TYPE DESIGN INFORMATION PAGE last updated on Mon Nov 18 09:41:43 EST 2019
FONT RECOGNITION VIA FONT MOOSE
Hong Kong font scene
Raised in Hong Kong and a resident of The Philippines, Aceler Chua designed the Farro sans typeface family in 2017 for his company, Grayscale. Link at Typedrawers.
In 2019, he released the free Google web font Farro. Github link. He writes: Farro is an artsy, four-weighted, display typeface that has a peculiar personality flowing through its European humanist silhouette. Fontown link. [Google] [More] ⦿
Hong-Kong-based designer of Half Type (2012).
Angel's Chinese name is Tsz Yan Kwong. Graduate of the MATD program at the University of Reading, class of 2019, who lives in Hong Kong.
Winner of an award at the Type Directors Club's Type Design Competition 2019 for Chek Lap Sans, which won an award at the Type Directors Club's Type Design Competition 2019. Chek Lap sans was developed at the School of Design of The Hong Kong Polytechnic University. Angel wrote: Chek Lap Sans is a Traditional Chinese typeface designed specifically for signage of the Hong Kong International Airport in Chek Lap Kok, aiming for both functionality and personality. The typeface is designed with considerations of legibility under negative polarity display, to suit the need of the current blue light-box signs with white text. It has generous negative spaces within character, optical adjustments to compensate the glowing effect, and subtle features that contribute to its visual identity. It also includes relevant icons with references to the local context. Several design decisions were informed by the findings from user tests.
Her graduation typeface at the University of Reading was Tabloid (2019), which was designed for reading online material on screens. There are five styles covering three scripts (Latin, Traditional Chinese, Arabic). [Google] [More] ⦿
Archetype is a digital type foundry based in Hong Kong. Its commercial fonts include Axit-Type, Eletro-Type, Geo-Type, Matrix-Type, Quadra-Type, Techno-Type, 6ixbaby (katakana), Aerobaby, Atticbaby, Chinesebaby, Saintbaby, Slimbaby. Several of these are pixel and techno fonts. Stunning web pages. The type founders are John Wu and Stephen Tsim. [Google] [More] ⦿
ATypI 2012 was held at Hong Kong Polytechnic University and Hotel Icon in Kowloon from 10-14 October 2012. The conference was hosted by the School of Design of the Hong Kong Polytechnic University. The main organizer was Keith Tam.
Hong Kong-based graphic designer who created a Chinese typeface in 2012 that is based on the Latin typeface Krungthep.
Type designer from Hong Kong who graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Havil, a multiscript (Latin, Arabic and Chinese) typeface family for branding and business documents. This beautifully balanced typeface was inspired by 19th century British and French letterpress poster typefaces.
In 2018, he published the slab serif Urushi at Future Fonts and writes: Urushi is the first Future Fonts release aiming to support Japanese Kana and Kanji, and Chinese Hanzi. This charming and slabby, reverse contrast is inspired by old Hong Kong movie magazines.
"CERG_Chinese_Font" (2003, DynaComware Corp) is a free font downloadable at CERG, part of the Hong Kong Research Grants Council. It has over 36,000 glyphs (!) and covers nearly every language, including, most importantly, Chinese. [Google] [More] ⦿
At the Chinese University of Hong Kong: ICS1 (2003), ICS2 (2003), ICS3 (2003), ICS4 (2003), ICS5 (2003), ICS6 (2003), and ICS7 (2003), all copyright of CHANT, ICS, CUHK. These fonts have ancient symbols that are at the origin of various Chinese writing systems.
Tsui is a graphic designer born and raised in Hong Kong who recently received her BFA in communication design from Carnegie-Mellon University. She spent a term at the Type @ Cooper program in 2012, where she designed the italic typeface Eikon. [Google] [More] ⦿
China Type Designs Ltd.
