TYPE DESIGN INFORMATION PAGE last updated on Wed Oct 4 15:57:04 EDT 2023
FONT RECOGNITION VIA FONT MOOSE
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 typefaces 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: co-designed with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts).
Suisse International Condensed Cyrillic won an award at Modern Cyrillic 2014.
Sumana (2015, free at Google Web Fonts, and published by Cyreal) is a family of Latin and Devanagari fonts for text setting and web usage. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. [Google] [MyFonts] [More] ⦿
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] ⦿
38 Lineart Studio (or: Grayscale, or: Fontsources)
Architect and designer in Banda Aceh, Indonesia, b. 1980, who set up Grayscale, then 38 Lineart, and finally Fontsources.
In 2018, he released the hexagonally-patterned color font Space, the nervous monoline display typeface Barcelona, the monoline script Brandy, the tattoo and metal band blackletter font Amstha, Twinkle (hexagonal texture), Premium Quality, Hightide (signage script), Ashley Pages, Bold Grunge (a wood style Western font), Rabbit House, Strongbold (brush style), Onthel (a rhythmic signage script), Cafeine, Seulanga (calligraphic), Sweet Bubble, Downhill, Architecture (technical writing font), Wisethink (rough brush), Emerald, Ghotic, Oakland (signage script), Parthenon (signage script), Strawberry Night (script), the formal calligraphic font Beauty Athena, the inline font Epicentrum, and the signature font Attitude in 2018.
Typefaces from 2019: Ghoust (a marker font done at Cititype), Diamant Handwriting (a signature font), Utrecht (with Siti Saribanon Nurjannah), Exhibitionist (a fine rhythmic script), Holimount, Prague Metronome (a thin signature script), Allegroost (a brush typeface), Anisha (script), Kyoto Northern, ChiQuel (a Victorian display typeface that can be layered), Hillstone (a dry brush script), Malique, Ginchiest (a retro signage script), Kid Knowledge, Haghia, Khatija Calligraphy, Bernound, Graffity, Brandy Script (monoline), Downhill, Concept (sketched, blueprint font), Konya (signature script), Blacksmith, Curve Calibration (condensed sans).
Typefaces from 2020: The Pallace (a great natural inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Chipen (inline, all caps), Jakarta (a flowing inky script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Rhode White (a great signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Bailamore (a creamy signage script), Vogie (a sporty / techno sans family of 72 fonts, plus a variable font), Rollingtime (a brush script jointly designed by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Piedmont (a heavy connected handwriting script advertized as a masculine signature font), Whiplash (an all caps dry brush font), Aceh (a 36-style geometric sans), Youthink, Sacred Letter (a vintage weathered script), Serif Sketch (by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Corinthiago, Smart Chameleon (a handcrafted typewriter font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Hiroshima Gyoshi (a brush font inspired by Japanese calligraphy), Roughmarker (dry marker font), Brotherhood, Blugie (a fat finger font), Rome Ionic (an all caps roman typeface), Black Orchestra (a great horror or black metal font), Black Orchestra (a horror font).
Typefaces from 2021: Magreb (an 8-style renaissance serif typeface), Toxide (calligraphic; Celtic; uncial), Redtone (a 14-style geometric sans), Moula (an 18-style geometric sans for Latin, Greek and Cyrillic), Zouk (blackletter), Zagreb (an inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Alsace (Victorian), Backbone (a black metal blackletter typeface), Roundkey (a 24-style condensed, but not round, sans), Wordwalker (a marker pen font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah for Cititype), Sweet Bubble (a bubblicious font), Souljah (an elegant inky calligraphic script).
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:
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] ⦿
Aka Iorveth Aen Seidhe. Katowice, Poland-based designer of Slowglass (2017: a stocky 30-style geometric semi-serif sans family with vast language coverage that includes Cyrillic, Greek and Vietnamese), the rune simulation font Pertho (2016) and the penis font Semi (2016). He also made several interesting calligraphic pieces.
Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata).
Bandung and Jakarta, Indonesia-based designer of these local language fonts in 2014-2015: Prayara (for Kawi), Godhong (for Javanese), Kamo (for Javanese), Ngrawit, Palataran (for Balinese), Liwet (for Sundanese), Lontara and Lontaraq (for Buginese), Wijaya (for Kawi), Mulawarman (for Pallava), Pustaha (for Batak), Lilitan (for Balinese), Aturra (for Javanese), Wulang (for Javanese; based on the 19th century calligraphic handwriting of Serat Jayalengkara Wulang), Tantular (a humanist sans for Latin, Balinese, Batak, Bugis, and Kawi).
Designer of the multiscript Bodoni typeface Kasira (2015), which covers Latin, Cyrillic, Greek, and Balinese, and the Javanese fonts Nawatura (2016), Bangil (2016) and Makara (2016).
Typefaces from 2017, designed during his studies at Parahyangan University in Bandung: Nakea (Javanese), Pustaka (Javanese).
Typefaces from 2018: Batangan (Javanese), Kavali (Sundanese), Jogjakartaip (Javenese), Salapa (for Lontara script), Pustaka Bali (Balinese), Nawatura, Istaka, Dioharudin (Cirebonese script).
Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).
Fonts made in 2010: The ETH family (art deco sans).
Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).
In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).
At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).
In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.
In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).
In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.
Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).
Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).
Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).
Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).
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).
Greek graphic and type designer, b. 1954. He studied typography at London College of Printing. Since 1997 he designs and publishes the magazine Akro. He was a professor at Graphic Design Department of University of Wales College Newport and Creative Director of Basis, an advertising company based in Thessaloniki. He collaborates with Cannibal since 1999, where he designed Darkroom CF (brush face) and Smooth CF Condensed. . Klingspor link. [Google] [More] ⦿
Agios Eugraphos Type Optic Synergy
AETOS (Agios Eugraphos Type Optic Synergy) is a Greek type foundry, est. 2015, in Thessaloniki by Nick Margaritis. In 2015, Nick designed the spurred display typeface Kafenia. [Google] [MyFonts] [More] ⦿
Aka Acid (or: Cybertronical Design)
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.
Alan M. Stanier
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] ⦿
Late 15-th century Venetian scholar and printer, b. 1449, Bassiano, d. 1515, Venice. He founded the Aldine Press in 1495. His typefaces were all designed and cut by the brilliant Francesco Griffo, a punchcutter who created the first roman type cut from study of classical Roman capitals. Bembo, Cloister Italic and Poliphilus [aka Aldus Manutius' Roman] can be traced back to him. Example of his Italian Antiqua, 1499.
Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type typeface that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.
Digital typefaces derived from his work: 1501 Manutius (2001) by Klaus-Peter Schäffel.
Graphic and sound designer in Skopje, Macedonia. In 2014, he created the free squarish typeface Desonanz for Latin, Greek, Coptic and Cyrillic. The orginal design of Desonanz dates back to 2010. [Google] [More] ⦿
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.
Freelance Italian graphic designer, 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. Initially, he worked in Rome, with interests extending across linguistics, book design, information design, calligraphy, lettering, visual identities, and designing with multiple languages. In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). In 2007, he took a position at the Izmir University of Economics in Izmir, Turkey. In 2010 he co-founded ISType, a lecture and workshop series devoted to encouraging typographic literacy in Turkey. Presently he teaches typography and type design at Texas State University, School of Art & Design. He is the typographer and graphic designer for Contra Mundum Press (CMP), a boutique publisher based in New York and Paris that specializes in world literature and other genres.
He created these typefaces:
At ICTVC 2007, he spoke about 20th century Bodonians. Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. Home page. PDF file with samples of his fonts. [Google] [MyFonts] [More] ⦿
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] ⦿
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] ⦿
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.
Alice Savoie, Frenchtype
Alice Savoie is an independent typeface designer and researcher, b. 1984, based in Lyon. She studied graphic design and typography in Paris at Ecole Duperré and Ecole Estienne, and in 2006 graduated from the MA in typeface design from the University of Reading (UK). In 2014 she was awarded a PhD from the University of Reading for the research she carried out in collaboration with the Musée de l'imprimerie in Lyon (France). Her research focuses on the design of typeface in France, the UK and the USA in the postwar period, and for phototypesetting technologies in particular: International cross-currents in typeface design: France, Britain, and the US in the phototypesetting era, 1949-1975. She collaborates with international type foundries such as Monotype, Process Type Foundry, and Tiro Typeworks, and specializes in the design and development of typefaces for editorial and identity purposes. She also designs multi-script type families, including Latin, Greek, Cyrillic and Hebrew. She intends to sell her typefaces via 205 Corp.
Between 2008 and 2010 Alice joined Monotype as an in-house type designer, working mainly on custom type designs for international clients (The Times, Turner Broadcasting, Ogilvy, etc.). She has also contributed to the design of new typefaces for the Monotype library, such as the Ysobel type family (in collaboration with Robin Nicholas), and Rotis II Sans. Her type family Capucine is distributed by Process Type Foundry. In 2012 she collaborated with John Hudson/Tiro Typeworks over the development of the Brill typeface family for the Dutch publisher Brill. Since September 2013 she teaches typeface design at the Atelier National de Recherche Typographique in Nancy, and at ESAD Amiens (France). Her type foundry is called French Type.
She holds an MA and a PhD from the University of Reading (UK). She collaborates with design studios and type foundries on the design of multi-script typeface families. In 2018 she released the typeface family Faune, commissioned by the Centre national des arts plastiques (CNAP) in partnership with the Groupe Imprimerie Nationale. Alice teaches and supervises research projects at ANRT Nancy and ENSBA Lyon (FR). She is the principal Post-doctoral Researcher on the Leverhulme-funded project Women in Type under the supervision of Fiona Ross at the University of Reading. Her typefaces:
Typecache link. Klingspor link. At ATypI 2014 in Barcelona she spoke about phototypesetting. Speaker at ATypI 2016 in Warsaw on Typefaces for telephone directories, a talk in which she and Dorine Sauzet describe Ladislas Mandel's oeuvre. Speaker at ATypI 2018 in Antwerp. Behance link. Estienne link. Reading link. Another link for the University of Reading. Fontsquirel link. [Google] [MyFonts] [More] ⦿
Balikpapan, Indonesia-based designer of the script typefaces Judessant (2020), Samball (2020) and Assessment (2020), the grungy Corona Covid19 (2020), the chalk typeface Struggle Line (2020), the inky script Samudera (2020) and the monoline script typeface Hello I'm Coming (2020).
Typefaces from 2021: Guyon Gazebo (a wavy display font), The Rambutan (script), Shakila (script), Salma Alfasans (an almost monolinear geometric sans in 18 styles), Nabana (hand-printed), Barokah (a display serif with sharp edges), Mustica Pro (a geometric sans; 22 styles including a Hairline; +Cyrillic, +Greek), My Olivin (a rounded sans), My Rambutan (script), Judessant (calligraphic), Ananda (calligraphic), Assakita (script).
Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:
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] ⦿
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] ⦿
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.
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] ⦿
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 ain the piano key style, +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).
Typefaces made in 2012: DNR001 (hipster style), 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 ornamental mechanical, or steampunk, typeface), Alt Sake (a thin condensed poster typeface).
Typefaces from 2014: Ren (a free vintage display typeface family).
The free fonts as of 2015: ALTBELY, AltJoli, AltPixelsGoneBad, AltRe32-Duo, AltRe32-Normal, AltRenDuo, AltRenRegular, AltRenRetro, AltRenShadow, AltRetroBlack, AltRetroBold, AltRetroLight, AltRetroRegular, AltRetroThin, Alt-Twitchy, AltVxt11, Altapollo13, AltAeon-Black, AltAeon-Bold, AltAeon-Light, AltAeon-Medium, AltAeon-Thin, AltAeonRegular, AltAxlDeco, AltAxlRegular, AltDEVILE, AltGeko-AltGeko, AltMateyv2-Black, AltRobotechnica, AltSku, AltSkuItalic, AltUAV31, AltWet, Altapollo13-Black, Altapollo13, althazer, altsmaq2.8, altsmaq4.8, altsmaq6.8, altsmaq8.8, altexodus, altfatgami, altfatitalic, altfatregular, altfoldgami.
Typefaces from 2016: Sadistic (a free scratchy font), System Code (free programming font).
Typefaces from 2017: Rekt, Rogue (free).
Typefaces from 2018: Alt Catwalk (a fashion mag typeface family), Frantic, Looper (a compass-and-ruler font), Silent Scream (a free dry brush font). free).
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
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] ⦿
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 Duperré 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.
At Dalton Maag, she helped out with Nokia Bengali, which won an award at Granshan 2014.
American Philological Association
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] ⦿
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] ⦿
Graduate of of the Graphic and Media Design program of the London College of Communication at the University of the Arts London, who was first based in London, where she worked as a graphic designer, and is now in Thessaloniki, Greece, where she is at Mossom Design while studying at AAS College Thessaloniki. Fontstructor who made the modular art deco typefaces Mercury and Mercury Bold in 2012. In 2013, she created Modular Typeface and Fontastic Typeface (gridded). [Google] [More] ⦿
Greek designer in Thessaloniki of the Greek polytonic font Tartana (2010) for a Greek monastery.
Costa Rican graduate of the type design program at the University of Reading, class of 2017. Her graduation typeface there was Goji, a multi-script reverse-contrast typeface family created to celebrate the benefits of superfoods on websites. The family covers Latin, Greek and Kannada scripts. It includes various weights and styles, such as light, regular, bold, and an italic display. The most distinct feature of Goji is the horizontal stress.
At Type Cooper 2021, she developed Pea Pro and wrote: Pea Pro is display sans serif typeface inspired by the sports nutrition industry. Big ink traps and heavy weight features give it a strong character, ideal for large headings and branding applications. [Google] [More] ⦿
Copenhagen-based designer (b. 1986) of Tal (2014), a full set of numerals in many weights for use on small devices. Tal is advertized as free, but there are no download buttons anywhere.
In 2014, he also created the Open Source fonts Gidole Play (later renamed Gidolinya) and Gidole Sans [micropage], which is patterned after DIN 1451 and uses Euler spirals. Dedicated page for Gidole Sans. Github link for Gidole.
In 2015, he published Gidole Regular and the monoline sans programming font families Monoid and Mono 16, which cover Latin, Greek and Cyrillic. Gidole was forked and extended in 2016 at Open Font Library by Cristiano Sobral as Normung.
He modified the free M+ font to design MonoMusic for chords and tabs.
Lecturer at the Department of German Studies of the University of Szeged, Hungary. Designer of the free Utopia Nova font family for Latin, Greek and Cyrillic (2014-2015), which is a modified version of Andrey V. Panov's Heuristica font family, which in turn is based on the Utopia Type 1 fonts, designed by Robert Slimbach for Adobe and licensed to the TeX Users Group (TUG) for free modification and redistribution. Open Font Library link. The changes applied to Heuristica:
Andrey V. Panov
Andrey V. Panov
In 2012, he started Ukrainian Type.
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.
Creator of the Greek paperclip font Common Greek (2013).
Type designer who is employed by Artem Gorbunov (Gorbunov Bureau) in Moscow. Her typefaces there:
Type designer in Moscow. At WDC Fonts, she created the Venetian serif typeface Stiana (2013, with Eugen Sudak), based on models by Nicholas Jenson and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More] ⦿
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
Aoife is an Irish typeface designer and teacher. She has a BA degree in Visual Communications from Dublin Institute of Technology (2005) and an MA in Typeface Design from the University of Reading in 2010. Alongside her freelance practice, Aoife is an Assistant Professor at Kent State University, where she teaches typography and typeface design. Before moving to Akron, Ohio, Aoife worked as part of Hoefler & Co design team in New York (joining in 2011), developing Idlewild, Surveyor, and other typefaces. Most recently she worked with Frere-Jones Type on Mallory, and did some projects for Google.
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.
Speaker at ATypI 2016 in Warsaw on Synoptic Translations. Speaker at ATypI 2017 Montreal, where she entertained the crowd with socially relevant typography and type for dissenting voices. Speaker at ATypI 2018 in Antwerp. [Google] [More] ⦿
Apostolos D. Tsiovaras
Xanthi, Greece-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 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 references Young Ryu (2000) and Claudio Beccari (1997-1999).
In 2016, Pablo Garcia Risueño, Apostolos Syropoulos and Natalia Verges launched the free package SVR Symbols. The glyphs of this font are ideograms that have been designed for use in Physics texts. Some symbols are standard and some are entirely new.
Still in 2016, he designed the calligraphic Greek font Frederika2016 as an attempt to digitize Hermann Zapf's Frederika font. The font is the Greek companion of Virtuosa by the same designer.
One of the most dynamic foundries from 2000 until 2003. The "Lab" was run by Apostrophe (Fredrick Nader) and was based in Toronto. The name Apostrophe comes from a Frank Zappa song. 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:
Greek outfit which made AGIerissosE (1993-1995) and AGVienessaC (1997). The latter is a nice Greek script. Designers of 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] ⦿
Vendor of Mac and PC fonts for several languages and from a variety of companies, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More] ⦿
The was a commercial site located in West Clinton, Utah, that was run by Scott T. Smith from Clinton, Utah. It had Mayan, hieroglyphs, cuneiform, Syriac, Etruscan, old Greek, old Hebrew and archeological fonts as well as Native American dingbats. [Google] [More] ⦿
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 typefaces 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] ⦿
New York City-based creator of the dot matrix typefaces Disorient (2010) and Disorient Pixels (2010), both made with FontStruct. FontStruct link, where he publishes as Archer03.
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] ⦿
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] ⦿
Microsoft link for licensing. The font Arial Unicode MS is a full Unicode font, containing all of the approximately 40,000 alphabetical characters, ideographic characters, and symbols defined in the Unicode 2.1 standard. Arial was designed by Robin Nicholas and Patricia Saunders in 1982 for Agfa Monotype and was released as TrueType font in 1990. From 1993 to 1999, it was extended as Arial Unicode MS (with its first release as a TrueType font in 1998) by the following members of Monotype Typography's Monotype Type Drawing Office, under contract to Microsoft: Brian Allen, Evert Bloemsma, Jelle Bosma, Joshua Hadley, Wallace Ho, Kamal Mansour, Steve Matteson, and Thomas Rickner.
There is no italic version---only a regular and bold exist. Arial Unicode MS is normally distributed with Microsoft Office, but it is also bundled with Mac OS X v10.5 and later. It may also be purchased separately (as Arial Unicode) from Ascender Corporation (now absorbed by Monotype), who licenses the font from Microsoft.
Regarding the difference with ordinary Arial, we read this technical explanation on Wikipedia: When rendered with the same engine and without making adjustments for the different font metrics, the glyphs that appear in both Arial and Arial Unicode MS appear to be slightly wider, and thus rounder, in Arial Unicode MS. Horizontal text may also appear to have more inter-line spacing in Arial Unicode MS. This is due to larger bounding boxes (Arial Unicode MS needs more room for some of its extended glyphs) and the limitations of renderers, not changes in the glyph shapes. The lack of kerning pairs in Arial Unicode MS may also affect inter-glyph spacing in some renderers (for example the Adobe Flash Player). Arial Unicode MS also includes Hebrew glyphs different from the Hebrew glyphs found in Arial. They are based on the shapes of the Hebrew glyphs in Tahoma, but are adjusted to the weight, proportions and style of Arial. [Google] [More] ⦿
Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan (b. 1952) 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), Mijnadaryan (2013), GHEA Arpi (2013), Avandakan (2013), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface related to the modern fat typefaces), GHEA Narek Serif, GHEA Aram.
A partial list of his typefaces: ASF Angela, ASF Angela Sans, ASF Daniel, ASF Daniel Sans, ASF Daniel Slant, ASF Dar21, ASF George, ASF Goga, ASF Library, AVH Arman, GHEA Anahit, GHEA Aragast, GHEA Araks, GHEA Aram (skeletally related to didone), GHEA Aram Display, GHEA Aram Title, GHEA Ararat, GHEA Aratta, GHEA Architect, GHEA Arpi, GHEA Ashot Erkat, GHEA Aspet, GHEA Ayb (2020: a multilingual sans typeface for Latin, Cyrillic (+Bulgarian Cyrillic, +Ukrainian Cyrillic) and Armenian), GHEA Ayg, GHEA Bekum, GHEA Bever, GHEA Biayna, GHEA Circle, GHEA Davit, GHEA Diana, GHEA Dvin, GHEA Erebuni, GHEA Gohar, GHEA Granshan (an 18-style sans) (2021), GHEA Hayk Davtyan, GHEA Hayk Title, GHEA Helvetica Geo, GHEA Heqiat, GHEA Kamar, GHEA Karpet, GHEA Kars, GHEA Katil, GHEA Khoragir Pro, GHEA Koryun, GHEA Lilit, GHEA Mymekh, GHEA Narek, GHEA Narek Display, GHEA Narek Poster, GHEA Narek Pro, GHEA Narek Serif, GHEA News (2021), GHEA Parisp, GHEA Pastar (2021), GHEA Petur, GHEA Samo (wedge serif) (2021), GHEA Script, GHEA Sepatar, GHEA Shooter (2020), GHEA Tamara (2021), GHEA Tatev, GHEA TatevikArt, GHEA Terti, GHEA Tigran Pro, GHEA Title, GHEA TitleSS, GHEA Urartu, GHEA Vanadzor, GHEA Vem, GHEA Vernagrayin, GHEA Warm (2021), GHEA VoskeDar, GHEA Yerevan, GHEA Yerevan Serif, GHEA Yerkar, GHEA Zartonk (2021: an 11-style display sans for Latin, Cyrillic and Armenian), GHEA Zeytun, HASH Ani, HASH Ani Soft, HASH Anna, HASH Anush, HASH Ashtghik, HASH Ashtghik Serif, HASH Eva, HASH Heqiati, HASH Hripsimeh, HASH Romantic, IT Grinnar, LGSH Liana, MAA Marieta, MAA Sergo.
GHEA Narek Display won an award at the Morisawa Type Design Competition 2014.
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).
In 2018, he published Baobab.
Typefaces from 2022: Handcraft (a scrapbook script).
Studio in Moscow set up in 2007. Their typefaces:
Type designer in Antalya (or Istanbul), Turkey, who studied graphic design at Marmara University. Creator of the rounded organic sans typeface family Primus (2012-2015) and of the basic geometric sans typeface family Genius (2013-2015).
In 2017, he designed the 162-style geometric sans typeface family Artegra Sans, which covers Latin, Greek and Cyrillic. He added the 54-font family Artegra Slab later in 2017. Near the end of 2017, he designed the squarish Latin typeface Kufica, which is based on the Arabic kufic style.
ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:
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. Ascender's version of the CJK font Heiti is called ASC Heiti. 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?
"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] ⦿
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] ⦿
George Triantafyllakos was born in Thessaloniki, Greece, in 1980. In 2004, he was a PhD student, Department of Informatics, Aristotle University of Thessaloniki. Founder, with Manolis Pratsinakis, of Backpacker. He set up the independent foundry Atypical.
His typefaces at Atypical: Atypical (2014), Burger (2014), Cornelius (2014, art deco), Direct (2014, sans), Donmeh (2016), Friday (2014), JoyD (2015, flared and lapidary), Marx in France (2014), Marx in USA (2014, condensed fashion mag style with teardrops), Monotonous (2014, monoline and monospaced), PhD (2014, squarish), Slab (2014), Vs (2017), Walter (2014, art deco, with Hollow and Stencil styles, and a possibility of layering with patterns).
At the open source type foundry Velvetyne, he added the Greek chracters to Lucas Le Bihan's Sporting Grotesque (2016).
Author (1811-1868) of Geoffroy Tory, peintre et graveur, premier imprimeur royal, réformateur de l'orthographe et de la typographie sous François Ier (2e édition, entièrement refondue) (1865, E. Tross, Paris). Local download in PDF [13.8MB].
In 1856, Auguste Bernard published Les Estienne --- Les types grecs de François premier, in which he presents 16th century Greek typefaces known as les grecs du roi. [Google] [More] ⦿
The original Avenir typeface was designed by Adrian Frutiger in 1988. Unlike Futura, which has partially colored Avenir, Avenir is not purely geometric---it has vertical strokes that are thicker than the horizontals and a lower case o that is not a perfect circle. And just as most fonts from the 1980s, Avenir has shortened ascenders. These nuances aid in legibility but the small x-height makes it less elegant.
In 2012, Akira Kobayashi worked alongside Adrian Frutiger on Avenir Next. Akira kept expanding Avenir to cover more languages. Avenir Next World family, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.
Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). See also Avenir Next Paneuropean (2021; 56 styles; by Akira Kobayashi). [Google] [MyFonts] [More] ⦿
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] ⦿
William Ramey's pages on Akkadian, Aramaic, Assyrian, Coptic, Cuneiform, Cyrillic, Egyptian, Greek, Hebrew, Hieroglyphics, Latin, Meroitic, Nahkt, Phoenician, Sumerian, and Ugaritic. [Google] [More] ⦿
George Triantafyllakos was born in Thessaloniki, Greece, in 1980. In 2004, he was a PhD student, Department of Informatics, Aristotle University of Thessaloniki. Founder, with Manolis Pratsinakis, of Backpacker, where one can find free Latin and Greek typefaces: 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 typefaces. Commercial handwriting fonts at Cannibal (2001-2005): BPPallas, BPOlga, BPMaria, BPHaroula. 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).
He set up the independent foundry Atypical.
Designer of TapeBold (2015, iFontMaker).
In 2016, he released the free all caps sans typeface Hellenica for Latin, Greek and Cyrillic.
In 2017 he participated in the team of designers who won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peemöller).
Bastarda Type (was: No Name Type Foundry)
Bogota, Colombia-based outfit, est. 2017 by Jason Guzman, Sebastian Castellanos and Federico Parra. Type designers associated with Bastardatype in 2022 included Oscar Guerrero, Julian Moncada and Fer Cozzi. Sebastian Castellanos graduated from the MATD program at the University of Reading in 2015. His graduation project was Orca (2015). It covers Latin, Greek and Thai: Orca was inspired by alcoholic beverage labels. It is constructed of a blend of sharp serifs and brush out-strokes which create a dynamic combination of angular lines and curves.
The list of type designs:
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] ⦿
American type designer who graduated from the MATD program at the University of Reading in 2015. Her graduation typeface was Etincelle, which was designed with long ascenders and descenders to better blend with the deep swashes of a specific style of Arabic used for Ajami languages in northern Nigeria and southern Niger. In addition to Arabic, Etincelle currently includes Greek, Cyrillic, and extended Latin characters. Etincelle Arabic Bold is the first attempt at a typeface design based on handwritten manuscripts from Nigeria, in a style of writing called Rubutun Kano by the speakers of the Hausa language.
Becca is affiliated with SIL International, where she was involved in the following projects:
Programmer and font technologist in Hefei, China. He wrote a parametric program that can create fonts. His first adventure is the gorgeous (monoline monospaced) programming font Iosevka (2015), which is completely free: for the source code, see Github. It has 7 weights and 6 styles and is entirely programmed. Belleve says that he was inspired by Pragmata Pro, M+ and PF DIN Mono. Github link to the releases. The font covers Latin, Greek and Cyrillic, and is narrower than many fonts in order to be compatible with CJK characters. A tour de force that deserves an award. The 27-style Iosevka Extended was released in 2020. Jozsika (2015-2017) is a customized version of Iosevka Curly. Github link. Aardvark Sans (2020) by a mystery author is also based on Iosevka.
In 2019, he released the free semi-monospaced font Zapus Sans. It is based on his earlier typeface Iosevka Aile.
Sarasa Gothic (2020) is a CJK programming font based on Iosevka and Source Han Sans.
Designer of the multistyle free monospaced octagonal and pixel font family Bedstead (2017), covering, Latin, Greek, Cyrillic, Hebrew, mathematics, and a slew of other things. He explains: Bedstead is an outline font based on the characters produced by the Mullard SAA5050 series of Teletext Character Generators. The SAA5050 is familiar to those of a certain age as the chip that produced the MODE 7 display on the BBC Microcomputer. It generates characters from a 5x9 pixel matrix, smoothing diagonal lines to produce an interlaced 10x18 matrix for each character. Bedstead extends that algorithm to continuity, converting a 5x9 pixel grid into an outline with smooth diagonals. [Google] [More] ⦿
Graduate of the type design program 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 is a partner at XYZ Type with Jesse Ragan.
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. The typefaces are named New Yorker Irvin and New Yorker Neutraface. In 2012 at House Industries he revived the Photo Lettering Inc font Worthe Numerals, which pushed fat didone to its limits.
Still at House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.
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 co-designed by Jesse Ragan and Ben Kiel---it was a custom signage typeface for Aldo Shoes.
In 2015, Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of ATF typefaces. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. Ben Kiel co-designed, sometimes with others, classics such as ATF Alternate Gothic (2015), ATF Brush (2015), ATF Egyptian Antique (an expansion of Schraubstadter's Rockwell Antique by Mark van Bronkhorst, Igino Marini, and Ben Kiel), ATF Railroad Gothic (2016), ATF Garamond (2015), ATF Headline Gothic (2015), ATF Livermore Script (by Mark van Bronkhorst, Igino Marini, and Ben Kiel), ATF Poster Gothic (2015) and ATF Wedding Gothic (2015).
At XYZ Type, Ben Kiel co-designed Cortado Script in 2013 with Jesse Ragan and designed the sans typeface Grep (2017).
In 2019, Ben Kiel participated in the development of ATF Franklin Gothic (Mark van Bronkhorst, Igino Marini, and Ben Kiel). A broad and multi-weight interpretation of Morris Fuller Benton's classic from 1905, Franklin Gothic, which only had bolder weights. For the lighter styles, the designers were inspired by Benton's Monotone Gothic.
Girard Sky (2019) is based on Alexander Girard's original typeface for his redesign of Braniff Airways. Working with the original drawings for the photoset typeface found in the Girard archive, the design was revived as part of the Alexander Girard collection. Followed by Girard Slab (2019).
Type designer associated with Heumm Design in North Korea.
Typefaces from 2021: HU Blackout (a blocky sans; for Latin, Greek and Cyrillic), HU Garaetteok (a rounded headline sans), HU Mois (a handwriting typeface by Yehyeong Lee and Beopho Choi; Latin, Greek and Cyrillic), HU Kinderland (a fat finger font by SangHyeon Park and Beopho Choi). [Google] [MyFonts] [More] ⦿
Graduate of the MA Typeface Design program at the University of Reading in 2011 who was born in Germany. Her graduation typeface was Clint (2011), a text family for Latin, Greek and Cyrillic. Clint is characterized by multiple personalities, with asymmetric serifs, a daring axis, some timid ball terminals, and other exogenetic details.
Bianca specializes in the technical aspects of type design. As a font engineer with a background in civil engineering, communication and typeface design, she joined the Brixton, UK-based Dalton Maag type foundry in 2011. Until 2018 she headed their Skills & Process team, responsible for training and development, knowledge management, and for the implementation of font development processes. In 2018, she was appointed Creative Director and became responsible for ensuring that Dalton Maag remains at the forefront of type innovation. She directed the design of brand typefaces and complex type systems for international clients such as the Amazon, AT+T, BBC, Bodyform, Goldman Sachs [Goldman Sans], and Jacobs Engineering Group [Jacobs Chronos], and oversaw the design and refinement of wordmarks and font modifications.
Bible Works Fonts
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 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 Donald 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. Before that, he taught at Stanford University, Rhode Island School of Design, and other institutions. Typefaces designed by Bigelow:
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] ⦿
Juan Luis Blanco is a graphic designer, type designer and calligrapher based in Zumaia in the heart of the Basque country. Since 1993, he works as a freelancer graphic designer. In 2013, he obtained an MA in Typeface Design from the University of Reading. Currently he combines calligraphy classes and graphic design with typographic projects that focus on Basque lettering as well as multi script typefaces involving the Latin, Arabic and Tifinagh alphabets.
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.
A list of his typefaces:
Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously. [Google] [MyFonts] [More] ⦿
Bold Monday is an independent font foundry established by Paul van der Laan and Pieter van Rosmalen and based in Eindhoven, The Netherlands (and before that, The Hague). Pieter van Rosmalen (Eindhoven, The Netherlands) studied advertising and graphic design at Sint Lucas in Boxtel and graduated from the postgraduate Type & Media program at the Royal Academy of Art (KABK) in The Hague in 2002. He runs Bold Monday's Eindhoven office.
In 2018, Bold Monday joined The Type Network.
Pieter van Rosmalen has designed retail as well as custom typefaces for clients worldwide, such as NBC Universal, Audi AG, General Electric and KPN. One of Pieter's designs is used for street signs in South Korea. Pieter's retail typefaces in the Bold Monday catalog include
Bold Monday also has typefaces by other designers. In 2012, Bold Monday published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd. Oskar (2002-2013). 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. In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd.
Further typefaces include Feisar (techno), Flex (sans), Naomi (1999) and Pixel Package.
GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition.
In 2018, Pieter published the experimental pixel-inspired typeface family Alterego.
Typefaces from 2021: Stanley: Bold and broad-shouldered, Stanley is a poster typeface collection in three styles rooted in the first sans-serif designs of the 19th century---the grotesques. Stanley is available in Normal, Stencil, and Stencil Rough.
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 (Futura Today, 2012, with Paul van der Laan), and NBC Universal. For Holland Festival in 2014, Paul van der Laan designed the stencil typeface HF Stencil (in collaboration with design studio Thonik, Amsterdam, and Diana Ovezea), a design inspired by Glaser Stencil.
Bold Studio (was: Studio BB)
Borutta (or: Duce Type)
Borutta (or Duce Type) is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).
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, which is based on an earlier De Stijl-genre alphabet by Freudenreich. In 2020, they released the free typeface family SYN Nova, which includes additional styles and a variable font.
Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: 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 (an organic sans family, renewed in 2016 as Aneba Neue), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +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. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.
Typefaces from 2015: Tupper Serif (again with RR Donnelley: a custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).
Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system co-designed with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard changed to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker / Futura take on Alergia Grotesque).
Typefaces from 2017: Nocturne Serif, Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).
A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski. Google Fonts link for Bona Nova. Github link for Bona Nova.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.
Typefaces from 2019: Gaultier (a sans family that is based on the styles of Claude Garamond, Robert Granjon and Eric Gill---a serifless Garamond and Gill Sans hybrid; includes a fine hairline weight), Aioli (a commissioned type system), Promo (a rounded sans family), Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets; followed in 2022 by Sigmund Pro (15 styles)), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).
Typefaces from 2020: Tyskie (a custom sans for Tyskie Magazine), Habibi Display (an ultra-fat display typeface inspired by bold Arabic headline typefaces), Podium Soft, Afronaut (an experimental Africa-themed font). In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy.
Typefaces from 2021: Alfabet (a 20-style Swiss-inspired sans with narrow connectors, with support for Latin (+Vietnamese), Greek and Cyrillic scripts, including Ukrainian, Bulgarian and Serbian forms), Change Serif (a 10-style Robert Granjon-genre garalde designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021; the main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms; each font contains 4000 glyphs and covers Latin, Cyrillic and Greek), Engram (a soft geometric sans family in 22 styles; close to his own earlier font, Enigma, 2016).
Typefaces from 2022: Yalla (inspired by Arabic headline type).
Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.
Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic.
In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy (2020). [Google] [More] ⦿
Branding with Type
Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the type foundry Alberto Romanos. In 2015, that morphed into Branding with Type.
In 2015, he created the variable width condensed grotesque and poster typeface Bw Stretch, and the bespoke retro-futuristic elliptical sans typeface Flat Sans for the Spanish digital agency Flat101. During Typeclinic 11th International Type Design Workshop, he created the typeface Stretch Caps (2015).
In 2016, he designed Bw Darius (a sharp-edged high-contrast 4-style typeface family), Bw Surco (humanist sans for Latin and Cyrillic), Bw Modelica (a minimal, robust, reliable and pragmatic geometric sans in 64 styles), Bw Modelica Ultra Condensed, Bw Modelica Condensed, Bw Modelica Expanded, and Bw Mitga (a sans with strong personality and a 16 degree angle that dominates the design).
Typefaces from 2017: Bw Nista (Grotesk, International and Geometric), the Cyrillic / Greek expansion of Modelica, called Modelica LGC, Bw Helder (an 18-style sans typeface developed with Thom Niessink), Bw Gradual (an eccentric ink-trapped hipster sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.
Typefaces from 2018: Bw Seido Round (a rounded almost-but-not-quite monoline sans in 12 styles that takes elements from DIN 1451; fiollowed in 2019 by Bw Seido Raw), Bw Vivant (a Peignotian typeface co-designed wih Moritz Kleinsorge).
Typefaces from 2021: Bw Pose (Bw Pose No 3 and Bw Pose No 5, two times twelve fonts: didone typefaces with additional features such as uninterrupted slabs in the No3 family, and occasional wedges in the uppercase).
Bretagne Type Foundry
French graphic and type designer who studied at Ecole Estienne, class of 2016. After graduation, he worked with Raphael Bastide and Large. A frequent contributor to Velvetyne, he set up Bretagne Type Foundry in 2016.
Creator of the vintage typeface Nanook (2015, free at Open Font Library; see also Github). Nanook is based upon lettering of Robert Flahert's documentary, Nanook of The North. He also was involved in the creation of the transitional curveless typeface Avara Two (2013). Originally developed by Raphaël Bastide, it was later adjusted by Wei Huang and Lucas Le Bihan. Typefaces at Bretagne Type Foundry:
Typefaces at Bretagne Type Foundry:
Brett T. Johnson
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] ⦿
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] ⦿
E.J.Brill is an 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] ⦿
Graphic designer from Catania, Italy. He created the ultra-geometric typeface Eidos (2013).
In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. Bruno La Versa did the illustrations for that project. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. [Google] [More] ⦿
Type designer associated with Heumm Design in North Korea. Creator of the monolinear hand-drawn typeface HU Cookie (2020, with Haerin Lee and Rumi Kim), HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park), HU Hand Serif (2020: with Yehyeong Lee and Haerin Lee), and HU The Game (2020, with Haerin Lee), a typeface with mini-spurs and odd terminals that is designed for display.
Typefaces from 2021: HU Sangsang (a fat finger font by ByoungHeon Park and Jueun Kim), HU Masking Tape Latin (a masking tape font for Latin, Greek and Cyrillic by Rumi Kim and ByoungHeon Park), HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim).
Byzantine Music Fonts
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] ⦿
Cafe.no was founded in 2000 by Norwegian designer Cato Hernes Jensen, who holds a BA in Graphic Design from Staffordshire University (UK) and an MA in Sociology from the University of Oslo. He also studied computer engineering in his hometown Horten.
His typefaces include Journeyman (2016: an all caps layered display typeface in the sign painter tradition, which comprises 3d Shadow and Silhouette styles and covers Latin, Greek and Cyrillic).
Based in Steenvoorde, France. 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.
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, CF Dromon (2014-2015: a revival of the Greek traffic signage font that in turn was initially designed and adopted by the Ministry of Public Works in 1974 based on an adaptation of the British model designed by Jock Kinneir and Margaret Calvert in the 1960s), CF2 Eteocles, CF2 Fat, CF2 Garamond Greek, CF2 Holly, CF2 HotMetal, CF2 Initials, CF Klak (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos, based on Greek movie posters from the 40s, 50s and 60s), 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, CF Salamis (designed by Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos), 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 co-designed the signage typeface CF Majestic (2013).
In 2014, Cannibal published Genesis. In 2015, they added the Greek script font Red Script. In 2016, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the calligraphic script typeface CF Ariston and the connected script typeface CF Astir. In 2017, Vassilis Georgiou, Yiannis Karlopoulos and Panos Haratzopoulos co-designed the Greek brush script typeface CF Splendid (with two substyles, Serano and Special).
In 2021, Haratzopoulos released CF Modern Grotesk at Fonts.Gr. This almost monolinear sans attempts to be neutral in the Helvetica and Univers genre. It include variable fonts.
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.
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] ⦿
CAST, or Cooperativa Anonima Servizi Tipografici (est. 2014, Bolzano, Italy) is a digital type foundry dedicated to the production and marketing of high quality fonts catering to specific needs, especially in the areas of branding and publishing. Their typefaces:
Designs by Jason Castle from San Rafael, CA, who studied psychology at Dominican University of California. He does custom font design and sells commercial typefaces through MyFonts and FontShop. Blog. These include:
Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. Thalmann is an astrophysicist by training.
Catharsis had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).
At Catharsis, the commercial foundry, he published Octant in 2013: Octant is an original steampunk display typeface drawing inspiration from Victorian-age steel and brass engineering, as well as from blackletter typography. Gryffensee (2013, in styles called Eins, Zwei and Drei) is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. It also covers Cyrillic.
Backstein (2013), baked brick, took its inspiration from the broken antiqua lettering in Berlin's old subway stations.
Volantene Script (2013) is a (free) uncial display typeface inspired by the penmanship of Lady Talisa Maegyr-Stark as seen on HBO's Game of Thrones. Numina (2013, Glamour and Glory substyles) is an extensive condensed fashion-oriented typeface family related to Skyline and Corvinus.
Maestrale (2013) adds calligraphic and flamboyant extenders to a decorative text typeface for a dramatic effect. Choose between Maestrale Manual (swashy) and Manuale Text.
Blumenkind (2013) is inspired by an instance of metal-strip lettering found on the Bürgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s.
Brilliance (2013) is a glamorous contemporary display blackletter combining the rich tapestry of Textura with a hint of the airy lightness of Spencerian script. Let's say that it is a light-hearted Textura.
In 2015, he made the free 45-style classic serif typeface family Cormorant, which includes several unicase fonts. This typeface started out in 2014 as Paramond, a light, contrasted, space-taking Garalde with impossibly tiny counters and long extenders. Links to the Google Font directory: Cormorant, Cormorant Garamond, Cormorant Infant, Cormorant SC, Cormorant Unicase, Cormorant+UprightCormorant Upright. See also CTAN.
In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.
Typefaces from 2017: Tesserae (kitchen tile style), Traction. Traction was originally conceived and designed by Christian Thalmann. Chiara Mattersdorfer and Miriam Suranyi expanded, completed and produced the font family. This typeface sports signature serifs, soft edges and a fluid, organic design.
In 2018, Christian started work on a blackletter-themed stencil typeface, first called Komik Ohne (the German for Comic Sans) and later named Kuschelfraktur (2019).
Overbold (2019) is described by him as follows: Overbold is an unapologetic display typeface inspired by an illustration in Eric Gill's Essay on Typography (p.51), in which he demonstrates how not to make letters. In particular, he shows that increasing the weight of the downstroke in a serif A without structural adjustments yields an absurd, overbold result. I found the letter so charming that I decided to blatantly disregard Gill's wisdom and draw an entire overbold typeface. Here is the result. I'm not sorry.
Greek designer of the free font Pumped Up Kicks (2011, hand-printed).
Cato Hernes Jensen
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] ⦿
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] ⦿
Kevin Pease runs Cerulean Stimuli in Collingswood, NJ. He created the typefaces Cerulean (2003) and Cerulean Black (2005). Check also his pixel family Fourmat (2004) and the very original card game-inspired Pokeresque (2006).
In 2016, he designed the unicase display typeface family Cerulea for Latin, Greek and Cyrillic. In 2017, he published Walklike, its name referring to the song Walk Like an Egyptian and thus to hieroglyphic influences. He ends 2017 with the balloon font family Glazed.
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] ⦿
Type designer. Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More] ⦿
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.
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.
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).
Chris' British Road Directory
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] ⦿
Christ Trek Fonts
Tim Larson (Christ Trek Fonts) is the Minnesota-based creator of the Open Font License fonts Marapfhont (2009, inspired by the logo font of the classic 1990s game Marathon) 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.
In 2013, he finished the pixelish typeface Looks Like Spht. In 2014, Tim Larson published the free Hebrew simulation font Hananiah (2014, OFL), which is based on Ezra SIL. It also includes regular Hebrew. In 2015, he published the German expressionist typeface Abibas [Abibas is a fork/extension of Gamaliel, a blackletter by Rafael Ferran i Peralta].
Christian "Cinga" Thalmann
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 (Gerstner, Gredinger und Kutter) 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:
Thessaloniki, Greece and Korce, Albania-based designer of the fine free (Latin) display typeface Geometrico (2016). His main thing, though, is the design of sets of icons, such as the large varied sets Slimicons (2016) and Sharpicons (2016). His company is called Dreamstale. Behance link. Creative Market link. [Google] [More] ⦿
Active type expert and type designer, who created FF Mark in 2013 together with Hannes von Döhren and the FontFont team. This 10-style font family spanning hairline to black is marketed as Ze new Germanetric sans. The FF Mark Ultra weight, published in 2015, is absolutely stunning. One of the weights of FF Mark is free.
In 2016, he designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers: It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017. In 2020, Fabrikat Normal was released at Hans von Doehren Fonts.
In 2020, he released Pangea and Pangea Text at Fontwerk. He writes: Pangea is a symbol of not only living together but of global cooperation. While Gergo Kokai from Hungary supported him in the design of the upright characters, he brought Tanya George from India on board to work on the italics (work in progress). He consulted with Irene Vlachou from Greece and Ilya Ruderman from Russia to ensure the quality of the Greek and Cyrillic characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his iKern tool. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, extended Latin, Cyrillic, Greek and Vietnamese are already included. Arabic, Hebrew and other languages are to follow. In 2021, he added the free 20-style Pangea Afrikan family with coverage of most of Africa's languages.
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] ⦿
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 Fonts
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] ⦿
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 and at Open Font Library. Free download of Playfair Display Italic.
In 2014, Claus designed Inknut Antiqua, a free angular text typeface family for low resolution screens, designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. Google Fonts link for Inknut Antiqua. Open Font Library link. Inknut Antiqua covers Latin and Devanagari.
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] ⦿
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.
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 (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More] ⦿
Computer Modern Unicode fonts
Andrey V. Panov developed the 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.
In 2008, he made Heuristica (or Evristika), a serif family that extends Adobe's Utopia (for Latin, Greek and Cyrillic). Heuristica was improved in 2014 by Andreas Nolda as Utopia Nova. Open Font Library link for Heuristica. Download site for Heuristica.
Athens, Greece-based designer of Runabic (2015), a typeface for Latin and Greek that combines Nordic rune elements with pixacao graffiti. In 2018, he published the spurred typeface Avacyn. [Google] [More] ⦿
Stefan Peev (Context Ltd, Plovdiv, Bulgaria) released the free Latin / Cyrillic sans typeface Selena, the free transitional text typeface Sibila, and the sans typeface Bretan in 2014 via the Open Font Library. Tipotype (2014, free at Open Font Library) is a roman type serif font family inspired by the well known fonts like Free Serif, Tex Gyre Termes and Omega Serif. Besides Latin and Cyrillic, Tipotype also includes the "Bulgarian" letterform model, which has been proposed by a group of Bulgarian designers in the 1960s. In 2015, he published the old Slavonic typeface Supralskija, the text typeface Sibila, and the commercial (and sometimes free) sans typefaces Tervel, Hemus, Repo, Omurtag, Gremi, Plovdiv (the project started as a part of the official programme of Plovdiv---European Capital of Culture 2019), Libra Sans (based on Liberation Sans), Font Night (an art deco project with Krassimir Stavrev for an event in Plvdiv), and Coval.
In 2016, he designed the free Libra Serif Modern (based on Libra Serif), the free text typeface Pliska, the free Veleka (a modification of Charis SIL to cover Bulgarian Cyrillic and Greek), the free font Linguistics Pro (based on Andreas Nolda's Utopia Nova), Maritsa, Perun (a modification of Free Universal (Stephen Wilson, 2009) and SIL Sophia (1994-2008)), Arda (a condensed sans), Libra Sans Modern, HK Grotesk (he added Cyrillics to Pradil's Latin font), and Bogorov (Cyrillic font).
In 2018, he designed the Cyrillic revival typeface Grazhdanskiy Shrift.
In 2020, he released the manicured family Hebert Sans. and the condensed sans typeface Arda (which is in the orbit of Akzidenz Grotesk)
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] ⦿
Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). In 2002, Pancini developed Targa, TargaMS and TargaMSHand (for comic books?), basing his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.
MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. See also Coco Gothic Pro (2021).
In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.
Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. In 2021, he published the 48-style (+variable) font family Coco Gothic Pro. This is a redrawn and expanded set of fonts: Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicita) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. [...] A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true typographic time machine, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties' minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century. There is also attention to Darkmode and there is coverage of Cyrillic and Greek.
Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).
In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.
In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.
Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.
Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.
Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.
In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.
Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).
In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).
His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.
In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.
In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.
In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.
In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.
In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.
Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.
Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.
In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).
In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weight and width axis.
In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. Late in 2020, they added Erotique Sans, the sans version of Erotique, also designed by Cosimo Pancini and Maria Chiara Fantini.
Late in 2020, he co-designed the 46-style font family Eastman Grotesque together with Francesco Canovaro and Andrea Tartarelli. This monolinear sans with a tall x-height comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs. The typeface evolved from Zetafonts' earlier Bauhaus-inspired typeface Eastman (2020). Later fonts in this family include Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).
In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.
Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.
Coco Sharp (2021) is a 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.
Co-designer of Heading Now (2021), a 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.
Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero). A German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy. Pancini, its main designer, writes that it explores the impossible territory between antiqua and blackletter.
Geppetto (2021) is a frivolous Tuscan font that started out as a revival of a condensed Tuscan wood type family appearing in the 1903 Tubbs Wood Type catalog and which was probably derived from an 1859 typeface by William Hamilton Page. Pancini built a variable font on top of it and calls it a font for fake news.
In 2021, Pancini added Coco Tardis as a variable font with a time travel slider to the Coco Gothic family.
Millard Grotesque (2021) is a true "grot" in the Akzidenz Grotesque sense of the word. This typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.
Pancini's Descript (2021) is a variable script font with two axes, slant and speed of writing.
Constantine Mylonas, of Athens, Greece, was an emeritus professor of engineering, who taught at Brown University from 1953 until 1981. During World War II he served in the Greek army until the Nazi occupation of Greece, then escaped to Egypt and served in the Free Greek Navy in Alexandria. He received his PhD from University College, London, and went to Brown in 1953. He conducted research into the strengths of materials. He was a champion marksman with pistols and represented Greece in the 1947 World Shooting Championship in Stockholm. He was also a member of the 1948 Greek Olympic team.
In 1991-1992, Costas Mylonas and Ron Whitney (of the AMS) co-designed a set of Greek fonts called Euclid, which they describe in their article Complete Greek with Adjunct Fonts (TUGBoat, vol. 13, pp. 39-50, 1992). This Times-Elsevier Greek font family was developed using MetaFont and was never released to the public. [Google] [More] ⦿
CoType is the London-based type foundry of Mark Bloom and Joe Leadbeater, est. 2019. Their typefaces include
Type design studio in Lisbon, Portugal, founded in 2018 by type designer Joao Cracel. In 2019, Craceltype published the 18-style humanist sans typeface families Jano Sans Pro and Jano Sans Std. In 2020, they added Jano Round.
Typefaces from 2021: Lydia Sans (a 24-style Latin / Greek / Cyrillic geometric sans in the Futura orbit; with two variable fonts).
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. In 2015, he created the display typeface Peggy Gothic.
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, based on insect antennae. Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).
Between 2006 and 2010, he published Agamemnon, a large and warm transitional slab serif typeface with wood type influences that covers Latin, Cherokee, Cyrillic and Greek.
Damian's take on Bookman is Bookseller Bk (2020): it has straightened serifs on the ascenders and features some ball terminals to distinguish it from the original Bookman. Damian's italic is totally different though. Damian says that Bookseller is based on a typeface found in a French book published between 1882 and 1893 and cites Didot, Scotch Roman and Clarendon as distant references. Bookseller covers Greek and Cyrillic and shows sturdiness for small print. See also Bookseller Cp (2020: a 12-style Scotch family).
Typefaces from 2021: Sweetener (a sugary script), MultiType Brick, MultiType Rows (34 fonts with horizontal stripes as in retro video games), MultiType Brick (brick-textured), MultiType Glitch, MultiType Gamer (a 24-style retro gaming font family), MultiType Pixel. [Google] [MyFonts] [More] ⦿
Petros Vasiadis is a graduate of Vakalo Art & Design College who works in Athens, Greece. Petros Vasiadis set up CYN Fonts in Athens, ca. 2013, and 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. In 2015 Cyn Fonts had these typefaces: Actual, Calimera, CYN Pan, CYN Singing, CYN_4Uven, CYN_autofly, CYN_autoLimit, CYN_autoLimit_it, CYN_AutoPOL, CYN_AutoPOL_it, CYN_autoSide, CYN_autoSide_it, CYN_autozen free font, CYN_Byron, CYN_Byron_it, CYN_FILOS, CYN_FILOS_italic, CYN_Forgiven, CYN_Forgiven_italic, CYN_Goodinside_italic, CYN_Goodinside_shadow, CYN_Nextshift, CYN_Nextshift_i2, CYN_U (2011, free brush face), CYN_UFos, CYN_Unlimited, CYN_Unlimited_it, CYN_Unlimited_U, CYN_Ypsoma, CYN_Ypsoma_Bold, CYN_Ypsoma_Bold_it, Gearus, Logikfront, Merider (:Me Rider:), Pagkrati, RighOn.
In 2015, he published Cyn Filos (free rough brush font), Covalt, the curly typeface Medelsan, the stencil typeface Quaummerce, the interesting 10-weight Latin / Greek sans family Pinaxi (commercial). Its very open forms and organic feel make this ideal for mobile devices. He also made a proposal for a drachma symbol at the height of the Greek Euro crisis in June 2015. Still in 2015, he designed the grunge fonts Studiomast and Typink, the free handwriting font Cyn Goodinside, the calligraphic nibbed typeface Erasty, the nibbed typeface Achieve, the commercial vintage poster typeface Palko, Delyte, Bortrait, Porta, Maternity, The Loom, the handcrafted Tasy and Innosend, the nibbed typefaces Nicky, Relevancy and Applauds, the amoebic Locker, the octagonal Powergo, the inky script typeface Trip, and the monospaced organic sans typeface Bot (Latin and Greek).
Typefaces from 2016: PVF NeuTymes, PVF Clothing, PVF Over, PVF Newtown, PVF Mazzy, PVF Saved, PVF Seventy, PVF Solon (Greek simulation font), PVF Springs, PVF Climax, PVF Tropo, PVF Riding, PVF Spice, PVF Cash, PVF Chock, PVF Presence, PVF Codesk, PVF Saved, PVF Pop, Stroma, Ally, Hutch (tattoo script), Treesign.
D. Paul Alecsandri
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] ⦿
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 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 (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.
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 typefaces: 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.
In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.
Dalton Maag created the custom typeface family Facebook Sans in 2017.
Bressay (2016). Stuart Brown led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016. Later additions include Bressay Arabic [designers not identified by Adobe] and Bressay Devanagari [designers not mentioned by Adobe].
ATT Aleck is a large custom typeface family designed in 2016.
Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.
In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.
In 2019, Dalton Maag produced a corporate typeface for Air Arabia.
Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.
Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).
Interview in 2012 in which he stresses that typefaces should above all be functional.
View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp.
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. He briefly was type director at Monotype Imaging, based in the UK, and is scheduled to replace David Lemon as the new Senior manager of the Adobe Type team at the beginning of 2017. In 2021, Dan Rhatigan joined Type Network where he curates Type Network's typeface library and oversees its foundry relationships.
Dan is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik.
His graduation typeface at Reading 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).
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.
Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).
Speaker at ATypI 2017 Montreal.
Daniel Benjamin Miller (b. 2000, New York) is an undergraduate student in philosophy at McGill University. His type design work:
Miller is a supporter of free and open-source fonts, as well as free and open-source software. He uses FontForge for design, and releases all his work under free licenses: I really just want people to be able to use my designs, improve them and share them. First, on a pragmatic level, I know that my work will be imperfect, and I'd like others to be able to use their judgment to make adjustments (which I hope they'll also release under a free license). Second, I think that too much material (and not just fonts) is behind barriers of restricted access and artificial scarcity. This kind of thing---useful tools and information---wants to be free, so let it out for everybody to use.
Born in 1985, Daniel Grumer studied at the Bezalel Academy of Arts and Design in Jerusalem. In 2015-2016, he studied type designat in the TypeMedia program at KABK in Den Haag.
At Haaretz, we read: As can be seen in the road signs for Arab communities, to mention just one example, in Israel the Arabic language has been marginalized at the expense of Hebrew. This is further emphasized by the contrast between the square and aggressive Hebrew typefaces of official Israel and the softer and more rounded letters of typical Arabic typefaces, a difference that in fact reflects the balance of powers between the country's Jewish and Arab communities. To achieve visual coordination, equal visibility and presence and peaceful coexistence between these two languages that share a same space while taking a small step for peace, Grumer created Avraham-Ibrahim as his final project as a visual communications major at Jerusalem's Bezalel Academy of Arts and Design in 2014. Grumer, who learned Arabic in the army, got help (over the Internet) from a Jordanian calligraphy designer of Syrian descent. He found another source of inspiration for his typeface in the Hebrew signs written by Arab merchants that "simply make the Hebrew language dance and liberate it from the geometric pressure," he says.
His graduation typeface at KABK in 2016 is the perfectly balanced tri-lingual (Latin / Arabic / Hebrew) typeface Abraham.
In 2016, he fine-tuned Peter Bilak's November Hebrew: November is a rational, utilitarian typeface inspired by street signage. Unlike most signage types it also handles long texts with ease. It covers Hebrew script, but also Arabic, Cyrillic, Greek and Latin, and is accompanied by a set of wayfinding symbols. Daniel designed the Condensed and Compressed styles. [Google] [More] ⦿
Canadian type designer. His typefaces:
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). [Google] [More] ⦿
Czech designer (b. Brno) who graduated with a Masters 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. Later David founded Rosetta Type.
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
David J. Perry
DBSV Moulding Ideas is a creative agency and type foundry 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; by Vangelis Dim. Gardikiotis) 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.
Typefaces from 2019: Noema Pro.
Berlin-based foundry of Rudolf Ludwig Decker. Their fonts include Deckersche Fractur (1844) and an uncial Greek that was used by both Oxford and Cambridge University Press in the late 1800s. That Greek typeface was revived in 2007 by George D. Matthiopoulos as GFS Decker. [Google] [More] ⦿
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.
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 and then Teplice, 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] ⦿
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), Symcaps Vario X1, Symcaps Vario X2, Symcaps Vario X3 (2016, op-art design). Klingspor link. [Google] [MyFonts] [More] ⦿
DePlictis Type (was: ESS Fonts)
Graphic designer Bogdan Balatchi (DePlictis Type, and before that, ESS Fonts) graduated in 2004 from the Faculty of Arts of West University in Timisoara, Romania. Most of his work is inspired by old Slavic calligraphy.
Bogdan created the display sans typeface Facebook Letter Faces (2011) and the medieval lettering typeface Kogaion ESS (2011), which are both free. Klauss (2011) and Pain in the sky (2011) are commercial soft techno typefaces.
In 2012, Bogdan created the groovy typeface Best Party Of The Week-End.
In 2021, he published Greuceanu (a decorative archaic typeface), Areon Flux (a modular typeface), Squadzone (an urban techno font) and the medieval font Monasterka (for Latin, Greek and Cyrillic). [Google] [MyFonts] [More] ⦿
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] ⦿
Peruvian creator (b. 1984, Arequipa, Peru) 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.
Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.
Typefaces from 2018: Papaia (plumpish and curvy, with many dingbats). Winner at Tipos Latinos 2018 of a type design award for Papaia.
In 2015, she and Iordanis Passas created the gorgeous Finos, which was inspired by Greek retro cinema (buy it here and check the free demo). Her second typeface of 2015 is the equally impressive deco script typeface family Magellan (in Deco and Script sub-styles). Marpesia (2015) is a connected calligraphic script typeface. Charming (2015) is a free spurred vintage tattoo typeface for Latin, Greek and Cyrillic. Adalberta (2015) is a great connected script typeface.
Typefaces from 2016: Sketchbook Script (+Pro), Old Harbour (vintage lettering collection consisting of Blue waves, Blue waves striped, Captain's pipe, Captain's pipe Sans, Sailor's tattoo, Sailor's tattoo Sans, Old Ship, Old Anchor, Old Lighthouse, Seashells, Starfish, Old Harbour dingbats), Juvenile.
Typefaces from 2018: Hayao's Letters (fantastic drop caps that pay tribute to Hayao Miyazaki and his magical films), Chalky Letters (a multilayered font collection).
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.
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). [Google] [MyFonts] [More] ⦿
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.
Born in 1978 in Thessaloniki, Greece, Dimitris Koliadimas studied at the Technological Educational Institute of Athens School of Graphic Design & Graphic Arts in Graphic Design Department (1997-2001) and at London College of Communication (2002: Master of the Arts in Typo / graphic studies). Since 2005 he collaborates with Dimitris Papazoglou at Designers United.
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] ⦿
Born in 1976 in Athens Papazoglou studied typographic design and visual communication at the Instituto Europeo di Design of Milan. Since 2005 he collaborates with Dimitris Papazoglou at Designers United. He teaches typography and visual communication for postgraduate students at the Private School of Applied and Fine Arts, AKTO.
Dino dos Santos
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] ⦿
Russian type foundry, est. 2014 by Dmitry Goloub, the Moscow-based codesigner with Lucas Perdidaão of the free grid-based art deco typeface Bobber (2012, in ai format) and of Alpine (2014). From 2009 until 2010 and again in 2012, he lived in Firenze, Italy.
Typefaces from 2013 include Bolognese Sans, Moor (multilined art deco family), Bobber Script, and Bread & Milk Sans. Genplan (2013) is a great free layered inline typeface for Latin and Cyrillic that is based on 1930s Soviet poster types. See also TT Genplan Pro (2014).
Cittadino Symbols (2013) is a free rounded city traffic icon font related to a Milan subway project. In 2013, this was replaced, still for the Milan metro maps, by Meneghino Wayfind, a tweetware typeface that was influenced by PT Sans Caption.
In 2015, Goloub created Ardent: Ardent is my Sergey Chekhonin-inspired typeface. Ardent is an attempt to prove that the bizarre Cyrillic letterforms of 20s are still decent for use in modern design, even in Latin script. It is highly ornamental and lapidary. Still in 2015, he designed the sans typeface family Intersans (a multilingual Swiss army knife sans), which supports Extended Latin, Extended Cyrillic (including Bulgarian and Serbian Cyrillic), Polytonic Greek, Armenian (Asomtavruli, Nuskha-khutzuri, Mkhedruli, Mkhedruli Mrglovani), Georgian and Hebrew. It also includes true italics, small caps, small caps italics and a lot of pictograms.
Typefaces from 2020: Grrr (at Paratype, with Alexandra Korolkova: a techno family characterized by an oversized lower case f).
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 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
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)
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).
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. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. Dino created these typefaces:
DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.
Originally from Croatia, she studied Visual Communication Design Bachelor and New Media Design Masters at Art Academy of Split, after which she pursued typographic education by attending Type@Cooper Condensed Program in New York and later at TypeMedia Masters of the Royal Academy of Art, The Hague, The Netherlands. She worked for a decade as a graphic and digital designer. Zrinka runs the type and graphic design studio Dual Type with Gen Ramirez.
Her graduation typeface in the TypeMedia program at KABK was Dalma (2018). Dalma is a carefully manicured roundish display typeface for Latin, Greek and Cyrillic.
In 2019, Martin Grasser and Zrinka Buljubasic co-designed 188 Sans for And Repeat / Future Fonts. They write: The Regular weight, based loosely on Frank Hinman Pierpont's Monotype Grotesque, calls to mind early 20th century workhorse sans-serifs.
Dylsectic is located in Athens. It made a charming squarish face, Rufus (2010), as well as the great bubble font Five Petrol Poles (2010). In 2017, he designed the Greek display typeface Biopoleio. Home page. [Google] [More] ⦿
Eclectotype (was: Schizotype)
Type foundry in Sheffield, UK, first called Schizotype, and in 2021 renamed Eclectotype because this is not a foundry that likes to stick to trends or expectations. Its designer, Dave Rowland (b. 1982, Chesterfield) grew up in Sheffield, UK, but was based in Japan, the Philippines, Liverpool, Surat Thani, Thailand, and Koh Samui, Thailand [where he presently lives]. MyFonts Interview.
He created these fonts in 2009: Quesadilla (signage type, Mexican simulation face), Quesadilla Shadow, Schizotype Scrolls, Quiff, Toothpaste, Astroboy (connected script), Decolletage (art deco), Kazumi Sans, Acid Haus, Dr. Black, Dr. Eric, Soyo Gogo, BMX radical (brush), Team, Miami Hopper, and Tubularis (multiline face), Sickle, Klique (futuristic display face), Uncle Eric (a cartoon face), Praline Smooth (connected script in the style of Mistral), Kwaktur, (blackletter typeface based on the logo of Belgium's Kwak beer), Blackball (another blackletter) and Modulogue (a modular display family).
Additions in 2010: Christmas Tuscan (a modular Tuscan), Masonic Lodge, Mook (a retro, unicase, bubble font), Toothpaste 2, Gaden Sans (organic monoline typeface that includes a hairline weight), Sizemore (all caps slab headline face), Quickscript (signage face), New Wave.
Fonts designed in 2011: Brag Pro (like Brag, a Cooper Black alternative), Brag Stencil Pro, Chestnut (curly, hand-printed), Brag (a fat round face in Cooper Black style), Gelato Script (a connected signage face), Brag Stencil (2011), Streetscript (2011, brushy signage face).
In 2011, he created a quaint text family, Vulpa, with quirky foxtail terminals.
Typefaces from 2012: Margot (a rounded slab serif described as a lovechild of American Typewriter and Cooper Black), Range Serif (an angular typeface), Pastiche Brush (a brushy connected script inspired by the titles of the 1959 movie Imitation of Life (Wayne Fitzgerald)), Quayside (a bulbous baseball or signage script).
Typefaces from 2013: Alight Slab (hairline slab), Anultra Slab (a heavy bold slab serif), Ollie (a connected baseball or signage script), Urge Text (an extensive modern text family with ample language support and plenty of mathematical symbols, and large ball terminals).
Typefaces from 2014: Range Sans (a grotesque sans family with the quirky angular cutouts inherited from Range Serif), Samui Script (upright connected script), Streetscript Redux (signage script), Price Didone (created for setting elegant price tags).
Typefaces from 2015: Oldskool Script (a connected signage script; one of many quite different commercial fonts with the same name), Hazel Script (a great flowing calligraphic script designed around the time of the birth of his first child, Hazel; the name may create confusion as there is a famous BB&S metal font with the same name), Mastadoni (a fat didone for headlines and fashion mags), Kake (a great creamy sign-painting font), Bali Script (creamy signage script), Flat Sans.
Typefaces from 2016: Cinema Script (retro movie script), Chill Script (a retro non-brush signage script), Blanket (a soft cursive font, ideal for children's books), Schizotype Grotesk (a very original angry geometric grotesk, with bucketloads of pizzazz), Astrid Grotesk, Asterisk Sans Pro (a versatile humanist sans family for Latin, Greek, and Cyrillic), Strelka Ultra (a retro space age typeface), Revla Serif (beatnik style, emulating randomly positioned handlettering).
Typefaces from 2017: Duckie (a bubblegum or creamy signage script), Tusque (a layered decorative Tuscan typeface), Ekamai (a tight non-connected creamy signage script), Quinella (seventies script), Delfino Script (retro signage script), Tchig Mono (a special, almost hipster monospace typeface family), Revla Sans (beatnik style), Revla Sans Text, Eroika Slab (a robust wedge serif family).
Typefaces from 2018: Aziga (descrived by Dave as a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone), Revla Slab (bouncy, beatnik), Galix (subdue futuristic sans family), Gelato Luxe (an update of his earlier Gelato Script), Engria (an angular brush-inspired text typeface).
Typefaces from 2020: Gelica (a 14-style retro soft serif family influenced by Cooper Black, Goudy Heavyface and Ludlow Black), Capsule (a reverse-stress high-contrast rounded sans-serif), Sausage (a friendly fat rounded typeface that is is unapologetically bold and bulbous. Influenced by magnetic fridge letters, hot dogs and 70s phototype fonts, it is retro, but not cloyingly so).
Creator of free Greek versions of the Times, Helvetica and Courier typefaces, downloadable from Github. 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)]. EelVex home page. [Google] [More] ⦿
El Circulo de Oro de Uresh-Nefer
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] ⦿
Electronic Font Foundry
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.
Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was 13, and he mentored me to a great degree. For a while I worked an internship of sorts at EFF, and then one day, my mother came to see what I was up to---he gave her the job of office manager. He was a tremendously helpful and meaningful person to me then as a very young man with a passion for typography.
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.
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. 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.
Elena Papassissa (Greek) collaborated with Akira Kobayashi and Monotype Studio on the Greek and Armenian parts of Avenir Next World (2021).
She is pursuing a PhD at the University of Reading on the history of Armenian type design under Fiona Ross. At ATypI 2013 in Amsterdam, she discusses the current state of Armenian type design. Speaker at ATypI 2017 Montreal. [Google] [More] ⦿
Graphic and type designer based in Paris. Her typefaces:
German designer of:
Aka Aemil, b. Cyprus. After studying Mathematics at the University of Athens he obtained an MA in Digital Arts from the Athens School of Fine Arts. He worked as an animator and graphic designer, and later studied type design at Esad Type in Amiens, France. He is currently working as a senior type designer at Monotype in London.
Graduate of ESAD in Amiens, France, where his graduation typeface was Topos (2018). He writes: Topos is a type family designed for contemporary book and poetry publications. [...] In addition to the standard weights, from Light to Black, Topos comes in four grades, all sharing the same spacing for the Book size. This offers the flexibility of choice of colour, without altering the layout: the calibration will remain the same, while the weight is fine-tuned. Historical references from the Baroque era run throughout this type family with more celebrated features visible in the italics. Greek, including polytonic, is supported as well.
In 2021, he took part in the development of Helvetica Now Variable (Monotype). Helvetica Now Variable was designed by Max Miedinger, Charles Nix, Monotype Studio, Friedrich Althausen, Malou Verlomme, Jan Hendrik Weber and Emilios Theofanous and published by Monotype. Monotype writes: Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. It contains 144 static styles. [Google] [More] ⦿
EPA Greek Workbench
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 (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'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] ⦿
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).
He made the following typefaces and type families:
Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.
Esintype (Turkey) was founded in 2020 by Ali Riza Esin and Ege Esin. In 2020, they co-designed the heavy mechanical industrial all caps slab serif typeface Paverify, which covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More] ⦿
Espresso Society Studio
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).
Cannibal Fonts by him include Bac CF, Bloco CF, Fat CF, Milk CF, Poster CF, Sophia CF, Type Polaroid CF, and Type Ray CF.
Stephen Knouse (Essqué Productions) is the Alaskan designer in Wasilla (b. 1976) of several free fonts. These include the display typeface Petal Glyph (2007), Avante Go (2008, avant-garde) and Avante Return (2008, avant-garde). He also created the free comic book fonts Happy Sans (2009, beatnik style) and Happy Serif (2008), Diagano (2012, monoline avant-garde sans), the trekkie typeface Dark Future (2011), and Neon 80s (2010, a rounded sans in the style of VAG Round but more so a faux neon font).
Spyced (2012) evokes Arabian nights, lava lamps, and Indian mystery. In 2014, Stephen designed Geo Grid 9 (a kitchen tile font) and Tall & Lean. In 2016, he added the octagonal trekkie font Commander Edge.
Typefaces from 2021: Power Talks (a bold tuxedoed art deco sans for Latin, Hebrew, Greek and Cyrillic).
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] ⦿
Esteriografica (was: Familia Design)
Rafael Dietzsch ran Familia Design in Brazil, ca. 2007. Presently, he heads Estereografica in Brasilia, Brazil, and is Assistant Professor at the Faculty of Communication, University of Brasilia, and a PhD candidate at the University of Brasilia. 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. His thesis in 2012 at Reading was entitled Typefaces for Brazilian indigenous languages. Brasilica was published by the Italian type foundry CAST in 2015.
Geneva, Switzerland-based graphic and type designer, b. 1990, who studied at ECAL in Lausanne. Designer of the Trajan column-inspired display serif typeface Nero Alto (2019, published by Typeverything).
Mateo also designed the free fonts Seymaz (2020; a variable condensed octagonal sans family inspired by the Grecian wood type style from the 19th century) and Sabir Mono (2018; a monospaced programming font with support for Latin, Greek, Cyrillic and Hebrew developed as a student project). Fontesk link to his free typefaces. Github link for ETC Type, where one can also download some of his typefaces. [Google] [More] ⦿
Graphic designer based in Kyrgyzstan. In 2020, Eugene Bunin and Christine Beginskaya released the futuristic partly stencil typeface family Gluon.
In 2020, Eugene released Kellion (a cyberpunk typeface), Hellebore (inspired by the logo and the game Mortal Shel), the dystopian typeface Dredger, the futuristic typeface Akrux, the retro-modern all caps sans typeface Inlow and Esm (a 6-style low contrast Swiss sans for Latin, Greek and Cyrillic).
Typefaces from 2021: Interite (a modern typeface with didone elements), Covenante (a display serif), Tp1972 (futuristic), Cradock (a 10-style almost monospaced sans), Razorback (techno), Metal Morphosis (octagonal), Neuromancer (a glitch font), Monumentum (a squarish monumentalist typeface), Dissidia, Arkham (an all caps tattoo font), Transmetropolitan (a piano key typeface), Aurelac (a sharp-edged display font).
Free custom-designed fonts for the European Space Agency:
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] ⦿
Every Witch Way
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.
Suffolk, UK-based creator of many free typefaces. Designer of the free sans typefaces Smiley (2013, a hairline circle-based sans), Larke Sans (2013), Statement (2013), Formation Sans (2013) and Creativ Zoo (2013, +Serif), and the free serif typefaces Formation Serif (2013) and Edmundsbury Serif (2013), and its sans companion Edmundsbury (2013). As Cute As (2013) is a hand-drawn typeface.
Typefaces from 2014: Larke Neue (sans family), Explogos (a free organic sans typeface, and a 778-glyph commercial extension that covers, e.g., Greek and Cyrillic besides all Latin-based European languages), Squarea (squarish), Cirqua (circle-based sans), Chapaza (transitional text typeface, +Italic), Plateia (a sans typeface for Latin, Greek and Cyrillic), Coughy Machine, Kalypsa (free sans with 2300 glyphs and coverage of Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, IPA Extensions, Spacing Modifying Letters, Combining Diacritical Marks, Greek & Coptic, Cyrillic, Cyrillic Supplement, Latin Extended Additional, Greek Extended, General Punctuation, Superscripts & Subscripts, Currency Symbols, Letterlike Symbols, Number Forms, Mathematical Operators, Coptic), As Cute as Comic, UFont Sans Medium, Bedric's Worth, Pragma Sans, Bold As Cute As, As Cute As Comic.
Typefaces from 2015: Tretton, Baqacents (sic), Reformation Sans.
Typefaces from 2016: Tretton Serif, Qaranta Bold.
Typefaces from 2018: Calamity Wayne (a reverse-contrast slab serif for Latin, Greek and Cyrillic, inspired by the wild west French Clarendons and Italians of the late-1800s).
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, EZ Omega. These fonts are similar to the fonts from CYLLOGOS MOUSIKOFILON CON.
The Byzantine Drop Caps package includes Agion Oros XHR (1994, by I.M. Grhgorioy), EileenCaps, Genesis, MgAgiaSofiaUC, MgAgionOrosUC, MgByzantineUCPol, MgEkklisiaUC, MgGothicOld, MgKonstantinosUC, MgViking, MrSByzantinePT, Mt, PFGoudyInitials, PFKonstantinople and PFKonstantinopleInitials. The fonts starting with Mg are by Magenta, ca. 1989. The PF fonts refer to Parachute, ca. 2003. [Google] [More] ⦿
Fabio Haag Type (was: ByType, and: Foco Design)
Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is 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).
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: 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.
In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.
In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.
In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).
Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).
Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).
Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.
Fabio Luiz Haag
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] ⦿
In June 2019, together with Laurence Penney, Irene Vlachou initiated the experimental project FauxFoundry, a web font service offering fallback fonts, such that multiple scripts can be presented with reasonable fidelity to the web designer's intent, even when the primary font does not support those scripts. Currently working for Greek, thus providing Greek fallback fonts for fonts that do not contain Greek. The system takes measurements from Latin fonts that represent the parametric axes developed by Type Network. In the process, FauxFoundry developed the FauxForger software utility. [Google] [More] ⦿
Born in Carmelo, Colonia, Uruguay in 1983, then based in Geneva, Switzerland, where he studied Visual Communication at the Haute Ecole d'Art et de Design, and now back in Montevideo, Uruguay, this graphic designer created the counterless geometric typeface Circ (2011), and the triangulated experimental typeface VIGA (2011). Fermin has a Bachelors degree in Industrial Design (2009). At his foundry, also called Fermin Guerrero, one can buy VIGA and MANIFESTA (2012, a De Stijl typeface).
For his Bachelors thesis at HEAD in Geneva, he created the typeface Genève (2014): In developing Genève I was inspired by the typeface used by French printer/editor/publisher Henri II Estienne in his famous book Thesaurus Linguae Graecae, published in Geneva in 1572. This typeface was brought to Geneva by Henri's father, Robert Estienne, who, before settling in Geneva and working as Calvin's printer, was the printer of France's King, François I. This typeface highly influenced the typographers and printers in Geneva at that time. Henri and Robert Estienne's work in Geneva helped it to become one of the most important cities in Europe for print and typography in the sixteenth century. Genève consists of four styles: Classique (humanist serif), Austère (geometric serif), Spontanée (humanist sans-serif) and Alternative (stencil, display version).
Graduate of the MATD program at the University of Reading, class of 2015. His graduation typeface was Exentra which was was conceived for publications promoting forward-thinking through a contemporary and experimental vision of modern culture and trends. It supports Latin, Gurmukhi and Greek. In addition, Fermin added the fat face didone / gothic mixture mixture font Black Display for applications in fashion, and the super-angular and scary Franky as sub-styles of Exentra.
In 2019, he designed Brick Pro (Display, Text) for Colophon, which explains: Brick's foundations lie in the signage of three prominent pubs in London's East End, The Jolly Butchers (Brick Lane---now closed), The Royal Oak (Columbia Road), and The Prince Albert (Acton Street). Referencing their Art Deco traits, with a trace of Art Nouveau heritage, Brick is Fermín Guerrero’s re-interpretation and continuation of the vernaculars elegant gestures, brought into the 21st century. [Google] [MyFonts] [More] ⦿
Las Palmas de Gran Canaria, Ampuero and Laredo, Spain-based designer (b. 1971) who set up deFharo. Creator of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.
In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).
In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.
In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.
Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).
Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.
Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.
Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals).
Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family).
Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter).
Typefaces from 2020: Anoxic (a squarish monoline sans).
Born in Barcelona in 1979, Ferran Milan studied graphic design at Massana School of Art in the same city, then relocated to the UK to study typeface design. In 2011 he graduated from the MA in Typeface Design at the University of Reading. Ferran worked at Andreu Balius Studio in Barcelona and at Dalton Maag in London before co-founding the Letterjuice type foundry with Pilar Cano.
In 2012, he won the Bronze Prize in the Latin category of the Morisawa Type Design Competition for Baldufa. Baldufa was also crowned at TDC 2013. Award winner at The 2014 Horouf Type Design Competition. Its angular and stocky design makes it ideal for use in catalogs and magazines. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.
In 2013, Pilar Cano and Ferran Milan co-designed the text typeface Quars, which was published at Letterjuice. It was influenced by Scotch Roman and classical Dutch typefaces. In addition, it offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona.
Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More] ⦿
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)
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.
Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed the angular typeface Arkadika (2010). She also made the pixel typeface Piksna (2010). Her first degree in fine arts was from the University of Maribor. She also has a degree from the Academy of Fine Arts and Design in Ljubljana.
Arkadika was further developed at tipoRenesansa, 2nd international type design workshop in 2011. At tipoRenesansa, 4th international type design workshop (2012), she created the contemporary serif typeface Paradigma.
In 2013, Teja received the 2013 Monotype Studentship at the University of Reading. At Reading, her gradaution typeface was Mirna (2014): Mirna is a text typeface for continuos reading with a playful stencil display style. It is suitable for editorial text settings in lifestyle, fashion and health magazines. Display stencil style is suitable for branding and packaging. The typeface is meant to be read on paper printed with high-quality offset printing technology, as well as on high resolution screens and reading devices. Mirna has Greek, Cyrillic and Khmer family extensions.
In 2019, she set up Fleha Type and promptly published the handcrafted typeface Katka.
Fontbilisi (was: Germán León)
Fontbilisi was established by German Leon (b. Madrid, Spain) in 2013. For a while, he was located in Tbilisi, Georgia. Since 2014, he is in Lima, Peru. In 2017, his MyFonts page places his origins in Ukraine. He explains: He was born in Madrid, but crisis and love brought him to Tbilisi, Georgia, from where he is currently designing.
His first typeface is the quaint Latin slab serif Miraflores (2012). 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.
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 co-designed WILD1 Firstvision (1997, techno) and Ironrider and Ironhorse (2008, blackletter typefaces 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 2014: FHA Tuscan Roman (2014, Michael Gene Adkins, James L Stirling).
In 2015, Stirling designed JLS Main Square Frames (corners, rules and frames for vintage ads and monograms).
Typefaces from 2018: FTY Overkill Condensed.
Fonts for Scholars
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."
Fonts for the New Testament Greek
Fonts Jos Kunst
The largest Greek font vendor today. Fonts.gr is a collective type foundry in Athens, Greece. It was founded in 1994 by graphic and type designer Panos Haratzopoulos (Cannibal) and saw contributions by designers Yannis Karlopoulos and Vassilis Georgiou. Its typefaces include the Futura / Avenir-style CF Asty (2017).
Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retailed his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham was one of the in-house type designers. In January 2020, Fontsmith was acquired by Monotype.
Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), 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), Severstal (2009), and Moto GP (2020: a custom techno / sports font).
Most of Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:
"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 typefaces. 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] ⦿
London-based graphic and type designer (b. 1975) who studied at The Royal College of Art, The University of Brighton, and was taught at the Royal College of Art by Margaret Calvert, Malcolm Kennard and Alan Kitching. Creator of the sans typeface family Forme One (2014) and the related typefaces Forme Signage (2015, for wayfinding), Forme Furniture (2015, pixelized), Forme Type Block (2015), Forme Type Ornaments and Geometric Patterns (2015), Forme Pixel Type (2015) and Forme Stencil (2015), a layered typeface family that was carefully crafted based on compass and ruler. Jeremy writes: This typeface derived from a three dimensional stencil with two characters, made from wood manually rotated to create letter shapes.
In 2017, he designed the 3d pixel font Furniture Type.
In 2018, he created TextFace Type.
Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was called Forme Grotesque. It comes with a three-axis variable font (weight, slant, optical size). It explores the richness of the 19th century British Grotesque genre, performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic, Cyrillic and Greek. Forme Grotesque was published by Colophon in 2022. [Google] [MyFonts] [More] ⦿
In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited in the UK. Their typefaces:
Fountain--A Friendly Type Foundry
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 typefaces 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 [see also Sauerkrauto Pro (2000)], 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.
Fountain released Stefan Hattenbach's sans family Stalemate in 2004, which was originally an OEM family designed for but not used by a German IT company, Gretel (by Sylvia&Daniel Janssen), Scrixel 8 and 16 (pixel families by Thomas Crolla).
François H. Villebrod
Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. He is Head of the Master in Art Direction at ECAL/University of Art & Design Lausanne. His typefaces:
French type designer, calligrapher, and stonecutter, b. 1962. Franck Jalleau studied at the Ecole des Beaux-Arts de Toulouse and at the Atelier national de Création typographique (ANCT), where he subsequently worked as an instructor until 1990. A type designer, he works primarily in the publishing field and on French administrative documents (the General Tax Code, passports, identity cards, car registration documents, etc.). Since 1990, for the Imprimerie Nationale, he oversees the adaptation of the typographic holdings for digital typesetting. For this effort, the Imprimerie's Garamond was one of the first typefaces he rehabilitated, along with the grecs du Roi. Currently, Franck Jalleau teaches at Ecole Estienne in Paris.
Franck designed several typefaces for Agfa, Editions Magnard, city of Brive-la-Galliarde, for the NGO ATD Fourth World Movement, etc. In 1987, he engraved the Movement's message in stone, which was installed first at the Place de Trocadéro in Paris, and then at the United Nations in New York, the European Parliament in Strasbourg, the Basilica of St. John Lateran and in Reims Cathedral. Franck Jalleau won the Prix des Graphistes in 1988 and has received several international awards, including the Morisawa Award (Japan) in 1987 and 1996. He has taught type design at the École Estienne since 1991, and he offers training courses in character design in art schools both in France (Toulouse, Caen, Amiens) and abroad. His typefaces:
Franziska Hubmann was born in Vienna, Austria, and studied graphic, communication and type design there. She has worked as typographer and type designer ever since. She is associated with Schriftlabor. In 2017, she graduated from the typeface design program at the University of Reading. Her typefaces:
Fredrick M. Nader
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] ⦿
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.
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. Thomas Schroer
Type designer associated with Heumm Design in North Korea.
Typefaces from 2021: HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim). [Google] [MyFonts] [More] ⦿
BibleScript was the product that started Galaxie Software (located in Garland, TX) back in 1991. It was one of the most popular Greek and Hebrew font packages for 20 years. The following fonts can be freely downloaded from their site: 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] ⦿
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] ⦿
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:
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] ⦿
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 2016, he designed the free all caps art deco typeface Decodent.
Genilson Lima Santos is the Salvador, Brazil-based designer (b. 1985, Bahia) of Stilu (2015, sans), Jenelson (2006), the stroked font Styllo (2007), the brushy Carybe (2011), the all caps sans typeface Linna (2016), the display typeface Victorine (2016), the rounded sans family Baldini (2016), the high-contrast all caps Cellophane (2016), the text typeface Petralina (2016), the rounded Bauhaus-inspired sans typeface family Rosa Maria (2016), the multicolor layerable rounded poster typeface Buba (2016), the free wide unicase sans typeface family Urucungo (2016), and the semi-didone display typeface Salinas (2016).
Typefaces from 2017: Hibiscus, Blackye (a delicious black rounded sans for Latin, Greek and Cyrillic), Somma (geometric sans), Tryal (formal calligraphic), Love Moon, Urbanpolis (sans).
Typefaces from 2019: Dynamo (a retro-futuristic typeface), Hellen (a revival of the flared classic Koch Antiqua from 1922).
Typefaces from 2020: Auster (a serif family), Giovanna and Giovanna Sans (a luxurious roman caps typeface).
Typefaces from 2021: Yacht (a ligature-themed display serif), Milagre (by Edileno Capistrano Filho and Genilson Santos; a free party font based on text seen on azulejos [tiles] at Fundação Casa de Jorge Amado in Largo do Pelourinho, Salvador, Brazil, with text by writer James Amado, lettering by artist Floriano Teixeira and engraving on the tiles by ceramist Udo Knoff in 1987), Arienne (a frivolous all caps font), Mirabela (a fashion mag serif), Serafina (a decorative serif).
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 Latin and Cyriilic. 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.
In 2017, Octavio Pardo entered the EB Garamond project. The fonts can now be downloaded from Github. For Valentine's Day, a certain Bryn replaced the o and the tittles by hearts, and called the font Better EB Garamond (2017).
Designer of the free font OMW Ayembedt (2013): Ayembedt is a font aiming to recreate the symbolic typeface called Daedric, found in the Elder Scrolls video game series, most notably in The Elder Scrolls III: Morrowind.
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. In 2016, he designed the mechanical / octagonal typeface John Tape and the scribbly script font Johnend.
In 2017, he published John Tapextra (tape or duct tape font).
Are Georg John and Georg Kugler one and the same?
George B. Walsh
UK engraver and penman, 1684-1769, who wrote the manual The Universal Penman (published in parts from 1733 to 1741, reprinted in its entirety 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), Bickham Script 3 (2014, Richard Lipton), Penabico (Intellecta Design), and loose interpretations such as Poem Script (Sudtipos). [Google] [MyFonts] [More] ⦿
Or George Bourle. Thessaloniki, Greece-based lettering artist. Designer of Ellinikon (2019), The Knot (2019: a font duo meant for weddings), Left Hand Kids Font (2019), Boldera (2019: brush style), Coolscript (2019) and Brulee (2019: a monoline script). [Google] [More] ⦿
Professor of Type design and Typography at the School of Graphic Arts of the Technical Institute of Athens. He also teaches at the Department of Graphic Design and Visual Communication, University of West Attica. 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 "The Elements of Typographic Style (University of Crete Press, 2001).
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:
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 typefaces cover Greek and Cyrillic He currently works for Parachute. [Google] [MyFonts] [More] ⦿
Graphic designer in Larissa, Greece, b. 1973, specializing in display typefaces. He created the free Nikolaidis Hand in 2015 for Latin and Greek.
In 2016, he designed the bilined tattoo-style Halfstripe Font, Scrap Font, and the modular typeface GNF Empire.
In 2018, he designed GNF Title Nation, the condensed all caps font GNF Tallone, and GNF Olympian.
Attica (Eleusis), Greece-based graphic designer and photographer, b. Athens, 1981, who studied at AKTO, Middlesex University, UK. In 2017, he created the rounded monoline organic typeface Gap for Latin and Greek. Behance link. [Google] [More] ⦿
American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype, and is now a Monotype typeface designer. Creator of these typefaces:
Giorgos 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 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:
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. Yet another URL.
George Williams is best known as the inventor and creator of FontForge, the biggest and best free font editor today. It made him the darling of the Open Software community. Interview with OSP.
Dutch type designer, born in Arnhem, The Netherlands, in 1942, d. 2018. 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. Until the end of his career, he taught at Reading and Rietveld. Unger designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. But he was best known for his typefaces:
Gerard Unger lived 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), the Maurits Enschedé-Prize (1991), the 2009 SOTA Typography Award and the TDC Medal (2017).
Books about Gerard Unger include Gerard Unger Life in Letters (2021, by Christopher Burke, De Buitenkant).
Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. FontShop link. Klingspor link.
German Donaldist Society (D.O.N.A.L.D.)
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 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. From 2017 until 2020, he was president of ATypI.
Yet another ghostscript font archive, with the following URW++ truetype fonts made in 2000: A028-Ext, A028-Med (lapidary), 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] ⦿
GNU Freefont (or: Free UCS Outline Fonts)
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. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White (aka Stevan White) took over.
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] ⦿
Golgonooza Letter Foundry
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.
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] ⦿
Type and graphic designer from Armenia who graduated first from the University of Colorado in Boulder (2012) and later from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Byron, a text typeface family for Latin, Greek and Armenian. Interview at Future Fonts.
In 2020, he released Spindle, a symbiotic script typeface for Latin and Armenian, and explains: After the MATD program, I spent late nights digging through medieval Armenian manuscripts. Though not a strict revival, Spindle began as a study of three styles. The basis stems from the Notrgir style, a notary script invented for speed and efficiency, but not always legibility. In contrast, the earlier Bolorgir style is built up from a steady rhythm of vertical strokes and counters. While the later Slagir style is a chaos of cursive flourishes. I began trying to replicate the strokes, and as I transferred the letters into digital, I noticed characteristics from each style synthesizing into surprising and fluid shapes that would later become Spindle. The project was shelved for months until one day David Jonathan Ross asked to see my work. I showed those rough yet-unnamed letters of Spindle, and to my surprise he liked them and was curious if there were plans of adding Latin...there was not. With a little encouragement and constructive feedback, I dusted off the files and began drafting the Latin. The addition was more of a revision, a swinging pendulum constantly going between the two scripts.
Gradient (was: Mindburger Studio)
Milos Mitrovic's foundry in Bergen, Norway, is called Gradient. Before that, he set up Mindburger Studio in 2015 in Nis, Serbia, before relocating to Norway.
Typefaces from 2016: Bergen Sans (a modern geometric sans advertized in this manner: [...]clean and stylized Scandinavian geometry, partnered with explosive post Bauhaus type aesthetics[...]), Noir (based on early 20th century geometric sans models; in 12 styles, for Latin, Greek and Cyrillic).
