TYPE DESIGN INFORMATION PAGE last updated on Mon Dec 22 18:12:18 EST 2014

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Greek/Coptic



Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
https://luc.devroye.org
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[Myrto Orfanoudaki Simic]

110design
[Alexei Vanyashin]

Russian graphic and web design studio in Moscow, run by Alexei Vanyashin, Fedor Balashov and Kate Semenova. Alexei Vanyashin studied typography at Stroganov University under Dmitry Kirsanov from 2002 until 2003. He graduated in graphic design from the Institute of Design in Moscow in 2008. In 2009-2010, he worked on the Florian Diploma project at the Type and Typography course at the British Higher School of Art and Design in Moscow under Ilya Ruderman. Florian is a 9-style angular (wedge serif) text family. Florian and Geo Text won First Prize at Granshan 2010 in the Cyrillic text typeface category. Alexei designed the curlified Bodonito Display (2009), Eurotesque, Wire (2009, monoline sans), and ModL (2009). Schmale Antiqua (2010) is a very thin Latin and Cyrillic didone typeface that revives a 19th century typeface widely used for setting book titles. Behance link.

Cofounder in 2011 of Cyreal, a Russian foundry. There, he designed faces such as Rationale (2011, with Olexa Volochay and VladimirPavlikov), Vidaloka (2011, a didone done with Olga Karpushina), Alike (2009, with Svetlana Sebyakina), and Adamina (2011, a text typeface for small print: free at OFL). I am not sure if Iceland (2011, Cyreal: free at Google Web Fonts) is also his.

Typefaces made in 2012: Junge (a delicate roman face, free at Google Web Fonts, which was inspired by the calligraphy of Günther Jung), Merge Pro Greek and Cyrillic (codesigned with Kosal Sen, Philatype), Jacques Francois and Jacques Francois Shadow (Cyreal: codesigned with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts). [Google] [MyFonts] [More]  ⦿

2nd International Conference on Typography and Visual Communication

Conference in Thessaloniki, Greece, June 24-29, 2004, organized and hosted by the University of Macedonia. Speakers include Jacques André, Jannis Androutsopoulos, Michalis Arfaras, Dimitris Arvanitis, Christina Banou, Nicolas Barker, Petr van Blokland, Neville Brody, Petra Cerne Oven, Costis Dallas, Simon Daniels, Milena Dobreva, Mary Dyson, Peter Enneson, Shelley Gruendler, Justin Howes, John Hudson, Lampros Kalampoukas, Peter Karow, Robin Kinross, Kevin Larson, David Lemon, Gerry Leonidas, Erik van Blokland and Just van Rossum, Jason Lewis, Stephan Lubell, Piero De Macchi, Alan Marshall, Klimis Mastoridis, George Matthiopoulos, James Mosley, Maria Nicholas, Hrant Papazian, Jean-François Porchez, Manolis Savidis, Triantafyllos Sklavenitis, Andreas Sophocleous, Richard Southall, Erik Spiekermann, Charis Tsevis, Michael Twyman, Vangelio Tzanetatou, Gerard Unger, Karel van der Waarde and Evripides Zantides. Report by Toby Thain. Pictures by Jan Middendorp. Pictures by J.-F. Porchez. See also here. [Google] [More]  ⦿

440EMU

Creator of the free dot matrix font Teleindicadores 1 (2013). This font covers Latin, Greek and Cyrillic. [Google] [More]  ⦿

4th February
[Sergiy Tkachenko]

Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link.

View Sergiy Tkachenko's fonts. [Google] [MyFonts] [More]  ⦿

A1DownFont

Greek fonts: HellasArial (Pouliadis Associates, 1992), HellasTimes New Roman Greek (Pouliadis Associates, 1992), Avant Greek (Magenta, 1992). [Google] [More]  ⦿

Ace of Space Graphics

Free truetype dingbat fonts. Beautiful creations by Sharon such as Critters 1, Critters 2, Thanks 1, Flora 1, Whimsy, Greek1, Orient1, BigTop, Geo2, AOS_Geo1, AOSValentine, Paddy1.

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

Acolina

Small rune font archive. Has, for example, from Ecological Linguistics, their Maya glyph fonts DaysBF, DaysCodBold, DaysCodBoldItalic, DaysCodItalic, DaysCod, all made in 1994. From the American Philological Association, Jeffrey Rusten's Greek font Athenian (1991). Also, the Maya glyph fonts Abaj, AbajBold, TunBold, Tun, Wuuj, WuujBold, WuujBoldItalic, WuujItalic. [Google] [More]  ⦿

Aerowsol

Designer in Athens (Greece) of the metal band typeface Idle Smasher (2010) and the computer typeface Funcrusher Plus (2011). [Google] [More]  ⦿

Aggeliki Skandalelli

Aggeliki Skandalelli is an Athens-born art director and graphic designer. After studying graphic design at AKTO Applied Arts School in Athens, she did an internship at Saatchi&Saatchi /Athens and went on to take a position as junior art director at Fortune Advertising. In 2000 she joined DDB /Athens and in 2003 was promoted to art director. During her time at DDB, Aggeliki collected a Grand Effie for the Tellas Telephone Network campaign, two Ermis Gold awards for an Alpha Bank print campaign and a Knorr TV spot, an Ermis Grand for the Thalassitis wine print campaign and an Ermis Silver for the hair salon Nicolas print ads. Since 2006, Aggeliki has been a senior art director at J. Walter Thompson /Athens, working for major accounts, such as Vodafone, Smirnoff, Amstel, Minoan Shipping Lines and Eurobank. She has also been in charge of various freelance assignments, creating logos, print ads and brochures.

Designer at Parachute in Athens, Greece, of the Latin / Greek / Cyrillic signage typeface PF Scandal Pro (2007-2012).

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

Aggelos Bakas

Graphic and typeface designer. He teaches graphic design at the University of Wales College Newport, Wales. Writer, editor and designer of the Acro magazine. [Google] [More]  ⦿

Ahoi

Paul Rädle's great jump page for foreign fonts and phonetic fonts. [Google] [More]  ⦿

Aimilios Galipis
[Banned Graphics]

[More]  ⦿

Aka Acid (or: Cybertronical Design)
[Myrto Orfanoudaki Simic]

UI mobile and web designer in Athens, Greece. Myrto made these free pixel typefaces between 2007 and 2013: Aka-AcidGR-4B, Aka-AcidGR-4B20, Aka-AcidGR-5X5, Aka-AcidGR-ArialPixel, Aka-AcidGR-BoredRe, Aka-AcidGR-Elektr, Aka-AcidGR-Everyday, Aka-AcidGR-Kairee, Aka-AcidGR-Mazew, Aka-AcidGR-Micro, Aka-AcidGR-Necplus, Aka-AcidGR-Neustyle, Aka-AcidGR-Pixel, Aka-AcidGR-Starmap, Aka-AcidGR-Stunt, Aka-AcidGR-SystemTronical, Aka-AcidGR-SystemsAnalysis, Aka-AcidGR-Web, Aka-AcidGR-Zephyrea, Aka-AcidGRAccessN12. The pore-2007 typefaces include Aka-AcidGR-4B, Aka-AcidGR-4B20, Aka-AcidGR-ArialPixel, Aka-AcidGR-Compacta, Aka-AcidGR-Elektr, Aka-AcidGR-Everyday, Aka-AcidGR-Kairee, Aka-AcidGR-Mazew, Aka-AcidGR-Micro, Aka-AcidGR-Mutlu, Aka-AcidGR-Necplus, Aka-AcidGR-Neustyle, Aka-AcidGR-Starmap, Aka-AcidGR-SuperG, Aka-AcidGR-SystemTronical, Aka-AcidGR-SystemsAnalysis, Aka-AcidGR-Web, Aka-AcidGR-Zephyrea, Aka-AcidGRAccessN12.

The following text and script fonts and dingbats were made from 2007 until 2013: AC-Hollow_unicode, Aka-Acid-Animaux, Aka-Acid-Bots, Aka-Acid-Mockups, Aka-AcidGR-AfterDiet, Aka-AcidGR-AlmostGothic, Aka-AcidGR-AngryJoe, Aka-AcidGR-Around, Aka-AcidGR-Atomic, Aka-AcidGR-BadFont, Aka-AcidGR-BadKitty, Aka-AcidGR-BigInJapan, Aka-AcidGR-BriefEncounter, Aka-AcidGR-Calligram, Aka-AcidGR-Chubby, Aka-AcidGR-Collage, Aka-AcidGR-Compacta, Aka-AcidGR-CompactaScript, Aka-AcidGR-Composition, Aka-AcidGR-ContencedScript, Aka-AcidGR-Cord, Aka-AcidGR-Creepy, Aka-AcidGR-Curly, Aka-AcidGR-CurlyEarly, Aka-AcidGR-CuttingEdge, Aka-AcidGR-Cyberella, Aka-AcidGR-DiaryGirl, Aka-AcidGR-Dingme, Aka-AcidGR-Disturbed, Aka-AcidGR-DisturbingCookie, Aka-AcidGR-Dot, Aka-AcidGR-Dotted, Aka-AcidGR-FatCondensed, Aka-AcidGR-FatItalic, Aka-AcidGR-FatMarker, Aka-AcidGR-Fatbamboo, Aka-AcidGR-FifiTheCat, Aka-AcidGR-Fifindrel, Aka-AcidGR-FifisHand, Aka-AcidGR-Freefeel, Aka-AcidGR-FrenchToast, Aka-AcidGR-Fristgrade, Aka-AcidGR-Froglusly, Aka-AcidGR-GhostStory, Aka-AcidGR-Gorgi, Aka-AcidGR-Graduate, Aka-AcidGR-GreekPharmacist, Aka-AcidGR-Grudge, Aka-AcidGR-HappyPuppy, Aka-AcidGR-HiSchool, Aka-AcidGR-Hurry, Aka-AcidGR-ImpressingTeacher, Aka-AcidGR-Inky, Aka-AcidGR-Kiki, Aka-AcidGR-Liberate, Aka-AcidGR-Lightinjapan, Aka-AcidGR-Limbo, Aka-AcidGR-Linky, Aka-AcidGR-LivingSword, Aka-AcidGR-Loving, Aka-AcidGR-Lundi, Aka-AcidGR-Lycee, Aka-AcidGR-MC, Aka-AcidGR-MakingMonsters, Aka-AcidGR-MediumInJapan, Aka-AcidGR-Mutlu, Aka-AcidGR-Pasta, Aka-AcidGR-RealAdult, Aka-AcidGR-RomanScript, Aka-AcidGR-RoundUp, Aka-AcidGR-Safe, Aka-AcidGR-Sagging, Aka-AcidGR-Sausages, Aka-AcidGR-Schoolgirl, Aka-AcidGR-ScrachThis, Aka-AcidGR-ScriptCondenced, Aka-AcidGR-Serif, Aka-AcidGR-Slimthin, Aka-AcidGR-SocialRage, Aka-AcidGR-StretchUp, Aka-AcidGR-StrokingLines, Aka-AcidGR-SuperG, Aka-AcidGR-ThickStick, Aka-AcidGR-ThinBlackboard, Aka-AcidGR-TinyCondenced, Aka-AcidGR-TotallyPlain, Aka-AcidGR-Tremor, Aka-AcidGR-Vectroid, Aka-AcidGR-WideMe, Aka-AcidGR-Wurly, Aka-AcidGR-Xtend, Aka-AcidGR5yearsold, Aka-AcidGRBuzzed, Aka-AcidGRFatCord, Aka-AcidGRFreakedOut, Aka-AcidGROpen, Aka-AcidGRPathetic, Aka-AcidGRSpagetti, Aka-Acid_Knickknack, AkaAcidQuickPad.

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

Alan M. Stanier
[Cypriote metafont]

[More]  ⦿

Alan Wood's Unicode Resources

Great Unicode jump page. Has a page showing all fonts that support the various Unicode ranges. Check, for example, his Shavian Unicode sub-page. Unicode font utilities. Some font downloads, including the Unicode font MPH Damase (2005, Mark Williamson). [Google] [More]  ⦿

Alejandro Torres

Genova, Italy-based designer of the bilined art deco typeface Metropolis (2013) that covers Latin, Greek and Cyrillic. Behance link. [Google] [More]  ⦿

Alekos Politis

During his graphic design studies in Athens, Greece, Alex Politis created the fat octagonal typeface Solid (2014, Latin and Greek). [Google] [More]  ⦿

Aleksandr Savenkov

Novosibirsk, Siberia-based creator of the free pixelized typeface Upheaval Pro (2012), which is a Greek / Cyrillic extension of Upheaval by Brian Kent. In 2013, he created the pixelish typeface Dusty Pro for Latin, Greek, Cyrillic and Hebrew. It is an extension of Andreas Nylin's Dusty.

Symvola (2014) is a free typeface containing basic Latin and Greek characters. The design is inspired by the time machine's interface from Space Quest IV and puzzle panels from The Witness.

Behance link. [Google] [More]  ⦿

Alessandro (Alex) Segalini

Freelance Italian graphic designer in Rome (b. near Piacenza, 1976) who graduated with an M.S. in Industrial Design in 2004 from the Politechnic of Milan with a thesis entitled Ernesto Hemingway: una font tra letteratura e tipografia: a font between literature and typography. In it, he describes his typeface Ernesto Hemingway. At ATypI 2005 in Helsinki, he spoke about that same typeface. He created some fun fonts such as A like Animals (2003, also called A di Animali, an experimental typeface done together with illustrator Anna Donadelli), and 5G (2002, handwriting). He has made custom type such as Guia Script (2006, for Gelati Carte d'Or Algida), Guia Script Greek (2006), Quintag (2002, handwriting), Forno (2004, hand-printed), Dolce (2005, a swift brush typeface for Barilla), Unione (2005, for a bank), Pacioli (2005, for Accademia Editoriale in Rome), Phoebus (custom sailing boat vinyl lettering). In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). Since 2007, he is at the Izmir University of Economics, Izmir, Turkey. PDF file with samples of his fonts. Limerick was designed in 2006 together with Marek Brzozowski. At ICTVC 2007, he spoke about 20th century Bodonians. Home page. In 2009, Segalini published Hemingway Pro, a commercial 9-style sans display family, available from Red Rooster. Hemingway Deco Initials is free though. Hemingway was inspired by the prize-winning novel The Old Man and the Sea (1952, Ernest Miller Hemingway). Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. [Google] [MyFonts] [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 Nedelev
[Typedepot]

[MyFonts] [More]  ⦿

Alexandros Mavrogiannis

Art director and designer at Big Horror Studio. Before that, he was assistant art director at Esquire magazine. Based in Athens, Greece, he designed a custom typeface in 2012 entitled Telegraph (for the music band). [Google] [More]  ⦿

Alexandros Mavrogiannis
[Studio Big Horror]

[More]  ⦿

Alexandros Mavrogiannis

Illustrator from Athens who made some fun type plays in 2009. [Google] [More]  ⦿

Alexandros Papalexis

Alexandros Papalexis studied graphic design and typography at the National Design School (TEI) of Athens. He started designing his own fonts while attempting to improve some older ones for his own projects. For 15 years he has been designing corporate packages for leading Greek companies and CD covers for the music industry, while his work has been featured in design-oriented magazines. His typeface designs at Parachute include PFKids (1999-2006), PFFreescript, PFJunior, PF Playskool (2003). [Google] [MyFonts] [More]  ⦿

Alexandros Pertsinides

Greek designer of Carbonchaos (2011, multilined face), and Perfect (2011, a geometric monoline face). Home page. [Google] [More]  ⦿

Alexei Vanyashin
[110design]

[MyFonts] [More]  ⦿

Alexej Kryukov

Developer of these free font families, quite exquisite and complete:

  • Old Standard TT (2008-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more.
  • Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors.
  • Theano Classical fonts: Theano Didot is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin typeface based on some "Old Style" Roman fonts of the late 19th and early 20th century.
  • CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

Kernest link. Fontspace link. Another URL. [Google] [More]  ⦿

Alexios Zavras
[MgOpen Fonts]

[More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

[More]  ⦿

Alice Savoie, Frenchtype
[Alice Savoie]

Graduate student (b. 1984) from Estienne in 2006 and the University of Reading in 2007. In 2012, she was a Ph.D. student at the University of Reading. Thesis topic: International cross-currents in typeface design: France, Britain, and the US in the phototypesetting era, 1949-1975.

Pic by Ralph Herrmann. Her typeface Capucine Greek has been awarded as the best text typeface of the Greek alphabet exhibition, taking place during the 3rd international conference on typography and visual communication in Thessaloniki, Greece, 2007. Capucine is a very informal, almost hand-printed family covering both Latin and Greek in many styles. She also made the constructivist typeface Pozor (2005) and the connected handwriting typeface Jeanine, done in 2006 at the École Estienne in Paris, where she studied from 2004 until 2006. She worked for a short time as a graphic designer in London before joining Monotype Imaging in 2008 as a full-time type designer.

In 2009, she codesigned Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Robin Nicholas, head of type design at Monotype, and Delve Withrington. The sales pitch: According to Nicholas, the idea for the Ysobel faces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s.

In 2010, finally, she published Capucine at Process Type Foundry (Grand Valley, MN), where she currently is part of Eric Olson's team.

Brill (2012), codesigned with John Hudson for Koninklijke Brill NV, Leiden, The Netherlands, won an award at TDC 2013.

Typecache link. Klingspor link. At ATypI 2014 in Barcelona she spoke about phototypesetting. [Google] [More]  ⦿

Alkaios
[Lucius Hartmann]

Free Greek font that covers Latin, Latin-1 Supplement, Latin Extended-A, Combining Diacritical Marks, Greek. It was developed by Lucius Hartmann (Hinwil, Switzerland, 2005) and was modeled in Times-Roman. [Google] [More]  ⦿

Allan Loder
[New Testament Manuscripts Font Collection]

[More]  ⦿

Allotype Typographics

Foundry in Ypsilanti, MI. Kadmos, Bosporos (both classical Greek), Czasy, Szwajcarski (Polish), and Demotiki (modern Greek). Nice fonts, 85 US dollars per face. Jeffrey Rusten swears that these are the highest quality fonts for polytonic Greek. [Google] [More]  ⦿

Alphabetum
[Juan-José Marcos García]

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.

Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.

Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).

In 2013, he created Cuneus, a cuneiform simulation typeface.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google] [More]  ⦿

ALT Foundry
[Andreas Leonidou]

ALT is the type foundry of Andreas Leonidou, a graphic design student from Limassol, Cyprus, b. 1986. Flickr link. Behance link. Hellofont link. Devian Tart link. Klingspor link.

He created Foldgami, Apollo 13 (techno, futuristic), Fatgami, Origamia, Paper Roll, Alt Retro (2010, multilined family), Alt Tiwo (2010, fat counterless), Alt Matey (2010, a family that includes a multiline style; the piano key typeface Alt Matey V2 followed in 2012), ALT Lautus (2010, a minimalistic monoline sans family), Japanese Cities Type Experiment (2010), ALT Alternatice (2010), ALT Vxt11 (2010, a high-contrast art deco octagonal face), ALT Aeon (2010, a unicase but multiline family), Alt Re 32 (2010, techno), ALT Mun (2010, a curlified family), ALT Breo (2011, octagonal family), ALT Exline (2011), Jun Script (2011, connected contemporary upright script), ALT Ayame (2011, condensed squarish family, +Long), Alt UAV31 (2011, an octagonal experiment), Alt Moav (2011, a striking geometric caps face. Images: i, ii, iii), Alt Geko (2011, an art deco caps face), and Archetype (unicase, Bauhaus).

Free fonts at Devian Tart: Alt Retro (2010, multilined family), ALT Hiroshi (2011, ornamental), ALT Deville (2011, spurred).

Typefaces made in 2012: DNR001, ALT Kora (for the identity of Drone), ALT Fat (monospaced squarish caps face), ALT Exodus (sci fi face), Alt Wet (a paint splatter face), Alt Sku (ornamental didone face), Alt Robotechnica (pixel face), Exodus (a blackletter style straight-edged typeface), Juk01 (an ornmaental mechanical typeface), Alt Sake (a thin condensed poster typeface).

Typefaces from 2013: Modu (alchemic), Modu Deco/a>, Bely (a severe-looking almost constructivist Latin/Cyrillic typeface).

Typefaces from 2014: Ren (a free vintage display typeface family).

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

Altgriechische Zeichensätze
[Lucius Hartmann]

Lucius Hartmann (Hinwil, Switzerland) at the University of Zürich lists the main fonts that are useful to classicists and users of old Greek. Downloadable fonts include Aisa Unicode (by Hildegund Mueller&Stefan Hagel, 1997-1998). Hartmann himself created Sappho (2002) and Alkaios (2005). [Google] [More]  ⦿

Amadeus Information Systems
[Phil Chastney]

Amadeus Information Systems Limited / Phil Chastney are the designers of SImPL (1999-2001) and Sixpack Medium (2009), great Courier-like monospace fonts with many diacritics and symbols, filling many of the Unicode pages. The designer is Phil Chastney, who writes One of the design aims of the font was to provide a complete set of all known APL symbols, plus sufficient characters to allow prompts, comments, etc., to be expressed in every European language known to be in current use. Basically, that means the Latin, Greek and Cyrillic alphabets, plus accented and variant letter forms as required for other European languages using these alphabets.. Incidentally, Armenian and Cyrillic are also covered, and the number of mathematical symbols is staggering. [Google] [More]  ⦿

Amélie Bonet

French graphic and type designer who graduated from Ecole Estienne in 2005 with a thesis entitled La cancellaresca, L'âge d'or de la calligraphie italienne.. She also studied visual communications at Ecole Duperre in Paris. She has an MA in typeface design from The University of Reading (2009), based on her typeface Polydom, which covers Latin, Greek and Devanagari. Her other typefaces include Groe (2010), We Folk (2010, caps only), Operetta (a cancellaresca based on Tagliente's lettering), PSA (an iconographic and sans type system for Peugeot and Citroen), and Gustan. She lived in Los Angeles. In the spring of 2010, she joined Dalton Maag in South London as a type designer. Roxane (2011, Rosetta Type) covers Latin and Devanagari.

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

American Philological Association
[Donald Mastronarde]

Association which published a free Greek Opentype font, KadmosU (2005). New Athena Unicode (2004-2010) is also free: New Athena Unicode is a freeware multilingual font distributed by the American Philological Association. It follows the latest version (5.1) of the Unicode standard and includes characters for English and Western European languages, polytonic Greek, Coptic, Old Italic, and Demotic Egyptian transliteration (and Arabic transliteration), as well as metrical symbols and other characters used by classical scholars. New Athena Unicode is a "smart font" that includes OpenType ligatures allowing the display of composed characters not recognized by Unicode but needed by scholars. I am not sure that I am right, but the Greekkeys pafge makes me believe that Donald Mastronarde (a Professor a UC Berkeley) of the American Philological Association is responsible for the creation and upkeep of New Athena Unicode. [Google] [More]  ⦿

Amy Dittman

Saint Cloud, MN-based designer of a fat 3d poster typeface in 2014, during her studies at St. Cloud State University. It was inspired by Macklemore & Ryan Lewis's song "Gold" featuring the chorus to the song. [Google] [More]  ⦿

Anastasia Dimitriadi

Athens, Greece-based designer of the free Latin / Greek hand-crafted poster typeface Sunday (2014) and the commercial poster typeface Silhouette (2014). Behance link. Creative Market link. [Google] [More]  ⦿

Anastasios Koutsofavas

Greek designer in Thessaloniki of the Greek polytonic font Tartana (2010) for a Greek monastery.

Behance link. See also here. [Google] [More]  ⦿

Andili Rachouti

Designer in Athens, Greece, who created the alchemic Latin/Greek typeface family Bohemian Rhapsody (2014). [Google] [More]  ⦿

Andreas Kalpakidis
[Inde Graphics]

[More]  ⦿

Andreas Leonidou
[ALT Foundry]

[MyFonts] [More]  ⦿

Andreas Prilop
[Multilingual Macintosh Resources: Greek]

[More]  ⦿

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

[MyFonts] [More]  ⦿

Andreas Xenoulis

Graphic designer based in Athens. Graduated from AKTO / Middlesex University London with the Higher Diploma of Education in Graphic Design. In the electronic vibe / futuristic category, Andreas Xenoulis's Elasma (2012) stands out---perfectly designed on a square spacing pattern, it evokes techno music like no other font. His silkscreened Bodoni poster (2011) is also worth a try. In 2012, his identity design for Pinka Cybernet Architects uses a rounded squarish techno face, Orbitron. [Google] [More]  ⦿

Andrey V. Panov
[CM Unicode]

[More]  ⦿

Andrey V. Panov
[Computer Modern Unicode fonts]

[More]  ⦿

Andrij Shevchenko
[Andrij Type]

[MyFonts] [More]  ⦿

Andrij Type
[Andrij Shevchenko]

Andrij Shevchenko (b. 1973) (aka Andrij Che) is the Berdyansk-based Ukrainian designer of the following typefaces, somne of which can also be had from MyFonts. Behance link.

In 2012, he started Ukrainian Type.

  • Agarsky (2006, a bold casual script face) which used to be called Agara until Berthold complained about the possible confusion with Agora.
  • Zion Train (2007, an experimental sans in 20 styles).
  • Andrij Script. See here.
  • Andrij Hand (a Cyrillic handwriting font, 2002-2006; see discussion).
  • Strudel (2002, informal handprinting).
  • ALS Agrus (2005-2006, a script face, Art Lebedev Studio).
  • Machinegun (2005, octagonal military look).
  • Magela (2003, a Cyrillic sans).
  • Hajdamaka (2004, a bouncy Latin/Cyrillic script).
  • Also check out his lettering (not fonts) in Kozaku (2005, a flowing Cyrillic script), XLibna (2005, another Cyrillic script) and here (2005).
  • The semi-serifed Oksana (2007, 6 styles), Oksana Sans (2007, +Condensed), Oksana Text (2008), Oksana Cyrillic (2007), Oksana Greek (2007), and Oksana Text Swash (2008). This was followed by Oksana Text Narrow (2011), Oksana Sans (+Wide) and Oksana Sans Compressed (2011), which have hairline weights.
  • Osnova Pro (2010): a sans family that covers Cyrillic, Greek and Latin.
  • Ababa (2002, Cyrillic lettering).
  • Turbota (2010) is a rounded Latin / Cyrillic type family that was was developed as part of an identity system for Turbota, a center for disabled children in the Ukraine.
  • Arsenal (2011). A free typeface that won a national Ukrainian type competition called the Mystetsky Arsenal contest.
  • Seaside (2011) is a Peignotian face.
  • Bandera Pro (2011) is a useful workhorse square serif type family that covers Latin, Greek and Cyrillic. Accompanied by Bandera Text (2014) and Bandera Display (2014).
  • Arsenal (2012) is a workhorse sans family for Latin and Cyrillic. It won the Mystetsky Arsenal contest, and is free.

    Zion Train Pro (2012, +Stencil): Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek.

Additional URL.

MyFonts interview.

Showcase of Andrij Shevchenko's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Andriy Konstantynov
[Mint Type (was: PDesign 6.0)]

[MyFonts] [More]  ⦿

Androniki Sioki

Ph.D. student at the University of Reading. Thesis topic: Typography of Greek primers published in the 20th Century. [Google] [More]  ⦿

Angel Giovan

Greek designer of the free hand-drawn Greek font Greek Classics (2014). [Google] [More]  ⦿

Angela Fragou

Graphic designer in Athens, Greece, who created the Latin display typeface Thorn (2014). [Google] [More]  ⦿

Angeliki Georgiadi

Creator of the Greek paperclip font Common Greek (2013).

Behance link. [Google] [More]  ⦿

Angella Poghosova

Armenian type designer who won an award at Granshan 2009 for her Armenian typeface Goga. She also created the ASF Angela family for Armenian, Latin, Greek and Cyrillic. This family was awarded Second Prize in the Granshan 2010 competition for Armenian text types, and Second Prize in the Granshan 2010 competition for Cyrillic text types. Her name is also spelled Anzhella Poghosova. [Google] [More]  ⦿

Angelo Haritsis

Creator of free Greek versions of the Times, Helvetica and Courier typefaces. The glyphs from this source were used to compose Greek glyphs in FreeSans and FreeMono in the GNU Freefont project [range Greek (U+0370-U+03FF)]. [Google] [More]  ⦿

Anna Raven

Type designer in Moscow. At WDC Fonts, she created the Venetian serif typeface Stiana (2013, with Eugen Sudak), based on models by Nicolas Jensen and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Antigone

Designed by Jan van Krimpen, this Greek typeface published by Joh. Enschedé en Zonen. See here. [Google] [More]  ⦿

Antioch
[Ralph Hancock]

For Unicode classical Greek in Word 97 and Word 2000, Antioch gives you Greek, Coptic and Hebrew with programmable keyboards. Win 95 or 98. 50 USD shareware. fee $50. Page by Ralph Hancock. Antioch package by Ralph Hancock and Denis Liegois. Ralph Hancock also designed the Courier-like font Angaros in 1997. The Antioch package contains the Greek unicode font Vusillus Old Face (2002), which was digitized by Ralph Hancock based on English typefaces from the 18th century. Hancock also designed Mediolanum, one of the first Greek typefaces, developed in Northern Italy at the end of the 15th century. [Google] [More]  ⦿

Antonio Hernández Marín
[El Circulo de Oro de Uresh-Nefer]

[More]  ⦿

Antonis Margaronis

During his studies at TEI in Athens, greece, Antonis Margaronis (b. 1992) created the display typeface Zipper (2014). [Google] [More]  ⦿

Antonis Tsolomitis
[Kerkis]

[More]  ⦿

Antonis Tsolomitis
[Laboratory of Digital Typography and Mathematical Software]

[More]  ⦿

Aoife Mooney

Irish graduate from the type design program at the University of Reading in 2010, who joined Hoefler&Frere-Jones in New York in 2011 as type designer.

She designed Magnimo while at Reading. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. Magnimo is a big-hearted typeface with many moods and voices. I am quite impressed by this three-style typeface (Regular, Italic, Upright Italic), which, with its lively angular design, seems just right for green party and energy drink magazines. All the extra features expected of a 2010 typeface are there, including a matching and nicely balanced Greek, and coverage of most European diacritics. Additional scans: i, ii, iii.

Based in Brooklyn, she worked as a full-time typeface designer for the globally acclaimed Hoefler & Frere-Jones Type Foundry in New York City. While at H&FJ, Aoife worked as part of the design team on a number of typeface design projects including the Idlewild family.

She moved to Akron, Ohio, where she continues to work as a freelance typeface designer for H&FJ. She is a part-time teacher at Kent State University, and participates in Crafting Type. [Google] [More]  ⦿

Apostolos D. Tsiovaras
[Cursor Design]

[More]  ⦿

Apostolos Syropoulos

Xanthi-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis). He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets. It was specially made to print the Philokalia books. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Epi-Olmec (2008) is an Aztec dingbat font. In support of the href="http://openfontlibrary.org/member/asyropoulos">Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been "used" in Iceland. Original drawings from the Museum of Sorcery&Witchcraft). He also made Asana Math (2007), which also has references to Young Ryu (2000) and Claudio Beccari (1997-1999). Kernest link. [Google] [More]  ⦿

Apostrophic Laboratory
[Fredrick M. Nader]

One of the most dynamic foundries from 2000 until 2003. The "Lab" was run by Apostrophe (Fredrick Nader) and was based in Toronto. It has produced well over 1000 original free fonts, in all formats (type 1, truetype, and opentype, PC and Mac), and nearly all fonts have full character sets. Many have character sets for extended European languages and Cyrillic as well. It was for a few years the only active producer of multiple master fonts. Download site at Typoasis. Original URL, now being reworked. Highlights:

  • Miltown (from the Matrix movie).
  • Fluoxetine (old typewriter).
  • Desyrel (handwriting, Dana Rice).
  • PicaHole-1890Morse font.
  • Ritalin has almost 500 glyphs, and is a family designed for Latin, Greek, Turkish, eastern European, Cyrillic and Baltic.
  • The 3-axis multiple master ImpossibleMM (of Mission Impossible fame).
  • Carbolith Trips (letters from cuneiforms).
  • Diehl Deco (revival of 1940 lettering by Wooster Bard Field; with Marley Diehl).
  • Textan (with Rich Parks or Richard D. Parker; inspired by the Chinese Tangram).
  • Poultrygeist (horror comic font).
  • Hard Talk (an R-rated font by Slovenian Marjan Bozic).
  • Independant (with Phynette; a faithful revival of a 1930s font by Collette and Dufour for Maison Plantin in Belgium---a fantastic Art Deco font family).
  • Metrolox ("Enemy of the State" font, with Karen Clemens; a Unicode font with 567 glyphs for over 20 Latin-based languages and some math symbols).
  • Komikaze, Komikazba, Komikahuna and Komikazoom (comic book fonts: 1280 glyphs for Latin, Greek, Cyrillic, Baltic, Turkish, East-European, with dingbats and Braille).
  • Republika (a 300-font techno family; read about it here).
  • ChizzlerMM (3-axis multiple master, a reworked version of Graham Meade's Chizzler).
  • Street (a 87-font family by Graham Meade).
  • Amerika (fantastic Armenian-look font series, with support for Greek, Cyrillic/Russian, Baltic, Turkish and Central European).
  • The dingbats Eyecicles and Texticles, both with Graham Meade.
  • Insula (2001, a Celtic/uncial font with Cybapee).
  • Komika (2001, 50 comic book fonts designed with Vigilante).
  • Labrit (a great Fraktur font, with Graham Meade).
  • Frigate (a Roman-kana font by Melinda Windsor).
  • Scriptina (an unbelievable calligraphic font by Apostrophe, 2000-2001). In 2010, CheapProFonts published an extension, Scriptina Pro.
  • Freebooter Script (an equally unbelievable calligraphic font by Graham Meade, 2001).
  • Choda (a display font like none you have seen before; Apostrophe and Meade, 2001).
  • Endor (with Meade, a Gothic font; 2001).
The list of designers and their fonts:
  • Apostrophe [dead link]: Day Roman (2002, the first digitization of Fr. Guyot's "Two Line Double Pica Roman", designed in the early 1600s), Bombardier (2002), Propaganda (2002), PropagandaCyrillic (2002), PropagandaGreek (2002), Contra (2003), Ergonome (2002), Ergonomix (2002, techno dingbats), Alfabetix (2002), SoMM (2002, a multiple master font), Templo (2001, a pixelish font), Zoloft, Miltown, Witches Brew, Celexa, Labrat, Effexor, Fluoxetine, Tralfamadore, Halcion, RxMM, Paxil, Valium, Fight This, Ritalin, Xanax, Maskalin, PicaHole, ImposMM, MiltownII, Carbolith, Komikaze, Komikazoom, Komikahuna, Diogenes, Komikazba, MistressScript, Sledge, Mary Jane, Republika, StarBat, Merkin, Erectlorite, Halter, Estrogen, Steinem (based on Dalton Maag's British Steel typeface), Lab Mix, Mary Jane II, Amerika, Masque, Konfuciuz, Mastodon, Broad, Amerika Sans, Scriptina, Karnivore, Cholo, Sedillo and Reprobate (all three based on Mike Sedillo's handwriting, 2001), Templo (screen font family, 2001).
  • Marjan Bozic and Apostrophe: Hard Talk.
  • Karen Clemens and Apostrophe [dead link]: Wellbutrin, Metrolox, Jagz.
  • CybaPee and Apostrophe [dead link]: Cyclin, Lady Ice, Insula.
  • CybaPee [dead link], Graham Meade and Apostrophe: Yellowswamp, Lady Ice revisited.
  • Steve Deffeyes: Loopy.
  • Marley Diehl and Apostrophe: Diehl Deco.
  • Fleisch and Apostrophe: Colwell, Hadley.
  • Steve Graham: Hypnosis.
  • Frank Guillemette and Apostrophe: Ankora.
  • Jeri Ingalls and Apostrophe: Paxil.
  • Neumat Ick and Apostrophe: Icklips, Powderfinger.
  • Keya Kirkpatrick: Extasy
  • Keya Kirkpatrick and Apostrophe: Kimono.
  • Jeff Lan: Healthy Alternative, Haven Code.
  • Su Lucas and Apostrophe: Barbarello.
  • Brigido Maderal and Apostrophe: Lab Bats.
  • Graham Meade: Quastic Kaps (8-weight family, 2003), Quixotte (2002), Mechanihan (2002), Kameleon (2002), Lady Ice Extra (2002), Gizmo (2002), Zillah Modern (2002), Wazoo (2002), JamesEightEleven (2002), Equine (2001), Street Corner (2001), Freebooter Script, Street (31 font sans and slab serif), Bipolar Control, Lane, Street, Street Slab, 2nd Street, Kronika, Thong, Whackadoo Upper, Charrington, Lady Copra, Zebra, Extra Meade Pack, Control Freak, Dekon, Asenine, Heidorn Hill (a Fraktur font), Castorgate, Troglodyte.
  • Graham Meade and Apostrophe: Moondog (2001), Choda, Futurex, Duralith, Epyval, BooterMM, Pamelor, Sabril, Erinal, Karisma, Whackadoo, Bicicles, Drummon, Primary Elector, Youthanasia, Grunja, Prussian Brew, ChizMM, Luciferus, Labtop, Gilgongo, Labrit, Kandide, Brassiere (which became the commercial typeface Ipscus in 2009), Eskargot, Endor, Labag.
  • Graham Meade and Rich Parks: Luteous, Luteous II.
  • Link Olsson and Apostrophe: Librium, Severina, Poultrygeist, Extrano, Komikandy.
  • Rich Parks and Apostrophe: Textan, Glaukous, Textan Round, TexSquareMM, TexRoundMM.
  • Alejandro Paul and Apostrophe: Fontcop, Usenet, Cayetano, Elektora.
  • Evelyne Pichler: Sindrome.
  • Evelyne Pichler and Apostrophe: 1910 Vienna.
  • Phynette and Apostrophe: Independant.
  • Peter Ramsey and Apostrophe: Distro, Futurex Distro (2001).
  • Dana Rice and Apostrophe: Desyrel, Lilly.
  • Wayne Sharpe: Ovulution I and II.
  • Jessica Slater: Wiggles.
  • Jessica Slater and Apostrophe: McKloud.
  • Derek Vogelpohl: Phosphorus, Florence sans, Plasmatica, Covington, Avondale, Phosphorus II.
  • Melinda Windsor: Plastic, Frigate.
  • Robby Woodard: Ashby (2001).
  • WolfBainX and Apostrophe: Tribal, Komika.
  • Yol: Traceroute.
Font Squirrel link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Appligraph Ltd

Greek outfit which made AGIerissosE (1993-1995) and AGVienessaC (1997). The latter is a nice Greek script. Download them here. Here, one finds these 1995 fonts for Latin and Greek: AG-Aircraft_B-NPln-NormalItalic, AG-AtlanticInlineExt-Normal, AG-BrushesExt-HeavyItalic, AG-Helvet924Pln-Normal, AG-ImpulsExt-BoldItalic, AG-Kinga_E-Bold, AG-Lithos_E-Normal, AG-MonaLR_E-Normal, AG-Vakus_C-Heavy, AG-Vakus_C-HeavyItalic, AG-Vikings_C-Normal, AG-Vikings_P-NormalRev, AG-Vivis_E-Normal, AG-Zeues_E-Normal, AGAdonisPlnBold, AGBauhausBNPlnNormalItalic. [Google] [More]  ⦿

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies. Only commercial stuff for Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Archaeological Fonts (by Bonneville Electronics)

Mayan, hieroglyphs, cuneiform, Syriac, etc.: commercial site located in West Clinton, Utah. Free demos. Etruscan, old Greek, old Hebrew, archeological fonts. Run by Scott T. Smith from Clinton, Utah. Plus Native American dingbats. [Google] [More]  ⦿

archaic
[Peter R. Wilson]

Peter R. Wilson's metafont code (2000-2005) for many archaic languages: Proto-Semitic (16bc), Phoenician (10bc), Greek (6bc), Greek (4bc), Etruscan (8bc), Futharc (Anglo-Saxon, 6ad), Hieroglyphics (30bc: the hieroglf provides a Metafont version of about 80 Egyptian hieroglyphs from Serge Rosmorduc's comprehensive hieroglyph package, see here for a type 1 version called Archaic-Poor-Mans-Hieroglyphs (2005)), Cypriot (9bc). Peter also developed metafont fonts for bookhands. The Archaic ollection contains fonts to represent Aramaic, Cypriot, Etruscan, Greek of the 6th and 4th centuries BCE, Egyptian hieroglyphics, Linear A, Linear B, Nabatean old Persian, the Phaistos disc, Phoenician, proto-Semitic, runic, South Arabian Ugaritic and Viking scripts. The bundle also includes a small font for use in phonetic transcription of the archaic writings. The bundle's own directory includes a font installation map file for the whole collection. The authors are Peter R. Wilson, Uwe Zimmermann and Apostolos Syropoulos. See here for the type 1 fonts Archaic-OandS (2005) and Archaic-OandS-Italic (2005). Here we find type 1 versions called Square-Capitals (2005) and Square-Capitals-Bold (2005). He also made the type 1 faces Archaic-Etruscan (2005), Archaic-Runic (2005) and Archaic-ProtoSemitic (2005). Further packages of type 1 and metafont fonts: Archaic-Aramaic (2005), South Arabian (2005, for the South Arabian script, in use for about 1000 years from roughly 600 BC; based on a metafont by Alan Stanier), Archaic-Linear-B (2005: a syllabary used in the Bronze Age (15bc) for writing Mycenaean Greek), Archaic-Nabatean (2005: the Nabatean script used in the Middle East between the fourth centuries BC and AD), Archaic-Old-Persian (2005: the Old Persian Cuneiform script in use between about 500 to 350 BC.), Archaic-Ugaritic-Cuneiform (2005: the Ugaritic Cuniform script in use about 1300 BC), Archaic-Cypriot (1999-2005). [Google] [More]  ⦿

Archäologie Online

Archive with some rune, medieval and Greek fonts. Alternate URL. [Google] [More]  ⦿

Ardas 2001

Some Greek fonts. Page makes my browser crash. [Google] [More]  ⦿

Area Download

Free Georgian, Cyrillic, Greek, Armenian, Coptic and Gothic Truetype fonts. [Google] [More]  ⦿

Areopag.com

Victor Kalashnikov's Greek, Hebrew and Old Church Slavonic truetype font archive. Contains a few goodies such as the dingbats called FaithOrnaments (Proclaim Communications, 1994) and OldChurchSlavonic (Monotype). In all, about 100 Greek, Old Church Slavonic and Hebrew fonts. Among the Hebrew fonts, we find Moses Judaika, Pecan Sonc, and Gideon Medium. [Google] [More]  ⦿

Arev Fonts
[Stephen Schrenk]

Motivated by mathematical applications, the "Arev" set of fonts adds Greek, Cyrillic, Latin-A, and some Latin-B, and Symbol characters (music and math, mainly) to Bitstream's Vera fonts. Stephen Schrenk (whose nom de plume is Tavmjong Bah) created the Arev Sans font. The text accompanying the Arev Sans package is: The package arev provides virtual fonts and LaTeX packages for using Arev Sans. Arev Sans is a derivative of Bitstream Vera Sans created by Tavmjong Bah by adding support for Greek and Cyrillic characters. Bah also added a few variant letters that are more appropriate for mathematics. The primary purpose for using Arev Sans in LaTeX is presentations, particularly when using a computer projector. Arev Sans is quite readable for presentations, with large x-height, "open letters," wide spacing, and thick stems. The style is very similar to the SliTeX font lcmss, but heavier. Stephen Hartke converted Arev Sans to Type 1 format, and created the virtual fonts and packages for using Arev Sans in LaTeX. [Google] [More]  ⦿

Ari Rafaeli
[ARTypes]

[MyFonts] [More]  ⦿

Arial Unicode MS

Monotype's Arial Unicode MS is a huge Monotype font available in Office2000 and various random sites (such as the Microsoft link provided). Developed in 1999 by Robin Nicholas and Patricia Saunders, it is a full kerning-pairless unicode font with 51180 glyphs. [Google] [More]  ⦿

Arno Teigseth

Designer in 2008 of WtDoWtlibraryDocMarkup02, WtFoSerifBook, WtGrGrecianBook (Greek), WtHeFrankRihellBook, WtOnOrnament, WtUDiZapfDinItcL. These fonts are seemingly unfinished. [Google] [More]  ⦿

Arquivos para baixar

Greek, Hebrew, Ugaritic and Meroitic font archive. [Google] [More]  ⦿

Art City
[Daniel Bak]

Artcity is a digital type foundry and lettering studio based in Legionowa, Poland. Artcity specializes in designing fonts for comic books and books for children. The principal, Daniel Bak, is the Warsaw, Poland-based designer of the free monoline signage typeface Sweet Melody (2012). In 2014, Sweet Melody became a commercial typeface. He also designed the comic book typefaces Wormtongue, Fatality, Uzurpator (2014) and Angry Ronin (2014), the hand-printed typeface Danny, the techno typeface Technikolor (2014), the poster typeface Jeffs Garage, the Latin/Cyrillic children's book font family Zira (2014), and the Latin / Cyrillic / Greek children's book typeface Cornelius (2014).

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

ARTypes
[Ari Rafaeli]

ARTypes is based in Chicago, and is run by Ari Rafaeli. UK-based pre-press production specialist who has made type 1 font revivals in 2006-2007, listed below. I am confused as this outfit seems to have grown out of Angus R. Shamal's ARS Type in Amsterdam. Who is who and what is what? List of typefaces categorized by revival type:

  • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
  • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
  • Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
  • Stephenson Blake revivals: Borders, Parisian Ronde.
  • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
  • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
  • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
  • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
  • Max Caflisch (Bauer) revival: Columna.
  • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
  • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
  • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
  • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
  • F. H. E. Schneidler (Bauer) revival: Legende.
  • Herbert Post revival: Post-Antiqua swash letters.
  • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
  • Hermann Zapf revival: Stempel astrological signs.
  • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
  • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
  • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
  • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
  • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
  • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
  • Ernst Bentele revivals: Bentele-Unziale (2007).
  • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
  • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
  • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
  • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
  • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
  • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
  • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
  • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
  • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
  • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
  • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
  • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
  • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
  • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
  • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
  • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
  • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
  • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
  • Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
MyFonts link.

View the typefaces made by Ari Rafaeli / ARTypes. [Google] [MyFonts] [More]  ⦿

As Symbols

Greek outfit which made Byzantine (2000), a Greek font that can be downloaded here. [Google] [More]  ⦿

Ascender Corporation

Elk Grove Village, IL-based company established in 2004, which specializes in font development, licensing and IP protection. It rose from the ashes of a major fire at Agfa/Monotype at the end of 2003. Its founders are Steve Matteson (type designer, formerly with Agfa/Monotype), Thomas Rickner (of Microsoft fame, where he hinted many Microsoft families), Ira Mirochnick (founder and President of Monotype Typography Inc in 1989 (where he was until 2000) and a Senior Vice President and director of Agfa Monotype Corporation (2000-2003), a self-proclaimed expert in font licensing issues and IP protection), and Bill Davis (most recently the Vice President of Marketing for Agfa Monotype). Also included in this group are Josh Hadley, Brian Kraimer, Jim Ford (since 2005), and Jeff Finger (as Chief Research Scientist, since 2006). On December 8, 2010, Ascender was acquired by Monotype for 10.2 million dollars.

Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength" Grotesk designed to compete with Helvetica and Arial; it supports Greek, Cyrillic and East European languages).

In April 2005, Ascender announced that it would start selling the Microsoft font collection, which is possibly their most popular collection to date. They also started selling and licensing IBM's Heisei family of Japanese fonts in April 2005: Heisei Kaku Gothic, Heisei Maru Gothic and Heisei Mincho. Also in 2005, they started distributing Y&Y's Lucida family.

In October 2005, Ascender announced the development of Convection, a font used for Xbox 360 video games. Their South Asian fonts cover Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil and Telugu, and include Ascender Uni, Ascender UniDuo and Arial Unicode for general use across all Indic languages, and, in particular, the Microsoft fonts Vrinda (Bengali), Mangal (Devanagari), Shruti (Gujarati), Raavi (Gurmukhi), Tunga (Kannada), Kartika (Malayalam), Latha (Tamil) and Gautami (Telugu). Khmer SBBIC (2011) is a Khmer font at Open Font Library.

It does more type trading and licensing than type creation, although Steve Matteson has contributed fairly well to their new typefaces. Their brand value took a hit when they started selling scrapbook, handwriting and wedding fonts under the name FontMarketplace.com.

Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.

In 2009, they started a subpage called GoudyFonts.Com to sell their Goudy revivals.

In 2010, they announced a new collection of OpenType fonts created specifically for use in Microsoft Office 2010: Comic Sans 2010 (including new italic and bold italic fonts), Trebuchet 2010 (including new black&black italic fonts), Impact 2010, Pokerface 2010, Rebekah 2010 and Rebus Script 2010. Ligatures in Comic Sans?

New releases.

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

Athenian Font
[Jeffrey Rusten]

"TrueType "Athenian" is part of GreekKeys, the Macintosh/Windows font + keyboard package designed by George B. Walsh and Jeffrey Rusten, and owned by the American Philological Association. The font contains all common ancient Greek (polytonic) accents and symbols; it is to be used on Macintosh and Windows (3.1 or 95) for READING Classical Greek with Perseus (on the Web page or the CD version) and in other publicly available ancient Greek texts." This font is free. Walsh died, but Jeffrey Rusten was at Emory University, Atlanta, and is now at Cornell University. See also here. Alternate site. Mac and PC. Mac version. Another Mac version. IMPORTANT NOTE: The font was withdrawn by Jeffrey Rusten, so PLEASE do not bother him. The present link still has the font, but Rusten asked me to ask you not to use the font. [Google] [More]  ⦿

AthenMacGr

AthenMacGr is freeware for MacOS X written by Julian A. Salort from Marseille. On this page, you can download the Mac version of Athenian. [Google] [More]  ⦿

Athens School of Fine Arts

From Natasha Raissaki's web page: The Athens School of Fine Arts has reopened its historic printing workshop. The workshop was initially founded by Yiannis Kefallinos the engraver, teacher and founder of the engraving course at the Athens School of Fine Arts in 1939, but after his death in 1959 the course and its premises had ceased to operate. In 2004, the printing workshop was refurbished and all its typographic equipment (metal types, typecases, presses etc.) were restored through the copious efforts of Professor Leoni Vidali and her team. This academic year [2005-2006] is open to students as a two-year lab course, during which they will be taught hand type setting and page layout which they will complete with traditional or digital methods. [Google] [More]  ⦿

Avi Fonts
[Panayotis Katsaloulis]

The Avi Fonts were made for a Greek company located in Athens, called Aviette or Avisoft. This free set of multi-accented Latin/Greek fonts is available since 2004-2005 with Debian Linux: AVI-BonatiPT-Bold, AVI-BonatiPT-BoldItalic, AVI-BonatiPT-Italic, AVI-BonatiPT-Normal, AVI-Jacobs-Bold, AVI-Jacobs-BoldItalic, AVI-Jacobs-Italic, AVI-Jacobs-Normal, AVI-Optima-Bold, AVI-Optima-BoldItalic, AVI-Optima-Italic, AVI-Optima-Normal, AVI-OptimaCollege-Italic, AVI-OptimaCollege, AVI-ParisAifel-Medium, AVI-ParisAifel-MediumItalic. The authors are Atanasio, and Panayotis Katsaloulis. See also here. Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area in the GNU Freefont project: (U+1F00-U+1FFF). [Google] [More]  ⦿

Babis Touglis

Babis Touglis studied graphic design at the National Design School (TEI) /Athens and graduated in 1995. Before opening his own studio, he worked for the national newspaper BHMA and the advertising agency Karamella. In 2007 he founded the Odd Company studio with three other designers. He has collected several national and international awards including 7 EVGE Awards and 2 Ermis Awards. He participated with his works in several art exhibitions for Amnesty International and the ED Awards. Babis specializes in web design which is one of the reasons he designed several pixel fonts.

In 2006-2007, he published PF Uniform Pro (Parachute), a monospace pixel font that covers Cyrillic, Latin and Greek. Other typefaces developed for Parachute include PF Pixel Script, PF Basic and PF Alfa Pix. Klingspor link. [Google] [More]  ⦿

Babylon Lingua

William Ramey's pages on Akkadian, Aramaic, Assyrian, Coptic, Cuneiform, Cyrillic, Egyptian, Greek, Hebrew, Hieroglyphics, Latin, Meroitic, Nahkt, Phoenician, Sumerian, and Ugaritic. [Google] [More]  ⦿

Backpacker
[George Triantafyllakos]

Free Latin and Greek fonts: BPLatinNumerals, BPbigHead, BPchildLefty, BPchildFatty, BPchubby, BPchubbyFat, BPdots, BPilialena, BPletterSquares, BPletterSquaresWide, BPmolecules, BPmouse, BPmyhand, BPneon [paperclip face], BPpong [light stencil face], BPsquareHand, BPtall, BP PhD Sans, BP PhD Italic, BP PhD Mono, BP Inktrap, BP Script. These include quite a few handwriting faces. Commercial handwriting fonts at Cannibal: BPPallas, BPOlga, BPMaria, BPHaroula. These fonts were made by George Triantafyllakos (b. 1980) from 2001 to 2005. In 2007, he added BP display black, BP mono and BP mono italics, and BP script. In 2008, BPreplay was created as a correction of MgOpenModata. Creations in 2009 and 2010: BPOApeloig, BPScript, BP Typewrite, BP Imperial (think Impact), BP Dots (30 monospaced dot fonts). In 2004, he was a PhD student, Department of Informatics, Aristotle University of Thessaloniki. Dafont link. Fontsquirrel link. [Google] [More]  ⦿

Banned Graphics
[Aimilios Galipis]

Thessaloniki-based designer of Romantica (2012), a grungy typeface for Latin and Greek. In 2013, he made Bad Font.

