<...>

" <...> 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]  ⦿

5Pts

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]  ⦿

Aart Rost

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

Ad 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). [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 typefoundry on the advice of the Ambassador to France Thomas Jefferson. Mappa set up his new business in New York. According to a contemporary letter, and supported by the type in this specimen, his foundry contained not only "the Western, but the Oriental languages at the value of at least [pound sign] 3,500 New York currency." There was not much call for type in exotic languages, and while Isaiah Thomas considered his Dutch and German type "handsome," his "roman were but ordinary." Mappa was not skilled enough to produce the type needed by the new nation, and the foundry was advertised for sale on 1 February 1794. At least some of Mappa's equipment 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 fascist 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), 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]  ⦿

Adolf Overbeek

Designer (1905-1969) of Studio (1946, almost brush script face at the Lettergieterij Amsterdam). The bold version is called Flambard. Some write his name 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 faces 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 types were revived in 2008 by Hans van Maanen as Adams (Canada Type). [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 was born in Heidelberg, Germany, in 1971 and lives in Den Haag, where he studied from 1998-2000 at the KABK. He codesigned all Underware fonts: Dolly, Bello, Sauna, Liza (2009), Auto (1, 2 and 3), Unibody 8 and Fakir. MyFonts page. [Google] [MyFonts] [More]  ⦿

Alban Schelbert

Originally from Zürich, he is currently studying graphic design at the Gerrit Rietveld Academie in Amsterdam. Creator of the playful slab face 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 anf Hartmann left FarbTon in 2005. Their corporate partners were DTL (Frank Blokland), URW++ (mainly for hinting), and Fontshop International. They also got freelance help from Nicolay Gogol and Gisela Will. Up until today, FarbTon has made about ten corporate types. He has worked at URW++ as a freelancer, contributing text and classification expertise to the book URW++ FontCollection.

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

Fonts done by Pool include FF DIN (DIN-Mittelschrift is used on German highway signs, 1995; image, another image), 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), He also made FF OCR-F.

Together with type-consultant Stefan Rugener of AdFinder GmbH and copywriter Ursula Packhauser he wrote and designed a book on the effects of type on brand image entitled Branding with Type (Adobe Press). An expert on DIN typefaces, he spoke about DIN 16 and DIN 1451 at ATypI 2007 in Brighton. Pic. [Google] [MyFonts] [More]  ⦿

Alicia Ingruber

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

Amal ElMourabet

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

Andreas Kindl

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

Angus van Hendrix

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

Ann Bessemans

PhD student (b. 1983) at Leiden University and Hasselt University, who lives 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 is about the design of a font that can reduce the reading problems of children with low vision. She speaks regularly about legibility. [Google] [More]  ⦿

Anne Joshua

Dutch graphic designer in Roosendaal. Behance link. Creator of a colorful typographic experiment with overlays and weaving (2011). [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. Creator of the "Nude Alphabet" in Kwadraat (Steendrukkerij De Jong&Co, Hilversum, The Netherlands, 1970), using twelve nude women. This is not a font, but could be the basis for one. [Google] [More]  ⦿

Anthonius Guthschmidt

(Possibly Dutch) poster designer and lettering artist. A 1924 KLM Royal Dutch Airline poster designed by him featuring the legendary Flying Dutchman was at the basis of the art deco typefaces Guthschmidt and Guthschmidt Condensed (2008, HiH, Tom Wallace). [Google] [MyFonts] [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, working in Leipzig. He was not responsible for the types that bear his name today---they were in fact due to Miklós Tótfalusi Kis (Nicholas Kis). [Google] [MyFonts] [More]  ⦿

Antonius 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] [More]  ⦿

Arabia Ware Benelux

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

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]  ⦿

Archiness
[Wico Valk]

Archiness is a foundry, est. in 2009 in Delft, The Netherlands. Wico Valk (b. 1962, Waddinxveen) designed there ArchiType Rounded (2011, square gothic), Archi Logo (2009) and ArchiType (2009, 12 styles). [Google] [MyFonts] [More]  ⦿

Ardwan AlSabti

Designer in Nijmegen, The Netherlands. Behance link. In 2011, he made the squarish face 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 Englaiscana (2011). [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]  ⦿

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), District (experimental), Descendiaan, Zero Rate (futuristic), Tegel (1998, stencil, kitchen tile), Twenty (octagonal, techno), Trio (dot matrix fonts), Maquette (1999), Region, Product (2007, sans faces), Mr Archi, Prime (display), Deviata (unicase face), Forum I-AR (after Forum I, a 1948 font by Georg Trump), Freie Initialen-AR (2007, after a 1928 set of caps for Stempel Garamond), Fry's Ornamented (2007; a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796), Graphique-AR (2007; a shadowed face 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 face for Enschedé called Open Kapitalen), Romulus Capitals (2007; after the caps series by Jan Van Krimpen, 1931), Romulus Open (2007; after the Open series by Jan Van Krimpen, 1936), Rosart 811 (2007; open caps after Enschedé no. 811 by Rosart), Zentenar Initialen (2007; based on blackletter initials of F.H.E. Schneidler, ca. 1937). [Google] [MyFonts] [More]  ⦿

Arthur Reinders Folmer

Arthur Reinders Folmer (or Arthus) is from Haarlem, The Netherlands. He created the free ornamental all-caps face Magical Unicorn (2011), Elerium (2012, an upright italic), and the tringaulated Crystalline (2012). It has been a long wait, but finally someone had the courage to create a typeface with the name Obesitas: Obesitas Sans (2012), advertised as the mother of all fat typefaces. Pylon (2012) was inspired by electricity pylons.

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

Artur Schmal

Born and raised in Den Haag, Artur was formed at the KABK in type and media. At OurType, he designed Parry and Parry Grotesque in 2006. Schmal claims that it was inspired by Edmund Fry and Thorowgood. [Google] [More]  ⦿

Artuur Kamst

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

Artware
[Niek J. van Driel]

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

Atelier Carvalho Bernau
[Kai Bernau]

Foundry and studio run by Susana Carvalho and Kai Bernau (see also his Letterlabor site), located in Den Haag, The Netherlands, and established in 2006. Has a blog. Typefaces:

• In 2010, they published the free titling grotesk Jean-Luc (Godard), inspired by the movie titling in (1967). Bernau writies: We did not find out who originally made the lettering for these two movies. Some speculate it could have been Godard himselfâ Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time's more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street: We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle, a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography. We learned about the PDU through Eric Kindel's article in Typography Papers 7. In 2009, then-Werkplaats Typografie student Dries Wiewauters surprised us with a revival of the Plaque Découpée Universelle. Below, the JeanLuc alphabet (white) and the PDU alphabet (blue), to show similarities and differences.
• Lyon Text and Lyon Display (2005-2010). These are two text families done at Commercial Type. They say: Lyon is a suite of contemporary reading typefaces for modern publications, based on historical models of the 16th century punch cutter Robert Granjon. Lyon reflects our convictions about modern digital typeface design: A decisively digital outline treatment that reveals our modern repertoire of tools, and the typeface itself as a modern design tool, paired with a certain Times-like unobtrusiveness in the Text sizes, contrasts nicely with Lyon's 16th century heritage.
• Neutraface Slab (2007-2009, art directed by Christian Schwartz and Ken Barber). The slab of the famous Neutraface family at House Industries.
• Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans.
• Custom typeface Munich Re (2008-2009) for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam).
• Custom face Harvard Museum Neutral (2008).
• Custom face Proprio (2007-2009) for the Fabrico Proprio project. This is a willfully bare-bones grotesk family without any snootiness.

Atelier van Wageningen Novo Typo
[Mark van Wageningen]

Mark van Wageningen is a Dutch type designer. Born in 1969, Mark lives in Amsterdam. Novo Typo is the typefoundry of Atelier van Wageningen.

The display type Stavba (inspired by rodchenko's constructivist lettering) appeared in 1994 as a part of his presentation for his final examination at the Gerrit Rietveld Academie in Amsterdam, and was later renamed Ärst. He continues making display types on his own account. He created the fonts Linotype Cerny (1995, caps only), Linotype Laika and Linotype Sjablony (a roughened stencil font) in 1997. Zkumavka (1995-2002, Two Rebels) is a grungy stencil family and based on stencils from the 1920s in Russia. Fontshop and 2Rebels sell his Gagarin family (2000), which include Anna (constructivist and unicase), Boris, Christa, Dmitri (MICR), Eleno, Fjodor, Gregor, Hektor (stencil), Igor, Youri, Leonora (with Nele Reyniers), Magda (with Nele Reyniers), Ossip and Petrov (LED simulation). As he tells it, four Russians, Gustav Klucis, Vladimir Majakovski, Alexander Rodchenko en Gregory Rasputin each had an affair with Anna Gagarin, and out of all that came forth Boris, Christa, Dimitri, Elena, Fjodor, Gregor, Hektor, Igor, Jouri, Kurt, Leonora, Magda, Nina, Ossip, Petrov, Quirina, Rudolf and Sonia. Atelier Van Wageningen made the curly face HC type (2010) for packaging.

Typefaces from 2012 include NT Lucien, NT Plakaty (poster font), NT Theo, the NT Gagarin family, NT Zkumavka (rough stencil), NT Cornelia (wood type caps), Louis Douze and Therese Quatorze.

Behance link. Linotype link. FontShop link. [Google] [MyFonts] [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, and designer of 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: Arachnid, 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. Bitmap font specialist. Alternate URL. Interview. His 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. And he did 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. [Google] [MyFonts] [More]  ⦿

Attak Fonts
[Peter Korsman]

Attak is a two-headed graphic design firm formed in 2004 by Peter Korsman and Casper Herselman. It is based in 's-Hertogenbosch, The Netherlands. They have some free and some commercial typefaces. Behance link. Their fonts, ca. 2009: AT AK-47, AT Babyfat, AT Blaser, AT Concours, AT Dienstuhr, AT Discipline, AT FFW, AT Helix, AT Hide and Seek, AT Hieronymus, AT Janus Kiep, AT Kerremus, AT Klaxon, AT Korsakopf, AT Litewriter, AT Mepper, AT Mohawk, AT Moker, AT Monoload, AT Muntel, AT Peetroleum, AT Praktikum, AT Promille, AT Ramseier, AT Riot, AT Sirca, AT Sirca alternate, AT Slyper, AT Snotnose, AT Streeep, AT Tabak, AT T'Atteljeej, AT TCB, AT Timeline, AT Trash Bold, AT Willi, AT With Machines, AT Zippora. Notable products: AK-47 simulates Cyrillic; Helix is a stencil face; Muntel and Concours are fat art deco faces; Practicum and Tabak are octagonal; Riot leaks blood; Sirca is based on arcs of circles; Streep is a multiline font. I presume that Peter is the main font designer in the team, as he already made fonts as early as 2003 for Burodestruct (see, e.g., BD Burner, BD El Max, BD Sirca, and BD Bardust, downloadable here). A more detailed breakdown per designer:

• Tim van de Kimmenade: AT AK-47 (2005), AT Helix (2004), AT Trash Boldf (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), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004), AT T'Atteljeej (2008).
• Rutger Paulusse: AT Discipline (2008).
• Rens vanden Berge: AT Hide and Seek (2006).

Auke Wieringa

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

Autobahn
[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 face Petronius, which is based upon a typeface designed by surrealist Joop H. Moesman (1909-1988).

The Alphabet in stone face by Dom Hans van der Laan, a Dutch monk who lived from 1904-1991, 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.

