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100 Beste Schriften aller Zeiten
German FontShop-sponsored site listing the hundred best fonts of all times, compiled by a jury in 2007. There is a lot of good information about each of the fonts mentioned. PDF file compiled by the jury: Stephen Coles, Jan Middendorp, Veronika Elsner, Roger Black, Ralf Herrmann, Claudia Guminski (FontShop) and Bernard Schmidt-Friderichs. Visualization of the list. The list:
Follow-up in English. [Google]
- (1) Helvetica
- Akzidenz Grotesk
- Gill Sans
- (11) Optima
- Franklin Gothic
- (21) Matrix
- OCR A und B
- Avant Garde
- Letter Gothic
- (31) Myriad
- (41) Gotham
- Cooper Black
- Bell Gothic
- (51) Antique Olive
- Wilhelm Klingspor Gotisch
- Today Sans
- Trade Gothic
- Copperplate Gothic
- (61) Blur
- Bell Centennial
- News Gothic
- Bernhard Modern
- (71) Nobel
- Industria, Insignia, Arcadia
- Bickham Script
- Bank Gothic
- Corporate ASE
- House Gothic 23
- (81) Caecilia
- Mrs Eaves
- Instant Types
- Zapf Renaissance
- (91) Filosofia
- Quay Sans
A. Pat Hickson
Designer for ITF, most of whose fonts were published by Red Rooster. List (all ITF/Red Rooster unless otherwise specified):
MyFonts link. FontShop link. Klingspor link. [Google]
- Alghera (1996): hand-printed, based on a handwritten Portuguese wine label design.
- Alys (1995): Calligraphic.
- Appleyard (1992): based on an old Monotype design, Prumyslava.
- Badger (1992): comic book style. In 2010, this was Steve Jackaman and Ashley Muir as Badger Pro.
- Basset, Basset Five, Basset Four, Basset One, Basset Six, Basset Three (1997): headline family.
- Bellini (1992): a garalde typeface based on Progreso (1923, Richard Gans Foundry). See Veer, where the font is sold as "Bellini". Linotype sells Greco (DsgnHaus, 1996) which according to some typophiles really is Progreso.
- Byron (1992): calligraphic.
- Coliseum (1992), codesigned with Julie Hopwood.
- Dundee, Dundee Condensed (1993), inspired by the various headlines used in children's comic books in England, published by D.C. Thompson of Dundee, Scotland.
- Erasmus (1992): based on a design of Sjoerd Hendrik de Roos, 1923, Amsterdam Foundry.
- Forum Titling (1994): based on the Frederick Goudy design first shown in 1912, which was produced as a foundry typeface by Lanston Monotype in 1924.
- Gilmore Fahrenheit and Gilmore Sans (1992): ugly faces based on Eric Gill designs.
- Grove Script (1992).
- Javelin (1994): a connected fifties diner typeface in the style of Continental Railway Magneto Bold, Parkway Hotel, Permanent Waves, and Raceway.
- ITC Mona Lisa (ITC, 1992, and Elsner&Flake, 1991), ITC Mona Lisa Recut (ITC, 1991): an interpretation of a 1930 tall modern type by Albert Auspurg for Ludwig&Mayer.
- Rivoli Initials. Based on the William T. Sniffin design for ATF, circa 1928.
- Roller, Roller Shadow (1997): based on Iberica by Carlos Winkow for Fundicion Nacional, ca. 1942.
- Sinclair Script (1992).
- Stirling (1992).
- Venezuela (2000, Red Rooster) is a decorative Mexican simulation font based on the typeface Vesta by Albert Auspurg, circa 1926.
- Heseltine (2014) was designed by Paul & Pat Hickson in Text & Titling weights. The Heseltine typeface family was originally produced as a gift from Haymarket Media Group to Lord Heseltine for his 75th birthday
A Survey of Free Math Fonts for TeX and LaTeX
[Stephen G. Hartke]
Article by Stephen Hartke from Urbana, IL, written in 2006. He surveys free math fonts for TeX and LaTeX, with examples, instructions for using LaTeX packages for changing fonts, and links to sources for the fonts and packages. PDF version of the paper. Hartke is a Professor of Mathematics at the University of Illinois at Urbana-Champaign. He finished a font family called Aurulent Sans and Aurulent Sans Mono (2007), and released the free monospaced font Verily Serif Mono (2006, based on Vera Serif, with same dimensions as Vera Sans Mono). Fontsy link. Alternate URL. Yet another URL. Twentyfour examples of text face/math typeface are showcased. Some are quite disappointing. Here are the better ones (with some text quoted from Hartke's article):
- Computer Modern (by Don Knuth), still my favorite. Type 1 versions of Computer Modern from Blue Sky Research and Y&Y, Inc. have been made freely available by the American Mathematical Society (AMS). Basil K. Malyshev has also released a free Type 1 version of Computer Modern, the BaKoMa fonts. Computer Modern has been extended to include more characters, particularly for non-English European languages. These fonts include European Computer Modern by Jörg Knappen and Norbert Schwarz (METAFONT only), Tt2001 by Peter Szabó (converted into Type 1 format from METAFONT sources using textrace), CM-Super by Vladimir Volovich (also converted using textrace); and Latin Modern by Bogusaw Jackowski and Janusz M. Nowacki (extended from the Blue Sky AMS fonts using MetaType1).
- Concrete text with Euler math, or Concrete text with Concrete math. The Concrete font was created by Knuth for his book Concrete Mathematics. Hermann Zapf was commissioned by the AMS to create the math font Euler for use in Concrete Mathematics. Type 1 versions of Concrete in T1 encoding are available in the CM-Super collection, and Type 1 versions of Euler are available in the Blue Sky collection from the AMS and in the BaKoMa collection. The eulervm package by Walter Schmidt implements virtual fonts for Euler that are more efficient to use with LaTeX. Ulrik Vieth created the Concrete Math fonts to match the Concrete text fonts; the only free versions are implemented in METAFONT. The ccfonts package by Walter Schmidt changes the text font to Concrete and changes the math font to the Concrete Math fonts if eulervm is not loaded. Note that Concrete Text has no bold, but the Computer Modern Bold does just fine for that.
- Antykwa Pótawskiego text and Computer Moder math. J. M. Nowacki created the font Antykwa Pótawskiego using the MetaType1 system based on a typeface by Polish typographer Adam Pótawski.
- Antykwa Toruńska text and math. Antykwa Toruńska was created by J. M. Nowacki using the MetaType1 system based on a typeface by the Polish typographer Zygfryd Gardzielewski. The package anttor has complete math support in both TeX and LaTeX.
- Kerkis text and math. Kerkis was created by Antonis Tsolomitis by extending URW Bookman L to include Greek and additional Latin characters. The resulting fonts are stand-alone and can be used by applications outside of TeX. A font of math symbols is included, but not used by the LaTeX package. The package kmath uses txfonts for math symbols and uppercase Greek letters.
- New Century Schoolbook with Millennial math. New Century Schoolbook with Fourier math. The Millennial math font by Stephen Hartke contains Greek letters and other letter-like mathematical symbols. A set of virtual fonts is provided that uses New Century Schoolbook for Latin letters in math, Millennial for Greek and other letter-like symbols, and txfonts and Computer Modern for all other symbols, including binary operators, relations, and large symbols. This font is still in development, but will hopefully be released in 2006. The fouriernc package of Michael Zedler uses New Century Schoolbook for text and Latin letters in mathematics, and the Greek and symbol fonts from the Fourier-GUTenberg package for the remaining mathematical symbols.
- Palatino and pxfonts, Pazo, or mathpple for math symbols. Young Ryu created the pxfonts collection, which contains Greek and other letter-like symbols, as well as a complete set of geometric symbols, including the AMS symbols. Diego Puga created the Pazo math fonts, which include the Greek letters and other letter-like symbols in a style that matches Palatino. The LaTeX package mathpazo (now part of PSNFSS) uses Palatino for Latin letters, Pazo for Greek and other letter-like symbols, and Computer Modern for geometric symbols. The LaTeX package mathpple (also part of PSNFSS) uses Palatino for Latin letters and slanted Euler for Greek and other symbols. Since Hermann Zapf designed both Palatino and Euler, the designs mesh well. An alternate use of Euler is using the eulervm package. Ralf Stubner added small caps and old-style figures to URW Palladio L in the FPL package, and Walter Schmidt extended these fonts in the FPL Neu package.
- Utopia and Fourier or Math Design. Utopia was donated by Adobe for use with X Windows. Michel Bovani created Fourier-GUTenberg as an accompaniment to Utopia and is very complete, containing both Greek letters and standard and AMS symbols. The Math Design fonts for Utopia of Paul Pichaureau are also very complete, including Greek letters and AMS symbols.
- Bitstream Charter and Math Design. Or URW Garamond and Math Design. Bitstream Charter was donated by Bitstream for use with X Windows. The Math Design fonts for Bitstream Charter created by Paul Pichaureau are very complete, including Greek letters, symbols from Computer Modern, and the AMS symbols. Charis SIL might be an alternate source for Greek letters that match Bitstream Charter more closely. Another possibility for a math font is to use the Euler fonts with the charter and eulervm packages. URW Garamond No. 8 is available under the Aladdin Free Public License as part of the GhostPCL project. The Math Design fonts for URW Garamond created by Paul Pichaureau are very complete, including Greek letters, symbols from Computer Modern, and the AMS symbols.
- Times or Omega Serif, and txfonts, Belleek, mathptmx, or mbtimes. Young Ryu created the txfonts collection, which contains Greek and other letter-like symbols, as well as a complete set of geometric symbols, including the AMS symbols. The txfonts package also includes a very nice typewriter font, txtt. Belleek was created by Richard Kinch and is a drop-in replacement for the commercial fonts required by the mathtime package (now part of PSNFSS). The LaTeX package mathptmx (also part of PSNFSS) uses Times for Latin letters and Symbol for Greek and other symbols. Michel Bovani created the mbtimes package by using Omega Serif for text and Latin and Greek letters in mathematics. mbtimes also includes symbol fonts and a set of calligraphic letters. Omega Serif is the primary font for Omega, a 16-bit extension of TeX by John Plaice and Yannis Haralambous. The STIX fonts project is a collaboration of several academic publishers to create a set of Times-compatible fonts containing every possible glyph needed for mathematical and technical publishing. These fonts are still in development, with a scheduled release in the middle of 2006. Note: When Adobe introduced Postscript in 1984, they defined 35 core fonts (in 10 typefaces) that must be present in all Postscript interpreters. In 1996, URW++ released a replacement set for the core fonts under the GNU General Public License. The URW++ fonts were primarily released for use with Ghostscript, a free Postscript interpreter. For example, Times is Nimbus Roman No. 9 L, Palatino is URW Palladio L, New Century Schoolbook is Century Schoolbook L and Symbol is Standard Symbols L.
Klingspor link. Dafont link. Abstract Fonts link. [Google]
The Abrams Legacy Collection was established to preserve and promote the legacy of renowned type designer and lettering artist, George Abrams (d. 2001). It is headquartered in New York City. The digital typefaces are managed and executed by Charles Nix. There are two type families, Augereau (a garalde in 13 styles) and Abrams Venetian (a Venetian in 6 styles).
Abrams Venetian was designed in 1989 based on Nicolas Jenson's renaissance letterforms, but was not available until ten years later.
Augereau was designed and released by George Abrams in 1997. [Google]
Robert Slimbach designed this typeface family from 1989 until 2001. Poster by Melaine Top and Pannequin Blandine. Poster by Dayne Petera. [Google]
Adobe Systems Inc
The company that changed typesetting by the introduction of PostScript and type 1 fonts. Adobe Systems, based in San Jose, California, was started by John Warnock and Chuck Geschke in 1982. In 1999 it became a billion dollar company. The success of the PostScript graphics programming language, a printing industry standard since the mid-1980s, explains its early success. The company grew thanks to other popular products such as Adobe Illustrator and Photoshop, and thanks to the introduction of the PDF format for document. Sumner Stone was the Director of Typography from 1984 to 1991. He initiated Adobe's design program, where classic fonts (including Garamond and Caslon) were revived by type designers such as Robert Slimbach, Carol Twombly, and others. New type designs such as Minion and Myriad saw the light. The Adobe type design group was later headed by David Lemon, with the help of Thomas Phinney. Other gems in the Adobe arsenal include the PostScript Type 3 format, which permit designers to use programming tools (loops and calculations) to show typefaces. This font format was dropped after a decade (although one can still use it in PostScript programs) because ATM, Adobe's Type Manager for screens, cannot ghandle them. The Multiple Master format, which allows an infinite number of fonts to be interpolated between a set of master designs was also promising. It too was dropped in 1999 after about a decade.
Catalog of Adobe fonts in order of popularity. Catalog of fonts in alphabetical order [large web page warning]. See also here. [Google]
Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:
At ATypI 2008 in St. Petersburg, he ran a Linotype student type design workshop.
- Helvetica Neue eText Pro (2013).
- Dainippon Screen: the kanji font Hiragino Mincho.
- ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
- Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
- Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2003, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, codesigned with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
- Fontshop: Acanthus (2000, large Fontfont family), Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
- Typebox: TX Lithium (2001, The Typebox).
- Oddities: Skid Row (1990), Socia Oldstyle.
- Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
- In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.
View Akiro Kobayashi's typefaces.
Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. [Google]
[Large Unicode fonts]
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. Obituary by Harald Suess. Page at Klingspor. MyFonts page. Catalog of Albert Kapr's typefaces
He designed Faust-Antiqua (1958; this inspired Nick Curtis to design Kaprice NF (2010); in 1993, Steve Jackaman revived it as Faust RR), Leipzig (with Otto Erler in 1963: large x-height), Leipziger-Antiqua (1959, revived by Tim Ahrens in 2004 as JAF Lapture, also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005; and shamelessly digitized by Linotype and sold as Hawkhurst without mentioning the Leipziger Antiqua source, in fact claiming that Hawkhurst is an original), Calendon-Antiqua (1965), Prillwitz-Antiqua (1971), and Magna Kyrillisch (1975). Circa 1975, he created Garamond Cyrillic at Typoart.
A specialist of blackletter, he was passionate about Gotische Bastarda. Author of Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz). Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Author of The art of lettering; The history, anatomy, and aesthetics of the roman letterforms (München, K.G. Saur, 1983, original edition in German by VEB Verlag: Dresden, 1971). [Google]
Late 15-th century Venetian scholar and printer, b. 1449, Bassiano, d. 1515, Venice. He founded the Aldine Press in 1495. His typefaces were all designed and cut by the brilliant Francesco Griffo, a punchcutter who created the first roman type cut from study of classical Roman capitals. Bembo, Cloister Italic and Poliphilus [aka Aldus Manutius' Roman] can be traced back to him. Example of his Italian Antiqua, 1499.
Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type typeface that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.
Digital typefaces derived from his work: 1501 Manutius (2001) by Klaus-Peter Schäffel.
Selection of fonts based on Manutius's work. [Google]
[Double Alex Team]
Alphabet Innovations International -- TypeSpectra (Was: MM2000)
Born in Dallas in 1923, and retired in Florida, Phil Martin had an exciting life, which started as a bombardier in WWII, and went on as a piano bar singer, publisher, cartoonist, comedian and typographer. He died in October 2005.
Phil established Alphabet Innovations International in 1969 and TypeSpectra in 1974, and designed most of his 400 faces (read: film fonts for use in the VGC Photo Typositor) there: Agenda (1976), Americana (1972), Arthur (1970, by Roc Mitchell), Aurora Snug (1969), Avalon (1972), Baskerville (1969), Beacon (1987), Bluejack (1974), Borealis (1970, by Roc Mitchell), Britannic (1973), Bulletin (1971), Celebration (1969, by Roc Mitchell), Century S (1975), Cheltenham (1971), Clearface (1973), Cloister (1975), Corporate (1971, by Roc Mitchell), Corporate Image (1971, by Roc Mitchell), Courier B EF (2004, originally done at Scangraphic), Didoni (1969, a knock-off of Pistilli Roman with swashes added), Dimensia and Dimensia Light (1971, by Roc Mitchell), Dominance (1971), Egyptian (1970), Eightball (1971, some report this incorrectly as a VGC face, which has a different typeface also called Eightball: it was digitized by FontBank as Egbert. Alphabet Innovations' Eightball had other versions called Cueball and Highball, and all three were designed by George Thomas who licensed them to AI), Fat Chance (Rolling Stone) (1971), Fotura Biform (1969), Franklin (1981), Garamond (1975), Globe (1975), Goudy (1969), Harem (1969, aka Margit; digitized and revived in 2006 by Patrick Griffin and Rebecca Alaccari as Johnny), Helserif (1976---I thought this was created by Ed Kelton; anyway, this typeface is just Helvetica with slabs), Helvetica (1969), Introspect (1971), Jolly Roger (1970, digitized in 2003 by Steve Jackaman at Red Rooster; Martin says that Jolly Roger and Introspect are his two most original designs), Journal (1987), Kabell (1971), Kabello (1970), King Arthur [+Light, Outline] with Guinevere Alternates (1971, by Roc Mitchell), Legothic (1973), Martinique (1970), Mountie (1970), News (1975), Palateno (1969), Pandora (1969), Pazazzma (1980), Perpetua (1969), Plantin (1973), Polonaise (1977; digital version by Claude Pelletier in 2010, called Chopin Script), Primus Malleable (1972), Quaff (1977), Quixotic (1970), Report (1971), Romana (1972), Scenario (1974), Sledge Hammer (1971), Son of Windsor (1970), Stanza (1971, by Roc Mitchell; this angular typeface was later published by URW), Stark (1970), Supercooper (1970), Swath (1979), Threadgil (1972), Thrust (1971), Timbre (1970), Times (1970), Times Text (1973), Trump (1973), Tuck Roman (1981), Viant (1977), Vixen (1970), Weiss (1973), Wordsworth (1973).
In 1974, he set up TypeSpectra, and created these type families: Adroit (1981), Albert (1974), Analog (1976), Bagatelle (1979), Cartel (1975), Caslon (1979), Criterion (1982), DeVille (1974), Embargo (1975), Heldustry (1978, designed for the video news at the fledgling ABC-Westinghouse 24-hour cable news network in 1978; incorrectly attributed by many to Martin's ex-employee Ed Kelton: download here), Innsbruck (1975), Limelight (1977), Oliver (1981), Opulent [Light and Bold] (1975, by George Brian, an amployee at Alphabet Innovations), Quint (1984), Sequel (1979), Spectral (1974), Welby (1982).
His fonts can be bought at MyFonts.com and at Precisiontype. He warns visitors not to mess with his intellectual property rights, but I wonder how he can have escaped the ire of Linotype by using the name Helvetica. In any case, the fonts were originally made for use on photo display devices and phototypesetters. Some are now available in digital format.
Near the end of his life, Phil's web presence was called MM2000 (dead link).
Check his comments on his own faces. URW sells these faces: URW Adroit, URW Agenda, URW Avernus (after Martin's design from 1972), URW Baskerville AI, URW Beacon, URW Bluejack, URW Cartel, URW Cloister, URW Corporate, URW Criterion, URW Didoni, URW Fat Face, URW Globe, URW Goudy AI, URW Heldustry, URW Helserif, URW Introspect, URW Legothic, URW Martin Gothic, URW Martinique, URW Pandora, URW Polonaise, URW Quint, URW Scenario, URW Souvenir Gothic, Souvenir Gothic Antique (the Souvenit Gothic family was designed by George Brian, an employee of Alphabet Innovations at the time: it was AI's first text family), URW Stanza, URW Stark, URW Timbre, URW Viant, URW Wordsworth.
Interview. Bye Bye Blackbird performed by Phil Martin in Largo, Florida.
The final message on his last web page, posted posthumously read: MARTIN, PHIL, 82, of Largo, died Tuesday (Oct. 4, 2005) at Largo Medical Center. He was born in Dallas and came here after retiring as a writer, singer-songwriter, commercial artist, and comedian. As a high school student, he worked as an assistant artist on the nationally syndicated Ella Cinders, and at 18 wrote and drew Swing Sisson, the Battling Band Leader, for Feature Comics. He was an Army Air Forces veteran of World War II, where he served as a bombardier in Lintz, Austria. On his 28th mission shelling the yards in Lintz, his B-24 was hit and he was listed as missing in action until the war in Europe ended. He was a comedian on The Early Birds Show on WFAA in Dallas. As a commercial artist, he founded two multinational corporations to market typeface designs and is credited for designing 4 percent of all typefaces now used. He also wrote columns and articles for typographic publications. Locally, he sang original lyrics to old pop standards in area piano bars, and in 1999 produced 59 issues of the Web book Millennium Memorandum, changing the title to MM2000 when he issued the first edition of the new Millennium on Jan. 3, 2000. Survivors include his wife, Ann Jones Martin; and a cousin, Lorrie Hankins, Casper, Wyo. National Cremation Society, Largo.
Phil Martin's digital typefaces.
FontShop link. Klingspor link. [Google]
French type designer (b. 1977) who created Cargoth (2001), a hybrid of Carolingian and Gothic. She is involved now in type design and corporate identity projects at Porchez Typofonderie. As a student at ENSAD, she co-designed the Garamond typeface Recréation (2000). Typofonderie link. [Google]
Or Garamond 3. Garamond 3 is published by Adobe and Linotype. The Linotype version of Garamond from 1936 is based on the American Type Founders design by Morris Fuller Benton and Thomas Maitland Cleland, who based their work, in turn, on seventeenth-century copies of Claude Garamond's types by Jean Jannon. The Bitstream version is called American Garamond. [Google]
Graphic designer in Santo Tirso (Porto), Portugal. In 2011, he created the hairline sans typeface Wayne Thin, the counterless fat slab face Rotula, and the fat round Wayne Black. He also made Virtude (2011, a Garamond revival). In 2012, he added Urbe (3d face).
Typefaces from 2013 include the grid-based modular typeface family Kamo, which comes with Kamo Stencil.
Home page. [Google]
Angus R. Shamal
[ARS Type (was ARS Design)]
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]
French type designer and punchcutter, ca. 1490-1534, and teacher of Claude Garamond in Paris. He was one of the first French to engrave roman letters, when other French printers were mostly using blackletter. He began to work for Robert Estienne, one the first Parisian printers to use this type. Influential in creating a French typographical look, he was hanged for printing a poem without permission. George Abrams' rendering of Garamond, called Augereau [digitized by Charles Nix], is a wonderful text family! Klingspor link. [Google]
Designer at Graphic bureau Az-Zet of the Cyrillic/Latin font AZGaramondC (1990-1995). Anton published Dikovina and DikovinaBildchen at Type Market in Moscow in 1995. [Google]
Antonio Zatta e Figli
Venice-based foundry headed by Antonio Zatta, 1757-1797. Their work can be found in Caratteri e vignette, o sieno, Fregi della nuova fonderia di Antonio Zatta e Figli tipografi, calcografi, e libraj veneti (A. Zatta, Venezia, 1793). That book shows elegant garalde families listed by size as Testin, Garamoncin, Garamoncino, Garamon, Filosofia, Silvietto, Silvio, and Test d'Aldo. For further typefaces, see Saggio dei caratteri, segni celesti, di matematica, algebra, numeri tagliati, ed altro / della nuova fonderia di Antonio Zatta q:m Giacomo tipografo, calcografo, e librajo veneto. N.\2070 III (1799). [Google]
In reply to If you only had ten type families to use in your designs for the next 20 years or so, what would they be?, Apostrophe replied in 2000:
- 1 - Galliard (Carter&Cone)
- 2 - Augereau (George Abrams' Garamond)
- 3 - Futura (Linotype)
- 4 - Franklin Gothic (Elsner&Flake's version)
- 5 - Plantin (Monotype)
- 6 - Palatino (Linotype)
- 7 - Mantinia (Carter&Cone)
- 8 - Univers (Linotype)
- 9 - Zapfino (Linotype)
- 10 - Officina Sans (ITC)
Alternate URL. The history of all fonts used and produced by Apple. A brief summary of this:
- Corporate fonts and brand identity
- Motter Tektura (designed by Othmar Motter of Voralberger Graphic in 1975): before the first Macintosh, Apple used Motter Tektura to accompany the Apple logo. "According to the logo designer, Rob Janoff, the typeface was selected for its playful qualities and techno look, in line with Apple's mission statement of making high-technology accessible to anyone."
- Apple Garamond, the new corporate font used when the Macintosh was introduced in 1984. ITC Garamond (Tony Stan, 1977) was condensed to 80% of its normal width by Bitstream, who also adjusted and hinted it. Apple Garamond was used in most of Apple's marketing. The Wikipedia comment: "Many typographers consider ITC Garamond in general, and Apple Garamond in particular, to be poorly designed typefaces. A common viewpoint is that the algorithmic scaling distorted the typeface."
- Myriad Pro: starting in 2002, Apple began using Myriad Pro Semibold (a sans serif face) in its marketing, gradually replacing Apple Garamond. MyriadPro and MyriadApple can be downloaded here.
- Gill Sans Regular: used in the marketing of the Newton PDA.
- Fonts of the original Macintosh All but one of these bitmap fonts were due to Susan Kare. The fonts were originally named after stops along the Paoli, Pennsylvania commuter train line: Overbrook, Merion, Ardmore, and Rosemont. Later, under pressure from Steve Jobs, names of world cities were chosen. A number of different variants of each font were algorithmically generated on-the-fly from the standard fonts. Bold, italic, outlined, underlined and shadowed variations were the most common.
- Cairo: a bitmap dingbat font, most famous for the dogcow at the 'z' character position.
- Chicago (sans-serif): the default Macintosh system font in System 17.6.
- Geneva (sans-serif): designed for small point sizes and prevalent in all versions of the Mac user interface.
- London (blackletter): an Old English-style font.
- Los Angeles (script): a thin font that emulated handwriting.
- Monaco (sans-serif, monospaced): a fixed-width font well-suited for 912 pt use.
- New York (serif): a Times Roman-inspired font.
- San Francisco: a ransom note face.
- Venice (script): a calligraphic font designed by Bill Atkinson.
- Fonts in Mac OS X
- Lucida Grande: the primary system font in Mac OS X (all versions). Lucida Grande looks like Lucida Sans, but has more glyphs. It covers Roman, Cyrillic, Hebrew, Arabic, Thai and Greek. Many of its 2800+ glyphs were added by Michael Everson to the original collection.
- Mac OS X ships with a number of high-quality typefaces, for a number of different scripts, licensed from several sources.
- LastResort (designed by Michael Everson of Evertype): used by the system to display reference glyphs in the event that real glyphs needed to display a given character are not found in any other available font. Wikipedia states: "The glyphs are square with rounded corners with a bold outline. In the left and right sides of the outline, the Unicode range that the character belongs to is given using hexadecimal digits. Top and bottom are used for one or two descriptions of the Unicode block name. A symbol representative of the block is centered inside the square. By Everson's design, the typeface used for the text cut-outs in the outline is Chicago, otherwise not included with Mac OS X. The LastResort font has been part of Mac OS since version 8.5, but the limited success of ATSUI on the classic Mac OS means that only users of Mac OS X are regularly exposed to it."
- Apple Symbols: a dingbat font that complements the symbols from Lucida Grande, inttroduced first in Mac OS X 10.3 ("Panther").
- Zapfino (a calligraphic typeface designed by and named after renowned typeface designer Hermann Zapf for Linotype, based on an example he first drew in 1944): Zapfino utilizes the most advanced typographic features of the truetype format, and is partially included in OS X as a technology demo for ligatures and character substitutions.
- Mac OS X Snow Leopard comes with four new fonts in 2009: Chalkduster (emulating chalk on a blackboard), Menlo (a monospaced family based on Bitstream's Vera Sans Mono that replaces Monaco for applications such as Terminal and code editors; see also Deja Vu Sans Serif Mono), Heiti SC and TC and Hiragino Sans GB.
- Fonts used in other devices
- Espy Sans: designed in 1993 by Apple's Human Interface Group designed the typeface Espy Sans specifically for on-screen use. It was first used for the Newton OS GUI and later integrated into Apple's eWorld online service.
- eWorld Tight: a bitmap font used for headlines in Apple's eWorld. The metrics of eWorld Tight were based on Helvetica Ultra Compressed.
- Chicago (see above): bitmap typeface used in Apple's iPod music player since 2001.
Slovenian foundry which specializes in old typefaces found in old prints, books and samples. Typefaces are reproduced as they appeared in print. In order to preserve the original feel of typefaces, no additional characters were added to originals therefore most of fonts consist just of basic character set. Upper case letters, lower case letters, numerals and basic punctuation. It was set up in 2000 by Matevz Medja. Engraving style faces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter faces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic faces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other faces: American Shadow (2005), Lightface Extended (2005), Grotesque Shaded (2005), Gothic Ornate (2005), Antique Extra Condensed (2005), Antique Extended (2005), Ironlace (2005), Atlantique (2005), Mann (2005), Old Style Condensed (2005), Ribbon (2005), Salisbury Script (2005), Black Title Text (2005, blackletter), German Text (2005, blackletter), Archive Hands (2006, pointing fingers), Archive Woodchild (2006). Distressed faces: Archive Tale (2006), Archive Egipt Compressed (2006). In 2011, he published the Archive Garamond family, which is closer to the unpolished originals. The 2010 catalog has three parts:
- The Archive 40: Archive Western Iron, Archive American Shadow, Archive Antiqua Extra Cond, Archive Antique Extended, Archive Atlantique, Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider, Archive Copperplate Head, Archive Copperplate Text, Archive Egipt Compressed, Archive French Script, Archive French Shaded, Archive Garfield (2005), Archive German Text, Archive Gothic Ornate, Archive Grotesque Shaded, Archive Harlem Title, Archive Ironlace, Archive Kludsky, Archive Lightface Extended, Archive Magno Script, Archive Mann, Archive Modern II Open, Archive Modern II, Archive Old Style Condensed, Archive Penman Script, Archive Petite Script, Archive Ribbon, Archive Roundface Script, Archive Roundhand Script, Archive Salisbury Script, Archive School Text, Archive Steeler, Archive Tale, Archive Tilt, Archive Tinted.
- Archive Americana: Archive American Shadow, Archive Steeler, Archive Tilt, Archive Grotesque Shaded, Archive Black Title, Archive Mann, Archive Autograph Script, Archive Tinted, Archive Harlem Title.
- Archive Western: Archive Egipt Compressed, Archive French Shaded, Archive Western Iron, Archive Antique Extended, Archive Copperplate Head, Archive Ribbon, Archive Gothic Ornate, Archive Oldstyle Condensed, Archive Lightface Extended, Archive Ironlace.
Creative Market link.
View Archive Type / Matevz Medja's typefaces. [Google]
Arkandis Digital Foundry
French foundry, est. 2007, which published many extensive free sans and sans serif families by Hirwen Harendal, who supports Open Source projects. The purpose of ADF is to provide a large number of high quality fonts (174 fonts as of the end of August 2007). Harendal has help from Clea F. Rees, most notably on the TeX part and the extensive Venturis family.
- Accanthis (2009: an alternative for Galliard or Horley Oldstyle).
- AlbertisADF (from URW-A028), Albertis Titling.
- Ameris ADF (from URW n33012t).
- ArrosADF (from URW n021003L).
- AurelisADF (2009, almost art nouveau).
- Baskervald ADF (7 years of work according to Harendal: an alternative for New Baskerville).
- BerenisADF (2008, a didone family), BerenisNo2 (2008).
- BirkenADF (from URW-n033014t).
- ColonnadeADF (from URW-n033014t).
- EditorialisADF (from URW-n033014t).
- Electrum (like Eurostyle and URW City).
- FenelrisADF (sans).
- FrontonADF Titling (from URW-n033014t).
- GaramondeADF (from URW-g043004t), GaramondNo8ADF (from URW g043024t).
- Gillius ADF and Gillius ADFN (from Vera Sans, an alternative for Gill Sans MT).
- HelvetisADF (from URW U001).
- Ikarius (2008, semi-serif; inspired by Hypatia Sans), IkariusNo2 (2008), Ikarius-Serie (2009).
- Irianis (2008; IrianisADFMath (2009) was made for the TeX math community).
- Keypad (2010). a dingbat face.
- LibrisADF (sans, patterned after Lydian).
- MekanusADF (2009, typewriter style).
- Mint Spirit (2012) and Mint Spirit No. 2 (2012). An original minimalist sans design.
- NeoGothisADF (2009).
- OldaniaADF (2009, art nouveau).
- OrnementsADF (2009).
- PalladioADFStyle (a Palatino derived from URW g043023t).
- RomandeADF (with hints of Caslon, Times and Tiffany; CTAN download).
- Solothurn (2011). A family developed for Scribus, a free text preparation package that competes with Adobe's InDesign.
- SwitzeraADF (derived from Vera).
- SymbolADF (2008, bullets and arrows).
- Teknis: under development.
- TribunADF (2009, like Times New Roman).
- Universalis-Std (2009, a take on Futura).
- VenturisADF, VenturisOldADF, VenturisTitlingADF and VenturisSansADF (2007: alternatives for Utopia).
- Verana Sans and Serif (from Bitstream Vera Sans and Serif).
Kernest link. [Google]
ARS Type (was ARS Design)
[Angus R. Shamal]
ARS Type is an Amsterdam-based foundry with some commercial fonts by Angus R. Shamal. Shamal had earlier published fonts with T-26 and Plazm. Fonts can be bought via Fontshop.
The fonts: AudioVisual1, Code, Kamp, Kamp Serif, Retro City, OCRU, Toycube, Mortal, Maquette (1999-2000), Angelring, ARS Bembo, Contrast, Dandy, EcologyModern, Hartu (handwriting), Temper, ARS Novelty (2011, a free hybrid style face), ARS Polythene (pixel font family), Misanthry, Syntax (OsF format sans serif), CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Exert (T-26), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995), ARSFortune (2000, futuristic), District (experimental), Descendiaan, Zero Rate (futuristic), Tegel (1998, stencil, kitchen tile), Twenty (octagonal, techno), Trio (dot matrix fonts), Maquette (1999), Region, Product (2007, sans faces), Mr Archi, Prime (display), Deviata (unicase face), Forum I-AR (after Forum I, a 1948 font by Georg Trump), Freie Initialen-AR (2007, after a 1928 set of caps for Stempel Garamond), Fry's Ornamented (2007; a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796), Graphique-AR (2007; a shadowed typeface based on a 1946 design by Eidenbenz for Haas), Gravur-AR (2007; a digital version of a type designed by Georg Trump and issued as Trump-Gravur by Weber in 1960), Initiales Grecques (after a Firmin Didot design, ca. 1800), Lutetia Open (2007; based on Jan Van Krimpen's Lutetia), Old Face Open (2007; a digitization of Fry's Shaded, an open all caps Baskerville cut by Isaac Moore for Fry, ca. 1788), Open Capitals (2007, after Jan Van Krimpen's 1928 typeface for Enschedé called Open Kapitalen), Romulus Capitals (2007; after the caps series by Jan Van Krimpen, 1931), Romulus Open (2007; after the Open series by Jan Van Krimpen, 1936), Rosart 811 (2007; open caps after Enschedé no. 811 by Rosart), Zentenar Initialen (2007; based on blackletter initials of F.H.E. Schneidler, ca. 1937). [Google]
Artifex offers free versions of 80 fonts from URW. Included are Walter Schmidt's URW Garamond No 8. Henry Stiles made ArtLinePrinter for Artifex in 2003. Also included are Walter Schmidt's URW LetterGothic (made available for free by URW). The type 1 versions of URW Arial are called A030 (2000), and can also be found here. Alternate URL. Yet another URL. The list of fonts (truetype and type 1) is: A028-Ext, A028-Med, A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ArtLinePrinter, CenturySchL-Bold, CenturySchL-BoldItal, CenturySchL-Ital, CenturySchL-Roma, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med, GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMonL-Bold, NimbusMonL-BoldObli, NimbusMonL-Regu, NimbusMonL-ReguObli, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomNo9L-Medi, NimbusRomNo9L-MediItal, NimbusRomNo9L-Regu, NimbusRomNo9L-ReguItal, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, NimbusSanL-Bold, NimbusSanL-BoldCond, NimbusSanL-BoldCondItal, NimbusSanL-BoldItal, NimbusSanL-Regu, NimbusSanL-ReguCond, NimbusSanL-ReguCondItal, NimbusSanL-ReguItal, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWBookmanL-DemiBold, URWBookmanL-DemiBoldItal, URWBookmanL-Ligh, URWBookmanL-LighItal, URWChanceryL-MediItal, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg, URWGothicL-Book, URWGothicL-BookObli, URWGothicL-Demi, URWGothicL-DemiObli, URWPalladioL-Bold, URWPalladioL-BoldItal, URWPalladioL-Ital, URWPalladioL-Roma. [Google]
ARTypes is based in Chicago, and is run by Ari Rafaeli. UK-based pre-press production specialist who has made type 1 font revivals in 2006-2007, listed below. I am confused as this outfit seems to have grown out of Angus R. Shamal's ARS Type in Amsterdam. Who is who and what is what? List of typefaces categorized by revival type:
- Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
- Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
- Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
- Stephenson Blake revivals: Borders, Parisian Ronde.
- Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
- Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
- W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
- Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
- Max Caflisch (Bauer) revival: Columna.
- Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
- Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
- O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
- Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
- F. H. E. Schneidler (Bauer) revival: Legende.
- Herbert Post revival: Post-Antiqua swash letters.
- Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
- Hermann Zapf revival: Stempel astrological signs.
- F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
- Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
- Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
- Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
- Initiales Grecques, based on Firmin Didot's design, ca. 1800.
- Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
- Ernst Bentele revivals: Bentele-Unziale (2007).
- Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
- Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
- Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
- Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
- Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
- Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
- Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
- Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
- Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
- Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
- Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
- Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
- Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
- The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
- The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
- Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
- Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
- Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
- Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
View the typefaces made by Ari Rafaeli / ARTypes. [Google]
ATF 1923 Catalog: Garamond Series
Showcasing the best pages in the Garamond Series in the ATF 1923 Catalog. [Google]
Aurèle Sack is a globetrotter graphic designer specialized in type design and editorial design. He focuses mainly on projects within the cultural field. After graduating from ECAL in 2004 (with a sans typeface called AS Gold) Sack worked in Zürich and New York. He currently lives and works in Lausanne, Switzerland. Codesigner in 2006 with Maxime Buechi of a corporate type for NORM called Rhodesia . In 2009, he made AS Garamond in collaboration with Jonas Voegeli, Zürich for Das Magazine. In 2008, Fleurie (typewriter face) was published. Around 2006, he created Omega Bold (a sans, done with Norm in Zürich), Gallery, and Purple (Regular, Italic; a serif typeface published at Lineto).
Initiated as a collaborative type design project by Zurich-based designers Urs Lehni and Lex Trüb, LL Brown (2011, Lineto) has been drawn and developed by Aurèle Sack in the geometric style of Edward Johnston's Johnston (1915) and Arno Drescher's Super Grotesk (1930).
Klingspor link. [Google]
Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York. His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil. Arabic typefaces include Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997) Sayaf, Maqsaf and Qasab (1998). He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family).
Klingspor link. [Google]
Babylon Schrift Kontor
Commercial German foundry, est. 2000 by Klaus Bartels (1948-2005). BSK also has on board Wolfgang Talke, Bernd Pillich, and the type experts René Kerfante and Frank Sax. It specializes in major text families, mostly based on fonts from the Berthold collection. Bartels was previously responsible for the digitization of that collection at Berthold, so this is a natural progression. Some amount of renaming of the typefaces seems to have been necessary. Partial list: Adlon Sans BSK, Adlon Serif BSK, Admira BSK, Albion Script BSK, Albion Script 2 BSK, Alte Schwabacher BSK, Ancora BSK, Atlantica BSK, Avenue BSK, Babylon Schreibschrift BSK, Baskerville BSK, Baskerville Text BSK, Bodoni BSK, Bodoni Expert BSK, Bodoni Condensed BSK, Bodoni Text BSK, Bodoni Text Expert BSK, Carissa BSK, Caslon Text BSK, Centra BSK, Champion BSK, Cogita BSK, Elega BSK, Fabiana BSK, Fonica BSK, Francesa BSK, Garamond BSK, Garamond Expert BSK, Herold Reklameschrift BSK, KG privata BSK, KG privata II BSK, KG vera BSK, KG vera II BSK, Lettura BSK, Mirage BSK, Mirage Expert BSK, Mirage New BSK, Pintura BSK, Signal BSK, Standard-Grotesk BSK, Standard-Grotesk Condensed BSK, Standard-Grotesk Extended BSK, Standard-Grotesk Classic BSK, Standard-Grotesk Next BSK, SG Next Condensed BSK, SG Next Extended BSK, SG Next Rounded BSK, SG Next Stencil BSK, SG School BSK, SG School 2 BSK, Story BSK, Supersonic BSK, T & T Form BSK, T & T Form Condensed BSK, T & T Form Ey BSK, Tomos-Antiqua BSK, Tomos-Mediaeval BSK, Trump Tower BSK, Unger Fraktur BSK, Walbaum BSK, Walbaum Expert BSK, Walbaum Fraktur BSK, Walbaum Text BSK. I have no idea what happened after Bartels' death--the page disappeared! [Google]
Baramond is a version of the classic Garamond typeface. It is based on Garamond Antiqua and is designed by Jon Wheal. Free. [Google]
Metal type foundry in Northlake, IL and/or Bensenville, IL, still operational in 2007. Also called F&S Type Founders Inc., it was located at 237 S. Evergreen, Bensenville, IL 60106. Some of its types are listed here, but none appear to be original designs. Barco Type Founders [Specimen Book].
Images of some metal typefaces in the Barco collection: AmericanGaramondNo648, AshleyCrawford.png, Binney No. 21, Bon Aire, BulmerRomanNo462, Cameo, CheltenhamWideNo164, CloisterBlackNo95, Comique, ComstockNo202, EleganteNoS106, FigaroNo536, Glamour Medium, Greco Bold, Hauser Script, Hess Neo Bold No. 363, Homewood, Lydian Roman, Matura Scriptorial Caps, Modernistic No. 297, Orplid, Prisma, Punch, Sans Serif Light No. 329, Samson, Scotch Roman No. 36, Spire No. 377, Stymie Medium No. 290, Tangoe, Thello Inline No. 2481, Thello No. 246, TwentiethCenturyUltraboldExtend, Typewriter Type No. 17L. [Google]
A collection of fonts from Bayer Corp (1995): AlbertusExtraBoldW1, AlbertusMediumW1, AntiqueOliveW1, AntiqueOliveW1Bold, AntiqueOliveW1Italic, AvantGardeBook, AvantGardeBookOblique, AvantGardeDemi, AvantGardeDemiOblique, Bookman, BookmanDemi, BookmanDemiItalic, BookmanItalic, CGOmegaW1, CGOmegaW1Bold, CGOmegaW1BoldItalic, CGOmegaW1Italic, CGTimesW1, CGTimesW1Bold, CGTimesW1BoldItalic, CGTimesW1Italic, CenturySchlbkBold, CenturySchlbkBoldItalic, CenturySchlbkItalic, CenturySchlbkRoman, ClarendonCondensedW1Bold, CoronetW1Italic, GaramondW1Antiqua, GaramondW1Halbfett, GaramondW1Kursiv, GaramondW1KursivHalbfett, Helvetica-Narrow, Helvetica-NarrowBold, Helvetica-NarrowBoldItalic, Helvetica-NarrowItalic, Helvetica, HelveticaBlack, HelveticaBlackOblique, HelveticaBold, HelveticaBoldItalic, HelveticaItalic, HelveticaLight, HelveticaLightOblique, LetterGothicW1, LetterGothicW1Bold, LetterGothicW1Italic, MarigoldW1, PalatinoBold, PalatinoBoldItalic, PalatinoItalic, PalatinoRoman, UniversCondensedW1Bold, UniversCondensedW1BoldItalic, UniversCondensedW1Medium, UniversCondensedW1MediumItalic, UniversW1Bold, UniversW1BoldItalic, UniversW1Medium, UniversW1MediumItalic, ZapfChanceryMediumItalic, ZapfDingbats. See also here. Further fonts are here. Bayer's Courier families for Greek, East-European, Cyrillic, Turkish and Latin. Type 1 collection. All these fonts are in fact part of an old Lexmark printer package. [Google]
Historical typeface, loosely related to Garamond but with sharper serifs. The original is by Venetian Francesco Griffo (1495), created for use in printing De Aetna by Cardinal Pietro Bembo. The cursive is attributed to Giovanantonio Tagliente (1524). Stanley Morison made a metal version at Monotype in 1929.
Ulrich Stiehl says: Bembo recuts sold today by Monotype, Adobe, and Linotype, have short ascenders (b, d, f, k, l) so that the spirit of freedom expressed by this Renaissance typeface gets lost. We offer here a few type specimens of former recuts of the Bembo which was used for the first time in the Latin book "De Aetna" written by "Petrus Bembus" (= Pietro Bembo). You can find gifs in this link of the following: Bembo, hand-composition foundry type (Germany, 1963), Monotype hot-metal composition Bembo (England, 1973), Monotype composition Bembo (Germany, year unknown), Berthold photocomposition Bembo with long ascenders (Germany, 1985), Bembo-Antiqua Series 270 Monotype in all type sizes from 4 pt to 72 pt (Germany, 1966).
Bembo Book was released by Monotype in 2005. Bitstream's Aldine 401 is a Bembo look-alike. Other digital faces include fbb (2014, a free font by Michael Sharpe on the CTAN site), Bemtus (URW), Bamberg Serial (SoftMaker) and Bergamo (SoftMaker).
Mac McGrew writes: Bembo was cut in 1929 by the English Monotype corporation under the direction of Stanley Morison, and shortly thereafter by Lanston Monotype in America. It derives from the first roman type used by Aldus Manutius in the dialogue De Aetna, by Pietro Bembo, printed in Venice in 1495. Punches were cut by Francesco Griffo of Bologna, the designer responsible four years later for the first italic types. This typeface is probably the most popular and successful of the numerous faces revived by Morison as typographic adviser to the English company. Morison attributed its success to the fact that "it was inspired not by writing but by engraving; not script but sculpture." The italic is adapted from a 1524 typeface of Giovanni Taglienti, and has a natural grace of its own. English Monotype also made Bembo Bold and Bembo Bold Italic.
Poster by Arturo Gil. Poster by Agustina Fernandez (2013). [Google]
PC-Mac compatible true type fonts primarily intended for the transliteration of Akkadian and Sumerian cuneiform texts. Bendt Alster's page. The fonts made by him from Monotype fonts include the BaBo family (BookmanOldStyle), the BaCesPsB family (CenturySchoolbook), the BaTak family (TimesAkkad), BaGarUni (Garamond Unicode). His BATimesAkkad (2000) is also here. [Google]
Best fonts of 2005 (Jan-Jun): Typographica
The Golden Globe Awards of type design, nominated by regulars at Stephen Coles' Typographica, a selection from the ground up. I feel these are the true winners---unlike all those awards for which one has to apply, pay a fee and be subject to the scrutiny of a "selection committee". Masterfully brought to you by Stephen Coles---bravo! As Stephen himself notes this year (2005), there are three trends: (1) Gone are the days when large commercial outfits put out the bulk of serious type. Nine of the 14 top selections come from one-man studios. Meanwhile, several of the big boys (ITC, Linotype, Monotype, URW) are absent. (2) Nearly every featured font is available in OpenType, and many exclusively so. (3) Xavier Dupré: the Cambodia-based Frenchman is perhaps todays most productive single source of creative type design, rivaled only by Christian Schwartz. Drumrolls:
Honorable mentions: FF Absara Sans (Xavier Dupré), Amor (František Storm), Arrival (Keith Tam), Avebury Black and Open (Jim Parkinson), Ayres Royal (Gert Wiescher), Bembo Book (Robin Nicholas), Bluemlein Scripts (Alejandro Paul), Botanika (Tomáš Brousil), Cabazon (Jim Parkinson), Chocolate (Angel Koziupa and Alejandro Paul), Crank8 (Greg Lindy & Henk Elenga), Deutsche Bahn [PDF] (Christian Schwartz and Erik Spiekermann), Dynasty (Rian Hughes), Fedra Sans Display (Peter Bilak), Flama (Mário Feliciano), Galicia (Rian Hughes), Gill Sans Pro (Monotype), Groovin' (Jason Walcott), Handsome Pro (Nick Shinn), Happy Hour (Jason Walcott), Incognito (Gábor Kóthay), Kaffeesatz (Jan Gerner), Kingfisher (Jeremy Tankard), Lapture (Tim Ahrens), Mashine (Tim Ahrens), Mercury Display & Text (Jonathan Hoefler & Tobias Frere-Jones), Miserichordia (Rian Hughes), Modesto Text (Jim Parkinson), Morice (Stephen Banham), Nerva (Dino dos Santos), Nicholas (Nick Shinn), Ogravan (Tomáš Brousil), Paperback (John Downer), Propane (David Buck), Radiogram (Rian Hughes), Rough Riders and Redux (Michael Hagemann), Sculptura (Jason Castle), ITC Stone Humanist Sans (Sumner Stone), Soap (Ray Larabie), Sovereign (Nick Cooke), Tamarillo (Jason Walcott), Tourette (Jonathan Barnbrook), Wanderer (Michael Hagemann). [Google]
- Lisboa (Ricardo Santos): Hrant Papazian writes: Lisboa harbors the sagacity to merely vie for — and thereby achieve — a simple Iberian warmth, something especially difficult in a sans. In the severely over-crowded field of humanist sans-serifs, Lisboa distinguishes itself through completeness (including expert characters and two numeral styles) and technical sophistication (as in its trapping), but mostly by providing two subtly varied cuts: one that helps exhibit the design's particular character; and another that eschews detail for maximal clarity in small sizes.
- Freight (Joshua Darden). Dyana Weissman: While we move out of the era of the antiseptic sans-serifs, Freight offers refreshing anomalies that warm up the design.[...] This family is insane. Not only because of the 100 styles, but also because of its charming little quirks.
- Ministry Script (Alejandro Paul). Paul Hunt comments: How do you convey sexiness with type? Use a sultry script face. The only thing more typographically titillating might be a set of canoodling ligatures.
- Garamond Premier Pro (Robert Slimbach).
- Deréon (Jean-François Porchez). Chris Rugen writes: When I see Déreon, I see a Whitman and Dalliance mix (two of my favorites) creating something unique. Like Whitman, Deréon gets its body from the Scotch Didone Caledonia.
- Proxima Nova (Mark Simonson). Kyle Hildebrant: It nestles neatly in a place between the geometric, grotesque, and gothic. Its generous x-height, thoughtfully balanced color, and expert typographic features (small caps, text figures, lining figures, etc.) position it as a prime candidate for extended textual setting.
- Zingha (Xavier Dupré, Font Bureau). Norbert Florendo comments: Reviewing Zingha is as delightful as discovering several long lost cases of unreleased ATF hot metal typefaces.
- Vista Sans (Xavier Dupré). Stephen Coles: With its friendly quirks, Vista Sans is a lot like Tarzana — another Emigre font — but succeeds everywhere Tarzana fails. The more distinctive glyphs feel harmonious with the rest of the font, never jarring. Gentle swashes and a large x-height make for a friendly sans that would work just right in so many settings.
- Cézanne Pro (James Grieshaber).
- FF Maiola (Veronika Burian). Dan Reynolds drools: Just when you thought your collection's text categories were set, Veronika Burian burst the stable doors open, reviving the Czech genre and its warm idiosyncrasies. A “warm” typeface? FF Maiola solves this puzzle using discrete play of irregularity and multiple angles, harkening back to Menhart and Preissig's approaches.
- Maple (Eric Olson). Mark Simonson: Other type designers have mined the 19th century English grotesque, but Eric Olson gives it an energetic crispness which makes earlier attempts seem a bit stuffy. Maple captures the exuberant quirkiness of the grots without slavishly imitating them.
- Garda (Mario Feliciano). William Berkson notes: With great elegance and style—and alternative characters and ligatures—the set offers superb alternatives to Trajan, Optima, and Futura for titling.
- Litteratra (Karsten Lücke). Yippie! Keep it up, Karsten! Joshua Lurie-Terrell: It's a sort of roman amalgam of textura and Schwabacher, channeling the expressionist spirit of Vojtech Preissig. [...] It's an entire historical movement.
- Relato (Eduardo Manso). My compatriot Yves Peters: Emtype Relato combines Dutch purposefulness with Latin sensuality. Its serifs are constructed following a clever principle, and the faces look simply gorgeous.
[ITC Garamond opinion]
[T4 Typography AB]
Bolt Cutter Design (or: Mahoney Fine Arts)
Creators in 2008 of a series of detailed free fonts: Eutemia (connected calligraphic script), Deborah Extra Ornaments, Prozac Buzz (grungy and neurotic), Phat Grunge Bold, Metal Macabre (scary), Kremlin-Advisor-Display-Kaps-Bold, Kremlin-Samovar-Extra-Bold, Kremlin-Samovar, KremlinAlexander-Bold, KremlinBolshevik-Bold, KremlinDuma-Bold, KremlinEmpire, KremlinGeorgianI3D, KremlinGrandDuke, KremlinKiev, KremlinOrthodoxChurch, KremlinStarets (all Cyrillic simulation faces), Deborah Fancy Dress (saloon font), Deborah (1880s style).
Full list, at the end of 2008: AngstRidden (angst-ridden handwriting, dated 2002 under the label Mahoney Fine Arts), Bolt-Cutter-Light, Bolt-Cutter-Nasty, Bolt-Cutter, CSAR-Italic, CSARVESTMENT (illuminated caps), Bloody Irish Bastard or Congeal (2001), Deborah (Western), DeborahCondensed, DeborahExtrasOrnaments, DeborahFancyDress, Dominatrix, EutemiaI-Italic, EutemiaII-BoldItalic, EutemiaIII-BoldItalic, EutemiaOrnaments, GeneticEngine, GideonPlexus, KREMLINMINISTRY-DemiBoldItalic, Kremlin-Advisor-Display-Kaps-Bold, Kremlin-Samovar-Extra-Bold, Kremlin-Samovar, Kremlin-Soviet-Italic, Kremlin-Tsaritsa-Italic, Kremlin, KremlinAdviser, KremlinAlexander-Bold, KremlinBolshevik-Bold, KremlinComrade, KremlinCzar, KremlinDuma-Bold, KremlinEmperor-Bold, KremlinEmpire, KremlinGeorgianI3D, KremlinGrandDuke, KremlinImperial, KremlinKiev, KremlinKommisar, KremlinKourier-II, KremlinKourierII-Bold, KremlinMenshevik-Bold, KremlinMenshevik-BoldItalic, KremlinMinister-Black, KremlinMinister-Bold, KremlinMinister, KremlinMinisterBlack3D-Bold, KremlinOrthodoxChurch, KremlinPravda-Italic, KremlinPravda, KremlinPremier, KremlinStarets, KremlinSynod, MarquisDeSade, MarquisDeSadeAlternates, MarquisDeSadeOrnaments, Kremlin Chairman, Metal-Macabre, NewSymbolFont, ODINS-SPEAR-HOLLOW (2002, runes), ODINS-SPEAR (runic), OurSacredRights-Bold, PhatGrunge-Bold, Precious, StarmanCrusader, TEK-HED-AGGRESIVE (the TEK (techno) series is from 2003), tEK-HED-ANGRY, TEK-HED-BOLIMIC, TEK-HED-LAZY, TekHedRegular, ThorsHammerCarved (2008, chiseled look), csar, csarparadedress. Fonts from 2009: Vlad tepes II (creepy).
Fonts from 2010: Sarcophagus.
Fonts from 2012: Baris Cerin (a bastardized Garamond caps face).
Fonts from 2013: Precious (connected formal script).
Fontspace link. Dafont link. [Google]
Bund für Liturgie und Gregorianik
[Holger Peter Sandhofe]
Commercial music fonts by Holger Peter Sandhofe from Bonn. Hufnagelnotation, Quadratnotation and Medicaeanotation are medieval notations for Gregorian chants. Olus some beautiful medieval caps such as HPS Antiphonale, Solesmes, and HPS Vatikan-Initialen (from the 15th century). He also sells a HPS Garamond text family. Plus some commercial medieval fonts: HPS Vatikan-Initialen (caps font, 38 Euro), HPS Antiphonale (caps, 28 Euro), Solesmes (caps, 48 Euro), HPS Garamond (medieval text font family in Normal, Kursiv, Fett and Fett-Kursiv). [Google]
Greek commercial foundry specializing in Greek fonts, founded in 1995 by Yiannis Kouroudis (b. 1962) and Panagiotes (Panos) Haratzopoulos (b. 1967). Regulars include Y. Kouroudis, T. Katsoulidis, D. Arvanitis, H. Charalambous and A. Bakas. Some fonts are Greek extensions of the major Western fonts (such as the fonts from Emigre, Berthold Types, FontShop, Commercial Type, Font Bureau, House Industries).
