10. Tage der Typografie

The X. Tage der Typografie (or: typohochzehn) were held from 22-25 May 2008 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. Speakers included Indra Kupferschmid (workshop on titling), Jan Middendorp (ten years type design), Paul van der Laan (pixel font workshop), Renate Dölzer and Angelika Götz (calendar design workshop), Tanja Huckenbeck and Peter Reichard (poster workshop), and Ralf de Jong (book design). [Google] [More]  ⦿

11. Tage der Typografie

The XI. Tage der Typografie were held from 9-11 October 2009 in Düsseldorf, with the cooperation of Akademie Druck+Medien NRW and Mediencommunity 2.0. The head honchos are Tanja Huckenbeck and Peter Reichard. [Google] [More]  ⦿

12. Tage der Typografie

The XII. Tage der Typografie were held from 5-7 November 2010 in Düsseldorf, with the cooperation of Akademie Druck+Medien NRW. The head honchos are Tanja Huckenbeck and Peter Reichard. Speakers include Victor Malsy (Willich), Mathieu Lommen (Amsterdam) and Alessio Leonardo (Berlin). [Google] [More]  ⦿

123 Buero
[Timo Gaessner]

123 Buero is Timo Gaessner's graphic design studio, est. 2002 in Berlin. Gaessner studied at the Kunstacademie in Maastricht, at the University of Arts, Berlin, and at G. Rietveld Academie, Amsterdam. He was a founding member of Balcony Magazine in Paris in 2001. His typefaces include 123Naiv (2004), 123Queen (2004), 123Sweater (2005), 123Julia (2001). All of these are characterized by minimalist shapes. Fonts like 123Naiv can also be bought at Die Gestalten. Free font: Naiv-Fat (2007). Since 2010, partner with Alexander Meyer in Milieu Grotesque. At MilieuGrotesque (or: Meyer&Gässner, Zurich), his fonts Maison (2010, grotesque family) and Chapeau (2010, rounded) can be bought. [Google] [More]  ⦿

13. Tage der Typografie

The XIII. Tage der Typografie were held from 11-13 November 2011 in Düsseldorf, with the cooperation of Akademie Druck+Medien NRW. The head honchos were Tanja Huckenbeck and Peter Reichard. Speakers included Andrea Schmidt and Uta Schneider. [Google] [More]  ⦿

21. Bundestreffen des Forum Typografie

The "21. Bundestreffen des Forum Typografie" took place in Hannover, Germany, from 11-13 June 2004. Speakers include Underware, Tarek Atrissi, Ruedi Baur, Andreas Maxbauer, Hermann Lúbbe und Walter Hellmann. [Google] [More]  ⦿

26plus zeichen
[Jakob Runge]

26plus, or 26+ is a foundry located in Kiel, Germany. It is a platform to present and encourage student-created fonts. One of those involved is Jakob Runge from Würzburg, Germany, a graduate of Fachhochschule Würzburg-Schweinfurt. He made the free condensed octagonal face Fracmetrica (2009). Dafont link. Additional URL. Other faces from 2009-2010 (all at 26plus-zeichen) include Singula, Edelsans (a geometric sans), Sinews (a manly sans which he compares with Klavika and Corpid), JJ Realis (a Swiss sans), Ugl-y (2010), Cojonna (2010; curly--an exercise on ball terminals), Capitalis Nova (2010, dot matrix family), Graphit (2010), Devion (2010, semi-angular serif face), Textrusion (2010, Escher-style trompe l'oeuil), Frgmt (2010, experimental), Samblone (2011, an Asian-look stencil face), TJ Evolette A (2011, with Timo Titzmann---a fashionable geometric grotesque caps family).

Klingspor link. [Google] [MyFonts] [More]  ⦿

33pt | contributing to typography

Two day meeting on January 19-20 2005 at the Fachhochschule Dortmund (Germany) organized by Stefan Claudius. Speakers: Dirk Uhlenbrock (Signalgrau), Natascha Dell (Fontzine), Joerg Hemker (Herr Hemker), Verana Gerlach (Frau Gerlach), Peter Bruhn (Fountain), Joost Korngold, Walter Pamminger, Peter Bilak (Typotheque), 3deluxe, Underware. [Google] [More]  ⦿

6. Tage der Typografie

The "6. Tage der Typografie" were held from 10-13 June 2004 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. In German. Speakers include Peter Reichard (on stencil types), Ingo Krepinsky, Etienne Giradet (on typo-voyeurs), and Gabine Heinze and Michael Touma (on star symbols). [Google] [More]  ⦿

7. Tage der Typografie

The "7. Tage der Typografie" were held from 26-29 May 2005 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. In German. Speakers include Ralf de Jong, Kai Büschl, Peter Reichard, Tanja Huckenbeck, Ingo Krepinsky, Stefan Krömer, and Gabine Heinze. [Google] [More]  ⦿

70th Birthday laudatio
[Manfred Klein]

On his 70th birthday, Apostrophe summarizes his contributions, and called him the Mark Twain of type. The quotation repeated: "I have really fond memories of Manfred's earliest works, some stuff he did for Apply, Alphabets, and Fontshop. That was the early- to mid- 1990s, when type was still making the transition from photolettering and punches onto this new digital platform. Every old type and its grandfather were being scanned and digitized in all the swift intensity of serial killers, as if time were running out on us. Business concepts were being built around computer letters, territories were being marked, borders drawn... and into all this comes the work of Manfred Klein, like a breath of lake breeze to make light of everything. His Quill script and its hilarious dingbats were among the first "deviate" shockers in type originals. His Birds and Witches dingbats will in my mind always be the very first "funnybats" ever made. Also I shouldn't forget to credit him with the very first digitization I have ever seen of Gutenberg's type. There's been many attempts at it after that, but none had that same first-time effect on me. I'm having a hard time believing that the man's turning seventy now. I can't help but feel a little cheated. I've only known of him for less than 8 or 9 years. I've always thought of him as a star, so imagine if I knew him in his thirties, fourties, or fifties. Still, I was lucky enough to learn of him, learn from him, even communicate with him... all that makes me feel less cheated, and somehow much more life-wise. My one-liner about Manfred, if I were ever asked to compose one, would be this: The Mark Twain of type is a German called Manfred Klein." [Google] [MyFonts] [More]  ⦿

9. Tage der Typografie

The 9. Tage der Typografie was held from 7-10 June 2007 at the Institut für Bildung, Medien und Kunst in Lage-Hörste, Germany. The theme is Noblesse oblique. Speakers include the Typonauten (Ingo Krepinsky and Stefan Krömer), Dan Reynolds, and the Spatium people (Tanja Huckenbeck and Peter Reichard). Alternate URL. [Google] [More]  ⦿

A. Froescher

German designer of these blackletter typefaces: Block Fraktur (1914-1915, Berthold), Stuttgarter Fraktur (1915, Berthold). [Google] [More]  ⦿

A hundred dollars and a dog
[Stefan Ruetz]

German design company run by Isabelle Gehlmann and Stefan Ruetz. Stefan designed the free futuristic typeface Bert (2005). [Google] [More]  ⦿

ABC Design
[Johannes Birkenbach]

Johannes Birkenbach (b. 1956, Ludwigshafen) began his career with D. Stempel AG in 1983 drawing typefaces and moved to digital typeface design and development while working at Linotype in Germany and then Monotype in the UK. Since 1994 Johannes has operated his own design studio, ABC Design, and has worked with Ascender since 2004 on many font projects. In 2008, he joined Ascender Corp and is associated with its German branch. Based in Pirmasens, Germany, his fonts include the Bijoux, Palazzo Caps, Jeunesse, CiceroCaps, Jocelyn, Jonas, Ulissa, and Perrywood (Monotype, 1993). [Google] [More]  ⦿

Abitz.Com Multilingual Software

Berlin-based company that sells these school fonts: TrueType-Schulschriften (including Lateinische Ausgangsschrift mit 1, 2, und 4 Linien, Vereinfachte Ausgangsschrift mit Lineaturen, Schulausgangsschrift, Druckschriften Hamburg und Bayern, MO-MARA, auch mit angepassten Buchstaben für die 1. Klasse, Schwungübungen für die Schreibschriften, mit und ohne Linien), TrueType-Rätselschriften (which includes mainly dingbat fonts), and TrueType-Schulpiktogramme (dingbats such as Symbole und Sinnbilder für den Schulalltag, Anlautschriften, Bausteinschriften, Kästchenschriften, Matheschriften mit dem Zahlenstrahl, Rahmenschriften, Spaßschriften und Symbole, Uhren). [Google] [More]  ⦿

Achaz Reuss

In house type designer at Elsner&Flake. Catalog of his faces. He designed an elegant high-contrast art deco display face Miami EF in 1994, the broken black lettering face EF Splitter, the horizon lettering face EF Eastside in 1995, and Nivea in 2000 (for Beiersdorf). Designer of the Bank Gothical sans family FF QType (2004) in Condensed, Compressed, Extended, SemiExtended and Square versions. In 2007, he created Bodoni Stencil (URW++). Other URW creations include Latin, Nimbus Roman Moern Compress, URW Compress and URW Oklahoma (art deco). [Google] [MyFonts] [More]  ⦿

Achim Reichert

Type designer based in Paris, who makes experimental commercial fonts at "For Home or Office Use" (Frankfurt). One of his families is called Lini (2000, semi-technical). Others: 2Try-Strich, 3Try-Straight, 4Try-kerned, 7Try-Medserif, 8Try-Micro, 12Try-Lego, 131Try-Klinspor, 161Try-Bitter, 172Try-Reg, 1722Try-Fliess Fett, 1721Try-Reg Inline, 174Try-Serif, 1742Try-Serif Fett, 18Try-Annette, Densite, Ouvert, Knubb, Knubb-20, Lini Eins, Lini Drei, Lini-Viers, Love-1, Love-10, NEW FEw, NEW GEw, NEW Klein, sBit34, WIR 2, WIR 3, WIR 4, WIR 6Vi, WIR 7Vi, WIR 7Vi Fat. Achim also runs Vier5 with Marco Fiedler, a graphic design studio. At Vier5, he published the experimental face SVT (2010) and the futuristic angular Shake (2010), which was originally designed for the Centre d'art Contemporain de Brétigny in France. [Google] [More]  ⦿

ACME Fonts (or: CHK Design)
[Christian Küsters]

Started in 1996, by Christian Küsters and Andy Long (from South London), ACME Fonts is a London-based foundry, offering fonts by Küsters and these designers: Anthony Burrill, Gérard Paris-Clavel&Johannes Bergerhausen, Jean-Lou Désiré, Paul Farrington, Robert Green, Paul Kehra, Henrik Kubel, Simon Piehl, Alex Rich, Carsten Schwesig, Sandy Suffield, Dirk Wachowiak, Anne Wehebrink and Paul Wilson. Christian Küsters is an ex-student of Matthew Carter at Yale. Born in Germany, he now lives in Oberhausen. Buy the fonts at Font Factory or MyFonts. The company evolved, I guess, into CHK Design.

Interview. Klingspor link. The ACME font list:

• By Christian Küsters: AF Angel (1998, based on an old woodblock typeface), AF Satellite, AFWendingen, Cashier 1 AF (1999, dot matrix), AF Champ Fleury (1996, a Codex-like face), AF Hybrid (1996), AF Hadrian Roman (1998, art nouveau), AF Interface One and Two (1998, grotesque sans), AF Retrospecta (1998, exaggerated wedge serif family), AF Track AF One and Two (1998, white on black dot matrix printing), Unzialis (1994), Zip Code AF 30, 40, 50 and 60 (2001, hairline squarish sans family). Christian had a nice connection at Plazm, where he published Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996) and Interface One (1996).
• By Robert Green: AF PAN (1997, octagonal).
• By Henrik Kubel: 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (2000, grotesque sans), CPH-ArabicNumbers, CPH-Medium, Grot-25.
• By Sandy Suffield: CarPlatesCarPlates, AF Carplates (1998, squarish, including Carplates AF Bold Stencil).
• By Paul Wilson: AF Screen (1999).
• By Pete McCracken: INKy-black (1994).
• By Carsten Schwesig: Nicoteen 13 AF (1998, grunge), AF Syrup (1998, slab serif).
• By Paul Farrington: Camberwell AF One (1998, grotesque sans), AF Tasience (1998), Amateur 69 AF (1998, grunge).
• By Dirk Wachowiak: AF Diwa (2002, large squarish sans), AF Generation (2002, huge squarish sans families called A, A2, A2A, Z, and ZaZ).
• By Jean-Lou Désiré: Kub AF (2002, experimental).
• By Johannes Bergerhausen and Gerard Paris-Clavel: LeBuro AF (2003, grunge in weights called Breau, Crade, Louche, Extra Crade, Demi Beau).
• By Sylvia and Daniel Janssen: AF Nitro (2004, techno family in subfamilies called Intro, Riton, Trion).
• By Anne Wehebrink: Oneline AF (1998, squarish sans).
• By Paul Kehra: PostSoviet AF (2001, geometric sans family; with Cyrillic and Latin letters; weights called Culture, Free Latvian, Free Revolution, Ideology, Revolution).
• By Simon Piehl: Spin AF (1998, squarish sans).
• By Anthony Burrill: Video Wall AF (1998).
• By Christian Küsters, based on lettering of H.T. Wijdeveld: Wendingen AF (1998, LED simulation).
• Other: AFConstants (1998), Allen, Indy 500, Interface, AFLogotype (1998).

View ACME's typefaces. [Google] [MyFonts] [More]  ⦿

Acrylnimbus
[Tot Mischstab]

Acrylnimbus offers the free fonts made by Tot Mischstab in 1998-1999: MischstabApfelsaft, MischstabAvocadoTrauma, MischstabDecibelRepulse, MischstabOblivion, MischstabOpiumRiver, MischstabPopanz, MischstabPortionControl, MischstabSugarSweet, MischstabThirdEcho, MischstabUmbrellaPatina, MischstabZahnschwein. Alternate URL. [Google] [More]  ⦿

Action King

German designer of the graffiti font Los Vatos Locos (2008). Dafont link. [Google] [More]  ⦿

Actiontype.de
[Tanja Diezmann]

German designers of some experimental 2d and 3d fonts, under the guidance of Professor Tanja Diezmann from the Hochschule Anhalt in Dessau. Fonts include Isometrie (sans), Actiontype Bold (3d), Actiontype Light, Actiontype Serif (slab serif). Using these fonts as base models, several random fonts were constructed by interpolation. Actiontype is managed by Marcus Schaefer in Dessau. [Google] [More]  ⦿

Adaylife
[Hee Jun Kim]

Adaylife is the Berlin-based foundry of Hee Jun Kim. He published the squarish sans family ADIL Sans, the script face Love Letter, and the art deco face Rolly Pops in 2010. [Google] [MyFonts] [More]  ⦿

Adolf Behrmann

German type designer who designed the classical display face Rundfunk at Berthold in 1928. This face was digitized by Nick Curtis as Radio Ranch NF.

FontShop link. [Google] [MyFonts] [More]  ⦿

Adolf Heimberg

Blackletter type designer: Urdeutsch (1924-1925, Genzsch&Heyse). See the digital revival by Petra Heidorn (2004). Schnelle spells his name as Heimberger. [Google] [More]  ⦿

Adrian Frutiger

Famous type designer born in 1928 in Unterseen, Switzerland. He closely cooperates with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger now lives near Bern, Switzerland, and is primarily working with woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited Adrian Frutiger Typefaces The Complete Works (Birkhäuser Verlag), a 460-page opus based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland. Quote: Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay. He designed over 100 fonts. Here is a partial list:

• Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
• Delta.
• Phoebus (Deberny&Peignot, 1953).
• Element-Grotesk.
• Federduktus.
• Ondine (Deberny&Peignot, 1953-1954).
• Méridien (Deberny&Peignot, 1955-1957). Digitized by Adobe/Linotype in 1989.
• Caractères Lumitype.
• Univers (Deberny&Peignot, 1957). About the name, Frutiger wrote I liked the name Monde because of the simplicity of the sequence of letters. The name Europe was also discussed; but Charles Peignot had international sales plans for the typeface and had to consider the effect of the name in other languages. Monde was unsuitable for German, in which der Mond means "the moon". I suggested "Universal", whereupon Peignot decided, in all modesty, that "Univers" was the most all-embracing name!. Univers IBM Composer followed. In 2010, Linotype published Univers Next, which includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights, and can be rented for a mere 2675 Euros.
• Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
• Opéra (1959-1961, Sofratype).
• Alphabet Orly (1959, Aéroport d'Orly).
• Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
• Alphabet Entreprise Francis Bouygues.
• Concorde (1959, Sofratype, with André Gürtler).
• Serifen-Grotesk/Gespannte Grotesk.
• Alphabet Algol.
• Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog.
• OCR-B (1966-1968, European Computer Manufacturers Association).
• Alphabet EDF-GDF (1959, Électricité de France, Gaz de France).
• Katalog.
• Devanagari (1967) and Tamil (1970), both done for Monotype Corporation.
• Alpha BP (1965, British Petroleum&Co.).
• Dokumenta (1969, Journal National Zeitung Suisse).
• Alphabet Facom (1971).
• Alphabet Roissy (1970, Aéroport de Roissy Charles de Gaulle).
• Alphabet Brancher (1972, Brancher).
• Iridium (1972, Stempel).
• Alphabet Métro (1973, RATP): for the subway in Paris.
• Alphabet Centre Georges Pompidou. The CGP typeface (first called Beaubourg) used in the Centre Georges Pompidou from 1976-1994 is by Hans-Jörg Hunziker and Adrian Frutiger, and was developed as part of the visual identity program of Jean Widmer. It is said that André Baldinger digitized it in 1997.
• Frutiger (1975-1976, Stempel, with Hans-Jörg Hunziker). The modern Bitstream version is called Humanist 777. In 2001, Linotype published an update of its Frutiger family, Linotype Frutiger Next. A few years later, Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006.
• Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
• Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
• Breughel (1982, Stempel; 1988, Linotype).
• Dolmen.
• Tiemann.
• Versailles (1983, Stempel).
• Linotype Centennial (1986).
• Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. Lovely poster by Ines Vital (2011).
• Westside.
• Vectora (1991, Linotype).
• Linotype Didot (1991).
• Herculanum (1989, Linotype): a stone age font.
• Shiseido (1992).
• Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
• Pompeijana (1993, Linotype).
• Rusticana (1993, Linotype).
• Frutiger Stones (1998, Linotype) and Frutiger Symbols.
• Frutiger Neonscript.
• Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
• AstraFrutiger (2002): a new signage face for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
• Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
• Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the orifinal Frutiger family.

Adriprints
[Adriana E. Hernandez]

Adriana Hernandez (b. Miami, FL) established Adriprints in 2008. She is located in Munich, Germany. Her fonts include Stitching Kit (2010, dings), Fiddleshticks (2009), Sorbet and Sorbet Wide (2009, like architectural letters), Fancypants (2010, curly lettering), Stitchin Crochet (2009, dingbats), Trellis (2009, handprinted), and Draft Punk (2009, comic book style). Font Squirrel link. [Google] [MyFonts] [More]  ⦿

Aidfonts (was: Antropos)
[Lutz Baar]

Lutz Baar (b. Berlin, 1946) ran Antropos. He is a calligrapher/type designer who runs a design studio called Miraculus Artwork in Gothenburg, Sweden. At the now defunct Antropos site, he used to offer Antropos (2002), a free prehistoric-lettering font. He is a contributor to the anthroposophic style of thinking and creating.

Baar published these typefaces with Linotype: Atlantis, Linotype Kaliber, Linotype Balder (1994), Linotype Ordinar (2000), Linotype Pisa (1997), Feltpen, Nordica (chiseled typeface).

Nice fonts at old Antropos site included: Aristoteles, Platonia, Andromeda, Zeitgeist, Artemis, Andromeda Engschrift, BaarAntropos, BaarAntroposAidfont, BaarAntroposBold, BaarAntroposBoldItalic, BaarAntroposCaps, BaarAntroposDisplay, BaarAntroposEngschrift, BaarAntroposItalic, BaarGoetheanis, BaarLemuria, BaarMetanoia, BaarMetanoiaBold, BaarMetanoiaBoldItalic, BaarMetanoiaItalic, BaarPhilos, BaarPhilosBold, BaarPhilosBoldItalic, BaarPhilosItalic, BaarSophia, BaarSophiaBold, BaarSophiaBoldItalic, BaarSophiaItalic, BaarZeitgeist.

He founded Menschengeist and Aidfonts (2005), where one can download his Sophia, Metanoia and Philos families.

Catalog of Lutz Baar's commercial typefaces. See also here. [Google] [MyFonts] [More]  ⦿

Akademie der bildenden Künste Stuttgart

Description of the main type work at the Academy of Graphic Arts in Stuttgart. The big names there were Walter Brudi, J.V. Cissarz, F.H.E. Schneidler and Walter Veit. Some stencil alphabet by them (ca. 1930). [Google] [More]  ⦿

Akiem Helmling

German cofounder of Underware (b. Heidelberg, Germany, 1971), a typographic design studio based in Den Haag, founded in 1999 by Akiem Helmling, Sami Kortemäki and Bas Jacobs. Akiem was born in Heidelberg, Germany, in 1971 and lives in Den Haag, where he studied from 1998-2000 at the KABK. He codesigned all Underware fonts: Dolly, Bello, Sauna, Liza (2009), Auto (1, 2 and 3), Unibody 8 and Fakir. MyFonts page. [Google] [MyFonts] [More]  ⦿

Akira Kobayashi

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:

• 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 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.

View Akiro Kobayashi's typefaces.

Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

Aktiengesellschaft für Schriftgiesserei und Maschinenbau (or: AG für Schriftgiesserei)

Foundry in Offenbach, Germany. Their main specimen book is Haupt-Probe über Schriftgiesserei-Erzeugnisse und Messing-Material (1911, Offenbach am Main). House faces include the blackletters Angelsächsisch, Archiv-Gotisch (1909), Asta (1902), Freigotisch, and Schöffer-Gotisch (ca. 1900). Heinrich (Heinz) König made the blackletter face Germania (1903). Eduard Brox designed Moderne Alt-Fraktur (1907; some give the date 1910). Albert Christian Auspurg created the blackletter faces Apart (1911) and Fraktur-Kursiv (1923). Their art nouveau faces include Apollo, Inserat Kursiv, Neptun, Tedesca. [Google] [More]  ⦿

Albert Anklam

German type designer. He created Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881) at Genzsch & Heyse. In 1876, he made Neue Schwabacher (normal and halbfett) at Genzsch & Heyse (and Klinkhardt). That same type can also be found at J. John&Söhne and at JG Shelter&Giesecke. Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994). [Google] [More]  ⦿

Albert Christoph Auspurg

German type designer, b. Frankfurt am Main, 1868, d. Leipzig, 1943. His oeuvre:

• At C.E. Weber: Start (1934).
• At Ludwig&Mayer: Aristokrat (1912), Miracle (1931, a script face), Rasse (1924), Schöndeutsch (1934), Reklame-Fraktur (1914), the gorgeous long-legged Mona Lisa (1930; digital version by Pat Hickson, 1992), the blackletter face Deutsche Kraft (1915), Brigitte (1935), the display roman face Krimhilde (1933-1934).
• At Schriftguss: Lido (1936, script face).
• At Benjamin and Krebs: Brentano Fraktur (1915-1916), Federzug Antiqua (1913), Nürnberger Kanzlei (1906), Schönbrunn (1928), Trajan Versalien (1928). At Genzsch&Heyse, he did Hans Sachs Gotisch (1911, revived in 2005 by Petra Heidorn; the face also appeared at Ludwig Wagner, where some date the Initialen style at 1902---Hans Sachs Gotisch was named after Hans Sachs from Nürnberg, 1494-1576, who was a master singer and songwriter), Domina (1929), Souverän (1913).
• At Haas: Castor (1924), Pollux (1925).
• At Trennert: Trocadero Kursiv (1927, a script font with flourished capitals). In 2010, it was extended and revived by Ralph Unger as Trocadero Pro.
• At Berthold: the peculiar Messe Grotesk family (1921-1927) and the shaded titling face Vesta (1926, a Mexican simulation face; for a digitization, see Visillo Adornado (2006, Nick Curtis) or Venezuela RR (2000, Pat Hickson at Rabbit Reproductions Typefoundry, aka Red Rooster)). The Messe Grotesk design was revived by Nick Curtis as Troglodyte NF (2006-2011) and by Paul Hickson as Messe Grotesk (1997, Red Rooster).
• At AG für Schriftgiesserei in Offenbach: the blackletter faces Apart (1911) and Fraktur-Kursiv (1923).
• At Schelter & Gisecke: Kolibri (1915; for a digial version of this multiline open face caps face, see Trochilida NF (2012, Nick Curtis)).
• At Berling: the italic open capitals face Berling Kortversaler.

Albert Falckenberg & Comp

Magdeburg-based foundry. [Google] [More]  ⦿

Albert Kapr

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] [MyFonts] [More]  ⦿

Albert Knab

Type designer (b. Oberlauringen/Unterfranken, 1870, d. 1948). He created Edelgotisch (1901, J.G. Schelter&Giesecke). [Google] [More]  ⦿

Albert Windisch

Designer (b. Friedberg, 1878, d. 1967) of Windisch Kursiv (1917, Klingspor). He lived in Frankfurt. [Google] [More]  ⦿

Albert-Jan Pool

Dutch writer and designer, b. 1960, Amsterdam, who currently lives in Hamburg. He studied at the Royal Academy of Arts in The Hague. From 1987 until 1991 he was the type director at Scangraphic, and from 1991-1994, he was the type manager at URW in Hamburg, at which time he completed URW Imperial, URW Linear, and URW Mauritius.

In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken anf Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.

He has been teaching typeface design at the Muthesius Kunsthochschule in Kiel between 1995 and 1998 and has taken up that job again in 2005.

Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image), FF DIN Round (2010; +Cyrillic; in use; sample), FF DIN Web (2010), Jet Set Sans (for JET/Conoco gas stations), DTL Hein Gas (for Hamburger Gaswerke GmbH), Regenbogen Bold (for a radical left party in Hamburg, a roughened version of Letter Gothic), He also made FF OCR-F.

Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton. Pic. [Google] [MyFonts] [More]  ⦿

Albrecht Dürer

Born and died in Nuremberg, Germany, 1471-1528. Painter, wood carver and copper engraver extraordinaire, famous for many great geometrical and structured capitals and proportioned designs, carried out with compass and ruler. Example from 1524. Another example, ca. 1500. Best known of the books on the geometry of letters is Dürer's Unterweysung der Messung [A Course on the Art of Measurement], published in 1525. See here. His famous set of German Renaissance Capitals (1525), Gothic Capitals, German Minuscule. Scan of his famous rhinoceros (1515) and of his Dürerfraktur (1519).

Fonts derived from his geometric constructions of the roman capitals include P22 Durer Caps (2004, P22, Terry Wüdenbachs) and Hands on Albrecht (2005, MichelM, URW++). [Google] [MyFonts] [More]  ⦿

Albrecht Seemann

Author of Handbuch der Schriftarten (Leipzig, 1926), a nearly comprehensive listing of all types at all German type foundries at that time. Just the name index of the types takes 38 pages. [Google] [More]  ⦿

Alex Rich

Type designer at ACME. [Google] [More]  ⦿

Alexander Dosiehn

German designer Alexander Dosiehn created the font Liga Sans (2001, Linotype). It was part of his graduate thesis at the Fachhochschule Düsseldorf. FontShop link. [Google] [More]  ⦿

Alexander Ertle

Hamburg-based communication designer. He created the experimental typeface Kubik (2012).

Behance link. [Google] [More]  ⦿

Alexander Koch

Drew Damned Dingbats EF in 1993. Designer at Germany's Apply Design. [Google] [More]  ⦿

Alexander Roth

Creator of Red Dot (2007, a dot matrix font: free if you ask). [Google] [More]  ⦿

Alexander Sperl

German designer (aka laynecom) at FontStruct in 2008 of band, blokk_2, maiden, substance, Fette Serif (fat, octagonal), Runde Pixelig, Velvet, Thin Sans, Constr, Clear Serif, Blokk. Added in 2009: Russisch Brot, Block Out (3d face, +Filled1, + Filled2), Bold Stencil Sans, Script Pixelig, Dorky Corners Sans, Haus der Kunst (inspired by the building in München by that name), Fraktur Test, Fette Sans (nice), Emilia, Runde Pixelig (pixel script). Creations in 2010: Fraktur Test, The Plot (octagonal, architectural), 80s Metal Band, Fieldwork Font (pixel), Black Metal, I slabbed the Seriff, Play (curly face). Creations in 2011: Obvious Stencil (Bauhaus, or piano key), Supercali (a psychedelic font inspired by the cover for A.R. Kane's "I"), Manuale (with straight slabs), Graphite (fat and rounded), Graphite 2, Hinterland Italic (quaint Victorian face). Klingspor link. [Google] [More]  ⦿

Alexander Tibus

Berlin-based designer of the unbelievable experimental font Wirefox (Die Gestalten, 2006), consisting of diagonal lines only. See it to believe it! [Google] [More]  ⦿

Alexis Luengas
[Alexis Luengas Zimmer]

German type designer. He created Rhetorica (2011): Its design is motivated by the elegant roman letters of the Rennaissance, capturing the vitality seen in the hand of masters like Granjon, Garamond, Jenson and Van den Keere, but also neohumanist typographers like Zapf. [Google] [MyFonts] [More]  ⦿

Alfons Muntean

German designer (b. 1977) who lives in Karlsruhe. Dafont link. Creator of the shaded serif face 404error (2006). [Google] [More]  ⦿

Alfons Schneider

German type designer, b. 1890, Groitzsch, d. 1946, Mühlberg/Elbe. He created the blackletter face Franken Deutsch (1934-1939, Ludwig Wagner), and Pergamon Antiqua (37, Ludwig Wagner; +Mager, +Schmalhalbfett). [Google] [More]  ⦿

Alfred Finsterer

Type designer (b. 1908, Nürnberg, d. 1996, Stuttgart) who designed fonts at Klingspor such as Duo licht/Duo dunkel (1954). Figura (1954, Stempel) is a condensed didone face. Scan of the cover of Hoffmann's Schriftatlas (1952), designed by him. [Google] [More]  ⦿

Alfred Mahlau

German (?) designer who made the avant garde face Mahlau in 1926, which was in the Elsner&Flake and Scangraphic collections. The Elsner&Flake face dates from 1986. [Google] [More]  ⦿

Alfred Riedel

Type designer in Freiburg (1906-1969) who was a pupil of Rudolf Koch. Designer of Domino (Ludwig&Mayer, 1954). A digital revival was created by Nick Curtis in 2007, called Idle Fancy NF. Sample of blackletter calligraphy. [Google] [MyFonts] [More]  ⦿

Alfred Smeets

Designer at Germany's Apply Design of RIO (1994). [Google] [More]  ⦿

Alfred Tilp

German type designer and artist, b. B¨hmen or Karlsbad, 1932, d. 2006. He was professor since 1973, and retired from Fachhochschule Würzburg in 1996. He still lives in Würzburg. Tilp runs Tilp Art, his computer art web site.

Bio. FontShop link. Klingspor link.

Typefaces:

• At URW++: the Tilp Bardi sans serif family.
• The Markin font family (1999, Linotype).
• At Elsner and Flake: TilpSerif EF (2000).

Alisa Nowak

German designer who stidied at Fachhochschule Düsseldorf (2009) and at the Ecole supérieure d'art et de design d'Amiens, France. In 2012, her blackletter typeface Eskapade Fraktur was published by Type Together. [Google] [More]  ⦿

Alois Ganslmeier

German type designer. With Andy Jörder and Jörg Herz, he created the ultra-fat constructivist family Coma (2010, Volcano). [Google] [MyFonts] [More]  ⦿

Alois Ludwig

Brno-born architect (1872) who worked in München and Vienna and died in 1969. Some of his lettering. [Google] [More]  ⦿

Alte Schriften
[Susuanne Ulmke]

German page advertising a CD with nice old writing samples (in tiff, not ttf!!!). Mostly decorated initials and Fraktur. R.G. Arens' Sütterlin font can be downloaded from this site, which is run by Susanne Ulmke in Arnsberg, Germany. [Google] [More]  ⦿

Alte Schwabacher

A classic form of blackletter first seen in 1472 in Augsburg where Johann Bämler created a version. It was very popular in the 16th century. Revived, e.g., by the following foundries: Drugulin/D. Stempel (1919), Benjamin Krebs (1918), Genzsch&Heyse (1835), Berthold, C.F. Rühl (1903). [Google] [More]  ⦿

Althhochdeutsches Wörterbuch

The TimesGerman family in truetype (Times with special symbols for a German dictionary). [Google] [More]  ⦿

Alt-Katholiken in Deutschland
[Achim Stump]

A truetype font called Alt-Katholiken, with religious logos, made by Achim Stump. Free, but you need to ask by email. In German. [Google] [More]  ⦿

Anatole Type Foundry
[Elena Albertoni]

Elena Albertoni (Anatole Type Foundry) is an Italian type designer (b. 1979, Bergamo) who studied at ESAD Amiens and the Ecole Estienne in Paris, before taking a position as type designer at FontFabrik in Berlin. She cofounded Anatole Type Foundry with Pascal Duez.

At the Rencontres de Lure 2005, she spoke about OpenType and Latin characters.

Her script typeface Dolce (2005) won an award at the TDC2 2005 type competition. She created Dyna (connected feminine script). Review of Dolce & Dyna.

Other faces include Kigara, Scritta (connected calligraphic script), Dolce (2005, connected script), Helene (squarish face), Valora, Schneider, Gregoria (a Gregorian chant font that won an award at TDC2 2007), Deja Rip and Deja Web (2010, eight-style sans family of great utility, codesigned with Fred Bordfeld; cyrillic included).

Acuta (2010) is an all-purpose type family.

Scritta Nuova (2011) is a rhythmic upright connected script, which evokes retro calligraphic styles taught in Italian schools around the 1950s.

Nouvelle Vague (2011) is a connected display script along the lines of Mistral.

Spinnaker (2011) is a sans design based on French and UK lettering found on posters for travel by ship.

Alternate URL. MyFonts link. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Andre Maaßen

German designer who created the funky calligraphic serif typeface family Varius (2004, Linotype). Included are ornamental faces with music notation and standard ornaments. [Google] [More]  ⦿

Andre Roquette

Freelance graphic designer and illustrator in Munich, who designed Angle Type (2010, experimental). [Google] [More]  ⦿

Andre Waitz

Andre Waitz, aka Der Schurke, is the German designer of the handprinted grungy outline font Suppenkasper (2008). [Google] [More]  ⦿

Andrea Bartsch

German designer, b. 1971. Dafont link. Creator of the free fonts B Kings (2009, funny figurines), Paul Pulpo (2011), Junglefood (2011), FC Podolski (2010, logos). [Google] [More]  ⦿

Andrea Knudsen

German graphic designer who designed the runic face Creatividad Agotada (2011). [Google] [More]  ⦿

André Kniepkamp

Designer at Elsner&Flake of the dot matrix font EF Kirmes. FontShop link. [Google] [MyFonts] [More]  ⦿

André Leonardt

German designer, b. 1977, aka Leo, who studied graphic design in Dessau in 2005. After an apprenticeship with Lucas de Groot and Fred Smeijers, he created Neue Sans (2005), a six-weight font that can be freely downloaded from OurType, Fred Smeijers' foundry. Neue Sans Pro (2007) is not free, however. [Google] [More]  ⦿

André Rösler

Graduate of the Fachhochschule für Gestaltung Pforzheim in 1997. He is co-founder of mal4 - Bürogemeinschaft für Gestaltung in Karlsruhe, and has worked as a freelance illustrator and designer since 1996. In 1999, he became involved in making and directing animation films for Anschi und Karl-Heinz, a children's television program aired weekly. Rösler illustrated several picture books for the Peter Hammer Publishing House. This probably explains why and how he designed Brüll Pictos, a very funny frog dingbat face (for some time, free from Volcano Type), which accompanied the hand-drawn lettering faces Brüll Aussen and Brüll Innen. Brüll was created for foreign editions of the childrens book Kannst du brüllen?, which has been released in 2003 by Peter Hammer Publishers, Wuppertal. [Google] [More]  ⦿

Andreas Jung

Type designer from Schorndorf, Germany, b. 1968. of Trombo (FontShop). [Google] [MyFonts] [More]  ⦿

Andreas Karl

German type designer of Linotype Fluxus (1997, shaky handprinting) and Linotype Mailbox (1997, at sign for all characters). Kevin Pease claims that Linotype Mailbox is the worst font ever created, both in concept and execution.

FontShop link. Linotype link. [Google] [MyFonts] [More]  ⦿

Andreas Klimek-Falke

Designer at Germany's Apply Design of fonts such as BigDots, 1993. [Google] [More]  ⦿

Andreas Koch

Freelance book and type designer from Bielefeld, Germany. Second prize at the 3rd International Digital Type Design Contest by Linotype Library with his flared sans face Linotype Projekt (1999). He alsio designed Damned Dingbats (Apply Design, 1993).

Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Andreas Koeniger

This German designer used iFontmaker in 2011 to create Handstyle AK, a very clean narrow handprinted face. [Google] [More]  ⦿

Andreas Köhler

German punchcutter and typefounder in Nuremberg, where he published a type specimen of Fraktur in 1710, a borders speciman in 1715, and another Fraktur in 1714. Norstedt (Stockholm) has a Fraktur by him.German punchcutter and typefounder in Nuremberg, where he published a type specimen of Fraktur in 1710, a borders speciman in 1715, and another Fraktur in 1714. Norstedt (Stockholm) has a Fraktur by him. [Google] [More]  ⦿

Andreas Siess

German designer. Dafont link.

Creator of the free octagonal / mechanical typeface family Amboss (2012), and of the handprinted Anilin (2012). [Google] [More]  ⦿

Andreas Sommerwerk

Berlin-based type designer, b. Vienna, 1974. Andreas Sommerwerk was educated as a product designer at the University of Applied Arts Vienna and has been active in areas like graphic, product, and, more recently, service design. MyFonts link. Sommerwerk Ink (2010) is inspired by typography found on old German shop windows. He writes: It is a script font, but instead of imitating human handwriting and the gestures connected to it, the goal was to come up with a new writing flow and stroke order. Klingspor link. [Google] [MyFonts] [More]  ⦿

Andreas Weygandt

AW Siam English Not Thai is a free Latin font with a Siamese look, designed by Andreas Wegandt. Fontspace link. Yet another URL. [Google] [More]  ⦿

Andrej Krahne

Branding director in Braunschweig, Germany. His typographic work in Type Sex with Durex (2010) is remarkable. Behance link. [Google] [More]  ⦿

Andrew S. Meit

Plantation, FL-based designer of GoodCityModernPlain (1991, a blackletter font based on J. Gutenburg's 42-line bible), and LombardocMedium (1991).

Fontspace link. [Google] [More]  ⦿

Andy Jörder

Type designer. With Alois Ganslmeier and Jörg Herz, he created the ultra-fat constructivist family Coma (Coma, Volcano). [Google] [MyFonts] [More]  ⦿

Angela Bolliger

German-Swiss typographer. With Julien Saurin, she published the classic avant-gardist hand-drawn typeface Paris (2012, La Goupil). [Google] [More]  ⦿

Ania Cremer

German Linotype Library designer (b. Jülich, 1969) of the pi fonts Pinxit astro, Pinxit Office and Pinxit Private at Linotype. FontShop link. MyFonts.com blurb. Ania lives in Berlin. [Google] [MyFonts] [More]  ⦿

Anja Escherich

Designer at Elsner&Flake in 1998 of the wonderful dingbat fonts EF Imagination Black, EF Imagination Fisheyes, EF Imagination Flowers, EF Imagination Magic. FontShop link. [Google] [MyFonts] [More]  ⦿

Anja Gindele

German illustrator and graphic designer who works at Keller Maurer Design in Munich. Born in Ravensburg in 1982, as a student in 2007, she created SQ 324, a slab serif, under the guidance of Hans-Jürg Hunziker und Rudolf Barmettler. In 2007, she designed interesting wayfinding symbols for the botanical garden of Zurich. [Google] [More]  ⦿

Anja Gollor

Creator with Henry Hajdu of Pixtur (2005), a pixel version of Fette Haenel Fraktur. This font can be found on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). [Google] [More]  ⦿

Anke Art
[Anke Arnold]

Wernau (was: Wendlingen), Germany-based Anke Arnold's free fonts: Car Go Frame (2011), Car-Go Plain (2011, modeled after German license plate lettering), Typo Garden (2010, alphadings), 80er Teenie Demo (2009), Acki Preschool (2009), Just Another Stamp (2009), Firlefanz (2009, curly letters), Pixelstitch (2006), AnkeHand, Hole-Hearted (2003, Gill Sans with hearts), KRITZEL (scratchy pen), MilkyWay, FrightNight, Eminenz (2002), Scribble, Skribus, Why, TooLazyToPractice, XXX, CheapInkkilledmyPrinter, Storch (alphadings), Alexandras-Stempelkasten, Anatevka-Caps, BulletMix, Catwalk, Duke, Dukeplus (2000, blackletter), Riddleprint, Anke-Print, AnkeCalligraph, Titanic, Wasser, butterbrotpapier, distracted-musician, dyslexic, manko, quixotic, verrutscht, zladdi, barcoded, BulletMix2, CAR-GO-2, Fortunaschwein (nice curly script; no punctuation or numbers), Round, BigBrothers&Sisters, BoringLesson, CrimesceneAfterimage, Incognitype (old typewriter), Jenna'sPopsicles, Japanese Brush (1996), Knuffig, MonkyBusiness, Olympia2000, Samba, Dandelion, Krystal, Nervous, ParryHotter, Pffft, Tschiroki, Heart2Heart (heart alphadings), Anke Sans.

English page. For 10DM (5 USD), Anke will make your handwriting into a font! Alternate URL. Dafont link. Another link. Open Font Library link. [Google] [More]  ⦿

Anke Klasen

Young designer at fontgrube who made Linax. [Google] [More]  ⦿

Anna

German designer (b. 1990) who created the handwriting face AnnasSchrift (2008). [Google] [More]  ⦿

Anna

German creator of Anna's Handschrift (2012). [Google] [More]  ⦿

Anna Maria Schildbach

Designer (b. 1924) at D. Stempel of Montan (1954), a bold condensed titling font. [Google] [More]  ⦿

Anna Simons

Scribe, calligrapher and teacher (1871, Mönchengladbach-1951, Prien). From 1896-1903, she studied at the Royal College of Art in London, and was a student of Edward Johnston in 1900. She taught at Weimar from 1908-1914 and collaborated with the Bremer Presse from 1918 on. She created the initials for "Dante" (Berlin: Rowolth 1930) and for "Augustinus" (München: Bremer Presse 1924). Jakob Erbar was one of her students. The Bremer Presse published Anna Simons Titel und Initialen für die Bremer Presse in 1926. The book blurb: A portfolio of titles and initials designed by Anna Simons for the Bremer Presse. Along with Graily Hewitt, Eric Gill, and Percy Smith, Simons was one of Edward Johnston's star pupils at the Royal College of Art in London, and she has inscribed this copy to him on the title-page in black ink. It was after studying with Johnston, whose Writing&Illuminating,&Lettering she translated into German, that Simons in 1918 went home to Germany to work at the Bremer Presse. During her time at the Presse, she would design many titles and initial sets for them, and in 1926 this portfolio was issued to showcase her work. Each sheet in the portfolio is headed by one of Simons' Bremer Presse title designs, including her titles for the Divine Comedy, Fichte's Reden an Die Seutsche Nation, Chansons d'Amour, Albii Tabulli Elegiae, and others. The titles are followed by the initials she cut for the work. [Google] [More]  ⦿

Anne Boskamp

German designer of the nice scratchy grungy all caps face Merlin LL (1994, Linotype). In 2003, she published Goodies LT Std A and B in the Linotype Taketype 5 collection. Bio at Linotype. [Google] [MyFonts] [More]  ⦿

Anne Schotte

Type designer who took part in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

Annelena Grascht

German designer of the coffee bean themed font Cafe Time (2009). [Google] [More]  ⦿

Ansgar Knipschild

Designer at Germany's Apply Design of fonts such as Uhura (1993), Grind (1994), Bastard (1995). [Google] [More]  ⦿

Ansgar Krause

Commercial fonts (partial demos available) by Professor Ansgar Krause: Funktionsanalyse, Generalbass, SmartTools, GitarrenTools, Lyrics. Mac and Windows. Names of the demo fonts: FinalAnalyseDemo, FinalGeneralbassDemo, FinalGitarreDemo, FinalGriffbrettHorizDemo, FinalGriffbrettVertDemo, FinalLyricsRegularDemo, FinalSmartToolsDEMO. The demos are useless (the fonts of course will be fine!). [Google] [More]  ⦿

Ansgar Schoppmeyer

Type designer (b. 1857, Berlin, d. 1922, Berlin) who made Flinsch-Fraktur (1911, Flinsch, Bauersche Giesserei). Flinsch Fraktur is also called Frankfurter Fraktur. [Google] [More]  ⦿

Antifa Publishing

Hannover, Germany-based outfit that published the Fraktur font Propaganda (1999). Download here. [Google] [More]  ⦿

Antje Wolf

Designer at Germany's Apply Design. [Google] [More]  ⦿

Anton Koberger

Nürnberg-based printer who created many interesting typefaces in the late 15th century, as narrated by Christoph Reske in Eine neue Entdeckung zur Druckgeschichte der Schedelschen Weltchronik (note: Schedelschen Weltchronik (1492) is a book by Hartmann Schedel). These include a gorgeous Rotunda and Schwabacher (1492), a Druckbastarda, and other original Fraktur faces, called No. 9 and No. 11 by Reske. Koberger was first and foremost a printer, who made the first illustrated bible in 1475, and printed, as hinted to above, Schedelschen Weltchronik (1492). He died in 1515. MyFonts page. Modern digital types based on Koberger abound:

• Manfred Klein created the blackletter face FF Koberger for Fontfont.
• Ernst H. Wulfert created a blackletter face called Koberger.
• Paulo W created ScotoKobergerFrakturN11 (2007) and ScotoKobergerFrakturN9 (2007). He chose the name because of Ottaviano Scotus, whose blackletter types were similar to Koberger's. Paulo W writes: Ottaviano Scotus headed a distinguished family of Venetian printers. Born of a noble family of Monza, he came to Venice at the age of 35 and operated a press there between 1479 and 1484. He continued as an editor until 1499 whereupon his heirs, including his brothers and nephews, undertook their own activity (1499-1532).

Anton Koovit

Anton Koovit was born in Tallinn, Estonia, in 1981, and studied graphic design at the Estonian Academy of Arts, ESAG Paris and at the Gerrit Rietveld Academy in Amsterdam. In 2006, he obtained a masters in type design at KABK in Den Haag. Anton set up his own company Khork OÜ in 2006. In 2007 he moved to Berlin, Germany. He is "extraordinary assistant professor" of typography/type design at the Estonian Academy of Arts. In 2012, he and Yassin Baggar set up Fatype, a type foundry in Berlin.

His most well known typeface design is Adam BP (2007, B&P Foundry), a 4-weight sans family. He also designed Aleksei (2010, unreleased serif face), GQ Slab, U8 (2010, a grotesk family based on lettering in the Berlin underground), Arvo (2010: a free slab serif family at Google Font Directory, codesigned with Yassin Baggar), Derzeit (2012, with Manuel Schibli).

Experimental faces by him include Kork Sausage, Boudo (collage alphabet), Planton, Velo (geometric). Allan (2010) and Arvo are free at the Google Directory. Fontsquirrel link. [Google] [More]  ⦿

Anton Schilli

German designer of Line Ultralight (2011, a hairline monoline sans). Dafont link. [Google] [More]  ⦿

Antonia Huber

German designer of the smooth organic display face Cirrus (2008, Avoid Red Arrows). [Google] [More]  ⦿

Apostolos Simeonakis

Designer of screen fonts for 5 to 8 point at screentype.de (or: Cybedesign): Tolski (2000) and Totally Regular (2000). [Google] [More]  ⦿

Apply

Defunct type magazine published by the German foundry, Apply Design. [Google] [More]  ⦿

Apply Design Group
[Thomas Sokolowski]

German foundry (est. 1989) based in Hannover and run by Thomas Sokolowski, selling mainly display fonts. Thomas made standard ransom note fonts such as Mystery EF Mixed (1990). Also made about ten rather clean old typewriter fonts such as Old Typewriter EF Regular, 1990. Made also the ultra-thin Spirit EF fonts. Imprimeur Classique (1989) is like a computer modern face. Scripture (1990, handwriting). Started Apply Design Group in Hanover, Germany, in 1989. Apply Design Typeface Library. Overview. Fonts and designers: DNA (by Steven Boss), CasaSeraSera (by Yanek Iontef), Nurse Ratchet (by Don Synstelien), Thordis, Amoebia (by Jens Gehlhaar), Aspera (by Harald Oehlerking), Bastard (1995, Ansgar Knipschild), BigDots (1993, Andreas Klimek-Falke), Birds (Manfred Klein), Blindfish (1992, Jens Gehlhaar), BodoniRough (1998, Thomas Sokolowski), FuturRough, GaramondRough (1997, Christian Terbeck), Rohrfeder-Rough (1997, Christian Terbeck), Bumpers, Casc Seta, Coltrane, Concept, Cornwall, DamnedDingbats, DeconStruct, Electrobazar, Elside, EthnoFont, Fuzzy (1998, Jonas Gonell), Gagamond (1993, Jens Gehlhaar), Grind (1994, Ansgar Knipschild), Hansel (Catinka Keul, children's handwriting), Homeboyz (1994, Oliver Hoffmann), ImprimeurClassique (a didone font, 1993, Thomas Sokolowski), Indian Summer, Las Bonitas (1992, Thomas Sokolowski), MarieLuise (1994, Dietmar Schmidt), MedLed, Merz (1993, Thomas Sokolowski), Monterrey (1993, Thomas Sokolowski), MoreKaputt, Mex (1992, Thomas Sokolowski), Mystery (1992, Thomas Sokolowski), Old Typewriter (1992, Thomas Sokolowski), Tierfreund, Thing (1993, Mathias Maassen-Pohlen), Paccer, Rio (1994, Alfred Smeets), Scripture, Spirit, Steelplate, Truck, Uhura (1993, Ansgar Knipschild), Xtronic (1995, Thomas Sokolowski), Tokay, ScreamHot, scanneZ, Fanatique, Euredice, and WhyNot. Great web presentation, and complete character sets. In grunge, Concept is as good as they come, for example. The company also sells a CD with erotic icons. CD ROM called "typografica" with high quality display fonts in PostScript. List of fonts. Fonts sold by Faces. Other type designers: Manfred Klein, Alexander Koch, Carlo Krüger, Antje Wolf. [Google] [More]  ⦿

Apply Interactive

German stencil face and typographic service outfit located in Hamburg. MyFonts site. Besides Caslon Fina Stencil and Serpentine Stencil (Dick Jensen), the following faces or families were made in 1999 by Sigrid Claessens and Günther Flake: Advera Stencil, Stencil Antiqua, Arston Stencil, Chico Stencil, Ferro Stencil, La Pina Stencil, Lasertac Stencil, Reedon Stencil, Rounded Stencil, Walton Stencil, Western Stencil, Glaser Stencil (after a face by Milton Glaser), Bank Stencil (1930s face of Morris Fuller Benton), Geometric Stencil (originally by Paul Renner), Tea Chest Stencil (after a face by Robert Harling, 1939). [Google] [MyFonts] [More]  ⦿

ArabTex
[Klaus Lagally]

If you use LaTeX and want the top of the line in Arabic fonts (and free too!), get the metafont that comes with ArabTex: From the University of Stuttgart, Professor Klaus Lagally's ArabTeX is a LaTeX extension for high-quality Arabic writing. It is free. Lagally is also responsible for the xnsh package for ArabTeX. CTAN archive. He published ArabTEX - Typesetting Arabic with Vowels and Ligatures, EuroTEX'92 (Prague), 1992. [Google] [More]  ⦿

Armin Retzko

German designer of QuasariaLL Regular (1994), a font with really illegible extra-condensed characters. FontShop link. [Google] [MyFonts] [More]  ⦿

Arne Freytag

German type designer (b. 1967) who designed Arne Freytag (1998) and Linotype Freytag Regular (2002). Lives in Hamburg. Brief bio. Author of Toward a new typeface A type design project (Comedia, 2005, vol. 2). [Google] [More]  ⦿

Arno Drescher

Born in Auerbach, Germany, 1882. Died in Braunschweig in 1971. Worked mostly in Leipzig and Braunschweig. Drescher is most famous for his huge Super Grotesk family (Schriftguss, 1930, a geometric sans serif). At the foundry of Ludwig Wagner, he published Arabella (1936, a script face; for a revival, see Arabella Pro (2006, Ralph Unger, Profonts), Arabella Favorit (1936 or 1939), Fundamental Grotesk (1938-1939, four weights), Manutius Antiqua (1935), Manutius Kursiv (1935). He designed Antiqua 505 (aka Manutius) in 1955, a strong bold face. The latter was published by J. Wagner. Other faces include Drescher Initials (Schriftguss, 1927, an open lineale titling face), Duplex (Typoart, 1930, a delicate double-stroke titling type), Energos (Schriftguss, 1932, almost a comic book type of script font) and Helion (Schriftguss, 1935, and Fonderie Française, 1935, a 3-d shaded outline font).