Foundry based in Hong Kong, est. 1986. In September 2006, Monotype Imaging acquired China Type Design Limited. At that time, Ricky Chun was China Type's managing director. Monotype writes: China Type has been a long-time partner of Monotype Imaging, which previously held 20 percent ownership of the firm. Over a 20-year period, the companies have collaborated on a wide range of Asian font projects, with recent work involving typefaces for Hewlett-Packard XHTML-based inkjet printers shipping in Japan and China, and East Asian fonts for the Microsoft Windows Vista operating system. [...] A recent collaboration involved the design and development of the Microsoft JhengHei typeface, a Traditional Chinese, OpenType-based typeface family, optimized with Microsoft's ClearType subpixel rendering technology for use in the Vista operating system. [...] China Type and Monotype Imaging have also recently completed work on a patent-pending technology involved in the ability to display scalable Simplified Chinese characters at small sizes (down to 14 pixels per em) with exceptional clarity on cell phones. The technology is available with the iType 3.0 font engine, the newest version of Monotype Imagings font rasterizer that enables the rapid display of scalable characters on memory-constrained devices. [...] As part of the China Type acquisition, Monotype Imaging has secured an exclusive relationship with Creative Calligraphy Center (CCC), a font production company in Zhuhai, China, with 30 production specialists. Ricky Chun began his career at China Type in 1992 as a developer of PostScript-compatible font programs and in-house production tools. Since then, Chun has held positions in sales, marketing, technical support and product development. Chun has worked with Monotype Imaging on various type production and development projects. Chun earned a masters degree in Australia. Linotype link where these fonts are sold: M Bei HK, M Bitmap Round HK, M Bitmap Square HK, M Comic HK, M Comic HKS, M Cute HK, M Cute HKS, M Dynasty HKS, M Dynasty HK, M Ellan HKS, M Ellan HK, M Elle HK, M Elle HKS, C Fang Song HKS, C Fang Song HK, M Gentle HK, M Gentle HKS, C Gu Li HK, C Gu Li HKS, C Gu Yin HK, C Gu Yin HKS, MHG Hagoromo T HK, C Hei HK, C Hei 2 HK, C Hei 3 HK, C Hei 3 HKS, M Hei HK, M Hei HKS, C Hei HKS, C Hei 2 HKS, M Hei Sung HKS, M Hei Sung HK, M Kai HK, M Kai HKS, C Kan HK, C Kan HKS, MHG Kyokashotai T HK, M Lady HK, M Lady HKS, CX Li HK, CX Li HKS, M Li HK, M Li HKS, M Ling Wai FHK, M Ling Wai P HK, M Marker HK, M Marker HKS, M Metallic Hei HKS, M Metallic Hei HK, CJ Ngai HK, CJ Ngai HKS, M Ngai HKS, M Ngai HK, C Ngan Kai HKS, C Ngan Kai HK, C Po 3 HK, C Po 3 HKS, C Po HK, C Po HKS, M Qing Hua HKS, M Qing Hua HK, M Razor HKS, M Razor HK, MHG Reithic T HK, C Song 3 HK, C Song 3 HKS, M Stiff Hei HKS, M Stiff Hei HK, M Stream HK, M Stream HKS, C Su HK, C Su HKS, M Sung Gold HKS, M Sung Gold HK, M Sung HK, M Sung HKS, C Wei Bei HKS, M Windy HK, M Windy HKS, C Xing HK, C Xing HKS, C Xing Kai HKS, C Xing Kai HK, CX Yao HKS, M Young HK, M Young HKS, M Yuen HKS, M Yuen HK, M Yuen, CO Yuen HKS, C Yuen HK, C Yuen, CO Yuen HK, CO Yuen, C Yuen 2 HKS, CO2 Yuen HKS, CO2 Yuen HK, C Yuen GB, C Yuen T GB, CO Yuen T GB, C Yuen GB5, CO Yuen GB5, M Yuppy HK, M Yuppy HKS. Here the S in HKS stands for simplified.
