TYPE DESIGN INFORMATION PAGE last updated on Thu Apr 4 14:50:00 EDT 2024






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]  ⦿

21 Inch
[Michael Lugmayr]

21 Inch is Michael Lugmayr's company in Rotterdam. His fonts were promised in 2003---still waiting. [Google] [More]  ⦿

4-State Barcode Fonts

Barcode fonts for barcode schemes used by the Dutch PTT, and in the Australia Post Address barcode. For 99USD, bizfonts sells the RM4SCC fonts package. [Google] [More]  ⦿


Type design mag started in September 2003 by Underware in The Netherlands. [Google] [More]  ⦿

A. R. van der Burg

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
[Total Identity]

[More]  ⦿

Aart Rost

Student at ArtEZ Institute of the Arts in Arnhem, The Netherlands, b. 1991. He created the optical illusion typeface Lines (2009). [Google] [More]  ⦿

Abby Juan Qin

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]  ⦿

Abi Huynh

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]  ⦿

Absoluut Designers

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]  ⦿

Acute Studio
[Diana Ovezea]

Born close to the Black Sea coast in Romania, Diana moved to Austria as a child, where she attended the American International School. After graduating from the New Design University in St. Pölten, she worked as a graphic designer, mainly on book and corporate design projects. In 2013, she graduated from the Type & Media program at KABK in Den Haag. Some time later, she set up Acute Studio in Amsterdam under the motto: We like sharp outlines, tight curves, and edgy designs.

Creator of the hairline face Opium (2010) characterized by teardrop terminals. Creator of Paige (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Marge (2011) is edgy and highly legible even at very small sizes---it was developed at the tipoRenesansa 2nd international type design workshop. Paige Italic (2012) was done at tipoRenesansa 4 and TypeClinic 5 (2012).

Her KABK graduation typeface was Editura (2013), a a type family for serious publications, magazines, as well as non-fiction books.

At The 8th International Typeclinic in 2014, she continued work on an untitled text typeface. At Die Gestalten, she published Paiper, an extraordinarily balanced and readable 6-style text family with angular flared glyphs that are genetically related to folded paper strips.

In 2014, Diana collaborated on the design of HF Stencil with Bold Monday and Studio Thonik. Made for Holland Festival, HF Stencil is based on Glaser Stencil.

In 2016, Diana published Equitan Sans and Equitan Slab at Indian Type Foundry, marrying industrial era rustiness with modern functionality. In 2017, she designed Tiny Sans and Albert Samuels Clock Type.

Codesigner in 2017 with Samo Acko and Sabina Chipara of the typefaces Passenger Display (2017) and Passenger Serif (released in 2019: a Clarendon). Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. Passenger Display is a high-contrast didone-style font family. It is intended for use in headlines, signs, or posters. In 2019, Diana Ovezea and Samo Acko added Passenger Sans, which is characterized by horizontal and vertical terminal strokes and small apertures, and delivers a relaxing read in long texts.

With Sabina Chipara, she co-designed the 8-weight simplified sans family Bega at Indian Type Foundry. Diana Ovezea also published the sharp-edged 14-style Matteo in 2017.

At Future Fonts, she published Bizzarrini (together with Sabina Chipara) and Silverspoon, ca. 2018. She writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R). Silverspoon is a contemporary take on Copperplate Gothic.

In 2019, she released the connected monoline sans script Akin (done with Sabina Chipara) and the geometric sans family Matteo at Indian Type Foundry.

Typefaces from 2020: Silverknife (a tall and skinny version of Silverspoon), Capra (a headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958).

At Fontshare, Diana Ovezea and Sabina Chipara released the free calligraphic script Britney.

In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she published Granblue, a great experimental typeface family for boxing titles.

Typefaces from 2022: Duplet (a 14-style geometric sans with a techno vibe; by Diana Ovezea and Rafal Buchner at Indian type Foundry), Duplet Rounded (also 14 styles), Duplet Open (the 14-style companion of Duplet).

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

A.D. Werner

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).

In 1972, he published the inline art deco typeface Dubbeldik at Mecanorma as a transfer sheet typeface. Dubbeldik was digitally revived in 2020 by Claudio Rocha (Now Type) as Werner. See also Dubbeldik (Mecanorma). [Google] [More]  ⦿

Adam Gerard Mappa

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 type foundry 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]  ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Adam Lane

Amsterdam, The Netherlands-based designer of the outlined caps typeface Batavia (2016). It is an all caps typeface inspired by the gilded lettering on an old Amsterdam trading post built in 1920. He also designed the free Hex Font (2016). Home page. Open Font Library link. [Google] [More]  ⦿

Adina Ochea

Romanian designer in Amsterdam who created the free typeface Soul Puddle (2014). Dafont link. [Google] [More]  ⦿

Adolf Overbeek

Designer (1905-1969) of Studio (1946, an almost-brush-script typeface at the Lettergieterij Amsterdam). The bold version is called Flambard and was, according to some sources, made by Dick Dooijes in 1954 (but the 1963 Tetterode specimen book points to Overbeek as Flambard's designer, and mentions in addition the date 1953). Some write Overbeek's 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 versions of Studio (1946, Lettergieterij Amsterdam) are called S850 Station Script (2019). Mecanorma also has a version. Finally, there is a pirated version of Flambard from 1998, called Studio Bold. See also OPTI Bold (by Castcraft). [Google] [MyFonts] [More]  ⦿

Akiem Helmling

German cofounder of Underware (b. Heidelberg, Germany, 1971), a typographic design studio based in Den Haag, founded in 1999 by Akiem Helmling, Sami Kortemäki and Bas Jacobs. Akiem studied from 1998-2000 at the KABK. He co-designed all Underware fonts: Dolly, Bello, Sauna (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 (free) and Fakir (a blackletter typeface). In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.

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

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

Alban Schelbert

Originally from Zürich, he is currently studying graphic design at the Gerrit Rietveld Academie in Amsterdam. Creator of the playful slab typeface Albina Medium (2009). [Google] [More]  ⦿

Albert-Jan Pool

Dutch writer and designer, b. 1960, Amsterdam, who currently lives in Hamburg. He studied at the Royal Academy of Arts in The Hague. From 1987 until 1991 he was the type director at Scangraphic, and from 1991-1994, he was the type manager at URW in Hamburg, at which time he completed URW Imperial, URW Linear, and URW Mauritius.

In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken and Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.

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

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

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

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


Interview. [Google] [MyFonts] [More]  ⦿

Alejandro Cisneros Estrada

Illustrator from Mexico City. He created a number of typefaces in 2010: i, ii, iii.

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.

Behance link. [Google] [More]  ⦿

Aleksander Schipper

Born in Norway from Dutch parents, Oslo-based Aleksander Schipper created Frank (2012) and Proto Mono (2012) during his graphic design studies at Westerdals School of Communication.

Devian tart link. [Google] [More]  ⦿

Aleksandra Samulenkova

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

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

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

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

Bold Monday link. [Google] [More]  ⦿

Aletta Hulman

Aka Vlekkeloos. Dutch designer of the textured typeface Ziggy Zaggy (2014). [Google] [More]  ⦿

Alex Révész
[Stichting Malatië Adventures]

[More]  ⦿

Alex Scholing
[Fonts by Alex]

[MyFonts] [More]  ⦿

Alex van Galen

[More]  ⦿

Alexander Overdiep
[Collegium Graficum]

[More]  ⦿

Alexander Raadman

Den Haag, The Netherlands-based designer of several experimental 3d typefaces in 2018: Font Fury, Furytism. [Google] [More]  ⦿

Alicia Ingruber

Behance link. Dutch photographer and graphic designer who made Absolute (2011, architectural drawing sans). [Google] [More]  ⦿

Allard Pierson

Museum in Amsterdam that houses collections of the University of Amsterdam. It is headed by Mathieu Lommen. One part of the museum deals with designa and typography. It contains, e.g., a series of works given to the university by Lettergieterij Amsterdam, voorheen N. Tetterode, in 1971, and houses the archivers of S.H. de Roos, Dick Elffers, Atie Siegenbeek van Heukelom, Jurriaan Schrofer, Jan van Toorn, Gerard Unger and Irma Boom. [Google] [More]  ⦿

Alpha Quantum
[Martin Bengtsson]

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).

Dafont link. [Google] [More]  ⦿

[Maarten van 't Wout]

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):

  • Alumia (2012, Ten Dollar Fonts) was designed for logos.
  • The alchemic typeface Arctic (2012).
  • The clean monoline sans typeface Code (2011).
  • The octagonal paper fold typeface Fabric (2012, Ten Dollar Fonts).
  • Gelato (2012) and Bar (2012) were inspired by icecream bars. Maarten posted Gelato on Behance, and within a day or so, he changed the name to Bar.
  • Monorail (2012) is squarish but slightly rounded, and is monolined.
  • Orbit (2012). A font in which all curves are arcs of circles. Could be bought at Ten Dollar Fonts.
  • Alpine (2013). Available from Ten Dollar Fonts.

Behance link. [Google] [More]  ⦿

Alysia Bonte

As a student in Zwolle, The Netherlands, Alysia Bonte created a straight-edged papercut typeface (2015). [Google] [More]  ⦿

Amal ElMourabet

Amal (b. 1990, The Netherlands) designed the modular typeface Amal (2012). [Google] [More]  ⦿

Amber Chand

Designer in Ypenburg, the Netherlands, who created a minimalist script typeface in 2015. [Google] [More]  ⦿

Amber Kuivenhoven
[Lovely Bird Digital]

[More]  ⦿

Ambrosius Perlingh

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. Perlingh became a citizen of Amsterdam in 1683. He kept a boarding school where calligraphy was taught. The first issues of the books written by Perling were published at his own expenses, the later ones were published by members of the family De Broen, engravers and publishers in Amsterdam. Ambrosius Perling reached a high fame during his lifetime as the last writing master who could hold in honor the calligraphic tradition of the Dutch republic. De Broen advertised his scripts as produced by the jewel of the writing masters and in fact the fame of Perling as unsurpassed calligrapher lasted well into the XIXth century, both in Holland and abroad.

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).

Bibliography by T. Croiset van Unchelen in The writing master Ambrosius Perling (in: Quaerendo, vol. 26, no. 3, pp. 167-197). [Google] [More]  ⦿

America Cantarino

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]  ⦿

Amsterdam Typography
[Arno Verweij]

Signage map of Amsterdam maintained by Arno Verweij. A growing collection of photographs of letters and numbers that document typography in public spaces in Amsterdam since 2019. [Google] [More]  ⦿

Amy Khalil

Capelle aan den IJssel, Netherlands-based designer of the silhouette font Sulbassy (2017). [Google] [More]  ⦿

Andre Toet Design (was: SO Design)
[André Toet]

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 Jurriaan Schrofer and Wim Crouwel. Andre Toet Design is located in Apeldoorn (was: 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 2014: AT Move Frutta, AT Move Straw (by André Toet and Jasper Nijssen), AT Move Riff Raff (octagonal, with Jasper Nijssen).

Typefaces from 2015: Bombola.

Typefaces from 2016: AT Move Bombola (elliptical style).

Typefaces from 2017: Tremelo.

Typefaces from 2018: Powerplay (trilined).

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

Andrea Fuchs

Designer (b. 1966) with Fred Smeijers in 1993 of DTL Nobel at the Dutch Type Library, which was based on a type of Sjoerd H. De Roos. [Google] [More]  ⦿

André Toet
[Andre Toet Design (was: SO Design)]

[MyFonts] [More]  ⦿

Andreas Kindl

Typographer, born in 1967, who taught at the Royal Academy of Art in The Hague. [Google] [More]  ⦿

Andreas Theodorus van der Vossen

Dutch designer (1893-1963) and cutter of the squarish Houtsneeletter (Enschedé, 1927). [Google] [More]  ⦿

Angèle Kamp
[Angele Kamp]

[MyFonts] [More]  ⦿

Angele Kamp
[Angèle Kamp]

Dutch artist and graphic designer who has designed several hand-lettered fonts. Her typefaces include Moon Child (an inky script) (2020), Oh Livey (2020), Hey Girl (2020) and Wild Love (2020).

Typefaces from 2021: Minty March (a condensed almost hand-drawn serif), April Blossom, August Boy, Ciera (a watercolor SVG font), Cute Lovey, De Novembre, Florentina, Flower Child, Girl Crush, Golden, Hey Girl, Jamie Woods, Januar, Joyeux Christmas, Minty March, Modern, Modern Mia, Mohria (a condensed display serif), October Storm, Olive Sky (brush script), Skinny, Sookie, Spring Rain (a dry brush script), Sweet September, Willow Bloom, Sophia Reign (script), Angele (a stylish display serif), Tilly (a monolinear script), River Jade. [Google] [MyFonts] [More]  ⦿

Angelica de Jong

During her studies in Utrecht, The Netherlands, Angelica de Jong designed the handcrafted flower power font Curvy Straight (2016). [Google] [More]  ⦿

Angelique Wesseling

During her studies, Nieuwleusen, The Netherlands-based Angelique Wesseling created an all caps display typeface (2015). [Google] [More]  ⦿

Angus R. Shamal
[ARS Type (was ARS Design)]

[MyFonts] [More]  ⦿

Angus van Hendrix

Dutch creator at FontStruct of the texture typeface Enigmatic (2009). [Google] [More]  ⦿


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.

Behance link. [Google] [More]  ⦿

Anke van der Meer

[More]  ⦿

Ann Bessemans

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.

She speaks regularly about legibility. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona.

In 2014, Ann Bessemans designed a Belgian postage stamp that set a Guinness record of 606 words on one stamp.

Speaker at ATypI 2016 in Warsaw on READSEARCH---A Platform for Reading Research (together with Kevin Bormans and Maarten Renckens). READSEARCH, launched in 2015, is Bessemans's research group that studies reading from a multidisciplinary and scientific perspective, covering both impaired and normal readers.

Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

Anne Joshua

Dutch graphic designer in Roosendaal. Behance link. Creator of a colorful typographic experiment with overlays and weaving (2011). [Google] [More]  ⦿

Annelou Vingerhoets

's Hertogenbosch, The Netherlands-based designer of the display typeface Stiletto (2016). [Google] [More]  ⦿

Annemarieke Kloosterhof

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]  ⦿

Anthon Beeke

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. His alphabet is also referred to as the "Nude Alphabet" in Kwadraat (Steendrukkerij De Jong&Co, Hilversum, The Netherlands, 1970). Using twelve nude women, it is also known as Naked Ladies.

Anthon Beeke died in 2018. [Google] [More]  ⦿

Antiquariaat Adr. van den Bemt

Dutch antique book seller specializing in typography. [Google] [More]  ⦿

Anton Janson

Born in Friesland, 1620-1687. Dutch punchcutter and typefounder, who worked 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]  ⦿

Anton Kurvers

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 (2020, Claudio Rocha).
  • Mokum Tooneel (2006), by Richard Keijzer.
  • Kurversbrug (2007) by Ramiro Espinoza: this is a revival of the famous letters appearing on Amsterdam's bridges.
  • Nick Curtis's Dusty Rose is based on a logotype he drew in 1940 for the Dutch magazine Geillustreerd Schildersblad.
  • Jeff Levine's Dutch Deco JNL (2020). Based on Anton Kurvers's hand lettering on the front cover of the 1927 magazine Het Vlaamsche Volstooneel).
Various posters and ads with art deco lettering: Constructie van Architectuur en Winkelpuien (1926), Het Vlaamsche Volktoneel (1927), Menschen op het Toneel (1926), Tentoonstelling op het Gebied van Stedebouw (1923), Tentoonstelling van Nederlandsche Gemeentewerken (1929), Watervoorziening Gebouwen (1929). [Google] [More]  ⦿

Anton van de Repe
[ARP's free text utilities (MS-DOS) and TTF-fonts]

[More]  ⦿

Antonius Mathieu Güthschmidt

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]  ⦿

Ape to Zebra

Studio in Amsterdam. In 2016, they designed an art deco typeface for the new identity of The Wilpsche Dijk. Behance link. [Google] [More]  ⦿

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Arabic typography

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]  ⦿

Aradia Font

Aradia is a free runes and astrology font developed in 2000 by Merlin Software. [Google] [More]  ⦿

[Wico Valk]

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]  ⦿

Ardwan AlSabti

Graphic designer in Nijmegen, The Netherlands. 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).

In 2018, he designed Ardwan Lidzbarski, which is based on the Mandaic handwriting of German scientist Mark Lidzbarski.

Ardwan Manuscript (2019) is a cursive font based on Mandaic manuscripts.

In 2021, he published Ardwan Drower, a mandaic font based on Ethel Stefana Drower's handwriting and philosophy. Lady Drower was a British cultural anthropologist who studied the Middle East and its cultures. She was regarded as the main specialist in Mandaeism and authored the book The Mandaeans of Iraq and Iran. [Google] [More]  ⦿

Ariadna Vilalta

Rotterdam-based creator of an ornamental caps typeface called Zabalt (2013).

Behance link. [Google] [More]  ⦿

Arjan Mels' Font Viewer

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]  ⦿

Arjen Noordeman

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]  ⦿

Arktype (was: Atelier René Knip)
[René Knip]

Dutch type designer located in Bloemendaal. Jan Middendorp wrote about him in 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, class of 1990. Since 1992, 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.

One of his experiments, a unicase typeface with an Arabic feel, was digitized by Nick Curtis as Turban Hey NF (2008).

In October 2012, Knip and another Dutch designer cofounded Arktype, but by 2020, the other Dutch designer left that company.

Typefaces at Knip's site as of 2020:

[Google] [MyFonts] [More]  ⦿

Arno Verweij
[Amsterdam Typography]

[More]  ⦿

Aron Veraart

Amsterdam-based designer (b. 1996) of the fat finger fonts Architect Hand (2015), Lovinn (2015), The Brown Fox (2014) and Sketchy (2014).

In 2016, he designed Hella August Hand and Hello August Sans. Typefaces from 2017 include Hello August (handcrafted).

Dafont link. Link to 97 Designs. Creative Market link. Creative Market link for Veraart. [Google] [More]  ⦿

ARP's free text utilities (MS-DOS) and TTF-fonts
[Anton van de Repe]

Two TrueType fonts: ARP Numfont replaces characters by ASCII values, and Celtic-Iberian is just that. All fonts by Anton van de Repe. Contains an archive of 40 Arabic fonts. [Google] [More]  ⦿

ARS Type (was ARS Design)
[Angus R. Shamal]

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), ARS Region (2002, Bauhaus sans), District (experimental), Descendiaan (1998), 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 shaded 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).

Fontshop link. Designer link at FontShop. [Google] [MyFonts] [More]  ⦿

Arthur Reinders Folmer
[Typearture Type Foundry]

[MyFonts] [More]  ⦿

Artur Schmal
[Original Type]

[More]  ⦿

Artuur Kamst

He used Fontifier to design the handwriting typeface Arthur'sHandschrift (2004). [Google] [More]  ⦿

[Niek J. van Driel]

Rotterdam's Niek van Driel's makes one diode-light font freely available to the public. [Google] [More]  ⦿

Aschwin de Hoog

[More]  ⦿

Atelier Carvalho Bernau
[Kai Bernau]

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

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


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

Klingspor link. [Google] [More]  ⦿

Atomic Media (was: SmartDust)
[Matthew Bardram]

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.

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

Attak Fonts
[Peter Korsman]

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. In May 2016, Peter Korsman left Attak to start Autograph. Attak has 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).

By 2017, their catalog includes AT AK-47, AT Baballero, AT Babyfat, AT Blaser, AT Concise, AT Concours, AT De Palm, AT Dienstuhr, AT Discipline, AT El Muerte, AT Falten, AT FFW, AT Ginn, AT Helix, AT Hide and Seek, AT Hieronymus, AT Hindenburg, AT Imperiale, AT Janus Kiep, AT Kerremus, AT Klaxon, AT Korsakopf, AT Kuhn, AT Litewriter, AT Mepper, AT Mohawk, AT Moker, AT Monoload, AT Muntel, AT Peetroleum, AT Praktikum, AT Promille, AT Ramseier, AT Riot, AT Sang Noir, AT Sirca, AT Sirca alternate, AT Slyper, AT Snotnose Heavy, AT Streeep, AT Syndicate, AT Tabak, AT tAtteljeej, AT TCB, AT Timeline, AT Trash Bold, AT Willem II, AT Willi, AT With Machines, AT Zippora, BD Bardust, BD Burner, BD El Max, BD Sirca.

A more detailed breakdown per designer:

  • Tim van de Kimmenade: AT AK-47 (2005), AT Helix (2004), AT Trash Bold (2003).
  • Peter Korsman: AT Babyfat (2006), AT Concours (2005), AT Korsakopf (2004), AT Ramseier (2004), AT Streeep (2005), AT TCB (2005), AT With Machines (2004).
  • Casper Herselman: AT Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005, old typewriter font), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008).
  • Rutger Paulusse: AT Discipline (2008).
  • Rens vanden Berge: AT Hide and Seek (2006, a great poster font).
Typefaces not listed here include AT Baballero (2013, Western), AT De Palm (2012, logo font for Café De Palm), AT Dienstuhr (2010), AT Ginn (2012), AT Imperiale (2012, a hipster font), AT Timeline (2010, Trajan) AT Sirca (2005), AT Sang Noir (2012, blackletter), AT Muntel (2005, Dutch art deco), AT Snotnose (2010, ink splatter script). [Google] [More]  ⦿

ATypI 2013

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.

Picture reports: Cesar Puertas. Twitter reports. Seen.co link. [Google] [More]  ⦿

Auke Wieringa

Dutch designer at FontStruct in 2008 of the rounded blocky typeface Aukster. [Google] [More]  ⦿

[Maarten Dullemeijer]

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 2017, they created the typeface Jakobus for the identity of 1N, an old church that was reshaped into living space by Zecc Architects. The typeface cmes close to Dutch deco.

In a project called Hacking Habitat (2015), they combined Arial Black and Times into a hybrid typeface.

Behance link. [Google] [More]  ⦿

[Peter Korsman]

Autograph is Peter Korsman (b. 1982), the 's Hertogenbosch, The Netherlands-based co-founder and former member of Attak Powergestaltung, a creative partnership with Casper Herselman. In May 2016, after almost twelve years, he left Attak and started Autograph. He also teaches at AKV St. Joost. The fonts (which cost the last two digits of the year, so 17 dollars in 2017) at Autograph have the prefix APK and include:

  • APK Rigimono (2017). A wonderful monospaced Wim Crouwel / Bauhaus / De Stijl-inspired typeface family.
  • APK Reformas (2017). A fifties Swiss style sans.
  • APK Katalogue (2017). Aka Korsman's Grotesk.
  • APH Galeria (2017).

Behance link. A newer Behance link. [Google] [More]  ⦿

Avesta Fonts
[Jan Pieter Kunst]

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]  ⦿

B. Th. P. Verkaart

Designer of the phototype headline sans font Annonce fett (+licht) at Berthold (1967) and Lettergieterij Amsterdam. [Google] [More]  ⦿

Baldericus van den Horick

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

Barbara Bigosinska

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. Since 2014, she runs her own studio in The Hague, offering type design and typography services to international clients.

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. It was published by Bold Monday in 2016.

In 2016 she published Abelard at Indian Type Foundry and wrote: Abelard is a modern (or neoclassical) family with 10 font styles. It is a contemporary take on classic types like Baskerville, Bulmer, and Scotch Roman that has been optimised for text embedding on eReaders. The design features elements ensuring even text color, including case-sensitive forms, prominent punctuation marks, ligatures, and four sets of figures. Each font also contains ornaments resembling pen nibs, bullet points, and arrows.

In 2017, she published the didone fashion mag typeface family Rion and the text typeface Neco at Fontstore. Rion was republished in 2018 at Indian Type Foundry.

Typefaces from 2018: Bonny (a decorative serif font family published by Indian Type Foundry; see also Bonny at Fontshare).

In 2019, Noopur Choksi and Barbara Bigosinska published the sturdy wedge serif text typeface family Sapien at Indian Type Foundry.

Still in 2019, Manushi Parikh and Barbara Bigosinska released the octagonal athletics font Fielder at Indian Type Foundry. Somehow this octagonal typeface seems to have been evolved into the 5-style free typeface Nippo at Fontshare.

In 2021, Barbara Bigosinska released the 12-style didone family (+two variable fonts) Boska at Fontshare. Boska has quite extreme contrast and some calligraphic hooks in the c, f, k, r, s, x and z glyphs that make it perhaps less suitable for text but more in line with fashionable displays.

Bevellier (2019-2021; by Arya Purohit and Barbara Bigosinska) is a 16-style (+variable) rounded condensed organic sans family.

In 2021, Barbara Bigosinska, Rafa Buchner and Diana Ovezea set up Blast Foundry. At Blast Foundry, she designed the wonderfully expressive sharp-edged display typeface Sharf. Boska was published as a free font at Fontshare.

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

Barbara Zeitler

During her studies in Den Haag, Barbara Zeitler created an architectural lettering typeface family (2014). [Google] [More]  ⦿

Barend Hendrik Kolkmeyer

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]

Jacques Le Bailly (b. Thionville, France, 1975) is the "Baron von Fonthausen", located in Den Haag, and the self-proclaimed German-French specialist in the fields of both beer and type design. From 1999 to 2003, Le Bailly lived in Berlin, working at Moniteurs graphic design studio and as an independent graphic designer. Having returned to the Netherlands in 2003, Jacques did type production work for The Enschedé Font Foundry. He is now a typographic designer at Bau Winkel's studio in The Hague. He worked for type foundries like Lineto, Monotype, House Industries, and Bold Monday, as well as on custom projects for several brand design agencies. He has been teaching at the WdKA art academy in Rotterdam and Sint Joost in Den Bosch.

He was working on commercial fonts such as TyPress, Ballpoint and B-Day.

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.

In 2016, Jacques Le Bailly extended Vernon Adams's Nunito (2011) to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans, which is free at Google Fonts and Open Font Library.

In 2018, he designed the free family Crimson Pro (a major update of Sebastian Kosch's Crimson from 2011) and VLNL Thueringer (at Vette Letters), and wrote: Jacques got inspired by Albrecht Düer's 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. It's a modern techno-style blackletter with a (beer)truckload of interesting design details.

In 2019, he released the free font Livvic. Livvic is a 16-style custom corporate sans typeface designed by Jacques Le Bailly for LV (Liverpool Victoria Friendly Society Limited), an insurance company based in the UK. The typeface is part of a brand redesign.

In 2020, Jacques Le Bailly, Cereal and Vernon Adams (posthumously) released the sans typeface family Mulish at Google Fonts. Mulish is a minimalist sans, designed for both display and text typography. It was initially drawn in 2011 by Vernon Adams and then refined until 2014. In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an artist who holds the trademark on the typeface family name. In August 2019, it was updated with a variable font weight axis.

Behance link. Bold Monday link. %Z Liebe Petra, Die Site ist jetzt erstmal dafür gemacht, um Leuten zu zeigen was ich gerade mache. Leider sind die meisten der gezeigten Fonts noch nicht ganz fertig und werden deshalb noch nicht angeboten. neben Schriftgestaltung, mache ich auch noch Grafik-Design. Im Moment arbeite an der Font TyPress, die bei der 1. Ausgabe folgende Schnitte enthalten wird: Roman, Italic, Bold, Bold-Italic, Caps-Roman and Caps-Bold. Unsicher ist noch wo, oder von wem sie vertrieben werden. Der Font B-Day wird 1 Schnitt haben und wenn alles gut geht, wird sie ab Februar 2002 von Lineto (www.lineto.de) verkauft. Wenn Sie interessiert sind an meinen Entwürfen, oder z.B. an Custom-Type, fragen Sie bitte nach. Oder, wenn Sie gerne sehen möchten, wie meine Schriften im Druck aussehen, kann ich Ihnen ein PDF schicken. Freundlichen Grüsse, Greetings, Baron von Fonthausen, auch Jacques Le Bailly [Google] [MyFonts] [More]  ⦿

Bart Corré

Ossendrecht-based Dutchman. He made several typefaces in 2010. Examples of his fonts: i, ii, iii, iv, v, vi, vii. [Google] [More]  ⦿

Bart De Ruiter

Dutch creator of the free script typeface Bart Handschrift (2012).

Fontspace link. [Google] [More]  ⦿

Bart van der Leck

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.

One of his alphabets was creatively used by Marc ter Horst in Restaurant Walem.

In 2012, for an exhibition in Paris, Chloe Marchand designed a special van der Leck style poster. [Google] [More]  ⦿

Bart Vollebregt

Dutch graduate (b. 1990) of the Academy for Visual arts in Utrecht and the Typemedia program at KABK, class of 2016. Typefaces designed by him include Sterk (2014) and an animated alphabet (2016).

Vollebregt won the Gold Medal in the Latin category for Vonk in 2016 at the Morisawa Type Design Competition 2016. Vonk was his graduation typeface at KABK, and was released by Morisawa in 2018.

Behance link. [Google] [More]  ⦿

Bartholomeus Voskens

Dutch type designer who died ca. 1669. [Google] [MyFonts] [More]  ⦿

Bas Bouwense
[Social Animal]

[More]  ⦿

Bas Jacobs

Dutch graphic and type designer, b. Wanssum, The Netherlands, 1976. In 1999, together with Akiem Helmling, he cfounded Underware in Den Haag. Bas studied at the KABK in Den Haag and lives in Amsterdam since 2001. His type design work:

  • 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 a book that describes the development of Dolly.
  • Codesigner of Bello.
  • Codesigner of Sauna (2002; +Sauna Mono Pro).
  • Codesigner of Liza (2009).
  • Codesigner of Auto (1, 2 and 3) (2004-2014).
  • Codesigner of Unibody 8 (free).
  • Codesigner of Fakir (2006), a blackletter typeface family.
  • In 2015, Bas Jacobs, Akiem Helmling and Sami Kortemäki published the stencil family Tripper Pro.
  • In 2017, Underware developed the super-adaptive and parametric typeface family Duos Pro.

At ATypI 2004 in Prague, he spoke about education in type design. FontShop link. Speaker at ATypI 2010 in Dublin and at ATypI 2017 in Montreal. At ATypI 2018 in Antwerp, Bas Jacobs and Akiem Helmling introduced the high order interpolation system for fonts called HOI. [Google] [MyFonts] [More]  ⦿

Bas Masbeck

Amsterdam-based designer of Cubic Typeface (2012) and a triangular / hexagonal typeface in 2013. His company is About Design.

Behance link. [Google] [More]  ⦿

Bas van Vuurde

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]  ⦿

Bauke van der Laan

Dutch type designer, b. 1987, currently located in Italy. Graduate of LUCA School of Arts, Ghent, Belgium, class of 2012. In 2015, with Theo van Beurden, he set up DOGMA, a practice for graphic design and typography. They decided then to digitize Mercator, a famous sans serif by Dick Dooijes (1958, Lettergieterij Amsterdam Tetterode). In 1958, Mercator was lauded as the Dutch Helvetica, to compete with the Swiss typeface Helvetica. Mercator never took off the way Helvetica did, so Bauke and Theo wanted to retrieve it from history's dustbin. Design studio De Ronners from Rotterdam has now used this letter to design the magazine for the members of the Association of Dutch Designers BNO (Beroepsorganisatie Nederlandse Ontwerpers). [Google] [More]  ⦿

Baukje Spirit

Dutch creator (b. 1995) of the free modular typeface Mind Escape (2013). [Google] [More]  ⦿

Be Imageprojects

Amsterdam-based studio that created the mysterious display typeface Unbark (2014), the experimental Antitype (2014), and the labyrinthine Lockwork (2014). Behance link. [Google] [More]  ⦿

Ben Aalbers

Extraordinary Dutch calligrapher, who writes in an oriental style. [Google] [More]  ⦿

Ben Blom

[MyFonts] [More]  ⦿

Ben Runneboom

(Dutch?) designer of the free hipster typeface Human (2015) and the fat finger font Spookyhouse (2015). [Google] [More]  ⦿

Bert Bos

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).

