TYPE DESIGN INFORMATION PAGE last updated on Mon Apr 15 04:23:26 EDT 2024






German type scene

[This map of Hessen in central Germany was hand-crafted by Rudolf Koch]


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]  ⦿

1001 Fonts
[Max Bloch]

This is Bremen, Germany-based Maximilian Bloch's fun free font archive. Useful, to the point, professional, complete, and entertaining. Has a messageboard, and is categorized in any possible way. If you want to download 500 fonts in the minimum possible time, this is not your place though. Newest additions.

Behance link. [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.

In 2014, Timo designed Patron at Milieu Grotesque, a typeface inspired by type designers Günther Gerhard Lange and Roger Excoffon. [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]  ⦿

14. Tage der Typografie

The XIV. Tage der Typografie was held from 28-30 June 2013 in Lage-Hörste. Speakers: Andreas Koop, Lukas Hartmann, Tanja Huckenbeck, Niklaus Troxler, Dirk Uhlenbrock. [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]  ⦿

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), Verena Gerlach (Frau Gerlach), Peter Bruhn (Fountain), Joost Korngold, Walter Pamminger, Peter Bilak (Typotheque), 3deluxe, Underware. [Google] [More]  ⦿


Shanghai, China-based type foundry, est. 2017, with a foreign office in Berlin. They specialize in multilingual and multiscriptual typography and type matching, in particular for Chinese, Latin, Cyrillic and Arabic. Their font catalog in 2020:

  • Astronomer (2018). An attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633).
  • Dinkie Bitmap (2018-2020). A pixel typeface for Latin, Arabic, Hebrew, Cyrillic and Chinese by Willie Liu.
  • Ellenda (2018). An art deco typeface by Zheng Chuyang.
  • Faustina (2010-2018). A poster typeface by Zheng Chuyang, after an idea by Luise Schenker. It covers Latin, Cyrillic and Arabic, including the Persian, Urdu, Uyghur, Kazakh and Kirgiz versions. It also has a rich set of Emojis.
  • Freundschafts-Antiqua Neue (2017), by Roman Wilhelm. Covering Latin, Vietnamese, and Hanyu Pinyin, this 6-style typeface family revives the award-winning text typeface Freundschafts-Antiqua made in 1959 by Yu Bingnan.
  • Hong Kong Street Face (2015). A Hanzi font by Roman Wilhelm that reflects the character of Hong Kong.
  • Xingkai Next (2017). A modern polygonal typeface for Hanzi, by Li Zhiqian. It was derived from cursive handwriting and Chinese calligraphy.
  • Ryan Serif (2017). A Latin display typeface by Ryan Lau.
  • Weaf Mono (2017-2018). A monospaced monolinear sans family by Zheng Chuyang and Li Zhiqian, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
  • RVS Basic (2021). A brilliant and bold reverse-contrast typeface with an emphasis on Hanzi. Commercial letterings from the Republic of China and a calligraphic style named Qishu from the Qing Dynasty jointly inspired the typeface. Award winner at 25 TDC in 2022.
[Google] [More]  ⦿

45 Symbols

The book 45 Symbols published in Köln in 2014 introduces 45 projects of 45 symbols (so 45 times 45 icons in all) created by students from Parsons The New School For Design (New York), Academy of Media Arts Cologne, Hong Kong Baptist University, Lebanese American University Beirut. Falmouth University UK, and Universidad de los Andes (Bogota) on a variety of themes. [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 summarized Manfred Klain's contributions, calling him the Mark Twain of type: 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]  ⦿

[Adrian Spiegel]

Adrian Spiegel (912lab, Germany), aka Prinzadi, created the pixel typeface Minusio (2014). In 2017, he designed a brush typeface also called Minusio.

(Old) Prinzadi link. Graphicriver link. [Google] [More]  ⦿

A. Froescher

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

A. M.

German designer of the free typewriter font AM Type 1 (2016) and the ornamental caps typeface AM Intex (2016). [Google] [More]  ⦿

[Ari Hausel]

Aarhaus is Ari Hausel's German type foundry located near Munich, est. 2006. Hausels's teachers included Heinz Peikert (calligraphy) and Günter Gerhard Lange (typography).

In 2015, he designed the German expressionist typeface Irrlicht based on Christian Heinrich Kleukens's 1923 typeface Judith Type. Dunkle Irrlicht is a fairly faithful rendition and extension of Judith Type. The Licht style combines a stencil version and an inline version that was inspired by dry, cracked wood. [Google] [MyFonts] [More]  ⦿

Aaron Wolber

During his studies at he Akademie für Gestaltung in Köln, Germany, Aaron Wolber created the display sans typeface Gemeinschaft (2013, custom made for a catholic community in Geyen), the geometric sans Basic Alphabet (2013), and the serif typeface Zwanzig (2013).

Behance link. [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 (1997), Palazzo Text (2004), Jeunesse (1993), Jeunesse Slab (1993), Jeunesse Sans (1993), Cicero Caps (1996), Ambiente (2004), Jocelyn, Jonas, Ulissa, and Perrywood (Monotype, 1993).

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

Abel & Stone

Design studio in Munich, Germany. Creators of the art deco typeface Quarantaene during the apex of the Ebola scare in 2014. Behance link. [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]  ⦿

Abraham Quantosch de Nostre

Graduate of the University of Münster, Germany, who is based in Hildesheim. Designer of the free ultra-black typeface Klotz (2015). Behance link. [Google] [More]  ⦿

Achaz Reuss

In house type designer at Elsner&Flake. He designed an elegant high-contrast art deco display typeface Miami EF in 1994, the broken black lettering typeface EF Splitter, the horizon lettering typeface EF Eastside in 1995, and Nivea in 2000 (for Beiersdorf).

Designer of the Bank Gothic style gaspipe sans family FF QType (2004, FontFont) in Condensed, Compressed, Extended, SemiExtended and Square versions.

In 2007, he created Bodoni Stencil (URW++). Other URW creations include Latin, Nimbus Roman Modern Compress, URW Compress and URW Oklahoma (art deco).

  • In 2022, FontFont released FF DIN Stencil (by Albert-Jan Pool, Achaz Reuss and Antonia Cornelius) and its variable sidekick, FF DIN Stencil Variable.

    FontShop link. Klingspor link. Linotype link.

    Catalog of his typefaces. [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 typeface SVT (2010) and the futuristic angular Shake (2010), which was originally designed for the Centre d'art Contemporain de Brétigny in France. [Google] [More]  ⦿

    Achim Stump
    [Alt-Katholiken in Deutschland]

    [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 MyFonts. The company evolved, I guess, into CHK Design.

    MyFonts link. 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 (1998, 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: AF Wendingen (1998, LED simulation).
    • Other: AFConstants (1998), Allen, Indy 500, Interface, AFLogotype (1998).

    View ACME's typefaces. Acme's typeface library. Typefaces made by Christian Küsters. MyFonts selection for ACME. [Google] [MyFonts] [More]  ⦿

    [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]  ⦿

    [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]  ⦿

    Adam Bell

    [MyFonts] [More]  ⦿

    Adam Numrich
    [Schriftgiesserei A. Numrich & Co]

    [More]  ⦿

    Adam Sommerfeld

    German creator of a Herbert Bayer-inspired lower case typeface that was developed during a workshop with Lucas De Groot in 2012. [Google] [More]  ⦿

    Adam Twardoch

    Adam Twardoch (b. 1975) was raised in Tychy, Poland, and graduated from the University of Frankfurt/Oder, Germany. He worked at for Agentur GmbH, a Frankfurt/Oder-based design firm. Since 1991, Adam has advised numerous type designers on Central European extensions of their typefaces and has created localized versions of over fifty fonts. He frequently writes on type-related matters, and is the founder of Font.org, a (now defunct) website featuring articles about typography in English and Polish. Adam Twardoch is Director of Products of FontLab (since 2004), and is typographic consultant at Linotype (since 2002) and Tiro Typeworks (since 2001), and general font specialist at MyFonts (2000-2012). Since 2012 he is based in Berlin.

    Adam Twardoch is working in the field of font technology, multilingual typography, CSS webfonts, Unicode and OpenType.

    His typefaces:

    • Andromeda SL (1997-2006). The unicase Andromeda SL font was inspired by a 1970's-like logo design for the "Andromeda" cinema in Tychy, Poland.
    • Nadyezhda SL One (2007). Intended for testing of OpenType Layout features support in an application, this font is an extension of the Bitstream Vera Mono font, originally designed by Jim Lyles.
    • In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.
    • In 2017, Adam released the free 163-font collection Schticks, which is based on STIX Two.
    • In 2019, Adam Twardoch published the free Robert Sans typeface family at Open Font Library. Robert Sans is a fork off Christian Robertson's Roboto font. It was further developed by Cristiano Sobral in Bert Sans (2020).

    Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

    [Hee Jun Kim]

    Adaylife is the Berlin-based foundry of Hee Jun Kim. He published the squarish sans family ADIL Sans, the script typeface Love Letter, and the art deco typeface Rolly Pops in 2010.

    In 2012, he created the super-fat counterless octagonal Korean typeface Nemo Nemo Hanguel.

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

    Adelina Apostolova

    Adelina Apostolova is a graphic designer from Bulgaria, living and working in Germany. In 2020 she released the fat piano key stencil typeface Apura. [Google] [MyFonts] [More]  ⦿

    [Maximilian Hesse]

    Design studio of Maximilian Hesse and Marina Kraus in München, Germany. Creators of the organic sans typeface Grey (2013), which is advertized as a free typeface, but there are no download buttons. In 2013, ADGY also designed the stencil typeface Monor and the ultra-fat display typeface Meat.

    Typefaces from 2014: Nova, Linea, PX (pixel face). The condensed organic sans typeface Schwabing Sans was published in 2015.

    Behance link. [Google] [More]  ⦿

    Adolf Behrmann

    Born in Tockum (near Riga, Latvia) in 1876, he died in Bialystok in 1942. German type designer who designed the classical display typeface Rundfunk at Berthold in 1928. This typeface was digitized by Nick Curtis as Radio Ranch NF. He also designed Radio and Radio Versal in 1928 at H. Berthold AG.

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

    Adolf Heimberg

    Blackletter type designer: Urdeutsch (1924-1925, Genzsch&Heyse). See the digital revival by Petra Heidorn (2004). Free download of that font at Dafont.

    Notes: The sample at Klingspor's site uses Heidorn's font, but no credit is given to her there. Schnelle spells Heimberg's name Heimberger. [Google] [More]  ⦿

    Adolf Meier

    Hofkonditor (court confectioner) in Detmold, Germany. Author of Schriften-Album fur Konditoren nebst Monogrammen und Tortenschildern (ca. 1910, Heinrich Killinger, Konditoreibucherverlag, Nordhausen). This wonderful book shows many decorative capital alphabets designed mainly for decorating pies, cakes, and pastries. Local PDF file for that book. [Google] [More]  ⦿

    Adolph Rusch

    Or Adolf Rusch von Ingweiler, who was active in Strasbourg from 1460 until 1489. The first roman antiqua north of the Alps is ascribed to him in 1464. The consensus is that this was not as pretty as the later types by Griffo et al.

    Nevertheless, Shane Brandes did a large digital revival of his antiqua in 2013 and called it Rusch.

    Revivals by Alexis Faudot and Rafael Ribas in 2018 during a type design workshop at ESAL Metz and Bibliothèque municipale de Metz, France:

    • Rusch Bizarre 103R. A Proto-Roman first used in Strasbourg by Adolf Rusch for Raban Maur's De universo between 1467-74 (exact date unknown) and used until 1475.
    • Rusch 100G, Gotico-Antiqua first used in Strasbourg by Adolf Rusch for Balbus' Catholicon, between 1470-75 (exact date unknown) and used until 1478.
    [Google] [More]  ⦿

    Adrian Bach

    Adrian Bach (Essen, Germany) created the calligraphic typeface Broken Hand Regular (2013). Behance link. [Google] [More]  ⦿

    Adrian Doe

    Designer in Berlin, Germany. In 2017, Justin Vin and Adrian Doe co-designed the free fluffy puffy Softa typeface. [Google] [More]  ⦿

    Adrian Frutiger

    Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited 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). The Bitstream version of this font is Formal Script 421. Adobe, Linotype and URW++ each have digital versions called Ondine. Bitstream's Calligraphic 421 is slightly different.
    • 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. In 2018, Linotype added Univers Next Typewriter. In 2020, Linotype's Akira Kobayashi dusted off Univers Next Cyrillic and Univers Next Paneuropean.
    • 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.
    • Astra Frutiger. A typeface variant of Frutiger licensed under Linotype. It is the font used on the highways in Switzerland.
    • Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. Other names include OPTI Silver (Castcraft), Ares Serif 94, and Sierra. Bitstream published the digital typeface Serifa BT. But it is also sold by Adobe, Tilde, Linotype, URW++, Scangraphic, and Elsner & Flake. The slab serif is robust and is based on the letterforms of Univers.
    • 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). A didone with slight flaring.
    • 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). In 1999, Frutiger Next was published by Linotype. In 2009, that was followed by Neue Frutiger (a cooperation between Frutiger and Linotype's Akira Kobayashi). In fact, Frutiger, the typeface was made for the Charles De Gaulle Airport in 1968 for signage---it was originally called Roissy, and had to be similar to Univers. It was released publically as Frutiger in 1976. The modern Bitstream version is called Humanist 777. Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006. Other digital implementations of Frutiger: M690 (SoftMaker), Quebec Serial (SoftMaker), Frutus (URW), Provencale (Autologic), Frontiere (Compugraphic), Freeborn (Scangraphic), Siegfried (Varityper). In 2018, under the aegis of Akira Kobayashi, the Monotype Design studio published the 150-language superfamily Neue Frutiger World (including coverage for Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese).
    • 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). Based on Morris Fuller Benton's Clarendon typeface Century, Linotype Centennial was designed for Linotype's 100th birthday.
    • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. In 2021, the Monotype team released Avenir Next Paneuropean (56 styles, by Akira Kobayashi). Avenir Next World, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

      Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). Lovely poster by Ines Vital (2011).

    • Westside.
    • Vectora (1991, Linotype).
    • Linotype Didot (1991). See also Linotype Didot eText Pro (2013), which was optimized by Linotype for use on screens and small devices.
    • 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 typeface 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 original Frutiger family.
    • In 2019, the Linotype team released variable fonts for Frutiger's main typeface families, Avenir Next Variable, Neue Frutiger Variable, and Univers Next Variable.
    Bio by Nicholas Fabian. Erich Alb wrote a book about his work: Adrian Frutiger Formen und Gegenformen/Forms and Counterforms (Cham, 1998). Winner of the Gutenberg Prize in 1986 and the 006 Typography Award from The Society for Typographic Aficionados (SOTA). Famous quote (from a conversation in 1990 between Frutiger and Maxim Zhukov about Hermann Zapf's URW Grotesk): Hermann ist nicht ein Groteskermann. A quote from his keynote speech at ATypI1990: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

    Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link).

    Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne.

    Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces.

    View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More]  ⦿

    Adrian Spiegel

    [More]  ⦿

    Adriana Esteve Hernandez

    [MyFonts] [More]  ⦿

    Adriana Lessmöllmann

    Illustrator / designer in Trier, Germany. She created the display typeface Maki (2013). [Google] [More]  ⦿

    [Adriana Esteve Hernandez]

    Adriana Hernandez (b. Miami, FL) established Adriprints in 2008. She is located in Munich, Germany.

    Her fonts include Kicks (2012, a fun hand-printed typeface for children's books), Stitching Kit (2010, dings), Fiddleshticks (2009, linocut), Sorbet and Sorbet Wide (2009, like architectural letters), Fancypants (2010, curly lettering), Stitchin Crochet (2009, dingbats), Trellis (2009, hand-printed), and Draft Punk (2009, comic book style).

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

    Adult Human Male
    [Alex Hy]

    Adult Human Male is the type foundry of Malaysian designer Alex Hy, who is located in Berlin or Ireland. His Twitter account says that he is New York, Paris and Coolock. His Dafont account calls him Irish. Whatever. Alex has two aspects, a commercial one, expressed in his commercial foundry Adult Human Male, and a free one via his Squack site on Dafont.

    The commercial Alex created the grunge stencil typeface Butterworth (2011), the hand-drawn Teksi (2011), the monoline squarish family Ebdus (2011), Valis (2011, futuristic), and the thin avant garde monoline typeface New Slang (2011). Gordito (2011) is a graffiti style bubble font that says Smurf.

    In 2012, Alex published the poster caps typeface Areaman, Stink Lines (multilined typeface) and Penang (art deco signage typeface seen on Penang by the creator). Straights Light is a beautiful pair of bilined all caps typefaces. Dale Kids is a children's book typeface. Hokkien (2012) is an art deco typeface with Chinese influences. Mister Mustard is a chubby rounded art deco typeface. Barkley (2012) is a textured caps typeface with a chalk board feel. Liner Notes (2012) is a bilined hand-drawn typeface. Bartleby (2012) is a hand-drawn all caps display font.

    The free font foundry Squack has the hand-printed typefaces Barker Allcaps (2012), Scrapist (2012, sketched), Billy Boy (2011, 3d), Quito Chicken (2011, 3d), Fred Wild West (2011, a grungy western face), Coolock Black (2011), Zapftig (2011), Ringworm (2011), Suicide Draft (2011), National Granite (2011, a 3d stone chisel face), Whiskey Fingers (2010), Wank Hands (2010) and Middle Man (2010), and the irregular typefaces Zapftig (2011), Shock Corridor, Pollo Asado, Middle Woman, Ghost Words, Late Puberty, Parrannoyed (2010, ransom note face), the hairline typeface Rexic (2011), Black Grapes (2012), Chump (2012, hand-printed capitals), Areman OT (2012), and the grungy Skidmarks (2012).

    Typefaces from 2013: Salas (a chunky cartoon face), Rabid (a crayon font), Strokin (a great brush face---part charcoal part paint strokes), Bevel Hands, Bunk (a layered beveled type system absed on a monoline fat rounded sans, Bunk Base 2), Spengler (inline face), Vastra (Bauhaus style, organic), Swingers (curly and cartoonish), Chump Change, Treves Sans (crayon face), Quincey (2017).

    We read that the fonts are designed by EircomTest. Aka Squack, MiddleMan and Alex H.

    Dafont link. Creative Market link. Twitter link.

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

    [Björn Kohl]

    Aschaffenburg, Germany-based designer of the modular typefaces Butch (2018), Chiron (2018) and Anthony (2018). [Google] [More]  ⦿

    Agnes von Beöczy

    Librito.de is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Designers of FF Headz (dingbats), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, a modular, octagonal typeface designed by Zietz), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). [Google] [MyFonts] [More]  ⦿

    Agnese Pagliano
    [Little Asshole]

    [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 (2002), BaarLemuria (2002), BaarMetanoia (2002), BaarMetanoiaBold, BaarMetanoiaBoldItalic, BaarMetanoiaItalic, BaarPhilos, BaarPhilosBold, BaarPhilosBoldItalic, BaarPhilosItalic, BaarSophia (2002), BaarSophiaBold, BaarSophiaBoldItalic, BaarSophiaItalic, BaarZeitgeist.

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

    Dafont link. Linotype link. FontShop link/ Klingspor link. Fontspace link.

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

    Aileena Manja

    German designer of all caps typefaces in 2019 that have art deco and art nouveau influences. [Google] [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. From 1920 until 1948, F.H.E. Schneidler was head of the graphics division of the Akademie der bildenden Künste Stuttgart.

    Some stencil alphabet by them (ca. 1930), and later digitized by "Mindofone" as free art deco stencil typeface Glas Deco (2012). Other examples [taken from the book Handsatzschriften des Instituts für Buchgestaltung an der Staatlichen Akademie der bildenden Künste Stuttgart von Walter Brudi, J.V. Cissarz F.H.E. Schneidler und Walter Veit include Veit Antiqua (Walter Veit), Brudi Mediaeval, Brudi Kursiv and Pan (Walter Brudi), Cissarz-Latein.

    The following typefaces are by F.H.E. Schneidler: Amalthea, Bayreuth, Buchdeutsch Zierbuchstaben, Buchdeutsch, Deutsch Roemisch Fett, Deutsch Roemisch Kursiv, Deutsch Roemisch, Die Zierde, Ganz Grobe Gotisch, Graphik, Halbfette Buchdeutsch, Halbfette Deutsch, Halbfette Schneidler Schwabacher, Juniperus Antiqua, Kontrast, Legende, Schmalfetten Gotisch, Schneidler Antiqua, Schneidler Fraktur Zierbuchstaben, Schneidler Mediaeval Halbfett, Schneidler Mediaeval Kursiv, Schneidler Mediaeval, Schneidler Schwabacher Initialen, SSchneidler Untergrund, Schneidler Werk Latein, Schneidler Zierat, Schneidler, Suevia Fraktur Initialen, Zentenar Fraktur Halbfett, Zentenar Fraktur, Zentenar. [Google] [More]  ⦿

    [Loïc Sander]

    Loïc Sander (Akalollip) is a Strasbourg-based graphic and type designer, b. Germany. He is associated with Production Type.

    Creator of the free font family Fengardo Neue (2012, Velvetyne Type Foundry and Open Font Library), a (very) humanist sans with a Gillian lower case g.

    In 2015, he designed the didone typeface family Trianon at Production Type, in Text, Grande and Caption sub-families. Benedikt Bramböck writes: Weighing in at a total number of forty-two styles spread out over four size-specific families, it is certainly not another blunt revival of a Didot typeface. Even more remarkable than the size of the type system is the stylistic scope it covers, including elaborate italics, monolinear Lights, heavily slab-serif-flavored Caption cuts, and Grande styles that verge on becoming stencils---all referencing different works from the golden era of the Didots. With this pluralism of style and character, Trianon almost commands you to use it in all the "wrong"ways, exhibiting flamboyant shapes, flexibility, and individuality. In 2016, he added the gorgeous fat didone typeface Trianon Normande, which was done with the aid of Sandra Carrera, Roxane Gataud and Yoann Minet at Production Type.

    Fontsquirrel link. Loïc Sander at Velvetyne. [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 studied from 1998-2000 at the KABK. He co-designed all Underware fonts: Dolly, Bello, Sauna (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 (free) and Fakir (a blackletter typeface). In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.

    In 2017, Underware developed the super-adaptive and parametric typeface family Duos Pro.

    MyFonts page. FontShop link. Klingspor link. Speaker at ATypI 2017 in Montreal. At ATypI 2018 in Antwerp, Bas Jacobs and Akiem Helmling introduced the high order interpolation system for fonts called HOI. [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:

    • Helvetica Neue eText Pro (2013).
    • Dainippon Screen: the kanji font Hiragino Mincho.
    • ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
    • Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
    • Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN, Isonorm and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Akko Condensed (2015), Akko Pro Condensed (2015), Akko Pan-European (2015), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2002, 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), Avenir Next Paneuropean (2021: 56 styles), 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 and Tom Grace 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, co-designed 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), FF Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
    • Typebox: TX Lithium (2001, The Typebox).
    • Oddities: Skid Row (1990), Socia Oldstyle.
    • Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
    • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
    • Alexey Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.
    • In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk and competes with Rod McDonald's splendid Classic Grotesque (2011-2016)..
    • Member of a type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history. Followed in 2018 by the more restrained Tazugane Info. Variable fonts published in 2022: Tazugane Gothic Variable, Tazugane Info Variable.
    • SST (2017). A set of fonts for Latin, Cyrillic, Thai, Vietnamese, Arabic and Japanese.
    • DIN Next Stencil (2017). Developed together with Sabina Chipara.
    • DIN Next Decorative (mostly textured styles such as Rust, Slab Rust, Stencil Rust and Shadow).
    • Univers Next Cyrillic and Univers Next Paneuropean, both released in 2020, extending Adrian Frutiger's Univers.
    • Shorai Sans (2022) and Shorai Sans Variable (2022). A 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next.
    At ATypI 2008 in St. Petersburg, he ran a Linotype student type design workshop.

    Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.

    View Akiro Kobayashi's typefaces.

    Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. MyFonts interview in 2017. [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 typefaces include the blackletters Angelsächsisch, Archiv-Gotisch (1909), Asta (1902), Freigotisch, and Schöffer-Gotisch (ca. 1900). Heinrich (Heinz) König made the blackletter typeface Germania (1903). Eduard Brox designed Moderne Alt-Fraktur (1907; some give the date 1910). Albert Christian Auspurg created the blackletter typefaces Apart (1911) and Fraktur-Kursiv (1923). Their art nouveau typefaces include Apollo (ca. 1900), Inserat Kursiv, Neptun, Tedesca.

    For digital revivals, see Appeal DT (2007, Malcolm Wooden, a revival of Apollo) and RMU Neptun (2021, Ralph M. Unger). [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; revived in 2016 by Ralph M. Unger as Reklame Fraktur), the gorgeous long-legged Mona Lisa (1930; digital version by Pat Hickson, 1992), the blackletter typeface Deutsche Kraft (1915), Brigitte (1935), the display roman typeface Krimhilde (1933-1934; with Schwabacher-style capitals, though).
    • At Schriftguss: Lido (1936, script face) and Miami (1934). Digital revivals of Krimhilde were done by Ralf Herrmann (as Krimhilde, 2018) and Klaus Burkhardt (also as Krimhilde). Rick Banks's F37 Attila was inspired by Krimhilde. Miami was revived in 2020 by Ralph M. Unger as Elbflorenz.
    • 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 typeface 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 typeface Vesta (1926, a Mexican simulation face; for a digitization, see Visillo Adornado (2006, Nick Curtis) or Venezuela RR (2000, Pat Hickson at Rabbit Reproductions Type foundry, 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 typefaces Apart (1911) and Fraktur-Kursiv (1923).
    • At Schelter & Gisecke: Kolibri (1915; for a digital version of this multiline open typeface caps face, see Trochilida NF (2012, Nick Curtis)).
    • At Berling: the italic open capitals typeface Berling Kortversaler.
    • At Lettergieterij Amsterdam: Albert or Select (ca. 1936). Revived by Paul Hickson as Honduras RR at Red Rooster.
    [Google] [MyFonts] [More]  ⦿

    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 these typefaces:

    • Faust-Antiqua (1958-1959), or just Faust. This right-footed serif typeface suffers from the ugly duck syndrom. Nevertheless, it inspired Nick Curtis to design Kaprice NF (2010). In 1993, Steve Jackaman revived it as Faust RR.
    • Leipzig (with Otto Erler in 1963). A font with large x-height.
    • Leipziger-Antiqua (1959). Revived by Tim Ahrens in 2004 as JAF Lapture. It was also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005. And it was 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, Typoart, with Werner Schulze).
    • Magna Kyrillisch (1975).
    • Circa 1975, he created Garamond Cyrillic at Typoart.

    A specialist of blackletter, he was passionate about Gotische Bastarda.

    Author of these books:

    • Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz).
    • F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Co-authors: Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg.
    • 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).
    • Schriftkunst. Geschichte, Anatomie und Schönheit der lateinischenn Buchstaben (Dresden, 1971).
    • Schrift- und Buchkunst (VEB Fachbuchverlag, Leipzig, 1982).
    [Google] [MyFonts] [More]  ⦿

    Albert Knab

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

    Albert Schiemann
    [Font Pincushion]

    [More]  ⦿

    Albert Wilhelm Kafemann
    [J. G. Francke Nachfolger]

    [More]  ⦿

    Albert Windisch

    Designer (b. Friedberg, 1878, d. 1967) of Windisch Kursiv (1917, Klingspor). He lived in Frankfurt where he taught design at the Kunstgewerbeschule. Author of Die künstlerische Drucktype. [Google] [More]  ⦿

    Albert-Jan Pool
    [FF DIN]

    [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 and Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.

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

    Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image: for more images, see FF DIN Round at issuu.com), FF DIN Round (2010; +Cyrillic; in use; sample), FF DIN Web (2010), Jet Set Sans (for JET/Conoco gas stations), DTL Hein Gas (for Hamburger Gaswerke GmbH), Regenbogen Bold (for a radical left party in Hamburg, a roughened version of Letter Gothic), and Syndicate Sans (2012, for Syndicate Design). He also made FF OCR-F.

    In 2022, FontFont released a major set of updates and extensions of the FF DIN family, all co-designed by Albert-Jan Pool and Antonia Cornelius. These include:

    Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton, and wrote an article entitled FF DIN, the history of a contemporary typeface in the book Made with FontFont. Speaker at ATypI 2013 in Amsterdam: Legibility according to DIN 1450.


    Interview. [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 for the books on the geometry of letters, Unterweysung der Messung [A Course on the Art of Measurement] [or: Of the Just Shaping of Letters], published in 1525. See here.

    Images of his work: his famous set of German Renaissance Capitals (1525), Gothic Capitals, German Minuscule, his famous rhinoceros (1515) and his blackletter type Dürerfraktur (1519).

    Digital typefaces based on Duerer's work:

    • Terry Wüdenbachs at P22: P22 Durer Caps (2004).
    • MichelM at URW++: Hands on Albrecht (2005).
    • Amy E. Conger: Duerer (2006).
    • SoftMaker: Albrecht Duerer Fraktur Pro (2016). A revival of Duerer's ornamental blackletter.
    • Christopher Adams: Just Letters (2012, blackletter). This was based on Albrecht Duerer's Of the Just Shaping of Letters (1525).
    • Alan Hoenig: The Computer Duerer fonts (1990). A set of Metafont typefaces.
    • Dieter Steffmann: Duerer Gotisch (2001).
    • Jeff Jackson: JGJDurerGothic (1997).
    • Gilles Le Corre: 1525 Durer Initials (2010).
    • David nalle: Albrecht Durer Gothic.
    • Martin Lorenz and Joan Pastor: VLNL TpDuro (2019). A blackletter.
    • Manfred Klein. The geometrical overlays reminiscent of Duerer are another recurrent theme in Manfred Klein's work. Fonts directly or indirectly related to Duerer's compass-and-ruler constructions made by Manfred Klein include DancingVampyrish, GrafBoldBold, GrafCirculum, GrafCirculumBricks, GrafObliqueItalic, GrafRoundishMedium, GridConcreteDue, GridConcreteLogoable, OldConstructedCaps, RodauButtons, RodauButtonsInverse, RodgauHeads, RodgauerFisheyes, RodgauerOne, RodgauerOneRoundMedium, RodgauerThree, RodgauerThreeRoundedMedium, RodgauerTwo, RodgauerTwoRounded-Medium, RomanGridCaps, SketchesByDuerer-Inverse, SketchesByDuerer, TheRoots, XPCrazy-Light, XPFourTwoContourMedium, XperimentypoFS, XperimentypoFSBlack, XperimentypoFSWhite, XperimentypoFourBRound, XperimentypoFourCRoundInvers, XperimentypoFourRound, XperimentypoNr1, XperimentypoNr1Oblique, XperimentypoStripes-One, XperimentypoStripes-Two, XperimentypoThree-B-Square, XperimentypoThree-C-Square, XperimentypoThree-Crazy, XperimentypoThreeSquares, XperimentypoTwo, XperimentypoTwoCrazy, XperimentypoTwoStripes. Download page. Download all these fonts in onze zip file.
    [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. Download at Klingspor of the original volume from 1926, and the addenda published in 1927. 1929, 1930, 1933/1935, 1936/1937, und 1938/1939 under the name Nachträge. Emil Wetzig (Leipzig) helped with the production.

    Local download. [Google] [More]  ⦿

    Aleksandra Samulenkova

    Aleksandra Samulenkova (b. Latvia) studied visual communication at the Latvian Art Academy in Riga and at Kunsthochschule Weißensee in Berlin, where she took a type design course with Luc(as) de Groot. In 2012 Aleksandra graduated from the Type and Media program at KABK, Den Haag.

    Aleksandra's graduating project Pilot is an angular display typeface with German expressionist influences. It won the first prize as a titling face at The Fine Press Association's inaugural Student Type Competition, and won an award in the TDC Typeface Design competition in 2017. From 2012 until early 2017 Aleksandra worked as a type designer at LucasFonts in Berlin. In the beginning of 2017 she moved to the Netherlands to work independently.

    Aleksandra's retail typeface in the Bold Monday catalog: Pilot (2017). She also designed Necktie.

    Speaker at ATypI 2016 in Warsaw on Diacritics as a Means of Self-Identification. In that talk, she looked at several Eastern European nations that were created during the 19th century, and in particulat, Latvia.

    Bold Monday link. [Google] [More]  ⦿

    Alessandro Malcotti

    During his Masters studies at Politecnico di Milano, he spent a year in Berlin where he designed the blackletterish typeface The Raven (2015) in a course taught by Luc(as) de Groot at Fachhochschule Potsdam. Earlier, in 2012, he created the condensed octagonal typeface Fiat that is based on Fiat's logo. Fiat was a school project completed with Cecilia Negri and Virginia Nardelli. [Google] [More]  ⦿

    Alessandro Sommer

    During his studies, Bielefeld, Germany-based Alessandro Sommer developed the symmetric experimental typeface Otto in 2017. [Google] [More]  ⦿

    Alessia Sistori

    During her communication design studies, Alessia Sistori (Berlin, Germany) created Clarity Font (2013, thin and geometric) and Pommesensalade (2013, a rhombic font). [Google] [More]  ⦿

    Alessio Leonardi
    [BuyMyFonts (or: BMF)]

    [MyFonts] [More]  ⦿

    Alex Glatz

    Illustrator and cartoonist Alex Glatz (Alex Glatz Studio, Nuremberg, Germany) designed a handcrafted typeface in 2017, as well as a school script in the style of Deutsche Normalschrift (2017). Behance link. [Google] [More]  ⦿

    Alex Hy
    [Adult Human Male]

    [MyFonts] [More]  ⦿

    Alex Rich

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

    Alex Rütten

    [MyFonts] [More]  ⦿

    Alex Schnaible

    German art director. In 2019, he published the 500-icon font Speakons. [Google] [MyFonts] [More]  ⦿

    Alex Volmer
    [Leftover Lasagne]

    [MyFonts] [More]  ⦿

    Alexander Alexandrowitsch Roth
    [Neue (or: Neue Foundry)]

    [MyFonts] [More]  ⦿

    Alexander Beck

    Mainz, Germany-based creator of Fadista (2013) during his studies at the University of Applied Sciences Mainz. Calling Fadista another fucking hip and trendy experimental grotesque---which we call hipster typefaces in my pages---, he explains: The main references were letterings from sheet music to the traditional Portuguese fado created by the artist Stuart Carvalhais (1887-1961). Behance link. [Google] [MyFonts] [More]  ⦿

    Alexander Branczyk
    [Face 2 Face (or: F2F)]

    [MyFonts] [More]  ⦿

    Alexander Dosiehn

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

    Alexander Ertle

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

    Behance link. [Google] [More]  ⦿

    Alexander Fritsch

    [More]  ⦿

    Alexander Hermann

    Berlin-based designer of the counterless modular headline font Viertel (2012). [Google] [More]  ⦿

    Alexander Kaiser

    German designer of Drawvetica Mini (2012, sketched).

    Dafont link. . [Google] [More]  ⦿

    Alexander Koch

    Author of 600 Monogramme Und Zeichen (Darmstadt, 1920). Local download. [Google] [More]  ⦿

    Alexander Koch

    Designer of Damned Dingbats EF in 1993. He was associated with Germany's Apply Design. [Google] [More]  ⦿

    Alexander Lange

    Karlsruhe-based software developer. Creator of the large (and free) Unicode font Quivira (2005). It covers mathematics, chess, astrological symbols, arrows, fists, Latin, Greek, Cyrillic, Hebrew, Armenian, Georgian, Tifinagh, Coptic, emoticons, Vai, and Braille, to name just a few ranges. Alexander graduated in computer science at the Hochschule Mannheim University of Applied Sciences (degree: Diplom-Informatiker (UAS)). [Google] [More]  ⦿

    Alexander Peifer

    Trier, Germany-based designer of the compass-and-ruler font Camp (2015). Behance link. [Google] [More]  ⦿

    Alexander Roth

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

    Alexander Rühl

    Alexander Rühl studied at Kunstschule Alsterdamm and worked for URW. Presently, he runs the graphic design studio Ruehl Design.

    Creator of the flared text family ITC Lennox Book in 1996: ITC Lennox Bold (1996), ITC Lennox Book (1996), ITC Lennox Medium (1996).

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

    Alexander Selg

    Augsburg, Germany-based designer (at Coburg University of Applied Sciences and Arts) of the fashion mag typeface Clara Antiqua (2019). [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; +Manuale Giocoso, 2012), Graphite (fat and rounded), Graphite 2, Hinterland Italic (quaint Victorian face).

    From 2012: Linea Fraktur (extended in 2013 to Linea Runde), Black Organic (spiky blackletter), Green Organic (a spurred blackletter), Standard Sans, Modular Blackout Bold Condensed, Viva Las Vegas, Helios, Faux Pas Serif (Egyptian typeface), Nova Thin Extended (this hairline sans is a tour de force---it is the first successful hairline sans typeface ever made by anyone using FontStruct), Bencraft.

    Fonts from 2013: Meadow Bold, Lush Capitals, SwiftStroke, Its Slab To Be Square, Mellow Doubt, Ligure Black, Beige Organic, Trafo, Trafo Evolution, Codester Mono (a programming font), Swash Buckle, Nova Thin Extended (a hairline sans), Meson Sans, Burgwald Exquisite Bold Condensed, Editoriale, Coalescimen, A La Carte, Hampton Italic, Baby Elephant (fat grotesque).