Original fonts include CF2 Allegro, CF2 Ancient Symposium, CF2 Anteus, CF2 Baby, CF2 Bac, CF2 Bar, CF2 Big, CF2 Bizzare, CF2 BlastGothic, CF2 Bloco, CF2 Compacta Greek, CF2 Criton, CF2 Daphne, CF2 Darkroom, CF2 Deconstruction, CF2 Demo, CF2 Derrida, CF2 DiscoVolante, CF2 DogEatDog, CF2 Eteocles, CF2 Fat, CF2 Garamond Greek, CF2 Holly, CF2 HotMetal, CF2 Initials, CF2 KouroudisGraffiti, CF2 KouroudisSelect, CF2 Leda, CF2 Leftism, CF2 Liar, CF2 Marker, CF2 Matrix, CF2 Milk, CF2 Nervoso, CF2 Newspaper, CF2 Note, CF2 Painter, CF2 Poster, CF2 Sans, CF2 Semplice, CF2 Smooth, CF2 Sophia, CF2 Stamp, CF2 Stencil, CF2 Stonepen, CF2 Suprematica, CF2 Twins, CF2 Type, CF2 Undo, CF2 Urania, CF2 Venus, CF2 Vivace, CF2 X-Ray, Rotis Semi, Perpetua Hellenic, Serif Hellenic, Bolt Hellenic, Conduit Hellenic, Franklin Gothic Hellenic, Gill Sans Hellenic, Goudy Hellenic, Kabel Hellenic, Legacy Sans Hellenic, Meta FF Greek, Officina Hellenic, Perpetua Hellenic, Rotis Hellenic and Stone Sans Hellenic.
The designers include Demetres Arbanites (b. 1948), Yiannis Karlopoulos (b. 1967), Takis Katsoulides (designer of the Byzantian typeface Genesis Polytonic), Yiannis Kouroudis (b. 1962), Paris Koutsikos (b. 1967), Aggelos Mitakas (b. 1954), Vladimir Radibratovic (b. 1962, educated in Belgrade), Konstantinos Spaliaras (b. 1971), Blases Foteinos (b. 1968), Ektor Haralamitous (b. 1945), Panagiotes (Panos) Haratzopoulos (b. 1967).
Haratzopoulos and Bilak (Typotheque) made Fedra Serif Greek (2003). Their news page is handy.
New releases in 2005: Autokratorika, DIN Greek, Fedra Sans, Fedra Serif A Greek, Fedra Serif B Greek, Joanna Hellenic, Meta FF Greek, Perpetua Hellenic, Rotis Sans Hellenic, Rotis Serif/SemiSerif Hellenic, Zine FF Sans Display Greek, Zine FF Serif Display Greek.
Panos Haratzopoulos is the main contributor to Cannibal. Designer of Greek versions of FontFont fonts (e.g., Instant Types Greek, Isonorm Greek, and Meta 1 Greek), House Industries (Chalet Greek and Neutraface Condensed Greek in 2010, Neutra in 2007), Garagefonts (Freight Display and Big, in 2007), Typetrust (Kari in 2007), Monotype (Davison American Greek in 2007-2008), Commercial Type (2011, Stag Greek and Stag Sans Greek), Lineto (2011, Gravur Condensed), Font Bureau (Sloop Greek in 2008, Heroun Sans in 2007 [for Men's Health Magazine], Griffith Gothic (in 2005), Berthold Types (in 2005-2006: Block, Bodoni Old Face, Akzidenz-Grotesk, Formata and Imago), Typotheque (in 2003: Fedra Serif Greek, done with Peter Bilak), Emigre (Template Gothic, 2003, Keedy (2003), Cholla (2003), Arbitrary (2003) and Mason (2003)).
Custom fonts include Dimokratia (2010, for the Dimokratia daily), Wunderman Pencil (2011, for Wunderman AE), FF Unit Slab Greek (2009, by Panos for the Metro newspaper), Le Corbusier Greek (2009, based on a Nico Schweizer font, for Homme Magazine), Farnham Greek (by Panos for Eleftheros Typos based on FB Farnham by Christian Schwarz). Panos made three versions of Gotham Greek between 2004 and 2007 for different newspapers, Macedonia, Eleftheros and Domino. Panos and Yiannis Karlopoulos did custom work for Maxim Magazine in 2005, producing Proteus Project (originally a HFJ font) and Griffith Gothic Greek. Irene Vlachou and Panos created Amplitude and Franklin Antiqua Greek for AutoBild in 2007, and Esquire and Crank Greek for Esquire in 2004.
Corporate fonts include a Greek version of Neoritmo (Claudio Piccinini) for the titles of the Benaki Museum's new website, Yamaha Hellas (a Greek version of Yamaha Koolhoven, 2001), Ballisage Greek (2007, Irene Vlachou, for Leroy Merlin), Tartine Script Greek (2005, by panos for Uphill/Nestea), Urania Sato (2007, based on CF Urania), FNAC Greek (2008, based on the FNAC chain font by Olivier Nineuil originally done in 2005).
The font Gill Sans Hellenic (2000) was chosen for the corporate identity of the Olympic Games of Athens in 2004. The Greek version was designed by Hector Charalambous and was art directed by Panayiotis Haratzopoulos after permission for hellenization was given by Monotype. The font is available from Greek Digital Types.
In 2013, John Karlopoulos, Vassilis Georgiou, and Panos Haratzopoulos codesigned the signage typeface CF Majestic (2013).
Alternate URL. FontShop link. Klingspor link. Behance link. [Google]
Designer of the free font "Greek Garamond". The page also archives some fonts by others, such as Academiury-ITV, CopticNormal, CopticNormal_II, Cyrillic-Regular, Greek-garamond-1.1, Greek-garamond, Greek, Linear-B, Masis, Ultima-Runes----ALL-CAPS, gothic-1. [Google]
Charles Hedrick on fonts for laser printers
Charles Hedrick explains on abf: " Bembo is a wonderful font when properly printed. Possibly if you're setting a book it would be a good choice. But for a laser printer it's too light. A better alternative is Bitstream Aldine 401, which is based on the same originals but slightly darker. However the Bitstream version doesn't have small caps or text figures, which you really want. I would be inclined to use a Garamond or perhaps Minion instead. I believe Minion was intended specifically as a replacement for TNR. Of course if you really want flair, Galliard would be a possibility, but I think it's too contrasty for use with a laser printer. In print it's a bit better. My personal favorite is Simoncini Garamond (in the Scangraphic version, because it has SC/OSF). It's light, but it is sufficiently even that this isn't a problem. However it's got too much "character" for most of what I do. At the moment I'm using DTL Documenta as my standard. It's straightforward, good-looking, robust enough for laser printing, and very expensive." [Google]
Chauncey H. Griffith
Kentucky-based type designer and printer, 1879-1956. He was a Linotype salesman who directed the growth of the Linotype library from 1915 to 1948, and improved the look of the world's newspapers. He worked to establish Linotype as the composing machine of choice in America. He continued as a consultant to Linotype well into his retirement.
Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style faces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group.
He designed or co-designed the following fonts, all at Mergenthaler:
- Baskerville (1939, Linotype).
- Bell Gothic (1937-1938). Now available at Bitstream. Font Bureau has its own version, Griffith Gothic (1997-2000, by Tobias Frere-Jones): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this typeface for newspaper work, the former with special figures and other characters for setting racetrack results, the latter in 1941 with other special characters for stock market details. The basic Bell Gothic was also cut by Intertype in 1939. Compare No. 11 and No. 12, shown under Numbered Faces, previously used for directory work. Imitations include OPTI Benet (Castcraft). Poster by Jaime Schweitzer. View digital versions of Bell Gothic.
- Bookman (1936, after the 1960 original by Alexander Phemister at Kingsley ATF).
- Corona (1941), a narrow newspaper typeface with large x-height. Corona was designed to meet the rigorous requirements of high-speed printing, and is still the chosen type of many American daily newspapers. Mac McGrew: Corona was drawn and cut by Linotype under the direction of C. H. Griffith in 1941. It is a member of the "Legibility Group" offaces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona.
- Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
- Excelsior (1931, Linotype). At Bitstream, this is News 702. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype typeface intended primarily for newspaper work, Excelsior is available in closely graded sizes, including odd and some half-point multiples.
- Granjon (1928-1930, with George William Jones at Linotype). MyFonts: Claude Garamond's late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype&Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon's seventeenth century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon's romans, Plantin and Galliard. Granjon is a little less crisp in cut than either Sabon, Stempel Gararmond or Berthold Garamond, but makes a magnificent and most readable text face, as shown in Reader's Digest since its founding. Mac McGrew: Granjon was designed for Linotype in 1928 by George W. Jones, distinguished English printer, to meet his own exacting requirements for fine book and publication work. It is derived from classic Garamond sources, but with refinements made possible by modern methods of punch cutting. In fact, one critic has called it "the purest form of Garamond." It is named for Robert Granjon, mid-sixteenth-century punch cutter noted in particular for his italics, from which the present Granjon Italic was derived. Granjon Bold, by C. H. Griffith, was added in 1931. Lanston Monotype acquired reproduction rights to the typeface from Mergenthaler.
- Ionic No. 5 (Linotype, 1925). Mac McGrew: Ionic is a general name for a style of typeface which is closely related to the Clarendons (q.v.). Plain, sturdy designs with strong serifs and little contrast, the Ionics were popular in the latter part of the nineteenth century. Although many founders offered them, they were generally gone by early in this century. A few received a new lease on life when they were copied by Monotype, Linotype, or Intertype. Two new Ionics appeared in this century. Ionic No.5 was designed by C. H. Griffith in 1926 for Linotype, as a newspaper text face. It features a large lowercase with short ascenders and descenders, with no fine lines or serifs to break down in stereotyping, and no small openings to fill up with ink. This is one of a few faces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
- Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
- Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif typeface known as Memphis or Girder, designed by Rudolf Weiss about 1929, which did much to revive interest in this old style. Memphis Light and Bold were introduced by Linotype in 1933, Italics and Unique Caps in 1934, Medium in 1935, and other variations up to 1938. The Extra Bold versions were designed by C. H. Griffith. Alternate characters are available in some versions to more nearly approximate the appearance of Stymie or Beton (q.v.). The Lining versions are comparable to small caps in the regular versions, being propor- tionately wider and heavier than caps, and have no lowercase; there are several sizes each in 6- and 12-point, permitting various cap-and-small-cap combinations, in the manner of Copperplate Gothic. Also see Ward; compare Cairo, Karnak. Digital versions are everywhere. The Bitstream version is Geometric Slabserif 703.
- Linotype Monticello was designed by Griffith in 1946. Its design is based on James Ronaldson's Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965-1981. Mac McGrew: Monticello is a Linotype recreation of America's first great typeface, Binny&Ronaldson's Roman No.1, cut about 1796 by Archibald Binny in Philadelphia. His was the first permanent American type foundry. After about 30 years, the Binny typeface fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the typeface was renamed Oxford (q. v.). In 1943 Princeton University Press announced plans for publishing a 52-volume edition of The Papers of Thomas Jefferson. As President, Jefferson had personally written to friends in France, introducing a Binny&Ronald- son representative who was seeking a source of antimony to replenish the shortage which threatened the young typefounding industry in this country. Jefferson also referred in this letter to the importance of type to civilization and freedom. In addition, the popularity of this typeface coincided with the most prominent years of Jefferson's life. Therefore Linotype suggested that a recutting of the typeface would be most appropriate for the Jefferson books, and the publisher heartily agreed. C. H. Griffith, Linotype typographic consultant, made a detailed study of Binny's type and redrew it in 1946 for the requirements of Linotype composition and modern printing conditions. It is a vigorous transitional face, somewhat similar to Baskerville but slightly heavier and a little crisper.
- Opticon (1935, Linotype). Mac McGrew: Opticon was designed in 1935 by C. H. Griffith for Linotype. It is a member of what that supplier calls its Legibility Group of faces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
- Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This typeface is lighter and airier than most such faces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
- Poster Bodoni (1920). Digital versions by Bitstream (Poster Bodoni BT Roman, and Moder 721), Castcraft (OPTI Poster Bodoni Compressed), Softmaker (Bodoni Poster) and Corel (Bodnoff).
- Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
- Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper faces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper faces. Compare Excelsior, Ionic, Rex, etc.
- Non-Latin faces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.
Klingspor link. Linotype link. FontShop link. Font Bureau link. Pic. [Google]
Choice of Garamond
A comparison (in Japanese) between Stempel Garamond, Garamond 3 (Monotype), ITC Garamond, Adobe Garamond and Sabon. [Google]
Choice of Garamond
Apostrophe has this to say about the choice of one of the many Garamonds.
- Stempel Garamond: the mainstream closest you will find to the original. Not much variety there though: 8 fonts at Lino/Adobe, include bold, italic, bold italic, OsF across the board, and roman small caps, but that's about it.
- Adobe Garamond: a lot of variety there, but while the main weights were based on Garamond's punches, the italics were based on Granjon's work (so they're not true Garamond).
- Monotype's Garamond: great fonts there. Based on Jannon's work, mind you, not Garamond's. Very nice expert sets and swashes.
- ITC Garamond: also based on Jannon's stuff, but I don't recommend it at all. It's umm, say, quirky in many respects. Adobe has a multiple master version of it too.
- Berthold Garamond: good set with some variety, but also based on Jannon's copies of Garamond's types.
- Granjon: just 6 fonts at Lino/Adobe, based on Granjon's work, which is very similar to Garamond (those two were contemporaries, if I remember correctly).
- Sabon: 8 fonts, romans based on original Garamond, italics based on Granjon's work.
- Garamond 3: 8 fonts at Lino/Adobe, based on Jannon's work (as copied by Benton at ATF, I think). Not much variety there.
- Simoncini Garamond: authentic enough, but no variety at all. A bit lighter than the rest too. 3 fonts at Lino/Adobe.
- 1530 Garamond, by Ross Mills at Tiro: this one is certainly based on Garamond's work, but the design turned out to be good for only display, and really bad for text (the c and e are too closed for 14 and under, for instance).
- And of course, my favourite of all digital Garamonds is called Augereau (named after Claude Garamond's teacher). It is the most authentic digitization I have ever seen of Garamond's work, and it's full of variety. 28 weights of sheer beauty. Unfortunately, it is too expensive to buy and available for purchase only from George Abrahms himself (the guy who digitized it), who happens to now be a very old man in upstate New York.
Choice of Garamond (2)
Thierry Bouche replies to Apostrophe's list above.
- Sabon claims to be very close to some punches that ended up in Germany for some reason (beware, the digital version keeped all stupid design distortions imposed by the linotype technology, its italic should be avoided but the roman is pretty nice). Imho, the most faithful to the punches in Plantin museum at Antwerp is Adobe Garamond -- the spacing was tightened, though).
- Stempel Garamond: The weight is somehow too heavy, the f too short, it's less curly than garamont's fonts, it is also limited by linotype low typographic abilities...
- Adobe Garamond: yes, and they fit rather well, though the lower contrast of the italics modify the colour if you use it too extensively.
- Monotype's Garamond: Sure, but soooo light (goes back to this period where monotype used to do the digital versions after the punches, not taking into account the ink spread in the actual print process)
- ITC Garamond: it's a funny display font, accidentally called a garamond...
- Berthold Garamond: I like that one. Less grace than Adobe's, but really efficient for long texts readings. Rather bold in contrast to the others listed here. I don't believe the Jannon heritage, it's quite close to Sabon, the italics don't have the baroque aspects of Jannon's (very wide x, different slopes between letters, caps almost verticals...)
- Granjon: Someone quite knowledgeable said here that Granjon was some interpolation between Garamond and Caslon: it has more a transitional contrast and weight, and wider width than legacy garamonds. I think the italic is quite near to Granjon's, but the roman is a recent invention.
- 1530 Garamond: Agreed, this one is perfect baroque music flyers or theater posters, not much for text.
Choice of Garamond (3)
Choices of Garamond families include Charles Hedrick from Rutgers University writes: "At least half of the fonts called Garamond (including ITC Garamond) are based on work by Jean Jannon. He lived about a century after Garamond. His work was improperly identified early in the 20th Cent. Even though people know better now, people continue selling Jannon's fonts under the name Garamond. The most common versions are probably MT Garamond (which is the version of Garamond included with many Microsoft products) and Simoncini Garamond. In contrast to these, which are intended as fairly accurate versions, ITC Garamond is highly modified. I don't think it is intended to be a revival. I believe it was intended for display. However I think it looks rather nice as a text font in the O'Reilly books. Authenticity isn't everything." [Google]
Choice of Garamond (4)
Robundo Publishing (Tokyo) shows various Garamond types side by side. [Google]
Choice of Garamond (5)
Susanna Wong Herndon discusses the right fonts for the job. Bitstream alone offers these Garamond faces, renaming them to make things more "interesting": [Google]
Choice of Garamond (6)
Linotype's offerings of Garamond, with all Linotype comments:
- Stempel Garamond (D. Stempel AG, 1925): The famous Stempel Garamond interpretation of the 1920s remains true to the Original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts. Stempel Garamond is available in four weights with Small Caps, Old Style Figures and Euro symbol.
- Adobe Garamond (Robert Slimbach, 1989): This relatively new interpretation of Garamond, designed by Robert Slimbach, is based on the Original Garamond as a typical Old Face style. However, this font has been expanded to include small caps, expert fonts, and calligraphic caps which were typical of the 15th and 16th centuries. Adobe Garamond is available in six weights with Small Caps, Old Style Figures and Euro symbol.
- ITC Garamond (Tony Stan, 1977): The ITC Garamond went through so many changes that it has only a few characteristics tying it to the Original Garamond. Designer Tony Stan applied a completely new concept in composing the lower case letters of all cuts with a larger x-height. This improved legibility and gave ITC Garamond the popularity it enjoys, especially in advertisements and manuals and handbooks. ITC Garamond is available in eight weights plus eight condensed weights and with Euro symbol.
- ITC Garamond Handtooled (Edward Benguiat, 1993): A handtooled version of the black and black italic for packaging, book jackets and poster design.
- Simoncini Garamond (Francesco Simoncini, 1961): Simoncini Garamond was designed by Francesco Simoncini to be true to the original.
- Garamond #3 (Morris F. Benton, 1936): Morris F. Benton's Garamond appeared in 1936 and is based on the forms of Jean Jannon, which already displayed characteristics of the transitional style. Garamond #3 is available in four weights with Euro symbol.
- Garamond No 5: Garamond No 5 is another interpretation of the Garamond with narrow letters. It is only available in roman, italic and bold.
- Garamond Classico (Franco Luin, 1993): Garamond Classico is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.
- Sabon (Jan Tschichold, 1967): Sabon is a revised version of Garamond, designed by Jan Tschichold. Sabon was similar produced for three foundrys: D.Stempel AG, Linotype and Monotype. Classic, elegant, and extremely legible, the font Sabon is one of the most beautiful Garamond variations. The font Sabon is particularly good for text and headlines in: books / text, magazines, advertisements, documentation / business reports, corporate design, multimedia, correspondence.
Born in Saint-Avertin, near Tours, in 1514, died in Antwerp in 1589. He left France in 1555 and settled and worked in Antwerp, where he published many books that drew attention because of their beautiful typography. He often used types by Claude Garamond and Robert Granjon. He was the main catholic publisher of the counter-reformation, but he also published material for the protestants. One of his main achievements was the Biblia polyglotta (1569-1573), the eight-volume polyglot Bible in Aramaic, Greek, Hebrew, Latin, and Syrica, with text in parallel columns. For two years, from 1583-1585, he was the official typographer at the newly erected University of Leiden. After his death in 1589, his son, Jan Moretus (1543-1610), carried on his work. Successors after that include Jean Moretus II, and Balthasar Moretus I, II III and IV. Plantin's press, Officina Plantiniana, survives in its entirety as the Plantin-Moretus Museum, sold to the City of Antwerp in 1876. This collection of 16th century typefaces (punches, matrices, the works) is a unique historical treasure.
The Plantin typeface was created in the 1570s. The modern day version at Bitstream is called Aldine 721.
Plantin-Moretus Museum in Antwerp. Britannica entry. Biography. The Golden Compasses The History of the House of Plantin-Moretus (Leon Voet, 1969, 1972) is freely downloadable. Books on Christoffel Plantijn (in Dutch). [Google]
Oslo-based Norwegian who was born in Cheltenham, UK, in 1966. Haanes teaches calligraphy, lettering and typography, and is a freelance calligrapher, book designer and typographer. He designed many alphabets, which are mostly calligraphic, but he has also drawn some old Roman lettering and blackletter alphabets. His blog (in Norwegian) has interesting typographic threads, such as this educational comparison between Antiqua faces like Brioso, Adobe Jenson, Bembo, Adobe Garamond, ITC New Baskerville and Linotype Didot. This thread looks at sans faces. He designed a calligraphic alphabet specifically for Cappelen Damm in 2008, which was digitized by Sumner Stone as Litterat. [Google]
Designer in Long Beach, CA.
Typefaces from 2014 by Means include CM Pradaesque (a Trajan font).
In 2012, Christopher created CM You Got Me wet, CM Fresh Paint, CM Big Fat Paintbrush, CM Garaflora (floriated Garamond caps), CM Chipped Paint (ornamental caps), CM Sans Serif 2012 (+Aged), CM Jungle Adventure (textured typeface), CM Hot Nurse (chalky font), CM Bank Tower College (an athletic lettering font), CM Western Woodblock (+No. 2), CM Mummy Tape, CM Party Headline (textured caps), CM Shark Week, CM Tropical Script, CM Old Western, CM Cold Request CM Moving Forward (techno face), CM Old Firehouse (grungy), CM Grunge Party.
In 2011, he designed CM Tattoo Dragon, CM Bloat, CM Handwriting One (brush face) and CM Old Halftone. [Google]
CL fonts is a package that contains GaramondLatin, a professionally produced typeface (by Rubicon Computer Labs Inc, 1998) that provides macrons, brevia, apices/stress marks, common inscriptional characters, characters for printing scanned poetry, and a few medieval and religious symbols. Free, sponsored by the CAES, the Classical Association of the Empire State. On this page, you can also download the Anaxiphorminx font (1998): Dr. Ilja Pfeijffer of the University of Leiden has created a metrical font for scholars and advanced students of Greek and Latin. Anaxiphorminx is a metrical font designed for advanced work in Greek and Latin metrics. It was created on the Macintosh by Dr. I.L. Pfeijffer of the University of Leiden. Page by David Perry. [Google]
Text of an essay by Allan Haley for U&LC vol. 12, no. 2, 1986. [Google]
One of the fathers of typography.
111 Garamond faces are sold by Linotype alone, including the Stempel, Adobe, EF, #3, IC and BE families. Shown is Garamond BE Bold OsF, 1975, by Guenther Gerhard Lange. Other implementations include Garamont Amsterdam by Scangraphic, and the URW Garamond family (1983).
- 1480: Born in Paris.
- 1510: trains as a punch cutter with Simon de Colines in Paris.
- 1520: trains with Geoffroy Tory.
- 1530: Garamond's first type is used in an edition of the book "Paraphrasis in Elegantiarum Libros Laurentii Vallae" by Erasmus. It is based on Aldus Manutius' type De Aetna, cut in 1455.
- 1540: King Francis I commissions Garamond to cut a Greek type. Garamond's ensuing Grec du Roi is used by Robert Estienne in three sizes exclusively for the printing of Greek books.
- 1545 onwards: Garamond also works as a publisher, first with Pierre Gaultier and later with Jean Barbe. The first book he published is "Pia et Religiosa Meditatio" by David Chambellan. The books are set using typefaces designed by Garamond.
- 1561: Dies in Paris.
- After Garamond's death, Christophe Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff-Bermer acquire a large proportion of Garamond's original punches and matrices.
- Garamond (or: Garamont) typefaces used nowadays should in many cases be attributed to Jean Jannon (1580-1635).
Klingspor link. FontShop link. Linotype link. Bio by Nicholas Fabian.
Portrait. Another portrait. [Google]
This company existed as Compugraphic and Agfa Compugraphic from 1960-1995. The timeline:
- Founded in 1960 in Brookline, MA, by Bill Garth and Ellis Hanson (Chief Engineer of Photon, Inc). The intention was to apply computer technology to typesetting. The company would go on to influence the world of photocomposing with its low cost typesetters.
- In 1963, the company relocates to Reading, MA, and introduces its Linasec I and II, the first general typesetting computers.
- In 1967, the company relocates to Wilmingon, MA, forms a Type Group and an engineering department, and releases its first typeface, Bodoni.
- In 1968, Compugraphic introduces the phototypesetters CG 2961 and CG 4961. In 1969, the 7200 Headliner machine (the first keyboard-operated machine to set headlines and display type) was added, followed, in 1970, by the Area Composition Machine (ACM) 9000, in 1971 by the CompuWriter machines, in 1973 by the VideoSetter I and II, in 1974 by Unified Compuser and ExecuWriter, in 1975 by UniScan and UniSetter, and in 1977 by the EditWriter 7500, the Mini-Disk Terminal, and the Mini-Disk Reader..
- The first typeface exclusively developed by Compugraphic, is released, Holland Seminar. It was created by Hollis Holland in 1973.
- 1974: The purchase of T. J. Lyons Press, gives Compugraphic the rights to nearly 2,500 old and antique typefaces.
- In 1981 Agfa bought 51% of Compugraphic, increased that to 80% in 1983 and finally they merged outright in 1989. The new company name is Agfa Corporation.
- In the late eighties, they proposed the scalable format FAIS as an alternative for type 1 and truetype. This format did not survive long.
- In 1992 Miles, Inc (Pittsburgh, PA) bought Agfa/CG. In 1995 Miles changed name to Bayer Corporation. Agfa is the imaging division of this comnpany.
- Finally, in 1999 Agfa (after acquiring Monotype in '97) became independent of Bayer. They now own the ITC catalog (and, by virtue of that, the former Esselte/Letraset font catalog too) as well as the others they picked up through the years.
MyFonts sells Garth Graphic (Compugraphic, and now Agfa/Monotype, by Constance Blanchard and Renee le Winter, based on earlier sketches of John Matt, 1979) and Phenix American (Agfa-Monotype), and named in honor of Bill Garth. Noteworthy is the 1988 catalog "The TypeBook".
Images of some typefaces: CG Garamond (now Monotype; see also Garamond Antiqua and Garamond Kursiv), CG Times (now Monotype).
Timeline at the Monotype Imaging site.
Compugraphic collection of fonts (with CG in the name). [Google]
Type founder who succeeded Jacques Sabon in 1580. He was the son-in-law of Christian Egenolff and his successor at the Egenolff print office. His catalog of type specimens is dated 1592. The "Berner specimen" of 1592 formed the basis of the free Google Web Font family EB Garamond (or: Egelnoff-Berner Garamond) developed by Georg Duffner. In 1626, his foundry passed into the hands of Johann Luther. At the time, he was the main type supplier for Germany, the Scandinavian countries and the Netherlands. [Google]
Foundry, est. ca. 2009 in Johannesburg, South Africa, by Jan Erasmus. Jan currently resides in Johannesburg and taught font design for 10 years at University of Johannesburg and Stellenbosch University. His professional activities include typography, websites, brochure design, packaging, branding and type design. He also designed custom fonts for corporations of which Menyaka (for the FIFA world cup soccer 2010) and Nando's fast foods (1999; done together with Cross Colours) are the most noted.
Jan's debut display font family was Thornface (1997, a beaiutiful medieval font). He then released Transition, Lalibela (2009, didone), Pixeluxe and Azania (Tuscan, Western). Other fonts include Sade (a relative of Garamond), Export Unicase (12999, stencil), Mzansi (2007, an African look font), Shaftciti (2008, military stencil), Pixeluxe (2010), Giramundo (2010), Transition (2006).
Klingspor link. [Google]
Cyreal is a type foundry with expertise in both Latin and Cyrillic scripts. Its founders are lecturers at the British Higher School of Art and Design in Moscow. They are
- Gayaneh Bagdasaryan. Gayaneh began working as a type designer in ParaType in 1996. She has done cyrillization work at ParaType, Typotheque, Linotype, Bitstream, The Font Bureau, ITC, Berthold and Emigre. Her typeface Red Klin received a TDC2 2000 Award. Her New Letter Gothic won an Award for Excellence in Type Design at the Kyrillitsa 99 International Type Design competition in Moscow, 1999. Gayaneh graduated from the Print Design Department of Moscow State University of Printing Arts (2000), and Ryazan College of Art (1992). Designer in 1999 at Paratype of LetterGothic Baltic, LetterGothic Central European, LetterGothic Cyrillic Asian, LetterGothic Cyrillic International, LetterGothic Cyrillic Old Russian, LetterGothic Multi Lingual, LetterGothic Turkish, LetterGothic Western. She made the Cyrillic version of Licko's Base Nine and Base Twelve families (2003) and of Albert Boton's ITC Eras (called PT ITC Eras). Klin Black (2004, Paratype, decorative caps in the style of Russian fine art ca. 1900) is an original: Red Klin (2005) is inspired by Russian fine art from the beginning of the 20th century---lettering by Sergey Chekhonin (1878-1936), graphic design by El Lissitzky (1890-1941) and the Suprematism painting. Sketch design of the font (under the name Klin) was awarded a TDC2 2000 diploma. Finally, she designed ParaType New Letter Gothic (1999) and ParaType Original Garamond (2000).
- Alexei Vanyashin. Type designer with expertise in Cyrillics. Winner at the Granshan 2010 International Type Design competition with Florian (Second place in the Cyrillic Text Typeface category). He completed the Type&Typography Master Level course in 2010, and studied typography at the Stroganov University of Arts and Industry.
Fontspace link. FontShop link. Klingspor link. Bagdasaryan Gayaneh. [Google]
- Cyrillizations: Akzidenz-Grotesk Condensed, AG Book, Apack (Pisa), Base Nine, Charlie, Fedra Sans, Fedra Serif, Filosofia, Greta, Griffith Gothic, Eras (ITC), Lobster (free, 2011, after Pablo Impallari's Lobster), Neuland, Original Garamond, Renault.
- Armenian: Newton Armenian, Pragmatica Armenian, Haykakan Kar.
- Custom: GEO Text, GEO Display.
- Retail: New Letter Gothic, Red Klin, Schmale, Florian.
- Free at Fontsquirrel: Artifika (2011), Brawler (2011), Rationale (done with Olexa Volochay and Vladimir Pavlikov).
- Free fonts at Google Font Directory: Jacques Francois and Jacques Francois Shadow (2012, codesigned with Manvel Shmavonyan, they are revivals of the Enschedé no. 811 type specimen (ca. 1760) by Jacques François Rosart (1714-1774), made for Enschedé Printing House), Artifika (2011, by Yulya Zhdanova and Ivan Petrov), Aubrey (2011, art nouveau by Gayaneh Bagdasaryan), Vidaloka (2011, a didone done by Alexei Vanyashin and Olga Karpushina), Lora (2011, a contemporary serif by Olga Karpushina), Federant (2011, by Olexa Volochay: this revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig Nägele (1911)), Federo (2011, high-contrast sans by Olexa Volochay based on J. Erbar's 1909 font Feder Grotesk), Podkova (2011, slab serif), Wire One (2011, monoline sans by Alexei Vanyashin and Gayaneh Bagdasaryan).
D. Stempel (or: Stempel Studio)
Frankfurt-based typefoundry started in 1895 by David Stempel. Took over Roos&June in 1915. Gained a majority share in Klingspor Bros in 1917. Takes over Leipzig's Heinrich Hoffmeister foundry in 1918 and Leipzig's W. Drugulin foundry in 1919. Gains shareholding in the Haas'sche type foundry in 1927, and Benjamin Krebs in 1933. It becomes owner of Klingspor in 1956. In 1985 D. Stempel's type division was taken over by Linotype, and became Linotype's type department. Stempel's history, 1895-1955. Designers and fonts:
- J. F. G. Binder: Binder Style (1959).
- J. Boehland: Balzac (1951).
- H. Bohn: Mondial (1936).
- Walter Brudi: Orbis (1953), Pan (1954).
- W. Buhe: Buhe Fraktur (1915).
- W. Chappell: Trajanus (1939).
- J. Christiansen: Christiansen Schrift (1909).
- F. Heinrichsen: Gotenburg (1935-1937).
- K. Hoefer: Prima (1957), Zebra (1965).
- H. Hoffmeister: Amts Antiqua (1909), Stempel Fraktur (1914).
- Holzhausen: Holzhausen Antiqua (1916).
- M. Jacoby-Boy: Bravour (1912).
- M. Kausche: Mosaik (1954).
- F. W. Kleukens: Gotische Antiqua (1914), Helga Antiqua (1913), Ingeborg Antiqua (1910), Kleukens Fraktur (1911), Omega (1926), Radio Latein (1923, display didone).
- R. Koch: Anzeigenschrift Deutsch (1923).
- H. König: Heinz-König-Setzmaschinen-Fraktur (1913).
- E. Meyer: Tannenberg (1933-1935).
- Hans Eduard Meier: Syntax (1968).
- H. Möhring: Elan (1928), Elegant Grotesk (1928).
- C. Wilhelm Pischiner: Neuzeit Grotesk (1929).
- H. Pauser: Petra (1954).
- I. Reiner: Bazar (1956), Mustang (1956).
- P. Renner: Renner Antiqua (1939).
- H. Rhode: Humboldt Fraktur (1938).
- F. K. Sallwey: Present (1974).
- A. M. Schildbach: Montan (1954).
- F. Schweimanns: Diana (1909), Propaganda (1901), Graziella (1905), Korso (1913).
- W. Schwerdtner: Metropolis (1928), Mundus Antiqua (1929), Standard Latein (1929).
- J. Tschichold: Sabon (1967).
- M. Wilke: Diskus (1938), Gladiola (1936), Konzept (1968).
- Friedrich Hermann Wobst: Globus (1932).
- Rudolf Wolf: Memphis (1930).
- Hermann Zapf: Gilgengart, Kompakt (1954), Melior (1952), Michelangelo (1950, roman caps), Optima (1958), Palatino (1950), Saphir (Linotype, 1953), Sistina (1951), Virtuosa (1952, revived in 2009 as Virtuosa Classic at linotype with the help of Akira Kobayashi).
- G. Zapf-von Hesse: Diotima Antiqua (1952), Smaragd (1953).
- Staff: B¨xenstein Antiqua (1912: revival by Gerhard Helzel), GerhardHelzel-BuxensteinFraktur-after-DStempel-1912.png">Büxenstein-Faktur (1912: revival by Gerhard Helzel), AltSchwabacher, Europe, Eurostile, Forma, Garamond, Künstlerschreibschrift (1902), Univers, and the typewriter types Deberny, Haas and Olive.
Specimen book of 1920.
View the Stempel typeface library. [Google]
Wil, Switzerland-based creator of a nice type poster of Jan Tschichold. [Google]
Daniel Taupin (1936-2003) held a degree of the ESPCI school and was a doctor in physics. He was a researcher in a solid-state physics lab at Orsay University (Physique des Solides, University Paris-Sud). Obituary. Another obituary with details of his mountain climbing career and death in the mountains. He published ttfmf2t1, a free C program, to clean up the output of Oleg Motygin's ttf2mf program that converts ttf files installed (!!) in Windows to metafont format. Metafont sources for Garamond, Times, Arial, Book Antiqua and Bookman Oldstyle are also at this site. He also codeveloped OpusTeX and Musixtex (for music notation) with Andreas Egler and Ross Mitchell. He published Les polices TTF converties en Metafont and MusiXTeX: L'écriture de la musique polyphonique ou instrumentale avec TEX. Designer of the metafont fraktur font families CM Fraktur and DM Fraktur. CM Fraktur, or cmfrak, is based on Yannis Haralambous' font yfrak (1990). [Google]
British font service company located in London. They have barcodes, a handwriting and signature font service, and sell all famous font families. As an example, from 1992 until 1994, they made Garamond-No-100-Bold, Garamond-No-100-Italic, Garamond-No-100, Garamond-No-49-Bold-Italic, Garamond-No-49-Bold, Garamond-No-49-Italic, Garamond-No-49. One source claims that this Garamond family was made by Compugraphic and that Datascan merely changed the name in the font information field. Maybe that is the way its collection grew so mysteriously and quickly to thousands of fonts. And here is the beauty: each font is priced at 320 US dollars for a single user. There are 30,000 fonts listed. Their collection, on paper, can be had for 9.6 million US dollars. For five users, cost doubles. [Google]
Rockland, MD-based designer of Scratch Garamond (2007, grunge). [Google]
David Thometz's top 10 favorite text faces
- Hightower (Font Bureau: Tobias Frere-Jones, 1994-1996, based on Nicolas Jenson) and Cloister Old Style (Font Company/URW++; Nicolas Jenson; Morris Fuller Benton, 1897): "Nicolas Jenson's model is, in many typophiles' judgement, simply the best roman ever designed. Morris Fuller Benton's Cloister Old Style is by far my favorite of all the attempts to revive Jenson. ITC's Legacy Serif is too sterile, Adobe Jenson lacks the same charm, and Monotype's Centaur is just a bit too spindly. Monotype's Italian Oldstyle and Jim Parkinson's Parkinson are good, but diverged a bit too much from the original form. Cloister Old Style has enough meat on its bones to print well at small sizes, but its forms are intriguing enough to keep it interesting at larger sizes. The Font Company/URW++ cut is the best that I've found, although its outlines are on the klunky side. Tobias Frere-Jones' Hightower is another font based on the same form. I haven't had it long enough to judge it completely fairly, but so far it has satisfied my expectations. It is slightly more sterile than Cloister, but not such that it completely loses its charm, and its outlines are better that any cutting of Cloister that I've yet come across. "
- Cheltenham Old Style (Bitstream; Hannibal Ingalls Kimball, Bertram Grosvenor Goodhue, Morris Fuller Benton, 1896-1911; 1990): "Demand the original design, as Bitstream's version has followed, and burn all copies of ITC's bastardization. Cheltenham Old Style is absolutely not for everyday use. Still, for those occasions when it is appropriate, it's a font you can kick off your shoes by the fire to read."
- Stempel Garamond (Stempel/Linotype AG; Claude Garamond, c.1480-1561; 1924): "This is a truly beautiful text font, and the only "Garamond" in which both the roman and the italic are based on Claude Garamond's work, and not Jean Jannon's."
- Mrs Eaves (Emigre; Zuzana Licko, 1996): "Emigre's version of Baskerville isn't particularly true to Baskerville's design, but Zuzana Licko's alterations result in a fresh, new typeface that is well-suited to the realities of today's digital printing demands. The italic is especially beautiful, and the range of ligatures is (with a few exceptions) a bonus. "
- FF Scala and FF Scala Sans (FontShop; Martin Majoor, 1990).
- HTF Didot (Hoefler Type Foundry; Firmin Didot, c.1784; Jonathan Hoefler, c.1992?) and Didot LH (Linotype AG; Firmin Didot, c.1784; Adrian Frutiger, 1992): "Didot is currently my favorite of the didone fonts, and both of these versions are good, each having different strengths. Still, Berthold Bodoni Old Face, Berthold Bodoni Antiqua, Bauer Bodoni and Berthold Walbaum slip into my top tier from time to time."
- Perpetua (Linotype AG; Eric Gill, c. 1925-1930; 1959; 1991): Strangely, Perpetua's flowing grace and stately structure is often too beautiful to be used for certain texts, which is why I don't use it even as often as I'd like.
- Serapion (Storm Type Foundry; Frantisek Storm, 2001): Serapion is klunky and untamed, but filled with a beautiful energy. William Berkson says in 2012: Well, I don't think Serapion is a good text face, because it's color is too uneven. You can get variety by doing uneven color, easily. To get variety while also getting even color to me is the challenge. Storm is a good designer, but to me this one is not a success. Large it's ugly as well, if you ask me. To me it's visually incoherent.
- Plantin (Agfa-Monotype; Frank Hinman Pierpont, ?): The original is much better than its descendant, Times New Roman.
- Bookman/Old Style (Ludlow, 1925; Merganthaler-Linotype, 1936; Agfa-Monotype ?): AGFA-Monotype has the best version that I've found; Bitstream's is okay. Avoid ITC's parody.
Japanese foundry with excellent web pages on early 20-th century type design. They created various revival fonts in 2009, all connected in some way to Tom Carnase, including
Additionally, they identified the fonts on many covers and albums from the 1960s and 1970s. Further revivals of photolettering era fonts:
- Bentley (201)=0). This is the same as Avant Garde Gothic.
- Bernhard Neo DF (2010).
- Caslon223 DF (after ITC/LSC Caslon 223 by Tom Carnase). Other Caslons include Caslon Headlione DF (2010) and Caslon Swash DF (2010).
- Didot DF (2008).
- Garamond DF (2010).
- Grouch DF (after ITC Grouch by Tom Carnase and Ronne Bonder)
- Lubalin Graph DF (after ITC Luabalin graph by Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna)
- Busorama DF (after ITC Busorama by Herb Lubalin and Tom Carnase)
- L&C Hairline DF (after L&C Hairline by Herb Lubalin and Tom Carnase)
They are working on Permanent Massiv (after a 1962 Ludwig&Mayer font by Karlgeorg Hoefer---comparable to Impact or Compacta in its massiveness and masculinity), Michel, Didoni, Tiffany, Ginger Snap, Patriot, Motter Ombra, Pistilli Roman, Benguiat Caslon, and Via Face Don. [Google]
- Baby Teeth (2009): after the art deco typeface of Milton Glaser, 1968, PhotoLettering.
- CBS Didot (2009): after the original by Freeman Craw, 1970s.
- Indigo (2009): after a font by Albert Hollenstein, 1970s.
- Pacella Collegiate (2009): after Vincent Pacella's typeface at PhotoLettering.
- Penny Bee (2009): a Peignot lookalike.
- Tiffany Heavy With Swash (2011). A swashy Didot display face. This type was used by Quentin Tarantino's movie Jackie Brown in 1997. Tiffany Heavy (Ed Benguiat, Photolettering) is basically identical to Benguiat Caslon Swash (1960s) and to Foxy Brown (1974). Similar faces include LSC Book with Swash by Herb Lubalin and Tom Carnase (ca. 1970).
- Wexford (2009): after the typeface of Richard A. Schlatter, VGC, 1972.
An in-house Garamond at Deberny&Peignot whose creation was supervised by Georges and Charles Peignot from 1912 until 1914. It was also called Le Garamont. Based on the originals of Jean Jannon held at the Imprimerie Nartionale, it was finished in 1926 by Henri Parmentier at Deberny & Peignot, and is now sometimes referred to as garmond with a d. Reference: Wikipedia. [Google]
Gerda Delbanco's German foundry in Ahlhorn, specializing in blackletter fonts. Great web presentation, and gorgeous glyphs. The company is owned by Gerda Delbanco, but it is not clear if she designed some or all of the faces. Some fonts were designed by Gerhard Helzel, and others by Christian Spremberg. This is one of the best sources of blackletter fonts in the world. Names of the fonts, which are nearly all historical revivals of the great blackletter fonts: Alte Schwabacher, Andreas Schrift, Breitkopf Fraktur, Caslon Gotisch, Claudius (1998, after Rudolf Koch, 1934-1937), Deutsche Kursive, Deutsche Werkschrift (+halbfett), Deutsche Zierschrift, Eckmann Schrift, Eisenacher Fraktur (1994, by Christian Spremberg), Ehmcke Schwabacher, Fette Gotisch, Fichte Fraktur, Frühling (after Rudolf Koch's original from 1917) [sample 1, sample 2, sample 3], DS-Garalang, DS-Garamond, DS Gotenbrg, Hermersdorf, Humboldt Fraktur (after a typeface by H. Rhode), Kleist Fraktur (1996, after the Walter Tiemann original from 1927-1928), Wilhelm Klingspor Schrift, Koch Fraktur, Rudolf Koch Kurrent (after the original school alphabet by Koch, done in 1935), Kurrent (a connected writing font based on examples from J.B. Henning, ca. 1817), Lincoln Gotisch, DS Maximilian Gotisch, DS Maximilian Zierbuchstaben, Normal Fraktur (this is a nameless typeface in the group of Biedermeier-Fraktur faces which also includes Schelter's Schulfraktur; also known elsewhere as Armin-Fraktur, Bürenstein-Fraktur, Mars-Fraktur and Pressa-Fraktur), Offenbacher Schwabacher (1996, after the 1899 font by Gustav Ruprecht at Rudhardsche), Old English, Peter Jessen Schrift (1997, after the original from 1924-1929 by Rudolf Koch), Post Fraktur, DS Ratdolt Rotunda, DS Salzmann Fraktur, DS Schmuck, Strassburg, DS Suetterlin, Tannenberg (after a 1933 Stempel typeface by Emil Meyer), DS Thannhaeuser Fraktur, DS Unger Fraktur (1999), DS Walbaum Fraktur, DS Wallau (1996, after Rudolf Koch, 1924-1936), Wartburg Fraktur, DS Weiss Gotisch, DS Wilhelm Klingspor Schrift, Wohe Kursive and Zentenar Fraktur (1997 (after F.H.E. Schneidler's original from 1937).
Some of the copyright notices refer to the Bund für deutsche Sprache und Schrift, and others to PrimaFont, and this may explain some of the foundry's history. 1994 catalog. Part of the 1999 catalog. Part of the 2002 catalog. [Google]
Prolific NY-based designer (born in East Los Angeles) who specializes in faithful revivals of old masters and logotype, in Latin and Hebrew. He made over 500 fonts including. He is also a translator and illuminator of Biblical period Hebrew and Aramaic. His clients include The Vatican (Pope John Paul II's Holocaust commemerative CD) and Hadassah, the Women's Zionist Organization of America. His specialties are translations worded in the language and style of the period in which the Biblical text was composed. His translation and enumeration of kabbalistic writings, otherwise known as Hebrew Mysticism and numerology, demonstrate the mathematical base of Biblical miracles.
His typefaces: OL Siynnamin Gothic, OL Radiant Slender, OL Raleigh Gothic (A, B) Display (2013), OL Titling Deco Semi Hilight (2013), OL Gotham Gothic (2013), OL Forum Titling (2013, Trajan column lettering), OL Signpainter Titling Face (2013, copperplate-influenced titling face), OL America The Beautiful (2013, a fashionable didone without ball terminals), OL Braggadocio (Braggadocio is a 1930 design by William A. Woolley), OL Candida Medium Condensed / Extra Condensed, OL Caslon Light / Bold, OL Chamfer Woodtype, OL Contact Bold Condensed, OL Contact Deco Caps, OL Corvinus Bold Condensed, OL Corvinus Versailles, OL Edenesque, OL Egiziano (+Comstock, 2005), OL Egmont (2005, +Medium, Medium Italic, Condensed: after Sjoerd Hendrik de Roos, 1933), OL Engraver's Roman, OL Engraver's Classic Roman (2009), OL Franklin Wide, OL Franklin Extra Bold / Extra Bold Italic, OL Franklin Triple Condensed, OL Garamond (2003), OL Gotham Gothic, OL Grecian Classic Bold Condensed / Bold Extra Condensed, OL Grecian Display, OL Grecian Modern (the Grecian series imitates wood type), OL Gothic Wide and Bold, OL Hairline Gothic (2009), OL Headline Gothic Triple Condensed, OL Heavy Metal Grecian, OL Jenson Bold Condensed / Extra Bold Condensed, OL Latin Classic Condensed, OL Lightline Gothic, OL Marksman Shot, OL Marla Bold, OL Miehle Classic (2009, +Condensed), OL Newsbytes Gothic, OL Purrrbank Gothic, OL Qumran Torah Hebraic Set, OL Racer Roman, OL Raleigh Gothic, OL Roman Compressed (2004), OL Roman Wide Deco Caps, OL Smokler (2006), OL Sharon Gothic Stoned, OL Sinead Stoned and Pointy, OL Smokler, OL Smokler Deco Caps, OL Thorne with Shadow, OL Twenty-five Deco Semicondensed, OL Windowpane Gothic, OL Woody Blocked, OL Avril Roman (2003, a flared face, after Emil Rudolf Weiss), OL Brierwood Grecian, OL Butterfly, OL Egyptian, OL Franklin, OL Garamond, OL London Black, OL Machina Black (2003, octagonal, mechanical), OL Manhattan, OL Marquee, OIL Newsbytes (2003, bold and black newsprint faces), OL Radiant, OL Round Gothic, OL Siynnamin Gothic, OL Skeleton Gothic, and HispanicHeritage (1999).
His fonts are sold through Phil's Fonts, Dsgnhaus, International Typefounders, and MyFonts. His 2001 fonts are signed Siynn bar-Diyonn, which is his Hebrew name. His Hebrew fonts published in 2007 include OL Hebrew Formal Script, OL Hebrew Neo Black, OL Hebrew Block, OL Hebrew Calligraphica, OL Hebrew Chisel, OL Hebrew Cursive, OL Hebrew Deco, OL Hebrew Handwriting, OL Hebrew Handwriting Deco, OL Hebrew Headline, OL Hebrew Prismatic, OL Hebrew With Tagin, and OL Qumran Torah.
Buy his fonts at MyFonts. Interview at the end of 2002, in which he recalls the start of his career at Rolling Stone magazine in 1979.
Showcase of Dennis Ortiz-Lopez's typefaces at MyFonts.
Klingspor link. [Google]
Digital Type Company (or: DTC)
[Fritz Renzo Heinze]
German foundry in Hamburg, cofounded by Volker Schnebel and Fritz Renzo Heinze, where they produced about 450 fonts under the DTC label. MyFonts lists the main designer as Fritz Renzo Heinze. Typefaces include DTC Rough Variants, DTC Garamond Variants, DTC Funky Variants, DTC Frankli Gothic Variants, DTC Van Dijk Variants, DTC Brody Variants, DTC Plaza Variants, DTC Dirty Varinats. Each group has between 50 and 100 typefaces. The fonts are marketed by URW++. For example, URW sells DTC FunWorks1, a collection of 450 fonts in all formats. Catalog of DTC's typefaces. [Google]
Digital typefaces based on Jannon
Some links for digital typefaces based on Jannon: ITC Garamond (ITC), ITC Garamond (Adobe), Garamond 3 (Linotype), Archive Garamond (Archive Type), Simoncini Garamond (Linotype), Garamond Classico (Linotype), Garamond 3 (Adobe), Jannon Pro (Storm), ITC Garamond Handtooled (Adobe), Aragon Condensed (Canada Type), American Garamond (Bitstream), 1689 GLC Garamond Pro (GLC), Opal (Linotype), Aragon (Canada Type), Jannon Sans (Storm), Italian Garamond (Bitstream), Garamond FB (Font Bureau), Vendome (URW++), Sarabande (Three Islands Press), Garamond Ludlow (Red Rooster Collection), Amsterdamer Garamont (URW++), Simoncini Garamond (Adobe), Garamont Amsterdam SH (Scangraphic Digital Type Collection), Garamont Amsterdam SB (Scangraphic Digital Type Collection), LTC Garamont (Lanston Type Company), Vendome SH (Scangraphic Digital Type Collection), Garamond Simoncini SH (Scangraphic Digital Type Collection), OL Garamond (Dennis Ortiz-Lopez), Garamond No. 4 (URW++), Vendome (Linotype), Garamond Simoncini EF (Elsner+Flake), Garamont Amsterdam BQ (Berthold), Vendome (Image Club), Garamont Amsterdam EF (Elsner+Flake), Vendome EF (Elsner+Flake), Vendome SB (Scangraphic Digital Type Collection), Garamond Simoncini SB (Scangraphic Digital Type Collection), Claude Sans (Letraset), Garamond No. 5 EF (Elsner+Flake), Garamond No 9 (URW++). [Google]
Double Alex Team
Cyrillic type outfit, whose fonts were mostly designed by Alexey Chekulaev in the mid 1990s as extensions of Latin fonts. Double Alex stands for Alexey Gunin and Alexey Chekulaev. The list of fonts, all in Cyrillic and many in Latin as well:
Alexei Chekulayev is the Russian designer of Rubrica (1996, Double Alex Font Studio), Angelica (1996, Double Alex Font Studio), Acsioma (1996, Double Alex Font Studio) and Alliance (1995, Double Alex Font Studio, a Cyrillic version of Goudy's Berkeley Oldstyle). He worked on these Linotype families: Univers, Sabon, Wiesbaden Swing, Stencil (1997, after the 1937 original by Gerry Powell), San Marco, and Bariton (1997: a great poster typeface).
- Decorative: Angelica (1996), Apostol, Arabskij (1993, Arabic simulation typeface based on an artwork of designer Oleg Snarsky), ArtScript, Blagovest (a series of Old Slavonic types), BorjomiDecor, CalipsoCyrillic, CalligraphRuss, Camerton, CooperDAT, CoventryCyr, Demosfen, Drops, E2, E4, Electronica, ElectronicaS, Eskiz, 1, Eskiz, 2, FavoritTraf, Finist, Hitman, Inicial, Italiansky, Jokey, Josephine, KeyFont, Kisty, Manuscript, Mistica, Mobul, Nelma, Ottisk, Petrovsky, PresentDAT, Radius, Repriza, SansDecor, Strob, SuvenirRus, TabloFont, Triline, Verbena, Vodevile.
- Sans serif: Acsioma (1996), AcsiomaNext, Apical (1995, based on Agfa Aurora; Apical Bold is identical to Bitstream's Aurora Bold Condensed; for another version, see Castcraft's OPTI-Aurora Grotesk No. 9), Bastion, BastionKontrast (1992; codesigned with Alexey Gunin, and based on Helvetica), Blits, Block A, Block B, Bloknot, CyberCyr, Ecyr, Eurofont, Favorit, Favorit, Condensed, Freestyle, Kekur, Mania, MetRonom, Normalize, Orenburg, PaperGothic, Pinta, Plastica, Positiv, Pravda, Priamoj, PriamojProp, Regina, Rostislav, Rotonda, Rubrica, Sistemnyj, TornadoCyr.
- Serif: Adamant, Alliance (1995, based on Berkeley Old Style by Frederic W. Goudy, 1938), APCCourier, APCGaramond, BaskervilleDAT, Bodoni Cyrillic (1970), Borjomi, ClassicRuss, Coliseum, DietDido (2006, published by Paratype in 2014 as DietDidot), Egypetskij, Grand, Grenader, Ideal, Jargon, Laguna, Latinskij, Legenda, Madrigal, Metropol, Shakula (1996, a heavy slab serif by Alexey Chekulaev, based on Monotype's Rockwell), Surpriz (1993, by Alexey Chekulaev, based on ITC Souvenir by Benguiat), Talisman, Vacansia.
- Special: Interfont, Plumb.
In 2014, he designed these typefaces at Paratype: Suvenir Rus (inspired by (psychedelic) artwork of Grigory Klikushin), Demosfen (Greek simulation font).
Linotype link. Klingspor link. Another MyFonts link. Paratype link.
View Alexey Chekulayev's typefaces. [Google]
Douglas Crawford McMurtrie
American designer (1888-1944) credited with these typefaces:
- UltraModern (1928, Ludlow; with Aaron Borad and Leslie Sprunger). This sans has slightly concave strokes. Spiece Graphics (Jim Spiece) created Ultramodern Classic SG (1996), based on the 1928 design of McMurtrie. At MyFonts, one can buy a Red Rooster version of Ultra Modern digitized by Steve Jackaman.
- McMurtrie Title (Conde Nast Press): shaded capitals with thin flat serifs. The typeface is based on Rosart.
- A version of Garamond (1929, Ludlow), designed with Robert Hunter Middleton. There is also a Font Bureau version of Garamond, FB Garamond (Text, Display), digitized in 1992 by Jill Pichotta, based on the original design in 1929 at Ludlow by McMurtrie and Robert Hunter Middleton.
DTP Types Ltd was launched in 1989 by Malcolm Wooden (b. London, 1956) from Crawley, West Sussex, England. Wooden worked at Monotype for over 20 years just before that. Malcolm Wooden joined Dalton Maag early 2008 to work on font engineering and production. DTP Types does/did custom font work, and sells hundreds of retail fonts.
In the Headline Font Collection (50 fonts), we find reworked and extended designs (Apollo, New Bodoni Black, Camile, Engravers, and so forth), as well as fresh faces (Hellene handwriting, Finalia Condensed, Birac, Delargo Black, Delargo DT Rounded (comic book family), Dawn Calligraphy).
In the Elite Typeface Library, there are type 1 and truetype faces for Western and East-European languages. For example, Elisar DT (1996, see also elisar DT Infant) is a humanist sans family made by Malcolm and Lisa Wooden. Fuller Sans DT (1996) is a grotesk family by Malcolm Wooden. Greek and Cyrillic included. Other typefaces: Garamond 96, Pen Tip (Tekton-like).