Klingspor link. [Google] [More]  ⦿

Bertjan Tromp

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]  ⦿

Beware of the Moose
[Hermen Grasman]

Hermen Grasman (b. 1964) graduated from the Academie voor de Beeldende Kunsten in Groningen, The Netherlands, class of 1988. He set up his own design studio in 1992, and is currently located in Haren (Groningen).

Creator of the squarish monospaced modular typeface Memory Square (2020: made using only 25 juxtaposed rectangles), the dot matrix typeface Modulair (2020) and the monolinear rounded organic sans typeface Maisonneuve (2020).

Typefaces from 2021: More Blocks (concentric squares), More Dots (a concentric circle dingbat font). [Google] [MyFonts] [More]  ⦿

Binggy Zhao

Designer in Enschede, The Netherlands, who created the experimental typeface Unknown Secret (2012). [Google] [More]  ⦿

Blaise Sumerah Kal
[Blaise Sumerah Kal (was: 4Logoz)]

[More]  ⦿

Blaise Sumerah Kal (was: 4Logoz)
[Blaise Sumerah Kal]

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]  ⦿

Blast Foundry

Blast Foundry (The Netherlands and Poland) was set up in 2021 by Barbara Bigosinska, Rafa Buchner and Diana Ovezea. Future Fonts link. Their typefaces:

  • Bay Sans
  • Bizzarrini (2018, Diana Ovezea and Sabina Chipara). Diana Ovezea writes about the wonderful Bizzarrini: Though the idea originates from a Stefan Schlesinger ad sketch for a Paris couture house, we straightened up this typeface and made it seem engineered and sharp. It gets its name from the Bizzarrini Manta, a wedge-shaped concept car designed in 1968 by Giorgetto Giugiaro. Bizzarrini has extremely long wedge serifs. Following Schlesinger's sketch, it features very tall capitals with an out-of proportion middle-line (very big heads on S, B and R).
  • Capra (2020, Diana Ovezea). A headline typeface with a bouncy baseline. This project started as a one-day challenge to recreate a piece of lettering on the Glass Menagerie poster designed by David Klein in 1958.
  • Gamer.
  • Granblue (2021). An experimental typeface by Diana Ovezea.
  • Sharf (2021, mainly Barbara Bigosinska). With six weights and two optical sizes, and a variable font option, this display typeface has razor sharp edges and quite a few surprises to liven up many a page.
  • Silverknife (2020, Diana Ovezea). Silverknife is a tall and skinny version of Silverspoon.
  • Silverspoon (2018, Diana Ovezea). Silverspoon is a contemporary take on Copperplate Gothic.
[Google] [More]  ⦿


Dutch designer (b. 1995) of the scribbly font Toaztie Roaster (2020). [Google] [More]  ⦿

Bob Hensen

During his graphic design studies, Utrecht-based Bob Hensen designed the engineering drawing typeface Line ABC (2013).

Behance link. [Google] [More]  ⦿

Bob Noorda

Italian graphic designer, b. Amsterdam, 1927, d. Milan, 2010. He lived and worked in Milan from 1954 until his death. Noorda attended the Instituut voor Kunstnijverheidsonderwijs (now the Gerrit Rietveld Academie), graduating in 1950. He moved to Milan in 1954. In Italy, Noorda gained fame for his design in the late 1950s and early 1960s for posters and advertisements for Pirelli where he also served as art director.

In 1964 he won, together with Franco Albini and Franca Helg, the Compasso d'Oro, the most prestigious Italian award for design, for the Milan Metro station design. The typeface used for the Milan metro was called Noorda. Noorda is a modification or optimization of Helvetica. Several other subway systems later used his typeface, including the entire New York City subway system in the 1960s, as well as other subway signage projects for Noorda in Sao Paulo, Naples and the regional train network in Lombardy.

In 1965, Noorda and fellow Milan-based designer Massimo Vignelli were among the seven founders of Unimark International, an American design firm with offices around the world, including Chicago and Milan. Noorda is best known in the United States for Unimark's work with New York's Metropolitan Transportation Authority. These wayfinding fonts were revived in 2017 by Gabriel Ruiz as New York City Metro Font.

Noorda was a professor in graphic design at Societa Umanitaria in Milan, ISIA Urbino and IED in Milan. From 1996 to 2001 he was a professor of visual communication at Politecnico di Milano.

Additional link. [Google] [More]  ⦿

Bobby Voeten

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]  ⦿

Bodil Seekles

Spijkenisse, The Netherlands-based designer of an untitled dripping paint font in 2014. [Google] [More]  ⦿

Bohemian Coding
[Pieter Omvlee]

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]  ⦿

Bold Decisions
[Mads Wildgaard]

Mads Wildgaard (Bold Decisions, Arnhem and now Amsterdam, The Netherlands) designs type. His typefaces include

  • Lars (2014). A neutral sans family. Followed by Lars Mono.
  • Sverre (2014-2016). They write: Sverre is a stencil face, loosely drawn up from the Combination Stencil Sheet by Sverre Rian, a Norwegian immigrant, who made it in Darlington, Wisconsin, circa 1920. It is a circle-based monowidth design, but it is not a stencil face in the traditional sense of the word.
  • GC15 (2016): GC15 is a monospaced serif typeface which originates from an undated plate, by Eric Gill.
  • GC16 (2015-2016): a monospaced serif typeface that goes back to an undated plate by Percy Smith.
  • Glossy Display (2018) and Glossy Magazine (2020). A vintage high contrast serif.
  • Clip (2015-2017) is a modular typeface, revived by Asger Behncke Jacobsen in 2015, and completed with Mads Wildgaard in 2017.
[Google] [More]  ⦿

Bold Monday
[Pieter van Rosmalen]

Bold Monday is an independent font foundry established by Paul van der Laan and Pieter van Rosmalen and based in Eindhoven, The Netherlands (and before that, The Hague). Pieter van Rosmalen (Eindhoven, The Netherlands) studied advertising and graphic design at Sint Lucas in Boxtel and graduated from the postgraduate Type & Media program at the Royal Academy of Art (KABK) in The Hague in 2002. He runs Bold Monday's Eindhoven office.

In 2018, Bold Monday joined The Type Network.

Pieter van Rosmalen has designed retail as well as custom typefaces for clients worldwide, such as NBC Universal, Audi AG, General Electric and KPN. One of Pieter's designs is used for street signs in South Korea. Pieter's retail typefaces in the Bold Monday catalog include

  • Aniek (2009: a children's script).
  • Bilo (2018: a grotesque).
  • Capibara (2007).
  • Dico (2004-2020). A varied suite of 45 typefaces by ncompassing eight proportional and monospaced sub-families (Sans, sas Soft, Mono, Code One, Code Two, Typefwriter, Slab, Mono Slab). It circles around a sans-serif van Rosmalen started in 2004 for design studio Teldesign, comprehensively updated and expanded upon in 2020. The monospaced script styles are loosely based on Corinthian Script for the IBM Selectric.
  • Nitti (2008: monospaced), Nitti Grotesk (2012-2014), Nitti Mostro (2015, +Stencil, +Disco, a splendid multiline headline typeface), Nitti Typewriter (2009).
  • Panno (2008, a sans), Panno Sign, Panno Text (2008-2010). By Van Rosmalen and van der Laan).
  • Pinup (fat rounded sans, done in 2008). In 2013, he published Pinup Dotted (a textured typeface).
  • Stanley (headline face, done in 2008; includes a stencil).
  • Puffin, Puffin Display (rounded informal sans families) and Puffin Arcade (a large bitmap font family).

Bold Monday also has typefaces by other designers. In 2012, Bold Monday published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd. Oskar (2002-2013). They write: Oskar, designed by Paul van der Laan, is a typeface inspired by Dutch architectural and advertising lettering from the early 20th century. Particularly the style of lettering that was painted on walls and shopfronts, or executed in metal on buildings. This kind of typography did not exist as metal printing types, but was instead painted manually by sign painters, or drawn by architects. Initially the typeface was designed in 2002 for the lettering of a monumental school in The Hague, designed by architect Jan Duiker in 1929. In 2012, they published the trompe l'oeuil typeface Macula (Jacques Le Bailly) which is based on designs by Oscar Reutersvärd.

Further typefaces include Feisar (techno), Flex (sans), Naomi (1999) and Pixel Package.

GE Inspira Sans and Serif (Mike Abbink, Paul van der Laan and Pieter van Rosmalen, Bold Monday) won an award in the TDC 2015 Type Design competition.

In 2018, Pieter published the experimental pixel-inspired typeface family Alterego.

Typefaces from 2021: Stanley: Bold and broad-shouldered, Stanley is a poster typeface collection in three styles rooted in the first sans-serif designs of the 19th century---the grotesques. Stanley is available in Normal, Stencil, and Stencil Rough.

Pieter designed custom typefaces for worldwide clients amongst others Agis, Audi, Teldesign, KPN, The government of South Korea (road signing), The Ministry of Transport, Public Works and Water Management (OV Chipcard), USA Today (Futura Today, 2012, with Paul van der Laan), and NBC Universal. For Holland Festival in 2014, Paul van der Laan designed the stencil typeface HF Stencil (in collaboration with design studio Thonik, Amsterdam, and Diana Ovezea), a design inspired by Glaser Stencil.


FontShop link. Adobe link. Type Network link. [Google] [MyFonts] [More]  ⦿

BOLT Graphics
[Martijn Rijven]

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]  ⦿

Boris de Vries

Designer in Amsterdam. Behance link. In 2011, he created an informative brochure about the life and achievements of Wim Crouwel.

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]  ⦿

Boudewijn Ietswaart

Dutch letterer about whom Jan Middendorp spoke 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.

Thev award-winning font family by Circulo de Tipógrafos is called Balduina, and was published in 2010. Boudewijn Ietswaart passed away on December 23, 2010. Klingspor link. [Google] [More]  ⦿

Boudewijn Rempt
[Constructed Languages]

[More]  ⦿

Bowie Vinken

Tilburg, The Netherlands-based designer of the school project typeface Hackje (2016). [Google] [More]  ⦿

Braille: History, Use, Current Research

Braille links. [Google] [More]  ⦿

Bram de Does

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 Kaba Ornament Deel I - Vorm (De Spectatorpers, 2002), De Kaba Ornament in Vignettes Borders and Patterns (2006, De Buitenkant) and Kaba Structuren (De Buitenkant), which present the Kaba ornaments that de Does designed at enschedé in 1987 just before its closure in 1990.

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). Mathieu Lommen published Bram de Does: letterontwerper & typograaf / typographer & type designer in 2003 at De Buitenkant.

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:

  • Lexicon is discussed in the book by Bram de Does and Mathieu Lommen, Letterproef Lexicon. The Enschedé Font Foundry (1997, Amsterdam). Lexicon was produced by Peter Matthias Noordzij. It was first used for the new edition of the Groot Woordenboek der Nederlandse Taal (the Standard Dutch Dictionary, or the Dikke Van Dale as we say in Belgium). For a digital descendant of Lexicon, see Lucas Sharp and Connor Davenport's Eros (2017).
  • Trinité according to Wikipedia: Trinité was originally designed for phototypesetting machines. In 1978, the printing office Joh. Enschedé replaced their phototypesetting machines (with Autologic machines), for which they wanted to adapt Jan van Krimpen's typeface Romanée. The company consulted with De Does, who was against it. He feared that Romanée would lose its character in the translation from metal movable type to phototype, specifically because Romanée was not a single font but several versions for each pointsize, which would not be possible to preserve in phototype. He considered commissioning a new typeface, specifically designed for the new technology, a much better idea. Although it was not his intention, Enschedé invited him to design this new typeface. [...] Trinité was originally published as an Autologic typeface in 1982. However, at the end of that decade, when De Does had already left the firm, Enschedé once again switched typesetting machines (this time the digital Linotronic system) and only kept the old one because of Trinité. Being an important business asset for the firm, they commissioned De Does and Peter Matthias Noordzij (the designer of PMN Caecilia) to produce digital PostScript fonts of Trinité, using Ikarus M. To distribute the typeface, Noordzij proposed starting a small-scale digital type foundry, The Enschedé Font Foundry (TEFF), on which they released Trinité in 1992.
[Google] [MyFonts] [More]  ⦿

Bram Donkers

Creator of the fat finger typeface Helibram (2011, iFontmaker). [Google] [More]  ⦿

Brechje van Eekert

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]  ⦿

Brent Anderson
[The Fabriek (or: Meet Brent)]

[MyFonts] [More]  ⦿

Bric Type
[Yomar Augusto]

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.

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

[John Hudson]

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]  ⦿


Durch designer of the free 3d Lego brick font Brixs (2016). [Google] [More]  ⦿

Bruno Herfst

Dutch Amsterdam-based creator of the sans typeface Surface (2008), and of Pixel Cowboy (2009). Home page. Font Squirrel link. [Google] [More]  ⦿

Bureau Bunk
[Jan Bunk]

Dutch foundry located in Rotterdam. It is run, so MyFonts says, by Jan Bunk (b. 1968, Monrovia, Liberia) from Monrovia, Liberia. He made Foot Print (2011). [Google] [MyFonts] [More]  ⦿

Bureau Mijksenaar
[Paul Mijksenaar]

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)
[Jasper Michael De Waard]

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. For a free version at Google Fonts, see Proza Libre. See also Open Font Library.

In 2017, Jasper published Ricardo, a sans family that combines geometric simplicity with some humanist features.

Designer of Goldich (2021, Bold Monday). Award winner at 25 TDC in 2022. The Goldich type family contains five weights from regular to black, all with matching italics.

Klingspor link. (Old) Designtown link. Behance link. Google Plus link. [Google] [MyFonts] [More]  ⦿


Dutch creator of the slightly grungy family Halo (2010). [Google] [More]  ⦿

C. De Haas

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]  ⦿

C. van der Post Jr

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]  ⦿

Cake Type
[Pieter van Rosmalen]

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.

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

[Jeroen Krielaars]

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 his typeface collection, the experimental and modular Binary 2.0. Typogami is another layered animated font made in 2011.

In 2012, Jeroen released Webster, an animated font described as follows: 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 co-designed 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.

In 2016, Jeroen Krielaars and Pablo Balcells co-designed the animated pixel typeface Pixelar based on Balcell's 2012 original. See also here. [Google] [MyFonts] [More]  ⦿

Cameron Kelly

Dutch fiction writer, b. 1989. Creator of Scratch (2006, a scratchy handwriting font). [Google] [More]  ⦿

Camiel Verhaag

Aka "Zeppo", Camiel Verhaag is the Dutch designer of Kijkwijzer NL (2003), a dingbat font with Dutch TV ratings symbols. Posted on alt.binaries.fonts. [Google] [More]  ⦿

Capital Baseball
[Phons Bloemen]

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]  ⦿

Carlijn Hoogenboom

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]  ⦿

Carmen Nutbey

Graphic designer in Amsterdam. Creator of the iFontMaker font NutNote and NutDots (2010). [Google] [More]  ⦿

Cas Moustache

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]  ⦿

Cas van de Goor

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.

He says about Phi (2010, monoline geometric caps): Phi is a [monoline] geometric all caps typeface designed on the basis of the golden ratio.

Devian tart link. Klingspor link. Behance link. University of Twente link. [Google] [MyFonts] [More]  ⦿

Casper Herselman

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]  ⦿

Cassandra Cluck

Amsterdam-based illustrator and graphic designer. Creator of the constructivist typeface Burn Mosku (2017). [Google] [More]  ⦿

[Christian "Cinga" Thalmann]

Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. Thalmann is an astrophysicist by training.

Catharsis had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).

At Catharsis, the commercial foundry, he published Octant in 2013: Octant is an original steampunk display typeface drawing inspiration from Victorian-age steel and brass engineering, as well as from blackletter typography. Gryffensee (2013, in styles called Eins, Zwei and Drei) is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. It also covers Cyrillic.

Backstein (2013), baked brick, took its inspiration from the broken antiqua lettering in Berlin's old subway stations.

Volantene Script (2013) is a (free) uncial display typeface inspired by the penmanship of Lady Talisa Maegyr-Stark as seen on HBO's Game of Thrones. Numina (2013, Glamour and Glory substyles) is an extensive condensed fashion-oriented typeface family related to Skyline and Corvinus.

Maestrale (2013) adds calligraphic and flamboyant extenders to a decorative text typeface for a dramatic effect. Choose between Maestrale Manual (swashy) and Manuale Text.

Blumenkind (2013) is inspired by an instance of metal-strip lettering found on the Bürgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s.

Brilliance (2013) is a glamorous contemporary display blackletter combining the rich tapestry of Textura with a hint of the airy lightness of Spencerian script. Let's say that it is a light-hearted Textura.

In 2015, he made the free 45-style classic serif typeface family Cormorant, which includes several unicase fonts. This typeface started out in 2014 as Paramond, a light, contrasted, space-taking Garalde with impossibly tiny counters and long extenders. Links to the Google Font directory: Cormorant, Cormorant Garamond, Cormorant Infant, Cormorant SC, Cormorant Unicase, Cormorant+UprightCormorant Upright. See also CTAN.

In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.

Typefaces from 2017: Tesserae (kitchen tile style), Traction. Traction was originally conceived and designed by Christian Thalmann. Chiara Mattersdorfer and Miriam Suranyi expanded, completed and produced the font family. This typeface sports signature serifs, soft edges and a fluid, organic design.

In 2018, Christian started work on a blackletter-themed stencil typeface, first called Komik Ohne (the German for Comic Sans) and later named Kuschelfraktur (2019).

Between 2016 and 2019, he developed Eau de Garamond---a sans distilled from the essence of Garamond---, which was later renamed Ysabeau. Github link. In 2020, we find another fork, Isabella Sans.

Overbold (2019) is described by him as follows: Overbold is an unapologetic display typeface inspired by an illustration in Eric Gill's Essay on Typography (p.51), in which he demonstrates how not to make letters. In particular, he shows that increasing the weight of the downstroke in a serif A without structural adjustments yields an absurd, overbold result. I found the letter so charming that I decided to blatantly disregard Gill's wisdom and draw an entire overbold typeface. Here is the result. I'm not sorry.

1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont link. Open Font Library link. Github link. [Google] [MyFonts] [More]  ⦿

Céline Hurka

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

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

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

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

Cecil van der Waal

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]  ⦿

Cedric Bronkhorst

During his studies, Cedric Bronkhorst (Hoogeveen, The Netherlands) created a modular compass-and-ruler typeface (2014). Behance link. [Google] [More]  ⦿

Cees W. De Jong

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]  ⦿

Celis Jansen

Amsterdam, The Netherlands-based designer of the modular typefaces Tic Type (2015) and Font D'Amour (2015). [Google] [More]  ⦿

Channah Kuipers

Leiden, The Netherlands-based designer of the blackboard bold typeface Indie (2018). [Google] [More]  ⦿

Characters (or: Character Type)
[René Verkaart]

René Verkaart (Maastricht, The Netherlands, b. 1970) established Characters in 2004. He also has an office in Düsseldorf, Germany. His type designs:

  • Accelerator. A techno / Startrek typeface solds via T-26.
  • Ballet Mechanique (2006). A custom-designed unicase font for musician Jeroen Borrenbergs, aka Ballet Mechanique.
  • Corporaet (2019). A 5-style humanistic sans intended for corporate branding.
  • Cucaracha (2005, Volcano Type). It includes Cucaracha Icons. A typeface commissioned by Boris Kahl for Kahl's Bastard Project.
  • Encrypted Wallpaper (2006) is a playful squarish typeface for creating textual wallpapers and decorations. Free at MyFonts.
  • Insider (2004). A custom sans face done for Insider Consulting in Duesseldorf, German. It became retail in 2011, and is sold as a warm grotesque family.
  • Insignety. a fashion stencil typeface for Amsterdam-based jeweler Insignety.
  • Jekyll, a sans typeface René describes as follows: CFF Jekyll Pro is a schizophrenic grotesk typeface with an edge. Its bright side is a versatile corporate font with an unexpected twist. Its dark side is awakened by creepy OpenType features, ligatures, swashes, and alternate glyphs, making it mutate into the evil Mr. Type.
  • Kris (2014). A vampire script or haunted house typeface co-designed with Corrie Smetsers.
  • Maastricht Sport. A suite of retail & customized fonts for Maastricht Municipality's Sports department. Based on Insider.
  • Maestricht. A highly personal script font, custom made from the handwriting of Maastricht-based film producer Jean-Paul Toonen, dating back to 1992. His handwriting is very dynamic, artistic and a tasteful blend between roman and italic style.
  • Motorman. A hand lettered logo font for the electric Meijs Motorman moped. This typeface was commissioned by design agency Stoere Binken Design.
  • Nantua (2003), Nantua Flava XL (2003, a futuristic display typeface originally sold through Union Fonts). In 2011, the octagonal typeface Nantua was offered for free download at Dafont.
  • Nordic Narrow is a clean, stylistic font with a Scandinavian touch. For an early development of the Nordic series, see Nordic A (2003, sans, sold through Fountain). Nordic Narrow Pro was published in 2014.
  • Plan (2005). A corporate typeface made for Plan A Ontwerp, a graphic design studio based in Eindhoven, The Netherlands, based on sketches by Frank Vogt.
  • Porta. a modular monoline unicase typeface.
  • Reethi Rah (2006). A great text typeface for editorial use, named after a resort on The Maldives.
  • Savant (2012). A free informal face.
  • ShellShock (2005). A military stencil typeface.
  • SidB. An educational typeface commissioned by Noordhoff Publishers. SidB stands for Schrijven in de Basisschool (writing in elementary school) and is an independent method to teach kids elementary school writing. Not for sale. René also designed another eductaional font, Plantijn Schrift.
  • Siventi Logo Wide (2005). A Startrek face. Verkaart writes: This custom font was created from the Siventi Products BV logo, which was part of a Brand Identity concept done by Stoere Binken Design (SBD). The concept behind the handlettered Siventi logo was a playful concept, a colorful corporate identity that would change appearance like a chameleon to fit its purpose. Fresh and friendly on poppy plastic products, serious and distinguished on office desk materials.
  • Vagebond (2003) is a monoline elliptical geometric font that is inspired by 60s television design.
  • Other fonts designed by René Verkaart include BorVer, Bionix, FatBoy One, Freaky Animals, Kryptonite (1998), Porta, SBD Block (a corporate typeface for his own design studio, Stoere Binken Design).

He co-founded Stoere Binken Design. Blog. Klingspor link. Behance link. Dafont link. I Love Typography link. Volcano Type link. Fountain Type link.

View René Verkaart's typefaces. [Google] [MyFonts] [More]  ⦿

Charles Enschedé

Dutch author (1855-1919) who wrote the following books or book chapters:

  • 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:
    • Gustav Mori: Christian Egenolff, der erste ständige Buchdrucker in Frankfurt a/M
    • Christian Münden: Von den ersten Franckfurter Bruchdruckern
    • Gustav Mori: Geschichte und Entwicklung des Schriftgiesserei-Gewerbes in Frankfurt a/M
    • Charles Enschedé: Die Druckerei der Elsevier und ihre Bezichung zu der Lutherschen Schriftgiesserei
    This book is mainly about the development and history of blackletter types. Open Library link.
  • Fonderies de caractères et leur matériel dans les Pays-Bas du XVe au XIXe siècle (1908: Haarlem, De erven F. Bohn).
  • Technisch onderzoek naar de uitvinding van de boekdrukkunst, door Mr. Ch. Enschedé (1901).
[Google] [More]  ⦿

Charles Jongejans

Dutch printer and graphic designer, 1918-1995. He was at odds with the conservatism of Jan van Krimpen. [Google] [More]  ⦿

Charles Pellens

Senior designer in Eindhoven, The Netherlands, who created Triangular (2013), an experimental 3d typeface. [Google] [More]  ⦿

Cher Van Tol

Illustrative designer in Den Haag, who made the experimental typeface Hoogtelijnen (2011), as if each glyph were a meteorological map. [Google] [More]  ⦿

Chris Brand

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

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

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

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

Chris Lebeau

Joris Johannes Christiaan Lebeau was a Dutch designer, 1878-1945. His art 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]  ⦿

Chris Nuijen

Chris Nuijen (b. 1979) is a graphic designer in Eindhoven, The Netherlands. He set up his type foundry in 2013.

In 2013, he designed the rounded monoline modular display sans family Kaat (2013). [Google] [MyFonts] [More]  ⦿

Chris van der Hoef

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

[More]  ⦿

Christian Annyas
[The Movie Title Stills Collection]

[More]  ⦿

Christian "Cinga" Thalmann

[MyFonts] [More]  ⦿

Christian Lank

For a school project in Kenn Munk's class at the School of Visual Communication in Haderslev, Denmark, Christian Lank designed the free quirky vector format sans typeface Quartz (2017).

In 2019, while based in Amsterdam, he designed the free typeface Effekt Grotesk. [Google] [More]  ⦿

Christoffel van Dijck

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

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

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

Christoph Mueller
[Christoph Mueller Graphic Arts]

[More]  ⦿

Christoph Mueller Graphic Arts
[Christoph Mueller]

Graphic designer, illustrator and type designer Christoph Mueller (Aachen, Germany) grew up in the Netherlands. His illustrations, album artwork and lettering have brought him international fame. He is also known for free fonts such as Mom's Typewriter (1997, old typewriter without a 0 or a 1---in the really old days, typewriters didn't have 0's or 1's. One used the uppercase letter O and the lowercase letter l for the 0 and the 1. This saved two keys and two type bars, as well as the linkage between the keys and type bars), NoRefunds (1997, grunge), AZ Crushed (1997, grunge) and Autonomous Zentrum. Among his non-free fonts, most of which are grunge types, Goyathlay is the most interesting one. Other typefaces by Christoph include Spotnik&OldRomanTimes, Bonnie and Clyde, Bonnie and Clyde GoodOldDays, Estetica Wrecked (+ExtraLetters), PsychoUno, PsychoZwo, and PsychoSan.

Dafont link. Abstract Fonts link. Fontspace link. Older URL. Font Squirrel link. Another old link. [Google] [More]  ⦿

Christoph Noordzij

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]  ⦿

Christophe Antonio

Graphic designer in Haarlem, The Netherlands, who works as We Art Free. He created an art deco custom typeface called Delapampa (2009). Behance link. [Google] [More]  ⦿

Christophe Stoll

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]  ⦿

[Jarrik Muller]

Citype is Jarrik Muller's project where designers create free typefaces inspired by a city. Contributions as of mid-2014 to this Dutch enterprise:

[Google] [More]  ⦿

CL Fonts
[Ilja Pfeijffer]

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]  ⦿

Cláudio Rocha

Cofounder of Now Type, Cláudio Rocha is an Italian Brazilian illustrator and designer (b. 1957) who was first based in sao Paulo, then in Treviso, Italy, and currently in The Netherlands. Now Type is jointly run with his son Lucas Franco (b. 2001). He edited Tupigrafia, a magazine dedicated to typography and calligraphy in Brazil. Partner of Oficina Tipografica Sao Paulo. His typefaces include:

  • ITC Gema (1998: a felt tip pen font) and ITC Underscript (1997, a grungy fat script).
  • Cashew (2000-2020). Cashew is a rounded squarish sans serif font, originally created as a logotype for Tupigrafia magazine (2000). In its 2020 iteration, done together with Lucas Franco, it is a variable font with one axis, from Regular to Extended.
  • Tenia.
  • Viela Regular (Claudio Rocha & Lucas Franco, 2008-2019). A great thick-and-thin typeface.
  • Unidin (sans display face).
  • Rock Regular (slab face). Rock Titling (1998-2019).
  • Old Future (a brush version of Futura).
  • Chacal Pixel.
  • Persplextiva (2001-2002, a bouncy hand-drawn 3d face done in the lettering style of Brazilian cartoonist Millor Fernandes).
  • Liquid Stencil (1998-2000). A brush stencil.
  • Feijoada Light.
  • Akrylicz Grotesk (2002, brush/paint face).
  • Sampa (1999-2019). An informal brush script.
  • Genova (2008-2020). A reinterpretation of Paganini typeface, lauched by Nebiolo type foundry in 1928 for hand composition and developed by Alessandro Butti under the supervision of Raffaello Bertieri.
  • Stampface (2006-2018, by Claudio Rocha and Lucas Franco). Based on a Headline Gothic metal type sample found in a reference book, which was designed by Morris Fuller Benton in 1936 for American Type Founders.
  • Pieces Stencil (2016). Think piano key or Futura Stencil.
  • Antonio Maria (2017): Antonio Maria, a font by Claudio Rocha and Lucas Franco, takes its shapes from the lettering found in the cover of Afixação Proibida (Display Prohibited), a book by the Portuguese poet Antonio Maria de Lisboa (1928-1953). In fact, Antonio Maria was the leader-writer of Afixação Proibida, a collective manifesto from 1949, that initiated the surrealist movement in Portugal. It is an inverted-contrast typeface with 150 ligatures and a large character set.
  • Rudolf Antiqua and Rudolf Initials (2018). A faithful revival of Rudolf Koch's Koch Antiqua (1922). Followed by Rudolf Text (2017-2020, Lucas Franco and Claudio Rocha).
  • Mefistofele. A revival in 2018 by Claudio Rocha and Lucas Franco of the modular stencil typeface Mefistofele (1930, Reggiani foundry).
  • Rudolf Titling (Lucas Franco and Claudio Rocha), a typeface that won an award at Tipos Latinos 2018.
  • Agora Titling Extra Light (2018).
  • Pieces Stencil (2016-2019). Pieces is a piano key typeface built on a modular system with emphasis on diagonal endings.
  • Moreira Serif (2019). A slab serif version of Morris Fuller Benton's art deco typeface Broadway (1927). In the 1930s, the Portuguese graphic artist Antonio Moreira Junior added serifs to Broadway's letterforms and marketed it under a new name. Moreira Serif revives that typeface.
  • Scarpa Titling (2019, Claudio Rocha and Lucas Franco). An all caps typeface based on a nameplate found on the front door of a shoemaker in Treviso, Northern Italy.
  • Anton (2020, by Claudio Rocha and Lucas Franco). An art deco typeface modeled after a Dutch deco type seen on the Anton Antonius Kurvers's cover of Wendingen in 1927.
  • Esperanca Sans (2019). A Peignotian sans by Claudio Rocha & Lucas Franco.
  • Jaguaribe (2020). In Unicase and Serif versions, by Claudio Rocha. A squarish sans and serif pair based on the of letterforms drawn by Brazilian artist Gil Duarte.
  • Spinface (2020). An experimental turned letter font by Claudio Rocha and Lucas Franco.
  • Werner (2020-2021). A revival of A.D. Werner's famous deco inline typeface Dubbeldik (1972).
  • Densa (2020). Emulating 19th century wood types. Densa typeface was based on the Fantastic Voyage movie title in the 1966 poster
  • Tegel (2020-2021). Tegel is a layer font that emulates the ceramic tile letters found on a school façade in Delft.
  • Etna Futurist (2020, Claudio Rocha & Lucas Franco). Digital interpretation of Etna, a wood type produced by the Italian type foundry Xilografia Meneghello & Belluzzo, in the 1920s.
  • Cassiano (2020). A super-fat octagonal typeface based on letters found on a book cover by the Brazilian artist Belmonte (1896-1947).
  • Fortunato (2020). A digital interpretation of the lettering work done by the Italian Futurist genius Fortunato Depero (1892-1960) for advertising and editorial design. A pure Italian art deco typeface. The lowercases were developed from scratch.
  • Jurriaan (2021). A square block typeface.
  • Hendrik (2021, by Claudio Rocha & Lucas Franco). A revival of Simplex (Sjoerd Hendrik de Roos, 1937).
  • Martin (Swing, Straight) (2020). A beatnik typeface based on the letters found in the jazz record albuns designed by David Stone Martin (1913-1992).
  • Tesoura (2020). A paper-cut typeface.