    Fonts from 2014: Terminal One (a basic sans), Fanomino, Fontris (like Tetris), Schlaraffenland (+Variant: great rounded sans family), Crystalline, Tick Brush, Manuale Neue Bold, Terminal One, Sanspura, Italics Study, Mundane Black Extended, Heavy Grain, Wineshop Stencil, Folds and Rhizones, Viva Las Inline.

    Fonts from 2015: Augustine, Coleridge, Framtid, Licht-Sans, Quire-Bold, Quire, Static-Grotesk, Tattoo-Parlour, The-Gift-Serif, Tuileries-Black, Usual-Type, Ziseleur, Zungenschlag, Blackesteverblack.

    Klingspor link. [Google] [More]  ⦿

    Alexander Stephenson

    Alexander Stephenson is an Anglo-German Art Director and type designer who specializes in holistic brand design-systems. He studied graphic design at the Ecole nationale supérieure des Arts Décoratifs in Paris and Central Saint Martins in London. After working for twelve years in the advertising industry in both Paris and Berlin, he became an independent graphic and type designer. In 2020, he designed a 12-style mixed-genre fragile-looking sans typeface family called Acies. [Google] [MyFonts] [More]  ⦿

    Alexander Tibus

    Berlin-based designer (b. 1978, Ostfildern-Ruit) who studied at FH Wiesbaden. Creator of the unbelievable experimental font Wirefox (Die Gestalten, 2006), consisting of diagonal lines only. See it to believe it! He also designed Ambiva, which creates the illusion of type by showing the characters' shade only.

    Klingspor link. [Google] [More]  ⦿

    Alexandra Schwarzwald

    Type designer who joined Neue as business partner in October 2020. She was born and raised in Berlin, Germany, and studied at HTW University of Applied Science. She worked at FontShop International as a font technician. Subsequently Alexandra supported Monotype's font marketing teams for brands such as FontShop, FontFont, Linotype, MyFonts and Fonts.com. In 2018 she became a full-time employee of the Monotype London Office holding the position of a Senior Graphic Designer.

    Designer of Neue UXUI Icons (2020, at Neue), a seven-style set of icon fonts. Each font in turn contains 1155 icons covering areas such as office equipment, social media, controls, layout, music, navigation and weather, in addition to about 200 arrows. She added the 6-icon set Neue OS Icons later in 2020. In 2021, she released Neue UXUI Icons Rounded.

    With Alexander Roth, she designed the soft versions of Roth's Neue Radial family in 2021: Neue Radial Soft A, Neue Radial Soft B (18 styles), Neue Radial Soft C, Neue Radial Soft D. [Google] [MyFonts] [More]  ⦿

    Alexis Luengas
    [Alexis Luengas Zimmer]

    German type designer in Karlsruhe. 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.

    In 2012, Luengas published the Meleo family. This organic semiserif family is characterized by a large x-height, and a contrast between the round nature of the regular style and the angular calligraphic features of the italic styles.

    In 2013, he started work on Didotesque.

    His main project in 2014 was Cavatina, a font for writing music: Cavatina is my misuse (to put it nicely) of the OpenType font architecture, inspired by Travis Kochel's FF Chartwell. Similarly, the font relies on contextual alternates and ligatures to take care of the formatting and allow the support of a wide range of musical grammar. Among others, it is possible to write over four octaves of different notes, key and time signatures, barlines, accidentals, articulations as well as ornamentation, providing a system robust enough to allow fast musical composition. Additionally, I have written an open-source converter that translates the Cavatina text files to MIDI and MusicXML. A browser based text editor with integrated MIDI playback is also provided for those who don't have a Mac. Cavatina exploits the liga, calt and gsub rules in Opentype. [Google] [MyFonts] [More]  ⦿

    Alexis Luengas Zimmer
    [Alexis Luengas]

    [MyFonts] [More]  ⦿

    Alfons Muntean

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

    Alfons Schneider

    German type designer, b. 1890, Groitzsch, d. 1946, Mühlberg/Elbe. He studied at the Staatlichen Akademie für graphische Künste und Buchgewerbe in Leipzig, where he taught typography from 1934 onwards.

    Alfons Schneider created the blackletter typeface Franken Deutsch (1934-1939, Ludwig Wagner), and the didone family Pergamon Antiqua (1937, Ludwig Wagner; +Mager, +schmalhalbfett, +halbfett, +fett, +schmalfett), and Pergamon Kursiv (1938).

    L. Wagner mentions the typefaces Pergamon Werkschrift, Pergamon Kursiv halbfett, Pergamon Kursiv kräftig and Pergamon schmalhalbfett. Schneider published all his typefaces at L. Wagner.

    Pergamon was digitally revived in 2016 by Coen Hofmann at URW++ as Fontforum Pergamon. More than a decade before that, Softmaker created its own digital revival, P700 Deco. Franken Deutsch was revived in 2015 by Peter Wiegel as CAT Franken Deutsch. [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. Google] [More]  ⦿

    Alfred Mahlau

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

    Alfred Riedel

    Type designer in Freiburg (b. Waldkirch, 1906; d. Freiburg, 1969) who was a pupil of Rudolf Koch, and studied at the Badischen Landeskunstschule in Karlsruhe. He designed books for Verlag Herder from 1935 onwards. His typefaces include the fat face Domino (Ludwig&Mayer, 1954). A digital revival was created by Nick Curtis in 2007, called Idle Fancy NF.

    His typefaces Adamas and Adamas Unziale (1963, for Herder Verlag) were made into a phototype by Monotype.

    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. Bühmen 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.


    [Google] [MyFonts] [More]  ⦿

    Alfredo Ascari

    Graphic designer in Berlin. In 2016, he designed the modular multiline typeface Bauhaus (2016) following the principles of architectural modernism. [Google] [More]  ⦿

    Alice Pawelczyk

    During her studies under Lucas DeGroot in Berlin, Alice Pawelczyk created the techno typeface Technika (2013). [Google] [More]  ⦿

    Alina Sava
    [Fonts Arena]

    [More]  ⦿

    Alma Tatjana Neu
    [Tata Tatze]

    [More]  ⦿

    Almut Schmitt

    During her graphic design studies in Trier, Germany, Almut Schmitt designed the paper-fold typeface Ganeo (2013). [Google] [More]  ⦿

    Alois Ganslmeier

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

    Alphabet Type

    In December 2014, font engineer Andreas Eigendorf and type designer Stephan Müller founded a font-production, type-technology, and knowledge hub based in Berlin called Alphabet Type. Its expertise and custom tools help type designers and foundries turn their typefaces into fully functional software. As of early 2018, it employed these technical type specialists and font engineers: Andreas Eigendorf, Stephan Müller, Philipp Acsany, Monika Bartels, Anke Bonk, Benedikt Bramböck, Sophie Caron, Gergo Kokai and Paul Spehr. [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]  ⦿

    Amina Urkumbayeva

    During her studies at Btk University of Applied Science in Berlin, Germany, Amina Urkumbayeva designed the rune-inspired hipster typeface Runotype (2016). [Google] [More]  ⦿

    Amir Asgari

    Iranian graphic designer who lived in Turkey and after a stint in Washington Park, WA, he is now based in Germany. He graduated from B.A Hacettepe University in Ankara in 2012, and from the Mirak Fine Art School in Tabriz, Iran, in 2005. His typefaces:

    • The pixel typeface Overpixel (2012).
    • Qewek (2021). A thin slab serif.
    [Google] [MyFonts] [More]  ⦿

    Ana Laura Ferraz

    Brazilian graphic designer at Plau (Rio de Janeiro, Brazil), who lives in Köln, Germany.

    In 2019, she co-designed Muda, a corporate typeface for the fashion brand Oficina Muda with Carlos Mignot, Gabriel Menezes and Rodrigo Saiani.

    In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). [Google] [More]  ⦿

    Andre Levy

    Visual artist in Frankfurt, Germany, who created the poster typeface Naked Muse in 2017. Behance link. [Google] [More]  ⦿

    Andre Maaßen

    German designer André Maaßen (b. 1963, Neuss) studied communication design at the University of Wuppertal. In 1994, he founded Atelier für Kommunikationsdesign together with Anne Franke. Additionally, Maaßen has been teaching at the Ruhrakademie in Schwerte since 1992, and has also taught briefly at the University of Wuppertal. His first typeface was the funky calligraphic serif typeface family Varius (2004, Linotype). Varius includes ornamental styles with music notation and standard ornaments, called Livius Musika and Livius Ornaments, respectively. In 2007, he released the 4-style display sans typeface Anno at Linotype. Anno was inspired by the design of a New Year's card for the year 2000. [Google] [MyFonts] [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 hand-printed grungy outline font Suppenkasper (2008). [Google] [More]  ⦿

    Andrea Anner

    Andrea Anner is a Berlin-based Swiss graphic designer. After a Masters in Art Direction and Type Design at ECAL, she founded the design practice AnnerPerrin together with Martina Perrin. With Thibault Brevet, she has founded a studio for digital development.

    Co-designer with Ian Party of Suisse International Condensed (2013). Designer of Rouillé (2010-2011 a revival of a French Renaissance typeface from 1581, possibly designed by Robert Granjon), Fokko, Euclid, and Finito (2012: a humanist sans done for a Masters thesis at ECAL in Lausanne). [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 D'Auria

    Italian graphic designer and illustrator in Berlin, who created the shaded display typeface Pomodorino in 2013 for a restaurant identity. One Have To Coma Again (2013) is an angular display sans typeface.

    Behance link. [Google] [More]  ⦿

    Andrea Deinert

    Andrea Deinert (b. 1985) studied Communication Design at the Trier University of Applied Sciences and graduated in 2013. Since then she has been working as a designer in Cologne.

    She created the thin paperclip typeface Filament (2013) and Mrs Tailor (2014, Volcano). Dafont link. Volcano Type link. [Google] [More]  ⦿

    Andrea Knudsen

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

    Andrea Schulz

    Berlin-based graphic designer and illustrator who graduated in 2011 from the School of Art and Design in Berlin Weissensee. Creator of these typefaces at Burodestruct in 2010: BD Circo (2010), BD Plankton (2010). [Google] [More]  ⦿

    Andrea Stan

    Romanian lettering artist based in Germany. Designer of the informal inline typeface Thanks (2020, Monotype). [Google] [MyFonts] [More]  ⦿

    Andrea Tinnes

    [MyFonts] [More]  ⦿

    André Kniepkamp

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

    André Leonhardt

    German designer, b. 1977, aka Leo, who studied graphic design at Anhalt University in Dessau in 2005. Between 2010 and 2015 he taught typography at Anhalt University in Dessau. In 2016, he co-founded Interfont with Dennis Michaelis.

    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.

    In 2015, Laura Dreßler (Schauschau, Berlin), André Leonhardt and Dennis Michaelis co-designed the monospaced typewriter typeface family Monoela (published in 2016 by Interfont).

    In 2019, Leonhardt released Ideal, a top-heavy sans typeface, at Interfont. Klingspor link. Our Type link. [Google] [MyFonts] [More]  ⦿

    André Nossek
    [Via Grafik Gestaltungsbüro (was: Meanworks)]

    [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 typeface (for some time, free from Volcano Type), which accompanied the hand-drawn lettering typefaces 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]  ⦿

    André Schulz-Werner

    [More]  ⦿

    André-Pascal Werthwein

    During his studies, Mannhein, Germany-based André-Pascal Werthwein designed Generative Type (2017). Behance link. [Google] [More]  ⦿

    Andreas Brietzke
    [Pixel und Punkte]

    [More]  ⦿

    Andreas Dauerer

    Graphic designer in Berlin. His typefaces include Asgard Grotesk (2012), Evil Neue (2012, sans), Jjang (2012), Ladro (2012), Schicke (2012, geometric sans), Tano (2012), Sherman Mono (2012), Tsukunft (2012, experimental), Arsene (2012), Decodorant (2012), Kirky (2012), Nordfrost (2012), Sedadda (2012), Sloth (2012, an avant garde sans), Svangard (2012), Yueah Mono (2012), and Kamek (2012, a great feather pen rendering of a Venetian renaissance typeface).

    Behance link. [Google] [More]  ⦿

    Andreas Eigendorf

    Berlin, Germany-based font engineer. Designer of several CE versions of FontFont fonts, such as the CE versions of Ole Schaefer's Fago: FF Fago Office Sans CE, Fago Office Serif CE (2000).

    He also helped with the finalization of some fonts at Primetype, e.g., the PTL Maurea family.

    He joined Carrois Type Design in Berlin, where he is involved in many type projects. One example is the angular grotesk typeface done by Carrois Type Design in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.

    In December 2014, Andreas Eigendorf and type designer Stephan Müller founded a font-production, type-technology, and knowledge hub based in Berlin, Alphabet Type. Its expertise and custom tools help type designers and foundries turn their typefaces into fully functional software.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.

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

    Andreas Frohloff

    Calligrapher and type designer in Berlin, b. 1956, who headed the type department at FontShop International and then became Head of the Tech Department at Monotype in Berlin. He cooperated with Axel Betram on the text family Rabenau (2011, Linotype), which was earlier called Lucinde. Images: i, ii, iii.

    In 2012, Frohloff and Bertram published the friendly typeface FF Videtur: The concept for FF Videtur is based on bitmap fonts Axel Bertram created for the state television broadcaster in East Germany (GDR Television) during the 1980s. Thorough research and testing led to the creation of an open, functional serif typeface with alternating contrast. Freed from yesteryear's technical restrictions, the new FF Videtur was entirely redrawn while keeping the best characteristics of the earlier forms. Despite its workmanlike appearance at first glance, its warm character is undeniable. The reasons for this are its modest stroke contrast; the open, clearly differentiated letterforms; the relatively short and rounded wedge-shaped serifs; and the consistent rhythm it sets in lines of text. [Google] [MyFonts] [More]  ⦿

    Andreas Göbel
    [Sütterlin --- Deutsche Schreibschrift]

    [More]  ⦿

    Andreas Hild
    [Hild Design]

    [MyFonts] [More]  ⦿

    Andreas Höfeld
    [Fontgrube AH]

    [More]  ⦿

    Andreas Jung

    Type designer from Schorndorf, Germany, b. 1968. of Trombo (FontShop). FontShop link. Klingspor link. [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 also 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 hand-printed 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 Lehmann

    [More]  ⦿

    Andreas Münch
    [Buro Lazer]

    [More]  ⦿

    Andreas Preis

    Berlin-based illustrator and graphic designer, who created the squarish semi-stencil typeface Jongehonden in 2012.

    Behance link. [Google] [More]  ⦿

    Andreas Seidel
    [Type in Berlin]

    [More]  ⦿

    Andreas Seidel
    [astype.de (or: Astype)]

    [MyFonts] [More]  ⦿

    Andreas Siess

    German designer. Dafont link.

    Creator of the free octagonal / mechanical typeface family Amboss (2012), and of the hand-printed 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 Steinbrecher

    Aka Ando Karambo. Illustrator and graphic designer in Düsseldorf, Germany, who designed Samson (2013) and Aquazoo (2014: a rounded sans and paperclip typeface rolled into one; designed together with g31 for the Aquazoo Löbbecke Museum Branding).

    Typefaces from 2016: the non-conformist typeface family Caractère Anal (the name was chosen in reference to people with an anal personality. Some may prefer the equivalent name Caractère Trumpiste), Baechlemeid (a handcrafted typeface for the Bächlemeid architects in Konstanz) and Japanische Populärkultur (stretchable gridded letters). [Google] [More]  ⦿

    Andreas Stötzner
    [SIAS (or: Signographical Institute Andreas Stötzner)]

    [MyFonts] [More]  ⦿

    Andreas Twardzik

    During his studies in Trier, Germany, Andreas Twardzik (b. Schweinfurt) designed the free brush script typeface Hammock (2016). Behance link. Dafont link. [Google] [More]  ⦿

    Andreas Uebele
    [Nice To Type (was: Übertype)]

    [More]  ⦿

    Andreas Wehner

    [More]  ⦿

    Andreas Weygandt

    AW Siam English Not Thai is a free Latin font with a Siamese look, designed by Andreas Wegandt (Germany).

    Fontspace link. Yet another URL. Dafont link. [Google] [More]  ⦿

    Andreas Wohlleben

    Andreas Wohlleben is an illustrator based in Böblingen, Germany. In 2013, he published Wayfinding Sans Symbols (FDI), which has hundreds of wayfinding symbols that can be used with typefaces such as Ralf Herrmann's Wayfinding Sans Pro. [Google] [MyFonts] [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]  ⦿

    Andrew Sinn

    Andrew Sinn is a digital creative from Berlin, Germany. He primarily works in UX / interaction design and additionally in vectors, 3D and game design. In 2019, he published the dancing baseline font family Heraklion. [Google] [MyFonts] [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). It comes with art nouveau ornaments called Paris Serif Ornaments. [Google] [More]  ⦿

    Angela Neubauer

    [More]  ⦿

    Angelo Stitz

    [More]  ⦿

    Angie Biso
    [Type Rookie]

    [MyFonts] [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]  ⦿

    Anissa Carrington

    Wurzburg, Germany-based creator of Kabana (2014), an avant garde sans typeface custom designed for a soccer world championship afterparty. Behance link. [Google] [More]  ⦿

    Anita Jürgeleit
    [Type This Studio]

    [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. Klingspor 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]  ⦿

    Anja Nickel

    Swiss designer of the art nouveau-inspired typeface Voluptan (2020) at HAV Hamburg. [Google] [More]  ⦿

    Anja Udovicic

    Graduate of Banja Luka College, Bosnia. Duesseldorf, Germany-based designer of a great colorful shaded all caps typeface in 2019. [Google] [More]  ⦿

    Anke Arnold
    [Anke Art]

    [More]  ⦿

    Anke Art
    [Anke Arnold]

    Wernau (was: Wendlingen), Germany-based Anke Arnold's free fonts: aa QWERTZ-Tasten (2012: German keyboard font), aa Halftone (2012: texture face), aa Tafelschrift (2012, school font), 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 (2003), 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 (2000), MonkyBusiness, Olympia2000, Samba, Dandelion, Kritzel (2003, scratchy hand), Krystal (2000, snow simulation typeface based on Gill Sans), Nervous, ParryHotter (2001, a Harry Potter blackletter face), 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 Bonk

    Anke got into the type industry while interning at FontWerk in 2010. Since then she worked primarily on font hinting projects before joining the team of Alphabet Type in Berlin in January 2018 as a font engineer. [Google] [More]  ⦿

    Anke Klasen

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


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


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

    Anna Bergmann

    Berlin-based designer of the semi-blackletter typeface Frago (2014). [Google] [More]  ⦿

    Anna Cairns

    Anna Cairns (b. 1989) studied Communication Design at the University of the Arts Berlin, Willem de Kooning Academie Rotterdam and University of Art and Design Karlsruhe. She interned at Magma Design Studio and works as a freelancer designing type, websites, publications and visual identities. In 2016, she created the American signage brush script typeface Acron (Volcano Type). Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Anna Gerstner

    Karlsruhe, Germany-based creator of the following typeface in or just before 2013: Normal, Papercut, Feltpen, Circus (spurred typeface), Be Mine, Scribble 1 and 2 (sketched typefaces). She works as a junior art director. [Google] [More]  ⦿

    Anna London

    Berlin, Germany-based designer of the tweetware font White Pine (2015) and the handcrafted All Good Alchemy (2015). Behance link. [Google] [More]  ⦿

    Anna Mandoki

    [More]  ⦿

    Anna Maria Schildbach

    Designer (b. 1924) at D. Stempel of Montan (1954), a bold condensed titling font. She wrorked at stempel in the 1950s before becoming a teacher. [Google] [More]  ⦿

    Anna Simons

    Scribe, calligrapher and teacher (1871, Mönchengladbach-1951, Prien). From 1896 until 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]  ⦿

    Anna Stoltenberg

    Daughter of URW++'s font software specialist Axel Stoltenberg (Hamburg, Germany). In 2014, Axel and Anna co-designed Three Dee (URW++), a creamy 3d shadow typeface with overlapping letters. The shadows were developed with the Ikarus program. Inspiration came from chalkboard restaurant menus. [Google] [MyFonts] [More]  ⦿

    Anna Szonn

    Graphic designer in Gemmingen, Germany, who created the brush script typeface Mishelle (2017), and several sets of icons such as Clothing Icons and Gold Crown Icons. In 2018, she published Fashionable and Blooming Alphabet. [Google] [More]  ⦿

    Anne Boskamp

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

    Anne Elster

    Hamburg, Germany-based designer of the roundish comic book typeface Picas Proper Hand (2016). Behance link. Dafont link. [Google] [More]  ⦿

    Anne Maraike Czieslik

    During her studies at Middlesex University in London, Anne Maraike Czieslik (b. Germany) designed the decorative typeface Waterbeast (2015). Behance link. [Google] [More]  ⦿

    Anne Pellenz

    At Hochschule RheinMain in Wiesbaden, Germany, Anne Pellenz created the organic sans typeface Dingenskirchen (2015). [Google] [More]  ⦿

    Anne Schotte

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

    Anne Schröder

    [More]  ⦿

    Anne van Ohlen

    During her studies, Anne van Ohlen (Hamburg, Germany) designed the display typeface Alfie (2016). [Google] [More]  ⦿

    Annelena Grascht

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

    Annemarie Weber

    Berlin-based designer of Doodle Type (2017). Behance link. [Google] [More]  ⦿

    Annette C. Disslin

    German letterpress and metal type shop located in Waeschenbeuren, Germany, and run by Annette C. Disslin. The shop is called manufaktur Papiergebunden. [Google] [More]  ⦿

    Annette Ludwig

    Director of the Gutenberg Museum. In 2016, Petra Eisele, Annette Ludwig and Isabel Naegele published Futura: Die Schrift (in German). The English version Futura: The Typeface (Laurence King) followed in 2017. [Google] [More]  ⦿

    Annette Wüsthoff

    German designer at xplicit Berlin. Codesigner of Brush Poster Grotesk (2017, a fun semi grungy typeface designed for the children's exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk and Mascha Wansart) and Manuel Viergutz; loaded with glyphs and decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, catchwords and decorative ligatures). [Google] [MyFonts] [More]  ⦿

    Annie Cuellar

    Creator of the free fat finger fonts Raquel (2014), ABCP (2014), Dwarf Runes (2014) and Annie (2014). [Google] [More]  ⦿

    Annika Mechelhoff

    German designer of a few experimemtal typefaces in 2017 such as Futura Zensur, Futura Fragment and Futura Echo. [Google] [More]  ⦿

    Ann-Kathrin Englisch

    German designer of a straight-edged stick typeface in 2019. [Google] [More]  ⦿

    Annkathrin Haberland

    Graphic designer in München, Germany, who created the squarish typeface family Scarabaeus (2017) based on the shapes of insects. [Google] [More]  ⦿

    Ann-Sophie Webering

    German graphic designer. Creator of the fat finger font Boldbolder Hand (2020). [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]  ⦿

    [Chris Corrado]

    German designer of the retro futuristic typeface family Taranto (2020). [Google] [MyFonts] [More]  ⦿

    Antje Driemeyer
    [Driemeyer Design]

    [MyFonts] [More]  ⦿

    Antje Wolf

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

    Anton Bohlin

    Berlin, Germany (was: Jamtland, Sweden)-based designer (b. 1988) of Rub My Soap (2015, a free animated font), Runkmuskel (2011, hand-printed), Woodwarrior (2013, a hipster typeface with runic influences), tweetware hipster typeface), Wasteland (2014, a tweetware brush typeface advertized as post-apocalyptic), and PXLPLZ (2012, pixel face).

    Dafont link. Behance link. Open Font Library link. [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 typefaces, 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 typeface FF Koberger for Fontfont.
    • Ernst H. Wulfert created a blackletter typeface 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).
    [Google] [MyFonts] [More]  ⦿

    Anton Koovit

    [MyFonts] [More]  ⦿

    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 and Neuchatel, Switzerland.

    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, GQ Baton (b Anton Koovit and Yassin Baggar), U8 (2010: a grotesk family based on lettering in the Berlin underground), Arvo (2010: a free slab serif family at Google Font Directory, co-designed with Yassin Baggar). Anton Koovit and Yassin Baggar offer a new take on U8 in their UCity typeface family (2019).

    Experimental typefaces by him include Kork Sausage, Boudo (collage alphabet), Planton, Velo (geometric).

    Allan (2010) and Arvo are free at the Google Directory.

    Fontsquirrel link. Behance link for Fatype. [Google] [MyFonts] [More]  ⦿

    Anton Krause

    Hamburg-based designer of the steampunk font Steamjunk (2014). [Google] [More]  ⦿

    Anton Nevin

    Hamburg, Germany-based web and graphic designer. In 2017, he created the squarish typeface Bricker. Behance link. [Google] [More]  ⦿

    Anton Schilli

    German designer who studied at FH Trier. Creator of Line Ultralight (2011, a hairline monoline sans). Dafont link. [Google] [More]  ⦿

    Antoni Tudisco

    Hamburg-based designer of Cleptotronik (2012), a 3d visual effects caps alphabet.

    Behance link. [Google] [More]  ⦿

    Antonia Cornelius

    German type and communication designer, lecturer and researcher with a special interest in legibility and readability (b. 1989). She obtained a Bachelor's in communication design with Jovica Veljovic at Hamburg University of Applied Science, where her thesis was entitled The Letters in my Head. What Creatives should know about reading processes in order to design joyful reading experiences. She also did a Master's with Veljovic, which led to her Legilux typeface family (a transitional serif with optical sizes as well as a sans serif) and further research on legibility. She graduated in 2017. Antonia joined Dutch Design in 2017 and extended the FF DIN family to FF DIN Slab. Furthermore, she re-engineered the whole FF DIN family itself to make variable fonts; she also added Bulgarian Cyrillic and other characters; finally, she also made FF DIN Stencil into a functional three axis variable font. Since 2018, she teaches type design at Muthesius University of Fine Arts and Design in Kiel.

    Her typefaces:

    • Legilux (2016). A transitional serif with optical sizes as well as a sans serif developed during her Masters studies at Hamburg University of Applied Science.
    • FF DIN Slab (2022). With Albert-Jan Pool.
    • FF DIN Slab Variable (2022). With Albert-Jan Pool.
    • FF DIN Stencil (2022). With Albert-Jan Pool and Achaz Reuss.
    • FF DIN Stencil Variable (2022). With Albert-Jan Pool and Achaz Reuss.
    • FF DIN Paneuropean (2022). With Albert-Jan Pool, Achaz Reuss, Aleksei Chekulaev and Panos Haratzopoulos. See also and FF DIN Paneuropean Variable (with Achaz Reuss, Aleksei Chekulaev, Albert-Jan Pool and Panos Haratzopoulos).

    Antonia Cornelius won the People's Choice award for Legilux in 2016 at the Morisawa Type Design Competition 2016.

    Speaker at ATypI 2018 in Antwerp on the topic of legibility: Typeface designers Antonia Cornelius and Björn Schumacher conducted a preliminary study for their final master's projects. They set up a reading-speed test by reverting to well-tried test material, which they set in their new typefaces Legilux and Text Type as well as the common Walbaum Standard. Focusing on the effect of the optical scaling method, the typefaces were tested in two sizes: 1.5 mm and 1 mm x-height. The results tend to show a positive effect for optical adjustments in type designs. [Google] [MyFonts] [More]  ⦿

    Antonia Huber

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

    Antonia Schön

    At Hochschule RheinMain, Wiesbaden, Germany-based Antonia Schön designed Morsch (2018), an interesting typeface that combines the angularity of blackletter with the primitive nature of wood type. [Google] [More]  ⦿

    Anya D

    Berlin, Germany-based designer of Mamma Mia (2017). [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]  ⦿


    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). He also designed about ten clean old typewriter fonts such as Old Typewriter EF Regular, 1990. Other fonts include the ultra-thin Spirit EF, Imprimeur Classique (1989, a computer modern face), Scripture (1990, handwriting).

    Sokolowski founded 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 One, Concept Two, 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: not clear idf this is supposed to be a dada typeface), 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.

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

    Apply Interactive

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

    MyFonts offers these fonts: Arston Stencil, Caslon Fina Stencil, Reedon Stencil, Western Stencil, Stencil Antiqua, Advera Stencil, Glaser Stencil, Rounded Stencil, Bank Stencil, Tea Chest Stencil, Lasertac Stencil, Geometric Stencil, Walton Stencil, Ferro Stencil, Serpentine Stencil, Chico Stencil, La Pina Stencil, OCR-A AI (Apply Interactive). [Google] [MyFonts] [More]  ⦿

    [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]  ⦿


    Type foundry in Germany. [Google] [MyFonts] [More]  ⦿


    Archetypo.xyz was set up in 2020 by Joaquin Contreras and Miguel Hernandez Montoya, South American type designers based in Germany. Their typefaces:

    [Google] [MyFonts] [More]  ⦿

    Ari Hausel

    [MyFonts] [More]  ⦿

    Ariane Spanier

    German designer who created some typefaces including Spanari. Interview. [Google] [More]  ⦿

    Arif Demir

    Designer and illustrator first based in Hannover and later in Munich, Germany. His creations include the sans typeface Edelmann (2013), which according to him was created as a blend of Futura and DIN. This font was created at Hochschule Hannover under the guidance of Florian Schick and Walter Hellmann. Behance link. Cargo Collective link. [Google] [More]  ⦿

    Armin Brenner

    Partner of Markus John at New Letters, a German design and typography studio cofounded in 2015 by both. In 2013, they co-designed Tilde (2013) and Meriva (2015). Armin also designed Voltaire (2014).

    In 2017, Markus John and Armin Brenner designed the high-contrast display and headline antiqua serif typeface Freya and published New Mériva Mono.

    In 2017, Markus John and Armin Brenner released their take on Helvetica / Neue Haas Grotesk, called Anais. Like Helvetica, it has horizontal / vertical terminals, but the x-height of Anais dominates.

    In 2021, they released the ink-trapped display typeface Kjell. [Google] [More]  ⦿

    Armin Retzko

    German designer of QuasariaLL Regular (1994), a font with really illegible extra-condensed characters.

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

    Arne Freytag
    [Fontador (was: Arne Freytag)]

    [MyFonts] [More]  ⦿

    Arne Götje
    [CJK Unifonts]

    [More]  ⦿

    Arne Meyer

    Berlin-based designer who studied at Hochschule Hannover. In 2016, he created DIN Blind (2016) which is a monospaced DIN adapted to Braille. It follows the E-DIN 32976 norm for tactile writing. [Google] [More]  ⦿

    Arno Drescher

    Type designer (b. Auerbach, Germany, 1882, d. Braunschweig, 1971) who studied at the Akademie für Kunstgewerbe in Dresden, and became professor there in 1920. During World War II, Arno Drescher was director of the Akademie für graphische Künste und Buchgewerbe in Leipzig. After a period as freelance designer, he finally moved to Braunschweig in 1960.

    Drescher is best known for his large geometric Super Grotesk family (Schriftguss, 1930). The list of his typefaces:

    • Appell (1933, Schriftguss).
    • Arabella (1936, Ludwig Wagner) and Arabella Favorit (1939, Ludwig Wagner). A cursive pair of typefaces. Digital revivals include Arabella (ca. 1999) by Dieter Steffmann and Arabella Pro (2006) by Ralph M. Unger.
    • Drescher Eilschrift (1934, Wilhelm Woelmer).
    • Drescher Versalien (1927, Schriftguss). Aka Drescher Initials. An open lineale titling typeface.
    • Duplex (1930, Typoart and 1937, Schriftguss). An all caps inline typefaces.
    • Energos (1932, Schriftguss). An early brush script. Revived by Ralph M. Unger in 2008 as Energia Pro (2008).
    • Fundamental Grotesk (1938-1939, Ludwig Wagner) and Fundamental Kursiv. In several weights.
    • Helion (Schriftguss, 1935, and Fonderie Française, 1935, a 3-d shaded outline font). Digitally revived by Ralph M. Unger in 2020 as RMU Helion.
    • Manutius Antiqua (1935, Ludwig Wagner), Manutius Kursiv (1935, Ludwig Wagner). This typeface is idenitical to Johannes Wagner's Antiqua 505 (1955).
    • Milo (1940, Schriftguss). A shadow typeface.
    • Onyx (1936, Schelter & Giesecke). A multiline art deco titling typeface.
    • Schreibmeister Kursiv (1958, at Ludwig Wagner). A formal cursive font. Schreibmeister (2021) is Ralph Unger's interpretation.
    • Super Grotesk (1930, Schriftguss). This geometric typeface family was revived at FontShop in 1999 by Svend Smital as FF Super Grotesk, and at Bitstream in 2001 by Nicolai Gogoll as Drescher Grotesk BT. Super Grotesk Schmalfett (1933) was revived in 2020 by Ralph M. Unger as RMU Gong.
    • Super Blickfang (1932, Schriftguss), Super Elektrik (1931, Schriftguss), Super Reflex (1931, Schriftguss). For a digital revival, see FF Super.

    Klingspor link. [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 Erin

    German lettering artist. Designer of the felt pen and marker font Dahlia (2020). [Google] [MyFonts] [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.

    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).

    Revivals of their typefaces, blends between humanist and blackletter, include:

    [Google] [MyFonts] [More]  ⦿

    Arnold ter Hoernen

    German printer, based in Köln, active from 1470 until 1483. Aka Arnold Therhoernen, Arnold ter Humen and Arnold Horn. Aka Arnold Therhoernen, Arnold ter Humen and Arnold Horn. Born in Hoorn (Zuidersee), he died in Köln in 1483 or 1484.

    In 2013, Shane Brandes created a typeface, Therhoernen, named after him. [Google] [More]  ⦿

    Arthur Eisenmenger

    Despite contradictory claims by the European politicians like Jacque Santer, then president of the European Commission, the Euro symbol was first designed (in 1973 and 1974) by a German designer, Luxembourg-based euro-fanatic, Arthur Eisenmenger (b. 1914, Basel, Switzerland; d. 2002, Eislingen, Germany), who was the former chief graphic designer of the European Community until his retirement in 1974. 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. The European commission claimed that it was chosen in December 1996 after an internal competition headed by Yves Thibault de Silguy. [Google] [MyFonts] [More]  ⦿

    Arthur Ersosi

    During his studies at HSNR, Arthur Ersosi (Krefeld, Germany) designed the beautiful ultra-black humanist sans typeface Roy Black (2013). In 2015, he designed the loud advertising typeface Rabenstein Ultra (2015). [Google] [More]  ⦿

    Arthur Pestner

    German type designer, who created the blackletter headline typeface family Deutsche Reichs-Schrift (1915, Wilhelm Woellmer). Other weights: Fett (1915), Schmal (1924), Eng (1919), Schmalfett (1924), Schmalhalbfett (1917). [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

    German punchcutter. Designer at Ludwig&Mayer of the blackletter typeface Werbekraft (1926) and of the script typeface Mammut (or Werbeschrift Mammut) (1927; see also L. Wagner in 1928 and 1932). At Schelter & Giesecke, he published Ambra (1924). At Lettergieterij Amsterdam, he created Schaduw Capitals (1919).

    Revivals include Schulze Werbekraft (Peter Wiegel, 2017) and WF Neue Werbe Kraft (Oliver Weiss, Walden Font, 2016-2017). [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]  ⦿

    Arthur Smit

    Berlin, Germany-based designer of the free geometric poster typeface Metrika (2019). [Google] [More]  ⦿

    Artill (or Artill Typs)
    [Lukas Bischoff]

    Artill is Lukas Bischoff's foundry in Aachen (and before that, Trier), Germany, est. 2009. Lukas is a stylist and designer based in Trier. He created Sketch Rockwell (2008), one of the nicest sketched style fonts anywhere.

    Commercial typefaces 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.

    Typefaces from 2012: Zwodrei, Kurt (a hand-printed typeface), Artill Weather Icons (free).

    In 2014, together with Sascha Timplan at Stereotypes, he created the athletic lettering typeface family Atletico. See also here.

    In 2016, Sascha Timplan and Lukas Bischoff published the handsome sans typeface family Golden Sans. In 2016, Fargus Meiser and Lukas Bischoff co-designed Paul Grotesk and Paul Soft. In 2018, they added Paul Slab and Paul Slab Soft. In 2021, they released Paul Grotesk Stencil.

    Behance link. Blog. Old URL. Klingspor link. Abstract Fonts link. Dafont link. Behance link. [Google] [MyFonts] [More]  ⦿

    Artur Tenczynski

    , Hamburg, Germany and Stockholm, Sweden-based designer of the decorative typeface Indian Summer (2015) and the 3d number font FC (2019). [Google] [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 Scheuerhorst

    Hamburg-based lithographer (b. 1967). FF Call is her first font: it is a family of pixel fonts made in 2000.