His Super Grotesk family was revived at FontShop in 1999 by Svend Smital, and at Bitstream in 2001 by Nicolai Gogoll as Drescher Grotesk BT. Energos led to Ralph Unger's Energia Pro (2008). [Google] [MyFonts] [More]  ⦿

Arnold Boecklin

Jugendstil artist. The Jugendstil movement originated in the late 19th century in Bavaria around München and had artists like Boecklin. The driving force of the Jugendstil movement was the magazine Münchner Jugend which showcased the designs of German art nouveau artists. Scriptorium has a number of fonts based on the Jugendstil movement: Munich is derived from the hand-lettered title of the magazine, Jugend and Campobello are decorative initials designed for the magazine, and Phaeton is based on lettering from the period. Otto Weisert, who ran the Schriftgiesserei Otto Weisert in Stuttgart, designed the Jugendstil-style font Arnold Boecklin in 1904 (available at URW, Linotype, Adobe, Mecanorma, and others, and copied and modified tens of times)---it is that design that most typographers probably associate most with Arnold Boecklin.

View some digital implementations of Arnold Boecklin. [Google] [More]  ⦿

Arnold Lämmel

Author in 1969 of an article in Die deutsche Schrift of Schulschrift in Deutschland (about handwriting education in schools in Germany). [Google] [More]  ⦿

Arnold Pannartz

German printer (b. Köln, d. 1476), who left Mainz with Conrad Sweynheym to establish Italy's first printing press, in the monastery of St. Scholastica at Subiaco. There, they published three books, Cicero's De Oratore, the Opera of Lactantius, and St. Augustine's De Civitate Dei. In 1467, they set up a press in the De Massimi palace in Rome, from where they published 50 more books. Revivals of their faces, blends between humanist and blackletter, include the Subiaco font done by Ashendene Press in 1902, and the scanfont 1467 Pannartz Latin by GLC. Nicholas Fabian on Pannartz. Catholic Encyclopedia. Literature: Burger: The Printers and Publishers of the XV Century (London, 1902); Fumagalli: Dictionnaire géogrique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays (Florence, 1905); Löffler: Sweinheim und Pannartz in Zeitschrift für Bücherfreunde, IX (Bielefeld, 1905), and Die ersten deutschen Drucker in Italien in Historisch-politische Blätter, CXLIII (Munich, 1909). [Google] [MyFonts] [More]  ⦿

Arthur Eisenmenger

Despite claims by the European politicians to the contrary, the Euro symbol was first designed by a German designer, Luxembourg-based euro-fanatic, Arthur Eisenmenger (b. 1915). He also designed the European Union flag. Eisenmenger claimed that it was in fact he who created the symbol a quarter of a century before its unveiling in 1997. [Google] [More]  ⦿

Arthur Pestner

German type designer, who created the extra bold blackletter headline face Deutsche Reichs-Schrift (1915, Wilhelm Woellmer). [Google] [More]  ⦿

Arthur Ritzel

Ritzel (b. Offenbach, 1910, d. 2002) headed the letter drawing office at Stempel from World War II until his retirement in the late 1960s. He was responsible for the redrawing of Haas Neue Grotesk into Helvetica. German designer of Rotation (1971, Linotype), now available at Adobe and Linotype, and named after the rotation newsprint machine for which is was particularly suited. Linotype states: The font displays the influence of Old Face design and gives newsprint a feeling of lightness and elegance. Hunt Roman was cut in steel by Arthur Ritzel between 1961 and 1963, and cast by the Stempel foundry in Frankfurt in four sizes only, 12, 14, 18 and 24 points. It was designed as a private typeface for Mrs. Rachel McMasters Miller Hunt, The Hunt Botanical Library in Pittsburgh/Pennsylvania. Used with special permission by Jack Stauffacher, The Greenwood Press, San Francisco, and Sebastian and Will Carter, The Rampant Lions Press, Cambridge/England. Linotype link. [Google] [MyFonts] [More]  ⦿

Arthur Schulze

Designer at Ludwig&Mayer of the blackletter face Werbekraft (1926) and of the script face Mammut (or Werbeschrift Mammut) (1927). [Google] [More]  ⦿

Arthur Schuricht

Born in 1882 in Leipzig, died in 1945 in Vienna. Creator of Hammerschrift (or Hammer Unziale), ca. 1921, a modern pseudo-Gaelic uncial typeface named after Victor Hammer. [Google] [More]  ⦿

Artill Typs
[Lukas Bischoff]

Artill Typs is Lukas Bischoff's foundry in Trier, Germany, est. 2009. German stylist and designer in Trier. Dafont link where one can download Sketch Rockwell (2008), one of the nicest sketched style fonts anywhere. Commercial faces include Luco Sans (2009), Sketch Block (2009) and the octagonal family Wombat (2009). Yaa (2010) is a hand-sketched headline font. Dock 11 (2011) is a (free) heavy art deco headline face. Sketch Gothic (2011) is a sketched Franklin Gothic. Behance link. Blog. [Google] [MyFonts] [More]  ⦿

Astrid Groborsch

Designer at Brass Fonts in Cologne of the pictogram font BF Temptice (with Guido Schneider, 1998-1999). MyFonts link. [Google] [MyFonts] [More]  ⦿

Astrid Zellmann

Type designer who took part in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

astype.de
[Andreas Seidel]

Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975). He lives in Cottbus, Germany. Home page. See also here. In 2007, he and Ingo Preuss set up The German Type Foundry. The typefaces:

• One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish faces are sold as Thunder Bold and Titan Bold.
• Check his nice weather symbols (not a font).
• He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
• He is working on 14th century initials (2003).
• He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
• He made Heraut (2003), an art nouveau lettering face based on a 1901 design of Heinz Hoffmann.
• He created Sveva AS Versal (2003, art nouveau).
• About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
• In 2004, he created Missale Incana, an interpretation of a face from Herbert Thannhaueser.
• Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
• He made Missale Lunea (2004, uncial). This has astroligical symbols, moon phases and medieval characters.
• In 2005, the exquisite calligraphic script face Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
• Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
• He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
• Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
• Taiko (2006).
• ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
• GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
• Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs.
• Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
• Secca Saloon (2011) is a versatile ornamental Western family.
• Popsil (2011) is a white-on-black handprinted poster face.
• Ademo (2011) is a classic shaded 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.

Atelier im Dachgeschoss
[Klaus Czytko]

At Jakob Software, Jürgen Jakob offers these free fonts on behalf of its designer (I guess), Klaus Czytko from Atelier im Dachgeschoss in Göttingen, Germany: InternBlindenschriftBraille, InternBuchstabieralphabet, InternFlaggenalphabet (flags), InternMorsealphabet (morse), InternWinkeralphabet, InternZeichensprache (sign language). These are all made in 2001 and have copyright to Atelier im Dachgeschoss/Czytko in Göttingen, Germany. [Google] [More]  ⦿

Atlas Font Foundry

Berlin-based foundry, est. 2012. Behance link.

Creators of Novel Mono (2012, Christoph Dünst) and Novel Sans Condensed (2012). [Google] [More]  ⦿

Attila Korap

Font technology specialist at Linotype, Germany. He was born in Manisa (Turkey) in 1974 and grew up in Marburg (Germany) before moving to Frankfurt in 1994. He studied political science and computer science at the Johann-Wolfgang-Goethe Universität and later at the Fernuniversität Hagen. He joined Linotype as an intern in 2000 before becoming the full time Font Technology Specialist in 2002. At ATypI 2008 in St. Petersburg, he spoke about Automation in font production. Speaker at ATypI 2011 in Reykjavik on the topic of web fonts. [Google] [More]  ⦿

ATypI Technology Committee Meeting

Held in Heidelberg, Germany, on February 20, 2003 in the afternoon, at Zum Güldenen Schaf, Haupstraße 115, Heidelberg. Open to everyone. [Google] [More]  ⦿

Augenbluten
[Axel Pfaender]

Free fonts at the German outfit Augenbluten (Mac only): Poprock, Destroy Dingbats, Menace, Destroy Gotisch (Fraktur), Excellence (multiline font), Augmented, Maschinen, Nano, Mikrokomputer (pixel face). All these fonts are by a group of four people among which we find Axel Pfaender. The group calls itself "interfaces - symposium ueber schrift und sprache". PC versions at Augmented.de. Dafont link. [Google] [More]  ⦿

August E. Woerner

Typographer born in Frankfurt am Main (1844), who died in New York in 1896. He worked for some time at A.D. Farmer&Son in New York. McGrew says: Merrymount was designed by Bertram G. Goodhue for Daniel B. Updike's Merrymount Press in Boston, and was cut only in 18-point. This was used in an impressive Altar Book, which established the reputation of Updike and his Press. Steve Watts says the face was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895." [Google] [More]  ⦿

August Haiduk

Creator (b. 1880, Gleichenberg) of Haiduk Antiqua (1908, Bauersche Giesserei) and Haiduk Antiqua Halbfette (1910, Bauersche Giesserei). He also made Haiduk Kursiv (1910, Bauersche Giesserei). [Google] [More]  ⦿

August Piehler

Creator of the display faces Piehler Schrift and Piehler Kursiv (1923) at Schriftguss AG vormalif Brüder Butter. [Google] [More]  ⦿

August Rosenberger

German punchcutter, b. 1893, Frankfurt, d. 1980, Frankfurt. At D. Stempel AG, he cut Zapf's flower alphabet. The flower initial caps appear in a book "Das Blumen-ABC", couthored by Hermann Zapf and August Rosenberger, and is based on Zapf's brush drawings from 1943-1946. [Google] [MyFonts] [More]  ⦿

Authentic
[Julius Wiescher]

German foundry, est. 2009 by Julius Wiescher (b. 1991), who is the youngest son of famous type designer Gert Wiescher. His font Thin Pen (2009) is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch. Other fonts by him: DonJulio and Donna Julia (2008, Autographis, calligraphic script fonts made with Gert), Flatpen (2008, Autographis, with Gert), Norm Pen (2011, based on an ancestor of DIN Schrift), Bold Pen (2011, bold version of Norm Pen), Groucho (2011, a high-contrast flowing script), Authentic (2011, a connected copperplate script), Oldhand (2011, shaky handwriting), Holz Caps (2011, an irregular wood type simulation face), Poing (2011, a flowing calligraphic script), Cri Cri (2011, slab serif comic book face). [Google] [MyFonts] [More]  ⦿

Autographis
[Gert Wiescher]

München-based foundry, est. 2008 by Gert Wiescher, whose main font foundry is Wiescher Design. Myfonts link. Specializing in handwritten scripts and rough fonts, they created Amaro (2011, a signage script family; + Amaro Block, +Amaro Fleurie), Obsession (2011, a calligraphic family), Astara (2010), Golden Love (2010), Homer (2010, a comic character script), Moon Love (2010), Perfecto (2010), Nikita (2009, upright connected script), English Lazy Bird (2009), Script Hand (2009), Angel Eyes (2009), Cheap Thrill (2009), Viva Maria (2009), True Love (2009), WildThing (2009), Doria (2009), Verena (2009), Astria (2009), Chloe (2009), Bea (2009, brush), Xan (2009, rough Japanese-style script), Fat Sally (2009, comic book face), Wally (2009, calligraphic), Ysadora (2009, calligraphic), Zoe (2009, calligraphic), Joyosa (2009), Ulissia (2009, hand-drawn slab serif), Querida (2009), Riana (2008), Quiana (2008), Quirina (2008, calligraphic), Naomi (2009, calligraphic; based on his Nana), Don Julio (2008, calligraphic), Donna Julia (2008, calligraphic), Novita (2008, calligraphic), Novido (2008), Flatpen (2008, a rounded sans face), Kato (2008), Leona (2008, brush script), Tina (2008, fat brush), Maeva (2008, calligraphic script), Oona (2008, like Maeva), the brush script Paula (2008), the upright cursive faces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style faces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script faces Dalia (2008), Elisara (2008), Simona (2008), Helenia (2008), Annabella (2008), Brigitta (2008) and Constanza (2008). Gert writes about himself: I went to Paris when I was very young, just for the sake of art. That caused many a sleepless night to my beloved mother, but she accepted my decision. Once I met Salvador Dalí, but he did not take me very seriously. To this day I dont know why! After some years I decided to start a serious life. I got married and studied graphic design at the Hochschule der Künste in Berlin. Making detours, once more to Paris, then to Barcelona, where I designed the OECD pavillion for the Osaka World Expo at the office of Harnden&Bombelli, I reached South Africa. Grey and Young advertising got to know me! I had to fiddle around with Agfa cameras and films, Epol dog-food, several kinds of toilet paper, unbelievable insurance companies and I-dont-know-what. Sometime on a holiday in Munich I stayed there. Someone made me an offer I did not want to refuse. DFS&R-Dorland bought me out of South African slavery! I now became an art-director for Paulaner, CMA, Phillip Morris, and Peugeot. Being a young adventurous man, I changed to the Herrwerth&Partner agency, which at that time was supposed to be the most creative outfit in town. Mister Herrwerth taught me to think simple. I was allowed to introduce IKEA into the German market. Afterwards I became Creative Partner with Lauenstein&Partner. That was OK, til someone discovered his love for horses! Thats when I rented my own office in 1982! Since then I design some typefaces per year, I guide a couple of nice young people (apprentices) along to designer stardom. I write a couple of books and newspaper articles about design, computers, food, drink and crime! As a graphic designer I have nothing but happy clients! I am open to every challenge! [Google] [MyFonts] [More]  ⦿

Avoid Red Arrows

The students of arts and design at HfG Karlsruhe present their work in 2008: Amoto (Nadja Schoch), Barbarossa (Peter Stahmer: grunge), Cirrus (Antonia Huber: liquid style), Fourty Five Degrees (Emanuel K: octagonal), Hopfen (Martin Borst: display sans), Letrix (Miriam Bauer: modular octagonal), Lokomo (Claudia Kappenberger: experimental), Mayfield Display, Monta (Stefanie Miller), Moto Moto (Piero Glina: octagonal), Nancy (Masa Busic: art deco), Oceanic (Simone Gier: rounded techno), Platine (Lise Naujack: multiline, inspired by chip wiring), Pluk (Simon Roth: poster stencil), Quitt (Marko Greve: experimental multiline), Sophonho (Daniel Schludi: display sans), Vahen (Nicolaz Groll: display sans).

Avoid Red Arrows is run by Marko Grewe, Stefanie Miller, Simon Roth, and Peter Stahmer. [Google] [More]  ⦿

Axel Bertram

Axel Bertram was born in Dresden in 1936. He studied at the Berlin Weissensee Academy of Fine and Applied Arts. From 1972 to 1986 and from 1989 to 1992 he worked as a university lecturer in typeface and graphic design at the Berlin-Weissensee Academy of Fine and Applied Arts. He was made professor in 1977. He has been active in graphic design, publicity work, and most importantly, digital typeface design. Designer of delicately quaint Lucinde family in 16 styles (2011, Linotype), in collaboration with calligrapher and type designer Andreas Frohloff. Lucinde was later renamed Rabenau. Images: i, ii, iii.

Linotype writes: In March 1999, Axel Bertram carried out the first test prints of a typeface which he had originally developed for his own use. He had been searching for an appropriate script to evoke both a significant period in the history of printing and the literary historical milieu of Berlin around 1900. His attention was drawn to Friedrich Schlegel's novel Lucinde which appeared to great acclaim in 1799 and whose ideas found great sympathy in Axel Bertram. (The novel deals with the major re-ordering of the roles between men and women, in particular arising from the lifestyle of a young Romantic. Sensibility and intellectual attraction, earthly and heavenly love were no longer to be seen as irreconcilable opposites and certainly not to be seen as being divinely pre-ordained for one sex only. This was a small historical step on the path towards equality of rights for the sexes. The novel remained an incomplete fragment and the ideas contained did not catch on in the author's lifetime. These new demands had, however, found a voice and continued to resonate.) In 1999 the new typeface was therefore dedicated to the ideals of this young Romantic with all its sublime insolence.

Klingspor link. [Google] [More]  ⦿

Axel Peemöller

Young designer at fontgrube who made Polymer. [Google] [More]  ⦿

B. Stonefield

B. Stonefield (Hamburg, Germany) created Stonefield Script (2011, a marker script), and Stonefield (2011, a rounded art deco style stencil family). [Google] [More]  ⦿

Baldericus van den Horick

Author of the calligraphic master scribe book entitled Schreibmeisterbuch für Herzog Wolfgang Wilhelm von Pfalz-Neuburg (1600s). See also here and here. [Google] [More]  ⦿

Bank
[Sebastian Bissinger]

BANK is a French/German design agency based in Berlin. It markets its fonts through T-26, starting in 2009. In 2009, Sebastian Bissinger and Matthieu David made the display faces Sintra and Yummy. Sintra is a 3d face that simulates letters made from folded material---Sebastian Bissinger was inspired by the sign of a shoe shop in Sintra, Portugal. Yummy was inspired by cookie cutters. [Google] [More]  ⦿

Baptiste Stecher

Berliner who designed Termino511 (2011). [Google] [More]  ⦿

Barbara Cain

Designer at Typoart of Fetta Antiqua and Schmallfette Antiqua, two didone faces. [Google] [More]  ⦿

Barske.com
[Helge Barske]

German foundry that had some free offerings by Berlin-based graphic designer, typographer and illustrator, Helge Barske. In 2001, he made Dirty Bitch, Kombuese, Badfag, Gogogogo, Kloezzler, Klozzbats, Krossklozz, Mahoney, Pixelplastique, Plastiquekingdom, Sinner (constructivist), Snowbats, Stanzefett, Suplex. Several dot matrix and pixel fonts. The fonts typically had no punctuation though. At some point, the free font pages disappeared. KingConvex (2009, hairline) was shown at Behance. Schneusel Sans (2010) is a soft octagonal face.

Klingspor link. Fontspace link. Dafont link. [Google] [More]  ⦿

Bastarda -- Schwabacher

Bastarda (Schwabacher in German) dominated printing in Europe in the last part of the 15th and the first part of the 16th centuries. It breaks with the heavy Textura that Gutenberg used in his first books and his bible. All of the Lutherian books were set in Schwabacher, which was nearer to handwriting. It was probably first used by Johannes Bäumler in Augsburg in 1472. In any case, it was in use in Nürnberg in 1485, and showed up in 1490 in Anton Koberger's Schedelsche Weltchronik and in 1498 in Albrecht Dürer's Apokalypse. Examples: a hand-drawn Schwabacher from 1489, a sample by Johann Schoeffer in Mainz, dated 1521, and a fancy title page. In the middle of the 16th century, it was displaced by fraktur as the most-used German typeface. German link. Characterized by the pointed o (both top and bottom), the Asian-looking "g", the Garamond-like "h" and the "A" that thinks it is a "U", it was rejuvenated in the 18th century by German foundries such as Genzsch and Heyse (Alte Schwabacher, 1835, and Neue Schwabacher, 1876) and Klingspor (Offenbacher Schwabacher, 1900), and type designers such as Ehmcke (1916) and Schneidler (1918) who all produced beautiful readable typefaces. There are many digital Schwabacher faces. See, e.g., Alte Schwabacher by Berthold, Alte Schwabacher by URW++, or Adobe's Duc de Berry, Bigelow's Lucida Blackletter, or P22's SchwarzKopfNew and SchwarzKopfOld. [Google] [More]  ⦿

Bauersche Giesserei blackletter fonts

Andreas Seidel lists the blackletter faces published by the Bauersche Giesserei (and I added a few more):

• Flisch Privat, 1919
• Renata, 1914
• Bernhard Fraktur, 1913-22
• Frankfurter Fraktur, 1905 / after 1911 renamed to Flisch Fraktur
• Flisch Germanisch, 1876
• Zentenar Fraktur, 1937, named after the 100-year anniversary of the Bauer Foundry
• Herkules-Gotisch (1898)
• Hoyer Fraktur, 1935-37
• Weiß Gotisch, 1936, E. R. Weiß
• Weiß Rundgotisch, 1937
• Weiß Fraktur, 1914
• Element, 1933
• Gotika, 1933
• Laudan Kanzlei, 1913
• Manuskript Gotisch (1905-1923; note: I thought the correct date was 1899), made after letters created by Wolfgang Hopyl in 1514.
• Leipziger Fraktur, 1909
• Wieynck Fraktur, 1912, Prof. Heinrich Wieynck
• Gotisch, 1906, Georg Barlösius

Bauersche Schriftgiesserei

Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1950; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized faces include Futura ND (Paul Renner, redigitized by Marie-Therésè Koreman at Neufville in 1999), Edison Swirl SG (late 1800s, digitized by Spiece Graphics), Gable Antique Condensed SG (late 1800s, digitized by Spiece Graphics), Weiß (Bitstream, based on a family made in 1924-1931 by Emil Rudolf Weiss), Bauer Bodoni (1926, FT Bauer, made by Heinrich Jost and Louis Hoell), Bauer Bodoni (Adobe version), Candida (1936, now digitized at FT Bauer), Charme (1957, now available from FT Bauer), Impressum, Imprimatur, Venus (1907-1927, now at FT Bauer), Venus and Hermes (both available at Linotype; Venus is also at URW), Volta (1955), and Phyllis (1911). Other faces: Bernhard Cursive (1962), Constantia, Hellenic Wide (1962), Lucian (1962), Cantate (1962), Gillies Gothic (1962), Horizon (1962), Folio (1962), Bauer Beton (1962), Bauer Topic (1962), Bauer Classic (1962), Elizabeth (1962), Cartoon (1962), Trafton Script, Astoria, Lilith, Legend (1937), Fortune, Folio Kursiv, Folio Grotesk (1960), Cantate (1958), Papageno (1958), Verdi (1957), Amalthea (1957), Magic (1955), Steile Futura Kursiv (1955), Columna (1955), Maxim (1955), Tivolischmuck (1950), Symphonie (1938, by Imre Reiner, in 1945 called Stradivarius), Weiß Antiqua (1950), Legende (1950), Quick (1950), Ballé Initials (1940), Beton (1940), Corvinus (1934), Bernhard Roman (1930), Hyperion (1956), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen, Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), Ehmcke Antiqua (1921), Batarde (1916), Wieynck-Kursiv (1912), Zweifarbige Grotesk Kursiv, Cursive Renaissance (1912), Manuskript Gotisch (1899; after Wolfgang Hopyl, 1514), Graziosa (1914 or earlier, script face), Kleukens Antiqua (1910), Barlösius Schrift (1906-1907, H. Barlösius), Trianon (1906), Hohenzollern (1902, + Initialen), Telefunken (1959), Sinfonia (script), Amerikanische Alt-Gotisch (1903, influenced by Henry William Bradley's and Joseph Warren Phinney's 1895 art nouveau face, Bradley). In house samples: AntiquaBrotschriften-IX-Garnitur, Einfache Kanzlei (ca. 1830), Enge halbfette Zeitungsfraktur, Fette Gotisch, Moderne halbfette Fraktur, Gotisch. [Google] [MyFonts] [More]  ⦿

Bauhaus Hoch: 24. Forum Typografie

Type meeting in Weimar, Germany, held from 17-20 September 2009. Speakers included Wolfgang Beinert, Axel Bertram, Uwe Brückner, Lucas de Groot, Ralf de Jong, Gerd Fleischmann, Ralf Hermann, Eike König, Alessio Leonardi, Andreas Maxbauer, Hans Eduard Meier, Jörg Petri, Albert-Jan Pool, Mariko Takagi, Dirk Uhlenbrock, Vilim Vasata, and Olaf Weber. Alternate URL. [Google] [More]  ⦿

Bauhaus School

The Bauhaus school was founded by Walter Gropius. It was based in Weimar (1919 to 1925), and then in Dessau (1925 to 1932), and finally in Berlin (1932 to 1933), before it was closed by the Nazi regime. The Bauhaus movement, which cut almost everything to its bare minimum and naked essentials, influenced art, architecture, graphic design, interior design, industrial design, and typography. Its typographical masters included Josef Albers (who made Kombinationsschrift), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy. Among the digital representatives, we note ITC Bauhaus (1975, Ed Benguiat and Victor Caruso), P22 Bayer, and Dessau (by Gábor Kóthay). Penela's pages on Bauhaus. Jürgen Siebert on Bauhaus. [Google] [More]  ⦿

Baureihe 217

In truetype format: DIN-1451-Engschrift, DIN-1451-Mittelschrift-Alt, DIN-1451-Mittelschrift-DB, DIN-1451-Mittelschrift. These fonts were used in the old days on German cars for license plates, as well as on German trains. Page on train lettering by Thomas Sachs from Mühldorf. [Google] [More]  ⦿

Bea Stach

German designer of the signage / brush face Laken (2008, Avoid Red Arrows). [Google] [More]  ⦿

Belldorado
[Adam Bell]

Foundry in München, Germany, run by Adam Bell (b. 1972, Landsberg), who despite his name is a native German. After learning to be a silkscreen printer he studied graphic design in Würzburg. Together with Tanja Kischel and Georg Behringer, he runs a small design agency and shop called Umwerk in München since 2004.