The list of fonts now sold by Monotype: C Fang Song GB, C Fang Song HK, C Fang Song PRC, C Gu Li GB, C Gu Li PRC, C Gu Yin PRC, C Hei 2 GB, C Hei 2 HK, C Hei 2 PRC, C Hei 3 GB, C Hei 3 HK, C Hei 3 PRC, C Hei HK, C Hei PRC, C J Ngai GB, C J Ngai HK, C J Ngai PRC, C Kan PRC, C Ngan Kai PRC, C O 2 Yuen HK, C O 2 Yuen PRC, C O Hei GB, C O Hei PRC, C O Yuen GB, C O Yuen HK, C O Yuen PRC, C Po 3 HK, C Po 3 PRC, C Po HK, C Po PRC, C Song 3 PRC, C Su GB, C Su PRC, C Wei Bei PRC, C X Li HK, C X Li PRC, C X Yao PRC, C Xing Kai GB, C Xing Kai PRC, C Xing PRC, C Yuen 2 PRC, C Yuen GB, C Yuen HK, M Banquet P HK, M Banquet P PRC, M Bei HK, M Bitmap Square HK, M Circus HK, M Circus PRC, M Comic HK, M Comic PRC, M Computer PRC, M Curvy HK, M Curvy PRC, M Cute HK, M Cute PRC, M Dynasty HK, M Dynasty PRC, M Ellan HK, M Ellan PRC, M Elle HK, M Elle PRC, M Felt Pen HK, M Felt Pen PRC, M Finance HK, M Finance PRC, M Gentle HK, M Gentle PRC, M Gothic Gold HK, M Gothic Gold PRC, M Hei HK, M Hei PRC, M Hei Sung HK, M Hei Sung PRC, M HG Hagoromo T HK, M HG Kyokashotai T HK, M HG Reithic T HK, M J Ngai HK, M J Ngai PRC, M Kai 2 HK, M Kai 2 PRC, M Kai HK, M Kai PRC, M Lady HK, M Lady PRC, M Lava HK, M Lava PRC, M Li PRC, M Ling Wai HK, M Ling Wai PRC, M Marker PRC, M Metallic Hei HK, M Metallic Hei PRC, M Ngai HK, M Ngai PRC, M Qing Hua HK, M Qing Hua PRC, M Razor PRC, M Smart PRC, M Stiff Hei HK, M Stiff Hei PRC, M Stream HK, M Stream PRC, M Sung GB, M Sung Gold PRC, M Sung PRC, M Windy HK, M Windy PRC, M Ying Hei HK, M Ying Hei PRC, M Young Hei HK, M Young Hei PRC, M Young PRC, M Yoyo HK, M Yoyo PRC, M Yuen PRC, M Yuppy HK, M Yuppy PRC, M Zhi Hei HK, M Zhi Hei PRC, M Zhi Ngai HK, M Zhi Ngaio PRC. [Google] [More] ⦿
Chinese font archive in Hong-Kong. Alternate URL. Included are BitstreamCyberCJK-Roman (1990-1998), a nearly full Unicode font, the NTU family (which comprises NTU_FS_M, NTU_KAI, NTU_LI_M, NTU_MB, NTU_MM, NTU_MR, NTU_TW), Siddam, TSC-FMing-S-TT, TSC-JSong-S-TT (both from Twinbridge Software), CWTEX-BB, CWTEX-F, CWTEX-K, CWTEX-M, CWTEX-R (all by Tsong-Min Wu, Tsong-Huey Wu and Wang Ming-Ter, 1999-2002), and the wcl family. In the Unicode subpage, we find the HZK series. Alternate URL. Another URL. [Google] [More] ⦿
CYanHeiHK is an OpenType font based on Source Han Sans (SHS) from Adobe and Google (it is called Noto Sans CJK when distributed by Google). A number of glyphs have been modified so that it is more suitable for use in Hong Kong. Note: Source Han Sans / Noto Sans CJK were originally designed by Ryoko Nishizuka (kana & ideographs), Paul D. Hunt (Latin, Greek & Cyrillic), Wenlong Zhang (bopomofo), Sandoll Communication, Soo-young Jang and Joo-yeon Kang (Hangul elements, letters & syllables). [Google] [More] ⦿
CYMingHK is an OpenType font based on Source Han Serif from Adobe and Google (it is called Noto Serif CJK when distributed by Google). A number of glyphs have been modified so that it is more suitable for use in Hong Kong. Note: Source Han Serif / Noto Sans CJK were originally designed by Ryoko Nishizuka (kana & ideographs), Paul D. Hunt (Latin, Greek & Cyrillic), Wenlong Zhang (bopomofo), Sandoll Communication, Soo-young Jang and Joo-yeon Kang (Hangul elements, letters & syllables). [Google] [More] ⦿
Mak Sui Shing (Hong Kong) created these freeware dingbat fonts in 2001-2002: CNg001, CNg002, CNg003, CNg004, CNg005, CNg009, ChopStick, DEMObeard, DEMObig5, DEMOcoins, DEMOflower, DEMOhorse, DEMOlantern, DEMOmusic, DEMOrose, DEMOstamp, DEMOsword, DEMOtree, DEMOwatch, DemoBun, DemoFood-2001, DemoXmas, cn12. Most of these fonts have Chinese symbols. He is working on Hand Signs, Doll Houses, Letter Flags and AZFonts (caps with embedded flowers). [Google] [More] ⦿
Hong-Kong-based designer of Aerofoil (2007, calligraphic script), Ampersand (2005, hand-printed) and Cataclysmic (2005, handwriting). Alternate URL. Yet another URL. She used Fontifier to create a handwriting face, Skribble (2004). See also here. Alternate URL. Klingspor link. Dafont link. [Google] [More] ⦿
Born in Hong Kong in 1968, Dennis Poon was a designer in San Francisco and Stockholm. He currently works at Philips in Singapore. At the Typebox foundry, he designed TxElf (2002, blockish almost-bitmap font), TX Hex (2002) and TX Gitter (2001, a simplified Codex-like face).
