TYPE DESIGN INFORMATION PAGE last updated on Thu Mar 23 11:25:52 EDT 2023
FONT RECOGNITION VIA FONT MOOSE
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Books on type design | ||
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101 Editions
| Founded by Carolina de Bartolo, 101 Editions is the San Anselmo, CA-based publisher of the book Explorations in Typography: Mastering the Art of Fine Typesetting and its iOS companion app. 101 Editions also offers full-service creative direction for a wide range of visual communications. It specializes in contract publishing, typographic consulting and custom typefaces. 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. 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 typefaces (many from the FontFont library), the aggregate effect is an ersatz type catalog as well as an extensive resource of typesetting ideas. Her typefaces include Txt101 (2014: a fresh typeface for mock text and borders, designed in collaboration with Chiharu Tanaka at Psy/Ops). Carolina graduated from the School of Design at Carnegie Mellon University. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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A Primer on Bezier Curves
| A fantastic on-lie book on Bezier curves, by Mike "Pomax" Kamermans. See also this repository. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
A Primer on Bezier Curves
| A Primer on Bezier Curves is an on-line book on Bezier curves by Pomax (Vancouver Island, Canada). [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
William Caslon's specimen book published by C. Whittingham, London, in 1795. Local download. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A specimen of printing types by William Caslon, Letter founder to the King, London, | A specimen book published by C. Whittingham, London, in 1798. By William Caslon (1754-1833). Local download. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
A specimen of printing types by William Caslon, Letter founder to the King, London, | A specimen book published by C. Whittingham, London, in 1796. By William Caslon (1754-1833). Local download. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
A book published by Oxford University Press in 1794. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A 3d type book by Marion Bataille, Roaring Brook Press, 2008. Video. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Excellent source for finding old books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Israeli graphic designer who specilaizes in book design and book covers. Art Director at Modan Publishing House, and Senior lecturer at Wizo Academic Institute in Haifa. Speaker at ATypI 2016 in Warsaw on From forgotten boxes to Three Pioneers of Hebrew Typography, Moshe Spitzer, Franciscka Baruch and Henri Friedlander, who trained and worked in Germany during the 20s, and since the late 30s took major part in the developing Hebrew culture in Israel, each seeking in his or her special way a "new Hebrew type". Ada Wardi edited The Graphic Design of Moshe Spitzer, Franzisca Baruch, and Henri Friedlaender: New Types Three Pioneers of Hebrew Graphic Design (2015, The Israel Museum, Jerusalem). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Ada Yardeny (or Yardeni) received her Ph.D. in ancient Semitic languages, paleography and epigraphy from the Hebrew University of Jerusalem. She wrote The Book of Hebrew Script: History, Palaeography, Script Styles, Calligraphy and Design, 1997. 364pp. The second printing in 2002 was done by Oak Knoll Press. At Masterfont, she published the Hebrew typefaces Academia MF, Ada MF, Daphna MF, Hagit MF (2020) and Rephael MF. Letter Arts link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link). Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne. Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces. View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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) is director of the Zimbabwe Institute of Vigital Arts (ZIVA). Author of Afrikan Alphabets, the story of writing in Afrika (Mark Batty Publ., 2003). In this book, he covers all south of the Sahara, and divides things as follows: | ||||||||||||||||||||||||||||||||||||||||||||||||||
Agata Szydlowska (b. 1983, Poland) obtained her PhD in Anthropology from the University of Warsaw. She also holds an MA degree in Art History from the same University. She has completed her studies at the Graduate School for Social Research at the Polish Academy of Sciences. Currently she works as a lecturer at the Department of Design History and Theory in the Design Faculty of the Warsaw Academy of Fine Arts. She also lectures at the Polish-Japanese Institute of Information Technology. In 2015, she co-authored a book on the cultural history of Polish type design with Marian Misiak. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Distinctive Lettering and Designs (1919). [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 until 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Akira Kataoka
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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 typeface was the first major Swedish-designed typeface in over a hundred years. Specimen. Author of Bokstav och ande (The Letter and the Spirit: 1948), and Kunstneren og bokkunsten (Artist and Book Art). MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Some of Imelli's alpabets inspired others to create digital typefaces. Examples:
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Alan Marshall worked at the Musée de l'imprimerie in Lyon, France, from 1995 until his retirement in 2015. He was director of the Museum from 2002 until 2015. A type and book expert, Alan Marshall published Tout le monde connaît Roger Excoffon (2011). Musee de l'imprimerie link. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Connecticut-based graphic expressionist painter and typographer, b. 1940, Bronx, d. 2017, Connecticut. He developed typefaces for brands like New York University and Revlon. After graduating from Pratt in 1964, Peckolick briefly worked in advertising before becoming an assistant to Herb Lubalin, who would become his mentor and lifelong friend. Coauthor with Gertrude Snyder of Herb Lubalin Art Director, Graphic Designer and Typographer (New York, 1985). He began painting professionally in 1998, a few years before he learned he had Parkinson's disease. Huffington Post obituary. New York Times obituary. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Noted type historian in Berkeley, CA. Alastair Johnston is a partner in Poltroon Press, Berkeley. He taught college level courses in typography for over 30 years. He has published scores of books and won the Award of Excellence in the AIGA Just Type Show. His published works include bibliographies and discographies, as well as Alphabets to Order: The Literature of Nineteenth-Century Typefounders' Specimens (New Castle, 2000), Nineteenth-century American designers & engravers of type by William E. Loy (co-editor/designer; Oak Knoll Press, 2009), Hanging Quotes (Cuneiform Press/University of Houston, Texas, 2011), Typographical Tourists: Tales of tramping printers (Poltroon Press, 2012) and Transitional Faces: The Lives and Work of Richard Austin, type-cutter, & Richard Turner Austin, wood-engraver (Poltroon Press, 2013). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Type historian at Reial Academia de Bones Lletres in Barcelona, who has a PhD in art history from Universitat Autonoma de Barcelona (UAB). 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. His books: Muses de la impremta. La dona i les arts del llibre (segles XVI-XIX) (ed., with M. Garone) (Associació de Bibliòfils de Barcelona, 2009); Especímenes tipográficos españoles. Catalogación y estudio de las muestras de letras impresas hasta el año 1833 (Calambur, Madrid, 2010); Daniel B. Updike, impresor e historiador de la tipografía (Campgrafic, Valencia, 2011); Tipos de imprenta en España (Campgrafic, Valencia, 2011), Las letras de la Ilustración. Edición, imprenta y fundición de tipos en la Real Biblioteca (Catálogo de la exposición en la Biblioteca Nacional, Madrid, 2012) e Història de la tipografia. L'evolució de la lletra des de Gutenberg fins a les foneries digitals (coauthor with M. Garone, Pagès Editors, Lérida, 2012). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
He designed these typefaces:
A specialist of blackletter, he was passionate about Gotische Bastarda. Author of these books:
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In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken and Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection. 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. In 2022, FontFont released a major set of updates and extensions of the FF DIN family, all co-designed by Albert-Jan Pool and Antonia Cornelius. These include:
Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton, and wrote an article entitled FF DIN, the history of a contemporary typeface in the book Made with FontFont. Speaker at ATypI 2013 in Amsterdam: Legibility according to DIN 1450. 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. Download at Klingspor of the original volume from 1926, and the addenda published in 1927. 1929, 1930, 1933/1935, 1936/1937, und 1938/1939 under the name Nachträge. Emil Wetzig (Leipzig) helped with the production. Local download. [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 until 2007. This was followed by equally gorgeous families such as Fence (2009, an ultra-fat artistic beauty). Skoropix is an experimental pixel typeface done with FontStruct. She also made Belladonna (2008, a stunning modern typeface for Latin and Cyrillic; a winner at Paratype K2009 and Grand Prize winner at Granshan 2011), Skoropix (with FontStruct), and the experimental typeface 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 typeface 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, co-designed with Vladimir Yefimov and Olga Umpeleva; Open Font Library link), PT Circe (2011, a geometric sans family with a neat Thin weight; Third Prize for Cyrillic text typefaces at Granshan 2011), and Cless (2010: ultra fat and counterless). Together with Isabella Chaeva, she made PT Mono (2012, Google Web Fonts and Open Font Library). In 2012, Vasiliy Biryukov and Alexandra Korolkova co-designed the Christmas dingbat font Gingerbread House, together with a plump display face, Gingerbread. In 2013, Vasily Biryukov and Alexandra Korolkova co-designed the soft roundish sans typeface Kiddy Kitty (link). In 2014, she cooperated with Maria Selezenava on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This geometric sans in the style of Erbar Grotesk and Metro Sans is a major extension of the Journal Sans typeface (1940-1956, SPA, in metal form, and 1990s in digital form). Still in 2014, she co-designed Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Isabella Chaeva and Maria Selezeneva at Paratype. This was followed in 2015 by Stem Text. In 2015, she and Alexander Lubovenko co-designed Circe Rounded, which is an extension of her earlier Circe typeface (2011), both published by Paratype. In 2018, Paratype extended that family with Circe Slab (by Alexandra Korolkova and Olexa Volochay). Still in 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting. Codesigner of Kudryashev Display (2015, Isabella Chaeva, Alexandra Korolkova and Olga Umpeleva). Kudryashev Display is a set of light and high-contrast typefaces based on Kudryashev text typeface. In addition to Kudryashev Display and Kudryashev Headline typefaces, the type family includes also two Peignotian sans-serif typefaces of the same weight and contrast, with some alternates. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova. In 2016, she designed FF Carina, a delicate and absolutely stunning decorative didone. In 2018, Alexandra Korolkova and Manvel Shmavonyan designed Fact at Paratype. Fact (2018) is based on Frutiger. The Fact type system contains 48 upright styles with variations in width and weight and eight italics of normal width. At the end of 2018, Alexandra Korolkova, Alexander Lubovenko, and the Paratype team finished Six Hands, which is a collection of six handcrafted typefaces: Black, Brush, Chalk, Marker, Condensed and Rough. In 2019, Vitaly Kuzmin and Alexandra Korolkova co-designed the free sans serif typeface Golos Text at Paratype. It was originally commissioned by Smena (AIC Group) for state and social service websites. Typefaces from 2020: Sber (the type system for Russia's Sber Bank; by Korolkova and the Paratype team), Tupo Vyaz (a free modular closed sans serif font with very simple design and some elements from the northern variant of Vyaz slavonic calligraphic hand), Grrr (at Paratype, with Dmiry Goloub; a techno family characterized by an oversized lower case f). MyFonts interview. Kernest link. Klingspor link. View Alexandra Korolkova's typefaces. Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Alessio Leonardi
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Author of 600 Monogramme Und Zeichen (Darmstadt, 1920). Local download. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 of the University of Hartford, and specializes in publication design. Author of the bestseller How to Spec Type, Type In Use", The Elements of Graphic Design (2002, Allworth Press), and Thinking in Type (2005). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Alfa-Beta
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In addition, the project aims to revive Also Novarese's Nova Augustea (1964), which in turn was based on Alessandro Butti's Augustea. That revival will be done by Studio 23.56. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
English calligrapher, b. 1895, Grimsby, d. 1982, Hove, Sussex. Student at the Central School of Arts and Crafts, disciple (in his own words) of Edward Johnston. In 1921, he co-founded the Society of Scribes and Illuminators, and was honorary secretary from 1931 to 1933. He wrote several books on handwriting, including A Handwriting Manual (1932), many times reissued, e.g., in 1954 by Faber and faber in London. In 1960, Alfred Fairbank and Berthold Wolpe co-authored Renaissance handwriting: An anthology of italic scripts (Cleveland: World Publishing Co). His last book was A Book of Scripts (1968, London: Pelican Books). In 1932, Alfred Fairbank proposed Dryad Writing for schools. It is a connected regular and legible style of writing that was influenced by Francisco Lucas (16th century, Spain), and could be called chancery script. After the Second World War he founded the Society for Italic Handwriting. His only typeface was the first italic for Monotype, Bembo. This was not the italic that was put out for general use, and was eventually released (in 1928) as Bembo Narrow Italic. It is sometimes referred to as Fairbank Italic. The Bembo family is of course due to Stanley Morison at Monotype, after models of Francesco Griffo and Giovanni Tagliente. It has digital reinterpretations such as Bamberg Special (Softmaker) and Bergamo (Softmaker). It is possible that Fairbank MT (2003, Robin Nicholas) is named after him. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Allan Haley was the principal of Resolution, a consulting firm with expertise in type; his clients included Apple, Adobe, Linotype, Xerox, IBM, and Agfa Monotype. He was also the Chairman of the Advisory Board of the Goudy International Center at RIT. He was the Typographic Consultant to Compugraphic Corporation. Haley was principal of Resolution, a consulting firm with expertise in fonts, font technology, type and typographic communication. Allan joined ITC in 1981, and became its executive vice president of ITC. He wrote for publications such as U&lc, How, Dynamic Graphics, and Step-by-Step Graphics. He is highly regarded as an educator, and he is a frequently requested speaker. He has written five books on type and graphic communication. Presently, Allan Haley is Director of Words & Letters at Monotype Imaging. At ATypI in Rome in 2002, he spoke about the development of ITC Bodoni. His books:
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A 320-page book about the origins of the Latin alphabet, by John Man. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Alphabeta Linguarum Orientalium: typia congregationia de propag. fide | Collection of texts published between 1629 and 1789 in Rome. Digital versions: here, here. Local downloads: Part I, part II. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Walter B. Clement and Ian L. Robertson wrote Alphabets and Others (1988, The Armstrong Press and The Slow Loris Press, Alabama) This 74-page book contains wood type specimens, all clearly identified. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), 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. Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Unconventional artist of the 1930s (b. 1889), who is credited with the art deco typeface 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; authors 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Member of the famous French printers family, 1790-1876. Author of Essai sur la Typographie. Paris, typographie de Firmin Didot frère (1851). Bigmore & Wyman mention that This work, an excerpt from the "Encylopédie Moderne," contains the result of the author's lengthened experience, and of his vast theoretical and practical knowledge of the subject. The early history of printing is treated with great clearness and a thorough acquaintance with the best authorities. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Founded by Tod Swormstedt, former editor and publisher of Signs of the Times magazine, the American Sign Museum (est. 2005) is based in Cincinnati, OH. Mike Jackson at the American Sign Museum lists the top 25 early sign making books, roughly in order of his personal preference. Many of these contain great alphabets that can provide inspiration. His list with Mike Jackson's comments in italic:
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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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Or Andreas Brogiottus. Author of Indice de'caratteri con l'inventori et nomi di essi esistenti nella stampa Vaticana et Camerale (1628, Stampa Vaticana). Local download. [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. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with André Gürtler of Die Handschrift, Comedia, edition 02-4, 2002. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French type and photography historian, b. 1927, who is the son of Paul Jammes, who founded Librairie Paul Jammes in Paris in 1925. Author of many books. Those relevant to typography include:
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Author of [Etude publicitaire pour la fonderie] Deberny et Peignot. [Caractères d'imprimerie] (1932, Paris). [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. Coorganizer of ATypI 2014 in Barcelona. Author of Type at work. The use of Type in Editorial Design, published in English by BIS (Amsterdam, 2003). FontFont link. Linotype link. Behance link. His production:
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Phil Baines and Andrew Haslam wrote Type&Typography (2002) [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 and at ATypI 2014 in Barcelona (talk: 6x6: Collaborative Letterpress Dialogues, with Alexander Cooper and Rose Gridneff). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Pen Lettering (1958), an interesting penmanship book. The construction of an alphabet as presented by Ian Taylor on his blog, based on Ann Camp's book, is fascinating. It all starts with a square, and within it, an inscribed circle and an oblong rectangle of area equal to the circle. All letters relate, as Ann Camp shows, to that basic structure. Ann's all caps skeleton alphabet obtained in this manner predates Avant Garde and Herb Lubalin by almost twenty years! [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Director of the Gutenberg Museum. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Tipografia En Los 70 (2010: Ediciones Cifuentes, Barcelona). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Graphic design studio in Bologna, Italy, run jointly by Veronica Bassini, Massimo Pastore, Luca lattuga and Roberto Malpensa. Their interest in wood and old lead types in relatively unknown Italian print shops led to a wonderful (wood) type catalog started in 2011, Catalogo Caratteri in Piombo e Legno. That book covers these companies: Tipografia Girasole (Inzago), Tipografia Nazionale (Piacenza), Tipografia Co.Ba (Massa Finalese), Tipografia Artigiana (Vignola), Tipografia Artestampa (Corinaldo), Tipografia Tade (Empoli), Tipografia Riva (Solara di Bomporto Tipografia Sociale (Arezzo), Tipografia Minetti (Rossiglione), Tipografia Aldo Sacco (Vercelli), Tipografia STEM Mucchi (ex Soliani) (Modena Tipografia Nuovagraf (ex Perfecta) (Roma Tipografia Il Dado (ex Pivetti) (Mirandola Tipografia Golinelli (Mirandola), Tipografia Lugli (Rolo), Tipografia Bagnoli (Pieve di Cento), Tipografia La Commerciale (Fidenza), Tipografia Galeati (Imola), Tipografia Perini (Rovigo), Tipografia La Fiorentina (Grosseto), Tipografia Tiferno (Citta di Castello), Tipografia Bottega della Stampa (Sansepolcro Tipografia Montagna (Voghera), Tipografia Artigiani Tipografi (Voghera), Tipografia Emiliana (ex Amici) (Castel San Giovanni Tipografia Valvassori (Vigevano), Tipografia FG (Vicchio), Tipografia Greco Remo (Sorbara), Tipografia Adriatica (Cervia), Tipografia Valpadana (Brescello), Centro Stampa (Poviglio), Tipografia Zanichelli (Sassuolo), Tipografia ArteGrafica 91 (Castellarano), Tipografia Caiti (Reggio Emilia), Tipolitografia Moderna (Reggio Emilia), Grafiche La Comasina (Senna Comasco), Tipografia RD (Medicina), Tipografia Conti (Bologna), Unione Tipografica Operaia (Macerata), Tipografia La Tipografica (Poggibonsi), Tipografia Pesatori (Milano), Tipografia 2000 (Pesaro), Tipografia Antonio La Grotteria (Roma), Tipolito Lugli (Novellara), Tipografia Rossi (San Pietro in Casale), Litotipografia M.P.P. (Modena), Tipografia Lecchese (ex Adda) (Lecco), Tipografia Ghibaudo (Cuneo), Tipografia Botalla (Biella), Tipografia BC (Bologna), Tipografia Olmo (Clusone), Tipografia Fanti (Formigine), Tipolito Ennio Cappetta (Foggia), Tipografia Valgiusti (Bagni di Romagna), Tipografia Guidi (San Piero in Bagno), Tipografia Croppi (Forli), Tipografia Zoli (Forli), Tipografia Pontone (Cassino), Artigrafiche Franco Antoni (Mesagne), Tipolito Valprint (Grezzana), Grafica Sestrere (Sestri Levante), Tipografia Scaletta (Ravenna), Tipografia Uggeri (Cremona), Tipografia Brigati & Molinari (Castel San Giovanni), Tipografia Aldo Sacco (Vercelli), Tipografia Grassigli (San Giovanni in Persiceto), Tipografia Banina (San Colombano al Lambro), Tipografia Reggiana (Reggio Emilia), Tipografia Segreti (Porto San Giorgio), Poligrafico Silva (Parma), Tipografia La Rapida (Mantova), Tipografia E Comelli (Garessio), Tipografia Artegrafica Sociale (Cittadella), Tipografia Boni (Sassuolo), Tipolitografia Savino (Gambolo), Tipografia Bramante (Loreto), Tipografia Martini (Ostiglia), SCIA (Bologna), Grafiche Malvezzi (ex Pennaroli) (Fiorenzuola), Tipografia SMA (Cogoleto), Tipografia Sciocchetti (San Benedetto del Tronto), Tipografia Demetri e Crepaldi (Polesella), Tipografia G. Palermo (Adrano), Tipografia BEMA (Belletti Alberto E C.) (Bellaria), Tipografia SIACA (Cento), Tipografia FD (Bologna), Tipografia F.lli Tine (Floridia), Tipografia Anigoni (Reggio Emilia), Grafiche Vianello (Treviso). [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. His alphabet is also referred to as the "Nude Alphabet" in Kwadraat (Steendrukkerij De Jong&Co, Hilversum, The Netherlands, 1970). Using twelve nude women, it is also known as | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The Art of Lettering and Sign Painting Manual (1878). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Archer Zuo