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]  ⦿

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. [Google] [More]  ⦿

Baron von Fonthausen
[Jacques Le Bailly]

Jacques Le Bailly (b. 1975) is the "Baron von Fonthausen", located in Den Haag. He is working on commercial fonts such as Ballpoint, TyPress, Ballpoint, B-Day and Sardines-Light. Sardines (2008, Vette Letters) is described by Jan Middendorp as an amusing parade of heavyweight characters crammed into squares. In 2010, that family was expanded to VLNL Neue Sardines (42 styles). Designer of the pixel font Mekka. Behance link. [Google] [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 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 face 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 face 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 faces like Zuzana Licko's faces Lo-Res and Emperor 8. [Google] [More]  ⦿

Bartholomeus Voskens

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

Bas Jacobs

Cofounder of Underware (b. Wanssum, The Netherlands, 1976), a typographic design studio based in Den Haag, founded in 1999 by Akiem Helmling and Bas Jacobs. Bas lives in Amsterdam since 2001. He studied at the KABK in Den Haag. Bas Jacobs and Akiem Helmling designed Dolly (2001), a 4-font book typeface with flourishes. The Bukvaraz 2001 award they won for it mentions that Lars de Beer and Sami Kortemäki also had a hand in the font. Dolly A Book Typeface with Flourishes is also a book. Bas also codesigned the other Underware fonts after Doly: Bello, Sauna, Liza (2009), Auto (1, 2 and 3), Unibody 8 and Fakir. At ATypI 2004 in Prague, he spoke about education in type design. FontShop link. Speaker at ATypI 2010 in Dublin. [Google] [MyFonts] [More]  ⦿

Bas Masbeck

Amsterdam-based designer of Cubic Typeface (2012). [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 faces 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]  ⦿

Ben Aalbers

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

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]  ⦿

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 Monday
[Pieter van Rosmalen]

Bold Monday is an independent font foundry established by Paul van der Laan and Pieter van Rosmalen and based in The Hague, The Netherlands. Typefaces: Capibara (squarish, done in 2007 by van Rosmalen), Feisar (techno), Flex (sans), Nitti (monospaced, done in 2008 by van Rosmalen), Panno (sans, done in 2008 by van Rosmalen), Panno Text (2008-2010, a sans by Van Rosmalen and van der Laan), Naomi (1999), Nitti2 typewriter (2009, by Van Rosmalen at Caketype), Nitti3 (2011, like Nitti2, but also with monotonic Greek), Pinup (fat rounded sans, done in 2008 by van Rosmalen), Pixel Package, and Stanley (headline face, done in 2008 by van Rosmalen; includes a stencil). Logo. [Google] [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 will speak at ATypI 2009 in Mexico City. Middendorp writes: During my research for Dutch Type, I chanced upon the work of Boudewijn Ietswaart, an extremely talented lettering artist and illustrator whose work is virtually unknown in his native Netherlands. Further research led to my locating him - now retired - in Amsterdam, where I interviewed him and made photographic reproductions of some of his work. Ietswaart spent most of his professional life as a graphic designer in Mexico, Venezuela and Barcelona and only did a small portion of his work for Dutch publishers. He later became a scientific illustrator and abandoned lettering altogether. Ietswaart was extremely prolific during his two years in Mexico, c. 1960, where he had gone to assist UNESCO collaborator Alexander Stols - a well-known publisher - as the typographic specialist. After I mentioned Ietswaart to my contacts of the Círculo de Tipógrafos in Mexico last year, they researched what information they could find, and also located many of Ietswaart's works in antiquarian bookshops. They soon warmed up to the idea of reviving some of his alphabets as fonts, and present the work during ATypI 09 in the context of the cultural climate of the era. At the Flickr site documenting his years in Mexico in 1961 and 1962, we read: In 1961 a young Dutch designer, Boudewijn Ietswaart, arrived in Mexico City. Schooled in hand lettering and a master of many graphic techniques Ietswaart came to the effervescent capital of Mexico as an assistant to Alexandre Stols, himself a famous book designer who had been sent abroad as part of a UNESCO. Ietswaart was enormously productive these two years as a designer of book covers for the Fondo de Cultura Económica and the Universidad Nacional Autonoma de Mexico (UNAM). A list of his work for the UNESCO spans more than 50 titles. Ietswaart himself, now 72, is modest about his efforts, saying he was "allowed to do the titles" and noting the pretentiousness of being sent on an aid mission to a publishing company of international stature such as the Fondo de Cultura Económica. Nonetheless he took seriously his goal of making the presentation of mass produced books on academic subjects more accessible. A revision of his work gleaned from Mexico City's second-hand bookshops displays a playful, fresh and elegant style to the layman's eye. For an expert on hand lettering there is more to be seen in Ietswaart's designs. Jan Middendorp, author of Dutch Type, the canonical book on the history of typography in the Netherlands, titles one chapter the "Unrecognized brilliance of Boudewijn Ietswaart" giving Ietswaart pride of place among Holland's great designers of letters. Nonetheless Ietswaart is still virtually unknown, largely because he was working as a freelance designer outside of his own country. This period was also a golden age in Mexican letters. Gabriel Garcia Marquez moved to Mexico in 1961 and Nobel Prize winners Octavio Paz and Carlos Fuentes were regulars in the scene around the great Fondo de Cultura Económica. Artists such as the Catalan Vicente Rojo worked in the design section. And Mexico in general was at the peak of its 20th century cultural glory. After his two-year stay in Mexico Ietswaart moved to Spain and Venezuela, eventually leaving book design and moving into scientific illustration. He is now retired and living in Amsterdam. In 2008 during its investigations of Dutch typography the Círculo de Tipógrafosógrafos, a group of young designers in Mexico City, stumbled on the work of Ietswaart by way of Middendorp. Inspired by the designs of an unknown foreigner in the golden age of their country's letters the Circulo de Tipógrafos has undertaken a project to convert his hand lettered alphabets into digital fonts compatible with computers anywhere, thereby commemorating the work of Ietswaart and this particularly important period in Mexican cultural history. The aim of the Circulo de Tipógrafos is to present these fonts during the yearly congress of the Association Typographique International, the organisation of the international type community, which is to be held towards the end of October 2009 in Mexico City. This presentation is to be accompanied by an exposition to be held in a major venue in the city's historical centre.

Boudewijn Ietswaart passed away on December 23, 2010.

Examples of his lettering borrowed from that Flickr site mentioned above: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y. [Google] [More]  ⦿

Braille: History, Use, Current Research

Braille links. [Google] [More]  ⦿

Bram de Does

Bram de Does is a type designer born in Amsterdam in 1934. At Enschedé, which he joined in 1958, he designed Trinité (1978-1981) and Lexicon (1990-1991). Enschedé write-up. Author of Kaba Ornament Deel I - Vorm (De Spectatorpers, 2002). Trinité won him the prestigious H.N. Werkman prize in 1991. Mathieu Lommen and John A. Lane published Bram de Does Boektypograaf&Letterontwerper Book Typographer&Type Designer (Amsterdam, 2003). In 2003, a 53 minute Dutch documentary was made: Systematisch Slordig: Bram de Does - Letterontwerper&Typograaf (Coraline Korevaar/Otto de Fijter, Woudrichem). A collection of many of his drawings is at the University of Amsterdam, and some of it (like 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).
• Trinité waccording 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.

Bram Donkers

Creator of the fat finger face 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 ornamentla patterns seen in the windows of Chinese restaurants). [Google] [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 faces: 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 face Andoverpis. The Dog House Nike (2010) is a custom typeface for The Dog House Athlete center for runners in Amsterdam. [Google] [MyFonts] [More]  ⦿

Brill
[John Hudson]

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

Bruno Herfst

Dutch Amsterdam-based creator of the sans face 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]  ⦿

Buro Petr van Blokland + Claudia Mens
[Petr van Blokland]

Buro Petr van Blokland + Claudia Mens is a design and typography outfit in Delft (The Netherlands), which marketed RoboFog, a scripting language for Fontographer. Petr van Blokland (b. Gouda, 1956) is also a teacher at the Royal Academy Art in The Hague, and has designed the typefaces Vijfzeven (1978, dot matrix), Proforma (1984, available from Font Bureau), Productus (1992, sans), Prolinea, and Deforma (1999). In 1988, he received the Prix Charles Peignot. Since 1980, Petr is designer and partner in Buro Petr van Blokland + Claudia Mens. From 1984 until 1989 he taught at the Academy for Visual Arts in Arnhem. Since 1988 he is a teacher at the Graphic and Typographic Design Department and the post-graduate course Type&Media of the Royal Academy of Visual Arts in The Hague. In 2005, Erik and his brother Petr made the Künstlerbrüder-Schriftfamilie of 30 fonts (10 widths, 3 weights) based on 3 width masters for each of two weights. It is a quirky and refreshing family made for banners for the Münchener Haus der Kunst in 2005.

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

Buy50

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]  ⦿

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, handprinted), 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, get Alter Ego, Capone, Capone Poster (stencil), Galaxy and Pixie (+Mpno, 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 handprinted Aniek. In 2009, he and Paul van der Laan created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans. [Google] [MyFonts] [More]  ⦿

Calango
[Jeroen Krielaars]

Jeroen Krielaars (Calango) is a Dutch web designer in Amsterdam who made an animated prismatic geometric face called Moshun (2010). Krielaars created Moshun using the program Adobe After Effects in less than three days. Buy it exclusively from HypeForType. Behance link. MyFonts link. See also here.

Images of Moshun: i, ii, iii, iv, v, vi.

In 2011, he teamed up with Maria Jose Torrero Heredia from Mexico to create the latest addition to the typeface collection, Binary 2.0 (experimental and very modular). [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]  ⦿

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. [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]  ⦿

Characters
[René Verkaart]

René Verkaart (Maastricht, The Netherlands, b. 1970) established Characters in 2004. His type designs:

• Cucaracha (2005, Volcano Type). It includes Cucaracha Icons.
• Ballet Mechanique (2006). A custom-designed unicase font for musician Jeroen Borrenbergs, aka Ballet Mechanique.
• 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.
• Reethi Rah (2006). See also here.
• 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.
• Insider (2004). A sans serif custom face done for Insider Consulting in Duesseldorf, German. It became retail in 2011, and is sold as a warm grotesque family.
• 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).
• Savant (2012). A free informal face.
• ShellShock (2005). A display typeface.
• Accelerator. A techno / Startrek face solds via T-26.
• Nantua (2003), Nantua Flava XL (2003, display typefaces sold through Union Fonts). In 2011, the octagonal typeface Nantua was offered for free download at Dafont.
• Encrypted Wallpaper (2006) is a playful squarish typeface for creating textual wallpapers and decorations.
• 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, Porta, SBD Block.

He co-founded Stoere Binken Design. Blog. Klingspor link. Behance link. Dafont link.

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

Charles Jongejans

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

Cher Van Tol

Illustrative designer in Den Haag, who made the experimental face 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. 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 face Albertina in 1964-1965 (Monotype). This face was first used for a catalogue of Stanley Morison's work exhibited at the Albertina Library in Brussels in 1966. DTL Albertina saw the light in 1987. Brand also created Veerle Uncialis (1991) but it is unclear whether this font is his or a reworking of a face by the Parisian typefounder Fournier. Finally, he made the coptic font Draguet (1968).

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

Chris Lebeau

Joris Johannes Christiaan Lebeau was a Dutch designer, 1878-1945. Hisart deco lettering can be found in these creations: Kunsthandel Willem Brok (1919, portrait poster cut in wood), Winterboek 24-25 Wereldbibliotheek (1924, front cover), Ultraphoon Huis (1920s, record sleeve), Ultraphoon (1920s, record sleeve), Programma (1920s, program), and Openbare Arbeidsbemiddeling (1928, poster). The black display caps face 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 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]  ⦿

Christoffel van Dijck

Dutch type cutter, 1601-1669, who had a type foundry in Amsterdam. DTL Elzevir is based upon his work. Rudi Geeraerts explains a bit about present day types based on Van Dijck's work, and I cite:

• Monotype Van Dijck 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.
• Monotype Van Dijck was remade by G.G. Lange (1993, Berthold) and is of better quality according to many, including, e.g., Jan Middendorp in Dutch Type.
• DTL Elzevir is based on a study of several cuttings from Christoffel Van Dijck. DTL states that it is mainly based on the Augustijn Romeyn a cut found on a 1682 type specimen issued by Daniel Elseviers 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 is based on a study on 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 the Ungers 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.

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 face 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]  ⦿

Claus Eggers Sørensen

Also known by insiders as El Pato Loco Atomico. Danish type designer (b. 1973) 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 on the Google Font Directory. 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. Claus lives in Amsterdam. Google Font Directory link. Speaker at ATypI 2011 in Reykjavik on the topic of typography for touch-screen devices. [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.

Designer at URW++ of Altrincham (2003, a sans family), Perugia Cursive (2003, gorgeous calligraphic script), Ramona (2004, shadow face), Romeo (2004, a 3d beveled shadow face), Sax (2008, serif family), Silvestrini (2003, a gorgeous Gando-style ronde), Sirius Caps and Sirius (2003, a garalde family), and FontForum Sax (2008, a serifed display family).

At URW++ in 2011, he revived Herbert Thannhaeuser's 1952 slab serif family, Technotyp, under the same name. Revis (2011) is 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. Jason Uncial (2012, URW++) is a unicase uncial design. Holland Gothic (2012, URW++) and Caxtonian Black (2012, URW++) are blackletter typefaces.

Klingspor link. [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]  ⦿

Collegium Graficum
[Alexander Overdiep]

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

Constructed Languages
[Boudewijn Rempt]

Boudewijn Rempt's fonts for imaginary and not-so-imaginary languages: Afaka-Roman (from Surinam, with help from Rob Nierse), Bugis-Makassar, DendenChancelleresca, Eqalar3 (for Pablo Flores' language Draseleq), goidel, gothic-1, Keiaans-(Kayenian), Mandeville-Hebreeuws, Meroitic-boldItalic, Mandeville-Chaldeeuws, Mandeville-Grieks, Mandeville-koptisch, Mandeville-Saracen, Nosjhe-standard (with Christophe Grandsire), hPhags-pa-(rotated), selang, selang-cursief, Ü-chan, ValdyaansKlerkenschrift, 2ValdyaansKlerkenschrift. He created Gothic after the alphabet devised by the Visigothic Bishop Wulfila (Lat. Ulfilas), 311-383 AD. [Google] [More]  ⦿

Contemporary Dutch Typography

The type situation in the Netherlands, described by Peter Bilak. [Google] [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. Creator of the comic book / chalk board font Whiteboard (2007). She is the designer of Heroes Font (2006, handprinted, made based on screenshots of the Heroes TV series; see also here) and House Whiteboard Font (2006). Commercial fonts include Spidery Elegance (2008). She also offers a commercial handwriting font service (40 USD), and has some free handwriting demo fonts from 2005-2006: 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. Today, she is a partner at OurType in Belgium, the foundry of 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 art deco face). [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 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]  ⦿

Created by Design

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

Cyriel Klitsie

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

Daan Gei

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

Dandm3
[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. He designed Pam (2004), a typefaces specifically crafted for street maps, as well as the experimental face Before. Unclear if Maarten is Dutch, Irish or Kiwi. [Google] [More]  ⦿

Dani Montesinos

Freelance graphic designer from Spain who lives in Amsterdam. He created the interesting display face Athan (2010, Thinkdust), and the futuristic deco face Blozend (2010, Thinkdust). [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 face 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 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]  ⦿

Dave Crol

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

David Benque

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

David Quay

British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1968, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded The Foundry with Freda Sack and Mike Daines in London. The Foundry also develops custom typefaces, marks and logotypes for companies inernationally these include a special typeface to be readable at very small sizes for Yellow pages, corporate fonts for BGplc (British Gas) NatWest Bank, and signage typefaces for both RailTrack in the UK and the Lisbon Metro system in Portugal. He taught typography and design at the Academie St. Joost, Hogeschool Brabant from 2001-2003. He now teaches one month a year at IDEP in Barcelona. He lives and works in Amsterdam. Linotype link. In 2009, he started selling his fonts at MyFonts. Pic. His fonts, in chronological order:

• Custom lettering and type for the Penthouse calendar.
• 1983: Santa Fe (monoline script), Agincourt (1983, ITC, blackletter), Blackmoor (1983, ITC, English-style blackletter).
• 1984: Titus, Vegas.
• 1985: Quay, Milano.
• 1986: Bronx.
• 1987: Bordeaux, Bordeaux Script.
• 1988: Latino Elongated, Mekanik.
• 1989: Aquinas, Robotik, Helicon (1989, Berthold).
• 1990: Quay Sans, Digitek, Teknik.
• 1991: Letraset Arta.
• 1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek.
• 1993: Marguerita.
• 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 (2011), a typeface developed with Ramiro Espinoza for the city of Bath.

