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Dutch type design



Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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" <...> 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]  ⦿

Aad van Dommelen
[Total Identity]

[More]  ⦿

Aart Rost

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

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 equipments was acquired by Binny&Ronaldson, although their business did not start until 1 November 1796. This specimen book came to them with Mappa's typefounding equipment.

Harvard's Houghton Library has a copy of the 1781 publication which contains a handwritten note by Theo L. de Vinne (which I was not allowed to photograph by Harvard's tight-sphinctered librarians). So here is what this letter says: Dirk Voskens was a typefounder of Amsterdam, a coster of types, not a cutter of punches. In 1677 he bought the foundry of Bleau and it was kept by his heirs and successors, (1) Dirk Voskens (2) Weduwe van Dirk Voskens (3) Voskens&fils (4) Voskens + [illegible]. In 1780 the foundry was sued for 8974 francs. P[illegible] were J. Enschedé and Sons, Ploos van Amstel, Preiter, Posthmans, DeBruyn and deGroot. How Mappa acquired possession does not appear. [...] Mappa got into trouble and had to take refuge in New York, where he began business as a type founder. He did not succeed. It is not known which became of the material he had in New York. To this, Bullen added by hand: It was purchased by Binny&Ronaldson.

P.M. Kernkamp kindly sent me additional information on Mappa. He points out that Mappa was typefounder in these cities: Rotterdam (1780-1782), Delft (1782-1787) and New York (1789-1792). The 1780 date is also put into question because Mappa's father died in 1779. Mappa was active in a small army of patriots in Holland, and after a defeat in 1787 against Prussia, he was banned from Holland for six years. It may explain his emigration to America in 1789. He lived in New York until 1792, then in Second River, NJ, until 1794 and finally in Oldenbarneveld (Oneida Co., NY). His foundry, then in Albany, NY, was sold in 1803 for 1200 guilders. [Google] [More]  ⦿

Adam Katyi
[Hungarumlaut]

[MyFonts] [More]  ⦿

Adina Ochea

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

Adolf Overbeek

Designer (1905-1969) of Studio (1946, almost brush script typeface at the Lettergieterij Amsterdam). The bold version is called Flambard. Some write his name incorrectly as Overbeck. Jan Middendorp writes: Dolf Overbeek was the head of the studio of the Vada printing firm, and around 1948 became the graphic adviser to De Arbeiderspers, a major Dutch publishing and printing house. Overbeek was an authoritative and demanding taskmaster, as well as the designer of prize-winning books and calendars. He was not fond of experiments and preferred conventional no-nonsense typography to fancy modernisms. Annoyed by bad typeface combinations, he analysed the compatibility of 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 Studio and Flambard typefaces were revived in 2008 by Hans van Maanen as Adams (Canada Type). SoftMaker's version of Studio (1946, Lettergieterij Amsterdam) is called S850. Mecanorma also has a version. Finally, there is a pirated version from 1998, called Studio Bold.

Klingspor link. [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 (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 and Fakir.

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

Alban Schelbert

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

Albert-Jan Pool

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

In 1994 he started his own studio Dutch Design in Hamburg, and finally he co-founded FarbTon Konzept+Design with Jörn Iken, Birgit Hartmann and Klaus-Peter Staudinger, a professor at the University of Weimar, but Pool, Iken 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: for more images, see FF DIN Round at issuu.com), FF DIN Round (2010; +Cyrillic; in use; sample), FF DIN Web (2010), Jet Set Sans (for JET/Conoco gas stations), DTL Hein Gas (for Hamburger Gaswerke GmbH), Regenbogen Bold (for a radical left party in Hamburg, a roughened version of Letter Gothic), and Syndicate Sans (2012, for Syndicate Design). He also made FF OCR-F.

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

Pic.

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

Alejandro Cisneros Estrada

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

He settled in Nieuwegein Zuid in The Netherlands. In 2013, he created Berlinier, a monoline sans with gothic arches dedicated to the fall of the Berlin Wall. Herreria is a display type with small Tuscan ends, and Punched Card is a heavy display face.

Behance link. [Google] [More]  ⦿

Aleksander Schipper

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

Devian tart link. [Google] [More]  ⦿

Aletta Hulman

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

Alex Révész
[Stichting Malatië Adventures]

[More]  ⦿

Alex Scholing
[Fonts by Alex]

[MyFonts] [More]  ⦿

Alex van Galen
[Drukland]

[More]  ⦿

Alexander Overdiep
[Collegium Graficum]

[More]  ⦿

Alicia Ingruber

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

Alpha Quantum
[Martin Bengtsson]

Martin Bengtsson (Alpha Quantum) is a Swedish graphic designer who lives in The Netherlands. He studied at University of Liljeholmen, Sweden. Creator of the sci-fi typeface Alpha Quantum (2012).

Dafont link. [Google] [More]  ⦿

Alumia
[Maarten van 't Wout]

Maarten van 't Wout (Alumia) is the Lisse, The Netherlands-based creator of several following commercial typefaces between 2011 and 2014. He decided in 2014 to withdraw nearly all of them. The list (mostly of fonts that have been removed from the internet):

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

Behance link. [Google] [More]  ⦿

Amal ElMourabet

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

Ambrosius Perlingh

Dutch penman (1657 or 1658-1718) who published Exemplaar-Boek Jnhoudende Verscheyde nodige Geschriften . Geschreven en Gesneden in Amsterdam in 1679, and Schat-Kamer van Verscheyde Geschriften in 1685.

Croiset an Uchelen writes: While 16th and early 17th century Italian handwriting had still been formed in a rather compressed and angular manner, the Dutch masters developed a broader and more rounded variant which, so far as writing line is concerned, was written at a wider sloping angle. This hand, which could be written more quickly, was imitated and developed further by a number of English masters ....

S. Morison in his introduction to the book of Heal on the history of 26 27 calligraphy in England stresses the important role played by Perling alongside the Frenchmen Barbedor and Matherot.

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

America Cantarino

America Cantarino (Delft, The Netherlands) created Lady America Type (2013). [It is unclear if this is the name of the font---another possible name is Modern Dresses.] This is a collection of dingbat fonts for layering that permit overlays of dresses on models for fashion fits. an interesting idea that seems to be first in the type world. Behance link. [Google] [More]  ⦿

Andrea Fuchs

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

André Toet
[SO Design]

[MyFonts] [More]  ⦿

Andreas Kindl

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

Andreas Theodorus van der Vossen

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

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

[MyFonts] [More]  ⦿

Angus van Hendrix

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

Animography

Company based in Amsterdam. Animography.net is a webshop/typefoundry that provides motion designers, video-editors and others in the field of the moving image with animated typefaces. These animated typefaces are easy to use, customizable and scalable without any loss of quality. Our animated typefaces are Adobe After Effects files with each glyph in a separate composition. A controller-composition serves as a central point from which you can customize all the glyphs in one go. Use to quickly create title sequences, TV commercials, presentations and on-stage concert graphics.

Typefaces animated in 2014 include Bahn, Binary 2.0, Mantis, Anodine and Amelie.

Behance link. [Google] [More]  ⦿

Anke van der Meer

Anke van der Meer (Heerle, The Netherlands, b. 1981) is an illustrator and graphic designer. In 2013, she created some free hand-drawn typefaces such as I Love Snailmail, Lieve Letters, and Stripe 3D.

Dafont link. [Google] [More]  ⦿

Ann Bessemans

Ann Bessemans (b. 1983) obtained her Ph.D. in 2012 from Leiden University (under Gerard Unger) and Hasselt University. She grew up in Sint-Truiden, Belgium.

In 2011, she finished the Expert Type Design Class with Frank Blokland at the Plantin Genootschap in Antwerp, and created the typeface Matilda. Matilda was specially designed to help make kids make the transition from reading simple type forms to more complex ones.

Her PhD in 2012 entitled Type Design for Children with Low Vision was jointly supervised by Gerard Unger at Leiden University, and Bert Willems at Hasselt University. Her research interests include the interrelations between image & word, typography, font design, legibility, reading graphic design, book design and modular systems.

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

In 2014, Ann Bessemans designed a Belgian postage stamp that set a Guinnees record of 606 words on one stamp. [Google] [More]  ⦿

Anne Joshua

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

Annemarieke Kloosterhof

Annemarieke Kloosterhof was born and grew up in The Netherlands. In 2012 she started her graphic design studies at Central Saint Martin's University of the Arts in London. During her studies, she created Alphabet for Architects (2014). Behance link. Cargo Collective link. [Google] [More]  ⦿

Anthon Beeke

Author of Body Type (1969), reedited in 2011 by Spinhex, Amsterdam, with the help of René Knip. Nijhof and Lee write: Body Type is a re-edition of the legendary naked-women alphabet by Anthon Beeke originally published in 1969. This alphabet, which was published in the famous Kwadraadblad serie by Pieter Brattinga, is a carefully composed representation of the letters of the alphabet using naked women. Beeke made the alphabet as a 'tongue in cheek'response to Wim Crouwel's New Alphabet published in the same serie a year earlier. This new edition which is in colour, is complimented and enlarged with the numbers modelled by naked men all on individual sheets. It also contains a cahier with the history of the alphabet and a block containing the letters which can be used to make a streamer. 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]  ⦿

Anton Kurvers

Antonius Kurvers (1889-1940) was a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987) and became a prolific public place letterer. He was born in Den Haag in 1889 and died in Amsterdam in 1940. Digital fonts influenced by his work include

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

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

[More]  ⦿

Antonius Mathieu Güthschmidt

Dutch poster artist, 1887-1958. Guthschmidt and Guthschmidt Condensed (Tom Wallace, 2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Antonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman. Other posters with art deco lettering by him include Gastentoonstelling (1930) and Kurhaus Scheveningen (1930s). [Google] [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, by Wico Valk (b. 1962, Waddinxveen), a practicing architect since 1989. He designed these typefaces: ArchiType Rounded (2011, square gothic), Archi Logo (2009), ArchiType (2009, 12 styles). [Google] [MyFonts] [More]  ⦿

Ardwan AlSabti

Designer in Nijmegen, The Netherlands. Behance link. In 2011, he made the squarish typeface Mandaicana, about which he writes: Mandaicana is one of the few Mandaic type[faces] which exist in the world. Mandaic, the most Southeastern Aramaic dialect spoken in antiquity in Babylonia (Mesene, Characene, Khuzistan), reflects similarities to Jewish Babylonian Aramaic, both belonging to the Eastern Middle Aramaic branch. Although most scholars located the origin of the baptizing community in the East Jordan regions (Mark Lidzbarski, Rudolf Macuch, Kurt Rudolph) the Mandaeans are considered to spent a large part of their still controversial and mysterious history alongside the big rivers (Euphrates, Tigris, Karunriver) in the southern borderland between present-day Iraq and Iran. This was followed by Englaiscana (2011). [Google] [More]  ⦿

Ariadna Vilalta

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

Behance link. [Google] [More]  ⦿

Arjan Mels' Font Viewer

Freeware font viewer (aka amviewer) for Windows. Can deal with the entire Unicode range. People report to me that this viewer should be avoided at any cost, as viewing truetype fonts becomes impossible once FontViewer is removed. So, please, please, please, do not ever install amviewer. Mike Ady's fix and help page. [Google] [More]  ⦿

Arjen Noordeman

Graduate from the Academy of Art and Design in Arnhem (1998) and of the Cranbrook Academy of Art (2000) who designed the gorgeous neo deco font New Amsterdam (2001), Deadgun (2000, as a past tribute to Raygun), Yeehaw, Blood Thirsty, Wanted Dead or Alive, Diamond, and Al Capone Was Here. At Union Fonts, he published New Amsterdam, Are You In?, and Roger That, fonts also showcased at Cranbrook. In 2005, he decided to go public and make his fonts available for free: Becoming Animal, Free Doughnut, Human Behavior, Deadgun, Yeehaw, Blood Thirsty, Wanted Dead or Alive, New Amsterdam, Are You In?, and Roger That. Noordeman is an art director and a designer, and has offices in North Adams, MA, and Brooklyn, NY. [Google] [More]  ⦿

Arktype

Foundry set up in October 2012 by René Knip and Janno Hahn. [Google] [More]  ⦿

Aron Veraart

Amsterdam-based designer (b. 1996) of the fat finger fonts The Brown Fox (2014) and Sketchy (2014). Dafont link. [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 typeface based on a 1946 design by Eidenbenz for Haas), Gravur-AR (2007; a digital version of a type designed by Georg Trump and issued as Trump-Gravur by Weber in 1960), Initiales Grecques (after a Firmin Didot design, ca. 1800), Lutetia Open (2007; based on Jan Van Krimpen's Lutetia), Old Face Open (2007; a digitization of Fry's Shaded, an open all caps Baskerville cut by Isaac Moore for Fry, ca. 1788), Open Capitals (2007, after Jan Van Krimpen's 1928 typeface for Enschedé called Open Kapitalen), Romulus Capitals (2007; after the caps series by Jan Van Krimpen, 1931), Romulus Open (2007; after the Open series by Jan Van Krimpen, 1936), Rosart 811 (2007; open caps after Enschedé no. 811 by Rosart), Zentenar Initialen (2007; based on blackletter initials of F.H.E. Schneidler, ca. 1937). [Google] [MyFonts] [More]  ⦿

Arthur Reinders Folmer

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

IN 2013, he designed Angellocks, a semi-blackletter typeface.

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.

Klingspor link. [Google] [More]  ⦿

Artuur Kamst

He used Fontifier to design the handwriting typeface 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]  ⦿

Aschwin de Hoog
[Onderaards]

[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.

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

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

Klingspor link. [Google] [More]  ⦿

Atomic Media (was: SmartDust)
[Matthew Bardram]

Matthew Bardram (b. New York City, 1965) is the Tucson, AZ-based [T-26] founder of Atomic Media, who specializes in bitmap fonts. He designed Atomic, Centrifuge, Bromide (at T-26), Crackle, Klaxon. At Nakedface (now gone), he made Arachnid, Bitpak, Bylinear, DhexInline, Genetica, Economy Large, Empiric, Hypersigna (2005, bitmap face), Montreal (the family) and two katakana fonts. His Bitpack includes the following pixel fonts: Bylinear (2000), Cellular (2000), Genetica (2000, free download), Genetrix, Macroscopic, Metodic, Microscopic, Noir, Scriptometer, Remote (2000), Monocule (2000), Joystik, Centrifuge, Quantaa (2000), Bionika, Megalon (2000), Wired, Badfish.

Bardram's Digipak includes Atomic-Inline, Atomic-Outline, Bionika-Black, Bionika, Genetrix-Crossed, Genetrix-Square, Genetrix-SquareCore, Genetrix-SquareHollow, Joystik, Macroscopic-A, Macroscopic-B, Macroscopic-C, Macroscopic-D, Macroscopic-E, Methodic-Bold, Methodic, Microscopic, Noir, Scriptometer-SanScript, Scriptometer.

Additional typefaces: a 3D pixel font called Boxer 3D (2002), Neuronic (2002-2004, nice outlined pixel font; see also here), Fusionaire (2002, a display font) and Wijdeveld, a squarish font based on the lettering of poster artist Wijdeveld from The Netherlands. In 2005, these fonts were added: Magnetica, Imperium, Ratio, Hypersigna, Sequence and Tempora, all by Matthew Bardram.

Sausan Kare's pixel fonts at Atomic Media: Mini Food, Kare Dingbats, Biology, Everett, Harry, Ramona, Kare Five Dots, Kare Five Dots Serif, Kare Six Dots, Kare Six Dots Serif.

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

Attak Fonts
[Peter Korsman]

Attak is a two-headed graphic design firm formed in 2004 by Peter Korsman (b. 1982) and Casper Herselman. It is based in 's-Hertogenbosch, The Netherlands. 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 Bold (2003).
  • Peter Korsman: AT Babyfat (2006), AT Concours (2005), AT Korsakopf (2004), AT Ramseier (2004), AT Streeep (2005), AT TCB (2005), AT With Machines (2004).
  • Casper Herselman: AT Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005, old typewriter font), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008).
  • Rutger Paulusse: AT Discipline (2008).
  • Rens vanden Berge: AT Hide and Seek (2006, a great poster font).
Typefaces not listed here include AT Baballero (2013, Western), AT De Palm (2012, logo font for Café De Palm), AT Dienstuhr (2010), AT Ginn (2012), AT Imperiale (2012, a hipster font), AT Timeline (2010, Trajan) AT Sirca (2005), AT Sang Noir (2012, blackletter), AT Muntel (2005, Dutch art deco), AT Snotnose (2010, ink splatter script). [Google] [More]  ⦿

ATypI 2013

ATypI 2013 was held in Amsterdam from 9-13 October 2013. The theme was Point Counter Point. Its graphic identity was designed by Studio Dumbar.

The 83 speakers: Peter Bain, Rob Banham, Mark Barratt, Rob Becker, Donald Beekman, Sofie Beier, Aaron Bell, John D Berry, Ann Bessemans, Filip Blazek, Frank Blokland, Irma Boom, David Brezina, Matthew Carter, Nadine Chahine, Paresh Choudhury, Alessandro Colizzi, Bill Davis, Jo De Baerdemaeker, Rafael Dietzsch 2, Paul Dijstelberge, Catherine Dixon, Nikola Djurek, Maria Doreuli, Craig Eliason, Ramiro Espinoza, Victor Gaultney, Verena Gerlach, John Giannopoulos, Frank Griesshammer, Fritz Grogel, Elaine Guidero, Cyrus Highsmith, Will Hill, Viktor Kharyk, Eric Kindel, Henrik Kubel, David Kuettel, D. Udaya Kumar, Indra Kupferschmid, Kevin Larson, Edwina Lee, Werner Lemberg, David Lemon, Jean-Baptiste Levee, Mathieu Lommen, Rob McKaughan, Thomas Milo, Fraser Muggeridge, Titus Nemeth, Sandrine Nugue, Pierre Pane-Farre, Elena Papassissa, Thomas Phinney, Albert-Jan Pool, Cesar Puertas, Krista Radoeva, Rathna Ramanathan, Alice Rawsthorn, Daniel Reynolds, hyun guk ryu, Keitaro Sakamoto, Rainer Scheichelbauer, Georg Seifert, Juliet Shen, Nick Sherman, Fred Smeijers, Mirjam Somers, Brian Stell, Adi Stern, Claus Soerensen, Mariko Takagi, Adam Twardoch, Gerard Unger, Hans Van Maanen, Leonardo Vazquez, Peter Verheul, Werner Wolff, Yanone, Yuri Yarmola, Pascal Zoghbi, Erik van Blokland, Petr van Blokland, and Paul van der Laan.

Program.

The program was very strong, and reinforced the reputation of The Netherlands as the mecca of type design in 2013. Several awards were announced during the meeting: Gerrit Noordzij received the TDC Medal [large pic warning], Don Knuth received the Peter Karow Award, and Alexandra Korolkova received the Prix Charles Peignot for best type designer under the age of 35.

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

Auke Wieringa

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

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

The Alphabet in stone typeface by Dom Hans van der Laan, a Dutch monk who lived from 1904 until 1991, was digitized in 2011, and the project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. This typeface is based on the proportions found in Trajan.

Behance link. [Google] [More]  ⦿

Avesta Fonts
[Jan Pieter Kunst]

Amsterdam's Jan Pieter Kunst offers Avesta (Persian 5th/6th century), a five font family that is based on the typeface used in the Avesta edition by K.F. Geldner. Freeware. PC, type 1 and truetype. [Google] [More]  ⦿

B. Th. P. Verkaart

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

Baldericus van den Horick

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

Barbara Bigosinska

Barbara Bigosinska received her master degree in Graphic Design at the Academy of Fine Arts in Katowice, Poland. In 2013, she graduated from the Type & Media program at the KABK in Den Haag. At KABK, Barbara Bigosinska designed the angular text typefaces Barbear and Sambukka in 2013.

For her type revival project at KABK, she picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia reffers to the Roman name of Paris.

Her KABK graduation typeface family was Mala (2013). Loaded with opentype features and choices of widths, Mala was created for cartographic purposes.

Behance link. [Google] [More]  ⦿

Barbara Zeitler

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

Barend Hendrik Kolkmeyer

Henk Kolkmeyer was a Dutch designer, 1901-1988. His poster from 1922 entitled Waarom Droeg Je Geen Muts Als Ik has some early art deco / late art nouveau lettering.

In 2012, a free font was published by Koeiekat (John Wollring) entitled HK Display. It is a free interpretation of an art deco alphabet designed by Henk Kolkmeyer for a poster for the Veiligheids Museum in Amsterdam. [Google] [More]  ⦿

Baron von Fonthausen
[Jacques Le Bailly]

Jacques Le Bailly (b. 1975) is the "Baron von Fonthausen", located in Den Haag. He is working on commercial fonts such as Ballpoint, TyPress, Ballpoint, B-Day and Sardines-Light. Sardines (2008, Vette Letters) is described by Jan Middendorp as an amusing parade of heavyweight characters crammed into squares. In 2010, that monospaced family was expanded to VLNL Neue Sardines (42 styles). Designer of the pixel font Mekka.

Macula (2010) is a trompe l'oeuil typeface that is available from Bold Monday. It was inspired by Oscar Reutersvärd's impossible perspectives and M.C. Escher's optical illusions.

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 De Ruiter

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

Fontspace link. [Google] [More]  ⦿

Bart van der Leck

Born in 1876 in Utrecht, died in 1958 in Blaricum. Bart van der Leck was a Dutch painter and designer. With Theo van Doesburg and Piet Mondriaan he founded the De Stijl (abstract, geometric) art movement. In 1930, he was commissioned by Jo de Leeuw, owner of the prestigious Dutch department store Metz&Co. to design interiors, window packaging, branding and advertising. For these print materials van der Leck developed a rectilinear geometrically constructed alphabet. In 1941, he designed a typeface based on this alphabet for the avant-garde magazine Flax. One digital version of this typeface exists: Architype van der Leck (1994, by David Quay and Freda Sack of The Foundry). The wiki page writes: The typeface is geometrically constructed, and based upon an earlier stencil lettering alphabet van der Leck designed in the early 1930s for use in branding and advertising Jo de Leeuw's presigious Dutch department stores Metz&Co. The typeface shares structural similarities with Theo Van Doesburg's 1919 geometric alphabet, and anticipates later typographic explorations of geometric reductionism of Wim Crouwel's 1967 New Alphabet and early digital faces like Zuzana Licko's faces Lo-Res and Emperor 8.

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

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

Bartholomeus Voskens

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

Bas Bouwense
[Social Animal]

[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 (2002; +Sauna Mono Pro), Liza (2009), Auto (1, 2 and 3) (2004-2014), Unibody 8 and Fakir. At ATypI 2004 in Prague, he spoke about education in type design. FontShop link. Speaker at ATypI 2010 in Dublin.

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

Bas Masbeck

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

Behance link. [Google] [More]  ⦿

Bas van Vuurde

Graphic designer (b. Dordrecht, The Netherlands, 1979), who specializes in type and typographic design, and lives in Haarlem. Student from 1999-2003 at the Graphic and Typographic design-course at the Royal Academy of Art (KABK) in the Hague. He graduated in 2004 from the postgraduate design-course on TypeMedia at the same academy. While at the KABK, he made the futuristic/computerized 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]  ⦿

Baukje Spirit

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

Be Imageprojects

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

Ben Aalbers

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

Ben Blom
[Durotype]

[MyFonts] [More]  ⦿

Bert Bos

Bert Bos studied Mathematics in Groningen (1982-1987), and wrote a thesis about Graphic User Interfaces (1987-1993). He worked on an Internet browser and the surrounding infrastructure for the Faculty of Arts in Groningen and is now working for The World Wide Web Consortium on style sheets and math. He lives in Sophia Antipolis near Nice in France.

Author of Cascading Style Sheets---designing for the Web (3rd ed.) (2005, Hakon Wium Lie & Bert Bos).

He also created a free transitional family in metafont and opentype for use with TeX, Gladiator and Gladiator Sans (1991).

Klingspor link. [Google] [More]  ⦿

Bertjan Tromp

Dutch designer of New Sans (2004), Intercity (2003), Night Rider (2004), Roos (2003), Stilo Sans (2003), Fresh Light (2003), Comic Tip (2003), Frutto (2003), Peppchi (2003), Dibbel (2003), Grumna, Grumna Outline, Fountain Pen, Lettertiep, Fuder, Fuder Bold, and Grassi. Most of his fonts involve handwriting. In 2006, his fonts were removed from the web. [Google] [More]  ⦿

Binggy Zhao

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

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

[More]  ⦿

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

Blaise Kal (who used to call her web presence 4Logoz) is the Dutch designer of Blzee v1.03 (2003, handwriting), BlaiseHand (2001), Blaise (experimental, 2001), Crashed Scoreboard, Amsterdam (2001, pixel imitation), and Blame My Parents. Home page. [Google] [More]  ⦿

Bob Hensen

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

Behance link. [Google] [More]  ⦿

Bodil Seekles

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

Bohemian Coding
[Pieter Omvlee]

Bohemian Coding was founded early 2008 in the Netherlands and is being run by Pieter Omvlee. It develops a number of shareware applications for Mac OS X. These include Fontcase (elegant font management) and DrawIt. DrawIt is a vector editing application with support for bitmap-like image filters. Vector editing as well as the filters are completely non-destructive which means that a vector layer can still be edited even after a stack of filters has been applied. I guess DrawIt can be used as a first step in font design (exported formats include jpg, tiff and png), but it is not a font editor. [Google] [More]  ⦿

Bold Monday
[Pieter van Rosmalen]

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

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

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

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

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

Logo.

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

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]  ⦿

Boudewijn Rempt
[Constructed Languages]

[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. WerkmanPrize 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. Part of this collection (e.g., the development of Lexicon) has been scanned in and placed on the web. Details on his fonts:

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

Bram Donkers

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

Brechje van Eekert

Graphic and print designer in Waalwijk, The Netherlands, who studies graphic design at AKV/St.Joost Den Bosch. She created Chinese Type (2012, a multiline typeface based on ornamental patterns seen in the windows of Chinese restaurants). [Google] [More]  ⦿

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 typeface Andoverpis. The Dog House Nike (2010) is a custom typeface for The Dog House Athlete center for runners in Amsterdam.

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

Brill
[John Hudson]

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

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

Bruno Herfst

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

Bureau Bunk
[Jan Bunk]

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

Bureau Mijksenaar
[Paul Mijksenaar]

Bureau Mijksenaar is Paul Mijksenaar's firm in Amsterdam. They designed the signs at Schiphol Airport, the subways of Amsterdam and Rotterdam, the Dutch Railway, and are working on new tax forms for the Dutch government. Paul Mijksenaar teaches at the Delft University of Technology. [Google] [More]  ⦿

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

Dutch creator (b. 1996, Rotterdam) of the free Google Web Font display typeface Expletus Sans (2011). The theme of this typeface: disconnect the strokes, but not totally. He runs a one-man design studio located in Rotterdam. He created the six-style family Rotterdam (2008), which he describes as art deco with a typeface lift, and Disc (2008, CD-inspired).

In 2013, Jasper founded Bureau Roffa. A much better name than Designtown, Roffa is slang for Rotterdam. At Bureau Roffa, one can buy the 12-style humanist sans typeface family Sensato (2013). The regular weight is free. Features of Sensato include the Garamond heritage, the diagonal stress, some ink traps, slightly tilted outlines, open counters (for legibility), and solid spacing. Due to a trademark issue, De Waard was forced to rename Sensato to Proza.

Klingspor link. Behance link. [Google] [MyFonts] [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.

Keynote speaker at ATypI 2013 in Amsterdam.

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, hand-printed), Nice Weekend (1999), Novella (1998-1999, rounded octagonal face), Porno (1999), Thomas (2000), Rough Weekend (1999), Adore (thin typewriter font), First Street Left, Moved, Passenger (pixel font), Rebel Mono (2000), Shop (arcade game pixel font), Underscore (stitch pixel font), Archive (2000), Ravensburger (2000), Rebel (2000), Adore (2001), FirstStreetLeft (2001), Moved (2001), Passenger (2001), Shop (2001), Underscore (2001), Weekend Web (2002), Archive (2003), Capibara (2003), Melvin (2003), Epos (2003). At Phil's Fonts, 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 hand-printed Aniek. In 2009, he and Paul van der Laan created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans.

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

Calango
[Jeroen Krielaars]

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

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). Typogami is another layered animated font made in 2011.

In 2012, Jeroen created Webster, an animated font described as fllows: Webster is an extensive animated typeface with a nerdy look. It comes with uppercase, lowercase, numbers, punctuation and special characters. All together it counts over a 150 glyphs. With 13 customizable features, you can create over a gazillion looks. That's right, over a gazillion!

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

Cameron Kelly

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

Camiel Verhaag

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

Capital Baseball
[Phons Bloemen]

Baseball capitals: free metafont "capbas" (Capital Baseball) by Phons Bloemen from the Eindhoven University of Technology. Now included in the package are also 7-segment, 14-segment, Simple, matrix fonts like Flyspec and Neckerspoel. Lots of interesting tools as well. Magnificent package, really. [Google] [More]  ⦿

Carlijn Hoogenboom

Dutch designer who lives in Alphen aan den Rijn. She experimented in type design and produced typefaces like Leestekens (2012: glyphs constructed on the basis of punctuation only) and Warburg (2012). Behance link. [Google] [More]  ⦿

Carmen Nutbey

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

Cas Moustache

Dutch designer who used FontStruct in 2009 to make Subway 22:38 (+Open), which is based on the font used for some train- and subway lines in and around Amsterdam. Roland is a student in graphic design at KABK, Den Haag. Blog. Aka Roland Cos at FontStruct. [Google] [More]  ⦿

Cas van de Goor

Type Designer from Eindhoven, The Netherlands, b. 1993. A stone's throw from the Belgian border, that is where Eindhoven is. MyFonts link to his foundry.