Fonts distributed by ITF and MyFonts.com: Berstrom DT, Beverley Sans DT (2007, comic book style face), Birac DT, Century Schoolbook DT, Convex DT, Delargo DTInformal, Delargo DT Infant, Engravers DT (1990), Finalia DT Condensed, Garamond DT, Garamond Nine Six DT, Goudy Old Style DT, Graphicus DT (1992, a 24-style geometric sans family), Kabel DTCondensed, Leiden DT, Macarena DT, Modus DT (2007), New Bodoni DT (1992), Newhouse DT (1992, a large neo-grotesque family), Office Script DT (1994, copperplate script), Pelham DT (1992), Pen Tip DT, Pen Tip DT Infant, Pretorian DT (a revival of an old Edwardian font by P.M. Shanks done by Ron Carpenter and Malcolm Wooden in 1992; for a free version, see Vivian by Dieter Steffman), Solaire DT, Triest DT, Vigor DT (2000---a slab serif family).
Discussion: Something I don't get is that Vecta DT (2006) is based on Vecta (2005, Wilton Foundry)---same name, same sans family, what gives? Duet DT (2006, a calligraphic script) is by Robbie de Villiers of Wilton, based on his own Duet (2004). MyFonts page. The typophiles reserve harsh judgment: I recognize these designs by their original names. Slightly manipulating Times Roman, Optima, Icone, Franklin Gothic, Sabon, Tekton, does not make them new or original. Many of the designs are identical to the originals they're derived from (Carl Crossgrove), The DTP Types outfit sells the usual rip-off fonts under new and old names (e.g. Century Schoolbook DT, Engravers DT, Goudy Old Style DT, Kabel DT, etc.) (Uli Stiehl). Typefaces from 2007: Rustikalis DT, Appeal DT, Fatbrush DT, Kardanal DT, Pamela DT (semi-blackletter).
In 2008, DTP announced a new newspaper and magazine text family, Arbesco DT (PDF), based on a 1980s photolettering family (see also here), and a simple 24-style architectural sans family called Sentico Sans DT (elliptical). They also published the marker family Pen Tip DT Lefty in 2008.
In 2009, the calligraphic Trissino DT was published: it was named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.
View the DTP Types typeface library. [Google]
Born in New York in 1927, Ed grew up in Brooklyn. He was once a very prominent jazz percussionist playing in several big bands with Stan Kenton and Woody Herman, among others. He has created a large number of typefaces between 1970 and 1995. About his career, he once said: I'm really a musician, a jazz percussionist. One day I went to the musician's union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that's going to be me, so I decided to become an illustrator. He designed more than 400 faces for PhotoLettering. He played a critical role in establishing The International Typeface Corporation (or ITC) in the late '60s and early '70s. Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry. Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Ed became a partner with Lubalin in the development of U&lc, ITC's famous magazine, and the creation of new typefaces such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde Condensed, and many more. With Herb Lubalin, Ed eventually became vice-president of ITC until its sale to Esselte Ltd.
Ed is a popular keynote speaker at major type meetings, including, e.g., at TypeCon 2011, where he entertained the crowd with quotes such as I do not think of type as something that should be readable. It should be beautiful. Screw readable. His typefaces---those from PhotoLettering excepted:
- ITC Avant Garde Gothic (1971-1977, with Andre Gurtler, Tom Carnase, Christian Mengelt, and Erich Gschwind).
- ITC Modern No. 216 (text family). The Softmaker versions are called M791 Modern and Montpellier.
- Modern No. 20, after the Stephenson Blake original from 1905. [Image by Kristen Cleghorn]
- ITC Barcelona (1981).
- ITC Bauhaus (1974-1975). ITC Bauhaus was codesigned with Victor Caruso. The Softmaker versions are called R790 Sans and Dessau. The Infinitype ersion is Dessau. The Bitstream version is Geometric 752.
- ITC Benguiat (1977) and ITC Benguiat Gothic (1977-1979). Comic book style faces called Benjamin and Benjamin Gothic on the SoftMaker MegaFont XXL CD (2002). Softmaker also has fonts called B693 Roman and B691 Sans that are identical.
- Benguiat Roman (1960s).
- PL Bernhardt (Photo-Lettering, 1970), modeled after a 1930-1931 design by Lucian Bernhard.
- ITC Bookman (1975). See B791 Roman on the SoftMaker MegaFont XXL CD (2002).
- Calendar (1960s).
- ITC Caslon 224 (1983). In 1960, he added Benguiat Caslon Swash, and in 1970, Caslon 223 followed. See C790 Roman on the SoftMaker MegaFont XXL CD (2002), and Caslon CP (2012, Claude Pelletier).
- ITC Century Handtooled (1993).
- ITC Cheltenham Handtooled (1993).
- ITC Edwardian Script (1994).
- ITC Garamond Handtooled.
- ITC Korinna (1974): after a 1904 typeface called Korinna by Berthold. Michael Brady thinks it is a very very close to the Berthold original.
- Laurent (1960s).
- Lubalin Graph (1974, ITC). By Herb Lubalin, Ed Benguiat, Joe Sundwall, and Tony DiSpigna.
- ITC Panache Book (1987).
- Scorpio (1960s).
- ITC Souvenir (1977). Kent Lew: Benguiat revived Benton's Souvenir for ITC in the '70s and that was well-received for a while. On the other hand, look what happened after that. Souvenir in the ATF 1923 catalog looks really nice, IMO. Souvenir in the '70s seems cliché now. Souvenir these days would be downright dorky. Souvenir was done by Benguiat in 1967 at PhotoLettering. Morris Fuller Benton's original model was from 1914. It was described by Simon Loxley as follows: Souvenir is a typeface that is intractably rooted in style to a particular era, although one a half-century after its creation. It is a quintessential late 1960s and 1970s typeface, informal, with full rounded character shapes and rounded serifs, a laid-back Cheltenham. The Bitstream version of ITC Souvenir was called Sovran.
- ITC Tiffany (1974), a fashion mag typeface family. Adobe says that it is a blend of Ronaldson, released in 1884 by the MacKellar Smiths&Jordan foundry, and Caxton, released in 1904 by American Type Founders.
- PL Torino (1960, Photo-Lettering), a blackboard bold didone-inspired typeface.
- In 2004, House Industries released five faces based on the lettering of Ed Benguiat: Ed Interlock (1400 ligatures---based on Ed's Interlock, Photolettering, 1960s), Ed Roman (animated bounce), Ed Script, Ed Gothic and Bengbats.
- He did logotypes for many companies, including Esquire, New York Times, Playboy, Reader's Digesn, Sports Illustrated, Look, Estée Lauder, AT&T, A&E, Planet of the Apes, Super Fly.
- Lesser known Photolettering faces include Benguiat Bounce, Benguiat Boutique, Benguiat Bravado, Benguiat Brush, Benguiat Buffalo (+Ornaments), Benguiat Century, Benguiat Cinema, Benguiat Congressional, Benguiat Cooper Black, Benguiat Cracle, Benguiat Crisp, Benguiat Debbie, Benguiat Montage, Benguiat Roman. Scorpio, Laurent and Charisma, all done in the 1960s, are psychedlic types.
Links: Linotype, CV by Elisa Halperin. Daylight Fonts link (in Japanese). Catalog by Daylight, part I, part II.
Pics harvested from the web: Portrait With Ilene Strivzer at ATypI 1999. One more with Strivzer. With Jill Bell at ATypI 1999. In action. At TypeCon 2011 with Matthew Carter and Alejandro Paul. At the same meeting with Carole Wahler and with Roger Black.
FontShop link. Klingspor link.
View Ed Benguiat's typefaces. Ed Benguiat's fonts. [Google]
Edward Everett Bartlett
Printer and typographic director at Linotype, 1863-1942. He refined many faces, and designed the Benedictine series, Elzevir No.3, Garamond (+Italic), Garamond Bold (+Italic). [Google]
A Garamond custom-designed for the Italian publisher Einaudi. The closest digitally available typeface is Simoncini Garamond (see, e.g., the Elsner & Flake version). The original Simoncini Garamond by Francesco Simoncini and Wilhelm Bilz dayes back to 1961---its design is owned by either Linotype or Neufville. PDF at Euinaudi's site. [Google]
Founded by Ben Bauermeister and Clyde McQueen in 1990, former employees of Aldus. Based in Seattle, it created for Hewlett-Packard FontSmart (a product that gives users 110 fonts and a font-management technology for HP's LaserJet 5L, 5P and 5Si printers in an innovative and compressed format). It also made FontWorks (a truetype font generation engine for Windows), Infinifont (a parametric font generation system), and PANOSE (a fonty classification system). On December 21, 1995, HP bought the company and that was the end of it. The in-house type designer was Karl Leuthold. They produced about 340 "clones" of the major typeface styles, including Albertus, AntiqueOlive, Arial, AugustaEC, BistroEC, BodoniEC, BookAntiqua, BookmanEC, BookmanOldStyle, CGOmega, CGTimes, CafeEC, CenturyGothic, CenturySchoolbook, Clarendon, CourierEC, EtnaEC, GaramondEC, GeneraEC, GillSans, Goudy-Old-Style-EW, GraphosEC, InformaEC, LetterGothic, LetterSansEC, MentorEC, MetrostyleEC, ModalEC, NewTributeEC, OperinaEC, Ozzie, SchoolbookEC, StationEC, StriderEC, StylusEC, TerasEC, TerasMonospaceEC, Univers, VillageOldstyleEC, WilmingtonEC. MyFonts link. [Google]
Russian type and graphic designer. She worked for VNII Polygraphmash as a type designer. Later, she worked as a type designer for ParaGraph. Her oeuvre includes
- Tip Times (with Gennady Baryshnikov).
- TextBook (1987). Italic and Latin sets added to the 1958 Polygraphmash typeface of Yelena Tzaregorodtseva.
- TextBook New (2007-2008, Isabella Chaeva, ParaType) is based on Bukvarnaya (TextBook) photocomposing version designed in 1987 by Emma Zakharova. The initial Bukvarnaya for metal composition was created at Polygraphmash in 1958 by Elena Tsaregorodtseva specifically for first level school textbooks.
- Mysl. Designed at the Polygraphmash type design bureau in 1986 by Isay Slutsker, Svetlana Yermolaeva and Emma Zakharova. It was based on the Polytizdatkaya type family (1966 Vera Chiminova), which in turn was inspired by the typefaces of Garamond. The family was initially developed for Mysl Publishers, Moscow, for text matter. Available now as ParaType Mysl in both Latin and Cyrillic versions, and also sold by URW. MyslNarrow (1992-1996, Intermicro, with Svetlana Yermolayeva and Isay Slutsker).
- PT ITC Flora (1993). Co-designed with Vladimir Yefimov. She did the Cyrillization.
FontShop link. [Google]
Run by Evgenia Sokolinskaia at the University of Hamburg, this page offers four phonetic truetype fonts of the EAE Garamond family made by Thomas Rave in 2000: EAE-GaramondBolditalic, EAE-GaramondBold, EAE-GaramondItalic, EAE-GaramondRegular. [Google]
This is a gallery and a discussion of the fonts created by the students at ENSAD since 1997. A partial list:
This is a successor of the Collectif ENSAD, which was energized by Jennifer Ward, Maria Körkel, Dorothée Billard, Isabelle Maugin, Anne-Mari Ahonen, Natalia Suarez, Yolanda Gil and Juliette Poirot. [Google]
- Bitmap (2003): a pixel typeface by Isabelle Guizard, Vladimir Mavounia Kouka, Grégoire Pierre, Gaëlle Richard.
- Caffeine (2003): an experimental typeface by Benjamin Raimbault, Eric Bricka, Stéphane Elbaz.
- Zinzolin (2003), a stencil typeface by Brieuc Dupont, Zai Jia Huang, William Hessel, and Cyril Dejenken.
- Cooker Black (2004): a take on Cooper Black, by Isabelle Guizard, Adrien Portehaut, Grégoire Pierre, Zai Jia Huang, Brieuc Dupont, Odile Delaporte, Boris Petrovitch-Njegosh, Vladimir Mavounia Kouka, William Hessel, Eric Bricka, Stéphane Elbaz, Gaëlle Richard
- Bertrand (2003): A typeface by Grégory Bantzé, Étienne Chaillou, Vincent Défossé, Anne Denastas, Marielle Durand, Alicia Garcia Garcia, Anja Linke and Gabriel Pistre, based on work at the Fonderie bertrand in the late 19th century.
- Rosart (2002): A font by Aiko Oshima, Vincent Ciccone, Franck Kauffman and Delphine Cordier, based on lettering by the famous 18-th century Belgian typographer.
- Scripte (2002): By Sarah Fouquet, based on her own handwriting.
- Cargoth (2001): By Amélie Boutry.
- Jannet (2001): By Sandrine Auvray, Julia Cochonet, Sarah Fouquet, Boris Igelman, Jérôme Vogel, Yu Sou Yeon, based on Jannet's garalde revivals, ca. 1860.
- Recréation (2000): A Garamond typeface recreated by Amélié Boutry, Germain Caminade, Laurence Cordellier, Boroka Gergely, Paule Palacios Dalens, Gilles Vacheret.
- Poinçons (1999): Based on a Fournier font, implemented at ENSAD by Caroline Laguerre, Virginie Aiguillon, Maureen Valfort, Johanne Blain, Pierre Schnebelen, Cédric Murac, Alexandre Le Saulnier de Saint Jouan, Laurent Mészaros, Thibault Laurent.
- Métis (1998): By Anne-Mari Ahonen, Dorothé Billard, Yolanda Gil, Maria Körkel, Isabelle Maugin, Juliette Poirot, Jennifer Ward.
Eric de Berranger
French designer (b. 1973) whose early fonts could be bought from 2Rebels in Montreal, and at La Fonderie. These are now available via FontHaus. Some creations at 2Rebels: Malcom Light and Malcom Light Expert, Coeval (1998), Coeval Expert (1998), Garaline (1998), Garaline Expert (1998), Hector 1, Hector 2, Helwissa, Jandoni (great didone titling face!), Malcom (1999), Malcom Expert, Troiminut (1998, perhaps created in under three minutes).
He also made typefaces at ITC. These include ITC Octone (1998, a great flared lapidary typeface family), ITC Octone Expert (1998), ITC Berranger Hand and ITC Oldbook.
Typefaces at Agfa / Monotype / Linotype include the Mosquito family (Agfa, 2001; Mosquito Formal appeared in 2003), Maxime (garalde family), and Koala. Other typefaces include Yesselair (1998, La Fonderie), Hamely, Klory, Kolinear (2009, angular), Merlin, Collos (hexagonal), Pack Trash (another name for Yesselair?), NLE2B210, EricMainDroite, June (an elegant garalde / antiqua /Venetian crossbreed).
With Stéphane Gambini, he started La Fonderie. He does visual identity stuff for companies in France, most notably, the logo and logo font for Renault (2004).
In 2005, he revived a 1972 didone of Hollenstein Studio as Natalie (no sales or downloads).
In 2006, he created a 6-weight legible sans family for the STIP (Brussels transport society) called Brusseline.
In 2007, he created the bold gothic headline typeface LFP Bold for the Ligue de Football Professionnel. In 2008, he published the stunning connected script Hermès Scripte used by the fragrance company by that name, and Martini (for the aperitif brand).
Klingspor link. FontShop link.
View Eric de Berranger's retail typefaces. [Google]
Eric Gill was born in Brighton, England, 1882-1940. British stone carver, wood engraver, essayist and type designer. Student of Johnston. Influential British type designer who for a while worked for the Golden Cockerell Press in London. 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. Quote: There are now about as many different varieties of letters as there are different kinds of fools. FontShop link. Linotype link.
Author of An Essay on Typography (1931, revised in 1936). For a French edition, see Eric Gill Un Essai sur la Typographie (Boris Donné and Patricia Menay, Ypsilon Editeur, 2011).
His typefaces include
- Gill Sans (1927). The modern Bitstream version is called Humanist 521. An obscure style called Gill Sans Shadow 338 (1929, Monotype) was digitized by Toto in 2011 as K22 EricGillShadow. Image of Gill Sans by Katharina Felski. Image of Gill Sans's g by John Bakhan (Seoul). Image of Gill Sans by Tori Estes. Over at Infinitype and SoftMaker, the typeface sells under the name Chantilly or Chantilly Serial. Niteesh Yadav, a graphic designer in New Delhi, created a great PDF file on the topic of Gill Sans.
- Golden Cockerell Roman (1929)
- Perpetua (Monotype, 1928-1929). This is the prototypical lapidary typeface. The Bitstream version is called Lapidary 333. The SoftMaker versions are called P700 and persistent. See also here. Images of Perpetua: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi.
- Solus (1929)
- Cunard (1934; sold to L. E. Deval, Elkin Matthews Limited, and listed as Jubilee (1952) by Stephenson Blake)
- Joanna (1930): based on work by Granjon.
- Aries (1932): see the 1995 revival at FontHaus by Dave Farey.
- Floriated Capitals (1932)
- Pilgrim (1934)
- Kayo (1936). In 1980, it was redone by Esselte (and Monotype?). In digital form, we have Gill Kayo Condensed by ITC.
- Corporate faces such as this one for W.H. Smith&Sons (1925).
- Gill (ca. 1932): While Gill was living in Israel, he designed a Hebrew alphabet which he cut into walls. After Gill's death in 1940, the carvings were used by Moshe Spizer to design the Gill typeface, which was then cut by Alphonso Ioso. The typeface Gill, however, never caught on.
Klingspor link. [Google]
Ericsson Roman and Sans
The house fonts of Ericsson, based on Garamond No.3 and Neue Helvetica. [Google]
Jos Buivenga (exljbris; b. Assen, 1965) is the Arnhem-based Dutch artist who designed some of the most popular fonts of 2010-2011. MyFonts interview in 2009. Speaker at ATypI 2010 in Dublin. His oeuvre:
Special Museo posters have been created, such as by Jasmine Lockwood (2012), Laurellie Pacussich (2013) and Larisa Mamanova (2012).
Klingspor link. Old personal home page. Abstract Fonts link.
View Jos Buivenga's typefaces. [Google]
George Abrams (b. 1919 or 1920, Brooklyn, d. 2001, Manhasset, NY) is the designer of the gorgeous font families Augereau, Abrams Caslon and Venetian, at Expert Alphabets in Great Neck, NY. Abrams taught lettering and typeface design at the Parsons School of Design, the New School for Social Research and at the Columbia University Teachers College. He had over 50 years of Madison Avenue experience designing ads, logos, typography and lettering for Fortune 500 companies and more. His early typefaces were photo types published by Headliners in New York City. He died on June 7, 2001 at age 81.
About Augereau: This is the only digitized typeface by George Abrams [in fact, the digitization is due to Charles Nix, for George Abrams]. Its 28 weights include over 2,000 sorts including expert, OsF,&alts. Augereau is named for Antoine Augereau, who was a typographer who had a few claims to fame - one was that he was Claude Garamonds teacher, and two was that he was sentenced to death for heresy in 1544. Heresy for a typographer in 1544 meant that he printed something that the king or the Pope didn't like and died for it.
I would like to thank Poul Steen Larsen for clarifying the history of Abrams' Venetian: The Abrams Venetian was donated to Mr. Poul Kristensen of Herning (in Jutland), then Printer to the Royal Court (which he has ceased to be in 1995). You are right about the font being today locked to Poul Kristensen' old Linotron, from which not even Linotype experts brought in to unlock it, could get it out for conversion into an up-to-date digital font. So the font will disappear from the type arena when Kristensens Linotron one day breaks down. You can trust me, for I was the one who established the contact between George and Mr. Kristensen back in 1986. The font was first used in 1989 in a book by Martin Lowry, British renaissance historian, with the title Venetian Printing. George Abrams' chalk drawings of the entire alphabet in regular and italic were scanned, more precisely vectorised on-screen and downloaded in Denmark by the Kristensens and therefore, in one sense, could be called the first Danish complete font. A sample of the first use of Abrams' Venetian. A second sample from "Venetian Printing". Abrams Venetian was digitized at some point by Jorgen Kristensen for Poul Kristensen Grafisk Virksomhed Printer.
Apostrophe wrote this about Abrams Caslon: This was actually reviewed by Caflish and, if I remember correctly, Mark vonBronkhorst, so there are at least 3 or 4 copies of it out there, other than the Abrams' estate original data. Sumner Stone once said that this is the best Caslon he has ever seen. At least he has seen it; I haven't.
The typefaces by Abrams (Abrams Venetian and Augereau) are preserved in the New York City-based Abrams Legacy Collection (see also here).
Klingspor link. [Google]
Fake (faux) versus true Garamond
The typophiles bring up the issue of fake versus true Garamonds, but not one of them gives a precise definition. The advice is to see how close it is to the Garamonds on the lists provided by them. The fake Garamonds are supposedly based on Jean Jannon's roman, sometimes known as the caractère de l'université:. Here is their list with minor editorial corrections and additions:
Their list of true Garamonds:
- Adobe Garamond (Robert Slimbach, Adobe, 1989).
- Berthold Garamond (Günter Gerhard Lange, Berthold 1972). Clones of Berthold Garamond include URW Garamond (URW).
- Garamond Premier (Robert Slimbach, Adobe, 2005).
- Sabon (Jan Tschichold, Stempel/Linotype/Monotype 1967). Clones of Sabon include Sabon (Ascender, now Monotype) and Classical Garamond (Bitstream, now Monotype).
- Sabon Next (Jean-François Porchez, Linotype, 2002).
- Stempel Garamond (Stempel, 1925). Clones of Stempel Garamond include Original Garamond (Bitstream) and CG Garamond (Compugraphic, Agfa Compugraphic, now Monotype).
Foundry founded in 1985. The company expanded in 1988 with the aquisition of Shapes Unlimited, adding a more diversified selection of fonts to their collection. The library is made up largely of fonts licenced from Agfa and ITC. Famous Fonts typefaces include Futura II, CG Garamond No 3, CG Garamond No 49, Microstyle, Heldustry, Nimbus, CG Omega, Oracle II, CG Palacio, CG Plantin, Paladium, CG Times, CG Trade, CG Triumvirate and CG Univers. I am not sure that they still exist. [Google]
A free Bembo-like font family based on Cardo, created for the TeX community, with mathematical typesetting one of the primary goals. The package is maintained by Michael Sharpe. It was updated in 2014 by Sharpe, but he credits the early font development to David J. Perry, 2002-2010. [Google]
Flanker (or: Studio di Lena)
[Leonardo Di Lena]
Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts, made beteen 1998 and 2009:
The outfit was known as JFDooM Flanker's Fonts, between 2001 and 2004. The fonts then were slightly different. They included BodoniFlnk, BodoniFlnkCor, BodoniFlnkCorGrass, BodoniFlnkGas, CNRLineare, DidotFlnk, DidotFlnkCorsivo, DidotFlnkCorsivoGrassetto, DidotFlnkGrassetto, Emblema-della-Repubblica-Italiana, Frantisek, GaramondFlnkNormale, GaramondFlnkCorsivo, GaramondFlnkCorsivoGrassetto, GaramondFlnkGrassetto, GriffoFlnkCorsivo, GriffoFlnkCorsivoGrassetto, GriffoFlnkGrassetto, GriffoFlnknormale, Lellocorsivobold, Lellocorsivo, Lello, MarlboroFlnk, Magnificat, There's-nothing-money-can't-buy, Poker, ShocktothesystemCorsivo, ShocktothesystemVuoto, Sony, Bjork-Isobel, Imperator, Traiano, Rdclub. Most fonts have Greek and Cyrillic letters as well.
Commercial fonts at Flanker via MyFonts: Garaldus (2012, based on a 1956 font by Aldo Novarese), Italian Typewriter (2012, a family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties).
Typefaces from 2013: Flanker Ruano (based on a chancery typeface by raffaelo bertieri, 1926), Selene (monoline sans).
Dafont carries Magnificat, a 2011 revival of the ornamental typeface by Friedrich Peter. [Google]
Fonderie Peignot et Fils
French foundry established and run by Georges Peignot and his son Charles. In 1923 it merged with Girard Et Cie to become Fonderie Deberny&Peignot. Their collection includes Nicolas Cochin (1912) and faces by:
They also published the Garalde typeface Ancien, and the didone typeface Gras Vibert [for a digital version of this, see Vibertus (2007, Lars Törnqvist)].
- G. Auriol: Auriol (1903).
- G.+C. Peignot: Garamont (1912-1928).
- A. Giraldon: Giraldon (1900).
- Eugène Grasset: Grasset (1898).
Sphinx (1925) was revived by Steve Jackaman as Sphinx RR (1925), and by Douglas Olena as FFD Sphinx (1995).
Many specimen books were published by them. For their vignettes, see Spécimen de vignettes typographiques (Paris, Rue Visconti, 17, près le Palais des Beaux-Arts, faubourg Saint-Germain. ). Early work is shown in Les créations de la fonderie typographique Deberny et cie depuis 1878 (1889) and in Les nouvelles creations de la fonderie typographique Deberny&cie (1895). Fancy type is shown in Les caractères d'affiches. Extrait du Livret typographique (Paris, 1905). Older fleurons are in Nouvelle série des fleurons de la fonderie de Laurent et Deberny (ca. 1844). Peignot foundry genealogy.
MyFonts hit list for typefaces by Peignot or in the style of Peignot's faces. Compare Peignotian typefaces. [Google]
Fonderie Typographique Française
Typefoundry in Paris, founded in 1921 by the merger of the firms of Chaix, Marcou, Durey, Huart and Saling. There were several catalogs of their typefaces such as Fonderie Typographique Française Catalogue Général (ca 1925, 798 pages). This site shows many samples from this foundry. The typefaces shown include Amadis (blackletter), Apollo, Ascot, Atlas (1933, an art deco typeface by K.H. Schaefer), Bizerte (art deco), Blanches Saint Germain (pearly caps), Caravelle (1957, the French name of Folio, a Helvetica-like typeface by Konrad Bauer and Walter Baum), Clipper (1951, by Louis Ferrand), Deauville (a charmer that conjures up Les Vacences de Monsieur Hulot), Décor (pixelized and with mosaic effects), Ecriture parisienne (ronde), Editor (1937, Henri Chaix), Estienne, Excelsior FTF (art nouveau), Flash (1953, Enric Crous-Vidal), Garamond FTF, Hélios (a shadowed titling face), Ile de France (by Enric Crous-Vidal), Marocaines FTF, Moscovites, Muriel (1950, a script typeface by Joan Trochut-Blanchard), Normandy, Paris (1953, Enric Crous-Vidal), Pittoresques FTF (1924, Japanese style art nouveau), Psitt (1954, by René Ponot), Ramsès (a tall-legged Egyptian), Stylo (1935, connected script), Swing (art deco), Vulcain (art deco). Apollo is FTF's reply to Renner's Futura. [Google]
Font Folio 10
Under the title "Font Folio 10: Pay More For Less", Bill Troop laments Adobe's 2499 USD Font Folio 10 release in 2003. Bill starts this way: "According to the press release for Adobe's Font Folio "Open Type Edition", the new edition can be obtained as an upgrade for existing owners of Font Folio 8 or 9, for merely $2,499. What does this upgrade offer? Multi-platform and multi-lingual functionality, as well as wonderful tricks such as expanded glyph sets and optical weights. So far, so good." He then lists the four problems with this release.
Bill goes on to say: "Years ago I wrote on the OT list at length about the evils of digital signatures in fonts. It is simply a new copy protection ploy, and as everyone has known since the mid-1980s, copy protection = no sales. Supporters argue that the primary purpose of dig sigs is to help customers by allowing them to validate the "integrity" of fonts. Indeed? Vive l'Open Type!" [Google]
- Problem No. 1 is the non-standardized feature set of OT fonts. Only a very small number of the included fonts offer expanded glyph sets and optical weights. The user expecting to find Bauer Bodoni or Garamond No. 3 with additional ligature support will be disappointed. Non standard charactersets constitute a recipe for customer confusion.
- Problem No. 2 is that the entire Berthold library has been removed since FF 9.
- Problem No. 3 is no multiple masters, which Adobe just stopped selling.
- Problem No. 4 is that at the core of this "upgrade" transaction between Adobe and its existing Font Folio licensees lies another devaluing of the product already owned by customers. As an owner of Font Folio 8, Adobe offers to charge me $2,499 for a font license that is more restrictive than what I already have. Now only the Adobe "originals" ship with an editable embedding license, while all the Agfa, ITC, Linotype and Monotype fonts have new licensing which permits just read-only embedding. And this is now technologically enforceable. I can't help but wonder about the reaction of major advertising agencies and service bureaus when they find out that they have the privilege of paying for their font licensing to be more restrictive. I think they will keep on using Type 1.
Upstart Swedish foundry (est. 1991 by Johan Ström) offering the garalde typeface family Indigo Antiqua (2003, designed by book and type designer Johan Ström (b. 1936, Sweden), and digitization by Jonas Böttiger and Törbjörn Olsson). The type designer claim inspiration from Guillaume le Bé (France), Miklós Kis's Janson, Christoffel van Dijck (van Dijck) and Peter Valpergen (Fell). Indigo Antiqua at Elsner & Flake (2006).
Klingspor link. [Google]
Fontleech discussion on piracy
A lively discussion on font piracy at Fontleech. If you read only one article in this long exchange, please check out "St. Claude of Garamond". [Google]
Online font site run by Sean Cavanaugh (b. Cape May, NJ, 1962) out of Camano Island, WA. This used to be called Title Wave Studios. In the archives, find essays on writing style, rules of typography, and a comparison by Thomas Phinney (program manager of Latin Fonts at Adobe) of T1 and TTF. The Fontsite 500 CD (30 USD) offers 500 classical fonts with the original names, plus a few names I have not seen before, such as Bergamo (=Bembo by Francesco Griffo), Chantilly (=Gill Sans), Gareth (=Galliard), Palladio (=Palatino, Savoy (=Sabon), URWLatino, Unitus, Toxica, Publicity, Plakette, Pericles, Opus (=Optima), Melville, Function, Flanders, Cori Sans, Binner. Uli Stiehl provides proof that many of the fonts at FontSite are rip-offs (identical to) of fonts in Martin Kotulla's collection. Free fonts: Bergamo, CartoGothic (1996-2009), CombiNumerals. At MyFonts, the CombiNumerals Pro and CombiSymbols dingbat families are available since 2010. The site has a number of fonts with the acronym FS in the name, so I guess these are relatively original (but I won't swear on it): Allegro FS, Beton FS, Bodoni Display FS (+ Bold, Demibold), Bodoni No 2 FS (+ Ultra, Bodoni Recut FS (+Bold, Demibold), and so forth. His 500 Font CD has these fonts:
Some more fonts: Alperton, Anaconda, Arizona, Bamboo, Bellhop, Bellows Book, Bernhard Modern FS (2011), Le Havre. MyFonts link. Fontspace link. His art deco fonts, as always without "source" and confusing Victorian, art nouveau, and psychedelica with art deco, include Rimini, Arnold Boecklin, Eldamar, Erbar Deco, Rangpur, Pinocchio, Azucar Gothic, Boyle, Busorama FS, Winona, Abbott Old Style, Almeria (after Richard Isbell's Americana) and Adria Deco, Bernhard Modern FS (2011). [Google]
- Garalde, Venetian: Bergamo, Bergamo Expert, Bergamo SC&OsF, Caslon, Caslon Expert, Gareth, Garamond, Garamond Expert, Garamond SC&OsF, Garamond Condensed, URW Palladio, URW Palladio Expert, Savoy, Savoy Expert, Savoy Small Caps&OsF, Vendôme.
- Slab Serif: Clarendon, Glytus, Typewriter, Typewriter Condensed.
- Script: Commercial Script, Deanna Script, Deanna Swash Caps, Hudson, Legend, Mistral, Park Avenue, Phyllis, Phyllis Swash Caps, Vivaldi.
- Uncial: American Uncial, Rosslaire.
- Blackletter: Fette Fraktur, Fette Gotisch, Olde English.
- Borders and symbols: Celtic Borders, Deanna Borders, Deanna Flowers, Picto, Sean's Symbols.
- Transitional: URW Antiqua, Baskerville, Baskerville Expert, New Baskerville.
- Didone, modern: Bodoni, Bodoni Expert, Bodoni Small Caps&OsF, Modern 216, Walbaum.
- Sans serif: Chantilly, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Cnd. SC&OsF, Function, Function Small Caps&OsF, Function Condensed, Goudy Sans, Opus, Opus Small Caps&OsF, Syntax, Letter Gothic.
- Decorative: Ad Lib, Algerian, Arnold Boecklin, Binner, Caslon Antique, Chromatic, Copperplate Gothic, Davida, Delphian Open Titling, Function Display, Glaser Stencil, Goudy Handtooled, Handel Gothic, Hobo, Honeymoon, Horndon, Mercedes, Mona Lisa, OCR-A&OCR-B, Plakette, Reflex, Salut, Stop, Toxica, VAG Rounded.
Fritz Renzo Heinze
[Digital Type Company (or: DTC)]
Stefan Lundhem started Fyrisfonts. He is the designer of Garajannon (Garamond family), Spartacus (a Roman, CODEX-like lettering font), Beckhem Gothic, Fournament, Primus, Fyris Fraction, Fyris Fraktur, Krabat, Heltime (mix of Times and Helvetica), Terminator, Bessie (2001, multiline art deco typeface modeled after Marcia Loeb's 1972 alphabet, Rainbow), Billie (2001, art deco titling, modeled after Marcia Loeb's 1972 alphabet, Zig Zag), Jämför abc, Miami Blues and Miami Vice (beautiful, now called Bessie and Billie, respectively). The pages in Swedish contain an in-depth study of Jenson and Adobe Jenson MM, Caslon, Cloister Old Style, Fraktur, Garamond, Minion MM, MultipleMaster fonts, Myriad MM, OpenType, Poynter, RailwayType, Newspaper type, Web fonts, Web typography, and screen typography. [Google]
Stephen Moye's testimony in 2001 on Galliard: I have used many typefaces -- Weidemann (what was I thinking? except that it was originally called "Biblia" and was designed for an German edition of the Bible), Charter, Goudy Oldstyle, Nofret, etc. -- in an attempt to find something suitable. I have finally settled on Matthew Carter's "Galliard" as just about perfect. It is extremely legible, even at small sizes. We print the Old Testament, Psalm, Epistle and New Testament lessons in our bulletin and use Galliard at 8 or 9 point -- I can't remember which -- and it positively sparkles. At the same time, although it has great presence, it does not call attention to itself and serves as a perfect conduit for the text of the service. At display sizes it is a particular treat.
Stephen Moye is Technical Coordinator, Brown University Graphic Services, and the author of the "bible" on font editing and Fontographer. [Google]
Ganlo R. Ithsm
[Ludwig M. Souzen]
A list compiled by Ludwig M. Souzen, a typographer and printer in Bertem, Belgium:
- I.1 Claude Garamond (italics: Robert Granjon)
- II.1.A ORIGINAL
- II.1.B REVIVALS
- II.1.B.a Deberny&Peignot Garamond (George&Charles Peignot, 1912-28)
- II.1.B.b Nebiolo Garaldus (Aldo Novarese, 1957)
- II.1.B.c Linotype Granjon LT Std (George W. Jones, 1928-31; Linotype)
- II.1.B.d Linotype Estienne (George W. Jones, 1930)
- II.1.B.e Stempel Garamond (D. Stempel AG, 1925)
- II.1.B.f Berthold Garamond
- II.1.B.g Garamond 3 LT Std (Linotype)
- II.1.B.h ITC Garamond Std Lt (Tony Stan, 1954)
- II.1.B.i Adobe Garamond Pro
- II.1.B.j Simoncini Garamond Std. [A clone is Italian Garamond by Infinitype / Softmaker]
- II.1.B.k 1503 Garamond (Ross Mills, 1994; Tiro Typeworks)
- II.1.B.l Amsterdammer Garamont (URW++)
- II.1.B.m URW Garamond
- II.1.B.n Augereau (George Abrams, 1989)
- II.1.B.o Envoy (Tim Rolands, 2001)
- II.1.B.p Adobe Garamond Premier Pro (Robert Slimbach)
- II.1.C INTERPRETATIONS
- II.1.C.a Sabon (Sabon-Antiqua) (Jan Tschichold, 1964/7; Stempel, Linotype, Monotype)
- II.1.C.b Sabon Next (Porchez)
Wiki page on Garamond, a group of old style serif faces that can be traced back to Claude Garamond (1480-1561) and Jean Jannon. Easy to recognize by the small-eyed e, the genuflexing italic h, the small-bowled a and the tall ascenders with downwards sloping serifs, this letter style came to prominence in the 1540s. Garamond was commissioned to create a Greek typeface for the French king François I, to be used in a series of books by Robert Estienne. The French court later adopted Garamond's roman types for their printing. The typeface was widely used in France and Western Europe. Garamond based much of the design of his lowercase on the handwriting of Angelo Vergecio, librarian to François I. The italics of most contemporary versions are based on the italics of Garamond's assistant Robert Grandjon. The only complete set of the original Garamond dies and matrices can be found at the Plantin-Moretus Museum in Antwerpen, Belgium. [Google]
Typophile discusses the choice of Garamond. Opinions differ on the main implementations: Stempel Garamond, Adobe Garamond, the new Garamond from Adobe promised in 2003, Sabon Next, Berthold Garamond, 1530, ATF Garamond (metal), Valdonega Jannon, Valdonega Garamond, Jannon Text Moderne, Monotype Garamond, Sabon, and Augereau. Optical scaling is lauded in the metal faces of ATF and in the Valdonega implementations. [Google]
Hersh Jacob's partial list of 20th century Garamond/Jean Jannon faces (to which I added Porchez's family):
- Deberny&Peignot Garamond (1912-1928), Supervised by Georges and Charles Peignot.
- ATF Garamond (1917), designed by M.F. Benton and T.M. Cleland
- Monotype Garamond (1924), designed by F.W. Goudy
- Stempel Garamond (1924)
- Ludlow Garamond (1930), designed by R.Hunter Middleton
- Mergenthaler Linotype Garamond 3 (1936), based on the designs of M.F. Benton and T.M. Cleland
- Simoncini Garamond (1958-1961), designed by F. Simoncini and W. Bilz
- Grafotechna Garamond (1959), designed by Stanislav Marso
- Berthold Garamond (1972-1975), designed by Gunter Gerhard Lange
- ITC Garamond (1976-1977), designed by Tony Stan
- Adobe Garamond (1989), designed by Robert Slimbach
- 1530 Garamond (1993-1994), designed by Wm Ross Mills
- Granjon (1928-1931), designed by George W. Jones
- Nebiolo's Garaldus (1956), designed by Aldo Novarese
- Sabon (1964), designed by Jan Tschichold
- Garnet (1992)
- Linotype Sabon Next (2002), designed by Jean-François Porchez
Compare many digital versions of Garamond based upon showings of the lower case alphabet. [Google]
Garamond: Gabor compares
Peter Gabor compares various digital versions of Garamond. [Google]
A 2013 Garamond poster by Paul Amore (Macomb, MI). [Google]
Imagine a Garamond with a topping of powerlines. [Google]
Garamond Premier Pro
Robert Slimbach worked on this family between 1992 and 2004, yet Adobe gives it away for free, bundled in their CS2 (Creative Suite 2) package. It has 32 weights and all names have the prefix GaramondPremPro (BdItalic, ItSubh, Bold, LtDisp, Italic, LtItDisp, Medium, Med, MediumIt, MedCapt, Regular, MedDisp, SbIt, MedIt, Semibold, MedItCapt, Bd, MedItDisp, BdCapt, MedItSubh, BdDisp, MedSubh, BdIt, Smbd, BdItCapt, SmbdCapt, BdItDisp, SmbdDisp, BdItSubh, SmbdIt, BdSubh, SmbdItCapt, Capt, SmbdItDisp, Disp, SmbdItSubh, It, SmbdSubh, ItCapt, Subh, ItDisp), and covers many scripts. The typophiles are particularly impressed with the coverage of Greek, and many like the comprehensive and balanced style. Ulrich Stiehl points out some minor flaws:
- Several letters, e.g., the "Registered" sign, are too small and are completely illegible in ordinary text sizes such as Adobe Originals 12p.
- The Medium-Bold (Med) and Semi-Bold (Smbd) styles do not work properly with Microsoft Word due to faulty internal font style naming. [Note: maybe some of this was intentional.]
- Using all styles or all characters of "Garamond Premier Pro" in a document makes PostScript drivers crash. Adobe admits in the "Release Notes" of this font: "In our testing, we found that a PostScript Level 2 device with 32 MB of RAM could handle only 3 different fonts from the Garamond Premier family on one page."
A Garamond published by SoftMaker in 2011. [Google]
Austrian designer who is trying hard to give the free software world an excellent qualitatively competitive free Garamond family. At Google Web Fonts, we find his EB Garamond family (2011), which covers both Latin and Cyrillic. Thee are also EB Garamond Initials. It is named after Egelnoff and Berner.
He explains: The source for the letterforms is a scan of a specimen known as the Berner specimen, which, composed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office, shows Garamont's roman and Granjon's italic fonts at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Also planned are polytonic Greek, IPA and ornaments.
Klingspor link. Open Font Library link. CTAN download of EB Garamond. [Google]
[Unicode Fonts for Ancient Scripts]
George William Jones
British printer and typographer (born 1860 in Upton-on-Severn, died 1942 in Worcestershire). From 1921 until his retirement in 1938, he was "printing adviser" to Linotype&Machinery Ltd in Britain. He was director of typography for the British Printer, and reached the acme of his career as Printer to the King and Queen of Belgium. All his typefaces except Venezia are Linotype faces. His typographic work includes these faces:
Adobe write-up. Bio by Lawrence Wallis. Klingspor link.
- About 1913, when at the press "At the Sign of the Dolphin" located in Gough Square off Fleet Street, he developed Venezia, a new typeface exclusive to his press. He retained Edward Prince to cut the punches and based his design on a Jenson precedent found in Caesar's "Commentaries" printed around 1470. Jones had the matching italic designed by Frederic Goudy. He sold the punches and matrices to Stephenson Blake in 1927. MacMcGrew: Venezia was produced by Keystone Type Foundry and first shown in 1899. It appears to have been inspired by the same models as Jenson Oldstyle, but features more generously bracketed serifs and a generally more pleasing appearance. Except for the unusual link between the bowls of the g, it is very agreeable. For a later modification of this design, see Laureate.
- Granjon Old Face, first shown in the British trade press of December 1924. He based this on books produced by the Parisian printers Jacques Dupuys in 1554 and Jean Poupy in 1582 (according to Lawrence Wallis). Its roman is a true Garamond. Linotype states that it was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592, with the romans by Claude Garamond and the italics by Robert Granjon. Linotype's Granjon gets a date of 1928, and is attributed jointly to George W. Jones and Chauncey H. Griffith. Image of Linotype Granjon.
- Estienne (1928-1929).
- Drawings for Linotype Baskerville are dated 1930 and the first public showing occurred in The London Mercury of November 1931. Jones wanted this to be a true revival, as close to the original as possible. Also, see ITC New Baskerville.
- (Linotype) Georgian (1931-1932) goes back to 18th century type by Alexander Wilson in Scotland. It was probably never digitized.
- Early on in his career, he designed a number of decorative caps alphabets, including the art nouveau style Grange and Dorothy.
View typefaces designed by George William Jones. [Google]
Diplom Engineer and painter from Hamburg who designed or digitized over 210 Fraktur fonts [see my compilation of his list]. He is heavily involved in the Bund für Deutsche Schrift und Sprache. Helzel is the designer at Delbanco-Frakturschriften of DS-DtWerkschrift (1997), DS-Fruehling (1996), DS-MaximilianGotisch (1994), DS-MaximilianTitel (1994), DS-Post-Fraktur (1997). He has hand-digitized over 200 Fraktur fonts, including
- BreitkopfInitialen (2000). Breitkopf Fraktur was made in the 18th century.
- ElementSchmalfett (1998). Element is a modern Textura by Max Bittrof (1933, Bauersche Giesserei).
- Fichte Fraktur, after M. Tiemann, 1934.
- GotenburgA and GotenburgB (1998-2000). Gotenburg was originally designed by Friedrich Heinrichsen (1935-37, Stempel AG).
- HamburgerDruckschriftFett (1996). Hamburger Druckschrift is due to Friedrich Bauer (1904, Genzsch&Heyse). According to "Blackletter: Type and National Identity", Hamburger Druckschrift "is an accomplished entry in this category of hybrid typefaces made before the 1st World War. They work within the black-letter tradition while borrowing lighter weight, softer curves and more open proportions from roman. Bauer maintained the structure of broken script, but subdued any flourishes. The width of his letters are generally wider than in traditional frakturs and, as in Jugendstil hybrids, some lowercase letterforms are modernized." It has been used as headliner for "Hamburger Nachrichten" which was stopped by the Nazis in 1939. Today's "Hamburger Abendblatt", the daily Hamburg Times, is still using it as headliner.
- Humboldt Fraktur (2000, gross and klein). Humboldt Fraktur was made originally by Hiero Rhode (1938, Stempel AG).
- KochFrakturSchmaleHalbfette (2000). This font is due to Rudolf Koch (1910-1921, Gebr. Klingspor), and was originally named Deutsche Schrift. Digitized in 1998.
- Mainzer Fraktur. After an original in 1901 by Carl Albert Fahrenwaldt.
- Mars Fraktur (1995, free family).
- RatdoltRotunda (1998). Named after Erhard Ratdolt (1443-1528), typesetter. Designed by Wolfgang Hendlmeier in 1989. Available at Delbanco. Tannenber (after E. Meyer, 1934).
- Weber Fraktur.
- WieynckGotischLicht (2001). A font by by Heinrich Wieynck (1926, Schriftguss Dresden), inspired by William Morris' work.
Helzel also offers a free "Frakturconverter" program for Windows which transforms Antiqua fonts into Fraktur fonts.
List of his fonts as of 2009: (Anker-)Schul-Fraktur, Accidenz-Gotisch, Akzidenz-Gotisch, Aldine, Albion-Gotisch, Alt-Fraktur, Alt-Gotisch (Bradley), Alt-Deutsch (after Ferdinand Theinhardt, 1851), Alte Münchner Fraktur (after a 1850 typeface by Gustav Lorenz), Alte deutsche Schreibschrift, Alte Schwabacher, Amts-Fraktur (after Heinrich Wilhelm Hoffmeister), Andreae Fraktur, Andreas-Schrift, Angelsächsisch, Angelsächsisch, Verzierte, Antike Gotisch, Aramäische Quadratschrift, Astra, Bastard, Bernhard-Fraktur, Bismarck-Gotisch, Breite deutsche Anzeigenschrift, Breite Kanzlei, Breitkopf-Fraktur, Britannia (Alt-Gotisch), Büxenstein-Antiqua, Büxenstein-Fraktur (after a house style at D. Stempel, 1912), Canzlei, Caxton, Caxton-Type, Claudius, Courante Gotisch, Danziger Fraktur (after A. W. Kafemann), Derby, Deutsche Reichsschrift (after a 1910 typeface by Wilhelm Woellmer), Deutsche Schrägschrift, Deutsche Schreibschrift (Bismarck-Zeit and Goethe-Zeit: school fonts), Deutsche Schrift, Deutsche Werkschrift, Deutsche Zierschrift, Deutsch-Gotisch, Deutschland, Dresdner Amts-Fraktur, Eckmann-Schrift, Einfache Kanzlei, Elegant, Element, Enge Gotisch (2008, after an 1880 font by Bauersche Giesserei), Enge moderne Kanzlei, Enge König-Type, Enge Kanzlei, Englische Antiqua, Faust-Fraktur, Fette Gotisch, Fette Schwabacher, Fichte-Fraktur, Fractur, Französische Antiqua, Frühling-Fraktur (1997, after Koch's original from 1917), Garamond-Antiqua, Genzsch-Antiqua, Germanen-Fraktur (this is the same as Stempel's Normannia from 1905), Germanisch, Goethe-Fraktur (after Wilheml Woelmmer), Gotenburg, Graeca, Gronau-Gotisch (after Heinrich Ehlert, 1850), Gursch-Fraktur, Gutenberg-Fraktur, Gutenberg-Bibelschrift, Gutenberg-Gotisch, Haenel-Antiqua, Halbfette Aldine, Halbfette Kanzlei, Halbfette Normalfraktur, Halbfette Schwabacher-Flinsch, Halbfette Wallau, Hamburger Druckschrift, Hamburger Fraktur, Hamburger Schwabacher, Hammonia-Gotisch, Hansa-Fraktur, Hansa-Gotisch (after a Genzsch & Heyse original), Hebräisch, Hellenistische Antiqua "Graeca", Hölderlin (after Eugen Weiss, 1927), Holländische Gotisch, Hoyer-Fraktur, Humboldt-Fraktur, Hupp-Fraktur, Ideal-Fraktur, Jean-Paul-Fraktur, Jubiläumsfraktur, Kaiser-Gotisch, Kanzlei, Karl-May-Fehsenfeld-Fraktur, (after a 1870 font used in the Karl-May books) Karl-May-Radebeul (after a 1890 font used in the Karl-May books), Kirchengotisch, Moderne, Kleist-Fraktur, Kleukens-Fraktur, Koch-Antiqua, Koch-Fraktur, König-Fraktur G14, König-Type, Kühne-Gotisch, Kühne-Schrift, Kurante Gotisch, Kurmark, Lichte National, Liebing-Type, Liturgisch (after Otto Hupp, 1906), Logos, Ludlow-Wartburg-Fraktur (after Ludlow, ca. 1920), Magere Wallau, Mainzer Fraktur, Manuskript-Gotisch, Mars-Fraktur, Maximilian-Gotisch, Mediaeval-Gotisch, Leipziger Altfraktur (after a 1912 typeface by Carl Kloberg), Midoline (after Jean Midolle's typeface from 1840 at Julius Klinkhardt), Moderne Kanzlei, Moderne Kirchen-Gotisch (based on an original from ca. 1880), Mönchs-Gotisch, Morris-Gotisch (Uncial-Gotisch, Unzial-Gotisch, after Emil Gursch), Münster-Gotisch, Neu-Gotisch klein, Neudeutsch(-Hupp), Neue (moderne) Fraktur, Neue Schwabacher, Nordisch-Antiqua, Normal-Fraktur (1999, after the font by Gustav Schelter, 1835), Normannia-Fraktur, Nürnberg, Offenbach, Post-Fraktur, Psalter-Gotisch, Ratdolt-Rotunda, Reklame-Fraktur halbfett, Renaissance-Fraktur, Renaissance-Kanzlei, Renata (after a Schwabacher of the Bauersche Giesserei, 1914), Richard-Wagner-Fraktur, Romeo Fraktur (2009, after a Stempel font from 1910), Rundgotisch, Russisch-Römisch, Salzmann-Fraktur, Schmale Accidenz-Gotisch, Schmale Haas-Gotisch, Schmale halbfette Fraktur, Schmale halbfette Gotisch, Schneidler-Schwabacher, Schraffierte Gotisch "Stella", Schreibschrift, Schul-Fraktur, Schwabacher, Schwabacher Mager Gross (after Albert Anklam, 1876), Sonderdruck-Antiqua (2008, after a 1913 typeface by Deberny and Peignot), Stahl (2007, after a 1937 typeface by Hans Kühne), Stahl Kursiv (2009, after Hans Kühne), Stella, Stempel-Fraktur, Straßburg (a blackletter based on fter H type by H. Berthold, 1926), Tannenberg, Thannhaeuser-Fraktur, Tiemann-Fraktur, Tiemann-Gotisch, Tiemann-Mediaeval, Unger-Fraktur, Verzierte Angelsächsisch, Verzierte Musirte Gotisch, Victoria-Gotisch (Viktoria-Gotisch), Wallau, Wartburg-Fraktur, Weber-Fraktur, Weiß-Fraktur, Werkschrift Germanisch, Wieynck-Gotisch, Wilhelm-Klingspor-Gotisch, Wohe-Kursive (after Wolgang Hendlmeier, 1988), Wohe Textura (2009, after Wolfgang Hendlmeier), Zeitungs-Fraktur, Zeitungs-Schwabacher (halbfette Neue Zeitungs-Schwabacher, to be more precise---based on a 1900 typeface by Pustet), Zentenar-Buchschrift.
Catalog from 1996. Article in 1995 by him on Normal Fraktur. Another catalog, in pieces: I, II, III, IV, V, VI, VII, VIII. Antiqua catalog. [Google]
German Garamond is a SoftMaker typeface designed after Typoart Garamond by Herbert Thannhaeuser. Another digital version is Garamond No. 4 by URW. [Google]
Ghostscript fonts (URW)
The URW GhostScript font collection, version 1.41 (2005), truetype: A028-Ext, A028-Med [A028 is a free version of Albertus], A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ArtLinePrinter, CenturySchL-Bold, CenturySchL-BoldItal, CenturySchL-Ital, CenturySchL-Roma, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med (2000), GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMonL-Bold, NimbusMonL-BoldObli, NimbusMonL-Regu, NimbusMonL-ReguObli, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomNo9L-Medi, NimbusRomNo9L-MediItal, NimbusRomNo9L-Regu, NimbusRomNo9L-ReguItal, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, NimbusSanL-Bold, NimbusSanL-BoldCond, NimbusSanL-BoldCondItal, NimbusSanL-BoldItal, NimbusSanL-Regu, NimbusSanL-ReguCond, NimbusSanL-ReguCondItal, NimbusSanL-ReguItal, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWBookmanL-DemiBold, URWBookmanL-DemiBoldItal, URWBookmanL-Ligh, URWBookmanL-LighItal, URWChanceryL-MediItal, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg, URWGothicL-Book, URWGothicL-BookObli, URWGothicL-Demi, URWGothicL-DemiObli, URWPalladioL-Bold, URWPalladioL-BoldItal, URWPalladioL-Ital, URWPalladioL-Roma. All fonts were made in 1999-2000. Alternate URL. [Google]
Gigofonts is a Ljubljana-based foundry run by Matevz Medja (b. 1966, Kranj). He set up design studio Medja & Karlson in 1990 and Gigodesign in 2000. He founded Gigofonts and Archive Type typefoundries.
Matevz designed Compressor (1997, T-26), Gf Blackmail (2004, ransom note font), Gf Patetica (2004, an elegant renaissance serif with tall ascenders), Gf Scribbles (2005, hand-printed family), Gf Script No 2 (2005), Gf Script No 4, Gf Script No4 Scratch (2004, based on Penman Script), Gf Script No. 5 (2005), Gf SelfcensorShit (2004, T-26, and later at Gigofonts, now simply called Gf Selfcensor---a unicase family), Gf Spacetrash (2004), Gf Special (2005, 22 funky disco fonts, many of which are piano key faces), Semafor (1997, dot matrix, at T-26 since 2002), Gf H2O (2005, a humanist sans family done with Mitja Miklavčič).
MyFonts link. Creative Market link. Linotype link. Identifont link. Klingspor link.
View Matevz Medja's typefaces. [Google]
Gilles Le Corre
[GLC --- Gilles Le Corre]
GLC --- Gilles Le Corre
[Gilles Le Corre]
French painter born in Nantes in 1950, who lives in Talmont St Hilaire. His fonts include 2010 Cancellaresca Recens (inspired by a chancery type of Francisco Lucas from the late 16th century), 2009 Handymade (comic book style), 2009 Lollipop (chancery style), 2009 GLC Plantin, 2009 Primitive (2009, a rough-edged roman script), 2008 Script 2 (2008), GLC Ornaments One (2008) and 2008 Xmas Fantasy (2008: blackletter). In 2008, he started GLC -- Gilles Le Corre and became commercial. Creative Market link. He is best known for his historic revivals:
Creative Market link. [Google]
- 161 Vergilius (2010)
- 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
- 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
- 825 Karolus (2009), and 825 Lettrines Karolus (2009).
- 1066 Hastings (2009).
- 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
- 1420 Gothic Script (2008).
- 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
- 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenerg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
- 1462 Bamberg (2008).
- 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
- 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
- 1470 Jenson-SemiBold (2008).
- 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
- 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
- 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
- 1484 Bastarda Loudeac (2008).
- 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
- 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanistic script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
- 1492 Quadrata (2008).
- 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
- 1495 Bastarda Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
- 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
- 1509 Leyden (2008; inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
- 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
- 1512 Initials.
- 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
- 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 typeface published in La Operina.
- GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
- GLC 1525 Durer Initials (2010). Sample R.
- 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
- 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
- 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
- 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
- 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
- 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
- 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
- 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
- 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
- 1543 HumaneJenson-Bold (2008, after the typeface used in Vesalius' 1543 book De humani corporis fabrica).
- 1543 HumaneJenson-Normal (2008, same source).
- 1545 Faucheur (2011) is a rough garalde typeface that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
- 1546 Poliphile (2009), nspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
- 1550 Arabesques (2008, caps).
- 1557 Civilité Granjon (2010).
- 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
- 1565 Renaissance (2010), inspired by French renaissance decorated letters.