Behance link. [Google] [More]  ⦿

Barsik

WTLHebraica (1997), WtlHebrew, WtlGreek. Dead link. [Google] [More]  ⦿

Bayer Corp

A collection of fonts from Bayer Corp (1995): AlbertusExtraBoldW1, AlbertusMediumW1, AntiqueOliveW1, AntiqueOliveW1Bold, AntiqueOliveW1Italic, AvantGardeBook, AvantGardeBookOblique, AvantGardeDemi, AvantGardeDemiOblique, Bookman, BookmanDemi, BookmanDemiItalic, BookmanItalic, CGOmegaW1, CGOmegaW1Bold, CGOmegaW1BoldItalic, CGOmegaW1Italic, CGTimesW1, CGTimesW1Bold, CGTimesW1BoldItalic, CGTimesW1Italic, CenturySchlbkBold, CenturySchlbkBoldItalic, CenturySchlbkItalic, CenturySchlbkRoman, ClarendonCondensedW1Bold, CoronetW1Italic, GaramondW1Antiqua, GaramondW1Halbfett, GaramondW1Kursiv, GaramondW1KursivHalbfett, Helvetica-Narrow, Helvetica-NarrowBold, Helvetica-NarrowBoldItalic, Helvetica-NarrowItalic, Helvetica, HelveticaBlack, HelveticaBlackOblique, HelveticaBold, HelveticaBoldItalic, HelveticaItalic, HelveticaLight, HelveticaLightOblique, LetterGothicW1, LetterGothicW1Bold, LetterGothicW1Italic, MarigoldW1, PalatinoBold, PalatinoBoldItalic, PalatinoItalic, PalatinoRoman, UniversCondensedW1Bold, UniversCondensedW1BoldItalic, UniversCondensedW1Medium, UniversCondensedW1MediumItalic, UniversW1Bold, UniversW1BoldItalic, UniversW1Medium, UniversW1MediumItalic, ZapfChanceryMediumItalic, ZapfDingbats. See also here. Further fonts are here. Bayer's Courier families for Greek, East-European, Cyrillic, Turkish and Latin. Type 1 collection. All these fonts are in fact part of an old Lexmark printer package. [Google] [More]  ⦿

Bee.Com

Greek truetype fonts: Arial, Courier, Times, Fun. Mac and PC. All by Pouliadis Associates. [Google] [More]  ⦿

Ben Jones
[Protimient.com]

[MyFonts] [More]  ⦿

Ben Kiel

Ex-graduate student of typography at the University of Reading, who joined House Industries (Wilmington, DE) in 2006 to work as a typeface designer, director, and developer. He also worked with Ken Botnick at emdash. He runs Typefounding, a typeface design and production studio in St. Louis, Missouri. He teaches at Washington University in St. Louis and the Type@Cooper certificate program at Cooper Union, and has taught at the Maryland Institute College of Art and the University of Delaware.

He designed Katje and Cimarron (2005, University of Reading, a serif family with support for Latin and Greek). Speaker at ATypI 2006 in Lisbon on Python scripts for FontLab and RoboFab. Image.

In 2011, Vincent Pacella, Ben Kiel and Adam Cruz created the fat slab serif face Goliath, based on Film No. 6206 in the PhotoLettering archive. West Barnum Ultra, designed by Dave West and digitized by Ben Kiel&Adam Cruz in 2011, was film no. 5494 in the original Photo-Lettering archive.

At House Industries, he redesigned the iconic Rea Irvin lettering for The New Yorker in September 2013.

Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It was inspired by Swedish illustrator's Cecilia Carlstedt's hand-painted lettering. It follows one year after a similar signage script typeface, Carlstedt Script (2013), also codesigned by Jesse Ragan and Ben Kiel---it was a custom signage typeface for Aldo Shoes. [Google] [More]  ⦿

Bible Study Tools

BST Greek, BST Hebrew fonts. Free, Mac and PC. [Google] [More]  ⦿

Bible Works Fonts
[Michael S. Bushell]

Free original fonts, bwgrkl, bwgrkn, bwhebb, for Greek and Hebrew. Postscript and truetype. Other fonts include BWVIET, BWEESS, BWEETI, and BYSYMBOL. Check also Maranatha Church. Alternate URL. Alternate URL. Yet another URL. [Google] [More]  ⦿

Bigelow&Holmes
[Charles Bigelow]

Bigelow&Holmes was founded by Charles Bigelow and Kris Holmes. Charles Bigelow (b. 1945, Detroit) is a type designer and teacher, who runs his own studio, Bigelow&Holmes. Bigelow was a colleague of Danolad Knuth at stanford University when Knuth developed his Computer Modern typeface family for TeX. In mid-2006, Bigelow accepted the Melbert B. Cary Distinguished Professorship at Rochester Institute of Technology's School of Print Media. Typefaces designed by Bigelow:

  • The Lucida family (1985) is used in several scientific publications such as Scientific American. Its iorigins go back to Computer Modern. I find it more appropriate for screens than paper, but that is just a personal view. The Lucida family contains LucidaConsole (1993), LucidaSansTypewriter (1991), LucidaFax, LucidaCalligraphy, LucidaBright, Lucida Blackletter (1991, a bastarda) and Lucida Handwriting. It has been recently expanded to comply with the Unicode Standard, and includes non-Latin scripts such as Cyrillic, Greek, Arabic and Hebrew. Charles Bigelow created the font families Lucida Math (with Kris Holmes, 1993), Lucida Sans (with Kris Holmes, 1985), Lucida Typewriter Sans (with Kris Holmes, 1985) and Lucida Serif (with Kris Holmes, 1993). The paper by Charles Bigelow and Kris Holmes, The design of a Unicode font (Electronic Publishing, 1993, pp.289-305), explains the design issues such as letter heights, readability studies, and typeface designs for readers versus non-readers of the various scripts.
  • Syntax Phonetic.
  • Leviathan (1979).
  • Apple Chicago (1991), Apple Geneva (1991).
  • Microsoft Wingdings (1992).
Ascender link. Wikipedia link. FontShop link. Klingspor link. Font Squirrel link. Ascender link. [Google] [MyFonts] [More]  ⦿

Bitstream Cyberbit

From Bitstream's web page: "Bitstream Cyberbit is our award-winning international font. Based on one of our most popular and readable type designs (Dutch 801 BT [note: Bitstream's version of Times and Times New Roman]), it includes all the typographic characters for most of the world's major languages. Cyberbit is now available! The product release includes the roman weight of Dutch 801 BT, a "serif" font. (A serif font has small finishing strokes at the end of the main stems, arms, and tails of characters, while a sanserif font does not.) The font is in TrueType format for Windows 95 and Windows NT. Future releases will provide support for "sanserif" typefaces, other platforms, other font formats, and even more languages. Bitstream Cyberbit is a work in progress. Bitstream is now distributing the roman weight of Cyberbit, free of charge, over the Internet! Remember, this release is in TrueType format for Windows 95 and Windows NT". --- Well, Bitstream no longer offers the font. It is still out there however. Try here, here, here, or here. Has these unicode ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, Spacing Modifier Letters, Greek, Cyrillic, Hebrew Extended (A and B blocks combined), Thai, Latin Extended Additional, General Punctuation, Currency Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Dingbats, Alphabetic Presentation Forms, Combining Diacritical Marks, Enclosed Alphanumerics, Arabic, Arabic Presentation Forms-A and -B, CJK (Chinese, Japanese, Korean) Symbols and Punctuation, Hiragana, Katakana, Bopomofo, Hangul Compatibility Jamo, Enclosed CJK Letters and Months, CJK Compatibility, Hangul, CJK Unified Ideographs, CJK Compatibility Ideographs, CJK Compatibility Forms, Small Form Variants, and Halfwidth and Fullwidth Forms. [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]  ⦿

Bob Studio

Bob is an independent design studio based in Athens. They designed the Greek grotesk display typeface Koukaki (2012). Behance link. [Google] [More]  ⦿

Bold Monday
[Pieter van Rosmalen]

Bold Monday is an independent font foundry established by Paul van der Laan and Pieter van Rosmalen and based in The Hague, The Netherlands. Pieter himself lives in Eindhoven.

Typefaces: Capibara (squarish, done in 2007 by van Rosmalen), Feisar (techno), Flex (sans), Nitti (monospaced, done in 2008 by van Rosmalen), Panno (sans, done in 2008 by van Rosmalen), Panno Text (2008-2010, a sans by Van Rosmalen and van der Laan), Naomi (1999), Nitti2 Typewriter (2009, by Van Rosmalen at Caketype), Nitti3 (2011, like Nitti2, but also with monotonic Greek), Nitti Grotesk (2012-2014), Pinup (fat rounded sans, done in 2008 by van Rosmalen), Pixel Package, and Stanley (headline face, done in 2008 by van Rosmalen; includes a stencil).

In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly).

In 2013, he published Pinup Dotted (a textured typeface) and Oskar. They write: Oskar, designed by Paul van der Laan, is a typeface inspired by Dutch architectural and advertising lettering from the early 20th century. Particularly the style of lettering that was painted on walls and shopfronts, or executed in metal on buildings. This kind of typography did not exist as metal printing types, but was instead painted manually by sign painters, or drawn by architects. Initially the typeface was designed in 2002 for the lettering of a monumental school in The Hague, designed by architect Jan Duiker in 1929.

Pieter designed custom typefaces for worldwide clients amongst others Agis, Audi, Teldesign, KPN, The government of South Korea (road signing), The Ministry of Transport, Public Works and Water Management (OV Chipcard), USA Today and NBCUniversal.

Logo.

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

Borutta
[Mateusz Machalski]

Borutta is the creative studio of Warsaw-based designer Mateusz Machalski. He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).

In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN.

Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display faces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.

Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (organic sans family), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic), Korpo Sans (+Greek and Cyrillic).

Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro.

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

Botio Nikoltchev
[Lettersoup]

[MyFonts] [More]  ⦿

Brett T. Johnson
[Simeon out West Foundry]

[MyFonts] [More]  ⦿

Brian Hamilton Kelly

Designer of a metafont family of Greek fonts based on Knuth's Greek characters in the CM fonts. Kelly's fonts come in roman, bold, italic, and typewritter typefaces, but they lack accents and breathing marks, so they are not suitable for use with ancient Greek text. [Google] [More]  ⦿

Brian Jongseong Park

Seoul-based designer who is working on the serif faces Naxia (2007, Greek) and Dobong (2006). He created Dobong (2006), which covers Latin, Greek, Cyrillic and Hangul. [Google] [More]  ⦿

Bridge Postcard Collector's

Truetype download: CourierNewPSMT (East-European font by Monotype), HellasCour (Greek font by Pouliadis Associates, 1992), VPS-Courier-Hoa (VPS font: Vietnamese), VPS-Courier (VPS font: Vietnamese). [Google] [More]  ⦿

Brill
[John Hudson]

Academic publisher in Leiden, The Netherlands. In 1989, DecoType produced the first ever computer-typeset Persian and English dictionary for them. In 2009, Brill has resumed its 325 year old tradition of Arabo-Dutch typography by adapting Tasmeem for its Arabic texts. In 2008, Brill commissioned John Hudson to make a text face. Hudson's PDF explains how Brill had been working mostly with Baskerville, so the new Brill typeface is also transitional, but narrower, resulting in savings of paper. Greek and Cyrillic are covered by Brill as well.

In 2012, Brill was made available for free download for non-commercial use. While Brill is an original design by John Hudson, the blackletter range of characters was made by Karsten Lücke. Gerry Leonidas and Maxim Zhukov were consulted for Greek and Cyrillic, respectively. The fonts follow Unicode and contain nearly all symbols people in the humanities may ever need. [Google] [More]  ⦿

British Library

Publishers of the free font Reader Sans, which covers Cyrillic, Greek, Latin, Hebrew and Slavonic. The copyright says Bitstream. [Google] [More]  ⦿

Bruno Maag
[Dalton Maag]

[MyFonts] [More]  ⦿

Burim Loshaj
[Loshaj Foundry]

[MyFonts] [More]  ⦿

Byzantine Fonts to Download Thread

Discussion on Byzantine fonts. [Google] [More]  ⦿

Byzantine Music Fonts
[Ioannis A. Vamvakas]

The Byzantine Music Fonts (2005) were designed by Ioannis A. Vamvakas. Aesthetic help came from Panagiotis Kotopoulis. The metafont contains the Jesus Christ symbol, Greek Capital Letters, and music symbols. Byzantine music is the official ecclesiastical music used by the Greek Orthodox Church. Alternate URL. [Google] [More]  ⦿

Byzantines Grammatoseires

Byzantine era Greek fonts: Byzantine (2000, As Symbols), AGIerissosE (1993-1995, Appligraph Ltd), MgDimitriosUCPolItalic (2000. Magenta Ltd), AGVienessaC (1997, Appligraph Ltd). [Google] [More]  ⦿

Camille Moisset

Designer of the free font KM Standard TT (2014, OFL) during a course at ERG in Brussels. This typeface is based on Alexey Kryukov's Old Standard TT (2006-2008). It is a bold didone family for Latin, Cyrillic and Greek with small stencil cuts in the Latin section. [Google] [More]  ⦿

Cannibal Fonts
[Panos Haratzopoulos]

Greek commercial foundry specializing in Greek fonts, founded in 1995 by Yiannis Kouroudis (b. 1962) and Panagiotes (Panos) Haratzopoulos (b. 1967). Regulars include Y. Kouroudis, T. Katsoulidis, D. Arvanitis, H. Charalambous and A. Bakas. Some fonts are Greek extensions of the major Western fonts (such as the fonts from Emigre, Berthold Types, FontShop, Commercial Type, Font Bureau, House Industries).

Original fonts include CF2 Allegro, CF2 Ancient Symposium, CF2 Anteus, CF2 Baby, CF2 Bac, CF2 Bar, CF2 Big, CF2 Bizzare, CF2 BlastGothic, CF2 Bloco, CF2 Compacta Greek, CF2 Criton, CF2 Daphne, CF2 Darkroom, CF2 Deconstruction, CF2 Demo, CF2 Derrida, CF2 DiscoVolante, CF2 DogEatDog, CF2 Eteocles, CF2 Fat, CF2 Garamond Greek, CF2 Holly, CF2 HotMetal, CF2 Initials, CF2 KouroudisGraffiti, CF2 KouroudisSelect, CF2 Leda, CF2 Leftism, CF2 Liar, CF2 Marker, CF2 Matrix, CF2 Milk, CF2 Nervoso, CF2 Newspaper, CF2 Note, CF2 Painter, CF2 Poster, CF2 Sans, CF2 Semplice, CF2 Smooth, CF2 Sophia, CF2 Stamp, CF2 Stencil, CF2 Stonepen, CF2 Suprematica, CF2 Twins, CF2 Type, CF2 Undo, CF2 Urania, CF2 Venus, CF2 Vivace, CF2 X-Ray, Rotis Semi, Perpetua Hellenic, Serif Hellenic, Bolt Hellenic, Conduit Hellenic, Franklin Gothic Hellenic, Gill Sans Hellenic, Goudy Hellenic, Kabel Hellenic, Legacy Sans Hellenic, Meta FF Greek, Officina Hellenic, Perpetua Hellenic, Rotis Hellenic and Stone Sans Hellenic.

The designers include Demetres Arbanites (b. 1948), Yiannis Karlopoulos (b. 1967), Takis Katsoulides (designer of the Byzantian typeface Genesis Polytonic), Yiannis Kouroudis (b. 1962), Paris Koutsikos (b. 1967), Aggelos Mitakas (b. 1954), Vladimir Radibratovic (b. 1962, educated in Belgrade), Konstantinos Spaliaras (b. 1971), Blases Foteinos (b. 1968), Ektor Haralamitous (b. 1945), Panagiotes (Panos) Haratzopoulos (b. 1967).

Haratzopoulos and Bilak (Typotheque) made Fedra Serif Greek (2003). Their news page is handy.

New releases in 2005: Autokratorika, DIN Greek, Fedra Sans, Fedra Serif A Greek, Fedra Serif B Greek, Joanna Hellenic, Meta FF Greek, Perpetua Hellenic, Rotis Sans Hellenic, Rotis Serif/SemiSerif Hellenic, Zine FF Sans Display Greek, Zine FF Serif Display Greek.

Panos Haratzopoulos is the main contributor to Cannibal. Designer of Greek versions of FontFont fonts (e.g., Instant Types Greek, Isonorm Greek, and Meta 1 Greek), House Industries (Chalet Greek and Neutraface Condensed Greek in 2010, Neutra in 2007), Garagefonts (Freight Display and Big, in 2007), Typetrust (Kari in 2007), Monotype (Davison American Greek in 2007-2008), Commercial Type (2011, Stag Greek and Stag Sans Greek), Lineto (2011, Gravur Condensed), Font Bureau (Sloop Greek in 2008, Heroun Sans in 2007 [for Men's Health Magazine], Griffith Gothic (in 2005), Berthold Types (in 2005-2006: Block, Bodoni Old Face, Akzidenz-Grotesk, Formata and Imago), Typotheque (in 2003: Fedra Serif Greek, done with Peter Bilak), Emigre (Template Gothic, 2003, Keedy (2003), Cholla (2003), Arbitrary (2003) and Mason (2003)).

Custom fonts include Dimokratia (2010, for the Dimokratia daily), Wunderman Pencil (2011, for Wunderman AE), FF Unit Slab Greek (2009, by Panos for the Metro newspaper), Le Corbusier Greek (2009, based on a Nico Schweizer font, for Homme Magazine), Farnham Greek (by Panos for Eleftheros Typos based on FB Farnham by Christian Schwarz). Panos made three versions of Gotham Greek between 2004 and 2007 for different newspapers, Macedonia, Eleftheros and Domino. Panos and Yiannis Karlopoulos did custom work for Maxim Magazine in 2005, producing Proteus Project (originally a HFJ font) and Griffith Gothic Greek. Irene Vlachou and Panos created Amplitude and Franklin Antiqua Greek for AutoBild in 2007, and Esquire and Crank Greek for Esquire in 2004.

Corporate fonts include a Greek version of Neoritmo (Claudio Piccinini) for the titles of the Benaki Museum's new website, Yamaha Hellas (a Greek version of Yamaha Koolhoven, 2001), Ballisage Greek (2007, Irene Vlachou, for Leroy Merlin), Tartine Script Greek (2005, by panos for Uphill/Nestea), Urania Sato (2007, based on CF Urania), FNAC Greek (2008, based on the FNAC chain font by Olivier Nineuil originally done in 2005).

The font Gill Sans Hellenic (2000) was chosen for the corporate identity of the Olympic Games of Athens in 2004. The Greek version was designed by Hector Charalambous and was art directed by Panayiotis Haratzopoulos after permission for hellenization was given by Monotype. The font is available from Greek Digital Types.

In 2013, John Karlopoulos, Vassilis Georgiou, and Panos Haratzopoulos codesigned the signage typeface CF Majestic (2013).

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

Canonical Design
[Dalton Maag]

Design team that is related to Ubuntu. In 2010, they cooperated with the type design team of Dalton Maag to bring us free fonts for Ubuntu (called Ubuntu). Download the fonts: Ubuntu-Bold, Ubuntu-BoldItalic, Ubuntu-Italic, Ubuntu-Regular. Google Directory link for Ubuntu Mono (2010: free) and for Ubuntu Condensed. Announcement pages. The initial package contains Latin A+B Ext, Greek Polytonic and Cyrillic Extended, but lots of extensions are expected over the next few years.

Andrew Fitzsimon of Canonical Ltd created the font used in the logo of Ubuntu called Ubuntu-Title in 2005.

The package description reads: The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. Ralf Herrmann likes the font family but recalls that other typographers find Ubuntu too close to DTL Prokyon.

Dalton Maa's Fontspace link. [Google] [More]  ⦿

Carmelo Lupins

Designer of the free font "Greek Garamond". The page also archives some fonts by others, such as Academiury-ITV, CopticNormal, CopticNormal_II, Cyrillic-Regular, Greek-garamond-1.1, Greek-garamond, Greek, Linear-B, Masis, Ultima-Runes----ALL-CAPS, gothic-1. [Google] [More]  ⦿

Catherine

Greek designer of the free font Pumped Up Kicks (2011, hand-printed).

Dafont link. [Google] [More]  ⦿

cb fonts
[Claudio Beccari]

From 1997 until 1999, Turin-based Claudio Beccari created his cb fonts (metafont) for Greek by adapting Silvio Levy's Greek fonts. The cb-fonts are now the official fonts for the Greek option of the BABEL package. They are very complete and highly recommended. Type 1 versions here. In 2004, he added the CB Coptic family (metafont), which was based on files created in 1995 by Serge Rosmorduc. The type 1 fonts were made by using TeXtrace and pfaedit by Apostolos Syropoulos. The fonts: glic0700, glic0800, glic1000, glic1200, glic1382, glic1659, glic1991, glic2389, glic2866, glic3440, glic4128, glii0700, glii0800, glii1000, glii1200, glii1382, glii1659, glii1991, glii2389, glii2866, glii3440, glii4128, glin0700, glin0800, glin1000, glin1200, glin1382, glin1659, glin1991, glin2389, glin2866, glin3440, glin4128, glio0700, glio0800, glio1000, glio1200, glio1382, glio1659, glio1991, glio2389, glio2866, glio3440, glio4128, gliu0700, gliu0800, gliu1000, gliu1200, gliu1382, gliu1659, gliu1991, gliu2389, gliu2866, gliu3440, gliu4128, gljc0700, gljc0800, gljc1000, gljc1200, gljc1382, gljc1659, gljc1991, gljc2389, gljc2866, gljc3440, gljc4128, gljn0700, gljn0800, gljn1000, gljn1200, gljn1382, gljn1659, gljn1991, gljn2389, gljn2866, gljn3440, gljn4128, gljo0700, gljo0800, gljo1000, gljo1200, gljo1382, gljo1659, gljo1991, gljo2389, gljo2866, gljo3440, gljo4128, glmc0700, glmc0800, glmc1000, glmc1200, glmc1382, glmc1659, glmc1991, glmc2389, glmc2866, glmc3440, glmc4128, glmi0700, glmi0800, glmi1000, glmi1200, glmi1382, glmi1659, glmi1991, glmi2389, glmi2866, glmi3440, glmi4128, glmn0700, glmn0800, glmn1000, glmn1200, glmn1382, glmn1659, glmn1991, glmn2389, glmn2866, glmn3440, glmn4128, glmo0700, glmo0800, glmo1000, glmo1200, glmo1382, glmo1659, glmo1991, glmo2389, glmo2866, glmo3440, glmo4128, glmu0700, glmu0800, glmu1000, glmu1200, glmu1382, glmu1659, glmu1991, glmu2389, glmu2866, glmu3440, glmu4128, gltc0700, gltc0800, gltc1000, gltc1200, gltc1382, gltc1659, gltc1991, gltc2389, gltc2866, gltc3440, gltc4128, gltn0700, gltn0800, gltn1000, gltn1200, gltn1382, gltn1659, gltn1991, gltn2389, gltn2866, gltn3440, gltn4128, glto0700, glto0800, glto1000, glto1200, glto1382, glto1659, glto1991, glto2389, glto2866, glto3440, glto4128, glwc0700, glwc0800, glwc1000, glwc1200, glwc1382, glwc1659, glwc1991, glwc2389, glwc2866, glwc3440, glwc4128, glwi0700, glwi0800, glwi1000, glwi1200, glwi1382, glwi1659, glwi1991, glwi2389, glwi2866, glwi3440, glwi4128, glwn0700, glwn0800, glwn1000, glwn1200, glwn1382, glwn1659, glwn1991, glwn2389, glwn2866, glwn3440, glwn4128, glwo0700, glwo0800, glwo1000, glwo1200, glwo1382, glwo1659, glwo1991, glwo2389, glwo2866, glwo3440, glwo4128, glwu0700, glwu0800, glwu1000, glwu1200, glwu1382, glwu1659, glwu1991, glwu2389, glwu2866, glwu3440, glwu4128, glxc0700, glxc0800, glxc1000, glxc1200, glxc1382, glxc1659, glxc1991, glxc2389, glxc2866, glxc3440, glxc4128, glxi0700, glxi0800, glxi1000, glxi1200, glxi1382, glxi1659, glxi1991, glxi2389, glxi2866, glxi3440, glxi4128, glxn0700, glxn0800, glxn1000, glxn1200, glxn1382, glxn1659, glxn1991, glxn2389, glxn2866, glxn3440, glxn4128, glxo0700, glxo0800, glxo1000, glxo1200, glxo1382, glxo1659, glxo1991, glxo2389, glxo2866, glxo3440, glxo4128, glxu0700, glxu0800, glxu1000, glxu1200, glxu1382, glxu1659, glxu1991, glxu2389, glxu2866, glxu3440, glxu4128, gmmn0500, gmmn0600, gmmn0700, gmmn0800, gmmn0900, gmmn1000, gmmn1095, gmmn1200, gmmn1440, gmmn1728, gmmn2074, gmmn2488, gmmn2986, gmmn3583, gmmo0500, gmmo0600, gmmo0700, gmmo0800, gmmo0900, gmmo1000, gmmo1095, gmmo1200, gmmo1440, gmmo1728, gmmo2074, gmmo2488, gmmo2986, gmmo3583, gmtr0500, gmtr0600, gmtr0700, gmtr0800, gmtr0900, gmtr1000, gmtr1095, gmtr1200, gmtr1440, gmtr1728, gmtr2074, gmtr2488, gmtr2986, gmtr3583, gmxn0500, gmxn0600, gmxn0700, gmxn0800, gmxn0900, gmxn1000, gmxn1095, gmxn1200, gmxn1440, gmxn1728, gmxn2074, gmxn2488, gmxn2986, gmxn3583, gmxo0500, gmxo0600, gmxo0700, gmxo0800, gmxo0900, gmxo1000, gmxo1095, gmxo1200, gmxo1440, gmxo1728, gmxo2074, gmxo2488, gmxo2986, gmxo3583, gomc0500, gomc0600, gomc0700, gomc0800, gomc0900, gomc1000, gomc1095, gomc1200, gomc1440, gomc1728, gomc2074, gomc2488, gomc2986, gomc3583, gomi0500, gomi0600, gomi0700, gomi0800, gomi0900, gomi1000, gomi1095, gomi1200, gomi1440, gomi1728, gomi2074, gomi2488, gomi2986, gomi3583, gomn0500, gomn0600, gomn0700, gomn0800, gomn0900, gomn1000, gomn1095, gomn1200, gomn1440, gomn1728, gomn2074, gomn2488, gomn2986, gomn3583, gomo0500, gomo0600, gomo0700, gomo0800, gomo0900, gomo1000, gomo1095, gomo1200, gomo1440, gomo1728, gomo2074, gomo2488, gomo2986, gomo3583, gomu0500, gomu0600, gomu0700, gomu0800, gomu0900, gomu1000, gomu1095, gomu1200, gomu1440, gomu1728, gomu2074, gomu2488, gomu2986, gomu3583, goxc0500, goxc0600, goxc0700, goxc0800, goxc0900, goxc1000, goxc1095, goxc1200, goxc1440, goxc1728, goxc2074, goxc2488, goxc2986, goxc3583, goxi0500, goxi0600, goxi0700, goxi0800, goxi0900, goxi1000, goxi1095, goxi1200, goxi1440, goxi1728, goxi2074, goxi2488, goxi2986, goxi3583, goxn0500, goxn0600, goxn0700, goxn0800, goxn0900, goxn1000, goxn1095, goxn1200, goxn1440, goxn1728, goxn2074, goxn2488, goxn2986, goxn3583, goxo0500, goxo0600, goxo0700, goxo0800, goxo0900, goxo1000, goxo1095, goxo1200, goxo1440, goxo1728, goxo2074, goxo2488, goxo2986, goxo3583, goxu0500, goxu0600, goxu0700, goxu0800, goxu0900, goxu1000, goxu1095, goxu1200, goxu1440, goxu1728, goxu2074, goxu2488, goxu2986, goxu3583, grbl0500, grbl0600, grbl0700, grbl0800, grbl0900, grbl1000, grbl1095, grbl1200, grbl1440, grbl1728, grbl2074, grbl2488, grbl2986, grbl3583, grmc0500, grmc0600, grmc0700, grmc0800, grmc0900, grmc1000, grmc1095, grmc1200, grmc1440, grmc1728, grmc2074, grmc2488, grmc2986, grmc3583, grmi0500, grmi0600, grmi0700, grmi0800, grmi0900, grmi1000, grmi1095, grmi1200, grmi1440, grmi1728, grmi2074, grmi2488, grmi2986, grmi3583, grml0500, grml0600, grml0700, grml0800, grml0900, grml1000, grml1095, grml1200, grml1440, grml1728, grml2074, grml2488, grml2986, grml3583, grmn0500, grmn0600, grmn0700, grmn0800, grmn0900, grmn1000, grmn1095, grmn1200, grmn1440, grmn1728, grmn2074, grmn2488, grmn2986, grmn3583, grmo0500, grmo0600, grmo0700, grmo0800, grmo0900, grmo1000, grmo1095, grmo1200, grmo1440, grmo1728, grmo2074, grmo2488, grmo2986, grmo3583, grmu0500, grmu0600, grmu0700, grmu0800, grmu0900, grmu1000, grmu1095, grmu1200, grmu1440, grmu1728, grmu2074, grmu2488, grmu2986, grmu3583, grxc0500, grxc0600, grxc0700, grxc0800, grxc0900, grxc1000, grxc1095, grxc1200, grxc1440, grxc1728, grxc2074, grxc2488, grxc2986, grxc3583, grxi0500, grxi0600, grxi0700, grxi0800, grxi0900, grxi1000, grxi1095, grxi1200, grxi1440, grxi1728, grxi2074, grxi2488, grxi2986, grxi3583, grxl0500, grxl0600, grxl0700, grxl0800, grxl0900, grxl1000, grxl1095, grxl1200, grxl1440, grxl1728, grxl2074, grxl2488, grxl2986, grxl3583, grxn0500, grxn0600, grxn0700, grxn0800, grxn0900, grxn1000, grxn1095, grxn1200, grxn1440, grxn1728, grxn2074, grxn2488, grxn2986, grxn3583, grxo0500, grxo0600, grxo0700, grxo0800, grxo0900, grxo1000, grxo1095, grxo1200, grxo1440, grxo1728, grxo2074, grxo2488, grxo2986, grxo3583, grxu0500, grxu0600, grxu0700, grxu0800, grxu0900, grxu1000, grxu1095, grxu1200, grxu1440, grxu1728, grxu2074, grxu2488, grxu2986, grxu3583, gsma0500, gsma0600, gsma0700, gsma0800, gsma0900, gsma1000, gsma1095, gsma1200, gsma1440, gsma1728, gsma2074, gsma2488, gsma2986, gsma3583, gsmc0500, gsmc0600, gsmc0700, gsmc0800, gsmc0900, gsmc1000, gsmc1095, gsmc1200, gsmc1440, gsmc1728, gsmc2074, gsmc2488, gsmc2986, gsmc3583, gsme0500, gsme0600, gsme0700, gsme0800, gsme0900, gsme1000, gsme1095, gsme1200, gsme1440, gsme1728, gsme2074, gsme2488, gsme2986, gsme3583, gsmi0500, gsmi0600, gsmi0700, gsmi0800, gsmi0900, gsmi1000, gsmi1095, gsmi1200, gsmi1440, gsmi1728, gsmi2074, gsmi2488, gsmi2986, gsmi3583, gsmn0500, gsmn0600, gsmn0700, gsmn0800, gsmn0900, gsmn1000, gsmn1095, gsmn1200, gsmn1440, gsmn1728, gsmn2074, gsmn2488, gsmn2986, gsmn3583, gsmo0500, gsmo0600, gsmo0700, gsmo0800, gsmo0900, gsmo1000, gsmo1095, gsmo1200, gsmo1440, gsmo1728, gsmo2074, gsmo2488, gsmo2986, gsmo3583, gsmu0500, gsmu0600, gsmu0700, gsmu0800, gsmu0900, gsmu1000, gsmu1095, gsmu1200, gsmu1440, gsmu1728, gsmu2074, gsmu2488, gsmu2986, gsmu3583, gsxa0500, gsxa0600, gsxa0700, gsxa0800, gsxa0900, gsxa1000, gsxa1095, gsxa1200, gsxa1440, gsxa1728, gsxa2074, gsxa2488, gsxa2986, gsxa3583, gsxc0500, gsxc0600, gsxc0700, gsxc0800, gsxc0900, gsxc1000, gsxc1095, gsxc1200, gsxc1440, gsxc1728, gsxc2074, gsxc2488, gsxc2986, gsxc3583, gsxe0500, gsxe0600, gsxe0700, gsxe0800, gsxe0900, gsxe1000, gsxe1095, gsxe1200, gsxe1440, gsxe1728, gsxe2074, gsxe2488, gsxe2986, gsxe3583, gsxi0500, gsxi0600, gsxi0700, gsxi0800, gsxi0900, gsxi1000, gsxi1095, gsxi1200, gsxi1440, gsxi1728, gsxi2074, gsxi2488, gsxi2986, gsxi3583, gsxn0500, gsxn0600, gsxn0700, gsxn0800, gsxn0900, gsxn1000, gsxn1095, gsxn1200, gsxn1440, gsxn1728, gsxn2074, gsxn2488, gsxn2986, gsxn3583, gsxo0500, gsxo0600, gsxo0700, gsxo0800, gsxo0900, gsxo1000, gsxo1095, gsxo1200, gsxo1440, gsxo1728, gsxo2074, gsxo2488, gsxo2986, gsxo3583, gsxu0500, gsxu0600, gsxu0700, gsxu0800, gsxu0900, gsxu1000, gsxu1095, gsxu1200, gsxu1440, gsxu1728, gsxu2074, gsxu2488, gsxu2986, gsxu3583, gttc0500, gttc0600, gttc0700, gttc0800, gttc0900, gttc1000, gttc1095, gttc1200, gttc1440, gttc1728, gttc2074, gttc2488, gttc2986, gttc3583, gtti0500, gtti0600, gtti0700, gtti0800, gtti0900, gtti1000, gtti1095, gtti1200, gtti1440, gtti1728, gtti2074, gtti2488, gtti2986, gtti3583, gttn0500, gttn0600, gttn0700, gttn0800, gttn0900, gttn1000, gttn1095, gttn1200, gttn1440, gttn1728, gttn2074, gttn2488, gttn2986, gttn3583, gtto0500, gtto0600, gtto0700, gtto0800, gtto0900, gtto1000, gtto1095, gtto1200, gtto1440, gtto1728, gtto2074, gtto2488, gtto2986, gtto3583, gttu0500, gttu0600, gttu0700, gttu0800, gttu0900, gttu1000, gttu1095, gttu1200, gttu1440, gttu1728, gttu2074, gttu2488, gttu2986, gttu3583. [Google] [More]  ⦿

cb Greek fonts

cb Greek metafont package by Apostolos Syropoulos. [Google] [More]  ⦿

Cerement

American designer at FontStruct in 2008 of Lucid (monospaced 5x7 LCD font for Latin, Cyrillic, Greek and katakana: white on black), Absinthe (pixel face), Faith (condensed, unicase), Neuerburg (blackletter influences: from the logo for "Haus Neuerburg Zigaretten" designed by Prof. O.H.W. Hadank, 1925), Conform (pixel face), Minim (Textura blackletter). [Google] [More]  ⦿

Chair of Medieval English Literature

At the Heinrich Heine University of Düsseldorf: SILDoulosIPA-Regular, SILManuscriptIPA-Regular, SILSophiaIPA-Regular, TimesNewRoman-OldEnglish-KT, TimesNewRoman-OldEnglish-KT-BoldItalic, TimesNewRoman-OldEnglish-KT-Bold, TimesNewRoman-OldEnglish-KT-Italic, TimesNewRoman-OldEnglish-KT. [Google] [More]  ⦿

Charilaos Emmanouil Papakostas

Graphic designer in Athens, Greece, who created CEP (2013), a typeface that combines Brazilian pixacao and American chicano gang graffiti styles. [Google] [More]  ⦿

Charis Tsevis

Charis Tsevis was born in Athens in 1967. He studied Graphic Design and Advertising (Diploma) at the Deutsche Hohere Lehrastalt fur Graphic Design, Athens, Greece, and Visual Design (Master) at the Scuola Politecnica di Design, Milan, Italy. He is the Vice Head at the Graphic Design department of AKTO College of Art and Design / Middlesex University (in Athens), where he teaches editorial design and typography. He runs Tsevis Visual Design, his own studio in Athens, and collaborates with 'Parachute Type and Image Corporation' designing typefaces. He runs a type blog site. Charis is a regular columnist at RAM, the leading computer publication in Greece. He is also a regular columnist in +Design, an authority design Greek magazine covering aesthetics and design issues. Charis studied Graphic Design at the Deutsche Höhere Lehranstalt für Grafik und Werbung, Athens. He received his Master Degree in Visual Design from the Scuola Politecnica di Design, Milan, Italy. He worked for MBStudio in Milan and later for Apogevmatini, a national historic Greek newspaper. Since 1997 Charis runs his own design firm Tsevis Visual Design.

He has been designing fonts for several years, while experimenting with his students. PF Libera (2001-2006, handwriting) was his first and most successful design. Other typefaces include PFBeatnick, PFAmateur (2002), PFRadikale, PFBerkeley Blue, PFMacsimile. All were published at Parachute. Most of his typefaces cover Latin, Greek and Cyrillic.

Klingspor link. [Google] [More]  ⦿

Charles Bigelow
[Bigelow&Holmes]

[MyFonts] [More]  ⦿

CHC Software Archive

Chris Stephens's page with Greek font links, for Mac and PC. Has Son of Wingreek, Old English fonts. [Google] [More]  ⦿

Chris Brand

Born in Utrecht in 1921, Chris Brand lived in Breda, and died in 1998. He studied calligraphy in 1940, and worked in Brussels from 1948-1953. He taught design at various academies until 1986. Known for book cover jackets, Brand created the clean serif typeface Albertina in 1964-1965 (Monotype). This typeface was first used for a retrospecive on Stanley Morison's work exhibited at the Albertina Library in Brussels in 1966. Dean Allen [Textism]: Working designers should have at least one text family to focus on; to test its idiosyncrasies and stretch its limits, to see how it responds to the unpredictable demands of day-to-day work. Albertina is the family with which I do the most tinkering. It's remarkably flexible, offering a full complement of text and titling figures, roman and italic small caps, as well as supplemental Greek and Cyrillic fonts. It has the sort of strength, or presence on the page absent from most digital type, owing to sturdy construction, and it lacks fussiness.

The digital font DTL Albertina saw the light in 1987 at Dutch Type Library.

Brand also created Veerle Uncialis (1991, named after his granddaughter Veerle Simons) but it is unclear whether this font is his or a reworking of a typeface by the Parisian typefounder Fournier. Finally, he made the coptic font Draguet (1968). I

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

Chris' British Road Directory
[Nathaniel Porter]

Chris Marshall's web site on British roads and traffic signs. He has a subpage on fonts used on British highways. Based on these specifications, Nathaniel Porter and John Prentice (who added Greek characters, based on Greek road signs) made a set of free fonts that follow the British highway system. These include Transport Medium, Medium Greek and Heavy (the main British highway font), Motorway Permanent (for numbers on signs), Motorway Temporary (for use on temporary signs), Pavement (for painted lettering on the road surface), and VMS (an octagonal font for use in light-up panels). Erik Spiekermann blasts his implementation of Transport: A gentleman called Nathaniel Porter has digitized Transport Heavy, and it is being used by various agencies. The data is even worse than the Swedish Tratex font which must have been done by an amateur on on Ikarus system without corrections. This one here is just a raw scan. Amazingly, it works as a font. Too heavy for signs, but just shows how good font software has become if it can actually make a working font from a scan that looks like a piece of German rye bread. I suspect that this version of Transport Heavy is being used in Italy and Spain. And in Greece as well. They also made Old Road Sign Font after the road sign lettering in the UK in use before 1964. Its origins go back to 1944. [Google] [More]  ⦿

Chris Taklis

Athens-based photographer, b. 1986, aka Kailor. Creator of Kaifo (2007, a hookish display face), and AnglosaxonicRunic (2007). Alternate URL. [Google] [More]  ⦿

Christ Trek Fonts
[Tim Larson]

Tim Larson (Christ Trek Fonts) is the Minnesota-based creator of the Open Font License fonts Marapfhont (2009) and Squarish Sans CT (2011, in Bank Gothic style). Both fonts are free and have tons of glyphs that cover many unicode pages, including mathematical symbols, Greek, Coptic and Hebrew. It is quite possible---but I am not sure of that--that this Bank Gothic family member is the only one that has such a coverage.

Tim is working on Brampton.

He writes about Squarish Sans: Squarish Sans is not a direct clone of any Bank Gothic. I have made conscious choices to deviate from existing designs. Yet it is strongly inspired by them, of course, particularly Michael Doret's DeLuxe Gothic, in that Squarish Sans has a true lower case as well as small caps. It should fit the bill should you have need of a Bank Gothic face.

Motivation for Marapfhont came from the Marathon Trilogy game: Remember the Marathon Trilogy by Bungie Games back in the mid-1990s? If you do, you remember it's iconic logo font, Modula Tall. There are no free alternatives to Modula Tall, and the few similar fonts miss important aspects of its character. I wanted to create a typeface inspired by the appearance of Modula Tall in Marathon. The lowercase of Modula Tall didn't fit the Marathon "feel" at all, for me, so I have redesigned the miniscules, to carry the signature look throughout. Thus, Marapfhont is not a clone of Modula Tall, but may nonetheless be used to generate the "MARATHON" title.

Home page. Aka Christ Trekker.

In 2014, Tim Larson published the free Hebrew simulation font Hananiah (2014, OFL), which is based on Ezra SIL. It also includes regular Hebrew. [Google] [More]  ⦿

Christian Mengelt

Christian Mengelt (b. 1938, St. Gallen, Switzerland) is a graphic designer, type designer, and teacher. He studied graphic design under Armin Hofmann and Emil Ruder at the School of Design, Basel. In 1964, he set up his own graphic design studio together with different partners, and has cooperated with various design and advertising agencies, such as GGK Basel, Switzerland, and Mendell&Oberer Munich, Germany. With Karl Gerstner and Günter Gerhard Lange, he was briefly involved in the Gerstner program at H. Berthold AG. Early type designs include Univers Compugraphic (1972, Compugraphic) and Cyrillic Gothic (1974, Compugraphic), both realized in cooperation with André Gürtler. From 1972 until 2001, he taught graphic and type design at the Basel School of Design, which he headed from 1986-2001. With André Gürtler and Erich Gschwind, he formed Team 77 in Basel and became deeply involved in most aspects of letterform design and application, which led to these type designs:

  • 1976: Media (Bobst Graphic, Autologic).
  • 1977: Avant Garde Gothic Oblique (ITC).
  • 1978: Signa (Bobst Graphic, Autologic).
  • 1980: Haas Unica (Haas Typefoundry, Linotype, Autologic).
  • After a long hiatus, with the help of the Linotype staff, he created Sinova in 2011, a versatile humanist sans type family in ten styles, which has broad language support.
  • Mengelt Basel Antiqua (2014, Linotype). A relaxing Venetian text typeface family based on the Basel book typefaces from the 16th century. Linotype, its publisher, writes: The first edition of the anatomy atlas De humani corporis fabrica came out nearly 500 hundred years ago. It was published in 1543 in Basel by Andreas Vesalius. The work was published in multiple volumes and is extraordinary not only for its content and design, but also its typography. It excites philologists and typographers to this day. De humani corporis fabrica was printed in the workshop of Johannes Oporinus, who was considered one of the major printers and publishers in Basel in his time. He used one of the Venetian Antiqua-inspired fonts for the typesetting. This is a genre of fonts which was much loved by the Basel printers. The printer Johann Amerbach brought it to Switzerland from Italy a few centuries earlier. [Note: Is this a misprint?] The American philologist Daniel H. Garrison provided the initiative for Mengelt to explore the Basel Antiqua fonts from the 16th century. He is working on a re-edition of the De humani corporis fabrica and is looking for a fitting print font which has historical references, but the technical characteristics of a modern font. Mengelt takes on the challenge and designs his Mengelt Basel Antiqua font on the basis of the original Basel prints.

Typedia link. MyFonts link. Linotype link. Behance link. Interview by Linotype. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Christos Chiotis
[Unicorg]

[More]  ⦿

Christos Diafas

Cofounder and Creative Director at Point Zero Advertising (1989-2001) and Creative Director since 2001 at the BBDO Group in Greece. He designed the Greek font Duffy. [Google] [More]  ⦿

Christos Onoufriou

Athens-based Greek designer (b. 1982) of the stylish Greek/Latin display typeface GR-Superold (2005). Web page. [Google] [More]  ⦿

Christos Tsolerides

Young Greek type designer. At FontStruct, he created BOMBOM-TheBase, BOMBOM-CityLights, BOMBOM-FullMetal, Roundabout, Structura-SC, Structura-Gothic, Structura, Structura-Alt, StreetPost (stencil) and SlabSlab (squashed slab serif), all in 2008. In 2009, he added the film strip font Berliner, and the stencil typeface Street Post. [Google] [More]  ⦿

Church of Greece

The GreekKeys Athena Roman font by Jeffrey Rusten (1997) has Greek, Cyrillic, Latin, and every imaginable accented character. This font was withdrawn by Jeffrey Rusten, but you can still find it here. [Google] [More]  ⦿

Classical Greek and Linux

Links and discussion on Greek and Linux. [Google] [More]  ⦿

Classical Greek Fonts
[Matthew Robinson]

Greek resource page by Matthew Robinson. Small Greek font archive: Grecs-duroiWG, Greek, GreekOldFace, Hebrew-Regular, Koptos-Regular, Korinthus, Korinthus, Korinthus-Italic, StandardGreekBold, StandardGreekBoldItalic, StandardGreekItalic, StandardGreek, Ellhnikh, Grammata, Angaros, MilanGreek. [Google] [More]  ⦿

Claudio Beccari
[cb fonts]

[More]  ⦿

Claus Eggers Sørensen

Also known by insiders as El Pato Loco Atomico. Danish type designer (b. 1973, Kulby, Vestsjalland, Denmark) who obtained his BDes from The Gerrit Rietveld Academie in Amsterdam, and his MA in typeface design from The University of Reading (2009), based on his type family Markant, which was specifically designed for newspapers and cares about ink traps, wide open bowls, inflection points and other special features. It supports Greek and Cyrillic as well.

He says: I created a new design again taking inspiration from the early sketches of Dwiggins' Experimental No. 223. I was able to use the very open aperture design of the e in this experiment. The a again explored a inflexion points within the counters, and this was too integrated in the design. Finally lightly rounded wedge shaped base serifs were chosen.

In 2011, Claus placed Playfair Display with Google Web Fonts. He explains: Playfair Display is a transitional design. From the time of enlightenment in the late 18th century, the broad nib quills were replaced by pointed steel pens. This influenced typographical letterforms to become increasingly detached from the written ones. Developments in printing technology, ink and paper making, made it possible to print letterforms of high contrast and fine hairlines. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the printer and typeface designer John Baskerville's designs, the punchcutter William Martin's typeface for the Boydell Shakespeare (sic) edition, and from the Scotch Roman designs that followed thereafter. As the name indicates, Playfair Display is well suited for titling and headlines. It was followed in 2012 by Playfair Display SC. Free download at CTAN.

Claus lives in Amsterdam. Google Font Directory link. Speaker at ATypI 2011 in Reykjavik on the topic of typography for touch-screen devices.

Klingspor link. [Google] [More]  ⦿

ClearlyU BDF font

Mark Leisher's creation: "ClearlyU is a set of BDF (bitmap) 12 point, 100 dpi fonts that provides glyphs that can be used for Unicode text. The font contains over 4000 glyphs, including numerous additional glyphs for alternate forms and ligatures. The ClearlyU typeface was originally inspired by Donald Knuth's Computer Modern typeface, but has been slowly evolving into something else." Supported are: Navajo, Armenian, Cyrillic, Georgian, Greek and Coptic, Hebrew, Lao, Thai. [Google] [More]  ⦿

CM Unicode
[Andrey V. Panov]

Free font package from 2009 by Andrey Panov, specially adapted for TeX. CM Unicode (or: Computer Modern Unicode) is an OpenType and Type 1 unicode version of Knuth's Computer Modern font family. The OIpenType fonts include CMUBright-Bold, CMUSerif-BoldItalic, CMUSerif-BoldSlanted, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBoldOblique, CMUBright-SemiBold, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUSerif-Bold, CMUBright-BoldOblique, CMUClassicalSerif-Italic, CMUTypewriter-Italic, CMUConcrete-BoldItalic, CMUConcrete-Bold, CMUConcrete-Roman, CMUConcrete-Italic, CMUSerif-BoldNonextended, CMUSerif-Roman, CMUSansSerif-Oblique, CMUSerif-RomanSlanted, CMUSansSerif-BoldOblique, CMUSansSerif, CMUSansSerif-DemiCondensed, CMUTypewriter-Oblique, CMUSansSerif-Bold, CMUTypewriter-Bold, CMUSerif-Italic, CMUTypewriter-Regular, CMUTypewriter-BoldItalic, CMUSerif-UprightItalic, CMUTypewriterVariable-Italic, CMUTypewriterVariable.

Alternate download site [Google] [More]  ⦿

Colin Banks

Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles.

Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander.

Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press.

The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s.

The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani.

Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (Monotype: based on letters drawn by Eric Gill in 1906 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More]  ⦿

Computer Modern Unicode fonts
[Andrey V. Panov]

Andrey V. Panov developed Computer Modern Unicode fonts in 2003-2007 by conversions from metafont sources using textrace and fontforge (former pfaedit). He wanted to create free good quality fonts for use in X applications that support many languages. Currently the fonts contain glyphs from Latin1 (Metafont ec, tc), Cyrillic (la, rx) and Greek (cbgreek) code sets. There are 33 fonts in the family: CMUClassicalSerif-Italic, CMUSansSerif-Bold, CMUSansSerif-BoldOblique, CMUSansSerif-Demi-Condensed, CMUSansSerif-Oblique, CMUSansSerif, CMUSerif-Bold-Nonextended, CMUSerif-Bold-Slanted, CMUSerif-Bold, CMUSerif-BoldItalic, CMUSerif-Italic, CMUSerif-Roman-Slanted, CMUSerif-Roman, CMUSerif-Unslanted-Italic, CMUTypewriter-Bold, CMUTypewriter-BoldItalic, CMUTypewriter-Italic, CMUTypewriter-Oblique, CMUTypewriter-Regular, CMUTypewriterVariable-Italic, CMUTypewriterVariable. The fonts come in type 1, OpenType and SFD, the universal spline format used by FontForge. The CMU Bright subfamily was added some time later in 2007.

Istok Web (2011) was published at the Google Font Directory.

In 2008, he made Heuristica (or Evristika), a serif family that extends Adobe's Utopia. Download site.

Free download. Direct download.

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

Conceptum S.A.

Download Greek fonts for Windows, Mac and UNIX: Arial Greek, Hellas Times 2. [Google] [More]  ⦿

Constantine Terzopoulos
[Psaltic Fonts]

[More]  ⦿

Constantinos Chaidalis

Graphic designer in Athens, Greece. Creator of the experimental typeface Mahler (2013). Behance link. [Google] [More]  ⦿

Coptic

Free Greek fonts at Howard Berlin's site included Antonious by Michael Wasim, SPAchmim (by Scholars Press), MENA, CopticGregor (by Dirk Van Damme, Gregor Wurst, 1994), CopticNormal and the Wingreek fonts. [Google] [More]  ⦿

Cucu

Graphic designer in Athens, Greece, who created a custom sans (Latin) typeface for his company, Reboot (2013). [Google] [More]  ⦿

Cursor Design
[Apostolos D. Tsiovaras]

Cursor Design (Larissa, Greece) is a graphic design and creative studio founded in 2002 by Apostolos D. Tsiovaras. In 2013, Tsiovaras designed the display typeface Mermaid.

Behance link. [Google] [More]  ⦿

Cuttlefish Fonts
[Jason Pagura]

Cuttlefish Fonts offers free original fonts by Cupertino, CA-based graphic designer Jason Pagura, such as Rutaban (2001), Bernur (1996, sans), Gemelli (handwriting), Gohan (fat finger comic book lettering, updated into ShinGohanSix in 2007), Bolonewt (2003), Antherton Cloister (2003, insect antenna influences! Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).