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Arktype (was: Atelier René Knip)
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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 Arabic feel, was digitized by Nick Curtis as Turban Hey NF (2008). In October 2012, Knip and another Dutch designer cofounded Arktype, but by 2020, the other Dutch designer left that company. Typefaces at Knip's site as of 2020:
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Legendary Swiss type teacher, b. 1920. Hofmann succeeded Emil Ruder as head of the graphic design department at the Schule für Gestaltung Basel (Basel School of Design) and was instrumental in developing the Swiss style of graphic design. His teaching methods were unorthodox and broad-based. He designed, and influenced the design of, books, exhibitions, stage sets, logotypes, symbols, typographical pieces, posters and sign systems. His work is recognized for its reliance on the fundamental elements of graphic form---the point, line, and shape. He retired in 1987. His output includes many fantastic typographic posters. Example. | |||||||||||||||||||||||||||||||||||||||||||||||||||
Arne Freytag
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Author of David's Practical Letterer (1903). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A book by Dan X. Solo that shows 100 alphabets. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Art of the Printed Book, 1455-1955: Masterpieces of Typography Through Five Centuries | This book is based on the collections of the Pierpont Morgan Library, New York, and comes with an essay by Joseph Blumenthal. It was published in 1973 by Pierpont Morgan Library, New York, and David R. Godine, Boston. Second printing, 1974. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Luminario: an introduction to the Italian writing books of the 16th and 17th centuries (Nieuwkoop, 1972). This book surveys the Italian writing-manuals, 1514-1660. He also wrote Mercator. A Monograph on the Lettering of Maps, etc. in the 16th century Netherlands. With a facsimile and translation of Ghim's Vita Mercatoris (London, 1969). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Moderne Firmen Schilder (1913). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the penmanship book Barnes's National Vertical Penmanship (New York: American Book Co., 1899). [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The American Type Founders specimen books are virtually all on-line now. Here are the main links:
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Author (1811-1868) of Geoffroy Tory, peintre et graveur, premier imprimeur royal, réformateur de l'orthographe et de la typographie sous François Ier (2e édition, entièrement refondue) (1865, E. Tross, Paris). Local download in PDF [13.8MB]. In 1856, Auguste Bernard published Les Estienne --- Les types grecs de François premier, in which he presents 16th century Greek typefaces known as les grecs du roi. [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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Autograff
| AutoGraff is a research project aimed at computationally modelling the perceptual and dynamic processes involved in the production of graffiti art and calligraphy. The purpose of the study is to develop computer graphics and robotic systems that are capable of generating traces, letters, and patterns that are similar to the ones made by an expert human artist. The project is driven by Daniel Berio and Frederic Fol Leymarie at the University of London. Daniel Berio is a researcher and artist from Florence, Italy. Since a young age Daniel was actively involved in the international graffiti art scene. In parallel he developed a professional career initially as a graphic designer and later as a graphics programmer in video games, multimedia and audio-visual software. In 2013 he obtained a Masters degree from the Royal Academy of Art in the Hague, where he developed drawing machines and installations materializing graffiti-inspired procedural forms. In 2021, Daniel obtained a PhD at Department of Computing Goldsmiths, University of London under the supervision of Frederic Fol Leymarie. Daniel Berio's PhD thesis is entitled AutoGraff: Towards a computational understanding of graffiti writing and related art forms. The abstract of this spectacular work that mixes art and mathematical modeling: The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letterforms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes. Co-author of StrokeStyles: Stroke-based Segmentation and Stylization of Fonts (ACM Transactions on Graphics, vol. 41 (3), pp. 1-21, 2022). In this paper by Daniel Berio (Goldsmiths, University of London), Frederic Fol Leymarie (Goldsmiths, University of London), Paul Asente (Adobe Research, San Jose, CA), and Jose Echevarria (Adobe Research, San Jose, CA), the authors develop a method to automatically segment a font’s glyphs into a set of overlapping and intersecting strokes with the aim of generating artistic stylizations. The segmentation method relies on a geometric analysis of the glyph’s outline, its interior, and the surrounding areas. It uses the medial axis, curvilinear shape features that specify convex and concave outline parts, links that connect concavities, and seven junction types. We show that the resulting decomposition in strokes can be used to create variations, stylizations, and animations in different artistic or design-oriented styles while remaining recognizably similar to the input font. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Portland, OR-based handwriting consultants and authors of Portland State University's handwriting book Write now: a complete self-teaching program for better handwriting (Portland, OR: Continuing Education Press, Portland State University, 1991). Earlier, they also published Italic letters: calligraphy and handwriting (1984, New York: Van Nostrand Reinhold Co). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Barnhart Bros. Spindler Type Founders: Book of Type Specimens, 1907 |
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Bauersche Giesserei: Hauptprobe in gedrängter Form der Bauerschen Giesserei |
An earlier and more volumunous book of specimens is Hauptprobe der Bauerschen Giesserei in Frankfurt am main und Barcelona (Frankfurt am Main, 1907). [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Local download of some Bauhaus books, as well as some issues of Bauhaus: Zeitschrift für Gestaltung published between 1926 and 1931, which were edited by Walter Gropius, Laszlo Moholy-Nagy, Ernst Kallai, Ludwig Hilberseimer, Josef Albers, and W. Kandinsky. PDFs via IADDB.org and Monoskop. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Monoskop's page on musea, material, documents and references related to Bauhaus. They list these books:
Local download of some Bauhaus books, as well as some issues of Bauhaus: Zeitschrift für Gestaltung published between 1926 and 1931, which were edited by Walter Gropius, Laszlo Moholy-Nagy, Ernst Kallai, Ludwig Hilberseimer, Josef Albers, and W. Kandinsky. PDFs via IADDB.org and Monoskop. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Bauhaus School
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The Bauhaus movement, which cut almost everything to its bare minimum and naked essentials, influenced art, architecture, graphic design, interior design, industrial design, and typography. Its typographical masters included Josef Albers (who made Kombinationsschrift in the 1920s), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy. Among the digital representatives, we note ITC Bauhaus (1975, Ed Benguiat and Victor Caruso), BH Geometric 572 (Bitstream), P22 Bayer, R790 (Softmaker), and Dessau (by Gábor Kóthay). Penela's pages on Bauhaus. Jürgen Siebert on Bauhaus. Brief bio of Walter Gropius, the founder: Born to a family of architects, he himself studied architecture in Munich from 1903-1904 and in Berlin from 1905-1907, and worked for Peter Behrens until 1910. In 1919, he founded the Bauhaus School. In Programm des Staatlichen Bauhauses Weimar (1919), he describes a utopian craft guild combining architecture, sculpture, and painting into a single creative expression [Gesamtkunstwerk]. Wikipedia page. Bauhaus Museum Dessau. Bauhaus Museum Weimar. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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 typeface 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 until 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British typefoundry. Specimen books by them include
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Author of The Ornamental Penman's Pocket Book of Alphabets (1900). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 1995, Maurizio Osti reconstructed and redesigned Ben Shahn's Folk Alphabet, which was originally created as lettering in 1940, with the consent and approval of Bernarda Shahn, Shahn's second wife, and the Estate of Ben Shahn, under license from VAGA (New York). FF Folk (2003, Marizio Osti and Jane Patterson) is the only authorized and officially endorsed digital version of Shahn's well-known protest poster lettering. In the same style, we also have the fonts Bensfolk (2000) and Bensfolk Condensed (2000) by Harold Lohner. Jean Evans's Hatmaker (1996, Agfa Creative Alliance and later ITC) consists of two all caps typefaces, one of which was inspired by Ben Shahn's hand-constructed alphabet. Nick Curtis's Outgribe NF (2011) is a rough, raw typeface that is based on the lettering in Ben Shahn's iconic poster protesting the execution of Nicolo Sacco and Bartolomeo Vanzetti in 1927. That same poster also inspired Daniel Pelavin in his Book Country (2010). Charles Leroux created the Tuscan typeface Rendezvous GRP (2008) based on Ben Shahn's cover of Rendezvous with Destiny. At Esos tipos de la UTEM, one can download Nahueltoro (2007), an exceptionally beautiful comic book style headline face by Santiago Toro, based on the credits of the movie El Chacal de Nahueltoro by Vicente and Antonio Larrea, and on Ben Shahn's lettering. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes. In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [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). In 1950 he published an 18-page booklet entitled Det äldsta Svenska Stilprovet Tryckt at Skolan for Bokhant verk. [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2017, Toshi Omagari designed the Wolpe Collection for Monotype, all based on Berthold Wolpe's distinctive typefaces: Wolpe Pegasus, Wolpe Tempest, Wolpe Fanfare, Sachsenwald, Albertus Nova. Bio at Klingspor. FontShop link. Wiki page. Linotype page. View Berthold Wolpe's typefaces. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of La Chronique du bibliophile: La typographie des Didot. [Google] [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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Basiks of Lettering (1952). Mike Jackson writes: Bill Boley's general script look was quickly adopted by many of the handlettering artists of the day. Only six different alphabets are shown. [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 cast at the letter foundery of Binny and Ronaldson (20 pages, printed by Fry and Kammerer, Philadelphia, USA, 1809) and Specimen of printing types from the foundry of Binny & Ronaldson (1812, Philadelphia, Fry and Kammerer, printers). Local download of the 1812 book. 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. About digital typefaces that are derived: 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). [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
BiViTy: Bibliothèque virtuelle de typographie
| Jacques André's site that lists all digitally available type specimen books. [Google] [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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Bowfin Printworks
| Links to commercial foundries. Site done by Michael Yanega, who now lives in Washington State. Has an interesting script font identification guide. It also has a bibliography on type. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Trinité won him the prestigious H.N. Werkman Prize in 1991. Mathieu Lommen and John A. Lane published Bram de Does Boektypograaf & Letterontwerper Book Typographer & Type Designer (Amsterdam, 2003). Mathieu Lommen published Bram de Does: letterontwerper & typograaf / typographer & type designer in 2003 at De Buitenkant. In 2003, a 53 minute Dutch documentary was made: Systematisch Slordig: Bram de Does - Letterontwerper&Typograaf (Coraline Korevaar/Otto de Fijter, Woudrichem). That video is also at Vimeo and here. A collection of many of his drawings is at the University of Amsterdam. Part of this collection (e.g., the development of Lexicon) has been scanned in and placed on the web. Details on his fonts:
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Copenhagen, Denmark-based author of Webfont Handbook. He tweets on web typography and front-end development. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of a book on data visualization, Magic Ink Information Software and the Graphical Interface (2006). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Her typefaces:
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Bruce Kennett is a designer of books and exhibits, photographer, writer, and teacher. He studied calligraphy and book design with Austrian artist Friedrich Neugebauer, and later translated Neugebauer's book The Mystic Art of Written Forms. Kennett also served as manager and book designer at Maine's Anthoensen Press. His client list ranges from the Folger Shakespeare Library and the Grolier Club to L.L.Bean and the Mount Washington Observatory. Author of W. A. Dwiggins: A Life in Design (2017, Letterform Archive, San Francisco). Bruce Kennett discovered the work of W. A. Dwiggins in 1972 and has drawn inspiration from it ever since, writing articles, essays, and lecturing widely about the man and his many talents. Bruce has been working steadily on this book since 2003. The publisher's blurb: W. A. Dwiggins: A Life in Design offers an engaging and inspiring overview of the designer's wide-ranging creative output and lasting impact on the graphic arts. Bruce Kennett's careful research, warm prose, and inclusion of numerous personal accounts from Dwiggins's friends and contemporaries portray not only a brilliant designer, but a truly likable character. The texts---five essays and two works of fiction, plus a title page and colophon---are set on the Linotype in Dwiggins's Caledonia, Electra, Eldorado, Metro, and the very rare Falcon, accompanied by an assortment of Caravan ornaments. Twenty-two illustrations, hand-lettered titles, and decorated initials (all made from original Dwiggins pen-and-ink artwork in the files of Boston Public Library) accompany the text, reproduced via high-quality copper photoengravings. His other books include a foreword in Dorothy Abbe's William Addison Dwiggins: Stencilled Ornament and Illustration (2015). [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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Book shop owner in Utrecht, The Netherlands, in the 19th century. In 1855, he published the popular lettering model book Alphabeths voor steenhouwers, schoonschrijvers, schilders, graveurs, lithegraphen. In his book Nederlandse Belettering, Mathieu Lommen deduces that the alphabets in this book were developed in the atelier of lithographer P.W. van de Weijer in Utrecht in cooperation with van der Post. Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Guerrilla Typography. [Google] [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 have 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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He created Canada's first roman typeface, Cartier (1967, MonoLino Typesetting Company Limited) for Canada's centennial. Cartier was unfinished when he died. Rod McDonald finished it, to become a working and much larger typeface family called Cartier Book in 2000. Cartier has a sequel: Raleigh (Ingrama, 1977), co-designed by Robert Norton, David Anderson and Adrian Williams is sold by Bitstream, Adobe, Linotype, Paratype, and URW++. It is characterized by a bloated belly N. Raleigh was produced in 1977 by Robert Norton, and was based on Carl Dair's Cartier typeface. It was renamed Raleigh after Dair's death. Adrian Williams added three weights for a display series, and Robert Norton designed the text version. Several typefaces were influenced by Cartier. These include Ludwig Ubele's award-winning FF Tundra (2011). For a full revival, including both a facsimile and an interpretation, see Nick Shinn's Dair (2017). Author of Design with Type (1952, revised and expanded in 1967 and republished by the University of Toronto Press (First Edition) in 2000). He also wrote several wonderful short treatises on various topics in type design. John Berry discusses Dair's seven different kinds of contrast, size, weight, form, structure, texture, color and direction. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Johann Christoph Carl Faulmann or Karl Faulmann, b. Halle an der Saale, Germany, 1835, d. Vienna, Austria, 1894. In his Geschichte der Schrift: Von den Hieroglyphen bis heute (2002), Harald Haarmann describes Faulmann as a pioneer in the study of writing in the 19th century. He writes that when Carl Faulmann published his Illustrierte Geschichte der Schrift in 1880, his work was the first universal history on the subject and stood alone on the academic landscape of the day. Carl Faulmann initially trained to be a typesetter. His travels led him to Munich, where in 1854 he saw shorthand types from the Royal Court and State Printers in Vienna. Faulmann was inspired by the experience to develop similar versions for Franz Xaver Gabelsberger's stenography system which was popular in the southern part of Germany. In 1855 he became typesetter for foreign languages at the court in Vienna. After four years he resigned from state service and worked as a stenography teacher and typesetter. On the side he continued to augment his language skills auto-didactically, learning Hebrew, Persian and Sanskrit, among others. He wrote various works on linguistic fundamentals that were re-issued for decades. In 1884, Carl Faulmann was named professor of stenography at the University of Vienna. A complete compendium of his work can be found in this German wikipedia page. His books include
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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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German type designer, b. 1842, Berlin, d. 1931, Berlin. In 1870, he started working at Genzsch and Heyse in Hamburg as punchcutter and engraver. His Neue Schwabacher of 1876 became a very popular typeface. Anklam 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 many other typefoundries, including J. John&Söhne, Shelter&Giesecke, Ludwig & Mayer, Gebr. Klingspor, AG Schriftguss, Barnhart Brothers Spindler, H. Berthold AG, etcetera. 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, and Neue Schwabacher (2021) by Ralph Unger. [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). Downloads of his 1897 books: Archive.org, local. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Carl Volmer Nordlunde
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Dick Pape digitized these ornamental caps typefaces, 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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At P22, Carolyn Porter published P22 Marcel Script in 2014. This stylish fountain pen script comes with a story: The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel's letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters---stained and scarred with censor marks---were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé's original handwriting. The letters were found in an antique shop in Stillwater, Minnesota, and the 1300-glyph font was developed from 2011 until 2014. It comes with a set of filets and calligraphic ornaments, P22 Marcel Ornaments, and a set of capitals, P22 Marcel Caps. Marcel Script won an award at TDC 2014. Speaker at ATypI 2017 Montreal. The story of Marcel Heuzé is captured in her award-winning book Marcel's Letters: A Font and the Search for One Man's fate. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
They also had a collection of fat faces that were popular in the first three decades of the 19th century. Books by the foundry include Specimen of Printing Types (T. Bensley, printer, 1815). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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. Speaker at ATypI 2013 in Amsterdam. Keynote speaker at ATypI 2015 in Sao Paulo. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Céline Hurka (b. 1995) grew up in Karlsruhe, Germany, and moved to the Netherlands to study graphic design at the Royal Academy of Art (KABK) in The Hague. Besides her studies she works on freelance projects in the cultural field, where she combines an interest in editorial design with emphasis on type design and photography. She is based in 's Gravenhage. Graduate of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. During her studies at the KABK in Den Haag, Céline Hurka designed the poster sans typeface Alfarn (2018) as part of the Adobe Originals collection. This typeface is based on poster lettering in 1923 by Bauhaus student Alfred Arndt (1898-1976). Her KABK graduation typeface was the intestinal / stone age / graffiti family Version. In 2019, Nora Bekes and Celine Hurka published Reviving Type. The book as described by them: One study tells the story of the Renaissance letters of Garamont and Granjon. The other is about the Baroque types of Nicholas Kis. Reviving Type guides the reader from finding original sources in archives, through historical investigation and the design process, to a finished typeface. The first, theoretically grounded part of the book provides insight into historical changes in type design through visual examples of printed matter. The second part offers a thorough explanation of the production process of the revival typefaces. Here, two different approaches are placed side by side, creating a dialogue about different working methods in type design. Technical details, design decisions, and difficulties arising during the design process are thoroughly discussed. Rich imagery of original archival material and technical illustrations visually buttress the texts. Taken as a whole, the publication becomes a cookbook for anyone wanting to dive into revival type design. Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