- 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
- 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
- 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
- 1585 Flowery (2009): inspired by French renaissance decorated letters.
- 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
- 1590 Humane Warszawa is a rough-edged garalde typeface inspired by a font carved circa 1590 for a Polish editor.
- 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
- 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
- 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
- 1621 GLC Pilgrims (2010).
- 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
- 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
- GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
- 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
- GLC 1669 Elzevir (2011) was inspired by the font faces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
- GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
- GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
- 1682 Writhed Hand: very irregular handwriting.
- 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
- 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
- 1695 Captain Flynt.
- 16th Arabesques (2008, an exquisite ornamental caps scanfont).
- 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
- GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
- 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
- 1742 Frenchcivilite (2008).
- 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
- 1756 Dutch (2011).
- 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
- 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
- 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
- 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
- 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
- 1791 Constitution (2011).
- 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
- 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
- 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
- 1809 Homer (2011), a grungy typeface named after the "homer" message pigeons.
- 1815 Waterloo (2008): a handwriting typeface originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
- 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
- 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
- 1845 Mistress (2009): calligraphic script.
- 1848 Barricades Italic, a quill pen italic.
- 1859 Solferino (2009).
- 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
- 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
- 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
- 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
- 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
- 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
- 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
- GLC 1886 Romantic Initials (2012).
- 1890 Registers Script (2008): inspired by the French "ronde".
- 1890 Notice (2009): a fat didone family.
- 1902 Loïe Fuller (art nouveau face).
- 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
- 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
- 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
- 1906 Titrage (2009): a didone headline typeface from the same newspaper.
- Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
- 1920 French Script Pro (2010).
- 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
- 1968 GLC Graffiti (2009).
- 1917 Stencil (2009; with rough outlines).
- 1920 My Toy Print (2010, grunge).
- 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
- 2010 Pipo Classic: a grungy typewriter slab serif family.
- 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
Graphic bureau Az-Zet
Russian foundry that published Cyrillic/Latin fonts from these designers:
- Anton Bisiajew: AZGaramondC (1990-1995).
- Serge Agronsky: AZGaramondExtraBoldC (1990-1995), ParagonNordC (1990-1995).
- Leonid Silkin: HighWayC (1990-1995), PoligonC (1990-1995).
- A. Andreev: NewsPaperC (1990-1995).
- K. Tchouvashew: AZLatinWideC (1990-1995).
Greek Font Society
The Greek Font Society was founded in 1992 by the late Michael S. Macrakis (1924-2001) as a Non-Profit Organization with the expressed aim of contributing to the research of Greek typography. The Society was founded initially by the Kostopoulos Foundation, with further support provided by the Greek Ministry of Culture, the Leventis Foundation, Regis College-USA, the Maliotis Foundation and the Girondelis Foundation. From 2004 until 2006, the Board of Directors consists of M.V. Sakellariou (President). L. Macrakis (Vice-President), D.G. Portolos (Secretary), L.G. Savidis (Treasurer), G.E. Agouridis, A.G. Drimiotis, and A. Giakoumakis. GFSs type design programme began through the collaboration of painter-engraver Takis Katsoulidis with type designer George D. Matthiopoulos. Since then, GFS has designed a growing list of Greek polytonic (fully-accented) fonts which include various historical revivals and new designs with respect to typographic tradition. In addition, GFS was commissioned to design fonts for the Athens Academy, The Athens Archeological Society, the Institute of Speech amongst others. Furthermore, GFS organised an International Conference, Greek Letters: from Tablets to Pixels at the Institute Français dAthènes in 1995, and has been active in the publication of works on Typography. For this aim GFS edited and designed the proceedings of the Conference: Michael S. Macrakis (edit), Greek Letters: from Tablets to Pixels, Oak Knoll Press, Newcastle-Delaware, 1996. The artistic collaborators include George D. Matthiopoulos, Michail Semoglou and Natasha Raissaki. Finally, they are making some high quality free fonts, such as:
- GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapfs Palatino).
- GFS Bodoni (1992-1993): a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos.
- GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
- GFS Callierges Greek, based on the types of Zacharias Callierges (15th century), digitized by George Matthiopoulos.
- GFS Porson Greek, digitized by George Matthiopoulos. This is based on the types of Richard Porson of the 18th century.
- GFS Artemisia (2001), by painter-engraver Takis Katsoulidis and digitized by George D. Matthiopoulos.
- GFS Complutensian Greek, digitized by George Matthiopoulos and Antonis Tsolomitis. This was based on the types of Arnaldo Guillen de Brocar (16th century). Now called GFS Complutum (2007).
- GFS Neohellenic (1993-2000). They explain: In 1927, Victor Scholderer (British Museum Library curator), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a Latin version.
- GFS Elpis (2006, Natasha Raissaki), an original design which tries very hard to match the Greek and Latin parts of its alphabet.
- GFSSolomos (2006) by Antonis Tsolomitis.
- GFS Theokritos, a redesign by George D. Matthiopoulos of a font created by Yannis Kefallinos (1894-1958) in the 1950s.
- GFS Baskerville (2007) by Antonis Tsolomitis.
- GFS Gazis (2007, George Matthiopoulos), about which they write: During the whole of the 18th century the old tradition of using Greek types designed to conform to the Byzantine cursive hand with many ligatures and abbreviations - as it was originated by Aldus Manutius in Venice and consolidated by Claude Garamont (Grecs du Roy) - was still much in practice, although clearly on the wane. GFS Gazis is a typical German example of this practice as it appeared at the end of that era in the 1790s. Its name pays tribute to Anthimos Gazis (1758-1828), one of the most prolific Greek thinkers of the period, who was responsible for writing, translating and editing numerous books, including the editorship of the important Greek periodical (Litterary Hermes) in Wien.
- These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFSAmbrosia, GFSEustace-Regular, GFSFleischman-Regular, GFSGaraldus, GFSJackson-Regular, GFSNicefore. He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, was cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry and follows th baroque style of the mid-18th century aesthetics.
Günter Gerhard Lange
Known to his peers as GGL. German type designer, born in Frankfurt-an-der-Oder in 1921, d. 2008. He fought in World War II and lost his leg in a battle in France. Starting in 1941, Lange studied as apprentice of Georg Belwe at the Academy of Graphic and Book Arts in Leipzig. After graduation in 1945, until 1949, he was assistant of Professor Walter Tiemann, while also practicing painting and graphic design independently. In 1949, he continued his studies with Professors Hans Ullmann and Paul Strecker at the Hochschule für Bildende Künste in West Berlin. From 1950 onwards, he worked at Berthold AG in Berlin, where he designed his first type, Arena in 1951. In 1955, he became Reader in Typography at the Meisterschule für Graphik, Druck und Werbung in West Berlin. One of his many students was Manfred Klein. He also was Advisor in Visual Communications and Reader at the U5 Academy of Graphic Design and Art Direction Munich, and Instructor at the School of Applied Art in Vienna. H. Berthold AG's artistic director from 1961 to 1990, Lange was responsible for the creation and meticulous production of many of Berthold's typefaces. According to Dieter Hofrichter, his motto was 8 point is the moment of truth (when proofing typefaces). In 1989 he received the Frederic W. Goudy Award from the Rochester Institute of Technology (RIT). Recipient of the year 2000 TDC medal. After ten years of retirement from his position as Berthold AG's artistic director, Lange resumed his design activities in 2000 at Bertholdtypes (now Berthold Direct Inc) in Chicago. Bio at ATypI.
Lange's own designs include his revivals of many classical typefaces. Here is a list, all Berthold faces:
- Akzidenz Grotesk AG Book (1969-1972; see Atkins on the SoftMaker MegaFont XXL CD, 2002), AG Book Stencil Pro, AG Old Face (1984), AG Schoolbook.
- Arena (1951-1959): a condensed stocky roman. Now called Arena New.
- Berthold Baskerville (1961). Berthold Baskerville Book appeared in 1980.
- Berthold Bodoni Old Face (1983; see Giambattista on the SoftMaker MegaFont XXL CD, 2002).
- Bodoni Antiqua (1935).
- Boulevard (Berthold, 1955; imitated by Opticast (Brandenburg), Greenstreet (Koepenick), and in Regency and Francis No.982).
- Caslon Buch (1977).
- Champion (1957, a paint brush typeface revived in 2010 by Ray Larabie as Gloss).
- Concorde (1969; see C791 Roman on the SoftMaker MegaFont XXL CD, 2002, CJ by Itek, Chinchilla by Scangraphic, Transport by Varityper, Contus by URW, Dutch 809 by Bitstream, and Concept by SoftMaker), Concorde Nova.
- Deepdene (1982-1983), a revival of Frederick Goudy's Deepdene of 1927-1934.
- Derby (1952-1953). This script typeface was digitally revived by Gerhard Helzel.
- El Greco (1964).
- Franklin Antiqua (1976; see F820 Roman on the SoftMaker MegaFont XXL CD, 2002).
- Berthold Garamond (1972).
- Imago (1982).
- Publica. This Peignotian sans typeface was the source of inspiration for Ralph M. Unger's Bravura Pro (2013).
- Berthold Script (1977; see B690 Script on the SoftMaker MegaFont XXL CD, 2002).
- Solemnis (1952-1953, refreshed in 2003; a hybrid uncial remade by Harold Lohner in 2000).
- Walbaum Buch (1975) and Walbaum Standard (1976).
- Whittingham (with Dieter Hofrichter, 2000).
Yvonne Schwemer-Scheddin writes a day after his death: Dear type friends, yesterday morning, the 2nd of December 2008, Günter Gerhard Lange died, 87 years old. We lost an upright, steadfast fighter for quality in type design. Not only Berthold's artistic director, but a friend and objective adviser to many who needed personal help or an evaluation in type design. GGL was Berthold. For Berthold GGL "enhanced" many type designs of other well known type designers. His valued critizism was a great help, because it came from a positively tuned man. GGL transferred the lead heritage and its classical type faces into photocomposition and into the digital format on a high aesthetic and historically authentic level - as for instance Garamond or Van Dijk. Akzidenz-Grotesk is not thinkable without GGL. Bodoni Old Face one of the best contemporary text faces. With his sans serif Imago you can be different and yet classical. And the Americans should be pleased with the revival of Deepdene, which he also turned into a well working textface with a distinct character. But perhaps most important of all, he relentlessly encouraged the young, teaching and talking up to almost the end. Thus opening fences, eyes and hearts to art, architecture, literature and for the values of studies and love for the correct details without which the whole would not function. He was a rare communicator, because he lived his convictions and values. He became an example, a light of orientation. We lost a passionate type lover and expert---an authentic man. An era has come irreversible to its end. [Google]
Fonts with the letters HMK in their names are produced by Hallmark, the well-known postcard company in Kansas City, MO. These include early fonts such as Hog-Bold---HMK, Hog-Book---HMK, Jot-Medium---HMK, Marita-Medium---HMK, Marita-Script---HMK, Trots-Light---HMK, Trots-Medium---HMK and later (1997-1999) fonts such as BaaBookHmk, BernhardFashionHmk, BethsCuteHmk, BixAntiqueScriptHmk, BoogieWoogieHmk, ChrisHmk, CluffHmk, DesertDogHmk, FrancineHmk, FultoonHmk (by Nancy Fulton), GeeohHmk, HavixHmk (by Doug Havach), JanieHmk, Jewels, LamboHmk, McBooHmk (by Megan Walsh), NotnorvalHmk, OkrienHmk, OttumHmk (1997, downloadable here, PegsannaHMK (by Peg CarlsonHoffman), SandyTextHmk, SlashHmk, SplintHmk, StarbabeHmk (by Lisa Rogers), SuccotashHmk, SuccotashHmkBlack, TwizotHmk (by Bud Braman and John Dawbarn), WallowHmk.
In 2008, careful hackers found these fonts in the flash files of Hallmark and posted them on alt.binaries.fonts: AngelinaHMK, AnnouncementRomanHMK, CoronaSansHMK, CrownRomanHMK, DuneHMK (2008), InkberryCondensedBoldHMK, KarasHMK, KingsHatBoldHMK, MizquitoHMK, PatriciaHMK, PoobyrdHMK, ZincHMK-Regular. One hacker points out that AnnouncementRomanHMK is a rework of Castcraft's AnnouncementRoman, adding the Euro, so Hallmark seems to have its hands in the cookie jar, unless there is an intestinal link to Castcraft (but I am not aware of any).
In 2010, some people extracted fonts from Hallmark e-cards with these names: BetaCrownRomanBFA, BetaMars, BluesOnePKA, DoverA1, EdPS-Script, EvereadyOnePKA, GriegoOnePKA, InkberryCondensedBoldA1, KingsHatSansTextBoldPKA-Regular, KingsHatSansTextBoldPKA, KreamyPKA, Minion-HMK, PSOneBoldPKA, PahtooieOneSolidPKA, PahtooieTwoSolidPKA, PeanutsA1-Regular, QubitTwoBoldPKA, SlashKA.
In 2010, Ascender started selling the Hallmark fonts. The first set includes Bix Antique Script HMK, Cluff HMK, Forget Me Not HMK, Fultoon HMK, Geeoh HMK, Hasty HMK, Havix HMK, Jewels HMK, Kat Tail HMK, McBoo HMK, Okrien HMK, Ottum HMK, Starbabe HMK, Succotash HMK and Wallow HMK. The second set, published in 2011, has BoogieWoogie HMK, Calcium HMK (2010, skeletal font), Gweet HMK, Karrot HMK, Pan HMK, Slash HMK, Splint HMK, Tuf Medium HMK (2011), Twizot HMK (1999). But then Ascender was gobbled up by Monotype, so who knows what will happen?
In 2012, we find a file with 107 free fonts on the Hallmark site as a support file for Hallmark Card Studio 2012. That collection: AliceFrancesHmk, BaaBookHmk, BaaBookHmkBold, BernhardFasD, BernhardFashionHmk, BernhardMordern, BethsCuteHmk, BethsCuteHmkBold, BixAntiqueScriptHmk (2009, a copperplate script), BixAntiqueScriptHmkBold, BoogieWoogieHmk, BoogieWoogieHmkBold, CallieHmk, CandyBuzzBTN, CandyBuzzBTNBold, CapriHMK, CarmineTango, CaslonAntT, CaslonNo540SwaD-Ital, ChrisHmk, ChrisHmkBold, CluffHmk, CluffHmkBold, CopperplateT-Bold, CopperplateT-Ligh, CopperplateT-Medi, DesertDogHmk (2008), DomCasualBT-Regular, DomCasualD-Regu, ForgetMeNotHMK, FrancineHmk, FrancineHmkBold, FultoonHmk (2010, a great painter's script), FuturaBT-Medium, Garamond, GaramondBold, GaramondBoldItalic, GaramondItalic, GeeohHmk (2009), GeeohHmkBold, GilliesGotD-Ligh, GrilledCheeseBTNCn, GweetHmk, GweetHmkBold, HankBT-Roman, HastyHMK (2006), HavixHmk (1998, calligraphic), HavixHmkBold, Humanist531BT-RomanA, JanieHmk (2008), JanieHmkBold, JewelsHmk (2008), KatTailBoldHMK, KatTailHMK (2009), LamboHmk, LamboHmkBold, LiorahBT-Regular, MaritaTextBookHMK, MaritaTextMediumHMK, McBooHmk (2009), MelanieBT-Roman, MissyBT-Roman, NimbusRomD-Regu, NimbusRomdBold, NimbusRomdItalic, NimbusSanT-Regu, NimbusSanT-ReguCond, NimbusSanTConBold, NokieBrushBoldHMK, NokieBrushHMK (2009), NotnorvalHmk, NotnorvalHmkBold, OkrienHmk (1999, camp site script), OkrienHmkBold, OttumHmk (2010, formal connected script), OttumHmkBold, PamHMK (2009), ParkAveD, PegsannaHMK, RegisterSansBTN, RegisterSansBTNBold, RyanBT-Heavy, SandyTextHmk (1997, formal script), SandyTextHmkBold, Shannon-Book, ShannonExtraBold, SlashHmk, SlashHmkBold, SplintHmk (2008), SplintHmkBold, StarbabeHmk (2009), StarbabeHmkBold, SuccotashHmk (1999, technical memo script), SuccotashHmkBlack, SuccotashHmkBold, Symphony, SymphonyBlack, TwizotHmk (1999), URWAlcuinT-Regu, URWImperialT-Regu, WackyActionBTN, WackyActionBTNBold, WallowHmk (1999), WallowHmkBold, WritetyperHmk, YearbookSolid.
Hallmark's SMC animations font download site has the free fonts Hmk Handjive, Handshake, Handlebar, Handstand, Handspring, Handsome, all made in 2010.
Additional fonts not mentioned above include Butch HMK (2008). [Google]
Hans van Maanen
Dutch science journalist who has published extensively in the Volkskrant. He is also into fine arts and illustration, and has even designed a few fonts. MyFonts page. Klingspor link.
- His first production was Lexington and Lexington Handtooled (2006, a revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic. A typical art deco signage typeface which can be bought at Canada Type, and is characterized by its rabbit-eared k, l, b, d and h).
- He also digitized and expanded Aurora Grotesk (1912, Johannes Wagner foundry) and called it Annonce (2006, Canada Type).
- As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type).
- Dutch Mediaeval (2007, 9 styles) is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik De Roos classic. Followed in 2013 by Dutch Mediaeval Book ST (done together with Patrick Griffin), which was engineered specifically for science writing.
- Freco (2006, Canada Type): an art deco font.
- Circulaire (2009, Canada Type) is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
- Adams (2008, Canada Type) is a revival and major expansion of Dolf Overbeek's Studio typeface and Flambard, its bold counterpart, originally published by the Amsterdam Type Foundry in 1946 and 1954, respectively.
- Lotto: A brush typeface originally designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955. Revived by Van Maanen at Canada Type in 2009.
- Diploma (2009, Canada Type) is a revival of Diplomat, a metal type made by the in-house team of Ludwig&Mayer and first published in 1964.
- Roos (2009): A 10-style revival and extension of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Patrick Griffin at Canada Type.
- Archie (2010): a heavy techno sans banner face, done at Canada Type as a revival of work by Martin Meijer.
- Agent (2010, Canada Type) is another revival of work by Martin Meijer.
- Aragon (2010, Canada Type): Advertised as a workhorse Dutch Garamond family. Includes an open style called Aragon Initials.
- Naga (+Naga Outline, 2011, Canada Type) is Hans van Maanen's original creation of art deco shapes intersected with intricate mazes of what could be Celtic or Mesoamerican knotwork art.
- Zilvertype (2012). A 590-glyph typeface revival published by Canada Type: Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour. Followed in 2014 by the expanded Zilvertype Pro.
- Minuet (2007) revives Schlesinger's Rondo.
- Grippo (2012). A layered font in six styles, with a general art deco look.
- Gaulois (2012). Based on Scribe (1937, Marcel Jacno), an art deco era signage and advertising script.
- Wilke Kursiv (2013) is based on Martin Wilke's Wilke Kursiv from 1932.
- Aragon ST (2013, with Patrick Griffin). Related to Garamond, this family was designed for science writing, thanks to the incorporation of SciType. SciType is a flexible combination of oft-ignored letterforms and innovative OpenType programming that can be incoporated into existing text fonts in order for them to function seamlessly when including common science formulas and equations in regular text.
- In 2015, Hans cooperated with Patrick Griffin on the sturdy small text typeface Leo.
Co-designer at Linotype of a version of the Sabon family (1986). [Google]
Hendrik D.L. Vervliet
Prolific Belgian type expert who was librarian at the University of Antwerp and professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history. Author of
- Sixteenth-Century Printing Types of the Low Countries. With a Foreword by Harry Carter, Amsterdam, 1968. This book has 267 facsimile-illustrations depicting 147 typespecimens.
- Civilité Types (with Harry Carter, 1966, Oxford, University Press), for The Oxford Bibliographical Society).
- Cyrillic & oriental typography in Rome at the end of the sixteenth century: an inquiry into the later work of Robert Granjon (1578-90) (1981, Berkeley Poltroon Press).
- The Palaeotypography of the French Renaissance Selected Papers on Sixteenth-Century Typefaces (Library of the Written Word, 2008). This is a 565-page 2-volume oeuvre about which the publisher writes: This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.
- French Renaissance Printing Types: A Conspectus (New Castle, Delaware, and London: Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010). This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence. The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.
- Vine Leaf Ornaments in Renaissance Typography: a survey (2012, New Castle, Delaware : Oak Knoll Press and HES & DE GRAAF Publishers). The blurb: This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today. The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin.
Type designer and cutter who worked for Georges Peignot. Between 1914 and 1926, Parmentier developed a Garamond family for Peignot's foundry. That family was rediscovered by Matthieu Cortat (Nonpareille) and revived by Cortat in 2013 as Henry. Cortat writes: Henry is a personal reinterpretation of the Garamond cut for the Deberny & Peignot type foundry between 1914 and 1926 by Henri Parmentier, under the management of Georges Peignot, who owned the foundry. Their purpose was to recreate the gracefulness of Claude Garamont's type typeface while allowing for the development of modern paper making, with its wood pulp paper, as opposed to 16th century rag paper. This elegant and smooth text family has its own mind: Henry is based on the text sizes (9 to 14) of the Garamond Peignot. It is a light and fluid Garald, rather skinny and narrow, with a slender grace. There is an art nouveau spirit in its z leaning on the left, its serpentine a and J, the roundish lower bowl of its t, the wide tail of its Q. [Google]
Designer born in 1898 in Berlin, who died in 1963 in Kleinmachnow. He worked in various Berlin graphics bureaus. He was artistic consultant at Max Krause and for many printing shops. From 1933 until 1940, he was artistic consultant at Schelter&Giesecke in Leipzig. From 1951 on, he was artistic director at VEB Typoart in Leipzig. Bio at BfdS. Bio at Linotype. Bio at Klingspor. MyFonts link. A brief biography by Gertrud Thannhaeuser in Die deutsche Schrift, volume 1095, 1992: A, B, C, D.
FontShop link. Klingspor link.
- At D. Stempel AG: Adastra (1928), Schwung Adastra (1931). Adastra was revived in 1995 by Douglas Olena / Keystrokes and by Neil Summerour in 2011 as Rhythm.
- At Typoart: Kurier (1939, a brush typeface digitized by Canada Type's Rebecca Alaccari as Puma (2004)), Typoart Didot Antiqua, Kursive and Halbfett (1958), Erler Versalien (1953, revived in 2006 by Ari Rafaeli), Typoart Garamond (see Garamond No. 4 by URW) and Garamond No. 5 by Elsner&Flake) and Typoart Garamond Kursiv (1955), Lotto (1955, brush script, revived as Lotto in 2009 by Hans Van Maanen, Canada Type), Liberta Antiqua (1957; revived by Ralph M. Unger as Trybuna in 2013), Kursive, Antiqua Halbfett and Antiqua extrafett (1956), Liberta Antiqua schmalhalbfett (1959), Liberta Antiqua schmalfett (1960), Magna, Magna Kursiv and Magna Halbfett (1968; see Magna EF by Elsner&Flake, dated 1962 by them), Meister Antiqua (1952, digitized and extended by Ralph M. Unger in 2011 as Meister Antiqua; images: i, ii, iii), Meister Kursiv (1952), Meister Antiqua halbfett (1952), Technotyp schmalhalbfett (1960).
- At Schriftguss: Gravira (1935), Großdeutsch (1935), Hermann Gotisch (1934; revived in 2002 by Dieter Steffmann), Kornett (1939), Parcival Antiqua (1930, or is it 1926?), Parcival Kursiv (1930), Parcival Antiqua fett (1932), Technotyp and Technotyp halbfett (1948), Technotyp Kursiv, Technotyp fett and Technotyp extrafett (1949), Technotyp schmalfett (1951), Thannhaeuser Fraktur and Thannhaeuser Fraktur halbfett (1927-1939, Schelter&Giesecke; Delbanco has a digital version called DS Thannhaeuser Fraktur; Thannhaeuser Fraktur (2013, Ralph M.Unger) is a redesign of Typoart's Thannhaeuser Fraktur)), Thannhaeuser Fraktur schmallfett (1939) and Werbedeutsch (1933). The Lindenthal brothers revived Thannhaeuser Fraktur (Mager, magere Zierversalien, Schmalfett and Halbfett). Delbanco revived these ca. 2001. See also Werbedeutsch by Dieter Steffmann (2002).
- At Schriftguss AG: Thannhaeuser Schrift (1929), Thannhaeuser Schrift Kursiv (1933), Thannhaeuser Schrift halbfett (1934). The slab serif family Technotyp was revived in its entirety by Coen Hofmann at URW++ in 2011 under the same name.
- Other faces: Buick schmalfett. This was digitally revived by Nick Curtis in 2014 as Strassenmeister NF.
View Herbert Thannhaeuser's typefaces. [Google]
The prolific master designer (born in Nuremberg, 1918, lives in Darmstadt), who made many Antiqua faces and Grotesk faces at URW++ (such as URW Grotesk) and is best known for Palatino, Optima, Melior, Zapf Dingbats, and ITC Zapf Chancery. From 1990 dates URW Palladio Regular. And look at the gorgeous calligraphic font Zapfino (Linotype, 1999, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. Linotype write-up. Zapf lives in Darmstadt, Germany. Pictures of his 80th birthday party at Linotype. Winner of the Gutenberg Prize in 1974.
Author of Manuale Typographicum (1954), of which only 1000 copies were printed. Author of Typografische Variationen (1963, Stempel), of which only 500 copies were printed.
Zapf's drawing of a blackletter alphabet in Feder und Stichel (1949, Trajanus Presse, Frankfurt) and Feder und Stichel (1952). Zapf's design of a postage stamp depicting Ottmar Mergenthaler in 1954.
List of his typefaces:
- Alahram Arabisch.
- Arno (Hallmark).
- Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
- Alkor Notebook.
- Attika Greek.
- Artemis Greek.
- Aurelia (1985, Hell).
- AT&T Garamond.
- Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
- Brush Borders.
- Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
- Crown Roman (Hallmark).
- Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
- Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
- Charlemagne (Hallmark).
- Digiset Vario (1982, Hell): a signage face.
- Edison (Hell), Edison cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
- Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, they produced the more calligraphic set now called AMS Euler (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here.
- Firenze (Hallmark).
- Festliche Ziffern (transl: party numbers).
- Frederika Greek.
- Gilgenart Fraktur (1938, D. Stempel).
- Heraklit Greek.
- Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
- International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
- Janson (Linotype).
- Jeannette Script (Hallmark).
- Kompakt (1954, D. Stempel).
- Kalenderzeichen (transl: calendar symbols).
- Kuenstler Linien (transl: artistic lines).
- Linotype Mergenthaler.
- Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
- Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
- Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
- Medici Script (1971).
- Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
- Magnus Sans-serif (Linotype, 1960).
- Missouri (Hallmark).
- Noris Script (1976; a digital version exists at Linotype).
- Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2003, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
- Orion (1974).
- Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012).
- Phidias Greek.
- Primavera Schmuck.
- Pan Nigerian.
- Quartz (Zerox Corporation Rochester, NY).
- Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
- Saphir (1953, D. Stempel, see now at Linotype).
- Sistina (1951, D. Stempel).
- Sequoya (Cherokee redesign).
- Scriptura, Stratford (Hallmark).
- Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
- Linotype Trajanus Cyrillic (1957).
- Textura (Hallmark).
- URW Grotesk (1985), URW Antiqua. The URW Grotesk family today contains 59 styles.
- Uncial (Hallmark Kansas City).
- Virtuosa Script (1952, D. Stempel: Zapf's first script face; revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi).
- Venture Script (Linotype, 1966; FontShop says 1969).
- Winchester (Hallmark).
- World Book Modern.
- ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
- Zapfino (Linotype Library GmBH 1998): a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).
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.
Linotype link. [Google]
Hibernia Type is run by Christopher Burke (b. 1967), the British designer of the text typeface Celeste (FontFont, 1999-2000) and Celeste Sans (2004). His balanced sans serif text typeface Pragma ND (1995) is available from Neufville. Chris got a Ph from, and later taught typography at the University of Reading from 1996-2001. He was instrumental in setting up the MA program in type design at Reading. In 2002, he finished Parable, which was published at FontFont as FF Parable.
Author of Renner, Paul: The Art of Typography, Hyphen Press, 1999 (U&LC review). His essay Jan Tschichold&Sabon, written in the specimen book Linotype Sabon Next (Linotype, 2002), is is a must for anyone wishing to understand Tschichold. FontFont bio. FontShop link. MyFonts listing. Chris lived (still lives?) in Barcelona.
View Christopher Burke's typefaces. [Google]
[Arkandis Digital Foundry]
Dieter Hofrichter (b. Mannheim, Germany), established Hoftype in 2010 in München. He attended the Rödel Art School where studied typography and calligraphy under Herbert Post, and applied and decorative arts under Charles Crodel. Later he studied graphic design at the Academy of Fine Arts in Nürnberg under Professor Karl Hans Walter. After his studies, Hofrichter worked for several years as a graphic designer. In 1980, he started designing typefaces for himself in his own studio. He approached G.G. Lange of the Berthold foundry in 1988, and started work in 1989 as a type developer and assistant to Lange at Berthold without realizing that Berthold's owner, Hunt, had studied under Idi Amin Dada. Hofrichter has worked closely with Lange to develop new typeface designs and improve classic designs. In 2010, he set up his own foundry, Hoftype.
There are certain designers whose style attracts me---almost any type designed by them agrees with my taste. I just know that they are perfectly seasoned and delightfully oiled. Dieter Hofrichter's work falls in that category. I also like classical music, but not all classical music. Beethoven is just about right. Hofrichter's type work is classical, trustworthy and very balanced.
Klingspor link. Fontsquirrel link. Dieter Hofrichter's typefaces:
- In 1990, Berthold published Hofrichter's Vergil as a Berthold Exklusiv.
- In 2000, Berthold released a joint effort of Lange and Hofrichter, a Scotch type named Whittingham.
- In 2001, he released the newly enhanced Akzidenz-Grotesk (Berthold).
- Futura Serie BQ (2000, Berthold). This is a new version of the well-known geometric sans serif typeface design by Paul Renner and the Bauer type foundry.
- Bodoni New Face (Berthold).
- Gerstner Next (2007, Berthold). This typeface is based on Karl Gerstner's Gerstner Original BQ of 1987.
- His first commercial typeface at Hoftype is the Impara Sans family in ten styles (2010). Images:i, ii, iii, iv.
- The medium-contrast slightly flared sans family Epoca (2010, Hoftype), and the 12-style sister family Epoca Classic (2012).
- The text family Argos (2011, Hoftype).
- Erato (2011, Hoftype) is a beautiful garalde family.
- Cala (2011, Hoftype) is a modernized renaissance/garalde family.
- Corda (2011, Hoftype) is a scriptish serif family.
- Cassia (2011, Hoftype) is a subdued Egyptian family.
- Sonus (2011, Hoftype) is a humanist sans family.
- Sina (2012), which is sure to win awards, is an elegant, pleasant and readable type family characterized by relatively tall ascenders and imperceptible flaring. Sina Nova (2012) is a slimmer version.
- Foro (2012) is a 16-style slab serif family. A softer rounder version is called Foro Rounded (2013). In 2014, Foro Sans was added---it too comes in 16 monoline styles.
- Ashbury (2012) is a text family that has elements of Caslon and Baskerville.
- Sixta (2012) is an eight-style sans family.
- Hofrichter writes about the roundish serif text family Civita (2012): Civita is a new "Modern Type" with a high stroke contrast, distinct formal features, and a strong personality. It has a fluid ductus but nonetheless a solid structure.
- Carat (2012). In 2015, the nearly identical typeface Mangan was published---I am befuddled....
- Capita (2013). A rounded slab serif designed for warmness and easy reading.
- Quant (2013) is a very elegant contrasted text family, possibly more appropriate for display than for long texts. Quant Text (2013) is the optimized 8-style text version of the Quant family. It comes with a slightly greater width, stronger hairlines and stronger serifs which stabilizes it for small text.
- Qubo (2013) is a 14-style sans family with contrast in the joins.
- Equip (2013) is a versatle geometric sans that comes with 16 styles. See also Equip Slab (2013), Equip Condensed (2013) and Equip Extended (2013).
- Pesaro (2014) was inspired by early prints from Venice like Jensen and Manutius. It is a warm legible text family with Hofrichter-style flaring in strategic places. This beautiful typeface is not be confused with a 2001 typeface by Joachim Müller-Lancé that is also called Pesaro.
- Campan (2014). A semilinear typeface with hook-serifs and tall x-height.
- Orgon (2014) jumps right to the head of the pack In the rounded organic sans world. This neutral, uncomplicated and unpretentious sans wows, especially in the heavier weights. It is accompanied by Orgon Slab (2014).
- Cargan (2014). Advertized as a gentle versatile slab serif typeface family.
Interview by Dan Reynolds for MyFonts.
View Dieter Hofrichter's typefaces. [Google]
Holger Peter Sandhofe
[Bund für Liturgie und Gregorianik]
German company that sells 9999 fonts on a CD for 229 USD. One can download 20 fonts for free, as a teaser. The company is run by Martin Kotulla, owner of Softmaker, who also made the MegaFont CD. Many (most?) fonts are licensed from URW and come with a performance guarantee. Font catalog. Most fonts cover all European languages. Font catalog. Direct download of that catalog. Font name equivalences. The list: Aargau, Abott Old Style, Accent, Accolade, Adelon (lapidary), AdLib, Advertisers Gothic, Aldebaran, Alfredo, Allstar, Alternate Gothic, Alte Schwabacher, American Text, Ancona, Ancona Condensed, Ancona Extended, Ancona Narrow, Antigone, Antigone Compact, Antigone Nord, Antigone Condensed, Antiqua, Artistic, Avignon, Avignon Condensed, Avignon PS, Ballad Script, Ballantines (a broad-nib script), Balloon, Barbedor, Barbedor Osf, Baskerville, Baskerville Nova, Baskerville Old Face, Bay Script, Belfast Serial (a remake of Forsberg's Berling), Belfort, Bellboy, Benjamin [based on ITC Benguiat; identical to Softmaker's B693 Roman], Benjamin Condensed, Benjamin Gothic [free here; this comic book style typeface is based on ITC Benguiat Sans (1979-1980) and is similar to B691 Sans from Softmaker)], Benson, Bergamo, Bergamo Osf, Bernhard Condensed, Bernhard Fashion, Bestseller, Bilbao, Birmingham, Bluff, Boa Script, Bodoni, Bodoni Display, Bodoni No. 2, Bodoni Recut, Bodoni Recut Condensed, Bodoni Standard, Bonita, Book PS, Boston, Boulder, Bravo, Bristol, Broadway, Broadway Engraved, Brush Script, Bryce, Calgary, Calgary Osf, Cambridge, Cambridge Serial, Canossa, Canyon, Carlisle, Casablanca, Casad, Caslon, Caslon Antique, Caslon Osf, Caslon Elegant, Casual, Cathedral Open, Centrum, Century Old Style, Century Expanded, Century PS, Century Schoolbook, Chandler, Chantilly, Chantilly Condensed, Chantilly Extra Condensed, Chantilly Display, Chantilly Serial, Chatelaine, Cheltenham, Cheltenham Condensed, Cheltenham Old Style, Cheltenham Extra Condensed, Cimarron, Clarendon, Clarendon Serial, Clearface, Clearface Serial, Cleargothic, ClearGothic Serial, Colonel, Comix, Commercial Script, Compressed, Computer, Concept, Concept Condensed, Congress, Cooper Black, Copperplate Gothic, Copperplate Condensed, Cornered, Courier PS, Curacao, Curzon, Deco B691, Deco Black, Deco C720, Deco C790, Deco F761, Delano, Delaware, Denver, Derringer, Diamante, Digital, Durango, Disciple, Egyptian Wide, Egyptienne Standard, Elegant Script (revival of the 1972 Berthold formal calligraphic typeface Englische Schreibschrift), Elmore, Ennis, Entebbe, Estelle, Ewok, Expressa, Falcon, Farnham, Fette Engschrift, Fette Mittelschrift, Flagstaff, Flipper, Florence Script, Fraktur, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Condensed Osf, Franklin Original, Frascati, Fremont, Front Page, Fuego, Function, Function Condensed, Function Display, Function Script, Gainsborough, Gandalf, SoftMaker Garamond, SoftMaker Garamond Condensed, SoftMaker Garamond No. 7, Garamond Elegant [based on Letraset Garamond], Garamond Nova, Garamond Nova Condensed, Garamond Original, Garamond Standard, German Garamond"> [based on TypoArt Garamond], Giulio, Glasgow Serial [based on Georg Salden's Polo, 1972-1976], Glendale Stencil, Gotisch, Goudita, Goudy Catalogue, Goudy Handtooled, Goudy Old Style, Goudy Heavyface, Granada, Grenoble, Grotesk, Handmade Script, Harlem Nights, Helium, Henderson, Hobo, Hoboken, Hobson, Honeymoon, Horsham, Hudson, Huntington, Iceberg, Illinois, Imperial Standard, Inverserif, Isonorm, Istria, Italian Garamond [based on Simoncini Garamond], Japanette, Jessica, Joseph Brush, Jugendstil, Kaleidoscope, Karin, Kingston, Koblenz, Kremlin Script, Leamington, Letter Gothic, Lingwood, Litera, Livorno, Lyon, Macao, Madeira, Malaga, Marriage, Marseille, Marseille Serial, Maurice, Medoc, Melbourne, Melville, Mercedes, Metaphor, Mexico, Micro, MicroSquare, MicroStencil, Moab, Mobil Graphics, Montreal, Napoli, Neutral Grotesk, Nevada, Newcastle, Nicolas [after Lanstpn's Nicolas Cochin], OCR-A, OCR-B, Oklahoma, Old Blackletter, OnStage, Opus, Organ Grinder, Orkney, Ornitons, Osborne, Otis, Palazzo, Palladio, Palmer, Pamplona, Park Avenue, Pasadena, Pedro, Pelota, Peoria, Persistent, Persistent Condensed, Persistent Osf, Philadelphia, Pizzicato [based on Letraset's Plaza], Plakette, Pollock, Prescott, Prestige, Quadrat, Raleigh, Roman PS,, Salmon, Sans, Sans Condensed, Sans Diagonal, Sans Extended, Sans Outline, Sans PS, Sans PS Condensed, Savoy, Savoy Osf, Saxony, Scott, Seagull, Sebastian [based on ITC Serif Gothic], Sigvar [based on ATF's Baker Signet], Soledad, Square Serif, Stafford" [based on Rockwell MT], Stafford Serial, Sterling, Stratford, Stymie, Sunset [a version of ITC Souvenir], Sunset Serial, Sydney Serial, Tabasco, Tampa, Tampico, Tioga Script, Toledo [based on Trooper VGC], Typewriter, Typewriter Osf, Typewriter Condensed, Unic, VAG Rounded, Velo, Veracruz, Verona, Violin Script, Winona, Worcester. [Google]
ITC Garamond opinion
MyFonts recalls the history of ITC Garamond: Years ago Apple had used ITC Garamond (Tony Stan, 1977) and algorithmically condensed it 80% for their corporate typeface. (It is presumed that the existing ITC Garamond Condensed, at 64%, was too narrow.) Apple decided at some point to create a true outline to improve the appearance. A three-way agreement was made between Apple, ITC and Bitstream to develop this 80% width version. (Note that at this time ITC licensed only the outline artwork, no digital data, so each foundry effectively had their own cut of ITC fonts.) Bitstream used its cut of ITC Garamond, condensed it 80% and adjusted shapes, hairlines, weights, etc. Chuck Rowe then hinted the TrueTypes using RoyalT, incorporating diagonal hinting and deltas as well, all to Apple's satisfaction. The fonts delivered to Apple were known as Apple Garamond. Bitstream was allowed to sell the typefaces (six in all) by the name of ITC Garamond Narrow, which can be found in any of its older catalogues. As of January 2001, Bitstream is no longer licensed to sell ITC fonts including the ITC Garamond Narrow. According to Jim Lyles, these Narrow outlines were never given to ITC. For all intents and purposes, therefore, ITC Garamond Narrow no longer exists and the condensed styles provide the nearest alternative. Linotype offers ITC Garamond Book Condensed as part of its ITC Garamond family.
Porchez stresses that ITC Garamond copies Jannon, and is not a Garamond. He claims that it seems to be modeled after Monotype Garamond (which is a Jannon, too). In the same article, Hrant Papazian calls ITC Garamond the "insidious town charlatan" and goes on: There are many depths to which one can disdain ITC Garamond. Some people only mind that it was called a Garamond, since its spirit is so distorted from the original. But that's too forgiving. You would want to go deeper and hate what it does to French culture: according to some people (like Mandel), a small x-height [note: ITC Garamond has a big x-height] is a requirement of being a French font, and Garamond is the Frenchest of them all. And you might go deeper, into functionality, and hate the fact that it combines such gaudy proportions with features only fitting in a serious text face. [Google]
ITC Garamond opinion
Bill Troop's opinion on Tony Stan's ITC Garamond: It's a great typeface. And by the way, all you Garamond snobs -- what makes you think anything else is an authentic revival? Granjon, long 'historically' considered the most faithful revival, is probably the least: in its designer's own words, it's half Caslon. Stempel? A Garamond without an overhanging f is not a Garamond, and though the individual characters are often pretty, it is detestable in mass. Monotype? The best in many respects, but it's Jannon, not Garamond. Adobe? A marvellous, regularized typeface for classy menus, but hardly reminiscent of the genius that came from Garamond's own hand. No. 3? Again, not authentic, but terribly useful, especially in magazine work. No, no, there are very few good Garamonds. I look at ITC Garamond this way: it's not a Garamond revival. It's an attempt to create a contemporary typeface of tremendous legibility that contains as much of the beauty of Garamond's letterforms as is consistent with those goals. The major problem is that the book weight is too light. That can theoretically be solved by using the Adobe multiple master version. ..... Ultimately, the main point of a printing type is to save money on paper, isn't it? Well, ITC Garamond does that more attractively than most, I think. Now excuse me while I adjust my bulletproof shield. [Google]
Croatian graphic designer in Zagreb who made a great Adobe Garamond Pro poster in 2010. [Google]
Jacques de Sanlecque the elder
Jakob or Jacques Sabon (b. Lyon, 1535, d. Frankfurt am Main, ca. 1580-1590) was a typefounder who worked at the Egenolff Foundry in Frankfurt in 1555, and briefly at the Plantin Foundry in Antwerp in 1563. Jan Tschichold named his garalde typeface after him in 1964.
Linotype writes about Tschichold's Sabon: In the early 1960s, the German masterprinters' association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design the most faithful version of Claude Garamond's serene and classical roman yet to be cut. The boldface and particularly the italic are limited by the twin requirements of Linotype and Monotype hot metal machines. Bitstream's Cursive is a return to the form of one of Garamond's late italics, recently identified. Punches and matrices for the romans survive at the Plantin-Moretus Museum. [Google]
Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:
Links about him: Textism site. Nicolas Fabian's page on him. Links to his work. Bio at Linotype. Wikipedia site. Publications include:
- Sabon (for Stempel, 1964-1967). The most famous digital version of Sabon is Linotype's Sabon Next. See also Sabon eText Pro (2013, Linotype).
- Transit and Transito (1931). Transito has been remade by Nick Curtis in 2009 as Waddem Choo NF, and by Paulo Heitlinger in 2008 as Transito.
- Zeus (1931). Pleks Zeus (2008) is a revival of Zeus by Hans Munk.
- Saskia (1931, Schelter&Giesecke).
- Uher Standard Grotesque.
- Between 1926 and 1929, he designed a "universal alphabet" to help with non-phonetic spellings in the German language. For example, he devised new characters to replace "ch" and "sch". Long vowels were indicated by a macron below them. The alphabet was presented in one typeface, which was sans-serif and without capital letters. Leicht und schnell konstruierbare Schrift (1930) is a Bauhaus-style geometric revived in 2008 by Sebastian Nagel as Iwan Reschniev.
- Die neue Typographie (Berlin, 1928). Quote from this book: Type production has gone mad, with its senseless outpouring of new types. Only in degenerate times can personality (opposed to the nameless masses) become the aim of human development,
- Typographische Gestaltung (Basel 1935).
- Geschichte der Schrift in Bildern (Basel 1941).
- Schriftkunde, Schreibübungen und Skizzieren (Basel 1942, Berlin 1952).
- Schatzkammern der Schreibkunst (Basel 1946).
- Meisterbuch der Schrift (Ravensburg 1953).
- Erfreuliche Drucksachen durch gute Typographie (Ravensburg 1960).
- Willkürfreie Maßverhältnisse der Buchseite und des Satzspiegels (Basel 1962).
- Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der TypographyJan Tschichold, Leben und Werk (Dresden 1977).
- Jan Tschichold. Schriften 1925-1974 (Berlin 1991).
- Recommended is this short essay entitled Consistent Correlation Between Book Page and Type Area.
[Typoart GmbH (or: VEB Typoart)]
French type designer and punchcutter, 1580-1658, who has some typefaces named after him. Frantisek Storm writes this: The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. He was born in 1580, apparently in Switzerland. He trained as punch-cutter in Paris. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type typeface came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type typeface and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type typeface was mistakenly called Garamond, because it looked like that type typeface at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time ? They are brilliantly cut and elegant.
Many of today's Garamond style typefaces are in fact due to Jannon. The headline of this page is set in New G8 (2012, Michael Sharpe), which in turn is a digital descendant of URW Garamond No. 8.
Commercial digital typefaces based in Jannon. Klingspor link. [Google]
Jan Thor developed Unicode versions of Garamond in 2001. His family, called jGaramond, covers Basic Latins, Latin-1 Supplement, Latin Extended - A, Latin Extended - B, Latin Extended Additional, Mathematical Operators, Letterlike Symbols, Currency Symbols, Arrows, Number Forms, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek, Greek Extended. Bold, Italic and Regular weights only. See also here. [Google]
Designer who works near Boston and mostly worked for Font Bureau. Jill Pichotta's typefaces:
- Gangly (1996-1998). Codesigned with Joe Polevy.
- HipHop (informal printing, 1993).
- RomeoSkinnyCondensed (1991). One of the thinnest fonts on earth.
- Rats (with Jean Evans, 1997).
- FB Garamond Text and Display (1992-2000). Modeled after Ludlow's Garamond done in 1929 by Douglas Crawford McMurtrie and Robert Hunter Middleton.
- Californian FB Text and Display (1994-1999). Done in cooperation with David Berlow and Richard Lipton.
- A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Richard Lipton and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.
- Caslon FB (1992, Font Bureau) comes with this text: Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslons romans. The best of the Caslon Bolds originated at the Keystone Type Foundry of Philadelphia, whose Caslon Bold Condensed appeared about 1905, probably drawn by R.F. Burfeind. Jill Pichotta revised his Bold Condensed&drew the Bold Extra Condensed.
FontShop link. Klingspor link. [Google]
Jim Rimmer (b. Vancouver, 1934, d. 2010) was one of the great contemporary type designers whose creations had a lot of flair, individuality, and charm. Based in New Westminster (near Vancouver, BC), Jim Rimmer was also an illustrator. Obituary in the Globe and Mail, dated April 27, 2010.
He designed Albertan (Albertan No.977, Albertan No.978 Bold) and Cloister (2000; a roman type family originally done by Morris Fuller Benton) in the Lanston collection. He also designed faces like Juliana Oldstyle (1984), Nephi Mediaeval (1986), Kaatskill (a 1929 typeface by Goudy, revived and optimized for Lanston in type one format; the Kaatskill Italic was done by Rimmer based on Goudy's Deepdene), RTF Isabelle (Roman and Italic; 2006. A pair of delicate serif faces based on faces by Elizabeth Friedlander) and Fellowship (1986).
ATypI link. Jim began work as a letterpress compositor in 1950. He entered the field of graphic design in 1963, working as a designer lettering artist and illustrator, and freelanced in this capacity from 1972 to 1999 in the same capacity. In 1960, he began collecting letterpress printing and typefounding equipment, and operated a private press and foundry (Pie Tree Press&Type Foundry). FontShop link.
His metal typefaces at Pie Tree Press include:
- Juliana Oldstyle 18pt, 1981
- Nephi Mediaeval 18pt, 1983
- Fellowship 24pt, 1984
- Albertan 16pt, 1985
- Garamont [not entirely sure that this was done in metal]
- Cartier Roman 14pt, 2004
- Cree Syllabic 14pt, 2006
- Duensing Titling 12, 14, 18, 24, 36, 48&60pt, 2004-07. Duensing in use.
- Hannibal Oldstyle 18pt, 2003
- Quill 14pt, 2006
- Stern 16pt, 2008. This was his last completed typeface.
Jim has designed and produced a collection of digital types, and over the past 20 years has designed and cut six metal types. He recently completed a Monotype Large Comp type named Hannibal Oldstyle, is currently cutting 14 point matrices for Cartier Roman, and is making drawings for the cutting of a 14 point Western and Eastern Cree. Samples and discussion of his Cree typeface.
Jim in action in 2003. According to Gerald Giampa from Lanston, Jim is the most talented type designer alive in 2003. About his typefaces, I quote McGrew: Fellowship was designed and cut by Jim Rimmer in Vancouver in 1986, and cast by him for private use. He says, "The design is the result of the feeling of joviality and 'fellowship' I experienced at the meeting (American Typecasting Fellowship in Washington, D.C.). The design was not so much drawn as it was written. The letters were written quickly in a calligraphic manner with an edged pencil and then enlarged and inked to make a dry transfer sheet. As in my two previous designs (see Juliana Oldstyle and Nephi Mediaeval), Fellowship was cut not in steel, but in type metal, and then electroplated to make castable matrices." Juliana Oldstyle was designed and cut in 1984, as a private type. He says, "It represents my first attempt at cutting a metal type. I drew my letters completely freehand, hoping to capture a punchcut look. My artwork was then reduced and made into a dry transfer sheet, which I rubbed onto type-high typemetal blanks. I then cut the letters and electroformed copper matrices." Nephi Mediaeval was designed and cut in 1986, for private use. He says it "was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes."
In 2012, Rimmer Type Foundry was acquired by Canada Type. The press release: Canada Type, a font development studio based in Toronto, has acquired the Rimmer Type Foundry (RTF) from P22 Type Foundry, Inc. The RTF library contains the complete body of work of Canadian design icon Jim Rimmer (1934-2010), who was an enormous influence on Canadian type design and private press printing, and the subject of Richard Kegler's documentary, Making Faces: Metal Type in the 21st Century. The RTF library contains many popular font families, such as Albertan, Amethyst, Credo, Dokument and Stern, as well as quite a few analog designs that were never produced in digital. Now that Rimmer's work has been repatriated, it will be remastered and expanded by Canada Type, then re-released to the public, starting in the fall of 2012. Jim's analog work will also be produced digitally and available to the public alongside his remastered and expanded work. Once Jim's designs are re-released, part of their sales will be donated to fund the Canada Type Scholarship, an award given annually to design students in Canada. This will be done in coordination with the Society of Graphic Designers of Canada (GDC), the national professional association that awarded Jim Rimmer with the prestigious GDC Fellowship in 2007.
Jim Rimmer digitized Elizabeth (+Italic). From 2006 until 2012, the Rimmer Type Foundry collection was offered by P22. It included:
- RTF Albertan: A great text family developed between 1982 and 2005. In 2013, it as remastered by Canada Type and reissued as Albertan Pro, calling it a first post-Baskerville-post-Joanna typeface.
- RTF Alexander Quill: An artsy fartsy (in the good sense) and slightly 1920s Czech type family.
- RTF Amethyst: A tall ascender serif family.
- RTF Cadmus: A stone slab or Greek simulation face. P22 writes: Rimmer's re-working of a design done by Robert Foster, a hand lettering artist. Foster's type, named Pericles, is a style that he used for a time in lettering magazines and advertising headings. The design is based closely on early inscriptional Greek, but is less formal than the sans types of Fosters time. Cadmus keeps the proportions of Pericles but is overall less quirky than the Foster design.
- RTF Cotillion (1999): A tall ascendered Koch inspired sans family. Looks quite like Bernhard Modern.
- RTF Credo: A six-weight sans family.
- RTF Dokument: An extensive sans family: Dokument was my attempt to make a Sans Grotesque in the general weight of News Gothic (for the Dokument regular) but took nothing from News Gothic. I used some of the basic forms of my Credo series, but made many on-screen changes and broke away entirely from Credo on the range of weights. My plan was to make a typeface that will fill the requirements of financial document setting; things like annual reports and other such pieces of design. It is my hope that the large family of weights and variants will suit Dokument to this kind of work. This family was created in 2005 and published in 2006. A reworking by Patrick Griffin at Canada Type eventually led to Dokument Pro (2014).
- RTF Elizabeth: An elegant tall ascender typeface about which Rimmer writes: Elizabeth Roman and its companion Italic were designed as a pair by Elizabeth Friedlander, and cut and cast for decades by the historic Bauer foundry of Germany.
- RTF Fellowship: A standard script.
- RTF Lancelot Titling: A roman titling typeface with Koch-like influences.
- RTF Lapis: A calligraphic serif, inspired by Rudolf Koch.
- RTF Posh Initials: A formal script.
- RTF Poster Paint: A fat irregular poster font inspired by Goudy Stout.
- RTF Zigarre Script: A bouncy brush script with rough outlines.
- RTF Canadian Syllabics (2007): This font was developed as a metal typeface by Jim Rimmer for a special project and is now available in digital form. Containing over 700 glyphs in OpenType format, this font covers most Canadian Aboriginal Languages. RTF Canadian Syllabics is a more calligraphic version of the syllabary developed by Reverend James Evans for the languages of the native tribes of the Canadian provinces in the early 1800s. Jim Rimmer originally designed the characters for the Eastern and Western dialect Cree to be cut as a metal font. The digital version then grew to include all the characters of the Canadian Syllabics Unicode block.
- Nephi Mediaeval (2007), a type heavily reflective of the semi roman of Sweynheim and Pannartz (in Jim's words).
- Stern (2008, RTF) was simultaneously released both digitally and in metal. Named after the late printer Christopher Stern (WA), it is an upright italic intended for poetry. Colin Kahn (P22) has expanded the Pro digital version (originally designed by Jim Rimmer) for a variety of options. The set features Stern Aldine (Small x-height Caps with standard lower case), Regular, Tall Caps (with standard lc)&Small Caps with x-height caps in place of lc). Youtube. David Earls writes: I've heard people say that letterpress gives warmth, but I prefer to think of it as giving humanity. That the types interaction on a page is so dependent on the punch cutter, the caster, the compositor, the printer, the humidity, the papermaker and inkmaker gives it a humanity, not a warmth, and decries the demise of letterpress. In 2013, Canada Type remastered Stern as Stern Pro---this typeface now covers Greek, and is loaded with Opentype features.
- RTF Loxley (2010): The style of Loxley is based on early Roman faces, such as the "Subiaco" type of the late 1400s that was also inspirational to Frederick Goudy for his "Franciscan", "Aries" and "Goudy Thirty" type faces. Loxley displays some of Jim's particular left handed calligraphy and is in a similar style to his "Fellowship" and "Alexander Quill" faces, both of which were made in metal and digital formats. In 2013, Canada Type published a remastered and expanded version simply called Loxley.
Jim Rimmer passed away early on January 8, 2010. His friend Richard Kegler (P22) wrote this obituary the next day: Jim was a multi-talented type designer, graphic artist, bookbinder, printer, letterer, technician and a most generous teacher. He was never glory-seeking and turned down most speaking engagements offered to him, not out of vanity or indifference, but rather thinking that he was not worthy of being given a spotlight. Jim offered free typecasting instruction to anyone who asked and came to visit him in his studio in New Westminster BC. He took as much time as needed and was generous to a fault. Anyone who took him up on this open invitation can attest to the intense and elegant chaos of his studio and work habits. I was fortunate enough to know Jim but for only a few years. What started as a business arrangement grew into a mutual respect and ongoing correspondence that I can only describe as life changing for me. His kindness and generosity were exceptional and his diplomacy even when given the opportunity to speak ill of anyone else was measured and kind. Jim's dedication to the craft of type design and related arts was beyond most if not all contemporaries. After his "retirement" from his professional life as a graphic artist and illustrator, he tirelessly worked on type designs for book projects where all aspects of his skills were applied. His book "Leaves from the Pie Tree" (I encouraged him to change the title from his original plan to call it "Droppings from the Pie Tree"...a truly self-effacing Jim Rimmerism) is the best single tome that summarizes his life and work. He designed the bookąs typeface in Ikarus (as he had with the 200+ other type design he created), cut the matrices and cast the type, wrote the text using an autobiographical introduction and continued to explain the process he used to cut pantographic matrices for his metal typefaces. The multi colored lino cut illustrations, book design, individual tipped in sheets and attention to press work and binding would be impressive for one specialist to complete on each component. The fact that Jim did all of this himself is awe inspiring. A trade edition of this book has been printed by Gaspereau press but does not hint at the grandeur of the beautiful book that is Pie Tree. Jim's follow up of his edition of Mark Twain's Tom Sawyer (set in his Hannibal Oldstyle font designed for and fitted onto on a monotype composition caster) was recently completed and is equally if not more imposing as a fine press book, but with a sympathetic humor and humanity that would knock the stuffing of any other fine press attempt at the same material. Almost two years ago I visited Jim for a week and filmed footage for a documentary on his cutting of the Stern typeface. For various reasons the finishing of the film has been delayed. I truly regret that Jim could not see the finished version. With the film and his Pie Tree book, Jim generously conveys information on making metal type that has otherwise been largely lost and previously limited to a now defunct protective guild system. It was his wish that the information and craft be kept alive. Jim's last email to me was in classic Jim form hinting at his tireless dedication to his work: details of a new type family for a new book. He was one of the great ones. He will be missed.