He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Treviso, Italy, from where he launched the type magazine Tipoitalia in 2009.

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

Claire Kalergis

During her studies at Mediacollege Amsterdam, Claire Kalergis designed the squarish blackboard bold style Base Font (2016). [Google] [More]  ⦿

Claus Eggers Sørensen

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

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

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

In 2014, Claus designed Inknut Antiqua, a free angular text typeface family for low resolution screens, designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. Google Fonts link for Inknut Antiqua. Open Font Library link. Inknut Antiqua covers Latin and Devanagari.

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

Klingspor link. [Google] [More]  ⦿

Coen Brasser

Motion graphics designer in Den Haag, The Netherlands. Creator of the outlined display typeface Suesco (2014). Behance link. [Google] [More]  ⦿

Coen Gooijer

During his studies, Coen Gooijer (Gouda, The Netherlands) designed Playing Card Font (2018). [Google] [More]  ⦿

Coen Hofmann

Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy, and finally into a type designer.

Designer at URW++/Fontforum of

  • Admira (2019). A revival of the striped all caps money font Admira (1940, Schriftguss).
  • Altrincham (2003).
  • Caxtonian Black (2012). A blackletter.
  • Globus Cursive (2015, +Cyrillic). This cursive font is a revival of a font by Friedrich Hermann Wobst (1932, D. Stempel AG).
  • Gothic Initials (2015). After an original from 1821 by Firmin Didot's foundry.
  • Holland Gothic (2012). A blackletter.
  • Jason Uncial (2012). A unicase uncial design.
  • Perugia Cursive (2003). A gorgeous calligraphic script based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
  • Pinel Pro (2014). A revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.
  • Ramona (2004). A shaded typeface.
  • Revis (2011). A formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later.
  • Romeo (2004). A 3d beveled shadow face.
  • Sax (2008). A didone typeface family.
  • Seizieme Pro (2013). Based on the 1905 font Série 16 by Peignot, which was mainly used for scientific publications.
  • Signpainters Script (2013). A connected copperplate script.
  • Silvestrini (2003). A gorgeous Gando-style ronde. Based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
  • Sirius and Sirius Caps (2003). A garalde family developed together with British type designer Neville Brown.
  • Technotype (2011). A revival of Herbert Thannhaeuser's 1952 slab serif family Technotyp.
  • Thomas Schrift and Thomas Versalien (2015). Based on Friedel Thomas's Thomas Schrift and Thomas Versalien from 1956-1958.
  • URW Akropolis (2016, URW++). A revival of the cigar box open typeface Acropolis designed by the Ludwig Wagner foundry in Leipzig in 1940.
  • Pergamon (2016, URW++). A wonderful 10-style didone typeface family that revives, extends and modernizes Pergamon Antiqua first designed in 1937 at Ludwig Wagner in Leipzig by Alfons Scheider.
  • Marli (2016). A revival of the cursive typeface Korso by F. Schweimanns (1913).
  • Moewe (2017). An open typeface in the blackboard bold genre that revives Möwe (1929, Heinz Beck for Genzsch & Heyse).
  • Golf (2017). Golf was originally designed by Henry Reinhard Möller in 1935 for Schriftguss KG. Coen Hofmann redrew the capitals and then added lower case letter and Cyrillic alphabets.

Klingspor link. View Coen Hofmann's typefaces. [Google] [MyFonts] [More]  ⦿

Coert Wigbels

Dutch designer of Coert Schrift (2008). Home page. Creator of Coert Schrift Dik and Coert Schrift Romaans (2008, handwriting). [Google] [More]  ⦿

Colin Willems

[More]  ⦿

Collegium Graficum
[Alexander Overdiep]

Dutch text about good typography. A nice intro. [Google] [More]  ⦿

Constantine Belias

Designer of the free five-style techno font family Nultien (2021). [Google] [More]  ⦿

Constructed Languages
[Boudewijn Rempt]

Boudewijn Rempt's fonts for imaginary and not-so-imaginary languages: Afaka-Roman (from Suriname, with the help of 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]  ⦿

Contemporary Dutch Typography

The type situation in the Netherlands, described by Peter Bilak. [Google] [More]  ⦿

Corien Bennink
[Corien's Handwritingfonts]

[MyFonts] [More]  ⦿

Corien's Handwritingfonts
[Corien Bennink]

Corien Bennink (Corien's Handwritingfonts) is a Dutch portrait photographer and pencil artist, b. 1980. She lives in Diever. Corien has been making custom handwriting fonts since 2005.

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), Concinnitas (2015, a neat upright handcrafted typeface), Deveren (2017, based on goosefeather writings from the late 1600s), Notetaker (2019) and Yarker (2019, a business hand of the late 19th century).

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.

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

Corina Cotorobai

Corina obtained a Masters in type design at the KABK in Den Haag, class of 2001, and an MA in book design and typography from Werkplaats Typografie in Arnhem (ArtEZ, 2003). Corina studied Design Management at the EURIB, Rotterdam (2007-2009). Her typography awards include a silver medal for the Best Book Design of the World (Leipzig/Frankfurt, 2004) and Best Book Designs of The Netherlands (2003).

In 2002, Fred Smeijers, Corina Cotorobai, Rudy Geerarts and Martine Leloup (both of FontShop Benelux) co-founded OurType in 2002 [it was formally launched in 2004]. Fred and Corina were the creative lead of OurType, Rudy and Martine were in charge with sales. In 2017 Fred and Corina stopped their collaboration with OurType concentrating on several other projects, including a new type label. Fred and Corina are also co-partners in Type Tailors (established in 2008), offering type design development, publishing, custom type and typographic consultancy. In 2018, she co-founded Type By with Fred Smeijers. [Google] [More]  ⦿

Cornelis André Vlaanderen

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 solid art deco face).

Digital revivals:

  • Vlaanderen NF, Vlaanderen Chiseled NF, Vlaanderen Round NF, Vlaanderen Square NF, all by Nick Curtis. These free fonts are based on an untitled work by André Vlaanderen from 1928.
  • F37 Xan (2010, Rick Banks, F37). Based on a 1925 design by André Vlaanderen.
  • Eutopia (2015, Victor Navarro Barba), based on an original from 1928 in the geometric solid genre.
  • Konstrukt (2020, Mew Varissara Ophaswongse).
[Google] [More]  ⦿

Cornelis Dirckszoon Boissens

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]  ⦿

Cornelis Henricszoon Lettersnijder

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]  ⦿

Cornelis Nozeman

Typefounder and pastor 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]  ⦿

Corrie Smetsers

Dutch handwriting expert. Codesigner with René Verkaart of Kris (2014, Characters), a vampire script or haunted house typeface. [Google] [More]  ⦿


Dutch designer in Ede of Le Font (2013, hand-printed), Strepper (2013, a blackboard bold font), Notey (2013, a hand-printed typeface) and Curia (2013, a calligraphic font).

Behance link. [Google] [More]  ⦿

Created by Design

A Dutch designer from Groningen. Examples of type on the streets of Paris. [Google] [More]  ⦿

Creative Fabrica

Dutch font vendor who overlaps a lot with Creative Market. There is a subpage with freebies that includes Concre (2018). [Google] [More]  ⦿

Cynesthetic (Christine)

Dutch designer of the connected script typeface Slow Dance (2017). [Google] [More]  ⦿

Cynthia Ko

During her industrial design engineering studiers, Delft, The Netherlands-based Cynthia Ko created the rope font Forget Me Not (2016). [Google] [More]  ⦿

Cyriel Klitsie

Dutch designer. Devian Tart link. He created the couinterless typeface Aubrey Graham Drake (2011). [Google] [More]  ⦿

D. Bolle

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]  ⦿

D. Zimmerman

Dutch printer in Amsterdam. Their first type catalog dates bac to 1802: Eerste Letterproef van de Boek-Drukkery van D. Zimmerman (1802). [Google] [More]  ⦿

Daan de Krosse
[Element M]

[MyFonts] [More]  ⦿

Daan Emmen

During his studies at SintLucas in Boxtel, Oirschot, The Netherlands-based Daan Emmen (b. 1996, Oirschot) designed the minimalist typeface Invisible (2016). Behance link. [Google] [More]  ⦿

Daan Gei

Dutch graphic designer in Breda. Designer of the custom octagonal typeface Barst for Breda Barst in 2010. He also made the paper fold typeface Tree Font (2010). Pic. [Google] [More]  ⦿

Daan Jobsis
[Dustbunnies Everywhere]

[MyFonts] [More]  ⦿

Daan Rietbergen

Daan Rietbergen (b. 1988) is an Utrecht-based independent graphic designer and artist who specializes in visual identity, poster design and typography. He graduated from Gerrit Rietveld Academie, Amsterdam in 2011 and from AKS St. Joost, Den Bosch, in 2014. From 2014 until 2019, he worked at Studio Dumbar in Amsterdam.

He designed some experimental typefaces that are mainly meant to be used in large physical settings. They include Rosdar (2021), Vimeto (2019), Nespor and Smam. [Google] [More]  ⦿

Daan Spangenberg

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]  ⦿

Dag Henning Brandsaeter

Amsterdam-based student at the Gerrit Rietveld Academie who was born in Oslo in 1982. He is working on this Gill-like sans face (2006). [Google] [More]  ⦿

Dani Darko

Nantes, France-based designer of the poster typeface Wildtyp (2015). Behance link. [Google] [More]  ⦿

Dani Montesinos

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).

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

Daniel Gall

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

Daniel Jean Mensing

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]  ⦿

Daniel Maarleveld

Dutch designer based in Amsterdam, with a strong interest in generative design and kinetic typography. He has taught typography at the Gerrit Rietveld Academy in Amsterdam and typography at the ArtEZ Institute of the Arts in Arnhem. Maarleveld co-founded Font Spectrum in 2021 with Edgar Walthert in Amsterdam. Future Fonts link. The typefaces at FontSpectrum:

  • Purple Haze (2021-2022). Purple Haze is an experimental variable typeface with a readable regular weight and decorative dot matrix-themed extremes. The font works best when being animated or interacted with.

In 2021, he designed the optical illusion wire frame typeface Impossible Grid. [Google] [More]  ⦿

Daniel Matakupan

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.

Home page. [Google] [More]  ⦿

Daniel Samama

Dutch designer who created the free hand-drawn poster typeface Skinny Marker (2012).

Behance link. [Google] [More]  ⦿

Dave Crol

Designer of BANANASPLIT, BLOESEM, BRETAGNE, CROL, HAPPYdave. [Google] [More]  ⦿

Dave Huizing

Born in The Netherlands in 1969, Dave Huizing created the disturbed typewriter font Rowdy Typemachine in 2015. In 2017, he designed the glaz krak typeface iCrack and the smilie typeface Smile 2 Me. Dafont link. [Google] [More]  ⦿

David Benque

Rotterdam-based designer. He is working on a nice set of stitching fonts in 2007. [Google] [More]  ⦿

David den Ouden

Utrecht, The Netherlands-based designer of Go Baaa Handwritten Comic (2017), a hand-crafed comic book typeface intended for use in his own cartoons and comic strips. [Google] [More]  ⦿

David Fens

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]  ⦿

David J. Shipley

[More]  ⦿

David Kerkhoff

[MyFonts] [More]  ⦿

David Kerkhoff

[MyFonts] [More]  ⦿

David Kloeg
[Kloeg Architecture]

[MyFonts] [More]  ⦿

David Muehlfeld

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

David Quay

British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1967, 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. After Freda's death, he set up The Foundry Types with Stuart de Rozario. 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. He is also a designer at Retype in Den Haag, The Netherlands. His fonts, in chronological order:

  • Custom lettering and type for the Penthouse calendar.
  • 1983: Santa Fe (monoline script), Agincourt (1983, Letraset and ITC, blackletter), Blackmoor (1983, ITC, English-style blackletter).
  • 1984: Titus, Vegas.
  • 1985: Quay, Milano.
  • 1986: Bronx (brush script).
  • 1987: Bordeaux (a skyline font family, Letraset), Bordeaux Script.
  • 1988: Latino Elongated, Mekanik.
  • 1989: Aquinas, Robotik, Helicon (1989, Berthold).
  • 1990: Quay Sans (a humanist sans based on Syntax), Digitek, Teknik.
  • 1991: Letraset Arta.
  • 1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek (angular design, ITC).
  • 1993: Marguerita (curly vampire script).
  • 2010: Kade (Re-Type---it is a display/semi display sans family of fonts based on vernacular lettering photographed around the harbours of Amsterdam and Rotterdam).
  • 2011: Bath (2010-2011), a typeface developed with Ramiro Espinoza for the signage and orientation of the city of Bath. It comes in Bath Serif and Bath Sans versions.
  • Foundry Gridnik (2016, The Foundry). Influenced by Wim Crouwel's work: Foundry Gridnik was developed from the single weight monospaced typewriter face, originally created by Dutch designer Wim Crouwel in the 1960s.
  • Foundry Tiento (2020). A magnificent very Latin didone family with exquisite hairline ligatures.
  • Fernhout (2021). The prototypical kitchen tile typeface. Quay was inspired by an icomplete alphabet Wim Crouwel designed in 1963 for an exhibition poster font the Dutch painter Edgar Fernhout at the Van Abbemuseum.

List of his typefaces, or revivals, at MyFonts: Bordeaux (Elsner+Flake), Bronx (Elsner+Flake), Agincourt (ITC), Aquinas (ITC), Blackmoor (ITC), Bordeaux (ITC), Bronx (ITC), Coptek (ITC), Digitek (ITC), La Bamba (ITC), Lambada (ITC), Latino Elongated (ITC), Letraset Arta (ITC), Marguerita (ITC), Mekanik (ITC), Milano (ITC), ITC Quay Sans (ITC), Robotik (ITC), Santa Fe (ITC), Scriptek (ITC), Teknik (ITC), Vegas (ITC), Titus (Linotype), Kade (Re-Type), Metallic Sky (SoftMaker), Foundry Sans (The Foundry), VLNL Hollandsche Nieuwe (VetteLetters).

View David Quay's typefaces. Klingspor link. FontShop link. Linotype link. View David Quay's typefaces. [Google] [MyFonts] [More]  ⦿

David Roelands

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]

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:

  • At FontFont: Automatic, FF Atomium (2007), FF Beekman (1999), Backbone, Imperial, Droids, FF Massive (2010: a logo family consisting of ultra-fat octagonal designs), Overdose, Stargate (1999), Totem, Tsunami, FF Flava (2003: Beekman calls this a hip-hop font), FF Manga Steel, FF Manga Stone, FF Webfonts, FF Backbone 2 (2003, a futuristic face) and FF Noni (2000).
  • At the DBXL web site: DBXL Softsoul, DBXL Monodon, Brak Bold, DBXL Hardsoul, DBXL Atonium, DBXL Nightfever (free).
  • At Die Gestalten: Breeze, Beatbox (2007, tilted stencil).
  • At Vette Letters: VLNL Cleaver (2017), VLNL Bon Bon (2013), VLNL Brokken (2009, fat octagonal face), VLNL Brak, VLNL Decks, VLNL Donuts (2015: originally designed in 2005 by DBXL as a logo for a Dutch funky house music outfit), VLNL Breakz.
  • Berlage (2013). A Dutch art deco typeface family based on lettering found in the Amsterdam Beurs (stock exchange) building, designed by architect H.P. Berlage, and other lettering found all over Amsterdam. It was published by FontShop in 2016 as FF Berlage Burcht and FF Berlage Beurs. The granite carving on the Berlagebrug in Amsterdam from 1932 inspired Beekman to design VLNL Berlagebrug (2019).
  • VLNL Kouseband (2019). A striking 5-style monolinear decorative sans with tall ascenders and an architectural lettering feel, perhaps Beekman's best typeface to date.

Speaker at ATypI 2013 in Amsterdam.

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

De Aesthetische Dienst
[Jeroen Koning]

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
[Ramiro Espinoza]

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]  ⦿

De Letter Pagina

Type site in the Netherlands. In Dutch. [Google] [More]  ⦿

De Passe&Menne
[Jean Baptist De Panne]

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]  ⦿

De Stijl

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

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]  ⦿

Deborah Groeneveld

Tholen, The Netherlands-based student-designer of Stamped Alphabet (2015). [Google] [More]  ⦿

Deconditoned Reflex (drx87)
[Roberto Dias da Silva]

Dutch designer in Den Haag (b. 1987) of Hamarama (2015, a display typeface), ArnStylo (2011, a deco face) and Deconditioned (2013, octagonal).

Behance link. Dafont link. His company is called Deconditioned Reflex Design. [Google] [More]  ⦿

[Thomas Milo]

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.

In 2017, he developed the new electronic Mus'haf Muscat at the behest of the Ministry of Endowments and Religious Affairs of the Sultanate of Oman.

Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam. MyFonts page. Speaker at ATypI 2008 in St. Petersburg.

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

Deep Blue

Dutch designer (b. 1990) of Collapse Smooth (2006), Standard Galactic Alphabet (2006), DeepHand (2006, his handwriting), Collapse Blocks (2006), and Slouch (2006, handwriting). [Google] [More]  ⦿

Delano Limoen

Illustrator and graphic designer in the Netherlands. Behance link.

Creator of the geometric typefaces Gem (2012) and Maza (2012, art deco). [Google] [More]  ⦿

Denise van der Graaf

Dutch designer of the signage script typeface Gracefull (2018). [Google] [More]  ⦿

Dennis de Vries

[More]  ⦿

Design Dutch
[Matt Langstaff]

Matt Langstaff created Four Pixel Caps (2005). Dafont link. [Google] [More]  ⦿

[Sander Baumann]

Defunct 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]  ⦿

Diana Duarte

Porto, Portugal (and now Amsterdam)-based designer of Bubbly (2017) and Birdy (2017). Home page. [Google] [More]  ⦿

Diana Ovezea
[Acute Studio]

[MyFonts] [More]  ⦿

Dick Dooijes

Dutch typeface designer, b. Amsterdam, 1909, d. Baarn, 1998. Trained and worked at the Lettergieterij in Amsterdam under S.H. de Roos, starting in 1926. He worked with de Roos on the design of the typefaces Nobel and Egmont. Dooijes studied at the Amsterdam College of Arts and Crafts and at the Academy of Art. In 1940, Dooijes succeeded de Roos as artistic director of Lettergieterij Amsterdam. He was director of the Gerrit Rietveld Acedemie from 1968 until 1975. Author of Mijn leven met letters, and Wegbereiders van de moderne boektypografie in Nederland (Amsterdam, De Buitenkant, 1988). His typefaces:

  • The art deco triplet, Bristol, Carlton (1929, an engraved version) and Savoy (1936, a deluxe version). These beauties were published by Plantin. Images: 1932 1932. A | B | C | D | E | F | G | H | I | J | K | L | M. In 2010, Nick Curtis turned the three typefaces into digital fonts: Dooijes Deco NF, Dooijes Deco Engraved NF, Dooijes Deco Deluxe NF. Curtis muses that Dooijes made these fonts as a reaction to the huge success of Broadway (Morris Fuller Benton) in the United States a few years earlier.
  • Rondo (with Stephan Schlesinger, 1948). Well, "with" Schlesinger is a bit of an overstatement. Hans van Maanen made a digital face, Minuet (2007, Canada Type), that revives Rondo. He writes: Minuet, an informal script with crossover deco elements giving it an unmistakable 1940s flavor, is a revival and expansion of the Rondo family, the last typeface drawn by Stefan Schlesinger before his death. This family was initially supposed to be a typeface based on the strong, flowing script Schlesinger liked to use in the ads he designed, particularly the ones he did for Van Houten's cocoa products. But for technical reasons the Lettergieterij Amsterdam mandated the typeface to be made from unattached letters, rather than the original connected script. Schlesinger and Dooijes finished the lowercase and the first drawings of the uppercase just before Schlesinger was sent to a prison camp in 1942. Dooijes completed the design on his own, and drew the bold according to Schlesigner's instructions. The typeface family was finished in February of 1944, and Schlesinger was killed in October of that same year. Though he did see and approve the final proofs, he never actually saw his letters in use. It took almost four more years for the Lettergieterij Amsterdam to produce the fonts. The typeface was officially announced in November of 1948, and immediately became a bestseller. By 1966, according to a memo from the foundry, the typeface had become almost too popular. This digital version of Schlesigner's and Dooijes's work greatly expands on the metal fonts.
  • Mercator (1958): a sans family at Lettergieterij Amsterdam. It was considered at the time as a Dutch version of Helvetica, and referred to as the Dutch Helvetica. See here. Laurenz Brunner did an interpretation of Mercator for the wayfinding at the Gerrit Rietveld Academie. Ken Meier's interpretation is Mercator Vet (2006). Daniella Spinat's is Mercator Roman (2007). Charles Mazé's is just Mercator (2009). Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type) is a revival of Mercator, which Henk Gianotten chacterizes as being too American, influenced by the American gothics. In 2018, Philip Cronerud released his digitization and expansion, Dooijes Sans at Truly Type. In 2015, Bauke van der Laan and Theo van Beurden set out to make another revival of Mercator in their Mercator project [it will possibly be published by Monotype].
  • Contura (1965-1966): an outline font in garalde style.
  • Flambard (1954, Lettergieterij). A bold version of Adolf Overbeek's Studio from 1946. The 1963 Tetterode specimen book points to Overbeek as Flambard's designer, and mentions in addition the date 1953. Flambard is called Studio Bold. Canada Type's revival in 2008 by Hans van Maanen is Adams. Mecanorma also has a version. Finally, there is a pirated version from 1998, called Studio Bold. See also OPTI Bold (by Castcraft).
  • Lectura (1962-1966, Lettergieterij; 1969, Intertype; acquired by Stephenson Blake): Lectura is a very legible garalde family, ideal for books. It was Dooijes's final typeface. Digitized by DTP Types Limited as Leiden DT (1992).
[Google] [MyFonts] [More]  ⦿

Diederik Corvers

[MyFonts] [More]  ⦿

Diederik Mulder

Den Haag-based designer of the labyrinthine font Lost In A Maze (2013). [Google] [More]  ⦿

Dimitry Hamekink
[Le Studio Graphic and Web Design]

[More]  ⦿

Dinar Misochka

Dutch designer of a grungy Cyrillic typeface in 2017. [Google] [More]  ⦿

Diogo Tovar

Graphic designer in Amsterdam. Behance link. Creator of Amsterdam Type Alphabet (2010, a ransom note font). [Google] [More]  ⦿

Dionne Fox
[Hill Valley]

[More]  ⦿

Dirk Voskens

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]  ⦿

Dirk Zwaneveld

Maastricht, The Netherlands and now, Antwerp, Belgium-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.

In 2016, he designed the constructivist typeface Stookplaats for the renovation of an old military hospital in Antwerp.

Behance link. [Google] [More]  ⦿

[Gerben Dollen]

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

Dom Hans van der Laan

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]  ⦿

Donald Beekman
[Vette Letters]

[MyFonts] [More]  ⦿

Donald Beekman

[MyFonts] [More]  ⦿

Donald Roos

[MyFonts] [More]  ⦿

Donald Roos

[More]  ⦿

Donna Tuiten

Dutch designer of the pixel typeface TooSimple (2014, FontStruct). Aka beery. [Google] [More]  ⦿

Dorien Heemstra

Utrecht, The Netherlands-based designer of the handcrafted vernacular typeface Not About Me (2016). Behance link. [Google] [More]  ⦿

Dorrith Rem

Amsterdam, The Netherlands-based designer of the zebra (children's books) alphabet ABC (2014) and Thunder Font (2015). Behance link. [Google] [More]  ⦿

Dotspot Graphics
[Yves Latscha]

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]

Paul Ijsendoorn (Drawperfect) is a designer in Den Bosch, The Netherlands, b. 1976. He designed Blacknote Hand (2017), Forced Square (2014), Post-it Penscript (2009) and Fineliner Script (2010).

Dafont link. [Google] [More]  ⦿

Dries Wiewauters

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). The list of his typefaces:

  • Nib (2019, Colophon). A wedge serif originally designed for the Museum of Fine Arts in Ghent. It was developed in close collaboration with Ruud Ruttens, the head of their design department.
  • LUCA School of Arts. A custom typeface, ca. 2015.
  • Newkirk (2012). A custom all-caps stencil typeface for Scott Newkirk Art Studio in New York.
  • PDU, or Plaque Découpée Universelle (2010, Colophon). Dries writes: After reading the excellent essay by Eric Kindel: The Plaque Découpée Universelle: a geometric sanserif in 1870s Paris (Typography Papers 7, Reading, 2007), both James Goggin and I got fascinated by the idea of a stencil with which you can draw every letter of the alphabet: uppercase, lowercase, numbers, punctuation. The original stencil was invented in 1876 by Joseph A. David (USA). In order to experience the stencil first hand and because the original is really fragile and very hard to come by, 3 prototypes were laser cut out of 0,5 mm steel. To comply with friends' demand, a small edition of 50 copies was made. To enable smoother drawing these were cut out of 0,2 mm flexible steel.
  • PDP, or Plaque Découpée Personnalisée, is the result of further experimentation with the Plaque Découpée Universelle. These 18 fonts were made as part of Feed the Library, an installation by the Werkplaats Typografie during the 2010 NY Art Book Fair.
  • Norwich (2005, pixel family).
  • Gütz (2006, blackletter).
  • Rietveld Fatface (2007, fat sans titling face).
  • Hafssól (2007, pixel face).
  • Grey Text, Grey Display, Ultra Black (2008-2009). Done for his Masters at St Lucas Academy in Ghent, and The Grey Press. Grey Text is a text face, Grey Display a set of six inline / blackboard bold typefaces, and Ultra Black a fat brush poster face.
  • Interieur2010 (2010): a type family that started out by modeling a chair.
  • MAD (2009). A multiline typeface family started from Machine Aided Design typefaces. It evolved over the years into MAD Sans ans Serif and now includes Fill versions well. It will be published by Colophon in 2017.
  • Scribe. A custom typeface for the identity and house style of Museum voor Schone Kunsten Gent.

Home page. [Google] [More]  ⦿

[Pier Taylor]

Dutch designer of Devoid (2020), a no-nonsense 18-style sans family well suited for information design applications. [Google] [MyFonts] [More]  ⦿

[Alex van Galen]

Alex van Galen (Drukland) is the Dutch creator of the free upright connectred script font Blackboard Ultra (2013).

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

DTL FontMaster
[Frank E. Blokland]

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:

  • Frank E. Blokland: leader.
  • Dr. Jürgen Willrodt: URW software man.
  • Axel Stoltenberg: URW software man.
  • Peter Rosenfeld: coordinator of the programming team at URW in Hamburg.
  • Gu Jun: Ikarus expert.
  • Hartmut Schwartz: one of the developers of Ikarus M.

PDF file with a presentation by Frank E. Blokland entitled FM Automation at your Fingertips. [Google] [More]  ⦿


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).

Behance link. [Google] [More]  ⦿

Dump PFM

Version 1.5.3 of free Windows utility Dump PFM, for reading a PFM file. By Jeroen W. Pluimers at the University of Leiden. Jeroen is now consultant at All I'M. [Google] [More]  ⦿

[Ben Blom]

Durotype is the foundry of Dutch type designer Ben Blom, who is based in Best, The Netherlands. Ben created the rounded serif family Classic Round (2010, +Classic XtraRound, 2011).

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.

Seconda (2010) is a humanist sans family. Seconda Soft (2011), Seconda Round (2012) and Seconda XtraSoft (2011) are rounded versions of Seconda.

In 2011, he created the 16-style Simplo family, which was patterned after Alessandro Butti's Futura-like typeface Semplicità. This was followed in 2012 by Simplo Soft.

Classic Xtra Round was created in 2011.

Typefaces done in 2012: Flexo (a large x-height elliptical sans family), Flexo Contour.

Typefaces from 2014: Aspira (a 112-font sans superfamily).

In 2015, he designed the rounded sans typeface family Animo and the neutral sans typeface family Neutro (which was published in 2016).

Typefaces published in 2017: Innova (a grotesque described by Blom as more open, more squarish, more legible).

Typefaces from 2018: Flexo Soft. [Google] [MyFonts] [More]  ⦿

Dustbunnies Everywhere
[Daan Jobsis]

Dutch designer of the cheerful hand-printed typeface Agrave Pro (2020), which is intended for long text passages. [Google] [MyFonts] [More]  ⦿

Dutch Alphabets
[Mathieu Lommen]

Dutch Alphabets (2016, Uitgeverij De Buitenkant) was written by Mathieu Lommen and designed by Peter Verheul. It is a portfolio containing 47 broadsides featuring new samples of lettering and writing by today's most significant Dutch lettering artists, type designers, calligraphers and sign painters. All contributors are working and/or educated in the Netherlands. This collection of lettering has been compiled by Mathieu Lommen (University of Amsterdam) & Peter Verheul (Royal Academy of Art, The Hague), and will be published in a limited edition. It showcases a wide variety of lettering and calligraphy, made especially for this project by Amsterdam Signpainters, Yomar Augusto, Jacques le Bailly, Donald Beekman, Françoise Berserik, Barbara Bigosińska, Frank E. Blokland, Erik van Blokland, Maria Doreuli, James Edmondson, Ramiro Espinoza, Martina Flor, Dave Foster, Fritz Grögel, Janno Hahn, Hansje van Halem, Berton Hasebe, Henry van der Horst, Ondrej Jób, Max Kisman, René Knip, Holger Königsdörfer, Paul van der Laan, Lida Lopes Cardozo, Niels Shoe Meulman, Ross Milne, Gerrit Noordzij, Diana Ovezea, Krista Radoeva, Trine Rask, Arthur Reinders Folmer, Donald Roos, Pieter van Rosmalen, Just van Rossum, Kristyan Sarkis, Florian Schick, Elmo van Slingerland, Heidi Sørensen, Nina Stössinger, Joost Swarte, Teo Tuominen, Underware, Gerard Unger, Peter Verheul, Bernd Volmer, Job Wouters and designed by Peter Verheul. It is a portfolio containing 47 broadsides featuring new samples of lettering and writing by today's most significant Dutch lettering artists, type designers, calligraphers and sign painters. All the contributors are working and/or educated in the Netherlands. [Google] [More]  ⦿

Dutch Deco Type
[Sander de Voogt]

Sander de Voogt's selection of distinctive Art Deco type (bothy typefaces and alphabets as used on posters and in public) from The Netherlands. [Google] [More]  ⦿

Dutch ligatures

Zip file with German and Dutch ligatures such as fb, fk, ffb, ffk, fj, ffj, and so forth. Expert page by Gert-Jan C. Lokhorst. For the Computer Modern family. [Google] [More]  ⦿

Dutch penmen of the 17th century

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)
[Frank E. Blokland]

The Dutch Type Library was founded in 1990 by Frank Blokland (b. 1959, Leiden). It is based in 's Hertogenbosch, The Netherlands. Fonts include DTLAlbertina (Chris Brand), DTLArgo (Gerard Unger), DTL Caspari (Gerard Daniels), DTL Documenta (1986) and DTL Documenta Sans (Frank E. Blokland), DTL Dorian (Elmo van Slingerland), DTL Elzevir (1992, Gerard Daniels), DTL Prokyon and DTL Fleischmann (Erhard Kaiser), DTL Flamande (Matthew Carter, 2004, based on a textura by Hendrik van den Keere), DTL Haarlemmer (Jan van Krimpen, revived and extended by Frank Blokland), DTL Nobel (Sjoerd de Roos 1929; revived in 1993 by Andrea Fuchs and Fred Smeijers), DTL Paradox (Gerard Unger), DTLVandenKeere, DTL Unico (Michael Harvey), DTLRosart (Antoon de Vylder), DTL Sheldon (Jan van Krimpen revival), DTL Romulus (Jan van Krimpen revival), DTL Fell (a revival of lettering by John Fell, 1625-1686).