From 2006 until 2010, he published Agamemnon, a large and warm transitional slab serif typeface with wood type influences that covers Latin, Cherokee, Cyrillic and Greek.

Later typefaces include Cartmeign and Posterony (2007, anthroposophic).

Dafont link. 1001fonts link. [Google] [More]  ⦿

CYLLOGOS MOUSIKOFILON CON

Greek/Byzantine music fonts: ED-Fthora, ED-Isson, ED-Psaltica, UB-Byzantine-Italic (Unibrain), UB-Byzantine (Unibrain), bem13. [Google] [More]  ⦿

CYN Fonts
[Petros Vasiadis]

Petros Vasiadis set up CYN Fonts in Athens, Greece, ca. 2013. He offers these free (mostly brush) fonts for Latin and Greek: CYN Kypselers (hexagonal), Logikfron (grunge), Me Rider (grunge), Banxed (hexagonal), CYN Ypsoma (hand-printed), CYN Unlimited (brush), CYN Ufos (scratchy), CYN U, CYN Pan Shadow, CYN Pan (hand-printed), CYN Nextshift (hand-printed), CYN Goodinside, CYN Forgiven, CYN Filos (brush), CYN Byron, CYN Autozen (nice brush), CYN Autoside (brush), CYN Autopol (scratchy brush), CYN Autolimit (brush), CYN Autofly (brush), CYN 4Uven.

Blogger link. [Google] [More]  ⦿

Cypriote metafont
[Alan M. Stanier]

From Essex University, Alan M. Stanier's metafont for Cypriot. [Google] [More]  ⦿

D. Paul Alecsandri
[Every Witch Way]

[More]  ⦿

Daidala
[Jonathan Coltz]

Jonathan Coltz (University of Minnesota) writes eloquently about typography. He praises Linotype Janson Text, Linotype Sabon and Hoefler's Requiem, and condemns the awful digitization of Dwiggins' Electra by Linotype. Check his November 2, 2002 posting on the state of Greek fonts. His favorite typefaces, with discussion: FF Alega, FF Kievit, Requiem, Scene, FF Avance, FF Scala/FF Seria, Pastonchi (also here), LT/MT Sabon, Aetna. He also wrote opinions on FF Angie, Pastonchi, Ehrhardt, Avenir, Mendoza, FF Celeste, Syntax, Mrs Eaves, FF Meta, FF Eureka, TheMix, Loire, Columbus, Apollo, FF Super Grotesk, ITC Bodoni, and Kepler. [Google] [More]  ⦿

Daisuke Suzuki
[VL Gothic]

[More]  ⦿

Dalton Maag
[Bruno Maag]

Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian and fabio Luiz Haag have worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil, Vienna and Hong Kong.

Bruno Maag designed these commercial fonts:

  • Aktiv Grotesk (2010) was published as an alternative to Helvetica, a typeface Bruno hates with a passion.
  • Co (2007): a rounded monoline minimalist sans codesigned by Bruno Maag and Ron Carpenter.
  • Cordale: a text family.
  • Dedica (2007): a didone face.
  • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
  • Fargo (2004): a humanist sans in 6 weights.
  • Foco: sans family.
  • Grueber (2008): a slab serif.
  • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
  • King's Caslon
  • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family.
  • Magpie (2008) is a serifed family---Dalton Maag was able to trademark the name Magpie despite the fact that Vincent Connare had created a typeface by that name in 2000. Well, as with so many of Maag's announcements, it took siome time before he gave credit to Connare---in fact, Magpie isConnare's font.
  • Pan (1996). A text family at 1500 US dollars per style.
  • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
  • Royalty (1999): a stunning art deco display family.
  • Southampton.
  • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
  • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
  • Tondo Corp (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
  • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
  • Viato: a simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).

Other custom faces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.

In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.

Typefaces at Dalton Maag from 2014 include Soleto (a simple sans) and Prometo (an organic stressed sans). Soleto (Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter) won an award at Tipos Latinos 2014. In 2014, Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva codesigned the rounded organic sans typeface Oscine (Dalton Maag).

Interview in 2012 in which he stresses that typefaces should above all be functional.

View the Dalton Maag typeface library. [Google] [MyFonts] [More]  ⦿

Dalton Maag
[Canonical Design]

[More]  ⦿

Dan Carr
[Golgonooza Letter Foundry]

[MyFonts] [More]  ⦿

Dan Rhatigan

Daniel Rhatigan (Ultrasparky) was born on Staten Island in 1970. He finished the MA Typeface Design program at the University of Reading, UK, in 2007. Before that, he briefly taught type design at the City College of New York. Currently, he is type director at Monotype Imaging, based in the UK. He is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik.

His first typeface was Gina (2007), a serif about which the reactions are generally good (a Minion with character according to Stephen Coles, and an awful lot of Unger in one gulp according to Joe Clark). Gina covers not only Greek, but most European languages. I especially appreciate its attention to mathematical symbols and typesetting. In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed at The Colour Grey for Sodabudi, a forthcoming online store for art work inspired by folk art from India. Dan Rhatigan blogged about it here. When the two parts of the typeface are screenprinted in different colours on top of each other, they produce an optical effect. In 2010, his (free) rounded bold serif typeface Copse font was published at Kernest (free downloads).

Kernest link. Google Web Font Directory carries his free typeface Astloch, a monoline blackletter face.

Another download link. Clear Sans (2013) was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions.

Fontsquirrel link. CTAN download link.

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

Daniel Bak
[Art City]

[MyFonts] [More]  ⦿

Daniel Johnson

Designer at the Open Font Library of Triad Postnaya (2013, an old Church Slavonic typeface and its Latin simulation twin), Stanislav Caps (2013), Pacaya (2013, a medium-weight sans), Jura (2011, in the style of Eurostile), Didact Gothic (2010, a simple and readable sans i in the form most often used in elementary classrooms), Judson (2010, designed for African literacy), Megrim (2010, a monoline drawing table sans), Aguardiente (2010, heavy sans), Deka (2010, a monospace font designed for very small display sizes), Rahel (2009, Hebrew), Sacco-Vanzetti (2009, sans), Travelogue (2008), Grana Padano (2010), Pfennig (2010, an extensive humanist sans family) and Jura (2009, sans family with support for Burmese, Cyrillic and Greek).

Johnson explains: Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. (Kayah Li is a language used by a minority people group in Burma. Because the Burmese government suppresses the teaching of minority scripts, the Kayah Li script is taught only in schools in refugee camps in Thailand.) I wanted to create a Roman alphabet using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born.

Triod Postnaja (2010) attempts to mimic the typefaces used to publish Old Church Slavonic service books prior to the 20th century. It also provides a range of Latin letters in the same style.

He contributed to the GNU Freefont project. In particular, he created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono. And never to be outdone by himself, then he did UCAS Extended and Osmanya. His GNU Freefont ranges:

  • Armenian (serif) (U+0530-U+058F)
  • Cherokee (U+13A0-U+13FF)
  • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
  • UCAS Extended (U+18B0-U+18F5)
  • Kayah Li (U+A900-U+A92F)
  • Tifinagh (U+2D30-U+2D7F)
  • Vai (U+A500-U+A62B)
  • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
  • Osmanya (U+10480-U+104a7)

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

Daniel Ralph

London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More]  ⦿

Darien Valentine
[Fixedsys]

[More]  ⦿

Darren Rigby
[Objets Dart]

[More]  ⦿

David Brezina

Czech designer (b. Brno) who graduated in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

  • CODAN (2005): a typeface inspired by the city of Copenhagen.
  • Yunnan (2004): oriental simulation face. Discussion on typophile.
  • Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category.

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

David J. Perry
[Fonts for Scholars]

[More]  ⦿

DBSV

DBSV Moulding Ideas is a creative agency and typefoundry located in Larissa, Thessaly, Greece. Their first typefaces are the layered monoline sans family Aeolus Pro (2014, in dashed, bilined and trilined versions called Staccato, Rail and Tribe) and the curvy monoline typeface Khamai Pro (2014), which was a dashed line version called Khamai Pro Staccato, a bilined version called Khamai Pro Rail, and a trilined version called Khamai Pro Tribe. All typefaces cover Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.

Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.

Alternate download site. Wiki page with download information.

Fontspace link. [Google] [More]  ⦿

Deniart Systems
[Jan Koehler]

Great fonts for astrology, hieroglyphics, alchemy and the occult, by Toronto's Jan and Denise Koehler, mostly designed between 1993 and 1995. They moved to Litomerice, the Czech Republic, recently. MyFonts sells the fantastic Meso Americano dingbats, Hypnotica, AlchemySymbols (two fonts), BlackMagick, Border Twins (2010), CastlesShields, Curly Jane (2010), Cubista Geometrica (2010: op art), DaggersAlphabet, Dendera (ancient Egyptian Zodiac symbols), Dragons, Eggnog (2010), Fontazia Floradot (2012), Fontazia Papilio (2009), Fontazia Pop62 (2011, dingbats of flowers), Fontazia AquaFlorium (2010, fishtank dingbats), Fontazia Mazzo (2010, vases), Fontazia Stiletto (2011), Fontazia Y3K (2009, aliens), the Hieroglyph family (dingbats, really), Jolly Jester (2010, curly hand), MagiWriting, Meandros (2010, a paperclip design inspired by the Greek Key, or Fret, motif), Phaistos, Pocket Wrench (2010, octagonal), Polka Dot Wrench (2010), PowersofMarduk, Praha Deco (2010, inspired by the Prague art deco movement), the RongoRongo family (Easter Island script), SkeletonAlphabet, Sublimina, Superchunk, WhiteMagick, Yenda (2010, bold and angular).

List of font packages: Aglab, Alchemy Symbols, American Sign Alphabet, Ancient Writings Vol. 1, Ancient Writings Vol. 2, Angelica, The Astrologer Bundle, Astrologer, Aztec Day Signs, Black Magick, Braille Alphabet, Castles&Shields, Celestial Writing, Celtic Astrologer, Certar, Chinese Zodiac, Coptic Alphabet, Daggers Alphabet, Dendera, Dinosauria, Dragons, Egyptian Deities, Enochian Writing, Egypt. Hieroglyphics Vol 1, Egypt. Hieroglyphics Vol 2, Egypt. Hieroglyphics Vol 3, Egypt. Hieroglyphics Vol 4, Futhark, Greco, Hebrew Basic, Hypnotica, Magi Writing, Magick&Mystic, Malachim Writing, Masonic Writing, Maya Day Names, Maya Month Glyphs, Meso Americano, Meso Deko, Morse Code, Old Persian Cuneiform, Passing the River, Phaistos, Pike's Alphabets, Powers of Marduk, Sanskrit Writing, Semaphore Code, Signals&Signs, Skeleton Alphabet, Sublimina, Tengwanda Gothic, Tengwanda Namarie, Theban Alphabet, The Egyptologist, Tolkien Scripts, WhiteMagick, Skeleton Alphabet, Hebrew Basic, Sanskrit Writing. Note: I cannot find an entry for Jan Koehler at MyFonts, where all Deniart fonts are said to have been made by Denise Koehler. [Google] [MyFonts] [More]  ⦿

Denis Liegois

Page in French by Denis Liégois on unicode polytonic (classic) Greek fonts. [Google] [More]  ⦿

Denis Roegel
[LaTeX Navigator]

[More]  ⦿

Denise Koehler

Partner of Jan Koehler in Deniart Systems, which operated from 1993-2009 in Toronto, and then in Litomerice (Czech Republic). Her typefaces include: Skeleton Alphabet, Sanskrit Writing, White Magick Symbols, Theban Alphabet, Tolkien Tengwanda Namarie, Tolkien Tengwanda Gothic, Sublimina, Semaphore, RongoRongo (a system of glyphs discovered in the 19th century on Easter Island), Powers Of Marduk, Phaistos Disk Glyphs, Passing The River, Old Persian Cuneiform (1995), Morse Code, Meso Deko, Maya Month Glyphs, Maya Day Names, Masonic Writing, Malachim Writing, Magi Writing, Hypnotica, Egyptian Hieroglyphics Basic, Egyptian Hieroglyphics - The Egyptologist, Hebrew Basic, Greco (Greek face), Futhark, Enochian Writing, Egyptian Hieroglyphics - Deities, Medieval Dragons, Dinosauria, Egyptian Hieroglyphics - Dendera, Daggers Alphabet, Coptic Alphabet, Chinese Zodiac Symbols, Tolkien Certar, Celtic Astrologer Symbols, Celestial Writing, Castles&Shields, Braille Alpha, Black Magick, Aztec Day Signs, Astrologer Symbols, Angelica, American Sign Alphabet, Alchemy Symbols, Tolkien Aglab, Fontazia AquaFlorium (2010, fish tank dingbats), Snow Crystals (2010, followed by Snow Crystals 2 in 2012), Star Crystals (2010, more snow-like structures but having 8 instead of 6 axes of symmetry), Karika Swirls (2010), Karika Hearts (2010), Karika Encore (2011), Fontazia Chateaux (2011), Fontazia Chateaux Deux (2011), Fontazia Insomnia (2011), 21 Emmerson (2011), 4 Point Greek Fret (2011: labyrinthine), 4 Point Florals (2011), 4 Point Deco (2011), Mykonos (2011, labyrinthine), Harmonics (2011, a zig-zag face), Fontazia Motyl (2011, butterfly dings), Holiday Penguins NF (2011, Christmas dingbats), Fontazia Christmas Tree (2011), Eggs Galoe (2012, Easter egg font), Border Glyphs (2012, hieroglyphic), Fontazia Christmas Baubes (2012), Fontazia Christmas Tree 2 (2013), Karika Hypnotica (2014, hypnotic or kaleidoscopic glyphs). [Google] [MyFonts] [More]  ⦿

DEPOTzNET

Organized font archive. Many subcategories including Party fonts, Holiday fonts, Balloons, Halloween, Christmas, screen fonts, phonetic fonts, African, Balinese, Bengali, Burmese, Cambodian, Croata-glagolitic, Cyrillic, Ethiopic, Georgian, Greek, Hebrew, Hindi, Hmong, Japanese, Javanese, Khmer, Lao, Malayan, Nepali, Nko, runes, Tamil, Vietnamese. [Google] [More]  ⦿

Derek Green
[Gawr Juhs]

[More]  ⦿

Diabetes Australia Multilingual Fonts

Archive: -JS-Rapee (Thai), ER-Bukinist-1251 (Ukranian), Simsun (Chinese), NUTANU-Regular (Hindi), Times-New-Roman-Greek, VPS-Times (Vietnamese). [Google] [More]  ⦿

Diego Sanz Salas

Peruvian creator (b. 1984, Arequipa) at FontStruct in 2009 of Sencilla (+Cuadrada, +Morena), a family that covers Latin, Cyrillic, Extended Latin, Hebrew, Greek, Armenian, Coptic, Arabic, Thai, and Devanagari. At FontStruct in 2008, he made mercury and mercury_bold. At Cocijotype, he created the artsy Incan stone wall-inspired Quincha (2009), which according to this site is the first commercial font made in Peru. It won an award in the experimental category at Tipos Latinos 2010.

Amarilis (2011) is an ornamental caps face, which can be bought here.

Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.

MyFonts link. Logo. Interview in March 2010. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Dimitra ITD

Greek versions: arial Greek, Courier New Greek, Times New Roman Greek, all TrueType. See also here. [Google] [More]  ⦿

Dimitra Tzanos

Graphic designer in Athens, who was born and raised in Johannesburg. Home page. Creator of the iFontMaker font African Edges (2010, hand-printed). [Google] [More]  ⦿

Dimitrios Filippou on Greek TEX

Article by Filippou on Greek in TEX. [Google] [More]  ⦿

Dimitrios Giannakoulias

Patras, Greece-based graphic designer and typographer. [Google] [More]  ⦿

Dimitrios Kyriazis

Athens, Greece-based designer, who drew the ornamental caps alphabet Entangled (2012). [Google] [More]  ⦿

Dimitris Arvanitis
[Espresso Society Studio]

[MyFonts] [More]  ⦿

Dimitris Chatzelas

Designer in Volos, Greece. He made the interesting multiline geometric typeface Sob (2011), which is built with triangles. Osi (2011) is a rounded geometric sans typeface for Latin and Greek. Chaplain (2011) is a display typeface with a religious look.

Unida (2012) is a high-contrast fashion mag face. [Google] [More]  ⦿

Dimitris Foussekis

Famous Greek illustrator, who studied geology and paleontology and worked as a specialist designer for archeological findings. Among his influences are Edmund Guy and Philip Burke. His designs appear weekly in magazines and often in advertising campaigns. He has designed several typefaces for Parachute such as PF Cosmonut Pro (2002 a retro futuristic typeface), PF Wonderland Pro (2003-2006, a curly/angular typeface with fantastic dingbats, a font for fairy tales), PF Psychedelia (2003), PF MyWay, PF ManicAttack, as well as Da Vinci Script Pro (2001-2006, with Panos Vassiliou, covers Latin, Greek and Cyrillic).

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

Dimitris Kanellopoulos

Born in Athens in 1979, Dimitris Kanellopoulos studied visual communication design at the Kent Institute of Art & Design in the UK. Back in Athens, he co-founded the design group "PoorDesigners" ('06-'09). In 2012, he and Yiorgos Yiacos co-founded the creative studio The Comeback.

In 2013, Yiorgos Yiacos and Dimitris Kanellopoulos co-designed the custom sans and inline typeface family Free Cinematica for Free Cinema. [Google] [More]  ⦿

Dimitris Kolyris
[Popdog fonts (or: Fiberia)]

[More]  ⦿

Dimitris Mitsiopoulos

Dimitris Mitsiopoulos is a Greek type designer. He is a founding member and partner at Altervision typography and visual communication. Altervision was established by Dimitris Mitsiopoulos, Tasos Efremidis, Apostolos Rizos and Klimis Mastoridis in the beginning of 1997. [Google] [More]  ⦿

Dimitris Perdikopoulos

Designer in Athens, Greece who made the Latin/Greek compressed sans typeface Condact 57 (2012, Ten Dollar Fonts). [Google] [More]  ⦿

Dimitris Sakkas

Illustrator and graphic designer in Athens, Greece, who made Rethink Arial (2012). [Google] [More]  ⦿

Dino dos Santos
[dstype]

[MyFonts] [More]  ⦿

Diogenes

Peter Heslin is the author of Diogenes, a free GNU license "tool for searching and browsing the databases of ancient texts, primarily in Latin and Greek, that are published by the Thesaurus Linguae Graecae and the Packard Humanities Institute." [Google] [More]  ⦿

Dmitrij Greshnev
[Green Type]

[MyFonts] [More]  ⦿

DolWork
[Gerben Dollen]

Gerben Dollen is the Groningen, Netherlands-based graphic designer of the commercial font RES (2006). In 2006, he started studying for an MA in Typeface Design at the University of Reading, where he graduated in 2007 with a type project called Actium, a sans face with Latin and Greek letters. MyFonts page for Dolwork, his foundry, where the 12-style family Actium was published in 2010. He currently works at Type Mafia in Amsterdam. [Google] [MyFonts] [More]  ⦿

Donald Mastronarde
[American Philological Association]

[More]  ⦿

Donald P. Goodman III

Donald P. Goodman III is a practicing attorney in the Commonwealth of Virginia, a graduate of the William and Mary School of Law and of Christendom College with a degree in history and a minor in classical languages. He has contributed several TeX packages for setting religious texts such as catechis (for catechisms) and liturg (for Catholic liturgical texts). In that context, he has designed the DRM font package in 2014.

The DRM (Don's Revised Modern) family of fonts are in Metafont format (for use with TeX). It has many optical sizes and comes in roman, italic and small caps styles. In addition, it has many ornaments, and symbols. Although written in Metafont, the author also provides a set of 103 (!!!) Opentype fonts. The opticals include 5pt (pearl), 7pt (minion), 8pt (brevier), 9pt (bourgeois), 10pt (long primer), 12pt (pica), 14pt (english), 16pt (great primer), 20pt (paragon) and 24pt (double pica). The table below gives a fuller optical size naming picture and its relationship with traditional American and British ways of listing type sizes. There are also Greek fonts. At the publication date, September 2014, the author was still working on the kerning---expect an improved package soon. The DRM fonts are wedge-serifed, and incorporate an odd mix of style elements---some terminals are didone, but other elements are more transitional or Caslonesque. Free download of the 6MB package.

Designer of Dozenal (2008), a metafont package for typesetting documents in base twelve. It includes a macro by David Kastrup for converting positive whole numbers to dozenal from decimal (base ten). It also includes a few other macros, redefines all the standard counters to produce dozenal output, and provides Metafont characters, in Roman, italic, slanted, and boldface versions of each, for ten and eleven (the Pitman characters preferred by the Dozenal Society of Great Britain). These characters were designed to blend well with the Computer Modern fonts. [Google] [More]  ⦿

Douglas Lyle McCue Jr
[typO969]

[More]  ⦿

Download Greek and Byzantine Fonts

How to page, with some free TTF in Greek, maintained by Pigi Bitzeni. [Google] [More]  ⦿

Download Greek Fonts

Greek font archive and Greek links. [Google] [More]  ⦿

Download Greek Fonts

Greek language page by Hatzikokolakis Kostas and Tsichlis Labros. Has Arial and Courier truetype fonts for Greek. [Google] [More]  ⦿

Dr. Shirley J. Rollinson

At Shirley J. Rollinson's site in Portales, New Mexico, an archive with Greek, Coptic, Hebrew and dingbat fonts. A sampling: AWI105 (Amien World International), Alex, Altrussisch, AltrussischBold, AltrussischBoldItalic, AltrussischItalic, American-PresidentsSAMPLE, AngloSaxonRunes, AngloSaxonRunes1, AngloSaxonRunes2, Animals, Animals2, AntoniousJJencom, AntoniousJJencomHollow, AntoniousJJencomThin, AntoniousJJencomWide, AntoniousNormal, AntoniousNormalHollow, AntoniousNormalThin, AntoniousNormalWide, AntoniousOLOverLine, AntoniousOLOverLineHollow, AntoniousOLOverLineThin, AntoniousOLOverLineWide, Athenian, Athletes, BSTGreek, BSTHebrew, Basics, CU_SYMBL, CarrAnimalDingbats, CarrArrowsfilled, CarrArrowsoutline, CarrDingbats2, CarrDings, CelticPatterns, ChayaBold, ChemCycles, ChristianCrosses, ClassifiedDingbats, CommonBulletsNormal, Coptic-Regular, Coptic-Regular, CopticNormal, Dastafarin-Regular, Dingbat-Cats2, DivChem, DwarfRunes, DwarfRunes1, DwarfRunes2, Eggs, FOOD, Fabeldyr-2, Flower-Show, FontForFree, Futura-Thin, Futura-ThinItalic, GermanicRunes, GermanicRunes1, GermanicRunes2, GideonMedium, Grammata, Greek-Regular, Greek-Regular, Greek, GreekOldFace, GreekOldFaceC, HWGreek, Hebpar, Hebrew-Italic, Hebrew-Regular, Inter, Ismini, KirillicaWincyr, Kitchentile, KoineMedium, Koptos-Regular, Korinthus-Italic, Korinthus, Kur2siv-Italic, Lashon-Tov, Lavra-Plain, Linear-B, LudlowDingbats, MENA-1, Martin-Vogel's-Symbols, Medicine, MendelSiddurBold, MendelSiddurMW-Bold, Milan-Greek, MonitorNormal, New-Dingcats, Noam-New-Hebrew, NovaNormal, Novgorod-Plain, Ornaments, Paleo-Hebrew-NormalA, PecanSoncHebrew, Pni2na, Pointers, QuiltersDelight, RK-Meroitic-(Demotic), RK-Meroitic-(Hieroglyphics), RK-Meroitic-Transscript, RK-Persian-Cuneiform, RK-Sanskrit, RK-Ugaritic-Transscript, RK-Ugaritic, Rashi, Roman-Catholic, RuthFancy, SILDoulosIPA, SILGalatia, SILGalatiaBold, SILGalatiaExtras, SILGalatiaExtrasBold, SILManuscriptIPA, SILSophiaIPA, SPAchmim, SPDamascus, SPDoric, SPEdessa, SPEzra, SPIonic, SPTiberian, Sgreek-Fixed, Sgreek-Medium, ShalomOldStyle, ShalomOldStyle, ShalomScript, ShalomStick, ShebrewMedium, States, Statuer, Symbol-Accentuated, SymbolMW-Bold, SymbolMW-BoldItalic, SymbolMW-Italic, SymbolMW-Normal, TLHelpCyrillic, TattooNo1, TattooNo2, TimesNewRomanNavajo, TimesNewRomanNavajoBold, TimesNewRomanNavajoBoldItalic, TimesNewRomanNavajoItalic, TorahSofer, TransliterationItalic, Tzipporah, Ugarit, VintageDingbats, WarnSymbols1, WarnSymbols2, WarnSymbols3, WarnSymbols4, WarnSymbols5, YourKeys, ZapfDingbats, button_by_fanta, fantas-second, hebrew, persische-Keilschrift. [Google] [More]  ⦿

Dry Heaves Fonts (was: Phil Fonts)
[Phillip Andrade]

Not to be confused with Phil's Fonts, Phil Fonts offers charityware fonts by Phillip Andrade who uses the nicknames Dry Bohnz, neatoguy and spamboy. Most fonts are grungy, and were designed roughly between 1999 and 2003.

The list: BlownDroid, Neatified, HappyLarry, IShotTheSheriff, Alien Marksman, EvilCow, Corporate Suit, BadHairDay, Tiptonian, Philbats. Grouped as Scroll fonts from the dead Sea, we find: Habbakuk Scroll (Hebrew), Manual of Discipline (Hebrew), Parthenon (Greek), Ambrosius, Problem Secretary (old typewriter), DeadCircuit, MoldyPillow, Pastorswrit, RadiatedPancake, StolenLlama, Untitled, WetNapkin, Worn Manuscript (1999, grungy blackletter), DustyWombat, NasalDrip, Alphasnail, CarbonatedFont, RaptorAttack (2001), Warped Greased Monkey, Alphasnail (2001), Beth David (1999, Hebrew), Greased Monkey (2001), Lost City (1999, Hebrew), Missing man out (2001), No Brainer (2001), Raptor Kill (2001), Spazbats (2002, dingbats), Speed of Oatmeal (2001), Troglodyte (2001), Polyphemus (2000), Infestation (2000), Hand Drawn Wasabi (2002, katakana font), I Am A Font Designer (2003, scanbats), Neosight (2003), FirstTemple (2003, an old Phoenician lettering font), ScreamingGuitar (2002, guitar dingbats), DHUgaritic (2003), PeskyPhoenicians (2003).

Devian tart link. Alternate URL. Fontspace link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

dstype
[Dino dos Santos]

Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Pic. Klingspor link. Dino created these typefaces:

  • Access (1997).
  • Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family.
  • Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
  • Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
  • Anubis (2003): a unicase face.
  • Aparo (2013). A plumpish elegant high-contrast script face.
  • Apud and Apud Display (2010): a high-contrast serif family.
  • Aquila (2004).
  • Boldina (2004). A fat informal poster family with 18 weights and styles.
  • Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
  • A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
  • Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
  • Ception (2001): a futuristic sans family.
  • Cultura, and its improved version Cultura New (2013), a text book typeface family.
  • Decline (1996).
  • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
  • Esta (2004-2005): extensive (transitional) text and newsprint family.
  • Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
  • Ezzo: a sans family.
  • Factor (1997).
  • Finura (2009): this typeface has hints of University Roman.
  • Fragma (2003): squarish techno family.
  • Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
  • Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
  • Hades (2012). A yummy and free blackletter typeface.
  • Hypergrid (2002): octagonal.
  • Kartago (2005): based on Roman inscriptions from Cartago.
  • Large (1999) and Large Pro (2006).
  • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): this 31 styles were all made in 2007.
  • Maga (2012). A text family.
  • Methodo (2005): calligraphic penman faces.
  • Missiva (2004).
  • Monox and Monox Serif (1998-2000): a monospaced family.
  • Musee (2006): a transitional family with ornaments and borders.
  • Nerva (2004). A subdued Trajan typeface with flaring.
  • Nyte (2012). A serifed text family.
  • Otite (1995).
  • Outside (1996): grunge.
  • Plexes (2003). See also Plexes Pro (2006).
  • Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
  • Poesis (1999).
  • Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
  • Priva Pro (2006): a sans family that includes Greek and Cyrillic).
  • Prumo (2011-2012). A 92-font family oroginally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
  • Quadricula (1998).
  • Quaestor and Quaestor Sans (2004). Roman inscriptional faces.
  • Resea (2004) and Resea Consensed: Bank Gothic style faces.
  • Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. Codesigned with Pedro Leal.
  • Synuosa (1999): an experimental typeface showing only the top half of the characters.
  • Terminal (1996).
  • Titan and Titan Text (2003).
  • User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
  • Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
  • Ventura (2006): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
  • Volupia (2005): a connected advertising face.

View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More]  ⦿

Dylsectic

Dylsectic is located in Athens. It made a charming squarish face, Rufus (2010), as well as the great bubble font Five Petrol Poles (2010). [Google] [More]  ⦿

Ectaco

In 1999, this company produced a number of fonts that combine Latin with other languages such as Cyrillic, Greek, Turkish and Arabic. Download here. [Google] [More]  ⦿

Edik Ghabuzyan

Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan has been creating Armenian computer fonts since about 1988---a total of about 300 digital fonts. In 1997, one of his fonts won the Best Font prize in HiArt Armenian Fonts competition. In 2005, his Vernatun and ArmTimesST fonts were awarded the main prizes and the Titghosagir the first prize in Mashtots-1600 Electronic Fonts competition. In 2006, several of his fonts won the main prizes in Armenian Schoolbook Fonts competition. He has designed Armenian letters in Unicode and later Latin, Cyrillic and Greek letters, preserving a uniform style /across the spectrum. Today, Edik Ghabuzyan works at the National Book Chamber of Armenia as the head of the section of Saving and Creating Armenian Fonts. He won several awards at Granshan 2008, and organized both Granshan 2008 and 2009.

He created (free) Armenian extensions of Microsoft's Tahoma, GHEA Tahoma (Regular, Bold), in 1996. His winning entries in Granshan 2009 include Aragast (for Cyrillic), Asparez, Parmani, Notgrir, and Diana.

He also designed Mariam, GHEA Tigran (2008, awarded the Grand price in the Granshan 2008 International Type Design competition), GHEA Koryun (2011), GHEA Gohar (2009), GHEA Aspet (2011), GHEA Lilit (2012, a nice text family), GHEA Narek (2012, a sans family with built-in contrasts), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface realted to the modern fat faces), GHEA Narek Serif. Most of his fonts cover Latin, Greek, Cyrillic and Armenian.

GHEA Narek Display won an award at the Morisawa Type Design Competition 2014.

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

EducETH

Free Greek truetype fonts: Xanthippe (Mac), Greek (PC), SpecialFont. [Google] [More]  ⦿

Edward Detyna
[Electronic Font Foundry]

[More]  ⦿

El Cappuccino

From Sun: HelmetCondensedBold, HelmetCondensedBoldItalic, HelmetCondensedItalic, HelmetCondensedNormal (1999). Also, OLBGRK, OLBHEB for Greek and Hebrew. [Google] [More]  ⦿

El Circulo de Oro de Uresh-Nefer
[Antonio Hernández Marín]

Defunct hieroglyphics page by Antonio Hernández Marín. It had some downloadable fonts, including Trophos (Greek font by Carlos F. Gilardoni, 1994), Antonious (Greek, by Wisam Michael), Coptic, and TransliterationItalic (Egyptian transliteration font from Utrecht University). Old URL. [Google] [More]  ⦿

El Yeshuati

OLDGRK (Greek) and OLDHEB (Old Hebrew): free truetype fonts. [Google] [More]  ⦿

elections.gr

Basic Greek fonts. [Google] [More]  ⦿

Electronic Font Foundry
[Edward Detyna]

The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts at about 15 dollars per weight, and made custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.

The font designer and owner was Edward Detyna, who died in March 2014. People are reporting to me that the fonts are in limbo, and that Detyna's family is not replying to requests for information.

On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a few. I have a feeling that these folks just happen to be twins with entities that are currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at least twenty years ago, Edward and his associates had a font design studio based in Ascot, near London. He is a mathematician/statistician turned typographer, and was really on top of type design at the time. There are academic articles published on mathematical subjects on the internet. He's an old man now, but still a very smart guy. When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British computer of mid-eighties to -nineties), he had very advanced and sophisticated algorithms for anti-aliasing and hinting, and his hand-hinting is still better than almost any other fonts I have used for screen work. He still sells fonts and adapts to user requirements promptly. I recently asked him to adjust the hinting on a font and he turns it around in a day.

Closed captioning fonts for TV, made according to the EIA 708-B specifications, include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.

EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.

EFF Primary is a large family of educational fonts.

EFF Utamaru is an oriental simulation font. [Google] [More]  ⦿

Elena Papassissa

Italian graduate of ISIA Urbino, Italy (M.Sc. in Communication and Design for Publishing and a Bachelor's in Graphic Design and Visual Communication). Graduate of the MATD program at the University of Reading in 2012. Elena lives in the UK. Her graduation typeface at Reading was the multi-script Dr. Jekyll and Miss Hyde (2012), created for Latin, Greek and Armenian. My first reaction is that the curviness and roundness of the Latin part is due to the desire to harmonize with the two other scripts. All styles are flared out near the top, which gives the result a comic book feel. In fact, Elena mentions that children's books was one of the main motivations.

At ATypI 2013 in Amsterdam, she discusses the current state of Armenian type design. [Google] [More]  ⦿

Eleni Beveratou

Graduate of the University of Reading in 2011. Originally from Greece, Eleni's graduation typeface was Intone (2011), which was specially created for Latin and Greek texts.

During TipoBrda 2010, she created the contrast-rich display sans typeface Untitled.

At Fontsmith, she published FS Olivia (2012), an angular text family for Latin Greek and Cyrillic. [Google] [More]  ⦿

Elia Tsamantaki

Athens, Greece-based creator of the (Latin and Greek) children's script faces Fun (2012) and Dream (2012). [Google] [More]  ⦿

Elias Papanikolaou
[EPA Greek Workbench]

[More]  ⦿

Elpenor

Archive with Greek polytonic Unicode fonts: Asteria-Bold, Asteria-Bold-Italic, Asteria-Italic, Asteria, Georgia-Greek. The Asteria family is by Semata (2004). [Google] [More]  ⦿

Emilios Theofanous

Aka Aemil. Athens-based FontStructor who made the Latin / Greek stencil typeface ATF Lorem (2013). Behance link. [Google] [More]  ⦿

Emmanuel Margetis

Based in Athens, Greece, Emmanuel Margetis created Gravity (2013), a poster typeface. [Google] [More]  ⦿

Empirica
[Michel Dricot]

The Empirica-Regular truetype font by Michel Dricot, 1995, a clean sans serif with roman and greek letters. [Google] [More]  ⦿

EPA Greek Workbench
[Elias Papanikolaou]

Elias Papanikolaou's Amiga fonts for Greek. [Google] [More]  ⦿

Epsilon Alpha competition

Epsilon Alpha (Hellenic Alphabet) is a Greek type design competition with awards in the 500 to 1000 Euro range. The winning entries were at the 3rd International Conference on Typography and Visual Communication in Thessaloniki in June 2007. The jury consisted of Dan Carr, Keith Tam, George Matthiopoulos, Michail Semoglou and Panagiotis Haratzopoulos. They gave the awards to Alice Savoiie (text type) and Thomas Grace (display type). [Google] [More]  ⦿

Erewhon
[Michael Sharpe]

Erewhon (nowhere) is a transitional font based largely on Andrey V. Panov's Heuristica, but with so many changes that Michael Sharpe, its designer at UCSD in San Diego, decided in 2014 to offer it as an enhanced alternative. Heuristica (2008-2012) extended the Utopia font family made available by the TEX Users Group, adding many accented glyphs, Cyrillic glyphs, ligatures, superior and oldstyle fixed-width figures in all styles. Erewhon has 1398 characters and is free at CTAN. [Google] [More]  ⦿

Eric Pement

Eric Pement's Hebrew font archive: Alex, BSTHebrew, Chaya-Bold, ChemCycles, David-New-Hebrew, DivChem, Dor, ElroNet-Monospace, ElroNet-Proportional, Futura-Thin-Italic, Futura-Thin, Gideon-Medium, HadasahLight, HadasahShamen, Hebpar, Hebrew-Bold-Italic, Hebrew-Bold, Hebrew-Italic, Hebrew-Italic, Hebrew-Regular, Hebrew-Regular, Kur2siv-Italic, Lashon-Tov, Mendel-Siddur-Bold, MendelSiddurMW-Bold, Miriam, Moses-Judaika-Word, Moses-Judaika, Noam-New-Hebrew, Nova-Normal, Paleo-Hebrew-NormalA, Pecan_-Sonc_-Hebrew, Pni2na-Bold, Qumran-Caves, Rashi, Ruth-Fancy, SPDamascus, SPEzra, SPTiberian, Sgreek-Medium, Shalom-Old-Style, Shalom-Script, Shalom-Stick, Shebrew-Medium, Symbol-MW-Bold-Italic, Symbol-MW-Bold, Symbol-MW-Italic, Symbol-MW, Torah-Sofer, Tzipporah, WarnSymbols1, WarnSymbols2, WarnSymbols3, WarnSymbols4, WarnSymbols5, Web-Hebrew-AD, Web-Hebrew-Monospace. He also has a Greek font archive. [Google] [More]  ⦿

Eric Wannin
[Quartet Systems]

[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 typeface 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 typeface 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]  ⦿

Espresso Society Studio
[Dimitris Arvanitis]

Dimitris Arvanitis (b. 1948, Chalkis, Greece) is a painter and graphic designer who has been or is art director EMI-Columbia and Minos and for magazines such as Periodiko, Difono, Tachidromos, Jazz&Tzazz, Kaleidoscopio and Adobe Magazine. He is a member of the Cannibal Fonts company, and founded Espresso Society Studio. He writes in magazines and newspapers, and designs fonts. His creations for Latin and greek include CF2 Sophia, ConduitTC-Hel, Modula TallGreek and Senator TallGreek (a Greek version of Emigre's Senator). MyFonts page. [Google] [MyFonts] [More]  ⦿

Estampilles
[Nikos Goulandris]

Nikos Goulandris's Mac dingbat font with 94 potter's stamps. He also made AlexandrosP (heads), Cosette, Meduse, Karagiozis (1996, figures taken from pottery), IsminiLight (Greek font), GreekWin, VoreasNormal and BasBayeux (for a discussion, see here). PC truetype versions at Masterstech. [Google] [More]  ⦿

Eudora Greek Tables

Greek script and Greek bitmap fonts. [Google] [More]  ⦿

Eudora Greek Tables (Norway)

Greek script and Greek bitmap fonts. [Google] [More]  ⦿

Eugen Sudak
[WDC Fonts]

[MyFonts] [More]  ⦿

EUROIDEA

Archive with free Greek fonts for the Mac and PC (Hellas Arial and Hellas Times). [Google] [More]  ⦿

Europaea

At the site of the "Europeanists": A file with about 15 fonts. Included are some Cyrillic fonts, uropean-Helvetica (Howard M. Berlin, 1993), Greek-Symbols (Monotype), I-PAtimes, Times-New-Roman-CE (Monotype), East-European Times, GreekSymbols, and Vocabolarjo. Alternate URL. [Google] [More]  ⦿

European Parliament

1MB worth of Greek fonts. [Google] [More]  ⦿

Eva Karapidaki

Eva Karapidaki holds a Bachelor of Arts in Graphic Design from Middlesex University /AKTO. She often writes for +Design magazine and works for Tsevis Visual Design. Her first commercial typeface is PF Hardkore (2007, Parachute). [Google] [More]  ⦿

Eva Masoura

Ex-student at the University of Reading who designed Almeida (2003). At TDC2 2006, she won an award for her design of Frutiger Next Greek (2005), shared with Adrian Frutiger. [Google] [More]  ⦿

EversonMono for MacOs

Free Mac fonts in the EversonMono series for CSX, Celtic, Croatian, Cyrillic, Esperanto, Gaelic, Georgian, Greek, Icelandic, Inuktitut, Ogham, Romanian, Sami, and Turkish. [Google] [More]  ⦿

Every Witch Way
[D. Paul Alecsandri]

D. Paul Alecsandri designed the runic fonts Futharc (2001), NewSymbolFont (2000) and Samaritan (2001). We also find the rather complete Unicode truetype font Roman-Unicode (2001), which cover all European, Arabic, Hebrew, Greek, Cyrillic, Thai and Indic languages, and provide kana as well (but not kanji). All parts of unicode covered. See also here.

Samaritan (2001) deals with a pre-Samaritan or pre-Babylonian Hebrew.

Originally designed for linguistics, the free typeface Chrysanthi Unicode (2001) contains all Unicode Latin characters (including Basic Latin, Latin 1 Supplement, Latin Extended A&B, IPA, and Latin Extended Additional) as well as Greek, Cyrillic, Hebrew, and everal others.

Fontspace link. [Google] [More]  ⦿

EZ Byzantine Music Font Package

Greek/Byzantine music font package brought to you by Father Ephraim from the Greek Orthodox St. Anthony's Monastery in Arizona: EZ-Oxeia, EZ-Fthora, EZ-Psaltica, EZ-Special-I, EZ-Special-II. These fonts are similar to the fonts from CYLLOGOS MOUSIKOFILON CON. [Google] [More]  ⦿

Fabio Luiz Haag
[Foco Design (or: ByType)]

[MyFonts] [More]  ⦿

Faculty of Classics, Oxford University

Greek font links, and great Greek font jump page. Direct access. [Google] [More]  ⦿

Familia Design
[Rafael Dietzsch]

Rafael Dietzsch ran Familia Design in Brazil, ca. 2007. Graduate of the University of Brasilia, and of the MATD program at the University of Reading in 2012. His graduation typeface is Brasilica (2012), which is a Latin / Greek typeface family with sufficient diacritical support of most Brazilian indigenous languages. It is a serifed typeface but has matching sans styles. My own first reaction to this typeface was sturdy. Brasilica won an award at Tipos Latinos 2014.

At ATypI 2013 in Amsterdam, he speaks about typefaces for Brazilian indigenous languages. [Google] [More]  ⦿

Fantasy Fonts Archive

Fantasy fonts archive. Includes CRL_1 (Greek), several Startrek fonts (such as STCardassian), KeplerAstro and Hermetic (astrology fonts), rune fonts (such as Enochian and Dethek-Dwarvish-FR), and Tim Gathercole's Tencton. [Google] [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]  ⦿

Ferdie Balderas

Mexico City-based designer of the multilingual Le Hand hand-printed typeface, the sans display typeface Axima (2013, tweetware), the hand-printed typeface Engine, the hand-printed tweetware font L'Engineer, and the cartoonish futuristic font Neo Genesis in 2013.

Typefaces from 2014: Silici (a tweetware marker pen font for Latn, Greek and Cyrillic).

Behance link. Fontspring link. Devian Tart link. [Google] [More]  ⦿

findmyfont

Commercial software for Mac and Windows by Softonium Developments in Greece. Given an image of a font, or just letters of a font, this software locates the font on one's computer. [Google] [More]  ⦿

Fixedsys
[Darien Valentine]

Free truetype fonts: Tai Le Valentinum (for the Tai Le script used in China, Burma and Laos), Valentine Arabic, the faux pixel font Sounds of Apathy, and the unicode faux pixel font Fixedsys Excelsior 2.0 (2007). The latter covers Latin, Greek, Cyrillic, Hebrew, Armenian, Tamil, Hylian, N'Ko, Ethiopic, blackletter, Dehong Dai, Pahawh Hmong, Thaan, Arabic, Thai, Ogham, runic, and IPA. All fonts made by Darien Valentine in 2004. See also here. [Google] [More]  ⦿

Flanker (or: Studio di Lena)
[Leonardo Di Lena]

Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts, made beteen 1998 and 2009:

The outfit was known as JFDooM Flanker's Fonts, between 2001 and 2004. The fonts then were slightly different. They included BodoniFlnk, BodoniFlnkCor, BodoniFlnkCorGrass, BodoniFlnkGas, CNRLineare, DidotFlnk, DidotFlnkCorsivo, DidotFlnkCorsivoGrassetto, DidotFlnkGrassetto, Emblema-della-Repubblica-Italiana, Frantisek, GaramondFlnkNormale, GaramondFlnkCorsivo, GaramondFlnkCorsivoGrassetto, GaramondFlnkGrassetto, GriffoFlnkCorsivo, GriffoFlnkCorsivoGrassetto, GriffoFlnkGrassetto, GriffoFlnknormale, Lellocorsivobold, Lellocorsivo, Lello, MarlboroFlnk, Magnificat, There's-nothing-money-can't-buy, Poker, ShocktothesystemCorsivo, ShocktothesystemVuoto, Sony, Bjork-Isobel, Imperator, Traiano, Rdclub. Most fonts have Greek and Cyrillic letters as well.

Commercial fonts at Flanker via MyFonts: Garaldus (2012, based on a 1956 font by Aldo Novarese), Italian Typewriter (2012, a family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties).

Typefaces from 2013: Flanker Ruano (based on a chancery typeface by raffaelo bertieri, 1926), Selene (monoline sans).

Dafont carries Magnificat, a 2011 revival of the ornamental typeface by Friedrich Peter. [Google] [MyFonts] [More]  ⦿

Foco Design (or: ByType)
[Fabio Luiz Haag]

ByType is the type subdivision of Foco Design, the Brazilian design company of graphic and type designer Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul), located in Sapiranga, Rio Grande do Sul. Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

In 2007, he created the organic sans typeface IronThree.

Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

In 2009, Foco Italics was published.

At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag, Creative Director at Dalton Maag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

Klingspor link.

View Fabio Haag's typefaces. [Google] [MyFonts] [More]  ⦿

Fontarkivet

Font archive from Denmark. Includes several original dingbat fonts from Listemageren such as Ancient Greeks and Gabriel's Angels. [Google] [More]  ⦿

Fontbilisi (was: Germán León)
[Germán León]

Tbilisi, Georgia-based Germán León's first typeface is the quaint Latin slab serif Miraflores (2012). At MyFonts, we read that the foundry is located in Ukraine or in Tbilisi, Georgia. He explains: He was born in Madrid, but crisis and love brought him to Tbilisi, Georgia, from where he is currently designing.

In 2013, he published GL Tetuan (a slab serif that covers Latin, Cyrillic, Georgian and Greek) and GL Benicassim (a sans for Latin and Cyrillic). The foundry Germán León was renamed Fontbilisi that same year. [Google] [MyFonts] [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? Taz has grown as fopllows: TazText, Taz CFondensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014).
  • 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]  ⦿

Fontry West
[James L. Stirling]

Fontry West is located in Tulsa, OK. At MyFonts, these Fontry West fonts can be bought: Iron, Toxcons (2008, skulls), WILD1 Firstvision, WILD1 Larra, WILD1 Nobody, WILD1 Ruts, WILD1 Toxia, WILD2 Ghixm, WILD2 Keetoowah (2008). Its type designer is James L. Stirling, who cofounded the Watts, Oklahoma-based design and lettering studio The Fontry in 1992 with Michael Gene Adkins. Born in 1964 in Oklahoma, Stirling codesigned WILD1 Firstvision (1997, techno) and Ironrider and Ironhorse (2008, blackletter faces based on wood types) with Adkins. In 2000, he co-designed the fonts Modern Poster and Modern Roman, based on the lettering of Alf R. Becker, a sign painter from 1932 to 1957. These fonts were published by Agfa-Monotype. Later fonts there include Steel Narrow, Steel Moderne, Chicago Modern. At The Fontry in the early 1990s, he made Klash (comic books style), Peppermint and Peppermint Openface (Southwest influences), Marbles&Strings, and Keetowah. He also made some Greek fonts at The Fontry.

In 2009, James Stirling started a serious digitization program of the art deco fonts of Alf R. Becker (based mostly on his Signs of the Times series), and made ARB 70 Modern Poster, ARB 93 Steel Moderne, ARB 44 Chicago Modern, ARB08ExtremeRomanAUG-32CASNormal (2009; the original is from 1932), and ARB 67 Modern Roman.

The grunge typeface JLS OverKill Grunge (2009) is free. JLS Smiles (2010) is a family of typefaces consisting of smilies / emoticons. FHA Modernized Ideal Classic (2011, with Michael Gene Adkins) is based on a demonstraton alphabet from Frank H. Atkinson's Atkinson Sign Painting (1908).

Typefaces from 2012 include FHA Condensed French (with Michael Gene Adkins), JLS Space X1C (LED style), JLS Space X2C, JLS Space Gothic, JLS Data Gothic.

  • In 2013, James cooperated with Michael Gene Adkins on FHA Broken Gothic, a layered chiseled type system based on Frank Atkinson's Broken Poster.

    Typefaces from 2014: FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling).

    Dafont link. FontShop link.

    View James Stirling's typefaces. [Google] [MyFonts] [More]  ⦿

  • Fonts for Scholars
    [David J. Perry]

    Cardo is a Unicode font under development by David J. Perry from Rye, New York. Covering European languages, as well as Hebrew, Greek/Coptic and Greek Extended, it is free for non-commercial use. He writes: "This font is my version of a typeface cut for the Renaissance printer Aldus Manutius and first used to print Pietro Bembo's book De Aetna. This font has been revived in modern times under several names (Bembo, Aetna, Aldine 401). I chose it mainly because it is a classic book face, suitable for scholarship, and also because it is easier to get various diacritics sized and positioned for legibility with this design than with some others. I added a set of Greek characters designed to harmonize well on the page with the Roman letters as well as many other characters useful to classicists and medievalists."

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

    Fonts for the New Testament Greek
    [Jonathan Robie]

    Greek font links with a nice discussion by Jonathan Robie. [Google] [More]  ⦿

    Fonts Jos Kunst
    [Jos Kunst]

    Two free fonts by Dutchman Jos Kunst: classical Greek (Mac only), and MathLogic (Mac, PC). Jos Kunst lived from 1936-1996. Bio. [Google] [More]  ⦿

    Fontsmith
    [Jason Smith]

    Jason Smith is the British corporate typeface designer who founded Fontsmith in 1999, where he retails his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. His fonts include FS Sinclair (2008, octagonal), Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, FS Ingrid, FS Rome, FS Albert (2002, a soft-cornered sans family), and Saudi Aramco. Of these, only FS Albert (2002), FS Rome and FS Ingrid can be purchased.

    Newer fonts include Champions (Regular, Bold, Headline; done in 2009 for the UEAFA Champions League), FS Rufus (a slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi), FS Sophie (2004, sans), FS Rigsby (2005, sans), FS Clerkenwell (2004, with Phil Garnham, slab serif), FS Pele (2007, ultra fat), FS Kitty (2007), FS Sinclair (2007, rounded octagonal), FS Alver (2007), FS Dillon (influenced by the Bauhaus quest for simplicity), FS Lola (2006, for Wechsler Ross&Portet; done with Phil Garnham, it is advertised by Fontsmith as a transgender type).

    In 2007, he made the custom typeface Xerox Sans as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant.

    Custom typefaces include More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), FS Conrad (2009, a multiline display face). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later.

    In 2012, Jason Smith and Fernando Mello codesigned the sans typeface family FS Truman at Fontsmith.

    Coroporate typeface by Fontsmith include Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai).

    Klingspor link">Jason Smith [Google] [MyFonts] [More]  ⦿

    Fontworld
    [Israel Seldowitz]

    "Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European faces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More]  ⦿

    Fontworld (Greek)

    Greek faces in packages at about 12 dollars per face. Check out Pithos, in particular. [Google] [More]  ⦿

    Forth Net

    A few Greek fonts for PC, Mac, X-Windows and Amiga. [Google] [More]  ⦿

    Fountain--A Friendly Type Foundry
    [Peter Bruhn]

    Fountain is a Swedish foundry in Malmö, founded in 1994 by Peter Bruhn (1969-2014). In 2008, its designers include Rui Abreu, Lee Basford, Lars Bergquist, Felix Braden, Lotta Bruhn, Peter Bruhn, Lucas Brusquini, Matthew Chiavelli, Stefan Claudius, Thomas Crolla, Jay David, Stefan Hattenbach, Peter Hoffman, Nina Hons, Sylvia&Daniel Janssen, Randy Jones, Gábor Kóthay, Martin Lexelius, Ricardo Santos, Góran Sóderstróm, Simon Schmidt, and Dirk Uhlenbrock.

    Some offerings over the years: the avant-garde Anarko (nice!), the curly Pizzicato (also nice), Pussy, Udo, Barbera, Gas, the gorgeous bottle dingbats Mini (by Peter Bruhn), Kundera, the free downloads Animals, Doggystyle, Egg, Egg Cameo, Fat Ultra, Kundera, Maceo, Mothafucka, Pavement, Pavement-Kana and Sevenet. All of the aforementioned faces have mostly been designed by Peter Bruhn. They also do custom work. Other fonts: Jinchi1, Hebrew, Greek. Recent fonts by Simon Schmidt include CloseCall, CloseGridder, Ogra and Schlager. Martin Fredrikson Core made the fat display typeface Filt (based on Antique Olive, it now has a Greek weight as well), Borgstrand, FTN Sauerkrauto, and Malmo Sans. Matthew A. Chiavelli made Ultura (1996).

