1966, Switzerland) is a graphic designer and CEO of Feinherb Visuelle Gestaltung. She is also the co-founder of the Swiss Foundation Type and Typography. In addition, she is a part-time lecturer of screen typography at the Vocational School of Design in Zürich. Consultant of the Swiss Typographic Magazine STM. Since 2001, she carried out research on the professional career of Adrian Frutiger. Her book, coauthored with Philipp Stamm, on Frutiger's life is Adrian Frutiger - Typefaces The Complete Works (2009, Birkhäuser). She spoke about this work at ATypI 2008 in Petersburg. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Japanische Typographie und Schweizer Typographie, published in Comedia, edition 03-1, 2003. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hendrik Wijdeveld was a Dutch architect and art deco paper artist (1885-1987). His lettering inspired Wendingen AF (1998, ACME Fonts: LED simulation; named after Wijdeveld's art deco magazine which he founded and headed from 1918-1931) and Architectuur NF (2006, Nick Curtis: based on this). Check Wijdeveld H Th - Art Deco Design on Paper by Hans Oldewarris (2010 Publishers, 2003). That book shows stencil-like art deco faces such as Wendingen and Amsterdam Deventer, both designed in the 1920s. He designed many letter types for special projects, such as book covers, buildings, and letterheads. Examples: a poster entitled Architectuur Tentoonstelling (1931), a poster entitled Internationaal Theater Tentoonstelling (1922), and an illustration for De Bijenkorf (1922). Alternate URL. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Prolific Belgian type expert who was librarian at the University of Antwerp and professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history. Author of
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Images of some type specimen from Henry Taylor Wyse's book of 1911: AngloSaxon, Antique Old Style, Baskerville, Black No. 4, Cheltenham, Cheltenham Bold Outline, Cheltenham Heavy Italic, Cheltenham Old Style, Cheltenham Old Style, Lining Carlton, Morland, Morland Italic, Old Face, Old Face Heavy, Old Face Italic, Original Black, Ornaments. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author (1800-1873) of The Handbook of Mediaeval Alphabets and Devices (Bernard Quaritch, London, 1853; and Henry George Bohn, London, 1856) and Alphabets&Numbers of the Middle Ages (London, 1845). cover page. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of A text-book on plain lettering (1901, The Engineering News Publishing Company). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Scottish author of Modern type display and the use of type ornament (1911, Edinburgh), a book which can be found in full on the web. See also here. PDF of that book, and the text file. Most of the specimens discussed in the text are from H.W. Caslon Typefounders, Stephenson Blake, Charles Reed and Miller & Richard. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Herbert Spencer (1924-2002) was a designer, editor, writer and photographer. Working in London, Spencer launched Typographica in 1949 and wrote for it for 18 years. He is the author of The Visible Word: Towards a new alphabet. Visual Communication Books (Hastings House Publishers, 1968-1969) and Pioneers Of Modern Typography (1969). Creator of the De Stijl like alphabet NPL, Epps+Evans in the former book, which was digitized in 1997 by Michael Hernan. New York Times obituary. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Typography professor in Leipzig, who lived from 1869-1937. He was the teacher of Jan Tschichold in 1919. Faces based on his work were created by Manfred Klein (Delitsch Initialen, 2004) and Petra Heidorn (Delitsch Antiqua, 2004). Both can be found here. The originals are Ramses (1912, Klinkhardt, an Antiqua face revived in 2012 by Chiron as TbC Ramses-Antiqua), Delitsch Antiqua (1911, Klinkhardt), and Delitsch-Kanzlei (1903, Klinkhardt). He is credited with Antiguo Manuscrito, a semiscript family, at the Richard Gans Foundry. The latter was digitized by Paulo W (Intellecta Design) as Gans Antigua Manuscrito (2006). Author of Schribschriftnormen (1928, K.W. Hiersemann), Delitzsch-Antiqua: eine künstlerische Schriftgarnitur mit Initialen und Schmuck für zeitgemässe Buchausstattung (1915). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German type designer, b. 1856, Hildesheim, d. 1926, Berlin. He settled in the 1890s in Berlin and founded Maschinenfabrik Heidenheim & Hoffmann. In 1895 he became head of H Berthold AG in Berlin. He designed Bloc (Berthold, 1908) [digitization and Cyrillization by Tafir Safayev, 1997; see also Block Berthold at BertholdTypes, and FB Hermes (1995, Matthew Butterick at Font Bureau); FB Hermes was extended by Butterick in 2010]. Bloc was similar to Hermes at Schriftguss and Woellmer. Bitstream's Gothic 821 (1990) is based on Bloc. The Softmaker version is called Boulder. In 1901, he designed Herold Reklameschrift at Berthold (Berlin), an art nouveau advertising typeface developed until 1907 with schmal, fett and Kontur substyles. Digitizations of this:
He also designed Kaufhaus-Fraktur (1906, Berthold). Books: Das Haus Berthold 1858-1921 (1921, Berlin) and Der Schriftgiesser (1927, Leipzig). FontShop page. Klingspor link. FontShop link. Oddity: The names Heinz Hoffmann and Hermann Hoffmann are used by two subcommunities. MyFonts, Font Bureau, etc. use Heinz, while Erik Spiekermann, Klingspor, and German media use Hermann. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Manuale Typographicum (1954), of which only 1000 copies were printed. Author of Typografische Variationen (1963, Stempel), of which only 500 copies were printed. Zapf's drawing of a blackletter alphabet in Feder und Stichel (1949, Trajanus Presse, Frankfurt) and Feder und Stichel (1952). Zapf's design of a postage stamp depicting Ottmar Mergenthaler in 1954. List of his typefaces:
Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady , with Rick Cusick, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, with Rick Cusick, at his 60th birthday party. Linotype link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hibernia Type
| Hibernia Type is run by Christopher Burke (b. 1967), the British designer of the text face Celeste (FontFont, 1999-2000) and Celeste Sans (2004). His balanced sans serif text face Pragma ND (1995) is available from Neufville. Chris got a Ph from, and later taught typography at the University of Reading from 1996-2001. He was instrumental in setting up the MA program in type design at Reading. In 2002, he finished Parable, which was published at FontFont as FF Parable. Author of Renner, Paul: The Art of Typography, Hyphen Press, 1999 (U&LC review). His essay Jan Tschichold&Sabon, written in the specimen book Linotype Sabon Next (Linotype, 2002), is is a must for anyone wishing to understand Tschichold. FontFont bio. FontShop link. MyFonts listing. Chris lived (still lives?) in Barcelona. View Christopher Burke's typefaces. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Digital revivals: Ingo Preuss revived Daphne as Daphne (2004). ARTypes revived it as Typoskript AR in 2010. And Ralph M. Unger created his own revival, Typoskript Pro (2010). Another calligraphic hand was turned into a typeface by Ingo Preuss, who called it Korger Hand (2004). Other creations include Kis Antiqua. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French books on the history of typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Introduction to the Devanagari script (London: Oxford University Press, 1953). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Honoré de Balzac
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Huda Smitshuijzen AbiFarès
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H.W. Caslon&Co Ltd
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Justin (b. Solihull, 1963; d. London, 2005) was director of the Type Museum until 2005, when he moved to the Plantin-Moretus Museum, and then to Reading for postgraduate work. He published "Johnston's Underground Type" for the London Transport Museum in 2000. Justin was a typographer as well as a printing historian. He was responsible for designing many books. He was chair of the Friends of St. Bride from 1998-2003. He died in February 2005 at age 42. Obituary. Quote by Nick Shinn: "Founders Caslon is a trompe l'oeil masterpiece, a carefully crafted amalgam of subtle judgements as to what will best mimic the desired patina of 18th century typography." Obituary at St. Bride. Old URL (now occupied by squatters). [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Free copies in PDF format of many rare books on calligraphy and penmanship, typically from the 19th century:
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Great Japanese design magazine, possibly the best design mag out there today, often featuring articles on typography. It published Typography Today, a book edited by Helmut Schmid that introduces selections from 88 designers. It traces the course of modern typography from Lissitzky, Tschichold, Zwart, Emil Ruder, Karl Gerstner, Herb Lubalin, to Wolfgang Weingart, Wim Crouwel and Kohei Sugiura. The new edition includes art by Neville Brody, April Greiman and Ahn Sang-Soo. See also IDEA NO. 305: Type Design Today (2004), which has articles by
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Searchable sire of 2000 antique book sellers over the world. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ilene Strivzer
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From Westport, CT, Ilene Strizver is the founder of The Type Studio. She consults on type, designs type and writes about typography and visual communication. She co-designer ITC Vintage (1996) with Holly Goldsmith. She was the Director of Typeface Development for International Typeface Corporation (ITC) where she developed more than 300 text and display typefaces with type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Tim Donaldson, and Phill Grimshaw. Her essay on spacing and kerning. Essay on rags (ragged lines), orphans (short last lines) and widows. She published "Type Rules! The designer's guide to professional typography". [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Imprimerie H. Balzac
| Honoré de Balzac (1799-1850), a famous author, got involved in printing in 1826 when he André Barbier (b. 1793), a typesetter, set up a printing and publishing business on the Rue de Marais-Saint-Germain in Paris. At one time, thirty workers were employed at Imprimerie H. Balzac which was funded with 70,000 Francs in borrowed money from Balzac's mother, as well as from his mistress, Laure De Berny. Link. The printing business thrived. In 1827, he bought Laurent's typesetting firm in order to extend his immediate control over all aspects of the printing business. In 1827, he published a specimen book with many Egyptian letter types. Another publication was Specimen des divers caracteres vignettes et ornemens typographiques de la Fonderie de Laurent et De Berny (now republished with a foreword by J. Dreyfus). Earlier that year, he had also bought the famous foundry of Joseph-Gaspard Gillé. See also here. Balzac spent most of his income to access the social circles of his mistress, Duchess d'Abrantès. Barbier left the business in 1828. The Imprimerie went bankrupt that same year. Luckily, Balzac's first mistress, Louise-Antoinette-Laure De Berny (1777-1836), forgave her loan and took over the print shop. As the wife of a high-ranking official in the French royal court and god-child of Queen Marie-Antoinette, Laure De Berny had sufficient financial resources. She entrusted the business to her 19 year-old son, Alexandre De Berny (1809-1881). Balzac left the type and printing business. Laurent&Deberny was born. References include Balzac: A Life (Graham Robb, 1994: New York: W. W. Norton& Company), and an article in Caractère in 1975 entitled Deberny et Peignot: La Belle Époque de la Typographie. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Ina Saltz is an art director, author and professor (of Electronic Design and Multimedia at The City College of New York) whose areas of expertise are typography and magazine design. She is currently serving as the Chair of the Art Department at CCNY. For over 22 years, Ina was an editorial Design Director at Time Magazine's International Editions, Worth, Golf Magazine and others. Ina has authored several books: BODY TYPE: Intimate Messages Etched in Flesh, (Abrams, 2006), BODY TYPE 2: More Typographic Tattoos, (Abrams, 2010), TYPOGRAPHY ESSENTIALS: 100 Design Principles for Working With Type, (Rockport, 2009), and she is co-author of TYPOGRAPHY REFERENCED: A Comprehensive Visual Guide to the Language, History and Practice of Typography, (Rockport, 2012). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Incipit (or: Peter Bain)
| Peter Bain's typeface design and typography studio in Brooklyn, New York. He was type director at Saatchi&Saatchi in New York, and teaches at the Parsons/The New School for Design and Pratt Institute in New York. He is best known for his wonderful book Blackletter: Type and National Identity (1998, with Paul Shaw). Check his photocomposition display faces, which are reedited and available in "reproduction proofs" (whatever that means, probably not as fonts). PDF format list. Text format of Bain's file. Bain says he built this from the Typositor type libraries formerly offered by Techni-Process Lettering and Pastore DePamphilis Rampone, which he bought at an auction. Report on his talk in London on blackletter type (2003). MyFonts sells the 4-weight Josef Albers-inspired stencil family Gridiot (2003-2011). His thoughts about the art of Albers: Remember, any idiot can design a typeface on a grid: Gridiot. Speaker at ATypI 2006 in Lisbon. MyFonts link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Book publisher in Barcelona, which has an active section on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Indie Fonts is a series of two books covering the work of many independent foundries. In 2003, it was followed by Indie2, which includes a number of free fonts. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
List of books on typography and calligraphy, covering 1450-1830. In French. The institute is part of the Musée de l'imprimerie de Lyon. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Institute in Cologne where this book was published: Typecosmic digital type collection serif (1994, 798 pages). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Intertype
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MyFonts writes: Harris inherited the Harris-Intertype library, made up of the faces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper faces and scripts. In the thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the development of scripts, which led Ed Schaar at Intertype to claim this market as their own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975. Cyrillic faces in their library, ca. 1930. The firm still exists as Harris Corporations in Melbourne, FL, but is no longer producing fonts. Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They Differ writes: Intertype started as International Typesetting Machine Company in 1911. Many of first machines were rebuilt Linotype bases with improvements patented by the new company. When World War I broke out, International Typesetting Machine Company was reorganized as the Intertype Corporation, and by 1917 had three machines for sale: Model A one magazine, Model B two magazine, Model C three magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine continued the circulating matrix principle but had film image instead of the punched character. Stuart Sandler adds this piece of information: The Harris-Intertype Fotosetter was the first photo typesetting machine invented. It marks the beginning of the Cold Type era and is the machine responsible for it . . . Incidentally this is the machine that inspired the creation of the Filmotype by its inventor Allan Friedman when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype which was a Linotype machine had replaced them with small film negatives and proceeded to set type as you would imagine the bastardization of a lead type and photo type machine only could. There are many reasons Cold Type caught on and it became the standard some time after that period till digital typesetting machines like the Alphatype came into their own. It wasn't until the release of the first MacIntosh in 1984 when Cold Type was eclipsed by desktop publishing. Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R. Freund for Intertype in 1926, for the New York Times. It has much the appearance of Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a little closer to Century Expanded Italic, providing more contrast with the roman. Sturdy serifs, substantial hairlines, and open loops make it a practical face for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold faces. View a few digital typefaces with roots in the Intertype collection. Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929, and first imported into the United States as Girder. Except for Litho Antique, this was the first of the modern square-serif faces, which are revivals of older faces known as Egyptians. The Intertype faces appeared in 1933 to 1940. Lining Cairo features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate Gothic. Compare Memphis, Stymie, Karnak. Farrar is also the author of The Typography of Advertisements That Pay (1917, D. Appleton and Co., New York). Local download. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
A place where one can share publications. There is a subgroup on typography---no direct limk though. First click on design, then graphic arts, and then typography. The design and navigation is painful, as is the way books are shown. Downloads are nearly impossible. In short, the design of this design site gets an F. But there are some interesting publications there. Subgroups: Fonts (which has the FontFont 2009 catalog), Muestras tipograficas (which has about 60 specimen booklets), MICA (Comps of Form/Counterform and Type Specimen books for Tony Rutka's Typography 1 class at MICA, Spring 2010). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
italic 1.0
| "Italic 1.0 Il disegno di caratteri contemporaneo in Italia Contemporary Type Design in Italy" is an English-Italian book edited by Paola Lenarduzzi, Mario Piazza and Silvia Sfligiotti and published by AIAP in 2002. It summarizes the state of typography in Italy in 2002. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Italic 2.0 is an Italian blog and type project, very central to all that is happening on the type scene in Italy. There is also a book by the same title, dated 2008, edited by Marta Bernstein, Luciano Perondi, and Silvia Sfligiotti, with articles by Giovanni Lussu, James Clough, Antonio Cavedoni, Marta Bernstein, Luciano Perondi, Giangiorgio Fuga, and Silvia Sfligiotti. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Typo-Graphics: The Art and Science of Type Design in Context (2003, RotoVision). In this collective work, contributions are by Contributors: Weisbeck/Surface, Bionic Systems, Lorem Ipsum, Offica Ludi, Fidel Castro/LOMO, Buro Destruct, Norm, Electrosmog, Emigre/Rudy VanderLans, Zuzana Licko, Test Pilot Collective, Kyle Cooper, Tycoon Graphics, Power Graphixx, Graph, Dainippon Type Organization, Cyclone Graphics, and Superlow/Function. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Type and Typefaces (New Rochelle: The Myriade Press, 1978) and Type and Typefaces and how to recognize them (New York Sterling Publishing Co, 1968). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of A Catalog of Maya Hierogrlyphs (1962, University of Oklahoma Press). It is a catalogue of most of the glyphs known up to the time of its publication. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Polish designer of Danova (2011). He wrote Niewielkiego slownika typograficznego, and edits the 2plus3d magazine. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of articles Typodarium 2012 (Verlag Hermann Schmidt Mainz, August 2011), The 3D Type Book (Laurence King Publishing, June 2011), and Typography 31 / TDC 2010 Annual (Collins Design, Dec. 2010). He published Foundation: Process and Reflection (2011, The Cooper Union). His typefaces:
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Hunt Roman is a type designed by Hermann Zapf in the early sixties in collaboration with Jack Stauffacher. He wrote a lot about typography, e.g., "Janson, a Definitive Collection" (The Greenwood Press, 1954), "Hunt Roman: the birth of a type," (1965), and Inscriptions at the Old Public Library of San Francisco (2003, edited by Jack). Jack was at Carnegie Tech (now Carnegie Mellon) during the early 1960's. He started the Laboratory Press and taught the creative possibilities of letterpress. He left there about 1964. He now runs the Greenwood Press in San Francisco. Robert Harlan describes Jack Stauffacher's involvement in Sumner Stone's "Cycles" font. John Berry on Jack Stauffacher and his use of large wooden letters in illustrations. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with Dan X. Solo of Classic Type Faces And How To Use Them: Including 91 Complete Fonts (1995, Dover Press), a book which icludes 91 typefaces. He also wrote The book of 100 type face alphabets A guide to better lettering (1965, The Signs of the Times Publ. Co., Cincinnati, OH), Art Directors' Book of type Faces (1973), and The ABC of Lettering (1965, Harper & Row Publishers, NY). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Written Letters 22 Alphabets for Calligraphers (1975, The Bond Wheelwright Company, Freeport, ME). Scans of some poages by Gordo. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jacques André
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James Craig
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Type historian who wrote in Printing and Graphic Arts between 1957 and 1961 on "The Keystone Type Foundry, 1888-1917", "The Chicago Type Foundry of Marder, Luse&Company 1863-1892", "Chicago Type Foundry Specimen Books", "The Inland Type Foundry, 1894-1911" and "The Great Western Type Foundry of Barnhart Brothers&Spindler, 1869-1933". [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
From 1958 until 1999, Mosley was librarian of St Bride Printing Library, London. He is Visiting Professor in the Department of Typography and Graphic Communication at the University of Reading, UK, 1964-present. He was a founding member of the Printing Historical Society and the first editor of its Journal. He is currently a faculty member in the Rare Book School, University of Virginia, Charlottesville, and in the Ecole de l'Institut d'histoire du livre, Lyon. He is a Senior Research Fellow in the Institute of English Studies, University of London. A specialist of type history from 1400 until today, he has written many articles, including "Les caractères de l'Imprimerie Royale" in "Le romain du roi: la typographie au service de l'état, 1702-2002" (2002, Lyon: Musée de l'Imprimerie). Among his recent writings are studies of the Italian 16th-century calligrapher Giovan Francesco Cresci, the origins in England of the modern sans serif letter, and notes to a facsimile edition of the Manuel typographique (17646) of Fournier le jeune. Speaker at ATypI 2007 in Brighton. He has a blog. At ATypI 2010 in Dublin, he spoke about the types of the Proclamation of the Irish Republic. Pic. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