DBXL
[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 Brokken (2009, fat octagonal face), VLNL Brak, VLNL Decks, VLNL Breakz.

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. [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]  ⦿

Deconditoned Reflex (drx87)
[Roberto Dias da Silva]

Dutch designer (b. 1987) of ArnStylo (2011, a deco face). [Google] [More]  ⦿

DecoType
[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. I heard Thomas talk about Arabic fonts at the 1998 RIDT in Saint-Malo and again at ATypI in Copenhagen in 2001: both 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." Bio at ATypI. MyFonts page. Speaker at ATypI 2008 in St. Petersburg. In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography has been awarded to Thomas Milo 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. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. [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]  ⦿

Design Dutch
[Matt Langstaff]

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

Designtown
[Jasper Michael De Waard]

Dutch creator of the free http://www.google.com/webfonts/family?family=Expletus+Sans&subset=latin#description">Google Web Font display face 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 face lift, and Disc (2008, CD-inspired). Jasper was born in Rotterdam in 1996. [Google] [MyFonts] [More]  ⦿

designworkplan
[Sander Baumann]

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]  ⦿

Dick Dooijes

Born in Amsterdam, 1909, he died in 1998. Trained and worked at the Lettergieterij in Amsterdam under S.H. de Roos. Studied at the Amsterdam College of Arts and Crafts and at the Academy of Art. His typefaces:

• 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 faces 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 face 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 / Univers. See here).
• Contura (1966): an outline font in garalde style.
• Studio Bold (1954, Lettergieterij).
• Lectura (1962-1966, Lettergieterij; 1969, Intertype; acquired by Stephenson Blake): Lectura is a very legible garalde family, ideal for books.

Diogo Tovar

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

DolWork
[Gerben Dollen]

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

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 face 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]  ⦿

Dotspot Graphics
[Yves Latscha]

Yves Latscha's Dutch site, located in Gennep, The Netherlands, is called Dotspot Graphics. Dafont link, where one can download his free grunge face, Gekrazze, the grunge faces 50's Headline DSG (2006), OldPress DSG (2006), Overprint DSG (2006), Smeared DSG (2005), OverRide DSG (2006), the handwriting face 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]  ⦿

Drawperfect
[Paul IJsendoorn]

Paul Ijsendoorn (Drawperfect) is a designer in Den Bosch, The Netherlands, b. 1976. He created Post-it Penscript (2009) and Fineliner Script (2010). [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). Behance link. He list of typefaces:

• PDU, or Plaque Découpée Universelle (2010). 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 faces, and Ultra Black a fat brush poster face.
• Interieur2010 (2010): a type family that started out by modeling a chair.
• MAD (2009). Multiline type family started from Machine Aided Design typefaces.

DTL FontMaster

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.

DTM Inc

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 face Ester was published. [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]  ⦿

Durotype
[Ben Blom]

Durotype is the foundry of Dutch type designer Ben Blom. Ben created the rounded serif family Classic Round (2010, +Classic XtraRound, 2011), and Cigar (2010), which is a revival of the seventies face called Cucumber or Nassel Black or Scanner. Seconda (2010) is a humanist sans family. Seconda Soft (2011) 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 face Semplicità.

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

Klingspor link. [Google] [MyFonts] [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 Type Library (or: DTL Studio)
[Frank E. Blokland]

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

From their corporate blurb: The Dutch Type Library was commissioned to produce the corporate typeface for the European Union. Further, DTL supplied the company letters to, among others, the New York Stock Exchange, Germany's Phoenix Television Broadcasting Company, Amnesty International USA, Emerson, The Diamond Trading Company, Taylor Nelson Sofres, Finland's most popular newspaper Helsingin Sonamat and banks and museums all over Europe. Besides fonts, the Dutch Type Library also produces sophisticated software for (OpenType) font production: DTL FontMaster, of which a free Light version is available.

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

Dutchfonts.com
[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 faces: 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, 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 faces), 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 faces), DF Game Over (2011, sketched face), DF Scheurze (2012, a great fat rough stencil face).

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

Duygu Ölcek

Typographer and designer who lives in Den Haag, The Netherlands. She made some elegant typefaces, such as Jarek (2010, organic), Cubicle (2010, squarish) and a tilted script of exceptional balance, also in 2010. Home page. [Google] [More]  ⦿

ECHT
[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 face Barharen Phir Bi (2010). The latter face is based on the Hindi text found on Guru Dutt's Baharen Phir Bi Aayengi -film poster (1966). [Google] [MyFonts] [More]  ⦿

Ecofont
[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]  ⦿

Eden
[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 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. 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.

Klingspor link. [Google] [More]  ⦿

Edo Smitshuijzen

Author of the rather complete Arabic Font Specimen Book (De Buitenkant, Amsterdam, 2009). [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]  ⦿

Elena Lloveria

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

Elmo van Slingerland

Dutch type designer (b. 1964, Rotterdam) who made DTLDorian (1994) at the Dutch Type Library. [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]  ⦿

Elzevir family

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. They were operational until 1712. The name "Elzevir" is used to describe typefaces not unlike those made by them. [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]  ⦿

Emilio Macchia

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

Erhard Kaiser

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

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

Erik van Blokland

Prolific Dutch type designer who created Beowolf (a random font, 1989), Hands, Trixie (the old typewriter font), Kosmik, Federal (1996) and Zapata. Launched LettError in 1989 with Just van Rossum. Born in 1967 in Gouda. [Google] [MyFonts] [More]  ⦿

Erik-Jan Vens

Born in Zaandam, The Netherlands, in 1960, Erik-Jan is a typophile and TEX specialist. Lives and works in Groningen, where he runs Bluefuzz. Photo. [Google] [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 face 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). The Laztemel web site disappeared. His newest site, Mental Type, cannot be reached. [Google] [More]  ⦿

Erwin Van Soelen

Dutch designer of the handwriting face Erwin (2006) and the grunge faces 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]  ⦿

Euro-CE
[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]  ⦿

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), FF Avance (2000) and FF Legato 1 and 2 (2004, sans families discussed here). FF Balance was created at the Amsterdamse Steenweg in Arnhem, at almost the same address as Ontwerpbureau Quadraat. Editor of "Letters, een bloemlezing over typografie" (Eindhoven, 2001), a book about contemporary Dutch typography. FontFont page. Typophiles about his death. Jan Middendorp wrote: Of all the type designers I have known and have written about, Evert had the most complex personality, and possibly the most original mind and the weirdest sense of humour. He kept promising me, with his characteristic mixture of boyish enthusiasm, solemn dedication and self-mockery, that he would one day cover the entire distance between his home in Arnhem and mine in Ghent on his reclining bike. I was sure he'd make it, sooner or later he always carried out his plans, although some took him ten years to complete. It fills me with grief, wonder and anger that Evert, who was always advocating exercise and healthy food, has now been taken away from us because of a heart failure. As a type designer, Evert was unorthodox, a true original. Each of his four type families was the outcome of a highly personal investigation, a challenge to himself. To others, he could be as demanding as his was to himself; when criticizing his friends' typographic work, he was brutally honest and always to the point. Yet he remained amazingly modest, even insecure, about his own work, and deeply grateful to those who would comment on the early versions of his typefaces and/or test them in print. In spite of the single-mindedness with which he worked on his type designs during those months of total concentration, he was open to many other intellectual stimuli. He had worked as a photographer of architecture constructing his own hand-operated panoramic camera, interviewed the designers he admired (such as Wim Crouwel and Hans Reichel) about their design philosophy, and lately became fascinated by the work of Marshall McLuhan. His lectures and articles, too, were evidence of his original ideas on form and on reading. It is a great loss indeed.

FontShop link. Klingspor link.

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

Exljbris
[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:

• Anivers (2007). The regular weight is free.
• Calluna (2009). A serif in 8 styles, one of which is free but the others are not---see Fontsquirrel. Calluna Sans (2010).
• The sans family Delicious (1994-1996). A free face. See also here. He is working on this and DeliciousX.
• Diavlo (2007). A free sharp-edged sans opentype face.
• Fertigo (2006) and Fertigo Pro (2008). A lively organic display text type.
• Fontin (a free miniserifed family).
• His masterpiece from 2010 is the Geotica family, which runs the gamut of art deco styles and includes inline blackboard bold styles.
• Museo (2008, a 5-style slab serif), Museo Sans (2008; 2 free and 8 non-free styles), Museo Sans Rounded (2011), Museo Slab (2009). This is a phenomenally successful face in 2010-2011.
• Tallys (2008). A serif with tall ascenders.

View Jos Buivenga's typefaces. [Google] [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.

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

Femke Klaver

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

FindThatFont
[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]  ⦿

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]  ⦿

Floris Voorveld

Dutch freelance graphic designer (b. Almelo, 1985) living in Granada, Spain. Creator of the free rounded sans typeface FV Almelo (2012), which was designed using ruler and compass.

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

fnsam

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 anatomy wallpaper
[Sigurður Ármannsson]

A visual glossary of the parts of typefaces. By Icelandic designer and typographer Sigurður Ármannsson, a graduate from The School of Arts and Crafts [now Icelandic Academy of the Arts]. He teaches there part-time. He also studied at the Rijksakademie van Beeldende Kunsten in Amsterdam. [Google] [More]  ⦿

Fontenwerkplaats
[Richard Keijzer]

Richard Keijzer is the Dutch designer of Mokum Betondorp, a great art deco display face (2005) 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). Now he is working on Mokum Plons, after a 1929 sign outside Het Sportfondsenbad in Amsterdam. His Mokum Tooneel (2006) is based on lettering by Anton Kurvers, a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987). Mokum Oorkonde (2006) is based on art deco lettering found in the archives of the city of Amsterdam. Mokum Giro (2006) is 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 Van den Eijnde for the main Post Office in Utrecht. Mokum Stad (2008) is modeled after 1920s lettering found in Groningen. Alternate URL. [Google] [More]  ⦿

FontFabrik
[Lucas de Groot]

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

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

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

Fontfeest
[Gerard Salomons]

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

FontMeister
[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 faces 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 handprinted 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 typfaces.

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.

Dafont link. Font Bros link. Dafont link,. Fontsy link<--a>. Klingspor link. [Google] [MyFonts] [More]  ⦿

Fonts++
[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). [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 face Flatdepth (2011). [Google] [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.

Frank E. Blokland designed amongst others the typefaces DTL Documenta and DTL Haarlemmer (1994-1996, an adaptation of Jan van Krimpen's Haarlemmer of 1940, and addition of a sans version, which was commissioned by the Boijmans Van Beuningen Museum in Rotterdam). He is working on DTL Fell, a Fell type revival. The Fell types are Dutch types from the late 17th century that were given to the University of Oxford by John Fell (1625-1686), bishop of Oxford from 1675-1686. In The Roman, Italic&Black Letter bequethed to the University of Oxford by Dr. John Fell (Oxford, 1951), Stanley Morrison states that the Roman may have been cut by Christoffel van Dijck. Specimen exist from 1693, 1695 and 1706.

At ATypI 2008 in St. Petersburg, he gave a series of lectures: Type tools by DTL, Automating font production, Automating type design, Integration of FontMaster in Linux and Mac OSX, and History of type. On that occasion, participants were presented with the booklet Comprehensive Notes on the Design of Cyrillic Letters by Finnish type designer Hanna Hakala and typeset in the preliminary version of DTL Valiance.

Speaker at ATypI 2011 in Reykjavik on the topic of parametrized type design, and in particular on the development of the DTL LetterModeller (LeMo) application, which is an attempt to come to such parameterization of type design.

