TYPE DESIGN INFORMATION PAGE last updated on Mon May 2 03:26:39 EDT 2016
FONT RECOGNITION VIA FONT MOOSE
Dutch type design
" <...> is the title of a new graphic design magazine (now based in Den Haag, The Netherlands) intended to fill a gap in current arts publishing. It is not interested in re-promoting established material or creating another 'portfolio' magazine. Instead, it offers inventive critical journalism on a variety of topics related both directly and indirectly to graphic design culture. " Editors: Jurgen Albrecht, Stuart Bailey, Peter Bilak. [Google] [More] ⦿
Dutch type historian who collected many art nouveau type specimen, including some rare alphabets drawn by the Rotterdamse Schilderschool. Nadeem Muzaffar's Bibelot (2010, a custom typeface) is based on one of these alphabets. [Google] [More] ⦿
Aad van Dommelen
Graphic designer from China, who studied at the Willem de Kooning Academy (2014-2015) and the China Central Academy of Fine Arts, and works in Amsterdam. She created a great document on the Chinese oracle bone script and explains: Oracle bone script refers to incised ancient Chinese characters found on oracle bones which were animal bones or turtle shells used in divination during Bronze Age in China. The vast majority of records of oracle script are the pyromantic divinations of the royal house of the late Shang dynasty at the capital of Yin. The date of the Anyang examples of oracle bone script extends from ca.14th to the 11th centuries BC to c.1200-1050 BC. The oracle bone script of the late Shang appears pictographic, as does the Shang writing on bronzes. The earliest examples of oracle bone script appear even more pictographic than examples from later in the period, thus suggestion some evolution did occur over the roughly 200-year period. [Google] [More] ⦿
Graduate from the Emily Carr Institute (Vancouver) and the KABK in Den Haag in the Type and Media program (2009). Originally from Lethbridge, Alberta, Abi designed a modular type generator. At KABK, he created Arietta, a small family consisting of a simply constructed transitional roman and a bold roman, as well as multiple italic companions. He works as a graphic designer at Commercial Type in New York City. [Google] [More] ⦿
Dutch foundry in Bergen op Zoom. Psychoscout is an initial caps font, originally developed for the Psychoscout record by Flat Earth Society (2006). It was made commercial in 2011. [Google] [MyFonts] [More] ⦿
Dutch type designer from the phototype era. His paperclip typeface from 1974 inspired Afrojet to create the FontStruction Paperclip (2010), and Wilson Thomas followed that up with Werner Paperclip (2010). [Google] [More] ⦿
Rotterdam-based typefounder, b. 1754, d. Oldenbarneveld, NY, 1828. He published Proeven van Letteren die Gevonden Worden in de van Ouds Beroemde Lettergieterye van Wylen de Heeren Voskens en Clerk, Nu van A. G. Mappa (Rotterdam, 1781). I cite from that link: In 1780, the father of Adam Gerard Mappa bought a large part of the Amsterdam typefounding firm of Voskens&Clerk, and Mappa soon discovered that he had talent for typefounding. He began his own business in Rotterdam where he issued this specimen book, but moved to Delft a few years later. There he become embroiled in the Patriot movement and led a volunteer regiment in the unsuccessful revolution of 1787. He was banished from Delft, spent a few years in France, and in 1789, emigrated to America with his typefoundry on the advice of the Ambassador to France Thomas Jefferson. Mappa set up his new business in New York. According to a contemporary letter, and supported by the type in this specimen, his foundry contained not only "the Western, but the Oriental languages at the value of at least [pound sign] 3,500 New York currency." There was not much call for type in exotic languages, and while Isaiah Thomas considered his Dutch and German type "handsome," his "roman were but ordinary." Mappa was not skilled enough to produce the type needed by the new nation, and the foundry was advertised for sale on 1 February 1794. At least some of Mappa's equipments was acquired by Binny&Ronaldson, although their business did not start until 1 November 1796. This specimen book came to them with Mappa's typefounding equipment.
Harvard's Houghton Library has a copy of the 1781 publication which contains a handwritten note by Theo L. de Vinne (which I was not allowed to photograph by Harvard's tight-sphinctered librarians). So here is what this letter says: Dirk Voskens was a typefounder of Amsterdam, a coster of types, not a cutter of punches. In 1677 he bought the foundry of Bleau and it was kept by his heirs and successors, (1) Dirk Voskens (2) Weduwe van Dirk Voskens (3) Voskens&fils (4) Voskens + [illegible]. In 1780 the foundry was sued for 8974 francs. P[illegible] were J. Enschedé and Sons, Ploos van Amstel, Preiter, Posthmans, DeBruyn and deGroot. How Mappa acquired possession does not appear. [...] Mappa got into trouble and had to take refuge in New York, where he began business as a type founder. He did not succeed. It is not known which became of the material he had in New York. To this, Bullen added by hand: It was purchased by Binny&Ronaldson.
P.M. Kernkamp kindly sent me additional information on Mappa. He points out that Mappa was typefounder in these cities: Rotterdam (1780-1782), Delft (1782-1787) and New York (1789-1792). The 1780 date is also put into question because Mappa's father died in 1779. Mappa was active in a small army of patriots in Holland, and after a defeat in 1787 against Prussia, he was banned from Holland for six years. It may explain his emigration to America in 1789. He lived in New York until 1792, then in Second River, NJ, until 1794 and finally in Oldenbarneveld (Oneida Co., NY). His foundry, then in Albany, NY, was sold in 1803 for 1200 guilders. [Google] [More] ⦿
Designer (1905-1969) of Studio (1946, almost brush script typeface at the Lettergieterij Amsterdam). The bold version is called Flambard. Some write his name incorrectly as Overbeck. Jan Middendorp writes: Dolf Overbeek was the head of the studio of the Vada printing firm, and around 1948 became the graphic adviser to De Arbeiderspers, a major Dutch publishing and printing house. Overbeek was an authoritative and demanding taskmaster, as well as the designer of prize-winning books and calendars. He was not fond of experiments and preferred conventional no-nonsense typography to fancy modernisms. Annoyed by bad typeface combinations, he analysed the compatibility of typefaces of different categories and designed the Letterorgel (Letter Organ, after the musical instrument a kind of scientific table) which prescribed exactly which combinations to use, and which to avoid.
His Studio and Flambard typefaces were revived in 2008 by Hans van Maanen as Adams (Canada Type). SoftMaker's version of Studio (1946, Lettergieterij Amsterdam) is called S850. Mecanorma also has a version. Finally, there is a pirated version from 1998, called Studio Bold.
German cofounder of Underware (b. Heidelberg, Germany, 1971), a typographic design studio based in Den Haag, founded in 1999 by Akiem Helmling, Sami Kortemäki and Bas Jacobs. Akiem was born in Heidelberg, Germany, in 1971 and lives in Den Haag, where he studied from 1998-2000 at the KABK. He codesigned all Underware fonts: Dolly, Bello, Sauna (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 (free) and Fakir (a blackletter typeface). In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper.
Dutch writer and designer, b. 1960, Amsterdam, who currently lives in Hamburg. He studied at the Royal Academy of Arts in The Hague. From 1987 until 1991 he was the type director at Scangraphic, and from 1991-1994, he was the type manager at URW in Hamburg, at which time he completed URW Imperial, URW Linear, and URW Mauritius.
In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken anf Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.
Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image: for more images, see FF DIN Round at issuu.com), FF DIN Round (2010; +Cyrillic; in use; sample), FF DIN Web (2010), Jet Set Sans (for JET/Conoco gas stations), DTL Hein Gas (for Hamburger Gaswerke GmbH), Regenbogen Bold (for a radical left party in Hamburg, a roughened version of Letter Gothic), and Syndicate Sans (2012, for Syndicate Design). He also made FF OCR-F.
Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton, and wrote an article entitled FF DIN, the history of a contemporary typeface in the book Made with FontFont. Speaker at ATypI 2013 in Amsterdam: Legibility according to DIN 1450.
He settled in Nieuwegein Zuid in The Netherlands. In 2013, he created Berlinier, a monoline sans with gothic arches dedicated to the fall of the Berlin Wall. Herreria is a display type with small Tuscan ends, and Punched Card is a heavy display face.
Alex van Galen
Martin Bengtsson (Alpha Quantum) is a Swedish graphic designer who lives in The Netherlands. He studied at University of Liljeholmen, Sweden. Creator of the sci-fi typeface Alpha Quantum (2012).
Maarten van 't Wout (Alumia) is the Lisse, The Netherlands-based creator of several following commercial typefaces between 2011 and 2014. He decided in 2014 to withdraw nearly all of them. The list (mostly of fonts that have been removed from the internet):
Dutch penman (b. Utrecht, 1657 or 1658-1718) who published Exemplaar-Boek Jnhoudende Verscheyde nodige Geschriften . Geschreven en Gesneden in Amsterdam in 1679, and Schat-Kamer van Verscheyde Geschriften in 1685.
Croiset van Uchelen writes: While 16th and early 17th century Italian handwriting had still been formed in a rather compressed and angular manner, the Dutch masters developed a broader and more rounded variant which, so far as writing line is concerned, was written at a wider sloping angle. This hand, which could be written more quickly, was imitated and developed further by a number of English masters ....
S. Morison in his introduction to the book of Heal on the history of 26 27 calligraphy in England stresses the important role played by Perling alongside the Frenchmen Barbedor and Matherot. Specimens of Perling's writing were reproduced by English masters as Snell, Champion and Bickham. Also in Spain Perling's influence was felt, as demonstrated by the insertion of a letter by him in the manual of Servidori (1787).
America Cantarino (Delft, The Netherlands) created Lady America Type (2013). [It is unclear if this is the name of the font---another possible name is Modern Dresses.] This is a collection of dingbat fonts for layering that permit overlays of dresses on models for fashion fits. an interesting idea that seems to be first in the type world. Behance link. [Google] [More] ⦿
Andre Toet Design (was: SO Design)
Andre Toet Design (and before that, SO Design is a Dutch studio run by André Toet (b. 1950, Den Haag). He was educated at the KABK under Gerrit Noordzij from 1974 until 1976, and at the Central School of Art and Design in London under Nicolete Gray from 1976 until 1977. From 1979 until 1980, he worked as a designer at Total Design with Juriaan Schrofer and Wim Crouwel. Andre Toet Design is located in Amsterdam.
Creator of Artu (2012, monospaced display face), Battersea (multiline face), Billiard (2012), Bloggy (experimental), AT Move Bloggy (2010), Decoupe (experimental), AT Move Decoupé (2012: a modular font based on a French game from 1906), Holborn, Mezzo (mimimalist), AT Move Pipi (2012, a playful textured caps typeface created jointly with Jasper Nijssen), AT Move Mezzo, AT Move Powerplay (1976, and redone in 2011: multilined), Musica, Nath, Powerplay, Tremelo, Wiggle.
Creations from 2012: AT Move Holborn (a 3d outlined neon sign face), AT Move Tremelo (based on the logotype Microtel), Artu, AT Move Wyggle, AT Move Wolfszn, AT Move Skewy (2012), AT Move Specx and AT Move Specx Stencil (a slab serif based on the cover of a 1955 French School-Notebook; help with the design from Jasper Nijssen).
Typefaces made in 2013: AT Move Altera, AT Move Altera, AT Move Herengracht (an inline typeface), AT Move Artu Super Super Heavy, AT Move Bulky (glaz krak font), AT Move Quipo (an amoebic font), AT Move MMM (with Jasper Terra and Jasper Nijssen: a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes.), AT Move Strano (squarish stencil), AT Move Nath (optical illusion typeface first made in 1974 at the Central School of Art and Design in London, and digitized in 2013 with the aid of Jasper Terra).
Typefaces from 2015: Bombola.
Typefaces from 2016: AT Move Bombola (elliptical style).
Angus R. Shamal
A web site located in Amsterdam. They explain their concept of animated typefaces: Animography.net is a webshop/typefoundry that provides motion designers, video-editors and others in the field of the moving image with animated typefaces. These animated typefaces are easy to use, customizable and scalable without any loss of quality. Our animated typefaces are Adobe After Effects files with each glyph in a separate composition. A controller-composition serves as a central point from which you can customize all the glyphs in one go. Use to quickly create title sequences, TV commercials, presentations, on-stage concert graphics, etcetera! Browse through our expanding collection or have a look at the tutorial section for a peek under the hood.
One of their typefaces is Lasio Grotesk (2013).
Typefaces animated in 2014 include Spirograph, Bahn, Binary 2.0, Mantis, Pincoya, Moldover (octagonal typeface), Huboost, Fiesta, Novecento, Haywire, Lovelo, League Spartan, Jasper, Magnus, Fat Frank, Isotype, Razor, Anodine and Amelie.
In 2015, they made Burstype and Friction.
Anke van der Meer
Ann Bessemans (b. 1983) obtained her Ph.D. in 2012 from Leiden University (under Gerard Unger) and Hasselt University. She grew up in Sint-Truiden, Belgium.
In 2011, she finished the Expert Type Design Class with Frank Blokland at the Plantin Genootschap in Antwerp, and created the typeface Matilda. Matilda was specially designed to help make kids make the transition from reading simple type forms to more complex ones.
Her PhD in 2012 entitled Type Design for Children with Low Vision was jointly supervised by Gerard Unger at Leiden University, and Bert Willems at Hasselt University. Her research interests include the interrelations between image & word, typography, font design, legibility, reading graphic design, book design and modular systems.
Annemarieke Kloosterhof was born and grew up in The Netherlands. In 2012 she started her graphic design studies at Central Saint Martin's University of the Arts in London. During her studies, she created Alphabet for Architects (2014). Behance link. Cargo Collective link. [Google] [More] ⦿
Author of Body Type (1969), reedited in 2011 by Spinhex, Amsterdam, with the help of René Knip. Nijhof and Lee write: Body Type is a re-edition of the legendary naked-women alphabet by Anthon Beeke originally published in 1969. This alphabet, which was published in the famous Kwadraadblad serie by Pieter Brattinga, is a carefully composed representation of the letters of the alphabet using naked women. Beeke made the alphabet as a 'tongue in cheek'response to Wim Crouwel's New Alphabet published in the same serie a year earlier. This new edition which is in colour, is complimented and enlarged with the numbers modelled by naked men all on individual sheets. It also contains a cahier with the history of the alphabet and a block containing the letters which can be used to make a streamer. Creator of the "Nude Alphabet" in Kwadraat (Steendrukkerij De Jong&Co, Hilversum, The Netherlands, 1970), using twelve nude women. This is not a font, but could be the basis for one. [Google] [More] ⦿
Born in Friesland, 1620-1687. Dutch punchcutter and typefounder, working in Leipzig. He was not responsible for the types that bear his name today---they were in fact due to Miklós Tótfalusi Kis (Nicholas Kis). [Google] [MyFonts] [More] ⦿
Antonius Kurvers (1889-1940) was a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987) and became a prolific public place letterer. He was born in Den Haag in 1889 and died in Amsterdam in 1940. Digital fonts influenced by his work include
Anton van de Repe
Dutch poster artist, 1887-1958. Guthschmidt and Guthschmidt Condensed (Tom Wallace, 2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Antonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman. Other posters with art deco lettering by him include Gastentoonstelling (1930) and Kurhaus Scheveningen (1930s). [Google] [MyFonts] [More] ⦿
Vendor of Mac and PC fonts for several languages and from a variety of companies. Only commercial stuff for Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More] ⦿
Arabic type site. Displayed font families include AT (by Tarek Atrissi), Al-Futtaim (by Mamoun Sakkal), and work by Nadine Chahine. Corporate calligraphy by Samir Sayegh. He holds a MFA in design from the School of Visual Arts in New York, a MA in interactive multimedia from the Utrecht School of the Arts in the Netherlands, and a BA in graphic design in his homeland, Lebanon. [Google] [More] ⦿
Archiness is a foundry, est. in 2009 in Delft, The Netherlands, by Wico Valk (b. 1962, Waddinxveen), a practicing architect since 1989. He designed these typefaces: ArchiType Rounded (2011, square gothic), Archi Logo (2009), ArchiType (2009, 12 styles). [Google] [MyFonts] [More] ⦿
Designer in Nijmegen, The Netherlands. Behance link. In 2011, he made the squarish typeface Mandaicana, about which he writes: Mandaicana is one of the few Mandaic type[faces] which exist in the world. Mandaic, the most Southeastern Aramaic dialect spoken in antiquity in Babylonia (Mesene, Characene, Khuzistan), reflects similarities to Jewish Babylonian Aramaic, both belonging to the Eastern Middle Aramaic branch. Although most scholars located the origin of the baptizing community in the East Jordan regions (Mark Lidzbarski, Rudolf Macuch, Kurt Rudolph) the Mandaeans are considered to spent a large part of their still controversial and mysterious history alongside the big rivers (Euphrates, Tigris, Karunriver) in the southern borderland between present-day Iraq and Iran. This was followed by Ardwan Malka and Englaiscana (2011). Klingspor link. [Google] [More] ⦿
Rotterdam-based creator of an ornamental caps typeface called Zabalt (2013).
Freeware font viewer (aka amviewer) for Windows. Can deal with the entire Unicode range. People report to me that this viewer should be avoided at any cost, as viewing truetype fonts becomes impossible once FontViewer is removed. So, please, please, please, do not ever install amviewer. Mike Ady's fix and help page. [Google] [More] ⦿
Graduate from the Academy of Art and Design in Arnhem (1998) and of the Cranbrook Academy of Art (2000) who designed the gorgeous neo deco font New Amsterdam (2001), Deadgun (2000, as a past tribute to Raygun), Yeehaw, Blood Thirsty, Wanted Dead or Alive, Diamond, and Al Capone Was Here. At Union Fonts, he published New Amsterdam, Are You In?, and Roger That, fonts also showcased at Cranbrook. In 2005, he decided to go public and make his fonts available for free: Becoming Animal, Free Doughnut, Human Behavior, Deadgun, Yeehaw, Blood Thirsty, Wanted Dead or Alive, New Amsterdam, Are You In?, and Roger That. Noordeman is an art director and a designer, and has offices in North Adams, MA, and Brooklyn, NY. [Google] [More] ⦿
ARP's free text utilities (MS-DOS) and TTF-fonts
ARS Type (was ARS Design)
ARS Type is an Amsterdam-based foundry with some commercial fonts by Angus R. Shamal. Shamal had earlier published fonts with T-26 and Plazm. Fonts can be bought via Fontshop.
The fonts: AudioVisual1, Code, Kamp, Kamp Serif, Retro City, OCRU, Toycube, Mortal, Maquette (1999-2000), Angelring, ARS Bembo, Contrast, Dandy, EcologyModern, Hartu (handwriting), Temper, ARS Novelty (2011, a free hybrid style face), ARS Polythene (pixel font family), Misanthry, Syntax (OsF format sans serif), CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Exert (T-26), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995), ARSFortune (2000, futuristic), District (experimental), Descendiaan, Zero Rate (futuristic), Tegel (1998, stencil, kitchen tile), Twenty (octagonal, techno), Trio (dot matrix fonts), Maquette (1999), Region, Product (2007, sans typefaces), Mr Archi, Prime (display), Deviata (unicase face), Forum I-AR (after Forum I, a 1948 font by Georg Trump), Freie Initialen-AR (2007, after a 1928 set of caps for Stempel Garamond), Fry's Ornamented (2007; a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796), Graphique-AR (2007; a shadowed typeface based on a 1946 design by Eidenbenz for Haas), Gravur-AR (2007; a digital version of a type designed by Georg Trump and issued as Trump-Gravur by Weber in 1960), Initiales Grecques (after a Firmin Didot design, ca. 1800), Lutetia Open (2007; based on Jan Van Krimpen's Lutetia), Old Face Open (2007; a digitization of Fry's Shaded, an open all caps Baskerville cut by Isaac Moore for Fry, ca. 1788), Open Capitals (2007, after Jan Van Krimpen's 1928 typeface for Enschedé called Open Kapitalen), Romulus Capitals (2007; after the caps series by Jan Van Krimpen, 1931), Romulus Open (2007; after the Open series by Jan Van Krimpen, 1936), Rosart 811 (2007; open caps after Enschedé no. 811 by Rosart), Zentenar Initialen (2007; based on blackletter initials of F.H.E. Schneidler, ca. 1937). [Google] [MyFonts] [More] ⦿
Arthur Reinders Folmer (or Arthus) is from Haarlem, The Netherlands. He created the free ornamental all-caps typeface Magical Unicorn (2011), Elerium (2012, an upright italic), and the tringaulated Crystalline (2012). It has been a long wait, but finally someone had the courage to create a typeface with the name Obesitas: Obesitas Sans (2012), advertised as the mother of all fat typefaces. Pylon (2012) was inspired by electricity pylons.
IN 2013, he designed Angellocks, a semi-blackletter typeface.
In 2016, he designed Utopia Initials.
Born and raised in Den Haag, Artur was formed at the KABK in type and media. At OurType, he designed Parry and Parry Grotesque in 2006. Schmal claims that it was inspired by Edmund Fry and Thorowgood.
Aschwin de Hoog
Atelier Carvalho Bernau
Kai Bernau (b. 1978) studied graphic design at the University of Applied Sciences Schwabisch Gmünd in Germany before relocating to the Netherlands, where he graduated from the Design & Typography course of the KABK in The Hague in 2005 with his successful Neutral Typeface project. He continued in the KABK's Type and Media Master course where he graduated in 2006. Since 2011, Kai teaches type design in the Master in Art Direction program at ECAL in Lausanne, Switzerland. In 2005, Susana Carvalho and Kai Bernau formed Atelier Carvalho Bernau, which is based in The Hague, The Netherlands.
Atomic Media (was: SmartDust)
Matthew Bardram (b. New York City, 1965) is the Tucson, AZ-based [T-26] founder of Atomic Media, who specializes in bitmap fonts. He designed Atomic, Centrifuge, Bromide (at T-26), Crackle, Klaxon. At Nakedface (now gone), he made Arachnid, Bitpak, Bylinear, DhexInline, Genetica, Economy Large, Empiric, Hypersigna (2005, bitmap face), Montreal (the family) and two katakana fonts. His Bitpack includes the following pixel fonts: Bylinear (2000), Cellular (2000), Genetica (2000, free download), Genetrix, Macroscopic, Metodic, Microscopic, Noir, Scriptometer, Remote (2000), Monocule (2000), Joystik, Centrifuge, Quantaa (2000), Bionika, Megalon (2000), Wired, Badfish.
Bardram's Digipak includes Atomic-Inline, Atomic-Outline, Bionika-Black, Bionika, Genetrix-Crossed, Genetrix-Square, Genetrix-SquareCore, Genetrix-SquareHollow, Joystik, Macroscopic-A, Macroscopic-B, Macroscopic-C, Macroscopic-D, Macroscopic-E, Methodic-Bold, Methodic, Microscopic, Noir, Scriptometer-SanScript, Scriptometer.
Additional typefaces: a 3D pixel font called Boxer 3D (2002), Neuronic (2002-2004, nice outlined pixel font; see also here), Fusionaire (2002, a display font) and Wijdeveld, a squarish font based on the lettering of poster artist Wijdeveld from The Netherlands. In 2005, these fonts were added: Magnetica, Imperium, Ratio, Hypersigna, Sequence and Tempora, all by Matthew Bardram.
Sausan Kare's pixel fonts at Atomic Media: Mini Food, Kare Dingbats, Biology, Everett, Harry, Ramona, Kare Five Dots, Kare Five Dots Serif, Kare Six Dots, Kare Six Dots Serif.
Attak is a two-headed graphic design firm formed in 2004 by Peter Korsman (b. 1982) and Casper Herselman. It is based in 's-Hertogenbosch, The Netherlands. They have some free and some commercial typefaces. Behance link. Their fonts, ca. 2009: AT AK-47, AT Babyfat, AT Blaser, AT Concours, AT Dienstuhr, AT Discipline, AT FFW, AT Helix, AT Hide and Seek, AT Hieronymus, AT Janus Kiep, AT Kerremus, AT Klaxon, AT Korsakopf, AT Litewriter, AT Mepper, AT Mohawk, AT Moker, AT Monoload, AT Muntel, AT Peetroleum, AT Praktikum, AT Promille, AT Ramseier, AT Riot, AT Sirca, AT Sirca alternate, AT Slyper, AT Snotnose, AT Streeep, AT Tabak, AT T'Atteljeej, AT TCB, AT Timeline, AT Trash Bold, AT Willi, AT With Machines, AT Zippora. Notable products: AK-47 simulates Cyrillic; Helix is a stencil face; Muntel and Concours are fat art deco typefaces; Practicum and Tabak are octagonal; Riot leaks blood; Sirca is based on arcs of circles; Streep is a multiline font. I presume that Peter is the main font designer in the team, as he already made fonts as early as 2003 for Burodestruct (see, e.g., BD Burner, BD El Max, BD Sirca, and BD Bardust, downloadable here). A more detailed breakdown per designer:
ATypI 2013 was held in Amsterdam from 9-13 October 2013. The theme was Point Counter Point. Its graphic identity was designed by Studio Dumbar.
The 83 speakers: Peter Bain, Rob Banham, Mark Barratt, Rob Becker, Donald Beekman, Sofie Beier, Aaron Bell, John D Berry, Ann Bessemans, Filip Blazek, Frank Blokland, Irma Boom, David Brezina, Matthew Carter, Nadine Chahine, Paresh Choudhury, Alessandro Colizzi, Bill Davis, Jo De Baerdemaeker, Rafael Dietzsch 2, Paul Dijstelberge, Catherine Dixon, Nikola Djurek, Maria Doreuli, Craig Eliason, Ramiro Espinoza, Victor Gaultney, Verena Gerlach, John Giannopoulos, Frank Griesshammer, Fritz Grogel, Elaine Guidero, Cyrus Highsmith, Will Hill, Viktor Kharyk, Eric Kindel, Henrik Kubel, David Kuettel, D. Udaya Kumar, Indra Kupferschmid, Kevin Larson, Edwina Lee, Werner Lemberg, David Lemon, Jean-Baptiste Levee, Mathieu Lommen, Rob McKaughan, Thomas Milo, Fraser Muggeridge, Titus Nemeth, Sandrine Nugue, Pierre Pane-Farre, Elena Papassissa, Thomas Phinney, Albert-Jan Pool, Cesar Puertas, Krista Radoeva, Rathna Ramanathan, Alice Rawsthorn, Daniel Reynolds, hyun guk ryu, Keitaro Sakamoto, Rainer Scheichelbauer, Georg Seifert, Juliet Shen, Nick Sherman, Fred Smeijers, Mirjam Somers, Brian Stell, Adi Stern, Claus Soerensen, Mariko Takagi, Adam Twardoch, Gerard Unger, Hans Van Maanen, Leonardo Vazquez, Peter Verheul, Werner Wolff, Yanone, Yuri Yarmola, Pascal Zoghbi, Erik van Blokland, Petr van Blokland, and Paul van der Laan.
The program was very strong, and reinforced the reputation of The Netherlands as the mecca of type design in 2013. Several awards were announced during the meeting: Gerrit Noordzij received the TDC Medal [large pic warning], Don Knuth received the Peter Karow Award, and Alexandra Korolkova received the Prix Charles Peignot for best type designer under the age of 35.
Dutch company run by Jeroen Breen, Maarten Dullemeijer and Rob Stolte, who all graduated from Utrecht School of the Arts (HKU). Autobahn designs special graphical projects, often with an illustrative and typographical angle. They offered these free fonts made with tomato paste, toothpaste and other things: Autobahn-Gelvetica, Autobahn-Heldentica, Autobahn-Tomatica (2008). Autobahn Grafisch Ontwerp is based in Utrecht, The Netherlands. The designers are Jeroen Breen (b. 1981), Maarten Dullemeijer (b. 1982) and Rob Stolte (b. 1981).