From their corporate blurb: The Dutch Type Library was commissioned to produce the corporate typeface for the European Union. Further, DTL supplied the company letters to, among others, the New York Stock Exchange, Germany's Phoenix Television Broadcasting Company, Amnesty International USA, Emerson, The Diamond Trading Company, Taylor Nelson Sofres, Finland's most popular newspaper Helsingin Sonamat and banks and museums all over Europe.

Besides fonts, the Dutch Type Library also produces sophisticated software for (OpenType) font production: DTL FontMaster, of which a free Light version is available.

DTL has claimed all rights to the entire Lettergieterij Amsterdam typeface library obtained in some agreement with Tetterode. [This info may be wrong---I have no way to verify this.]

He obtained a PhD from Leiden University and his dissertation was entitled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman and italic type since their Renaissance origins until the Romain du Roi.

Klingspor link.

Speaker at ATypI 2013 in Amsterdam: The (digitized) calligraphy on HM Queen Beatrix' Abdication Act 2013. [Google] [MyFonts] [More]  ⦿

[Ko Sliggers]

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 2013: DF Riga (grungy pixel face), DF Abit (another grungy pixel face), DF Dudok (a grungy pixel 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).

Dafont link. Klingspor link.

View Ko Sliggers's typefaces. [Google] [MyFonts] [More]  ⦿


In 2015, a Dutch designer created a new logo for the Belgian beer brand, Duvel. He asked that I not mention his name. [Google] [More]  ⦿

Duygu Ölcek

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.

Home page. [Google] [More]  ⦿

Earik Wiersma

[More]  ⦿

Ebern Klause
[Rawblind Basteype]

[MyFonts] [More]  ⦿

[Johan Manschot]

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]  ⦿

[Colin Willems]

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.

Dafont link. Kernest link. Behance link. Spranq site. [Google] [More]  ⦿

[Earik Wiersma]

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]  ⦿

Edgar Fernhout

Dutch painter, 1912-1974. In 1963, the Van Abbemuseum asked Wim Crouwel to prepare a poster for an exhibition on Edgar Fernhout. Wim Crouwel designed an incomplete kitchen tile alphabet for the occasion, and explained: It refers back to the system in the Hiroshima and the Triennial posters. The form is inspired by the abstract landscapes that Edgar Fernhout was making when I first met him. They were built up with short brushstrokes, in beautiful structures. There is a clear division in four sections, all with elements of the same height. Because of Fernhout's landscapes, I also introduced a horizon. I also wanted to bring in that reflexion, that Dutchness, here. Crouwel's lettering in turn led to the design of a few complete typefaces:

[Google] [More]  ⦿

Edgar walthert
[Letterspace Amsterdam]

[More]  ⦿

Edgar Walthert

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. In Amsterdam, he hosts Letterspace Amsterdam, a monthly series of lectures about experi­mentation, innovation and research in type. In 2021, he set up Font Spectrum together with Daniel Maarleveld.

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 (an experimental typeface that was created for dublab, a radio station based in Los Angeles, and was drawn using sound waves that can actually be played as an audio file).

Agile was further developed in 2011 with weights ranging from hairline to fat, and appeared in 2013 as a retail typeface at Incubator / Village.

He published the constructed sans typeface family Logical in 2018 at Bold Monday / Type Network.

His typefaces at FontSpectrum:

  • Purple Haze (2021-2022). Purple Haze is an experimental variable typeface with a readable regular weight and decorative dot matrix-themed extremes. The font works best when being animated or interacted with.

His corporate typefaces:

  • Toneelmakerij typeface by Edgar Walthert in collaboration with Esther de Boer for the identity of the Dutch theater company De Toneelmakerij. Contains many icons.
  • Alpen Display and Text (2018), custom typefaces for Bühne Burgäschi by Edgar Walthert. Inspired by classic Swiss tourism posters from the 1930s and '40s. Alpen Display and Alpen Text is currently being further developed and will be released as Arosa Display, Arosa Text and Arosa Script.
  • De Patronenmaker typeface. For a website designed by Johannes Verwoerd, Walthert created a variable font based on the open source typeface Publica by Gustavo Ferreira, by pushing its extremes to 0 and 11. The website uses the same 26kb font file for all animations, menu and body text.
  • This Is Africa typeface for Ghetto Radio in Nairobi by Edgar Walthert, with Esther de Boer.
[Google] [More]  ⦿

Edo Smitshuijzen

Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). In 2013, he published Sculpting Type (Khatt Books), which deals with 3d type design. [Google] [More]  ⦿

Edu Pou

An Amsterdam-based creative artist. Creator of the iFontMaker font Font2 (2010, sketched letters). Pic. [Google] [More]  ⦿

Edward de Leau

Skinletter is a collection of 26 letters with beautiful women in the background. In GIF format only. By Dutchman Edward de Leau. [Google] [More]  ⦿

Edwin Servaas

Edwin Servaas is based in Willemstad in the Dutch Antilles. He designed the free charming handcrafted poster typeface Hidden Cinema in 2015. Behance link. [Google] [More]  ⦿

Edwin van de Beemt
[Pokemon Paranoia]

[More]  ⦿


A circle-themed font made in 2016 by a Dutch designer. [Google] [More]  ⦿

Element M
[Daan de Krosse]

Dutch designer of the modular futuristic typeface Element M One (2020). [Google] [MyFonts] [More]  ⦿

Elena Lloveria

Amsterdam-based designer. Behance link. Creator of the ornamental caps typeface Fantastica (2012). [Google] [More]  ⦿

Elena Shkarupa

Den Haag-based creator of the modular typeface Perceptio (2013, FontStruct). [Google] [More]  ⦿

Eline Hoedeman

Graduate of the Media College in Amsterdam, who designed the minimalist experimental typeface Diamant (2016). [Google] [More]  ⦿

Elisa Knetsch

Dutch designer of the art deco typeface Eigen (2018). [Google] [More]  ⦿

Elmo van Slingerland

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. [Google] [MyFonts] [More]  ⦿

Elsevier Science

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]  ⦿

Elvira Koek

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.

Behance link. [Google] [More]  ⦿

Elwin Berlips

[MyFonts] [More]  ⦿

Elzevir family

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.

The Elzevir style was promoted by Louis Perrin in Lyon, France, in 1846. In the United States, this style is known as DeVinne. Britannica link. [Google] [MyFonts] [More]  ⦿

E&M Cohen

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]  ⦿

Emanuele Papale

Italian art director in Amsterdam who designed the elegant free hipster sans typeface Elianto (2016). [Google] [More]  ⦿

Emday Fonts
[Miriam van der Have]

From Nijmegen, The Netherlands, Miriam van der Have's Dutch site offers a general introduction to fonts and font terminology. An impressive glossary. [Google] [More]  ⦿

Emile Michel Hobo
[Hobo Art]

[MyFonts] [More]  ⦿

Emilio Macchia

Italian designer of the fat display typeface Prendotempo (2007). He has addresses in Ravenna and Rotterdam. He co-designed the monospaced typewriter typeface Lekton at ISIA Urbino with Luciano Perondi aka Molotro, Marco Tortoioli Ricci aka BCPT, Michela Povoleri, Stefano Faoro, Elena Papassissa, Giulia Sagramola, Erica Preli, Mige Yilmaz, Luna Castroni, Caterina Giuliani, Veronika Bannert, Laura Fuligna, Caterina Carli, Tobias Seemiller. Google Fonts link. [Google] [More]  ⦿

Emily Maas

Den Bosch, The Netherlands-based designer of a hipster typeface in 2017. [Google] [More]  ⦿

Emma Wesseling

During her studies, Nieuwleusen, The Netherlands-based Emma Wesseling created an all caps Victorian ironwork typeface (2016). [Google] [More]  ⦿

Enschedé: Civilité

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:

  • No. 8 and No.9: Almost identical fonts engraved by Franco-Flemish engraver Ameet Tavernier (b. Belle, ca. 1526) who worked as a typefounder and printer in Antwerp.
  • No. 11: The author guesses that it is either Granjon's la petite françoise (ca. 1566) or Pierre Hautin's (aka Hamon) work. Pierre Hautin also sold lettres façon d'écriture to Plantin. The cursive françoise in the Manuel Typographique of Fournier le Jeune possesses many points of resemblance with No. 11.
  • No. 12: The author credits this either to Granjon (ca. 1566) or to Henric vanden Keere of Ghent (aka Henri de la Tour). It is found together with Initials No. 10. The author thinks that vanden Keere is probably right since Jan van Hout, the secretary of the town printer of Leyden, seems to have purchased the same letter (i.e., No.12) from vanden Keere.
  • No. 14: By vanden Keere, ca. 1575. A copy of the original specimen is still in the Plantin Moretus Museum.
  • No. 30: The model for No. 30 was used before 1600 by Plantin in Antwerp and Jan van Hout in Leyden. It is possibly due to vanden Keere. It became popular in The Netherlands in the 17th century.
  • Initials No. 13: Engraver unknown. Frequently used by Plantin and made in the 16th century.
[Google] [More]  ⦿

[David Kerkhoff]

Ensotype was established in 2018 by Dutchman David Kerkhoff, who also runs Hanoded. In 2018, he published the Japanese brush ink typeface Murasaki and the Arabic emulation typeface Ruhaniyat.

Typefaces from 2022: Impending Distaster (a horror font). See also here. [Google] [MyFonts] [More]  ⦿

[David J. Shipley]

Equisymbol is the international symbol of balance and equilibrium that was created by inventor and entrepreneur David J. Shipley in 2017. Based in Haarlem, The Netherlands, Shipley took out trademark protection for the name and the symbol itself. Two personal remarks: (1) I thought that trademark only referred to names, but he claims otherwise. (2) This will not win him the award of mensch of the year. [Google] [More]  ⦿

Erhard Kaiser

German type designer (born in Quedlinburg, near Leipzig, 1957), who made the extensive DTL Fleischmann family (1992) at the Dutch Type Library. The font is named after Johann Michael Fleischmann (1701-1768), 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 B embo 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.

Kis Antiqua Now TB Pro and (2008, Erhard Kaiser for Elsner & Flake) are based on earlier Elsner & Flake versions of Kis Antiqua published by them in 2006, which, in turn, go back to Hildegard Korger's Kis Antiqua at Typoart, 1986-1988, and ultimately to a Jansonian Garamond by Miklos Totfalusi Kis in 1686.

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

Erik Groenendijk

Dutch / Latvian FontStructor who made Georgian Boldy (2012), Latvian High Condensed (2012, a piano key typeface), and Aluksne (2012, a bold sans with 854 glyphs). [Google] [More]  ⦿

Erik Hannink

Erik lives in Zwolle, The Netherlands, and was born in 1964. He designed the splendid free handcrafted typefaces Eryx Rennie Macintosh (2015, Scottish arts and crafts typeface), Eryx Freeform (2015) and Eryx Cartoon (2015). Dafont link. [Google] [More]  ⦿

Erik van Blokland

[MyFonts] [More]  ⦿

Erlend's Atari fonts

Atari GDOS bitmap font Jill Sans made by this Dutchman. Not bad-looking! [Google] [More]  ⦿

Erlof 't Hart

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]  ⦿

Ersen Akkaya

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 Denissen

[More]  ⦿

Erwin Denissen
[Font Creator / High Logic]

[More]  ⦿

Erwin Luijendijk

Zwolle, The Netherlands-based designer of the circle-theed typeface Round (2017). Behance link. [Google] [More]  ⦿

Erwin Vader

Aka Airswinger, b. 1972. Dutch creator of the free fonts Appendix Normal (2006), Erwin Plain (2006, hand-printed) and Airswing Headline (2011). [Google] [More]  ⦿

Erwin van der Waal
[Star Trek Fonts -- Alien Races]

[More]  ⦿

Erwin Van Soelen

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]  ⦿

Esger Jellema

Designer in Grioningen, The Netherlands, who created RoundUp (2011). Behance link. [Google] [More]  ⦿

Esmé Vahrmeijer

Esmé Vahrmeijer, a graphic designer in Utrecht, The Netherlands, designed the Treefrog-style typeface Drupfabet in 2014. Behance link. [Google] [More]  ⦿

Esther de Boer

Dutch designer who created these corporate typeface with Amsterdam-based Edgar Walthert:

  • Toneelmakerij typeface (by Edgar Walthert in collaboration with Esther de Boer for the identity of the Dutch theater company De Toneelmakerij). Contains many icons.
  • This Is Africa typeface for Ghetto Radio in Nairobi.
[Google] [More]  ⦿

Eun You Noh

Or Eunyou Noh. Type designer and researcher from South Korea. She earned her Ph.D. in visual communications at Hongik University in 2011---her thesis was a study on Choi Jeong-ho's Hangul type designs. She started teaching Hangul type design at several universities, including Hongik. In 2012-2015, Eunyou Noh worked as a senior researcher at Ahn Graphics Typography Lab. She moved to the Netherlands in 2016, to study in the TypeMedia program at KABK, where her graduation typeface was Optique (2017). Eunyou currently lives in The Hague, working on a multi-script project.

She explains Optique: Optique is a multilingual typeface design project for Latin and Hangul in optical sizes. It is a serif typeface based on the tools of each script; broad nib for Latin and pointed brush for Hangul. Optique simplifies the shapes of Latin and Hangul whilst preserving the way of writing for each script. It is designed with the intention to achieve harmonization; to let the two scripts appear as one.

Speaker at ATypI 2018 in Antwerp on the topic of Hangul type designer Choi Jung-ho (1916-1988). [Google] [More]  ⦿

[Harold W. de Wijn]

Euro and CE symbol fonts made by Harold W. de Wijn in metafont format in 1998 (version 3.0 from 2002). de Wijn is a physics professor at Utrecht University, The Netherlands. [Google] [More]  ⦿

Evan Kievit

Student in Leiden, The Netherlands, who designed the thin display typeface Papercut in 2017. [Google] [More]  ⦿

Evert Bloemsma

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: organic style), 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.

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.

FontShop link. Klingspor link.

View Evert Bloemsma's typefaces. [Google] [MyFonts] [More]  ⦿

Evert Ybema

During his studies in Tilburg, The Netherlands, Evert Ybema created an untitled display typeface (2014). [Google] [More]  ⦿

[Jos Buivenga]

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:

Special Museo posters have been created, such as by Jasmine Lockwood (2012), Laurellie Pacussich (2013) and Larisa Mamanova (2012).

In 2021, he released Antona (a 16-style geometric sans).

Klingspor link. Old personal home page. Abstract Fonts link.

View Jos Buivenga's typefaces. Adobe link. [Google] [MyFonts] [More]  ⦿

Eyal & Myrthe
[Eyal Holtzman]

Eyal Holtzman (Den Haag, The Netherlands) is a graphic and 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 set up Studio Eyal and Myrthe together with Myrthe Stel.

Eyal Holtzman has designed many corporate and some retail typefaces. typefaces for clients such as The Enschedé Font Foundry and Nationale Nederlanden. His work has been exhibited in many places, including in Museum of the Book---Meermanno in Den Haag.

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".

His typefaces:

  • Normandia. Done during his studies at KABK.
  • Joel (Book, Display). Done during his studies at KABK.
  • Jerusalem (1996). A Latin / Hebrew font that attempts to harmonize the two scripts. This design was part of Eyal's post-graduate type design project at the KABK in 1996 and was later exhibited in Meermanno.
  • Rain Birds. Done during his studies at KABK.
  • Dille & Kamille. A handwriting font commissioned by a retail chain.
  • Soya. A potato cut font done for a book about artist Allie van Altena.
  • Rosart. A collaboration with The Enschedé Font Foundry. A revival of the Two Line English Body Rosart, designed in the 18th century by the Belgian type cutter Jacques François Rosart (1714-1777). This revival, based on original type specimens from the J. Enschedé collection, aimed to interpret the spirit of the original design as faith­fully as possible. Irregularities in the design had to be kept.
  • Staring. A revival of the unknown font used in the poetry book Gedichten van A. C. W. Staring (published by Nicolaas Beets in Zutphen, undated).
  • OD 1 2 3. A typeface commissioned by design and advertising agency OD in Rotterdam. The three fonts have identical spacing and can thus be superimposed. Text set this way emulates adhesive tape.
  • Sympatico (2016). A special design for the supermarket chain Jumbo, to replace Jumbo The Sans. That work was commissioned by Niels Alkema. The font is in use by the professional bicycle racing team Lotto NL Jumbo.
  • Douche (2006). A rounded monolinear sans done originally for the visual identity of theater festival <>Mooi Weer Spelen in Delft. This font mixes upper and lower case, all basically of the same height.
  • Kristal (2015, at Bold Monday). This 8-style book typeface with calligraphic roots was published in 2021. It is accompanied by kaleidoscopic ornaments and open caps that are ideal for monumental lettering.
[Google] [MyFonts] [More]  ⦿

Eyal Holtzman
[Eyal & Myrthe]

[MyFonts] [More]  ⦿

Fabian de Lange

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).

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

Famoys Saz
[Sarah Rose]

Dutch designer of the dry brush typeface This is so You (2020). [Google] [More]  ⦿

Femke Klaver

Dutch artist. Designer of the handwriting fonts FemkeKlaver and Emiz (2008). Alternate URL. [Google] [More]  ⦿

Femke Smits

Femke Smits (b. 1996, Drunen, The Netherlands) designed the lava lamp stencil typeface Vuur Vrij in 2016, together with Joshua K. Gomez. [Google] [More]  ⦿

Fiel van der Veen

Book illustrator. Dutch Creative Alliance designer of Amadeo (handwriting, 1999, with Julius de Goede). See also at Agfa. Van der Veen runs Studio van der Veen in Haarlem. [Google] [More]  ⦿

[Mathijs Juressip]

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]  ⦿

Fine Display Type
[Jeffrey Visser]

Dutch FontStructor known as jffry101 who is mostly interested in recreating typefaces based on different display technologies, like LED, flipdot and segment displays and pixel or dotted matrix typefaces seen on trams, buses and trains.

Typefaces from 2020: Geos (a textured typeface based on old airport and train station signage).

Typefaces from 2015: Parisienne (dot matrix style).

Creations from 2011: GVB Bus PID (a vertically striped family) in versions 7x4, 13x8, 13x6, 5x3, 7x3, 10x7. He made these fonts in 2010: Combino Klein and Combino Groot, both based on the font used on the front displays of the GVB Siemens Combino trams. In 2009, he fontstructed Citaro Voor DM II, Citaro voor DB (dot matrix typefaces), Citaro voor DS, Citaro Zij DS, Citaro Voor EB, Flappen Regular (white on black), GVB Metro PID, Sevebyseven (+Monospaced, +Bold Monospaced, +Proportional: dotted pixel typefaces), Bus Destinations, Aeroport (MICR font), GVB Bus PID, Arriva 9x6, Arriva 7x3, 7 segments (LED simulation face), 9 Hoog Arriva, Dice. In 2008, he made Binnen Display 5, 6 and 7 (all for the RIS displays in GVB trams and buses), and 15x5 and 07x5. In 2007, before FontStruct existed, he made the kitchen tile font Metro (2007).

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

Fiodor Sumkin

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]  ⦿

Flat Icons
[Paul Jansen]

Dutch designer of Claston Script (2020), Caride Script (2020), Ratilla Script (2020), Pathita Script (2020) and Casira Script (2020). Most of his products are icons though. There are about 200 icon sets. These include Supernatural Icons (2019), Online Education Icons (2019), Politics Icons (2019), Investing Icons (2019), Computer Science Icons (2019), Weather Icons (2019), Metallic Icons (2019), Flat Icons (2014), Bitcoin + Cryptocurrency Line Icons (2018), Travel Icons (2018), Medical Icons (2018), and Cryptocurrency Icons (2018). [Google] [More]  ⦿

Floor van Steeg
[Typeface App]

[More]  ⦿

Florian Schick

[MyFonts] [More]  ⦿

Floris Voorveld

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.

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


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]  ⦿

Font Creator / High Logic
[Erwin Denissen]

At High Logic in the Netherlands, Erwin Denissen (who is based in Bilthoven near Utrecht) has developed a font editor called Font Creator. No type 1 support. Windows only. At some point, Font Creator switched from shareware to payware. It also added Scanahand, a Windows tool for making handwriting into a font.

Erwin Denissen started his career as an employee at ICT Automatisering, mainly working with Delphi. About two years later he switched to Bolesian were he made a move to Java software development. When Bolesian was eaten by it's big sister Capgemini in 2001, Erwin Denissen continued to work with Java. After several successful projects, and moving from software engineer to software designer to project leader, he decided to quit his job and fully focus on his own company High-Logic, he started back in 1997 as a graduate project (at Fontys University in Eindhoven). He wrote: As an independent software vendor, Erwin Denissen strives to continue developing new and innovative products for the world-wide typography market. Right now High-Logic has three products, a font editor, a font manager and a font generator. In March 2008 Erwin Denissen acquired MyTools.com, including 8 products. In July 2008 yourfonts.com was launched as an online font generation service. In 2021, he added: The upcoming FontCreator 14 will fully support variable fonts, as Erwin strongly believes they will soon become mainstream. [Google] [More]  ⦿

Font Spectrum

Type foundry set up by Daniel Maarleveld and Edgar Walthert in Amsterdam in 2021. Future Fonts link. The typefaces at FontSpectrum:

  • Purple Haze (2021-2022). Purple Haze is an experimental variable typeface with a readable regular weight and decorative dot matrix-themed extremes. The font works best when being animated or interacted with.
[Google] [More]  ⦿

[Richard Keijzer]

Richard Keijzer is the Dutch designer of many art deco typefaces that are often based on typefaces found on buildings or in Dutch publications, reviving styles known as Dutch deco from the 1920s and 1930s. Starting in 2021, his typefaces will have the prefix RAK. Most of his fonts are free:

  • Mokum Betondorp (2005). A great art deco display typeface in the style of Broadway. He writes: I'm currently trying to reconstruct a font that was designed around 1924 by the architect D. Greiner in the Netherlands. He needed a special font to decorate some of the building in the then new subsurb Watergraafsmeer. The building project was a so-called garden village, that was nicknamed Betondorp (Concrete Village).
  • Mokum Plons, after a 1929 sign outside Het Sportfondsenbad in Amsterdam.
  • Mokum Tooneel (2006). Based on lettering by Anton Kurvers, a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987).
  • Mokum Oorkonde (2006). Based on art deco lettering found in the archives of the city of Amsterdam.
  • Mokum Giro (2006). As found on the antique letterboxes of the Amsterdam Municipal Giro Service.
  • Mokum Expo (2006) takes inspiration from a 1975 poster for the Amsterdam Municipal Museum.
  • Mokum Cohen and Mokum Cohen Top (2006) are both art deco fonts based on lettering by Fré Cohen in the Annual Report of the Municipal Giro 1930.
  • Mokum Kruyswijk (2006, art deco) is named after Cornelis Kruyswijk (1884-1935), an architect in Amsterdam.
  • Mokum GGD was added in early 2007.
  • Quota (2007) is based on the sculptures made by Hendrik van den Eijnde for the main Post Office at the Neude in Utrecht. He finished it in 2018 and called the free typeface Post Utrecht, locally pronounced as Pos Utereg.
  • Mokum Stad (2008) is modeled after Dutch deco lettering found in Groningen and designed in 1925 by architect Siebe Jan Bouma. It was renamed and revived in 2022 as Rak Stad.
  • Mokum Schip (2013): My inspiration for this font came from a phone booth in Amsterdam. Not just "a" phone booth but one in the former Post Office in building complex The Ship in Amsterdam. This Post Office closed in 1999 and since then that part of the building houses Museum Het Schip.
  • Dudok (2014). A Dutch deco typeface based on letter types by Willem Marinus Dudok, a Dutch architect. More specifically, the typeface is based on samples found in the city hall and under the train station of Hilversum, The Netherlands.
  • Karbouw (2014). A typeface based on Dutch postal stamps from 1934 that showed a karbouw, a kind of water buffalo found in Indonesia.
  • Bungehuis (2015). Based on art deco facade lettering at the Bungehuis in Amsterdam.
  • Mokum Bengel (2018). After a design by Dick Greiner in 1922 for the Beursbengel in Amsterdam.
  • Rak Neude (2022). A Dutch deco typeface based on texts on the sculpture in the central hall of the former post office in Utrecht, ca. 1924.
  • Rak Wilhelminakerk (2022). Based on a memorial stone in Utrecht's Wilhelminakerk, a building designed by architect H.F. Mertens in 1930.
  • Rak Gelderlander (2020-2022). Based on the building facade of the De Gelderlander newspaper office at Lange Hezelstraat 21 in Nijmegen.
  • Rak Oldenkoppel (2022). The name Oldenkoppel combines Oldenhove en Oldenhoeck, two houses designed by Dutch architect Warners.
  • Rak Ortelius (2023). Named after a street in Amsterdam and a letter type by architects Gulden and Geldmaker.

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

[Gerard Salomons]

A free webfont service run by Dutchman Gerard Salomons. [Google] [More]  ⦿

[Hanneke Classen]

Fontforecast is a type foundry 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 2014: Wingman Brush and Wingman serif, Wallet, Perron (hand-drawn contrasting designs for use on posters).

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).

Typefaces from 2016: Dragonflight Pro (brush script, +Sans), Salt + Spices Mono (the monoline version of Salt & Spices Pro), Kinfolk Pro (brush script accompanied by many ornamental fonts containing arrows and flowers).

Typefaces from 2017: Somersault (a brush script duo), Delish Pro (brush script), Les Tulipes Pro (a layered calligraphic typeface family).

Typefaces from 2018: Sabbatical.

You Work For Them link. Creative Market link. [Google] [MyFonts] [More]  ⦿

[Elwin Berlips]

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

  • FM Eva (2011). A hand-printed chalkboard or poster face.
  • FM Bebel (2011). A monoline organic rounded sans family.
  • FM Secessionist (2011). Inspired by the Vienna secessionist Joseph Maria Olbrich, as seen on his architectural drawings from the 1920s.
  • FM Rossija (2011). A modular CD label face.
  • FM Julie (2011). An architectural hand.
  • FM Aloysius (2011). Also inspired by the Viennese secessionists.
  • FM Monomo (2011) is a simple, all caps, monospaced font.
  • FM Kaantaa (2011) is a bold typeface that draws inspiration from stencil and technical typefaces.
  • FM Ted (2012) is a simple geometric sans typeface.
  • FM Pointifax (2012) is a dot matrix typeface.

In a third life, now as Elmigo at Dafont, he published the circle-based font Modern Ringflash (2012).

View Font Meister Elwin Berlips's typefaces. [Google] [MyFonts] [More]  ⦿

[Peter Slager]

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).

Typefaces from 2016: Ps Strijkijzer, Ps Snackbar Prn (a fun font for swingers and late late night people), PS Willy.

Typefaces from 2017: Ps Willy Small But Fine. [Google] [MyFonts] [More]  ⦿

Fontoville (was: Fresh Media)
[Raymond Brekelmans]

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.

Direct downloads. Mac downloads. Font Bros link. Dafont link. Klingspor link. [Google] [MyFonts] [More]  ⦿

[Steve Wehrmann]

Free font manager for Windows by Steve Wehrmann. [Google] [More]  ⦿

Fonts by Alex
[Alex Scholing]

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.

Typefaces: FF Engine (1995), FF Roice (2003), Core Humanist Sans (2011, free!) and Klarendal Sans (2011). FontShop link. [Google] [MyFonts] [More]  ⦿

Fonts Jos Kunst
[Jos Kunst]

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

Francesco van der Zwaag

Designer from Drachten in The Netherlands. Creator of the octagonal typeface Flatdepth (2011). [Google] [More]  ⦿

Francy van Lierop

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
[DTL FontMaster]

[More]  ⦿

Frank E. Blokland

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.

In 2016, Frank E. Blokland obtained a Ph.D. at the University of Leiden for On the Origin of Patterning in Movable Latin Type. His typefaces:

  • DTL Documenta and Documenta Sans (1986). He writes: The idea was to develop a typeface that on the one hand would present a recognizable, contemporary, and powerful image, and on the other hand would work well in small text sizes, irrespective the applied resolution. The development of the first range of weights/styles of DTL Documenta took seven years. In 1993 the typeface became available in the PostScript Type1 and TrueType formats. Around 1997 a small range of sans-serf versions were added on request of the municipal museum in The Hague, especially for accompanying texts on the walls of the rooms of museum. Almost immediately after releasing dtl Documenta its quality was recognized. In the second edition of his international bestseller The Elements of Typographic Style, Robert Bringhurst calls DTL Documenta "a sturdy open text face with an equally unpretentious and well-made sanserif companion."
  • DTL Haarlemmer and DTL Haarlemmer Sans (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 writes: The basis for the digital Haarlemmer was the set of Jan van Krimpen's original drawings of 1938. However, the quality of the original Haarlemmer was too poor for the purpose. Moreover, there was no reason to take the restrictions of the unit arrangement system on board. The original drawings were not directly digitized. First, they were interpreted, so that a typeface emerged that corresponded as much as possible with Jan van Krimpen's original concept. In fact, this procedure is comparable to the way in which Van Krimpen's foundry types were produced. Jan van Krimpen worked as a typographer and advisor with the Joh. Enschedé en Zonen at Haarlem from 1925 until his death in 1958. Most of his types were cut in steel by the Enschedé punch cutter P.H. ädisch (1891-1976). Under the auspices of Van Krimpen, Rädisch interpreted his drawings and made the required modifications for the different point-sizes. Van Krimpen's ink design obtained its definitive shape in Rädisch;s punches. Later, these punches served as the basis for Monotype. The original Haarlemmer drawings were similarly interpreted to cut digital punches. Alas, Van Krimpen's hand was no longer on the tiller, although a thorough study of his work by Frank E. Blokland made up for his absence.
  • 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. Speaker at ATypI 2018 in Antwerp.

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

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

[MyFonts] [More]  ⦿

Frank Grießhammer
[Kiosk Fonts]

[MyFonts] [More]  ⦿

Frank Hemmekam

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 https://fontfabric.com/baron-free-font).

Typefaces from 2014: Odin Rounded.

Typefaces from 2015: Porter (sans).

Typefaces from 2017: Untitled (extreme contrast display typeface based on the work of Jan van Krimpen's Romulus.

Behance link: https://www.behance.net/hemmekam. Dafont link: https://www.dafont.com/frank-hemmekam.d4692. [Google] [More]  ⦿

Frank van der Hak
[Knarf Art]

[More]  ⦿

Frank Vogt

Dutch designer (b. Eindhoven, 1969) of Plan (2005), a squarish engineering typeface family that was digitized and fine-tuned by René Verkaart at Characters. [Google] [MyFonts] [More]  ⦿

Franky van Deursen

Dutch designer (b. 1994) of the fat geometric counterless typeface Noted V1 (2011) and the trekky typeface Galaxy (2011). [Google] [More]  ⦿

Frans Jongkind

Dutch creator of a rounded unicase typeface in 2012. Devian tart link. [Google] [More]  ⦿

Frans Velthuis

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.

A complete package for Velthuis Devanagari (Hindi) with both fonts and TeX support is at CTAN. It is maintained by Anshuman Pandey. [Google] [More]  ⦿

Frauke Smit

Dutch designer (b. 1982) of Celtic Knot 1 (2006). [Google] [More]  ⦿

Fré Cohen
[Frederika Sophia (Fré) Cohen]

[More]  ⦿

Fred Smeijers

[MyFonts] [More]  ⦿

Frederika Sophia (Fré) Cohen
[Fré Cohen]

Dutch graphic designer (1903-1943) who lived in Amsterdam. She often designed fonts for her own projects. Her lettering and typefaces inspired these digital fonts:

  • Richard Keijzer's Mokum Cohen (2006). Based on the font used in the Annual Report of the Municipal Giro 1930.
  • Freco (2006, Hans van Maanen, Canada Type). Dutch deco style.
  • Ron Ruedisueli's STF Oudvreugde's Ontwaken. Dutch deco lettering from a book cover design for the "Arbeiders-jeugdcentrale Amsterdam" which was published in 1924.
[Google] [More]  ⦿

Freed Schmitter

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.