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

Frank van der Hak

Graphic designer in Zoetermeer, The Netherlands, b. 1989. He created the experimental geometric font Knarf Art and Knarf Art 2 (2009). [Google] [More]  ⦿

Frank Vogt

Dutch designer (b. Eindhoven, 1969) of Plan (2005), a typeface 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 face Noted V1 (2011) and the trekky face 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 , 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 faces based on Velthuis's Metafont sources from 1991-2005: Velthuis-dvng10, Velthuis-dvng8, Velthuis-dvng9, Velthuis-dvngb10, Velthuis-dvngb8, Velthuis-dvngb9, Velthuis-dvngbi10, Velthuis-dvngbi8, Velthuis-dvngbi9, Velthuis-dvngi10, Velthuis-dvngi8, Velthuis-dvngi9, Velthuis-dvpn10, Velthuis-dvpn8, Velthuis-dvpn9, VelthuisBombay-dvnb10, VelthuisBombay-dvnb8, VelthuisBombay-dvnb9, VelthuisBombay-dvnbb10, VelthuisBombay-dvnbb8, VelthuisBombay-dvnbb9, VelthuisBombay-dvnbbi10, VelthuisBombay-dvnbbi8, VelthuisBombay-dvnbbi9, VelthuisBombay-dvnbi10, VelthuisBombay-dvnbi8, VelthuisBombay-dvnbi9, VelthuisBombay-dvpb10, VelthuisBombay-dvpb8, VelthuisBombay-dvpb9, VelthuisCalcutta-dvnc10, VelthuisCalcutta-dvnc8, VelthuisCalcutta-dvnc9, VelthuisCalcutta-dvncb10, VelthuisCalcutta-dvncb8, VelthuisCalcutta-dvncb9, VelthuisCalcutta-dvncbi10, VelthuisCalcutta-dvncbi8, VelthuisCalcutta-dvncbi9, VelthuisCalcutta-dvnci10, VelthuisCalcutta-dvnci8, VelthuisCalcutta-dvnci9, VelthuisCalcutta-dvpc10, VelthuisCalcutta-dvpc8, VelthuisCalcutta-dvpc9, VelthuisNepali-dvnn10, VelthuisNepali-dvnn8, VelthuisNepali-dvnn9, VelthuisNepali-dvnnb10, VelthuisNepali-dvnnb8, VelthuisNepali-dvnnb9, VelthuisNepali-dvnnbi10, VelthuisNepali-dvnnbi8, VelthuisNepali-dvnnbi9, VelthuisNepali-dvnni10, VelthuisNepali-dvnni8, VelthuisNepali-dvnni9, VelthuisNepali-dvpnn10, VelthuisNepali-dvpnn8, VelthuisNepali-dvpnn9. [Google] [More]  ⦿

Frauke Smit

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

Fré Cohen

Dutch graphic designer (1903-1943) who lived in Amsterdam. She often designed fonts for her own projects. One of her alphabets inspired Richard Keijzer to develop Mokum Cohen (2006)--it was based on the font used in the Annual Report of the Municipal Giro 1930. Her lettering was also the inspiration for Freco (2006, Canada Type). [Google] [More]  ⦿

Freed Schmitter

Dutch calligrapher and designer, who created the Letraset font Aura Script (1982-1994) and Aura Sanscript (1973-2008). He is based in Amsterdam. He 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. [Google] [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 face Highlight (2007-2009, graduation project at KABK), Faber Line (2007), and the funny Bokkepootjes (2010, done with Lien). Thomas lives in Den Haag. [Google] [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]  ⦿

Geiger Artwork
[Jürgen Geiger]

Shareware truetype fonts by Jürgen Geiger in the Netherlands: GeigerBloc (2002), GeigerFree, GeigerInfo, GeigerSerif, the handwriting family GeigerScript, and the ZapfDingbats-like GeigerDingbats. Mac and PC. Plus the script font family Script3 (2000). See also here. See also here. I am not sure if the Dafont fonts serif and Block, 2000-2002, are made by the same J. Geiger. [Google] [More]  ⦿

George Salter

Designer (1897-1967) of the ribbon type Flex at Lettergieterij Amsterdam in 1937. He lived mainly in New York. [Google] [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. [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 Unger

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

• Markeur (1972), not available as digital type.
• M.O.L. (1974), not available as digital type. M.O.L. is the type used in the Amsterdam subway.
• Demos (1976), available from Elsner & Flake. Unger said once that this was his first face, and that he made it at Hell in Kiel in 1974 (but I am confused then as to the date of Markeur).
• Demos (new version 2001), available from Visualogik.
• Praxis (1977), available from Elsner & Flake.
• Hollander (1983), available from Elsner & Flake.
• Flora (1984), available from Elsner & Flake. There is also ITC Flora (1980-1984). Named after Unger's daughter, this is an upright sans italic.
• Swift (1985), available from Elsner & Flake. This is his most popular face, used by many Dutch and Scandinavian newspapers. It got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift.
• Swift 2.0 (1995).
• Amerigo (1986), available from Bitstream. This was originally designed for 300dpi laserprinters.
• 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 face not available as digital type.
• Decoder (1992), available from Font Shop. This was a font from the FUSE 2 collection.
• Gulliver (1993). This face 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 face Capitolium News 2 was published by Type Together in 2011.
• Paradox (1999), available from Dutch Type Library. This is a Didone font done in 1999, for which he won a Bukvaraz award in 2002.
• Coranto (2000). In 2011, Coranto2 was published at TypeTogether: Coranto 2 is originally based on Unger's typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint.
• Vesta (2001). The sans serif Vesta (designed as a possible candidate sans serif for the Rome 2000 project) won an award at Bukvaraz 2001. It is available now as Big Vesta (2003).
• Linotype Library is the licenser of the German government's new corporate design typefaces Neue Demos (Antiqua, 2004) and Neue Praxis (sans-serif, 2004) by Unger. The typefaces are to be used for all official correspondence, brochures and advertisements.
• Allianz (2005) is a corporate type system with sans and serif faces developed with the firm of Claus Koch of Düsseldorf. The typefaces were designed in collaboration with Veronika Burian, London, and were produced as fonts by Visualogik, 's-Hertogenbosch.

View Gerard Unger's typefaces. [Google] [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 face 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. i
• 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.

Gerrit Noordzij

Designer (b. 1931) at The Enschedé Font Foundry, who lives in Rotterdam. From 1960-1990 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. His intellectual influence is matched by by his physical heritage, in the form of two talented sons in the field of type design, Christoph and Peter Matthias. Scan of a 1974 postage stamp by Noordzij. Klingspor link.

He published De Handen van de Zeven Zusters with Willem Dijkhuis (Van Oorschot, Amsterdam, 2001), describing his life's work. Nijhof&Lee writes: Gerrit Noordzij, calligrapher, letter-designer, typographer, writer and educator has been one of the most influencial forces in modern day Dutch typography; during his years as educator at the Royal Academy of Arts in The Hague he has had an important influence on the younger generation of letter designers after 1970. Besides having designed the "Dutch Roman" (1980), the "Batavian" (1980) and more recently the "Remer", Noordzij has worked as graphic designer for various Dutch publishers. Since 1978 he has been the "house" designer for the publishing company "Van Oorschot"(who published this book) producing a remarkable oeuvre of work much of which has been acclaimed and awarded.

Other books by him include The Stroke of The Pen and De Staart van de Kat.

His typefaces:

• Gerrit designed what some consider the perfect font, Ruit, but it is nowhere to be had.
• Ruse is a huge text family that started out based on Gerrit's own handwriting. He says: 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 consist of 154 fonts.
• He created the bastarda face Burgundica in 1983, about which 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.

Gerrit Willem Ovink

Dutch typographer and type teacher (b. Amsterdam, 1912, d. 1984), professor at the University of Amsterdam, winner of the Gutenberg prize in 1983. He wrote an unbelieavbly 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. Also recommended is a 40-page short historical review of the modern printing type, which comes with a fresh look on things. Quote by him: Bodoni would be an admirable letter for a death notice! Obituary. His typefaces include Lectura (1969, with Dick Dooijes) and Mercator (1959, Amsterdam Type Foundry, a face designed with Dick Dooijes and known as the "Dutch Helvetica"). [Google] [MyFonts] [More]  ⦿

Ghislaine

Dutch designer (b. 1992) of the scratchy handwriting font Dubble (2009, Fontcapture). Alternate URL.

In 2012, she made A Vida Nova (2012, grunge) and Garden (3d outline face). [Google] [More]  ⦿

Giel Cobben

Located in Boxtel, The Netherlands, Giel Cobben designed of the geometric face Droplet (2010). He took five fundamental shapes (modules) to contstruct this modular font. Home page. [Google] [More]  ⦿

Gijs van Roij

Dutch designer of the geometric display face 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 face Don't Believe The Type. (2010). [Google] [More]  ⦿

Giselle Segura Gelink

Dutch graphic designer in Den Haag. Behance link. She created the gridded texture face 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]  ⦿

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. 1978) who works in The Netherlands. In 2009, he founded Hipertipo, a small design studio in Amsterdam. Gustavo Ferreira has a Bachelors degree in Graphic and Product Design from ESDI, in Brazil (2003), and a Masters degree in Ctype design from KABK Den Haag. His typefaces:

• The grunge handwriting font Gentileza (2002), taken straight from Rio's streets.
• The sans-serif face Eva (2002).
• In 2004, he joined Ultra Pixel Fonts, where he made the pixel faces 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 faces in 2009-2010: Untitled Modern, ImperialSans, ImperialSerif, Untitled Roaman, Modular Serif (Micro, Text, Large), Untitled Italic, Gothica (a geometric blackletter).

GWER
[Rutger Paulisse]

Eindhoven, The Netherlands-based type and graphic designer who runs GWER. Creator of the gothic face At Discipline (2008) and the native American totem pole look face Wakito (2010). Image. [Google] [More]  ⦿

Haagse Letters
[Joshua Koomen]

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

Hanna Donker

Dutch freelance graphic designer. Behance link. Graduate of the University of Reading in 2011. Her graduation typeface, Foxhill (2011), was designed for small sizes. It has Greek and Latin styles and has the angularity necessary for agate faces. Foxhill won Third Prize in the Greek text typeface category at Granshan 2011. She wrote a dissertation about Dutch typeface designer Sjoerd Hendrik de Roos. Hanna lives in London. [Google] [More]  ⦿

Hanoded
[David Kerkhoff]

Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and handprinted faces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Klingspor link.

In 2011, he went partially commercial via MyFonts. His typefaces:

• A: Abysmal Gaze (2011. scratchy face), Aderyn (2012: a poster family), Aint Nothing Fancy (2010). All Over Again (2010), All Over Again All Caps (2010), Allez Hop (2011), Antisocial Behavior (2010), AshesToAshes (2010).
• B: BadPaintjob (2010), Balagan (2010), Baznat (2010), BehindDirtyBlinds (2010), Black Mark (2012, a heavy brush face), Bottle Shop Faded (2010), Bullet in your Head (2010). Business As Usual (2011, scratchy).
• C: Carbonara (2011, grungy typewriter), Celluloid Bliss (2010), Charons Obol (2011, scary brush face), Codswallop (2011, fat handprinted), Corner Shop Chique (2010), Couldnt be bothered (2010), Courant (2011, grungy blackletter), Crayon Crumble (2011, chalk face), Criss Cross (2011), Cul de Sac (2010, 3d outline face, handprinted and sketched).
• D: Deco Pimp (2011), DK Allez Hop (2011). Don Quixote (2011. nice grunge calligraphic hand), Drawing Blood (2010).
• E: Early Morning Coffee (2012), Ersatz Quality (2010).
• F: Face Your Fears (2011), FairNSquare (2010), Fallout Font (2010), Fat Little Piggy (2010), DK Formosa (2012).
• G: Gerards Gold (2010, script face), GerardsGold (2010). Ghost Reverie (2010, a scratchy family), Gulag Decay (2010).
• H: Hanoded Hand (2010), Hanoded-Heavy (2010), Harimau (2012, a rounded children's book font), Harrumph (2011, a fat poster lettering family), Hasty Tasty (2011), HaraldRunicDEMO (2010), Hieratic Numerals (2010), Hummus Chips Salat (2010).
• I: Interstellar Erosion (2010).
• J: Joe Schmoe (2011, handprinted), Just Before Liposuction (2010).
• K: Kerberos Fang (2011). Kolkata Hotelroom (2010), Koshatnik (2011, all caps brush face), Kubikajiri (2011, an India ink brush face), Kusukusu (2011, handprinted).
• L: Leakage (2010, ink splash face).
• M: Mary Ate a Little Lamb (2010), Mayonaise (2011), Midnight Hour (2011), Moi Non Plus (2011), DK Monsieur Le Chat (2012, curly face---can't wait for Madame La Chatte...), Moonlight Shadow (2010, a nice scribbly pair of fonts), Mothman (2011, a sppoky scratchy face).
• N: Neues Bauen (2011). Nightbird (2011, blood drip face), Northumbria (2012: modeled on original 7th and 8th century monastic gospel books from Northern England), DK Nutnik (2012, a mural paint font), Nyctophobia (2010, brush face).
• O: Oei (2010), Oomph (2010).
• P: Pawn Shop Pretty (2010), Pimpernel (2012), Pinda (2011), P.I. (2011, grungy typewriter), Pingo (2012, display face), Plakkaat (2011), Porcupine Pickle (2011), ProjectX (2010), ProjectY (2010), ProjectZ (2010), Promedanenmischung (2010).
• Q: Quid Pro Quo (2011, scratchy calligraphic), Quilted Butterfly (2010), QuoVadisQuasimodo (2010).
• R: Rabbit on the Moon (2011, children's typeface), Rainforest (2010). Rat Infested Mailbox (2010), Rumpelstiltskin (2011, comic book family), Runic Series [Gunfjaun Runic (2010), Modraniht Runic (2010), Leakage (2010), Hyrrokkin Runic (2010), Harald Runic (2010). Gunnar Runic (2010), Nidhogg Runic (2010), Skraeling Runic (2010), Sleipnir Runic (2010), Tjelvar Runic (2010), Yggdrasil Runic (2010), Graip Runic (2010), Fenrir Runic (2010), Beowulf Runic (2010)], Rusty Cage (2011).
• S: Same Same but Different (2010), Sammy Boy (2011, fat poster face), Saturday Sunday Monday (2010), Scurvy Dog (2011, scratchy hand), Sheepman (2012), Shesek (2011, a fat finger face), Single Malta (2010), Sketchy Smiley (2010, smilies), Sketchy Smiley II (2012), Skratch (2010, broken glass face), Sleight of Hand (2010), Slipstream Sweetheart (2010), Spiderlegs (2011. Images: i, ii), SquareOne (2010), SquareOneGrunge (2010). SundayMonday (2010), Sweet Steeffie (2010). Syphon Spritz (2010, a great curly script; a Pro version appeared in 2010 at CheapProFonts).
• T: That Little Piggy (2010), This Little Piggy (2010), Trashtype (2011, grungy), Tripping on Acid (2010), Trollslayer (2011, brush face), Twelve Weeks Pregnant (2010), Tzeva Tari (2010, grunge Hebrew).
• U: Ugh (2010).
• W: Warpspeed (2010), Weekend Warrior (2010), WetDream (2010), WindshieldMassacre, With A Twist (2011).
• Z: Zonnig (2011).