Creator of the octagonal family called Longhorn (2012), which includes a 3d style as well as a stencil style. [Google] [MyFonts] [More]  ⦿

Ben D. Sawyer

Designer and illustrator in Trier, Germany. Creator of the typeface ION (2011), which is showcased on some of his posters. [Google] [More]  ⦿

Benedict Herr

German type designer in Stuttgart. He created the art deco stencil face Crème de la rue (2010). [Google] [MyFonts] [More]  ⦿

Benjamin Krebs
[Benjamin Krebs]

German foundry established in 1816 by Benjamin Krebs (1785-1858) and based in Frankfurt, which grew out of Schriftgießerey der Andreäischen Buchhandlung. Many of its shares were acquired by D. Stempel in 1933. A list of the faces:

• By Franz Riedinger: Merian Fraktur (1910), Phänomen (1927), Riedingerschrift (1903), Riedinger Mediäval (1929), Riedinger Kursiv (1929), Ideal Schreibschrift (Franz Riedinger, 1927) Ideal I (Krebs staff, 1903), Brentano Fraktur Schmalfett (1917), Archiv Kursiv (1907), Altschwabacher (Werkschrift 1917, Schmalfett 1922, Mager 1923), Epoche (1912), Rohrfeder Fraktur (1909), Rediviva (1905-1907, blackletter in halbfett and schmalfett; also called Deutsche Werkschrift Rediviva), Altschwabacher Werkschrift (1918).
• By A. Auspurg: Brentano Fraktur (1916), Federzug Antiqua (1913), Nürnberger Kanzlei (1906), Schönbrunn (1928), Trajan Versalien (1928).
• By P.E. Lautenbach: Epoche (1912), Frankfurter Buchschrift (1906).
• By L. von Hohlwein: Hohlweinschrift (1907).
• By W. Grosz: Künstler Gotisch (1900).
• Hartwig Poppelbaum: Hartwig-Schrift (1928), Hartwig Werkschrift (1927).
• By the staff: Faksimile (1898 script face), Eureka, Oceana, Robusta, Ideal Schreibschrift (1903; kräftige, also called Ideal II, was added in 1909), Katalog Antiqua (1911), Pompadour (1911), Xylo (1924), Bureaukrat (1918), Buchschrift, Alte Schwabacher (1914), Karten-Gotisch (1903), Reform (1903), Viktoria Gotisch, Viktoria-Ornamente (1903), Archiv-Antiqua (+halbfette) (1908), Archiv-Kursiv (1908). [Reichardt attributes some of these to Riedinger]

Benjamin Krebs blackletter fonts

Andreas Seidel lists the blackletter faces published by the Benjamin Krebs foundry:

• normale Fraktur
• neue Fraktur
• Bismarck Fraktur
• Kräftige Fraktur
• Caxton Type
• Fraktur Buchschrift
• Künstler Gotisch
• Psalter Gotisch (ca. 1890)
• neue Kanzlei
• Fette Kanzlei
• Enge Altgotisch
• Mammut Gotisch
• Robusta

Benjamin Weymann

Aka Jonathon the Dog, Benjamin Weymann is located in Kassel, Germany. Behance link. Yay (2011) is a thin elegant geometric avant-garde (or vogue) face. [Google] [More]  ⦿

Benny Demmer

German creator of the Tuscan font Beans (2009) and the italic signage face Garcia (2009). Dafont link. [Google] [More]  ⦿

Berenike Eimler

Born in Darmstadt in 1989, Berenike is a student at the Hochschule für Gestaltung Offenbach. Behance link. Creator of an alphabet, Corner (2010). This is not a font, I think. Creator of Peek (2011, FontStruct). [Google] [More]  ⦿

Berliner Type 2011

Type and graphic design competition, open to typefaces designed in Germany, Austria and Switzerland. Past winners were often selected for certain corporate projects, not for type design per se. The 2011 competition is the 43rd in this series. [Google] [More]  ⦿

Bernd Baringhorst

German designer who has his own graphic design studio in Dortmund. Behance link. Creator of a great minimalistic logo face for the Swiss company Swyx (2009). [Google] [More]  ⦿

Bernd Casper

German creator of the free medieval writing font Schnitger 1680 Regular (2009), which can be had from Dafont. [Google] [More]  ⦿

Bernd Holthusen

Type director and manager at Scangraphic in the 1980s and 1990s. Author of a number of thick specimaen volumes including Scangraphic Digital Type Collection A-F (1985), Scangraphic Digital Type Collection G-Z (1985), Scangraphic Digital Type Collection Index (1988), Scangraphic Digital Type Collection Supplement 1 (1988), and Scangraphic Digital Type Collection Supplement 2 A-Z Body types (1988). [Google] [More]  ⦿

Bernd Montag

Limbach-Oberfrohna (Saxony)-based designer (b. 1987) of the roman display face Chantelli Antiqua (2007) and the sans family Sansation (2008-2009). [Google] [More]  ⦿

Bernd Möllenstädt

The designer of the well-known Formata typeface (available at Berthold), Bernd Möllenstädt was born in 1943 in Germany. He has lived in Westfalia and Berlin and now lives in Munich. He studied typesetting and graphic design, and joined the Berthold typefoundry in 1967. In 1968, he became the head of the type design department, and remained head until 1990. Lange was the artistic director there, and when Lange retired in 1990, Möllenstädt became type director.

He designed two strong sans font families for the Berthold Exklusiv Collection, Formata (1984) and Signata (1993). Formata, a popular sans serif face, is the corporate typeface of Postbank, Allianz, VW Skoda and Infratest Burke.

Since 1998, Möllenstädt has worked independently from his own studio in Munich, and continues his association with Berthold as an independent designer. He most recently completed small caps and fractions for Formata, and added the Euro symbol to many faces in the Berthold collection.

At Dalton Maag, he was responsible for SkodaSans (2000-2001), a custom font family that may be downloaded here.

Full CV. Klingspor link. [Google] [MyFonts] [More]  ⦿

Bernd Plontsch

German creator of the iFontMaker font Wennsrockt (2010, a squarish handprinted face). [Google] [More]  ⦿

Bernhard Hörlberger

Hamburg-based designer of the fat counterless modular Porno (2009). He has lived in Austria, Kenya and the UK, and was born in 1986. Behance link. [Google] [More]  ⦿

Bernhard Pankok

German graphical artist, painter and printmaker, 1872-1943. He studied at the Düsseldorf and Berlin Art Academies. From 1892 Bernhard Pankok had a studio of his own in Munich. There he freelanced as an artist, graphic artist and illustrator for the journals "Pan" and "Jugend". Greatly impressed by the British Arts and Crafts movement, Bernhard Pankok joined Hermann Obrist, Richard Riemerschmid, and Bruno Paul in founding the Munich Vereinigte Werkstätten für Kunst im Handwerk. Afterwards, he also designed furniture, stage sets, interiors and buildings, and painted portraits. An example of lettering: modern German capitals. [Google] [More]  ⦿

Bernhard Wolliger

German designer of many original pixel fonts at HI-TYPE. These include HI-Score, HI-Skyflipper.

Dafont link. [Google] [More]  ⦿

BERT Typography

This is also A Hundred Dollars and a Dog (AHDAAD), located in Mainz, Germany. This studio, run jointly by Isabelle Gehrmann and Stefan Ruetz, does graphic design and art direction. Creators of some (free) experimental typefaces for Neo2 magazine in Spain. These include BERT (2006, futuristic face). [Google] [More]  ⦿

Berthold Direct Corp

Once called Berthold Types and now Berthold Direct Inc, this companay is located in Chicago, IL, and was/is run by Harvey and Melissa Hunt. It was acquired by Monotype in 2011. The font collection is aristocrated, unpolluted by grunge and cheap thrills, featuring many well-known text type families. On the other hand, typophiles all over the world are aghast at the marketing strategies of Berthold. The fonts, all having "BE" or "BQ" in the font names, originated from Berthold AG in Germany, a company that went bankrupt. Some people argue that the Chicago-based Berthold has no rights to the old Berthold AG collection---a fact documented by Uli Stiehl. But most importantly, the Hunts became famous because of the numerous lawsuits typically related to the selection of font names too close to names in their collection.

For many years, on and off between about 1970 and his death in 2009, Günter Gerhard Lange was the typographic director [of Berthold Direct Corp, and its German "predecessor" Berthold]. Lange, along with Bernd Möllenstädt and Dieter Hofrichter, formed the core of Berthold's Type Atelier located in München to continue the development of the Berthold Exklusiv typefaces. The classics in the collection include Akzidenz-Grotesk, Block, City, AG Book [Mobistar got tricked in 2007 into buying a custom font, Mobistar, from Berthold Types, but Mobistar is identical to AG Book], Delta, Formata, Imago and Laudatio. Frequent contributors in the 1970s and 1980s were Friedrich Poppl and Gustav Jaeger.

There are also many less frequently used older faces like Normande (1860), Augustea (1905-1926), and Michelangelo (1950, by Hermann Zapf). MyFonts link. Cover of their sans catalog. Cover of their modern typeface catalog.

The main Berthold typefaces at MyFonts. Large catalog of Berthold's typefaces, given in alphabetical order. [Google] [MyFonts] [More]  ⦿

Berthold Ludewig

German teacher and typographer who created the calligraphic metafont Suetterlin, which can be found here. This font can be used for writing in the so-called Schwell style. [Google] [More]  ⦿

Berthold Types Limited

The link recalls the history of this new company owned by the Hunts in Chicago. They bought the trademarks and some outlines from the bankrupt Berthold Types GmbH, but are not the successors of that famous German company. Since its creation, Berthold Types Limited has been sending (frivolous) legal letters usually related to alleged trademark violations. The typophiles discuss the situation, which turns a lot around the issue of Berthold not paying the original designers, such as Albert Boton. Erik Spiekermann is particularly (and rightfully) upset about the situation. A partial list of the "victims":

• Adobe (2001): This page explains: Berthold had given Adobe a non-exclusive right to include many of Berthold's typefaces in the Adobe Type Library, and to use Berthold's trademarks in connection with the Library, from 1990 through 2015. Adobe had proudly included the Berthold Library in its Adobe Type Library since 1991, only to remove the in 1999/2000. Berthold claimed that this violated the contract and sued. The judge dismissed the suit, stating that Adobec was not forced to include the Berthold faces.
• On Nick Curtis' site, we found this cryptic message, June 2003: "Berthold Types threatens legal action, claiming "trademark infringement and dilution of our ... marks, counterfeiting, and unfair competition with Berthold Types under applicable law" because of the similarity of the names Boulevard and Boogaloo Boulevard [the latter is a font by Curtis], and City and City Slicker [the latter is a font by Curtis]. More news as things develop." Not only is this frivolous and ridiculous, but I can't understand how a reputed typographer like G. G. Lange can keep his name associated with the Berthold syndicate. More details.
• Jamie Nazaroff from Zang-o-fonts has been marketing a typeface called Omicron Delta, created by him in 2001. He was contacted by Melissa Hunt (Vice President&General Counsel, Berthold Types Limited, 47 W. Polk St. #100-340, Chicago, Illinois 60605). She claims that Delta, designed by Gustav Jaeger, has been in the Berthold library since 1983, and asked him to remove the font, which Jamie did. The reaction by various type designers is documented in this page.
• The (now extinct) German foundry PrimaFont. Press release by Berthold: "Chicago, Illinois (January 25, 2000) - As a result of legal action taken by Berthold Types Limited, PrimaFont International of Germany agreed to immediately cease the unauthorized sales of more than 300 Berthold typefaces from the PrimaFont CD-ROM, which also includes typefaces from other type foundries including Adobe, Agfa, Bauer Types, Bitstream, ITC, Letraset, Linotype and Monotype. PrimaFont infringed upon the trademark rights of Berthold Types by employing a "compatibility list" to identify the true names of the typefaces that PrimaFont sold using false names. Berthold Types actively seeks to prevent the use of compatibility lists as such use has gone unchecked in the type industry," stated Melissa Hunt, Vice President&General Counsel for Berthold Types. Adding: "The use of compatibility lists causes as much damage in the type industry as any other form of font piracy." This most recent success in Berthold Types' continued aggressive anti-piracy efforts means that PrimaFont must remove the Berthold typefaces from the PrimaFont CD-ROM. In addition, PrimaFont agreed never to sell or deal in any products that contain Berthold's typefaces and to pay Berthold an undisclosed sum."
• This page discusses the case of Cape Arcona's fonts CA Cosmo-Pluto and CA Cosmo-Saturn, which Berthold did not like (they have a face called Cosmos). To avoid legal costs, Cape Arcona renamed its fonts CA-Cosmolab.

Berthold Wolpe

German type designer (b. Offenbach, 1905, d. London 1989), who studied under Rudolf Koch from 1924-27 at the Kunstgewerbeschule in Offenbach. He emigrated to England in 1935 because of his Jewish background. Wolpe taught at the Camberwell College of Art (1948-53), at the Royal College of Art in London (1956-75) and at the City&Guilds of London School of Art (from 1975 onwards). From 1941-1978, he worked as a book designer for Faber&Faber in London, designing over 1500 book jackets. He published Schriftvorlagen (Kassel 1934), Marken und Schmuckstücke (Frankfurt am Main, 1937), A Book of Fanfare Ornaments (London, 1939), Renaissance Handwriting (with A. Fairbanks, London 1959), and Architectural Alphabet. J. D. Steingruber (London, 1972). Linotype page. Designer of

• Albertus [graphic by Andrew Henderson] (Monotype, 1932-1940, a display roman with thickened terminals). The Bitstream version is called Flareserif 821. The Ghostscript/URW free version is called A028. The letters are flared and chiseled, and the upper case U looks like a lower case u. The northeast part of the e is too anorexic to make this typeface suitable for most work. Some say that it is great for headlines. It is reminiscent of World War II.
• Cyclone (Fanfare Press).
• Hyperion (1931, Bauersche Giesserei). Now available at Berthold, 1952.
• Pegasus (1938, Monotype).
• Tempest (1936).
• The blackletter face Sachsenwald-Gotisch (1936-1937, Monotype).
• The blackletter face Deutschmeister (1934, Wagner&Schmidt, Ludwig Wagner).
• Decorata (1950).
• Johnston's Sans Serif Italic (1973).

Beta Bi

German corporate font design firm (click on FontLabor). Mac fonts: Beta Modul, Beta Wyriad, Beta Kabel, Beta Blocker, Beta Base (pixel font), Beta Norm, Beta Vector. Based in Hamburg. [Google] [More]  ⦿

Betterfear.us (or: XXII Fonts, Or Doubletwo Studios)
[Lecter Johnson]

Lecter Johnson (Betterfear.us) is the creator of the free fonts XXII Sinoz DSP (2010-2011, elliptical face), XXII Gory Bastard (2011), XXII BLACKMETAL WARRIOR (2010), XXII Menga (2010, a technical sans family), XXIIARMY (2007, stencil), XXIIDECONSTRUCTION-DESTRUCTION-AREA (2007, grunge), XXIIDONT-MESS-WITH-VIKINGS-HARDCORE (2007, octagonal), XXIISTRAIGHT-ARMY, Army Dirty (grunge stencil), XXIIUltimate-Black-Metal (2007, cracked metal look), XXII Scratch (2007, scratchy face), XXII DEVILS-RIGHT-HAND (handprinted), XXII BLACK-BLOCK (grunge), XXII MISANTHROPIA (2008, a rigid geometric sans family), XXII Arabian Onenightstand (2008: Arabic or Indic simulation face), XXII Urban Cutouts (2009, grunge), and XXII Static (2007, futuristic).

His web site has a threatening nazi sort of look, but the fonts are (were) free. Betterfear.us claims to be located in St. Pauli, Hamburg, and is also known on MyFonts, where some of its fonts can be bought, as Doubletwo Studios. These include XXII Total Death (2012), XXII HandTypewriter (2012), XXII Marker (2011), XXII BLACK BLOCK SERIFA (2008), XXII Mescaline (2009 Western style), XXII Misanthropia (2010, geometric sans), XXII Urban Cutouts (2010), XXII Marker (2011), XXII Blasphema (2011) and XXII STREITKRAFT (2008, a stencil family with grungy versions added). Old URL. Older list of fonts: Devils Right Hand (blackboard script), Black Block (grunge), Static (techno), Ultimate Blackmetal, Scratch, Don't Mess With Vikings, Army Dirty (grunge stencil), Army Straight, Black Block Eroded.

Klingspor link. Alternate URL. Behance link. Dafont link. [Google] [MyFonts] [More]  ⦿

B.G. Teubner

Benedictus Gotthelf Teubner was a publisher in Leipzig, Germany. One of their typographic oeuvres was Schrift- und Polytypen-Proben (1846), a model book aimed at printers that contains some fonts, decorative borders, printer's ornaments, emblems, and clip-art motifs. Additional link with some images. [Google] [More]  ⦿

Bibliographisches Institut & F.A. Brockhaus AG
[Sigrid Hecker]

Mannheim-based company which has the copyright of these fonts made in 1997: Uc_020, Uc_021, Uc_030, Uc_200, Uc_210, Uc_211, Uc_220, Uc_221, Uc_251, Uc_260, Ucs020, Ucs021, Ucs030, Ucs200, Ucs210, Ucs211, Ucs220, Ucs221, Ucs251, Ucs260, Ucs270. These were custom designed by Sigrid Hecker, Vits Bureau für Gestaltung, Mannheim. Note: F.A. Brockhaus AG was a printer and publisher in Leipzig, Germany. [Google] [More]  ⦿

Bibliothekarische Sonderzeichen

Free truetype fonts with library symbols. [Google] [More]  ⦿

Bildung Hessen
[Brigitte Betz]

At Ulrich Kalina's site of Bilding Hessen, a few free Braille fonts: 8ptBraille0, 8ptBraille78, 8ptBraille8, 8ptbraille7, blistabraille, blistabraille6+. The 8pt series was designed and created by Kalina's colleague, Brigitte Betz, at the Deutsche Blindenstudienanstalt Marburg. [Google] [More]  ⦿

Bill Dettering

He worked at SWFTE in Hockessin, Germany. His CV states: "Cofounder and Vice President of Research and Development. Created Glyphix font software, the first ever on-the-fly font generator for DOS based systems, which sold over 50,000 copies. Executed 10 different product releases and library of 100 scalable fonts. SWFTE has since been bought by Expert Software." [Google] [More]  ⦿

Bionic Type Engineering
[Malte Haust]

Malte Haust is a German designer at T26 who made the Kernfusion, SynKro, InterFacer (1998) and DorisOrange families in 2000. DorisOrange free download at Maniackers in Japan. Also runs Bionic Type Engineering Labs in Duesseldorf, Germany, where Doris Fuerst (juici) and Malte Haust (dePhrag2.0) showcase their font creations such as the BTEBioterminal family (by Malte Haus). Hit the "decode" button. Synkro is a dot matrix font at T-26. Other fonts at T26 include Cyberwar (2000), Comsat (2000, a stencil family) and Comsat Navy (2000). Full font list in 2002: 01.MB Truth, Alphabot, Comsat, Comsat Navy, Comsat Breakdown, Cyberwar, Doris Orange, Interfacer, Kernfusion, Neo Tokio, SynKro, Team Riders, Technik, Überform. [Google] [MyFonts] [More]  ⦿

Birte Ludwig

Graduate of the Hochschule für Angewandte Wissenschaften in hamburg. Designer at Designer Shock in Berlin of the fonts DSYogasaanAdvanced, DSYogasaanBeginners (both Indic simulation fonts, now commercial fonts at Die Gestalten) and DSMrGreenies (dingbats), all made in 2001. Klingspor link. [Google] [More]  ⦿

Bissantz SparkFonts 5
[Ralf Steinsträsser]

TrueType Fonts for the character-oriented generation of sparklines with SparkMaker. The fonts were made in 2005-2006 by a German guy at Bissantz GmbH, Ralf Steinsträsser: TrueType Fonts for the character-oriented generation of sparklines with SparkMaker. They are dingbat fonts with lines, hisdtograms, pieces of circles, all designed to make graphs, pie charts, and stock market charts. It is a data visualization tool. [Google] [More]  ⦿

Bjoern Karnebogen

Author of the (German) thesis Type and Image (2003). [Google] [More]  ⦿

Björn Börris Peters

German graphic and type designer. He graduated in vusual communication in 1999 from the Staatlichen Akademie der Bildenden Künste Stuttgart. Since 2008, he teaches at the HTWG Konstanz.

At Volcano, he designed the modular geometric family Trimatic (2009-2010).

Data Pilot (additional URL). Design Klinik: another URL. [Google] [MyFonts] [More]  ⦿

Björn Danzke

German designer of the destructionist face Georg (2005). Dafont link. [Google] [More]  ⦿

Björn Hansen

German Linotype designer of Algologfont (1997). Klingspor link. [Google] [MyFonts] [More]  ⦿

Björn Löbach

German designer of the free handprinted font Typooo (2012). [Google] [More]  ⦿

Blackletter, Fraktur, Rotunda
[Manfred Klein]

Manfred's fascination with blackletter and its German roots is apparent from the tens of typefaces he designed that are either revivals of historic typefaces or playful and not so playful extensions. Here we go:

• ArtNouveauDecadente (2007)
• ArthritishSpringtime
• BarlosRandom, BarlosRandomRings
• BarlosiusEdged (2007)
• Bastarda
• Bastarda-K
• BastardaButtonsBeta
• BastardaMajuskel1300 (2005)
• BastardusSans
• BauernFraktur (2004, after the 1911 original by Bauersche)
• BayreuthFraktur, Bayreuther-BlaXXL (2005, a variation of Schneidler's Bayreuth)
• BigBroken, BigBrokenTwo
• BigElla
• Brahms-Gotisch (2005, with Petra Heidorn: a revival of Heinz Beck's 1937 face at Genzsch&Heyse)
• BrokenAlphabetTradition
• BrokenBrainsFrax
• BrokenCapsJumperB
• BrokenHand, BrokenHand-Bold, BrokenHandLight, BrokenRoman-Bold
• BrokenSansCaps, BrokenSansCaps (2007), BrokenSansCapsJumper
• BrokentTraditionRound
• BruchschriftMK
• Burtine (2003: handwritten freestyle version of Burte Fraktur, 1928), Burte-Fraktur
• Burtinomatic, Burtinomatic-DemiBold
• CancellerescA
• CantaraGotica
• Cantzley Inverse Caps (2007)
• CantzleyAD1600 (2005)
• CaslonishFraxx
• ClaudiusImperator
• Clausewitz-Fraktur (2005)
• Cuxhaven Initials Round (2006), CuxhavenFraktur (2006), CuxhavenInitials (2006), CuxhavenTimes
• DecadentaFrax (2007)
• DirtyThinkwitz
• DizzyBrokenWritten
• DolbyFraxCaps (2005)
• DornspitzGrotesk
• DoubleBrokenTextura
• DrunkenSailor (2006)
• ElectrUnciale (2005)
• ElephantaBlack (2006)
• FatFreeFrax
• FlyingHollander (2005)
• FracturiaSketched, FracturiaSketchedCaps
• FraktKonstruct
• FraktSketch, FraktSketchFS
• FraktalConPablos
• FrakturInRings (2007)
• FrakturInitials07 (2007)
• FrakturNitials (2006)
• FrakturaFonteria, FrakturaFonteriaSlim (2006)
• FraxBricKs, FraxBrix
• FraxHandwritten, FraxHandwrittenCaps (2007), FraxHandwrittenXtrem-Medium
• FraxInCage, FraxInCageLeftOblique, FraxInCageRightOblique
• FraxInitials
• FraxxSketchQuill
• FrungturaFS
• GGothiqueMK
• GermanFatman (2006)
• GingkoFraktur (2006)
• GoldenSwing, GothicMajuscles
• GotenborgFraktur (2007)
• GotikaButtons (2005, after Imre Reiner's Gotika from 1933)
• GothicLetters (2007)
• Gotic Caps (2006)
• GoticaBastard
• GotischeMajuskel
• GutJoeBlack
• GutenbergsGhostypes
• GutenbergsTraces
• HamletOrNot
• HamletTobeornot
• HansFraktur
• HansSachsCaps (2007)
• HansSchoenspergerRandomish
• HappyFrax (2006)
• Haunted-Normal
• HauntedBricks
• Holland-Gotisch (with Petra Heidorn; a revival of Nederduits by Johann Michael Fleischmann, ca. 1750)
• ImresFraktur, ImresFraxCaps (2007)
• Incunitials
• IronFraktur
• JessicaPlus
• JoeCaxton
• JohannesBricks
• JohannesButtons-02
• JohannesGDiamonds
• JohannesGLastTraces (2007)
• JohannesTraces
• Jugendstil (2006)
• KaiserRotbartCaps (2007)
• Kl1RheumaticFraktur
• KlausBFraktur
• KleinSchwabach (2005)
• KleinsBrokenGotik (2006)
• KlungerCaps (2006)
• Leibniz-Regular
• LombardPlattfuss
• Lombardic
• LookBrokenTypes
• LuFraktorsoBroad
• LudwigHohlwein (2006)
• LufrakturBricks (2006)
• LutherDuemille, LutherMousedrawn, LutherMousedrawn-Bold
• MK Broken Types (2006)
• MKFraxConstr (2007)
• MKalligFrax, MKalligFrax-MediumItalic
• MKancellerescaCaps (2005)
• MKantzley (2005), MKanzleiCaps-One (2006)
• MKaslonTextura
• MoKsford, MoKsfordBold, MoKsfordDemiBold, MoKsfordExtraLight, MoKsfordLight
• MonAmourCaps (2006), MonAmourFraktur-Broken (2006), MonAmourFrakturRegular
• MonksWriting
• MorbusParcinsonFraxx
• MountFirtree
• MousefraKtur, MousefraKtur-Bold
• Münchner-Fraktur (2005; a revival of Renaissance Fraktur by Heinz König, 1885, Genzsch&Heyse)
• MyElectronicSchwabach
• NeuGothic-Bold
• Neudoerffer, NeudoerfferScribbleQuality
• OKsfordBadFat, OKsfordItalic
• OldTypographicSymphony-Regular, OldTypographicSymphony-Round
• PopFraxFrankfurt (2007), PopFraxFrankfurtCondensed (2007)
• Potsdam (2005, a revival of a 1934 face by Robert Golpon)
• PrinzEugen
• Prothesis-Black, Prothesis-Caribiqu, Prothesis-Caripix
• RandomFrax
• ReadableGothic
• RememberReinerFS
• RotundaEspagna
• Schaftstiefel Kaputt (2003)
• SchmaleGotischMK
• SchmalfetteGotisch
• SchneidlerSchwabacher
• SchneidlerSolitaires, SchneidlerSolitairesRound, SchneidlerSolitairesRound
• Schwabach, SchwabachDuemille, SchwabachScribbels, SchwabachScribbelsSecond
• ScribbledFrakturX-Heavy (2006)
• SketchedCassiusBroken
• SmallEdgedFrax (2006)
• Snoutlike (2003)
• SpaceWinningFrax (2007)
• TizonaDance
• TshirtsForFrax
• TypoasisBoldGothic (2003)
• VanDoesburgBrokenFS
• VeryBrokenFrax
• WeimarInline
• WeissGotischRandom
• Weissgotnitials (2005, based on Weiss's Lichte Initialen, 1935)
• WittewittMajuscles-Flourish, WittewittMajuscles-FlourishBricks
• WrittenFrax (2007)