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

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

Casper Herselman

Dutch cofounder (b. 1981) with Peter Korsman of the free font foundry Attak Web ('s Hertogenbosch) in 2004. He created T Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008). [Google] [More]  ⦿

Catharsis
[Christian "Cinga" Thalmann]

Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. It had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004) (available here), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).

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

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

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

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

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

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

1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont 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]  ⦿

Cedric Bronkhorst

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

Cees W. De Jong

Editor of the two-volume book A Visual History of Typefaces and Graphic Styles 1901-1939, and A Visual History of Typefaces and Graphic Styles 1628-1900. Both volumes were published by Taschen. Cees is located in Almere, The Netherlands. [Google] [More]  ⦿

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. A typeface commissioned by Boris Kahl for Kahl's Bastard Project.
  • 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). Nordic Narrow Pro was published in 2014.
  • Savant (2012). A free informal face.
  • ShellShock (2005). A display typeface.
  • Accelerator. A techno / Startrek typeface 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 (1998), Porta, SBD Block (a corporate typeface for his own design studio, Stoere Binken Design).
  • Kris (2014). A vampire script or haunted house typeface codesigned with Corrie Smetsers.

He co-founded Stoere Binken Design. Blog. Klingspor link. Behance link. Dafont link. Volcano Type link. Fountain Type 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]  ⦿

Charles Pellens

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

Cher Van Tol

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

Chris Brand

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

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

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

FontShop link. Klingspor 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 typeface Brok (1995, Elizabeth Cory Holzman, Font Bureau) was based on the Kunsthandel Willem Brok poster. Nick Curtis claims that his typeface Haarlem Nights (2006) is based on a 1920 Dutch poster for Public Placement Services by Johan Dijsktra. However, de Voogt says that haarlem Nights is based on Lebeau's 1928 poster, Openbare Arbeidsbemiddeling. [Google] [More]  ⦿

Chris Nuijen

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

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

Chris van der Hoef

Christiaan Johannes van der Hoef was a Dutch designer, 1875-1933. He created some art deco posters such as Verblifa (1920), De Woekeraarster (1923), Henri Ter Hall's Revue (1927), and showed more art deco lettering prowess on his IXe Olympiade Amsterdam (1928, Olympic certificate). His lettering on the Verblifa poster influenced Kerfuffle NF (Nick Curtis), and Van der Hoef Capitals (Philip Bouwsma, Monotype). [Google] [More]  ⦿

Christiaan Theo Boer
[Studiostudio]

[More]  ⦿

Christian Annyas
[The Movie Title Stills Collection]

[More]  ⦿

Christian "Cinga" Thalmann
[Catharsis]

[MyFonts] [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. I cite him, interspersed with my own comments:

  • 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. The digital version is due to Robin Nicholas.
  • 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 (1983) is based on a study of the typography used in 17th century books using typefaces cut by van Dijck and possible Dirck Voskens. The Hollander is also the base of the well-known Swift. So Unger's Hollander is not a remake of the Monotype Van Dijck.
  • OurType's Custodia, designed by Fred Smeijers, is a single-weight roman, with italic and matching small caps, with a seventeenth-century flavour. It was made in 2002 for use in the publications of the Custodia Foundation. Custodia 17 is the first typeface to join the OurType Classics collection. By seventeenth century flavoured we mean the flavour shared by a range of 17th century punch cutters, like Christoffel van Dijck, Dirck Voskens, Johan Michael Smit and Jean Baptiste van Wolschaten. References to and specimens of their typefaces can be found in several archives. One of them is the Plantin-Moretus Museum in Antwerp. The OT Custodia is neither a Van Dijck revival nor a Monotype Van Dijck remake.
  • Dutch Textura (1681), in versions called Augusteyn Duyts and Mediaen Duyts.
Typefaces offered at MyFonts that are rooted in Van Dijck's work include:

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

Christoph Mueller
[Christoph Mueller Graphic Arts]

[More]  ⦿

Christoph Mueller Graphic Arts
[Christoph Mueller]

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

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

Christoph Noordzij

Dutch graphic and typographic designer from Aldeboarn, The Netherlands (b. 1959). Son of Gerrit Noordzij, and brother of Peter Matthias Noordzij. Designer at the Enschedé Font Foundry of Collis [discussed by John Berry], and OEM designer of the lettering for the Thalys high-speed trains between Paris and Brussels. Involved in book typography. Klingspor link. [Google] [MyFonts] [More]  ⦿

Christophe Antonio

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

Christophe Stoll

Designer of the free stitching font Postcode (2008, FontStruct). It is based on a Dutch postage stamp from 1978 by Gert Dumbar (who runs the famous Dutch visual identity Studio Dumbar) and René van Raalte, which reads POSTCODE. It was apparently created to encourage the Dutch to include postal ccodes on their envelopes. [Google] [More]  ⦿

Citype
[Jarrik Muller]

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

[Google] [More]  ⦿

CL Fonts
[Ilja Pfeijffer]

CL fonts is a package that contains GaramondLatin, a professionally produced typeface (by Rubicon Computer Labs Inc, 1998) that provides macrons, brevia, apices/stress marks, common inscriptional characters, characters for printing scanned poetry, and a few medieval and religious symbols. Free, sponsored by the CAES, the Classical Association of the Empire State. On this page, you can also download the Anaxiphorminx font (1998): Dr. Ilja Pfeijffer of the University of Leiden has created a metrical font for scholars and advanced students of Greek and Latin. Anaxiphorminx is a metrical font designed for advanced work in Greek and Latin metrics. It was created on the Macintosh by Dr. I.L. Pfeijffer of the University of Leiden. Page by David Perry. [Google] [More]  ⦿

Claus Eggers Sørensen

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

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

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

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

Klingspor link. [Google] [More]  ⦿

Coen Brasser

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

Coen Hofmann

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

Designer at URW++ 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.

In 2013, still at URW++, he created Signpainters Script (a connectd copperplate script), and Seizieme Pro (based on the 1905 font Série 16 by Peignot, which was mainly used or scientific publications).

Typefaces from 2014 include Pinel Pro (URW++), a revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.

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]  ⦿

Colin Willems
[Ecofont]

[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 Bennink
[Corien's Handwritingfonts]

[MyFonts] [More]  ⦿

Corien's Handwritingfonts
[Corien Bennink]

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

Creator of the comic book / chalk board font Whiteboard (2007). She is the designer of Heroes Font (2006, hand-printed, made based on screenshots of the Heroes TV series; see also here) and House Whiteboard Font (2006). Commercial fonts include Spidery Elegance (2008) and Dausby (2012, based on a secretary's hand from the 1850s).

She also offers a commercial handwriting font service (40 USD), and has some free handwriting demo fonts from 2005 until 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).

Digital revivals:

  • Vlaanderen NF, Vlaanderen Chiseled NF, Vlaanderen Round NF, Vlaanderen Square NF, all by Nick Curtis. These free fonts are based on an untitled work by André Vlaanderen from 1928.
  • F37 Xan (2010, Rick Banks, F37). Based on a 1925 design by André Vlaanderen.
[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]  ⦿

Corrie Smetsers

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

CP

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

Behance link. [Google] [More]  ⦿

Created by Design

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

Cyriel Klitsie

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

Daan Gei

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

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 typeface 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 typeface Athan (2010, Thinkdust), and the futuristic deco face Blozend (2010, Thinkdust).

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

Daniel Gall

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

Daniel Jean Mensing

Belgian typefounder (b. Antwerp, 1815, d. Rotterdam 1864). He worked as a typefounder in Rotterdam from 1857 until about 1864, running the foundry D. J. Mensing&Co. Specimen in the Amsterdam University Library. [Google] [More]  ⦿

Daniel Matakupan

Communication&Multimedia Design at the NHL University in Leeuwarden, The Netherlands. Indonesian creator of beautiful lettering in his Maluku poster (2011). Maluku is the local word for Moluccan, referring to the island group situated between Celebes, the Phillippines, New Guinea and Timor. It is part of Indonesia.

Home page. [Google] [More]  ⦿

Daniel Samama

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

Behance link. [Google] [More]  ⦿

Dave Crol

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

David Benque

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

David Fens

Netherlands-based creator (b. 1990) of these free pixel typefaces that were made with FontStruct in 2013: PKMN Mystery Dungeon, Mario Kart DS, FFCC Echose of Time, SMT Devil Survivor, SMB Deluxe, Unown GB, Accents Euro TLOZ Phantom Hourglass, Accents TLOZ Minish Cap / A Link to the Past / Four Sword, TLOZ Link's Awakening, Super Mario World, Super Mario Bros. 3, Super Mario 64 DS, Star Fox/Starwing, SMW2: Yoshi's Island, PKMN Pinball, PKMN RBYGSC, Euro Nintendo DS BIOS, Metroid Fusion, Accents Euro Mega Man ZX, Mega Man Battle Network, Kirby's Adventure, Golden Sun, Final Fantasy, Accents Euro Animal Crossing: Wild World, Ace Attorney. [Google] [More]  ⦿

David Kerkhoff
[Hanoded]

[MyFonts] [More]  ⦿

David Muehlfeld

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

David Quay

British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 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 (brush script).
  • 1987: Bordeaux (a skyline font family), Bordeaux Script.
  • 1988: Latino Elongated, Mekanik.
  • 1989: Aquinas, Robotik, Helicon (1989, Berthold).
  • 1990: Quay Sans (a humanist sans based on Syntax), Digitek, Teknik.
  • 1991: Letraset Arta.
  • 1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek (angular design, ITC).
  • 1993: Marguerita (curly vampire script).
  • 2010: Kade (Re-Type---it is a display/semi display sans family of fonts based on vernacular lettering photographed around the harbours of Amsterdam and Rotterdam).
  • 2011: Bath (2010-2011), a typeface developed with Ramiro Espinoza for the the signage and orientation of the city of Bath. It comes in Bath Serif and Bath Sans versions.

View David Quay's typefaces. [Google] [MyFonts] [More]  ⦿

David Roelands

Belgian penman who published t'Magazin OftTac-huys der Loffelycker Penn-const . . . Ghepractizeert Door David Roelands van Antwerpen, Fransoijschen School-Mr. binnen Vlissinghen in 1616. [Google] [More]  ⦿

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 Bon Bon (2013), VLNL Brokken (2009, fat octagonal face), VLNL Brak, VLNL Decks, VLNL Breakz.
  • Berlage (2013). A font family based on lettering found in the Amsterdam Beurs (stock exchange) building, designed by architect H.P.Berlage, and other lettering found all over Amsterdam.

Speaker at ATypI 2013 in Amsterdam.

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

De Amsterdamse Krulletter
[Ramiro Espinoza]

In English, Amsterdam's curly letter. While doing a revival / interpretation of this style in his Krul typeface (2012), Ramiro Espinoza tells the story of this style, so I will reproduce excerpts:

Krul is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company's official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam.

The Amsterdamse Krulletter, or Amsterdam's curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful "g" originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced.

Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now.

He continues about his own typeface Krul: Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing Krul on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, Krul is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource. The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you. Krul can be purchased at ReType.

At ATypI 2013 in Amsterdam, Ramiro explained his work on the Krulletter. Still in 2013, Rob Becker and Ramiro Espinoza coauthored Amsterdamse Krulletter. [Google] [More]  ⦿

De Letter Pagina

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

De Passe&Menne
[Jean Baptist De Panne]

Dutch foundry from 1842-1856, bought by Nicolaas Tetterode in 1856. Formerly, De Passe&Cie in 1841. Jean Baptist De Panne (b. Brussels, ca. 1806, d. Amsterdam, 1844) was a Belgian who had been a foreman of Firmin Didot in Paris. Kornelis Elix, an Amsterdam based typefounder, asked him to come to Amsterdam, where De Passe worked for him from 1837 on. In 1841, De Passe created his own foundry, only to die in 1844, a year after his first specimen was published. That specimen derived mostly from the Th. Lejeune foundry in Brussels, which was active there from 1836-1838. Specimen in the Amsterdam University Library. [Google] [More]  ⦿

De Stijl

Influential Dutch magazine founded in 1917 by Theo van Doesburg in cooperation with Piet Mondrian, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud. It became the catalyst for the De Stijl movement. Ninety numbers were published in 8 volumes, the last one in 1932. All have been scanned in. The De Stijl movement lived and died with the magazine. [Google] [More]  ⦿

De Stijl

De Stijl is a Dutch word that means The Style. It is a Dutch artistic movement started in 1917 and that lasted until 1931. The movement is also known as neoplasticism.

The group's principal members were the Dutch painter, designer, writer and critic Theo van Doesburg, the painters Piet Mondrian, Vilmos Huszár and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff and J.J.P Oud.

De Stijl is also the name of an influential Dutch magazine founded in 1917 by Theo van Doesburg in cooperation with Piet Mondrian, Bart van der Leck, Anthony Kok, Vilmos Huszar and J.J.P. Oud. It became the catalyst for the De Stijl movement. Ninety numbers were published in 8 volumes, the last one in 1932. All have been scanned in. The De Stijl movement lived and died with the magazine.

De Stijl stood for a new ideal of spiritual harmony and order. Its members proposed abstraction and universality by a reduction to the essentials of form and colour. For example, they simplified visual compositions by limiting everything to vertical and horizontal directions, even in the typefaces used. They used only primary colors along with black and white. [Google] [More]  ⦿

Deconditoned Reflex (drx87)
[Roberto Dias da Silva]

Dutch designer (b. 1987) of ArnStylo (2011, a deco face) and Deconditioned (2013, octagonal). Dafont link. His company is called Deconditioned Reflex Design. [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. Thomas Milo's talks about Arabic fonts at the 1998 RIDT in Saint-Malo and at ATypI in Copenhagen in 2001 were masterful performances---entertaining and insightful from start to finish. From Milo's site: DecoType contributes fonts and Arabic Calligraphy applications to Microsoft Office Arabic Edition; to Adobe PageMaker Middle East DecoType provides a special interface for Calligraphic typesetting; to the MacOS 9 it contributes Arabic fonts.

In 2009, Thomas Milo received the second Dr. Peter Karow Award for Font Technology&Digital Typography 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. Speaker at ATypI 2013 in Amsterdam. MyFonts page. Speaker at ATypI 2008 in St. Petersburg. [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]  ⦿

Dennis de Vries
[Subform]

[More]  ⦿

Design Dutch
[Matt Langstaff]

Matt Langstaff created Four Pixel Caps (2005). Dafont link. [Google] [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 typeface to be made from unattached letters, rather than the original connected script. Schlesinger and Dooijes finished the lowercase and the first drawings of the uppercase just before Schlesinger was sent to a prison camp in 1942. Dooijes completed the design on his own, and drew the bold according to Schlesigner's instructions. The typeface family was finished in February of 1944, and Schlesinger was killed in October of that same year. Though he did see and approve the final proofs, he never actually saw his letters in use. It took almost four more years for the Lettergieterij Amsterdam to produce the fonts. The typeface was officially announced in November of 1948, and immediately became a bestseller. By 1966, according to a memo from the foundry, the typeface had become almost too popular. This digital version of Schlesigner's and Dooijes's work greatly expands on the metal fonts.
  • Mercator (1958): a sans family at Lettergieterij Amsterdam. It was considered at the time as a Dutch version of Helvetica / Univers. See here). Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type) is a revival of Mercator.
  • 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.
[Google] [MyFonts] [More]  ⦿

Diederik Corvers
[Ogentroost]

[MyFonts] [More]  ⦿

Diederik Mulder

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

Dimitry Hamekink
[Le Studio Graphic and Web Design]

[More]  ⦿

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]  ⦿

Dirk Zwaneveld

Maastricht, The Netherlands-based designer of the commercial typeface L'Oiseau de Feu (2013), a mysterious vintage typeface with a Russian look. Human Made Font (2013) was inspired by gothic architecture.

In 2014, he designed the creamy typeface Goggles.

Behance link. [Google] [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 typeface was digitized in 2011. That project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. The font family can be bought from the Dutch foundry Autobahn. [Google] [More]  ⦿

Donald Beekman
[Vette Letters]

[MyFonts] [More]  ⦿

Donald Beekman
[DBXL]

[MyFonts] [More]  ⦿

Donald Roos
[Otherways.nl]

[MyFonts] [More]  ⦿

Donald Roos
[Typebase]

[More]  ⦿

Donna Tuiten

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

Dorrith Rem

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

Dotspot Graphics
[Yves Latscha]

Yves Latscha's Dutch site, located in Gennep, The Netherlands, is called Dotspot Graphics.

At this defunct Dafont link, one could download his free grunge face, Gekrazze, the grunge faces 50's Headline DSG (2006), OldPress DSG (2006), Overprint DSG (2006), Smeared DSG (2005), OverRide DSG (2006), the handwriting typeface LongTimeAgo DSG (2006), and the sketchy caps font Skizzed DSG (2006), as well as Dingbatz Formz DSG (2006), Marvelouz DSG (2006), Hangbord DSG (2006), Screw DSG (2006), Stamped DSG (2006). [Google] [More]  ⦿

Drawperfect
[Paul Ijsendoorn]

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

Dafont link. [Google] [More]  ⦿

Dries Wiewauters

Belgian designer who has a bachelors in graphic design from St. Lucas, Gent (Belgium) and ArtEZ Arnhem (The Netherlands), and a Masters in the same area from both places. He lives in Gent and loves mussels (or, at least, he loves to make posters of mussels). 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.
[Google] [More]  ⦿

Drukland
[Alex van Galen]

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

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

DTL FontMaster

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.
[Google] [More]  ⦿

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 typeface Ester was published. In 2013, they created a 3d alphabet called Inside Job. Mr. Right (2014) is a multiline script typeface influenced by Rechtman (1992, David Rakowski).

Behance link. [Google] [More]  ⦿

Dump PFM

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

Durotype
[Ben Blom]

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

His second typeface family is Cigar (2010). He writes: Cigar is a revival of a 1970s and 1980s typeface called Cucumber or Nassel Black or Scanner. It has been carefully redrawn and expanded into a full-featured OpenType font. Cigar Octo and Cigar Quarto are new angular reinterpretations of Cigar. In Cigar Octo, most round shapes have been replaced by octagonal shapes. In Cigar Quarto, most round shapes have been replaced by rectangular shapes.

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

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

Classic Xtra Round was created in 2011.

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

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

Klingspor link. Behance 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 penmen of the 17th century

The seventeenth century saw The Netherlands flourish in all respects, after the fall of Antwerp in 1585. Between 1590 and 1650, teachers and professionals taught and developed penmanship in the Low Countries---Penneconste in old Dutch. The most talented of them was Jan van den Velde. Others included Lucas Fopsz Lely, Abraham van Overbeke, Maria Strick and Felix van Sambix. [Google] [More]  ⦿

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

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

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

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

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

Currently he is finishing a PhD study at Leiden University titled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script. The regularization, standardization, systematization, and unitization of roman and italic type since their Renaissance origins until the Romain du Roi.

Klingspor link.

Speaker at ATypI 2013 in Amsterdam: The (digitized) calligraphy on HM Queen Beatrix' Abdication Act 2013. [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 (2005, potato cut typeface family), DF-Staple Mono, DF-Tapa (2007, grunge), DF-Mercat (2007, dingbats inspired by Barcelona's Ramblas), DF-Pigtail (2008, seventies-style script family), DF-Zzzz (2009), DF Camino (2009, a sans that is modeled on traffic sign sans 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).

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

Dafont link. Klingspor link.

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

Duygu Ölcek

Typographer and designer who lives in Den Haag, The Netherlands. She made some elegant typefaces, such as Memoa (2010, organic typeface first called Jarek), Cubicle (2010, squarish) and a tilted script of exceptional balance, also in 2010.

Home page. [Google] [More]  ⦿

Earik Wiersma
[Eden]

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

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.

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

Klingspor link. [Google] [More]  ⦿

Edo Smitshuijzen

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

Edu Pou

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

Edward de Leau

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

Edwin van de Beemt
[Pokemon Paranoia]

[More]  ⦿

Elena Lloveria

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

Elena Shkarupa

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

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]  ⦿

Elvira Koek

During her graphic design studies in Zwolle, The Netherlands, Elvira Koek created the modular typeface Fabrik (2013). She writes: This font is based on a few letter designs by Eric Waetzig.

Behance link. [Google] [More]  ⦿

Elwin Berlips
[FontMeister]

[MyFonts] [More]  ⦿

Elzevir family

Elzevir is an oldstyle typeface style related to garaldes. Elzevir was also the name of a renowned family of printers in the 16th and early 17th century in Leiden, The Hague, Utrecht, Copenhagen and Amsterdam. The first one, Louis (1540-1617), was the son of a Belgian printer in Leuven and established a print shop in Leiden in 1580. Other members include Isaac Elzevir, Bonaventrura Elzevir, and Abraham I Elzevir. They were operational until 1712.

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

Emday Fonts
[Miriam van der Have]

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

Emile Michel Hobo
[Hobo Art]

[MyFonts] [More]  ⦿

Emilio Macchia

Italian designer of the fat display typeface Prendotempo (2007). He has addresses in Ravenna 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]  ⦿

Enschedé: Civilité

Excerpts of the book Enschedé. Spécimen des Lettres françoises dites Caractères de Civilité des XVIme et XVIIme Siècles dans la Collection Typographique de Joh. Enschedé en Zonen (1926, Haarlem: Joh. Enschedé en Zonen). This collection contains six different Civilité fonts, five from the 16th century (numbered 8, 9, 11, 12 and 14) and one chiefly from the seventeenth century (No. 30). The first maker and user of Civilité was Robert Granjon of Lyon, France, in Dialogue de la vie et de la mort (1557, Lyon), where he calls it his lettre françoyse. Plantin purchased some of Granjon's letters, and Granjon engraved even more more new letteres d'escriture in Antwerp for Plantin. Many imitations were made in Antwerp and Ghent, both in present day Belgium. Notes on the six Civilité types in the Enschedé collection:

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

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 until 1991 Erhard Kaiser worked at TypeDesign for Typoart, Dresden and since 1993 has been with DutchTypeLibrary/URW++. Still at DTL, he made the sans serif DTLProkyon family in 2002 around a curvy "4". This family gets raves from many typographers. Among possible imitations, we cite Dalton Maag's Ubuntu. For Typoart he designed Caslon Gotisch, Kleopatra, Quadro, Weiß-Antiqua and Bembo Antiqua. Since 1998 he teaches at the Muthesius Hochschule in Kiel. In 2005, he created DTL Antares, a strangely proportioned serif to accompany DTL Prokyon. Some weights published in 2008 are called Evonik Antares and some Evonik Prokyon.

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

Erik Groenendijk

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

Erik 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 van Blokland
[LettError]

[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 typeface for a sports retailer called Frontrunner (2011). He also made some logotypes. [Google] [More]  ⦿

Ersen Akkaya

Apeldoorn, The Netherlands-based designer, b. 1975. Designer of Vandiana Platin (2007, display sans family with many weights). Before that, as Ersenak, Ersenak Production, and Laztemel Font Design Studio, he made the 99 Euro techno family Sevil alias Esra (2004). One free weight is here. He also made the techno font family Kubra, a bit in the style of Bank Gothic, and 4Deniz_alias_Kubra (2003). The Laztemel web site disappeared. His newest site, Mental Type, cannot be reached. [Google] [More]  ⦿

Erwin Denissen
[YourFonts]

[More]  ⦿

Erwin Vader

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

Fontspace link. [Google] [More]  ⦿

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

[More]  ⦿

Erwin Van Soelen

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

Esmé Vahrmeijer

Esmé Vahrmeijer, a graphic designer in Utrecht, The Netherlands, designed the Treefrog-style typeface Drupfabet in 2014. 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, flared sans families discussed here). FF Balance was created at the Amsterdamse Steenweg in Arnhem, at almost the same address as Ontwerpbureau Quadraat. Editor of "Letters, een bloemlezing over typografie" (Eindhoven, 2001), a book about contemporary Dutch typography. FontFont page. Typophiles about his death. Jan Middendorp wrote: Of all the type designers I have known and have written about, Evert had the most complex personality, and possibly the most original mind and the weirdest sense of humour. He kept promising me, with his characteristic mixture of boyish enthusiasm, solemn dedication and self-mockery, that he would one day cover the entire distance between his home in Arnhem and mine in Ghent on his reclining bike. I was sure he'd make it, sooner or later he always carried out his plans, although some took him ten years to complete. It fills me with grief, wonder and anger that Evert, who was always advocating exercise and healthy food, has now been taken away from us because of a heart failure. As a type designer, Evert was unorthodox, a true original. Each of his four type families was the outcome of a highly personal investigation, a challenge to himself. To others, he could be as demanding as his was to himself; when criticizing his friends' typographic work, he was brutally honest and always to the point. Yet he remained amazingly modest, even insecure, about his own work, and deeply grateful to those who would comment on the early versions of his typefaces and/or test them in print. In spite of the single-mindedness with which he worked on his type designs during those months of total concentration, he was open to many other intellectual stimuli. He had worked as a photographer of architecture constructing his own hand-operated panoramic camera, interviewed the designers he admired (such as Wim Crouwel and Hans Reichel) about their design philosophy, and lately became fascinated by the work of Marshall McLuhan. His lectures and articles, too, were evidence of his original ideas on form and on reading. It is a great loss indeed.

FontShop link. Klingspor link.

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

Evert Ybema

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

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:

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

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

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

Eyal Holtzman
[Letterpress]

[MyFonts] [More]  ⦿

Fabian de Lange

Digital artist in Heerlen, The Netherlands, who created Back To Black (2011, experimental face), Hello Type (2011, sans headline face), Just Meet Me Halfway (2009), an experimental font made for two-coloring, and Eclectic (2011, a free octagonal face).

At OFL, he makes 01 Base (2010, sans) available.

Typefaces from 2014: Cigarettes & Coffee (a free vernacular brush typeface).

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

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]  ⦿

Florian Schick
[SchickFonts]

[MyFonts] [More]  ⦿

Floris Voorveld

Dutch freelance graphic designer (b. Almelo, 1985) living in Granada, Spain, and/or Nijverdal, The Netherlands. Creator of the free rounded sans typeface FV Almelo (2012), which was designed using ruler and compass. FV Granada (2012) is a contemporary monoline sans typeface. FV Deventer (2012) is a wavy antique almost Victorian font. Floris also created Hipster Icons.

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

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]  ⦿

Fontenwerkplaats
[Richard Keijzer]

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

  • Mokum Betondorp (2005). A great art deco display typeface in the style of Broadway. He writes: I'm currently trying to reconstruct a font that was designed around 1924 by the architect D. Greiner in the Netherlands. He needed a special font to decorate some of the building in the then new subsurb Watergraafsmeer. The building project was a so-called garden village, that was nicknamed Betondorp (Concrete Village).
  • Mokum Plons, after a 1929 sign outside Het Sportfondsenbad in Amsterdam.
  • Mokum Tooneel (2006). Based on lettering by Anton Kurvers, a disciple of the Dutch architect Hendrik Wijdeveld (1885-1987).
  • Mokum Oorkonde (2006). Based on art deco lettering found in the archives of the city of Amsterdam.
  • Mokum Giro (2006). As found on the antique letterboxes of the Amsterdam Municipal Giro Service.
  • Mokum Expo (2006) takes inspiration from a 1975 poster for the Amsterdam Municipal Museum.
  • Mokum Cohen and Mokum Cohen Top (2006) are both art deco fonts based on lettering by Fré Cohen in the Annual Report of the Municipal Giro 1930.
  • Mokum Kruyswijk (2006, art deco) is named after Cornelis Kruyswijk (1884-1935), an architect in Amsterdam.
  • Mokum GGD was added in early 2007.
  • Quota (2007) is based on the sculptures made by Van den Eijnde for the main Post Office in Utrecht.
  • Mokum Stad (2008) is modeled after lettering found in Groningen and designed in 1925 by architect Siebe Jan Bouma.
  • Mokum Schip (2013): My inspiration for this font came from a phone booth in Amsterdam. Not just "a" phone booth but one in the former Post Office in building complex The Ship in Amsterdam. This Post Office closed in 1999 and since then that part of the building houses Museum Het Schip.
  • Dudok (2014). A Dutch deco typeface based on letter types by Willem Marinus Dudok, a Dutch architect. More specifically, the typeface is based on samples found in the city hall amd under the train station of Hilversum, The Netherlands.
  • Karbouw (2014). A typeface based on Dutch postal stamps from 2014 that showed a karbouw, a kind of water buffalo found in Indonesia.