Sumner Stone: Jim's insights into Goudy's typefaces in particular, and his devotion to doing everything in his own shop made me think he was perhaps Fred's reincarnation, but it took me awhile to realize this due to the self-deprecating personality you so accurately describe. His passing is truly a great loss to our craft.
Rod McDonald: I would like to relate a telephone conversation I had with Jim last month because I believe it shows his incredible spirit, and wonderful sense of humor. My wife and I visited Jim in November and were delighted to hear that his doctors had pronounced him cancer free. He looked good, just a little tired, but that was to be expected after his recent radiation treatment. Of course he was also anxious to get back to work. Less than two weeks later I received an email from him informing me that they had discovered that the cancer had spread to his lungs and, not only was it inoperable, he now only had six months to live. This sudden turn of affairs was devastating for me and I called him, hoping I think, to hear that it wasn't as bad as it sounded. He said it was bad and apparently nothing could be done. However he felt he would outlive the six months and in fact we even talked of getting together in the fall. The conversation then turned to his latest type family and when I gently asked him how long he thought it it would take to complete he simply said "I've got lots of time, after all I'm only going to be dying during the last fifteen minutes". I knew Jim for thirty-five years and will miss him more than his work, and that's saying a great deal.
In 2012, Canada Type, which had purchased Rimmer's designs started publishing some of Jim's lesser known designs. These include Cotillion Pro (2012, a very graceful typeface with high ascenders), Fellowship (2013, calligraphic), Poster Paint (2012, a take on Goudy Stout), Zigarre Script and Zigarre Rough (2012, brush scripts that were actually drawn with a marker), and Alexander Quill (2012, a calligraphic monastic typeface).
In 2013, Canada Type remastered several of Rimmer's typefaces, including in particular Isabelle Pro: Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal typeface was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Lancelot Pro (2013) is a calligraphic all caps typeface based on Rimmer's digital original from 1999.
Pictures: Jim Rimmer casts 48pt ATypI keepsake (by John Hudson), Remembering Jim Rimmer (Facebook group), In his studio, a picture taken by the Globe and Mail. Another pic. Making Faces (trailer) (movie by Richard Kegler).
Klingspor link. ContentDM collection. Jim Rimmer at the Fine Press Book Association. Rimmer Type Foundry link.
View all typefaces by Jim Rimmer. An alphabetical listing of Jim Rimmer's typefaces. Catalog of Jim Rimmer's typefaces. [Google]
Type designer who worked at Adobe from 1989-2002 and for Monotype from 2003 until today. His typefaces in chronological order:
- 1974 to 1989: As a freelance, he assisted Jim Parkinson in the Cochin, and Kennerley revivals, an old Perspective metal type design, and Rolling Stone alphabet additional weights Elephant, Italics and Condensed, done in pen and ink. For several ad agencies, he designed the Franzia winery logo, and many other logos for packaging and advertisementsi and was mainly a lettering a logo artist.
- 1985: He produced font designs for DHL Express and SFO International Airport at Primo Angeli Inc.
- 1986 to 1989: He produced various font families like Garamond, Goudy, Eras, American Typewriter, Futura and Stymie at SlideTek using a B-Spline vector graphic system.
- 1989 to 2002: He produced fonts at Adobe Systems in Redwood City, CA. There, he designed Tekton Bold, Mythos (1993: a mythical figure caps face done together with Min Wang), Tekton GX (with David Siegel), Waters Titling word ligatures. He designed and produced the Romaji Latin characters of Heisei Maru Gothic W4 and W8, Adobe Sans and Adobe Serif. He did font production work on ITC Garamond, ITC Cheltenham, Albertus, Castellar. He helped expand Adobe Originals to Pro character sets in Jenson Pro, Minion Pro, Kepler, Sanvito Pro, Cronos, and Calcite Pro. He played an important role in the production of Multiple Master fonts.
- 2003 to present: He produced fonts at Monotype Imaging:
- For Microsoft, he designed the family of five weights of Segoe based on Segoe Regular.
- He directed design production and programmed OpenType features for Segoe Script and Segoe Print.
- He designed Wasco Sans a font for the gaming and flight simulator groups at Microsoft.
- He designed AT&T Sphere Gothic Sans fonts.
- He designed a new slab serif family for Gatorade.
- He directed a new design for General Electric called GE Sans.
- He designed and directed production of various non-Latin scripts for Monotype for Armenian, Ethiopic, Khmer, Thai, Arabic, Hebrew and African language scripts including Tifinagh, N'Ko and Bamum.
- He designed the original geometric sans font family Harmonia Sans (2011), which is a blend of contemporary geometric sans serif lettershapes and classic calligraphic proportions. Jim Wasco was aided by George Ryan in the production of the typeface family. He said: I wanted to create a simple and legible typeface by pulling the best aspects of classic geometric sans designs, such as Futura and ITC Avant Garde Gothic.
- He directed a language expansion project for Edward Johnston's London Transport fonts, adding Cyrillic and Greek.
- He designed a script typeface based on Ed Benguiat's calligraphy for the ITC logo in 1970 called Elegy (2010-2011). Elegy has 1546 glyphs, and was awarded at TDC2 2011.
- He designed nine new weights for the Neue Aachen font family (2012) expanding it to 18 fonts including Italic.
- He designed swash caps and directed Morris Freestyle.
- He designed ITC Avant Garde Pro ligatures for the new OpenType version.
- He designed Baskerville Cyrillic and Greek for E reader fonts (2012).
Linotype link. Linotype interview. FontShop link. Pic. His talk at ATypI 2014 in Barcelona was entitled OpenType features for Script Typefaces. [Google]
JLH Fonts (or: jhnri4) is the American creator of Making a list checking it twice (2012), Judges (2012, grungy), Janitor (2012), Remix (2012), Arrows (2012), Chalk Line Outline (2012), Pretzel (2012, art nouveau titling face), At Sign (2012), Portmanteau (2012), Seattle Avenue (2012), Sunflower Harvest (2012), Double Strike (2012: a hand-drawn blackboard bold typeface family), Sierra Nevada Road (2012), The Radical Sign (2012), The Jewish Bitmap (2012), The Inequality Grapher (2012), Thin Pencil Handwriting (2012), Marker Scribbles (2012), Grunge Handwriting (2012), Tally Mark (2012, prison wall counting), Gold Plated (2012), Overhaul (2012), Apex Lake (2012, ornamental caps), Halogen (2012, in the style of Comic Sans), Signs For Advertising (2012), and Hand Drawn Shapes (2012).
Typefaces from 2013: Vengeance (calligraphic), Calligraserif, Heavy Equipment (sans caps), ViaFont (art deco sans based on the Viacom logo), Bromine (a typeface that started out in iFontmaker), Topeka, Printed Circuit Board (based on the Hewlett-Packard logo), Fondue, Northampton, World Tour (ransom note font), Aquifer (an antiqued Garamond), Floppy Disk.
Typefaces from 2014: Scratched Letters, Airbrush, Broken Glass (glaz krak font), Byzantine Empire, Office Junk (ransom note font).
Dafont link. Old Fontspace link. Blogspot link. Google Plus link. Fontspace link. [Google]
Jochen Haertel, working for Schömann, Büro für Gestaltung, made this series of custom fonts from 1995 until 1997 for Malteser: Malteser-GaramondFett, Malteser-GaramondFettKursiv, Malteser-GaramondKursiv, Malteser-GaramondStandard, Malteser-Syntax. [Google]
John D. Boardley
[Old Style typefaces]
South European (Maltese) language fonts at Roderick Spiteri's page: ArienaSudEuro-Bold, ArienaSudEuro-Italic, ArienaSudEuro-BoldItalic, ArienaSudEuro, BookmanSudEuro-Bold, BookmanSudEuro-Italic, BookmanSudEuro-BoldItalic, BookmanSudEuro, CourierSudEuro-Bold, CourierSudEuro-Italic, CourierSudEuro-BoldItalic, CourierSudEuro, GaramondSudEuro-Bold, GaramondSudEuro-Italic, GaramondSudEuro, GazeBold, GazeItalic, GazeNormal (Bay Animation), TimesSudEuro-Bold, TimesSudEuro-Italic, TimesSudEuro-BoldItalic, TimesSudEuro, VerenaSudEuro-Bold, VerenaSudEuro-Italic, VerenaSudEuro-BoldItalic, VerenaSudEuro. [Google]
[Babylon Schrift Kontor]
Kostic Type Foundry
The Kostic Type Foundry (est. 2010) is located in Belgrade, Serbia. It is a small private foundry, run by Zoran Kostic and his son and Nikola. Zoran (b. Belgrade, 1947) graduated from the Faculty of Geodesy of Belgrade University and completed post graduate studies of photogrammetry at ITC Enshede, The Netherlands. He started out as a programmer for geodesy and photogrammetry, and then opened a DTP studio in Yugoslavia in 1987. In 1987, out of necessity, he designed a PostScript Cyrillic font in type 3.
He cyrillicized many Latin faces: AvangardaCyr (Avantgarde), DINGraverCyr (DINEngshrift), ErazmoCyr (Eras), FuturCyr (Futura), FuturCyrCond (Futura Condensed), GilesCyr (GillSans), HelvetiaCyr (Helvetica), HelvetiaCyrCond (Helvetica Condensed), LitografCyr (Lithos), LubalinCyr (LubalinGraf), MasinaCyr (Industria).
He also made these original typefaces: DesignerRound (Cyrillic and Roman), Resavac, KosticSans (Cyrillic and Roman), KosticSerif (Cyrillic and Roman), Sketch (Cyrillic and Roman), Oktoih. Oktoih is one of the few fonts that reproduce the earlist Slavonic printings.
Designs at Linotype: Linotype SimpleSquare (Cyrillic and Roman) and Linotype DesignerSquare (Cyrillic and Roman), as well as Lapidary Capitals (2005, roman capitals), WhySquare (2004) and JustSquare (2004). The Square series, 56 weights in all, were designed during the Serbian war in 1999. So was the monoline geometric sans family Designer RD (1999).
In cooperation with the Belgrade typographer Djordje Zivkovic who designed them, he made FlahScript, Garamond, LepiScript, Manasija, Naisus, Ravanica, Traian.
Finally, he published "HilandarskiUstav", which was reconstructed on the basis of handwriting gospels "Cetvorojevandjelje of Patriarh Sava IV", found at the Monastery Chilandarios, Mount Athos, in the 14 century. It is a font with 4.356 glyphs and symbols. Old URL.
He made the Old Slavic scripts Monah (6.400 characters), Glagoljica and Gradjanica.
He codesigned the Old Slavonic simulation face Taurunum with Nikola Kostic in 2011. Batke (2011) is a rounded sans family. Kostic Serif (2012) is a classical transitional family codesigned by Nikola and Zoran.
Behance link. Klingspor link. Fontspring link.
View the Kostic Foundry typeface library. [Google]
La Fonderie is a new French group of young typographers that may be consulted on all matters typographic. Based in Paris, and led by typographers Stéphane Gambini and Eric de Berranger. All fonts are by de Berranger. Another URL, and yet another URL.
Font list: ITC Berranger Hand, Collos, Garaline, Hamely, Hector, Helwissa, Jandoni (a nice Bodoni titling face), June (a Garamond/Jenson like serif family), Koala, Malcom, Maxime, Mosquito, Nle2b210 (old typewriter font by de Berranger and Nicolas Leduc, 1997), ITC Octone, Oldbook, PackTrash or Ysselair (old typewriter/dymo font inspired by FF Dynamo, 1998), Troiminut. [Google]
Large Unicode fonts
Alan Wood lists and discusses the main free Unicode fonts. As of 2010, these include:
Suppliers of commercial Unicode fonts: [Google]
- AbRomanSerif (3805 glyphs, Language Geek).
- Alphabetum (5444 glyphs, by Juan José Marcos). For classical and mediaeval Latin, classical Greek, Coptic, Old and Middle English, and Sanskrit, but also includes characters for most Latin-based European languages and Esperanto.
- Andika Basic (838 glyphs, SIL).
- Andron Scriptor Web (1600 glyphs, Medieval Unicode Fiont Initiative).
- Arev Sans (2851 glyphs, arev Fonts): based on Bitstream Vera Sans.
- Arial (3381 glyphs, Microsoft).
- Arial Unicode MS (50377 glyphs, Microsoft). Supplied with Microsoft Office 2002 (XP) and Microsoft Office 2003.
- Berling Antiqua (842 glyphs).
- Caslon (3551 glyphs, George Williams).
- Charis SIL (4661 glyphs, SIL) .
- Chrysanthi Unicode (4383 glyphs) .
- CN-Arial (3069 glyphs, Chan-Nguyen).
- CN-Times (2866 glyphs, Chan-Nguyen).
- Code2000 (63546 glyphs, James Kass).
- Courier New (3151 glyphs). Supplied with Microsoft Windows Vista.
- DejaVu Sans (5466 glyphs). Based on Bitstream Vera Sans.
- DejaVu Sans Condensed (5466 glyphs).
- DejaVu Sans Mono (3169 glyphs). Based on Bitstream Vera Sans Mono.
- DejaVu Serif (3064 glyphs). Based on Bitstream Vera Serif.
- DejaVu Serif Condensed (3064 glyphs).
- Dialekt Uni (1400 glyphs). Mainly for phoentics.
- Doulos SIL (4661 glyphs, SIL).
- e-PhonTranslit UNI (684 glyphs). Supplied withthe Indolipi package.
- EversonMono (6396 glyphs, Michael Everson).
- Fixedsys Excelsior 3.01 (5993 glyphs).
- Free Idg Serif (6256 glyphs).
- Free Monospaced (2560 glyphs).
- Free Sans (3999 glyphs).
- Free Serif (7971 glyphs).
- Frutiger Linotype (840 glyphs, Linotype). Supplied with Microsoft Reader.
- Gandhari Unicode (2265 glyphs, Andrew Glass). Designed for romanisation of Sanskrit and Gandhari.
- Garava (1319 glyphs, Michael Best).
- Gentium (1699 glyphs, Victor Gaultney, SIL).
- GentiumAlt (1699 glyphs, Victor Gaultney, SIL).
- Hindsight Unicode (2894 glyphs, Darren Rigby).
- jGaramond (1849 glyphs).
- Junicode (3096 glyphs, Peter S. Baker). Intended for mediaevalists.
- Kliment Std (2849 glyphs, Kodeks).
- Kurdish AllAlphabets (694 glyphs, Ernst Tremel). Intended for Kurdish.
- LeedsUni (2976 glyphs, Alec McAllister).
- Legendum (1151 glyphs).
- Linux Biolinum O (2418 glyphs, Libertine Open Fonts Project).
- Linux Libertine O (2432 glyphs, Libertine Open Fonts Project).
- Lucida Bright (1402 glyphs). Supplied with Java Runtime 1.4.2.
- Lucida Grande (2826 glyphs). Supplied with Apple - Safari 3 Public Beta.
- Lucida Sans (Java) (2929 glyphs). Supplied with Java Runtime 1.4.2.
- Lucida Sans (Star Office) (2094 glyphs). Supplied with Sunâ€™s StarOffice 5.2 for Windows.
- Lucida Sans Typewriter (Java) (1376 glyphs). Supplied with Java Runtime 1.4.2.
- Lucida Sans Typewriter (Star Office) (1142 glyphs). Supplied with Sun's StarOffice 5.2 for Windows.
- Lucida Sans Unicode (1779 glyphs). Supplied with Microsoft Windows Vista
- Marin (3566 glyphs).
- MD King KhammuRabi (1296 glyphs, Michael Davodian). Mainly for Assyrian, Aramaic, Caldean, Soryoyo, Ashoraya.
- Microsoft Sans Serif (3053 glyphs, Microsoft). Supplied with Windows Vista. Version 1.41 (2301 characters, 2257 glyphs) was supplied with Windows XP SP2. Version 1.02 (1090 glyphs) was supplied with Microsoft Windows 2000 and Windows XP.
- Minion Pro (1663 glyphs, Adobe). Supplied with Adobe Reader 7.
- Monospace (2862 glyphs, George Williams).
- MPH 2B Damase (2895 glyphs, Mark Williamson).
- MS Reference Sans Serif (1193 glyphs). Supplied with Microsoft Encarta.
- MS Reference Serif (1135 glyphs). Supplied with Microsoft Encarta.
- Myriad Pro (834 glyphs, Adobe). Supplied with Adobe Reader 7.
- Quivira (7742 glyphs, Alexander Lange).
- Reader Sans (1291 glyphs).
- RomanCyrillic Std (3450 glyphs, Kodeks). Also known as CampusRoman Std.
- Roman Unicode (3923 glyphs).
- Rupakara (394 glyphs, Michael Everson).
- Summersby (1010 glyphs).
- Tahoma (3301 glyphs, Microsoft). Supplied with Microsoft Windows Vista.
- Thryomanes (1472 glyphs, Herman Miller). Mainly for old Greek.
- Times New Roman (3380 glyphs). Supplied with Microsoft Windows Vista. Version 2.82 (1170 characters) was supplied with Windows 2000 and Windows XP.
- TITUS Cyberbit Basic (10044 glyphs).
- Verajja (1264 glyphs, Michael Best).
- Verdana (911 glyphs, Microsoft). Supplied with Microsoft Windows Vista. Version 2.35 (680 characters) was supplied with Windows 2000 and Windows XP.
[Miguel Angel Hernández Montoya]
Latinotype was founded in 2007 by Felipe Soto and Miguel Hernández, and is based in Concepción, Chile. Catalog of their typefaces. Miguel Angel Hernández Montoya is the Santiago, Chili-based graphic designer, type designer and illustrator who has a BFA in graphic design from the UBB School of Design. In 2007, he set up Latinotype. Before that, he was involved in many font projects and specialized in pixel fonts. Latinotype now also includes the work of Luciano Vergara and Joaquín Contreras. Fontsquirrel link. Hernández's fonts:
- LlanquihuePIXEL, based on the great font TCL Llanquihue by Francisco Galvez.
- The truly perfect pixel font family Fundamental (2003).
- The pixel font Sligthest.
- The sans family Chile (2004), Chile Sans (2005). Chile Sans won at the Tipos Latinos 2008 competition.
- The highway signage typeface Optica (2004).
- The fifties diner-style screen font Detroit 45 (2002).
- The bitmap display font Kuppa (2003).
- The church stone engraving simulation typeface Finaita (2002).
- The Western pixel font Arizona (2003, perfect!).
- The bitmap handwriting font Wolfgang Bold.
- The screen font Screenager (2002).
- The funky bitmap font Groobit.
- Minority (2002, a very small screen font).
- Fundamental (2002, a very original screen font, with ligatures for "rr" and "LL", for example), which was subsequently published at tipografia.cl.
- The ultimate pixel font Miguel's Three Dots (2002).
- The pixel display font Circa (2002).
- The pixel fonts Capitalista, Garadot (2003, a fantastic pixel version of an elegant Garamond) and Harmonica.
- The script pixel fonts Anticrisp (2003) and Essential Bold.
- The gray pixel typeface Sushi (2004, hiragana, katakana, Latin).
- The serif font Quetzal (2003).
- The bitmap family Sugar (2003).
- The bitmap family Apple (2004, based on Apple's Chicago).
- At Atomic Media, he released Carbona and Carbona Bold in 2002, as well as 12 bitmap fonts in 2003: Maya, Fundamental, Azteca, Tekilla, Aymara, Minority, Quadratis, Carnoa Plain&Bold, Machina Typewriter, Dotic (blackletter), Mezcal, Circa.
- In 2004, he joined Ultra Pixel Fonts, where he made the pixel faces Orbital, Sugar, Odyssey, Solar, Voltage, Jetson.
- At Latinotype, he made Picara Sans (2007, an organic sans), Cadena (2007, a rounded sans which won at Tipos Latinos 2008), Love (2007, ultra fat rounded) and Mote (2007, rounded sans display face).
- Stgotic Textura and Pintana are pixel font award winners at Tipos Latinos 2008.
- Fiancé (2011, Sudtipos) is a fat signage face.
- Patagon (2011, Latinotype) is a rounded wood-inspired poster typeface done with Daniel Hernandez and Luciano Vergara.
- Selaive (2011, Paula Nazal) is a geometric monoline sans with an extreme hairline weight, Selaive Light.
- Sanchez (2011) is a large slab serif family. The Regular weight is free at Fontsquirrel.
- In 2011, he cofounded Los Andes Type, and published the fat round typeface Fatta (2011) there.
- Mija (2011). Inspired by vernacular signs.
- The Google Web Font Ceviche One (2011). This is an angular yet curvy extra black expressionist sans serif type.
- Sail (2012). A didone script.
- Sofia (2012). An upright script, free at Fontsquirrel.
- Tikal Sans (2012).
- Lolita (2012, Miguel Hernandez). A playful rounded sans family.
- Chela One (2012). A bold condensed brush script, free at Google Web Fonts.
- Arquitecta (2014, by Daniel Hernandez ad Miguel Hernandez). A 1930s sans with small x-height, great readability and an odd g, promoted as an alternative fo Futura, Kabel or Avant Garde. It was followed later in 2014 by Arquitecta Office and Arquitecta Standar.
- Via Sans (2014). A wayfinding typeface family inspired by Steile Futura and DIN 1451.
- In 2014, he codesigned Uomo with Tania Chacana at Latinotype. Uomo is a contemporary typographic system that explores the geometric sans style and Italian art deco in combinations of four widths and three weights.
- In 2014, Daniel and Miguel Hernandez codesigned Texta, a geometric sans for all.
View the Latinotype typeface library. View Miguel Hernandez's typefaces. [Google]
[Rubicon Computer Labs Inc.]
Leonardo Di Lena
[Flanker (or: Studio di Lena)]
The Letraset Garamond saw several digital revivals, including Garamond Elegant (SoftMaker), and Garamond No. 5 (URW++, and Elsner and Flake). [Google]
Formed in 1956, the company started by doing transfer sheet lettering. Since 1964, Colin Brignall has been involved in Letraset as its design director. In the late seventies, they set up TSI, a digital type group, which lasted until 1983. Then, as Esselte Letraset, they produced new fonts, such as the Fontek library of display fonts. Letraset type designers included Martin Wait, Philip Kelly, Michael Gills, and Friedrich Peter. Esselte went on to acquire ITC, and the font libraries were merged to some extent. Nowadays, the collection is often marketed together with the ITC fonts. Esselte sold ITC to Agfa-Monotype, along with certain rights to Letraset fonts. On June 1, 2001, Esselte sold Letraset to directors Martin Gibbs and Mike Travers who were both former managers within Esselte Letraset. The new company is called Letraset Limited. It intends to continue to develop and market new fonts under the Fontek brand name. Colin Brignall continued to be involved with the new company in a consultant capacity [until his death]. It is presently based in Ashford, UK.
MyFonts page, where one can buy over 360 typefaces.
In 2009, Ascender started selling the Letraset fonts. But a couple of years later, Ascender too was bought by Monotype Imaging, so it is believed that Monotype now owns all designs.
Examples of its faces: Optex Letraset (1970), Bergell, Carlton (1983, after Ehmcke Antiqua, 1909), Slipstream, Stripes (1973), Letraset Garamond [the scan is of a clone by Infinitype called Garamond Elegant].
View the Letraset typeface collection. [Google]
[no image fonts]
Linotype Library GmbH
Large type German foundry Linotype controlling over 4000 fonts. The company was located in Bad Homburg since 1998. It was acquired by Monotype Imaging in 2006, after more than a decade under the helm of Bruno Steinert. Linotype wrote about itself in 2008: Linotype GmbH, based in Bad Homburg, Germany and a wholly owned subsidiary of Monotype Imaging Inc., looks back onto a history of more than 120 years. Building on its strong heritage, Linotype develops state-of-the-art font technology and offers more than 9,000 original typefaces, covering the whole typographic spectrum from antique to modern, from east to west, and from classical to experimental. All typefaces (in PostScript(tm) and TrueType(tm) format as well as more than 7,000 fonts in OpenType(tm)) are now also available for instant download at www.linotype.com. In addition to supplying digital fonts, Linotype also offers comprehensive and individual consultation and support services for font applications in worldwide (corporate) communication. It publishes frivolous/experimental font collections under the name Taketype (1 through 4 now), and regularly publishes reworked classic and original text type families such as Compatil, Vialog, Satero, Linotype Sabon, Linotype Frutiger, Linotype Optima, and Linotype Univers. Its designers. A time line:
- 1886: Ottmar Mergenthaler invented the Linotype machine.
- 1890: Mergenthaler establishes the Mergenthaler Linotype Company in Brooklyn, USA.
- 1895: The D. Stempel foundry was born.
- 1915: D. Stempel takes over the type foundry Roos&Junge, Offenbach (established in 1886).
- 1917: D. Stempel acquires a majority share of the type foundry Klingspor Bros., Offenbach.
- 1918: D. Stempel takes over the type foundry Heinrich Hoffmeister, Leipzig (established in 1898).
- 1919: D. Stempel acquires the type division of W. Drugulin, Leipzig (established in 1800) and a share of the type foundry Brötz&Glock, Frankfurt (established in 1892).
- 1927: D. Stempel acquires a shareholding in the Haas'sche type foundry in Basel/Münchenstein (established in 1790).
- 1933: D. Stempel acquires a shareholding in the type foundry Benjamin Krebs (Successors), Frankfurt (established in 1816).
- 1956: D. Stempel AG acquires full ownership of the type foundry Klingspor Bros., Offenbach (established in 1906).
- 1963: Linotype takes over the type foundry Genzsch + Heyse, Hamburg (established 1833).
- 1970: Stempel takes over part of the type collection of C.E. Weber (Stuttgart, est. 1927).
- 1972: The Haas'sche type foundry in Basel/Münchenstein takes over the type foundry Deberny&Peignot, Paris.
- 1978: The Haas'sche type foundry takes over Fonderie Olive, Marseille (established in 1836).
- 1985: Linotype takes over of the type division of D. Stempel AG.
- 1989: Linotype takes over the Haas'sche type foundry (established in 1790).
- 1990: Linotype AG merges with Hell GmbH to become Linotype-Hell AG.
- 2006: Acquired by Monotype Imaging.
MyFonts link for Linotype Design Studio.
Catalog of the typefaces in Linotype's library [large web page].
View Linotype's library of typefaces in alphabetical order. [Google]
[Robert Hunter Middleton]
Foundry in Chicago run by Robert Hunter Middleton. Myfonts.com states The type library was largely derivative, with some original scripts. After Middleton's death, and Ludlow's demise, most of the typefaces from the Ludlow library were licensed exclusively to International TypeFounders, Inc., (ITF) and are part of the Red Rooster collection. Fonts by Middleton at Ludlow include Bodoni Campanile, Bodoni (see Bodoni D Black by URW), Coronet, Mandate, Lafayette (now sold by Font Bureau), Tempo (see Tempo by Monotype), and Umbra (now sold by Bitstream and Monotype).
Ludlow house faces revived by Steve Jackaman include Caslon RR Extra Condensed, Chamfer Gothic (the original being from ca. 1898), and Gothic Medium Condensed.
A renewed Ludlow was established in 2001 and is run from the UK. Current (2002) catalog: Admiral Script (Robert H. Middleton's formal script, 1953: see the digital revival by Ralph Unger in 2005), Adrian VGC (2003), Annonce Grotesque (Wagner&Schmidt, 1914), Delphian Open Title (Robert H. Middleton), Flair (connected writing, 40-50s style), Franklin Gothic ExCnd Title, Founders Garamond (based on the Berner type specimen of 1592), Lotther Text (blackletter based on an alphabet of Melchior Lotther, 1535), Ludlow Ornaments (2001), Ludlow Stygian (art deco, which inspired Nick Curtis' 2009 font Kharon Ultra NF), Maxim (Peter Schneidler, hand-printed font from 1955), Orplid (Hans Bohn), Samson (Robert H. Middleton), Speedball Roman, Ludlow Stencil (Robert H. Middleton), Tempo MedCond (Robert H. Middleton), Theda Bara (great titling type), Vulcan Shaded (based on the design of the Richard Gans Foundry in Madrid), Karnak Black (Egyptian slab serif originally designed by Robert Hunter Middleton in 1930), Oriana (blackletter font based on a design of the Imprimerie Nationale, Paris), Ludlow Square Gothic (revival/modernization of a 1920s font by Robert Wiebking for Ludlow), The Hardy Arcade (like Umbra), Ogre, Vulcan Bold (a display font inspired by a 1925 design of the Richard Gans Foundry, Madrid), Walbaum. Crestwood (2006, Ascender) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.
View a list of digital typefaces derived from the metal faces at Ludlow.
Ludlow Foundry: List of some digital fonts. [Google]
The Ludlow Garamond was designed by Robert Hunter Middleton for Ludlow in 1929 and 1930. A digital revival called Garamond RR was designed by Steve Jackaman at Red Rooster in 1999. [Google]
A type specimen book of the Ludlow Typograph Company (2032 Clybourn Avenue, Chicago), published between 1940 and 1958. The list of typefaces shown: Artcraft, Bodoni (Bold, Black), Bodoni Campanile, Bodoni Modern, Bookman, Cameo, Caslon, Caslon Old Face Heavy, Caslon Heavy Italic, Century, Chamfer Gothic, Cheltenham Oldstyle, Cheltenham Cursive, Cheltenham Wide, Commerce Gothic, Condensed Gothic, Coronet, Clearface Bold, Cushing Antique, Delphian Open Title, Eden, Eleven, Engravers Bold, Eusebius, Extra Condensed, Franklin Gothic, Fraktur No. 16, Garamond, Gothic Bold Condensed Title, Gothic Extra Condensed, Greenwich, Hauser Script, Headline Gothic, Hebrew Modern, Karnak, Lafayette Extra Condensed, Laureate, Lining Litho, Lining Plate Gothic, Ludlow Black, Mandate, Mayfair Cursive, Medium Condensed Gothic, Number 11, Old English, Plantin, Powell, Radiant, Record Gothic, Samson, Square Gothic, Stellar, Stencil, Stygian Black, Tempo, True-Cut Caslon, Ultra-Modern, Umbra, Underwood Bold, Victoria Italic. [Google]
Ludwig M. Souzen
Big German foundry active in the first half of the 20th century. It was absorbed by Neufville in 1984, which will make its faces available in digital form. Type designers and faces:
- House faces: Allemannia Fraktur (1908), Allright (1936), Altenburger Gotisch (1928), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Diplomat (1964, see the digital version Diploma by Hans van Maanen, 2009), Excelsior (1914, script face), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Kupferplatte (1950), Largo (1939), Magnet (1951), Nelson (1902, art nouveau), Wren, Samson Script, Luminous, Behrens. Kudos Kaps NF (2006, Nick Curtis) is a set of five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, and an engraved set--they are based on faces from the Ludwig&Mayer library.
- Albert Christoph Auspurg: Rasse (1924), Mona Lisa (1930), Brigitte (1935), Krimhilde (1934)
- Hans Bohn: Allegro (1936-1937)
- Jakob Erbar: Erbar-Grotesk (1922-1930), Lucina, Lumina, Lux, Phosphor, Koloss (1923), Candida (1936, a mediocre didone family), Feder Grotesk (1910), Fette Feder Grotesk, Erbar
- Hace Frey: Charleston (1967, Alphonse Mucha-style display face)
- G. Germroth: Germroth-Deutsch (1935, blackletter)
- Erhard Grundeis: Achtung (1932)
- Karlgeorg Hoefer: Stereo (1968), Permanent (1962), Headline (1964), Elegance (1968), Big Band (1974)
- Walter Höhnisch: Tempo (1930), Werbeschrift Deutsch (1933), National (Fraktur, 1933-1934), Schräge National (1937), Skizze (1935, a script face), Stop (1939), Antiqua die Schlanke (1938-1939), Express (1952), Candida Italic (1937), Slender (1939)
- Heinrich Jost: Aeterna (or Jost Mediaeval, 1927)
- Walter Ferdinand Kemper: Colonia (1938-1939, a humanist sans)
- Wilhelm Krause: Professor-Krause-Fraktur (1930, blackletter)
- Paul Eduard Lautenbach: Prägefest (1926)
- Richard Ludwig: Augenheil (1908)
- Helmut Matheis: Charme (1957-1958, calligraphic), Slogan (1959, connected script), Primadonna (1956, a formal script), Matheis Mobil (1960), Compliment (1965, an angular vertical script)
- Joshua Reichert: Reichert-Gotisch (1930s).
- Imre Reiner: Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others), Corvinus (ca. 1932), Stradivarius (1945)
- Lorenz Reinhard Spitzenpfeil: Welt-Fraktur (1910), Werk-Fraktur (1918)
- Alfred Riedel: Domino (1954)
- Georg Schiller: Lyrisch (1907)
- Arthur Schulze: Werbekraft (1926)
- Ilse Schüle: Rhapsodie (1949-1951, bastarda)
- Johannes Schweitzer: Dominante (1959)
- Francesco Simoncini: Aster (or Aster Simoncini, 1958), Life (1965), Armstrong (1970), Simoncini Garamond (1961)
- K. Sommer: Dynamo (1930)
- Hans Wagner: Altenburger Gotisch (1928, Fraktur font), Welt (1931, slab serif), Wolfram (1930, a heavy upright italic).
- Eugen Weiss: Hölderlin (1938, blackletter)
Mac McGrew on Garamond
This text is from Mac McGrew's American Metal Typefaces of the Twentieth Century:
Claude Garamond was a distinguished sixteenth-century type designer and founder, the first person to establish typefounding as a business separate from printing. Fonts known as caracteres de l'Universite and ascribed to Garamond are preserved in the Imprimerie Nationale in Paris. These were the inspiration for the Garamond typeface designed by Morris Benton for ATF and Garamont designed by Frederic W. Goudy for Monotype.
Several years after they were released, Beatrice Warde, writing under the pseudonym of Paul Beaujon, established that the source types were actually the work of Jean Jannon, a master printer in Paris in the early seventeenth century. But this disclosure did nothing to diminish the popularity of the elegant types named for Garamond.
Benton started work on his design in 1917, and it was released two years later, with Italic. Garamond Bold was added in 1920 and Bold Italic in 1923; they have achieved great popularity and wide use, and for many years were a basic choice for advertising display.
In 1922 Thomas M. Cleland designed a set of swash letters and other auxiliary characters for the Garamond series. He also redesigned several characters in the fonts. In the specimen here, redesigned characters are shown in the alphabets, while EFJLU, shown separately, are Benton's original designs. Garamond Bold had similar characters. About 1930 Garamond Italic and Bold Italic were modified slightly for casting on angle body, and for a time were offered both ways. The separate J and fin the Italic specimen show the most obvious modifications for angle body, which had no ligatures, swash, or other extra characters.
Garamond Open was designed by Benton for ATF in 1931. Aside from a short J and non-kerning f, it follows the revised style of Garamond. Intertype introduced a copy of Garamond in 1926, shown first under the name Garatonian; a short time later the Garamond name was applied and has remained. Edward E. Bartlett of Linotype went back to original Garamond specimens for a different and more authentic version of the face, introduced in 1929 with bold and italics; although these were handsome faces they never achieved the popularity of the ATF design.
Later Linotype adapted the Benton design as its Garamond No.3 series. ("Garamond No.2" is said to have been applied to a few fonts of German Linotype Garamond brought to the United States.)
Monotype issued Goudy's Garamont in 1921, although Monotype had an agreement that permitted reproduction of ATF faces. No boldface was designed for Garamont, so Mono copied ATF's Garamond Bold and Italic, which were mechanically incompatible with Goudy's design for keyboard typesetting. But popularity of the Benton design was such that Monotype copied it in 1938 under the name American Garamond, in composition sizes. This left Garamond and Garamond Italic almost the only important later ATF faces not copied by Monotype in display sizes.
One of the most delicate and distinctive versions of Garamond, with bold and italics, was designed by R. Hunter Middleton for Ludlow in 1929, based on authentic original sources. It also has a number of swash and terminal characters. In the specimens here, both light and bold italic swash letters are out of sequence---in each case, the letter preceding G is J, not F. Also see Garamont; Granjon. [Google]
Mac McGrew on Garamont
This text is from Mac McGrew's American Metal Typefaces of the Twentieth Century:
When Frederic W. Goudy joined Monotype as art advisor in 1920, he persuaded the company to cut its own version of the types attributed to Claude Garamond, rather than copying the foundry face. The result was named Garamont, also at Goudy's suggestion, to preserve the distinction between the different renderings. Both spellings of the name had been used in Garamond's lifetime.
A comparison of ATF Garamond and Monotype Garamont, especially in the small sizes, demonstrates opposing views of two outstanding type designers, although the two faces are very similar in many ways. In most faces, the proportionate width increases as the size decreases, to overcome optical illu- sions and maintain legibility.
Benton carried this idea beyond usual practice; his 6-point Garamond is a little more than one third the width of 24-point. But Goudy believed in strict proportions; his 6-point Garamont is only very slightly more than one fourth (26 percent) the width of 24-point; thus in 6- and 8-point sizes Garamont seems smaller than Garamond. This, incidentally, is what makes it impossible to combine Garamont with Garamond Bold for typesetting in one operation. Note also the characters EFJL in Garamont, which are closer to Benton's original Garamond designs than to Cleland's revision. Garamont has the short J in display sizes, but a long one in keyboard sizes. In the Garamont specimens, the last group of characters, both roman and italic, was obtained from a different source and is proofed much more heavily; actually the weight is uniform with the rest of the font. [Google]
Maître Constantin is responsible, according to research carried out by Stan Knight and published in Historical Types (From Gutenberg to Ashendene) (Oak Knoll Press, 2012) for the original Garamond types. I quote a passage written by Alastair Johnson in his review of that book:
Fortunately we have James Mosley, who teaches at Reading, Charlottesville (Virginia) & London Universities, formerly the Librarian of Saint Bride's in London, as a guiding light in the search for typographic truth. Mosley has been blogging about such matters since 2006. His "typefoundry" blog has been a great resource for Knight, particularly in the untangling of Jannon versus Garamond, the actual spelling of Garamont's name, and other details.
Many documents have appeared to further the historical discussion, from the series of Type Specimen Facsimiles (under the editorship of John Dreyfus from 1963 onward), to the exemplary EnschedĂ© (1993) & Plantin-Moretus (2004) facsimiles edited by John Lane. Some of the older facsimile works could be revisited with the new approach heralded by Knight, for example the 1592 Egenolff-Berner specimen sheet which was reproduced in 1920 by Gustav Mori in collotype. That sheet was the first specimen broadside to clearly identify Garamond and Granjon as cutters of their types and, as it was printed from newly cast type, was the best possible source for modern interpretations: Adobe Garamond by Robert Slimbach (among others) was drawn from it.
But for most of the twentieth century Garamond revivals (and there have been roughly a zillion of them) were based on the wrong type: a poor imitation cut by Jean Jannon in the French province of Sedan in the 1620s. This typographic Lady Gaga, a tragi-comic homage to classic typefaces, should have been left in the dustbin of history but accidentally gained an important place in the story of type development, so Knight has included it. Also included is a text debunking many of the myths about Jannon and Garamond (thanks to Mosley's research). One of the most fanciful stories has Cardinal Richelieu's troops looting Jannon's types to bring them back to the Imprimerie nationale in Paris. This yarn was first spun by Beatrice Warde in 1926 and picked up by Warren Chappell in his Short History of the Printed Word. As late as 1999 Canadian poet Robert Bringhurst was embroidering the fable in his edition of Chappell's book (p. 148), saying that after Richelieu’s armies seized Jannon’s type they felt bad about it so they reimbursed him for them!
As technology improves it greatly assists us in seeing what we are looking at (though collotype mentioned above is hard to beat). Up to now many books on type have used small illustrations of large pages shrunk down, printed from line blocks. In the end you cannot see any details. So the next step is to do more books of this kind that show, as closely as possible, the impression and the texture of the paper, and more specialized books. Knight's previous book was Historical Scripts (also from Oak Knoll) with a similar hyper-visual approach to the history of calligraphy.
Hendrik Vervliet's recent three volumes on the Paleotypography of the French Renaissance have illustrations from Xerox copies and photostats. Vervliet's images (many composites to show full character sets) were painstakingly assembled over decades and often Xerox was the only service available. It would be a useful task for someone to give the blow-up treatment (shot in high resolution with raking light to show the impression, as well as the paper surface) to his studies (now that we have the key data assembled), and then move into the following centuries.
Nevertheless Vervliet's work is the major contribution to the field in the last half century. So it's great to see late-breaking news from the sixteenth century when Knight reproduces a page of revolutionary new type from Henri Estienne (previously attributed to Garamond [see top illustration]) and, thanks to Vervliet, we now have to acknowledge the shadowy MaĂ®tre Constantin for this massive step-forward in the Aldine style which revolutionized roman letterforms across Europe. [Google]
Chiavenna, Italy-based designer of Rodili Garamond (2014). [Google]
Graphic designer from Chicago, who has made some nice typographical posters like Garamond Botanicals (2009). [Google]
Graduate of the University of Reading in 2011 who lives in France. Creator of the garalde face Cassiope (2011), his graduation typeface. Delsuc writes: Cassiope is a small and delicate bookface. It is mainly intended to set the dialogues of plays. Thus, a key element of Cassiope's feel comes in the rather small size of the letterforms, so as to get some delicacy when set in 10-11 point. Yet the counters remain open and the serifs quite robust to ensure legibility in small sizes. There are Latin and Greek styles. [Google]
Mark van Bronkhorst
Designer of GHGaramondNormal in 1998. [Google]
[SoftMaker Software GmBH (now: freefont.de)]
Math Design fonts
Free type 1 math fonts to match various other faces. Included are mdbch (for Bitstream Charter), mdput (for Adobe's Utopia) and mdugm (for URW's Garamond). Designed in 2005 by Paul Pichaureau.
Another download site. [Google]
Matteo Federico Bologna
Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.
John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:
- The Microsoft screen fonts Verdana (1996: [image by Offeibea Adu-Darko]), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
- Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
- Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
- Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
- Alisal (1995, +Bold).
- ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
- The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
- Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
- Walker (1994), designed for The Walker Art Center.
- Ionic Number One (1999, Carter&Cone).
- Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
- Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
- Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
- Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana faces produced by Dynalab in Taiwan.
- Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
- Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
- Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
- Bell Centennial (Bitstream, 1978), a legible family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There is also a digital Linotype version.
- Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
- New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
- Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
- Helvetica Greek (Linotype).
- Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
- Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
- Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
- Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitsteam's Typo Upright.
- Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
- Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
- Auriga (1970). (Wallis dates this in 1965 at Linotype.)
- CRT Gothic (1974).
- Video (1977).
- V&A Titling (1981).
- Deface (in the FUSE 18 collection).
- Madrid (2001), done for the Spanish newspaper El País.
- Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
- Durham, a sans serif family for US News&World Report.
- Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
- For Microsoft: Georgia, Verdana, Tahoma, Nina.
- New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
- Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
- Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
- Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
- Time Caledonia.
- Wiredbaum, for WIRED.
- Wrigley (for Sports Illustrated).
- Benton Bold Condensed (for Time Magazine).
- Foreman Light (for the Philadelphia Inquirer).
- Newsbaum (for the New York Daily News).
- Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
- Times Cheltenham (2003), which replaces in 2003 a series of headline faces including Latin Extra Condensed, News Gothic, and Bookman Antique.
- The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
- DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere.
- Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
- Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
- Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
- In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
- MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link.
- Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
- Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles.
Speaker at ATypI 2013 in Amsterdam.
Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.
View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. [Google]
[Nonpareille (or: Chastellun.net)]
Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google]
MGI Software used to sell some fonts. In 1997, they released renamed/reworked fonts such as Antigoni, Aucoin, Bedini (like Bodoni), Eurostar (like Eurostile), Gourmand (like Garamond), MGIArchon, MetroNouveau, Palladius (like Palatino), Peinaud (like Peignot), Schindler [see also here and here], Vianta (a formal script face). Alternate URL. Eurostar can be found here. These are all rip-offs: Gourmand is Garamond, Eurostar is Eurostile, Palladius is Palatino, and so on. In January 2002, MGI Software was acquired by California-based Roxio Inc. MGI Software is famous as a leading global provider of digital photo and video editing software. I could not find the fonts at Roxio, so I propose that someone start offering the fonts for free. If Roxio does not react within a reasonable period, then it's too late, and all those (low quality) goodies can be traded and exchanged without any fear of reprisals. Update on my remark from 2003: Microsoft now offers Schindler for download, how about that? Fontica link. [Google]
Michael Bierut: I hate ITC Garamond
Michael Bierut's emotional destruction of Tony Stan's 1975 face, ITC Garamond. Excerpts: The most distinctive element of the typeface is its enormous lower-case x-height. In theory this improves its legibilty, but only in the same way that dog poop's creamy consistency in theory should make it more edible. [...] ITC Garamond enjoyed its apotheosis when it was adapted as the official corporate typeface of Apple Computer in 1984; adding insult to injury, the font was condensed horizontally 80%. Associated with Apple's brilliant packaging and advertising for the next 20 years, the resulting mutation became a part of the global landscape, seeming no less impregnable and unchanging as the Soviet empire. And then, just like global communism, it just went away, replaced overnight with a sleek customized version of Myriad. [...] I've come to realize that I don't hate it for any rational reason; I hate it like I hate fingernails on a blackboard. I hate it because I hate it. [Google]
Frank Hainze (Emeryville, CA) used to sell typefaces such as Adorable, Artisan, Celebrity, Crescent, Duchess, Elegance, Formal, Heather, Imperial, ImperialBold, ImperialBoldItalic, ImperialItalic, Legend, MajesticBold, MasonBook, MasonBookOblique, MasonDemi, MasonDemiOblique, Opera, Salsa, Samurai, Victorian (blackletter, 1994), Wedding.
No longer in business. The fonts are still out there, however. For example, check Samurai here.
Ulrich Stiehl documents all forged fonts on the PrintMaster CD and reports that the quality is remarkably good. Examples: Advantage = ITC Avant Garde Gothic, Architect = Adobe Tekton, Editor = ITC American Typewriter, Enchanted = ITC Korinna, Fantasy = ITC Tiffany, Gallery = ITC Galliard, Geneva = Linotype Helvetica, Gourmand = ITC Garamond, Imperial = ITC New Baskerville, Manuscript = Linotype Palatino, Mason = ITC Lubalin Graph, Mirage = ITC Benguiat, Optimum = Linotype Optima, Tiempo = Monotype Times. [Google]
Miguel Angel Hernández Montoya
Minion and Garamond
Gus Winterbottom argues that Granjon (or, if you wish, its renamed clone, Elegant Garamond by Bitstream) is very close to Minion, so those who can't afford Minion have another option. [Google]
It is well-known that typophiles do not like ITC Garamond. They are also not fans of Adobe Garamond. But when the two get mixed in one book, they blow all their renaissance fuses. Excerpts from some posts. MB is Matthew Butterick and CL is Chris Lozos.
MB: I was examining a paperback copy of the book "The No-Asshole Rule" in the airport. I was curious how you get a whole book out of a title that seems fairly self-explanatory. The text was set in ITC Garamond, which would be bad enough on its own, but the italic used in the text was not ITC Garamond italic, but rather Adobe Garamond italic. At that point, the book lost all credibility, because despite the title, it was clear that an asshole had been allowed to handle the typography. No-Asshole Rule: flagrantly violated. [...] To combine ITC Garamond and Adobe Garamond like this requires a willful act of perversity and disharmony. It would be easier to just use ITC Garamond italic. But here, the book designer expended time and labor to produce something even uglier.
CL: You are assuming some actual thought went into that decision. My guess is that 4th edition paperbacks that end up in airports are done "by computer" meaning humans are forbidden from taking part in the process because they require an hourly rate and health insurance. My guess is that Adobe Garamond Italic came earliest on the font menu so was selected. No one cares what poor schleps who can only buy books in airports have to suffer. After all, they are about to get crammed into a tincan with bad air and poor service where they will not only contract some dreaded disease but be late for their meeting anyway. ;-) That surely is a job coveted only by assholes. [Google]
Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes (b. 1970), typophile extraordinaire. It is promised to have plenty of material for the typophile. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000).
- The (free) font Pagan Poetry (2001), done for one of the sleeves on Björk's albums. The font was made for Show Studio (see also here and here).
- Codesigner with Christian Schwartz in 2005 of the 200-font family Guardian Egyptian for The Guardian, about which he spoke at ATypI 2006 in Lisbon.
- In 2007, he worked with Peter Saville on the Kate Moss brand. As a font, he suggested a variation on Brodovitch Albro, a typeface by Alexey Brodovitch, the famous art director of Harper's Bazaar from 1934-58. The Creative Review reactions to this typeface are a bit negative though.
- In 2003, he created Austin, a high-contrast modern typeface. Now available at Schwartzco and at Commercial Type, Christian Schwartz writes: When hired to design a new headline typeface for Harper's&Queen, Britain's version of Harper's Bazaar, Paul thought to flick back through the pages of its 60's precursor, the über cool Queen. The high contrast serif headlines were lovely, but a little too expected in a contemporary fashion magazine. Some time poring through specimens in St Bride's Printing Library inspired the perfect twist: rather than taking our cues from Didot or Bodoni, we would start with Austin's first creation, turn up the contrast, tighten the spacing and make a fresh new look that would look bold and beautiful in the constantly changing world of fashion. The end result is Richard Austin meets Tony Stan, British Modern as seen through the lens of late 1970s New York.
- Dala Floda (1997-now) is based on gravestone inscriptions, and was turned in 2010 into a logotype stencil family at Commercial Type. As a stencil family, it is praised by the typophile community. Realted is the semi-stencil typeface family Dala Moa.
- Publico was designed from 2003-2006 with Christian Schwartz, Ross Milne and Kai Bernau. Originally called Stockholm and then Hacienda, and finally Publico for a Portuguese newspaper by that name.
- Brunel (1995-now): an English modern, this is an anthology of the late eighteenth and nineteenth century English foundries. It was drawn from original source material, most notably the Caslon foundry and the work of John Isaac Drury).
- Marian (2012) is a type experiment based on Garamond, consisting of 19 hairline styles with names referring to dates between 1554 and 1812. Commercial Type writes: Marian is a series of faithful revivals of some of the classics from the typographic canon: Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis and van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight, revealing the basic structure at the heart of the letterforms. Together they represent a concept: to recreate the past both for and in the present. [...] Faithful to the originals, Marian comes with small capitals in all nine roman styles, with lining and non-lining figures, with swash capitals (1554, 1740, 1800&1820), alternate and terminal characters (1554&1571). And like the hidden track so beloved of the concept album, Marian is completed by a Blackletter based on the work of Henrik van den Keere.
- His classics series, mostly influenced by old Britsh type foundries, includes Figgins Sans (original 1832), Besley Grotesque, Caslon Antique, Fann Street Clarendon, Caslon Italian, Blanchard, Thorowgood Sans, Antique No. 6, Antique No. 3, and Ornamented (original c. 1850 at Caslon, Barnes use a Steven Shanks interpretation).
- VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
Early in 2014, Christian Schwartz, Paul Barnes and Miguel Reyes joined forces to create the manly didone typeface family Caponi, which is based on the early work of Bodoni, who was at that time greatly influenced by the roccoco style of Pierre Simon Fournier. It is named after Amid Capeci, who commissioned it in 2010 for his twentieth anniversary revamp of Entertainment Weekly. Caponi comes in Display, Slab and Text subfamilies.
In 2014, Dave Foster and Paul Barnes (Commercial Type) designed Marr Sans. They write: The influence of Scotland in typefounding belies the nation's small size. Marr Sans, a characterful grotesque design, was inspired by a typeface from the 1870s found in the work of James Marr & Co. in Edinburgh, successors to Alexander Wilson & Sons. From a few lines in three sizes, and only one weight, Paul Barnes and Dave Foster have expanded the family from Thin to Bold, plus an Ultra Black weight, a wider companion to the six lighter weights. While Graphik and Atlas represent the greater homogenity of twentieth century sans serifs, Marr, like Druk, revels in the individuality of the nineteenth century, and is like an eccentric British uncle to Morris Fuller Benton's Franklin and News Gothics.
