TYPE DESIGN INFORMATION PAGE last updated on Thu Jul 30 09:31:51 EDT 2015
FONT RECOGNITION VIA FONT MOOSE
American designer of the very geometric typeface P22 Il Futurismo (1996), which was inspired by the graphic works of artists in the Italian Futurist movement (1908-1943), including Fortunato Depero, Fillippo T. Marinetti, Giacomo Balla, and C.V. Testi. [Google] [MyFonts] [More] ⦿
Graduate of the Design Department of the National University of Art in Bucharest, Romania. He created these typefaces:Google] [More] ⦿
Designer and illustrator in Buenos Aires. Creator of the futuristic serifed caps typeface Futuroni Serif (2011).
Ariel Di Lisio
Vienna, Austria-based design studio, est. 2002 by Peter Olschinsky and Verena Weiss. They published the type family Ato (2012), which has Sans, Slab and Display (art deco) subfamilies. Outer Space (2012), Sato (2012, a bilined display typeface), Neopolis (2012, futurismo), Deconstruct (2012), Chaos (2012) and Construct (2012) are experimental. Bato (2012) is an alchemic type family. And Vato (2012) is a wonderful brushy poster headline face.
Graphic design student at the University of Salford, Manchester, UK who made the futuristic typeface Apastron (2011).
Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He codesigned some typefaces there such as Arsenale White (2009). Targa Monospace (2002) is a sans inspired by Italian vehicle registration plates. It has an handmade version (Targa Hand) that can be used for comic book lettering.
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro codesigned Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free.
In 2015, Pancini published his masterpiece, Coco Gothic, named after Coco Chanel. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (Cocobike), Arts and Crafts, or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia.
Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto. In 2015, at Zetafonts, Cosimo Lorenzo Pancini and Bruno La Versa codesigned Cocobiker (2015) to celebrate the hipster and bike cultures. Cocobiker (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family.
Daniel Dierksen, born and raised in Orlando, Florida is a graduate of Ringling College of Art and Design with a BFA in Graphic Design. Based in Sarasota, he created these typefaces: Basket Case (2013, a mix of Baskerville and Lucida Sans), Geo (2013, a mix of Bodoni and Futura) and Jaxel (2014, geometric and futuristic, first called Jaxe).
Designer in Sao Paulo, Brazil. During her studies at SENAC, she created the warm serif typeface Humbond Regular (2012) and the Victorian display typeface Deffugia (2012). In addition, she created Adventure Game Icons (2011) and Alien Pictogram Set (2011). [Google] [More] ⦿
Graphic designer in Los Angeles, where he ran/runs Beautiful Bastards. Subsequently, he is associated with Questus Inc and Big Country Labs, and is now located in Costa Mesa, CA and Tustin, CA.
His early typefaces: Mushman (2012) is a techno-sans typeface inspired by the adventurous spirit of actor Steve McQueen, who raced motorcycles under the false name "Harvey Mushman."
His second typeface, Bronson (2012, free if you ask), is a display type inspired by Danny "Tunnel King" Lewinski, Charles Bronson's character in The Great Escape.
David Alexander Slaager
Studio Kmzero is an Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. Debora Manetti (Florence, Italy) designed Sala de Fiestas (2005-2006, free download at OFL), inspired by a handpainted sign for a ballroom on the island of Fuerteventura. Arsenale White and ArsenaleBlue (2009) are children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro, Andrea Mi, Debora Manetti, Katiuscia Mari and Jonathan Calugi.
The rounded geometric sans family Cocomat (2015, Zetafonts, by Cosimo Lorenzo Pancini, Debora Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. She also codesigned the successful Cocogoose and Coco Gothic typefaces in 2015.
Eric R. Mortensen is a graphic designer who is currently an MFA candidate at Maryland Institute College of Art in Baltimore, and a design intern at NASA, Goddard Space Flight Center, in Greenbelt, MD. Saturn V (2011, Lost Type) is a lower-case, space-aged slab-serif typeface conceived during a workshop with Tal Lemming of TypeSupply.com. [Google] [More] ⦿
Filippo Tommaso Marinetti
Japanese foundry in Nagoya that offers these free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:
Fonts of Chaos
Free and commercial font foundry by Zellik, Belgium-based David Alexander Slaager (or: David is Creative): 1654 Brown Street (2012, a rounded informal sans), Discorgasmique (2012, retro-futurism), Science Noire (2012, followed in 2014 by Science White, a connect-the-dots typeface), Bond Is Dead (2012), North 06 (2012, spurred), Ouija & Whiskey (2012, alchemic), The Giant Cowboy Army (2012, a skeletal bone font), Pink Cell (2012, a pixel type), Opium Roadie (2012), Grand Quatre (2011), Vampirr, Unik2, SayTwo, Alpha63, Trubik77, Genz Top&Bottom, Vhia (2011).
In 2012, he started Hand Drawn Font with cheap (ten dollar) quickie fonts. The initial offering in the Fall of 2012 includes Blackwood, Black 45, Royal Goblin, List of Faith, Gazoline, Natural Born Designer, Pulp Hill, Stylo Standard, Atlantic Avenue (a font made with paint brush on wood), Kancell (free) and Zombie Sunrise.