Alternate URL. Blog. Klingspor link. [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 until 1997, he was with Meta Design in Berlin as typographic director in charge of many corporate design projects. In 1997, he set up his own studio, FontFabrik. Since 2000 his fonts are also sold under the Lucasfonts label. He creates retail and custom fonts, and made his reputation with his humongous font family Thesis. Originally, he published most of his retail fonts with FontFont, but his "FF" fonts were withdrawn from FontFont in 1999, and renamed with LF instead of FF, where LF stands for LucasFonts. Here is a partial list of his fonts:

  • Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. Thesis includes TheAntiquaB (1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun [TheAntiqua received a TypeArt 05 award], TheSans, The Sans Classic, The Sans Basic, The Sans Office, TheMix, The Mix Classic, The Mix Basic, The Mix Office, TheSerif, The Serif Classic, The Serif Basic, The Serif Office, The Sans Condensed, Thesis Mono, The Sans Mono, The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter. An OEM was made for the SPD party called SPD 2002 TheSans. Grundfos TheSans (2007) is another commissioned font.
  • FF Nebulae, now LF Nebulae.
  • FF Jesus Loves You all, now LF Jesus Loves You all.
  • FF TheSansMono and others.
  • MoveMeMM (erotic multiple master font)
  • Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries), Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
  • Fohla Serif (2001, for a Brazilian newspaper in Sao Paulo: this collection includes a multiple master font, FohlaMM).
  • Spiegel and SpiegelSans (for Der Spiegel). Alkso called LF Spiegel Sans and LF Spiegel Serif. The Sans comes from Franklin Gothic, and the Serif from Linotype Roitation.
  • Sun (1997, for Sun Microsystems).
  • Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine). Are these the same fonts as Tazzer and Tazzer Text? Taz has grown as fopllows: TazText, Taz CFondensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014).
  • LucPicto (dingbats for private use at FontFabrik). Not available to the world.
  • Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.
  • Rondom (finished in the LF Punten family: Punten Straight, Punten Extremo and Punten Rondom).
  • Corpid III (sans family, 2002-2007, with support now for Cyrillic, Greek and Turkish).
  • BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
  • LeMonde (2002, new headline family). An OEM family made for LeMonde in 2001 includes Lucas-Bold, Lucas-BoldItalic, Lucas-ExtraLight, Lucas-ExtraLightItalic, Lucas-Italic, Lucas-Light, Lucas-LightItalic, Lucas-SemiBold, Lucas-SemiBoldItalic, Lucas.
  • BolletjeWol (1997, Fontshop).
  • Transit and Transit Pict (both at FontShop).
  • MetaPlus (1993, with Erik Spiekermann).
  • Calibri and Consolas (2004), two OpenType font families designed for Microsoft's ClearType project (Latin, Greek and Cyrillic glyphs). Calibri received a TypeArt 05 award. Also, it won an award at the TDC2 2005 type competition. For a yet-to-be-revealed reason, Google decided to support a metric-compatible free clone of Calibri for its Chrome OS system, Lukasz Dziedzic's Carlito (2014).

FontShop link. Klingspor link.

View Lucas de Groot's typefaces. [Google] [MyFonts] [More]  ⦿

Fontfeest
[Gerard Salomons]

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

Fontforecast
[Hanneke Classen]

Typefoundry in the Netherlands, est. 2013. Creator of Graduate Script (2013, a connected script), Graduate Ornaments (2013), Bachelor Script (2013), Tyfoon Script (2013) and Tyfoon Sans (2013).

Her greatest work to date is the 16-font Chameleon family (2013). It includes Chameleon Basic (a calligraphic script that can be used for layering), Chameleon Pen, and Chameleon Sketch. This combination of poster styles was also seen in Laura Worthington's Charcuterie a few months earlier, so a trend seems to be developing. Santa's Pen (2013) is derived from Chameleon.

Typefaces from 2014: Wingman Brush and Wingman serif, Wallet, Perron (hand-drawn contrasting designs for use on posters).

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

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

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

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 typeface Flatdepth (2011). [Google] [More]  ⦿

Francy van Lierop

Dutch creator of the scratchy typeface FYOU (2013), of the brush typeface Worst Paint Job Ever (2013), of the ransom note font Just Some Random Doodles (2013), of Splash Blobs n Dots (2013), of AbracadabraHocusSpokuz (2013) and of the primitive hand-printed typefaces A Little Scribble in My Book (2013), A Butterfly on a Daffodil (2013), Mysterious Oriental Nights (2013), Happy Monks Medieval Looking Script (2013), Some Illiterate Wrote This (2013) and Secret Love Letters (2013). Sink Holes (2013) is an experimental typeface. [Google] [More]  ⦿

Frank E. Blokland

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

[MyFonts] [More]  ⦿

Frank Grießhammer
[Kiosk Fonts]

[MyFonts] [More]  ⦿

Frank Hemmekam

Frank Hemmekam (Nijverdal, The Netherlands, b. 1994) created the free alchemic typefaces Phantom (2013, download), Dumento (2013, +Dumento Rounded No. 2, free demo), Hectica (2013), Droidiga (2013) and Defeated (2013), Merula (2013, sans), Anne Sans (2013, pixelish) and Futura FH Custom (2013). Sabado (2013, free, +Sabado Alternative, also free), Baron (2013), Kenzo (2013) and Baron Neue (2013) are all caps sans titling typefaces. They have a free regular weight. Six weights are free at Fontfabric.

Typefaces from 2014: Odin Rounded.

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

Frank van der Hak
[Knarf Art]

[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 typeface Noted V1 (2011) and the trekky typeface Galaxy (2011). [Google] [More]  ⦿

Frans Jongkind

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

Frans Velthuis

Frans Velthuis (Groningen University) developed a Devanagari Metafont in 1991, which is available from the CTAN archive. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font.

Primoz Peterlin made type 1 outlines based on this. These outline renderings (Type 1) were automatically converted from METAFONT by Peter Szabo's TeXtrace, and subsequently edited using George Williams' PfaEdit PostScript font editor by Anshuman Pandey (University of Washington). In 2003-2004, additional updates in the set of 22 Metafont files are due to Kevin Carmody, who presently maintains the package. The font names: TeX-dvng10, TeX-dvng9, TeX-dvng8. These were later changed to VelthuisDevanagari8-Regular, VelthuisDevanagari9-Regular and VelthuisDevanagari10-Regular. This font was used in the GNU freefont project for the Devanagari range (U+0900-U+097F).

Karel Piska's type 1 fonts in the Indic1 package include these Devanagari 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]  ⦿

Fred Smeijers
[OurType]

[MyFonts] [More]  ⦿

Freed Schmitter

Dutch calligrapher and designer in Amsterdam, who created the Letraset font Aura Script (1982-1994) and Aura Sanscript (1973-2008). He studied at Grafische Fachschule Aarau. From 1968 until 1973, he was type compositor apprentice and graphic designer at Ringier & Co AG, Zofingen (Switzerland). Freed writes: Although the typeface Aura Script was digitized by URW in Ikarus as one of the first, it was never published besides their catalogues during 1982 to 1992. Several illustrations by Mark Kelly use Aura Script.

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

Friso M. Roest
[Sonic Savior]

[MyFonts] [More]  ⦿

Frisse Types
[Thomas Klaui]

Thomas Klaui (Frisse Types, The Netherlands) obtained a Masters in type design at KABK. His type designs include the fat packaging typeface Highlight (2007-2009, graduation project at KABK), Faber Line (2007), and the funny Bokkepootjes (2010, done with Lien). Thomas lives in Den Haag. Typecache link. [Google] [More]  ⦿

Frits 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]  ⦿

Geen Bitter
[Thom Janssen]

Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen, Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach.

In 2013, they published Gewone letters Gerrit's early models. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. It was published in 2013 by Uitgeverij De Buitenkant, Amsterdam.

Their commercial typefaces:

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

Geert Dijkers

Dutch designer of the bold script brush typefaces Origo (2014, Joebob Graphics) and Manus (2014, Joebob Graphics). [Google] [MyFonts] [More]  ⦿

Geiger Artwork
[Jürgen Geiger]

Shareware fonts by Jürgen Geiger in Sint Odilienberg, The Netherlands: GeigerBloc (2002), GeigerFree, GeigerInfo, GeigerSerif, the handwriting family GeigerScript, the script font family Script3 (2000), and the ZapfDingbats-like GeigerDingbats.

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

George Everall

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

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 Salomons
[Fontfeest]

[More]  ⦿

Gerard Unger

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

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

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

Gerard Voshaar
[Typolog]

[More]  ⦿

Gerben Dollen
[Type Mafia (was: DolWork)]

[MyFonts] [More]  ⦿

Gerben Dollen
[DolWork]

[MyFonts] [More]  ⦿

Gerben Hoeve

Designer in 2008 at FontStruct of Space Lab (squarish face), Autobus Sign (dot matrix), and Simple Matters (blocky bullet hole face).

In 2010, he did the blocky slabby Klonk and Klonk Narrow, Stop Police (dot matrix face).

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

Gerd Arntz

Between 1928 and 1965, Gerd Arntz (1900-1988) designed around 4000 signs and symbols depicting industry, demographics, politics and economy, for the visual language Isotype. Many of these can be viewed on this web site. Some quotes from that site:

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

Gerrit Noordzij

Gerrit Noordzij (b. 1931, Rotterdam) is a Dutch graphic designer, typeface designer, author, teacher, calligrapher, and design artist who made drawings, wood and copper engravings, and postage stamps. From 1960 until 1990 he taught writing and type design at the Royal Academy of Art in The Hague. One of his many students there was Lucas de Groot. Noordzij has worked as graphic designer for various Dutch publishers. Since 1978 he has been the house designer for the publishing company Van Oorschot. His intellectual influence is matched by his physical heritage, in the form of two talented sons in the field of type design, Christoph and Peter Matthias. The Gerrit Noordzij Prize, a prize given to typographers and type designers for extraordinary contributions to the field, is named after him. He was also the first person to receive this prize in 1996. In 2013, Gerrit Noordzij reveived the TDC Medal at the ATypI in Amsterdam.

The influence he had on Dutch type design is based on a theoretical system he called The stroke of the pen, and his position as the main teacher of type design in the country for three decades. Books on his system include The stroke of the pen: fundamental aspects of western writing (1982), and De Streek: Theorie van het schrift (1985) (translated by Peter Enneson in 2005 at Hyphen Press in London: The Stroke: Theory of Writing). His point in his oeuvre is that letterforms are rooted in handwriting.

Other publications: Letterletter (Vancouver, Hartley&Marks Publishers, 2000), De Staart van de Kat (1988,GHM, Leersum), De Handen van de Zeven Zusters (with Willem Dijkhuis: Van Oorschot, Amsterdam, 2001), Das Kind und die Schrift (Typographische Gesellschaft, München, 1985).

His typefaces:

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

In 2013, Geen Bitter (Thom Janssen, Jorn Henkes and Rogier van der Sluis) copublished Gewone letters Gerrit's early models at Uitgeverij De Buitenkant, Amsterdam. The text has contributions by Albert-Jan Pool, Frank E. Blokland, Aad van Dommelen, Huug Schipper, and Petr van Blokland. The blurb: A couple of years back, while cleaning the letterpress workshop at the KABK in The Hague, we had an amazing find. A package that hasn't been opened for some time. We opened it and found eighteen printing plates in mint condition. The printing plates, we soon found out, were made by Gerrit Noordzij and date back to the late 1960s. They contain a brief lesson about writing with the broad nib and, once familiar with this basis, writing and drawing some different techniques. Since it seemed the plates are never published before, we decided to do so and made a book containing prints from the plates. Next to the plates we asked former students if they still had old work and sketches with comments by Gerrit Noordzij. The result is a collection of sketches and material, together with five writings about the plates, Gerrit Noordzij and his contribution to the field of type and typography.

Scan of a 1974 postage stamp by Noordzij. Klingspor link. Letterror link. Flickr group with Noordzij photographs. Interview by Robin Kinross, 2001. The Enschedé Font Foundry link. Video from 2014 by TYPO Berlin. [Google] [MyFonts] [More]  ⦿

Gerrit Willem Ovink

Dutch typographer and type teacher (b. Amsterdam, 1912, d. 1984), professor at the University of Amsterdam (1956-1982), winner of the Gutenberg prize in 1983. From 1945 until 1977, he was esthetic advisor at Lettergieterij Amsterdam (voorheen Tetterode). It is thanks to Ovink that the Tetterode Collection was accepted in the Bijzondere Collecties van de University of Amsterdam. He wrote an unbelievably detailed book in which he compares various typefaces in statistical tests to determine various aspects of legibility and impact: Legibility, Atmosphere-Value and Forms of Printing Types (A.W. Sijthoff's Uitgervsmij N.V., Leiden, 1938). The bibliography in this text is pretty complete up to 1938. It was his graduation thesis at the University of Utrecht. Also recommended is a 40-page short historical review of the modern printing type, which comes with a fresh look on things.

Quote by him: Bodoni would be an admirable letter for a death notice! Obituary. His typefaces include Lectura (1969, with Dick Dooijes) and Mercator (1959, Amsterdam Type Foundry, a typeface designed with Dick Dooijes and known as the "Dutch Helvetica").

Reference: The picture by Ovink below courtesy of Henk Gianotten. [Google] [MyFonts] [More]  ⦿

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

[More]  ⦿

Gerwin Jansen

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

Dafont link. [Google] [More]  ⦿

Ghislaine

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

In 2012, she made So Thin (2012), A Vida Nova (2012, grunge), Nobody's Perfect (2012, brush face), and Garden (3d outline face).

Devian tart link. [Google] [More]  ⦿

Giel Cobben

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

Gijs & Joris

Gijs Sluijters and Joris Tol are Gijs & Joris, a creative team at DDB / Tribal DDB Amsterdam. They teamed up at the Willem de Kooning Arts Academy in Rotterdam while studying advertising.

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

Gijs Hoeijmakers

Gijs's first typeface, as a student at the Academy of Fine Arts and Design in Maastricht, The Netherlands (class of 2014), was Alleycat (2013), a typeface influenced by and dedicated to bike messengers. Twisted and Strangled Type (2013) starts from Avenir and makes it into a twisted Escher-like typeface.

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

Gijs van Roij

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

Gilde der Letterontwerpers

I hesitated for a long time with this link, but I will go out on a limb anyway. This is an obvious joke that originated from the Letterror people. It is about a non-existing tongue-in-cheek elitist Guild of Dutch typographers. I can't understand how come Microsoft, MyFonts, Fontzone and other type news services could have fallen in the trap. Maybe they should contact René Chalet. [Google] [More]  ⦿

Gilles de Brock

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

Giselle Segura Gelink

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

Giso Spijkerman

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

Glitch: freeware fonts
[Koen Hachmang]

New original minimalist fonts by Koen Hachmang from Udenhout, The Netherlands: Arcade-Classic, Autriche-ALT, Baubau, Bitstorm-SQUARE, Bitstorm, Copycat, Cyclops, Delinquent-Black, Delinquent-Caps-Skewd, Delinquent-Caps, Delinquent-Extract, Delinquent-Regular, Doppler-A, Phino-Tight, Phino-(Variation), Phino, Sendai-Smallprint, Shift, Sonic-Empire-Italic, Sonic-Empire, Sonic-Empire, Strike-Swiss, Token, Trebble, Zygoth, Base-4, Base-5, Base6, Big-Loada-Splatter, Big-Loada, Blutter-Slim, Blutter, Deko, Kinkimono, Morohashi, New-Detroit, SirQuitry. Very original presentation!

Dafont link. [Google] [More]  ⦿

GraphicMix
[Marc Lubbers]

GraphicMix is the nice web presence of Marc Lubbers (b. 1968), the Dutch designer of the infinitesimally serifed typeface LuMarc LL (1994), and of Impacta LL (1994). Free fonts: Inter, Zxcvbn, Goofy, Concept, Construct, Graphix Mix Seven, Donald, Havendam. I have no idea how to download these, even though the page says "downloadable" (maybe it is a euphemism for "purchasable"). At MyFonts, one can buy LuMarc and Impacta.

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

Guido de Boer
[Vormplatform]

[More]  ⦿

Guillaume Vallaeys

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

Gustavo Ferreira

Brazilian designer (b. 1977, Rio de Janeiro) who works in Amsterdam, The Netherlands. In 2009, he founded Hipertipo, a small design studio in Amsterdam. Gustavo Ferreira has a Bachelors degree in Graphic and Product Design from ESDI, in Brazil (2003), and a Masters degree in Ctype design from KABK Den Haag. His typefaces:

  • The grunge handwriting font Gentileza (2002), taken straight from Rio's streets.
  • The sans-serif typeface Eva (2002).
  • In 2004, he joined Ultra Pixel Fonts, where he made the pixel 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 Roman, Modular Serif (Micro, Text, Large), Untitled Italic, Gothica (a geometric blackletter).
[Google] [More]  ⦿

GWER
[Rutger Paulisse]

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

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

Typecache link. [Google] [More]  ⦿

Hanneke Classen
[Fontforecast]

[MyFonts] [More]  ⦿

Hannes Famira
[Studio Hannes Famira]

[MyFonts] [More]  ⦿

Hannes Famira
[Kombinat Typefounders]

[MyFonts] [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 hand-printed faces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Klingspor link.

In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:

  • 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), Americain (2012, constructivist), Amoebica (2014), Andorra Script (2014), Antisocial Behavior (2010), Artful Dodger (2012, a grungy Clarendon), AshesToAshes (2010), Ashtanga (2013, curly caps), Au Revoir (2012).
  • B: BadPaintjob (2010), Balagan (2010), Bandolina (2014), Baznat (2010), BehindDirtyBlinds (2010), DK Bergelmir (2014), Black Bamboo (2014), Black Mark (2012, a heavy brush face), Bloemgracht (2014, Dutch deco), Bottle Shop Faded (2010), Brooklyner (2013: an art deco caps typeface based on the typeface used for The Brooklynite, a magazine from the 1920's), Bullet in your Head (2010). Business As Usual (2011, scratchy), Butterfly Ball (2014).
  • C: Canned Whale (2012, outlined and hand-printed), Carambola (art deco sans), Carbonara (2011, grungy typewriter), Carte Blanche (2012, a gorgeous arched / sketched caps face), Castanea (2012, a painter's font), Celluloid Bliss (2010), Charons Obol (2011, scary brush face), Cheat Sheet (2013, handwritten), Chunky Chicken (2013), DK Clair de Lune (2012, an exquisite curly poster font), Codswallop (2011, fat hand-printed), DK Coliseu (2014, art deco), DK Cool Crayon, Corner Shop Chique (2010), Couldnt be bothered (2010), Courant (2011, grungy blackletter), Crayon Crumble (2011, chalk face), DK Crayonista (2012), Criss Cross (2011), Cubissimo (2013, a cubist geometric font inspired by a 1929 poster advertising a museum exhibition), Cul de Sac (2010, 3d outline face, hand-printed and sketched).
  • D: Deco Pimp (2011), Die Bruecke (2013, a woodblock printing emulation typeface named after the Die Brücke movement), DK Allez Hop (2011). Don Quixote (2011. nice grunge calligraphic hand), Douceur (2014, a blackboard bold / tattoo script), Downward Fall (2014, a rough brush), Drawing Blood (2010), Dreadnought (2014, brush face).
  • E: Early Morning Coffee (2012), Ersatz Quality (2010).
  • F: Face Your Fears (2011), FairNSquare (2010), Fallout Font (2010), Fantastique (2012, a 3d hand-printed caps face), Fat Little Piggy (2010), Father Frost (2012), Fiebiger Eins (2013, an art nouveau / arts & crafts typeface after a 1908 poster by Franz Fiebiger), Fiebiger Zwei (2013), Fledermaus (2012: Fledermaus ("bat") was a cabaret theater from Vienna. The original Jugendstil decor was designed by Josef Hoffman and several posters, advertising performances, were designed by other members of the Vienna Workshop. The Fledermaus font was based on a 1907 poster by Bertold Löffler.; the missing glyphs were created by Kerkhoff), DK Formosa (2012).
  • G: Galangal (a phenomenal poster typeface that plays on thick and thin, in the style of Horst Caps), Gerards Gold (2010, script face), GerardsGold (2010). Ghost Reverie (2010, a scratchy family), Grafiker (2013, a brush typeface loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), 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), Heckel (2013, a German expressionist hand-drawn typeface based on the handwriting of Erich Heckel (1883-1970), a founding member of Die Brücke, a group of German expressionist), Hedgehog Hans (2012, comic book typeface), Hex (2012), Hieratic Numerals (2010), High Tea (2012), DK Himmelblau (2012, art nouveau font based on a poster from 1902 made by the Künstlerbund Hagen), Hobgoblin (2014), Hofstad (2014, after an art deco typeface used by poster designer John Lavies), Hokitika (2014, art deco), Huggin and Muninn (2012, script face), Hummus Chips Salat (2010).
  • I: Inky Fingers (2013, a fat finger font), Interstellar Erosion (2010), Ishtar (2012: spooky brush font).
  • J: Jambo (2014, bouncy and funky), Joe Schmoe (2011, hand-printed), Jubileum (2013), Just Before Liposuction (2010).
  • K: Kaikoura (2014, art deco), Kempoka (2014, brush script), Kerberos Fang (2011), Keswick (2013, a lipstick font created using a 6B pencil), Fat Kitty Kat (2013), DK Koerier (2014, a 3d outlined typeface), Kokomo (2012, 3d and outlined), Kolkata Hotelroom (2010), Komsomol (2014: was modeled on several Soviet propaganda posters and anmed after the youth division of the Communist Party of the Soviet Union, the Komsomol, or Kommunisticheskii Soyuz Molodyozhi), Koshatnik (2011, all caps brush face), Kubikajiri (2011, an India ink brush face), DK Kundalini (2013, curly), Kunstschau (2012: a beautiful poster font that was modeled on a stamp, designed by Austrian artist Bertold Löffler, for the Kunstschau 1908 exhibition in Vienna), Kurkuma (2013, a wonderful poster caps face), Kusukusu (2011, hand-printed), Kwark (2013: a 3d poster font).
  • L: Lampion (2012, a condensed unicase hand-drawn face), Leakage (2010, ink splash face), DK Limoen (2012, shadow outline face), Lokomotiv (2012, an art deco caps typeface based on poster for the 1930 Geneva Motor Show), DK Louise (2012, art deco, cubist: based on the art of Louise Marie (lou) Loeber, a Dutch painter).
  • M: Maduki (2013), Majolica (2014, art deco), DK Mama Bear (2012), Mandolin (2014), Mary Ate a Little Lamb (2010), Mayonaise (2011), Meshuggeneh (2013---crazy fool on Yiddish; a twisted 3d typeface), 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), Mosca (2013), Mothman (2011, a spooky scratchy face).
  • N: Nakata (2012, a great notebook style script), Nanuk (2013, an outlined 3d typeface), 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: Obrigado (2012, rounded art deco face), Oei (2010), Oomph (2010), Okiku (2014, a scratchy poster typeface), Oranjerie (2013, poster typeface), Otago (2014: a classic all caps art deco typeface), DK Oyuki's Ghost (2013, scratchy scary typeface made with a steel pen and Chinese Ink---the name comes from a painting by Maruyama Okyo (1733-1795), which depicts his mistress who died young. Maruyama Okyo claimed she haunted him in his sleep).
  • P: Pandanus (2014), Pardesi (2013, a fat marker pen font), Paviljoen (2014: Dutch art deco), Pawn Shop Pretty (2010), Petit Oiseau (2013), Pimpernel (2012), Pinda (2011), P.I. (2011, grungy typewriter), Pingo (2012, display face), Pinkus (2013, a caps-only poster font), Pisang (2013, an all caps poster font), Plakkaat (2011), Porcupine Pickle (2011), ProjectX (2010), ProjectY (2010), ProjectZ (2010), Promedanenmischung (2010), Psycho Killer (2013), Pumpkin Soup (2013: a poster typeface), Pundak (2014, all caps 3d outlined typeface), DK Pusekatt (2013).
  • Q: DK Qilin (2014: a great inky font), Quatrain (a hand-drawn didone), 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), Retch (2013, frightening scratchy script), Rotorua (2014, art deco), Rum Doodle (2013), 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), DK Samhain (2012, brush face), Sammy Boy (2011, fat poster face), Satsuma (2013, a poster face), Saturday Sunday Monday (2010), Scurvy Dog (2011, scratchy hand), Secret Diary (2013: hand-printed), Sheepman (2012), Shesek (2011, a fat finger face), Single Malta (2010), Sirius B (2013, poster font), Sketchy Smiley (2010, smilies), Sketchy Smiley II (2012), Skratch (2010, broken glass face), Sleepy Time (2013, hand-printed), Sleight of Hand (2010), Slipstream Sweetheart (2010), Snemand (2013, a poster titling typeface), Sobriquet (2012: a wonderful antique poster face), Souplesse (2013), Spiderlegs (2011. Images: i, ii), SquareOne (2010), SquareOneGrunge (2010), Squint (2013, squarish), Statendam (2014, caps only Dutch art deco influenced by interbellum ads for the Holland America Line), Suco de Laranja (2012), 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), Technojunk (2014, 3d squarish hand-drawn typeface), Thievery (2012, curly script), This Little Piggy (2010), Tobu (2014), Trashtype (2011, grungy), Tripping on Acid (2010), Trollslayer (2011, brush face), Twelve Weeks Pregnant (2010), Tzeva Tari (2010, grunge Hebrew).
  • U: Ugh (2010), Umbilical Noose (2014, a rough brush).
  • V: Ventana (2013, created using Chinese ink and a bamboo pen), Vermilion (2013, hand-printed poster face), DK Viareggio (2012, an art deco font Viareggio is based on the handlettering found on a 1931 poster, advertising the carnival of Viareggio), Vienna Workshop (2012, an art nouveau typeface based on some of the artwork produced by Vienna Workshop artists, in particular that of Koloman Moser), Visum (2014), Vox Populi (2012, medieval).
  • W: Warpspeed (2010), Wayang (2013, influenced by Indonesian puppets), Weekend Warrior (2010), Welt Schmerz (2012, a post-art nouveau typeface based on a 1910 poster from Austria), WetDream (2010), Whatnot (2013), Whynot (2014), WindshieldMassacre, With A Twist (2011).
  • Y: Yellow Balloon (2013, a fat poster face), Yuli (2014).
  • Z: Zeebonk (2013, a tattoo font), Zonnig (2011).
[Google] [MyFonts] [More]  ⦿

Hans Bodlaender
[True Type chess fonts]

[More]  ⦿

Hans De Bisschop
[Scaramanga Productions]

[More]  ⦿

Hans Hagen

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

Hans Hagen
[PRAGMA ADE]

[More]  ⦿

Hans Lijklema

Graphic design graduate of the Academy of Fine Arts Minerva, Groningen, The Netherlands. With Karolina Lijklema, he runs the studio Lijklema Design in Warsaw, Poland. Author of Free Font Index (2008, The Pepin Press, Amsterdam). It contains comprehensive letterproofs of more than 500 fonts from 35 type foundries in 17 countries and interviews with 6 font designers. All fonts contained in the book are included on the accompanying CD and are licensed for personal and commercial use. The following have contributed fonts to this CD: Astigmatic One Eye Typographic Institute, Brain Eaters Font Co, Brode Vosloo, Bumbayo Font Fabrik, Dieter Steffmann, Fenotype, Flat-it type foundry, Fonthead Design Inc., GUST e-foundry, Grixel, Igino Marini, Janusz Marian Nowacki, La Tipomatika, Larabie Fonts, Manfred Klein Fonteria, MartinPlus, Misprinted Type, Nick's Fonts, Objets Dart, Reading Type, Rob Meek, SMeltery, Shamfonts, Sonntag Fonts, Typedifferent, Typodermic Fonts, VTKS DESIGN, Vic Fieger, WC Fonts, Yanone, boodas.de, defaulterror, eightface, exljbris, pizzadude.dk. As far as I can tell, all these fonts can be downloaded for free from the usual web archives. [Google] [More]  ⦿

Hans van Maanen

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

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

Hans van Sinderen

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

Han-Wen Nienhuys
[mftrace]

[More]  ⦿

Harm-Jan van der Mark

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

Harold W. de Wijn
[Euro-CE]

[More]  ⦿

Hein Mevissen

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

Helena Carazo

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

Helga Keulen

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

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). This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence. The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.
  • Vine Leaf Ornaments in Renaissance Typography: a survey (2012, New Castle, Delaware : Oak Knoll Press and HES & DE GRAAF Publishers). The blurb: This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today. The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin.
[Google] [More]  ⦿

Hendrik Nicolaas Werkman

Hendrik Nicolaas Werkman, who is usually referred to as H.N. Werkman, was born in 1882 in Leens, The Netherlands. He died in 1945 in bakkeveen, The Netherlands. He was a well-known Dutch artist, typographer and printer. In 1908, he founded a printing and publishing house in Groningen. It closed in 1923, but Werkman started anew with a small workshop in the attic of a warehouse. Werkman was a member of the artists' group De Ploeg, for which he printed posters, invitations and catalogues. From 1923 to 1926, he produced his own English-named avant-garde magazine The Next Call, which, like other works of the period, included collage-like experimentation with typefaces, printing blocks and other printers' materials. He also used stenciling and stamping to achieve unique effects.

Regarding his death, I cite Wikipedia: In May 1940, soon after the German invasion of the Netherlands, Werkman, together with his friend August Henkels and others, began publishing a series of Hassidic stories from the legend of the Baal Shem Tov through their clandestine publishing house De Blauwe Schuit ("The Blue Barge"). Running to forty publications, all designed and illustrated by Werkman, the series was a subtly rebellious commentary on the Nazi occupation and a call for spiritual resistance. On 13 March 1945, the Gestapo arrested Werkman, executing him by firing squad along with nine other prisoners near the village of Bakkeveen on 10 April, three days before Groningen was liberated. Many of his paintings and prints, which the Gestapo had confiscated, were lost in the fire that broke out during the battle between German and Canadian forces over the city.

Several typefaces were made that were inspired by Werkman. There are also entire web site and exhibitions dedicated to Werkman---see, e.g., the site of Bunker Type (Jesus Morentin) in Barcelona. A partial list of revival typefaces:

Groninger Museum link. [Google] [More]  ⦿

Hendrik van den Keere

Born in Gent (now Belgium) around 1540, and aka Henry du Tour, he died in 1580. He delivered letters to Plantin (and exclusively so between 1570 and 1580). Enschedé's specimen book lists his 1575 Civilité as Civilité No. 14.