Typefaces from 2019: Radial (a variable sans), Linear Sans.
Typefaces from 2020: Poly Sans (+Mono).
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] ⦿
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:
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 typefaces 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:
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:
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] ⦿
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] ⦿
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:
Greek Fonts Gateway
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 House of Fonts
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.
Greek (Silvio Levy)
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] ⦿
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 2014-2015: Trali-Vali (a children's book or party font family), Moveo Sans (with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic), Artica Pro (a flared all-caps typeface family for Latin, Greek, and Cyrillic that is based on classical roman (Trajan) letterforms) and Artica Rough Pro (2015).
Typefaces from 2016: Festa (a brush typeface for Latin, Greek and Cyrillic).
Typefaces from 2018: Streetline.
Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font).
Typefaces from 2020: Danger Neue (a military stencil).
Typefaces from 2021: Fason (a flared fashion mag typeface family).
Grenet - free Greek font
Athens, Greece-based designer of the origami typeface Fader (2017), the free multilined experimental typeface Simulation (2018) and the 3d typeface Stairway (2018).
In 2019, they published the free Latin / Greek stencil typeface GRT Revolution.
Greek pixel fonts by Nikos Giannakopoulos. Free creations include Grixel Acme 9 Regular (2006), which also covers Latin. Dafont link. Other pixel typefaces, 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] ⦿
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 called "Double Pica Union Pearl", or simply "Union Pearl". This elegant decorative script face, which is the first known English decorated letter (ca. 1690), later became a Stephenson Blake typeface. Designers of a Greek typeface in 1694 (some say 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] ⦿
French creator of the great heavy comic book typeface Grobold (2006). Later, he added Cyrillic and Greek versions called Groboldov and Groboldopoulos, respectively. Guy Buhry is currently working on Guy Script. [Google] [More] ⦿
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 typefaces. 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.
Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. Dalton Maag's Hanna Donker and Spike Spondike won an award at Granshan 2016 for Intel Clear Thai.
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] ⦿
Yannis Haralambous, in From Unicode to Typography, a Case Study the Greek Script writes: Until the arrival of computer DTP, most printed books were typeset in one, or more, of the following typefaces: Apla (which Monotype calls Greek 90, 91, 92), Times, Porson, New Hellenic, Greek Sans 486. [These are all by Monotype.] When the phototypesetting machines were replaced by computers, the situation changed rapidly: the Times fonts were taken over by the computer, bad quality imitations of the original Monotype Greek 90 were used for the Apla style, new fonts were designed and used: Linotype released Greek Baskerville and New Century Schoolbook, Greek companies (like Magenta) have adapted many of the Latin typefaces to the Greek script.
He classifies Greek text typefaces into five categories:
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.
Greek designer of CF Panoptik (2018): CF Panoptik is an evolution of the popular Futura, somewhat less geometric, yet equally clean and quite proportionate. Originally designed as a corporate font for the Pancreta Bank and later enriched with more weights released to the market. Supports Western and Extended Latin character sets as well as Greek monotonic. [Google] [More] ⦿
Jakarta-based designer, b. 1990. He created the spike-serifed typeface family Symmetre (2012) for Latin, Greek and Cyrillic.
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] ⦿
Greek type and graphic designer, b. 1945, Nicosia (Cyprus), who studied at Doxiadis School of Art. He is active in type design since the mid-eighties and has designed fonts for various companies, among them Linotype. He teaches at Vakalo school of Art and Design, and is one of the three Course Leaders at the Graphic Design department. He collaborates with Cannibal Fonts since 1997.
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] ⦿
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] ⦿
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 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.
Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.
He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.
Some publications by Hermann Zapf:
List of his typefaces:
Books and references about him include:
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. Pictures of his 80th birthday party at Linotype [dead link].
Heummdesign is a Seoul, South Korea-based type foundry (according to Dafont) or a North Korean type design cooperative (according to MyFonts), started in 2009. By 2020, they produced well over a hundred typefaces for Latin, Greek, Cyrillic and Hangul. Haerin Lee appears to be the main person but that remains unclear.
Haerin Lee designed HU Cookie (2020, with Rumi Kim and ByoungHeon Park), HU Bubble (2020, with SangHyeon Park), HU Hand Serif (2020: with Yehyeong Lee and ByoungHeon Park), HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park) and HU The Game (2020, with ByoungHeon Park), a typeface with mini-spurs and odd terminals that is designed for display.
Typefaces from 2021: HU Battery (a sci-fi typeface by Haerin Lee, SangHyeon Park and Yehyeong Lee), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim), HU Green Tea (with Yehyeong Lee), HU Ketchup (with Yehyeong Lee: an informal supermarket typeface for Latin, Cyrillic and Greek). [Google] [MyFonts] [More] ⦿
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] ⦿
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] ⦿
Holy (was: Odysseas GP)
Holy (was: 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. In 2017, he followed up with Futuracha Pro, and in 2019 with Decoracha.
French designer of Gohufont (2010): Gohufont is a monospace bitmap font well suited for programming and terminal use. It is intended to be very legible and offers very discernable glyphs for all characters, including signs and symbols. Free, in BDF and PCF formats. Github link by Guilherme Maeda, who created truetype versions of Chargois's fonts in 2015. The pixel fonts cover Latin, Greek, Hebrew, Cyrillic, Braille and mathematical symbols. [Google] [More] ⦿
Hungarumlaut (was: Cila Design)
Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and an MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag. In 2014 Adam founded his own type foundry, Hungarumlaut. Between 2015 and 2016 he worked for Miles Newlyn at Newlyn Ltd, as a part time font engineer and type designer. Since 2014, he teaches at the Moholy-Nagy Art and Design University. He is currently located in Graz, Austria. His typefaces:
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 & O Media (or: Iset and Osiri, or: Imagine and Ordain)
American designer of these fonts:
I Shot The Serif
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).
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
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 (sixth) conference took place in June 2016 in Thessaloniki. [Google] [More] ⦿
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.
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.
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.
Indian Summer Studio
Alexander Bobrov (Indian Summer Studio, or simply Indians, Moscow) designed the vintage didone typeface family Dodo (Latin and Cyrillic) from 2008-2012. This beautiful typeface is in a style similar to Nick Shinn's scotch Modern and Alexey Kryukov'sOld Standard but was developed independently based on old books from 1930s (printed with 1860s to 1910s metal type). His web site shows lots of calligraphic work, but also a few typefaces such as Oriental Font (2015), Photon Display (2014) and Trafareta (2015, stencil).
Typefaces from 2016: Historical Stencil Font USSR 1980 (2016), Geometric Sans Serif, Tanuki, Curly Cyrillic Sans, Historical Geometrical Art Nouveau Study, Indian Stylized Cyrillic, Historical USSR (constructivist), IBM Selectric Typewriter, 1966 Olympia SF DeLuxe Cursive (typewriter font), Moscow Metro, Cynzel (cyrillization).
Typefaces from 2019: Funny Toons (a rounded cartoon family by Ekke Wolf and Alexander Bobrov), Selectric Century (a Scotch Modern / Schoolbook typeface modeled after the famous IBM Selectric golfball font), Aldo New Roman (a modern version of the typeface cut by Francesco Griffo for Venetian printer Aldus Manutius around 1490AD).
Typefaces from 2020: Air Force 30 Stencil (the official US military fonts/lettering used in U.S. Air Force, U.S. Army, U.S. Navy, U.S. Marine Corps, based on their technical specifications), Oriental Kaishu (all caps, oriental simulation), Selectric Melt, Air Force (the official US military fonts/lettering used by US Air Force, US Army, US Navy and US Marine Corps, designed based on the Military Standards and Technical Manual; covers Latin, Cyrillic and Greek), Stone Age (a neolithic font), Selectric Pyramid (a typefwriter font based on Rudolf Wolf's Memphis from 1929), Selectric (a 1315-glyph (!) revival of IBM's famous golfball typeface, Selectric), Dymond (a dymo label font).
Typefaces from 2021: Science Fiction (rounded, squarish), USSR (a squarish Russian cold war propaganda font; Latin and Cyrillic), Age (squarish and rounded; for Latin and Cyrillic). [Google] [MyFonts] [More] ⦿
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).
Ingofonts is a foundry in Augsburg started by Ingo Zimmermann (b. 1967) in 1994. It offers Fraktur fonts, handwriting fonts, sans serif fonts, Antiqua fonts and some pixel fonts. Full fonts go for 50 USD a piece and up. Some fonts are free. Many fonts are adaptations or revivals of historically important fonts. Ingo also practices calligraphy, and in particular, calligraphy for wine labels. The list:
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. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.
In 2011, he used FontStruct to make the counterless typeface UglyKost.
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.
He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.
His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.
His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).
Co-designer of Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).
Into the Type
Or Slava Jevcinova. Designer from Bardejov, Slovakia, now located in Nice, France, whose first degree was an MA from J.E. Purkyne University in Czechia. She interned at Mota Italic in Berlin, and then started working for Fontwerk, a company specicializing in TrueType hinting. Since 2013 she is a freelancer and she regularly collaborates with the Rosetta Type foundry.
Graduate of the Type & Media program at KABK in Den Haag in 2014, where she created Kin, an unconventional serif type family which explores distinctive styles while maintaining consistency. It has phonetic support and a drop-dead gorgeous black.
In 2017, Slavka Jevcinova published Avory Latin at Rosetta Type Foundry. Calling it retro-chic, she writes about this sturdy Latin / Greek / Cyrillic sans typeface family: Avory is a gently condensed sans that challenges convention. Tall, with broad shoulders, easily spotted from afar. Inspired by the lettering work of Czech designer Jaroslav Benda.
In 2019, she released the fashionable sans typeface Clarette at Future Fonts. Clarette pays special attention to Vietnamese.
In 2019, at Rosetta Type, together with William Montrose and David Brezina, she released the variable font Adapter (with three axes, for Latin, Greek and Cyrillic).
Ioannis A. Vamvakas
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.
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) is a designer in Athens, b. 1986, who was briefly located in London. He published some free typefaces including the grungy typeface Edirne (2015: free), the grungy Baston (2015: free for any use except police commercials), Athens (with Stergios Tsiamis), Peracto (2015, thin sans), Bomb Type (2015, sans), Koulouri (2014), Outer Space (2014, download), dPopper (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), Adamo (2014), The Kids Marker (2014), Gagalin (2014, a free brushy comic book font for Latin and Greek).
IPL Type Foundry
Irene Vlachou Type
Or Eirini Vlachou, b. 1981, who works between Athens and Bristol, UK. Graduate of of Vakalo School of Art & Design in Athens and the University of Reading, where she earned the nickname Miss Fontlab before graduating there with a Masters in 2004. Type designer who used to be at POPtype in Athens. From 2013 to 2019 she was senior designer and variable font expert at Type-Together. From January 2020 she is back to full time freelancing Greek and variable fonts. In June 2019, together with Laurence Penney, she initiated the experimental project FauxFoundry, a webfont service offering fallback fonts, such that multiple scripts can be presented with reasonable fidelity to the web designer's intent, even when the primary font does not support those scripts. Currently working for Greek, thus providing Greek fallback fonts for fonts that do not contain Greek. The system takes measurements from Latin fonts that correspond with the set of parametric axes developed by Type Network. Her typefaces:
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] ⦿
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.
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] ⦿
Ivan Kyosev (b. 1933, Burgas, Bulgaria, d. 1994) was known for his illustrations, book designs and, to lesser extent, his typefaces. In 1957 he graduated from the National Academy of Art in Sofia under the mentorship of illustrator Iliya Beshkov. In 1993 he designed an angular typeface which was digitally revived in 2020 by Ani Dimitrova as Thalweg (Latin, Cyrillic, Greek). Dimitrova added Thalweg Poetica (32 styles and a variable font) in 2022. [Google] [MyFonts] [More] ⦿
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 typefaces, 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 typefaces" (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. Speaker at ATypI 2017 Montreal.
Jack's Scribal and Epigraphic Fonts
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
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.
James L. Stirling
Czech designer of Skvär (2013), an angular serifed typeface developed during Typeclinic 6 and Typeclinic 7 in 2013. In 2014, he continued the development of Skvaer. At Typeclinic 2015, Skvaer was perfected. During Typeclinic 11th International Type Design Workshop, he created the Latin / Cyrillic / Greek typeface Queen (2015). [Google] [More] ⦿
Ukrainian designer of Latin / Cyrillic typefaces: Loris serif (2018), Macaw (2018), Orbita (2018: circle-themed unicase sans), I Love Puppies (2018), Saola Sans (2018: with identical lower case a and o), Impala (2018: sans), Bonobo (2018: sans), Pronghorn (2018: a squarish sans), Pronghorn Hollow (2018), Agouti (2018: all caps sans), Narwhal (2018: a sans typeface), Argalis (2018: a Latin / Greek fashion mag font), and Grison (2018: a decorative sans). [Google] [More] ⦿
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).
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] ⦿
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] ⦿
Type designer from Muharraq, Bahrain who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is jayaan, a multiscript typeface for magazines and cultural publications that covers Latin, Arabic, and Greek. She explains: Layaan Arabic includes a regular and bold naskh, plus a ruqaah secondary style. The ruqaah was designed as a modern interpretation of the traditional style, and it can be used both as a display style and emphasis style in text. To work well with the naskh, the ruqaah incorporates connections for a horizontal baseline. [Google] [More