Their house fonts are Air Light (techno) and LEF.
In 2010, they produced the exquisite typeface Petronius, which is based upon a typeface designed by surrealist Joop H. Moesman (1909-1988).
The Alphabet in stone typeface by Dom Hans van der Laan, a Dutch monk who lived from 1904 until 1991, was digitized in 2011, and the project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. This typeface is based on the proportions found in Trajan.
In a project called Hacking Habitat (2015), they combined Arial Black and Times into a hybrid typeface.
Amsterdam's Jan Pieter Kunst offers Avesta (Persian 5th/6th century), a five font family that is based on the typeface used in the Avesta edition by K.F. Geldner. Freeware. PC, type 1 and truetype. [Google] [More] ⦿
Barbara Bigosinska received her master degree in Graphic Design at the Academy of Fine Arts in Katowice, Poland. In 2013, she graduated from the Type & Media program at the KABK in Den Haag. At KABK, Barbara Bigosinska designed the angular text typefaces Barbear and Sambukka in 2013.
For her type revival project at KABK, she picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia reffers to the Roman name of Paris.
Her KABK graduation typeface family was Mala (2013). Loaded with opentype features and choices of widths, Mala was created for cartographic purposes.
Henk Kolkmeyer was a Dutch designer, 1901-1988. His poster from 1922 entitled Waarom Droeg Je Geen Muts Als Ik has some early art deco / late art nouveau lettering.
In 2012, a free font was published by Koeiekat (John Wollring) entitled HK Display. It is a free interpretation of an art deco alphabet designed by Henk Kolkmeyer for a poster for the Veiligheids Museum in Amsterdam. [Google] [More] ⦿
Baron von Fonthausen
Jacques Le Bailly (b. 1975) is the "Baron von Fonthausen", located in Den Haag. He is working on commercial fonts such as Ballpoint, TyPress, Ballpoint, B-Day and Sardines-Light. Sardines (2008, Vette Letters) is described by Jan Middendorp as an amusing parade of heavyweight characters crammed into squares. In 2010, that monospaced family was expanded to VLNL Neue Sardines (42 styles). Designer of the pixel font Mekka.
Macula (2010) is a trompe l'oeuil typeface that is available from Bold Monday. It was inspired by Oscar Reutersvärd's impossible perspectives and M.C. Escher's optical illusions.
Dutch creator of the free script typeface Bart Handschrift (2012).
Born in 1876 in Utrecht, died in 1958 in Blaricum. Bart van der Leck was a Dutch painter and designer. With Theo van Doesburg and Piet Mondriaan he founded the De Stijl (abstract, geometric) art movement. In 1930, he was commissioned by Jo de Leeuw, owner of the prestigious Dutch department store Metz&Co. to design interiors, window packaging, branding and advertising. For these print materials van der Leck developed a rectilinear geometrically constructed alphabet. In 1941, he designed a typeface based on this alphabet for the avant-garde magazine Flax. One digital version of this typeface exists: Architype van der Leck (1994, by David Quay and Freda Sack of The Foundry). The wiki page writes: The typeface is geometrically constructed, and based upon an earlier stencil lettering alphabet van der Leck designed in the early 1930s for use in branding and advertising Jo de Leeuw's presigious Dutch department stores Metz&Co. The typeface shares structural similarities with Theo Van Doesburg's 1919 geometric alphabet, and anticipates later typographic explorations of geometric reductionism of Wim Crouwel's 1967 New Alphabet and early digital typefaces like Zuzana Licko's typefaces Lo-Res and Emperor 8.
Cofounder of Underware (b. Wanssum, The Netherlands, 1976), a typographic design studio based in Den Haag, founded in 1999 by Akiem Helmling and Bas Jacobs. Bas lives in Amsterdam since 2001. He studied at the KABK in Den Haag. Bas Jacobs and Akiem Helmling designed Dolly (2001), a 4-font book typeface with flourishes. The Bukvaraz 2001 award they won for it mentions that Lars de Beer and Sami Kortemäki also had a hand in the font. Dolly A Book Typeface with Flourishes is also a book. Bas also codesigned the other Underware fonts after Doly: Bello, Sauna (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 (free) and Fakir. In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper.
Amsterdam-based designer of Cubic Typeface (2012) and a triangular / hexagonal typeface in 2013. His company is About Design.
Graphic designer (b. Dordrecht, The Netherlands, 1979), who specializes in type and typographic design, and lives in Haarlem. Student from 1999-2003 at the Graphic and Typographic design-course at the Royal Academy of Art (KABK) in the Hague. He graduated in 2004 from the postgraduate design-course on TypeMedia at the same academy. While at the KABK, he made the futuristic/computerized typefaces Basetype 144 (2003) and Default (2001). Many of his projects involve lettering in public places, such as the application of DTL Haarlemmer for the street signs in Haarlem. His type designs include Small World, Homerus (text face) and Blackletter (a project for the city of Haarlem). Ancient URL. [Google] [More] ⦿
Bert Bos studied Mathematics in Groningen (1982-1987), and wrote a thesis about Graphic User Interfaces (1987-1993). He worked on an Internet browser and the surrounding infrastructure for the Faculty of Arts in Groningen and is now working for The World Wide Web Consortium on style sheets and math. He lives in Sophia Antipolis near Nice in France.
Author of Cascading Style Sheets---designing for the Web (3rd ed.) (2005, Hakon Wium Lie & Bert Bos).
He also created a free transitional family in metafont and opentype for use with TeX, Gladiator and Gladiator Sans (1991).
Dutch designer of New Sans (2004), Intercity (2003), Night Rider (2004), Roos (2003), Stilo Sans (2003), Fresh Light (2003), Comic Tip (2003), Frutto (2003), Peppchi (2003), Dibbel (2003), Grumna, Grumna Outline, Fountain Pen, Lettertiep, Fuder, Fuder Bold, and Grassi. Most of his fonts involve handwriting. In 2006, his fonts were removed from the web. [Google] [More] ⦿
Blaise Sumerah Kal
Blaise Sumerah Kal (was: 4Logoz)
Blaise Kal (who used to call her web presence 4Logoz) is the Dutch designer of Blzee v1.03 (2003, handwriting), BlaiseHand (2001), Blaise (experimental, 2001), Crashed Scoreboard, Amsterdam (2001, pixel imitation), and Blame My Parents. Home page. [Google] [More] ⦿
During his graphic design studies, Utrecht-based Bob Hensen designed the engineering drawing typeface Line ABC (2013).
Bobby Voeten (Crop, Amsterdam, The Netherlands) designed the animated sans typeface Haywire in 2014 and Rubber Font in 2015. In 2015, he also designed Exova Dashboard Icons. Behance link. [Google] [More] ⦿
Bohemian Coding was founded early 2008 in the Netherlands and is being run by Pieter Omvlee. It develops a number of shareware applications for Mac OS X. These include Fontcase (elegant font management) and DrawIt. DrawIt is a vector editing application with support for bitmap-like image filters. Vector editing as well as the filters are completely non-destructive which means that a vector layer can still be edited even after a stack of filters has been applied. I guess DrawIt can be used as a first step in font design (exported formats include jpg, tiff and png), but it is not a font editor. [Google] [More] ⦿
Mads Wildgaard (Bold Decisions, Arnhem, The Netherlands) designs type. His typefaces include
Typefaces: Capibara (squarish, done in 2007 by van Rosmalen), Feisar (techno), Flex (sans), Nitti (monospaced, done in 2008 by van Rosmalen), Panno (sans, done in 2008 by van Rosmalen), Panno Text (2008-2010, a sans by Van Rosmalen and van der Laan), Naomi (1999), Nitti2 Typewriter (2009, by Van Rosmalen at Caketype), Nitti3 (2011, like Nitti2, but also with monotonic Greek), Nitti Grotesk (2012-2014), Nitti Mostro (2015, +Stencil), Pinup (fat rounded sans, done in 2008 by van Rosmalen), Pixel Package, and Stanley (headline face, done in 2008 by van Rosmalen; includes a stencil).
In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly).
In 2013, he published Pinup Dotted (a textured typeface) and Oskar. They write: Oskar, designed by Paul van der Laan, is a typeface inspired by Dutch architectural and advertising lettering from the early 20th century. Particularly the style of lettering that was painted on walls and shopfronts, or executed in metal on buildings. This kind of typography did not exist as metal printing types, but was instead painted manually by sign painters, or drawn by architects. Initially the typeface was designed in 2002 for the lettering of a monumental school in The Hague, designed by architect Jan Duiker in 1929.
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.
Pieter designed custom typefaces for worldwide clients amongst others Agis, Audi, Teldesign, KPN, The government of South Korea (road signing), The Ministry of Transport, Public Works and Water Management (OV Chipcard), USA Today and NBCUniversal.
Martijn Rijven (BOLT Graphics) is a Den Haag-based Dutch type designer who started out at Kombinat Typefounders. His fonts include Kwadra (octagonal), Berlina (a take on blackletter), Bastard (based on type used in "Bastard", a Thai manga comic book), Frigidaire (fifties display face), Bitscream, and "Dense Dumb and Dirty". [Google] [More] ⦿
Wim Crouwel's Hiroshima poster (2011) served as a model for Boris's unnamed piano key typeface created in 2011. And a 1968 poster for Stedelijk Museum Amsterdam was the model for another typeface created by Boris in 2011. [Google] [More] ⦿
Dutch letterer about whom Jan Middendorp will speak at ATypI 2009 in Mexico City. Middendorp writes: During my research for Dutch Type, I chanced upon the work of Boudewijn Ietswaart, an extremely talented lettering artist and illustrator whose work is virtually unknown in his native Netherlands. Further research led to my locating him - now retired - in Amsterdam, where I interviewed him and made photographic reproductions of some of his work. Ietswaart spent most of his professional life as a graphic designer in Mexico, Venezuela and Barcelona and only did a small portion of his work for Dutch publishers. He later became a scientific illustrator and abandoned lettering altogether. Ietswaart was extremely prolific during his two years in Mexico, c. 1960, where he had gone to assist UNESCO collaborator Alexander Stols - a well-known publisher - as the typographic specialist. After I mentioned Ietswaart to my contacts of the Círculo de Tipógrafos in Mexico last year, they researched what information they could find, and also located many of Ietswaart's works in antiquarian bookshops. They soon warmed up to the idea of reviving some of his alphabets as fonts, and present the work during ATypI 09 in the context of the cultural climate of the era. At the Flickr site documenting his years in Mexico in 1961 and 1962, we read: In 1961 a young Dutch designer, Boudewijn Ietswaart, arrived in Mexico City. Schooled in hand lettering and a master of many graphic techniques Ietswaart came to the effervescent capital of Mexico as an assistant to Alexandre Stols, himself a famous book designer who had been sent abroad as part of a UNESCO. Ietswaart was enormously productive these two years as a designer of book covers for the Fondo de Cultura Económica and the Universidad Nacional Autonoma de Mexico (UNAM). A list of his work for the UNESCO spans more than 50 titles. Ietswaart himself, now 72, is modest about his efforts, saying he was "allowed to do the titles" and noting the pretentiousness of being sent on an aid mission to a publishing company of international stature such as the Fondo de Cultura Económica. Nonetheless he took seriously his goal of making the presentation of mass produced books on academic subjects more accessible. A revision of his work gleaned from Mexico City's second-hand bookshops displays a playful, fresh and elegant style to the layman's eye. For an expert on hand lettering there is more to be seen in Ietswaart's designs. Jan Middendorp, author of Dutch Type, the canonical book on the history of typography in the Netherlands, titles one chapter the "Unrecognized brilliance of Boudewijn Ietswaart" giving Ietswaart pride of place among Holland's great designers of letters. Nonetheless Ietswaart is still virtually unknown, largely because he was working as a freelance designer outside of his own country. This period was also a golden age in Mexican letters. Gabriel Garcia Marquez moved to Mexico in 1961 and Nobel Prize winners Octavio Paz and Carlos Fuentes were regulars in the scene around the great Fondo de Cultura Económica. Artists such as the Catalan Vicente Rojo worked in the design section. And Mexico in general was at the peak of its 20th century cultural glory. After his two-year stay in Mexico Ietswaart moved to Spain and Venezuela, eventually leaving book design and moving into scientific illustration. He is now retired and living in Amsterdam. In 2008 during its investigations of Dutch typography the Círculo de Tipógrafosógrafos, a group of young designers in Mexico City, stumbled on the work of Ietswaart by way of Middendorp. Inspired by the designs of an unknown foreigner in the golden age of their country's letters the Circulo de Tipógrafos has undertaken a project to convert his hand lettered alphabets into digital fonts compatible with computers anywhere, thereby commemorating the work of Ietswaart and this particularly important period in Mexican cultural history. The aim of the Circulo de Tipógrafos is to present these fonts during the yearly congress of the Association Typographique International, the organisation of the international type community, which is to be held towards the end of October 2009 in Mexico City. This presentation is to be accompanied by an exposition to be held in a major venue in the city's historical centre.
Boudewijn Ietswaart passed away on December 23, 2010.
Bram de Does was a type designer born in Amsterdam in 1934. He died on December 28, 2015. At Enschedé in Haarlem, which he joined in 1958, and for which he worked most of his life, he designed Trinité (1978-1981) and Lexicon (1990-1991). Enschedé write-up. Author of Trinité won him the prestigious H.N. Werkman Prize in 1991. Mathieu Lommen and John A. Lane published Bram de Does Boektypograaf & Letterontwerper Book Typographer & Type Designer (Amsterdam, 2003). In 2003, a 53 minute Dutch documentary was made: Systematisch Slordig: Bram de Does - Letterontwerper&Typograaf (Coraline Korevaar/Otto de Fijter, Woudrichem). That video is also at Vimeo and here. A collection of many of his drawings is at the University of Amsterdam. Part of this collection (e.g., the development of Lexicon) has been scanned in and placed on the web. Details on his fonts:
Trinité won him the prestigious H.N. Werkman Prize in 1991. Mathieu Lommen and John A. Lane published Bram de Does Boektypograaf & Letterontwerper Book Typographer & Type Designer (Amsterdam, 2003).
In 2003, a 53 minute Dutch documentary was made: Systematisch Slordig: Bram de Does - Letterontwerper&Typograaf (Coraline Korevaar/Otto de Fijter, Woudrichem). That video is also at Vimeo and here. A collection of many of his drawings is at the University of Amsterdam. Part of this collection (e.g., the development of Lexicon) has been scanned in and placed on the web. Details on his fonts:
Graphic and print designer in Waalwijk, The Netherlands, who studies graphic design at AKV/St.Joost Den Bosch. She created Chinese Type (2012, a multiline typeface based on ornamental patterns seen in the windows of Chinese restaurants). [Google] [More] ⦿
Bric Type is a typography consultant company based in Brazil and The Netherlands, run by Yomar Augusto, who holds a BA in graphic design (University of Rio de Janeiro, 2000) and MA in type design (Type & Media at the Royal Academy of Art in The Hague, 2005). Personal URL. As a Brazilian graphic artist, he has been involved in two Rojo ArtStorm projects. Yomar lives in Rotterdam. At ATypI 2008 in St. Petersburg, he ran an experimental calligraphy workshop called Kalligraphos.
His typefaces include Den Dekker (2006), and the roundish liquid creations such as Virgem, Rejane, Liquida (2002) and Dizain. No downloads. More recent typefaces: Duin (2007, octagonal), REMF (2006, stencil), DC (2007, ultra-fat), Fake Human (2005, script), Jana (2006, unicase), War (2007, octagonal), Fuck Shit Up (2007, stencil), Charlie Dee (2002, hairline stencil), Marina Lima (2002), Lasagna (2008, Re-Type: a fat geometric poster family, produced with the help of Miguel Hernandez). In 2009-2010, he created the Adidas Unity typeface [images: i, ii, iii]. In 2011, he designed the multiline headline typeface Andoverpis. The Dog House Nike (2010) is a custom typeface for The Dog House Athlete center for runners in Amsterdam.
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] ⦿
Bureau Mijksenaar is Paul Mijksenaar's firm in Amsterdam. They designed the signs at Schiphol Airport, the subways of Amsterdam and Rotterdam, the Dutch Railway, and are working on new tax forms for the Dutch government. Paul Mijksenaar teaches at the Delft University of Technology. [Google] [More] ⦿
Bureau Roffa (was: Designtown)
Dutch creator (b. 1996, Rotterdam) of the free Google Web Font display typeface Expletus Sans (2011). The theme of this typeface: disconnect the strokes, but not totally. He runs a one-man design studio located in Rotterdam. He created the six-style family Rotterdam (2008), which he describes as art deco with a typeface lift, and Disc (2008, CD-inspired).
In 2013, Jasper founded Bureau Roffa. A much better name than Designtown, Roffa is slang for Rotterdam. At Bureau Roffa, one can buy the 12-style humanist sans typeface family Sensato (2013). The regular weight is free. Features of Sensato include the Garamond heritage, the diagonal stress, some ink traps, slightly tilted outlines, open counters (for legibility), and solid spacing. Due to a trademark issue, De Waard was forced to rename Sensato to Proza. In 2015, he added the more daring and contrast-rich Proza Display.
Buro Petr van Blokland + Claudia Mens
Buro Petr van Blokland + Claudia Mens is a design and typography outfit in Delft (The Netherlands), which marketed RoboFog, a scripting language for Fontographer. Petr van Blokland (b. Gouda, 1956) is also a teacher at the Royal Academy Art in The Hague, and has designed the typefaces Vijfzeven (1978, dot matrix), Proforma (1984, available from Font Bureau), Productus (1992, sans), Prolinea, and Deforma (1999). In 1988, he received the Prix Charles Peignot. Since 1980, Petr is designer and partner in Buro Petr van Blokland + Claudia Mens. From 1984 until 1989 he taught at the Academy for Visual Arts in Arnhem. Since 1988 he is a teacher at the Graphic and Typographic Design Department and the post-graduate course Type&Media of the Royal Academy of Visual Arts in The Hague. In 2005, Erik and his brother Petr made the Künstlerbrüder-Schriftfamilie of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst in 2005.
Dutch designer who did the art deco front cover of Holland "Als de kunstenaar de nijverheid dient dient de nijverheid de kunst" (1926). The lettering on that cover influenced the typefaces Amstel Heavy NF (Nick Curtis) and Hex (a font by Sign DNA). [Google] [More] ⦿
Book shop owner in Utrecht, The Netherlands, in the 19th century. In 1855, he published the popular lettering model book Alphabeths voor steenhouwers, schoonschrijvers, schilders, graveurs, lithegraphen. In his book Nederlandse Belettering, Mathieu Lommen deduces that the alphabets in this book were developed in the atelier of lithographer P.W. van de Weijer in Utrecht in cooperation with van der Post.
Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿
Dan Haag-based Dutch foundry, est. 2004 by Pieter van Rosmalen, who before that designed fonts for GarageFonts and Typotheque. He studied design and advertising at Sint Lucas in Boxtel (The Netherlands) and type design and typography at the postgratuate course Type & Media at the Royal Academy of Arts in The Hague (The Netherlands). For the CakeType library he designed CKTP Alterego, CKTP Capibara Classic, CKTP Capone (6-weight grotesque), and CKTP Pixie. Cake Type is involved in custom and commercial typefaces. Emma is a custom family. Dutchman (b. Eindhoven, 1969, living in Den Haag) Pieter van Rosmalen's fonts are mostly of the pixel type and are sold at Garagefonts: Ministeck (2000, pixel font), Dotted Weekend (1999), Get Back (1999), Martian Telex (1999, dotted pixel font), Monster Droppings (1999), Naomi (1999, hand-printed), Nice Weekend (1999), Novella (1998-1999, rounded octagonal face), Porno (1999), Thomas (2000), Rough Weekend (1999), Adore (thin typewriter font), First Street Left, Moved, Passenger (pixel font), Rebel Mono (2000), Shop (arcade game pixel font), Underscore (stitch pixel font), Archive (2000), Ravensburger (2000), Rebel (2000), Adore (2001), FirstStreetLeft (2001), Moved (2001), Passenger (2001), Shop (2001), Underscore (2001), Weekend Web (2002), Archive (2003), Capibara (2003), Melvin (2003), Epos (2003). At Phil's Fonts, Alter Ego, Capone, Capone Poster (stencil), Galaxy and Pixie (+Mono, Narrow, Script), all made in 2005. In 2008, van Rosmalen made Nitti (monospaced; followed in 2009 by Nitti Typewriter), Panno (sans) and Pinup (fat rounded sans). In 2009, they published the non-connected hand-printed Aniek. In 2009, he and Paul van der Laan created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans.
Jeroen Krielaars (Calango) is a Dutch web designer in Amsterdam who made an animated prismatic geometric typeface called Moshun (2010). Krielaars created Moshun using the program Adobe After Effects in less than three days. Buy it exclusively from HypeForType.
In 2011, he teamed up with Maria Jose Torrero Heredia from Mexico to create the latest addition to the typeface collection, Binary 2.0 (experimental and very modular). Typogami is another layered animated font made in 2011.
In 2012, Jeroen created Webster, an animated font described as fllows: Webster is an extensive animated typeface with a nerdy look. It comes with uppercase, lowercase, numbers, punctuation and special characters. All together it counts over a 150 glyphs. With 13 customizable features, you can create over a gazillion looks. That's right, over a gazillion!
In 2014, Jeroen codesigned the animated octagonal typeface Magnus with Linn Fritz, and the animaited typeface Razor (Animography) with Jeffrey Schreiber. He created the animated rounded sans typeface family Mantis in 2014.
Baseball capitals: free metafont "capbas" (Capital Baseball) by Phons Bloemen from the Eindhoven University of Technology. Now included in the package are also 7-segment, 14-segment, Simple, matrix fonts like Flyspec and Neckerspoel. Lots of interesting tools as well. Magnificent package, really. [Google] [More] ⦿
Dutch designer who lives in Alphen aan den Rijn. She experimented in type design and produced typefaces like Leestekens (2012: glyphs constructed on the basis of punctuation only) and Warburg (2012). Behance link. [Google] [More] ⦿
Dutch designer who used FontStruct in 2009 to make Subway 22:38 (+Open), which is based on the font used for some train- and subway lines in and around Amsterdam. Roland is a student in graphic design at KABK, Den Haag. Blog. Aka Roland Cos at FontStruct. [Google] [More] ⦿
Type Designer from Eindhoven, The Netherlands, b. 1993. A stone's throw from the Belgian border, that is where Eindhoven is. MyFonts link to his foundry.
Dutch cofounder (b. 1981) with Peter Korsman of the free font foundry Attak Web ('s Hertogenbosch) in 2004. He created T Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008). [Google] [More] ⦿
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. It 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).
As 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 25-style classic serif typeface family Cormorant, which includes several unicase fonts.
In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.
Creative technologist in The Netherlands who was asked to modify and improve a typeface of her choice in her graphic design class at the University of Twente. She picked Poor Richard for that project. [Google] [More] ⦿
Editor of the two-volume book A Visual History of Typefaces and Graphic Styles 1901-1939, and A Visual History of Typefaces and Graphic Styles 1628-1900. Both volumes were published by Taschen. Cees is located in Almere, The Netherlands. [Google] [More] ⦿
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). I
Joris Johannes Christiaan Lebeau was a Dutch designer, 1878-1945. Hisart deco lettering can be found in these creations: Kunsthandel Willem Brok (1919, portrait poster cut in wood), Winterboek 24-25 Wereldbibliotheek (1924, front cover), Ultraphoon Huis (1920s, record sleeve), Ultraphoon (1920s, record sleeve), Programma (1920s, program), and Openbare Arbeidsbemiddeling (1928, poster). The black display caps typeface Brok (1995, Elizabeth Cory Holzman, Font Bureau) was based on the Kunsthandel Willem Brok poster. Nick Curtis claims that his typeface Haarlem Nights (2006) is based on a 1920 Dutch poster for Public Placement Services by Johan Dijsktra. However, de Voogt says that haarlem Nights is based on Lebeau's 1928 poster, Openbare Arbeidsbemiddeling. [Google] [More] ⦿
Dutch designer (b. 1994) of the elegant ribbon typeface Fold Up (2013) and of Flood Water (2014), which is named after the great flood of 1953 in The Netherlands. In 2016, he designed the basic building block typeface Cubik.
Christiaan Johannes van der Hoef was a Dutch designer, 1875-1933. He created some art deco posters such as Verblifa (1920), De Woekeraarster (1923), Henri Ter Hall's Revue (1927), and showed more art deco lettering prowess on his IXe Olympiade Amsterdam (1928, Olympic certificate). His lettering on the Verblifa poster influenced Kerfuffle NF (Nick Curtis), and Van der Hoef Capitals (Philip Bouwsma, Monotype). [Google] [More] ⦿
Christiaan Theo Boer
Christian "Cinga" Thalmann
Dutch type cutter, 1601-1669, who had a type foundry in Amsterdam. DTL Elzevir is based upon his work. Rudi Geeraerts explains a bit about present day types based on Van Dijck's work. I cite him, interspersed with my own comments:
Christoph Mueller Graphic Arts
Graphic designer, illustrator and type designer Christoph Mueller (Aachen, Germany) grew up in the Netherlands. His illustrations, album artwork and lettering have brought him international fame. He is also known for free fonts such as Mom's Typewriter (1997, old typewriter without a 0 or a 1---in the really old days, typewriters didn't have 0's or 1's. One used the uppercase letter O and the lowercase letter l for the 0 and the 1. This saved two keys and two type bars, as well as the linkage between the keys and type bars), NoRefunds (1997, grunge), AZ Crushed (1997, grunge) and Autonomous Zentrum. Among his non-free fonts, most of which are grunge types, Goyathlay is the most interesting one. Other typefaces by Christoph include Spotnik&OldRomanTimes, Bonnie and Clyde, Bonnie and Clyde GoodOldDays, Estetica Wrecked (+ExtraLetters), PsychoUno, PsychoZwo, and PsychoSan.
Dutch graphic and typographic designer from Aldeboarn, The Netherlands (b. 1959). Son of Gerrit Noordzij, and brother of Peter Matthias Noordzij. Designer at the Enschedé Font Foundry of Collis [discussed by John Berry], and OEM designer of the lettering for the Thalys high-speed trains between Paris and Brussels. Involved in book typography. Klingspor link. [Google] [MyFonts] [More] ⦿
Designer of the free stitching font Postcode (2008, FontStruct). It is based on a Dutch postage stamp from 1978 by Gert Dumbar (who runs the famous Dutch visual identity Studio Dumbar) and René van Raalte, which reads POSTCODE. It was apparently created to encourage the Dutch to include postal ccodes on their envelopes. [Google] [More] ⦿
Citype is Jarrik Muller's project where designers create free typefaces inspired by a city. Contributions as of mid-2014 to this Dutch enterprise:
CL fonts is a package that contains GaramondLatin, a professionally produced typeface (by Rubicon Computer Labs Inc, 1998) that provides macrons, brevia, apices/stress marks, common inscriptional characters, characters for printing scanned poetry, and a few medieval and religious symbols. Free, sponsored by the CAES, the Classical Association of the Empire State. On this page, you can also download the Anaxiphorminx font (1998): Dr. Ilja Pfeijffer of the University of Leiden has created a metrical font for scholars and advanced students of Greek and Latin. Anaxiphorminx is a metrical font designed for advanced work in Greek and Latin metrics. It was created on the Macintosh by Dr. I.L. Pfeijffer of the University of Leiden. Page by David Perry. [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.