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 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 face 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 face 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.
• 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 face 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.
• Minuet (2007) revives Schlesinger's Rondo.

Harm-Jan van der Mark

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

Hein Mevissen

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

Hendricus Theodorus Wijdeveld

Hendrik Wijdeveld was a Dutch architect and art deco paper artist (1885-1987). His lettering inspired Wendingen AF (1998, ACME Fonts: LED simulation; named after Wijdeveld's art deco magazine which he founded and headed from 1918-1931) and Architectuur NF (2006, Nick Curtis: based on this). Check Wijdeveld H Th - Art Deco Design on Paper by Hans Oldewarris (2010 Publishers, 2003). That book shows stencil-like art deco faces such as Wendingen and Amsterdam Deventer, both designed in the 1920s. He designed many letter types for special projects, such as book covers, buildings, and letterheads. Examples: a poster entitled Architectuur Tentoonstelling (1931), a poster entitled Internationaal Theater Tentoonstelling (1922), and an illustration for De Bijenkorf (1922). Alternate URL. [Google] [MyFonts] [More]  ⦿

Hendrik D.L. Vervliet

Prolific Belgian type expert who was librarian at the University of Antwerp and professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history. Author of

• Sixteenth-Century Printing Types of the Low Countries. With a Foreword by Harry Carter, Amsterdam, 1968. This book has 267 facsimile-illustrations depicting 147 typespecimens.
• 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).
• The Palaeotypography of the French Renaissance Selected Papers on Sixteenth-Century Typefaces (Library of the Written Word, 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). iThis 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.

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). 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 ther 16th century, and the Dutch who led in the 17th century. In 1575, he made a Civilité, the "Van den Keere Civilité" (see here for more on that story). Matthew Carter's DTL Flamande (2004, Dutch Type Library) is based on a Textura by Hendrik van den Keere. [Google] [MyFonts] [More]  ⦿

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 Gianotten

Dutch type connoisseur after whom Antonio Pace's Linotype Gianotten (1990) is named. He worked for 40 years in the production and distribution of graphic arts equipment and fonts, at companies such as Tetterode, BT and Buhrmann. As a student of Willem Ovink, he got very interested in legibility of typefaces. On his own contributions to typography, he writes: Since 1964 I was involved on the production of our faces for Morisawa. Later on we produced faces for photocomposition for Bobst (Autologic), Berthold, Compugraphic, A.M., Harris Composition, Itek, Scangraphic and others. Tetterode owned the rights for faces like Nobel, Lasso, Polka, Orator, Promotor, Lectura and Hollandsche Mediaeval. LinotypeLibrary owns the licenses for these fonts since October 1 2000. News about LinotypeGianotten. Linotype's press release. PDF samples of LinotypeGianotten. [Google] [More]  ⦿

Henk Krijger

Designer (1914-1979) at Lettergieterij Amsterdam of the slightly scribbly pen-drawn Raffia Initials (1952). At ATypI 2003 in Vancouver, Peter Enneson highlighted Krijger and his Raffia Initials. AR Types did a digital revival, Raffia (2008). [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]  ⦿

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 typefoundry 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, which was digitized by Hoefler 7 frere-Jones as English textura. 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 1504-1509, 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). [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) the Istituto Superiore per le Industrie Artistiche in Urbino (Italy). He created Acon (2009, graduation project at KABK, a book type) and Camion (2008, slab serif). He is also working on a revival of van Krimpen's Romanée. About Acon, he writes: Most contemporary books use typefaces based on the contrast of the broad nib pen, while typefaces based on the contrast of the pointed nib have been relegated to use in fashion, lifestyle magazines and cosmetic packaging. My aim is to design a typeface based on the pointed pen that is suitable for book typography. Well, Acon was awarded with the TTDC (Tokyo Type Directors Club) Type Design Prize 2010. [Google] [More]  ⦿

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 face in weights called Exotique, Hollandaise and Parisienne) and Xbats (2004, Christmas dingbats) in 2004.

Speaker at ATypI 2004 in Prague.

FontShop link. Klingspor link.

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

Houke De Kwant

Dutch typographer and designer who made the racy typographic poster Nikita (2010). [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 1905-1967. [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) 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]  ⦿

Hugo Cavalheiro d'Alte

Born in Porto, Portugal, in 1975. From 1994-1999 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 as Incubator at Village Type. Link at Underware. Alternate URL: This is playtime. His typefaces:

• For Thirstype, he made Kaas (2005), a blackletter face 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 face 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).

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]  ⦿

Illegal Industriez Design
[Patrick Bloom]

Illegal Industriez Design is a graphics design studio in Rotterdam run by Patrick Bloom. They made five of their own fonts available for free: Kriminalita (grunge) is the nicest in my view. Get also Fontboyz, Agenda, Rapture and Skwieker. In 2010, Bloom started the commercial foundry vanAllerlei. The first commercial font was Real Fat (2010, pixelish). [Google] [MyFonts] [More]  ⦿

Inka Strotmann

From her page: Inka Strotmann (née Menne, 1972) grew up in East Frisia and was trained as typesetter after secondary school. When she studied communication designin Potsdam she specialized in type design and typography. Inka worked forLuc(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]  ⦿

Interant Media

Interant Media is a small design and development company in Holland. Creators of the handprinted 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 face Arnhemse jochies (2010) and the experimental typeface Breadclip (2012).

Behance link. Old Behance link. [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]  ⦿

Jaap Veldhorst

Really really great sci-fi font archive, elegant and useful. Maintained by Jaap Veldhorst, it probably has about 400 fonts. Direct downloads. [Google] [More]  ⦿

Jack van der Vaart

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

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

James Goggin

James Goggin founded graphic design studio Practise in 1999 after graduating from London's Royal College of Art. In August 2010, Goggin moved to Chicago where he is now Design Director at the Museum of Contemporary Art Chicago. Previously he was based in Arnhem, the Netherlands, working as course director and teacher at Werkplaats Typografie and visiting lecturer at ECAL (Ecole cantonale d’art de Lausanne). Aka Jacques Gauguin and "Practise", he has worked in London, Auckland and Sri Lanka. In 2001, he made the 3-weight CourierSans at lineto. [Google] [More]  ⦿

Jamie de Rooij

Jamie de Rooij (Zaandam, The Netherlands) created the wavy typeface Kramp (2012). Behance link. She studies graphic design in Amsterdam. [Google] [More]  ⦿

Jan Dietvorst

Den Haag-based designer of the very experimental geometric face 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

Jan Middendorp

Dutch design writer, who wrote Lettered, Typefaces and Alphabets by Clotilde Olyff (2000), 'Ha, daar gaat er een van mij!' (2002, a book on the history of postwar design in The Hague), Dutch Type (2004, 010 Publishers; see full text at Google), ARK/ABC, Alphabets and projects by René Knip (2004), A Line of Type (2006, with Alessio Leonardi), and Type Navigator Typography The Independent Foundries Handbook (2011). He was the founding editor and art director of Druk, the magazine published by FontShop Benelux from 1999 to 2003. Currently, he edits "96", the magazine of FontShop Benelux. He lived in Gent, Belgium, where he cofounded Dorp&Dal with his wife. In 2005, he moved to Berlin. At ATypI 2009 in Mexico City, he spoke on Boudewijn Ietswaart. [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 Roman

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

Jan Sonntag

Jan Sonntag's fonts include the Hildegard family of sans faces (2003, Linotype), which won an award at the Linotype International Type Design Contest 2003 and S Beauty (pixel face). He also designed S Anticar (pixel family), S LegoBits, S Montag (based on an old wooden printing type from the collection of Alex Barbaix), S Sterre, S AnnaBeta (designed under the supervision of Gerard Unger while studying at Gerrit Rietveld), and S Takraf. Free fonts include S Spijner, S Guns, S Selfism (dotted line face), S Pincode. Jan Sonntag operates a Dutch web site, and claims, tongue in cheek, to live in Cadillac, France. His address, intriguingly, is Château Haut-Laroque, 33410 Laroque, France. Free fonts of his, designed from 2001-2004, include BomberNumbers, Selfism-Bold, Selfism, Spijner-Extreme, Spijner-Powerplay, Spijner, Takraf-3d, Takraf-Block, Takraf-Linie, Takraf-VEB (based on the old logotype from the VEB Schwermaschienenbaukombinat Takraf). [Google] [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 van den Velde

Dutch (Belgian?) author (b. 1568, Amsterdam, d. 1623, Rotterdam) of the writing manual Spieghel der Schriftkonste (1605, Haarlen). Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011). [Google] [MyFonts] [More]  ⦿

Jan van Dijk

Dutch designer of Demian (1984) and Van Dijk (1982). URW listing. Another view of Van Dijk EF (1982), a handprinted face. Demian EF is slightly more Tekton-like. Mecanorma Squash (available today from URW) is a comic book lettering family. [Google] [MyFonts] [More]  ⦿

[Marc Lubbers]

GraphicMix is the nice web presence of Marc Lubbers (b. 1968), the Dutch designer of the infinitesimally serifed face 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]  ⦿

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 major 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. Now digitized as DTL Haarlemmer and DTL Haarlemmer Sans (1998).
• Lutetia (Enschedé; see also Lutetia Open by ARTypes, 2007, which based on this). 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).
• 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 in 2008.
• 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.

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

Janno Hahn

Dutch designer and type designer. He created the custom uncial typeface Bonifatius in 2007 for the municipality of Dokkum, The Netherlands. He collaborates with René Knip on various type projects. [Google] [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 face 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), Love (2006), and Volle Vrijheid (2006, very experimental) round out his dossier. Old URL. Behance link. [Google] [More]  ⦿

Jasper Bijssen

Dutch type designer, b. 1987, who lives in Rotterdam. [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]  ⦿

Jeff Shreiber

Graphic designer in Eindhoven, The Netherlands. He created a scriptish typeface called Nougat (2012). [Google] [More]  ⦿

Jelle Bosma

Jelle Bosma (b. Rijswijk, The Netherlands, 1959) is an expert truetype hinter at Agfa Monotype in the Netherlands. He was one of the main type designers at Scangraphic from 1988-1991, where he designed Forlane in 1991. 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. He created WTC Cursivium (1986, World Typeface Center). In 2004, he created the OpenType family Cambria for Microsoft's ClearType project. [Google] [MyFonts] [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 face Jellodings (2007, free here), the alphading face Alien-ABC (2006), the modern sans display face Ambrosia (2006), the bouncy typewriter face Humble Bee (2006), the 10-style simple sans family Machinato (2007) and the grunge faces Thoughts (2006; see also here), Smudgers (2006), Zhang (2007, slightly gothic), Vinegar (2008, free transitional face), 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. MyFonts page. Another page. [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]  ⦿

Jenny de Groot

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

Jens van der Lugt

Illustrator in Breda, The Netherlands. Creator of Untitled (2011, handprinted) 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 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 face Yourself Regular (2010), the chalk simulation face Angry Chalk (2011), the avant garde face Epic Fusion (2011), and the experimental family Problems (2010). Aka Jeronimo. [Google] [More]  ⦿

Jesse Kuiper

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

Jig

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

JOEBOB Graphics
[Jeroen J.W. Van Der Ham]

Dutchman Jeroen Van Der Ham ("joebob"), who is based in s'Hertogenbosch, designed mostly handwriting fonts: Serial Sue (2012), calligraPhillip (2012), Mixtape Mike (2012, a fat finger face), Dear Joe 3 (2010), Brushtip and Brushtip Travis (2010, two of his nicest faces, 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 (handprinted; 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, Billie Barred, Bearer Fond.

