TYPE DESIGN INFORMATION PAGE last updated on Fri Aug 22 13:39:13 EDT 2014

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The type scene in Iceland



[Headline set in Guinevere Pro Bold (2011, Sigurður Armannsson, Canada Type)]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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Alexej Kryukov

Developer of these free font families, quite exquisite and complete:

  • Old Standard TT (2008-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more.
  • Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors.
  • Theano Classical fonts: Theano Didot is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin face based on some "Old Style" Roman fonts of the late 19th and early 20th century.
  • CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

Kernest link. Fontspace link. Another URL. [Google] [More]  ⦿

Alphabetum
[Juan-José Marcos García]

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana *2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.

Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.

Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).

In 2013, he created Cuneus, a cuneiform simulation typeface.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google] [More]  ⦿

Aoife Mooney

Irish graduate from the type design program at the University of Reading in 2010, who joined Hoefler&Frere-Jones in New York in 2011 as type designer.

She designed Magnimo while at Reading. Aoife writes: from the Latin Magna, meaning great or large, and the Indic Anima, meaning spirit or soul. Magnimo is a big-hearted typeface with many moods and voices. I am quite impressed by this three-style typeface (Regular, Italic, Upright Italic), which, with its lively angular design, seems just right for green party and energy drink magazines. All the extra features expected of a 2010 typeface are there, including a matching and nicely balanced Greek, and coverage of most European diacritics. Additional scans: i, ii, iii.

Based in Brooklyn, she worked as a full-time typeface designer for the globally acclaimed Hoefler & Frere-Jones Type Foundry in New York City. While at H&FJ, Aoife worked as part of the design team on a number of typeface design projects including the Idlewild family.

She moved to Akron, Ohio, where she continues to work as a freelance typeface designer for H&FJ. She is a part-time teacher at Kent State University, and participates in Crafting Type. [Google] [More]  ⦿

Apostolos Syropoulos

Xanthi-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis). He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets. It was specially made to print the Philokalia books. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Epi-Olmec (2008) is an Aztec dingbat font. In support of the href="http://openfontlibrary.org/member/asyropoulos">Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been "used" in Iceland. Original drawings from the Museum of Sorcery&Witchcraft). He also made Asana Math (2007), which also has references to Young Ryu (2000) and Claudio Beccari (1997-1999). Kernest link. [Google] [More]  ⦿

Arnar Freyr Guðmundsson

Designer in Reykjavik. Behance link. Creator of the geometric sans face GeoBeta (2012). [Google] [More]  ⦿

Atli Þor Árnason

Originally from Reykjavik, Atli Þor Árnason is studying at The School of Visual Communication in Haderslev, Denmark. He created the runic and/or Futhark simulation face Ristir (2011), a typeface that was heavily inspired by The Elder and The Newer Futhark alphabet.

Behance link. [Google] [More]  ⦿

ATypI 2011

The 2011 ATypI conference took place in Reykjavik, Iceland, from September 14-18, 2011, at the Harpa Concert Hall. The theme was the letter eth. This may well have been the first ATypI meeting in which the host country's President addressed the assembly. The local organizing team was led by Gunnar Vilhjalmsson and Hörðu Lárusson, and the conference was supported by the Association of Icelandic Graphic Designers, the Icelandic Academy of the Arts, and the Icelandic Design Center. The ATypI Reykjavík logo was designed by Birna Geirfinnsdóttir, using the typeface Frijky by Neelakash Kshetrimayum. Program. The stratospheric registration fee of 895 USD ensures that ATypI survives for another year---it has nothing to do with the actual expenses of the meeting.

Speakers: Mark Barratt, Sofie Beier, Clare Bell, Aaron Bell, Frederik Berlaen, David Berlow, John D Berry, Filip Blazek, Frank Blokland, Mary Ann Bolger, Gunnlaugur Briem, Nadine Chahine, Nathan Davis, Jo De Baerdemaeker, Timothy Donaldson, Michael Duggan, Steen Ejlers, Michael Everson, Steinar Ingi Farestveit, Victor Gaultney, Frank Griesshammer, Hanna Hakala, Theodore Harrison, Ralf Herrmann, Robert Hillier, Otmar Hoefer, Richard Kegler, Eric Kindel, Christoph Knoth, Atilla Korap, Neelakash Kshetrimayum, Indra Kupferschmid, Hanif Kureshi, Johannes Kuester, Marcus Leis Allion, Gerry Leonidas, Raph Levien, Gudmundur Oddur Magnusson, Steve Matteson, Dermot McGuinne, Thomas Milo, Meta Newhouse, Toshi Omagari, Sarah Owens, Thomas Phinney, Rathna Ramanathan, Daniel Reynolds, Daniel Rhatigan, Peter Rosenfeld, Nadine Rossa, Zachary Scheuren, Dawn Shaikh, Nick Sherman, Vaibhav Singh, Christopher Slye, Fred Smeijers, Mirjam Somers, Sridhar Srikantham, Mathew Staunton, Claus Soerensen, Marc Tobias Kunisch, Gunnar Vilhjalmsson, Ian Watson, Torben Wilhelmsen, Jurgen Willrodt, Onur Yazicigil, Pascal Zoghbi, Carolina de Bartolo, Hyun Guk Ryu, Anton Kaldal Agustsson. Not one Latin American---what is going on? Can we have the next meeting in Argentina or Brazil?

Flickr group. FontShop report and videos. [Google] [More]  ⦿

Benedikt Gröndal
[Handwriting Models]

[More]  ⦿

Björgvin

Icelandic graphic design student who lives in Reykjavik. He designed the pearly typeface Typhoon in 2008 diring the course Holy Geometry at the Iceland Academy of the Arts. [Google] [More]  ⦿

Books on letterforms for sale

Gunnlaugur Briem is selling his own lettering book collection. [Google] [More]  ⦿

Carl Edlund Anderson
[Edlund Font Project]

[More]  ⦿

CheapProfonts
[Roger S. Nelsson]

Started in 2008, this web place by Norwegian entrepreneur Roger S. Nelsson (based in Honningsvåg, Norway) sells fonts by Ray Larabie, Brian Kent, Nick Curtis, Derek Vogelpohl and Kevin King that were originally freeware fonts. Nelsson reworked them (more glyphs, more multilingual) and asks about 10 dollars per font now. He says his fonts now cover these Latin languages: Afrikaans, Albanian, Basque, Belarusian (Lacinka), Bosnian, Breton, Catalan, Chamorro, Chichewa, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino (Tagalog), Finnish, French, Frisian, Galican, German, Greenlandic, Guarani, Hungarian, Icelandic, Indonesian, Irish (Gaelic), Italian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Luxembourgian, Malagasy, Maltese, Maori, Northern Sotho, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romance, Romanian, Saami (Inari), Saami (Lule), Saami (North), Saami (South), Scots (Gaelic), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Spanish, Swedish, Tswana, Turkish, Turkmen, Ulithian, Walloon, Welsh, Yapese.

Designer at FontStruct in 2008 of cowboy_hippie and Syndrome X (DNA-look face inspired by Syndrome BRK by Brian Kent). Nelsson's fonts are Classic Trash BRK Pro, Dynamic BRK Pro, Galapogos BRK Pro, Genotype BRK Pro, King Cool KC Pro (kid's hand; done with Kimberly Geswein), Lamebrain BRK Pro, Matrise Pro and Matrise Text Pro (dot matrix), Phorfeit BRK Pro, Syndrome BRK Pro, Technique BRK Pro, Vigilance BRK Pro, Grapple BRK Pro. The "BRK" refers to Brian Kent, the original free font designer.

In 2009, he added a number of fonts that were done by Nick Curtis some years before that (hence the "NF"): Boogie Nights NF Pro (art deco face), Copasetic NF Pro, Coventry Garden NF Pro, Pro, Fontleroy NF Pro, Hamburger Heaven NF Pro, Monterey Popsicle NF Pro, and Wooden Nickel NF Pro. Trypewriter Pro (2009) is based on Kevin King's Trypewriter. Helldorado Pro (2009) is a Tuscan wood type style face based on a font by Levente Halmos.

Designer of Isbit Pro (2012, a magnificent melting ice cube-shaped superlliptical typeface family), Familiar Pro (2011, designed with the same metric as Helvetica but "better than Arial"), Bloco Pro (2010, fat counterless face), Trump Town Pro (2009, athletic lettering slab serif), Geometric Soft Pro (2009), Geometry Script Pro (2010, upright connected script), DIN Fun Pro (2011), Infantometric Pro (2012), Foobar Pro (2012) and Cheap Pro Fonts Serif (2009).

Typefaces from 2013: Adultometric Pro (narrow monoline sans).

Dafont. Fontspace link. Fontsquirrel link.

Catalog of Nelsson's bestselling typefaces. [Google] [MyFonts] [More]  ⦿

Cortex Software

Iceland, a truetype font. [Google] [More]  ⦿

Dagný Reykjalín

Icelandic designer based in Reykjavik who is working on Broderi (2003, a script bitmap font). [Google] [More]  ⦿

Daniel Thorsteinsson

Born in Iceland, Daniel is a graduate of the University of Iceland. During his studies at IOED in Barcelona, he created the shiny rounded bubblegum face Bubble (2012) and the pixel face Acid Make-Out (2012, FontStruct). [Google] [More]  ⦿

Darri Ulfsson

Icelandic graphic designer. In 2008, during a course called Holy Geometry at the Academy of the Arts in Iceland, he created the geometric modular typeface Rotunda. In 2009, he made the sans headline face Vesuvio. [Google] [More]  ⦿

Dóri Andrésson

Icelandic graphic designer in Reykjavik. Asplund's Stockholm public library inspired him to create the geometric compass-and-ruler family Tornado (2010). The New Black (2009) is a very black threatening headline type. Behance link. [Google] [More]  ⦿

Dora Isleifsdottir

Icelandic type designer. [Google] [More]  ⦿

Edlund Font Project
[Carl Edlund Anderson]

Carl Edlund Anderson from the Dept. of Anglo-Saxon, Norse,&Celtic at St. John's College, University of Cambridge, makes medieval fonts of the highest quality. Made an Icelandic font, Eidlundur (Mac Icelandic encoding), Edlund Insular, Edlund SmallCaps, Edlund (Italic). Work on these fonts was done by Darcy Burner, Carl Anderson and Gary Munch. [Google] [More]  ⦿

Einar Guðmundsson

During a type design course at Iceland Academy of the Arts in 2011, Einar Guðmundsson (Reykjavik) made the Harmony typeface based on some letters by Wim Crouwel's typeface Stedelijk. Behance link. [Google] [More]  ⦿

Einar Gylfason

Designer (b. 1967) of Thor (1997) at GarageFonts. He graduated in graphic design from The Icelandic Academy of the Arts, Reykjavik, Iceland in 1991. [Google] [More]  ⦿

Elli Egilsson

Elli Egilsson (b. Reykjavik, Iceland) runs the AC Bananas studio in London. His typefaces include Splatter (2012) and Cactus (2012, spiky). All typefaces are free. [Google] [More]  ⦿

EversonMono for MacOs

Free Mac fonts in the EversonMono series for CSX, Celtic, Croatian, Cyrillic, Esperanto, Gaelic, Georgian, Greek, Icelandic, Inuktitut, Ogham, Romanian, Sami, and Turkish. [Google] [More]  ⦿

Eysteinn Þórðarson

Graphic designer in Reykjavik. During his studies at the Iceland Academy of Arts, he created Turning Night (2013, a decorative typeface) and Trouble Dawn (2013, a wavy font). [Google] [More]  ⦿

Eythor Pall Eythorsson

Designer in Reykjavik who created several typefaces and logotypes in 2012.

Behance link. [Google] [More]  ⦿

FELTRON
[Nicholas Felton]

New York-based Nicholas Felton's fonts at FELTRON: the pixel fonts Remove (OpenType), Foss (caps inspired by Icelandic writing), Whip, Amtrix S (pixel type), Megabit, Sibilance, Amtrix 4, Amtrix 5, Amtrix 6. He also made the experimental geometric face Shipflat (2004, T-26), which won an award at the TDC2 2005 type competition.

Klingspor link. [Google] [More]  ⦿

font.is
[Sigurður Ármannsson]

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

Frosti Gnarr

Frosti Gnarr Studio is a creative and graphic design studio in Seltjarnarnes, Iceland. Its art director is Frosti Gnarr, who has an MA from HKU in The Netherlands. He designed a few experimental and other typefaces in 2012. [Google] [More]  ⦿

Gudmundur Oddur Magnusson

Speaker at ATypI 2011 in Reykjavik on the topic of Driftwood. [Google] [More]  ⦿

Guðmundur Úlfarsson
[GUNMAD]

[More]  ⦿

Guðmundur Úlfarsson

Icelandic designer, b. 1984, Reykjavik. Creator of Las Vegas (2011, custom made for Off Beat Cinema Magazine), L10 (for the LungA 10 yearbook---this face won the prize for best type design in Iceland in March 2011), Separat (done with Mads Freund Brunse, and used in Sigrún Halla Unnarsdóttir), and L11 (for LungA 2011, also done with Mads Freund Brunse). [Google] [More]  ⦿

GUNMAD
[Guðmundur Úlfarsson]

Type foundry in Iceland, established by Guðmundur Úlfarsson and Mads Freund Brunse.

Guðmundur Úlfarsson (b. 1984, Reykjavik) created Las Vegas (2011, custom made for Off Beat Cinema Magazine), L10 (for the LungA 10 yearbook---this face won the prize for best type design in Iceland in March 2011), Separat (done with Mads Freund Brunse, and used in Sigrún Halla Unnarsdóttir), and L11 (for LungA 2011, also done with Mads Freund Brunse). [Google] [More]  ⦿

Gunnar Vilhjalmsson

Icelandic designer who co-created the experimental display face Skuggasveinn with Siggi Eggertsson in 2005. He also co-designed Grasrot (2005). Old URL. Graduate from the type design program at the University of Reading in 2010, where his thesis typeface was Germain. Germain is a sturdy face that has some calligraphic origins (especially of course for its Arabic weight). The Latin appears to be a manly workhorse. Gunnar lives in Reykjavik. Speaker at ATypI 2011 in Reykjavik. [Google] [More]  ⦿

Gunnlaugur S.E. Briem
[The Icelandic Method]

[More]  ⦿

Gunnlaugur S.E. Briem

Briem is a fantastic Icelandic calligrapher and type designer! Some of his work may be viewed at Adobe, in particular Adobe's multiple master font Briem script. Fonts include BriemGauntlet (1997). He designed BriemTimes in 1990, which was the basis for Times Millenium, used by The Times (read about the controversy at that page). He also made BriemAkademi (1997-2002), BriemGauntlet, BriemMono (2001, typewriter face), BriemOperina and BriemScript.

Home page. Books for sale. Keynote speaker at ATypI 2011 in Reykjavik. [Google] [MyFonts] [More]  ⦿

Handwriting Models
[Benedikt Gröndal]

Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google] [More]  ⦿

Helgi Pétur Lárusson

Reykjavik, Iceland-based designer of these display typefaces in 2013 (while at the Iceland Academy of the Arts): Ping Pong, Pinball (connect-the-dots typeface), Flying Giraf, Pixel Overdrive, Long John, Karlus&Baktus.

Behance link. [Google] [More]  ⦿

Hlynur Ingólfsson

Graphic designer in Reykjavik. He created the monoline rounded all-caps rounded face Gelato (2011, Ten Dollar Fonts) and Live A Lot (2012, alchemic; at Ten Dollar Fonts). [Google] [More]  ⦿

Hrafn Gunnarsson

Icelandic graphic designer. Behance link. Gunnarsson created R23095, a typeface based on Icelandic car license plates that were used between 1950 and 1989. [Google] [More]  ⦿

Hrefna Lind

As a student in Reykjavik, Iceland, Hrefna Lind created the lachrymal typeface Whale (2014). Behance link. [Google] [More]  ⦿

Hrefna Sigurðardóttir

Illustrator and designer in Reykjavik. Creator of the Replica font system in 2012. She writes: The font Replica was made in 2011 in a course taught by Amundi Sigurðasson. The font is based on two very different typefaces called Autoscape and History. Autoscape is very robotic monospace font and History is a font that consists of 20 layers, each representing a different period in type history. Replica is a monospace typeface that has seven layers that can be rearanged in any way, styles ranging from robotic to romantic. [Google] [More]  ⦿

Hreggvidur Arsaelsson

Icelandic designer of the futuristic faces Complete (2006) and Keystone (2006). [Google] [More]  ⦿

icelandic
[Joergen Pind]

Joergen Pind's metafont sources for Icelandic. Plus files to use in TeX. From the Institute of Lexicography, University of Iceland, Reykjavik. [Google] [More]  ⦿

Ingi Kristján Sigurmarsson

Reykjavik, Iceland-based graphic designer. Creator of the drunk serif typeface Bukowski (2014). Behance link. [Google] [More]  ⦿

ISO 8859-1

Coding that supports the following languages: Afrikaans, Catalan, Danish, Dutch, English, Faeroese, Finnish, French, German, Galician, Irish, Icelandic, Italian, Norwegian, Portuguese, Spanish and Swedish. See also here, here, here, here, here, here, here, and here. More specifically, other ISO-8859 groups are as follows:

  • 8859-1 Europe, Latin America
  • 8859-2 Eastern Europe
  • 8859-3 SE Europe
  • 8859-4 Scandinavia (mostly covered by 8859-1 also)
  • 8859-5 Cyrillic
  • 8859-6 Arabic
  • 8859-7 Greek
  • 8859-8 Hebrew
  • 8859-9 Latin5, same as 8859-1 except for Turkish instead of Icelandic
  • 8859-10 Latin6, for Eskimo/Scandinavian languages
[Google] [More]  ⦿

Jan Tonellato
[Synthview]

[MyFonts] [More]  ⦿

Jóhann Geir Úlfarsson

Icelandic designer. Creator of Shake (2011), an octagonal face with a few quarter circles thrown in. [Google] [More]  ⦿

Jón Ingiberg Jónsteinsson

Reykjavik-based designer (b. 1982) of the modular type family Hlemmur (2011). Behance link. [Google] [More]  ⦿

Jónas Valtýsson

Icelandic graphic designer, b. Reykjavik. He created the fat finger face Skar (2006) and designed many music album covers. About his experimental face Morthens (2007), he writes: Morthens is a strict script display typreface. The brief was to find a type face and design another typeface based on that. I decided to use a script typeface called Vitrina by Pablo Medina. I used it because I liked the method he uses creating his typefaces. He takes picture of his urban surroundings and bases his typefaces on them. I created a typeface based on the most prominent thing in my urban surrounding at the moment which is construcion sites. It has three weights called Ásbjörn, Þorlákur and Haukur. [Google] [More]  ⦿

Joergen Pind
[icelandic]

[More]  ⦿

Jön Ingi Einarsson

Reykjavik, Iceland-based graphic designer. He created the geometric paper-cut like face Building (2009). [Google] [More]  ⦿

Juan-José Marcos García
[Alphabetum]

[More]  ⦿

Mads Freund Brunse
[Or Type]

[More]  ⦿

Maggi Noem

Maggi Noem graduated from the Icelandic Academy of the Arts in 2007. She has been living and working freelance since then in Reykjavík, Iceland. Designer of the monoline display face Flu (2009). [Google] [More]  ⦿

Matej Hlavacek
[Vesturbaer]

[MyFonts] [More]  ⦿

Nicholas Felton
[FELTRON]

[More]  ⦿

Northern European Languages and Fonts

Great links page on Old English, Icelandic, Norwegian, Swedish, Celtic and Germanic. [Google] [More]  ⦿

Or Type
[Mads Freund Brunse]

Art director and graphic designer Mads Fruend Brunse (b. Denmark) is based in London. After graduating from ECAL (Lausanne) in 2009, Brunse has experience from working with people such as Node Berlin Oslo (Germany), Vladimir Llovet Casademont (Germany), Sofie Spindler (The Netherlands) and OK-RM (UK). Since 2007 he is collaborating with Guðmundur Ingi Úlfarsson (Iceland) under the name GUNMAD. In March 2013, he set up the typefoundry Or Type together with Úlfarsson.

In 2013, Or Type offered these sans typefaces: La Pontaise Bold (contrasted, Peignotian style), Rather Semibold (wide grotesk), L10 Bold (geometric sans), Separat. Some of these typefaces are lefovers of the earlier GUNMAD typefoundry: L10 was orinally done for the LungA 10 yearbook---this face won the prize for best type design in Iceland in March 2011, and Separat was used in Sigrún Halla Unnarsdóttir. Mads Brunse also designed L11 (also for LungA) in 2011.

Linkedin uink. [Google] [More]  ⦿

Pétur Helgason

Icelandic linguistics professor at the University of Stockholm. Since 1989, he has made fonts for phonetic transcription and fonts for writing out Old Icelandic as it appears in Icelandic manuscripts. He also works with the Árni Magnússon Institute in Iceland, an institute devoted to the preservation and publication of Icelandic manuscript texts. With two other Icelanders, Jörundur Hilmarsson and Sigurdur H. Pálsson, he has made these fonts, which hopefully will soon be available for free download:

  • Reykjavik, and Akureyri: For the transliteration of Old Icelandic manuscripts.
  • I-E Font 1 through 4: For Indo-European comparative linguistics.
  • Stentoften: an advanced runic font.
  • Latinskij historik: A Cyrillic font that includes symbols useful for work in Slavic historical linguistics.
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Polar Font Series

Polar Font series: Mac fonts at MacCampus for Icelandic and Faroese: Nimbus IC family, Courier IC, Magister IC, Paltus IC family, Schoolbook IC, and Campus Sans. All formats. [Google] [More]  ⦿

Roger S. Nelsson
[CheapProfonts]

[MyFonts] [More]  ⦿

Seth Wilder Borg

Designer of the rune font "Icelandic Runes" (1998). [Google] [More]  ⦿

Siggeir M. Hafsteinsson

Icelandic graphic designer. Creator of the grungy Disorder Type (2009). Behance link. [Google] [More]  ⦿

Siggi Eggertsson

Icelandic graphic designer, illustrator and type designer, b. 1984 in Akureyri, a small town on the north coast of Iceland. He graduated from the Iceland Academy of the Arts in Reykjavík in 2006. He now lives in London and/or Berlin. Old URL. His creations:

  • Bútasaumsletur (2005): a typeface inspired by patchwork quilts. Each letter is a block, and when you write a text with it, the blocks connect to each other, so in the end you have some kind of a digital quilt.
  • Skuggasveinn (2006-2007): a 3d-folded paper style typeface made in collaboration with Gunnar Vilhjalmsson.
  • Grasrot (2005): Headline typeface for the catalogue of Grasrot, an exhibition held in Reykjavik, showcasing young and upcoming Icelandic artists. Done in collaboration with Gunnar Vilhjalmsson.
  • Pulsa (2005): a hot-dog themed typeface.
  • Tundurdufl: Based on German poster grotesks, ca. 1900, and constructed according to a special grid.
  • Times New Siggi: a wiggly version of Times Roman.
  • With Sveinn Daviðsson, he made several faces such as Reinhardt, Ultima Thule, and Russibani (organic).

A nice quote by him: Designing a proper typeface is a difficult and boring process. When you've sketched down your main ideas, there is not much room for creativity, it just becomes hard labor, a bit like doing the dishes. [Google] [More]  ⦿

Siggi Odds

Sigurður Oddsson or Siggi Odds or Siggi Oddsson, was born in Reykjavík, Iceland, in 1985, but spent a large part of his childhood in Vancouver, Canada. He graduated from college (in science) in 2005 and graduated with a B.A. degree in graphic design from the Iceland Academy of the Arts in Reykjavík, Iceland in the spring of 2008. He is an illustrator and graphic designer. Typefaces created by him include Sniðagrind (2007, an experimental face inspired by Gateway, by designer Stephan Müller), Kögra (2006, a face based on fractals made at The Iceland Academy of the Arts), and Aryan Monkey (2007, a curly font done with Sveinn Daviðsson). [Google] [More]  ⦿

Sigríður Rún

With a BA in visual communication from the Icelandic Academy of the Arts, Reykjavik-based Sigríður Rún created Icelandic Alphabet (2013), a typeface that consists of skeletal structures. 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]  ⦿

Sigurður Ármannsson
[font.is]

[More]  ⦿

Sigurður Angantýsson

Creator in Reykjavik of the wavy hypnotic and futuristic face Pastura (2011). [Google] [More]  ⦿

Snorri Eldjárn Snorrason

Icelandic dreator of the art nouveau face Harmonia (2011) and the slab face Albania (2012, Ten Dollar Fonts). [Google] [More]  ⦿

Sruli Recht

Graphic and type designer from Reykjavik, who created two experimental typefaces in 2008 with Jared Eberhardt: Syrillic, and Worn. Behance link. [Google] [More]  ⦿

Stefán Kjartansson

Designer (b. Siglufjordur), who got a BA in graphic design from Iceland Arts in 1993, and lived in Reykjavik. He took a job in Atlanta, GA, designing for CNN.com. In the next five years, Stefan worked his way from interactive designer to creative director. He co-founded the interactive agency Armchair, and has directed projects such as Coca-Cola's M5.

Creator of GOR (1996) at GarageFonts, an English font with a Cyrillic/Armenian feel, expanded to a ten-font family in 2002. In 2001, he designed the Reykjavik font family at Psy/Ops, as well as Armchair Modern (influenced by the long elliptic shapes of furniture and TV tubes). Homepage at Armchair Media. At YouWorkForThem, he published Black Sabbath (2008), an elegant ultra black slab serif face. Cumulus and Foam (2010) is totally experimental, with shapes that evoke both plastic and sex. Still in 2010, he created the Armchair Modern family of elliptical sans faces, from AGauge (hairline) to EGauge (very fat and yummy)---Armchair Modern was derived from the logo created for Armchair Media Group by Stefan Kjartansson. The design is ultra-modern, reminiscent of work by Mark Newson and Arne Jacobsen furniture. YWFT link. MyFonts link. FontShop link. [Google] [MyFonts] [More]  ⦿

Steinn Alex Jonsson

University student in Reykjavik, Iceland, b. 1986. As a graphic and type designer, he created the sans face Sharpstate (2008). [Google] [More]  ⦿

Stella Björg

Graphic designer and illustrator in Reykjavik, Iceland. Creator of the decorative caps typeface There Be Monsters (2013), which is based upon the illustrations found on a 1598 map of Iceland drawn by Abraham Ortelius. [Google] [More]  ⦿

Sveinbjörn Pálsson

Sveinbjörn Pálsson studied graphic design at the Iceland Academy of The Arts in Reykjavík. He has had a varied career in design, with work in magazine design, interaction design, art direction, tomb-stone lettering, custom type design and other fields. He graduated in 2012 from the TypeMedia program at KABK, Den Haag.

At KABK, he designed the rounded sans serif family Sultan (2012). [Google] [More]  ⦿

Sveinn Þorri Daviðsson

Sveinn Þorri Daviðsson was born and raised in Akureyri on the north-east side of Iceland. He moved to Reykjavik in 2005 to study graphic design at the Iceland Academy of the Arts (B.A. degree in 2008). After his graduation, he moved to Berlin, where he shares a studio space with his friend Siggi Eggertsson. Icelandic designer of Times New Rope (2008, based on Times Roman). Grindavik (monospace face) is inspired by Wim Crouwel's type design, Futhark runes and older cumae forms. Tekkno is an isometric modular and angry face. Other typefaces: papers (origami typeface), Russibani (super-organic; done with Siggi Eggertsson), Reinhardt (with Siggi Eggertsson: based on old German woodcut posters), Bad Times (hand-printed Times Roman), Ultima Thule (grotesk headline; done with Siggi Eggertsson), Api (curly), Paper (paper cut face), Ryksug (experimental). YWFT link. [Google] [More]  ⦿

Synthview
[Jan Tonellato]

Jan Tonellato is an independent Polish web and graphic designer (b. 1979, Poznan), currently living in Paris. He attended the 2010 type design master class at Poli-Design (Politecnico) in Milan. He created Novecento (2011), a useful 32-style uppercase-only sans family that covers every European language, and is loaded with plenty of opentype features. Six weights of it were free. It became a hugely successful commercial typeface in the two years after its publication. In 2013, Novecento Slab was published.

Fontsquirrel link. MyFonts link for Synthview. Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

The Icelandic Method
[Gunnlaugur S.E. Briem]

A free instruction booklet by Gunnlaugur S.E. Briem written in 1985, and concerned with handwriting education for Icelandic children. Nan Jay Barchowsky, who published it in her series called Cursive Italic News says: The Ministry of Education in Iceland is introducing italic handwriting in schools. That is the result of pressure from teachers who were dissatisfied with the style they had, a copperplate-based business hand. A group of Icelandic teachers who are interested in experimental teaching of italic formed a working party last year, They were interested in the method and asked Briem to put together instructions that could be used with children by teachers who had little or no experience with italic. The members of the working party initially paid for the printing out of their own pockets. Dr. Gunnlaugur S.E. Briem donated his work. The scheme has been very well received. Letters of support have come in from handwriting experts in many parts of the world, Education authorities in other countries have suggested collaboration. The PDF showcases three font families by Briem himself, Italiuskrift05 (his casual handwriting for instructions, dated 1985), BriemAnvil06 (serif family) and BriemAnvilSans07 (sans family). [Google] [More]  ⦿

Þórður Grímsson

Reykjavik-based designer of the display sans typeface Alchemy Bold (2013). [Google] [More]  ⦿

Þorleifur Gunnar Gíslason

Þorleifur Gunnar Gíslason is a graphic designer in Reykjavik, Iceland, and graphic design student at the Iceland Academy of the Arts. In 2009, he made Coffee, a font based on coffee beans laid out on a flat surface. In 2011, he designed the experimental geometric (cubist?) face Ásmundur, which was inspired by Cassandre's Bifur and is a tribute to Icelandic sculpture artist Ásmundur Sveinsson. [Google] [More]  ⦿

Thule fonts

The Thule Roman and Sans fonts (for the Mac) at MacCampus. These fonts have custom encoding, based on standard Mac Icelandic encoding. [Google] [More]  ⦿

Ulfur Kolka

Úlfur Kolka is a graphic designer in Reykjavik, Iceland, who created the poster lettering face Andmaeli (2010). [Google] [More]  ⦿

Unicode ISO 8859

Description of character sets.

  • 8859-1 Europe, Latin America (Afrikaans, Catalan, Danish, Dutch, English, Faeroese, Finnish, French, German, Galician, Irish, Icelandic, Italian, Norwegian, Portuguese, Spanish and Swedish.)
  • 8859-2 Eastern Europe
  • 8859-3 SE Europe
  • 8859-4 Scandinavia (mostly covered by 8859-1 also)
  • 8859-5 Cyrillic
  • 8859-6 Arabic
  • 8859-7 Greek
  • 8859-8 Hebrew
  • 8859-9 Latin5, same as 8859-1 except for Turkish instead of Icelandic
  • 8859-10 Latin6, for Eskimo/Scandinavian languages
[Google] [More]  ⦿

Veronica Gorbacova

Graphic designer in Reykjavik. She created Echo (2011). [Google] [More]  ⦿

Vesturbaer
[Matej Hlavacek]

Czech graphic design, photography and type design studio run by Matej Hlavacek (b. 1977, Prague). Fonts include Patron (2009, simple sans) and Ferkanta (2010, an art deco geometric stencil poster font). Matej studied Graphic Design at AAAD in Reykjavik/Iceland. Later he moved to Prague and attended the master program in Studio of Typography of Frantisek Storm at AAAD. n 2009 he founded Vesturbaer Studio together with photographer Jiri Hronik. MyFonts link. [Google] [MyFonts] [More]  ⦿

Vistawide

Archive of free foreign language fonts covering Arabic, Armenian, Bengali, Bulgarian, Burmese, Cambodian, Celtic, Chinese, Croatian, Czech, Estonian, Old English, Farsi, Georgian, German, Greek, Hawaiian, Hebrew, Hindi, Hmong, Hungarian, Icelandic, Japanese, Khmer, Korean, Latvian, Myanmar, Nepali, Persian, Polish, Punjabi, Romanian, Russian, Serbian, Slovenian, Tagalog, Tamil, Thai, Turkish, Ukranian, Urdu, Vietnamese and Welsh. [Google] [More]  ⦿

WorldScript Macintosh Support

WorldScript: language utilities for the Mac (free downloads). Includes Turkish, Cherokee, Uralic Cyrillic, Georgian, Icelandic, Maltese, Vietnamese, Celtic, Intuktitut, Greek and Coptic support. Page maintained by Michael Everson. [Google] [More]  ⦿