Blackletter on German bank notes

100 Reichsmark from 1908, 20 Million Reichsmark from 1923, 50 Reichsmark in 1933 and 100 reichsmark in 1935. [Google] [More]  ⦿

Blanca Berning

Graduate of the University of Reading in 2011 who was born in Germany. Her graduation typeface was Clint (2011), a text family for Latin, Greek and Cyrillic. Clint suffers from a multiple personality disease, with asymmetric serifs, a strange axis, some timid ball terminals, and other exogenetic details. [Google] [More]  ⦿

Bobsmade
[Anne Schröder]

Erfurt, Germany-based creator (b. 1987) of Madsch (2008) and bobsmade font (2007, 3d). Alternate URL. Link at Dafont. [Google] [More]  ⦿

BOODAS.DE
[Boris Schandert]

Sankt Augustin, Germany-based creator (b. 1981) of the pixel face BOODASDREIECKE (2007): all the pixels are in fact small triangles. He also designed BOODAS.DE|Subtract (2007, negative octagonal), My (2007), Boodas.de|My|Regular (2007, octagonal, free), Redhead (2007, geometric, experimental), Bourier (2007, like Courier with bowls filled in and frills added), Slimbo (2008, hairline geometric). All his fonts are free. [Google] [More]  ⦿

BOOKNET
[Wolfgang Reifarth]

Free Booknet Architekt and BOOKNETFeather1 truetype fonts TTF by Wolfgang Reifarth from Kelkheim, Germany. Also a handwriting truetype font service. [Google] [More]  ⦿

Boris Dworschak

Pforzheim-based Boris Dworschak graduated in 2003 fom the University of Applied Sciences in Pforzheim, Germany. Designer at Stereo Typehaus of Zentrale (2004, a 6-weight sans), Sanford Script (2004, curly), Partisan East (Cyrillic simulation face), Partisan West, Basic, Angel Dust (2004) and Master (2004).

At [T-26], he designed Gaijin (2005, a great 3-d family, +Shadow), Raster (2002, a 10-weight rectangular lettering font family).

In 2004, Boris joined Union Fonts, where you can get his typeface Dakar (2004).

He started his own design studio, Boris Dworschak in 2004.

In 2005, he founded dworschak&hoos with Heiko Hoos in Karlsruhe.

He created the stencil face Exakt, and the mechanical faces Ikiru Sans and Ikiru Serif (2009) at Die Gestalten.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Boris Kahl

Born in 1975 in Schwäbisch Gmünd, Kahl graduated in 2001 from the Hochschule für Gestaltung in Pforzheim. Boris Kahl is Art Director of the German advertising agency MAGMA (Büro für Gestaltung) since 2001. He cofounded the German type and design weblog Slanted. His type designs are published at Volcano Type (Karlsruhe):

• Athletic lettering: Sports (grungy, with Lars Harmsen), Sports Skinny.
• Blackletter: Frakturbo, Fraktendon (=Fraktur+Clarendon, codesigned with Harmsen)
• Dingbats: Mr. J. Smith Eye, Mr. J. Smith Head, Mr. J. Smith Mouth, Mr. J. Smith Nose, and Mr. J. Smith Wanted are experimental dingbat faces by Nikolaii Renger, based on an idea of Lars Harmsen, and digitized by Ulrich Weiss and Boris Kahl. These won an award at the 2005 FUSE competition. Multigenic are a collection of black and white boxes and rectangles (free).
• Dot matrix faces: C64 (original Commodore 64 font), Doublepoint (five styles), Monopoint (three styles), Rollerblind, Rollerblind Grid
• Grungy: Mud (free), Psycho, Poke
• Hand-drawn: Decomic Oblique
• LED style: Digibeck, Strichcode (a family codesigned with Harmsen).
• Kitchen tile faces: Bus, Bus PI.
• Patriot family, done with Lars Harmsen: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
• Pixel faces: Amiga, Screeny, Pixel, C64, Fette Pixel
• Script faces: Filou (free, three styles)
• Techno faces: DigiBo, Teckbo (2002. Boris Kahl writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks) LI>Uncial: Chaucer

free fonts at Dafont include Filou Medium (2010, calligraphic).

View Boris Kahl's typefaces. [Google] [MyFonts] [More]  ⦿

Bormanns Schrifterlass, Lucian Bernhard und der Völkische Beobachter

Lutz Schweizer published the text of the decree of January 3, 1941 signed by M. Bormann on behalf of the Nazi party. He declares: "Die sogenannte gotische Schrift als eine deutsche Schrift anzusehen oder zu bezeichnen ist falsch. In Wirklichkeit besteht die sogenannte gotische Schrift aus Schwabacher Judenlettern." [It is wrong to consider the gothic script (Fraktur) as a national German script. It is in fact nothing but Jewish Schwabacher characters.] Lucian Bernhard (1883-1972), one of Germany's main designers, had created Bernhard Fraktur (1913), and this was subsequently used in Der Völkische Beobachter, the central party newspaper and publication. It is ironic, Schweizer notes, that Lucian Bernhard himself was Jewish. On the topic Bormann's decree, Heinrich Heeger wrote Verbot Deutschen Schrift Durch Adolf Hitler in volume 55 (1997) of Die deutsche Schrift. [Google] [More]  ⦿

Braille DIN
[Jochen Evertz]

Braille DIN (2005, Fontshop) is due to Jochen Evertz. It follows the DIN specs 32980 and the packing standards of the German pharmaceutical industry. The price (159 Euros) is outrageous for a bunch of dots. [Google] [More]  ⦿

Brandstiftung Design Gruppe
[Sven Winterstein]

Fonts by Sven Winterstein from Dortmund, Germany: Ronja Regular, Ronja Bold, Lichtbild (free) and Tri-Top (free). He works at Brandstiftung Design Gruppe. To find the fonts: Click "mehr Information" on the right bottom of the page and a window pops up. In the middle you will see "Brandstiftung Font Manufaktur": click the red arrows in the corresponding right cell. [Google] [More]  ⦿

Brass Fonts
[Guido Schneider]

Cologne-based group of type designers, founded in 1996: Guido Schneider, Hartmut Schaarschmidt, Martin Bauermeister, René Tillmann, Rolf Zaremba. There are many original free fonts here: Amnesia (René Tillmann; now also sold by URW), Anorexia (G. Schneider, 1996), Battery, Battery Seriph, Battery Leak (Tuschemann, 1996), Matula (G. Schneider, 1997), Nobody (G. Schneider), Paul D (Guido Schneider, 1996), Sanctus, SubZero (Guido Schneider, 1996), SynkopSemi, Veto, Visitor (R. Zaremba, 1996), BiaBia (very avant-garde, G. Schneider, 1996), Corpa Gothic (sold by URW++), Cuba (G. Schneider, 1997), Hone (Piano Dog, 1996), Saw, SoloSans (G. Schneider, 1996), Souper, Styptic, Fluxgold (slabserif, G. Schneider 1999), Rotwang (G. Schneider 1998), Styptic (Tuschemann, 1995), Stoneman (Tuschemann, 1998), Jaruselsky (1997, G. Schneider). Well, that is, these fonts have just the basic alphabet and all numbers 3 and 6 have been removed. The full versions are ultra-expensive, at about 110DM per weight (typically, 4 weights per font). More fonts: Temptice (dingbat by A. Groborsch/G. Schneider 98/99, 80DM), Tara (G. Schneider, 1998, 240DM), Corpa Serif (G. Schneider 1998), Fiona Serif, Slab and Script family (2003, G. Schneider). URW markets these fonts: BF Anorexia, BF Corpa Gothic, BF Corpa Serif, BF Cuba, BF Fluxgold, BF Invicta, BF Jaruselsky, BF Matula, BF Nobody, BF Paul'D, BF Rotwang, BF Solo Sans, BF Stoneman, BF Stypic, BF SubZero, BF Tara. Custom fonts by Schneider: Girato (Giraffentoast), Fiona (MDR - Mitteldeutscher Rundfunk), Sion Script (Sion Brauerei), Supralux (Super RTL). He is working on Veltro Pro (a script) and Breite Kanzlei (blackletter).

MyFonts sells BF Anorexia (a grunge face by Schneider), BF Corpa Gothic (a DIN-like family done in 1997 by Schneider), BF Corpa Serif (1997, a slab serif family by Schneider), BF Cuba (a pixel face by Schneider), Fiona Script (2006, connected), Fiona Serif, BF Fiona Slab (2006, Guido Schneider), BF Fluxgold (1998, Schneider), BF Invicta (2006, a roman inscriptional family by Schneider), BF Jaruselsky (1997, Guido Schneider), BF Matula (1996, an organic face by Guido Schneider), BF Nobody (1995, a roman face by Schneider with pointy experimental serifs), BF Paul D (a grunge blackletter face by Schneider), BF Rotwang (1997, a roman face by Schneider0, BF Solo Sans (1995, Schneider's grotesk family), BF Stoneman (1997, a decorative poster face by Schneider), BF Styptic (a grunge paperclip face by Schneider), BF Sub Zero (experimental, by Schneider), BF Tara (1999, a humanist sans family by Schneider), BF Girando Pro (a garalde made by Guido Schneider in 2010). [Google] [MyFonts] [More]  ⦿

Breitenlauf
[Tobias Baggemann]

Tobias Baggemann (Breitenlauf) is a German graphic and type designer. He designed Construct (2011, contructivist) and [Google] [MyFonts] [More]  ⦿

Brigitte Behrens

Type designer who took part in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

Brigitte Schuster

Brigitte Schuster is a graphic designer, calligrapher and lettering artist who graduated in 2008 from Concordia University in Montreal (only one block away from Luc's house...). She writes about herself: I am an independent Art Director (Graphic Design), Print Artist and Photographer practicing in Montreal, Canada. I am currently teaching typography and photography courses in the Graphic Design department of a college in Montreal. After attending a three-year graphic design program in Munich, Germany, I spent a few years working there both as an employee for print and web agencies, and as a freelancer. In 2005, I completed a Bachelor in Fine Arts, with a specialization in painting from the Italian Academy of Fine Arts of Carrara, Italy. [...] I moved to Canada in 2005 where I continued working in and for the graphic design industry. In 2008 I completed the Graduate Certificate in Digital Technologies in Design Art Practice at Montreal's Concordia University. In my graphic design practice I ideally work in editorial design, also corporate branding, with a focus on typography. Over the last year or two, I developed a great interest in type, which I express in my calligraphy and lettering work and type design research. Graduate of the Masters program in type design at KABK, 2010. Brush calligraphy with a tree branch (2009). Her typefaces:

• Canella (2010): a book ad magazine family with the angular necessities required for small print. Part of her Masters project at KABK.
• Life Sans (2008).
• A revival of Monotype Plantin (2010).

Britta Hackenberger

Hamburg, Germany-based creator (b. 1973) of the techno face Pixochrome (2007). Dafont link. [Google] [More]  ⦿

Britta Siegmund

Graphic designer in Hanover, Germany, who studied at FHH in Hanover. Behance link. Another Behance link. She is experimenting with letters, and designed letters by dissolving ink in water (Tinten in Wasser), such as in the Sepia alphabet (2009). Connected (2009) is another experimental alphabet. There is also the avant-garde Sepia family (2009). Fency (2009) uses fences to populate the glyphs. High Five (2010) is a monoline geometric hairline sans. Poster. [Google] [More]  ⦿

Bropix
[Dirk Schuster]

Bropix is a foundry in Trier, Germany, est. 2011, by Dirk Schuster. Bropix created Nouvelle Vague (2010-2011), a fat didone fashion mag headline face.

Dafont link. Behance link. [Google] [MyFonts] [More]  ⦿

Brötz and Glock

Frankfurt-based foundry established in 1892. Many of its shares were acquired by D. Stempel in 1919. [Google] [More]  ⦿

Bruno Seuchter

Art nouveau type designer, who created Die Fäche 1 (1900). Little is known, except that HiH stumbled on a 1902 publication by Seuchter called Die Fäche, in which he found the art nouveau face that they revived in 2008 as Seuchter Experimental. [Google] [MyFonts] [More]  ⦿

Brüder Butter

Dresden-based foundry which later became Schriftguss, and then finally in 1951, VEB Typoart. [Google] [More]  ⦿

Bund für Deutsche Schrift und Sprache

Magazine dealing with Fraktur (history, font-designers) and German language, est. 1927. Written in German and typed in blackletter. Currently edited by Harald Rösler. Gerda Delbanco of Delbanco Frakturschriften is the wife of Helmut Delbanco, who is the chairman of the Bund. Alternate URL. [Google] [More]  ⦿

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] [More]  ⦿

Bureauschwarz
[Patric Schwarz]

Patric Schwarz (Bureauschwarz) is the German designer of the free über-macho Stahlbeton (2005). Download here. A graduate from Dortmund (2003), he set up Neuefabrik after his graduation. Since 2008, he works in Berlin. [Google] [More]  ⦿

Burma Group Tuebingen

Heiko&War War Min Schaefer run a wonderful site in support of Aung San Suu Kyi and a free Burma. They made 70 downloadable Burmese fonts: Burma, Burmese1_1, CECLASSIC, CEClassicTrueType, CEExcelTrueTypeMedium, CENORMAL, CENewClassicTrueType, CE_EXCEL, Karen3_0, Lik_Tai, Mya_NormalA, MyanTTF. Also at this site: AungSanBurma and SuuKyiBurma (by Soe Pyne), Innwa_, WwinBurmese and Wwin_Hlaing_Medium (by Win Tun), Type, Code1 and Code2 (by Shwe Naing-Ngan Myanmar True Type Fonts), Geocomp_S19A (by GEOCOMP MYANMAR), Theiree (by Len Aye), Win___Innwa (by Zaw Htut). [Google] [More]  ⦿

Buro Lazer
[Andreas Münch]

Andreas Münch (Buro Lazer, Nuremberg and Berlin) created the hairline octagonal face VS Lazor Racor (2010). Dafont link. [Google] [More]  ⦿

Büro Dunst
[Christoph Dunst]

Christoph Dunst is a graphic and type designer living and working in Berlin, Germany. He studied at the Royal Academy of Fine Arts in Den Haag, The Netherlands, where he graduated with a degree in graphic and typographic design and a masters in type design. In 2006 he founded the design studio Büro Dunst in Den Haag, which he moved in 2009 to Berlin, lock, stock and barrel.

Designer of the text family Novel, which won an award at TDC2 2009. He calls his Novel Sans Pro (2011) a new humanist grotesque face---a contradictio in terminis. In 2011, he added Novel Mono Pro, a monospaced grotesk family, and Novel Sans Condensed Pro, a great family for information design.

Other faces: Heimat Sans (2010, a monoline sans family), FF DIN Round (2010), Heungkuk Sans (the corporate typeface of the Heungkuk Finance Group, Seoul, South Korea).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Büro für Aufmerksamkeit (was: Font Bastard)
[Thomas Junold]

Type and graphic design studio run by Thomas Junold in Aachen, est. 2006. He is the designer of Actor Sans (2006), which started out based on ideas of Kai Oetzbach (if I read the text at 26zeichen correctly)

More recent URL. Google Font Directory link where one can download Actor. OFL link. Font Bastard link (old). Klingspor link. [Google] [More]  ⦿

Büro für Gestaltung Janssen
[Daniel Janssen]

Büro für Gestaltung Janssen, or Janssen Design, is located in Hamburg. It is involved in print, screen, animation, corporate and type design, and was founded in 2002 by Sylvia and Daniel Janssen. Together, they designed these typefaces:

• Bias Regfular (2008, T-26). An experimental pixel-based face.
• Gretel (2005, Fountain), a cross-stitch pattern font.
• Loop (2005, T-26).
• Kaa, a multilined hypnotizing face. This and some other faces are also available at T-26.
• Engel (2003, At T-26). See also here.
• Vitus (2003, Fountain: Vitus is a bold face with occasional delicate strokes. It'a based on a typeface found on one of the million mark notes released during the inflation in the 1920's). See also here.
• Emily, a connected script font, with some borders. Designed in 2003 with Sylvia Janssen, it is similar to Monte Carlo Script NF (2002, Nick Curtis), and both are based on a font called Medicis by Deberny and Peignot, ca. 1920.
• AF Nitro, a techno/LED collection of faces.
• Diavolo, a fifties diner face.
• Unovis, a minimalist squarish face with hard to distinguish u, n and v lower case characters.
• Sektor, a sans face.
• Sonar, a display sans.
• Masina, a simple geometric sans.
• Cash (no idea whta this looks like).
• Initialen, a 21st century initial caps face.
• EF Gigant, a 96-weight techno family (Elsner and Flake, 2006).
• Emily: a conected upright script available from T26.
• Atlantik: six sets of line elements, sold by Veer and Fountain. The Atlantik typeface is a result of a poster design made for the Habour Museum Hamburg.
• Diago (2009, T-26): striped sans.
• Oceane (2009, T-26). An avant-garde face.

FontShop link. Klingspor link.

View Daniel Janssen's typefaces. [Google] [MyFonts] [More]  ⦿

BuyMyFonts (or: BMF)
[Alessio Leonardi]

Alessio Leonardi (b. Florence, 1965) is an Italian designer and type designer who lives in Berlin since 1990. He worked in Berlin at MetaDesign of Erik Spiekermann and in Frankfurt at xplicit. In 1997, with Priska Wollein, he opened the office Leonardi Wollein Visuelle Konzepte in Berlin. His humor shows through his letters and his many dingbats. In 2002 he founded Buy My Fonts that produces typefaces for corporate applications and also for standard use. Speaker at ATypI in Rome in 2002. In 2004 he published his book From the Cow to the Typewriter: the (true) History of Writing. The Alberobanana project tries to suggest an alphabet that could have been. In 2007, he started the pixel font project BMF Elettriche. Available from MyFonts, it includes 648 styles. Speaker at ATypI 2007 in Brighton. Linotype link. Typefaces.de site.

His fonts include

• F2F Ale Ornaments (1994, +Rotato, +Spirato), Ale Signs, Ale Transport: all done at Linotype.
• F2F Allineato (1995): grunge, part of the Face2Face project.
• Alternativo Franklin Gothic
• Aposto
• F2F Al Retto (1995): grunge, part of the Face2Face project.
• BMF Ale Pi Fonts
• BMF Atypico (1994): organic.
• FF Baukasten (1995): grungy pixel face.
• BMF Bolbody, or Bolbodico.
• Bodetica
• BMF Brohan Black (2010)
• BMF Bread Type.
• BMF Brera.
• FF Cavolfiore
• FF Coltello (+Figure)
• BMF Cratilo Poster (1996, +Signs): angular face.
• Cool Wool
• Cotton Club
• Debaq Face
• BMF Elleonora Dun Tondo, BMF Elleonora Dun Cane (1994): script faces.
• Etica Temporale
• Font Card (2000)
• FF Forchetta (+figure)
• BMF Fontcard (2000): Monospaced, modular.
• FF Graffio (+Visivo) (1995): scratchy graffiti face.
• Graffiti One, Two, Three and Four (1993): at AA International.
• Ha Manga Irregular (+Pictures)
• FF Handwriter (+Symbols)
• Happy Days
• BMF However
• Kaos
• BMF Imme Gothic (2001): made for the official communication of the wedding of Imme and Alessio.
• BMF Just Do It Again (1999).
• FF Letterine (+Archetipetti, +Esagerate, +Teatro): kid font family.
• BMF Love and Hate Pie (2010)
• F2F Madame Butterfly (1995)
• FF Matto, FF Matto Porco, FF Matto Sans, matto Sans Porco: blotchy.
• Metadoni
• F2F Metamorfosi (1995): experimental, part of the Face2Face project.
• FF Mulinex
• BMF Mekanikamente
• F2F Mekkaso Tomanik
• BMF Objects Pi (2010)
• Omegalo
• BMF Planets Pi (2010)
• F2F Poison Flowers (1994).
• FF Priska Serif (+Little Creatures)
• F2F Prototipa Multipla
• F2F Provinciali
• BMF Quaderno
• Samuele
• Schering type family (2000): done for a pharmaceutical company headquartered in Berlin. Includes Sans, Serif, Letter.
• BMF Serbatoio (1991): Pixel face, originally called This Is Not (My Beautiful Wife). Includes Pieno, Vuoto, Prospettico.
• F2F Simbolico
• BMF Sicily (1991): grungy ransom note face.
• Stone Washed
• F2F Tagliatelle Sugo
• Tagliatelle Poster, Tagliatelle Grazie, Tagliatelle Tagliate
• Tempore
• BMF Testuale, BMF Testuale Sans, BMF Testuale Cornici (1994): angular family.
• BMF Zazi.
• BMF Zodiac Pi (2010)

C. Adam

Designer at Genzsch&Heyse, who made Rex (1924). [Google] [More]  ⦿

C. E. Weber

Stuttgart-based foundry established in 1827, and taken over by D. Stempel in 1970, which in turn became Linotype in the eighties. Their library included Druckhaus Antiqua (1919), Schadow Antiqua (1938), Weber Fraktur (1860) and faces by these designers:

• Albert Auspurg: Start (1935).
• Julius Kirn: Bison (1954-1955). Well, Hans Reichardt says 1938. This brush face became Brush 738 BT (Bitstream).
• Walter Jakobs (or Jacobs): Chronika (1936), Verzierte Chronika (1937), Chronika fett (1938) and Chronika licht (1939).
• Hans Möhring: Gabriele (1938; Hastings mentions 1947).
• Erich Mollowitz: Forelle and Forelle Auszeichnung (1936, script types).
• Willy Schaefer: Neon (1935).
• Friedrich Hermann Ernst Schneidler: Bayreuth (1935), Deutsch Roemisch (1923; Kursiv in 1926, fett in 1930), Roemisch fett (1930), Kontrast (1930), Suevia Fraktur (+halbfett).
• Georg Trump: Amati (1951), Codex (1954), Delphin I and II (1951), Forum I and II (1948 and 1952), Jaguar (1965), Palomba (1954, script), Schadow (Antiqua 1938, Antiqua werk, 1948, Kursiv 1942, Antiqua Fett 1952, Antiqua halbfett 1939, Antiqua Schmalfett 1945), Signum (1955), Time Script (+Light and Medium) (1956), Trump Mediaeval (1954; Kursiv and halbfett in 1956; fett in 1958; Kursiv fett and schmal halbfett in 1962).
• Wagner&Schmidt, Leipzig: Colonna Antiqua (1908; halbfett in 1911), Druckhaus Kursiv, Druckhaus Antiqua (1919; +fett, + halbfett, +schmalhalbfett), Ekkehard (1903), Erika (1920; +halbfett), Margarete (<1927), Orient Antiqua (1914), Parlements Fraktur (1908), Progress Reklameschrift.

C. P. Melzer

Leipzig-based foundry. [Google] [More]  ⦿

C. Rüger

Leipzig-based foundry. [Google] [More]  ⦿

Camo Design

Design studio in Husum, Germany. Behance link. Creators of the pixel font D3516N (2002). [Google] [More]  ⦿

Cape Arcona

In October 2002, Stefan Claudius and Thomas Schostok started Cape Arcona, a foundry with free and commercial fonts, based in Essen, Germany. It also carries some fonts by Raymond Brekelmans.

Catalog of their best selling typefaces.