His St Bride Type Foundry. Dafont link. Klingspor link. [Google]
Monotype ESQ Fonts
Monotype's ESQ fonts (enhanced screen quality) are designed for TVs and monitors. A list of their fonts: Albertus, Albany, Andalé LineDraw, Andalé M Sans, Andalé Mono, Andalé Mono bold, Andalé Mono CP437, Andalé Mono CP737, Andalé Mono CP850, Andalé Mono CP852, Andalé Mono CP855, Andalé Mono WGL, Andalé Sans, Andalé Sans bold, Andy, Andy bold, Apollo, Apollo italic, Apollo semi bold, Arial, Arial black, Arial black italic, Arial black Latin 1/2/5, Arial black WGL, Arial bold, Arial bold italic, Arial bold italic Latin 1/2/5, Arial bold italic WGL, Arial bold Latin 1/2/5, Arial bold WGL, Arial CE, Arial CE bold, Arial CE bold italic, Arial CE italic, Arial italic, Arial italic Latin 1/2/5, Arial italic WGL, Arial Latin 1/2/5, Arial Monospaced, Arial Monospaced bold, Arial Monospaced bold oblique, Arial Monospaced oblique, Arial Narrow bold italic Latin 1/2/5, Arial Narrow bold Latin 1/2/5, Arial Narrow italic Latin 1/2/5, Arial Narrow Latin 1/2/5, Arial Rounded, Arial Rounded bold, Arial Tur, Arial Tur bold, Arial Tur bold italic, Arial Tur italic, Arial WGL, Monotype Baskerville, Monotype Baskerville bold, Monotype Baskerville bold italic, Monotype Baskerville bold italic Latin 1/2/5, Monotype Baskerville bold Latin 1/2/5, Monotype Baskerville italic, Monotype Baskerville italic Latin 1/2/5, Monotype Baskerville Latin 1/2/5, Bell, Bell bold, Bell bold italic, Bell italic, Bembo, Bembo bold, Bembo bold italic, Bembo italic, Monotype Bernard condensed, Binner Gothic, Blueprint Web, Blueprint Web bold, Monotype Bodoni book, Monotype Bodoni book italic, Book Antiqua bold italic Latin 1/2/5, Book Antiqua bold Latin 1/2/5, Book Antiqua CE, Book Antiqua CE bold, Book Antiqua CE bold italic, Book Antiqua CE italic, Book Antiqua italic Latin 1/2/5, Book Antiqua Latin 1/2/5, Bookman Old Style, Bookman Old Style bold, Bookman Old Style bold italic, Bookman Old Style bold italic Latin 1/2/5, Bookman Old Style bold Latin 1/2/5, Bookman Old Style italic, Bookman Old Style italic Latin 1/2/5, Bookman Old Style Latin 1/2/5, Buffalo Gal, Century Gothic bold italic Latin 1/2/5, Century Gothic bold Latin 1/2/5, Century Gothic italic Latin 1/2/5, Century Gothic Latin 1/2/5, Century Schoolbook, Century Schoolbook bold, Century Schoolbook bold italic, Century Schoolbook bold italic Latin 1/2/5, Century Schoolbook bold italic WGL, Century Schoolbook bold Latin 1/2/5, Century Schoolbook bold WGL, Century Schoolbook CE, Century Schoolbook CE bold, Century Schoolbook CE bold italic, Century Schoolbook CE italic, Century Schoolbook italic, Century Schoolbook italic Latin 1/2/5, Century Schoolbook italic WGL, Century Schoolbook Latin 1/2/5, Century Schoolbook WGL, Monotype Clarendon, Monotype Corsiva Latin 1/2/5, Courier CE, Courier CE bold, Courier CE bold italic, Courier CE italic, Courier LD, Courier LD bold, Courier LD bold italic, Courier LD italic, Courier New bold italic Latin 1/2/5, Courier New bold italic WGL, Courier New bold Latin 1/2/5, Courier New bold WGL, Courier New CP437, Courier New CP437 Bold, Courier New CP737, Courier New CP737 Bold, Courier New CP850, Courier New CP850 Bold, Courier New CP852, Courier New CP852 Bold, Courier New CP855, Courier New CP855 Bold, Courier New italic Latin 1/2/5, Courier New italic WGL, Courier New Latin 1/2/5, Courier New WGL, Courier Tur, Courier Tur bold, Courier Tur bold italic, Courier Tur italic, Creepy, Creepy Latin 1/2/5, Cumberland, Curlz, Cyrillic: Arial, Cyrillic: Arial bold, Cyrillic: Arial bold inclined, Cyrillic: Arial inclined, Cyrillic: Courier, Cyrillic: Courier bold, Cyrillic: Courier bold inclined, Cyrillic: Courier inclined, Cyrillic: Times Bold A, Cyrillic: Times Bold inclined A, Cyrillic: Times New Roman A, Cyrillic: Times New Roman inclined A, EraserDust, EraserDust Latin 1/2/5, Facade Condensed, Felix Titling, Footlight, Footlight light, Monotype Franklin Gothic extra condensed, Monotype French Script, Forte, Monotype Garamond, Monotype Garamond bold, Monotype Garamond bold italic, Monotype Garamond bold italic Latin 1/2/5, Monotype Garamond bold Latin 1/2/5, Monotype Garamond bold WGL, Monotype Garamond italic 156, Monotype Garamond italic 156 WGL, Monotype Garamond italic Latin 1/2/5, Monotype Garamond Latin 1/2/5, Monotype Garamond WGL, Gill Alt One bold italic Latin 1/2/5, Gill Alt One bold italic WGL, Gill Alt One bold Latin 1/2/5, Gill Alt One bold WGL, Gill Alt One italic Latin 1/2/5, Gill Alt One italic WGL, Gill Alt One Latin 1/2/5, Gill Alt One WGL, Gill Sans, Gill Sans ALT1, Gill Sans bold, Gill Sans bold ALT1, Gill Sans bold condensed, Gill Sans bold extra condensed, Gill Sans bold italic, Gill Sans bold italic ALT1, Gill Sans bold italic Latin 1/2/5, Gill Sans bold italic WGL, Gill Sans bold Latin 1/2/5, Gill Sans bold WGL, Gill Sans condensed, Gill Sans condensed bold Latin 1/2/5, Gill Sans condensed Latin 1/2/5, Gill Sans extra bold, Gill Sans extra bold Latin 1/2/5, Gill Sans extra condensed bold Latin 1/2/5, Gill Sans italic, Gill Sans italic ALT1, Gill Sans italic Latin 1/2/5, Gill Sans italic WGL, Gill Sans Latin 1/2/5, Gill Sans light, Gill Sans light ALT1, Gill Sans light italic, Gill Sans light italic ALT1, Gill Sans shadow, Gill Sans Shadow Latin 1/2/5, Gill Sans ultra bold, Gill Sans ultra bold condensed, Gill Sans ultra bold condensed Latin 1/2/5, Gill Sans ultra bold Latin 1/2/5, Gill Sans WGL, Ginko, Ginko Latin 1/2/5, Gloucester bold, Gloucester bold condensed, Gloucester bold extended, Gloucester Old Style, Glowworm, Glowworm Latin 1/2/5, Haettenschweiler, Haettenschweiler Latin 1/2/5, Haettenschweiler WGL, Impact, Impact Latin 1/2/5, Impact WGL, Imprint Shadow, Kidprint, Kidprint Latin 1/2/5, Monotype Letter Gothic, Monotype Letter Gothic bold, Monotype Letter Gothic bold oblique, Monotype Letter Gothic Latin 1/2/5, Monotype Letter Gothic LineDraw, Monotype Letter Gothic LineDraw bold, Monotype Letter Gothic oblique, Monotype Letter Gothic WGL, Letter Gothic CP437, Letter Gothic CP437 Bold, Letter Gothic CP737, Letter Gothic CP737 Bold, Letter Gothic CP850, Letter Gothic CP850 Bold, Letter Gothic CP852, Letter Gothic CP852 Bold, Letter Gothic CP855, Letter Gothic CP855 Bold, Monotype Lydian, MICR, Monotype News Gothic, Monotype News Gothic bold, Monotype News Gothic bold condensed, Monotype News Gothic bold italic, Monotype News Gothic bold italic Latin 1/2/5, Monotype News Gothic bold italic WGL, Monotype News Gothic bold Latin 1/2/5, Monotype News Gothic bold WGL, Monotype News Gothic CE, Monotype News Gothic CE bold, Monotype News Gothic CE bold italic, Monotype News Gothic CE italic, Monotype News Gothic condensed, Monotype News Gothic Cyr, Monotype News Gothic Cyr bold, Monotype News Gothic Cyr bold inclined, Monotype News Gothic Cyr inclined, Monotype News Gothic Gre, Monotype News Gothic Gre bold, Monotype News Gothic Gre bold inclined, Monotype News Gothic Gre inclined, Monotype News Gothic italic, Monotype News Gothic italic Latin 1/2/5, Monotype News Gothic italic WGL, Monotype News Gothic Latin 1/2/5, Monotype News Gothic WGL, Nimrod, Nimrod bold, Nimrod bold italic, Nimrod italic, Monotype Old English Text, Monotype Onyx, Ocean Sans bold, Ocean Sans book, OCR-A, OCR-B, Pepita, Perpetua, Perpetua bold, Perpetua bold italic, Perpetua italic, Plantin, Plantin bold, Plantin bold EXPERT, Plantin bold italic, Plantin bold italic EXPERT, Plantin EXPERT, Plantin italic, Plantin italic EXPERT, Rockwell, Rockwell bold, Rockwell bold condensed, Rockwell bold italic, Rockwell condensed, Rockwell italic, Rockwell light, Rockwell light italic, Sabon, Sabon italic, Sabon semi bold, Sabon semi bold italic, Sassoon Infant, Sassoon Infant Bold, Sassoon Sans, Sassoon Sans Bold, Monotype Script bold, Monotype Sorts, Swing bold, Theatre Antoine, Theatre Antoine Latin 1/2/5, Thorndale, Times New Roman bold F, Times New Roman bold italic F, Times New Roman bold italic Latin 1/2/5, Times New Roman bold italic WGL, Times New Roman bold Latin 1/2/5, Times New Roman bold WGL, Times New Roman CE, Times New Roman CE bold, Times New Roman CE bold italic, Times New Roman CE italic, Times New Roman F, Times New Roman italic F, Times New Roman italic Latin 1/2/5, Times New Roman italic WGL, Times New Roman Latin 1/2/5, Times New Roman Tur, Times New Roman Tur bold, Times New Roman Tur bold italic, Times New Roman Tur italic, Times New Roman WGL, Twentieth Century bold, Twentieth Century bold condensed, Twentieth Century bold italic, Twentieth Century bold italic Latin 1/2/5, Twentieth Century bold Latin 1/2/5, Twentieth Century condensed bold Latin 1/2/5, Twentieth Century condensed medium Latin 1/2/5, Twentieth Century medium, Twentieth Century medium condensed, Twentieth Century medium italic, Twentieth Century medium italic Latin 1/2/5, Twentieth Century medium Latin 1/2/5, Twentieth Century ultra bold, Twentieth Century ultra bold Latin 1/2/5. [Google]
Monotype Garamond was designed by Frederic Goudy from 1922 until 1924. It is based on roman types cut by Jean Jannon in 1615, who followed the designs of Claude Garamond near the end of the 16th century. Garamond's types were in turn based on those used by Aldus Manutius in 1495 and cut by Francesco Griffo. The Monotype Garamond Italic fonts are based on types cut in France circa 1557 by Robert Granjon. [Google]
Morris Fuller Benton
Prolific American type designer (b. 1872, Milwaukee, d. 1948, Morristown, NJ), who published over 200 alphabets at ATF. He managed the ATF type design program from 1892 until 1937. Son of Linn Boyd Benton. MyFonts page on him. Nicholas Fabian's page. Linotype's page. Klingspor page. Unos tipos duros page. His fonts include:
Linotype link. FontShop link. Picture.
- 1897: Cloister Old Style (ATF). [Stephenson Blake purchased this from ATF and called it Kensington Old Style, 1919] [Cloister (2005, P22/Lanston) is based on Jim Rimmer's digitization of Benton's Cloister.]
- 1898: Roycroft. Mac McGrew on Roycroft: Roycroft was one of the most popular of a number of rugged faces used around the turn of the century, when printing with an antique appearance was in vogue. It was inspired by lettering used by the Saturday Evening Post. then a popular weekly magazine, and has been credited to Lewis Buddy, a former Post artist and letterer, but ATF says it was designed "partly" by Morris Benton, about 1898. Gerry Powell, director of typographic design for ATF in the 1940s, says, "Roycroft was first known as Buddy, changed when it was adopted by Elbert Hubbard for the Roycroft Press." Henry L. Bullen, ATF librarian and historian, says, "The first font of type to be made from matrices directly engraved on the Benton machine was 24-point Roycroft. October 4, 1900." While the machine was originally designed in 1884 to cut punches rather than matrices, it is doubtful that no fonts of mats were cut before 1900. Roycroft is also said to be the first typeface for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many faces of the day had a number of alternate characters. For this face. ATF gave specific instructions for their intended use: "M with the short vertex, in words the letters of which are open; R with the long tail, as a final letter in all-cap words; the wide h, m, and n, as a final letter only; t with the swash tail, as a final letter but not too frequently; u with the descending stroke, in words having no descending letters; ct ligature, wherever possible; the long s and its combinations, in antique work." Roycroft Open was cut in 1902, probably from the same patterns as the parent face. Roycroft Tinted is a very unusual face, in which the typeface is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this typeface was cut by the Dickinson Type Foundry branch of ATF in Boston, and includes the same special characters as Roycroft. Compare Post Oldstyle.
- 1900: Century Expanded (1900: poster by Heather Leonhardt). This was a complete redraw of Century Roman which was designed in 1894 by his father, Linn Boyd Benton, for Theodore Low DeVinne, the publisher of Century Magazine. Digitizations by Elsner&Flake, Bitstream and URW.
- 1901: Linotext (aka WedddingText).
- 1901-1910: Engravers.
- 1901: Wedding Text (some put this in 1907), Old English Text, Engravers' Old English (a blackletter font remade by Bitstream). Wedding Text has been copied so often it is sickening: Wedding Regular and Headline (HiH, 2007), Dan X. Solo's version, Comtesse, Elite Kanzlei (1905, Stempel), Meta, Lipsia, QHS Nadejda (QHS Soft), Blackletter 681, Marriage (Softmaker), Wedding Text TL (by Tomas Liubinas).
- 1902: Typoscript.
- 1902-1912: Franklin Gothic. Digital versions exist by Bitstream, Elsner&Flake (in a version called ATF Franklin Gothic), Red Rooster (called Franklin Gothic Pro, 2011), Linotype, and ITC (ITC Franklin Gothic). Discussion by Harvey Spears. Mac McGrew: Franklin Gothic might well be called the patriarch of modern American gothics. Designed in 1902 by Morris Fuller Benton, it was one of the first important modernizations of traditional nineteenth-century faces by that designer, after he was assigned the task of unifying and improving the varied assortment of designs inherited by ATF from its twenty-three predecessor companies. Franklin Gothic (named for Benjamin Franklin) not only became a family in its own right, but also lent its characteristics to Lightline Gothic. Monotone Gothic, and News Gothic (q.v.). All of these faces bear more resem- blance to each other than do the faces within some other single families. Franklin Gothic is characterized by a slight degree of thick-and-thin contrast; by the double-loop g which has become a typically American design in gothic faces; by the diagonal ends of curved strokes (except in Extra Condensed); and by the oddity of the upper end of C and c being heavier than the lower end. The principal specimen here is Monotype, but the basic font is virtually an exact copy of the ATF typeface in display sizes, except that Monotype has added f- ligatures and diphthongs. Franklin Gothic Condensed and Extra Condensed were also designed by Benton, in 1906; Italic by the same designer in 1910; and Condensed Shaded in 1912 as part of the "gray typography" series. Although Benton started a wide version along with the others, it was abandoned; the present Franklin Gothic Wide was drawn by Bud (John L.) Renshaw about 1952. Franklin Gothic Condensed Italic was added by Whedon Davis in 1967. Monotype composition sizes of Franklin Gothic have been greatly modi- fied to fit a standard arrangement; 12-point is shown in the specimen-notice the narrow figures and certain other poorly reproportioned characters. The 4- and 5-point sizes have a single-loop g. Gothic No. 16 on Linotype and Inter- type is essentially the same as Franklin Gothic up to 14-point; in larger sizes it is modified and more nearly like Franklin Gothic Condensed. However. some fonts of this typeface on Lino have Gagtu redrawn similar to Spartan Black. with the usual characters available as alternates; 14-point is shown. Western Type Foundry and later BB&S used the name Gothic No.1 for their copy of Franklin Gothic, while Laclede had another similar Gothic No. 1 (q.v.). On Ludlow, this design was originally known as Square Gothic Heavy with a distinctive R and t as shown separately after the Monotype diphthongs; when the name was changed to Franklin Gothic in 1928, it was redrawn, closer to Franklin Gothic but still a bit top-heavy; the unique R was retained in standard fonts but an alternate version like that of ATF was made available separately; also a U with equal arms, a single-loop g, and a figure 1 without foot serifs. Ludlow Franklin Gothic Italic, partially shown on the third line of the specimen, is slanted much more than other versions, to fit the standard 17 -degree italic matrices of that machine. Modern Gothic Condensed and Italic (q.v.) are often though not properly called Franklin Gothic Condensed and Italic, especially by Monotype users. Also see Streamline Block.
- 1903: Alternate Gothic (ATF). See Alternate Gothic EF (Elsner&Flake), Alternate Gothic No2 (Bitstream), and Alternate Gothic No1, No2 and No3 (see the URW version). Mac McGrew: Alternate Gothic was designed in 1903 by Morris F. Benton for ATF with the thought of providing several alternate widths of one design to fit various layout problems. Otherwise it is a plain, basic American gothic with no unusual features, but represents a more careful drawing of its nineteenth-century predecessors. The Monotype copies in display sizes are essentially the same as the foundry originals, with the addition of f-ligatures. The thirteen alternate round capitals shown in the first line of Alternate Gothic No.1 were designed by Sol Hess in 1927 for Monotype, hence the "Modernized" name; with these letters the design is sometimes referred to as Excelsior Gothic. Monotype keyboard sizes, as adapted by Hess about 1911, are considera- bly modified to fit a standard arrangement; caps are not as condensed as in the original foundry design. In 6-point, series 51 and 77 are both the same width, character for character, but some letters differ a bit in design. Note that these two narrower widths are simply called Alternate Gothic on Monotype, while the wider version is Alternate Gothic Condensed! Alternate Gothic Italic, drawn about 1946 by Sol Hess for Monotype matches No.2, but may be used with other widths as well. Condensed Gothic on Ludlow, is essentially a match for Alternate Gothic No.1, but has a somewhat different set of variant characters, as shown in the third line. There is also Condensed Gothic Outline on Ludlow, introduced about 1953, essentially an outline version of Alternate Gothic No.2. On Linotype and Intertype there is Gothic Condensed No.2 which is very similar to Alternate Gothic No. 1 in the largest sizes only, but with even narrower lowercase and figures. Also compare Trade Gothic Bold and Trade Gothic Bold Condensed. For a free version of Alternate Gothic No. 1, see League Gothic (2009-2011, The League of Movable Type).
- 1904: Bold Antique, Whitin Black [see OPTI Bold Antique for a modern digitization], Cheltenham (digitizations by Bitstream and Font Bureau, 1992), Cloister Black (blackletter font, see the Bitstream version: it is possible that the typeface as designed by Joseph W. Phinney).
- 1905: Linoscript (1905). Originally at ATF it was named "Typo Upright". Clearface, about which McGrew writes: Clearface was designed by Morris Benton with his father, Linn B. Benton, as advisor. The bold was designed first, in 1905, and cut the following year. The other weights and italics were produced through 1911. As the name implies, the series was intended to show unusual legibility, which it certainly achieved. The precision of cutting and casting for which ATF is noted produced a very neat and handsome series, which had considerable popularity. Clearface Heavy Italic has less inclination than the lighter weights, and is non-kerning, a detail which helped make it popular for newspaper use; the specimen shown here is from a very worn font. Some of the faces have been copied by the matrix makers. But the typeface Monotype calls Clearface and Italic is the weight called Bold by other sources. Monotype also includes Clearface Italic No. 289, a copy of the lighter weight. Revival and expansion by Victor Caruso for ITC called ITC Clearface, 1978. Also, American Extra Condensed, an octagonal mechanical typeface revived in 2011 by Nick Curtis as Uncle Sam Slim NF.
- 1906: Commercial Script (versions exist at Linotype, URW, Bitstream (called English 144), and Elsner&Flake), Miele Gothic, Norwood Roman.
- 1907: Lincoln Gotisch, named after Abraham Lincoln. This found found its way from ATF to Schriftguss, Trennert und Sohn, and Ludwig Wagner. Digital revivals include Delbanco's DS Lincoln-Gotisch. Compare with Comtesses, Lipsia, Elite Kanzlei, Lithographia and Wedding Text.
- 1908: News Gothic, Century Oldstyle (digital versions by Bitstream, Elsner&Flake, and URW), Clearface Gothic (1907-1910: digital revivals include Clear Gothic Serial (ca. 1994, SoftMaker) and Cleargothic Pro (2012, SoftMaker). McGrew: Clearface Gothic was designed by Morris Benton for ATF in 1908, and cut in 1910. It is a neat, clean gothic, somewhat thick and thin, which incorporates some of the mannerisms of the Clearface (roman) series. However, it can hardly be considered a part of that family. There is only one weight, and fonts contain only the minimum number of characters.
- 1909-1911: Rugged Roman. McGrew: Rugged Roman was designed for ATF by Morris F. Benton in 1909-11. It was patented in 1915, but the earliest showing seems to have appeared in 1917. It is a rugged face, as the name says, of the sort that was popular early in the century, but appears to have no relation to other faces having the name "Rugged." It somewhat resembles Roycroft, but is lighter. But to add to the uncertainty, fonts contained a number of ligatures of the kind which were more common in the early 1900s, in addition to the usual f-ligatures.
- 1910: Cloister Open Face, Hobo (1910, strongly influenced by the Art Nouveau movement), ATF Bodoni (Bitstream's version is just called Bodoni, and Adobe's version is called Bodoni Book or Bodoni Poster or Bodoni Bold Condensed, while Elsner&Flake call theirs Bodoni No Two EF Ultra; Font Bureau's version has just two weights called BodoniFB-Bold Condensed and Compressed). McGrew writes about Hobo: Hobo is unusual in two respects---it is drawn with virtually no straight lines, and it has no descenders and thus is very large for the point size. It was designed by Morris F. Benton and issued by ATF in 1910. One story says that it was drawn in the early 1900s and sent to the foundry without a name, which was not unusual, but that further work on it was continually pushed aside, until it became known as "that old hobo" because it hung around so long without results. More time elapsed before it was patented in 1915. The working name was Adface. Hobo was also cut by Intertype in three sizes. Light Hobo was also drawn by Benton, and released by ATF in 1915. It is included in one list of Monotype faces, but its series number is shown elsewhere for another Monotype face, and no other evidence has been found that Monotype actually issued it.
- 1911-1913: Venetian, Cromwell. Mac McGrew: Cromwell is a rather playful typeface, designed by Morris Benton in 1913 but not released by ATF until three years later. It uses the same capitals as Cloister (q.v.) and has the same small x-height with long ascenders and descenders, but otherwise is quite different, with much less formality. Notice the alternate characters and the double letters including overhanging f's.. Cromwell was digitized by Nick Curtis in 2010 as Cromwell NF. Mac McGrew on Venetian: Venetian and Italic were designed by Morris F. Benton for ATF about 1911, with Venetian Bold following about two years later. They are rather reserved transitional faces, almost modern, instead of classic designs of Venetian origin as the name implies. The result is closer to Bodoni than to Cloister. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later typeface by the same designer, which has similar characteristics but more grace and charm.
- 1914: Adscript, Souvenir, Garamond (with T.M. Cleveland).
- 1916: Announcement, Light Old Style, Goudy Bold. Mac McGrew writes: Announcement Roman and Announcement Italic were designed by Morris F. Benton in 1916, adapted from steel or copperplate engravings, but not completed and released until 1918. These delicate faces have had some popularity for announcements, social stationery, and a limited amount of advertising work, but are a little too fancy for extensive use. Oddly, some of the plain caps shown in the specimens, both roman and italic, do not seem to appear in any ATF specimens. Foundry records show that a 48-point size of the roman was cut in 1927, but no other listing or showing of it has been found. In fact, sizes over 24-point were discontinued after a few years, and all sizes were discontinued in 1954.. Digitizations: Announcement Roman was done by Nick Curtis in 2009 and called Society Page NF.
- 1916-1917: Invitation. For a digital revival, see Sil Vous Plait (2009, Nick Curtis).
- 1917: Freehand.
- 1917-1919: Sterling. Digitizations include Howard (2006, Paul D. Hunt), Argentina NF (2009, Nick Curtis), and Argentina Cursive NF.
- 1918: Century Schoolbook (1918-1921). (See ITC Century (Tony Stan, 1975-1979), or the Century FB-Bold Condensed weight by Greg Thompson at Font Bureau, 1992. For Century Schoolbook specifically, there are versions by Elsner&Flake, Bitstream and URW. Bitstream has a monospaced version.) URW Century Schoolbook L is free, and its major extension, TeXGyre Schola (2007) is also free.
- 1920: Canterbury. Mac McGrew: Canterbury is a novelty typeface designed by Morris F. Benton for ATF in 1920, when trials were cut, but not completed for production until 1926. It features a very small x-height, with long ascenders and descenders; monotone weight with minute serifs; and a number of swash capitals. It is primarily suitable for personal stationery and announcements. Compare Camelot Oldstyle. Digital versions were done by Nick Curtis in his Londonderry Air NF (2002-2004), and Red Rooster in the series Canterbury, Canterbury OldStyle, and Canterbury Sans.
- 1922: Civilité. Mac McGrew on the ATF Civilité: Civilite in its modern adaptation was designed by Morris Benton in 1922 and cut by ATF in 1923-24. The original version was cut by Robert Granjon in 1557 to imitate the semi-formal writing then in vogue, and is believed to be the first cursive design cut in type. It became popular for the printing of poetry and for books of instruction for children, where the type itself could serve as a perfect model of handwriting. The first of these books was titled La Civilite puerile, printed at Antwerp in 1559. The books were so popular that the design came to be known as "civility" type. Other interpretations of the letter have been made, including Cursive Script, cut in the nineteenth century in 18-point only from French sources by ATF predecessors and by Hansen, but Benton's seems more attractive and legible to modern eyes. The French pronunciation of ci-vil'i-tay is indicated by the accented e, which was used only in ATF's earliest showings. The many alternate characters were included in fonts as originally sold; later they were sold separately and finally discontinued, although the basic font was still listed in recent ATF literature. Also see ZapfCivilite. Compare Freehand, Motto, Verona.
- 1924: Schoolbook Oldstyle.
- 1926-1927: Typo Roman.
- 1927: Chic (American Typefounders; doubly shaded capitals and figures), Gravure, Greeting Monotone, Goudy Extra Bold. The art deco typeface Chic was revived by Nick Curtis as Odalisque NF (2008) and Odalisque Stencil NF (2010).
- 1928: Parisian, Bulmer (revival of William Martin's typeface from 1792 for the printer William Bulmer; digital forms by Monotype, Adobe, Linotype, and Bitstream), Broadway (1928-1929, see two styles offered by Elsner&Flake, Linotype, Bitstream, and 11 weights by URW), Goudy Catalogue, Modernique, Novel Gothic (ATF, designed with Charles H. Becker), Dynamic. Novel Gothic has seen many digital revivals, most notably Telenovela NF (2011, Nick Curtis), Naked Power (Chikako Larabie) and Novel Gothic SG (Jim Spiece). Images of Bulmer: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii.
- 1929: Louvaine. McGrew: Louvaine series was designed by Morris F. Benton for ATF in 1928. It is an adaptation of Bodoni (the working title was Modern Bodoni), and many of the characters are identical. Only g and y are basically different; otherwise the distinction is in the more abrupt transition from thick to thin strokes in this series. In this respect, Ultra Bodoni has more affinity to Louvaine than to the other Bodoni weights. The three weights of Louvaine correspond to Bodoni Book, Regular, and Bold. This series did not last long enough to appear in the 1934 ATF specimen book, the next complete one after its introduction. Compare Tippecanoe.
- 1930: Benton, Engravers Text, Bank Gothic (see Bitstream's version), Garamond-3 (with Thomas Maitland Cleland), Paramount (some have this as being from 1928: see Eva Paramount SG by Jim Spiece). McGrew: Paramount was designed by Morris Benton in 1930 for ATF. It is basically a heavier companion to Rivoli (q. v.), which in turn is based on Eve, an importation from Germany, but is heavier than Eve Bold. It is an informal typeface with a crisp, pen-drawn appearance. Lowercase is small, with long ascenders and short descenders. Vertical strokes taper, being wider at the top. It was popular for a time as an advertising and announcement type.
- 1931: Thermotype, Stymie (with Sol Hess and Gerry Powell). Stymie Obelisk is a condensed Egyptian headline face---the latter was revived by Nick Curtis as Kenotaph NF (2011).
- 1932: Raleigh Gothic Condensed (the digital version by Nick Curtis is Highpoint Gothic NF (2011)), American Text (blackletter). Mac McGrew: Raleigh Gothic Condensed was designed by Morris F. Benton for ATF in 1932. It is a prim, narrow, medium weight gothic face, with normally round characters being squared except for short arcs on the outside of corners. The alternate characters AKMNS give an even greater vertical appearance than usual. At first, this typeface was promoted with Raleigh Cursive as a stylish companion face, although there is no apparent relationship other than the name. Compare Phenix, Alternate Gothic, Agency Gothic.
- 1933: American Backslant, Ultra Bodoni (a great Bodoni headline face; see Bodoni FB (1992, Font Bureau's Richard Lipton). About Agency Gothic, McGrath writes: Agency Gothic is a squarish, narrow, monotone gothic without lower- case, designed by Morris F. Benton in 1932. It has an alternate A and M which further emphasize the vertical lines. Sizes under 36-point were added in 1935. Agency Gothic Open was drawn by Benton in 1932 and introduced in 1934; it follows the same style in outline with shadow, and probably has been more popular than its solid companion. Triangle Type Foundry, a Chicago concern that manufactured matrices, copied this typeface as Slim Open, adding some smaller sizes. ATF's working titles for these faces, before release, were Tempo, later Utility Gothic and Utility Open. Compare Raleigh Gothic Condensed, Poster Gothic, Bank Gothic. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency (1995, David Berlow at FontBureau)
- 1934: Shadow, Tower (heavy geometric slab serif), Whitehall. Font Bureau's Elizabeth Cory Holzman made the Constructa family in 1994 based on Tower. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency Gothic (1995, David Berlow at FontBureau) and Agency Gothic by Castle Type. Eagle Bold followed in 1934. McGrew: Eagle Bold is a by-product of the depression of the 1930s. The National Recovery Administration of 1933 had as its emblem a blue eagle with the prominent initials NRA, lettered in a distinctive gothic style. Morris Benton took these letters as the basis for a font of type, released later that year by ATF, to tie in with the emblem, which businesses throughout the country displayed prominently in advertising, stationery, and signs; naturally it was named for the eagle. Compare Novel Gothic. USA Resolute NF (2009, Nick Curtis) is based on Eagle Bold.
- 1935: Phenix. This condensed artsy sans was revived in 2011 at Red Rooster by Steve Jackaman and Ashley Muir as Phoenix Pro.
- 1936: Headline Gothic.
- 1937: Empire (Bitstream version). This ultra-condensed typeface was digitally remade and modernized by Santiago Orozco as Dorsa (2011).
Typefaces alphabetic order:
- Agency Gothic (+Open
- Alternate Gothic No.1 (+No.2, +No.3)
- American Backslant
- American Caslon&Italic
- American Text
- Announcement Roman&Italic (1916). For digital revivals or influences, see Friendly (2012, Neil Summerour) and Society Page NF (2009, Nick Curtis).
- Antique Shaded
- Bank Gothic Light (+Medium, +Bold, +Light Condensed, +Medium Condensed, +Bold Condensed). For digital versions, see Bank Gothic AS Regular and Condensed (2008, Michael Doret).
- Baskerville Italic
- Benton (Whitehall)&Italic
- Bodoni&Italic (+Book&Italic, +Bold&Italic, +Bold Shaded, +Bold Open)
- Bold Antique (+Condensed)
- Broadway (+Condensed). The prototyical art deco typeface (1928-1929).
- Bulfinch Oldstyle (1903).
- Card Bodoni (+Bold). 1912-1916.
- Card Litho (+Light Litho)
- Card Mercantile
- Card Roman
- Century Expanded&Italic
- Century Bold&Italic (+Bold Condensed, +Bold Extended)
- Century Oldstyle&Italic (+Bold&Italic, +Bold Condensed)
- Century Catalogue&Italic
- Century Schoolbook&Italic (+Bold)
- Cheltenham Oldstyle&Italic (+Condensed, +Wide)
- Cheltenham Medium&Italic (+Medium Condensed, +Medium Expanded, +Bold&Italic, +Bold Condensed&Italic, +Bold Extra Condensed&Title, +Bold Extended, +Extrabold, +Bold Outline, +Bold Shaded&Italic, +Extrabold Shaded, +Inline, +Inline Extra Condensed, +Inline Extended)
- Clearface&Italic (1907, +Bold&Italic, +Heavy&Italic)
- Clearface Gothic: a flared version of Clearface.
- Cloister Black
- Cloister Oldstyle&Italic (+Lightface&Italic, +Bold&Italic, +Bold Condensed, +Cursive, +Cursive Handtooled, +Title&Bold Title)
- Commercial Script
- Copperplate Gothic Shaded
- Cushing Antique (1902).
- Della Robbia Light
- Dynamic Medium
- Eagle Bold
- Engravers Bodoni
- Engravers Old English (+Bold)
- Engravers Bold
- Engravers Shaded
- Engravers Text
- Franklin Gothic&Italic (+Condensed, +Extra Condensed, +Condensed Shaded)
- Freehand (1917). Mac McGrew: Freehand, a typeface based on pen-lettering, was designed for ATF by Morris Benton in 1917. The working title before release was Quill. Derived from Old English, it is an interesting novelty, and has had quite a bit of use. Compare Civilite, Motto, Verona.
- Garamond&Italic (+Bold&Italic, +Open)
- Globe Gothic (+Condensed, +Extra Condensed, +Extended, +Bold&Italic)
- Goudy Bold&Italic (+Catalogue&Italic, +Extrabold&Italic, +Handtooled&Italic, +Title)
- Greeting Monotone
- Headline Gothic
- Hobo&Light Hobo (1910). For digital versions, see Informal 707 (Bitstream), Hobbit (SF), Homeward Bound (Corel), and Hobo (Bitstream).
- Invitation (+Shaded)
- Light Oldstyle
- Lightline Gothic&Title (1908). For a revival, see Benton Gothic Thin NF (2014, Nick Curtis).
- Lithograph Shaded (1914, with W.F. Capitain).
- Louvaine Light&Italic (+Medium&Italic, +Bold&Italic)
- Miehle Extra Condensed&Title
- Monotone Gothic&Title
- Motto (1915). Mac McGrew: Motto is a calligraphic typeface designed by Morris F. Benton for ATF in 1915. It is similar to the same designer's Freehand, drawn a couple of years later, but has plainer capitals, heavier thin strokes, and shorter descenders. But letters combine into legible words with a pleasant, hand-lettered appearance. Also compare Humanistic, Verona.
- News Gothic (+Condensed, +Extra Condensed&Title)
- Norwood Roman
- Novel Gothic
- Packard (+Bold)
- Pen Print Open
- Piranesi Italic (+Italic Plain Caps, +Bold&Italic, +Bold Italic Plain Caps)
- Poster Gothic
- Raleigh Gothic Condensed (1934).
- Rockwell Antique
- Rugged Roman
- Schoolbook Oldstyle
- Souvenir (1914). Revived in 1977 by Ed Benguiat as ITC Souvenir, but a total failure as a type design. Simon Garfield: Souvenir was the Comic Sans of its era, which was the 1970s before punk. It was the typeface of friendly advertising, and it did indeed appear on Bee Gees albums, not to mention the pages of Farrah Fawcett-era Playboy. Mark Batty from International Typeface Corporation (ITC) on one of his best-selling fonts: A terrible typeface. A sort of Saturday Night Fever typeface wearing tight white flared pants. Garfield also retrieved this quote by type scholar Frank Romano in the early 1990s: Real men don't set Souvenir. Digital revivals also include Sunset Serial by Softmaker, and ITC Souvenir Mono by Ned Bunnel.
- Stymie Light&Italic (+Medium&Italic, +Bold&Italic, +Black&Italic)
- Tower Condensed (1934). Revived by Photo-Lettering Inc as PL Tower.
- Typo Roman&Shaded
- Typo Script and Typo Script&Extended (1902)
- Typo Shaded
- Typo Slope
- Typo Upright&Bold
- Ultra Bodoni&Italic (+Condensed, +Extra Condensed)
- Venetian&Italic (+Bold)
- Wedding Text&Shaded
View Morris Fuller Benton's typefaces. A longer list. A listing of various digital versions of News Gothic. More News Gothic-like typefaces. [Google]
[Matteo Federico Bologna]
Born in Milan in 1965, Matteo Federico Bologna emigrated to the United States, where he founded Mucca Design in 1999, a company involved in logos, type, and corporate identity. He teaches font design at the Parsons School of Design in New York. Typefaces include Food Mucca, Hair Updown, Littoria, Filo Mucca, Mirra Mucca (gorgeous lettering), Mongo Mucca, Rigid Mucca, Rubens Mucca, Vox Mucca, Egizio Mucca, Latina Mucca, Joung Mucca and Pravda (cyrillic simulation font). Free fonts: Geo Mucca, Fax Mucca, Melt Mucca, Updown Mucca, Pepina Mucca (curly lettering). Mucca Design custom-designed Balazs, Decora, Moranda Serif and Grotesque, One Atlantic (a slabbed Garamond done by Joshua Darden), Faux Cyrillic (done for Manhattan's Pravda restaurant), Victoria's Secret Logotype. At iFontMaker, he did ItalianoAMano, and ItalianoAManoPieno. [Google]
Turkish creator of the readable hand-printed typeface McMuratti (2011) and the squarish typeface McAlberto (2011). He also made the upright connected school script typeface McLeonardo (2011), McLeona (2012), the cratchy hand-printed McVincenzo (2011) and the spiky typeface McAlbertina (2011).
In 2012, he made a tall-ascendered version of Garamond, called Garamond Tall.
All his typefaces are free.
Home page. [Google]
[Mark van Bronkhorst]
MvB Design is Mark van Bronkhorst's company in Albany, CA. Also known as Markanna Studios Inc. Fonts distributed by FontHaus and MyFonts.
In the list below, unless explicitly mentioned, Mark van Bronkhorst is the designer: GryphiusMVB (2003), MVB Solano Gothic (2007-2009, six Bank Gothic lookalikes done for the city of Albany, CA), ITC Conduit (1997), MVB Celestia Antiqua One and Two (1993-1996, contains zodiac signs), MVB Greymantle (1993, Kanna Aoki), Magnesium MvB (1998, Adobe), Magnolia MvB (1997), Airedale (1992), BovinePoster or MVB Bovine (1993), DickAndJane (1994), MildewRoman (1994), QuercusRegular (1993), PFAnimals (1993), PFCommerceCommunication (1992), PFFoodDrink (1992), PFHolidaysCelebrations (1992), PFHouseholdItems (1993), PFTransportTravel (1992), QuercusHard (1993), MVB Emmascript (1996, Kanna Aoki), MVB Café Mimi (1996-2003, Kanna Aoki), MVB Pedestria (2002, a sans family by Akemi Aoki), MVB Pedestria Pict (2002, dingbats by Akemi Aoki), MVB Verdigris (2003-2011, a garalde close to Sabon), MVB Fantabular and MVB Fantabular Sans (2002, Akemi Aoki, monospaced, typewriter-style), MVB Grenadine One and Two (2003, sans families by Akemi Aoki), MVB Peccadillo (2002, by Holly Goldsmith and Alan Greene), BossaNovaMVB (Holly Goldsmith, 1997), BatmanForever1 (1994, Maseeh Rafani/Warner Bros and Mark van Bronkhorst), Breakdown (1996), HornyDave (1995, based on illustrations of Georgia Panagiotopoulos), HypnoclipsLogoFont (1997), Ovidius (1993), Subterfuge (1995), ZedGothicMvB (1996), HotsyTotsy, MVB Sirenne Six, MVB Sirenne Text, MVB Sirenne Display (2002, display serif family by by MvB and Alan Greene), Veriris Pro Text (2003-2011).
MVB Sacre Bleu (2007) is an award-winning handwriting typeface about which Joshua Lurie-Terrell writes: Sacre Bleu is the most flexible and accessible informal script of 2007, and rivals some of the best faces in this vein from the past decade. He compares it with Christian Robertson's Dear Sarah, Dave Farey's Lettres Eclatees, Letterror's Salmiak and Nick Cooke's Olicana, another very successful face.
In 2008, Mark set up Sweet Fonts, where he and Linnea Lundquist designed Sweet Upright Script (2008), and Mark published the quintuple line blackboard board family Sweet Titling No. 22 (2010), Sweet Square (2011---in the style of Bank Gothic), Sweet Sans Pro (2011, a sans family from Hairline to Heavy. He says: The family is based on antique engraver's lettering templates called masterplates. Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century---especially the engraver's sans---are still quite familiar and appealing. It is in the style of Burin Sans and Sackers Gothic. And Embarcadero MVB (2010, a near-grotesque superfamily).
In 2013, MVB published the utilitarian sans family MVB Solitaire.
For Whole Foods Market, he created the corporate typefaces Grace's Hand and Molly Text in 2014.
Linotype link. FontShop link. Alternate URL. Klingspor link.
View Mark van Bronkhorst's typefaces. [Google]
MyFonts: Garalde or Garamond typefaces.
Large web page with all garalde or Garamond-style typefaces at MyFonts. Subpage with the most relevant fonts in this category. Additional pages with Garamond style fonts and fonts named Garamond. [Google]
MyFonts hit list for Garamond. [Google]
MyFonts selection for Granjon, the man and the typefaces he inspired. [Google]
A selection of digital typefaces that are called Sabon or are related to Jan Tschichold's Sabon (1966). [Google]
Fritz Klinke, NA Graphics, in Silverton, CO, sells new foundry type cast from original ATF matrices and cast on the original equipment. It is working on the 10 through 16 point versions of ATF Garamond 459, and the companion italic, Garamond 460, and intends to recast Bullfinch. Other faces of theirs include Bulmer, Goudy Oldstyle, Munder Venezian, Murray Hill Bold. Klinke owns the entire ATF Bulmer collection, as well as Engravers Roman, which originated with Barnhart Brothers&Spindler. [Google]
NewG8 is the open source project that intends to develop URW Garamond No.8 for the TeX community. A complete set of type 1 fonts is included. The free version of URW Garamond No. 8 started with Artifex / Henri Styles in 2003, but saw fixes and extensions by Gael Varoquaux in 2009 and finally Michael Sharpe (University of California at San Diego) in 2012 who added old style figures and small caps. Michael also provides full TeX support.
Additional link. Download link at CTAN. [Google]
no image fonts
Free fonts by Hungarian type and graphic designer Levi Halmos [or: Levente Halmos], made between 1997 and 2001: AlienGhost2, Aliens, Anabolic Spheroid (2001, revived but alas commercialized by Roger S. Nelsson in 2009 as Anabolic Spheroid Pro), Aztec, Baby Universe (2000), Bateman, Bedlam Remix (2001), Bitsumishi (Bitsumishi Pro (2009) appeared at CheapPro Fonts; Bitsumishi Pro v2 followed in 2012), Butch, Byblostie, CHELIVES, Caddy (1996), CelticGaramond, CelticGaramondthe2nd, Chemistry, Coolthreepixels, Crystal Clear, Danube (techno, geometric), DataTransfer, Dredwerkz, ElephantMan, Escape Pod Normal, FUTURE, Faceplant, Finchley (1998), FreakShow, Gagarin (2001, a Cyrillic simulation and constructivist family), GraveDirt, Guevara, Haiku, Helldorado (2001, Western), Hibernate (2000), Iamsimplified, Indochine (2002, oriental letter simulation), IronLeague (2002, a Jonathan Barnbrook style face), Ivanbats, Ivanhoe, KabosGyula, Kalocsai Flowers Pi (2001), Kenzo, KingKikapu, Kozmonauta (2000), Kozmonauta2, Krizia Uomo (1995, art deco; later renamed Krizi Amo Pro in 2011, probably under pressure from Uomo), Leonardo (1996, a constructed face), Lefferts Corner (2001), LicenzPlate, Lousitania (2001, square-serifed), MagyarSerif, MarshGas, MathmosOriginal, Mutter (a stitch font), Niobium [Niobium Pro (2010, with Roger S. Nelsson) is used for signage and wayfinding in the new Mbombela Stadium built for the FIFA World Cup 2010], Nordic (2001; the Pro version appeared in 2010), Nushto (2000), Olympus (Greek simulation face), Peex (dot matrix family), Phatguy, PiratesGold (made commercial in the CheapProFonts collection of Roger S. Nelsson in 2009), Poison Berries (2000), PresidenteTequila (2000), RakettaFromMars (2001, fifties style futurism), Rammstein, RammsteinRemix (2001, constructivist), RedheadGoddess (2000), RedwildoderRotwild, Resurrection, Runningshoe, Sarkozi Line Patterns Pi (2001), Scully (scanbats), ScumoftheEarth (2000), Shazbot, Slither (1998), SmartSexy, SmartandSexy, Snake Venom (2000, Mexican simulation face), SpaceWorm (2000, futuristic), Sporty, Stonebridge, Subatonik, Sulphur (2000, a typeface influenced by gothic cathedrals), Tank Junior (2001), TerraX, Thrust (2000, Star Trek face), TickyFont, Treasure Island (2001, rounded with a semi-Greek look), TrustThisOne, TwoGunJohann (2000), TypeKnight (2001, with hairline serifs), VicePresidente (2001, Mexican simulation face), VoodooDolls, Voodoo Spirits (2001, wiggly hand), WeepingItalic, WhoulNormal, Zombieball.
Myfonts link. Roger S. Nelsson (Cheapprofonts) and Halmos extended Danube and Celtic Garamond in 2009 as Danube Pro and Celtic Garamond Pro, respectively. Fontspace link. Font Squirrel link. Dafont link.
View Levi Halmos's commercial typefaces. [Google]
Nonpareille (or: Chastellun.net)
Matthieu Cortat was born in Délémont (Switzerland) in 1982. After a degree in graphic design in 2005, at the University of Art&Design Lausanne (Ecal), he obtained a Masters at the Atelier National de Recherche Typographie in Nancy (France). He now works in Lyon, France, where he set up Nonpareille. He lectures at the Printing Museum of Lyon, France
Designer of Bentham (transitional),Bonesana (2009, Gestalten, an elegant text family straight out of the 18th century), Brett (2004, a rounded pixel face), Chastelmail (a modification of ITC Officina), Goupil (2008, by Regis Tosetti), Ecstrat (2009, ornamental 18th century type in the style of Fournier or Rosart), Fairplay (transitional newspaper face), Glovis (2007, a monospaced typewriter typeface with ball terminals; with Régis Tosetti), Hans (a Koch-style blackletter), Liberté, Tartan, Monolith, and Stockmar (2007, Optimo: a 12-style baroque family inspired by by Johann Rudolf Genath II (1679-1740)).
At Nonpareille, he designed Stuart Pro and Stuart Standard in 2008. These almost Venetian low-contrast text type families come in 18 styles each, and have three optical choices for the ranges below 8pt, 8-12 pt and above 12pt.
Ainsifont carries Brett (a computer font), Ecstrat and Glovis.
Typefaces from 2013:
- Louize. This is a contemporary revival of the Augustaux designed by Louis Perrin between 1846 and 1855. It mixes roman square capitals with a set of transitional / old style / incised lower case.
- Chrysaora. An all caps art deco typeface family based on the engraved letters on the Palais de la Porte Dorée in Paris.
- Ebnor. A digital version of the Écriture Bâton Normalisée (standardized sans serif) presented by M. Brun in a self-published booklet of 1959. The shape of letters respects the standard E-04-105 of the French Association for Standardization (AFNOR) which sets norms for industry, engineering and architecture. All letters are monolined and warmly rounded.
- Svafa. This is a rune simulation typeface that revives lettering designed by Eugène Grasset in 1893, on a poster for Richard Wagner's opera, Valkyrie.
- Petit Serif: Petit Serif is a caps typeface with copperplate endings, described as an interpretation (with Latin, Greek and Cyrillic versions) based on the lettering done at 55 Broadway, S.W.1, London, by Percy J. Delf Smith. It is a sans serif presenting the classic proportions of the Roman Square Capitals, yet it does show tiny serifs due to the use of a brush.
- Mecano Sans and Mecano Serif. A revival of a condensed geometric Nebiolo family.
- Henry. They write: Henry is a personal reinterpretation of the Garamond cut for the Deberny & Peignot type foundry between 1914 and 1926 by Henri Parmentier, under the management of Georges Peignot, who owned the foundry. Their purpose was to recreate the gracefulness of Claude Garamont's type typeface while allowing for the development of modern paper making, with its wood pulp paper, as opposed to 16th century rag paper. This elegant and smooth text family has its own mind: Henry is based on the text sizes (9 to 14) of the Garamond Peignot. It is a light and fluid Garald, rather skinny and narrow, with a slender grace. There is an art nouveau spirit in its z leaning on the left, its serpentine a and J, the roundish lower bowl of its t, the wide tail of its Q.
- Hans. A dark textura blackletter.
- Battling. This is quite an interesting sans family, in the geometric style of 1930s Europe. The original rough model was a typeface family called Universelles by the Dutreix foundry in Limoges, first produced in the 1930s. The heavier weights are characterized by small cactus spurs.
- Anacharsis. An experimental geometric sans family.
- Basetica Pro (2013). Even though only offered in two styles, the announcement says that Basetica aims to be the Helvetica for 2013.
View Matthieu Cortat's typefaces. View Nonpareille's font library. [Google]
The house font of the company Océ, based on Adobe Garamond. [Google]
Francesco Simoncini (d. 1967) founded Officine Simoncini foundry in Bologna. The typefaces originating from that foundry:
- The garalde family for book and newspaper work called Aster. Aster Simoncini is also at Ludwig&Mayer (1958). See also URW++ Aster, Austin (SoftMaker) and Dutch 823 (Bitstream).
- New Aster. Now at Linotype.
- Armstrong (1970).
- Delia (1962) was specially developed for small print in classified ads.
- Life (originally Ludwig&Mayer, 1965, done with W. Bilz), available from Linotype. Digital versions include Lyon and L730 Roman, both by SoftMaker, and Dutch 806 by Bitstream. There was also Fredonia by Varityper.
- Simoncini Garamond (1958-1961). Done with Wilhelm Bilz, it is now available at Linotype, Adobe, Scangraphic and elsewhere under that name. The Scangraphic version is called Garamond Simoncini SB. The Elsner&Flake version is Garamond Simoncini EF. The Bitstream version is called Garamond Italian, Italian Garamond, and Aldine 525. A very related typeface is Garamont Amstrerdam EF (2004, Elsner & Flake). See also Garamond No. 9 by URW++.
FontShop link. Klingspor link.
MyFonts catalog. [Google]
Old Style typefaces
[John D. Boardley]
A useful introduction to old style (or garalde) types by John D. Boardley. The types can be recognized by the horizontal crossbar on the "e", and more contrast between thick and thin (compared to humanist typefaces). The serifs have wedges, and the letterforms are smooth and refined. They were in vogue for almost 200 years, starting with Bembo in 1495 (Aldus Manutius and Francesco Griffo) and Francesco Griffo's first italic type in 1501. The French caught on 40 years later, and the Garamond-style typefaces saw the light ca. 1540, thanks to Claude Garamond and Robert Granjon. Christoffel van Dijck and Mikós Kis were doing garaldes in the Dutch region ca. 1600 (see styles like Ehrhardt). Finally, Caslon (William Caslon, ca. 1725) is also classified as a garalde. Old style digital faces include Berling, Calisto, Goudy Old Style, Granjon, Janson, Palatino, Perpetua, Plantin, Sabon and Weiss. [Google]
Hector Gatti, aka Pocho Gatt, is an Argentinian who runs Gatti Studio and Omnibus Type, and who codesigned the sans typeface Patagonia (1994) with Pablo Cosgaya. Omnibus (est. 2011) is a coop that focuses on web typography and high quality web fonts. All typefaces can be found at the Google Font Directory. All designers are from Argentina and Mexico. Their typeface library:
Another URL. Google Plus link. Fontspace link. Fontsquirrel link. Behance link. Klingspor link.
Catalog of typefaces. [Google]
Fonts designed by talented Swedish designer Franko Luin (born in Trieste, Italy in 1941, to Slovenian parents). Luin immigrated to Sweden in 1961. After studying at the Grafiska Institutet during the 1960s, Franko Luin spent two decades as a print designer for Ericsson before becoming independent. In the 1990s he was involved in multimedia and typeface design. In 1996, he founded his own typographic studio, Omnibus Typografi. At some point, he led a course in Web Typography at the Berghs School of Communication in Stockholm. Franko Luin passed away on September 15, 2005, in Tyresö, Sweden. Autobiography. Obituary by Dan Reynolds. Linotype pages on Luin.
His typefaces, all at Linotype: Omnibus (1993), Goudy Village (1994), Jenson Classico, Ad Hoc (1992), Baskerville Classico, Birka (1992), Bodoni Classico, Carniola (1993), Caslon Classico (1993), Devin (1994, roman), Dialog (1993), Emona (1992, roman), Esperanto (1992), Garamond Classico, Griffo Classico (1992), Humana, Isolde (1993), Jesper, Jonatan (1995), Kalix (1994), Kasper (1995), Kis Classico (1992), Marco Polo (1993), Memento (1992), Miramar (1993), Norma (1994), Nyfors (1995), Odense (1994; + Odense Neon (1993)), Pax (1995), Persona, Ragnar (1993), Res Publica (1992), Rustika, Saga (1992), Semper (1993), Transport (1995; +Transport Kapitäler), Vega (1994), Zip2000.
View Franko Luin's typefaces. [Google]
Athens and/or Kifissia, Greece-based typefoundry started in 1999-2001 by Panos Vassiliou. Their fonts cover Latin, Greek and Cyrillic. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 1999 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type.
Myfonts link. Behance link.
Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.
At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:
- PFAgora Pro: Agora Sans, AgoraSerif, AgoraSlab.
- PF Archive Pro (2004). He received a design award for his typeface Archive at the E AWARDS 2004. It has special typographic features and multilingual support for all European languages including Greek and Cyrillic.
- Bague Universal and Bague Sans (2014). A geometric grotesk that dares to be different. Accompanied by Bague Slab Pro (2014), PF Bague Inline Pro (2014), and PF Bague Round Pro (2014).
- Beau Sans (2011). Inspired by Bernhard Gothic.
- PF Benchmark Pro (2014).
- Bodoni Script (2009).
- Bulletin Sans (2000-2005)
- Centro (Sans, Serif, Slab). PF Centro Pro family (Sans, Serif, Slab, a trillion styles) won an European Design Award in May 2008 in Stockholm and at Paratype K2009.
- PFChampion Script Pro (2004-2008). A much lauded connected calligraphic script that is based on a calligraphic script by Joseph Champion, 1709-1765. Winner at Paratype K2009 and Granshan 2010. Images: i, ii iii, iv, v. The 4245-glyph family comprises Cyrillic, Latin and Greek subfamilies.
- Cosmonut (sic) (2002). A retro futuristoc typeface made by Dimitris Foussekis.
- PF Das Grotesk Pro (2014). Panos writes: Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton.
- DaVinciScript (2001-2006). A Treefrog-style script typeface by Vassiliou and Dimitris Foussekis.
- PF Dekka (2014). This solid elliptical sans family was influenced by Monaco's outline version called MPW.
- PF DIN (2010): PF DIN Display (2002-2005), PF DIN Mono, PF DIN Stencil, and DIN Text, PF DIN Text Condensed, PF DIN Text Compressed, DIN Text Arabic, DIN Text Universal. With Latin, Cyrillic and Greek coverage, each font has about 1300 glyphs. The designs go back to the the lettering of the Prussian railways around 1900. In 2013, PF Din Text Pro was published.
- Eco Park. A 3d outline face.
- PF Encore Sans (2009). A rich and versatile sans family supporting Greek, Latin and Cyrillic.
- PF Fuel Pro
- PF Fusion Sans (1996-2006)
- PF Garamond Classic.
- PF Goudy Intials and PF Goudy Ornaments. A winner at Paratype K2009.
- PF Handbook (2005-2007, sans family)
- HellenicaSerif. Chiseled look, Greek simulation face.
- House Square. A Bank Gothic lookalike.
- PF Isotext (2005). Meant for technical documentation, it is modeled after Isonorm.
- Kids, KidsStuff
- Lindemann and PF Lindemann Sans (2012).
- Mechanica A and B, 2002-2006. Octagonal families.
- PF Monumenta (2002-2006). A majestic lapidary roman family.
- Online (One, Two and Three). Pixelish family.
- PF Ornamental Treasures (2008). Byzantine ornaments and borders.
- PF Pixelscript
- Psychedelia (2003, Dimitris Foussekis). A psychedelic typeface.
- Regal Pro and Regal Finesse Pro: Award-winning high fashion display didone families, 2010-2012, originally designed for the Grazia magazine. Awards include Red Dot Awrd 2012, Communication Arts Annual Competition 2012, Creative Review Type Annual 2011, European Design awards 2011, EBGE awards 2011, Granshan Awards 2010.
- PF Reminder Pro (2003). A hand-printed typeface.
- PF Square Sans Pro, PF Square Sans Condensed Pro (2013).
- PF Stamps (2002-2006). A grungy stencil typeface by Panos Vassiliou and George Lygas.
- PF Synch Pro (2006). An industrial strength slab-serif typeface.
- PF Uniform
- PF Wonderbats (2003). Funky and strange animals.
- Wonderland (2006). By Dimitris Foussekis.
Their type blog is called Upscale typography.
Catalog. View all typefaces designed by Parachute.
Klingspor link. MyFonts interview. Behance link. [Google]
The main digital type foundry in Russia. ParaType was established as a font department of ParaGraph International in 1989 in Moscow, Russia. At that time in the Soviet Union, all typeface development was concentrated in a state research institute, Polygraphmash. It had the most complete collection of Cyrillic typefaces, which included revivals of Cyrillic typefaces developed by the Berthold and Lehmann type foundries established at the end of 19th century in St. Petersburg, and artwork from Vadim Lazurski, Galina Bannikova, Nikolay Kudryashov and other masters of type and graphic design of Soviet time. ParaType became the first privately-owned type foundry in many years. A license agreement with Polygraphmash allows ParaType to manufacture and distribute their typefaces. Most of Polygraphmash staff designers soon moved to ParaType. In the beginning of 1998, ParaType was separated from the parent company and inherited typefaces and font software from ParaGraph. The company was directed by Emil Yakupov until February 2014. After Yakupov's death, Irina Petrova took over the reins.
Products include FastFont, a simple TrueType builder, ParaNoise, a builder for PostScript fonts with random contours, FontLab, a universal font editor and ScanFont, a font editor with scanning module. Random, customized fonts. Multilingual fonts including, Latin, Cyrillic, Arabic, Greek, Georgian and Hebrew fonts for Macintosh and Windows.
Catalog. Designers. Alternate URL.
Famous typefaces by Paratype include Academy, Pragmatica, Newton, Courier, Futura, Petersburg, Jakob, Kuenstler 480, ITC Studio Script, ITC Zapf Chancery, Amore CTT (2004, Fridman), Karolla, Inform, Hafiz (Arabic), Kolheti (Georgian), Benzion (Hebrew).
The PT Sans, PT Serif and PT Mono families (2009-2012) are free. PT stands for Public Type. Another download site. PT Sans, for example, consists of PTSans-Bold, PTSans-BoldItalic, PTSans-Caption, PTSans-CaptionBold, PTSans-Italic, PTSans-Narrow, PTSans-NarrowBold, PTSans-Regular.
Other free ParaType fonts include Courier Cyrillic, Pushkin (2005, handwriting font), and a complete font set for Cyrillic.