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.
Designer at URW++ of
Boudewijn Rempt's fonts for imaginary and not-so-imaginary languages: Afaka-Roman (from Surinam, with help from Rob Nierse), Bugis-Makassar, DendenChancelleresca, Eqalar3 (for Pablo Flores' language Draseleq), goidel, gothic-1, Keiaans-(Kayenian), Mandeville-Hebreeuws, Meroitic-boldItalic, Mandeville-Chaldeeuws, Mandeville-Grieks, Mandeville-koptisch, Mandeville-Saracen, Nosjhe-standard (with Christophe Grandsire), hPhags-pa-(rotated), selang, selang-cursief, Ü-chan, ValdyaansKlerkenschrift, 2ValdyaansKlerkenschrift. He created Gothic after the alphabet devised by the Visigothic Bishop Wulfila (Lat. Ulfilas), 311-383 AD. [Google] [More] ⦿
Creator of the comic book / chalk board font Whiteboard (2007). She is the designer of Heroes Font (2006, hand-printed, made based on screenshots of the Heroes TV series; see also here) and House Whiteboard Font (2006). Commercial fonts include Spidery Elegance (2008), Dausby (2012, based on a secretary's hand from the 1850s), Ashby (2015, a Spencerian script), and Concinnitas (2015, a neat upright hand-crafted typeface).
She also offers a commercial handwriting font service (40 USD), and has some free handwriting demo fonts from 2005 and 2006: Angela, Bob-H., Escribiente, Heroes-font, Kendall-j, Krusoe, Nongtung, R.-Bruce, Whiteboard, richie.
Despite his name, André Vlaanderen was a Dutch designer, 1881-1955. He drew several alphabets, such as Moderne Schabloonletter (1933, a geometric stencil), and Silhouetteletter (1933, a counterless geometric art deco face).
Dutch letterer and calligrapher, 1568-1634 (or 1635). He published the calligraphic masterpiece Gramato graphices in Amsterdam in 1605. This book has several blackletter and chancery alphabets proposed by Boissens. Teaser web site by yours truly. [Google] [More] ⦿
Son of Henric Pieterszoon Lettersnijder, b. Delft. Dutch letter cutter ("lettersnijder"). He cut a Netherlandisch Bastarda, which he used from 1524 onwards, and a big double pica Textura to continue with the type family popularized by his father. Vervliet in his 1968 book ranks Cornelis a "cut" below his father. [Google] [More] ⦿
Typefounder in Haarlem, The Netherlands, 1721-1785? He was a partner in Corn. Nozeman&Comp. His work can be found in Epreuve des caracteres, qui se fondent dans la nouvelle fonderie de Corn. Nozeman&Comp. a Harlem (Haarlem, 1756). Nozeman was in partnership with J.F. Rosart (1714-1777), who cut many of the types. The 1756 publication is a gorgeous small book, in which it is claimed that this is the start of a new foundry in Haarlem. Type showings include Dubbele mediaan schtyfletter (a script), ext romein, Text cursyf, Mediaan romein, Mediaan italique, Descendiaan romein and italique, Descendiaan medicynse, Astromise en Chimise Tekens, Garmond romein, Garmond cursyf, and Almanaks tekens. [Google] [More] ⦿
Dutch printer located in Rotterdam, who published the lettering model book Calligrafische voorbeelden ten dienste van schlders, steenhouwers, lithographen, bouwkundigen enz in 32 genres (1888).
Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿
Daan Spangenberg (Den Haag, the Netherlands) created the identity, the (hipster) typeface and the web site for Bar Faux Amsterdam, to be opened in 2015. The work was carried out in cooperation with Borre Akkersdijk. As art director, he created many other identities as well. [Google] [More] ⦿
Freelance graphic designer from Spain who lives in Amsterdam. He created the interesting geometric display sans typeface Athan (2010, Thinkdust), and the futuristic deco (Dutch neo-plasticist) typeface Blozend (2010, Thinkdust).
German illustrator and graphic designer (b. 1978, Ingolstadt, Germay), located in Amsterdam where he does business as San2Design. Behance link. He admits influences of Swiss design and Massimo Vignelli, and, not surprisingly, created a sans typeface called San2 (2010) which reflects these minimalist influences. [Google] [More] ⦿
Belgian typefounder (b. Antwerp, 1815, d. Rotterdam 1864). He worked as a typefounder in Rotterdam from 1857 until about 1864, running the foundry D. J. Mensing&Co. Specimen in the Amsterdam University Library. [Google] [More] ⦿
Communication&Multimedia Design at the NHL University in Leeuwarden, The Netherlands. Indonesian creator of beautiful lettering in his Maluku poster (2011). Maluku is the local word for Moluccan, referring to the island group situated between Celebes, the Phillippines, New Guinea and Timor. It is part of Indonesia.
Netherlands-based creator (b. 1990) of these free pixel typefaces that were made with FontStruct in 2013: PKMN Mystery Dungeon, Mario Kart DS, FFCC Echose of Time, SMT Devil Survivor, SMB Deluxe, Unown GB, Accents Euro TLOZ Phantom Hourglass, Accents TLOZ Minish Cap / A Link to the Past / Four Sword, TLOZ Link's Awakening, Super Mario World, Super Mario Bros. 3, Super Mario 64 DS, Star Fox/Starwing, SMW2: Yoshi's Island, PKMN Pinball, PKMN RBYGSC, Euro Nintendo DS BIOS, Metroid Fusion, Accents Euro Mega Man ZX, Mega Man Battle Network, Kirby's Adventure, Golden Sun, Final Fantasy, Accents Euro Animal Crossing: Wild World, Ace Attorney. [Google] [More] ⦿
British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1968, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded The Foundry with Freda Sack and Mike Daines in London. The Foundry also develops custom typefaces, marks and logotypes for companies inernationally these include a special typeface to be readable at very small sizes for Yellow pages, corporate fonts for BGplc (British Gas) NatWest Bank, and signage typefaces for both RailTrack in the UK and the Lisbon Metro system in Portugal. He taught typography and design at the Academie St. Joost, Hogeschool Brabant from 2001-2003. He taught part-time at IDEP in Barcelona, and lives and works in Amsterdam. In 2009, he started selling his fonts at MyFonts. His fonts, in chronological order:
Belgian penman who published t'Magazin OftTac-huys der Loffelycker Penn-const . . . Ghepractizeert Door David Roelands van Antwerpen, Fransoijschen School-Mr. binnen Vlissinghen in 1616. [Google] [More] ⦿
Donald Beekman (DBXL, est. 1999) is a graphic and audiovisual designer (b. Amsterdam, 1961), who studied at the Rietveld Art Academy from 1979 to 1984 and then started his own graphic and music studio in Amsterdam. He designed many typefaces, most of them emanating from logos or artwork designed for his clients, often from the music and entertainment industry. Since 2004 he has been co-hosting Typeradio, the radio- and podcast-station on design and typography. He set up Vette Letters. Dafont link. Alternate URL. His fonts:
De Aesthetische Dienst
Graphic designer, sign painter and letterer Jeroen Koning (De Aesthetische Dienst, Amsterdam) started work on DTL VandenVelde in 2015. This typeface will be inspired by the work of the famous calligrapher Jan Van den Velde (1568-1623). Behance link. [Google] [More] ⦿
De Amsterdamse Krulletter
In English, Amsterdam's curly letter. While doing a revival / interpretation of this style in his Krul typeface (2012), Ramiro Espinoza tells the story of this style, so I will reproduce excerpts:
Krul is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company's official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam.
The Amsterdamse Krulletter, or Amsterdam's curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful "g" originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced.
Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now.
He continues about his own typeface Krul: Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing Krul on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, Krul is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource. The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you. Krul can be purchased at ReType.
At ATypI 2013 in Amsterdam, Ramiro explained his work on the Krulletter. Still in 2013, Rob Becker and Ramiro Espinoza coauthored Amsterdamse Krulletter. In 2015, they published The Curly Letter of Amsterdam (Uitgeverij Lecturis, Eindhoven and Amsterdam). [Google] [More] ⦿
Dutch foundry from 1842-1856, bought by Nicolaas Tetterode in 1856. Formerly, De Passe&Cie in 1841. Jean Baptist De Panne (b. Brussels, ca. 1806, d. Amsterdam, 1844) was a Belgian who had been a foreman of Firmin Didot in Paris. Kornelis Elix, an Amsterdam based typefounder, asked him to come to Amsterdam, where De Passe worked for him from 1837 on. In 1841, De Passe created his own foundry, only to die in 1844, a year after his first specimen was published. That specimen derived mostly from the Th. Lejeune foundry in Brussels, which was active there from 1836-1838. Specimen in the Amsterdam University Library. [Google] [More] ⦿
Influential Dutch magazine founded in 1917 by Theo van Doesburg in cooperation with Piet Mondrian, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud. It became the catalyst for the De Stijl movement. Ninety numbers were published in 8 volumes, the last one in 1932. All have been scanned in. The De Stijl movement lived and died with the magazine. [Google] [More] ⦿
De Stijl is a Dutch word that means The Style. It is a Dutch artistic movement started in 1917 and that lasted until 1931. The movement is also known as neoplasticism.
The group's principal members were the Dutch painter, designer, writer and critic Theo van Doesburg, the painters Piet Mondrian, Vilmos Huszár and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff and J.J.P Oud.
De Stijl is also the name of an influential Dutch magazine founded in 1917 by Theo van Doesburg in cooperation with Piet Mondrian, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud. It became the catalyst for the De Stijl movement. Ninety numbers were published in 8 volumes, the last one in 1932. All have been scanned in. The De Stijl movement lived and died with the magazine.
De Stijl stood for a new ideal of spiritual harmony and order. Its members proposed abstraction and universality by a reduction to the essentials of form and colour. For example, they simplified visual compositions by limiting everything to vertical and horizontal directions, even in the typefaces used. They used only primary colors along with black and white. [Google] [More] ⦿
Deconditoned Reflex (drx87)
Thomas Milo founded DecoType in Amsterdam in 1985, together with Peter Somers and Mirjam Somers. They introduced the notion of dynamic fonts, and developed Ruqaa (1987), licensed by Microsoft. They also developed the DecoTypeSetter, which was included in Adobe PageMaker MiddleEast. Deco Type is perhaps best known for its extensive DTP Naskh family, which has hundreds of variations of all letterforms, and permitted people to typeset calligraphic Arabic, as it is in a style emulating the hand of the Ottoman calligrapher Mustafa Izzet Efendi. Part of that package is the DecoType Authentic Naskh typeface. DecoType donated a custom version of Naskh to the Unicode Consortium for printing the Arabic parts of their manuals. Other fonts include DTP Nastaaliq. Thomas Milo is also a specialist of Turkic and Slavic linguistics. His company's beautiful fonts sell for 125 USD: P.O. Box 55518, 1007 NA Amsterdam, The Netherlands. Thomas Milo's talks about Arabic fonts at the 1998 RIDT in Saint-Malo and at ATypI in Copenhagen in 2001 were masterful performances---entertaining and insightful from start to finish. From Milo's site: DecoType contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition; to Adobe PageMaker Middle East DecoType provides a special interface for Calligraphic typesetting; to the MacOS 9 it contributes Arabic fonts.
In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography for the development of the ACE layout engine (the heart of the Tasmeem plugin for InDesign ME) for Arabic text setting. The citation reads: Thomas Milo and his company DecoType developed with ACE, which is an acronym for 'Arabic Calligraphic Engine', new advanced technology for Arabic text setting, which needs a far more sophisticated approach than for instance the Latin script, based on a thorough analysis of the Arabic script. Not only served Milo's typographic research as the fundament for the ACE technology, clearly it also formed a basis for the development of the OpenType format, although this is a less known and acknowledged fact.
Illustrator and graphic designer in the Netherlands. Behance link.
Dennis de Vries
Type design and typography blog and news site (part of a much larger graphic design blog) run by Dutchman Sander Baumann. Alternate URL, where one can find his SymbolSigns-Basisset font made in 2009. [Google] [More] ⦿
Born in Amsterdam, 1909, he died in 1998. Trained and worked at the Lettergieterij in Amsterdam under S.H. de Roos. Studied at the Amsterdam College of Arts and Crafts and at the Academy of Art. His typefaces:
Dutch punchcutter. In 1680, he taught Miklos Kis, who had just moved from Hungary to Amsterdam. Richard Lipton designed the text family Meno FB (1994, Font Bureau) in fifteen styles. He explains: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam. [Google] [MyFonts] [More] ⦿
Maastricht, The Netherlands-based designer of the commercial typeface L'Oiseau de Feu (2013), a mysterious vintage typeface with a Russian look. Human Made Font (2013) was inspired by gothic architecture.
In 2014, he designed the creamy typeface Goggles.
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] ⦿
Dom Hans van der Laan (Leiden, 1904-1991) was a Dutch architect and Benedictine monk. After a few years of architectural studies, van der Laan developed a system of principles for proportions. Using this theory Dom Hans van der Laan designed buildings and even created a typeface, the Alphabet in stone. This typeface is based on the Roman carved stone capitals that were used in the first century AD. Designed using strict 3d rules (which he called the Plastic Number), his lettering can be found at the abbeys of Oosterhout and Mamelis.
The Alphabet in stone typeface was digitized in 2011. That project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. The font family can be bought from the Dutch foundry Autobahn. [Google] [More] ⦿
Yves Latscha's Dutch site, located in Gennep, The Netherlands, is called Dotspot Graphics.
At this defunct Dafont link, one could download his free grunge face, Gekrazze, the grunge typefaces 50's Headline DSG (2006), OldPress DSG (2006), Overprint DSG (2006), Smeared DSG (2005), OverRide DSG (2006), the handwriting typeface LongTimeAgo DSG (2006), and the sketchy caps font Skizzed DSG (2006), as well as Dingbatz Formz DSG (2006), Marvelouz DSG (2006), Hangbord DSG (2006), Screw DSG (2006), Stamped DSG (2006). [Google] [More] ⦿
Paul Ijsendoorn (Drawperfect) is a designer in Den Bosch, The Netherlands, b. 1976. He created Forced Square (2014), Post-it Penscript (2009) and Fineliner Script (2010).
Belgian designer who has a bachelors in graphic design from St. Lucas, Gent (Belgium) and ArtEZ Arnhem (The Netherlands), and a Masters in the same area from both places. He lives in Gent and loves mussels (or, at least, he loves to make posters of mussels). Behance link. He list of typefaces:
A set of utilities by the Dutch Type Library for Mac and PC that allows one to professionally produce and correct fonts. Developed in coordination with URW Hamburg. Includes BezierMaster, ContourMaster, InterpolateMaster, KernMaster, IkarusMaster, TraceMaster and DataMaster. The DTL FontMaster team:
They say that DTM stands for Dan Tha man. This site is a spoof of more serious business sites and seems to be located in Krommenie, The Netherlands. Behance link.
Creator of the Zipper font in 2010. In 2011, they created Oh My Goth (a gothic face) and Alphabeetje (multiline face). In 2012, the paperclip typeface Ester was published. In 2013, they created a 3d alphabet called Inside Job. Mr. Right (2014) is a multiline script typeface influenced by Rechtman (1992, David Rakowski).
His second typeface family is Cigar (2010). He writes: Cigar is a revival of a 1970s and 1980s typeface called Cucumber or Nassel Black or Scanner. It has been carefully redrawn and expanded into a full-featured OpenType font. Cigar Octo and Cigar Quarto are new angular reinterpretations of Cigar. In Cigar Octo, most round shapes have been replaced by octagonal shapes. In Cigar Quarto, most round shapes have been replaced by rectangular shapes.
Classic Xtra Round was created in 2011.
Typefaces from 2014: Aspira (a 112-font sans superfamily).
Dutch Deco Type
The seventeenth century saw The Netherlands flourish in all respects, after the fall of Antwerp in 1585. Between 1590 and 1650, teachers and professionals taught and developed penmanship in the Low Countries---Penneconste in old Dutch. The most talented of them was Jan van den Velde. Others included Lucas Fopsz Lely, Abraham van Overbeke, Maria Strick and Felix van Sambix. [Google] [More] ⦿
Dutch Type Library (or: DTL Studio)
The Dutch Type Library was founded in 1990 by Frank Blokland (b. 1959, Leiden). It is based in 's Hertogenbosch, The Netherlands. Fonts include DTLAlbertina (Chris Brand), DTLArgo (Gerard Unger), DTL Caspari (Gerard Daniels), DTL Documenta and DTL Documenta Sans (Frank E. Blokland), DTL Dorian (Elmo van Slingerland), DTL Elzevir (Gerard Daniels), DTL Prokyon and DTL Fleischmann (Erhard Kaiser), DTL Flamande (Matthew Carter, 2004, based on a textura by Hendrik van den Keere), DTL Haarlemmer (Jan van Krimpen, finished by Frank Blokland), DTL Nobel (Sjoerd de Roos 1929; revived in 1993 by Andrea Fuchs and Fred Smeijers), DTL Paradox (Gerard Unger), DTLVandenKeere, DTL Unico (Michael Harvey), DTLRosart (Antoon de Vylder), DTL Sheldon (Jan van Krimpen revival), DTL Romulus (Jan van Krimpen revival), DTL Fell (a revival of lettering by John Fell, 1625-1686).
From their corporate blurb: The Dutch Type Library was commissioned to produce the corporate typeface for the European Union. Further, DTL supplied the company letters to, among others, the New York Stock Exchange, Germany's Phoenix Television Broadcasting Company, Amnesty International USA, Emerson, The Diamond Trading Company, Taylor Nelson Sofres, Finland's most popular newspaper Helsingin Sonamat and banks and museums all over Europe.
Besides fonts, the Dutch Type Library also produces sophisticated software for (OpenType) font production: DTL FontMaster, of which a free Light version is available.
DTL has claimed all rights to the entire Lettergieterij Amsterdam typeface library obtained in some agreement with Tetterode. [This info may be wrong---I have no way to verify this.]
Currently he is finishing a PhD study at Leiden University titled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman and italic type since their Renaissance origins until the Romain du Roi.
Ko Sliggers, b. 1952, Bloemendaal, The Netherlands, was a young designer at Studio Dumbar. After that, he became a professional cook in Rotterdam, Italy and France, switched back from food to design, producing challenging visuals at Studio Anthon Beeke and, in 2002, set up a one-man studio in Lalleweer, in the province of Groningen, called Dutchfonts. He was trained by Chris Brand at the St. Joost Academy in Breda. Ko created these commercial typefaces: DF Tapa (2007, irregular hand), Camino (2006, an austere sans), Ko (1997, six stencil styles), Etalage (2000), Arienne (2000), Staple Mono (monowidth typewriter family), Staple Txt (2005), Pommes (based on type cut out of potatoes; 8 styles), Daantje (dog dingbats) and Ko (1997, rough stencil). His own web site. MyFonts page, where you can buy DF-Arienne, DF-Etalage, DF-Ko, DF-Pommes (2005, potato cut typeface family), DF-Staple Mono, DF-Tapa (2007, grunge), DF-Mercat (2007, dingbats inspired by Barcelona's Ramblas), DF-Pigtail (2008, seventies-style script family), DF-Zzzz (2009), DF Camino (2009, a sans that is modeled on traffic sign sans typefaces), DF Stromboli (2010: It was written with a coffee spoon, acting like a broad pen, in the ashes of the Stromboli volcano right on top of a scanner. ), DF DejaVuPro (2010, an amalgam of sans typefaces), DF Game Over (2011, sketched face), DF Scheurze (2012, a great fat rough stencil face).
Typefaces from 2015: DF Charlie Go (free typeface designed immediately after the Charlie Hebdo attack in Paris), DF Park (experimental font started in 2013, originally made to dress up the facades of a food exhibition).
Typographer and designer who lives in Den Haag, The Netherlands. She made some elegant typefaces, such as Memoa (2010, organic typeface first called Jarek), Cubicle (2010, squarish) and a tilted script of exceptional balance, also in 2010.
ECHT is the foundry of Johan Manschot (b. 1974, Utrecht), a Dutch graphic designer who lives in Utrecht. His typefaces includes the counterless octagonal Pavement (2010) and the Indic simulation typeface Barharen Phir Bi (2010). The latter typeface is based on the Hindi text found on Guru Dutt's Baharen Phir Bi Aayengi -film poster (1966). [Google] [MyFonts] [More] ⦿
Spranq Eco Sans (2008) is a free font based on Vera Sans. It tries to probe how much of the glyphs can be removed without harming legibility. The idea is that holes in glyph outlines save on (expensive and toxic) ink. Ecofont is designed and developed by Spranq on an idea of Colin Willems. Spranq, the company, is based in Utrecht, and Alexander Kraaij is one of the spokesmen. It is unclear who actually wrote the software for putting holes in glyphs. In any case, the software is for Windows only.
Eden is an Amsterdam-based design form, formerly called BRS Premsela Vonk. Its designer Earik Wiersma made an 8-weight type family, Horizon, based on the Heineken beer logo. With the help of Lucas de Groot, this was later extended to an 11-weight type family called Heineken Sans and Heineken Serif in 2000. [Google] [More] ⦿
Type and graphic design pages by Edgar Walthert, b. Sursee, Switzerland. In 2007, he graduated from the TypeMedia program at KABK in Den Haag. Since then he is free-lancing. He completed TazIII in 2008 for Lucas de Groot in Berlin. In 2008, he moved to Amsterdam to work as an independent graphic and type-designer.
His typefaces include Agile (2007, a sans family done at KABK), Grosse Pläne, Instant Schrift (2000: Redesign of Isonorm 3098 matching the radical restrictions of the Instant design-manual), and Sonic Waves.
Agile was further developed in 2011 with weights ranging from hairline to fat, and appeared in 2013 as a retail typeface at Incubator / Village.
Edwin van de Beemt
Dutch type designer and lettering artist in Gouda (b. 1964, Rotterdam) who made DTLDorian (1994) at the Dutch Type Library. The calligraphic expertise of van Slingerland shines in this great text typeface family. Behance link. [Google] [MyFonts] [More] ⦿
Free math and scientific symbol fonts at Elsevier, the Dutch publishing house. The font series is called ESSTIX (2000). See also here. The list: ESSTIXTen, ESSTIXEleven, ESSTIXTwelve, ESSTIXThirteen, ESSTIXFourteen, ESSTIXFifteen, ESSTIXSixteen, ESSTIXSeventeen, ESSTIXOne, ESSTIXTwo, ESSTIXThree, ESSTIXFour, ESSTIXFive, ESSTIXSix, ESSTIXSeven, ESSTIXEight, ESSTIXNine. [Google] [More] ⦿
During her graphic design studies in Zwolle, The Netherlands, Elvira Koek created the modular typeface Fabrik (2013). She writes: This font is based on a few letter designs by Eric Waetzig.
Elzevir is an oldstyle typeface style related to garaldes. Elzevir was also the name of a renowned family of printers in the 16th and early 17th century in Leiden, The Hague, Utrecht, Copenhagen and Amsterdam. The first one, Louis (1540-1617), was the son of a Belgian printer in Leuven and established a print shop in Leiden in 1580. Other members include Isaac Elzevir, Bonaventrura Elzevir, and Abraham I Elzevir. They were operational until 1712.
Dutch book shop active in the 19th century in Arnhem and Nijmegen, which was run by two brothers. In 1887, they published a lettering model book, Modelboek.
Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿
Emile Michel Hobo
Italian designer of the fat display typeface Prendotempo (2007). He has addresses in Ravenna asnd Rotterdam. He codesigned Lekton at ISIA Urbino with Luciano Perondi aka Molotro, Marco Tortoioli Ricci aka BCPT, Michela Povoleri, Stefano Faoro, Elena Papassissa, Giulia Sagramola, Erica Preli, Müge Yilmaz, Luna Castroni, Caterina Giuliani, Veronika Bannert, Laura Fuligna, Caterina Carli, Tobias Seemiller. [Google] [More] ⦿
Excerpts of the book Enschedé. Spécimen des Lettres françoises dites Caractères de Civilité des XVIme et XVIIme Siècles dans la Collection Typographique de Joh. Enschedé en Zonen (1926, Haarlem: Joh. Enschedé en Zonen). This collection contains six different Civilité fonts, five from the 16th century (numbered 8, 9, 11, 12 and 14) and one chiefly from the seventeenth century (No. 30). The first maker and user of Civilité was Robert Granjon of Lyon, France, in Dialogue de la vie et de la mort (1557, Lyon), where he calls it his lettre françoyse. Plantin purchased some of Granjon's letters, and Granjon engraved even more more new letteres d'escriture in Antwerp for Plantin. Many imitations were made in Antwerp and Ghent, both in present day Belgium. Notes on the six Civilité types in the Enschedé collection:
German type designer (born in Quedlinburg, near Leipzig, 1957), who made the extensive DTL Fleischmann family (1992) at the Dutch Type Library. The font is named after Johann Michael Fleischmann (1707-1768), a German punchcutter who lived and died in Amsterdam. From 1983 until 1991 Erhard Kaiser worked at TypeDesign for Typoart, Dresden and since 1993 has been with DutchTypeLibrary/URW++. Still at DTL, he made the sans serif DTLProkyon family in 2002 around a curvy "4". This family gets raves from many typographers. Among possible imitations, we cite Dalton Maag's Ubuntu. For Typoart he designed Caslon Gotisch, Kleopatra, Quadro, Weiß-Antiqua and Bembo Antiqua. Since 1998 he teaches at the Muthesius Hochschule in Kiel. In 2005, he created DTL Antares, a strangely proportioned serif to accompany DTL Prokyon. Some weights published in 2008 are called Evonik Antares and some Evonik Prokyon.
Erik lives in Zwolle, The Netherlands, and was born in 1964. He designed the splendid free hand-crafted typefaces Eryx Rennie Macintosh (2015, Scottish arts and crafts typeface), Eryx Freeform (2015) and Eryx Cartoon (2015). Dafont link. [Google] [More] ⦿
Erik van Blokland
Erlof 't Hart (Opus Design, Rotterdam, The Netherlands, is a graphic designer. He created a minimalist monoline sans typeface for a sports retailer called Frontrunner (2011). He also made some logotypes. [Google] [More] ⦿
Apeldoorn, The Netherlands-based designer, b. 1975. Designer of Vandiana Platin (2007, display sans family with many weights). Before that, as Ersenak, Ersenak Production, and Laztemel Font Design Studio, he made the 99 Euro techno family Sevil alias Esra (2004). One free weight is here. He also made the techno font family Kubra (a bit in the style of Bank Gothic), and 4Deniz_alias_Kubra (2003). In 2014, he made the outine font Mixed Feelings. Mental Type [old URL]. Dafont link. [Google] [More] ⦿
Erwin van der Waal
Dutch designer of the handwriting typeface Erwin (2006) and the grunge typefaces Appendix (2006) and Airswinger (2006). In 2011, he made Airswing Headline (2011, futuristic). He also uses the names Airswinger and Erwin Vader. [Google] [More] ⦿
Dutch type designer (b. Den Haag, 1958, d. Arnhem, 2005) who studied graphic design at the Arnhem School of Art (1981). He worked at his own office for a number of clients, taught type design at the art academies of Arnhem and Breda and wrote articles about typography and related topics. He created FF Balance (1993), FF Cocon (1998-2001), FF Avance (2000) and FF Legato 1 and 2 (2004, flared sans families discussed here). FF Balance was created at the Amsterdamse Steenweg in Arnhem, at almost the same address as Ontwerpbureau Quadraat. Editor of "Letters, een bloemlezing over typografie" (Eindhoven, 2001), a book about contemporary Dutch typography. FontFont page. Typophiles about his death. Jan Middendorp wrote: Of all the type designers I have known and have written about, Evert had the most complex personality, and possibly the most original mind and the weirdest sense of humour. He kept promising me, with his characteristic mixture of boyish enthusiasm, solemn dedication and self-mockery, that he would one day cover the entire distance between his home in Arnhem and mine in Ghent on his reclining bike. I was sure he'd make it, sooner or later he always carried out his plans, although some took him ten years to complete. It fills me with grief, wonder and anger that Evert, who was always advocating exercise and healthy food, has now been taken away from us because of a heart failure. As a type designer, Evert was unorthodox, a true original. Each of his four type families was the outcome of a highly personal investigation, a challenge to himself. To others, he could be as demanding as his was to himself; when criticizing his friends' typographic work, he was brutally honest and always to the point. Yet he remained amazingly modest, even insecure, about his own work, and deeply grateful to those who would comment on the early versions of his typefaces and/or test them in print. In spite of the single-mindedness with which he worked on his type designs during those months of total concentration, he was open to many other intellectual stimuli. He had worked as a photographer of architecture constructing his own hand-operated panoramic camera, interviewed the designers he admired (such as Wim Crouwel and Hans Reichel) about their design philosophy, and lately became fascinated by the work of Marshall McLuhan. His lectures and articles, too, were evidence of his original ideas on form and on reading. It is a great loss indeed.