James Ronaldson
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James Walker Puckett
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Dutch author, b. 1874, who edited Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei (1919, Enschedé en Zonen, Haarlem), a publication which has four articles:
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Dutch design writer, who wrote Lettered, Typefaces and Alphabets by Clotilde Olyff (2000), 'Ha, daar gaat er een van mij!' (2002, a book on the history of postwar design in The Hague), Dutch Type (2004, 010 Publishers; see full text at Google), ARK/ABC, Alphabets and projects by René Knip (2004), A Line of Type (2006, with Alessio Leonardi), and Type Navigator Typography The Independent Foundries Handbook (2011). He was the founding editor and art director of Druk, the magazine published by FontShop Benelux from 1999 to 2003. Currently, he edits "96", the magazine of FontShop Benelux. He lived in Gent, Belgium, where he cofounded Dorp&Dal with his wife. In 2005, he moved to Berlin. At ATypI 2009 in Mexico City, he spoke on Boudewijn Ietswaart. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:
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Czech art historian and author of Avant-Garde Page Design 1900-1950 (Delano Greenidge Editions, 2002). This book presents a comprehensive visual lexicon of early 20th-century page design. Illustrations include designs by Pablo Picasso, Henri Matisse, Wassily Kandinsky, Marcel Duchamp, Aleksandr Rodchenko, Lázló Moholy-Nagy, El Lissitzky, and Jan Tschichold. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Influential French master penman, 1538-1620. Jean de Beauchesne and John Baildon published the first writing manual in England: A Booke containing divers sortes of hands, as well the English as French secrataries with th italian, roman, chancelry&court hands (1570-1571, London: Thomas Vautrollier). In 1580, he published Le Tresor d'escriture, auquel est contenu tout ce qui est requis&necessaire à tous amateurs dudict art. His third book was La Clef de l'escriture laquelle ouvre le chemin à la jeunesse, pour bien apprendre à excrire la vraye lettre françoyse&italique (1595, London: G. Boulengier). He also published Specimens manuscrits anglais dédiés à Mme Elizabeth fille unique du roi de Grande Bretaigne (1610, England). Sample of his batarde angloise (1570). Digital typefaces based on his examples include Piacevole (2008, Marc H. Smith). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
At one point director of the "imprimerie de la république". Author of "Alphabet irlandais, précédé d'une notice historique, littéraire, et typographique" (Paris, Imprimerie de la République, nivôse an XII [1804]). This book explains the Irish alphabet, but has little in terms of typographic information. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of La lettre dans la peinture et la publicité (1957, Editions Charles Massin, Paris: see also here and here). His Futura Stencil-like Le Pochoir (plate 40) was digitally remade by Toto as Le Pochoir (2011), and also by Jan Gerner as Pochoir (2006). Author also of La lettre dans le décor. An art deco face from that book was digitally revived by Toto and Dick Pape in 2011 under the name La lettre dans le décor. Free download here. The alphabets of La lettre dans la peinture et la publicité (1957) include many styles, from art deco to blackletter, Victorian and retro. Joveneaux gave them names, so I will list them in alphabetical order: 1erEmpire, AnDeGrace1320, Antiquites, Aquarium, ArtsGraphiques, BalDeNuit, Bar, BeauxArts, Cafe, CompositionDecorative, Constellation, CoursDeStenotypie, DerniereHeure, EclairageFluorescent, Editorial, ElectroStatique, EnExclusivite, Exposition, Illustration, InitiationSportive, JeuDeDominos, LaGrandeParade, LePochoir, LettresOrnees, Massif, Meubles, ModeDEte1950, Motos, Nouvelle, Ordonnance, OrpheeAuxEnfers, PrestigeDeLaSoie, Promotion52, RealisationsGraphiques, RobesDEte, SalonMai1953, Samedi23Mai1953, TissusTousColoris, TouteUneGammeDeLaines, ZoneInterdite. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Orthotypographie : recherches bibliographiques", Convention typographique, 2002. A 416 page opus on the history of the book, printing, writing, and typography. A great handwritten preface by Fernand Baudin. See also here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type designer, graphic designer and illustrator, born in Marseille in 1942. ALlessandrini (sometimes spelled Alessandrini in various publications) used to work at Paris Match, Lui and Elle. His typefaces: Akénaton 1969 (Hollenstein Phototypo) (1975, VGC??), Alias 1977 (Hollenstein Phototypo), Allessandrini 7 1972 (Hollenstein Phototypo), Anarchiste (Mécanorma), Andronique 1984 (Mécanorma), Astronef 1976 (Hollenstein Phototypo), Circus World, (Mécanorma), Cléopatre 1984 (Mécanorma), Combinat 1976 (Hollenstein Phototypo), Éclipso 1982 (Mécanorma), Electric-Type 1977 (Hollenstein Phototypo), Futuriste 1977 (Hollenstein Phototypo), Germain 1969 (Hollenstein Phototypo), Grand Dadais 1977 (Hollenstein Phototypo), Grand Large 1977 (Hollenstein Phototypo), Graphic Man 1973 (Hollenstein Phototypo), Grossium 1977 (Hollenstein Phototypo), Gyptis 1977 (Hollenstein Phototypo), Hypnos 1969 (Hollenstein Phototypo: a psychedlic face), Legitur, Mikado 1977 (Mécanorma), Mirago 1970 (Hollenstein Phototypo), Priam 1976 (Hollenstein Phototypo), Showbiz 1969 (Hollenstein Phototypo), Sigle (Mécanorma), Technos 1984 (Mécanorma), Trombinoscope 1964, Vampire 1969 (Hollenstein Phototypo), Wotan, (Mécanorma). Author of Typomanie / Jean Alessandrini; préface de Massin (Paris: La Noria, DL, 1977). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with Fabienne Siegwart of "Typographie, du plomb au numérique" (Dessain et Tolra, 2003). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Grandson of Georges Peignot, b. 1926. Author of L'or, l'âme et les cendres du plomb: L'épopée des Peignot, 1815-1983 (2004). It paints the history of the Peignot family of typefounders from 1815 until 1983. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French wood engaver, b. 1698, Paris, d. 1776, Paris. Son of Jean Papillon, the famous manufacturer of fine wallpapers. He was for a long time employed by the Imprimerie Royale as wood engraver. There, he created numerous ornaments. Author of Traité historique et pratique de la gravure en bois (1766, Paris). Chapters cover cutting of the block, inking and printing, monograms, xylography and block books, cutter's tools, and chiaroscuro prints. Digital typefaces that are based on his work include
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Jean-Pierre Lacroux (1947-2002) had a wonderfully informative site with tons of useful links, many to French sources, and many concerned weith orthotypography. Subpages: Bibliography on pens, paper and writing. Bibliography on ancient and modern typography. Sadly, on November 12, 2002, Lacroux passed away. His pages remain on the web, a testimony to the many hearts he touched with his kindness. A tribute entitled Typographique tombeau de Jean-Pierre Lacroux (148 pages, 2003, PDF file) was published under the editorship of Thierry Bouche and Éric Angelini. Look for Lacroux's principle: the minimal typographic quality of a text is inversely proportional to its literary value. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Typographic afficionado who contributes links to the St. Bride Printing Library in London. This page has links to the main type sites on the web. I can't resist this wonderful short autobiography of Jef, and I do not want to translate it, because it would lose its punch: Jef Tombeur, ex-vagabond professionnel&auto-stoppeur en Europe, au Moyen-Orient et en Amérique du Nord depuis l'âge de 15 ans, s'est rapidement tourné vers le journalisme par désoeuvrement. Vendre à la criée The International Times et The Black Dwarf à Londres, puis Le Monde à Strasbourg, l'y incita. Laissant tomber facs et école de journalisme, il contribua à rédiger, composer, gérer l'hebdomadaire franco-alsacien Uss'm Follik (Issu du Peuple), ce que facilitèrent ses origines bretonnes. Repéré ensuite à Belfort, Niort, Reims, devenant progressivement grand reporter et de moins en moins pigiste pour Libération et d'autres. Chef de desk à l'Agence Centrale de Presse, il en diffusa la dernière dépêche puis retourna à la rue et aux facultés. Ayant traduit divers auteurs anglophones au passage, tel Tom Coraghessan Boyle (cf. www.tcboyle.net), il s'est de nouveau passionné pour la typographie, en devenant le seul journaliste spécialisé français (notamment pour Création Numérique ou Pixelcreation.fr). Envisage de devenir chômeur en fins de droits et propagandiste plénipotentiaire pour Phil Martin en Afrique avant d'avoir atteint, prochainement, si possible, 55 ans. Localisé fréquemment chez Ali (bar La Gitane, près de Strasbourg-Saint-Denis, Paris) ces temps derniers. Author in 2004 of Femmes&métiers du Livre, Women in the Printing Trades, which appeared with Talus in Belgium. It describes women typographers and printers throughout history. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Worked at Autologic under Sumner Stone. Then moved to Monotype where he art director many fonts. Author, with Bruce Newman and Brenda Newman, of The Precision Type Font Reference (1995, Precision Type Inc). Rumoured to be working on version 6 of that book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of various books on typography and type design. In 2011, he wrote About More Alphabets: The Types of Hermann Zapf (New York, The Typophiles). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editors of "Artist&Alphabet : 20th Century Calligraphy&Letter Art in America", a nice book on calligraphy. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
J. F. Coakley is Senior Lecturer in the Department of Near Eastern Languages and Civilizations, and on the staff of Houghton Library, at Harvard University. His private press, the Jericho Press, occasionally makes use of Syriac and other exotic types. In 2006, he wrote The Typography of Syriac: a Historical Catalogue of Printing Types, 1537-1958 (Oak Knoll Press, New Castle, DE). Oak Knoll writes: Syriac, a dialect of the ancient Aramaic language, has a remarkable Christian literature spanning a thousand years from the fourth to the thirteenth century, including important versions of the Bible. It remains the liturgical language of several churches in the Middle East, India, and the West, and 'Modern Syriac' is a vernacular still in use today. It is no wonder that this language has a long and rich printing history. The challenge of conveying the beautiful cursive Syriac script, in one or another of its three varieties, was taken up by many well-known type-designers in the letterpress era, from Robert Granjon in the sixteenth century to the Monotype and Linotype corporations in the twentieth, as well as by many lesser-known ones. This study records and abundantly illustrates no fewer than 129 different Syriac types, using archival documents, type-specimens, and the often scattered evidence of the print itself. The Typography of Syriac will be of interest not only to scholars of Middle Eastern languages and scripts but also to all historians of type and printing. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Accessible Web Typography. The web page corresponds to the book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jim Felici discusses extreme letter spacing. He is the author of The Complete Manual of Typography (Peachpit Press, 2003). This book is reviewed by John Berry. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Schriftproben: Orientalischer Typen wie auch Phonetische Akzente (1933, Glückstadt and Hamburg). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Theatrum Artis Scribendi, a book with many European script specimens. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Joep Pohlen
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Joep Pohlen
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German type expert who wrote a short survey paper in 1985 entitled Deutsche Schrägschriften. In it, he deals with cursive faces made between 1900 and 1935 in Germany. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
He became a professor of woodcutting at the Akademie der Künste in 1800. Brief bio by Harald rösler, 1999. Unger's publications: Etwas über den Buchhandel, Buchdruckerey und den Druck außerhalb Landes (1787), Etwas über die Holz- und Formschneidekunst, und ihren Nutzen für den Buchdrucker (1788), Einige Gedanken über das Censur-Edikt vom 29. December 1788 (1789), Vorschlag, wie Landkarten auf eine sehr wohlfeile Art können gemeinnütziger gemacht werden (1791), Probe einer neuen Art deutscher Lettern (1793), Die neue Cecilia. Letzte Blätter von Karl Philipp Moritz. Zweite Probe neu veränderter deutscher Druckschrift (1794). Samples of Unger-Fraktur: a poem, full alphabet, a blurb, uppercase, lowercase. Heinrich Heeger wrote in 1973 about the story of Unger Fraktur and Kabinett Fraktur. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Johanna Balusikova (b. 1974, Slovakia), now Johanna Bilak, studied typography at Atelier National de Création Typographique in Paris and at the Bratislava Art Academy in her native Slovakia, as well as at the Jan van Eyck Akademie in the Netherlands. She now works as a freelance graphic designer in The Hague, where she has lived since 1999. She designed Jigsaw (2000) at Typotheque: this was originally intended as a Multiple Master font that varies from roman to stencil. At ATypI 2004 in Prague, she spoke about "Experiment and typography". Alternate URL. Co-editor with Alan Zaruba of We Want You To Love Type (2004, e-a-t). Since 2003 she is a partner in Peter Bilak's Typotheque. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "The Alphabetic Labyrinth : The Letters in History and Imagination". See also here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
John A. Lane is a type historian, who often writes on typography. One of his crowning achievements is the book "Letterproeven van Nederlandse gieterijen" (1998), which shows Dutch typefounders' specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. It is coauthored with Mathieu Lommen, a noted type librarian and historian. Discussion of the text. Coauthor with Mathieu Lommen in 2003 of "Bram de Does Boektypograaf&Letterontwerper" (Amsterdam, 2003). Author of Early Type Specimens in the Plantin-Moretus Museum (New Castle and London: Oak Knoll Press and the British Library, 2004). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ex-developer of U&lc, the well-known type magazine at ITC in New York. After ITC's demise, he moved to San Francisco, and is best known nowadays for his excellent articles on typography at CreativePro.com. He is the author and designer of Dot-font: Talking About Fonts and Dot-font: Talking About Design (Mark Batty Publisher, 2006), and the editor of Language Culture Type (ATypI/Graphis, 2002), Contemporary Newspaper Design, and U&lc: influencing design&typography. He also wrote Now Read This (Microsoft, 2004), a book about Microsoft's ClearType project. He writes and consults extensively on typography, and he has won numerous awards for his book designs. He lives in Seattle with the writer Eileen Gunn. John Berry was on the board of the Type Directors Club from 1999 to 2003. At ATypI in Rome in 2002, he spoke about the Bukvaraz type competition. At ATypI 2004 in Prague, he spoke about newspaper type. John was the closing plenary speaker at ATypI 2007 in Brighton. President of ATypI from 2007 until today. In 2008, he joined Microsoft as a Program Manager in the typography team. Pic. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in London in 1918, died in London in December 2002. Assistant University Printer, Cambridge University Press 1949-56 Cofounder of ATypI with Charles Peignot in 1957. He was the typographic advisor to The Monotype Corporation (now Agfa Monotype) from 1955-1982, having taken over from Stanley Morison. President, Association Typographique Internationale 1968-1973. Sandars Reader in Bibliography, Cambridge University 1979-1980. He was a great writer about typographic matters. Author of Aspects of French Eighteenth Century Typography (The Roxburghe Club, Cambdridge, 1982). Obituary and biography by Nicolas Barker. Winner of the Gutenberg Prize in 1996. Reflections on his life by various typographers. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Programme Director for Library and Information Studies at University College, London. At the meeting in Thessaloniki in June 2002, he spoke about The fine printing of Greek in Britain and its types. Author of Greek printing types in Britain, from the late eighteenth to the early twentieth century (Thessaloniki : Typophilia, 1998). That book is based on the author's thesis completed in 1988 for the Department of Typography and Graphic Communication at the University of Reading, England. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
John J. Palmer
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Great American calligrapher and engraver. He wrote several books, including "Engraving Designing Etching" (1914) and Art Alphabets and Lettering (1914). He was Master Engraver with the renowned C.D. Peacock jewelers in Chicago around 1900. Creator of many art alphabets, Bergling is also noted for state seals of the United States and many seal crests of foreign countries. His great-grandchildren set up Bergling Publishing and are selling directly or through Amazon most of his oeuvre. Other texts include "Art Monograms and Lettering" (1912), "Heraldic Designs for Artists and Craftspeople", and "Ornamental Designs and Illustrations". Digital fonts based on Bergling's work: One Good Urn NF (2005, Nick Curtis) is based on his art nouveau lettering from 1914. Morocco (1914) provided the caps of Funky Tut NF (2005, Nick Curtis), and Keramic Text (1914) provided the lower cases characters of the latter font. Chantilly Lace NF (2005, Nick Curtis) uses uppercase letters by Bergling and lowercase letters by Roland W. Paul. His Nibs NF is a digital font by Nick Curtis (2007) based on the calligraphy of Bergling, ca. 1914. Carson Monogram (2009, Brian J. Bonislawsky) is based on Bergling's New Antique 53 from the book Art Monogram and Lettering. Bergling (2010, Scriptorium) is a floriate script based on Bergling's work. Other (art nouveau style) Scriptorium fonts based on Bergling include Boetia, Belgravia and Beaumains (2011). LHF Bergling Panels (2012, John Davis) is based on Bergling's work. Initials Bergling (2012, Alter Littera) is a comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling's book Art Alphabets and Lettering (Second Edition) (1918, Chicago: Blakely-Oswald Printing Company). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
This bookseller from Greensboro, NC, specializes in calligraphy. "We supply calligraphers, lettering artists, illuminators, bookbinders and papercraft enthusiasts with books, tools and supplies including fine papers. Our selection of calligraphy books and supplies is unequaled in the world." [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Prolific British author (b. 1917), who published, e.g., A suite of fleurons : or a preliminary enquiry into the history&combinable natures of certain printers' flowers (London : Phoenix House, 1956). Pictures, including cover page. This site has a font, Fleurons-A (based on A Suite of Fleurons by John Ryder, developed by S. G. Moye v1.6 July 14, 1991). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
American typographer. In 1954, he wrote Hammer Creek. The Hammer Creek Press Type Specimen Book (NY). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Wiliam Caslon 1693-1766" (Kineton: The Roundwood Press, 1973), a 494-page magnum opus on Caslon's life. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Johnston's Underground Type
| Greg Fleming, upon the publication of his open source version Railway Sans (2012) of Edward Johnston's Railway Type of 1916, recalls the history of the typeface, and adds valuable references. The text below is his. The face was commissioned between 1913 and 1915 by Frank Pick (1878-1941), Commercial Manager of the Underground Electric Railways Company of London, UERL, also known as The Underground Group, as part of his plan to strengthen the company's corporate identity. Frustrated at the diversity and seemingly endless variations of poor or unsuitable type- faces that were, at that time, in use across the system, one of his first key actions was to introduce a standardised approach to advertising and lettering. Pick's brief to Johnston was essentially that a typeface was needed that would ensure that the Underground Group's posters would not be mistaken for advertisements; it should have the bold simplicity of the authentic lettering of the finest periods and yet belong unmistakably to the twentieth century. Johnston's New Sans face first appeared in a poster of July 1916. Inspired by the proportions of classical Roman lettering, based on square and circular forms, it is a vehicle of bold clarity and a perfect example of typography as a powerful, authoritative information tool. It has been used, almost unchanged in essence, continuously and timelessly in signage, posters and publicity for nearly a century. In 1933, The Underground Group was absorbed by the London Passenger Transport Board and the typeface was adopted as part of the London Transport brand. The typeface was originally called Underground. It became known as Johnston's Railway Type, and later, simply, Johnston or New Johnston Sans. Today, Transport for London uses updated versions in many weights of the original face, known as New Johnston Sans. This is not commercially available, except under strict TfL license. Railway is not based on or derived from the official New Johnston Sans in current use by Transport for London. Instead, it predates New Johnston by sixty-three years. The references:
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New antiquarian type book seller. They offer, for example, a nearly complete collection of works by Eric Gill. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jorge de Buen (b. 1956, Mexico City) studied Graphic Design in Mexico City. In 1994 he moved to Tijuana to work in marketing and communication projects for the Agua Caliente race and sports books. He has conducted several workshops and conferences at many important Latin American institutions. The second edition of his book Manual de diseno editorial (Santillana, 2000) is published in 2003, and the third edition in 2009. He spoke at ATypI 2003 in Vancouver on a new approach to typometry, and at ATypI 2009 in Mexico City on quotation marks (las comillas), where he pointed out that the <<...>> used in Spanish were just a natural evolution of the standard quotation marks (66...99). He designed Unna Romana (2003), Unna (2004, serif family, done at Imprimatur) and Bardahlkia (1994). He often shows up in LA for type activities. He moved to Querétaro in 2009 and is graphic designer there---his studio is called Imprimatvr. The first typeface published at Imprimatvr is Caliente (2012). In 2011, he placed Unna up for free download at the Google Font Directory, and started cooperating with Hector Gatti and Pablo Cosgaya at Omnibus Type. At Tipos Latinos 2012, Jorge won an award in the text category for Unna regular. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Spanish author of Muestraio de los caracteres de la imprenta / José Cruzado (Madrid, 1990, 147 pages). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Documentos para la historia de la primitiva tipografia mexicana, La Andalucía Moderna, 1908. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Ricard Girald Miracle. El diálogo entre la tipografía y el diseño gráfico. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Alphabet Album Collection de soixante feuilles d'alphabets historiques et fleurons (Paris, 1843). Creator of an alphabet in 1834 in which each letter consists of human figures. See also here. The alphabet is referred to as the Silvestre-Girault alphabet, because it was etched by Girault. A digitization by Character (2006) is called SilvestreBodies. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Joseph Kiermeier-Debre and Fritz Franz Vogel wrote Menschenalphabete. Nackte Models, Wilde Typen, Modische Charaktere (2001, Jonas Verlag, Marburg), about alphabets made up of people. See also here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British author who died in 1962. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swiss typographer and book designer, b. 1933, Sankt Gallen. After study at the Kunstgewerbeschule St.Gallen, he trained as a compositor with the printer Zollikofer and at the Kunstgewerbeschule Zürich; his education as completed in 1959 in Adrian Frutiger's class at the École Estienne. Since then he has practised as a freelance graphic designer, eventually specializing in book design. In 1979 he co-founded the co-operatively run publishing company VGS Verlagsgemeinschaft St.Gallen, for which much of his book design work has been done. He has taught at the schools at Zurich and then St.Gallen since 1967. His publications include Book Design in Switzerland, "Book Design: Theory and Practice", Detail in typography (Agfa Compugraphic, Wilmington, 1987), Designing Books: Practice and Theory (with Robin Kinross, 1996), "Book typography" (Agfa Compugraphic, Wilmington, 1990), "Jost Hochuli's Alphabugs" (Agfa Compugraphic, Wilmington, 1990), "Jost Hochuli: Printed matter, mainly books", Buchgestaltung in der Schweiz, "Kleine Geschichte der geschriebenen Schrift" (Verlag Typophil, St. Gallen, 1991, Agfa Compugraphic-Reihe), Das Detail in der Typographie. Buchstaben, Buchstabenabstand, Wort, Wortabstand, Zeile, Zeilenabstand, Kolumne (Compugraphic Corp., Wilmington, 1987), "Bücher machen. Eine Einführung in die Buchgestaltung, im besonderen in die Buchtypographie" (Compugraphic Corp, Wilmington, 1989). Winner of the Gutenberg Prize in 1999. He is aprt of the type foundry ABC Litera together with Roland Stieger and Jonas Niedermann. at ABC Litera, he designed the sans family Allegra (2011). Earlier in his career, he designed quite a few typefaces, including a Trajan woodcut that served Roland Stieger as model for his typeface Alena (2012). Klingspor link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Juan-José Marcos García
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Ex-student from the Fachhochschule Potsdam and the Freie Universität Berlin, b. 1980. Author of Fraktur Mon Amour (Hermann Schmidt Verlag, 2006, and Princeton Architectural Press, 2008), in which blackletter is discussed and shown at length. Interview. List of Fraktur fonts on the CD. Fraktur Mon Amour won several awards, such as the 2007 Award for Typographic Excellence of the Type Directors Club of New York, and a silver medal from the Art Directors Club Deutschland, also in 2007. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
This site has over 500 million PDF files on all topics. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jukka Korpela
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Jules Didot
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Fourth generation Didot dynasty member in Paris, 1794-1871. Son of Pierre Didot. Jules Didot is famous for his invention of round-edged initials, to take the place of the sharp-edged ones. In 1825 he took his printing plant to Brussels and founded the Royal Printing House there. Relevant here is the publication Specimen des caractères de la fonderie normale à Bruxelles, provenant de la fonderie de Jules Didot et de son père Pierre Didot (Haarlem: Joh. Enschedé en Zonen, 1914). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Authors of ABZ: More Alphabets and Other Signs (Chronicle Books), a 221-page book full of strange alphabets. Scan of a Tamilianized Latin alphabet. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem Morlighem wrote Roger Excoffon et la fonderie Olive. see also here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of In der Schmiede der Schrift Karl Klingspor und sein Werk (1940, Buchmeister Verlag, Berlin), a German book set in blackletter. It tells a bit of Karl Klingspor's story through his involvement at the Rudhardsche Giesserei in Offenbach a.M. (1892-1905) (with sections on Heinz König, Otto Eckmann and Peter Behrens), his startup of Gebr. Klingspor in 1906 (with sections on Otto Hupp, Rudolf Koch and Walter Tiemann). He also penned Die Deutsche Schriftgiesserei (Verlag der Gutenberg-Gesellschaft, Mainz, 1927), which describes the foundries in Germany at the time. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Just Another Foundry
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At ATypI 2008 in St. Petersburg, he spoke about Font Remix Tools and on Optical Sizes. In 2010, he started a web font service. In 2011, I found his name listed as an employee of the web font service Typekit. Author of Size-specific Adjustments to Type Designs: An Investigation of the Principles Guiding the Design of Optical Sizes (2009, Mark batty Publisher). Abstract Fonts link. MyFonts page. FontShop link. Linotype page. Home page. Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Justin Howes
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From the University of Tampere, Finland, Jürgen F. Schopp's list of books on typography. He also has a nice page on type classification. For "broken" typefaces (gebrochene Schriften), Schopp proposes this:
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Kai F. Oetzbach
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Czech designer and book artist (1876-1949). Director of the state press Statni Tiskarna. Author of these books: Typograf o Knihach (1925, Prague), Rules of Typesetting (Pravidla sazby), The Book Beautiful (Krasna Kniha). Typefaces include Dyrynk Lateinschrift (1928, A. Gregr typefoundry), Malostranska Antiqua (1927), Malostranska Italic (1928), Gregr Roman (1930), Gregr Italic (1931), Otakar Brezina (1946, Statni Tiskarna), Biblicke pismo (1933, unpublished), Konupek Italic (1946, unpublished), and a set of pictograms (1933, Statni Tiskarna). Digitizations: Dyrynk Lateinschrift was the basis of P22 Dyrynkova-Latinka (2003), and P22 Dyrynk Roman and Italic (Richard Kegler, P22, 2004). Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Graphic designer and associate professor in the visual communications program at the University of Washington, Seattle. Author of Designing Type (2005, Yale University Press). Karen Cheng is Associate Professor in the Visual Communication Design program at the University of Washington in Seattle, where she teaches type design and typography. She was previously an instructor at the School of Design at the University of Cincinnati, where she received her Masters degree in Graphic Design. Speaker at ATypI 2007 in Brighton on Teaching type in the city. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Basel in 1930, Gerstner designed Gerstner Programm (1967), Privata, and Gerstner Original (1987, Berthold; see Gerling on the SoftMaker MegaFont XXL CD, 2002), as well as the Akzidenz-Grotesk family (1962, Berthold) and Akzidenz-Grotesk Buch (see Atkins on the SoftMaker MegaFont XXL CD, 2002). In the 1980, he designed a didone for IBM's identity. That typeface is now available from URW++ under the name IBM Bodoni. Gerstner is best known for his eccentricity in design, and his use of equally eccentric type (often Grotesk) to accompany his designs. The designer as programmer Karl Gerstner Review of 5x10 Years of Graphic Design is a book on Gerstner's influence as a designer, edited by Manfred Kröplien Hatje Cantz. He was trained under Armin Hofmann and Emil Ruder at the School of Design in Basel. He co-founded the advertising agency GCK which has been responsible for a number of promotional campaigns and corporate identities. His books include Integral Typography (1959), The New Graphic Art (1959), Designing Programs (1963), and Compendium for Literates (1970). In 1972, an entire issue of Typografische Monatsblatter was devoted to Gerstner. Also in 1972, he wrote Kompendium für Alphabeten (last edition: 2000, Verlag Niggli AG). BERTLib now sells his KG Privata and KG Vera type families (Vera is a new name). Berthold markets his extensive sans family Gerstner Next (2007, with Dieter Hofrichter), which is based on Gerstner Original BQ (1987). Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type designer, b. 1867. He created Flinsch-Germanisch (1876, Flinsch), a blackletter face. Dover republished two books by this author: 2,100 Victorian Monograms (1994), and Florid Victorian Ornament (1977). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Druckschriften kennenlernen, unterscheiden, anwenden (Verlag Form und Technik, Stuttgart). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Calligrapher and type designer, born in Munsö, Sweden, in 1914. He died in 1995 in Nyhamslaege [note: MyFonts states 1998]. Studied at the Gewerbeschule in Basel from 1946-1947. He became Sweden's grand master of the book arts. His best-known typeface is Berling. His typefaces:
His books in Swedish include
FontShop link. Klingspor link. CV. Linotype page. Bio in Swedish by Curt Ahnström. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Kees Broos and David Quay wrote Wim Crouwel Alphabets (Amsterdam, BIS, 2003). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dr. Ken Lunde is Manager of CJKV Type Development at Adobe Systems Incorporated, San Jose, CA. He holds a Ph.D. (1994) in Linguistics from The University of Wisconsin-Madison. He wrote Understanding Japanese Information Processing (O'Reilly&Associates, 1993), and CJKV Information Processing (O'Reilly&Associates, 1999). He also wrote CJKV Information Processing: Chinese, Japanese, Korean&Vietnamese Computing 9O'Reilly). In 2010, Adobe will release the first genuinely proportional Japanese font, Kazuraki (by Japanese type designer Ryoko Nishizuka), which was developed at Adobe in 2009 under his management. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Director of the University of Macedonia Press and Chairman of AlterVision, Typography and Visual Communication Ltd. Author of various books, including "Casting the Greek newspaper" (Hellenic Literary and Historical Archive, Thessaloniki, 1999), and editor of "Hyphen, a typographic forum". The Proceedings of the 1st International Conference on Typography&Visual Communication were published in 2004 by University of Macedonia Press. Articles in English by John Bowman, Justin Howes, Yannis Haralambous, Ole Lund, Petra Cerne Oven, Milena Dobreva, Manolis Savidis, James Mosley, Barry Roseman, Peter Karow, Maria Nicholas, Stephan Fuessel, Mary Dyson, Victor Koen, Michael Twyman, Phil Baines, Andrew Boag, Paul Stiff, Karel van der Waarde, Jannis Androutsopoulos, Petr van Blokland, Garrett Boge, Evripides Zantides, Alan Marshall, Christopher Burke, Jean-François Porchez, Simon Daniels, David Lemon, Hrant Papazian, Sadik Karamustafa and others, and edited by Klimis Mastoridis. The loneliness of Greek typography: Myth or reality? is the title of his talk at ATypI 2008 in St. Petersburg. Founder of the International Conference on Typography and Visual Communication (ICTVC) that was until 2007 held in Thessaloniki, Greece. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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FontShop link. Video by Die Gestalten. Picture. Another image. Smiling. At home during the Die Gestalten interview. Painting of him. He had great ideas about type and book design. For example, he always started designing the most frequently used letters, in this order: enirstadu, and claimed that the other letters are much less important. His typefaces:
Kurt Weidemann's typefaces. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A goldmine with full scans of many old Russian books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
La Operina
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Born in 1921 in Transylvania, he trained at the Fine Arts Academy of Budapest (Hungary) and then at the Beaux-Arts in Rouen (Normandy, France). Ladislas Mandel was a stonecutter, painter and sculptor. However, he spent his life in France, mostly as a type designer at Deberny&Peignot, where he worked since 1954. In 1955, he headed the type atelier. He was taught by and cooperated with Adrian Frutiger during nine years at Deberny, finally succeeding Frutiger in 1963 as type director. In 1955, he was in charge of the transformation of the Deberny type repertoire from lead to phototype. He created original designs under the label International Photon Corporation, and turned independent designer in 1977. After that, he specialized in typefaces for telephone directories, and made, e.g., Colorado in 1998 with Richard Southall for US West. He cofounded the ANCT in Paris in 1985 and taught there and at Paris VIII. In 1998, he published the book Ecritures, miroir des hommes et des sociétés (éditions Perrousseaux), which was followed in 2004 by Du pouvoir de l'écriture at the same publisher. He died on October 20, 2006. Olivier Nineuil's description of his achievements.
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Lars Müller edited the book HELVETICA---Homage to a typeface (Lars Müller Publishers, Baden, Swtzerland, 2002). Alternate URL. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Stockholm in 1941, he is a Swedish lithographer, left-handed calligrapher, type and graphic designer, artist and teacher or ex-teacher at the following schools: Beckman Design School, Bergs Design School, and his own Schola Laurentii. One of Sweden's main graphic designers, he has created 1300 logos in Sweden, some of which have won awards, most notably from TDC in 1975. From 1974-1984 he developed the ten weight classic text family called Jonsson Roman. In 1983, he changed his name to Lars Olof Laurentii. Author of Textning, grundbok i kalligrafi (Forma Publishing Group f.d.ICA-förlaget, 2001-03). He currently runs Flora&Lettera AB and Schola Laurentii. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of "Lettres de pierre" (2004, ed. Alain Paccoud). This book describes the stone engraving art of Jean-Claude Lamborot (b. 1921), who works in Beaujeu in the Beaujolais region. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French author (b. Algrange, 1964) of Lettres Latines (Éditions Alternatives, 2003). Calligrapher and activist for calligraphy in the streets of Paris. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Pages (in French) on the history of writing printing. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British freelance writer, lecturer, consultant and columnist for Print Week, d. 2008. For 20 years he was Director of International Marketing for the Pre-press Division of AM International, and was Typesetting Systems Advisor to Crosfield Electronics and Monotype. Author of Electronic Typesetting: a quarter century of technological upheaval (1984), Leonard Jay: Master Printer-Craftsman (1963), Type Design Developments 1970-1985 (1985), Dictionary of Graphic Arts Abbreviations (1986), A Concise Chronology of Typesetting Developments 1886-1986 (1988), A Modern Encyclopedia of Typefaces 1960-1990 (1990), and Typomania (1999). He also wrote The Monotype Chronicles. Phil Baines: He was one of the good guys, always generous with his time and advice. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lazydogs Typefoundry is a German foundry located in Augsburg, est. 2005, by Oliver Linke, Robert Strauch and Kai Büschl. They do custom type work. Oliver Linke (b. 1971, Odenwald, Germany) studied graphic design at the University of Applied Sciences Augsburg, Germany and the University of Missouri, Kansas City (19931-1998). He continued his studies in art history, art education and philosophy (2000-2005) at the University of Augsburg. He teaches type design and typography in München (at the Blocherer Schule) and Augsburg. Lazydogs published some commercial faces, such as Fabiol (2005, Robert Strauch), a winner at the TDC 2005 type competition. Oliver Linke created the Lazydogs Finn family (2006, a gorgeous delicate sans). At ATypI 2007 in Brighton, he spoke about Masterpieces of Johann Neudörffer the Elder (1497-1563). In 2007, Oliver Linke and Christine sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg). Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lee Hendrix and Thea Vignau-Wilberg wrote The Art of the Pen Calligraphy from the Court of the Emperor Rudolf II (2002, Getty Publications, Getty Museum, Los Angeles). The promotional blurb about this beautiful booklet: The court of Holy Roman Emperor Rudolf II produced nothing more amazing than the Mira colligrophioe monumenta, a flamboyant demonstration of two arts-calligraphy and miniature painting. The project began when Rudolf's predecessor commissioned the master calligrapher Georg Bocskay to create a model book of calligraphy. A preeminent scribe, Bocskay assembled a vast selection of contemporary and historic scripts. Many were intended not for practical use but for virtuosic display. Years later, at Rudolf's behest, court artist Joris Hoefnagel filled the spaces on each manuscript page with images of fruit, flowers, insects, and other natural minutiae. The combination of word and images is rare and, on its tiny scale, constitutes one of the marvels of the Central European Renaissance. The manuscript is now in the collections of the Getty Museum. Forty-eight of its pages are reproduced in this book, containing samples of classic italic hands; historical, invented, and exhibition hands; Rotunda, a classicizing humanist script based on Carolingian minuscule; classically based scripts; and Gothic blackletter and chancery. Other publications include An Abecedarium: Illuminated Alphabets From The Court Of Emperor Rudolf Ii An Abecedarium: Illuminated Alphabets From The Court Of Emperor Rudolf II (1997). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Volume I in the collection "Recke" (Editions Edouard Boucherit) has 45 alphabets. Scans of the pages are now publically available. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Leslie Cabarga
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Letterfountain: Bibliography
| The type design and typography bibliography of Letterfontein, Joep Pohlen's successful book. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Letterhead Studio YG
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Author of the acclaimed 384-page book Book of Letters From to ” (2007, Art. Lebedev Studio). Behance link. Art by Yuri. Issuu link. Klingspor link. Behance link. | ||||||||||||||||||||||||||||||||||||||||||||||||||
British author of 20th Century Type (Rizzoli, 1992), The End of Print: The Graphic Design of David Carson (with David Carson, Chronicle Books, 1996), G1: New Dimensions in Graphic Design (with Neville Brody, Rizzoli, 1997), 20th Century Type: Remix (Laurence King, 1999), and Edward Fella: Letters on America (Princeton Architectural Press, 2000). Creative director at Getty Images. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
He created numerous pen-drawn alphabets. I am using the descriptive names he used in his own book, Alphabets Old and New: Modern Brush Letters, Blunt Brushwork, Blunt Twisted Brushwork, Japanese Brushwork, Modern Capitals for engraving on metal, Modern Capitals, more Modern Capitals, and yet more Modern Capitals, Modern early Gothic Capitals for engraving on metal, Modern Early Spanish Letters, Modern Foliated Capitals, Modern Gothic Capitals, Modern Minuscule Gothic, Modern Roman Capitals, Modern Roman Italics, Modern Twisted Letters, Numerals (set 1), Numerals (set 2), and Numerals (set 3). In 2012, Dick Pape created a number of typefaces based on alphabets found in Alphabets Old And New For The Use Of Craftsmen (1910). These include LFD14thCItalian75 (drawn by J. Vinycomb), LFD15thCFrenchRelief91, LFDAlphabetUndOrnamente216 (after roman capitals by Otto Hupp), LFDAsianStencilling205 (an art nouveau stencil based on an original by E. Grasset and M. Verneil), LFDBlockCapitals213 (based an alphabet by Walter John Pearce), LFDEngravingonSilver196 (a Foreman Day original designed for engraving on silver), LFDFreehand170 (based on an alphabet by Bailey Scott Murphy, architect), LFDFrenchPrintedType189 (based on a type by E. Grasset), LFDFrenchType209 (a caps face by Lewis Foreman Day), LFDIncisedinWood114 (a Foreman Day original Elizabethan lettering aklphabet based on an inscription incised in wood at North Walsham, Norfolk), LFDMetalEngraving187 (another original by Foreman Day, for engraving on metal), LFDModernCaps210 (an original), LFDPainted148 (a sketched face that was painted in 1727 on the wooden drug-drawers of an old apothecary's shop and kept in the Germanisches Museum, Nuremberg), LFDPenAlphabet222 (an art nouveau alphabet by Foreman Day), LFDPenwork160 (after an original monstrosity by Walter Crane), LFDPenwork181 (based on an alphabet of Roland W. Paul), LFDPenwork206 (based on lettering by Franz Stuck), LFDQuasiJapanese203 (an oriental art nouveau design by Foreman Day), LFDRomanCapitals224 (based on lettering by Franz Stuck), LFDScriptStencil219 (an oriental art nouveau design by Foreman Day), LFDSquareCut202 (an original pixelish face by Foreman Day), LFDThinFrench208 (based on an alphabet by John Vinycomb). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Liam Quin