His lettering was revived in 1994 by the Dutch Type Library as DTL VandenKeere. Myfonts.com writes that Van den Keere's 2-line Double Pica Roman (Gros Canon), cut around 1570 and shown in Plantin's c.1585 folio specimen, is the basis for Fred Smeijers' recent face, Renard.

In Sixteenth-century Printing Types of the Low Countries (H.D.L. Vervliet, Amsterdam, 1968), van den Keere is called the best punchcutter of the Low Countries in the sixteenth century, being the link between the French, who dominated the 16th century, and the Dutch who led in the 17th century. In 1575, he made a Civilité, the "Van den Keere Civilité" (see here for more on that story). Matthew Carter's DTL Flamande (2004, Dutch Type Library) is based on a Textura by Hendrik van den Keere. [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 Elenga

Dutch artist, designer and photographer (b. Rotterdam, 1947). One of the founders of the studio Hard Werken. He designed the typeface Crank8 Plus/Minus. This typeface family was extended with the help of Greg Lindy in 2005, and appeared in Esquire Magazine. It can be bought from Thirstype. [Google] [More]  ⦿

Henk Gianotten

Dutch type connoisseur after whom Antonio Pace's Linotype Gianotten (1990) is named. 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 Haasdijk

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

Henk Krijger

Dutch illustrator, b. 1914, Sumba, Indonesia, d. 1979. Designer at Lettergieterij Amsterdam of the slightly scribbly pen-drawn Raffia Initialen (1952). At ATypI 2003 in Vancouver, Peter Enneson highlighted Krijger and his Raffia Initials.

Digital revivals:

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

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

Henk van Leyden

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

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

Sixteenth Century Printing Types of the Low Countries (H.D.L. Vervliet, 1968) mentions that he was from Rotterdam, and cut letters. Occasionally, he printed as well, in Antwerp from 1496-ca. 1500, in Rotterdam from 1504 until 1509, and in Delft from 1508 until some time after 1511. It is estimated that he cut a third to half of all the type used in the Low Countries at that time. These typefaces, including the Textura, remained popular there from 1492 until about 1550-1560, when they were superseded by the blackletter type of Ameet Tavernier and Hendrik van den Keere. His son was Cornelis Henricszoon Lettersnijder, who also cut type, starting out in Delft.

Digitizations: Oude Hollandse (2012, Alter Littera; after Henric Pieterszoon "Lettersnijder"'s 1492 typeface), Initials Gothic C (2012, Alter Littera, based on a 1508 type by Pieterszoon), English textura. [Google] [More]  ⦿

Henry van der Wal

Dutch designer of the modular titling typeface Red Storm (2014). [Google] [More]  ⦿

Hinting tutorial

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

Hobo Art
[Emile Michel Hobo]

Screenwriting and script company in Enschede, The Netherlands, run by Emile Michel Hobo (b. Den Haag, 1980). Via MyFonts, one can purchase his fonts: Lectori Salutem (+Sans, 2009). [Google] [MyFonts] [More]  ⦿

Holger Königsdörfer

Typographer and type designer living in the countryside of the Altmühl Valley. Graduate of the Type and Media program at KABK, 2009. Originally from Augsburg, Germany, he had previously studied at the University of Applied Sciences in Augsburg (Germany) and the Istituto Superiore per le Industrie Artistiche in Urbino (Italy). His graduation project at the University of Applied Sciences in Augsburg was the winged slab serif typeface Vela (2010, Lazydogs Type Foundry).

He created Acon (2009, graduation project at KABK, a book type) and Camion (2008, slab serif). He is also working on a revival of van Krimpen's Romanée. About Acon, he writes: Most contemporary books use typefaces based on the contrast of the broad nib pen, while typefaces based on the contrast of the pointed nib have been relegated to use in fashion, lifestyle magazines and cosmetic packaging. My aim is to design a typeface based on the pointed pen that is suitable for book typography. Well, Acon was awarded with the TTDC (Tokyo Type Directors Club) Type Design Prize 2010.

Klingspor link. [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 typeface 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 until 1967. [Google] [More]  ⦿

Huda Smitshuijzen AbiFarès

Huda Smitshuijzen AbiFarès, was born in Beirut in 1965. Author of Arabic Typography A Comprehensive Sourcebook (Saqi Books, London, 2001), Experimental Arabic Type (Saatchi&Saatchi, Dubai, 2002), Typographic Matchmaking (BIS Publishers, Amsterdam 2007), Arabic Type Specimen Book (2008) and a number of articles on multilingual communication in the Middle East such as Arabic Type: a challenge for the 2nd millennium (1998). She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She has worked as a designer for a number of years, in the USA, Amsterdam, France and Beirut. She has taught typography and graphic design at the American University of Beirut. She was the Chair of the Visual Communication Department for three years at the American University in Dubai and founded the Khatt Foundation, Center for Arabic Typography in Amsterdam. She curates exhibitions, organizes collaborative design research projects between Europe and the Middle East, and is editor of the Khatt Foundation online network of Arab/Middle Eastern designers (www.khtt.net). She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant on projects of cultural relevance. She has art directed and collaborated on the design of several contemporary Arabic fonts for magazines like Aleph (London) and companies in the Gulf. Typefaces include Alef Caps (2008), done with Pascal Zoghbi. KHTT link. [Google] [More]  ⦿

Huda Smitshuijzen AbiFarès
[Typographic Matchmaking]

[More]  ⦿

Hugo Cavalheiro d'Alte

Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.

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

His typefaces:

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

Hungarumlaut
[Adam Katyi]

Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and with MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag.

Hungarumlaut is a Hungarian typefoundry run by Adam Katyi. In 2010, he designed a pixel face, and a typeface called Ringua.

Adam's typefaces from 2012: Ursin (techno, octagonal), Ursin Rounded.

His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.

In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.

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

Huub Koch

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

Hybrid Space
[Kees Gajentaan]

Kees Gajentaan designed the freeware fonts Kiloton, ill oMen, Xenotron, Xenotron Broadstroke (trekky font), Xenotron RadioEdit, EctoBlaster, iLL oCtoBer (+ill October 98, dingbats for Halloween), the handwritten Coldbringer, Megalomaniax KG, Moonpebble KG, Y2k Subterran Express KG, AntiMatter KG (1999) and Bored Robots.

Dafont link. [Google] [More]  ⦿

Ilja Pfeijffer
[CL Fonts]

[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).

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

Ingeborg Vriends

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

Dafont link. [Google] [More]  ⦿

Inka Strotmann

From her page: Inka Strotmann (née Menne, 1972) grew up in East Frisia and was trained as typesetter after secondary school. When she studied communication designin Potsdam she specialized in type design and typography. Inka worked for Luc(as) de Groot at his FontFabrik before she came to FSI FontShopInternational where she is Chief Font Technician. Inka was a member of the Forum Typografie Potsdam. Her Font Linotype Grassy is a winner font of Linotype's 3rd International Digital Type Design Contest. She also designed the typeface ForumTypen and as a freelancer she offeres type services under the label Fontameise, doing for example CE, Turkish and Baltic versions of FF Scala, FF Seria, FF Nexus and FF Dax. Designer of the CE versions of FF Dax Compact Offc Pro, FF Dax Offc Pro, FF Dax Web Pro, FF Dax Web Pro Condensed, and FF Dax Web Pro Wide. [Google] [More]  ⦿

Innit Design

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

Behance link. [Google] [More]  ⦿

Interant Media

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

Irina Kopytina

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

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

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

Irma Boom

Irma Boom is a Dutch graphic designer who specializes in book making. Boom worked at the Dutch Government Publishing and Printing Office in Den Haag for five years before she founded her Amsterdam studio in 1991, Irma Boom Office. Boom works in the cultural and commercial sectors. Her clients include the Rijksmuseum Amsterdam, Paul Fentener van Vlissingen, Inside Outside, Museum Boijmans, Zumtobel, Ferrari, Vitra International, NAi Publishers, and Camper.

Speaker at ATypI 2013 in Amsterdam [abstract verbatim from the ATypI site]: The new Rijksmuseum identity and typeface family. The Rijksmuseum in Amsterdam is the national museum for Dutch art and history, and is home to many masterpieces including works by Rembrandt, Johannes Vermeer, and Frans Hals. Earlier this year [2013], after a lengthy and spectacular renovation, the museum re-opened to critical acclaim. Along with the renovation the Rijksmuseum got a new identity as well, designed by Irma Boom Office. Deciding for a predominantly typographical solution, Irma Boom invited Bold Monday [Paul van der Laan] to design a series of typefaces. [Google] [More]  ⦿

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]  ⦿

J. Hepkema

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

Jaap Nauta

Jaap Nauta (Bureau Nauta) is a Dutch designer, b. 1967. He created the hand-printed typeface Jaap (2012), and the stitching typeface Embroid (2012). In 2014, he designed the counterless typeface Kroeskop, which is attributed to Yvonne Kroese.

Dafont link. [Google] [More]  ⦿

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 Devreugd

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

Jack van der Vaart

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

Jacobus van de Velde

Bookseller in Amsterdam at the time of his marriage in 1682 and of his death in 1709. An undated type specimen bearing his name in the Enschedé collection is thought to have been produced around 1699 [according to Harry Carter]. In Typefoundries in the Netherlands, we find this image (of No. 28 type), and this text about it: The matrices owned by Alberts&Uytwerf also passed eventually to the Brothers Ploos van Amstel. Among the types we acquired from them we still have one of the types offered for sale by Van de Velde. It is our English-bodied Roman No.28. In our collection there is also one of the types shown in the earliest specimen of Alberts&Uytwerf, the [Large] Two-line Small Pica Roman No.29... Typophile discussion. [Google] [More]  ⦿

Jacobus Wilhelmus Gidding

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

Jacques Borel
[Rollergirl]

[More]  ⦿

Jacques Coolen

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

Jacques Le Bailly
[Baron von Fonthausen]

[More]  ⦿

Jaimy van den Hoof

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

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

Jaimy Van Venrooy

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

James Dolence

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

Behance link. [Google] [More]  ⦿

James Goggin

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) and the display typeface Schok (2013).

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

Jan Bunk
[Bureau Bunk]

[MyFonts] [More]  ⦿

Jan Dietvorst

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

Jan Duiker

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

Jan Hendrik Scholte

Dutch author, b. 1874, who edited Die Hochdeutschen Schriften aus dem 15ten bis zum 19ten Jahrhundert der Schriftgiesserei und Druckerei (1919, Enschedé en Zonen, Haarlem), a publication which has four articles:

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

Jan Middendorp

Jan Middendorp, born in the Netherlands, works in Berlin as an independent writer, translator and consultant. He teaches at Weissensee Art College in Berlin and the Plantin Institute of Typography in Antwerp. During the past fifteen years Jan has edited, written and co-written a number of well-known books on graphic design and typography, including Dutch Type (2004), Shaping Text (2012), Type Navigator (2011, with TwoPoints. Net), Creative Characters (2010) and Made with FontFont (2006, with Erik Spiekermann). He has an ongoing collaboration with the Bibliothèque typographique of Ypsilon Editeur in Paris. [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 Pieter Kunst
[Avesta Fonts]

[More]  ⦿

Jan Roman

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

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

[MyFonts] [More]  ⦿

Jan Tholenaar

Dutchman born in 1928 who possesses one of the world's most impressive specimen collections. He founded the Grote Letter Bibliotheek (publishing house) for partially blind people in 1969. For this, he specially created a sans face, GLB-16 (designed for 16 point), with large x-height and wide character spacings. A sample of GLB is in Jan Middendorp's "Dutch Type", page 303. Grote Letter Bibliotheek is now run by his son. [Google] [More]  ⦿

Jan Toorop

Jan Toorop was a Dutch-Indonesian painter and illustrator, b. Purworejo, Java, Dutch East Indies, 1858, the son of a Dutch-Indonesian father and a British mother. In 1869, he left Indonesia for the Netherlands, where he studied in Delft and Amsterdam and at the Rijksakademie in Amsterdam. From 1882 until 1886 he lived in Brusselss, where he joined Les XX (Les Vingts), a group of artists grouped around James Ensor. He developed his own unique Symbolist style, with dynamic, unpredictable lines based on Javanese motifs, highly stylized willowy figures, and curvilinear designs, and is considered as one of artists that represent the art nouveau and Viennese Secession movements. In 1905 he converted to Catholicism and began producing religious works. He also created book illustrations, posters, and stained glass designs. Toorop died in 1928 in Den Haag, The Netherlands. [Google] [More]  ⦿

Jan van den Velde

Dutch (Belgian?) author (b. 1568, Amsterdam, d. 1623, Rotterdam) of the writing manual Spieghel der Schriftkonste in den welcken ghesien worden veelder- hande Gheschriften met hare Fondementen ende onderrichtinghe. Ut ghegeven door Jan van den Velde Fransoysch-School M. binnen Rotterdam (1605, Haarlen). He wrote a second penmanship book, Exemplaer-Boec Inhoudende alderhande Geschriften zeer bequaem ende dienstelijck voor de Joncheydt onde' alien Liefhebbers der Pennen (1607, Haarlem).

Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. [Large image at the University of Amsterdam Special Collections].

His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011). [Google] [MyFonts] [More]  ⦿

Jan van Dijk

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

FontShop link.

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

Jan van Krimpen

Major Dutch typographer and type designer, b. Gouda, 1892, d. Haarlem, 1958. He studied at the Koninklijke Academie van Beeldende Kunsten in Den Haag (1908-1912) and joined Enschedé in 1925. He had a 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). Frank E. Blokland published it at Monotype in 1998. This is a prototype example of a design that is totally destroyed by one glyph, the lower case g in the italics.
  • Lutetia (Enschedé, 1924). This was revived as Lutetia Nova Book in 2014 by Ralph M. Unger, and as Lutetia Open by ARTypes in 2007. For her type revival project at KABK, Barbara Bigosinska picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia refers to the Roman name of Paris. Essay by Doyald Young on Van Krimpen and his Lutetia.
  • Open Roman Capitals (or: Open Kapitalen, revived in 2006 by Ari Rafaeli; see also Open Capitals by ARTypes, 2007).
  • Romanée (Enschedé).
  • Romulus (Enschedé, 1931 for the Capitals and 1936 for the Open version; Romulus Kapitalen and Romulus Open were revived in 2006 by Ari Rafaeli; see also Romulus Capitals and Romulus Open in 2007 by ARTypes). Now digitized as DTL Romulus (2002).
  • Curwen Initials, done in 1925 for The Curwen Press at Plaistow, London. Digitized by ARTypes as Curwen Initials (2008, Ari Rafaeli).
  • Spectrum (Monotype, 1952--a very beautiful modern type family, legible, and flexible in all situations; part of the Linotype library). MyFonts writes: Spectrum is based on a design by Jan van Krimpen, who worked on his typeface from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the typeface was so beautifully formed and universal that the Monotype Corporation in London completed it.
  • Van Dijck.
Bitstream page. Van Krimpen had a difficult character. Lines&Splines wrote this: Alastair Johnston, from an issue of Ampersand, once posed the question, "Do you have to be an asshole to be a good type designer?" Gerard Unger replied to the effect that even to this day, people will look over their shoulders before discussing Van Krimpen. One can almost imagine Van Krimpen waving one of his sharp serifs over his head like a stick, flailing against the difficulties of his everyday relations, his nostrils flared as they were in every portrait taken of him. MyFonts page. CV at Linotype. FontShop link. Some of his work and correspondence can be found at the University of Amsterdam.

Klingspor link.

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

[Google] [MyFonts] [More]  ⦿

Jan Willem Paasse

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

Jan Willem Wennekes
[Zeptonn]

[MyFonts] [More]  ⦿

Janne van Hooff

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

Janno Hahn

Dutch designer and type designer. He created the custom uncial typeface Bonifatius in 2007 for the municipality of Dokkum, The Netherlands. He collaborates with René Knip on various type projects. In October 2012, Knip and Hahn cofounded Arktype. [Google] [More]  ⦿

Jarrik Muller
[Citype]

[More]  ⦿

Jarrik Muller

Dutch graphic designer in Amsterdam who has many typographic projects and occasionally creates a typeface. His typefaces are experimental and functional. One, called Puzzle, leaves it up to the user to position the sliding letters---quite an ingenious idea. Get Busy (2006) is artsy and futuristic. Escape (2006) is pixelish grunge. Union (2006), Get1 (2006, modular, computerized), Get Free (2007, a free piano key font done for Neo2, the magazine), Softmachine (2009), NB Light (2009, a techno matchstick typeface done with the help of Neubau), 3D (2009), Optical (2007, a futuristic geometric experiment), Contrast (2006), Lovely (2006), Muller Fontein (2006, experimental), Blok (2010, 3d and modular; see also Blok (2013, Dick Pape) which was influenced by Jarrik's Blok), Love (2006), and Volle Vrijheid (2006, very experimental) round out his dossier.

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

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

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

[MyFonts] [More]  ⦿

Jasper Nijssen

Dutch type designer, b. 1987, who lives in Rotterdam. Codesigner, with André Toet and Jasper Terra, of AT Move MMM (2013, SO Design), a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. AT Move straw was made in 2014 by André Toet and Jasper Nijssen.

In 2011, Toet and Nijssen codesigned AT Move PiPi. [Google] [MyFonts] [More]  ⦿

Jasper Terra

Dutch codesigner, with André Toet and Jasper Nijssen, of AT Move MMM (2013, SO Design), a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. [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]  ⦿

Jean Baptist De Panne
[De Passe&Menne]

[More]  ⦿

Jean De La Chambre

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

Jean Paul Beumer
[Omashuisje]

[MyFonts] [More]  ⦿

Jeff Schreiber

Graphic designer in Eindhoven, The Netherlands, b. 1985. He created a scriptish typeface called Nougat (2012), Stack Bill (2012, a stackable typeface that incudes an inline version; the free sample version is called Billmoney, 2013), Fat Frank (2012), and the free multiline paperclip typeface Razor (2012).

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

In 2014, Jeff created the geometric sans typeface family Rucksack (which has two tweetware weights).

With Timo Kuilder, he founded Regular Bold Italic.

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

Jeffrey Hossain

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

Jelena Stojanovski

During her studies at the Grafisch Lyceum Rotterdam, The Netherlands, Jelena Stojanovski designed the informal typeface Lepitoptera (2014). [Google] [More]  ⦿

Jelle Bosma

Jelle Bosma (b. Rijswijk, The Netherlands, 1959) studied at the Royal Academy of Art in The Hague and. like many of his contemporaries, was influenced by Gerrit Noordzij. He works from a studio near The Hadue, and designs type, programs font tools, hints, and produces type. His typefaces:

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

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

Jelle Zweegers

Eindhoven, The Nethrlands-based creator of the experimental typeface Synthetic Sequence (2014), his graduation project for at Academy of Fine Arts and Design AKV St.Joost in Breda, The Netherlands. Behance link. [Google] [More]  ⦿

Jelloween Font Foundry
[Tjarda Koster]

Dutch designer (b. 1985, Smallingerland), aka Jelloween, who designed the pixel fonts Blinkie 10 (2007), Silky Wonderland (2006, pixel face), Spinach (2006), Spinach Outline (2006), Webbies (2006, web dingbats in pixel format), Chewy Blossom (2006), Charriot Deluxe (2006), Charriot (2006), Spacy Stuff (2006), Smirnof (2006: an elegant dot matrix face), Every Day (2006), JL Quixs (2006, sans), Skinny (2005), Cyborg (2006, futuristic), Cranberry Blues (2006) and Pixelicious (2006). She also made the dingbat typeface Jellodings (2007, free here), the alphading typeface Alien-ABC (2006), the modern sans display typeface Ambrosia (2006), the bouncy typewriter typeface Humble Bee (2006), the 10-style simple sans family Machinato (2007) and the grunge faces Thoughts (2006; see also here), Smudgers (2006), Zhang (2007, slightly gothic), Vinegar (2008, free didone typeface), Jellobrush (2008), Puppeteer (2008, grungy blackletter), Happy-Go-Lucky (2010, dingbats) and the funky family Gubblebum (2007, free). Jesterday (2011) is a bouncy sans family.

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

Jelmar Geertsma

Graphic designer from Groningen, The Netherlands. He is planning digitizations of various wood types he owns. The first one is Origo Narrow (2007), a wood type sans. He also made Sixtypound (2007, an interesting rounded fatface), Rough-Cut Sans (2007) and Jelmar Sans. No downloads. [Google] [More]  ⦿

Jenny de Groot

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

Jens van der Lugt

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

Jeroen Barendse

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

Jeroen de Jonge

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

Jeroen Hellingman

Dutch creator of an Oriya metafont (1996-1998). From the same source, Malayalam PostScript and TrueType fonts, and Tamazight (Berber) PostScript and TrueType fonts. He also created Malayalam metafonts in 1994 (and subsequently Malayalam PostScript and TrueType fonts), a Unicode Shapes font (TeX, PostScript, TrueType), and Tamazight (Berber) PostScript and TrueType fonts. Home page. Metafonts can be found here and here. His Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. Jeroen says: It is my intention to release the fonts under GPL, but not all copies around have this notice on them. The GNU Freefont project included his fonts for the ranges of Oriya (U+0B00-U+0B7F) and Malayalam (U+0D00-U+0D7F). Subsequently, the GNU Freefont project dropped all contributions and support for Oriya. [Google] [More]  ⦿

Jeroen J.W. van der Ham
[JOEBOB Graphics]

[MyFonts] [More]  ⦿

Jeroen Kant

Jeroen Kant (b. 1996) is from Herten, The Netherlands. As a FontStructor called ITellYa, he made the pixel typeface Yourself Regular (2010), the chalk simulation typeface Angry Chalk (2011), the avant garde typeface Epic Fusion (2011), and the experimental family Problems (2010). Aka Jeronimo. [Google] [More]  ⦿

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

[More]  ⦿

Jeroen Krielaars
[Calango]

[MyFonts] [More]  ⦿

Jeroen Leupen
[ShowMeWare]

[More]  ⦿

Jeroen Overweel

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

Jeroen Saey

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

Jeroen Visser
[Vizi]

[More]  ⦿

Jeske Lettinga Roorda

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

Jesse Kuiper

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

Jheryll Richardson

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

Jig

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

Jim Jansen

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

Jo de Baerdemaeker
[Javenese typefaces: history]

[More]  ⦿

Job Wouters
[Letman]

[More]  ⦿

Jodie Koldijk

Graphic designer in Amsterdam who created Untitled (2012) and Random (2012), experimental typefaces. Her second font is called Font Twee (2012). She also created a Victorian typeface in 2012. [Google] [More]  ⦿

JOEBOB Graphics
[Jeroen J.W. van der Ham]

Dutchman Jeroen van der Ham ("joebob"), who is based in s'Hertogenbosch, designed mostly handwriting fonts: Coalhand Luke (2014, crayon or chalk script), Dear Joe 6 (2014), Dextera (2014, by Geert Dijkers), Stone Hand Saul (2014, a scribbly hand), Manus (2014), Dear Joe Hannes (2013), Winston Nero (2013, a hipster cartoon font), Serious Sally (2012), Inkydoo (2012, +Serif), Serial Sue (2012), Calligra Phillip (2012), Mixtape Mike (2012, a fat finger face), Dear Joe 3 (2010), Brushtip and Brushtip Travis (2010, two of his nicest 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 (hand-printed; done with Hilde Rikken), Amorrisline, Hilde Caps (based on the handwriting of 9-year old Hilde Rikken), C rial, Hildinia Donut, BrunoBook, BuffaloStance, Stam Pete (grunge), CrosswordBill, DearJoe 1, JoeHand 2, Kali Graff, Bearer Fond.

His oldest fonts: BillieBarred (multiple-lined handwriting), BillieBob (a great poster typeface), BillieBoldHand, BillieKid (nice stencil font), BobTag, CalamityJoe, CrappyJoe, DearJoeItalic, DearJoe II, DearJoe IV (antique handwriting, 2005), DoctorBob, FruscianteHand, FuturexBob, JoeBobstraight, JoeHand, MarkerMoeII, MonaLisa (2001), Onepunch Jim Outline, Detour Dork (2002).

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

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

Joeline Bohnen

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

Joep Pohlen
[Polka Design / Letterfontein]

[More]  ⦿

Joh. 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]  ⦿

Johan de Zoete

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

Johan Manschot
[ECHT]

[MyFonts] [More]  ⦿

Johann Michael Fleischmann

A German punchcutter (b. Nuremberg, 1701 or 1707, d. Amsterdam, 1768) who lived in Amsterdam, and practiced his art at Enschedé in Haarlem, from 1743-1768. His work influenced even Bodoni. His foremost typeface is the 8-point roman from 1739. That typeface has seen many digitizations: at the Dutch Type Library, DTLFleischmann (1992, Erhard Kaiser) is based on it. In 2002, Charles Gibbons designed Fleischmann BT Pro, a family heralded by the typophiles as outperforming the DTL Fleischmann. Finally, while studying at KABK in 2012, Hrvoje Zivcic did a revival of Fleischmann's 8-point roman from 1739 entitled Slagerij.

Fleischmann created blackletter typefaces such as Holländische Gotisch (1739-1760, digitally revived by Gerhard Helzel; Manfred Klein and Petra Heidorn made the free revival also called Holland-Gotisch, in 2005 and mention that their source was "Nederduits"; see the Fleischmann Flamande), Mediaan Duyts (1744) and Fleischmann Gotisch (ca. 1750, digitally revived by Ingo Preuss in 2004 as Fleischmann Gotisch PT and by Alter Littera in 2012 as Nederduits).

Fleischmann was also renowned for his work on music typography.

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

Johann Michael Fleischmann: Biography by Ingo Preuss

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

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

Johanna Balusikova

Johanna Balusikova (b. 1974, Slovakia), now Johanna Bilak, studied typography at Atelier National de Création Typographique in Paris and at the Bratislava Art Academy in her native Slovakia, as well as at the Jan van Eyck Akademie in the Netherlands. She now works as a freelance graphic designer in The Hague, where she has lived since 1999. She designed Jigsaw (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 typeface Petronius (1961-1975), which can only be found nowadays in the specimen booklet "Op Engelvoeten" (1975), available in the University of Amsterdam Library. An incomplete specimen is on page 301 of Jan Middendorp's "Dutch Type". The Amsterdam-based company Typo Delvos used it for typesetting some texts. (Delvos no longer exists.) Moesman also designed a simplified Arabic typeface (he liked Arabic for its calligraphic origins). He was an artist at hart, who produced various surrealistic and/or erotic paintings. See also here. [Google] [More]  ⦿

Johannes Nicolaas Coenraad Collette

Joan Collette for short, b. Delft, 1889, d. Nijmegen, 1958. Dutch illustrator, graphic designer and painter. With Flemish designer Jos Dufour, he created the beautiful ultra-fat art deco display typeface L'Indépendant (ca. 1930). It was done at Etablissements Plantijn, a foundry in Brussels affiliated at the time with Lettergieterij Amsterdam. Specimen at the University of Amsterdam library. The name and the year of release were chosen to commemorate the hundredth anniversary of the independence of Belgium (from the Netherlands). It was made into a font by Monotype in 1999.

Implementations of Independant include Independant (free; by Phynette and Apostrophe), Dujour (by Steve Matteson), Sid The Kid NF (free; by Nick Curtis), Collette (2007, by Anton Scholtz), Dufour (2011, Anton Scholtz), and Jumbo Mumbo NF (2006, Nick Curtis). [Google] [More]  ⦿

Johannes Rolu

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

John A. Lane

John A. Lane 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]  ⦿

John Hudson
[Brill]

[More]  ⦿

John Lavies

Dutch graphic artist Jan Lavies (1902-2005) became famous for the posters he designed for the Holland America Line of cruise ships. The early posters in this series inspired David Kerkhoff to create the Dutch deco typeface Hofstad (2014). [Google] [More]  ⦿

John Van der Meule

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

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

Joost van Vredendaal

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

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

Joram Hibbel

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

Jorik Hengstmengel

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

Joris Budel
[Versch Ontwerp]

[More]  ⦿

Joris Oostinga

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

Jorn Slotboom

Graphic designer in Amsterdam who created the bribeware [i.e., downloadable in return for a Facebook like] display typefaces Flank and Knarrstaver in 2014.

Behance link. [Google] [More]  ⦿

Jorn Slotboom

Graphic designer in Amsterdam who created the bribeware [i.e., downloadable in return for a Facebook like] display typeface Knarrstaver in 2014. [Google] [More]  ⦿

Jorrit van Rijt

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

In 2012, Jorrit designed Blocko.

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

Jos Buivenga
[Exljbris]

[MyFonts] [More]  ⦿

Jos Elsendoorn

Dutch designer of the handwriting fonts Josschrift and JosschriftSerif (2005-2009), Dolly Dots (2009, dot matrix face), and the Western all caps billboard font Simson (2009). He also made Scratch Bold (2009) and Brands Kidnapped (2009, ransom note font). [Google] [More]  ⦿

Jos Kunst
[Fonts Jos Kunst]

[More]  ⦿

Jos Schoot Uiterkamp

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

Dafont link. [Google] [More]  ⦿

José Pablo Rivera Mar

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

Joseph Parsons

Joseph Parsons of Joseph Parsons Design (UK and Rotterdam) created a beautiful art deco caps alphabet in 2013. [Google] [More]  ⦿

Joseph Parsons

British designer located in Rotterdam. Creator of the stylish art deco poster entitled Portfolio (2012).