A font market place launched in 2014 by Joe Chau (Hong Kong). It sells full rights (at a few thousand dollars a pop) to unique typefaces. The first typeface is Queenamor by Joe Chau (2014). [Google] [More] ⦿
Based on research by Professor Horace H.S. Ip and Dr. Helena T.F. Wong at the Department of Computer Science of the City University of Hong Kong, two approaches are followed for the generation of Chinese (and other) calligraphic fonts. In the first approach, a truetype font's features are detected using fractals, and this permits generation of characters using calligraphic pens. In a second approach, a (physical) brush model is able to capture the physical effects of the writing process due to brush geometry, brush orientations and motions, ink absorption and depositing by the brush hairs. Resulting papers:
Free font site, est. 2009. The fonts being displayed and introduced were developed by students in seminars and workshops offered by Pascal Glissmann at the Academy of Visual Arts Hong Kong and the Academy of Media Arts Cologne. Fonts there from 2009
In 2010, new fonts were added. Here is a partial list:
In 2013, Glissmann moved to Parsons in New York City, where he continued the tradition of posting the student work. However, there are no more downloads, and links are not clickable. [Google] [More] ⦿
Hong Kong-based designer. His typeface Walk-On (2015) was originally created as a corporate typeface for fashion brand Wang & Lynch. Part art deco, part decorative didone, it is a prototypical fashion mag titling typeface. Behance link. [Google] [More] ⦿
Hong Kong-based designer of the experimental typeface Hello Old Boy (2012).
The Hong Kong Supplementary Character Set-2001 offers a free full Chinese font: Ming(for-ISO10646) (by Arphic Technology). The site explains: "The Government has submitted the Hong Kong Supplementary Character Set (HKSCS) to the International Organization for Standardization (ISO) for inclusion in the ISO 10646 international coding standard." [Google] [More] ⦿
Japanese company specializing in Chinese character sets. You can download sample TrueType files (single byte). HTML International is the USA counterpart of Dynalab in Hong-Kong, Japan and Taiwan. [Google] [More] ⦿
Innoise Studio (Hong Kong) writes about itself: Innoise is a creative team founded by Jerry Luk in 2010, whom are specialized in creative projects including branding, art direction, graphic and motion design. Their counterless typeface First Night Bold (2013) was custom made for Total Media Production Co Ltd.
Graphics and Media Design student at the London College of Communication, who hails from Hong Kong. Home page of "Jack The Rabbit. Designer of the high contrast typeface Currency (2011) and the cubist artistic typeface Stab (2012).
Jack Yan and Associates (or: JY&A Fonts)
Jack Yan (b. 1972, Hong-Kong) now lives in Wellington, New Zealand, where he founded Jack Yan and Associates (JY&A) in 1987, the first kiwi digital type foundry. He designed over 100 typefaces, which mostly share calligraphic roots---his lower case f is like a signature Yan glyph. In 2013, he turned to politics and is running to become mayor of wellington.
He designed the extensive family Aetna, digitized based upon 16th century work by Francesco Griffo and Giovanni Antonio Tagliente. It is Yan's version of Bembo.
His other font families include Decennie Express Pro (2011, a sans companion for JY Décennie), Decennie JY Titling, Integrity JY (2002), Pinnacle JY (1995-1996, +Bold), Rebeca JY (1993), Tranquility (1994-1995) and Yan Series 333 (1987-1993). JY Koliba (by Jure Stojan, 2001) is a sans serif typeface family based on Slovenian architects' lettering of the 1940s. Other typefaces include Dandy JY (2012: Originally created for a theatre project at Massey University, Dandy is reminiscent of Pablo Ferro's hand-lettering), Comic Pro JY (1999, by Antonio Gonzalez de Santiago for Jack Yan), Novalis JY (2008, an anthroposophic family), Boum-Boum (2002) and Alia JY (2008-2009, an aldine serif family).
JY Pressly (2012, a serif family) was originally designed for Lucire, and destined for web and print use.
Arts and Crafts alphabet by JY&A.