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Liam's Pictures from Old Books
| Liam Quin's pictures from old (now copyright-free) books. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Mary Minow explains the law about which old books are in the public domain. Rule of thumb: public works from before 1922 are in the public domain and can be freely digitized. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Italian publishing house specializing in type. Edited by Stampa Alternativa / Graffiti and led by Giovanni Lussu. Titles include:
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Libro di M. Giovambattista Palatino cittadino romano
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Linn Boyd Benton, Morris Fuller Benton, and Typemaking at ATF | Article by Patricia A. Cost in APHA vol. 16, No. 2, 1994. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Rare type books at this Belgian bookstore. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lists of type books in French and English. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A 444 page book of logos edited by Robert Klanten, Mika Mischler and Nicholas Bourquin in 2002. See also here or here. A special site didicated to this book. The sequel is Dos Logos (2004) by Robert Klanten, Nicolas Bourquin and Roland Muller. Followed by Robert Klanten's Tres Logos. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French punchcutter (1795-1865) who lived in Lyon. He designed Lyons Titling (1846, a roman titling font published by Chiswick Press) and Augustaux, about which René Ponot published a book, Louis Perrin: L'Enigme des Augustaux (Editions des Cendres, Paris, 1998). The book contains a history of Perrin as a printer and typographer, with special attention to Perrin's Augustaux type. It contains two fold-out Augustaux type specimens and several examples of Perrin's printing in black-and-white. The preface is by Fernand Baudin, and it is printed in Perrin type redesigned by L'Atelier National de Création Typographique in 1986. See also Etude sur Louis Perrin, Imprimeur Lyonnais (Editions des Cendres, Paris, 1994) by Jean-Baptiste Monfalcon. Hrant Papazian writes: While I was looking for something else I ran into the single most important publication about Perrin that I know of: Audin's book on the 1923 Perrin exhibition in Lyon. It's quite rare - it seems only 61 copies were printed. There's a very extensive text (120 pages), a complete catalog of works, and some great facsimiles (as well as actual prints -like pressmarks- from Perrin's own engravings). The paper is very yellowed though. There are two things in there that will probably interesting you most: (1) A facsimile of Perrin's famous specimen sheet, showing two sizes that are basically Marquet's designs: the 11 and the second 14. Here are scans: scan 1, scan 2 (a collage from two sections of the sheet). [...] A character set of floriated caps, from "A" to "V". Here's the "R". FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Louise Fili Ltd is a New York-based graphic design firm specializing in food packaging, restaurant identities, logos, and book design. The web page is just out of this world, and the calligraphy and type exquisite. With Steve Heller, she published "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), "Italian Art Deco", "Dutch Moderne, "Streamlne, "British Modern", "French Modern", "German Modern", "Deco Type", "Deco Espana", "Typology", "Belles Lettres" and "Cover Story". Her book cover (done with Jessica Hische) won a design award at TDC 55. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Slovak professor, who is curating an exhibition called "20th century Slovak typography, part 1: 1918-1970" from October 8th 2004 until January 2nd 2005, in Bratislava's Mirbachov Palace. He has done a pioneering job on historical research of typographical work done by Slovak artists since the beginning of the Czechoslovak state in 1918. Author of Modernost Tradicie (or: Modernity of Tradition) (2012, Slovart), about which Typotheque writes: This book uncovers the largely forgotten history of Slovak graphic design since 1918. After a slow start, cultural life in Central Europe underwent an unprecedented development, as is documented in the works of Martin Benka, Andrej Kovacik, Jaroslav Vodrazka, Karol Ondreicka, Jozef Cincik, Stefan Bednar and Rudolf Fabry. The works are placed in their historical context and are accompanied by historical facts and descriptions of the cultural and political situation in the country. Designer of hundreds of book covers. Author of Martin Benka, the first designer of the Slovak National Myth. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
My own type library, open to all McGill University students. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Roderick Cave writes in his The Private Press: The first part of this was printed entirely from wood blocks, but the second part, Il Modo di Temperare le Penne, contains several pages printed in a very fine italic typeface modeled on the cancellaresca formata hand. The type was fairly obviously derived from the hand used by Arrighi himself; it seems likely that the punches were cut by his partner, who can with reasonable certainty be identified as Lautizio de Bartolomeo dei Rotelli, of whose skill as an engraver of seals Benvenuto Cellini speaks with respect in his Autobiography. He started printing in 1524 and designed his own italic typefaces for his work, which were widely emulated. His letterforms were revived in the 20th century by designers such as Plumet (1925), Stanley Morison (Monotype Blado (1923, Stanley Morrison) is based on Arrighi's lettering---it was unfortunately named after the printer Antonio Blado who used the type in the 1530s; the name Monotype Arrighi would have been more appropriate), Frederic Warde (in his Arrighi Italic, 1925), Robert Slimbach (one could say that his memory lives on through fonts like Adobe Jenson Multiple Master), Ladislav Mandel (Cancellaresca), Willibald Kraml (Vicentino, 1992), Paulo W (as Volitiva), Gunnlaugur S.E. Briem (Briem Operina), James Grieshaber (P22 Operina), Michelle Dixon (Arrighi Copybook), Gilles Le Corre (1522 Vicentino, 2011) and Jonathan Hoefler (Requiem Text). Arrighi's last printing was dated shortly before the sack of Rome (1527), during which he was probably killed. Sample pics: Fantastic ornamental capitals (1522), roman capitals (1522), Italian capitals, Italian minuscule. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ludovico Vicentino degli Arrighi
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Born in 1851, Ludwig Petzendorfer published Jugendstil Schriftenatlas (1905) at the Stuttgart house of Julius Hoffmann. He also edited a follow-up in 1903, called Neue Folge, perhaps the greatest collection of art nouveau type styles collected in one book. In 1984, Dover Publications published a a facsimile of the latter book under the title Treasury of Authentic Art Nouveau Alphabets, Decorative Initials, Monograms, Frames and Ornaments. That affordable book was bought by many with the result that most of the alphabets in the book have now been digitized by people like Claude Pelletier (as free fonts) and Tom Wallace (commercially). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Free digitizations of these alphabets were made by Pape in his Mindofone / French Advertising Alphabets series of 2011-2012. Pape's fonts: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke. Download page. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Books and book reviews at the Mac Font Vault. Maintained by Erik Carlson. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of American Metal Typefaces of the Twentieth Century (New Castle, Delaware, Oak Knoll Books, 1996), which describes every known American typeface designed and cast in metal during the 20th century. See also here and here. M.F. McGrew (1912-2007) was also the author of over 300 articles on typography, which ran in trade journals. He wasd born in Chattanooga, TN, grew up in Pennsylvania, and died in Pittsburgh. His 500-strong book collection was donated to The Museum of Printing in North Andover, Massachusetts, near Boston, where the public can consult them. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
This is decribed as an advertising book for a XVIth century design studio. It has some elaborate sets of initials. The British Library paid 600,000 pounds for a copy in 2009---hard to believe for something did the Italians did more often and more elegantly. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Magdalena Frankowska is the cofounder, with Artur Frankowski, of Fontarte in Warsaw, Poland, in 2004. Fontarte developed several typefaces including contemporary new designs as well as Polish avant-garde revivals. Graphic designer and type designer. Her M.A. from Warsaw University dealt with women artists in the surrealist movement (1997). Creator of these typefaces:
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London-based booksellers with a small typography selection, but many books on design. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with Erik Spiekermann and Juergen Siebert of FontBook, Fourth edition (2006). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Authors of a thesis entitled Questioni di Carattere: La tipografia in Italia dal 1861 agli anni Settanta (1997, Stampa Alternativa&Graffiti). It surveys the history of Italian typography and type design. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Marc H. Smith
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Author of "El maestro Ibarra: Homenaje que la casa Gans al celebrar sus bodas de oro, dedica al gran impresor Joaquin Ibarra" (Madrid: Richard Gans, 1931). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "La primera tipografía mexicana" (2003, Editorial Designio) and "El establecimiento tipográfico de ignacio cumplido: 1832 - 1896" (2003, Editorial Designio). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Italian graphic designer (b. 1954) and architect who published La Grafica su Marte 2000 (Milan,1996), Universo Balan (Milan, 2001) and Progettare il marchio (Turin, 2001). In 1996, he founded the 46xy studio in Milan. He also teaches graphic design at the Politecnico in Milan. Since 1992, he is the president of AIAP, the Italian Visual Communications Design Association. At ATypI in Rome in 2002, he spoke about contemporary type design in Italy. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Popup (2008), a book (and video) with popups of the letters of the alphabet. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type historian from Lyon, 1872-1951. He had a major influence on the French typographical world before World War II. His son Maurice founded the Musée de l'imprimerie et de la banque in Lyon in 1964, starting from the family's archives. Author (1872-1951) of many books on typography and printing, including
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Ex-president of International Typeface Corporation (ITC) and of ATypI from 1995-2004. In 2004, he became Honorary President of ATypI. He published a book on the life and work of Gudrun Zapf von Hesse: Gudrun Zapf von Hesse Bindings - Handwritten Books - Typefaces Examples of Lettering and Drawings (West, New York, 2002). He published WARNING (2005) on the warning signs and the multitude of funny/sad ways in which people can end their lives. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Markus Rathgeb wrote Otl Aicher (2006, Phaidon Press Limited, London), which is about Aicher's life as a graphic designer, and has little about his type design. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Graduate of the Type and Media program at KABK, 2009. There, she designed the serif family Alice, specifically for magazines. She is working on Bolano in 2010 about which she writes: It is based on my brush calligraphy, tamed down to a book typeface. She is back in Milan now where she works at LS Design. She wrote A Hundred Years of Type 1813-1908 Typefounders and Printers in Italy from Bodoni's death to the foundation of Augusta company in Turin (Master degree dissertation developed with Emanuela Conidi. Supervisor: Prof. James Clough at Politecnico di Milano, July 2006; in Italian: Cento Anni di Caratteri 1813-1908). Scans of Alice: i, ii, iii, iv, v. Scans of Bolano: i, ii, iii. Cargo Collective link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in 1932 in London, Martin Kaye was well-known for his sturdy posters which he made from 1972 until 1983 for Paradiso in Amsterdam. A set of 1100 of these posters owned by Stichting Martin Kaye Alphabet Index&Library is being managed by Affichemuseum in Hoorn, The Netherlands. He was also a type expert, and had started a catalog of typefaces, having made a listing of 60,000 typefaces when he was murdered in 1989 during a robbery. His work included also many unique complete alphabets. The book Facade AlphaBets et Cetera is the only published book document. At Amazon, we read about his book: Although out of print Martin Kaye's work deserves some recognition for his part in the world of typographic design. This book of some 90 pages reflects his work throughout 20 years. With typographic studies to reproductions of some of Kaye's Paradiso posters, this is perhaps the best example of of a lifetime's work by this artist. It is unfortunate this item remains out of print since it remains a definitive example of typographic inovation and inspiration. It is with great sadness that the book, published in 1985, four years prior to his death, remains as his only epitaph. Since only 1000 copies were ever printed it may never be seen by as many as might apreciate such a work. Examples of Kaye's work do hang in the Rock Museum in Amsterdam. But for me this book is a must for anyone interested in typography. This was done in the days before computers. Martin would hand cut the designs in 'red film' a method by which screenprint templates would be made. The intricacy of his designs and skill would astound anyone seeing him at work, the results of which would shine out from poster stands all over Amsterdam. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Die Entstehung von Sprache und Schrift (1996, Dumont Taschenbücher), which deals with the origins of various scripts. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Nicholas Jenson and the rise of Venetian publishing in Renaissance Europe [Oxford, UK; Cambridge, Mass., USA : B. Blackwell, 1991]. From Book News Inc: Chronicles the story of how printing came to Venice in the 15th century and transformed the Italian city into the most commercially advanced power in Europe, publishing a fifth of the continent's books only 40 years after Gutenberg developed moveable type. Examines the values and careers of printing's financial backers, and the printers themselves. Focuses on the immigrant French printer, Jenson, his design concerns and business activities, the transition from manuscript to printed page, William Morris' championing of his typefaces in the 19th century, and the significance of those typefaces today. Annotation copyright Book News, Inc. Portland, OR. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
To understand Majoor, read his article My type design philosophy. He works in Arnhem and Warsaw. At ATypI 2004 in Prague, he spoke about his experiences as a designer and type designer in Poland. The text José Mendoza y Almeida (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions to type design. Majoor's Flickr page. Speaker at ATypI 2010 in Dublin. His type design blog. MyFonts catalog. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Famous Italian typographer and graphic designer, b. 1931, Milan. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest diseign firm of its day. He left Uimark in 1971, to set up Vigneeli Associats in New York City with his wife Lelli. He dismissed Emigre as a garbage pail of design. Famous for his designs and opinions, he once said that a designer should only use these five typefaces: Bodoni, Helvetica, Times Roman, Century and Futura. Another quote along the samne lines: In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest. In his Vignelli Canon (free PDF book on design), he mentions these six: Garamond (1532), Bodoni (1788), Century Expanded (1900), Futura (1930), Times Roman (1931) and Helvetica (1957) [However, in that booklet he uses 8 different type families: the above six, and Gill Sans and Univers]. Yves Peters' reaction: Massimo Vignelli clearly hasn't got a clue. It's not the first time a quote of his makes me cringe. I hope you appreciate I'm trying real hard to stay polite. Frankly, if I ever heard anyone say: "a music lover should only listen to 5 artists: Elton John, Celine Dion, Billy Joel, Whitney Houston and Luciano Pavarotti" I'd go to great lengths to ridicule the billy sastard. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International). Discussion of his work by the typophiles. Report of his presentation at ATypI 2006 in Lisbon. Wikipedia link. FontShop link. Klingspor link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2010, he published Typography for Lawyers. MyFonts link. FontShop link. Klingspor link. Font Bureau link. He has some great one-liners, such as The only good Copperplate is a dead Copperplate. Matthew Butterick's creations:
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Noted Baltimore printer and type historian. Author (1907-1979) of "Type Foundries of America and their Catalogs" (1955; see also New Castle, 1994), with historical accounts of each foundry. Other books: "Advertising, 3000 B.C.-1900 A.D." (1969), "A Typographic Journey Through the Inland Printer, 1883-1900" (1977). His extensive type collection is now at the University of Maryland. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Rome-based graphic designer (b. 1953, Rome), who spoke at ATypI in Rome in 2002. A paleographer and calligrapher, he is the author of Calligrafia. Fondamenti e procedure (Stampa Alternativa). He adores old Roman lettering, and has become one of the world's specialists on the topic. He teaches graphic design at the Università per Stranieri (University for Foreigners) of Perugia and at the Carlo Urbany Professional High School in Rome. His typefaces include
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Dutch typographer and graphic designer. In 2000-2001, he published a piece on the erotics of type, and reviewed the book Sex Appeal: The art of allure in graphic and advertising design (Steve Heller, Allworth Press, New York, 2000). He spoke at ATypI 1998 in Lyon on Words on screens. Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private face of the Benteli publishing house in Switzerland; revived in 2006 by Ari Rafaeli, and in 2011 by URW), a slightly-serifed roman capitals face. His teachers included Jan Tschichold and Imre Reiner. Trained as a compositor (1932-1936), het set some jobs from 1936-1943. In 1941-1942, he taught typography at the Allgemeine Gewerbeschule in Basle, and was art director of the Benteli printing works in Bern from 1943-1962. From 1962-1981, he was head of the graphics department and typography teacher at the Kunstgewerbeschule in Zürich He consulted on type design for IBM in New York from 1962-1966, for the Bauersche Gießerei in Frankfurt am Main from 1965-1966, and for the Dr. Rudolf Hell company in Kiel from 1972-1989. He worked as type consultant at Adobe since from 1990. Adobe published Caflisch Script (designed by Robert Slimbach). Columna is available from Elsner&Flake (as ColumnaEF), Linotype and URW. Linotype bio. Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). This publication was thoroughly mangled by SchumacherGebler, to the dismay of Caflisch. This story was written up in "Die Chronologie der Schneidler-Monographie 1985-2002: Die 16 Jahredauernde, mühselige Entstehungsgeschichte" (Max Caflisch, 2002, Theo Leuthold Press). Other publications include: "William Morris, der Erneuerer der Buchkunst", Bern 1959; "Kleines Spiel mit Ornamenten", Angelus-Druck, Bern, 1965; "Fakten zur Schriftgeschichte", Zürich1973; "Schrift und Papier", Grellingen 1973; "Typography braucht Schrift", Kiel 1978. A Berlincourt et al "Max Caflisch. Typographia practica", Hamburg 1988. MyFonts page. Rudolf Bosshard's article about Caflisch's life (Comedia, 2004, vol. 2). Linotype link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
McMurtrie: A Memorandum on Early Printing on the Island of Malta | Scans of a 13-page booklet by Douglas C. McMurtrie published in Chicago in 1936: A Memorandum on Early Printing on the Island of Malta. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
McMurtrie: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie |
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Scans of an 8-page booklet by Douglas McMurtrie published in Chicago in 1935: The Didot Family of Typefounders. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ménestrel
| French medieval and paleotypographic jump page, mostly edited by Marc Smith, École nationale des chartes, Sorbonne, Paris. Marc Smith wrote Du manuscrit à la typographie numérique (Gazette du livre médiéval, no. 52-53, 2008, pp. 51-78), in which he describes the history of digital type and makes interesting comments on their roots and classification. The site is quite extensive---medievalists can spend weeks visiting links and sub-pages. PDF file. Marc Smith also designed some typefaces, notably Piacevole (2008, a 16th century cursive map script face after J. de Beauchesne), and the "ronde" La Petite Ronde (2008, after L. Barbedor). [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Bernard Desgraupes' free metafont utilities for the Mac. These include metapostMode and metafontMode for use with the Alpha text editor on the Mac. Compatible with Tom Kiffe's CMacTex, and Andrew Trevorrow's OzMetafont. He is also the author of "Metafont - guide pratique", Editions: Vuibert, Paris, 1999. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
M&H Type (or: Mackenzie&Harris Typographers and Typefounders) | Mackenzie&Harris Typographers and Typefounders since 1915. Located in the Presidio in San Francisco, they offer metal type. Their 119-page catalogue was published in 1994. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Michael Brandt