Jos Buivenga (exljbris; b. Assen, 1965) is the Arnhem-based Dutch artist who designed some of the most popular fonts of 2010-2011. MyFonts interview in 2009. Speaker at ATypI 2010 in Dublin. His oeuvre:
Digital artist in Heerlen, The Netherlands, who created Back To Black (2011, experimental face), Hello Type (2011, sans headline face), Just Meet Me Halfway (2009), an experimental font made for two-coloring, and Eclectic (2011, a free octagonal face).
At OFL, he makes 01 Base (2010, sans) available.
Typefaces from 2014: Cigarettes & Coffee (a free vernacular brush typeface).
FindThatFont! is a handy and free tool that allows to preview fonts that are installed on your system and to classify them into over 30 different categories. By Dutchman Mathijs Juressip. [Google] [More] ⦿
Byelorussian illustrator who fled his country when he was 18 years old. He sold paintings in Moscow and now lives in Amsterdam. His drawings are straight out of the 19th century, ornamental and playful. He is also inspired by the psychedelic lettering of the 1960s. Discussion of his work by Coles. Typefaces, all made or drawn in 2006-2007: Rodopi, Fashion Condensed, Farringdon, Hopkins, Rondell (Western style face), Abramesque (ornamental caps), Mansard Trimmed (19th century emulation), Wedlock, Silverado, Shimmer Wide (cyrillic), Mona (extra-wide slab serif), Flirt Chloe (more 19th century ornamental glyphs), Jubilee (constructivist Cyrillic lettering), Big Cyrillic pixels (many great pixelized alphabets), Cuba, Gingerbread (Victorian), and St. Clair. Alternate URL. Check out his gorgeous country maps designed for the aeroflot in-flight magazine in 2008. [Google] [More] ⦿
Floor van Steeg
Dutch freelance graphic designer (b. Almelo, 1985) living in Granada, Spain, and/or Nijverdal, The Netherlands. Creator of the free rounded sans typeface FV Almelo (2012), which was designed using ruler and compass. FV Granada (2012) is a contemporary monoline sans typeface. FV Deventer (2012) is a wavy antique almost Victorian font. Floris also created Hipster Icons.
Peter Kleiweg's free utility, which creates a set of HTML pages, each showing samples of twenty fonts -- Type1, TrueType, and others that are available to Ghostscript. You can quickly browse your fonts using a HTML browser, and click a sample to view that font's complete character set. A separate script is available that lists detailed info about a particular font. [Google] [More] ⦿
Richard Keijzer is the Dutch designer of many art deco typefaces, often based upon typefaces found on buildings or in Dutch publications, reviving styles known as Dutch deco from the 1920s and 1930s. Most of his fonts are free:
FontFabrik was established in 1997 in Berlin by Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands). He studied at the Royal Academy of Fine Arts in Den Haag, worked from 1989-1993 as a freelancer at the design bureau Premsela Voonk. From 1993 until 1997, he was with Meta Design in Berlin as typographic director in charge of many corporate design projects. In 1997, he set up his own studio, FontFabrik. Since 2000 his fonts are also sold under the Lucasfonts label. He creates retail and custom fonts, and made his reputation with his humongous font family Thesis. Originally, he published most of his retail fonts with FontFont, but his "FF" fonts were withdrawn from FontFont in 1999, and renamed with LF instead of FF, where LF stands for LucasFonts. Here is a partial list of his fonts:
Speaker at many international conferences. At ATypI 2015 in Sao Paulo, he spoke about his Folha Sao Paulo newspaper typeface.
Fontforecast is a typefoundry in the Netherlands that was set up by Hanneke Classen in 2013. Hanneke designed Graduate Script (2013, a connected script), Graduate Ornaments (2013), Bachelor Script (2013), Tyfoon Script (2013) and Tyfoon Sans (2013).
Her greatest work to date is the 16-font Chameleon family (2013). It includes Chameleon Basic (a calligraphic script that can be used for layering), Chameleon Pen, and Chameleon Sketch. This combination of poster styles was also seen in Laura Worthington's Charcuterie a few months earlier, so a trend seems to be developing. Santa's Pen (2013) is derived from Chameleon.
Typefaces from 2015: Bambusa Pro (a great bamboo pen script collection), Mucho Sans (a 12-style geometric sans), Stylist Pro (a great dip pen connected calligraphic typeface), Salt & Spices Pro (a script family).
FontMeister is the commercial foundry of Elwin Berlips in Almere, The Netherlands.
In his first life, he ran a free font site called 11th Floor, where he made these free typefaces in 1999: Civilization (octagonal), Plastik-Film (grungy semi-stencil), Raw (grunge), Rocket-Fuel, Timeline, Greenlight (dot matrix), Interstatic (futuristic), Handsolo, Optimum, Roswell (handwritten), Jean-Pierre (handwriting), 11th Floor (gridded).
At FontMeister, he published
Dutch type designer Peter Slager set up his own foundry, Fontopia, in Kampen in 2015. He created the display typefaces Ps Javier (2015), Ps Rooster 1, Ps Rooster 2 (2015), Ps Kampen (2015) and Ps Campen (2015).
Fontoville (was: Fresh Media)
Raymond Brekelmans (Fresh Media) is the Dutch designer in Eindhoven of fonts such as Fame&Fortune, GoodDoggy, 7chipmunks, Hairy60, Elvisinstereo (2002), Gforgiraffe, GrndmsterB, Highheeledsneakersnormal, HighheeledsneakersThin, Itsmartinitime, JohnnyBbad, Kickpunchblock, MrMustage, OrpheusBoldItalic, OrpheusBold, OrpheusItalic, OrpheusLightItalic, OrpheusLight, Orpheus, Quatrodeadmosquitos (see also the Fontomas CD), Rudisrevenge, Sirsheep, Thebends, TheDukesGeneralLee, TheDukesLuke, TheDukesBo, BeebopalulaOneLiner, BeebopalulaFillItUp, BeebopalulaDoubleOrNothing, freekisgek-#5, freekisgek-#5_inverse_italic, freekisgek-#5_italic, Zothezebra, CiaoMonkey, Hot Rod Ford, Naughty Farmergirl, Typing With Rudolf, Anything But Sue, Font-o-ville At Night, Snails&Sausages. All these fonts were made in 2001-2002 and are free.
Additions in 2005: Caramba, Surfing Bird, Vertigo (nice retro poster font!), Mufoefoe, Reverbb, Fasto (octagonal, free). Elvis in Stereo (2002, Cape-Arcona) and Address Unknown (Cape Arcona, grunge) are commercial. Prozaque is a groovy face.
Fonts by Alex
Dutch freelance designer Alex Scholing started Fonts by Alex in 2011 in Arnhem. Alex Scholing is graphic designer and co-founder of the design office Eat in Amsterdam. Behance link.
Fonts Jos Kunst
Dutch creator of the scratchy typeface FYOU (2013), of the brush typeface Worst Paint Job Ever (2013), of the ransom note font Just Some Random Doodles (2013), of Splash Blobs n Dots (2013), of AbracadabraHocusSpokuz (2013) and of the primitive hand-printed typefaces A Little Scribble in My Book (2013), A Butterfly on a Daffodil (2013), Mysterious Oriental Nights (2013), Happy Monks Medieval Looking Script (2013), Some Illiterate Wrote This (2013) and Secret Love Letters (2013). Sink Holes (2013) is an experimental typeface. [Google] [More] ⦿
Frank E. Blokland (b. 1959, Leiden) studied Graphic and Typographic design at the Royal Academy of Arts in The Hague. In 1985 Blokland won Chartpak's type design contest with his typeface Bernadette. In 1990 Blokland wrote a bestseller with his course book for Teleac's television course: Calligraphy, the art of hand writing, of which 16.000 copies were sold. In the same year Blokland founded the Dutch Type Library in 's Hertogenbosch, The Netherlands. Since the 1980s he has published over 150 articles in professional journals like Compres, Page, PrintBuyer, and the Hamburger Satzspiegel. When Gerrit Noordzij retired in 1987 from the Royal Academy of Arts in The Hague, Blokland was the first of the younger generation to succeed him. Blokland now lectures in letter drawing and type design/production to first- and post-graduate courses at this institute. In 1995 he was asked to become a lecturer at the Plantijn Gennootschap in Antwerp. A few years later he initiated and supervised the development of DTL FontMaster, a set of utilities for professional font production [in cooperation with URW++]. He is working towards a Ph.D. at the University of Leiden entitled Leiden University titled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman type since its Renaissance origin until the Romain du Roi.
Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer (1994-1996, an adaptation of Jan van Krimpen's Haarlemmer of 1940, and addition of a sans version, which was commissioned by the Boijmans Van Beuningen Museum in Rotterdam). He is working on DTL Fell, a Fell type revival. The Fell types are Dutch types from the late 17th century that were given to the University of Oxford by John Fell (1625-1686), bishop of Oxford from 1675-1686. In The Roman, Italic&Black Letter bequethed to the University of Oxford by Dr. John Fell (Oxford, 1951), Stanley Morrison states that the Roman may have been cut by Christoffel van Dijck. Specimen exist from 1693, 1695 and 1706.
At ATypI 2008 in St. Petersburg, he gave a series of lectures: Type tools by DTL, Automating font production, Automating type design, Integration of FontMaster in Linux and Mac OSX, and History of type. On that occasion, participants were presented with the booklet Comprehensive Notes on the Design of Cyrillic Letters by Finnish type designer Hanna Hakala and typeset in the preliminary version of DTL Valiance.
Speaker at ATypI 2011 in Reykjavik on the topic of parametrized type design, and in particular on the development of the DTL LetterModeller (LeMo) application, which is an attempt to come to such parameterization of type design.
Frank E. Blokland
Frank Hemmekam (Nijverdal, The Netherlands, b. 1994) designed these typefaces in 2013: the free alchemic typefaces Phantom, Dumento, Hectica, Droidiga, Defeated, Merula, Anne Sans, Futura FH Custom, Sabado (all caps sans) and Baron Neue (all-caps sans titling typeface: six weights are free at http://fontfabric.com/baron-free-font).
Typefaces from 2014: Odin Rounded.
Typefaces from 2015: Porter (sans).
Frank van der Hak
Frans Velthuis (Groningen University) developed a Devanagari Metafont in 1991, which is available from the CTAN archive. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font.
Primoz Peterlin made type 1 outlines based on this. These outline renderings (Type 1) were automatically converted from METAFONT by Peter Szabo's TeXtrace, and subsequently edited using George Williams' PfaEdit PostScript font editor by Anshuman Pandey (University of Washington). In 2003-2004, additional updates in the set of 22 Metafont files are due to Kevin Carmody, who presently maintains the package. The font names: TeX-dvng10, TeX-dvng9, TeX-dvng8. These were later changed to VelthuisDevanagari8-Regular, VelthuisDevanagari9-Regular and VelthuisDevanagari10-Regular. This font was used in the GNU freefont project for the Devanagari range (U+0900-U+097F).
Karel Piska's type 1 fonts in the Indic1 package include these Devanagari typefaces based on Velthuis's Metafont sources from 1991-2005: Velthuis-dvng10, Velthuis-dvng8, Velthuis-dvng9, Velthuis-dvngb10, Velthuis-dvngb8, Velthuis-dvngb9, Velthuis-dvngbi10, Velthuis-dvngbi8, Velthuis-dvngbi9, Velthuis-dvngi10, Velthuis-dvngi8, Velthuis-dvngi9, Velthuis-dvpn10, Velthuis-dvpn8, Velthuis-dvpn9, VelthuisBombay-dvnb10, VelthuisBombay-dvnb8, VelthuisBombay-dvnb9, VelthuisBombay-dvnbb10, VelthuisBombay-dvnbb8, VelthuisBombay-dvnbb9, VelthuisBombay-dvnbbi10, VelthuisBombay-dvnbbi8, VelthuisBombay-dvnbbi9, VelthuisBombay-dvnbi10, VelthuisBombay-dvnbi8, VelthuisBombay-dvnbi9, VelthuisBombay-dvpb10, VelthuisBombay-dvpb8, VelthuisBombay-dvpb9, VelthuisCalcutta-dvnc10, VelthuisCalcutta-dvnc8, VelthuisCalcutta-dvnc9, VelthuisCalcutta-dvncb10, VelthuisCalcutta-dvncb8, VelthuisCalcutta-dvncb9, VelthuisCalcutta-dvncbi10, VelthuisCalcutta-dvncbi8, VelthuisCalcutta-dvncbi9, VelthuisCalcutta-dvnci10, VelthuisCalcutta-dvnci8, VelthuisCalcutta-dvnci9, VelthuisCalcutta-dvpc10, VelthuisCalcutta-dvpc8, VelthuisCalcutta-dvpc9, VelthuisNepali-dvnn10, VelthuisNepali-dvnn8, VelthuisNepali-dvnn9, VelthuisNepali-dvnnb10, VelthuisNepali-dvnnb8, VelthuisNepali-dvnnb9, VelthuisNepali-dvnnbi10, VelthuisNepali-dvnnbi8, VelthuisNepali-dvnnbi9, VelthuisNepali-dvnni10, VelthuisNepali-dvnni8, VelthuisNepali-dvnni9, VelthuisNepali-dvpnn10, VelthuisNepali-dvpnn8, VelthuisNepali-dvpnn9. [Google] [More] ⦿
Dutch graphic designer (1903-1943) who lived in Amsterdam. She often designed fonts for her own projects. One of her alphabets inspired Richard Keijzer to develop Mokum Cohen (2006)--it was based on the font used in the Annual Report of the Municipal Giro 1930. Her lettering was also the inspiration for Freco (2006, Canada Type). [Google] [More] ⦿
Dutch calligrapher and designer in Amsterdam, who created the Letraset font Aura Script (1982-1994) and Aura Sanscript (1973-2008). He studied at Grafische Fachschule Aarau. From 1968 until 1973, he was type compositor apprentice and graphic designer at Ringier & Co AG, Zofingen (Switzerland). Freed writes: Although the typeface Aura Script was digitized by URW in Ikarus as one of the first, it was never published besides their catalogues during 1982 to 1992. Several illustrations by Mark Kelly use Aura Script.
Friso M. Roest
Thomas Klaui (Frisse Types, The Netherlands) obtained a Masters in type design at KABK. His type designs include the fat packaging typeface Highlight (2007-2009, graduation project at KABK), Faber Line (2007), and the funny Bokkepootjes (2010, done with Lien). Thomas lives in Den Haag. Typecache link. [Google] [More] ⦿
Fuck yeah kerning
Anke van der Meer (Heerlen, The Netherlands, b. 1981), aka Ankepanke, is an illustrator and graphic designer. She sells her typefaces under the label funfntshop.
In 2013, she created some free hand-drawn typefaces such as I Love Snailmail, Lieve Letters, and Stripe 3D. In 2015, many of her typefaces became commercial. The initial offering from 2015 includes Read A Book, Crystals (octagonal font), Measuring Tape, Merry Christmas, Building Blocks Font, Old Knitting Lady, Side View (3d typeface), Noodles, Wonderland, Bead Necklace, Snailmail Mag (fat finger font), Delightful, Seeing Double (bilined), Cherry Pie, Pretty Random I and II (ransom note fonts), Polkadots I and II, Morse Code, High Altitude, Fold It (origami), Cubes I and II, Crazy Cat Lady, Build It, Blocks, Skipping Ropes, Deco Borders, Drop Out Handmade, I Heart Snailmail, Sweet Letters, Skinny Chips, Picnic Handmade, Earn Your Stripes, Stripe 3D Handmade, Cut It Out, Teqniq, Tell Me About It, Sweet Pancakes, Strike A Pose, Papercut, Monkey Tails, Little Friends, Lets Go To Paris, Halfway, Full Of It, Daydreas, Creppy, Connect It, Basic Fun, Backstage.
Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach. Late in 2014, Geen Bitter disbanded.
In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam.
Their commercial typefaces:
Shareware fonts by Jürgen Geiger in Sint Odilienberg, The Netherlands: GeigerBloc (2002), GeigerFree, GeigerInfo, GeigerSerif, the handwriting family GeigerScript, the script font family Script3 (2000), and the ZapfDingbats-like GeigerDingbats.
In 1993, Gerard Daniels (Roosendaal, The Netherlands) designed DTL Elzevir for the Dutch Type Library, a revival of a Christoffel van Dijck face. He also designed DTL Caspari and DTL Caspari News (2013, the latter by DTL Studio after its use by Wegener, a Dutch publishing house). [Google] [MyFonts] [More] ⦿
Dutch type designer, born in Arnhem, The Netherlands, in 1942. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. He still teaches at Reading and Rietveld. He has designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. He designed numerous typefaces:
Gerard Unger lives in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N.Werkman Prize (1984) and the Maurits Enschedé-Prize (1991). Bio at Linotype. Author of Terwijl Je Leest (Amsterdam, 1997). Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxeis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. In 2009, he won the 2009 SOTA Typography Award. FontShop link. Klingspor link.
Designer in 2008 at FontStruct of Space Lab (squarish face), Autobus Sign (dot matrix), and Simple Matters (blocky bullet hole face).
In 2010, he did the blocky slabby Klonk and Klonk Narrow, Stop Police (dot matrix face).
Between 1928 and 1965, Gerd Arntz (1900-1988) designed around 4000 signs and symbols depicting industry, demographics, politics and economy, for the visual language Isotype. Many of these can be viewed on this web site. Some quotes from that site:
Gerrit Noordzij (b. 1931, Rotterdam) is a Dutch graphic designer, typeface designer, author, teacher, calligrapher, and design artist who made drawings, wood and copper engravings, and postage stamps. From 1960 until 1990 he taught writing and type design at the Royal Academy of Art in The Hague. One of his many students there was Lucas de Groot. Noordzij has worked as graphic designer for various Dutch publishers. Since 1978 he has been the house designer for the publishing company Van Oorschot. His intellectual influence is matched by his physical heritage, in the form of two talented sons in the field of type design, Christoph and Peter Matthias. The Gerrit Noordzij Prize, a prize given to typographers and type designers for extraordinary contributions to the field, is named after him. He was also the first person to receive this prize in 1996. In 2013, Gerrit Noordzij reveived the TDC Medal at the ATypI in Amsterdam.
The influence he had on Dutch type design is based on a theoretical system he called The stroke of the pen, and his position as the main teacher of type design in the country for three decades. Books on his system include The stroke of the pen: fundamental aspects of western writing (1982), and De Streek: Theorie van het schrift (1985) (translated by Peter Enneson in 2005 at Hyphen Press in London: The Stroke: Theory of Writing). His point in his oeuvre is that letterforms are rooted in handwriting.
Other publications: Letterletter (Vancouver, Hartley&Marks Publishers, 2000), De Staart van de Kat (1988,GHM, Leersum), De Handen van de Zeven Zusters (with Willem Dijkhuis: Van Oorschot, Amsterdam, 2001), Das Kind und die Schrift (Typographische Gesellschaft, München, 1985).
In 2013, Geen Bitter (Thom Janssen, Jorn Henkes and Rogier van der Sluis) copublished Gewone letters Gerrit's early models at Uitgeverij De Buitenkant, Amsterdam. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography.
Scan of a 1974 postage stamp by Noordzij. Klingspor link. Letterror link. Flickr group with Noordzij photographs. Interview by Robin Kinross, 2001. The Enschedé Font Foundry link. Video from 2014 by TYPO Berlin. [Google] [MyFonts] [More] ⦿
The Gerrit Noordzij Prize is given to type designers and typographers for extraordinary contributions to the fields of type design, typography and type education. The prize is awarded every three years by the KABK (Royal Academy of Art) in Den Haag (The Hague, The Netherlands) together with Museum Meermanno, under the auspices of the Dr. P.A. Tiele Trust. It is named after Gerrit Noordzij, who started the type design program at KABK and taught there.
Books published about the Gerrit Noordzij Prize:
Dutch typographer and type teacher (b. Amsterdam, 1912, d. 1984), professor at the University of Amsterdam (1956-1982), winner of the Gutenberg prize in 1983. From 1945 until 1977, he was esthetic advisor at Lettergieterij Amsterdam (voorheen Tetterode). It is thanks to Ovink that the Tetterode Collection was accepted in the Bijzondere Collecties van de University of Amsterdam. He wrote an unbelievably detailed book in which he compares various typefaces in statistical tests to determine various aspects of legibility and impact: Legibility, Atmosphere-Value and Forms of Printing Types (A.W. Sijthoff's Uitgervsmij N.V., Leiden, 1938). The bibliography in this text is pretty complete up to 1938. It was his graduation thesis at the University of Utrecht. Also recommended is a 40-page short historical review of the modern printing type, which comes with a fresh look on things.
Quote by him: Bodoni would be an admirable letter for a death notice! Obituary. His typefaces include Lectura (1969, with Dick Dooijes) and Mercator (1959, Amsterdam Type Foundry, a typeface designed with Dick Dooijes and known as the "Dutch Helvetica").
Gert-Jan de Kleer
Dutch designer who created the hand-printed caps typeface Angela in 2012.
Dutch designer (b. 1992) of the scratchy handwriting font Dubble (2009, Fontcapture).
In 2012, she made So Thin (2012), A Vida Nova (2012, grunge), Nobody's Perfect (2012, brush face), and Garden (3d outline face).
Located in Boxtel, The Netherlands, Giel Cobben designed of the geometric typeface Droplet (2010). He took five fundamental shapes (modules) to contstruct this modular font. Home page. [Google] [More] ⦿
Gijs Sluijters and Joris Tol are Gijs & Joris, a creative team at DDB / Tribal DDB Amsterdam. They teamed up at the Willem de Kooning Arts Academy in Rotterdam while studying advertising.
Gijs's first typeface, as a student at the Academy of Fine Arts and Design in Maastricht, The Netherlands (class of 2014), was Alleycat (2013), a typeface influenced by and dedicated to bike messengers. Twisted and Strangled Type (2013) starts from Avenir and makes it into a twisted Escher-like typeface.
I hesitated for a long time with this link, but I will go out on a limb anyway. This is an obvious joke that originated from the Letterror people. It is about a non-existing tongue-in-cheek elitist Guild of Dutch typographers. I can't understand how come Microsoft, MyFonts, Fontzone and other type news services could have fallen in the trap. Maybe they should contact René Chalet. [Google] [More] ⦿
Glitch: freeware fonts
New original minimalist fonts by Koen Hachmang from Udenhout, The Netherlands: Arcade-Classic, Autriche-ALT, Baubau, Bitstorm-SQUARE, Bitstorm, Copycat, Cyclops, Delinquent-Black, Delinquent-Caps-Skewd, Delinquent-Caps, Delinquent-Extract, Delinquent-Regular, Doppler-A, Phino-Tight, Phino-(Variation), Phino, Sendai-Smallprint, Shift, Sonic-Empire-Italic, Sonic-Empire, Sonic-Empire, Strike-Swiss, Token, Trebble, Zygoth, Base-4, Base-5, Base6, Big-Loada-Splatter, Big-Loada, Blutter-Slim, Blutter, Deko, Kinkimono, Morohashi, New-Detroit, SirQuitry. Very original presentation!
GraphicMix is the nice web presence of Marc Lubbers (b. 1968), the Dutch designer of the infinitesimally serifed typeface LuMarc LL (1994), and of Impacta LL (1994). Free fonts: Inter, Zxcvbn, Goofy, Concept, Construct, Graphix Mix Seven, Donald, Havendam. I have no idea how to download these, even though the page says "downloadable" (maybe it is a euphemism for "purchasable"). At MyFonts, one can buy LuMarc and Impacta.
Guido de Boer
Brazilian designer (b. 1977, Rio de Janeiro) who works in Amsterdam, The Netherlands. In 2009, he founded Hipertipo, a small design studio in Amsterdam. Gustavo Ferreira has a Bachelors degree in Graphic and Product Design from ESDI, in Brazil (2003), and a Masters degree in Ctype design from KABK Den Haag. His typefaces:
Eindhoven, The Netherlands-based type and graphic designer who runs GWER. Creator of the gothic typeface At Discipline (2008) and the native American totem pole look typeface Wakito (2010). Image. [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.
Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and hand-printed typefaces. Its creations could be seen at Dafont [although Sam Yuli at dafont offers largely the same typefaces], Abstract Fonts and Fontspace. Fontspring link. Klingspor link.
In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:
Hans De Bisschop
Graphic design graduate of the Academy of Fine Arts Minerva, Groningen, The Netherlands. With Karolina Lijklema, he runs the studio Lijklema Design in Warsaw, Poland. Author of Free Font Index (2008, The Pepin Press, Amsterdam). It contains comprehensive letterproofs of more than 500 fonts from 35 type foundries in 17 countries and interviews with 6 font designers. All fonts contained in the book are included on the accompanying CD and are licensed for personal and commercial use. The following have contributed fonts to this CD: Astigmatic One Eye Typographic Institute, Brain Eaters Font Co, Brode Vosloo, Bumbayo Font Fabrik, Dieter Steffmann, Fenotype, Flat-it type foundry, Fonthead Design Inc., GUST e-foundry, Grixel, Igino Marini, Janusz Marian Nowacki, La Tipomatika, Larabie Fonts, Manfred Klein Fonteria, MartinPlus, Misprinted Type, Nick's Fonts, Objets Dart, Reading Type, Rob Meek, SMeltery, Shamfonts, Sonntag Fonts, Typedifferent, Typodermic Fonts, VTKS DESIGN, Vic Fieger, WC Fonts, Yanone, boodas.de, defaulterror, eightface, exljbris, pizzadude.dk. As far as I can tell, all these fonts can be downloaded for free from the usual web archives. [Google] [More] ⦿
Harold W. de Wijn
Hendrik Wijdeveld was a Dutch architect and art deco paper artist (1885-1987). His lettering inspired Wendingen AF (1998, ACME Fonts: LED simulation; named after Wijdeveld's art deco magazine which he founded and headed from 1918-1931) and Architectuur NF (2006, Nick Curtis: based on this). Check Wijdeveld - Art Deco Design on Paper by Hans Oldewarris (2010 Publishers, 2003). That book shows stencil-like art deco typefaces such as Wendingen and Amsterdam Deventer, both designed in the 1920s. He designed many letter types for special projects, such as book covers, buildings, and letterheads. Examples: a poster entitled Architectuur Tentoonstelling (1931), a poster entitled Internationaal Theater Tentoonstelling (1922), and an illustration for De Bijenkorf (1922). Alternate URL. [Google] [MyFonts] [More] ⦿
Prolific Belgian type expert who was librarian at the University of Antwerp and professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history. Author of
Hendrik Nicolaas Werkman, who is usually referred to as H.N. Werkman, was born in 1882 in Leens, The Netherlands. He died in 1945 in Bakkeveen, The Netherlands. He was a well-known Dutch artist, typographer and printer. In 1908, he founded a printing and publishing house in Groningen. It closed in 1923, but Werkman started anew with a small workshop in the attic of a warehouse. Werkman was a member of the artists' group De Ploeg, for which he printed posters, invitations and catalogues. From 1923 to 1926, he produced his own English-named avant-garde magazine The Next Call, which, like other works of the period, included collage-like experimentation with typefaces, printing blocks and other printers' materials. He also used stenciling and stamping to achieve unique effects.