Behance link. [Google] [More]  ⦿

Joshua Koomen
[Haagse Letters]

[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]

Julius B. Thyssen (from Amsterdam) and Hens Zimmerman run this site (which used to be called Immortalware), where you can download 15 Truetype fonts, among which one handwriting font made by Julius. Now also a huge zip file with 16 new fonts: Corrodated-J, Dolenzo-J (antiqued serif), Elliottland-J (Lombardic influences), Fucked-OlympiaJ (1991, old typewriter), Incendiak-J, Julius-BThyssen (handwriting), Kylie 1996-J (inspired by Tango by Colin Brignall, 1974), Nostra-2003J (after Jim Pearson's Creedmore), Radium-Day-AfterJ (chalky face), Rugklacht-J, Salernomi-J, Scalactic-J, Systematic-NewJ, Thyssen-JItalic, Thyssen-J. All fonts made between 1995 and 1998.

Dafont link. [Google] [More]  ⦿

Juan de Leyden

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

Jules van Helvoort

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

Julius B. Thyssen
[JTHZ.com software productions]

[More]  ⦿

Julius de Goede

Dutch Creative Alliance designer of Uncia (1999, uncial), Rudolph (Fraktur), Julius Primary (1999, a school font family), Amadeo (handwriting, 1999, with Fiel van der Veen) and Augusta (1999, +Cancellaresca, +Schnurkl). He published Xander (2001) at Agfa, a font based on the handwriting of the Dutch type designer Alexander Verberne. Finally, he published the calligraphic script family Gaius (2002), the calligraphic Bastarda typeface family Bernhardt Standard (2003), the Fraktur typeface family Frakto (2003), and the blackletter family Rockner (2005) at Linotype.

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

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. He created Phaistos (1990-1991, the Font Bureau, with David Berlow), which was inspired by the flared angular designs of Rudolf Koch such as Locarno). Designer or co-designer at LettError of LettErrorRobot-Chrome (2001), FFTrixie (X-files original), FF Advert (1991, a flared sans family), FF Schulschrift (1991; in versions A, B and C following the German school script recommendations), FF StampGothic (1992), FF Confidential (1992, grunge), FF Karton (1992, a grungy stencil face), FF Flightcase (1992, a grungy didone stencil), FF Dynamoe (1992, a dymo label font, white on black), FF Hands, FF Brokenscript (1990, blackletter), Federal, and the random font Beowolf (1990, with Erik van Blokland). At FUSE 11, he designed What You See/What You Get (with Erik van Blokland).

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

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

Jutt

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

Jürgen Geiger
[Geiger Artwork]

[More]  ⦿

Kai Bernau
[Atelier Carvalho Bernau]

[More]  ⦿

Kai Bernau
[Letterlabor]

[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 typeface Gorillaz (2006). [Google] [More]  ⦿

Kasper Pyndt

Danish minimalist designer in Roskilde / Copenhagen, who made various typefaces in 2010, including a monoline sans caps face, a Peignotian high-contrast caps face and a paper fold face, and the geometric typeface Ottoman. Ottoman was part of the visual identity made for a nightclub named OTTOMAN, located at Dunkel in the heart of Copenhagen).

Wondair (2011) is a rounded monoline logotype made for a fictituous airline. Gemini (2011) is a bilined geometric art deco typeface.

In 2012, Pyndt designed the geometric typeface Husaar, which was inspired by Avenir.

In 2014, he was located in Den Haag, The Netherlands. Typefaces from 2014: Kieu.

Behance link. [Google] [More]  ⦿

Kees Broos

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

Kees Derksen

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

Kees Gajentaan
[Hybrid Space]

[More]  ⦿

Kelly Krijnen

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

Khajag Apelian

Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.

After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.

Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).

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

Typecache link. [Google] [More]  ⦿

Kilian Valkhof
[Fuck yeah kerning]

[More]  ⦿

Kim Stassar

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

Kimberley van Lokven

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

Kiosk Fonts
[Frank Grießhammer]

Kiosk Fonts (Berlin) was founded in 2008 by Frank Griesshammer (b. 1983, Germany), a graduate of HBKsaar (2008) and of the Masters program in type design at KABK (2010). His graduation project in Den Haag involved the multi-pen typeface Quixo (2010), which seems to be have just the right flexibility for packaging and ads. Frank lived in Den Haag, but joined Adobe's type department in 2011.

His alphabets from 2008: Fleischwurst Fett (blackletter), Drückerei (grunge by Haiko Günther), Sommerfest, Rex Mundi (by Haiko Günther), PX Barok (a stitching and needle typeface), Ghana Signpainters Divine Healer (by Haiko Günther), Pappe (randomized cut-out face), Wüste Fraktale (a pixel blackletter by Haiko Günther), A4, Ghana Signpainters Safari (by Haiko Günther), Ghana Signpainters Cocktail (comic book and ad style by Haiko Günther), Format, Black Frituur (blackletter by Haiko Günther), Monaural (geometric), Steelcut (based on Woodcut; by Haiko Günther), Coswig, Roundenau (very rounded).

In 2009, he did revivals of Memphis (original by Rudolf Wolf, 1929) and Stempel Elan (original by Hans Möhring, 1936). The latter typeface was published by Linotype.

In 2013, he made HWT Tuscan Extended (Hamilton Wood Type). Hamilton Wood Type explains: It is based on the 1872 William Page & Co. version, while also bearing a very close resemblance to the Morgans & Wilcox Tuscan Extended and No. 2106 from Tubbs Manufacturing Co. It is similar to the Heber Wells Tuscan Extended. All four manufacturers were eventually acquired by Hamilton. The Hamilton designation for this design was simply No. 303. The National Printers' Material Co. of New York also offered a similar Tuscan Extended.

FontShop published his school project font Quixo as FF Quixo in 2013.

In 2014, Frank designed the free Source Serif Pro typeface family at Adobe, to accompany Paul Hunt's Source Sans Pro (2012). It is a transitional family influenced by Perre Simon Fournier's styles from 1742. Google Web Fonts download link.

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

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

Kitty Louws

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

Knarf Art
[Frank van der Hak]

Frank van der Hak (Knarf Art) is a graphic designer in Zoetermeer, The Netherlands, b. 1989. He created the octagonal geometric font Knarf Art and Knarf Art 2 (2009).

Devian Tart link.

Dafont link. [Google] [More]  ⦿

Ko Sliggers
[Dutchfonts.com]

[MyFonts] [More]  ⦿

Koelooptiemanna Productions (was: KosteX)
[Roel Koster]

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

Koen Hachmang
[Glitch: freeware fonts]

[More]  ⦿

Koen van der Bliek

During an internship at ATTAK, a studio in 's-Hertogenbosch, The Netherlands, in 2014, Koen van der Bliek (Boxtel, The Netherlands) created the knife-edged semi-blackletter typeface AT Kuhn (free download). Koen was a student at the AKV ST Joost Art Academy in 2014. [Google] [More]  ⦿

Koeweiden Postma

Despite the modest agricultural name, they say this about themselves: Koeweiden Postma is one of the leading branding and design agencies in The Netherlands. I quite like the typographic work they did in the form of posters and ads for the Picasso in Paris 1900-1907 exhibition, held in 2011. Behance link. [Google] [More]  ⦿

Kombinat Typefounders
[Hannes Famira]

This Dutch-Swiss foundry (est. 2001 by Hannes Famira, b. 1966, Buchholz in der Nordheide) offers interesting font families: Feisar (Paul van der Laan), N&M Hornet (Neeser+Müller), N&M Punkt Schrift (Neeser+Müller), Blocker, InterPol Sans (1992), InterSerif, InterForm (dingbats), H-Stamps, Tieshy, Bubblejet on Steroids, Plantijn (Legib, Legib Small Caps, B-Form, Paradox), and Kugelkopf Letter. Another designer is Hannes Famira, who founded Kombinat. The initial crew also contained Martijn Rijven, but his name is longer there. The current team in 2012 includes Martin Wenzel, Thomas Lehner and Roland Dill.

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

Koninklijke Akademie van Beeldende Kunsten (KABK), Den Haag

In English, the Royal Academy of Art in The Hague. This is the 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 typeface by Vera Evstafieva), Reforma (by Krassen Krestev), Mirabelle (by Alessandro Colizzi), Rumba (by Laura Meseguer), North (by Trine Rask Olsen), Vertigo (by Susana Carvalho), and Tuhun (by Diego Mier y Teran).

Type Media link: Type Media is the new name of the type design program at KABK. [Google] [More]  ⦿

Kristel Hendriks

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

Kristyan Sarkis

Sarkis has a BA in Graphic Design from Notre Dame University, Lebanon, and a Master's from the Design in Type and Media program at the The Royal Academy of Art in The Hague, The Netherlands. He has worked in the fields of graphic design and branding/advertising, and has taught at Virginia Commonwealth University (in Qatar). Currently he is an independent graphic and type designer based in The Hague, The Netherlands. Flickr page.

In a KHTT interview, he writes: My first real experience with type was when I was working with Mohtaraf Beirut Graphics (2007), one of the leading design houses in Lebanon. Mohtaraf has a strong affinity to Arabic type and has produced several beautiful Arabic typefaces. Back then, I was given a task to start drawing a typeface. I was hesitant at first, but got very quickly into it. The design director Yara Khoury noticed that I 'have a knack for this', and encouraged me to go on with it. I was delighted to have the opportunity to understand a lot more about type under Yara's direction, and with some eye-opening sketches from Ali Assi, to research the calligraphic styles and explore the beauty of the Arabic script. I had very limited technical knowledge in font development at the time, therefore after I did the original digital drawings on Adobe Illustrator, Greta Khoury, my colleague at the time, who was and remains one of my biggest sources of inspiration, took over the project, did her magic tricks with it, and produced it into a working font in Fontlab Studio. I owe my start in type design to Yara Khoury and Greta Khoury and to an endless fascination with the Arabic script and the ethereal art of Arabic calligraphy. This drove me to work on self-initiated typefaces which eventually culminated in pursuing a higher education in Type Design at The Royal Academy of Art in The Hague. There, it all went to a whole new level, with countless additional inspirations: from the great teachers that we had, to all the lecturers and the amazing amount of information that was given to us.

His typefaces:

  • Thuraya (2010) is his thesis project at KABK: Thuraya is a display Arabic typeface that explores a contemporary context for the Diwani script. It won an award at TDC2 2011.
  • Still at KABK, he did a revival called Almost Didot (2010).
  • Coco (2010) is a rounded serif text typeface under development.
  • About Vespertine Arabic, he writes: Vespertine is a linear font designed specifically for the icelandic artist Björk by M/M Paris. Though seemingly a childish handwriting, the typeface is unusual, tricky and cursive with intricate curves. These characteristics, along with the thickness, x-height, counters and hand movement were meticulously studied and implemented in the Arabic version without undermining its legibility.
  • He also created Always Arabic, an Arabic companion of the Latin house font Always used by the feminine hygiene product company by the same name.
  • Amale is a modern Arabic display typeface suitable for newspaper headlines, book titles and logotypes.
  • Designer of Colvert Arabic (2012, Typographies.fr).
  • Louvre Abu Dhabi Logotype (2013).
  • Greta Arabic (2011), which was designed for newspapers, won an award at TDC 2012.

Behance link. [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 typeface Ladybug Dings (2007). [Google] [More]  ⦿

LaMa Fonts
[Marco Langbroek]

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

Lars De Beer

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

Lars Manenschijn

Doetinchem, NL-based graphic designer designer (b. 1988, Hengelo) of Johanneke (2010, counterless and outlined family), Sammies Sans (2010, grunge), Chinese-troops-waiting-at-the-border (2009, graffiti), KingjolA (2009, grungy blackletter), Efontlution (2009), sleeperzzzz (2009, grunge), Jersey Stories (2009, script), Unchanged Thoughts (2009), Hey Mom Hey Dad (2009), Shutdown (2009, 3d comic book style face), Hey Boy Hey Girl (2009), Jo wrote a love song (2009, scratchy hand), False Advertising (2009, grunge), Old English Hearts (2009, grunge blackletter), Stone Era Pixels (2009), Waste of Paint (2009, grunge), Baby Eskimo Kisses (2009, outline), Opa Puk (2009, brushy), Bedtime Stories (2009, flowing script), Manenschijn 02 (2009), Create a cartoon (2009), Release Me (2009).

Fonts made in 2012: Holland Blocks (counterless fat squared glyphs).

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

Graduate of the Design Department of the National University of Art in Bucharest, Romania. Now working as an illustrator in Breda, The Netherlands. Behance link.

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

Laure Afchain

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

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

Laurens Janszoon Coster

The Dutch have claimed for hundreds of years that Laurens Janszoon Coster [or: Koster] (b. ca 1370, d. ca 1440) printed the first book in Haarlem (The Netherlands), ca. 1440, well before Johann Gutenberg in Mainz in 1452. There is no hard evidence to support or refute this claim, but Jan Middendorp in his "Dutch Type" (2004) categorically calls it a myth. From the link, I cite: "Warren Chappell's oft-referenced A Short History of the Printed Word, published in 1970, states that the "quality of the early Dutch type-making and printing still extant is so markedly inferior to Gutenberg's that the possibility of a few years' priority is less important than Gutenberg's results." [Google] [More]  ⦿

Le Studio Graphic and Web Design
[Dimitry Hamekink]

Dimitry Hamelink's studio Le Studio in The Netherlands is also based in Cazillac, France. It did the typography in a brush style for the album I am Hunter by Miss Montreal (2012).

Behance link. [Google] [More]  ⦿

Léon Hulst
[TypeFaith Fonts]

[MyFonts] [More]  ⦿

Leandra Post

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

Leandro Lisboa

Visual designer in Amsterdam. Designer of the elliptical typeface Yon (2010), a typeface designed during a course at Politecnico in Milan where he studied under Gio Fuga. Leandro is from Belo Horizonte, Brazil. Other typefaces:

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

Behance link. [Google] [More]  ⦿

Leanne van der Wel

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

LeFly

Dutch designer (b. 1966) of Lenteroos (2005), Blokletters (2005, in three weights: Potlood, Balpen and Viltstift---these are excellent substitutes for something like Comic Sans), Slantwise (2004), Hard Compound (2004), Soft Compound (2004), Angie's New House (2004, great squarish font, almost in Wim Crouwel's Hiroshima style), Kenteken (2004, based on the Dutch licence plates), Kenteken Smits (2013), Square Peg (2004, renamed Square Wise to resolve naming conflicts with a commercial font of the same name by Rob Leuschke), TeleTekst (2004), Osmanthus (2013, heavy German expressionist typeface).

URL at Offsite. Font Squirrel link, where Blokletters is free. Fontspace link. Dafont link. [Google] [More]  ⦿

Lein Design

Dutch designer, b. 1991, aka Marjolein. A self-proclaimed vector artist, she created the elegant art deco typeface Lein Bold (2008) as well as Lein Rounded (2008) and Lein Future (2008). Potato (2009) is more art deco candy. Dafont link. [Google] [More]  ⦿

Lennart Breel

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

Behance link. [Google] [More]  ⦿

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 typeface 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 typeface done at Lettergieterij Amsterdam, 1960, available from Elsner&Flake), and Orator (a bold companion to Promotor, Lettergieterij Amsterdam, 1962). Worked at Lettergieterij Amsterdam. [Google] [MyFonts] [More]  ⦿

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
[Job Wouters]

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

Letman

Dutch lettering artist who drew some alphabets in 2010. [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 typeface for use on doors and fences), Streep (horizontally striped letters for fences), and Klinker (based on street tile patterns). [Google] [More]  ⦿

Letterdispuut.com

A sociable type society with the motto: "Type is fun". Page has been neglected almost since its inception in 1997. The Sociable Type Society was founded in 1997 by Donald Roos and Onno Bevoort jr. In 2002 this exclusive society has still two members, both are graduated students of the Royal Academy of Fine Arts in The Hague. A creation of them: the fun LD Spaghetti family (2004). [Google] [More]  ⦿

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), Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type: a revival of Dick Dooijes's Mercator), Neutral (an outgrowth of Kai's thesis work), PDU (a French stencil rtevival project), and some custom faces such as Proprio.

LI>Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque published Neutral. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts. Custom typefaces include Munich Re (2008-2009, for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam)) and Harvard Museum Neutral (2008).

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. At ATypI 2004 in Prague, LettEror spoke about education in type design, and the RoboFab toolkit.

Erik van Blokland develops niche tools for type design and font production and has been involved in the development of the UFO (for font sources) and WOFF (for font binaries) formats. He is a senior lecturer at the TypeMedia master at the Royal Academy of Arts in Den Haag. Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona [on interpolations with Superpolator3].

Their typefaces:

  • At FUSE 11, Erik designed FF Beowolf (1990, a randomized font, sometimes still called Beowulf; with Just van Rossum), 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]  ⦿

Letters en Plaatjes
[Thijs Mertens]

Thijs Mertens is a Dutch designer in Arnhem who runs the design studio Letters en Plaatjes since 2009. He used FontStruct in 2009 to create ThM PurSans, ThM BlackBox (stencil), ThM For Minimal, ThM Papercut, ThM Concept, ThM Monomode, ThM Firefly, and ThM Freaktur (sic).

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

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

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

FontStruct link. [Google] [More]  ⦿

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
[The Cardozo Kindersley Workshop]

[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]  ⦿

Lotte Bredewold

Dutch creator of the textured typeface Remsporen (2012). [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]  ⦿

Luc Reinders

Luc Reinders, a graphic designer in Maastricht, The Netherlands, created Futoni (2014), Sponge Font (2012) and Whisky Font (2012, a tall condensed display face).

Behance link. [Google] [More]  ⦿

Lucas de Groot
[LucasFonts]

[MyFonts] [More]  ⦿

Lucas de Groot
[FontFabrik]

[MyFonts] [More]  ⦿

Luc(as) de Groot
[TheTypes digital typefoundry]

[MyFonts] [More]  ⦿

LucasFonts
[Lucas de Groot]

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

FontShop link. Klingspor link.

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

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 typeface inspired by the type of Nicolas Jenson made in Venice in 1470.
  • Helsinki. A sans based on Finnish traffic signs---has a hairline weight, and a gorgeous Fat weight. Helsinki 2.0 was published in 2013. In 2014, he published the formidable free weights Helsinbki XXL Black and Helsinki XXL Thin.
  • Mediana. A custom typeface based on Franklin Gothic.
  • NewTaste. Commissioned by McDonald's.
  • Walhalla (2008) is a strong and bold uncial family inspired by uncial letters of the Czech type designer Oldrich Menhardt, made in 1948.
  • Daisy (2010) is an artsy ultra-fat vogue magazine style display face, best shown in pink. It won an award at TDC2 2011.
  • Tundra (2010, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011.
  • Daphne Script (2013) based on Georg Salden's Daphne.

    Riga and Riga Screen (2014). Designed for web page use, this is a practical space-saving sans family. Not to be confused with several other typefaces called Riga, one by Mostar / Olivier Gourvat (2009) and one by Gunnar Link (2012).

  • Diogenes (2014). Microsite.

View Ludwig Übele's typefaces. A list of Ludwig Übele's typefaces. [Google] [MyFonts] [More]  ⦿

Ludwig Übele
[Ludwig Type]

[MyFonts] [More]  ⦿

Luis Mendo

Designer at type-o-tones in Barcelona who made Design Or Die (1997, techno face), and Vulcano (2007, with Tori Alimbau and José Manuel Urós). Mendo lives in Amsterdam.

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

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 hand-printed alphabet. [Google] [More]  ⦿

Maarten

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

Maarten Dullemeijer
[Autobahn]

[More]  ⦿

Maarten Idema
[Dandm3]

[More]  ⦿

Maarten van Maanen

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

Maarten van 't Wout
[Alumia]

[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]  ⦿

Maja Moliere

Amsterdam-based designer of the cookbook font Roald (2013).

Behance link. [Google] [More]  ⦿

Maja Moliere

Amsterdam-based designer of the cookbook font Roald (2013).

Behance link. [Google] [More]  ⦿

Malou Osendarp

Dutch designer of Correspond (graduation typeface at KABK, 2005-2006) and Saranna (after Stefan Schlesinger's unfinished typeface from just before WWII). In 2005, Malou did a revival of Jan van Krimpen's Spectrum (1952). Favela Exposed is a hand-drawn poster typeface inspired by the mosaic stairway in Santa Theresa, Rio de Janeiro.

Typecache link. [Google] [More]  ⦿

Marc Lubbers
[GraphicMix]

[MyFonts] [More]  ⦿

Marc Nijborg

Codesigner with Jeroen Leupen of several fonts at ShowMeWare. Mac fonts only: IggyPiggy (1999), Euromania, Scramble, Source, Lutetia Lutetia (Asterix font), Sunburst Staying, Thick&Thin, WizzyBold, Nippee, Saurtimes, RuffBold, RuffMedium, Waterfall, Sniffy, Oranjehand, Mushroom, KillerBee, FuzzyMate, Casterman, AmsterdamBridge and Academy. [Google] [More]  ⦿

Marc ter Horst

Creator of a typeface out of spices to adorn the walls of Restaurant Walem. The underlying shpae is a De Stijl alphabet by Bart van der Leck.

Behance link. [Google] [More]  ⦿

Marc Zuurman

Dutch designer at FontStruct in 2008 of Autos (car dingbats), Pixels, Arabische Lettertype (oriental simulation face) and Wayang Kulit. [Google] [More]  ⦿

Marcel Bakker

Dutch designer at FontStruct in 2008 of the nice art deco display typeface AlfaDeco. In 2009, he added Dicky and Dinny. [Google] [More]  ⦿

Marcel Blijleven

Design student in Hoofddorp, The Netherlands, whose first font is the high-contrast art deco typeface Ecoutez (2012).

Creator of the geometric sans typeface Selvage (2012, in Raw (pure forms) and Worn (filled in ink trap form) styles), the architectural lettering font Resoluut (2012, +Cyrillic), the tattoo font Galera (2012), and the monoline typeface Monodrone (2012, Ultratypes).

In 2013, he published Fat Boy (a grotesk display face), Optic (alchemic). [Google] [More]  ⦿

Marcel de Jong

Artist, b. Amsterdam, 1967, specializing in macabre, bizarre and black romantic artwork. He created the gothic font Fairydust (2003).

Dafont link. [Google] [More]  ⦿

Marcel van den Berg

Graphic designer in Den Haag, The Netherlands. At Behance, his pen name is Joost Marcellis. Home page.

His typefaces include Anna Mono (2010, octagonal).

FontStructor of these gridded faces in 2010: Stanna Klein, Stanna Diap. He also made the Esque (constructivist) and Fastlane families in 2009-2010 at FontStruct.

In 2011, he published the multistyle poster family Geplakt. Images: i, ii, iii, iv, v, vi.

Fontstructions from 2012: Homerus, Stanna (dot matrix). [Google] [More]  ⦿

Marco Langbroek
[LaMa Fonts]

[More]  ⦿

Marco Sterk

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

Marco Ugolini

Italian visual artist based in Amsterdam and Berlin. In 2005 he graduated with a bachelor's degree in visual communication from ISIA (Florence, Italy) and Bauhaus University (Weimar, Germany). He continued his studies at the Sandberg institute of the Rietveld Academy, Amsterdam, where he obtained a Master's degree.

Creator of the geometric sans typeface Biko (2013), which is named after South African anti-apartheid activist Steve Biko. See also Biko Light (2013). Buy Biko from Monofonts. Obtain a free copy from Dafont.

In 2014, he designed the masculine sans typeface Coluna Condensed Bold (also free at Dafont, this family includes Rounded, Outlined, and Sketched styles).

Behance link. [Google] [More]  ⦿

Marco van Zomeren

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

Maria Strick

Dutch penman who published Tooneel der loflijcke Schrijfpen Ten dienste van de Constbeminnende Jeucht int licht gebracht Door Maria Strick Fransoysche School-houdende binnen . . . Hans Strick (1607). [Google] [More]  ⦿

Marianne van Ham

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

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

Marieke Blokland

Dutch graphic design student in Breda, who made the neat (free) display font Bloktype (2002). She used East-European tickets to make Ticket Scraps Urban (2003).

Alternate URL. [Google] [More]  ⦿

Marinus Klasen

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

Mariska W

Dutch creator of Tapefont (2013), which was made by superimposing pieces of tape. [Google] [More]  ⦿

Marit Otto

Dutch type designer who published the experimental typeface Jazmo in 2012 at URW: Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the New objectivity architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau.

In 2013, he published Smooth Buggaloo (URW++), a typeface that was inspired by the music of the sixties. Le Rock (2013, URW++) is a bouncy freeform display typeface. Labyrindo (2013, URW++) is inspired by Greek labyrinths.

In 2014, Marit published Pipeline (URW++), a gaspipe or paperclip typeface, Filistique (URW++, a flowing informal unconnected script typeface), and Nipon (URW++), a display typeface. [Google] [MyFonts] [More]  ⦿

Marjolein Rinckes

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

Mark Niemeijer

Designer in Tubbergen and/or Enschede, The Netherlands. I think, but am not sure, that The Soul Can Wait (2011) is a typeface. In 2013, he designed Jos Sans Serif as a gift to the studio KERN, where he did his internship.

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]  ⦿

Mark van Wageningen
[Novo Typo (was: Atelier van Wageningen)]

[MyFonts] [More]  ⦿

Marleen Annema

Groningen, The Netherlands-based amateur photographer and student at the Art Academy Minerva Groningen. She created a decorative alphabet in 2014. 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]  ⦿

Marsha van Rooijen

Graphic designer in Amersfoort, The Netherlands. Creator of Trashfabet (2012).

Behance link. [Google] [More]  ⦿

Martien Heijmink
[VIBE]

[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 typeface Blik Font (2010), which is based on crushed cans. [Google] [More]  ⦿

Martijn Donath

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

Martijn Oostra

Dutch type designer whose fonts may be bought from 2Rebels in Montreal. They are now generally available from T-26. Some creations: BlackMail (1996, ransom note font), Educational, EricsSome (dot matrix face), Mould Archi (1997, grunge), Tsjecho (1997, a wood type simulation face), Wire And Planks (1997, a semi-stencil).

Future URL. Klingspor link.

View Martijn Oostra's typefaces. [Google] [MyFonts] [More]  ⦿

Martijn Rijven
[BOLT Graphics]

[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 typeface that covers Latin, CE, Greek, Baltic, Turkish, Romanian, Cyrillic and special symbols. Another URL. [Google] [More]  ⦿

Martin Bengtsson
[Alpha Quantum]

[More]  ⦿

Martin Jelsema

Dutch FontStruct artist who made the kitchen tile typeface 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 Baarn in 1960, who works in Arnhem and Warsaw. 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. Scala is in the style of W.A. Dwiggins's Electra.
  • 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 typeface 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.
  • His corporate typefaces include Deutsche Telekom.

Interview.

To understand Majoor, read his article My type design philosophy. 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. Klingspor link. FontShop link.

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 operated as MS Designs. In 2010, he made an extensive comic book / fat finger typeface called Dion which was used in a national Dutch campaign "Zonder Cash ben je nergens" (You're nowhere without Cash). Celente (a transitional typeface) is also from 2010. Modani is an unfinished didone from 2010.

He writes: I am now working on several typefaces including a modern grotesque typeface called Dagon Sans, an antique humanist/grotesque typeface called Crouton Grotesque, a sturdy transitional typeface with oldstyle elements called Icarus (+ Icarus Sans) and a modern serif called Hagel (+ Hagel Slab).

In 2011, he created Icarus (text family), Icarus Sans, Triumviraat (+Display, +Sans, a flared family), Kolibrie (humanist sans), Noorderlicht (after Gerrit Noordzij's Ruse), and Noorderlicht Sans (both were discontinued), Crouton Grotesque, Celcius (his most complete font family yet) and Dagon.

Typefaces from 2012: Dion Sans, Crouton Grotesque, Scaenarium Unus (free blackletter / metal band / tattoo font), Hagel (serif family), Hagel Slab and Hafnium (angular typeface), Aghari Sans.

In 2013, he published the text faces Daser and Santi.

Dafont link. Deviantart link. Ba'al web site [Ba'al is the name Martin uses for projects for Metal bands]. [Google] [More]  ⦿

Martin Wenzel
[MartinPlusFonts]

[MyFonts] [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. From 1998 until 2005, he worked at Buro Petr van Blokland + Claudia Mens. Martin now runs MartinPlus, first in The Hague, The Netherlands, and relocated to Berlin in 2005. He is also affiliated with Kombinat Typefounders. His oeuvre:

  • FF Marten (1991).
  • FF Rekord (grunge).
  • The award-winning sans serif font FF Profile (1999), a flared sans known for its little contrast. This evolved in a semi-hand-printed 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 that can be bought at Kombinat Typefounders.

Old web site. Fontshop link. Klingspor link.

View Martin Wenzel's typefaces. [Google] [MyFonts] [More]  ⦿

Mat Douglas

Mat Douglas (b. 1984) lives in Amersfoort, The Netherlands. He created the sans typeface Webly Sleek (2012). [Google] [More]  ⦿

Mathieu Cremers

Graphic designer from Rotterdam, b. 1988.

Dafont link. Creator of the paperclip typeface Mududede (2011). [Google] [More]  ⦿

Mathieu Klomp
[Teup]

[More]  ⦿

Mathieu Lommen
[University of Amsterdam: Special Collections]

[More]  ⦿

Mathijs Juressip
[FindThatFont]

[More]  ⦿

Matt Langstaff
[Design Dutch]

[More]  ⦿

Matthew Bardram
[Atomic Media (was: SmartDust)]

[MyFonts] [More]  ⦿

Matthijs van Leeuwen

Dutch deisger who studied in Arnhem. He created Inegalé, a sans serif font, at PsyOps in 1999. FontShop link. Klingspor link. [Google] [More]  ⦿

Maud van Gool

Dutch graphic designer based in Haarlem who made a monospaced display typeface called Fox Dog (2013).