Company web site (mainly ecological). Humane airport project. [Google] [More]  ⦿

Friso M. Roest
[Sonic Savior]

[MyFonts] [More]  ⦿

Frisse Types
[Thomas Klaui]

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]  ⦿

Frits Jonker
[The Blue Bus Software]

[More]  ⦿

Frits Knuf Antiquarian Books

Dutch/French book seller with hundreds of old type books for sale. Their outlet is at 26, Rue des Béguines, 41100 Vendôme, France. [Google] [More]  ⦿

Fuck yeah kerning
[Kilian Valkhof]

A web site that posts examples of poor kerning. Run by Kilian Valkhof, a Front-end developer&user experience designer from The Netherlands. [Google] [More]  ⦿

[Anke van der Meer]

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.

Dafont link. Creative Market link. Creative Market link for funfontshop. [Google] [More]  ⦿

Gabor Kerekes
[Glyph Collector]

[More]  ⦿

Gaja Vicic

Graphic design student in Groningen, The Netherlands, who created the geometric prismatic typeface transition (2015). [Google] [More]  ⦿

Gajana Aslanjan

Dutch designer of Arroyo (2019: a great rounded bold condensed typeface family) and Wu (2019), a wavy typeface that is based on the shape of an Ancistrus fish swimming through water.

The deco typeface Twentyone (2020) was co-designed by Gajana Aslanjan, Gumilang Anggara Ruslan, Slava Antipov, and Fidan Aslanova. [Google] [MyFonts] [More]  ⦿

Geen Bitter
[Thom Janssen]

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. Thom Janssen is a graduate of the TypeMedia program at the KABK in The Hague in 2017. 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. Thom currently works as a freelance type designer and as a researcher at PXL, Hasselt University, Belgium.

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.

Thom's graduation typeface in 2017 at KABK was Rikhard. He wrote: A variable font project with letter shapes inspired by English letter forms from around the 1780s, mainly Richard Austin, hence the name. With a weight axis for hierarchy in texts and an optical size axis in order to make small and larger text sizes look good. This project is an exploration in variable fonts. The goal was to learn about it, build workflow solutions, and have fun. This project is meant for typography on the screen. Browsers can take advantage of variable fonts, optical size can be automated and with CSS and JavaScript all the styles of the variable font can be accessed. One font, many styles: the future.

Their commercial typefaces:

  • Bex (2013). This sans typeface family is based on Thom Janssen's graduation project.
  • Cramp (2012). A casual hand-printed typeface by Rogier van der Sluis.
  • Herman (2013, Rogier van der Sluis). An elliptical monospaced signage typeface family with possibilities of layering and shadow effects. It is quite attractive and one of the finest typefaces in its genre.
[Google] [More]  ⦿

Geert Dijkers

Dutch designer of the bold script brush typeface Origo (2014, Joebob Graphics) and the felt tip typeface Manus (2014, Joebob Graphics). In 2016, he published the handcrafted typeface Quintus at Joebob Graphics. In 2017, he designed the felt tip typeface Manus Smooth and the bush script Maneo. In 2020, he added the script typeface Epistula. [Google] [MyFonts] [More]  ⦿

Geiger Artwork
[Jürgen Geiger]

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.

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

George Everall

Greek-English type designer (b. 1980, London) who works in Amsterdam. [Google] [MyFonts] [More]  ⦿

Georgina Viaene

Graphic designer in Amsterdam. She created Wire Type (2012, experimental). [Google] [More]  ⦿

Gerard Daniels

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]  ⦿

Gerard Hurkmans

Gé Hurkmans was a Dutch designer, 1911-1984. His ad for Unica Glaswerk (1936) has art deco lettering. [Google] [More]  ⦿

Gerard Salomons

[More]  ⦿

Gerard Unger

Dutch type designer, born in Arnhem, The Netherlands, in 1942, d. 2018. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. Until the end of his career, he taught at Reading and Rietveld. Unger designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. But he was best known for his typefaces:

  • Markeur (1972), not available as digital type. Unger's first typeface, designed for Enschedé's Pantotype system.
  • M.O.L. (1974), not available as digital type. M.O.L. is the type used in the Amsterdam subway.
  • Demos (1975-1976, Linotype). Unger said once that this was his first face, and that he made it at Hell in Kiel in 1974 (but I am confused then as to the date of Markeur then).
  • Demos (new version 2001), available from Visualogik. In 2015, Gerard published Demos Next (done together with Monotype's Linda Hintz and dan Reynolds) at Linotype.
  • Praxis (1976, Linotype). Revived in 2017 as Praxis Next, also at Linotype. Linotype writes that the design is by Gerard Unger, Linda Hintz and the Monotype Design Studio.
  • Hollander (1983, Linotype).
  • Flora (1984). There is also ITC Flora (1980-1984). Named after Unger's daughter, this is an upright sans italic.
  • Swift (1985). This sturdy transitional typeface is his most popular design. It is used by many Dutch and Scandinavian newspapers, and got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift (a 1995 design by Unger), i.e., Swift with old style figures thrown in. See also Swift 2.0 (1995).
  • Amerigo (1986), available from Bitstream. This was originally designed for 300dpi laserprinters. It is a tapered almost lapidary typeface family. In the Bitstream collection, Amerigo is called Flareserif 831.
  • Oranda (1987), available from Bitstream. This is a slab serif originally drawn for the European hardware manufacturer Océ in 1968.
  • Cyrano (1989).
  • Argo (1991), available from Dutch Type Library.
  • Delftse Poort (1991), a stencil typeface not available as digital type.
  • Decoder (1992), available from Font Shop. This was a font from the FUSE 2 collection.
  • Gulliver (1993). This typeface was used by USA Today and the Stuttgarter Zeitung. Can be bought from URW++ from 2009 onwards.
  • OCW Swift (1995-1997, for Ministerie van OC en W, Zoetermeer - NL, by Visualogik Technology&Design).
  • ANWB fonts (1997), available from Visualogik.
  • Capitolium (1998). Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. It was not used though for the millennium celebrations. In 2002, Capitolium was picked as the serif font for the material of ATypI in Rome. It was accompanied in that advertising by Unger's sans serif font Vesta (2001), loosely based on the lettering at the Vesta temple in Tivoli. He developed Capitolium futher to make Capitolium News and Capitolium News 2 (2011, Type Together), so that the adapted glyphs would be more legible (large x-height) and fit better on a page (more glyphs per line). The modern typeface Capitolium News 2 was published by Type Together in 2011.
  • Paradox (1999), available from Dutch Type Library. This is a Didone font done in 1999, for which he won a Bukvaraz award in 2002.
  • Coranto (2000). In 2011, Coranto2 was published at TypeTogether: Coranto 2 is originally based on Unger's typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint.
  • Vesta (2001). The sans serif Vesta (designed as a possible candidate sans serif for the Rome 2000 project) won an award at Bukvaraz 2001. It is available now as Big Vesta (2003).
  • Linotype Library is the licenser of the German government's new corporate design typefaces Neue Demos (Antiqua, 2004) and Neue Praxis (sans-serif, 2004) by Unger. The typefaces are to be used for all official correspondence, brochures and advertisements.
  • Allianz (2005) is a corporate type system with sans and serif typefaces developed with the firm of Claus Koch of Düsseldorf. The typefaces were designed in collaboration with Veronika Burian, London, and were produced as fonts by Visualogik, 's-Hertogenbosch.
  • Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romanesque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. Alverata won the type design prize at Tokyo Type Directors Club 2016. PDF file.
  • Sanserata (2016, Type Together). The blurb: Sanserata is an articulated sans that mirrors Alverata's creativity and concept. Its bright and unflappable nature make it perfect for positive and casual brands, and its accentuated terminals improve legibility in text, especially on screens where light emission tends to round off the endings of glyphs.

Gerard Unger lived in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N. Werkman Prize (1984), the Maurits Enschedé-Prize (1991), the 2009 SOTA Typography Award and the TDC Medal (2017).

Author of Terwijl Je Leest (Amsterdam, 1997) and Theory of Type Design (2018).

Books about Gerard Unger include Gerard Unger Life in Letters (2021, by Christopher Burke, De Buitenkant).

Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. FontShop link. Klingspor link.

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

Gerard Voshaar

[More]  ⦿

Gerben Dollen
[Type Mafia (was: DolWork)]

[MyFonts] [More]  ⦿

Gerben Dollen

[MyFonts] [More]  ⦿

Gerben Hoeve

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).

In 2011, he added the heavy slab serif typeface Industrial Raw. [Google] [More]  ⦿

Gerd Arntz

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:

  • About Arntz himself, the persona: Born in a German family of traders and manufacturers, Gerd Arntz was a socially inspired and politically committed artist. In Düsseldorf, where he lived since his nineteenth, he joined a movement which wanted to turn Germany into a soviet- or council republic, a radically socialist state form based on direct popular democracy. As a revolutionary artist, Arntz was connected to the Cologne based progressive artists group (Gruppe progressiver Künstler Köln) and depicted the life of workers and the class struggle in abstracted figures on woodcuts. Published in leftist magazines, his work was noticed by Otto Neurath, a social scientist and founder of the Museum of Society and Economy (Gesellschafts- und Wirtschaftsmuseum) in Vienna, Austria. Neurath had developed a method to communicate complex information on society, economy and politics in simple images. For his Vienna method of visual statistics, he needed a designer who could make elementary signs, pictograms that could summarize a subject at a glance. Arntz's clear-cut style suited Neurath's goals perfectly, and so he invited the young artists to come to Vienna in 1928, and work on further developing his method, later known as ISOTYPE, International System Of TYpographic Picture Education. During his career, Arntz designed around 4000 different pictograms and abstracted illustrations for this system. At the same time, he was working with Neurath and his collaborators on designing exhibitions and publications for the Vienna museum. In this time, the 1930s, the city was under socialist government and an internationally acclaimed center of social housing and workers' emancipation. Neurath's visual statistics were adamantly meant as being an instrument of this emancipation, and Arntz' own socialist background fitted this context seamlessly. Produced under Arntz's creative guidance, a collection of 100 visual statistics, Gesellschaft und Wirtschaft, was published in 1930. The success of this collection lead among other things to an invitation to come to the young Soviet Union and set up an institute for visual statistics, Isostat, in Moscow. Neurath and Arntz regularly traveled to Moscow in the 1930s, until in 1934 the socialist government of Vienna fell. After the Nazi take over, both emigrated with their families to the Netherlands, where they continued working on Isotype in The Hague. When the second world war broke out, Neurath fled to England. Arntz stayed in The Hague, where he worked for the Dutch Foundation of Statistics. Arntz' artistic legacy is administered by the Municipal Museum of The Hague, and a generous selection of his work from this collection is now available on-line for the first time.
  • About his gutsy political activism: In his early twenties, the young German artist Gerd Arntz said goodbye to his bourgeois background and committed himself to the struggle of the underprivileged workers. During an artistic career spanning 50 years, he has continually criticized social inequality, exploitation and war in clear-cut prints - activism with artistic means. In Düsseldorf, Arntz attended an art academy in the early 1920s to become a drawing teacher. There, he frequented revolutionary circles, rebel minds who wanted to turn Weimar Germany into a soviet republic, styled after early communist Russia. He also came into contact with the new movements in the arts at the time, such as expressionism and constructivism. For activist artists like Arntz, the wood-cut was the chosen medium, because of its primitive aspect and its clearblack-and-white contrast. In the 1930s, Arntz switched to linoleum-cuts. With his comrades, the Cologne artists Franz Seiwert and Heinrich Hoerle, he read Marxist and anarchist literature and developed his own style of portraying society as segregated in classes, struggling within the technological milieu of the modern city. His prints were exhibited, sold to sympathetic art lovers, and published in magazines of the activist left in Germany and abroad. When Arntz was asked by Otto Neurath to join his team at he Vienna Museum of Society and Economy, and develop Isotype, he took it as an opportunity to expand the reach of his political beliefs into the realm of actively informing the proletariat, albeit as a graphic designer. At he same time, this steady job provided him the means to continue his own artistic work, completely independent of the art market or political affiliations. His prints criticizing the capitalist system did, for instance, not prevent him from critically looking at the downside of the Soviet Union in other prints. After he emigrated to the Netherlands, in 1934, Arntz published a series of prints warning against the danger of Nazism. His concise and biting depiction of the build-up of the Third Reich, published in a Dutch communist magazine in 1936, was removed from an exhibition in Amsterdam after complaints by the German embassy that it insulted a friendly head of state. Arntz continued cutting his social and political critique into linoleum until he was seventy years old.
  • About Isotype: The International System Of TYpographic Picture Education was developed by the Viennese social scientist and philosopher Otto Neurath (1882-1945) as a method for visual statistics. Gerd Arntz was the designer tasked with making Isotype's pictograms and visual signs. Eventually, Arntz designed around 4000 such signs, which symbolized keydata from industry, demographics, politics and economy. Otto Neurath saw that the proletariat, which until then had been virtually illiterate, were emancipating, stimulated by socialism. For their advancement, they needed knowledge of the world around them. This knowledge should not be shrined in opaque scientific language, but directly illustrated in straightforward images and a clear structure, also for people who could not, or hardly, read. Another outspoken goal of this method of visual statistics was to overcome barriers of language and culture, and to be universally understood. The pictograms designed by Arntz were systematically employed, in combination with stylized maps and diagrams. Neurath and Arntz made extensive collections of visual statistics in this manner, and their system became a world-wide emulated example of what we now term: infographics.
Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More]  ⦿

German Ermics

Latvian designer, b. 1985, Riga. He graduated from Design Academy Eindhoven in 2011 and set up his own graphic design studio in Amsterdam in 2014. Creator of the Western circus font How Are You. [Google] [More]  ⦿

Gerrit Noordzij

Gerrit Noordzij (b. 1931, Rotterdam; d. 2022) was 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).

His typefaces:

  • Gerrit designed what some consider the perfect font, Ruit, but it is nowhere to be had.
  • Dutch Roman (1980).
  • Batavian (1980).
  • Remer.
  • Ruse: a huge text family that started out based on Gerrit's own handwriting, published at TEFF, or The Enschedé Font Foundry. He writes: From 000 to 100 the family is divided into 11 variants of increasing contrast. Each variant contains four different kinds of figures (supplied in four font layouts - HgTb, HgTx, LnTb and LnTx) and a special version for ligatures (Lig). HgTb is a version that has old style figures with identical widths, HgTx has old style figures with individual widths, LnTb has lining figures with identical widths and LnTx has lining figures with individual widths. Any typesetting job for figures, whether it be in tables or plain text, can be carried out easily with Ruse. Each variant is available in roman, italic and small capitals. The complete family consists of 154 fonts.
  • The bastarda typeface Burgundica (1983, TEFF). He writes: The design of Burgundica emerged from analyzing the elongated version of the Burgundian Bastarda appearing firstly in manuscripts from the calligraphic workshop of Jacquemart Pilavaine in Bergen (Hainaut) in 1450. The Burgundian bookproduction of the time owed much of its splendor to this elegant script. In Burgundica I followed the shapes of the Burgundian bastarda rather closely. Of course, there was no use for the shapes of the bastarda in the roman and italic fonts of Tret; instead I adapted the spatial proportions of the calligraphic pattern to the shapes of that typeface. (Note: Tret is to be released by TEFF, currently in production). In the last quarter of the 15th century the first bastarda typefaces were cut in Bruges. Many similar typefaces followed that were founded on the typefaces by such predecessors as Caxton, Mansion and Brito. Contrarily Burgundica has its origin in the script itself.

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]  ⦿

Gerrit Noordzij Prize

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.

The winners:

  • 1996: Gerrit Noordzij
  • 2001: Fred Smeijers
  • 2003: Erik Spiekermann
  • 2006: Tobias Frere-Jones
  • 2009: Wim Crouwel
  • 2012: Karel Martens
  • 2015: Cyrus Highsmith
[Google] [More]  ⦿

Gerrit Noordzij Prize: Books

Books published about the Gerrit Noordzij Prize:

  • Mathieu Lommen, Anno Fekkes, Jan Willem Stas (et al.): Het primaat van de pen: een workshop letterontwerpen met Gerrit Noordzij, The Hague (2001).
  • Fred Smeijers (ed. by Robin Kinross): Type now: a manifesto, plus work so far, London (2003).
  • FontShop Benelux (ed.): Erik Spiekermann, The Hague/De Pinte (2006).
  • Dawn Barrett, David Berlow, Matthew Carter (et al.): Tobias Frere-Jones Gerrit Noordzij Prize Exhibition, Amsterdam (2009).
  • Ben Bos, Tony Brook, Tobias Frere-Jones, Karel Martens, David Quay: Wim Crouwel - Gerrit Noordzij Prize, The Hague (2012).
[Google] [More]  ⦿

Gerrit Rietveld

Famous Dutch architect and graphic and furniture designer (b. Utrecht, 1888, d. Utrecht, 1964). He was part of the De Stijl movement. Several typefaces were directly influenced by his style. These include:

  • Kinesis (2018, Rian Hughes). This is a modular headline font, constructed from white, black and grey overlapping rectangles.
  • Rietveld Fatface (2007, Dries Wiewauters).
  • SM Maxeville (2017, Soft Machine).
[Google] [More]  ⦿

Gerrit Willem Ovink

Dutch typographer and type teacher (b. Amsterdam, 1912, d. 1984), professor at Plantin Genootschap in Antwerp (1951-1956) and the University of Amsterdam (1956-1982), winner of the Gutenberg prize in 1983. From 1945 until 1977, he was aesthetic 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, and 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.

Author of Honderd jaren lettergieterij in Amsterdam (1951), about Dutch type design and typography in the Netherlands in the 19th and 20th centuries.

He also had a hand in the design of the "Dutch DIN", the traffic signage font NEN 3225, which is described in his book, NEN 3225: Dutch standard alphabets (1964).

Quote by him: Bodoni would be an admirable letter for a death notice!

Obituary, which reminds us of the serious conflicts between Ovink on one side and his Plantin colleagues Jan van Krimpen and Sem Hartz on the other side.

Reference: The picture by Ovink below courtesy of Henk Gianotten. Magistraal (a free PDF from 2007 at the Plantin Genootschap based on a 1988 text by Albert J.M. Pelckmans). [Google] [MyFonts] [More]  ⦿

Gerrit-Jan Riemersma

Dutch designer (b. 1993) of the pixel typeface Brick Bold (2015, FontStruct). [Google] [More]  ⦿

Gert-Jan de Kleer
[NGT Fonts (or: Effatha)]

[More]  ⦿

Gerwin Jansen

Dutch designer who created the hand-printed caps typeface Angela in 2012.

Dafont link. [Google] [More]  ⦿


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).

Devian tart link. [Google] [More]  ⦿

Giel Cobben

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 & Joris

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.

They designed the experimental typeface MTA (2012) that is made by cutting forms out of the MTA New York City's Transit map. [Google] [More]  ⦿

Gijs Boer

Oosterhout, The Netherlands-based designer of the handcrafted Amsterdaime (2017). [Google] [More]  ⦿

Gijs Hoeijmakers

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.

Behance link to Graphic Denim. [Google] [More]  ⦿

Gijs van Roij

Dutch designer of the geometric display typeface Sharpe Edge (2008). Dafont link. [Google] [More]  ⦿

Gilde der Letterontwerpers

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]  ⦿

Gilles de Brock

Dutch art director in The Hague. Home page at Mister Three. Creator of the ornamental caps typeface Don't Believe The Type. (2010). [Google] [More]  ⦿

Giselle Segura Gelink

Dutch graphic designer in Den Haag. Behance link. She created the gridded texture typeface T2001 A Space Odyssey Font (2010). [Google] [More]  ⦿

Giso Spijkerman

Dutch designer in Groningen. He created the irregular caps font Ja (2008). Dafont link. [Google] [More]  ⦿

Glitch: freeware fonts
[Koen Hachmang]

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!

Dafont link. [Google] [More]  ⦿

Glyph Collector
[Gabor Kerekes]

In 2015 former KABK-LetterStudio student Gabor Kerekes started programming a small tool named GlyphCollector. The tool is meant for collecting multiple representations of glyphs from a scanned page and for subsequently generating an average image. One has to select one glyph of each character that has to be converted, and to save the image to a folder. Next GlyphCollector gathers all characters for which it finds a reference and puts these per character in a folder. Subsequently for all selected characters an average glyph is calculated and converted to outline. GC distills the original spacing from the prints in question and converts the outlines directly to an OpenType font. It is Mac OS tool for creating a decent starting point for digital revivals but also for researching historic prints. Its initial prototype was made for the Renaissance module of Dr. Frank Blokland in the LetterStudio class at The Royal Academy of Art, Github link. [Google] [More]  ⦿

[Marc Lubbers]

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.

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

Graphue (was: Krafted)
[Paul Jansen]

Amsterdam-based Dutchman Paul Jansen runs both Krafted and Flat Icons. At Krafted, he published mainly script typefaces. In 2020: Dandelion Fall, Bankstory, Summer Rose, Lilium Star, Agnetta, Claston, Caride Script, Ratilla Script, Pathita Script, Casira Script, Burnt Rose Chalkboard, Butterscotch, Billy Holiday, Alabama Book, Topsy Turvy, Sun Kissed, Balloo, Strawberry Swirl, Cherry Pop, Hello Honey, Namaqua, Fenway (a baseball script). [Google] [More]  ⦿

Guido de Boer

[More]  ⦿

Guillaume Vallaeys

Designer who used FontStruct in 2009 to make the kitchen tile family Fraille, and the bold family Buttslamming, as well as the octagonal Joris is My Homeboy. Aka The Kiejoom. [Google] [More]  ⦿

Gustavo Ferreira

Brazilian designer (b. 1977, Rio de Janeiro) who worked in Amsterdam, The Netherlands, and is based in Cunha, Brazil. 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 type design from KABK Den Haag. His typefaces:

  • The grunge handwriting font Gentileza (2002), taken straight from Rio's streets.
  • The sans-serif typeface Eva (2002).
  • In 2004, he joined Ultra Pixel Fonts, where he made the pixel typefaces Elementar 09b, Elementar Basica 13.11, 13.21 and 13.31, which are all part of the pixel and dot matrix "system" Elementar [see also the Typotheque page]. He explains: Elementar is a parametric font system designed to bring more typographic flexibility to digital screens. Elementar embraces and explores the unique properties of digital media: the pixel, the coarse resolution grid, and the dimension of time. At ATypI 2005 in Helsinki, he spoke on Elementar.
  • At FontStruct, he made these typefaces in 2009-2010: Untitled Modern, ImperialSans, ImperialSerif, Untitled Roman, Modular Serif (Micro, Text, Large), Untitled Italic, Gothica (a geometric blackletter).
  • In 2008, Universidade de Brasilia asked Gustavo Ferreira to design a Helvetica-style free font family, UnB (in versions UnB Pro and UnB Office). Free download. Fontsquirrel link.
[Google] [More]  ⦿

Guus Ruijten

Roermond, The Netherlands-based designer, b. 1982, of the scratchy typeface Guru (2008). Dafont link. [Google] [More]  ⦿

[Rutger Paulusse]

Amsterdam (and before that, 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).

Behance link. [Google] [More]  ⦿

Haagse Letters
[Joshua Koomen]

Software to play on-line with a parametrized type family. Developed by Joshua Koomen. [Google] [More]  ⦿

Hana Sato

Graphic designer in Amsterdam who created a the sans typeface Hana sans in 2017. [Google] [More]  ⦿

Hanna Donker

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

Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. Dalton Maag's Hanna Donker and Spike Spondike won an award at Granshan 2016 for Intel Clear Thai.

Typecache link. [Google] [More]  ⦿

Hanneke Classen

[MyFonts] [More]  ⦿

Hannes Famira
[Kombinat Typefounders]

[MyFonts] [More]  ⦿

Hannes Famira
[Studio Hannes Famira (or: Famira Fonts)]

[MyFonts] [More]  ⦿

[David Kerkhoff]

Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe / Vaassen, 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, 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:

[Google] [MyFonts] [More]  ⦿

Hans Bodlaender
[True Type chess fonts]

[More]  ⦿

Hans De Bisschop
[Scaramanga Productions]

[More]  ⦿

Hans Hagen

Puzzles and geometrical constructions in metapost. [Google] [More]  ⦿

Hans Hagen

[More]  ⦿

Hans Lijklema

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]  ⦿

Hans van Leeuwen
[Visualogik Technology & Design]

[MyFonts] [More]  ⦿

Hans van Maanen
[Helmut Salden]

[MyFonts] [More]  ⦿

Hans van Maanen

Dutch science journalist who has published extensively in the Volkskrant. He is also into fine arts and illustration, and has even designed a few fonts. MyFonts page. Klingspor link.

  • His first production was Lexington and Lexington Handtooled (2006, a revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic. A typical art deco signage typeface which can be bought at Canada Type, and is characterized by its rabbit-eared k, l, b, d and h).
  • He also digitized and expanded Aurora Grotesk (1912, Johannes Wagner foundry) and called it Annonce (2006, Canada Type).
  • As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type).
  • Dutch Mediaeval (2007, 9 styles) is a text family based on Hollandse Mediaeval, the 1912 Sjoerd Hendrik De Roos classic. Followed in 2013 by Dutch Mediaeval Book ST (done together with Patrick Griffin), which was engineered specifically for science writing.
  • Freco (2006, Canada Type): an art deco font.
  • Circulaire (2009, Canada Type) is a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
  • Adams (2008, Canada Type) is a revival and major expansion of Dolf Overbeek's Studio typeface and Flambard, its bold counterpart, originally published by the Amsterdam Type Foundry in 1946 and 1954, respectively.
  • Lotto: A brush typeface originally designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955. Revived by Van Maanen at Canada Type in 2009.
  • Diploma (2009, Canada Type) is a revival of Diplomat, a metal type made by the in-house team of Ludwig&Mayer and first published in 1964.
  • Roos (2009): A 10-style revival and extension of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Patrick Griffin at Canada Type.
  • Archie (2010): a heavy techno sans banner face, done at Canada Type as a revival of work by Martin Meijer.
  • Agent (2010, Canada Type) is another revival of work by Martin Meijer.
  • Aragon (2010, Canada Type): Advertised as a workhorse Dutch Garamond family. Includes an open style called Aragon Initials.
  • Naga (+Naga Outline, 2011, Canada Type) is Hans van Maanen's original creation of art deco shapes intersected with intricate mazes of what could be Celtic or Mesoamerican knotwork art.
  • Zilvertype (2012). A 590-glyph typeface revival published by Canada Type: Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour. Followed in 2014 by the expanded Zilvertype Pro.
  • Minuet (2007) revives Schlesinger's Rondo.
  • Grippo (2012). A layered font in six styles, with a general art deco look.
  • Gaulois (2012). Based on Scribe (1937, Marcel Jacno), an art deco era signage and advertising script.
  • Wilke Kursiv (2013) is based on Martin Wilke's Wilke Kursiv from 1932.
  • Aragon ST (2013, with Patrick Griffin). Related to Garamond, this family was designed for science writing, thanks to the incorporation of SciType. SciType is a flexible combination of oft-ignored letterforms and innovative OpenType programming that can be incoporated into existing text fonts in order for them to function seamlessly when including common science formulas and equations in regular text.
  • In 2015, Hans cooperated with Patrick Griffin on the sturdy small text typeface Leo.
  • Basilio (2017). a revival and expansion of the italienne typeface Hidalgo (1939, Stefan Schlesinger for Lettergieterij Amsterdam).
  • Der Mond (2018). A stick font.
  • Pala (2018). A condensed semi-bold sans typeface that is based on the tyopes seen on posters by activists.
  • Monostad (2019).
  • Litige (2019). A bold titling sans.
  • Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces.
  • Boerenzij (2019). A stencil type commissioned by Wapke Feenstra for an exposition in Rotterdam.
  • Mmomo (2019).
  • Artist in Space (2019). A commissioned typeface.
  • Normandia (2021, by Patrick Griffin and Hans van Maanen). A digital revival of the fatface typeface Normandia by Alessandro Butti at Nebiolo (1946-1949).
[Google] [MyFonts] [More]  ⦿

Hans van Sinderen

Designer in Eindhoven, The Netherlands, whose Pentakis font (2014) is based on a Pentakis dodecahedron solid. Behance link. [Google] [More]  ⦿

Hansje van Halem

Dutch graphic designer, b. 1978. Graduate of the Gerrit Rietveld Academy, who started her own studio in Amsterdam in 2003. She creates alphabets, textures and patterns, both digitally and manually, that she applies to designs for posters, illustrations and public space art works such as gates and floors. In 2017, she developed an experimental typeface called Wind at Typotheque. Technically produced by Peter Bilak, there is variable font version by Thom Janssen. [Google] [More]  ⦿

Han-Wen Nienhuys

[More]  ⦿

Harm-Jan van der Mark

Amsterdam-based designer of the grungy Nike Freestyle (2012). [Google] [More]  ⦿

Harold W. de Wijn

[More]  ⦿

Heer Hugo

Rotterdam, The Netherlands, and/or UK-based designer of the engineering font Voltonium (2018) and the elliptical typeface Neth Sans (2018). [Google] [More]  ⦿

Hein Boekhout
[OTC (Odyssey Type Company)]

[MyFonts] [More]  ⦿

Hein Mevissen

Hein Mevissen (aka John Doe Amsterdam) is the Dutch creator of the hand-printed Hein Writing (2010). [Google] [More]  ⦿

Helena Carazo

Graphic designer in Amsterdam who drew a nicely lettered series of illustrations called Soup (2013). [Google] [More]  ⦿

Helga Keulen

Freelance graphic designer at Shift8, based in Hulsberg, The Netherlands. In 2014, she created the typefaces HelgAbstract and Helga Round. Behance link. [Google] [More]  ⦿

Helmut Salden
[Hans van Maanen]

Dutch book designer, 1910-1996, who fought in the resistance against the Nazi occupation. In 2019, Canada Type published Salden, a cooperation of Patrick Griffin and Hans van Maanen. They summarize that contribution and weave it into Salden's remarkable career:

The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden's exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day.

At the root of Salden's design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there.

This set covers the gamut of Salden's lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling.

All the fonts in this set include Pan-European glyph sets. They are loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts.

These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden's original drawings, access to which was graciously provided by Museum Meermanno in The Hague.

The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.

In 2020, Mathieu Lommen and Karen Polder published Helmut Salden Uncovered at Bobby Books. The blurb: Helmut Salden Uncovered 1:1 is the ?rst international monograph on the lettering artist Helmut Salden (1910-1996), exploring his original sketches and working drawings. Salden had fled from Germany to the Netherlands from the Nazis, and the book covers the years 1939 through 1970. All drawings are reproduced at actual size and reveal in detail his pursuit of the ultimate form. The book was awarded Best Book Design in the Netherlands for 2020. [Google] [MyFonts] [More]  ⦿

Hendricus Theodorus Wijdeveld

Hendrik Wijdeveld was a Dutch architect and art deco paper artist (1885-1987). He founded the trendsetting art deco magazine Wendingen in 1918 and remained its chief editor until 1931.

Wijdeveld designed many letter types for special projects, such as book covers, buildings, and letterheads. Examples include a poster entitled Architectuur Tentoonstelling (1931), a poster entitled Internationaal Theater Tentoonstelling (1922), and an illustration for De Bijenkorf (1922).

In 2003, Hans Oldewarris published Wijdeveld---Art Deco Design on Paper at 2010 Publishers. That book shows stencil-like art deco typefaces such as Wendingen and Amsterdam Deventer, both designed in the 1920s.