Typefaces from 2013: Supernational 261/262, Signs of Faith, Hollywood 99, Hollywood69, National, Enfant du Chaos (gothic, dark), Brutaal (+XX, +VV: one weight of this dquarish typeface is fre), Bliss Yeah, Traum-A (a hand-drawn poster font), Enfant du Kult (alchemic), Daryl is Parano.
Typefaces from 2014: Koton, Supernational 264, Super Head Club (sketched typeface), Nina Ketchup (scratchy hand), Dead Meal, Opus Theorem (a condensed squarish typeface family), We Are Tom Jones (described as a disoriented typewriter font), Shay Man (an alchemic typeface), Hackney Night, Arizona Futur (pixel alphadings), Atuvuta (heavy metal band font).
Typefaces from 2015: King Kong Street Propaganda.
Fortunato Depero (1892-1960) was an Italian futurist painter, writer, sculptor and graphic designer. Born in Fondo/Malosco, Depero grew up in Rovereto serving as an apprentice to a marble worker. On a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. In 1914, Depero moved to Rome and met fellow futurist Giacomo Balla. In 1915, Depero and Balla coauthored the manifesto Ricostruzione futurista dell universo. In the same year he was designing stage sets and costumes for a ballet. In 1919 Depero founded the Casa d'Arte Futurista in Rovereto, which specialised in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Arts).
In 1928, Depero moved to New York City, where [acccording to Wikipedia] he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including MovieMaker, The New Yorker and Vogue, among others. He also dabbled in interior design during his stay, working on two restaurants which were later demolished to make way for the Rockefeller Center. He also did work for the New York Daily News and Macy's, and built a house on 23rd Street. In 1930 he returned to Italy.
In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly be attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. In New York, he published So I Think, So I Paint, a translation of his autobiography initially released in 1940, Fortunato Depero nelle opere e nella vita. From the winter of 1947 to late October 1949 Depero lived in a cottage in New Milford, CT. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto. In August 1959 Galleria Museo Depero opened. Depero died in 1960 a bout of diabetes and spending the last two years unable to paint due to hemiparesis.
Francesco Mistico Canovaro
Designer at Nebiolo (b. 1908, Pavia, d. 1999, Milan). He was part of a team (with Giancarlo Illiprandi, Bruno Munari, Ilio Negri, Till Neuburg, Luigi Oriani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Forma was revived by Tankboys as Forma Nova. Sergio Polano writes: Alone master, the Italian visual designer, painter and photographer Franco Grignani, born in Pieve Porto Morone (Pavia) in 1908, trained as architect at the Polytechnic School of Turin (1929-1933); after being part as painter of the late, second futurism, his artistic research came across the European abstract avantgarde movements, and developed a strong interested in the perception psichology of form, that results from the Fifties in his dinamic kind of OpArt, years before it: the mastering of perception rules is expressed by his visual experiments on virtual movement, optical illusion, subperceptions, distortions, moirés, dilatations, flous and so on, applied, with no breaks, from painting to graphic design, through pictures, images, patterns, signs and words. From the Thirties he works in the field of graphic design, collaborating ia with Borletti, Breda Nardi, Cremona Nuova, Dompé, Domus, Mondadori, Montecatini, Spi, Triennale; his artistic direction for Alfieri&Lacroix printing firm is particularly interesting, as it shows an exceptional integration of words (wrtitten by himself) and images. Very well known, his trademark for Lambswool is a paradigmatic example of his approach to sign design. For 26 years he has been art director of Pubblicità in Italia, a magazine devoted to Italian advertising and visual design. He wrote many essays on design and arts, and lectured in Europe and USA. [Google]
Sergio Polano writes: Alone master, the Italian visual designer, painter and photographer Franco Grignani, born in Pieve Porto Morone (Pavia) in 1908, trained as architect at the Polytechnic School of Turin (1929-1933); after being part as painter of the late, second futurism, his artistic research came across the European abstract avantgarde movements, and developed a strong interested in the perception psichology of form, that results from the Fifties in his dinamic kind of OpArt, years before it: the mastering of perception rules is expressed by his visual experiments on virtual movement, optical illusion, subperceptions, distortions, moirés, dilatations, flous and so on, applied, with no breaks, from painting to graphic design, through pictures, images, patterns, signs and words. From the Thirties he works in the field of graphic design, collaborating ia with Borletti, Breda Nardi, Cremona Nuova, Dompé, Domus, Mondadori, Montecatini, Spi, Triennale; his artistic direction for Alfieri&Lacroix printing firm is particularly interesting, as it shows an exceptional integration of words (wrtitten by himself) and images. Very well known, his trademark for Lambswool is a paradigmatic example of his approach to sign design. For 26 years he has been art director of Pubblicità in Italia, a magazine devoted to Italian advertising and visual design. He wrote many essays on design and arts, and lectured in Europe and USA. [Google] [More] ⦿
Futurismo (Futurism) is Italian art deco movement (1908-1943) launched by writer Filippo Tommaso Marinetti in his futurist manifesto. The most important artists were Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. The wiki: Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science. Images from the Futurismo movement: Cyclist by Natalia Goncharova, Painting, Painting, Painting, Colin O Griffin (2008), Poster, Poster, Poster, Giovanni Coletta's bike, Marinetti's Danunzio poster. [Google] [More] ⦿
Glyphobet (was: mattt's fonts)
A type designer from Santa Cruz, CA (and now Oakland, CA), Matt Chisholm (Glyphobet; was: mattt's fonts) created mainly handwriting and display fonts. He obtained a BA in Mathematics from UC Santa Cruz. All his fonts were initially free---these included MRPHONE1, MRPHONE2, MRPHONE3, MRPHONE4, MRPHONEAlternates, CheckerHat, EverydayFont (Roland Berger, 1994), Flow (1994, with Roland Berger), JRandomC, KozmicJaggedHands, LEADvilleASTROnautInline, LEADvilleASTROnautSystem (retro futuristic), LettersLaughingDissectionandDestruction, LettersLaughingattheirExecution, LettersLaughingbyQuantizedandCalibrated, Matttschain, Matttsrope, Matttsstring, Matttsthread, Matttswire, OvialCaps (Rutherford Gong, 1996; scanned by Matt Chisholm), Ovial, Pixel, PsychoticElephantHeadline, PsychoticElephantText, RubbingFont (1995, with Susan Wilson, 1995), Shark (a powerful and original roman/blackletter hybrid revised in 2007), SirFigGothick, SwissCheesed, ToBeContinued (Alex Chisholm, 1996), Underlapped, DisorganizedCockroach, Ripple, SerpentKnotform.