Behance link. [Google] [More]  ⦿

Maurice Blok
[L5]

[More]  ⦿

Maurice Van de Stouwe

Dutch graphic designer student (b. 1982) who is based in Zwolle. He no longer makes type. His typefaces:

  • Squirrel (2003, Union Fonts): a sans font that used to be free, and that was discussed here.
  • A DIN Regular style face (2003).
  • Soupertrouper (2004).
  • YTunc03 (2003, ultra fat artsy).
  • Illegal Edding (2006, graffiti font).
  • Maurits (2004, sans).
  • Escapé (2004, sans).
  • Funkyplain (2002, pixel simulation font).

Defunct Dafont link. Defunct URL. [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]  ⦿

Maus Bullhorst

Illustrator in Rotterdam. Some of his posters have original lettering styles. [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 Kisman
[Holland Fonts]

[MyFonts] [More]  ⦿

Max Ostermeier

Den Haag, The Netherlands-based designer of an abstract typeface in 2014. [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]  ⦿

Maya Stepien

Graphic designer and illustrator in Den Haag, The Netherlands. Behance link.

She created an elegant thin monoline sans typeface called Bistro (2012). [Google] [More]  ⦿

Mayke Boef

Gemert, The Netherlands-based designer of an untitled typeface (2014). [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.

MyFonts 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.

MyFonts link.

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 typeface based on research done at the Gerrit Rietveld Academie. Lives in Baarn. His teachers were Gerard Unger and Jan Boterman. Levanah started out by unseriffing Bembo and Garamond, and is in a sense a semi-sans Renaissance face. [Google] [More]  ⦿

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]  ⦿

Meneer de Zwart

Graphic designer in Amsterdam. Creator of the stencil typeface Geissler Serif (2013), which was named after Heinrich Geissler (1814-1879), the inventor of the Geissler tube, which later led to neon tubes. Behance link. [Google] [More]  ⦿

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 C. Mulder
[Studio 37]

[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]  ⦿

Michael Lugmayr
[21 Inch]

[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]  ⦿

Michiel Terpelle

Arnhem, The Netherlands-based creator of Mahagony Script (2008, FontStruct), a calligraphic pixel script, and Excellent (2008, FontStruct), a kitchen tile typeface.

In 2014, he created DataBits, Maender (a roudish multicolored font for children's books), and an untitled 3d prismatic typeface.

FontStruct link. [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.

Cargocollective link. [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]  ⦿

Mihail Mihaylov

Graphic designer, illustrator and art director in Sofia, Bulgaria, who is now based in Rotterdam, The Netherlands. Creator of Funkadelic (2009) and Quotes Alphabet (2009).

Behance link. [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 typeface had fallen into disuse, and when it was revived for the modern age on both Linotype and Monotype machines in 1937, it was named 'Janson' after its presumed designer. Even the German Stempel foundry, who owned the original 'Janson' punches and matrices from the 1600s, called it by that name. The typeface became more and more widely used. Robert Bringhurst (a poet as well as a typographer) refers to it as a wonderfully toothy and compact Baroque type. In the United States it is now the third most popular typeface for book composition, according to its frequency of appearance in the 'Fifty Books of the Year' annual exhibition organised by the American Institute of Graphic Arts. In 1939 Stanley Morison uncovered the embarrassing fact that the typeface had not been cut by Janson, but even he was unable to put his finger on the designer. It was not until the 1950s that Harry Carter and George Buday discovered that the man who had designed the type was a Transylvanian Hungarian named Nicholas (or Miklós) Kis, born in 1650. Kis took religious orders and became a teacher, and eventually decided to visit Holland and study typography, as those skills were needed in Hungary. He turned out to be very gifted at punchcutting, the shaping of metal type, and became so famous in his own time that Cosimo de Medici, the Grand Duke of Tuscany, offered him a position at his court. Kis declined the offer, and returned to Hungary in 1690, determined to spend the rest of his life designing and printing bibles. It was a time of religious and political upheaval in Hungary. The social turmoil, together with personal enmities, shortened his life, and Kis died in 1702, an embittered man. His reputation had to wait 250 years for proper recognition; and such is the conservative nature of the world of type that the typeface he created is still called 'Janson'." Adobe writes that the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Bitstream explains: His types, the original matrices for which were obtained by Stempel in 1919, were revived for hot metal as Janson by C.H. Griffith for Mergenthaler Linotype (1937), and as Janson and Ehrhardt (1937) from Monotype.

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

Milan de Jong
[Themes of a scorched earth]

[More]  ⦿

Miriam van der Have
[Emday Fonts]

[More]  ⦿

Miriam van Vuuren

Dutch designer of the script typeface Rosewood (2014). Dafont link. [Google] [More]  ⦿

Mirjam Somers

Mirjam Somers was educated at St Joost Art Academy in Breda, The Netherlands, where her teachers included calligraphers Chris Brand and Jan van den Bouwhuysen. After two years she continued at the Gerrit Rietveld Academy in Amsterdam and graduated there in 1974 in Architectural Design. Having worked as a carpenter and free-lance typographer, she encountered Arabic script in 1982 when together with Thomas Milo she designed and produced the Arabic Letter Box, a wooden prototype of a computer program and an educational tool at once. With Tom she reduced the traditional Arabic Ruqah script to 70 penstrokes and defined a mechanism to generate all Arabic letter combinations by the smart font algorithm. The combination of the font-in-the-box and the out-of-the-box font inspired Peter Somers to write the smart font program code. Peter, Mirjam and Thomas incorporated Decotype [Designers of Computer-aided Typography] in 1985. Mirjam played a major role in designing the Naskh typeface (1993-2004), and created the Emiri (2004, a revival) and DecoType Nastaliq (2008-2010, an original analysis) typefaces. Her latest designs are a second Ruq`ah (2011) and an Eastern Nastaleeq (2012).

DecoType Nastaliq (2009) won an award in the non-Latin category at TDC2 2010. The award blurb reads: DecoType Nastaliq is the latest fruit of more than 25 years of analyzing Arabic scripts in their pure, pre-typographic form. Like its close relative ruq?ah, nastaliq retains the original two-dimensional aspect of Arabic script. To capture this for use in an essentially Latin-based technical environment is a great challenge. The final glyph set consists of a minimal set of functional shapes, with which for all Arabic-scripted languages all imaginable combinations with any diacritic attachment can be generated. This is possible solely with the use of ACE, the Arabic Calligraphic Engine, a radical departure from conventional thinking in Gutenberg-style movable type. ACE was developed by the DecoType team, Thomas Milo, Peter Somers and Mirjam Somers, initially for the ruqah script, later it was expanded for a very broad analysis of the naskh script. Today ACE drives any Arabic typeface and is the core engine of WinSoft's Tasmeem enhancement of Adobe InDesign Middle Eastern version. The seminal role of ACE for the development of smart font technology, including OpenType, was recently acknowledged with the Dr Peter Karow Award.

At ATypI 2011 in Reykjavik, she spoke on the slanted Arabic typefaces with cascading connections: It was exactly this challenge that brought DecoType into the typography scene in 1985 with the very first Ruqah computer typography. In 2011, a completely new Ruqah design takes its place. In addition to that, the award-winning DecoType Nastaliq typeface in Persian style is very well received as the top typeface in WinSoft Tasmeem. A second nastaliq, this time in Pakistani style is under construction. Speaker at ATypI 2013 in Amsterdam: Technology designed for Arabic.

Ruq'ah (2011) won an award at TDC 2012. [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]  ⦿

Myrthe Hopmans

Designer in Noorden, The Netherlands, who created a typographic poster entitled Istanbul (2012). [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]  ⦿

Nahrwan Fadainia

Houten, The Netherlands-based creator of a display typeface in 2014. Behance link. [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]  ⦿

Nathalie van Caam

During her studies in Rotterdam, Nathalie van Caam created the hexagonal typeface Zouet (2013). [Google] [More]  ⦿

Nazanin Karimi

Iran-born Nazanin Karimi (b. 1987) is a graphic design student at KABK in Den Haag. He created the Sans Collective typeface in 2012. [Google] [More]  ⦿

NEN 3225

In 1962, NEN (Dutch Institute for Normalization) published a guide for a sans and a serif design. It is rumoured that Visualogik has digitized this, but no onme can confirm this. The typeface has been used on signage in Amsterdam. The committee that decided on the details of the design, according to Kuitenbrouwer:

  • Ir. H.G.J. Schelling, architect NV. Nederlandsche Spoorwegen, Utrecht (chairman)
  • Prof. Dr. G.W. Ovink, estethic advisor Lettergieterij "Amsterdam" v/h Tetterode (secretary)
  • S.L. Hartz, graphic designer Joh.Enschede, Haarlem
  • Jan van Krimpen, typograph, Joh. Enschede, Haarlem
  • H.C. Warmelink, notary and type specialist, Amsterdam
  • Prof. Ir. C. Wegener Sleeswijk, architect Amsterdam
[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]  ⦿

Nick Curtis
[Sander de Voogt]

Sander de Voogt tells us all there is to know about Nick Curtis's fonts. A complete list of names, sources of inspiration, dates and foundries. [Google] [More]  ⦿

Nick Datta
[Werkbond]

[More]  ⦿

Nick Dijsselbloem

Based in Gemert, The Netherlands, Nick Disselbloem created the free typeface Daily Routine (2013), a font for memos. Behance link. [Google] [More]  ⦿

Nick Meeuws

Graphic designer in Eindhoven, The Netherlands. In 2014, he used only arcs of circles to construct the ornamental caps typeface Circularis (2014). Behance link. [Google] [More]  ⦿

Nick Rutte

At MyFonts, we read this about Nick Rutte (b. 1983, Velsen, The Neherlands): As an intern at the VetteLetters Headquarters Nick takes over the VLNL Dream Meal-projects, while Donald was too busy with cooking experiments. Nick is now working on his final project at the Willem de Kooning Academy in Rotterdam. Donald® is missing Nick very much, because he has to do now everything on his own... Hopefully Nick is returning to VetteLetters after graduating. Nick Rutte and Donald Roos together designed VLNL Dream Meal Left and Right (2011). [Google] [MyFonts] [More]  ⦿

Nico Baak

Dutch poster artist, 1892-1961. Scan of his art deco lettering poster, Verkade's Oranje Bonbons. [Google] [More]  ⦿

Nicolaas Tetterode
[N. Tetterode]

[More]  ⦿

Nicole Berbers

During her art and design studies, Nicole Berbers (Rosmalen, The Netherlands) created an untitled typeface (2014). [Google] [More]  ⦿

Nicolien van der Keur

Graduate from the Art School HKU in Utrecht. Dutch graphic designer (b. Utrecht) who graduated in 2007 from the University of Reading, with a project entitled Sirba, a Latin and Greek type family designed for dictionaries and small print documents. This typeface was published by Typetogether in 2010. They write: Sturdy and functional in the Dutch tradition---dark, warm and legible. ... Dark? ...

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

Niek Dekker

Delft-based graphic and web designer. Slides of a type presentation given in his final year at the Rotterdam University of Applied Sciences. [Google] [More]  ⦿

Niek J. van Driel
[Artware]

[More]  ⦿

Nieknique Welmer

Dutch creator, b. 1994, of the flowery hand Nieknique (2010). [Google] [More]  ⦿

Niels Visser

Graphic designer and type designer in Heemskerk, The Netherlands. Student at St. Joost Art Academy in The Netherlands. Designer of the free graffiti font Trasher2 (2005), the organic typeface Lynex (2009), the multiline typeface The Maze (2009), and some other faces shown on Behance link. Dafont link. [Google] [More]  ⦿

Nijhof&Lee

Lots of type books for sale at Nijhof&Lee in the Netherlands. In 2008, 20 years after Nijhof&Lee opened for business, Frank Nijhof died. Warren Lee continues the business alone after that. [Google] [More]  ⦿

Niko Fernandez

Brazilian art director who has worked with with Tony de Marco at Just in Type. From Brazil, he moved to Amsterdam. His typeface Concreta (2011, done with Tony de Marco) is a stencil typeface in the Bauhaus and piano key styles. It was inspired by the work of Josef Albers.

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

Nils Mork

Rotterdam-based designer of the hand-printed typeface Ruit One (2013). Behance link. [Google] [More]  ⦿

Nina Looijkens

During her studies, Nina Looijkens (Kaatsheuvel, The Netherlands) created a thin modular display typeface (2014). Behance link. [Google] [More]  ⦿

Nina Zulian

Originally from Brazil, Nina Zulian investigated type patterns for her masters in graphic design in Barcelona in 2008---she used squares and circles only to make an alphabet. Currently, she works in Amsterdam. Home page. [Google] [More]  ⦿

Ninya Zoll

Ninya Zoll (Amsterdam, The Netherlands) created Overlay (2013), a geometric typeface based on the principle of overlays of geometric solids. [Google] [More]  ⦿

Nio van der Nat

Dutch designer (b. 1994) of the elegant ribbon typeface Fold Up (2013) and of Flood Water (2014), which is named after the great flood of 1953 in The Netherlands. Dafont link. [Google] [More]  ⦿

Nitrada

Designer at FontStruct in 2008 of POSTCODE, a font based on this Dutch postage stamp by Gert Dumbar. See also here. [Google] [More]  ⦿

Nora Baltus

Dutch designer (b. 1988) who made the hand-printed faces Nb Obese and Nb Strange in 2008. Home page at Skeedio. [Google] [More]  ⦿

Novo Typo (was: Atelier van Wageningen)
[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.

Fontshop and 2Rebels sell his Gagarin family (2000), which include Anna (constructivist and unicase), Boris, Christa, Dmitri (MICR), Eleno, Fjodor, Gregor, Hektor (stencil), Igor, Youri, Leonora (with Nele Reyniers), Magda (with Nele Reyniers), Ossip and Petrov (LED simulation). As he tells it, four Russians, Gustav Klucis, Vladimir Majakovski, Alexander Rodchenko en Gregory Rasputin each had an affair with Anna Gagarin, and out of all that came forth Boris, Christa, Dimitri, Elena, Fjodor, Gregor, Hektor, Igor, Jouri, Kurt, Leonora, Magda, Nina, Ossip, Petrov, Quirina, Rudolf and Sonia.

Atelier Van Wageningen made the curly typeface HC type (2010) for packaging.

Typefaces from 2012 include NT Lucien, NT Plakaty (poster font), NT Theo, the NT Gagarin family, NT Zkumavka (rough stencil based on stencils from the 1920s in Russia; first published in 1995-2002 at Two Rebels), NT Cornelia (wood type caps), NT Novo (with Novo Alla, Bila, Cela, Dada, Enno, Fika and Gigo), Louis Douze and Therese Quatorze, Caren (a soft-edged corporate typeface for a Dutch women's organization, Vrouwen van Nu).

Typefaces from 2013: NT Guru (a layered ornamental type system), Sjiq (with a crazy roofed lower case s), and flower photographic typefaces such as Fall, Lily and Pure. Novo Typo also made several corporate typefaces.

Typefaces from 2014: NT Wolf (layered typeface), NT Yaki (hipster layered font family), NT Fest (a curly inline caps face).

Creative Market link. Behance link. Linotype link. FontShop link. Another Behance link. [Google] [MyFonts] [More]  ⦿

Ogentroost
[Diederik Corvers]

Ogentroost is the typographic wing of Dutch corporate identity designer Diederik Corvers, who is located in Dordrecht near Rotterdam, where he runs Klaar Ontwerpen.

He made these corporate identity typefaces: Thoth, Quattron, 123Interim, Ogentroost (1993-2013, an italic for posters, and an accompyanying humanist sans), Durertype Capital and Digital (1992-2012), Export (2002: a rounded stencil), Together (1997, a script), CrossWord (another stencil), Suomi (2004, an elliptical sans), Suomi Slab (2005). The Suomi Ultra weight is free.

Early typefaces include Cross (2003, a stencil type), Landvast (2006), Ogle (2006, a monospaced typeface), Oldskool Black (2007, a fat poster typeface), Paintstripper (2010, a piano key stencil face), Rule (2011, a gothic with humanist traits).

Typefaces from 2012: Ancona, Beep Beep (an experimental textured typeface), Novus (2012-2013, a didone based on the logo he made for the Dutch National Television news show Nieuwsuur).

In 2014, he published the Serious Sans, the grown-up brother Comic Sans never had. The limited character version of this font is free.

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

Olthuis
[Samisk Datautvalg]

This Dutch site contains phonetic fonts such as Cyrillic-1, PhoneticaItalic, SKTimesDictionaryItalic, STimesDictionary, SamCourierW2Normal, SamHelveticaW2Bold, SamHelveticaW2BoldItalic, SamHelveticaW2Italic, SamHelveticaW2Normal, SamTimesW2Bold, SamTimesW2BoldItalic, SamTimesW2Italic, SamTimesW2Normal [the Sam series are by Samisk Datautvalg], SkTimesDictionaryBold, TimesNewRomanPS-ItalicMT. In addition, we find Corel's WordPerfect font package: WP-ArabicScriptSihafa, WP-ArabicSihafa, WP-BoxDrawing, WP-CyrillicA, WP-CyrillicB, WP-GreekCentury, WP-GreekCourier, WP-GreekHelve, WP-HebrewDavid, WP-IconicSymbolsA, WP-IconicSymbolsB, WP-Japanese, WP-MathA, WP-MathB, WP-MathExtendedA, WP-MathExtendedB, WP-MultinationalAHelve, WP-MultinationalARoman, WP-MultinationalBCourier, WP-MultinationalBHelve, WP-MultinationalBRoman, WP-MultinationalCourier, WP-Phonetic, WPTypographicSymbols. [Google] [More]  ⦿

Omashuisje
[Jean Paul Beumer]

Omashuisje (lit. grandmother's house) is the foundry of Jean Paul Beumer, a Dutch graphic and type designer from Biervleet, Zeeland, The Netherlands, who was born in Breda in 1968. He is working on this slab serif typeface (2007).

Eastburgh (2011) is a slightly slabbed humanist sans face.

In 2012, he published the nearly monoline sans typeface family Aubaine.

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

Onderaards
[Aschwin de Hoog]

Studio Aschwin, or Onderaards, is located in Amersfoort, The Netherlands. Aschwin de Hoog and Lins van Lingen jointly run Onderaards. In 2005, they created a stencil face and a number of icons and packaged it as Survivor Pictograms.

In 2013, Aschwin created the techno stencil typeface Mekanik. [Google] [More]  ⦿

Onno Schaap

Dutch type designer born in 1971 in Voorburg. He made the spurred serif typeface Lafayette Extra Condensed (1995) at the Agfa Creative Alliance. It was based on a newspaper type called Lafayette (1932, Robert Hunter Middleton, Ludlow). Onno Seb Schaap is currently Art Director for the advertising agency Arrow, in The Hague. Font Bureau write-up. FontShop link. [Google] [MyFonts] [More]  ⦿

Otherways.nl
[Donald Roos]

Type foundry in Amsterdam, run by Donald Roos (b. Haarlem, 1978). Also involved are Jantoon Roos (Haarlem, b. 1953) and Benz Roos. Donald Roos studied type design at KABK in Den Haag. In 2008, he started up his own studio Bureau.Donald, based in Amsterdam. He created the online typographic library Typebase and is co-founder of tech-startup Triqle. Donald has been a teacher at several academies; the Willem de Kooning Academy, Rotterdam College and Fontys College. He currently teaches type design at KABK in Den haag.

Typefaces (all by Donald Roos) include LD Spaghetti (2004), LL Bint (2004, potato stamp face), LL Gaufre (2004, an "OpenPixelType"), MagGothic (in progress). They are also involved in the digitization of wood type.

In 2009, he got involved in Vette Letters, and there he published VLNL Bint, VLNL Gaufre, VLNL Knoffel, VLNL Brak, and VLNL Spaghetti Bolognese, VLNL Woodburger, VLNL Wasabi, VLNL Irish Stew, VLNL Hollandsche Nieuwe.

Typefaces by Donald Roos from 2013: VLNL Wood Burger (based on American wood type), VLN Wasabi Turbo.

Klingspor link. Behance link. Bureau Donald. [Google] [MyFonts] [More]  ⦿

OurType
[Fred Smeijers]

OurType is Fred Smeijers' web site and foundry established in 2002. The venture was started in cooperation with Rudy Geerarts of FontShop Benelux, and today also includes Corina Cotorobai. Smeijers is research fellow at Plantin Museum in Antwerp, and professor of type design at the Hochschule für Grafik und Buchkunst in Leipzig. Fred Smeijers (b. 1961) studied at the Schol of Art at Arnhem. He created the following typefaces:

  • The huge (and growing) text family Quadraat (1998-2001). It has as subfamilies FF Quadraat, FF Quadraat Sans and FF Quadraat Sans Mono, and was developed from 1997-1998 as part of the FontFont library.
  • Renard (at Enschedé, after letters by Hendrik van den Keere, 1998; see discussion here).
  • DTL Nobel (with Andrea Fuchs, 1993, at the Dutch Type Library). Not to be confused with the geometric sans family Nobel, also created in 1993, by Tobias Frere-Jones (Font Bureau).
  • Arnhem (1998-2002) and Arnhem Fine, which are historically related to the Romain du roi. These were developed in collaboration with Werkplaats Typografie (Karel Martens and Wigger Bierma)---Andy Crewdson provides an insightful discussion of it. Smeijers: Arnhem was designed in 1999 for the Nederlandse Staatscourant, the daily newspaper of the Dutch state. It can be classified as a very functional design---Arnhem has been conceived for, and does work best in large quantities of running text.
  • Fresco (1998), Fresco Sans, Fresco Condensed, Fresco Informal, Fresco Informal Sans, Fresco Script (+Sans), Fresco Plus, a work horse of a family at OurType.
  • Ludwig (2010), modeled after the 19-th century grotesks.
  • Monitor (2000-2004, a sans family at OurType). Not to be confused with earlier commercial typefaces with the same name, like Henryk Sawanda's Monitor (1975-1980) or BB&S's Monitor No. 5 (1890s).
  • Eva (2010: an informal sans, done with Merel Matzinger at OurType).
  • The sans family Sansa (2005, OurType) was followed by Sansa Slab and Sansa Soft in 2006. Sansa and Arnhem are available from FontShop since 2005.
  • In 2002, OurType created the gorgeous Custodia family for use in publications of the Custodia Foundation. The typeface is called Custodia 17 because it was inspired by 17th century Dutch styles. Peter Gabor and Jonathan Munn claim that Custodia is too close to Monotype Van Dijck. However, OurType explains that this was the intention: Its pleasantly uneven rhythm captures the not-quite-perfect lettershapes of master punchcutters working in Delft, Rotterdam, Amsterdam or Haarlem in the later seventeenth century: Christoffel van Dijck, Dirck Voskens, Johan Michael Smit, Jean Baptiste van Wolschaten.
  • Denda new (2000), a family made specially for Canon. In his book, Type Now, Fred Smeijers says: A contemporary sanserif initiated in 2000 by TBWA\Designers Company for their redesign of Canon Europe packaging. This typeface comes in four weights, in roman and matching italics: for use by Canon Europe in general publicity, manuals, and packaging. It is a custom-made design, not publicly available.
  • Puncho (2012) by Fred Smeijers is based on stencil letter punches made by S.M. Spencer of Boston.
  • Bery Roman (2012): Bery Roman is based on the stencil letters of Jean Gabriel Bery. Bery Roman is part of OurType's Stencil Fonts Series of 2012. Jean Gabriel Bery was a Paris stencil maker whose atelier was located on the Pont Notre-Dame. His work is mainly known from the stencil set he supplied to Benjamin Franklin in 1781, now at the American Philosophical Society in Philadelphia. Bery's confident sense of design and the excellent production of his stencils rank him among the best stencil makers of any period.
  • Haultin (2011) is a private, unreleased typeface that is based on renaissance types cut by Pierre Haultin. The second edition of Fed's book Counterpunch is set in it.
  • His custom type designs include bespoke typefaces and lettering for Philips Electronics, Tom-Tom, and Canon-Europe.

FontShop link.

Author of Counterpunch: making type in the sixteenth century, designing typefaces now, London, Hyphen Press, 1996, and Type Now: A Manifesto.

In February 2001, Smeijers received the (second) Gerrit Noordzij Award 2000 (an initiative of the post-graduate department Type&Media at the Royal Academy in The Hague in cooperation with the Museum Meermanno). Author of Type Now (2003, reviewed by John Berry). OurType's offices are in DePinte, Belgium.

Speaker on historical stencil forms at ATypI 2006 in Lisbon. Currently he also is professor of digital media and Dean at the Hochschule für Grafik und Buchkunst in Leipzig. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam (on Spatial relationships among 16th-century matrices (and what they tell us), a close look at surviving matrices at the Plantin-Moretus Museum). [Google] [MyFonts] [More]  ⦿

Patrick Bloom
[Illegal Industriez Design]

[MyFonts] [More]  ⦿

Patrick Bloom
[vanAllerlei]

[MyFonts] [More]  ⦿

Paul Bergman

Graphic designer in Amsterdam who made the grid-based typeface Lovelo (2014). [Google] [More]  ⦿

Paul Dijstelberge

Paul Dijstelberge (b. 1956, The Netherlands) is a book historian and associate professor for the history of the book at Amsterdam University. He also is curator at the Amsterdam Special Collections. Paul lives in Leiden.

Speaker at ATypI 2013 in Amsterdam: A fresh look at some early modern typefaces. [Google] [More]  ⦿

Paul Ijsendoorn
[Drawperfect]

[More]  ⦿

Paul Mijksenaar
[Bureau Mijksenaar]

[More]  ⦿

Paul Schuitema

Dutch designer, 1897-1973. Work with art deco lettering by him includes an ad for P. Van Berkel (1925). [Google] [More]  ⦿

Paul van der Laan
[Type Invaders]

[MyFonts] [More]  ⦿

Paul van der Laan

Dutch designer at Enschedé, born in 1972. He studied at the Royal Academy of Arts in The Hague where he graduated in 1997, and again in 2000, the second time with a postgraduate degree in typography. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Rezident. Founding partner of Bold Monday who lives in Den Haag. In 2003, he became a professor in the Type & Media program of the Royal Academy of Art (KABK) in Den Haag.

At Kombinat Typefounders, he designed Feisar (1999), a futuristic display typeface which has been extended to the multiline Feiar Express in 2008, about which he writes: Feisar Express could be called a retro-futuristic inline script typeface family. He also made Flex (1999-2000, a sans family, done for Bold Monday) and Sambasko (1998). At his company Type Invaders, he leads us through the development of the pixel font Outbox (2000). At the Enschedé Font Foundry, he is (part-time) involved in font production and maintenance of the website.

At Typotheque, he created the chess figurines (2003) to match Bilak's Fedra Sans Alt for the German Chess publisher Schachzentrale Rattmann.

He assisted Mike Abbink with FF Kievit Pro (FontFont) and codesigned FF Kievit Slab with Abbink in 2013.

At House Industries, he created Chalet Comprimé.

In 2009, he and Pieter van Rosmalen created Audi Type (via MetaDesign), which replaces the old Univers-based Audi Sans. In 2010, this type was part of the global Audi identity package that won a Gold "Corporate Design award". Other corporate typefaces were created for USA Today, NBC Universal, and Autodesk.

In 2012, a new logo and house style was unveiled for the Rijksmuseum in Amsterdam. The new typeface, named de Rijksmuseum, was specially developed for the Rijksmuseum by typographic designer Paul van der Laan. ATypI 2013 presentation about Rijksoverheid.

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

Peter Bilak

Slovakian type designer (b. 1973), who lives in The Netherlands. Bio at FontFont. Designed: FF Atlanta, FF Craft (Kafkaesque), Champollion, Collapse, Didot Sans (unpublished), Decoratica (great display font, unpublished), Desthetica (grunge, but nice!), FF Eureka, FF Eureka Sans (2000), FF Eureka Mono (2001, FontFont), FF Eureka SansCond, FF Eureka Symbols (2002), FF Eureka CE, FF Eureka Sans CE, FF Eureka Sans Office (2011), FF Eureka Mono Office (2011), Fountain Pen (free fountain pen nib dingbat font), FF Masterpiece (wacky), FF Orbital, Fedra Sans (2001, a de-protestantised version of Univers, originally a corporate font for Bayerische Rück, a German insurance company), Fedra Bitmap (2002), Euroface (1996, Typerware, a scribbly font allegedly more legible than Helvetica at 80km/h), HolyCow and The Case. Essays on typography and design. Editor of dot dot dot. He also made AccentKernMaker, a font utility. Peter Bilak now lives in The Hague, The Netherlands, at the same address as Paul van der Laan. Free dingbat font FountainPen (Mac). At ATypI 2004 in Prague, he spoke about white spaces in typography. Speaker at ATypI 2005 in Helsinki. [Google] [More]  ⦿

Peter Digstra

Dutch creator in Amsterdam (b. 1972) of the alphading Christmas ball typefaces KerstKaart (2013) and Kerstkaarten (2012).

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

Peter Korsman
[Attak Fonts]

[More]  ⦿

Peter Matthias Noordzij

Influential Dutch type designer and teacher, b. The Hague, 1961, who founded The Enschedé Font Foundry in 1991. Together with Petr van Blokland and Peter Verheul and several others, he is vaste docent in typography at the Koninklijke Akademie van Beeldende Kunsten in Den Haag. Son of Gerrit Noordzij.

He designed PMN Caecilia. In 2013, Linotype releaed Caecilia eText (larger x-height, wider spacing).

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

Peter Radix

Dutch designer of Pannetje 10 (2004), a rectangular pixel typeface (available at Dafont). Dafont link. [Google] [More]  ⦿

Peter Rahder

Peter Rahder (Emmen, The Netherlands) specializes in geometric experimental design. He created a number of circle-based gridded alphabets in 2013. [Google] [More]  ⦿

Peter Verheul

Born in Waddinxveen, The Netherlands, 1965, Peter Verheul is a type designer and educator who lives in Den Haag. He studied at KABK in Den Haag. Professor at the KABK since 1991 (and, according to many graduates, one of the best professors in the program). Designer of these fonts:

  • Haganum (Dutch serif).
  • Adetro (1987, sans).
  • Bumper (1993, comic book).
  • Illuster (1988, italic).
  • FF New Berlin (1991, hookish display face).
  • FF Sheriff (1996, Egyptian marries sans).
  • OT Versa (1993). Until 2001 it was called Nardy. Versa, Versa Sans, Condensed and Sans Condensed are now available at OurType since 2004. Versa is perhaps most famous for its use in Jan Middendorp's masterpiece, Dutch Type (2004). An adaptation of Versa was created by Verheul, in cooperation with Irma Boom, for the custom typeface of the magnificent Rijks Museum (Dutch National Museum), which houses many great Dutch paintings from the 17th century, including from Rembrandt.
  • Rosebud (1998, a modern family accompanied by ornaments).
  • Academy Letters.
  • The Clip.
  • Ornamenta.
  • KidScript.
  • Handy (handwriting).
  • Fishbone.
  • Soap.
  • Textype.
  • Rijksoverheid Serif and Rijksoverheid Sans (2008), created at Studio Dumbar for the new identity of the Dutch Government. This project was the subject of his talk at ATypI 2013 in Amsterdam. The abstract: The identities of 13 ministries and about 175 departments of the Dutch government are being redesigned into one single identity by Studio Dumbar in 2008-2010. Together with this operation a typeface family has been designed to play an essential role in this new identity. In about nine months from the start, the core of a font family had to be ready for use. Rijksoverheid Serif for logos and text, Rijksoverheid Sans for headings. Later, at the end of 2009, based on new insights, a text version of the Sans was designed plus additional Greek glyphset for all the fonts. In January 2013 the latest addition to the type family has been delivered. Discussion by Sander Baumann.

FontShop link. Fontfont write-up. Klingspor link. [Google] [MyFonts] [More]  ⦿

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

[MyFonts] [More]  ⦿

Petter Andersson

Petter Andersson is a Swedish graphic designer currently based in Amsterdam who specializes in identity, typography, web and print design. In 2011, he created the simple geometric display sans family Ekzakto. His blog. [Google] [More]  ⦿

Phoebe Dawson

Designer from Australia who now works in Amsterdam, where she became known for her Pink Ribbon Magazine, for which she also did the lettering. Behance link. [Google] [More]  ⦿

Phons Bloemen
[Capital Baseball]

[More]  ⦿

Phontphreak

Phontphreak (The Netherlands) posted his handwriting font on abf on July 9, 2003: PhontPhreak's Handwriting. This was beautified a day later by Andreas Hoefeld. Wendy Mupke (2011, FontStruct) is a starry dot matrix face. Dafont link. [Google] [More]  ⦿

Pierre François
[Roman Liturgy]

[More]  ⦿

Piet Brantjes

Dutch designer based in Rotterdam. Creator of Moeflon (2012, scribbly typeface), Spijker 08 (2008, script), Moeflon Italic (2007, scratchy script), Zebra (2007), Giraffe (2007), Mosquito (2007, a fantastic scribbly hand), Ramon (2007, an equally ingenious informal outline face), Rare Kwast (2007, brush face) and Fil Sans (2007, grunge hand).

Dafont link. [Google] [More]  ⦿

Piet van Oostrum

Computer Science researcher at the University of Utrecht in the Netherlands. [Google] [More]  ⦿

Piet Zwart

Dutch designer, b. 1885, Zaandijk, d. 1977, Wassenaar. Author of Cable Book (1925) and creator of many classic advertisements for the Netherlands Post Office (PTT). His work was influenced by Hungarian De Stijl artist Vilmos Huszar and Dutch architect Jan Wils, whom he met when he moved in 1913 to Voorbug. Wils had worked for Berlage. In 1913-1914, he studied at TU Delft and strated his career with Berlage in Voorburg. From 1919 until 1922 he worked for Wils. In 1959, he received the Quellinus Prize in typography. The David Roellprijs followed in 1964. In 2000, Zwart was posthumously awarded the "Designer of the Century" award by the Association of Dutch Designers. From 1919 until 1933 he taught at the Rotterdamse Academie van Beeldende Kunsten en Technische Wetenschappen.

Quoting Design Observer: Piet Zwart's work was multi-disciplinary and spanned the gamut of industrial design, typography, photography, and most notably graphic design. As an industrial designer, Zwart is best known for his design of the Bruynzeel modular kitchen in 1937, which is still available today. As a graphic designer, the work he produced for Nederlandse Kabelfabriek Delft (Dutch Cable Factory in Delft) and Dutch Postal Telegraph and Telephone Company (PTT) is arguably among the best known Dutch graphic design of the 20th century. His graphic design work clearly shows the influence of Constructivism and, though he was not a part of the De Stijl, his work reflects elements of this movement. Recurring themes are the use of repetitious patterns, lines, circles, primary colors, photomontage and explorations of experimental typography.

Examples: Toneel Wij Nu, 1925, Kataloog PTT, 1924, Nutter margarine inpakpapier, 1923.

Type revivals of Piet Zwart's typefaces include

  • Trio Grotesk (2012, Florian Schick at Bold Monday), a rounded sans family. It revives Zwart's Kaart Antieke from 1909.
  • Rubber Vloeren (Ian Lynam, Wordshape). A geometric display typeface adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring.
  • Zoa Wassenaar (2013, David Rudnick).
[Google] [MyFonts] [More]  ⦿

Pieter Adrianus Hendrik Hofman

Dutch poster artist, 1886-1965. Posters with art deco lettering by him include Hygiene Tentoonstelling (1920), Tentoonstelling Haagsche Kunstkring (1925), Nederlandse Jaarbeurs Utrecht (1930) and Haagsche Kunstkring (1931). [Google] [More]  ⦿

Pieter Omvlee
[Bohemian Coding]

[More]  ⦿

Pieter van Rosmalen
[Bold Monday]

[MyFonts] [More]  ⦿

Pieter van Rosmalen
[Cake Type]

[MyFonts] [More]  ⦿

Pim Kerssemakers

Dutch creator of the outline typeface Kersse (2012) and the prismatic octagonal typeface Prismakers (2012).

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

Pim Pootjes

Dutch designer (b. 1922) of the (art deco, monoline) Pootjes Glass typeface, which was used in the 50s and 60s in The Netherlands to adorn glass plates in shop windows. The Pootjes company became De Haan in 1980. [Google] [More]  ⦿

Pim Rakers

Dutch graphic designer (b. 1985) from Enschede (the city, not the foundry) who studies at the University of Twente. Alternate URL. Working on this grunge face. [Google] [More]  ⦿

Pim Rietbroek

Dutchman who resides in Leiden. Creator of the free Trimalchio font (Mac only). He writes: "It tries to resemble a capitalis rustica, although it is not as beautiful as the one found in the MediceusVergil." [Google] [More]  ⦿

Pim Waalen

Pim Waalen (b. 1993) is a graphic design student in Eindoven, The Netherlands. He created the Lomo typeface in 2011. In 2012, he added the headline typeface Autumn. [Google] [More]  ⦿

Pixel Ambacht
[Roel Nieskens]

Dutch site mainly concerned with font technology. Interesting sub-pages:

  • An article on multicolor fonts.
  • An article on multicolor icons.
  • An article on an 8-bit multicolor font, Compyx, developed by the writer, and freely available for download. It harkens back to the original pixel fonts that hackers used to love---Compyx is the name of a famous Commodore 64 graphician. It is a three-color font created in a scalable manner by a very clever hack: We have four SVG files per character, each file representing one color. We're going to use Fontlab's TransType 4 to create the multicolor font, but TransType can't work with a bunch of SVGs. It takes regular singlecolor fonts, and allows us to overlay and color them, and export them as a multicolor font. So, first we need to create four regular fonts, each one containing all the characters belonging to the same color layer. Since I don't need control over typographic details like kerning or hinting---Compyx is a lot simpler in design than a proper typeface like Helvetica---I simply used trusty old Icomoon. We import all characters belonging to the same color layer, and turn those into a regular TTF. You'll end up with four files: font-color1.ttf, font-color2.ttf, font-color3.ttf and font-color4.ttf. We can then fire up TransType 4 and import all four fonts. TransType allows you to overlay these fonts and give each layer a color, creating basic multicolor fonts. We do this with the method "Overlay fonts", which allows us to determine the order and color of each layer. When everything looks good, we export the combined font with the Opentype TT settings. You'll end up with font files for three of the four proposed formats. We now have true multicolor fonts! Now, for the last step we take the rather big TTF font (628Kb in the case of the Compyx font) and crunch it to a more reasonable 104Kb WOFF file. I used the sfnt2woff tool for this.
[Google] [More]  ⦿

Pokemon Paranoia
[Edwin van de Beemt]

Edwin van de Beemt (Pokemon Paranoia) is the Dutch creator of the runic/futuristic Annon. Aka Corey Jones. [Google] [More]  ⦿

Polka Design / Letterfontein
[Joep Pohlen]

Polka Design is a Dutch book design, graphic design and publishing house, run by Joep Pohlen, Dennis Schmitz and "Egor". Joep Pohlen (Roermond) and Geert Setola published Letterfontein (1994). Joep writes: We printed about 15,000 copies. In 2002 I began rewriting and expanding the book. Geert Setola did not take part anymore in this huge job where the content went from appr. 15,000 words to 150,000 words. The first Dutch print in november 2009 was sold out in a couple of weeks and in march 2010 the reprint appeared. In 2010 Letterfontein got also a red dot award and a certificate for high design quality form the Type Directors Club New York (TDC). It took about a year to get it well translated in the different languages for Taschen Publishers. For the English version we asked John A. Lane to proofread it. For the Spanish version Albert Corbeto did the proofreading. So, the other language versions: Letter Fountain (2011), Fuente de Letras (Sp), La Fontaine aux Lettres (Fr) and Letterfontäne. A new edition appeared in 2011.

In 2013, Pohlen designed Calypso PF, a free version of Roger Excoffon's Calypso, ad quite different from all existing digital versions. He explains: Most of the typefaces ever made have been digitized. Calypso was no exception. I found and downloaded Calypso Boy from Scootergraphics (digitized by Marty Pfeiffer, 1997) and Calypso by Profonts (digitized by Ralph Michael Unger, 2005). Ralph Michael Unger has added numerals, a question mark, an exclamation mark, ligatures and a lot of other useful characters, making it a complete digital font. By comparing the capitals I saw that they where quite different and it seemed to me that they were based on the Calypso silkscreen-printed rub down Letraset version because the dots were not round like on the original drawings I had seen in several publications and advertising for this typeface. Of course the original drawings were also not exactly the same as the metal type. As earlier written the punches that were cut by the Benton pantograph were retouched and because of that there were differences compared with the original drawings. So the final design had to be found in the actual cast type. I went looking for this type and found the site of D. Stempel GmbH that got the original matrices of D. Stempel AG and all the takeovers Stempel made during their existence. One of them was Fonderie Olive. I ordered a set of newly cast type from the original Olive matrices and found out that it was indeed quite different from the digital fonts that I bought. At that time Marjolein Koper was working as an intern at our design studio Polka Design and I asked her to digitize Calypso. The result was better than the fonts I bought but still I was not satisfied. After she came back to work at our studio on a steady base we photographed the metal type with a Micro Nikkor on a D800 to get the sharpest enlargement we could get. With this pictures Marjolein established the exact angle of the grid and we decided to begin again from scratch. Although it still is not an exact reproduction of the original metal type it has more detail and it can match almost the big reproductions seen in the first advertising in the French printers yearbook Caractère Noël 1957 and recent publications with original drawings.

Letterfontein link. [Google] [More]  ⦿

PRAGMA ADE
[Hans Hagen]

Based in Hasselt, The Netherlands, this is an advanced document engineering company, dealing with metapost, PDF, postscript, TEX, metafont, and professional typesetting in general. Led by Hans Hagen and Ton Otten. Publishers of PDFTEX. ConText is TEX macro package. METAFUN is a manual related to Metapost. [Google] [More]  ⦿

Printer.com: most economical fonts

Dutch page in which the ink cartridge costs are calculated for ten popular fonts. The famous Ecofont got actually beaten by Century Gothic. The table:
Position   Font  Size  Coverage  Annual costs (private)  Annual costs (business)
1 Century Gothic 10 2,96% 36,82 161,64
2 Ecofont 10 3,17% 39,43 173,11
3 Times Roman 11 3,25% 40,43 177,48
4 Calibri 11 3,44% 42,79 187,85
5 Verdana 10 3,89% 48,39 212,43
6 Sans Serif 11 4,38% 54,48 239,19
7 Trebuchet 11 4,43% 55,10 241,92
8 Arial 11 4,47% 55,60 244,10
9 Tahoma 11 4,68% 58,21 255,57
10 Franklin Gothic Medium 11 4,97% 61,82 271,40
[Google] [More]  ⦿

Radim Pesko
[RP]

[More]  ⦿

Rain Tea

Dutch creator of the pixel typeface Rain Tea (2010). [Google] [More]  ⦿

Rainbow Dudes

Dutch creator (b. 1998) of Rainbow Bitch (2013, curly hand). [Google] [More]  ⦿

Ralf Herrmann
[Traffic Sign Typefaces: Netherlands]

[More]  ⦿

Ramiro Espinoza
[De Amsterdamse Krulletter]

[More]  ⦿

Ramiro Espinoza
[Re-Type]

[MyFonts] [More]  ⦿

Raoul Droog

During his studies at the Willem de Kooning Academy in Rotterdam, Raoul Droog created the octagonal typeface Bentuk (2013). [Google] [More]  ⦿

Raymond Brekelmans
[Fontoville (was: Fresh Media)]

[MyFonts] [More]  ⦿

Regular Bol Italic
[Timo Kuilder]

Dutch graphic designer in Amsterdam who ran Zwarte Koffie. He made Atlas (a connected cursive font), Broken Records (2011), Bada Bing (2010) and Bigmouth (2010).

In 2012, Timo created Albatross, a blackboard bold typeface family with two weights, and Zebra.

In 2013, Timo Kuilder and Jeffrey Schreiber founded the commercial typefoundry Regular Bold Italic. Kuilder designed the sans typeface Mohawk and the display typeface Iceberg in 2013.

In 2014, Timo created the stencil serif Barbour, and the sans display typeface Arkiv for Latin and Cyrillic.

Behance link. Fontspace link. Klingspor link. Old home page. [Google] [More]  ⦿

Regular Bold Italic

Commercial typefoundry run by Dutch graphic designers Timo Kuilder and Jeff Schreiber (Eindhoven). Their initial fonts in 2013 include Lucien, Zebra, Gringo, Fat Frank, Atlas, Razor, Stackbill, Albatross, Bigmouth and Bill Money.

Behance link. [Google] [More]  ⦿

Reitse van Mourik

Graphic designer in Breda, The Netherlands. Creator of the compass-and-ruler typeface Nova (2013).

Behance link. [Google] [More]  ⦿

Remco Van Bladel

Dutch artist and graphic designer in Amsterdam, who created the free thread-and-needle font Zang (2007), created originally for the Spanish magazine Neo2. [Google] [More]  ⦿

Remco van Dun

Graphic designer in Tilburg, The Netherlands. Creator of some experimental typefaces, that can be viewed at Behance. [Google] [More]  ⦿

Remko Siemer
[Viernulvier]

[More]  ⦿

Remon Lammers
[TrueFont Family (or: TFF)]

[More]  ⦿

René Crol

Free fonts made in 2008-2010 by Dutchman René Crol: 4DOGS, ANTY, BANAAN, BLOESEM, BRETAGNE, BUIS, CHIP KNIP (heavy stencil), CHRIS BOX (alphadings for Christmas presents), CHRIS BOX ARRE, CHRISMAS3, CLIPSART, CROL, FLOWERcomic, FRIET, HAPPYdave, KEVER, KNIJPER, LUSIVERS.-NL (letters made from matches), PEAR (alphadings), PIJL (arrow-based letters), POTLOOT, SCHROEF, Singel BEL (great high-contrast curly face), TREIN (trains), WODENBLOCKS (sic). [Google] [More]  ⦿

René Knip

Dutch type designer. Jan Middendorp wrote A.R.K. Ten Years of Type Related Projects 1994-2004 (2004), summarizing Knip's work at Atelier René Knip, mostly experiments in type design. Knip (b. 1963) is a graduate from the St. Joost Academy in Breda. Since the 1990s, Knip has operated a design studio in Amsterdam, Atelier René Knip.

Recently, Knip and his brother Edgar formed a new company, Gebroeders Knip, which produces furniture and accessories in which letterforms are integral parts of the objects design.

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

In October 2012, Knip and Hahn cofounded Arktype. [Google] [MyFonts] [More]  ⦿

René Verkaart
[Characters]

[MyFonts] [More]  ⦿

Renee Jasperse

During her studies, Renee Jasperse (Heerhugowaard, The Netherlands) created Guggenheim (2014), a typeface that is based on the architecture of Frank Gehry's Guggenheim buildings. [Google] [More]  ⦿

Rens de Groot

Rens de Groot (Revolving, Amsterdam) made the geometric multiline typeface Lineatype (2011). It is based on a 32 x 24 grid. This grid is divided into 12 blocks. Each 8 blocks wide by 8 blocks high. The use of 9 lines per stoke is due to this grid. Free download. [Google] [More]  ⦿

Rens vanden Berge

Dutch designer at Attak Fonts of AT Hide and Seek (2006). [Google] [More]  ⦿

Retrotypology
[Sander de Voogt]

DSander de Voogt researches art deco type in The Netherlands and elsewhere, and gives s an overview of the work of Nick Curtis. [Google] [More]  ⦿

Re-Type
[Ramiro Espinoza]

Argentinian designer Ramiro Espinoza (b. Santa Fe, 1969) dabbled in fonts at his gorgeous (but now defunct) Jazz Futurezone site. His current company is Re-type, where he heads a group of designers including Yomar Augusto, Leo Beukeboom and Ricardo Rousselot. Ramiro graduated from Universidad del Litoral (Santa Fe), and from the Type and Media's KABK (Den Haag) in 2004. He taught typography at the Universidad Nacional del Litoral, Universidad de Buenos Aires and the Escola d'Art i Superior de Disseny in Valencia, Spain. At FontShop International, he was in a team that converted more than 50 font families to OpenType. He freelances occasionally for David Quay's studio. He is currently located in Amsterdam. His typefaces:

  • Mabella (2001), a free font dedicated to the Argentinian feminist activist Mabel Bellucci. It was for some time available at Sudtipos but discontinued there. It is still at Dafont.
  • Bellucci (2008), a commercial redesign of Mabella.
  • The display font Mariabrug (2002). This too is no longer available--it was redesigned and marketed as Kurversbrug, one of the ReType's fonts. Kurversbrug (2007) is a revival of the famous letters appearing on Amsterdam's bridges: the letters were probably designed by Anton Kurvers (b. Den Haag, 23 July 1889; d. Amsterdam, 29 January 1940).
  • At Union Fonts: Lula (2002-2003).
  • Maitena (2003), a free font based on the hand of an Argentinian comic artist, Maitena Burundarena.
  • Lavigne (2004-2010): Lavigne Display is the first release of a type-family aimed at publications such as interior design and women magazines-anywhere a touch of distinction is to be desired. Lavigne Display won an award at TDC2 2010. Lavigne Display and Lavigne Text (a modern serif family) were both winners at Tipos Latinos 2010.
  • Tomate (2008) is a brush lettering / signage script font influenced by Goudy Heavyface Italic. It won an award at Tipos Latinos 2010.
  • Barbieri (2009) is a signage face.
  • Work on Severino (2004) has been abandoned.
  • Smidswater Italics (2009): Smidswater is a Dutch graphic design studio with offices in The Hague and Breda. They had a corporate font (designed by Paulus Nabbe and Onno Bevoort) but wanted to expand the package adding italics and light weights. Ramiro Espinoza was commissioned for this and now Smidswater Font is a complete set extensively used in the studio's indentity.
  • Bath (2010-2011) is a Dutch typeface developed with David Quay for the signage and orientation in the city of Bath.
  • Winco (2012) is a glyphic (flared, incise) type family created from scratch. Espinoza mentions Arpke Antiqua and Globus Cursive as indirect influences on his new type family. It won an award at Tipos Latinos 2012.
  • Krul (2012) is an interpretation of the Amsterdamse Krulletter style of calligraphic signage. This was presented at ATypI 2013 in Amsterdam. A book entitled Amsterdamse Krulletter by Rob Becker and Ramiro Espinoza will be published by Lecturis.nl in 2014.
  • Dulcinea (2012), a chancery / penmanship typeface. He writes: Dulcinea looks at Spanish Baroque calligraphy's most extreme tendencies, and especially at some of those produced by the writing masters Pedro Diaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th century alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled Arte Nueva de escribir(first volume published in 1616) contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque.
  • Medusa (2013) is a delicate copperplate penmanship script based upon renowned master Ramón Stirling. Helped in the type production by Paula Mastrangelo, Ramiro looked very carefully at the original manner in which glyphs connected. This typeface will win awards. Well, I wrote the previous sentence on the day I first saw Medusa. In January 2014, I learned that it had won a TDC award. In March 2014, it won an award at Tipos Latinos 2014.
  • Laski Slab, codesigned with Paula Mastrangelo, won an award at Tipos Latinos 2014. It is based on Paula's thesis work in 2012.

MyFonts interview in 2012.

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

Richard de Ruijter

Dutch graphic designer at Hagenaar Reclame who lives in Hardinxveld, The Netherlands. He created the arts and crafts typeface Brazil (2011). His Tikal typeface (2012, inspired by the Inca culture) can be bought at Ten Dollar Fonts.

Behance link. [Google] [More]  ⦿

Richard Keijzer
[Fontenwerkplaats]

[More]  ⦿

Richard Schonegevel

Richard Schonegevel (Happy Lucky Fun Studio, Amsterdam) created an ornamental caps typeface called Amsterdam in 2013. This work was inspired by the iron work details found on the city's early modernist bridges and buildings.

Behance link. [Google] [More]  ⦿

Richard van Horssen

Dutch guy, b. 1993, who "made" the Peignot-style typeface Long Time (2009) and the outline typeface Antwerp (2012).

Dafont link. [Google] [More]  ⦿

Rick van Rein
[KIX]

[More]  ⦿

R.J. van der Kaaij

Dutch designer in Rotterdam, b. 1987. Designer of the monoline octagonal typeface EUnity (2012). [Google] [More]  ⦿

Rob Becker

Born, in 1965, bert is a photographer and graphic designer. Coauthor with type designer Ramiro Espinosa of Amsterdamse Krulletter (2013). Speaker at ATypI 2013 in Amsterdam where he explains: This book by Rob Becker and Ramiro Espinoza will explore and illustrates the origins of the exuberant lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorates many traditional 'brown bars' of Amsterdam. Although there are still numerous examples of this style scattered through some of the most beautiful Amsterdam's districts, many have been destroyed and with the almost complete extinction of the sign-painting profession, the survival of the "Krulletters" is certainly under threat. The aim of the book is to document the "Krulletters" in its present state and to highlight the cultural relevance of lettering in the construction of Amsterdam's identity, in the hope that this will lead to a renewed interest in it and a continuation of the tradition. [Google] [More]  ⦿

Rob Deurenberg

Rob Deurenberg (b. 1973) is the Amsterdam-based designer of Lalouzz (2012, a fat brush typeface).

Dafont link. [Google] [More]  ⦿

Rob Irrgang
[Twisted Type (or: Unlinear, Subdue.com)]

[More]  ⦿

Rob Janssen
[Yoozer]

[More]  ⦿

Rob Mientjes

Dutch graphic and type designer in Den Haag, where he studies at the KABK. He is contributing to the open source font project Open Baskerville (2009). [Google] [More]  ⦿

Rob Stolte

Dutch typefounder at Autobahn (Utrecht, The Netherlands), b. 1981. The Alphabet in stone typeface by Dom Hans van der Laan, a Dutch monk who lived from 1904 until 1991, was digitized in 2011, and the project can be seen here. Contributors include Willem Noyons, Maarten Dullemeijer and Rob Stolte. This typeface is based on the proportions found in Trajan. [Google] [More]  ⦿

Rob Verhelst

Den Haag-based designer (b. 1963) who created the tattoo parlor typeface Tattoo Heavy (2010). Home page. [Google] [More]  ⦿

Robert A. Paauwe

Rotterdam-based interaction designer. Student at the Delft University of Technology who is researching designer-oriented programming languages and paradigms. Creator of the free avant garde monoline typeface Thesis (2012). In 2014, he designed the glass krak typeface Polygon.

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

Robert Fortanier

Dutch designer of the pixelish typeface Blocks (2012). [Google] [More]  ⦿

Roberto Dias da Silva
[Deconditoned Reflex (drx87)]

[More]  ⦿

RoboFog

A type design script language, available From Buro Petr van Blokland + Claudia Mens. Robofog, developed by Petr van Blokland with Just van Rossum and Erik van Blokland (The Netherlands) is a script program to be used with Fontographer, based on the program language Python. It enables type designers to script and pre-program their actions in Fontographer. Alternate URL. [Google] [More]  ⦿

Robothon 2012

Erik van Blokland's brainchild. Robothon 2012 took place at the KABK in Den Haag, The Netherlands, from March 8-9, 2012. Paul van der Laan wrote: This year we're proud to announce an international range of speakers, the new UFO 3 format, amazing new tools and ideas. Robothon is a great opportunity to hang out with your colleagues from around Europe, meet the TypeMedia crew, and see the Gerrit Noordzij Prize exhibition and seminar dedicated to Wim Crouwel.

Speakers included Tal Leming (TypeSupply), Frederik Berlaen (RoboFont), Erik van Blokland (LettError), Yanone (SpeedPunk), Miguel Sousa (Adobe), Frank Griesshammer (Adobe), Petr van Blokland (Buro Petr van Blokland + Claudia Mens), Ben Kiel (House Industries).

Video presentations. [Google] [More]  ⦿

Roel Koster
[Koelooptiemanna Productions (was: KosteX)]

[More]  ⦿

Roel Nieskens
[Pixel Ambacht]

[More]  ⦿

Roeland Fokker

Utrecht, The Netherlands-based creator of Pencil Font (2013). Behance link. [Google] [More]  ⦿

Roelant van der Munnik

Dutch designer, born and raised in Alkmaar, The Netherlands, who is working on some calligraphic scripts (2006). [Google] [More]  ⦿

Roelof Mulder

Dutch designer (born 1962) of Offline (1998) at FontFont.

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

Roger Huskens

Roger Huskens' graphic design company in Maastricht, The Netherlands, is called Roger Huskens & Hotskipotski. He created the geometric sans caps typeface Roger Sans in 2013.

In 2014, he designed the counterless typeface Bureau Babel. Behance link. [Google] [More]  ⦿

Roger Teeuwen

Dutch graphic designer of these typefaces: NET-regular (2002, connected dots, almost stitched), RANDOM (2003, a dot matrix font commissioned by the Piet Zwart Institute Rotterdam), SCORE (2003, pixel face), Antwerp (2003, letters are like in the train stations in Belgium), Drup and Drup Cursief (2006, experimental multi-line face). Based in Rotterdam, where he teaches at the Willem de Kooning Academie. [Google] [More]  ⦿

Rogier Hendriks

Rogier Hendriks (HERO DC, Rotterdam) is a Dutch graphic designer. He created the techno typeface Synth (2011). [Google] [More]  ⦿

Rogier Henkelman

Dutch illustrator, b. 1990, who also uses the alias Akira Shimada. Designer of Digital Handwriting (2005, graffiti face) and foo (2004). [Google] [More]  ⦿

Rogier van der Sluis

Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen, Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. At Geen Bitter, Rogier van der Sluis published two commercial typefaces:

  • Cramp (2012). A casual hand-printed typeface.
  • Herman (2013). An elliptical monospaced signage typeface family with possibilities of layering and shadow effects. It is quite attractive and one of the finest typefaces in its genre.
[Google] [More]  ⦿

Roland Maas

In 2014, Roland Maas (Amsterdam) created the snake-themed decorative typeface Snakes. Behance link. [Google] [More]  ⦿

Rollergirl
[Jacques Borel]

Swiss outfit now located in Amsterdam, est. 2003 by Jacques Borel and Harry Bloch, two Swiss graphic designers who graduated from ECAL, the University of Art and Design, Lausanne. At Fontnest, one can ogle their font creations: Pink (semi-stencil), Planp (Swiss sans), Franks (rounded sans headline), and Rudolf (rounded sans with fill-in bowls). [Google] [More]  ⦿

Roman Liturgy
[Pierre François]

Pierre François (who runs Roman Liturgy and lives in Amsterdam) made a 4-symbol font for religious documents, which he called Liturgy (2003). Since his download buttons do not work, here you have the TTF file, the PFB file and the AFM file. [Google] [More]  ⦿

Ronald Hagenstein

Graphic designer in Rotterdam, The Netherlands. The vector format unicase typeface Count Font (2013) is custom designed for the consultancy agency Count & Cooper.