Regarding his death, I cite Wikipedia: In May 1940, soon after the German invasion of the Netherlands, Werkman, together with his friend August Henkels and others, began publishing a series of Hassidic stories from the legend of the Baal Shem Tov through their clandestine publishing house De Blauwe Schuit ("The Blue Barge"). Running to forty publications, all designed and illustrated by Werkman, the series was a subtly rebellious commentary on the Nazi occupation and a call for spiritual resistance. On 13 March 1945, the Gestapo arrested Werkman, executing him by firing squad along with nine other prisoners near the village of Bakkeveen on 10 April, three days before Groningen was liberated. Many of his paintings and prints, which the Gestapo had confiscated, were lost in the fire that broke out during the battle between German and Canadian forces over the city.
Several typefaces were made that were inspired by Werkman. There are also entire web site and exhibitions dedicated to Werkman---see, e.g., the site of Bunker Type (Jesus Morentin) in Barcelona. A partial list of revival typefaces:
Born in Gent (now Belgium) around 1540, and aka Henry du Tour, he died in 1580. He delivered letters to Plantin (and exclusively so between 1570 and 1580). Enschedé's specimen book lists his 1575 Civilité as Civilité No. 14.
His lettering was revived in 1994 by the Dutch Type Library as DTL VandenKeere. Myfonts.com writes that Van den Keere's 2-line Double Pica Roman (Gros Canon), cut around 1570 and shown in Plantin's c.1585 folio specimen, is the basis for Fred Smeijers' recent face, Renard.
In Sixteenth-century Printing Types of the Low Countries (H.D.L. Vervliet, Amsterdam, 1968), van den Keere is called the best punchcutter of the Low Countries in the sixteenth century, being the link between the French, who dominated the 16th century, and the Dutch who led in the 17th century. In 1575, he made a Civilité, the "Van den Keere Civilité" (see here for more on that story). Matthew Carter's DTL Flamande (2004, Dutch Type Library) is based on a Textura by Hendrik van den Keere. [Google] [MyFonts] [More] ⦿
Dutch artist, designer and photographer (b. Rotterdam, 1947). One of the founders of the studio Hard Werken. He designed the typeface Crank8 Plus/Minus. This typeface family was extended with the help of Greg Lindy in 2005, and appeared in Esquire Magazine. It can be bought from Thirstype. [Google] [More] ⦿
Dutch type connoisseur after whom Antonio Pace's Linotype Gianotten (1990) is named. He worked for 40 years in the production and distribution of graphic arts equipment and fonts, at companies such as Tetterode, BT and Buhrmann. As a student of Willem Ovink, he got very interested in legibility of typefaces. On his own contributions to typography, he writes: Since 1964 I was involved on the production of our typefaces for Morisawa. Later on we produced typefaces for photocomposition for Bobst (Autologic), Berthold, Compugraphic, A.M., Harris Composition, Itek, Scangraphic and others. Tetterode owned the rights for typefaces like Nobel, Lasso, Polka, Orator, Promotor, Lectura and Hollandsche Mediaeval. LinotypeLibrary owns the licenses for these fonts since October 1 2000. News about LinotypeGianotten. Linotype's press release. PDF samples of LinotypeGianotten. [Google] [More] ⦿
Dutch illustrator, b. 1914, Sumba, Indonesia, d. 1979. Designer at Lettergieterij Amsterdam of the slightly scribbly pen-drawn Raffia Initialen (1952). At ATypI 2003 in Vancouver, Peter Enneson highlighted Krijger and his Raffia Initials.
Belgian typefounder (b. Brussels, 1812, d. some time after 1861). He lived in Breda in 1840, worked for some time for Tetterode in Rotterdam, and set up his own foundry in Rotterdam in de Groote Kipstraat in 1857. It lasted about ten months--at the end of 1857, he returned to Brussels to work at the Brussels typefoundry Crabbe&Borremans, 1859-1861. Some specimen at the Amsterdam University Library. [Google] [More] ⦿
Aka Henric Pieterszoon. Dutch letter cutter ("lettersnijder"), d. ca. 1511. He made a textura some time before 1492
Sixteenth Century Printing Types of the Low Countries (H.D.L. Vervliet, 1968) mentions that he was from Rotterdam, and cut letters. Occasionally, he printed as well, in Antwerp from 1496-ca. 1500, in Rotterdam from 1504 until 1509, and in Delft from 1508 until some time after 1511. It is estimated that he cut a third to half of all the type used in the Low Countries at that time. These typefaces, including the Textura, remained popular there from 1492 until about 1550-1560, when they were superseded by the blackletter type of Ameet Tavernier and Hendrik van den Keere. His son was Cornelis Henricszoon Lettersnijder, who also cut type, starting out in Delft.
Digitizations: Oude Hollandse (2012, Alter Littera; after Henric Pieterszoon "Lettersnijder"'s 1492 typeface), Initials Gothic C (2012, Alter Littera, based on a 1508 type by Pieterszoon), English textura. [Google] [More] ⦿
Screenwriting and script company in Enschede, The Netherlands, run by Emile Michel Hobo (b. Den Haag, 1980). Via MyFonts, one can purchase his fonts: Lectori Salutem (+Sans, 2009). [Google] [MyFonts] [More] ⦿
Typographer and type designer living in the countryside of the Altmühl Valley. Graduate of the Type and Media program at KABK, 2009. Originally from Augsburg, Germany, he had previously studied at the University of Applied Sciences in Augsburg (Germany) and the Istituto Superiore per le Industrie Artistiche in Urbino (Italy). His graduation project at the University of Applied Sciences in Augsburg was the winged slab serif typeface Vela (2010, Lazydogs Type Foundry).
He created Acon (2009, graduation project at KABK, a book type) and Camion (2008, slab serif). He is also working on a revival of van Krimpen's Romanée. About Acon, he writes: Most contemporary books use typefaces based on the contrast of the broad nib pen, while typefaces based on the contrast of the pointed nib have been relegated to use in fashion, lifestyle magazines and cosmetic packaging. My aim is to design a typeface based on the pointed pen that is suitable for book typography. Well, Acon was awarded with the TTDC (Tokyo Type Directors Club) Type Design Prize 2010.
Max Kisman (b. 1953, Doetinchem) is a Dutch freelance graphic designer who graduated in 1977 in graphic design, typography, illustration and animation at the Gerrit Rietveld Academy in Amsterdam. In 1986, he co-founded TYP/Typografisch Papier, and taught graphic design and typography at various colleges in the Netherlands in the years following that. He is principal of MKDSGN, his studio in Mill Valley, California, and founded Holland Fonts, a foundry for his typeface designs in 2002. Max teaches graphic design, typography and typeface design in San Francisco. He currently lives in Mill Valley, CA.
His early typefaces: ExtendedMaxMixOne (1991), Rosetta, Jacque (1991, FontFont), Fudoni (1991), the experimental font Linear Konstruct (FUSE 2).
He wrote a coffeetable book on typography in the streets of Paris, but no book store in Paris seems to have it, and I have looked! He is editor of Tribe.
In 2002, he started Holland Fonts. His fonts there: Bebedot Blonde (2002), Bebedot Black, Bfrika (2002, an interesting African lettering font), Cattlebrand (2002), Chip 96 (2002), Chip 02 (2002), Circuit Closed (2002), Circuit Open, Interlace Single (2002), Interlace Double, Mundenge Rock (2002), Nevermind (2003, a cut-out style reminiscent of Saul Bass's movie titling types), Pacific Sans (2003), Pacific Serif (2003), Pacific Standard L, Pacific Standard B, Pacific Classic L (2002, artsy, stylish), Pacific Classic B, Quickstep Regular (2002, an angular font), Quickstep Bold, Quickstep Sans R, Quickstep Sans B, Submarine (2003, an octagonal font family), Traveller Regular (2002), Traveller Bold, Tribe Mono (2003, a tech font), Zwartvet (2002, a Van Doesburg/ De Stijl type font).
Four free ransom note fonts made in 2003: Dutch Doubles, Frisco Remix, We Love Your Font, MaxMix One. At Union Fonts, he (re-)published Bebedot, BFRIKA, Cattlebrand, Chip01, Chip02, Pacific, Quickstep, Submarine and Traveller in 2003, and Mata Hari (Indic simulation typeface in weights called Exotique, Hollandaise and Parisienne) and Xbats (2004, Christmas dingbats) in 2004.
Speaker at ATypI 2004 in Prague.
Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of Arabic Typography A Comprehensive Sourcebook (Saqi Books, London, 2001), Experimental Arabic Type (Saatchi&Saatchi, Dubai, 2002), Typographic Matchmaking (BIS Publishers, Amsterdam 2007), Arabic Type Specimen Book (2008) and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More] ⦿
Huda Smitshuijzen AbiFarès
Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.
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. He is currently located in Graz, Austria.
Hungarumlaut is a Hungarian typefoundry run by Adam Katyi. In 2010, he designed a pixel face, and a typeface called Ringua.
His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.
In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.
In 2015, he designed the monospaced typeface Menoe Grotesque for Latin, Greek and Cyrillic, which was inspired by an old Continental typewriter. Menoe can be used as a programming font.
Kees Gajentaan designed the freeware fonts Kiloton, ill oMen, Xenotron, Xenotron Broadstroke (trekky font), Xenotron RadioEdit, EctoBlaster, iLL oCtoBer (+ill October 98, dingbats for Halloween), the handwritten Coldbringer, Megalomaniax KG, Moonpebble KG, Y2k Subterran Express KG, AntiMatter KG (1999) and Bored Robots.
Dutch creator (b. 1971) of Inkies 2 (2012, hand-drawn).
From her page: Inka Strotmann (née Menne, 1972) grew up in East Frisia and was trained as typesetter after secondary school. When she studied communication designin Potsdam she specialized in type design and typography. Inka worked for Luc(as) de Groot at his FontFabrik before she came to FSI FontShopInternational where she is Chief Font Technician. Inka was a member of the Forum Typografie Potsdam. Her Font Linotype Grassy is a winner font of Linotype's 3rd International Digital Type Design Contest. She also designed the typeface ForumTypen and as a freelancer she offeres type services under the label Fontameise, doing for example CE, Turkish and Baltic versions of FF Scala, FF Seria, FF Nexus and FF Dax. Designer of the CE versions of FF Dax Compact Offc Pro, FF Dax Offc Pro, FF Dax Web Pro, FF Dax Web Pro Condensed, and FF Dax Web Pro Wide. [Google] [More] ⦿
In 2014, we find her in Brussels, Belgium, where she created a gridded octagonal typeface.
Irma Boom is a Dutch graphic designer who specializes in book making. Boom worked at the Dutch Government Publishing and Printing Office in Den Haag for five years before she founded her Amsterdam studio in 1991, Irma Boom Office. Boom works in the cultural and commercial sectors. Her clients include the Rijksmuseum Amsterdam, Paul Fentener van Vlissingen, Inside Outside, Museum Boijmans, Zumtobel, Ferrari, Vitra International, NAi Publishers, and Camper.
Speaker at ATypI 2013 in Amsterdam [abstract verbatim from the ATypI site]: The new Rijksmuseum identity and typeface family. The Rijksmuseum in Amsterdam is the national museum for Dutch art and history, and is home to many masterpieces including works by Rembrandt, Johannes Vermeer, and Frans Hals. Earlier this year , after a lengthy and spectacular renovation, the museum re-opened to critical acclaim. Along with the renovation the Rijksmuseum got a new identity as well, designed by Irma Boom Office. Deciding for a predominantly typographical solution, Irma Boom invited Bold Monday [Paul van der Laan] to design a series of typefaces. [Google] [More] ⦿
Dutch architect in Amsterdam who edited the lettering model book Alphabet: letters van allerlei vorm (1895-1898), which, according to Mathieu Lommen, is the prettiest and most ambitious model book ever published in The Netherlands. The text has lettering examples from many contributors, such as Jan Boerma, C.L. Stal, and J.B. Heukelom (1875-1965). Heukelom's contributions include Sierletters (Dutch art nouveau style) and Perspectiefletters.
Jaap Nauta (Bureau Nauta) is a Dutch designer, b. 1967. He created the hand-printed typeface Jaap (2012), and the stitching typeface Embroid (2012). In 2014, he designed the counterless typeface Kroeskop, which is attributed to Yvonne Kroese.
Bookseller in Amsterdam at the time of his marriage in 1682 and of his death in 1709. An undated type specimen bearing his name in the Enschedé collection is thought to have been produced around 1699 [according to Harry Carter]. In Typefoundries in the Netherlands, we find this image (of No. 28 type), and this text about it: The matrices owned by Alberts&Uytwerf also passed eventually to the Brothers Ploos van Amstel. Among the types we acquired from them we still have one of the types offered for sale by Van de Velde. It is our English-bodied Roman No.28. In our collection there is also one of the types shown in the earliest specimen of Alberts&Uytwerf, the [Large] Two-line Small Pica Roman No.29... Typophile discussion. [Google] [More] ⦿
Jacques Le Bailly
Graphic designer in Waalwijk, The Netherlands, who created the display typeface Profundum (2013).
James Goggin founded graphic design studio Practise in 1999 after graduating from London's Royal College of Art. In August 2010, Goggin moved to Chicago where he is now Design Director at the Museum of Contemporary Art Chicago. Previously he was based in Arnhem, the Netherlands, working as course director and teacher at Werkplaats Typografie and visiting lecturer at ECAL (Ecole cantonale dâ€™art de Lausanne). Aka Jacques Gauguin and "Practise", he has worked in London, Auckland and Sri Lanka. In 2001, he made the 3-weight CourierSans at lineto. [Google] [More] ⦿
Dutch author, b. 1874, who edited Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei (1919, Enschedé en Zonen, Haarlem), a publication which has four articles:
Jan Middendorp, born in the Netherlands, works in Berlin as an independent writer, translator and consultant. He teaches at Weissensee Art College in Berlin and the Plantin Institute of Typography in Antwerp. During the past fifteen years Jan has edited, written and co-written a number of well-known books on graphic design and typography, including Dutch Type (2004), Shaping Text (2012), Type Navigator (2011, with TwoPoints. Net), Creative Characters (2010) and Made with FontFont (2006, with Erik Spiekermann). He has an ongoing collaboration with the Bibliothèque typographique of Ypsilon Editeur in Paris and with MyFonts. [Google] [More] ⦿
Jan Pieter Kunst
Dutchman born in 1928 who possesses one of the world's most impressive specimen collections. He founded the Grote Letter Bibliotheek (publishing house) for partially blind people in 1969. For this, he specially created a sans face, GLB-16 (designed for 16 point), with large x-height and wide character spacings. A sample of GLB is in Jan Middendorp's "Dutch Type", page 303. Grote Letter Bibliotheek is now run by his son. [Google] [More] ⦿
Jan Toorop was a Dutch-Indonesian painter and illustrator, b. Purworejo, Java, Dutch East Indies, 1858, the son of a Dutch-Indonesian father and a British mother. In 1869, he left Indonesia for the Netherlands, where he studied in Delft and Amsterdam and at the Rijksakademie in Amsterdam. From 1882 until 1886 he lived in Brusselss, where he joined Les XX (Les Vingts), a group of artists grouped around James Ensor. He developed his own unique Symbolist style, with dynamic, unpredictable lines based on Javanese motifs, highly stylized willowy figures, and curvilinear designs, and is considered as one of artists that represent the art nouveau and Viennese Secession movements. In 1905 he converted to Catholicism and began producing religious works. He also created book illustrations, posters, and stained glass designs. Toorop died in 1928 in Den Haag, The Netherlands. [Google] [More] ⦿
Or Jan van de Velde the Elder. Famous Dutch (Belgian?) calligrapher and penman (b. 1568, Antwerp, d. 1623, Haarlem) who worked first in Rotterdam (1592-1620) and then in Haarlem (1620-1623). Author of the writing manual Spieghel der Schriftkonste in den welcken ghesien worden veelderhande Gheschriften met hare Fondementen ende onderrichtinghe. Ut ghegeven door Jan van den Velde Fransoysch-School M. binnen Rotterdam (1605, Haarlem). He wrote a second penmanship book, Exemplaer-Boec Inhoudende alderhande Geschriften zeer bequaem ende dienstelijck voor de Joncheydt onde' alien Liefhebbers der Pennen (1607, Haarlem).
Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. [Large image at the University of Amsterdam Special Collections].
His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011) and in DTL VandenVelde (2015, Jeroen Koning). [Google] [MyFonts] [More] ⦿
Dutch designer of Demian (1984, like Tekton) and Van Dijk (1982, hand-printed). Full list of his typefaces:
Major Dutch typographer and type designer, b. Gouda, 1892, d. Haarlem, 1958. He studied at the Koninklijke Academie van Beeldende Kunsten in Den Haag (1908-1912) and joined Enschedé in 1925. He had a major influence on the next generation of type designers. His typefaces include:
Lithographer in Groningen, The Netherlands, who studied at Academie Minerva in Amsterdam. Born in 1856, he taught at two schools, the Quellinusschool and the Teekenschool, and died in 1938. He published the lettering model book Lettervormen voor school en werkplaats, ca. 1885. published the lettering model book Lettervormen voor school en werkplaats, ca. 1885.
Jan Willem Wennekes
Dutch designer and type designer. He created the custom uncial typeface Bonifatius in 2007 for the municipality of Dokkum, The Netherlands. He collaborates with René Knip on various type projects. In October 2012, Knip and Hahn cofounded Arktype. [Google] [More] ⦿
Jarr Geerligs (Planet Jarr, Amsterdam) created a DNA inspired font and backgrounds for the Vogue Japan April issue of 2015. His experimental lettering work is exceptionally striking. Behance link. [Google] [More] ⦿
Dutch graphic designer in Amsterdam who has many typographic projects and occasionally creates a typeface. His typefaces are experimental and functional. One, called Puzzle, leaves it up to the user to position the sliding letters---quite an ingenious idea. Get Busy (2006) is artsy and futuristic. Escape (2006) is pixelish grunge. Union (2006), Get1 (2006, modular, computerized), Get Free (2007, a free piano key font done for Neo2, the magazine), Softmachine (2009), NB Light (2009, a techno matchstick typeface done with the help of Neubau), 3D (2009), Optical (2007, a futuristic geometric experiment), Contrast (2006), Lovely (2006), Muller Fontein (2006, experimental), Blok (2010, 3d and modular; see also Blok (2013, Dick Pape) which was influenced by Jarrik's Blok), Love (2006), and Volle Vrijheid (2006, very experimental) round out his dossier.
Jasper Michael De Waard
iDutch graphic designer who studied at the Royal Academy of Art (2010-2014) and in the TypeMedia program of the KABK in Den Haag from 2014 until 2015.
Codesigner, with André Toet and Jasper Nijssen, of AT Move MMM (2013, SO Design), a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. In the TypeMedia program at KABK in Den Haag, he designed the 32-style text and display typeface family Pint for his graduation in 2015. Pint is a serif typeface family that is influenced by humanist broad-nib calligraphy. [Google] [MyFonts] [More] ⦿
Javenese typefaces: history
Jo de Baerdemaker's talk at ATypI 2010 in Dublin had this summary: Jo De Baerdemaeker discusses how the Javanese writing system, the indigenous script of pre-colonial Indonesia, was adapted to print. He focuses on the Javanese typefaces that were manufactured in The Netherlands in the nineteenth and twentieth century. The cutting of the first Javanese fount, which was undertaken at Joh. Enschedé en Zonen in Haarlem, coincided with the founding of the first printing house in Jakarta (then known as Batavia, capital of Dutch India). Less than a century later, Lettergieterij Amsterdam developed a new, simplified, Javanese fount, amongst other styles and weights. The Javanese founts of both the Dutch typefoundries were internationally well received and were distributed to polyglot printing houses throughout Europe. [Google] [More] ⦿
Dutch penman and teacher in Den Haag, d. 1848. According to Mathieu Lommen, he was probably the first one to publish a lettering model book in The Netherlands, Alphabet-album: collection de différentes feuilles d'alphabets historiés et fleuronnés (ca. 1846).
Jean Baptist De Panne
Jean Paul Beumer
Graphic designer in Eindhoven, The Netherlands, b. 1985. He created a scriptish typeface called Nougat (2012), Stack Bill (2012, a stackable typeface that incudes an inline version; the free sample version is called Billmoney, 2013), Fat Frank (2012), and the free multiline paperclip typeface Razor (2012).
In 2014, Jeff created the geometric sans typeface family Rucksack (which has two tweetware weights). With the help of Oliver Dead, he designed the animated typeface Fat Frank (2014, Animography). Jeroen Krielaars and Jeffrey Schreiber codesigned the eighties-style animated typeface Razor in 2014 over at Animography.
Typefaces from 2016: Blackrock (chunky blackletter-inspired font).
With Timo Kuilder, he founded Regular Bold Italic.
Jelle Bosma (b. Rijswijk, The Netherlands, 1959) studied at the Royal Academy of Art in The Hague and. like many of his contemporaries, was influenced by Gerrit Noordzij. He works from a studio near The Hadue, and designs type, programs font tools, hints, and produces type. His typefaces:
Eindhoven, The Nethrlands-based creator of the experimental typeface Synthetic Sequence (2014), his graduation project for at Academy of Fine Arts and Design AKV St.Joost in Breda, The Netherlands. Behance link. [Google] [More] ⦿
Jelloween Font Foundry
Dutch designer (b. 1985, Smallingerland), aka Jelloween, who designed the pixel fonts Blinkie 10 (2007), Silky Wonderland (2006, pixel face), Spinach (2006), Spinach Outline (2006), Webbies (2006, web dingbats in pixel format), Chewy Blossom (2006), Charriot Deluxe (2006), Charriot (2006), Spacy Stuff (2006), Smirnof (2006: an elegant dot matrix face), Every Day (2006), JL Quixs (2006, sans), Skinny (2005), Cyborg (2006, futuristic), Cranberry Blues (2006) and Pixelicious (2006). She also made the dingbat typeface Jellodings (2007, free here), the alphading typeface Alien-ABC (2006), the modern sans display typeface Ambrosia (2006), the bouncy typewriter typeface Humble Bee (2006), the 10-style simple sans family Machinato (2007), Tjarda Hand (2007), and the grunge typefaces Thoughts (2006; see also here), Smudgers (2006), Zhang (2007, slightly gothic), Vinegar (2008, free didone typeface), Jellobrush (2008), Puppeteer (2008, grungy blackletter), Happy-Go-Lucky (2010, dingbats) and the funky family Gubblebum (2007, free). Jesterday (2011) is a bouncy sans family.
Graphic designer from Groningen, The Netherlands. He is planning digitizations of various wood types he owns. The first one is Origo Narrow (2007), a wood type sans. He also made Sixtypound (2007, an interesting rounded fatface), Rough-Cut Sans (2007) and Jelmar Sans. No downloads. [Google] [More] ⦿
Dutch creator of an Oriya metafont (1996-1998). From the same source, Malayalam PostScript and TrueType fonts, and Tamazight (Berber) PostScript and TrueType fonts. He also created Malayalam metafonts in 1994 (and subsequently Malayalam PostScript and TrueType fonts), a Unicode Shapes font (TeX, PostScript, TrueType), and Tamazight (Berber) PostScript and TrueType fonts. Home page. Metafonts can be found here and here. His Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. Jeroen says: It is my intention to release the fonts under GPL, but not all copies around have this notice on them. The GNU Freefont project included his fonts for the ranges of Oriya (U+0B00-U+0B7F) and Malayalam (U+0D00-U+0D7F). Subsequently, the GNU Freefont project dropped all contributions and support for Oriya. [Google] [More] ⦿
Jeroen J.W. van der Ham
Jeroen Kant (b. 1996) is from Herten, The Netherlands. As a FontStructor called ITellYa, he made the pixel typeface Yourself Regular (2010), the chalk simulation typeface Angry Chalk (2011), the avant garde typeface Epic Fusion (2011), and the experimental family Problems (2010). Aka Jeronimo. [Google] [More] ⦿
Jo de Baerdemaeker
Dutch penman and lettering artist (1797-1879), who published the lettering model book Alphabeth in onderscheiden soorten van oude, nieuwe en ornament letteren, ca. 1843. Some of his work is close to earlier model book work of Jean Midolle in Switzerland.
Graphic designer in Amsterdam who created Untitled (2012) and Random (2012), experimental typefaces. Her second font is called Font Twee (2012). She also created a Victorian typeface in 2012. [Google] [More] ⦿
Dutchman Jeroen van der Ham ("joebob"), who is based in s'Hertogenbosch, designed mostly handwriting fonts: Coalhand Luke (2014, crayon or chalk script), Dear Joe 6 (2014), Dextera (2014, by Geert Dijkers), Stone Hand Saul (2014, a scribbly hand), Manus (2014), Dear Joe Hannes (2013), Winston Nero (2013, a hipster cartoon font), Serious Sally (2012), Inkydoo (2012, +Serif), Serial Sue (2012), Calligra Phillip (2012), Mixtape Mike (2012, a fat finger face), Dear Joe 3 (2010), Brushtip and Brushtip Travis (2010, two of his nicest typefaces, with a calligraphic and rough-edged touch), Vince Hand II (2010), Crossword Belle (2009), BrushtipTerrence (2009), Brushtip Texe (2009), OnetrickTony (2009), Christel Line (2009, +Black), Etch A Sketch (2009, grunge), DearJoe 5 Casual (2008), PencilPete (2008, handwriting).
Fonts added in 2007: Curly Joe, Sinister Sam (calligraphic), VincHand (handwriting of Vincent Haenen), DearJoe5, Moan Hand, FancyPens (a calligraphic pen).
Fonts added in 2006: FlutSaus (hand-printed; done with Hilde Rikken), Amorrisline, Hilde Caps (based on the handwriting of 9-year old Hilde Rikken), C rial, Hildinia Donut, BrunoBook, BuffaloStance, Stam Pete (grunge), CrosswordBill, DearJoe 1, JoeHand 2, Kali Graff, Bearer Fond.
His oldest fonts: BillieBarred (multiple-lined handwriting), BillieBob (a great poster typeface), BillieBoldHand, BillieKid (nice stencil font), BobTag, CalamityJoe, CrappyJoe, DearJoeItalic, DearJoe II, DearJoe IV (antique handwriting, 2005), DoctorBob, FruscianteHand, FuturexBob, JoeBobstraight, JoeHand, MarkerMoeII, MonaLisa (2001), Onepunch Jim Outline, Detour Dork (2002).