In 2010, he set up shop at MyFonts as Glyphobet. His fonts there include the bewitched Zenith (2010), Ljubljana (2010), Haylurker (2010), and the experimental Breuckelen (2010). Anadolu (2010) was inspired by the distinct style of sign lettering in rural Turkey.
Greater Albion Typefounders (or: GATF)
Paul J. Lloyd's typefoundry in Western Australia, est. 2008. Lloyd (b. UK) made over 100 free truetype fonts before that. He writes: What we will offer is new designs, replete with Edwardian Fun, Victorian distinction, or any other piece of elegance we can manage.
Edwardian creations from 2008-2010: Ark Wright (traditional shop signage), Adantine, Goldbarre, Brosse, Crewekerne, Crewekerne Magna and Crewekerne Magister (arts and crafts face), Larchmont, Brissard, Brossard (slab serif), Bonavia, Bonavia Blanc, Clementhorpe, Veneribe, Chiara Script, Howlett, Svengali Roman, Bonning and Bonnington (1920's style families with ideas from University Roman), Absinette (2009, art nouveau), Bamberforth, Tumbletype, Vertrina, Bromwich, Great Bromwich, Fleete, Helenium. Chipping emulates the Edwardian 1920s. In 2012, he added the Bolton Commercial family (late Edwardian, early art nouveau).
Art deco faces: Oakland (2011, multiline typeface gleaned from a 1930s French car ad), Zenia (2010, trilined), Plebe (Plebia, 2008: a grotesk emulating the 1930s), Whitehaven (2008, an extensive art deco family with several shadow weights), Merry Fleurons (2008, Christmas ornament dingbats), Braxia (2008), Keynsia (fifties style art deco family with Peignot influences).
Other faces: Haymer is a large sans family made in 2010. Clunic (2008) is a blackletter face. Tectura (2008) is a handwriting font. Eldridge is a slab serif family. Aliqua (2009), Chipperly (2009) and Syondola (2008, Tuscan) are Wild West families. Terazza Tilings (2009) and Valentine's Fleurons (2009) are dingbat faces. Additions in 2009 include Lowndes (soft blackletter), Christmas Fleurons, Merry Snowmen, Cherritt (described as a Victorian era Courier), DoodleBirds, Halloween Fleurons, ButtonFaces, Sabio (neither slab nor sans), Daub (brush graffiti font), Sabinard (a modern swash face), Cullions (futuristic blackletter), Coronard (blackletter / roman hybrid), Easter Fleurons, Chapter Initials, Paveline (19th century calligraphic script), Mellin Sans and Open, Gildersleeve (evoking the 1920s Arts and Crafts movement), Stannard (a 1920's advertising inspired small caps face), Slattery (a horizontally shaded fun face), Slatterine (2009, more retro futurism), Spillsbury (2010, Victorian family), Cirflex (2010, geometric display typeface based on arcs of circles), Oxonia (2010, a classic roman family) and Vectis (classic Roman elegance, another small caps face).
Creations in 2010: Windevere, Albion's White Christmas, Paragon (a great didone display family with a wood type feel), Compton (slab serif family), Mexborough, Morover (Schwabacher family), Anavio (a classical roman family), Corvone (3d-effect font), Granville (Victorian), Corton (Victorian), Wellingborough (Victorian), Worthing (Victorian), Ark Wright (traditional shop signage), Bonaventure (art nouveau), Federal Streamliner (1950s feel techno face), Deva (classical roman), Crucis Ornaments (crosses), Bronzino (a roman with Arts and Crafts roots), Bertoni (2010, a didone family), Pardon Me Boy (train dingbats), Woodruff (Open Face fonts with a wood type look), Jonquin (based on a WWI poster; +Incised), Luscombe (1920s display family; +Parva), Movella (futuristic from the 1950s), Magdalena Sans (2010: a clear monoline sans), Endymion (2010: Tuscan), Paget (a Tuscan experimental all caps face), Portello (Victorian).