His oldes fonts: BillieBarred (multiple-lined handwriting), BillieBob, BillieBoldHand, BillieKid (nice stencil font), BobTag, CalamityJoe, CrappyJoe, DearJoeItalic, DearJoe II, DearJoe IV (antique handwriting, 2005), DoctorBob, FruscianteHand, FuturexBob, JoeBobstraight, JoeHand, MarkerMoeII, MonaLisa (2001), OnepunchJimoutline, Detour Dork (2002).

His fonts are available from MyFonts. Fontspace link. Font Squirrel link. Fontsy link. Alternate URL. Dafont link. Typoasis link. A href="http://www.abstractfonts.com/designer/375/JOEBOB%20graphics">Abstract Fonts link. Klingspor link. [Google] [MyFonts] [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." [Google] [More]  ⦿

Johann Michael Fleischmann

A German punchcutter (b. Nuremberg, 1707, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. His work influenced even Bodoni. At the Dutch Type Library, DTLFleischmann (1992, Erhard Kaiser) is based on his lettering. In 2002, Charles Gibbons designed Fleischmann BT Pro, a family heralded by the typophiles as outperforming the DTL Fleischmann. Fleischmann created blackletter fonts 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) but was also renowned for his work on music typography. [Google] [MyFonts] [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 (2000) at Typotheque: this was originally intended as a Multiple Master font that varies from roman to stencil.

At ATypI 2004 in Prague, she spoke about "Experiment and typography". Alternate URL. Co-editor with Alan Zaruba of We Want You To Love Type (2004, e-a-t). Since 2003 she is a partner in Peter Bilak's Typotheque. [Google] [MyFonts] [More]  ⦿

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 face 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 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 face 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 is a type historian, who often writes on typography. One of his crowning achievements is the book "Letterproeven van Nederlandse gieterijen" (1998), which shows Dutch typefounders' specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. It is coauthored with Mathieu Lommen, a noted type librarian and historian. Discussion of the text. Coauthor with Mathieu Lommen in 2003 of "Bram de Does Boektypograaf&Letterontwerper" (Amsterdam, 2003). Author of Early Type Specimens in the Plantin-Moretus Museum (New Castle and London: Oak Knoll Press and the British Library, 2004). [Google] [More]  ⦿

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 faces 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 Swarte

Dutch poster and comic book lettering artist. Joost a Millionaire (2007, Nick Curtis) is based on his lettering for Millionaire (1976). Boeuf au Joost (2003, Nick Curtis) is an art deco face based on Swarte's record cover TangoCuatro from 1990. Title lettering for "Imago Moderna", an episode of the comic-strip series "Jopo de Pojo" (1974) led to Nick Curtis's Joost A Gigolo NF. This logotype of the comic-strip series "Katoen + Pinbal" (1975) was at the basis of Curtis's PinballWhizNF. The title lettering for "Modern Art", an episode of the comic-strip series "Anton Makassar" (1978) provided inspiration for Nick Curtis's ModernArtNF. Finally, Nick Curtis mimicked the lettering on this poster entitled "De wereldtentoonstelling van Joost Swarte" (1987) to design AmsterdamTangramNF. [Google] [More]  ⦿

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 face Quikzilver (2006). [Google] [More]  ⦿

Joris van Meegen

Dutch student from Alkmaar who is studying at KABK. He created several typefaces there in 2010. [Google] [More]  ⦿

Jorrit van Rijt

Graphic designer in Utrecht. In 2010, he created the kitchen tile face Geo. [Google] [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). [Google] [More]  ⦿

Joz's Sharewares

Dutch page with links to font management software, and with a few archived font files as well, mostly shareware fonts by Elfring Soft Fonts. Includes Elfring Soft Fonts demo versions of Bar Code 128 (A,B,C) and Bar Code 3/9 fonts. [Google] [More]  ⦿

JTHZ.com software productions
[Julius B. Thyssen/Hens Zimmerman]

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, Elliottland-J, 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, Rugklacht-J, Salernomi-J, Scalactic-J, Systematic-NewJ, Thyssen-JItalic, Thyssen-J. All fonts made between 1995 and 1998. Dafont link. [Google] [More]  ⦿

Juan de Leyden

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

Jules van Helvoort

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

Julius de Goede

Dutch Creative Alliance designer of Uncia, Rudolph (Fraktur), Julius Primary, Amadeo (handwriting, 1999, with Fiel van der Veen) and Augusta, 1998-1999. He published Xander (2001) at Agfa, a font based on the handwriting of the Dutch type designer Alexander Verberne. His Linotype Gaius family (2002) is loaded with ligatures and swashes. [Google] [More]  ⦿

Jurriaan Schalken Typography

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

Jurriaan Schrofer

Dutch Bauhaus designer, 1926-1990. He drew some alphabets, one of which led James Mattison to create the digital stencil font Schrofer (2009). The Sans Serious family by John Skelton is also a revival. Jan Middendorp writes in Dutch Type: chrofer made several attempts to create complete typefaces - one of which was wittily called Sans serious - but this was never his goal. `Is it necessary', he wrote, `to make complete alphabets with upper- and lowercase, figures, diacritics and seriously adorned with a name, when the aim is merely a formal investigation into basic recipes' Schrofer's domain was never the design of typographic alphabets, to be used by other designers, but always the creation of letterforms `made to measure' as part of his own designs of - mainly - book covers and postage stamps. He created a rectangular alphabet as the basic element of his ever-changing covers - each based of the same grid but colored differently - for a series of scientific books, `Les textes sociologiques' from Mouton Publishers. He made sophisticated pixel-based letters, all drawn by hand, and experimented with photographic screens as a means of distinguishing simplified letterforms from the background. He created logotypes built from custom-made letterforms, based on rectangular grids. [...] In his booklet `Letters op maat' (`Type made to measure', 1987), Schrofer presented many of his experimental alphabets from the 1960s and '70s. The booklet was part of a series of goodwill publications edited by Wim Crouwel for Lecturis Printers, Eindhoven. [Google] [More]  ⦿

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. Check Phaistos at the Font Bureau. Designer or co-designer at LettError of LettErrorRobot-Chrome (2001), FFTrixie (X-files original), FFAdvert, FF Schulschrift (1991; in versions A, B and C following the German school script recommendations), FFStampGothic (1992), FFKarton (1992), FFDynamoe (1992), FFHands, FFBrokenscript, Federal, and the random font Beowolf. At FUSE 11, he designed What You See/What You Get (with Erik van Blokland). Myfonts write-up. Bio at Emigre. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Jutt

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

Kasper Coreper van de Laar

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

Kees Broos

Kees Broos and David Quay wrote "Wim Crouwel Alphabets" (Amsterdam, 2003). [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 face was awarded First Prize in the Granshan 2010 competition for Armenian text types. After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place. Other faces 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). [Google] [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]  ⦿

Kiosk Fonts
[Frank Griesshammer]

Kiosk Fonts is Frank Griesshammer (b. 1983), a German graduate at HBKsaar, 2008. Graduate of the Masters program in type design at KABK, 2010. His graduation project in Den Haag involved the multi-pen face Quixo (2010), which seems to be have just the right flexibility for packaging and ads.

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.

Frank lived in Den Haag, but joined Adobe's type department in 2011. Speaker at ATypI 2011 in Reykjavik. Klingspor link. [Google] [More]  ⦿

KIX
[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]  ⦿

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]  ⦿

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) offers interesting font families: Feisar (Paul van der Laan), N&M Hornet (Neeser+Müller), N&M Punkt Schrift (Neeser+Müller), Blocker, InterPol, 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. The initial crew also contained Martijn Rijven, but his name is longer there. [Google] [More]  ⦿

Koninklijke Akademie van Beeldende Kunsten (KABK), Den Haag

In English, the Royal Academy of Art in The Hague. This is the major typographical school in Europe. Its graduates include all main current typographers in the Netherlands, and many others. Teachers include Petr van Blokland, Peter Verheul, Fred Smeijers, Just van Rossum, Erik van Blokland, Peter Matthias Noordzij, Frans Van Mourik, Jan Willem Stas, Françoise Berserik, Peter Bilak, Paul Van Der Laan, and Frank Blokland. TypeMedia is the postgraduate department for TypeDesign and Typography of the KABK. This Russian picture report from 2004 illustrates its activities nicely: it shows the following type projects: Basileus (Greek face 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). Type Media link: Type Media is the new name of the type design program at KABK. [Google] [More]  ⦿

L5
[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 face 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]  ⦿

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).

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

Laura Dillema

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

Laura Dimitru

A Romanian illustrator in Breda, The Netherlands. Behance link.

Creator of the illustrated caps face TypoBirds (2012) and the dingbat font Soferul Modern (2012). [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 face 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.

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]  ⦿

Leandra Post

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

Leanne van der Wel

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

LeFly

Dutch designer of Lenteroos (2005), Blokletters (2005, in three weights: Potlood, Balpen and Viltstift---these are excellent substitutes for something like Comic Sans), Slantwise (2004), Hard Compound (2004), Soft Compound (2004), Angie's New House (2004), Kenteken (2004, based on the Dutch licence plates), Square Peg (2004, renamed Square Wise to resolve naming conflicts with a commercial font of the same name by Rob Leuschke), TeleTekst (2004). URL at Offsite. Dafont link. 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 face Lein Bold (2008) as well as Lein Rounded (2008) and Lein Future (2008). Potato (2009) is more art deco candy. Dafont link. [Google] [More]  ⦿

Leo Beukeboom

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 two-line display face Mecanorma Hotel. Nightlife (2005, Canada Type) is based on an experimental grid design by Meuffels.

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

Leonard H. D. Smit

Dutch designer (1917-1986) of the calligraphic script font Amazone (Tetterode Nederland, 1958, now available from Bitstream [compare Amapola by Dan X. Solo]), Promotor (a medium weight expanded face done at Lettergieterij Amsterdam, 1960, available from Elsner&Flake), and Orator (a bold companion to Promotor, Lettergieterij Amsterdam, 1962). Worked at Lettergieterij Amsterdam. [Google] [MyFonts] [More]  ⦿

Leonard Splint

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

Leonie

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]  ⦿

Letman

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

Letman
[Job Wouters]

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

Letterbeeld
[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 faces 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 face for use on doors and fences), Streep (horizontally striped letters for fences), and Klinker (based on street tile patterns). [Google] [More]  ⦿

lettergrafica

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]  ⦿

Letterlabor
[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 faces: 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 faces on its site, all done between 2007 and 2010, such as Neutraface Slab (for House Industries), Neutral (an outgrowth of Kai's thesis work), PDU (a French stencil rtevival project), and some custom faces such as Proprio. Write-up at Fontshop. Critique by Experimenta. [Google] [More]  ⦿

Letterpress
[Eyal Holtzman]

Eyal Holtzman is a type designer who was born in Haifa, Israel in 1969. He studied at the Royal Academy of Art in The Hague, and teaches typography and graphical arts in various places. He also runs Letterpress, his own studio/foundry, Letterpress, where you can ogle his creations, Joel, Jerusalem (part Hebrew) and Kristal.

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

MyFonts writes: In the book Ha, daar gaat er een van mij! (Hey, there goes one of mine!, a chronicle of graphic design in The Hague from 1945 to 2000, 010 Publishers, Rotterdam 2002) he is called "one of the most idiosyncratic letter talents from The Hague" and in Dutch Type (010 Publishers, Rotterdam 2004) expert Jan Middendorp describes his letters as being "among the most original alphabets produced in the Netherlands", (...) "tapping into an idiom that no other type designer working in the Netherlands has ever used".

Page at Myfonts. [Google] [MyFonts] [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). Most of their fonts can be found in the FontFont library. Wired interview. Shop. Fontfont write-up. At ATypI 2004 in Prague, he spoke about education in type design, and the RoboFab toolkit.

Their typefaces:

• At FUSE 11, Erik designed FF Beowolf (a randomized font, sometimes still called Beowulf), FF Erikrighthand, FF Kosmik (1993), FF Trixie and FF Zapata. FFTrixie (of X-files fame), was made based upon an old typewriter. They explain: Trixie was taken from a typed sample from a typewriter owned by a friend in Berlin, Beatrix Günther, or Trixie for short..
• Erik created LTR ThePrintedWord and LTR TheWrittenWord (2001), both free fonts designed to be unreadable.
• 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 2010 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.

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

L'Hippopotame

Amsterdam-based designer who used Fontifier to make the handwriting font Ini (2004). [Google] [More]  ⦿

Lida Lopes Cardozo

Timothy Guy and Lida Lopes Cardozo are the UK-based designers of Emilida. Cardozo was born in Leiden, The Netherlands, in 1954, and was married to David Kindersley. A well-known letter cutter, she organized David Kindersley's Workshop in 1987. Coauthor with David Kindersley of Letters Slate Cut (Taplinger Pub Co, 1981). After Kindersley's death in 1995, she set up a stonecutting / handwriting / type design site called The Cardozo Kindersley Workshop, to continue what Kindersley started. One of its many activities focused on a revival of Kindersley's MoT Serif (1952) [a design that had been submiited for use on UK signs to the British Ministry of Transport]. She writes: Kindersley Street (aka Kindersley Grand Arcade), our new face based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised. [Google] [MyFonts] [More]  ⦿

LightningWeb

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 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]  ⦿

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 PC and Mac versions of 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]  ⦿

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]  ⦿

LucasFonts
[Lucas de Groot]

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

FontShop link. Klingspor link. [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. 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 face 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.
• Mediana. A custom face 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.
• Tundra (2010, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011.