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

    Astrid Zellmann

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

    astype.de (or: Astype)
    [Andreas Seidel]

    Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975, bad saarow, near Berlin, Germany). He lives in Cottbus, Germany. In 1998, he obtained a Masters degree in business administration. In 2007, he and Ingo Preuss set up The German Type Foundry. In 2017, he joined the initial crew at Fust & friends. 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 typefaces 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 typeface based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
    • 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 typeface 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). This has astroligical symbols, moon phases and medieval characters.
    • In 2005, the exquisite calligraphic script typeface 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). A revival of Otto Arpke's Arpke Antiqua (1928, copperplate).
    • 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. See also Secca Soft (2014) and Secca Stencil (2015).
    • 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 hand-printed poster face.
    • Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
    • Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
    • VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76, VTG Stencil Germany No. 101 (2014, modeled after historic blackletter stencil plates from Bavaria), and VTG Stencil US No. 72 followed in 2014. In 2016, he added Vtg Stencil DIN.
    • VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.
    • Wood Poster Eight (2015) is a free wood type slab serif.
    • Alea Initials (2017, floriated caps).
    • Wood Bonnet Grotesque No 4 (2017).
    • The Vtg Stencil France series (2017) in substyles Vtg Stencil France No1, Vtg Stencil France No3 and No. 5.
    • The expressionist typeface Alarm (2017, Fust & Friends), which is based on an old design of Heinz König also called Alarm (1928, at Trennert).
    • Presto (2017, Fust & Friends), a revival of a script by Helmut Matheis (1970).
    • Vtg Stencil Italy No2 (2018).
    • Rocaie (2018). Decorative caps base on antique rococo letters from a gilding workshop.
    • Wood Heinz No.4 (2019). Wood Heinz No.4 offers up to four printed look variations of all the Latin base letters and figures. An OpenType letter rotator is programmed into the fonts to emulate the randomness of wood type printing. Also: Wood Heinz No.2 (2019).
    • Missale Solis (2019). An uncial typeface that overhauls Missale Lunea (2004).
    • Vtg Stencil UK No2 (2019).
    • Vtg Stencil Marsh (2020). Based on one inch stencils, cut by a Marsh machine. Marsh was an American stencil machine maker in the 1920s.
    • Bonnet Grotesque Narrow (2020). A condensed grotesque family.

    Behance link. Creative Market link. Fust & Friends link. Klingspor link. Home page. See also here.

    View Andreas Seidel's typefaces. [Google] [MyFonts] [More]  ⦿

    Atelier Carvalho Bernau
    [Kai Bernau]

    Foundry and studio run by Susana Carvalho and Kai Bernau (see also his Letterlabor site), located in Den Haag, The Netherlands, and established in 2005.

    Kai Bernau (b. 1978) studied graphic design at the University of Applied Sciences Schwabisch Gmünd in Germany before relocating to the Netherlands, where he graduated from the Design & Typography course of the KABK in The Hague in 2005 with his successful Neutral Typeface project. He continued in the KABK's Type and Media Master course where he graduated in 2006. Since 2011, Kai teaches type design in the Master in Art Direction program at ECAL in Lausanne, Switzerland. In 2005, Susana Carvalho and Kai Bernau formed Atelier Carvalho Bernau, which is based in The Hague, The Netherlands.


    • In 2010, they published the free titling grotesk Jean-Luc (Godard), inspired by the movie titling in (1967). Bernau writies: We did not find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself. Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time's more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street: We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle, a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography. We learned about the PDU through Eric Kindel's article in Typography Papers 7. In 2009, then-Werkplaats Typografie student Dries Wiewauters surprised us with a revival of the Plaque Découpée Universelle. Below, the JeanLuc alphabet (white) and the PDU alphabet (blue), to show similarities and differences.
    • Lyon Text and Lyon Display (2005-2010). These are two text families done at Commercial Type. They say: Lyon is a suite of contemporary reading typefaces for modern publications, based on historical models of the 16th century punch cutter Robert Granjon. Lyon reflects our convictions about modern digital typeface design: A decisively digital outline treatment that reveals our modern repertoire of tools, and the typeface itself as a modern design tool, paired with a certain Times-like unobtrusiveness in the Text sizes, contrasts nicely with Lyon's 16th century heritage.
    • Neutraface Slab (2007-2009, art directed by Christian Schwartz and Ken Barber). The slab of the famous Neutraface family at House Industries, designed by Christian Schwartz, Kai Bernau and Susan Carvalho: Neutraface Slab Text, Neutraface Slab Display.
    • Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque picked it up. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts.
    • Custom typeface Munich Re (2008-2009) for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam).
    • Custom typeface Harvard Museum Neutral (2008).
    • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. See also Atlas Typewriter (2012, Commercial Type). Originally designed as a corporate typeface for Munich Re, it became a retail font. A Cyrillic version was added by Ilya Ruderman in 2020.
    • The custom typeface Proprio (2007-2009) for the Fabrico Proprio project. This is a willfully bare-bones grotesk family without any snootiness.
    • In 2016, Susana Carvalho and Kai Bernau published Algebra (Commercial Type): Algebra evolved from Granger, a headline typeface designed by Susana Carvalho and Kai Bernau for the US edition of Esquire. Algebra is a broad-shouldered slab serif typeface built on superelliptical forms. Its loose spacing gives a remarkably comfortable texture in text, and its crisp detailing gives a distinctive and serious feeling at display sizes, particularly with some negative tracking. Algebra references Adrian Frutiger's Egyptienne, Georg Trump's Schadow, and Hermann Zapf's Melior.

    Klingspor link. [Google] [More]  ⦿

    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]  ⦿

    Atelier Vonau
    [Bernd Vonau]

    Mosbach, Germany-based designer of Mibelle (2015), Edmond Bold (2015), Brad Bold (2015, brush font), Josia (2015, handcrafted by a child), Palm Script (2015, curly font), Sarayon (2015, fat crayon script based on daughter Sarah's handwriting), Friday Script (2014), Vector Font No 5 (2015), Jekyde Bold (2015, fat brush font), Inkje Italic (2015, brush),Bbambink (2015) and Bambist Condensed (2015, hand-made with bamboo pen and ink).

    Typefaces from 2016: Miller Mini, Palim (grungy curly script), Mondeen, Mondeen Condensed.

    Typefaces from 2017: JuliMoon. Creative Market link. [Google] [More]  ⦿

    Athos Santiago

    Essen, Germany-based designer of the sports font Born & Bred (2019), which is being used for athletic gear by Decathlon. [Google] [More]  ⦿

    Atlas Font Foundry
    [Christoph Dunst]

    Berlin-based foundry, est. 2012 by Christoph Dunst.

    Creators of Novel Mono (2012, Christoph Dünst), Novel Sans (2012), Novel Sans Rounded (2012), and Novel Sans Condensed (2012), Novel Sans Office Pro (2013), Novel Sans Hair Pro (2014), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013), Heimat Didone (2014: a 72-style family of high-contrast didones; some styles should be useful for fashion mags), Heimat Display (2015: characterized by an inverted tail of the y), Novel Display (2017), Edit Serif Pro (2017), Edit Serif Cyrillic (2018), Edit Serif Arabic (2018).

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

    Atlier Hurra
    [Thomas Witte]

    Thomas Witte (Atlier Hurra, Berlin, Germany) created the dingbat typeface Hurra verve in 2014. Another URL. Behance link. [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]  ⦿

    [Axel Pfaender]

    Free fonts at the German outfit Augenbluten (Mac only): Poprock, Destroy Dingbats, Menace, Destroy Gotisch (Fraktur), Excellence (multiline font), Augmented, Maschinen (octagonal), 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

    Punchcutter 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, as well as at Conner Type foundry, and at Bruce Type foundry after his emigration to the USA in 1868. In Germany, he was a punchcutter at Flinsch and from 1864-1868 at Haas in Basel.

    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 typeface 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."

    His typefaces: Bruce No. 11, No. 13 and No. 21 (Bruce Type foundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following typefaces published at Farmer, Little & Co: Card Gothic (1893), Gotham (ca. 1890), Lightface, Old Style No. 5 (ca. 1887), Old Style No. 5 Italic, and No. 6, 15, 17, 18, 20 21, 22 and 23. [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

    German creator of the display typefaces Piehler Schrift (1922) and Piehler Kursiv (1923) at Schriftguss AG vormalich 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]  ⦿

    Augusto Siccardi

    Graphic designer at Brrrands in Berlin, Germany. In 2017, he designed the free display sans typeface Ascardi Sans and writes: Ascardi Sans is a retro display font with a touch of murkiness to it. Inspired by American advertising, Italian posters, logos and signs from the 1960s until late in the 20th Century. This typeface is designed for headlines, posters, and corporate identities. The characters were originally hand drawn with a Parallel Pen. Ascardi was conceived as a timeless font. Behance link. [Google] [More]  ⦿

    Aurelian Hallhuber

    German type and graphic designer. He used Morse code in the creation of the experimental typeface New Samuel (2012). [Google] [More]  ⦿

    [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).

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

    [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 Obsession A through F (2012, a penmanship typeface family), Pigalle Swing (2012), 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 typefaces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style typefaces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script typefaces 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]  ⦿

    Avila Tiu

    As a student at HMKW Köln, Avila Tiu designed the modular 3d typeface Paige (2017). [Google] [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.

    In 2012, he published FF Videtur, together with Andreas Frohloff: The concept for FF Videtur is based on bitmap fonts Axel Bertram created for the state television broadcaster in East Germany (GDR Television) during the 1980s. Thorough research and testing led to the creation of an open, functional serif typeface with alternating contrast. Freed from yesteryear's technical restrictions, the new FF Videtur was entirely redrawn while keeping the best characteristics of the earlier forms. Despite its workmanlike appearance at first glance, its warm character is undeniable. The reasons for this are its modest stroke contrast; the open, clearly differentiated letterforms; the relatively short and rounded wedge-shaped serifs; and the consistent rhythm it sets in lines of text.

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

    Axel Peemöller

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

    Axel Pfaender

    [More]  ⦿

    Axel Stoltenberg

    German Ikarus program developer at URW++. He was also part of the team that developed the font software program DTL OT Master, which was programmed at URW++ in Hamburg, Germany. The team comprised Dr. Juergen Willrodt, Axel Stoltenberg, Hartmut Schwarz, Peter Rosenfeld and Frank E. Blokland, with Karsten Luecke as advisor and also author of the OTM manual.

    In 2014, Axel and his daughter Anna Stoltenberg co-designed Three Dee (URW++), a creamy 3d shadow typeface with overlapping letters. The shadows were developed with the Ikarus program. Inspiration came from chalkboard restaurant menus. [Google] [MyFonts] [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]  ⦿

    B. Wichmann

    German web developer. FontStructor who made Eldsie (2012). [Google] [More]  ⦿

    [Simon Becker]

    Berlin-based designer Simon Becker (aka B2302) created Legere (2012, HypeForType). It has Light, Regular and Deco styles.

    In 2013, with Federico Neeva Orrù, he created a versatile octagonal multiline display family, Vasarely, named after optical artist Victor Vasarely.

    In 2014, Simon designed the manicured sans typeface family Helado together with Sabrina Ekecik and Benjamin Campana. Vagtur (a tweetware hybrid of VAG Rounded and Fette Fraktur) was co-designed with Sabrina Ekecik.

    In 2016, he designed the deco typeface Twokes.

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

    Bad Taste Design
    [Bianca Schlich]

    German creator of the spurred typeface Biker Diamond (2017) and the tattoo fonts Bad Sailor (2018), Sailors Diary Sans (2018) and Sailors Diary Title Slab (2018). Graphicriver link. [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 Graphic Design Today
    [Sebastian Bissinger]

    BANK is a French/German design agency based in Berlin, led by Laure Boer and Sebastian Bissinger. It marketed its fonts through T-26, starting in 2009, but later switched to Colophon. In 2009, Sebastian Bissinger and Matthieu David made the display typefaces Sintra and Yummy. Sintra is a 3d typeface 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.

    Laure Boer and Sebastian Bissinger published their all caps license plate font Guida at Colophon Type Foundry. Guida is based on an Italian license plate that was in use some time between 1980 and 1990. [Google] [More]  ⦿

    Baptiste Stecher

    Berliner who designed Termino511 (2011) during his studies at the University of Applied Sciences Potsdam. Behance link. [Google] [More]  ⦿

    Barbara Cain

    Born in 1954 in Löpten, Germany, Barbara cain studied at the Hochschule für Grafik und Buchkunst in Leipzig. Designer at Typoart of Fetta Antiqua and Schmallfette Antiqua, two didone typefaces. [Google] [More]  ⦿

    Barbara Klingenberg

    Flensburg, Germany-based designer of the potato print typeface Rue Morgue (2017). [Google] [More]  ⦿

    [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]  ⦿

    Bart Laubsch

    During his studies in Berlin, Germany, Bart Laubsch created the slab serif typeface Ciclotta (2012). [Google] [More]  ⦿

    Bart Stax

    [More]  ⦿

    Bartholomaeus Ghotan

    Bartholomäus Ghotan was the foremost authority on printing liturgical texts in his era. He had previously worked as a priest at Magdeburg (Germany) where he learned about book printing and decided to start a new career. His clerical training made him an expert on the subject of liturgical books and he printed the very first missal, Missale Praemonstratense there in 1479. Ghotan moved to Lübeck and continued to make liturgical books. In 1486 he was invited to Stockholm where he printed several books for Swedish dioceses, including Missale Strengnense. In 1487 he had a disagreement with the government led by regent Sten Sture and returned to Lübeck where he printed Missale Aboense in 1488. Ghotan continued printing books in Lübeck for several years before deciding to open a printing shop at Novgorod in 1493. He probably died in Novgorod in 1494. Some suspect that he was killed in the disturbances caused by the conflict between the Hanseatic League and Czar Ivan the Great but the real cause of death is unknown.

    The letterforms of the digital font Missaali (2016, Tommi Syrjänen) are based on Missale Aboense. Ghotan followed the standard practice of the time and set the missal using textura, a type based on textualis formata that was the prevalent late-medieval script in Germany for the most valuable manuscripts. Thirty years earlier Gutenberg had used the same script for his famous bibles. Missale also has a number of large initials that are mostly set in the Lombardic style. [Google] [More]  ⦿

    Bartholomaeus Zientek

    German designer at Team 505 who is based in Berlin. During his studies, he created the bike-themed font Felge (2012, with David Benski). Behance link. Cargo collective link. [Google] [More]  ⦿

    Basari Design

    Berlin-based studio. Designers of the icon font The Earth (2016). Creative Market link. [Google] [More]  ⦿

    Basil Boyacos

    Berlin, Germany-based designer of the free weathered blackletter typeface family Au (2018). [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.

    The French bâtarde (bastarda) became popular in France under the patronage of Jean, Duc de Berry, 1340-1416, and remained popular well into the 1600s. It is largely similar to Schwabacher although Schwabacher shows the (unreadable, U-like) open capital A that bâtarde avoids, as a rule.

    There are many digital Schwabacher typefaces. 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 typefaces published by the Bauersche Giesserei (and I added a few more):

    • Flinsch Privat, 1919
    • Renata, 1914. Digital revivals as renata by Gerhard Helzel, and later by Peter Wiegel.
    • Bernhard Fraktur, 1913-22
    • Frankfurter Fraktur, 1905 / after 1911 renamed to Flinsch Fraktur
    • Flinsch 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
    • Enge Gotisch (1880). Digital version by Gerhard Helzel done in 2008.
    [Google] [More]  ⦿

    Bauersche Giesserei: Hauptprobe in gedrängter Form der Bauerschen Giesserei

    Type specimen book by Bauersche Giesserei published ca. 1915. Open Library link. Archive.org link. Local download. Local download, colored version [27MB].

    An earlier and more volumunous book of specimens is Hauptprobe der Bauerschen Giesserei in Frankfurt am main und Barcelona (Frankfurt am Main, 1907). [Google] [More]  ⦿

    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, 1910-1912], 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, 1931; 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 typefaces 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, aka Wieynck Cursive). Other typefaces: 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 (1931), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen (1902), Jubilaeums Antiqua (1902), Victoria Antiqua (1902), Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), Enge Gotisch (ca. 1880: digital version by Gerhard Helzel), 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). Some of their vignettes were captured in Dieter Steffmann's Schluss Vignetten (2002). 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
    [Walter Gropius]

    The Bauhaus school was founded in 1919 by Walter Gropius. It was based in Weimar (1919 to 1925), and then in Dessau (1925 to 1932), and finally in Berlin (1932 to 1933), before it was closed by the Nazi regime. Its directors were Walter Gropius (1919-1928), H. Meyer (1928-1930) and Mies Van der Rohe (1930-1933).

    The Bauhaus movement, which cut almost everything to its bare minimum and naked essentials, influenced art, architecture, graphic design, interior design, industrial design, and typography. Its typographical masters included Josef Albers (who made Kombinationsschrift in the 1920s), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy.

    Among the digital representatives, we note ITC Bauhaus (1975, Ed Benguiat and Victor Caruso), BH Geometric 572 (Bitstream), P22 Bayer, R790 (Softmaker), and Dessau (by Gábor Kóthay).

    Penela's pages on Bauhaus. Jürgen Siebert on Bauhaus.

    Brief bio of Walter Gropius, the founder: Born to a family of architects, he himself studied architecture in Munich from 1903-1904 and in Berlin from 1905-1907, and worked for Peter Behrens until 1910. In 1919, he founded the Bauhaus School. In Programm des Staatlichen Bauhauses Weimar (1919), he describes a utopian craft guild combining architecture, sculpture, and painting into a single creative expression [Gesamtkunstwerk].

    Wikipedia page. Bauhaus Museum Dessau. Bauhaus Museum Weimar. [Google] [More]  ⦿

    bBox Type
    [Ralph Oliver du Carrois]

    Berlin-based type foundry run by Ralph du Carrois and Anja Meiners. Their friends are Jenny du Carrois, Natalie Rauch, Mark Froemberg, and they cooperate with Erik Spiekermann, FontShop, Monotype, (URW)++, Adam Twardoch, Alphabet Type, Okan Tustas, The Fontpad, TN Typography, Mota Italic, Akaki Razmadze, Hasan Abu Afash, Fontef, Lettersoup, and Thomas Maier. As of 2018, their typefaces include:

    • ABeZeh (2016). A school book font family by Anja Meiners.
    • Belbo (2016). A sans by Ralph du Carrois.
    • FingerPaint (2015). By Ralph du Carrois.
    • Fira Sans (2012-2018). By Carrois and Spiekermann, who explain this famous open source typeface: Born in 2012 in close cooperation with Erik Spiekermann. Fira Sans, the little sister of Meta---Erik's famous and worldwide well known typeface. Fira Sans was originally designed as a typeface for the Mozilla OS, Fira Sans has developed towards a standalone OpenSource project. After Mozilla withdrew from the project, we integrated small bug fixes and several requests for the 4.3 release. Additionally, Fira now offers localised features for Hungarian, Serbian, Macedonian and Bulgarian. Especially the locl BGR, which was designed in cooperation with Bulgarian type designers Botio Nikoltchev and Vassil Kateliev, is a real treat. The free typeface family Trujillo (2019) is a fork (a small modification) of Fira Sans by bBox Type GmbH, Carrois Corporate GbR and Edenspiekermann AG.
    • FiraGO (2012-2018). A (free) outgrowth of Fira Sans: In 2016, the geo data provider Here chose Fira Sans as their corporate typeface. Their need for a broader language coverage especially in map applications led them to commission us with a global script extension. Thanks to our great team of designers, consultants and technicians, the project was completed by 2017. Based on the Fira Sans 4.3 glyph set, FiraGO now supports Arabic, Devanagari, Georgian, Hebrew and Thai.
    • Gintronic (2016). A programming font by Mark Froemberg.
    • Gute (2018). A rounded sans by Ralph du Carrois and Anja Meiners.
    • Krikikrak and Krikikrak Dingbats (2016). By Jenny du Carrois.
    • Lonne (2017). By Natalie Rauch.
    • Mamotschka (2017). By Anja Meiners based on her mother's handwriting.
    • Midori (2018). A rounded sans by Ralph du Carrois.
    • Neue Galerie (2017). By Ralph du Carrois who explains: In 2010, together with Anja Knust, we reworked Mies van der Rohe's sketches of the typeface Allzweck. During this interesting and historical project we had to carefully consider when to stick to the original and when to optimise it typographically. See also du Carrois's Allzweck (2012).
    • Quist (2016). A contemporary gothic sans by Ralph du Carrois.
    • Raikka (2016). By Natalie Rauch.
    [Google] [More]  ⦿

    Bea Stach

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

    Beata Babinska

    Graphic artist in London. Designer of the face-themed typeface Graphic Face (2017). [Google] [More]  ⦿

    Beatrice Davies

    Bio copied from Fust & Friends, a foundry set up in 2017 by Jan Middendorp in Berlin: Beatrice Naomi Davies grew up in Acquapendente, Central Italy, but as a young girl spent two years in New York and two years in Seoul, South Korea, where her grandmother lived. She attended IISAC art high school in Orvieto, Italy. In 2010 she attended the School of Visual Arts of New York, NY. She moved to Berlin in early 2012. [...] She combines her illustration work with animation, theatre, branding, logo design and hand-lettering. She became MyFonts' principal illustrator and portrayed dozens of type designers. Noticing her stylistic versatility, Fust & Friends invited her to contribute a set of dingbats and illustrations compatible with Minjoo Ham's Teddy script---which became the Teddings font. Teddings (2017) was fontified by Andreas Seidel and Minjoo Ham. [Google] [MyFonts] [More]  ⦿

    Beautiful New Fonts
    [Igor Petrovic]

    Facebook group that announces new fonts, run by Igor Petrovic (Berlin). The last post was in 2017. [Google] [More]  ⦿


    German designer of the hand-printed typeface Ed Snowden (2014). [Google] [More]  ⦿

    [Bruno Jara Ahumada]

    Santiago, Chile-born type designer who graduated from Universidad de Santiago de Chile in 2015 and 2016. After work at the Museo de Arte Contemporaneo and Museo Nacional de Bellas Artes, he joined the Latinotype foundry in Santiago. He moved to Konstanz, Germany and set up his own type foundry, BeJota in 2021.

    In 2016, Bruno Jara Ahumada, Alfonso Garcia, Luciano Vergara, Daniel Hernandez and the Latinotype Team designed the roman square capital headline typeface family Assemblage.

    With Luciano Vergara, he designed the angular Jurassic park style typeface Los Lana Niu (2016).

    In 2018, inspired by Herb Lubalin's ITC Serif Gothic, Jorge Cisterna and Bruno Jara co-designed the layerable font family Lumiere at Latinotype.

    Typefaces from 2019: Galeria (Latinotype: a monoline slab serif typeface inspired by modern art gallery buildings, museums and cultural centers where organic forms and straight lines predominate).

    In 2019, Jorge Cisterna and Bruno Jara developed the vintage layerable typeface Blackberry (Los Andes). Blackberry is inspired by vintage packaging and old fashion ads. It has woodtype characteristics such as angular serifs, and light and diagonal curves.

    Typefaces from 2020: Diablito One (a two-font and four dingbat-font package by Rodrigo Araya Salas and Bruno Jara Ahumada), Galpon Pro (a great vernacular signage and/or comic book typeface for Latin, Greek and Cyrillic; with Rodrigo Araya Salas), Skippie (a comic book family by Andrey Kudryavtsev, Rodrigo Araya Salas, Bruno Jara Ahumada and Franco Jonas, and four sets of dingbats including Skippie Monster Lucha Libre and Skippie Monster Halloween).

    Typefaces from 2021: Rhein (an 18-strong rounded monoline sans family with a gorgeous inline style), Loyola Next (a 14-style sans by Rodrigo Araya Salas and Bruno Jara Ahumada), Showcase Sans (as part of a custom job for Vino Licensioso; this project includes sexy icons), Konstanz (an 8-style Bauhaus-inspired sans family), Picaflor (a titling or children's book typeface by Rodrigo Araya Salas and Bruno Jara Ahumada), Picaflor Soft (a fine national park or children's book family of organic sans fonts by Rodrigo Araya Salas and Bruno Jara Ahumada).

    Typefaces from 2022: Garvo and Garvo Poster (6 styles each; based on old Hollywood movie posters, vintage film credit designs; Garvo pays homage to Herb Lubalin's Serif Gothic font and is named after Greta Garbo). Linkedin link. [Google] [MyFonts] [More]  ⦿

    [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 Bold
    [Bold Studio (was: Studio BB)]

    [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]  ⦿

    Ben Kothe

    Ben Kothe (Kontur Networx, Germany) created the tape font XuitsFont (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Ben Wittner

    In 2018, Ben Wittner, Sascha Thoma and Timm Hartmann edited Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems (Niggli). Each chapter covers a different language and is written by a graphic designer who is a native speaker of that language. The languages covered are Arabic by Lara Captan & Kristian Sarkis, Cyrillic by Eugene Yukechev, Devanagari by Vaibhav Singh, Greek by Gerry Leonaidas, Hangul (Korean) by Jeongmin Kwon, Hanzi by Keith Tam, Hebrew by Lirion Levi Turkenich & Adi Stern and Kanji/Hiragana/Katakana (Chinese and Japanese) by Mariko Takagi.

    Talib (2004) is a type project of eps51, a Berlin-based graphic design studio founded in 2004 by Sascha Thoma and Ben Wittner. They developed these faux Arabic fonts: Talib Old Style (calligraphic), Talib Kulkufi, and Talib Mohandes.

    In 2020, Pascal Zoghbi (29LT) and Ben Wittner released the monospaced Arabic / Latin typefaces 29 LT Baseet Variable and 28 LT Zawi Variable. [Google] [More]  ⦿

    Benedict Herr

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

    Benedikt Bramböck

    Benedikt Bramböck studied visual communication in Austria and Switzerland and type design in The Hague. He interned and later was employed by Fontshop International in Berlin. Since 2015 he works for Alphabet Type and is part of the team behind Berlin's Typostammtisch. Speaker at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Benedikt Luft

    Talented illustrator and designer in frankfurt, Germany, who created several display typeface for a project called Bergsee (2017). Behance link. [Google] [More]  ⦿

    Benedikt Matern
    [Yung & Frish]

    [MyFonts] [More]  ⦿

    Benjamin Behrendt

    Graphic designer and illustrator from Hannover, Germany. During his studies at the University of Appliedc Sciences and Arts in Hannover, he created a rounded bold sans typeface called Manchester (2012). [Google] [More]  ⦿

    Benjamin Broschinski

    For Martina Flor's type design course in Dessau, Germany, Benjamin Broschinski created the free constructivist typeface Monarc Sans (2014) and the accompanying Monarc Serif (2014). [Google] [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 typefaces:

    • 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), Komet (1907, an art nouveau typeface revived by Dimitriy Horoshkin in 2017 as DXKometa), Latina (1922: a heavy roman with tall ascenders; identical to ATF's Avil), Pompadour (1911), Reklame Elzevir (1896), Xylo (1924: for a digital version, see Xylo by ITC), 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]
    Krebs published Handbuch der Buchdruckerkunst in 1827, a 830 page monster. Type specimen books started appearing in 1885 under the name Benjamin Krebs, Nachfolger (successor). An 1890 publication identifies this successor as Hartwig Poppelbaum. In 1916, Gustav Mori published a book on the foundry, Die Schriftgiesserei Benjamin Krebs Nachf., Frankfurt a.M. Ein Beitrag zur Geschichte des Frankfurter Schriftgiesser-Gewerbes. They were taken over by Ludwig&Mayer, and then Klingspor and finally Stempel (in 1933). Hans Reichardt's PDF file on Krebs. [Google] [MyFonts] [More]  ⦿

    Benjamin Krebs
    [Benjamin Krebs]

    [MyFonts] [More]  ⦿

    Benjamin Krebs blackletter fonts

    Andreas Seidel lists the blackletter typefaces published by the Benjamin Krebs foundry (and I added a few):

    • Normale Fraktur
    • Neue Fraktur
    • Bismarck Fraktur
    • Kräftige Fraktur
    • Caxton Type
    • Fraktur Buchschrift
    • Kaiser Gotisch (date unknown, before 1907). Also sold by Stempel, Kloberg, and Weisert, and as Royal Black by Reed. Seemann (1926) lists the mager (light) as available from Krebs, and the regular weight from AG für Schriftgießerei and Stempel. Digital revivals of the regular weight include Kaiser Gothic (Dan X. Solo, included in the Celtic and Medieval Alphabets book by Dover, 1998) and Kaiser-Gotisch (G. Helzel, 2001, used for sample). KaiserzeitGotisch (D. Steffmann, 2001) is a free version of the Solotype version.
    • Künstler Gotisch
    • Psalter Gotisch (ca. 1890). Digital revivals include TbC Psalter Gotisch (2014, Chiron), Psalter Gotisch (2012, Alter Littera), and Psalter Gotisch (2009, Paulo W).
    • Neue Kanzlei
    • Fette Kanzlei
    • Enge Altgotisch
    • Mammut Gotisch
    • Robusta
    [Google] [More]  ⦿

    Benjamin Pollach

    Berlin, Germany-based designer of an experimental font for Wired Magazine (2016). Behance link. [Google] [More]  ⦿

    Benjamin Taschner

    Muenchen, Germany-based designer of the Cyrillic simulation typeface Anom (2019). [Google] [More]  ⦿

    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 typeface 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]  ⦿

    Bergfest Design

    Creative art direction studio in Hamburg, Germany. They created the corporate typeface family Wempe in Antiqua and Grotesque styles. The fonts are called GDW Antiqua and GDW Grotesque (2015).

    Together with Kontrastmoment, Bergfest created BMW Display, Mini Display and Rolls Royce Display (2015). Behance link. [Google] [More]  ⦿

    Berlin Type School

    On the 29th and 30th of July 2016, the Berlin University of the Arts' UdK TypoLabor hosted the first Berlin Type School Away-Days. This was a free typography & type design festival for UdK design students and professional designers. There was no admission fee, and there were no corporate sponsors. Berlin Type School is an initiative started by Dan Reynolds and Martina Flor. [Google] [More]  ⦿

    Berliner Type

    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 type awards since 2006 are on-line. The competitions are numbered. For example, 2013 is the 45th competition. [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 Duesmann

    [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 Hülsmann

    German type designer at URW++, b. 1978, Dülmen. After studies at Fachhochschule Münster in 2009, he set up Designwerk H. In 2016, he completed the simple 4-style sans typeface families Semikolon Classic and Semikolon Plus. URW++ explains: Optimal readability by reduced, distinct letter forms. Appropriate for early readers of any age in schools and other educational institutions. SemikolonPlus minimizes the risk of confusing similar characters and therefore is predestinated for the use in text blocks, work sheets and educational games. [Google] [MyFonts] [More]  ⦿

    Bernd Krönker

    Bernd Krönker (Cabinet Gold van d'Vlies, Bremen, Germany) designed Groteskschrift (2013). Behance link. [Google] [More]  ⦿

    Bernd Montag

    Limbach-Oberfrohna (Saxony)-based designer (b. 1987) of the calligraphic roman display typeface Chantelli Antiqua (2007) and the sans family Sansation (2008-2009) [poster of Sansation by Flavia Schreiber].

    In 2013, he published the black titling sans typeface Majoris.

    Abstract Fonts link. Dafont link. Kernest link. Klingspor link. Fontspace lunk. [Google] [More]  ⦿

    Bernd Möllenstädt

    The designer of the well-known Formata typeface (available at Berthold), Bernd Möllenstädt was born in 1943 in Germany and died in 2013. He lived in Westfalia, Berlin and finally Munich. He studied typesetting and graphic design, and joined the Berthold type foundry 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 typefaces in the Berthold collection.

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

    In 2016, URW publised his text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were done under the guidance of Volker Schnebel.

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

    Bernd Pfannkuchen

    Designer of the condensed font Linotype Lichtwerk (1999).

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

    Bernd Plontsch

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

    Bernd Volmer

    Bernd Volmer is a graphic and type designer from Germany. Before attending type and media, he graduated with a BA in 2011 from the ArtEZ in Arnhem. During this time he also did an internship at Atelier Carvalho Bernau and developed his knowledge and interest in type design and typography. After graduation he started as a freelancer.

    In 2013, he graduated from the Type & Media program at KABK, Den Haag. His graduation typeface, Curtis, is based on broad nib calligraphy, and manages in its palette of styles to cover the broad ground between powerful German expressionist display types and very readable text types. In my view, it is the best of the twelve typefaces of the graduation class.

    In 2010, Bernd Volmer and Ateleir Carvalho Bernau published the free typeface Jean-Luc, which is named after Jean-Luc Godard. Carvalho / Bernau write: We didn't find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself---Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street. We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle (or PDU), a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography.

    In 2019, he published the two-axis (weight and serifs) variable font Seraphs.

    Co-designer wit Hannes von Doehren of Palast (Text, Display, Poster; in 2021: 36 styles).

    Future Fonts link. [Google] [More]  ⦿

    Bernd Vonau
    [Atelier Vonau]

    [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. In 1907 Bernhard Pankok was a co-founder of the Deutscher Werkbund. [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
    [Stefan Ruetz]

    This was also called A Hundred Dollars and a Dog (AHDAAD), located in Mainz, Germany. This studio, run jointly by Isabelle Gehrmann and Stefan Ruetz, did graphic design and art direction. Creators of some (free) experimental typefaces for Neo2 magazine in Spain, such as Bert (2005, a futuristic face). [Google] [More]  ⦿

    Berthold Direct Corp
    [Harvey Hunt]

    Once called Berthold Types and now Berthold Direct Inc, this companay is located in Chicago, IL, and was/is run by Harvey Hunt (1949-2022) and his wife Melissa Hunt, an attorney. The font collection is aristocratic, 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.

    A few months after Hunt's death, Monotype acquired the Berthold 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 Möllenstadt 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, 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 typefaces 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. [Image: Karim Ahmed uses Normande BT in a beautiful poster]

    The main Berthold typefaces at MyFonts. Large catalog of Berthold's typefaces, given in alphabetical order. See also here. [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
    [Harvey Hunt]

    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 them in 1999/2000. Berthold claimed that this violated the contract and sued. The judge dismissed the suit, stating that Adobe was not forced to include the Berthold typefaces.
    • 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 could 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 typeface called Cosmos). To avoid legal costs, Cape Arcona renamed its fonts CA-Cosmolab.

    Things unraveled in 2008: Berthold fonts were possibly going to be sold by Linotype, which turned out not be the case. The news of Melissa's possible departure from the font scene in 2008 prompted this response from Erik Spiekermann: As quite a few people here could testify, Melissa Hunt was very much a part of this business. I certainly have been at the receiving end of many documents written on behalf of her husband. I certainly hope she has quit the type business for good, as that may put an end to a lot of arbitrary legal actions that have cost a lot of us time, money and sleep.

    Harvey Hunt was born in 1949 in Lincoln, UK. He died in Jacksonville, FL, in 2022. His wife Melissa, an attorney, is still involved in type. Ironically, Hunt's obituary mentions that Harvey will be remembered in the type industry as a maverick who fought to build a market for independent digital type, despite stiff competition and rampant online piracy. [Google] [More]  ⦿

    Berthold Ulrich Hofmann

    German penman who published Gründliche and leichte Anweissung zur Zierlichen Schreib-Kunst der lieben Jugend zum besten und auf vielfaltiges Zegehren an den Tag gegeben von Berthold Ulrich Hofmann Schreib und Rechenmeister in Nürnberg in Nürnberg in 1694. [Google] [More]  ⦿

    Berthold Wolpe

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

    • Albertus (Monotype, 1932-1940) is a famous lapidary roman with thickened terminals. The Bitstream version is called Flareserif 821. The Ghostscript/URW free version is called A028 (2000). The Softmaker and Infinitype versions are both called Adelon. The original Monotype version is Albertus MT. 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. See also Albertus Nova (2017) by Toshi Omagari for Monotype.
    • Cyclone (Fanfare Press). A travel poster typeface family.
    • Fanfare. Revived by Toshi Omagari at Monotype in 2017 as Wolpe Fanfare.
    • Hyperion (1931, Bauersche Giesserei). Berry, Johnson and Jaspert write: An angular pen-lettered design, with several unusual letters. The right hand serifs of upper- and lower-case V and W run inwards, the Y descends below the line and has a pronounced serif running to the right. Also done by Berthold in 1952.
    • Pegasus (1938, Monotype). Monotype's digital revival, Wolpe Pegasus, was done in 2017 by Toshi Omagari for Monotype.
    • Tempest (1936). Digital revival in 2017 by Toshi Omagari at Monotype as Wolpe Tempest.
    • The blackletter typeface Sachsenwald-Gotisch (1936-1937, Monotype). In 2017, Monotype published the digital revival Sachsenwald by Toshi Omagari. Sachsenwald was originally called Bismarck Schrift, when it was first designed by Wolpe in the early 1930s.
    • The blackletter typeface Deutschmeister (1934, Wagner&Schmidt, Ludwig Wagner). Revival by Gerhard Helzel in 2009. Warning: The German type community believes that this typeface was not designed by Wolpe, so further research is needed. See also the revival called Deutschmeister by Ralph M. Unger in 20017.
    • Decorata (1950).
    • Johnston's Sans Serif Italic (1973).
    • LTB Italic (1973). Done for the London Transport, and unpublished.

    In 2017, Toshi Omagari designed the Wolpe Collection for Monotype, all based on Berthold Wolpe's distinctive typefaces: Wolpe Pegasus, Wolpe Tempest, Wolpe Fanfare, Sachsenwald, Albertus Nova.

    Bio at Klingspor. FontShop link. Wiki page. Linotype page.

    View Berthold Wolpe's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Bertholdgate I: Die selbsternannten Rechtsnachfolger der Aktiengesellschaft H. Berthold AG

    German language article by Ulrich Stiehl regarding the question: Who is the legal successor of H. Berthold AG? And a damning indictment of the Hunts who run Berthold Types in Chicago. The main dates in this sad case, beautifully researched by Stiehl:

    • 1858: Hermann Berthold (1831-1904) founds the company in Berlin.
    • 1896: The company becomes Aktiengesellschaft H. Berthold AG.
    • 1896-1960s: The company operates from Berlin and Stuttgart under the name H. Berthold AG Schriftgiesserei und Messelinienfabrik.
    • 1960s-1993: The company uses the name H. Berthold AG.
    • 1993: H. Berthold AG files for bankruptcy. Its main business at that point was the sale of phototypesetting machines, not fonts, and that business had come to a standstill. The 1800 fonts at the time of the bankruptcy are all listed in Stiehl's document.
    • 1993: The bankrupt company had incredible debts, and no one was interested in taking over those debts. So, the bankruptcy court in Berlin decided to liquidate the company. There is no legal successor (Rechtsnachfolger). For a period of 30 years after 1993, any legal successor would have to take care of the debts.
    • 1994-now: Several companies stake out claims of being legal successors or at least copyright owners of Berthold fonts:
      • Softmaker GmbH in Nürnberg, owned by Martin Kotulla. His 59 Euro CD with 10,000 fonts (the best buy in the business) has over 1,000 of Berthold's 1,800 fonts. The names were changed. Softmaker claims to have copyright to these fonts.
      • Berthold Types Limited, Chicago, owned by Harvey and Melissa Hunt: The CD "Exklusiv Collection" has 800 of the 1,800 Berthold fonts but costs 6350 Euros. This outfit uses the old Berthold names. Incredibly, Berthold Types claims to have the copyright, and states that it is the legal successor of H. Berthold AG. (How can this be, if they never assumed the debts?) To complicxate matters, the company started calling itself Berthold Direct Corp in 2005.
      • Franzis Verlag GmbH, owned by Werner Mützel and others: The CD "1800 Profischriften für Windows" (16 Euros, 4 Euros on Ebay) has 1,800 fonts, of which 1,200 (renamed, though) are from the Berthold collection. Franzis claims to have copyright to these fonts. Note: these fonts are qualitywise indistinguishable from the Berthold Types collection.
      • FontStuff Ltd, London, or Bertlib Corporation, a post office box company which started up a font business on the web in 2005 based on the old Berthold collection. Just as Berthold Types Limited, they say that they are the legal successors of H. Berthold AG, and that the copyright is theirs. The web site disappeared at the end of 2005 though. Stiehl belives that the company was a front for Klaus-Dieter Bartel's "Babylon Schrift Kontor" (a defunct foundry). Bartel died recently.
    As an example, Stiehl compares the copyright lines of several Akzidenz Grotesk styles, starting with H. Berthold AG's own Akzidenz Grotesk Buch (copyright H. Berthold AG, 1992). This was followed by Agba by Franzis (copyright ClassicFontCorporation, 1993), AG Book by Berthold Types (copyright Berthold LLC, 1997 and 2001), Atkins by Softmaker (copyright Softmaker Software GmbH, 2002), Gothic 725 (Bitstream), Ancona (Infinitype), A750 Sans Schoolbook (Softmaker), and Europa-Grotesk by Bertlib (copyright BERTLib Corporation, 2004). Stiehl then notes that the quality of the cheapest collection (Franzis) is just like that of Berthold Types Limited, Chicago. He observes that Berthold Types does not have an office in Germany--for otherwise they could be in legal trouble for misleading web visitors into thinking that they are the legal owners of the Berthold collection. I quote from them: Berthold Types is the legal successor to H. Berthold AG, the highly regarded German type foundry. Stiehl produces a document signed by Dr. Susanne Teipel from an attorney's office (Schwabe Sandmair Marx) in München (representing Berthold Types) in which the following official statement is made: Berthold Types is the legal successor to H. Berthold AG. Stiehl believes that this alone could spell serious trouble in Germany for both that law firm and Berthold Types. Development in 2008: Berthold fonts are now sold through Linotype/Monotype. [Google] [More]  ⦿

    BERTLib (Fontstuff)

    Fontstuff, est. 2005, sells BERTLib, the "Berlin Electronically Remastered Type Library". It has offices in London. Berthold, which folded in 1993, had a 2000+ type collection, which came in the hands of Freydank, Körbis, Pillich, Talke GbR in 1996 who lent it out to Berthold PrePress GmbH in 1997 under the name The Berthold Type Collection. Babylon Schrift Kontor GmbH, the company of Klaus Bartels, offered type 1 fonts from this collection for sale since 2000, but it disappeared some time later when Bartels died. BERTLib acquired the original Ikarus data of the Berthold Type Collection (over 2000 fonts) and set out to make high quality OpenType fonts with full support of all European languages, and fully Unicode-compliant. Slowly, these fonts are now being released by BERTLib. Not to be confused with Berthold Types Ltd from Chicago, who produced its library from Berthold type 1 data, not Ikarus data, of the same collection. Because of typename protection by Berthold Types, BERTLib had to change some font names. Some fonts also cover Cyrillic and Greek, but Maltese and Turkish are standard in all typefaces. More research needs to be done about the Berthold bankruptcy in 1993. They had a lot of debts. How can two different companies "acquire" or "get" the rights and sources of their collection? Who took care of the debts? Were there some underhanded deals? BERTLib twice refused to send me a list of types to which their own names can be matched. No names of digitizers or font BERTLib font designers or BERTLib owners are given. And finally, one has to pay 2.50 Euros just to see a sample of a font. All that makes me think that this company is one of businessmen rather than passionate type designers. Typefaces from these type designers/foundries have been or are being converted right now: Aldo Novarese, American Typefounders, Bernd Möllenstädt, Bertram Grosvenor Goodhue, Bruce Rogers, Claude Garamond, David Quay, Eric Gill, Erik Spiekermann, Facsimilie Fonts, Frederic Warde, Friedrich Berthold, Georg Trump, Giambattista Bodoni, Gustav Jaeger, Günter Gerhard Lange, Hermann Hoffmann, Herbert Post, Inland Type foundry of St. Louis, John Baskerville, Justus Erich Walbaum, Karl Gerstner, Louis Oppenheim, Morris Fuller Benton, Nicolas Cochin, Otl Aicher, Schriftenatelier Taufkirchen, Thomas Maitland Cleland, William Caslon. I created this page with remarks on their fonts. [Google] [More]  ⦿

    Bertram Kaiser
    [Kaiser Type]

    [MyFonts] [More]  ⦿

    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) published many free fonts between 2007-2012. At Behance, we find the name John Thorn (Germany) and a mention of Hamburg, but also a reference to Greatwhite in Beirut, Lebanon.

    Typefaces: 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 (hand-printed), 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 Yonia (rounded script family loaded with opentype features), XXII Goregrinder, XXII Grober Bleistift (2013, marker font), XXII Centar (a sans family with a free regular style), XXII Totenkult (2012), XXII Blackened Wood (2013), XXII Candylove (heavy signage or packaging script), XXII Centars Sans (2012), XXII Daemon Runes (2012), XXII Total Death (2012), XXII HandTypewriter (2012), XXII Daemon (2012), XXII Marker (2011), XXII BLACK BLOCK SERIFA (2008), XXII Mescaline (2009 Western style), XXII Misanthropia (2010, geometric sans), XXII Marker (2011), XXII Blasphema (2011) and XXII STREITKRAFT (2008, a stencil family with grungy versions added). 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.

    Typefaces from 2014: XXII YeahScript (signage script).

    Typefaces from 2015: XXII Geom (a geometric sans typeface family), XXII Awesome Script (for signage).

    Typefaces from 2016: XXII Neue Norm (techno sans), XXII Cool Script, XXII Geom (a geometric sans typeface family), XXII Grober Pinsel (brush typeface).

    Typefaces from 2017: XXII Neue Norm Rounded, XXII InAshes (grungy blackletter).

    Typefaces from 2018: XXII Geom Slab.

    Klingspor link. Alternate URL. Behance link. Dafont link. Another Behance link. Old URL. Another Dafont link Yet another Behance link. And a final Behance link. [Google] [MyFonts] [More]  ⦿

    Betty Nane

    Berlin, Germany-based designer of tthe calligraphic script typeface Gingertea Script (2016) and Vintage Stamps One (2016). [Google] [More]  ⦿

    [Keno Wehr]

    The free Beuron package maintained by Keno Wehr (University of Oldenburg, Germany) provides the typeface used in the works of the Beuron art school for use with TeX and LaTeX. It is a monumental script consisting of capital letters only. The fonts are provided as Metafont sources and in the Type 1 format. This package was launched in 2016, and includes suitable font selection commands for use with LaTeX.

    Wehr explains Beuronese art: Beuronese art was a reform movement of Christian art, established by Peter Lenz (1832-1928) and Jakob Wueger (1829-1892), who were friends from their studies in Munich, during their stay in Rome in the 1860s. On the one hand, it arose from the art of the Nazarene movement, but on the other hand, it turned away from the naturalism of the Romantic period and strove for a more geometrically stylized depiction of Christian themes. An important impact on this had the examination of ancient Egyptian art, which becomes noticable especially by a far-reaching renunciation of spatial depth in depiction. Lenz and Wueger entered the Benedictine abbey of Beuron (near Sigmaringen in Southern Germany) in 1872 and 1870 respectively, where they worked as Pater Desiderius and Pater Gabriel. Beuronese art was essentially carried by the circle of their pupils from the monastery in the following decades up to the 1930s. The Beuronese artists were not only commissioned to paint and furnish the monastery of Beuron itself, reestablished in 1863, but also quite a lot of other churches and monasteries in several countries of Europe. The Beuron art school reached its summit about 1900, when it received attention by the world of art beyond the religious milieu through the participation in various exhibitions. Due to the Second World War and church renovations in the following period many works of Beuronese art were partially or totally destroyed. Today remaining works can be seen for instance in Beuron (Chapel of St Maurus1 and Archabbey of St Martin), Ruedesheim am Rhein (Abbey of St Hildegard), Prague (churches of the former abbeys of Emaus and St Gabriel), but also in America in Conception/Missouri (Basilica of the Immaculate Conception). The murals painted by the artists of the Beuron school were provided with monumental inscriptions, taken from the Holy Bible or the prayer tradition of the Church, which support the didactic character of the paintings. For these paintings a script with some striking features was used, recurring in the most murals and also craft objects of the school with only minor variations. Unfortunately the art-historic literature dealing with Beuronese art says absolutely nothing about this script, although it constitutes obviously an integral part of that art. So the origin of the script is a matter of conjecture. Possibly it is in influenced by the inscriptions of early Christian basilicas in Italy. The Beuron typeface is recommended for headings and ornaments in prayer books, hymnals and the like.

    References: Hubert Krins: Die Kunst der Beuroner Schule. Wie ein Lichtblick vom Himmel, Beuron: Beuroner Kunstverlag, 1998. Harald Siebenmorgen: Die Anfaenge der Beuroner Kunstschule. Peter Lenz und Jakob Wueger 1850-1875. Ein Beitrag zur Genese der Formabstraktion in der Moderne, Sigmaringen: Thorbecke, 1983. [Google] [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]  ⦿

    Bianca Berning

    Graduate of the MA Typeface Design program at 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 is characterized by multiple personalities, with asymmetric serifs, a daring axis, some timid ball terminals, and other exogenetic details.

    Bianca specializes in the technical aspects of type design. As a font engineer with a background in civil engineering, communication and typeface design, she joined the Brixton, UK-based Dalton Maag type foundry in 2011. Until 2018 she headed their Skills & Process team, responsible for training and development, knowledge management, and for the implementation of font development processes. In 2018, she was appointed Creative Director and became responsible for ensuring that Dalton Maag remains at the forefront of type innovation. She directed the design of brand typefaces and complex type systems for international clients such as the Amazon, AT+T, BBC, Bodyform, Goldman Sachs [Goldman Sans], and Jacobs Engineering Group [Jacobs Chronos], and oversaw the design and refinement of wordmarks and font modifications.

    Speaker at ATypI 2018 in Antwerp, at ATypI 2017 in Montreal and at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Bianca Schlich
    [Bad Taste Design]

    [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

    [More]  ⦿

    Bionic Type Engineering (or: Bionic Systems)
    [Malte Haust]

    Malte Haust (b. 1974, Kassel) studied graphic design at FH Duesseldorf from 1995 until 2002. With Doris Fürst, he founded Bionic Systems in 1999 in Duesseldorf, using the nicknames juici (for Doris) and dePhrag2.0 (for Malte).

    At T26, he published Kernfusion, SynKro (2000, dot matrix font), Cyberwar (2000), Comsat (2000, a stencil family), Comsat Navy (2000), InterFacer (1998) and Doris Orange (2000, free at Maniackers).

    Full font list in 2002: 01.MB Truth, Alphabot, BTEBioterminal family (by Malte Haus), Comsat, Comsat Navy, Comsat Breakdown, Cyberwar, Doris Orange, Interfacer, Kernfusion, Neo Tokio, SynKro, Team Riders, Technik, Überform.

    Klingspor link. [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, histograms, 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 visual 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. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Björn Danzke

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

    Björn Gogalla
    [Letter Edit]

    [MyFonts] [More]  ⦿

    Björn Hansen

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

    Björn Kohl

    [More]  ⦿

    Björn Löbach

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

    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]  ⦿

    Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)
    [Elena Albertoni]

    Elena Albertoni (Blackmoon Foundry, and before that, La Letteria, and before that, Anatole Type Foundry, est. 2005) 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, where she still lives. She cofounded Anatole Type Foundry with Pascal Duez. La Letteria is located in Berlin. In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.

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

    Her typefaces:

    • The connected script typeface Dolce (2005), which won an award at the TDC2 2005 type competition.
    • Dyna (2009). A connected feminine script. Review of Dolce & Dyna.
    • Kigara.
    • Scritta (connected calligraphic script). Followed by Scritta Nuova (2011): a rhythmic upright connected script, which evokes retro calligraphic styles taught in Italian schools around the 1950s.
    • Helene (squarish face).
    • Valora.
    • Schneider.
    • Gregoria. A Gregorian chant font that won an award at TDC2 2007.
    • Deja Rip and Deja Web (2010). An eight-style sans family of great utility, co-designed with Fred Bordfeld; Cyrillic included.
    • Acuta (2010). An all-purpose type family.
    • Nouvelle Vague (2011). A connected display script along the lines of Mistral.
    • Spinnaker (2011). A sans design based on French and UK lettering found on posters for travel by ship.
    • The plump and curvy script typeface Molle (2012, Google Web Fonts).
    • Kiez (2016, The Blackmoon Foundry).
    • Vidal (2018). A wide sans with low contrast and medium-to-tall ascenders.
    • Coast (2018). An almost monoline sans inspired by enamel signs from the 1920s.

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

    Blondina Elms Pastel

    Blondina lived and worked in Martinique, France for eight years. She graduated in 1999 from Insitut régional d'art visuel de la Martinique (IRAVM). Blondina founded Atelier Elms in Cave Hill, Barbados, in 2002. Her clients can be found in the United States, the British Virgin Islands, Martinique, Dominica and Barbados. She returned to settle in Barbados in November 2003. Graduate of the University of Reading in 2011. Her graduation typeface there was Naej (2011), a typeface family for recreational children's storybooks. Lively and bouncy, it blends script and sans into a refreshing breakfast. She calls the family calligraphic and neohumanist. Blondina finally published Naej in 2012 at a German foundry, URW.

    In 2013, she graduated from the Plantin Institute's type design program under Frank E. Blokland. Her graduation typeface there was the children's storybook font Calina. At Plantin, she also attempted a Jacques Francois rosart revival.

    She writes that for Google Fonts, she developed Dinah (for Latin and Devanagari), but there is no record of that at Google Fonts.

    Custom fonts by Blondina include Barefoot (for bare Greetings greeting cards)

    Presently, she is a PhD student at the Aix-Marseille University, and is based in Aix-en-Provence. Since 2015, she organizes Typote, mobile workshops for training in calligraphy, lettering, typeface design and graphic design. [Google] [MyFonts] [More]  ⦿

    BMW Motorrad

    A corporate sans designed in 2007 by URW for BMW. Download. [Google] [More]  ⦿

    Boaz Balachsan

    Designer in Berlin who made the handcrafted typeface Digital Boaz in 2017. Behance link. [Google] [More]  ⦿

    [Anne Schröder]

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

    Bold Studio (was: Studio BB)
    [Ben Bold]

    Lake Konstanz, Germany-based designer of these typefaces:

    • The pixel typeface BB Bitmap (2008, for a rock band).
    • The BB Roller Mono Pro typeface family (2013-2017, +Text, +TextSoft +Headline, +HeadlineSoft).
    • The octagonal typeface system BB Strata (2015-2018). See also BB Strata Pro (2019).
    • BBT Series 2011-2014: Various contributions, including numerals, for clock typography.
    • BB Studio Pro (2013-2017). A sans family, with Greek, Cyrillic, Mono and Stencil substyles. See also BB Studio Round Pro (2013-2017).
    • BB Torsos Pro (2019). Based on the shape and proportion of the human body. Interpolations between styles are mathematically precise and innovative.
    • Noname Pro (2019).
    • BB Manual Mono Pro (2020). At 60 fonts, probably the largest monospaced typeface in the world in 2020. The glyphs are organic, monowidth and simple.
    • BB Anonym Pro (2020). A rounded version of Noname (2019).
    • BB Casual Pro (2020). A 34-style sans.
    [Google] [MyFonts] [More]  ⦿

    [Boris Schandert]

    Sankt Augustin, Germany-based creator (b. 1981) of the pixel typeface 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]  ⦿

    [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 Brumnjak

    Boris Brumnjak (b. Berlin, 1977, d. 2017) was a graphic designer who studied at LetteVerein Berlin until 1999. He designed the monospace retrotech pixel font Facsimile at T-26 in 2001. Since 2000, he ran brumnjak.com / grappa blotto in Berlin, which was involved in corporate design. He practiced design in Berlin, Wuppertal and Chicago.

    Obituary by Juergen Siebert. [Google] [MyFonts] [More]  ⦿

    Boris Dworschak

    Pforzheim-based Boris Dworschak graduated in 2003 from 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 typeface Exakt, and the mechanical typefaces 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, co-designed 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 typefaces 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 typefaces: 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 co-designed with Harmsen).
    • Kitchen tile typefaces: Bus, Bus PI.
    • Patriot family, done with Lars Harmsen: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
    • Pixel typefaces: Amiga, Screeny, Pixel, C64, Fette Pixel
    • Script typefaces: Filou (free, three styles)
    • Techno typefaces: DigiBo, Teckbo (2002. Boris Kahl writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks)
    • Uncial: Chaucer

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

    View Boris Kahl's typefaces.

    Klingspor link. Dafont link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Boris Kochan

    Principal of Kochan & Partner Design Agency in München, b. 1962. Codesigner with Robert Strauch (Lazydogs Type Foundry, München, Germany) of Streets of London (2013), a lapidary typeface family that extends an alphabet created by David Kindersley for London's street signs. His talk at ATypI 2014 in Barcelona was entitled Design and Identity---Between global types and local characters. [Google] [More]  ⦿

    Boris Moser

    [More]  ⦿

    Boris Schandert

    [More]  ⦿

    Boris Schrage
    [Loreley Design]

    [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]  ⦿

    Botio Nikoltchev

    [MyFonts] [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 marketed 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 typeface by Schneider), BF Corpa Gothic (a DIN-like family done in 1997 by Schneider), Corpa Gothic Pro (a 2019 revival of Corpa Gothic), BF Corpa Serif (1997, a slab serif family by Schneider), BF Cuba (a pixel typeface 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 typeface by Guido Schneider), BF Nobody (1995, a roman typeface by Schneider with pointy experimental serifs), BF Paul D (a grunge blackletter typeface by Schneider), BF Rotwang (1997, a transitional typeface by Guido Schneider), BF Solo Sans (1995, Schneider's grotesk family), BF Stoneman (1997, a decorative poster typeface by Schneider), BF Styptic (a grunge paperclip typeface 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).

    Typefaces from 2018: BF Rotwang Pro (a redesign by Schneider of his 1997 typeface, BF Rotwang; named after C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang relates to the high-contrast transitional and didone styles), BF Konkret Grotesk Pro (a 16-style grotesk family by Guido Schneider with over 1500 glyphs per font).

    Typefaces from 2021: BF Garant (a 20-style geometric sans with open counters, tapered spurs and diagonal cut ascenders and descenders).

    Klingspor link.

    View Guido Schneider's typefaces. [Google] [MyFonts] [More]  ⦿

    Brave Type (was: Brave Lion Fonts)
    [Leonhard Katschner]

    Berlin, Germany-based designer, who is a member of a consortium called USE (or USE Mediengestaltung, or: Union Sozialer Einrichtungen GmbH). In 2019, he started his own commercial foundry, Brave Lion Fonts. His fonts include the sharp-edged all caps sans typeface Masculina (2019), the pixel typeface Block Rock (2018), Nasa 21 (2019), Reduza Infinity (2019: a minimalist monoline sans), Neue Jugend (2019: an all caps art nouveau typeface) and Versalis Ink (2019).

    Typefaces from 2020: Character Sans (a 5-style sans), Flatfoot (a display mini-serif), Hybridea (a display serif with high contrast).

    Typefaces from 2021: Knive (display serif), Easy Sans, Valkyrie (slab serif caps), Wayne (a Western style slab serif), Writing Icons, Travel Icons, Kosmon (an aerospace font).

    Typefaces from 2022: Mash, Moony (an 8-style all caps sans). Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

    [Tobias Baggemann]

    Tobias Baggemann (Breitenlauf) is a German graphic and type designer. He designed Construct (2011, contructivist).

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

    Brigitte Behrens

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

    Brigitte Betz
    [Bildung Hessen]

    [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 wrote about herself: I am an independent Art Director (Graphic Design), Print Artist and Photographer practicing in Montreal, Canada. I am currently teaching typography and photography courses in the Graphic Design department of a college in Montreal. After attending a three-year graphic design program in Munich, Germany, I spent a few years working there both as an employee for print and web agencies, and as a freelancer. In 2005, I completed a Bachelor in Fine Arts, with a specialization in painting from the Italian Academy of Fine Arts of Carrara, Italy. [...] I moved to Canada in 2005 where I continued working in and for the graphic design industry. In 2008 I completed the Graduate Certificate in Digital Technologies in Design Art Practice at Montreal's Concordia University. In my graphic design practice I ideally work in editorial design, also corporate branding, with a focus on typography. Over the last year or two, I developed a great interest in type, which I express in my calligraphy and lettering work and type design research. Graduate of the Masters program in type design at KABK, 2010. Author of Brush calligraphy with a tree branch (2009) and Book Designers from the Netherlands (2014). In 2013, she founded the imprint Brigitte Schuster Editeur. Presently, she lives and works in Bern, Switzerland.

    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).
    • Cardamon (2015 Linotype). Cardamon is an old style serif design with large x-height and a sturdy look. Its proportions are inspired by 16th century punch-cutters Hendrik van den Keere and Robert Granjon.
    [Google] [MyFonts] [More]  ⦿

    Brink Type
    [Christoph York]

    Christoph York is a British graphic and type designer currently splitting his time between Berlin and London. He specialises in branding and identity design. His typefaces:

    • The precise geometric sans serif family Segma (2018), which spans the thickness range from Black to Thin (hairline).
    • BR Firma (2018). BR Firma is a functional geometric sans serif consisting of eight weights ranging from thin to black with matching italics.
    • At The Designers Foundry, he released Shape (2019), a contemporary geometric type family in 18 styles.
    • BR Omega (2019: a thin to black-weighted clear geometric sans).
    • BR Hendrix (2019). In 16 styles. Described as a modern geometric grotesque.
    • BR Candor (2020). A sixteen-style geometric sans in the Futura tradition.
    • BR Omny (2020). A slightly rounded geometric sans typeface.
    • BR Nebula (2020). A 20-style sans inspired by Futura.
    • BR Sonoma (2020). A 16-style sans with strong rhythm and clean geometric features.
    • BR Cobane (2021). A 16-style neo-grotesque.
    • BR Shape (2022). An 18-style geometric sans.
    [Google] [MyFonts] [More]  ⦿

    Britta Hackenberger

    Hamburg, Germany-based creator (b. 1973) of the techno typeface 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]  ⦿

    [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]  ⦿

    Bruna Vasconcelos

    Berlin, Germany-based designer of the legible sans typeface Cappuccino (2019, done while studying at Design Akademie Berlin). [Google] [More]  ⦿

    Bruno Jacoby

    Gruppo Due (Berlin, London, Karlsruhe and Bern) is a type design platform and foundry offering retail typefaces, alongside bespoke designs resulting from a close collaboration with our commissioners. Gruppo Due was founded in 2019 by Moritz Appich, Massimiliano Audretsch, Jonas Grünwald and Bruno Jacoby.

    He published these typefaces at Gruppo Due:

    • G2 Kosmos. A monolinear rounded sans by Moritz Appich and Bruno Jacoby. They write: G2 Kosmos is a modernistic monoline typeface. Its simple shapes follow a geometric grid, but don't hesitate to break free to form better flowing and smoother letters. The grid is the same one artist and designer Wolfgang Schmidt used for his Lebenszeichen. This system of signs was developed to measure the entire cosmos of his emotions and experiences. The typeface's first incarnation was drawn as part of the 2019 diploma project by Maxim Weirich surrounding the Lebenszeichen.
    [Google] [More]  ⦿

    Bruno Jara Ahumada

    [MyFonts] [More]  ⦿

    Bruno Paul

    German architect, illustrator, interior designer, and furniture designer, 1874-1968. Illustrator for the art nouveau magazine Jugend (1896) and for the satirical magazine Simplicissimus (1897-1906). [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, Germany-based foundry, est. 1894, which prospered in the 1920s. One of its most popular typefaces was the German industrial Kraftwerk font, Ohio Kraft. Brüder Butter later became Schriftguss AG, and then finally in 1951, VEB Typoart, the main type foundry in East Germany.

    Oliver Weiss, who has excellent digital revivals of the Ohio series called Neue Ohio (2016-2017), describes the mascot that can be seen on all of Brüder Butter's materials, the green Buttermännchen, designed by Karl Sigrist: a curious mark: a stumpy, little man in a great-coat and tapered top hat. His arms are raised, his face is cheers. [Google] [More]  ⦿


    German designer of the brush signage typeface Sign Hand (2020). [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]

    The defunct site www.nocturnale.de had commercial music fonts by Holger Peter Sandhofe (1972-2005) from Bonn:

    • Hufnagelnotation, Quadratnotation and Medicaeanotation: medieval notations for Gregorian chants.
    • HPS Antiphonale, Solesmes, and HPS Vatikan-Initialen (from the 15th century): decorative iniial caps fonts.
    • HPS Garamond: a medieval text font family in Normal, Kursiv, Fett and Fett-Kursiv.
    [Google] [More]  ⦿

    [Ralf Sander]

    German designer, with Petra Niedernolte, of the techno sans family Bunken Tech Sans (2014, Buntype), Bunken Tech Sans Wide (2015), and Bunita Swash Pro.

    In 2016, Ralf Sander and Petra Niedernolte co-designed the minimalist rounded sans typeface Bunuelo Clean Pro and in 2017 Bunday Slab and Bunday Sans and Bunaero Pro (Petra Niedernolte and Ralf Sander). Bunaero Pro is advertized as a friendly sans, and hits all the right notes---it is optimized almost to perfection. Subfamilies include Classic, the shapely Up, and the accompanying Italic.

    Typefaces from 2018: Bunaero (by Ralf Sander and Petra Niedernolte), Bunday Clean (by Ralf Sander and Petra Niedernolte). [Google] [MyFonts] [More]  ⦿


    Type foundry in Bielefeld, Germany, est. 2014. The first typeface is the techno sans family Bunken Tech Sans (2014, Petra Niedernolte and Ralf Sander). In 2015, they published Bunita Swash Pro (Petra Niedernolte and Ralf Sander) and in 2017 Bunday Slab (Petra Niedernolte and Ralf Sander) and Bunaero Pro (Petra Niedernolte and Ralf Sander). Bunaero Pro is advertized as a friendly sans, and hits all the right notes---it is optimized almost to perfection. Subfamilies include Classic, the shapely Up, and the accompanying Italic. Behance link. [Google] [MyFonts] [More]  ⦿

    Bureau Borsche
    [Mirko Borsche]

    Bureau Borsche, a graphic design studio in München, Germany, was founded in 2007 by Mirko Borsche. They made almost exclusively bespoke typefaces. These include:

    • Isar, Tush Extra (2012: a flared typeface), Archive and Alston (2012, The Entente) for Tush Magazine.
    • A custom typeface for Tunica Magazine.
    • Tweety for Korakrit Arunanondchai.
    • Super Paper Grotesque for Super Paper.
    • Moroi (2013, by Galle Renaudin) for (R)evolution by Danton Denk Raum.
    • Libreville (2012: derived from Libre Baskerville) for SEPP Magazine.
    • Felipe (by Geoffrey Pellet) for I Iz Felipe Fanzine.
    • Muenchen Regular (2012, by Bureau Borsche and Tobias Weber: a Trajan caps typeface). For the Bavarian State Opera.
    • Harial for the Bavarian State Opera.
    • Andri3000 for BR Orchestra.
    • Dalhem for Bjoern Dahlem Theorie des Himmels.
    • Sumatra for Mickey Mao book (ECAL).
    • Dorothy for Horst Magazine.
    [Google] [More]  ⦿

    [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.

    Klingspor link. [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 typeface 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. In 2012, he set up Atlas Font Foundry.

    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. In 2012, Novel Sans Rounded Pro followed. In 2015, Christoph added Novel Sans Rounded Italics Pro.

    Other typefaces: 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. Atlas Font Foundry 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 Regular (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 typefaces are also available at T-26.
    • Engel (2003, At T-26). See also here.
    • Vitus (2003, Fountain: Vitus is a bold typeface 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 typefaces.
    • Diavolo, a fifties diner face.
    • Unovis, a minimalist squarish typeface 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 what this looks like).
    • Initialen, a 21st century initial caps face.
    • EF Gigant, a 96-weight techno family (Elsner and Flake, 2006).
    • Emily: a connected 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 (2008, T-26): a striped op art sans.
    • Oceane (2009, T-26). An avant-garde face.
    • Karl (2010, T26). A script face.

    FontShop link. Klingspor link. T26 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 (2000)
    • 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 typefaces.
    • 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)

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

    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), Mars Grotesk, Weber Fraktur (1860) and typefaces by these designers:

    • Albert Auspurg: Start (1935).
    • Julius Kirn: Bison (1935-1938). This brush typeface was revived as Brush 738 BT (Bitstream) and as RMU Bison (2020, Ralph M. Unger).
    • 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.
    [Google] [MyFonts] [More]  ⦿

    C. P. Melzer

    Leipzig-based foundry founded in 1841 by book printer Karl Ph. Melzer (d. 1846). In 1871, the company became Hundertstund & Pries, and was owned by Firma August Pries. [Google] [More]  ⦿

    C. Rüger

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

    Calvin-Noël Klein
    [Klein Productions]

    [MyFonts] [More]  ⦿

    Camelot Typefaces GbR

    Camelot is an independent type collective and self-publisher of typefaces based in Leipzig, Germany, and founded by Maurice Göldner, Katharina Köhler and Wolfgang Schwärzler. Their typefaces include Lelo and Rosart by Katharina Köhler, Gräbenbach by Wolfgang Schwärzler and the text typefaces Rando and Rando Display (by Maurice Göldner), about which we read: Rando Display is the crispy companion of Rando, a contemporary homage to German romanesque typefaces from the late 19th/early 20th century such as Anker Romanisch (Schelter & Giesecke) or Hamburger Römisch (Schriftguss AG).

    In 2020, they released Eliza and Eliza Mono by Pawel Wolowitsch and the Camelot crew.

    Between 2018 and 2021, they developed a new bespoke typeface, Gus, for MoCa (The Museum of Contemporary Art in Cleveland). [Google] [More]  ⦿

    Camila Peralta

    Berlin-based designer of the didone display typeface Canelé (2015). Behance link. [Google] [More]  ⦿

    Camilla Wiedemann

    During her studies, wiesbaden, Germany-based Camilla Wiedemann designed The New Palmer, a deco typeface influenced by and named after famous American penman Norman Austin Palmer, who suggested a similar script ca. 1888. Behance link. [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. Creative Market link.

    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: a speed emulation font), 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 (a creamy sans with a stencil, a gloss (bubblegum), and a trash style), CA Emeralda (a script face), CA Blitzkrieg pop, CA 12C13C, CA Monodon (+Ultra), 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), 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).

    Fonts from 2013: CA Postal (Stefan Claudius).

    Typefaces from 2016: CA Fourty Open (blackboard bold style).

    Typefaces from 2017: CA Coronado (a painted layerable all caps poster typeface with western influences), CA Negroni (a layered typeface by Stefan Claudius based on hand-drawn logotypes from the early part of the 20th century by artists such as Wilhelm Deffke (1887-1950)).

    Creative Market link. [Google] [MyFonts] [More]  ⦿

    Carina Ostermayer

    Designer in Munich who created an angular piano key typeface called Dok (2013). [Google] [More]  ⦿

    Carina Schneider

    Graphic designer in Betzdorf, Germany. She describes her typeface Ella (2016) as a modern and adult female font with a confident charisma. Ella is inspired by Barbour and Bell MT. [Google] [More]  ⦿

    Carl Adam

    Carl Adam taught design at the Staatlichen Fachschule für das Buchgewerbe in Hamburg. He designed the openface font Rex (1924, Genzsch & Heyse). [Google] [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): an art nouveau typeface.
    • Hohenzollern (1902, Bauersche Giesserei); a blackletter face. For a revival, see the free font CAT Hohenzollern (2014) by Peter Wiegel, and Hohenzollern (2004, Petra Heidorn).
    • 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). Free versions include Berthold Mainzer Fraktur (2014, Peter Wiegel) and Unifraktur Maguntia (2010, J. Mach Wust).
    • A school script typeface dated 1901. For a free digital version of this, see Peter Wiegel's Helvetia Verbundene (2010).
    • 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). For further developments of Minister, see, e.g., David Bergsland's Biblia and Biblia Serif (2017).
    • Prominent (1936, Schriftguss): a beautiful set of filled-in open initials.
    • Symbol (1933): an engraved set of initials.
    Ademo (2011, Andreas Seidel) is a shaded 3d caps typeface based on two designs of Fahrenwaldt done for Schriftguss in 1931-1932.

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

    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 typeface Caslon-Gotisch in 1904 from England to Leipzig---the latter typeface showed up in the VEB Typoart catalog. [Google] [More]  ⦿

    Carl Faulmann

    Johann Christoph Carl Faulmann or Karl Faulmann, b. Halle an der Saale, Germany, 1835, d. Vienna, Austria, 1894. In his Geschichte der Schrift: Von den Hieroglyphen bis heute (2002), Harald Haarmann describes Faulmann as a pioneer in the study of writing in the 19th century. He writes that when Carl Faulmann published his Illustrierte Geschichte der Schrift in 1880, his work was the first universal history on the subject and stood alone on the academic landscape of the day.

    Carl Faulmann initially trained to be a typesetter. His travels led him to Munich, where in 1854 he saw shorthand types from the Royal Court and State Printers in Vienna. Faulmann was inspired by the experience to develop similar versions for Franz Xaver Gabelsberger's stenography system which was popular in the southern part of Germany. In 1855 he became typesetter for foreign languages at the court in Vienna. After four years he resigned from state service and worked as a stenography teacher and typesetter. On the side he continued to augment his language skills auto-didactically, learning Hebrew, Persian and Sanskrit, among others. He wrote various works on linguistic fundamentals that were re-issued for decades. In 1884, Carl Faulmann was named professor of stenography at the University of Vienna. A complete compendium of his work can be found in this German wikipedia page. His books include

    [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 Albert Anklam

    German type designer, b. 1842, Berlin, d. 1931, Berlin. In 1870, he started working at Genzsch and Heyse in Hamburg as punchcutter and engraver. His Neue Schwabacher of 1876 became a very popular typeface.

    Anklam created Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881) at Genzsch & Heyse. In 1876, he made Neue Schwabacher (normal and halbfett) at Genzsch & Heyse (and Klinkhardt). That same type can also be found at many other typefoundries, including J. John&Söhne, Shelter&Giesecke, Ludwig & Mayer, Gebr. Klingspor, AG Schriftguss, Barnhart Brothers Spindler, H. Berthold AG, etcetera.

    Author/editor of Kunstwerke der Schrift Bund für deutsche Sprache und Schrift (Großenkneten 1994).

    Digital revivals include Schwabacher Mager Gross and Möncgs-Gotisch, both by Gerhard Helzel, and Neue Schwabacher (2021) by Ralph Unger. [Google] [More]  ⦿

    Carl Kloberg
    [Giesserei Carl Kloberg]

    [More]  ⦿

    Carl Marx

    Marx enrolled as a student at Bauhaus Dessau after completing an apprenticeship as a decoration painter. He took courses with Joost Schmidt, Josef Albers, Wassily Kandinsky, and Ludwig Mies van der Rohe, and continued his studies at the Bauhaus when the school moved to Berlin. He was part of a group that tried to revive the Bauhaus in Dessau after World War II.

    On of his organic rounded sans typefaces is revived by Hidetaka Yamasaki as Carl Marx (2018) as part of the Adobe Originals collection. [Google] [More]  ⦿

    Carl Otto Czeschka

    Type and graphic designer, b. 1878, Vienna, d. 1960, Hamburg. From 1894 until 1899, he studied at the Akademie der bildenden Künste in Vienna. He was a member of the Vienna Secession in 1900 and joined the Wiener Werkstätte in 1905 where he created his most famous illustrated book, Die Nibelungen (1909). He taught at the Kunstgewerbeschule in Vienna (1902-07) and at the Kunstgewerbeschule in Hamburg (1907).

    Czeschka designed Olympia (1914; Klingspor mentions 1929 for Olympia 1 and 1931 for Olympia 2), Czeschka Antiqua (1914: an art nouveau style face) and Czeschka (1914, a grotesk) at Genzsch&Heyse.