Typefaces made in 2011: Admiral (art nouveau), Tuscaloosa (Tuscan face), Eccles (bombastic Victorian), Wolverhampton (pre-Victorian), Doncaster (Victorian family), Metropole (art nouveau family), Corsham (stone engraved lettering family), Leibix (casual), Albia Nova (an elegant futuristic organic face), Flapper (art nouveau face), Bertolessi (curly Victorian), Tulk's Victorian Banner (all caps banner face), Fitzgerald (Victorian all caps face), Cleveden (Victorian headline family), Spargo (an extensive set of early 20th century-look engraved faces for official documents and securities), Bettendorf (2011, based on a 1900s masthead typeface), Wolvercote (2011, similar to Bettendorf), Pittsburgh (2011, a Western-style engraved face), Chubbly (2011), Portmeirion No. 6 (2011, a Victorian / circus design), Bronzetti (2011; images: i, ii, iii, iv, v, vi), Sophie J (hanprinted), Dem Bones (2011, glyphs made from bones), Stout (2011), Birmingham New Street (a Victorian family inspired by the hand lettered title on a 19th century railway map), Beckinslade (ornamental blackletter).
Production in 2012: Alfere Sans Stripes, Albion's Americana (Western stars and stripes face), Tudor Perpendicular (blackletter), Amici (rounded headline face), Amie (rounded sans), Wolverton Text (Edwardian family), Vinea (10-style display family), Par Avion (retro futuristic), AstroBats (retro sci-fi dingbats), Beeching (+Shadowed), Gondolieri (didone meets Tuscan), Penrose Slabserif (an Escher-like trompe l'oeuil 3d face), Haldane (art nouveau, Arabic look), Solidarius (chubby, fat felt-tip pen font), Bluebottle (angular display face), Merrivale (Victorian), Future Runes (runic simulation), Coliseo, Alfrere Sans (inspired by a 1950s television caption style), Tectura II (Lloyd's answer to Comic Sans), Secombe (Edwardian caps family), Milligan, London Court (Tudor-era caps family).
Typefaces from 2013: Speedblur, Belhampton (Edwardian), Merry Baubles (Christmas tree dings), Merry Bauble Letters (Christmas alphadings), Wroxeter (blackletter), Thurbrooke (+Banner, +Initials, +Black, +Reverso, all based on 19th century banner headings and engraved lettering), Bourne (a rounded type system), Henrician (a set of eight Tudor style display faces), Belle Jardin (art deco marquee face), Lavery (Edwardian), Baldione (a stylized didone), Chequers (a vintage poster face), Turvy Topsy (fat finger face), Merrivaux (faux medieval), Blout (German expressionist typeface), Easter Egg Letters, Isometrica (a banner typeface family), Valentine's Letters, Imperial Granum (roman titling face), Brollo (chunky display face).
Typefaces from 2014: Albions Very Old Masthead, Albions Engraved Black, Albions Old Masthead, Albions Incised Masthead, Albions Black Holly, Zanderley (pure Victoriana, +Initials), Landsdowne Commercial, Friendly Shaded Sans, Trivette, Wellmere Sans, Uncia Black, Henry VII, Greene and Rollins (layered Victorian typeface), Barollo, Alfrine, Alfrere Banner (+Incised), Lugano, Lanvier (1930s-style caps typeface family), Bonlivet (a hyper-decorative capitals alphabet from the late Victoian or early art nouveau era), Ames Text (a didone family with rounded brackets), Ames Roman (related to didones but with wedge serifs), Ames Weathered, Ames Shadow, Ames Shaded, Amersham (vintage signage family, 2013-2014).
Typefaces from 2015: Flinscher (1920s script), Signwriter Standard, Display Hatched, Albions Marker No.1 (a charming outlined marker pen typeface inspired by Bembo and Caslon), Joyvrie, Kinver (Victorian), Nationale (Victorian), Doges Banner, Doges Darker (Victorian), Doges Delight (Victorian), Doges Venezia (Victorian).
Warrenton, VA and Washington, DC-based designer in 2015 of Tokyo Typeface (inspired by inkan seals), Pixel Patterns, Flight (dot matrix typeface), Hand Drawn Arrows, Hype (techno), Galaxy (techno/futuristic), Fluffy, Detective (typewriter font), Funky (hand-drawn font), Hacker (a cyber typeface), Yeti (hand-crafted) and Game Over (video game font). Creative Market link. Behance link. [Google] [More] ⦿
Brazilian photoblog site, where original fonts such as Rita (2010, slabby), Comic Arousa (2007), Nantronte (2005), Velvet Illusions (2005, retro futuristic), Vila Morena (2006), Johnyokonysm (2005), As pedras da Belle Otero (2006, an artsy pixel font), Milocha (2010, sans), Rita (2010, slab serif), and Marela (2005) may be found.
Rubén Prol (Compostela and A Coruna, Spain) created the sans face Carme (2011), which is free at Google Font Directory. Ancient Galician stone inscriptions led Prol to design Uralita (2012, +Bold, 2013), which is also free.