    Peter Hoffmann created Alita.

    Lars Bergquist published Paracelus (a modern version of Schwabacher), Baskerville 1757 (2002), Montrachet, Monteverdi, and Waldstein (a Scotch typeface). Steve Payne designed COMA. Felix Braden made Sadness and Grimoire. Lee Basford created Nuephoric.

    Peter Bruhn made the commercial fonts Mayo, Ketchupa, Mustardo and the free fonts Partisan, Jinichi, Lipo-D, Dopil, Deuzhood, Azteak (initial caps) and Anticca. Lotta Bruhn designed Lucifer. Stefan Caludius made Dekoria (2003), a Tuscan titling face.

    At Veer, you can buy the sans family Stalemate> (2004), which was originally an OEM family designed for but not used by a German IT company, and Gretel (by Sylvia&Daniel Janssen), Scrixel 8 and 16 (pixel families by Thomas Crolla).

    View Peter Bruhn's typefaces. [Google] [MyFonts] [More]  ⦿

    Four Greek and Byzantine fonts

    [More]  ⦿

    François H. Villebrod
    [Typiko]

    [More]  ⦿

    Franck Jalleau

    French designer and type specialist (b. 1962). Works at the Imprimerie Nationale in Paris, and teaches typography at the Ecole Estienne. Fascinating interview (in French). His typefaces: As an OEM for the Imprimerie, he designed some fantastic fonts between 1990 and 1998, including Arin (1986; Morisawa award 1987), Garamont (1995), Grandjean (1997), Jalleau (1996), Perrin (1997), Roma (1996), Scripto (Morisawa award 1996), Virgile (1995, Agfa) and Oxalis (1996, Agfa).

  • Francesco (1998) is based on the letters of Francesco Griffo. Perfectly executed, it is a renaissance revival face---although first designed in 1998, it was published only in 2010 at BAT Foundry, which Franck helped co-found. It also covers Greek and Cyrillic.
  • In 2002, he created Le Brive, commissioned by senator and mayor Bernard Murat of Brive-la-Gaillarde.
  • In 2005, he digitized the Grec du Roi based on original characters and ligatures by Claude Garamond for François 1er, 1544-1550.
  • In 2009, he created Le Maghrébin based on material in the Imprimerie Nationale. The original from 1846 and 1850 was cut by Marcellin Legrand. This version of Arabic is also called western, or African (africain), and features many ligatures. [Google] [MyFonts] [More]  ⦿

  • Frantisek Storm
    [Storm Type Foundry]

    [MyFonts] [More]  ⦿

    Fredrick M. Nader
    [Apostrophic Laboratory]

    [MyFonts] [More]  ⦿

    Free Font FORA

    About 20 font links, with comments. Greek site. Some free Greek fonts can be downloaded here. [Google] [More]  ⦿

    Friedemann Dittrich

    Greek and Hebrew fonts: Hebrew (Michael S. Bushell, 1994), OdysseaF (Payne Loving Trust, 1996), SPTiberian (Scholars Press, 1995), SymbolGreekPF (Payne Loving Trust, 1996). Direct access. [Google] [More]  ⦿

    Fulvio Bisca

    Italian illustrator and designer from Torino (b. 1970) who made Antitled, a sans serif family at T-26 (2001, completed in 2004). Ex-graduate of Institute G.B. Bodoni in Torino in 1989.

    In 2010, he made Cutoff Pro (URW++, +Bold), a serif family with serifs cut off in odd ways, and which covers all European scripts, including Cyrillic and Greek. One could say that it is a hyper-organic typeface.

    Typefaces from 2014 include Vertebrata.

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

    FUNDP: Tablinum
    [Paul Pietquin]

    Nikos Goulandris's modern Greek font Ismini was adapted by Paul Pietquin at the Département de Langues et Littératures Classiques des FUNDP (University of Namur, Belgium), which led to the Greek fonts Isminipc and SuperIsmini. Mac and PC. [Google] [More]  ⦿

    G. Azzaro

    11MB ziped font file contains the Sun/Corel starter collection of about 300 Bitstream truetype fonts, supplemented by the odd Monotype foreign language font (such as Porson Greek). [Google] [More]  ⦿

    G. Thomas Schroer
    [Numus Moneta Font]

    [More]  ⦿

    Galaxie Software (was: Biblescript 97)

    Located in Garland, TX. BibleScript: Commercial Greek and Hebrew font package. Has a shareware version. Windows and Mac. Their fonts are also here: GU-Greek (2001), GU-Hebrew (2001), Greek (2001), Greek-Uncials (2005), Greektl, Hebrew (2001), Hebrewtl, OLBGRK (2003), OLBHEB (2003), Scholar (1997). "GU" stands for Galaxie Unicode. [Google] [More]  ⦿

    Galeb

    Cyrillic, Old Church Slavonic, and Byzantine Greek font archive: UB-Byzantine (1993, by Unibrain SA), SymbolGreekPF (Payne Loving Trust), OdysseaF (Payne Loving Trust), NB-Byzantine (1999, Nikolaos), Miroslavljeva Cirilica (1993, Dino Art Corporation), MgGreekArchaic Plain (1989), Ciril Studenica (1993), C_Sveti_NIKOLA Normal (1993, Predrag Milivojevic, Belgrade), ALBXHRNormal (1994, Im Grhgorioy). [Google] [More]  ⦿

    Galinos Paparounis
    [Odysseas GP]

    [More]  ⦿

    Garamond Premier Pro

    Robert Slimbach worked on this family between 1992 and 2004, yet Adobe gives it away for free, bundled in their CS2 (Creative Suite 2) package. It has 32 weights and all names have the prefix GaramondPremPro (BdItalic, ItSubh, Bold, LtDisp, Italic, LtItDisp, Medium, Med, MediumIt, MedCapt, Regular, MedDisp, SbIt, MedIt, Semibold, MedItCapt, Bd, MedItDisp, BdCapt, MedItSubh, BdDisp, MedSubh, BdIt, Smbd, BdItCapt, SmbdCapt, BdItDisp, SmbdDisp, BdItSubh, SmbdIt, BdSubh, SmbdItCapt, Capt, SmbdItDisp, Disp, SmbdItSubh, It, SmbdSubh, ItCapt, Subh, ItDisp), and covers many scripts. The typophiles are particularly impressed with the coverage of Greek, and many like the comprehensive and balanced style. Ulrich Stiehl points out some minor flaws:

    • Several letters, e.g., the "Registered" sign, are too small and are completely illegible in ordinary text sizes such as Adobe Originals 12p.
    • The Medium-Bold (Med) and Semi-Bold (Smbd) styles do not work properly with Microsoft Word due to faulty internal font style naming. [Note: maybe some of this was intentional.]
    • Using all styles or all characters of "Garamond Premier Pro" in a document makes PostScript drivers crash. Adobe admits in the "Release Notes" of this font: "In our testing, we found that a PostScript Level 2 device with 32 MB of RAM could handle only 3 different fonts from the Garamond Premier family on one page."
    [Google] [More]  ⦿

    Gary Munch
    [MunchFonts]

    [MyFonts] [More]  ⦿

    Gary S. Dykes

    Gary S. Dykes made 21 free public domain truetype fonts for Roman, Greek, Hebrew, Syriac (2002), Coptic, Ugaritic, Sabaean, Aramaic, including a beautiful Greek Minuscule font: Aram44, BLDGrk.ttf (2000), Coptic44 (2000, for all Sahidic and Bohairic typography), DISP_44 (2002), G100XTRA (2002), Greek44 (1997-2002), GARYS (2002, a blackletter font), GoudyHundred (2001, based on Stephen Moye's version of Goudy's Bertham), Goudy_B (2002), Goudy_IT_BD (2002), Goudy_It (2000), Greek44s (2002, has some Byzantine glyphs), HEB44a (2003), HEB44b, HEB44c, HEB44d, MINU44a (2003), MINU44b (2003), My_XTRA (2002), SABAEN44 (2002), Syriac44 (2001, for Estrangelo), Ugar_44 (2001). Some of the fonts are under the label "Fraktur Fonts". [Google] [More]  ⦿

    Gawr Juhs
    [Derek Green]

    Derek Green (Gawr Juhs, Edinburgh, Scotland) specializes in visual communication and branding. He offers some free fonts. In 2012, he made Embra, Rave87, Portabello (counterless), and Constellation (a dot matrix font).

    In 2013, he made Char, Impression and Gioma (a free Latin / Greek prismatic typeface created for a woman in southern Crete).

    Behance link. [Google] [More]  ⦿

    gbt.org

    Five Greek TrueType fonts. [Google] [More]  ⦿

    ge0rgia

    This Greek woman (b. 1996) designed A Little Pot (2005, hand-printed). Hm, there must be something wrong here with the dates. [Google] [More]  ⦿

    Georg Duffner

    Austrian designer who is trying hard to give the free software world an excellent qualitatively competitive free Garamond family. At Google Web Fonts, we find his EB Garamond family (2011), which covers both Latin and Cyrillic. Thee are also EB Garamond Initials. It is named after Egelnoff and Berner.

    He explains: The source for the letterforms is a scan of a specimen known as the Berner specimen, which, composed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office, shows Garamont's roman and Granjon's italic fonts at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Also planned are polytonic Greek, IPA and ornaments.

    Klingspor link. Open Font Library link. CTAN download of EB Garamond. [Google] [More]  ⦿

    Georg John

    German designer at Linotype of Linotype Cutter Schere Com (1997, white on black informal lettering; with Georg Kugler in 2007), Linotype Tagesstempel (1999, with Georg Kugler) and Johnstemp Pro (2008, grunge). In 2014, he made John LED7 (2014), a dot matrix typeface for Latin, Greek and Cyrillic.

    Are Georg John and Georg Kugler one and the same?

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

    Georg Seifert
    [FDI (was: Schriftgestaltung)]

    [MyFonts] [More]  ⦿

    George B. Walsh
    [GreekKeys]

    [More]  ⦿

    George Bickham

    UK engraver and penman, 1684-1769, who wrote the manual The Universal Penman (published in parts from 1733 to 1741, reprinted complete in 1743). The full title is The Universal Penman Or the Art of Writing Made Useful To the Gentleman and Scholar, as well As the Man of Business . . . Written With the friendly Assistance of several of the most Eminent Masters And Engraved by Geo. Bickham. That book also contains work by Bickham's collaborators, such as Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, and William Leckey. Book cover. Other books by Bickham include Penmanship in its utmost Beauty and Extent (Overton & Hoole, London, 1731).

    A free interpretation of the copperplate script styles of The Universal Penman can be seen in the monumental font Penabico (2010, Intellecta Design). Images: From The Universal Penman, Roundhand Script (ca. 1740), Greek Writing (1743).

    Digital typefaces based on Bickham's scripts include 1739 Bickham (2010) and 1741 Bickham (2013) by Klaus-Peter Schäffel, Bickham Script (1997, Richard Lipton), Penabico (Intellecta Design), and interpretations such as Poem Script (Sudtipos). [Google] [MyFonts] [More]  ⦿

    George D. Matthiopoulos

    Professor of Type design and Typography at the School of Graphic Arts of the Technical Institute of Athens. He is head of the design team and a type designer at the Greek Font Society. He is the Art Director of Indigo Associates specializing in book design, corporate identity and typographic communication for museum exhibitions. He has written the textbook of the course Type History and Design for the Greek Open University (2002) and he has translated in Greek Viktor Scholderer's Greek Printing Types: 1465-1927 (Typophilia, 1995) and Robert Bringhurst's "he Elements of Typographic Style (University of Crete Press, 2001). He teaches Computer Graphics at the Technical Institute of Athens. Speaker at ATypI 2007 in Brighton and at ATypI 2008 in St. Petersburg (where he spoke about Greek book design, 15th-20th centuries). At the GFS, he was involved in these free high quality font families:

    • GFS Artemisia was designed by Takis Katsoulidis and digitized by George Matthiopoulos in 2001.
    • GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapfs Palatino).
    • GFS Bodoni (1992-1993) is a didone designed by Takis Katsoulidis and digitized in 2005 by George Matthiopoulos.
    • GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
    • GFS Solomos (2006).
    • GFS Gazis (2007). These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFSAmbrosia, GFSEustace-Regular, GFSFleischman-Regular, GFSGaraldus, GFSJackson-Regular, GFSNicefore.

      He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, was cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry and follows th baroque style of the mid-18th century aesthetics.

    [Google] [More]  ⦿

    George Douros
    [Unicode Fonts for Ancient Scripts]

    [More]  ⦿

    George Kalantzopoulos
    [Marathon Data]

    [More]  ⦿

    George Lygas

    George Lygas studied Printing and Graphic Arts at the National Design School (TEI) of Athens. His graduation thesis on Greek Typography was the base for PF Scriptor, a revival of a historic Greek typeface. He collaborated with Panos Vassiliou in the design of PF Stamps (2002-2006, a stencil family, also done with Panos Vassiliou). All his faces cover Greek and Cyrillic He currently works for Parachute. [Google] [MyFonts] [More]  ⦿

    George Strouzas
    [KEIK Design Bureau]

    [More]  ⦿

    George Strouzas

    Graphic designer in Athens, Greece. Creator of the multilined display face RBTP (2010). Its design was based on strict ruler and compass guidelines. [Google] [More]  ⦿

    George Toumbalis

    George Toumbalis studied Image processing and DTP at DOME Design School in Athens. He is considered an expert on graphic design issues and he is a regular columnist in +Design, the Greek magazine on aesthetics and design issues. He started his first business in 1996 and some of his major clients include Sony Music, BMG, Warner Music, Capital Radio 96.5, Planet Works, Filmnet, Flash.gr. Some of his font designs, released by Parachute, include PF Mechanica B (2002-2006: a tiled typeface for Latin, Greek and Cyrillic) and PF Overload. [Google] [More]  ⦿

    George Triantafyllakos
    [Backpacker]

    [More]  ⦿

    George Valmas

    George Valmas is from Thessaloniki, Greece. He made the hand-printed Freehand (2010), which is not free. In 2013, he designed Atena (a Greek simulation face) and Freedo Tall (Ten Dollar Fonts).

    Behance link. Old URL. [Google] [More]  ⦿

    George Vassos

    Arta, Greece-based creator of the chemical formula font Chemigram (2012). [Google] [More]  ⦿

    George Williams

    George Williams's site (now defunct) site was a discovery! George Williams (b. 1959) wrote spline-generating code and then went on to produce several fonts with his software between 1987 and 1998:

    • Art nouveau style: Carmen, Ambrosia (1989), Fantaisie Artistique, Baldur, Monopol, Parisian, Peignot, Bocklin, Edda.
    • Lombardic: Lombardic.
    • Victorian: Caprice, Ringlet.
    • Uncial: Uncial Animals, Roman Uncial Modern.
    • Ornamental caps: Versal, Decorative, Square Caps, Extravagant Capitals, Floral Caps, Morris, Andrade.
    • Display faces: Crystal, Flash, Cupola, Santa Barbara Streets (2013-2014; after the street signs in Santa Barbara, CA).
    • Blackletter: Rotunda (1998), Bastarda, Textura Modern, Fractur (a remake of Wittenbach).
    • Art deco: Piccadilly, Mirage (1999, prismatic).
    • Calligraphic: Humanistic.
    • Text: Caslon.
    • Slab: Monospace.
    • Sans: Caliban.
    • Bamboo Gothic (2007).
    • TIS620-2529 (a Thai font).

    George Williams writes: I have been slowly working to provide free unicode postscript fonts for the three major groupings of styles used by European (Latin, Greek and Cyrillic anyway) type designs: serif, sans-serif and typewriter (or Times, Helvetica and Courier). Monospace is my approximation to Courier. Close examination will reveal that it is a bad copy of courier. Caslon Roman (1992-2001) is a serif font (designed by William Caslon in 1734), it's not a bad copy of Times, it's a bad copy of something else. Caliban is a bad copy of Helvetica. If Microsoft can call their version of Helvetica Arial, then Caliban seems appropriate for mine. Alternate URL. Yet another URL.

    George Williams is best known as the inventor and creator of FontForge, the bigest and best free font editor today. It made him the darling of the Open Software community. Interview with OSP.

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

    Georgia Kaltapanidou

    Designer from Thessaloniki, Greece. ehance link. Creator of a mimimalist monoline sans typeface called Unfont (2011). [Google] [More]  ⦿

    Gerard Unger

    Dutch type designer, born in Arnhem, The Netherlands, in 1942. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. He still teaches at Reading and Rietveld. He has designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. He designed numerous typefaces:

    • Markeur (1972), not available as digital type.
    • M.O.L. (1974), not available as digital type. M.O.L. is the type used in the Amsterdam subway.
    • Demos (1976), available from Elsner & Flake. Unger said once that this was his first face, and that he made it at Hell in Kiel in 1974 (but I am confused then as to the date of Markeur).
    • Demos (new version 2001), available from Visualogik.
    • Praxis (1977), available from Elsner & Flake.
    • Hollander (1983, Linotype).
    • Flora (1984), available from Elsner & Flake. There is also ITC Flora (1980-1984). Named after Unger's daughter, this is an upright sans italic.
    • Swift (1985), available from Elsner & Flake. This is his most popular face, used by many Dutch and Scandinavian newspapers. It got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift (a 1995 design by Unger): Neue Swift is Swift with old style figures thrown in. See also Swift 2.0 (1995).
    • Amerigo (1986), available from Bitstream. This was originally designed for 300dpi laserprinters. It is a tapered almost lapidary typeface family. In the Bitstream collection, Amerigo is also called Flareserif 831.
    • Oranda (1987), available from Bitstream. This is a slab serif originally drawn for the European hardware manufacturer Océ in 1968.
    • Cyrano (1989).
    • Argo (1991), available from Dutch Type Library.
    • Delftse Poort (1991), a stencil typeface not available as digital type.
    • Decoder (1992), available from Font Shop. This was a font from the FUSE 2 collection.
    • Gulliver (1993). This typeface was used by USA Today and the Stuttgarter Zeitung. Can be bought from URW++ from 2009 onwards.
    • OCW Swift (1995-1997, for Ministerie van OC en W, Zoetermeer - NL, by Visualogik Technology&Design).
    • ANWB fonts (1997), available from Visualogik.
    • Capitolium (1998). Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. It was not used though for the millennium celebrations. In 2002, Capitolium was picked as the serif font for the material of ATypI in Rome. It was accompanied in that advertising by Unger's sans serif font Vesta (2001), loosely based on the lettering at the Vesta temple in Tivoli. He developed Capitolium futher to make Capitolium News and Capitolium News 2 (2011, Type Together), so that the adapted glyphs would be more legible (large x-height) and fit better on a page (more glyphs per line). The modern typeface Capitolium News 2 was published by Type Together in 2011.
    • Paradox (1999), available from Dutch Type Library. This is a Didone font done in 1999, for which he won a Bukvaraz award in 2002.
    • Coranto (2000). In 2011, Coranto2 was published at TypeTogether: Coranto 2 is originally based on Unger's typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint.
    • Vesta (2001). The sans serif Vesta (designed as a possible candidate sans serif for the Rome 2000 project) won an award at Bukvaraz 2001. It is available now as Big Vesta (2003).
    • Linotype Library is the licenser of the German government's new corporate design typefaces Neue Demos (Antiqua, 2004) and Neue Praxis (sans-serif, 2004) by Unger. The typefaces are to be used for all official correspondence, brochures and advertisements.
    • Allianz (2005) is a corporate type system with sans and serif faces developed with the firm of Claus Koch of Düsseldorf. The typefaces were designed in collaboration with Veronika Burian, London, and were produced as fonts by Visualogik, 's-Hertogenbosch.
    • Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romaneque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens), and with Tom Grace on the Cyrillic letterforms. It was published by Type Together in 2014. PDF file.
    Gerard Unger lives in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N.Werkman Prize (1984) and the Maurits Enschedé-Prize (1991). Bio at Linotype. Author of Terwijl Je Leest (Amsterdam, 1997). Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxeis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. In 2009, he won the 2009 SOTA Typography Award. FontShop link. Klingspor link.

    View Gerard Unger's typefaces. [Google] [MyFonts] [More]  ⦿

    Gerben Dollen
    [DolWork]

    [MyFonts] [More]  ⦿

    Gerber Fonts

    Manchester, CT-based company that sells a font package, as well as a number of fonts for Arabic, Cyrillic, Greek, Hebrew and Thai. See also here. [Google] [More]  ⦿

    Germán León
    [Fontbilisi (was: Germán León)]

    [MyFonts] [More]  ⦿

    German Donaldist Society (D.O.N.A.L.D.)
    [Thomas Pryds Lauritsen]

    The free Carl Barks Script (1998), an all caps bold comic book font that covers Greek as well, was originally made by the German Donaldist Society. In 1998, it was extended by Thomas Pryds Lauritsen of the Danish Donaldist Society. [Google] [More]  ⦿

    Gerry Leonidas

    Gerry Leonidas is a Lecturer and Course Director of the MA in Type Design in the Department of Typography&Graphic Communication at the University of Reading, England. He is a practicing designer of Greek and Latin typefaces, and a regular consultant on typography and type design.

    Brief CV. Site with the list of his graduates. Speaker at ATypI 2008 in St. Petersburg. Speaker at ATypI 2009 in Mexico City. Speaker at ATypI 2011 in Reykjavik and at Typecon 2012 in Milwaukee.

    Speaker at ATypI 2012 Hong Kong: Digging into the ATypI Archive.

    Old URL. [Google] [MyFonts] [More]  ⦿

    Ghostscript fonts

    Yet another ghostscript font archive, with the following URW++ truetype fonts made in 2000: A028-Ext, A028-Med, A030-Bol, A030-BolIta, A030-Ita, A030-Reg, AntiqueOlive-Bol, AntiqueOlive-Ita, AntiqueOlive-Reg, ClarendonURW-BolCon, Coronet, Dingbats, GaramondNo8-Ita, GaramondNo8-Med, GaramondNo8-MedIta, GaramondNo8-Reg, LetterGothic-Bol, LetterGothic-BolIta, LetterGothic-Ita, LetterGothic-Reg, Mauritius-Reg, NimbusMon-Reg, NimbusMon-Reg, NimbusMono-Bol, NimbusMono-BolIta, NimbusMono-Ita, NimbusMono-Reg, NimbusRomanNo4-Bol, NimbusRomanNo4-BolIta, NimbusRomanNo4-Lig, NimbusRomanNo4-LigIta, NimbusRomanNo9-Ita, NimbusRomanNo9-Med, NimbusRomanNo9-MedIta, NimbusRomanNo9-Reg, StandardSymL, U001-Bol, U001-BolIta, U001-Ita, U001-Reg, U001Con-Bol, U001Con-BolIta, U001Con-Ita, U001Con-Reg, URWClassico-Bol, URWClassico-BolIta, URWClassico-Ita, URWClassico-Reg. All these fonts come with complete East-European accent sets, as well as Greek symbols. [Google] [More]  ⦿

    Giannis Arkoudos

    Athens, Greece-based designer (b. 1973) of Greek Bear Tiny E (2006, pixel). Blog (in Greek). [Google] [More]  ⦿

    Giovanni Landi

    Pistoia, Italy-based designer (aka Il Papyrus) of the Celtic knot font Celtic101 (2002) and the Greek font families Atene (1995) and Naxos (1995). GBL edizioni is his company. [Google] [More]  ⦿

    Glyn

    Glyn is the Greek creator of the hand-printed typefaces Bezier Dome (2012, iFontMaker), Bezier Glyn Art Sketchy (2012), Bezier Glyn Sketchy Bold, Bezier Dots n Snakes (2012). [Google] [More]  ⦿

    GNU Freefont (or: Free UCS Outline Fonts)
    [Steve White]

    The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

    • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
      • Basic Latin (U+0041-U+007A)
      • Latin-1 Supplement (U+00C0-U+00FF)
      • Latin Extended-A (U+0100-U+017F)
      • Spacing Modifier Letters (U+02B0-U+02FF)
      • Mathematical Operators (U+2200-U+22FF)
      • Block Elements (U+2580-U+259F)
      • Dingbats (U+2700-U+27BF)
    • Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.
      • Latin Extended-B (U+0180-U+024F)
      • IPA Extensions (U+0250-U+02AF)
      • Greek (U+0370-U+03FF)
      • Armenian (U+0530-U+058F)
      • Hebrew (U+0590-U+05FF)
      • Arabic (U+0600-U+06FF)
      • Currency Symbols (U+20A0-U+20CF)
      • Arabic Presentation Forms-A (U+FB50-U+FDFF)
      • Arabic Presentation Forms-B (U+FE70-U+FEFF)
    • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
    • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
    • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
    • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
    • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
    • Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).
    • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
    • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
    • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
    • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
    • Harsh Kumar has started BharatBhasha for these ranges:
      • Devanagari (U+0900-U+097F)
      • Bengali (U+0980-U+09FF)
      • Gurmukhi (U+0A00-U+0A7F)
      • Gujarati (U+0A80-U+0AFF)
    • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
    • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
    • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
    • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
    • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
    • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
    • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
    • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
    • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
    • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
      • Devanagari (U+0900-U+097F)
      • Bengali (U+0980-U+09FF)
      • Gurmukhi (U+0A00-U+0A7F)
      • Gujarati (U+0A80-U+0AFF)
      • Oriya (U+0B00-U+0B7F)
      • Tamil (U+0B80-U+0BFF)
      • Telugu (U+0C00-U+0C7F)
      • Kannada (U+0C80-U+0CFF)
      • Malayalam (U+0D00-U+0D7F)
      Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
    • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
    • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
    • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
    • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
    • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
    • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
    • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, lead by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. janabhaaratii is localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
    • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
      • Devanagari (U+0900-U+097F)
      • Gujarati (U+0A80-U+0AFF)
      • Oriya (U+0B00-U+0B7F)
      • Malayalam (U+0D00-U+0D7F)
      • Tamil (U+0B80-U+0BFF)
      In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.
    • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
    • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
    • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
      • Armenian (serif) (U+0530-U+058F)
      • Cherokee (U+13A0-U+13FF)
      • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
      • UCAS Extended (U+18B0-U+18F5)
      • Kayah Li (U+A900-U+A92F)
      • Tifinagh (U+2D30-U+2D7F)
      • Vai (U+A500-U+A62B)
      • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
      • Osmanya (U+10480-U+104a7)
    • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
      • Aegean: Phoenecian (U+10900-U+1091F).
      • Analecta: Gothic (U+10330-U+1034F)
      • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
      • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
    • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
    • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
    • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
      • Hanunóo (U+1720-U+173F)
      • Buginese (U+1A00-U+1A1F)
      • Tai Le (U+1950-U+197F)
      • Ugaritic (U+10380-U+1039F)
      • Old Persian (U+103A0-U+103DF)
    • Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:
      • Latin Extended-B (U+0180-U+024F)
      • IPA Extensions (U+0250-U+02AF)
      • Arrows (U+2190-U+21FF)
      • Box Drawing (U+2500-U+257F)
      • Block Elements (U+2580-U+259F)
      • Geometrical Shapes (U+25A0-U+25FF)
    • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
    • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
    • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

    Fontspace link. Download link. [Google] [More]  ⦿

    gnu.org

    Chinese truetype fonts. And 20 MB worth of international bitmap fonts. The fonts at the latter link contain PCF and BDF sources, and some truetype and type 1 fonts. Among the bitmap (BDF) fonts: ISO8859 series 1 through 9 (Latin, Greek, Cyrillic), KOI8 (Cyrillic), Indic, Lao, Tibetan, Thai, Vietnamese, Chinese, Japanese, Korean, Ethiopic, Arabic, IPA, Hebrew. Truetype: Latin-X fonts, Vietnamese (VISCII roman). Type 1: Latin-X fonts, Vietnamese (VISCII roman), Thai (TIS620), Thai National Font. The readme goes: "We greatly appreciate the contribution of Yannis Haralambous and Tereza Tranaka. They made free TrueType and Type1 fonts for Latin-X series, Thai, and Vietnamese. They will eventually make fonts for more character sets." The fonts are called OmegaSerif, and were made in 1999. Also included is the Thai National font Nf3, made by Yannis Haralambous and Virach Sornlertlamvanich in 1999. [Google] [More]  ⦿

    goGREECE.com

    Download Greek truetype fonts: Arial, Times New Roman, Avant Greek (PC). Plus AthenMacGr and other Mac fonts. And a bunch of Amiga Greek fonts. [Google] [More]  ⦿

    Golgonooza Letter Foundry
    [Dan Carr]

    Dan Carr (b. Cranston, RI, 1951-2012) was an American poet, type designer, typographer, printer, teacher, punchcutter, environmentalist, human rights activist and New Hampshire State Representative (2008-2010). Carr received his BA at Clark University in Worcester, Massachusetts. In Boston, in 1979 he and his partner Julia Ferrari, started the Golgonooza Letter Foundry & Press, a hot metal Monotype graphic design and composition house, which they moved to Ashuelot, NH, in 1982. Together they created Trois Fontaines Press in 1997, a limited edition fine press. Carr taught typography, and the history of typography at Keene State University in Keene, NH. He died after a struggle with cancer.

    At Golgonooza they produced high-quality letterpress books for a wide variety of clients. Dan Carr is the designer of the great-looking text fonts Lyons and Cheneau, 1990-1994, as well as Regulus (a metal font created in 1998 that earned him the title of Master Typographic Punchcutter of France in 1999), Philosophie, Genesis Numerals, and Beckett Bodoni, at the Golgonooza Letter Foundry. He won a Bukvaraz 2001 award for Parmenides (a metal type for archaic Greek). His digital typeface "Cheneau" was chosen for a judges' choice award by the Type Directors Club in 2000. Both Dan Carr's Parmenides Greek and Christopher Stinehour's Diogenes Greek were commissioned by the printer Peter Koch for The Fragments of Parmenides.

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

    Google Font Directory: Greek

    Greek fonts available for download at the Google Font Directory. As of May 2011, these included Jura, Caudex, Play, Didact Gothic, Nova, Open Sans, Ubuntu, Anonymous Pro, GFS Didot and GFS Neohellenic. [Google] [More]  ⦿

    Grab The Eye

    Design studio in Athens, Greece. Creator of the hipster typeface Gravitar (2014). Behance link. [Google] [More]  ⦿

    Graeca

    Gorgeous Greek font Graeca (TrueType) by P.B. Payne. See also here. [Google] [More]  ⦿

    Gramcord Institute

    Free truetype fonts at the Gramcord Institute in Vancouver, WA: Greek Parse (Galaxie Software, Garland TX, 1992) and Hebpar. [Google] [More]  ⦿

    Gramcord.org

    Greek Parse (1992, Galaxie Software, Garland TX) and Hebpar (a Hebrew font). [Google] [More]  ⦿

    Grammata
    [Juan-José Marcos]

    Juan José Marcos, a professor of classics at the University of Plasencia in Spain, developed a free ornamental and florid Greek font in June 2002 with the WinGreek encoding system. It has 233 glyphs and 710 kerning pairs. It was renamed Ellenike. [Google] [More]  ⦿

    Granshan 2010

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) organized Granshan 2010, The 3rd International Eastern Type Design Competition, which was created especially for Armenian, Cyrillic and Greek fonts. Edik Ghabuzyan and Boris Kochan were the big bosses. The jury consisted of Gerry Leonidas, Oliver Linke, Hrant Papazian, Carolyn Puzzovio and Manvel Shmavonyan. The outcome:

    [Google] [More]  ⦿

    Granshan 2011

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) organized Granshan 2011, The Fourth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic and Greek fonts. Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consisted of the two big bosses, plus Veronika Burian, Thomas Phinney, Manvel Shmavonyan, Panos Vassiliou and Emil Yakupov. They were aided for Armenian text faces by Fred Afrikyan, Gagik Martirosyan, and Aram Megrabyan. For Cyrillic, the help came from Gayane Baghdasaryan, Dmitry Kirsanov, and Vladimir Yefimov. Finally, the Greek rescue subcommittee consisted of Konstantine Giotas, Klimis Mastoridis, and Kostas Aggeletakis.

    The grand prize (1000 Euors) was won by Alexandra Korolkova for Belladonna. The other results are as follows:

    • Armenian text typefaces category
      • 1st prize - not awarded
      • 2nd prize - Aregak: Hrachuhi Grigoryan, Armenia
      • 3rd prize - Emrys: Ben Jones, UK
    • Cyrillic text typefaces category
      • 1st prize - William: Maria Doreuli, Russia
      • 2nd prize - Permian: Ilya Ruderman, Russia
      • 3rd prize - Circe: Alexandra Korolkova, Russia
    • Greek text typefaces category
      • 1st prize - Emrys: Ben Jones, UK
      • 2nd prize - Artigo: Joana Maria Correia da Silva, Portugal
      • 3rd prize - Foxhill: Hanna Donker, UK
    • Display category
      • 1st prize - Belladonna: Alexandra Korolkova, Russia
      • 2nd prize - Fry: Oleg Macujev, Russia
      • 3rd prize - Meteor Script: Ilya Ruderman, Russia
    [Google] [More]  ⦿

    Granshan 2012

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) are organizing Granshan 2012, The Fifth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic, Greek, Indic (i.e., Devanagari, Bengali, and Tamil only) and Arabic fonts. Exceptionally, this year, Latin fonts designed in the last ten years can also be nominated.

    Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consists of Timothy Donaldson, Otmar Hoefer, Ahmed Mansour, Fiona Ross, Manvel Shmavonyan, Panos Vassiliou, and Vladimir Yefimov. There are five expert panels:

    • Armenian text typefaces category: Ara Baghdasaryan, Gagik Martirosyan, Aram Megrabyan.
    • Arabic text typefaces category: Mamoun Ahmed, Mohamed Hassan, Nehad Nadam.
    • Cyrillic text typefaces category: Gayane Baghdasaryan, Dmitry Kirsanov, Tagir Safayev.
    • Greek text typefaces category: Konstantine Giotas, Klimis Mastoridis, Kostas Aggeletakis.
    • Indic text typefaces category: Ravi Pooviah, Mahendra Patel, Graham Shaw.

    Impossible to find the list of winners. [Google] [More]  ⦿

    GRCONV

    From the University of the Aegean, Diomidis Spinellis's Greek/Coptic site with his free tool Grconv: "Grconv converts between a large number of character sets, transcription, and transliteration methods that are used to represent Greek text. In addition, it supports a number of encodings used to represent those character sets in different environments. Grconv reads the file(s) specified in its command line printing the converted results on its standard output, or runs as a filter, reading text from its standard input printing the converted result on its standard output; the redirection operator can be used to write to files." [Google] [More]  ⦿

    Greek and Hebrew Fonts for Microsoft Windows

    Glenn Wooden and Harry Hahne explain about Greek and Hebrew under MS Windows. Their recommendation in 2000: Both WinGreek and Silver Fonts are good choices for Greek, but Silver Fonts offers higher quality output and greater ease of editing. These two sets also provide economical Hebrew fonts, although editing is easier with Silver Fonts. BibleScript provides a more polished Hebrew text with cantillations, easy Roman transliteration of Hebrew and Greek, and a wide range of Hebrew typefaces. The public domain fonts from Scholars Press are a good choice for displaying biblical and classical texts which use the TLG and Michigan-Claremont text encoding schemes or for those on a limited budget. [Google] [More]  ⦿

    Greek at Linguist's Software

    Link shows modern Greek. Check also pages for classical and biblical Greek. Linguist's Software is run by Philip Barton Payne. Their main web contact is Gene Sorensen. [Google] [More]  ⦿

    Greek (Babel)

    Greek fonts in one zip file. [Google] [More]  ⦿

    Greek Digital Types (or: Ellenike Psephiake Typotheke)

    The largest Greek font vendor today. List of type designers. [Google] [More]  ⦿

    Greek Font Archive: unicode Fonts

    Peter Gainsford's table of Greek unicode fonts, with links, licensing info, and personal remarks and comparisons. [Google] [More]  ⦿

    Greek Font Society

    The Greek Font Society was founded in 1992 by the late Michael S. Macrakis (1924-2001) as a Non-Profit Organization with the expressed aim of contributing to the research of Greek typography. The Society was founded initially by the Kostopoulos Foundation, with further support provided by the Greek Ministry of Culture, the Leventis Foundation, Regis College-USA, the Maliotis Foundation and the Girondelis Foundation. From 2004 until 2006, the Board of Directors consists of M.V. Sakellariou (President). L. Macrakis (Vice-President), D.G. Portolos (Secretary), L.G. Savidis (Treasurer), G.E. Agouridis, A.G. Drimiotis, and A. Giakoumakis. GFSs type design programme began through the collaboration of painter-engraver Takis Katsoulidis with type designer George D. Matthiopoulos. Since then, GFS has designed a growing list of Greek polytonic (fully-accented) fonts which include various historical revivals and new designs with respect to typographic tradition. In addition, GFS was commissioned to design fonts for the Athens Academy, The Athens Archeological Society, the Institute of Speech amongst others. Furthermore, GFS organised an International Conference, Greek Letters: from Tablets to Pixels at the Institute Français dAthènes in 1995, and has been active in the publication of works on Typography. For this aim GFS edited and designed the proceedings of the Conference: Michael S. Macrakis (edit), Greek Letters: from Tablets to Pixels, Oak Knoll Press, Newcastle-Delaware, 1996. The artistic collaborators include George D. Matthiopoulos, Michail Semoglou and Natasha Raissaki. Finally, they are making some high quality free fonts, such as:

    • GFS Didot (1994, a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos; a matching Latin alphabet is based on Hermann Zapfs Palatino).
    • GFS Bodoni (1992-1993): a didone designed by Takis Katsoulidis and digitized by George Matthiopoulos.
    • GFS Olga (1995, a serif designed and digitized by George Matthiopoulos, based on the historical Porson Greek type (1803)).
    • GFS Callierges Greek, based on the types of Zacharias Callierges (15th century), digitized by George Matthiopoulos.
    • GFS Porson Greek, digitized by George Matthiopoulos. This is based on the types of Richard Porson of the 18th century.
    • GFS Artemisia (2001), by painter-engraver Takis Katsoulidis and digitized by George D. Matthiopoulos.
    • GFS Complutensian Greek, digitized by George Matthiopoulos and Antonis Tsolomitis. This was based on the types of Arnaldo Guillen de Brocar (16th century). Now called GFS Complutum (2007).
    • GFS Neohellenic (1993-2000). They explain: In 1927, Victor Scholderer (British Museum Library curator), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930s, was also well received in Greece, albeit with a different design for Ksi and Omega. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a Latin version.
    • GFS Elpis (2006, Natasha Raissaki), an original design which tries very hard to match the Greek and Latin parts of its alphabet.
    • GFSSolomos (2006) by Antonis Tsolomitis.
    • GFS Theokritos, a redesign by George D. Matthiopoulos of a font created by Yannis Kefallinos (1894-1958) in the 1950s.
    • GFS Baskerville (2007) by Antonis Tsolomitis.
    • GFS Gazis (2007, George Matthiopoulos), about which they write: During the whole of the 18th century the old tradition of using Greek types designed to conform to the Byzantine cursive hand with many ligatures and abbreviations - as it was originated by Aldus Manutius in Venice and consolidated by Claude Garamont (Grecs du Roy) - was still much in practice, although clearly on the wane. GFS Gazis is a typical German example of this practice as it appeared at the end of that era in the 1790s. Its name pays tribute to Anthimos Gazis (1758-1828), one of the most prolific Greek thinkers of the period, who was responsible for writing, translating and editing numerous books, including the editorship of the important Greek periodical (Litterary Hermes) in Wien.
    • These majuscule typefaces were made by George Matthiopoulos in 2006 and 2007: GFSAmbrosia, GFSEustace-Regular, GFSFleischman-Regular, GFSGaraldus, GFSJackson-Regular, GFSNicefore. He writes: GFS Ambrosia has the main characteristics of the majuscule forms of the early Christian tradition while GFS Nicefore is a typical byzantine sample of the 5th-7th century period. GFS Jackson is an edition of the font cut, in 1788, by Joseph Jackson on commission by the Cambridge University in preparation of the edition of the Beza codex containing the New Testament from the 5th-6th century. Theodore Beza was the erudite scholar from Geneva who had given the codex as a gift to the University in 1581. GFS Eustace is a typical example of byzantine woodcut initials used in many similar forms in Italy for Greek editions of the Bible, Prayers and other theological literature from the 15th to 19th centuries. GFS Fleischman, on the contrary, was cut by Johann Michael Fleishman, typecutter of the Dutch Enschedé foundry and follows th baroque style of the mid-18th century aesthetics.
    [Google] [More]  ⦿

    Greek Fonts

    Archive with free Greek TrueType fonts for Mac and PC. [Google] [More]  ⦿

    Greek Fonts and Transliteration

    Links to Greek fonts. [Google] [More]  ⦿

    Greek Fonts Gateway
    [Michael Palmer]

    Greek font links by Michael Palmer. [Google] [More]  ⦿

    Greek Grammar on the Web

    Fantastic Greek font page by Professor Marc Huys from the University of Leuven, Belgium. This page had (has?) Supergreek (copyright Payne Loving Trust) and many other Greek fonts, and an extensive discussion on Greek fonts. [Google] [More]  ⦿

    Greek (Haralambous)

    Yannis Haralambous's Greek metafont package. [Google] [More]  ⦿

    Greek House of Fonts
    [Sebastian Riessen]

    Sebastian Riessen is the San Diego-based creator of the rounded fat typeface Greek House Fat (2006-2009, caps only). Dafont link. Free fonts: Greek House Basic, Krakt and Symbolized. Pay fonts: Greek Curlz, Greek Collegiate, Greek Ole English, Greek Script, Greekhouse 70s, Greek Applique, Applique Outlined, Greek Ancient, Greekhouse Heavy, Greek Junior High, Collegiate Outline, Wicked Olde English, English Skript, Greek HouseSymbolized (2012), Greek Fathouse, Greek Marker Bold, Greek Freight Tag, Greekhouse Scribbled, Greekhouse Studz, Greekhouse Stitched.

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

    Greek Market--Greek Fonts

    Monotype Arial and TimesNewRoman families. [Google] [More]  ⦿

    Greek (Silvio Levy)
    [Silvio Levy]

    Silvio Levy's Greek metafont package based on Computer Modern. [Google] [More]  ⦿

    Greek Uncial fonts

    Greek uncial metafont. [Google] [More]  ⦿

    Greek unicode

    Greek UNICODE compliant (8859-7) Helvetica and Courier fonts. [Google] [More]  ⦿

    GreekBoston.com

    Greek fonts for Mac and PC, such as the Arial, TimesNewRoman and Avant families. [Google] [More]  ⦿

    GreekKeys
    [George B. Walsh]

    Greek font information from the American Philological Association. It used to carry the unicode font Athena Roman. GreekKeys for Macintosh is a product providing easy keyboard input and specialized fonts for scholars of ancient (polytonic) Greek. First produced in 1984, GreekKeys has long provided a widely-used custom encoding for polytonic Greek, but now also supports and advocates Unicode as the proper standard for polytonic Greek in the future. GreekKeys is owned and distributed by the American Philological Association, a non-profit professional organization of North American classical scholars. GreekKeys is currently maintained and revised by Donald Mastronarde, Professor of Classics at the University of California, Berkeley. The original GreekKeys for Macintosh dates back to 1984, and was designed and distributed by George Walsh of the Department of Classics of the University of Chicago. He died in 1989, and the next year his wife, Susan M. Kastendiek (the eponym for the original name "SMK") donated the program to the American Philological Association. Since then it has been largely the responsibility of Jeffrey Rusten to update and answer questions about GreekKeys. The site was at Cornell University, but at some point it moved to Berkeley. [Google] [More]  ⦿

    greektex

    greektex by Yiannis N. Moschovakis (Dept of Mathematics, UCLA) and George Spiliotis is also based on Silvio Levy's Greek metafonts and Donald Knuth's Computer Modern. [Google] [More]  ⦿

    GreeKTeX Ver 3.1

    K. J. Dryllerakis's GreeKTeX package including several Greek metafonts. [Google] [More]  ⦿

    greektype.com

    Gerry Leonidas' Greek type services. [Google] [More]  ⦿

    Green Type
    [Dmitrij Greshnev]

    Green Type is the foundry of creative Russian type designer Dmitrij Greshnev (b. 1975, Lengingrad). Still based in Leningrad, Dmitrij received a TypeArt 05 award for the display family Multicross (2003-2004), which can be bought at ParaType. He will win many more awards.

    His typefaces include Stopwatch (2010, LED face), Sokol (Old Slavonic Latin simulation face), Slavica (2010), Reliant (2010, with Iza W at Intellecta Design), Reliant Beveled (2012, free), Logistica (2010, army stencil), Danger (2010, another army stencil), Dusk Thin (2010), and Multicross (2003-2004, stitching font).

    Typefaces from 2011: Zoo300 (techno sans; +Shadow, +yrillic). Behance link.

    In 2012, he created Patriciana (a Peignotian typeface for Latin and Cyrillic) and Directo.

    Typefaces from 2013: Finch, Hypermarket (dirty typewriter).

    Typefaces from 2014: Moveo Sans, with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic.

    Behance link.

    View Dmitry Greshnev's typefaces. [Google] [MyFonts] [More]  ⦿

    Grenet - free Greek font
    [Sven-Olav Paavel]

    Free Greek truetype font designed by Sven-Olav Paavel, 1999. Tons of modern Greek accented characters. [Google] [More]  ⦿

    Griechische Schrift

    Nice page (in German) about the use and installation of Greek fonts for PC, Mac and UNIX. Focus on Greek Unicode compliant fonts. [Google] [More]  ⦿

    Griegoweb

    Greek font links, maintained by Maria enriquez and Alvaro F. Ortola. [Google] [More]  ⦿

    Griekse Lettertypes

    Bart van Beek from the KU Leuven provides a thorough list of links for Greek fonts. In Flemish. [Google] [More]  ⦿

    Grixel
    [Nikos Giannakopoulos]

    Greek pixel fonts by Nikos Giannakopoulos. Free creations include Grixel Acme 9 Regular (2006), which also covers Latin. Dafont link. Other pixel faces, all made in 2006: GrixelAcme5CompCapsO, GrixelAcme5CompCapsOXtnd, GrixelAcme5Wide, GrixelAcme5WideBold, GrixelAcme5WideBoldXtnd, GrixelAcme5WideXtnd, GrixelAcme7Wide, GrixelAcme7WideBold, GrixelAcme7WideBoldXtnd, GrixelAcme7WideXtnd, GrixelAcme9Regular, GrixelAcme9RegularBold, GrixelAcme9RegularBoldXtnd, GrixelAcme9RegularXtnd, GrixelKyrou5Wide, GrixelKyrou5WideBold, GrixelKyrou5WideBoldXtnd, GrixelKyrou5WideXtnd, GrixelKyrou7Wide, GrixelKyrou7WideBold, GrixelKyrou7WideBoldXtnd, GrixelKyrou7WideXtnd, GrixelKyrou9Regular, GrixelKyrou9RegularBold, GrixelKyrou9RegularBoldXtnd, GrixelKyrou9RegularXtnd. Another URL. [Google] [More]  ⦿

    Grover Foundry
    [Thomas Grover]

    London-based foundry of James and Thomas Grover, active in the late 17th century. Quoting Stanley Morison (Fleuron, vol. 6): "In succession to the so-called Polyglot founders who worked under privilege during the period 1637-1667, the Grovers began business about 1674. The possessed types which came from Day, Wynkyn de Worde and others, also a fine Greek uncial, a number of scripts and the curious letter entitled "Double Pica Union Pearl". This elegant decorative script face, Union Pearl, the first known English decorated letter (ca. 1690), later became a Stephenson Blake typeface. Designers of a Greek typeface in 1894, based upon the Greek of the Complutensian Polyglot of 1514. According to "Fleuron", vol. 6, p. 231, this typeface was surpassed by Victor Scholderer's "New Hellenic" (1928). [Google] [More]  ⦿

    GR-Soft

    GR-Soft's GR_Soft_TimesPol truetype font with lots and lots of accented and double-accented characters. [Google] [More]  ⦿

    Hagiography database

    GreekOldFace by Ralph Hancock (1996). [Google] [More]  ⦿

    Hanna Donker

    Dutch freelance graphic designer who works as font designer at Dalton Maag in London since 2012. Behance link. Graduate of the University of Reading in 2011. Her graduation typeface, Foxhill (2011), was designed for small sizes. It has Greek and Latin styles and has the angularity necessary for agate faces. Foxhill won Third Prize in the Greek text typeface category at Granshan 2011. She wrote a dissertation about Dutch typeface designer Sjoerd Hendrik de Roos.

    Typecache link. [Google] [More]  ⦿

    Hans J. Simon Verlag

    Commercial font vendor offering fonts such as Kyrillisch Romance, Polnisch Alpina, Lautschrift Metrik, Altgriechisch, Neugriechisch, Hebraisch, Turkisch Courier, Tschechisch/Slowakisch Romance, Kroatisch Romance, Mergensymbole. Between 90 and 390DM per font. [Google] [More]  ⦿

    Hara Mesdaniti

    Graphic designer in Athens. In 2013, she designed Sponge Font. [Google] [More]  ⦿

    Haralampos Andreanidis

    Greek graphic designer. He created a number of minimalist/pizelish/squarish Latin/Greek fonts in 2009 under the name City Fonts. His Totem Font (2009) is experimental. Nomass Team Font (2009) is a squarish stencil. His typographic posters.

    Alternate URL. Another URL. Behance link. Devian tart link. Nomass site. [Google] [More]  ⦿

    Harald Tomesch

    Designer of the Greek truetype font Dr Greek (2000). [Google] [More]  ⦿

    Haris Bekrakis

    During his studies in Athens, Greece, Haris Bekrakis created the hexagonal alchemic typeface Inguz (2013) for Latin and Greek. [Google] [More]  ⦿

    Harris Darmawan

    Jakarta-based designer, b. 1990. He created the spike-serifed typeface family Symmetre (2012) for Latin, Greek and Cyrillic.

    Dafont link. [Google] [More]  ⦿

    Harrisson
    [Open Source Publishing (or: OSP)]

    [More]  ⦿

    Hector Charalambous

    The font Gill Sans Hellenic (2000) was chosen for the corporate identity of the Olympic Games of Athens in 2004. The Greek version was designed by Hector Charalambous and was art directed by Panayiotis Haratzopoulos (Cannibal Fonts) after permission for hellenization was given by Monotype. The font is available from Greek Digital Types. [Google] [More]  ⦿

    Helen Gabara

    Helen Gabara lived and worked in Toronto. She studied Communication Arts but earlier on, she developed an interest in typography and customized calligraphy projects. PF Rafskript and PF Signskript (2007, Parachute) are two of her typefaces. She no longer works for Parachute. [Google] [More]  ⦿

    Helena Lekka

    Ph.D. student at the University of Reading. Thesis topic: Linotype's early Greek phototypes. [Google] [More]  ⦿

    Hellas Arial

    The Hellas Arial family (free) by Pouliadis and Associates (1992). [Google] [More]  ⦿

    Hellenic Resources Network

    Information and free material (fonts, software) for use with Greek character sets. Contains fonts for use with UNIX. Starting place for Greek typography on various platforms, including Mac, Windows and UNIX. [Google] [More]  ⦿

    Hellenistic Greek Linguistics Pages

    Page on Greek fonts kept by James K. Tauber. [Google] [More]  ⦿

    Hello OSX

    Well-organized Greek font archive but impractical downloads. It contains these families: DejaVu, GFS, Gentium, Linux Libertine, MgOpen, Thryomanes, VAG, AVI. [Google] [More]  ⦿

    Henry Warwick

    New Jersey native who lives in San Francisco. He states: "Over the years I've had the good fortune to be very involved with photolettering and type design. In the 1980's I set headlines, letter by letter by letter, on a VGC Typositor at Phil's Photolettering in Washington DC. The desktop computer quickly destroyed that entire industry, and that is how I became involved with computer graphics. In the early 1990s, I designed type for FontBank, and consulted for several other type companies, including Microsoft and Galoob Toys. It's nearly impossible to make a living in type design these days, as the industry was basically done in by a combination of legal precedents and rampant piracy. Having worked on "conventional" / Wester / Roman fonts for so long, I've acquired a preference for unusual or obscure fonts or alphabets. I am always available for type design work or consulting." His designs (not downloadable) include Coptic Chelt, Fruthrak Sans, Ojibway Futurae, Cyrillic-Helv-Flash-8pt, KTR-katakana10, Celestia, Daggers, Enochian Times and Nugsoth. [Google] [More]  ⦿

    Herman Miller

    Herman Miller made several typefaces for Kolagian languages (runes): Kisuna, MizarianUni, OlaeUni, ZireenUni, CispaNormal, OlaetyanNormal, Thryomanes, Zirinka (font used for Zireen languages including Zírí:nká and Zharranh), Lhoerr (font used for Jarrda and Jaghri), Pintek (Braille-type font), Velika, Minza, Lindiga, Teamouse VS, Tirelat (2001), Ludireo, Tilya, Czirehlat.