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Designer at and cofounder of the Galapagos Design Group. Coauthor of Leary, M., Hale, D.&Devigal A., Web Designer's Guide to Typography (Indianapolis: Hayden Books, 1997). Hinting specialist. Designed the Startrek font Galaxy at Bitstream. He began his career more than 20 years ago at Compugraphic Corp. where he was part of the team that developed the Intellifont scalable font format. Leary also developed typefaces while working at Bitstream. His wide range of expertise includes typographic hinting and international font development. In 2004, he joined Agfa Monotype. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Hand Job A Catalog of Type (Princeton Architectural Press, New York, 2007). This lovely book, entirely done by hand, has many hand-drawn alphabets by a number of lettering artists. Some of these were sketches for fonts, and others, no doubt, will be imitated by font designers in the future. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editor of the book Greek Letters: From Tablets to Pixels (Oak Knoll Press). This book contains essays by notable scholars and type designer such as Hermann Zapf, Matthew Carter, Nicolas Barker and Nicolaos Panayotakis. Macrakis was born in 1924 and died in 2001. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch author (b. 1950, Amsterdam) of Typage (2007, Herr Druck, Switzerland), a 256-page book on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Designer at Die Gestalten of Brother (stencil) and T-Star Mono Round (monowidth). In 2002, he coedited Los Logos, a 444 page book of logos (with Robert Klanten and Nicholas Bourquin). In 2007, the typewriter face Generell TW was added. At Binnenland, he has Relevant (Michael Mischler and Nik Thoenen, 2007; loosely influenced by 'Record Gothic', created by R. Hunter Middleton for the Ludlow Typograph Company in 1927), T-Star Pro, T-Star TW Pro (typewriter face, 2002), Korpus (2012, with Nik Thoenen), and Catalog (Michael Mischler and Nik Thoenen, 2005). Klingspor link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Mike Rohde (Roh Design, Milwaukee, WI) Writes on sketching, drawing, technology, travel cycling and books. Author of The Sketchnote Handbook, the illustrated guide to visual note taking (2013, The Peachpit Press). For this book, he created a hand-printed typeface family, Sketchnote (2013), which can be bought from Delvefonts. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Mitja Miklavčič
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Modern Typography
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His typefaces:
His St Bride Type Foundry. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Schriften erkennen (Verlag Hermann Schmidt, Mainz, 1988), coauthored with Hans Peter Willberg. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Japanese publishers in 1980 of a photootype book called Display faces. Scans by Maniackers. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Muriel Paris (b. 1965) and Alex Singer (b. 1971) are involved in type in Paris. They co-designed the wonderful Zinzolin in 1996, a free adaptation of Polyphème, 1926. Author of Des caractères (IPA Patoux, 2003) and "Petit Manuel de Composition Typographique". [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Font The Sourcebook (2008, Black Dog Publishing). The publisher's blurb: The second part of Font: The Sourcebook profiles 50 of the most innovative and inspiring fonts in use today, with a short history of their origin, their inspiration and the designer who brought them to life. Each typeface entry is illustrated with an extensive library and examples of the font in use. In 2011, she published The 3D Type Book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Authors of Identa Font (1997, PrePress innovations in Karlsruhe), a font catalog in four volumes, Sans Serif, Serif, Script and Display. Review by Delve Withrington. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
U.K. designer of Crater (2002) and CR Gothic (2000, Agfa, with designs by Robin Nicholas). Author of Type 1 Digitale Schriftengestaltung (2002, Stiebner Verlag), a book that comes with a CD-ROM with nine fonts on it: Crater (2002, Nathan Gale), Aminta (2002, Gareth Hague), Diet (2002, Shin Sasaki, Extra Design), Metropolis (2002, Christian Küsters, Acme, a 3d modeling font developed with the help of Paul Beavis), JohnHadANightmare(LastNight) (2002, Chester, Thirstype), Circuit (2002, David Rust, Optimo, Switzerland), Studio (2002, Tom Hingston Studio, UK), Basic-21 (2002, Julian Morey, Club Twenty-One, UK), Asphalt (2002, Masahiko Nakamura, Lineto). English version: "Type 1: Digital Typeface Design". [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of An A-Z of type designers (Yale University Press, 2006), a biography of 260 type designers from Gutenberg until today. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Some specimen books at the NYPL listed by Thomas G. Lannon. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 1998, Frederich Friedl, Nicholas Ott and Bernard Stein wrote the voluminous book, Typography: An Encyclopedic Survey of Type Design and Techniques Through History (Black Dog & Leventhal). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Nick Shinn
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British author (b. 1911, Stevenage, d. 1997) of "Nineteenth Century Ornamented Typefaces" (University of California Press, Berkeley, CA, 1938, revised in 1976), "Lettering on Buildings" (1960) and "A History of lettering" (Phaidon, 1986). For examples from the first mentioned book, see here. She taught at the Central School of Art and Design (London) from 1964 to 1981. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lots of type books for sale at Nijhof&Lee in the Netherlands. In 2008, 20 years after Nijhof&Lee opened for business, Frank Nijhof died. Warren Lee continues the business alone after that. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
NOW Type
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FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Oak Knoll Books, 414 Delaware Street, New Castle, DE 19720. This store has a lot of rare old type books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Samples of old German handwriting fonts, links to Fraktur fonts, lists of related books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Czech type designer. Author of "A book of Type and Design" (English Language version of "TYPOGRAFICKÁ PÍSMA LATINKOVA", published by the State Office of Technical Literature, Prague, 1957), Tudor Publishing, New York, 1960. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Oliver Weiss
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The Open Libray publishes scans of old royalty-free texts. Useful searches include the keywords specimen, typeface, type designer, and font. If you have a dead moment, and you are a typophile, browse this collection to give you a boost. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Early Woodcut Initials" (Methuen and Co., London, 1908), which contains over thirteen hundred reproductions of ornamental letters of the fifteenth and sixteenth centuries. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Aicher was a world expert on pictograms, having designed, e.g., the pictograms for the 1972 Munich Olympics, and his visual language system of over 900 pictograms. Robin Kinross and Erik Spiekermann discuss the pros and cons of Rotis. Hrant Papazian sums up Rotis, a family disliked by many type designers, but that has some oomph: Rotis -the typeface- is admirable not for its typographic merit, but for its lion-hearted spirit, its golden intentions - things so totally lacking in almost every other font ever made. Norbert Florendo, who worked with him on and off, muses: If anything, Aicher was a formalist in turmoil. A philosopher in spirit who was shackled by his sense of order. He called for revolution in design and typography, but adhered to the grid (anti-nature) in distrust of chaos. He admired Adrian Frutiger immensely and one can undoubtably see how Univers influenced the Rotis matrix. If one reads deeper into Aichers Typographie, one will see Aichers concepts as being less typographic (relating to type design and type layout) and more involved with humans within a rapidly changing environment in need of new symbology and notation systems. [...] I am far more an admirer of Herr Aicher than Rotis the type family. Bio. Rotis was named after the village (Rotis über Leutkirch) in Allgäu where Aicher lived from 1972 and died in 1991. Typophile discussion. URW shows the Monotype WMF Rotis family (2007) which was exclusively used by WMF AG. Author of these books:
This biography reveals that Aicher was a German soldier in the second world war, both on the Russian and French fronts. In 1953, he founded the HfG (Hochschule für Gestaltung) in Ulm, and he helped with the graphic design for the Olympic Games in München in 1972. Discussion of his contributions by the typophiles. Markus Rathgeb wrote Otl Aicher (2006, Phaidon Press Limited, London), which is about Aicher's life as a graphic designer, and has little about his type design. Klingspor link. FontShop link. Linotype link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Celebrated Austrian infographics icon, a socialist who used small images, the dingbats of today, to illustrate his work in the early part of the 20th century (see Isotype Welt). Article on Neurath by Johannes Steil, who writes: Als Erfinder der Infografik wird Otto Neurath gesehen, ein Österreicher mit bewegtem Lebenslauf. Nach einem Studium der Nationalökonomie in Berlin leitet er im Ersten Weltkrieg die Abteilung für Kriegswirtschaftslehre im österreichischen Kriegsministerium, wird 1919 Leiter des Zentralwirtschaftsamtes der Ersten Münchner Räterepublik, nach deren Ende Verhaftung und Auslieferung nach Österreich. In Wien gründet er 1924 das Gesellschafts- und Wirtschaftsmuseum, wo erste Bildstatistiken entwickelt werden. 1934 nach dem Sieg der Austrofaschisten erste Emigration in die Niederlande, von wo er 1940 nach dem Einmarsch der deutschen Faschisten weiter nach Großbritannien flieht. Dort stirbt er 1945 im Alter von 63 Jahren. The main reference on Neurasth is a book by Frank Hartmann and Erwin K. Bauer: Bildersprache. Otto Neuraths Visualisierungen (Wien, 2006). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
OurType
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FontShop link. Author of Counterpunch: making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996, and Type Now: A Manifesto. In February 2001, Smeijers received the (second) Gerrit Noordzij Award 2000 (an initiative of the post-graduate department Type&Media at the Royal Academy in The Hague in cooperation with the Museum Meermanno). Author of Type Now (2003, reviewed by John Berry). OurType's offices are in DePinte, Belgium. Speaker on historical stencil forms at ATypI 2006 in Lisbon. Currently he also is professor of digital media and Dean at the Hochschule für Grafik und Buchkunst in Leipzig. Speaker at ATypI 2011 in Reykjavik. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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Palmer and Rey
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Digitizations: In 2010, Nick Curtis created a digital version of their Courier, and called it Pony Xpress NF. Rightly So NF (2011, Nick Curtis) is a squarish face based on Geometric Gothic from the 1884 specimen book of Palmer and Rey---it is hard to imagine that this almost pixelish style was around at that epoch. Oxford was revived by Nick Curtis as Palmer Oxonian NF (2011). Octic was revived in 2012 by Nick Curtis as Easy Eights NF. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Calligraphy books and supplies, Woodsboro, MD. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of La modernidad tipográfica truncada. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The Bentons: How an American Father and Son Changed the Printing Industry, published in 2011 by RIT Cary Graphic Arts Press. Book review by James Puckett. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Paul Baker's type-related book, right here on the web. He created Alphabet26 in 2001, an implementation of a unicase font proposal by Bradbury Thompson. Writings on "Evaluating typography and typesetting". He digitized Andromaque Uncial (1958, Victor Hammer) in 1995. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Paul Barnes
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Pen name of Beatrice L. Warde. Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a face called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:
Drawing of her by Eric Gill. Life story. Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921-1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Modern Display Alphabets: 100 Complete Fonts" (1974, Franklin Photolettering). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Graphic designer who published The Ten Commandments of Typography/Type Heresy: Breaking the Ten Commandments of Typography (Merrell Publishers Ltd, 2006). Ill-received by the typophiles: Chris Lozos states: The cover is just boringly bad and needs to be excommunicated or excorcised. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Paul Franck wrote a calligraphic text in Nürnberg in 1655 (published by Paul Fürst, ca. 1605-1666 and printed by Christoph Gerhard, 1624-1681), entitled Kunstrichtige Schreibart : allerhand Versalien oder AnfangsBuchstaben der teütschen, lateinischen und italianischen Schrifften aus unterschiedlichen Meistern der edlen Schreibkunst zusammen getragen. This text, of which some pictures can be viewed here, consists largely of hyper-ornamental blackletter initials. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with Bo Berndal of Typiskt typografiskt, Bokförlaget (TT Fisher & Co, 1990). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author (1903-1948) of Roman Numerals Typographic Leaves and Pointing Hands (1942, The Typophiles, New York), in which he traces the history of the roman numeral, the ornamental leaf and the pointing hand. He says that his main sources for the former were "History of mathematics" (D.E. Smith, 1925) and "Introduction to the study of Latin inscriptions" (James C. Egbert, New York, 1896). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designer of the Kolo LP art nouveau family (with Garrett Boge) in 1996 at Letterperfect Design. He was inspired by the lettering of Koloman Moser, Gustav Klimt, Alfred Roller, and other members of the Secession, Vienna's turn-of-the-century Art Nouveau movement, in the design of Kolo. Garrett Boge and Paul Shaw made the fun handwriting font Bermuda LP in 1996. At LetterPerfect (which he started with Garrett Boge in 1996), he co-designed Kolo (1996), Tomboy, Beata, Donatello, Ghiberti, Pietra, Pontif (roman capitals), Cresci (roman capitals), Old Claude LP and Uppsala LP (1998) with Garrett Boge. At Agfa/Monotype, you can buy his calligraphic fonts Göteborg LP (1998), Stockholm LP (1998, with Garrett Boge), and Uppsala. Coauthor with Peter Bain of Blackletter: Type and National Identity (1998). At ATypI in Rome in 2002, he spoke about the revival of the roman capital in the 15th century, and lettering in fascist Italy. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
An incomplete list of his typefaces:
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Author of A homage to typography (2009, Index Book, Barcelona). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Book with many samples of alphabets, published by Blandford Press, Ltd., London, 1929. Several typefaces served as models for digital designs by Nick Curtis. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Spanish designer (b. Valencia, 1951) of the handwriting font Warhol, with slight calligraphic influences (possibly based on the handwriting of Andy Warhol's mother, Julia Warhol). It won an award at the TDC2 2001 competition (Type Directors Club). He also designed the curly FF Pepe family (2002). Since 1987 he has worked on a free-lance basis specialising in graphic communication, corporate identity, signposting and publication design. He has taught graphic design at the C. E. U. San Pablo University, Valencia. Author of Cali Typography (2002, La Imprenta-Comunicación Gráfica). Behance link. Bio at FontFont. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Ornamental Type (Ramboro Books, 1996). Some pictures from this book are here. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Peter Bain
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Peter Bezdek
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Peter Bilak
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Peter Enneson is an Art Dirctor and Graphic Designer living and working in Toronto. His work has been awarded in design competitons sponsored by the National Magazine Awards Foundation, the Art Directors Club of Toronto, and others. Recently, his "Typographical exploration" of Genesis was selected for inclusion in Type Culture, a Canadian competition. Peter Enneson is preparing a translation of Gerrit Noordzij's "De streek: theorie van het schrift", and a book based on his ATypI 2003 presentation on Henk Krijger's work. He holds a Masters of Philosophy degree in Aesthetics. His writings include a piece on Henk Krijger's 1972 painting "The survivors", and a reply to Peter Burnhill's "Type spaces" in Typography Papers 4, 2000. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A true artist, designing wonderful Caps and initials in München. I really like the erotic initials. None of these seem to have been made into fonts though. Author of Typografische Magazin (1995), a book showing full character sets for 94 Fraktur typefaces. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Stargard, Pomerania, in 1940, he was the technical director and their cofounder of URW Software&Type GmbH in Hamburg (URW stands for Unternehmensberatung Rubow Weber, after the first two the founders, Rubow and Weber, and was succeeded by URW++), and developed the Ikarus program. Since 1988, Karow and Zapf cooperated on the hz program for micro-typography of texts. Karow published "Digital Typefaces" (Springer, 1994), "Typeface Statistics" (URW Verlag, Hamburg, 1993), and "Font Technology" (Springer, 1994), and is an expert in font technology. In 2003, he was the first recipient of the Dr. Peter Karow Award established by DTL to honor people with extraordinary and innovative achievements in the field of font-related technology. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Graphic designer (born in 1958 in Kendal, Westmorland) who graduated from St Martin's School of Art in 1985 and the Royal College of Art in 1987. He works as a freelance graphic designer, is Professor of Typography at Central Saint Martins College of Art&Design (now a university) in London (since 1991), runs Phil Baines Studio, maintains Public Lettering (about type found in cities), and is Typographic Advisor to the Central Lettering Record CD-Rom project. He designed FUSE Classic 1, Can You (1989), Ushaw (FUSE 8, FontShop, 1993), Toulon (1994), Horncastle (1994), VereDignum LT Std in Alternate, Decorative and Regular weights (2003, Linotype Taketype 5 collection) and Can You Read Me (FUSE 1, 1991). His pages on public lettering in London. His books include Signs, lettering in the environment (with Catherine Dixon, 2003) and Type&Typography (2002, with Andrew Haslam). Author of Rookledge’s Classic International Typefinder (Christopher Perfect, Gordon Rookledge, Phil Baines). At ATypI 2007 in Brighton, he spoke on From the Motor Car Act to motorways. He has also a good reputation for taking people on typographic city tours, as he did in 2006 at ATypI in Lisbon, and at ATypI 2010 in Dublin. Linotype link. FontShop link. Speaker at ATypI 2010 in Dublin in which he explained how he and Catherine Dixon produced the lettering for the Pozza Palace in Dubrovnik on commission for the Serbian Orthodox Church. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "Buchdruckschriften im 20.Jahrhundert" (1995). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Philip Cade
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Coauthor with Roy McKelvey of Revival of the Fittest Digital versions of classic typefaces (New York, 2000). Modern day revivals are compared with their metal-type originals. Coauthor with Rob Carter of Typographic Specimens: The Great Typefaces (John Wiley, 1993). Author of Typographic Design: Form and Communication (John Wiley, 2003, with Rob Carter and Ben Day) and Typographic Specimens: The Great Typefaces (Wiley, 1993). Meggs died from leukemia on November 24, 2002. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Die Schwabacher (2004), and Ornaments. Philipp Luidl and Günter Gerhard Lange coauthored Paul Renner (1978, Typografische Gesellschaft München). Philipp Luidl and Helmut Huber wrote Typographical ornaments (Poole, Dorset: Blandford Press; New York, N.Y.: Distributed in the U.S. by Sterling Pub. Co., 1985), a 368-page in-depth treatise on the subject. Cover page and selected images such as this end piece with tendril decorations, 17th century, this cast unit piece assembled from various elements, these great ornamented caps, and this vignette from the Academicism period. They divide type ornaments up by historical periods:
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Prolific German author, who has written these books: "Hommage für Georg Trump" (1981, with G.G. Lange), Typographie, Herkunft, Aufbau, Anwendung (Schlütersche Verlagsanstalt, Hannover, 1989), Typographie (1998, Könemann Verlag, with Friedrich Friedl, Nicolaus Ott and Bernard Stein), Typographical Ornaments (Blandford Press, 1985, with Helmut Huber), Ornaments (1995, Bruckmann Verlag, with Helmut Huber and Lenore Lengefeld). He is docent in typography at the Akademie für das Grafische Gewerbe in Munich. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swiss typographer and author, b. 1966, Schaffhausen. Coeditor with Heidrun Osterer of Adrian Frutiger - Typefaces The Complete Works (2009, Birkhäuser). Creator in 1995 of PhonogrammeF (Feinherb, Visuelle Gestaltung). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type book listing, with links to Amazon. Web links for each book! Fantastic resource. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Born in Paris in 1761, he died there in 1853. He was in the third generation of the Didot dynasty of printers, son of François-Ambroise Didot. Wikipedia: Pierre Didot was awarded a gold medal at the exhibition of 1798, for his edition of Virgil. By order of the Government, his presses were established in the Louvre, where they remained during the Consulate. The celebrated Louvre editions are Virgil, Racine, Horace, and La Fontaine. The board of examiners of the 1806 exhibition pronounced the Racine edition "the most perfect typographical production of all ages". Pierre Didot was also a poet and translated in verse the fourth book of Georgies, the first books of Horace's Odes, and wrote a number of original poems. Didot published this book in 1819: Specimen des nouveaux caractères de la fonderie et de l'imprimerie de P. Didot, l'ainé, chevalier de l'ordre royal de Saint-Michel, imprimeur du roi et de la chambre des pairs (Paris). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French typefounder (b. Paris, 1712, d. Paris, 1768) also called Fournier le jeune.