J. Randall Harris
Josip Kelava (Jay Kreative, Australia and UK) is an art director and graphic designer. He has done typographic work for fashion mags and fashion-conscious ads such as for Mercedes (2011), Coco Vodka (2011, using an Escheresque typeface), and Click Magazine (2011, see the Olena Cherneyo illustration). Creator of the alchemic yet futuristic family Geomas (2011).
Juan Guillermo Navarro Barrios
Just My Type
Just My Type is a type foundry that was founded in 2012 by J. Randall (or Randy) Harris (b. 1947, Marion, IN) in Tucson, AZ. Harris is a graphic and type designer who has been making typefaces since 1997. He teaches at the Art Institute of Tucson. His typefaces from 2013: Megatropolis (a stackable deco font system), Historic Warehouse (Victorian).
Typefaces from 2012: Happenstance (a lovely retro-futuristic script), Illuminations Woodcut, Yule Love It (Christmas time dingbats), Gawain (based on the hand of Gawain Douglas), Oaxaca (a Mexican look face), Boxy Code, Channel B (a rounded monoline sans), Curves, Puzzle, Dempsey (based on the writing of Tucson film teacher, media artist and programmer, Vikki Dempsey), Chilespice, Strata, Deco Donut, Jiminy (a comic book face), Invites (a roundish upright script that intends to recreate the 1920s spirit), Hunky Chunky (an obese poster face), the hand-printed typeface Carissa, Got Milk, Cutting Corners, Astro (retro-futurustic), Dix (2012: a slabby wood style typeface inspired by the poster for the 1929 film Redskin, and a desire to create a black Edwardian font with an offbeat serif), and the monoline rounded stripped-down sans typeface family Laszlo (2012: the name is an homage to Laszlo Moholy-Nagy of Bauhaus fame).
Kolega (2012) is a constructivist typeface family that consists of Kolega, Kolega Tall, and Kolega Podrobska (fake comrade).
Steampipe (2012) is an ironwork, Jules Verne, wrought iron and time machine font.
Los Muertos (2012) is a Halloween font.
Typefaces from 2013: Megatropolis (a stackable deco font system).
In 2014, he created the art deco typeface HG Welles, which was originally designed for a privately-published luxury edition of The Time Machine.
Art director in Singapore (b. 1982) who created the (free) bold condensed stencil typeface Kong (2014) and the free futuristic display typeface Capsule (2015).
Croatian designer (b. 1988) of the geometric art deco typeface Retrocircular (2011), the techno typeface Carbon (2011), the script typeface Rosebud (2011), of Technostroked (2011), Oscilloscope (2011, texture face), Depleted Uranium (2011, a post=atomic-war grunge face), Hard Edge (2011), Space Cowboys (2011, futuristic), Broadway Lights (2012) and Odd Weight (2011).
Typefaces from 2015: Differentiator (free rounded hexagonal typeface).
Graphic designer in Brixham, UK, aka Laura Pakora Design. For a University of Plymouth project, she was asked to design letterforms based on Gino Severini's work. She looked into Futurism, Cubism and Pointillism, and created the experimental typeface Eclectic (2010) by cutting up Helvetica Bold into angular pieces. Petallic (2010) is an experimental typeface based on the architecture and design of the Guggenheim, Bilbao. [Google] [More] ⦿
Light Weight (or: Litewait)
Litewait is a UK based type design company. Its page requires shockwave, and will stop those without. Even with Shockwave installed, this site is a time-sink. Commercial faces: Adrenalin (Robert N. de Niet, 140 USD), and Alladin, Albert Speer, Astropogo, Beewing, Chemical Child, Concept Sans, Cool Iron, Cordial, Dedica, End of the Cat People, Flux, Generation, Harrass, Hyperion (1998), Issey, Light Bits, Lo-Fi, Lord Haw Haw, Must-Have-Her, Newq, Ovoid, Pan, People, Prince, Pyrex, Reform, Royalty, Rubber Nipple, Stitch Cross, Testface, Very. Robert de Niet is also the [T-26] designer of the futuristic fonts Lord Haw-Haw (1998), Hyperion (1998) and Adrenalin (1998). MyFonts spells his name de Neit. Other write de Niet. [Google] [MyFonts] [More] ⦿
Luis Miguel Torres
Australian designer (b. 1984) who is based in Sydney. He created the graffiti typeface Jo's Styles (2012), and Thick Bitch (2012). He also made the futuristic typefaces Grand Lethals (2012, for an album cover of this group) and Aliens Can Suck It (2012). [Google] [More] ⦿
Graphic design collective in Besançon, France, est. 2012, consisting of graduates in the Masters program of the École des Beaux-Arts de Besançon. Their typeface creations include Plumber (2014, rounded slab serif), Esposito (2014, rounded sans), Polaris (2014, rounded sans), Juliano (2013, rounded sans), Sept Nains (2014, a sans-slab serif-serif type system), Raymond (2014, slab serif), Monolab (2014), Aftur (2014, a sans caps typeface that is partly art deco and partly futuristic), Antique Calque (2014, a layered typeface system), Lazy Super (2014, a pixel face) and the variable width and variable height experiment called Expandable (2014).