Wijdeveld's lettering and alphabets inspired these digital typefaces:

  • AF Wendingen (1998, Christian Küsters for ACME Fonts). An LED simulation typeface named after Wijdeveld's art deco magazine.
  • Architectuur NF (2006, Nick Curtis).
  • Hendrikus Wijdeveld (2010). By swiftw5 at FontStruct. Based on the poster entitled Architectuur Tentoonstelling Frank Lloyd Wright (1931).
  • Wijdeveld by Matthew Bardram of Atomic Media.
[Google] [MyFonts] [More]  ⦿

Hendrik Bruyn

Dutch typefounder. Publisher of Verbeterde letterproef, waar in verscheide nieuwe schriften, als mede diversche bloemen en vignetten te vinden zyn, Die gegooten worden te Amsterdam, by Hendrik Bruyn en Comp., boekdrukkers en lettergieters, op het Rockin, by de Langenbrug, Volume 1 (1810). [Google] [More]  ⦿

Hendrik D.L. Vervliet

Prolific Belgian type expert (b. 1923, Antwerp; d. 2020) who graduated in philology from the University of Leuven. He became adjunct director of the Museum Plantin-Moretus in Antwerp and was on the board of governors of the Plantin Instituut voor Typografie, which he helped renovate after the second worrld war together with Albert J.M. Pelckmans. Vervliet became librarian and lecturer at the University of Antwerp, and professor at the University of Amsterdam. Obituary that uses a text by Ludo Simons at the Plantin Instituut voor Typografie. Considered as the world's top expert on 15th and 16th century typography, Vervliet leaves a wealth of books on type from the renaissance era, and book history in general. Author of

  • Sixteenth-Century Printing Types of the Low Countries. With a Foreword by Harry Carter, Amsterdam: M. Hertzberger, 1968. This book has 267 facsimile-illustrations depicting 147 typespecimens. It was translated from the Dutch manuscript by Harry Carter.
  • Civilité Types (with Harry Carter, 1966, Oxford, University Press), for The Oxford Bibliographical Society).
  • Cyrillic & oriental typography in Rome at the end of the sixteenth century: an inquiry into the later work of Robert Granjon (1578-90) (1981, Berkeley Poltroon Press, 55+3 pages).
  • The Palaeotypography of the French Renaissance Selected Papers on Sixteenth-Century Typefaces (Library of the Written Word, 2008, and Leiden: Koninklijke Brill NV, 2008). This is a 565-page 2-volume oeuvre about which the publisher writes: This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.
  • French Renaissance Printing Types: A Conspectus (New Castle, Delaware, and London: Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010). This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence. The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.
  • Vine Leaf Ornaments in Renaissance Typography: a survey (2012, New Castle, Delaware: Oak Knoll Press and HES & DE GRAAF Publishers). Oak Knoll writes about this 416-page book: This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today. The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin.
  • Robert Granjon, letter-cutter, 1513-1590: An oeuvre-catalogue (New Castle, Delaware: Oak Knoll Press, 2018, 200 pages).
  • Granjon's Flowers Am Enquiry into Granjon's, Giolito's, and De Tournes' Ornaments, 1542-1586 (New Castle, Delaware: Oak Knoll Press, 2016, 248 pages). The contents include a chronology of Granjon's ornaments (1544-1586), ornaments used by Gabriele Giolito in Venice (1542-1550), and flowers and ornaments used by de Tournes in Lyons (1544-1577). Appendices include illustrated lists of ornaments by size, width, and date.
  • Post-incunabula en hun uitgevers in de Lage Landen: een bloemlezing gebaseerd op Wouter Nijhoff's L'art typographique. Post-incunabula and their publishers in the Low Countries: a selection based on Wouter Nijhoff's L'art typographique (Den Haag-Boston-London: Martinus Nijhoff, 1978, 205 pages).
  • Gutenberg of Diderot? De typografie als factor in de wereldgeschiedenis (Deventer: Van Loghum Slaterus, 1977, 33 pages). This is the speech he gave when he became professor of book history at the University of Amsterdam on May 16, 1977.
  • Liber librorum : 5000 jaar boekkunst (by Hendrik D. L. Vervliet, Fernand Baudin and Herman Liebaers, Brussel: Uitgeverij Arcade, 1972). The French translation: Liber librorum: cinq mille ans d'art du livre., Bruxelles: Arcade, 1972. Engelse vertaling: The book through five thousand years London-New York: Phaidon, 1972. Duitse vertaling: Liber librorum: 5000 Jahre Buchkunst, Genève: Weber, 1973.
  • Reproductions of Christopher Plantin's Index sive specimen characterum 1567 & Folio specimen of c. 1567, together with the Le Bé-Moretus Specimen, c. 1599 (by Hendrik D. L. Vervliet ans Harry Carter, London: Bodley Head, 1972).
  • The type specimen of the Vatican Press 1628. A facsimile with an introduction and notes by H.D.L. Vervliet (by Andrea Brogiotti and Hendrik D. L. Vervliet, Amsterdam: Menno Hertzberger, 1967).
  • Orientaliste [1882-1967] Specimen (by Hendrik D. L. Vervliet and René Draguet, Leuven: Drukkerij Orientaliste, 1967, 64 pages).
  • Danfrie Reconsidered. Philippe Danfrié's (d. 1606) Civilité Types, in: The Library, vol 21:1, pp. 3-45, 2020.

Wikipedia link. [Google] [More]  ⦿

Hendrik Nicolaas Werkman

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:

Groninger Museum link. [Google] [More]  ⦿

Hendrik van den Keere

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. DTL Flamande is available from URW++ since 2018. [Google] [MyFonts] [More]  ⦿

Henk Brouwer

Dutch poster artist, whose lettering on this maritime timetable entitled Sailings and Fares (1937) inspired Nick Curtis to make Metropolis NF. [Google] [More]  ⦿

Henk de Jong

Dutchman Henk de Jong lists some free font sites. [Google] [More]  ⦿

Henk Drost

The last punchcutter who worked for Enschedé. [Google] [MyFonts] [More]  ⦿

Henk Elenga

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 (Lux Typo) in 2005, and appeared in Esquire Magazine. It can be bought from Thirstype. [Google] [More]  ⦿

Henk Gianotten

Dutch type connoisseur after whom Antonio Pace's Linotype Gianotten (1990) is named. Born in 1940, 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. Gianotten left Tetterode in 2000. News about LinotypeGianotten. Linotype's press release. PDF samples of LinotypeGianotten. Article on Gianotten by Wim Westerveld in 2006. [Google] [More]  ⦿

Henk Haasdijk

Designer in Rotterdam, who created the highly original white-on-black poster font Sketchy Font (2013), the watercolor alphabet CryFall (2014). [Google] [More]  ⦿

Henk Krijger

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.

Digital revivals:

  • AR Types did a digital revival, Raffia (2008).
  • Ian Lynam's revival is called Raffish (2013). It is a derivative rather than an exact revival.
  • Henk Krijger Raffia Initials (2014, Patrick Griffin and Peter Enneson). This typeface (Opentype, and Adobe Illustrator formats) is based on photocopied reproductions and digital photographic images of the master drawings.

Klingspor link. Peter Enneson's biography of Henk Krijer. [Google] [MyFonts] [More]  ⦿

Henk van Leyden

Designer of RAT (1984), a typeface that was used for a few years in Rotterdam's subway. [Google] [More]  ⦿

Henno Drop

Graduate of the KABK in Den Haag. In 1996, he designed Alchimia and related astrology symbols at that school. [Google] [More]  ⦿

Henri Felix Borremans

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 type foundry Crabbe&Borremans, 1859-1861. Some specimen at the Amsterdam University Library. [Google] [More]  ⦿

Henric Pieterszoon Lettersnijder

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]  ⦿

Henry van der Wal

Dutch designer in Opende / Groningen of the modular (constructivist) titling typefaces Red Storm (2014) and Red Storm Rusty (2015). Behance link. Creative Market link. [Google] [More]  ⦿

Hermen Grasman
[Beware of the Moose]

[MyFonts] [More]  ⦿

Herzberg Design
[Matthijs Herzberg]

Aka BaronHerzberg. Illustrator, letterer and type designer, who was born in the Netherlands, moved to New Orleans in 2013, and set up Herzberg Design, a commercial type foundry, in 2019. His typefaces include:

  • Libido (2021). A funky unicase psychedelic typeface based upon Wes Wilson's style. It has a traditional smooth or curvy style, and a ragged style with only straight edges, and is designed in variable format with a width axis and an optical size axis.
  • Bonkus (2020). A six-style geometric sans-serif typeface with a funky touch that was inspired by similar wide open organic typefaces from the 1970s such as Blippo and Ronda.
  • Wanchy (2020). A psychedelic typeface.
  • Yardbird (2020). A stencil typeface.
  • Cloisterfuch (2019). A blocky modern blackletter.
  • Psychblock (2020). A variable art nouveau font with two axes (width and optical size), inspired by the psychedelia of Wes Wilson. For Latin and Cyrillic.
[Google] [More]  ⦿

Hill Valley
[Dionne Fox]

Dionne Fox, who runs Hill Valley, is based in The Netherlands. In 2017, she designed the cursive typeface family Spring Time. [Google] [More]  ⦿

Hinting tutorial

Jigal van Hemert's hinting tutorial (PDF), posted on his behalf. [Google] [More]  ⦿

Hobo Art
[Emile Michel Hobo]

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]  ⦿

Holger Königsdörfer

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). Typefaces:

  • His graduation project at the University of Applied Sciences in Augsburg was the winged slab serif typeface Vela (2010, Lazydogs Type Foundry).
  • Acon (2009, graduation project at KABK, a book type). Holger 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.
  • Camion (2008, slab serif).
  • He finished a revival and improvement of van Krimpen's Romanée in 2017, and published it at Lazydogs, after initially being kept from doing so by The Enschedé Font Foundry (TEFF) who claimed total rights to Romanée. Holger's typeface was wisely renamed Renommée in 2018.
[Google] [More]  ⦿

Houke De Kwant

Dutch typographer and designer who made the racy typographic poster Nikita (2010). [Google] [More]  ⦿

HR Groep

Dutch company in charge of the production of street signs. For some of their productions, they use Ovink Ee (1999). The Ovink Ee types are used in certain Dutch towns and villages on the street name signs and on small number plates signs along the railways to identify the switches and the signals. They are also used by Rijkswaterstaat (the authority regarding the highways, rivers and canals) in The Netherlands. Ovink Ee is a wider version of Visualogic's Ovink D VL (1995), which is used on Amsterdam's street signs. In addition, Ovink Ee includes a lower case, which Ovink D VL was lacking. [Google] [More]  ⦿

HTM fan

Dutch type designer. His HTMCijfersenBusletter (2003, free at OFL) is based on the HTM (Haagse Tramweg Maatschappij) street cars en buses from 1905 until 1967. [Google] [More]  ⦿

Huda Smitshuijzen AbiFarès

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), Typographic Matchmaking in the City (2010) and Arabic Type Design for Beginners (2013), 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
[Typographic Matchmaking]

[More]  ⦿

Hugo Cavalheiro d'Alte

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.

Cargo collective link. Link at Underware. Alternate URL: This is playtime.

His typefaces:

  • For Thirstype, he made Kaas (2005), a blackletter typeface for the 21st century, with Latin, Cyrillic, and Hebrew alphabets.
  • Still in 2009, he created a transitional type, Rolland (+Rolland Text, Rolland Small, Rolland Text Italic), about which he writes: Rolland is a digital interpretation of some of the printing types used at the "Typografia Rollandiana" in Lisbon at the end of the XVIII century. The printing and publishing house was established by Francisco Rolland after he moved to Lisbon (from France) in the second half of the XVIII century becoming one of the most successful publishers of his time.
  • Kalevala (2009): a custom sans type family for Finnish jewelry brand Kalevala Koru. The starting point for this project was a book printed and published by Francisco Rolland in 1797: "Escolha das Melhores Novellas e Contos Moraes; Escritos em Francez por MM, d'Arnaud, Marmontel, Madama de Gomez, e outros".
  • In 2009-2010, he made a DIN-like corporate font for Centro Portugues de Design, CPD Sans. This was accompanied by the CPDSerif family, which evolved from Rolland.
  • In 2009, he created the squarish unicase typeface Flexibility: Custom typeface commissioned by the portuguese design studio R2 for the identity of an exhibition that took place in Torino (Italy) in 2008 (World Design Capital 2008).
  • Kaas (2005, Incubator) is a modern geometric/constructed blackletter with a historically-accurate set of titling capitals, a large collection of accents, and Cyrillic and Hebrew alphabets.
  • Arabia (2015) is a custom typeface for Arabia Finland (for the identity renewal work by Ilkka Kärkkäinen).
[Google] [MyFonts] [More]  ⦿

Huig Markus

Berkenwoude, The Netherlands-based designer of a curly slimy typeface in 2015. [Google] [More]  ⦿

Hungarumlaut (was: Cila Design)
[Adam Katyi]

Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and an MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag. In 2014 Adam founded his own type foundry, Hungarumlaut. Between 2015 and 2016 he worked for Miles Newlyn at Newlyn Ltd, as a part time font engineer and type designer. Since 2014, he teaches at the Moholy-Nagy Art and Design University. He is currently located in Graz, Austria. His typefaces:

  • In 2009, he created 9Pixel.
  • In 2010, he designed a typeface called Ringua, and the great Totfalusi Sans Serif, his BA final project at Sopron's Institute of Applied Art.
  • In 2012: Ursin (techno, octagonal), Ursin Rounded.
  • 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.
  • Also in 2013, he published Infinity Space Icons.
  • Nubu (2014). A thin fashion mag sans custom made for the fashion design group NUBU.
  • Telkmo: A Custom font by Adam Katy and Miles Newlyn for Telkom South-Africa.
  • 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.
  • Ost (2016). A custom typeface for Ost Konzept, is a clothing brand established in 2016 in Hungary by Aron Sasvari and Oliver Lantos, and named after the German word for East, as a symbol of the formerly isolated Eastern-European reality, the results a disorted viewpoint of fashion.
  • Magen. Magen is a one-style, headline typeface with translation contrast, based on sketches with a broad-edged pen. A custom design for The Revere, a bi-weekly, student-run, foreign affairs periodical.
  • For the Laszlo Moholy-Nagy Design Grant (named after Bauhaus artist Laszlo Moholy-Nagy), he created the ink-trapped custom typeface Mohol in 2017.
  • Kleine Titel is a custom typeface for the Styrian Kleine Zeitung daily newspaper.
  • Laslo (2018) is a sans typeface with variable widths. It was inspired by the letter a of a Bauhaus Tapetenmusterbuch from 1934.
  • Amen Display (2018). This didone grew out of Gewaard: I made the first sketches and digital files at my Type and Media studies as a revival project under the name Gewaard. Project leader: Paul van der Laan. The Medium weight is an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of c.1906. I have found the original typeface in an old prayer-book, from Butzon and Bercker, Kevelaer, 1904. The type was set in large size, in 24 pt. Since 2013 I have redrawn the letters several times, but I've found its clear voice only five years after the first sketches. In 2018 I redesigned all the characters with more geometric details and a comletely new italic style.
  • Supergravity (2018-2020).

Behance link for Cila Design. Cila Design. Behance link for Hungarumlaut. Type Today link. Yet another Behance link. [Google] [MyFonts] [More]  ⦿

Huub Koch

An essay about teaching typographic literacy by Huub Koch. It also has a list of type links. [Google] [More]  ⦿

Hybrid Space
[Kees Gajentaan]

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.

Dafont link. [Google] [More]  ⦿

Hylkje Kroon

Groningen, The Netherlands-based graphic designer who created the display typeface Newone in 2017 for a project at the Aluo Arts Academy Ljubljana. She also designed an Arabic simulation typeface in 2017 that was inspired by Syrian refugees. [Google] [More]  ⦿


Dutch designer of the techno typeface Conradi Square (2012). Dafont link. [Google] [More]  ⦿

Ilja Pfeijffer
[CL Fonts]

[More]  ⦿

Ines Leite

Amsterdam-based designer of the blocky 3d typeface The Female Sex Alphabet (2019), which has nothing to do with females or sex. [Google] [More]  ⦿

Inga van Haren

In 2016, Inga van Haren (Wijchen, The Netherlands) created the steampunk typeface Walle. [Google] [More]  ⦿

Ingeborg Vriends

Dutch creator (b. 1971) of Inkies 2 (2012, hand-drawn).

Dafont link. [Google] [More]  ⦿

Inka Strotmann

From her page: Inka Strotmann (née Inka 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]  ⦿

Innit Design

Innit Design (Amsterdam) created the typefaces BMBKLT05 (2012, influenced by brutalist architecture) and MSSV11 (2012, a dripping paint graffiti font).

Behance link. [Google] [More]  ⦿

Interant Media

Interant Media is a small design and development company in Holland. Creators of the hand-printed pay font Pencil (2011). [Google] [More]  ⦿

Irina Kopytina

Graphic design student at ArtEZ school in Arnhem, Netherlands, who is originally from Moscow. She created the italic typeface Arnhemse jochies (2010) and the experimental typeface Breadclip (2012).

In 2014, we find her in Brussels, Belgium, where she created a gridded octagonal typeface.

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

Irma Boom

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 [2013], 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]  ⦿

Isa Werleman

Dutch designer of the bilined display typeface Pointy (2018). [Google] [More]  ⦿

Isidorus Maria Cornelis van Mens

Dutch poster artist with a timeless name, 1890-1985. Posters with art deco lettering by him include Jaarbeurs Utrecht (1937). [Google] [More]  ⦿

Ivo van Leeuwen

Ivo van Leeuwen lives in Tilburg, The Netherlands. Since 1996 he works as illustrator, graphic artist and painter. He makes free illustrations as well as commissioned work for newspapers and festivals. He also illustrates novels and poetry works. In 2014 he was asked by Sander Neijnens to collaborate on the (free) TilburgsAns fonts, which were published in 2016-2017. [Google] [More]  ⦿

J. de Haan

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.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More]  ⦿

J. Hepkema

FontStructor who made the De Stijl-like pixel typeface JFont (2010). [Google] [More]  ⦿

Jaap Nauta

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.

Dafont link. [Google] [More]  ⦿

Jack Devreugd

Aka Jack Junior. During his studies at Grafisch Lyceum Rotterdam, Jack Devreugd (Katwijk, The Netherlands) designed the squarish typeface Typografia (2012, constructivist). [Google] [More]  ⦿

Jack van der Vaart

Dutch creator of the plump comic book typeface Walibi 0615 (2011), which is modeled after the one used in the Walibi Holland site. [Google] [More]  ⦿

Jacob Jan Wise
[Wise Type]

[More]  ⦿

Jacobus van de Velde

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]  ⦿

Jacobus Wilhelmus Gidding

Jaap Gidding was a Dutch designer, 1887-1955. He created some art deco posters such as Tentoonstelling van Binnenhuiskunst (1919) and Nenijto (1928). [Google] [More]  ⦿

Jacques Borel

[More]  ⦿

Jacques Coolen

Dutch designer who used iFontmaker in 2011 to create Jac's Font. [Google] [More]  ⦿

Jacques Le Bailly
[Baron von Fonthausen]

[MyFonts] [More]  ⦿

Jaimy van den Hoof

Graphic designer in Waalwijk, The Netherlands, who created the display typeface Profundum (2013).

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

Jaimy Van Venrooy

Vinkel, The Netherlands-based designer of the bilined squarish typeface Mondrien (2014). [Google] [More]  ⦿

Jake Keijzers
[Kazer Studio]

[MyFonts] [More]  ⦿

James Dolence

Den Haag-based creator of the Milks display family (2012), of Miks (2013, a mixture of Rockwell and VAG Round), and of the subway-inspired Metron (2012).

Behance link. [Google] [More]  ⦿

James Goggin

[More]  ⦿

Jamie de Rooij

Jamie de Rooij (Zaandam, The Netherlands) created the wavy typeface Kramp (2012) and the display typeface Schok (2013).

Behance link. She studies graphic design in Amsterdam. [Google] [More]  ⦿

Jamilla Grannetia

Hilversum, The Netherlands-based designer of the grid-based typeface family Formgiving (2017) and the textured typeface Rotten (2017).

Typefaces from 2018: Morbid Icons, Fluid, Point, Dweeb (a neon typeface). [Google] [More]  ⦿

Jan Bunk
[Bureau Bunk]

[MyFonts] [More]  ⦿

Jan Dietvorst

Den Haag-based designer of the very experimental geometric typeface Tangram (2011), The Monks Are Allright (2012), and Scripto (2011). Home page. [Google] [More]  ⦿

Jan Duiker

Dutch designer, 1890-1935. He created some art deco posters such as Zonnestraaldag (1926). [Google] [More]  ⦿

Jan Hendrik Scholte

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:

  • Gustav Mori: Christian Egenolff, der erste ständige Buchdrucker in Frankfurt a/M
  • Christian Münden: Von den ersten Franckfurter Bruchdruckern
  • Gustav Mori: Geschichte und Entwicklung des Schriftgiesserei-Gewerbes in Frankfurt a/M
  • Charles Enschedé: Die Druckerei der Elsevier und ihre Bezichung zu der Lutherschen Schriftgiesserei
This book is mainly about the development and history of blackletter types. Open Library link. [Google] [More]  ⦿

Jan Middendorp

Jan Middendorp, born in the Den Haag, Netherlands, lived in Leiden, Amsterdam and Gent (Belgium) before moving to Berlin in 2005. He died in December 2023. An independent writer, translator and consultant, he taught (taught) at Weissensee Art College in Berlin and the Plantin Institute of Typography in Antwerp. During the past twenty years Jan has edited, written and co-written a number of well-known books on graphic design and typography, including Hey, there goes one of mine! (2002), Dutch Type (2004), Shaping Text (2012), Hand to Type (2012), Type Navigator (2011, with TwoPoints. Net), Creative Characters (2010) and Made with FontFont (2006, with Erik Spiekermann). He had an ongoing collaboration with the Bibliothèque typographique of Ypsilon Editeur in Paris and with MyFonts, where he edited the popular interview newsletter Creative Characters.

In 2017, he founded Fust & Friends.

In 2023, received the TDC Medal.

Dorp Dal link. Fust & Friends bio. [Google] [More]  ⦿

Jan Oomkens

Dutch foundry based in Groningen in the early 19th century. Specimen in "Proef van letteren, bloemen, enz. der boekdrukkery van J. Oomkens J. zoon" (Groningen, 1807). [Google] [More]  ⦿

Jan Pas

Author of Mathematische of wiskundige behandeling der schryfkonst. Behelzende een manier om alle de gemeene letteren van het regt- en schuin romeins; curcyf; italiaansch; nederduitsch; en fractuur ... Opgesteld en geteekend (Amsterdam, 1737). This Dutch text contains some pages in French under the section title Demonstration mathematique de l'art d'écrire. The text shows many letter styles drawn entirely with compass and ruler, and is clearly influenced by the romain du roi. Local download. [Google] [More]  ⦿

Jan Pieter Kunst
[Avesta Fonts]

[More]  ⦿

Jan Roman

Typefounder active in the Netherlands around 1570. [Google] [More]  ⦿

Jan Sonntag
[Sonntag Fonts (or: S Fonts)]

[MyFonts] [More]  ⦿

Jan Tholenaar

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

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]  ⦿

Jan van den Velde

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]  ⦿

Jan van Dijk

Dutch designer of Demian (1984 at ITC, like Tekton) and Van Dijk (1982, hand-printed). Full list of his typefaces:

FontShop link.

Jan van Dijk's typefaces. [Google] [MyFonts] [More]  ⦿

Jan van Krimpen

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 considerable influence on the next generation of type designers. His typefaces include:

  • Cancellaresca Bastarda (1934-1935, Enschedé). 100 Types writes: Cancellaresca Bastarda is a graceful narrow italic with long descenders and ascenders, and a large array of character variations and swashes. The uppercase and lowercase alone ran to 167 characters including ligatures, anticipating large-family calligraphic fonts such as Poetica Chancery by at least 50 years. Jan van Krimpen's types have been called 'austerely beautiful' but are little known outside of his native Holland. The Enschedé Foundry for whom he worked in the mid 20th century still rigidly controls his types, and none of these have been cross licensed, redistributed or pirated. As a result, Cancellaresca Bastarda is one of the rarest typefaces.
  • Haarlemmer (1938). Berry, Johnson and Jaspert write: Designed by Jan van Krimpen, and commissioned in 1938 by the Vereeniging voor Druk- en Boekkunst. This originally private type was intended for an edition of the Staten Bijbel to be printed in small folio format. The type has the qualities of an old face. The serifs on the capitals are thin; on the lower case they are stronger and not quite horizontal. The capitals are wide, especially the M. The g has a large bowl. The italic is slightly inclined and has angular beginning strokes; the g has a calligraphic tail; v and w have cursive forms. Two styles of figures are provided. Now digitized as DTL Haarlemmer and DTL Haarlemmer Sans (1994). Frank E. Blokland published it at Monotype in 1998, and later at his own type foundry, Dutch Type Library. This is a prototype example of a design that is totally destroyed by one glyph, the lower case g in the italics.
  • Lutetia (Enschedé, 1924). Berry, Johnson and Jaspert write: The type shares some of the qualities which we have found in a number of contemporary types, small serifs and unobtrusive capitals. The capitals are wide, note especially E and F. U has the lower-case design. In the lower case the e has an oblique stroke to the eye, the g a large bowl, and the t is very short. The figures are old style. In the italic there is a swash series of capitals with prolonged strokes in A, K, M, N and R. The lower case, very slightly inclined, resembles Blado in the angularity of the begininng strokes, but the serifs on ascenders are flat. The g has a calligraphic form. It is an italic which, again like Blado, will stand on its own. The roman alphabet shown here is the first Lutetia of 1925 designed 1923-1924. With the co-operation of Jan van Krimpen an American printer, Porter Garnett, had it revised in 1928. The present Enschedé Lutetia is of the first form with the exception of the horizontal bar to the e. Monotype Lutetia was adapted by the designer to the Mono-unit system. Lutetia Open was cut about 1930 on the model of handtooled capitals which the designer had been using occasionally. Lutetia was digitally revived as Lutetia Nova Book in 2014 by Ralph M. Unger, and as Lutetia Open by ARTypes in 2007. For her type revival project at KABK, Barbara Bigosinska 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 refers to the Roman name of Paris. Essay by Doyald Young on Van Krimpen and his Lutetia.
  • Open Roman Capitals (or: Open Kapitalen, revived in 2006 by Ari Rafaeli; see also Open Capitals by ARTypes, 2007).
  • Romanée (Enschedé, 1928). For a digital revival, interpretation and extension, we refer to Holger Koenigsdoerfer's Romanée (2017, unpublished).
  • Romulus (Enschedé, 1931 for the Capitals and 1936 for the Open version). Romulus Kapitalen and Romulus Open were revived in 2006 by Ari Rafaeli. See also Romulus Capitals and Romulus Open in 2007 by ARTypes. Now digitized as DTL Romulus (2002).
  • Curwen Initials, done in 1925 for The Curwen Press at Plaistow, London. Digitized by ARTypes as Curwen Initials (2008, Ari Rafaeli).
  • Spectrum (Monotype, 1952--a very beautiful modern type family, legible, and flexible in all situations; part of the Linotype library). MyFonts writes: Spectrum is based on a design by Jan van Krimpen, who worked on his typeface from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the typeface was so beautifully formed and universal that the Monotype Corporation in London completed it.
  • Van Dijck.

Van Krimpen had a difficult character. Lines&Splines wrote this: Alastair Johnston, from an issue of Ampersand, once posed the question, "Do you have to be an asshole to be a good type designer?" Gerard Unger replied to the effect that even to this day, people will look over their shoulders before discussing Van Krimpen. One can almost imagine Van Krimpen waving one of his sharp serifs over his head like a stick, flailing against the difficulties of his everyday relations, his nostrils flared as they were in every portrait taken of him. MyFonts page. CV at Linotype. FontShop link. Some of his work and correspondence can be found at the University of Amsterdam.

Klingspor link.

A list of typefaces based on Jan Van Krimpen's work:


Author of On Designing and Devising Type (1957, New York: the Typophiles, & Heemstede). [Google] [MyFonts] [More]  ⦿

Jan Visser

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.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More]  ⦿

Jan Willem Paasse

Dutch creator of Paasse Handwriting (2013). [Google] [More]  ⦿

Jan Willem Wennekes

[MyFonts] [More]  ⦿

Janine Otte

As a student at Grafisch Lyceum Rotterdam, Janine Otte designed an alchemic typeface (2018). [Google] [More]  ⦿

Janne van Hooff

During her graphic design studies, Janne van Hooff (Den Haag, The Netherlands) created Tape Font (2013, FontStruct). [Google] [More]  ⦿

Janno Hahn

Dutch designer and type designer (b. 1980, Enkhuizen) who studied at Graphic Lyceum in Amsterdam, the Royal Academy of Art in The Hague and the Plantin Institute of Typography in Antwerp. Since 2006 he operates under his own name, working in the field of printed and spatial type design, typography and graphic design. He specializes in (often Dutch deco) type found on the bridges and buildings of Amsterdam. He created the custom uncial typeface Bonifatius in 2007 for the municipality of Dokkum, The Netherlands. Other typefaces by Hahn include the squarish monoline sans Riso (2019), the experimental 3d typeface Typomorphosis (2019), and Bike Lane Stencil (2013, for use on Amsterdam bike lanes). He also made 25 other fonts with another Dutch designer. [Google] [More]  ⦿

Jarr Geerligs

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]  ⦿

Jarrik Muller

[More]  ⦿

Jarrik Muller

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.

In 2014, he set up Citype. At Citype, he published the free pixelish typeface Amsterdam.

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

Jasper Michael De Waard
[Bureau Roffa (was: Designtown)]

[MyFonts] [More]  ⦿

Jasper Nijssen
[Studio Jasper Nijssen]

[MyFonts] [More]  ⦿

Jasper Terra

Dutch 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 Baerdemaeker]

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]  ⦿

J.C. van Lunteren

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).

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More]  ⦿

Jean Baptist De Panne
[De Passe&Menne]

[More]  ⦿

Jean De La Chambre

Dutch penman who published Verscheyden geschriften geschreven ende int'Koper gesneden door Jean de la Chambre Liefhebber ende beminder der pennen tot Haarlem in 1638. [Google] [More]  ⦿

Jean Paul Beumer

[MyFonts] [More]  ⦿

Jeanine Nieuwland

Rotterdam, The Netherlands-based designer of the handcrafted typeface Charcoal Jeanine (2018). [Google] [More]  ⦿

Jean-Paul Toonen

Dutch film producer based in Maastricht, The Netherlands. In 1992, his handwriting was made into a font. Much later, René Verkaart refined it and published it in his foundry, Characters, as Maestricht. [Google] [More]  ⦿

Jeff Schreiber

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 2013, he published Lucien) (a headline sans), Muchacho (a free Western font), and Gringo (a spurred Western typeface).

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 co-designed the eighties-style animated typeface Razor in 2014 over at Animography.

Typefaces from 2016: Blackrock (a free chunky blackletter-inspired font).

With Timo Kuilder, he founded Regular Bold Italic.

Behance link Regular Bold Italic link. [Google] [More]  ⦿

Jeffrey Hossain

Boxtel, The Netherlands-based designer of the hexagonal grid typeface Honeybee (2014, FontStruct). [Google] [More]  ⦿

Jeffrey Visser
[Fine Display Type]

[MyFonts] [More]  ⦿

Jelle Bosma

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:

  • He created WTC Cursivium (1986, World Typeface Center).
  • He was one of the main type designers at Scangraphic from 1988-1991, where he designed Forlane in 1991.
  • Bosma joined Monotype in 1992. His role was to oversee TrueType production and hinting. One of Bosma's first projects for the company's UK office was to manage the production of Greek and Cyrillic core fonts for the Windows 3.1 operating system. Known for his work with non-Latin typefaces, Bosma has produced fonts for Hebrew, Thai, Arabic and Indic scripts. He relies a lot on his own software, including a truetype font editor called FontDame. He also claims that there are no more than 25 professional hinters world-wide. Alternate URL.
  • Bosma was part of the team that developed corporate identity typefaces for Nokia. Launched in 2002, the Nokia types include sans, serif, and bitmap versions in varying weights. The Nokia fonts are used for everything from architectural signage and printed brochures to screen type for phones and other devices.
  • In 2004, he created the OpenType family Cambria for Microsoft's ClearType project.

