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German type scene



[Detail of a map of central Germany drawn by Rudolf Koch himself]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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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 Lilieu Grotesque, a typeface inspired by type designers Günther Gerjard 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]  ⦿

6. Tage der Typografie

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

7. Tage der Typografie

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

70th Birthday laudatio
[Manfred Klein]

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

9. Tage der Typografie

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

A. Froescher

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

A hundred dollars and a dog
[Stefan Ruetz]

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

A. W. Kafemann

Typefoundry in Köln, Germany. On October 1, 1875, Franz Otto Claus---an employee at J. G. Schelter & Giesecke in Leipzig---became a partner in Kafemann's foundry. In 1882, Franz Otto Claus continued the foundry by himself as J. G. Francke Nachfolger. This foundry produced Danziger Fraktur in 1886. In 1895, Otto Claus, the son of Franz Otto, became a partner. The latter died in 1905. otto Claus himself sold the foundry in 1908 to John Seyfert in Danzig. Seyfert in turn sold the company in 1912 to the company Otto Tech in Berlin. That company was partly absorbed by H. Berthold AG and partly by Emil Gursch in 1917.

Footnote: Danziger Fraktur was digitally revived by Gerhard Helzel. [Google] [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]  ⦿

Abitz.Com Multilingual Software

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

Achaz Reuss

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

Designer of the Bank 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 Moern Compress, URW Compress and URW Oklahoma (art deco).

FontShop link. Klingspor link. Linotype link.

Catalog of his faces. [Google] [MyFonts] [More]  ⦿

Achim Reichert

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

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

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

Acrylnimbus
[Tot Mischstab]

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

Action King

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

Actiontype.de
[Tanja Diezmann]

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

Adam Bell
[Belldorado]

[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 ffo 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. He works at Fontlab (since 2004, as product and marketing manager), 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.

Speaker at ATypI 2013 in Amsterdam. [Google] [MyFonts] [More]  ⦿

Adaylife
[Hee Jun Kim]

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

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

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

ADGY
[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 face Meat.

Typefaces from 2014: Nova, Linea, PX (pixel face).

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 face Rundfunk at Berthold in 1928. This face 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]  ⦿

Adolph Rusch

Or Adolf Rusch von Ingweiler, who was active in Strasbourg from 1460 until 1489. The first roman antiqua north ofv 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. [Google] [More]  ⦿

Adrian Bach

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

Adrian Frutiger

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

  • Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
  • Delta.
  • Phoebus (Deberny&Peignot, 1953).
  • Element-Grotesk.
  • Federduktus.
  • Ondine (Deberny&Peignot, 1953-1954). 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.
  • Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
  • Opéra (1959-1961, Sofratype).
  • Alphabet Orly (1959, Aéroport d'Orly).
  • Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
  • Alphabet Entreprise Francis Bouygues.
  • Concorde (1959, Sofratype, with André Gürtler).
  • Serifen-Grotesk/Gespannte Grotesk.
  • Alphabet Algol.
  • Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. 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).
  • 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). Poster by Devin Lindsay.
  • Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
  • Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
  • Breughel (1982, Stempel; 1988, Linotype).
  • Dolmen.
  • Tiemann.
  • Versailles (1983, Stempel).
  • Linotype Centennial (1986).
  • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. Lovely poster by Ines Vital (2011).
  • Westside.
  • Vectora (1991, Linotype).
  • Linotype Didot (1991). 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 face for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
  • Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
  • Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
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.

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

Designer at 912lab in Germany, aka Prinzadi. Creator of the pixel typeface Minusio (2014). Dafont link. [Google] [More]  ⦿

Adriana Esteve Hernandez
[Adriprints]

[MyFonts] [More]  ⦿

Adriana Lessmöllmann

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

Adriprints
[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), 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 typefoundry 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 face Butterworth (2011), the hand-drawn Teksi (2011), the monoline squarish family Ebdus (2011), Valis (2011, futuristic), and the thin avant garde monoline face 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 face seen on Penang by the creator). Straights Light is a beautiful pair of bilined all caps faces. 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 face 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 faces 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 faces Zapftig (2011), Shock Corridor, Pollo Asado, Middle Woman, Ghost Words, Late Puberty, Parrannoyed (2010, ransom note face), the hairline face 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).

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

Dafont link. Twitter link.

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

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]  ⦿

Akalollip
[Loïc Sander]

Loïc Sander (Akalollip) is a Strasbourg-based graphic and type designer, b. Germany. Creator of the free font family Fengardo Neue (2012, Velvetyne Type Foundry), a (very) humanist sans with a Gillian lower case g.

Fontsquirrel link. [Google] [More]  ⦿

Akiem Helmling

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

Akira Kobayashi

Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:

  • Helvetica Neue eText Pro (2013).
  • Dainippon Screen: the kanji font Hiragino Mincho.
  • ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
  • Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
  • Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2003, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, codesigned with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
  • Fontshop: Acanthus (2000, large Fontfont family), Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
  • Typebox: TX Lithium (2001, The Typebox).
  • Oddities: Skid Row (1990), Socia Oldstyle.
  • Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
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. [Google] [MyFonts] [More]  ⦿

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

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

Albert Anklam

German type designer. He created Mönchs-Gotisch (or: Mediaeval-Gotisch) in 1877 (Schnelle says 1881) at Genzsch & Heyse. In 1876, he made Neue Schwabacher (normal and halbfett) at Genzsch & Heyse (and Klinkhardt). That same type can also be found at J. John&Söhne and at JG Shelter&Giesecke.

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

Digital revivals include Schwabacher Mager Gross and Möncgs-Gotisch, both by Gerhard Helzel.

Klingspor link. [Google] [More]  ⦿

Albert Christoph Auspurg

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

  • At C.E. Weber: Start (1934).
  • At Ludwig&Mayer: Aristokrat (1912), Miracle (1931, a script face), Rasse (1924), Schöndeutsch (1934), Reklame-Fraktur (1914), the gorgeous long-legged Mona Lisa (1930; digital version by Pat Hickson, 1992), the blackletter face Deutsche Kraft (1915), Brigitte (1935), the display roman face Krimhilde (1933-1934).
  • At Schriftguss: Lido (1936, script face).
  • At Benjamin and Krebs: Brentano Fraktur (1915-1916), Federzug Antiqua (1913), Nürnberger Kanzlei (1906), Schönbrunn (1928), Trajan Versalien (1928).
  • At Genzsch&Heyse, he did Hans Sachs Gotisch (1911, revived in 2005 by Petra Heidorn; the face also appeared at Ludwig Wagner, where some date the Initialen style at 1902---Hans Sachs Gotisch was named after Hans Sachs from Nürnberg, 1494-1576, who was a master singer and songwriter), Domina (1929), Souverän (1913).
  • At Haas: Castor (1924), Pollux (1925).
  • At Trennert: Trocadero Kursiv (1927, a script font with flourished capitals). In 2010, it was extended and revived by Ralph Unger as Trocadero Pro.
  • At Berthold: the peculiar Messe Grotesk family (1921-1927) and the shaded titling face Vesta (1926, a Mexican simulation face; for a digitization, see Visillo Adornado (2006, Nick Curtis) or Venezuela RR (2000, Pat Hickson at Rabbit Reproductions Typefoundry, aka Red Rooster)). The Messe Grotesk design was revived by Nick Curtis as Troglodyte NF (2006-2011) and by Paul Hickson as Messe Grotesk (1997, Red Rooster).
  • At AG für Schriftgiesserei in Offenbach: the blackletter faces Apart (1911) and Fraktur-Kursiv (1923).
  • At Schelter & Gisecke: Kolibri (1915; for a digital version of this multiline open face caps face, see Trochilida NF (2012, Nick Curtis)).
  • At Berling: the italic open capitals face Berling Kortversaler.
Pat Hickson made the aristocratic long-legged ITC Mona Lisa Recut (1990) based on Auspurg's designs. Red Rooster published his Honduras RR. [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 Faust-Antiqua (1958; this inspired Nick Curtis to design Kaprice NF (2010); in 1993, Steve Jackaman revived it as Faust RR), Leipzig (with Otto Erler in 1963: large x-height), Leipziger-Antiqua (1959, revived by Tim Ahrens in 2004 as JAF Lapture, also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005; and shamelessly digitized by Linotype and sold as Hawkhurst without mentioning the Leipziger Antiqua source, in fact claiming that Hawkhurst is an original), Calendon-Antiqua (1965), Prillwitz-Antiqua (1971), and Magna Kyrillisch (1975). Circa 1975, he created Garamond Cyrillic at Typoart.

A specialist of blackletter, he was passionate about Gotische Bastarda. Author of Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz). Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Author of The art of lettering; The history, anatomy, and aesthetics of the roman letterforms (München, K.G. Saur, 1983, original edition in German by VEB Verlag: Dresden, 1971). [Google] [MyFonts] [More]  ⦿

Albert Knab

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

Albert Windisch

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

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

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

Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image: 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.

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

Pic.

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 of the books on the geometry of letters is Dürer's Unterweysung der Messung [A Course on the Art of Measurement], published in 1525. See here. His famous set of German Renaissance Capitals (1525), Gothic Capitals, German Minuscule. Scan of his famous rhinoceros (1515) and of his Dürerfraktur (1519).

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

Albrecht Seemann

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

Aleksandra Samulenkova

Aleksandra studied art and design at the Latvian Art Academy, where she graduated with a BA, and at the Kunsthochschule Weissensee in Berlin. She is a multidisciplinary designer and active as an artist. Graduate of the Type and Media program at KABK, Den Haag, class of 2012. She is now working in Berlin with Luc[as] de Groot.

Her graduation typeface was Pilot (2012, angular display and signage style). [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 Hy
[Adult Human Male]

[MyFonts] [More]  ⦿

Alex Rich

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

Alex Rütten
[Formsport]

[MyFonts] [More]  ⦿

Alexander Alexandrowitsch Roth

Alexander Alexandrowitsch Roth was born in the Tajik Soviet Socialist Republic and immigrated to Germany in 1993. He is a Berlin-based graphic designer who holds a bachelor degree in Media Production from the Hochschule Ostwestfalen-Lippe University of Applied Scienes. Alexander is one of the founders of Ghostarmy---a conglomerate of several designer who are working among others for Erik Spiekermann, FSI FontShop International, FontShop Germany and the city of Wardenburg. In 2012, he graduated from TypeMedia at KABK in Den Haag. His graduation project was the high-contrast Uoma typeface which comes to life in large display sizes. [Google] [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 ctrendy experimental grotesque, 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] [More]  ⦿

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

[MyFonts] [More]  ⦿

Alexander Dosiehn

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

Alexander Ertle

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

Behance link. [Google] [More]  ⦿

Alexander 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

Drew Damned Dingbats EF in 1993. Designer at 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 Roth

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

Alexander Sperl

German designer (aka laynecom) at FontStruct in 2008 of band, blokk_2, maiden, substance, Fette Serif (fat, octagonal), Runde Pixelig, Velvet, Thin Sans, Constr, Clear Serif, Blokk.

Added in 2009: Russisch Brot, Block Out (3d face, +Filled1, + Filled2), Bold Stencil Sans, Script Pixelig, Dorky Corners Sans, Haus der Kunst (inspired by the building in München by that name), Fraktur Test, Fette Sans (nice), Emilia, Runde Pixelig (pixel script).

Creations in 2010: Fraktur Test, The Plot (octagonal, architectural), 80s Metal Band, Fieldwork Font (pixel), Black Metal, I slabbed the Seriff, Play (curly face).

Creations in 2011: Obvious Stencil (Bauhaus, or piano key), Supercali (a psychedelic font inspired by the cover for A.R. Kane's "I"), Manuale (with straight slabs; +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 face 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: Manuale Neue Bold, Terminal One, Sanspura, Italics Study, Mundane Black Extended, Heavy Grain, Wineshop Stencil, Folds and Rhizones, Viva Las Inline.

Klingspor link. [Google] [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]  ⦿

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 face 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 face Franken Deutsch (1934-1939, Ludwig Wagner), and the didone family Pergamon Antiqua (1937, Ludwig Wagner; +Mager, +Schmalhalbfett, +halbfett, +fett, +schmalfett), 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. [Google] [More]  ⦿

Alfred Finsterer

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

Alfred Mahlau

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

Alfred Riedel

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

Alfred Smeets

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

Alfred Tilp

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

Bio. FontShop link. Klingspor link.

Typefaces:

[Google] [MyFonts] [More]  ⦿

Alice Pawelczyk

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

Alois Ludwig

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

Alte Schriften
[Susuanne Ulmke]

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

Alte Schwabacher

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

Althhochdeutsches Wörterbuch

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

Alt-Katholiken in Deutschland
[Achim Stump]

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

Anatole Type Foundry
[Elena Albertoni]

Elena Albertoni (Anatole Type Foundry, 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.

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

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

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

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

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

In 2012, she published the plump and curvy script face Molle at Google Web Fonts.

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

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

In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.

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

Andre Maaßen

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

Andre Roquette

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

Andre Waitz

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

Andrea Bartsch

German designer, b. 1971.

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

Andrea D'Auria

Italian graphic designer and illustrator in Berlin, who created the shadowed display face 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

German creator of the thin paperclip typeface Filament (2013) and of Mrs Tailor (2014, Volcano). Dafont link. [Google] [More]  ⦿

Andrea Knudsen

German graphic designer who designed the runic face 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).

Klingspor link. [Google] [More]  ⦿

Andrea Tinnes
[Typecuts]

[MyFonts] [More]  ⦿

André Kniepkamp

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

André Leonardt

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

André Nossek
[viagrafik 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 face (for some time, free from Volcano Type), which accompanied the hand-drawn lettering faces Brüll Aussen and Brüll Innen. Brüll was created for foreign editions of the childrens book Kannst du brüllen?, which has been released in 2003 by Peter Hammer Publishers, Wuppertal. [Google] [More]  ⦿

André Schulz-Werner
[Sundowntower]

[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

German 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.

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

Andreas Frohloff

Calligrapher and type designer in Berlin, b. 1956, who heads the type department at FontShop International. 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.

Klingspor link. [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 alsio designed Damned Dingbats (Apply Design, 1993).

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

Andreas Koeniger

This German designer used iFontmaker in 2011 to create Handstyle AK, a very clean narrow 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
[Katwin-Schriften]

[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
[astype.de]

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

[MyFonts] [More]  ⦿

Andreas Wehner
[TechStat]

[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]  ⦿

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
[Julliversum]

[More]  ⦿

Angelo Stitz
[Metatype]

[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

German codesigner with Michael Hoffmann of the stamped font URW Urban (2013). She also made the strong-willed handwriting typeface Quendel (2013, URW++) and Hangulatin (2014, URW++). Hangulatin applies the principles of Hangul to make letter combinations in Latin. [Google] [MyFonts] [More]  ⦿

Anja Escherich

Designer at Elsner&Flake in 1998 of the wonderful dingbat fonts EF Imagination Black, EF Imagination Fisheyes, EF Imagination Flowers, EF Imagination Magic.

FontShop link. 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]  ⦿

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 face 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 Klasen

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

Anna

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

Anna

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

Anna Bergmann

Berlin-based designer of the semi-blackletter typeface Frago (2014). [Google] [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 Mandoki
[e27]

[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 codesigned 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]  ⦿

Anne Boskamp

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

Anne Schotte

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

Anne Schröder
[Bobsmade]

[More]  ⦿

Annelena Grascht

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

Annie Cuellar

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

Ansgar Knipschild

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

Ansgar Krause

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

Ansgar Schoppmeyer

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

Antifa Publishing

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

Antje Driemeyer
[Driemeyer Design]

[MyFonts] [More]  ⦿

Antje Wolf

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

Anton Koberger

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

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

Anton Koovit
[Fatype]

[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, codesigned with Yassin Baggar).

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

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

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

Anton Krause

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

Anton Schilli

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

Klingspor link. [Google] [More]  ⦿

Antoni Tudisco

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

Behance link. [Google] [More]  ⦿

Antonia Huber

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

Apostolos Simeonakis

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

Apply

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

Apply Design Group
[Thomas Sokolowski]

German foundry (est. 1989) based in Hannover and run by Thomas Sokolowski, selling mainly display fonts. Thomas made standard ransom note fonts such as Mystery EF Mixed (1990). 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 face and typographic service outfit located in Hamburg. MyFonts site. Besides Caslon Fina Stencil and Serpentine Stencil (Dick Jensen), the following faces or families were made in 1999 by Sigrid Claessens and Günther Flake: Advera Stencil, Stencil Antiqua (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 face by Milton Glaser), Bank Stencil (1930s face of Morris Fuller Benton), Geometric Stencil (originally by Paul Renner), Tea Chest Stencil (after a face by Robert Harling, 1939). [Google] [MyFonts] [More]  ⦿

ArabTex
[Klaus Lagally]

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

Aral

Typefoundry in Germany. [Google] [MyFonts] [More]  ⦿

Arif Demir

Designer and illustrator in Munich, Germany. His creations include the sans typeface Edelmann (2013), which accoreding 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. [Google] [More]  ⦿

Arif Demir

Based in Hannover, Germany, Arif Demir designed a cross between Futura and DIN called Edelman (2013), which was designed in cooperation with Florian Schick and Professor Walter Hellmann. [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

German type designer in Hamburg (b. 1967) who designed Arne Freytag (1998) and Linotype Freytag Regular (2002). Linotype Freytag Pro was published in 2012. Manometer (2014) is a pneumatic ultra-black slab serif typeface with soft corners and fine counters. Manometer Sans (2014) is the sans version. His Quitador (2014) will make even the most zealous bureaucrat boringly happy.

Author of Toward a new typeface A type design project (Comedia, 2005, vol. 2).

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

Arne Götje
[CJK Unifonts]

[More]  ⦿

Arno Drescher

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

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

Arnold Boecklin

Jugendstil artist. The Jugendstil movement originated in the late 19th century in Bavaria around München and had artists like Boecklin. The driving force of the Jugendstil movement was the magazine Münchner Jugend which showcased the designs of German art nouveau artists.

Scriptorium has a number of fonts based on the Jugendstil movement: Munich is derived from the hand-lettered title of the magazine, Jugend and Campobello are decorative initials designed for the magazine, and Phaeton is based on lettering from the period.

Otto Weisert, who ran the Schriftgiesserei Otto Weisert in Stuttgart, designed the Jugendstil-style font Arnold Boecklin in 1904 (available at URW, Linotype, Adobe, Mecanorma, and others, and copied and modified tens of times)---it is that design that most typographers probably associate most with Arnold Boecklin.

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

Arnold Lämmel

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

Arnold Pannartz

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

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 claims by the European politicians to the contrary, the Euro symbol was first designed by a German designer, Luxembourg-based euro-fanatic, Arthur Eisenmenger (b. 1915), who was the former Chief Graphician 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. [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). [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 face Werbekraft (1926) and of the script face 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). [Google] [More]  ⦿

Arthur Schuricht

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

Artill Typs
[Lukas Bischoff]

Artill Typs is Lukas Bischoff's foundry in Trier, Germany, est. 2009. German stylist and designer in Trier. Creator of Sketch Rockwell (2008), one of the nicest sketched style fonts anywhere.

Commercial faces include Luco Sans (2009), Sketch Block (2009) and the octagonal family Wombat (2009). Yaa (2010) is a hand-sketched headline font. Dock 11 (2011) is a (free) heavy art deco headline face. Sketch Gothic (2011) is a sketched Franklin Gothic.

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.

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

Astrid Groborsch

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

Astrid 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
[Andreas Seidel]

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

  • One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish faces are sold as Thunder Bold and Titan Bold.
  • Check his nice weather symbols (not a font).
  • He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
  • He is working on 14th century initials (2003).
  • He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
  • He made Heraut (2003), an art nouveau lettering face based on a 1901 design of 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 face from Herbert Thannhaueser.
  • Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
  • He made Missale Lunea (2004, uncial). This has astroligical symbols, moon phases and medieval characters.
  • In 2005, the exquisite calligraphic script face Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
  • Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
  • He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
  • Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
  • Taiko (2006).
  • ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
  • GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
  • Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014).
  • 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 and followed in 2014.
  • 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.

Klingspor link.

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 2006. Has a blog.

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. Kai teaches type design in the Master in Art Direction program at ECAL in Lausanne, Switzerland. Susana Carvalho and Kai Bernau formed Atelier Carvalho Bernau, which is based in The Hague, The Netherlands.

Typefaces:

  • 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.
  • 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 face Harvard Museum Neutral (2008).
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator.
  • Custom face Proprio (2007-2009) for the Fabrico Proprio project. This is a willfully bare-bones grotesk family without any snootiness.

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]  ⦿

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), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013). The Heimat series is characterized by an inverted tail of the y.

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

Atlier Hurra
[Thomas Witte]

Thomas Witte (Atlier Hurra, Berlin, Germany) created the dingabt 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]  ⦿

Augenbluten
[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 Typefoundry, and at Bruce Typefoundry 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 face was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895."

His typefaes: Bruce No. 11, No. 13 and No. 21 (Bruce Typefoundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following faces 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

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

August Rosenberger

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

Aurelian Hallhuber

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

Authentic
[Julius Wiescher]

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

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

Autographis
[Gert Wiescher]

München-based foundry, est. 2008 by Gert Wiescher, whose main font foundry is Wiescher Design. Myfonts link. Specializing in handwritten scripts and rough fonts, they created 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 faces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style faces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script faces Dalia (2008), Elisara (2008), Simona (2008), Helenia (2008), Annabella (2008), Brigitta (2008) and Constanza (2008). Gert writes about himself: I went to Paris when I was very young, just for the sake of art. That caused many a sleepless night to my beloved mother, but she accepted my decision. Once I met Salvador Dalí, but he did not take me very seriously. To this day I dont know why! After some years I decided to start a serious life. I got married and studied graphic design at the Hochschule der Künste in Berlin. Making detours, once more to Paris, then to Barcelona, where I designed the OECD pavillion for the Osaka World Expo at the office of Harnden&Bombelli, I reached South Africa. Grey and Young advertising got to know me! I had to fiddle around with Agfa cameras and films, Epol dog-food, several kinds of toilet paper, unbelievable insurance companies and I-dont-know-what. Sometime on a holiday in Munich I stayed there. Someone made me an offer I did not want to refuse. DFS&R-Dorland bought me out of South African slavery! I now became an art-director for Paulaner, CMA, Phillip Morris, and Peugeot. Being a young adventurous man, I changed to the Herrwerth&Partner agency, which at that time was supposed to be the most creative outfit in town. Mister Herrwerth taught me to think simple. I was allowed to introduce IKEA into the German market. Afterwards I became Creative Partner with Lauenstein&Partner. That was OK, til someone discovered his love for horses! Thats when I rented my own office in 1982! Since then I design some typefaces per year, I guide a couple of nice young people (apprentices) along to designer stardom. I write a couple of books and newspaper articles about design, computers, food, drink and crime! As a graphic designer I have nothing but happy clients! I am open to every challenge! [Google] [MyFonts] [More]  ⦿

Avoid Red Arrows

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

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

Axel Bertram

Axel Bertram was born in Dresden in 1936. He studied at the Berlin Weissensee Academy of Fine and Applied Arts. From 1972 to 1986 and from 1989 to 1992 he worked as a university lecturer in typeface and graphic design at the Berlin-Weissensee Academy of Fine and Applied Arts. He was made professor in 1977. He has been active in graphic design, publicity work, and most importantly, digital typeface design.