View Ludwig Übele's typefaces. [Google] [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. [Google] [More]  ⦿

Lust

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]  ⦿

Lydeke Bosch

Dutch designer (b. 1991) of Curly (2008) and Lydeke Handwriting (2008). [Google] [More]  ⦿

Lynnthe

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 handprinted alphabet. [Google] [More]  ⦿

Maarten

Maarten (c12) is the Dutch designer of the pixel font Terraform (2003). Alternate URL. [Google] [More]  ⦿

Maarten van Maanen

Dutch designer (b. 1975) who runs MvM Grafisch Ontwerp and is based in Leiden. Designer of the serif face Zinc (2004), of the black sans Laudanum (2004), and of the handwriting face Bastard (2004). He also made this serif face (2004) and the stencil face Ceka (2005). At his web site, you can look at Ephedrine (2005) and Unreasonable (2005, handwriting). [Google] [More]  ⦿

Maarten van 't Wout

Lisse, The Netherlands-based creator of the clean monoline sans face Code (2011), of the alchemic typeface Arctic (2012), and of the octagonal paper fold typeface Fabric (2012, Ten Dollar Fonts). Alumia (2012, Ten Dollar Fonts) was designed for logos. Monorail (2012) is squarish but slightly rounded, and is monolined.

Behance link. [Google] [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]  ⦿

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 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 face AlfaDeco. In 2009, he added Dicky and Dinny. [Google] [More]  ⦿

Marcel de Jong

Artist, b. Amsterdam, 1967, specializing in macabre, bizarre and black romantic artwork. He created the gothic font Fairydust. 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 faces in 2010: Stanna Klein, Stanna Diap. He also made the Esque and Fastlane families in 2010 at FontStruct.

In 2011, he published the multistyle poster family Geplakt. Images: i, ii, iii, iv, v, vi. [Google] [More]  ⦿

Marco Sterk

Amsterdam-based designer of Lugthart (2004, an experimental octagonal face). [Google] [More]  ⦿

Marco van Zomeren

Dutch creator in Rotterdam of the series of textured fonts called Rotterdam Zoo. Designer of the grid-based face Quickgrid (2011). Home page. At FontStruct, he made Fatcap (2009). Studio Van Zomeren. [Google] [More]  ⦿

Marianne van Ham

Dutch designer of Double Dutch (FontFont). Fontshop link.

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

Marinus Klasen

Dutch youngster (b. 1992, Gelderland) who created the scratchy handwriting face Crazysk8 (2006). Dafont link. Newer URL (not functional). [Google] [More]  ⦿

Marjolein Rinckes

Dutch creator of the fun alphabet Monsterfont (2011). Behance link. She lives in Arnhem. [Google] [More]  ⦿

Mark Niemeijer

Designer in Tubbergen, Th Netherlands, I think, but am not sure, that The Soul Can Wait (2011) is a typeface. Home page. [Google] [More]  ⦿

Mark Niemeijer

Graphic designer based in Tubbergen, The Netherlands. He made an alphabet made out of wood sticks (2011) [I do not think that this was "fonted"]. Behance link. [Google] [More]  ⦿

Marloes Kremers

Dutch designer at Elsner&Flake of the fun children's dingbat font family EF Dingetjes (2000). [Google] [MyFonts] [More]  ⦿

Martijn Boskamp

Graphic designer in Rotterdam, The Netherlands, b. 1987. Behance link. For a project for the art academy in Rotterdam, he made the experimental face Blik Font (2010), which is based on crushed cans. [Google] [More]  ⦿

Martijn Donath

Dutch creator of Scouting Font (1997). Truetype. [Google] [More]  ⦿

Martijn Oostra

Designer whose fonts may be bought from 2Rebels in Montreal. Some creations: BlackMail (1996), Educational, EricsSome, Mould (1997), Tsjecho (1997), Wire And Planks (1997). Future URL. [Google] [More]  ⦿

Martijn van Katwijk's fast download links

Nice collection of fast download links. [Google] [More]  ⦿

Martijn van Berkel

Nieuwkoop, The Netherlands-based graphic designer. Alternate URL for his fonts. Creator of MF Dots (2007) and MF Dots Pro (2008), a dot matrix face that covers Latin, CE, Greek, Baltic, Turkish, Romanian, Cyrillic and special symbols. [Google] [More]  ⦿

Martin Jelsema

Dutch FontStruct artist who made the kitchen tile face Sonar (2008). [Google] [More]  ⦿

Martin Kaye

Born in 1932 in London, Martin Kaye was well-known for his sturdy posters which he made from 1972 until 1983 for Paradiso in Amsterdam. A set of 1100 of these posters owned by Stichting Martin Kaye Alphabet Index&Library is being managed by Affichemuseum in Hoorn, The Netherlands. He was also a type expert, and had started a catalog of typefaces, having made a listing of 60,000 typefaces when he was murdered in 1989 during a robbery. His work included also many unique complete alphabets. The book Facade AlphaBets et Cetera is the only published book document. At Amazon, we read about his book: Although out of print Martin Kaye's work deserves some recognition for his part in the world of typographic design. This book of some 90 pages reflects his work throughout 20 years. With typographic studies to reproductions of some of Kaye's Paradiso posters, this is perhaps the best example of of a lifetime's work by this artist. It is unfortunate this item remains out of print since it remains a definitive example of typographic inovation and inspiration. It is with great sadness that the book, published in 1985, four years prior to his death, remains as his only epitaph. Since only 1000 copies were ever printed it may never be seen by as many as might apreciate such a work. Examples of Kaye's work do hang in the Rock Museum in Amsterdam. But for me this book is a must for anyone interested in typography. This was done in the days before computers. Martin would hand cut the designs in 'red film' a method by which screenprint templates would be made. The intricacy of his designs and skill would astound anyone seeing him at work, the results of which would shine out from poster stands all over Amsterdam. [Google] [More]  ⦿

Martin Majoor

Dutch type designer born in 1960. Showcase of his most popular typefaces. Type designs:

• His 1993 Scala text family (which includes both sans and serif sub-families, as well as goodies such as the fist font FF Scala Hands, 1998) is great and well-balanced---one of the best fist fonts ever made.
• He designed Telefont List and Telefont Text for the Dutch phone company PTT Telekom in 1994.
• He created Scala Jewels in 1997.
• FF Seria and FF Seria Sans (2000). These families received awards at the Bukvaraz 2001 competition.
• In 2004, he published FF Nexus Mix, FF Nexus Sans, FF Nexus Serif, and FF Nexus Typewriter.
• He started a project with Pascal Zoghbi on the development of Sada (2007), an Arabic companion of FF Seria. In 2009, Sada was renamed FF Seria Arabic and published by FontFont.
• In 2010, he started work on Questa Sans (a face with a special y). The Questa project is a type project of Jos Buivenga and Martin Majoor---Questa is a squarish Didot-like font that Jos originally had planned in one display style only. It turned out to be a perfect basis to apply upon Martin's type design philosophy about the form principle of serif and sans.

Interview.

To understand Majoor, read his article My type design philosophy. He works in Arnhem and Warsaw. At ATypI 2004 in Prague, he spoke about his experiences as a designer and type designer in Poland.

The text José Mendoza y Almeida (Martin Majoor and Sébastien Morlighem, introduction by Jan Middendorp, 2010, Bibliothèque typographique) describes Mendoza's contributions to type design.

Majoor's Flickr page. Speaker at ATypI 2010 in Dublin. His type design blog.

MyFonts catalog. [Google] [MyFonts] [More]  ⦿

Martin Meijer

Dutch alphabetician who was active in the 1930s. Hans van Maanen at Canada Type revived his lettering as digital fonts: Archie (2010) is a square face, and Agent (2010) is pure comic book or signage style. Chikita (2008) by Patrick Griffin and Rebecca Alaccari at Canada Type is an upright ronde script that is also based on Meijer's work. The angular calligraphic type family Libertine (2011, by Patrick Griffin and Kevin Allan King at Canada Type) was also inspired by Meijer. [Google] [MyFonts] [More]  ⦿

Martin Silvertant

Dutch freelance graphic, logo, type and web designer, b. 1989. He operates as MS Designs. In 2010, he made an extensive comic book / fat finger face called KTF Dion. He writes: I am now working on a Transitional/Glyphic typeface called "Celente Book", and a didone typeface called "Modani". Biblios is a type done for his label, Bibliotheca Apostolica Septem Coronatorum. A Humanist Sans-serif called "Celente Sans" and a regular Transitional serif typeface called "Celente" are also planned.

Dafont link. Another URL. And another one called Baal Graphics.

In 2011, he created Icarus (text family), Icarus Sans, Triumviraat (+Display, +Sans, a flared family), Kolibrie (humanist sans), Noorderlicht (after Gerrit Noordzij's Ruse), and Noorderlicht Sans.

Typefaces from 2012: Hagel (serif family). [Google] [More]  ⦿

MartinPlusFonts
[Martin Wenzel]

MartinPlusFonts is the Berlin-based foundry of Martin Wenzel, a German type designer (b. Berlin, 1969). Graduate of KABK Den Haag in 1998. For some time, he worked at Buro Petr van Blokland + Claudia Mens. Martin now runs MartinPlus, first in The Hague, The Netherlands, and relocated to Berlin. His oeuvre:

• FFMarten.
• FF Rekord (grunge).
• The award-winning sans serif font FF Profile, known for its little contrast. This evolved in a semi-handprinted casual teenager, FF Duper (2009).
• At FUSE 6, he created FUSE Schirft, now sometimes called Wenzel Schrift.
• At FUSE 3, he created InTegel (1991), a font like Boris Mahovac's Kalendar.
• FF Primary (1995, chiseled stone look).
• Daela (free, this font evolved into FF Primary).
• MediaPigeons (experimental, free).
• Trinité Sans (based on Bram de Does' Trinité).
• Ode: a restaurant menu family, angular yet rounded.
• Ode (2010): a type family that evolved from Textura into a slightly broken readable set.
• Realist (2011), Realist Narrow and Realist Wide. A sans family.

Mathieu Cremers

Graphic designer from Rotterdam, b. 1988. Dafont link. Creator of the paperclip face Mududede (2011). [Google] [More]  ⦿

Matthijs van Leeuwen

Dutch student in Arnhem who designed Inegalé, a sans serif font, at PsyOps in 1999. FontShop link. [Google] [More]  ⦿

Maurice Van de Stouwe

Dutch graphic design student (b. 1982) who is based in Zwolle. He intends to attend the Arnhem Institute for the Arts. Designer of Squirrel (2003, Union Fonts, a sans font that used to be free, discussed here), a DIN Regular style face (2003), Supertrouper (2004), YTunc03 (2003, ultra fat artsy), Illegal Edding (2006, graffiti font), Maurits (2004, sans), Escapé (2004, sans), Supertrooper and Funkyplain (2002, pixel simulation font). Maurice lives in Zwolle. Dafont link. [Google] [More]  ⦿

Maurits Cornelis Escher

Aka Mauk Escher. Famous Dutch artist M.C. Escher (1898-1972) is known for his repeating patterns of interlocking motifs, tessellations of the Euclidean and the hyperbolic plane and his drawing representing impossible figures, such as his waterfall and his Belvedere. Several type designers created fonts based on these geometric contradictions and curiosities, which a I gathered on this page. The art deco lettering on some of his posters inspired P22 Escher (1998, Denis Kegler). Pic. Wiki page. [Google] [MyFonts] [More]  ⦿

Maurits den Held

Rotterdam-based designer. Home page of Desited Media. Creator of a great multiline / prismatic poster for North Sea Jazz (2012). [Google] [More]  ⦿

Max Bruinsma

Dutch typographer and graphic designer. In 2000-2001, he published a piece on the erotics of type, and reviewed the book Sex Appeal: The art of allure in graphic and advertising design (Steve Heller, Allworth Press, New York, 2000). He spoke at ATypI 1998 in Lyon on Words on screens. Ed Annink and Max Bruinsma edited the book Gerd Arntz Graphic Designer (2010, Rotterdam). [Google] [More]  ⦿

Max Senden

Rotterdam-based designer of the thin octagonal typeface A4 Z4 (2012).

Behance link. [Google] [More]  ⦿

Max van der Kamp

Dutch designer who managed to pull off a remarkable iFontMaker font called Hello World (2011). [Google] [More]  ⦿

M.C.G.V. Stack

M.C.G.V. Stack at The Eindhoven University of Technology keeps an archive with fonts, specially adapted for Esperanto. The Wulffttf file has EFuturaNormal.ttf, EFuture.ttf, EGalaxy.ttf, all Esperanto. Plus EO Chicago, Helvetica, NewYork for Mac. [Google] [More]  ⦿

Mecanorma

French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.

Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.