Mehmet Reha Tugcu (Tugcu Design Company, Istanbul, Turkey) designed these typefaces: Centauri (2015, futuristic), Omicron (2015, circle-based sans), Hyperion (2015, futuristic), Atone (2015, a brush font), Venge (2015, a fashionable sans), Thiket (2015, an interlocking poster typeface), Phage (2015, a free squarish font), Fenrir (2015), the Soviet propaganda typeface Sputnik (2015), the brush typeface Veritus (2015), the retro-futuristic Dagon (2015), the stencil typeface Ember (2015), the tall condensed typeface Ogre (2015, +Inline), the art deco / avant garde typeface Metropolis (2015), the free display typeface family Geist (2015), the hipster typeface Pandora (2015), the hand-crafted typeface Saryn (2015) and Bristle (2015), the techno sans typeface Helios (2015), the stylish art deco typeface Fontaine (2015, +Rough, +3D), free inline typeface Timber (2015), the great inline slab serif typeface Decurion (2015), and the commercial typefaces Solaris (2015, fururistic), Sledge (2015, grungy black sans), Behemoth (2015), Zephyr (2015, sans), and Manticore (2015, brush). Behance link. Creative Market link. [Google] [More] ⦿
He writes about the elegant ten-style sans typeface family MTT Milano (2013): MTT Milano is a font inspired by the Milanese typographic heritage and the Futurist movement that developed it. Drawn from scratch, it features ascendants and descendants slightly taller than what can usually be found in similar typefaces, in order to improve its elegance. [Google] [MyFonts] [More] ⦿
In the 1950s, the fashion was to draw the future in magazines and publications. Many of those illustrations and typefaces look slightly silly and naively charming today. The movement is called retro-futurism. [Google] [More] ⦿
Negro is a design site where some commercial fonts can be found, all designed by Ariel Di Lisio who lives in Buenos Aires. Marzo (2008) is a hairline vogue typeface commissioned by the Argentinian mag Atypica, and Donuts (2008) is a layer of round upon a layer of round. Paz Font is a stylish night club or fashion magazine family---stunning. Lynda (2008) is an octagonal/mechanical face. Lunes (2007), Day (2007), Friday (2007) and Nigga (2007) are an ultra-fat art deco faces with an experimental edge. Love (2007) is a mini-serifed geometric beauty. Santino (2008) tries to bring waves into a simple sans face. Normal (2008) is gorgeous, geometric and galant. Mate (2008) is a geometric all caps typeface for magazine headlines. Caracas (2008), Soko (2009), and Stola (2008) have more geometric fantasies. Pink (2008) is experimental. Cascabel (2009) is a kitchen tile typeface digitized by Alejandro Paul at Sudtipos. James Font (2009) is a bullet hole-themed face. Inlove (2009, Sudtipos) is a Lubalin-style poster face designed by Di Lisio and digitized by Alejandro Paul. Typefaces shown in 2010, mostly experimental / geometric / art deco: Destiny, Drimpy, Hongki, Mobile, Moonglow, Normal, Vincent.
Typefaces from 2012 include Uma (with Alejandro Paul at Sudtipos: a gorgeous two-weight monoline sans family).
In 2013, he created the stencil typeface Anima for a housing project in Punta Chica, San Fernando, Argentina.
Nick Curtis: Typefaces from 2015
P22 Type Foundry
Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.
The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (2003, free), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio, Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), FLLWExhibition, FLLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), , Garamouche (2004, +P22 Garamouche Ornaments; all codesigned with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by him as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), Preissig, Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).
In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).
In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.
At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.
Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).
Parkinson Type Design
Jim Parkinson's Parkinson Type Design is based in Oakland, CA. This prolific type designer was born in 1941 in Richmond, CA, and lives in Oakland, CA. Originally, he was a letterer, but he went digital in 1990. His Keester and Azuza typefaces won awards at the TDC2 Type Directors Club's Type Design Competition 2002. MyFonts on Jim Parkinson and on his Parkinson Foundry. His impressive output:
Paul James Lloyd
Graphic designer in Newcastle, UK. Creator of a futuristic all caps typeface.
FontStructor who made Hearth Perspect (2012, futuristic), Metald (2011), Metald Lite (2011), Marmor (2011, texture face), Grey State U (2010, athletic lettering), Nuts and Bolts and Wrenches (2010), SwordStruct (2010), Angulan (2010), LostMyGlasses (2009), WindStruct (2009), PixShadow (2009), Keychain (2009), and AlmostBold Tiny (2009). [Google] [More] ⦿
Natal, Brazil-based designer of the experimental futuristic decorative typeface Lygia Clark (2013). This typeface is based on the architectural and modular art of Lygia Clark (b. 1920, Belo Horizonte, d. 1988, Rio de Janeiro), who was one of the founders of the Frente movement in 1954. Graduate of UFRN. [Google] [More] ⦿
Art director in Cachoeiro de Itapemirim and Vila Velha, Brazil. He designed the techno faces Kropp (2011) and Vosky (2011), and the weathered typeface Wrot (2011). In 2014, he designed the vernacular hand-drawn typeface Sabrazila and the curly typeface Vila. In 2015, he created the blocky futuristic typeface Apolo.
Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Berlin and Turin.