List of typefaces made before 2005: CIA, Cosmo-Pluto, Cosmo-Saturn, Elvis in Stereo, Moskow Has A Plan, Dr. No, Play-Real, Play-Roman, Play-Script, Play-Dynamic, Play-Wild, Sensuell, Viva Las Vegas. Free fonts: Address Unknown (Raymond Breukelmans), CA Traktor, CA Aircona, Aircona Shadow, Aircona Fill, No Dr. Tall, KissKissBangBang, GingerMint, Stardust, Texas Funeral, Strongman, Aires, Alternative3, AfterMidnightSaleJunk, Koenigsbrueck. In 2004, they designed CA Spy Royal (Thomas Schostok). CA Magic Hour (Stefan Claudius), CA Geheimagent (Stefan Claudius), CA Trasher (Thomas Schostok), CA No Dr. (Thomas Schostok), CA Prologue (Stefan Claudius).

In 2005, they published CA Magic Hour Shadow (free font by Stefan Claudius), and CA Zaracusa (a sans by Stefan Claudius). Still in 2005, we have new free fonts by Stefanie Koerner: CA Dater, CA Fusion, and CA Scribb. The commercial fonts of 2005 include CA BND, CA Wolkenfluff, CA Emeralda (a script face), CA Blitzkrieg pop, CA 12C13C, CA Monodon, and CA Pussy Galore.

In 2006, they added CA After Midnight Sale (free, by Schostok), CA Boiled Beef (free), C.I.A. (original design from 1999 by Thomas Schostok), Dekoria (a saloon font by Stefan Claudius), CA Subbacultcha (dingbats) and CA Zaracusa (a sans family by Stefan Claudius).

In 2007, CAPartyRebel, CARebelParty (both comic book style fonts), CA BND Trash (grunge), CA Kink (Thomas Schostok), CA Uruguay (Thomas Schostok, a lettering for a revolution with huge ink traps), CA Coronado, CA Plushy (free brush script by Stefan Claudius) and CA Fragile were added.

The harvest from 2009: CA Cula, CA Cula Superfat, CA Gothique Superfat, the grunge pack (including CA Nars 1,2,3,X, CA Trasher and CA Wolkenfluff), CA Misfit (by Stefanie Koerner).

Fonts from 2010: CA Normal (grotesque sans, Stefan Claudius), CA Sivle (Elvis backwards: a grunge look, but made based on circular and rectangular overlaid grids; free).

Fonts from 2011: CA Normal Serif (by Stefan Claudius). [Google] [MyFonts] [More]  ⦿

Carl Albert Fahrenwaldt

German designer (b. Stettin, 1864, d. Stuttgart, 1941). He studied lithography from 1878-1882, and worked as a lithographer in Stuttgart from 1891-1895. After that, until 1939, he was a free-lance graphic designer in Stuttgart. He made these typefaces:

• Edelweiß (1936-1937, Schriftguss): blackletter.
• Hohenzollern (1902, Bauersche Giesserei); a blackletter face.
• Imperial (Bauersche Giesserei): a fat version of Hohenzollern.
• Mainzer Fraktur (1901, H. Berthold AG and Bauer). The Mainzer Fraktur was digitized by Gerhard Helzel, and also by Markwart Lindenthal (Fraktur.de). A free version, Berthold Mainzer Fraktur, is due to Peter Wiegel (OFL).
• Minister (1929, Schriftguss). This family comes with Antiqua and Kursiv in various weights, as well as Minister Initlen. Adobe and Linotype have their own digital versions. The Minister family comes with a white on black circle titling font called Minister Kreis Versalien (1933).
• Prominent (1936, Schriftguss): a beautiful set of filled-in open initials.
• Symbol (1933): an engraved set of initials.

Carl Ernst Pöschel

German printer and typographer (b. Leipzig, 1874, d. Scheidegg, 1944). In 1900, he joins his father's printing shop, Poeschel&Trepte, in Leipzig. In 1907, he starts up Janus-Presse with Walter Tiemann, the first private press in Germany. In 1918, Janus-Presse is taken over by Insel Publishing House. His fonts include Janus-Presse-Schrift (1907, with Walter Tiemann) and Winckelmann-Antiqua (1920). He published "Antiqua als deutsche Normalschrift" (with F.L. Habbel, Berlin, 1942). He is said to have brought the blackletter face Caslon-Gotisch in 1904 from England to Leipzig---the latter face showed up in the VEB Typoart catalog. [Google] [More]  ⦿

Carl Gustav Naumann

C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. Poster by Naumann. [Google] [More]  ⦿

Carl Hermann Anklam

Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994). [Google] [More]  ⦿

Carl Rudolph Pohl

Designer (b. 1900, Rastenburg, Germany) of the brush script Polo (Typoart, 1960). It was digitally redesigned and reinterpreted by Andreas Seidel as Paola (2003) and by Ralph M. Unger as Polo (2008, URW++). Klingspor link. [Google] [MyFonts] [More]  ⦿

Carla Schweyer

German designer of the sans family Ambigue (1999, Linotype). Pic. [Google] [MyFonts] [More]  ⦿

Carlos Winkow

Carlos Winkow is a version of his original name, Carl Winckow. He designed the brush script typeface Reporter (1938, the Wagner foundry, a brush face with many alternates for the glyphs), Gong (1945, Johannes Wagner, a chalk script face; Jaspert mentions the date 1951), Alcazar (FT Nacional, 1944, an inline 3d titling font), Electra (FT Nacional, an almost avant-garde sans family, which includes the ultra thin Estrecha Fina weight), Iberica (FT Nacional, 1942, an open shaed inclined 3d lineale), Nacional (1941, Nacional: a calligraphic roman in old medieval Spanish style with Clasico Nacional 1 and Clasico Nacional Negro weights; see Madrid RR by Red Rooster for a digital version), Cursiva Rusinal (FT Nacional: this is identical to Reporter except in the alternates). Roller (1997, Pat Hickson, ITF) is based on Iberica. Romeo (Font Bureau) takes some cues from Electra and says that it is a spectacular art deco sanserif with an unusually fine condensed series. A standard non-chalk version of Gong was done by J. Wagner in 1967, and was published as Jowa Script, which in turn provided inspiration for Iova Nova (2007, Profonts). Lucia Walter revived Winkow's 1931 text face Elzeviriano Ibarra in 2011. Winkow's Numantina (1940) was revived by Nick Curtis as Numancia NF (2011). Linotype page. [Google] [MyFonts] [More]  ⦿

Carsten Becker

German digital photographer who lives near Kassel, Germany. Creator of Corbach (2006, hand printed style). Alternate URL. [Google] [More]  ⦿

Carsten Kraemer

Type designer who took part in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

Carsten Ost

Experimental font designer in Germany. [Google] [More]  ⦿

Carsten Prenger

Carsten Prenger (b. 1982, Osnabrück, Germany) graduated in 2008 from the University of Applied Sciences, Niederrhein. He works as a graphic designer and made the geometric face Circlez (2011). Behance link. [Google] [More]  ⦿

Carsten Schweig

Type designer at ACME. He made Nicoteen 13 AF (1998, grunge) and AF Syrup (1998, slab serif). [Google] [More]  ⦿

Carsten Strinkau

German designer at URW++ of FontForum CSPaket, CSCourtHandD (medieval calligraphy based on the handwriting of monks in the 16th century), CSFuzzyLogD and CSTakahashiD (oriental simulation, a hommage to the Japanese Manga artist Katsuhiro Otomo and his character/figure Takashi from the Akira-Manga). Student in the Kunstschule Wandsbek in Hamburg. His fonts are sold under the name CS Fonts, and through URW++, and through MyFonts.com. Home page. [Google] [MyFonts] [More]  ⦿

Carsten Wierspecker

Type designer who took part in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

Caspar Schleupner

German teacher of mathematics and writing, b. Nürnberg, 1535, d. Breslau, 1598. Example of his lettering. [Google] [More]  ⦿

Casper Neff

Casper Neff introduced the chancery script (cancellaresca) in Germany in his 1549 book, Thesaurium artis scriptoriae. [Google] [More]  ⦿

CAT Design Wolgast
[Peter Wiegel]

Wolgast-based type designer Peter Wiegel (b. 1955) runs CAT Design Wolgast. Designer of these free fonts:

• In 2012: Men Nefer (a Memphis lookalike), Fette Unz Fraktur (like Fette Fraktur), Mutter Krause (for the reconstruction of the 1929 silent movie "Mutter Krausens Fahrt ins Glück", where it is used for intertitles, that where missing. The font is redrawn from the original intertitles), Youbilee (a font with laurels).
• In 2010: Alfabilder (dingbats), Gondrin (athletic lettering with a 3d effect), HelvetiaVerbundene (making Helverica into a school script?), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
• In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
• Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic face made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde face made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

Catinka Keul

Designer of the children handwriting font Hansel (1993). She is part of the Apply Design Group. [Google] [More]  ⦿

cd-tec

German handwriting font service: a truetype font of your writing costs 9.90 Euro. [Google] [More]  ⦿

C.E. Fetzer

In 1871-1872, C.E. Fetzer proposed a mathematically defined (raster-based) grotesk called Runde Groteskschrift. It was not a complete alphabet, but according to Albert-Jan Pool, it was the ancient ancestor of FF DIN. [Google] [More]  ⦿

C.F. Meier

Darmstadt-based type designer who created Meierschrift (1908, Schelter&Giesecke). [Google] [More]  ⦿

C.F. Rühl

Leipzig-based foundry. It produced faces such as Neuwerk-Type (1908, Georg Schiller's blackletter), Breitkopf-Fraktur (original by JGI Breitkopf, ca. 1760, redone in 1912), Alte Schwabacher, Diadem (1912, a blackletter by Georg Schiller) and Elementar-Deutsch (1911, a blackletter by Georg Schiller). [Google] [More]  ⦿

C.G. Schoppe

Designer of the blackletter font Centralschrift in 1853. Had his own foundry in Berlin. [Google] [More]  ⦿

Chan-Nguyen

German-based Vietnamese designer of CN Times and CN Arial, free fonts adapted for Vietnamese. [Google] [More]  ⦿

Charles Emil Heyer

Chicago-based punch-cutter, 1841 (Berlin)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:

• At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888), Challenge Lightface (1888), Fair (1893), Fair Open (1891), Grant No. 2 (1892), Heyer, Jewel Script (1888), La Salle (1889), Lakeside Script (1883), Lyric (+Lightface Lyric, 1882; in 1925 renamed to Greeting Card (+Light)), Maltese (+Open) (1878), Mayo, Myrtle Script (1885), Occident (+Shaded) (1881), Opaque, Plate Script, Princess Script (1887), Princeton, Solar (1888), Sylvan Text.
• At Boston Type Foundry: Bank Note Italic Ornamented (1875), Compressed Black (1875), Copperplate Italic (1875), Harlem (+Open, +Shade) (1875), Mayence (1875), Nubian (1876), Rococo (1876), Vienna (1875).

Chess Ole!
[Frank David]

This German chess site has the following chess truetype fonts: Cheq, CheqFig, ChessOle!, ChessOle!Figurin. The latter two fonts are made by Frank David from Göttingen in 1993. [Google] [More]  ⦿

Chr. G. Heucke

München-based foundry. [Google] [More]  ⦿

Chris Molotov

German digital artist, b. 1992, who lives in Karlsruhe. Creator of the angular tattoo or heavy metal face (or logotype) Molotov (2011). [Google] [More]  ⦿

Chris Wiener

Designer of GFWaterproof (1998), Storyboard, and Media Icons (1999) at GarageFonts. Chris was born in Romania and grew up in Germany. He lives in Emmershausen. [Google] [More]  ⦿

Christian Büning

German designer (b. 1978) of Rolli (2007, with Elisabeth Schwarz), a font with pictograms for handicapped people. Another URL. [Google] [MyFonts] [More]  ⦿

Christian Gollwitzer

Software and TeX specialist at the University of Bayreuth, Germany, who designed AuriocusKalligraphicus (2004), a calligraphic type 1 handwriting font. In 2006, these fonts were added: Lukas Svatba (originally called AmiciLogo for the group Amici Musicae Antiquae in September 2004, this was changed, after adding Czech and Slovak diacritics for the wedding of Lukas Palatinus and Ludmila Nyvltova in the Spring of 2005), Jana Skrivana. Alternate URL. From the readme file: Each font features oldstyle digits and (machine-generated) boldface and slanted versions. Lukas Svatba is provided in a variant with a long s with the same input convention as in fraktur.sty by Matthias Mühlich. [Google] [More]  ⦿

Christian Gross

Interface design student at FH potsdam, Germany. He created the simple monoline display sans Canela (2011, 26zeichen). Behance link. [Google] [More]  ⦿

Christian Heinrich Kleukens

German type designer (b. Achim, 1880, d. Darmstadt, 1954), brother of the more famous "Kleukens", Friedrich Wilhelm (1878-1956). In 1907, the two brothers started running the Ernst-Ludwig-Presse, the private printing shop of the duke Ernst Ludwig von Hessen. Burte-Fraktur by C.H. Kleukens was cut in 1928 for Mainzer Presse by Gustav Eichenauer, Rudolf Koch's favourite punchcutter. It was revived in 2003 by Manfred Klein. He also added a handwritten freestyle version, Burtine 2003, and another interpretation, Burtinomatic (2004). Judith Type (1923), a hookish hellish face, was at the basis of Judith Type (2007, Nick Curtis). [Google] [More]  ⦿

Christian Munk

Danish designer (b. 1991), aka CMunk, who used FontStruct in 2008 to create Flag Semaphore (+Smooth, Peace), Articulate, Font from NATO (military slab serif), Glockenwerk (2008, pixel clock font), Glockenwerk Uhrzeit (2008), Flags-and-NATO (dingbats), Font from NATO alpha, Tall, Flying-Circus (Western showtime face to imitate the Monty Python titling font), LCD-display, Simple (stencil font with 700 glyphs), TMNT, Tetris, sharp-pixels, Raster, Quad (2008, nice stencil face), Inverted (2008), Propaganda (2008, Cyrillic font simulation), Empty Monospace (2008), Pride (2008), Stadium (2008), Rounded (2008), Dear God (script pixel face), Celtic Style (2008).

In 2009, he added 7x12 Pixel Mono, @bcde, Abstract Letter Patterns, Music, Texture, Diagonal, Gothic, Illusio, Unispace (typewriter type), Narrow Serif, Delta, Alien Double (great!), Donut, Flags-and-NATO, Simple-Fraktur-Initial, Simple-Fraktur, Texture, Friendly Serif, (+Soft), Invisible, Sharp, Heavy Diacritics, Concentrium, Continuous Digital Display, Elves, Pixies, Space Movie (+Ligatures), Flag Semaphore (+Smooth, +Peace), Articulate, BBT Biline Twist, Biline Twist, Empty Monospace, Unfix, Infix, Pride, Tyre Stencil (like tire threads---nifty...), and Overlap.

FontStructions from 2010: Even (gridded), Brilliance, Slalom Vision, Quirky Serif, 7x12PixelMono, Ball Terminator, Gearbox, Prefix, Upside Down, Way Too Small (a minimalist pixel face), Butterfly, Ribbon Gymnastics, 2D Barcode, Horizon Stencil, Biline Twist, Quirky Serif, Blocktur, Symmetricus (alien writing?).

FontStructions in 2011: 12 dice, Monotwist (tall, monospaced), Squarific (fat octagonal), Swirl (curly), Sweet (Victorian), Easter Eggs, 50 Fifty (experimental, geometric), Squarific (+Stencilious), Spiralix (spiral-themed for Latin and Cyrillic), Bloccus, Feet (monospaced).

Creations from 2012: Blick, Dry Heat (Isolates and Initials, Medials, Finals: an Arabic simulation family), FF9 Coin Slots, FF8 Untalic, FF7 w1de, FF6 Lean Mean, FF5 Bamana, FF4 Circulation, FF3 3times7, FF3 Runization, FF1 Glitchy. FF stands for Forgotten Fonts. [Google] [More]  ⦿

Christian Nickodemus

Trier-based graphic designer, who created the angular Static Font (2012). [Google] [More]  ⦿

Christian Nimpsch

Based in Zeitz, Germany, b. 1986. Creator of the grunge font Molotow (2007). Alternate URL. [Google] [More]  ⦿

Christian Ollert

Creator of the blackletter connected script type Grossmütterchen, made in 1917 for Schelter und Giesecke, Leipzig. It can be seen on the title page of volume 148 of Die Deutsche schrift. [Google] [More]  ⦿

Christian Spremberg

German type designer (b. 1956). At Delbanco-Frakturschriften, he created DS-Eisenacher Fraktur (1994), DS Wartburg Fraktur (1998, based on Barock Fraktur), DS-KlingsporBorgis, DS-Kochfraktur, DS-Jessen-Schrift (1998), DS-Schmuck (1998) and DS-Tannenberg. Lives in Siegen, Germany. [Google] [More]  ⦿

Christian Terbeck

Designer at Germany's Apply Design of fonts such as GaramondRough (1997) and Rohrfeder-Rough (1997). At Elsner&Flake, he designed EF Tempodrom (display letters between thick lines). Located in Bielefeld, he started Kobaltblau. [Google] [MyFonts] [More]  ⦿

Christian Vornehm

Mannheim-based designer of Linotype Seven (1997, brush face) and Linotype Zwitter.

Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Christian Zinck

German punchcutter who ran the Christian Zinck foundry in Wittenberg. Most of his work was done in the early part of the 18th century, when he supplied matrices to the Leipzig-based foundry B.C. Breitkopf. Zinck was born in Leipzig in 1698, and moved ca. 1720 to Wittenberg. Examples taken from the Norstedt foundry in Stockholm which had acquired some of the matrices: Colonel Fractur No22 and Nonpareil Fractur No23, Grobe Mittel No1, Grobe Mittel No2, Kleine Mittel Schrift No1, Petit Gammal Schwabach, Tertia Antiqua, Tertia Antiqua.

Christian Zinck had a son, Johann Ludwig Zinck, b. 1728, Wittenberg. He moves in 1752 to Berlkin, where he was in charge of Fredrik II's typefoundry and died in 1770. Christian Gottlob Zinck started a typefoundry in 1764 in Augsburg, where he died in 1778. [Google] [More]  ⦿

Christiane Boerdner

Art director in Berlin who made the rectangular paper cut-out face Super Sonic Geisha (2009). [Google] [More]  ⦿

Christin Arnhold

Designer in Trier, Germany. She used the lettering on a shop in Mainz to develop the signage script face Lapina (2011). [Google] [More]  ⦿

Christina Maria Bee

Type designer from Darmstadt who studied in Den Haag at the KABK in 2006, where she designed the Renaissance Antiqua face Olga while doing a Masters. Olga won an award at TDC2 2007. She participates in Type Destroyers. [Google] [More]  ⦿

Christina Sachse

German type designer who published Linotype Boundaround in 1997.

Linotype page. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Christina Schultz

Christina Schultz works as a freelance designer in London and Berlin. Her current focus is on iconography and intelligent fonts. Recent projects include logo, corporate and web design. She graduated from Central Saint Martins School of Art and Design with an MA in Communication Design in January 2005. At ATypI 2005 in Helsinki, she spoke about Piclig (for picture ligature), an intelligent OpenType font, which makes it possible to create symbols out of letters. These letters, when typed in a specific order, merge automatically and form picture ligatures. To achieve this replacement, piclig uses OpenType's contextual character substitution. The font contains a library of 112 symbols which are encoded not as images, but as characters. Piclig occupies little disk space, which is important in applications such as mobile phones. FF PicLig (2005, Fontshop). FF Piclig won an award at TDC2 2006.

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Christine Hartmann

Author (b. 1938) of Kalligraphie. Die Kunst des schönen Schreibens (1986-1989, with Christian Scheffler). In that book, she drew several alphabets, including an Antiqua Versalien, a Fraktur, a Humanistische Kursiv, a Schwabacher, and a Schwung Kursiv. She studied with Karlgeorg Hoefer at the Offenbacher Kunsthochschule. [Google] [More]  ⦿

Christine Voigts

Namibian-German designer of Linotype Dropink (1999), an adorable font in which letters are written with a scratchy inky fountain pen. One of my favorites in its genre. Fontshop link. [Google] [MyFonts] [More]  ⦿

Christoph Bergleiter

Graphic designer in Ulm. Behance link. He created the horizontally striped typeface DIN Cut (2010). [Google] [More]  ⦿

Christoph Gey

Graphic designer and illustrator in Köln, Germany. Behance link. Creator of the at deco face Josi Groove (2011). Logo. [Google] [More]  ⦿

Christoph Kalscheuer

Graphic designer Christopher Kalscheuer studied from 1988 to 1994 at the Staatliche Akademie der Bildenden Künste in Stuttgart under Professor Günther Jacki. Since 1994 he has been working as a designer in Stuttgart. Creator of the organic text family FF Maverick (1995), which was originally designed for cultural events and projects oriented toward packaging. FontShop link. [Google] [MyFonts] [More]  ⦿

Christoph Kaplan

German designer from Trier, b. 1983. Creator of the quirky curly font The Croach (2007). [Google] [More]  ⦿

Christoph Köckerling

Creator (b. 1984) of the handwriting fonts Daubed (2008), Freihand (2008) and Kaunitz (2008). He also made the dingbat Ugly Faces (2008), linear-edged Koecki (2008) and the pixel face Koecki Pixel (2008). Christoph Köckerling lives in Köln, Germany. Link at fontsy. Link at Dafont. [Google] [More]  ⦿

Christoph Mueller Graphic Arts
[Christopher Mueller]

Graphoc designer Christopher Mueller (Aachen, Germany) created free fonts such as Mom's Typewriter (1997, old typewriter), NoRefunds (1997, grunge), AZ Crushed (1997, grunge) and Autonomous Zentrum. Among his non-free fonts, most of which are grunge types, Goyathlay is the most interesting one. Other typefaces by Christoph include Spotnik&OldRomanTimes, BonnieAndClyde&BonnieAndClyde GoodOldDays, EsteticaWrecked, EsteticaWreckedExtraLetters, PsychoUno&PsychoZwo&PsychoSan.

Dafont link. Abstract Fonts link. Fontspace link. [Google] [More]  ⦿

Christoph Rankers

Born in 1980, Rankers is a free-lance graphic designer and cofounder of the design network DREIZEHN33 in 2006 in Freiburg, Germany. In 2008, he started his own studio in Freiburg. At Volcano Type, he created the experimental face Shiver (2008). [Google] [MyFonts] [More]  ⦿

Christoph Seiler

Born in 1982 in Karslruhe, he is one of the cofounders of Slanted, a German web log on typography and design. In 2007, he founded his own design studio, UpShapes Interactive. Drawn with a feather, Deadman (and Deadman Blotting and Deadman Squirting) is a gorgeous wild handwriting face reminiscent of the handwriting of British illustrator Ralph Steadman, and of Treefrog. [Google] [MyFonts] [More]  ⦿

Christoph Singer

Web page on the russification of Windows and related Slavic language font links. Christoph Singer who used to be based in Tübingen, Germany, created these (free) fonts: an old Russian lettering font Old Cyrillic, Metropol 95, Kirillica Nova Unicode (1998), Kirillica Wincyr (Old Church Slavonic), as well as the old cyrillic fonts XSerif Trediakovskij, Xserif Old Russian, and XSerif Unicode. Singer's page on Unicode-compliant fonts. [Google] [More]  ⦿

Christoph Spatschek

German designer of the experimental face Zopf (2009, Avoid Red Arrows). [Google] [More]  ⦿

Christoph Ulherr

German designer of the fresh slab family Prana Pro (2011, URW), a typeface developed during his studies with Prof. Gertrud Nolte at the faculty of design of the Hochschule Würzburg, and under the artistic direction of Volker Schnebel, URW's type director. [Google] [More]  ⦿

Christopher Paul

German creator in Trier of a typographic robot called Arnold (2012). Behance link. [Google] [More]  ⦿

Christopher Sower

Author of "Ein Geistliches Magazien, oder: Aus den Schätzen der Schrifftgelehrten zum Himmelreich gelehrt, dargereichtes Altes und Neues" (1770-1772), Germantown. I cite a blurb from an exhibit at Columbia University: "Christopher Sower (1721-1784) was one of the most prosperous printers and businessmen in the North American colonies. Around 1740 he imported type from the Egenolff-Luther foundry in Frankfurt and used it to print many books, including the 1743 German Bible, the first to be printed in any European language in America. By 1770 he had imported matrices as well, and by 1772 his son Christopher Sower II began what may be considered the first successful American typefoundry, although he still used European equipment. The legend at the bottom of page 136 of this religious periodical, published in late 1771 or early 1772, reads "Printed with the first types that have been cast in America." When the younger Sower died in 1778, his estate contained not only letter molds but also a large quantity of antimony, the critical ingredient of type metal, which at that time had to be imported to America." [Google] [More]  ⦿

Christopher Stahl

German type designer in Hamburg. He works as a graphic designer for the German advertising agency Scholz&Friends. In 2010, he made the square sans family Pragmatik. MyFonts link. Behance link. [Google] [MyFonts] [More]  ⦿

CJK Unifonts
[Arne Götje]

Arne Götje, a German who lives in Taiwan, works on a project to provide CJK unicode fonts. His work is based on the Arphic fonts AR PL ShanHeiSun Uni and AR PL ZenKai Uni. He added the Chinese dialect phonetic symbols. Furthermore, he merged the embedded Firefly Sung bitmap font into CJKUnifonts. In 2005, the work of the Hong Kong freefonts project (OAKA group) was also merged into CJK Unifonts. Additional URL.