    TIPANormal, ThrIPANormal and ThrSAMPANormal are fonts designed for phonetics. Livagian (2003) has a reasonable character set. TeamouseLX, TeamouseVS, TeamouseVS (all 2001) are Miller's versions of Times Roman.

    He also made the unicode font Thryomanes (fully accented Times, with Greek, Latin, Celtic/uncial and Cyrillic).

    FTP source. Direct link. Older alternate URL. Fontspace link. Dafont link. [Google] [More]  ⦿

    Hermann Zapf

    The prolific master designer (born in Nuremberg, 1918, lives in Darmstadt), who made many Antiqua faces and Grotesk faces at URW++ (such as URW Grotesk) and is best known for Palatino, Optima, Melior, Zapf Dingbats, and ITC Zapf Chancery. From 1990 dates URW Palladio Regular. And look at the gorgeous calligraphic font Zapfino (Linotype, 1999, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. Linotype write-up. Zapf lives in Darmstadt, Germany. Pictures of his 80th birthday party at Linotype. Winner of the Gutenberg Prize in 1974.

    Author of Manuale Typographicum (1954), of which only 1000 copies were printed. Author of Typografische Variationen (1963, Stempel), of which only 500 copies were printed.

    Zapf's drawing of a blackletter alphabet in Feder und Stichel (1949, Trajanus Presse, Frankfurt) and Feder und Stichel (1952). Zapf's design of a postage stamp depicting Ottmar Mergenthaler in 1954.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, they produced the more calligraphic set now called AMS Euler (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgenart Fraktur (1938, D. Stempel).
    • Heraklit Greek.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2003, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012).
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Sequoya (Cherokee redesign).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985), URW Antiqua. The URW Grotesk family today contains 59 styles.
    • Uncial (Hallmark Kansas City).
    • Virtuosa Script (1952, D. Stempel: Zapf's first script face; revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi).
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype Library GmBH 1998): a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady , with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party.

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

    Hildegund Mueller

    Codesigner with Stefan Hagel in 1997-1998 of Aisa Unicode. Aisa Unicode is a proprietary font that does not contain a Latin alphabet. It is ncluded in the shareware utility MultiKey 4.0 (for Microsoft Word in Microsoft Windows). [Google] [More]  ⦿

    Hilti

    A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    hobz

    Three Greek truetype fonts. [Google] [More]  ⦿

    Humanist521BT

    Greek font archive. Has Ralph Hancock's Milan in all formats. Also has the Bebrew font Ezra SIL (2002). [Google] [More]  ⦿

    Hyphen A Typographic Forum

    This type and design mag in English and Greek is edited by Altervision (Klimis Mastoridis, Tasos Efremidis, Dimitris Mitsiopoulos, Apostolos Rizos) in Thessaloniki. It is published by Typophilia, Thessaloniki. Mastoridis is chairman of AterVision. [Google] [More]  ⦿

    I Shot The Serif
    [Matthew Welch]

    Original free fonts by American designer Matthew Welch: APLPLUS-Regular, AncientGeekRegular, BlackKnightRegular, CheatinRegular (experimental), College (athletic lettering), CollegeBold, CollegeCondensed, CollegeSemiCondensed, ElectricPickle, ElectricPickleBold, Far East (oriental simulation), Farewell, FatFingerRegular, Free3of9 and Free3of9Extended (1997, see also here and here), FuddRegular (1998, Cyrillic simulation), GoLong, Hit The Road, LEDRealRegular, LocustRegular (dingbats), NeverRegular, NewJobRegular, RushinRegular (1998, Cyrillic simulation font), SecretCode, Tiny (pixel face), TRTL, FrakturModern, KingsGambit, Mattbats, OneFortySevenRegular, WhiteRabbit, OddDog, Geek (Greek).

    In 2012, he added the constructivist typeface Propaganda, as well as Tinier (a pixel font), Stadium and Libby (an all-caps sans family).

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

    Ibycus
    [Pierre MacKay]

    Pierre A. MacKay (Dept of Classics, University of Washington) has a Greek Latex package, which has metafonts that extend the Greek metafonts by Silvio Levy. It features the necessary breathing marks and accents for use with ancient Greek text. It also includes the digamma character and the numerals qoppa and sampi (the numerals appear in lowercase type only). Ibycus4 is a Greek typeface, based on Silvio Levy's realization of a classic Didot cut of Greek type from around 1800. Since 2004, this package includes type 1 fonts as well. The project is supported by Walter Schmidt and Harald Harders (who did some metafont to type 1 conversions). [Google] [More]  ⦿

    ICTVC: International Conference on Typography & Visual Communication
    [Klimis Mastoridis]

    A series of conferences held biannually since 2002. The motor behind these meetings is Dr. Klimis Mastoridis, Department of Design & Multimedia, University of Nicosia, Cyprus. The last (fifth) conference took place in June 2013 in Nicosia, Cyprus. [Google] [More]  ⦿

    IFAO

    At the IFAO (Institut Francais d'Archeologie Orientale in Cairo, Egypt), one can find the free fonts IFAO Grec (2002) and IFAO N Copte (2008, by Jonathan Perez). [Google] [More]  ⦿

    Igor Dimitrijevic

    Designer at Fonts For Flash in 2002 of RaxelGreek. [Google] [More]  ⦿

    Igor Freiberger

    Type and graphic designer in Porto Alegre, Brazil. In his first big commercial typeface project, he published the multilingual text typeface Sapiens (2014), and writes: Contemporary serif typeface with support to Latin, Cyrillic, Greek and Phonetic scripts. Includes full sets of small caps and petite caps, combining diacritics, superiors, inferiors, superscript, subscript, arrows, bullets, Math operators, and a wide number of additional symbols. Punctuation and figures are variable accordingly to the set in use. The font brings several language alternate glyphs respecting cultural variations, as long as design alternates to let the user choose optimal typesetting.

    Behance link. [Google] [More]  ⦿

    Ilektra Mandragou

    Ilektra holds a Bachelors in graphic arts from the Technological Educational Institute of Athens, Greece and a Masters in industrial design engineering from Aalborg university, Denmark. She works in Astoria, NY.

    Creator of an unnamed script family in 2012.

    Behance link. [Google] [More]  ⦿

    Ilias

    Medium sized truetype archive. They have the Microsoft collection, as well as some Monotype fonts. All have Greek and Latin characters. [Google] [More]  ⦿

    Inde Graphics
    [Andreas Kalpakidis]

    Andreas Kalpakidis (Inde Graphics, Athens) is a Greek graphic designer, b. 1988. In 2007, he created the free 7-weight organic sans family called Advent Pro [free at Google Web Fonts; poster by Agos Nakada], and the informal hand-printed Indeal (2007). Textilo (2009, FountainFontFoundry) is going to be a large monoline sans family. Viki (2009, FountainFontFoundry) is a beautiful geometric outline face, ideal for logos.

    In 2012, he designed the free sans typeface Corporata.

    Behance link. Google Plus link. Another Devian Tart link. Klingspor link. Dafont link. [Google] [More]  ⦿

    Institut für Alte Geschichte und Altorientalistik

    Archive with some fonts for ancient Greek and other ancient languages, located at the Leopold-Franzens Universität Innsbruck: Grecs-duroiWG, GreekOldFaceC, GreekOldFace, Greek, TITUSIndoiranischBold, TITUSIndoiranischBold, TITUSIndoiranischItalic, TITUSIndoiranischNormal, Korinthus, Korinthus, Korinthus-Italic, persische-Keilschrift, SILGalatiaBold, SILGalatia, StandardGreekBold, StandardGreekBoldItalic, StandardGreekItalic, StandardGreek, TekniaGreek, WP-GreekCentury, Aisa-Plain, Aisa-Bold, Aisa-Italic, Athenian, BaTimesAkkadBold, BaTimesAkkadBoldItalic, BaTimesAkkadItalic, BaTimesAkkad, Angaros, MilanGreek, Sgreek-Medium. [Google] [More]  ⦿

    Intelligent Design (was: Intelligent Foundry)

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    Buy at Ten Dollar Fonts, Hellofont or MyFonts.

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

    InTheBeginning.org

    Greek fonts and font links. [Google] [More]  ⦿

    Ioannis A. Vamvakas
    [Byzantine Music Fonts]

    [More]  ⦿

    Ioannis Fetanis

    Athens, Greece-based creative director and founder of Fetanis, b. 1983. He studied Graphic Design at AKTO (Athenian Artistic and Technological Group), and he graduated in 2004 with a Bachelor of Arts degree. He completed his studies in 2007 obtaining a Master of Arts in Design (Social Design & Visual Communication of N.G.O.) from Middlesex University, London.

    In 2012, he created the layered typeface Yama by superimposing geometric structures.

    Behance link. [Google] [More]  ⦿

    Ioannis Gamvets

    In 2007, Ioannis Gamvets and Apostolos Syropoulos published the free Greek Philokalia package, which includes a free Philokalia OpenType font specially set up for use with TeX. It was specially made to print the Philokalia books. [Google] [More]  ⦿

    Iordanis Passas
    [IP Art]

    [More]  ⦿

    IP Art
    [Iordanis Passas]

    Iordanis Passas (IP Art) is a designer in Athens, b. 1986, who is now located in London. He published some free typefaces including Koulouri (2014), Outer Space (2014, download), Dropper (2014), Born to be Condensed (2013), Serious Man (2013, a 3d typeface), IP Arial (2012, an experimental overlay typeface), Brush of Anarchy (2012, graffiti face), Cubes (2013), Mia (2014, free), The Kids Marker (2014), Gagalin (2014, a free brushy comic book font for Latin and Greek).

    Dafont link. Fontspace link. Blogspot link. Behance link. Download many of his fonts at Free Typography. [Google] [More]  ⦿

    Irene Vlachou
    [POPtype]

    [More]  ⦿

    Isagogik

    The fonts.zip file contains Greek-Regular, TimesNewRomanPSMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-ItalicMT, BookAntiquaCyr, BookAntiquaCyrBold, BookAntiquaCyrBoldInclined, BookAntiquaCyrInclined, CarletonNormal, Futuris, GoudyHundred, ShalomOldStyle, all in truetype. And also these Cyrillic type 1 fonts from ParaGraph: PetersburgC, GaramondC, GaramondBookC, GaramondBookNarrowC, GaramondNarrowC. [Google] [More]  ⦿

    Isay Solomonovich Slutsker

    Russian type designer (b. Orel, Russia, 1924, d. 2002). He lost both legs in World War II, but persevered and graduated in 1949 from the Moscow Printing Institute. He started working at the Type Design Department of VNIIPoligraphmash (National Printing Research Institute). From 1991 he worked for ParaType, Moscow. Isay Slutsker worked for major Soviet publishers, Khudozhestvennaya Literatura and Prosveshcheniye, designing and illustrating general fiction literature and textbooks. Slutsker designed many typefaces for a number of scripts and writing systems. Among his Cyrillic and Latin designs are Baltica (1951-2, a spin-off of Candida-Antiqua by Jakob Erbar; in co-operation with Vera Chiminova; Paratype did a revival in 1998); Bruskovaya Gazetnaya ('Slab-serif newstype', 1949; in co-operation with Alexandra Korobkova); Mysl (1986, a makeover of the typeface originally created by Vera Chiminova in 1966); PT Caslon (1962 and 1992, a version of the ATF Caslon; assisted by Tatiana Lyskova and Manvel Shmavonyan; also called Caslon 540); ITC Franklin Gothic Cyrillic (1993; assisted by Tatiana Lyskova); PT BT Humanist 531 Cyrillic (1988, based on the Bitstream version of Syntax, by Hans Eduard Meier; assisted by Manvel Shmavonyan); PT BT Geometric Slabserif 712 (1999, based on the Bitstream version of Monotype Rockwell; assisted by Manvel Shmavonyan); MyslNarrowC (1992-1996, at Intermicro, together with Svetlana Ermolaeva and Emma Zfcharova). Slutsker's Greek typefaces are Obyknovennaya Novaya ('New Standard', 1950s); Rublenaya Slutskera ('Slutsker Sans'; 1960s); Chronos (1980s). Isay Slutsker created several typefaces for Hindi, Bengali, Gujarati and Kannada. He designed two Amharic and one Hangul typeface, Inmin. Slutsker's Humanist 531 Cyrillic was among the winners of Kyrillitsa'99 and won an award at Bukvaraz 2001.

    Russian bio. FontShop link. Klingspor link.

    View some of Isay Slutsker's digital typefaces. [Google] [MyFonts] [More]  ⦿

    Israel Seldowitz
    [Fontworld]

    [More]  ⦿

    ISTVC

    From the ISTVC site, a list of their aims: To publish journals, books and electronic documents as well as to establish a library-archive of conventional and electronic artefacts related to typography and visual communication. To develop and participate in research programmes in the fields of theory, history and practice of typography and visual communication education in collaboration with Cypriot and foreign scientists as well as to build long term and meaningful relationships among similar research bodies based in Cyprus and abroad. To provide high quality services to all interested parties at national and international levels. These may include courses, seminars, workshops and field trips directed to educators and professionals as well as specialised professional training and educational validation in the fields of typography and visual communication. To organise and promote scientific and cultural events, lectures, national and international conferences and exhibitions, and to establish awards and scholarships. [Google] [More]  ⦿

    ITP Berkeley

    A 2MB file Fonts.zip has a full Unicode font FGGYM_0 (with Cyrillic, Greek, Japanese, Chinese), and the font Transistor. [Google] [More]  ⦿

    J. Victor Gaultney

    Type designer (b. Minneapolis, MN, 1962) at SIL International, UK since 1991, and an ex-M.A. student in type design at the University of Reading. He has worked on non-Latin faces, as well as his own extended Latin design, Gentium (2002). [Download from places such as OFL and FreeBSD]. Gentium Plus supports a wide range of Latin, Greek and Cyrillic characters. It was developed between 2003 and 2014 by J. Victor Gaultney (main designer), Annie Olsen, Iska Routamaa, an Becca Hirsbrunner.

    Papers by him include Multitudinous Alphabets: The design of extended Latin typefaces (2001), The influence of pen-based letterforms on Devanagari typefaces (2001), Balancing Typeface Legibility and Economy, Gentium---A Typeface for The Nations, Problems of Diacritic Design, and "Problems of diacritic design for Latin script text faces" (2002). The last one is a must-read.

    Projects in which he is the main or only designer include SIL Dai Banna Fonts, SIL Tai Dam Fonts, SIL Greek Font System, SIL IPA Fonts, and SIL Encore Fonts. At ATypI 2004 in Prague, he spoke about the technical problems with East European type. In 2008, he published Gentium Basic and Gentium Book Basic, each in four weights, but essentially limited to Latin, and added them to the Google Font Directory link.

    At ATypI 2010 in Dublin, he spoke about sculptural letterer Arnold Flaten (1900-1976). Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam: Open and collaborative font design in a web fonts world.

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

    Jack Kilmon
    [Jack's Scribal and Epigraphic Fonts]

    [More]  ⦿

    Jack's Scribal and Epigraphic Fonts
    [Jack Kilmon]

    Houston's Jack Kilmon designed many archaic and epigraphic TrueType fonts. Free for academics. His site also has an archive of some fonts by Reinhold Kainhofer (RK Ancient Fonts), and some Coptic, Hebrew, Hieroglyphic and Greek fonts. A list of his creations: Early Phoenician (8th century BC), Moabite/Mesha Stele Epigraphic, Lachish Ostraca Cursive Palaeohebrew, Elephantine Papyrus Cursive, Jack's Early Aramaic (10th c. BCE), Nabataean Aramaic, Jack's Samaritan, Jack's Siloam Inscription, Jack's Dead Sea Scroll Scribal (or DSS Scribal) (based on Great Isaiah Scroll), Jack's Habakkuk Scribal (based on Pesher Habakkuk), Jack's Meissner Papyrus Cursive, Dead Sea Scroll Scribal, Latin Epigraphic, Roman Rustica (Capitalis Rustica), Latin bookhand from 1st to 6th century, C. Sinaiticus Uncial Greek, Early Greek Epigraphic, Greek Minuscule with Ligatures, Carolingian Minuscule, Insular Minuscule, early Gothic, Gothic Textura Quadrata, C. Sinaiticus Uncial Greek, Early Greek Epigraphic, Greek Minuscule with Ligatures, Jack's Etruscan. Essay on the history of writing. And an archive of Greek, Coptic, Hebrew and hieroglyphic fonts.

    Dafont link. Marc Smith is not kind in his critique of Kilmon, who he calls an amateur (page 65). He deplores (page 69) that most letters, o, b, p and y included, have the same height in Kilmon's work. [Google] [More]  ⦿

    James K. Tauber
    [Melanos]

    [More]  ⦿

    James Kass

    Ripon, CA-based designer of Code2000, Code2001 and Code2002, free Unicode fonts. The shareware font Code2000 has 36000 glyphs, including Japanese and all European languages. He has free downloadable Unicode charts, info on Unicode in Netscape/HTML, the freeware Ol Cemet' (or JKSantal) font. His free Code2001 includes Old Persian Cuneiform, Deseret, Tengwar, Cirth, Old Italic, Gothic, Aegean Numbers, Cypriot Syllabary, Pollard Script, and Ugaritic. James Kass is located in Lake Isabella, CA. Discussion by the typophiles (with complaints about the wide spacing, the letters g, 2, J, and other typographic matters). The font is the default at the JSTOR site.

    Fontspace link. [Google] [More]  ⦿

    James L. Stirling
    [Fontry West]

    [MyFonts] [More]  ⦿

    James Naughton

    James Naughton on Unicode Classical Greek. The page contains downloads of Vusillus Old Face and Antioch. [Google] [More]  ⦿

    Jan Koehler
    [Deniart Systems]

    [MyFonts] [More]  ⦿

    Jan Thor
    [jGaramond]

    [More]  ⦿

    Janos Csoma

    Hungarian FontStructor who made typefaces like ACDC (2011, a blackletter / tattoo typeface based on the AC DC logo), Code (2011, the pixel font used in Command Prompt), Bonzarificx (2011), Spore (2011), Greek (2011, ornamental Greek face), Olde Time Ornamental (2011), FontStruct (2011), Circuitboard (2011), Logo MT Condensed (2011), and Bonzarific (2011).

    In 2012, he added Code (grid-based), Moderniste, and IBM Logo. [Google] [More]  ⦿

    Janus Lascaris

    Rolf Noyer has this to say about Janus Lascaris, a famous Greek scholar who died in 1535: Having fled Greece as a child after the fall of Constantinople, Lascaris lived in Venice and Padua, and later was invited to Florence by Lorenzo de' Medici. There, unhampered by the monopoly on the printing of Greek that Aldus Manutius had obtained in Venice, Lascaris and his colleague Lorenzo di Alopa published the first editions of many important works of classical Greek literature, including the Greek Anthology, Callimachus, four plays of Euripides, and the Argonautica of Apollonius Rhodius. In an unusual departure from custom, Lascaris chose to print the Argonautica entirely in accented Greek capitals, with the accompanying commentary (scholia) surrounding the text in Greek minuscule. Rolf Noyer made a font called Lascaris (2010), which is a digital rendition of Janus Lascaris' type of 1494-1496. [Google] [MyFonts] [More]  ⦿

    Jany Belluz

    French creator of the Latin / Greek programming font Comic Sans Neue Mono (2013, free at OFL). Predictably, within one week, Jany was forced to rename that typeface Cosmic Sans Neue Mono, and then a third time to Fantasque Sans Mono (2014). Github link. Jany explains: Inspirational sources include Inconsolata and Monaco. I have also been using Consolas a lot in my programming life, so it may have some points in common. [Google] [More]  ⦿

    Jason Pagura
    [Cuttlefish Fonts]

    [More]  ⦿

    Jason Smith
    [Fontsmith]

    [MyFonts] [More]  ⦿

    Jean-Pierre Olivier
    [Linear A Texts]

    [More]  ⦿

    Jeffrey Rusten
    [Athenian Font]

    [More]  ⦿

    Jeongmin Kwon

    Korean designer of Ficta (2014), a humanist Latin, Greek and Hangul text typeface developed during Jeongmin's studies towards a Masters Degree in Type Design at the University of Reading in 2014. [Google] [More]  ⦿

    jGaramond
    [Jan Thor]

    Jan Thor developed Unicode versions of Garamond in 2001. His family, called jGaramond, covers Basic Latins, Latin-1 Supplement, Latin Extended - A, Latin Extended - B, Latin Extended Additional, Mathematical Operators, Letterlike Symbols, Currency Symbols, Arrows, Number Forms, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek, Greek Extended. Bold, Italic and Regular weights only. See also here. [Google] [More]  ⦿

    Jim Rimmer

    Jim Rimmer (b. Vancouver, 1934, d. 2010) was one of the great contemporary type designers whose creations had a lot of flair, individuality, and charm. Based in New Westminster (near Vancouver, BC), Jim Rimmer was also an illustrator. Obituary in the Globe and Mail, dated April 27, 2010.

    He designed Albertan (Albertan No.977, Albertan No.978 Bold) and Cloister (2000; a roman type family originally done by Morris Fuller Benton) in the Lanston collection. He also designed faces like Juliana Oldstyle (1984), Nephi Mediaeval (1986), Kaatskill (a 1929 typeface by Goudy, revived and optimized for Lanston in type one format; the Kaatskill Italic was done by Rimmer based on Goudy's Deepdene), RTF Isabelle (Roman and Italic; 2006. A pair of delicate serif faces based on faces by Elizabeth Friedlander) and Fellowship (1986).

    ATypI link. Jim began work as a letterpress compositor in 1950. He entered the field of graphic design in 1963, working as a designer lettering artist and illustrator, and freelanced in this capacity from 1972 to 1999 in the same capacity. In 1960, he began collecting letterpress printing and typefounding equipment, and operated a private press and foundry (Pie Tree Press&Type Foundry). FontShop link.

    His metal typefaces at Pie Tree Press include:

    • Juliana Oldstyle 18pt, 1981
    • Nephi Mediaeval 18pt, 1983
    • Fellowship 24pt, 1984
    • Albertan 16pt, 1985
    • Garamont [not entirely sure that this was done in metal]
    • Cartier Roman 14pt, 2004
    • Cree Syllabic 14pt, 2006
    • Duensing Titling 12, 14, 18, 24, 36, 48&60pt, 2004-07. Duensing in use.
    • Hannibal Oldstyle 18pt, 2003
    • Quill 14pt, 2006
    • Stern 16pt, 2008. This was his last completed typeface.

    Jim has designed and produced a collection of digital types, and over the past 20 years has designed and cut six metal types. He recently completed a Monotype Large Comp type named Hannibal Oldstyle, is currently cutting 14 point matrices for Cartier Roman, and is making drawings for the cutting of a 14 point Western and Eastern Cree. Samples and discussion of his Cree typeface.

    Jim in action in 2003. According to Gerald Giampa from Lanston, Jim is the most talented type designer alive in 2003. About his typefaces, I quote McGrew: Fellowship was designed and cut by Jim Rimmer in Vancouver in 1986, and cast by him for private use. He says, "The design is the result of the feeling of joviality and 'fellowship' I experienced at the meeting (American Typecasting Fellowship in Washington, D.C.). The design was not so much drawn as it was written. The letters were written quickly in a calligraphic manner with an edged pencil and then enlarged and inked to make a dry transfer sheet. As in my two previous designs (see Juliana Oldstyle and Nephi Mediaeval), Fellowship was cut not in steel, but in type metal, and then electroplated to make castable matrices." Juliana Oldstyle was designed and cut in 1984, as a private type. He says, "It represents my first attempt at cutting a metal type. I drew my letters completely freehand, hoping to capture a punchcut look. My artwork was then reduced and made into a dry transfer sheet, which I rubbed onto type-high typemetal blanks. I then cut the letters and electroformed copper matrices." Nephi Mediaeval was designed and cut in 1986, for private use. He says it "was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes."

    In 2012, Rimmer Type Foundry was acquired by Canada Type. The press release: Canada Type, a font development studio based in Toronto, has acquired the Rimmer Type Foundry (RTF) from P22 Type Foundry, Inc. The RTF library contains the complete body of work of Canadian design icon Jim Rimmer (1934-2010), who was an enormous influence on Canadian type design and private press printing, and the subject of Richard Kegler's documentary, Making Faces: Metal Type in the 21st Century. The RTF library contains many popular font families, such as Albertan, Amethyst, Credo, Dokument and Stern, as well as quite a few analog designs that were never produced in digital. Now that Rimmer's work has been repatriated, it will be remastered and expanded by Canada Type, then re-released to the public, starting in the fall of 2012. Jim's analog work will also be produced digitally and available to the public alongside his remastered and expanded work. Once Jim's designs are re-released, part of their sales will be donated to fund the Canada Type Scholarship, an award given annually to design students in Canada. This will be done in coordination with the Society of Graphic Designers of Canada (GDC), the national professional association that awarded Jim Rimmer with the prestigious GDC Fellowship in 2007.

    Jim Rimmer digitized Elizabeth (+Italic). From 2006 until 2012, the Rimmer Type Foundry collection was offered by P22. It included:

    • RTF Albertan: A great text family developed between 1982 and 2005. In 2013, it as remastered by Canada Type and reissued as Albertan Pro, calling it a first post-Baskerville-post-Joanna typeface.
    • RTF Alexander Quill: An artsy fartsy (in the good sense) and slightly 1920s Czech type family.
    • RTF Amethyst: A tall ascender serif family.
    • RTF Cadmus: A stone slab or Greek simulation face. P22 writes: Rimmer's re-working of a design done by Robert Foster, a hand lettering artist. Foster's type, named Pericles, is a style that he used for a time in lettering magazines and advertising headings. The design is based closely on early inscriptional Greek, but is less formal than the sans types of Fosters time. Cadmus keeps the proportions of Pericles but is overall less quirky than the Foster design.
    • RTF Cotillion (1999): A tall ascendered Koch inspired sans family. Looks quite like Bernhard Modern.
    • RTF Credo: A six-weight sans family.
    • RTF Dokument: An extensive sans family: Dokument was my attempt to make a Sans Grotesque in the general weight of News Gothic (for the Dokument regular) but took nothing from News Gothic. I used some of the basic forms of my Credo series, but made many on-screen changes and broke away entirely from Credo on the range of weights. My plan was to make a typeface that will fill the requirements of financial document setting; things like annual reports and other such pieces of design. It is my hope that the large family of weights and variants will suit Dokument to this kind of work. This family was created in 2005 and published in 2006. A reworking by Patrick Griffin at Canada Type eventually led to Dokument Pro (2014).
    • RTF Elizabeth: An elegant tall ascender typeface about which Rimmer writes: Elizabeth Roman and its companion Italic were designed as a pair by Elizabeth Friedlander, and cut and cast for decades by the historic Bauer foundry of Germany.
    • RTF Fellowship: A standard script.
    • RTF Lancelot Titling: A roman titling typeface with Koch-like influences.
    • RTF Lapis: A calligraphic serif, inspired by Rudolf Koch.
    • RTF Posh Initials: A formal script.
    • RTF Poster Paint: A fat irregular poster font inspired by Goudy Stout.
    • RTF Zigarre Script: A bouncy brush script with rough outlines.
    • RTF Canadian Syllabics (2007): This font was developed as a metal typeface by Jim Rimmer for a special project and is now available in digital form. Containing over 700 glyphs in OpenType format, this font covers most Canadian Aboriginal Languages. RTF Canadian Syllabics is a more calligraphic version of the syllabary developed by Reverend James Evans for the languages of the native tribes of the Canadian provinces in the early 1800s. Jim Rimmer originally designed the characters for the Eastern and Western dialect Cree to be cut as a metal font. The digital version then grew to include all the characters of the Canadian Syllabics Unicode block.
    • Nephi Mediaeval (2007), a type heavily reflective of the semi roman of Sweynheim and Pannartz (in Jim's words).
    • Stern (2008, RTF) was simultaneously released both digitally and in metal. Named after the late printer Christopher Stern (WA), it is an upright italic intended for poetry. Colin Kahn (P22) has expanded the Pro digital version (originally designed by Jim Rimmer) for a variety of options. The set features Stern Aldine (Small x-height Caps with standard lower case), Regular, Tall Caps (with standard lc)&Small Caps with x-height caps in place of lc). Youtube. David Earls writes: I've heard people say that letterpress gives warmth, but I prefer to think of it as giving humanity. That the types interaction on a page is so dependent on the punch cutter, the caster, the compositor, the printer, the humidity, the papermaker and inkmaker gives it a humanity, not a warmth, and decries the demise of letterpress. In 2013, Canada Type remastered Stern as Stern Pro---this typeface now covers Greek, and is loaded with Opentype features.
    • RTF Loxley (2010): The style of Loxley is based on early Roman faces, such as the "Subiaco" type of the late 1400s that was also inspirational to Frederick Goudy for his "Franciscan", "Aries" and "Goudy Thirty" type faces. Loxley displays some of Jim's particular left handed calligraphy and is in a similar style to his "Fellowship" and "Alexander Quill" faces, both of which were made in metal and digital formats. In 2013, Canada Type published a remastered and expanded version simply called Loxley.

    FontShop link.

    Jim Rimmer passed away early on January 8, 2010. His friend Richard Kegler (P22) wrote this obituary the next day: Jim was a multi-talented type designer, graphic artist, bookbinder, printer, letterer, technician and a most generous teacher. He was never glory-seeking and turned down most speaking engagements offered to him, not out of vanity or indifference, but rather thinking that he was not worthy of being given a spotlight. Jim offered free typecasting instruction to anyone who asked and came to visit him in his studio in New Westminster BC. He took as much time as needed and was generous to a fault. Anyone who took him up on this open invitation can attest to the intense and elegant chaos of his studio and work habits. I was fortunate enough to know Jim but for only a few years. What started as a business arrangement grew into a mutual respect and ongoing correspondence that I can only describe as life changing for me. His kindness and generosity were exceptional and his diplomacy even when given the opportunity to speak ill of anyone else was measured and kind. Jim's dedication to the craft of type design and related arts was beyond most if not all contemporaries. After his "retirement" from his professional life as a graphic artist and illustrator, he tirelessly worked on type designs for book projects where all aspects of his skills were applied. His book "Leaves from the Pie Tree" (I encouraged him to change the title from his original plan to call it "Droppings from the Pie Tree"...a truly self-effacing Jim Rimmerism) is the best single tome that summarizes his life and work. He designed the books typeface in Ikarus (as he had with the 200+ other type design he created), cut the matrices and cast the type, wrote the text using an autobiographical introduction and continued to explain the process he used to cut pantographic matrices for his metal typefaces. The multi colored lino cut illustrations, book design, individual tipped in sheets and attention to press work and binding would be impressive for one specialist to complete on each component. The fact that Jim did all of this himself is awe inspiring. A trade edition of this book has been printed by Gaspereau press but does not hint at the grandeur of the beautiful book that is Pie Tree. Jim's follow up of his edition of Mark Twain's Tom Sawyer (set in his Hannibal Oldstyle font designed for and fitted onto on a monotype composition caster) was recently completed and is equally if not more imposing as a fine press book, but with a sympathetic humor and humanity that would knock the stuffing of any other fine press attempt at the same material. Almost two years ago I visited Jim for a week and filmed footage for a documentary on his cutting of the Stern typeface. For various reasons the finishing of the film has been delayed. I truly regret that Jim could not see the finished version. With the film and his Pie Tree book, Jim generously conveys information on making metal type that has otherwise been largely lost and previously limited to a now defunct protective guild system. It was his wish that the information and craft be kept alive. Jim's last email to me was in classic Jim form hinting at his tireless dedication to his work: details of a new type family for a new book. He was one of the great ones. He will be missed.

    Sumner Stone: Jim's insights into Goudy's typefaces in particular, and his devotion to doing everything in his own shop made me think he was perhaps Fred's reincarnation, but it took me awhile to realize this due to the self-deprecating personality you so accurately describe. His passing is truly a great loss to our craft.

    Rod McDonald: I would like to relate a telephone conversation I had with Jim last month because I believe it shows his incredible spirit, and wonderful sense of humor. My wife and I visited Jim in November and were delighted to hear that his doctors had pronounced him cancer free. He looked good, just a little tired, but that was to be expected after his recent radiation treatment. Of course he was also anxious to get back to work. Less than two weeks later I received an email from him informing me that they had discovered that the cancer had spread to his lungs and, not only was it inoperable, he now only had six months to live. This sudden turn of affairs was devastating for me and I called him, hoping I think, to hear that it wasn't as bad as it sounded. He said it was bad and apparently nothing could be done. However he felt he would outlive the six months and in fact we even talked of getting together in the fall. The conversation then turned to his latest type family and when I gently asked him how long he thought it it would take to complete he simply said "I've got lots of time, after all I'm only going to be dying during the last fifteen minutes". I knew Jim for thirty-five years and will miss him more than his work, and that's saying a great deal.

    In 2012, Canada Type, which had purchased Rimmer's designs started publishing some of Jim's lesser known designs. These include Cotillion Pro (2012, a very graceful typeface with high ascenders), Fellowship (2013, calligraphic), Poster Paint (2012, a take on Goudy Stout), Zigarre Script and Zigarre Rough (2012, brush scripts that were actually drawn with a marker), and Alexander Quill (2012, a calligraphic monastic typeface).

    In 2013, Canada Type remastered several of Rimmer's typefaces, including in particular Isabelle Pro: Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal typeface was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Lancelot Pro (2013) is a calligraphic all caps typeface based on Rimmer's digital original from 1999.

    Pictures: Jim Rimmer casts 48pt ATypI keepsake (by John Hudson), Remembering Jim Rimmer (Facebook group), In his studio, a picture taken by the Globe and Mail. Another pic. Making Faces (trailer) (movie by Richard Kegler).

    Klingspor link. ContentDM collection. Jim Rimmer at the Fine Press Book Association. Rimmer Type Foundry link.

    View all typefaces by Jim Rimmer. An alphabetical listing of Jim Rimmer's typefaces. Catalog of Jim Rimmer's typefaces. [Google] [MyFonts] [More]  ⦿

    Jim Tsipoutas

    Volos, Greece-based graphic designer. Creator of the vector format font Air (2014). Behance link. Creative Market link, where one can buy his work. [Google] [More]  ⦿

    Jimmy Adair
    [Scholars Press]

    [More]  ⦿

    JL-types Ky
    [Juhani Lehtiranta]

    Juhani Lehtiranta holds a Ph.D. in linguistics, and lives and works in his place of birth, Nurmijärvi, near Helsinki. He has been busy with special fonts since 1985. In 1990 he established font design company, JL-types Ky. Lehtiranta's special interests are typefaces for European minority languages (e.g., Greek, Baltic, Sami, Cyrillic, Central European) and custom made fonts (e.g., barcode fonts (JLCode128, JLEAN, JLCode39, JLInterleaved2/5)). He created the first fonts for the Uralic Phonetic Alphabet in 1985 and published an OpenType phonetic font in 2005. He spoke at ATypI 2005 in Helsinki on A wild play with diacriticts, in which he discusses the Finnish language, Sami, and other special aerial languages. [Google] [More]  ⦿

    Joana Maria Correia da Silva

    Graduate of the University of Reading in 2011. Before that, Joana worked as an architect and graphic designer in Portugal. She currently lives in the UK and/or Porto, Portugal. Since 2011, she teaches type design at ESAD (Escola Superior de Artes e Design).

    In 2010, under the supervision of Dino dos Santos at ESAD, Joana designed an unnamed bastarda / chancery typeface that is based on originals by Francisco Lucas.

    Creator of the script typeface Violet (2011). Artigo (2011) is an angular type family for Latin, Hindi and Greek that was created during her studies at Reading. Artigo won Second Prize for Greek typefaces at Granshan 2011.

    In 2012, she published the didone text typeface Cantata One at Google Web Fonts. Quando (Google Web Fonts) is a serifed text typeface inspired by brushy handwritten letters seen on an Italian poster from the second world war.

    In 2013, at MSTF Partners, a Portuguese consultancy, she created Writers Font (2013). This is a script typeface by Joana Correia that combines the handwriting of famous Portuguese authors. For example the A is by José Luis Peixoto, the B by José Saramago and the C by António Lobo Antunes. Link with the story.

    Still in 2013, she showed an unnamed unicase sans typeface and participated in the Canberra typeface competition.

    In 2014, she made the round connected script typeface Jasmina FY (Fontyou), the Google Web Font Karma (for Latin and Devanagari: Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. It was published by the Indian Type Foundry), and Canberra FY (at Fontyou: a short-serifed typeface family).

    Free download.

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

    Jogi Weichware

    Berlin and Frankfurt-based company which published these fonts for ancient Middle Eastern scripts between 1990 and 2001: TitusAncientNeareastNormal, TitusArabic-Farsi, TitusArmenianNormal, TitusAsomtavruliMrglovani, TitusAsomtavruliMrglovani, TitusAsomtavruliNuskhuri, TitusBaltic, TitusBibleGothic, TitusBuzuku, TitusChristianEastNormal, TitusCyrillicNormal, TitusECLINGMxedruli-Normal, TitusECLINGTranscription-Bold, TitusECLINGTranscription-Italic, TitusECLINGTranscription, TitusEastEuropeanNormal, TitusGreekNormal, TitusGreekReverseNormal, TitusHebrew-Normal, TitusHebrewNormal, TitusIndoIranianNormal, TitusIndologyNormal, TitusKroatianGlagolicaNormal, TitusManichean, TitusMiddleIranian-Normal, TitusMxedruliNormal, TitusNearEastNormal, TitusNuskhaKhutsuri, TitusOghamNormal, TitusOldGeorgian, TitusOldPersianNormal, TitusOldPersianNormal, TitusOscanInscriptionsNormal, TitusRoundGlagolicaNormal, TitusRunicNormal, TitusSlavonicNormal, TitusSogdianIntNormal, TitusSyriacEstrangelo, TitusSyriacNestorian, TitusSyriacNestorianNormal, TitusSyriacSerto, TitusSyriacSertoNormal, TitusTaanaNormal, TitusUmbrianInscriptionsNormal, TitusWesternNormal. Downloadable here. [Google] [More]  ⦿

    Johannes Giesecke

    One truetype font here (bottom of page, click on Schriftart, the German word for font): Joe. This font has Latin, East-European, Cyrillic, Greek, Hebrew and Arabic characters, and sure looks like a renamed Monotype Times to me. [Google] [More]  ⦿

    John Barounis

    Creator (b. 1984, Greece) of the hand-drawn typeface Ancient Hellenic (2013).

    Home page. [Google] [More]  ⦿

    John Bowman

    Graduate of the University of Reading. His PhD thesis at the University of Reading in 1998 was entitled Greek printing types in Britain from the late 18th to the early 20th century. [Google] [More]  ⦿

    John H. Bowman

    Programme Director for Library and Information Studies at University College, London. At the meeting in Thessaloniki in June 2002, he spoke about The fine printing of Greek in Britain and its types. Author of Greek printing types in Britain, from the late eighteenth to the early twentieth century (Thessaloniki : Typophilia, 1998). That book is based on the author's thesis completed in 1988 for the Department of Typography and Graphic Communication at the University of Reading, England. [Google] [More]  ⦿

    John Hudson
    [Tiro TypeWorks]

    [More]  ⦿

    John Hudson
    [Brill]

    [More]  ⦿

    John Hudson
    [Society of Biblical Literature]

    [More]  ⦿

    John M. Fiscella
    [Production First Software]

    [MyFonts] [More]  ⦿

    John Saranto

    Designer in Athens, Greece, who created the 3d outlined typeface Font2012 (2013) and AMeccano (2014). [Google] [More]  ⦿

    Jonas Hecksher

    Jonas Hecksher holds a degree from The Royal Danish Academy of Fine Arts - The School of Design and Ecole supérieure d'arts graphiques et d'architecture in Paris, where he specialized in graphic design and typography design. Heckscher is Partner and Creative Director at design agency e-Types which he co-founded in 1997 and co-founder of type foundry and type design brand Playtype. He is a 5-time recipient of the Danish Design Award, a winner of two gold Creative Circle awards, a silver award winner at the Britsh D&AD, a winner in 2014 of the Knud V. Engelhardt Memorial Award, and the recipient of a certificate of excellence in type design from Type Directors Club N.Y.

    He designed fonts such as Movie (2001, a very black condensed movie generics sans), iD:00 (2001, a large sans and serif family), Fletch Text (1998, a sans), DeLuca (Bodoni-like, 2001), NinetySix K (2001, a serif), Underton (1998), Point Sans (1999), Point Serif (1999), Cendia (1997), DenmarkSerif (1998), Mega (1999), Olic (1999), Arch Sans (2003), Arch Serif (2003), Arch Stencil (2003), Arch Pattern (2003).

    In the 2011 Playtype on-line catalog, it seems that several of his early designs have been renamed, and many others have been added. So here is the on-line list of his fonts there as of February 2011: AbidaleBook, AcademySans, AcademySerif, BingoSans, BingoSerif, DeArchie (didone), DeArchieDisplay, FletchText, FruOlsen (condensed), Geometric, Hall, HomeDisplay, Hazelwood, HermesBaby (old typewriter), Hill, HomeText, ID00 Sans (large family), ID00 Serif, ItalianPlate, JPSpecial Sans, JPSpecial Serif, JazzHouse, Mari, MoviePlaytype, New Press, Noir Text, Nord Dingbats (circled letters), Norwegian, Play (2011, a minimalistic sans serif typeface), PrimoSerif, Republic, SymphonyDisplay, TheWave, Trood, VentiQuattro (didone), Vertigo, Willumsen, ZettaSans.

    Later in 2011, he published the modern sans family Metro.

    In 2010, Hecksher created the 21-weight custom typeface family Berlingske for the newspaper by that name. It was extended over the years to a whopping 227 weights / 2100 glyphs-per-font in 2014, the year in which it was released as a regular retail font at Playtype, with Sans, Serif and Slab versions.

    In 2014, an earlier typeface by e-types, Italian Plate, was releases in two monoline sans subfamilies, Italian Plate No. 1 and No. 2, and two serif versions, No. 3 and No. 4. Klingspor link. [Google] [More]  ⦿

    Jonas Schudel

    Designer (with Fabio Luiz Haag) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which supports Greek and Cyrillic as well.

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

    Jonathan Coltz
    [Daidala]

    [More]  ⦿

    Jonathan Perez
    [Typographies.fr]

    [More]  ⦿

    Jonathan Robie
    [Fonts for the New Testament Greek]

    [More]  ⦿

    Jordan Bell

    Graduate of the Masters of Type Design program of the University of Reading, UK. Jordan Bell (Waco, TX) writes about his graduation typeface Odelay (2014): Odelay is a contemporary interpretation of the transitional American Scotch Roman, or Century types, that were designed in the U.S.A. near the end of the 19th century by DeVinne and the Bentons. Inspired by these designs and hand-painted sign lettering, Odelay has a warm, friendly aesthetic that invites the designer to put it to use on a variety of different jobs. With very delicate thin weights, ultra-heavy fat weights, and everything in-between, Odelay is readily available for complex typography at any size. Odelay covers Latin, Greek, Arabic and Cyrillic, with emphasis on the Latin. Jordan's description requires a correction, however--Theodore DeVinne did not design any typefaces---some were named after him, but that is a different story. [Google] [More]  ⦿

    Jordan Seth

    American designer of the bold techno typeface Hunger Games (2011) and of the fat finger typeface Sorority Lane (2011)---this includes the necessary Greek capitals, in a desperate attempt to convince many sorority girls of his cause.

    Dafont link. [Google] [More]  ⦿

    Jos Kunst
    [Fonts Jos Kunst]

    [More]  ⦿

    Joseph Champion

    Joseph Champion (b. Chatham, 1709, d. 1765) was a British calligrapher and penman. Champion contributed many plates to Bickham's Universal Penman. His most important work, The Parallel or Comparative Penmanship Exemplified, was published in 1750. It consists of reproductions of the work of foreign masters like Materot, Barbedor, Van den Velde, Perlingh and Maria Strick, with corresponding plates by Champion. Following these plates come some alphabets by Champion. His last published work was The Penman's Employment (1762). The first known attempt to implement Champion's alphabets, was in 1989 by French type designer François Boltana, who in Ligatures&calligraphie assistée par ordinateur (1995) proposed a couple of alphabets based on Champion. These did not result in a commercial font however. PF Champion Script Pro (Panos Vassiliou, 2004-2008; a winner at Paratype K2009) on the other hand has 4280 glyphs in erach of its two styles, and it supports Latin, Greek and Cyrillic. One of Champion's alphabets, dated 1733-1741. Samples of hisd penmanship from The Universal Penman 91730): i, ii. [Google] [More]  ⦿

    Joseph Staleknight

    Fairfax, VA-based creator (b. 1990) of the informally hand-printed font Rushil (2008). Alternate URL. Other fonts or font projects, dated 2008: Argaila (runes), Argaila Runic Expert XK, Argaila Titling, Argaila Standard, Argaila Astro Expert, Argaila Rune Expert, Argaila Greek, ANSI/Int'l., Danaii, Argaila (hand-printed). Schmiedehammer (bilined) followed in 2009. In 2010, he made Driehoek, a triangularly serifed font. [Google] [More]  ⦿

    Joshua Olsthoorn

    Joshua Olsthoorn (Athens, Greece) designed Merz Grotesk in 2013 after a Merz Magazine model from 1924 published by Kurt Schwitters. [Google] [More]  ⦿

    Jost Gippert
    [TITUS Unicode Greek]

    [More]  ⦿

    Journal of Biblical Studies

    Alternate URL. Archive: Altrussisch, Altrussisch-Bold, Altrussisch-BoldItalic, Altrussisch-Italic, Web-Hebrew-AD, BSTGreek, BSTHebrew, Coptic-Normal, Web-Hebrew-Monospace, Cyrillic, Cyrillic-Bold-Italic, Cyrillic-Bold, Cyrillic-Normal-Italic, DSS-Scribal-Normal, Elephantine-Aramaic, Etruscan-Epigraphic-Normal, Netextmo, Netextpro, Greek, Hebrew, IluInternet, Koine-Medium, l562-Minuscule-Normal, Lachish-Bold, Latin-Uncial-Normal, Linear-B, Nippur-Sans-Regular, Macedonian-Ancient, Meroitic---Demotic, Meroitic---Hieroglyphics, Nabataean-Aramaic, Nahkt, Paleo-Hebrew-NormalA, Phoinike, Qumran, RD-Akkadian1, RK-Ugaritic-Transscript, Rashi, SPAchmim, SPAtlantis, SPDamascus, SPEdessa, SPEzra, SPIonic, SPTiberian, Schwaben-Alt-Bold, Sinaiticus-Greek-Uncial, Sorawin-Plain, Ugarit. [Google] [More]  ⦿

    Jovica Veljovic

    Great calligrapher and type designer, born in Suvi Do, Yugoslavia, in 1954. He obtained his master's degree in calligraphy and lettering at the Academy of Applied Arts in Belgrade. In 1985, he received the Charles Peignot Award from the Typographique Internationale for excellence in calligraphy and type design. He taught typography at Belgrade University of Arts until 1992. Since 1992, he is based in hamburg, Germany, where He teaches type design and calligraphy at the Fachhochschule Hamburg. His typefaces:

    • Ex Ponto (1994-1995) is his first masterpiece.
    • He designed the very readable text faces ITC Veljovic (1984) and ITC Esprit (1985; followed in 2010 by ITC New Esprit), as well as the Times-like ITC Gamma (1986).
    • Silentium Pro (2000). This is based on 10th century Carolingian scripts.
    • Sava Pro (2003). These are roman-style caps and small caps, with ornaments, Greek and Cyrillic. Named after a popular man, the archbishop of Serbia, who lived around 1300, and partially named after the main river in former Yugoslavia. Winner of an award at TDC2 2004.
    • Libelle (2009). Published by Linotype, this is a joyful calligraphic script.
    • Agmena (2012). A gorgeous antiqua that won an award at TDC 2013.
    • Veljovic Script (Linotype). A handwriting typeface for Latin and Cyrillic.

      The German weekly news journal Die Zeit commissioned him to prepare an extended digitized version of Tiemann's Antiqua in 1999. He also designed two typefaces, an Antique and a Grotesque together with several variants, for the leading Serbian daily Politika in 2006.

    At ATypI 2004 in Prague, he spoke about typefaces for Latin and Cyrillic.

    Linotype link. FontShop link.

    View Jovica Veljovic's typefaces. [Google] [MyFonts] [More]  ⦿

    Juan Luis Blanco

    For his graduation work in the Masters of Type Design program of the University of Reading, Juan Luis Blanco (Spain) created the Latin, Greek, Cyrillic, Tifinagh, Arabic typeface family Amaikha (2014). Amaikha is characterized by Latin warmth and roundness. [Google] [More]  ⦿

    Juan-José Marcos
    [Grammata]

    [More]  ⦿

    Juan-José Marcos García
    [Alphabetum]

    [More]  ⦿

    Juhani Lehtiranta
    [JL-types Ky]

    [More]  ⦿

    Jules Hénaffe

    In 1675, Colbert invites the Acadé'mie des Sciences to make a grand study of all machines used in the arts. In 1696, l'abbé Jaugeon obliges with a study entitled "Etude des Arts de construire les caractères, de graver les poinçons de lettres, d'imprimer les lettres". From 1692 on, Jaugeon created a mathematical/geometric theory of letters, all inscribed in a 48 by 48 grid (for upper case) or a 16 by 48 grid (lower case). This gridding was to lead to the type style associated with Louis XIV, the Grandjean. Fast forward 200 years to Arthur Christian, director of the Imprimerie Nationale from 1895 until 1906, who wanted to prove that Jaugeon's ideas were also esthetically justified by asking Hénaffe (official punchcutter of the Imprimerie, b. Paris 1857, d. Paris 1921) to precisely reproduce Jaugeon's designs (which he did in 1904). The resulting typeface is called Jaugeon or Hénaffe. This page describes more of his work for the Imprimerie Nationale, such as a Telugu set of punches (1901), a Coptic set (called "memphitique"), a Palmyrian set (1899), a Thai set (1903), and a "gothique Christian" type (1902). [Google] [More]  ⦿

    Julia Sysmäläinen
    [Juliasys]

    [MyFonts] [More]  ⦿

    Julian Moncada Tobar

    Colombian type designer. Graduate of the University of Reading in 2011. He writes about his lively graduation typeface Lemona (2011), which covers Latin and Greek: Lemona, an army of absurdities and monstrosities, is a subjective interpretation and exploration of the proportions and conventions of classic typography. Giving each character a secret potion containing ingredients of the freaky and deformed, the classic, and the contemporary, the serious, and the sweet. Lemona is a kind monster coming to stage stories in a rather strange, but always friendly and lively manner.

    I cannot put my finger on it, but this is a bright and shiny baby, sure to be a soulful award winner in the next couple of years.

    Julian Moncada, Jonathan Abbott and Jonathan Barnbrook jointly designed Doctrine Sans and Doctrine Stencil in 2013 at Virus. [Google] [MyFonts] [More]  ⦿

    Juliasys
    [Julia Sysmäläinen]

    Julia Sysmäläinen (Juliasys) is a Finnish type designer, who studied at Pekka Halosen Akatemia in Tuusula. She runs her own typefoundry, Juliasys. Julia presently lives in Berlin, where she works for Edenspiekermann Berlin.

    Julia created FF Mister K Pro (2008, FontFont; a winner at Paratype K2009, where it says that the typeface was co-designed by Jürgen Sanides from Germany), a digital rendering extraordinaire of Franz Kafka's handwriting. Ivo Grabowitsch writes: This meant not only creating hundreds of ligatures - each of them consisting of two, three or even four single characters - but also integrating numerous alternate characters to avoid successions of repeating shapes, in order to lend FF Mister K Pro a more authentic script feel. Furthermore handy OpenType functions were added, for example for stylistic alternatives including hatched text as well as underlining and crossing out. Eventually three completely different single fonts were developed. Besides the normal cut there's also Crossout, which allows for setting extensively crossed out text and Onstage, which clearly looks more extravagant and wriggly. All foreign languages and features included the standard cut alone contains more than 1,500 glyphs.

    In 2009, she published FF Mister K Dingbats. FF Mister K Informal (2011) won an award at TDC 2012. FF Mister K Splendid followed in 2014.

    In 2012, Julia published the beautiful handwriting font ALS SyysScript at Art Lebedev Studio.

    As Juliasys, Julia Sysmäläinen published the semi-serif Latin / Cyrillic / Greek typeface family Mir (2013) and the handwriting font Emily in White (2014, based on the writing style of American lyricist Emily Dickinson (1830-1886)).

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

    Julie Janet Chauffier

    Sociologist and typeface designer. Born in France, Julie is based in London. Graduate of the MATD program at the University of Reading in 2012. Her graduation typeface is Angata (2012), an angular semi-serif typeface family for Latin and Greek.

    Speaker at ATypI 2012 Hong Kong: Towards typographic diversity.