Designer of delicately quaint Lucinde family in 16 styles (2011, Linotype), in collaboration with calligrapher and type designer Andreas Frohloff. Lucinde was later renamed Rabenau. Images: i, ii, iii.

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

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
[Augenbluten]

[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 codesigned 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]  ⦿

B2302
[Simon Becker]

Berlin-based designer Simon Becker (aka B2302) created Legere (2012, HypeForType) together with Jose Cunyat. 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 codesigned with Sabrina Ekecik.

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

Baldericus van den Horick

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

Bank
[Sebastian Bissinger]

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

Baptiste Stecher

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

Barbara Cain

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

Barske.com
[Helge Barske]

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

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

Bart Laubsch

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

Bart Stax
[Kraftfahrzeugkennzeichen]

[More]  ⦿

Bartholomaeus Zientek

German designer at Team 505. During his studies, he created the bike-themed font Felge (2012, with David Benski). [Google] [More]  ⦿

Bastarda -- Schwabacher

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

Bauersche Giesserei blackletter fonts

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

  • 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 Schriftgiesserei

Frankfurt-based foundry started in 1837 by Johann Christian Bauer. At the end of the 19th century, the new owner was Georg Hartmann. On its staff, it had designers such as Konrad F. Bauer [Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all made with Walter Baum], Lucian Bernhard [Bernhard Condensed, 1912], Hugo Steiner-Prag [Batarde, 1916], Julius Diez [vignetten, 1912], Henri Wieynck [Trianon, 1906; Cursive Renaissance, 1912; Wieynck-Kursiv, 1912], Georg Hartmann, Paul Renner [Futura, 1937], Emil Rudolf Weiß [Weiß Fraktur, 1924], Berthold Wolpe [Handwerkerzeichen, 1936; Hyperion, 1950; Rundgotisch, 1938] and F.H. Ernst Scheidler [Legend, 1937]. In its glory period, Bauer's leader was Heinrich Jost (1889-1949), from 1922 until 1948, who with punchcutter Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni. A New York office was set up in 1927, but after the 1960s, the foundry declined and finally closed its doors in 1972. Its typefaces were passed on to its Barcelona branch, Fundición Tipográfica Neufville. See also here. Digitized faces include Futura ND (Paul Renner, redigitized by Marie-Therésè Koreman at Neufville in 1999), Edison Swirl SG (late 1800s, digitized by Spiece Graphics), Gable Antique Condensed SG (late 1800s, digitized by Spiece Graphics), Weiß (Bitstream, based on a family made in 1924-1931 by Emil Rudolf Weiss), Bauer Bodoni (1926, FT Bauer, made by Heinrich Jost and Louis Hoell), Bauer Bodoni (Adobe version), Candida (1936, now digitized at FT Bauer), Charme (1957, now available from FT Bauer), Impressum, Imprimatur, Venus (1907-1927, now at FT Bauer), Venus and Hermes (both available at Linotype; Venus is also at URW), Volta (1955), and Phyllis (1911). Other faces: Bernhard Cursive (1962), Constantia, Hellenic Wide (1962), Lucian (1962), Cantate (1962), Gillies Gothic (1962), Horizon (1962), Folio (1962), Bauer Beton (1962), Bauer Topic (1962), Bauer Classic (1962), Elizabeth (1962), Cartoon (1962), Trafton Script, Astoria, Lilith, Legend (1937), Fortune, Folio Kursiv, Folio Grotesk (1960), Cantate (1958), Papageno (1958), Verdi (1957), Amalthea (1957), Magic (1955), Steile Futura Kursiv (1955), Columna (1955), Maxim (1955), Tivolischmuck (1950), Symphonie (1938, by Imre Reiner, in 1945 called Stradivarius), Weiß Antiqua (1950), Legende (1950), Quick (1950), Ballé Initials (1940), Beton (1940), Corvinus (1934), Bernhard Roman (1930), Hyperion (1956), Volta Kursiv (1955), Rundgotisch (1938), Hoyer Fraktur (1935), Gotika (1934), Jubilaeums-Initialen, Künstler Grotesk, Lichte Futura (1931), Weiß Fraktur (1924), Reklameschrift Herkules, Herkules-Gotisch (1898), 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). 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 ropius (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), Herbert Bayer (famous for his Universal), Joost Schmidt and Kurt Schwitters. Bauhaus-style typefaces emerged everywhere---Futura (Paul Renner), Super Grotesk (Arno Drescher), and the types of Moholy-Nagy.

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

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

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. [Google] [More]  ⦿

Baureihe 217

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

Bea Stach

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

Behö

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

Belldorado
[Adam Bell]

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

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

Ben D. Sawyer

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

Ben Kothe

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

Benedict Herr

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

Benjamin 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 faces:

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

  • Normale Fraktur
  • Neue Fraktur
  • Bismarck Fraktur
  • Kräftige Fraktur
  • Caxton Type
  • Fraktur Buchschrift
  • Künstler Gotisch
  • Psalter Gotisch (ca. 1890). 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 Weymann

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

Benny Demmer

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

Berenike Eimler

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

Berliner Type

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
[Uploaders.de]

[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 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 face Chantelli Antiqua (2007) and the sans family Sansation (2008-2009) [poster of Sansation by Flavia Schreiber].

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

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

Bernd Möllenstädt

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

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

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

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

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

Bernd 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. [Google] [More]  ⦿

Bernhard Hörlberger

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

Bernhard Pankok

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

Bernhard Wolliger

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

Dafont link. [Google] [More]  ⦿

BERT Typography

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

Berthold Direct Corp

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

For many years, on and off between about 1970 and his death in 2009, Günter Gerhard Lange was the typographic director [of Berthold Direct Corp, and its German "predecessor" Berthold]. Lange, along with Bernd 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 faces like Normande (1860), Augustea (1905-1926), and Michelangelo (1950, by Hermann Zapf).

MyFonts link.

Cover of their sans catalog. Cover of their modern typeface catalog. [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

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

  • Adobe (2001): This page explains: Berthold had given Adobe a non-exclusive right to include many of Berthold's typefaces in the Adobe Type Library, and to use Berthold's trademarks in connection with the Library, from 1990 through 2015. Adobe had proudly included the Berthold Library in its Adobe Type Library since 1991, only to remove the in 1999/2000. Berthold claimed that this violated the contract and sued. The judge dismissed the suit, stating that Adobec was not forced to include the Berthold faces.
  • On Nick Curtis' site, we found this cryptic message, June 2003: "Berthold Types threatens legal action, claiming "trademark infringement and dilution of our ... marks, counterfeiting, and unfair competition with Berthold Types under applicable law" because of the similarity of the names Boulevard and Boogaloo Boulevard [the latter is a font by Curtis], and City and City Slicker [the latter is a font by Curtis]. More news as things develop." Not only is this frivolous and ridiculous, but I can't understand how a reputed typographer like G. G. Lange can keep his name associated with the Berthold syndicate. More details.
  • Jamie Nazaroff from Zang-o-fonts has been marketing a typeface called Omicron Delta, created by him in 2001. He was contacted by Melissa Hunt (Vice President&General Counsel, Berthold Types Limited, 47 W. Polk St. #100-340, Chicago, Illinois 60605). She claims that Delta, designed by Gustav Jaeger, has been in the Berthold library since 1983, and asked him to remove the font, which Jamie did. The reaction by various type designers is documented in this page.
  • The (now extinct) German foundry PrimaFont. Press release by Berthold: "Chicago, Illinois (January 25, 2000) - As a result of legal action taken by Berthold Types Limited, PrimaFont International of Germany agreed to immediately cease the unauthorized sales of more than 300 Berthold typefaces from the PrimaFont CD-ROM, which also includes typefaces from other type foundries including Adobe, Agfa, Bauer Types, Bitstream, ITC, Letraset, Linotype and Monotype. PrimaFont infringed upon the trademark rights of Berthold Types by employing a "compatibility list" to identify the true names of the typefaces that PrimaFont sold using false names. Berthold Types actively seeks to prevent the use of compatibility lists as such use has gone unchecked in the type industry," stated Melissa Hunt, Vice President&General Counsel for Berthold Types. Adding: "The use of compatibility lists causes as much damage in the type industry as any other form of font piracy." This most recent success in Berthold Types' continued aggressive anti-piracy efforts means that PrimaFont must remove the Berthold typefaces from the PrimaFont CD-ROM. In addition, PrimaFont agreed never to sell or deal in any products that contain Berthold's typefaces and to pay Berthold an undisclosed sum."
  • This page discusses the case of Cape Arcona's fonts CA Cosmo-Pluto and CA Cosmo-Saturn, which Berthold did not like (they have a face called Cosmos). To avoid legal costs, Cape Arcona renamed its fonts CA-Cosmolab.
Things are unraveling in 2008: Berthold fonts are now sold by Linotype, and Melissa Hunt is rumored to be leaving Harvey Hunt. The news of Melissa's possible departure from the font scene 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. In 2011, Berthold Types as acquired by 2011, finally closing an ugly chapter in typographic history. [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. 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. Images: graphic by Andrew Henderson, image by Anna Morena. 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.
  • Cyclone (Fanfare Press).
  • Hyperion (1931, Bauersche Giesserei). Now available at Berthold, 1952.
  • Pegasus (1938, Monotype).
  • Tempest (1936).
  • The blackletter face Sachsenwald-Gotisch (1936-1937, Monotype).
  • The blackletter face Deutschmeister (1934, Wagner&Schmidt, Ludwig Wagner).
  • Decorata (1950).
  • Johnston's Sans Serif Italic (1973).
Bio at Klingspor. FontShop link. Wiki page. Linotype page.

View Berthold Wolpe's typefaces. [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 Typefoundry 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]  ⦿

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 Urban Cutouts (2010), 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).

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]  ⦿

B.G. Teubner

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

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

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

Bibliothekarische Sonderzeichen

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

Bildung Hessen
[Brigitte Betz]

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

Bill Dettering

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

Bill Dettering
[SWFTE]

[More]  ⦿

Bionic Type Engineering
[Malte Haust]

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

Birte Ludwig

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

Bissantz SparkFonts 5
[Ralf Steinsträsser]

TrueType Fonts for the character-oriented generation of sparklines with SparkMaker. The fonts were made in 2005-2006 by a German guy at Bissantz GmbH, Ralf Steinsträsser: TrueType Fonts for the character-oriented generation of sparklines with SparkMaker. They are dingbat fonts with lines, 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 face Georg (2005). Dafont link. [Google] [More]  ⦿

Björn Gogalla
[Letter Edit]

[MyFonts] [More]  ⦿

Björn Hansen

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

Björn Löbach

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

Blackletter, Fraktur, Rotunda
[Manfred Klein]

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

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

[Google] [MyFonts] [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]  ⦿

Blanca Berning

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

Blondina Elms Pastel

Graduate of the University of Reading in 2011 who runs Atelier Elms in Cave Hill, Barbados. Her graduation face was Naej (2011), a type 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.

Presently, she is located in Germany (according to MyFonts...). At least, she 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 Calina. [Google] [MyFonts] [More]  ⦿

Bobsmade
[Anne Schröder]

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

BOODAS.DE
[Boris Schandert]

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

BOOKNET
[Wolfgang Reifarth]

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

Boris Brumnjak

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

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

Boris Dworschak

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

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

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

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

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

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

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

Boris Kahl

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

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

Boris Moser
[Helldunkel]

[More]  ⦿

Boris Schandert
[BOODAS.DE]

[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
[Lettersoup]

[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 markets these fonts: BF Anorexia, BF Corpa Gothic, BF Corpa Serif, BF Cuba, BF Fluxgold, BF Invicta, BF Jaruselsky, BF Matula, BF Nobody, BF Paul'D, BF Rotwang, BF Solo Sans, BF Stoneman, BF Stypic, BF SubZero, BF Tara.

Custom fonts by Schneider: Girato (Giraffentoast), Fiona (MDR - Mitteldeutscher Rundfunk), Sion Script (Sion Brauerei), Supralux (Super RTL). He is working on Veltro Pro (a script) and Breite Kanzlei (blackletter).

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

Klingspor link.

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

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

[Google] [More]  ⦿

Britta Hackenberger

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

Britta Siegmund

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

Bropix
[Dirk Schuster]

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

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

Brötz and Glock

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

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

Bund für Deutsche Schrift und Sprache

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

Bund für Liturgie und Gregorianik
[Holger Peter Sandhofe]

Commercial music fonts by Holger Peter Sandhofe from Bonn. Hufnagelnotation, Quadratnotation and Medicaeanotation are medieval notations for Gregorian chants. Olus some beautiful medieval caps such as HPS Antiphonale, Solesmes, and HPS Vatikan-Initialen (from the 15th century). He also sells a HPS Garamond text family. Plus some commercial medieval fonts: HPS Vatikan-Initialen (caps font, 38 Euro), HPS Antiphonale (caps, 28 Euro), Solesmes (caps, 48 Euro), HPS Garamond (medieval text font family in Normal, Kursiv, Fett and Fett-Kursiv). [Google] [More]  ⦿

Buntype

Typefoundry in Bielefeld, Germany, est. 2014. The first typeface is the techno sans family Bunken Tech Sans (2014, Petra Niedernolte and Ralf Sander). [Google] [MyFonts] [More]  ⦿

Bureauschwarz
[Patric Schwarz]

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

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 face VS Lazor Racor (2010).

Dafont link. [Google] [More]  ⦿

Büro Dunst
[Christoph Dunst]

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

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

Klingspor link. 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 faces are also available at T-26.
  • Engel (2003, At T-26). See also here.
  • Vitus (2003, Fountain: Vitus is a bold face with occasional delicate strokes. It'a based on a typeface found on one of the million mark notes released during the inflation in the 1920's). See also here.
  • Emily, a connected script font, with some borders. Designed in 2003 with Sylvia Janssen, it is similar to Monte Carlo Script NF (2002, Nick Curtis), and both are based on a font called Medicis by Deberny and Peignot, ca. 1920.
  • AF Nitro, a techno/LED collection of faces.
  • Diavolo, a fifties diner face.
  • Unovis, a minimalist squarish face with hard to distinguish u, n and v lower case characters.
  • Sektor, a sans face.
  • Sonar, a display sans.
  • Masina, a simple geometric sans.
  • Cash (no idea what this looks like).
  • Initialen, a 21st century initial caps face.
  • EF Gigant, a 96-weight techno family (Elsner and Flake, 2006).
  • Emily: a conected upright script available from T26.
  • Atlantik: six sets of line elements, sold by Veer and Fountain. The Atlantik typeface is a result of a poster design made for the Habour Museum Hamburg.
  • Diago (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 faces.
  • Etica Temporale
  • Font Card (2000)
  • FF Forchetta (+figure)
  • BMF Fontcard (2000): Monospaced, modular.
  • FF Graffio (+Visivo) (1995): scratchy graffiti face.
  • Graffiti One, Two, Three and Four (1993): at AA International.
  • Ha Manga Irregular (+Pictures)
  • FF Handwriter (+Symbols)
  • Happy Days
  • BMF However
  • Kaos
  • BMF Imme Gothic (2001): made for the official communication of the wedding of Imme and Alessio.
  • BMF Just Do It Again (1999).
  • FF Letterine (+Archetipetti, +Esagerate, +Teatro): kid font family.
  • BMF Love and Hate Pie (2010)
  • F2F Madame Butterfly (1995)
  • FF Matto, FF Matto Porco, FF Matto Sans, matto Sans Porco: blotchy.
  • Metadoni
  • F2F Metamorfosi (1995): experimental, part of the Face2Face project.
  • FF Mulinex
  • BMF Mekanikamente
  • F2F Mekkaso Tomanik
  • BMF Objects Pi (2010)
  • Omegalo
  • BMF Planets Pi (2010)
  • F2F Poison Flowers (1994).
  • FF Priska Serif (+Little Creatures)
  • F2F Prototipa Multipla
  • F2F Provinciali
  • BMF Quaderno
  • Samuele
  • Schering type family (2000): done for a pharmaceutical company headquartered in Berlin. Includes Sans, Serif, Letter.
  • BMF Serbatoio (1991): Pixel face, originally called This Is Not (My Beautiful Wife). Includes Pieno, Vuoto, Prospettico.
  • F2F Simbolico
  • BMF Sicily (1991): grungy ransom note face.
  • Stone Washed
  • F2F Tagliatelle Sugo
  • Tagliatelle Poster, Tagliatelle Grazie, Tagliatelle Tagliate
  • Tempore
  • BMF Testuale, BMF Testuale Sans, BMF Testuale Cornici (1994): angular family.
  • BMF Zazi.
  • BMF Zodiac Pi (2010)

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), Weber Fraktur (1860) and faces by these designers:

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

C. P. Melzer

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

C. Rüger

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

Calligrafiction
[Peter Lammert]

German typefoundry, est. 2014 by Peter Lammert. Peter's typeface Peter (2014) is a neo-grotesque sans. Very basic, it shows humanist touches in the heavier weights. [Google] [MyFonts] [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), CA Geheimagent (Stefan Claudius), CA Trasher (Thomas Schostok), CA No Dr. (Thomas Schostok), CA Prologue (Stefan Claudius).

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

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

Fonts from 2011: CA Normal Serif (by Stefan Claudius).

Fonts from 2013: CA Postal (Stefan Claudius). [Google] [MyFonts] [More]  ⦿

Carina Ostermayer

Designer in Munich who created an angular piano key typeface called Dok (2013). [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.
  • Imperial (Bauersche Giesserei): a fat version of Hohenzollern.
  • Mainzer Fraktur (1901, H. Berthold AG and Bauer). The Mainzer Fraktur was digitized by Gerhard Helzel, and also by Markwart Lindenthal (Fraktur.de). A free version, Berthold Mainzer Fraktur, is due to Peter Wiegel (OFL). Gerhard Helzel made a commercial version.
  • Minister (1929, Schriftguss). This family comes with Antiqua and Kursiv in various weights, as well as Minister Initlen. Adobe and Linotype have their own digital versions. The Minister family comes with a white on black circle titling font called Minister Kreis Versalien (1933).
  • Prominent (1936, Schriftguss): a beautiful set of filled-in open initials.
  • Symbol (1933): an engraved set of initials.
Ademo (2011, Andreas Seidel) is a shaded 3d caps face 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 face Caslon-Gotisch in 1904 from England to Leipzig---the latter face showed up in the VEB Typoart catalog. [Google] [More]  ⦿

Carl Gustav Naumann

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

Carl Hermann Anklam

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

Carl Kloberg
[Giesserei Carl Kloberg]

[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.

Klingspor link. [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 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
[Fontkingz]

[MyFonts] [More]  ⦿

Carlos Winkow

Carlos Winkow is a version of his original name, Carl Winckow. He designed the brush script typeface Reporter (1938, the Wagner foundry, a brush face with many alternates for the glyphs), Gong (1945, Johannes Wagner, a chalk script face; Jaspert mentions the date 1951), Alcazar (FT Nacional, 1944, an inline 3d titling font), Electra (FT Nacional, an almost avant-garde sans family, which includes the ultra thin Estrecha Fina weight), Iberica (FT Nacional, 1942, an open shaded inclined 3d lineale), Nacional (1941, Nacional: a calligraphic roman in old medieval Spanish style with Clasico Nacional 1 and Clasico Nacional Negro weights; see Madrid RR by Red Rooster for a digital version), Cursiva Rusinal (FT Nacional: this is identical to Reporter except in the alternates). Roller (1997, Pat Hickson, ITF) is based on Iberica.

Comments on some digital versions: Romeo (Font Bureau) takes some cues from Electra and says that it is a spectacular art deco sanserif with an unusually fine condensed series. A standard non-chalk version of Gong was done by J. Wagner in 1967, and was published as Jowa Script (Jowa Schreibschrift), which in turn provided inspiration for Iova Nova (2007, Profonts). Lucia Walter revived Winkow's 1931 text face Elzeviriano Ibarra in 2011. Winkow's Numantina (1940) was revived by Nick Curtis as Numancia NF (2011). Steve Jackaman's Casablanca URW (1997) is based on Electra.