Hong Kong-based designer of the elegant thin monoline sans typeface Linlegrey (2017), the hand-crafted Charmie (2017) and School Rules (2018), and Slendergrey (2017).
Berkeley, CA-based Jill Wing created GAAHK Latin (2014), a Latin equivalent of Jason Kwan's Chinese techno typeface GAAHK that was created for the Graphic Arts Association of Hong Kong. [Google] [More] ⦿
Graphic designer in Hong Kong who studied at Hong Kong Polytechnic. Creator of the modern Chinese typeface GAAHK (2010). For this custom almost-octagonal typeface, he was advised by Lam Kwai Ming.
Hong Kong and/or USA-based designer of the free geometric sans typeface Rayjoe (2014) and of Mens Romance (2014). Handkerchief (2014) and Kindergarden (2014) are hand-drawn typefaces. His typeface Queenamor (2014) can be bought at Fontever for 2200 dollars. He also designed the architectural drawing font Centi (2016).
Hong Kong-based designer who co-founded Archetype with Stephen Tsim. He designed some of the Archetype fonts, which comprise Axit-Type, Eletro-Type, Geo-Type, Matrix-Type, Quadra-Type, Techno-Type, 6ixbaby (katakana), Aerobaby, Atticbaby, Chinesebaby, Saintbaby, Slimbaby. In 2010, he created a revival of Robert Trogman's Letraset hit font Yagi, called Yagitype. Axitype (2010) is a further derivation of this font. [Google] [MyFonts] [More] ⦿
His Chinese name is Hon Man Hui. Type designer in Hong Kong who created the Chinese font Xin Gothic (2011, VM Type), art directed by Sammy Or. He also entered the Sixth Founder Type Awards for Chinese Typeface Design in 2011 with a Chinese Fangsong style typeface. Presently he works at the Hong Kong branch of Dalton Maag as type designer.
Communication designer who has lived and worked in Vancouver, Hong Kong, and Shanghai. The free oriental simulation font Jululu (2015, Maximage) was developed during a workshop by the team of Katie Kwan, Didier Quarroz, Jacob Chen, Doris Zhou, and Tony Tang. Home page. [Google] [More] ⦿
Keith Chi-Hang Tam
Keith Tam Typography
Keith Tam is a graphic designer and type designer born in Hong kong who has lived and worked in the UK and in Vancouver, Canada. He received his MA in Typeface Design at the Department of Typography&Graphic Communication at the University of Reading in 2002. Presently, he teaches art the School of Design, The Hong Kong Polytechnic University. In 2005, along with Michail Semoglou, Keith co-founded Type Initiative, a type foundry and design collective. Currently, he is Assistant Professor in the School of Design, The Hong Kong Polytechnic University. His fonts include Arrival (2005: a font developed during his graduate studies at Reading for reading signs from afar or while driving) and DGSans. Arrival can be bought at Incubator / Village.
He started a discussion on why people pick certain typefaces:
Main organizer of ATypI 2012 in Hong Kong.
Based in Hong Kong, Kenneth Kwok is the Chief Designer and Director of The Creative Calligraphic Centre. He has been working on type design, particularly ideographic design from ca. 1970 until now. He designed many successful typefaces for Sha-Ken and Monotype Imaging such as ZhongYi, Elle, Ellan, and StiffHei.
Speaker at ATypI 2012 in Hong Kong: Ideographic type design and production. In this talk, he explained the following claim: Some of the many challenges of designing and producing a CJK ideographic font is to maintain consistency and tranquility. His talk was forceful and convincing.
His Chinese typeface M Zhi Hei (Monotype) won an award at TDC 2014. His Chinese fonts M Ellan Light (Monotype) and M Gentle (Monotype) won an award in the TDC 2015 Type Design competition. [Google] [More] ⦿
Born in a refugee camp in Hong Kong, but raised in Califiernia, Pennsylvania and Florida, Kim Nguyen attended Attended Douglas Anderson School of the Arts and Ringling College of Art and Design. She is currently based in Jacksonville, FL. Creator of the display typeface Whimsy (2017). Behance link. [Google] [More] ⦿
Born in Hong Kong and raised in Bangkok, Thailand, Louis Saunders moved to Brighton, UK, to study graphic design at the University of Brighton. In 2016, still at Brighton, he designed Future Deco (2016). [Google] [More] ⦿
Mak Sui Shing
Man Chung Lee
From her CV: Having lived and worked as a half-Japanese and half-German in Germany for a long time, the focus of my artworks was to create books about Japanese culture. The intention of writing and designing books about Japanese topics was to make German readers curious about the strange and foreign culture and to give them insights into it. In the last eleven years I have published six books talking about Japanese culture. Since 1998, I ran my own design office with a focus on corporate design, corporate publishing and catalogue design. Since 2002 I was teaching at several Universities in Germany. Moving to Hong Kong and teaching as an assistant professor at the Academy of Visual Arts of Hong Kong Baptist University (HKBU) since 2010 gives me new influences and inspiration for starting research projects focused on Chinese typography. My background of teaching typography as well as graphic design in Germany over eight years gives me the necessary background for starting a research project not only to learn more about my new cultural environment, but also to make the Hong Kong design culture more visible to international audiences.