In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless typeface Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco typeface Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).
Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011, hand-printed), Adelaida (hand-printed poster face), Monella (octagonal).
Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps typeface inspired by Henry W. Troy), The Bay (hand-printed all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo, Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).
Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans typeface Luxx---a comparable typeface is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.
Typefaces from 2014: Stencil Creek, Elastica (hand-crafted typeface family), Elastica (hand-drawn poster family), Nautica (copperplate script), Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, codesigned with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).
Typefaces from 2015: Mina Chic (a wide connected calligraphic fashion mag script), Natura (connected fountain pen script, with accompanying Notebook, Icons and Stamps (initial caps) styles), Stencil Creek (inspired by Akzidenz Grotesk and influenced by street signs of the North West Pacific), Quaderno (monoline upright signage script).
Robert N. de Niet
Type designer who published at Photo-Lettering Inc. His creations include Boldsign, Germanic, Hallmark (connected script), Independent, Palette (a painter's font), and Studio Poptype (retro-futuristic). [Google] [More] ⦿
[T-26] designer of the headline slightly blackletterish crusader typeface Archangel and the accompanying heraldic dingbat font Archangel Icon (1998), as well as the retro futuristic typeface ITC Astro (2004).
Peterborough, UK-based web and graphic designer, b. 1970. Creator of Hand of Sean (2008), Hand of Sean Pro (2013), Sean's Other Hand (2010), and Tidy Hand. His commercial typefaces include the futuristic hipster font Digital Therapy (2014).
His foundry is Studio K: The foundry specialises in display fonts designed primarily for advertising, publishing, product packaging and signage.
In 2012, he published Hollywood Hills, Pier Arcade, Graffix, Skeleton Slab, the art deco typeface Tea Dance, the art nouveau typeface Paris Metro, Oscar Bravo (a heavy octagonal typeface), Café de Paris (a stylish retro--futuristic fifties style typeface), Barrowboy, and the stylish Contessa family.
Typefaces from 2013: Communiqué (rugged stencil face), Regency (influenced by Americana and Optima, it is a flared very humanist sans), Alma Mater (athletic lettering), Showbiz (inline typeface), Dynatron (retro sci-fi font), Mechanoid (elliptical techno sans), Canterbury (inspired by the shapes of the cathedral), Export Drive (a bold condensed cargo stencil), Soft Rock (bold condensed sans), Red Top, Colossus (an elliptical typeface that is a bit squarer than Microgramma), 4Square (elliptical), Aspidistra (art nouveau), Home Grown.
Typefaces from 2015: Castaway, Variety (ransom note font), Nightlife (an amoebic rounded stencil typeface that conjures up neon signs, DNA molecules and jelly beans), Rough Stuff (textured faded stencil typeface), Signpost (a drop shadow version of Red Top). [Google] [MyFonts] [More] ⦿
Dhaka, Bangladesh-based designer, who created the cursive script typeface Autograph (2013), the organic display typeface Radius (2013), Cartoon (2013, a comic book family in Solid, Bevel, Border and Shadow styles), Script (2013), Quarto (2013, a thin organic sans), Blackbelt (2013, futuristic), and Story (2013, hand-printed). Other typefaces from 2013 include Acute, Paradox (bilined), Summer, Kinetic (bilined), Romantica, Ranger, Erode, Bermuda, Turning, Techno, Floral, Century (futuristic), Master.
In 2014, Sunny published the scratchy typeface Bristle, the multilined typefaces Echo and Have A Nice Day, Denim, Broken (glaz krak), Creator, Euclidean, Medieval, Revelation, Supreme, Bravado, Origami, Grand Hand, Typeart, Redled, Techfont, Metallic, Because, Elegantia, Author, Rejoice, Mazematics, Serenity, Fruity, Inspired, Inbox, Stonehenge, Intense, the sharp-edged sans typeface Pleasant, the graceful script typeface Sprinter and the flowing script typeface Charcoal.
Typefaces from 2015: Increment, New Direction, Devils Hand, Oxygen, Cozy Sans, January, Ascent, Geometric, Fontana.
Graphic designer from Buenos Aires, Argentina, now located in Madrid, Spain, who made the free purely geometric typeface called Geometric Way in 2010. Craft (2014) is a free decorative caps typeface for craftsmen. In 2014, Yai made the Greek-inspired caps typeface Hera and Destroy (2014: futuristic ornamental initials. Free download). In 2014, Tano Veron and Yai Salinas codesigned the free vector format colored display typeface Carioca. In 2015, Yai Salinas created the free vector font Helena.
This is one of the most talented FontStructors. On Behance, he/she is listed as Van Saarland from Hameenlinna, Finland, and on FontStruct since 2014 as V. Sarela, from Oulu, Finland.
Typefaces from 2011: Teotihuacan (inspired by a Mexican poster), Micra (a monospaced OCR-A font), Fast Driving, Rendez-Vous (a condensed serif font inspired by the cover of "The Essential Jean Michel Jarre"), Carat Condensed, Carat, Wolfen (a copperplate style condensed face), Futuroid (sci-fi), Instrumenta (after Neville Brody's Industria), Modern Vision (based on the opening credits from The Terminator and The Running Man), Future Earth (futuristic: based on a typeface used in The Terminator logo which is also the base for the font "Earth"), Phatprogy (+Extra Phat).