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

Caroline Birkel

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

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 face 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

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

Carsten Wierspecker

Type designer who 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 2014: 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: 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), HelvetiaVerbundene (making Helverica into a school script?), Proletarsk (a grotesk face), Vis-à-vis (great idea--a double-storied serif face), ApolloASM (Victorian), BertholdrMainzerFraktur, Doergon-Regular (license plate font), DoergonBackshift, DoergonShift, Eureka (Victorian, ornamental face), GoeschenFraktur (1880-style Fraktur used in Sammlung Göschen books), Makushka, MakushkaKontura, MakushkaQuadriga, MakushkaSecunda, Moderne3DSchwabacher, ModerneGekippteSchwabacher, StrassburgFraktur, TGL0-16 (same as DIN 16), TGL0-17 (same as DIN 17), TGL0-17Alt, Tank (emblems of gas companies), EricaType-Bold, EricaType-BoldItalic, EricaType-Italic, EricaType-Regular (typewriter), ErikaOrmig, Fibel Vienna (2012, a high-legged sans), GreifswalderTengwar-Regular, GreifswalerDeutscheSchrift (German Schreibschrift), Midroba-Regular (a strong mechanical octagonal face), MidrobaSchatten, MMX2010 (futuristic), Präsent60, Rotunda Pommerania (blackletter), TengwarOptime, TengwarOptimeDiagon, cbe-Bold, cbe-BoldItalic, cbe-Italic, cbe.
  • In 2009: 18thCenturyInitials, 18thCenturyKurrent-Regular, 18thCenturyKurrentAlternates, German writing from the 18th century), CentreClaws, CentreClawsBeam1, CentreClawsSlant, Cöntgen Kanzley Regular (blackletter), Cöntgen Kanzley Aufrecht (2009), ElficCaslin, H1N1, Loxembourg1910Shadow (an art nouveau-influenced stencil face), Luxembourg1910, VarietScala (an art deco sans family), Varietee, VarieteeArtist, VarieteeCabaret, VarieteeCascadeur, VarieteeCasino, VarieteeCirque, VarieteeColege, VarieteeConferencier, VarieteeFolies, VarieteeIkarier, VarieteeJongleur, VarieteeMirage, VarieteeRevue, VarieteeTheatre, KochFetteDeutscheSchrift (blackletter), MoradoFelt-Regular (upright connected script), MoradoMarker (2009), MoradoNib, PreussischeVI9 (DIN-like family), PreussischeVI9Linie, PreussischeVI9Schatten-Linie, PreussischeVI9Schatten, SchatternvonPreussischeVI9, Stage (art deco), Ring Matrix (dot matrix), Nathan, Amptmann Script (2009, upright connected script), Cat Shop, Blankenburg (blackletter), Murrx (arched face), Schwaben Alt (1988, bastarda), Vrango, 14LED (Regular, Phattt-Heavy, Rised-Black), 24LED (+Bright, +Grid, +Modul), DIN1451fetteBreitschrift1936-Regular, FibelNord (basic sans family with an architectural twist), FibelSued (family), PaneuropaBankette, PaneuropaCrashbarrier-Black, PaneuropaFreeway, PaneuropaHighway, PaneuropaRoad, PaneuropaStreet, PaneuropaWrongWay, Quirkus (family), RingMatrix (dot matrix family), RingMatrix3D, RingMatrixTwo, DiscipuliBritannica (connected script), GruenewaldVA-Regular (connected school script), Rudelskopfdeutsch-Aufrecht, WiegelLatein (connected school script), WiegelLateinMedium (2009), Morado, Moebius Bicolor (art deco), Elbaris (sans), ElbarisOutline, Nomitais (multiline face), RostockKaligraph, Waschkueche, WaschkuecheGrob-Ultra, WiegelKurrent (traditional German school script), WiegelKurrentMedium, XAyax, XAyaxOutline (2009), Kaufhalle (squarish), Quimbie (art deco), CasaSans-Regular, Elb-Tunnel, MeyneTextur (blackletter), Yiggivoo, TGL 31034-1 (futuristic sans), Beroga (a simple organic sans).
  • Before 2009: Xayax, PreussischeIV44Ausgabe3 (2006, a severe sans), Utusi Star (1989, very condensed all-caps face), Avocado (2006, script face), CbeNormal (2006, script face), Leipzig Fraktur (+Bold) (2006), Berlin Email (2006, a condensed sans family, followed in 2009 by Berlin Email Serif), MaassslicerItalic (2006, a futuristic face made for Rudolf Maass + Partner GmbH), Powerweld (a gorgeous avant-garde face made for OPTI Pumpen und Technik GmbH), WolgastScript (2005), WolgastTwo (2006, connected script), WolgastTwoBold, ZeichenDreihundert-Regular, ZeichenHundert-Regular, ZeichenVierhundert-Regular, ZeichenZweihundert-Regular (2006, traffic dingbats), Djerba simplified (Arabic font, Computer and Technologie, Hamburg, 1995; it can be downloaded here), Titus FrakturBaltic (1998), TITUS FrakturEast Normal (1998), and TITUS FrakturWest Normal (1998) [which used to be downloadable here; these fonts were retired and the Titus name dropped; most of the glyphs made it to Schwaben Alt].

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

The list of his truetype and opentype faces 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), 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 (Sans-serif, based on German school primer), Fibel Süd (Fibel Sued) (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 face 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 face 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 face made from ellipsoids on NE-SW axis), Mutter Krause (Serif, slanting, Jugendstil-feel.), 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. [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]  ⦿

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]  ⦿

cd-tec

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

C.E. Fetzer

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

C.F. Meier

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

C.F. Rühl

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

C.G. Schoppe

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

Chan-Nguyen

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

Charles Emil Heyer

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

  • At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888, 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).
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 (1929, a heavy art deco face), all in cooperation with Morris Fuller Benton. He created Quick-Set Roman&Italic in 19918, also at ATF.

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

Charles S. Kuzmanovic
[Radar Five Media]

[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]  ⦿

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]  ⦿

ChessBase
[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]  ⦿

Chiron

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).
  • TbC Psalter Gotisch (2014). After Benjamin Krebs Nachfolger, ca. 1890.
  • TbC Schmalfette Amtsfraktur (2014, after H.W. Hoffmeister, 1911).
  • TbC Schaefer-Versalien (2012). A revival of Schaefer-Versalien (1927, Karl Hermann Schaefer, Schriftguss).
  • 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 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 face (or logotype) Molotov (2011). [Google] [More]  ⦿

Chris Wiener

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

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 Gwiozda
[Furiosum]

[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. He also added a handwritten freestyle version, Burtine 2003, and another interpretation, Burtinomatic (2004).

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

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

Christian Künzer
[Freaky Fonts]

[More]  ⦿

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

[MyFonts] [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 face 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, Quirky Serif, Blocktur, Symmetricus (alien writing?).

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

Creations from 2012: 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: Insular Typewriter, Nudge Nudge (dot matrix), 7:12 Serif (monospaced pixel font), Jovian, Squarafic Fraktastic, Computer Says No, Runic, Fluorescent (neon tube typeface). [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

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).

In 2014, he published the didone display face Agigi, possibly renamed from Aggi, the macho geometric sans serif typeface Amok, and the roundish sans typeface Rodina. He also designed Neue Cafe Grotesk for a final school project entitled Typography as a cultural embassy in the architecture of Berlin. Nora (2014) is a wedge serif magazine titling typeface.

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

Christian Richter
[Glyphicon]

[More]  ⦿

Christian Sander

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

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

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

Christiane Boerdner

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

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 face Lapina (2011). [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 face 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

Type design student in 2012 at ENSAD in Paris. [Google] [More]  ⦿

Christina Sachse

German type designer who published Linotype Boundaround in 1997.

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

Christina Schultz

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

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

Christine 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
[Modonomat]

[MyFonts] [More]  ⦿

Christine Hartmann

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

Christine Voigts

Namibian-German designer of Linotype Dropink (1999), an adorable font in which letters are written with a scratchy inky fountain pen. One of my favorites in its genre.

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

Christoph Bergleiter

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

Christoph Dunst
[Büro Dunst]

[MyFonts] [More]  ⦿

Christoph Dunst
[Atlas Font Foundry]

[MyFonts] [More]  ⦿

Christoph Gey

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

Christoph 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 Kalscheuer

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

Christoph Kaplan

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

Christoph Koeberlin
[Typefacts]

[More]  ⦿

Christoph Koeberlin
[Typefacts: The Best Free Fonts]

[More]  ⦿

Christoph Koeberlin

Active type expert, 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. Behance link. One of the weights of FF Mark is free. [Google] [More]  ⦿

Christoph Köckerling

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

Christoph 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 face Shiver (2008).

Klingspor link. Volcano Type link. [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 face 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 face 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
[Kix]

[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 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 typefoundry, although he still used European equipment. The legend at the bottom of page 136 of this religious periodical, published in late 1771 or early 1772, reads "Printed with the first types that have been cast in America." When the younger Sower died in 1778, his estate contained not only letter molds but also a large quantity of antimony, the critical ingredient of type metal, which at that time had to be imported to America." [Google] [More]  ⦿

Christopher Stahl

German type designer in Hamburg. He works as a graphic designer for the German advertising agency Scholz&Friends. In 2010, he made the square sans family Pragmatik.

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

CJK Unifonts
[Arne Götje]

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

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

Claudia B. Kirsamer

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

Claudia Kappenberger

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

Claudia Kipp

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

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

Claudia Löffler

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

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

In 2012, Claudia Walde (Germany) published Street Fonts. Graffiti fonts from around the world. [Google] [More]  ⦿

Claudio Giovanniello

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

Clemens and Buschmann

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

Clemens 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) face Sega (2009, 26plus-zeichen).

Behance link. [Google] [More]  ⦿

Closefonts
[Simon Schmidt]

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

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

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

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

cmbright: Computer Modern Bright
[Walter Schmidt]

Family of sans serif metafonts based on Donald Knuth's CM font. It is `lighter' and less obtrusive than CMSS. Together with CM Bright there comes a family of typewriter fonts, `CM Typwewriter Light', which look better in combination with CM Bright than the CMTT fonts would do. The whole package is by Walter Schmidt. A commercial-quality type 1 version of these fonts is available from Micropress. Free versions are available, in the cm-super font bundle (the T1 and TS1 encoded part of the set), and in hfbright (the OT1 encoded part, and the maths fonts). Development spanned 1996-2004. [Google] [More]  ⦿

Codeluxe
[Hugo Goeldner]

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

Codin Repsch

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

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]  ⦿

coding4web

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]  ⦿

Combit

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

Comedia: Revue suisse de l'imprimerie

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

Conrad Berner

Type founder who succeeded Jacques Sabon in 1580. He was the son-in-law of Christian Egenolff and his successor at the Egenolff print office. His catalog of type specimens is dated 1592. The "Berner specimen" of 1592 formed the basis of the free Google Web Font family EB Garamond (or: Egelnoff-Berner Garamond) developed by Georg Duffner. In 1626, his foundry passed into the hands of Johann Luther. At the time, he was the main type supplier for Germany, the Scandinavian countries and the Netherlands. [Google] [More]  ⦿

Constantin Groß

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

Cornelia Aust

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

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 Dina
[cD Design]

[More]  ⦿

Critzler
[Thomas Bierschenk]

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

CybaPeeCreations (or: Typoasis)
[Petra Heidorn]

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

Fontspace link. Dafont link.

Her own creations:

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

D. Stempel (or: Stempel Studio)

Frankfurt-based typefoundry started in 1895 by David Stempel. Took over Roos&June in 1915. Gained a majority share in Klingspor Bros in 1917. Takes over Leipzig's Heinrich Hoffmeister foundry in 1918 and Leipzig's W. Drugulin foundry in 1919. Gains shareholding in the Haas'sche type foundry in 1927, and Benjamin Krebs in 1933. It becomes owner of Klingspor in 1956. In 1985 D. Stempel's type division was taken over by Linotype, and became Linotype's type department. Stempel's history, 1895-1955. Designers and fonts:

  • J. F. G. Binder: Binder Style (1959).
  • J. Boehland: Balzac (1951).
  • H. Bohn: Mondial (1936).
  • Walter Brudi: Orbis (1953), Pan (1954).
  • W. Buhe: Buhe Fraktur (1915).
  • W. Chappell: Trajanus (1939).
  • J. Christiansen: Christiansen Schrift (1909).
  • F. Heinrichsen: Gotenburg (1935-1937).
  • K. Hoefer: Prima (1957), Zebra (1965).
  • H. Hoffmeister: Amts Antiqua (1909), Stempel Fraktur (1914).
  • Holzhausen: Holzhausen Antiqua (1916).
  • M. Jacoby-Boy: Bravour (1912).
  • M. Kausche: Mosaik (1954).
  • F. W. Kleukens: Gotische Antiqua (1914), Helga Antiqua (1913), Ingeborg Antiqua (1910), Kleukens Fraktur (1911), Omega (1926), Radio Latein (1923, display didone).
  • R. Koch: Anzeigenschrift Deutsch (1923).
  • H. König: Heinz-König-Setzmaschinen-Fraktur (1913).
  • E. Meyer: Tannenberg (1933-1935).
  • Hans Eduard Meier: Syntax (1968).
  • H. Möhring: Elan (1928), Elegant Grotesk (1928).
  • C. Wilhelm Pischiner: Neuzeit Grotesk (1929).
  • H. Pauser: Petra (1954).
  • I. Reiner: Bazar (1956), Mustang (1956).
  • P. Renner: Renner Antiqua (1939).
  • H. Rhode: Humboldt Fraktur (1938).
  • F. K. Sallwey: Present (1974).
  • A. M. Schildbach: Montan (1954).
  • F. Schweimanns: Diana (1909), Propaganda (1901), Graziella (1905), Korso (1913).
  • W. Schwerdtner: Metropolis (1928), Mundus Antiqua (1929), Standard Latein (1929).
  • J. Tschichold: Sabon (1967).
  • M. Wilke: Diskus (1938), Gladiola (1936), Konzept (1968).
  • Friedrich Hermann Wobst: Globus (1932).
  • Rudolf Wolf: Memphis (1930).
  • Hermann Zapf: Gilgengart, Kompakt (1954), Melior (1952), Michelangelo (1950, roman caps), Optima (1958), Palatino (1950), Saphir (Linotype, 1953), Sistina (1951), Virtuosa (1952, revived in 2009 as Virtuosa Classic at linotype with the help of Akira Kobayashi).
  • G. Zapf-von Hesse: Diotima Antiqua (1952), Smaragd (1953).
  • Staff: B¨xenstein Antiqua (1912: revival by Gerhard Helzel), GerhardHelzel-BuxensteinFraktur-after-DStempel-1912.png">Büxenstein-Faktur (1912: revival by Gerhard Helzel), AltSchwabacher, Europe, Eurostile, Forma, Garamond, Künstlerschreibschrift (1902), Univers, and the typewriter types Deberny, Haas and Olive.

Specimen book of 1920.

View the Stempel typeface library. [Google] [MyFonts] [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
[TypeOff]

[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 face Topaz-8 (1994), and Sarah Bernhardt (1999).

Fontspace link. He used the company name Brainstorm at some point. [Google] [More]  ⦿

Daniel Angermann

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

Daniel Bretzmann
[Righttype]

[More]  ⦿

Daniel Fischer

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

Daniel Fritz

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

Daniel Gall

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

Daniel Graf

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

Daniel Günther

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

Daniel Henry Bastian

Designer of the 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 face Bauklötze. [Google] [More]  ⦿

Daniel Perraudin

Daniel Perraudin (b. 1982) has worked with Uebele in Stuttgart, as a freelancer in Berlin, and since 2008 at the KMS team in München. Before that, he studied Information Design in Stuttgart, Germany, and Graz, Austria, where he graduated with distinction in 2007. He lives in Munich, Germany, and works as a designer in the areas of corporate design and typography.

His first release, the extensive Parka family of sans faces, started as part of his graduation project and benefited from the support of type designers Günter Gerhard Lange and Georg Salden. The Parka family was extended to 12 styles in 2008 and 2009, and was published by Font Bureau in 2010.

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. [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 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.

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

Daniel von Appen
[Salival]

[More]  ⦿

Daniel Woessner
[Visual Mind Rockets]

[MyFonts] [More]  ⦿

Danton Sihombing

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

Dare Art

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

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]  ⦿

Daryl Roske

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

Data Becker

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

Font Squirrel link. [Google] [More]  ⦿

Dave Hänggi

Berlin, Germany-based designer of Satellites (2014, outlined geometric font), Turna Round (2014, a roundish display alphabet), and Living Rooms (2014, an interlocking square-shaped blocky alphabet inspired by floor tiling). [Google] [More]  ⦿

Dave Tiedemann

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

David Aldinger

Dortmund, Germany-based designer of the headline display face 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

Feldkirch, Austria-based graphic designer. He designed the headline typeface Raster (2012, +Decorative), which was designed on a grid. In 2014, he created the nibbed pen typeface Pachner.

David now lives in Berlin. Behance link. [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 face Polygram (2012).

Behance link. [Google] [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).

Behance link. Fontspace link. [Google] [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 face for the Erwin Record, a small, weekly newspaper in the town of Erwin in northeastern Tennessee, based on a cross of Plantin and Cloister), and Erwin Gothic (2007), its companion. About Erwin Gothic, he says: The design of Erwin Gothic is based on a series of German grotesque families from the early 1900s, designed originally by Johannes Wagner and distributed originally by Wagner&Schmidt as Wotan (ca. 1914?), Lessing, Reichsgrotesk and Edel Grotesque; and subsequently reworked and re-released by several foundries under these names as well as names such as Annonce Grotesque (ca. 1912?), Aurora Grotesk (ca. 1928), Neue Aurora Grotesk (1964) and Aura. Anzeigen Grotesk (ca. 1943) appears to be another offspring of these designs.

In 2004, David Thometz Design made its debut at MyFonts with Seriatim (dingbats), Silvertone Woodtype and Hefeweizen.

Klingspor link.

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

David Waschbüsch
[Fontom Type]

[MyFonts] [More]  ⦿

David Willem Borgdorff

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

Deadbeat Boyhood

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

Dec 18 2013
[Nina David]

[MyFonts] [More]  ⦿

Deckersche Schriftgießerei
[Rudolf Ludwig Decker]

Berlin-based foundry of Rudolf Ludwig Decker. Their fonts include Deckersche Fractur (1844). [Google] [More]  ⦿

Decode Unicode

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

Deformat

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

Dekor Labor A. Kofron

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

Delbanco-Frakturschriften
[Gerda Delbanco]

Gerda Delbanco's German foundry in Ahlhorn, specializing in blackletter fonts. Great web presentation, and gorgeous glyphs. The company is owned by Gerda Delbanco, but it is not clear if she designed some or all of the faces. Some fonts were designed by Gerhard Helzel, and others by Christian Spremberg. This is one of the best sources of blackletter fonts in the world. Names of the fonts, which are nearly all historical revivals of the great blackletter fonts: Alte Schwabacher, Andreas Schrift, Breitkopf Fraktur, Caslon Gotisch, Claudius (1998, after Rudolf Koch, 1934-1937), Deutsche Kursive, Deutsche Werkschrift (+halbfett), Deutsche Zierschrift, Eckmann Schrift, Eisenacher Fraktur (1994, by Christian Spremberg), Ehmcke Schwabacher, Fette Gotisch, Fichte Fraktur, Frühling (after Rudolf Koch's original from 1917) [sample 1, sample 2, sample 3], DS-Garalang, DS-Garamond, DS Gotenbrg, Hermersdorf, Humboldt Fraktur (after a face by H. Rhode), Kleist Fraktur (1996, after the Walter Tiemann original from 1927-1928), Wilhelm Klingspor Schrift, Koch Fraktur, Rudolf Koch Kurrent (after the original school alphabet by Koch, done in 1935), Kurrent (a connected writing font based on examples from J.B. Henning, ca. 1817), Lincoln Gotisch, DS Maximilian Gotisch, DS Maximilian Zierbuchstaben, Normal Fraktur (this is a nameless face in the group of Biedermeier-Fraktur faces which also includes Schelter's Schulfraktur; also known elsewhere as Armin-Fraktur, Bürenstein-Fraktur, Mars-Fraktur and Pressa-Fraktur), Offenbacher Schwabacher (1996, after the 1899 font by Gustav Ruprecht at Rudhardsche), Old English, Peter Jessen Schrift (1997, after the original from 1924-1929 by Rudolf Koch), Post Fraktur, DS Ratdolt Rotunda, DS Salzmann Fraktur, DS Schmuck, Strassburg, DS Suetterlin, Tannenberg (after a 1933 Stempel face by Emil Meyer), DS Thannhaeuser Fraktur, DS Unger Fraktur (1999), DS Walbaum Fraktur, DS Wallau (1996, after Rudolf Koch, 1924-1936), Wartburg Fraktur, DS Weiss Gotisch, DS Wilhelm Klingspor Schrift, Wohe Kursive and Zentenar Fraktur (1997 (after F.H.E. Schneidler's original from 1937).

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

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 face Denise Handwriting (2010).

Dafont link. [Google] [More]  ⦿

Denise Steitz

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

Dennis 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 face Landa was also made in 2010. Quincy (2010) is a commercial display face. [Google] [More]  ⦿

Dennis Dünnwald

German type designer, b. 1986, Krefeld. He studied graphic design at the University of Applied Sciences Krefeld and designed a blackletter typeface for Volcano in 2010. In 2014, he created the antiqua typeface Duwal Pro (Volcano).

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

Dennis Wolf

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

Denver Design Lab

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

Der Graph
[Thomas Helbig]

Thomas Helbig (Der Graph) is a prolific German experimental font designer. His typefaces date from ca. 2009. [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]  ⦿

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. Agitka (2010, 8 styles) contains Latin and Cyrillic characters, in a constructivist theme, and has a Neon sub-style that was used in the film Bourne Ultimatum. This family can be bought at Gestalten. In 2010, he published Kraut, a round outline face, and Koffer (a screen font family).

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

At Vette Letters, Henning Brehm created the squarish oriental simulation face 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.

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

desig-n.de

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

Designer in Action

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

Designer in Action

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

Designer Shock
[Stefan Gandl]

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

Designlinks.de

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

Designlinks.de

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

Detlef Reimers

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

Deutsche 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]  ⦿

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. [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
[Hoftype]

[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
[Dieter Steffmann's Homepage]

[More]  ⦿

Dieter Steffmann's blackletter typefaces
[Tim Larson]

A list of Dieter Steffmann's blackletter typefaces, as compiled by Tim Larson (Christ Trekker)

  • 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 Steffmann's Homepage
[Dieter Steffmann]

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

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

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

Dieter Zembsch

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

Klingspor link. [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 Pepsi (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). iHe 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 humanistic touch.

In 2014, Profonts published his text typeface Martin Pro.