Free high quality Chinese truetype Unicode fonts under the Arphic license (Arphic is based in Taiwan). They contain almost 22000 characters (!!!) and contain glyphs for Big 5 Chinese, GB2312-80 Chinese, ISO8859-1,2,3,4,7,9,10,13,14,15 and Bopomofo extended for Minnan and Hakka (Taiwan). The missing glyphs for Japanese, Korean and HKSCS are under development. The fonts are Uming (Mingti, or printed) and Ukai (Kaiti, or brush stroke). They are gorgeous and reproduce well at small screen sizes. Subprojects include modules for typing the Taiwanese styles Minnan and Hakka. Colloborators: Aaron Cheung, Akar Chen, Alex Ho, Chow Lok Yuen, CP Tung, Eric(EC-graphic), Eric Chan Chi Shing, Firefly, Ga Ming, Jack Tse, John Ma, Kevin Tse, K.M. Lau, Kong, Kwok Wun Yung, Lam Wai Tung, Munkwui Ho, Qianqian Fang, Simon Wong, Shiu Kau Wong, Willy Yuen. [Google] [More]  ⦿

Claudia B. Kirsamer

German calligrapher who made a stunning cover in 2003 for the blackletter magazine Die deutsche Sprache. Short bio. [Google] [More]  ⦿

Claudia Kappenberger

German designer of the outlined poster face Lokomo (2008, Avoid Red Arrows). [Google] [More]  ⦿

Claudia Kipp

Berlin-based German type designer (b. 1965) who graduated from Fachhochschule Bielefeld in 1992, where she studied under Gerd Fleischmann. She designed great sans serif family appropriately called Kipp at FontFont. Claudia published the following faces at URW++: Aculida (2004), Marin (2006, a severe stencil family), Expansion (2004), Kipp Clean (2004), Les Tres (2005, URW, a geometric sans family). Archive with over 23,000 links to commercial fonts. In 2008, she made and extensive sans family, FontForum Martines (URW++), and a big display family, FontForum Profil. Her FontForum Quadre (2008, URW++) is totally experimental again. And FontForum Siesta is a display sans family with a bit of Neuland playfulness.

FontShop link. Klingspor link. View Claudia Kipp's typefaces. [Google] [MyFonts] [More]  ⦿

Claudia Löffler

German designer of Commeo (2009, Avoid Red Arrows), a multiline face. [Google] [More]  ⦿

Claudio Giovanniello

Alsbach, Germany-based web designer, b. 1989. At Devian Tart, he published Pixelize (2008, pixel face). Kernest link. [Google] [More]  ⦿

Clemens and Buschmann

German designers of the blackletter face Neuzeit Fraktur (1909, H. Hoffmeister). [Google] [More]  ⦿

Clemens Rothbauer

German designer of the experimental (modular) face Sega (2009, 26plus-zeichen). [Google] [More]  ⦿

Closefonts
[Simon Schmidt]

Closefonts is a foundry that was set up in 1997 by Simon Schmidt (b. 1968, Hamburg). He studied graphic design and typography at Parsons School of Design, New York and at Kunstschule Alsterdamm in Hamburg, Germany. After three years as an art director in advertising, he became aa self-employed graphic and type designer specializing in corporate design. His typefaces can be found at Fontomas and Closefonts.

They include Monolith, Delay (2001, has kitchen tile weights), Beta, Hybrid, Ogra, Ograbic (Couscous, Falafel, Kebab: Arabic simulation faces), Hybrid, Schlager (50s diner font), Ness, Lorem Ipsum, Maxpo, Call (free), Gridder (1999, free), Dotter (free), CloseRaceDrive (2000), CloseRacePark (2000), CloseCall, CloseGridder.

Some of Simon Schmidt's fonts can be bought at Fountain: Delay, Hybrid, Monolith, Ness, Schlager. He designed the pair Park and Drive in his Race series at fontomas.com in 2000. He created Hookline in 2001 at Fontomas. His 2007 fashionably elegant Vogue-style sans face Mondän is stunning.

FontShop link. Abstract Fonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

cmbright: Computer Modern Bright
[Walter Schmidt]

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. The whole package is by Walter Schmidt. A commercial-quality type 1 version of these fonts is available from Micropress. Free versions are available, in the cm-super font bundle (the T1 and TS1 encoded part of the set), and in hfbright (the OT1 encoded part, and the maths fonts). Development spanned 1996-2004. [Google] [More]  ⦿

Codeluxe
[Hugo Goeldner]

Hugo Goeldner's German outfit which has a free slab serif pixel font to its credit: Delight (2006). In 2011, he created the monospaced type family for tables and programs called CDLX Mono (YWFT). [Google] [More]  ⦿

Codin Repsch

Creator (b. 1975) in Dresden, Germany, of Splatter (2011, ink splatter dings), Kristall (2011), Sketchcore (2011, dingbats of cartoon characters), UpstairsCVJMgraff (2010, comic book style), stencilddtown (2010, scanbats) and 3dfatsche (2010, 3d face, caps only). Home page. [Google] [More]  ⦿

Combit

Site run by five guys from the Zürcher Hochschule der Künste. They designed CombitBox, a modular font of basic blackletter pieces. These pieces fit together to make nice blackletter fonts. Included are André Apel (Zürich), Jan Schöttler (München), Kim Hensler (Villingen), Thomas Wimmer, and Tom Prochnow (Dresden). [Google] [More]  ⦿

Comedia: Revue suisse de l'imprimerie

Comedia is a Swiss type magazine established in 2002. It has many interesting articles on typography and type design (in French and German). [Google] [More]  ⦿

Conrad Berner

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] [More]  ⦿

Constantin Groß

Constantin Groß (aka Connum) (b. Karlsruhe, Germany, 1987), who lives in Karlsruhe, designed the handwriting faces TSS Scrubs Logo (2006) and TSS Scrubs (2006). Alternate URL. [Google] [More]  ⦿

Cornelia Aust

Student at the University of Wuppertal who made the experimental typefaces Split One and Split Two (2004). [Google] [More]  ⦿

Cosmo F. Fairyhopper

German creator (b. 1989) of the handprinted font Fairy Cosmo (2009). [Google] [More]  ⦿

Cotta'sche Schriftgießerei

Stuttgart-based foundry. [Google] [More]  ⦿

Critzler
[Thomas Bierschenk]

Young Berlin-based type designer who made the Chemo family, Bionic Dynamic, Localizer, Localizer Clones and FF Magda Clean (1997, together with Henning Krause), a monospaced typewriter font related to Cornel Windlin's Magda, all at FontFont. His company is called Critzler Font Investigation. He created the fun Linotype faces Linotype Down Town, Linotype Go Tekk and Linotype Mindline in 1997. Before 1990, he was an East-German sign painter. He recently founded Pfadfinderei, an "all-round" agency for visual communication, where he designed the futuristic techno display type family FF TradeMarker (2007), Flomaster (1998, graffiti, done with Jayone), Vinataba Solid (2002), Nicola Zucka (2002, connected cursive script), Franz Jäger (2000, ultra fat, mini-slabbed), and Neo (2002, geometric as in the logo of the Neo car). [Google] [MyFonts] [More]  ⦿

CybaPeeCreations (or: Typoasis)
[Petra Heidorn]

CybaPee is the nom de plume of Petra Heidorn who lives in Hamburg. She has created may typefaces (listed below) and has cooperated with many on interesting projects. She is undoubtedly best known for her successful web site Typoasis, where one can download her own creations, and those of her many friends. Petra is also heavily involved in several attempts to revive blackletter fonts, in cooperation with Manfred Klein, Dieter Steffmann, Paul Lloyd and others. She organized several revivals of the typefaces of Rudolf Koch and Ernst Schneidler. She also managed the extensive web presence of Manfred Klein.

Fontspace link. Dafont link.

Her own creations:

• Pre 2000 typefaces: the display fonts Scoglietto, ResPublica, SailingJunco, RoteFlora (1999), Pegypta, Pegyptienne (wonderful hieroglyph-inspired typewriter font), Slimliner Micro, Lupinus, CalliBrush, Rammstein, Greex (Latin font with Greek characters), Camouflage, Extemplary (another beauty), Azimech, Charon, SoftAutumn, Hasenchartbreaker, Oetztype (named after the Tyrolian Iceman, Oetzi), Funtastique (1999, for the Fontsanon members) and Oktoberfest. Plus the scanware fonts Diamond Dreams, Royal Gothic Initials, and Deco Caps. Finally, check also her dingbats LightBats and ToolTime, and her Russianized letters in KrasniFellows. And then there are HelvAssim, BirthdayGreetz, CursedKuerbis, Epitough, InkyDinky, Napapiiri, Lupinus, Pachyderm, PostmoderneFraktur, Sagittarius, Stoertebeker, TaraType (named after Sabine Taranowski, it has zodiac symbols), ChaosTheorie, WelcomeY2K, Zodiac. Other fonts include SadLisa, a parody of Lisa Jenkins's Kitchen Tiles, Lurzing Initials (1997, based on a 1908 face by Karl Lürzing; it depicts naked figures).
• 2001 faces: Mothproof Script, MonkeyHouseParty, XmasTerpiece (a Fraktur font based on Rhapsodie by Ilse Schuele), XmasTerpieceSwashes.
• 2002 faces: MuseAsis, ArabDancesMediumItalic (Arabic simulation font), Vogeler Caps.
• 2003 faces: Bayreuth-Black (a nice scan-version of Bayreuth Fraktur by Ernst Schneidler for C.E. Weber in 1932).
• 2004 faces: Manuskript Gotisch (a revival of a 1514 face by Wolfgang Hopyl, which was a house face at the Bauersche Giesserei in 1899), Urdeutsch (1924-1925, Genzsch&Heyse, digitally revival by her here), Weiß Fraktur (with Manfred Klein, after a 1909 original by Emil Rudolf Weiß, which was at the Bauersche Giesserei since 1913), Hohenzollern (1902, Bauersche Giesserei, revived in 2004) and Neue Fraktur and Neue Fraktur ExtraBold, both revivals of faces by Johannes Wagner Schriftgiesserei in 1927. She created HamletOrNot (with Manfred Klein, after the face Hamlet by Edward Johnston for the Cranach Press), Bibelschrift (with Manfred Klein, a Fraktur named after the Bremer Presse, est. 1911, bombed by the Americans in 1944), SchneidlerInitialen and Schneidler Schwabacher (also a blackletter, based on Ernst Schneidler), TipTop (originally released ca. 1900 by Julius Klinkhardt, Leipzig), Bauernschrift (1911, Bauersche Giesserei), Bayreuth, Burte-Fraktur, Kleukens Fraktur, Leibniz-Fraktur, Neue Fraktur, Neudeutsch (after the 1900 original by Otto Hupp for Genzsch&Heyse), Deutscher Schmuck (with Manfred Klein, a revival and extension of the Schmuck für Deutsche Druckschrift by Eduard Ege, Genzsch and Heyse, 1922), SerpentisBlack (a digitization of type by E.W. Tieffenbach for Officina Serpentis, 1913), SchmalfetteGotisch (with Manfred Klein, based on a type of Ernst Schneidler), DeutscheDruckschrift (a revival of Heinz König's 1888 face for Genzsch&Heyse), Weiss-Gotisch (a revival of E.R. Weiss's face by that name, published in 1936 at the Bauersche Giesserei).
• 2005 faces: Heimat (2005, after Wilhelm Weimar's Heimat from 1917, Genzsch&Heyse), Jaecker Schrift (revival of the 1912 blackletter face by Wilhelm Jaecker for D. Stempel), Gotika (2005, after Imre Reiner's 1933 blackletter face for Bauer; no downloads), Holland-Gotisch (with Manfred Klein, a revival of Nederduits by Johann Michael Fleischmann, ca. 1750), Symphonie (a digitization of Imre Reiner's Symphonie from 1938 (renamed Stradivarius in 1945)), Hartwig Schrift (after Hartwig Poppelbaum's Hartwig Schrift from 1927-1928), Moderne Schwabacher (after a ca. 1900 face by the Otto Weisert foundry called Moderne Halbfette Schwabacher), Hans Sachs Gotisch (based on a face by that name of Albert Auspurg, 1911, Genzsch&Heyse), Brahms-Gotisch (with Manfred Klein, a revival of a 1937 Genzsch&Heyse face by that name created by Heinz Beck), Verzierte Schwabacher (with James Arboghast, based on a blackletter font by that name from the Carl Kloberg foundry in 1891), Schwabach Deko (the same as the previous font, only as close to the original as possible). Nordland (originally by Heinz Beck, Trennert&Sohn, 1935) was revied by Petra.

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: AltSchwabacher, Europe, Eurostile, Forma, Garamond, Künstlerschreibschrift (1902), Univers, and the typewriter types Deberny, Haas and Olive.

Dan-André Niemeyer

German designer of Vision Regular (1997, Linotype), a font that takes inspiration from paperclips. FontShop link. [Google] [MyFonts] [More]  ⦿

Daniel Amann

German designer at Fontkitchen Type Foundry of Cosicon (2003, dingbats) and Obivan (2004). [Google] [More]  ⦿

Daniel Amor

Stuttgart-based Danny Amor was active in the 1990s. His fonts include Jesse James (2000, Western), Future World (1999, LED simulation), New Kids (3D face), CascadeScript, the monospaced pixel face Topaz-8 (1994), and Sarah Bernhardt (1999). Fontspace link. He used the company name Brainstorm at some point. [Google] [More]  ⦿

Daniel Angermann

German graphic designer who has his own studio. He created the (free) experimental font family Drebiek (2008) around the theme of the triangle, the morbidly obese Diet-Fat (2008), Cartoons Abstract (2009), the monoline Cinga (2009), the experimental Boss M (2009), the art deco stencil face Trage Keinen Namen (2008) and the simple handwriting face Berger&Berger Caps (2009). One can also download a font tool called Typometer. At Dafont, he calls himself Dundeee. Fontsy link. [Google] [More]  ⦿

Daniel Fischer

German creator of the free handprinted faces Brush Strokes (2010), Sloppy Fingerwriting (2010), Picture Book Smooth (2010), and Picture Book Serif (2010). [Google] [More]  ⦿

Daniel Fritz

Born in Stuttgart (1971), Daniel Fritz designed FF Ticket in 2000. FontShop link. [Google] [More]  ⦿

Daniel Gall

German illustrator and graphic designer (b. 1978, Ingolstadt, Germay), located in Amsterdam where he does business as San2Design. Behance link. He admits influences of Swiss design and Massimo Vignelli, and, not surprisingly, created a sans face called San2 (2010) which reflects these minimalist influences. [Google] [More]  ⦿

Daniel Graf

Designer of Empire (2009, blackletter). He is based in Berlin. [Google] [More]  ⦿

Daniel Günther

Designer from Rothenbuch, Germany, who created the sans face Ela Sans (2004). [Google] [More]  ⦿

Daniel Henry Bastian

Designer of the handprinted families Frau Becker (2011) and Linda (2011), together with Volker Schnebel at Profonts. [Google] [MyFonts] [More]  ⦿

Daniel Hopfer

German artist (1470-1536) who created Alphabet of Capital Roman letters with metaphorical ornaments, an excessively ornamented alphabet. See here. Staffan Vilcans based his Hopfer Hornbook (2005) on some of the letters by Daniel Hopfer. Example: German Capitals (1549). [Google] [More]  ⦿

Daniel Kluwe

Berlin-based graphic designer. Creator of the monoline architectural typeface Positive Sans (2012). [Google] [More]  ⦿

Daniel Lanzrath

Graphic designer and art director in Daasdorf, Germany, b. 1983. In 2009, he created the geometric experimental face Bauklötze. [Google] [More]  ⦿

Daniel Perraudin

Daniel Perraudin (b. 1982) has worked with Uebele in Stuttgart, as a freelancer in Berlin, and since 2008 at the KMS team in München. Before that, he studied Information Design in Stuttgart, Germany, and Graz, Austria, where he graduated with distinction in 2007. He lives in Munich, Germany, and works as a designer in the areas of corporate design and typography. His first release, the extensive Parka family of sans faces, started as part of his graduation project and benefited from the support of type designers Günter Gerhard Lange and Georg Salden. The Parka family was extended to 12 styles in 2008 and 2009, and was published by Font Bureau in 2010. [Google] [MyFonts] [More]  ⦿

Daniel Ramirez Perez

Illustrator and art director in Berlin. Behance link.

Creator of some beautiful typographic posters, such as the ones that announce some plays at the Volksbühne Berlin (2011). [Google] [More]  ⦿

Daniel Reuber

Daniel Reuber (Cologne, Germany) used Impact to design the ornamental caps font Goldsun (2012). [Google] [More]  ⦿

Daniel Sauthoff

Author with Gilmar Wendt and Hans Peter Willberg of Schriften erkennen: eine Typologie der Satzschriften für Studenten, Grafiker, Setzer, Kunsterzieher und alle PC-User (1997, Verlag Hermann Schmidt, Mainz). [Google] [More]  ⦿

Daniel Schludi

Talented German designer in Karlsruhe whose Masters thesis led him to develop the grotesk family Medusa (2009). He also made Matricula (another grotesque), Sophonpho and Pilot Letters, all in 2009. Pilot Letters was exclusively created for a book about the painter Helmut Schuster. Rond (2009) is a dotted face. Behance link. [Google] [More]  ⦿

Daniel Utz

Daniel Utz lives in Stuttgart, Germany. Involved in corporate (graphic and type) and interactive design, he also teaches digital typography at the Hochschule für Gestaltung in Schwäbisch Gmünd. Designer of FF Netto (2008), a simple rounded sans family created for minimalist designs, signage, and pictograms. Typedia link. [Google] [More]  ⦿

Danton Sihombing

Type designer who created Linotype Face Value, an original dingbat font with faces showing up on dice. [Google] [More]  ⦿

Dare Art

This outfit in Offenbach, Germany, used to sell a package of twelve commercial fonts. [Google] [More]  ⦿

Daryl Roske

Daryl Roske is a British and German national studying and working in Montreux, Switzerland and Hamburg, Germany. He studied visual arts at the College Voltaire in Geneva, graduating in 1991. He has carried out identity designs for Buitoni, The Art Center (Europe), the IDRH, and the Federal Office of Civil Aviation. Fobia is his first typeface (Font Bureau). A fun and exciting font, it is also in Robin Williams' book "A Blip in the Continuum" (Peachpit Press). Bauklotz (2010) are letters made from building blocks. Behance link. shr communication GmbH is his art direction and graphic design business in Hamburg. [Google] [MyFonts] [More]  ⦿

Data Becker

Software corporation based in Düsseldorf and Needham Heights, MA. From the web page: "DATA BECKER CORPORATION (www.databecker.com) is a privately held publisher of high-quality, value-priced computer software and books for the North American retail market. DATA BECKER CORPORATION, founded in 1999, joins its associate company, DATA BECKER GmbH&Co. KG (Düsseldorf, Germany), one of the leading publishers of computer software, books, and magazines throughout Europe. Together they form a worldwide publishing powerhouse with operations in every major consumer software market." "Your Handwriting/Mi Letra/Meine Handschrift" is a 20 USD utility that lets you transform your scanned handwriting (you need a scanner though) into a handwriting font (truetype). For PCs. It can also be used to create fonts. Alternate URL (CD ROM Meine Handschrift). Alternate URL. See also here, here and here. Data Becker also sells a cheap CD with 2500 truetype fonts called Goldene Serie Schriftenpaket. [Google] [More]  ⦿

Dave Tiedemann

German creative director located in Hamburg. He designed the fat counterless face Assumption (2010). Behance link. He also made some typographically (and textually) strong advertising posters. [Google] [More]  ⦿

David Borchers

Offenbach-based German designer (b. 1979, Frankfurt). Co-founder of Magazin 212 in 2001. At typeoff.de, he created the symbol font Teppic (2003). [Google] [More]  ⦿

David Conrad

Student at the University of Wuppertal who made the experimental typeface Schleife (2004). [Google] [More]  ⦿

David Huckert

Graphic designer in Berlin. Dafont link.

Creator of the free font Outasight (2012, spurred). [Google] [More]  ⦿

David Ippendorf

Illustrator David Ippendorf (Wuppertal, Germany) created the display face Polygram (2012).

Behance link. [Google] [More]  ⦿

David Leon Senger

German creator in Berlin (b. 1976) of I Robot (2008, FontStruct), and Wecker (2009, LED/octagonal). Blog. [Google] [More]  ⦿

David Stempel

German founder of the D. Stempel AG (Frankfurt, 1895). Born in 1869, died in 1927. [Google] [MyFonts] [More]  ⦿

David Thometz Design
[David Thometz]

David Thometz (b. Everett, WA, 1966) is a designer in South Jordan, UT (near Salt Lake City) who has produced some fonts for his own projects. He is about to move to East Tennessee. The font Architrave (2001) is discussed by a type forum. Designer of a character in the September 11 charity font done for FontAid II. Working on DTD Silvertone Woodtype, DTD Architrave Sans, DTD Tinhorn, DTD Venceremos Latin, DTD Hefeweizen (blackletter), DTD Architrave, DTD Digita (a great screen font), DTD Seriatim, Seriatim Gestalt, Seriatim Uncial (2003), Seriatim Sans"> (2003), DTD Silvertone Woodtype, DTW Erwin (2004, a Venetian newspaper face for the Erwin Record, a small, weekly newspaper in the town of Erwin in northeastern Tennessee, based on a cross of Plantin and Cloister), and Erwin Gothic (2007), its companion. About Erwin Gothic, he says: The design of Erwin Gothic is based on a series of German grotesque families from the early 1900s, designed originally by Johannes Wagner and distributed originally by Wagner&Schmidt as Wotan (ca. 1914?), Lessing, Reichsgrotesk and Edel Grotesque; and subsequently reworked and re-released by several foundries under these names as well as names such as Annonce Grotesque (ca. 1912?), Aurora Grotesk (ca. 1928), Neue Aurora Grotesk (1964) and Aura. Anzeigen Grotesk (ca. 1943) appears to be another offspring of these designs. In 2004, David Thometz Design made its debut at MyFonts with Seriatim (dingbats), Silvertone Woodtype and Hefeweizen. Klingspor link. [Google] [MyFonts] [More]  ⦿

David Willem Borgdorff

German researcher at Ruhr University Bochum. Creator of the font Minoan Linear A (2004), which has the glyphs for the still undeciphered Minoan language. [Google] [More]  ⦿

Deckersche Schriftgießerei

Berlin-based foundry of Rudolf Ludwig Decker. [Google] [More]  ⦿

Decode Unicode

A project of Johannes Bergerhausen at the University of Applied Sciences in Mainz, Germany. In 2005, the database of glyphs was opened for submission of material via the internet. They hope to make a gigantic database of all the world's characters. [Google] [More]  ⦿

Deformat

Nice German type link site. [Google] [More]  ⦿

Dekor Labor A. Kofron

German designer, b. 1984. Home page. In 2010, he created Dancing DL. [Google] [More]  ⦿

Delbanco-Frakturschriften
[Gerda Delbanco]

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 face 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 face 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 face 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] [More]  ⦿

Denise B.

German designer of the free handwiting face Denise Handwriting (2010). Dafont link. [Google] [More]  ⦿

Denise Steitz

Student at the University of Wuppertal who made the experimental typeface Cutout (2004). [Google] [More]  ⦿

Dennis Cuenbuescue

German typographer and illustrator from Bremerhaven. He created the free gridded font Boxy and the futuristic family Primus in 2010. The corporate / futuristic face Landa was also made in 2010. Quincy (2010) is a commercial display face. [Google] [More]  ⦿

Dennis Dünnwald

German type designer, b. 1986, Krefeld. He studied graphic design at the University of Applied Sciences Krefeld. In 2010, he created the blackletter face Flik (Volcano). Klingspor link. [Google] [MyFonts] [More]  ⦿

Dennis Wolf

German creator of the handprinted face Dennis (2010). [Google] [More]  ⦿

Denver Design Lab

Illustrator and designer in Denver, CO, who was born in Bavaria. He created the shiny 3d face Glitch Pro (2011). Behance link. [Google] [More]  ⦿

Der Graph
[Thomas Helbig]

Thomas Helbig (Der Graph) is a prolific experimental font designer, so much so that I created a separate web page for him. [Google] [More]  ⦿

Der rechtliche Schutz von Fonts

This is the title of the German language article by legal experts Till Jaeger and Olaf Koglin which appeared in Die TeXnische Komödie 2/02, pages 35-46, 2002. It describes font protection in Germany and Europe. A summary:

• Fonts can be protected as design (Geschmacksmuster).
• If fonts are of artistic value and originality, they can be protected by copyright (Urheberrecht).
• Font programs generated with Fontographer, Fontlab etc. are not protected by copyright. They say that this [generation by Fontographer, e.g.] is not enough for the European copyright, which only protects computer programs which are written by computer programmers, not computer programs generated automatically by computer programs such as Fontlab. The authors state that in the case of Fontlab it is not the "Urheber" [copyright seeker], but the "program Fontlab" that "creates" the font program. The user of Fontlab does not even see the source code or the object code of the generated font program, let alone writes the source code or object code. But in Europe, for a computer program to be protected by European copyright laws the computer program must be written either as source code or directly as object code by the computer programmer as a person, not by a machine (see also German copyright act, § 69a Abs. 3 UrhG.) The legal experts state that it is the exception that font programs are written by computer programmers and hence that it is the exception that font programs are protected by European copyright acts. [Text above by Ulrich Stiehl, slightly edited.] When questioned whether hinting code in fonts make the font files into software, Tobias Hilbricht states: Font files (*.pfb, *.ttf etc.) are only protected as software, if the hinting has been done by original creative programming. Autohinting and little design changes using programs such as, e.g., Fontforge is not sufficient to make the resulting font a protectible software program. Mere inclusion of fonts either rasterized or in form of vectors makes the resulting documents not a program itself. Therefore this document is free of any software licensing issues if printed or distributed electronically.

Design Made in Germany

German design news. Has a small number of typogaphic items. [Google] [More]  ⦿

Design Tourist
[Henning Brehm]

Calling himself a design tourist, German designer Henning Brehm makes fonts for films. His company in Berlin is also called Design Tourist. Agitka (2010, 8 styles) contains Latin and Cyrillic characters, in a constructivist theme, and has a Neon sub-style that was used in the film Bourne Ultimatum. This family can be bought at Gestalten. In 2010, he published Kraut, a round outline face, and Koffer (a screen font family).