Type designers include Vladimir Yefimov, Tagir Safayev, Lyubov Kuznetsova, Manvel Schmavonyan and Alexander Tarbeev. They give this description of the 370+ library: The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty typeface to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType also excels in adding Cyrillic characters to existing Latin typefaces -- if your company is ever going to do business with Eastern Europe, you should make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, and Zapf Elliptical 711.
Finally, ParaType offers a handwriting font service out of its office in Saratoga, CA: 120 dollars a shot.
View the ParaType typeface library. Another view of the ParaType typeface collection. [Google]
[Math Design fonts]
[Peter Gabor: A comparison of five Garamonds]
Peter Gabor: A comparison of five Garamonds
A comparison of Garamonds by Peter Gabor dating from 2006. [Google]
[Alphabet Innovations International -- TypeSpectra (Was: MM2000)]
Art director in Paris who created a stitching typeface out of Garamond and called it Garaline (2013). [Google]
Jean-François Porchez (b. 1964) lived in Malakoff near Paris until 2006, when he moved to Sèvres, and from there to Clamart in 2008. He studied at the Atelier Nationale de Recherche Typographique (or ANRT), and caught the world's attention when he created a new type family for Le Monde in 1994. His fonts Angie and Apolline were prize-winning entries at the Morisawa Typeface competition. He received the Charles Peignot award in 1998, and many awards at Bukvaraz in 2001 for fonts such as Ambroise and Anisette. He runs an increasingly important foundry, Porchez Typofonderie, and is the main typographical driving force in France today. Until 2004, he taught typography at ENSAD in Paris, and teaches occasionally at Reading. From 2004 until 2007, he was President of ATypI. His fonts:
- Allumi PTF (2009---Eurostyle meets Frutiger). Allumi comes in 27 styles. Allumi Dingbats (2009) is free: it has several fists and arrows.
- Alpha Poste (2005). A sans family for the group La Poste.
- Ambroise, Ambroise Firmin (condensed) and Ambroise François (extra condensed) (2001, 30 fonts in all). Inspired by late style (1830s) Didot's, and with g, y and k as in the types of Vibert, the Didot family punchcutter. See the specimen books of the Fonderie Générale.
- Angie (1995, FontFont). A flared humanistic sans in six styles.
- Anisette (1997, Font Bureau), Anisette Petite (2001-2008). Anisette is an art deco / avant garde family. The Petite is trending towards a more standard geometric sans. Anisette Pro Petite appeared in 2013.
- The Typelab fonts Antwerpen (1993) and Antarée (1993).
- Apolline (1995-1998, Porchez Typofonderie).
- Arcane (1997, Ogilvy-Quérac).
- Ardoise (2010). An extension of the Charente typeface (1999), which Porchez designed for the daily La Charente Libre, following the simple style of Franklin Gothic. The typeface extension to normal widths was developed from 2006 by Porchez and was used in 2010 in the redesign of the magazine Pelerin. Porchez: Ardoise PTF and its 45 series could be considered as an homage to Antique Olive. [...] It is virtually immune to distortion.
- Bienvenue (1999-2000, for France Telecom), Francetelecom-Demi (1999-2000, also for France Telecom).
- Charente (2000).
- Conqueror (2010). Jean-François Porchez was approached at the end of 2009 byReflex Image to create a set of typefaces to relaunch the Conqueror papers collection. AW Conqueror is a family of free fonts available at the slow, chaotic and dysfunctional Conqueror.com / Arjo Wiggins web site. Styles include Sans, Slab, Inline, Didot and Carved. Not to be confused with the 2005 family called Conqueror by Yuri Gordon.
- Courrier (1997).
- Deréon (2005). Custom design for Beyoncé Knowles, remotely related to Dwiggins' Caledonia.
- Disney Channel (1997).
- Henderson Serif & Sans [2006). A Baskerville-meets-Arial family conceived by J.-F. Porchez, but extended and perfected by J.-B. Levée.
- La Terre (1994-2000). Circulated on abf under the names BAAAAALaTerre-Regular in 2002.
- Le Monde Journal (1997), Le Monde Sans (1997), Le Monde Livre and Le Monde Livre Classic (1997), Le Monde Journal Ipa (2003, a phonetic family), Le Monde Costa (Costa Crociere), Le Monde Courrier (2002; image).
- Linotype Sabon (2002). An interpretation of Tschichold's Sabon. This project was conceived at Type Sexy Night in Leipzig with a thoroughly drunk Bruno Steinert.;
- Lion (1998, Peugeot automobiles).
- Pyrénée (1996, Albert Boton, Carré Noir).
- Mencken (2005). For the Baltimore Sun, dubbed a contemporary Didot by JFP himself. Mencken replaces Retina for the stock tables and small print---Retina was originally created by typographer Tobias Frere-Jones of Hoefler&Frere-Jones for use in The Wall Street Journal, but seems harder to read than Mencken).
- Parisine (1996). Read about the history here. Parisine Office was done in 2005 for the RATP. Other weights include Parisine Clair, Parisine Sombre, Parisine Plus.
- Renault Identité (2004). Designed for Renault, and based on lettering by Eric de Berranger.
- Retiro (2006-2009). A Didot headline suitably ibericized for the magazine Madriz. Winner at TDC2 2010.
- Singulier (2012) is a geometric sans typeface created for Yves Saint Laurent Parfums. It was inspired by the monogram and logotype called Yves Saint Laurent that was created by Cassandre in the early 1960s.
- Sitaline (a corporate type for SITA, 1998).
- Vuitton Persona (2007). An all-capital two-color custom font designed for Louis Vuitton Malletier. Retail since 2008.
FontFont write-up. Adobe write-up. Bio. At ATypI 2004 in Prague, he spoke about Parisine and legibility.
In 2014, Adverbum published the French/English book Jean François Porchez L'excellence typographique---The haute couture of typeface design, which has pieces by Karen Cheng, Aaron Levin, Muriel Paris and Sumner Stone.
Linotype link. Behance link. Another Behance link. FontShop link. MyFonts link. MyFonts interview in 2009. Behance link. Speaker at ATypI 2010 in Dublin.
View the typefaces made by Typofonderie Porchez. [Google]
Raslani Abdou Ousseni
Aka Shaashimov. French creator of the free font Tribal Garamond (2010), and the grungy faces Raslens Szayel Abedossen (2011), Raslens Shaa Abedossen (2011), Shamsini (2011).
Home page. FontM link. [Google]
He states that his name is also Raslens Shaa Abedossen. Whatever. Creator (b. 1987) of Tribal Garamond (2010), Raslens Abedossen (2009: outlined, shadowed hand-printed face), Raslani-Shaashimov (2009, splattered paint font), RaslaniKavaliarKaiser (2009, blood dripping paint font), Raslani und so weiter (2008, grunge), Raslani Ames Brisées (2008), RaslaniDestroyedSouls (2008), RaslaniMessenger (2008), Raslani American Letters (2008, hand-drawn athletic letters), Raslani Kaplash (2008), Raslani Tribal (2008), RaslaniAncientScript (2007), RaslaniUndaground-Bold (2007), RaslanihOoH (2007), Raslani the Pharaoh (2007, brush hand), Raslani-Hip-Hop (2007), Raslani-Horrorz (2007), Raslani-Melissa (2007). Home page. Another page. He lives in Tampon on Ile Reunion. [Google]
Red Rooster Typefoundry
Red Rooster is a Cedars, PA-based foundry run by Steve Jackaman (b. 1954, Greenwich, London). Steve started out at London's Face Photosetting. Red Rooster was founded in Philadelphia in 1990 and has about 500 fonts, mostly complete text families in the classical mould, revivals of Ludlow and other foundries, and revivals of fonts by Canadian designer Les Usherwood from the phototypesetting era. Families of fonts:
FontShop link. MyFonts link.
- Alexon (1993, by Les Usherwood), Alghera, Alphabet Soup (2007, a delicatessen signage typeface based on an 80s font he did while at Typographic House in Boston), Alys (calligraphic), Appleyard (1992, A. Pat Hickson), Aquarius (2007, based on a VGC font by that name), Argus (1992, Les Usherwood and Paul Hickson)
- Badger, Bannock Brae Gothic, Banque Gothique, Bassuto, Beckenham (1992, Les Usherwood and Paul Hickson), Bellini (an Egyptian family), BlockGothic (1996, Steve Jackaman at the Rabbit Reproductions Typefoundry), Bodoni Black Condensed (after R.H. Middleton, 1930), Bodoni Campanile (after R.H. Middleton, 1930), Byron
- Cameo, Canterbury, Canterbury OldStyle, Canterbury Sans (a tall-ascender sans family based on the 1920-1926 design by Morris Fuller Benton for ATF), Casablanca (1997, avant-garde typeface based on Carlos Winkow's Electra), Caslon Extra Condensed (based on a Ludlow face), TCCentury (1996, Les Usherwood and Steve Jackaman at the Rabbit Reproductions Typefoundry), Century New Style, Chamfer Gothic (after a condensed Ludlow typeface, ca. 1898), Chase, Chelsea (1993, Les Usherwood and Steve Jackaman), Claremont, Coliseum (1992, A. Pat Hickson and Julie Hopwood), Commander (1994, Steve Jackaman), Consort (1994, Steve Jackaman), ConranScript, Creighton (2009, a sans family), Coronet (after a 1937 typeface by R.H. Middleton).
- Dominus, Dundee (1993, A. Pat Hickson), Dungeon
- El Paso (2011, a Western/Mexican simulaton typeface based on El Paso from the Face Photosetting collection), Elston, Equestrienne, Erasmus, EuropaGrotesque, Extension
- Faust (1993: based on a 1958 typeface by Albert Kapr), Flexion Pro (2007, by Hal Taylor and John Langdon), Florentine Cursive (after a 1956 script by R.H. Middleton), ForumTitling, Frenchy
- Garamond RR Light (after a 1929 typeface by R.H. Middleton), Gargoyle, GilmoreFahrenheit, GilmoreSansExtBolExtCondTitl, Gothic Extension, Gothic Medium Condensed (after a 1939 Ludlow typeface), GoudyY38, Grand Canyon (2002, a condensed slab serif family based on wood type). GroveScript
- Hancock, Hauser Script (after a 1934 Ludlow font by Georg Hauser), Helium (1994, a mini slab serif face), Hess Old Style (1993, a revival of the garalde typeface Hess Old Style by Sol Hess for Lanston, 1920-1923), Honduras
- Inverness, Iron Maiden RR
- Jardine, Javelin, Jolly Roger (2003, a digitization of a 1970 font by Phil Martin), Jubilee
- Keyboard, Kingsley, Kingsrow
- Leighton, Lesmore, Los Alamos (2007, a condensed sans companion of Grand Canyon)
- Madrid (based on Nacional, a 1941 typeface by Carlos Winkow), Maximo, Mechanic Gothic DST, Megaphone, Motorcross (2008, after an art deco font from 1930 by Ludwig&Mayer)
- PallMall, Phoenix Pro (2011), Phosphate (based on Phosphor by J. Erbar, 1922-1930; contains a nice Inline; Phosphate Pro Solid and Inline was done with Ashley Muir in 2010), Pipeline, Poor Richard, Portobello (loosely based on Aldo Novarese's Pontecorvo)
- Radiant RR (after a 1938 typeface by R.H. Middleton), Railroad Gothic (an American caps-only grotesque based on a Ludlow original, ca. 1900), Raleigh, RRRaleighGothic, Razor Bill (based on the original typeface from Face, London, circa 1972), Ribbit, RivoliInitials
- Rocklidge Pro (2011, with Ashley Muir). Based on Jana (Richard D. Juenger, VGC, 1965).
- Roman Tyres (1997).
- SaintLouis, Salzburg, Schiller Antiqua (based on Nacional's Hispalis), Schindler, Secret Service Typewriter (2002, based on a 1905 proof of an early Remington typewriter font from the Keystone Type Foundry), Shinn, Shortwave Gothic, Silverado, Sinclair, Sphinx (1992, Steve Jackaman, based on a 1925 design by Deberny&Peignot), Stanhope, Stirling, Superba, Sycamore
- TCAdminister (1994, Les Usherwood and Steve Jackaman), Tempo, Thingbat, TitanicCondensed, Triple Condensed Gothic
- Ultraduck, Ultra Modern RR (after a 1928 art deco typeface by Douglas McMurtrie).
- Venezuela (2000, Mexican simulation face, based on Albert Auspurg's Vesta from 1926, created by Pat Hickson), Veronese
- Waverly, Willard Sniffin Script (2007, based on Willard Sniffin's 1930s ATF brush script called Keynote)
- Yeoman Gothic
- Xctasy Sans (2002, an avant-garde family influenced by the the 1960s typeface Design Fineline)
Alphabetic catalog of the Red Rooster typeface library [large web page warning]. [Google]
Review of ITC Galliard
Matthew Carter's ITC Galliard is reviewed by Tim Rolands. [Google]
Ricardo Rodrigues dos Santos
[Jacques de Sanlecque the elder]
Born in Rome, 1513-1589. He did most of his work in Paris. Granjon's designs live on in the balanced Plantin family, designed by Frank Hinman Pierpont in 1913 at Monotype, and available at Linotype (and elsewhere).
The Gothic italic typeface Civilité (1566; some say 1557) is also due to him, as well as Parangonne Grecque. The first modern metal version of Civilité is due to Morris Fuller Benton (1922, ATF). Among the digital versions, Ralph M. Ungers's Civilité (Profonts / URW++) is noteworthy.
W.A. Dwiggins' Eldorado (1953) was based on an early roman lowercase of Granjon. Font Bureau's Eldorado (1993-1994), developed by David Berlow, Jane Patterson, Tobias Frere-Jones and Tom Rickner for Premiere Magazine, was a far-reaching extension of that.
Brigitte Schuster did a revival of Monotype Plantin at KABK in 2010.
Scans of original work: First Italic (1543), Italique Petit Romain (1543), Gros Cicero (1569), Saint Augustin (1580), French Civilité (1566).
The Linotype Granjon typeface designed by George W. Jones in 1928 is a Garamond though---Jones used Granjon's work as a model for his italic---, and the name seems to suggest that Granjon created the model for this garamond, which is not the case. Image of Linotype's Granjon. For related typefaces, see ITC Galliard (1978, Matthew Carter).
Images of digital typefaces that descend from Granjon's work.
FontShop link. Klingspor link. Image from Dialogue de la vie et de la mort (1557). [Google]
Robert Hunter Middleton
Robert Hunter Middleton
American designer (b. Glasgow, 1898, d. Chicago, 1985), who spent his entire life at Ludlow Typograph Company (retiring in 1971) and built an impressive type library, creating over 100 typefaces. He received a doctorate in Fine Arts from Transylvania University. Ludlow hired him in 1923, where he became type director in 1993. He retired from the Ludlow Typograph Company in 1971. At Ludlow, he had to create solid commercial variations of existing typefaces for the Ludlow machine and come up with practical new designs. Bio by Nicholas Fabian. One can also consult the M.A. dissertation of Stephen Glenn Crook at the University of Chicago, entitled "The contribution of R. Runter Middleton to typeface design and printing in America" (1980), which lists his 98 typefaces of his 24 type familes. His oeuvre:
Among his books:
- Eusebius (1924). This page explains that Ernst Detterer started work for Ludlow on Nicolas Jenson in 1924. Middleton drew Nicolas Jenson Italic at Ludlow in 1929, followed by Bold, Bold Italic, and Roman Open series in later years. In 1937 the family was renamed Eusebius. Nicolas Jenson SG is a revival at Spiece Graphics in 1995 by Jim Spiece.
- Ludlow Black (1924). Mac McGrew: Ludlow Black was designed by Robert H. Middleton for Ludlow in 1924. It is very similar to Cooper Black, the most apparent differences being the concave serifs and the greater slant of the italic. Also compare Pabst Extra Bold.
- Cameo (1927, a chiselled font). Mac McGrew: Cameo was designed by R. Hunter Middleton for Ludlow in 1926. It is derived from a heavy version of Caslon, with a thin white line within the left side of each heavy stroke, giving a very pleasing appearance. A 1926 Ludlow ad says of it, "Designed and punches produced in our own plant". Apparently it was the first, or one of the first, so produced. Compare Caslon Shaded, Caslon Openface, Caslon Shadow Title, Gravure, Narciss.
- Caslon Extra Condensed. See Caslon RR Extra Condensed by Steve Jackaman.
- Delphian Open Titling (1928).
- Stellar (1929, a serifless roman done 29 years before Zapf's Optima!). Mac McGrew: Stellar and Stellar Bold were designed by R. Hunter Middleton for Ludlow in 1929 as a less severe alternative to the monotone sans-serifs which were coming into great popularity. There is moderate thick-and-thin contrast, and strokes flare slightly toward the ends, while ascenders and descenders are fairly long; all this gives a feeling of warmth and pleasantness. Cap M is widely splayed, and sloping strokes are cut off at an angle. An alternate A, E, and H in both weights have the crossbar extended beyond the left upright, and there is an alternate U without the extended vertical stroke. Compare Optima, Lydian, Radiant.
- Garamond (1929-1930, see the Font Bureau revival FB Garamond, and Steve Jackaman's Garamond RR Light).
- Tempo (1930-42, a sans family) and Tempo Heavy Inline (1935). Mac McGrew: Tempo is Ludlow's answer to the sans serifs which gained popularity in the late 1920s. The entire series was designed by R. Hunter Middleton, director of Ludlow's department of typeface design. The Light, Medium, and Bold weights were introduced in 1930, Heavy and several variations in 1931, and other variations over the next decade or more. They are generally a little different from other sans serifs, and include some innovations not found elsewhere. The most distinctive characteristics are found in the Light Italic and Medium Italic, which have a somewhat more calligraphic feeling and less stiff formality than other such faces, and which also offer alternate cursive capitals, rare in sans serifs. But there are more inconsistencies in Tempo than most other families. For instance, the Light, Medium, Bold, and Heavy Italics are designed with a moderate slope of 10 degrees to fit straight matrices without too much gap between letters; this works well enough in the lighter weights, but produces a loose effect in the more rigid heavier weights. But the two largest sizes of Tempo Bold Italic and some of the other italics are designed to fit italic matrices with a slant of 17 degrees, which is rather excessive for sans serifs, especially the condensed versions, although it is handled well. Variant Oblique characters are available for Medium Italic which get away from the calligraphic feeling; only these and none of the cursive characters are made in (Tempo continues) the largest sizes. Tempo Bold Extended and Black Extended show the influ- ence of other European grotesques, with much greater x-height and some characters unlike those in the normal and condensed widths. There are a number of alternate characters for many of the Tempos. especially in the Medium, Bold, and Heavy weights; their use converts Tempo to an approximation of Kabel or other series. But a few alternates are not enough to create the effect of Futura, apparently demanded by some users, so Tempo Alternate was created in several weights, and introduced about 1960. This is close to Futura, except that the italic has Ludlow's 17-degree slant, much greater than Futura's usual 8 degrees. This family-within-a-family also has some alternate characters in some weights, to further convert the typeface into an approximation of other European grotesques. Tempo has been quite popular with newspapers, and to a lesser extent for general commercial printing. Compare Futura, Sans Serif, Erbar, etc. Also see Umbra.
- Karnak (1931-42, a slab serif family). Mac McGrew: Karnak is a family of square-serif types designed by Robert H. Middleton for Ludlow, beginning in 1931, when the light and medium weights were introduced, with other weights and widths announced as late as 1942. Like Stymie, the other extensive American square-serif series, it is derived from Memphis, and all three series are very similar. Most members of the Karnak family are most easily distinguished by the cap G. Karnak italics are also distinguished by a greater slant to fit Ludlow's 17-degree matrices, except 14-point and smaller in Karnak Intermediate Italic and Medium Italic, which are made on straight matrices and slant about 10 degrees. Light and medium weights have several alternate round capitals as shown; the very narrow Karnak Obelisk also has comparable alternate round AEMNW. Compare Cairo, Memphis, Stymie. One magazine article speaks of Karnak Open, but this has not been found in any Ludlow literature.
- Lafayette (1932).
- Mayfair Cursive (1932). Revived as Mayfair (2006, Rebecca Alaccari, Canada Type).
- Umbra (1932). Mac McGrew: Umbra was designed by Robert H. Middleton for Ludlow in 1932. It is essentially a shadow version of Tempo Light, in which the basic letter is "invisible" but there is a strong shadow to the lower right of each stroke. Compare Shadow. Images: URW Umbra.
- Eden (1934, a squarish didone). See digital revivals by Jason Castle called Eden Light and Eden Bold, 1990, and by Steve Jackaman and Ashley Muir at Red Rooster called Eden Pro (2010).
- Mandate (1934).
- Ludlow Bodoni (1936; see Bodoni Black Condensed by Steve Jackaman, and Modern 735 (Bitstream's version of Middleton's Bodoni)). Bodoni Campanile (1930; see Bodoni Campanile, 1999, by Steve Jackaman). Bodoni Modern (1930). See a digital revival called PL Modern Heavy Condensed.
- Coronet (1937). This is Ribbon 131 in the Bitstream collection and Coronet by Steve Jackaman.
- Flair (1941).
- Admiral Script (1953).
- Condensed Gothic Outline (1953).
- Cloister Open Face (1920).
- Florentine Cursive (1956). See Florentine Cursive by Steve Jackaman.
- Formal Script (1956).
- Radiant (1938, see EF Radiant at Elsner+Flake, and Radiant RR at the Red Rooster foundry). McGrew: Radiant was designed by Robert H. Middleton for Ludlow, and introduced in 1938, with additional members of the family being added over the following two or three years. It is a precise, thick-and-thin, serifless style, express- ing the modem spirit of the forties while breaking away from the ubiquitous monotone sans-serifs. Radiant Medium is actually about as light as possible to maintain thick-and-thin contrast, but bold and heavy weights offer substantial contrast. All upright versions have as alternates the round forms of AKMNRW, as shown with some of the specimens. Italics have the standard 17-degree slant of Ludlow italic mats, which is rather extreme for serifless faces, except for small sizes of Medium Italic, which are made on straight mats and are redesigned with about 10-degree slope. Like most Ludlow faces, all versions of this typeface have fractions and percent marks available as extras. Thick-and-thin serifless faces are rare in this country. Compare the older Globe Gothic; also Empire, Stellar, Lydian, Optima, and Czarin, which aren't really in the same category.
- Record Gothic (1927-61).
- Samson (1940). Mac McGrew: Samson is a very bold, sturdy typeface designed by R. Hunter Middleton in 1940 for Ludlow. It is derived from lettering done with a broad pen, and retains much of that feeling. The name was chosen to denote power and strength. It has been popular for newspaper advertising in particular. Compare Lydian, Valiant. An interpolation between a signage typeface and a poster face, it was revived as Ashkelon NF (2011, Nick Curtis).
- Square Gothic.
- Stencil (1937-1938). A Cyrillic was made by Victor Kharyk.
- Wave (1962), a connected brush script. Digitizations include Coffee Script (2006) and Middleton Brush (2010), both by Patrick Griffin at Canada Type. Mac McGrew: Wave was designed for Ludlow in 1962 by Robert H. Middleton. It is a 1 medium-weight script, not quite joining, with a brush-drawn appearance and thick-and-thin contrast. The apparent angle is quite a bit more than the 17-degree slope of Ludlow matrices, but letters fit together compactly without noticeable looseness, and form smoothly flowing words. Compare Brush. Mandate, Kaufmann Bold.
- Andromaque. Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of Andromaque in 1995.
- "Making Printer's Typefaces" (1938, The Black Cat press, Chicago, IL). In this book, he shows his own creations for Ludlow matrices, and talks about typography in general.
- Chicago Letter Founding (1937, The Black Cat Press, Chicago, IL). Middleton calls Chicago the printing center of the nation, and goes on in this small booklet about the lives and contributions of people like Robert Wiebking, Frederic Goudy, Bruce Rogers, Oswald Cooper, and himself.
Linotype link. Drawing.
Pictures: i, ii, iii, iv.
View the typefaces made by Robert Hunter Middleton. [Google]
After a start at Autologic in Newbury Park in 1983, this prolific American master craftsman (b. Evanston, IL, 1956) helped pioneer digital type design at Adobe (which he joined in 1987) and created
- ITC Slimbach (1987).
- ITC Giovanni Book (1988).
- Adobe Garamond (1989-1991): A bit of the history of Adobe Garamond revealed.
- Adobe Jenson (1996).
- Utopia (1989-1991) [the Utopia Opticals were released in 2002].
- Minion (1990-1991): Minion was first released in 1990, and became later the first Adobe Opentype font. It has support for Greek and Cyrillic, including polytonic Greek. Minion Cyrillic is from 1992.
- Myriad (1992, with Carol Twombly). Myriad Arabic and Myriad Hebrew were first published in 2011.
- Poetica (1992). In 2010, Paulo Heitlinger compared Poetica, in its smooth perfection, with P22 Operina, which is closer to the original chancery models of the 20th century, and he thinks Poetica lacks the vigor and dynamism of the originals (and P22 Operina does not).
- Sanvito (1993).
- Caflisch Script (1993, not my favorite script).
- Cronos (1996). Image by Jamie Groenestein). modeled after Kuester's Today Sans. Image of Cronos Pro Display.
- Kepler (1996).
- Warnock Pro (2000), which won an award at the Type Directors Club (TDC2) 2001 competition.
- Brioso (2002). A calligraphic/renaissance family comprised of over 40,000 glyphs. Images of Brioso: A poster by Kristina Reinholds, a poster by Nick di Stefano.
- Garamond Premier Pro (2005), based on originals found in the Plantin Museum in Antwerp. Weights include GaramondPremPro-BdItalic, GaramondPremPro-Bold GaramondPremPro-Italic, GaramondPremPro-Medium, GaramondPremPro-MediumIt, GaramondPremPro-Regular, GaramondPremPro-SbIt, GaramondPremPro-Semibold. Greek, Latin and Cyrillic are covered.
- Arno Pro (2007: typophile discussion) is in the style of Adobe Jenson. Review by Typographica Thomas Phinney: Arno is what you might call a modernized Venetian oldstyle. I think of it as having the same relationship to Adobe Jenson that Minion has to Garamond Premier.
- Adobe Clean (2009). David Lemon: After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it has been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There is no plan to make it available for licensing, but you will be seeing more of it in Adobe materials and products as time goes on. Our initial question was "Why not just keep using Myriad Pro and Minion Pro?" These faces were designed to be timeless, and they are among our most popular families. But that second part points to the catch in this situation: Myriad, in particular, is used to represent many other companies, including businesses close to Adobe's (such as Apple and Verizon). Adobe wanted a fresh look that could remain unique. While some typeface designers do much of their work for corporate clients, this area was new to us. Robert&I met with the leaders of Adobe's Experience Design and Brand teams to develop a design brief. They wanted a 21st-century feel combined with an earnest readability. As the project grew, Christopher Slye led regular follow-up meetings with the client teams to keep them up to date and tease more input out of them. Robert's accustomed to aiming his work at the more general case, so it was an interesting challenge to have a very specific set of design goals. What he produced is as classic as all his other designs, but with an uncharacteristic blend of contemporary touches for on-screen rendering and a more progressive feel. More scans: i, ii, iii, iv.
- Adobe Text (2010), a transitional family included in the standard font set for Adobe Creative Suite 5.
- Trajan Pro 3 (2011, with Carol Twombly) and Trajan Sans (2011). The Trajan Sans family comprises six weights, ranging from Extra Light to Black (matching the weight range in Trajan Pro 3), with language coverage for Pan-European Latin, Cyrillic, and Greek. Maxim Zhukov advised on the design of the Cyrillic portion of the family, and Gerry Leonidas advised on the Greek, while Frank Grießhammer provided technical production support.
For Warnock Pro, he got an award at the Type Directors Club (TDC2) 2001 competition. In 1991, he received the Prix Charles Peignot for excellence in type design. Minion Pro Greek, Minion Pro Cyrillic&Greek and Brioso Pro won awards at the TDC2 Type Directors Club's Type Design Competition 2002. At TDC2 2006, he won an award for Garamond Premier Pro. Arno Pro won an award at the TDC2 2007 competition. Bio at Linotype. Minion Pro now ships with Acrobat Reader and covers all European languages, including Greek and Cyrillic.
View Robert Slimbach's typefaces. [Google]
Rotalic is a rotation applied to a typeface. It is a variation similar to the oblique type and the italic type as the vertical lines of a glyph are inclined, but it differs from these other variations in keeping the original shape of the characters. Therefore, any typeface can have a rotalic version. It was invented as an idea and a word in 2007 by Swede Filip Tydén. [Google]
Rubicon Computer Labs Inc.
In Chelsea, Québec, Lee-Jeff Bell designed many type families that are patterned after major historical type families, mimicking what Bitstream did in the late eighties. He also developed Thames and Helv Condensed, and Unifont. Rubicon claims that their fonts are optimally hinted for even very small screen resolutions. The fonts:
- Realist Fonts: Hilbert Neue (a sans typeface in the style Helvetica Neue), Uranus (like Univers).
- Humanist Fonts: Opulent (like Optima), Frobisher (like Frutiger), Guilford (like Gill Sans).
- Book Fonts: SGaramond (a 4-weight Stempel Garamond clone), Bentley (like Bembo), Burnett (like ITC Berkeley Oldstyle).
- Legacy Fonts: Hilbert (like Helvetica), Tribune (like Times), Hilbert Condensed (like Helvetica Condensed), Tribune Condensed (like Times Condensed).
- Condensed Fonts: Hilbert Neue Condensed (like Helvetica Neue Condensed), Frobisher Condensed (like Frutiger Condensed), Uranus Condensed (like Univers Condensed).
- Packaging Fonts: Karat (like ITC Kabel), IGaramond (like ITC Garamond).
- Newspaper Fonts: Essex (like Excelsior), Gisborne (like Gazette).
- Other: Hilbert Compressed (like Helvetica Compressed), Sharpe Classified (like Spartan Classified).
Yet another URL. This site offers free demo fonts by Rubicon: Bentley (Bembo-like), BurnettDemo-Normal, FrobisherCondDemo-Normal, FrobisherCondDemo, FrobisherDemo-Normal, FrobisherDemo, GisborneDemo, GuilfordDemo-Normal, GuilfordDemo, HilbertNeue, HilbertNeueCondDemo-Normal, HilbertNeueCondDemo, HilbertNeueDemo-Normal, HudsonCondDemo, HudsonDemo, IGaramondDemo-Normal, IGaramondDemo, Karat, KaratDemo-Normal, OpulentDemo-Normal (humanist sans), OpulentDemo, SGaramondDemo-Roman, SGaramondDemo, TribuneCondDemo, TribuneDemo, UranusCondDemo-Normal, UranusCondensedDemo, UranusDemo-Normal, UranusDemo. [Google]
Digital versions of Jan Tschichold's Sabon or Sabon Antiqua (1967, Stempel) include Sabius (URW), Sybil (Autologic), Classical Garamond (Bitstream), Aldine 421 (Bitstream), Symposia (Compugraphic), September (Scangraphic), Berner (Varityper), and Savoy (SoftMaker). [Google]
This company evolved in 1983 from Dr Boeger Photosatz GmbH (est. ca. 1934). The timeline:
- 1934: Marius Böger founded the first company to manufacture and market photocopying machines and reprographic devices.
- 1950: Dr. Böger Duplomat Apparate GmbH was founded. Its objective is the production of diazo (blue-printing) machines, equipment for diffusion transfer processing and photographic reproduction.
- 1955: One of the company's first innovative products comes onto the market, the first vertical reproduction camera.
- 1958: Intercop, a Dr. Böger subsidiary, started marketing a range of rapid processing machines, vertical repro cameras and processors for proofs and offset plates.
- 1969: Dr. Böger Photosatz was founded.
- 1976-81: Dr. Böger Photosatz develops its Copytronic phototypesetter. This machine worked on the basis of an opto-mechanical principle, and was set out to compete with Berthold's Diatronic. Hundreds of fonts from the headline library were reworked to meet the needs of the new machines. Although a small number of around 10 machines could be built and sold in Germany and Switzerland, many technical problems with the new equipment drained the financial resources. Thus the Copytronic machine is withdrawn from the market. The company survives by producing its succesful reproduction cameras for Agfa Gevaert. After a few difficult years, Dr. Böger Photosatz sets out to develop its digital typesetting system called Scantext. The output device is a CRT-machine with a resolution of 1000 lines per cm. The Copytronic type library is digitized using a video camera with a typical resolution of 512 x 512 pixels to the em quad. Bernd Holthusen proudly describes it as the fastest type digitizing system in the world. From 1971 until the mid 1980s, it designed and manufactured a family of photolettering machines for headline typesetting and offered a library of more that 1000 film fonts for that application. These were popular under the brand name VISUTEK in the UK (In the rest of Europe they were labelled and sold as Copytype, a trademark by Dr. Böger Photosatz GmbH). Additionally they were the creators and makers of a wide range of process cameras and film processing systems marketed worldwide under the Agfa brand
- 1981: The company produces the phototypesetting system Scantext 1000. By the beginning of 1985 around 750 Bodytypes were available for the Scantext system.
- 1983: The company evolves into Scangraphic. More than 2000 fonts were digitised by the Scangraphic company under the personal supervision of Bernd Holthusen, principally by Volker Küster (1984-1989), Jelle Bosma (1988-1991) and Albert-Jan Pool (1987-1991). These fonts were produced originally for the proprietary "Scantext" CRT digital output device and subsequently for the Scangraphic family of laser imagesetters. Quoting Pool: By the time we had completed the Ikarus Database in order to be able to covert our headline fonts to Postscript, URW had finished its Type1 converter. Our first PostScript product was a Macintosh-CD Rom with the complete library of headline fonts (those with Sh in the name) on it. The fonts were released in Type1 format for the Macintosh environment starting in 1991.
- 1984: Scangraphic starts working on its library of headline fonts, using a proprietary high resulution short vector format which enables output sizes up to 90 mm cap height. After developing its own digital outline font format, Scangraphic starts making use of URW's Ikarus technology to produce a library of headline fonts. As from 1989, Ikarus outlines were made to fit the metrics of the Scangraphic library of bodytype fonts in order to replace the proprietary pixel based font format by digital outlines. Thus the basis was laid for converting the complete library of headline and bodytype fonts into the PostScript Type1 format.
- 1989: The owner/partners sold the business to the large German company Mannesmann AG (and the font collection is sometimes referred to as the Mannesmann-Scangraphic collection), becoming Mannesmann Scangraphic GmbH in Wedel near Hamburg.
- 1994: Mannesmann breaks the umbilical chord and the company becomes Scangraphic Prepress Technology GmbH.
- 2004: the company moves from Wedel/Hamburg to Seligenstadt, Germany. The company still operates on the European mainland making and selling high resolution film and plate imaging systems. The font department is no longer in operation.
- End of 2004: Elsner&Flake buy the font collection, and start selling the fonts under the Elsner&Flake umbrella. The 2500-strong font collection has names that either have a suffix SB (for body types) or SH (for headline types, also called supertypes). Among the tens of examples, we find classics such as Jakob Erbar's Koloss SB.
- 2006: Ulrich Stiehl publishes a document in which he discusses the collection of fonts. He reports clear correspondences with known font families, examples including Ad Grotesk (=Akzidenz-Grotesk by Berthold), Artscript No 1 (=Künstlerschreibschrift fett by Stempel/Linotype), Black (=Block by Berthold), Chinchilla (=Concorde by Berthold), Cyklop (=City by Berthold), Esquire (=Excelsior by Linotype), Europa Grotesk (=Helvetica by Linotype), Europa Grotesk No. 2 (=Neue Helvetica by Linotype), Flash (=Okay by Berthold), Freeborn (=Frutiger by Linotype), Gentleman (=Glypha by Linotype), Grotesk S (=Neuzeit Buch by Stempel), Madame (=Madison by Stempel), Matrix (=Melior by Linotype), October (=Optima by Linotype), Parlament (=Palatino by Linotype), Paxim (=Palatino by Linotype), September (=Sabon by Linotype), Synchron (=Syntax by Stempel), Vega (=Volkswagen VAG Rundschrift). There are also originals like Volker Küster's Today Sans Serif and Neue Luthersche Fraktur, Zapf Renaissance by Hermann Zapf, and Forlane by Jelle Bosma. Küster, Pool, Zapf and Bosma have nothing to do with the non-original fonts in the collection. The typophile community shrugs Stiehl's complaints off.
- 2008: The Scangraphic collection can be bought at Elsner&Flake.
A technical discussion by Yves Peeters. MyFonts link. Link to Scangraphic PrePress Technology GmbH in Seligenstadt. Elsner&Flake shop. Home page.
View the Scangraphic typeface library. [Google]
Schriftklassifikation nach DIN 16 518
Type classification (in German) according to the DIN 16 518 system invented in 1964. Pages by Bernhard Schnelle. I will use his German nomenclature, and quote his examples of each style.
- I. Venezianische Renaissance-Antiqua: Amalthea, Ascot, Berkeley Old Style, Centaur, Concorde, Deepdene, Eusebius, Goudy Italian, Guardi, Horley Old Style, Jersey, Lutetia, Menhart-Antiqua, Normandy, Seneca, Schneidler-Mediaeval, Trajanus, Verona, Weidemann, Worcester Round.
- II. Französische Renaissance-Antiqua [garalde types]: Aeterna, Aldus-Buchschrift, Bembo, Berling, Charter, Comenius-Antiqua, Garamond, Granjon, Leipziger Antiqua, Meridien, Michelangelo, Octavian, Palatino, Perpetua, Plantin, Sabon-Antiqua, Trump-Mediaeval, Van Dijck, Vendome, Weiß-Antiqua.
- III. Barock-Antiqua [transitional types]: Baskerville, Bernhard Modern, Bookman, Caledonia, Caslon, Century, Century Schoolbook, Cheltenham, Cochin, Diotima, Ehrhardt, Imprimatur, Janson, Life, Nicolas Cochin, Poppl-Antiqua, Raleigh, Schoolbook, Scotch, Tiffany, Times.
- IV. Klassizistische Antiqua [modern or didone types]: Bauer Bodoni, Bodoni-Antiqua, Linotype Centennial, Corvinus, De Vinne, Linotype Didot, Ellington, Falstaff, Fat Face, Fenice, Madison-Antiqua (Amts-Antiqua), Normande, Tiemann-Antiqua, Torino, Walbaum-Antiqua.
- V. Serifenbetonte Linear-Antiqua [slab serif]: Aachen, Clarendon, Memphis, Old Towne, Pro Arte Schadow-Antiqua, Serifa, Volta.
- VI. Serifenlose Linear-Antiqua [sans]: Akzidenz-Grotesk, Antique Olive, Avant Garde Gothic, Cosmos, Delta, Erbar-Grotesk, Eurostile, Folio, Franklin Gothic, Frutiger, Futura, Gill, Helvetica, Univers.
- VII. Antiqua-Varianten: Abbot Old Style, Amelia, Americana, Arnold Böcklin, Banco, Calypso, Churchward, Cooper Black, Dynamo, Eckmann, Glaser Stencil, Hobo, Lasso, Mexico Olympic, Plastica, Profil, Souvenir, Stop, Superstar, Tintoretto, Traffic, Washington, Windsor, Zipper.
- VIII. Schreibschriften [scripts]: Arkona, Amazone, Bison, Boulevard, Brush Script, Caprice, Charme, Choc, Diskus, Englische Schreibschrift, Künstler-Schreibschrift, Lithographia, Mistral, Reiner Script, Rondo, Signal, Swing, Vivaldi.
- IX. Handschriftliche Antiqua: American Uncial, Antikva Margaret, Arcade, Codex, Delphin Dom Casual, Hadfield, Klang, Koch-Antiqua, Libra, Lydian, Ondine, Poetica, Post-Antiqua, Prima, Ritmo, Solemnis, Studio, Time Script.
- X. Gebrochene [Fraktur, blackletter], subdivided into Xa Gotisch, Xb Rundgotisch, Xc Schwabacher, Xd Fraktur, Xe Fraktur-Varianten.
- XI. Fremde Schriften [foreign types]: all non-Latin typefaces.
From Mönchengladbach, Germany, Christian Bauer's commercial fonts: Buddy (childish leters), Grandma, Lineal, Missal, Salatino (free), World (dingbats), Linotype Compendio (1997, grungy), Oneworld. You may request a free copy by email of Salatino, a reworked Garamond.
Klingspor link. FontShop link. [Google]
Designer at Graphic bureau Az-Zet of the zodiac sign font LifeSigns (1995), the Cyrillic/Latin fonts AZGaramondExtraBoldC (1990-1995), ParagonNordC (1990-1995), and ELIZAZPS (1993). [Google]
Shoko Mugikura is a typographer and graphic designer currently based in Berlin. Since spring 2010, she has been jointly running the type design studio Just Another Foundry with Tim Ahrens, while she continues to work on her own projects. Together, they designed JAF Domus Titling (2011), a rounded typeface with classical Roman proportions, and JAF Garamond (unreleased). [Google]
Simon de Colines
French Renaissance era printer and typographer, 1480-1547. Colines was associated with the elder Henri Estienne and continued his work after his death in 1520. That work included marrying Estienne's widow and running Estienne's press. Robert Estienne I, the son of Henri, entered the business in 1526, by which time Colines had set up his own shop nearby. In 1528 Colines started using italic type. He published Greekand Latin classics, as well as scholarly works in the natural sciences, cosmology, and astrology. He is credited with the design of italic and Greek fonts and of a roman typeface for St. Augustine's Sylvius (1531), from which the Garamond types were derived. In 1525 he published the ewll-known Grandes Heures de Simon de Colines, with decorations by Geoffroy Tory. Check out Kay Amert's book Intertwining Strengths: Simon de Colines and Robert Estienne (2005, Penn State University Press). [Google]
Simoncini Garamond (1961, Simoncini) is also called Italian Garamond (by Bitstream and SoftMaker, for example). Bitstream made a derivative called Aldine 525. We also have a similar URW Garamond No9, which, according to URW++, is based on an original by Stephenson Blake. Other digital versions called Simoncini Garamond are sold by Linotype, Adobe, Elsner & Flake, and Scangraphic. Close relatives include Garamont Amsterdam EF (2004, Elsner & Flake) and Sabon (Linotype).
Links: Simoncini Garamond (Linotype), Simoncini Garamond (Adobe), Garamond Simoncini EF (Elsner+Flake), Garamond Simoncini SH (Scangraphic Digital Type Collection), Garamond Simoncini SB (Scangraphic Digital Type Collection), Italian Garamond (Bitstream), Garamont Amsterdam EF (Elsner+Flake), Garamond No 9 (URW++), Sabon (Linotype).
Compare various Simoncini Garamond typefaces. A listing of various digital typefaces related to Simoncini Garamond. [Google]
Great Italian illustrator in Firenze. Behance link. On January 1, 2012, he created a wonderful Chicks&Types 2012 Calendar using twelve different typefaces.
A set of illustrations called Chicks&Wheels: i, ii, iii, iv, v, vi, vii.
The calendar: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii.
In 2013, he published a sequel, Chicks and Types Volume 2. [Google]
Sjoerd Hendrik de Roos
Dutch typographer and type designer, b. Drachten, 1877, d. Haarlem, 1962. He worked at Tetterode from 1907-1941. Catalog of some of his digitized typefaces. Designer of various typefaces:
- The uncial-like typeface Libra Uncial (1938, a pseudo-Gaelic font) at Tetterode in Amsterdam. Libra is now carried in digital form by Mecanorma and Bitstream.
- FB Nobel (1993, Tobias Frere-Jones at the Font Bureau) is a powerful 18-style sans family based on de Roos's alphabets. It ranges from Extra Light to Very Black, and includes a condensed sextet. See also DTL Nobel (Dutch Type Library) by Fred Smeijers and Andrea Fuchs.
- De Roos made Dutch (or Hollandse) Mediaeval (1912), an old style typeface with little contrast, arched slabs and serifs, and an atrocious lower case g, but that has many conservative workhorse qualities. Dutch (or Hollandse) Mediaeval was revived by Hans van Maanen in 2007 as Dutch Mediaeval, and by Hans van Maanen and Patrick Griffin in 2013 as Dutch Mediaeval Book ST. For other digitizations, see De Roos Mediaeval NF (2014, Nick Curtis) and Hoboken Serial (2010, SoftMaker).
- He designed the calligraphic typeface Meidoorn (1928) for De Heuvelpers (his own private press), which was active from 1926-1935. The Meidoorn materials (matrices, punches) are now in the hands of G. J. Randoe (Keizersgracht 89, 1015 Amsterdam). Laure Afchain was doing a revival of Meidoorn in 2008 as a student at KABK, Den Haag. And Joe Chang, still at KABK, did a revival of it in 2012 in van der Laan's class.
- Egmont (1933) is a serifed typeface done at Lettergieterij Amsterdam. Mac McGraw writes: Egmont is a modern interpretation of classic letter forms, designed by S. H. DeRoos for Amsterdam Typefoundry in the 1930s, and subsequently cut by Intertype. It is an elegant face, with long ascenders which have double serifs. There are three weights in roman and italic, all with three styles of figures as shown in the bold specimen. Italic swash letters are made for all three weights. Egmont Decorative Initials were added by George F. Trenholm in 1936; they are sometimes called Egmont Medium Italic, from which they are derived. Compare Bernhard Modern. A digital family was designed by Dennis Ortiz-Lopez in 2005 called OT Egmont. Castcraft's free font family OPTI-Eisen is also noteworthy. Open Egmont Kapitalen (2013) is a free openface designed by John Wollring based upon de Roos's known Egmont Inline (or Egmont Versalien) shown in a Lettergieterij Amsterdam specimen book of 1935.
- Erasmus (1992, A. Pat Hickson, ITF) is based on a design of de Roos, ca. 1923.
- Card Pro (2006, URW, Ralph M. Unger) is based on Ella Cursief (1916, Lettergieterij Amsterdam).
- Circulaire (2009, Hans Van Maanen, Canada Type) is based on a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
- His last typeface was De Roos Romein (and Cursief) about which Canada Type, which produced a magnificent 10-style digital revival, expansion and interpretation in 2009 simply called Roos, in a cooperative effort between Hans van Maanen and Patrick Griffin, writes: It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman faces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. Mac McGrew: De Roos is a handsome contemporary roman type designed by S. H. DeRoos in Amsterdam, Holland. Originally imported from a Dutch typefoundry, with additional weights and inline initials, this roman and italic were also cut by ATF about 1952, and by Intertype in 1954. A 1953 piece of ATF literature notes, "Cast at Elizabeth on Amsterdam line." Scans below are from the book First specimen book of De Roos Roman&Italic (Typefoundry Amsterdam).
- Zilvertype (1914-1916, with Jean-François van Royen). This was revived by Hans van Maanen as Zilvertype (2012-2014, Hans Van Maanen, Canada Type): Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour.
- Nieuw Javaansch No. 1 (1909). A Javanese script done by Sjoerd de Roos at Lettergieterij Amsterdam. Revived in 2012 at the KABK by Troy Leinster under the same name.
Klingspor link. FontShop link. [Google]
SoftMaker Software GmBH (now: freefont.de)
SoftMaker, Martin Kotulla's German foundry in Nürnberg, is selling the 10,000-TrueType font Megafont XXL CD (50 USD, www.megafont.de). Every month, a different font or font family (TT and T1) is given away for free. The MegaFont XXL has most standard Monotype/Adobe/Linotype families (up to 1995/1996). They say that most fonts are licensed from URW++ and Brendel Informatik (Cologne). Contents of MegaFont XXL's predecessor, MegaFont Profi CD, here. Since early 2001, you can download one font family from the CD MegaFont XXL here. Martin Kotulla also started infiniType, a collection of 5050 fonts at a good price (Mac and PC). The XXL series has character sets for Western and Central European languages, Turkish, and Celtic, and comes with many expert sets. For historical accuracy: older packages by Softmaker include the 3333-font (TT and T1) MegaFont Profi CD-2.0 (99DM), the 5000-font MegaFont Euro (50 Euro), the Truepack Profi-CD and the 500-font TypeMaker 5.0 Profi-Pack (10DM).
Their early fonts were renamed and had the attribute Serial in the name. Samples of some of these fonts/families: Adelon Serial (1996, after Albertus MT), Melbourne Serial, Nashville Serial (+Heavy), Nevada Serial, On Stage Serial, Ornitons Serial, Penthouse Serial, Plakette Serial, Priamos Serial, Quadrat Serial, Quebec Serial, Riccione Serial, Rochester Serial, Salzburg Serial, Stafford Serial, Sunset Serial, Sydney Serial, Thames Serial, Toledo Serial, Valencia Serial (Heavy), Valencia Serial (Xlight), Verona Serial, Volkswagen Serial, Wichita Serial.
In 2008, SoftMaker started selling fonts on MyFonts: fonts there include the 28-style Suetterlin family (2008), based on the handwriting taught in German schools in the first half of the 20th century, Harald Handwriting (2009), Agilo Handwriting (2009), Wally Handwriting (2009), Vittorio Handwriting (2009), Turandot Handwriting (2009), Tommi Handwriting (2009), Veneto Handwriting (2009), Tolomeo Handwriting (2009), Sarx Handwriting (2009), Salew Handwriting (2009), Roxana Handwriting (2009), Renate Handwriting (2009), PizPaz Handwriting (2009, Mexican style), Schneid Handwriting (2009), Pietro Handwriting, Phil Handwriting, Nadine Handwriting, Kuno Handwriting, Larissa Handwriting, Lizzy Handwriting, Juri Handwriting, Jeff Handwriting (2009), Josh Handwriting (2009), Jelena Handwriting (2009), Jaro Handwriting (2009), Jacques Handwriting (2009), Hilly Handwriting (2009), Harico Handwriting (2009), Hakon Handwriting (2009), Stone Handwriting (2009), Federico Handwriting (2009), Fabio Handwriting (2009), Emmi Handwriting (2009), Davio Handwriting (2009), Alec Handwriting (2009), Brian Handwriting (2009), Armand Handwriting (2009), Claude Handwriting (2010), Cathy Handwriting (2010), Clay Handwriting (2010), Danielle Handwriting (2010), Feliks Handwriting (2010), Foster Handwriting (2010), Giorgio Handwriting (2010), Giovanna Handwriting (2010), Guga Handwriting (2010), Giuliano Hanriting (2010), Carlo Handwriting (2009), Brouet Handwriting (2010), Bjarne Handwriting (2009), Agnieszka Handwriting (2009) and Thery Handwriting (2009).
Additions in 2010: Tabasco (a geometric based on the phototype font by John Schaedler), Tabasco Twin (a bilined typeface after John Schaedler's Paprika), Advertisers Gothic (a revival of a 1917 typeface by Robert Wiebking), Ad Lib (a revival of a quirky 1961 typeface by Freeman Craw for ATF), Accent (brush face), Flagstaff (oblique techno face), Cornered (with angular pieces), Abilene (Western; caps only), Comix, Cathedral Open (nice open face), Boa Script (2010), Bryce (2010, brush script), Brush Script (2010, after the original ATF font by Robert E. Smith from 1942), Bernhard Fashion (2010), Abbott Old Style (2010, after a 1901 semi-Victorian font by Joseph W. Phinney), Artistic (2010, after Ariston, a 1933 typeface by Martin Wilke), Elegant Script (2010, a revival of Berthold's Englische Schreibschrift), Garamond Serial (2011), the Suetterlin family.
The typefaces remastered in 2012 include Chandler Pro (this is Rofer Excoffon's 1955 brush typeface Choc; see also Staccato 555 by Bitstream and Chalk by Corel), Cheltenham Pro, Cleargothic Pro (after Morris Fuller Benton's flared version of Clearface, Clearface Gothic, 1907), Cooper Black Pro (+Stencil), Tioga Script Pro (after Georg Trump's 1956 script by that name, but aka Time Script).
Free download: Huntington-Bold [-> Handel Gothic], Huntington-Light, ImperialStd-Bold [-> URW Imperial] ImperialStd-BoldItalic, ImperialStd-Heavy, ImperialStd-HeavyItalic, ImperialStd-Italic, ImperialStd-Medium, ImperialStd-MediumItalic, ImperialStd-Regular, ImperialStd-Xbold, ImperialStd-XboldItalic, KremlinScript-Bold [-> Kuenstler Script], RaleighSerial-Bold, RaleighSerial-Heavy, RaleighSerial-Regular, Scott [-> Stop], TiogaScript-Bold [-> Time Script], TiogaScript-Light, TiogaScript-Medium.
Handwring fionts shown at MyFonts in 2013: Allan Handwriting, Andrew Handwriting, Eleanor Handwriting, Enrico Handwriting, Estelle Handwriting, Jay Handwriting, Jaz Handwriting, Jesco Handwriting, Justine Handwriting, Kris Handwriting, Laszlo Handwriting, Lennart Handwriting, Luitpold Handwriting, Manolo Handwriting, Marbo Handwriting, Marcello Handwriting, Murielle Handwriting, Pablo Handwriting, Paolo Handwriting, Pascal Handwriting, Picto Handwriting, Rainer Handwriting, Reyno Handwriting, Ronaldo Handwriting, Teje Handwriting, Theo Handwriting, Valerian Handwriting, Vincent Handwriting, Vogel Handwriting, Volker Handwriting, Wilma Handwriting.
View the Softmaker library of typefaces. See also here. [Google]
Designer (1910-1976) at Grafotechna of Vega (1956, a grotesk), Public (1955-1958, a heavy short-ascendered face), Grafotechna Garamond (1959), Prazke Kamene (1958, an elongated condensed sans; also spelled Prazske Kamenne; some mention the date 1956; revived by Patrick Griffin at Canada Type in 2005 as Trump Gothic, and as a rounded version in Trump Soft Pro in 2013), Orion (1960, a sans), and Marso Grotesque (or Marsova Grotesque, or Marsuv Grotesk, 1958-1960; revived by Steve Matteson in 1960 at Ascener as Miramonte).
Public was quite popular in Czech newspapers, books and magazines. There are two digital revivals. The first one, from 2002, is called RePublic and was created by Tomas Brousil. The second one is called Publikum, and was published by Jakub Caja in 2013.
Vegan (2014, Vojtech Riha) is a modern, structured sans featuring delicate, humanist elements, inspired by Marso's Vega.
Klingspor link. [Google]
Stanley Arthur Morison was an influential British designer and type designer (1889, Wanstead, Essex-1967, London), who spent most of his creative energy at Monotype between 1920 and 1950.
Designer with Victor Lardent of Times New Roman (1932) while consultant for the London Times. He designed Blado MT at Monotype (1923) (a revival of characters drawn by Ludovico degli Arrighi). He is also credited with revivals of Baskerville, Bell, Garamond (1922) and Bembo (1929).
Mac McGrew writes: Bembo was cut in 1929 by the English Monotype corporation under the direction of Stanley Morison, and shortly thereafter by Lanston Monotype in America. It derives from the first roman type used by Aldus Manutius in the dialogue De Aetna, by Pietro Bembo, printed in Venice in 1495. Punches were cut by Francesco Griffo of Bologna, the designer responsible four years later for the first italic types. This typeface is probably the most popular and successful of the numerous faces revived by Morison as typographic adviser to the English company. Morison attributed its success to the fact that "it was inspired not by writing but by engraving; not script but sculpture." The italic is adapted from a 1524 typeface of Giovanni Taglienti, and has a natural grace of its own. English Monotype also made Bembo Bold and Bembo Bold Italic.
Bio at Britannica. Biography by Nicholas Fabian.
He wrote Four Centuries of Fine Printing (1924, New York: Farrar, Strauss and Company), Type Designs of the Past and Present (1926, The Fleuron Limited, London: a highly recommended 70-page treatise on the history of type), and First Principles of Typography (1936). A Tally of Types was published by Cambridge University Press in 1973.
A quote from First Principles of Typography: Type design moves at the pace of the most conservative reader. The good type-designer therefore realizes that, for a new fount to be successful, it has to be so good that only very few recognize its novelty.
Linotype link. FontShop link. Wikipedia link. [Google]
Stempel Garamond was created by Stempel between 1925-1932, after Claude Garamond's original from ca. 1600. Digital versions of this include Aldine 430 (Bitstream), Garamond Original (SoftMaker), Garamond No. 2 (URW), and Original Garamond (Bitstream). [Google]
Stephen G. Hartke
[A Survey of Free Math Fonts for TeX and LaTeX]
[Red Rooster Typefoundry]
T4 Typography AB
Swedish commercial foundry in Stockholm. Bo Berndal and Torbjörn Olsson are two of T4's main type designers. The sister company A4 designs newspapers.
Typefaces at Myfonts include:
- T4-Batory (2006). A futuristic elliptical monoline geometric family by Berndal.
- T4-Batoswash (2006).
- T4-Cartesius (2006). A roman typeface by Berndal.
- T4-InterruptDisplayPro (2007, Olsson). A sturdy monoline packaging and/or gaspipe typeface.