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]  ⦿

Digitalpionese.de

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

DIN 1451

German highway, railway and industrial typeface that is based on strict specifications. Linotype writes: The abbreviation "DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). In 1936, this standards committee settled upon DIN 1451 as the primary lettering style for use in the areas of technology, traffic, administration, and business. The committee chose a sans serif design because of its legibility, and because its forms are also easy to reproduce. This faces design was not foreseen to be used in advertisements or other "artistically oriented purposes," and there were disagreements about its aesthetic qualities. Nevertheless, the DIN face has been set everywhere in Germany since its adoption, especially on signs for town names and traffic directions. Over the decades, it has managed to make its way into advertisements, too, perhaps because of its ease of recognition. The contemporary font version of DIN 1451 has been adopted and used by designers in other countries as well, solidifying its world-wide design reputation. Try it out today for signage, magazine layouts, book covers, or flyers. DIN 1451s industrial heritage makes it surprisingly functional in just about any conceivable application. 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. Various modifications led to DIN 1451 (1936), DIN 17 (1938) and the "new" DIN 16 (1934). The DIN was heavily used until the 1980s in stencils, sold by companies such as Faber-Castell, Rotring, Staedtler, and Standardgraph. Articles on DIN:

Poster by Federico Arguissein (2013). [Google] [More]  ⦿

Dingfontbats
[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]  ⦿

DINO Computer Utilities Fonts

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

Dirk

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

Dirk Heider

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

Dirk Schaechter
[Faktor-i (or: Designsalon)]

[More]  ⦿

Dirk Schuster
[Bropix]

[MyFonts] [More]  ⦿

Dirk Uhlenbrock
[TypeType]

[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 Wachowiak

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

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

Dismantle Destroy
[Matthew Tyndall]

[MyFonts] [More]  ⦿

dmfstudio
[Robert Perendi]

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

Doepfer Musikelektronik GMBH

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

Dominic Brighton

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

Dominik Böhler

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

Dominik Heilig

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

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

Dominique Boessner

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

Doris Fürst

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

doublestroke
[Olaf Kummer]

"doublestroke" is Olaf Kummer's blackboard bold math symbol font in metafont format. Olaf Kummer is at the University of Hamburg. [Google] [More]  ⦿

dpi

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]  ⦿

Drachenjäger

Site of the blackletter caps font Gothic-Titel-offiziell (2000). [Google] [More]  ⦿

Drhaieck

Heidelberg, Germany-based creator of the bespoke geometric experimental face Indyanna (2011) and of Daily Work (2012). [Google] [More]  ⦿

Driemeyer Design
[Antje Driemeyer]

Typefoundry 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. [Google] [MyFonts] [More]  ⦿

Dropic Arts

Magdeburg, Germany-based designer of the sci-fi typeface Dropic (2014). [Google] [More]  ⦿

Druckschriften

German site concerned with typography. Has a Type Calendar for German events. Contains a list of the top 100 type designer of all time. Type classification. [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]  ⦿

Ductype

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]  ⦿

Duesterheit

German designer (b, 1979). He created the pixel face glasklinge-minimal (2007). Home page. [Google] [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 and DTL Documenta Sans (Frank E. Blokland), DTL Dorian (Elmo van Slingerland), DTL Elzevir (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, finished 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.]

Currently he is finishing a PhD study at Leiden University titled 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]  ⦿

e27
[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]  ⦿

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) at Haas of Normale Grotesk (1942), Superba (1934) and Troubadour Lichte (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. Superba was digitally revived by Red Rooster. [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-Faktur (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 desiigned 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 Basalt (1926, pre art deco), Ege-Schrift (1921, Genzsch&Heyse; Jaspert, Berry and Johnson mention 1927; Seemann says 1923). In 1922, he made the Schmuck (ornaments) for the Deutsche Druckschrift (Heinz König, 1888). A digitization and extension called DeutscherSchmuck was done by Manfred Klein and Petra Heidorn in 2004. Ege Schrift NF (2011, Nick Curtis) is a faithful revival of Ege-Schrift according to Curtis.

Klingspor link. [Google] [More]  ⦿

Eduard Wilhelm Tieffenbach
[Officina Serpentis]

[More]  ⦿

EFB

List of links to high-quality free fonts. In German. [Google] [More]  ⦿

Egypta

Hieroglyphic font archive at TypOasis. [Google] [More]  ⦿

Eike König
[Hort]

[More]  ⦿

Ein Reiseführer für Typografen

Richard Felsner (Mainz, Germany) has some info on the history of type. [Google] [More]  ⦿

Ekaterina Koroleva

Illustrator in Berlin, whose brush and pen lettering on fashion posters is distinctive and powerful. Of particular beauty are her Zodiac sign illustrations (2011) and her fashion drawings (2012).

Behance link. [Google] [More]  ⦿

Ekkehard Beck

Ulm, Germany-based designer at Fontkitchen Type Foundry of the dingbat faces Damgram (2004), Urban Dedication (2004) and DesignersSkulls (2005, skull dingbats). These faces are free. He also designed Mandalay (2006), a font with Burmese influences.

Dafomnt link. Designers Skulls. [Google] [More]  ⦿

Elekrrofarbe

Using iFontMaker, Elektrofarbe created Lux Berlin Font 1 (2011, outline hand-printed face). [Google] [More]  ⦿

Elena Albertoni
[Anatole Type Foundry]

[MyFonts] [More]  ⦿

Elena Schaedel

Visual communications designer in Germany. At 26plus, we can find her Amsterdam (a series of five fonts with Grachten, Vel, Huis, Fiets and Bloemen as themes, all modularly constructed from a few basic forms).

In 2012, she published the Picassonian geometric experimental typeface MeM, done together with Jakob Runge, at 26plus.

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

Elena Schneider

Graphic designer in Dortmund, Germany. MyFonts lists her last name as scheider, not Schneider. Her design company is called Elefont. Graduate of the University of Reading in 2011.

Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), and Paroli (2011, a bold rounded signage face), Biec (2012).

In 2013, Eskorte was published by Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion.

Cargo Collective link. [Google] [MyFonts] [More]  ⦿

eleven 7 (or: typo.arts)

Outfit based in Schelklingen, Germany. Makers of Big Bull (free), and Fontkit (commercial pixel fonts). Mac and PC. [Google] [More]  ⦿

Elfriede

During his studies in Berlin, Elfriede created the artsy illustrative typeface Drongo Typo (2013).

Behance link. [Google] [More]  ⦿

Elisabeth Friedländer

German type designer (b. 1903, Berlin, d. 1984) at the Bauersche Giesserei who made Elisabeth (1934). Sometimes her name is spelled Friedlander, without an umlaut. Pauline Paucker's book, New Borders The Working Life of Elizabeth Friedlander (Incline Press, 11A Printer Street, Oldham OLI IPN England), describes her life, including the story of her flight from Nazi Germany in 1936 (she was Jewish), to Italy. She had studied in Berlin with E.R. Weiss at the Berlin Academy. She joined the German fashion magazine Die Dame. In 1933 George Hartmann asked her to design a typeface for Bauersche Giesserei. She designed Elizabeth in 1934---a Roman and Kursiv and a Bold that was never completed or produced---but she was unable to name the typeface Friedlander, as she had wished, because it was a recognizably Jewish name. She was associated for some time with the Bauer foundry. Her typeface was finally cut in 1939 but she had already left Germany because of the war. She went on to Italy and then later to London where she eventually worked with Jan Tschichold at Penguin Books doing covers for Penguin books, and became a celebrated graphic designer.

Jim Rimmer's RTF Isabelle (roman and italic), made in 2006, is based on two delicate serif faces by Friedlander.

Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters) and Linotype Friedlaender borders were revived in 2006 by Ari Rafaeli.

In 2005, Andreu Balius was commissioned to digitize the typeface now sold by Neufville Digital: Elizabeth ND (2007, 3 styles). [Google] [MyFonts] [More]  ⦿

Elisabeth Schwarz

Münster-based German designer with Christian Büning of Rolli (2007), a font with pictograms for handicapped people. Another URL. Home page. [Google] [MyFonts] [More]  ⦿

Eliyahu Koren

Influential Israeli graphic and type designer, 1907-2001. Pic. Koren Publishers still exists in Jerusalem today. At MyFonts, one can buy Koren MF (1943), Koren Rashi MF, Koren Siddur MF, and Koren Tanakh MF (1943), which were digitized by Masterfont in 2010. Wiki page. Quoting from the excellent biography by Joshua J. Friedman: Born Eliyahu Korngold in Nuremberg, Germany, in 1907, he immigrated to Palestine in 1933 and set about looking for work. Koren had excelled in art school, but in Palestine he found an underdeveloped graphic-design industry that largely amounted to sign-painting. His break came when the Jewish National Fund hired him to lead its first graphics department. In this position, which he kept for 21 years, Koren oversaw the creation of many of Israel's most prominent symbols, including its first postage stamp and, in his own design, the seal of the city of Jerusalem-a lion rampant in front of the Wailing Wall, framed by olive branches-still in use today. His greatest project got underway in the early 1940s, when Judah Magnes, the president of Hebrew University, asked Koren to create a new typeface for the first original edition of the Hebrew Bible to be published in Israel. Koren's art would complement the ambitious scholarly effort of Umberto Cassuto, a rabbi and Hebrew University professor who was searching for the most accurate ancient source manuscripts. But unexpectedly, and within a few years of each other, Magnes and Cassuto both died, leaving the project to founder. The Hebrew University Press, having already waited 10 years for its new Bible, simply reprinted a 19th-century edition with a few of Cassuto's emendations. Eliyahu Koren Eliyahu Koren, working on the Koren Bible typeface Koren decided to carry out the original effort on his own. He formed his own small publishing house and immersed himself in Hebrew manuscripts and early typefaces, looking for inspiration. He based his letter on medieval Sephardi script, while giving it a modern touch. He consulted an ophthalmologist and learned about early research into the legibility of Latin types. In every aspect of his work Koren was meticulous. When he received the cast metal type from the illustrious Deberny and Peignot foundry in France, Koren immediately spotted imperfections and sent it back. The foundry calculated the imprecision at three hundredths of a millimeter and recast the letter at its own expense. "In the final Koren design," writes the late Israeli book historian Leila Avrin, "the letters are sharp, almost never rounded, with balanced contrasts, faintly serifed, with its few diagonals always parallel to one another. The beauty of the letter never detracts from its readability." Koren was as diligent as Cassuto in striving for textual accuracy. He took great care with vowels and cantillation marks, which were drawn by hand and added to the typeset page. When the Bible was finally published, in 1962, it was celebrated in public ceremonies. "Israel is redeemed from shame," wrote Prime Minister David Ben-Gurion. "This is the first Jewish Bible in the last 400 years." Presidents of Israel would be sworn into office on it. A commemorative book published years later includes photos of the celebrations, plus two of Koren inspecting manuscripts and proofs at the start of the project, with his sleeves rolled up and his expression grave. His hair is dark. By the time the Koren Bible was published, 20 years later, it was mostly silver. It would take until the 1970s for Koren to begin work on his siddur. His central task was the same: to create beautiful, legible letters and pages to accentuate a sacred text. But unlike the Bible, the siddur is an anthology, pieced together from Torah verses and rabbinic writings. Koren therefore set out to design a new page layout that would differentiate the text, highlighting its source material and keeping the reader alert. Koren also developed a distinct but related siddur typeface, since he felt that the one he had developed for the Bible was too sacred to reuse, except for biblical quotations. This typeface was even more legible than the first, with similar letter pairs distinguished by their shape: dalet, for instance, extends its arm horizontally, while resh angles its arm upward. [Google] [MyFonts] [More]  ⦿

Elke Herrnberger

German designer (born Elke Swillus) of the highly original museum display face FF Yokkmokk (1993) at FontFont. FontShop link. Elke Herrnberger is working at her studio TRANSformer in Düsseldorf as an independent graphic designer. She took her final exams in 1996 at the Fachhochschule Düsseldorf. Since 1999 she has been head of the graphics and PR department at Petzinka Pink Architekten in Düsseldorf. [Google] [MyFonts] [More]  ⦿

Elke Reisenbichler

Heilbronn-based creator of a nice script alphabet in 1985. [Google] [More]  ⦿

Elli Jaeger

Hamburg-based designer and illustrator, who created an ornamental caps alphabet based on stamps called Stamp Collection (2012). [Google] [More]  ⦿

Elmar Kniprath
[Indolipi]

[More]  ⦿

Elmar Schmitt

Author of Die Drucker der Wagnerschen Buchdruckerei in Ulm 1677-1804 Band II Vignetten Signete Initialen (Universitätsverlag Konstanz, Konstanz, 1984). A typical vignette. Vignette 142. Vignette depicting Silvanus. The Wagnerschen Buchdruckerei issued this Schreibschrift in 1765. [Google] [More]  ⦿

Elsner&Flake

German type foundry in Hamburg established in 1986 by Veronika Elsner and Günther Flake. They offer original fonts as well as improved versions of classical fonts. There are many non-Latin fonts as well. In-house designers include Jessica Hoppe (Carpediem), Verena Gerlach (Aranea), Petra Beisse (PetrasScript), Uwe Melichar, Manuela Frahm (Fritz Dittert), Ralf Borowiak, Lisa von Paczkowski, and Achaz Reuss.

Additions in 2005 include the dingbat faces Beautilities EF Alpha, Ornamental Rules EF, Diavolo Rules EF, Squares EF (Alpha, Beta and Gamma), Topographicals EF Alpha, Typoflorals EF Alpha, Typographicals EF Alpha, Typomix EF Alpha, Typosigns EF Alpha, Typospecs EF Alpha and Beta (which have several fists), Typostuff EF Alpha, Diavolo EF, Schablone EF, Gigant EF, Maloni EF, OCRA EF, EF Unovis (a 16-weight family inspired by Quadrat).

In the hand-printed category, let us mention Filzerhand.

Their blackletter collection includes some bastardas (Alte Schwabacher, Lucida Blackletter), some frakturs (Fraktur, Fette Fraktur EF, Justus Fraktur, NeueLutherscheFraktur, Walbaum-Fraktur), some rotundas (Weiss-Rundgotisch), and some texturas (Gotisch, Old English).

Commissioned fonts include Castrol Sans (2007).

Selected additional typefaces: Gillies Gothic EF (1935, after William S. Gillies), EF Medieva, Bank Sans Caps EF, Metropolitain (1985) (after a 1905 art nouveau face by Fonderie Berthier).

Newest URL (2008). Listing at Fontworks. Future events schedule. New fonts.

List of their fonts.

Catalog of their typefaces [large web page warning]. See also here. [Google] [MyFonts] [More]  ⦿

Elsner&Flake: events schedule

Events schedule as compiled by Elsner&Flake. [Google] [More]  ⦿

Emanuel Klieber

German designer of the modular octagonal face Fourty Five Degree (2008, Avoid Red Arrows). [Google] [More]  ⦿

Emil Doepler

Designer at Klingspor of Vignetten (1902). [Google] [More]  ⦿

Emil Gursch

A peek into Schriftgiesserei Emil Gursch Berlin: Gesamtprobe Schriften Ornamente Vignetten Messinglinien (488 pages), one of Gursch's gorgeous specimen books. Emil Gursch was the main principal/owner of the Schriftgießerei Gursch in Berlin from 1866 until 1917, at which point the foundry was acquired by Otto Tech Berlin, an arm of H. Berthold AG. MyFonts link. [Google] [MyFonts] [More]  ⦿

Emil Gursch

German foundry based in Berlin, active from 1866 until 1917, when it was acquired by H. Berthold AG. Klingspor's file on Gursch. Typefaces published by them include:

  • Accidenz-Versierungen.
  • Akademisch.
  • Alexandra (<1897).
  • Antiqua No. 2 through 9.
  • Apollo Grotesque (1897).
  • Alt-Gotisch (1899) mager&halbfett. Altgothische initialen.
  • Bambus Grotesque (1896).
  • Berliner Fraktur (ca. 1897).
  • Briefschrift Deutsch (<1899).
  • Britannia-Versalien (1902).
  • Continental Grotesque.
  • Dekorative Vignetten (1899).
  • Egyptienne.
  • Elzevir, ca. 1899: many weights and styles.
  • Eskorial (1909) and Eskorial halbfett (1908) by Eduard Lautenbach.
  • Flächer Ornamente (1899).
  • Fraktur 14g (1910), Fraktur 14 halbfett (1915), Fraktur 16 (1916), Fraktur No.4 through No.8. Halbfette and Moderne schmale halbfette Fraktur, Schmale Fette Zeitungs-Fraktur, Fette Fraktur.
  • Gloria (1898), Fette Gloria Kursiv (1904), Gloria fett (1902), Gloria schmalfett. Gloria Kuric schmalfett.
  • Gothisch (schmale enge, Courante and Accidenz), Renaissance Gothisch (1902: eng, magere and halbfette), Fette Gothisch (neueste and breite). Gothische Federzüge.
  • Grandezza I and II (1904) by Hermann Zehnpfundt.
  • Grotesque.
  • Hermes Grotesque (1897).
  • Hortensia (<1902). A digital version of this Victorian script was finished in 2009 as Hortensia by Canada Type: Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release.
  • Industria (1913, a grotesk designed for ads). Weights include Zart, Halbfett, Fett and Zephyr. By Hermann Zehnpfundt.
  • Journal (1912-1913) by Hermann Zehnpfundt. Weights include Antiqua, Kursiv, Antiqua Halbfett.
  • Breite Kanzlei, Moderne halbfette Kanzlei, Antike Kanzlei (wow!).
  • Kavalier (1910) by Hermann Zehnpfundt.
  • Klinger (1919, +Antiqua) by Julius Klinger.
  • Koenig-Type (1903-1907, Heinz König), Koenig Schwabacher (1912-1913, Heinz König), Koenig-Fraktur (1910, Heinz König. This is also called Gursch Fraktur),
  • Kontinental Grotesk.
  • Korona (1905, + Halbfett) by Albert Auspurg.
  • Mediaeval, Cursiv, Mediaeval Cursiv.
  • Monument (+Halbfett).
  • Moderne Schreibschrift.
  • Phönix-Cursiv (1897).
  • Polygon Undine (1904).
  • Roma (ca. 1897).
  • Rubens (1905) by Albert Auspurg.
  • Rundschrift.
  • Saxonia Einfassung (borders).
  • Schwabacher, Fette Schwabacher (1899).
  • Schwarze Hände, and many great math and astrological sets.
  • Senefelder (1908).
  • Sirius Ornamente (1908).
  • Skulptur (1901): has styles called Halbfett and Licht.
  • Sütterlin Unziale (+Halbfett), made in 1905 by Ludwig Sütterlin himself.
  • uncial gotisch or Morris Gotisch. For a digital version, see Morris Gotisch by Gerhard Helzel.
  • Versierte Italienne.
  • Werk Fraktur (fett, halbfett), done before 1907.
  • Zierschrift Roma, Zierschrift Apollo, Zierschrift Gloria, Boston Zierschrift.
  • Zirkular Kursiv (1913) by F. Müller-Münster.
There were also numerous ornaments and vignettes. Published documents include Industria, eine charaktervolle Reklame-Grotesk (1913), Polygon-Undine. Fette Gloria-Kursiv (1904), Nachtrag zur Handprobe. Neue Erzeugnisse aus den Jahren 1898-1901 (1902), Munster-Sammlung der Schriftgiesserei Emil Gursch, Berlin S., Messinglinien-Fabrik und Gravir-Anstalt (1899). That last book is their main publaction, 112 pages of nicely presented specimens covering all lettertypes and ornaments in detail. A peek into one of Gursch's specimen books. PDF prepared by Klingspor Museum. [Google] [MyFonts] [More]  ⦿

Emil Hölzl

Designer of Hölzl-Mediaeval (+ Halbfette) (1912, D. Stempel AG; Seemann says 1916) and Hölzl-Mediaeval Kursiv (1916, D. Stempel AG). [Google] [More]  ⦿

Emil Johannes (Hans) Kühne

German type designer (b. 1910, Schmiedeberg-d. 1961, Hamburg). Wolfgang Hendlmeier summarized his contributions in 1985. Obituary. His typefaces include:

Other material: Logos done by him. Brief German biography. A famous poster of the Nikolaikirche in Hamburg. Picture. [Google] [More]  ⦿

Emil Meyer
[Erich Meyer]

Type designer (b. Offenbach, 1898, d. Waldshut, 1983). He created the blackletter faces Tannenberg mager and halbfett (1933-1935, D. Stempel), Woellmer-Fraktur (1937, Wilhelm Woellmer). In several publications and web sites, Emil is called "Erich". Schnelle calls him Erich Mayer. Digitizations of his faces include DS Tannenberg (2001, Delbanco) and Tannenberg (Gerhard Helzel).

Klingspor link. [Google] [More]  ⦿

Emil Preetorius

German stage designer (b. 1872, Mainz, d. 1973). Preetorius studied law and art history in Giessen. In 1909 he cofounded a school of illustration and the book trade in München together with Paul Renner. In 1928 Preetorius became a professor at the München Hochschule für Bildende Künste. He set stages for Richard Wagner and others. From 1953 to 1968 Emil Preetorius was the president of the Bayerische Akademie der Schönen Künste in München. [Google] [More]  ⦿

Emil Rudolf Weiß

German typographer, graphic artist, book artist, painter, type designer, poet and teacher, b. 1875, Lahr, d. 1942, Meersburg. Weiss made Weiss Roman in 1926, now an Adobe typeface. He also created Weiss-Fraktur (1909, commercialized in 1913 by Bauersche Giesserei, and revived in 2004 by Petra Heidorn and Manfred Klein), Weiss-Fraktur Kursiv (1923-1924, Bauer), Weiss Antiqua (1928; this is W 690 Roman at SoftMaker and Weiss Antiqua at URW), Weiss Lapidar mager (1931, revived as Weiss Lapidar in 2002 by Dieter Steffmann), Neue Weiss-Fraktur (1935), Lichte Initialen (1935, revived by Manfred Klein in 2005 as WeissGotnitials), Weiss-Gotisch (1936, a Textura face at Bauer, revived by Petra Heidorn in 2004 under the same name, and by Delbanco as DS-Weiss-Gotisch), Weiss-Kapitale (1931), Weiss-Rundgotisch (1937, Bauer, digitized by Fraktur.de, and in 2009 by Nick Curtis as Garmisch Rund NF), by Elsner and Flake as Weiss Rundgotisch, and by Softmaker as Gothic, and Weiss Rundgotisch Inititalen (1939), all at the Bauersche Giesserei. At Hansestadt Letter Foundry we find Rundgotisch and Uhlen Rundgotisch (1937), the latter becoming a Monotype font in 1938. His Weiß Initials (Series I, II, II Bold, III) from the 1920's have been digitized as Wellsbrook Initials SG (2004, Spiece Graphics), URW Weiss Titling, and Quadrivium NF (Nick Curtis).

In 2011, Gerald Cinamon published E.R. Weiss: The Typography of an Artist (Oldham: Incline Press).

Bio at Linotype, and at DdS. Footnote: Many textbooks incorrectly credit Weiss with Memphis (Stempel, 1929)---these include Mac McGrew, Rookledge, and Jaspert&Berry.

View Emil Rudolf Weiss's typefaces. [Google] [MyFonts] [More]  ⦿

Emmanuel Rey

Partner of Ian Party in Swiss Typefaces. Swiss ex-student of Ian Party at ECAL in Lausanne, who created Tabloid (2007), a contemporary condensed sans serif font family, specifically designed to be used in big size for newspaper headlines. It comes in ten weights from UltraLight to UltraBlack. Other faces include Euclid (2010, squarish), Urbaines Medium (2009, grotesk caps), Simplon and Simplon Mono (2010, B+P Swiss Typefaces), and Untitled (2010).

