TYPE DESIGN INFORMATION PAGE last updated on
Sat May 19 09:11:18 EDT 2012 TYPE DESIGN INFORMATION PAGE last updated on
Sat May 19 09:11:18 EDT 2012
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Type in Ireland |
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Digital artist from Limerick, Ireland. Devian tart link. At FontStruct, he created the ultra thin squarish face Lithe (2010). In 2011, he created the thread-themed experimental alphabet I Hate Thread. [Google] [More] ⦿ | |
Dublin-based creator of the roman Gaelic typeface Hogan (1891). He also made the Gaelic Modern round face Petrie C (also known as Thom) ca. 1856. [Google] [More] ⦿ | |
Kiltimagh, Ireland-based creator of a mechanical ornamental caps face called Macha (2011). ZigZag (2011) is a beautiful experimental face made for an architectural company. Walsh is also a talented illustrator. Behance link. [Google] [More] ⦿ | |
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Bach
| Music fonts by Dr. Yo Tomita from the School of Music, Queen's University of Belfast: Bach, Bach-stem-down, Bach-stem-down-2h, Bach-stem-down-2l, Bach-stem-down-3h, Bach-stem-down-3l, Bach-stem-up-2nd-higher, Bach-stem-up-2nd-lower, Bach-stem-up-3rd-higher, Bach-stem-up-3rd-lower. Alternate URL. [Google] [More] ⦿ |
Barlow type
| Early transitional Gaelic typeface prepared by the Gaelic Society of Dublin in 1808-1821, which, just as the very early Queen Elizabeth type, used some roman characters, in part to draw in people to study the Irish language. Sample from a grammar book published by John Barlow in 1808. [Google] [More] ⦿ |
Bonaventure O Hussey | Irish guardian of a Franciscan monastery in Louvain, Belgium, where he died in 1614. He is credited with the first authentic Irish character type, the Louvain type. Brendan Leen writes about him: "One of a group that had sought refuge on the continent of Europe in the aftermath of the pillage of a Donegal monastery in the late sixteenth century, Bonaventure O Hussey entered the Franciscan monastic college at Louvain, Belgium, on 1 November 1601 and died as its guardian on 15 November 1614; it is for the printing of An Teagasc Criosdaidhe by O Hussey that the first authentic Irish type was cut. On 15 April 1614, O Hussey had petitioned for permission to print Irish material at Louvain." Another sample of Louvain. [Google] [More] ⦿ |
Graphic designer from Ballina, Ireland, b. 1995.He made a basic geometric face called We Have A Future (2010). Devian Tart link. [Google] [More] ⦿ | |
Celtic Fonts by the Celtic Lady
| Original Gaelic fonts. Designer Susan Kathryn Zalusky sells California Uncial for 20 dollars. She also gives away for free a simple Gaeilge (Irish Celtic) font, Celtic Gaelige UNICODE (1997). [Google] [More] ⦿ |
Dublin-based typographer, and creator of the modern angular Gaelic typeface Reed (ca. 1874), modeled after Newman. [Google] [More] ⦿ | |
Gaelic fonts for Windows expertly categorized and explained by Ciarán Ó Duibhín. A great jump page. One can find opinions on choices of fonts. For example, on the choice of a Gaelic uncial, we find this paragraph: I find it useful to classify uncial fonts on a three-point scale of ornateness. The fonts at each point may then be compared on the extent to which their unciality is affected by minuscule or by Latin influences. | |
Irish designer of the ultra-fat modular face Blockage (2010, FontStruct). [Google] [More] ⦿ | |
Clare Bell | Clare Bell received a BA degree from Central Saint Martins College of Art & Design in London after working as a designer in Dublin for eight years. She also worked in the design department of the Guardian newspaper for five years before returning to Dublin where she is undertaking a PhD entitled Typography, Culture & Society: An analysis of the visual representation of the Irish language in Northern Ireland at the Dublin Institute of Design and Technology, where she is a typography tutor. At ATypI 2005 she spoke on Typographic tales from the edge of empire, and deals mainly with the story of uncial, from the Book of Kells to present day murals in West Belfast. [Google] [More] ⦿ |
John Kearney was a typefounder from Dublin (?) who, some time in the period 1571-1658, made the Gaelic typeface Queen Elisabeth. A draft digitization by Cois Life is mentioned. [Google] [More] ⦿ | |