At Typography Day 2012 she spoke on Typographic Culture of Hong Kong.
Speaker at ATypI 2012 in Hong Kong: Typography between Chinese complex characters and Latin letters. Speaker at ATypI 2013 in Amsterdam: Hanzigraphy. In the latter talk, she deals with the problem of the joint use of Latin and Chinese on pages. The research project Hanzi-Graphy: Typographic translation between Latin letters and Chinese characters will be published late in 2013 by a publisher in Hong Kong.
In 2014, she graduated from the MATF program at the University of Reading. Her graduation typeface was Gion, a serif typeface for multi-lingual typesetting in Latin, Japanese and Chinese. She writes: As a contemporary interpretation of Modern typefaces, Gion synthesises historical stylistic features of Modern typefaces with characteristics and qualities that enhance comfortable and continuous reading in longer text.
Speaker at ATypI 2016 in Warsaw on Tanaka Ikko and the Japanese Modern Typography. A convergence of Western inspiration and Japanese aesthetics. In that presentation, she spoke about Tanaka Ikko (1930-2000), the Japanese grand master of graphic design, and emphasized his encounter with typography. [Google] [More] ⦿
In a nice example of icon design, Hong Kong-based Mary Wong created a set of icons, called All About Mary (2013), using only the letters M, A, R and Y in each glyph. Creator of GYshufa (2013), an oriental simulation typeface. GYshufa stands for Guang Ying Shufa. [Google] [More] ⦿
ShenZhen/Hong Kong-based photographer, b. 1989, who currently lives in Miami, FL. Alternate URL. Miphol Studio is related to Marica Typographic Design Studio, run by Marica. Creator of the elegant hairline sans family ULT Sans (2007). She says that, inspired by FF Milo and Stainless, it took her over two weeks of straight work just to get the beta out. She also made the squarish stencil typeface SquareX (2008), the mechanical typeface Incognita (2008), and the semi-serif typeface ChanorSans (2008). Her latest: the gorgeous constructivist-marries-didone headline typeface Modern 9, and Melor (2008, a simple sans family in two styles done for Miphol Studio). [Google] [More] ⦿
Nine Font is Paul Chen's type foundry in Tsim Sha Tsui, Hong Kong. In 2014, Paul Chen designed the condensed hand-crafted sans typeface family Briko (+Ornaments, +Rough, +RoughOrnaments), the condensed sans typeface Nephrite, and the 6-style caps typeface family Dimor (with Inline, Outline, and Diamond (beveled) sub-styles).
Typefaces from 2017: Glence (a geometric sans with a beautiful hairline weight).
No More Bad Type
Jeanie Chong (b. Hong Kong) graduated from Otis College of Art and Design and now lives in Los Angeles (since 2007) where she is a graphic designer, and started No More Bad Type.
Noto Sans CJK and Noto Serif CJK are free typeface families developed at Adobe and Google to complement the universal Noto font package between 2014 and 2017. CTAN link. Credits :
Dedicated Google fonts sites include Noto Serif SC (for Simplified Chinese; it covers all the Chinese characters listed in China's (Tongyong Guifan Hanzibiao) along with the ASCII, additional Latin letters for Pinyin, punctuation marks and full-width characters used in Chinese), Noto Sans SC, Noto Serif TC (for traditional Chinese), Noto Sans TC, Noto Serif JP and Noto Serif KR. Noto Serif KR has been subsetted to cover the full repertoire of modern Hangul syllables (11,172) and most of symbols in KS X 1001. It also has the full support for Old Hangul with Unicode Hangul Conjoining Jamos and Opentype features. It does not have any Hanjas (Chinese characters) and Greek/Cyrillic letters. Noto Serif JP has been subsetted to all of the kanji in JIS X 0208, JIS X 0213, and JIS X 0212, including all kanji in Adobe-Japan1-6.