Fonts.com sells these: MN Access Bold, MN Access Medium, MN Access Volume, MN Art Deco, MN Art World, MN Balloon Bold, MN Balloon Extra Bold, MN Blippo Black, MN Brio, MN Bulletin Typewriter, MN Choc, MN Circus, MN Comic Strip, MN Estro, MN Fumo Dropshadow, MN Galba, MN Gillies Gothic Bold, MN Gillies Gothic Light, MN Gillies Gothic Ultra, MN Gillies Gothic Ultra Shaded, MN Gillies Gothic Ultra Volume, MN Gillies Gothic Volume, MN Globe Gothic Bold, MN Globe Gothic Bold Condensed, MN Globe Gothic Outline, MN Globe Gothic Volume, MN Glowworm, MN Glowworm Compressed, MN Glowworm Volume, MN Gothique, MN Hotel, MN Isonorm, MN Jackson, MN Leopard, MN Milton Demi Bold, MN Orator, MN Organda, MN Organda Bold, MN Organda Volume, MN Ortem, MN Renault, MN Renault Bold, MN Renault Volume, MN Rondo, MN Sayer Interview, MN Sayer Script Black, MN Sayer Script Bold, MN Sayer Script Light, MN Sayer Script Volume, MN Squash, MN Squash Outline, MN Squash Volume, MN Sully Jonquieres, MN Sully Jonquieres Bold, MN Sully Jonquieres Volume, MN Swaak Centennial, MN Vivaldi, MN Watch Outline, MN Windsor, MN Windsor Elongated, MN Xerxes, MN Zambesi.

Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Geroges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.

The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.

A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.

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

Melinda Prins

Designer in Hardinxveld, The Netherlands, who created Handmade Font (2012). [Google] [More]  ⦿

Melle Broeksma

Dutch graphic designer (b. 1968) of the sans serif font Levanah (1993), a face based on research done at the Gerrit Rietveld Academie. Lives in Baarn. His teachers were Gerard Unger and Jan Boterman. Levanah started out by unseriffing Bembo and Garamond, and is in a sense a semi-sans Renaissance face. [Google] [More]  ⦿

Melle Hammer

Great Dutch designer (b. 1956) who makes optimal and ingenious use of type. [Google] [More]  ⦿

Melvin Poppelaars

Digital artist in Breda, The Netherlands, who made some nice posters that showcase Baskerville (2010). [Google] [More]  ⦿

Merel Matzinger

Type designer at OurType in Belgium, who was born in The Netherlands and studied at KABK in Den Haag. She lives and works in New York. OurType Eva (2006) is a 36-style sans type family designed by Merel Matzinger and Fred Smeijers, characterized by script-like lower case v and w that stand out among the sea of sans glyphs. From OurType's documentation: It is informal and warm in character, thanks to the contrast in its strokes and the freedom with which they have been drawn. The friendly personality provides added interest at larger sizes. Yet its forms also have a notable clarity, and it works well for setting continuous text. Eva can be used in a wide variety of contexts, from personalised messages to mass-circulation publications. The name of the typeface comes from the ceramicist Eva Zeisel (born in 1906 in Hungary). It was the delicate, humane forms of Zeisel's industrially produced ceramics that gave inspiration to Merel Matzinger as she designed the first, one-weight version of Eva in 1999. Eva Zeisel's ceramics are warm and approachable for their fluid curving lines, for their simplicity, but also for their playful, whimsical nature. Indeed, it is Zeisel's 'playful search for beauty' that is the crucial connection between her and her audience. It is Matzinger and Smeijers' hope that the Eva typeface achieves a similar feeling and a similar connection. Eva finds a distinct place among existing 'informal sanserifs'. The contrast it shows between thick and thin strokes is less marked than with designs such as Optima or Pascal. So too the flairs at the terminals of its strokes are less marked than in the case of Optima. One could position it somewhere between these 'semi-sanserifs' and typefaces like Gill Sans, Scala Sans or Fresco Sans, which we now identify as belonging to the category of 'humanist sanserif'. The variety in the ways in which the stroke terminals are treated gives Eva much of its character. FontShop link. [Google] [More]  ⦿

Merijn Dietvorst

Dutch graphic designer, who graduated in 2008 from the AKV St Joost in Breda, The Netherlands, and is now at the Plantin Genootschap in Antwerp. At St. Joost he wrote an interesting thesis (in Dutch) on type revivals. Alternate URL. An excerpt from his thesis on Garamond revivals: i, ii, iii, iv, v, vi, vii, viii. [Google] [More]  ⦿

METAFUN

Hans Hagen's Metafun Manual. [Google] [More]  ⦿

mftrace
[Han-Wen Nienhuys]

mftrace is a small Python program that lets you trace a metafont into a PFA or PFB font (A PostScript Type1 Scalable Font) or TTF (TrueType) font. It is licensed under the GNU GPL. All done by Han-Wen Nienhuys. Requires autotrace and pfaedit (now FontForge). Similar to metatype, which only makes truetype though. Credit: Gf2pbm, the utility to convert a MetaFont GF file to a PBM file was based on Paul Vojta's Xdvi. Manual by Julian Gilbey. The comparison with similar programs goes like this (I quote):

• Why use mftrace over textrace? Textrace and mftrace are functionally similar. However, mftrace is quicker, more cleanly written and can be installed using standard methods. Additionally, textrace requires perl, ghostscript and dvips.
• How about MetaFog? MetaFog operates directly on the curves that generate the bitmap font, its outlines will probably be smaller and better. However, MetaFog is a proprietary product: its source code is not available, and it will only run on a limited number of platforms.
• How about MetaType1? MetaType1 is an approach that puts severe constraints on what may be done in a font program. It does not work for fonts containing overlaps and shaped pens.
• How about FontForge itself? FontForge is an interactive editor, but it can be scripted. Since it supports bitmap tracing and TeX bitmap fonts, it is possible to duplicate the functionality of mftrace. However, out of the box, FontForge does not recognize TeX encodings. [Google] [More]  ⦿

Michel Lavoie

Graphic designer in Amsterdam who created unnamed paperclip and outline faces in 2011. [Google] [More]  ⦿

Michiel Drost

Dutch author (b. 1950, Amsterdam) of Typage (2007, Herr Druck, Switzerland), a 256-page book on typography. [Google] [More]  ⦿

Michiel Schuurman

Michiel Schuurman (b. Amsterdam, 1974) studied graphic design and typography at the Koninklijke Academie voor de Beeldende Kunsten (KABK) Den Haag and graduated as graphic designer in 2002 from the Gerrit Rietveld Academy Amsterdam. He specialized in typography, designs his own typefaces and likes working in black and white. His posters show great typographical originality. His typefaces include Oldskool (1998-2000), an outline face, and Ixopusada (1998). [Google] [More]  ⦿

Mielo Pouwer

Illustrator and designer in Rotterdam, The Netherlands. In 2010, he created a custom counterless typeface for a conference called Philosophers' Rally. [Google] [More]  ⦿

Mignonne Meekels

Rotterdam-based digital artist. She made an ultra-fat art deco font entitled Real Men (2009). Behance link. [Google] [More]  ⦿

Miguel Basm Visser

Dutch designer of some fonts at fontomas.com, such as Basm font (handwriting). [Google] [More]  ⦿

Miklós Tótfalusi Kis

Miklós Tótfalusi Kis (Nicholas Kis) was born in Misztótfalu, Hungary, in 1650. He left for Amsterdam in 1680, where he worked on la Biblia Hungara (1685), Book of Hymns of San David (1686), and the New Testament (1687). He also published many books for children. Taught there by Dirk Voskens, he made what is now known as Janson Text around 1690. Around 1690, he made an elegant face, Nikis. He died in 1702. The story of Kis's types, now also known as Dutch types, is eloquently told by Daidala based on research by Bringhurst, Lawson, Morrison and Carter. Types influenced by him include Stempel Janson (1937, based on his original matrices), Mergenthaler Linotype Janson (1954, by Hermann Zapf; digitized in 1985), Monotype Erhardt (1938, named after the Erhardt foundry in Leipzig, where in the early 1700s his types were found), Nikis (finished by Hell Design Studio (now Linotype); see Nikis EF) and Adobe Janson (based on the original matrices as well). The name Janson comes from Anton Janson, a typographer who worked in Leipzig. Janson was incorrectly credited with the designs of Kis's typefaces. Note: since 1919, Kis's original matrices are in the hands of Stempel. John Tranter recalls the Kis/Janson affair: "In his book On Type Faces, published in 1923, the great typographic historian Stanley Morison describes a roman and italic typeface that he said was cut by Anton Janson, a seventeenth-century Dutch type foundry owner. By the 1920s the face had fallen into disuse, and when it was revived for the modern age on both Linotype and Monotype machines in 1937, it was named 'Janson' after its presumed designer. Even the German Stempel foundry, who owned the original 'Janson' punches and matrices from the 1600s, called it by that name. The typeface became more and more widely used. Robert Bringhurst (a poet as well as a typographer) refers to it as a wonderfully toothy and compact Baroque type. In the United States it is now the third most popular face for book composition, according to its frequency of appearance in the 'Fifty Books of the Year' annual exhibition organised by the American Institute of Graphic Arts. In 1939 Stanley Morison uncovered the embarrassing fact that the face had not been cut by Janson, but even he was unable to put his finger on the designer. It was not until the 1950s that Harry Carter and George Buday discovered that the man who had designed the type was a Transylvanian Hungarian named Nicholas (or Miklós) Kis, born in 1650. Kis took religious orders and became a teacher, and eventually decided to visit Holland and study typography, as those skills were needed in Hungary. He turned out to be very gifted at punchcutting, the shaping of metal type, and became so famous in his own time that Cosimo de Medici, the Grand Duke of Tuscany, offered him a position at his court. Kis declined the offer, and returned to Hungary in 1690, determined to spend the rest of his life designing and printing bibles. It was a time of religious and political upheaval in Hungary. The social turmoil, together with personal enmities, shortened his life, and Kis died in 1702, an embittered man. His reputation had to wait 250 years for proper recognition; and such is the conservative nature of the world of type that the typeface he created is still called 'Janson'." Adobe writes that the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Bitstream explains: His types, the original matrices for which were obtained by Stempel in 1919, were revived for hot metal as Janson by C.H. Griffith for Mergenthaler Linotype (1937), and as Janson and Ehrhardt (1937) from Monotype.

Good digitizations exist of Monotype Ehrhardt. Frutiger supervised Linotype's digitization as Janson Text (1985). Bitstream's digitization is Kis. David Berlow at Font Bureau did a revival in 2007 called Kis FB. Berthold Kis BQ and Kis Classico (Franko Luin) round out the set of interpretations and revivals. Bio by Nicholas Fabian. [Google] [MyFonts] [More]  ⦿

Mirjam Somers

Dutch designer at Decotype of DecoType Nastaliq (2009), which won an award in the non-Latin category at TDC2 2010. The award blurb reads: DecoType Nastaliq is the latest fruit of more than 25 years of analyzing Arabic scripts in their pure, pre-typographic form. Like its close relative ruq?ah, nastaliq retains the original two-dimensional aspect of Arabic script. To capture this for use in an essentially Latin-based technical environment is a great challenge. The final glyph set consists of a minimal set of functional shapes, with which for all Arabic-scripted languages all imaginable combinations with any diacritic attachment can be generated. This is possible solely with the use of ACE, the Arabic Calligraphic Engine, a radical departure from conventional thinking in Gutenberg-style movable type. ACE was developed by the DecoType team, Thomas Milo, Peter Somers and Mirjam Somers, initially for the ruqah script, later it was expanded for a very broad analysis of the naskh script. Today ACE drives any Arabic typeface and is the core engine of WinSoft's Tasmeem enhancement of Adobe InDesign Middle Eastern version. The seminal role of ACE for the development of smart font technology, including OpenType, was recently acknowledged with the Dr Peter Karow Award. At ATypI 2011 in Reykjavik, she will speak on the slanted Arabic typefaces with cascading connections: It was exactly this challenge that brought DecoType into the typography scene in 1985 with the very first Ruqah computer typography. In 2011, a completely new Ruqah design takes its place. In addition to that, the award-winning DecoType Nastaliq typeface in Persian style is very well received as the top typeface in WinSoft Tasmeem. A second nastaliq, this time in Pakistani style is under construction. [Google] [More]  ⦿

MyFonts: Dutch fonts

I am always surprised by the attribute Dutch fonts. Therea re many fonts tagged that way at MyFonts, and this page shows them all. [Google] [More]  ⦿

MyFonts: Sjoerd Hendrik de Roos

MyFonts selection of fonts for Sjoerd Hendrik de Roos [Google] [More]  ⦿

N. Tetterode
[Nicolaas Tetterode]

Foundry in Amsterdam, set up in 1851 by Nicolaas Tetterode (1816-1894). Nicolaas' oldest son, also called Nicolaas, expanded the firm until his death in 1912. In 1914, the firm baecame Lettergieterij Amsterdam, which remains active until today. Tetterode's extensive type and printing library, De Typografische Bibliotheek van Lettergieterij 'Amsterdam' v/h N. Tetterode was donated in 1971 to the University of Amsterdam. [Google] [More]  ⦿

Nathalie Ouederni

Natahalie Ouederni (Amarante Designs) is a French graphic designer and illustrator in Delft, The Netherlands. In 2010, she created a font from direction signs, and started work on an ink splatter font. Behance link. [Google] [More]  ⦿

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

"Nederlandse Gebarentaal" fonts: Dutch analog of the Americal Sign Language fonts. The fonts are called NGT-handalfabet, NGT-handalfabetLijn, NGT-handalfabetLijn+, NGT-handalfabet+. They were designed in 1998 by Gert-Jan de Kleer and digitized by Rik Jaspers. [Google] [More]  ⦿