Typographer and printer who in 1926 founded Three Candles Press, b. Dublin, 1892, d. 1972. Creator of the typeface Baoithín (1932), based on Victor Hammer's Hammerschrift. Digitized as Loch Garman (1999, with Michael Everson). He and Karl Uhlemann are responsible for Colum Cille, a modern round Gaelic face named after the sixth-century Irish saint, Colmcille (1936, Monotype Series 121, see here). Digitized in 1993 by his son Dara Ó\0Lochlainn, it is now available from Monotype. Colum Cille (or Colmcille) was not commercially popular. Three Candles, the only printing press to offer the typeface, went under, and Irish typorgraphy came to a halt until the digital age. Linotype link. FontShop link. [Google] [More] ⦿ | |
Con Kennedy, Irish graphic designer and creator of some free original Irish fonts, such as Cinnéide, Oireachtas (1997), Uachtar´n (1997), Uachtar´n Outline, Uachtara´ Sans, and Uachtar´n Fade. [Google] [More] ⦿ | |
Connare.com
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Agfa's page on him. Note that there is a movement by Isaac Stanfield to ban Comic Sans, discussed at Typographica and Typophile. Interview by Karen Huang. Piece by Emily Steel. Vincent Connare joined Dalton Maag in the spring of 2001 as production manager. At Dalton mag he was part of the team that developed Ubuntu and Nokia Pure. Can Comic Sans look good in design? Check Markku Ylisirniö's Comic Sans poster. At Ampersand in 2011, he concluded "I just wanted to let it go; it just looks ridiculous" explaining why he was not involved with Ascender's Comic Sans Pro. [Google] [More] ⦿ |
Conor Design
| Based in Cork, Ireland, Conor O'Driscoll (Conor Design) made the commercial faces Indee and Brushd in 2010. In 2011, he added Gardener. [Google] [More] ⦿ |
Cooee Design
| Graphic designer in Dublin, where he runs Cooee Design. Some of his posters and projects are about experimental typography, such as A to Z (2009) and Cycles. Behance link. [Google] [More] ⦿ |
Dandm3
| Dandm3 is the design place of Deirdre Idema (Irish born) and Maarten Idema. Maarten was a student at the KABK in Den Haag from 2003-2004. He designed Pam (2004), a typefaces specifically crafted for street maps, as well as the experimental face Before. Unclear if Maarten is Dutch, Irish or Kiwi. [Google] [More] ⦿ |
Son of famous Irish typographer and printer, Colm Ó\0Lochlainn, who designed the Celtic font Colmcille (1936, Monotype Series 121). Dara digitized this in 1993. FontShop link. [Google] [More] ⦿ | |
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Researcher at the National Print Museum in Dublin, and one of the world's top experts on Irish type design. Author of Irish Type Design: a history of printing types in the Irish character (Blackrock: Irish Academic Press, 1992). He obtained a doctorate from Trinity College Dublin for work completed on the subject of the Irish Character in Print. He was Art Director of the University of Iowa Press for a number of years before returning to Ireland. He was a lecturer in design at the Dublin Institute of Technology, where he held the position of Head of the Departments of Visual Communication and Fine Art. At ATypI in 2003, he spoke about Irish type design: the Canadian connection. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿ | |
Irish designer of the dingbat face DF Industrials (1994, Letraset). [Google] [MyFonts] [More] ⦿ | |
Edward W. Lynam | Author of The Irish character in print, 1571-1923 (with an introduction by Alf MacLochlainn), New York: Barnes&Noble, 1924 (1969). The book was originally written in 1924. [Google] [More] ⦿ |
Creator of CurlyHogRunes (2007), a gorgeous Celtic illuminated lettering font that is part of the Open Font Library. Alternate URL. [Google] [More] ⦿ | |
Empty Page Studio
| Lukasz Kulakowski, a Polish graphic designer in Dublin, Ireland, created the free typeface Mosaic Leaf (2011), which was inspired by Akzidenz Grotesk typeface. In 2012, he published Orbits (a multiline face, done with Zbyszek Czapnik). [Google] [More] ⦿ |
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Evertype (was: Everson Typography)
| Michael Everson's (b. Norristown, PA, 1963) brilliant pages on Celtic and other languages and on font standards, featuring the following sub-pages:
Elsewhere, one can find rare Everson creations such as Musgrave (1994). MyFonts.com sells Corcaigh, Doire, Darmhagh and Loch Garman. About Loch Garman: Loch Garman is based on Baoithmn, designed by Viktor Hammer and Colm Ó Lochlainn; Baoithmn was based on Hammerschrift, which was related to Hammer's American Uncial -- though Loch Garman is more authentic Gaelic font than American Uncial. He continues: American Uncial sucks. It is inauthentic and it's not even attractive. It has a "dot" on the i (which it shouldn't) which makes it look like an í (which it doubly shouldn't). Hammer Uncial isn't much better. In my own view, the only one of Hammer's Uncials that I have seen that was any good was Pindar, and then only in its reworking as Baoithín (with Colm ÓÓ Lochlainn). His bio, in his own words: Michael Everson, based in Westport, Co. Mayo, is an expert in the writing systems of the world. He is active in supporting minority-language communities, especially in the fields of character standardization and internationalization. He is one of the co-authors of the Unicode Standard, and is a Contributing Editor and Irish National Representative to ISO/IEC JTC1/SC2/WG2, the committee responsible for the development and maintenance of the Universal Character Set. He is a linguist, typesetter, and font designer who has contributed to the encoding in of many scripts and characters. In 2005 and 2006 his work to encode the Balinese and N'Ko scripts was supported by UNESCO's Initiative B@bel programme. Michael received the Unicode "Bulldog" Award in 2000 for his technical contributions to the development and promotion of the Unicode Standard. Active in the area of practical implementations, Michael has created locale and language information for many languages, from support for Irish and the other Celtic langauges to the minority languages of Finland. In 2003 he was commissioned by the United Nations Development Programme to prepare a report on the computer locale requirements for Afghanistan, which was endorsed by the Ministry of Communications of the Afghan Transitional Islamic Administration. He prepared a number of fonts and keyboard layouts for Mac OS X 10.3 (Panther). Michael moved to Tucson, Arizona at the age of 12. He studied German, Spanish, and French for his B.A. at the University of Arizona (1985), and the History of Religions and Indo-European Linguistics for his M.A. at the University of California, Los Angeles (1988). He moved to Ireland in 1989, and was a Fulbright Scholar in the Faculty of Celtic Studies, University College Dublin (1991). In 2010, he made Timenhor, a Latin-script font whose glyphs are based on the uncial letterforms of Coptic manuscripts. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. Dafont link. [Google] [MyFonts] [More] ⦿ |
Feorag's Place
| Nice designs by Feòrag NìcBhrìde from Edinburgh, Scotland. Her Mac TrueType and PostScript fonts are mostly reproductions of historic type. Styl, Styl Round, Astradyne and DaySquareCut are futurist in inspiration. Chapbook and Chapbook Italic are based on 17th century type and Vespasian is taken from a late 7th century manuscript. Symbats and Orkney Runes are of particular interest to occultists. Flgheadh, my first shareware font, makes the creation of knotwork rows as easy as typing three characters which happen to be next to one another on the keyboard. Viking Runes from the Orkney Isles, Taisean (2010, angular uncial), Accelerando (2009, nice simple techno face), Day Square Cut (1997; based on lettering designed by Lewis Day, some time around 1900), Cianán (Mac type 1 font based on an old Irish manuscript, 1998), Astradyne (based on the font used on Ultravox's Vienna LP from 1980), Symbats (1997-2008, a Pagan dingbats font), Innsmouth Plain (2011, handprinted), Skelett (2011, blackletter). Dafont link. Older URL for her free stuff. [Google] [More] ⦿ |
Fergus Costello Studios
| The font Gaeilge 1 was originally developed by Pádraig McCarthy in 1993. Gaeilge 2 is an updated version, dated 1996, by Padraig McCarthy and Nikita Vsesvetskii (LINBIT group, P.O. Box 234, St. Petersburg 199155, Russia). Both are free at Fergus Costello Studios. Padraig McCarthy resides at The Presbytery, Rathdrum Co., Wicklow, Ireland. Alternate URL for Gaeilge1. Both fonts have proprietary encoding for the dotted consonants, but Gaeilge2 has nicer grave-accented vowels. Dafont download site of Peter Rempel. [Google] [More] ⦿ |
Creator of Gaeilge2, another version of McCarthy's Gaeilge1 for Irish/Celtic scripts, in 1997. There exists another Gaeilge 2, but that was made be Padraig McCarthy himself in 1996 with the help of Nikita Vsesvetskii. Free download here. [Google] [More] ⦿ | |
Aka F.M. O'Carroll Aberystwyth. Creator of the Gael AX and Gael BX fonts. The original version by F. M. O'Carroll (1997) consists of eight Gaelic fonts. These original fonts, packaged with some TrueType font development tools, are freely downloadable from the Celtic Department of University College Cork, Ireland. The Gael fonts come in two slightly-different minuscule styles. The fonts have acute accents on the vowels instead of grave. In 2003 (with an update in 2008), Korvellou An Drouizig made Unicode-compliant versions, Gael AX Unicode, Gael AX Unicode Bold, Gael BX Unicode and Gael BX Unicode Bold, available here and here. [Google] [More] ⦿ | |
Brendan Leen (St Patrick's College, Drumcondra) writes about the early Irish alphabets. The preface goes as follows: "Although the existing roman letter was officially sanctioned as the standard medium for the printing of Irish language documents in the early 1960s, the four preceding centuries had witnessed a rich tradition of printing in the Irish character. The origins of Irish character typography regress to the high standard of calligraphy achieved by the monastic scribes of the fifth century, and to the two discrete styles __ the half-uncial and the minuscule__ that emerged from the scriptorium to subsequently exert a defining influence on the design of Irish printing types. The full, rotund form of the half-uncial was typically used in the transcription of Latin tracts _____ notably, in the earliest known Irish manuscript, the Cathach, and, magisterially, in the Book of Kells. The Irish minuscule, a more angular form with a pronounced vertical emphasis, was often resorted to in manuscripts where vellum, and as a consequence space, would have been premium, and normally for the transcription of Irish as opposed to Latin texts. Although mostly in Latin, early texts in which the Irish minuscule hand appears include the Book of Armagh and the Book of Leinster." [Google] [More] ⦿ | |
Gaelchló
| Since 1994, Vincent Morley has been designing Gaelic fonts, which can be freely downloaded at Gaelchló. His list, as annotated by Ciarán ó Duibhín:
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Gaelic Typefaces: History and Classification
| Detailed historical listing of Gaelic typefaces by Michael Everson. He says that it is not always easy to classify Gaelic typefaces. His classification proposal:
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Galt Barber | Creator of the gaelic script font Rudhraigheacht (2000), available here. Rudhraigheacht Unicode (2003) has extra characters and was re-encoded in Unicode by Korvellou An Drouizig. [Google] [More] ⦿ |
Garrett Reil (Rain Design, Ireland) is a graduate of Limerick School of Art and Design and the National College of Art&Design (MA). He has worked in London and Dublin with leading international design consultancies. He founded Rain design partners in 1998 with Clíona Geary. Garrett lives in the picturesque twin towns of Ballina-Killaloe and does much of his work in Dublin and around Ireland. Garrett designed the size-specific New Johnston Book typeface for London Transport with Colin Banks and John Miles at Banks&Miles London; he co-designed signing manuals for Bass Plc and created a number of their retail brands; with Landor Associates he led the implementation of a new identity for Delta Air Lines. In 2008-2009, he got involved in the design of road signs for Ireland, and his proposal is Turas (2009). It deals with matters such as halation (the effect of headlights hitting a highly reflective material used in modern signs. This causes an overglow, which can make the sign difficult to read), bilingual time delay, and the longer Irish names. Ireland adopted the Transport type designed for UK roads by Jock Kinneir, a design lecturer at the Royal College of Art, and Margaret Calvert, his assistant, in the late 1950's and early 1960s. [Google] [More] ⦿ | |
Irish flash animator. He created the angry typeface Revelations (2010). [Google] [More] ⦿ | |
Dublin-based creator of the Gaelic uncial round faces Petrie A (also called Irish Archaeological Society 1 and 3), ca. 1835, and Petrie B (Irish Archaeological Society 2), ca. 1850. The Gaelic Modern round face Petrie C (also known as Thom) is due to Alexander Thom (ca. 1856). Petrie made the Gaelic modern angular face Newman (or: Keating Society) around 1857. That face was digitized as Gaeilge (1991) and Bunchló (1996). Brendan Leen explains: "The artist and antiquary George Petrie occupies a central position in the history of Irish character typography in the nineteenth century. In 1830, Petrie purchased a holograph copy of the Annals of the Four Masters and, shortly afterward, commenced the design and production of an Irish type suitable for the printing of the Annals. An artist of contemporary renown, Petrie possessed a sound knowledge not only of the aesthetics, but also of the mechanics and technology of print production. The Petrie type continued to be used in the Clann Lir periodical, printed until 1922 by Colm Ó Lochlainn at the Sign of the Three Candles, Temple Bar, and by the National University of Ireland until 1957 for the setting of its examinations in Irish." Sample. About the Newman type, inspired by the Book of Hymns, and commissioned by Cardinal John Henry Newman, Leen writes: "A typeface that owed more to the minuscule calligraphic tradition was prepared specifically for the Catholic University of Ireland, also by George Petrie. In order to avoid confusion with the earlier, half-uncial Petrie designs is generally referred to as the Newman type." [Google] [More] ⦿ | |
Geraint Franklin | British designer of Playford (2003), a geometric sans with varying stroke width. Geraint works at Network Archaeology Ltd., a company registered in England and Wales. [Google] [More] ⦿ |
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Hilary Kenna | Irish type designer. Lecturer in Design & Digital Media at IADT: Dun Laoghaire Institute of Art, Design and Technology. [Google] [More] ⦿ |
Irish alphabet | The Irish language (Gaelic) is also called Gaoileag, Gaoidhleag and Goidhealg. Its alphabet of 18 letters is Aibghitir, Aibidil, Aibchitir or Abchitir. Older alphabets had the letters in a different order, and those were called Beith-Luis-Nion (for b l n), Bobeloth (for b l) and Bobelloth. [Google] [More] ⦿ |
Ivan A. Derzhanski works at the Institute for Mathematics and Computer Science of the Bulgarian Academy of Sciences in Sofia. His fonts include
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Dublin-based creator of the Gaelic early transitional angular typeface Christie (1815-1844). This sample is from "The Proverbs of Solomon". Brendan Leen writes: "In 1815, the founder James Christie designed an Irish character type that represented the most legible fount to date. The Christie type also managed to retain the calligraphic qualities of the authentic Irish style. The type required meticulous care in the application of ink on account of its boldness and extreme contrasts of weights." [Google] [More] ⦿ | |
James' Font Page
| James Shields is an Irish typographer who designed AceCrickey (1998), Armageddon (1998), ChubbyCheeks (1998), HesDeadJim (1998), Fuzzed (1998), GreenScreen (1998), HoneyIStoleYourJumper (handwriting, 1998), Ragamuffin (handwriting, 1999), Slaine (1999, a modern angular Gaelic font). See also here. Dafont link. [Google] [More] ⦿ |
Irish creator (b. 1985) of the gothic modular face Scarlet River (2009, FontStruct). He lives in Dublin and is a graphic designer. Home page. [Google] [More] ⦿ | |
Jean Joseph Marcel | At one point director of the "imprimerie de la république". Author of "Alphabet irlandais, précédé d'une notice historique, littéraire, et typographique" (Paris, Imprimerie de la République, nivôse an XII [1804]). This book explains the Irish alphabet, but has little in terms of typographic information. [Google] [More] ⦿ |
Designer from Dublin (?) who, some time in the period 1571-1658 made the Gaelic typeface Queen Elisabeth. Everson says that the roman glyphs are by Pierre Haultin (but he gives no date for that). A draft digitization by Cois Life is mentioned. [Google] [More] ⦿ | |
Dublin-based creator of the roman aspirated Gaelic typeface Furlong (1842). [Google] [More] ⦿ | |
Artist, b. Newcastle-upon-Tyne, 1833, d. 1928. John Ward, a printer in Belfast, employed John Vinycomb as the company's artistic director. Vinycomb organized drawing classes at the art studios of Marcus Ward&Sons after normal working hours. These classes were held under the company's auspices and were open to all for the price of a penny a session. Vinycomb was an internationally acknowledged expert in heraldry who was regularly consulted by the British and European royalty and aristocracy. Author of a number of art books such as Fictitious and symbolic creatures in art (Chapman and Hall, 1906) and Fictitious and Symbolic Creatures in Art (1909). He also drew a number of alphabets, such as Italian 14th Century Capitals, Modern Roman french Style, Modern Roman Italics OldStyle, and Modern Sans. The last alphabet was also called a "skeleton" at the time---all letters are of equal stroke width. Photo in 1910. [Google] [More] ⦿ | |
Designer (b. Fort Lauderdale, FL, 1965) of a few metafonts such as old uncial and cirth (Tolkien runes), to be found here, and Celtic Knotwork Font. Designer of the metafont Cun (runes, cuneiform). Now software engineer for IBM/Lotus in Ireland. [Google] [More] ⦿ | |
Irish designer of the free music dingbat font Frets. [Google] [More] ⦿ | |
Commercial fons for Gaelic: GaillimhLS, GaelicLS. At the same site of Linguist's Software, we also find the Ogham font BallymoteLS. [Google] [More] ⦿ | |
Graphic designer from Limerick, Ireland. Designer of the 3d typeface Jenga (2009). [Google] [More] ⦿ | |
Dublin-based designer of Flukst (2006, pixel face). [Google] [More] ⦿ | |
Designer in Dublin who graduated from the Limerick School of Art & Design. The moon on a clear night inspired her to create the experimental typeface Me and the moon (2012). [Google] [More] ⦿ | |
Dublin-based creator of the modern Gaelic Uncial typeface Biggs (1953). A draft of a digitization, called Doolish (Michael Everson), is in the works. [Google] [More] ⦿ | |
Mike Duggan is a lead typographer in the ClearType and Advanced Reading Technologies team at Microsoft. Mike has a degree in Visual Communications from the National College of Art&Design in Dublin, Ireland. He previously worked for Compugraphic and Monotype Typography. Mike joined Microsoft in 1999, where he develops hinting of new typefaces targeted for screen legibility. Mike was the typographic technical lead on the ClearType Font Collection project. Speaker at ATypI 2011 in Reykjavik on the topic of Cleartype hinting. [Google] [More] ⦿ | |
Creator from Trim (Ireland) of the Gaelic modern uncial typeface Binín (1994). [Google] [More] ⦿ | |
Cork, Ireland-based designer of Odyssey (2011). [Google] [More] ⦿ | |
Ogham | Ogham was a script devised by a Celtic grammarian from southern Ireland. The Old Irish of his day had no phoneme /p/, a fact which helps date the invention of the script to ca. the 4th century A.D. It was divided into four aicmí 'groups' of five letters each: b, l, f, s, n; h, d, t, c, q; m, g, ng, z, r; and a, o, u, e, i. Later, when diphthongs had developed and borrowings had reintroduced the /p/ phoneme into the language, five more signs, called forfede, were added to write eo, oi, ui, io/p, and ę. Most of the Ogham inscriptions have been found in Ireland, though some bilingual inscriptions with Latin have been found in Wales; a few too are found in Cornwall and Scotland, and on the Isle of Man. The Picts, the non-Celtic indigenous inhabitants of Britain, took up the use of Ogham script as well; unfortunately we do not understand their language. Oghams were in use until the medieval period; the 14th century Book of Ballymote, for which this font has been named, gave the earliest transliteration key. [Google] [More] ⦿ |
Very early Irish type. Brendan Leen writes about : "Insistent on communicating with foreign visitors to her court in their own language, the Queen--in the period c. 1560 to 1565--commissioned from Christopher Nugent a manuscript Iryshe-Latten-Englishe Primer. The Primer included an Irish alphabet as well as a glossary of words and phrases in Irish with translations in Latin and English." The first book to use the Queen Elizabeth type was Aibidil Gaoidheilge agus Caiticiosma (1571), a catechism in the Irish language, by John Kearney. The hybrid Irish font of Queen Elizabeth was used initially for religious materials. [Google] [More] ⦿ | |
Richie Whyte from Dublin, Ireland, writes about his barcode font: Named after the inventor Émile Baudot, Baudot 5 (2008) is a 5-bit character set predating EBCDIC and ASCII, presented here in simulated punched paper tape form as used in TTY. [Google] [More] ⦿ | |
FontStructor from Limerick, Ireland. His fonts include Teardrop (2011) Sabrefont (2011) and Electric Rain (2011). [Google] [More] ⦿ | |
Scribhinn
| Info and links about Celtic fonts. By Michael Everson. [Google] [More] ⦿ |
Irish type specialist. He has a page on type measurements, with a proposal for reform. Creator of the (free) traditional miniscule (angular) Celtic font Gadelica (2007). In 2010, he added Germanica (2010), a textura quadrata face based on a model by Fust and Schöffer (ca. 1457). [Google] [More] ⦿ | |
Sentfactor | Irish outfit that released these fonts: Alabama, Alaska, Arizona, Arkansas, California, Colorado, Conneticut, Delaware, Florida, GeorgiaBold, Hawaii, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, MissouriItalic, Montana, Nebraska, Nevada, NewHampshireBold, NewJersey, NewMexico, NewMexico, NewYork, NorthCarolina, NorthDakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rho, SouthCarolina, SouthDakota, Tennessee, Texas, Utah, VermontThin, VirginaNormalItalic, Washington, WestVirginia, Wisconsin, WyomingNormal. These seem to be renamed typefaces from elsewhere. [Google] [More] ⦿ |
SIAS (or: Signographical Institute Andreas Stötzner)
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He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text face in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. Other fonts: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans). Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans face with 400 pictograms. Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements. Showcase of Andreas Stötzner's typefaces at MyFonts. [Google] [MyFonts] [More] ⦿ |
SignArt
| James S. Kelly is the designer of the dingbat font Phones (1996) at SignArt in Kircubbin Co. Down, Northern Ireland. See also here.xi and here and here. [Google] [More] ⦿ |
Irish designer of the handprinted faces Scrapist (2012, sketched), Billy Boy (2011, 3d), Quito Chicken (2011, 3d), Fred Wild West (2011, a grungy western face), Coolock Black (2011), Zapftig (2011), Ringworm (2011), Suicide Draft (2011), National Granite (2011, a 3d stone chisel face), Whiskey Fingers (2010), Wank Hands (2010) and Middle Man (2010), and the irregular faces Zapftig (2011), Shock Corridor, Pollo Asado, Middle Woman, Ghost Words, Late Puberty, Parrannoyed (2010, ransom note face), the hairline face Rexic (2011), Black Grapes (2012) and the grungy Skidmarks (2012). We read that the fonts are designed by EircomTest. Aka Squack, MiddleMan and Alex H. Dafont link. [Google] [More] ⦿ | |
Dublin-based type designer who made the early Gaelic typeface Parker (now also known as Brooke or Bonham), 1787-1815. [Google] [More] ⦿ | |
Dublin-based freelance designer and illustrator. MyFonts page. Creator of the funny dingbat face Briefcase (2007). [Google] [MyFonts] [More] ⦿ | |
Born in Belfast in 1970, Steve Payne is the designer of the free font Coma at Fountain. [Google] [More] ⦿ | |
Suzanne Sweetman from Dublin, Ireland, drew the ornamental caps alphabet Creatures (2011). [Google] [More] ⦿ | |
Jim Michael's Fresno-based archive of GAELIC-L, a mailing list for users who want to communicate in Irish, Scottish or Manx Gaelic. The home of GAELIC-L is listserv@listserv.hea.ie at University College, Dublin in Dublin, Ireland. [Google] [More] ⦿ | |
The Paris Irish type | Brendan Leen writes: "In 1732, an English Irish Dictionary, compiled by Conor O Begly, was printed by Jacques Guérin and the Paris type of its composition represented a major departure from preceding designs (it has been suggested that the type might have been modelled on a calligraphic sample supplied by O Begly). An unusual feature of the Paris type is its inclusion of an uncial, italic form of the letter a. With the exception of the Queen Elizabeth type, Irish character typography had to that point relied exclusively on the triangular or majuscule a." Shown here, it came about as the Moxon type of 1681 was strictly forbidden for religious literature, which had in the early 18th century been printed in roman characters. [Google] [More] ⦿ |
The Parker Irish type | The Parker type, produced in Dublin in 1787, was the first Irish character type cut and cast in Ireland. It is sometimes called the Brooke or Bonham type, as Charlotte Brooke used it in "Reliques of Irish Poetry". The Parker type was not appropriate for textbooks as it used up too much space. [Google] [More] ⦿ |
The Rome Irish type | After the Louvain type, the second true Irish type, cast in 1638 in Rome at the College of Saint Isidore. View a sample of its use in Lochrann na gCreidmheach by Fr. Francis O Molloy here. Brendan Leen writes about it: "Not dissimilar to the Louvain type, the Rome Irish type nonetheless represents a marked improvement on its predecessor. The letters have sloughed all of the vestiges of the ligature; now, they compose in a more vertical and distinct manner on the page. [...] On a "visit" to Italy in the early nineteenth century, Napoleon requisitioned the Rome Irish type for the National Print Museum of the Republic, the Imprimerie Nationale. The type was used by the Paris printer J.J. Marcel in the 1804 production of Alphabet Irlandais. [...] The Rome Irish type had been just one of an array of exotic punches pillaged in Italy and transported to the Imprimerie at the beginning of 1801; in an effort to obtain from the Propaganda samples of a range of foreign letters to complete the magnificent Paris collection, boxes of Arabic, Armenian, Brahmanic, Chaldaic, Coptic, Hebrew, Georgian, German Greek, Irish, Illyrian, Indian, Malabar, Persian, Ruthenian, Syriac and Tibetan had been unceremoniously looted and shipped northward. Ultimately, the original punches and matrices of the Rome Irish type were returned under threat of violence by the commissioners of the Tuscan Government." [Google] [More] ⦿ |
Graphic and type designer in London. Foley obtained an MA in Communication Design Central from Saint Martins in 2009. Visiting lecturer on The MA Communication Design course at Central Saint Martins and the BA Visual Communications Course at Bristol University of Art&Design. Designer of the transitional text face Nib (2010; developed under the guidance of Freda Sack) and the sans family Hewitt (2010). Speaker at ATypI 2010 in Dublin, where he discussed the history of Irish type and the roots of his book family, Nib. [Google] [More] ⦿ | |
German designer of Linotype IrishText (1997), a Gaelic uncial. Fontshiop link. [Google] [MyFonts] [More] ⦿ | |
Irish site with a Celtic font archive: 26, 3DLET(BRK), Aarcover-(Plain):001.001, Alien, AngelOs1, Anglo-Saxon,-8th-c., ArborisFolium, BONES, BarbedWireSWFTE, BatMan, Beth-Luis-Fearn, Beth-Luis-Nion, BetsyFlanagan, BillyBear'sCrayons-Regular, BloodOfDracula, BulletHolz, Bunchlo, BurnstownDam, CHRISTMAS, Calendar-Normal, Campaign-Normal, CarrElectronicDingbats, CarrKeys, CeltGael, Celtic-Knot, CelticFrames, CelticPatterns, CelticPatterns, CelticmdDecorativeWDropCaps, CenturyGothic-Bold, CenturyGothic, ChineseTakeaway, Chlorinap, ChristianCrossesII, Christmas-Tree, Codex, CreepygirlLight, DarkWind, Dingbat-Cats2, ElectricHermesAOECharge, EnnobledPet, EuroSig, FZ-BASIC43, FZ-BASIC43COND, FZ-BASIC43EX, FZ-BASIC43HOLLOW, FZ-BASIC43HOLLOWEX, FZ-BASIC43HOLLOWITALIC, FZ-BASIC43HOLLOWLEFTY, FZ-BASIC43ITALIC, FZ-BASIC43LEFTY, Flakey, Flame, Flamer, Flower-Show, FlowerOrnaments, Frosty, GEMontage, GESheerScript, GabrielsAngels, Gaeilge1Normal, Glanchlo, Gnomes, GroovyGhosties, HalloweenBorders, Hazard-Regular, HolyMoly-Normal, Interdimensional, Iomanoid, Irish-Blessing, Jardotty, Jarman, Jasper(BRK), JewelSet, KarloffFont, KellyAnnGothic, KeltBold, KeltCapsFreehand, KeltItalic, KeltNormal, Kidprint, Lee, Mayan, Meroitic---Hieroglyphics, MomsTypewriter, MonsterParty, MonstersofStone, MostlyWaves-Regular, MusicalSymbolsNormal, National-FirstFont, National-FirstFontDotted, National-Primary, NoFear, Nosfer, Orna3, Orna4, ParaAminobenzoic, Pixel-Shift, Playbill, RNIB-Braille, Rainie'sKids-Regular, Ransom-Regular, Ruritania, Salter-Regular, SanskritNew4, ScratchyMess, Scythe, Seperates, Showboat-Regular, SkinnerAOE, Smartie, SnowCaps, SpiralsFont, Stjernetegn, SunnMoon, TattooNo1, TattooNo2, TeddyberV12, Tuamach-Regular, VintageDingbats, WeatherFont, WebOMintsGD, XmasClipart2, Zombified. [Google] [More] ⦿ | |
Irish designer in Dublin who created the italic Henry Ford Type (2011). Behance link. [Google] [More] ⦿ | |
Designer at Bitstream of the elegant Roman sans Artane Elongated BT (2001). Born in Ireland, he designs type in Carrigallen, Co Leitrim. His home page. Check also Padraig (in the Celtic tradition), and his corporate faces BOC 100 Light and CIE 2000 Bold [the CIE Group of Companies includes Iarnród Éireann, Bus Éireann and Dublin Bus]. [Google] [MyFonts] [More] ⦿ | |
A few Celtic truetype fonts at the Faculty of Celtic Studies of the University College Cork. The font collection, GAELA, GAELAW, GAELAX, GAELAXW, GAELB, GAELBW, GAELBX, GAELBXW, shows the following copyright line: TTGL/TTASM (C) F.M. O'Carroll Aberystwyth 1997. The page also has truetype executables such as TTASM, TTBIT, TTGL, TTVIEW, all truetype font utilities allowing even a limited amount of truetype font editing on DOS (not Windows). [Google] [More] ⦿ | |
Designer of Egoistica at Garagefonts. He lives in Dublin. [Google] [More] ⦿ | |
Dublin-based creator of the roman Gaelic typeface Neilson (1808-1845). [Google] [More] ⦿ | |
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Irish graduate from the type design program at the 
ATypI 2010 was organized by Clare Bell and Mary Ann Bolger in Dublin, Ireland. It took place in 
Vincent Connare (b. 1960, Boston) is an ex-painter turned type designer, who holds an MA in typeface design from the University of Reading. in the late eighties/early nineties Connare worked in the Ikarus, Intellifont and TrueType teams for Agfa/Compugraphic, and was one of the first type designers to learn TrueType hinting. Then he joined Microsoft, where hw designed or had a big hand in Trebuchet (1996) and 
David Delahunty is convinced beyond a reasonable doubt that code/programming can add a fresh element to design. He used a program to create experimental glyphs in an imaginary alphabet, 
Graphic designer from Dublin. He made the experimental 
Typographer and type designer from Waterford, Ireland, b. 1980. Creator of 
Based in Dublin, Ireland, Sarhan is a student at The National College of Art&Design, Ireland. He created just one typeface, a sans face made up of line segments and arcs of circles, called 