See a version of Euclid in use by the city of Stockholm [called Stockholm Type], and read the (mostly negative) reactions of the typophiles. On Flickr, upon seeing that umlauts were replaced by macrons, Hrant Papazian writes: Pissed androgynous royals rule.

Behance link. He worked as a freelance designer in Berlin, but is now an equal partner with Ian Party in Swiss Typefaces, their typefoundry. Another URL. [Google] [More]  ⦿

Emmi Wernicke

Designer of a blackletter typeface that was revived by Peter Wiegel in 2014 as Wernicke Schwabacher. [Google] [More]  ⦿

EPS51

Design studio of Ben Wittner, Sascha Thoma and Daniel Fürst, located in Berlin. Custom fonts made by them include Newface 51 (for M4 Models / Newfaces), Rayon51 (2011, a monoline sans for the magazine Animated), Futur-A-Script (2010), Bodoni Stencil (2009, for Chris Holzinger), Baseet (2009, an Arabic script face done with Pascal Zoghbi), Holzinger51 (2008), and the Talib family of typefaces (2008, Arabic simulation fonts). [Google] [More]  ⦿

Erasmus Luther
[Luthersche Fraktur]

[More]  ⦿

Erhard Grundeis

German type designer at Ludwig&Mayer who made the script typeface Achtung (1932), and the oddly slab-serifed face Stadion (1929, Schriftguss). This ugly bird was revived by Nick Curtis in 2011 as Elektromoto Narrow NF. [Google] [More]  ⦿

Erhard Kaiser

German type designer (born in Quedlinburg, near Leipzig, 1957), who made the extensive DTL Fleischmann family (1992) at the Dutch Type Library. The font is named after Johann Michael Fleischmann (1707-1768), a German punchcutter who lived and died in Amsterdam. From 1983 until 1991 Erhard Kaiser worked at TypeDesign for Typoart, Dresden and since 1993 has been with DutchTypeLibrary/URW++. Still at DTL, he made the sans serif DTLProkyon family in 2002 around a curvy "4". This family gets raves from many typographers. Among possible imitations, we cite Dalton Maag's Ubuntu. For Typoart he designed Caslon Gotisch, Kleopatra, Quadro, Weiß-Antiqua and Bembo Antiqua. Since 1998 he teaches at the Muthesius Hochschule in Kiel. In 2005, he created DTL Antares, a strangely proportioned serif to accompany DTL Prokyon. Some weights published in 2008 are called Evonik Antares and some Evonik Prokyon.

Klingspor link. Bio at ATypI. [Google] [MyFonts] [More]  ⦿

Erhardt Ratdolt

Augsburg-born printer (1447-1527). A master printer and type designer, he worked from ca. 1474 until ca. 1486 in Venice, where he printed many fine books. Ratdolt returned home and produced the first printer's type specimens sheet with a beautiful decorative initial and 15 different fonts to announce the occasion. He had the first type specimens sheet in the world, showing rotunda, roman and Greek typefaces in various sizes (date: 1486). Ratdolt specialized in missals, liturgical works, calendars, astronomical, astrological, and mathematical subjects, and often included masterful diagrams to illustrate the text. In 1482, he printed Euclid's Elements of Geometry, which became William Morris's reference source for his "while-wine" decorative borders. Erhard Ratdolt died in 1527 or 1528. See DS Ratdolt-Rotunda (Delbanco), a digital version based on a 1989 design by Wolfgang Hendlmeier in 1989. Type sample. Bio by Nicholas Fabian. See also here. [Google] [MyFonts] [More]  ⦿

Erhardtische Schriftgießerei

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

Eric Schmitt
[RichyType]

[More]  ⦿

Erich Heckel

Erich Heckel (b. 1883, Döbeln, d. 1970, Radolfzell) was a German painter and printmaker, and a founding member of the Die Brücke group which as active from 1905 until 1913. Heckel and the three other founding members of Die Brücke (i.e., Ernst Ludwig Kirchner, Karl Schmidt-Rotluff and Fritz Bley) admired the work of Edvard Munch, and aimed to make a "bridge" (Brücke) between traditional neo-romantic German painting and modern expressionist painting. Primitive, esp. African, art was also an inspiration to the members of the Die Brücke.

In 1937 the Nazi Party declared Heckel's work degenerate. It forbade him to show his work in public, and more than 700 items of his art were confiscated from German museums. By 1944 all of his woodcut blocks and print plates had been destroyed. After World War II, Heckel lived at Gaienhofen near Lake Constanz, and taught at the Karlsruhe Academy until 1955. He continued painting until his death at Radolfzell in 1970.

Heckel's woodcuts and lettering inspired a few typefaces, most notably:

[Google] [More]  ⦿

Erich Meyer
[Emil Meyer]

[More]  ⦿

Erich Mollowitz

German designer of the medium weight formal script font Forelle (Weber, 1936), also called Rhinegold or Rheingold (Trennert, 1936). It has tall ascenders and short descenders. It is accompanied by Forelle Auszeichnung (1936). Mercury (Stephenson Blake) was copied from this. He also created Anemone (1955, Genzsch&Heyse). Misspellings of his name abound: R.S. Hutchings calls him Mallowitz. Others spell his name as Mollwitz. Jaunty Gent NF (2007, Nick Curtis) is based on Rheinhold Kräftig---surely Nick meant to write Rheingold Kräftig. Forelle Pro (2010, Ralph M. Unger) is another digital version of Forelle. Dieter Steffmann made the free font Forelle. [Google] [MyFonts] [More]  ⦿

Erik Faulhaber

Type designer involved with Linotype. He studied design in Karlsruhe with Kurt Weidemann and others. His mentor is Adrian Frutiger. Since 1996 he is an independent designer. He has taught typography at the universities of Halle, Weimar and Wuppertal. He helped develop Frutiger Next at Linotype. However, after that effort, Linotype did not give him credit in the way he thought he deserved (the credited designer for Frutiger Next is Adrian Frutiger / Linotype Design Studio). He also worked on the Compatil family (Linotype), Vialog (Linotype: 22 weights commissioned by Professor Werner Schneider, originally developed for the signs in the Munich subway), Heidelberg Gothic (Linotype: for Heidelberger Druckmachinen AG), and corporate faces for the city of Milan (Milano), BMW (tracking adjustments for BMW Helvetica), Microsoft (Microsoft SC), and IBM (Greek and Vietnamese characters for the IBM corporate typeface). Wiki page. In 2006, he published the Generis (Linotype) type system which consists of slab serif, serif, sans, and simple sans sub-systems, all compatible and loosely in the spirit of American gothic styles. His Aeonis font family (2009) contains 42 sans styles about which Linotype brags: Lapidary inscriptions from Ancient Greece spurred Faulhaber on to create this typeface's basic sans serif forms. This clarity is visible in the simplified form of the typeface's capital A. Further inspiration came from a domed lamp designed in 1952 by Wilhelm Wagonfeld; this went on to inspire the roundness in Aeonis. Faulhaber sees the conflict between antiquity and modernity as a struggle between angular and round forms. Author of Frutiger Die Wandlung eines Schriftklassikers (Niggli Verlag). Free lance designer since 1996. About the Frutiger Next flap:

  • Erik Faulhaber was interviewed and expressed his ideas about Frutiger and Frutiger Next in Frutiger Die Wandlung eines Schriftklassikers (2004, Niggli Verlag).
  • Adam Twardoch (Linotype) explains: No doubt, Erik Faulhaber has worked on the Frutiger Next project but the extent of that work is disputable. This is a typical case of getting credit. Type design only recently became an individual effort. Previously, a large team of people worked on a particular type, and yet typically, only one person got the credit as the designer. Even today, when FF Meta Pro is published, the credited designer is Erik Spiekermann and not Spiekermann, van Rossum, de Groot, Schäfer, Lipton, Schwartz, Safayev, Chayeva, Haratzopoulos et al. If it were so, it would be quite ridiculous anyway. If you want personal credit, you need to negotiate it upfront in the contract. Christian Schwartz and Erik Spiekermann collaborated on FF Unit and on FF Meta Headline. Schwartz does get personal credit for FF Meta Headline but not for FF Unit. This is obviously result of different negotiations in different projects. The credited designer for Frutiger Next is Adrian Frutiger / Linotype Design Studio. This means that Linotype chose not to personally credit the other designers who worked on the project, including Erik Faulhaber. This is similar for Linotype Univers. This is different for other projects, e.g. Avenir Next is credited as Adrian Frutiger / Akira Kobayashi, just like Palatino Nova and Optima Nova are credited Hermann Zapf / Akira Kobayashi. Altogether, such decisions are made on a per-project basis, and surely depend on the actual creative input of the other designer. Sometimes, designers arrange collaborations by themselves they might hire a collague to draw the small caps or florins in their own typeface if there is a tight deadline. Whenever youre a junior designer and embark on such a project, make sure to clarify issues such as personal credit *upfront*. Erik Faulhaber seemingly has not. He has seemingly agreed to hide his name behind the Linotype Design Studio label but now is trying to change reality retroactively. This is not how you work with other people.
  • Bruno Steinert (type manager, Linotype) retorts: the idea for Frutiger Next originated from discussions between himself, Adrian Frutiger, Professor Reinhard Haus, and Otmar Hoefer (marketing, Linotype). Linotype guided and financed the development and paid Faulhaber on an hourly basis. Frutiger and Faulhaber never worked together outside Linotype.

    In 2013, he published Xenois, Xenois Semi Pro, Xenois Sans Pro, Xenois Serif Pro, Xenois Soft, Xenois Super and Xenois Slab at Linotype.

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

Erik Spiekermann
[Spiekermann's blog]

[More]  ⦿

Erik Spiekermann
[Spiekermann's favorite typefaces]

[More]  ⦿

Erik Spiekermann

German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.

In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).

His essay on information design.

Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog.

Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin.

He made the following typefaces and type families:

  • Lo-Type (1913, Louis Oppenheim) was digitally adapted by Spiekermann for Berthold in 1979-1980. BERTLib sells it as Adlon Serif ST.
  • PT 55 (1986), the precursor of FF Meta.
  • Berthold Block
  • Berliner Grotesk (1979-1980, Berthold): based on an old Berthold AG face from 1923.
  • FF Govan
  • The huge families FF Meta1, FF Meta2, FF Meta3 (2003), FF Meta Condensed (1998) and FFMetaCorrespondence. The FF Meta families (1985) were originally designed for Bundespost, which did not use it--it stayed with Helvetica for a while and now uses Frutiger. Meta comes with CE, Cyrillic, Greek and Turkish sets as well. Weights like Meta Light (Thin, Hairline) Greek are available too. Spiekermann is a bit upset that Linotype's Textra (2002, a face by Jochen Schuss and Jörg Herz) looks like it was cloned off Meta.
  • Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann, promised for May 2007. Kris Sowersby will also help, but the 2007 deadline seems to have been optimistic.
  • ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
  • Boehringer Sans and Antiqua (1996): custom types.
  • Grid, which appeared in FUSE 3.
  • Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
  • NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
  • Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
  • Heidelberg Gothic (1999).
  • Symantec Sans and Serif (2003): custom types.
  • FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
  • ITC Officina Display (2001).
  • FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005).
  • Bosch Sans and Bosch Serif (2004).
  • The SeatMeta family (2003) for Seat.
  • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
  • A Volkswagen company family based on a correction of Futura.
  • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
  • Tech (2008, FontStruct), a rounded squarish headline face.
  • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
    • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
    • Increased contrast between regular and bold.
    • High legibility on the monitor via Clear Type support.
    • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
  • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. Google Web Fonts download page.
  • In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.

Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.

FontShop link.

View Erik Spiekermann's typefaces. [Google] [MyFonts] [More]  ⦿

Erika Brouwer

Graphic designer in Berlin. At Behance, one can see her trendy bold face Carbon (2009). [Google] [More]  ⦿

ErlerSkibbeTönsmann
[Henning Hartmut Skibbe]

ErlerSkibbeTönsmann is an agency for corporate, editorial and typeface design in Hamburg, Germany. Its main type designer is Henning Hartmut Skibbe, a German communications designer located in Potsdam and/or or Hamburg, b. 1979. He studied graphic design at the University of Applied Science Potsdam and was a typeface design student of Luc(as) de Groot. Skibbe's typefaces:

  • Arctic (2006). A headline font family. Arctic Black Basic is free.
  • Haptic (2008). A sans logotype that won an award at TDC2 2009).
  • Nautik (2004-2006). A free calligraphic take on Courier. Image by Francisco Baudizzone.
  • Skibfont (2002-2003). A free calligraphic font.
  • Codesigner with Johannes Erler in 2009 of FF Dingbats 2.0, a redesign and update of FF Dingbats (1993). This was followed in 2014 by FF Dingbats 2.0 UI and FF Dingbats 2.0 Inverted UI.
  • The agency did the typeface design for Sueddeutsche Zeiting in 2011-2012. Its new corporate typeface, SZ (Serif, Sans, Sans Condensed, Text, 40 fonts in all), is described as follows by Henning's codesigner, Nils Thomsen: In 2011 and 2012 I participated on the corporate typeface for the Ggermans daila, "Süddeutsche Zeitung", at the office "Bureau ErlerSkibbeToensmann". Hand in hand with type designer Henning Skibbe and art director Christian Tönsmann the different styles and weights were carefully designed. The technical part was edited by fontshop.com. SZ Text is based on Excelsior (Chauncey H. Griffith, 1931). The new typefce got narrower and the capitals smaler and lighter. To this we added lots of new details, which worked better and made it overall more efficient in tight columns and line spacing. SZ Serif is based on SZ Text and replaced the "Times" (Stanley Morison, 1931). Higher contrast and slightly narrower letter shapes makes it more useful for headline typography. SZ Sans is designed for strong headlines and replaces "Helvetica" (Max Miedinger, 1957). Simple and silent shapes gives the right touch to the neutral character of "Süddeutsche Zeitung". SZ Sans Condensed is made for tables in the sport or economy segment. It replaces FF Unit (Erik Spiekermann & Christian Schwartz, 2003-2011).

MyFonts page. Linotype page. FontHaus page. Behance link. URL for Skibbe. Klingspor link. [Google] [MyFonts] [More]  ⦿

Ernst Bentele

German designer of Bentele Unziale (ARTypes did a digital revival in 2007), which can be seen in Hoffmann's Schriftatlas (1952).

Author of Schrift geschrieben, gezeichnet und angewandt. Ein Lehrbuch für Schriftenmaler, Graphiker und sonstige schriftgestaltende Berufe. (1952, Karl Gröner Verlag, Ulm-Söflingen). Book cover.

Other typefaces: Frankengold, Wechselstrich Handschrift. [Google] [MyFonts] [More]  ⦿

Ernst Deutsch

German painter. Designer of Tango Italic (1922), which was digitally revived by Nick Curtis as Rhumba Script NF. This is a prototypical silent movie font. [Google] [More]  ⦿

Ernst H. Wulfert

Type enthusiast and genealogist in Bad Sassendorf, Germany, who made some Fraktur revivals such as Gutenberg-Bibelschrift, Kirchengotisch, Koberger, Lautenbach-Fraktur, Liebing-Fraktur, and Schönsperger. Home page. [Google] [More]  ⦿

Ernst Hermann Karl Engel

Typographer, type designer (b. 1879, Kassel, d. 1967, Bad König), teacher (at the Frankfurt Vocational School and at the College of Arts and Crafts in Offenbach am Main) and author of typographic books. In 1905, Engel became supervisor of in-house printing at the Klingspor foundry.

At his own Ernst Engel Privatpresse (est. 1921; it would later be called Ernst Engel Presse Walter Stähle), he designed Mörike Fraktur (1922) with the punchcutter Rudolf Schiffner. Somehow, this typeface is also associated with Klingspor.

In 1927, he created an art deco face which was revived in 2008 by Nick Curtis as Engel Stabenschrift NF. He made three Unziale that were all unicase ("Einbuchstabenschrift"), in 1927, 1930/31, and 1935, respectively. In 1939, he made a Schwabacher and finished Deutsche Schrift. Picture.

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

Ernst Johnston (Edward) Lauschke

Nineteenth century engraver (b. Germany, 1872, d. 1944) in Chicago. He designed these typefaces:

  • Pekin (1888). This is an oriental simulation face first published in 1888 at the Great Western Foundry under the name Dormer. It was very novel at the time, and shows the mannerism of art nouveau. The name Pekin was given to it by BB&S after Great Western morphed into BB&S. The name Pekin was probably first given in 1923, but surely before 1925. McGrew says this: Pekin is one of many faces renamed by BB&S for their 1925 specimen book. Its original name was Dormer, patented by the Great Western foundry in 1888 and credited to Ernst Lauschke. It is a very novel face, basically a fine-line letter with most characters having a heavier accented portion in an unconventional place. Vertical strokes on some of the capitals extend downward like descenders. It was made only in two sizes, one of which was later plated by Type Founders of Phoenix, after ATF had recast it in 1954. For a digital revival of Pekin, see Pekin by Solotype.
  • Handcraft Title and Handcraft Wide Title. Mac McGrew: Handcraft is renamed by BB&S for its 1925 specimen book. Handcraft Title was designed by Ernst Lauschke in 1887 as Spenser; this was followed by Wide Spenser which became Handcraft Wide Title. With lowercase added a few years later, Spenser became Southey, and later Handcraft.
  • Brevet Normal (1887). A Victorian typeface revived in digital form by Dan Solo.
  • Additional typefaces at BBS: In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Unnamed BBS face from 1887.
[Google] [MyFonts] [More]  ⦿

Ernst Tremel

Ernst Tremel s based in Muenster, Germany. He designed a Devanagari font called ShiDeva that includes a "volt" table and many ligatures. His pages also cover Tamil, and one can download the ETTamilNew font. He also has a Kurdish font, as well as maps about the Kurds and about Indian languages. About the Kurdish font, he writes: Kurdish AllAlphabets contains 694 glyphs and 529 standard kern pairs: Latin, Cyrillic and Arabic script. There are OpenType tables for Arabic and embedded bitmaps included.

He joined the Open Font Library movement. He offers Ahuramazda there, which is an alphabet for the Avestan language: Avestan was an Iranian language in which the earliest Zoroastrian hymns were orally transmitted since 1500 BCE. Due to lingusitic change, fluency in Avestan as spoken a thousand years earlier was deteorating, and hence the need to write the language became increasingly apparent. By the 3rd century CE an alphabet was created to write down the ancient Avestan language.

OFL link. Alternate URL. And another URL. [Google] [More]  ⦿

Ernst Völker

German designer of the titling face Vineta (1972 or 1973, VGC), an inline shadowed Clarendon. A digital version of this was made by Bitstream called Vineta BT. Other photo-era faces by Völker: Voel Beat (a 3d-face, Berthold, 1978), Voel Bianca (a psychedelic face related to Motter Ombra; Berthold, 1978) and Voel Kars (a multiline electronic circuit board simulation face; Berthold, 1978).

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

Erste Ungarische Schriftgießerei

Budapest-based foundry acquired in 1926 by D. Stempel AG (50%) and H. Berthold AG (50%). Later it spun off from Stempel. In English: First Hungarian Type Foundry. [Google] [More]  ⦿

Erwin Koch

Type designer wh worked for Rudolf Hell. Creator of the rather Courier-like monospace font Monanti EF Regular in 1989. Dalcora HE is a black italic display face made in 1989 at Hell. The Angro EF family is a straightforward sans-serif family. Ifinally, he also made Monti and Monti Semi Bol;d in 1989 for R. Hell.

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

E-Signature Digital Graphics

Sylvie Peladeau's company in Ottawa creates custom fonts, primarily logo, handwriting and signature fonts for corporations to integrate with mail merge campaigns, office automation, fax software, and web pages. [Google] [More]  ⦿

E-signature's glossary

German type glossary. [Google] [More]  ⦿

Esra Gülmen Bda

Illustrator in Frankfurt, Germany. In 2012, she created the ultra-fat rounded typeface Smoothie. [Google] [More]  ⦿

Esszet

Type historian James Mosley explains that Abraham Lichtenthaler, a seventeenth century printer from the Bavarian town of Sulzbach is credited with introducing the character to roman printing type. Follow-up article by Jonathan Hoefler. [Google] [More]  ⦿

Es:Tset

Design studio in Berlin run by Chris Zibell and Mirco Fiss. Behance link. Creators of a few art deco faces such as Filmreif (2011). [Google] [More]  ⦿

Eszet ligature

Dr. Herbert E. Brekle from the Universität Regensburgexplains the history of the German ligature symbol ß. [Google] [More]  ⦿

Eugen Kaelin

German designer of the ornamental caps Verzierte Anfangsbuchstaben für Liturgisch (1988), to accompany Otto Hupp's Liturgisch (1906). [Google] [More]  ⦿

Eugen Nerdinger

German type and graphic designer (b. 1910, Augsburg, d. 1991, Augsburg) who created this text family in 1945. Coauthor with Lisa Beck of Schriftschreiben Schriftzeichnen (1977, München) and Kalligraphie (1988, München). Older texts by him include Alphabete (1974, München), Zeichen, Schrift und Ornament (1960, Callwey, München), and Buchstabenbuch (1954, Callwey, München). Nerdinger was active in the German resistance against the Nazis and was arrested in 1942 by the Gestapo and conviced to three and a half years of prison and forced labor. After the war, he worked chiefdly at the Augsburger Kunstschule.

One of his alphabets led to Lola (2013, Laura Meseguer). [Google] [More]  ⦿

Eugen Philippi

Eugen Philippi (b. 1978) is a German digital painter, aka Elspiko and as Doodle Lee Doo. He created Black Blocckks (2008), ConeOfSilence (2008, grunge), atthewindowPRO (2008, simple monowidth sans), Circleized (2008), Stencil Writer (2008) and Murder of Mayday (2008, octagonal, 4 styles). Stencil Writer is based on a workshop with Underware in which the plane is partitioned into 20 segments, and each character consists of a subset of these segments (without translating or turning any). This principle is a bit like that of a pixel font with non-square shapes. [Google] [More]  ⦿

Euler-VM
[Walter Schmidt]

Math font package managed by Walter Schmidt. The well-known Euler math fonts (designed by H. Zapf) are suitable for math typesetting in conjunction with a variety of text fonts which do not provide math character sets of their own. Euler-VM is a set of _virtual_ math fonts based on Euler and CM. [Google] [More]  ⦿

European Concrete family
[Walter Schmidt]

ECC: metafont family developed by Walter Schmidt from Erlangen. European Concrete is an implementation of Donald Knuth's Concrete fonts, providing T1 text fonts and TS1 text companion fonts. [Google] [More]  ⦿

Eva Aschoff

Book artist and calligrapher, b. 1900, Göttingen, d. 1969 Freiburg. She studied calligraphy with F.H.E. Schneidler at the Kunstakademie in Stuttgart. [Google] [More]  ⦿

Eva Werner

Eva Werner (Trier, Germany) designed Christel Slab Serif in 2013. [Google] [More]  ⦿

Ewald Strassmann
[TS Design Media Agentur]

[More]  ⦿

Exxodia

German designer of the organic font Cabal (2007). See also here. [Google] [More]  ⦿

Eyesaw (was: Fontomas.com, or Signalgrau)
[Dirk Uhlenbrock]

Dirk Uhlenbrock's (b. Essen, 1964) studied communication design at BUGH Wuppertal. His typographic contributions were presented under various labels such as Signalgrau, Fontomas.com, Eyesaw, or TypeType.