Pauline Nuñez graduated in 2007 from Ecole Estienne with a thesis entitled Pierre-Simon Fournier, typographe absolu, typographe accompli?. Klingspor link. FontShop link. View some digital typefaces based on designs by Fournier. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "American Type Designers" (1952). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Polka Design / Letterfontein
| Polka Design is a Dutch book design, graphic design and publishing house, run by Joep Pohlen, Dennis Schmitz and "Egor". Joep Pohlen (Roermond) and Geert Setola published Letterfontein (1994). Joep writes: We printed about 15,000 copies. In 2002 I began rewriting and expanding the book. Geert Setola did not take part anymore in this huge job where the content went from appr. 15,000 words to 150,000 words. The first Dutch print in november 2009 was sold out in a couple of weeks and in march 2010 the reprint appeared. In 2010 Letterfontein got also a red dot award and a certificate for high design quality form the Type Directors Club New York (TDC). It took about a year to get it well translated in the different languages for Taschen Publishers. For the English version we asked John A. Lane to proofread it. For the Spanish version Albert Corbeto did the proofreading. So, the other language versions: Letter Fountain (2011), Fuente de Letras (Sp), La Fontaine aux Lettres (Fr) and Letterfontäne. A new edition appeared in 2011. In 2013, Pohlen designed Calypso PF, a free version of Roger Excoffon's Calypso, ad quite different from all existing digital versions. He explains: Most of the typefaces ever made have been digitized. Calypso was no exception. I found and downloaded Calypso Boy from Scootergraphics (digitized by Marty Pfeiffer, 1997) and Calypso by Profonts (digitized by Ralph Michael Unger, 2005). Ralph Michael Unger has added numerals, a question mark, an exclamation mark, ligatures and a lot of other useful characters, making it a complete digital font. By comparing the capitals I saw that they where quite different and it seemed to me that they were based on the Calypso silkscreen-printed rub down Letraset version because the dots were not round like on the original drawings I had seen in several publications and advertising for this typeface. Of course the original drawings were also not exactly the same as the metal type. As earlier written the punches that were cut by the Benton pantograph were retouched and because of that there were differences compared with the original drawings. So the final design had to be found in the actual cast type. I went looking for this type and found the site of D. Stempel GmbH that got the original matrices of D. Stempel AG and all the takeovers Stempel made during their existence. One of them was Fonderie Olive. I ordered a set of newly cast type from the original Olive matrices and found out that it was indeed quite different from the digital fonts that I bought. At that time Marjolein Koper was working as an intern at our design studio Polka Design and I asked her to digitize Calypso. The result was better than the fonts I bought but still I was not satisfied. After she came back to work at our studio on a steady base we photographed the metal type with a Micro Nikkor on a D800 to get the sharpest enlargement we could get. With this pictures Marjolein established the exact angle of the grid and we decided to begin again from scratch. Although it still is not an exact reproduction of the original metal type it has more detail and it can match almost the big reproductions seen in the first advertising in the French printers yearbook Caractère Noël 1957 and recent publications with original drawings. Letterfontein link. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Portfolio of Ornate Penmanship
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Brazilian [T-26] designer (b. 1964, Sao Paulo) of Cryptocomix10, LowTech, Quadrada (1998), Seu Juca (2009, 3-d, handprinted) and Nova (a text family started in 2002). She also designed Disneybats, Ruraldings and Juca. Born in 1964, she has a doctorate in communication from the Pontifícia Universidade Católica de Sao Paulo and is affiliated with the foundry Tipos do acaso. Graphic designer as well as typography professor at PUC Sao Paulo. She is head of the design program at SENAC Sao Paulo, and professor at FAU, USP (University of Sao Paulo's School of Architecture and Urbanism). President of the Brazilian Information Design Society (SBDI). Editor of the book Fontes digitais brasileiras: de 1989 a 2001 (Sao Paulo: ADGBrasil/Rosari). Author of Tipografia digital: o impacto das novas tecnologias (2AB Editora, 1998). At ATypI 2009 in Mexico City, she spoke on Brazilian vernacular type design and digital technologies. Biography. Speaker at ATypI 2010 in Dublin. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Fraktur site run by Petra Heidorn and Dieter Steffmann (in German). Books on Fraktur. Tons of history. The fonts:
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Technical reports available from Project BibOpera, which is concerned with typesetting, document production, and typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jean-François Porchez's great on-line newspaper about type. Great web page. Full of information. A must! Lots of links to books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A PDF file of Typography for Mobile Phone Devices: The Design of the QUALCOMM Sans Font Family (2005, Jared Benson, Ken Olewiler, and Nancy Broden). It describes the cooperation between Punchcut and QUALCOMM to design a new sans font. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Quentin Margat
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Book links at Qwerty Arts. Site under reconstruction. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Raban Ruddigkeit
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Ralf Hermann
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Ralf Turtschi
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This book led to the development of various modern script typefaces, such as Alejandro Paul's Bellissima Script (2013). Ramon's influence can also be seen in Ramiro Espinoza's Medusa (2013). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type designer (b. 1957, Mosul, Iraq) who took part in the Linotype International Type design Contest in 2000 and lives in Germany, where he set up Markenbau in 2000. Author (with Roger Hübner) of Pictograms and Icons (2005, Herman Schmitz, Mainz) and Arabische Schriftkunst (1993, Hochschule der Künste Berlin). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author (b. 1915) of A Manual of Script Typefaces (New York, Hastings House, 1965: see cover page). For pictures from this book, and a listing of script faces, go here. Text with the full list of script faces mentioned by Hutchings. He also wrote A Manual of Decorated Typefaces (New York, Hastings House, 1965). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Discussions of books on the history of type. By David Wilson-Okamura. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch type designer. Jan Middendorp wrote A.R.K. Ten Years of Type Related Projects 1994-2004 (2004), summarizing Knip's work at Atelier René Knip, mostly experiments in type design. Knip (b. 1963) is a graduate from the St. Joost Academy in Breda. Since the 1990s, Knip has operated a design studio in Amsterdam, Atelier René Knip. Recently, Knip and his brother Edgar formed a new company, Gebroeders Knip, which produces furniture and accessories in which letterforms are integral parts of the objects design. One of his experiments, a unicase typeface with an Arab feel, was digitized by Nick Curtis as Turban Hey NF (2008). In October 2012, Knip and Hahn cofounded Arktype. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French type designer (b. 1917, d. 2003) whose faces Roncesvalles (FT Nacional, 1955) and Psitt (FT Française, 1953-1954) will soon be republished by Neufville. His fonts: Blason (1978), Continent (1959, Optype - Letterphot), Mopon (1965, Moreau - Lettrage Relief), Nil (1978), Psitt (1954, Fonderie Typographique Française), Castellane&Valensole (Fonderie typographique Française), Roncevalles (1955, Fundicíon Tipográfica Nacional), Solide (1958, Optype - Letterphot), Suresnes, Ulysse (1958, Optype - Letterphot), Uncialis (1950, Optype - Letterphot). A quote from him: "La typographie est un art précieux parce qu'elle forme le dernier revêtement de la pensée". Author of Louis Perrin et l'Énigme des Augustaux (Editions des Cendres, Paris, 1998). This book has a history of Perrin as a printer and typographer, with special attention to Perrin's Augustaux type. It contains two fold-out Augustaux type specimens and several examples of Perrin's printing in black-and-white, has a preface by Fernand Baudin, and is printed in Perrin type redesigned by L'Atelier National de Création Typographique in 1986. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British font software specialist and type designer. A graduate in natural sciences from Cambridge (1960), he joined Crosfield Electronics Ltd in London, where he was responsible for producing photomatrices for the Photon-Lumitype direct- photography photocomposing machines sold by Crosfields in Europe. From 1974 to 1983 he was a lecturer in the Department of Typography and Graphic Communication at the University of Reading. Between then and the end of the decade he worked in California and France, at Stanford University, Xerox Palo Alto Research Center and the Université Louis-Pasteur in Strasbourg. Since then he has been a consultant type designer with the American Mathematical Society, BT, the Civil Aviation Authority, National Air Traffic Services and US West Dex (now Qwest Dex). Author of Printer's Type in the Twentieth Century Manufacturing and Design Methods (British Library Publishing, 2005). Sumner Stone reviews this book. He also wrote Designing a new typeface with METAFONT (Springer Lecture Notes in Computer Science, vol. 236, pp. 161-179, 1986). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
London-based founding editor of Eye in 1990. Author of Typographica (2001, Princeton Architectural Press), described by the editor as follows: The magazine Typographica--brainchild of founder, editor, designer, and renowned typographer Herbert Spencer--had a brief life, a total of 32 issues published over nineteen years. But its influence stretched--and stretches--far beyond its modest distribution and print runs of the time. Indeed, for many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs and techniques not seen since. Remarkably, Spencer never intended to turn a profit, so no expenses were spared in the making of the magazine. Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter faces, street lettering, matches, and avant-garde poetry all found their way into the magazine. Rick Poynor, founding editor of Eye, recreates the excitement of Typographica in this carefully researched, accessibly written, and beautifully illustrated book that pays tribute to the man and the magazine that changed the course of graphic design. Author of Typography Now: the Next Wave (1991), and frequent invited speaker at meetings. His other books include The Graphic Edge, Design Without Boundaries, and Obey the Giant. At ATypI 2004 in Prague, he spoke about the crossroads of civilizations. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author with Philip B. Meggs and Ben Day of Typographic Design: Form and Communication (John Wiley, 2003). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A list, with prices and ordering information. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Rob Roy Kelly (b. Nebraska, 1925, d. Tempe, AZ, 2004) collected wood type from local printers for use by his students at the Minneapolis College of Art&Design. He began gathering the types in the late 1950s and continued adding to the collection over the next decade. He started researching the history, manufacture, and use of the growing collection partly in response to questions that arose from working with his students. His research was first published in the 1963 issue of Design Quarterly (No. 56), and was followed in 1964 by a limited-edition folio of specimen sheets from the collection, entitled American Wood Types 1828-1900, Volume One. Kelly's research would culminate with the publishing in 1969 of American Wood Type, 1828-1900: Notes on the Evolution of Decorated and Large Types and Comments on Related Trades of the Period. Since 1993, his substantive wood type collection now resides at the University of Texas. At Dover, he published 100 Wood Type Alphabets. Kelly's final work with the Collection came in the early 1990s when he was asked by Adobe Systems to participate in a project to develop digital revivals of historic wood types as part of the Adobe Originals program. As consultant to the project, Kelly helped select, from his own collected materials, the type styles that would be made into digital fonts. Kelly died in January 2004. Obituary, which states: He studied design at the University of Nebraska and the Minneapolis School of Art and served in the Army during the Korean War. Later he did graduate work at the School of Art and Architecture at Yale, where he studied with Josef Albers, Alvin Eisenman, Alvin Lustig, Herbert Matter, Leo Lionni, Lester Beall and Alexey Brodovitch. He both taught and administered graphic design programs at the Minneapolis College of Art, Kansas City Art Institute, Carnegie Mellon University, Western Michigan University and, most recently, at Arizona State University. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Rob is currently studying for his PhD in the Department of Typography&Graphic Communication at the University of Reading. At ATypI 2003 he spoke about Experiments in wood: early 19th Century wood-engraved lettering and wood types: "A brief introduction to the work of jobbing printers Frederick Gye and Giles Balne, innovative London based jobbing printers in the first half of the nineteenth century. Gye and Balne were printers for the State Lottery and Vauxhall Gardens, the former in particular being a driving force behind developments in advertising including new display types. The focus of the talk will be on the contribution made by Gye and Balne (and some of their rivals) to developments in type design in the form of wood-engraved letterforms and wood types which influenced the metal types produced by the type founders." Coauthor with Fiona Ross of Non-Latin Typefaces at St Bride Library, London and Department of Typography&Graphic Communication, University of Reading (2008, London: St Bride Library). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Polish type design pages by Robert Chwalowski. On-line type book on good and bad typography by Robert Chwalowski, in Polish. He is the author of Typografia typowej ksiazki (2001) (Typography of a typical book). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Robert Fauver
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Robert Lee
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He wrote Words at Play (with Matteo Bologna, Adobe, 2004), about which he says: This book showcases type portraits of well-known writers in a playful homage to the power of words and the beauty of typography. In 2010, he designed a PDF brochure for TDC in New York entitled How To Make Love To Your Type [and the typophiles as a group are a cranky bunch without a sense of humor]. Typographic picture by TDC, 2009. Another URL. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British typographer, editor and writer. After graduating from the Department of Typography, University of Reading, he wrote a thesis on Otto Neurath and Isotype in 1979. Author of Modern Typography (1992, here is the second edition) and Unjustified Texts (2002). He works for Hyphen Press. Interviewed by Andy Crewdson. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type personality, columnist at Adobe and Eyewire, and author of several books on typography, including A Blip in the Continuum (with John Tollett), How to Boss Your Fonts Around, The Non-Designer's Design Book (with Carole Quandt), The Non-Designer's Type Book (with Nancy Davis), and several Mac books. Alternate URL. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Famous French calligrapher who wrote "La civilisation de l'écriture" with Herman Grégoire (Fayard, 1976). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the books "Typographics 1" through "Typographics 4". [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Prolific author. With Sarah Rookledge, he wrote "Rookledge's International handbook of typedesigners: a biographical directory" (1991) and "Rookledge's International Directory of Type Designers" (1994). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German designer who made Wiesbaden Swing Dingbats and the neat handwriting Wiesbaden Swing in 1992. In 1993, she published Schreibschriften (Bruckmann, München), a collection of 500 calligraphic alphabets. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Examples of his Speedball Text Book alphabets: Speedball Title Display 1 (1927), SpeedballTitle Display 2 (1927), Easter Suggestion (1935), Speedball Title 1 (1938), Speedball Title 2 (1938), untitled lettering (1941), Poster Gothic 5 (1935), Postrie Caps (1938), Roman 2 (1935), Roman 3 (1935), Roman 4 (1935), Roman 7 (1935), Roman 7 (1938), Symphony 1 (1935), Symphony 1 (1952), Symphony 2 (1938), Symphony 2 (1948), Modern 1 (1938), Modern 2 (1941), Modern 2 (1948), Line Gothic (1938), Tri-Line Gothic (1956). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2011-2012, Dick Pape digitized all 32 fonts from that booklet. They can be downloaded here. Pape's 32 fonts are FAModerne0369, FAModerne0562a, FAModerne0562b, FAModerne0946aBold, FAModerne0946bBold, FAModerne1367a, FAModerne1367b, FAModerne2021a, FAModerne2021b, FAModerne2491a, FAModerne2491b, FAModerne2491c, FAModerne2491d, FAModerne4441, FAModerne5204, FAModerne5204a, FAModerne5204b, FAModerne5204c, FAModerne6183a, FAModerne6183b, FAModerne6518a, FAModerne6518b, FAModerne6518c, FAModerne6518d, FAModerne7287a, FAModerne7287b, FAModerne7666, FAModerne7798, FAModerne9002a, FAModerne9002b, FAModerne9321a, FAModerne9321b. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Scottish typographer and scholar, b. near Newton Stewart, Galloway, 1917, d. 2006. Author of "Jan Tschichold: Typographer" (1975). He wrote the classic "The Thames&Hudson Manual of Typography," originally published in 1980. He also wrote "True to Type: A Typographical Autobiography," published by Oak Knoll Press in the United States and Werner Shaw in the UK. McLean was raised in Oxford and spent most of his life in London. Obituary. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swiss type designer. Author of "The Printer's Terms", designed by Jan Tschichold. And of Technical Terms of the Printing Industry (5th edition was printed in 1995) and Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography, Epitaph für Rudolf Hostettler (St. Gallen: Typotron, 1993). Selected shots from his 1949 text. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Rudolf Koch
| Peter Bezdek writes about Rudolf Koch in Die deutsche Schrift in 1984, fifty years after Koch's death. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Spanish author of Arte de la escritura y de la caligrafía: teoría y práctica (1920, Madrid, Perlado, Páez y Compañía), a textbook into the art of calligraphy and writing. This book is available on-line. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Runic bibliography by Jan Axelson (Stockholm/Uppsala), James E. Knirk (Oslo) and Jonas Nordby (Oslo). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Anatomy of Lettering (1946, The Studio Publications, London). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
His typefaces include an organic sans and a tall didone. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Saki Mafundikwa
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New York-based letterer and type designer, b. 1906, Blue Point, NY. [Some sources have 1905]. He had a studio in New York City and was the author of several books on type and lettering. He died in 1967 in New York. His oeuvre includes
Author of these books: The ABC of our Alphabet (1942, London), The Script Letter: Its Form, Construction, and Application (1939, New York), How to render roman letter forms (1946, New York), Basic layout design; a pattern for understanding the basic motifs in design and how to apply them to graphic art problems (1950, New York), Script Lettering for Artist (1969, New York). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Sandra Chamaret (b. 1975) is co-principal of Sogral. Designer in 1997 of Mademoiselle Berthe, Bonne Fête Maman and of EnHaut-EnBas. In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem Morlighem wrote Roger Excoffon et la fonderie Olive. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Professor of the history of typography and type design at Ecole Estienne in Paris (since 1997) and, since 2009, at the Ecole supérieure d'art et de design d'Amiens. Born in 1971, he was trained at the same school by Franck Jalleau and Michel Derre in type design and calligraphy. At ATypI 2009 in Mexico City, he spoke on the contributions of José Mendoza to French typography. José (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions. In 2010, Sandra Chamaret, Julien Gineste and Sébastien Morlighem Morlighem wrote Roger Excoffon et la fonderie Olive. In 2012, he was a Ph.D. student at thE university of Reading and had as thesis topic 'The 'modern face' in France and England (1780-1830): typography as an ideal of progress. Morlighem lives in Paris. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Sean Cavanaugh
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Author (b. Cape May, USA, 1962) of Digital Type Design Guide (Hayden Books, ISBN 1-56830-190-1, 1995), which for 45 US dollars comes with a CD with 220 useful PostScript and TrueType fonts (not designed by Sean though). A second 260-font CD for 30USD. He runs The Fontsite, where you can download free versions of CombiNumerals 4.0 (circled numbers), ATF Antique (ATF Antique was first released by the Barnhardt Bros.&Spindler type foundry in 1842. It was designed for sign cutting, and saw much use throughout the latter 19th century. Its popularity led to its re-introduction by ATF in 1905 under the name Antique 1. It is the precursor to the typefaces Bookman and Rockwell.), Goudy Sans, US Flag Font, Mini 7 and Mini 7 Tight (pixel fonts). Earlier, there were also Dynamo and Rosie. Commercial faces of his include the CombiSymbols family. Free fonts at FontSite: Bergamo, CartoGothic, CombiNumerals. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The making of books, 5th edition, Faber&Faber, London 1973. On page 169, we find this quote: It does not require many fingers to count the number of great types in the history of printing. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British author of Twentieth-Century Type Designers (Trefoil, 1987; Lund Humphries Publishers, 1995). Owner of Rampant Lions Press. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch author of Hello Chinese (Acco). He has a sub-page on Chinese fonts, and lots of links related to Chinese input, and unicode fonts for Chinese. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Shinn Type
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Shinn Type fonts at MyFonts. Behance link. He is the designer of Fontesque (a wild family of curly glyphs), the monospaced font Monkey Mono, Artefact (1999), Beaufort (a sharply serifed family; in 2008, he published a 10-style extension called Beaufort Pro), Bodoni Egyptian (1999), Alphaville (2000, straight mono-width strokes), Brown, Brown Gothic, Duffy Script (2008, in 4 styles: an interpretation of the lettering of contemporary illustrator Amanda Duffy, aka Losergirl), Handsome (1999, cursive handwriting family, since 2005 available in OpenType), Merlin, Oneleigh (masterful!!), Paradigm (1995, updated in 2008, inspired by 15th century letterforms), Shinn, Walburn (1996) [note: Walburn and Brown were originally commissioned for the 2000 redesign of the Globe and Mail. Walburn is an adaptation of a didone typeface by Erich Walbaum, c.1800], Worldwide (1999). In 2001, he designed the Richler font in honour of the memory of Mordecai Richler. The Richler font was only available to the Giller Prize, Random House and the Richler family until its public release in May 2013 at MyFonts, where Richler (+Cyrillic, +Greek) is advertised as a 21st century antiqua book face. In 2002, he published Goodchild (a Jenson revival) and the liquid lettering family Morphica, exclusively at Veer. In 2003, he released the absolutely gorgeous "modern" sans Eunoia (which has a unicase weight), and the quirky sans family Preface (2003; Preface Thin is a hairline weight; Preface Light is free at FontShop). In 2003, he also published the mmonowidth unicase family Panoptica (2003), which includes styles called Regular, Sans, Egyptian, Doesburg and Octagonal, to name a few. In 2005, he created Nicholas, a serif family, which is the headline version of Goodchild. Additions in 2006 include Softmachine (VAG Rounded/comic book style family). Sexy type from Toronto is an article by Erin Kobayashi about Shinn's work published in the Toronto Star on April 15, 2007. Nick Shinn designed the type for the redesign of The Globe and Mail in April 2007: Globe and Mail Text [look at the f], Globe and Mail Sans (or GM Sans), Globe and Mail News (or GM News). In 2008, these faces went retail. One face is called Pratt, named after David Pratt, the design director at The Globe and Mail who commissioned the face for his redesign of the paper. The companion face will be called Pratt Sans. Additions in 2008: Figgins Sans (4 styles), Scotch Modern (a 5 style didone family that revives the typeface used in New York State Cabinet of Natural History), Scotch Micro. Paul Shaw writes: Scotch Roman, beloved by D.B. Updike and W.A. Dwiggins, was a standard in the typographic repertoire of pre-World War II printers but fell out of favor after the war, supplanted by Bodoni. Nick Shinn of Shinntype has made a bid to resurrect this oft-maligned face with Scotch Modern. Scotch Modern is not a revival of the familiar Scotch Roman of Linotype and Monotype, but of a more modern design attributed to George Bruce, the great 19th-century New York punchcutter. Shinn used a sample of the face from the New York State Cabinet of Natural History's 23rd Annual Report for the Year 1869 (printed in 1873) as a model. He drew it by eye, aided by a sharp loupe: no photographic enlargements, no scans, no tracing. The ends of the strokes are slightly rounded, to capture the effect of metal type being impressed into soft paper. Shinn contends that the 19th-century Scotch types were "eminently readable" and a factor in the rise of modern literacy. His rendition, an OpenType font, aims for readability in all situations with display, regular, and microtype versions. The display roman includes a unicase font-a nod to Bradbury Thompson's Alphabet 26 experiment-and the italic has elegant swash caps. Scotch Roman has never been a face for those seeking eternal beauty or anyone desperate for typographic kicks. Dwiggins gave it a 10 for legibility (where 10 was "reasonable human perfection") but only 4 for grace and 0 for novelty. Shinn's Scotch Modern, with its many OpenType extras, scores well on all three counts. It's a face for those who prefer a mature single malt: simple at first, but more complex as it is savored. Photograph. At ATypI 2008 in St. Petersburg, his talk was entitled Scotch Modern. Several catalogs have been published by Shinntype. Particularly noteworthy is The Modern Suite (2008, Nick Shinn, Coach House Press, Toronto), which showcases Figgins Sans and Scotch Modern. Sample of some Scotch Modern dingbats. Production in 2010: Sensibility (a humanist sans superfamily), Sense (a modernist sans superfamily), Bodoni Egyptian Pro (a monoline slab Bodoni experiment---the Pro version of a 1999 family by him). More images of sense and Sensibility: i, ii, iii, iv, v, vi, vii, viii. In 2011, he created Checker, an all caps 3d black and white-tiled typeface, and Parity (a roman unicase pair). Naiad (2013) is a didone, or neoclassical, typeface with Victorian curlicues thrown in to create a Victorian look. View Nick Shinn's typeface library. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
SIAS (or: Signographical Institute Andreas Stötzner)
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He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text face in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. Other fonts: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans). Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans face with 400 pictograms. Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements. In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accomapnying Arthur Ornaments. Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Madison, WI-based publishers of Specimen Book of Wood Type (1998), designed and printed by Rachel Davis, and of Specimen Book of Wood Type from the collection of the Silver Buckle Press. Introduction by Rob Roy Kelly. Foreword by Stephen O. Saxe (1999). In 1988, they published the calendar of ornamental material from the Silver Buckle Press (University of Wisconsin at Madison). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Silvia Sfligiotti