British lettering (b. 1896) artist who wrote Manual of Lettering (1952, Blandford Press, London) and Modern Lettering from A to Z (1932), a book which shows many alphabets. We also find a 1934 edition: Ed. Pitman Isaac & Sons LTD - London. Example. There are several art deco alphabets. Another example (scanned by Sam Judge). His books provided inspiration for several digital typefaces:
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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. Cees is located in Almere, The Netherlands. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Instructor in descriptive geometry and drawing at the University of Michigan. Author of Plain Alphabets for Office and Schools (1898, George Wahr Publ., Ann Arbor, MI). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Faust's 75 Alphabets (1920). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch author (1855-1919) who wrote the following books or book chapters:
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British 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. Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber. Other typefaces designed by him at Photo Lettering include Regency Inline (caps only), French Antique Inline and Pearl Shaded (decorative caps). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Charles J. Strong (b. 1866, Hunstville, IL) was very influential in the sign and lettering world following the turn of the century. His text Strong's Book of Design (1910, 1917, 1982) has been reprinted several times. The early editions had wonderful color plates. Strong founded the Detroit School of Lettering along with a mail order supply department. He also wrote Strong's Art of Show Card Writing (1919) and Detroit School of Lettering 1-10 (1905). The latter text consists of ten thin booklets. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Lettering Plates (1902). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Charles L.H. Wagner was the founder and director of the Wagner School of Sign and Commercial Art, Boston, Massachusetts. Formerly instructor in Show Card Writing at Northeastern University and Young Men's Catholic Association, Boston, and University Extension, Department of Education, Commonwealth of Massachusetts, and Principal, Wagner-Sprague Correspondence School. Wagner wrote six volumes of poetry and was a frequent contributor to technical magazines and metropolitan newspapers. He was a landscape and oil portrait artist as well. In 1926 he published Blue Print Text Book of Sign and Show Card Lettering (at Fellowcrafters Inc, Boston, MA). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2009, he started a revival of Mercator, a sanserif typeface by Dick Dooijes and G. W. Ovink designed in 1959 at the Amsterdam Type Foundry. He set up Cataloged in Brussels with Coline Sunier. In 2012, Stéphanie Vilayphiou, Alexandre Leray, Coline Sunier and Charles Mazé co-designed the readable typeface Dauphine Regular, which can be downloaded from Github and Open Font Library. See it in action on the web site of ESAD (Ecole Supérieure d'Art et de Design). Dauphine is a sans-serif font inspired by lettering in late 19th and early 20th century maps. Github link for Dauphine. He works with Coline Sunier since 2009. They were fellows at the French Academy in Rome's Villa Medici in 2014 and 2015, and are now graphic designers in residency at Contemporary Art Center CAC Brétigny. Charles is part of the teaching staff of Atelier National de Recherche Typographique (ANRT) in Nancy, France. At Abyme, he published two typefaces:
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Type Directors Club President in 2009, Charles Nix, has compiled a long list of books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2006, Paul Hunt designed a set of connected calligraphic scripts, called P22 Zaner. | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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Modern revivals of his scripts include
Credits: Several of the images below, as well as some biographical information, are courtesy of Charles's grandson, David Musgrave. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Alphabets and Other Materials Useful to Letters (1912, publ. D. Van Nostrand Co, New York). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Type Specific: Designing Custom Fonts for Function and Identity (2005, RotoVision). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Lettering for Draftsmen, Engineers & Students (1917). [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 Type foundry 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designer of Zarbres (2004), a typeface used in the book Nouvelles des arbres, by Gérard Bialestowski. This is a private face, as he explained to Jef Tombeur: Quelques mots sur le Zarbres. Je ne trouvais pas ce qui me plaisait ni en plomb, ni en fonte informatique. Alors je l'ai créé, mais avec un cahier des charges bien précis. Il devait s'approcher du résultat qu'on obtient en gravant dans du bois ou du lino pour s'harmoniser avec les illustrations. Pour cela, il devait être gras, d'un dessin un peu maladroit (taillé à la serpe), quelques lettres hors norme (avec une e bdc à la barre trop oblique, la u bdc un peu onciale, etc.), comme dessiné par un amateur qui ne connaît pas la typo et qui cherche à imiter, à obtenir une hauteur d' assez importante pour réaliser, sans interlignage, des compositions d'un gris très foncé. J'ai fait ainsi un romain, un italique et les deux polices expertes correspondantes (petites capitales et ligatures). Pour l'instant le Zarbres est reste une police exclusive qui ne sort pas de mon ordinateur. Author of Histoire de l'écriture typographique: Le XIXe siècle français (2013, with Jacques André). From the blurb: Pour montrer toute la richesse de cette période, les auteurs ont choisi d'en raconter les aventures successives: les Anglais avec l'invention des caractères gras, des égyptiennes et des sans-sérifs; la fonderie Gill?é qui devient celle de Balzac puis de De Berny et qui rejoindra, à l'aube du XXe siècle, celle des Peignot; la saga des Didot, de la rigueur de Firmin à l'extravagance de Jules; l'Imprimerie royale, puis impériale ou nationale, ses caractères orientaux et ceux de labeur, qui perdureront tant qu'il y aura du plomb; Louis Perrin, qui réinvente les elzévirs; les grandes fonderies françaises, qui rivalisent d'invention et de copies, et, enfin, les évolutions techniques de tout le siècle. [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Rob Roy Kelly describes the early history: Chromatic types were first produced as wood type by Edwin Allen, and shown by George Nesbitt in his 1841 Fourth Specimen of Machinery Cut Wood Type. Both William H. Page in 1859, and J.G. Cooley in c.1859, showed several pages of Chromatic type in each of their wood type specimen books. Page showed these types in most of his specimen books in the 1870s. The high point of Chromatic wood type production came in 1874 when the William H. Page Wood Type Co. issued their 100-page Specimens of Chromatic Type & Borders. Though Hamilton, Morgans & Wilcox, and Heber Wells all showed samples of Chromatic types through the rest of the century, none of these ever reached the level of intricate precision attained in Page's 1874 masterpiece. Free copy of William H. Page's Specimen of Chromatic Wood Type Borders Etc (1874). Local download of this PDF file. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Treviso, Italy, from where he launched the type magazine Tipoitalia in 2009. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 and Typographic Ornaments (1956, Dover Publications). Hornung's images inspired Pape's typeface], Phantasie (2009-2010), Romaine Midolline (2010), RomanPrintShaded (2010, ornamental roman caps), RusticAlphabet, SilhouetteInitials1880, TheTerrorsofNightLife, VerzierteAltGothic, VerzierteGothic, VictoriaGingerbread1890 (2007). Download here. More direct link to Pape's digitizations. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Among many other types, Lamesle's 1742 text book shows a Civilité. Revivals:
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Christopher Plantin (1960, Cassell and Co, London). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of An Album of Monograms, Crests & Scrolls (1895). Conrad William Schmidt was a manufacturer of coach and railway varnishes and colours located on Carpenters Road in Stratford, London. He writes F.A. Glaeser in brackets, so perhaps one of the two names is an alias or nom de plume. [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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CSA Creative Studio
| Curtis Canham (CSA Creative Studio, est. 2010, upstate New York) designed the vector-format typeface Chloe in 2015. In 2015, he started work on the book A-Holes: A Type Book. Home page. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Curtis Canham
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Jones lived in Brockton, MA. Author of Alphabets for Practical and Ornamental Engrossing (1914), Lessons in Engraver's Script (1914), American Method of Business Writing, and Ninety-five Lessons in Ornamental Penmanship (1914). The second book contains one full formal calligraphic alphabet by Jones himself. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Cyrus Highsmith
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Dutch printer located in Rotterdam, who published the lettering model book Calligrafische voorbeelden ten dienste van schlders, steenhouwers, lithographen, bouwkundigen enz in 32 genres (1888). Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
D. Duvillé was a professor at Ecolesdes arts de Paris. 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. There are some digital typefaces that are based on Duvillé's alphabets:
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Graduate of the University of Leipzig. 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 Cederholm
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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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Daniel Berio
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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; second edition at Harvard University Press in 1951) which is based on a lecture series he gave at Harvard University from 1910 to 1916. The second edition is from 1937. In 1893 (some say 1894), he founded the Merrymount Press in Providence, Rhode Island. He designed the Montallegro typeface. In 1896, Daniel Berkeley Updike and Bertram G. Goodhue co-designed a bold text typeface. Britannica entry. Abebooks link. Volume 1 and Volume 2 of his book have been scanned in. Patent office link. [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 Compendium of Practical and Ornamental Penmanship (New York, ca. 1883) and Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). The latter 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). In 1890, Ames wrote Ames' Book of Flourishes. Handdrawn portrait of Ames found in "Real Pen Work" (1881, Knowles and Maxim). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
David Bergsland
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David Carson (b. 1955, Corpus Christi, TX) graduated from San Diego State University. Arguably one of the world's most famous graphic designers, he created a few fonts and is credited with launching the typographic grunge style in the 1990s. When people talk of "David Carson" fonts, they usually mean fonts he used in publications he helped realize, like Ray Gun and Eye magazines, and the End of Print book. A number of these fonts that have appeared in Ray Gun (for which he worked from 1992 until 1995) while Carson was art director are available for sale from Garage Fonts. A font designed by Carson (emulating hand/finger gestures) is included in one of Neville's FUSE series. At FUSE 7, he published Fingers. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola. Currently he lives and works in NYC. Joe Clark ends an interview like this: I sent David Carson a copy of my published story via poste escargot, only to have it returned unopened with a handwritten note declaring: "Joe-- I'm not interested in your type of 'journalism.'" The design prima donna's antics are increasingly irrelevant now that he has been dismissed from Ray Gun (ding-dong!) and is now a meta-personality famous for being famous, rather like Zsa Zsa Gabor on The Hollywood Squares. No quantity of hagiographic Apple and other advertisements, David, can substitute for a genuine career. And your new magazine Speak comes dangerously close to monomania. Letting you lay it out and edit it and write it is the Peter principle brought to life. Though you're not interested in my type of "journalism," more and more readers are losing interest in yours. First, a font list of fonts attributed to David Carson (but read on about that after the list): Australis, BigEd, BigLazyBoy, ChicaShica, ChickenPlain, Coniption, Contrary, Copper, Cystfun, Darwin, Dead, Evangelic, FragileReg, Freeway, Fux, Gangly, Gunnnn, Hawkwindps, Heroin, JapanNetta, Johndvl, Manifesto, Macanuda Pro, Magical, Mexican, Newcent, Note, O, OCROver, One, Ooombabold, PhaseGothic, Pizzaface, Public, PublicEnemy, Serifedsans, Seven, Shurpa, SignSystem, Spicadog, Temblorosa, Thaitrade, Times, Timstypo, Wingnut, Wrongfont, Yoyoyo, Zwigaforma. This text was found on the web, by an anonymous poster: By Carson's own admission, he has designed "only a few typefaces." In fact, only one face from his own digital foundry (he is the founder of Garage Fonts) is credited to him---and even then it is in conjunction with Betsy Kopshina (Chicken Scratch). He has however, modified some existing faces from various designers for his own design work. Yet the majority of what you see labled Carson is "in the manner of," as he is generally recognized as the father of deconstructive (grunge) type and style, having lead the design of RayGun magazine and most notably being the author of "The End of Print." His style is literally taught at many design schools such as American Applied Arts, CalArts, and Cranbrook; where he is often a featured speaker. A substantial amount of work from schools such as these are incorrectly credited to Carson, when they're actually student assignments following his style. Still another portion are thought to be rejected submissions to Garage Fonts. And yet others are just misfilings (where no one took the time to get info). I have identified the source of many of the [fonts] credited to Carson. They are as follows:
Author of the successful text The End of Print: The Graphic Design of David Carson (Chronicle, 1995). Wikipedia link. Interview with Joe Clark (Toronto). Very readable bio. %d Apr 19 2000 [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The Art of Calligraphy (Dorling Kindersley), Calligraphy: Inspiration, Innovation, Communication (Anaya), and The Calligrapher's Bible (A&C Black). FontShop link. Klingspor link. Linotype link. Behance link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 1952 Kindersley submitted MoT Serif to the British Ministry of Transport, which required new lettering to use on United Kingdom road signs. The Road Research Laboratory found Kindersley's design more legible than Transport, a design by Jock Kinneir and Margaret Calvert, but nevertheless chose Transport. Many of the street signs in England, especially in Cambridge use Kindersley's fonts. The book typeface 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, publishes a number of typefaces based on Kindersley's work. They include Kindersley Street (2005, aka Kindersley Grand Arcade) which is based on Kindersley Mot Serif (1952). It was designed for the Grand Arcade, Cambridge. London street signs that were designed by David Kindersley served as the basis of a complete lapidary typeface by Boris Kochan and Robert Strauch of Lazydogs Type Foundry, called Streets of London (2013). Image: Stone cut alphabet from 1979 displayed in the University of Amsterdam' Special collections. Linotype link. FontShop link. MyFonts link. Wikipedia. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
San Francisco-based poster artist and writer, b. 1945. 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! He also wrote An Introduction to the Elements of Calligraphy (3rd ed. 1968; reprint, Berkeley, California: Saint Heironymous Press, 1975). In 2017, he designed an art nouveau poster based on a 1921 poster by Jugendstil artist Leopold Forstner. Wikipedia page. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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
Creator of a nice poster for a Turkish debate held in November 2011 on the theme of freedom of expression, entitled Ghetto. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Davide Tomatis
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Author of the penmanship and calligraphic script manual L'Écriture Américaine, published in Paris in the nineteenth century. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Located in Toronto, this outfit published Alphabetical index to type faces, ca. 1935. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
De Amsterdamse Krulletter
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Krul is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company's official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam's curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful "g" originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. He continues about his own typeface Krul: Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing Krul on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, Krul is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource. The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you. Krul can be purchased at ReType. At ATypI 2013 in Amsterdam, Ramiro explained his work on the Krulletter. Still in 2013, Rob Becker and Ramiro Espinoza coauthored Amsterdamse Krulletter. In 2015, they published The Curly Letter of Amsterdam (Uitgeverij Lecturis, Eindhoven and Amsterdam). [Google] [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)
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Adobe link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Delve Withrington
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Derek Yaniger
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Design with FontForge (2012-2017) is a great introduction to type design. Free download at Github. People or organizations that have contributed include Nathan Willis, Vernon Adams, Eben Sorkin, Jason Pagura, Ben Martin, Matthew Skala, Martin B. Brilliant, and Google, Inc. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designing with Type
| Craig was the Design Director for Watson-Guptill Publications and is a member of the New York Art Directors Club, Association Typographique Internationale (ATypI), Type Directors Club (TDC), Typophiles, and a past member of the American Institute of Graphic Arts (AIGA). He teaches typography and design at The Cooper Union and lectures widely. Designing with Type is a growing resource for typography students and educators maintained by James Craig, author of Designing with Type: A Basic Course in Typography (1999, Watson Guptill). That book was updated to Designing with Type, 5th Edition: The Essential Guide to Typography (2006, by James Craig and Irene Korol Scala, published by Watson Guptill). 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Book about how to design new typefaces with FontForge. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Extinct type foundry, which published a Specimen Book in 1951. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Devanagari Linotype (1933, Mergenthaler Linotype Company, Brooklyn, NY) explains keyboard operations for composing Sanskrit, Hindi, Marathi, Gujarati and other Indic scripts on the Devanagari Linotype machine. The PDF of this book was posted by John Hudson in 2013. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Publisher of Dick's Alphabets (1900). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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. Local download. [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 (1931). Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used in Germany from 1936 until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:
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Dino dos Santos
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Company located in New York City, and St. Paul, MN, which sold stencils as standard equipment with the Style A-029 Stencillor. In 1930, they published the lettering book Display material catalogue. In 2013, Jeff Levine designed the typeface Floorwalker JNL, which is based on stencils made in 1926 by Display Material Company. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Frederic Goudy (Masters of American Design) (1990, Harry N. Abrams Publishers, New York). Synopsis copied from an anonymous source: First edition. A great new biography of this famous type designer. Well illustrated, including many examples of his designs and a complete showing of all types he designed. Goudy (1865-1947) was an American innovator in typeface design and manufacture, creator of more than 100 faces, many still popular today. In this first major critical study--the second volume in a projected biographical series on major figures of 20th-century American design---New York Times Book Review editor Bruckner presents a lively and informative survey of Goudy's varied careers as author, type designer, and businessman (founder of the Village Press, an influential private printing press). The author analyzes in detail many of Goudy's typefaces and airs conflicting opinions regarding his contributions as a designer. Numerous, well-chosen illustrations attest to Goudy's design skills. Recommended for large graphic design collections. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of many art books, based in Chicago, IL, where he ran D.M. Campana Art Co. His books include Book of Monograms and Fancy Letters (1900) and The Artist and Decorator (1924, 1925). The latter is an art nouveau text influenced by Alphonse Mucha. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dmitriy Horoshkin's library of Rusian books on type and typography include these downloadable texts:
Local download (with Horoshkin's permission). [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 MFC Sappho Monogram (2010) by Brian J. Bonislawsky. MFC Baelon Monogram (2013, Brian J. Bonislawsky and Jim Lyles) is an 800-character monster font with outlined spurred letters from Dollfus Mieg's book. MFC also published MFC Capulet Monogram (2014), MFC Imperator Monogram (2016), MFC Laroux Initials (2016), MFC Diresworth Monogram (2016), MFC Endeavor Monogram (2018), MFC Keating Monogram (2017) and MFC Elmstead Monogram (2018), which are all based on Dolfus's work. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 1983, Hermann Zapf and Donald Knuth headed a project to develop a font set called Euler. One implementation of that is AMS Euler Text. Author in 1998 of Digital Typography (CSLI Publications). His METAFONT Book is free. In 2013, he received the Peter Karow Award in typography. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Donny Truong
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Douglas C. McMurtrie
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Douglas C. McMurtrie
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Douglas Thomas is a graphic designer, writer, and historian. He holds an MA in history from the University of Chicago and an MFA in graphic design from the Maryland Institute College of Art, where he also taught. He currently teaches at Brigham Young University. Author of Never Use Futura (2017). The blurb: It's everywhere, including the moon (on the commemorative plaque left by Apollo 11 astronauts), Nike sneakers, the artworks of Barbara Kruger, Ed Ruscha, and Jenny Holzer, 2001: A Space Odyssey credits, Domino's Pizza boxes, Absolut Vodka bottles, and Red Bull cans. Futura and its typographic offspring have been the face of presidential campaigns from Richard Nixon to Hillary Clinton. Indeed, Futura is one of the most used fonts in the world today---the typeface of modern design---more so even than Helvetica. This fascinating book explores the cultural history and uses of a face that's so common you might not notice, until you start looking, and then you can't escape it. Douglas Thomas traces Futura from its Bauhaus-inspired origin in Paul Renner's 1924 design, to its current role as the go-to choice for corporate work, logos, motion pictures, and advertisements. [Google] [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. Klingspor 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 typeface used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script; this is copied by Castcraft as OPTI Yen 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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
dstype
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DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins. View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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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Creative Market link. https://fonts.ilovetypography.com/fonts/dunwich-type-founders">I Love Typography link. Github link. Fontsquirrel link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch Alphabets
| Dutch Alphabets (2016, Uitgeverij De Buitenkant) was written by Mathieu Lommen and designed by Peter Verheul. It is a portfolio containing 47 broadsides featuring new samples of lettering and writing by today's most significant Dutch lettering artists, type designers, calligraphers and sign painters. All contributors are working and/or educated in the Netherlands. This collection of lettering has been compiled by Mathieu Lommen (University of Amsterdam) & Peter Verheul (Royal Academy of Art, The Hague), and will be published in a limited edition. It showcases a wide variety of lettering and calligraphy, made especially for this project by Amsterdam Signpainters, Yomar Augusto, Jacques le Bailly, Donald Beekman, Françoise Berserik, Barbara BigosiÅ„ska, Frank E. Blokland, Erik van Blokland, Maria Doreuli, James Edmondson, Ramiro Espinoza, Martina Flor, Dave Foster, Fritz Grögel, Janno Hahn, Hansje van Halem, Berton Hasebe, Henry van der Horst, Ondrej Jób, Max Kisman, René Knip, Holger Königsdörfer, Paul van der Laan, Lida Lopes Cardozo, Niels Shoe Meulman, Ross Milne, Gerrit Noordzij, Diana Ovezea, Krista Radoeva, Trine Rask, Arthur Reinders Folmer, Donald Roos, Pieter van Rosmalen, Just van Rossum, Kristyan Sarkis, Florian Schick, Elmo van Slingerland, Heidi Sørensen, Nina Stössinger, Joost Swarte, Teo Tuominen, Underware, Gerard Unger, Peter Verheul, Bernd Volmer, Job Wouters and designed by Peter Verheul. It is a portfolio containing 47 broadsides featuring new samples of lettering and writing by today's most significant Dutch lettering artists, type designers, calligraphers and sign painters. All the contributors are working and/or educated in the Netherlands. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of The Writer's Guide (1830, publ. G. Berger, London). [Google] [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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German author of Typographie-Lexikon (2005, in German). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Sign Painting Course (1954, 1958). Mike Jackson writes: This book is heavily illustrated with his layouts, letterstyles, and ornaments but the text which covers about half of each page is equally informative. Earlier, in 1928, he wrote How to Paint Signs and Sho' Cards. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Showcard Layout & Design (1937, Third Edition, Blandford Press Ltd, London). [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. Behance link. Klingspor link. [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 typefaces, 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 typeface (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 typefaces had generally been replaced earlier by Cloister Black (q. v.) and other Old English typefaces 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. Local download. Author of Specimen of Printing Types by Edmund Fry, letter founder to the King, and Prince Regent, Type street, London (1816). Local download. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). In 2013, he published Sculpting Type (Khatt Books), which deals with 3d type design. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designer at Monotype in 1927 with Francesco Pastonchi of Pastonchi, a beautiful humanist text typeface with small bracketed serifs. Pastonchi MT is available from Monotype. The Monotype version of Pastonchi is due to Robin Nicholas. Author of Origine della Scrittura e Derivazione Morfologica dell'Alfabeto (Turin, Regio Scuola Tipgrafica, 1917). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Professor of typography at the Faculdad de Bellas Artes (FBA) of the Universidad del Pais Vasco (UPV) in Bilbao. 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Master of business writing and business penmanship, b. 1872, Illinois, d. 1962. He worked mostly in Rochester, NY first for The Williams & Rogers Company and later as an independent penman. Author of Modern Business Penmanship (1903, American book Company). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Edward Johnston
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In 1916, he made a typeface for the London Underground (helped by Eric Gill). Johnston's London Transport type was reworked by Colin Banks in his New Johnston (1979), and again in 2016 by Malou Verlomme at Monotype, on commission for Transport For London (TfL), as Johnston100. Edward Johnston's fonts show a strong influence by Eric Gill. Hamlet-Type (1912-27, designed for a Shakespeare edition, Cranach Press, 1929) was also called Kessler-Blackletter. It was designed by Edward Johnston and cut in three sizes (10, 12 and 18 pt) by Edward Prince for William Shakespeare's Hamlet (published by Harry Kessler's Cranach Press in Weimar in 1929). The type is based on the Durandus for the lowercases, and Sweynheim & Pannartz's Subiaco type for the capitals. For a digital revival, see Hamlet Tertia 18 and Hamlet Cicero 12 by Alexis Faudot and Rafael Ribas which was developed at a workshop in Weimar in 2018. Hamlet was revived by Manfred Klein and Petra Heidorn as HamletOrNot. Johnston designed Imprint-Antiqua with Gerard Meynell and J. H. Mason in 1913. It includes Imprint Shadow. Digital descendants 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 was done in 1916. A version of the London Underground typeface (1997, by Richard Kegler) was digitized by P22. In 2007, Paul D. Hunt 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. Jordan Davies called his revivals London Medium (2017) and London Heavy (2017). Many other designers aped Johnston's Underground as well. 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. In 2021, P22 added italics to P22 Underground Pro and now covers Latin, Cyrillic and Greek---help with this newest version came from Housestyle Graphics (Dave Farey; for the italics), James Todd, and Patrick Griffin (final mastering). 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). | |||||||||||||||||||||||||||||||||||||||||||||||||||
Editor/author of Life with Letters--As They Turned Photogenic, and Alphabet thesaurus; a treasury of letter designs (1960, Reinhold, NY). Volume 3 was published in 1971. In 1975 he was awarded the TDC Medal, the main prize of the Type Directors Club. In 2007, House Industries made this funny clip. Sadly, Ed died in August 2009. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of "A dissertation upon typographical founders and foundries" (1778) and "A catalogue and specimen of the type foundry 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 in 2002 of ETBembo, about which he writes: ET Bembo 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. Tufte's CSS. Github link for Tufte CSS, where one can download the free font family ET Book, which is ET Bembo, renamed. However, inside the font files, we still find the original name ET Bembo. [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
She designed Elizabeth at Bauersche Giesserei in 1934---a Roman and Kursiv and a Bold that was never completed or produced---but she was unable to name the typeface Friedlander, as she had wished, because it was a recognizably Jewish name. She was associated for some time with the Bauer foundry. Her typeface was finally cut in 1939 but she had already left Germany because of the war. She went on to Italy and then later to London where she eventually worked with Jan Tschichold at Penguin Books doing covers for Penguin books, and became a celebrated graphic designer. Jim Rimmer's RTF Isabelle (roman and italic), made in 2006, is based on two delicate serif typefaces by Friedlander. Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters) and Linotype Friedlaender borders were revived in 2006 by Ari Rafaeli, and at an unknown date by Reymund Schroeder as Friedlaender. In 2005, Andreu Balius was commissioned to digitize the typeface now sold by Neufville Digital: Elizabeth ND (2007, 3 styles). Klingspor link. [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. Author of Laws of the Letter (with J. Abbott Miller). 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swedish author of A Handbook of Lettering for Stitchers (1966). The English traslation was published by Van Nostrand Reinhold (NY) in 1973. Amazon link. PDF file [34MB]. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch book shop active in the 19th century in Arnhem and Nijmegen, which was run by two brothers. In 1887, they published a lettering model book, Modelboek. Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Design of Monograms, Inscriptions, and Alphabets (1904). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Das Neue Monogramm (1903) and Ecritures Modernes (1885, published by Orell-Füssli & Co in Zürich). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Ruder 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 Ruder's 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
At type-o-tones in Barcelona, Enric Jardi created Neeskens (1991-2007), Retorica Buida (1995, blackboard bold), Retorica-Plena (1995), Deseada (1995, a blurred roman), Escher, Magothic, Mayayo (1991, great children's book display font in Inline, Holes and Black styles), Peter Sellers (2007), Poca (1995, pixelish), Radiorama (1995), Verdaguera (1995, a classical weathered typeface)), Wilma (1995-2007: a chromatic type system), Xiquets Forever (1995, dingbats). Klingspor link. Type-o-tones link. FontShop link. Type-o-tones link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The text Epreuves de caractères et lettres de deux points sur différens corps: dont les poinçons en acier ou matrices en cuivre seront vendus, le mardi 17 août 1824, Grande salle de l'Hôtel Bullion, rue J.J. Rousseau (1824) shows matrices and punches for typefaces that were originally part of the imprimerie royale in Paris. Local download. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The text book Eric Gill (Fiona McCarthy, Faber and Faber Ltd) describes his life. Publishers Weekly writes: An English artist-craftsman in the tradition of William Morris, Eric Gill (1882-1940) exemplifies the search for a lifestyle to heal the split between work and leisure, art and industry. He is remembered today for his fine engravings and stone carvings, his legendary typefaces and book designs for the Golden Cockerel Press. Yet there was another side to the man, downplayed by previous biographers: a fervent convert to Catholicism and leader of three Catholic arts-and-crafts communes, Gill had a hyperactive libido which extended to incest with his sisters and daughters, as well as numerous extramarital affairs, according to British writer MacCarthy. He rationalized his penile acrobatics by inventing a bizarre pseudoreligious theory. In MacCarthy's candid portrait, Gill, who preserved the outward image of a devout father-figure, was neither saint nor humbug, but a highly sexed creative artist trapped by his Victorian concept of masculinity. This charismatic firebrand was a renegade Fabian socialist, a bohemian friend of Augustus John and Bertrand Russell. His adventurous life, as re-created in this beautifully written, absorbing biography, is disturbingly relevant to our time. A follow-up article by McCarthy in The Guardian, 2006. Canicopulus Script (1989, Barry Deck) is a font named to remember one of Eric Gill's favorite extracurricular activities. 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). Gill once said: There are now about as many different varieties of letters as there are different kinds of fools. His typefaces include
Klingspor link. FontShop link. Linotype link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Eric Gill wrote An Essay on Typography in 1931 (Second Edition, 1936). It was published by Sheed and Ward, London. Reprinted in 1993 by David R. Godine. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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. Speaker at ATypI 2013 in Amsterdam: Futura Black, circa 1860. Speaker at ATypI 2016 in Warsaw on The stencilled poster in Paris in the 19th century. Speaker at ATypI 2018 in Antwerp on the geness of the French stencil style. In 2013, Christopher Burke, Eric Kindel and Sue Walker co-edited the wonderfully informative book Isotype Design and Contexts 1925-1971 (Hyphen Press), which includes a full discussion of Otto Neurath's work. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Erich Andreas Alb was born in Zürich in 1945. He trained as compositor (lead) and as Monotype keyboard operator, and studied typography and type from 1969 until 1971 at the Basel Gewerbeschule under Robert Büchler (the director was Emil Ruder) and André Gürtler. He has been an instructor for type apprentices in Basel, and a free-lance book designer in Zürich and Cham/Zug since the 80s. He also is owner, publisher and editor at Syntax Press (which he founded in 1964) and later at Syndor Press Cham/Switzerland (from 1996 until 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 spent much of his time assisting Frutiger, André Gürtler, H.E. Meier, Alfred Hoffmann and other important figures in Swiss typography who are/were also his close friends. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of 50 Alphabete fuer Techniker und Fachschulen. Flickr link. Digital typefaces that are based on some of these alphabets include Eleckatrical Banana JNL (2021, Jeff Levine), Strike (ca. 2019, by Nick Sherman) and Simula Sans (2018, by Jillian Kaimo). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Erik Brandt teaches typography and visual communication at Virginia Commonwealth University in Doha, Qatar, and has been active in university teaching since 1998. Educated internationally, his research interests focus on issues of globalization that affect and drive the complexities of inter-cultural visual communication systems. His career began as a cartoonist in Japan, and has since found focus largely in print media. He maintains a small graphic design studio, Typografika, and has also received recognition for his short films. He is currently Chair of the Design Department and Professor of Graphic Design at MCAD (Minneapolis College of Art and Design) in Minneapolis, Minnesota. Author of Ficciones Typografika (2019). Speaker at ATypI 2006 in Lisbon. Designer of these experimental typefaces at FontStruct in 2008: Pixel System 26 (an update of Zirkel System (1999), a circle font also by Brandt). [Google] [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Erik Schmitt grew up in Seattle and the San Juan Islands but moved to the Bay Area to study design and photography at the California College of the Arts where he received a B.F.A. in 1993. Author of American Bauhaus (2022), which is about Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history such as Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague). His essay on information design. Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog. Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin. He made the following typefaces and type families:
Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012. View Erik Spiekermann's typefaces. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Don Hosek reviews the major books on typography. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Digital typefaces influenced by Drawlet Portfolio include Jeff Levine's Art Class JNL (2014) and Technopen JNL (2013). [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 typeface 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 typeface based on the logotype of the rock band Botellita de Jerez. Gandhi (jointly designed with Raul Plancarte) won an award at Tipos Latinos 2012. Soberana Sans (Raúl Plancarte and Cristóbal Henestrosa), made for the Mexican Government in 2012-2013, won an award at Tipos Latinos 2014. Ayotzinapa (2015, by Raul Plancarte and Cristobal Henestrosa) won an award at Tipos Latinos 2016. His titling typeface Royal Charter won an award at Tipos Latinos 2018. This is a digital revival by Cristobal Henestrosa based on an experimental typeface named Charter, designed yet never fully finished by William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristobal used for Royal Charter (and later, Mon Nicolette) were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards. It was published in 2020 as Mon Nicolette at Sudtipos, where the help of Oscar Yanez was acknowledged. Fontsy link. Mon Nicolette also comes in a variable format with weight and optical size axes. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
German type and graphic designer (b. 1910, Augsburg, d. 1991, Augsburg) who created this text family in 1945. Coauthor with Lisa Beck of Schriftschreiben Schriftzeichnen (1977, München) and Kalligraphie (1988, München). Older texts by him include Alphabete (1974, München), Zeichen, Schrift und Ornament (1960, Callwey, München), and Buchstabenbuch (1954, Callwey, München). Nerdinger was active in the German resistance against the Nazis and was arrested in 1942 by the Gestapo and convicted to three and a half years of prison and forced labor. After the war, he worked chiefly at the Augsburger Kunstschule. One of his alphabets led to Lola (2013, Laura Meseguer). The workhorse Newbery Sans Pro (2018, Alejandro Paul) and the skyline didone Rigatoni (2017, Alejandro Paul) are also based on Nerdinger's examples. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lettering book edited by Kevin Horvath&Jerry Lobato (1988). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
New York-based publisher of Scroll Book (1876), which showcases some ornaments and borders. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Ticket and Show Card Designing (1924, publ. Sir Isaac Pitman and Sons, London). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fr. Ad. Becker and F. Schweimanns coauthored Die moderne Schrift. Camera (1936, Intertype) is described by McGrew as a novel cursive letter with light, monotone strokes suitable for use on personal stationery and announcements. The design is based on Korso (1913). Korso was revived in digital form by Coen Hofmann at URW++ in 2016 as Marli. It is a vintage script that feels a bit forced. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Publisher of Neues Vollständiges Monogramm Alphabet (1886). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French author of Histoire De L'imprimerie Impériale De France, Suivi Des Spécimens Des Types Étrangers et Français De CetÉtablissement (Paris, l'Imprimerie Impériale, 1861). This 578 page tome is descrbed by Bigmore and Wyman as follows: An account of the different state printers of France from the time of Francis I, who instituted the distinction of Printer to the King. Robert Estienne was one of the first royal printers before he went to Geneva. The history of the printing establishment originally known as L'Imprimerie Royale is then detailed, and an account of its successive directors follows. To this succeeds an elaborate description of the present establishment, its system of business, its productions, machinery, materials etc, even to the associations for charitable or educational purposes which have been formed by the workpeople. In an appendix there is a statement of the French laws relating to printing and statistics as to the position of the art. [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 typeface 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). In 2017, Steve Jacakaman (Red Rooster) designed Lodestone Pro, which is based on Marvin (1969, by Michael Chave). According to Wes Wilson's web site, 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 typefaces, Type catalogue (1976). Some of the typefaces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). Bully Pulpit Plain NF (2014, Nick Curtis) is a revival of Bullion Shadow. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fraktur.de gives information on books on Fraktur writing. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fat Faces: origins