    In 2022, Alejandro Paul (Sudtipos) revived and expanded Olympia as Wienerin with the inclusion of numerous alternative signs and ligatures, and the addition of a variable font. [Google] [MyFonts] [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 Schwenk

    Communication designer in München, Germany. In 2017, she created the display typeface Carlson. [Google] [More]  ⦿

    Carla Schweyer

    German designer of the sans family Ambigue (1999, Linotype), originally called Confidence. She studied under Jovica Veljovic in Hamburg. [Google] [MyFonts] [More]  ⦿

    Carlo Krüger

    [MyFonts] [More]  ⦿

    Carlos Winkow

    Carlos Winkow is a version of his original name, Carl Winckow. Winkow (1882-1952) was born in Sömmerda, Germany but worked in Spain from 1909 until 1934 for Richard Gans, in Germany from 1936 until 1939 for Norddeutschen Schriftgiesserei in Berlin, and in Spain again from 1940 onwards at Fundicion Tipografica Nacional in Madrid. His typefaces include

    • Alfrodita (1946). An engraved typeface published by FT Nacional.
    • Alcazar (FT Nacional, 1944). An inline 3d titling font.
    • Astur (1948, FT Nacional). A wooden plank typeface.
    • Belinda (FT Nacional).
    • Cursiva Rusinal (FT Nacional). This is identical to Reporter except in the alternates.
    • Electra (FT Nacional, early 1940s). An almost avant-garde sans family, which includes the ultra thin Estrecha Fina weight. Romeo (Font Bureau) takes some cues from Electra and says that it is a spectacular art deco sanserif with an unusually fine condensed series. See also Casablanca (1997, Steve Jackaman for ITF, now Red Rooster Collection; a revival of Electra Clara) and Carlos (Jason Castle, CastleType). Klingspor dates Electra Fina in 1942.
    • Elzeviriano Ibarra (1931, for Fundicion Tipografica Richard Gans). Lucia Walter revived Winkow's 1931 text typeface Elzeviriano Ibarra in 2011. See also Gans Ibarra (2006, Intellecta Design).
    • Gong (1945, Johannes Wagner; Norddeutschen Schriftgiesserei). A chalk script face. Jaspert mentions the date 1951. A standard non-chalk version of Gong was done by J. Wagner in 1967, and was published as Jowa Script (Jowa Schreibschrift), which in turn provided inspiration for Iova Nova (2007, Ralph M. Unger)
    • Grotesca Radio (Richard Gans Foundry), at least according to some sources. For a revival and reinterpretation, see Radar (2019) by Marta Sanchez Marco for Type-o-Tones.
    • Hispalis (+Cursiva, +Negro, +Titling, +Negro Titling) (1940, FT Nacional).
    • Iberica (FT Nacional, 1942). An open shaded inclined 3d lineale. See Roller (1997, Pat Hickson, ITF and Red Rooster Collection).
    • Nacional (+Cursiva, +Negra) (1941, Nacional). A calligraphic roman in old medieval Spanish style with Clasico Nacional 1 and Clasico Nacional Negro weights. See Madrid (Steve Jackaman, Red Rooster Collection) for a digital revival.
    • Numantina (1940, FT Nacional). Revived by Nick Curtis as Numancia NF (2011, Nicks Fonts).
    • Radar (1940, FT Nacional). a brush script.
    • The brush script typeface Reporter (1938, the Wagner foundry; Norddeutschen Schriftgiesserei). Digital revivals: Reporter No. 2 (Adobe), Reporter 2 (Linotype).
    • Rusinol (1941, FT Nacional).

    Linotype page. Klingspor link. FontShop link. View some digital versions of Winkow's typefaces. [Google] [MyFonts] [More]  ⦿

    Carmen Nacher

    Berlin-based designer of a curvy decorative caps typeface in 2020. [Google] [More]  ⦿

    Carmen Reina

    While styudying at UdK Berlin, Carmen Reina co-designed the experimental modular typeface together wth Johannes Breyer. This typeface uses a few circular arc- and rectangular-shaped modules. It is inspired by Nebiolo's Fregio Mecano. [Google] [More]  ⦿

    Carolin Piechotta

    Graphic design student at the University of Applied Sciences and Arts in Hannover, 2011-2013. During her studies in 2013, she developed the compass and ruler typeface Dysphoria. [Google] [More]  ⦿

    Carolin Wanitzek

    During her studies at the University Of Applied Sciences in Mannheim, Germany, Carolin Wanitzek created the thin sans typeface Plaisir (2010). Behance link. [Google] [More]  ⦿

    Carolin Wohltmann

    Hannover, Germany-based designer of the jagged experimental typeface Transformer (2016). Behance link. [Google] [More]  ⦿

    Carolin Wohtmann

    Hannover, Germany-based designer of the jewelry-inspired Transformertype (2015). Behance link. [Google] [More]  ⦿

    Carolina Giovagnoli

    Born in Rosario, Argentina, in 1976, she studied type design at UBA in Buenos Aires from 2009 until 2010, and co-founded the type coop Huerta Tipográfica. Carolina is currently based in Berlin.

    Her graduation typeface at FADU-UBA, Andada, was awarded at the Second Bienal Iberoamericana of Design (BID 10) and at Tipos Latinos 2012. Andada is a warm text typeface designed specially for Argentinian and Paraguayan (Guarani) text. Andada is free at Google Fonts and Open Font Library. It was commercially released at Huerta Tipografica in 2020 as Andada ht Pro. In 2021, Google Fonts published Andada Pro.

    With Andrés Torresi, she developed Cambo (2011, Huerta Tipográfica), a family for Latin and Khmer [a free weight at Fontsquirrel].

    Robots ht, which uses layering to construct robots, won an award at Tipos Latinos 2014. There is a useful accompanying font called Robots HT Arrows. Winner at Tipos Latinos 2018 of a type design award for Robots HT.

    In 2014, Huerta Tipografica published the free text typeface family Caladea which was designed by Carolina Giovagnoli and Andrés Torresi. Caladea is based on Lato and is metric-compatible with Microsoft's Cambria.

    In 2015, Andrés Torresi and Carolina Giovagnoli developed the Devanagari typeface family Sarali at Huerta Tipografica (free at Google Web Fonts). The Latin part is based on Torresi's Telex (2012).

    Sura (2015, Google Web Fonts) is a Devanagari typeface family designed by Carolina Giovagnoli. It is based on the original Latin typeface Andada, a serif typeface for text.

    Winner at Tipos Latinos 2018 of a type design award for Laura HT.

    In 2020, she designed the stone cut typeface Das ABC der Scheren.

    In 2021, she released Weg, an experimental font based on interweaved lines. [Google] [MyFonts] [More]  ⦿

    Caroline Birkel

    During her studies at Hochschule Trier Kommunikationsdesign, Caroline Birkel created the modular typeface Kalinka (2014) [Google] [More]  ⦿

    Caroline Herr

    German designer who studied communication design in 2013. In 2020, she released Lina Serif, a five-style hybrid of antiqua and didone (and a variable font). [Google] [MyFonts] [More]  ⦿

    Carrois Type Design
    [Ralph du Carrois]

    Carrois Type Design (Berlin, Germany) started up officially ca. 2010, although Ralph du Carrois has been designing typefaces since ca. 2002. This dynamic company in Germany has three art directors, Jenny du Carrois, Anja Meiners and Botjo Nikoltchev. All three also design typefaces, as well as Adam Twardoch, Andreas Eigendorf and Ralph du Carrois himself. The company specializes in custom type.

    Typefaces (a *very* incomplete list, with apologies, but I can't tell from the web site who made what...):

    • Allzweck MvdR (2010-2011), a revival of a sans typeface influenced by Planzkissen by Mies van der Rohe. This was commissioned by Neue Nationalgalerie.
    • The corporate typeface Cisco Sans (2010), which is positioned midway between Helvetica and Akzidenz Grotesk.
    • Fira Sans (2013, for Firefox; with Erik Spiekermann). Google Web Font link. Mozilla download page. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017. CTAN link.
    • Krikrikrak and Blumenkohl (2013, children's scripts).
    • PTL Manohara (2010, Primetype: a humanist sans by Botio Nikoltchev), Sadgirl(2006, Primetype), and PTL Maurea (2005, Primetype). Ralph du Carrois made many more fonts at Primetype prior to the establishment of Carrois Type design.
    • Free Google Web Fonts made in 2012: ABeeZee (Anja Meiners: a sans typeface created to help children), Carrois Gothic, Carrois Gothic SC, Finger Paint (brush face).
    • Icon fonts for a number of companies: Bosch (2011), Herzberger Bäckerei (2011), Hybride Iconwelt (2007), Ponce, Russian Rail, Sentres Wettericons, ZDF Nachrichten.
    • Several typefaces were created in cooperation with Erik Spiekermann's group between 2007 and 2012. These include work on Meta Serif Pro (2011), Meta Science (2012: done for De Gruyter, it is based on Meta and Meta serif), FF Meta (2008: some thin italic weights), TERN or Trans European Road Network (2007-2008), ZDF Nachrichten (2009, plus many icons), Lautschrift (2012: a phonetic script done for Erik Spiekermann to add to his Meta and Meta Serif families), and Unit Slab Pro (2009).
    • Inarea Sans (2003) and Inarea (2003-2005).
    • FR Classic (2002). This typeface was used in the redesign of the Frankfurter Rundschau. This didone is based on a reworking of LT Gianotten by Antonio Pace.
    • Two condensed sans typefaces done for the subway system in Rome in 2005. Some icons were also made in that project.
    • Share (2006). A free techno monospaced family made for the TYPO3 Association.
    • An angular grotesk done in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.
    • Suzuki (2006) is a corporate gothic font that replaces Franklin Gothic at Suzuki as house style.

    About Ralph du Carrois, b. 1975: He graduated at the Staatliche Hochschule für Gestaltung Karlsruhe in 2004 with his first typeface family PTL Maurea. Since 2000 he has worked for different companies or agencies. In 2003 he founded the studio seite4 in Berlin with its main focus on type design and corporate identity design. [Google] [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 participated 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 typeface Circlez (2011). Behance link. [Google] [More]  ⦿

    Carsten Raffel
    [USOTA (United States of the Art)]

    [MyFonts] [More]  ⦿

    Carsten Schweig

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

    Carsten Strinkau

    Graduate of Kunstschule Wandsbek in Hamburg, Germany. 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). His fonts are sold under the name CS Fonts, and through URW++, and through MyFonts.com. [Google] [MyFonts] [More]  ⦿

    Carsten Wierspecker

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

    Caspar Bauer

    During his studies in Trier, Germany, Caspar Bauer designed the modular techno typeface Bistro (2013). Behance link. [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 2019: Kufi Pattern.
    • In 2018: Aurach Tri (a trilined typeface), Googee (monoline circle-themed sans), Gianna (medieval script), Hamburger Schwabacher.
    • In 2017: Eyechart (heavy slab serif), Border Control (inline), Espresso Dolce (rounded sans), Gotisch Weiss, Halt (a dry brush typeface after Walter Hoehnisch's Stop from 1939), Kanzler, Llewie (rounded sans), Schulze Werbekraft (expressionist, after Arthur Schulze, 1926).
    • In 2016: Ronaldson Gothic (after a MacKellar, Smiths & Jordan Co original), Vorgang (a great 1920s geometric sans), 5by7 (LED pixel font), BP 12-22 (industrial sans), u DIN 1451 Mittelschrift, Flubby, Gaeilge (Irish / uncial), Junior CAT (after Hans Heimbeck, 1936), CAT Liebing Gotisch (after Kurt Liebing), Tippa (an old typewriter font based on Adler Tippa 1).
    • In 2015: Nuernberg (blackletter), CAT Schmalfette Thannhaeuser (blackletter), Offenbacher Reform (a revival of Offenbacher Reform, a blackletter typeface by Roos & Junge), Autobahn (blackletter), Barloesius Schrift (after Georg Barloesius's Barlösius Schrift, 1906), CAT-Franken-Deutsch (after Alfons Schneider, 1936), Fuckin Gwenhwyfar, CAT Kurier (a script after Herbert Thanhaeuser's Kurier from 1939), CAT Linz, CAT Rhythmus (a sharp-edged black grotesk after a Schriftguss AG original), DIN Schablonierschrift (DIN-based stencil), CAT North Licht, Feronia, Fette National Fraktur (after Walter Hoehnisch, 1934), Grobe-Plakat-Fraktur, CAT Childs (fifties style cursive typeface), Jena Gotisch (decorative caps), Kabinett Fraktur (after Johann Friedrich Unger, 1793-1794), Wattauchimma (heavy hipster sans), Friedolin (blackletter), Lorem Ipsum, Symphonie (a calligraphic script, reviving Imre Reiner's Symphonie (1938), also called Stradivarius (1945)), Power (a retro techno typeface), Krugmann Brush, Omega.
    • In 2014: BernerBasisschrift1, BernerBasisschrift2 (school script), Berolina, Brausepulver (after Brause & Co., 1912), Fette Mikado (psychedelic style oriental look), Germanica, Gloria, HentimpsCirclet (blackletter), Hofstaetten (blackletter), Kleinsemmering, KuenstlerGotisch (blackletter), LacledeCAT (psychedelic), NeptunCAT, Neue Zier Schrift (a mischievous curly script), Pommern Gotisch, Reclame, CAT Report (retro brush script), Rueck-Italic, Rueck, RueckLeft, RueckLicht, RundschriftCAT (hairline ronde), Standard Graf (German expressionist and hexagonal typeface), Teutonic, VerzierteFavorite, VictoriaCAT, AdmiralCAT (a retro script), Dynamo (poster font), Des Malers Fraktur, Kanzleyrath (blackletter), Ober-Tuerkheim (art nouveau), PopplFrakturCAT (blackletter), Rundkursiv, Modeschrift (fifties script), Biedermeier Kursiv, Ehmcke Federfraktur (after a 1935 font by F.H. Ehmcke), Wernicke Schwabacher (after an original by Emmi Wernicke), Gotische Missalschrift, Hand Textur (after a 1935 font by F.H. Ehmcke), Renata (after a 1914 bastarda by Bauersche Giesserei), Rundgotisch Rauh (possibly after a Schelter & Giesecke design from 1903), Offenbacher Schwabacher (after Kurt Wanschura's bastarda from 1900), Incopins Clusters (multilined typeface), BadGong, Bernardo Moda (Bold, Semibold, Moda, Contrast: modeled after Lucian Bernhard's Bernhard fashion), CAT-Hohenzollern (after a 1902 art nouveau font by Bauersche), CATNorth, CATNorthLicht, CATNorthShadow, CAT Zentenaer Fraktur UNZ1 (a blackletter after a 1937 original by F.H.E. Schneidler), Coggers-Tariqa, EirikRaude, Fabrik (a geometric sans), Grobe Deutschmeister (German expressionist face), Harry Piel (or Piehl--a tattoo font), Kanalisirung, Klaber-Fraktur, Peter Obscure, Rumburak (a fat retro script), Flottflott (retro script), Indira K, Regent UNZ (a Schwabacher), Postamt, TGL 0-1451 Engschrift (a DIN-like font).
    • In 2013: Spartakus (+Round), Cut Me Out (white on black sans), 5by9 (dot matrix face), Tartlers End (high-contrast ball terminal face), Alpha 54 (rounded flared script face), Chunk Five Ex (slab serif; he writes: With permission of Meredith Mandel, the original author of the ASCII-Font Chunk Five, I have extended Chunk Five Ex to a full featured unicode font with all figures used in Latin and Cyrillic writing), Simple Print (simple sans), Fette Bauersche Antiqua (a didone fat face), Manuskript Gothisch (after Manuskript Gotisch (1899, Bauersche), which was modeled after Wolfgang Hopyl's 1514 Textura), Quast (hairy font).
    • Still in 2013, he published a number of school scripts, including Neue Rudelskopf, Deutsche Normalschrift, Imrans School, Rastenburg (German school font), and Bienchen.
    • In 2012: Hardman (connected fifties script), Immermann (a quaint slab serif), Quast (grunge), Fundamental Brigade (sans family), DiffiKult (a bilined face), 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), Helvetia Verbundene (making Helvetica into a school script? The original typeface was by Carl Albert Fahrenwaldt 1901), 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, Tschichold, 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 typeface made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde typeface 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].

    Dafont link. One more URL. Fontspace link. Yet another URL. Font Squirrel link. Fontsy link.

    The list of his truetype and opentype typefaces as of 2011: 18thCenturyInitials, 18thCenturyKurrentStart, 18thCenturyKurrentText, Alfabilder, AlteDIN1451Mittelschrift, AlteDIN1451Mittelschriftgepraegt, AmptmannScript, ApolloASM, Avocado, Barnroof, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, BerlinEmailWideSemibold, Beroga, Beroga, BerogaFettig-Bold, BerogaFettig-Bold, BertholdMainzerFrakturUNZ1A-Italic, BertholdMainzerFrakturUNZ1A, BertholdrMainzerFraktur, Blankenburg-Regular, BlankenburgUNZ1A-Italic, BlankenburgUNZ1A, CasaSans-Regular, CasaSans, CasaSansFettig-Bold, CatShop, CentreClaws, CentreClawsBeam1, CentreClawsSlant, ChunkFiveEx, CntgenKanzley-Regular, CntgenKanzleyAufrecht, DIN1451fetteBreitschrift1936-Regular, DiscipuliBritannica, DiscipuliBritannicaBold, Doergon-Regular, DoergonBackshift, DoergonShift, DoergonWave-Regular, Elb-Tunnel, Elb-TunnelSchatten, Elbaris, ElbarisOutline, ElficCaslin, EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular, ErikaOrmig, Eureka, FibelNord-Bold, FibelNord-BoldItalic, FibelNord-Italic, FibelNord, FibelNordKontur, FibelSued-Bold, FibelSued-BoldItalic, FibelSued-Italic, FibelSued, FibelSuedKontur, GoeschenFraktur, GoeschenFrakturUNZ1A-Italic, GoeschenFrakturUNZ1A, Gondrin, GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift, GruenewaldVA-Regular, GruenewaldVA1.Klasse, GruenewaldVA3.Klasse, H1N1, HelvetiaVerbundene, KochFetteDeutscheSchrift, KochFetteDeutscheSchriftUNZ1A-Italic, KochFetteDeutscheSchriftUNZ1A, LeipzigFrakturBold, LeipzigFrakturHeavy-ExtraBold, LeipzigFrakturLF-Bold, LeipzigFrakturLF-Normal, LeipzigFrakturNormal, LeipzigFrakturUNZ1A-Bold, LeipzigFrakturUNZ1A-BoldItalic, LeipzigFrakturUNZ1A-Italic, LeipzigFrakturUNZ1A, Luxembourg1910, Luxembourg1910Contur, Luxembourg1910Ombre, MMX2010-Regular, Maassslicer3D, Maassslicer3D, MaassslicerItalic, MaassslicerItalic, Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, MeyneTextur, MeyneTexturUNZ1A-Italic, MeyneTexturUNZ1A, Midroba-Regular, MidrobaSchatten, Moderne3DSchwabacher, ModerneFetteSchwabacher, ModerneFetteSchwabacherUNZ1A-Italic, ModerneFetteSchwabacherUNZ1A, ModerneGekippteSchwabacher, MoradoFelt-Regular, MoradoMarker, MoradoNib, MoradoSharp-Regular, Murrx, Nathan-CondensedRegular, Nathan-ExpandedRegular, Nathan-Semi-expandedRegular, Nathan, NathanAlternates-CondensedRegular, NathanAlternates-ExpandedRegular, NathanAlternates-Semi-expandedRegular, NathanAlternates, Nomitais, Nomitais, Numikki, Numukki-Italic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, PreussischeIV44Ausgabe3, PreussischeVI9, PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, Proletarsk, Prsent60, Quimbie, Quimbie3D, QuimbieShaddow, QuimbieUH, Quirkus-Bold, Quirkus-BoldItalic, Quirkus-Italic, Quirkus, QuirkusOut, QuirkusUpsideDown, RostockKaligraph, RotundaPommerania, RotundaPommeraniaUNZ1A-Italic, RotundaPommeraniaUNZ1A, Rudelskopfdeutsch-Aufrecht, SchatternvonPreussischeVI9, Schulfibel-Nord-Linie-2, SchwabenAlt-Bold, SchwabenAltUNZ1A-Italic, SchwabenAltUNZ1A, Stage, StrassburgFraktur-Regular, TGL0-16, TGL0-17, TGL0-17Alt, TGL31034-1, TGL31034-1, TGL31034-2, TGL31034-2, Tank, TengwarOptime, TengwarOptimeDiagon, TitilliumMaps29L-1wt, TitilliumMaps29L-400wt, TitilliumMaps29L-800wt, TitilliumMaps29L-999wt, TitilliumText22L-1wt, TitilliumText22L-250wt, TitilliumText22L-400wt, TitilliumText22L-600wt, TitilliumText22L-800wt, TitilliumText22L-999wt, TitilliumTitle20, UtusiStar-Bold, UtusiStar, VarietScala, Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, Via-A-Vis, Vrng, Waschkueche, Waschkueche, WaschkuecheGrob-Ultra, WaschkuecheGrob-Ultra, WiegelKurrent, WiegelKurrent, WiegelKurrentMedium, WiegelKurrentMedium, WiegelLatein, WiegelLateinMedium, WolgastScript, WolgastScript, WolgastTwo, WolgastTwo, WolgastTwoBold, WolgastTwoBold, XAyax, XAyax, XAyaxOutline, XAyaxOutline, YiggivooUnicode-Italic, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D-Italic, YiggivooUnicode3D, YiggivooUnicode3D, ZeichenDreihundert-Regular, ZeichenDreihundertAlt, ZeichenHundert-Regular, ZeichenHundertAlt, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular, ZeichenZweihundertAlt, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalle, kaufhalleblech, kaufhalleblech, moebius.

    His type 1 fonts as of 2011: Avocado, BerlinEmail, BerlinEmail2, BerlinEmailBold, BerlinEmailHeavy, BerlinEmailOutline, BerlinEmailSchaddow, BerlinEmailSemibold-Bold, BerlinEmailSerif, BerlinEmailSerifSemibold, BerlinEmailSerifShadow, BerlinEmailWideSemibold, Beroga, BerogaFettig-Bold, CasaSans, Elb-Tunnel, Elb-TunnelSchatten, Maassslicer3D, MaassslicerItalic, Numukki-Italic, Numukki, Powerweld, PreussischeIV44Ausgabe3, Quimbie, QuimbieUH, RostockKaligraph, TGL31034-1, TGL31034-2, UtusiStar-Bold, UtusiStar, Waschkueche, WaschkuecheGrob-Ultra, WolgastScript, WolgastTwo, WolgastTwoBold, YiggivooUnicode-Italic, YiggivooUnicode, YiggivooUnicode3D-Italic, YiggivooUnicode3D, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe, kaufhalle, kaufhalleblech.

    A list of typefaces in alphabetical order, with descriptive comments provided by Reynir Heidberg Stefansson from Iceland: 18th Century Kurrent (Kurrent-style handwriting, Wiegel-coded), Alfabilder (Alphabetic picture font for the German alphabet), Amptmann Script (Partly-connected, upright writing, used on Prussian Railways pattern drawings), ApolloASM (Jugendstil, vaguely resembling an ornate Bocklin), Avocado (Handwriting, broad-nib pen-style), Berlin Email (Narrow sans-serif, based on emailled signage; Wiegel-coded), Berlin Email Serif (Narrow serif, based on emailled signage; Wiegel-coded), Beroga (All-minuscule, rounded marker-style sans-serif with ca. 8° slope), Berthold Mainzer Fraktur (Fraktur in Wiegel (Regular only) and UNZ1(A) coding), Blankenburg (Semicondensed Tannenberg in Wiegel (Regular only) and UNZ1(A) coding), Casa Sans (Squarish, broad-nib pen-style block writing), CatShop (Serif, soft of an acid-washed didone), cbe Normal (Sans-serif, narrow, somewhat cuneiform), Centre Claws (Sans-serif, Art Deco display, a bit like Broadway), Cöntgen Kanzlei (Cöntgen Kanzley) (Fraktur-based calligraphy by Heinrich Hugo Cöntgen, Wiegel coding), DiffiKult (Sans-serif, display, no horizontal lines), DIN 1451 fette Breitschrift 1936 (The now-withdrawn Wide version of DIN 1451 traffic font), Discipuli Britannica (UK school handwriting), Doergon (Slab-serif, narrow-ish, all majuscule), CAT Eckmann, Elabris (Elbaris) (Sans-serif, caps/smallcaps, shades of DIN1451 Engschrift), Elb-Tunnel (Sans-serif, based on signage in the old Elbe tunnel in Hamburg), Elbic Caslon (Elfic Caslon, Elfic Caslin) (a Caslon for the Queen Galadriel), Erika Type (Erica Type) (Slab-serif, typewriter, comes from Wiegel's old Erika typewriter), Eureka (Serif, caps/smallcaps, Art Deco/Jugendstil), Fibel Nord (2009, sans-serif, based on German school primer), Fibel Sued (2009, sans-serif, based on German school primer), Fibel Vienna (Sans-serif, based on Austrian school primer), Fundamental Brigade (Sans-serif, geometric, some UNZ1 ligatures), Göschen Fraktur (Goeschen Fraktur) (Fraktur with a biblical feel, Wiegel (Rg only) and UNZ1 coding), Gondrini (Gondrin) (Sans-serif, geometric, display, shaded outlines, cookie-cutter), Greifswalder Deutsche Schrift (Handwriting, based on Rudolf Koch's Offenbacher Kurrent, Wiegel coding), Greifswalder Tengwar (Tengwar handwriting in Offenbach style), Gruenewald VA (Latin-style schoolhand, Wiegel coding), H1N1 (Heavy display typeface made of parallel wavetrains), Hardman (Heavy, wide, squarish logotype with connecting letters), Helvetia Verbundene (Swiss handwriting), Immermann (Display, resembles a seriffed Radio/Rundfunk, UNZ1 coding), Kaufhalle (Display, recreation of HO Kaufhalle logotype), Koch Fette Deutsche Schrift (Very plain fraktur, Wiegel (Rg only) and UNZ1 coding), Leipzig Fraktur (Fraktur for bread text, Wiegel coding), Leipzig Fraktur UNZ1A (Fraktur for bread text), Luxembourg 1910 (Sans-serif, Jugendstil display typeface from old spice drawers), Maass Slicer (Maassslicer) (Sans-serif, oblique display face, orig. logotype), Makushka (Sort-of an Elabris with minuscules, looks overlayable), Men Nefer (Slab-serif, geometric, UNZ1 coding), Midroba (Spur-serif, display, all-majuscule, heavy, octal), MMX2010 (Sans-serif, display, caps/smallcaps, TV game machine feel), Moderne Schwabacher (Heavily reworked, Wiegel coding), Moderne Fette Schwabacher UNZ1A (Heavily reworked, Wiegel coding), Möbius (moebius) (Sans-serif, display, bicolour (u/c = non-spacing fills, l/c = spacing outlines)), Morado (Connected handwriting with nib or marker pen), Murrx (Heavy display typeface made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel), CAT Neuzeit and CAT Neuzeit Schatten (2012-2014), Nathan (Slab-serif, hand-drawn.), Nomatais (Nomitais) (Elabris with multiple levels of outlines), Numukki (Conlang, knotted-line, good for separators and scenebreaks), Powerweld (Sans-serif, Bauhaus style, all-minuscule), Präsent 60 (PI font with various East German logos), Preussische IV 44 (PreussischeIV44Ausgabe3) (Repro of Prussian Railways pattern type IV 44 version 3), Preussische VI 9 (Repro of Prussian Railways pattern type VI 9 version 2), Proletarsk (Sans-serif, monoline, doubled-up questionmark), Quast (Brush type, all-majuscule, very rough outline), Quimbie (Sans-serif, all-majuscule, resembles Amelia), Quirkus (Sans-serif), Ring Matrix (LED matrix with ring LEDs, solid LEDs and ring LEDs with shadow), Rostock Kaligraph (Very round calligraphy, resembles rotunda), Rotunda Pommerania (Rotunda style, Wiegel-code (Regular only) or UNZ1-coded), Rudelskopf deutsch (Sans-serif, based on Kurrent-style letterforms), Schwaben Alt (Schwabacher in Wiegel- (Rg only) or UNZ1-coding.), Stage (Sans-serif, narrow, Art Deco, fleeting taste of Broadway), Strassburg Fraktur (Handwritten fraktur, ornate majuscules, Wiegel-coding), Tank (PI font with (gas/petrol) tank station logos), TengwarOptime (Optima for Tengwar), TGL 0-16/0-17 (East German versions of DIN 16 and DIN 17 blueprint types), TGL 31034-1, TGL 31034-2 (East German versions of DIN 6776 / DIN EN ISO 3098 blueprint types), Utusi Star (Sans-serif, slight resemblance with Rundfunk), Varieté (Sans-serif, all-majuscule or caps/smallcaps), Vis-A-Vis (Serif, all-majuscule, split in middle), Volk Redis (Kurrent handwriting, anno 1930-1941), Vrångö (LED matrix type like Ring Matrix), Waschküche (Serif, resembles Antykwa Torunska), Wiegel Kurrent (Kurrent-style handwriting), Wiegel Latein (Latin-style handwriting), Wolgast Script (Sloppy-looking handwriting with a broad-nib pen), Wolgast Two (Latin/Cyrillic handwriting), XAyax (Serif, Jugendstil, narrow, all-majuscule), Yiggivoo Unicode (Sans-serif, wide, tall x, board game packaging feel), Youbilee (PI font with various jubilee laurels), Verkehrszeichen (Zeichen) (PI fonts with traffic signs (in layers)), Verkehrszeichen alt (Zeichen Alt) (PI fonts with old traffic signs (in layers)).

    Abstract Fonts link. Dafont link. Kernest link. Klingspor link. CAT Fonts link. Fontesk link. [Google] [More]  ⦿

    Cathrin Altmeyer

    Saarbrücken, Germany-based designer of the rounded sans typeface Glow (2014). [Google] [More]  ⦿

    Catinka Keul

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

    Catrin Mackowski

    Köln, Germany-based designer of the stick font Golt (2015). Behance link. [Google] [More]  ⦿

    cD Design
    [Cristian Dina]

    Cristian Dina (cD Design, Berlin, Germany) created the free fonts Cristian Handwrite (2014) and Alisco (2014, a sans). Behance link. [Google] [More]  ⦿


    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]  ⦿

    Céline Hurka

    Céline Hurka (b. 1995) grew up in Karlsruhe, Germany, and moved to the Netherlands to study graphic design at the Royal Academy of Art (KABK) in The Hague. Besides her studies she works on freelance projects in the cultural field, where she combines an interest in editorial design with emphasis on type design and photography. She is based in 's Gravenhage.

    Graduate of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. During her studies at the KABK in Den Haag, Céline Hurka designed the poster sans typeface Alfarn (2018) as part of the Adobe Originals collection. This typeface is based on poster lettering in 1923 by Bauhaus student Alfred Arndt (1898-1976). Her KABK graduation typeface was the intestinal / stone age / graffiti family Version.

    In 2019, Nora Bekes and Celine Hurka published Reviving Type. The book as described by them: One study tells the story of the Renaissance letters of Garamont and Granjon. The other is about the Baroque types of Nicholas Kis. Reviving Type guides the reader from finding original sources in archives, through historical investigation and the design process, to a finished typeface. The first, theoretically grounded part of the book provides insight into historical changes in type design through visual examples of printed matter. The second part offers a thorough explanation of the production process of the revival typefaces. Here, two different approaches are placed side by side, creating a dialogue about different working methods in type design. Technical details, design decisions, and difficulties arising during the design process are thoroughly discussed. Rich imagery of original archival material and technical illustrations visually buttress the texts. Taken as a whole, the publication becomes a cookbook for anyone wanting to dive into revival type design.

    Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More]  ⦿

    Cesar Salazar

    Berlin, Germany-based designer (b. Venezuela) of the tall outlined poster typeface Giant (2020). [Google] [More]  ⦿

    C.F. Meier

    Darmstadt-based type designer who created the art nouveau font Meierschrift (1904-1908, Schelter&Giesecke). Revived by Oliver Weiss in 2020 as Meierschrift WF. [Google] [More]  ⦿

    C.F. Rühl

    Leipzig-based foundry. It produced typefaces 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), Neudeutsch, and Elementar-Deutsch (1911, a blackletter by Georg Schiller).

    C.F. Rühl is perhaps best known in the Hebrew community for its Frank Rühl typeface for Hebrew. The original Frank Rühl was designed in 1908 by Rafael Frank in collaboration with Auto Rühl of the C. F. Rühl foundry. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface in the 20th century. Many digital versions of this font exist. In 2016, Yanek Iontef designed the free Google Font Frank Ruhl Libre for Latin in Hebrew. Iontef's extension and modernization has five styles. [Google] [More]  ⦿

    C.G. Röder

    Publisher of the music notation font specimen book Noten- und Schriftproben der Röder'schen Officin in Leipzig (1860). [Google] [More]  ⦿

    C.G. Schoppe

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

    Chanel Mülhaupt
    [Liffey Type]

    [MyFonts] [More]  ⦿


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

    Chaomin Shen

    Hannover, Germany-based designer of a Chinese paper folding typeface (2015). [Google] [More]  ⦿

    Charles Bukowski

    Henry Charles Bukowski (b. Andernach, Germany, 1920, d. San Pedro, CA, 1994) was a German-American poet, novelist, and short story writer. His writing was influenced by the social, cultural, and economic ambience of his home city of Los Angeles. Typefaces styled after Bukowski's work: Bukowski (2014, Ingi Kristján Sigurmarsson), Buk (2017, Jefferson Camargo). Dedicated web site.

    Some quotes:

    • Some people never go crazy. What truly horrible lives they must lead.
    • For those who believe in God, most of the big questions are answered. But for those of us who can't readily accept the God formula, the big answers don't remain stone-written. We adjust to new conditions and discoveries. We are pliable. Love need not be a command nor faith a dictum. I am my own god. We are here to unlearn the teachings of the church, state, and our educational system. We are here to drink beer. We are here to kill war. We are here to laugh at the odds and live our lives so well that Death will tremble to take us.
    • You have to die a few times before you can really live.
    • The problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence.
    • That's the problem with drinking, I thought, as I poured myself a drink. If something bad happens you drink in an attempt to forget; if something good happens you drink in order to celebrate; and if nothing happens you drink to make something happen.
    [Google] [More]  ⦿

    Charles Emil Heyer

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

    • At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888, a clean basic sans), 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 (1874 or 1875), Compressed Black (1875), Copperplate Italic (1875), Harlem (+Open, +Shade) (1875), Karnac (1874 [note: not sure this was done at Boston Type Foundry]), Mayence (1875), Nubian (1876), Rococo (1876), Vienna (1875).
    • At Western Type Foundry: Circular Gothic No. 44 (1879). For a revival, see Foundation Sans Number 44 (Henrik Kubel, 2018).
    List of patents taken on fonts, by date: 1879: Armenian extended, unnamed art nouveau face, unnamed BBS face. 1880: unnamed BBS face, unnamed BBS face. 1881: blackletter face, unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1882: unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1883: unnamed BBS face. 1884: unnamed art nouveau face, unnamed art nouveau face, unnamed art nouveau face, unnamed BBS face. 1886: unnamed BBS face, borders. 1887: School Script for BBS, unnamed BBS face, unnamed BBS face. 1888: unnamed BBS face, unnamed BBS face. 1891: ornaments for BBS. [Google] [More]  ⦿

    Charles Herman Becker

    ATF matrix and pattern maker. Born in Germany, he died in 1948. He was involved in the design of Cloister Cursive Handtooled (Cloister Handtooled Italic, 1923), Goudy Handtooled (1923; see Goudy Handtooled BT) and Novel Gothic (1928-1929, a heavy art deco face), all in cooperation with Morris Fuller Benton. He created Quick-Set Roman&Italic in 1918, also at ATF.

    Stephen Coles writes: Novel Gothic was frequently used for record covers in the 1960s-1970s particularly John Berg's designs at Columbia Records, such as Miles Davis: Bitches Brew. There are many digital typefaces in this 1920s showcard style (such as Kobalt), and many poor digitizations of Novel Gothic, but no faithful revival currently exists. Telenovela NF is a digital interpretation with an additional highlight effect, while Napoli and Naked Power are attempts to tame Novel Gothic's comical personality into large, straightforward sans families.

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

    Charles S. Kuzmanovic
    [Radar Five Media]

    [More]  ⦿

    Charlotte Lengersdorf

    German designer at the University of Applied Sciences Düsseldorf of the connected monoline typeface Agile. [Google] [More]  ⦿

    Charlotte Rohde

    During her studies, Berlin (was: Düsseldorf), Germany-based Charlotte Rohde designed Calyces (2017), Marguerite Grotesk (2017) and Marguerite Outline (2017). In 2018, she announced Serifbabe and New Typeface (I guess that is the name, as no context was given). Later fonts include the text typeface family Keroine (2020), Armand Grotesk, and the medieval typeface Hadogenes. [Google] [More]  ⦿

    Charter Design
    [Patrick Adamove]

    Patrick Adamove (Charter Design) is the Hamburg-based designer of Horoscopia (2000, dingbats) and CharterD-Normal (1999, grungy) at Garagefonts.

    At Charterdesign, he created Dementia 13 and Planquadrata.

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

    Chen Winner

    Under the guidance of Lucas de Groot at FH Potsdam in 2014, Chen Winner (Tel Aviv, Israel) designed the connected retro script font Flamingo. Behance link. [Google] [More]  ⦿

    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]  ⦿

    [Rolf Schlösser]

    ChessBase GmbH is based in Germany and is run by Rolf Schlösser. He made these chess fonts in 1994: DiagramTTCrystals, DiagramTTHabsburg, FigurineCrrCBBoldItalic, FigurineCrrCBBold, FigurineCrrCBItalic (monospace font), FigurineHlvCrys-BoldItalic, FigurineHlvCrys-Bold, FigurineHlvCrys-Italic, FigurineHlvCrys, FigurineHlvHabs-BoldItalic, FigurineHlvHabs-Bold, FigurineHlvHabs-Italic, FigurineHlvHabs, FigurineTmsCBBoldItalic, FigurineTmsCBBold, FigurineTmsCBItalic, FigurineTmsCB, FigurineTmsHabs-BoldItalic, FigurineTmsHabs-Bold, FigurineTmsHabs-Italic, FigurineTmsHabs. The Figurine series provide text fonts with appropriate chess glyphs added on. Some of these fonts are at certain sites on the web. For example, Diagram Chessbase has DiagramTTCrystals, DiagramTTFritz, DiagramTTHabsburg, DiagramTTBlindAll, DiagramTTBlindBlack, DiagramTTBlindwhite. Of these, DiagramTTFritz (1999) is by Monika Berger, and DiagramTTCrystals (1994) and DiagramTTHabsburg (1994) are by Rolf Schlösser. And UNF Chess Club has FigurineTmsCB, FigurineTmsCBBold, FigurineTmsCBBoldItalic, FigurineTmsCBItalic. [Google] [More]  ⦿

    Chiquita Clarissa

    Surabaya, Indonesia (and more recently, Bremen and then Berlin, Germany)-based designer of the decorative caps typeface Flowery Font (2014) and the needlecraft font Aska (2016). Earlier, she made the typographic poster Tribute to Bjork (2012).

    Blog. [Google] [More]  ⦿


    Chiron specializes in revivals of old German lead types, and creates an occasional original font. The list I am aware of:

    • TbC Liebing Type (2014). After Elite Gotisch (1909, Kurt Liebing for Schriftgiesserei Böttger).
    • TbC Psalter Gotisch (2014). After Benjamin Krebs Nachfolger, ca. 1890.
    • TbC Schmalfette Amtsfraktur (2014, after H.W. Hoffmeister, 1911, Stempel AG).
    • TbC Schaefer-Versalien (2012). A revival of Schaefer-Versalien (1927, Karl Hermann Schaefer, Schriftguss).
    • TbC Salzmann Fraktur (2012). After a design from 1911 by Max Salzmann for Schelter and Giesecke.
    • TbC Satyricon (2012). Based on the credits in Fellini's movie.
    • TbC Ramses-Antiqua (2012). A revival of Ramses Antiqua (1912, Hermann Delitsch, Shriftgiesserei Julius Klinkhardt).
    • TbC Grobe Serif (2012).
    • TbC Wiking Licht + Dunkel (2012). A revival of Wiking (1927, Heinz Koening, Schriftgiesserei J. D. Trennert & Sohn).
    • TbC Neue Roemische Antiqua (2012). A revival of Neue Roemische Antiqua (1924, Shriftgiesserei Julius Klinkhardt).
    • TbC Leipziger Neugotisch (2012). A revival of Leipziger Neugotisch (1913, Rudolf Engelhardt, Wagner).
    [Google] [More]  ⦿

    Chr. G. Heucke

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

    Chris Campe

    German designer of the sans typeface Altona (2014). Altona is a geometric sans inspired by a World War I Memorial inscription found in Hamburg-Altona. [Google] [More]  ⦿

    Chris Corrado

    [MyFonts] [More]  ⦿

    Chris Lotz

    Bonn, Germany-based designer of the condensed sans titling typeface Above (2014). Behance link. [Google] [More]  ⦿

    Chris Molotov

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

    Chris Wiener

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

    Christa Röhrich

    Christa Röhrich (Oskar Lernt Englisch, Germany, b. 1987) created the hand-printed typeface OskarFont (2013). This is a commercial hook. Fontspace link. [Google] [More]  ⦿

    Christian Bauer
    [Secret Fontasies]

    [MyFonts] [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 Fenner
    [Digitale Heimat GmbH (was: Bean)]

    [More]  ⦿

    Christian Feurstein
    [Tour de Typo]

    [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). Leaves (2099) is a floriated ornamental caps typeface.

    Behance link. Typecache link. [Google] [More]  ⦿

    Christian Gruber

    Waldsassen, Germany-based designer of the straight-edged typeface Geze (2018). [Google] [More]  ⦿

    Christian Gruber

    Graphic designer who studied and now works in Münchberg, Germany. His typefaces:

    • The sans typeface family Tabularasa (2019). Followed by Tabularasa Neue (2019) and enhanced by a variable font.
    • Baghira (2021). An 8-style text typeface with square tittles and angry serifs, with sharp teeth, by Christian Gruber and Moritz Kleinsorge. Baghira at I Love Typography.
    • Karlsbader Grotesk (2021). Inspired by the Swiss/International style.
    • Autre Display (2022). A two-axis variable typeface that offers full control over its serifs and oblique angle.

    Type Department link. [Google] [MyFonts] [More]  ⦿

    Christian Gwiozda

    [MyFonts] [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 and Petra Heidorn. He also added a handwritten freestyle version, Burtine 2003, and another interpretation, Burtinomatic (2004). Petra Heidorn revived it as Burte Fraktur in 2003.

    Judith Type (1923), a hookish hellish German expressionist typeface, was at the basis of Judith Type (2007, Nick Curtis), Holofernes NF (2007, Nick Curtis) and Irrlicht (2015, Ari Hausel, Aarhaus).

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

    Christian Heins

    Koblenz, Germany-based designer of the fatv fingerv font Heins ED3 (2017). [Google] [More]  ⦿

    Christian Horrer

    Konstanz, Germany-based designer of the sneaker lace-inspired typeface Lace Up (2017). [Google] [More]  ⦿

    Christian Jung
    [Christian Pannicke]

    [More]  ⦿

    Christian Künzer
    [Freaky Fonts]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Christian Lindermann

    German designer at the University of Applied Sciences Düsseldorf of Cacao Grotesk and Transdigitale v4. [Google] [More]  ⦿

    Christian Matz

    Hof, Germany-based designer of the rounded poster typeface Jabber (2016). [Google] [More]  ⦿

    Christian Munk

    Danish designer (b. 1991), aka CMunk, who used FontStruct to create most of his typefaces. Dafont link.

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

    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, 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: Düpbøl (German expressionist face), Slice, Blocktur, Alien Double, 7:12 serif (pixel face), 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, Squared, Puzzlish, Steep, Digitalis (octagonal), 50 Fifty (artsy and geometric), Monotwist, Infix. FF stands for Forgotten Fonts.

    Typefaces made in 2013: Ribbons And Banners, Digital Rome (pixel face), Censorship, Interlock, Bouma, Glaedelig Script, Hand XL Smooth, Vascomat, Spitzschtruct (emulation of Suetterlin), Neonic, Fish Scales, 7:12 Serif, Analogly, Squarific Fraktastic, Metro Sans (pixelish).

    Typefaces from 2014: Word Games, Shadows, Yuuroppuna pixel, Spines, Numbers, Tal Dansk, Zahlen Deutsch, Insular Typewriter, Nudge Nudge (dot matrix), 7:12 Serif (monospaced pixel font), Jovian, Squarafic Fraktastic, Computer Says No, Runic, Fluorescent (neon tube typeface).

    Typefaces from 2015: Hexagonia, Kapow (a comic book font), Fauxreign (a Thai emulation font).

    Typefaces from 2016: Ziplock (art deco), Vexillum (maritime signal flags).

    Typefaces from 2019: Drop Cap (Lombardic), Fun with Cubes (3d). [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 Pannicke
    [Christian Jung]

    Christian Pannicke (Christian Jung) is a typeface designer and art director based in Berlin. His typefaces:

    • During his communication design studies in Berlin in 2013, Christian Pannicke created three typefaces, Aggi (a great carefully manicured display face), Alir (a modular squarish sans) and Neiga (a noteworthy free monoline Swiss slab serif described by Christian as glasklar und einfach).
    • The didone display typeface Agigi (2014), possibly renamed from Aggi.
    • The macho geometric sans serif typeface Amok (2014).
    • The roundish sans typeface Rodina (2014).
    • He designed Neue Cafe Grotesk for a final school project entitled Typography as a cultural embassy in the architecture of Berlin.
    • Nora (2014) and Nora Bold (2016): wedge serif magazine titling typefaces.
    • The letterpress emulation typeface family Heinrich (2017), which comes with several inline and textured styles.
    • The 20-style layerable poster typeface family Faust (2018).
    [Google] [More]  ⦿

    Christian Richter

    [More]  ⦿

    Christian Sander

    During his studies in Essen, Germany, Christian Sander designed the heavy sans typeface Love Alphabet (2013). [Google] [More]  ⦿

    Christian Schaarschmidt

    [MyFonts] [More]  ⦿

    Christian Specht

    Essen, Germany-based designer of the grid-based typeface Above (2014). [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. FontShop link. [Google] [MyFonts] [More]  ⦿

    Christian Thiele

    Berlin-based designer who founded Knorke with Felix Schwarze. Together, they created these typefaces:

    • The free graffiti font The Fresh Prince (2015).
    • The sans typeface family Rummelsdorf (2017) and the similar sans family Rummelsburg (2018: inspired by old metal signs from the GDR).
    [Google] [MyFonts] [More]  ⦿

    Christian Urff

    Christian Urff (Lernsoftware Mathematik, Friedrichshafen, Germany) created the free informal school script typeface Grundschrift (2013, OFL). [Google] [More]  ⦿

    Christian Vornehm

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

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

    Christian Vukomanovic

    During his studies at Hochschule Hannover, Germany, Christian Vukomanovic designed the wavy display typeface Ebrietas (2016). [Google] [More]  ⦿

    Christian Wischnewski

    German designer of the pixel fonts Poppkorn (2018) and Satzkorn (2016). [Google] [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 type foundry and died in 1770. Christian Gottlob Zinck started a type foundry in 1764 in Augsburg, where he died in 1778. [Google] [More]  ⦿

    Christiane Boerdner

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

    Christian-Heinrich Wunderlich
    [Typografisches Cabinet]

    [More]  ⦿

    Christian-Heinrich Wunderlich
    [rotfont halle-ost]

    [More]  ⦿

    Christin Arnhold

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

    Christina Haseloff

    German designer of the handcrafted typeface Waldprinzessin (2017). iFontmaker link. [Google] [More]  ⦿

    Christina Maria Bee
    [Type Destroyers]

    [More]  ⦿

    Christina Maria Bee

    Christina Bee ("Krizbi") is a type designer from Darmstadt who studied in Den Haag at the KABK in 2006, where she designed the Renaissance Antiqua typeface Olga while doing a Masters. Olga won an award at TDC2 2007. Christina lives in Hamburg.

    She participates in Type Destroyers with Frederik Berlaen.

    Other typefaces by Bee: Pony (2007, stencil). [Google] [More]  ⦿

    Christina Poth

    Graduate of ENSAD in Paris. In 2014, she created Oui FY (FontYou), a sans typeface designed to enable mixing letters of different heights. [Google] [MyFonts] [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 ADM

    German designer who is now located in Chicago, IL. For a club night in Frankfurt, she created the straight-edged techno typeface Sexpol (2014). For KISD Gala 2012, she designed an experimental geometric solid typeface. Behance link. [Google] [More]  ⦿

    Christine Auf der Mauer

    Chicago-based designer of Potato Print Font (2013) and of a geometric typeface done for KISD (Köln International School of Design) Gala 2012. Behance link. [Google] [More]  ⦿

    Christine Gertsch

    [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 Rudi

    Trier, Germany-based designer at FH Trier in 2019 of New Romanticism, which was based on Eleisha Pechey's Windsor (1905), which evokes the eras of romanticism and art nouveau. [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]  ⦿

    Christof Gassner

    Born in Zürich in 1941, Gassner is professor at the University of Kassel. He designed Vexier (1973), Leopard (1976), Knirsch (1976). [Google] [More]  ⦿

    Christoffel van Dijck

    Born in Dexheim, Germany in 1606 or 1608 (some sources say 1601), he died in Amsterdam in 1669. Dutch printer, typefounder, type cutter, and type designer who worked for Elsevier. He had a type foundry in Amsterdam. In texts like Johan Enschedé's Proef vann Letteren (1768), his name is spelled Chistoffel van Dyk. Elsewhere we find the more modern Dutch spellings Dijk and Dijck for his last name. Rudi Geeraerts explains a bit about present day types based on Van Dijck's work. I cite him, interspersed with my own comments and additions:

    • Monotype Van Dijck (1937-1938) is based on a typeface used in 1671 in Herscheppinge (Joost van den Vondel) printed by Daniel Bakkamude. Jan van Krimpen was consultant to Monotype on that project. Most graphic designers were a bit disappointed because it looks skinny when used in normal text sizes. The digital version is due to Robin Nicholas.
    • DTL Elzevir (1992, Gerard Daniels) is based on a study of several cuttings from Christoffel Van Dijck. Dutch Type Library mentions that it is mainly based on the Augustijn Romeyn a cut found on a 1682 type specimen issued by Daniel Elsevier's widow (hence the name DTL Elzevir) showing some typefaces from Van Dijck and others. So the DTL Elzevir is not a remake of the Monotype Van Dijck.
    • Gerard Unger's Hollander (1983) is based on a study of the typography used in 17th century books using typefaces cut by van Dijck and possible Dirck Voskens. The Hollander is also the base of the well-known Swift. So Unger's Hollander is not a remake of the Monotype Van Dijck.
    • OurType's Custodia, designed by Fred Smeijers, is a single-weight roman, with italic and matching small caps, with a seventeenth-century flavour. It was made in 2002 for use in the publications of the Custodia Foundation. Custodia 17 is the first typeface to join the OurType Classics collection. By seventeenth century flavoured we mean the flavour shared by a range of 17th century punch cutters, like Christoffel van Dijck, Dirck Voskens, Johan Michael Smit and Jean Baptiste van Wolschaten. References to and specimens of their typefaces can be found in several archives. One of them is the Plantin-Moretus Museum in Antwerp. The OT Custodia is neither a Van Dijck revival nor a Monotype Van Dijck remake.
    • Dutch Textura (1681), in versions called Augusteyn Duyts and Mediaen Duyts.
    • He designed a Hebrew typeface for the Hebrew bible of rabbi and typefounder Immanuel Atias (or: Joseph Athias), known as Otiyot Amsterdam (or: Letters from Amsterdam).
    Typefaces offered at MyFonts that are rooted in Van Dijck's work include:

    FontShop link. Klingspor link. Christoffel Van Dijck's digital legacy. [Google] [MyFonts] [More]  ⦿

    Christoph Bergleiter

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

    Christoph Dörre

    Christoph Dörre joined Philip Trautmann's Phitra Design in 2016 and then Shaped Fonts when Phitra changed its name. Based in Düsseldorf, Germany, he designed the free geometric sans typeface Coyote (2017), the free handcrafted Cinema (2017), the rounded sans typeface Cream (2017), the stencil font Leixo (2017), the dry brush script typeface Sidney (2017), the free slab serif typeface Tugano (2017), Airfly (2017: a minimalist sans), Equil (2017: a rounded wedge serif, accompanied by a stencil version) and the free graffiti script Friends (2017).

    In 2018, he designed Lifestyle (a flowing script), Hello Love (a brush script), Garatlo (a heavy script family), Spotlight and Spotlight Stencil.

    Typefaces from 2020: Argio (a rounded sans; +Stencil). Phitra Design link (obsolete). [Google] [More]  ⦿

    Christoph Dunst
    [Atlas Font Foundry]

    [MyFonts] [More]  ⦿

    Christoph Dunst
    [Büro Dunst]

    [MyFonts] [More]  ⦿

    Christoph Gey

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

    Christoph Hanser

    Cofounder and type designer at Typonauten, a Bremen and Hamburg-based commercial font foundry started in 1998. He made the interesting pixel font family Trixel (2002, free). [Google] [More]  ⦿

    Christoph Kaplan

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

    Christoph Koeberlin

    [MyFonts] [More]  ⦿

    Christoph Koeberlin

    Active type expert and type designer, who created FF Mark in 2013 together with Hannes von Döhren and the FontFont team. This 10-style font family spanning hairline to black is marketed as Ze new Germanetric sans. The FF Mark Ultra weight, published in 2015, is absolutely stunning. One of the weights of FF Mark is free.

    In 2016, he designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers: It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017. In 2020, Fabrikat Normal was released at Hans von Doehren Fonts.

    In 2020, he released Pangea and Pangea Text at Fontwerk. He writes: Pangea is a symbol of not only living together but of global cooperation. While Gergo Kokai from Hungary supported him in the design of the upright characters, he brought Tanya George from India on board to work on the italics (work in progress). He consulted with Irene Vlachou from Greece and Ilya Ruderman from Russia to ensure the quality of the Greek and Cyrillic characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his iKern tool. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, extended Latin, Cyrillic, Greek and Vietnamese are already included. Arabic, Hebrew and other languages are to follow. In 2021, he added the free 20-style Pangea Afrikan family with coverage of most of Africa's languages.

    In 2016, he set up Sportsfonts, and promptly published the 24,000-glyph 49-font athletic lettering superfamily, Winner.

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

    Christoph Koeberlin

    [More]  ⦿

    Christoph Koeberlin
    [Typefacts: The Best Free Fonts]

    [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 typeface Koecki Pixel (2008). Christoph Köckerling lives in Köln, Germany. Link at fontsy. Link at Dafont. [Google] [More]  ⦿

    Christoph Kutta

    Designer (b. 1990, Germany) of the organic sans typeface Run (2013). [Google] [More]  ⦿

    Christoph Mescher

    Christoph Mescher was born in 1984 in Tübingen/Germany. After he graduated from Hochschule Pforzheim, University of Applied Arts in 2010, he has been working as a freelance graphic designer. He created some commercial typefaces, including the purely geometric typeface Synthica (2010, Volcano), which started out as a project at the Fachhochschule in Pforzheim, and is meant to be a reflection on electronic music.

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

    Christoph Mueller
    [Christoph Mueller Graphic Arts]

    [More]  ⦿

    Christoph Mueller Graphic Arts
    [Christoph Mueller]

    Graphic designer, illustrator and type designer Christoph Mueller (Aachen, Germany) grew up in the Netherlands. His illustrations, album artwork and lettering have brought him international fame. He is also known for free fonts such as Mom's Typewriter (1997, old typewriter without a 0 or a 1---in the really old days, typewriters didn't have 0's or 1's. One used the uppercase letter O and the lowercase letter l for the 0 and the 1. This saved two keys and two type bars, as well as the linkage between the keys and type bars), 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, Bonnie and Clyde, Bonnie and Clyde GoodOldDays, Estetica Wrecked (+ExtraLetters), PsychoUno, PsychoZwo, and PsychoSan.

    Dafont link. Abstract Fonts link. Fontspace link. Older URL. Font Squirrel link. Another old 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 typeface Shiver (2008).

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

    Christoph Reichelt

    Disciple of Philipp Luidl, b. 1967, Munich, Germany. During his studies in Vienna, Christoph Reichelt designed the modular retro typeface Grande Coppi (2016). In 2021, he released Polydot (a connect-the-dots font). In 2022, he added Shackle One, a 7-style monolinear geometric sans in which most stroke connections and terminals are perpendicular; all curves have a light bend at their ends, similar to the lordosis of the cervical spine. [Google] [MyFonts] [More]  ⦿

    Christoph Ruprecht

    Christoph Ruprecht is an art director in Karlsruhe, Germany. He created several typefaces in 2013, including Solyaris (an ultra-sophisticated fashion typeface). Before that, he designed Cygnus Alpha (2009, a techno family), Code (2009, a 3d face), Psychodelics (2010), and Typolyrics (2009).

    Behance link. Cargo collective link. [Google] [More]  ⦿

    Christoph Schwedhelm

    Author of Rekonstruiert (2013, Dortmund, Germany), which served as a Diploma Arbeit at the Fachhochschule Dortmund. This book has contributions by Friedrich Forssmann, Albert Rahmer and Bernhard Schnelle. It describes the process of reconstruction of some blackletter fonts, and discussions blackletter typography in general. The four revived blackletter typefaces showcased in the book are

    [Google] [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 typeface reminiscent of the handwriting of British illustrator Ralph Steadman, and of Treefrog. It was published at Volcano in 2006 and has this wonderful motivation: The font family DEADman is mostly inspired by the weird style of the British illustrator Ralph Steadman. He had a long partnership with the American journalist Hunter S. Thompson, drawing pictures for several of his articles and books such as Fear and Loathing in Las Vegas.

    Volcano Type link. [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 typeface Zopf (2009, Avoid Red Arrows). [Google] [More]  ⦿

    Christoph Stahl

    Christoph Stahl (b. 1975, Marburg, Germany) studied at Kunsthochschule Kassel in 2002, and teaches at the Central Academy of Fine Arts, Beijing since 2003. First in the Computer Art Studio, and later in the School of Design and City Design School, Stahl wrote a doctoral thesis on Hanzi of the West, Letters of the East (2008- 2010). He earned a P.h.D. in Visual Communication at Central Academy of Fine Arts School of Design in 2010.

    Speaker at ATypI 2012 in Hong Kong: Hanzi of the West, letters of the East. [Google] [More]  ⦿

    Christoph Ulherr

    German designer of the fresh slab serif 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.

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

    Christoph Windmueller

    [More]  ⦿

    Christoph York
    [Brink Type]

    [MyFonts] [More]  ⦿

    Christopher Gram

    During his studies in Osnabrück, Germany, Christopher Gram created Zeta (2014), a large sans typeface family based on a grid system built on prime numbers. Free download. Behance link. [Google] [More]  ⦿

    Christopher 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]  ⦿

    Christopher Paul

    German creator in Trier of a typographic robot called Arnold (2012). He created the hand-printed typeface Tape It (2013).

    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 type foundry, 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. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Christophorus Halsch

    During his studies, Freiburg im Breisgau, Germany-based Christophorus Halsch designed the stencil typeface Unperfect (2015) and the oval multiline typeface Racetrack (2015). [Google] [More]  ⦿

    Cihan Tamti

    Based in Bochum, Germany, Cihan Tamti is a graphic designer specialising in typography. He is the creator of typefaces including the incredible Giga Medium (a super heavy display font) and Le Virage. [Google] [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]  ⦿

    Clara Diercks

    Münster, Germany-based designer of the transitional serif typeface Sonder (2016). Behance link. [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 typeface 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 typefaces 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]  ⦿

    Claudia Silbermann

    Graphic designer and illustrator in Berlin. Communications Design student in Berlin at the University of Applied Science (HTW Berlin). Creator of a calligraphic blackletter pair of typefaces in 2012 tentatively called Vomit Serif and Vomit Blackletter.

    Behance link. [Google] [More]  ⦿

    Claudia Vollmer

    During her studies in Dessau, Germany, Claudia Vollmer created the free typeface Knatz (2014, with Thomas Kores). [Google] [More]  ⦿

    Claudia Walde

    Author of Street Fonts: Graffiti Alphabet From Around The World (Thomas & Hudson). [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 typeface Neuzeit Fraktur (1909, H. Hoffmeister). [Google] [More]  ⦿

    Clemens Bergmann

    Based in Stuttgart, Germany, Clemens Bergmann designed the broken grotesk typeface Daimonion (2013). [Google] [More]  ⦿

    Clemens Rothbauer

    Dresden, Germany-based designer of the experimental (modular) typeface Sega (2009, 26plus-zeichen).

    Behance link. [Google] [More]  ⦿

    Cliff Modes

    German designer of the free pixel typefaces Jamboree (2016: based on the original team and player name font appearing in the SNES versions of the video games NBA Jam, NBA Jam Tournament Edition, and NBA Hangtime, developed by Iguana Entertainment and Funcom, and released by Acclaim Entertainment and Midway Games between 1994 and 1996), Galatype (2016: based on the original main text font appearing in the SNES video game Terranigma, known as Tenchi Souzou in Japan, developed by Quintet and released by Enix in 1995), Ishmeria (based on the original main text font appearing in the SNES video game Gemfire, known as Super Royal Blood in Japan, which was developed and released by Koei in 1992), Phantalia (2016: based on an original font appearing in the SNES video game Tales of Phantasia, developed by Wolf Team and released by Namco in 1995), NDS12 (2016: based on the original system font of the Nintendo DS handheld), ChronoType (2016: based on the original main text font appearing in the SNES video game Chrono Trigger, developed and released by Square in 1995), Arcology (2016: based on the original opening credit and title screen text font appearing in the SNES video game Shadowrun, developed by Beam Software and released by DataEast USA in 1993), MM Rock 9 (2016: based on several variants of the familiar font appearing in the earliest and latest installments of the Mega Man video game series, known as Rockman in Japan, which was developed and released by Capcom throughout the many years between 1987 and 2012), Steelflight (2016: based on the original main text font appearing in the SNES video game Shadowrun, developed by Beam Software and released by DataEast USA in 1993), RoadWC98 (2016: based on the original main text font appearing in the SNES video game FIFA: Road to World Cup 98, developed by XYZ Productions and released by Electronic Arts in 1997), Altima (2016: based on the original main text font appearing in the Sony PlayStation video game Final Fantasy Tactics, developed by Square and released by Square and Sony Computer Entertainment in 1997), Filgaia (2016: based on the original main text font appearing in the Sony PlayStation video game Wild Arms, developed by Media Vision and released by Sony in 1996), Igiari (2016: based on the original main text font appearing throughout the Ace Attorney video game series for the GameBoy Advance and Nintendo DS, known as Gyakuten Saiban in Japan, developed and released by Capcom between 2005 and 2011), Kouryuu (2016: based on the original main text font appearing in the SNES video game Kouryuu no Mimi, developed and released by VAP in 1995, and the font used for the inofficial English fan translation of the game), Quarlow (2016: based on the original main text font appearing in the SNES video game Super Punch-Out!!, which was developed and released by Nintendo in 1994), Reactor7 (2016: based on the original main text font appearing in the Sony PlayStation version of the video game Final Fantasy VII, developed and released by Squaresoft in 1997), Sangoku4 (2016: based on the original main text font appearing in the SNES video game Romance of The Three Kingdoms IV: Wall of Fire, known as Sangokushi IV in Japan, which was developed and released by Koei in 1994), Xentype (2016: a blackletter based on the larger original main dialog font appearing in the game Knights of Xentar, known as Dragon Knight III in Japan, which was developed by ELF Corporation and released by Megatech Software for PC DOS in 1995 and even earlier for the NEC PC-8801 and various other systems in 1991).

    In 2018, he published Megaten 20XX (based on the original typeface appearing in the Super Famicom video game Shin Megami Tensei II, developed and released by Atlus in 1994).

    Typefaces from 2019: WWare Type A, WWare Type B (based on an original pixel font appearing in the game WarioWare: D.I.Y).

    Aka Caveras, most of Cliff's typefaces are made with FontStruct. [Google] [More]  ⦿

    [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 typefaces), 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 typeface 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]  ⦿

    Coco Lobinger

    Multidisciplinary designer at Bauhaus-University Weimar. Creator of Serpiente Display (2020), a typeface with glyphs that evoke snakes and fangs. [Google] [More]  ⦿

    [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).

    In 2012, he made Codygraff, the black rounded typeface Donner, Three Tentakel (2012, octopus-shaped glyphs), and the dingbat typefaces Human Chain and Electricsphere.

    In 2013, he designed Hip Hop Barbie.

    Home page. Dafont link. [Google] [More]  ⦿


    Köhler (coding4web) is the German creator of the LED font Digital (2013), which is based on Allen R. Walden's Crystal. Fontspace link. [Google] [More]  ⦿

    Cohezion Design

    Frankfurt, Germany-based designer of the art nouveau typeface Juneau (2015). Behance link. [Google] [More]  ⦿

    Colin Doerffler

    Colin Doerffler is an infradisciplinary designer based in Munich, Germany. Creator of the display typeface Bogoni (2018) and 12:51 (2019). [Google] [More]  ⦿

    Collide 24
    [Lena Manger]

    Lena Manger works multidisciplinary in the fields of visual communication and graphic design. She graduated from the University of Applied Sciences, Mainz in 2018, and currently lives and works in Berlin, Germany. In 2019, Lena Manger and Kevin Moll co-designed the spindly Victorian typeface Mystica Extended. [Google] [More]  ⦿


    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]  ⦿

    Concrete Math fonts
    [Ulrik Vieth]

    Ulrik Vieth (University of Duesseldorf, Germany) designed an alternative for Computer Modern. Concrete by itself may be used as a complete replacement for Computer Modern. Since Concrete is considerably darker than Computer Modern, this may be of particular interest for use in low-resolution printing or in applications such as posters or transparencies. Personally, I find this collection wonderful. Alternate early URL.

    Ulrik Vieth created the Concrete Math fonts to match the Concrete text fonts; the only early free versions are implemented in METAFONT. The ccfonts package by Walter Schmidt changes the text font to Concrete and changes the math font to the Concrete Math fonts if eulervm is not loaded. Note that Concrete Text has no bold, but the Computer Modern Bold does just fine for that. However, in 2022, Daniel Flipo developed a free OpenType font based on Vieth's Metafont, also called Concrete Math. [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 typefaces TSS Scrubs Logo (2006) and TSS Scrubs (2006). Alternate URL. [Google] [More]  ⦿

    Constantin Pfeiffer

    Researcher and designer at the University of Applied Sciences in Darmstadt, Germany. Co-designer with Jerome Knebusch (Frankfurt am Main) of If (2017-2020). They write about If: Based on Futura Fett, released by the Bauer Foundry in Frankfurt in 1928, the type was pushed to extreme blackness without loosing its historical reference nor becoming a caricature. Decisions Paul Renner took to achieve maximum boldness like opening the counters of some letters were taken even further. The typeface, designed by Constantin Pfeiffer & Jérôme Knebush, was initially created during a workshop at the Gutenberg Museum Mainz on the occasion of the "Futura. Die Schrift" exhibition in 2017. [Google] [More]  ⦿

    Constanze Feige

    During her studies in Berlin, Constanze Feige designed the bold display typeface Pipersquare (2016). [Google] [More]  ⦿

    Constanze Kohlhaas

    Leipzig-based designer the chunky square-aligned typeface ATB+ (Around The Block) in 2021. [Google] [More]  ⦿

    Contrafonts (or: Frutitype; was: Sindicato de la Imagen, or: Cooperativa de Fundicion Tipografica)
    [Joaquín (jko) Contreras]

    Or Joaquin Contreras Soto. Santiago, Chili-based type cooperative where some free fonts have been produced: CNI (2004, a scary pixel typeface named after the Central Nacional de Información, the notorious Chilean intelligence bureau), CFT Maestro Rosamel, Masapunk (grunge, available from Latinotype), Jara (pixel face, Latinotype), Themo.

    Contreras won awards at Tipos Latinos 2008 for Romances (an exquisite calligraphic family) and Epístola. Other typefaces: LTT Jara, LTT Ferretería.

    He wrote a thesis at the Faculty of Architecture of the University in Chile in 2007 entitled Diseño de fuentes tipográficas, basadas en los libros integramente caligrafiados por Mauricio Amster en Chile.

    In 2011, he cofounded Los Andes Type, and published the octagonal typeface Fierro (2011) there.

    Typefaces not mentioned above include TCL Suma (2011), La Chimba (2010) and Nomono (2011, after an alphabet designed by Chilean illustrator Cristobal Schmal).

    He founded Contrafonts. Promptly, the medieval / uncial wedge serif all caps typeface CF Santiago won an award at Tipos Latinos 2018.

    In 2020, Joaquin Contreras and Miguel Hernandez Montoya set up Archetypo.xyz from their new base in Germany. They co-designed AA Actual Mono (2020: monospaced, in 10 styles).

    In 2021, Contreras set up Frutitype in Germany. At Frutitype, he released Cobre (a sans) in 2021.

    Old URL. Navajo.org site. [Google] [MyFonts] [More]  ⦿

    Cornelia Aust

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

    Cosman Damian May

    Born in 1807 in Frankfurt am Main, May was one of the most famous puchcutters of his day. Like many punchcutters, he started out under Andreas Schneider, the first punchcutter of the Dreslerschen Giesserei. In 1828, he went to England, where he worked for several years at Watts (London), Stephenson, Blake & Co. (Sheffield), and Miller & Richard (Edinburgh). He became partnet of Alex. Wilson & Son in London, where he worked from 1845 until 1852, when that company stopped operations. He returned to Frankfurt in 1852 where he cut many Fraktur and Antiqua types until 1963. Coota, a foundry in Stuttgart, bought his Bourgeois-Fraktur. He returned to London in 1863, and died there in 1865. May's company was then taken over by his son F. F. May, also a punchcutter. [Google] [More]  ⦿

    Cosmo F. Fairyhopper

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

    Cotta'sche Schriftgießerei

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

    Cristian Bogdan Rosu

    Weiden, Germany-based designer of icon sets and typefaces. His type designs include Kernl Grotesk (2019) and the sci-fi font Future Primitive (2019). [Google] [More]  ⦿

    Cristian Dina
    [cD Design]

    [More]  ⦿

    [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 typefaces 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 many typefaces (listed below) between 1997 and 2005 and has cooperated with several type designers on interesting projects. She is undoubtedly best known for her successful web site Typoasis (discontinued in 2016), where one could download her own creations, and those of her many friends. Petra was 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.

    In 2016, she allowed me to host her fonts on my site. Download page. Download all her fonts in one zip file.

    Her typefaces:

    • AlphanatismConHeads (2001). Stamped style.
    • ArabDancesMediumItalic (2002). An Arabic simulation typeface done with Manfred Klain's assistance.
    • Azimech (1999).
    • Bauernschrift (2004). After a 1911 typeface from Bauersche Giesserei.
    • Bayreuth (2003). A nice scan-version of Bayreuth Fraktur by Ernst Schneidler for C.E. Weber in 1932.
    • Bibelschrift (2004). Codesigned with Manfred Klein, Bibelschrift revives a Fraktur from 1926-1928 used by the Bremer Presse, est. 1911. The Bremer Presse was bombed by the Americans in 1944.
    • BirthdayGreetz (1999).
    • Brahms Gotisch (2005). A blackletter typeface co-designed with Manfred Klein. It is a revival of a 1937 Genzsch&Heyse typeface designed by Heinz Beck.
    • Burte Fraktur (2003). After Christian Heinrich Kleukens for the Mainzer Presse, 1928.
    • CalliBrush (1999).
    • Camouflage (1999). Textured.
    • Chaos-Theorie (2000). A Halloween or vampire font.
    • Charon (1999). An angry and / or scary typeface.
    • Crystopian.
    • CursedKuerbis (1999).
    • Cyclin (2000). An ironwork font.
    • DecoCaps (1999). Ornamental caps.
    • DeutscheDruckschrift (2004). A revival of Heinz König's 1888 blackletter typeface for Genzsch&Heyse.
    • DeutscherSchmuck (2004). Codesigned with Manfred Klein, this ornamental dingbat font is a revival and extension of the Schmuck für Deutsche Druckschrift by Eduard Ege, Genzsch and Heyse, 1922.
    • DiamondDreams (1999). A pearly all caps typeface.
    • Ellipsoideogram (2000). An italic headline sans.
    • Epitough (1999). A sans.
    • Extemplary (1999).
    • Funtastique (1999). An exagerrated, almost bubbkly, art nouveau typeface.
    • Gondoliere (2000). A light-hearted poster typeface.
    • Gotika (2005). After Reiner's 1933 blackletter typeface for Bauer.
    • Greex (1999). A Greek emulation typeface.
    • Hans Sachs Gotisch (2005). Based on a typeface by that name of Albert Auspurg, 1911, Genzsch&Heyse.
    • Hartwig-Schrift (2005). A blackletter typeface that revives Hartwig Poppelbaum's Hartwig Schrift from 1927-1928.
    • Hasenchartbreaker (1999). A handcrafted typeface.
    • Heimat (2005). After Wilhelm Weimar's Heimat from 1917, Genzsch&Heyse.
    • HelvAssim (1999). A naughty take on Helvetica to needle Linotype.
    • Hohenzollern (2004). Based on Carl Albert Fahrenwaldt's blackletter typeface for Bauersche Giesserei, 1902.
    • HollandGotisch (2005). Designed together with with Manfred Klein, this is a revival of the textura typeface Nederduits (aka Fleischmann Gotisch) by Johann Michael Fleischmann, ca. 1750.
    • InkyDinky (1999).
    • IsleOfTheDead (1999). An angular handcrafted typeface reminiscent of the movie titling of Dr. Caligari.
    • Jaecker-Schrift (2005). Revival of the 1912 blackletter typeface by Wilhelm Jaecker for D. Stempel.
    • Kleukens-Fraktur (2004). A Schwabacher based on a design by Friedrich Wilhelm Kleukens, 1910.
    • KrasniFellows (1999). An old Slavonic emulation typeface.
    • KuehneRevised (2003). A blackletter typeface.
    • LadyIce-Italic, LadyIce-SmallCaps, LadyIce, LadyIceRevisited, LadyIceRevisitedUpper. An organic monoline sans typeface family developed together with Apostrophe.
    • Leibniz-Fraktur (2003). A Schwabacher typeface based on a house font at Genzsch & Heyse, 1912.
    • LeontineLoew. A warm and plump informal typeface.
    • LightBats (1999). Dingbats.
    • Lupinus (1999).
    • Lurzing-Initials (1997). A decorative caps typeface based on a 1908 typeface by Karl Lürzing that depicts naked figures.
    • Manuskript Gotisch (2004). A revival of a 1514 Textura typeface by Wolfgang Hopyl, which was a house typeface at the Bauersche Giesserei in 1899.
    • ModerneSchwabacher (2005). After a ca. 1900 typeface by the Otto Weisert foundry called Moderne Halbfette Schwabacher.
    • MonkeyHouseParty (2001).
    • MothproofScript (1999). A calligraphic typeface. The name is a take on frostmoth, one of Petra Heidorn's early aliases.
    • MuseAsis (2002). Artsy fartsy.
    • Napapiiri (1999).
    • Neudeutsch (2004). After a 1900 original by Otto Hupp for Genzsch&Heyse.
    • NeueFraktur, NeueFrakturExtraBold (2004). Revivals of typefaces by Johannes Wagner Schriftgiesserei in 1927.
    • NinjaLine (2000). An outlined graffiti typeface.
    • Nordland (2005). Based on a typeface by Heinz Beck for Trennert&Sohn, 1935.
    • Oetztype (1999). German expressionist. Named after the Tyrolian Iceman, Oetzi.
    • Oktoberfest (1999).
    • Pachyderm (1999). A nice ultra-fat typeface.
    • PeesCelticItalic, PeesCelticPlain, PeesCelticOutline (1999). Ornamental Celtic caps.
    • Pegypta, Pegyptienne (1999). Hieroglyph-inspired typewriter fonts.
    • PostmoderneFraktur (1999).
    • Rammstein (1999). A tall condensed typeface.
    • ResPublica (2000).
    • RoteFlora (1999). Garffiti style typeface.
    • RoyalGothic (1999). A swashy set of initials.
    • SadLisa. A kitchen tile font designed to support Lisa Jenkins in a copyright battle.
    • Sagittarius (1999). An arrowed typeface.
    • SailingJunco (1999). A stencil typeface.
    • Scalper-Bold, Scalper, ScalperInk (2001). Grunge style.
    • SchmalfetteGotisch (2004). Codesigned with Manfred Klein, this semi-Textura typeface is based on a type of Ernst Schneidler.
    • SchneidlerInitialen (2004). After F.H.E. Schneidler.
    • Schneidler Schwabacher (2004). After F.H.E. Schneidler.
    • SchwabachDeko (2005). This is Verzierte Schwabacher by Carl Kloberg, Leipzig, 1891. In 2005, Petra co-designed a similar revival of Verzierte Schwabacher with James Arboghast, simply called Verzierte Schwabacher. Her SchwabachDeko attempted to be as close as possible to the original.
    • Scoglietto (1999). A text typeface.
    • SerpentisBlack (2004). Digitization of a typeface by E.W. Tieffenbach for Officina Serpentis, 1913. This in turn is based on a Gotico-Antiqua by Peter Schoeffers (Mainz, 1462) which was refined in the late 15th century by Creussner and Koberger.
    • SlimlinerMicro (1999).
    • Smoke-Rasterized-Medium (2001). Degraded and textured.
    • SoftAutumn (1999).
    • Stoertebeker (1999). A mediaeval typeface with a rough outline.
    • SunnySide (2000).
    • Symphonie (2005). A digitization of Imre Reiner's Symphonie from 1938 (renamed Stradivarius in 1945).
    • TaraType (1999). A lapidary typeface named after Petra's friend, Sabine Taranowski.
    • Teutonia (2004). Based on a typeface by Roos & Junge, ca. 1900.
    • TipTop (2004). Based on a typeface from Schriftgiesserei Julius Klinkhardt, Leipzig, ca. 1900. Virtually identical to Teutonia.
    • ToolTime (1999). Dingbats.
    • TypesourceFanclub (2001). A heavy semi-slab serif.
    • Urdeutsch (2004). A rounded blackletter typeface based on Urdeutsch (1924-1925, Adolf Heimberg for Genzsch&Heyse).
    • Vogeler Caps (2002). Based on Heinrich Vogeler's decorative blackletter caps typeface Jugendstil Initialen (1905).
    • Weiss-Gotisch (2004). A revival of E.R. Weiss's typeface by that name, published in 1936 at the Bauersche Giesserei.
    • WelcomeY2K (2000). A casual typeface.
    • XmasTerpiece, XmasTerpieceSwashes (2001). A Fraktur font based on Rhapsodie by Ilse Schuele.

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

    Cynthia Celoudis

    German designer of the handcrafted typeface People (2015). [Google] [More]  ⦿

    Cyra Henn

    Motion designer in Berlin, who created the animated typeface Cyber (2015) and the hyper-experimental typeface Ters (2015). Behance link. [Google] [More]  ⦿

    D. Stempel (or: Stempel Studio)

    Frankfurt-based type foundry 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: Büxenstein Antiqua (1912: revival by Gerhard Helzel), GerhardHelzel-BuxensteinFraktur-after-DStempel-1912.png">Büxenstein-Fraktur (1912: revival by Gerhard Helzel), AltSchwabacher, Europe, Eurostile, Forma, Garamond, Künstlerschreibschrift (1902), Univers, and the typewriter types Deberny, Haas and Olive.

    Specimen book of 1920.

    View the Stempel typeface library. [Google] [MyFonts] [More]  ⦿

    Dagmar Welle

    Graduate of the University of Leipzig. Author of Deutsche Schriftgiessereien und die künstlerichen Schriften zwischen 1900 und 1930 (1997, S. Roderer Verlag, Regensburg). Graduate from the University of Leipzig. [Google] [More]  ⦿

    Daimler Benz

    The Daimler Benz font series by Kurt Weidemann, created from 1985-1989 for Stuttgart's Daimler Chrysler company which markets Mercedes, is sold by URW++ in A (antiqua), S (sans serif) and E (Egyptian) styles: Corporate A bold, Corporate A bold italic, Corporate A demi, Corporate A demi italic, Corporate A family, Corporate A light, Corporate A light italic, Corporate A medium, Corporate A medium italic, Corporate A regular, Corporate A regular italic, Corporate ASE family, Corporate E bold, Corporate E bold italic, Corporate E demi, Corporate E demi italic, Corporate E family, Corporate E light, Corporate E light italic, Corporate E medium, Corporate E medium italic, Corporate E regular, Corporate E regular italic, Corporate S bold, Corporate S bold italic, Corporate S demi, Corporate S demi italic, Corporate S extra bold, Corporate S extra bold italic, Corporate S family, Corporate S light, Corporate S light italic, Corporate S medium, Corporate S medium italic, Corporate S regular, Corporate S regular italic, Corporate Small Caps A bold, Corporate Small Caps A demi, Corporate Small Caps A light, Corporate Small Caps A medium, Corporate Small Caps A regular, Corporate Small Caps E bold, Corporate Small Caps E demi, Corporate Small Caps E light, Corporate Small Caps E medium, Corporate Small Caps E regular, Corporate Small Caps S bold, Corporate Small Caps S demi, Corporate Small Caps S light, Corporate Small Caps S medium, Corporate Small Caps S regular.

    Picture of Gottlieb Daimler and his son Paul. [Google] [MyFonts] [More]  ⦿

    Dan Reynolds

    [MyFonts] [More]  ⦿

    Dana Krusche

    Dana Krusche (Berlin, Germany) created the (typographic) gig poster Free Pussy Riot in 2014. Behance link. [Google] [More]  ⦿

    Dan-André Niemeyer

    German designer of Vision Regular (1997, Linotype), a font that takes inspiration from paperclips.

    FontShop link. Klingspor link. Linotype 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 typeface 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 typeface Trage Keinen Namen (2008) and the simple handwriting typeface Berger&Berger Caps (2009). One can also download a font tool called Typometer. At Dafont, he calls himself Dundeee.

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

    Daniel Baek

    Schwalbach am Taunus, Germany-based designer of the geometric solid typeface Onyu Leon (2016). Behance link. [Google] [More]  ⦿

    Daniel Bonrath

    As a design student in Germany, Daniel Bonrath created the free duct tape blackletter font Ruhrpott (2016, Citype), also called Gantzfeld Black. [Google] [More]  ⦿

    Daniel Bretzmann

    [More]  ⦿

    Daniel Faro

    Berlin, Germany-based graphic designer, who created the display sans typeface Twister in 2017. [Google] [More]  ⦿

    Daniel Fischer

    German creator of the free hand-printed typefaces 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 the paper tape typeface FF Ticket in 2000. FontShop link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Daniel Frohwein

    Designer (b. 1985, Germany) of the textured typeface Paper Beach (2015) and the sans typeface Bus 201 Portugal München (2015). [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 typeface 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 Gremme

    Lithuanian designer of the devil-tailed serif typeface Skanaus (2020), which was developed under the mentorship of Prof. Ausra Lisauskiene and type designer Henning Skibbe. Gremme is based in Düsseldorf and sells his fonts through The Designers Foundry. [Google] [More]  ⦿

    Daniel Günther

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

    Daniel Henry Bastian

    Designer of the hand-printed 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. Digitizations of his work include:

    Scans of his orginal work: German Capitals (1549). [Google] [More]  ⦿

    Daniel Janssen
    [Büro für Gestaltung Janssen]

    [MyFonts] [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 typeface 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 at Stuttgart Media University (Germany) and FH Joanneum 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. Founder and partner of Capitale Berlin/Vienna---a studio for branding, wayfinding systems and editorial design.

    His first release, the extensive Parka family of sans typefaces, 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.

    Bergamo (2012) is a comprehensive angular book typeface.

    He studied in the Typemedia program at KABK Den Haag, class of 2012. His graduation project there is a typeface called Dato (Sans, Serif). Dato Serif is slightly angular and reads well at small sizes.

    In 2021, Fontwerk published his 18-style (+a variable font with weight and slope axes) family West, produced with the help of Andreas Frohloff and Christoph Koeberlin. Perraudin started development of the geometric sans West in 2013, and used it in the wayfinding system developed by Studio Gourdin and Capitale for Dresden's Gemäldegalerie Alte Meister. [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). His experimental water-inspired typeface H2O (2012) is simply spectacular. [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. Klingspor link. Avoid red Arrows link. [Google] [More]  ⦿

    Daniel Schops
    [Fuenfwerken Design AG]

    [MyFonts] [More]  ⦿

    Daniel Storek

    Braunschweig, Germany-based designer of the thin avant-garde sans typeface Mord Sans (2013). [Google] [More]  ⦿

    Daniel Stuhlpfarrer

    Berlin-based art director at Nulleins. Designer of the free squarish typeface Wean (2017). In 2019, he published the variable width display typefaces Innschbruck (sic) and Tschick, the experimental variable font Wabla, and the variable sans typeface Melange.

    At Type Departent, he published the all caps sans family Kritik (2020). The first design of Kritik was specially made for an architecture magazine and developed further over time. Type Department 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. This was extended to FF Netto Icons UI in 2014. In 2023, FF Netto became simply Netto.

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

    Daniel von Appen

    [More]  ⦿

    Daniel Wenzel

    During his studies at HTWG Konstanz, Germany, Daniel Wenzel created the sans and serif typeface family Dekan (2015) and the sans typeface Hass Grotesk (2016). Still in 2016, he revived Alte Schwabacher as Schwabacher Grotesk.

    In 2017 he designed the sans typeface family Veelo. In 2017, Sergi Delgado and Daniel Wenzel co-designed the textured op-art typeface Aigua.

    Daniel wrote Automatisierte Schriftgestaltung / Automated Type Design to showcase how type design can be automated. That work was done under the mentoship of professors Brian Switzer and Jo Wickert. [Google] [More]  ⦿

    Daniel Woessner
    [Visual Mind Rockets]

    [MyFonts] [More]  ⦿

    Daniela Spinelli

    Graphic designer from Saarbrücken, Germany who lectures on typography at HBK Saar, University of Applied Science. In 2017, Stefan Huebsch and Daniela Spinelli co-designed Konkret (a sharp-edged all-caps secret service sans with some left-leaning Kontra italics) at Typocalypse. Behance link. [Google] [MyFonts] [More]  ⦿

    Danni Creative
    [Danni Wiebelhaus]

    German designer. In 2021, she published the vernacular supermarket or food packaging font Tropicalia Type. [Google] [MyFonts] [More]  ⦿

    Danni Wiebelhaus
    [Danni Creative]

    [MyFonts] [More]  ⦿

    Danny Bernecker

    German designer of the crayon font Beat Street (2018). [Google] [More]  ⦿

    Daphne Preston-Kendal
    [David Kendal]

    Using webfont conversion tools by Adam Schwartz, David Kendal (Berlin, Germany) created a set of free opentype fonts, ET Book OT, in 201 based on ET Book, the free Bembo-style typeface family by Dmitry Krasny, Bonnie Scranton, and Edward Tufte. Github link. [Google] [More]  ⦿

    Dare Art

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

    Daria Petrova

    Moscow-born type designer who first studied book design in Moscow and communication design in Berlin, and graduated from the Typemedia program at KABK, class of 2016, and is now working for LucasFonts in Berlin. Her graduation thesis, Ritual, is intended for use on gravestones, with sandblasting machines. The multi-style typeface family is German expressionist.

    At Future Fonts, she published the wedge serif display typeface Zangezi (2018), which began as a revival of Keystone Type Foundry's Salem. In 2019, she added Zangezi Sans, and wrote: A new take on the Grotesque genre that is neither cool and rational, nor friendly. Strong color, sharp endings, and an eccentric italic give Zangezi Sans a brutal yet elegant appearance, where "yet" doesn't mean a compromise. Its serpentinous, schizophrenic shapes are an expression of the pure joy of drawing. In 2020, she added Zangezi Sans Text.

    Typefaces from 2021: Zloy (Russian for evil, angry: this a wicked ultra-fat sharp-edged wedge serif poster typeface).

    Speaker at ATypI 2018 in Antwerp on grave markers. Interview. Future Fonts link. [Google] [More]  ⦿

    Dario Ferrando

    Graphic designer from Italy, freelancing in Berlin. Specializing in icons. He created the large free icon sets Linea (2014, including music, weather, e-commerce, software, arrowed and other subsets: free) and Outlined Icon Set (2014, free). See also PixsHub in New York City. [Google] [More]  ⦿

    Darius Gondor

    German designer at iFontMaker of A Type Goldrichtig (2011), a neatly printed face. Darius Gondor and Matthias Tratz co-designed the 3d typeface KIM (2014) and Protest Neue (2014). [Google] [More]  ⦿

    Darius Samek
    [Elster Fonts]

    [MyFonts] [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. His typefaces:

    • Fobia (1994, Font Bureau). A fun and exciting vampire script typeface, it is featured in Robin Williams' book A Blip in the Continuum (Peachpit Press).
    • Bauklotz (2010). Letters made from building blocks.

    Behance link. shr communication GmbH is his art direction and graphic design business in Hamburg. Klingspor link. FontShop link. Font Bureau link. [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.

    Font Squirrel link. [Google] [More]  ⦿

    Dave Hänggi

    Berlin, Germany-based designer of Loqi (2016, an organic circle-based monoline sans custom-designed for a brand of bags), Moe (2015, decorative hipster caps), Satellites (2014, outlined geometric font inspired by the logo of DLR---the Deutsche Gesellschaft für Luft und Raumfahrt), Turna Round (2014, a roundish display alphabet), and Living Rooms (2014, an interlocking square-shaped blocky alphabet inspired by floor tiling). Behance link. [Google] [More]  ⦿

    Dave Tiedemann

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


    German designer of Pixel Tiny (2019). [Google] [More]  ⦿

    David Aldinger

    Dortmund, Germany-based designer of the headline display typeface Apathy (2013). Behance link. [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 Gobber

    David Gobber is a graphic designer currently based in Basel, where he is finishing his graduate studies at the FHNW Academy of Art and Design. Before that, he studied Visual Communication under Fons Hickmann at the University of the Arts Berlin. He created the headline typeface Raster (2012, +Decorative), which was designed on a grid. In 2014, he created the nibbed pen typeface Pachner. His latest typefaces include Lucifer (a threatening text typeface) and SQ (a pixelish typeface). [Google] [More]  ⦿

    David Hubner
    [Formlos (was: Folio)]

    [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 typeface Polygram (2012).

    Behance link. [Google] [More]  ⦿

    David Jacob

    During his communication design studies in Berlin, David Jacob created the sans typeface Hirnkost (2014). Behance link. [Google] [More]  ⦿

    David Kendal
    [Daphne Preston-Kendal]

    [More]  ⦿

    David Kowalski

    Designer at URW++. In Veljovic's type design class at HAW Hamburg, DavidKowalski created the brush script typeface Maccaroni (2013). It can now be bought at URW++. [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 Matos

    Berlin-based designer. With FontStruct, David designed the modular typefaces Ines Stencil (2013) and Ines Regular (2013).

    In 2019, David Matos went commercial and released the tall condensed slab serif Unicorn. He writes that Unicorn was inspired by lettering in a furniture ad in Domus vol. 192, 1943. Domus was an architecture magazine. [Google] [MyFonts] [More]  ⦿

    David Muehlfeld

    German designer who grew up in Dresden, and has worked as a designer in Amsterdam since 2006. He created a thick counterless typeface in 2012. [Google] [More]  ⦿

    David Phillips
    [Radar Design]

    [MyFonts] [More]  ⦿

    David Stempel

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

    David Thometz
    [David Thometz Design]

    [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. In 2004, he moved to Hampton, TN. Typefaces by him include DTD Silvertone Woodtype, DTD Architrave Sans, DTD Tinhorn, DTD Venceremos Latin, DTD Hefeweizen (blackletter, beer bottle font), DTD Architrave (2001), DTD Digita (a great screen font), DTD Seriatim [+ Seriatim Gestalt, + Seriatim Uncial, 2003, + Seriatim Sans, 2003), DTW Erwin (2004, a Venetian newspaper typeface 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.

    View David Thometz's typefaces. [Google] [MyFonts] [More]  ⦿

    David Turner

    During his studies at Hochschule Hannover, Germany, the very talented David Turner designed the sharp-edged high-contrast poster typeface Bologna (2017) and the fantastic angular text typeface Bushwick (2017). [Google] [MyFonts] [More]  ⦿

    David Waschbüsch

    German designer of the experimental modular typeface Konstata (2013).

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

    David Waschbüsch
    [Fontom Type]

    [MyFonts] [More]  ⦿

    David Weinz

    Type designer of

    • Weinz Kurvalin (1987, Itek).
    • WTC Neufont (1987, WTC).
    [Google] [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]  ⦿

    Deadbeat Boyhood

    Creator of the display typeface Neukreuz (2013), which was developed during a stay in Berlin. [Google] [More]  ⦿

    Deckersche Schriftgießerei
    [Rudolf Ludwig Decker]

    Berlin-based foundry of Rudolf Ludwig Decker. Their fonts include Deckersche Fractur (1844) and an uncial Greek that was used by both Oxford and Cambridge University Press in the late 1800s. That Greek typeface was revived in 2007 by George D. Matthiopoulos as GFS 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]  ⦿


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

    Degarism Studio
    [Deni Anggara]

    Berlin, Germany and/or Medan, Indonesia and/or Bandung, Indonesia-based designer who set uo first Degarism Studio and, in 2017, Formatype Foundry.

    His typefaces from 2016: Formatif Std (sans), Fortika Display (first published by Regario), Mono RGO (an octagonal typeface family first published by Vial Work, it has one free weight), and Metrisch (first designed with Gumpita Rahayu). I have no clue as to who is who in this Indonesian conundrum. I suspect that Deni Anggara only did the artwork and not the fonts, but it would be great if he could say that up front. He designed Fold No.21 Mono and Neutrif Pro.

    Typefaces from 2017: Neutrif Studio (a geometric sans), Neurial Grotesk (published in 2018 by Indian Type Foundry), Biotif (grotesque), Folty (a geometric sans), Mono RGO Pro.

    Typefaces from 2018: Monorama (a squarish octagoinal caps only typeface family published at Indian Type Foundry), Alliance (an 28-style grotesk sans), Rileno Sans (geometric sans).

    Typefaces from 2019: Regio Mono (a great monospaced choice, even as a programming font), Folito (a stylish modernist sans at Indian Type Foundry), Blimone and Blimone Inktrap, Aktifo (a geometric sans by Deni Anggara and Boyan Nurdiansyah). Aktifo, in 28 styles, covers Latin and Cyrillic.

    Typefaces from 2020: Bombay Mono (an octagonal typeface at Indian Type Foundry), Fracktif (geometric and grotesk at the same time).

    Behance link. Another Behance link. Cargo Collective link. Creative Market link. Old studio Formika link. [Google] [MyFonts] [More]  ⦿

    Dekor Labor A. Kofron

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

    [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 typefaces. Some fonts were designed by Gerhard Helzel, and others by Christian Spremberg. This is one of the best sources of blackletter fonts in the world. Names of the fonts, which are nearly all historical revivals of the great blackletter fonts: Alte Schwabacher, Andreas Schrift, Breitkopf Fraktur, Caslon Gotisch, Claudius (1998, after Rudolf Koch, 1934-1937), Deutsche Kursive, Deutsche Werkschrift (+halbfett), Deutsche Zierschrift, Eckmann Schrift, Eisenacher Fraktur (1994, by Christian Spremberg), Ehmcke Schwabacher, Fette Gotisch, Fichte Fraktur, Frühling (after Rudolf Koch's original from 1917) [sample 1, sample 2, sample 3], DS-Garalang, DS-Garamond, DS Gotenbrg, Hermersdorf, Humboldt Fraktur (after a typeface by H. Rhode), Kleist Fraktur (1996, after the Walter Tiemann original from 1927-1928), Wilhelm Klingspor Schrift, Koch Fraktur, Rudolf Koch Kurrent (after the original school alphabet by Koch, done in 1935), Kurrent (a connected writing font based on examples from J.B. Henning, ca. 1817), Lincoln Gotisch, DS Maximilian Gotisch, DS Maximilian Zierbuchstaben, Normal Fraktur (this is a nameless typeface in the group of Biedermeier-Fraktur typefaces which also includes Schelter's Schulfraktur; also known elsewhere as Armin-Fraktur, Bürenstein-Fraktur, Mars-Fraktur and Pressa-Fraktur), Offenbacher Schwabacher (1996, after the 1899 font by Gustav Ruprecht at Rudhardsche), Old English, Peter Jessen Schrift (1997, after the original from 1924-1929 by Rudolf Koch), Post Fraktur, DS Ratdolt Rotunda, DS Salzmann Fraktur, DS Schmuck, Strassburg, DS Suetterlin, Tannenberg (after a 1933 Stempel typeface by Emil Meyer), DS Thannhaeuser Fraktur, DS Unger Fraktur (1999), DS Walbaum Fraktur, DS Wallau (1996, after Rudolf Koch, 1924-1936), Wartburg Fraktur, DS Weiss Gotisch, DS Wilhelm Klingspor Schrift, Wohe Kursive and Zentenar Fraktur (1997 (after F.H.E. Schneidler's original from 1937).

    Some of the copyright notices refer to the Bund für deutsche Sprache und Schrift, and others to PrimaFont, and this may explain some of the foundry's history. 1994 catalog. Part of the 1999 catalog. Part of the 2002 catalog. [Google] [More]  ⦿

    Deni Anggara
    [Degarism Studio]

    [MyFonts] [More]  ⦿

    Deni Todorova

    During her studies at New Bulgarian University in 2016, Deni Todorova (Bremen, Germany) designed a few Cyrillic sans typefaces. [Google] [More]  ⦿

    Denis Potschien

    Denis Potschien (Iserlohn, Germany) showed the history of type classification. In German. Link gone. [Google] [More]  ⦿

    Denise B.

    German designer of the free handwiting typeface Denise Handwriting (2010).

    Dafont link. [Google] [More]  ⦿

    Denise Kramm

    Art director in Berlin, who created the modern blackletter typeface Faltura in 2015. [Google] [More]  ⦿

    Denise Steitz

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

    Dennis Adelmann

    Mannheim, Germany-based creator of Surya Grotesque (2013, an alchemic typeface created during his studies at the University Of Applied Sciences in Mannheim). Behance link. [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 typeface 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 and designed a blackletter typeface for Volcano in 2010. In 2014, he created the antiqua typeface Duwal Pro (Volcano). [Google] [MyFonts] [More]  ⦿

    Dennis Michaelis

    Dennis Michaelis completed his Masters in visual communication at Berlin University of the Arts (UdK) in 2014. In 2014 Dennis co-founded Schauschau Design Studio (with Laura Dressler and André Leonhardt) and in 2016, he set up the type foundry Interfont with André Leonhardt. André Leonhardt and Dennis Michaelis co-designed the monospaced typewriter typeface family Monoela (published in 2016 by Interfont). [Google] [MyFonts] [More]  ⦿

    Dennis Wolf

    German creator of the hand-printed typeface Dennis (2010). [Google] [More]  ⦿

    Denver Design Lab

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

    Denys Ivanchenko

    At FH Potsdam, Potsdam, Germany-based Denys Ivanchenko designed the expressionist typeface Lanzen (2017). [Google] [More]  ⦿

    Der Jonas
    [Jonas Bonas]

    Jonas Bonas / Jonas Kraus is the Wuerzburg, Germany-based designer of the sans typeface Bamberger (earlier called Proud) (2015). [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.
    [Google] [More]  ⦿

    Der Tintenfisch
    [Martin Steiner]

    German designer of Black Stones (2020), Black Ruby (2019) and Black Brush (2019). [Google] [More]  ⦿

    Design Krefeld

    A set of 23 free fonts designed in 2019 by students of the Department of Design at Niederrhein University of Applied Sciences in Krefeld, Germany, on the occasion of the 100th anniversary of Bauhaus. The list of typefaces grouped by Bauhaus personality:

    • Anni Albers: Typefaces dkr Anni1 through dkr Anni6 by these groups: (1) Arabella Kuhn, Malina Hülsmann, Jessica Willner, (2) Lara Deißmann, Ellen Müller, Vanessa Pietzka, (3) Laura von Rebenstock, Silivio Jedynak, Alex Zemelka, (4) Mostafa Ashraf Mahmoud Mostafa, Saif Zainalabdeen, Linus Bock, (5) Helin Erceylan, Lisa Kaysers, Nele Konstanty, (6) Kai Banasch, Jan Kersten, Christopher Linnemann.
    • Gunta Stölzl: Typefaces dkr Gunta1 through dkr Gunta3 by these groups: (1) Melina Haase, Atussah Lutze, Mamoon Alramadan, (2) Katrin Pastwa, Jana Tillmanns, Annika Klumpen, (3) Jessica Bayerlein, Tra Mi Nguyen, Hanna Marie Kaddik.
    • Laszlo Moholy-Nagy: Typefaces dkr Laszlo 1 through dkr Laszlo 3 by these groups: (1) Laura Wilmsen, Jerome Kamp, Joshua Ebel, (2) Annika Strehlau, Karoline Delger, Nils Knell, (3) Cherin Mohr, Lena Ulrich, Viktor Gertkens.
    • Lyonel Feininger: Typefaces dkr Lyonel 1 through dkr Lyonel 3 by these groups: (1) Nicole Bosquet, Elizabeth Kanyukova, Uljana Butusow, (2) Nadia Natale, Jil Zander, Yllka Hulaj, (3) Linh Hoang, Katrin Wenger, Ann-Christine Gierkes.
    • Marcel Breuer: Typefaces dkr Marcel 1 through dkr Marcel 4 by these groups: (1) Lisa Eppers, Angelika Schittek, Elia Schlütter, (2) Antonia Diehlmann, Rabea Marquardt, Michaela Hommen, (3) Luisa Jansen, Birk Hoffmann, Nikolaos Theodoropolis, (4) Mitsuru Toki, Johanna Köstlin, Stina Bick Fuertes.
    • Marianne Brandt: Typefaces dkr Marianne1 through dkr Marianne4 by these groups: (1) Helena von der Forst, Anita Krenn, Jacqueline Schneider, (2) Sofie Kienzle, Tanja Paulsen, Alexander Fröhlich, (3) Anne Clemens, Samuel Heinbach, Stephan Fabry, (4) Maxim Schleicher, André Johanns, Hans Seeger.

    Design Made in Germany

    German design news. Has a small number of typographic 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. VLNL Agitka (2010-2020, 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 could originally be bought at Gestalten, but in 2020 the typeface was added to the Vette Letters collection.

    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.

    At Vette Letters, Henning Brehm created the squarish oriental simulation typeface VLNL Kimchi: The Kimchi font had its starting point in the making of the film Cloud Atlas, based on the novel by David Mitchell and directed by Lana & Andy Wachowski and Tom Tykwer. A first version of Kimchi was created for Papa Song---an underground fast food restaurant in a futuristic Neo Seoul in the year 2144. It was used for the menus, advertisement and packaging.

    In 2021, he released VLNL Gindicate at Vette Letters. He explains: The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick Syndicate International organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. [Google] [MyFonts] [More]  ⦿

    [Simon Bassler]

    Simon Baßler (Designconcepts, Furtwangen, Germany) designed the free typeface Iconconcepts Round (2017). [Google] [More]  ⦿


    Type glossary (in German). [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]  ⦿

    [Markus Strümpel]

    Berlin-based designer of the glitch font Swim (2020), Tibet Museum (2020: a reverse stress family created to harmonize with Tibetan) and the Tibetan font Pema (2020). [Google] [MyFonts] [More]  ⦿

    Detlef Reimers

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

    Deutsche Anwaltshotline

    I am unsure about the display typeface Deutsche Anwaltshotline (lit., hotline for German lawyers), a free font that was ublished in 2013. One refers to Deutsche Anwaltshotline, but I assume that this is just a ruse to increase traffic to this site [behavior expected from lawyers] or a link by someone who has a beef with the site [expected behavior against lawyers].

    Dafont link. [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]  ⦿

    Deutscher Werkbund

    The Deutscher Werkbund (the German Association of Craftsmen) is a German association of artists, architects, designers, and industrialists, established in 1907 by Joseph Maria Olbrich, Peter Behrens, Richard Riemerschmid, Bruno Paul and others in Munich at the instigation of Hermann Muthesius. It existed through 1934, and was re-established after World War II in 1950. The Werkbund became an important element in the development of modern architecture and industrial design, particularly in the later creation of the Bauhaus school of design. Its initial purpose was to establish a partnership of product manufacturers with design professionals to improve the competitiveness of German companies in global markets. The Werkbund was less an artistic movement than a state-sponsored effort to integrate traditional crafts and industrial mass-production techniques, to put Germany on a competitive footing with England and the United States. Among the Werkbund's more noted members was the architect Ludwig Mies Van der Rohe, who served as Architectural Director. Wikipedia link. [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. Dafont link. [Google] [More]  ⦿

    Diana Fischer

    German type designer who created the rounded sans typeface Montix (2003, Linotype).

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

    Diana Ke

    Trier-based designer of the typefaces Olivia (2013, retro script) and Frieda (2013, hand-drawn poster font). [Google] [More]  ⦿

    Diana Kettern

    Graphic designer in Trier, Germany. Creator of Olivia Regular (2013, a retro script), Font Attic (2013, experimental typeface), Timeline (2013) and Frieda (2013, a hand-printed typeface). [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 Brücke

    Die Brücke (The Bridge) was a group of German expressionist artists formed at the Königliche Technische Hochschule in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founded by the Jugendstil architecture students Fritz Bleyl (1880-1966), Erich Heckel (1883-1970), Ernst Ludwig Kirchner (1880-1938) and Karl Schmidt-Rottluff (1884-1976), it later included members such as Emil Nolde (1867-1956), Max Pechstein (1881-1955) and Otto Mueller (1874-1930). It influenced the evolution of modern art and expressionism.

    Their drawings and paintings were often crude, even primitive. There was no hint of abstractness. Frequent use was made of woodblock printing. Robert Atkins in 1992 writes: The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings make their French counterparts, the Fauves, seem tame by comparison. Kirchner's home in particular became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity. The group disbanded ca. 1915.

    Several typefaces were inspired by the primitive lettering used in the manifesto and on paintings by type designers such as Richard Kegler (P22) and David Kerkhoff. [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. (???)
    For official documents:
    • 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.
    For letters:
    • 200-300: Roman capitals.
    • 400 on: Young Roman 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.
    [Google] [More]  ⦿

    Die Freischwimmer

    Type designer who participated 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. Local download. [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).
    [Google] [More]  ⦿

    Dieter Hofrichter

    [MyFonts] [More]  ⦿

    Dieter Kurz

    German designer of the handwriting fonts Linotype Sketch (1997) and Linotype Matthias (1994), a winner in Linotype's 1st Type Design Contest.