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

Jelle Zweegers

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
[Tjarda Koster]

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.

Dafont link. Another page. Klingspor link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Jelmar Geertsma

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]  ⦿

Jelmer R

Dutch designer of the mini-serifed typeface Narrenschiff (2019), which is characterized by a blunt-nosed lowercase g. [Google] [More]  ⦿

Jenny de Groot

She used Fontifier to design the handwriting typeface Mijn-handschrift (2004). [Google] [More]  ⦿

Jens van der Lugt

Illustrator in Breda, The Netherlands. Creator of Untitled (2011, hand-printed) and The Big Fat Font (2011). [Google] [More]  ⦿

Jeroen Barendse

Designer at the The Hague-based foundry LUST of LUSTPure, LUSTGrotesk, LUSTBlowout, LUStTGothic (1994). [Google] [More]  ⦿

Jeroen de Jonge

Jeroen de Jonge (Rotterdam, The Netherlands) created the alchemic typeface Support in 2013 during his studies. [Google] [More]  ⦿

Jeroen Hellingman

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 Kant

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]  ⦿

Jeroen Klaver
[Shamfonts (was: Shamrocking.com)]

[More]  ⦿

Jeroen Koning
[De Aesthetische Dienst]

[More]  ⦿

Jeroen Krielaars

[MyFonts] [More]  ⦿

Jeroen Leupen

[More]  ⦿

Jeroen Overweel

Designer in Utrecht, The Netherlands. In 2014, he published the excellent Bos Theater Type, a typeface that is reminiscent of rough wood prints and even potato printing. [Google] [More]  ⦿

Jeroen Saey

Dutch creator of the free squarish typeface Night Bits (2013). [Google] [More]  ⦿

Jeroen Visser

[More]  ⦿

Jeske Kolen

During her studies, Tilburg, The Netherlands-based Jeske Kolen designed a pixelish typeface (2016). [Google] [More]  ⦿

Jeske Lettinga Roorda

Dutch designer (b. 1995) of Scribble Scrabble (2014). [Google] [More]  ⦿

Jesse Kuiper

Amsterdam-based creator of Amsterdam Graffiti (2009). [Google] [More]  ⦿

Jesse Paauwe

At Grafisch Lyceum in Rotterdam, Delft, Netherlands-based Jesse Paauwe designed Fingerprint Font (2018). [Google] [More]  ⦿

Jesse Smeding

Dutch designer of the handcrafted typeface Stitches (2016). [Google] [More]  ⦿

Jheryll Richardson

Amsterdam-based designer of the display typeface Typieks (2013). [Google] [More]  ⦿


Comparison of truetype and type 1 by Jigal van Hemert. [Google] [More]  ⦿

Jim Jansen

During his studies at the Willem De Kooning Academy in Rotterdam, Jim Jansen designed the lachrymal display typeface Crescendo (2013). [Google] [More]  ⦿

J.L. Mathieu Lauweriks

Johannes Ludovicus Mathieu Lauweriks was a Dutch architect and designer, b. Roermond, 1864, d. Amsterdam, 1932. As a theorist and an artist, Lauweriks had great influence on early 20th-century movements such as the Amsterdam School, De Stijl and the Bauhaus. He was also a key propagator of proportion theory and system thinking. He taught at the School voor Kunst en Kunstnijverheid in Haarlem (1900-1904), the Kunstgewerbeschule in Düsseldorf (1904-1909) and the Staatliche Handfertigkeitskurs in hagen (1909-1916), where he was director. After returning to the Netherlands in 1916, he taught art and architecture at Voortgezet en Hooger Bouwkunst Onderricht in Amsterdam, from 1916 onwards. From 1918 until 1931, he was editor in chief of the art magazine Wendingen.

He created Quadratuuralfabet in 1900. That typeface was digitally revived and extended by Nick Sherman ca. 2019 as Lauweriks. [Google] [More]  ⦿

Jo de Baerdemaeker
[Javenese typefaces: history]

[More]  ⦿

Joannes Weenink

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.

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More]  ⦿

Job Wouters

[More]  ⦿

Jodie Koldijk

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]  ⦿

Joe vanderHam
[Joebob Graphics]

[MyFonts] [More]  ⦿

Joebob Graphics
[Joe vanderHam]

Dutchman Jeroen van der Ham ("joebob"), who is based in s'Hertogenbosch, designed mostly handwriting fonts: Lingua (a fat finger font) (2021), Quarantinus (2020), Epistula (2020), Old Letterhand (2020), dearJoe 7 (2019), Black Hand (2018), Caput (2018: a crayon font),Manus Smooth (2017), Four Hand (2017), Maneo (2017), Tater Todd (2016), Creta (2016, crayon font), Hillbelly (2016, rough brush script), Hesster Mofet (2016, brush script, renamed from Hesster Moffett), 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, MoanLisa (2001, linocut style), Onepunch Jim Outline, Detour Dork (2002).

His fonts are available from MyFonts. Fontspace link. Font Squirrel link. Fontsy link. Alternate URL. Dafont link. Typoasis link. Abstract Fonts link. Klingspor link. Another Fontspace link.

View Joe Vander Ham's typefaces. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Joeline Bohnen

Freelance designer in Zierikzee, The Netherlands, in the heart of the mussels region. Creator of the bilined caps typeface Body Movin (2014). [Google] [More]  ⦿

Joep Pohlen
[Polka Design / Letterfontein]

[More]  ⦿

Joh. A. Moesman

Lithographer and calligrapher in Utrecht, The Netherlands, 1859-1937. He published an untitled lettering model book in 1877. [Google] [More]  ⦿

Joh. Enschedé en Zonen

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.

One of the family members, A.J. Enschedé, sketched the foundry's timeline in 1867:

  • Jean Enschedé (Jean being the French for Johan or Johannes) was an erudite man and entrepreneur, b. 1708, d. 1780. In 1743, he bought the foundry of Hendrik Floris Wetstein, who had started out in Basel but moved to Amsterdam. Wetstein's punches were engraved by Joan Michael Fleischman (b. Nurenberg, 1701, d. Amsterdam, 1768).
  • Both Fleischman and Jean François Rosart (b. Namur, 1714, d. Brussels, 1777) contributed type designs to Enschedé's new foundry.
  • The foundry also acquired matrices and punches from elsewhere, notably from many of the second level foundries that existed in Holland at the time of the birth of Enschedé's foundry. Enschedé and the competing foundry of the brothers Ploos van Amstel bought most of the stock in Holland, but nearly all of that material, often of lower quality, was molten and reused for other purposes. These second level foundries included
    • The foundry of the printer Bleau located in the Bloemgracht in Amsterdam; this foundry was sold in 1677 to engraver Dirk Voskens, whose successors were, in order, his son Bartholomeus Voskens, then widow Voskens and sons, and finally "Clerk en Voskens". Finally, Voskens was sold in 1780.
    • The foundry of Isaac and Hendrik van der Putte in Amsterdam.
    • The foundry of Antoine and Hendrik de Bruyn (later the Elix Foundry) in Amsterdam.
    • The foundry of J. van de Velde in Amsterdam, which was first sold to H. Uytwerf in Amsterdam, which in turn became "R.C. Alberts en H. Uytwerf" in Den Haag in 1750.
    • The foundry of Jan Smid and Joannes Dauu, which existed briefly around 1780 when its specimen book appeared. This foundry was probably sold to J. de Groot who moved the foundry to Den Haag. De Groot's specimens were published in 1781. De Groot became Harmsen, and Harmsen sold the foundry in 1818.
    • The foundry of Brouwer and Weyer, located in Amsterdam.
    • The foundry of J.L. Pfeiffer, situated in the Sint Janstraat in Amsterdam.
    • The foundry of pastor C. Nozeman in Haarlem.
    • The foundry of the brothers Ploos van Amstel in Amsterdam.
    • The foundry of the Elzevier family. In 1625, Bonaventure and Abraham Elzevier bought the ptrint shop of Isaac Elzevier (son of Mathieu), who was a printer at the University of Leyden. Their two sons, Daniel and Abraham, respectively, were named the official printers of that university. They worked together until 1654, when Daniel moved half of the foundry to Amsterdam where he kept working until his death in 1680. Daniel's sons continued for some time. They also owned a foundry im Amsterdam which employed Christoffel van Dijk as engraver. Daniel's successors left the foundry to Van Dijk who led it until 1683. In that year, the foundry was moved to the house of Joseph Athias, a librarian and printer in Amsterdam, who already had in his possession some punches and matrices by Van Dijk such as the famous Hebrew alphabet Van Dijk had made in 1662 and 1663 for his Hebrew bible. Athias's affairs were passed on to the Amsterdam-based p[rinter Jan Jacobsz Schipper. After Schipper, Schipper's widow (Clyburg) and her daughter kept running the business until 1705, when all was sold to another printer, Jan Roman, also in Amsterdam. Jan Roman's foundry was sold in 1767 in Amsterdam and bought by Jean Enschedé and the brothers Ploos van Amstel, who divided the loot. The foundry of Ploos van Amstel was later also sold to Jean Enschedé.

Publications include:

[Google] [More]  ⦿

Johan de Zoete

Curator of the Museum Enschedé who lived (lives?) in Haarlem. [Google] [More]  ⦿

Johan Manschot

[MyFonts] [More]  ⦿

Johann Michael Fleischmann

Or Fleischman, with one "n". A German punchcutter (b. Nuremberg, 1701, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. Enschedé's 1768 specimen book, Proef van Letteren shows most of his typefaces, starting as early as 1734. All his surviving punches and matrices are now in the possession of the Enschedés. His work influenced even Bodoni. His foremost typeface is the 8-point roman from 1739. That typeface has seen many metal versions, and even more digitizations. Among the metal re-cuts, one was due to Georg Belwe. There is a Fleischmann typeface at L. Wagner (1927), and a version at Typoart. Berry, Johnson and Jaspert write: His roman types are rather condensed and of a large x-height. His design is approaching the modern; the stress in some letters is vertical and the serifs are nearer the horizontal. In the upper case the long arms of the E and the squareness of the M are to be noted. In the lower case the g is conspicuous with bulbous ear and rounded link The italic rather less steeply inclined than the old face italics but still somewhat irregular The figures are still old face. Among the digitizations, we have:

  • At the Dutch Type Library, DTL Fleischmann (1992, Erhard Kaiser).
  • Fleischmann BT Pro (2002, Charles Gibbons). 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 (robin). [Google] [MyFonts] [More]  ⦿

Johann Michael Fleischmann: Biography by Ingo Preuss

The biography of Johann Michael Fleischmann (1707-1768) as told by Ingo Preuss:

  • Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundry of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768.
  • In Amsterdam he worked for several type foundries, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his emigration to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time.
  • After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundry 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein.
  • In 1743 after the type foundry was sold by Wetstein's son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé.
  • Fleischmann create dvarious fonts for Enscheé. The font example published 1768 by Enschedé contains three titling alphabets, 16 antiqua cuts, 14 italic cuts, 13 textura typefaces, 2 scripts, two Greek types, one Arabic, one Malayan and seven Armenian font systems, five sets of music notes and the poliphonian music note system by Fleischmann. In total he brought into being about 100 alphabets---the fruits of fourty years of creative work as a punchcutter.
  • Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion.
[Google] [More]  ⦿

Johanna Balusikova

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 (1999-2000) 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". 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]  ⦿

Johannes de Groot
[Lettergieterij J. de Groot]

[More]  ⦿

Johannes Hendrikus Moesman

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]  ⦿

Johannes Missillie

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).

Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More]  ⦿

Johannes Nicolaas Coenraad Collette

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]  ⦿

Johannes Rolu

Typefounder active in the Netherlands around 1570. [Google] [More]  ⦿

John A. Lane

John A. Lane (b. 1955) is a type and printing historian. He was born and raised in the United States and has lived in Leiden (Holland) since 1990. He 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).
  • Author of The Diaspora of Armenian Printing 1512-2012 (2012, Amsterdam: Special Collections of the University of Amsterdam). From the book's blurb: In 1512, in the city of Venice, Hakob Meghapart printed the first book in Armenian type. [...] For technical and political reasons, all Armenian books were printed outside Armenia until 1771. The art of Armenian printing developed in major centres like Venice, Constantinople and Amsterdam, but also in many others around the world. Its history moves along highways and byways reflecting the ups and downs of the Armenian people. The book describes the diaspora of Armenian printing, highlighting the role of Amsterdam.
[Google] [More]  ⦿

John Hudson

[More]  ⦿

John Lavies

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]  ⦿

John Van der Meule

Graphic Design student at the Royal Art Academy in The Hague in 2013. Creator of Dratlar (2013, Fontstruct). [Google] [More]  ⦿

John Wollring

[More]  ⦿

Jonas Vacek

During his studies in Maastricht, The Netherlands, Jonas Vacek designed the avanat garde sans typeface Saqare (2017) and a straight-edged experimental typeface (2017). Behance link. [Google] [More]  ⦿

Jonathan Lowman

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]  ⦿

Jonathan Puckey

Amsterdam-based designer. His first font is the experimental fingernail-shaped Malenky Bit (2003). He also made Moloko (2003), FontfjeCaps (2004) and Ready Made (2004). [Google] [More]  ⦿

Jonathan Sipkema

Dutch graphic designer (b. 1992) who lives in Almelo. He made the filled in ultra-fat octagonal typefaces Lumio (2008) and Fresh Bold (2008). Dafont link. Alternate link. [Google] [More]  ⦿

Joop H. Moesman

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]  ⦿

Joop van den Berg

Dutch designer, 1897-1985. Work with art deco lettering by him includes the poster Hollandsch Post van Gelder Batavo (1930s). [Google] [More]  ⦿

Joost Grootens
[Studio Joost Grootens]

[More]  ⦿

Joost Swarte

Dutch poster and comic book lettering artist, b. 1947, Heemstede, The Netherlands. Comic series and characters by Swarte include Katoen en Pinbal, Jopo de Pojo, Anton Makassar, Dr Ben Cine and Niet Zo, Maar Zo- Passi, Messa. Wikipedia link. Typefaces inspired by his lettering:

[Google] [More]  ⦿

Joost van Vredendaal

Utrecht, The Netherlands-based creator of Cirque de les folies (sic) (2011, an ornamental caps face), Men Archetype (2016: icons), and Refinery (2012).

Typefaces from 2017: Infrastructure (multiline typeface), Music in Mono is Dead, Cartoonesque.

Behance link. Cargo Collective link. Home page. [Google] [More]  ⦿

Joram Hibbel

Amstelveen, Netherlands-based type designer who made an experimental typeface in 2010. [Google] [More]  ⦿

Jorik Hengstmengel

Dutch student at KABK, Den Haag, who is working on a tiny pixel font, Daffodil (2006) and of the experimental typeface Quikzilver (2006). [Google] [More]  ⦿

Jorik van Ruiswijk

Amersfoort, The Netherlands-based designer of the decorative caps typeface Sea Style (2015). [Google] [More]  ⦿

Joris Budel
[Versch Ontwerp]

[More]  ⦿

Joris Oostinga

Designer of the free font Graffiti (2014). [Google] [More]  ⦿

Jorn Slotboom

Graphic designer in Amsterdam who created the bribeware [i.e., downloadable in return for a Facebook like] display typefaces Flank and Knarrstaver in 2014. In 2019, he published the rounded monoline sans typeface Reneship Sans and the display typefaces The Bewlay and Lenijo Brush. [Google] [More]  ⦿

Jorrit van Rijt

Graphic designer in Utrecht. In 2010, he created the kitchen tile typeface Geo. In 2011, he designed the illustrative caps typeface Illustrato.

In 2012, Jorrit designed Blocko.

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

Jos Buivenga

[MyFonts] [More]  ⦿

Jos Elsendoorn

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).

He based his font Margaretha (2016) on the handwriting of Margaretha Turnor (1680). Klingspor link. [Google] [More]  ⦿

Jos Kunst
[Fonts Jos Kunst]

[More]  ⦿

Jos Schoot Uiterkamp

Jos Schoot Uiterkamp (Nijverdal, The Netherlands) created the free oriental simulation typeface Samoerai in 2013.

Dafont link. [Google] [More]  ⦿

José Pablo Rivera Mar

During his studies at Grafisch Lyceum Rotterdam in The Netherlands, José Pablo Rivera Mar created the sans typeface Ict (2014). Behance link. [Google] [More]  ⦿

Joseph Parsons

Rotterdam-based British designer Joseph Parsons, of Joseph Parsons Design, created a beautiful art deco caps alphabet in 2013. He also designed the stylish art deco poster entitled Portfolio (2012).

Behance link. [Google] [More]  ⦿

Joshua Koomen
[Haagse Letters]

[More]  ⦿

JTHZ.com software productions
[Julius B. Thyssen]

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. [Google] [More]  ⦿

Juan de Leyden

Dutch designer of the grunge typeface Postnuclear (2005). [Google] [More]  ⦿

Jules van Helvoort

Eindhoven, Netherlands-based type and motion graphics designer who made the geometric outline typeface Griglia (2010). [Google] [More]  ⦿

Julia van der Vorst

's-Hertogenbosch, Netherlands-based designer of the elegant display didone typeface Julia (2016). Behance link. [Google] [More]  ⦿

Julia Visser

During her studies, Sneek, The Netherlands-based Julia Visser designed an arched typeface (2017). [Google] [More]  ⦿

Julian Koren

Dutch designer of Fat Font (2016). [Google] [More]  ⦿

Julie Patat

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. Duvillé'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.

In 2018, she published the Peignotian fashion branding typeface Trigère.

Since 2014, Julie is asociated with Novo Typo in Amsterdam as a type designer. [Google] [More]  ⦿

Juliette van Lankvelt

Boekel, The Netherlands-based designer of the experimental typeface Drimatic Nova (2015). [Google] [More]  ⦿

Julius B. Thyssen
[JTHZ.com software productions]

[More]  ⦿

Julius de Goede

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.

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

Jung-Lee Type Foundry
[Jungmyung Lee]

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, where she published Scarla and Bastard Semibold (2012).

Lee and Martens co-designed 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.

Other typefaces include Impact Nieuw (2012-2016), Vlees Sans (2016), Red Dawn (2016), Suomi 100 (2015: Suomi 100-Groteski and Suomi 100-Antiikva were designed for Finland's 100th birthday).

In 2018, Karel Martens and Jungmyung Lee released Pirelli. They write: Pirelli is a revival of an anonymous grotesk typeface that Karel Martens once came across. Its mostly horizontal and vertical features with a mono-line structure and an absence of flourishes give it a concise expression. Yet, it has the distinctive motif of unusually high-waisted capitals, visible in all letters with bars, such as E, F, and P. This feature gives Pirelli the atmosphere of earlier Art Nouveau and Secessionist lettering. [Google] [More]  ⦿

Jungmyung Lee
[Jung-Lee Type Foundry]

[More]  ⦿

Jurre Latour

[MyFonts] [More]  ⦿

Jurriaan Schalken Typography

Interesting typographic designs by Jurriaan Schalken. [Google] [More]  ⦿

Jurriaan Schrofer

Dutch Bauhaus era designer, b. Den Haag, 1926, d. Amsterdam, 1990, known for his photography book design and letterin projects. 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: Schrofer 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" (Letters op maat) 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.

In 2018, Ron Ruedisueli attempted to digitize all of Schrofer's alphabets in a special series at FontStruct called STF Letters Op Maat. [Google] [More]  ⦿

Just van Rossum

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 teaches type design and programming at the Royal Academy of Fine Arts (KABK) in Den Haag, The Netherlands, both in the bachelor graphic design program as well as in the Type and Media master course.

Just graduated in 1989 from the Royal Academy of Fine Arts (KABK), where he studied under Gerrit Noordzij. After stints at Monotype in the UK and MetaDesign in Berlin he became an independent type designer, focusing on software design for type. He collaborated with Erik van Blokland under the name LettError. It is at that time that he published FF Beowolf has been included in the permanent collection of the MoMa in New York. He co-wrote RoboFog with Petr van Blokland in the mid-nineties, which can be regarded as a forerunner of RoboFont, and has been a very influential scripting type design tool in Python. His TTX/FontTools library is a crucial building block for lots of font software. He also wrote the original version of the DrawBot application.

He designed 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 Justlefthand, 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).

FF Schulbuch (1991-1992) is a series of fonts based on the historical textbook types used in Northern and Southern Germany, and Bavaria. The Nord (North) variant is the closest relative of Helvetica. At FUSE 11, he designed What You See/What You Get (with Erik van Blokland).

Speaker at ATypI 2016 in Warsaw on The Sound of Shapes & Shape of Sounds.

Bio at Emigre. FontShop link. Klingspor link. FontFont link.

View Just van Rossum's typefaces. [Google] [MyFonts] [More]  ⦿


Dutch ambigram specialist. He created the free ambigram font Lake Reflection in 2009. [Google] [More]  ⦿

Jürgen Geiger
[Geiger Artwork]

[More]  ⦿

Kai Bernau
[Atelier Carvalho Bernau]

[More]  ⦿

Kai Bernau

[More]  ⦿

Karel Martens

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 Gerrit 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..

In 2018, Karel Martens and Jungmyung Lee released Pirelli. They write: Pirelli is a revival of an anonymous grotesk typeface that Karel Martens once came across. Its mostly horizontal and vertical features with a mono-line structure and an absence of flourishes give it a concise expression. Yet, it has the distinctive motif of unusually high-waisted capitals, visible in all letters with bars, such as E, F, and P. This feature gives Pirelli the atmosphere of earlier Art Nouveau and Secessionist lettering.

Author of Patterns (2021, Roma Publications). [Google] [More]  ⦿

Kasper Coreper van de Laar

Uden, Netherlands-based designer of the handwriting typeface Gorillaz (2006). [Google] [More]  ⦿

Kazer Studio
[Jake Keijzers]

Or Jay Kazer, b. The Netherlands. Sydney, Australia-based designer of the free squarish techno typeface Metrik Sans (2018) and the sans titling typefaces Monaco Classic (2018) and Le Mans Classic (2017), which was inspired by vintage motorsport racing. In 2019, he published the wide sans typeface Fluro. In 2020, he released Hologram. Type Department link. [Google] [MyFonts] [More]  ⦿

Kees Broos

Kees Broos and David Quay wrote Wim Crouwel Alphabets (Amsterdam, BIS, 2003). [Google] [More]  ⦿

Kees Derksen

Kees Derksen, The Human Cannonball, is the Rotterdam-based designer of Vanmoof (2012): all glyphs are based on the shapes of the Vanmoof bicycle frame. [Google] [More]  ⦿

Kees Gajentaan
[Hybrid Space]

[More]  ⦿

Kelly Krijnen

FontStructor who made the octagonal typeface Step by Step in 2014. This typeface was developed during her studies in Megen, The Netherlands. Behance link. [Google] [More]  ⦿


Dutch designer of the modular FontStruct typefaces Kenney Rocket (pixel font), Kenney Space and Kenney Future (2016). Dafont link. [Google] [More]  ⦿

Kevin Allan King
[The Typotheque Syllabics Project]

[More]  ⦿

Kevin Timmers

Heemskerk, The Netherlands-based designer of the sharp-edged pointy tooth typeface Piranha (2015). Also check out his typographic work in his Things poster (2015). Behance link. [Google] [More]  ⦿

Khajag Apelian

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).

His typefaces: Arek, Hagatir, Boujour (2008, piano key typeface), Mulsaq (2008, Arabic), Moudwi, Nuqat (2010: a dot matrix typeface by René Knip, Khajag Apelian, Jeroen van Erp, and Reza Abedini).

Graphic Arabic (Wael Morcos and Khajag Apelian) won an award at Granshan 2017.

IBM Plex Sans Arabic (2019, by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos and Khajak Apelian) is a free typeface family at Google Fonts.

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

Kiki Van Der Horst

During her studies in Eindhoven, The Netherlands, Kiki Van der Horst designed the thin display typeface January (2015). [Google] [More]  ⦿

Kilian Valkhof
[Fuck yeah kerning]

[More]  ⦿

Kim Stassar

Kim Stassar works at Blanco Design in Amsterdam as graphic designer. Her first font, Blanco (2010), is a geometric stencil face. [Google] [More]  ⦿

Kim Uitslag

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]  ⦿

Kimberley van Lokven

During her graphic design studies, Kimberley van Lokven (Geffen, The Netherlands) created an untitled experimental typeface (2014). [Google] [More]  ⦿

Kiosk Fonts
[Frank Grießhammer]

Kiosk Fonts (Berlin) was founded in 2008 by Frank Griesshammer (b. 1983, Nuremberg, Germany), a graduate of HBKsaar in Saarbrücken (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 2009, he did revivals of Memphis (original by Rudolf Wolf, 1929) and Stempel Elan (original by Hans Möhring, 1936). The latter typeface was published by Linotype.

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.

FontShop published his school project font Quixo as FF Quixo in 2013. Quixo won an award at TDC 2014.

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. CTAN download. He designed the Latin, Greek, and Cyrillic glyphs that are included with Source Han Serif (2017). In 2021, Frank Griesshammer updated Source Serif. This new version of Source Serif supports six weights and five optical sizes, both in static and variable formats. Design changes were made from the original Source Serif Pro.

At Adobe, he participated in Adobe Handwriting (based on the handwriting of Frank Grießhammer, Ernest March and Tiffany de Sousa Wardle).

Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam where he spoke on a renewed effort at Adobe with respect to kerning.

In 2019, Colophon and Frank Griesshammer released DM Serif Display and DM Serif Text at Google Fonts. Based on Adobe Serif Pro (by Frank Griesshammer), it is a high-contrast transitional typeface with only one weight. Github link.

Klingspor link. Old URL. Old home page. [Google] [MyFonts] [More]  ⦿

Kisman Studio (was: Holland Fonts)
[Max Kisman]

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.

In 2017, Max Kisman was asked to design a naked font for the Dutch printing association, Drukwerk in de marge. It is called Genitaal XXX.

Speaker at ATypI 2004 in Prague.

FontShop link. Klingspor link. Illustration Daily link.

His bestselling fonts at MyFonts. Pic. [Google] [MyFonts] [More]  ⦿

Kitty Louws

Kitty Louws (Gilze, The Netherlands) created the pixelish typeface Kito Tapas in 2014. [Google] [More]  ⦿

[Rick van Rein]

Rick van Rein developed a metafont for barcodes for Dutch postal codes (KIX barcode fonts: KIX stands for KlantIndeX). [Google] [More]  ⦿

KIX van PTT Post

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]  ⦿

Klaas van Leeuwen

Dutch artist and furniture designer, b. Harlingen, 1867, d. Bennebroek, 1935. Author of the compass-and-ruler lettering book Letterboek voor den teekenaar en ambachtsman (1907, G. Schreuders, Amsterdam). One of the alphabets in that book was digitally revived by Marlon Ilg in 2021 as Grid Fraktur. [Google] [More]  ⦿

Kloeg Architecture
[David Kloeg]

David Kloeg is a designer and student of architecture. He has been working for several architecture offices since 2012. David graduated from the University of Technology in Delft, the Netherlands. His company, Kloeg Architecture (est. 2015, in Australia(?)), is involved in building and type and icon design. In 2016, David started a Masters degree in architecture at the University of Liechtenstein. He lives in Vaduz, Liechtenstein.

In 2016, he designed the minimalist sans typeface family Essence, followed in 2018 by Essence Round, which includes 150 free icons. [Google] [MyFonts] [More]  ⦿

Knarf Art
[Frank van der Hak]

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).

Devian Tart link.

Dafont link. [Google] [More]  ⦿

Ko Sliggers

[MyFonts] [More]  ⦿

[John Wollring]

John Wollring (aka Koeiekat), b. Amsterdam, 1943, d. 2017, was passionate about type design. John worked in marketing communications in advertising agencies and at Philips. Bronwyn Holmes explains: His love of fonts came from his work in producing advertising and brochures and his close involvement with printers and printing. He was very aware of the power of typography in communication. He retired in Extremadura to a remote mountainous region. Small villages with little distraction except the very wild and beautiful nature so plenty of time for him to spend on typography.

John Wollring designed these typefaces:

  • The tuxedoed art deco typeface Zig Zag ML (2009, based on Zig Zag, a 1972 alphabet by Marcia Loeb). See also ML ZigZag KK (2013). ML Rainbow KK (2013) is identical.
  • Monotoon KK (2012, monolined and simple).
  • The formal calligraphic typeface Monogram KK (2007, Victorian initials).
  • A revival of Modern Fancies (Lewis F. Day) called Fontenay Fancy (2012).
  • ML Sunglow KK (2012, ornamental caps).
  • HK Display (2012: HK Display KK is a free interpretation of an art deco alphabet designed by Henk Kolkmeyer for a poster for the Veiligheids Museum in Amsterdam).
  • Dwiggins Initials KK (1930, an art deco caps typeface based on an unknown sketch by Dwiggins from 1930).
  • Obese & Square KK (art deco stencil).
  • ML Roxy Initials KK (2012, after Marcia Loeb's Roxy).
  • Open Egmont Kapitalen (2013: an interpretation of Sjoerd Hendrik de Roos' Open Egmont Kapitalen also known as Egmont Inline and Egmont Versalien. Based on a 1935 specimen sheet of Lettergieterij Amsterdam and punctuation based on a 1938 specimen sheet of Intertype. Alternates in the lower case b and r based on a 1951 specimen sheet of the Belgian type foundry Plantin).
  • EA Sports Covers SC (2013).
  • Gotica Moderna KK (2013).

Abstract Fonts link. [Google] [More]  ⦿

Koelooptiemanna Productions (was: KosteX)
[Roel Koster]

Dutchman Roel Koster made the royalty-free KosteXSchool (or: SchoolKX) font for kids' letter tracing. It is in fact an Avant-Garde style font. Direct access. See also here and here. [Google] [More]  ⦿

Koen Hachmang
[Glitch: freeware fonts]

[More]  ⦿

Koen Lageveen
[Programming Fonts]

[More]  ⦿

Koen van der Bliek

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.

In 2017, he designed the free dry brush scripts Paint The Sky and Sickboy. In 2018, he added the free handwriting font Reey. Fontsquirrel link. [Google] [More]  ⦿

Koeweiden Postma

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]  ⦿

Kombinat Typefounders
[Hannes Famira]

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 team in 2012 included Martin Wenzel, Thomas Lehner and Roland Dill.

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

Koninklijke Akademie van Beeldende Kunsten (KABK), Den Haag

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 ca. 2004 included 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. In 2018, the type program was headed by Erik van Blokland. Senior lecturers at that time: Paul van der Laan, Peter Verheul. Lecturers: Françoise Berserik, Peter Bilak, Frank Blokland, Petr van Blokland, Just van Rossum, Fred Smeijers, and Jan Willem Stas. In 2019, the staff consisted of Erik van Blokland (Head), Marja van der Burgh (coordinator), Paul van der Laan, Peter Verheul, Françoise Berserik, Peter Bilak, Petr van Blokland, Frank Grießhammer, Fred Smeijers and Jan Willem Stas.

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). [Google] [More]  ⦿

Koninklijke Akademie van Beeldende Kunsten (KABK): List of graduates

A list of graduates of the Type Media program at the Royal Academy of Art in The Hague.