John Berry reports: "Joh. Enschedé en Zonen was founded in 1703, in the city of Haarlem in the Netherlands. It began as a printery, and it is still active as one of the most important printers in the Netherlands, printing the country's stamps and banknotes among other things. Enschedé began manufacturing type in 1743, after buying an existing type foundry, and over the course of more than two centuries, type founding was one of the most important parts of Enschedé's business. Many of the most respected type designers, from Johan Michael Fleischman in the 18th century to Jan van Krimpen in the 20th, worked for Enschedé. But Enschedé, like so many of the old-line type manufacturers, was severely affected by the changing technologies and business models of the font business, and in 1990 the type-foundry was moved out of its historic buildings, and effectively ceased to be a business. The Enschedé Font Foundry was established in 1991 by Peter Matthias Noordzij, to carry on the Enschedé tradition in a new form." [Google] [More] ⦿
A German punchcutter (b. Nuremberg, 1701 or 1707, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. His work influenced even Bodoni. His foremost typeface is the 8-point roman from 1739. That typeface has seen many digitizations: at the Dutch Type Library, DTLFleischmann (1992, Erhard Kaiser) is based on it. In 2002, Charles Gibbons designed Fleischmann BT Pro, a family heralded by the typophiles as outperforming the DTL Fleischmann. While studying at KABK in 2012, Hrvoje Zivcic did a revival of Fleischmann's 8-point roman from 1739 entitled Slagerij. A liberal revival called Gilly was developed by Porter Gillespie in 2015 at Type@Paris.
Fleischmann created blackletter typefaces such as Holländische Gotisch (1739-1760, digitally revived by Gerhard Helzel; Manfred Klein and Petra Heidorn made the free revival also called Holland-Gotisch, in 2005 and mention that their source was "Nederduits"; see the Fleischmann Flamande), Mediaan Duyts (1744) and Fleischmann Gotisch (ca. 1750, digitally revived by Ingo Preuss in 2004 as Fleischmann Gotisch PT, by SoftMaker in 2016 as Fleischmann Gotisch Pro, and by Alter Littera in 2012 as Nederduits).
Fleischmann was also renowned for his work on music typography. He worked for the publisher Johann Gottlob Immanuel Breitkopf, who was interested in improving the typography of musical notation. Fleischmann created a complex music notation font that proved unsuccessful in the marketplace, but was subsequently used to create many designs including the decorative edging on the first Dutch banknote called the roodborstje (robin0.
The biography of Johann Michael Fleischmann (1707-1768) as told by Ingo Preuss:
Johanna Balusikova (b. 1974, Slovakia), now Johanna Bilak, studied typography at Atelier National de Création Typographique in Paris and at the Bratislava Art Academy in her native Slovakia, as well as at the Jan van Eyck Akademie in the Netherlands. She now works as a freelance graphic designer in The Hague, where she has lived since 1999. She designed Jigsaw (2000) at Typotheque: this was originally intended as a Multiple Master font that varies from roman to stencil.
At ATypI 2004 in Prague, she spoke about "Experiment and typography". Alternate URL. Co-editor with Alan Zaruba of We Want You To Love Type (2004, e-a-t). Since 2003 she is a partner in Peter Bilak's Typotheque. [Google] [MyFonts] [More] ⦿
Dutch self-taught railroad employee, painter and calligrapher (1909-1988) from Utrecht (Schalkwijk, to be more precise) who designed the calligraphic text typeface Petronius (1961-1975), which can only be found nowadays in the specimen booklet "Op Engelvoeten" (1975), available in the University of Amsterdam Library. An incomplete specimen is on page 301 of Jan Middendorp's "Dutch Type". The Amsterdam-based company Typo Delvos used it for typesetting some texts. (Delvos no longer exists.) Moesman also designed a simplified Arabic typeface (he liked Arabic for its calligraphic origins). He was an artist at hart, who produced various surrealistic and/or erotic paintings. See also here. [Google] [More] ⦿
Painter in Sluis, The Netherlands (1830-1857) [at least, this is the educated guess of type historian Mathieu Lommen], who published the lettering model book Verzameling van letteren ten gebruike voor schilders en teekenaars (ca. 1855).
Joan Collette for short, b. Delft, 1889, d. Nijmegen, 1958. Dutch illustrator, graphic designer and painter. With Flemish designer Jos Dufour, he created the beautiful ultra-fat art deco display typeface L'Indépendant (ca. 1930). It was done at Etablissements Plantijn, a foundry in Brussels affiliated at the time with Lettergieterij Amsterdam. Specimen at the University of Amsterdam library. The name and the year of release were chosen to commemorate the hundredth anniversary of the independence of Belgium (from the Netherlands). It was made into a font by Monotype in 1999.
Implementations of Independant include Independant (free; by Phynette and Apostrophe), Dujour (by Steve Matteson), Sid The Kid NF (free; by Nick Curtis), Collette (2007, by Anton Scholtz), Dufour (2011, Anton Scholtz), and Jumbo Mumbo NF (2006, Nick Curtis). [Google] [More] ⦿
John A. Lane is a type historian, who often writes on typography. One of his crowning achievements is the book "Letterproeven van Nederlandse gieterijen" (1998), which shows Dutch typefounders' specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. It is coauthored with Mathieu Lommen, a noted type librarian and historian. Discussion of the text. Coauthor with Mathieu Lommen in 2003 of "Bram de Does Boektypograaf&Letterontwerper" (Amsterdam, 2003). Author of Early Type Specimens in the Plantin-Moretus Museum (New Castle and London: Oak Knoll Press and the British Library, 2004). [Google] [More] ⦿
Dutch graphic artist Jan Lavies (1902-2005) became famous for the posters he designed for the Holland America Line of cruise ships. The early posters in this series inspired David Kerkhoff to create the Dutch deco typeface Hofstad (2014). [Google] [More] ⦿
Aka Jonathan Looman. Dutch type and graphic designer. Alternate URL. His type work includes Fingertype (2007, letters made from fingerprints) and Van Bostelen Light and Heavy (2007, a great ultra-geometric basic experimental typeface that should win awards; named after one of his teachers, Herman Van Bostelen). Alternate URL. [Google] [More] ⦿
The Utrecht-based surrealist J.H. Moesman (1909-1988) is known for his quality paintings, drawings and essays on modern art. He also designed the Petronius typeface. As a gifted calligrapher, he gave Petronius a calligraphic look. The name was a tribute to Gaius Petronius Arbiter, a Roman author who lived in the first century AD and to whom Satyricon is attributed. Moesman studied The Golden type of William Morris (1834-1896), who had based Golden Type on a printed Renaissance typeface by the of Italian Nicolas Jenson (ca.1420-1480). For Petronius, Moesman made a roman, an italic, a narrow style and a set of initials. A lead type was never made though. Petronius was digitally revived in 2010 by Autobahn as Petronius (2010). [Google] [More] ⦿
Dutch poster and comic book lettering artist. Joost a Millionaire (2007, Nick Curtis) is based on his lettering for Millionaire (1976). Boeuf au Joost (2003, Nick Curtis) is an art deco typeface based on Swarte's record cover TangoCuatro from 1990. Title lettering for "Imago Moderna", an episode of the comic-strip series "Jopo de Pojo" (1974) led to Nick Curtis's Joost A Gigolo NF. This logotype of the comic-strip series "Katoen + Pinbal" (1975) was at the basis of Curtis's PinballWhizNF. The title lettering for "Modern Art", an episode of the comic-strip series "Anton Makassar" (1978) provided inspiration for Nick Curtis's ModernArtNF. Finally, Nick Curtis mimicked the lettering on this poster entitled "De wereldtentoonstelling van Joost Swarte" (1987) to design AmsterdamTangramNF. [Google] [More] ⦿
In 2012, Jorrit designed Blocko.
Dutch designer of the handwriting fonts Josschrift and JosschriftSerif (2005-2009), Dolly Dots (2009, dot matrix face), and the Western all caps billboard font Simson (2009). He also made Scratch Bold (2009) and Brands Kidnapped (2009, ransom note font). [Google] [More] ⦿
British designer located in Rotterdam. Creator of the stylish art deco poster entitled Portfolio (2012).
Dutch page with links to font management software, and with a few archived font files as well, mostly shareware fonts by Elfring Soft Fonts. Includes Elfring Soft Fonts demo versions of Bar Code 128 (A,B,C) and Bar Code 3/9 fonts. [Google] [More] ⦿
JTHZ.com software productions
Julius B. Thyssen (from Amsterdam) and Hens Zimmerman run this site (which used to be called Immortalware), where you can download 15 Truetype fonts, among which one handwriting font made by Julius. Now also a huge zip file with 16 new fonts: Corrodated-J, Dolenzo-J (antiqued serif), Elliottland-J (Lombardic influences), Fucked-OlympiaJ (1991, old typewriter), Incendiak-J, Julius-BThyssen (handwriting), Kylie 1996-J (inspired by Tango by Colin Brignall, 1974), Nostra-2003J (after Jim Pearson's Creedmore), Radium-Day-AfterJ (chalky face), Rugklacht-J, Salernomi-J, Scalactic-J, Systematic-NewJ, Thyssen-JItalic, Thyssen-J. All fonts made between 1995 and 1998.
During her typography studies at Ecole Estienne in Paris, Julie Patat created the unicase font Mischievous Type (2014) and the display typefaces Wolf (2015, after an alphabet in D. Duville's l'Art du tracé rationnel de la lettre, 1934), Amsterdam (2015, art nouveau) and Brocéliande (2015). She also revived Firmin Didot's Ronde. Alda (2015) is an italic font with two different angles. Designed for French pocket books, it was inspired by Aldus Manutius's italics from 1501.
Julius B. Thyssen
Dutch Creative Alliance designer of Uncia (1999, uncial), Rudolph (Fraktur), Julius Primary (1999, a school font family), Amadeo (handwriting, 1999, with Fiel van der Veen) and Augusta (1999, +Cancellaresca, +Schnurkl). He published Xander (2001) at Agfa, a font based on the handwriting of the Dutch type designer Alexander Verberne. Finally, he published the calligraphic script family Gaius (2002), the calligraphic Bastarda typeface family Bernhardt Standard (2003), the Fraktur typeface family Frakto (2003), and the blackletter family Rockner (2005) at Linotype.
Jung-Lee Type Foundry
The Jung-Lee Type Foundry was set up by Jungmyung Lee and Karel Martens in Amsterdam, ca. 2016. Karel martens is an award-winning typography and type design teacher in Arnhem, and Jung-Lee has been designing type at Helsinki Type Studio.
In 2012, Lee created Bastard Semibold. Lee and Martens codesigned Jungka (2013-2016), a sans typeface motivated as follows: We wanted to make a grotesk font positioned somewhere between Akzidenz grotesk, Helvetica and Univers---not as dry and distant as Univers, but devoid of the quirky uniformity of Helvetica. Jungka is more reminiscent of Akzidenz Grotesk than the other two typefaces.. [Google] [More] ⦿
Dutch Bauhaus designer, 1926-1990. He drew some alphabets, one of which led James Mattison to create the digital stencil font Schrofer (2009). The Sans Serious family by John Skelton is also a revival. Jan Middendorp writes in Dutch Type: chrofer made several attempts to create complete typefaces - one of which was wittily called Sans serious - but this was never his goal. "Is it necessary", he wrote, "to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes". Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms `made to measure' as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, `Les textes sociologiques' from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids. [...] In his booklet Letters op maat (Type made to measure, 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven. [Google] [More] ⦿
Dutch experimental nutty (in the good sense!) and prolific type designer (b. Haarlem, 1966) who created famous fonts such as Beowolf, Brokenscript, BeoSans, Trixie, Flixel (FUSE 2), and Schulbuch. He is also a font software expert who has initiated many ideas in the areas of type software. He created Phaistos (1990-1991, the Font Bureau, with David Berlow), which was inspired by the flared angular designs of Rudolf Koch such as Locarno). Designer or co-designer at LettError of LettErrorRobot-Chrome (2001), FFTrixie (X-files original), FF Advert (1991, a flared sans family), FF Schulschrift (1991; in versions A, B and C following the German school script recommendations), FF StampGothic (1992), FF Confidential (1992, grunge), FF Karton (1992, a grungy stencil face), FF Flightcase (1992, a grungy didone stencil), FF Dynamoe (1992, a dymo label font, white on black), FF Hands, FF Brokenscript (1990, blackletter), Federal, and the random font Beowolf (1990, with Erik van Blokland). At FUSE 11, he designed What You See/What You Get (with Erik van Blokland).
Karel Martens (b. 1939) is a Dutch graphic designer and teacher. He designed postage stamps, and authored many books. In 1996 he received the Dr. H.A. Heineken Award, and in 2012, he was honored with the Gerrot Noordzij Prize. He taught at the Art Academy in Arnhem, the Jan van Eyck Academy in Maastricht (1994-1999), and at the School of Art of Yale University (as a visiting lecturer, since 1997). In 1997 he founded Werkplaats Typografie, a post-graduate graphic design school in Arnhem, where he still teaches.
He set up the Jung-Lee Type Foundry together with Jungmyung Lee in Amsterdam. Jungka (2013-2016) is a sans typeface family by Jungmyung Lee and Karel Martens, who write: We wanted to make a grotesk font positioned somewhere between Akzidenz grotesk, Helvetica and Univers---not as dry and distant as Univers, but devoid of the quirky uniformity of Helvetica. Jungka is more reminiscent of Akzidenz Grotesk than the other two typefaces.. [Google] [More] ⦿
Danish minimalist designer in Roskilde / Copenhagen, who studied at The Royal Danish Academy of Fine Arts, School of Design (2010-2013). He made various typefaces in 2010, including a monoline sans caps face, a Peignotian high-contrast caps face and a paper fold face, and the geometric typeface Ottoman. Ottoman was part of the visual identity made for a nightclub named OTTOMAN, located at Dunkel in the heart of Copenhagen).
In 2012, Pyndt designed the geometric typeface Husaar, which was inspired by Avenir.
In 2014, he was located in Den Haag, The Netherlands. Typefaces from 2014: Kieu.
Typefaces from 2015: Dalat (a rounded text typeface with Vietnamese vernacular roots). He writes about Dalat: Via conversations with local designers I was informed that most signage in Vietnam are created by small print shops with little or no knowledge of type setting. Furthermore, I was told that Vietnam does not possess a formal education for graphic design and does not even have a word for the practice. Vietnamese visual culture still possesses references to earlier sociocultural influences such as China, France and Russia who each brought significant visual styles to the country. I wanted to draw attention to this heritage by implementing Chinese calligraphy, French Art Deco and Russian Constructivism into a single typeface. Clerk (2015) is a stencil display typeface based on a sign type (most likely) drawn by Samuel de Clerq in the 1920s for the savings bank of The Hague. This uppercase-only font features, among other things, an array of 'O'-ligatures as well as a flat-top '8'..
Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.
After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.
Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).
For a module at Plymouth University in 2014, Kim Uitslag (Groningen, The Netherlands) made a typeface that only shows the essence of type. She also made icons for the Alzheimer's Societ (2014). Behance link. [Google] [More] ⦿
Kiosk Fonts (Berlin) was founded in 2008 by Frank Griesshammer (b. 1983, Germany), a graduate of HBKsaar (2008) and of the Masters program in type design at KABK (2010). His graduation project in Den Haag involved the multi-pen typeface Quixo (2010), which seems to be have just the right flexibility for packaging and ads. Frank lived in Den Haag, but joined Adobe's type department in 2011.
His alphabets from 2008: Fleischwurst Fett (blackletter), Drückerei (grunge by Haiko Günther), Sommerfest, Rex Mundi (by Haiko Günther), PX Barok (a stitching and needle typeface), Ghana Signpainters Divine Healer (by Haiko Günther), Pappe (randomized cut-out face), Wüste Fraktale (a pixel blackletter by Haiko Günther), A4, Ghana Signpainters Safari (by Haiko Günther), Ghana Signpainters Cocktail (comic book and ad style by Haiko Günther), Format, Black Frituur (blackletter by Haiko Günther), Monaural (geometric), Steelcut (based on Woodcut; by Haiko Günther), Coswig, Roundenau (very rounded).
In 2013, he made HWT Tuscan Extended (Hamilton Wood Type). Hamilton Wood Type explains: It is based on the 1872 William Page & Co. version, while also bearing a very close resemblance to the Morgans & Wilcox Tuscan Extended and No. 2106 from Tubbs Manufacturing Co. It is similar to the Heber Wells Tuscan Extended. All four manufacturers were eventually acquired by Hamilton. The Hamilton designation for this design was simply No. 303. The National Printers' Material Co. of New York also offered a similar Tuscan Extended.
In 2014, Frank designed the free Source Serif typeface family at Adobe, to accompany Paul Hunt's Source Sans Pro (2012). It is a transitional family influenced by Perre Simon Fournier's styles from 1742. Google Web Fonts download link.
At the Dutch PTT (post office): free barcode fonts for Dutch postal codes (KIX barcode fonts: KIX stands for KlantIndeX), PC and Mac. Includes a tool, "Toolkix" for printing addresses with barcodes. Direct access. The metafont by Rick van Rein is here. [Google] [More] ⦿
Frank van der Hak (Knarf Art) is a graphic designer in Zoetermeer, The Netherlands, b. 1989. He created the octagonal geometric font Knarf Art and Knarf Art 2 (2009).
Koelooptiemanna Productions (was: KosteX)
During an internship at ATTAK, a studio in 's-Hertogenbosch, The Netherlands, in 2014, Koen van der Bliek (Boxtel, The Netherlands) created the knife-edged semi-blackletter typeface AT Kuhn (free download). Koen was a student at the AKV ST Joost Art Academy in 2014. [Google] [More] ⦿
Despite the modest agricultural name, they say this about themselves: Koeweiden Postma is one of the leading branding and design agencies in The Netherlands. I quite like the typographic work they did in the form of posters and ads for the Picasso in Paris 1900-1907 exhibition, held in 2011. Behance link. [Google] [More] ⦿
This Dutch-Swiss foundry (est. 2001 by Hannes Famira, b. 1966, Buchholz in der Nordheide) offers interesting font families: Feisar (Paul van der Laan), N&M Hornet (Neeser+Müller), N&M Punkt Schrift (Neeser+Müller), Blocker, InterPol Sans (1992), InterSerif, InterForm (dingbats), H-Stamps, Tieshy, Bubblejet on Steroids, Plantijn (Legib, Legib Small Caps, B-Form, Paradox), and Kugelkopf Letter. Another designer is Hannes Famira, who founded Kombinat. The initial crew also contained Martijn Rijven, but his name is longer there. The current team in 2012 includes Martin Wenzel, Thomas Lehner and Roland Dill.
In English, the Royal Academy of Art in The Hague. This is the most elite typographical school in Europe. Its graduates include all main current typographers in the Netherlands, and many others. Teachers include(d) Petr van Blokland, Peter Verheul, Fred Smeijers, Just van Rossum, Erik van Blokland, Peter Matthias Noordzij, Frans Van Mourik, Jan Willem Stas, Françoise Berserik, Peter Bilak, Paul Van Der Laan, and Frank Blokland. TypeMedia is the postgraduate department for TypeDesign and Typography of the KABK. This Russian picture report from 2004 illustrates its activities nicely: it shows the following type projects: Basileus (Greek typeface by Vera Evstafieva), Reforma (by Krassen Krestev), Mirabelle (by Alessandro Colizzi), Rumba (by Laura Meseguer), North (by Trine Rask Olsen), Vertigo (by Susana Carvalho), and Tuhun (by Diego Mier y Teran).
A list of graduates of the Type Media program at the Royal Academy of Art in The Hague.
Doetinchem, NL-based graphic designer designer (b. 1988, Hengelo) of Johanneke (2010, counterless and outlined family), Sammies Sans (2010, grunge), Chinese-troops-waiting-at-the-border (2009, graffiti), KingjolA (2009, grungy blackletter), Efontlution (2009), sleeperzzzz (2009, grunge), Jersey Stories (2009, script), Unchanged Thoughts (2009), Hey Mom Hey Dad (2009), Shutdown (2009, 3d comic book style face), Hey Boy Hey Girl (2009), Jo wrote a love song (2009, scratchy hand), False Advertising (2009, grunge), Old English Hearts (2009, grunge blackletter), Stone Era Pixels (2009), Waste of Paint (2009, grunge), Baby Eskimo Kisses (2009, outline), Opa Puk (2009, brushy), Bedtime Stories (2009, flowing script), Manenschijn 02 (2009), Create a cartoon (2009), Release Me (2009).
Fonts made in 2012: Holland Blocks (counterless fat squared glyphs).
IN 2015, he made the hand-crafted typeface Retro Bagels.
Graduate of the Design Department of the National University of Art in Bucharest, Romania. Now working as an illustrator in Breda, The Netherlands. Behance link.
Graduate from KABK, The Hague, 2009, Type and Media MA program. Her typefaces:
The Dutch have claimed for hundreds of years that Laurens Janszoon Coster [or: Koster] (b. ca 1370, d. ca 1440) printed the first book in Haarlem (The Netherlands), ca. 1440, well before Johann Gutenberg in Mainz in 1452. There is no hard evidence to support or refute this claim, but Jan Middendorp in his "Dutch Type" (2004) categorically calls it a myth. From the link, I cite: "Warren Chappell's oft-referenced A Short History of the Printed Word, published in 1970, states that the "quality of the early Dutch type-making and printing still extant is so markedly inferior to Gutenberg's that the possibility of a few years' priority is less important than Gutenberg's results." [Google] [More] ⦿
Le Studio Graphic and Web Design
Dimitry Hamelink's studio Le Studio in The Netherlands is also based in Cazillac, France. It did the typography in a brush style for the album I am Hunter by Miss Montreal (2012).
Visual designer in Amsterdam. Designer of the elliptical typeface Yon (2010), a typeface designed during a course at Politecnico in Milan where he studied under Gio Fuga. Leandro is from Belo Horizonte, Brazil. Other typefaces:
Dutch designer (b. 1966) of Lenteroos (2005), Blokletters (2005, in three weights: Potlood, Balpen and Viltstift---these are excellent substitutes for something like Comic Sans), Slantwise (2004), Hard Compound (2004), Soft Compound (2004), Angie's New House (2004, great squarish font, almost in Wim Crouwel's Hiroshima style), Kenteken (2004, based on the Dutch licence plates), Kenteken Smits (2013), Square Peg (2004, renamed Square Wise to resolve naming conflicts with a commercial font of the same name by Rob Leuschke), TeleTekst (2004), Osmanthus (2013, heavy German expressionist typeface).
Dutch designer, b. 1991, aka Marjolein. A self-proclaimed vector artist, she created the elegant art deco typeface Lein Bold (2008) as well as Lein Rounded (2008) and Lein Future (2008). Potato (2009) is more art deco candy. Dafont link. [Google] [More] ⦿
Leo Beukeboom was the in-house sign painter for Heineken brewery for more than 30 years. An accomplished and skillful lettering artist, he was heavily influenced by Dutch writing masters such as Cornelis Boissens and Jan van de Velde. He created a unique script style that became one of the distinctive characteristics of traditional brown café's in Amsterdam. Leo is now working on Beukeboom Script (Re-Type, 2009). [Google] [More] ⦿
Meuffels, who runs Meuffels&Partners in Susteren, The Netherlands, is the designer of the art deco multi-striped all caps Dextor family (Mecanorma), now in digital form at URW++ and Scangraphic. The Softmaker version is called Delano. TitanickDisplayNF (1999, 2007) by Nick Curtis is a remake of Dextor.
He also created the multilined art deco typeface Mecanorma Hotel.
Nightlife (2005, Canada Type) is based on an experimental grid design by Meuffels.
Dutch designer (1917-1986) of the calligraphic script font Amazone (Tetterode Nederland, 1958, now available from Bitstream [compare Amapola by Dan X. Solo]), Promotor (a medium weight expanded typeface done at Lettergieterij Amsterdam, 1960, available from Elsner&Flake), and Orator (a bold companion to Promotor, Lettergieterij Amsterdam, 1962). Worked at Lettergieterij Amsterdam. [Google] [MyFonts] [More] ⦿
Lesley Jutte klives in Voorschoten, The Netherlands. I did not know that it was possible to use Fontcapture to create anything but handwriting fonts, but Lesley managed against all odds to make an elegant deco-ish face, Call It Skinny (2009) using that tool. [Google] [More] ⦿
A discussion on the typography of numbers on shirts, by Dutchman Sander Neijnens, a Tilburg-based Dutch graphic designer (b. Valkenswaard, 1957) who drew a character in the September 11 charity font done for FontAid II. Specializing in numbers on athletic shirts, and displeased with the sameness of the letters in classical typefaces like ITC Machine or Superstars, he proposes serifed numbers, which were used by the soccer team Willem II from Tilburg in 2002-2003. A new athletic number design, King III, is in the works. He created Hia (a stencil typeface for use on doors and fences), Streep (horizontally striped letters for fences), and Klinker (based on street tile patterns). [Google] [More] ⦿
A sociable type society with the motto: "Type is fun". Page has been neglected almost since its inception in 1997. The Sociable Type Society was founded in 1997 by Donald Roos and Onno Bevoort jr. In 2002 this exclusive society has still two members, both are graduated students of the Royal Academy of Fine Arts in The Hague. A creation of them: the fun LD Spaghetti family (2004). [Google] [More] ⦿
Kai Bernau (Letterlabor) is a German type designer (b. 1978) who studied graphic design at the University of Applied Sciences Schwäbisch Gmünd. He created "The neutral typeface" (2005), a sans family, as his thesis project at the KABK in Den Haag. The typeface was born as a mathematical average of ten sans typefaces: AG Buch, Neue Helvetica, Univers, Grotesque, Franklin Gothic, Frutiger, Trade Gothic, Documenta Sans, The Sans and Syntax. He graduated there in 2006 with a masters degree. Together with his wife Susana Carvalho, they formed Atelier Carvalho Bernau, a practice that designs printed matter (mainly books), bespoke and retail typefaces, and identity programs. At Commercial Type, he published Lyon Text and Lyon Display in 2009, described by Commercial Type as follows: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. The Atelier also has other typefaces on its site, all done between 2007 and 2010, such as Neutraface Slab (for House Industries), Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type: a revival of Dick Dooijes's Mercator), Neutral (an outgrowth of Kai's thesis work), PDU (a French stencil rtevival project), and some custom typefaces such as Proprio.
LI>Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque published Neutral. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts. Custom typefaces include Munich Re (2008-2009, for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam)) and Harvard Museum Neutral (2008).
Eyal Holtzman is a type designer who was born in Haifa, Israel in 1969. He studied at the Royal Academy of Art in The Hague, and teaches typography and graphical arts in various places. He also runs Letterpress, his own studio/foundry, Letterpress, where you can ogle his creations, Joel, Jerusalem (part Hebrew) and Kristal.
Eyal Holtzman has designed typefaces for clients such as The EnschedÃ© Font Foundry and Nationale Nederlanden. His work has been exhibited in many places, including in Museum of the Book - Meermanno in The Hague.
MyFonts writes: In the book Ha, daar gaat er een van mij! (Hey, there goes one of mine!, a chronicle of graphic design in The Hague from 1945 to 2000, 010 Publishers, Rotterdam 2002) he is called "one of the most idiosyncratic letter talents from The Hague" and in Dutch Type (010 Publishers, Rotterdam 2004) expert Jan Middendorp describes his letters as being "among the most original alphabets produced in the Netherlands", (...) "tapping into an idiom that no other type designer working in the Netherlands has ever used".