    Behance link. [Google] [More]  ⦿

    Julien Gionis
    [KRFX Kazekami]

    [More]  ⦿

    Jürgen Weltin
    [Typematters.de]

    [MyFonts] [More]  ⦿

    K. J. Dryllerakis
    [KD Greek fonts]

    [More]  ⦿

    Kadmos, Bosporos, and Attika Fonts

    KadmosU is an expansion and reencoding of the former Alloptype Typographic font Kadmos and is free. BosporosU is an expansion and reencoding of the former Alloptype Typographic font Bosporos. It too is free. AttikaU is an expansion and reencoding of the GreekKeys font Attika. It is also free. All are copyright of the American Philological Association. [Google] [More]  ⦿

    Kalos

    This huge free Greek software package contains a Greek truetype font, Kalos. By Mariana Esplugas or Gonzalo Diaz. [Google] [More]  ⦿

    Kanella Arapoglou

    Greek graphic designer. She studied Graphic Design at TEI, in Athens, and later received an MA in Communication Design from Central Saint Martins, in London. During her stay in London, Kanella worked as an Art Director for some design agencies.

    She designed PF Haus Square Pro for Parachute in 2001-2006. This squarish family has Greek and Cyrillic versions as well.

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

    Kapatija

    Greek font links. [Google] [More]  ⦿

    Karlgeorg Hoefer

    German scribe, type designer and unbelievable calligrapher, b. 1914 in Schlesisch-Drehnow, d. 2000 in Offenbach. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg and later at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main. From 1939 until 1945 he was in active military service and became a prisoner of the Russians. After that ordeal, he became a calligraphy teacher at the Werkkunstschule in Offenbach, and developed a universal pen with novel writing and drawing techniques for the company Brause. It is at that point that Hoefer started designing types as well. From 1970 to 1979, Hoefer was a lecturer and later professor at the HfG (School of Design) in Offenbach. From 1981 to 1988, Hoefer ran summer calligraphy workshops in the USA (Los Angeles, San Francisco, Boston, New York, Washington, and other cities). In 1982, Karlgeorg Hoefer founded a calligraphy workshop in Offenbach for everyone, with evening courses and summer school, and in 1987, the registered association "Calligraphy Workshop Klingspor, Offenbach, Supporters of International Calligraphy." From 1987 to 1995, he was the chairman of the association while teaching continuing courses and summer school classes with leading foreign calligraphers. Hoefer has written two books about calligraphy: "Das alles mit einer Feder" (Brause, 1953) and "Kalligraphie, gestaltete Handschrift" (Econ, 1986). Numerous articles about Hoefer's work have appeared in calligraphy journals in Holland, France, the USA, and Japan. In 1989, the book "Schriftkunst/Letterart Karlgeorg Hoefer" was published as part of Calligraphy-Editions Herbert Maring (Die Kalligraphie Edition, Hardheim, Germany, 1989). For his activities as a calligrapher, Hoefer received the Order of Merit of the Federal Republic of Germany in 1993. His typefaces:

    • At Klingspor: Salto (1952), Saltino (1953), Saltarello (1954), Monsun (1954). Salto is a famous and often-copied brush script.
    • At D. Stempel: Prima (1957), Zebra (1963-1965, D. Stempel, a script that plays on the simulation of grey and the use of two colors; revived by Colin Kahn in 2007 as P22 Zebra).
    • At Ludwig&Mayer: Permanent (1962-1969, a large Grotesk family developed over many years---this was revived by Daylight in 2010 as Permanent Massiv; URW sells Permanent Headline URW D without even a word about the original designer; Softmaker has Plakette Serial and P700 sans; Castcraft has OPTI Permanent and OPTI Pinacle; Marcus Sterz published Letterpress Headline in 2009), Stereo (1963, an outline poster headline script developed between 1957 and 1968; digitally revived in 1993 as Stereo (Tobias Frere-Jones, Font Bureau)), Elegance (1964, a handwriting script, which was the basis for Sincerely (2005, Canada Type)), Big Band (1974, a fat poster script revived in 2007 by Nick Curtis as Baby Cakes NF (2007)), Big Band Terrazzo (1974, a glaz krak face), Headline (1964, a poster typeface that emanated fom Permanent).
    • Programm-Grotesk (1970): Hoefer's first digital typeface, commissioned by JT Hellas for the Greek telephone books It was first used in the digital machine Digiset of Dr. Ing. Hell in Kiel.
    • From 1978 until 1980, Karlgeorg got involved in the development of a German license plate font that could withstand forgery by black marker pens. The typeface, FE Mittelschrift/Engschrift, had also input from other sources.
    • Lateinischen Ausgangsschrift (1974): a school script for the Linotype phototypesetter. This led later to VA Schrift (Berthold and Linotype).
    • At Linotype: Omnia (1990, a unicase typeface with a Celtic uncial feel), San Marco (1990, round gothic / Rundgotisch), Notre Dame (1991-1993, a full blackletter face), Dominatrix (1994), Sho (1992, Asian brush script), Beneta (1992, a French bastarda inspired by the Littera beneventana, the script of the Benedictine scribes from the 10th to the 12th century).

    Linotype page. FontShop link. Klingspor link.

    View Karlgeorg Hoefer's typefaces. [Google] [MyFonts] [More]  ⦿

    Karydis-Karodsis

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

    Katerina Alivizatou

    Graphic designer, illustrator and moving image designer in London, UK. Creator of an decorative Latin / Greek caps typeface in 2014. [Google] [More]  ⦿

    KD Greek fonts
    [K. J. Dryllerakis]

    The KD Greek metafont family was developed by Sylvio Levi and Yiannis Haralambous and adapted later by K. J. Dryllerakis (Imperial College London). [Google] [More]  ⦿

    KEIK Design Bureau
    [George Strouzas]

    KEIK Design Bureau was founded during the summer of 2010 by three designers. George Strouzas (Athens, Greece) designed RBTP (2010, an inline typeface), and FTRT (2012, an octagonal monoline monospaced typeface family for Latin and Greek).

    Behance link. [Google] [More]  ⦿

    Kenny Publications

    Fonts for reading some religious works. Included are the truetype fonts AraTransRoman (1994, Link Software, Dortmund, Germany), AraTransRomanItalic, bwgrki (1994, Michael S. Bushell, Greek), bwgrkl, bwgrkn, bwhebb (Hebrew), bwhebl (Hebrew), AbdallaUbaAdamu-regular (1996, The Consortium). [Google] [More]  ⦿

    Kerkis
    [Antonis Tsolomitis]

    Mathematics and Greek font family being developed by Antonis Tsolomitis from the Department of Mathematics at the University of the Aegean. Includes metafont, and type 1. Each of the fonts in the Kerkis family, an extension of the Bookman Oldstyle family, is loaded with Latin and Greek glyphs---absolutely wonderful! See also here. The fonts: Kerkis, Kerkisb, Kerkisbi, Kerkisbui, Kerkisc, Kerkisi, Kerkissb, Kerkissbi, Kerkissc, Ktsy, Ktsyn. [Google] [More]  ⦿

    Khaled Hosny
    [XITS]

    [More]  ⦿

    Khaled Hosny
    [Khaled Hosny]

    Khaled Hosny is a physician in Egypt. He loves Arabic and its type, and is interested in every aspect of letter forms and typography. A hobbyist translator, programmer and font developer, he supports software freedom and is actively participating in the free software community. Sourcefirge link.

    Designer of Punk Nova (2010), a free OpenType implementation of Don Knuth's Punk font, based on modified Metapost sources by Taco Hoekwater and Hans Hagan, dating from 2008. Hosny writes: Punk is a dynamic font, every time a glyph is requested Matafont draws a unique instance of it. On the other hand, OpenType is static, glyph outlines are drawn once and stored in the font and the renderer can not alter those outlines. To emulate the dynamic nature of Punk, we generate several alternate shapes of each glyph and store them in the font. Alternate shapes are mapped to the base character using OpenType [Randomize] feature (rand), which tells the renderer to select glyphs randomly from the list of alternate shapes. Pick up the free Punk Nova from CTAN.

    XITS (2011) is a Times-like typeface for mathematical and scientific publishing, based on STIX fonts. The main mission of XITS is to provide a version of STIX fonts enriched with the OpenType MATH extension, making it suitable for high quality mathematic typesetting with OpenType MATH capable layout systems, like MS Office 2007 and the new TeX engines XeTeX and LuaTeX. This free OFL package was developed by Khaled Hosny. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc.

    Euler OTF (2010) are OpenType Math fonts based on Hermann Zapf's Euler and implemented by Taco Hoekwater, Hans Hagen, and Khaled Hosny. Named Neo-Euler (2009-2010), it covers Latin, Greek and has a full blackletter set of glyphs. Copyright Hosny and the American Mathematical Society.

    In 2010-2011, Hosny developed the free Amiri font (OFL; dedicated web page): Amiri font is an open font revival of the Arabic Naskh typeface designed and first used by Bulaq Press in Cairo (also known as Amiria Press) in the early part of the twentieth century. Amiri's uniqueness comes from its superb balance between the beauty of Naskh calligraphy and the requirements of elegant typography. Amiri is most suitable for running text and book printing. See also here and at OFL. [Google] [More]  ⦿

    Khaled Hosny
    [Khaled Hosny]

    [More]  ⦿

    Klaus-Peter Schaeffel
    [KPS Fonts]

    [More]  ⦿

    Klimis Mastoridis

    Director of the University of Macedonia Press and Chairman of AlterVision, Typography and Visual Communication Ltd. Author of various books, including "Casting the Greek newspaper" (Hellenic Literary and Historical Archive, Thessaloniki, 1999), and editor of "Hyphen, a typographic forum". The Proceedings of the 1st International Conference on Typography&Visual Communication were published in 2004 by University of Macedonia Press. Articles in English by John Bowman, Justin Howes, Yannis Haralambous, Ole Lund, Petra Cerne Oven, Milena Dobreva, Manolis Savidis, James Mosley, Barry Roseman, Peter Karow, Maria Nicholas, Stephan Fuessel, Mary Dyson, Victor Koen, Michael Twyman, Phil Baines, Andrew Boag, Paul Stiff, Karel van der Waarde, Jannis Androutsopoulos, Petr van Blokland, Garrett Boge, Evripides Zantides, Alan Marshall, Christopher Burke, Jean-François Porchez, Simon Daniels, David Lemon, Hrant Papazian, Sadik Karamustafa and others, and edited by Klimis Mastoridis. The loneliness of Greek typography: Myth or reality? is the title of his talk at ATypI 2008 in St. Petersburg. Founder of the International Conference on Typography and Visual Communication (ICTVC) that was until 2007 held in Thessaloniki, Greece. [Google] [More]  ⦿

    Klimis Mastoridis
    [ICTVC: International Conference on Typography & Visual Communication]

    [More]  ⦿

    Koine font

    Free Greek Italic truetype font called Koine at Leadership U site. Created by CARE Typography for The Zondervan Corporation, 1992. [Google] [More]  ⦿

    Korinthus web page

    Korinthus Normal&Italic, designed after the late 18th - early 19th century Leipzig editions by Goeschen, WinGreek and Son of WinGreek compatible, Windows TrueType. Affiliated to Skylla - interesting German magazine on language (the site of the Euro Collection). TYPE 1 version available via email from the author. Contact Mindaugas Strockis in Lithuania. [Google] [More]  ⦿

    Kosal Sen
    [Philatype]

    [MyFonts] [More]  ⦿

    KPS Fonts
    [Klaus-Peter Schaeffel]

    Swiss calligrapher in Basel who made and sells various medieval and historically important script fonts. These included the paleographic (PAL) series and the KPS series. He lives in Ühlingen--Birkendorf, Germany. His fonts are uniformly of high quality and are usefl for illustrating historical alphabets.

    His early commercial collection: KPS Anglaise (calligraphic script), KPS Antiqua (+Kapitälchen), KPS Capitalis (classic Trajan caps), KPS Cicero, KPS Epona (calligraphic), KPS Fein (hand-printed), KPS Hand (calligraphic), KPS Horaz (calligraphic), KPS Iris (calligraphic), KPS Petit (calligraphic), KPS Plinius, KPS Spitzfelder, KPS Vitruv (calligraphy), PAL Bastarda, PAL Cancellaresca, PAL Carolina, PAL Gotisch, PAL Humanistica, PAL Lombarden, PAL Quadrata, PAL Rotunda, PAL Rustica, PAL Textura, PAL Uncialis, PAL Uncialis Roemisch, Weissranken Initialen, Ranken Initialen (Celtic capitals).

    Since September 2013, all of his fonts are free. They were renamed and have conveniently the date of original creation in the font name. The fonts dated in the 1990s and 2000s are new typefaces or creative revivals by Klaus-Peter. The list of revivals: 0100DeBellisMacedonicis [Pre-uncial letters from the fragment "de bellis macedonicis", ca. 1st century], 0300Petros [Greek hand from the oldest surviving copies of St. Peter's epistles, dated 3th / 4th century], 0362Vitalis [Roman Minuscule Cursive from the so called Vitalis letter, written before 362 on papyrus (Strasburg)], 0480VergiliusRomanus [Capitalis Rustica from the Vergilius Romanus written in Rome, ca. 480], 0500VergiliusSangallensis [Capitalis Quadrata from the Vergil fragments in Stiftsbibliothek St.Gallen], 0512Dioskurides [Greek Uncials from the Vienna Dioskurides (about 512)], 0746Beda [from Beda Venerabilis: Historia ecclesiastica gentis Anglorum, Northumbria, dated 746], 0800Kells [Half Uncials from the Book of Kells], 0800Remedius [So called "Lombardic-Raetic Minuscule" from Codex 348 of the Stiftsbibliothek St. Gallen], 0800 Theophanes [Greek Hand after a 9th century Theophanes manuscript], 0850CarolinaTours [Carolingian Minuscule], 0850Carolinaundulata [Carolingian Minuscule from the Scriptorium of Tours], 0864Folchart [St. Gall Carolingian from the Folachart Psalter], 1012Otto [Late Carolingian Minuscule from the Perikopes of Heinrich II, written at the Reichenau, donated to the dome of Bamberg in 1012], 1258FridericusII [Gothic Rotunda from the falcon book of Emperor Friedrich II, Southern Italy 1258-1266], 1400Wenzel [Bohemian Textura from Vienna], 1450Sebastos [Humanistic Greek hand from Homer, Ilias, Vatican Library], 1455GutenbergB42 [Gothic Textura types from the 42 line Gutenberg Bible], 1458GutenbergB36 [Gothic Textura types from the 36 line Gutenberg Bible], 1470Jenson [an antiqua by Nicolas Jenson], 1475HumanisticaCursiva [Humanistic Cursive of the kind Bartolomeo Sanvito of Padua wrote, after Cod. Pal. Lat. 1508], 1480Humanistica [Humanistic Book Hand from Valerius Maximus: Facta et dicta memorabilia, ca. 1480-1485. The calligraphy is attributed to Antonio Sinibaldi from Florence and the titling capitals to Bartolomeo Sanvito from Padua], 1483Koberger [Incunabula type from the Koberger Bible, printed in Nuremberg in 1483], 1485Grueninger [Incunabula type from the Grueninger Bible, printed in Strasburg in 148], 1493SchedelRotunda [Incunabula type from the Latin edition of Hartmann Schedel's World Chronicles, printed by Koberger at Nuremberg in 1493], 1501Manutius [First printed Italic Antiqua by Aldus Manutius (Venice 1501)], 1513Gebetbuch [Fraktur from Emperor Maximilian's Prayer Book, printed in Augsburg in 1513], 1517Gilgengart [Fraktur type from Emperor Maximilian's 1517 private print "Gilgengart"], 1517Teuerdank [Fraktur type from Emperor Maximilian's "Teuerdank", printed at Augsburg in 1517], 1519NeudoerfferFraktur [Fraktur alphabet from a woodblock model in Johann Neudoerffer the Elder's Calligraphy book "Fundament", Nuremberg 1519], 1739Bickham [Copperplate or running hand after models from "The Universal Penman" by George Bickham, printed in London 1743], 1741Bickham [Bickham's round hand from Universal Penman], 1782Thurneysen [Baroque Antiqua Type of J. Jacques Thourneysen fils, Basel 1782].

    Original versions by Schaeffel, with date of design in the font name: 1999Anglaise1, 1999Anglaise2, 1999Cancellaresca, 1999Carolina (Carolingian minuscule), 1999Livius, 1999LiviusBold, 1999LiviusItalic, 1999LiviusSmC, 1999LiviusTitel, 1999Ovidius, 1999Stylus, 1999Textualis, 2000Bastarda, 2000Cicero, 2000Humanistica, 2000Plinius, 2000PliniusItalic, 2000Seneca-Italic, 2000Seneca, 2000TextualisFormata, 2000Uncialis, 2001RotundaFormata, 2002Cato, 2002Horatius, 2002Vitruvius, 2003Epona, 2003Lombarden, 2004CapitalisQuadrata, 2004CapitalisRustica, 2004Iris, 2004UncialisQuadrata, 2004UncialisRomana, 2008-Noeuds-1 [for making Celtic knots], 2008-Noeuds-2, 2008-Noeuds-3, 2009Xenophon, 2010Filigrane, 2010Gouttes, 2010Labyrinthe [squarish], 2010Pointu [a calligraphic blackletter], 2010Vergilius [a great calligraphic face].

    Old URL. [Google] [More]  ⦿

    Kreative Korporation (was: Relay Fonts, or: Kreative Software)
    [Rebecca Bettencourt]

    Relay Fonts (Rebecca Bettencourt, aka Beckie RGB, and also known as Kreative Korporation and Kreative Software) offers a number of free fonts.

    • Their main list of fonts, 2003-2010: Alisha, CosmicSpamMS, DotCom, Eighteen, Felicia, FluorineLite, FluorineLiteMikiana, Glass, GlathenGirl, Infinity, Kaileen, Kawakimi, LongIsland, LongIslandIcedTea, Madgecrack, MikaPro, Miranda25, Miranda27, OpenDocRocks (hairline sans), SixthKristenSquirt, Sorority, Tenbitesch, ThiMegaTampon.
    • Designers in 2008 of the large free typeface Constructium seen at the Open Font Library.

      They write: Constructium is a free font for supporting constructed scripts, as encoded in the Unofficial ConScript Unicode Registry. It is based on SIL Gentium and thus released under the SIL Open Font License. Constructium is ideal for mixed Latin/Greek/Cyrillic, IPA, and conlang text, thus well suited for conlangers' web sites. In addition to most Latin and Greek, basic Cyrillic, and IPA extensions, Constructium supports the following conscripts: Tengwar, Cirth, Amman-Nar, Olaetyan, Seussian Latin Extensions, Sylabica (isolated forms only, no syllables), Unifon, Solresol, Glaitha-A, Glaitha-B, Deini, Kamakawi (encoded at U+F000), and Klingon.

    • They made the pixel fonts Chixa, Epilepsy Sans (2011), Fairfax (+Bold, +Italic, +Serif), FluorineMicro, Goethe (+Bold), Hippauf, KKFixed4x5, KKFixed4x7, KKPx4, Magdalena (+Bold), McMillen (+Bold), Mischke (+Bold), Monterey (+Bold), SeaChelUnicode, SixteenSegments, dwtMicro, dwtMicroMask.
    • Fontstructor who made SF Subway (2011), a kitchen tile typeface based on tiled lettering seen in the San Francisco MUNI system, Underclocked (2012), Great Rounded Matrix (2012, a dot matrix face), Fonteriana (2014), Thin Martin (2014).
    • Discontinued fonts: Berkelium Bitmap, Endcurled, Lauren, Sunflower's Illegible Writing, Berkelium Type, Fluorine, Mikkav, Unmodified Fax, C Colon Backslash, Hydrogenfluoride, Modern Grease, Copyright Renewed, Infinite, Signatures.
    • Conlang fonts: Constructium, Nuvenon (Tehano Venon for Ayeri).
    • The Urban Renewal series revives the old Apple faces with new names: Liverpool (aka London), Sanfrisco (aka San Francisco), Los Altos (aka Los Angeles), Torrance (aka Toronto), Athene (aka Athens), Parc Place (aka Cream, aka Palo Alto), Valencia (aka Venice).
    • Faithful recreations in 2011 of pixel fonts of old computers, notably Apple II [BerkeliumIIDHR, BerkeliumIIHGR, PRNumber3, PrintChar21, Shaston320, Shaston640, ShastonHi320, ShastonHi640], Commodore 64 [Berkelium1541, Berkelium64, Giana, PetMe, PetMe128, PetMe1282Y, PetMe2X, PetMe2Y, PetMe64, PetMe642Y], Apple Lisa [EmptyFolders2X3Y, EmptyFoldersRaw, Engelbart2X3Y, EngelbartRaw, LisaCalcPaper2X3Y, LisaCalcPaperRaw, LisaGraphPaper2X3Y, LisaGraphPaperRaw, LisaGuidePaper2X3Y, LisaGuidePaperRaw, LisaProjectPaper2X3Y, LisaProjectPaperRaw, LisaSketchPaper2X3Y, LisaSketchPaperRaw, LisaTerminalPaper2X3Y, LisaTerminalPaperRaw, LisaTerminalPaperSmall2X3Y, LisaTerminalPaperSmallRaw, PriamWhamos2X3Y, PriamWhamosRaw, SomeAcronym2X3Y, SomeAcronymRaw, StartupFrom2X3Y, StartupFromRaw, Twiggy2X3Y, TwiggyRaw], and others [Antiquarius, CandyAntics, ColleenAntics, DosStartDefaultFont, ItalianPlumber, Speccy].
    • Custom fonts: Jewel Hill, Miss Diode n Friends, This is Beckie's Font.

      Under the alias of Jon Relay, Rebecca made mostly handwriting fonts: Eighteen, Nineteen, Felicia (2002), Ditch The Logical, Endcurled, Alisha (2003), AdministratorPassword, BerkeliumBitmap, BerkeliumType, CopyrightRenewed, Cosmic Spam, DotCom, DWT, Eighteen, Fluorine (+Lite), Fonteri, Glass (3d face), Glathen Girl (2004), Hydrogenfluoride, Infinity, Jewel Hill, Kaileen (2004), Kawakimi, Make Lots of Graphs, Jon'sNewRoman, Jon'sSupercondensed, Kelly, Lauren, Matal, Miranda 27, Mikkav, Modern Grease (Greek simulation), OpenDocRocks, Plastic, ReturnofRelayScript, SCSIPort, Sexy Sara (2002), Sixth Kristen Squirt, Sorority, Teen Dreem Magazeen, Tenbitesch, UnmodifiedFax, Jewel Hill (2002, based on artwork by Amy Taramasso).

      Typefaces from 2012: Hippauf (pixel face), Fairfax (pixel family), Thi Mega Tampon, Tenbitesch (curly face), Sorority, Miranda 25, Mika Pro, Madgecrack, Long Island, Long Island Ice Tea.

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

    KRFX Kazekami
    [Julien Gionis]

    Greek graphic designer who has created some experimental typefaces such as Krok (2009, octagonal), MDMX (2009, kitchen tile), AFEX Box Type (2009; see also here, here, here, here, and here).

    In 2014, Julien Gionis at KRFX designed the hyper-modular robotics typeface MDMX.

    Alternate URL. [Google] [More]  ⦿

    ktf

    Archive with free truetype fonts for Coptic, Hebrew, and Greek. Includes the Scholars Press fonts, Torah Sofer, wgreek. [Google] [More]  ⦿

    kvant

    Monotype's TimesNewRoman family in truetype. Each font has all accents for all European languages, Cyrillic, Hebrew and Greek. [Google] [More]  ⦿

    Laboratory of Digital Typography and Mathematical Software
    [Antonis Tsolomitis]

    The Department of Mathematics of the University of the Aegean has established a laboratory on Digital Typography and Mathematical Software in 2006. It supports the Greek language with respect to the TeX typesetting system and its derivatives. Antonis Tsolomitis (who lives in Karlovassi, Samos) writes: After the support for Greek was added by A. Syropoulos and the first complete Greek Metafont font was presented by Claudio Beccari there was an obvious need, to be able to use a scalable Greek font with LaTeX. With this in mind, we developed the first Greek fontfamily in Type1 format with complete LaTeX support, called "Kerkis". Their Greek font Epigrafica (2006) is a modification of MgOpen-Cosmetica, which in turn was based on Optima. Tsolomitis is the author of the math font family Kerkis, and of GFS Complutum (2007, with George D. Matthiopoulos), which is based on a minuscule-only font cut in the 16th century (see also here). About GFS Complutum, they write: The ancient Greek alphabet evolved during the millenium of the Byzantine era from majuscule to minuscule form and gradually incorporated a wide array of ligatures, flourishes and other decorative nuances which defined its extravagant cursive character. Until the late 15th century, typographers who had to deal with Greek text avoided emulating this complicated hand; instead they would use only the twenty four letters of the alphabet separately, often without accents and other diacritics. A celebrated example is the type cut and cast for the typesetting of the New Testament in the so-called Complutensian Polyglot Bible (1512), edited by the Greek scholar, Demetrios Doukas. The type was cut by Arnaldo Guillén de Brocar and the whole edition was a commision by cardinal Francisco Ximénez, in the University of Alcalá (Complutum), Spain. It is one of the best and most representative models of this early tradition in Greek typography which was revived in the early 20th century by the eminent bibliographer of the British Library, Richard Proctor. A font named Otter Greek was cut in 1903 and a book was printed using the new type. The original type had no capitals so Proctor added his own, which were rather large and ill-fitted. The early death of Proctor, the big size of the font and the different aesthetic notions of the time were the reasons that Otter Greek was destined to oblivion, as a curiosity. Greek Font Society incorporated Brocar's famous and distinctive type in the commemorative edition of Pindar's Odes for the Athens Olympics (2004) and the type with a new set of capitals, revived digitaly by George D. Matthiopoulos, is now available for general use. He also made GFS Solomos (2007) and GFS Baskerville (2007).

    In 2010, Tsolomitis published txfontsb, in which he added true small caps and Greek to the txfonts package. These fonts form a family called FreeSerifB, in type 1, that covers Latin, Greek, many Indic languages, Armenian, chess symbols, astrology, music, domino, and tens of other ranges of symbols. [Google] [More]  ⦿

    L'Alpha et l'Oméga

    J.-C. Loubet del Bayle tells the history of the Greek alphabet. [Google] [More]  ⦿

    Language Fonts for Mac

    ChicagoVD, GenevaVD, VDTimes, GenevaKirillika, KirillikaVD, FGenEllinika, Timellinik, Latinus, Haykakan. For East-European languages, Cyrillic, Greek, Armenian. Free. Link down. [Google] [More]  ⦿

    Laridian

    Designers of the free Greek font Theophilos Greek. [Google] [More]  ⦿

    Lascaris
    [Rolf Noyer]

    Lascaris is the foundry of Rolf Noyer in Philadelphia. The first typeface by Noyer is Lascaris (2010): Lascaris is a digital rendition of Janus Lascaris' type of 1494-1496, one of the earliest extant non-Aldine polytonic Greeks. The accompanying Roman, quirky and rich in color, was modeled on humanist types of late 15th century Florentine incunabula.

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

    LaserGreek

    100USD font pack for Greek by Linguist Software. Now also LaserGreekII. The pack is very nice and has about ten fonts. [Google] [More]  ⦿

    LaTeX Navigator
    [Denis Roegel]

    General links on typography and fonts, compiled by Denis Roegel (with earlier contributions by Karl Tombre who is no longer involved). Very, very useful. This page contains, among other things:

    • METAFONT for Beginners (Geoffrey Tobin)
    • The METAFONT book (TeX source) (Donald E. Knuth)
    • How to Create Your Own Symbols in METAFONT and for use in LaTeX Documents (Richard Lin)
    • Milieu -- METAFONT and Linux: A Personal Computing Milieu (Thomas Dunbar)
    • Simple drawings with METAFONT (Zdenek Wagner)
    • Some METAFONT Techniques (article from TUGboat, 10 pages) (Yannis Haralambous)
    • List of all available Metafont fonts
    • Liam Quin's Metafont Guide (last version)
    • MetaFog: Converting METAFONT Shapes to Contours (Richard J. Kinch)
    • METAFONT source
    • Design of a new font family (slides) (Gerd Neugebauer) (1996)
    • PERL Module for reading .tfm files (Jan Pazdziora) (1997)
    • fig2mf (UNIX manual) (Anthony Starks)
    • bm2font (Friedhelm Sowa)
    • Essay on math symbols by Paul Taylor
    • drgen genealogical symbol font by Denis Roegel, 1996
    • Chess fonts
    • The Marvosym Font Package (Martin Vogels)
    • Eurosymbol, another font for the euro symbol
    • Lots of stuff on virtual fonts
    • P. Damian Cugley's Malvern (Greek) font
    • Yannis Haralambous's Omega project
    • DC and EC fonts by Joerg Knappen
    • Technical notes on Postscript fonts, and Postscript fonts in TEX
    • Computer Modern type 1 fonts
    • Articles on computer typography by Sebastian Rahtz, Aarno Hohti&Okko Kanerva, Richard J. Kinch, Basil K. Malyshev, Hirotsugu Kakugawa, Karl Berry, Victor Eijkhout, Vincent Zoonekynd, Tom Scavo, David Wright, Erik-Jan Vens, and Nelson H. F. Beebe.
    • Articles on mathematical symbol fonts
    • Links to essential pages for Cyrillic, Japanese, Berber, Khmer, Chinese, Korean, Greek, Indic, Syriac, Hebrew, Hieroglyphic, Tibetan, Mongolian, African fc
    At FontStruct, he created Sixer (a pixel face) and Smallish (bold unicase). [Google] [More]  ⦿

    Laurent Bourcellier

    Graduate of Ecole Estienne in 2006, where his thesis was entitled Gothiques et XXe siècle. Création, propagande, détournement. In 2008, he cofounded Typographies.fr with Jonathan Perez in Paris. Designer of the Latin italic typeface Joos in 2009. Joos won an award at TDC2 2010. It was inspired by an italic created in 1536 by Joos Lambrecht, from Gent, Belgium, who was one of the great printers and punchcutters of the 16th century. He also made Unicopte (for Coptic) and codesigned Copte Scripte in 2008 with Jonathan Perez [Copte Scripte won an award at TDC2 2009]. His thesis at Estienne was about the development of Unicopte. He is a freelance graphic and type designer who is working at Porchez's foundry in Sèvres. A resident of Aulnay-sous-Bois, he specializes in scientific typefaces. Laurent lives in Scherwiller, France.

    Klingspor link. [Google] [More]  ⦿

    Laurie Field

    In 2001, Laurie Field developed a Greek metafont, LFB as a companion for Computer Modern. SShe says: This is a Greek font I wrote in METAFONT several years ago after being inspired by the Bodoni typefaces I had seen in the old books in my school library. [Google] [More]  ⦿

    Laval Chabon

    Québec City-based creator (b. 1952) of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 7,615 glyphs.As of 2014, 188 languages care covered, inclufing Afrikaans, Arabic, Archaic Greek Letters, Armenian, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Bengali, Catalan, Central European, Cherokee, Devanagari, Dutch, Euro, Farsi, Georgian, Gujarati, Hanunó'o, Hebrew, Igbo Onwu, IPA, Kannada, Kazakh, Lao, Malayalam, Myanmar, New Tai Lue, N'Ko, Ogham, Oriya, Pashto, Pinyin, Polytonic Greek, Romanian, Runic, Sindhi, Syriac, Tai Le, Tai Tham (Lanna), Telugu, Thaana, Thai, Tibetan, Turkish, Uighur, Unified Canadian Aboriginal Syllabics, Urdu, Vietnamese, Western European.

    Dafont link. Fontspace link. Aka Leaurend-Lavie-Hyppere (Laval) Chabon and as Joseph Rosaire Laval Frandey Leaurend Lavie Hyper Chabom. [Google] [More]  ⦿

    least1234

    FontStructor who made the squarish typeface Leafy (2011). With over 1600 glyphs, it covers Basic Latin, More Latin, Extended Latin B, Extended Latin A, Greek and Coptic, Cyrillic, Katakana, Hangul, Georgian, Bopomofo, Even More Latin. [Google] [More]  ⦿

    Lefteris Protopapas

    Lefteris studied graphic design at AKTO Art&Design College in Athens. At school, he created the Latin and Greek paper cut typeface Miyu (2011), which was inspired by the old Chinese game of Tangram. [Google] [More]  ⦿

    Leif Wikaeren Nilsen

    Greek and Hebrew truetype fonts: Hebreka by Donald P. Reiher, 1994; and "Greek", by Peter J. Gentry&Andrew M. Fountain, 1993. [Google] [More]  ⦿

    Leo Philp

    Scottish student-designer at the University of Reading of Makar (2014), a Latin / Gurmukhi / Cyrillic / Greek typeface family whose angular forms confirm Philp's description of Makar---an opinionated typeface for opinionated texts. [Google] [More]  ⦿

    Leonardo Di Lena
    [Flanker (or: Studio di Lena)]

    [MyFonts] [More]  ⦿

    Lerfu
    [Mark E. Shoulson]

    Lerfu is Mark E. Shoulson's foundry located in Highland Park, NJ. Creator of a variety of fonts:

    • The Visible Speech Fonts in metafont and truetype cover a phonetic alphabet invented by Alexander Melville Bell (his son was Alexander Graham Bell). Bell was a teacher of the deaf (as was the younger Bell), and this alphabet was intended as an aid to teaching the deaf how to pronounce words. An example is VS MetaPlain PUA.
    • Marin, MarinCaps, MarinCapsItalic, MarinItalic: four free extensive phonetic truetype fonts made in 2004. They also cover Cyrillic, Greek and Hebrew.
    • Okuda: A metafont for "Okuda" orthography of pIqaD (Klingon language). This font was later modified by Olaf Kummer.
    • Gill Hebrew (2004, based on Gill Sans) and Shen (2004), both sold via Shoulson's foundry at MyFonts, called Lerfu.
    • Itonai (2005), a Hebrew version of Times New Roman, also sold via Lerfu.
    [Google] [MyFonts] [More]  ⦿

    Letterjuice
    [Pilar Cano]

    Letterjuice is the British typefoundry of Pilar Cano, who graduated from the University of Reading, 2006, but started out life in Barcelona. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Letterjuice is based in Brighton, UK.

    Coauthor, with Marta Serrats, of Typosphere (2007, Harper Collins). Creator of these typefaces:

    • Edita (2006), an informal sans family that also covers kana for Japanese. This typeface was finally published in 2009 at Type Together. It was followed in 2011 by additional weights in Edita Book.
    • Techarí (2006, +Extra) comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means free in Caló, the language of the Spanish gypsies---it also has a stencil version.
    • In 2010, she is working on an elliptical sans that covers Latin, Cyrillic and Greek.
    • Techarí (2010) is an extremely elegant custom family.

      Xuppis (2012) is a commissioned logotype for a candy shop in El Masnou, Barcelona.

      Together with Lluis Sinol, she designed the custom sans typeface SEAT (2013) for Latin, Greek and Cyrillic.

    • Quars (2013). This angular typeface family, codesigned with Ferran Milan, grabs elements from Scotch Roman and old Dutch typefaces.
    • Sampi (2013). A custom typeface for the Sami children.
    • Baldufa (2014, Ferran Milan Olivares): an award-winning flared, calligraphic and subtly rounded serif typeface family for Latin and Arabic.
    • Aanaar (2014) was originally designed for children's textbooks.
    • Seat Sans is a corporate typeface codesigned with Minsk Disseny in 2014.

    Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. Behance link for Letterjuice. [Google] [MyFonts] [More]  ⦿

    Lettersoup
    [Botio Nikoltchev]

    Also written Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial typefoundry Lettersoup.

    Creator of the free font Ropa Sans (2012, Google Web Fonts). The typeface is in DIN's circle of friends. In 2014, he added the well-executed Ropa Soft Pro for Latin, Greek and Cyrillic.

    Sofadi One is a scriptish font that is free at Google Web Fonts.

    Share Tech Mono (2012, Google Web Fonts) is a monospaced sans face. Share Tech (2012, Google Web Fonts) is its proportional version. Both are derived from Share (2012, Google Web Fonts). He helped with the Greek and Cyrillic portions of FF Meta Serif.

    Corporate fonts by Botio include MMH Netrange Cyrillic + Greek + Arabic, Cisco, Meta Science and Exploratorium Sans. He designed the icons for Museo de Art de Ponce.

    In 2014, Botio designed the humanistic sans typeface family PTL Manohara (Primetype) for Latin and Cyrillic.

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

    Libertine Open Fonts Project
    [Philipp H. Poll]

    Now, here is a project with a name I like! This project by Philipp H. Poll has been started in order to create fonts that can be released under the GNU Public License. As of early 2005, we have the following Times New Roman lookalikes: LLibertineCaps, LinLibertine, LinLibertine-Italic, LinLibertineBd. Libertine Grotesque is next on the list of things to do. The fonts come in truetype and fontforge (SFD) text formats. Linux Libertine covers a big range of Unicode, including all characters in MES-1 (Afrikaans, Albanian, Basque, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, Frensh, Frisian, Galician, German, Greenlandic, Hungarian, Icelandic, Irish Gaelic (new orthography), Italian, Latvian, Lithuanian, Luxemburgish, Maltese, Manx Gaelic, Moldavian (with restrictions), Northern Sámi, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romanic, Romanian (with restrictions), Scottish Gaelic, Slovak, Slovenian, Lower Sorbian, Upper Sorbian, Spanish, Swedish, Turkish, Welsh (with restrictions)), IPA, Greek, Cyrillic, math symbols, and a host of other symbol and language sets. TeX archive. The typophiles are not impressed. Charles Ellertson writes: The bowl of the "a" doesn't fit other letters, the top and terminal of the "f" doesn't know where it is going, the descender of the "y" doesn't balance quite right, and the serif on the upper arm of the "z" (which probably reminded the original poster of Caslon) seems out of place. I get the impression, again from the small sample, that the font doesn't quite know whether it is supposed to be slightly condensed or slightly expanded.

    In 2007, the following weights are available: Normal, Kursiv, Fett, Fett Kursiv, Kapitaelchen, Unterstrichen, Grotesk. As a measure of the success of the font, we find that is now used on the logo of Wikipedia.

    As a companion font, they offer Linux Biolinum (2010): The Biolinum is an organic sans-serif and could be also described as organogrotesque (non-linear sans serif). It is still in a beta stage. Biolinum is meant for emphasizing titles but could be used also for short passages of text. For longer texts a serif font such as the Libertine should be used in favour of readability The Biolinum has the same vertical metrics and visual weight as the Libertine, so that it fits perfectly to the Libertine and can be also used for emphasizing within the body text.

    In 2012, Bob Tennent created type 1 versions of Biolinum and Libertine.

    Dafont link. Fontspace link. CTAN link for Libertineotf. CTAN link for Libertine download. [Google] [More]  ⦿

    Lilith Laborey

    French designer who obtained an MA in typeface design from The University of Reading (2009), based on her Latin/Greek typeface Capoeira, a type family intended for bilingual publications such as brochures, leaflets and magazines, and that includes Latin, Greek and Cyrillic. She lives in Paris. [Google] [More]  ⦿

    Linear A Texts
    [Jean-Pierre Olivier]

    John Younger's page on phonetic transcriptions of Cretan hieroglyphs. There are some specialized fonts here (Mac only), all courtesy of Jean-Pierre Olivier: Phaistos, Mobile (Cretan hieroglyphic for clay texts), Malia-thick (Cretan hieroglyphic for sealstones), Knossos (Linear A), Mycenae (Linear B) and Linear B ideograms. For Windows, David Willem Borgdorff has designed a Linear A font: "LA.ttf.hqx". [Google] [More]  ⦿

    Lire le grec dans le texte

    Explanations and links, in French, about Greek fonts and Greek word processing. Some Greek font downloads. [Google] [More]  ⦿

    Lisa Fischbach

    Lisa Fischbach (Kiel, Germany) graduated from the MATD program at the University of Reading in 2014. Her graduation typeface there was called Kaius. Kaius has a complex typographic structure. It was designed for small print, and thus features a large x-height. Kaius covers Latin, Gujarati, Greek, Cyrillic and IPA. [Google] [More]  ⦿

    Lisa Schultz

    Vienna-based graduate of the MATD program at the University of Reading in 2012. Her graduation typeface is the Cyrillic / Latin / Greek typeface Martha (2011-2012), which is intended for popular science magazines and books.

    Cargocollective link. [Google] [More]  ⦿

    Looseleaf Fonts
    [Nathanael Bonnell]

    Nathanael Bonnell studied in Cincinnati, OH, and set up the Looseleaf Fonts commercial foundry in 2012 in Wyoming, OH. Before that, he created Cyril, a Cyrillic typeface. Creator of the retro minimalist geometric beauty Yoshiko (2006)---disregard the typophiles' comments, because this one is going to live a glorious life. His third project, Salamander (2006), a classic roman with a luscious italic to boot, is another winner. However, probably because of pressure from Linotype, which owns the name Linotype Salamander, the latter font was renamed Newt. In 2009, Newt Serif was published by Cabinet Type / Veer.

    In 2010 he published the angular flared Solveig family. Solveig Text and Solveig Display followed in 2013.

    The Looseleaf Foundry published the serifed typeface Walleye (2013), which covers Latin, Cyrillic and Greek.

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

    Loshaj Foundry
    [Burim Loshaj]

    Burim Loshaj's Albanian typefoundry, Loshaj Foundry, was established in 2013. It later moved to Erie, PA.

    His first typeface is the condensed octagonal Pillar (2013). In 2014, he designed the sci-fi typeface Interstellar (Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Louisa-Helen Fröhlich

    German graduate of the MATD program at the University of Reading, class of 2013. Her graduation typeface was the readable muscular typeface Klabauter. Klabauter covers Latin and Greek and has a strong personality. The Latin half has converged to the Greek half and vice versa through osmosis. Klabauter Display is plainly daring. According to Louisa-Helen, the typeface family was created for use in magazines. [Google] [More]  ⦿

    Lucas de Groot
    [LucasFonts]

    [MyFonts] [More]  ⦿

    Lucas de Groot
    [FontFabrik]

    [MyFonts] [More]  ⦿

    LucasFonts
    [Lucas de Groot]

    Sells fonts made by Luc(as) de Groot at FontFabrik in Berlin. MyFonts link. Established in 2000, their most popular faces include Thesis (the family that includes TheSans, a long-time bestseller), Sun, Taz and Corpid. At MyFonts, one can get Calibri, Consolas, LF Corpid III (contains support for Turkish, Cyrillic and Greek as well), LF Jesus Loves You All, LF Nebulae, LF Punten, LF Spiegel, LF Sun, LF Taz III, LF TheAntiqua, LF TheAntiquaSun, LF TheMix, LF TheSans, LF TheSansMono, LF TheSerif, all by Lucas de Groot.

    FontShop link. Klingspor link.

    View the typefacee library at Lucasfonts. [Google] [MyFonts] [More]  ⦿

    Luce Avérous

    Ex-student at Scriptorium de Toulouse (2001) who published some of her fonts at Typotek. She made the free handwriting font Trashhand (2001), Lucette-Normal (2001), Perle-Normal (2000), and Printemps-Normal (2001).

    In 2002, she founded a signage agency, Tous les anges. Trashhand became Naturehand in 2008 when it became the house font of The Body Shop. The Greek and Cyrillic extensions will be done jointly by Luce Avérous and Dalton Maag.

    Over at Dalton Maag, she designed the technical handwriting faces Verveine (2009) and Verveine Corp (2009), which covers Greek as well. In my opinion, Verveine and Thrashhand are identical.

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

    Lucius Hartmann
    [Alkaios]

    [More]  ⦿

    Lucius Hartmann
    [Altgriechische Zeichensätze]

    [More]  ⦿

    Luisa Baeta

    Graduate of the University of Reading in 2011. Luisa is from Portugal and Brazil. Her graduation typeface was the multifaceted family Arlecchino (2011), which contains a signage script, a slab serif, and an ordinary script. Both Latin and Greek are covered. [Google] [More]  ⦿

    Lukas Paltram

    Lukas studied graphic design and typography at New Design University in St P&oum;lten. Designer from Vienna, Austria, who joined Dalton Maag in 2009. There he revived a typeface based on photographs of inscriptions in castle Hoch Osterwitz, which was designed by Austrian architect Paul Grueber in the early 1900s. Along with the architecture, Grueber also created the letterforms. Dalton Maag: Lukas initially struggled to harmonize the initial letterforms into a functioning typeface. The main challenge was to create a matching lowercase and other glyphs since the original was a caps-only design. Together with the team at Dalton Maag, Lukas eventually developed a two-weight font family for display purposes. Grueber subpage. Grueber (2009) is available from MyFonts.

    Cordale (2008) is a workhorse serif typeface jointly done with Fabio Luiz Haag at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets.

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

    Lynn Di

    Graphic design student in Athens, Greece. Creator of two typefaces: Origami (2012), Fatty (2012, a thin monoline sans). [Google] [More]  ⦿

    MacCampus
    [Sebastian Kempgen]

    Europe's largest independent foreign language font developer for the Macintosh, which is directed by Sebastian Kempgen from Germany. Fonts include: Western Languages (CoreFont series), Eastern Europe (CE-Font series), Cyrillic (Professional series: RomanCyrillic Pro, Ladoga Pro etc. (text fonts); DEsign fonts: Faktor, Inessa Cyr etc. (headline, handwriting); Olliffe Fonts: Batumi, Schechtel, Russian Open (display type; example: Mashinka); Scientific Cyrillic (includes old orthography, accents, old characters); Old Church Slavonic (Cyrillic and Glagolitic, Square and Round); Non-Slavic Cyrillic: Roman CyrTurk, Ladoga CyrTurk), Greek (Modern Greek and Classical Greek (Agora and Parmenides)), Icelandic&Faeroese (PolarFont series), Irish&Welsh (Gaelic, Celtic in the CeltoFont series), Romanian (DacoFont series), Turkish (TurkoFont series), BalkanFont series (Hungarian, Romanian, Turkish, Azerbaijani, Maltese), Basque (BaskoFont series), Saami (SamoFont series), Georgian, Armenian, Coptic (such as the Pachomius font), Cuneiform, Sabean, SinoFont series for Vietnamese plus more or Chinese (Pinyin) transliteration, phonetic Fonts (Trubetzkoy&Phonetica), Transliteration Fonts. Some of its fonts (like Campus Ten/Twelve and Magister Book) are now sold through Agfa/Monotype. [Google] [More]  ⦿

    machack

    A 32MB font zip file with a great starter truetype collection of about 360 fonts. Included are about 60 Bitstream fonts, about 20 Letraset fonts, the 23MB ArialUnicodeMS font (Monotype's complete Arial Unicode font: grab it!!!), about 50 Monotype fonts, about 20 ITC fonts, the Lucida collection, the Proxy family (Autodesk, 1996--truetype versions of a CAD family), Linotype's PalatinoLinotype family (all fonts with full European accents, Cyrillic and Greek), Autodesk's Symeteo, Syastro, Symap, Symath, Txt and Symusic fonts, a few Font Bureau fonts, the Microsoft fonts, and selected goodies. [Google] [More]  ⦿

    Magenta

    Free Greek fonts in the Polytonistis software pack. Windows. Alternate URL for MgAntique, MgAvantG, MgBodoni, MgFuture, MgOldTimes. There are also sets of unicode fonts for Greek (single accent and multiaccent/polytonic), Latin, Turkish, and West and East European languages. This site carries these free Magenta Latin/Greek fonts, made in 2004: MgOpenCanonica-Bold, MgOpenCanonica-BoldItalic, MgOpenCanonica-Italic, MgOpenCanonica, MgOpenCosmetica-Bold, MgOpenCosmetica-BoldOblique, MgOpenCosmetica-Oblique, MgOpenCosmetica, MgOpenModata-Bold, MgOpenModata-BoldOblique, MgOpenModata-Oblique, MgOpenModata, MgOpenModerna-Bold, MgOpenModerna-BoldOblique, MgOpenModerna-Oblique, MgOpenModerna. The latter fonts were implemented/digitized by Alexias Zavras and Konstantinos Margarites. They can be modified and used for further development, in the style of the Bitstream Vera fonts. [Google] [More]  ⦿

    Magical journey to Greece

    On reading Greek in web browsers. [Google] [More]  ⦿

    Malvern
    [P. Damian Cugley]

    A sans-serif (meta)font by P. Damian Cugley at Oxford, 1991-1994. This family contains a sans-serif Greek alphabet, using conventions based on Levy's original Greek fonts and Dryllerakis' GreekTeX. Type 1 and truetype versions at uncifonts. [Google] [More]  ⦿

    MAN

    In their Global Type collection, URW++ has MAN (2012), a private corporate typeface family for the MAN company. There is a limited retail version for the volume at 7,500 Euros. It covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Marathon Data
    [George Kalantzopoulos]

    HellasAllaBold, HellasAllaPlain, HellasArcCondensedBold, HellasArcCondensedPlain, HellasArcPlain, HellasArialBold, HellasArialCondensedBold, HellasArialCondensedPlain, HellasArialPlain, HellasCour-Regular, HellasTimesBold, HellasTimesCondensedBold, HellasTimesCondensedPlain, HellasTimesPlain. All fonts designed by George Kalantzopoulos (1992, at Pouliadis Associates). [Google] [More]  ⦿

    Marianna Pefani

    Athens, Greece-based designer of the monoline Latin / Greek display typeface Maridern (2014). Behance link. [Google] [More]  ⦿

    Marion Delsuc

    Graduate of the University of Reading in 2011 who lives in France. Creator of the garalde face Cassiope (2011), his graduation typeface. Delsuc writes: Cassiope is a small and delicate bookface. It is mainly intended to set the dialogues of plays. Thus, a key element of Cassiope's feel comes in the rather small size of the letterforms, so as to get some delicacy when set in 10-11 point. Yet the counters remain open and the serifs quite robust to ensure legibility in small sizes. There are Latin and Greek styles. [Google] [More]  ⦿

    Marios Zachariadis

    Greek designer of the dingbat faces Pictogramz (2009, travel and hotel dingbats), Flamezbymarioz (2006) and Tribalz (2004) available at Dafont. Alternate URL. [Google] [More]  ⦿

    Marius Mitran

    Romanian type designer who created the beautiful Bauhaus / geometric monoline sans family Geometron Pro Angular (2010), which has weights ranging from hairline to black. Geometron Pro Radial (2010; +Greek) is a more rounded family.

    His foundry in Bucharest. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Mark E. Shoulson
    [Lerfu]

    [MyFonts] [More]  ⦿

    Mark Goodacre
    [The Greek New Testament Gateway: Fonts]

    [More]  ⦿

    Mark Jamra
    [Type Culture]

    [MyFonts] [More]  ⦿

    Mark Williamson

    Designer of a public domain Unicode font in 2005 called MPH 2B Damase. It can be found here. Created by Mark Williamson, it covers Armenian, Cherokee, Coptic (Bohairic subset), Cypriot Syllabary, Cyrillic (Russian and other Slavic languages), Deseret, Georgian (Asomtavruli and Nuskhuri but no Mkhedruli), Glagolitic, Gothic, Greek (including Coptic characters), Hebrew, Latin, Limbu, Linear B (partial coverage of ideograms and syllabary), Old Italic, Old Persian cuneiform, Osmanya, Phoenician, Shavian, Syloti Nagri (no conjuncts), Tai Le (no combining tone marks), Thaana, Tifinagh, Ugaritic, Vietnamese. See also here. The font is used by the popular Debian Linux software. Mark Williamson also designed a free fonts for Osmanya, Ugaritic and Shavian called Andagii (2003). His Penuturesu covers Linear B.

    Mark contributed to the GNU Freefont project, which used these ranges:

    • Hanunó?o (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)

    Dafont link. [Google] [More]  ⦿

    Markela Bgiala

    Markela Bgiala, an interior designer in Berlin, created the ornamental typeface Twirkle (2012) and the thin poster headline typeface Hair Line (2012, Latin and Greek).

    In 2013, Markela designed the display sans family Mismark, which comes with a hairline weight.

    In 2014, she created Copy Paste Futura, which can be bought here.

    Behance link. [Google] [More]  ⦿

    Martin Schuster
    [Schriftarten für den theologischen Gebrauch]

    [More]  ⦿

    Mary Petropoulou

    Graphic design student in Nafplion, Greece, who created Film Font (2014). [Google] [More]  ⦿

    Mateusz Machalski
    [Borutta]

    [MyFonts] [More]  ⦿

    Matthew Robinson
    [Classical Greek Fonts]

    [More]  ⦿

    Matthew Stephen Stuckwisch

    Auburn, AL-based graduate student (b. 1985) who is working on an extension of the Berling family of fonts for other scripts, including Homeric Greek (polytonic), Golden Age Spanish, Old Church Slavonic, Anglo-Saxon, Vietnamese, and Armenian. See here. He also made the wonderful high-ascendered lively serif family Coruna (2007) and the accompanying Coruna Fraktur (2007). [Google] [More]  ⦿

    Matthew Welch
    [I Shot The Serif]

    [More]  ⦿

    Mediolanum

    One of the first Greek typefaces from the Renaissance period in Northern Italy just before 1500. Ralph Hancock made a digital version of this. [Google] [More]  ⦿

    Melanie Duarte

    American type designer who obtained an MA in typeface design from the University of Reading in 2008. Her graduation typeface is the Latin/Greek serif typeface Theodore. The informal typeface was designed for children's books in the 9-12 year age group. [Google] [More]  ⦿

    Melanie Malzahn

    Professor at IDG Wien (Indogermanistik Wien) of the Instituts für Sprachwissenschaft der Universität Wien. She designed Aal, Aal-Bold, Aal-BoldKursiv, Aal-Kursiv, AalTimes, AalTimesNewRoman-Kursiv, Aatoch, AatochFett, Aatoch-BoldKursiv, AatochKursiv, Aaron, Aaron-Bold, Aaron-BoldKursiv, AaronKursiv, AaronPunkt, AaronPunkt-Kursiv, Agriech (based on a typeface of Peter J. Gentry&Andrew M. Fountain, 1993), Agriech-Kursiv, Amairgin, Amairgin-Bold, Amairgin-BoldKursiv, Amairgin-Kursiv, AmairginTimes, AmairginTimesNewRomanPS-ItalicMT, Aspgriech, Aspgriech-Kursiv, and Keltiberisch (2001, a runes font). No downloads. [Google] [More]  ⦿

    Melanos
    [James K. Tauber]

    A simple mono-width sans serif font family for Greek developed by James K. Tauber. [Google] [More]  ⦿

    Melina Touros

    Graphic and web designer in Athens, Greece, where she is at Paprika Design. She made the squarish typeface Symbiology (2010) and the hanprinted Lettair (2010). Octopus logo (2010). [Google] [More]  ⦿

    Mellel

    Fonts for many languages, including Greek and Arabic. [Google] [More]  ⦿

    Memexikon

    American designer who created the pictograph font PROTObyte (2004), which contains dingbats from Linear B, Indus Valley Script, Snake River, Cretan, Elamite, Iberian and Coptic. He also made Glitch Millennium Serif (2004). [Google] [More]  ⦿

    Merck

    A corporate URW typeface family published in 2009. The 17-font family sells for nearly 10,000 Euros. There are sans, serif, semi-sans and semi-serif subfamilies. This family started out as a design for the Merck company. URW writes: URW++ is authorized by Merck KGaA to deliver the Merck corporate typeface family for a license fee to external users, i.e. Merck KGaA suppliers such as ad agencies, signmakers and the like. The Merck corporate typefaces are available in four different volumes with correspondingly multi lingual character encoding. All Merck Global Fonts contain approximately over 45,000 glyphs including the complete CJK glyph set (China, Japan and Korea). Besides all Latin, Greek, and Cyrillic glyphs as well as the complete CJK glyph set also cover Japanese Katakana and Hiragana plus Korean Hangual syllables. Furthermore they are supporting Thai and Arabic (including Farsi and Urdu) plus Hebrew and Vietnamese as well. [Google] [More]  ⦿

    MetaType

    From its developer, Serge Vakulenko: "Metatype is a set of utilities and scripts for creating TrueType fonts using Metafont language. It also includes two font families, named TeX and TeX Math, based on the D. Knuth's Computer Modern fonts, but extended with Greek, Cyrillic and other characters. Metatype and TeX fonts can be used under the GPL license." The TeX family consists of TeXBold, TeXBoldItalic, TeXItalic, TeXMono, TeXMonoItalic, TeXMath, TeXMathBold, TeXMathBoldItalic, TeXMathItalic, TeXNarrow, TeX, TeXSans, TeXSansBold, TeXSansBoldItalic, TeXSansItalic, TeXWide. It comes in TTF and BDF formats. Free software in pre-alpha development, for Windows and X11/UNIX/Linux. The code is in C and Python. [Google] [More]  ⦿

    MgOpen Fonts
    [Alexios Zavras]

    Free font collection for Greek and Latin. The typefaces contained in the MgOpen collection have been commercially available in the past by Magenta Ltd. They have been selected from the company's extensive font portfolio and were released as free software in 2004. Alexios Zavras made the first round of corrections and additions, and transformed the fonts in modern encodings and file formats. Konstantinos Margaritis has subsequently undertaken the task of adopting the fonts for their inclusion in Debian GNU/Linux. Included are MgOpenCanonica-Bold, MgOpenCanonica-BoldItalic, MgOpenCanonica-Italic, MgOpenCanonica, MgOpenCosmetica-Bold, MgOpenCosmetica-BoldOblique, MgOpenCosmetica-Oblique, MgOpenCosmetica, MgOpenModata-Bold, MgOpenModata-BoldOblique, MgOpenModata-Oblique, MgOpenModata, MgOpenModerna-Bold, MgOpenModerna-BoldOblique, MgOpenModerna-Oblique, MgOpenModerna. All fonts follow the monotoniko system, while the Canonica family also contain all the glyphs necessary for viewing Greek texts written in the polytoniko system. All fonts are Unicode compliant and in truetype format. The MgOpenCanonica series is also here. Additional URL. [Google] [More]  ⦿

    Michael Gene Adkins
    [The Fontry]

    [MyFonts] [More]  ⦿

    Michael Neuhold

    Austrian designer of Palm fonts: for Greek: Helbetike, HelbetikeNarrow, Britannike and BritannikeBold. For Hebrew, his Palm fints include EnGedi and BeerSchebar. Finally, he created Makarios (Coptic), and Narrow (a slightly modified version of Narrowfont by Michael Nordström (micke@sslug.dk) and Robert O'Connor (rob@medicalmnemonics.com)). [Google] [More]  ⦿

    Michael Palmer
    [Greek Fonts Gateway]

    [More]  ⦿

    Michael Parson
    [Typogama]

    [MyFonts] [More]  ⦿

    Michael S. Bushell
    [Bible Works Fonts]

    [More]  ⦿

    Michael S. Macrakis

    Editor of the book Greek Letters: From Tablets to Pixels (Oak Knoll Press). This book contains essays by notable scholars and type designer such as Hermann Zapf, Matthew Carter, Nicolas Barker and Nicolaos Panayotakis. Macrakis was born in 1924 and died in 2001. [Google] [More]  ⦿

    Michael Sharpe
    [Erewhon]

    [More]  ⦿

    Michael Wallner
    [The Type Fetish]

    [MyFonts] [More]  ⦿

    Michail Semoglou
    [Type Initiative]

    [MyFonts] [More]  ⦿

    Michail Semoglou

    Thessaloniki-based ex-student at the University of Reading who designed Vergikios (2002), a Greek typeface with hellenized Latin letters as well. He co-founded Type Initiative with Canadian Keith Chi-hang Tam and joined the type coop Village in 2005. [Google] [More]  ⦿

    Michel Dricot
    [Empirica]

    [More]  ⦿

    Michele Patanè

    Graduate of the MATD program at the University of Reading in 2012. Michele's graduation typeface is Overlook (2012), a typeface made for cinema magazines. It is built around a serif family, but also includes several neogrotesque sans weights, a Greek and a Devanagari (for Bollywood, I presume).

    Type designer, and professor of type design at Poli Design in Milan. With Riccardo Olocco, Michele codesigned the caps faces Cordial Bloom (2009) and Cordial Cherry (2009). [Google] [More]  ⦿

    Mindaugas Strockis

    Vilnius-born typeface designer (b. 1969) of the FF Elementa family (Courier-like) at FontFont. Also made the Greek font Korinthus and Grecs du Roi WG (2001), a wonderful fully accented Greek font named after Claude Garamond's 16th century cut for the French royal printers. For Linguist's Software, he has made several Greek fonts. In 2002, he designed Elementa Rough (an old typewriter font), FF Elementa Greek and FF Elementa Cyrillic. His Grecs du roi WG (2001) is here. Fontshop link. [Google] [MyFonts] [More]  ⦿

    Mint Type (was: PDesign 6.0)
    [Andriy Konstantynov]

    Ukrainian Andrey Konstantinov (b. 1981, Moscow, lives in Kiev) graduated from the National Technical University of Ukraine in 2002. He lived for some time in Tallinn, Estonia. He ran PDesign 6.0, and later established the commercial foundry Mint Type.

    His typefaces generally cover Latin and Cyrillic: Tecco (techno), Radix, Aera Sans, Aera Serif, Careless Hand Script (2005), Guarda Sans (2012), Vitra Sans (2005), Terra Sans (2005), Terra Semi Slab (2005), Terra Slab (2005), Radix (2004), Cyntho Pro (2012, a geometric sans), Cytia Pro (2012, a geometric sans with built-in contrast), Cytia Slab Pro (2013), Lytiga Pro (2012, a 48-font techy sans family, starting with hairline weights).

    Typefaces from 2013: Pancetta Pro (elliptical sans), Pancetta Serif Pro, Clinica Pro (a clean non-geometric sans), Cyntho Slab Pro, Cytia Slab Pro, Espuma Pro (a soft humanist sans family with lots of curviness), Ristretto Pro (a narrow display sans), Ristretto Slab Pro.

    During the riots and revolution in Ukraine in 2014, Andrey designed Anglecia Pro, a text typeface in Text, Display and Title subfamilies. Just before the 2014 elections in Ukraine, he designed the geometric partially humanist sans typeface Proba Pro, which has wide spacing and small x-height---the regular and italic styles are free.

    Synerga Pro (2014) is a humanist slab serif with rounded terminals.

    Klingspor link.

    View Mint Type's typefaces. Hellofont link. Behance link. Old URL. [Google] [MyFonts] [More]  ⦿

    miqraot.com

    At this Korean site, derived truetype fonts for many languages: BwCyrl, BwEeSs, BwEeTi, Bwgrkl, Bwhebb, BwSymbol, Bwviet. [Google] [More]  ⦿

    Mitja Miklavčič

    Slovenian designer who lives in Postojna. His typefaces:

    • He created Gf H2O Sans in 2005 font at Gigofonts. This is a humanist sans done with Matevz Medja.
    • Tisa is a slab-serif inspired text family that won an award at TDC2 2007. It has useful features such as ink traps and uiformized math symbol and number widths across all styles in the family. In fact, the Latin/Cyrillic type family Tisa was his project at the University of Reading, where he graduated in 2006. He wrote a nice essay on the history of Clarendon (2006). In 2008, he published Tisa as FF Tisa at FontFont. Tisa won a TDC award. In 2012, he added the superfamily FF Tisa Sans (FontFont).
    • Mitja worked full-time at Fontsmith and now continues to collaborate with the team on some type design projects. His Fontsmith cooperation led to FS Rufus (a slab serif done with Jason Smith and Emanuela Conidi), FS Me (a sans family designed for readers with a learning disability; codesigned with Emanuela Conidi, Fernando Mello, Jason Smith and Phil Garnham: FS Me was researched and developed in conjunction with - and endorsed by - Mencap, the UK's leading charity and voice for those with learning disability. Mencap receive a donation for each font licence purchased), FS Albert Pro, and FS Albert Pro Narrow. The latter two families were done with Jason Smith and Phil Garnham---they support Greek, Cyrillic, and Latin, covering 60 languages.

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

    Moisture

    Japanese creator of the child handwriting font simply called ChildFont (2008). It covers Latin, greek, Cyrillic, hiragana, katakana, and the simple kanjis that a child would know. [Google] [More]  ⦿

    Monario

    Four free truetype fonts: Hebrew (by Andrew M. Fountain&Peter J. Gentry, 1993), NewGreek (by Va in Monario, 1996), GreekMathSymbols, Czar-Normal (Cyrillic). [Google] [More]  ⦿

    Monospace

    Free Courier-like set of type 1 faces by George Williams that cover Latin, Cyrillic and Greek. Unicode and ISO-8859 versions. [Google] [More]  ⦿

    Monotype

    Greek fonts by Monotype: in the monotonic series, Albany, Andalé, Andalé Mono, Andalé Sans, Arial, Arial Narrow, Arial Rounded, Book Antiqua, Bookman Old Style, Century Gothic, Century Schoolbook, Monotype Corsiva, Courier, Cumberland, Gill Sans, Haettenschweiler, Impact, Letter Gothic, Monotype News Gothic, Nimrod, Parma (=Bodoni), Perpetua Titling, Rockwell, Thorndale, Thorndale Mono, Times New Roman. In the polytonic category: Andalé Mono, Monotype Greek 90, 91, 92 and 472, Greek Sans Serif 386, New Hellenic, Porson Greek and Times New Roman Greek. [Google] [More]  ⦿

    morrolan

    Jeffrey Rusten's Athena Roman font (1997). [Google] [More]  ⦿

    Moshovos

    Information on installing Greek fonts on X, PC, Mac. [Google] [More]  ⦿

    Mr. Karakas

    Athens-based designer of an unnamed hand-drawn font and the ornamental caps faces Burjee, Frame and KFont in 2013. Fenrir (2013) is a geometric typeface inspired by graffiti. [Google] [More]  ⦿

    Multilingual Macintosh Resources: Greek
    [Andreas Prilop]

    Andreas Prilop's Greek font links. [Google] [More]  ⦿

    MunchFonts
    [Gary Munch]

    Gary Munch (born 1953) is the Stamford, CT-based principal of MunchFonts. He teaches at Norwalk Community College and at the University of Bridgeport Shintaro Akatsu School of Design.. His typefaces:

    • GMAhuramazda (runes).
    • Calligraphic.
    • Candara (2005), a flared typeface done for Microsoft's ClearType project. Candara received a TypeArt 05 award.
    • GMChanceryModern.
    • Munch produced three new Cherokee fonts in 2011 in response to a request by Joseph Erb, of language technology and education services at the Cherokee Nation: Chancery Modern ProCherokee (a sleek sans serif semi-cursive font), Neogrotesk Cherokee (a multipurpose workhorse design), and Munch Chancery Cherokee (a calligraphic font that resembles handwriting). The Cherokee Nation is using Munch Chancery at its Cherokee Immersion School.
    • GMClavier.
    • GMDuomo.
    • Linotype Ergo.
    • The 8-weight didone font family GMFidelio is my favorite.
    • Finerliner (linked handwriting).
    • GMGlobe.
    • GMHieroglyphic.
    • GMHyperspace.
    • GMLondinium (1993, a blackletter face), and GM Londinium Versals (a Lombardic face).
    • GMMage.
    • GMMedallion. An architectural writing font made in 1997.
    • GMMeter.
    • GMMunchfonts.
    • GMMunchies.
    • GMNanogram.
    • GMPepRally.
    • GMPrentice.
    • Linotype Really (1997). An almost-didone family with Cyrillic and Greek extensions for which he received an award at the TDC2 2001 competition, and obtained third prize at the 3rd International Digital Type Design Contest by Linotype Library. It was updated to Really No2 in 2009.
    • GM SPQR. A Trajan type family.
    • UrbanScrawlButtah, UrbanScrawlChill, UrbanScrawlDown, UrbanScrawlFly.
    • GM Wodensday.

    Klingspor link. FontShop link. Linotype link. Old home page.

    Showcase of Gary Munch's fonts. [Google] [MyFonts] [More]  ⦿

    mwfon103

    All links for mwfon103, a 600K font file with Greek and Hebrew fonts. Free. [Google] [More]  ⦿

    Myrto Orfanoudaki Simic
    [Aka Acid (or: Cybertronical Design)]

    [More]  ⦿

    Myrto Papadaki

    During his studies at Vakalo College of Art & Design in Athens, Greece, Myrto Papadaki created a textura-style blackletter typeface called Ladrian (2013). [Google] [More]  ⦿

    Nata Is At

    Greek designer of Big Taste (2009, FontStruct) and Greekpixi (2009, FontStruct). [Google] [More]  ⦿

    Natalie Rauch

    From 2009 until 2013, Natalie Rauch studied towards a Bachelors in Communications Design at the Hochschule für Technik und Wirtschaft Berlin, Germany. In 2014, she obtained a Masters in Type Design at the University of Reading, UK. During an internship at Carrois Type Design in 2012, she created the experimental sharp-edged typeface Kink. For her Bachelors in 2013, she created the modern fashion mag typeface Anouk. For her Masters at Reading, she developed the angular typeface family Raikka (2014). Raikka is a forceful unconventional multiscript typeface family that covers Latin, Greek, Cyrillic and Hebrew. It is characterized by a calligraphic almost fuzzy italic that is in sharp contrast to the more severe regular weight. [Google] [More]  ⦿

    Natasha Raissaki

    Ex-type design student at Reading who created Elpis (2004), a typeface designed for newspaper insert. She states that the typeface, which includes Greek, was inspired by Jan Van Krimpen, Gerard Unger and Georg Trump. Free download at the Greek Font Society.

    Old (defunct) URL, where she had subpages on Greek type and Greek type news.

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

    Nathanael Bonnell
    [Looseleaf Fonts]

    [MyFonts] [More]  ⦿

    Nathaniel Porter
    [Chris' British Road Directory]

    [More]  ⦿

    Nationale Software Wijzer Download Games

    Free truetype font Wiener, designed to give a "Windows 95 Desktop 'Look&Feel'". [Google] [More]  ⦿

    Neobyzantine

    This site has the following polytonic Greek and Slavonic fonts: Miroslavljeva_Cirilica, CirilStudenica, MgGreekArchaic-Plain (actually a Greek simulation face, 1983), OdysseaF, SymbolGreekPF, UB-Byzantine-Italic, UB-Byzantine-Normal (Unibrain, 1993), ALBXHRNormal (Im Grhgorioy, 1994), NB-Byzantine-NB, CSvetiNIKOLANormal (Predrag Milivojevic, Belgrade, 1993). [Google] [More]  ⦿

    Netian.com

    The LucidaSans at this site is a Unicode font covering all European languages, plus dingbats, Arabic, Cyrillic and Hebrew. [Google] [More]  ⦿

    New Breed Software

    Free truetype fonts for Greek (Thryomanes by Herman Miller, 2002), Chinese (AR PL SungtiL GB by Arphic Design, 1999), Japanese (Kochi Gothic by Wadalab), Tamil (TSCu_Comic by Thukaram Gopalrao, 1999), Hebrew (Nachlieli Light by Maxim Iorsh, 2002) and Korean (Baekmuk Gulim by Hwan Design, 2000). [Google] [More]  ⦿

    New Testament Manuscripts Font Collection
    [Allan Loder]

    Commercial package by Linguist's Software that includes fonts for the following codices or papyri of the New Testament or distinctive character forms of inscriptions from that period: Codex Vaticanus, Codex Sinaiticus, Codex Alexandrinus, Codex Bezae, Codex Bezae Latin, Codex Washingtonianus, P46, P66, P.Oxy.4401, P39, Konya inscriptions. A blurb from the site: Linguist's Software gratefully acknowledges the original character design work by Allan Loder. All the fonts have been revised by the Payne Loving Trust. Copyright 2003 Allan Loder and the Payne Loving Trust. [Google] [More]  ⦿

    Newtgreek

    P. Arthur and M. Kaprelian developed the free Greek font package NewtGreek 1.0 (2003, for the Newton). [Google] [More]  ⦿

    NFLEKTO

    Athens, Greece-based designer of a dripping blood font called Defaru (2009). No downloads. [Google] [More]  ⦿

    Nick Nicholas

    Nick Nicholas (University of Melbourne) discusses script mixing. For example, the Wakhi from Central Asia use a mixed script of Latin, Cyrillic, and Greek letters. Among many examples, he points out that certain Greek dialects use a Latin letters to represent sounds not present in standard Greek. He also has a page on Greek Unicode issues. That page includes everything you want to know about Greek accents and Greek coding. [Google] [More]  ⦿

    Nick Shinn
    [Shinn Type]

    [MyFonts] [More]  ⦿

    Nicole Dotin

    American designer (b. 1974) who earned a degree in photography from the University of Minnesota, in graphic design from the Minneapolis College of Art and Design (MFA) and in type design from the University of Reading (MA, 2007), where she created Elena, a Latin and Greek serif type family.

    Nicole joined Process Type Foundry, where she published Elena in 2011 and the heavy brush typeface Pique in 2014. [Google] [More]  ⦿

    Nicolien van der Keur

    Graduate from the Art School HKU in Utrecht. Dutch graphic designer (b. Utrecht) who graduated in 2007 from the University of Reading, with a project entitled Sirba, a Latin and Greek type family designed for dictionaries and small print documents. This typeface was published by Typetogether in 2010. They write: Sturdy and functional in the Dutch tradition---dark, warm and legible. ... Dark? ...

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

    Nikiforos Kollaros

    Athens, Greece-based designer of Ancor Pro (2010), a typeface in which some Bezier sections were removed in DIN. [Google] [More]  ⦿

    Nikolaos Moskofidis

    Aka The Mosquito, Nikolaos Moskofidis (from Athens, Greece) created the display family (with fat counterless and outline styles) called The Mosquito Font (2010). [Google] [More]  ⦿

    Nikos Georgopoulos

    Creator of Koumpa (2010, a Greek headline face) during TipoBrda 2010, a type design workshop held in Ljubljana, Slovenia. [Google] [More]  ⦿

    Nikos Giannakopoulos
    [Grixel]

    [More]  ⦿

    Nikos Goulandris
    [Estampilles]

    [More]  ⦿

    Nimbus

    In their Global Type collection, URW++ has Nimbus Sans (2005, 5 fonts, 2000 Euros) and Nimbus Roman (2005, 2 fonts, 2000 Euros). The former is based on Helvetica, the latter on Times New Roman. Meant as workhorses, these fonts cover Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Nipadetski Inc

    Designers in 2013 of the Sincere VGA font for Latin and Greek. Bhance link. [Google] [More]  ⦿

    North Park

    Greek and Hebrew font archive run by Eric Pement. [Google] [More]  ⦿

    Northwest semitic links

    Great links page maintained by Reinhard G. Lehmann (Lecturer for Classical Hebrew and Old Aramaic, Johannes-Gutenberg Universitaet Mainz) with links related to Hebrew, old Aramaic, Greek, Coptic, old Syrian, Ugaritic and Phoenician. [Google] [More]  ⦿

    nosepol

    Hebrew-Regular, NewGreek, GreekMathSymbolsNormal, CzarNormal. [Google] [More]  ⦿

    Noto

    A large free font family released under the Apache license at Google Web Fonts. URL with details. The fonts are property of Monotype, with the exception of Noto Khmer and Noto Lao, which belong to Danh Hong.

    Noto Sans and Noto Serif cover Afar, Abkhazian, Afrikaans, Asturian, Avaric, Aymara, Azerbaijani-AZERBAIJAN, Bashkir, Bambara, Belarusian, Bulgarian, Bislama, Bini, Breton, Bosnian, Buriat, Catalan, Chechen, Chamorro, Mari (Russia), Corsican, Czech, Church Slavic, Chuvash, Welsh, Danish, German, Modern Greek (1453-), English, Esperanto, Spanish, Estonian, Basque, Finnish, Fijian, Faroese, French, Fulah, Friulian, Western Frisian, Irish, Scottish Gaelic, Galician, Guarani, Manx, Hausa, Hawaiian, Hiri Motu, Croatian, Hungarian, Interlingua (International Auxiliary Language Association), Igbo, Indonesian, Interlingue, Inupiaq, Ido, Icelandic, Italian, Kara-Kalpak, Kikuyu, Kazakh, Kalaallisut, Kurdish-ARMENIA, Kumyk, Komi, Cornish, Kirghiz, Latin, Luxembourgish, Lezghian, Lingala, Lithuanian, Latvian, Malagasy, Marshallese, Maori, Macedonian, mo, Maltese, Norwegian Bokmål, Low German, Dutch, Norwegian Nynorsk, Norwegian, South Ndebele, Pedi, Nyanja, Occitan (post 1500), Oromo, Ossetian, Polish, Portuguese, Romansh, Romanian, Russian, Yakut, Scots, Northern Sami, Selkup, sh, Shuswap, Slovak, Slovenian, Samoan, Southern Sami, Lule Sami, Inari Sami, Skolt Sami, Somali, Albanian, Serbian, Swati, Southern Sotho, Swedish, Swahili (macrolanguage), Tajik, Turkmen, Tagalog, Tswana, Tonga (Tonga Islands), Turkish, Tsonga, Tatar, Twi, Tuvinian, Ukrainian, Uzbek, Venda, Vietnamese, Volapük, Votic, Walloon, wen, Wolof, Xhosa, Yapese, Yoruba, Zulu, Akan, Aragonese, ber-dz, Crimean Tatar, Kashubian, Ewe, Fanti, Filipino, Upper Sorbian, Haitian, Herero, Javanese, Kabyle, Kuanyama, Kanuri, Kurdish-TURKEY, Kwambi, Ganda, Limburgan, Mongolian-MONGOLIA, Malay (macrolanguage), Nauru, Ndonga, Navajo, pap-an, Papiamento-ARUBA, Quechua, Rundi, Kinyarwanda, Sardinian, Sango, Shona, Sundanese, Tahitian, Zhuang.

    Non-Latin scrips include Noto Armenian, Noto Georgian, Noto Carian, Noto Greek, Noto Devanagari, Noto Ethiopic, Noto Glagolitic, Noto Hebrew, Noto Sans Imperial Aramaic, Noto Sans Lisu, Noto Sans Lycian, Noto Sans Lydian, Noto Sans Old South Arabian, Noto Sans Osmanya, Noto Sans Phoenician, Noto Sans Shavian, Noto Sans Tamil, Noto Sans Thai, Noto Serif Thai, Noto Sans Kannada, Noto Sana Telugu, Noto Sans Malayalam, Noto Sans Cherokee, noto Sans Bengali.

    Other typefaces in the package include Arima, Cousine, and Tinos. [Google] [More]  ⦿

    Numismatica Font Project

    Edward "Chris" D. Hopkins is working on a free archaic and classical Greek numismatic font set. [Google] [More]  ⦿

    Numus Moneta Font
    [G. Thomas Schroer]

    G. Thomas Schroer developed the Numus Moneta Font, a free truetype font for documenting Roman coins. In addition to Greek and Latin characters, it contains over 70 special control marks used only on Roman Imperial Coinage. [Google] [More]  ⦿

    Objets Dart
    [Darren Rigby]

    Refreshing fonts created by Canadian Darren Rigby using High-Logic. The fonts come in truetype format (in 2000): Bayern (fraktur font), Beltane (2002), Brasspounder (2004), Con Jitters (2002, handwriting), Enigmatic, EnigmaticUnicodeRegular, Fitzgerald, GangueOuais (2002), HindsightUnicode (2001, with all European languages, Cyrillic, Armenian, and IPA), HindsightSmallCaps, HindsightRegular, HindsightMonospaceRegular, IntruderAlert, QuicktypeRegular, ThinDime, TorturerUpright, SilverDollar, DontWalkRun, History-Repeating (1999-2000), HistoryHappens, HistoryRepeatingH, HistoryHappens, HistoryRepeatingV, Lemon, Norse-Code (runes), OneEighty, TorturerBound, TorturerCrushed, Daybreaker, Yerevan, Seebreaze, Jareth, Tin Birdhouse, Tin Doghouse, Three-Sixty, Three-Sixty Condensed, Levity (2001, Western font), Gravity, River Avenue, Water Street, Warer Street Detour (unicase), Meridiana, Torquemada, Torquemada Starved, Torquemada Starved Unicode, Radian (2002), All Hooked Up (2002), Brasspounder (2004), Quilljoy (2004). Dafont link. Aka Starving-4 Entertainment. [Google] [More]  ⦿

    Odysseas GP
    [Galinos Paparounis]

    Odysseas GP is Galinos Paparounis, a graphic designer from Athens. In 2012, he used Futura as a basis for developing the stunning Latin / Greek display typeface Futuracha.

    Behance link. [Google] [More]  ⦿

    Odyssey--Ellenikes GrAFES

    Greek fonts for Windows, plus installation instructions. [Google] [More]  ⦿

    Oleg Macujev
    [Omtype]

    [MyFonts] [More]  ⦿

    Olga Mishyna

    Talented Thessaloniki, Greece-based illustrator and digital artist. Creator of the frilly and stunning Plump (2009). [Google] [More]  ⦿

    Omtype
    [Oleg Macujev]

    Omtype is Oleg Macujev's Russian foundry and studio (est. 2008) located in Novokuznetsk in the Kemerovskaja region of Siberia. Graphic and type designer, calligrapher and typographer Oleg Macujev was born in Novokuznetsk in 1984. He graduated from Lomonosov Moscow State University (design of mass media specialization). In 2004-2007 he studied at the Alexander Tarbeev Type Design Workshop of Moscow State University of Printing. From 2004 to 2009 Oleg worked as a graphic designer in different Moscow design studios and publishing houses. In 2007-2008 he also lectured on type and calligraphy at the National Institute of Modern Design. He received the second prize for excellence in type and graphic design in a student competition organized by ParaType for his Epiphany typeface (2008). He has obtained the Certificate of Excellence in Type Design at the Modern Cyrillic 2009 competition for the Epiphany and Fry typefaces. Since 2009 he has been living in Novokuznetsk and working as a freelance graphic designer. Samples of his calligraphy. Alternate URL. Behance link. His name is also written Oleg Matsuev. Klingspor link. His great collection of typefaces:

    • Default (2010). A condensed monospaced sans for Latin and Cyrillic.
    • Epiphany (2008). A monoline script based on Old Russian skoropis (cursive writing) of the 15th, 16th and 17th centuries. Award winner at Paratype K2009).
    • Fry (2008). A comic book style typeface that won an award at Paratype K2009 under the name Fray, and a Certificate of Excellence in Type Design at the Modern Cyrillic 2009 competition. Fry also received Second Prize in the display typeface category at Granshan 2011. Fry Pro (Latin, Greek, Cyrillic) was released in 2013. Oleg writes about this round sans: Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer). This type is designed for small texts and has a friendly and a fairytale historic flavor. Fry takes the openness and dynamism of humanistic sans serif, the simple and softness of lubok’s letters (primitive style) and the fluidity of shallow marine fry.
    • Mamontov (2007-2008). Wood type with large incisions for ink traps. It has 25 weights and is based on Clarendon, except that the serifs are asymmetric (missing on one side).
    • Pich (2014). Hand-drawn, almost a comic book typeface.
    • Ryba Kit (Fish-whale). Designed for large headlines and display typography, and based on halfustav handwriting.
    • Siberian (2013). A geometric unicase sans serif inspired by Russian avant-garde typography and old Siberian runic scripts (Orkhon-Yenisey script): The idea was to create a typeface so simple, cold and beautiful as the snow in Siberia. This typeface with its numerous stylistic sets could be used for Cyrillic simulation.
    • Slovolitnaya (2008). A pixel typeface based on the old forms of Cyrillic and works of the Russian style artists like Mihail Vrubel and Ivan Bilibin, who revived these forms in their design in the beginning of the 20th century.
    [Google] [MyFonts] [More]  ⦿

    Online bible resources

    Some Greek, Hebrew, Aramaic and Coptic font links. Has BSTGreek, BSTHebrew. [Google] [More]  ⦿

    Open Printing Project

    Free fonts by the Information-technology Promotion Agency at this Japanese site: IPAGothic, IPAMincho, IPAPGothic, IPAPMincho, IPAUIGothic. These 2003 fonts all cover kanji, hiragana, katakana, as well as Latin, Greek and Cyrillic, and are Unicode compliant. A nice alternative for the proprietary MS Mincho and MS Gothic. See also here. [Google] [More]  ⦿

    Open Source Publishing (or: OSP)
    [Harrisson]

    Free software project based in Belgium and run by four people (and I quote from their web page):

    • Harrisson: Graphic designer and typographer, based in Liege and Brussels. Started to use as much Open Source software as possible on his Macintosh, as part of a research project The Tomorrow Book at the Jan van Eyck Academy in Maastricht.
    • Pierre Huyghebaert: Exploring for eighteen years several practices around graphic design, he currently drives his own studio Speculoos. Interested to use free sofware to re-learn to work in others way and collaboratively on cartography, type design, web interface, schematic illustration, teaching and book design.
    • Nicolas Malevé: Systems- and software developer from Brussels with a long interest in the politics and practice of software. Uses Linux since 1998 and makes publishing- and distribution systems for collaborative work.
    • Femke Snelting: Graphic designer and artist based in Brussels. Most of her current work is for the web. Recently switched to Linux after using Apple Macintosh for more than ten years.
    Alternate URL. They also describe interesting autotrace software included in Inkscape and UNIX batch tools for good autotracing of images. Designers of free fonts:
    • Alfphabet (2009). Based on the Belgian road signage system in use from 1945 until 1975. It came from Minneapolis to Brussels with 3M.
    • Broodthaers.
    • Cimatics (2009). Totally experimental. This font was designed in July 2009, for the graphic identity of Cimatics A\V Platform. It gathers glyphs from FreeSerif, FreeSerifItalic, DejaVuSans, DejaVuSerif, the OSP_frog mascot, the Cimatics two piece heart, a baronchon_palm_tree from Open Clip Art Library and private use dingbats drawn for Cimatics (Cimatics_scare_eye, white_pentagon).
    • Crickx. A digital reinterpretation of a set of adhesive letters.
    • Distilled Spirit and Whisky Jazz. In September 2009, Harrisson and Jean Baptiste Parre from LPDME remixed URW Gothic (Avant Garde) and published the free fonts Distilled Spirit and Whisky Jazz.
    • DLF. DLF stands for Dingbats Liberation Fest.
    • Libertinage. In August 2008, Harrisson designed 26 variations on Philipp H. Poll's 2006 font Libertine, and called the new family Libertinage. It covers Greek, Latin and Cyrillic.
    • Limousine. This font was made for a poster to support nine people accused of "criminal association for the purposes of terrorist activity". They were arrested the 11th of November 2008, in France. They and others are the victims of a witch-hunt where the word "terrorism" was applied to any idea or practice which challenges the status quo. An international movement is emerging in their support. For the poster, we re-mixed an open font, the Free Sans from Free UCS Outline Fonts.
    • Logisoso. Logisoso is a reinterpretation of the Delhaize logo lettering.
    • NotCourierSans. NotCourierSans is a reinterpretation of Nimbus Mono and was designed in Wroclaw at the occasion of Linux Graphics Meeting (LGM 2008). We took Nimbus as the base of the design. We proceeded to remove the serifs with raw cuts. We did not soften the edges. We are not here to be polite.
    • OSP-DIN (2009). The first cut of OSP-DIN was drawn for the festival Cinema du réel.
    • Polsku Regula (2010). Polsku Regula is inspired by polish signage, street signs and shop windows lettering.
    • Reglo (2011) was used for the new identity of Radio Panik.
    • Sans Guilt (2011). The three Sans Guilt fonts have been produced during "Read The Fucking Manual", an OSP workshop at Deparment 21 (Royal College of Art), using Gimp, Fonzie and Fontforge. They are different versions of Gill Sans based on three different sources. Sans Guilt MB: based on a rasterized pdf made with the Monotype Gill Sans delivered with Mac OSX. Sans Guilt DB: Based on early sketches by Eric Gill Sans Guilt LB: Based on lead type from Royal College of Arts letterpress workshop.
    • Univers Else (2010-2012). A geometric sans, about which they write: Univers Else is an experiment, a first attempt to escape the post ’80 era of geometrical purity that is so typical of Postscript vector based font drawing. The shapes of Univers Else were obtained from scanning printed textpages that were optically composed by cheap phototypesetting machines in the sixties and seventies. Some of Univers Else beautiful features are: round angles, floating baselines, erratic kerning. More precisely in this case, George Maciunas of the Fluxus group used an IBM composer (probably a Selectric typewriter) for most of his own work, and as a former designer, for all Fluxus work. In the 1988 book Fluxus Codex, kindly given to Pierre Huyghebaert by Sylvie Eyberg, the body text is typeset in a charmingly rounded and dancing Univers that seems to smile playfully at its dry swiss creator. Different scans were assembled by Grégoire Vigneron following different grids. These huge bitmaps were processed with appropriate potrace settings by the Fonzie software* through a .ufo font format as a working format, and an OpenType as output. Some testing and fine-tuning was done by Pierre Marchand, Delphine Platteeuw and Pierre Huyghebaert in FontForge and the font was ready, in a finished state enough to typeset the book. The oblique versions was simply slanted on the fly.
    • VJ12 (2009).
    • W Droge. In 2008, they ran a workshop in Wroclaw, Poland, to design a font in a day with the free tools Inkscape, Gimp and FontForge---called W Droge. It was based on Polish traffic signs. Cooperation with Dave Crossland, Alexandre Prokoudine and Nicolas Spalinger.
    • Le Patin Helvète (2012) is a slab typeface derived from Nimbus L. It covers Latin, Greek, Cyrillic and Hebrew.
    • Mill (2012) is an architectural style typeface that has been created for engraving building instructions into the wood of a bench.
    • Sans Guilt Wafer (2012) is described by OSP as follows: Gill Sans eats a Gaufrette.
    [Google] [More]  ⦿

    Orbit Mechanical

    The Ti92Pluspc font family by Texas Instruments (1998): a typewriter/monospace font with Latin and Greek glyphs. [Google] [More]  ⦿

    Oscar Yáñez

    Oscar Yáñez has a Bachelor's degree in Graphic Communication Design from the Universidad Autónoma Metropolitana (UAM) and a Master's degree in Typographic Design from the Centro de Estudios Gestalt.

    Designer of Fabrica Texto, Italica, Versalita, Bold (2008) and Lucrecia Texto, Itálica, Versalita, Bold, both winners in the Tipos Latinos 2008 competition for best text family. Grand prize winner at Tipos Latinos 2010 for his titling type family Carlota. Other typefaces by him include Aion, Moneda, and Condesa.

    In 2012, he created Amate, a type that was designed for a newspaper in Cuernavaca. Calavera (2012, Cocijotype) is an ornamental display typeface that is based on the Mexican Tuscan letter style and on the work by Mexican engraver Manuel Manilla. It won an award at Tipos Latinos 2014. Dorotea (2012) is a Latin / Greek / Cyrillic typeface family created for text in books and periodicals. The name is in honor to Dorothy Abbe, typographer, puppeter and close friend of William Addison Dwiggins.

    At ATypI 2009 in Mexico City, he spoke eloquently about Boudewijn Ietswaart and the development of the Balduino typeface (by the Círculo de Tipógrafos).

    In 2014, he created the curly ronde script typeface Bistro for Gastronomie Magazine.

    He lives in Mexico City and is Design Editor at GEE. Founding member of Círculo de Tipógrafos in Mexico.

    Behance link. [Google] [More]  ⦿

    P. Damian Cugley
    [Malvern]

    [More]  ⦿

    Palatino Unicode Greek

    Cornell's Jeffrey Rusten discusses the commercial unicode polytonic Greek font Palatino Unicode Greek, developed by Michael Duggan (Roman), Geraldine Wade (Italic), Sue Lightfoot (Bold), Ian Patterson (Bold Italic). It is based on the work of Hermann Zapf, who designed Palatino for Linotype in the 50s. Palatino Unicode Greek is included in Windows 2000. [Google] [More]  ⦿

    Paleofonts V. 2
    [Vasil Gligorov]

    Vasil Gligorov from Skopje, Macedonia, has a 16MB file with almost 300 truetype fonts that represent 30 ancient scripts: Luwian, Ugaritic, Aramaic, Runic, Syriac, Glagolitic, OCS Cyrillic, Persian Cuneiform, Egyptian Hieroglyphs, Demotic, Linear A (Complex signs), Linear B, Proto-Greek, Ancient and Medieval Greek, Ancient and Medieval Latin, Gothic, Etruscan, Oscan, Phoenician, Galilean, Celto-Iberian, Coptic, Meroitic, Cypriot, Vina, Ancient Hebrew, Samaritan, Sanskrit, Ugaritic, Manichean, Ogham, Umbrian, Asomtavruli Mrglovani, Siloam type-Inscription. Alternate URL. [Google] [More]  ⦿

    Palina Pliashchanka

    Photographer and graphic designer from Thessaloniki, Greece, who made the structured display typeface Anilop in 2009. [Google] [More]  ⦿

    Panagiotis Chatzigeorgiou

    As a young designer in Athens, Greece, Panagiotis Chatzigeorgiou created Metropolis 1920 Greek (2013), a Greek version of Josip Kelava's art deco style Metropolis font. Free download. [Google] [More]  ⦿

    Panayotis Katsaloulis
    [Avi Fonts]

    [More]  ⦿

    Panos Haratzopoulos
    [Cannibal Fonts]

    [MyFonts] [More]  ⦿

    Panos Nikolakakis

    Graphic designer who runs Fishtank Design in Athens, Greece. He created the Latin / Greek monospaced sans typeface family FT Mono in 2012.

    Behance link. [Google] [More]  ⦿

    Panos Vassiliou
    [Parachute]

    [MyFonts] [More]  ⦿

    Panos Voulgaris

    Panos Voulgaris (b. 1983) is an architectural student in Venice, Italy. He lists his place of residence as Thessaloniki, Greece. Creator at FontStruct (under the alias Rotweiler83) of the modular techno typeface Raptor Sans (2009). [Google] [More]  ⦿

    papimi.gr

    Three Greek truetype font families: Arial, Courier New, Times New Roman. [Google] [More]  ⦿

    Parachute
    [Panos Vassiliou]

    Athens-based Greek typefoundry started in 1999-2001 by Panos Vassiliou. Their fonts cover Latin, Greek and Cyrillic. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 1999 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type.

    Myfonts link. Behance link.

    Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.

    At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:

    • Adamant
    • PFAgora Pro: Agora Sans, AgoraSerif, AgoraSlab.
    • Amateur
    • PF Archive Pro (2004). He received a design award for his typeface Archive at the E AWARDS 2004. It has special typographic features and multilingual support for all European languages including Greek and Cyrillic.
    • Armonia
    • Astrobats
    • Bague Universal and Bague Sans (2014). A geometric grotesk that dares to be different. Accompanied by Bague Slab Pro (2014), PF Bague Inline Pro (2014), and PF Bague Round Pro (2014).
    • Baseline
    • Beatnick
    • Beau Sans (2011). Inspired by Bernhard Gothic.
    • PF Benchmark Pro (2014).
    • Bodoni Script (2009).
    • Bulletin Sans (2000-2005)
    • Centro (Sans, Serif, Slab). PF Centro Pro family (Sans, Serif, Slab, a trillion styles) won an European Design Award in May 2008 in Stockholm and at Paratype K2009.
    • PFChampion Script Pro (2004-2008). A much lauded connected calligraphic script that is based on a calligraphic script by Joseph Champion, 1709-1765. Winner at Paratype K2009 and Granshan 2010. Images: i, ii iii, iv, v. The 4245-glyph family comprises Cyrillic, Latin and Greek subfamilies.
    • Cosmonut (sic) (2002). A retro futuristoc typeface made by Dimitris Foussekis.
    • PF Das Grotesk Pro (2014). Panos writes: Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton.
    • DaVinciScript (2001-2006). A Treefrog-style script typeface by Vassiliou and Dimitris Foussekis.
    • PF Dekka (2014). This solid elliptical sans family was influenced by Monaco's outline version called MPW.
    • PF DIN (2010): PF DIN Display (2002-2005), PF DIN Mono, PF DIN Stencil, and DIN Text, PF DIN Text Condensed, PF DIN Text Compressed, DIN Text Arabic, DIN Text Universal. With Latin, Cyrillic and Greek coverage, each font has about 1300 glyphs. The designs go back to the the lettering of the Prussian railways around 1900. In 2013, PF Din Text Pro was published.
    • Eco Park. A 3d outline face.
    • PF Encore Sans (2009). A rich and versatile sans family supporting Greek, Latin and Cyrillic.
    • PF Fuel Pro
    • PF Fusion Sans (1996-2006)
    • PF Garamond Classic.
    • PF Goudy Intials and PF Goudy Ornaments. A winner at Paratype K2009.
    • PF Handbook (2005-2007, sans family)
    • HausSquare
    • HellenicaSerif. Chiseled look, Greek simulation face.
    • HighwaySans
    • House Square. A Bank Gothic lookalike.
    • PF Isotext (2005). Meant for technical documentation, it is modeled after Isonorm.
    • Kids, KidsStuff
    • Libera
    • Lindemann and PF Lindemann Sans (2012).
    • Mechanica A and B, 2002-2006. Octagonal families.
    • PF Monumenta (2002-2006). A majestic lapidary roman family.
    • Muse
    • Online (One, Two and Three). Pixelish family.
    • PF Ornamental Treasures (2008). Byzantine ornaments and borders.
    • PF Pixelscript
    • Playskool
    • Psychedelia (2003, Dimitris Foussekis). A psychedelic typeface.
    • Regal Pro and Regal Finesse Pro: Award-winning high fashion display didone families, 2010-2012, originally designed for the Grazia magazine. Awards include Red Dot Awrd 2012, Communication Arts Annual Competition 2012, Creative Review Type Annual 2011, European Design awards 2011, EBGE awards 2011, Granshan Awards 2010.
    • PF Reminder Pro (2003). A hand-printed typeface.
    • Scandal
    • PF Square Sans Pro, PF Square Sans Condensed Pro (2013).
    • PF Stamps (2002-2006). A grungy stencil typeface by Panos Vassiliou and George Lygas.
    • PF Synch Pro (2006). An industrial strength slab-serif typeface.
    • PF Uniform
    • VideoText
    • PF Wonderbats (2003). Funky and strange animals.
    • Wonderland (2006). By Dimitris Foussekis.

    Their type blog is called Upscale typography.

    Catalog. View all typefaces designed by Parachute.

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

    Paradigm Software Development

    Paradigm Software Development (Portland, OR) offers their own Greek TrueType font used in GreekFlash Pro. Free. [Google] [More]  ⦿

    Parash2001

    The Parachute Greek font collection will open its doors soon. [Google] [More]  ⦿

    ParaType

    The main digital type foundry in Russia. ParaType was established as a font department of ParaGraph International in 1989 in Moscow, Russia. At that time in the Soviet Union, all typeface development was concentrated in a state research institute, Polygraphmash. It had the most complete collection of Cyrillic typefaces, which included revivals of Cyrillic typefaces developed by the Berthold and Lehmann type foundries established at the end of 19th century in St. Petersburg, and artwork from Vadim Lazurski, Galina Bannikova, Nikolay Kudryashov and other masters of type and graphic design of Soviet time. ParaType became the first privately-owned type foundry in many years. A license agreement with Polygraphmash allows ParaType to manufacture and distribute their typefaces. Most of Polygraphmash staff designers soon moved to ParaType. In the beginning of 1998, ParaType was separated from the parent company and inherited typefaces and font software from ParaGraph. The company was directed by Emil Yakupov until February 2014. After Yakupov's death, Irina Petrova took over the reins.

    Products include FastFont, a simple TrueType builder, ParaNoise, a builder for PostScript fonts with random contours, FontLab, a universal font editor and ScanFont, a font editor with scanning module. Random, customized fonts. Multilingual fonts including, Latin, Cyrillic, Arabic, Greek, Georgian and Hebrew fonts for Macintosh and Windows.

    Catalog. Designers. Alternate URL.

    Famous typefaces by Paratype include Academy, Pragmatica, Newton, Courier, Futura, Petersburg, Jakob, Kuenstler 480, ITC Studio Script, ITC Zapf Chancery, Amore CTT (2004, Fridman), Karolla, Inform, Hafiz (Arabic), Kolheti (Georgian), Benzion (Hebrew).

    The PT Sans, PT Serif and PT Mono families (2009-2012) are free. PT stands for Public Type. Another download site. PT Sans, for example, consists of PTSans-Bold, PTSans-BoldItalic, PTSans-Caption, PTSans-CaptionBold, PTSans-Italic, PTSans-Narrow, PTSans-NarrowBold, PTSans-Regular.

    Other free ParaType fonts include Courier Cyrillic, Pushkin (2005, handwriting font), and a complete font set for Cyrillic.

    Type designers include Vladimir Yefimov, Tagir Safayev, Lyubov Kuznetsova, Manvel Schmavonyan and Alexander Tarbeev. They give this description of the 370+ library: The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty typeface to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType also excels in adding Cyrillic characters to existing Latin typefaces -- if your company is ever going to do business with Eastern Europe, you should make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, and Zapf Elliptical 711.

    Finally, ParaType offers a handwriting font service out of its office in Saratoga, CA: 120 dollars a shot.

    View the ParaType typeface library. Another view of the ParaType typeface collection. [Google] [MyFonts] [More]  ⦿

    Parmigiano Typographic System

    Italian type designers Riccardo Olocco and Jonathan Pierini reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. Finally, the language extensions include Parmigiano Arabic (by Rana Abou Rjeily), Parmigiano Cyrillic (by Irina Smirnova) and Parmigiano Greek (by Irene Vlachou). The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that. [Google] [More]  ⦿

    Pathloss4.0

    Truetype fonts WP-GreekCentury, WP-MathA, WP-MathB. [Google] [More]  ⦿

    Patrick Fury

    American creator of the artificial language typeface Efymaks ban Rystvak (2011). [Google] [More]  ⦿

    Patrick Giasson

    Patrick Giasson runs Behaviour Design in Montreal. He studied type design at Reading in 2004, and worked for some time at Wolff Olins and Agfa Monotype UK. At ATypI 2005 in Helsinki, he spoke on The typographic inception of the Cherokee syllabary. He states: "A Cherokee man named Sequoyah single-handedly invented the Cherokee script at the beginning of the nineteenth Century. In a reversal of the usual process, Sequoyah explicitly developed the syllabary in a shape which would make it--in his own words--suitable for print, and deliberately took inspiration from Latin typography for the design of some of its characters. The actual translation of the syllabary into print further involved typographic considerations to establish its definitive forms. In what represents an exceptional case in the history of writing systems, the cherokee syllabary can be considered an essentially typographic syllabary." His typefaces include:

    • Molotov (Thirstype).
    • Oz (1998-1999, Thirstype). A revival of Oswald Cooper's family.
    • The Royal Family (Thirstype).
    • Proton (1994: [T-26] and 2Rebels) .
    • GE Inspira (2004). Done for GE's brand with the help of in-house Agfa designers.
    • As a graduate student in Reading in 2004, he designed Median, a typeface that has Latin and Greek components that are well adjusted, considering that the axes of both scripts are so different.

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

    Paul Pietquin
    [FUNDP: Tablinum]

    [More]  ⦿

    Pavlos Levendellis

    Pavlos Levendellis studied graphic design and typography at the National Design School (TEI) of Athens. After working for several advertising agencies, he started his own design studio Paulus Design. His area of specialization is branding as well as packaging. His first commercial typeface PF Hybrid (2007) will be published at Parachute. [Google] [More]  ⦿

    Peter Bruhn
    [Fountain--A Friendly Type Foundry]

    [MyFonts] [More]  ⦿

    Peter R. Wilson
    [archaic]

    [More]  ⦿

    Peter Specht

    Designer who created the pixel grid typeface z001-rom (2008), Katerina (2010, almost LED face), Kinryu (2010), Kinryu No. 14 (2009), z001-rom_v10.4, Normal (2009, pixel face), Elektrogothic (2008, futuristic), Laurier Test (2009, serifed), Laurier No. 7 (2009, an extensive Unicode typeface that covers Latin, Greek, Cyrillic, most Indic languages, Thai, Hebrew, Lao, Tibetan, runic, Khmer, and mathematical, chess and other symbols), Kinryu No. 8 Regular (2009, an extension of Laurier towards Japanese), Clucky Duck (2008, rounded), and the double-scratch handwriting typeface Wild Freak (2008). [Google] [More]  ⦿

    Petros Vasiadis

    Graduate of Vakalo Art & Design College who works in Athens, Greece. He cut the serifs and ends off Times Roman to create the sans typeface RighOn, the extended rounded display sans typeface Pagkrati, and the slab serif typeface Calimera in 2013. Free downloads.

    In 2014, he created the free font Gearus, the free handwriting font Singing, and the free thin sans display typeface Actual Free Font (2014, Latin and Greek).

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

    Petros Vasiadis
    [CYN Fonts]

    [More]  ⦿

    Petros Voulgaris

    Part of the design collective Indyvisuals. Based in Athens. Behance link. Involved with his buddies in designing faces such as Tall Handwritten (2011) and Sprayed Stencil (2011). [Google] [More]  ⦿

    phantis.com

    Arial, Times New Roman and Avant Greek fonts. [Google] [More]  ⦿

    Phil Chastney
    [Amadeus Information Systems]

    [More]  ⦿

    Philatype
    [Kosal Sen]

    Kosal Sen (b. 1982, Philadelphia) is a graphic and identity designer, aka Koleslaw. He used to live in Philadelphia, but is now in Anaheim, CA.

    • His early typefaces, some of which were free, include the graffiti typeface Drupal (2005), Unnamed Sans (2009), "Kosal Says Hy" (sic, 2003), Olney (2010, a basic square sans), Gravity Sans (2010, slab serif; +GravityNova, GravitySupernova), Merge (2011, a plumpish round monoline sans family), Philly Sans (2008, comic book style face) and the comic book typeface Arfmoochikncheez (2006).
    • In 2009, he founded Philatype. At Philatype [Twitter link], he created Olney (2010; inspired by the Bank Gothic style; Olney Light is free), Ryno Slab (2009, macho), Markup (2007, a fresh hand-printed comic book style face), Gravity (2010, slab serif), Tryst (2013, transitional: free download), Lovato (2014, a 5-style wedge serif family with a free Lovato Light style), and Merge (2011, free). Merge Pro Greek and Cyrillic (2012) are codesigned with Elexei Vanyashin.
    • Creator of this heavy slab face (2006) in true Western wood type style.