Pandorum (2012, a spaceship typeface, by Henning Brehm and Alejandro Lecuna) was especially designed for film sets in the science fiction movie Pandorum starring Ben Foster, Antje Traue and Denis Quaid.

Klingspor link. [Google] [MyFonts] [More]  ⦿

desig-n.de

Type glossary (in German). [Google] [More]  ⦿

Designer in Action

Free font download site with a nice preselection, but lots of clicking. [Google] [More]  ⦿

Designer in Action

Type news in German. [Google] [More]  ⦿

Designer Shock
[Stefan Gandl]

Commercial pages with about 80 (mainly pixel, techno and screen) fonts. Designer Shock is located in Berlin. Some of the fonts: DSBees (2003), DSBeeswax (2004), DSBembi (2002, paperclip type), DSBembijaga (2001), DS 1D (2000), DS 2D (2000), DS 3D (2000), DSClone, DSClone3D, DSCutout, DSHomeBack (2001), DSHomeFront, DSHomeSide, DSHomeTop, DSImitate, DS IBM series (2004), DSMrGreenies, DSGutschrift series (2003), DS Lane (2001: triline type), DSMufdi, DSMufdi3DL, DSMufdi3DR, DSNSW45, DSNSW55, DSNSW65, DSNSW75, DSNSW85, DSNSW95, DSP9RMX (2001), DSP9RMX3D, DSSQR35, DSSQR45, DSSQR553DL, DSSQR553DR, DSSQR55, DSSQR65, DSSQR75, DSSQR85, DSTicket35, DSTicket45, DSTicket55, DSTicket65, DSTicket75, DSTicket85, DSTicket95, DSVDOTXT1, DSVDOTXT2, DSVDOTXTError, DSYogasaanAdvanced, DSYogasaanBeginners, DS1D, DS2D, DS3D. Alternate URL. The main designer is Stefan Gandl. Others include Markus Angermeier, Birte Ludwig and Robert Meek. [Google] [More]  ⦿

Designlinks.de

Typography links for Germans. [Google] [More]  ⦿

Designlinks.de

Recent type books in German. [Google] [More]  ⦿

Detlef Reimers

From Hamburg, Reimers designed the electronic circuit dingbat font Circuits in 1992. [Google] [More]  ⦿

Deutsche Rechtschreibung

German writing rules, by Roman Schneider and Dr. Klaus Heller. [Google] [More]  ⦿

Deutsche Schreibschrift in Österreich

The German handwriting model for schools (Deutsche Schreibschrift) was also adopted in Austria as these examples from 1953 (due to Professor Alois Legruen) and 1971 show. [Google] [More]  ⦿

Deutsches Institut für Normung e.V. (DIN)

German institute based in Berlin. Owners of Fette Engschrift D (URW++). [Google] [More]  ⦿

Dezyner Records (was: Dezyne.de)
[Sebastian Bentler]

Sebastian Bentler at Dezyner Records is the German designer (b. 1981) of mostly techno/futuristic fonts. Partial list: Neue Saat (2002, futuristic), Mayagen-r (2001), Tesh (2001), Smart AI Expansion (2001, pixel font), Cyborg 45 (2001), Quadspeed (2001, pixel font), FutureFlash (2001). Alternate URL. Alternate URL. [Google] [More]  ⦿

Diana R. Sassé

German cartoonist and animated gif artist (b. 1965) who lives in Lorraine. She designed Horsedings (1999). See also here. Her fonts used to be here and here: Zyzox (1999, more dingbats of animals), Rotty Pen (handwriting), Adolar's Fart, and Corrupt Cop (handwriting). Fontspace link. [Google] [More]  ⦿

Die Aerzte Fan

Sebastian Pertsch's German language site. Free fonts: AdventureNormal, Cherry, FolioBT-ExtraBold. [Google] [More]  ⦿

Die (deutschen) Mikrotypographie-Regeln

German typographical rules explained by Marion Neubauer. Continued here. [Google] [More]  ⦿

Die Entwicklung unserer Schrift
[Peter Doerling]

Peter Doerling's visual overview of the styles of writing in Germany, for books, official documents (Urkunden) and in letters. For books, he takes us here:

• 200-300: Roman capitals.
• 300-500: Quadrata.
• 500 on: Uncial.
• 900 on: Karolingian minuscules.
• 1200 on: Gothic minuscules.
• Textura.
• 1400 on: Rotunda.
• 1500 on: Schwabacher.
• 1600 on: Fraktur.
• 1500 on: Humanistic style.
• 1570 on: Antiqua.
• 1900 on: Grotesk, Egyptian. [Note that he omits the modern style.]
• 1960 on: Helvetica. (???)

• 200-300: Roman capitals.
• 400-600: Rustica.
• 500 on: Half Uncial.
• 900 on: Karolingian minuscules.
• 1500 on: Notula.
• 1600 on: Canzlei (Cantzley, Kanzlei).
• 1600 on: Humanistic Canzlei
• 1875: Ronde, Rondo, Rundschrift.
• 1915: Jugendstil.
• 1930: Tannenberg.

• 200-300: Roman capitals.
• 400 on: Young Roamn cursive.
• 900 on: Karolingian minuscules.
• 1300 on: Cursive.
• 1600 on: Cancellaresca [refined formal script].
• 1600 on: Kurrente.
• 1600 on: Humanistic cursive.
• 1800 on: deutsche Schreibschrift.
• 1800 on: Lateinische (Latin) Schreibschrift.
• 1930: Tannenberg.

Die Freischwimmer

Type designer who took part in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei

Book in German published by enschedé en zonen in Haarlem in 1919. Now available on the web, it deals with blackletter type. [Google] [More]  ⦿

Die Schwabacher Schrift

A German blackletter page on Schwabacher. The free Schwabacher truetype font Deco-A761 (1999) can be found here too. The page is run by SPD Bürgerbüro. The text on the page is quoted from Dr. Heinrich ten Wolde's article "Die Schwabacher Schrift" which appeared in "Die deutsche Schrift", Nr. 4, March 1952. Modern (19th and 20th century) versions of the Schwabacher style of Fraktur font:

• Alte Schwabacher (1835, Genzsch&Heyse).
• Neue Schwabacher (1876, Genzsch&Heyse).
• Offenbacher Schwabacher (1900, Kurt Wanschura, Gebr. Klingspor).
• Ehmcke Schwabacher (1914, Fritz Helmut Ehmcke, D. Stempel).
• Schneidler Schwabacher (1918, Friedrich Hermann Ernst Schneidler, J.G. Shelter&Giesecke).

Dieter Kurz

German designer of the handwriting fonts Linotype Sketch (1997) and Linotype Matthias (1994), a winner font of Linotype's 1st Type Design Contest. [Google] [MyFonts] [More]  ⦿

Dieter Steffmann's Homepage
[Dieter Steffmann]

FontShop was the name of Dieter Steffmann's foundry in Kreuztal, Germany (not to be confused with the FontShop foundry and font vendor). He made about 600 self-proclaimed "old-fashioned" fonts, and among these many Fraktur fonts. His site became too expensive to run, and is now hosted by Typoasis. Alternate URL. Current list of fonts. See also here. New stuff. Fontspace link. A nice essay about Fraktur fonts accompanies the fonts. News. As Dieter puts it: I am not a designer but I add missing letters to public domain fonts in order to get a complete character set and I hint the fonts and create new weigths (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:

• Acorn Initialen, Adine Kirnberg, Albert Text, Alpine, Alte Caps, Alte Schwabacher, Ambrosia, American Text, Aneirin, Angel, Anglican Text, Angular, Ann-Stone, Antique No. 14, Arabella, ArabesqueInitialen (2002), Argos George, Aristokrat Zierbuchstaben (2002), Ariston Script, Art Nouveau Initialen, Attic Antique, Augusta.
• Baldur, Ballade Halbfett (2002, a font originally designed by Paul Renner in 1937), Barock Initialen (2002), Becker, Beckett-Kanzlei, Behrens-Schrift (2002), Belshaw, Belwe (Gotisch, Vignetten), Benjamin Franklin Antique, Berlin Squiggle Condensed, Bernhard Schmalfett, Bier und Wein Vignetten (2002, also based on drawings from the Bauersche Giesserei), Billboard, Bizzaro, Black Forest Text, Blackletter ExtraBold, Blackwood Castle, Breitkopf Fraktur, Bretagne Gaelic, Brian James Bold, Bridgnorth, Broadcast Titling, Broadway Poster, Brock Script.
• Cabaret, Campanile, Camp Fire, Canterbury Old English (blackletter), Cardiff, Cardinal Anglican, Carmen, Carrick Caps, Caslon Antique, Caslon Fette Gotisch, Cavalier, Celtic Frames, Celtic Hand, Challenge, Chelsea, Chopin Script (2000, identical to Polonaise), Christbaumkugeln, Chursächsische Fraktur, Cimbrian, Circus Ornate Caps (2001, Western), Cloister Blackletter, Coaster Black, Coelnische Current Fraktur, Colchester Black, College, Courtrai, Coventry Garden, Cruickshank.
• Davy's Dingbats, Debussy, Decorated Roman Initials (2003), Deutsch Gotisch, Deutsche Zierschrift, Devinne Swash, Digits, Direction, Dobkin Script, Domino, Dover, Driftwood Caps, Due Date, Duerer Gotisch, Duo Dunkel (+Licht), Durwent.
• Easter Bunny, Easter Egg, Eckmann-Schrift, Egyptienne Zierversalien (2002), Ehmcke-FrakturInitialen, Ehmcke-Schwabacher Initialen (2002), Eichenlaub Initialen, Eileen Caps, Eisenbahn (2002, based on train vignettes at Bauersche Giesserei), Elzevier Caps, Enge Holzschrift, English Towne, Epoque, Erbar Initialen, Estelle, Evil of Frankenstein, Express.
• Faktos, Fabliaux, Fancy Card Textura, Fat Freddie, Faustus, Fenwick Woodtype, Fette Deutsche Schrift (2002, a revival of a Rudolf Koch font from 1908), Fette Egyptienne, Fette Haenel Fraktur, Fette Trump (2002, original by Prof. Georg Trump, 1936), FetteKanzlei (2002), FetteSteinschrift (2002), Fette Thannhäuser (2001), Firecat, Flaemische Kanzleischrift, Flowers Initials, Forelle, Fraenkisch (2002), Fraktur Schmuck, Fraktur Shadowed, Frederick Text, Futura Script.
• Gabrielle, Gebetbuch Fraktur, Gebetbuch Initialen, Germania (2001, a revival of the 1903 blackletter face by heinz König called Germania as well), Germania-Versalien, Ganz Grobe Gotisch, Gille Fils Zierinitialen (2002), GingerbreadInitials, Globus, Gloucester Initialen, Gorilla BlackGotenburg A+B (2002), Gothenburg Fraktur, Gotische Initialen, Gotisch Schmuck (2002, Fraktur), Goudy Initialen, Goudy Medieval, Goudy Twenty, Goudy Thirty, Grange, GrenzschInitials, Grusskarten-Gotisch, Gutenberg Textura.
• Haenel Fraktur Fett, Hansa, Hansa Gotisch, Hansen, Happy Easter, Harrowgate, Hazard Signs, Headline Text, Hercules, Herkules, Hermann-Gotisch/a> (2002; after an original by Herbert Thannhaeuser, 1934), Herold (2002), Hippy Stamp, Hoedown, Holla, Holidayfont, Holtzschue, Honey Script (2006), Horror Dingbats, Houtsneeletter, Humboldt Fraktur (2002-2005; after a font by Hiero Rhode, 1938).
• Iglesia Light, Isadora Original.
• Jan Brady, Journal Dingbats, Jahreskreis (seasonal dingbats, 2002), JSL Blackletter Antique, Jugendstil Ornamente (2002).
• Kabinett Fraktur, Kaiserzeit Gotisch, Kanzlei, Kanzlei Initialen (2002), Kalenderblatt Grotesk, Kashmir, Kinder Vignetten (2002), KingsCross, Kinigstein Caps, Klarissa, Kleist Fraktur + Zierbuchstaben (2002), Koch Antiqua, Koch Antiqua Zierbuchstaben (2002), Koch Initialen, Koenigsberg, Koenig-Type (2002; a Jugendstil Fraktur originally designed by Heinz Koenig, 1907-1910), Kohelet, Koloss, Konanur Kaps, Kramer, Krone Bold.
• La Negrita, Lautenbach, Legrand, Lemiesz, Lettres ombrées ornées (2002, based on a face by Schriftgiesserei J. Gillé, 1820), Linolschrift, Lintsec, Liturgisch + Zierbuchstaben (2002), Logger, Lohengrin Fraktur, Long Island Antiqua, Louisianne Black (bold upright connected script), Ludlow Dingbats.
• Mainzer Fette Fraktur, Marker Felt, Marketing Script, Marlboro, Maximilian (2002, Fraktur font and decorated caps based on Rudolf Koch, 1914), Mayflower Antique, Medici, Mediaeval Caps, Menuetto, Messing Lettern, Metropolitain, Middle Saxony Text, Moderne Fraktur, Monats-Vignetten (2002, based on drawings by Franz Franke for Bauersche Giesserei, 1920), Montague, Monument (2002, original by O. Menhart, 1952), Mordred, Morgan Twenty-Nine, Morris Roman Black, Morris Initialen.
• Napoli Initialen, Neptun Gotisch, NeugotischeInitialen, North Face, Nougat ExtraBold, Nouveau Drop Caps, Nubian.
• Olde English, Old English Five, Old Town, Old London.
• Packard Antique, Paganini Text, Pamela, Parsons Heavy, PaulusFranckInitialen (2002), Penelope, Peter Schlehmil (2002, based on work by Walter Tiemann, 1918-1921), Peter Schlemihl Fraktur, Picture Alphabet, Pilsen Plakatschrift, Pinewood (2003, like wooden branches), Pinocchio, Plakat-Fraktur, Plakat Antiqua, Plastisch (2002), Plum Script, Pointage, Polonaise (1999), Polo Semi, Powell Antique, Printer's Ornaments One, Prisma (2003, a four-line face inspired by Rudolf Koch's Prisma), Progressive Text, Puritan, Prince Valiant Blackletter.
• Quentin Caps.
• Rediviva, Rediviva Zierbuchstaben (2002), Reeperbahn (aka Rope), Regatta Relief, Reiner Script, Revue Decor, Reynold Art Deco, Rio Grande, Rockmaker, Roland, Rolling No. 1 ExtraBold, Roman Antique, Romantik Initialen, Romantiques (2002), Rondo, RosemaryRoman, Roslyn Contour, Rossano, Rothenburg Fraktur, Royal Initialen, Roycroft Initialen, Rudelsberg (Munich Jugendstil style, based on Otto Eckmann's Eckmann from 1901).
• Saddlebag, Saloon ExtraBold, Saltino, Salto, Sans Plate Caps, San Remo (Paris (art) nouveau style), Savings Bond, Schampel Black, Schmalfette Fraktur, Schluss-Vignetten (2002, also from Bauersche Giesserei), Schmale Anzeigenschrift + Zierbuchstaben (2002), Schwabacher, Sebaldus-Gotisch (2002), Sentinel, Sesame (2000), Shaded (2002, a take on Sans Serif Shaded by Stephenson, Blake & Co. Ltd., Sheffield), Sholom, Showboat Caps, Shrapnel, Siegfried, Simplex, Sixties, Snowtop Caps, Starburst, Steelplate Textura, Stencil Display, Subway, Supermarkt.
• Tanach, Tannenberg Fette Gotisch, Thannhaeuser Fette Fraktur, Thannhäuser Zier (2002; original by Herbert Thannhauser, 1937/38), Theuerdank Fraktur, Thorne Shaded (2002), Tierkreiszeichen (2002, Zodiac, based on drawings by Franz Franke for Bauersche Giesserei), Tintoretto, Titania, Titling Roman Antique, Tobago Poster, Tone And Debs, Tonight, Topic, ToskanischeEgyptienneInitialen (2003), Transport Pictorials, Tribeca, Trocadero Caps, Trucker Style ExtraBlack, Turtles, Typographer Caps, Typographer Fraktur (2002), Typographer Rotunda (2002), Typographer Textur (2002, Fraktur), TypographerGotisch (2002, Fraktur), TypographerWoodcutInitials (2002), Typographer's Schmuck-Initialen.
• Uechi Gotisch, Uncialis Deutsche, Unger Fraktur Zierbuchstaben, Unicorn.
• Vadstena Rundgotisch, Varah Caps, Ventura Bold, Verve, VictorianInitials, Victorian Text, Viking, Vivian, Vogeler Initialen (2002), Volute.
• Walbaum Fraktur, Wallau Deutsch, Wallau Rundgotisch, Wallau Uncial and Wallau Zierbuchstaben (2002; originals by Rudolf Koch 1925-1930), Walthari Text, Washington Text, Waterloo Relief, Wave, Weiß Initialen, Weiss Lapidar (2002, revival of a face by Emil Rudolf Weiss), Werbedeutsch (2002, original by Herbert Thannhaeuser, 1934), Westminster Gotisch, Wharmby, White Bold, Wieynk Fraktur (now also in OpenType), Wieynk Vignetten, Will-Harris Caps, Woodcut.
• Yellow Submarine Font, Yonkers, Yorktown.
• Zallman Caps, Zentenar Fraktur, Zentenar Zier (2002; by F.H.E. Schneidler, 1937), Zierinitialen 1 (2002), Zierinitialen Two (2002; based on Deutsche Zierschrift by Rudolf Koch), Ziffern und Pfeile, Zither Script, Zodiac Pictorials.

A set of TeX service files for many of the decorative caps fonts was published by Maurizio Loreti from the University of Padova.

The collection is now also available in OpenType. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. [Google] [More]  ⦿

Dieter Zembsch

Born in 1943, Zembsch began his career in graphic arts as a typesetter. He subsequently studied graphic design at Mannheim and Stuttgart. MyFonts: While working as a packaging designer for the pharmaceutical firm of Mann&Schröder, in his spare time he designed the winning entry in Letraset's International Typeface Competition for 1972/73, a typeface named Beans. He later worked as advertising manager for a German publishing house and, in 1977, he became an independent graphic designer. In addition to illustrating book jackets for other authors, he has written and illustrated several of his own works. Zembsch and partner Sophie Weiss currently run a design firm in Munich. In 2009, Nick Curtis designed a digital extension and modification of Beans called Free Holeys NF. [Google] [MyFonts] [More]  ⦿

Dietmar Schmidt

Designer at Germany's Apply Design of fonts such as MarieLuise (1994). [Google] [More]  ⦿

Dietrich Kerner

German designer (b. 1961) of Observer (2012, an alchemic font), Galactica-Pyramid-Card-Game (2009, dingbats), Lost Font (2007), Sci-Fi-Logos (2006) and DingTrek (2006). [Google] [More]  ⦿

Digital Type Company (DTC)
[Volker Schnebel]

Volker Schnebel is a German type designer, b. 1950. He started out in 1977 at URW. In 1981, he was consultant for Compugraphic, where he developed 800 bitmap fonts for DEC. With Fritz Renzo Heinze, he founded the Digital Type Company in 1985 in Hamburg. He digitized the 50 basic type families of Monotype, including Arial and Times. He developed the Latin portion of Hiragino Mincho. From 1990-1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer.

Catalog of Volker Schnebel's typefaces.

He designed Kronos-Trilogie, DTC Hermes, Imperial and Joker DTC (now at URW++). He digitized Hunziker's Siemens family, and made custom type for Swiss Re and ZF. He created FAZ-Fraktur (with G.G. Lange, at URW, the house font of the Frankfurter Allgemeine Zeitung based on Fette Gotisch; well, Times Ten and Eighteen are the other house fonts of that newspaper) and Biblica (with Kurt Weidemann). At MyFonts, one can buy Black Market DTC, Hermes DTC and Imperial DTC as well as the SoftMaker families Dirty, Funky, Rough, which come in a total of 37 mostly grungy styles and are dated 1999.

In 2010, he created Linda (handprinted, Profonts), Marita Pro (Profonts), Manuel Pro (Profonts) and Martin (a sans; Profonts).

In 2011, he published Justus Pro at URW, a modern Egyptienne with a humanistic touch.

Catalog of DTC's typefaces. [Google] [MyFonts] [More]  ⦿

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, a href="showcase-dtc/">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] [MyFonts] [More]  ⦿

Digitalpionese.de

Foundry in Germany. Requires Flash. They published the Positec family in 2003. [Google] [More]  ⦿

DIN 1451

German highway, railway and industrial typeface that is based on strict specifications. Linotype writes: The abbreviation "DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1936, this standards committee settled upon DIN 1451 as the primary lettering style for use in the areas of technology, traffic, administration, and business. The committee chose a sans serif design because of its legibility, and because its forms are also easy to reproduce. This faces design was not foreseen to be used in advertisements or other "artistically oriented purposes," and there were disagreements about its aesthetic qualities. Nevertheless, the DIN face has been set everywhere in Germany since its adoption, especially on signs for town names and traffic directions. Over the decades, it has managed to make its way into advertisements, too, perhaps because of its ease of recognition. The contemporary font version of DIN 1451 has been adopted and used by designers in other countries as well, solidifying its world-wide design reputation. Try it out today for signage, magazine layouts, book covers, or flyers. DIN 1451s industrial heritage makes it surprisingly functional in just about any conceivable application. [Google] [More]  ⦿

DIN 1658

Dead link. DIN type classification system. [Google] [More]  ⦿

DIN 17

One of the later specifications of the Deutsches Institut für Normung, from 1938. A typeface that follows it was made by Scangraphic, DIN 17 SB. [Google] [More]  ⦿

DIN specifications

DIN is a set of typeface norms set by the Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1919, Germany had its first (Grotesk) typeface for technical drawings that followed strict norms, the DIN 16. This was followed in 1927 by DIN 1451. The latter set of raster-based specifications was developed under the guidance of Siemens engineer Ludwig Goller in 1926-1927. The DIN 1451 would be further developed and broadened over the years, leading to DIN Engschrift and DIN Mittelschrift. Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:

• Technik, Design und Erotik der FF-DIN-Rundschrift (2010, Jürgen Siebert).
• FF DIN Round (2010, Albert-Jan Pool).
• The book DIN 16 518 Klassifikation der Schriften Berlin: Deutschen Normenausschuß, 1964.

DINO Computer Utilities Fonts

Interesting font links (in German). [Google] [More]  ⦿

Dirk

German designer of the free font Dirk Handfont (2008). It has German coverage, and is an extension of Handfont (2005) by Benji Park. [Google] [More]  ⦿

Dirk Heider

Creator of Zierfische (2011, a signage face): Zierfische is based on an exterior sign for a tropical fish store in East Berlin (GDR). The original sign was salvaged and now resides in the Buchstaben Museum in Berlin. The museum commissioned the sign's original designer, Manfred Gensicke, to complete an alphabet based on the sign, which was then digitized by Dirk Heider resulting in the finished font "Zierfische." [Google] [More]  ⦿

Dirk Wachowiak

Stuttgart-based graphic designer (b. 1974). He studied Visual Communiaction at HFG Pforzheim. At Acme/FontShop he designed the multiple master font Generation (2002, huge squarish sans families called A, A2, A2A, Z, and ZaZ), which followed from his thesis in 2001, as well as AF Diwa (2002, large squarish sans). He became assistant at HFG Pforzheim and worked for Design Bureau Plan B in Stuttgart. He studied at Yale.

Alternate URL. Klingspor link. [Google] [MyFonts] [More]  ⦿

Dismantle Destroy
[Matthew Tyndall]

Dismantle Destroy (and before that, Dismantle Design) is located in Clarksville, TN, and is run by Matthew Tyndall (b. 1984), who according to MyFonts lives in Frankfurt, Germany.

Creator of Arrivals and Departures (2011, sans display face), Ask My Flashlight (2011, a bold and bouncy comic book style face), Quiet the Thief (2011, spurred face), Raila Skies (2011, a handprinted face done with Ralia Staggs), Hello Arson (2011, grunge), and Badcap (2011, grunge).

Typefaces from 2012: Monster Monster.

Dafont link. The free faces at Dafont included the grunge face Devotion and Desire (2005), and Something Dangerous, and the handprinted face Meet The Submarine (2011). [Google] [MyFonts] [More]  ⦿

dmfstudio
[Robert Perendi]

German studio of Robert Perendi, who designed the free experimental fonts andre-bold, andrefist, andrefistshdw, andre-gestaucht-bold, andre-t-light in 2007. Located in Leipzig. [Google] [More]  ⦿

Doepfer Musikelektronik GMBH

BF_Symbols (communication dings, 1995), Doepfer (LED font by Doepfer Musikelektronik, 1995), Inter (Gary L. Ratay's travel dingbat font, 1991). See also here. [Google] [More]  ⦿

Dominic Brighton

Dominic Brighton lives and studies communications design in Munich. He developed the font Interna during an internship at Melville Brand Design and published it in 2011 via Volcano. Klingspor link. [Google] [MyFonts] [More]  ⦿

Dominik Böhler

Designer from Hersbruck, Germany, who created Gapee (2003, a sans face). [Google] [More]  ⦿

Dominik Heilig

Born in Schwaebisch Gmuend, Germany, in 1974. Designer of ALS Rundgang (2005, Art Lebedev Studio), a technical traffic signage face.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Dominique Boessner

German type designer who created the rounded monoline stencil typeface Stencil Allround (2012, Letterwerk). [Google] [MyFonts] [More]  ⦿

Doris Fürst

Young designer at fontgrube who made BTENeoTokio. NeoTokio is now also at T26. [Google] [MyFonts] [More]  ⦿

doublestroke
[Olaf Kummer]