  • Class 2019-2020: Thomas Bouillet, Nina Botthof, Arnaud Chemin, Jamie Chang, Céline Hurka, Jovana Jocic, Ruggero Magri, Elena Peralta, Renan Rosatti, Jan Sindler, Olga Umpaleva and Huw Williams.
  • Class 2018-2019: Eva Abdulina, Alexis Boscariol, Ryan Bugden, Luke Charsley, Ethan Cohen, Rutherford Craze, Anya Danilova, Ricard Garcia, Joona Louhi, Fabi Mejia, Michelangelo Nigra, Céline Odermatt.
  • Class 2017-2018: Rafal Buchner, Zrinka Buljubasic, Carlos De Toro, Séan Donohoe, Mona Franz, Namrata Goyal, Lisa Huang, Noheul Lee, Stephen Nixon, Gen Ramirez, Claudia Rifaterra, Katja Schimmel.
  • Class 2016-2017: Daniel Coull, Sven Fuchs, Borna Aaron Grcevic, Romina Hernandez, Thom Janssen, Eino Korkala, Muk Monsalve, Pablo Gamez Navarro, Eunyou Noh, Martin Pysny, Magdalena Wisniewska.
  • Class 2015-2016: Roberto Arista, Selina Bernet, Alessio D'Ellena, Daniel Grumer, Jitka Janeckova, Bogidar Mascareñas, Daria Petrova, Inga Plönnigs, Marc Rouault, Paul Troppmair, Bart Vollebregt, Franziska Weitgruber.
  • Class 2014-2015: Elliott Amblard, Benedikt Bramböck, Bahman Eslami, Minjoo Ham, Tilmann Hielscher, Marko Hrastovec, Katerina Kochkina, Philipp Neumeyer, Loris Olivier, Heidi Sorensen, Tetsuo Suzuki, Jasper Terra, Cristian Vargas Vargas.
  • Class 2013-2014: David Chmela, James Edmondson, Mark Frömberg, Slava Jevcinova, Hugo Marucco, Alexandre Saumier Demers, Nina Stössinger, Mark De Winne.
  • Class 2012-2013: Tania Alvarez Zaldivar, Etienne Aubert Bonn, Barbara Bigosinska, Maria Doreuli, Sun Helen Isdahl Kalvenes, Adam Katyi, Troy Leinster, Diana Ovezea, Krista Radoeva, Lukas Schneider, Teo Tuominen, Bernd Volmer
  • Class 2011-2012: Noe Blanco, Aliz Borsa, Joe (Hsuan-Hao) Chang, Dave Foster, Christine Gertsch, Pradnya Naik, Sveinbjørn Palsson, Daniel Perraudin, Jose Reyes Cabrera, Alexander Roth, Aleksandra Samulenkova, Hrvoje Zivcic.
  • Class 2010-2011: Yassin Baggar, Marina Chaccur, Colin Ford, Jan Gerner, Malte Herok, Linda Hintz, Sun Jung Hwang, Alpkan Kirayoglu, Emma Laiho, Kunihiko Okano, Florian Schick, Lauri Toikka
  • Class 2009-2010: Martina Flor, Jon Glarbo, Frank Griesshammer, Friedrich Grögel, Yohanna Ma Nguyen, Slavka Paulikova, Tania Raposo, Kristyan Sarkis, Brigitte Schuster, Irina Smirnova, Nils Thomsen
  • Class 2008-2009: Laure Afchain, Khajag Apelian, Marta Bernstein, Jan Filipek, Abi Huynh, Ondrej Job, Holger Königsdörfer, Charles Mazé, Dan Milne, Cesar Puertas, Sueh Li Tan
  • Class 2007-2008: Francesca Bolognini, Alessia Castelli, Mathieu Christe, Roland Dill, Berton Hasebe, Thomas Klaui, Johannes Lang, Ross Milne, Jonathan Pierini, Gustavo Soares
  • Class 2006-2007: Eike Dingler, Thomas Gabriel, Sibe Kokke, Sonja Ladebusch, Sébastien Sanfilippo, Ludwig Uebele, Edgar Walthert, Marieke Wynants, Seonil Yun
  • Class 2005-2006: Christina Bee, Frederik Berlaen, Kai Bernau, Alexandra Busse, Christoph Dunst, Gustavo Ferreira, Anton Koovit, Annika Larsson, Malou Osendarp, Ian Party, Mattias Schelbert, Joel Shane, Pascal Zoghbi
  • Class 2004-2005: Yomar Augusto, Andy Clymer, Nikola Djurek, Wendy Ellerton, Ryan Pescatore Frisk, Sibylle Geiger, Hanna Hakala-Kurppa, Pascal Richon, Ilya Ruderman, Annika Schorstein, Erwin Timmerman, Stefan Willerstorfer
  • Class 2003-2004: Susana Carvalho, Alessandro Colizzi, Ramiro Espinoza, Vera Evstafieva, Maarten Idema, Krassen Krestev, Laura Meseguer, Circe Penningdevries, Trine Rask Olsen, Bas van Vuurde
  • Class 2002-2003: Marie Aumont, David Esser, André Heers, Indre Klimaite, Diego Mier-y-Teran, Britt Möricke, Ruth Nezer, Artur Schmal, Barbara Alves
[Google] [More]  ⦿

Kristel Hendriks

Based in Eindhoven, The Netherlands, Kristel Hendriks created an untitled squarish typeface in 2014. [Google] [More]  ⦿

Kristyan Sarkis
[TPTQ Arabic Type Foundry]

[More]  ⦿

[Maurice Blok]

L5 is a Rotterdam-based design studio, where Maurice Blok created the rugged type family Luxor (2001) as the corporate identity for the Luxor Theatre in Rotterdam. [Google] [More]  ⦿

Lady Bug

Dutch designer who created the ladybug dingbat typeface Ladybug Dings (2007). [Google] [More]  ⦿

LaMa Fonts
[Marco Langbroek]

Marco Langbroek (LaMa Fonts, The Netherlands; born in 1970) designed Love Carving (2003) and the alphading font Vodka (2003). Home page. Langbroek is an archaeologist. [Google] [More]  ⦿

Lara Captan

Graphic designer from Lebanon who is/was based in Amsterdam. She taught design and typography at the American University of Beirut until she moved to The Netherlands where she became an apprentice in DecoType's ACE technology for Arabic type. She says that she refused to design any typeface before having sufficient knowledge over the history and mechanics of the script. In 2018, she is working on an ACE-engined Arabic type family, with support from the Creative Industries Fund NL.

Creator of the angular chancery typeface Cancellarecta (2012) at The Cooper Union. She graduated from Escola de Disseny i Art in Barcelona. Speaker at ATypI 2018 in Antwerp.

Award winner at 25 TDC in 2022 for Youtube Sans Arabic, a member of an increasingly larger multi-script family. The typeface spans across ten weights and includes Sans, Rounded, and a Grades version. It was developed together with Khaled Hosny (font engineer), David Berlow (consultant), Dave Crossland (manager) and Chris Bettig (creative director). [Google] [More]  ⦿

Lara Koedoot

Rotterdam, The Netherlands-based designer of the all caps alphabet Animal Type (2017). [Google] [More]  ⦿

Lars De Beer

Born in Schagen, The Netherlands, in 1974. Studied at the KABK in Den Haag. Lives in Amsterdam and joined Underware as a designer in 2000. [Google] [MyFonts] [More]  ⦿

Lars Manenschijn

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 handcrafted typeface Retro Bagels.

Home page. Alternate URL. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

Lars van Reenen

Dutch designer of Cirkeltype (2017). [Google] [More]  ⦿

[Jurre Latour]

Latour is a Dutch foundry set up in 2020 by Jurre Latour. In 2020, he published the squarish modular typeface Vernox. [Google] [MyFonts] [More]  ⦿

Laura Dillema

Dutch designer of Block Font (2011). [Google] [More]  ⦿

Laura Dimitru

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.

Creator of the illustrated caps typeface TypoBirds (2012) and the dingbat font Soferul Modern (2012). [Google] [More]  ⦿

Laura Stoellger

Utrecht, The Netherlands-based designer of Nocturne (2018), which according to Laura is evokes Chopin's Nocturne opus 9, no. 1, but turns out to be a great Hebrew simulation typeface. [Google] [More]  ⦿

Laure Afchain

Graduate from KABK, The Hague, 2009, Type and Media MA program. Her typefaces:

  • Malaussène (2009), a fun muscular display face, done as her graduation typeface at KABK. She says that her (large) family is designed for corporate identitities. It contains Malaussène Translation, Malaussène Expansion and Malaussène Sans as subfamilies, and is published by Die Gestalten in 2011. Examples: A | B | C | D | E | F | G | H.
  • At KABK, she worked on a revival of the calligraphic typeface Meidoorn, originally designed in 1928 by Sjoerd Hendrik de Roos for The Heuvelpers.
  • She was also at the Fine Arts School in Toulouse. Together with Alejandro Lo Celso, François Chastanet and Géraud Soulhiol, she designed the official typeface for the city of Toulouse, Garonne (2009, 4 styles).
  • A handwriting font.
  • The display family Pixat.
  • Peno (2009), done in a class of Peter Verheul.
  • A stone chisel/biline/paper cut experimental family Vampyr.
[Google] [More]  ⦿

Laurens Jansen

Dutch designer of the free sans typeface family Lumnia (2016). Dafont link. [Google] [More]  ⦿

Laurens Janszoon Coster

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 Hamekink]

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).

Behance link. [Google] [More]  ⦿

Léon Hulst
[TypeFaith Fonts]

[MyFonts] [More]  ⦿

Leandra Post

Dutch kid (b. 1994) who created the handwriting fonts HBFONT (2009) and Leandra's Font (2007). [Google] [More]  ⦿

Leandro Lisboa

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:

  • Imigongo (2012). An African-look face.
  • Nyanza (2012), for a brand for a refined collection of ethnic jewelry produced in Rwanda.
  • Iolanda (2012). A signage script.
  • Laguna and Laguna Italic (2012, a pair of sans typefaces in the final project for his graduation at IUAV University of Venice).

Behance link. [Google] [More]  ⦿

Leanne van der Wel

Dutch creator of Celine Dion Handwriting (2009). [Google] [More]  ⦿


Dutch designer (b. 1966) of these typefaces:

  • Angie's New House (2004). a great squarish font, almost in Wim Crouwel's Hiroshima style.
  • Blokletters (2005, in three weights: Potlood, Balpen and Viltstift. These are excellent substitutes for something like Comic Sans. Download here.
  • Hard Compound (2004) and Soft Compound (2004).
  • Kenteken (2004). Based on the Dutch licence plates.
  • Kenteken Smits (2013).
  • Lenteroos (2005).
  • Osmanthus (2013). A heavy German expressionist typeface.
  • Slantwise (2004).
  • Square Peg (2004). Renamed Square Wise to resolve naming conflicts with a commercial font of the same name by Rob Leuschke.
  • TeleTekst (2004).

Font Squirrel link, where Blokletters is free. [Google] [More]  ⦿

Lein Design

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]  ⦿

Lennart Breel

Graphic designer in Groningen, The Netherlands. Creator of the display typefaces Obscurity Sans (2014) and Fifty Fifty (2012, Ten Dollar Fonts).

Behance link. [Google] [More]  ⦿

Lennart Koopman

Heemskerk, The Netherlands-based designer (b. 1974) of the handwriting font Livy's Life (2015). Dafont link. [Google] [More]  ⦿

Leo Beukeboom

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]  ⦿

Leo L.G. Meuffels

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.

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

Leon de Graaf

Multimedia designer in Wervershoof, The Netherlands, b. 1996. Creator of the sans / stencil typeface Banger (2017). [Google] [More]  ⦿

Leon Dijkstra

COOEE is an Amsterdam-based studio founded in 2010 and run by Leon Dijkstra. In 2017, he designed the display typeface Mongrel. Behance link. [Google] [More]  ⦿

Leonard H. D. Smit

Dutch designer (1917-1986) active at Lettergietrij Amsterdam starting in 1947. Creator of the calligraphic script font Amazone (Tetterode Nederland, 1958), now available from Bitstream as Amazone BT [compare Amapola by Dan X. Solo]. In 1960, he designed Promotor, a medium weight expanded typeface done at Lettergieterij Amsterdam (now available from Elsner&Flake), in 1962 he added Orator (a bold companion to Promotor, Lettergieterij Amsterdam), and in 1969 Revue (still at Tetterode). [Google] [MyFonts] [More]  ⦿

Leonard Splint

Dutch designer of the free font Napoje (1999). He runs the design studio LeoArts in The Netherlands. [Google] [More]  ⦿


Dutch designer of Blocked Fast (2010). [Google] [More]  ⦿

Lesley Jutte

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]  ⦿

[Job Wouters]

Nice calligraphy in 2009 by Job Wouters in Amsterdam. [Google] [More]  ⦿


Dutch lettering artist who drew some alphabets in 2010. [Google] [More]  ⦿

[Sander Neijnens]

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).

Codesigner of the free font Tilburg Sans (2016) and Tilburg Sans Text (2017). [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]  ⦿

Lettergieterij J. de Groot
[Johannes de Groot]

Dutch foundry in the late 18th century run by Johannes de Groot (1746-1798). They published Proeve van letteren, welke gegooten werden in de lettergieterye van J. de Groot ('s Gravenhage, The Netherlands, 1781). Local download. [Google] [More]  ⦿


Dutch font CD and font book vendor. Typical prices: 14,200 Euro for the Adobe FontFolio, and 22,000 Euro for the FontFont collection. [Google] [More]  ⦿

[Kai Bernau]

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 revival project), and some custom typefaces such as Proprio.

  • 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).

    Write-up at Fontshop. Critique by Experimenta. [Google] [More]  ⦿

  • LettError
    [Erik van Blokland]

    LettError is a foundry in Den Haag, founded by the interesting duo, Just Van Rossum (b. 1966) and Erik van Blokland (b. Gouda, 1967). Many of their fonts can be found in the FontFont library.

    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.

    Their typefaces:

    • At FUSE 11, Erik designed FF Beowolf (1989-1990, a randomized font, sometimes still called Beowulf; with Just van Rossum), FF Erikrighthand, FF Kosmik (1993), FF Trixie (based on an old typewriter: Trixie was taken from a typed sample from a typewriter owned by a friend in Berlin, Beatrix Günther, or Trixie for short.) and FF Zapata. Trixie was at FontShop until it was bought by Monotype. In 2023, it was withdrawn from the Monotype library.
    • Erik created LTR ThePrintedWord and LTR TheWrittenWord (2001), both free fonts designed to be unreadable.
    • LTR Salmiak (2001).
    • Critter (2001) and New Critter.
    • Bodoni Bleifrei.
    • LTR BitPull.
    • Federal: great dollar bill lettering font family, which earned him an award at the TDC2 Type Directors Club's Type Design Competition 2002.
    • What You See/What You Get (with Just Van Rossum).
    • At FUSE 2, Erik published Niwida.
    • FFAdvert.
    • Schulschrift.
    • FFHands.
    • FFBrokenscript.
    • LTR Monsta.
    • 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.
    • Jointly with Erik Spiekermann and Ralph du Carrois, Erik developed Axel (2009), a legible system font.
    • His masterpiece, in my view, is the 2009 family Eames Century Modern, finished at House Industries, a take on Clarendon. It won an award at TDC2 2011. A special extra award was given at that competition for Eames Poster Numerals. For another complete modern Clarendon family, see Canada Type's Clarendon Text.
    • Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber.
    • In 2016, he published Action Condensed at Commercial Type. Action Condensed was designed for the screen. Each of the family's four weights has three grades of the same width, allowing text to change weight on rollover without disrupting the layout. In 2020, he added Action Text in 16 styles, with Bright and Dark options. And variable styles.

    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].

    Klingspor link. FontShop link. Wired interview. Shop. FontFont link. [Google] [MyFonts] [More]  ⦿

    Letters en Plaatjes
    [Thijs Mertens]

    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).

    In 2011, he made ThM Trade Stencil, ThM Tomahawk, ThM Thin (thin and octagonal).

    In 2012, he added ThM Toronto, ThM SPQR (athletic lettering), ThM Bone, ThM Tibetan (blackletter), ThM Trade (slabby), ThM Tulipe, ThM Mini, ThM LCD.

    Typefaces from 2013: ThM Liga, ThM Architype Albers, ThM Marksman (stencil face).

    FontStruct link. [Google] [More]  ⦿

    Letterspace Amsterdam
    [Edgar walthert]

    Type site run by Edgar Walthert, a Swiss type designer based in Amsterdam. Since 2018, it hosts a monthly series of lectures about experimentation, innovation and research in type. [Google] [More]  ⦿

    L.H.D. Smits

    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]  ⦿


    Amsterdam-based designer who used Fontifier to make the handwriting font Ini (2004). [Google] [More]  ⦿

    Lianne Kok

    Dutch designer of a modular alphabet in 2018. [Google] [More]  ⦿

    Lida Lopes Cardozo
    [The Cardozo Kindersley Workshop]

    [MyFonts] [More]  ⦿


    Dutch site about web design. Contains a small archive of web fonts. In Dutch. [Google] [More]  ⦿

    Linda Rommens

    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]  ⦿

    Lisa Dröes

    Illustrator, graphic designer and type designer from Amsterdam who graduated from the MATD program in Type Design at the University of Reading in 2016. Her graduation typeface is Marjolein, about which she writes: The multi-script type family Marjolein is designed for magazines orientated towards culture, travel and environmental issues. It covers Latin, Greek and Thai scripts and has styles for both text and display settings. Marjolein, scientific name Origanum majorana, is a common species of Origanum, a genus of the mint family. The name Marjolein is indigenous to Cyprus and southern Turkey, and was known to the Greeks and Romans as a symbol of happiness.. [Google] [More]  ⦿

    Lisa Fleck

    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]  ⦿

    Loek Schönbeck

    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]  ⦿

    Lola Herst

    Based in the Dutch Antilles. Designer of the shaky hand-drawn typefaces Six Minutes (2020), Six Minutes Narrow (2020), and Five Minutes (2020, at Rawblind Basetype) for Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Lolita Suleimanova

    Enschede, The Netherlands-based designer of the free heavy sans typeface MEF Display (2015). Dafont link. [Google] [More]  ⦿

    Lollibomb (was: Crejaculations)
    [Sander Kessels]

    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]  ⦿

    Lotte Bredewold

    Dutch creator of the textured typeface Remsporen (2012). [Google] [More]  ⦿

    Lotte ten Napel

    Amsterdam, The Netherlands-based designer of a modular typeface in 2015. [Google] [More]  ⦿

    Louis Christiaan Kalff

    Dutch poster artist, 1897-1976. Posters with art deco lettering by him include Scheveningen The Hague on Sea Holland (1931). [Google] [More]  ⦿

    Lovely Bird Digital
    [Amber Kuivenhoven]

    Amber Kuivenhoven (b. 1993; aka Lovely Bird Digital or Amber Does Freelancing, Alphen aan den Rijn, The Netherlands) created these handcrafted typefaces in 2015: the sketch font Its a Sketch, the handcrafted 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 Dingbat, Coffee Shop Icons. In 2018, she published the bird dingbat typeface Budgies. Home page. [Google] [More]  ⦿

    Loyals Agency

    Mijdrecht, Netherlands-based designer of the multilayered font Storyteller (2019). [Google] [More]  ⦿

    Luc Reinders

    Luc Reinders, a graphic designer in Maastricht, The Netherlands, created Futoni (2014), Sponge Font (2012) and Whisky Font (2012, a tall condensed display face).

    Behance link. [Google] [More]  ⦿

    Luc(as) de Groot
    [TheTypes digital type foundry]

    [MyFonts] [More]  ⦿

    Lucas de Groot
    [LucasFonts (and: FontFabrik)]

    [MyFonts] [More]  ⦿

    Lucas Franco
    [Now Type]

    [More]  ⦿

    LucasFonts (and: FontFabrik)
    [Lucas de Groot]

    Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands) studied at the Royal Academy of Fine Arts in Den Haag and 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 FontFabrik and in 2000 LucasFonts in Berlin. 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. His most popular typefaces include Thesis (the superfamily that includes TheSans, TheSerif, TheMix and The Antiqua), Calibri (a default font at Microsoft), Sun, Taz and Corpid. He is also well-nown for his Anisotropic Topology-Dependent Interpolation theory which roughly states that a 50% interpolation is not the optical middle between two weights. He teaches type design at the University of Applied Sciences in Potsdam, Germany. His typefaces:

    • Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries) and Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
    • BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
    • BolletjeWol (1997, Fontshop).
    • Calibri. Done for Microsoft, Calibri is the default typeface in MS Word. Calibri received a TypeArt 05 award and won an award at the TDC2 2005 type competition. For a yet-to-be-revealed reason, Google decided to support a metric-compatible free clone of Calibri for its Chrome OS system, Lukasz Dziedzic's Carlito (2014). Calibri became the standard font for all Microsoft 365 apps, but will be replaced some time in 2021 by one of five candidates, Bierstadt (by Steve Matteson), Grandview (by Aaron Bell), Seaford (by Tobias Frere-Jones, Nina Stössinger, and Fred Shallcrass), Skeena (by John Hudson and Paul Hanslow) or Tenorite (by Erin McLaughlin and Wei Huang).
    • Consolas. Done for Microsoft, this typeface was intended as a successor for Courier.
    • Corpid III (2002-2007). A sans family with support for Cyrillic, Greek and Turkish.
    • Floris (a ball terminal text typeface in 18 styles, Floris was developed on a four-dimensional grid of several axes or parameters: weight, width, x-height and ascender/descender height).
    • Fohla Serif (2001). Designed for a Brazilian newspaper in Sao Paulo. This collection includes a multiple master font, FohlaMM.
    • FF Jesus Loves You all, now LF Jesus Loves You all.
    • Koning (2017), co-designed by Luc(as) de Groot, Martina Flor, Jan Fromm, Phillipp Neumeyer and Daria Petrova. Koning won an award at TDC Typeface Design 2018. The first retail release of this flared typeface family came in 2019: Koning Display (a 20 style sans with Peignotian traits and occasionally, flared terminals).
    • LucPicto (dingbats for private use at FontFabrik). Not available to the world.
    • LeMonde (2002, new headline family). An OEM family made for LeMonde in 2001 includes Lucas-Bold, Lucas-BoldItalic, Lucas-ExtraLight, Lucas-ExtraLightItalic, Lucas-Italic, Lucas-Light, Lucas-LightItalic, Lucas-SemiBold, Lucas-SemiBoldItalic, Lucas.
    • MetaPlus (1993, with Erik Spiekermann).
    • MoveMeMM (erotic multiple master font)
    • FF Nebulae, now LF Nebulae.
    • LF Punten: Punten Straight, Punten Extremo and Punten Rondom.
    • Spiegel and Spiegel Sans, originally designed for Der Spiegel. The retail versions are called Spiegel Sans (a 32 style American gothic family) and LF Spiegel Serif.
    • Sun (1997, for Sun Microsystems) later became a retail font, also called Sun, a 28-style humanist compact sans typeface in the genre of industrial era American newspaper headlines.
    • LF Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine), sans typefaces designed for use in newspapers. Are these the same fonts as Tazzer and Tazzer Text? Taz has grown as follows: TazText, Taz Condensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014). By 2021, the Taz family contained 128 styles.
    • Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. MyFonts links for the Thesis family: TheAntiqua, TheMix, TheSans, TheSerif. Thesis includes
      • LF TheAntiqua (a 14-style medium contrast oldstyle typeface), LF TheAntiquaSun, Qua Text (a newstext version of TheAntiqua developed in close collaboration with the Berlin newspaper Die Tageszeitun taz), TheAntiquaB (1997; 1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun. TheAntiqua received a TypeArt 05 award.
      • LF TheMix (69 styles: semi-serif), TheMix Mono (48 styles; a monospaced version of TheMix), The Mix Classic, The Mix Basic, The Mix Office. TheMix is part of the Thesis superfamily. It originated as an alphabet for the logotypes of the Dutch Ministry of Transport, Public Works and Water Management drawn by Luc(as) while working at BRS Premsela Vonk in Amsterdam. The alphabet later became the starting point of the entire Thesis system.
      • Thesis Mono.
      • LF TheSans, The Sans Classic, The Sans Basic, The Sans Office, The Sans Condensed, The Sans Mono (48 styles), The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter (a monospaced and grungy version of TheSans). First published in 1994 as a descendant of Franklin Gothic, The Sans is a modern classic.
      • LF TheSerif (52 styles), The Serif Classic, The Serif Basic, The Serif Office. TheSerif is part of the Thesis superfamily. The Serif's ancestors include Linotype Rotation.
      • The Stencil (2021).
      • SPD 2002 TheSans. An OEM for the SPD party.
      • Grundfos TheSans (2007).Another commissioned font.
    • Transit and Transit Pict (both at FontShop).
    • Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.

    DeGroot designed custom fonts for newspapers such as Folha de S.Paulo, Le Monde, Metro, Der Spiegel, taz.die tageszeitung, Freitag and Jungle World. In addition, he created corporate type for international companies such as Sun Microsystems, Bell South, Heineken, Volkswagen and Miele.

    Speaker at many international conferences. At ATypI 2015 in Sao Paulo, he spoke about his Folha Sao Paulo newspaper typeface.

    In 2021, LucasFonts joined Type Network.

    FontShop link. Klingspor link. I Love Typography link. View the typeface library at Lucasfonts. View Lucas de Groot's typefaces. [Google] [MyFonts] [More]  ⦿

    Ludwig Type
    [Ludwig Übele]

    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. In 2018, he joined Type Network. His award-winning typefaces:

    • The extensive serif family Marat, a winner in the TDC2 2008 competition. Its 9 styles can be bought here.
    • In 2008, he published Mokka, a subdued serif family with Zapfian influences (lower case "a"). [Do not confuse it with Mokka, Fidel Peugeot's script font from many years earlier---I wonder how Uebele got the Mokka trademark, quite impressive that oversight by the trademark office].
    • Augustin (2004). A renaissance typeface inspired by the type of Nicolas Jenson made in Venice in 1470.
    • Helsinki. A sans based on Finnish traffic signs---has a hairline weight, and a gorgeous Fat weight. Helsinki 2.0 was published in 2013. In 2014, he published the formidable free weights Helsinki XXL Black and Helsinki XXL Thin.
    • Mediana. A custom typeface based on Franklin Gothic.
    • NewTaste. Commissioned by McDonald's.
    • Walhalla (2008) is a strong and bold uncial family inspired by uncial letters of the Czech type designer Oldrich Menhardt, made in 1948.
    • Daisy (2010) is an artsy ultra-fat vogue magazine style display face, best shown in pink. It won an award at TDC2 2011.
    • FF Tundra (2010-2011, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011. It was influenced by Carl Dair's Cartier (or Raleigh).
    • Daphne Script (2013) based on Georg Salden's Daphne.

      Riga and Riga Screen (2014). Designed for web page use, this is a practical space-saving sans family. Not to be confused with several other typefaces called Riga, one by Mostar / Olivier Gourvat (2009) and one by Gunnar Link (2012).

    • Diogenes (2014) and Diogenes Decorative (2014). Microsite.
    • Brenta (2015). A sharp-edged wedge serif text family. Microsite.
    • Contemporary Sans (2015). This sans family is characterized by the contrast between horizontal and vertical strokes.
    • Godfrey (2015). A compact sans typeface family characterized by straight edges in the terminals of f, j and y, and elongated dots on i and j.
    • Kakadu (2016). A squarish sans typeface family.
    • Aspen (2016). Microsite. Influenced by the old grotesques, its oh-so-slightly flared terminals give the design some pizzazz.
    • Niko (2019). A magnificent and very legible humanist sans in 54 styles (3 widths, from Regular to Extra Condensed), characterized by slightly flared terminals.

    View Ludwig Übele's typefaces. A list of Ludwig Übele's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Ludwig Übele
    [Ludwig Type]

    [MyFonts] [More]  ⦿

    Luis Mendo

    Designer at type-o-tones in Barcelona who made Design Or Die (1997, techno face), and Vulcano (2007, with Tori Alimbau and José Manuel Urós). Mendo lives in Amsterdam.

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


    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 (was: SML Designs)

    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, and the free brush font Fat Marker (2007).

    Dafont link. [Google] [More]  ⦿

    Luuk van Malsen

    Hedel, The Netherlands-based designer of the squarish typeface Facepalm (2015). [Google] [More]  ⦿

    Lydeke Bosch

    Dutch designer (b. 1991) of Curly (2008) and Lydeke Handwriting (2008). [Google] [More]  ⦿


    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]  ⦿

    M. Tolnai

    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]  ⦿


    Maarten (c12) is the Dutch designer of the pixel font Terraform (2003). Alternate URL. [Google] [More]  ⦿

    Maarten Dullemeijer

    [More]  ⦿

    Maarten Idema

    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]  ⦿

    Maarten van Maanen

    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

    [More]  ⦿

    Machteld den Hertog

    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]  ⦿

    Mads Wildgaard
    [Bold Decisions]

    [More]  ⦿

    Maja Moliere

    Amsterdam-based designer of the cookbook font Roald (2013).

    Behance link. [Google] [More]  ⦿

    Maja Moliere

    Amsterdam-based designer of the cookbook font Roald (2013).

    Behance link. [Google] [More]  ⦿

    Maksims Lisuhins

    Amsterdam-based designer of a textured geometric set of capitals (2017). [Google] [More]  ⦿

    Malgorzata Firgolska

    Graphic designer in Warsaw, Poland. In 2016, she created a squarish typeface for her own identity. [Google] [More]  ⦿

    Malou Osendarp

    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.

    Typecache link. [Google] [More]  ⦿

    Manon Lef

    Designer in Ede, The Netherlands, of the connected calligraphic script typeface Joleni (2017), the script typeface Milano Sky (2017), and the brush typeface Hola Bisou (2017). [Google] [More]  ⦿

    Marc Lubbers

    [MyFonts] [More]  ⦿

    Marc Nijborg

    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]  ⦿

    Marc ter Horst

    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.

    Behance link. [Google] [More]  ⦿

    Marc Zuurman

    Dutch designer at FontStruct in 2008 of Autos (car dingbats), Pixels, Arabische Lettertype (oriental simulation face) and Wayang Kulit. [Google] [More]  ⦿

    Marcel Bakker

    Dutch designer at FontStruct in 2008 of the nice art deco display typeface AlfaDeco. In 2009, he added Dicky and Dinny. [Google] [More]  ⦿

    Marcel Blijleven

    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).

    In 2013, he published Fat Boy (a grotesk display face), Optic (alchemic). [Google] [More]  ⦿

    Marcel de Jong

    Artist, b. Amsterdam, 1967, specializing in macabre, bizarre and black romantic artwork. He created the gothic font Fairydust (2003).

    Dafont link. [Google] [More]  ⦿

    Marcel van den Berg

    Graphic designer in Den Haag, The Netherlands. At Behance, his pen name is Joost Marcellis. Home page.

    His typefaces include Anna Mono (2010, octagonal).

    FontStructor of these gridded typefaces in 2010: Stanna Klein, Stanna Diap. He also made the Esque (constructivist) and Fastlane families in 2009-2010 at FontStruct.

    In 2011, he published the multistyle poster family Geplakt. Images: i, ii, iii, iv, v, vi.

    Fontstructions from 2012: Homerus, Stanna (dot matrix). [Google] [More]  ⦿

    Marcel van den Broek

    Art director for Oak Studio in Ermelo, The Netherlands, who designed the custom typeface V Flow in 2015 for jazz trumpeteer Eric Vloeimans. In 2017, he published the display sans Insight. Behance link. [Google] [More]  ⦿

    Marco Langbroek
    [LaMa Fonts]

    [More]  ⦿

    Marco Sterk

    Amsterdam-based designer of Lugthart (2004, an experimental octagonal face). [Google] [More]  ⦿

    Marco Ugolini

    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).

    Behance link. [Google] [More]  ⦿

    Marco van Zomeren

    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]  ⦿

    Margot de Vries

    Diemen, the Netherlands-based designer of Marker (2017). Behance link. [