    Kosal was embroiled in a minor controversy. He claimed that Wilton's commercial font Shallow (2005) was based on Kosal Says Hi. Wilton subsequently removed it from its site.

    Also called Typophilesal Ko, and Koleslaw. 1001 Fonts link. Klingspor link. Behance link. Dafont link. Behance link. Fontspring link. Alternate URL. [Google] [MyFonts] [More]  ⦿

    Philip Barton Payne

    President of The Payne Loving Trust, which owns Linguist's Software (Edmonds, WA). A selection of the fonts of "Payne Loving Trust" that are floating around in cyberspace includes AradLevelVI, CityBlueprint, CountryBlueprint, EuroRoman, EuroRomanOblique, Graeca, PanRoman, Romantic, RomanticBold, RomanticItalic, SansSerif, SansSerifBold, SansSerifBoldOblique, SansSerifOblique, SuperFrench, Supergreek, TbilisiCaps, TbilisiText, TbilisiText13215, Technic, TechnicBold, TechnicLite. Apparently, Linguist's Software calls upon a battery of nameless typographers for font design. They also sell LaserIPA fonts (IPARoman, IPAKiel, IPAKielSeven and IPAExtras). [Google] [More]  ⦿

    Philip Garnham

    London-based Phil Garnham joined Fontsmith in June 2003 as designer to assist in the development and production of new alphabets for the Fontsmith font library. He is a 2002 graduate of Middlesex University. Most of his fonts are codesigned with Jason Smith. In 2004, he designed the slab serif FS Clerkenwell. Other fonts by him: FS Alvar (octagonal stencil), FS Kitty, FS Pele, FS Sinclair (2008, rounded octagonal), FS Conrad, FS Sally, FS Lola.

    He made a custom face for the Northern Ireland Tourist Board in 2010.

    FS Me (2009) is a sans family designed for readers with a learning disability. It was codesigned by Mitja Miklavcic, Jason Smith, Emanuela Conidi, Fernando Mello and Phil Garnham. FS Me was researched and developed in conjunction with---and endorsed by---Mencap, the UK's leading charity and voice for those with learning disability. Mencap receive a donation for each font licence purchased. FS Albert Pro and FS Albert Pro Narrow (2009) were done by Mitja Miklavcic, Jason Smith and Phil Garnham---it supports Greek, Cyrillic, and Latin, covering 60 languages.

    Designer of FS Emeric (2013), a large humanist slightly angular sans family. Dedicated web site.

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

    Philip Jones

    Creator in 1999 of the following fonts for use in religious texts: pjheg, pjspgrk (Greek), pjspheb (Hebrew). [Google] [More]  ⦿

    Philip Tagg

    Philip Tagg from the Faculty of Music at the University of Montreal has these fonts on his page: Athenian, Cyrillic, CyrillicBold-Italic, CyrillicBold, CyrillicNormal-Italic, MSReference1, MSReference2, SILDoulosIPA, SILManuscriptIPA, SILSophiaIPA, Translit98, Translit98Bold, Translit98BoldItalic, Translit98Italic, Treefrog, Webdings, GeographicSymbols-Normal, Keypunch-Normal, Keystroke-Normal, Kids-Normal. [Google] [More]  ⦿

    Philipp H. Poll
    [Libertine Open Fonts Project]

    [More]  ⦿

    Philippe Cochy

    French (Corsican) designer of the semi-calligraphic script typeface Pecita (2009) and of OTFPOC (2012). Home page, which is entirely set in this script, yet is text-searchable and used as a regular font---great example to follow. Pecita also covers Greek, Turkish, Cyrillic, Vietnamese and IPA.

    In 2014, they published the rounded connected script typeface Aghja at OFL.

    Fontsquirrel link. Open Font Library link. Kernest link. Fontspace link. Dafont link. Newer OFL link. [Google] [More]  ⦿

    Phillip Andrade
    [Dry Heaves Fonts (was: Phil Fonts)]

    [More]  ⦿

    Pierre Cot

    French typefounder of the early 18th century. Pierre Cot Type Specimen of 1707 was written by Douglas C. McMurtrie in 1924 (Chicago: Robert O. Ballou). It shows a facsimile of the original 8-leaf booklet of Hebrew and Greek type specimen of Pierre Cot, with a 3-page preface by McMurtrie. [Google] [More]  ⦿

    Pierre MacKay
    [Ibycus]

    [More]  ⦿

    Pieter van Rosmalen
    [Bold Monday]

    [MyFonts] [More]  ⦿

    Pilar Cano
    [Letterjuice]

    [MyFonts] [More]  ⦿

    Polytonic (ancient) Greek in Mac OS X

    Page by Sam Tucker on polytonic (ancient) Greek in Mac OS X. We learn that for this, Mac OSX 10.4 (Tiger) is the only version that has effortless support for this. It comes with these polytonic Greek unicode fonts: Linotype Palatino, Arial, Helvetica, Lucida Grande, and Times. He highly recommends Gentium and Gentium Alt though. [Google] [More]  ⦿

    Pomoerium

    Fonts by Pomoerium: AncientGreekNormal (truetype), TimesPhoneticNormal (truetype), a font with extra characters for Times, such as Hebrew glyphs and accented Latin letters. [Google] [More]  ⦿

    Popdog fonts (or: Fiberia)
    [Dimitris Kolyris]

    About 30 free original truetype fonts by Dimitris Kolyris, half of which are grungy in style: Glasnost (2010), Victor Vector, Slang King (2003), Datatrash, DataTrash2, Ziperhead, CRAMPED, CRAMPS, CrackedJohnnie, DISCOBOX, DISCONNECTHOST, EVOL, POP1280, RANXEROX, Roundermultistyled, TomViolenceAUTOSPACED, UGLYLOVER, Vandaloop (hacker font), ZWISDOM, Bonviver, Corazon, HappyDaze, Recover, Tom Violence, Viper Nora, Benny Blanco, DEADLINE, HEATWAVE. Homepage invalid. Dafont link. And another URL. [Google] [More]  ⦿

    POPtype
    [Irene Vlachou]

    Type designer at POPtype in Athens. In 2013, she joined Type Together as a senior type designer. She graduated from the University of Reading, where she earned the nickname Miss Fontlab.

    Creator of Prisma (2004), a typeface that covers both Latin and Greek.

    Creator of Colvert Greek (2012, Typographies.fr). Colvert is a joint effort of Irene Vlachou, Jonathan Perez, Kristyan Sarkis and Natalia Chuvatin.

    At Cannibal Fonts, she created the corporate typeface Ballisage Greek (2007), a Hellenization of Ballisage. With Panos Haratzopoulos of Cannibal, she also made the corporate typefaces Esquire Greek and Crank Greek (2004, for Esquire), and Amplitude and Franklin Antiqua Greek (2007, for Autobild).

    Designer of Parmigiano Greek (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini.

    Klingspor link. [Google] [More]  ⦿

    Pretty Poly Project

    An initiative of MacLand magazine and Loizos Pavlidis started in 2005 and supported by System Graph Technologies, to develop a free application (to be distributed via MacLand magazine in Greece) for converting non Unicode greek polytonic texts to Unicode. This will cover both Mac OSX and Windows. [Google] [More]  ⦿

    ProcopiouNet

    Files with fonts for archaic Greek. In addition, Byzantine music fonts: ED-Fthora, ED-Isson, ED-Psaltica. Font files: LucidaCalligraphy-Italic, MgGreekArchaic-Plain, SymbolGreekPF and OdysseaF (by Payne Loving Trust), UB-Byzantine-Italic and UB-Byzantine-Normal (by Unibrain), ALBXHRNormal (by I.M. Grhgorioy). [Google] [More]  ⦿

    Production First Software
    [John M. Fiscella]

    Production First Software offers original, revival and historic designs and specializing in non-latin scripts including Armenian, Cyrillic, Greek, Hebrew, Thai, mathematical symbols and pi characters. It is run by John M. Fiscella in San Francisco since 1990, with most typefaces created immediately after that. John M. Fiscella designed the fonts for symbols and many of the alphabetic scripts for the unicode charts and all typefaces complky with unicode standards. Type glossary. List of typefaces: BernalPF, Blck2LineGothicPF Logo, Blck3LineGothicPF Logo, Blck4LineGothicPF Logo, CourPF, CourPF Bold, CourPF BoldOblique, CourPF Oblique, EdwardianMansePFTitling, EriePF, EuroPF-Bold, EuroPF-BoldOblique, FiftiesPopPF, GrandVictorianPFTitling, HlvPF Bold, HlvPF BoldOblique, HlvPF Medium, HlvPF Oblique, ItalianatePF, ItalianateMulticolor1PF, ItalianateMulticolor2PF, ItalianateMulticolor3PF, ItalianateSansPF, LafayettePF, LosPFBold, MisionPFAntique, MisionPFBold, MisionPFBook, MisionPFBookMetal, MisionPFLight, MisionPFTitling, PalouPFTitling, PiazzaPFScript, RadioPF, RadioCityPF, SymbolPF Bold, SymbolPF BoldItalic, SymbolPF Italic, TexMexPF, TmsPF Bold, TmsPF BoldItalic, TmsPF Cursive, TmsPF Italic, TmsPF Rom +, TmsMathPF Cursive, TmsHebWidePF Rom, UnvPF Bold, UnvPF BoldOblique, UnvPF Oblique, UnvPF Medium, UviewPF Bold, UviewPF BoldOblique, UviewPF Oblique, UviewPF Medium, ZenonPFTitling. [Google] [MyFonts] [More]  ⦿

    Prokopios Tzoulis
    [Tzoulis Graphic Design (or: TZ-Design)]

    [MyFonts] [More]  ⦿

    Protimient.com
    [Ben Jones]

    Ben Jones (b. 1980, Buckinhamshire, UK) is a student of typography and graphic communication in Reading (2000-2004). He got his Masters in Typeface Design from the University of Reading in 2011. MyFonts link for Protimient.

    His typefaces:

    • a href="https://www.myfonts.com/fonts/protimient/billingsley/">Billingsley (2005, Protimient: a script based mainly on a writing specimen of the penman Martin Billingsley, originally published in 1618).
    • Buxus (2005, T26: a shaded display family).
    • Cale (2004).
    • Caligne (2004), Caligne Sans (2004).
    • Clarence (2007) is a sturdy 2-style serif family.
    • Eksja (2009) is a humanist slab serif family which to me feels a lot like a sans family---the slabs added as an afterthought.
    • Emrys (2011) is his graduation typeface at Reading: Emrys is a modulated sans typeface for scripts including Latin, Greek, Armenian, Arabic and Cyrillic. Emrys won Third Prize at Granshan 2011.
    • Gilibert (2005, T-26, a decorative didone face).
    • Greenwood (2006, Protimient: a monospaced, cursive typewriter script, based on a typewritten letter from a Mr J. G. Greenwood Esq. to a branch of the National Westminster bank in Oxfordshire, Great Britain, dated 6th June 1904).
    • ModernModern (2004, Protimient: a squarish didone).
    • Nosta (2006, a nice modern text family).
    • NotanuthaSerif1 (2005, text face; see also here).
    • Pasquinade (2005, blackletter).
    • Stobart (2006) is a script font based on the characters written in a letter by Henry Stobart, dated 1899. It is an Opentype handwriting typeface with 1200 glyphs with heavy character substitution.
    • Travis (2005, Protimient: a legible sans family).

    Klingspor link.

    View Ben Jones's typefaces. [Google] [MyFonts] [More]  ⦿

    Protogenea

    Greek truetype font archive. Includes the Hellas font series designed in 1992 by George Kalantzopoulos for Pouliadis Associates. Includes the dingbat font HellasSymbolsSymbols. [Google] [More]  ⦿

    Psaltic Fonts
    [Constantine Terzopoulos]

    PostScript and TrueType Byzantine Notation computer fonts such as the Ephesios family (promised for the Fall of 2000). The fonts are for Greek Orthodox texts. Designer: Constantine Terzopoulos. [Google] [More]  ⦿

    Psychonomicon Library

    Archive with fonts for Hebrew, Greek, alchemy, Persian, Sanskrit, Coptic and runes. [Google] [More]  ⦿

    Quartet Systems
    [Eric Wannin]

    Eric Wannin's French commercial foundry with PC and Mac fonts for all European languages, most Indic languages, Cyrillic, Vietnamese, Amharic, Inuit, Slavonic, Greek, Tibetan, Thai, Lao, Khmer, Burmese, Cri. Hieroglyphic fonts too. Free font family: EuroQuartet. These fonts have one glyph only, the Euro symbol. It has some bar code fonts too.

    Multilingual fonts. They cover Braille, East European languages, Turkish, Baltic, Cyrillic, Icelandic and Greek. According to the Google] [More]  ⦿

    Rachel Reveley

    Designer at FontStruct of Base2 (2008, a Bauhaus like font), The First Revelation (2008) and Greco Key Stone (2008, labyrinthine, inspired by Greek key stone patterns). [Google] [More]  ⦿

    Rafael Dietzsch
    [Familia Design]

    [More]  ⦿

    Rainer Will
    [Will Software]

    [More]  ⦿

    Ralf Vollmann

    Ralf Vollmann's page at the University of Graz. Tibetan fonts Esama, Esamb, Esamc. Greek font Greek. Hebrew font hebrew. Phonetic fonts IPARoman2, IPARoman1, SILDoulosIPA, SILDoulosIPA93Bold, SILDoulosIPA93BoldItalic, SILDoulosIPA93Italic, SILDoulosIPA93Regular, SILManuscriptIPA93Bold, SILManuscriptIPA93BoldItalic, SILManuscriptIPA93Italic, SILManuscriptIPA93Regular, SILSophiaIPA93Bold, SILSophiaIPA93BoldItalic, SILSophiaIPA93Italic, SILSophiaIPA93Regular. [Google] [More]  ⦿

    Ralph Hancock
    [Antioch]

    [More]  ⦿

    Raphael Lazaros

    Greek creator of Comic City (2008), a hand-printed typeface. [Google] [More]  ⦿

    Raymond Bobar

    Raymond Bobar holds a BA degree from the University of Arts in Bucharest (Romania) and an MA degree in type design from the University of Reading, UK (2014). His graduation typeface at the University of Reading was the casual hand-crafted display typeface Ivera (2014), which covers Latin, Greek, Cyrillic and Georgian. [Google] [More]  ⦿

    Rebecca Bettencourt
    [Kreative Korporation (was: Relay Fonts, or: Kreative Software)]

    [More]  ⦿

    Rectorat de Toulouse

    The font "Greek" by Peter J. Gentry&Andrew M. Fountain, 1993. See also here. [Google] [More]  ⦿

    Redwood

    From Autodesk: GothicG, GothicI, GreekC, GreekS (1996). [Google] [More]  ⦿

    Reinhold Kainhofer
    [RK Ancient Fonts]

    [More]  ⦿

    Riccardo De Franceschi

    Italian graduate from the type design program at the University of Reading in 2010, who lives and works in Piedmont and Lombardy in Northern Italy, and publishes typefaces at Sorkin Type. His typefaces:

    • His graduation project included the design of Ginnasio: The Ginnasio family is designed to set bilingual vocabularies, namely polytonic Greek English and Latin English. These dictionaries are used in secondary schools to translate texts from classical Greece and Rome into the student's own language. A Thai font is added, intended to set bilingual vocabularies as well. Ginnasio won First Prize at Granshan 2010 for Greek types.
    • Gravitas One (2011, Sorkin Type, and Google Font Directory). He writes: Gravitas One is modeled on the "UK fat face" which is a kind of very heavy advertising type created during the industrial revolution in England. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes.
    • Still at Sorkin Type, he created the wedge-serif black typeface Goblin One (2011): Goblin One was inspired by a hand painted sign above a pub in the town of Reading (UK). Goblin One is a somewhat wide medium contrast design with a large x-height.
    • Asset One (2011, Sorkin Type) was inspired by the engraved letters found on United States dollar bills.
    • Contrail One (2011, Sorkin Type; free at Google Font Directory), it is based on handmade sans letters seen on UK posters.
    • Wellfleet (2012, Google Web Fonts and Sorkin Type) is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. It was inspired by German poster lettering.
    • Emblema One (2012, Google Web Fonts). An oblique fat trendy stencil typeface for posters.
    • Sonsie One (2012, Google Web Fonts). Sonsie One is a large x-height signage face.
    • Vampiro One (2012, Google Web Fonts) is a near-monoline fat angular script typeface .

    Google Plus link. [Google] [More]  ⦿

    Riccardo Lorusso

    MATD University of Reading graduate, class of 2013. He created the excellent typeface Agosto for his graduation thesis. Agosto covers Latin, Korean and Greek. [Google] [More]  ⦿

    Riccardo Olocco

    Prior to a four-year stint as a lecturer in typography at the faculty of design and Art of the free University of Bolzano, Italian type designer Riccardo Olocco freelanced as a graphic designer in Milan and elsewhere in Italy. He graduated in 2014 from the MATD program at the University of Reading, UK.

    Riccardo writes on type design and type history. Besides his ongoing investigation into Francesco Griffo's roman types, his research with James Clough on Bodoni's types will be published by Codex.

    Designer, with Michele Patanè, of the commercial caps faces Cordial Bloom (2009) and Cordial Cherry (2009).

    Together with Jonathan Pierini, Olocco reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that.

    In 2014, he started cooperating in the new CAST typefoundry in Bolzano. His typefaces at CAST include

    • Brevier (2014). This typeface was designed for setting long texts in small or very small type sizes---the name Breveir refers to 8 point size in ancient times.
    • Gramma (2014). A compact temporary sans with large x-height.
    • Zenon (2014, for Latin, Bengali, Greek and Cyrillic) and the sans version, Zenans. His graduation typeface in the MATD program at the University of Reading, UK. He writes: is a sum of different styles, from Francesco Griffo to Granjon, from modern typefaces to the first sketches of Times New Roman. Zenon is an apparently Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri.
    [Google] [MyFonts] [More]  ⦿

    Richard G. Spaulding
    [The Greek Font Foundry]

    [More]  ⦿

    Richard Goulet

    Free Greek fonts by CNRS researcher Richard Goulet: sign in as Polices and with password Kadmos. You can download Eleusis, Callimachus (2005, Unicode) and Posidippus (2007, for papyrists). [Google] [More]  ⦿

    Richard Porson

    Creator in the 18th century of Greek types (d. 1807), which led to many digitizations known as Porson Greek. See, for example, GFS Porson Greek, digitized by George Matthiopoulos for the Greek Font Society, which writes: In England, during the 1790's, Cambridge University Press decided to procure a new set of Greek types. The university's great scholar of Classics, Richard Porson was asked to produce a typeface based on his handsome handwriting and Richard Austin was commissioned to cut the types. The type was completed in 1808, after the untimely death of Porson the previous year. Its success was immediate and since then the classical editions in Great Britain and the U.S.A. use it, almost invariably. In 1913, Monotype released the typeface with some corrections, notably replacing the upright capitals suggested by Porson with inclined ones. In Greece the typeface was used under the name Pelasgika type. GFS Porson is based on the Monotype version, though using upright capitals, as in the original.

    James Mosley wrote about Porson in Porson's Greek types, Penrose Annual, vol. 54 (1960), pp. 36-40. He concludes on his blog in 2014 that Porson Greek is not an exciting design, nor is it an independent one. It treats Greek as a secondary type, like italic. Another reference is John Bowman's PhD thesis at the University of Reading in 1998 entitled Greek printing types in Britain from the late 18th to the early 20th century. [Google] [More]  ⦿

    Richard T. Austin

    London-based punchcutter (1768-1830) who had his own foundry, The Imperial Letter Foundry, in London. Before that, he had worked at John Bell's British Letter Foundry from 1788-1798 (when the foundry closed) as a punchcutter, and at William Miller's foundry in Edinburgh. His typefaces:

    • Tooled Roman (1788).
    • Bell (1788, British Letter Foundry). Originally cut for John Bell John Bell by Richard Austin in 1788. Monotype made a metal version in 1931. Available at Monotype in digital form as BellMT (see Monotype Bell 341). It is also available as B694 Roman and Baltimore on the SoftMaker MegaFont XXL CD (2002). Mac McGrew: Bell as cut by Lanston Monotype in 1940 is a copy of the typeface of the same name cut in 1930 by English Monotype at the instigation of Stanley Morison, and was originally cut by Richard Austin for the English printer John Bell in 1788. Lanston describes it as a delicate and refined rendering of Scotch Roman, but without the unduly heavy capitals and some other objectionable characteristics of that face. English Monotype says the letters are open and inclined to roundness; they possess a certain crispness reflecting a French copperplate engraved inspiration. The typeface has been referred to as the first English modern face, with its sharply contrasted shading, vertical stress, and the earliest consistently horizontal top serifs on the lowercase. Bruce Rogers found an unidentified typeface at Riverside Press in 1900; he called it Brimmer and used it to good effect in book work. The same typeface was called Mountjoye by D. B. Updike at the Merrymount Press. It was later identified as Bell, and this may have led to its resurrection by English Monotype.

      The French explain Bell as a British typeface halfway between transitionals (such as Baskerville) and modern faces (such as Bodoni or Didot, the "didones").

    • Fry's Ornamented (1796, British Letter Foundry). Also known as Ornamented No. 2 cut by Austin for Dr. Edmund Fry. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt sizes. A digital version by ARTypes in 2007 is also called Fry's Ornamented (2007). David Rakowski made a digital version called Beffle in 1991.
    • Austin's Pica No. 1 (1819). One of the first modern faces in Britain.
    • Porson (1806, Caslon Foundry). This Greek typeface is based on the handwriting of the English classicist Richard Porson's transcription of the Medea. Richard Austin was commissioned by the Cambridge University Press to cut it, from 1806 onwards. It was cast by Caslon foundry, but it never appeared in their specimens. It was completed and used only after Porson's death in 1808, in the editions of plays of Euripides produced by Cambridge scholars. Bringhurst notes that after its first appearance, it was soon copied by other founders, and was released by Monotype with some corrections in 1912. By the end of the 19th century, together with New Hellenic (by Victor Scholderer), it had become the main Greek type used in Britain.
    • Scotch Roman (1813, William Miller / Miller&Richardson). This didone typeface was revived in 1907 by Monotype Corporation. It is considered as the first British modern typeface. Also known as Georgian or Brimmer [when Bruce Rogers found the typeface at the Riverside Press in 1900, he used it for books under the name Brimmer]. D.B. Updike used another font of this type at his Merrymount Press where it was called Mountjoye. Scotch Roman#2 (1920) is a revival by Linotype.
    • Antique (ca. 1827). This was revived in 2007 by HiH as Austin Antique.

    FontShop link. Klingspor link. Wikipedia link.

    View Richard T. Austin's typefaces. Alexa Stephenson's detailed image of Bell. View Richard Austin's typefaces. [Google] [MyFonts] [More]  ⦿

    RK Ancient Fonts
    [Reinhold Kainhofer]

    Free fonts for Sanskrit, Old Greek, Ugaritic, Meroitic, Oldpersian Cuneiform by Reinhold Kainhofer: RK-Meroitic-(Demotic), RK-Meroitic-(Hieroglyphics), RK-Meroitic-Transscript, RK-Persian-Cuneiform, RK-Sanskrit, RK-Ugaritic-Transscript, RK-Ugaritic. Kainhofer is based at Karl Franz University in Graz, Austria. Direct download.

    Dafont link. [Google] [More]  ⦿

    Rob McKaughan

    American type designer who graduated from the University of Reading in 2011. His graduation typeface, Chepman, is a news typeface for both print and screen. Ingeniously, all of Chepman's weights share the same character width. Both Latin and Greek are covered.

    Currently, he is working at a small Redmond-based software company focused on improving the digital reading experience. Speaker at ATypI 2013 in Amsterdam on the topic of abstract recipes and design patterns in typography. [Google] [More]  ⦿

    Robert Proctor

    Designer of Otter (1903), a Greek typeface based upon the Greek of the Complutensian Polyglot of 1514. According to "Fleuron", vol. 6, p. 231, this typeface was surpassed by Victor Scholderer's "New Hellenic" (1928). [Google] [More]  ⦿

    Robert Slimbach

    After a start at Autologic in Newbury Park in 1983, this prolific American master craftsman (b. Evanston, IL, 1956) helped pioneer digital type design at Adobe (which he joined in 1987) and created

    • ITC Slimbach (1987).
    • ITC Giovanni Book (1988).
    • Adobe Garamond (1989-1991): A bit of the history of Adobe Garamond revealed.
    • Adobe Jenson (1996).
    • Utopia (1989-1991) [the Utopia Opticals were released in 2002].
    • Minion (1990-1991): Minion was first released in 1990, and became later the first Adobe Opentype font. It has support for Greek and Cyrillic, including polytonic Greek. Minion Cyrillic is from 1992.
    • Myriad (1992, with Carol Twombly). Myriad Arabic and Myriad Hebrew were first published in 2011.
    • Poetica (1992). In 2010, Paulo Heitlinger compared Poetica, in its smooth perfection, with P22 Operina, which is closer to the original chancery models of the 20th century, and he thinks Poetica lacks the vigor and dynamism of the originals (and P22 Operina does not).
    • Sanvito (1993).
    • Caflisch Script (1993, not my favorite script).
    • Cronos (1996). Image by Jamie Groenestein). modeled after Kuester's Today Sans. Image of Cronos Pro Display.
    • Kepler (1996).
    • Warnock Pro (2000), which won an award at the Type Directors Club (TDC2) 2001 competition.
    • Brioso (2002). A calligraphic/renaissance family comprised of over 40,000 glyphs. Images of Brioso: A poster by Kristina Reinholds, a poster by Nick di Stefano.
    • Garamond Premier Pro (2005), based on originals found in the Plantin Museum in Antwerp. Weights include GaramondPremPro-BdItalic, GaramondPremPro-Bold GaramondPremPro-Italic, GaramondPremPro-Medium, GaramondPremPro-MediumIt, GaramondPremPro-Regular, GaramondPremPro-SbIt, GaramondPremPro-Semibold. Greek, Latin and Cyrillic are covered.
    • Arno Pro (2007: typophile discussion) is in the style of Adobe Jenson. Review by Typographica Thomas Phinney: Arno is what you might call a modernized Venetian oldstyle. I think of it as having the same relationship to Adobe Jenson that Minion has to Garamond Premier.
    • Adobe Clean (2009). David Lemon: After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it has been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There is no plan to make it available for licensing, but you will be seeing more of it in Adobe materials and products as time goes on. Our initial question was "Why not just keep using Myriad Pro and Minion Pro?" These faces were designed to be timeless, and they are among our most popular families. But that second part points to the catch in this situation: Myriad, in particular, is used to represent many other companies, including businesses close to Adobe's (such as Apple and Verizon). Adobe wanted a fresh look that could remain unique. While some typeface designers do much of their work for corporate clients, this area was new to us. Robert&I met with the leaders of Adobe's Experience Design and Brand teams to develop a design brief. They wanted a 21st-century feel combined with an earnest readability. As the project grew, Christopher Slye led regular follow-up meetings with the client teams to keep them up to date and tease more input out of them. Robert's accustomed to aiming his work at the more general case, so it was an interesting challenge to have a very specific set of design goals. What he produced is as classic as all his other designs, but with an uncharacteristic blend of contemporary touches for on-screen rendering and a more progressive feel. More scans: i, ii, iii, iv.
    • Adobe Text (2010), a transitional family included in the standard font set for Adobe Creative Suite 5.
    • Trajan Pro 3 (2011, with Carol Twombly) and Trajan Sans (2011). The Trajan Sans family comprises six weights, ranging from Extra Light to Black (matching the weight range in Trajan Pro 3), with language coverage for Pan-European Latin, Cyrillic, and Greek. Maxim Zhukov advised on the design of the Cyrillic portion of the family, and Gerry Leonidas advised on the Greek, while Frank Grießhammer provided technical production support.

    For Warnock Pro, he got an award at the Type Directors Club (TDC2) 2001 competition. In 1991, he received the Prix Charles Peignot for excellence in type design. Minion Pro Greek, Minion Pro Cyrillic&Greek and Brioso Pro won awards at the TDC2 Type Directors Club's Type Design Competition 2002. At TDC2 2006, he won an award for Garamond Premier Pro. Arno Pro won an award at the TDC2 2007 competition. Bio at Linotype. Minion Pro now ships with Acrobat Reader and covers all European languages, including Greek and Cyrillic.

    View Robert Slimbach's typefaces. [Google] [MyFonts] [More]  ⦿

    Rodney J. Decker

    Galilee is a Greek sans serif font by Rodney J. Decker (professor at Baptist Bible Seminary in Clarks Summit, PA). He writes: "My goal is a screen-optimized font for use in a web browser. The optimized (i.e., manually hinted, including delta hinting) is nearly finished, and then I will convert it to a full Unicode font, hopefully within the next year. There is also a related page with Unicode info regarding polytonic Greek here". He created Galilee Unicode Gk font (2003-2004), a sans serif font that is designed to complement Trebuchet. See also here. [Google] [More]  ⦿

    Rogier C. Van Dalen

    This Dutchman at the University of Leiden wrote open source code for the following tools:

    • TrueTypeViewer enables you to view TrueType fonts, and, specifically, to debug the "instructions" embedded in the font. It has a "Features" button that will allows you to apply OpenType features to the string;
    • TTIComp compiles a .TTI file (with "T"rue"T"ype "I"nstructions in a format not unlike C code) and a TrueType font into an instructed TrueType font;
    • OTComp takes a feature file in a format not unlike Adobe's and produces an OpenType font with advanced layout tables. In other words, it is a text to OT filter.
    • OTLegacy takes an OpenType font and adds Unicode precomposed characters to it by applying the OpenType features.
    With these tools, he made two OpenType fonts in 2002, Legendum (like Verdana), and Garogier (like Garamond), covering Latin and polytonic Greek. [Google] [More]  ⦿

    Rolf Noyer
    [Lascaris]

    [MyFonts] [More]  ⦿

    Romaiika Polytonika

    Romaiika Polytonika truetype font: lots of accented and double-accented characters. [Google] [More]  ⦿

    Rosetta Type Foundry

    Rosetta is an independent foundry, set up in 2011 by David Brezina, José Scaglione and Veronika Burian, with a strong focus on multi-script typography. It is headquartered in Brno, Czechia. Other designers include Anna Giedrys, Amélie Bonet and Titus Nemeth. They specialize in multilingual typefaces.

    Fonts at the time of the start-up include Aisha (Titus Nemeth: Arabic, Latin), Maiola (Cyrillic, Greek, Latin), Nassim (Arabic, Latin), Roxane (Devanagari, Latin), and Skolar (Cyrillic, Greek, Latin, Gujarati, Sanskrit).

    In 2011, they published Neacademia (by Sergei Egorov). Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts.

    In 2012, Arek (Latin/Armenian) by Khajag Apelian was published by Rosetta Type Foundry.

    Interview by MyFonts. [Google] [MyFonts] [More]  ⦿

    Rote-Grafik

    Codesigner with Masterview of Sprayed Stencil Face (2011). Rote-Grafik is located in Athens, Greece. He cooperates with several others, including Peter Voulgaris. [Google] [More]  ⦿

    Rouli Diamond

    Athens, Greece and Barcelona-based graphic designer. He created the piano key stencil typeface MAP Stencil (2010, Latin and Greek), the prismatic typeface 3D (2012), and the alchemic typeface Stigma (2012).

    In 2013, Rouli designed the tall thin typeface Sentient Adult.

    Behance link. [Google] [More]  ⦿

    Russell Cottrell

    Russell Cottrell made the Unicode Greek font Aristarcoj (2002). He also has a Unicode Greek link archive that points to Cardo (David J. Perry), GentiumAlt (Victor Gaultney), Palatino Linotype, Asia Unicode, TITUS Cyberbit, Athena, Arev Sans (Tavmjong Bah), Attika U, Kadmos U and Bosporus U (by the American Philological Association), DejaVu Serif, Dioxipe, CMU Serif, Caslon (George Williams) and Porson (Richard G. Spaulding). [Google] [More]  ⦿

    Ryota Doi

    In 2014, Ryota Doi graduated from the MATD program at the University of Reading. Ryota's final typeface was Raylaw, which was specifically created for multilingula travel magazines. Raylaw has five Latin weights, and covers Greek, Cyrillic and Japanese (kanji, hiragana and katakana) as well. As a map font, it is particularly well executed, combining original elegance with legibility at small sizes. [Google] [More]  ⦿

    Sandra Winter

    Sandra Winter is a German font designer and graphic artist based in Frankfurt am Main. After training in advertising, she studied Communication Design in Darmstadt, and type design at the University of Reading (where she graduated with an MA in 2006). She works now at Linotype, Germany, and as a freelance designer.

    Creator of Filia Latin, Filia Greek and Filia Italic (2006) as part of her thesis project. Typedia link.

    In 2009, while at Linotype with Akira Kobayashi, she worked on DIN Next, a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. It was published at Linotype as DIN Next Pro.

    In 2012, Sandra Winter and Akira Kobayashi published Avenir Next Rounded.

    In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype. [Google] [MyFonts] [More]  ⦿

    Santhi Thomaidi

    Graphic designer from Athens who created Moralis (2011), a beautiful poster typeface about which he writes: Yiannis Moralis was one of the most important Greek visual artists and part of the so-called "Generation of the 30's. As we notice in the way he portrays his subjects, he was an artist who was mostly interested in his own inner relationship with his art and less in the artistic styles of other periods or solutions offered by his contemporary Western European art. By today's standards it is an outmoded spirit, but for this reason, perhaps wistful to the contemporary viewer. This typeface is a tribute to this great artist Keeping the shapes and lines of his artworks, I designed these letters inspired from the geometrical forms and his primitive way of design. [Google] [More]  ⦿

    Sarasiti-Victoria

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

    Schola Classic Tutorials

    Archive with 3 Greek truetype fonts, among which Greek Parse by Galaxie Software, Garland TX, and Sgreek-Fixed by Silver Mountain Software. [Google] [More]  ⦿

    Scholars Press
    [Jimmy Adair]

    The Scholars Press Fonts are public domain fonts that are designed to work on both Windows computers and Macs. Fonts for Hebrew, Greek, Syriac, Coptic, and Semitic-language transliteration. (Mac and Windows): SPEzra (fixed width Hebrew/Aramaic, 1998) and SPTiberian (Hebrew/Aramaic), SPIonic (Greek, see also here), SPEdessa (Syriac), SPDoric (1999, uncial Greek), SPAchmim (Coptic), SPDamascus (Hebrew, 1998), SPCaesarea (dingbats, 1998), and SPAtlantis (transliteration). All fonts by Jimmy Adair. He states: "Patrick Durusau, formerly my colleague in crime at Scholars Press and now with the Society of Biblical Literature, was instrumental in the design and disseminatation of the SP fonts." FTP access. Truetype archive. See also here. fontspace link. [Google] [More]  ⦿

    Schriftarten für den theologischen Gebrauch
    [Martin Schuster]

    Two fonts by Martin Schuster (40DM a piece) for use in old theological texts. Fully accented, in truetype: MTS Hebrew BHS, MTS NT Graece. [Google] [More]  ⦿

    Schueler

    Original rune fonts by "Schueler", and some other ones: AlphGeniiFzpg100 (runes by Fuzzypeg), Alphabet-of-the-Magi, Angelic-Regular (Digital Type Foundry, 1992), AntoniousNormalThin (Greek), AntoniousOLOverLineThin, Astro (astrological symbols, Laser Printing Solutions&Cosmorama Enterprises, 1991-1992), DEEnoch (1997), Daggers (Digital Type Foundry, 1992), Enochian-Regular (Digital Type Foundry, 1991), Gary (astrological symbols), KoineMedium (Greek), Malachim (by Fuzzypeg), Schuelers-Enochian, Shalom (1993, Hebrew), ThebGL (Greekish runes by Richard Mitchell, the Underground Grammarian, 1994), Theban. [Google] [More]  ⦿

    Sean Redmond

    Greek Font to Unicode Converter. Find also Athena Roman, a Unicode-compliant font by Cornell's Jeffrey Rusten (for the American Philological Association). Alternate URL for that font. This font was withdrawn by Rusten, but this site still carries it. [Google] [More]  ⦿

    Sebastian Kempgen
    [MacCampus]

    [More]  ⦿

    Sebastian Losch

    German type designer, who created the informal bouncy sans typeface Jolly in 2011.

    In 2013, Sebastian graduated from the MATD program of the University of Reading. His graduation typeface was Teras, which he describes as follows: Teras (Greek for monster) is a kindheartedly vicious creature. It has a strong affinity for an entire range of typographic encounters, is highly articulate, slightly deformed, fierce and roughly eight feet tall. Due to its Arabic, Greek, Latin and Tamil background, every syllable it utters is a mongrel mouthful of a variety of cultural influences. It is also an exploration into the alternative type family, which in the upright mutates from a serif light weight into a sans serif black and the reversed procedure in the italics. The symbiosis of the four scripts is achieved principally by making the Latin flared, lapidary, open to conversation with its curvier peers. [Google] [MyFonts] [More]  ⦿

    Sebastian Riessen
    [Greek House of Fonts]

    [More]  ⦿

    Selwyn Image

    Designer of a Greek typeface in 1894, based upon the Greek of the Complutensian Polyglot of 1514. According to "Fleuron", vol. 6, p. 231, this typeface was surpassed by Victor Scholderer's "New Hellenic" (1928). [Google] [More]  ⦿

    Semata

    Greek outfit which made the transitional Times-style faces Asteria-Bold, Asteria-Bold-Italic, Asteria-Italic, Asteria in 2004. Download them here. [Google] [More]  ⦿

    Seminar on typography and optical communication

    From February 16, 2006 until March 23, 2006, the University of Thessaloniki organizes a 50-hour seminar on typography and optical communication, which will cover Greek typography from the 15th to 20th century, typography on the web, European typography, modern tools in typographic typesetting, typeface design. It will also cover graphic design, typography and optical communication. [Google] [More]  ⦿

    Serbian Orthodox Church

    Links for Greek, Georgian and Greek polytonic fonts. They offer 60 Latinica fonts (Direct access) and 60 Cirilica fonts by Dino Art Corporation (1993) (Direct access). The font names: Cirilica60, Cirilica80, AmerigoYU, AmericanTypewriterBoldYU, AmericanTypewriterYU, AmericanUncialCirilica, ArabiaCirilica, AardvarkCirilicaBold, AardvarkCirilica, ArialCirilicaBold, ArialCirilicaItalic, Arial-Cirilica, ArialCirilicaBoldItalic, AristonCirilicaBoldItalic, AtletaCirilica, AvantGardeBoldYU, AvantGardeYU, AvantGardeBoldYU, AvantGardeLightYU, BahamasYU, BahamasCirilica, BahamasBoldYU, BahamasHeavyYU, BahamasLightYU, BangkokYU, BangkokBoldYU, BangkokCirilicaBold, BangkokCirilica, BarnumYU, BedrockCirilica, BekerCirilicaBold, BlippoBoldYU, BodnoffYU, BodoniYU, BodoniBoldYU, BodoniBoldItalicYU, BodoniItalicYU, BodoniCirilicaBold, BodoniCirilicaItalic, BodoniCirilica, BodoniRomanCirilica, BodoniCirilicaBoldItalic, BookCirilicaBold, BookCirilicaItalic, BookmanYU, BookmanBoldYU, BookmanBoldItalicYU, BookmanItalicYU, BookCirilica, BookCirilicaBoldItalic, BremenCirilica, BroadwayBoldYU, BroadwayCirilica, BrooklynBoldYU, BrooklynBoldItalicYU, BrooklynItalicYU, BrooklynYU, BrunswikBoldYU, BrunswikBoldItalicYU, BrunswikItalicYU, BrunswikYU, BrushScriptCirilica, CalligraphYU, CalligraphBoldYU, CalligraphBoldItalicYU, CalligraphItalicYU, CaligraphCirilica, CasablancaBoldYU, CasablancaBoldItalicYU, CasablancaItalicYU, CasablancaYU, CasperOpenFaceYU, CenturionOldBoldYU, CenturionOldYU, CenturionOldItalicYU, CenturyCirilicaItalic, CenturyCirilica, CharterYU, CharterBoldYU, CharterBoldItalicYU, CharterItalicYU, CheltenhamYU, CheltenhamBoldYU, CheltenhamBoldItalicYU, CheltenhamItalicYU, ChinaYU, ClarendonYU, ClarendonBoldYU, CloisterYU, CzarCirilicaBold, CzarCirilicaItalic, CzarCirilica, CzarCirilicaBoldItalic, GoliatCirilicaBold, Goliat-Cirilica, HelveticaCirilicaBold, HelveticaCirilicaItalic, HelveticaCirilica, HelveticaCirilicaBoldItalic, HippoCirilicaBold, Hippo-CirilicaOutline, Madrone-Cirilica, MemorandumCirilica, Miroslavljeva-Cirilica, MurmanskCirilica, OdessaScriptCirilica, RenfrewCirilica, SouthernCirilicaItalic, Southern-Cirilica, TimesCirilicaBold, TimesCirilicaItalic, Times-Cirilica, TimesRomanCirilicaItalic, TimesRomanCirilica, TimesRomanCirilicaBoldItalic, TimesCirilicaBoldItalic, UnicornCirilica. [Google] [More]  ⦿

    Sergei Egorov

    Born in Moscow in 1963. Graduated from Moscow Institute of Physics and Technology in 1985. He became a TeX specialist. Since 2003, he creates his own typefaces. Gaithersburg, MD-based designer of a Cyrillic Venetian typeface (2004) called Bucentoro. At TypeArt 05, he received awards for Bucentero and SPQR Caps. He is working on Bucentoro Greek (2006). In Bucentoro's low-contrast design, we can find influences of Nicholas Jenson, Francisco Griffo and Vadim Lazursky.

    His Neacademia (2009, +Kursiv) won an award at Paratype K2009. It was published in 2011 at Rosetta Type: Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts.

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

    Sergios Hatzinikolas

    Athens-based graphic designer. In 2007, he created the Greek sans typeface Estia about which he writes: This is the digitised and redesigned version of the historical Greek newspaper Estia. The original typeface was only available in printed form and was taken from newspaper sheets kept in archive. The newspapers printing method at that time was linotype. I scanned the letters one by one, retouched them by hand firstly, then digitised them using ScanFont and at last edit them with FontLab. This was done for my MA project in the Masters department of Vakalo School of Art and Design, Athens, Greece. My professor during this project was Hector Haralambous. [Google] [More]  ⦿

    Sergiy Tkachenko
    [4th February]

    [MyFonts] [More]  ⦿

    Severin Meyer

    German creator of the squarish techno typeface Xolonium (2012, Open Font Library), which covers Latin, Greek and Cyrillic.

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

    Sevi Spanou

    Graphic designer in Athens, Greece, who created the experimental Latin typeface Textile (2014). Behance link. [Google] [More]  ⦿

    SGreek fixed

    SGreek Fixed truetype font by Silver Mountain Software. [Google] [More]  ⦿

    Shareware Greek Fonts for the PC

    Matthew Robinson's shareware Greek font archive. Useful links. Has Wingreek, Kalos, Korinthus, Milan, and Greek Old Face Anglophone (Son of Wingreek). Among Greek Unicode fonts, it lists: Vusillus, Athena, Silver Humana, Aisa Greek, MG Old Times UC, Cardo, Caslon, Monospace, Posron, Titus Cyberbit Basic, Code 2000, and Alphabetum. [Google] [More]  ⦿

    Shinn Type
    [Nick Shinn]

    Nick Shinn (b. London, 1952) is an art director and type designer. He teaches at York University in Toronto, and is a founding member of the Type Club of Toronto. He writes regularly for Graphic Exchange magazine, and has contributed to Applied Arts, Marketing, Design, and Druk. He founded Shinn Type in 1999, and made fifteen type families. Interview by Jan Middendorp, in which he describes himself as a contrarian. Pic by Isaias Loaiza. Pic by Chris Lozos at Typo SF in San Francisco in 2012. Custom typefaces have been produced for newspapers such as The Birmingham News (Alabama), The Chicago Tribune, The Daily Express (London), The Daily Mail (London), The Globe and Mail (Toronto), The Montreal Gazette, and The St. Petersburg Times (Florida). Custom fonts, with exclusive rights, have been created for corporations such as Thomson Nelson, Enbridge, Rogers Communications Inc., and Martha Stewart Living. Nick organizes type evenings in Toronto all year long.

    Shinn Type fonts at MyFonts. Behance link.

    He is the designer of Fontesque (a wild family of curly glyphs), the monospaced font Monkey Mono, Artefact (1999), Beaufort (a sharply serifed family; in 2008, he published a 10-style extension called Beaufort Pro), Bodoni Egyptian (1999), Alphaville (2000, techno typeface with straight mono-width strokes), Brown, Brown Gothic, Duffy Script (2008, in 4 styles: an interpretation of the lettering of contemporary illustrator Amanda Duffy, aka Losergirl), Handsome (1999, cursive handwriting family, since 2005 available in OpenType), Merlin, Oneleigh (1999, masterful!!), Paradigm (1995, updated in 2008, inspired by 15th century letterforms), Shinn, Walburn (1996) [note: Walburn and Brown were originally commissioned for the 2000 redesign of the Globe and Mail. Walburn is an adaptation of a didone typeface by Erich Walbaum, c.1800], Worldwide (1999).

    In 2001, he designed the Richler font in honour of the memory of Mordecai Richler. The Richler font was only available to the Giller Prize, Random House and the Richler family until its public release in May 2013 at MyFonts, where Richler (+Cyrillic, +Greek) is advertised as a 21st century antiqua book face.

    In 2002, he published Goodchild (a Jenson revival) and the liquid lettering family Morphica, exclusively at Veer.

    In 2003, he released the absolutely gorgeous "modern" sans Eunoia (which has a unicase weight), and the quirky sans family Preface (2003; Preface Thin is a hairline weight; Preface Light is free at FontShop). In 2003, he also published the mmonowidth unicase family Panoptica (2003), which includes styles called Regular, Sans, Egyptian, Doesburg and Octagonal, to name a few.

    In 2005, he created Nicholas, a serif family, which is the headline version of Goodchild.

    Additions in 2006 include Softmachine (VAG Rounded/comic book style family). Sexy type from Toronto is an article by Erin Kobayashi about Shinn's work published in the Toronto Star on April 15, 2007. Nick Shinn designed the type for the redesign of The Globe and Mail in April 2007: Globe and Mail Text [look at the f], Globe and Mail Sans (or GM Sans), Globe and Mail News (or GM News).

    In 2008, these faces went retail. One typeface is called Pratt, named after David Pratt, the design director at The Globe and Mail who commissioned the typeface for his redesign of the paper. The companion typeface will be called Pratt Sans.

    Additions in 2008: Figgins Sans (4 styles), Scotch Modern (a 5 style didone family that revives the typeface used in New York State Cabinet of Natural History), Scotch Micro. Paul Shaw writes: Scotch Roman, beloved by D.B. Updike and W.A. Dwiggins, was a standard in the typographic repertoire of pre-World War II printers but fell out of favor after the war, supplanted by Bodoni. Nick Shinn of Shinntype has made a bid to resurrect this oft-maligned typeface with Scotch Modern. Scotch Modern is not a revival of the familiar Scotch Roman of Linotype and Monotype, but of a more modern design attributed to George Bruce, the great 19th-century New York punchcutter. Shinn used a sample of the typeface from the New York State Cabinet of Natural History's 23rd Annual Report for the Year 1869 (printed in 1873) as a model. He drew it by eye, aided by a sharp loupe: no photographic enlargements, no scans, no tracing. The ends of the strokes are slightly rounded, to capture the effect of metal type being impressed into soft paper. Shinn contends that the 19th-century Scotch types were "eminently readable" and a factor in the rise of modern literacy. His rendition, an OpenType font, aims for readability in all situations with display, regular, and microtype versions. The display roman includes a unicase font-a nod to Bradbury Thompson's Alphabet 26 experiment-and the italic has elegant swash caps. Scotch Roman has never been a typeface for those seeking eternal beauty or anyone desperate for typographic kicks. Dwiggins gave it a 10 for legibility (where 10 was "reasonable human perfection") but only 4 for grace and 0 for novelty. Shinn's Scotch Modern, with its many OpenType extras, scores well on all three counts. It's a typeface for those who prefer a mature single malt: simple at first, but more complex as it is savored. Photograph. At ATypI 2008 in St. Petersburg, his talk was entitled Scotch Modern. Several catalogs have been published by Shinntype. Particularly noteworthy is The Modern Suite (2008, Nick Shinn, Coach House Press, Toronto), which showcases Figgins Sans and Scotch Modern. Sample of some Scotch Modern dingbats.

    Production in 2010: Sensibility (a humanist sans superfamily), Sense (a modernist sans superfamily), Bodoni Egyptian Pro (a monoline slab Bodoni experiment---the Pro version of a 1999 family by him). More images of sense and Sensibility: i, ii, iii, iv, v, vi, vii, viii.

    In 2011, he created Checker, an all caps 3d black and white-tiled typeface, and Parity (a roman unicase pair).

    Naiad (2013) is a didone, or neoclassical, typeface with Victorian curlicues thrown in to create a Victorian look.

    Pratt Nova (2014) is a 17-style large x-height typeface family that attempts to achieve visual and semantic opulence, equipping the typographer with a comprehensive array of harmonized fonts, all rigorously drawn, superbly fitted iterations of a single, profoundly original design.

    MyFonts interview. FontShop link. Klingspor link.

    View Nick Shinn's typeface library. [Google] [MyFonts] [More]  ⦿

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

    Andreas Stötzner (b. 1965, Leipzig) is a type designer who lives in Pegau, Saxony. Graduate from the Hochschule für Grafik und Buchkunst Leipzig and the Royal College of Art in London (1994). Since then, free-lance. Started making typefaces in 1997. He edits the sign and symbol magazine Signa. He spoke at Typo Berlin 2004 and at ATypI 2005 in Helsinki where his talk was entitled On the edges of the alphabet. Coauthor with Tilo Richter of Signographie : Entwurf einer Lehre des graphischen Zeichens. He set up SIAS in 2006-2007 and started selling fonts through MyFonts.

    He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text typeface in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. He also created Andron 1 Monetary (2014), Andron 1 Alchemical and Andron 2 ABC (2014, for children's literature).

    On or before 2006, he created a few typefaces for Elsner & Flake. These include EF Beautilities, EF Ornamental Rules, EF Squares, EF Topographicals, EF Typoflorals, EF Typographicals, EF Typomix, EF Typosigns, EF Typospecs, EF Typostuff.

    Fonts from 2007-2010: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans).

    Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans typeface with 400 pictograms.

    Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements.

    In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accompanying Arthur Ornaments. Meanwhile, Andron Mega grew to 14,700 unicode glyphs in 2013.

    Typefaces from 2014: Behrens Ornaments (art nouveau ornaments based on Behrens Schuck by Peter Behrens, 1914), Fehlian (an open capitals typeface family with Plain, Gravur and Precious styles), Happy Maggie (a hand-drawn script based on Maggie's sketches when she was 13 years old), Abendschroth (for lullabies, girl's literature, murder poems, short stories and Christmas gift booksAlbyona English No. 1 (as Andreas writes, suitable for children's books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals), Lindau (a Venetian Jensonian typeface with considerable flaring in the ascenders), Grund (based on the 1924 art deco signage in Leipzig's Untergrundmesshalle Markt whose architect was Otto Droge), Leipziger Ornamente (based on variopus buildings in Gohlis, Leipzig, dating from the 1920s-1950s), Kaukasia Albanisch (ancient writing system of the Caucasus region, allegedly created by Mesrop who also invented the Armenian alphabet).

    Commissioned fonts include Runes (commission by Ludwig Maximilian University Munich), Lapidaria Menotec, Old Albanian, Dania (a special notation for Danish dialectology. Font extension of Latin Modern Italic (Open source), commissioned by the Arnamagnanean Institute, Copenhagen Universit).

    MyFonts. Behance link. Abstract Fonts link. Klingspor link.

    Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google] [MyFonts] [More]  ⦿

    SIL Apparatus Fonts

    Four free fonts that provide most of the symbols needed to reproduce the textual apparatus found in major editions of Greek&Hebrew biblical texts. Based on SIL Charis. [Google] [More]  ⦿

    SIL Greek Font System

    Six free fonts from the Summer Institute of Linguistics, divided into SIL Greek Trans, SIL Galatia and SIL Galatia Extras. "The SIL Greek Font System is designed to be an integrated system for entering, displaying and printing Biblical Greek texts. Also included are fonts for transliteration and conversion routines for going from one encoding to another." Free, all formats. [Google] [More]  ⦿

    Silver Mountain Software

    Shareware Windows utility for typesetting Greek, Hebrew, Latin and Coptic, with fonts included. The Greek font 5truetype) is called Sgreek. [Google] [More]  ⦿

    Silvio Levy
    [Greek (Silvio Levy)]

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