Erik van Blokland is a graduate of the Royal Academy of Art in The Hague (KABK), class of 1989. He develops niche tools for type design and font production and has been involved with Tal Leming in the development of the UFO (for font sources) and WOFF (for font binaries) formats. Since 1999, he is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Erik developed many type software tools such as the acclaimed type interpolation tools MutatorMath and Superpolator, and the teaching tool TypeCooker.
Erik speaks often about his work. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3].
Letters en Plaatjes
Thijs Mertens is a Dutch designer in Arnhem who runs the design studio Letters en Plaatjes since 2009. He used FontStruct in 2009 to create ThM PurSans, ThM BlackBox (stencil), ThM For Minimal, ThM Papercut, ThM Concept, ThM Monomode, ThM Firefly, and ThM Freaktur (sic).
Dutch designer of the copperplate style formal script typeface Amazone (Amsterdam Foundry, 1958-1959) [see here for a Bitstream version; Amaze is a clone found on many free font web sites]. [Google] [More] ⦿
Lida Lopes Cardozo
Graphic designer from Breda, The Netherlands---she could practically be Belgian! In 2009 and 2010, Linda created some experimental typefaces. She also made the modular font Propedeuse (2009). Home page. [Google] [More] ⦿
Graphic designer and photographer in Amsterdam. In 2009, she created Fashion Typeface, and Typeface-for-musician-Bernhard-Fleischman (experimental). In 2010, she added Ruhrschrift (semi-Tuscan). Behance link. [Google] [More] ⦿
Dutchman born in 1949. When he published his thesis Sunbowl or Symbol, as a book in 1998, Loek designed a typeface that strived to hit the perfect balance of Latin and Greek, Elyade. It won him the Max Reneman award. This is not to say that the Dutch type community liked Elyade. It was blasted by both Frank E. Blokland and Jan Middendorp, who says that the type's frills attract too much attention and that the overall colour in text sizes is rather weak. A sample is shown on page 305 of Dutch Type by Jan Middendorp. [Google] [More] ⦿
Lollibomb (was: Crejaculations)
Sander Kessels has provided us over the years with the most impossible unreadable pages, and he does not disappoint us with his latest flash creations. Here, you can download Bookworm (parody of Apple's Bookman, 1996), CafeCoco (based on Tobias Frere-Jones' Cafetaria, 1998), Palatino Turner, Facetype, Xizo (not free), Gotohellvetica, Chicagogo, TimesTurn, Richter, Drunk Heavy, Byte Caps, Centabel, Chocolade, ToThePoint (not free), Online, Quasymodo, Symbolero (1991, based on Apple's Symbol font). Fontspace link. [Google] [More] ⦿
Lovely Bird Digital
Amber Kuivenhoven (b. 1993; aka Lovely Bird Digital or Amber Does Freelancing, Alphen aan den Rijn, The Netherlands) created these hand-crafted typefaces in 2015: the sketch font Its a Sketch, the hand-crafted font Patrick, the water bubble font Retro Bubble, the pointilist typeface Sophia Hearts, Catalina, Tessa (floriated) Fairy, Lets Call Her Tally, Jessica Pearson, Jamy, Sophia Hearts, Patrick, Revival, Shakira, Lucy, Santiago 9 - 9, Hey Bas + Hey Bas Uncrossed, Thinly Armored, Itsa Sketch, Ennis, Brienel, Prickly Bush, Starry Night, Retro Bubbles, Budgie Dingabt, Coffe Shop Icons.
Luc(as) de Groot
Lucas de Groot
Lucas de Groot
Sells fonts made by Luc(as) de Groot at FontFabrik in Berlin. MyFonts link. Established in 2000, their most popular typefaces include Thesis (the family that includes TheSans, a long-time bestseller), Sun, Taz and Corpid. At MyFonts, one can get Calibri, Consolas, LF Corpid III (contains support for Turkish, Cyrillic and Greek as well), LF Jesus Loves You All, LF Nebulae, LF Punten, LF Spiegel, LF Sun, LF Taz III, LF TheAntiqua, LF TheAntiquaSun, LF TheMix, LF TheSans, LF TheSansMono, LF TheSerif, all by Lucas de Groot.
Ludwig Übele is a Berlin-based German type designer (b. Memmingen, 1974). In 2007, he established Ludwig Type in Berlin. Ludwig practiced type design and branding in his own studio in Den Haag, The Netherlands. He graduated in 2007 from the KABK in Den Haag, the same year in which he started his foundry Ludwig Uebele (or: Ludwig Type) in Berlin. MyFonts interview. Behance link. His award-winning typefaces:
The Hague-based foundry established in 1996 by Jeroen Barendse and Thomas Castro. Downloadable and commercial fonts from this Dutch foundry. Specializing in shock and grunge. Fonts: Incidenz Bold, Blowout One, Pure, Blockbuster Regular, Brick, Bone, Razor, Blowout Three, Clean, Grotesk, Gothic, Mobile. [Google] [More] ⦿
Lust (Amsterdam, The Netherlands), or SML Designs, designed SimLLHP (2003), Simbats (2003), Inverted-ArialMT, Inverted-Courier, Inverted-Times, Jason's-Inverted-Tahoma, Jason's-Reversed-Arial, Jason's-Reversed-Courier, Jason's-Reversed-Tahoma, Jason's-Reversed-Times, anf the free brush font Fat Marker (2007).
Young Dutch designer (b. 1989) who created some free pixel fonts in 2005: Cherry Pie, Orange Frosty, Waffles, Strawberry Shortcake, Brownies, Apple Crisps and Mint Choco Chip Ice Cream. [Google] [More] ⦿
Author of "Letters voor Moderne Reclame-Kunst". 3e verbeterde druk. Amaco, Amsterdam, c. 1941. Excerpts of this book were shown by Piet Schreuders. These include Sierschrift (an ornamental caps face), and this hand-printed alphabet. [Google] [More] ⦿
Dandm3 is the design place of Deirdre Idema (Irish born) and Maarten Idema. Maarten was a student at the KABK in Den Haag from 2003-2004. His graduation typeface at KABK was Pam (2004), which was specifically crafted for street maps. He also designed the experimental typeface Before. Unclear if Maarten is Dutch, Irish or Kiwi. [Google] [More] ⦿
Dutch designer (b. 1975) who runs MvM Grafisch Ontwerp and is based in Leiden. Designer of the fun decorative caps typeface Grimas (2015), the colorful Untitled (2015), the serif typeface Zinc (2002), the black sans Laudanum (2004), and the handwriting typeface Bastard (2004). He also made a serif type face (2004) and the stencil typeface Ceka (2005). At his web site, you can look at Ephedrine (2005) and Unreasonable (2005, handwriting). [Google] [More] ⦿
Maarten van 't Wout
Dutch poster artist from the art deco era. Posters with art deco lettering by him include Auf nach Holland (1929), Olanda (1931), Rotterdam (1931) and Holland Where Seaside Means So Much (1930). The Cruise Terminal Rotterdam's logotype is based on den Hertog's lettering. [Google] [More] ⦿
Amsterdam-based designer of the cookbook font Roald (2013).
Amsterdam-based designer of the cookbook font Roald (2013).
Dutch designer of Correspond (graduation typeface at KABK, 2005-2006) and Saranna (after Stefan Schlesinger's unfinished typeface from just before WWII). In 2005, Malou did a revival of Jan van Krimpen's Spectrum (1952). Favela Exposed is a hand-drawn poster typeface inspired by the mosaic stairway in Santa Theresa, Rio de Janeiro.
Codesigner with Jeroen Leupen of several fonts at ShowMeWare. Mac fonts only: IggyPiggy (1999), Euromania, Scramble, Source, Lutetia Lutetia (Asterix font), Sunburst Staying, Thick&Thin, WizzyBold, Nippee, Saurtimes, RuffBold, RuffMedium, Waterfall, Sniffy, Oranjehand, Mushroom, KillerBee, FuzzyMate, Casterman, AmsterdamBridge and Academy. [Google] [More] ⦿
Creator of a typeface out of spices to adorn the walls of Restaurant Walem. The underlying shpae is a De Stijl alphabet by Bart van der Leck.
Design student in Hoofddorp, The Netherlands, whose first font is the high-contrast art deco typeface Ecoutez (2012).
Creator of the geometric sans typeface Selvage (2012, in Raw (pure forms) and Worn (filled in ink trap form) styles), the architectural lettering font Resoluut (2012, +Cyrillic), the tattoo font Galera (2012), and the monoline typeface Monodrone (2012, Ultratypes).
Artist, b. Amsterdam, 1967, specializing in macabre, bizarre and black romantic artwork. He created the gothic font Fairydust (2003).
His typefaces include Anna Mono (2010, octagonal).
Italian visual artist based in Amsterdam and Berlin. In 2005 he graduated with a bachelor's degree in visual communication from ISIA (Florence, Italy) and Bauhaus University (Weimar, Germany). He continued his studies at the Sandberg institute of the Rietveld Academy, Amsterdam, where he obtained a Master's degree.
Creator of the geometric sans typeface Biko (2013), which is named after South African anti-apartheid activist Steve Biko. See also Biko Light (2013). Buy Biko from Monofonts. Obtain a free copy from Dafont.
In 2014, he designed the masculine sans typeface Coluna Condensed Bold (also free at Dafont, this family includes Rounded, Outlined, and Sketched styles).
Dutch creator in Rotterdam of the series of textured fonts called Rotterdam Zoo. Designer of the grid-based typeface Quickgrid (2011). Home page. At FontStruct, he made Fatcap (2009). Studio Van Zomeren. [Google] [More] ⦿
Dutch penman who published Tooneel der loflijcke Schrijfpen Ten dienste van de Constbeminnende Jeucht int licht gebracht Door Maria Strick Fransoysche School-houdende binnen . . . Hans Strick (1607). [Google] [More] ⦿
Marie-Thérèse Koreman studied at the Royal Academy of Arts in 's-Hertogenbosch, The Netherlands. She is a co-founder of Visualogik Technology & Design bv and is director of design for Neufville Digital. She has been involved in digital type since 1981, mainly for corporate identities for large companies. From 1997 she and her team have been working on the digital version of the ever expanding Futura typeface. For Traffictype, a Visualogik brand, she developed the mainstream of digital road signs that has become the standard reference in The Netherlands.
Her work on Futura includes Futura ND (1999), Futura ND Black (2003), Futura ND Display (2003), and Futura ND Alternate (2015). These are based on the original sources by Paul Renner (1920s) at the Bauersche Giesserei, now held by FT Bauer in Barcelona. There is a consensus among typophiles that this is the best digital version of Futura around.
Dutch type designer who published the experimental typeface Jazmo in 2012 at URW: Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the New objectivity architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau.
In 2013, she published Smooth Buggaloo (URW++), a typeface that was inspired by the music of the sixties. Le Rock (2013, URW++) is a bouncy freeform display typeface. Labyrindo (2013, URW++) is inspired by Greek labyrinths.
In 2015, still at URW++, she created the stylish display typeface Democrazia, the hybrid oriental/Arabic emulation typeface Eurabia, the display typeface family Kosmique, the meccano typeface C-Nation, the squarish stencil typeface Constructa, the squarish revolutionary typeface Picastro (the name is a contraction of Picasso and Castro; not to be confused with Leon Hulst's signage typeface Picastro, made a year earlier), and the display typeface New Daily. [Google] [MyFonts] [More] ⦿
Designer in Tubbergen and/or Enschede, The Netherlands. I think, but am not sure, that The Soul Can Wait (2011) is a typeface. In 2013, he designed Jos Sans Serif as a gift to the studio KERN, where he did his internship.
Mark van den Heuvel
Mark van Wageningen
Graphic designer in Amersfoort, The Netherlands. Creator of Trashfabet (2012).
Graphic designer in Rotterdam, The Netherlands, b. 1987. Behance link. For a project for the art academy in Rotterdam, he made the experimental typeface Blik Font (2010), which is based on crushed cans. [Google] [More] ⦿
Dutch type designer whose fonts may be bought from 2Rebels in Montreal. They are now generally available from T-26. Some creations: BlackMail (1996, ransom note font), Educational, EricsSome (dot matrix face), Mould Archi (1997, grunge), Tsjecho (1997, a wood type simulation face), Wire And Planks (1997, a semi-stencil).
Nieuwkoop, The Netherlands-based graphic designer. Alternate URL for his fonts. Creator of MF Dots (2007) and MF Dots Pro (2008), a dot matrix typeface that covers Latin, CE, Greek, Baltic, Turkish, Romanian, Cyrillic and special symbols. Another URL. [Google] [More] ⦿
Born in 1932 in London, Martin Kaye was well-known for his sturdy posters which he made from 1972 until 1983 for Paradiso in Amsterdam. A set of 1100 of these posters owned by Stichting Martin Kaye Alphabet Index&Library is being managed by Affichemuseum in Hoorn, The Netherlands. He was also a type expert, and had started a catalog of typefaces, having made a listing of 60,000 typefaces when he was murdered in 1989 during a robbery. His work included also many unique complete alphabets. The book Facade AlphaBets et Cetera is the only published book document. At Amazon, we read about his book: Although out of print Martin Kaye's work deserves some recognition for his part in the world of typographic design. This book of some 90 pages reflects his work throughout 20 years. With typographic studies to reproductions of some of Kaye's Paradiso posters, this is perhaps the best example of of a lifetime's work by this artist. It is unfortunate this item remains out of print since it remains a definitive example of typographic inovation and inspiration. It is with great sadness that the book, published in 1985, four years prior to his death, remains as his only epitaph. Since only 1000 copies were ever printed it may never be seen by as many as might apreciate such a work. Examples of Kaye's work do hang in the Rock Museum in Amsterdam. But for me this book is a must for anyone interested in typography. This was done in the days before computers. Martin would hand cut the designs in 'red film' a method by which screenprint templates would be made. The intricacy of his designs and skill would astound anyone seeing him at work, the results of which would shine out from poster stands all over Amsterdam. [Google] [More] ⦿
Dutch type designer born in Baarn in 1960, who works in Arnhem and Warsaw. Showcase of his most popular typefaces. Type designs:
The text José Mendoza y Almeida (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions to type design.
Dutch alphabetician who was active in the 1930s. Hans van Maanen at Canada Type revived his lettering as digital fonts: Archie (2010) is a square face, and Agent (2010) is pure comic book or signage style. Chikita (2008) by Patrick Griffin and Rebecca Alaccari at Canada Type is an upright ronde script that is also based on Meijer's work. The angular calligraphic type family Libertine (2011, by Patrick Griffin and Kevin Allan King at Canada Type) was also inspired by Meijer. [Google] [MyFonts] [More] ⦿
Dutch freelance graphic, logo, type and web designer, b. 1989. He operated as MS Designs. In 2010, he made an extensive comic book / fat finger typeface called Dion which was used in a national Dutch campaign "Zonder Cash ben je nergens" (You're nowhere without Cash). Celente (a transitional typeface) is also from 2010. Modani is an unfinished didone from 2010.
He writes: I am now working on several typefaces including a modern grotesque typeface called Dagon Sans, an antique humanist/grotesque typeface called Crouton Grotesque, a sturdy transitional typeface with oldstyle elements called Icarus (+ Icarus Sans) and a modern serif called Hagel (+ Hagel Slab).
In 2011, he created Icarus (text family), Icarus Sans, Triumviraat (+Display, +Sans, a flared family), Kolibrie (humanist sans), Noorderlicht (after Gerrit Noordzij's Ruse), and Noorderlicht Sans (both were discontinued), Crouton Grotesque, Celcius (his most complete font family yet) and Dagon.
MartinPlusFonts is the Berlin-based foundry of Martin Wenzel, a German type designer (b. Berlin, 1969). Graduate of KABK Den Haag in 1998. From 1998 until 2005, he worked at Buro Petr van Blokland + Claudia Mens. Martin now runs MartinPlus, first in The Hague, The Netherlands, and relocated to Berlin in 2005. He is also affiliated with Kombinat Typefounders. His oeuvre:
Graphic designer from Rotterdam, b. 1988.
Better known as Matt instead of Matthijs. Dutch designer who studied at ArtEZ Institue of the Arts,in Arnhem, The Netherlands, 1998-2002. He made a career in the United States as a successful and award-winning graphic designer, and is presently located in New York City. He created these typefaces:
Dutch graphic designer based in Haarlem who made a monospaced display typeface called Fox Dog (2013).
Dutch graphic designer student (b. 1982) who is based in Zwolle. He no longer makes type. His typefaces:
Aka Mauk Escher. Famous Dutch artist M.C. Escher (1898-1972) is known for his repeating patterns of interlocking motifs, tessellations of the Euclidean and the hyperbolic plane and his drawing representing impossible figures, such as his waterfall and his Belvedere. Several type designers created fonts based on these geometric contradictions and curiosities, which a I gathered on this page. The art deco lettering on some of his posters inspired P22 Escher (1998, Denis Kegler). Pic. Wiki page. [Google] [MyFonts] [More] ⦿
Dutch typographer and graphic designer. In 2000-2001, he published a piece on the erotics of type, and reviewed the book Sex Appeal: The art of allure in graphic and advertising design (Steve Heller, Allworth Press, New York, 2000). He spoke at ATypI 1998 in Lyon on Words on screens. Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More] ⦿
Rotterdam-based designer of the thin octagonal typeface A4 Z4 (2012).
Graphic designer and illustrator in Den Haag, The Netherlands. Behance link.
M.C.G.V. Stack at The Eindhoven University of Technology keeps an archive with fonts, specially adapted for Esperanto. The Wulffttf file has EFuturaNormal.ttf, EFuture.ttf, EGalaxy.ttf, all Esperanto. Plus EO Chicago, Helvetica, NewYork for Mac. [Google] [More] ⦿
French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.
Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.
MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus (athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne, Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter), Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina (anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda, Ortem, Polka (a brush tyeface), Renault, Rondo (retro script), Roslyn, Sayer Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop (stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant, Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African look font).
Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.
The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.
A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.
Dutch graphic designer (b. 1968) of the sans serif font Levanah (1993), a typeface based on research done at the Gerrit Rietveld Academie. Lives in Baarn. His teachers were Gerard Unger and Jan Boterman. Levanah started out by unseriffing Bembo and Garamond, and is in a sense a semi-sans Renaissance face. [Google] [More] ⦿
Graphic designer in Amsterdam. Creator of the stencil typeface Geissler Serif (2013), which was named after Heinrich Geissler (1814-1879), the inventor of the Geissler tube, which later led to neon tubes. Behance link. [Google] [More] ⦿
Type designer at OurType in Belgium, who was born in The Netherlands and studied at KABK in Den Haag. She lives and works in New York. OurType Eva (2006) is a 36-style sans type family designed by Merel Matzinger and Fred Smeijers, characterized by script-like lower case v and w that stand out among the sea of sans glyphs. From OurType's documentation: It is informal and warm in character, thanks to the contrast in its strokes and the freedom with which they have been drawn. The friendly personality provides added interest at larger sizes. Yet its forms also have a notable clarity, and it works well for setting continuous text. Eva can be used in a wide variety of contexts, from personalised messages to mass-circulation publications. The name of the typeface comes from the ceramicist Eva Zeisel (born in 1906 in Hungary). It was the delicate, humane forms of Zeisel's industrially produced ceramics that gave inspiration to Merel Matzinger as she designed the first, one-weight version of Eva in 1999. Eva Zeisel's ceramics are warm and approachable for their fluid curving lines, for their simplicity, but also for their playful, whimsical nature. Indeed, it is Zeisel's 'playful search for beauty' that is the crucial connection between her and her audience. It is Matzinger and Smeijers' hope that the Eva typeface achieves a similar feeling and a similar connection. Eva finds a distinct place among existing 'informal sanserifs'. The contrast it shows between thick and thin strokes is less marked than with designs such as Optima or Pascal. So too the flairs at the terminals of its strokes are less marked than in the case of Optima. One could position it somewhere between these 'semi-sanserifs' and typefaces like Gill Sans, Scala Sans or Fresco Sans, which we now identify as belonging to the category of 'humanist sanserif'. The variety in the ways in which the stroke terminals are treated gives Eva much of its character. FontShop link. [Google] [More] ⦿
Merijn C. Mulder
Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google] [More] ⦿
mftrace is a small Python program that lets you trace a metafont into a PFA or PFB font (A PostScript Type1 Scalable Font) or TTF (TrueType) font. It is licensed under the GNU GPL. All done by Han-Wen Nienhuys. Requires autotrace and pfaedit (now FontForge). Similar to metatype, which only makes truetype though. Credit: Gf2pbm, the utility to convert a MetaFont GF file to a PBM file was based on Paul Vojta's Xdvi. Manual by Julian Gilbey. The comparison with similar programs goes like this (I quote):
Michiel Schuurman (b. Amsterdam, 1974) studied graphic design and typography at the Koninklijke Academie voor de Beeldende Kunsten (KABK) Den Haag and graduated as graphic designer in 2002 from the Gerrit Rietveld Academy Amsterdam. He specialized in typography, designs his own typefaces and likes working in black and white. His posters show great typographical originality. His typefaces include Oldskool (1998-2000), an outline face, and Ixopusada (1998). [Google] [More] ⦿
Arnhem, The Netherlands-based creator of Mahagony Script (2008, FontStruct), a calligraphic pixel script, and Excellent (2008, FontStruct), a kitchen tile typeface.
In 2014, he created DataBits, Maender (a multicolored font for children's books), and an untitled 3d prismatic typeface. In 2015, he created the grid-based typeface Metric Font.
Miklós Tótfalusi Kis (Nicholas Kis) was born in Misztótfalu, Hungary, in 1650. He left for Amsterdam in 1680, where he worked on la Biblia Hungara (1685), Book of Hymns of San David (1686), and the New Testament (1687). He also published many books for children. Taught there by Dirk Voskens, he made what is now known as Janson Text around 1690. Around 1690, he made an elegant face, Nikis. He died in 1702. The story of Kis's types, now also known as Dutch types, is eloquently told by Daidala based on research by Bringhurst, Lawson, Morrison and Carter. Types influenced by him include Stempel Janson (1937, based on his original matrices), Mergenthaler Linotype Janson (1954, by Hermann Zapf; digitized in 1985), Monotype Ehrhardt (1938, named after the Ehrhardt foundry in Leipzig, where in the early 1700s his types were found), Nikis (finished by Hell Design Studio (now Linotype); see Nikis EF) and Adobe Janson (based on the original matrices as well). The name Janson comes from Anton Janson, a typographer who worked in Leipzig. Janson was incorrectly credited with the designs of Kis's typefaces. Note: since 1919, Kis's original matrices are in the hands of Stempel. John Tranter recalls the Kis/Janson affair: "In his book On Type Faces, published in 1923, the great typographic historian Stanley Morison describes a roman and italic typeface that he said was cut by Anton Janson, a seventeenth-century Dutch type foundry owner. By the 1920s the typeface had fallen into disuse, and when it was revived for the modern age on both Linotype and Monotype machines in 1937, it was named 'Janson' after its presumed designer. Even the German Stempel foundry, who owned the original 'Janson' punches and matrices from the 1600s, called it by that name. The typeface became more and more widely used. Robert Bringhurst (a poet as well as a typographer) refers to it as a wonderfully toothy and compact Baroque type. In the United States it is now the third most popular typeface for book composition, according to its frequency of appearance in the 'Fifty Books of the Year' annual exhibition organised by the American Institute of Graphic Arts. In 1939 Stanley Morison uncovered the embarrassing fact that the typeface had not been cut by Janson, but even he was unable to put his finger on the designer. It was not until the 1950s that Harry Carter and George Buday discovered that the man who had designed the type was a Transylvanian Hungarian named Nicholas (or Miklós) Kis, born in 1650. Kis took religious orders and became a teacher, and eventually decided to visit Holland and study typography, as those skills were needed in Hungary. He turned out to be very gifted at punchcutting, the shaping of metal type, and became so famous in his own time that Cosimo de Medici, the Grand Duke of Tuscany, offered him a position at his court. Kis declined the offer, and returned to Hungary in 1690, determined to spend the rest of his life designing and printing bibles. It was a time of religious and political upheaval in Hungary. The social turmoil, together with personal enmities, shortened his life, and Kis died in 1702, an embittered man. His reputation had to wait 250 years for proper recognition; and such is the conservative nature of the world of type that the typeface he created is still called 'Janson'." Adobe writes that the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Bitstream explains: His types, the original matrices for which were obtained by Stempel in 1919, were revived for hot metal as Janson by C.H. Griffith for Mergenthaler Linotype (1937), and as Janson and Ehrhardt (1937) from Monotype.
Good digitizations exist of Monotype Ehrhardt. Frutiger supervised Linotype's digitization as Janson Text (1985). Bitstream's digitization is Kis. David Berlow at Font Bureau did a revival in 2007 called Kis FB. Berthold Kis BQ and Kis Classico (Franko Luin) round out the set of interpretations and revivals. Bio by Nicholas Fabian. [Google] [MyFonts] [More] ⦿
Milan de Jong
Miriam van der Have
Mirjam Somers was educated at St Joost Art Academy in Breda, The Netherlands, where her teachers included calligraphers Chris Brand and Jan van den Bouwhuysen. After two years she continued at the Gerrit Rietveld Academy in Amsterdam and graduated there in 1974 in Architectural Design. Having worked as a carpenter and free-lance typographer, she encountered Arabic script in 1982 when together with Thomas Milo she designed and produced the Arabic Letter Box, a wooden prototype of a computer program and an educational tool at once. With Tom she reduced the traditional Arabic Ruqah script to 70 penstrokes and defined a mechanism to generate all Arabic letter combinations by the smart font algorithm. The combination of the font-in-the-box and the out-of-the-box font inspired Peter Somers to write the smart font program code. Peter, Mirjam and Thomas incorporated Decotype [Designers of Computer-aided Typography] in 1985. Mirjam played a major role in designing the Naskh typeface (1993-2004), and created the Emiri (2004, a revival) and DecoType Nastaliq (2008-2010, an original analysis) typefaces. Her latest designs are a second Ruq`ah (2011) and an Eastern Nastaleeq (2012).
DecoType Nastaliq (2009) won an award in the non-Latin category at TDC2 2010. Decotype Nastaleeq Press won an award at TDC 2014. The award blurb reads: DecoType Nastaliq is the latest fruit of more than 25 years of analyzing Arabic scripts in their pure, pre-typographic form. Like its close relative ruq?ah, nastaliq retains the original two-dimensional aspect of Arabic script. To capture this for use in an essentially Latin-based technical environment is a great challenge. The final glyph set consists of a minimal set of functional shapes, with which for all Arabic-scripted languages all imaginable combinations with any diacritic attachment can be generated. This is possible solely with the use of ACE, the Arabic Calligraphic Engine, a radical departure from conventional thinking in Gutenberg-style movable type. ACE was developed by the DecoType team, Thomas Milo, Peter Somers and Mirjam Somers, initially for the ruqah script, later it was expanded for a very broad analysis of the naskh script. Today ACE drives any Arabic typeface and is the core engine of WinSoft's Tasmeem enhancement of Adobe InDesign Middle Eastern version. The seminal role of ACE for the development of smart font technology, including OpenType, was recently acknowledged with the Dr Peter Karow Award.