Type designer (b. Hong Kong, 1966) of the multiple stroke handwriting typeface Flurry (1999, Garagefonts) and of Linotype Ancient Chinese (1997, dingbats of Chinese heads). MyFonts link. FontShop link. [Google] [MyFonts] [More] ⦿
Pik Chu Ahmetaj (b. Hong Kong) studied at Tompkins Cortand Community College Upstate NY, and at the Fashion Institute of Technology in NYC. Her decorative caps Garden typeface (2013) is based on Century Gothic. [Google] [More] ⦿
PinkLab is a Hong Kong-based creative studio, founded by Pinky Leung (b. Hong Kong), who has a BA in graphic design from Middlesex University, UK. In 2011, he designed the experimental typeface Plastic Bag. [Google] [More] ⦿
Pixelyn stands for "Pixels in Brooklyn". Until its web site disappeared, it offered free (Mac) truetype pixel fonts for small sizes on screen, designed by Danielle Huthart in 2001. The fonts: Standard, Lilany, Bless, Pixelyn, Pixelyn Outline, Opshift, Demtrek, Fuseseven, Transfer Regular, Transfer Scripty, Gala, Icon Bit One, Icon Bit Two. It was located in Hong Kong.
Robin Hui joined China Type Design / Monotype Hong Kong in 1988 as a type designer. As chief typographer and production manager, Hui managed China Type's type design team and was responsible for a variety of font projects. In 2006, China Type was acquired by Monotype.
Robin was involved in a large number of type design and development projects, including the famous Monotype Hei, Sung and Kai families.
Robin's own creations include M Ngai, M Windy, M Comic, M Razor, and M Lady. He is currently the chief design and production manager of Monotype Hong Kong, responsible for a wide variety of type design and technology projects, including compression, hinting and rendering control of typefaces across different platform, on different display environments such as LCD and ePaper.
Robin Hui helped to extend M Hei, M Sung and M Ying Hei to cover multiple Asian regions. He is currently representing Monotype in the Chinese Language Interface Consultation Committee of the Hong Kong SAR government.
Speaker at ATypI 2012 in Hong Kong: Ideographic type design and production. In this talk, together with Kenneth Kwok, he explains the following claim: Some of the many challenges of designing and producing a CJK ideographic font is to maintain consistency and tranquility.
Roger Black (New York and Saint Petersburg, FL) is a media guru extraordinaire, and professional content brander. Black was chief art director of Newsweek, The New York Times, New York Magazine and Rolling Stone. He was a major partner in The Font Bureau, Inc., which he started with David Berlow in 1989. In 1989, with Eduardo Danilo, he set up Danilo Black, a publication consulting firm. Roger Black redesigned the Houston Chronicle, Popular Mechanics and the Los Angeles Times. In 2013, Roger took a new position as group creative director of Edipresse Media in Hong Kong. Cofounder in 2016 of Type Network.
Frequent speaker at type meetings, including, for example, ATypI 2006 in Lisbon, ATypI 2009 in Mexico City (as co-organizer and session chair) and ATypI 2017 Montreal (keynote). Home page. His current interests include web typography, typeface delivery for the web and small portable devices, newspaper design, and newspaper web design. [Google] [MyFonts] [More] ⦿
Chinese type designer who created the sans typeface Xin Gothic (2011) that covers both Chinese and Latin. This clean and crisp typeface, typical of the Sammy Or style, is ideal for wayfinding and is also being used in e-books.
He created tens of CJK typefaces but is most proud of his first designs, Li Gothic (Li Hei) and Li Song, from the early eighties, which are still used in Apple products today, and Zhaujinti. Zhaujinti is Sammy's re-interpretation of Song emperor Huizong's Zhaujiin calligraphic style. Its strokes are thin and mannered. Matthew Carter designed matching Latin and Osamu Torinoumi (Jiyokobo) created gorgeous kana characters for it.