His fonts: Buddies (funny dingbat font), Scrabble (1999), Pizzo (pixel font, 2000), Accient (2000), EURASIAOblique, Freak (1998), SpaceAge, Fivejive (2000), Missu (2001), T-Series (a family by Stephen Payne (UK, 2000) for Territory), XXX (1998, sexy silhouettes), Y2k (2000), Basm (family by Miguel Basm Visser, 2000), Corner-bi and Corner-mono (both by Ole Fischer for Fischer Jr Design), Persona, Creatures (dingbats by Dirk Uhlenbrock, 1998), Thaipe, Thaiga, (squaregrid (Jay Marley, 2001), Bath (Heiko Hoos, 2001), Honey (Dirk Uhlenbrock, 2001), Pinx (Dirk Uhlenbrock, 2001), Tuna Salad (Dirk Uhlenbrock, 2001), Evo (2002), EvoThin (2002), Gen3000 (2002), Gen3000Thin (2002), HanneloreOutline (2001), Hannelore (2001), MassBlack (2002), MassOutline (2002), Mass (2002), MassStriped (2002), MassThin (2002), Microbe (2002), PellegriniItalic (2002), Pellegrini (2002), PileOutline (2002), Pile (2002), Rickshaw (2002, Indic letter simulation), Swisz (2002), SwiszThin (2002), TurbonItalic (2002), Turbon (2002), Apollo9, Apollo9Italic, Bite, Blob, BlobThin, Bubble, BubbleWild, Crack, Creatures, Dennis, Dioptrin, Dna, Electrance, Frakt, Launchpad, ORAV, Paul5, Paul6, PlakatOne, PlakatTwo, Push, Rubbermaid, RubbermaidSingle, Ticker, Tubeone, Tubetwo, Tvdinner, TvdinnerFull, Ufo, UfoItalic, Yodle.

At Fountain, he designed Robotron and Super and Girl (2003, a Bauhaus experiment).

Kombi was created in 2003.

The Fontomas CD published in 2005 (40 dollars for 75 fonts) is reviewed by Yves Peters. On it, we find older fonts as well as newer ones by Dirk himself: Ove, Gen1000 (DNA style), Hannelore, Mass, Micro B, Pellegrini (script), Pile, Swisz, Turbon, Rickshow (Indic simulation).

At 14. tage der typographie in 2013, he spoke on Grafik gegen Rechts.

Dafont link. Old URL. Another old URL. Alternate URL. FontShop link. Klingspor link. Fontspace link. Fountain Type link. [Google] [MyFonts] [More]  ⦿

F. A. Brockhaus

Printer and publisher in Leipzig, Germany. In 1836, it acquired Walbaum's type foundry. Friedrich Ballhorn worked there at some point. Friedrich Schoch published his Schochische Cursiv there in 1844. Cover page of their specimen book on Walbaum (Antiqua, Kursiv and Fraktur). [Google] [MyFonts] [More]  ⦿

F. Hahn

Creator of the display faces Eidechse Lg-Nr. 18675 (1921) and Salamander Lg-Nr. 18682 (1921) at J.G. Shelter&Giesecke. [Google] [More]  ⦿

F. P. Glaß

Designer at Genzsch&Heyse, who made Glaß Antiqua (1912). [Google] [More]  ⦿

F. Schweimanns

Independent type designer who created typefaces for D. Stempel when he lived in Hannover, Germany. His typefaces, all published by D. Stempel AG, include

  • Biedermeier Reklame (1906).
  • Diana (1909) and Diana halbfett (1910).
  • Frankfurt Serie I and Frankfurt Serie II (1905). Blackletter types.
  • Graziella, Graziella fett and Graziella schmalfett (1905).
  • Korso (1913).
  • Künstlerschrift (1902) and Künstlerschrift halbfett (1901).
  • Maria Antoinette (1905).
  • Moderne Reklame (1901).
  • Propaganda (1901).
  • Wodan schmalfett (1902) and Wodan licht (ca. 1905).

Fr. Ad. Becker and F. Schweimanns coauthored Die moderne Schrift.

Camera (1936, Intertype) is described by McGraw as a novel cursive letter with light, monotone strokes suitable for use on personal stationery and announcements. The design is based on Korso (1913). [Google] [More]  ⦿

F25 Digital Typeface Design
[Volker Busse]

Volker Busse (F25 Digital Typeface Design) is a graphic designer at Grafikkontor in Berlin.

Designer of the old typewriter simulation fonts F25 Executive (2008), F25 BlackletterTypewriter (2006), Typewriter Condensed (2007), Telegraphem (2004), Cella (2007) and Daisy Wheel (2007). He also made Am Sans (2005), which he derived from a 1960s sample of Intertype Vogue (itself a geometric and clean-lined sans, ca. 1930), and F25 Bank Printer (a MICR family, 2005).

At FontStruct, he made F25 Borderfont (2009, a multiline family including styles called Alita and Kapata), F25 Fontstruction 157 (2009, experimental), and Hidden Text 01 (2009).

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

Fabian Ring

Fabian Ring (Trier, Germany) designed the slabby modular typefaces Protocol E3 Sans and Protocol E3 Serif (2014). Behance link. [Google] [More]  ⦿

Fabian Rottke

German type designer (b. Essen) of the display / grunge faces FFAssuri (1994), FF Dirty Fax (1995), FF Franklinstein, FF Ekttor (1995). [Google] [MyFonts] [More]  ⦿

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

Polish designer Alexander Branczyk, b. 1959, (Frankfurt, Germany) is the main typographer at F2F (Face 2 Face), which is based in Berlin and Frankfurt. Other participants include Stefan Hausen, Alessio Leonardi, Torsti Maier-Bautor, Thomas Nagel, Haike Dehl and Sybille Schlaich. F2F specializes in what it calls anarchistic typography. Branczyk made F2F CzykagoTrans (1995) and a few other experimental fonts, as well as Bellczyk, CZYKago-Cameo, CZYKago-Quer, OCR-Alexczyk, OCR-Bczyk, SubberlogoMini, TheczykM, MadzineScript, BurnoutChaos, Frontpage, MonakoStoned, Entebbe, OCRFBeta and OCRHeike. Other designers: Thomas Nagel (ScreenScream, Shakkarakk, ElDeeCons, Madame Butterfly, Pixmix, Shpeetz, TyrellCorp), Heike Nehl (LoveGrid, Starter Kid, Lego Stoned, Twins), Alessio Leonardi (PrototipaMultipla, TagliatelleSugo, Mekanik Amente, Metamorfosi, provinciali, AlRetto, F2F TechLand, F2FAlLineato, F2FMekkasoTomanik, F2FSimbolico (1992, dingbats), Poison Flowers (1992)), Stefan Hauser (F2FBoneR, Haakonsen), Sybille Schlaich (Styletti Medium). Face2Face groups the designers of Moniteurs and xplicit ffm. Bitstream link. Alternate URL. In 2003, these designs by Alexander Branczyk appeared in the Linotype Taketype 5 collection: F2FBurnoutChaos LT Std, F2FCzykago LT Std Light, F2FCzykago LT Std Semiserif, F2FCzykago LT Std Trans, F2FEntebbe LT Std, F2FFrontpageFour LT Std, F2FMadZine LT Std Dirt, F2FMadZine LT Std Fear, F2FMadZine LT Std Script, F2FMadZine LT Std Wip (1992), F2FMonakoStoned LT Std, F2FOCRAlexczyk LT Std Regular, F2FOCRAlexczyk LT Std Shake, F2FOCRBczyk LT Std Bold, F2FOCRBczyk LT Std Regular, F2FTechLand LT Std. [Google] [MyFonts] [More]  ⦿

Fachhochschule Darmstadt

At the Fachbereich Gestaltung (Design), Module Kommunikationsdesign, of Fachhochschule Darmstadt, one can take type design courses from people like Dan Reynolds. [Google] [More]  ⦿

Fachhochschule Hannover

At the Fachhochschule Hannover, Andreas Maxbauer (a German type specialist, b. 1949) is docent of Corporate Design and Typography. Click on Produkte. [Google] [More]  ⦿

Fachhochschule Potsdam

At the Fachbereich Design, Module Kommunikationsdesign, of Fachhochschule Potsdam near Berlin, Lucas de Groot teaches type design. [Google] [More]  ⦿

Fachliteratur

Fraktur.de gives information on books on Fraktur writing. [Google] [More]  ⦿

Factor Design
[Olaf Stein]

In 1993, Olaf Stein and Johannes Erler founded their studio Factor Design in Hamburg. Today, Factor Design is a team of designers and project managers working with clients in Germany and throughout the world. Designers in 1993 of the FontFont fonts FFDingbats-ArrowsOne, FFDingbats-ArrowsTwo, FFDingbats-BasicForms, FFDingbats-Number, FFDingbats-SignsOne, FFDingbats-SignsTwo, FFDingbats-SymbolsOne. Its 2009 extension FF Dingbats 2.0 is due to Johannes Erler and Helmut Skibbe. FontShop link for Stein. [Google] [MyFonts] [More]  ⦿

Faktor-i (or: Designsalon)
[Dirk Schaechter]

Free fonts for Mac and PC designed by Dirk Schaechter at Faktor-I (or: Designsalon) in Bonn. The fonts: CouchBoy (2001), Regata (2001, pixel font), Smoke (2001, upright script), Spaceman (2001), Xscale (2001, pixel font). Alternate URL. Dafont link. Yet another URL. [Google] [More]  ⦿

Falko Grentrup
[Transfer Studio]

[MyFonts] [More]  ⦿

Fatfonts
[Uta Hinrichs]

FatFonts is a graphical technique conceived and developed in 2012 by Miguel Nacenta (a lecturer in human-computer interaction at the School of Computer Science, University of St Andrews, Scotland), Uta Hinrichs (originally from Lübeck in Germany, she is currently a PhD candidate at the University of Calgary in Canada), and Sheelagh Carpendale (a computer science professor at the University of Calgary).

Numerals in vector fonts developed by the team have a thickness that is proportional to their value. Numerals can also be nested. The (free) fonts were converted to opentype by Richard Wheeler (a PhD student at The Sir William Dunn School of Pathology of Oxford). Uta Hinrichs designed Gracilia, Cubica, and Rotunda. She codesigned Miguta with Miguel Nacenta. Finally, Richard Wheeler himself created the LED face 7Segments. [Google] [More]  ⦿

Fatype
[Anton Koovit]

Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).

U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus.

Typefaces from 2012 include Adam Serif (a book and magazine typeface family).

In 2013, Anton Koovit and Yassin Baggar codesigned the low x-height typeface family Baton.

In 2014, he created Aleksei.

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

fc fonts for African languages
[Jörg Knappen]

Jörg Knappen's fc fonts for African languages. In metafont. The following languages are supported: Akan, Bamileke, Basa (Kru), Bemba, Ciokwe, Dinka, Dholuo (Luo), Efik, Ewe-Fon, Fulani (Fulful), G\~a, Gbaya, Hausa, Igbo, Kanuri, Kikuyu, Kikongo, Kpelle, Krio, Luba, Mandekan (Bambara), Mende, More, Ngala, Nyanja, Oromo, Rundi, Kinya Rwanda, Sango, Serer, Shona, Somali, Songhai, Sotho (two different writing systems), Suaheli, Tiv, Yao, Yoruba, Xhosa and Zulu. Plus Maltese and Sami. Jörg Knappen works at the University of Mainz in Germany. [Google] [More]  ⦿

FDI Fonts
[Ralf Herrmann]

FDI stands for fonts dot info. This foundry is located in Jena, Germany, and is also known as Rossbach&Herrmann GbR. It is run by Ralf Herrmann and partner. MyFonts link.

The first fonts include Logotypia Pro (2004) and Graublau Sans Pro (by Georg Seifert). In 2008, he added Sebastian Nagel's Iwan Reschniev, a Bauhaus style family of severe sans styles. In 2010, Sebastain Nagel's medieval map face FDI Tierra Nueva followed.

In 2012, Ralf Herrmann and Sebastian Nagel codesigned the Wayfinding Sans Pro family. This useful typeface was published at FDI.

Home page. His web log. Typedia link. Behance link. [Google] [MyFonts] [More]  ⦿

FDI (was: Schriftgestaltung)
[Georg Seifert]

Georg Seifert (Schriftgestaltung) is a Bitterfeld-Wolfen and/or Jena, Germany-based designer. Photograph. He was a student at the Bauhaus University Weimar and runs Schriftgestaltung.de (Leipzig; now FDI or fonts dot info in Jena) with Ralf Hermann.

Schriftgestaltung's fonts include Olive Green Mono and Rosa Stencil. All others are FDI fonts:

  • Agendia (Ralf Hermann).
  • Olive Green Mono (2006, Georg Seifert). A monospaced typeface designed for his own use in email and programming code.
  • Graublau Sans (2005, Georg Seifert), GrauBlau Sans Kursiv. Has a Cyrillic style. The design of Graublau Sans Pro (20 styles with over 1000 glyphs each) took Georg Seifert over 5 years. Graublau Sans Web is free, but Graublau Sans Pro (2008) is not. Follwed in 2012 by Graublau Slab.
  • Logotypia (2004, Ralf Hermann).
  • Tagesschrift (2005, Jan Gerner).
  • Neue Fraktur.
  • Rosa Stencil (2008, Georg Seifert). A calligraphic stencil.
  • OliveGreen (2008, Georg Seifert). This includes Greek and Cyrillic.
  • Pen (2006, Georg Seifert). A handwriting font.
  • Azuro (2011, a 4-style screen family developed by Georg Seifert and fine-tuned by Jens Kutilek). Images: i, ii, iii, iv.

At ATypI 2009 in Mexico City, he introduced his (free) font editor Glyphs to the world. Speaker at ATypI 2013 in Amsterdam.

Klingspor link. Behance link. Older German URL. [Google] [MyFonts] [More]  ⦿

FE Schrift

FE Mittelschrift and FE Engschrift are the German typefaces used on automobile license plates. The FE stands for fälschungserschwerend, or hard to forge: for example, it is no longer possible to make a P into an R or a 3 into an 8 with a black marker pen. Developed from 1978-1980 by Karlgeorg Hoefer with th assistance of others such as the University of Giessen. It replaced the old DIN in 1994 and is an absolute monstrosity showing to what extremes governments will go in the name of security. Incredibly, several digital fonts have been made to resemble it, as if anyone would want to use it for anything other than on toilet paper wrappers:

  • FE Mittelschrift and FE Engschrift (1997, Stephan Mueller, Lineto).
  • Kraftfahrzeugkennzeichen (2008), a free font.
  • FE-Font (1997), a free font by an unknown designer.
  • Martin Core (Core.nu) claims his Sauerkrauto font was based on images of the German license plates.
  • Gutenberg Labo made GL-Nummernschild-Eng and GL-Nummernschild-Mtl to replace FE Engschrift and FE Mittelschrift, respectively.
[Google] [More]  ⦿

Fedor Hüneke

German designer of FF Murphy, a grungy family. Based in Duisburg. [Google] [MyFonts] [More]  ⦿

Felicitas Danberg

Editorial and corporate designer in Dortmund, Germany, who designed the curly upright connected script typeface Felicia in 2012 during a course taken with Natascha Dell. Behance link. [Google] [More]  ⦿

Felix Aaron Hülpüsch

Designer from Berlin who designed an experimental typeface in 2011. In 2012, he created Hülpman (an informal typeface). [Google] [More]  ⦿

Felix Beckheuer
[Felix Beckheuer]

Felix Beckheuer set up his own typefoundry in Germany in 2013. His typefaces include the geometric headline typeface Pavo (2013), which was inspired by Lubalin's Avant Garde. [Google] [MyFonts] [More]  ⦿

Felix Beckheuer
[Felix Beckheuer]

[MyFonts] [More]  ⦿

Felix Bonge

Felix Bonge (b. Hamburg, Germany, 1982) has been studying communications design at the Design Department of the Hamburg University of Applied Sciences (HAW) since 2005 under Jovica Veljovic. In 2011-2012, he published Levato (Linotype), a 5-style low x-height antiqua with a calligraphic and didone influence. [Google] [MyFonts] [More]  ⦿

Felix Braden
[floodfonts]

[MyFonts] [More]  ⦿

Felix E. Klee

German creator of the free face Xecret (2010, OFL), which contains just one glyph, repeated. [Google] [More]  ⦿

Felix Fischer

Illustrator in Wilhelmshavemn, Germany, who created several typographic posters in 2014. [Google] [More]  ⦿

Felix Hinnemann

German designer (b. 1988) who made Felix Hand (2009) and Across The Stars (2009, hairline sans). [Google] [More]  ⦿

Felix Hülpüsch

Felix Hülpüsch (b. Berlin) created several untitled typefaces in 2013. [Google] [More]  ⦿

Felix Kosok

Designer in Frankfurt am Main, Germany. He created the rounded techno typeface Fachwerk (2012).

Behance link. [Google] [More]  ⦿

Felix Steffen

Felix Steffen is a German designer who moved in 1991 from Munchen to Warsaw, fascinated by the exotic life and lettering of post-communist Poland. He lives and works in Poland. He designed the Blanke family for use in Polish telephone directories. Felix claims that he got his ideas for that font from some writings in the train station of Kattowitz, from which he first developed the font Krakowa. He is currently working on the digitization/revival of Poltawskiego, a classic Polish text face, and the first typically Polish face, designed in the late 1940s by Polish type designer Adam Jerzy Poltawski (1881-1952). Felix's company in Warsaw is OM-Grafika. Someone reported to me that Felix Steffen is now Felix Tymcik. [Google] [More]  ⦿

Felix Stumpf

German designer (b. 1977, Stuttgart) who studied visual communication at the HfG in Pforzheim, class of 2004. He set up Gestaltung Felix Stumpf in Stuttgart in 2008.

Creator of Rauschen (2009, Volcano Type), a dot matrix family.

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

Felix von der Weppen

Art director in Munich, Germany. Behance link. Creator of the runic-style face Schizophrenia (2009). [Google] [More]  ⦿

Ferdinand Schumacher

Creator of Schumachersche Fraktur (ca. 1860, D. Stempel AG). [Google] [More]  ⦿

Ferdinand Theinhardt
[Ferdinand Theinhardt Schriftgiesserei Berlin]

[MyFonts] [More]  ⦿

Ferdinand Theinhardt Schriftgiesserei Berlin
[Ferdinand Theinhardt]

Berlin-based foundry from the 19th century, whose typefaces included Aldeutsch (aka Psalterium, or as Mainzer Gotisch, 1851). Ferdinand Theinhardt (b. Halle, 1820, d. Berlin, 1909) ran it.

Around 1880, he published four weights of a Royal Grotesk (in 4 styles) for the Prussian Academy of Sciences in Berlin (see, e.g., here or here; here is a sample of his 1895 Breite Grotesk). Akzidenz Grotesk is often given the 1898 date. In 1908, H. Berthold AG took over the Theinhardtsche Giesserei. In 1918, H. Berthold sold that Royal Grotesk as Akzidenz Grotesk.

Theinhardt was also known as a specialist in cutting hieroglyphs. Author with R. Lepsius of Liste de Hieroglyphischen Typen aus der Schriftgiesserei F. Theinhardt (1875, G. Vogt, Buchdrückerei der Königl. Akademie der Wissenschaften, Berlin). It lists hieroglyphic symbols available from Theinhardt's foundry.

Royal Grotesk was digitally released by Berthold Types (an American company with no legal connection with the original H. Berthold) in 2009.

Typedia link from which I quote: Akzidenz (sic) Grotesk was released by Berthold in Berlin in 1898, according to their own literature. It was obviously based on faces already offered by other foundries, some of which were later taken over by Berthold. One of the contemporaries of AG was Royal Grotesk from Theinhardt. In Berthold's specimen booklet no. 429, which was most likely released in 1954, Akzidenz Grotesk Mager (light) was still referred to as Royal Grotesk, in brackets. Berthold acquired a typeface in 1908, (when they bought Ferd.Theinhardt) which they released as Akzidenz Grotesk Halbfett (medium). They kept adding weights, some of them from other faces, acquired from other foundries. Every foundry had a version of that type of face, more often than not available in a few sizes only. The original series remained quite divers, individual weights showing not much resemblance but in name. It was mainly a marketing and naming success. That only changed when they cut Series 57, and then Series 58, named for the years of release. These had some sizes (but not all) recut under the direction of Günter Gerhard Lange, who was their (freelance) artistic director at the time. GG Lange always claimed that Berthold had taken some AG weights and sizes from Popplbaum in Vienna, and that is supposed to account for the release date of 1896 or 1898. Popplbaum was not bought by Berthold until 1926. Berthold did take different fonts from all the foundries they bought (and obviously also made deal without buying a foundry) and rename them until they got a family together which still showed the original influences, sometimes even from size to size. The deals between foundries (by 1924 Berthold had bought 17 foundries, in Prague, Riga, Stuttgart, Leipzig, Moscow and St. Petersburg) have never been fully researched, and neither has the complete history of Akzidenz Grotesk been written yet.

Digitizations include AltDeutsch by Gerhard Helzel. The Theinhardt family (2010, Francois Rappo, Optimo) is named after Theinhardt.

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

FF DIN
[Albert-Jan Pool]

The story of Albert-Jan Pool's information design type family FF DIN, told by FontShop: i, ii, iii, iv. [Google] [More]  ⦿

Filb

German designers of Ruby & Sapphire (2005, pixel face). Dafont link. [Google] [More]  ⦿

Filippo Nugara

Berlin-based graphic designer. He created the stencil face CCSI SOS Racisme in 2009. Behance link. [Google] [More]  ⦿

Fixedsys
[Lars Naber]

Fixedsys is one of the early computer screen fonts, originally developed by Travis Owens. He stopped development and turned the font over to the community. Markus Gebhard created a truetype version and was in charge of the font until version 4. From vertsion 5 on, Lars Naber is in charge. Free downloads of FixedDisplayTTF and FixedsysTTF. [Google] [More]  ⦿

floodfonts
[Felix Braden]

Floodfonts has freeware fonts by Felix Braden (b. Koblenz, Germany, 1974, an ex-student at the Trier College of Design). In 2000 he founded the free-font site Floodfonts with Peter Hoffmann. After working for five years as an art director for Gaga-Design, Koblenz, he decided to set up his own graphic design studio in Cologne. He now lives in Cologne working as a freelance designer and as a art director for MWK Cologne.

His free fonts at Floodfonts include Polaris (2011), Floodicons (2003), Hydrophilia (2003. He writes: Hydrophilia family was created in 2003 by Felix Braden as a further development of Moby and comes with two fonts: The gothic typeface (liquid) is a revised version of the pixel font (iced). Hydrophilia liquid got a lot of letterforms with a diagonal axis, which reminded me of the technical fonts used on early liquid crystal displays.), Squid (2002, free), SquidCaps (2002), Ninetwist (2002), Catherine (2002), Moby (2002, a Bauhaus style corporate and headline font for the Cologne based design bureau Glashaus), Babelfish (2002), Blendfontsexperiment (2001), Incpot (1997), Hammerhead (2001: an angular constructivist typeface---free), HammerheadBlack (2001), HammerheadBold (2001), HammerheadMedium (2001), Multikultur (1997, Fraktur font), MultikulturExtraBold (2001), Orchidee (2001), Sadness (2001), Wuestling (1997).

Peter Hoffmann designed Alita (2001) and Lacuna (2001).

Commercial fonts at Fountain: Grimoire, Sadness (2001).

In 2004, he cofounded Timetwist with Pia Kolle, where you can download Rabbits (2004, Kolle), Pirates Stoertebecker (2004, Braden at Floodfonts, a ransom note face), Pirates Drake (2004, Braden at Floodfonts), PiratesBlackbeard (2004, Braden at Floodfonts), PiratesBonney (2004, Braden at Floodfonts), Bigfish (2009, a Western billboard face).

At Ductype, Braden published Timetwisteight (2005, a pixel face).

At URW++, he published the Supernormale family (part techno, part pixel) in 2006.

At Volcano, he made the rounded display face Bikini (2010).

At Fountain, he published the geometric monoline sans face Capri Pro (2011, related to both Futura and Avant Garde).

The Orchidee project started in 1999 led to a fantastic free font. Felix: Orchidee was created as a part of the business stationary of the restaurant Orchidee located in the luxory hotel Quellenhof in Aachen, Germany. After the founding of the restaurant the hotel manager realized that there earlier was a bordello in the city with the same name, so he wanted to change the name. At the time when our agency had to presentate the logotype the name was not appointed so I created the font. The restaurant was specialized on crosscultural european-asian cuisine. Because of that I wanted to mix up some elements of traditional asian typography with european typography. The letters are designed in freehand by the repetition of just a few basic elements. To create the rough outline I used xerox-copier because I wanted to have some chaotic elements to give the font a handmade touch.

Other free fonts: Coraline (2012), Sonar Script (2013), Rollmops (2013).

At FontShop, he published FF Scuba (2012), as an offline companion to Verdana.

FontShop link. Klingspor link. Fontspace link. Dafont link. Behance link. Fontsquirrel link. Personal page. Another Behance link. Fountain Type link. Home page of Felix Braden. [Google] [MyFonts] [More]  ⦿

Florence Klein

German graphic and type designer, b. 1982, Mainz. From 2007 until 2009, she studied at FH Mainz. At Volcano she created Shine (a multiline connected retro face, a cross between a neon face, a paperclip face, and the Chevrolet logo).

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

Florence (or: Bombastudio)
[Marta Podkowińska]

Marta Podkowińska is the Polish designer of a few great type logos such as Bomba (2009). She also made the exquisite candy face Roisin (2011). Her studio / foundry called Florence operates in Krakow and Berlin.

In 2012, she published Lucrezia, an overzealous decorative caps typeface, and Henry (a free retro script all caps family named after Henry Ford).

Cargo Collective page with interesting posters such as Archer (2011) and Einstein. [Google] [MyFonts] [More]  ⦿

Florian Baier

German type designer. [Google] [MyFonts] [More]  ⦿

Florian E. Behrenbeck

Bochum, Germany-based typographer who created, I think, a typeface called Manifest (2014). [Google] [More]  ⦿

Florian Gärtner

Aka Flo Gaertner. Born in 1971, he studied visual communication at HFG Pforzheim until 1998 and graduated from the Hochschule für Gestaltung Karlsruhe in 2002 and from the Hochschule für bildende Künste Hamburg in 2006. He lives and works in Karlsruhe, where he designed these fonts in 2008-2009 for Volcano Type: Fone-1, Fone-2, Fone-3 (all grunge faces), Tacora (degraded typewriter face), PT Sewed (stitching font), Republic, Fette Pixel (pixel face). Since 2006 is with MAGMA Brand Design in Karlsruhe, and he is art director of Slanted.de.

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

Florian Hardwig

Florian Hardwig is a graphic designer based in Berlin, Germany, where he runs a studio together with Malte Kaune. Since 2007, he has been teaching Typography at the Brunswick School of Art. Florian can frequently be found on Typophile, where he is one of the moderators of the Type ID Board. He spoke at ATypI 2007 in Brighton. His "manuscribe" is a research project on international school scripts and the dialects of handwriting. His slides on this project. Flickr page. Comparison of Bauer Bodoni and Linotype Didot. A piece on school scripts. [Google] [More]  ⦿

Florian Hardwig
[School scripts: Florian Hardwig]

[More]  ⦿

Florian Herold Gaefke

Art director in Hamburg, who created a traditional early 20-th century German grotesk called Mars Grotesk (2010). [Google] [More]  ⦿

Florian Klauer
[Heimat Design]

[MyFonts] [More]  ⦿

Florian Kleinehollenhorst

German designer (b. 1982) who studied at the University of Muenster, and who works at the Corporate Communication Institute. He created a children's alphabet typeface based on drawings of Otmar Alt in 2010. Funktionsfläche (2010) is a hand-printed face. [Google] [More]  ⦿

Florian Mihr

Designer born in Duesseldorf, Germany, but living in Los Angeles. Creator of the free fonts King Georg (2012, blackletter), Cinerama (2012), Stadium1946 (2012), Stadium1956 (2012), SoCal (2012, a graffiti face), Tight Writer (2012, old typewriter font).

Dafont link. [Google] [More]  ⦿

Florian Philipp Martin Runge

Designer in London, who was born in Flensburg (Germany) and studied for four years in Aarhus (Denmark).

He made the contemporary informal typeface Jula (2012).

Asgaard was created during the one-week typeface design workshop tipoRenesansa in Trenta, Slovenia (February 2012). It is specially designed for street signage. Runge writes: To achieve great legibility the design paid much attention to features such as: large x-height, open counters, tiny serifs, slightly rounded corners, square terminals as well as inktraps. Research leading to asgaard is described in Runge's paper The echo of architecture in Danish type design of the 20. century.

In 2013, Florian graduated from the Nomad.

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

Florian Schick
[SchickFonts]

[MyFonts] [More]  ⦿

Florian Wenningkamp

Berlin-based editorial designer. [Google] [More]  ⦿

Florian Wittig

Florian spent the year 2008 in Xi'an, China, where he studied the Chinese language, letterforms and calligraphy. He has been working at Linotype since 2010 as a font engineer, mostly dealing with web fonts.

Speaker at ATypI 2012 in Hong Kong: Zhou Youguang, the father of Pinyin. The abstract of that talk: Hanyu Pinyin is not just a system to romanize Chinese characters. It is a phonetic transcription of Putonghua, the so called Standard Chinese, and now serves as the most frequently used input method for Chinese characters on computers and mobile devices. Not only has it helped to increase literacy in the People's Republic of China since its introduction in 1958, it is also the reason why every child in China knows the Latin alphabet and it helps foreigners all over the world to pronounce Chinese words and learn the Chinese language. This presentation talks about the life and work of linguist Zhou Yougang, who turned 106 this year [2012], and his most famous creation, Hanyu Pinyin. How does the Pinyin system work? What are its advantages over other transcription methods? And why has it never replaced Chinese characters? [Google] [More]  ⦿

Florian Zietz
[Librito.de]

[MyFonts] [More]  ⦿

Flox Schoch

Berlin-based designer of Flox One (2014), a sans typeface developed in Lucas de Groot's course. [Google] [More]  ⦿

Font Boutique (was: Typografski Font Boutique)
[Heinrich Lischka]

The Font Boutique is a commercial foundry started in 2002 by Heinrich Lischka from Köthen, Germany, who was born in 1968 in Groß Strehliz, Poland. An autodidact and freelancer, he taught some courses in 2005 at FH Magdeburg-Stendal.

Lischka designed these fonts:

  • Commercial, at Font Boutique: Noga (sans serif, 2002). Discussed by the typophiles, Nastepna (2002, unicase sans serif).
  • Commercial, at Volcano Type: the organic family Shuttle, which includes Shuttle 3D, done in 2006.
  • Free fonts: Samba (2002), Neo Retro (2004), Copystruct (1997), Destroy (1997), Groteski (1997), TimesNoRoman (1997), Disco, Dinova. Lischka also runs Typografski.de, a free font place where one can download most of these fonts.
  • Designers Cut (2003).
  • Working on Bossa Nova (2003, sans serif).
  • Exclusive faces: Kuert Weill Fest Dessau (2004, display face), Herma Sans (2005, house type for a label manufacturer), Intersport Headline (2007, display face for a sports chain).

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

Font Catalog Monospaced

Monospaced fonts displayed and explained (in German). [Google] [More]  ⦿

Font Environment
[Samuel Marcius]

Samuel Marcius (b. 1970, from Boeblingen, Germany) finally has a web page for his own creations (fonts and dingbats). By the way, my own logo (the moose on all my web pages) is from Marcius' WinPets 1---I liked the sense of humour that shines through the drawing, and the spirit of Don't take life too seriously. Direct access. The fonts: 10LilGhosts, 20Facesttf, BalkanPeninsulaBraille, Banner, BlackBox, BoxFont, BoxFontNegative, BoxinaBox, Caterpillar, CheVivaBanana, Circleblackwhite, Confetti, CrayonKids1, CrayonKids2, Dominoes, FingerprintsInside, Headlong, HomagetoWillEisner, Leonardosmirrorwriting, LeonardosmirrorwritingBold, LittleBigMan, Maja's Flowers (2001), MissEllen, MoMoney, NaturalSigns, NoFear, Planks, PuzzlePieces, PuzzlePiecesOutlined, SamsDingbatsNo1, SamsDingbatsNo2, SamsHandwriting, SisterR, TPFClaudia, TPFClaudiaBold, TPFClaudiaOutlined, TPFGaiety, TPFGaietyOutlined, TPFKrikkelKrakkel, TPFPolkaYourEyesOut, TPFSenselessStrokes, TPFUbiquitous, TPFVacuous, TPFVacuousNegative, TPFYolk, TPFYolkBold, TPFYolkCondensed, TPFYolkCondensedBold, TPFYolkLight, TattooNo1, TattooNo2, WinBugs, WinPets1, WinPets2, Noah's Ark (2001), Fantastique Cars (2001). Dafont link. [Google] [More]  ⦿

Font show Salzburger styled

Interesting way of displaying and categorizing fonts, with over 1500 font images. By Merz Akademie's Patrick Schell and Harald Scholz, in Hamburg and Berlin, respectively. [Google] [More]  ⦿

Fontage.de

Jan Jessen's German language pages on the history of type, from its start in 1440, via Linotype (1886), Photocomposition (1949), bitmaps (1965) to vector formats (1975). [Google] [More]  ⦿

Fontasy (was: Norbomat Fonts)
[Tilman Schalmey]

Fontasy.de (German) and Fontasy.org (English are exemplary free font archives brought by Tilman Schalmey from München. Subpage with useful links. Blog. List of designers. Newest additions. [Google] [More]  ⦿

Fontblog

Jürgen Siebert's great font blog (in German). [Google] [More]  ⦿

FontBook

FAT FontBook is a tiny MacOS font utility. FontBook helps you to keep track of your installed fonts, especially symbol or dingbats fonts. FontBook lets you print reference cards for your most-used fonts. Originally free, by Matthias Kahlert. Lemke Software is continuing its development here (10USD for version 3.4). Reports from my friends are positive. [Google] [More]  ⦿

Fontcredit
[Siegfried Rückel]

Siegfried Rückel (Fontcredit) is the FontFont designer of FF Alega and FF Alega Serif, a technical-look text family (2002), which is wonderfully showcased at his site and discussed by Jon Coltz. Fontcredit was founded by Siegfried Rückel who lives in Berlin and runs the design agency rQuadrat together with Georg(ij) Rijinachvili. He studied design at the University of Applied Sience in Potsdam under Luc(as) de Groot and Lex Drewinski.

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

Fonteck
[Judith Eckstein]

Font newspaper, in German, set up by Judith Eckstein (FH Aachen) in 2011. [Google] [More]  ⦿

FontExpert
[Willi Welsch]

Automatic font identification program by The Quick Brown Fox GmbH foundry run by Willi Welsch out of Koln, Germany. Costs 250DM. [Google] [More]  ⦿

FontExpert 2.0 (alternate site)
[Willi Welsch]

Automatic font identification program by The Quick Brown Fox GmbH foundry run by Willi Welsch out of Koln, Germany. Costs 250DM. [Google] [More]  ⦿

FontFabrik
[Lucas de Groot]

FontFabrik was established in 1997 in Berlin by Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands). He studied at the Royal Academy of Fine Arts in Den Haag, worked from 1989-1993 as a freelancer at the design bureau Premsela Voonk. From 1993 until 1997, he was with Meta Design in Berlin as typographic director in charge of many corporate design projects. In 1997, he set up his own studio, FontFabrik. Since 2000 his fonts are also sold under the Lucasfonts label. He creates retail and custom fonts, and made his reputation with his humongous font family Thesis. Originally, he published most of his retail fonts with FontFont, but his "FF" fonts were withdrawn from FontFont in 1999, and renamed with LF instead of FF, where LF stands for LucasFonts. Here is a partial list of his fonts:

  • Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. Thesis includes TheAntiquaB (1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun [TheAntiqua received a TypeArt 05 award], TheSans, The Sans Classic, The Sans Basic, The Sans Office, TheMix, The Mix Classic, The Mix Basic, The Mix Office, TheSerif, The Serif Classic, The Serif Basic, The Serif Office, The Sans Condensed, Thesis Mono, The Sans Mono, The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter. An OEM was made for the SPD party called SPD 2002 TheSans. Grundfos TheSans (2007) is another commissioned font.
  • FF Nebulae, now LF Nebulae.
  • FF Jesus Loves You all, now LF Jesus Loves You all.
  • FF TheSansMono and others.
  • MoveMeMM (erotic multiple master font)
  • Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries), Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
  • Fohla Serif (2001, for a Brazilian newspaper in Sao Paulo: this collection includes a multiple master font, FohlaMM).
  • Spiegel and SpiegelSans (for Der Spiegel). Alkso called LF Spiegel Sans and LF Spiegel Serif. The Sans comes from Franklin Gothic, and the Serif from Linotype Roitation.
  • Sun (1997, for Sun Microsystems).
  • Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine). Are these the same fonts as Tazzer and Tazzer Text?
  • LucPicto (dingbats for private use at FontFabrik). Not available to the world.
  • Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.
  • Rondom (finished in the LF Punten family: Punten Straight, Punten Extremo and Punten Rondom).
  • Corpid III (sans family, 2002-2007, with support now for Cyrillic, Greek and Turkish).
  • BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
  • LeMonde (2002, new headline family). An OEM family made for LeMonde in 2001 includes Lucas-Bold, Lucas-BoldItalic, Lucas-ExtraLight, Lucas-ExtraLightItalic, Lucas-Italic, Lucas-Light, Lucas-LightItalic, Lucas-SemiBold, Lucas-SemiBoldItalic, Lucas.
  • BolletjeWol (1997, Fontshop).
  • Transit and Transit Pict (both at FontShop).
  • MetaPlus (1993, with Erik Spiekermann).
  • Calibri and Consolas (2004), two OpenType font families designed for Microsoft's ClearType project (Latin, Greek and Cyrillic glyphs). Calibri received a TypeArt 05 award. Also, it won an award at the TDC2 2005 type competition. For a yet-to-be-revealed reason, Google decided to support a metric-compatible free clone of Calibri for its Chrome OS system, Lukasz Dziedzic's Carlito (2014).

FontShop link. Klingspor link.

View Lucas de Groot's typefaces. [Google] [MyFonts] [More]  ⦿

Fontfarm
[Natascha Dell]

Natascha Dell (Fontfarm, Aachen) is a graduate from FH Aachen (Germany) who wrote a thesis in 2004 on the use and abuse of typography on the web.

Fonts designed at Fontfarm in 2005-2006 by Kai F. Oetzbach and Natascha Dell: Agendatype (+Swash), Goffik-Outline, Goffik-Shadow, KofiPure (in Sans, Serif and SemisKursiv), NakoticaBarrow (techno), Nafi (2005, upright connected script and some dingbats), Caput (2008, a sans family), Jenny (a six-style family that grew out of Jenson Antiqua into a more angular carapace), Parker-Barrow (a sans+slab experiment).

Typefaces by the same pair in 2011: Gedau Gothic (grotesque family), Ergilo (angular serif family). Newtype is a 36-style superfamily for headlines, information design and short passages.

. [Google] [More]  ⦿

Fontfinder
[Maximilian Bloch]

Font search engine by Bremen, Germany-based Maximilian Bloch. Behance link. [Google] [More]  ⦿

FontFont

Berlin-based FontShop International, started by Erik Spiekermann, Joan Spiekermann, and Neville Brody in 1989/1990, offers its own line of digital fonts under the FontFont label. The FontFont library contains around 2,000 original fonts. Its designers included Just van Rossum, Erik van Blokland, David Berlow, Max Kisman, Tobias Frere-Jones, Fred Smeijers, Martin Majoor, and many others. FontShop has offices in San Francisco as well. In July 2015, FontShop and FontFont were bought by Monotype.

Designers.

They are focusing on web fonts today. Their initial web font package included DingbestWeb, DroidsWeb, InfoWeb-Bold, InfoWeb-Italic, InfoWeb-Normal, KosmikWeb, MarketWeb, PixelsDream (by Zuzanna Licko), SheriffWeb-Bold, SheriffWeb-Italian, SheriffWeb-Roman, TrademarkerWeb, TypestarWeb-Black, TypestarWeb-Normal.

The free fonts page has InterOffice (two dingbat fonts made in 2001 by Andreas Jung, Markus Hanzer, David Berlow, Fedor Hüneke, Erik van Blokland, Robert Snider, chester, Hans Reichel, Nicole Kapitza, Christoph Kalscheuer, Joachim Müller-Lancé, Paul Neville, Barbara Klunder, György Szönyei, Matthias Thiesen, Norbert Reiners, Joancarles Casasín, Gert Wiescher, Fabrizio Schiavi, Mindaugas Strockis, Theo Nonnen, Alan Greene, Donald Beekman, Martin Wunderlich, Critzler, Stefan Kisters, Dung van Meerbeeck, Ole Søndergaard, Nick Shinn, and Mårten Thavenius), FF Dingbest (by Johannes Erler and Olaf Stein), FF Xcreen, and many Euro symbols to go with their standard fonts.

PDFs of many fonts.

Catalog of FontFont's typefaces [large web page warning]. [Google] [MyFonts] [More]  ⦿

fontgrube

Young German designers showcase their experimental (Mac) fonts. Included are fonts by Max Fiedler, Matthias Rosenkranz, Markus Volquarts, Jacques Pense, Doris Fürst, Alexander Gialouris, Olaf Claussen, Karsten Steens, Peter Pannes, Anna Gross, Marcel Staudt, Hanno Bennert, Josefin Kaiser, Stefanie Fortmann, Axel Peemöller, Katja Wolf, Anke Klasen, Nicole Simon. Direct downloads. Link died. [Google] [More]  ⦿

Fontgrube AH
[Andreas Höfeld]

At Fontgrube AH, Andreas Höfeld, a protestant pastor from Erbach/Odenwald, designed these typefaces:

  • A Charming Font (with Graham Meade).
  • Adam's Family (based on Addams by John Roshell).
  • Annifont FG (2002) is an improvement of Annie de la Vega's Annifont (1997).
  • Auptimagh.
  • Brinkmann (Fraktur font, 2000).
  • Brubeck (2001).
  • CD Numbers.
  • Civitype (2013, a civilité font).
  • Dragonwick.
  • Fanjofey and Fanjofey Leoda (2002, Tolkien-like fonts that can also be viewed as Arabic simulation faces).
  • Gabriele Bad and Gabriele Ribbon (2013). Old typewriter font families that are based on David Rakowski's Harting.
  • Gapstown (2002, to replace Comic Sans, he says).
  • Gismonda (2013, art nouveau).
  • HermanDecanusAH (medieval handwriting based on the kanzleischrift of Dekan Hermann zu Soest, 1269).
  • Invisible.
  • Jorvik Informal.
  • Lansbury (2013, art nouveau).
  • MojacaloAH (2002) and Mojacalo Relief (2013).
  • PaternosterAH (uncial).
  • SeferAH (2001, Hebrew simulation).
  • Slim Fast (2002-2013).
  • SlotMachine (no longer there, only put here for historical reasons).
  • Traditio (2013, blackletter).
  • Trinigan (2013, art nouveau).
  • He improved Jörgen Gedeon's Vurt and calls it Tusch FG (2002).

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

Fontkingz
[Carlo Krüger]

Fontkingz is a small commercial foundry in Hamburg started in 2002 by Carlo Krueger (b. 1970). Pixel 8 is the first font family. Krueger previously designed type at Apply Design, and at Elsner&Flake, where he made EF Thordis Sans and EF Thordis Mono (1997), both with Günther Flake.

See also here. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Fontkitchen Type Foundry
[Nico Hensel]

Fontkitchen Type Foundry is a German commercial type foundry (est. 2002, located in Heidenheim) with four designers: Daniel Amann, Timo Brauchle, Marc Engenhart and Nico Hensel. Some fonts are free. More than half of their production is in the pixel/flashfont category. Their designs:

  • By Ekkehard Beck: Damgram (2004, dingbats), Urban Dedication (2004, dingbats), Designers Skulls (2005, skull dingbats).
  • By Timo Brauchle and Nico Hensel: Hotplate (2002, Linotype's Taketype 5 collection, a ransom font), The Dig.
  • By Nico Hensel: Red Cheese (2003, a grunge face), Meateater (2002), Psychoclown (2003), Rounded (2003), Vegas (2003, a dot matrix font), Big Mike (2003, futuristic), Noland (2002, pixel face), Hockney (2003, pixel face), Lina (2003, pixel face), F9 (2003, flashfont), Grid (2003, flash font), 2/3 (2003, flash font), Julima (2003, a condensed flash font), FTF Unicum (2004, free), Eiko (2004), Hensi (2003, flash font), Meo (2003, flash font), Creamy (2003, flash font), Emily (2003, flash font), 16Point (2003, flash font), MM (2003, flash font), Snake (2003, flash font), Ego (2003, flash font), BMF (2003, flash font), Inverse (2003, flash font), Annenski (2003, flash font), Freshments (2003, border dingbats for flash), ma (2003, for flash), Wallpaper (2003, border dingbat font), Velasco (2004, a techno face), Esmeralda (2004), Lilly (2004).
  • By Marc Engenhart: Inimal (2004, insect dingbats), Die Licht (2003, a dot matrix font).
  • By Timo Brauchle: Hot Plate, Dig, Acrobuzz (2002, dingbats), Lucha Libre (2003, dingbat font).
  • By Daniel Amann: Cosicon (2003, dingbats), Obivan (2004).
More about Nico Hensel (b. 1987): He studied information design in Ravensburg. In 2003, he founded Lichtpunkt with Marc Engenhart as well as Fontkitchen. In 2004, he set up the pixel foundry Ductype, where one can find these creations (partially duplicated from those at Fontkitchen): Bmf, 16Point, 2-3, Freshments, Annenski, Creamy, Ego, Emily, F9, Grid, Hensi, Inverse, Julima, Knopf, Lyvox, Meo, MM, Strike, Tool, Western Trade (2005), Dejavu (2005), Lasse (2005), Modus (2005). FontShop link. [Google] [More]  ⦿

Fontom Type
[David Waschbüsch]

German type foundry of David Waschbüsch (b. 1988), a student at the University of Applied Science in Darmstadt, Germany, who is to graduate in 2011. About his free unicase modular stencil font BS Konstata (2010) he writes: Created for use as stencil for signage it features a set of only 10 different elements out of which you can compose the complete typeface. Therefore it borders between being somewhat grungy, modular and classic. Skyhook Mono (2010, FontomType) is a versatile octagonal family. Behance link. MyFonts link. Old URL. [Google] [MyFonts] [More]  ⦿

Fontone.net

At this German site, one can download a number of handwriting or hand-printed fonts made in 2009: Sahara, ohm8, Tacker, Lisa Kleinkind (for children), Kajan, Schmuddel, Right Round. Creator of Ruban (rough painted face), and Aircloud (rough brush face).

Dafont link. The designer is a guy called Jens H. Anoter URL. [Google] [More]  ⦿

Font-o-Rama
[Nina Hons]

Düsseldorf-based German foundry of designer Nina Hons (b. 1974, Germany), formrly Nina David. Nina studied communication design at Art Center College of Design. In 1998 Nina Hons was rewarded a certificate of typographic excellence from the Type Directors Club in New York for her typefaceUniF (1997, a unicase typeface published at Fountain). In 2002, she set up Font-O-Rama, her own commercial typefoundry.

Her fonts include Geomee (2003, a noteworthy rounded squarish family), Mein Schatz (2004, a sans family), Casi (2000), DSC (2000, pixel face), Eiei (2001, eggs font for Easter), KomodoreDestroy (2000), KomodoreNormal (2000, horizontally-striped typeface), Pagra (2001), UniF (1997), UniFIce (2001), UniFRama (2002), UniFXmas (2000), Liebling (2005, a serif to go with Mein Schatz), Mein Schatz (2003, sans), Longing (2005, liquid face with ornaments added), Herzchen (2006), and Sweet Home (2005, stitching face).

Fountain link. Home page. Alternate URL. Dafont link. FontShop link. View Nina Hons's typefaces. [Google] [MyFonts] [More]  ⦿

Fontplore

The Fontplore application was developed by Christian Hertlein and Marcus Paeschke in summer 2009 under the supervision of Till Nagel and Professor Boris Müller at the Fachhochschule Potsdam. Fontplore is an interactive application designed for searching and exploring font databases.Fontplore helps you to easily find the right typeface for your project in a collection of several thousands of fonts. It lets you browse, preview, compare and print the fonts you are interested in. Another URL. [Google] [More]  ⦿

Fontschmiede
[Frank Baranowski]

German foundry, est. 2010 by Michel M and Frank Baranowski (b. Altenmedingen, 1960), and located in Neuenkirchen. Baranowski studied Graphic Design at the Hochschule fuer Bildende Kuenste in Braunschweig, Germany.

Free fonts by Frank Baranowski: Elemenz, Destroya, Alphabutts.

Commercial fonts: Clayborn, Concrete, Dodgy, Funtype, Karoline, Line44, Monumental, MrsBeasley+ (psychedelic), Musical, NewTelegraph (+Arrows), Patchwork, Silverblade, Sputnik (oriental simulation face), Superia, Tambourine, Und4. All faces by Frank Baranowski, except Line44 and Und4. Some of Baranowski' fonts are released under the label Transkrypt. In 2011, he published New Telegraph Arrows at Fontschmiede.

In 2012, he created Journal 74, a retro font family.

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

Fontshop bought by Monotype

On July 15, 2014, FontShop / FontFont was bought by Monotype. The official story on FontShop's font feed site as reported by Iwo Grabowitsch: Today is a groundbreaking day in FontShop's 25 year history, the most important one since our formation. The US typeface company Monotype just announced that they have acquired FontShop and the FontFont library. The acquisition package includes the head office in Berlin as well as the FontFont typeface library, the US subsidiary in San Francisco (fontshop.com), and the German distributor, FontShop AG. Monotype acquires the FontFonts of founder Erik Spiekermann directly from him, including all usage and publication rights. All of his bestsellers (FF Meta, FF Info, FF Unit, FF Govan) will remain part of the FontFont library. Spiekermann will assist Monotype as typographical consultant in the future. Further information on the transaction is provided in a detailed press release from Monotype. With the acquisition, in addition to a contemporary typeface library, Monotype gains new customer groups, popular marketing tools and channels as well as a second foothold in the German market, which the group assesses as one of the most vital font markets. Monotype's global reach, financial strength and passion for type, combined with FontShop's complementary typeface expertise, industry relationships and premier typeface collection, is expected to strengthen Monotype's ability to serve global markets and deliver high-quality, branded experiences across every screen, platform or media property says the press release published today. The president and CEO of Monotype, Doug Shaw, summarizes the synergies as follows: "As a company dedicated to type, we're excited about the addition of FontShop, another company with design and type in their DNA. FontShop's strong relationships with typeface designers, acute knowledge of the creative professional community, high-quality IP, strong e-commerce business and highly regarded TYPO events, will add immediate value to our business and help us continue on our mission of being the first place to turn for typefaces, technology and expertise." The positive momentum for the joint business also arose from the FontShop side. Petra Weitz, FontShop's international managing director not only emphasizes new, international marketing channels for the FontFont library, but also exciting special markets for these fonts, for example in devices (OEM licenses) or operating systems. FontShop founder Erik Spiekermann, who noted the newest acquisition of Monotype with interest, believes his own FontFonts and those of his colleagues are in good hands: "As a typeface designer who cares deeply about the industry in which I work, I have watched Monotype not merely survive, but grow and prosper. They have become respected experts in the business and the technology of type. Having my typefaces become part of the Monotype foundry will make sure that they, as well as the other FontFonts, will benefit from Monotype's strengths. The industry-at-large will be stronger once FontShop adds its creative prowess to Monotype's business." For marketing director Ivo Gabrowitsch, who is just getting next.fontshop.com on its feet with around 15 developers and designers---a font store with never-before-seen test functions---the partnership with Monotype arrives just at the right time. "The limited FontShop budget presents a great challenge for our project and its many planned innovations. With Monotype backing us, ongoing development is strengthened significantly. Our customers will profit from this already in the medium-term." Jürgen Siebert, program director of the TYPO conferences takes a similar tone. "We have tried to internationalize TYPO Berlin for three years, but we never got farther than San Francisco and London. Together with Monotype, TYPO growth gets a second wind." The same goes for the outlooks and future projects. What remains? Pretty much everything that is important to us and our friends. Although the corporate brand will be retired, the FontShop e-commerce brand stays FontShop, FontFont stays FontFont, and FontBook App stays FontBook App. The FontFeed will also continue to blast its reports and opinions. We are quite certain that this is also in the interest of all readers---despite the change of ownership.

References: Typophile reactions. Monotype press release. Another Typophile thread. Aaron McKinney, the artist who drew the Big Fish Eat Little Fish poster inspired by a drawing by Pieter Breugel. [Google] [More]  ⦿

FontShop Germany

FontShop Germany offers a handwriting font service for a fee. [Google] [More]  ⦿

FontShop International (or: FSI)

Established in 1989 in Berlin by Erik Spiekermann, Joan Spiekermann and Neville Brody. Also offices in San Francisco, Australia, Austria and Norway. It has a formidable collection of fonts, better known as the FontFont collection. It is a major source of new type, and organizes a Conference in Berlin each year, called TYPO Berlin. In 2015, FontShop was sold to Monotype.

Fontshop team. Designers. Subpages: FontFeed (font news), FontStruct (free modular fontre), FontBook, Font education.

Catalog of FontFont's typefaces [large web page warning]. [Google] [MyFonts] [More]  ⦿

Fontwerk
[Monika Bartels]

Fontwerk is Monika Bartels's font technology company in Lindenberg, Germany. They specialize in font modification, OpenType programming, font analysis, and digitizations.

Having started out in FontShop Germany's technical support and corporate font departments, she founded FontWerk in 2005. FontWerk offers a variety of technological services on fonts including OpenType feature programming for non-Latin scripts, Python programming, and font production. She specializes in TrueType hinting. [Google] [More]  ⦿

Fontwerk.com
[Ivo Gabrowitsch]

Ivo Gabrowitsch's type blog (in German). Ivo is Marketing Director at FontShop International and lives in Berlin. He was born in Wippra. [Google] [More]  ⦿

Fontworx Page

German collaborative type project hosted by WYSIWYG Software Design GmbH. [Google] [More]  ⦿

For Home or Office Use
[Wolfgang Breuer]

"For Home or Office Use" is a strange name for a foundry, but that is exactly what it is. The fonts are made by Achim Reichert (Paris) and Wolfgang Breuer (Berlin). Their commercial Mac type 1 fonts include thhe experimental Try family (2Try-Strich, 3Try-Straight, 4Try-kerned, 7Try-Medserif, 8Try-Micro, 12Try-Lego, 131Try-Klingspor,- eo, 161Try-Bitter,- eo, 172Try-Reg, 1722Try-Fliess Fett, 1721Try-Reg Inline, 174Try-Serif, 1742Try-Serif Fett, 18Try-Annette), Abnehmen (free), A-Teile, A-Teile Neue, 0031aAddStrokeWeight-Oblique, 0031eAddStrokeWeight-Oblique, 0062aAddStrokeWeight-Oblique, 0062eAddStrokeWeight-Oblique, 0125aAddStrokeWeight-Oblique, 0125eAddStrokeWeight-Oblique, Almatadema-Eins, -Fier, -Vier, 0031aConvertToPath-Italic, 0031bConvertToPath-Italic, 0062aConvertToPath-Italic, 0062bConvertToPath-Italic, 0125aConvertToPath-Italic, 0125bConvertToPath-Italic, Densite, Ouvert, Knubb, Knubb-20, Birthday-Regular, Birthday-Bold, 0034Paper, 0034Paper-Italic, 0034Paper-Oblique, 0057Paper, 0057Paper-Italic, 0057Paper-Oblique, 0075aPaper, 0075aPaper-Italic, 0075bPaper, 0075cPaper, 0075dPaper-Italic, Free 0034-0075dPaper Font, Paper, 0031aPlotter, 0031bPlotter, 0031aPlotter-Bandzug, 0031bPlotter-Bandzug, 0031aPlotter-Twenty, 0031bPlotter-Twenty, 0062aPlotter, 0062bPlotter, 0062aPlotter-Twenty, 0062bPlotter-Twenty, 0125aPlotter, 0125bPlotter, 0125aPlotter-Twenty, 0125bPlotter-Twenty, 0125aPlotter-Breitband, 05aPlotter, F.T./Brown, F.T. Bold, la bonne heure, -bold, Lini Eins, Lini Drei - eo, Lini-Vier - eo, Love-1, Love-10, NEW FEw, NEW GEw, NEW Klein, sBit34, WIR 2, WIR 3, WIR 4, WIR 6Vi, WIR 7Vi.

The fonts by Breuer in this list include the A-Teile family, the Birthday family, and the Plotter family.

There is a free type software program called Abnehmen, as well as a number of experimental stroke-based fonts whose stroke thickness can be adjusted with Adobe InDesign, for example. [Google] [More]  ⦿

Form Typografie -- Typoloquium

A group of German type experts run their own password-protected forum/blog. They also organize an an annual meeting. [Google] [More]  ⦿

Formfound
[Peter Fritzsche]

Peter is a German designer, born in 1981. Peter Fritzsche's company is called Formfound. For a cool 900 Euros, he will make you one style of a font.

Purchasable fonts: Corpuscare (unicase, monoline, organic), Hitch (unicase), Flora (unicase) and Finesse. At DaFont, one can download his font FormFound.Com, which is a grunged up version of a typeface by Hans Reichel, 1996, but also Corpuscare, Flora, Finesse and Hitch. He also made Sliced Juice (2007, a sketch face) and the beautiful folded paper-look Origami (2008). [Google] [More]  ⦿

formgebung
[Henning Krause]

Formgebung was founded in 1993 by Henning Krause (b. 1965). It is located in Berlin-Mitte, near the Hackesche Höfe area. Krause designed the Magda Clean family (FontFont). For corporations, he digitizes typefaces, designs new ones, and modifies existing ones (that is what it says on the web page). His digitizations/modifications include the Dr. Oetker Headline face, the Commerzbank sans family, ITS Gothic, and Ikea-Medium. Original types include ams headline and the Chio Font System, both designed from existing logotypes. His fonts Trivia-Regular (2006) and Trivia-Pict (2006), both published with Fontshop, can be freely downloaded from DaFont.

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

Formlos (was: Folio)
[David Hubner]

Formlos is an independent design bureau, brand consultancy and type foundry, founded in 1999 and originally located in Hellmonsoedt/Vienna, Austria. It seems to be in Berlin right now.

David Hubner (b. 1981, Wels, Austria) is the Austrian designer (based in Hellmonsoedt and Malta) of

  • Ventisei (2008, a unicase futuristic sans). Free download.
  • Formlos Organik (2002), an experimental techno face.
  • Formlos Requii (2003), an artsy concoction.
  • Blockrockin (coming soon).
  • Fertigbauhaus (Volcano Type, free).
  • FormloSerif and FormloSans (2002). FormloSerif is a commercial serif pixel/screen font.
  • 4our (2002, pixel face).
  • BlockRockin.
  • RoundABong.
  • Formlos Handsomeone, a scribbly script.
  • FormlosMenee, a pixel face.
  • Formlos Neonua (2008), an elegant fashionista.
  • Formlos_PlayR (2004), an experimental headline face. Commercial.
  • Formlos Pimp (2004), an experimental ultra fat geometric face.
  • Formlos PxlSans and PxlSerif, pixel faces.
  • Flittchen (2013). A blackletter typeface inspired by fishnet stockings.

Lukas Kerecz created Monocrane (2013) while studying in Berlin.

Link to his studio Dav Marken Design. Alternate URL (2003), where you can find his custom typography. Still another URL, called Folio (2003), where you can find his custom typography. Another URL, where Ventisei can be downloaded. Dafont link. Behance link. [Google] [More]  ⦿

Formsport
[Alex Rütten]

German designer in Mönchen-Gladbach of the text family Ginkgo (2008, Linotype), which won an award at TDC2 2009. Typophile discussion of Ginkgo, a face in the spirit of the brushy sturdy Dutch types like Dolly.

Other typefaces: Suhmo (2009, FontShop, a typewriter/Egyptian type family that won an award at TDC2 2011), Frapé (2001, pixel blackletter).

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

Fourooms

Hamburg-based group which has produced some nice type posters in 2009 (but they have an awful web site). Behance link. [Google] [More]  ⦿

Fraktur Initialen

A sample of Federschrift Fraktur Initialen from 1729, city of Altona. [Google] [More]  ⦿

Fraktur: main dates

Main dates in the history of Fraktur.

  • Gothic script (gotische Schrift) developed in France in the middle ages during the time of the gothic architecture.
  • Gutenberg's bible in Latin (1455) contains this gothic script.
  • 1470-1530: All Lutherian books in Germany are printed in the (renaissance) Schwabacher style. The first one in this style was by the Augsburg-based printer Johannes Bämler (1472). It blossoms around 1490 in "Schedelschen Weltchronik", printed by Anton Koberger, and in Dürer's "Apokalypse" (1498).
  • 1517: The Schwabacher script developed into the "Fraktur". Dürer uses this Fraktur script.
  • 19th century, early 20th century: all styles of Fraktur are further enhanced, generalized, extended and refined.
  • Until Bormann's "Schrifterlass" decree in 1941, nearly all publications, newspapers and books in Germany are printed in Fraktur. After that date, it became a "forbidden" script in Germany.
[Google] [More]  ⦿

Fraktur.de
[Markwart Lindenthal]

Wonderful new foundry run by Friedemann, Volker and Markwart Lindenthal, and specializing in redigitizations of Fraktur fonts. Fonts: Gilgengart (Hermann Zapf, 1938), Gutenberg-Bibelschrift, Jaguar, Legende, Mainzer Fraktur (Carl Albert Fahrenwaldt, 1901), Post Fraktur (Herbert Post, 1933-1935), Rhapsodie (Ilse Schüle at Ludwig&Mayer, 1949-1951), Thannhaeuser Fraktur (Mager, magere Zierversalien, Schmalfett and Halbfett) (Herbert Thannhaeuser, 1937-1938), Wallau (Rudolf Koch, 1926-1934), Weber Mainzer, Weiss Rundgotisch (Emil Rudolf Weiß, 1937), Wilhelm Klingspor Schrift (Rudolf Koch, 1926), Zentenar Fraktur (Friedrich Hermann Ernst Schneidler, 1937-1938). There were plans to digitize Werbedeutsch and HermannGotik.

Alternate URL. Yet another URL. [Google] [More]  ⦿

Francesco Griffo

Born and died in Bologna, ca. 1450-1518. Also called Francesco da Bologna. He was a Venetian punchcutter, who worked for Aldus Manutius cutting early italics, music types and romans. Under the surname Griffo, he designed and cut all types for the Aldine Press. The "Aldine" face was recreated by Monotype in 1929. In 1990, the Monotype staff digitized 24 weights of Francesco Griffo's Bembo family, which was originally created in 1496---however, read on below regarding the date. The Bitstream version is called Aldine 401. Bembo is a face that is not compact, with its wide letters and ample spacings, so its use must be carefully weighed.

Interesting detail about the end of his life: after the death of Manutius in 1515, Griffo returned to Bologna where he printed some of his own editions until his own death in 1518 or 1519, when it is thought he was hanged for killing his brother-in-law. Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type face that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.

Fontdeck link. Linotype link. FontShop link. Nicholas Fabian on Griffo. Agustina Cabal's poster of Bembo. [Google] [MyFonts] [More]  ⦿

Francesco Murru

Münster, Germany-based designer of the hexagonal experimental typeface Serendipity (2014). Behance link. [Google] [More]  ⦿

Frank Baranowski
[Fontschmiede]

[MyFonts] [More]  ⦿

Frank Baranowski
[Transkrypt]

[MyFonts] [More]  ⦿

Frank Barowiak

Designer of the Kaffeesatz display family (1994, Linotype): great coffeehouse lettering. Smell the coffeebeans. [Google] [More]  ⦿

Frank Bruder

Computer science student at the University of Hamburg, and supporter of open source code software. Creator of the Open Font Library fonts Tomson Talks (2008, comic lettering), Block Stencil (2008), Far Side (2008, sci-fi) and Futhaark hnias (2008, runes), Tomson Talks (2010, hand-printed). Aka Skotan. Dark End is a hand-coded SVG font---check the source code to see what can be done with so little! Devian tart link. [Google] [More]  ⦿

Frank David
[Chess Ole!]

[More]  ⦿

Frank E. Blokland
[Dutch Type Library (or: DTL Studio)]

[MyFonts] [More]  ⦿

Frank Flachs

Designer at the University of Erlangen, Germany, of the pixel font MK Zodnig Square (2000).

Dafont link. [Google] [More]  ⦿

Frank Grießhammer
[Kiosk Fonts]

[MyFonts] [More]  ⦿

Frank Groh

Designer in München who created the techno typeface Flauchers Finest (2014). [Google] [More]  ⦿

Frank Heine
[UORG]

[MyFonts] [More]  ⦿

Frank K. Lüdicke

German type designer Frank K. Lüdicke designed Ramses, letters in the shape of hieroglyphs. He studied with Karlgeorg Hoefer (who would write with anything) and with Kurt Wolff (in Düsseldorf), and later learned Japanese calligraphic art. Ramses is now available from Elsner&Flake. At URW++, he designed the commercial dingbat font FunnyNature (1999) and the handwriting fonts FontForum Katie and Lüdickital. [Google] [MyFonts] [More]  ⦿

Frank Kiener

München-based German designer of Blue Stone and Xeranthemum (2000). Alternate URL. Yet another URL. [Google] [More]  ⦿

Frank Krugmann

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

Frank Lange

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

Frank Ramspott

German designer of the pixel face FontForum FR73 Pixel (2004, URW). [Google] [More]  ⦿

Frank Rausch

Interaction designer, software expert and type enthusiast who lives in Berlin. A disciple of Lucas de Groot, he is the creator of Kiwisans and Steglitz Serif (which has the edgy influences of Preissig and Menhart). He published TypeShow, a typeface tester for web sites of foundries. Not the same Frank Rausch who created <