Typefaces from 2012: Modus Operandi, Ikonomi (squarish sans), Genera, Hexathrone, Liquid Crystal Serif, Wulthraesk (constructivist), Electionale, Major (a high contrast didone), Commandant (2012, like Futura Stencil), Comfutur (a beautiful stencil typeface with a bit of Futura Black), Qode (a retro-futuristic LED style typeface), Graphyto (a heavy slab face), Heavy Royale, Thiage (Thai simuation face), Bravis, Cirquetry, Solidis, Velocifero (bilined), Heavy Royale, Jet Set Groove, Reactor A1 (futuristic stencil), Polymoda (an abstract font), Lino II, Sequencer (+Condensed), Hertzace (square retro-futurist), Cifira (art deco), Saturation (monoline sans), Katana (+Bold, +Condensed), Countura (abstract and minimalist), Stripelane (horizontally striped), Vortexa (in the style of Data 70), In Nomine Matrix, Afterburner, Afterburner Phase II, High Rise (Western typeface), Sulaco, Polaroid, Tech Noir (a dot matrix typeface based on the nightclub sign from The Terminator), Slabbers II, Windician (art deco), Cryptocube, DMC 12, Ken Jp (oriental simulation typeface), PxlSQ, Scorpione, Monotronic, Advancer (dot matrix face), Avico, Discolyde, Film Sequence, Modern Vision (based on an unknown typeface which was used in the opening credits of The Terminator, The Running Man, Class of 1999, and also used on Robert A. Heinlein's book covers (there's a font called Heinlein which is similar)), Cromagnon, Gace, Midora Sans, Squarium (constructivist), Cheque Matte (octagonal), Plusminus, Advancer Lite, Magnetofunk (retro-futuristic), Integrafia (piano key stencil face), Network9, Cechida, Rendez-Vous (condensed square slab face), Rendez-Vous II, Equantum, Karelian Stencil, Cryptocube, Neolexia, Ambiente, Stencilae (stencil), Linearis (horizontally striped), Contrafacia A and B (horizontally striped faces), Stereovision, Hypetron (based on the TRON logo), Degré (hexagonal), Typorabilis, Wunderkind (kitchen tile face), Kiova Captura, Biomehanika.
Typefaces from 2013: Starast Maxi, Starast Next, Lugar, Siquid (dot matrix face), Devico (constructivist), Meco (based on Meco's logo), Confiant A, Confiant B, Zerusta, Carat, Combonaut, Jet Set Groove, Cifira, Gace, Condensbit, Synditon, Abciria, Vulthraesk, Rendez-Vous (+II), Instrumenta (based on Neville Brody's Industria), Saturation, RndEX, Rewinder, Power Electronics (an octagonal typeface based on the Captain Power logo), Obsidian Deco (a gorgeous fat piano key typeface), Electrone, Plusminus, Connector Module, Scorpione, Perficio, XOX Design, Da Capo (bold slab serif), Gradiator, Phatprogy, Genexus, Finica Sharp Script, Power Electronics (based on the Captain power logo), Aftertouch (a wide sans), Telecharger, Vicenti, Modicea, Submachine (based on Stanley Davis's Amelia), Genera Deux (a computer font), Genexe, Network 9 (connect-the-dots), Square Earth, Future Earth (trekkie font based on an old Terminator logo), Cechida, Supernature, Siberiada (a great Russian simulation typeface with a medieval touch), Defigma (bilined), Carat, Back to the future (based on the movie logo; called Rewinder on FontStruct), Vibrion (techno face), Connector Module, Wunderkind (a tiled typeface), Yaguar, Pacific Serif (slab serif), Aerogenes (wide techno font), Windician, Commandant (a wide art deco stencil face).
Typefaces from 2014: Brigadier, Freelight (rounded stencil), Stencilae, Protocol Sans, Vicenti, Submachine, Dalecarian, Equantum, Twiphex, Waremann, Wolfen, Waltraud, Carat, Teotihuacan, Rendez-Vous (+II), Major (didone), Ambiente, Kiova Captura (based on the font used in Kiev camera manuals), Glissando, Cheque Matte (athletic lettering font), Vibrixean (sci-fi), Licoricette, Protagon (Greek simulation), Rewinder, Ardeus (futuristic, LED simulation), Techsyna (sci-fi), Rezonans (piano key style), Modern Vision, Trideko Display (multilined typeface), Xeometro (octagonal), Verbica, Megalith (a great black slab), Calibro.
Typefaces from 2015: HI-NRG, Modern Vision (absed on a font used in the opening credits of The Terminator, The Running Man, Class of 1999), Workflow (stencil), Blackwing.
Zetafonts (or: Studio Kmzero, or: ZeroFont)
Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. Dafont link. Canovaro's Behance link. Also called ZeroFont and Zetafonts. Typefaces:
Juan Guillermo Navarro Barrios runs the design and illustration studio Zilap in Medellin, Colombia. In 2014, he created the hipster typeface Zilap Normal. In 2015, with the cooperation of LJ Design, he created the free futuristic typeface TRG Zilap. [Google] [More] ⦿