His CV at VM Type: A seasoned typeface designer, Sammy Or's career spans 30 years. He is one of the most prolific and important designers of contemporary Chinese typefaces. With a solid grounding in traditional Chinese calligraphy as well as thorough knowledge in current font technologies, Or's typefaces are amongst the most widely used in the Chinese-speaking world today. Or began his work in typeface design as a Sign Systems Designer for the Mass Transit Railway Corporation (MTR) in Hong Kong in the 1980s. At MTR, Or participated in the development of a corporate typeface for its wayfinding system, which is still in current use. Subsequently, he was employed by the Hong Kong branch of the Monotype Corporation as Type Manager and Chief Typographer. While at Monotype, Or developed over twenty Chinese typefaces, including the first Chinese digital LaserCom fonts for the Hong Kong Government's Printing Department. The Monotype Sung and Hei families---typefaces of choice for numerous publications as well as the Hong Kong Government---are also his designs. In 1989, Or founded TTL Technology Limited. LiSung and LiGothic were the first Chinese outline (Postscript) fonts designed and developed for Apple Computers. These remain system fonts in the Macintosh operating system to this day. He also designed and marketed the popular 'Li' family of over thirty typefaces. In 1992, Or assumed the position of Vice-president and Chief Font Designer of DynaLab Inc., a preeminent font manufacturer in Asia. Or has also been a project-based development consultant for Bitstream Inc. for several years, designing CJK stroke-based technologies for international fonts. He is also a guest lecturer at the Hong Kong Polytechnic University.
Man Chung Lee's site. Born in Hong Kong in 1976, he studied multimedia in Vancouver in 1999. Presently, he is the Creative Art Director of CREAM, Hong Kong's culture and art magazine. He created some free fonts such as the experimental AreaLINEe (2001) and AreaOUTLINEe (2001). Dafont link. [Google] [More] ⦿
In July 2014, Adobe and Google jointly announced the publication of the free Asian typeface family Source Han Sans for Chinese (traditional (both Taiwan and Hong Kong) and simplified), Japanese, Korean, Greek, Cyrillic and Latin. This project, based on designs originally due to Ryoko Nishizuka, a senior Adobe designer in Tokyo, started in 2010. The fonts and original code are downloadable from SourceForge and GitHub. Blog page at Typekit. Blog post at Google. The other name for the family, Noto Sans CJK, is used by Google.The open source license even permits modification of the glyphs.
The 42 fonts are designed for small devices, and thus, the glyphs are monolinear and simple. Each font weight in the family has a total of 65,535 glyphs (the maximum number of characters supported in the OpenType format), and the entire family contains just under half a million total glyphs. Adobe sought expertise from foundries such as Iwata Corp to expand the Japanese glyph selection, Sandoll Communication, designer of Korean Hangul and Changzhou SinoType, Adobe's longtime collaborator in China.
On the Google side of the project, where the fonts are added to the Noto Sans and Noto Serif (which covers all major languages of the world and many others, including European, African, Middle Eastern, Indic, South and Southeast Asian, Central Asian, American, and East Asian languages, and, since the joint release with Adobe in 2014, Chinese, Japanese, and Korean, and minority languages related to them), users can download all Noto fonts freely in a 43 MB file.
References: Ken Lunde (Adobe) on the design and development of Pan-CJK fonts (2010). Inside the fonts, we find these credits: Ken Lunde (project architect, glyph set definition & overall production), Masataka Hattori (production & ideograph elements), Ryoko Nishizuka (kana & ideographs), Paul D. Hunt (Latin, Greek & Cyrillic), Wenlong Zhang (bopomofo), Sandoll Communication, Soo-young Jang & Joo-yeon Kang (Hangul elements, letters & syllables).
Source Han Serif is the serif-style typeface family companion to Source Han Sans. This free superfamily covers Chinese (traditional (both Taiwan and Hong Kong) and simplified), Japanese, Korean, Greek, Cyrillic and Latin. This project, based on designs originally due to Ryoko Nishizuka, a senior Adobe designer in Tokyo, started in 2010. The designers of Source Han Simplified and Traditional Chinese, and Source Han serif Japanese and Korean are Frank Griesshammer, Ryoko Nishizuka, Soohyun Park, Wenlong Zhang and Yejin We. The Chinese glyphs, both simplified and traditional, were designed by partner type foundry Changzhou SinoType. The Korean glyphs were designed by partner type foundry Sandoll Communications.
Tak Fung Chan
Hong Kong-based graphic designer who made the condensed modular typeface Genesis (2012).
Three phonetic truetype fonts: SILDoulosIPA, SILManuscriptIPA, SILSophiaIPA.
Australia-based Tom Chiu is working hard on Chinese and Korean truetype fonts. Some are almost finished, and all are free: check out Ming Li, Kai, Hei and FangSong. He designed FingerNumber (each digit from 0-8 is represented by fingers, Hong Kong Style), MimosaRat (rat-related characters) and TomScript (his handwriting). The Chinese fonts are temporarily unavailable. He also has software to view Chinese characters. [Google] [More] ⦿