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Simon Garfield is a British journalist and non-fiction author. He was educated at the independent University College School in Hampstead, London, and the London School of Economics, where he was the Executive Editor of The Beaver. Author of Just My Type: A Book About Fonts (2011). Michael Bierut's comment: With wit, grace and intelligence, Simon Garfield tells the fascinating stories behind the letters that we encounter every day on our street corners, our bookstore shelves, and our computer screens. In Imprint, Paul Shaw tears the book apart however: But those who actually know something about type design and typography -- two related subjects that Garfield frequently mixes up -- will find it maddening. The factual mistakes are grounds for complaint, but on their own they are not enough to get upset about. Instead, it's Garfield's style that is the problem. Garfield flits about from one topic to the next like a nervous hummingbird, without settling long enough to give any a proper telling. On the other hand, Matthew Butterick recommends it for non-specialists: To me, any book that introduces readers to the pleasures of typography is a good book, and ultimately makes life better for every professional typographer and type designer. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Type: The Secret History of Letters (2004, I.B. Taurus, London, UK). See also Google books. Cover of that book. Anatomy of type drawing from that book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Sofie "Soffi" Beier graduated from Danmarks Designskole (The Danish School of Design) in 2000, and has since been working as a graphic designer, designing several Danish magazines, websites, books and CD covers along with a number of typefaces. She studied at the Royal College of Art in the UK, with a thesis entitled Legibility and Visual Compensation of Typefaces. Sofie works in London and Copenhagen. She teaches at Danmarks Designskole. MyFonts link. Speaker at ATypI 2011 in Reykjavik. Author of Reading Letters: Designing for Legibility (2012). Designer at Die Gestalten of Engel New Sans (2010), Pemba Script (2005, a connected 50s script), Engel (2005, 8-style sans family; Engel Light is free). In 2011, she created the round sans family Ovink which was loosely inspired by Knud V. Engelhardt's work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Named after legibility expert Gerrit Willem Ovink, the family was designed for legibility at great distances based on research published by Beier in Beier, S.&Larson, K. (2010): "Design Improvements for Frequently Misrecognized Letters", Information Design Journal, 18(2), 118-137. That same research was used in the calligraphic text face Spencer (2011), which was named after legibility expert Herbert Spencer. And to Pyke (2011), a variation (with optical scaling) on the didones, named after legibility researcher Richard Lionel Pyke. These are two phenomenal contributions to the field, sure to garner her a closetful of awards. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Solotype
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Robert Trogman writes: I know Dan X. Solo personally. He ran a typographic studio in Berkeley for over 30 years. He had a large collection of film fonts, including some of my own. He created thousands of fonts and is now retired and is an avocational prestigitator. Copyrights have run out on most of his fonts. He also protected himself by creating pseudonyms on the questionable font names. Stuart Sandler confirms that many of the fonts in Solo's Dover books are in fact from the Filmotype collection, which Stuart is digitizing right now. Gene Gable writes: Dan Solo of Solotype in Berkeley was experimenting with photo type as early as 1945 and started doing optical special effects in the early '60s. And a number of the larger display-type shops developed their own techniques. But in terms of opening up new markets for display type (and giving designers more control over type setting), Visual Graphics and Letraset lead the way. These companies were proud of, and promoted, the fact that that their products could be used by non-typesetters with little training. MyFonts sells these faces under the name Solotype (the company is in Alameda, CA): Acantha, Assay, Baraboo Banner, Beijing, Bindweed, Brevet (after a Victorian original by Ernst Laushke, 1887), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dime Museum, Dutch Treat, Egyptian Oldstyle, Excelsis, Extravaganza, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade, Rigney, Trixie, Valerie, Zorro. He writes about himself: Dan X. Solo The Solotype Archive was begun in 1942 when I was 14. I was a kid printer for several years before that. At 16, after a quick three months of training, I dropped out of school and went to work full time as a radio actor and announcer in San Francisco. (Easy to get jobs in those days, due to the war-induced manpower shortage.) In 1949 and 1950, I created a magic show which played West Coast theatres with some success. After that, back to broadcasting. By 1962, I was completely burned out on radio, so I decided to see if I could make a living with my collection of antique types, which numbered about a thousand fonts at that time. In 1962, I sent out 4,000 catalogs showing the type to ad agencies all over the U.S. The timing was perfect (no thanks to me) because there was developing at that time a renewed interest in the old types. Business took off immediately. The Solotype collection was one of four commercial collections at the time, but I seemed to have been more aggressive in marketing than the other chaps. (Well, Morgan Press certainly knew how to market.) Two years into the business, I began to collect alphabets on paper for conversion to photo lettering, which was just becoming mainstream in the type business. We closed the shop for a month every year and went on a type hunt, mostly in Europe where there didn't seem to be much competition among collectors. Other typographers couldn't understand how we could do this, but I believe it made people appreciate the resource we offered even more. Over the years, the collection became quite large. When I closed Solotype a couple of years ago, I got rid of about half the archive (because the fonts were dull, or already digitized, or for a variety of other reasons) leaving me with about 6,000 fonts on paper or film. In 1974, I began to supply Dover Publications with mechanicals for books of 100 alphabets on a particular theme. I did 30 of these books over the years, and 30 more of printers' ornaments, borders, and so forth. Sometime in the 1990s, Dover asked me to digitize books of 24 fonts each, to be sold with a disk in the back. I did 12 of these. The Dover relationship came to an end when Haywood Cirker, the owner and my special friend, died and the company was sold to another publisher. Dover felt that they had covered the type field thoroughly. Now in my old age, my wife and I have a mindreading act that is great fun and good for the ego. Even so, when not traveling, I digitize type for relaxation and enjoyment, but have made no effort to sell it. Until now. A list of some digitized fonts:
The Solotype Catalog is a file with information on Dan Solo's typefaces, annotated with remarks about name equivalences and digitizations. The original file was due to Thibaudeau, but typophiles on alt.binaries.fonts have added to it in 2010. PDF version. Excel version. Text version. Images of other selected typefaces: Agency Gothic, Alpha Midnight, Alpha Twilight, Anita Lightface (1977), Art Deco Display Alphabets, Ashley Crawford, Ashley Inline, Astur, Bamberg, Banco, Beans, Blackline, Bobo Bold, Braggadocio, Broadway Engraved, Busorama Bold, Busorama Light, Bust, Charger, Checkmate, Colonel Hoople, Corral, Dudley P Narrow, Dynamo, Earth, Eclipse, Empire, Ewie, Fat Cat, Fatso, Festival, Futura Black, Futura Inline, Gillies Gothic Bold, Greeting Monotone, Grooviest Gothic, Hess Neobold, Hotline, Huxley Vertical, Inkwell Black, Joanna Solotype, Joyce Black, Koloss, Lampoon, Mania, Mania Contour A, Mania Contour B, Margit, Mindy Highlight, Modernistic, Monograms Stencil, Mossman, Neon, Neuland (+Inline), Phosphor, Piccadilly, Pickfair, Polly, Prismania P, Quote, Rhythm Bold, Shady Deal, Sheet Steel, Sinaloa. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
In 2010-2012, Dick Pape created a number of (mostly caps-only) typefaces based on that book. These include SSWAntiquaPionsel, SSWAntiquaVersalien (a caps set based on Ludovico Vicentino, 1523), SSWCelticAntiquaOutline, SSWFederAntiqua, SSWHollowScript, SSWHolz (Lombardic caps), SSWJensonsAntiqua, SSWLeopoldAntiqua, SSWLombardischeVersalien, SSWMannheimOrnament, SSWPlakatschrift (a useful outline alphabet), SSWRoundPrinting, SSWRusticAlphabet, SSWRusticScript, SSWSchablonenschrift (Bauhaus-style stencil face), SSWUrbanAntiqua-Versal, SSWWoodcuts. | |||||||||||||||||||||||||||||||||||||||||||||||||||
Idaho-based author of
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Author of Printing Types&How to use them (1950, Carnegie Press, Pittsburgh). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Stanley Arthur Morison was an influential British designer and type designer (1889, Wanstead, Essex-1967, London), who spent most of his creative energy at Monotype between 1920 and 1950. Designer with Victor Lardent of Times New Roman (1932) while consultant for the London Times. He designed Blado MT at Monotype (1923) (a revival of characters drawn by Ludovico degli Arrighi). He is also credited with revivals of Baskerville, Bell, Garamond (1922) and Bembo (1929). Mac McGrew writes: Bembo was cut in 1929 by the English Monotype corporation under the direction of Stanley Morison, and shortly thereafter by Lanston Monotype in America. It derives from the first roman type used by Aldus Manutius in the dialogue De Aetna, by Pietro Bembo, printed in Venice in 1495. Punches were cut by Francesco Griffo of Bologna, the designer responsible four years later for the first italic types. This face is probably the most popular and successful of the numerous faces revived by Morison as typographic adviser to the English company. Morison attributed its success to the fact that "it was inspired not by writing but by engraving; not script but sculpture." The italic is adapted from a 1524 face of Giovanni Taglienti, and has a natural grace of its own. English Monotype also made Bembo Bold and Bembo Bold Italic. Bio at Britannica. Biography by Nicholas Fabian. He wrote Four Centuries of Fine Printing (1924, New York: Farrar, Strauss and Company), Type Designs of the Past and Present (1926, The Fleuron Limited, London: a highly recommended 70-page treatise on the history of type), and First Principles of Typography (1936). A Tally of Types was published by Cambridge University Press in 1973. A quote from First Principles of Typography: Type design moves at the pace of the most conservative reader. The good type-designer therefore realizes that, for a new fount to be successful, it has to be so good that only very few recognize its novelty. Linotype link. FontShop link. Wikipedia link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Danish architect and graphic designer (b. 1951) and senior lecturer at the Royal Academy of Fine Arts in Copenhagen. Steen Ejlers graduated from the Royal Danish Academy of Fine Arts, School of Architecture in 1975. He wrote several books including Claus Achton Friis - skrift&brugsgrafik (Arkitektens Forlag, 1996), and a book on Gunnar Biilmann Petersen, who was an eminent letter designer and the first design professor in Denmark. Alternate URL. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Typen machen Marken mächtig (1995, Impress Verlag), written with Albert-Jan Pool and Ursula Packh&aauml;user. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch type designer (1896-1944) at the Lettergieterij who co-designed Rondo with Dick Dooijes (published in 1948 after Schlesinger's death) and the Western slab serif font Hidalgo (1939, similar to Playbill and Figaro). He also designed Superba. He was working on the calligraphic script face Saranna (1941). As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type's take on Saranna) and Minuet (2007, Canada Type's version of Rondo). Malou Osendarp is also working on a revival of Saranna. Author of Voorbeelden van Moderne Opschriften voor Schilders en Tekenaars (NV Kosmos, Amsterdam). Cherries. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Schrift und Typografie. Die Sprache der klassischen Schriften (1999, Niggli). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Di un patetico saggio di caratteri tipografici (Firenze, Sansoni, 1960). I haven't seen that book yet, but with such an intriguing title, I will make it a must for my next trip to Harvard. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Stephen Coles
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Stephen was a Utah-based graphic designer who used to design layouts for the USLC Chronicle. A typeface identifier with an encyclopedic mind, he runs the successful and lively type blog Typographica with Joshua Lurie-Terrell, Matthew Bardram and Patric King. He was Type Director at FontShop San Francisco from 2004-2010. Stephen is now a writer and typographic consultant, doing work for a variety of foundries and design studios. Author of The Anatomy of Type: A Graphic Guide to 100 Typefaces (2012, Harper Design) and The Geometry of Type: The Anatomy of 100 Essential Typefaces (2013, Thames & Hudson, UK). Amazon link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Letterpress specialist. Author of a fine article in 1983 on wood type. Alastair M. Johnston and Stephen O. Saxe edited the book Nineteenth Century Designers and Engravers of Type (Oak Knoll), which republishes William E. Loy's entire series of articles about America's type designers that had appeared ca. 1896-1900 in The Inland Printer. [Review by James Puckett] [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Authors of the non-commercial font specimen book Free Fonts Freeware&Shareware Font Directory (Début Publications, 2006). TRhe web page compares several handwriting fonts. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Prolific author, art director of the New York Times Book Review and founder and coChair of the School of Visual Arts, New York MFA/Design Program. He is the former editor of the AIGA Journal of Graphic Design and author or editor of over 80 books on popular culture, graphic design history, and political art. He has written over 80 books on popular culture, graphic design history, and political art. MyFonts page on him. Editor of The Education of a Typographer (2004, Allsworth Press). Some of his books closest to type design and typography:
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Studies in Pen Art
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Additional link. Another PDF file. Examples of Dennis's hand: a bird (1896), his signature (1896), Austin N. Palmer's name handprinted (1896). [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Italian antiquarian type bookseller run by sara Bassi in Mantova, Italy. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Massive, two-volume atlas of Finnish typography edited by Anna Perälä, published at Helsinki: Helsingin yliopiston kirjasto, 2000. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
On-line bookstore specializing in typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Talbot Baines Reed (1852-1893) was an English writer of boys' fiction who established a genre of school stories that endured into the second half of the 20th century. Among his best-known work is The Fifth Form at St. Dominic's. He was a regular and prolific contributor to The Boy's Own Paper (B.O.P.), in which most of his fiction first appeared. Through his family's business [his father was Sir Charles Reed], Reed became a prominent typefounder, and wrote the celebrated text A History of the Old English Letter Foundries (Faber and Faber Limited, London, 1887). From Wikipedia: Reed's father, Charles Reed, was a successful London printer who later became a Member of Parliament (MP). Talbot attended the City of London School before leaving at 17 to join the family business at the Fann Street type foundry. His literary career began in 1879, when the B.O.P. was launched. The family were staunchly Christian, pillars of the Congregational Church, and were heavily involved in charitable works. However, Reed did not use his writing as a vehicle for moralising, and was dismissive of those early school story writers, such as Dean Farrar, who did. Reed's affinity with boys, his instinctive understanding of their standpoint in life and his gift for creating believable characters, ensured that his popularity survived through several generations. He was widely imitated by other writers in the school story genre. In 1881, following the death of his father, Reed became head of the Fann Street foundry. By then he had begun his monumental Letter Foundries history which, published in 1887, was hailed as the standard work on the subject. Along with his B.O.P. obligations Reed wrote regular articles and book reviews for his cousin Edward Baines's newspaper, the Leeds Mercury. He was busy elsewhere, as a co-founder and first honorary secretary of the Bibliographical Society, as a deacon in his local church, and as a trustee for his family's charities. All this activity may have undermined his health; after struggling with illness for most of 1893, Reed died in November that year, at the age of 41. Early in his career he met the leading printer and bibliographer of the day, William Blades, from whom he acquired a lasting fascination with the printing and typefounding crafts. While still relatively inexperienced, Reed was asked by Blades to help organise a major exhibition to mark the 400th anniversary of William Caxton's printing of The Game and Playe of the Chesse. This was thought to be the first book printed in England, and the exhibition was originally planned for 1874. However, Blades's research proved that Caxton's first printing in England had in fact been in 1477, of a different book, so the quatercentenary celebrations were rescheduled accordingly. The exhibition was held during the summer of 1877, at South Kensington, and was opened by William Gladstone, the former and future prime minister. It included displays of Caxton's printed works, together with many examples of printing through the intervening years. Reed's main contribution was to the exhibition's catalogue, for which he wrote an essay entitled "The Rise and Progress of Typography and Type-Founding in England". The exhibition was supported by leading London printers, publishers, booksellers, antiquarians and scholars, and attracted wide public interest. Sir Charles Reed, who had been knighted on Gladstone's recommendation in 1874, died in 1881. A few months later, Talbot's elder brother Andrew retired from the business because of ill health. As a result, at the age of 29, Talbot became the sole managing director of the Fann Street business, a position he held until his death. This was, however, by no means Reed's sole activity in connection with the trade. In 1878, in response to a suggestion from Blades, he had begun work on a general history of typefounding in England, a task which occupied him intermittently for ten years. Published by Elliot Stock in 1887 under the title of History of the Old English Letter Foundries, the book became the standard text on the subject. Its 21 chapters are illustrated throughout with examples of typefaces and symbols used for four centuries. The text is presented in modern style, but with the initial letter of each chapter ornately drawn from a 1544 pattern. Also in 1887 Reed produced a revised and enlarged specimen book for the Fann Street foundry, with many new typeface designs and artistic ornamentations. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Belgian printing house which has launched a typographic series called t. The first book in this series is "Femmes&métiers du Livre" (Jef Tombeur, 2004). It also offers "Typographique tombeau de Jean-Pierre Lacroux", which is a joint effort of people like Éric Angelini, Thierry Bouche, Jef Tombeur and Alain Hurtig. Located in Soignies, the house is managed by Michel Bourdain. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type persona, who used to work at Garage Fonts/Phil's Fonts, and then at Fontshop (until 2005). Coeditor with Richard Kegler and James Grieshaber of Indie Fonts (2002) and Indie Fonts 3 (2007). Coauthor with James Grieshaber of Font: Classic Typefaces for Contemporary Graphic Design. Involved in Typelife. MyFonts page. Presently Executive Director, SOTA (Society of Type Afficionados) and TypeCon. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Teal Triggs is director of postgraduate studies, faculty of art, design and music, Kingston University, London. She has written on graphic design, typography, and feminism. Her books include Type Design: Radical Innovations and Experimentation, and The Typographic Experiment: Radical Innovation in Contemporary Type Design (Thames&Hudson, 2003). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Best Type Book with No Typesetting
| Gene Gable scanned many pages of Studio Handbook Letter&Design for Artists and Advertisers (1927, Samuel Welo). This book has 233 pages and is entirely hand-lettered! [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Pick up out-of-print second hand type books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Book of Hebrew Script
| Ada Yardeni is the author of The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy and Design, 1997. 364pp. He also designs fonts at Masterfont in Israel. MyFonts link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
On-line version of the 1918 book by William Strunk, Jr. (1869-1946), entitled "The Elements of Style" (W.P. Humphrey, Ithaca, NY, 1918), reprinted by Batleby.com, New York, 1999. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Famous 1953 book W. Pincus Jaspert, W. Turner Berry, and A.F. Johnson, published in 1953 by Blandford, but now reissued in paperback (2001) by Cassell Illustrated in the UK (part of the Octopus Publishing Group) and/or Sterling in the USA. It gives samples and histories of almost 2000 fonts. Its digital successor is going to be "The Encyclopaedia of Fonts", to be compiled by Headley, and scheduled for March 2005. Fifth Edition of The Encyclopaedia of Type Faces. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Evolution of Type
| History of type. Type glossary. Links. Site maintained by Michael Brandt and Oriana Anholt of mediumbold. Old URL. Micael Brandt is also the author of The Evolution of Type. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
The Fell type collection was a gift made to Oxford University by a bishop of Oxford, Dr. John Fell, in the late seventeenth century. He bought punches and matrices in Holland and Germany in 1670 and 1672 and entrusted his personal punchcutter, Peter de Walpergen, with the cut of the larger bodies. Bibliography compiled by Igino Marini, who revived some Fell types in 2004:
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Great book by Ed Cleary, Jürgen Siebert and Erik Spiekermann, published by FontShop International in 1995 and 1998. Over 25,000 type samples. A second volume appeared in 2003. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Icelandic Method
| A free instruction booklet by Gunnlaugur S.E. Briem written in 1985, and concerned with handwriting education for Icelandic children. Nan Jay Barchowsky, who published it in her series called Cursive Italic News says: The Ministry of Education in Iceland is introducing italic handwriting in schools. That is the result of pressure from teachers who were dissatisfied with the style they had, a copperplate-based business hand. A group of Icelandic teachers who are interested in experimental teaching of italic formed a working party last year, They were interested in the method and asked Briem to put together instructions that could be used with children by teachers who had little or no experience with italic. The members of the working party initially paid for the printing out of their own pockets. Dr. Gunnlaugur S.E. Briem donated his work. The scheme has been very well received. Letters of support have come in from handwriting experts in many parts of the world, Education authorities in other countries have suggested collaboration. The PDF showcases three font families by Briem himself, Italiuskrift05 (his casual handwriting for instructions, dated 1985), BriemAnvil06 (serif family) and BriemAnvilSans07 (sans family). [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
A book published in 1977 that paints a full picture of Russian typography at that time. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
This manual by William Dana Orcutt and Edward E. Bartlett, dated 1923, and published by the Mergenthaler Company in Brookly, NY, is available for free download. The quality of the scanning is relatively poor though. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jan Tschichold's book, "The New Typography: a handbook for modern designers" (University of California Press), was translated by Ruari McLean. Other books dealing with Tschichold: "Modern Typography: an essay in critical history" (Robin Kinross, Hyphen Press) and "Jan Tschichold: Typographer" (Ruari McLean, David R. Godine, Publisher, Inc.). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Free book on the web, by Theodore Low Devinne (1902). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Located at the University of Wisconsin, this site offers some copies of old type specimen books for viewing. There are neither PDF downloads nor high resolution scans, but one can get a feel of the contents. The list (as of early 2012) is below:
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Discussions of a few type books by Paula Katherine Marmor. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Type Studio
| Author of Type Rules!: The Designer's Guide to Professional Typography (2010, Ilene Strivzer Inc). Ilene Strivzer (b. 1953), the founder of The Type Studio in Westport, CT, writes: The Type Studio is a unique and innovative studio specializing in all aspects of typography and visual communications. Our services range from the technical to the aesthetic, and include font development, type direction and consulting, type-oriented graphic design, copy writing, workshops and seminars. She wrote this article as an advertisement for OpenType (read: make people pay once again for fonts they already have). She was production director of Upper and Lower Case Magazine and director of type production at ITC in New York City, where she developed more than 300 text and display faces in cooperation with Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, Phill Grimshaw and others. She organizes Gourmet Typography workshops. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
The Typographic Desk Reference
| The Typographic Desk Reference (Oak Knoll Press, New Castle, DE, 2009) is Theodore Rosendorf's useful reference guide of typographic terms and type classification. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Theodore Rosendorf
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Theodore Rosendorf
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Author of Typographia: an historical sketch of the origin and progress of the art of printing (1825), a book that was entirely scanned by Google Books. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Scientific lettering expert, 1871-1944. The Essentials of Lettering (1912, McGraw-Hill, New York), coauthered with Robert Meiklejohn, has many historical examples and takes the reader on a grand tour of lettering. The tease. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Lettering (1916, The Prang Company, New York). He was at the Carnegie Institute of Technology, Pittsburgh. PDF file. Digital remakes include Wood Stevens (2012, Intellecta). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Three chapters in the development of Clarendon---Ionic typefaces
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Author of A betü, in two volumes, Akadémiai Kiadó, Budapest, 1965-1966, a nice snapshot (in Hungarian) of the state of the typographic art at that point of the 20th century. Full title: A betü: a betutörténet és a korszeru betumuvészet rövid áttekintése. He also published A tipográfia nyelve. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Now also Tiffany Wardle de Sousa. She obtained a Bachelors of Fine Arts with an emphasis in Graphic Design from Brigham Young University, she worked in magazine design in New York City, and returned to her native Utah to teach as an adjunct professor in Graphic Design at BYU. She was a Pleasant Grove, UT-based librarian and designer. At Reading, she pocketed a Master of Arts in the Theory and History of Typography and Graphic Communication. She created VolkSans, a Bauhaus-style rounded font not available for public consumption. She also made the gorgeous font Affiché (2002), inspired by turn-of-the-century posters of Charles Loupot. She manages a great web page on type books and is involved in many typographic projects: Interrobang (A SOTA Publication), Indie Fonts III (a type book), TypeCulture (another type book), the Society of Typographic Aficionados (as a board member), the Association Typographique Internationale, Typophile (as a moderator). Presently, she is based in San Jose, CA. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Tim Ahrens
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Swedish painter, poet, scholar, publisher, typographer and type designer (b. Stockholm, 1884, d. Stockholm, 1949) who designed fonts at Klingspor such as Kumlien (1943), Kumlien Bold and Kumlien Antiqua. 