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

Ronnie Olsthoorn
[Skyraider's 3d aviation art]

[More]  ⦿

Roos Schreuder

Dutch art director in Amsterdam. Behance link. Creator of an experimental geometric font in 2010. [Google] [More]  ⦿

Roos van Keulen

Rotterdam-based designer of a rubber-band-based alphabet called Facade (2013). [Google] [More]  ⦿

Rosalie Haasjes

Rosalie Haasjes (aka Roos Zeebodem) is into typographic experiments. She created Hexa (2009). [Google] [More]  ⦿

Roy Wolfs

Dutch creator of the ultra-fat HowSquarecanyouget? (2006). [Google] [More]  ⦿

RP
[Radim Pesko]

RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in Amsterdam. He is a regular contributor to various publications including Dot Dot Dot magazine. He currently teaches at Rietveld Akademie in Amsterdam and co-guides a project for ECAL/University of Art and Design in Lausanne. His creations:

  • Boymans was originally designed in 2003 as part of the identity developed by Mevis & Van Deursen for Museum Boijmans van Beuningen in Rotterdam. Its primary inspiration was the typeface designed by Lance Wyman for the Olympic Games in Mexico City in 1968. Boymans responded to the identity's need for a flexible as well as playful design. Designed in ten weights, each font has three versions: single line, double line, and triple line. By combining, layering, or coloring these versions, Boymans can generate an endless number of variations.
  • Correspondance: a reconstruction from memory of the typeface created by Adrian Frutiger for the Parisian Metro signage system. Its shapes might resemble those of Frutiger's famous typeface Univers.
  • Dear Sir / Madam.
  • F Grotesk, in 3 weights.
  • Fugue (2010, 2 weights): Fugue was originally designed for Wonder Years, a book published in late 2008 by Roma Publications to mark the tenth anniversary of the Werkplaats Typografie in Arnhem. It contains genetic material of Paul Renner.
  • Larish Alte (2006) was originally designed for the identity of the contemporary art space Secession in Vienna. Its primary inspiration was a series of prints designed by Rudolf von Larisch and published at the turn of 20th century. Larish Alte is not available for licensing.Larish Neue is a by-product of Larish Alte. This version resulted from an attempt to create a contemporary looking typeface with the DNA of the original. Larish Neue is available in a single weight. Its cursive is in process and is expected in 2010.
  • Lyno (2012). A straight-edged experimental typeface.
  • Mercury: Conceived in 2001, this is an easy-going rounded monoline family.
  • Mitim: a family of fonts characterized by its triangular serifs, developed in collaboration with Louis Lüthi and Stuart Bailey. Mitim is a work in progress exclusively designed for Dot Dot Dot magazine and is not available for licensing. It has many dingbats.
  • Septima, a typewriter or monoline face, has asymmetrical letter forms that are individually adjusted---according to the space they occupy in a glyph window---in order to achieve equal tone of letter as well as to create highly recognizable forms for each character. Septima is a monospaced font available in a single weight supporting twenty-three Latin and five Cyrillic languages. Septima Cyrillic was developed in collaboration with Roman Gornitsky.
  • Sol (2004), an octagonal face.
  • Specta. Custom font for the Eastside Projects of Birmingham. Used in BBC headlines. Not for sale.
  • Union is a synthesis of Arial and Helvetica.
[Google] [More]  ⦿

Ruben Beekman
[Rubens Homepage]

[More]  ⦿

Ruben Bos

Dutchman who used Fontifier to design the handwriting typeface Handschrift (2004). [Google] [More]  ⦿

Ruben Koops

Dutch designer of the hand-printed typeface Ruben Koops (2013). [Google] [More]  ⦿

Rubens Homepage
[Ruben Beekman]

The font Stripes was made by 15-year old Ruben Beekman in the Netherlands. [Google] [More]  ⦿

Rudo Hartman

Dutch book designer (b. 1945) who graduated from the KABK in the 1960s. He designed a roman all caps typeface in the 80s and 90s, which was digitized by Jacques Le Bailly in 1998 as Rudeaux Deluxe. A sample is on page 301 of "Dutch Type" by Jan Middendorp. [Google] [More]  ⦿

Rudy VanderLans

Born in Voorburg, The Nerherlands, in 1955, Rudy VanderLans is the co-founder in 1984 of Emigre, a digital type foundry and publisher of graphic design related software and printed materials based in Northern California. At Emigre, he designed Variex (1988, a monoline geometric face), Suburban (1993), and Oblong (1988). Interview. Another interview. [Google] [MyFonts] [More]  ⦿

Rutger Paulisse
[GWER]

[More]  ⦿

Rutger Paulusse

Dutch designer at Attak Fonts of AT Discipline (2008). He also made Wakito (2010). [Google] [More]  ⦿

Rutmer Zijlstra

Rutmer Zijlstra (b. 1981), who runs Rutmer Design in Groningen, The Netherlands, created Rutmer Hand (2010).

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

Ruud van den Elzen

Influenced by the helix structure, Biohack is a typeface made in 2014 by Dutchman Ruud van den Elzen (b. 1987), aka De Jonge Kapitein. Dafont link. [Google] [More]  ⦿

Ryan Pescatore Frisk
[Strange Atrtractors Design]

[More]  ⦿

RZ Design

Zoetermeer, The Netherlands-based designer of the sketchy 3d typeface Doodly (2010). [Google] [More]  ⦿

Sami Kortemäki

Finnish designer (b. Kerava, 1975) of FF Nelio (2001, a stitching family in 14 styles), who lives in Helsinki, where he works as a graphic and typographic designer. He codesigned all Underware fonts: Dolly, Bello, Sauna (2002), Liza (2009), Auto (1, 2 and 3) (2004-2014), 2 and 3), Unibody 8 and Fakir. In fact, Sami cofounded Underware with Akiem Helmling and Bas Jacobs in The Hague and has recently worked with DTL (Dutch Type Library). Brief CV. He was a student at the Lahti Polytechnic/Institute of Design (1995-2001). MyFonts site. FontShop link. MyFonts link. [Google] [MyFonts] [More]  ⦿

Samisk Datautvalg
[Olthuis]

[More]  ⦿

Samuel Louis Sem Hartz

Dutch designer at Johan Enschedé en Zonen in Haarlem, whose work was also published by Stephenson Blake and Linotype. Born in Leiden in 1912, he died in Haarlem in 1995. He studied at the Academy of Fine Arts in Amsterdam, specializing in engraving. He joined Enschedé in 1936 where he would become art director. He made Juliana (Linotype, 1958; the original commission by Walter Tracy dates back to 1952; many penguin editions used Juliana), Emergo (1949, Enschedé, a typeface that was never released; he wrote The Emergo Type in PAGA, volume 2, number 3, pages 57-60, 1954), Molé Foliate (1960, see below) and Ponture (1971).

Lines&Splines reports the famous line by Hartz about Jan van Krimpen, his predecessor at Enschedé: the story of Van Krimpen's life could be subtitled, From Angry Young Man to Angry Old Man (note: Van Krimpen did not get along with many people.) Molé Foliate is a great floriated caps font designed by the Parisian founder Molé, with floral decorations inside the open typeface 3d letters. Redrawn in 1960 by Hartz at Stephenson Blake. A free digital version, Molé Foliated, was made in 1997 by an unknown designer.

In 2006, Mathieu Lommen published Sem Hartz and the Making of Linotype Juliana (Inferno Press, Vancouver). Digitizations of Juliana include Juliana Text by David Berlow at Font Bureau.

A collection of Hartz's correspondence and prints (from his own press, Tuinwijkpers) can be found at the University of Amsterdam. He also designed some Dutch postage stamps. [Google] [MyFonts] [More]  ⦿

Sander Baumann
[designworkplan]

[More]  ⦿

Sander de Voogt
[Dutch Deco Type]

[More]  ⦿

Sander de Voogt
[TypExpo]

[More]  ⦿

Sander de Voogt
[Retrotypology]

[More]  ⦿

Sander de Voogt
[Nick Curtis]

[More]  ⦿

Sander Kessels
[Lollibomb (was: Crejaculations)]

[More]  ⦿

Sander Neijnens
[Letterbeeld]

[More]  ⦿

Sanne Drieenhuijzen

During her graphic design studies in Eindhoven, Sanne Drieenhuijzen created the typefaces iPhone Font (2013), Script (2013), Eindhoven (2013) and Lectric (2013, neon light font). [Google] [More]  ⦿

Scaramanga Productions
[Hans De Bisschop]

Designer of Scara Conquers the Universe (2006, sans). Alternate URL. [Google] [More]  ⦿

SchickFonts
[Florian Schick]

Florian Schick (b. 1982) is a German graphic and type designer who lives in Den Haag. He studied communication design at the Royal Academy of Art Den Haag and the University of Applied Sciences and Arts Hannover. He finished the Typemedia program at KABK in 2011.

Since 2006 he has been working as a freelance designer and founded his typefoundry Schickfonts in 2008. He works for his own clients as well as for graphic design studios like Bold Monday, Treibwerk or Die Typonauten. His focus is on the fields of typedesign, corporate and editorial design. SchickFonts, operated out of Hildesheim, Germany, and is now located in The Hague.

Codesigner at The Typonauten (based in Bremen) of the brush font series B-Movie Retro (2007, with Ingo Krepinsky and Stefan Kroemer).

At SchickFonts, he made the blackletter family Authentic Ink (2008), as well as B-Movie Retro and B-Movie Splatter.

At KABK, he created the Mag Grotesque type family, which features 15 styles from Bold Extended to Thin Condensed. In 2012, he started the design studio Schick Toikka in Berlin with Lauri Toikka.

At Bold Monday, he published the rounded sans typeface family Trio Grotesk (2012). He writes: Trio Grotesk is Florian Schick's personal interpretation of Kaart Antieke---an early 20th century sans serif [909, to be more precise] used by Piet Zwart in his famous, yet never officially published essay about modern typography called "Van oude tot nieuwe typografie".

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

Schrijfletter Excelsior

A connected formal script developed by Lettergieterij Amsterdam. [Google] [More]  ⦿

Sebastien Bruggeman

Dutch author of Hello Chinese (Acco). He has a sub-page on Chinese fonts, and lots of links related to Chinese input, and unicode fonts for Chinese. [Google] [More]  ⦿

Selina Huber

Marina aka Selina Huber grew up near Pula in Croatia, and applied graffiti on cows and sheep as a youngster. She is now based in Zagreb and Amsterdam. Behance link.

She designed the Kanzlei typeface Son of Bach (2012), which permits layering. [Google] [More]  ⦿

Serdar Aslan

Creative artist in Den Haag, The Netherlands. Behance link. Creator of the octagonal Netherlands Typo (2009). [Google] [More]  ⦿

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

Shamfonts (was: Shamrocking and before that, Kingotype) is a Dutch outfit with some shareware fonts (Shamcil 002, 003 and 004 (a stencil font family), Shambell Raster, Shamlock, Fruit For Ears, Franklin Euro, Shample01, Square Roque, BG Pi, Gothic Ball Crap (blackletter), Heineken, Putain, Shamhand01, Digi, Judas, Communist (1993), Kijkwijzer, BG-Pi, BigTop (Tuscan), Woody, Shamrod, Shamools (funny faces)) and some commercial fonts (KissinCousins, Spinout, Spinoff, GIBlues, KingCreole, Kingu-San, HarumScarum, Firsty). The designer is Jeroen Klaver.

Alternate URL. Kernest link. Font Squirrel link. Dafont link. Old URL. [Google] [More]  ⦿

Shinji Pons

Graphic designer in Amsterdam who designed the octagonal typeface family Gridlock (2013).

Behance link. [Google] [More]  ⦿

ShowMeWare
[Jeroen Leupen]

Original freeware designs by Marc Nijborg and Jeroen Leupen who studied at the Royal Academy of Arts in The Hague. Mac fonts only. Included are IggyPiggy, 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]  ⦿

Sibe Kokke
[Type Generator]

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Sieb Boxmeer

Owner of the graphic design company Sieb Design, Dutchman Sieb Boxmeer created the hand-printed Bottenbreker TV (2008), named after a TV program in The Netherlands, Brute Bottenbreker. [Google] [More]  ⦿

Sietse Veenman

Rotterdam-based designer of the counterless black typeface Dodo (2013). Behance link. [Google] [More]  ⦿

Sigurður Ármannsson

Icelandic art director, designer and typographer Sigurður Ármannsson graduated 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.

Creator of the structured sans family Guinevere Pro (2011, Canada Type).

His font anatomy wallpaper is a visual glossary of the parts of typefaces.

Klingspor link. Home page at font.is. Blog. [Google] [MyFonts] [More]  ⦿

Sjoerd Groos

Art director in Den Haag, The Netherlands, who created the ballpen script Bic Regular (2014). [Google] [More]  ⦿

Sjoerd Hendrik de Roos

Dutch typographer and type designer, b. Drachten, 1877, d. Haarlem, 1962. He worked at Tetterode from 1907-1941. Catalog of some of his digitized typefaces. Designer of various typefaces:

  • The uncial-like typeface Libra Uncial (1938, a pseudo-Gaelic font) at Tetterode in Amsterdam. Libra is now carried in digital form by Mecanorma and Bitstream.
  • FB Nobel (1993, Tobias Frere-Jones at the Font Bureau) is a powerful 18-style sans family based on de Roos's alphabets. It ranges from Extra Light to Very Black, and includes a condensed sextet. See also DTL Nobel (Dutch Type Library) by Fred Smeijers and Andrea Fuchs.
  • De Roos made Dutch (or Hollandse) Mediaeval (1912), an old style typeface with little contrast, arched slabs and serifs, and an atrocious lower case g, but that has many conservative workhorse qualities. Dutch (or Hollandse) Mediaeval was revived by Hans van Maanen in 2007 as Dutch Mediaeval, and by Hans van Maanen and Patrick Griffin in 2013 as Dutch Mediaeval Book ST. For other digitizations, see De Roos Mediaeval NF (2014, Nick Curtis) and Hoboken Serial (2010, SoftMaker).
  • He designed the calligraphic typeface Meidoorn (1928) for De Heuvelpers (his own private press), which was active from 1926-1935. The Meidoorn materials (matrices, punches) are now in the hands of G. J. Randoe (Keizersgracht 89, 1015 Amsterdam). Laure Afchain was doing a revival of Meidoorn in 2008 as a student at KABK, Den Haag. And Joe Chang, still at KABK, did a revival of it in 2012 in van der Laan's class.
  • Egmont (1933) is a serifed typeface done at Lettergieterij Amsterdam. Mac McGraw writes: Egmont is a modern interpretation of classic letter forms, designed by S. H. DeRoos for Amsterdam Typefoundry in the 1930s, and subsequently cut by Intertype. It is an elegant face, with long ascenders which have double serifs. There are three weights in roman and italic, all with three styles of figures as shown in the bold specimen. Italic swash letters are made for all three weights. Egmont Decorative Initials were added by George F. Trenholm in 1936; they are sometimes called Egmont Medium Italic, from which they are derived. Compare Bernhard Modern. A digital family was designed by Dennis Ortiz-Lopez in 2005 called OT Egmont. Castcraft's free font family OPTI-Eisen is also noteworthy. Open Egmont Kapitalen (2013) is a free openface designed by John Wollring based upon de Roos's known Egmont Inline (or Egmont Versalien) shown in a Lettergieterij Amsterdam specimen book of 1935.
  • Erasmus (1992, A. Pat Hickson, ITF) is based on a design of de Roos, ca. 1923.
  • Card Pro (2006, URW, Ralph M. Unger) is based on Ella Cursief (1916, Lettergieterij Amsterdam).
  • Circulaire (2009, Hans Van Maanen, Canada Type) is based on a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
  • His last typeface was De Roos Romein (and Cursief) about which Canada Type, which produced a magnificent 10-style digital revival, expansion and interpretation in 2009 simply called Roos, in a cooperative effort between Hans van Maanen and Patrick Griffin, writes: It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman faces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. Mac McGrew: De Roos is a handsome contemporary roman type designed by S. H. DeRoos in Amsterdam, Holland. Originally imported from a Dutch typefoundry, with additional weights and inline initials, this roman and italic were also cut by ATF about 1952, and by Intertype in 1954. A 1953 piece of ATF literature notes, "Cast at Elizabeth on Amsterdam line." Scans below are from the book First specimen book of De Roos Roman&Italic (Typefoundry Amsterdam).
  • Zilvertype (1914-1916, with Jean-François van Royen). This was revived by Hans van Maanen as Zilvertype (2012-2014, Hans Van Maanen, Canada Type): Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour.
  • Nieuw Javaansch No. 1 (1909). A Javanese script done by Sjoerd de Roos at Lettergieterij Amsterdam. Revived in 2012 at the KABK by Troy Leinster under the same name.

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

Sjoerd Kulsdom

Amsterdam-based designer of the informal typeface Merijntje (2014). Sjoerd is associated with Ontwerpstudio Dot by dot. Dafont link. [Google] [More]  ⦿

Skyraider's 3d aviation art
[Ronnie Olsthoorn]

Dutch designer of the blocky script Blockschrift für Flugzeuge (2000) used on airplanes. Dafont link. [Google] [More]  ⦿

Slávka Pauliková

Slovak graphic designer, who graduated from the Academy of Fine Arts in Bratislava, Slovakia, and the Faculty of Fine Arts in Brno, Czechia, both in 2009. Then she did a Masters in type design at the KABK in 2010, and currently works as a type and book designer in The Netherlands. For her thesis project, she developed the angular text family Dora (2010), which tries to preserve an element of handwriting. A 1906 renaissance antiqua from Genzsch&Heyse inspired her to a revival.

In 2013, FontFont published FF Dora (the angular text family extended from her thesis work in 2010) and FF Dora Display (which is a bit in the style of Rudolf Koch's German expressionist style).

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

Smidswater

Big Dutch design studio. Type design is not their main thing, but they did create an original sans family, Smidswater. [Google] [More]  ⦿

SML Designs
[Steven Marcel Lust]

Born near Amsterdam in 1976, Steven Michael Lust (SML Designs) designed SimLLHP (2003) and Simbats (2003; see also here). He also created inverted and mirrored faces: Inverted-ArialMT, Inverted-Courier, Inverted-Times, Jason's-Inverted-Tahoma, Jason's-Reversed-Arial, Jason's-Reversed-Courier, Jason's-Reversed-Tahoma, Jason's-Reversed-Times.

Dafont link where you can find Fat Marker (2007). [Google] [More]  ⦿

SO Design
[André Toet]

SO Design is a Dutch studio run by André Toet (b. 1950, Den Haag). He was educated at the KABK under Gerrit Noordzij from 1974 until 1976, and at the Central School of Art and Design in London under Nicolete Gray from 1976 until 1977. From 1979 until 1980, he worked as a designer at Total Design with Juriaan Schrofer and Wim Crouwel.

Creator of Artu (2012, monospaced display face), Battersea (multiline face), Billiard (2012), Bloggy (experimental), AT Move Bloggy (2010), Decoupe (experimental), AT Move Decoupé (2012: a modular font based on a French game from 1906), Holborn, Mezzo (mimimalist), AT Move Pipi (2012, a playful textured caps typeface created jointly with Jasper Nijssen), AT Move Mezzo, AT Move Powerplay (1976, and redone in 2011: multilined), Musica, Nath, Powerplay, Tremelo, Wiggle.

Creations from 2012: AT Move Holborn (a 3d outlined neon sign face), AT Move Tremelo (based on the logotype Microtel), Artu, AT Move Wyggle, AT Move Wolfszn, AT Move Skewy (2012), AT Move Specx and AT Move Specx Stencil (a slab serif based on the cover of a 1955 French School-Notebook; help with the design from Jasper Nijssen).

Typefaces made in 2013: AT Move Altera, AT Move Altera, AT Move Herengracht (an inline typeface), AT Move Artu Super Super Heavy, AT Move Bulky (glaz krak font), AT Move Quipo (an amoebic font), AT Move MMM (with Jasper Terra and Jasper Nijssen: a rounded organic sans typeface. They write: The design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes.), AT Move Strano (squarish stencil), AT Move Nath (optical illusion typeface first made in 1974 at the Central School of Art and Design in London, and digitized in 2013 with the aid of Jasper Terra).

Typefaces from 2014: AT Move Frutta, AT Move Straw (by André Toet and Jasper Nijssen).

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

Social Animal
[Bas Bouwense]

Bas Bouwense (Social Animal) is the Dutch designer (b. 1974) of Social Animal (2007, grunge). Home page. Bas lives in Rotterdam. [Google] [More]  ⦿

Soft Machine Font Page

Free nonscalable bitmap fonts (SM fonts) for use in various graphics applications. Page by Dutchman Remco De Korte. [Google] [More]  ⦿

Sonic Savior
[Friso M. Roest]

Soest-based Friso Roest (Sonic Savior) is the Dutch designer of the free futuristic typeface Antediluvian (2005-2006). Dafont link. The commercial typeface Sonica (2006) grew out of this. Archemy (2007) is reminiscent of medieval magic. MyFonts link which goes like this: Sonic Savior is a collaborative project of a Dutch designer, a sound engineer, and an alchemist by the name of Senior Zadith. Klingspor link. [Google] [MyFonts] [More]  ⦿

Sonntag Fonts (or: S Fonts)
[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).

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

Soorten Fonts

Dutch description by Rein Bakhuizen van den Brink of the font formats on Atari: Calamus, type 1 and Speedo are the vector fonts. Bitmap formats include GDOS/GEM, Signum2 and Signum3. [Google] [More]  ⦿

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

Startrek font archive by Erwin van der Waal for fonts from Bajoran, Cardassian, Ferengi, Gornathan, Klingon, Klinzhai, Romulan, Tholian. Also, starfleet fonts on an adjacent page. [Google] [More]  ⦿

Startkabel Lettertype

Font links: font-related sites in the Netherlands. [Google] [More]  ⦿

Stefan Manojlovic

During his studies in Eindhoven, The Netherlands, Stefan Manojlovic Designed the free sans typeface Laser (2014). Behance link. Dafont link. [Google] [More]  ⦿

Stefan Schlesinger

Dutch type designer (1896-1944) at the Lettergieterij who co-designed Rondo with Dick Dooijes (published in 1948 after Schlesinger's death) and the Western slab serif font Hidalgo (1939, similar to Playbill and Figaro). He also designed Superba.

He was working on the calligraphic script typeface Saranna (1941). As explained by Canada Type: The story of Serena is a unique one among revivals. Serena was neither a metal typeface nor a film one. In fact it never went anywhere beyond Stefan Schlesinger's 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger's Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger's brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger's spirit as closely as the drawings permit. Hans Van Maanen thus digitized Serena (2007, Canada Type's take on Saranna) and Minuet (2007, Canada Type's version of Rondo). Malou Osendarp is also working on a revival of Saranna.

Author of Voorbeelden van Moderne Opschriften voor Schilders en Tekenaars (NV Kosmos, Amsterdam). Cherries.

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

Stefan Vanli

Russian who studies at Erasmus University Rotterdam, b. 1992. He created the logo typeface Airport (2009) and the grungy Acogessic (2009). [Google] [More]  ⦿

Stephan Kamperman

Typographer and graphic designer in Groenlo, The Netherlands, where he works at Eska grafische Studio. He created the deco display typeface Eska (2010). [Google] [More]  ⦿

Stephanie Oei

Dutch designer, b. 1974, Utrecht. She created the hand-printed typeface Sweet Steeffie (2011). [Google] [MyFonts] [More]  ⦿

Steve Wehrmann
[Fonts++]

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Steven Janson

Designer in Eindhoven, The Netherlands. Behance link. He drew several experimental alphabets in 2011. [Google] [More]  ⦿

Steven Kattenberg

Based in Utrecht, The Netherlands, this graphic designer created some interesting typographic posters, such as Seahorse (2009). [Google] [More]  ⦿

Steven Marcel Lust
[SML Designs]

[More]  ⦿

Stichting Malatië Adventures
[Alex Révész]

Three original truetype fonts for magical effects and encrypting text: Priesterrunen and Malatië Magisch Maanschrift (1997) are made by Alex Révész. Drakenrunen (Nanduria) is by Ralph Renz. Can't find the fonts any more. [Google] [More]  ⦿

Stijn Lakerveld

Dutch designer of the dot matrix font Alienss (2010, FontStruct). [Google] [More]  ⦿

Strange Atrtractors Design
[Ryan Pescatore Frisk]

Together with Catelijne van Middelkoop, Ryan Pescatore Frisk established Strange Attractors Design in the Netherlands. Their creations include Turfhaus (custom design sans), Cranbrook 53 (custom dingbats face), Fourteen Boxed (custom), Hey Dutchie! (custom face), Grau (custom hand-drawn version of Weiss), King of Latvia (custom made) and Brunn, a display typeface that won an award at TDC2 2004. Ryan received a BFA in Graphic Design from Savannah College of Art and Design in 1999, and an MFA in 2D Design from Cranbrook Academy of Art in 2002. In 2004-2005, he is a grad student at the KABK in Den Haag. [Google] [More]  ⦿

Studio 37
[Merijn C. Mulder]

Dutch creator of Mulder's Handwriting (2004). He runs Studio 37 in Den Haag. Dafont link. Yet another URL. [Google] [More]  ⦿

Studio Another Day
[Yorick de Vries]

Another Day is the graphic design studio of Yorick de Vries (b. 1985, Lelystad, the Netherlands). Now based in Nijmegen, he created the display typeface family Tarona in 2013 for his client, Tarona Leonora. Behance link. [Google] [More]  ⦿

Studio Dumbar

Famous Dutch identity, brand and graphic design studio founded by Gert Dumbar. An impossible, ugly, slow and annoying web page aside, it has some famous typographic trophies, such as the new identity of the Dutch Government in 2008 (which it won in a 5-way competition). The typefaces for this identity are being developed by Peter Verheul and are called Rijksoverheid Serif and Rijksoverheid Sans. Dumbar also designed Dutch postage stamps. [Google] [More]  ⦿

Studio Hannes Famira
[Hannes Famira]

Hannes Famira, who runs Studio Hannes Famira, was born in Buchholz in der Nordheide, Germany in 1966. Hannes Famira studied graphic and typographic design at the Royal Academy of Fine Arts in The Hague in the Netherlands. He works as a type designer in the Hague and used to work at Buro Petr van Blokland. Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001. He taught various typography and typedesign classes at the SfG, School for Design in Basel (CH), at The Cooper Union, the New Jersey City University and the City University of New York.

Typefaces by Famira include FF Blocker, FF Mutilated, H-Stamp, Tieshy, Bubblejet on Steroids, Plantijn, Humiliated, Kugelkopf Letter, Hernard, MaryPason. He also doescustom font work. At Kombinat Typefounders, he designed InterFamily (Interpol Sans and Interpol Serif, 1992), ScanLine Bundle (which includes the nice display font Mary Pason), H-Stamp, FF Blocker, Sonar Sans (2011), JC Corrido (2001, letterpress emulation), JC Tieshy (1993, grunge), JC Bubblejet on Steroids (1992, grunge, based on cardboard box prints), and JC Kugelkopf (12996: an old typewriter font based on the IBM Selectric type ball). The letters JC stand for the Jetsam Collection.

He explains the Futura-like Sonar Sans: Sonar is the attempt to marry the rule of geometric, historical form with the forgiving, human expression of early gothic typefaces. In fact, nothing about this typeface is truly symmetrical. The geometric nature of the underlying model merely served as a starting point to find the shapes of a low contrast expansion typeface. Through Sonar it seems that I have finally made peace with the Geometric Sans.

Famira on Interpol Sans: it is a robust, low contrast typefaces designed for legibility in low resolution situations. It performs particularly well on media like television and computer screens or in projections and on lightboxes.

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

Studio Tiiim
[Timothy Gerdingh]

Studio Tiiim (Stein, The Netherlands) designed the typefaces Happy Jelly Family (2011, by Timothy Gerdingh) and Straight Up (2012, a straight-edged angular outline face). [Google] [More]  ⦿

Studiostudio
[Christiaan Theo Boer]

Studiostudio (The Netherlands) developed a commercial casual typeface called Dyslexie (2008) to minimize the errors perceived by dyslexics. Created by Christian Theo Boer (b. 1981; located in Zeist), the research was carried out at the University of Twente. In a research article about Dyslexie, Judith van de Vrugt writes: Dyslexia>.. it is a word that many dyslexics find hard to pronounce. Christian Boer is one of them. Being a dyslexic student, he came upon the idea for his thesis to design a font that would make letters more distinguishable for someone with dyslexia. Due to the visible distinc- tion, it would be easier to read, and letters would dance less. The Dyslexie font is commercial, but a free trial version is available. [Google] [More]  ⦿

Subform
[Dennis de Vries]

Subform is the alias of Heerenveen, Groningen-based designer Dennis de Vries, offering branding and design services for digital and printed use. In 2014, he created the hipster sans typeface Groningen, which is free at Citype. Behance link. [Google] [More]  ⦿

Sueh Li Tan

Graphic and type designer from Penang, Malaysia, who lived in The Netherlands and is now in Kuala Lumpur. Graduate of the Type and Media program at KABK, 2009. There, Tan tried a revival of Bembo (2008) and created Callie Text and Callie Display (2009), a text family, as the graduation project.

In 2010, in collaboration with Martin Frostner, she created the custom octagonal / calligraphic typeface Biskops Arnö for Nordic Folk High School Biskops Arnö at Mälaren.

Creator of Interieur (at Sara De Bondt Studio in London) and DrawbotScript.

Klingspor link Typecache link. Behance link. [