- T4-Mixtra (2006: Roman, Sansserif, Slabserif). A masculine family by Berndal.
- T4-Museum (Borders, Fournier, Ornaments, Tertia Cursive).
- T4-Picadyll (2006). An art deco typeface by Berndal.
- T4-Sergel (2007). A multiline chiseled sculptural typeface.
- a href="BoBerndal-TYMAGaramont-2007.gif">T4-TYMAGaramont (2007). Its designer, Bo Berndal, writes: The TYMA Garamont Roman was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. It took until 1951-52 before the import was up to speed again. Until then, Sweden had to fend for itself. TYMA produced all technical equipment needed for type production, including the pantograph to cut the matrices, a complete set for each size and version. The templates for Garamont Roman were initiated by Henry Alm 1948. Bo Berndal was hired the following year, and continued the work by drawing and cutting templates for the rest of Garamont Roman, as well as for the remaining Garamont family. Bo Berndal stayed at TYMA until it went bankrupt in 1952. At that time Bo Berndal had already kick-started his career as type designer by drawing the typeface Reporter for one of the big daily newspapers, Aftonbladet, a version of Cheltenham for another daily, Dagens Nyheter, and copied several old typefaces for other customers. Librarian Sten G. Lindberg at The Royal Library of Stockholm, Kungliga Biblioteket, procured copies of original type samples. Henry Alm started the work in 1948, and Bo Berndal completed it - finally in this OpenType version.
Catalog at MyFonts. View Bo Berndal's typefaces.
FontShop link. Klingspor link. [Google]
German designer Tanja Oppel combined blackletter and grotesk to get Fratesk (2012). In an interesting experiment, Tanja averaged 13 versions of Garamond: Adobe Garamond Oldstyle Figures, Garamond Classico, Garamond, ITC Garamond, Stempel Garamond, Adobe Garamond LT, Stempel Garamond Oldstyle Figures, ITC Garamond LT, Garamond 3, Garamond Premier Pro, Simoncini Garamond LT, Adobe Garamond Pro, Garamond Three LT.
Behance link. Yet another URL. [Google]
Terrestrial Design is Carl Crossgrove's web site. Crossgrove graduated from Rochester Institute of Technology in Printing /Typography, and has shown a life-long interest in calligraphy and lettering. Now based in San Francisco, he has worked at Adobe, where he designed the Multiple Master hand-printed (semi-Celtic or stone-carved) families Reliq (1998), Reliq Std Active and Reliq Std ExtraActive in 2002, and where, with the help of Kim Buker Chansler and Carol Twombly, he codesigned the Western fonts (Adobe's Wood Series) Origami (hookish, in the expressionist style of Menghart and Preissig), Pepperwood (1994), Ponderosa (1990), Rosewood (1994) and Zebrawood (1994). He was also active at ITC (ITC Minska, 1996) and Agfa Monotype (Origami, a Menhart or Preissig style family; and Mundo Sans, 2002: a 14-weight humanistic family, which includes a fantastic hairline sans).
Other fonts by Crossgrove include Othello (2002, with Steve Matteson), Wakerobin, Scripsit (which was named Judges' Choice in Serif Magazine's 1996 type design competition), Tarantella Script, Ranunculus, Penmark, Curlz MT (1995, Monotype; with Steve Matteson).
Beorcana (2006) is a 28-part serifless roman in the style of Optima or faces like Albertus, Stellar, Tiepolo, Barbedor, Lydian and Amira. In the making since 1992, this flared calligraphic book typeface was released by Monotype in 2006. Stephen Coles states: Beorcana is Crossgrove's best and most complete design yet. I can declare from personal experience that it is beautifully drawn and sets very well, small or large, thanks to three optical size masters. It will be a hit with fans of calligraphic sans serifs like Optima. It won an award at TDC2 2007 and was one of the best types of 2007. Florian Hardwig writes: The typeface has no serifs, yet its the opposite of a grotesque. It exhibits the rhythmic contrast and the humanist proportions of a renaissance roman. Its letters please with vividly dancing forms in every detail. However, this obvious calligraphic derivation never seems inappropriately fancy even the spruce swash italics are down-to-earth in a convenient way. The Thin isn't anemic and the Ultra isn't heavy-handed. Crossgrove really knows his stuff. Beorcana Pro (2006) comes in Regular, Display and Micro styles.
Nebulon (2008) is an organic typeface that won an award at TDC2 2009. This retro-futuristic, soft superelliptical display sans-serif design was renamed Biome a year later.
With Rod McDonald, he created Egyptian Slate (2009, Monotype).
Linotype published ITC Galliard Etext in 2013, after the 1978 garalde typeface by Matthew Carter called ITC Galliard. It lists Carl Crossgrove as its designer.
In 2014, Crossgrove published the Burlingame typeface family at Monotype. He calls this sans collection sturdy, muscular and decisive.
Linotype page. Adobe's page. MyFonts page. FontShop link. Klingspor link.
View Carl Crossgrove's typefaces. [Google]
Granjon is designed by George W. Jones, based on Claude Garamond and Robert Granjon (ca. 1530). Textism calls Linotype's digital version anemic though: Originally a Linotype interpretation of early-16th century designs by Claude Garamond and Robert Granjon, this is another of the great hard-working book typefaces of the last hundred years. Unfortunately the digital version of Granjon is rather thin and anemic, its fine details wasted except at large sizes.
View digital versions of Granjon. [Google]
Dean Allen [Textism] wrote: In its quiet elegance and perfect internal proportions, Sabon, if used well, may be the most legible text typeface of all, and its digital incarnation is eminently usable. He was referring to the digital version Jan Tschichold's 1964 font Sabon.
View digital versions of Sabon. [Google]
TFaces is a design studio in Moscow run by Alexander Tarbeev, designer of Cyrillic versions of ITC typefaces like ITC Garamond, ITC Benguiat Gothic, Friz Quadrata and other Cyrillic faces. Tarbeev teaches in the Faculty of Graphic Design at the Moscow State University of Printing Arts.
Showcase of Alexander Tarbeev's typefaces at MyFonts.
List of the new designs and the old typefaces designed since 1988 for NPO Poligraphmash, ParaGraph/ParaType and TFaces: Academy, AdverGothic, ITC Anna, ITC Baltica, ITC Benguiat Gothic (1994-1997, ParaGraph; he made the Hebrew typeface Benzion in 1991 based on Benguiat Gothic as well), ITC PT Benzion, FF Beowolf, PT Bernhard, PT BetinaScript (1992, based on the handwriting of the German graphic artist Betina Kuntzsch), PT Bodoni (1989-1997), MathFont 1 (1987, Polygraphmash, based on the math font of Kudryashevskaya Encyclopedicheskaya, 1960-74, a typeface by Nikolai Kudryashev and Zinaida Maslennikova), PT Compact, PT Courier (1997; the original Cyrillic weights were done by Tagir Safayev), PT Crash (1995), PT Dagger (1996), Den Haag, Dots, DoubleClick, PT Drunk (1997), Exposure, PT FixSys (1995, pixel font), ITC Friz Quadrata (1997, ParaGraph, based on the typeface by Ernst Friz for Visual Graphic Corp. in 1965), PT Futuris, ITC Garamond (1993-1995, based on Tony Stan's 1975 version), PT Graffiti (1996, ParaGraph), PT Hermes (1993, ParaGraph), Inform, Izhitsa, PT Jakob (1994), [kAk), Lazurski, PT Matterhorn (1993), PT MonoCondensed (1990), PT Montblanc (1993), PT Newton (1994, ParaGraph, a phonetic font), PT Pollock (1995), PT Pragmatica (1989), Sketch, PT Star (1995), PT Tauern (1993, extra compressed), Titanic, PT Wind (1995, based on TextBook, 1987, by Emma Zakharova).
Honorable Mention at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Den Haag.
Free fonts made for fun at FontStruct in 2008: giammba, schlange, squaresans, squaresans_heavy, TFa BCode (extremely condensed), TFa KnightRider. [Google]
The Font Company
Dan Barthell's Phoenix, AZ-based foundry, was founded in 1988. It produced about 400 fonts that some call revivals and others call rip-offs. It was merged into Precision Type Foundry in 1993. Its fonts can now be bought via URW or Ascender, two unscrupulous companies that have no problem asking money for font collections with a doubtful "past".
Stuart Sandler (The Font Diner) explains: Dan Barthel was the owner of The Font Company out of Phoenix, AZ and now lives in Ft Myers, FL . . . I have his phone number if you wanted to REALLY get all the inside scoop . . . Generally speaking, he was among the first groups along with a handful of young employees he trained to scan and digitize fonts from filmstrips and did a number of conversions for Harry Brodjian of Alphatype faces in the late 1980s. Among those included were Parade and Contemporary Brush Bold which were eventually licensed by Robert Norton for Microsoft . . . I'm certain they used the Ikarus system to make their digitizations . . . The Font Company eventually went on to digitize a good amount of faces and nearly all of them were distributed by the Precision Type Company until it closed its doors in the mid-2000s . . . Get your hands on one of those catalogs to see the entire library they released . . . At some point in the 1990s Dan decided to close up shop and tossed all the assets digital or otherwise and start over in another business but walked away from the font business all together regardless . . .
The fonts: Abbey, Accolade, Adelon (patterned after Albertus MT), Adroit, Advertisers, Aggie, Amanda, Amber, American, Annual, Apache, April, Art Gothie, Artcraft, Ashley, Atrax, Avalon, Avon, Baker Signet, Ballantines, Balloon, Balzac, Baucher Gothic (a headline, tall and geometric typeface designed by URW Studio in 1995 according to some sources---unclear where it originated), Bauer Topic, Beacon, Beale, Bee, Benjamin, Bernhard, Bible, Bluejack, Boa Script, Brittany, Bulmer, California Grotesk, Cartel, Cartoon, Casablanca, FC Caslon, Century Expand, Charter Oak, Chevalier, Chinat, Cloister, Contemporary Brush, Continental, Cooper Old Style, Corporate, Corvinus Skyline, Craw Modern, Criterion, Danmark, FC Deepdene, Diamante, Didoni, Digital, Din 16, Disco, Egizio, Elaine, Erbar, Expressa, Fanfare, Firmin Didot, Florentine, Frency, Gatsby, Geshexport, Glamour, Glasgow, Globe, Gorden, Harem, FC Heldustry, Helenic, Helium, Helserif, FC Highway Gothic, Hildago, Hobo, Holly Script, Howland, Hudson, Huxley Vertical, Impact, Introspect, Inverserif, Japanette, Jay Gothic, Kelles, Kennerley, Kenneth, Koloss, Largo, Leasterix, Legothic, Lightline Gothic, Lucida Type, Marcato, Martin Gothic, Martinique, Mr Big, Napoli, Nashville, Newport Land, Novel Gothic, Neuland, Ondine, Organ Grinder, Ornitons Heavy, Paladin, Pandora Black, Parade, Pasadena, Pekin, Permanent Headline, Philly Sport, Pinnochio, Plakat, Polonaise, Precis, Pretoria, Promoter, Publicity, Quratz, Quint, Racer, Radiant, Regency, Reiner, Rochester, Roger, Rolling Stone, Roman Shaded, Roman Stylus, Roman Solid, Ronda, Roundest, San Serif, Scenario, Sevilla, Shotgun, Siegfried, Souvenir Gothic, Spire, Stanza, Stark, Thor, Ticonderoga, Timbre, Toledo, Torino, Umbra, Veracruz, Viant, Viking Gothic, Village, Vixon, Woodcut, Wordsworth, Yorkshire, Zanzibar and Zola. Other fonts: AGBuch, AGrotesk, Accent-Normal, Aggie-Normal, AlternateGothic, AmericanGothic, AntiqueOlive, Apache, BAVGarde, BOSGoudy, BakerSignet, Bauer Topic (1999-2002), BernhardModern, BrodyNormal, CaslonC224, CaslonC37, CaslonC637, Centaur, CenturyExpanded, Cochin, DisneyPrint, ECBGill, Exquisit, Flash, Folio, GaramondM, Grotesk, IceAge, ImpactCondensed, Imprint, Jenson, Latin, Laudatio, Lynton, MagicSymbols, MBrighton, Michelangelo (a roman caps typeface based on Hermann Zapf's Michelangelo from 1950), NewportLand, NovelGothic, Nueland, Panache, QuaySans, RealtyExecutives, Roman, SpiritCraw, Univers, Venus. In 2009, the elegant transitional---almost modern--- high-legged faces Roman Solid and Roman Stylus (outlines) are shown as part of the URW++ collection.
Ascender sells these fonts: Accent, Amber, Amber Italic, Amelia, American Text, American Uncial Regular, April, Artcraft Pro, Avon, Balloon Bold, Balzac, Baucher Gothic, Bernhard Gothic Light, BoaScript, Cartoon, Chinat, Contemporary Brush, Cowgirl, Devinne, Digital, N 16, Erbar, Expressa, Fanfare, Florentine, Geshexport, Glasgow ExtraBold, Handel Gothic, Hastings, Hobo, Hobo Bold, Holly Script, Hudson, Koloss, LeAsterix, Nashville, Novel Gothic, Nueland, Nueland Inline, Opportunity, Pasadena Family, Philly Sport, Pretoria, Quartz, Reiner, Resonance, Souvenir Gothic, Stanza, Thor, Ticonderoga, Umbra, Viant, Woodcut, Zanzibar, Zola. [Google]
The Garamond mess
The choice of Garamonds is confusing, and so is the name Garamond when associated with typefaces. In fact, the most faithful of all garamonds is not even called Garamond. So, here is a brief overview.
- Typefaces with Garamond in the name that are based directly on Garamond's work: Stempel Garamond, and Berthold Garamond.
- Typefaces not called Garamond, but still faithful to Garamond include, principally, Linotype's Sabon, designed by Jan Tschichold. Linotype explains: In the early 1960s, the German masterprinters' association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design the most faithful version of Claude Garamond's serene and>Bitstream's Cursive is a return to the form of one of Garamond's late italics, recently identified. Punches and matrices for the romans survive at the Plantin-Moretus Museum. The name refers to Jacques Sabon, who introduced Garamond's romans to Frankfurt, although the typefaces that Sabon himself cut towards the end of the sixteenth century have a faintly awkward style of their own. The other typeface in this category is Granjon.
- Typefaces based on the work of Jean Jannon, an early seventeenth century French punchcutter whose work was confused with Garamond's early in the twentieth century, a mistake that was not corrected until 1926 by Beatrice Warde: Garamond 3, Monotype Garamond, Simoncini Garamond, and Deberny & Peignot's Garamont.
- Cousins twice removed include ITC Garamond, a distant relative of Jannon, and Ludlow Garamond, which can almost be considered as an original design by Robert Hunter Middleton---few Garamond genes remain in the latter face. [Google]
The Nina story
No, this is not about Matthew Carter's/Microsoft's Nina. And it is not about ParaType's Nina, a handwriting font designed in 1995 by Tagir Safayev. There is a third Nina font family out there that dates from 1996 and that was created for the transliteration of Sanskrit. It is really strange how Microsoft was even able to get the name Nina through the legal channels, but I guess Microsoft writes its own laws. Anyway, that third Nina font series is available here: Nina_1_0_bold, Nina_1_0_italic, Nina_1_0_bolditalic, Nina_1_0. The notice in the fonts said "Copyright (c) 1996 International Journal of Tantric Studies. All rights reserved." That journal states: "The Nina font for Devanagari is based on a totally new encoding, that allows the concurrent use of extended characters for the European languages, and characters for the Devanagari, making it possible for scholars to use just one font for all their publications. These fonts are not a mere redesign, but attempt to (partially, at least) solve a problem that affects the majority of Sanskrit scholars." Ulrich Stiehl has this to say: "It is easily recognizable that "Nina" is identical with "Original Garamond", designed by D. Stempel AG in 1926 on the basis of a typecut attributed to the Renaissance typecutter Claude Garamond. In 1996, the trademark "Original Garamond" was replaced by the fancy name "Nina", and the "International Journal of Tantric Studies" (IJTS), edited by Prof. Michael Witzel (Harvard University), claimed that the IJTS holds the "copyright" in the "Nina" font. Is this the usual method, by which "original" works are created at Harvard? It is assumed that academics are able to understand that the trademark "Original Garamond" should not have been replaced by the fancy name "Nina" and that the original notice should not have been replaced by the notice "Copyright (c) 1996 International Journal of Tantric Studies. All rights reserved.". [Google]
TheyGraphics is a multidisciplinary graphic design studio. Working in advertising, retail, fashion, company profiles, broadcast, illustration, type design and music. Their offices are in Stockholm, Sweden and Prague, Czech Republic. The designers: Fredrik Forsberg (Stockholm), Jiri Adamik-Novak (Stockholm), Zdenek Patak (Prague). The fonts: Leda (experimental), Motion (hairline octagonal), Prank (Amelia-inspired), Logarex and Garamond Preissig. [Google]
Thomas Maitland Cleland
New York-born book designer, painter, type designer and illustrator, b, Brooklyn, NY, 1880, d. Danbury, CT, 1964. He was mainly involved with ATF. Fonts:
- Della Robbia (1902-1903, Lanston Monotype). Similar designs to Della Robbia are M.F. Benton's Della Robbia Light (1913) and Monotype's Canterbury (1915). Bitstream made a digital family out of Della Robbia. A free digital version is Della Respira (Nathan Willis, 2012, Google Web Fonts).
- Caslon Swash.
- Westminster Oldstyle (1902, almost chiselled, ATF).
- Amsterdam Garamont (with Morris Fuller Benton, 1917, Berthold). Garamont Amsterdam was also implemented by Scangraphic and Elsner&Flake. Garamond No. 3 is the Linotype version of Garamond from 1936, which in turn is based on the American Type Founders design by Morris Fuller Benton and Thomas Maitland Cleland, who based their work, in turn, on seventeenth-century copies of Claude Garamond's types by Jean Jannon.
Lars Bergquist is the Swedish type designer (b. 1936) who runs Timberwolf Type in Sollentuna, just outside Stockholm. Bergquist designed numerous successful text families and display faces, including the free Beryll typeface. Some offerings:
Some fonts are available at Fountain, Psy/Ops and Type Quarry. Bukvaraz gave him an award for Absolut Type, a classic Renaissance family, so I wonder if that is not the same as Baskerville 1757. Lars says that Absolute Vodka complained, so the type is sold by Psy/Ops as Aalborg (2002). He published Whitenights at Linotype in 2003. FontShop link. Klingspor link. [Google]
- Old Style romans: Sarabande (1998; based on Jean Jannon's famous "Garamond" of 1621), Pavane (1998, based on a text typeface by Rudolf Koch), Philomela (2000, also at PsyOps), Montrachet (2002, Fountain: a garalde family), Monteverdi (Fountain: with Granjon's Plantin Ascendonica italic).
- Baroque/transitional: Leyden, Leyden News (PsyOps, 2000), Baskerville 1757 and Baskerville Caps (1998; winner of a Bukvaraz award in 2001, available at Type Quarry).
- New Style Romans: Millennium, Eleonora (1999), Prospero (1998, a didone family), Waldstein (2003, Fountain: a Scotch typeface).
- Sans faces: Millennium, Millennium Sans, Millennium Linear, New Millennium, New Millennium Sans and New Millennium Linear (2000).
- Display faces: Diorite (2005, a calligraphic angular family), Corsiva Italica (2003), Paracelsus (2003, Fountain: a modern version of Schwabach), Foliant Blackletter (German 15th C Textur), Zeppelin Bauhaus Gothic, Berserk Scandinavian runes, Escorial (at PsyOps), Paestum (2001, a Greek simulation family), Sekhmet (2000), Praetorian, Pressroom (2003), Proconsular, Palaestra (the latter three are inspired by informal, painted Roman wall writing), Triumphalis Caps (also inspired by Roman imperial inscriptions), Bucintoro (1999, a modern version of the rotunda blackletter), Midnight (2000; a neon light/ blackboard bold family), Karolin Fraktur (at Psy/Ops: Fraktur modeled after the Bible of King Charles XII, printed in Stockholm in 1703), Rococo Titling (2001, ornate titling caps based on work done by Jacques-François Rosart (1714-1777) and Pierre Simon Fournier (1712-1768), and the Renaissance family Ronsard (at PsyOps, 2000).
Tipoteca Italiana fondazione
Italian type museum in Cornudo (Treviso), also called Museo del Carattere e della Tipografia. It has a printshop, library and archive, and it organizes casting workshops. The museum has some section devoted to Italian type designers and Italian type. The following types are exhibited:
Occasionally, meetings are organized, such as Bunker (June 22-24, 2007). [Google]
- Pastonchi (F. Pastonchi-E. Cotti, 1927)
- Griffo (G. Mardersteig, 1929)
- Semplicitä (Studio Nebiolo, 1930)
- Triennale (Fonderia Reggiani, 1933)
- Neon (G. Da Milano, 1935)
- Landi (A. Butti, 1939)
- Hastile (A. Butti, 1941)
- Microgramma (A. Butti, 1941)
- Dante (G. Mardersteig, 1946-52)
- Tallone (A. Tallone, 1949)
- Garaldus (A. Novarese, 1941)
- Garamond Simoncini (F. Simoncini, 1958)
- Eurostile (A. Novarese, 1962)
- Forma (A. Novarese, 1968)
John Hudson and Wm. Ross Mills, the co-founders of Tiro Typeworks, design wonderful top-of-the-line fonts in Vancouver. From the TIRO web page: TIRO TYPEWORKS is an independent digital type foundry developing&marketing high quality typeface families for PC and Mac platforms. Our commitment is to continuing the independent tradition of typography, as it has existed for more than five hundred years, free from the influence of fashion and novelty. Tiro is increasingly involved in font technologies, and are avid advertisers for OpenType and work often with Microsoft and Linotype on projects. Interview in 2008 by Hiba Studio. Tiro's typefaces:
- Academia (1997, by Mills).
- The titling and display typeface Aeneas based on classical Roman capitals. This incomplete typeface was created by John Hudson based on glyphs drawn by an Austrian designer.
- 1530 Garamond (one of the most beautiful and faithful revivals of Claude's creations), by Mills.
- Manticore (John Hudson's own absolutely magnificent brainchild).
- Plantagenet (by Mills).
- Sylfaen was designed for Microsoft in 1998 by John Hudson and Wm. Ross Mills of Tiro Typeworks, and Geraldine Wade of Monotype Typography. Sylfaen is a Welsh word meaning "foundation"; an apt name since the font stemmed from research into the typographic requirements of many different scripts and languages. Sylfaen supports the WGL4.0 character set, for Pan-European language coverage. In addition to Latin, Greek and Cyrillic letterforms, the font contains the characters necessary for support of the Armenian and Georgian languages. [Download site, see also here].
- Hudson also does corporate identity work, such as HeidelbergGothicOsF (done for Heidelberger based on NewsGothic). Other clients included Microsoft, IBM and Apple.
- In 2001, Mills developed Pigiarniq (Download site), a multiscript typeface for native American languages. This project was commissioned by the government of Nunavut, a new Canadian territory. Note: please visit the page on James Evans' type cutting methods: it was this missionary who developed the Cree writing system which was later adapted for use with Inuktitut.
- Winner with Mamoun Sakkal and Paul Nelson at the TDC2 2003 competition for Arabictype.
- In 2003, he is publishing unicode-compliant fonts called SBL Greek, SBL Hebrew and SBL Latin, at the Society for Biblical Literature.
- In 2004, winner of an award at TDC2 2004 with Nyala, an Ethiopic text face, which has a nice Latin component as well.
- Hudson and Mills have, to date, designed and built fonts for the Arabic, Cherokee, Cyrillic, Ethiopic, Greek, Hebrew, Inuktitut (Canadian Aboriginal Syllabics), extended Latin, and Ogham scripts. These include, for example, Adobe Hebrew (2000-2008).
- Constantia (2004, a beautiful OpenType family made for Microsoft's ClearType project).
- Helvetica Linotype (2004), for which he received a TypeArt '05 award for the Cyrillic component.
- Vodafone Hindi (2007, with Tim Holloway and Fiona Ross) won an award at TDC2 2008.
- Gabriola (2008) is a script font by Hudson done for Microsoft---it is included in some Windows packages---see, e.g., here. It has many swashes and special ligatures, but it is not connected.
- Athena Ruby (2012), a winner at the TDC 2013 competition. Client: Dumbarton Oaks Research Library & Collection, Washington DC.
- Brill (2012, with Alice Savoie). Also a winner at the TDC 2013 competition. Client: Koninklijke Brill NV, Leiden, The Netherlands.
- Slabo 27px and Slabo 13px (2013) are free Google Web Fonts. Optimized to be used at 27px and 13px, resectively, these fonts were created for use in online advertising.
Tom Ahn designed a nice Garamond poster in 2010. [Google]
Born in Boston in 1976. Graduated with an MA in Typeface Design from-the University of Reading and studied at the Rhode Island School of Design. After graduation, he worked briefly for Jeremy Tankard and Font Bureau. In 2005, he worked briefly for Porchez Typofonderie. He currently lives in Heidelberg, Germany.
He designed these typefaces:
- Strela (2003). This typeface covers Latin, Cyrillic, Albanian, Belorussian, Bosnian, Catalan, Croatian, Czech, Estonian, Greenlandic, Hungarian, Latvian, Lithuanian, Macedonian, Maltese, Polish, Romanian, Sami, Serbian, Slovak, Slovenian, Turkish, Ukrainian, and Welsh.
- Deréon (2005, Porchez Typofonderie). This is a 6-font family done together with J.F. Porchez for House of Deréon, the clothing label of Beyoncé and Tina Knowles.
- Other typefaces done for Porchez: Henderson Serif (2006, black weight and production help), Verspieren (2007, for an insurance company), Le Monde Journal PTF (2007, help with the expansion of the 1994 original by J.F. Porchez), Le Monde Livre PTF (2008, help with the expansion of the 1997 original), Parisine PTF (2006, production assistance), Parisine Office (2006, production assistance), Sabon Next (2002, assistance), Mencken (2005, help with this font for The Baltimore Sun).
- In June 2007, he won the best Greek display typeface catgory at the Hellenic Alphabet competition.
- In 2008, he made a bastarda typeface Givry (Type-Together) created in the spirit of the bâtarde flamande as shown in the styles of the prominent scribes Jean Fouquet, Loyset Liédet, and Jean Bourdichon. It has Civilité influences.
- In 2009, he created Alizé (Type-Together), a 3-weight italic beauty based on the chancery italic of the 16th century, with a Garamondesque "h".
- In 2012, Type Together published his typeface Iskra, a rounded family that covers Latin and Cyrillic. Iskra won an award at TDC 2013.
- Aeris (2010, Linotype). A flared sans family.
- Neue Helvetica Compressed (2014, Linotype).
- In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
Behance link. Old URL. Klingspor link.
View Tom Grace's typefaces. [Google]
New York-based type designer at ITC, 1917-1988. Tony Stan did a version of Jean Jannon's Garamond (ITC Garamond, 1977). Other faces: ITC American Typewriter (1974, with Joel Kaden), ITC Garamond (1977), ITC Cheltenham (1975-1978), ITC Cheltenham Handtooled (with Ed Benguiat), ITC Century (1980), ITC Berkeley Old Style (1983, a Venetian typeface), Pasquale, Ap-Ap.
About ITC Garamond, Andreas Seidel writes: That one is a modern recreation that in my view breathes much of the 1970s feel and is generally considered the least historical "Garamond". The high x-height does not improve readability, as you will have to adjust the line-spacing accordingly. The Garamond wiki is equally negative about ITC Garamond. Happy (2005, Canada Type, Patrick Griffin) is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er (quote by Canada Type).
The 1975 revival of Cheltenham by Goodhue (1896) and later by Morris Fuller Benton, resulted in a Cheltenham with increased x-height. Not everyone was pleased with that.
Digital versions of ITC Berkeley Oldstyle besides that of ITC include University Oldstyle (SoftMaker), Californian (Font Bureau), B695 Roman (SoftMaker) and Venetian 519 (Bitstream).
Linotype link. FontShop link. Klingspor link.
View Tony Stan's typefaces. [Google]
[ITC Garamond opinion]
[Walter Florenz Brendel]
The TypeShop collection was at some point, ca. 2006, part of Elsner&Flake, and its fonts could be licensed via MyFonts. Elsner&Flake provided the history behind this collection and its developer, Brendel: The originator of the big TypeShop Font Collection was Walter Florenz Brendel (1930-1992). As far back as 1972 he had the idea of an electonic and digital system for typeface plotting and cutting as well as automatic modification and reproduction. Before 1972 when type users demanded their type color to be a little lighter or little darker, Brendel as the owner of over 28 typeshops across Europe employing about 600 people, could not meet their demands with the existing typefaces. Consequently he developed a method to satisfy their needs. Brendel was the originator of the concept and the contributor and partner in the development of IKARUS by Dr. Peter Karow. He cut typefaces based on mathematical increments that would allow type weights to be graduated in equal steps. Thanks to his perfectionism, type users can have the luxury of choosing a specific type weight out of seven from as many as 65 font-families in the TypeShop Collection. Mr. Brendel was an accomplished professional type designer. Lingwood, Montreal, Volkswagen, Derringer and Casablanca and many more were his creations. He was a design collaborator for Congress, Litera, Worchester and others. Today all of this fonts complete with a Euro currency symbol are available in four font formats including OpenType.
That view of Brendel is perhaps not held by most type designers, who regard Brendel's collection as highly derivative.
Albert-Jan Pool: Walter Brendel (1933-1992) was the founder of Brendel Informatik, Brendel & Pabst and the Type Shop group of phototypesetting houses. He also co-founded the European Typeface Corporation (ETC) which was connected with Typo Bach, another group of phototypesetting houses. Brendel's Serials were based on existing typeface designs, which had typically been made fit for creating a range of 7 weights from extra light to extra bold by interpolation. The Serials Typeface Collection used to be exclusively available through Brendel's Type Shops, Typo Bach and others. The German type designer Georg Salden created another range of exclusive typefaces, they were only available through the GST group of typesetting houses. Similar to Brendel's Type Shops and Adrian William's Club Type, the GST group also tried to enforce customer loyalty by offering typefaces that were exclusive to their group. As all of these typesetting houses worked for the same advertising agencies, their typeface libraries show many similarities. Some of these similarities were created on purpose, some of them not. Some of them are just copies, some of them are re-engineered designs, some of them are adaptations of existing designs, some of them are originals.
Elsewhere, Elsner&Flake write: Brendel ordered the development of exclusive phototypesetting typefaces in the 70s and the beginning of the 80s for the phototypesetter he himself built, Unitype, which had their basis partially in historical but also in contemporary designs.
For what it is worth, here are the font family names: Volkswagen TS, Clear Gothic TS, Franklin Gothic TS, Old Baskerville TS, Accolade TS, Baskerville TS, Belfast TS, Bernstein TS, Bodoni TS, Broadway TS, Casablanca TS, Casad TS, Castle TS, Colonel TS, Clearface TS, Congress TS, Denver TS, Derringer TS, Diamante TS, Digital TS (square gothic), Dragon TS, Enschede TS, Expressa TS, Florida TS, Formula TS, Garamond TS, Gascogne TS, Glasgow TS, Goudita TS, Goudy TS, Granada TS, Grenoble TS, Hamburg TS, Helium TS, Hoboken TS, Horsham TS, Koblenz TS, Leamington TS, le Asterix TS, Le Obelix TS, Limerick TS, Lingwood TS, Litera TS, Media TS, Melbourne TS, Montreal TS, Napoli TS, Nashville TS, Nevada TS, Ornitons TS, Pasadena TS, Penthouse TS, Plakette TS, Plymouth TS, Priamos TS, Quartz TS, Ragtime TS, Ravenna TS, Riccione TS, Rochester TS, Roundest TS, Salzburg TS, Seagull TS, Toledo TS, Veracruz TS, Verona TS, Wichita TS, Worchester TS.
Name equivalences between the TypeShop collection and other fonts.
View TypeShop's library of typefaces. [Google]
Typoart GmbH (or: VEB Typoart)
Dresden (East Germany)-based font studio that evolved from the former East German centralized press, VEB Typoart. VEB Typoart operated from 1948 until 1989, when it was renamed Typoart GmbH. Typoart GmbH dissolved mysteriously in 1995. MyFonts catalog of digitizations. Timeline as provided by Typoart-Freunde, a project of Jay Rutherford at the Bauhaus University in Weimar (and published in 2007 in a book by the same title, Heinz Wohlers Verlag, Harrlach):
Typoart Freunde and Typowiki have partial lists of typefaces. Here is my own:
- 1945: Schriftguß KG (before that, Gebr. Butter) produces type again.
- 1946: Schelter&Giesecke in Leipzig becomes VEB Druckmaschinenwerk Leipzig.
- 1948: Schriftguß KG becomes VEB Schriftguß Dresden. This is the true start of Typoart.
- 1951: the foundry section of VEB Druckmaschinenwerk Leipzig is absorbed by the VEB Schrifguß Dresden. Herbert Thannhaeuser becomes art director. We see the name Typoart.
- 1952: Herbert Thannhaeuser publishes Papier und Druck, and creates Meister-Antiquq and Technotype.
- 1957: Typoart is in full production now. An eyecatcher is Albert Kapr's Leipziger Antiqua.
- 1958: Thannhaeuser publishes his Liberta Antiqua and Garamond Antiqua. The Party decides that all private industrial property now belongs to the state.
- 1961: Typoart absorbs Ludwig Wagner KG in Leipzig and Norddeutsche Schriftgießerei Berlin. The Berlin wall is built.
- 1962: There is some negative press about Typoart's domination by Thannhaeuser's designs. VEB Typoart is absorbed by Vereinigung Volkseigener Betrieb (VVB) Polygrafische Industrie.
- 1963: Thannhaeuser dies. Albert Kapr becomes art director.
- 1965: The annual production reaches 4,5 million matrices. Purchase of the Digiset machine, built by Firma hell in Kiel, which is the first machine for electronic typesetting.
- 1967: Sabon Antiqua appears.
- 1970: Typoart is now owned by SED. In the DDR, all phototype printing is now done in Berlin, Leipzig and Dresden.
- 1971: Typoart is now producing its own phototype for the Linotron 505. Their prime productions include Maxima (by Karl-Heinz Lange; based on Gert Wunderlich's Linear-Antiqua) and Prillwitz-Antiqua (Albert Kapr).
- 1973: Albert Kapr publishes Typoart-Typenkunst, in which 19 typefaces are showcased.
- 1976: Phototype fonts are developed for Diatype, Diacomp (such as Maxima, Liberta, Garamond-Antiqua, Tschörtner-Antiqua, Leipziger-Antiqua), and 2NFA (Russian). Detlef Schäfer becomes head of research and development.
- 1977: To help with the digital transition, Norbert du Vinage joins Typoart.
- 1980: New types include Kleopatra, Biga, Zyklop, Quadro and Molli.
- 1987: Albert Kapr hands the art directorship to Norbert du Vinage. Publication of the first phototype catalog by Typoart.
- 1989: Publication of Fotosatzschriften, Typoart's typeface program. Typoart folds.
- 1990: VEB Typoart is changed into a GmbH with 230 employees.
- 1991: Eckehart Schumacher Gebler acquires all of Typoart's matrices. This collection is kept in the Werkstätten und Museum für Druckkunst Leipzig GmbH. Typoart GmbH and HL Computer (Karl Holzer's company) are joined.
- 1995: Typoart GmbH still has 100 employees. It offers typefaces in truetype and postscript formats. Albert Kapr dies in Leipzig. The demise of Typoart is mysterious, and not much is known about who owes what to whom. This page mentions the present situation. Andreas Seidel explains that Typoart has digitized lots of its type faces using Ikarus, and that the rights are held by Mr. Holzer, who may be in some financial trouble. He says that no living Typoart designers has received any royalties or public recognition.
- Alte Schwabacher: blackletter by Herbert Lemme.
- Bembo: Typoart's version is by Erhard Kaiser.
- Biga: a shaded headline typeface made by Fritz Richter in 1985.
- Caslon-Gotisch: a blackletter typeface originally created by William Caslon in 1760, it was brought to Leipzig from England in 1904 by Carl Ernst Pöschel.
- Eckmann: a soft blackletter, dating from 1900.
- Erler Versalien (1953, Herbert Thannhaeuser; digital version called Missale Incana (Andreas Seidel)).
- Fette Antiqua: a headline typeface made by Barbara Cain.
- Garamond (1955): the metal Typoart version is by Herbert Thannhaeuser. The digital version is Garamond No.5 at Elsner&Flake. See also here. URW published a different digital version, Garamond No. 4. And Infinitype / SoftMaker says that its German Garamond is based on TypoArt's.
- Fleischmann: a serif based on Fleischmann's historical face. An original cursive by Harald Brödel was added.
- Halbfette Baskerville: an interpretation of Baskerville by Volker Küster.
- Hogarth Script: an elegant script based on 18th century copperplate originals by William Hogarth. Font by Harald Brödel. Digital versions at URW, Softmaker (as Hobson), Alexandra Gophmann (cyrillic version, 2005), Linotype and Elsner&Flake. Incredibly, Linotype owns the Hogarth Script trademark.
- Kis Antiqua: Hildegard Korger's interpretation of this classic Dutch Antiqua by Nikolaus Kis.
- Kleopatra: a double-line decorative typeface by Erhard Kaiser (1985), digitized in 1989.
- Leipziger Antiqua: a very legible Antiqua designed by Albert Kapr in 1959, developed for phototypesetting by Hans-Peter Greinke, and further developed in digital form by Tim Ahrens in 2002 as Lapture.
- Liberta: a house typeface from 1958 made by Herbert Thannhaeuser.
- Luthersche Fraktur: a blackletter by Volker Küster and Herbert Lemme, digitized in 1989.
- Magna: a DDR magazine text typeface from 1968, by Herbert Thannhaeuser. In 1975, Albert Kapr added Cyrillic letters. Karl-Heinz Lange developed the phototype. URW, Linotype and Elsner&Flake (who owns the trademark) have a digital version.
- Maxima: a sans family by Gert Wunderlich (1970). Elsner&Flake (who owns the trademak), Linotype and URW have a digital version.
- Minima: Karl-Heinz Lange's narrow sans designed for the DDR's telephone directory.
- Molli: a comic book typeface by Harald Brödel.
- Neutra: A variant of Clarendon, rendered more legible by Albert Kapr. Used in the DDR for advertising.
- Nidor: a slab serif by Harald Brödel.
- Norma-Steinschrift: a house sans.
- Prillwitz (1987): a didone by Albert Kapr and Werner Schulz. Elsner&Flake have a digital version.
- Primus: a 1962 workhorse family (with Magna and Timeless) for the magazines in the DDR. Conceived in 1962, it was later adapted in Phototype by Karl-Heinz Lange. However, the Berthold Photypes book of 1982 puts the date of creation at 1950.
- Publika: a sans typeface developed between 1981 and 1983 by Karl-Heinz Lange.
- Quadro: a four-line showstopper typeface by Erhard Kaiser.
- Schmalfette Antiqua: Barbara Cain's very narrow didone.
- Schwabacher T09, T20 and T48.
- Stentor: a brush script by Heinz Schumann (1964). Digital versions by Scangraphic, Ralph M. Unger (2013, as Tyton Pro), Elsner&Flake and URW. Rosalia (2004, Ingo Preuss) is based on Stentor.
- Super Grotesk: a legible sans by Arno Drescher (1930, Schriftuss KG). For a digital version, see FF Super Grotesk.
- Timeless (1982). See also Elsner&Flake and URW.
- Walbaum: a didone based on Walbaum's originals.
- Zyklop: an art nouveau/Jugendstil face.
Personal home page of Jay Rutherford.
View Typoart's typefaces. [Google]
Typographie et Civilisation
Typography site maintained by Jean-Christophe Loubet Del Bayle. Has sub-pages on Bertham, Bookman, Chelthenham, Clarendon, Copperplate Gothic, Garamond, Garamond ITC, Garamond No3, Goudy Mediaeval, Goudy Old Style, Goudy Sans, Granjon, Optima, Sabon, Stempel, Collection Claude Garamond, Collection Frederic Goudy. [Google]
Unicode Fonts for Ancient Scripts
This is a fantastic source of free high-quality fonts for scripts of the greater Aegean vicinity, Egyptian Hieroglyphs, Meroitic, Sumero-Akkadian Cuneiform, Musical Symbols and all Symbol Blocks in the Unicode Standard. George Douros is their Greek font designer. His free fonts come with this exemplary footnote: In lieu of a licence: Fonts in this site are offered free for any use; they may be opened, edited, modified, regenerated, posted, packaged and redistributed. Many of his fonts contributed to important section in the GNU Freefont project. Here is the list:
- Aegean (2007-2012). Covers Basic Latin, Greek and Coptic, Greek Extended, some Punctuation and other Symbols, Linear B Syllabary, Linear B Ideograms, Aegean Numbers, Ancient Greek Numbers, Ancient Symbols, Phaistos Disc, Lycian, Carian, Old Italic, Ugaritic, Old Persian, Cypriot Syllabary, Phoenician, Lydian, Archaic Greek Musical Notation. Other things in it: Linear A, Cretan Hieroglyphs, Cypro-Minoan, Ancient Greek Alphabets, Phrygian, Old Italic Alphabets (Cumaean, Archaic Etruscan, Neo Etruscan, Ancient Latin, Lugano, Faliscan, Marsiliana, Messapic, Middle Adriatic South Picene, North Picene, Oscan, Umbrian), the Arkalochori Axe and Anatolian Hieroglyphs.
- Aegyptus (2007) and Gardiner. Over 7000 hieroglyphs. In addition, we have Basic Latin, Greek and Coptic, Egyptian Transliteration characters, some Punctuation and other Symbols.
- Akkadian (2007). Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Ugaritic, Cuneiform, Cuneiform Numbers and Punctuation.
- Alexander (2007, text typeface built around the Greek letters originally designed by Alexander Wilson in 1744; compare with Wilson Greek (1996, Matthew Carter) and Junicode (2006, Peter S. Baker)). The Latin and Cyrillic parts are based on Garamond.
- Alfios. Lowercase upright Greek were designed in 1805 by Firmin Didot (1764-1836) and cut by Walfard and Vibert. The typeface, together with a complete printing house, was donated in 1821 to the new Greek state by Didot's son, Ambroise Firmin Didot (1790-1876). Lowercase italic Greek were designed in 1802 by Richard Porson (1757-1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures); it is available in regular, italic, bold and bold italic.
- Anaktoria. Douros: Grecs du roi was designed by Claude Garamond (1480-1561) between 1541 and 1544, commissioned by king Francis I of France, for the exclusive use by the Imprimerie Nationale in Paris. Greek in Akaktoria is based on a modern version of Grecs du roi prepared by Mindaugas Strockis in 2001. Lowercase Latin stems from the titles in the 1623 First Folio Edition of Shakespeare. Scott Mann & Peter Guither prepared a modern version for The Illinois Shakespeare Festival in 1995. Cyrillic has been designed to match the above Greek and Latin.
- Analecta (2007, Byzantine style). An ecclesiastic scripts font, in Byzantine uncial style, covering Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Coptic, typographica varia, Specials, Gothic and Deseret.
- Aroania: In 1927, Victor Julius Scholderer (1880-1971), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. Aroania is a modern recast of Victor Scholderer's New Hellenic font, on the basis of Verdana.
- Asea (Latin-Greek-Cyrillic).
- Atavyros. Douros writes: Robert Granjon (1513-1589) produced his Parangonne Greque typeface (garmond size) at the instigation of Christophe Plantin as a counterpart to Garamond's Grec du roi, in Antwerp Holland, between 1560--1565. It was used in Plantin's multilingual Bible of 1572. Versions of Granjon's type were used for the 1692 edition of Diogenes Laertius and for the Greek-Dutch edition of the New Testament in 1698, both published by Henric Wetstenium in Amsterdam. A digital revival was prepared by Ralph P. Hancock for his Vusillus font in 1999. Latin and Cyrillic are based on a Goudy typeface.
- Avdira. Douros: Upright is based on the lowercase Greek letters in the typeface used by Demetrios Damilas for the edition of Isocrates, published in Milan in 1493. A digital revival was prepared by Ralph P. Hancock for his Milan (Mediolanum) font in 2000. Italic Greek were designed in 1802 by Richard Porson (1757-1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810.
- Maya. Maya covers the glyphs in J. Eric S. Thompson's A Catalog of Maya Hieroglyphs (1962, University of Oklahoma Press).
- MusicalSymbols (2007) or Musica (2013). Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Byzantine Musical Symbols, (Western) Musical Symbols, Archaic Greek Musical Notation.
- UnicodeSymbols (2007, in the Computer Modern style) and UniDings (2013). It has every imaginable symbol: Basic Latin, Latin-1 Supplement, Latin Extended-A, IPA Extensions, Greek, Cyrillic, Cyrillic Supplementary, General Punctuation, Superscripts and Subscripts, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, CJK Symbols and Punctuation, Yijing Hexagram Symbols, Vertical Forms, Combining Half Marks, CJK Compatibility Forms, Specials, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tile Symbols, Domino Tile Symbols.
- Symbola (2013) is an unbelievably rich font. It contains Basic Latin, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek and Coptic, Cyrillic, Cyrillic Supplement, General Punctuation, Superscripts and Subscripts, Currency Symbols, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Braille Patterns, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, Supplemental Punctuation, Yijing Hexagram Symbols, Combining Half Marks, Specials, Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tiles, Domino Tiles, Playing Cards, Miscellaneous Symbols And Pictographs, Emoticons, Ornamental Dingbats, Transport And Map Symbols, Alchemical Symbols, Geometric Shapes Extended, Supplemental Arrows, and Symbols of occasional mathematical interest.
- Unidings. Various glyphs and icons.
Since George permits redistribution, I am offering his work for download here. [Google]
University of Kentucky
A selection of truetype and type fonts: Nina is a 1996 Garamond-like family of heavily accented fonts, copyright of the International Journal of Tantric Studies. SILDoulosIPA (1993) is a phonetic font. Sanskrit 1.2, Sanskrit 1998 (both 1998, Omkarananda Ashram Himalayas, Rishikesh, India) and SanskritVijay (Vijay K. Patel) are Indic fonts. The Times_CSX+ Sanskrit family is by URW (1994). The Translit98 family is a Nina-lookalike. [Google]
The large URW Garamond family with many Wide, Narrow and Extra Narrow stytles, was created by the URW staff in 1993. It even has Stencil weights. The SoftMaker version is called Garamond Standard. [Google]
US fonts in 40s and 50s
Fonts popular in the US in the 40s and 50s as listed by typophiles: Alternate Gothic / Alpin Gothic, Futura, Garamond, Baskerville, Century, Caslon, News Gothic / Trade Gothic, Stymie / Memphis / Beton, Poster Bodoni, Onyx, Metrolite, Metromedium, Metroblack, Rockwell, Kaufmann, Balloon, Bank Script, Mademoiselle (Thompson), Alexey Brodovitch (Vogue). [Google]
[Ricardo Rodrigues dos Santos]
Ricardo Rodrigues dos Santos (or briefly, Ricardo Santos, b. 1976 in Lisbon) is a Portuguese designer of type, who ran VanArchiv (est. 2000) from Loures, Portugal. He changed the name to Ricardo Santos and sells his work through MyFonts. In 2014, Aprígio Morgado, Ricardo Santos and Rúben Dias cofounded Tipos dasLetras in Lisbon. Klingspor link. Behance link. FontShop link.
Ricardo's early masterpiece is Atlantica (2005), a 28-weight transitional family. His faces Insectos Project (1997, geometric sans) Base Geometric Sans Serif (1998, geometric sans) Focus (1999, geometric sans) and Zeit Geist (2000, decorative) are discussed by a type forum. He made the sans families Boom (1997, decorative), Van (1998-2001, geometric sans) Urbis (2001, geometric sans) Baseniv (2001), geometric sans) RS1 (1998, decorative), Mitron (2001, decorative) Van Condensed (1998-2004, geometric sans) Van Dingbats (2004, travel dingbats), Focus and Focus Dingbats (2006, sans), and Lisboa (2000-2005, humanist sans, with dingbats based on the symbology of Lisbon city, published with Fountain).
At Tiponautas: Lab Sans Pro (LuisAlonso+RicardoSantos--LabSlabPro-2011b.png">2011, by Luis Alonso and Ricardo Santos) is a geometric sans-serif typeface with a technological and minimalist look and is suitable for use in large sizes.
Tramuntana 1 Pro (2012) was inspired by the late Renaissance and Manneiist spirit during 2009 for his Masters in Advanced Typography (Eina-Barcelona). This project was also inspired by Robert Granjon, Garamond and Sabon typefaces. The name tramuntana (Tramontane) is the Catalonian word for the cold wind that comes from the Pyrenees mountains and goes as far as the Balearic Islands. It was designed for editorial proposes (books and magazines). Tramuntana Dingbats (2012) is a set of artistic arrows.
Typefaces at Tipos da Letras: TDL Ruha Hairline and Latin (2014, with Abrígio Morgada and Rúben Dias: a modern slab and wedge serif pair).
In 2014, Ricardo Santos designed the geometric humanist sans typeface family Grafia Sans. [Google]
Walter Florenz Brendel
Erlangen, Germany-based metafont and TeX specialist who has designed numerous font packages and developed many others. His work is always free and he has provided the TeX community invaluable typeface support. A list of his work:
- Based on Euler and CM, he also developed the Euler math fonts (2001). Also called Euler-VM.
- mathpple defines the type 1 font family "Palatino" (ppl) as the default roman font and use the "mathpple" fonts for typesetting math with LaTeX.
- ECC, or European Concrete Computer Modern: a metafont implementation of Donald Knuth's Concrete fonts, providing T1 text fonts and TS1 text companion fonts.
- Codeveloper with Malte Rosenau of the Bera fonts, based on Bitstream's vera family.
- Extensions of some of the free URW fonts. For example, Walter Schmidt extended URW Palladio L in his FPL Neu package. He has also worked on URW Letter Gothic and URW Garamond No. 3.
- Creator of cmbright, a family of sans serif metafonts based on Donald Knuth's CM font. It is lighter and less obtrusive than CMSS. Together with CM Bright there comes a family of typewriter fonts, CM Typwewriter Light, which look better in combination with CM Bright than the CMTT fonts would do.
- Designer of the free font Augie, a type1 font simulating informal American style handwriting (2000), based on an earlier font called Augie by Steven J. Lundeen (1997).
Type designer, b. Dessau, 1937. After studies at Fachschule für angewandte Kunst, Berlin, he became graphic designer. At Typoart, the East German foundry, he published the art nouveau typeface Eckmann (1961), a phototype created after the original by Otto Eckmann. Still at Typoart, he published the Timeless family (think Times Roman). Timeless is now available from Elsner & Flake, and from URW++. Finally, he also made Garamond No. 4 Cyrillic (now a URW typeface) and Prillwitz Antiqua (1971-1987, with Albert Kapr). [Google]
Type designer who worked with Ludwig&Mayer and with Francesco Simoncini in the 1950s and 1960s. With Francesco Simoncini, he created Simoncini Garamond from 1958-1961. Not the best version of Garamond in my view. Bitstream's Italian Garamond (by Bilz and Simoncini) is in the same style. The transitional typeface Life (1965) was designed by W. Bilz, and jointly developed by Ludwig&Mayer and Francesco Simoncini.
FontShop link. [Google]
Wm. Ross Mills
Designer (b. Vancouver, 1970) of high-quality faces at Tiro Typeworks in Vancouver, which he co-founded with John Hudson. He created Plantagenet (1995, a great transitional type family: the OpenType extension of 2004 is called Plantagenet Novus), 1530 Garamond (1994), and Academia (1995), three full font families. Academia2 (Mills, 2006-2007) is a complete redesign of the 1996 sans family.
In 2000, Tiro was commissioned by the government of the new Canadian Arctic territory of Nunavut to design a set of Inuktitut and Latin script fonts. That font family is called Pigiarniq (Mills; see also here). He is working on Maxwell (also since 2005), a text typeface designed for the typesetting of mathematical and scientific texts.
With Marian Bantjes, he created the ornamental font Restraint (2007), which won an award at TDC2 2008.
The book family Huronia was designed from 2005-2010. The Pro version, which is currently in development, expands upon the standard character/glyph set, with targeted language and script support for languages of the Americas, including Canadian Syllabics, Cherokee, Latin and Latin derivatives for Americanist orthographies, IPA and support for arbitrary accent positioning. Polytonic Greek will also be included in the Pro version. It was published by Rosetta Type in 2013. There are small differences in language coverage between the original font from 2010 and the Rosetta version of 2013, but they promise that these will be evened out. PDF file of the 2010 original.
Klingspor link. [Google]
French type designer (b. 1977), who studied graphic design in Paris as well as calligraphy and typography at the Scriptorium de Toulouse. From 1999 to 2001, he worked as a type designer in a packaging design agency. He collaborated with Ladislas Mandel on Renaissance writings. From 2001 to 2004, he lived in South Asia. His work was discussed by Yves Peters. Link at ENSAE, France. FontShop link. An online quarrel between Xavier and John Downer. He designed the following fonts:
View Xavier Dupré's typefaces. [Google]
- The aesthetic text font Humanix, 1998.
- The beautifully balanced family FF Reminga (2001) and FF Reminga Titling.
- The swinging FF Jambono (2002).
- The fifties font FF Tartine Script (2002).
- The elegant garalde text family FF Angkoon (2003, FontFont, winner of an award at TDC2 2004).
- The slab serif family FF Absara (2004). This typeface won an award at the TDC2 2005 type competition. It was followed in 2005 by FF Absrara Sans (FontShop) and in 2007 by FF Absara Headline and FF Absara Sans Headline.
- FF Parango (2001). A garalde typeface.
- The 12-weight family Spotka (2003, T-26), created in cooperation with Silas Dilworth.
- Meteor (2003, T-26).
- FF Megano (2005, FontShop), a humanist sans in six weights and a very eye-catching "g".
- Zingha (Font Bureau), an all-round serif family.
- Vista Sans (2005, Emigre): this won an award at TDC2 2006.
- Two Khmer fonts commissioned in 2003 and 2004 for Cambodia: ApsaraLight, ApsaraRegular, ApsaraMedium, ApsaraBold, ChriengCKS-Regular, ChriengCKS-RegularAlternate (done with the help of Michel Antelme). Reencodings include Banthem Aksar Chrieng, Chrieng Siksacakr, Hora Chrieng, Mo.Kha.Sa.Chrieng.
- FF Sanuk (2006, FontFont), a 27-style family rooted in architectural drawing letters.
- Malaga (2007, Emigre), a 32-weight serif family with a distinctive flat-topped lower case a.
- Vista Slab (2008, Emigre: 108 styles).
- FF Masala (2009, round scriptish sans) and FF Masala Script (2009).
- FF Yoga Sans and Serif (2009), a type system conceived for newspapers and magazines. The FontShop ad: FF Yoga, with its sturdy serifs is a good choice for body text, but it also serves as an original headline typeface with its subtly chiseled counters. The typeface mixes the dynamic tension of angular cuts with the balanced rhythm and elegant curves of Garalde typefaces. FF Yoga Sans is a contemporary alternative to Gill Sans and a sober companion to the serif FF Yoga.
- Mislab (2013, Typofonderie). A slightly cursive and fully humanistic slab family in 32 styles and three widths. Mislab won an award at TDC 2014.
[Ganlo R. Ithsm]
American Fontstructor who also uses Fontspace to display his work. He uses the alias Ganlo R. Ithsm, which is probably a permutation of Logan R. Smith.
Typefaces from 2010: Aztec, Barely, Braille, Digital Watch, Game Serif (+Outline), Serifial, Future Sans Tall, Future Watch Monospaced (LED face), Minimalist Everything, LegiPixel, Outlinecial, Teencial, Technically Pixels, Digital Watch, Minimal, Interest, and a few other pixelish faces.
Typefaces from 2011: LusumTypus (octagonal, mechanical), Italic Dotts, Stretchy (stretched pixel face), Modernistical, Pactim, Elite (constructivist), Shiny Dotts, Game Serif Italic, Garamond Pixelle, Performa (pixel face), Simpole Mono (pixel face), Slaant (angular face), Konsul Mono (pixel typeface based on Monaco), Thinnest Slats, Thin Slats, Lateral Slats, Kanureed Thys (pixel face), X Marks The Font, Habimo, A Stroke of Geneus (blackletter), Kurcive, Quasoid (kitchen tile, piano key face), Target Aims The Font (dotted), Uncialogo (kitchen tile face), xe Callig Better (blackletter), xe Dotcial (dot matrix typeface based on American Uncial), xe Dogma, xe Inktrap, xe Inktrap Bold, Koch Black (a remake of one of Koch's blackletter faces), xe Bard (blackletter), xe Micropolis (city dingbats).
Typefaces from 2013: XE Timey. [Google]
[Kostic Type Foundry]