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

    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 was for about two decades hosted by Typoasis. His fonts can now de downloaded afrom 1001 Fonts. 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 weights (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:

    • Acorn Initialen (2000), Adine Kirnberg (2000, after David Rakowski's Adine Kirnberg Script, 1991), AI Parsons (1999: a simple conversion to truetype of AI Parsons (1994, Inna Gertsberg ans Susan Everett), which in turn revived Will Ransom's Parsons from the 1920s), Albert Text (2000), Alpine (2000), Altdeutsche Schrift (1998: a rotunda), Alte Caps (2000: white on black), Alte Schwabacher (2000, +Shadow), Ambrosia (2000), American Text (2000: a blackletter), Aneirin (2000: Lombardic), Angel (2000: an ironwork font), Anglican Text (2000: a frilly blackletter), Angular (1999: +Inline, +Shadow), Ann-Stone (2000: boxed art nouveau caps), Antique No. 14 (2000: fuzzy hand-crafted letters), Arabella (2000: script), ArabesqueInitialen (2002), Argos George (1999, an art nouveau font after Georges Lemmen's George-Lemmen-Schrift (1908); Steffmann added Argos Geirge Contour), Aristokrat Zierbuchstaben (2002, after a house font at Ludwig&Mayer, 1911), Ariston Script (2000: a formal calligraphic script), Art Nouveau Initialen (1999), Attic Antique, Augusta (2000: a rotunda; +Shadow).
    • Baldur (2000: art nouveau; +Shadow, +RoughSliced; after a schelter typeface from 1895), Ballade Bold (2002, a Schwabacher font based on Ballade Halbfette designed by Paul Renner in 1937; +Contour, +Shadow), Barock Initialen (2002: an incomplete decorative initials typeface), Becker (1999; +Shadow, +Inline), Beckett-Kanzlei (2001), Behrens-Schrift (2002: an art nouveau-inspired blackletter typeface based on an original by Peter Behrens), Belshaw (2000: a Victorian decorative serif), Belwe (2002, after an original by Georg Belwe, 1913; Gotisch, Vignetten), Benjamin Franklin Antique (2000, after a warm wood type designed in 1991 by Walter Kafton-Minkel simply called Benjamin), Berlin Squiggle Condensed, Bernhard Schmalfett, Bier und Wein Vignetten (2002, based on drawings from the Bauersche Giesserei), Billboard, Bizzaro, Black Forest (2000, blackletter; +Text, +ExtraBold), Black Knight (1999: blackletter), Blackletter (2001; +ExtraBold, +Shadow), Blackwood Castle (2000: an almost Lombardic blackletter; +Shadow), Breitkopf Fraktur (2000), Bretagne Gaelic (1999), Brian James Bold (2000, +Contour), Bridgnorth, Broadcast Titling (2000, 3d caps), Broadway Poster, Brock Script (2000: formal calligraphic script).
    • Cabaret (2000: all caps, +Contour, +Shadow), Campanile (2000: Victirian), Camp Fire (2000: wooden plank font), Canterbury Old English (2001: blackletter), Cardiff (2000: textured caps), Cardinal (2000: almost Lombardic; +Alternate, +Anglican), Carmen (1998: art nouveau style; +Shadow), Carrick Caps (2000), Caslon Antique, Caslon Fette Gotisch, Cavalier (2000), Celtic Frames (2000), Celtic Hand (2000), Challenge (2000; +Contour, +Shadow), Chelsea (2000: a serif), Chopin Script (2000, a formal penmanship script identical to Polonaise), Christbaumkugeln (1999: art nouveau alphadings consisting of Christmas ornaments), Chursächsische Fraktur, Cimbrian (2001: blackletter), Circus Ornate Caps (2001, a Western or circus font), Cloister Black Light (2001: blackletter), Coaster Black (2001, +Shadow), Coelnische Current Fraktur (2000), Colchester Black (2001: an ornamental blackletter), College, Courtrai (2000: a decorative blackletter), Coventry Garden, Cruickshank (2000: art nouveau caps).
    • Damn Noisy Kids (2002: a heavy brush font), Davy's Dingbats, Debussy, Decorated Roman Initials (2003), Deutsch Gotisch (2002: an expressive blackletter font; +Dutesch Gotisch Heavy, +Outline, +Shadow), Deutsche Uncialis (+Shadow) (2000), Deutsche Zierschrift (2002, after Rudolf Koch, 1919-1921), Devinne Swash (2000), Digits (2000), Direction (2000: letters with embedded arrows), Dobkin Script (2000: after David Rakowski, 1992, Domino, Domo Arigato (1999: oriental emulation), Dover, Driftwood Caps (2000: a wooden plank font), Due Date (2000: a grungy stencil typeface), Duerer Gotisch (2001), Duo Dunkel (+Licht), Durwent (2001: a rotunda).
    • Easter Bunny (after a 1994 font by Apropos Creations), Easter Egg (2001; after a 1994 font by Apropos Creations), Eckmann Initialen (2002, after the famous art nouveau typeface from 1900 by Otto Eckmann), Eckmann Plakatschrift (2002), Eckmann-Schrift (2002), Eckmann Titelschrift (2002), Eckmann Schmuck (2002), Egyptienne Zierinitialen (2002), Egyptienne Zierversalien (2002), Ehmcke-FrakturInitialen (2002), Ehmcke-Schwabacher Initialen (2002), Eichenlaub Initialen (2000), Eileen Caps (2000; after David Rakowski, 1992), Eisenbahn (2002, based on train vignettes at Bauersche Giesserei), Elzevier Caps (2000; after David Rakowski), Enge Holzschrift (2000; +Shadow), English Towne Medium (2000: a Fraktur), Epoque (1999; an art nouveau typeface; +Shadow, +Inline), Erbar Initialen, Estelle, Evil of Frankenstein, Express (1999).
    • Faktos (1998; a rip-off of Cory Maylett's Faktos, 1992; +Striped, +Contour, +Shadow), Fabliaux (2000: Lombardic caps), Fancy Card Text (2000: a textura), Fat Freddie (2000: a fat all caps font; +Shadow, +Outline), Faustus (2000: a Schwabacher), Fenwick Woodtype (blackletter: 2001), Fette Caslon Gotisch (2001), Fette Deutsche Schrift (2002, a revival of a Rudolf Koch font from 1908), Fette Egyptienne, Fette Haenel Fraktur (2000), Fette Kanzlei (2002), Fette Mainzer Fraktur (2001), Fette Steinschrift (2002), Fette Thannhäuser (2002; after Herbert Thannhäuser, 1937-1938; +Schattiert), Fette Trump Deutsch (20002, after Georg Trump, 1936), Firecat, Flaemische Kanzleischrift (2000: calligraphic), Flowers Initials (2000: floriated caps), Forelle (2002: a retro script; +Shadow), Fraenkisch Spitze Buchkursive (2002; after Lorenz Reinhard Spitzenpfeil, 1906), Fraktur Coelnische Current (2000), Fraktur Schmuck (2001: ornaments), Fraktur Shadowed (2001), Fraktur Theuerdank (2000: a Schwabacher), Frederick Text (2001: a blackletter), Futura Script.
    • Gabrielle (1999: a retro script), Ganz Grobe Gotisch (2000), Gebetbuch Fraktur (2000: a Schwabacher), Gebetsbuch Initialen (2001), Germania (2001, a revival of the 1903 blackletter typeface by Heinz König called Germania as well), Germania-Versalien, Gille Fils Zierinitialen (2002, after Gillé Fils, ca. 1820), Gingerbread Initials (Victorian initials, after an original from ca. 1890), Globus, Gloucester Initialen (2001), Gorilla Black (2000: rounded elephant feet font), Gotenburg A+B (2002, after Friedrich Heinrichsen), Gothenburg Fraktur (2000), Gotische Initialen (two different sets with the same name, one from 2000 and one from 2002), Gotisch Schmuck (2002, Fraktur), Goudy Initialen (2000), Goudy Medieval (2000), Goudy Thirty (2000), Grange (1999), GrenzschInitials (2001), Grusskarten Gotisch (2001), Gutenberg Textura (2000).
    • Haenel Fraktur Fett, Hansa (1999: art nouveau), Hansa Gotisch (2001: a textura), Hansen (1998; +Contour, +Shadow), Happy Easter (1994, by Apropos Creations: art deco caps), Harrowgate (2001: a textura), Hazard Signs (2000), Headline Text (2001: a textura), Hercules (1999: art nouveau), Herkules (2004: art nouveau), Hermann-Gotisch (2002; after an original by Herbert Thannhaeuser, 1934), Herold (2002), Hippy Stamp (2000: after rubber stamps from the 1960s), Hoedown (2000; +Shadow), Holla (2001; after Rudolf Koch), Holidayfont, Holtzschue(2000: a circus font, after David Rakowski, 1992), Honey Script (2000: a retro script), Horror Dingbats (2000; after Letters from the Claw, 1998), Houtsneeletter, Humboldt Fraktur (2002-2005; after a Schwabacher font by Hiero Rhode, 1938; +Zier, +Initialen).
    • Iglesia Light (2002), Iron Letters (2000), Isadora Original.
    • Jan Brad, Journal Dingbats, Jahreskreis (seasonal dingbats, 2002), JSL Blackletter Antique (2000, by Jeffrey S. Lee), Jugendstil Fraktur (originally designed by Heinz Koenig, 1907-1910), Jugendstil Ornamente (2002, art nouveau ornaments, after Schelter & Giesecke).
    • Kabinett Fraktur, Kaiserzeit Gotisch (2001), Kanzle (2001)i, Kanzlei Initialen (2002), Kalenderblatt Grotesk (2000), Kashmir (2001: an arts and crafts typeface), Kinder Vignetten (2002), KingsCross (2001: blackletter), Kinigstein Caps (2000: art nouveau initials after David Rakowski, 1990), Klarissa (2000), Kleist Fraktur + Zierbuchstaben (2002, after Walter Tiemann, 1928), Koch Antiqua (2002), Koch Antiqua Zierbuchstaben (2002), Koch Initialen (2000, after Rudolf Koch, 1922), Koenigsberger Gotisch (2001), Koenig-Type (2002; a Jugendstil Fraktur originally designed by Heinz Koenig, 1907-1910), Kohelet (2001), Koloss, Konanur Kaps (2000, after David Rakowski, 1991), Kramer, Krone Bold.
    • La Negrita (2000, +Shadow), Latina (2001: script), Lautenbach (2001, +Zierversalien), Legrand (1999: art nouveau), Lemiesz (2000), Lettres ombrées ornées (2002, based on a typeface by Schriftgiesserei J. Gillé, 1820), Linolschrift (2000, +Heavy, a linocut font as in the Munch paintings), Lintsec (2000, a stencil typeface, after David Rakowski, 1992), Liturgisch + Zierbuchstaben (2002, after Otto Hupp, 1906), Logger (2000, after David Rakowski, 1991), Lohengrin Fraktur (2000), Long Island Antiqua, Louisianne (1998-2000: +Contour, +Shadow; a bold upright connected script), Ludlow Dingbats (2000, after Ludlow, 1930), Luthersche Fraktur (2000).
    • Mainzer Fette Fraktur, Marker Felt (2001), Marketing Script (1999, +Shadow, +Inline), Marlboro (2000), Maximilian (2002, a Fraktur font and decorated caps based on Rudolf Koch, 1914; +Zier), Mayflower Antique (2000), Mediaeval Caps (2000), Medici Text (2002: an ornamental blackletter), Menuetto (1994, after K.R. Field), Messing Lettern (2000), Metropolitain (2000, an art nouveau font like the ine used for the Paris metro; +Contour, +Condensed), Middle Saxony Text (2001), Moderne Fraktur (1999), Monats-Vignetten (2002, based on drawings by Franz Franke for Bauersche Giesserei, 1920), Montague (2000), Monument (2002, after Oldrich Menhart, 1952), Mordred (2000), Morgan Twenty-Nine (1999: Victorian caps), Morris Roman Black (2002, after William Morris, 1893), Morris Initialen (2000, after William Morris).
    • Napoli Initialen (2000), Neptun Gotisch (1999), Neugotische Initialen (2002, after an original from 1890), North Face (2000), Nougat (2000), Nougat Nouveau Drop Caps (2000), Nubian (after Walter T. Sniffin's font from 1928).
    • Olde English, Old English Five (2000: blackletter), Old Town (2000: Western), Old London (2000: blackletter).
    • Packard Antique (2000), Paganini Text (2000: blackletter), Pamela (2000: an ornamental blackletter), Paris Metro (1998; +Outline), Parsons Heavy (2000, after Bill Ransom, 1918), Paulus Franck Initialen (2002), Penelope (2000, Victorian), Peter Schlehmil (2002, after Walter Tiemann, 1918-1921), Peter Schlemihl Fraktur, Picture Alphabet (2000; after an original from 1834), Pilsen Plakatschrift (2000), Pinewood (2000, like wooden branches), Pinocchio (based on a psychedelic typeface by Gustav Jaeger, TypeShop, 1994), Plakat-Fraktur (2001), Plakat Antiqua, Plastisch (2002: ornamental caps), Plastische Plakat Antiqua (2002), Plum Script (2000: an upright script)), Pointage (2000; after David Rakowski, 1992), Polonaise (1999: a formal calligraphic script), Polo Semi (2000), Powell Antique (2000), Prince Valiant (1999: blackletter), Printer's Ornaments One (after Blake Haber, 1994), Prisma (2003, a four-line typeface inspired by Rudolf Koch's Prisma), Progressive Text (2001), Puritan (2000, +Swash).
    • Quentin Caps (2001: Tuscan).
    • Rediviva (2002), Rediviva Zierbuchstaben (2002: a Schwabacher font after a 1905 typeface at Benjamin Krebs designed by Franz Riedinger), Reeperbahn (1999; aka Rope), Regatta Relief, Reiner Script, Relief Grotesk (2003), Revue Decor, Reynold Art Deco (2000: arts and crafts; +Contour), Rheinische Fraktur (1999: after a 1905 Stempel font called Arminius Fraktur and Rheinische Fraktur), Rio Grande, Rockmaker (2000, after David Rakowski, 1992), Roland 92000. +Shadow, +Contour), Rolling No. 1 ExtraBold (2000), Roman Antique (+Italic) (2000), Romantik Initialen (2000), Romantiques (2002: ornamental caps, perhaps a circus font), Rondo, Rosemary Roman (2001: a great calligraphic script based on Rosemary Hall's Rosemary Roman), Roskell (1998: a poster font, +Bold, +Shadow), Roslyn Contour (2000), Rossano (2000, +Shadow), Rothenburg Decorative (2000: a frilly blackletter), Rothenburg Fraktur, Royal Initialen (1999), Roycroft Initials (2000), Rudelsberg (Schrift, Initialen, Schmuck: a typeface family in Munch Jugendstil style, based on Otto Eckmann's Eckmann from 1901).
    • Saddlebag Black (2000: Western), Saloon ExtraBold, Saltino, Salto, Sans Plate Caps (2000), San Remo (2000: a Parisian art nouveau typeface), Sans Serif Shaded (2000, after a font by Stephenson Blake), Savings Bond, Schampel Black (2001: a blackletter), Schmalfette Fraktur (2000; +Schattiert), Schluss-Vignetten (2002, also from Bauersche Giesserei), Schmale Anzeigenschrift + Zierbuchstaben (2002, after Rudolf Koch's Deutsche Anzeigenschrift, 1916-1923), Schmuck Initialen (2001), Schwabacher (2002), Sebaldus-Gotisch (2002, a blackletter after H. Berthold's Sebaldus Gotisch from 1926), Sentinel (decorative caps from 2001), Sesame (2000, +Shadow), Shaded (2002, a take on Sans Serif Shaded by Stephenson, Blake & Co. Ltd., Sheffield), Sholom (1999: Hebrew emulation), Showboat Caps (2000), Shrapnel (2000: in the font, we find a reference to David Rakowski, 1992), Siegfried (2001, art nouveau, based on a typeface by Wilhelm Woellmer), Simplex, Sixties, Snowtop Caps (2001), Starburst (2000; after a 1990 font by David Rakowski), Steelplate Textura (2002), Stencil Display, Subway (2001: Black, Shadow), Supermarkt.
    • Tanach (2003: Hebrew emulation), Tannenberg (Fette Gotisch, Fett, Umrandet, Schattiert: after Emil Meyer, 1933-1935), Thannhaeuser Fette Fraktur, Thannhäuser Zier (2002; original by Herbert Thannhauser, 1937/38), Theuerdank Fraktur (2000; after Schoensperger's Theuerdank, 1517), Thorne Shaded (2002, a shaded didone based on a Robert Thorne design of 1810), Tierkreiszeichen (2002, zodiac signs, based on drawings by Franz Franke for Bauersche Giesserei), Tintoretto (2000, after a Schelter & Giesecke original), Titania (2001; after Titania by Haas, 1906), Titling Roman Antique, Tobago Poster (2001; +Shadow), Tone And Debs (2002; after a 1991 snow capped font by D. Rakowski; identical to Snowtop Caps in 2001), Tonight (2002: a marquee font), Topic, Toskanische Egyptienne Initialen (2003: after a 1889 font by Schelter & Giesecke), Transport Pictorials, Tribeca (2001, after a David Rakowski original), Trocadero Caps, Trucker Style ExtraBlack, Turtles (2000; an extension of Turtles by Neale Davidson), Typographer Caps (2000), Typographer Fraktur (2002), Typographer Gotisch (2002), Typographer Holidayfont (2002: Christmas dingbats), Typographer Rotunda (2002), Typographer Subway (2011), Typographer Textur (2002, Fraktur), Typographer Uncial Gotisch (2002), Typographer Woodcut Initials (2002), Typographer's Schmuck-Initialen.
    • Uechi Gotisch, Uncialis Deutsche, Unger Fraktur Zierbuchstaben (2002; after an ornamental caps typeface by Julius Nitsche done in 1908), Unicorn (2000).
    • Vadstena Rundgotisch, Varah Caps, Ventura Bold (2000), Verve (+Shadow, 2000), Victorian Initials (2001), Victorian Text (2001), Viking (2000), Vivian (2000, +Shadow), Vogeler Initialen (2002, aka Vogeler Caps), Volute (1999: art nouveau caps).
    • Walbaum Fraktur (after Justus Erich Walbaum, 1800), Wallau Deutsch, Wallau Rundgotisch, Wallau Unzial and Wallau Zierbuchstaben (2002; originals by Rudolf Koch 1925-1930), Walthari Text, Washington Text, Waterloo Relief, Wave, Weiß Initialen (2000), Weiss Lapidar (2002, revival of a typeface by Emil Rudolf Weiss), Weiss Rundgotisch (1998; Bold and Shadow), Werbedeutsch (2002, original by Herbert Thannhaeuser, 1934), Westminster Gotisch (2001: Lombardic), Wharmby (2000, a shadow font), White Bold (2003, a shadow font), Wieynk Fraktur (2002, +Initialen, + Caps Round; after a Schwabacher by Heinrich Wieynck, 1912), Wieynk Fraktur Vignetten (2001), Will-Harris Caps (2002, after David Rakowski, 1992), Woodcut.
    • Yellow Submarine (1995; after Stanley Davis's Amelia, 1966), Yentus (2001: Hebrew emulation), Yonkers (2001: a Rundgotisch font), Yorktown (2000: a Western wood type emulation font).
    • Zallman Caps (2000, after David Rakowski, 1991), Zentenar Fraktur (2003: after Friedrich Hermann Ernst Schneidler, 1937), Zentenar Zier (2002; after F.H.E. Schneidler, 1937), Zierinitialen 1 (2002, after an original from ca. 1800), 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. 1001Fonts link. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. Home page. [Google] [More]  ⦿

    Dieter Steffmann's blackletter typefaces
    [Tim Larson]

    A list of Dieter Steffmann's blackletter typefaces, as compiled by Tim Larson (Christ Trekker). Download them here.

    • Fraktur: Breitkopf Fraktur, Chursaechsische Fraktur, Cimbrian, DS Ballade, DS Luthersche, DS Walbaumfraktur, Durwent, Ehmcke-Fraktur Initialen, Fette deutsche Schrift, Fette Haenel Fraktur, Fraktur Shadowed, Gebetbuch Fraktur, Humboldt Fraktur, Kabinett-Fraktur, Kanzlei, Kleist-Fraktur, Koenig-Type, Moderne Fraktur, Neptun, Paganini, Peter Schlemihl, Plakat-Fraktur, Rediviva, Rothenburg Decorative, Schampel, Schmale Anzeigenschrift, Schmuck Initialen, Theuerdank Fraktur, Typographer Fraktur, Unger-Fraktur Zierbuchstaben, Walbaum Fraktur, Wallau, Washington Text, Wieynk Fraktur, Yonkers, Zentenar Fraktur.
    • Rotunda: Typographer Rotunda, Weiss Rundgotisch.
    • Schwabacher: Alte Schwabacher, Schwabacher.
    • Textura: American Text, Anglican Text, Beckett-Kanzlei, Black Forest, Blackletter Blackwood Castle, Canterbury, Cloister Black, Coelnische Current Fraktur, Colchester, Courtrai, Deutsch-Gotisch, DS Caslon Gotisch, DS Fette Gotisch, DS Weiss-Gotisch, DS Zierschrift, English Towne, Faustus, Fette Trump-Deutsch, Frederick Text, Ganz Grobe Gotisch, Gotenburg, Gothenburg Fraktur, Grusskarten Gotisch, Gutenberg Textura, Hansa Gotisch, Harrowgate, Headline Text, Iglesia, Kaiserzeit Gotisch, Kings Cross, Koenigsberger Gotisch, Liturgisch, Lohengrin, Maximilian, Medici Text, Middle Saxony Text, Old English Five, Old London, Olde English, Pamela, Prince Valiant, Progressive Text, Steelplate Textura, Tannenberg, Thannhaeuser Zier, Typographer Gotisch, Typographer Textur, Victorian Text, Werbedeutsch, Westminster Gotisch.
    • Script: DS Admiral.
    • Unclassified: Alpine, Aristokrat Zierbuchstaben, Augusta, Belwe, DS FetteThannhaeuser, DS HermannGotisch, DS Wallau, Fraenkisch, Lautenbach, Neugotische Initialen, Typographer Uncialgotisch, Zentenar Zier.
    [Google] [More]  ⦿

    Dieter Zembsch

    Born in 1943, Zembsch began his career in graphic arts as a typesetter. He subsequently studied graphic design at Mannheim (in 1968) and Stuttgart. 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. Another font, Jumping Jack, was first released as dry-transfer sheets by Mecanorma in 1975. He later worked as advertising manager for a German publishing house and, in 1977, he became an independent graphic designer, operating as Zembsch' werkstatt in Munich, specializing in book design. 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. Alan Jay Prescott's revival is called APT New Beans.

    The digital re-issue of Beans was done by Charles Grant and Lineto, and released by Lineto in 2008 as LL Beans and in 2020 as Jumping Jack. First designed in 2011, LL Jumping Jack remained unpublished for several years. In 2019, it was overhauled and its character set was completed by Sascha Bente at Lineto, with approval by Dieter Zembsch and Charles Grant. [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 Moclan (2020), Ding Trek II (2020), Pepsi Perfect (2014), Marty (2014, a Back to the Futrure font), Observer (2012, an alchemic font), Anime (2012, a mysterious alphabet), Galactica-Pyramid-Card-Game (2009, dingbats), Lost Font (2007), Sci-Fi-Logos (2006) and DingTrek (2006, Star Trek font). [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 until 1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer. He also is a type designer for Profonts.

    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). He created the Handelsblatt newspaper headline font and corporate type for Swiss Re, ZF, Fujitsu, A1 Easy, and other companies.

    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 (hand-printed, 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 humanist touch.

    In 2014, Profonts published his text typeface Martin Pro.

    In 2008, Volker Schnebel designed all the fonts in Nimbus Sans ME, the Middle East range of Nimbus Sans, including Arabic, Farsi, Cyrillic and Hebrew. It was published by URW Global at MyFonts in 2016.

    In 2016, URW++ published Schnebel's 48-style typeface family Kronos Sans Pro and Kronos Sans ME (covering Latin, Greek, Cyrillic, Hebrew and Arabic), and his 48-style URW DIN. Still in 2016, URW publised Bernd Möllenstädt's text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were filled in under the guidance of Volker Schnebel.

    Typefaces from 2017: URW Form (80 styles, based on Futura), and Schnebel Sans Pro (48 styles), actually designed in 2016, and perhaps his crowning achievement. He writes: It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me Schnebel Sans represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. It is perhaps a renaming of Kronos Sans Pro.

    In 2018, he published the 36-style family Schnebel Slab Pro at URW.

    In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic.

    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, 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]  ⦿

    Digitale Heimat GmbH (was: Bean)
    [Christian Fenner]

    German creator of the free slab serif typeface Efja (2010).

    Fontspace link. Another Fontspace link. Old Dafont link. [Google] [More]  ⦿


    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. It was used on German cars for license plates, as well as on German trains. 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 typefaces 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 typeface 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. Poster by Federico Arguissein (2013). [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 (1931). Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used in Germany from 1936 until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:

    Poster by Federico Arguissein (2013). [Google] [More]  ⦿

    [Johannes Breyer]

    Dinamo is a Swiss type foundry in Heiden established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian were visiting teachers at the Estonian Academy of the Arts, Tallinn. Johannes is teaching type design at University of the Arts Berlin (UDK) and HfG Offenbach. Fabian is lecturing typography at the School of Design St. Gallen. Their typefaces:

    • ABC Diatype (+Mono) (2020). A Swiss sans by Elias Hanzer, Johannes Breyer and Fabian Harb.
    • Favorit (2014) and Favorit Mono (2017). A basic sans family by Johannes Breyer and Fabian Harb.
    • Grow (2013). An experimental collaborative font family. Many of the members are multilined and even prismatic.
    • The heavy sans typeface Heureka (2009-2013).
    • Laica (2020). By Alessio D'Ellena.
    • ABC Maxi (2020). A hipster typeface by Andree Praat, Johannes Breyer and Fabian Harb. They write: With an underlying skeleton referencing mid-century and post-modern Swiss designs---including Josef Müller-Brockmann's CWS word mark (1958) and Marlyse Schmid and Bernard Müller Swatch logo (1981)---ABC Maxi's forms can by altered and animated by the user, stretching from Hairline to Black to everything in-between.
    • Pareto (2016). Western style typefaces by Erkin Karamemet, Fabian Harb and Johannes Breyer.
    • Prophet (2016). Prophet is designed in 2016 by Johannes Breyer, Fabian Harb & Erkin Karamemet. Technical support and mastering by Chi-Long Trieu. It is inspired by Joseph Churchward's Georgina.
    • In 2019, Johannes Breyer, Fabian Harb and Erkin Karamemet released Whyte and Whyte Inktrap at Dinamo.
    • Custom typefaces for Kunsthalle Zurich (CH), Warp Records (UK), Elton John (US), Yale Architecture (US), Manifesta 11 (CH), Harvard Graduate School of Design (US), Universal Music (GER), IBA Thüringen (GER), Festival B:om (KR), Gagosian Gallery (US), Planet Mu/Knives (GER/UK), LayTheme (GER) or the German, Estonian and Cyprus Pavillions at the 55th and 56th Venice Biennale.

    Johannes Breyer. Fabian Harb. [Google] [More]  ⦿

    [Susanne Fiedler]

    Bavarian designer Susanne Fiedler created 35C, Affenschaukel (2000), Donnerwetter, Elefont, Franzi (2000), Hasi, Herr-Mueller-1, Herr-Mueller-2, I-just-call, Lieb-Mütterlein (alphadings with hearts), Lilians-Geburtstag, Mistwetter, Muelroy, Sssssum, Sassys-Teddys-1, Sassys-Teddys-2, Sassys-Teddys-3, Sassys-Sonne (alphadings), Schilderwald-alt, Schilderwald, Sonnenschein, Summer-in-the-city, WilliesPiano, Flyaway, Frogii, Gutes-Wetter,-schlechtes-Wetter, Hallo-du!, Roady-Roadrunner (alphadings), and For the Randolph Roadrunners (2000). Mostly letters with a theme added to them.

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

    Diogo Oliveira

    Portuguese designer (from Porto) who used FontStruct to make the modular (slabby or octogonal) typefaces Sexta-Feira (+Sans) and Mini-Bodoni in 2008-2009. As Grupo3, he designed the strong all caps monoline sans titling typeface Grupo3 (2014) for Ed Design Graphic & Web as part of the corporate design work they did for a Portuguese architecture company. Free download at Open Font Library. In 2017, he moved to Wuppertal, Germany.

    Home page. Behance link. Open Font Library link. Github link. FontStruct link. [Google] [More]  ⦿


    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 Erdmann

    Osnabrück, Germany-based designer of the experimental grunge typeface Random (2017), which uses noise signals to disturb the glyph outlines. [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 Schaechter
    [Faktor-i (or: Designsalon)]

    [More]  ⦿

    Dirk Schuster

    [MyFonts] [More]  ⦿

    Dirk Uhlenbrock

    [More]  ⦿

    Dirk Uhlenbrock
    [Eyesaw (was: Fontomas.com, or Signalgrau)]

    [MyFonts] [More]  ⦿

    Dirk Uhlenbrock
    [Signalgrau *(was: eyesaw fontz)]

    [More]  ⦿

    Dirk Van Damme

    Designer of the shareware family CopticGregor (with Gregor Wurst, 1994). [Google] [More]  ⦿

    Dirk W. Loenne
    [Institut fuer Indische Philologie und Kunstgeschichte]

    [More]  ⦿

    Dirk Wachowiak

    Stuttgart-based graphic designer (b. 1974). He studied Visual Communiaction at HFG Pforzheim and obtained a Masters of Fine Arts in Graphic Design at Yale University School of Art (2003-2005). In 2005 he taught type design at the State Academy of Art and Design Stuttgart and in 2008 typography at the School of Design of Pforzheim University. His typefaces:

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

    Dirk Widmann

    Frankfurt-based designer of the dot matrix blackletter-inspired typeface Globes (2016). Behance link. [Google] [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. Creative Market link.

    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 hand-printed typeface done with Ralia Staggs), Hello Arson (2011, grunge), and Badcap (2011, grunge).

    Typefaces from 2012: Monster Monster.

    Typefaces from 2013: Meet The Submarine, Coin Operated (sketch font), I know a ghost, Weathervanes, As You Wish (hand-printed), Hoods and Capers (piano key face), Everglow, Brave Mountains (hand-drawn 3d poster face), Biloxi, Savage Kids (Treefrog-like script), Sleeping Forest, Right as Rain, That's Just Gross, Silent Seas.

    Dafont link. The free typefaces at Dafont included the grunge typeface Devotion and Desire (2005), and Something Dangerous, and the hand-printed typeface Meet The Submarine (2011). Many more were added to the free list in 2013.

    In 2014, he made Hashi, Daruma (chubby poster typeface), Amely, Crybaby, Handguns, Real Friends, Solid Ground, Skag, Kazoku, Piano Fingers, Vagabond, Wolves at Night (brush font), Write This Down, Polar Bread, Hiroba (sci-fi), Hungry Hobo, Wakari, Suncrusher, Captain Chunk, Tegami (based on the handwriting of Kaori Onoda), Surfaced. [Google] [MyFonts] [More]  ⦿


    German designer of the sketched handcrafted typeface Nelship (2017). [Google] [More]  ⦿

    [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 studied communications design in Munich, Germany. He developed the font Interna during an internship at Melville Brand Design and published it in 2011 via Volcano. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Dominik Arenz

    Berlin, Germany-based designer of Hyper Trax (2019), a monoline typeface that takes inspiration from music from the 1990s. His Rugged Bois memes are also noteworthy. [Google] [More]  ⦿

    Dominik Bissem

    German designer at the University of Applied Sciences Düsseldorf of the neutral sans typeface Format Grotesk. [Google] [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, first designed as a youthful face for Soyuznik Bank. [Google] [MyFonts] [More]  ⦿

    Dominik Johann

    Berlin, Germany-based designer of the free squarish typeface New Flesh (2017-2021). Github link. [Google] [More]  ⦿

    Dominik Schmitt

    Trier, Germany-based designer of the handcrafted Mexican simulation typeface Mezcal (2016), which is a school project. In 2015, the cranes in Hamburg's port inspired him when he designed the experimental typeface Gisbert. [Google] [More]  ⦿

    Dominik Thieme

    Barcelona-based designer of Nouveau Grotesque (2016) and Devianz Grotesk (2014). This typeface was originallly part of the corporate identitity of culture cafe KUAPO (Leipzig). Behance link. [Google] [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]  ⦿

    Dorothée Schraudner

    [MyFonts] [More]  ⦿

    [Olaf Kummer]

    "doublestroke" is Olaf Kummer's blackboard bold math symbol font in metafont format. Olaf Kummer is at the University of Hamburg. [Google] [More]  ⦿


    A German language page on the calculation of dpi for screens. Typically, today, they range from 72 dpi to 96 dpi and with larger monitors well over 100 dpi. To have text appear identical on all screens, we should adjust for that discrepancy. [Google] [More]  ⦿

    Dr. Roland Unger

    Dr. Roland Unger's German language glossary. HTML help. [Google] [More]  ⦿


    Site of the blackletter caps font Gothic-Titel-offiziell (2000). [Google] [More]  ⦿


    Heidelberg, Germany-based creator of the bespoke geometric experimental typeface Indyanna (2011) and of Daily Work (2012). [Google] [More]  ⦿

    Driemeyer Design
    [Antje Driemeyer]

    Type foundry in München run by independent designer Antje Driemeyer, a graduate from the University of Applied Sciences Augsburg, Faculty of Design in 2004. Antje specializes in type design, corporate design and editorial design.

    Creator of Halvan (2012) and Henny (2012, hand-printed).

    In 2013, Antje designed the remarkable rounded blueprint sans family Herrmann, which comes in ten styles. Near the end of 2013, she published the avant garde architectural sans family Bauhans. Hanami (2015) is a set of kaleidoscopic ornaments. Frieda (2015) is a thin calligraphic typeface. [Google] [MyFonts] [More]  ⦿


    Jannis Z (Driple, Munich, Germany) designed the clean rounded sans typeface Driple and the italic Veleno in 2017. [Google] [More]  ⦿

    Dropic Arts

    Magdeburg, Germany-based designer of the sci-fi typeface Dropic (2014). [Google] [More]  ⦿

    dtp Vertrieb und Marketing GmbH

    German company which sells this CD through Amazon for 16 Euros: Alte Schriften (2004). This has calligraphic, medieval and blackletter fonts. [Google] [More]  ⦿


    German pixel font foundry, est. 2004. Fonts by

    • Robert Flubacher (Heilbronn).
    • Ted Fröhlich (Hamburg): Omor, Schlichte Eleganz (2005), Olympia 1936 (2005), Scoredom (2005, 4 weights), Shinjuku (2005, 8 weights), Atomic Sister (2005, 2 weights), Extrudor (2005, 12 weights), Vampire (2005, 4 weights), Aussenborder (2005, 8 weights), Agitation (2005), Propaganda (2005), Hammerbrook (2005), Phat Ass (2005), Liliput (2005), Aktienindex, Stereo, Quadruplex.
    • Ulf Germann (Hannover).
    • Nico Hensel (Heidenheim): Modus, Nexo (2005, 6 weights), Lasse (2005), Western Trade (2005), Bmf, 16Point, 2-3, Freshments, Annenski, Creamy, Ego, Emily, F9, Grid, Hensi, Inverse, Julima, Knopf, Lyvox, Meo, MM, Ornigram (ornaments), Strike, Tool, Dejavu (2005).
    • Kai Heuser (Stuttgart): Horschd Eins.
    • Felix Braden: Aquarius (2005), TimetwistEight (2005).
    • Stefanie Koerner: Pxlpack (2005).
    • Karsten Müller: Tautenburg (2005).
    [Google] [More]  ⦿


    German designer (b, 1979). He created the pixel typeface glasklinge-minimal (2007). Home page. [Google] [More]  ⦿


    Duestype is an independent type foundry run by Sergej Krieger and Tim Schmeer in Duesseldorf, Germany, est. 2020. The pair studied communication design at the University of Applied Sciences in Duesseldorf. In 2022, they released Extragraph Display, a modular monolinear display typeface that only uses circular arcs and straight lines. [Google] [MyFonts] [More]  ⦿

    Duncan Wick

    German designer (b. 1988) of Dafter Harder Better Stronger (2009, brush) and Weird Tucan-Noobs from Saint Seson (2009, ???). [Google] [More]  ⦿

    Dustin Finke

    German creator of the proofreader symbol and text font Proofreader (2011, FontStruct). [Google] [More]  ⦿

    Dustin W

    Dustin W (BKMH Lab) is located in Germany.

    Dafont link.

    Creator of the children's hand typefaces Dustin (2012) and Dustinhofont (2012). [Google] [More]  ⦿

    Dutch Type Library (or: DTL Studio)
    [Frank E. Blokland]

    The Dutch Type Library was founded in 1990 by Frank Blokland (b. 1959, Leiden). It is based in 's Hertogenbosch, The Netherlands. Fonts include DTLAlbertina (Chris Brand), DTLArgo (Gerard Unger), DTL Caspari (Gerard Daniels), DTL Documenta (1986) and DTL Documenta Sans (Frank E. Blokland), DTL Dorian (Elmo van Slingerland), DTL Elzevir (1992, Gerard Daniels), DTL Prokyon and DTL Fleischmann (Erhard Kaiser), DTL Flamande (Matthew Carter, 2004, based on a textura by Hendrik van den Keere), DTL Haarlemmer (Jan van Krimpen, revived and extended by Frank Blokland), DTL Nobel (Sjoerd de Roos 1929; revived in 1993 by Andrea Fuchs and Fred Smeijers), DTL Paradox (Gerard Unger), DTLVandenKeere, DTL Unico (Michael Harvey), DTLRosart (Antoon de Vylder), DTL Sheldon (Jan van Krimpen revival), DTL Romulus (Jan van Krimpen revival), DTL Fell (a revival of lettering by John Fell, 1625-1686).

    From their corporate blurb: The Dutch Type Library was commissioned to produce the corporate typeface for the European Union. Further, DTL supplied the company letters to, among others, the New York Stock Exchange, Germany's Phoenix Television Broadcasting Company, Amnesty International USA, Emerson, The Diamond Trading Company, Taylor Nelson Sofres, Finland's most popular newspaper Helsingin Sonamat and banks and museums all over Europe.

    Besides fonts, the Dutch Type Library also produces sophisticated software for (OpenType) font production: DTL FontMaster, of which a free Light version is available.

    DTL has claimed all rights to the entire Lettergieterij Amsterdam typeface library obtained in some agreement with Tetterode. [This info may be wrong---I have no way to verify this.]

    He obtained a PhD from Leiden University and his dissertation was entitled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman and italic type since their Renaissance origins until the Romain du Roi.

    Klingspor link.

    Speaker at ATypI 2013 in Amsterdam: The (digitized) calligraphy on HM Queen Beatrix' Abdication Act 2013. [Google] [MyFonts] [More]  ⦿

    E. Eickhoff

    Designer at Genzsch&Heyse, who made Lithograph (1903). [Google] [More]  ⦿

    E. Wetzig

    Editor of Ausgewählte Druckschriften in Alphabeten, which was published in Leipzig by the Verein Leipziger Buchdruckereibesitzer as an educational aid. The Bund für deutsche Schrift has scanned in a third of the pages and put it on one of their CDs. [Google] [More]  ⦿

    [Anna Mandoki]

    Anna Mandoki and Stephan Mueller designed the free font ABCButton (2007, e27), in which strokes are just threads of a 9-holed button. "e27" is a design bureau in Berlin. [Google] [More]  ⦿

    Eberhard Dilba

    German author of Typographie-Lexikon (2005, in German). [Google] [More]  ⦿

    Edith Marold
    [Runenprojekt Kiel]

    [More]  ⦿

    Edmund Koch

    Foundry in the 19th century, based in Magdeburg. In 1904, they published Gravir-Anstalt und Messing-Schrift-Giesserei. Stempel für Hand- und Press-Vergoldung. [Google] [More]  ⦿

    Edmund Thiele

    Designer (b. Berlin, 1872, d. Offenbach, 1953) who worked for Haas'schen Schriftgiesserei in Münchenstein from 1921 until 1952. Creator of these typefaces at Haas:

    • Bodoni Antiqua (1924-1938). Many weights were developed over the years. When H. Berthold AG took over, this type survived as Berthold Bodoni.
    • Commercial Grotesk Fett (1945) and Halbfett (1940).
    • Ideal Antiqua Schmalhalbfett (1941). In Germany also sold as Jeannette.
    • Normale Grotesk (1942).
    • Superba (1934-1937). Superba was digitally revived by Red Rooster as Superba Pro (1992, and 2017).
    • Troubadour Licht (1931, a script face). Troubadour survives digitally as Rechtman Script (Intecsas). Also, RMU (Ralph M. Unger) created Troubadour Pro (in Medium and Engraved styles) in 2010.
    [Google] [More]  ⦿

    Eduard Brox

    German type designer who did mainly blackletter alphabets: Moderne Alt-Fraktur (1906; the date at AG für Schriftgiesserei und Maschinenbau is 1910), Hamburger Fraktur (1907, J. John Söhne; includes also Fette, Halbfette), Faust-Fraktur (1910, D. Stempel; includes also Fette, Halbfette, Schmale Halbfette), Neue Moderne Fraktur (normal and halbfett) (1909, elsewhere, this is known as Faust, Richard Wagner, Ideal, Dresdner Amts, Hamburger and Alt Fraktur). [Google] [More]  ⦿

    Eduard Ege

    München-based painter and graphic designer who designed type for Genzsch&Heyse, b. 1893, Stuttgart, d. 1978, München. He studied under Julius Dietz at the Kunstgewerbeschule München, and studied as well at the Kunstgewerbeschule Stuttgart. Eduard Ege made these typefaces:

    • Basalt (1926). A pre art deco all caps typeface.
    • Ege-Schrift (1921, Genzsch&Heyse). Jaspert, Berry and Johnson mention 1927. Seemann says 1923. Ege Schrift NF (2011, Nick Curtis) is a faithful revival of Ege-Schrift according to Curtis.
    • Ege Schmuck (1922, Genzsch&Heyse): o