German type designer, typographer, calligrapher, author and educator, b. Stuttgart (1918), d. 1995. He was art director at the Dresden type foundry VEB Typoart from 1964 until 1977. He founded and led the Institut für Buchgestaltung at the Hochschule für Grafik und Buchkunst at Leipzig from 1956 until 1978. 
Italian designer, 1920-1995, who designed most of his faces at Nebiolo in Turin. Until 1975, he made about 30 families at Nebiolo, and after 1975, he produced about 70 further families of fonts. With weights included, he created about 300 fonts. 
Chilean illustrator and designer from the art nouveau era, 1865-1912. Check 
Graduate of Moscow University of Printing Arts in 2006 where she studied under Alexander Tarbeev. She teaches type design and typography there. In 2007, her book for Russian students on typography was published (English title: Alive Typography). She received many awards for her work and is a frequent speaker at type design conferences. 
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Born in Barcelona in 1962, 
Anthony hails from Northern New Jersey and studied design at the School of Visual Arts in New York, where he earned an MFA in 2001. He has worked as a designer in New York (where he currently lives), San Francisco and Miami. Author of 
Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. [
German type designer (b. Offenbach, 1905, d. London 1989), who studied under Rudolf Koch from 1924-27 at the Kunstgewerbeschule in Offenbach. He emigrated to England in 1935 because of his Jewish background. Wolpe taught at the Camberwell College of Art (1948-53), at the Royal College of Art in London (1956-75) and at the City&Guilds of London School of Art (from 1975 onwards). From 1941-1978, he worked as a book designer for Faber&Faber in London, designing over 1500 book jackets. He published Schriftvorlagen (Kassel 1934), Marken und Schmuckstücke (Frankfurt am Main, 1937), A Book of Fanfare Ornaments (London, 1939), Renaissance Handwriting (with A. Fairbanks, London 1959), and Architectural Alphabet. J. D. Steingruber (London, 1972). Designer of 
Bram de Does is a type designer born in Amsterdam in 1934. At Enschedé, which he joined in 1958, he designed 
Cade Type Foundry is the private foundry of Philip Cade. He cut his first (metal) typeface in 1972. Cade published a 
C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. 
In 1981, Carol Belanger Grafton published 
American designer, famous for his scripts, active in the 1940s. Modern revivals of his scripts include 
Famous American teacher of penmanship. Author of 
Author (b. 1938) of Kalligraphie. Die Kunst des schönen Schreibens (1986-1989, with Christian Scheffler). In that book, she drew several alphabets, including an 
A select dynamic group of type design specialists in Mexico, est. 2007. Their goals are to educate, research and publish. For example, in 2009, they published Jan van Krimpen Modernidad y Tradición, with text provided by Jan Middendorp. Their grandest project to date is the research on book cover designer Boudewijn Ietswaart, which led them to develop the 
Prolific author, b. 1899. His books include the typographically magnificent Handbook of Early Advertising Art, Mainly from American Sources (Dover, 2 volumes). The typeface Lexington is attributed to him, as Mac McGraw writes: Lexington is a font of shaded and decorated letters and figures, drawn for ATF by Wadsworth A. Parker in 1926, from a design by Clarence P. Hornung. It is an ornamental form of roman letter, with curly serifs, and tendrils at the ends of light strokes. It was recast in 1954, and copied in one size by Los Angeles Type. 
French type designer (b. 1948) who was born in the South of France. He studied typography, calligraphy and painting at the School of Fine Arts in Toulouse. He received the Prix Charles Peignot in 1982. In 1992, the President of France invited him to design the inscriptions for the royal tombs in the Basilique Saint Denis in Paris. He published 
Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles. 
Dutch letterer and calligrapher, 1568-1634 (or 1635). He published the calligraphic masterpiece 
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The Curwen Press founded in 1863 by the Reverend John Curwen concentrated on printing music for the tonic sol-fa method, but when his grandson Harold (d. 1955) joined in 1908, he broadened their output to include limited edition books of high quality. It published a nice 
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. 
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Dan Solo's books contain a series called "Ready-to-use...". These are not included in the chronological list given here. 
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British lettering artist who designed 
English stonecutter (b. Codicote, 1915; d. Cambridge, 1995). An ex-apprentice of Eric Gill, he set up his own shop in Cambridge in 1939. His carved plaques and inscriptions in stone and slate can be seen on many churches and public buildings in the United Kingdom. He and his third wife Lida Lopes Cardozo, also a stonecutter, designed the main gates of the British Library. 
Authors in 1751 of 
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Bios of the main members of the Didot family: François Didot (1689-1757), François-Ambroise Didot (1730-1804), his son, Pierre-François Didot (1731-1795), the second son, Pierre Didot (1761-1853), the oldest son of François-Ambroise, and 
Author (1888-1944) of over 400 books on printing and typography. His life story is told by Scott Bruntjen and Melissa L. Young in 
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Graphic designer, typographer, type designer, author, teacher and lecturer, born in 1926 in Holliday, TX. He died on February 28, 2011 due to complications following a recent heart operation. 
Publishers of a paperback of type specimen in 1931 called Specime Book Type Rules and Borders. Pictures 
French foundry, est. 2011 by Damien Gautier and Quentin Margat, and located in Villeurbanne. Their fonts: 
New Yorker, b. Bethlehem, PA, 1905. In 1936, 
Edward Tufte has written seven successful books, including Visual Explanations (1997), Envisioning Information, The Visual Display of Quantitative Information, and Data Analysis for Politics and Policy. He writes, designs, and self-publishes his books on information design. He is Professor Emeritus at Yale University, where he taught courses in statistical evidence, information design, and interface design. His current work includes digital video, sculpture, printmaking, and a new book, Beautiful Evidence. 
Flashfonts is 
Foundry in Brussels, which published a specimen book entitled 
François Chastanet (b. 1975, Bordeaux) is an architect and a graphic designer in Toulouse, France. He specializes in signage systems for transportation networks. Graduate of the École d'Architecture et de Paysage de Bordeaux, he pursued research in 2001 at the Atelier National de Recherche Typographique in Nancy, and completed a DEA in architectural&urban history at the École d'Architecture de Paris-Belleville in 2002. He currently teaches graphic design and typography at the École Supérieure des Beaux-arts de Toulouse. At ATypI 2006 in Lisbon, he spoke on Pixaçao letterforms, the shantytown graffiti letterforms found in the 1990s in Sao Paulo. In 2009, he and Alejandro Lo Celso cooperated with two students, Laure Afchain and Géraud Soulhiol, on an identity type for the city of Toulouse called 
Graphic designer from IPEVE, Universidad Diego Portales, Chile. He teaches typography at Universidad Católica de Chile and Diego Portales University. He was a design consultant for Santiago de Chile public transport's information system (2003-2006) and author of the book Educación tipográfica, una introducción a la tipografía (published in Chile in 2004 and Argentina in 2005). He made his mark in the type design world in 2002 when his lively modern typeface 
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Born in Wells, Minnesota as Arthur Frederick Ward, 1894, d. New York, 1939. He enlisted in the United States Army in 1915 and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918. On demobilisation he worked as a book editor for Macmillan&Co before undergoing training on the Monotype machine, after which he worked for the printers Edwin Rudge. He had met Beatrice Becker in 1919 and they married in December 1922. Warde was Printer for Princeton University (1922-1924). The couple moved to England in late 1924 for Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The marriage did not last; they separated in 1926, and quickly divorced, though the break-up was an amicable one. Afterward Warde lived in France and Italy, where he became involved in Giovanni Mardersteig's Officina Bodoni. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press. He had his name changed several times, first his last name to Warde, and then his first name first to Frederique and then to Frederic. Warde returned to America permanently and he worked again for Edwin Rudge from 1927 to 1932, and also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939. His typographic work: Based on the fifteenth century letters of Nicolas Jenson, Centaur (originally called Arrighi) was first designed 
Author, artist, photographer and wood engraver, b. Sandhurst, 1814, d. London, 1862. He published 
Penmanship book written in New York in 1867 by D. Williams and S.S. Packard. It has a few blackletter and other alphabets, and many freehand drawings of birds and animals. Selected alphabets: 
UK engraver and penman, 1684-1769, who wrote the manual 
Designer (b. 1931) at The Enschedé Font Foundry, who lives in Rotterdam. From 1960-1990 he taught writing and type design at the Royal Academy of Art in The Hague. One of his many students there was Lucas de Groot. His intellectual influence is matched by by his physical heritage, in the form of two talented sons in the field of type design, Christoph and Peter Matthias. 
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New Jersey-based author of 
Briem is a fantastic Icelandic calligrapher and type designer! Some of his work may be viewed at 
Coauthor with Paul Carlyle of 
In 2009, 
British typefounder from the famous Caslon family. Author of 
The prolific master designer (born in Nuremberg, 1918, lives in Darmstadt), who made many Antiqua faces and Grotesk faces at URW++ (such as URW Grotesk) and is best known for Palatino, Optima, Melior, Zapf Dingbats, and ITC Zapf Chancery. From 1990 dates 
Calligrapher (b. 1935, Reichenberg) and professor of calligraphy and writing at HGB Leipzig. 
Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of 
H.W. Caslon&Co Ltd was Justin Howes' foundry based in Rushden, UK, with one product, 
Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include 
New York City-based type and brand designer, who has a BFA (2008-2011) from California State University at Long Beach, and used to work in Los Angeles. He studied typeface design at The Cooper Union for the Advancement of Science and Art in 2011. 
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Daughter of Saul Bass. Author with Pat Kirkham of 
German type designer, b. 1750, Berlin, d. 1804, Berlin. He had a press in Berlin, which he founded in 1780. His foundry started in 1791. He made 
Author of Vorschrift Deutsch-Lateinisch und Franczösischer Schriften Geschrieben (Stuttgart, 1719, later edition in 1739). It has several calligraphic alphabets, and many elaborate initial caps: 
German writing master, 1497-1563, who founded his writing school in Nürnberg, and printed his first plates ca. 1519. These prints eventually became the foundation for a new kind of writing education throughout Europe. His writing manual and teachings helped further the development of blackletter. Some of his methods are still alive in contemporary type design. 
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Author of Modern Show Card Writing (1922, National Drug Clerk). One Victorian alphabet served as a model for Nick Curtis's 
Just Another Foundry was established in 2005 by 
Authors in Pittsfield, MA, of 
Born in Eichmedien, Masuren, East Prussia in 1922, 
Full e-text of the first book on writing, La Operina (Ludovico Vicentino degli Arrighi, 1522), a 32-page book about Arrighi's calligraphic lettering. Comments by G. Briem. Briem writes: The author was a copyist, papal scribe, publisher and type designer. He called himself Ludovico Vicentino, and wrote the name eight times into his short text. Yet we know him as Arrighi, a name that appears nowhere in the book. Operina shows great handwriting on every page. It is more than a set of model sheets, however. It describes Arrighi's underlying forms and two basic entry movements. It covers the spacing of lines, words and letters. It deals with slant and joins. Operina is a slim volume of 32 pages. It teaches italic handwriting and is still essential reading. Each page was printed from a separate woodcut by Ugo da Carpi, who is best known as a master of chiaroscuro engraving. 
Designer (b. Barcelona, 1968) at 
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Lettering artist and author, 1845-1910. His books include 
This jewel of a book was published in 1550 by Antonio Blado asolano in Rome. It is now available on the web and contains of complete alphabets, from chancery scripts, to blackletter and roman. There are also Greek, Hebrew, Cyrillic, Syrian, Arabic and other alphabets. 
A type specimen book of the Ludlow Typograph Company (2032 Clybourn Avenue, Chicago), published between 1940 and 1958. The list of typefaces shown: 
Influential Italian printer, writing master and calligrapher, b. ca. 1475-1480, d. 1527, aka Ludovico Vicentino (degli Arrighi), or Ludovico il Vicentino. Around 1510 he was a bookseller in Rome. He was employed as a scribe at the Apostolic Chancery in 1515. Author in 
Author of 
Dutch type designer born in 1960. 
Scans of an 8-page booklet by Douglas C. McMurtrie published in Chicago in 1936: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie. McGraw writes about 
Author, ca. 1945, of Rotulacion Decorativa no. 1 (Ediciones ARS, Barcelona) and 
Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes, typophile extraordinaire. It is promised to have plenty of material for the typophile. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000). 
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NOW Type is 
Ulm-born designer (1922-1991) at Agfa-Monotype of the 
OurType is Fred Smeijers' web site and foundry established in 2002. The venture was started in cooperation with Rudy Geerarts of FontShop Benelux, and today also includes Corina Cotorobai. He is the Dutch designer (b. 1961) of many seminal type designs. Here is a list. 
French author of Recueil Méthodique de Principes d' Ecriture (ca. 1920, Limoges). Samples: 
Typefounders and printing press in San Francisco. The Miller&Richard Type Foundry of Scotland opened a branch in San Francisco in 1878, headed by John J. Palmer. This branch was sold to Palmer and Valentine J. A. Rey in 1882. In 1884, Palmer&Rey acquired the assets of the Pacific Type Foundry. The company then merged into American Type Founders in 1892. They published 
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Coauthor with Guy Oring of "Letters and Lettering" (1938). This book was a big source of inspiration for Nick Curtis. For example, he created the typeface 
Portuguese author of Tipografia: origens, formas e uso das letras (2006, 
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Graduate from the University of Reading, 2006, who started out life in Barcelona, and works there. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Coauthor, with Marta Serrats, of 
Penmanship book by the Austin N. Palmer Company in Cedar Rapids, IA, probably published in 1896, and edited by Austin N. Palmer. It contains numerous handdrawn alphabets. Contributors include F.A. Curtis of Hartford, CT (
Annual prize for the best typography in a Belgian book. Named after Fernand Baudin. [
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Author of 
Spanish author of the calligraphy and penmanship book Bellezas de Caligrafia (1844, Joaquin Verdaguer, Barcelona). Stirling was active in Barcelona. 
Author of 
Brazilian graphic and type designer. Bembo's Zoo is Roberto de Vicq de Cumptich's children's book with all drawings integrated with glyphs from Bembo. He also published 
Inventor of the speedball pen. Lettering artist from Seattle, influenced by W.H. Gordon. His alphabets appeared in the Speedball Lettering catalogues, published from 1935-1948. The 
This page has a number of scans from a booklet by signpainter Roumond entitled 32 Alphabets Modernes, published in Paris by A. Charayron and Léon Duran, some time in the 1930s. There are lots of alphabets with art nouveau and art deco influences. 
Noted Turkish graphic and type designer. Author of Baslangicindan Bugune Turk Grafik Sanati/Turkish Graphics from the Beginning till Today (Cevre-Mimarlik ve Gorsel Sanatlar Magazine, 1979-80) and Turk Grafik Sanatinin Dunu, Bugunu/The Yesterday, Today of Turkish Graphic Arts (Cumhuriyet Donemi Turkiye Encyclopedia, 1984, vol 3). 
Samuel Welo was an American advertising calligrapher, typographer, designer and lettering artist whose work appeared in the 1920s. 
Nick Shinn (b. London, 1952) is an art director and type designer. He teaches at York University in Toronto, and is a founding member of the Type Club of Toronto. He writes regularly for Graphic Exchange magazine, and has contributed to Applied Arts, Marketing, Design, and Druk. He founded Shinn Type in 1999, and made fifteen type families. 
Dover Press sells Oakland's 
Author of Von der Schrift und den Schriftarten (Reinhard Welz Vermittler Verlag, Mannheim). These have a history of type and lettering, instructions on lettering (e.g., 
Aka Stewf. Creator of the Mac version of "Monica", Andy Crewdson's digitization of Monica Lewinsky's handwriting (in notes she wrote for Bill Clinton). He also made 
Early 20th century designer of letters, such as 
Essay by Mitja Miklavčič on the history of Clarendon and Ionic, written at the University of Reading in 2006. Figures/scans by him: 
![ample, and one more, and still more, and a final one for the road. [Google] [More] ⦿](JohannJacobLosenawer-1719c.jpg){kind=link}