| On February 22, 2021, Sebastien Morlighem gave a great Zoom talk in a seminar series hosted by The Cooper Union in New York. In it, he described the beginnings of fat types from around 1780 until their zenith of fatness and development around 1825, all in London. Here is a summary of the exposition for those who have no access to the video at The Cooper Union. Sebastien started with quotes from famous type experts and type historians:
Without a good definition, but eager to tell us the story, Sebastien showed examples of gradual thickening of the stems and increase of contrast from bold to fat, starting in Thomas Cottrell's foundry, where Robert Thorne (1754-1820) was employed. After Cottrell's death, Robert Thorne bought his foundry in 1794 and replaced the types by his own. Already in 1774, Thomas Cottrell had shown big fat letters in his A Specimen of Printing Types, very much related in shape to the Caslon types, as Cottrell had previously worked for the Caslon foundry. Similar large letters were also shown in broadsides by William Caslon in 1785. This was the time that a need arose for advertizing via posting bills and large lettering on buildings and coaches. Not to be outdone, Edmund Fry showed a very bold Ten Lines Pica in 1787 and S&C Stephenson had a sixteen lines pica in 1796. Thorne in his 1794 book, A Specimen of Printing Types, shows for the first time lower case versions of the letters. Still, serious mechanical challenges remained, as the early types of posting bills were often sand cast. Sometimes printers would use wood types, and in rare instances, even fill in the fat letters by hand. The period from 1805 until 1810 saw the rise of the fat face; Sebastien showed us examples, in particular, of great use by the Liverpool-based printer G.F. Harris. Type historian Daniel Berkeley Updike (Printing Types: Their History, Forms and Use, Harvard University Press, 1922, vol. 2, p. 196) wrote: Thorne [...] is responsible for the vilest form of type invented up to that time. Thorne's specimen book of "Improved (!) Types" of 1803 should be looked at as a warning of what fashion can make men do. Stanley Morison, for whom Sebastien showed little respect, even wrote Thorne's "fat grotesque" [sic] was the first original English design to make an impression abroad. [...] With Thorne was produced a letter during 1800-1803 which was a novelty, distinct and dreadful. [Memorandum on Revision of the Typography of "The Times" [1930], Selected Essays on the History of Letter-forms in Manuscript and Print. Edited by David McKitterick, Cambridge: Cambridge University Press, 1980, vol. 2, p. 305] Great progress was made in the genre by Caslon & Catherwood ca. 1810, who slowly evolved fatter types from bold typefaces. In 1812, William Caslon Juior (William Caslon IV) introduced a new production method, which he called the sanspareil matrices. They would allow for more accurate and crisper letters, and more efficient production of very large lettertypes. And so, the race was on, to make bigger and fatter typefaces. Other, newer foundries also started showing the popular fat types, including Vincent Figgins in 1815, caslon & catherwood in 1820, and Thorowgood in 1821, a year after he bought Thorne's foundry after Thorne's death in 1820. Nicolete Grey in XIXth Century Ornamented types and Title Pages [1938, London: Faber and Faber Limited] had this to add to a fat face by Fry and Steele from 1808: In this letter of Fry [...] the process seems to have reached a norm. It is a superb, wide, generous letter, magnificently roman, but with a good deal less of order and more of pomp than Trajan's classic. [...] It is a letter which falls into no category. In the process of fattening, Cottrell's ordinary eighteenth-century capital has changed, the modelling has been exaggerated and the shading become uniformly vertical and the forms of the letters have grown softer and rounder, yet it is not a modern face, for the shading is quite gradual and the bracketing very full, nor are the thick strokes thick enough, nor are the thin strokes thin enough, for it to be a fat face. Sebastien wrote tthis all up in a booklet, Robert Thorne and the origin of the fat face (2021). The video of his talk is at Type@Cooper in the Lubalin series. [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The Adobe Thai typefaces were commissioned 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. Co-designer with Robert Slimbach and Tim Holloway of Adobe Devanagari. Between 1978 and 1982, Tim Holloway and Fiona Ross designed Linotype Bengali based on Ross's research for her doctoral studies in Indian palaeography. In 2020, Fiona Ross and Neelakash Kshetrimayum were commissioned by Monotype to update that popular typeface, still called Linotype Bengali. In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available. Bio at ATypI. Her books and/or essays:
Speaker at ATypI 2010 in Dublin and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Flashfonts
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Abstract Fonts link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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. Link to the 1914 text. [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fontador (was: Arne Freytag)
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His Manometer (2014) is a pneumatic ultra-black slab serif typeface with soft corners and fine counters. Manometer Sans (2014) is the sans version. His Quitador (2014) will make even the most zealous bureaucrat boringly happy. Quitador Sans followed in 2016. In 2015, Arne published Curve, a fashion didone. Author of Toward a new typeface A type design project (Comedia, 2005, vol. 2). Typefaces from 2016: Punto (dot matrix font), Signage (dot matrix style). Typefaces from 2017: Quador (squarish serif), Ador (humanist sans). Typefaces from 2018: Ador Hairline, Punto Poly (a stackable dotted stroke font), Quador Display. In 2019, Arne published the soft serif family Bionik and the minimalist geometric sans typeface family Object. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Fontarte
| 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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Fontbook
| Samvado Gunnar Kossatz collects over 2000 font families in a book. [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Sean Cavanaugh's huge selection of books on fonts and typography, offered in cooperation with Amazon. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A research article published in 1993 by Luc Devroye at EuroTeX. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A book by Intertype Corporation with one-line specimens, dated 1954. It is a catalog of their typefaces for the Intertype Fotosetter composing machine. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fr. G. Knudtzons Bogtrykkeri operated in Copenhagen, Denmark. The type specimens from their printing house were published in a 330-page book, Prøvebog fra Fr. G. Knudtzons Bogtrykkeri (ca. 1900). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Pixaçao: Sãp Paulo Signature (2007, XGPress), and Cholo Writing: Latino Gang Graffiti in Los Angeles (2009, Dokument Press). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
François Thibaudeau
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François Thibaudeau: La Fonderie Typographique Française Album d'alphabets (1920) | Specimen of typefaces from La Fonderie Typographique Française showcased by François Thibaudeau in his 1920 book, Album d'alphabets pour la pratique du croquis-calque, édité spécialement pour le Manuel français de typographie moderne (imp. G. de Malherbe, Paris). The alphabets in this book:
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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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Frank Adebiaye
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Rochester Institute of Technology Professor Emeritus Frank Romano had a long career in the printing and publishing industries. He was the editor and publisher of TypeWorld between 1977 and 1990, and later Electronic Publishing, Computer Artist, and Color Publishing magazines. He is the author of sixty books, including the 10,000-term Encyclopedia of Graphic Communications (with Richard Romano). His books were among the first on digital printing, computer-to-plate, workflow, PDF, QuarkXPress, InDesign, and new media. His latest books include History of the Linotype Company (RIT Press, 2013) and History of the Phototypesetting Era (California PolyTechnic Institute GRcL Press, 2014). He is president of the Museum of Printing in Haverhill, MA which houses the only collection of cold type systems. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of The Signists Modern Book of Alphabets (1906). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Their catalog is published in binder form in Film Alphabet Compendium Franklin Photolettering. In 1974, Paul E. Kennedy published Modern Display Alphabets: 100 Complete Fonts Selected and Arranged from the Franklin Photolettering Catalogue (Dover). Typefaces by them included
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Aka Fred Africkian. 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." [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Fred Smeijers
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Frederic Goudy
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His typographic work:
Author of Monotype Ornaments (1928, Lanston Monotype Corp) [this book is freely available on the web thanks to Jacques André]. Many ornaments in this book have been digitized; see, e.g., Arabesque Ornaments (for the 16th century material) and Rococo Ornaments (for the 18th century ornaments). Warde also published the following privately in 1926 with Stanley Morison: The calligraphic models of Ludovico degli Arrighi, surnamed Vicentino---a complete facsimile and introduction by Ludovico degli Arrighi. Digital fonts based on his work include LTC Metropolitan (Lanston), Centaur (Monotype and Linotype versions) and Arrighi BQ (Berthold; this font has romans by Bruce Rogers and an italic by Frederic Warde). Wiki page. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of many books on grammar and writing. These include Word Study and English Grammar, Abbreviations and Signs, Division of Words, Punctuation, Books Before Typography, Compound Words, Capitals (1918, United Typothetae of America Chicago, IL), and The Uses of Italic (1918, United Typothetae of America Chicago, IL). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Copley's Plain & Ornamental Alphabets (1870). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Digital typefaces based on his work include New Saxon Initials (David Nalle, 2016), Delamotte Initials One (2016, David Nalle), Delamotte Initials Two (2016, David Nalle), Museum Initials (2007, John B. Wundes) and Bad Situation (Intellecta Design, 2007: based on an 1864 design called Example Alphabet). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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. All his other typefaces 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). For a digital revival of Friedrich Bauer Grotesk, see FF Bauer Grotesk (2014, Thomas Ackermann and Felix Bonge for Fontfont). Digital revival of Senats Fraktur: Senatsfraktur (2020, Raph M. Unger). Digital revivals of Genzsch Antiqua:
Author of Chronik der Schriftgiessereien in Deutschland und den deutschsprachigen Nachbarländen (1928, Offenbach am Main). A PDF file exists that was made and expanded by Hans Reichardt in 2011. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2002, Friedrich Forssman and Ralf de Jong published Detailtypografie: Nachschlagewerk für alle Fragen zu Schrift und Satz (Verlag Hermann Schmidt). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Friedrich Groegel
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Author of The Mystic Art of Written Forms: An Illustrated Handbook for Lettering (Salzburg: Neugebauer Press, 1980), and Bibliophile, Buchgraphik, Schriftgraphik (Salzburg, Austria: Verlag Neugebauer Press, 1983). Typefaces influenced by his style:
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Friedrich Soennecken (b. 1848, Iserlohn-Dröschede, Sauerland; d. 1919, Bonn) was an entrepreneur and inventor. He was the founder of Soennecken, a German office supplier. In 1875 he founded F. Soennecken Verlag, a commercial enterprise in Remscheid, Westphalia. His main invention is the round writing style of calligraphy and the pen nib associated with it. In 1878, Soennecken developed a method for creating glyphs, based on metal elements that are arcs or straight lines. The center lines of the glyphs are aligned with a grid. This was introduced in the German educational system in 1913. He wrote didactic texts on his construction method and on penmanship for the classroom. For example, he authored Methodical Text Book to Round Writing, A. Eltzbacher & Co., 1879. [Google] [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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Fritz Grögel
| Fritz Grögel (b. Wassertrüdingen, Germany, 1974) studied graphic design and typography at the University of Applied Sciences in Potsdam, Germany. In his graduation work French Délice, he explored the history of French letterpainting. After several years of work as a corporate designer, he attended the TypeMedia master course of KABK The Hague where he researched the German letterpainting tradition. Together with Elena Albertoni, he founded the studio LetterinBerlin in 2011. The following year he conducted extensive research at Berlin's Kunstbibliothek on the history of German lettering which is the subject of his talk at ATypI 2013 in Amsterdam. That talk is based on the content of the book Karbid From lettering to type design (2013) by Verena Gerlach and Fritz Grögel published by Ypsilon Éditeurs and released on the occasion of the Amsterdam conference. His project for the Masters in type design program at KABK in 2010 led to the signage family Hinterland (2010), and to Builderdyke (2010), a revival project with Paul van der Laan: a digital reinterpretation of Johann Michael Fleischmann's Mediaan Romein. Other typefaces by him include Glupsisch (2010, is a round piano key typeface created with the help of Typecooker), Fritzskript (a flowing connected script that was done at the Ecole supérieure Estienne, Paris), and Estelita (a calligraphic hand that was inspired by the titles of a French art deco silent movie by Marcel L'Herbier called L'Inhumaine). Flickr page. Old URL for Fritz Grögel. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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 type catalogs for sale. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. This book includes essays by Steven Heller, Erik Spiekermann, Christopher Burke and others, and was edited by Petra Eisele (Professor of Design History and Design Theory at the University of Mainz), Annette Ludwig (Director of the Gutenberg Museum) and Isabel Naegele (Professor of Typography at the University of Mainz). The publisher's blurb: Celebrating its 90th anniversary this year, the story of Futura is a fascinating one. Charting its Bauhaus origins to its use as the first font on the moon in 1969, this book tells the story of how the typeface went from representing radicalism in design to dependability. It is durable and timeless, and is worthy of being rediscovered and celebrated. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with H. George Fletcher of Aldus Manutius A Legacy More Lasting Than Bronze (2015, The Grolier Club). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gail Anderson is well-known for her typography at Rolling Stone magazine. Coauthor with Steve Heller of New Ornamental Type and Type Speaks: A Lexicon of Expressive, Emotional, and Symbolic Typefaces (2021). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with Paul Harris of The Fundamentals of Typography (AVA Publishing SA, 2006). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Influential French type activist, b. Le Florez, 1927, d. Paris, 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. In 2014, Sabrina Ekecik developed a typeface, Blanchard, that is based on Blanchard's handwriting. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Geen Bitter
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In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam. Thom's graduation typeface in 2017 at KABK was Rikhard. He wrote: A variable font project with letter shapes inspired by English letter forms from around the 1780s, mainly Richard Austin, hence the name. With a weight axis for hierarchy in texts and an optical size axis in order to make small and larger text sizes look good. This project is an exploration in variable fonts. The goal was to learn about it, build workflow solutions, and have fun. This project is meant for typography on the screen. Browsers can take advantage of variable fonts, optical size can be automated and with CSS and JavaScript all the styles of the variable font can be accessed. One font, many styles: the future. Their commercial typefaces:
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Digital revivals include Vintage Ornamental (2016) and Gothic Ornamental (2016) by Ludmila Riumina. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gene Gable
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Author of An Introduction to the History of Printing Types (London, 1998). The original publication was in 1961. He also wrote Finer Points in the Spacing & Arrangement of Type (Classic Typography Series) (Hartley & Marks; Revised edition, 1998). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
A free interpretation of the copperplate script styles of The Universal Penman can be seen in the monumental font Penabico (2010, Intellecta Design). Images: From The Universal Penman, Roundhand Script (ca. 1740), Greek Writing (1743). Digital typefaces based on Bickham's scripts include 1739 Bickham (2010) and 1741 Bickham (2013) by Klaus-Peter Schäffel, Bickham Script (1997, Richard Lipton), Bickham Script 3 (2014, Richard Lipton), Penabico (Intellecta Design), and loose interpretations such as Poem Script (Sudtipos). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In 2013, James Puckett (Dunwich Type Founders) revived five typefaces from this manual as digital typefaces in his Becker Gothics collection. They include Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences. In 2009, Becker's 1854 book was used by Monogram Fonts Co in the creation of Noir Monogram (2009), which was based on Becker's Pearl type. Downloads of his 1854 book: University of Michigan scan. For a Facsimile, see Becker's ornamental penmanship. A series of analytical and finished alphabets [FACSIMILE]. Free PDF file of the latter book. In 1993, Dover reprinted 23 complete alphabets in Ornamental Calligraphy [With 50 Plates] (Dover Books on Lettering, Graphic Arts & Printing). Local download of his 1854 book. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Bruce Rogers: American Typographer (New York, The Typophiles, 1997). Afterword by Ronald, Jane, and Bruce Mansbridge. Distributed for the Typophiles by Oak Knoll Press. Oak Knoll writes: Short biography of Bruce Rogers (1870-1957), a reprint of the 1965 Masters Thesis by Mansbridge, who was acquainted with Mr. Rogers during the last decade or so of his life. (Facing the title page is a photo of the author and Mr. Rogers.) There is no discussion of books designed by Mr. Rogers, but a concluding chapter quotes various comments, positive and negative, by others on the work of Rogers. Concludes with notes, primary and secondary bibliographies (not updated since the original publication). Printed at the Stinehour Press. Bruce Rogers' colophon device is gilt-stamped on the front cover. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Designer in Barcelona, who published a small booklet enttled Sixties and Type. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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), E.R. Weiss: The Typography of an Artist (Oldham: Incline Press, 2011) and German Graphic Designers in the Hitler Period. He spoke about Koch at ATypI 2003 in Vancouver. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gerard Unger lived in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N. Werkman Prize (1984), the Maurits Enschedé-Prize (1991), the 2009 SOTA Typography Award and the TDC Medal (2017). Author of Terwijl Je Leest (Amsterdam, 1997) and Theory of Type Design (2018). Books about Gerard Unger include Gerard Unger Life in Letters (2021, by Christopher Burke, De Buitenkant). Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. FontShop link. Klingspor link. | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gerlach & Schenk
| Martin Gerlach is the author of Allegorien und Embleme (1882, Leipzig) and Das Gwerbe Monogramm (1881). At Gerlach & Schenk, he published Gerlach & Schenk Brochure (1888). [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
The influence he had on Dutch type design is based on a theoretical system he called The stroke of the pen, and his position as the main teacher of type design in the country for three decades. Books on his system include The stroke of the pen: fundamental aspects of western writing (1982), and De Streek: Theorie van het schrift (1985) (translated by Peter Enneson in 2005 at Hyphen Press in London: The Stroke: Theory of Writing). His point in his oeuvre is that letterforms are rooted in handwriting. Other publications: Letterletter (Vancouver, Hartley&Marks Publishers, 2000), De Staart van de Kat (1988,GHM, Leersum), De Handen van de Zeven Zusters (with Willem Dijkhuis: Van Oorschot, Amsterdam, 2001), Das Kind und die Schrift (Typographische Gesellschaft, München, 1985). His typefaces:
In 2013, Geen Bitter (Thom Janssen, Jorn Henkes and Rogier van der Sluis) copublished Gewone letters Gerrit's early models at Uitgeverij De Buitenkant, Amsterdam. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. Scan of a 1974 postage stamp by Noordzij. Klingspor link. Letterror link. Flickr group with Noordzij photographs. Interview by Robin Kinross, 2001. The Enschedé Font Foundry link. Video from 2014 by TYPO Berlin. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Books published about the Gerrit Noordzij Prize:
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Type reading lists compiled by Gerry Leonidas, who teaches at the University of Reading. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gert Wiescher
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Giambattista Bodoni
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Giambattista Bodoni
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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 Palatino include Book Antiqua (by Monotype, distributed by Microsoft---this typeface 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 (Compugraphic), 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Modelli Di Calligraphia (1898). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Italian author of Vita del cavaliere Giambattista Bodoni: tipografo italiano, e catalogo cronologico delle sue edizioni, Volume 1 (1816), a biography of Giambattista Bodoni, and a catalog of his work. Local download. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Neubau Akademie Study of a Grotesque Typeface in its Historical and Sociocultural Context (2020). This is a translation of Neubau Akademie, Historische und soziokulturelle Kontextualisierung einer Groteskschrift (2016). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Keynote speaker at ATypI 2011 in Reykjavik. FontShop link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gunnlaugur S.E. Briem
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Author of Farbe und Form in der Reklamegestaltung, München, 1936. [Google] [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Gustave Mayeur
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
The former book was a big source of inspiration for Nick Curtis. For example, he created the typeface Shishka Bob NF (2005) based on the experimental calligraphy in that book. Type designers who were inspired by, revived or extended alphabets shown in Letters and Lettering include:
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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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Nicholas Kis. A Hungarian Punch-Cutter and Printer, 1650-1702. The creator of the Janson Type, San Francisco / Budapest, 1983. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Coauthor with G. Scott Clemons of Aldus Manutius A Legacy More Lasting Than Bronze (2015, The Grolier Club). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
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Handwriting Models
| Handwriting Models An Icelandic Manual, 1883 [fre download] 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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Karl Klingspor Leben und Werk, Offenbach, 1991. [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 who is associated with the Klingspor Museum in Offenbach, Germany. 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. Author of Bleisatzschriften des 20. Jahrhunderts aus Deutschland (2008, Offenbach) and Bleisatzschriften des 20. Jahrhunderts International (2009, Offenbach), both in DVD format. [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 until 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
In Modern Brush Lettering (1931), we find these art deco alphabets by Harold Holland Day: Novelty Gothic, Strength Characteristics (a modified Futura), Broadway, Modern Bulletin. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the instruction book Lettering 60 Plates in a Variety of Alphabets (1950, Pitman Publishing Corporation. New York, NY). Reprinted in 1962. Digital revivals were undertaken by Jeff Levine. These include
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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 Vel Vet Show Cards (1924). Some of his alphabets can be seen in Thomas Woods Stevens's book Lettering (1916). All of the alphabets in the latter book were digitized by Dick Pape in 2012 and 2013, and are free and downloadable from this site: TWS Heavy Capitals 49, TWS Italian Gothic Caps 80 (Lombardic), TWS Renaissance Alphabet 39, TWS Robinson Caps 23, TWS Roman Caps 13, TWS Slab Capitals 22, TWS The Japanese 32. Futher digitizations of the 1916 alphabets include Jeff Levine's Tenement JNL (2020: of the Cooper Black style alphabet TWS Heavy Capitals 49), Da ABF Mafia's Yoshi Toshi (2003) and David Nalle's Yoshitoshi (2003), both of TWS The Japanese 32. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Director of art education in Buffalo, NY. In 1924, he published several lettering alphabets in his book, Alphabets and Letters for Lettering (Milton Bradley Co, Springfield, MA). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the technical textbook Newspaper typography, Stanford University Press, Stanford, CA, 1942. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Haruta Design Studio
| Haruta Yukari is a graphic designer. Author of Kawaka Ikehara, A Hundred Vistas of Letters #98 (Robundo, 2000), Kawaka Ikehara: A Man between Calligraphy and Type, Japanese Modern Type: Shozo Motoki And His Surroundings (the Committee of the Japanese Modern Type: Shozo Motoki and His Surroundings and NPO Modern Printing Preservation Society, 2003), and a thesis titled Early Modern Hiragana Type and Its Designer: Kawaka Ikehara and His Surroundings (Japan Society of Typography Journal #09, 2016). She is the principal of Haruta Design Studio and a lecturer at Robundo Shinjuku Private Typography School from 2006 to 2018. Speaker at ATypI 2019 in Tokyo. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
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Author of
Creator of the art deco alphabet Modern Thick and Thin. For a digital revival (with more rounded terminals) and extension of this font, see Rodney Vicik's Fats Deco (2020). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Plain & Ornamental Alphabets (1898). [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 Meisterliche Typographie (Saarbrücken, 1952). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German type designer, b. 1942, Austria, d. 2018, Japan. He started out apprenticing as a typesetter. In the 1960s, he studied in the Basel School of Design in Switzerland under the direction of Emil Ruder, Kurt Hauert and Robert Buchler. Schmid went on to West Berlin and then Stockholm (where he created covers for journal Grafisk Revy). Schmid traveled extensively and worked in Canada, Germany, Sweden, and Japan, before relocating to his permanent home in Osaka in 1977. This was where he developed his iconic design aesthetic that blends European and Japanese elements. One of his most notable works was the brand identity for Japanese sports drink Pocari Sweat, which is still in use in East Asia, Southeast Asia, and the Middle East today. Schmid wrote several essays about typography for global design magazines including Baseline, Idea, and Typografische Monatsblätter. His books include Typography Today, Helmut Schmid: Design is Attitude and 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). He founded the trendsetting art deco magazine Wendingen in 1918 and remained its chief editor until 1931. Wijdeveld designed many letter types for special projects, such as book covers, buildings, and letterheads. Examples include a poster entitled Architectuur Tentoonstelling (1931), a poster entitled Internationaal Theater Tentoonstelling (1922), and an illustration for De Bijenkorf (1922). In 2003, Hans Oldewarris published Wijdeveld---Art Deco Design on Paper at 2010 Publishers. That book shows stencil-like art deco typefaces such as Wendingen and Amsterdam Deventer, both designed in the 1920s. Wijdeveld's lettering and alphabets inspired these digital typefaces:
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Author (1800-1888) of Traité de la typographie (1825, imp. de H. Fournier, Paris). Local download. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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), Alphabets, Numerals and Devices of the Middle Ages (1845, William Pickering, London) 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, London-2002, Falmouth) 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] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Typography professor in Leipzig, b. Leipzig, 1869, d. Leipzig, 1937. He taught at Leipzig's Akademie für Graphische Künste und Buchgewerbe. One of his students was Jan Tschichold (in 1919). His typefaces:
Author of Schribschriftnormen (1928, K.W. Hiersemann), Delitzsch-Antiqua: eine künstlerische Schriftgarnitur mit Initialen und Schmuck für zeitgemässe Buchausstattung (1915). Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 the German media use Hermann. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign. Awards:
Some publications by Hermann Zapf: List of his typefaces:
Books and references about him include:
Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link]. Linotype link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hibernia Type
| Christopher Burke (b. 1967) is a British type designer, typeface designer and type historian. He worked at Monotype Typography in the UK, before studying for a PhD in Typography&Graphic Communication at the University of Reading, England, where he planned and directed the MA in typeface design from 1996 until 2001. Hibernia Type is run by Christopher Burke. The oeuvre of Burke contains typefaces that blend in the background---legible, book types, magazine types that want to go unnoticed:
Author of Gerard Unger Life in Letters (2021, De Buitenkant) and Paul Renner: 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. In 2013, Christopher Burke, Eric Kindel and Sue Walker co-edited the wonderfully informative book Isotype Design and Contexts 1925-1971 (Hyphen Press), which includes a full discussion of Otto Neurath's work. FontFont bio. FontShop link. MyFonts listing. Chris lived (still lives?) in Barcelona. View Christopher Burke's typefaces. [Google] [MyFonts] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Handbook of Type and Lettering (1992, Design Press, or Lund Humphries), a translation of The Sixth Edition of Schrift und Schreiben (Fachbuchverlag GmbH Leipzig, 1971), which has been lauded as the best books ever on type and typography. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Hiroshi Komiyama is a representative of Japan's Sato Typography Design Institute, type design adviser to DynaComware Corp. in Taiwan and Samsung Electronics and a special reviewer of Tokyo TDC's Type Design Department. He studied type design under Sato Kenosuke, Komiyama is a recognized authority in Japanese type design and Japanese typographical history. He has designed several fonts including the Heisei Mincho font, and Ryobi's phototypesetting font. His publications include The Basics of Type Design (2010), The History of Movable-Type Printing (2009), The Open Type Version of Japanese Movable Type Collection (2007), and Chronicles of Book and Movable-Type Printing (2000). [Google] [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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Argentinian typography expert. In 2020, he co-authored Legibilidad y tipografia: la composicion de los textos (Campgrafic, Spain) with José Scaglione. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of A Guide to Lettering (1947). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of English Printers' Ornaments, 1924, Burt Franklin, New York. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Kibbe's Alphabets (1900), which shows all caps decorative alphabets he drew between 1885 and 1890. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
I Love Typography
| Type information site and blog run since 2007 by graphic designer and web developer John D. Boardley from Kagawa, Japan. Now based in the UK, I Love Typography became a font vendor in 2020 under a junta that comprises John Boardley, Nadine Chahine and Julia Hines. Glossary. Examples of inspiring use of display/poster type. John Boardley is the author of Typographic Firsts (2019, Bodleian Library, University of Oxford). [Google] [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German type personality (b. 1973, Fulda) who studied visual communication at the Bauhaus University in Weimar. She is involved in type at the Museum für Druckkunst Leipzig and in the DIN committee for type classification. Founder of Kupferschrift, a type expertise firm based in Weimar and Düsseldorf. Alternate URL. She is a professor of Kommunikationsdesign und Typografie and head of the department FB Design at the HBK (Hochschule der Bildenden Künste) Saar. She researches the classification of typefaces, the history of grotesks and legibility. She is co-author of Helvetica Forever (Lars Müller Publishers) and Buchstaben kommen selten allein, a typographic reference book. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. At the latter meeting she introduces Type Record, a data base on typefaces run by her and Nick Sherman. Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
At this French institute in Lyon which forms part of the Musée de l'imprimerie de Lyon, there are occasionally courses on typography. For example, in the Book History Workshop from 5-8 April 2004, James Mosley gave a course on Type, lettering and calligraphy 1450-1830. From 25-28 April 2005, he gave a course there on Typographie et calligraphie 1830-1980. We also find a list of books on typography and calligraphy, covering 1450-1830. [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 typefaces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper typefaces 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 typefaces 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 typeface for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold typefaces. 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 typefaces, which are revivals of older typefaces known as Egyptians. The Intertype typefaces 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] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
Irene Scala is a fellow typophile and graduate of The Cooper Union for the Advancement of Science and Art, where she had the opportunity to study with educators such as Paul Rand, Lou Dorfsman, and Milton Glaser. After earning a B.F.A. from the Cooper Union, she went on to postgraduate study at The Bezalel Academy of Art and Design in Jerusalem. She now lives in New York City, where she is associated with Designing with Type: Designingwithtype.com is a web site devoted to the art and appreciation of typography. It offers a unique typographic resource for students, educators, and professionals, showcasing talent from around the world. Originally created by James Craig as a supplement to his popular textbook Designing with Type specifically for his Cooper Union students, it has grown to include contributions presented by fellow educators and designers to embrace a wider audience. In 2006, James Craig and Irene Korol Scala published the blockbuster book Designing with Type, 5th Edition: The Essential Guide to Typography (published by Watson-Guptill). Designer of a wonderful logotype entitled Cognac One (2012). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Irma Puskarevic is a graphic designer and teaching assistant. She took her Master's and Doctoral degrees from the University of Novi Sad, Faculty of Technical Sciences, Department of Graphic Engineering and Design. She is currently a teaching assistant at the Department of Graphic Engineering and Design. Her academic research covers the effectiveness of typography and visual rhetoric in advertising images. She is a coauthor of Typeface and Typography Practicum. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Professor of Typography at the University of Mainz, Germany. Coauthor of Neue Schriften / New typefaces (2014, Niggli), which contains a type exhibition held in 2013 at the Gutenberg Museum in Mainz, Germany. It also has interviews with 25 type designers. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [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, we find these typefaces: 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: A Treasury of Typography Book (New Rochelle: The Myriade Press, 1978), Types of Typefaces (New York Sterling Publishing Co, 1967) and Type and Typefaces and how to recognize them (New York Sterling Publishing Co, 1968). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch architect in Amsterdam who edited the lettering model book Alphabet: letters van allerlei vorm (1895-1898), which, according to Mathieu Lommen, is the prettiest and most ambitious model book ever published in The Netherlands. The text has lettering examples from many contributors, such as Jan Boerma, C.L. Stal, and J.B. Heukelom (1875-1965). Heukelom's contributions include Sierletters (Dutch art nouveau style) and Perspectiefletters. Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of A Catalog of Maya Hieroglyphs (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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Jack Stauffacher (b. 1920 or 1921, d. 2017, Tiburon) was a master printer who worked with metal and wood type and printed everything from business cards and tickets to fine art books and museum monographs. 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. Later he ran the Greenwood Press in San Francisco, and lived in Tiburon. 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. Jack 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). Hunt Roman is a type designed by Hermann Zapf in the early sixties in collaboration with Jack Stauffacher. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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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Author of Histoire de l'écriture typographique: Le XIXe siècle français (2013, with Christian Laucou). From the blurb: Pour montrer toute la richesse de cette période, les auteurs ont choisi d'en raconter les aventures successives: les Anglais avec l'invention des caractères gras, des égyptiennes et des sans-sérifs; la fonderie GillÃé qui devient celle de Balzac puis de De Berny et qui rejoindra, à l'aube du XXe siècle, celle des Peignot; la saga des Didot, de la rigueur de Firmin à l'extravagance de Jules; l'Imprimerie royale, puis impériale ou nationale, ses caractères orientaux et ceux de labeur, qui perdureront tant qu'il y aura du plomb; Louis Perrin, qui réinvente les elzévirs; les grandes fonderies françaises, qui rivalisent d'invention et de copies, et, enfin, les évolutions techniques de tout le siècle. The book also contains chapters by Alan Marshall, Alice Savoie and Matthieu Cortat. Author of Caractères numériques: introduction, in: Cahiers GUTenberg, 1997, pp. 5-44. Author of Histoire de l'écriture typographique---Le XXe siècle, (Atelier Perrousseaux, Gap, France, 2016). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jacques André
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James Clough co-founded the ACI (Associazione Calligrafica Italiana). He is a member of the Nebiolo History Project, and has been CAST's editor and adviser since its inception in 2013. In 2015, James Clough and Chiara Scattolin coauthored Alphabets of Wood: Luigi Melchiori & the history of Italian wood type (Tipoteca Italiana, Cornuda, Italy). David Wolske writes: Alphabets of Wood is the most recent and arguably the most beautiful addition to the new wave of wood type scholarship. It is also important because it is the first publication to seriously examine the historical and cultural significance of Italian wood type manufacturers. In the first part of the book, James Clough calligrapher, writer provides a broad historical overview of wood block printing, from fourteenth- and fifteenth-century hand carved imagery and text through the nineteenth-century American origins of moveable wooden type. In Chapter 6 Clough introduces us to Luigi Melchiori, a skilled designer and manufacturer of wood type, active during the late nineteenth and early twentieth centuries in the Veneto Region of Italy. Through beautifully paced layouts, sumptuous photography, and a richly textured typographic palette, Melchiori's life, work, and legacy are situated in the context of other Italian wood type manufacturers. In the second part of Alphabets of Wood, Chiara Scattolin digs deep into the archive of wood type fonts, specimen books, tools, and documents held by Tipoteca Italiana. Detailed testimonies from peers help to humanize "the Bodoni of wood type," making it easy for contemporary typographers, graphic designers, letterpress printers, and artists to recognize themselves in the pride and craftsmanship Melchiori brought to his work. Every chapter of the book is illustrated with stunningly handsome antique wood type specimens. Two eight-page letterpress inserts on a toothy, soft-white paper stock provide an arrestingly modern counterpoint. The Stamperia of Tipoteca Italiana printed all sixteen frame-worthy pages using original wood type from Tipoteca's Wood Type Archive. Typographically the book echoes the best of Italian design, finding a harmonious balance between industrial sharpness and sensuous fluidity. He also wrote Signs of Italy (2015, Lazy Dog Press). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
James 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Stanley Morison's biography: Stanley Morison. His typographic achievement (London, 1971). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
James Mosley (born 1935) is a retired librarian and historian who specialized in the history of printing and type design. From 1958 until 1999, Mosley was librarian of St Bride Printing Library, London. He was lecturer and 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 (1746) 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. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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James Ronaldson
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James Shimada
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James T. Edmondson
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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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Hendrik Weber or Jan Hendrik Weber. Graduate of the University of Applied Sciences in Potsdam (in graphic design) and Hochschule für Grafik und Buchkunst in Leipzig (in type design). He designed commercial typefaces published at Our Type. Later he joined Monotype to advise clients on bespoke type and develop new markets in branding. In 2016, he became type director at Monotype Germany. After that, he joined Fred Smeijers' Type By. His typefaces:
His thesis Kursiv has been published by Niggli Verlag in 2010. In 2020, Niggli published his English language book Italic. Klingspor link. Linotype link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jan Middendorp, born in the Den Haag, Netherlands, ived in Leiden, Amsterdam and Gent (Belgium) before moving to Berlin in 2005. An independent writer, translator and consultant, he teaches (taught) at Weissensee Art College in Berlin and the Plantin Institute of Typography in Antwerp. During the past fifteen years Jan has edited, written and co-written a number of well-known books on graphic design and typography, including Hey, there goes one of mine! (2002), Dutch Type (2004), Shaping Text (2012), Hand to Type (2012), Type Navigator (2011, with TwoPoints. Net), Creative Characters (2010) and Made with FontFont (2006, with Erik Spiekermann). He has an ongoing collaboration with the Bibliothèque typographique of Ypsilon Editeur in Paris and with MyFonts, where he edited the popular interview newsletter Creative Characters. In 2017, he founded Fust & Friends. | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Van Krimpen had a difficult character. Lines&Splines wrote this: Alastair Johnston, from an issue of Ampersand, once posed the question, "Do you have to be an asshole to be a good type designer?" Gerard Unger replied to the effect that even to this day, people will look over their shoulders before discussing Van Krimpen. One can almost imagine Van Krimpen waving one of his sharp serifs over his head like a stick, flailing against the difficulties of his everyday relations, his nostrils flared as they were in every portrait taken of him. MyFonts page. CV at Linotype. FontShop link. Some of his work and correspondence can be found at the University of Amsterdam. A list of typefaces based on Jan Van Krimpen's work:
Author of On Designing and Devising Type (1957, New York: the Typophiles, & Heemstede). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lithographer in Groningen, The Netherlands, who studied at Academie Minerva in Amsterdam. Born in 1856, he taught at two schools, the Quellinusschool and the Teekenschool, and died in 1938. He published the lettering model book Lettervormen voor school en werkplaats, ca. 1885, published the lettering model book Lettervormen voor school en werkplaats, ca. 1885. Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Authors of Fine Hand Embroidery (1914, New York). This book contains many embroidered alphabets and monograms. Janon Co had offices in Paris and New York. Digital typefaces based on their work include Antoinette Monogrammes (2013, Ryoichi Tsunekawa). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jaro Springer (1856-1915) of the International Chalcographical Society authored the specimen book Gothic Alphabets (1897, printed by the Reichsdruckerei, Berlin), which was also published the same year in German as Gothische Alphabete. This book showcases three ancient anthropomorphic alphabets: a pen-drawn figurine alphabet from ca. 1400 consisting of cowled figures and fabulous beasts and dragons; a figurine alphabet from 1464 engraved on wood in the Netherlands by Master of the Banderoles; and an architectonic alphabet engraved on copper. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Alphabetum Romanum (Greenboathouse Press, Vernon, BC, 2010). This book has an alphabet of Felice feliciano, ca. 1460, asc redrawn by Dewinetz. There is a forword by Paul F. Gehl of Chicago's Newberry Library. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jason Pamental (Rumford, RI) is Senior Director of Design and Technical Strategy at Isovera, where he heads the design and development team, leads workshops, and works with clients establishing their digital strategy. Jason specializes in typography for the web. Author of Responsive Typography (O'Reilly). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Dutch penman and teacher in Den Haag, d. 1848. According to Mathieu Lommen, he was probably the first one to publish a lettering model book in The Netherlands, Alphabet-album: collection de différentes feuilles d'alphabets historiés et fleuronnés (ca. 1846). Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jérôme Knebusch
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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 the italic, 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 typeface 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
His typefaces: Abécédaire à Renayures (1991, for Collector magazine), Beauté (1966, for Magazine Votre Beauté), Castillejo-Bauhaus (1980, Rapitype Madrid), Catich (1998), Digitale (1974, Hollenstein Phototypo), Gautier (1992, Agence J.-P. Gautier&Associés), Guapo (1973-75, Hollenstein Phototypo), Hollywood Script (1989), Honolulu (1974, Hollenstein Phototypo), Incise Volume (1981, for Cergy Magazine), Jamaica Experience (1978, for Rock Hebdo Magazine), Lancöme (1981, Rapitype, for Lancöme), Larcher (1974, Hollenstein Phototypo), Latina (1987, Mécanorma), Liberté Égalité Fraternité (1985, for the Ministère de l'Éducation Nationale), Logement (1980, Rapitype, for Cergy Magazine), Menhir (1973-75, Hollenstein Phototypo), New Crayon (1980, Rapitype, for Cergy Magazine), Optical (1974, Hollenstein Phototypo), Plouf (1970-74, Hollenstein Phototypo), Rasgueo (1979, for U&lc Magazine), Revival (1979, for 20 ans Magazine), Soleil (1973-75, Hollenstein Phototypo), Super Crayon (1976, Titrage CCT), Tornade (1974, Hollenstein Phototypo), Veloz (1987, Mécanorma), Vibrator (1976, Titrage CCT). 3D Alphabet (by Character) is inspired by an alphabet coloring book designed by Jean Larcher, 1978. | |||||||||||||||||||||||||||||||||||||||||||||||||||
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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
French type historian. Author of Claude Garamont: graveur et fondeur de lettres: étude historique (1914, imp. Maurice Ollière et Cie, Paris). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Inventor of the classification system Codex 1980 that provoked heated responses from luminaries such as Vox, baudin, Blanchard and Mendoza. Author of Typomanie / Jean Alessandrini; préface de Massin (Paris: La Noria, DL, 1977). In 2013, David Rault wrote the monograph Jean Alessandrini Le poète de la lettre. Klingspor link. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jean-François Porchez
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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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French author of Inventaire de la fonderie Le Bé, 1738, Archives nationales, Minutier Central des Notaires, étude LXV L. 324. In 1957, Stanley Morison re-edited this text as Inventaire de la fonderie Le Bé selon la transcription de Jean-Pierre Fournier (André Jammes). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 aficionado 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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Jerry Kelly is a book designer, calligrapher, type designer, and typographer. Since the late 1970s he has designed hundreds of books for numerous clients, including the Metropolitan Museum of Art, The Pierpont Morgan Library, The American Federation of the Arts, The American Academy of Arts and Letters, The Grolier Club, Cambridge University Press, David R. Godine Publisher, International Typeface Corporation (ITC), and others. Hs book design career started first with the Press of A. Colish in Mount Vernon, New York (1981-1991), and then with the Stinehour of Press of Lunenberg Vermont, where he rose to the position of Vice President (1991-1999). After The Stinehour Press was sold he went out on his own, designing and producing books as proprietor of Jerry Kelly LLC. His work has received numerous awards, including more than thirty selections in the American Institute of Graphic Arts's prestigious Fifty Books of the Year awards for excellence in book design. Since 1978 he has been a partner at the Kelly-Winterton Press and at the Nonpareil Type foundry, an independent type design firm. 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). In 2007, he published Spend your alphabets lavishly! The work of Hermann & Gudrun Zapf (The Typophiles and RIT Cary Graphic Arts Press). The latter book is a catalogue of an exhibition at the Melbert B. Cary, Jr. Graphic Arts Collection of the Rochester Institute of Technology, and presents a survey of work by Hermann and Gudrun Zapf. On the same topic, he wrote Manuale Zapficum (Rochester: Cary Graphic Arts Press, 2009, 24 pages, limited edition). Manuale Zapficum commemorates the ninetieth birthdays of typographers Hermann Zapf and Gudrun Zapf von Hesse through typeface specimens set in homage to the classic design of Hermann Zapf's 1968 Manuale Typographicum. The twenty specimen designs in the book are based upon quotes about the couple's oeuvre, each typeset in Zapf faces and letterpress printed by several of the Zapfs' colleagues. The contributors include Jill Bell (of Brandlettering Design), Rick Cusik (of Hallmark Cards), Jerry Kelly (of the Kelly-Winterton Press and Nonpareil Type), Nancy Leo Kelly (a designer at The Dial Press), David Pankow (curator of the Cary Graphic Arts Collection) and Doyald Young. In 2014, Jerry Kelly and Misha Beletsky coauthored The Noblest Roman: A History of the Centaur Types of Bruce Rogers (RIT Cary Graphic Ars Press). The blurb: The history of the Centaur type, likely the most important American typefeace ever designed, has been recounted untold times in very general terms, following the official version of events, purported by its designer in several publications. Yet, as the new research by Jerry Kelly and Misha Beletsky shows, there is a number of gray areas to the story. The new data, culled from archival documents, some unpublished, as well as from a variety of published sources presents this important design and its history in a new light. That book was issued in a 300-sample limited edition by the The Book Club of California in 2016. Jerry Kelly designed these typefaces:
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Editors of "Artist&Alphabet : 20th Century Calligraphy&Letter Art in America", a nice book on calligraphy. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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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 Instructions on Modern Show Writing (1921). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Publisher of A Specimen Book of Type Styles (Baltimore, MD). [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 Modern Ornament & Design (1927, 1985). J.N. Halsted shows illustrations, ornaments and graphic design elements. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Jo de Baerdemaeker
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Dutch penman and lettering artist (1797-1879), who published the lettering model book Alphabeth in onderscheiden soorten van oude, nieuwe en ornament letteren, ca. 1843. Some of his work is close to earlier model book work of Jean Midolle in Switzerland. Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Lucca (2013) is a flared humanist sans typeface that was inspired by Italian Renaissance fonts like Poliphilus, Blado, Centaur and Arrighi. Typefaces from 2015: Pleiad (seven interchangeable scripts published by URW++: Pleiad Alcyone, Pleiad Celeno, Pleiad Electra, Pleiad Maia, Pleiad Merope, Pleiad Sterope, Pleiad Taygete). Typefaces from 2017 at URW++: Meyling (emulating painted letters, or perhaps an oriental brush). Typefaces from 2020: Slazer (futuristic, sci-fi). Author of Elements of Manga Style. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Penman. Author of Theatrvm Artis scribendi, Varia Svmmorvm Nostri Seculi, Artificum exemplaria complectens (1594), a book with many European script specimens. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Joep Pohlen
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Joep Pohlen
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Lithographer and calligrapher in Utrecht, The Netherlands, 1859-1937. He published an untitled lettering model book in 1877. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
German type expert who wrote a short survey paper in 1985 entitled Deutsche Schrägschriften. In it, he deals with cursive typefaces 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). Heinrich Heeger wrote in 1973 about the story of Unger Fraktur and Kabinett Fraktur. Konrad F. Bauer penned Zur Geschichte der Unger-Fraktur (1929, Bauersche Giesserei). Klingspor link. MyFonts page. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Die Wol-eingerichtete Buchdruckerey, mit hundert und achtzehen Teutsch- Lateinisch- Griechisch- und Hebrä'ischen Schrifften, vieler fremden Sprachen Alphabeten, musicalischen Roten, Calender-Zeichen, und Medicinischen Characteren, Ingleichen allen üblichen Formaten bestellet, und mit accurater Abbildung der Erfinder derlöblichen Kunst, nebst einer summarischen Nachricht von den Buchdruckern in Nürnberg, ausgeziere, publ. Nürnberg: Johann Andred Endters seel. Sohn und Erben, 1721. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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Oliver Linke, an expert on Neudörffer, and Christine Sauer published Zierlich schreiben Der Schreibmeister Johann Neudörffer der Ältere und seine Nachfolger in Nürnberg (2007, Beiträge zur Geschichte und Kultur der Stadt Nürnberg 25, Typographische Gesellschaft München / Stadtbibliothek Nürnberg). Several blackletter type families are named after him, such as Helmutt G. Bomm's Neudoerffer Fraktur (2009, Linotype), Manfred Klein's Neudoerffer (2003; the note in the font says that these codex-style initials are the unaltered original Neudoerffer Initialen from 1660, but this information could be in error) and Neudoerffer Scribble Quality (2003), and Klaus-Peter Schäffel's 1519 Neudoerffer Fraktur (2012). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
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 (1999-2000) 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". 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Johannes Bergerhausen (b. 1965, Bonn, Germany), studied Visual Communication at the University of Applied Sciences in Düsseldorf. From 1993 to 2000, he lived and worked in Paris. First he collaborated with the Founders of Grapus, Gérard Paris-Clavel and Pierre Bernard, then he founded his own office. He returned to Germany in 2000, where he is Professor of Typography at the University of Applied Sciences in Mainz (since 2002). In 2003, together with Paris-Clavel, he published the font "LeBuro" at ACME Fonts, London. At ATypI 2004 in Prague, he spoke about Decoding Unicode. He describes his Unicode character collection project at Typotechnica 2005. In 2012, he was awarded with the Designpreis in Gold of the Federal Republic of Germany. He is currently working on a digital cuneiform font. Author, with Siri Poarangan, of decodeunicode: Die Schriftzeichen der Welt (2011, Verlag Hermann Schmidt Mainz). This text shows all 109.242 typographic symbols in the Unicode standard at the time of its publication. Speaker at ATypI 2018 in Antwerp, during which (jointly with Morgane Pierson) he published a silkscreen poster with 292 glyphs, representing all 292 known writing systems of the world, together with their names, regions, and timeframes. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Painter in Sluis, The Netherlands (1830-1857) [at least, this is the educated guess of type historian Mathieu Lommen], who published the lettering model book Verzameling van letteren ten gebruike voor schilders en teekenaars (ca. 1855). Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
John A. Lane (b. 1955) is a type and printing historian. He was born and raised in the United States and has lived in Leiden (Holland) since 1990. He who often writes on typography:
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Author of Lettering (1946). Designer of fonts such as Cavanagh No. 17 (1939, Ludlow). At Photo Lettering Inc, he designed Appalacia, Beacon Shaded, Billboard, Bingo, Bruce (+Italic), Calliope (Western), Chandelier, Dahlia, Dock Stencil, Eighteen Ninety (Western), Fournier, Hamilton, Hansa (blackletter), Initials 1 and 2, Jason, Kaleidoscope, Lenox Gothic Italic, Ogden, Parliament (blackletter), Pony Express (Western), Royal (roundhand), Shaded, Tiffany, Versailles, Yonalassi (script), and Zinnia. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Designs for Letters and Monograms (1893). [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, and was President of ATypI from 2007 until 2013. In 2008, he joined Microsoft as a Program Manager in the typography team. He is the founder and director of Scripta Typography Institute. 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. Speaker at ATypI 2013 in Amsterdam and at ATypI 2019 in Tokyo. [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
John D. Boardley
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American wood type designer/manufacturer from the 19th century, whose company started out in 1852 by taking over Edwin Allen in South Windham, CT. In 1864, he partners with Robert Lindsay, sells the South Windham factory, and moves to New York City as John B. Cooley and Co. In 1866, he enters into a partnership with Samuel T. Dauchy to become Cooley&Dauchy. In 1869, however, that company was bought by William Page, who ironically, had been Cooley's employee in 1855-1856. He published Specimens of Wood Type. Examples of their wood types: Antique Tuscan No. 1 (1859). Digital revivals: Jeff Levine's Winnetka JNL (2009) was inspired by Cooley Antique Tuscan Condensed from 1859. Compressed Wood JNL (2020, Jeff Levine) is extrapolated from J.G. Cooley's Roman Triple Extra Condensed Fifty Line. Finally, AWT Cooley Ant Tuscan XX Cond (2013) and AWT Cooley Grecian XX Condensed were released by Dick Pape. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Denver-based artist. Author of Henderson's Sign Painter (1906, R.H. Henderson, Newark, NJ). R. Henderson published the related text Henderson's Sign Designs and Alphabets (1905). His own alphabets in this text include Church Text (Lombardic), Modern Egyptian, Architectural, Initial Letters, and Heavy Sign Script. Local download of the former text [692MB]. Digital revivals:
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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 Haddon & Co (or: Haddon-Caxton Type Foundry)
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Most of their typefaces were designed by Phil May [information unverified]. For digital revivals, see Huntsman (2005, Dan X. Solo). John Haddon published Haddon-Caxton List of Poster Wood-Letters Ornaments and Rules at the Fleet Street location of the Haddon-Caxton Type Foundry in London in 1923. Free local PDF. That book shows these exclusive wood types: Haddon, Hawarden, Highland, Herald, and Hamlin. [Google] [More] ⦿ | ||||||||||||||||||||||||||||||||||||||||||||||||||
John J. Palmer
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Author of The theory and practice of handwriting (1894, New York: William Beverley Harison). Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Typographia, Or the Printers' Instructor: Including an Account of the Origin of Printing, with Biographical Notices of the Printers of England, from Caxton to the Close of the Sixteenth Century: a Series of Ancient and Modern Alphabets, and Domesday Characters: Together with an Elucidation of Every Subject Connected with the Art, Volume 2 (1824, London). Local download. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of the 203-page book A Handbook of Type and Illustration. With notes on certain graphic processes and the production of illustrated books (London, 1956). [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Digital fonts based on Bergling's work:
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Author of Alphabets in two volumes, published in 1906 and 1907, respectively. PDF of the 1906 book. PDF of the 1907 book. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of two alphabet books in 1906 and 1907, simply called John M. Clark's Alphabets Book 1 and Book 2, respectively. [Google] [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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of An Approach to Type (1949, Blandford Press). [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. The typeface Fleurons A (developed by S. G. Moye, 1991-1993) is based on A Suite of Fleurons by John Ryder. [Google] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
American typographer. In 1954, he wrote Hammer Creek. The Hammer Creek Press Type Specimen Book (NY). [Google] [MyFonts] [More] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
Author of Font Design (2018, Huis van het Beeld, Brussels). Johnny Bekaert designed these fonts: Oneline (1971), Urbas (1976), Scrittostyle (1985), Fridabrush (1986), Plowboys (1988), Hibblesibble (1990, deco style), Xorkaz (1991), Thingydingy (1992), Bruxell (1996, a redesign of a font by Jacques Richez, 1957), Zuzulma (1997, angular and expressionist), Razor Dina (1998, dada style), Cakewalk (1999), Theo & Phil (2000), Gasbangers (2002), Blind Liddy (2003), Archie Teck (2003), Fridadida (2005), Bettsie-X (2008), Tweedledum (2010), Roswellian (2013, a UFO font), Struktura (2013-2014), Blacknoir (2014), Blackblanc (2014), Enozeno (2015, a compass-and-ruler typeface), Kublar (2015), Zapristie (2014-2015), Delphis (1993), Quodic (2015), Oscura (2016). [Google] [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 typeface 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- typefaces 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 typeface 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] ⦿ | |||||||||||||||||||||||||||||||||||||||||||||||||||
His books include Cómo crear tipografías. Del boceto a la pantalla, and Introducción al estudio de la tipografía (in collaboration with Jorge de Buen Unna). His fonts:
Karmina, Bree and Ronnia, all co-designed with Veronika Burian, won awards for extensive |
The book 
Hofkonditor (court confectioner) in Detmold, Germany. Author of 
Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited 
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. 
Author of 
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. 
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 
Italian designer, 1920-1995, who designed most of his typefaces 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. In particular, she received the prestigious Prix Charles Peignot in 2013. After that she became Type Director at ParaType in Moscow. 
Davide Tomatis of Archivio Tipografico in Turin, Italy, is curating the reissue of Alfa-Beta, a book by the Italian type designer Aldo Novarese, originally from 1964 and out of print since a long time. The Alfa Beta team is collaborating with Novarese's family, namely his second daughter Federica, and his granddaughter Francesca Faro (daughter of Gabriella Novarese), to republish it, after having found all the original films. The book will be translated by Alta Price. The first edition of Alfa-Beta (published in 1964 by Progresso Grafico and distributed by G.B. Paravia) reviewed the evolution of writing systems and typography from their advent up to the present day. 
A late 19th century book by an unknown author containing many exquisite ornamental caps alphabets. [
The American Technical Society published 
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 
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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 
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Dutch type designer located in Bloemendaal. Jan Middendorp wrote about him in 
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Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. 
Type specimen book by Bauersche Giesserei published ca. 1915. 
The Bauhaus school was founded in 1919 by Walter Gropius. It was based in Weimar (1919 to 1925), and then in Dessau (1925 to 1932), and finally in Berlin (1932 to 1933), before it was closed by the Nazi regime. Its directors were Walter Gropius (1919-1928), H. Meyer (1928-1930) and Mies Van der Rohe (1930-1933). 
American lettering artist, painter and social realist, b. Kovno, Lithuania, 1898, d. New York City, 1969. He is best known for his works of social realism, his left-wing political views, and his series of lectures published as The Shape of Content. Author of 
In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited 
German type designer (b. Offenbach, 1905, d. London 1989), who studied under Rudolf Koch from 1924-27 at the Kunstgewerbeschule in Offenbach. With the help of Stanley Morison, 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 until 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 was a type designer born in Amsterdam in 1934. He died on December 28, 2015. At Enschedé in Haarlem, which he joined in 1958, and for which he worked most of his life, he designed 
Brigitte Schuster is a graphic designer, calligrapher and lettering artist who graduated in 2008 from Concordia University in Montreal (only one block away from Luc's house...). She wrote about herself: I am an independent Art Director (Graphic Design), Print Artist and Photographer practicing in Montreal, Canada. I am currently teaching typography and photography courses in the Graphic Design department of a college in Montreal. After attending a three-year graphic design program in Munich, Germany, I spent a few years working there both as an employee for print and web agencies, and as a freelancer. In 2005, I completed a Bachelor in Fine Arts, with a specialization in painting from the Italian Academy of Fine Arts of Carrara, Italy. [...] I moved to Canada in 2005 where I continued working in and for the graphic design industry. In 2008 I completed the Graduate Certificate in Digital Technologies in Design Art Practice at Montreal's Concordia University. In my graphic design practice I ideally work in editorial design, also corporate branding, with a focus on typography. Over the last year or two, I developed a great interest in type, which I express in my 
Cade Type Foundry is the private foundry of Philip Cade. He cut his first (metal) typeface in 1972. The foundry is an outgrowth of the Juniper Press. Cade published a 
Renowned Canadian type and graphic designer (b. Welland, Ontario, 1912, d. 1967 from a heart attack on a flight between New York and Toronto). He ran the Eveleigh-Dair Studio from 1947-1951 in Montreal with partner Henry Eveleigh. He worked mainly as a freelance designer, was department store art director and even typographic director for the National Film Board of Canada (1945). Dair lectured on typography at the Ontario College of Art between 1959 and 1962, and taught for a couple of years at the Jamaica School of Arts and Crafts. In 1956 and 1957 he received an RSC fellowship to study type design and manufacture in the Netherlands. During this period he had the opportunity to study metal type and hand-punching at Enschedé Foundry in Haarlem, where he created a silent film called Gravers and Files documenting one of the last great punchcutters, P. H. Rädisch. There is a beautiful modern version of the movie with voiceover by Matthew Carter. 
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 
Carolyn Porter is a St. Paul, Minnesota-based graphic designer, type designer, and author. 
British type foundry active in the 19th century. Caslon and Catherwood published a now famous Italian in 1821. 
Charles Mazé is a graduate of the 
Famous American teacher of penmanship, b. 1864. Author of 
Charles Percival (or just Percy) Bluemlein (b. 1891) served in the 346th Infantry in World War I. In 1920, he married Mildred Vanderbilt and settled in Brooklyn, NY. He died in 1944 and is buried in the Long Island National Cemetery in Farmingdale, NY. Famous for his scripts and penmanship, his best known book is 
Or just Christian Laucou, b. 1951, ex-graduate of and professor at Ecole Estienne in Paris. Typographer who worked with lead. He started Les Editions du Fourneau, later renamed Fornax. In 2000, he founded l'Ouvroir de typographie potentielle. 
Author (b. 1938) of Kalligraphie. Die Kunst des schönen Schreibens (1986-1989, with Christian Scheffler). In that book, she drew several alphabets, including an 
Author of Rekonstruiert (2013, Dortmund, Germany), which served as a Diploma Arbeit at the Fachhochschule Dortmund. This book has contributions by Friedrich Forssmann, Albert Rahmer and Bernhard Schnelle. It describes the process of reconstruction of some blackletter fonts, and discussions blackletter typography in general. The four revived blackletter typefaces showcased in the book are 
Fancy metal or wood type from the second half of the 19th century. According to Ringwalt in his American Encyclopedia of Printing and Bookbinding (1871): type made of metal or wood for color printing and so arranged that there are duplicate or triplicate copies of each letter, which, after being printed, respectively, in different colors, on a given space, blend together in a harmonious whole. Chromatic types were shown regularly in foundry type specimen books of the 1840s and 1850s. 
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 
Cofounder of Now Type, 
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 McGrew 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. 
Parisian printer, whose 1742 book 
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 
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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 based in Exeter who specializes in the medieval versal cadel (or cadeau) letter. He created these typefaces: 
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. 
Editor of 
In English, Amsterdam's curly letter. While doing a revival / interpretation of this style in his 
Authors in 1751 of 
Dutch typeface designer, b. Amsterdam, 1909, d. Baarn, 1998. Trained and worked at the Lettergieterij in Amsterdam under S.H. de Roos, starting in 1926. He worked with de Roos on the design of the typefaces Nobel and Egmont. Dooijes studied at the Amsterdam College of Arts and Crafts and at the Academy of Art. In 1940, Dooijes succeeded de Roos as artistic director of Lettergieterij Amsterdam. He was director of the Gerrit Rietveld Acedemie from 1968 until 1975. Author of Mijn leven met letters, and Wegbereiders van de moderne boektypografie in Nederland (Amsterdam, De Buitenkant, 1988). His typefaces: 
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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 
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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. 
Author of 
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 heart operation. He attended Los Angeles City College, Los Angeles Trade Technical Jr. College, and Art Center College of Design where he has taught for 27 years and holds the honorary title Inaugural Master of the School. Doyald drew characters, often of a 
Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by 
Publishers of a paperback of type specimen in 1931 called Specime Book Type Rules and Borders. Pictures 
French foundry and publishing house, est. 2011 by Damien Gautier and Quentin Margat, and located in Villeurbanne. Their fonts: 
Italian art nouveau painter, lettering artist and type designer, 1871-1940. Around 1898, a photomechanical engraving studio for zinc, copper, and wood engravings was established under the supervision of Edoardo Cotti at nebiolo. 
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 until 1930, he designed fonts for the Cranach-Presse in Weimar, which was owned by Count Harry Kessler. 
New Yorker, b. Bethlehem, PA, 1905. In 1928, 
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. 
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). 
British stone carver, wood engraver, essayist and type designer 
German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive 
German author of 
Publisher of 
Independent type designer who created typefaces for D. Stempel when he lived in Hannover, Germany. His typefaces, all published by D. Stempel AG, include 
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Dr. Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their 
Flashfonts is 
Foundry in Brussels, which published a specimen book entitled 
German type designer in Hamburg (b. 1967) who studied at Kunstschule Alsterdamm Hamburg (1992-1996). Arne designed Arne Freytag (1998), Linotype Freytag Regular (2002) and 
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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Author of 
Photolettering foundry in the 1970s, located at 211 43rd Street, New York City 10017. One of my correspondents explains: Franklin Photolettering was the smaller film type joints catering to the major publishing and advertising industries in New York City in the 60s and 70s. They started out with a few originals to get into the game, but within a year or so they started putting out copies or slight modifications of existing stuff from Photolettering and VGC (you can see how that happens---someone comes in for some ad copy in Barker Flare, for example, and he asks if they have something like Eightball, so they say "sure, we can do that"). Even though they did have a bit of original stuff, they didn't have not enough to stand out like PL, Mecanorma, VGC or Letraset---also the sheer number of film fonts available on the market by the mid-70s meant that unless you dumped a lot of money on marketing, big-time design would ignore you----so not much room was left for smaller film type houses. 
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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. 
Author, artist, photographer and wood engraver, b. Sandhurst, 1814, d. London, 1862. He published 
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 until 1924, he taught at the Staatlichen Gewerbeschule Hamburg. At Genzsch&Heyse, he designed Albingia (1906), Bürgerschafts Fraktur (1907; Schnelle claims 1913), 
Austrian scribe and 
In 1950, Gebr. Klingspor published a nice small booklet simply called Schriftkartei. The images below are from that book. [
Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), 
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 
Philadelphia, PA-based author of 
Dutch type designer, born in Arnhem, The Netherlands, in 1942, d. 2018. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. Until the end of his career, he taught at Reading and Rietveld. Unger designed 
Gerrit Noordzij (b. 1931, Rotterdam; d. 2022) was a Dutch graphic designer, typeface designer, author, teacher, calligrapher, and design artist who made drawings, wood and copper engravings, and postage stamps. From 1960 until 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. Noordzij has worked as graphic designer for various Dutch publishers. Since 1978 he has been the house designer for the publishing company Van Oorschot. His intellectual influence is matched by his physical heritage, in the form of two talented sons in the field of type design, Christoph and Peter Matthias. The Gerrit Noordzij Prize, a prize given to typographers and type designers for extraordinary contributions to the field, is named after him. He was also the first person to receive this prize in 1996. In 2013, Gerrit Noordzij reveived the TDC Medal at the ATypI in Amsterdam. 
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New Jersey-based author of 
Briem is a fantastic Icelandic calligrapher and type designer. His typefaces: 
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Coauthor with Paul Carlyle of 
In 2009, 
Harry Gage lived in the village of Annisquam on Cape Ann, Massachusetts after he left corporate and academic life in the printing business. He produced a great deal of fine art in his later years---watercolors, designs for commemorative medals, and designs for the Christmas cards that were sent out by the village committee. 
Publishers of Library of Type (1959). This book showcases ornate fonts, dating from the 8th to the 16th century, include German Arabesque and Old English Riband. For some samples, see Jaime Henderson's scans at 
Prolific Belgian type expert (b. 1923, Antwerp; d. 2020) who graduated in philology from the University of Leuven. He became adjunct director of the Museum Plantin-Moretus in Antwerp and was on the board of governors of the Plantin Instituut voor Typografie, which he helped renovate after the second worrld war together with 
British typefounder from the famous Caslon family. Author of 
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. His designs: 
Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems. 
Calligrapher (b. 1935, Reichenberg, d. 2018) and professor of calligraphy and writing at HGB Leipzig (Hochschule für Grafik und Buchkunst Leipzig) since 1968. Her typefaces: 
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. 
Instructor at the New York School of Industrial Art. Coauthor with Dan X. Solo of 
James Clough (b. 1947, London) studied typographic design at the London College of Printing. In 1971 he moved to Milan to work as a designer, typographer and calligrapher. Since 1990, he has been teaching the theory and history of typography and visual communication at various institutions including the Milan Polytechnic University (since 2002) and the ISIA of Urbino. He lectures on many aspects of calligraphy, type design and the history of typography in Italy, Britain and Switzerland. Recent essays of his research for English and Italian publications include a study of the various editions of the Hypnerotomachia Poliphili (first printed by Aldus Manutius in 1499), types used by the earliest printers in Milan and Venice, the 20th century revivals of Bodoni's types and a study of historical and contemporary script types. In 2005 he curated the Mondovì Museum of Printing. He is on the scientific board of 
London-based printer. Author of 
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Author of 
Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential 
Major Dutch typographer and type designer, b. Gouda, 1892, d. Haarlem, 1958. He studied at the Koninklijke Academie van Beeldende Kunsten in Den Haag (1908-1912) and joined Enschedé in 1925. He had a considerable influence on the next generation of type designers. His typefaces include: 
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French type designer and calligrapher (b. 1947, Rennes, d. 2015) who worked mostly in Cergy-Pontoise. From 1962-1965, he studied typographic art in a school under the Paris Chamber of Commerce. From 1973 until 1985, Jean Larcher, who had studied calligraphy as well, worked as a freelance calligrapher in and around Paris. From 1985, he taught calligraphy both inside and outside France. He wrote several books, including Character Traits (2014). While calligraphy was his passion, Jean was also fascinated by op-art and geometric patterns. His fonts are all phototypes except for the metal font Latina. 
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: 
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Daughter of Saul Bass. Author with Pat Kirkham of 
Freelance designer in Culpeper, VA. Author of Just Your Type (2014, Jackson Publishing, Syracuse, NY). [
Ananindeua, Brazil-based creator (b. 1986, Brazil) of 
Portuguese author 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. His typefaces: 
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, aka Johann Neudörffer The Elder, who founded his writing school in Nürnberg, and printed his first plates ca. 1519. His first publication was Fundament in 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. Author of Anweijsung einer gemeiner hanndschrift. Durch Johann Neudoerffer, Burger vnd Rechenmeister zu Nurmberg geordnet und gemacht (Nürnberg, 1538). Some of his methods are still alive in contemporary type design. 
London-based foundry with a sense of humour, because all their type names start with the letter H. Examples of art nouveau typefaces: Harlech, Harquil, Harrington, Hawarden Italic, Huntsman (late Victorian, pre-art-nouveau style). 
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Great American calligrapher and engraver. He wrote several books, including Engraving Designing Etching (1914), 
Freelance graphic artist in Gent, Belgium, who won many awards for his design of posters and poster typefaces. He specializes in book cover, poster and cartoon types, and excels in all. Many of 
![ample, and one more, and still more, and a final one for the road. [Google] [More] ⦿](JohannJacobLosenawer-1719c.jpg){kind=link}