At ATypI 2011 in Reykjavik, she spoke on the slanted Arabic typefaces with cascading connections: It was exactly this challenge that brought DecoType into the typography scene in 1985 with the very first Ruqah computer typography. In 2011, a completely new Ruqah design takes its place. In addition to that, the award-winning DecoType Nastaliq typeface in Persian style is very well received as the top typeface in WinSoft Tasmeem. A second nastaliq, this time in Pakistani style is under construction. Speaker at ATypI 2013 in Amsterdam: Technology designed for Arabic.
Foundry in Amsterdam, set up in 1851 by Nicolaas Tetterode (1816-1894). Nicolaas' oldest son, also called Nicolaas, expanded the firm until his death in 1912. In 1914, the firm baecame Lettergieterij Amsterdam, which remains active until today. Tetterode's extensive type and printing library, De Typografische Bibliotheek van Lettergieterij 'Amsterdam' v/h N. Tetterode was donated in 1971 to the University of Amsterdam. [Google] [More] ⦿
Natahalie Ouederni (Amarante Designs) is a French graphic designer and illustrator in Delft, The Netherlands. In 2010, she created a font from direction signs, and started work on an ink splatter font.
Nearest Neighbour is a graphic design studio based in 's-Hertogenbosch, The Netherlands, founded in 2014 by Mark van den Heuvel (b. 1982) and Guus Verschuur (b. 1983). In 2016, they created the fun custom modular wayfinding typeface Willem II Fabriek. Behance link. [Google] [More] ⦿
In 1962, NEN (Dutch Institute for Normalization) published a guide for a sans and a serif design. It is rumoured that Visualogik has digitized this, but no one can confirm this. The typeface has been used on signage in Amsterdam. The committee that decided on the details of the design, according to Kuitenbrouwer:
NGT Fonts (or: Effatha)
"Nederlandse Gebarentaal" fonts: Dutch analog of the Americal Sign Language fonts. The fonts are called NGT-handalfabet, NGT-handalfabetLijn, NGT-handalfabetLijn+, NGT-handalfabet+. They were designed in 1998 by Gert-Jan de Kleer and digitized by Rik Jaspers. [Google] [More] ⦿
At MyFonts, we read this about Nick Rutte (b. 1983, Velsen, The Neherlands): As an intern at the VetteLetters Headquarters Nick takes over the VLNL Dream Meal-projects, while Donald was too busy with cooking experiments. Nick is now working on his final project at the Willem de Kooning Academy in Rotterdam. Donald® is missing Nick very much, because he has to do now everything on his own... Hopefully Nick is returning to VetteLetters after graduating. Nick Rutte and Donald Roos together designed VLNL Dream Meal Left and Right (2011). [Google] [MyFonts] [More] ⦿
Graduate from the Art School HKU in Utrecht. Dutch graphic designer (b. Utrecht) who graduated in 2007 from the University of Reading, with a project entitled Sirba, a Latin and Greek type family designed for dictionaries and small print documents. This typeface was published by Typetogether in 2010. They write: Sturdy and functional in the Dutch tradition---dark, warm and legible. ... Dark? ...
Niek J. van Driel
Graphic designer and type designer in Heemskerk, The Netherlands. Student at St. Joost Art Academy in The Netherlands. Designer of the free graffiti font Trasher2 (2005), the organic typeface Lynex (2009), the multiline typeface The Maze (2009), and some other typefaces shown on Behance link. Dafont link. [Google] [More] ⦿
Lots of type books for sale at Nijhof&Lee in the Netherlands. In 2008, 20 years after Nijhof&Lee opened for business, Frank Nijhof died. Warren Lee continues the business alone after that. [Google] [More] ⦿
Brazilian art director who has worked with with Tony de Marco at Just in Type. From Brazil, he moved to Amsterdam. His typeface Concreta (2011, done with Tony de Marco) is a stencil typeface in the Bauhaus and piano key styles. It was inspired by the work of Josef Albers.
Originally from Brazil, Nina Zulian investigated type patterns for her masters in graphic design in Barcelona in 2008---she used squares and circles only to make an alphabet. Currently, she works in Amsterdam. Home page. [Google] [More] ⦿
Nio van der Nat
Novo Typo (was: Atelier van Wageningen)
The display type Stavba (inspired by Rodchenko's constructivist lettering) appeared in 1994 as a part of his presentation for his final examination at the Gerrit Rietveld Academie in Amsterdam, and was later renamed Ärst. He continues making display types on his own account. He created the fonts Linotype Cerny (1995, caps only), Linotype Laika and Linotype Sjablony (a roughened stencil font) in 1997.
Fontshop and 2Rebels sell his Gagarin family (2000), which include Anna (constructivist and unicase), Boris, Christa, Dmitri (MICR), Eleno, Fjodor, Gregor, Hektor (stencil), Igor, Youri, Leonora (with Nele Reyniers), Magda (with Nele Reyniers), Ossip and Petrov (LED simulation). As he tells it, four Russians, Gustav Klucis, Vladimir Majakovski, Alexander Rodchenko en Gregory Rasputin each had an affair with Anna Gagarin, and out of all that came forth Boris, Christa, Dimitri, Elena, Fjodor, Gregor, Hektor, Igor, Jouri, Kurt, Leonora, Magda, Nina, Ossip, Petrov, Quirina, Rudolf and Sonia.
Atelier Van Wageningen made the curly typeface HC type (2010) for packaging.
Typefaces from 2012 include NT Lucien, NT Plakaty (poster font), NT Theo, the NT Gagarin family, NT Zkumavka (rough stencil based on stencils from the 1920s in Russia; first published in 1995-2002 at Two Rebels), NT Cornelia (wood type caps), NT Novo (with Novo Alla, Bila, Cela, Dada, Enno, Fika and Gigo), Louis Douze and Therese Quatorze, Caren (a soft-edged corporate typeface for a Dutch women's organization, Vrouwen van Nu).
Typefaces from 2013: NT Guru (a layered ornamental type system), Sjiq (with a crazy roofed lower case s), and flower photographic typefaces such as Fall, Lily and Pure. Novo Typo also made several corporate typefaces.
He made these corporate identity typefaces: Thoth, Quattron, 123Interim, Ogentroost (1993-2013, an italic for posters, and an accompyanying humanist sans), Durertype Capital and Digital (1992-2012), Export (2002: a rounded stencil), Together (1997, a script), CrossWord (another stencil), Suomi (2004, an elliptical sans), Suomi Slab (2005). The Suomi Ultra weight is free.
Early typefaces include Cross (2003, a stencil type), Landvast (2006), Ogle (2006, a monospaced typeface), Oldskool Black (2007, a fat poster typeface), Paintstripper (2010, a piano key stencil face), Rule (2011, a gothic with humanist traits).
Typefaces from 2012: Ancona, Beep Beep (an experimental textured typeface), Novus (2012-2013, a didone based on the logo he made for the Dutch National Television news show Nieuwsuur).
This Dutch site contains phonetic fonts such as Cyrillic-1, PhoneticaItalic, SKTimesDictionaryItalic, STimesDictionary, SamCourierW2Normal, SamHelveticaW2Bold, SamHelveticaW2BoldItalic, SamHelveticaW2Italic, SamHelveticaW2Normal, SamTimesW2Bold, SamTimesW2BoldItalic, SamTimesW2Italic, SamTimesW2Normal [the Sam series are by Samisk Datautvalg], SkTimesDictionaryBold, TimesNewRomanPS-ItalicMT. In addition, we find Corel's WordPerfect font package: WP-ArabicScriptSihafa, WP-ArabicSihafa, WP-BoxDrawing, WP-CyrillicA, WP-CyrillicB, WP-GreekCentury, WP-GreekCourier, WP-GreekHelve, WP-HebrewDavid, WP-IconicSymbolsA, WP-IconicSymbolsB, WP-Japanese, WP-MathA, WP-MathB, WP-MathExtendedA, WP-MathExtendedB, WP-MultinationalAHelve, WP-MultinationalARoman, WP-MultinationalBCourier, WP-MultinationalBHelve, WP-MultinationalBRoman, WP-MultinationalCourier, WP-Phonetic, WPTypographicSymbols. [Google] [More] ⦿
Omashuisje (lit. grandmother's house) is the foundry of Jean Paul Beumer, a Dutch graphic and type designer from Biervleet, Zeeland, The Netherlands, who was born in Breda in 1968. He is working on this slab serif typeface (2007).
Eastburgh (2011) is a slightly slabbed humanist sans face.
In 2012, he published the nearly monoline sans typeface family Aubaine.
Studio Aschwin, or Onderaards, is located in Amersfoort, The Netherlands. Aschwin de Hoog and Lins van Lingen jointly run Onderaards. In 2005, they created a stencil face and a number of icons and packaged it as Survivor Pictograms.
Dutch type designer born in 1971 in Voorburg. He made the spurred serif typeface Lafayette Extra Condensed (1995) at the Agfa Creative Alliance. It was based on a newspaper type called Lafayette (1932, Robert Hunter Middleton, Ludlow). Onno Seb Schaap is currently Art Director for the advertising agency Arrow, in The Hague. Font Bureau write-up. FontShop link. [Google] [MyFonts] [More] ⦿
Type foundry in Amsterdam, run by Donald Roos (b. Haarlem, 1978). Also involved are Jantoon Roos (Haarlem, b. 1953) and Benz Roos. Donald Roos studied type design at KABK in Den Haag. In 2008, he started up his own studio Bureau.Donald, based in Amsterdam. He created the online typographic library Typebase and is co-founder of tech-startup Triqle. Donald has been a teacher at several academies; the Willem de Kooning Academy, Rotterdam College and Fontys College. He currently teaches type design at KABK in Den haag.
Typefaces (all by Donald Roos) include LD Spaghetti (2004), LL Bint (2004, potato stamp face), LL Gaufre (2004, an "OpenPixelType"), MagGothic (in progress). They are also involved in the digitization of wood type.
In 2009, he got involved in Vette Letters, and there he published VLNL Bint, VLNL Gaufre, VLNL Knoffel, VLNL Brak, and VLNL Spaghetti Bolognese, VLNL Woodburger, VLNL Wasabi, VLNL Irish Stew, VLNL Hollandsche Nieuwe.
Typefaces by Donald Roos from 2013: VLNL Wood Burger (based on American wood type), VLN Wasabi Turbo.
In 2015, he published VLNL Boulangerie.
OurType is Fred Smeijers' web site and foundry established in 2002. The venture was started in cooperation with Rudy Geerarts of FontShop Benelux, and today also includes Corina Cotorobai and Rudy Geeraerts. Smeijers is research fellow at Plantin Museum in Antwerp, and professor of type design at the Hochschule für Grafik und Buchkunst in Leipzig. Fred Smeijers (b. 1961) studied at the Schol of Art at Arnhem. He created the following typefaces:
Author of Counterpunch: making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996, and Type Now: A Manifesto.
In February 2001, Smeijers received the (second) Gerrit Noordzij Award 2000 (an initiative of the post-graduate department Type&Media at the Royal Academy in The Hague in cooperation with the Museum Meermanno). Author of Type Now (2003, reviewed by John Berry). OurType's offices are in DePinte, Belgium.
Speaker on historical stencil forms at ATypI 2006 in Lisbon. Currently he also is professor of digital media and Dean at the Hochschule für Grafik und Buchkunst in Leipzig. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam (on Spatial relationships among 16th-century matrices (and what they tell us), a close look at surviving matrices at the Plantin-Moretus Museum). [Google] [MyFonts] [More] ⦿
Paul Dijstelberge (b. 1956, The Netherlands) is a book historian and associate professor for the history of the book at Amsterdam University. He also is curator at the Amsterdam Special Collections. Paul lives in Leiden.
Paul van der Laan
Dutch designer at Enschedé, born in 1972. He studied at the Royal Academy of Arts in The Hague where he graduated in 1997, and again in 2000, the second time with a postgraduate degree in typography. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Rezident. Founding partner of Bold Monday who lives in Den Haag. In 2003, he became a professor in the Type & Media program of the Royal Academy of Art (KABK) in Den Haag.
At Kombinat Typefounders, he designed Feisar (1999), a futuristic display typeface which has been extended to the multiline Feiar Express in 2008, about which he writes: Feisar Express could be called a retro-futuristic inline script typeface family. He also made Flex (1999-2000, a sans family, done for Bold Monday) and Sambasko (1998). At his company Type Invaders, he leads us through the development of the pixel font Outbox (2000). At the Enschedé Font Foundry, he is (part-time) involved in font production and maintenance of the website.
At Typotheque, he created the chess figurines (2003) to match Bilak's Fedra Sans Alt for the German Chess publisher Schachzentrale Rattmann.
He assisted Mike Abbink with FF Kievit Pro (FontFont) and codesigned FF Kievit Slab with Abbink in 2013.
At House Industries, he created Chalet Comprimé.
In 2009, he and Pieter van Rosmalen created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans. In 2010, this type was part of the global Audi identity package that won a Gold "Corporate Design award". Other corporate typefaces were created for USA Today, NBC Universal, and Autodesk.
In 2012, a new logo and house style was unveiled for the Rijksmuseum in Amsterdam. The new typeface, named de Rijksmuseum, was specially developed for the Rijksmuseum by typographic designer Paul van der Laan. ATypI 2013 presentation about Rijksoverheid.
Oskar. They write: Oskar, designed by Paul van der Laan, is a typeface inspired by Dutch architectural and advertising lettering from the early 20th century. Particularly the style of lettering that was painted on walls and shopfronts, or executed in metal on buildings. This kind of typography did not exist as metal printing types, but was instead painted manually by sign painters, or drawn by architects. Initially the typeface was designed in 2002 for the lettering of a monumental school in The Hague, designed by architect Jan Duiker in 1929.
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.
Dutch artist, b. Medan, Indonesia, 1868, d. 1969. Graduate of the Royal Academy of Art, The Hague in 1904. On the recommendation of Franz Seiwert he was employed by the Gesellschafts-und Wirtschaftsmuseum working with Gerd Arntz and Augustin Tschinkel on the development of Isotypes. He travelled to Moscow with Arntz and Otto Neurath to work at IZOSTAT to help them draw up pictorial images for statistics of the Five Year Plans. Many of his pictographs can be seen in Wim Jansen's book, Beeldstatistiek Peter Alma (De Buitenkant, 2015). [Google] [More] ⦿
Slovakian type designer (b. 1973), who lives in The Netherlands. Bio at FontFont. Designed: FF Atlanta, FF Craft (Kafkaesque), Champollion, Collapse, Didot Sans (unpublished), Decoratica (great display font, unpublished), Desthetica (grunge, but nice!), FF Eureka, FF Eureka Sans (2000), FF Eureka Mono (2001, FontFont), FF Eureka SansCond, FF Eureka Symbols (2002), FF Eureka CE, FF Eureka Sans CE, FF Eureka Sans Office (2011), FF Eureka Mono Office (2011), Fountain Pen (free fountain pen nib dingbat font), FF Masterpiece (wacky), FF Orbital, Fedra Sans (2001, a de-protestantised version of Univers, originally a corporate font for Bayerische Rück, a German insurance company), Fedra Bitmap (2002), Euroface (1996, Typerware, a scribbly font allegedly more legible than Helvetica at 80km/h), HolyCow and The Case. Essays on typography and design. Editor of dot dot dot. He also made AccentKernMaker, a font utility. Peter Bilak now lives in The Hague, The Netherlands, at the same address as Paul van der Laan. Free dingbat font FountainPen (Mac). At ATypI 2004 in Prague, he spoke about white spaces in typography. Speaker at ATypI 2005 in Helsinki. [Google] [More] ⦿
Dutch creator in Amsterdam (b. 1972) of the alphading Christmas ball typefaces KerstKaart (2013) and Kerstkaarten (2012).
Influential Dutch type designer and teacher, b. The Hague, 1961, who founded The Enschedé Font Foundry in 1991. Together with Petr van Blokland and Peter Verheul and several others, he is vaste docent in typography at the Koninklijke Akademie van Beeldende Kunsten in Den Haag. Son of Gerrit Noordzij.
Born in Waddinxveen, The Netherlands, 1965, Peter Verheul is a type designer and educator who lives in Den Haag. He studied at KABK in Den Haag. Professor at the KABK since 1991 (and, according to many graduates, one of the best professors in the program). Designer of these fonts:
Petr van Blokland
Petter Andersson is a Swedish graphic designer currently based in Amsterdam who specializes in identity, typography, web and print design. In 2011, he created the simple geometric display sans family Ekzakto. His blog. [Google] [More] ⦿
Phontphreak (The Netherlands) posted his handwriting font on abf on July 9, 2003: PhontPhreak's Handwriting. This was beautified a day later by Andreas Hoefeld. Wendy Mupke (2011, FontStruct) is a starry dot matrix face. Dafont link. [Google] [More] ⦿
Dutch designer based in Rotterdam. Creator of Moeflon (2012, scribbly typeface), Spijker 08 (2008, script), Moeflon Italic (2007, scratchy script), Zebra (2007), Giraffe (2007), Mosquito (2007, a fantastic scribbly hand), Ramon (2007, an equally ingenious informal outline face), Rare Kwast (2007, brush face) and Fil Sans (2007, grunge hand).
Dutch designer, b. 1885, Zaandijk, d. 1977, Wassenaar. Author of Cable Book (1925) and creator of many classic advertisements for the Netherlands Post Office (PTT). His work was influenced by Hungarian De Stijl artist Vilmos Huszar and Dutch architect Jan Wils, whom he met when he moved in 1913 to Voorbug. Wils had worked for Berlage. In 1913-1914, he studied at TU Delft and started his career with Berlage in Voorburg. From 1919 until 1922 he worked for Wils. In 1959, he received the Quellinus Prize in typography. The David Roellprijs followed in 1964. In 2000, Zwart was posthumously awarded the "Designer of the Century" award by the Association of Dutch Designers. From 1919 until 1933 he taught at the Rotterdamse Academie van Beeldende Kunsten en Technische Wetenschappen.
Quoting Design Observer: Piet Zwart's work was multi-disciplinary and spanned the gamut of industrial design, typography, photography, and most notably graphic design. As an industrial designer, Zwart is best known for his design of the Bruynzeel modular kitchen in 1937, which is still available today. As a graphic designer, the work he produced for Nederlandse Kabelfabriek Delft (Dutch Cable Factory in Delft) and Dutch Postal Telegraph and Telephone Company (PTT) is arguably among the best known Dutch graphic design of the 20th century. His graphic design work clearly shows the influence of Constructivism and, though he was not a part of the De Stijl, his work reflects elements of this movement. Recurring themes are the use of repetitious patterns, lines, circles, primary colors, photomontage and explorations of experimental typography.
Type revivals of Piet Zwart's typefaces include
Dutch poster artist, 1886-1965. Posters with art deco lettering by him include Hygiene Tentoonstelling (1920), Tentoonstelling Haagsche Kunstkring (1925), Nederlandse Jaarbeurs Utrecht (1930) and Haagsche Kunstkring (1931). [Google] [More] ⦿
Book seller in Groningen, The Netherlands, who published the anonymous lettering model book Letter-album: verzameling van de nieuwste lettersoorten ten dienste van architecten, huisschilders & steenhouwers (1885-1886). According to Mathieu Lommen, Folmer borrowed / copied heavily from Ecritures modernes (1885, Emil Frankes, published by Orell-Füssli & Co in Zürich)
Drawing and lettering high school teacher in Haarlem (1853-1930) who studied at the Rijksakademie van beeldende kunsten in Amsterdam. He published the lettering model book Letters en hare grondvormen (1885, Scheltema & Holkema, Amsterdam). Remarkable in this book is an example of the Dutch krulletter found on the windows of cafes in Amsterdam in the 20th centurys---the Oud Hollandsche Schrijfletter that has its roots in the 17th century Dutch neorenaissance.
Pieter van Rosmalen
Pieter van Rosmalen
Dutch designer (b. 1922) of the (art deco, monoline) Pootjes Glass typeface, which was used in the 50s and 60s in The Netherlands to adorn glass plates in shop windows. The Pootjes company became De Haan in 1980. [Google] [More] ⦿
Dutchman who resides in Leiden. Creator of the free Trimalchio font (Mac only). He writes: "It tries to resemble a capitalis rustica, although it is not as beautiful as the one found in the MediceusVergil." [Google] [More] ⦿
Amsterdam-based designer of the circle-based typeface Pinda Fancy Sans (2015) and of The Bold Font (2015). In 2016, he created The Black Font (an all caps poster style sans typeface). Dafont link. Behance link. [Google] [More] ⦿
Dutch site mainly concerned with font technology. Interesting sub-pages:
Polka Design / Letterfontein
Polka Design is a Dutch book design, graphic design and publishing house, run by Joep Pohlen, Dennis Schmitz and "Egor". Joep Pohlen (Roermond) and Geert Setola published Letterfontein (1994). Joep writes: We printed about 15,000 copies. In 2002 I began rewriting and expanding the book. Geert Setola did not take part anymore in this huge job where the content went from appr. 15,000 words to 150,000 words. The first Dutch print in november 2009 was sold out in a couple of weeks and in march 2010 the reprint appeared. In 2010 Letterfontein got also a red dot award and a certificate for high design quality form the Type Directors Club New York (TDC). It took about a year to get it well translated in the different languages for Taschen Publishers. For the English version we asked John A. Lane to proofread it. For the Spanish version Albert Corbeto did the proofreading. So, the other language versions: Letter Fountain (2011), Fuente de Letras (Sp), La Fontaine aux Lettres (Fr) and Letterfontäne. A new edition appeared in 2011.
In 2013, Pohlen designed Calypso PF, a free version of Roger Excoffon's Calypso, ad quite different from all existing digital versions. He explains: Most of the typefaces ever made have been digitized. Calypso was no exception. I found and downloaded Calypso Boy from Scootergraphics (digitized by Marty Pfeiffer, 1997) and Calypso by Profonts (digitized by Ralph Michael Unger, 2005). Ralph Michael Unger has added numerals, a question mark, an exclamation mark, ligatures and a lot of other useful characters, making it a complete digital font. By comparing the capitals I saw that they where quite different and it seemed to me that they were based on the Calypso silkscreen-printed rub down Letraset version because the dots were not round like on the original drawings I had seen in several publications and advertising for this typeface. Of course the original drawings were also not exactly the same as the metal type. As earlier written the punches that were cut by the Benton pantograph were retouched and because of that there were differences compared with the original drawings. So the final design had to be found in the actual cast type. I went looking for this type and found the site of D. Stempel GmbH that got the original matrices of D. Stempel AG and all the takeovers Stempel made during their existence. One of them was Fonderie Olive. I ordered a set of newly cast type from the original Olive matrices and found out that it was indeed quite different from the digital fonts that I bought. At that time Marjolein Koper was working as an intern at our design studio Polka Design and I asked her to digitize Calypso. The result was better than the fonts I bought but still I was not satisfied. After she came back to work at our studio on a steady base we photographed the metal type with a Micro Nikkor on a D800 to get the sharpest enlargement we could get. With this pictures Marjolein established the exact angle of the grid and we decided to begin again from scratch. Although it still is not an exact reproduction of the original metal type it has more detail and it can match almost the big reproductions seen in the first advertising in the French printers yearbook Caractère Noël 1957 and recent publications with original drawings.
Based in Hasselt, The Netherlands, this is an advanced document engineering company, dealing with metapost, PDF, postscript, TEX, metafont, and professional typesetting in general. Led by Hans Hagen and Ton Otten. Publishers of PDFTEX. ConText is TEX macro package. METAFUN is a manual related to Metapost. [Google] [More] ⦿
Dutch page in which the ink cartridge costs are calculated for ten popular fonts. The famous Ecofont got actually beaten by Century Gothic. The table:
RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in Amsterdam. He is a regular contributor to various publications including Dot Dot Dot magazine. He currently teaches at Rietveld Akademie in Amsterdam and co-guides a project for ECAL/University of Art and Design in Lausanne. His creations:
Regular Bold Italic
In 2014, Timo created the stencil serif Barbour, and the sans display typeface Arkiv for Latin and Cyrillic.
Typefaces from 2015: Levo (a creamy script), Staat (a wedge serif typeface).
Commercial typefoundry run by Dutch graphic designers Timo Kuilder and Jeff Schreiber (Eindhoven). Their initial fonts in 2013 include Lucien, Zebra, Gringo, Fat Frank, Atlas, Razor, Stackbill, Albatross, Bigmouth and Bill Money.
Graphic designer in Breda, The Netherlands. Creator of the compass-and-ruler typeface Nova (2013).
Free fonts made in 2008-2010 by Dutchman René Crol: 4DOGS, ANTY, BANAAN, BLOESEM, BRETAGNE, BUIS, CHIP KNIP (heavy stencil), CHRIS BOX (alphadings for Christmas presents), CHRIS BOX ARRE, CHRISMAS3, CLIPSART, CROL, FLOWERcomic, FRIET, HAPPYdave, KEVER, KNIJPER, LUSIVERS.-NL (letters made from matches), PEAR (alphadings), PIJL (arrow-based letters), POTLOOT, SCHROEF, Singel BEL (great high-contrast curly face), TREIN (trains), WODENBLOCKS (sic). [Google] [More] ⦿
Dutch type designer. Jan Middendorp wrote A.R.K. Ten Years of Type Related Projects 1994-2004 (2004), summarizing Knip's work at Atelier René Knip, mostly experiments in type design. Knip (b. 1963) is a graduate from the St. Joost Academy in Breda. Since the 1990s, Knip has operated a design studio in Amsterdam, Atelier René Knip.
Recently, Knip and his brother Edgar formed a new company, Gebroeders Knip, which produces furniture and accessories in which letterforms are integral parts of the objects design.
Rens de Groot (Revolving, Amsterdam) made the geometric multiline typeface Lineatype (2011). It is based on a 32 x 24 grid. This grid is divided into 12 blocks. Each 8 blocks wide by 8 blocks high. The use of 9 lines per stoke is due to this grid. Free download. [Google] [More] ⦿
Dutch researcher whose Masters thesis at the University of Twente in 2010 is entitled Special fonts for Dyslexia?. She compared Christiaan de Boer's Dyslexie typeface with Arial. Two of her followers wrote theses on similar subjects, Tineke Pijpker (2013, University of Twente)'s Dyslexie letters en kleurcontrast, and Liane van Someren (2014, University of Amsterdam)'s Aanwijzingen waarom dyslectici meer accuraat lezen met het lettertype Dyslexie. All three theses are refuted by typographic journalist Henk Gianotten in Dyslexie, letters en dwalingen (2014, De Boekenwereld, vol. 30, No. 4, pp. 92-93). Gianotten points out that Arial's x-height exceeds that of Dyslexie, contradicting de Leeuw's claim. He also complains about the lack of a scientific method. In Gianotten's view, three key things are needed for readability---larger letters, more spacing between letters, and more interline space. For dyslexics, he also recommends using columns not more than nine words wide. [Google] [More] ⦿
Argentinian designer Ramiro Espinoza (b. Santa Fe, 1969) dabbled in fonts at his gorgeous (but now defunct) Jazz Futurezone site. His current company is Re-type, where he heads a group of designers including Yomar Augusto, Leo Beukeboom and Ricardo Rousselot. Ramiro graduated from Universidad del Litoral (Santa Fe), and from the Type and Media's KABK (Den Haag) in 2004. He taught typography at the Universidad Nacional del Litoral, Universidad de Buenos Aires and the Escola d'Art i Superior de Disseny in Valencia, Spain. At FontShop International, he was in a team that converted more than 50 font families to OpenType. He freelances occasionally for David Quay's studio. He is currently located in Amsterdam. His typefaces: