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[Headline set in the digital letterpress emulation typeface Nexa Rust (2014, Fontfabric) by Ani Petrova, Svetoslav Simov and Vasil Stanev.]








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4th February
[Sergiy Tkachenko]

Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link.

View Sergiy Tkachenko's fonts. [Google] [MyFonts] [More]  ⦿

7GUN

Design site in Moscow. Creators of the geometric figure (Latin) stencil typeface Caribe Modular (2013), which was created as a project for the British Higher School of Art & Design. Intrnal Hybrid (2013) was also completed at the British Higher School of Art & Design in Moscow. Deriz (2013) is a high-contrast didone titling face. Intrnal Hybrid (2013) is a grungy techno Cyrillic typeface. Vintage and Coupage Font emulates various wood type and letterpress styles. [Google] [More]  ⦿

A2 Graphics--SW--HK
[Scott Williams]

Scott Willimas is the cofounder (with Henrik Kubel) of A2. Before that, it was called A2 Graphics/SW/HK, a London based design bureau founded in 1999 by Scott Williams and Henrik Kubel. At A2, he designed the elliptical typeface family Cubbit, as well as the pixel typeface game Over and Eyeslies. Williams and Kubel co-designed AF-Klampenborg (1997-1999) and FY-Brush Script Regular.

In 2014, Scott Williams and Henrik Kubel (A2 Type) codesigned A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.

Klingspor link. [Google] [More]  ⦿

A2 Type
[Henrik Kubel]

A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. Their typefaces:

  • 4590
  • 60 Display.
  • Amplify (2013) won an award at TDC 2014.
  • Antwerp (2011). A readable text family designed by Kubel during an Expert Type Design Class in 2011 at Plantin Genootschap in Antwerp.
  • A2 Archi (2005, Henrik Kubel): an octagonal face.
  • A2 Aveny-T (2000, Henrik Kubel): Poster typeface commissioned as aprt of the identity of the Aveny-T theatre in Copenhagen.
  • Agriculture.
  • Archi.
  • Banknote.
  • A2 Battersea (1999, Henrik Kubel): inspired by Meta, DIN and Transport Alphabet. Followed in 2012 by Battersea Slab.
  • Bauhouse.
  • A2 Beckett (2008). A condensed sans family with the masculinity of Impact.
  • Boing.
  • Copenhagen
  • A2 CPH Tram (2009, Henrik Kubel): revival of an odd mini-serifed type found on the exterior of Danish trams, ca. 1920.
  • A2 CWM (2008, Henrik Kubel): constructivist type designed for the headlines and cover of Cold War Modern Design 1945-1970. Octagonal.
  • Dane.
  • A2 Danmark (2008, Henrik Kubel): a display stencil family.
  • A2 Ergonomics (2011).
  • Flavin Medium. A neon tube font.
  • A2 Flowers (2005, Henrik Kubel): arrows, fists, flourishes, ornaments.
  • A2 FM: slab serif family.
  • Grand. A stencil stypeface.
  • A2 Grot 10 (2009, Henrik Kubel): a take on the Grot Series by Stephenson Blake. Grot 12 followed in 2015.
  • A2 Impacto (2005-2011, Henrik Kubel): Impact?
  • A2 Klampenborg (1997, Henrik Kubel): industrial style sans.
  • Kunstuff.
  • London (2010).
  • Magna.
  • Maximum.
  • Melissa Script (2010).
  • A2 Monday (2003-2016, Henrik Kubel): based on 19th century English vernacular serif signage type.
  • Moscow Sans (2015). Aard winning custom fonts and pictogram system for Moscow Metro. Art directed and designed by A2 (Scott Williams and Henrik Kubel) with Margaret Calvert as type and pictogram consultant. Cyrillic script designed in collaboration with Ilya Ruderman.
  • Naive.
  • New Grotesque Square series (2015). A newspaper typeface modeled after a Stephenson Blake typeface. Followed by New Grotesque Round in 2015-2016.
  • New Rail Alphabet (2009). A refreshed and expanded version of Margaret Calvert's alphabet from the 1960s which saw nationwide use with British Rail, BAA, and the NHS. Developed in cooperation with Margaret Calvert.
  • New Transport (with Margaret Calvert). A digital version of Transport, the Jock Kinnear and Margaret Calvert typeface for the British road signs. New Transport will be commercially released in September 2013.
  • Register (2012-2017). A text typeface family inspired by French renaissance types.
  • Regular (2012-2016). Think Futura in new clothes. Accompanied by Regular Slab.
  • Sans, Slab and Serif typefaces for a redesign of The New York Times Magazine in 2015. The starting point for the Serif font is the Stephenson Blake Garamond-ish metal typeface Mazarin also known as Astree from French foundry Deberny & Peignot. The Slab fonts used for pull quotes and headlines are a continuation of the magazines existing Stymie font but in a condensed format. The Sans fonts are linked to the Industrial Grotesque types, with metal type specimen versions of Futura and Akzidenz fonts as loose models for inspiration.
  • Nosferato.
  • Ole.
  • Outsiders (+Outsiders Light and many other weights). A slab serif family.
  • Parsons Green Medium.
  • Square.
  • Staton.
  • Tagstyle.
  • Test.
  • Triumph.
  • A2 Typewriter (2000, Henrik Kubel): based on Olivetti Typewriter 22.
  • A2 Vogue Floral: a fashion mag modern display face in two styles.
  • Vogue Paris.Granshan 09 Type Design Competition. 1st Prize, Display fonts.
  • A2 Zadie (2005, Henrik Kubel): inspired by Edwardian railings surrounding the Royal Army Military College in London. Used on the cover of the Zadie Smith bestseller On Beauty (2005, Penguin Press, NY). Granshan 10 Type Design Competition. 3rd Prize, Display fontt described as an ornamental blackboard bold type.
  • In 2014, Scott Williams and Henrik Kubel (A2 Type) codesigned A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.
Custom type by them include a masthead for Toronto Life (2010), a custom typeface for Weekendavisen (2007-2010), Design Museum London (2010), Faber&Faber (2009-2010), Afterall Publishing (2006-2010), Faulkner Browns Architects (2007), Penguin Press (2005), and Norrebro Bryghus (2005).

At ATypI 2013 in Amsterdam, he speaks about New Transport.

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

Aatype
[Ahmet Altun]

Turkish type designer in Izmir (b. 1964) who sells through MyFonts. Ahmet graduated from Hacettepe University in 1989. He founded the commercial typefoundry Aatype.

In 2010, he created Dopamin (a high-contrast display sans), Square Comic, and Nilish (monoline geometric display sans).

In 2011, Ahmet created the art deco chic family Turquoise, the techno sans family Altuna Sans, the semi-hand-printed Shirin, and the organic and elliptical monoline sans family Deria Sans. Sterk (2011) is a legible and open masculine sans family. Glode (2011) is a masculine geometric sans family. Calligra (2011) is an elegant almost calligraphic flared sans. Ephesus (+Shadow) is a caps-only titling sans family. Tillom (2011) is an elegant decorative face. Ondule (2011) is a horizontally-striped texture face. Brounde (2011) is a rounded monoline slab family. Eggy (2011) is a monoline sans display typeface with slightly shaky outlines. Uno (2011) is an organic display face. The display sans Veberk (2011) has contrast and style.

Typefaces made in 2012: Halis Grotesque, Uneven (a bold poster typeface family), Ferforje (curly all caps face), Daphne (a hand-drawn all caps poster family), Mancho (a stylish caps only sans family), Cillop (elliptical sans), Typonil (elliptical sans), Omar (squarish poster font), Gulyesa Script (a beautiful informally hand-printed poster typeface), Smyrna (hand-printed poster face).

Typefaces from 2013: Minik (a great hand-drawn typeface with tall ascenders and descenders), Festivo Letters (a popular hand-made layered font system with 19 fonts numbered No1 through No19; see also Festivo LC, 2014, which has new sketches, shadows and ornaments), Halis Rounded, Troia (a flexible sans family).

Typefaces from 2014: Harman (a 7-style hand-drawn collection of retro poster fonts), Akon (hand-drawn poster family), Minimo (geometric organic minimalist sans family in four weights).

Typefaces from 2015: Racon (weathered type, perhaps letterpress emulation), Masif (heavy brush script renamed Pitos after 24 hours, most likely after a complaint from Monotype who markets a Steve Matteson font called Massif---Ahmet should have ignored that request as Monotype itself ignored Jean Joveneaux, who created another font called Massif in 1957, decades before Matteson's font), Deepika (swashy script), Tropen.

Typefaces from 2017: Buket (an 18-font collection including Marquee, Roman Shiny, Fat Sketch, Script, Decorative Shiny, Basic Retro, and Prismatic).

Creative Market link. . [Google] [MyFonts] [More]  ⦿

Adam Ladd

Graphic designer in Cincinnati, OH. FontStructor, who made the octagonal typeface Ladd Block (2011). MyFonts link. His commercial typefaces include Cut Block (2012: white-on-black sketched letters), Tape Back (2012), Inked Balterm (2011, a monoline hand-drawn sans with ball terminals added in) and Inked Classic (2011, blackboard bold).

Free typefaces from 2015: Poster Cut, Poster Line.

Typefaces from 2016: Oilvare (an 18-style layered font family), Cheddar Gothic (hand-crafted letterpress emulation family).

Typefaces from 2017: Likely (brush script), Likely Sans, Active (an upright brush script).

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

Adit Saputra
[Alter Deco Typefoundry]

[More]  ⦿

Adrian Frutiger
[OCR-B: Adobe]

[More]  ⦿

Aerotype
[Stephen Miggas]

Aerotype is a foundry in Camarillo, CA (formerly in Glendale, CA). It sells the typefaces of Stephen Miggas. Many types were designed around 1998, and most were rejuvenated and updated in 2005. A list of Aerotype's typefaces typefaces:

  • Pixel fonts: Airlock, AirlockWebDings, Fronteer One, Fronteer Two, Microtooth, Microtooth Web Dings, No Biggie One (+Bold), No Biggie Two (+Bold).
  • Old typewriter fonts: Obsolete (+Bold, XBold, Light, XLight).
  • Handwriting or informal scripts: Arbordale (2014, calligraphic), Bountiful, BountifulBold, Khaki (2007, fun script), Khaki Alternate, Mission, Sanscripta (+Heavy), Siesta, Southbee, Stay True (2011, tattoo-inspired) Boundless, Chillin, Angeleno, Game Street, Jumpshot.
  • Stencil typefaces: Expedition Stencil (+Heavy, +Thin), Hogwild (2010).
  • Blackletter: Octoberfest, Kingshead (+Alternate, Alternate Gothic, Alternate Light, Gothic, Light), Ladybat (+Alternate, Alternate Light, Light), Ravenwood One (+Bold, Condensed), Ravenwood Two (+Bold, Condensed), Wilhelmschrift, Ravenwood, Octoberfest (blackletter), Gothicus (2006, after Rudolf Koch's Maximilian), Dractura, Dracena.
  • Destructionist: Derailer (2016), Americanus (2016, emulating 1800s newsprint type), Dogjaw (2009), Thunderhouse (2009), Sluicebox (2008), Americanus, Conquistador Medium, Derailer (2006), Fiesta, Indigo Medium, Rebound (+Bold, Light, Super, XLight), Coldsmith, Blackstock, Boilerplate, Geoduck, Ghost train.
  • Techno: Durandal (+Black, Flat, FlatBlack, FlatLight, Light, Recycle.
  • Octagonal typefaces: Expedition (+Heavy, Thin, Super, StencilSuper), Protocol (+Alternate, Alternate Light, Alternate Bold, Bold, Light).
  • Dymo label simulation typefaces: Recycle Alternate, Recycle Alternate Reverse, Recycle Reverse, Recycle Standard), Public Works.
  • Display typefaces: Pacifico (2009), Rebound, Roughneck, Fiesta (Mexican style), Mediterano, Pitchfork, Serendipity.
  • Western style: Buckboard (2009), Bootstrap (2010, a estern wood-inspired slab serif), Planchette, Protocol, Leadville (Egyptian), Saloon After, Saloon Before, Boxwood, Caboose, Copperjack (2006, Egyptian), Silverton (Egyptian).
  • Pre 1999 typefaces that have been discontined or renamed: Clique Serif, Bevel-Broken, CliqueWedge, Vector, Corrode, Looneywood.
  • Dingbats: Antique Macabre Ornaments (2007).
  • Wood type: Coldsmith (2016), Sluicebox (2016, letterpress style), Applewood (+Alternate, 2009), Blackstock (2015).
  • Brush scripts: Zooja (2016).
  • Calligraphic typefaces: Duende (2016), Meritage (2014, a contrast-rich brush face)), Keepsake (2012, also advertised as a tattoo script typeface family), Spindrift (2012).

Creative Market link. View Stephen Miggas's typefaces. [Google] [MyFonts] [More]  ⦿

Ahmet Altun
[Aatype]

[MyFonts] [More]  ⦿

Aksa & Nusa Co.

Jakarta-based designer of the vintage typeface Pumper (2016), the Victorian signage typeface Hippia (2016), the script typeface Pat Judge (2016), the brush script Wilder Mood (2016), the signage typefaces Bostly Script (2016) and DBrakes (2016), and the weathered hexagonal typeface Broster (2016). Behance link. [Google] [More]  ⦿

Aksel Larsen

Graphic designer in Aalborg, Denmark, who created the vintage typefaces Forgeron (2016, spurred) and Blck Smth (2016, in Basic, Outline, Striped, Stamp and Wornout styles). [Google] [More]  ⦿

Alan Prescott

Philadelphia-based designer and PostScript font hacker who runs Prescott Design. He created three substantial sans typefaces families with many weights starting from hairline, almost in the fashion mag style: Clemente (2011), Ultima (2011), Passion Sans (2011, a Peignotian family). All free at Dafont.

Additional typefaces: the Bizarre series (decorative caps), Advertisers Gothic PD (2010: a large family based on Robert Wiebking's ugly original from 1917), APT Antique, Crayon PDS (2013, a decorative Victorian family), APT Caslon 76 (1997, based on a Compugraphics original), APT Feinen Inline (1997, after Henry Mikiewicz, 1983), APT Millais (1995, unknown origin), APT New Abel Cursive (1996, a revival of Bernie Abel's Abel Cursive (Compugraphic, 1974)), APT New Artcraft (1996), APT New LSC Book (1996, after a 1970 original by Lubalin Smith Carnese), APT New Classic Rubber Stamp (1996: based on DeVinne by G.F. Schroeder, 1890; F.W. Goudy 1898), APT New Hearst (1995, based on an original from Inland Type Foundry, 1901, which was famously ripped off from Goudy; the Italic was by Carl Schraubstadter, 1904), APT New Ticonderoga (1995-1996), APT New Woolly West (1995), APT Horizon Initials (1995), APT New Gill Floriated (1995), Old Gothic Initials Plain (1995: Lombardic caps), Pfister Bible Gothic APT Cameo (1997, blackletter caps), APT Saint Nick (1995: snow-themed caps).

His 19th century series, all made in 1995 or 1996: APT New Abramesque, APT New Alferata (psychedelic), APT New Armenian, APT New Belmont (Victorian), APT New Brenda, APT New Cabinet, APT New Caprice, APT New Dawson, APT New Euclid, APT New Linden, APT New Madison, APT New Moorish, APT New Mystic, APT New Rollo (Victorian), APT New Slapstick (wooden plank font), APT New Spiral, APT New Stephen Ornate, APT New Teahouse, APT New Viola, APT Novelty Script.

The wood type collection of Alan Prescott:

  • APT Antique Wood Double Outline Shaded 1995, APT Antique Wood Extended 1996
  • APT Caslon Wood w: Alts 1996
  • APT Clarendon Wood Extended 1996
  • APT Columbian Wood w: Alts 1996
  • APT Courier Wood 1997
  • APT Doric Wood 1995
  • APT Gothic Wood (+Alts) 1997
  • APT Grecian FullFaced Wood 1996
  • APT Jenson Old Style Wood 1996
  • APT Kurilian Wood w: Decorated Alts 1997
  • APT Modified Gothic Wood Cond 1997
  • APT New Venetian Wood 1996
  • APT New Woodcut Shaded Initials 1995 (Houtsneeletter)
  • APT Roman Wood 1994-1995
  • APT Tuscan Antique Wood (+Alts) 1995-1996
  • APT Tuscan Concave Wood 1996-1997
  • APT Tuscan Contour Wood 1996
  • APT Tuscan Gothic 1 Wood 1996, APT Tuscan Gothic 2 Wood Cond w: Alts 1996, APT Tuscan Gothic 3 Wood Cond w: Alts 1997, APT Tuscan Gothic Pointed Wood w: Alts 1997 (Ironwood)
  • APT Tuscan Italian Wood 1997
  • APT Unique Wood 1995
  • APT Wood 1995-1997
  • APT Wood No. 501 1996 (orig Wm.H. Page 1887), APT Wood No. 508 1997, APT Wood No. 51 1997, APT Wood No. 510 1997, APT Wood No. 515 1996
  • Stencil typefaces: APT Crystal Ship (1995), APT New Acapulco Light (1995; after the phototype Acapulco Light VGC), APT New Alpha Midnight (1996; after a typeface from 1969 sold by John Schaedler), APT New Beans w/ Alts (1996, after Beans by Dieter Zembsch, 1973), APT New Checkmate (1995---not a stencil type, really, but rather a modular typeface; after the film type Checkmate), APT New Zephyr (1996).
  • Ornamental typefaces: APT New Courtier Italic (1996, Vanity Fair), APT New Harlequin (1996), APT New June (1996, after Fournier le Jeune).
  • Computer fonts: APT Bugsy (1995), APT New Quote (1996: bilined).
  • Art nouveau typefaces: APT New Abbott (1995; after Joseph W. Phinneys' abbott Old Style, 1901), APT New Ambrosia (1995, after Peter Schnorr's 1898 Jugendstil typeface), APT New Baldur (1996; after Baldur by Schelter (1895) and Julius Klinkhardt (1903)), APT New Jagged w/ Alts (1996), APT New Jason (1996), APT New Livonia (1996), APT New Margit w/ Alts (1996), APT New Nightclub (1995), APT New Quaint (1995), APT New Quaint Open (1995).
  • Various display typefaces: APT Black Dog (1995), APT Blacksmith Heavy (1995), APT New Airedale (1995, after an original tattoo / poster from the 1930s), APT New Blade Display w/ Alts (1996), APT New Cugat (1995; a wedge serif letterpress emulation typeface), APT New Fieldstone (1995), APT New Static (1995), APT New Trump Gravur (1995; after Georg Trump, 1954), APT New Yagi Bold (1996).
  • Avant Garde typefaces: APT Avant Garde Alts and Display (1997), APT Lubalin Graph Alts (1997; to be used with BT Lubalin Graph, Ed Benguiat, 1974). [Google] [More]  ⦿

  • Albatross (or: Font Deals)
    [Jay Hilgert]

    Albatross is Jay Hilgert's foundry in Oklahoma City, OK, est. 2008. Before Albatross, Jay Hilgert ran Bittbox (or: BB Free Fonts), a site dedicated to free clipart and vector art.

    Typefaces from 2008 include the informal outline typeface Tire Shop, the informal 3d shadow typeface Blox (2008), the 3-d wood typeface Baja California, the stunning four-style family called BB Petie Boy (which includes an ornamental caps style, a grunge style, a blackboard style and a sketch style), Fusty Saddle, 23rd Street (a graffiti font) and Whiteboard Modern.

    In 2009, he followed up with Oil Change (3d, hand-drawn).

    In 2011, he created the futuristic family Naughty Astronaut (+Cowboy), the Western typeface ABTS Gunsmoke, the connected retro script typeface ABTS Milk, ABTS Feather Pen, ABTS Oklahoma (retro deco), ABTS Aviator (2011, art deco caps face), and ABTS Day of the Dead (ornamental skulls, Mexican style), ABTS Crestwing (an inline caps face), Helios Pro.

    Typefaces from 2013 include Boom (a comic book typeface family, with hand-drawn Boom Symbols).

    Typefaces from 2014: Signyard (a retro overlay font family that evokes motel signage), Microbrew (letterpress emulation in many increasingly grungy styles, accompanied by Ornaments and Banners), Sparhawk (a 3d layered display font), Castor One (wood and letterpress style), Altus (a hand-drawn elliptical sans, +Altus Extras: ornaments).

    Typefaces from 2015: Corinth Ornaments, Auburn (brush script), Microbrew Unicase, Corinth (hand-drawn geometric sans with letterpress influences).

    Typefaces from 2016: Moraine (a weathered letterpress emulation typeface family), Microbrew Soft.

    Creative Market link. Dafont link. Creative Market link. In 2011, he started Font Deals. [Google] [MyFonts] [More]  ⦿

    Alessandro Colizzi

    Italian designer (b. Rome, 1966) who studied at KABK in Den Haag in 2004, and was at the Atelier National de Recherche Typographique in Nancy, France, in 2001 and Parsons School of Design in New York in 1999, after a design career in Venice, Milan, and Switzerland. He holds a PhD from the University of Leiden for his research into Bruno Munari's graphic design work. He teaches type design at UQAM in Montreal. His research interests are focused on typographic history, type design and lettering, and information design.

    He created Mignonne (2004, aka Mirabelle), which was especially designed for small text setting under modern printing conditions. He also did the condensed Offbeat (1998, T-26, with Marco Tancredi).

    Speaker at ATypI 2013 in Amsterdam: Forma, Dattilo, Modulo. Nebiolo's last effort to produce a 'universal' typeface. [Google] [MyFonts] [More]  ⦿

    Alexander Cooper

    Alexander Cooper has run the letterpress workshop at what is now London College of Communication since 2004, and lectures in Graphic and Media Design. He is co-author of 6x6: Collaborative Letterpress project with Rose Gridneff and Andrew Haslam. Together Alex and Rose run an independent letterpress workshop. Speaker at ATypI 2014 in Barcelona. [Google] [More]  ⦿

    Alphabets Inc (or: Fontsonline.com)
    [Peter Fraterdeus]

    Alphabets Inc was founded by type designer Peter Fraterdeus, who made AI Marlowe, AI Prospera, AI Wood (1992, interpreted from examples shown in Rob Roy Kelly's American Wood Types) and AI Quanta (1994, a multiple master face). Check here. This foundry has some of the nicest typefaces anywhere, including many gorgeous typefaces by Philip Bouwsma (example: Alexia, Juliana, BouwsmaScript, Weissenau). Other designers include Bonnie Barrett (Arbor), Brian Sooy (multiple master fonts AIVeritas and AIVeritasItalic), Ejaz Syed, Inna Gertsberg, John Pugh, Karen Ackoff (check out the Russell handwriting), Kurt Roscoe, Lester Dore, Manfred Klein, Mike Brooks, Peter Fraterdeus (Oberon, Prospera and Quanta (multiple master) families), Randall Jones (the multiple master font AIKochAntiqua), Robert McCamant, Martha Chiplis, Serge Pichii, and Steve Meek. In 2007, Peter Fraterdeus started Exquisite Letterpress for top quality printing. In 2010, he promised to release Quanta Uncial.

    Dafont link [where one finds the free experimental typeface AI Fragment]. [Google] [MyFonts] [More]  ⦿

    Alter Deco Typefoundry
    [Adit Saputra]

    Yogyakarta, Indonesia-based designer Adit Saputra set up Alter Deco Typefoundry in 2013. He created the spurred Victorian typefaces The Famous Typeface (2013), Midnight Show (2013), Heister (2013), Cardiman Script (2013), Epique (2013), Holden (2013), Long March (2013), Dialog (2013), Big Lodge (2013), Jack Runner (2013, spurred), Shoutest (a Western circus font), Old Opera (2013) and AI Trashed (2013, free download).

    Other typefaces: Haimdale (2013, Victorian), Hamdall (2013), Chevia (2013), Chevitz (2013, roman caps), Shakehand (2014), Harmonique (2014), Knight Guard (2014), Hydenia (2014), Monopolish (2014), Antiqueen (2014), Samathor (2014), Sea Horse (2014), Phillnesia (2014, spurred), Relative (2014: a multiline custom typeface for Addthisrock Studio), Dubster (2014: a multiline typeface), Orbital (2014: a multiline custom typeface for Addthisrock Studio), Apparecum (2014), Handster (2015), Mermaid (2015: Victorian), Roasted (2015), Run (2015, spurred), Movember (2015), Bhaltazar (2015, eroded medieval font), Arthur (2015, rounded and hand-crafted), Aberden (2015), Boulden (2015, rounded spurred typeface family, including letterpress emulation styles), Mouthen (2015).

    Typefaces from 2016: Strongwill (Victorian), Cyanide, Relative (bilined), Handland.

    Dafont link. Creative Market link, where one can buy the fonts. Another Creative Market link. Graphic River link. Behance link. Yet another Behance link. Designs Net link. [Google] [More]  ⦿

    American Amateur Press Association (AAPA)
    [Dave Tribby]

    Organization with many type pages related to letterpress, and run mostly by Dave Tribby. I quote Tribby: From its formation in 1892 (from the merger of 23 leading foundries) to its demise in the late twentieth century, American Type Founders was the dominant force in foundry type. Throughout its existence, ATF produced some of the most beautiful printing fonts. During its first half century, those typefaces were displayed in a series of substantial catalogs.

    Chicago's Barnhart Brothers & Spindler foundry chose not to join the ATF combine in the 1890s. It finally became part of ATF in 1911, but continued to operate under its own name until it was closed in 1933.

    Based upon Mac McGrew's American Metal Typefaces of the Twentieth Century, Maurice Annenberg's Type Foundries of America and their Catalogs, and a review of ATF type catalogs published in 1897, 1899, 1900, 1903, 1906, 1909, 1912, 1923, 1934, 1941, 1960, and 1971 (plus BB&S catalog No. 25), Tribby has compiled a spreadsheet of ATF typefaces, their identification numbers, and which page numbers they appeared on in those catalogs. He put together a similar spreadsheet for BB&S catalogs that were published in 1897, 1909, and 1925.

    Excel spreadsheet.

    The following PDF files were prepared from the individual worksheets in the spreadsheet file.

    [Google] [More]  ⦿

    American Type Founders (or: ATF)

    In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at Columbia University in New York. The Smithsonian possesses most of the original type drawings and many of the matrices, and a number of other institutions and private individuals own matrices. Interestingly, despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of the 20th century, ATF was the dominant American foundry.

    Their specimen books are classics:

    MyFonts link.

    A brief history of ATF by Carol Van Houten. Reference books.

    View the digital typefaces that are based (fully, or in part) on ATF's typefaces. See also here, here, and here. [Google] [MyFonts] [More]  ⦿

    Amtypes (was: TypeWolves, Amtypefoundry, or Try and Error)
    [Angga Mahardika]

    Bandung, Indonesia-based designer of the angular signage typeface Lawson (2014), the Victorian signage typeface Houden HTN (2014), the paint brush typeface Valerie (2014), and the ironwork typeface Pipeburn (2014).

    In 2015, Angga made the hand-painted typeface Hellous, the hand-crafted Belion, Haste, Seafool and Teaters, the brush typefaces She Lovely, Stay Bold and Rainfall, the great rough brush typeface Harvest, the calligraphic (wedding script?) Judy, the brush face Tropica Island, and the script typeface Callera.

    Typefaces from 2016: Burtons Script, Heats, East Coast, Happy Boys, Bird House, Sailor (a vintage rounded letterpress emulation typeface in solid and rough versions), Alloha (brush script).

    Typefaces from 2017: Explode (a fresh all caps sans layered typeface), Black Gate, Cup Cakes, Wildest Script, Buffalo.

    Behance link. Creative Market link. Cargo Collective link. Behance link for Try and Error Studio. Creative Market link for Amtypefoundry. Creative Market link for Type Wolves. Behance link for Type Wolves. Creative Market link for Amtypes. [Google] [More]  ⦿

    Andika Setiawan
    [Dikas Studio]

    [More]  ⦿

    Andrew Footit

    Andrew Footit (b. 1984) runs his own typefoundry in Johannesburg, South Africa. He is also known as Arkitype. Until 2014, his type studio was called Virtue Creative and before that, Virtue84. In 2017, he set up Arkitype. His typefaces:

    • The very simple monoline geometric typeface Modulus (2011).
    • The stunning art deco typeface Vindeco (2011).
    • Gigafont (2011): a free bubblegum font.
    • FunFair (2012): hand-printed.
    • Virtus Sans (2012): a clean 4-style sans family.
    • the Western family Westro (2012, +Inline).
    • The free rounded sans drafting font Struct (2013).
    • The four-style vintage poster typeface The Woods (2013).

      The spurred letterpress typeface family Roper (2014). Roper evolved into the octagonal typeface family Hudson NY (2015).

    • Bosk Hand.
    • Roves (2016). A camping style set of fonts, including several stencil typefaces.
    • Anchor Script (2016). Inspired by classic cursive connected handwriting.
    • Hudson NY Regular, Serif and Slab (2016). An athletic lettering / octagonal typeface family.
    • Navigator (2016). Inspired by the early explorers.
    • Bowline Script (2016). A vintage monoline cursive script typeface.
    • Saveur Sans (2017) and Saveur Sans Round (2017). A lovely sans typeface family that is inspired by art deco and French cafes.

    Behance link. Creative Market link. Home page. View Andrew Footit's typefaces. Google] [MyFonts] [More]  ⦿

    Andrew H. Leman
    [E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)]

    [MyFonts] [More]  ⦿

    Andrew Haslam

    Phil Baines and Andrew Haslam wrote Type&Typography (2002) [German version: Lust auf Schrift! Basiswissen Typografie, Verlag Hermann Schmidt Mainz], a crash course in typography that is generally well received. Speaker at ATypI 2007 in Brighton and at ATypI 2014 in Barcelona (talk: 6x6: Collaborative Letterpress Dialogues, with Alexander Cooper and Rose Gridneff). [Google] [More]  ⦿

    Andrew Hochradel

    Riverside, CA-based designer of the grungy letterpress typeface family Calamity (2016), the rounded sans poster typeface Tiny Tim (2016) and the heavy poster typefaces Industrious (2016: Industrious is the font friend that will punch you in the mouth when you need it), Third Rail (2016, inspired by old train signage), Reach Sans (2016, +Inline) and Templeton (2016, wood type influences). Andrew taught design at California Baptist University. Creative Market link. [Google] [More]  ⦿

    Andrew Hoyem

    Californian designer with Linnea Lundquist of a great roman transitional family Aitken commissioned in 2002 for Arion Press. Arion Press writes: Hoyem has taken advantage of twenty-first century technologies in order to revive what is believed to be the first type family cut and cast in America. In 1796 two Scotsmen named Binney and Ronaldson started a type foundry in Philadelphia, the first in the country to endure. By 1800 they had produced a remarkably beautiful and utilitarian type, identified simply as Roman No. 1. It is a Transitional face, between Old Style (as in Caslon) and Modern (as in Bodoni). The type was used by Jane Aitken, daughter of Robert Aitken, the famous printer of the American Revolution, and an accomplished printer herself, for the printing of the first American translation of the Bible, by Charles Thomson, in 1808. It was reintroduced by American Type Founders Company in 1892 under the name Oxford and was used by a succession of fine printers, such as Daniel Berkeley Updike, Bruce Rogers, and the Grabhorn Press. Arion Press has 1,200 pounds of the original type that once belonged to the Grabhorn Press. Oxford was cast for hand composition only and was not adapted for Linotype or Monotype composition. The matrices are now in the collection of the Smithsonian Institution and unavailable for further casting. In 2002, Hoyem worked with type designer Linnea Lundquist, assisted by Andrew Crewdson, to create a digital version of this historic face, which he renamed Aitken. The Memoirs of Benjamin Franklin is its first use for book printing. The Aitken design has been optimized for letterpress printing, allowing for the spread of ink biting into paper just like with the original metal type design cut by Binney&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More]  ⦿

    Andy Crewdson

    Graduate from the University of California at Berkeley. Andy Crewdson ran the very interesting and entertaining "Lines And Splines" pages until May 12, 2002. He digitized Monica Lewinsky's handwriting (from notes she wrote for Bill Clinton---Stephen Coles later made the Mac version of Monica). On August 1, 2002, he resurfaced with New Series (dead link), in the tradition of Lines and Splines. But this too ended a short time later. There is a lot of speculation and commentary on the web regarding Crewdson's site and its disappearance---read, e.g., Joe Clark's blog. Andy is responsible for the roman transitional family Aitken commissioned in 2002 for Arion Press. Arion Press writes: Hoyem has taken advantage of twenty-first century technologies in order to revive what is believed to be the first type family cut and cast in America. In 1796 two Scotsmen named Binney and Ronaldson started a type foundry in Philadelphia, the first in the country to endure. By 1800 they had produced a remarkably beautiful and utilitarian type, identified simply as Roman No. 1. It is a Transitional face, between Old Style (as in Caslon) and Modern (as in Bodoni). The type was used by Jane Aitken, daughter of Robert Aitken, the famous printer of the American Revolution, and an accomplished printer herself, for the printing of the first American translation of the Bible, by Charles Thomson, in 1808. It was reintroduced by American Type Founders Company in 1892 under the name Oxford and was used by a succession of fine printers, such as Daniel Berkeley Updike, Bruce Rogers, and the Grabhorn Press. Arion Press has 1,200 pounds of the original type that once belonged to the Grabhorn Press. Oxford was cast for hand composition only and was not adapted for Linotype or Monotype composition. The matrices are now in the collection of the Smithsonian Institution and unavailable for further casting. In 2002, Hoyem worked with type designer Linnea Lundquist, assisted by Andrew Crewdson, to create a digital version of this historic face, which he renamed Aitken. The Memoirs of Benjamin Franklin is its first use for book printing. The Aitken design has been optimized for letterpress printing, allowing for the spread of ink biting into paper just like with the original metal type design cut by Binney&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More]  ⦿

    Angga Mahardika
    [Amtypes (was: TypeWolves, Amtypefoundry, or Try and Error)]

    [More]  ⦿

    Ani Petrova

    Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov's typefoundry. She completed her Bachelor's degree at The National Academy of Art in Sofia. In 2014 she obtained a Master's degree in type design.

    Fontfabric type foundry published the free typeface family Uni Sans Free in 2014: four font weights (with heavy and thin included) set in caps from the best seller font family Uni Sans (2009). Uni Sans Free is designed by Svetoslav Simov (head of Fontfabric), Ani Petrova (Cyrillic alphabet) and Vasil Stanev (font development).

    Nexa Rust is a set of 83 weathered letterpress emulation fonts that evolved from Nexa and Nexa Slab. This was a project by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev.

    Together with Asen Petrov, she designed the extensive hand-crafted typeface family PH (2014, Fontfabric). This typeface family is accompanied by a nice set of hand-drawn icons such as PH Icons Food and PH Icons Goodies.

    In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov codesigned the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies.

    In 2016, she designed Mixa (FontFabric), a connected script font influenced by grotesques.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.

    Typefaces from 2017: Kardinal (a humanistic sans published at Lettersoup). [Google] [MyFonts] [More]  ⦿

    Annette C. Disslin

    German letterpress and metal type shop located in Waeschenbeuren, Germany, and run by Annette C. Disslin. The shop is called manufaktur Papiergebunden. [Google] [More]  ⦿

    Anxo Vizcaino

    Lugo, Spain-based designer of the propaganda poster typeface Hüte Dich (2017), which is based of German war time letterpress with some avant garde elements mixed in. Behance link. [Google] [More]  ⦿

    Aritra Das
    [Nautica Studios]

    [More]  ⦿

    Artcoast Design (was: Mankoff)
    [Dmitry Mankoff]

    Dmitry Mashkin (or Dmitry Mankoff, or Artcoast Design, located in Sochi and/or Krasnodar and/or Moscow, Russia) created the absolutely wonderful restaurant menu deco typeface Montclar (2015, +food icons), the vintage letterpress emulation typeface family Stampbor (2015), the hand-crafted Karmina (2015), the brush typeface Hypsletters Script (2015, with Nadi Spasibenko), the vintage letterpress typeface Marktype (2015), and the sans typefaces Albori Sans (2015, rounded and monoline) and Brentwood Sans (2015).

    Since 2016, he operates as Art Coast Studio. His free bilined hipster typeface Brokes (2016) outhipsters even the coolest hipsters. He also created the letterpress emulation typeface Jameson (2016), the appealing (regular and rough) poster typeface Weisshorn (2016), the grungy letterpress font Ovsyanka (2016), and the hand-crafted typeface Norquay (2016). Creative Market link. Behance link. Old URL. [Google] [More]  ⦿

    Ashley Rego

    With a group of fellow students, Ashley Rego (Tiverton, RI) designed the letterpress emulation typeface Astraea (2016). Behance link. [Google] [More]  ⦿

    Attila Zigó
    [Bumbayo Font Fabrik]

    [More]  ⦿

    ATypI 2015: Letterpress Reloaded

    ATypI 2015 was held in Sao Paulo, Brazil, from 14-17 October. As part of the conference, there was a very interesting exhibition of letterpress posters. The exhibition, Letterpress Reloaded, was curated by Paulo Moretto, an architect (1991) with a Masters (2004) in graphic design for which he researched Brazilian posters, studying more than 7,000 pieces made between 1950 and 2000s. Henrique Nardi and Claudio Rocha conceivved the idea, and Henrique helped with the execution and production. [Google] [More]  ⦿

    Bartek Nowak
    [GRIN3]

    [MyFonts] [More]  ⦿

    Baseline Fonts
    [Nathan Williams]

    Foundry in Wichita, KS, founded in 1999 by Nathan Williams (b. Concordia, KS, 1973), formerly from the University of Kansas Art Museum Library. Its motto: The goal of the foundry is to provide uninterpreted revivals of type samples generated through disappearing printing methods, and create new fonts for dissemination in the type community. Order through MyFonts.Com or Union Fonts or Creative Market. FontShop link. Klingspor link.

    Fonts:

    • The Rodeo family of wood type fonts: 66 Rodeo, 57 Rodeo, 58 Rodeo (2003), Rodeo Rope, Rodeo Rope Superchunk.
    • The Tuscan family: Tuscan (2003, a wild west face). To this group we can add the Tuscan typeface Circus KS (2006).
    • Egyptians: Grit Gothic (2013), Grit Sans (2013), Heirloom Artcraft (2013), Worn Gothic (2013), Stately GG (2013), Grit Egyptienne (2005, grunge Egyptian family), Rough Egyptienne (2005).
    • Grunge typefaces: Antimony (2005, grunge), Dryden (distressed handwritten face).
    • Old typewriter fonts: Slab American Regular (old typewriter), Slab American Titling, Slab American Titling Heavy (2002). Slab American has 55 styles.
    • Art nouveau typefaces: Old Paris Nouveau (2003).
    • Pixelish typefaces: Base PXL7, 80s PXL Bold.
    • Display Sans: Maxime (2004, having support for most European languages; Maxime Shadow is available at FontShop), Woodgrit Thin (based on 19th century American letterpress fonts), Woodgrit Medium, Woodgrit Heavy, Pippen (squarish).
    • Calligraphic: Roundhand Regular.
    • Victorian: Boback.
    • The Grit family: Grit History (2003-2004), Grit Primer (2003), Grit Egyptienne, Grit Typesorts (2006, free).
    • The Old Times American family (+Italic, +Titling).
    • Pia Regular.
    • Kandt: the handwriting of legendary designer and art director James Kandt; 4 styles.
    • Chitchy.
    • AVI Sans.
    • Country Fang (2003, with Brian Miller).
    • Craft Roman
    • Licious Script.
    • Luxe (2003, casual).
    • Momentum (2002).
    • George Gibson (handwriting from mid 1800s).
    • Dingbats: Megaflakes 2010 (2010) and Megaflakes 2011 (2011).
    • Sketchwriter (2011).
    • Dusty Circus (2011) is a five-layer stacking display face designed to be infinitely morphed. It is a prototypical member of that old western circus font genre.
    • Bobbi Bee (2013). A connected script.
    [Google] [MyFonts] [More]  ⦿

    Bdstrd Std

    Bandung, Indonesia-based designer of the rough brush fonts Gatsunaga Hand Brushes (2015), Black Rose (2015) and Brother in Crime (2015).

    Typefaces from 2016: Luducudu (a layered typeface inspired by television cartoons), Amira Beauty, Oldstar (beatnik style), Sweetea (script), Supata (letterpress, in 17 styles), The Breaks, Horror Joys (horror movie brush font), Aswatama Rough (ligature-laden letterpress emulation typeface), Boldoa Mat, The Bridges (a modular sans poster typeface family, +Shadow, +Rough), Broken Wings (fat brush font).

    Behance link. [Google] [More]  ⦿

    Ben Grib

    Designer in Cape Town, South Africa, who created the slab typeface Deputy Serif (2012).

    Behance link. [Google] [More]  ⦿

    Benoît Santiard

    Graphic designer in Paris, b. 1980. Teacher at the École d'Architecture de la Ville&des territoires in Marne-la-Vallée. Cofounder, with Guillaume Grall, of Building Paris. Creator of the traffic-like sans typeface capitale (2009) for the signage of a concert hall. Werkman Letterpress (2009) is a font designed from letterpress woodblocks. It was inspired by the first issue of the magazine The Next Call (1923) by Hendrik Nicolaas Werkman. UnkleBenz (2009) is based on his own handwriting. [Google] [More]  ⦿

    Bethany Armstrong

    Designer, educator and artist who studied at the University of Wisconsin. She created Lady Killer (custom typeface and logo designed for Lilly Red Studio, Wedding Photography and Invitation Design, Chicago), Stylo Neuf (2009, a contrasted sans done in laser-cut letterpress), and Foundry Type (2008). [Google] [More]  ⦿

    Bethany Heck
    [End Grain]

    [More]  ⦿

    Bill Moran
    [Blinc Publishing]

    [MyFonts] [More]  ⦿

    Billy Argel

    Brazilian graphic designer and prolific creator of free typefaces, which often combine calligraphy and grunge.

    Fonts from 2017: Messenger Pigeons (script), Shine, Carolina Hills, Shave The Whales (tattoo script), Diamonde (baseball script), Yananeska, Black Ball, Miss Hanna (signage script).

    Fonts from 2016: Sweet Sensations, Breeze (brush script), Christmas Time (script), Propaganda Sight, Modern Stencil, Eyes Wide Open, Bella Donna, Safira Shine, Heaven Matters, Electricity (fifties script), Maccrap Asphalt (textured), Blockhead Dude (beatnik style), Weekend Flower Hunters, Sunset Clouds (tattoo script), Bikinis, Chedelparedon (scartchy font), Dattermatter (connected script), Granada-Blues (connected script), Mistery-Curse (connected script), Walking-Stones (calligraphic), Moderata, Spring Time (calligraphic), Desert Queen, Marriage Moment (wedding script), Angel Tears Neue, Germanika (blackletter), Great Day, Sunday Morning, Texas Tango (weathered Western font), Stenciled, Casablanca Noir, Brasileirinha, Carioca, Asphaltic Grain, Asphaltic Scratch, Nova Stamp (grungy), Bananas (brush script), Enjoy, Reminiscent Drive, Bananas (signage script), Mandela Script, Altamonte (baseball script), Landscape, Landscape Land, Old Type, Sedex, Good News, IA Type, Satisfaction (heavy creamy signage script), Sebastiana (baseball script), Urgh Type (grunge), Texas Tango (spurred Western font), Factory (textured), Rio Glamour (sans), Like (Italian style Western font), Heaven Gate (connected script), Colt (Western font).

    Fonts from 2014: BackStab (metal band blackletter font), Strongbox (concave Western font), Goiabada, Bonesoup, Blanc Chateau (tattoo script), Botas Sujas (grungy letterpress font), Bigbobs (cartoon face), Yukathin N Conte Smile, Sambahollyc, Cherry Jam, Cacha (grunge), Rubber Stamp, Yukafont (hand-printed), Cabriolet (brush script), Sweet Correction Roth (tattoo script).

    Fonts from 2011: Tabu, Caribbean Tool (roman caps face), Pijamas (hand-printed 3d outline face), Nova Solid (Nova Regular and Bold are from 2014), Chocolate Dealer, Happy Family (dingbats), Save The Mini, Tosca Zero (grunge), Epidemia (grunge), Skt and Destroy (grunge), High on fire, Manabu, Masterplan, Thrashline (multiline), Triumph Rewind, The Dreamer, Why, Uranium Mafia, Blessed Day, Caribbean Tool (floral caps face), Lost Winner, Dove Love (curly valentine's Day font), Safe Iodine (texture face), Easy Trouble, ArgelFont, BUTECO (sketch font), DIAMONDDUST, Dropping, Ink In The Meat (tattoo font), NORMAL, POPCORN (a great grunge hand-drawn Futura Black), POPCORNSKETCHSKETCH (a sketched face), ROCKETAIR, ShitHappens-Cursive. Panhead (grunge Western face).

    Fonts made in 2010: Thrashline, Dotled (a fuzzy texture face), Refurbished, PUNKBABE, CANDYINC, GreenPillow, DIRTYBAGBOLDTRIAL, LEDLIGHT, MAJORGUILTY, Network Vampires, NEWESTTRIAL (Western face), VATOS, Billy Argel Font (calligraphic), ACIDLABEL, BeyondSky-trial, HURTMOLD, TOSCAZERO, TABU (grunge), EASY TROUBLE, BOMBFONT (puffy letters), BILLYARGELFONT (calligraphic), Soap Store (grunge), ANGELTEARS (calligraphic), BUTOXQUEEN-trial, ELECTRICHANDS (cursive hand), FLOWERFLOW-trial, HAPPYFAMILY-TRIAL, HEARTQUAKE (grunge), MSKITOKILLA (grunge), NIGHTSTALKER-TRIAL (grunge), RAINFOREST (handwriting with rough edges), ROADMOVIE, ROSE TATTOO (an outlined hand-printed beauty), TWINPINES (brush), WANNABEME (sketched), WEDDINGNIGHTMAREStrial (calligraphic), BEERNOTE, GREENMIND (grunge), PORNFASHION, MASTERPLAN (grunge), SNIPERSHOT.

    Fonts from 2009: COOLECTOR, BODYHUNTER-Bold (grunge), CLUBHAUS-Bold (ultra black, mechanical/octagonal), MAKEMEALPHA (grunge), NewGardenLight, TRIUMPHREWIND (grunge), Nachos and TV, Oxidisaster, Helloween, Lemon Day Semibold (a sketch font), Tosca Zero, Outlaw (Western face), Gangland (scratchy brushy face), B Side (vertical stencil).

    Fonts from 2008: Plastic Pill (fat art deco face), Bedspread Assassin, A Bite (grunge), Dirty and Classic (grunge calligraphy), Gas Mask (grunge stencil), PANHEAD (grungy Western billboard font), My Turtle, Cubiculo Gallery (created for the Cubiculo Gallery in Sao Paulo), Ginga (grunge calligraphic--think award-winning grunge!!!), Wallrider, Black-Oak, TOY_SOLDIERS-Bold (grunge), Abite (grunge), ACIDLABEL, Bulldozer, Cheap Stealer, DONOTEXIST, HANGUP (3-d bouncy letters), HYERBA (Far West font), LAZYDAY (hand-printed outline caps face), LEDLIGHT, Mon Bijoux (ornamental), MANABU (futuristic), PEIXEFRITO, Positiv-A, Killed DJ (multiline grunge), Sniper (grunge), Black Oak (smudged face), ShAnKed,

    Fonts from 2007: Olho de Boi (a great scratchy handwriting font inspired by the first Brazilian postage stamp which was released on August 1, 1843), Skull TS2 (skull dingbats), REBOARD, Hurtmold (rounded octagonal face), PDRPT (grunge), the Soma family (modern stencil), Caatinga (2006, artsy display face), Santos Dumont (handwriting: free at DaFont).

    Klingspor link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Blanka Kvetonova

    London-based graphic designer. Behance link. Her first font was called Letterpress (2010): it is a grunge typeface with pizzazz. [Google] [More]  ⦿

    Blazej Ostoja Lniski
    [Typoforge]

    [MyFonts] [More]  ⦿

    Blinc Publishing
    [Bill Moran]

    Bill Moran at Blinc Publishing (est. 1996, St. Paul, MN) is the creator with Darrel Austin at Chank of Goshen, Gommorah, and Prospect. He also created Gideon (2001, 999USD!!!!!), Bell Martellus (2006, a Carolingian script family commissioned by the James Ford Bell Library at the University of Minnesota; codesigned with Chank Diesel), and Sodom (1999, with Chank). Hamilton Offset (2002, Chank) was based on an alphabet from the Hamilton Wood Type Printing Museum. He also made Flour Sack (2006).

    He writes: As a youngster in Green Bay, Bill began his career as an apprentice in his father's print shop [Jim Moran]. He honed his graphic design skills at the University Of Wisconsin-Stout and proceeded to work for Norwest Banks, The Artist known as Prince, and 3M before starting his own business. Bill serves as the Artistic Director for the Hamilton Woodtype and Printing Museum.

    Chank link. Blinc specializes in turn-of-the-century wood and lead type.

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

    BLKBK (Derek Campbell & Justin Graefer)

    BLKBK is a graphic design and visual communications studio in Winnipeg, Canada, specializing in type, lettering, brand identity, art direction, and design for print and web. BLKBK was formed in 2013 by Canadian designers Justin Graefer and Derek Campbell. Derek Campbell and Justin Graefer designed these hand-set typefaces in EPS format in 2014: Second Glance, Dead Stock, Mily Waves, Word Life, Drop Dead (dripping blood font), Space Jam, Midnight Disco, High Times, Bad Bones, Cru Jones, Age Old (vintage shadowed letters), All Caps and Good Times.

    In 2015 they added the truetype fonts Good Thang, Extra Mile, Retro Grade (letterpress emulation), First Take (brush script), Wreck Effect, Hand Book, Real Talk (sturdy text typeface), Breathe Easy, Finger Paint, New Age, Mango Tango, Hight Tide (connected signage script), Silk Road (brush script), Pure Gold, Blast Off, Plain Jane (cleanly printed rounded sans), Wild Thing (brush script), Loose Joints, Rush, Honey Dip, After Hours, Rough Diamond, Star Dust, Jive Talk, Black Marble, Love Jones, Sure Shot, Feel Real, Second Chance, Dead Stiock, Tres Bien, Outer Limits, Night Fever, Yard Sale, Hot Cakes, Flavor Rich, Deep Impact, Major League, Street Beat, Cherry Funk, High Voltage, Casual Look, Danger Mode, Beat Box, Cold Crush, Rare Groove, Fresh Daily and Flash Back. These are mostly signage and brush script typefaces.

    Typefaces from 2016: Handy Man, Red Velvet, Mighty River, Mega Fresh, Sun Valley, Street Magic, Mega Fresh, Run Wild, Body Rock, Alpha Beta, Mass Appeal, Bad Habits, Cosmic Rays (brush script), Drive Thru, Lucky Turns (brush style), Just Wright, Earth Rich (brush script), Golden Plains, Time Warp, Good Vibes, City Work, Soft Rocks, Stay Rad, Mind Rush (brush), Third Rail, Heat Wave, Far Out (an inky brush typeface), Mystic Moods, Super Market, Hang Loose, Crown Heights (calligraphic), New Speak.

    Typefaces from 2017: Painted Paradise, Casual Delight.

    Creative Market link. Behance link. [Google] [More]  ⦿

    Bodoni: Thierry Bouche

    Thierry Bouche's opinion on Bodoni: Digital prepress must have lost something on the road. Personally, the digital didone I prefer is Linotype Didot by Frutiger, although it's somewhat suboptimally spaced, the letter shapes are brilliant (including the italics). It works well for text and has very nice display caps for titling or dropping. Most other didots/bodonis are either draft-horses which correspond to some low contrast unelegant newspaper typefaces, or luxury toys like hoefler's. I liked very much the Oldface concept by Berthold, but never found any use to it: if somebody could point me towards some interesting&effective use of it, I'd be glad.

    He continues: Most of XIXth century books and even newspapers were printed using didones (well, newspapers rapidly evolved towards what blackwell calls transitional mécanes). On some great works by Firmin-Didot (like Racine's complete theater work orginal edition) for which he designed the most excessive and radical didone with hair-thin serifs, the 10 pt text is a pure pleasure to read at length. This required a very smooth paper and careful printing, but it worked. It is strange to see that the digital technology has not found yet the way to this level of quality. Yes, digital didots are hard to use as text typefaces; they're superb at very high res&large point size, but fail to work for text. This is not the design's fault, but technology's (or implementation?).

    Erich Alb adds about Linotype Didot: I like that one too. The story is, that after the possibility of high resolution on Printers Adrian Frutiger decided together with Linotype, to produce a new Didot. AF [Adrian Frutiger] became from an Antique Book dealer in Pairs an original copy of a Didot Book, (printed letterpress of course) and took the forms from there, but gave a personal note to his new typeface. He wanted to have the greatest contrast as possible in . However, AF knew that it only was possible to set in Display size, he never thought to used in 8 pt. However, the type is still not so much in use. Probably hasn't been discovered enough. [Google] [More]  ⦿

    Borutta
    [Mateusz Machalski]

    Borutta is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).

    He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).

    In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN.

    Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.

    Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (an organic sans family, renewed in 2016 as Aneba Neue), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).

    Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.

    Typefaces from 2015: Tupper Serif (again with RR Donnelley: a superfamily for pairing Latin, Cyrillic, Hebrew an Greek), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).

    Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system codesigned with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard cganged to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker font take on Alergia Grotesque).

    Typefaces from 2017: Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).

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

    Bowery Studio (was: Hipster Font)
    [Rachid Aitouaissi]

    Art director in New York Mills, NY, and/or Rabat, Morocco, whose web site was called Hipster Font, and is now called Bowery Studio. Designer of Blanca Script (2016, brush script), Amazing (2016), Anatalia Brush (2016), Grace Elegant Script (2016), Daisy Script (2016), Miraluna (2016), Antype Script (2016), Antype Sans (2016), Saser Script (2016), Asmae (2015, brush script), Rinoshare (2014, a sketched font), the octagonal typeface Hipster Grunge One (2014), the poster font Ice Cube (2014), the spurred tattoo font Athena (2014), Bushcraft (2014, free old letterpress emulation typeface), Inside (2014: rounded sans), Handy Vintage Font (2014), So Brush (2014), Picaso Font (2014), Close Hand Made (2014), Stump Font (2014, old letterpress emulation font), and Bear&Loupe (2014).

    Creative Market link for Bowery Studio. Behance link. Yet another Creative Market link. [Google] [More]  ⦿

    Brian Horsfall
    [Startype]

    [More]  ⦿

    Bumbayo Font Fabrik
    [Attila Zigó]

    Hungarian foundry with commercial and free fonts, est. 2005 by Attila Zigó. On Deviantart, they claim to be from Rwanda. They specialize in grunge type--some of the fonts are quite gorgeous indeed. Has a fontmaking service.

    • Free typefaces: FaggottPin Strada (grungy old typewriter), Crnagorszkij Buddah Orkesztar, El Tercer Hombre (2017, grungy letterpress), Burliweh Sans (2017, grunge), Wehryze Copiya (2017, grungy), Night Cola (2016), Slawterhouse Swinggang (2016), Drugstore Waltz (2016), Lost Lubbock Motels (2016, uber-grungy lettering), Amsterdrum Grotesk (2016), Bad Suabia Swing (2015, grunge), Zubajda (2014, grungy), Dioszeghiensis (2014, grungy blackletter), Mahrpedig Sans, Kinizsi Frakturetta (2012, blackletter), Ed Gein Gwilty and Ed Gein Ynnocent (2008), Miguel Sangotisch (2010, blackletter), Kopanyica Strasse (2010, grunge), Third Man (2010, grunge), Pahuenga Cass (2010, grunge), McKoy (2010, grunge), Eordeoghlakat (2010, grunge mechanical face), Santa Gravita (2010, grunge), Fibyngerowa (2010, grunge), Pahuenga Cass (2009, grunge), Liszthius-Alkimista (2008, a lovely 3d-look grunge face), Rueckwarzsalto (2008, grunge), Szorakatenusz (2008), Grymmoire (2008, grungy blackletter), Hrawolam (2008, children's hand), Certto Headline (2008, 3d outline grunge), Kopanyica Strasse (2008), Pokoljaro (2008, medieval look, rough outlines), Fibyngerowa (2008, splatter grunge), Conrad Veidt (2007), Baron Kuffner (2007, grunge inspired by B-movie posters), Karloff (2007), Deutschische (2006, blackletter), Egyptientto2 (2005, slab serif), Bumbayo (2006), Gepetto (2005), Gipsiero (2006, grunge), Lugosi (2005), Matejino (2005), Matejo (2005), McKoy (2005), Tuce (2005), 3rd Man (2007, grunge), Kyselak (2007), Latabár (2007, grunge).
    • Commercial: Der Erlkoenig (2007), Otranto (2007), Schkorycza (2006), Dajcsise (2005), Engelfeuer (2005), Gomulka (2005), Haniltom Gothic (2005), Perfuct (2005, a great irregular printed typeface), Osiris Records (2007, grunge), Thelema (2007, medieval hand).

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

    Bunker Type
    [Jesus Morentin]

    Letterpress company in Barcelona run by Jesus Morentin. Morenti studied graphic design at la Escuela d'Arts i Oficis Llotja, at the University of Barcelona and finally at at Escola Superior de Disseny, ESDi. Behance link. [Google] [More]  ⦿

    Calvin Kwok

    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. [Google] [More]  ⦿

    C.C. Stern Type Foundry
    [Jeff Shay]

    The C.C. Stern Type Foundry (Portland, OR) was founded as a working museum and metal type foundry in 2009. The mission of the C.C. Stern Type Foundry is to cultivate a unique connection between industry and the arts in the Pacific Northwest. The organization is one of the few operating type foundries between San Francisco and Vancouver. The organization's ability to make metal type and decorative print elements, and to share that craft with the community, fills a growing need within the Pacific Northwest's network of designers, letterpress printers and book artists. The C.C. Stern Type Foundry honors the memory of C. Christopher Stern, who built and operated the foundry at Stern&Faye, Printers of Sedro-Woolley, Washington. It is run by Jeff Shay (involved in the Museum of Metal Typography), Brian Bagdonas, Rebecca Gilbert, Chris Chen, Connie Blauwkamp and Joseph Green.

    Jeff Shay is a printer and photographer who has been making fine art for over 20 years. Jeff earned a Bachelor of Fine Arts with Distinction (magna cum laude) in Photography/Fine Art from Art Center College of Design in 1992. Jeff's hands-on printmaking instruction includes lab instruction at Art Center, where he instructed students in and demonstrated photogravure, intaglio etching techniques and lithography. He currently provides private instruction and printing services for artists through his company, Buzzworm Studios. Jeff brings experience in non-profit board positions including past roles as Board Treasurer and Chairman of the Personnel Committee for Food Front Co-operative Grocery in Portland, Oregon. [Google] [More]  ⦿

    Celcius Design
    [Ramandhani Nugraha]

    Cimahi / Bandung, Indonesia-based designer (b. 1986) of the hand-lettered alphabets Awesome (2015), Wonderwall (2015, a splash brush font), Valencia Sweetness (2015, brush script), Basik Rough (2015, brush), Innocents (2015), Againts (2014) (sic) and Leathery (2014).

    Other typefaces: Magenta Latte, Glamour Beauty (2016), Traveler (2016: dry brush style), Electric Vibe (2016: dry brush script), Nouvele Louisela (sic: this 2016 renaissance typeface was influenced by the chancery hand), Valencia Sans (2016, brush script), Burnts Marker (2015, a dry marker script), Celestial (2015, pure Victoriana), Borderland (2015).

    Typefaces from 2017: Loveable Script, Camp Press, Campground (free after a complicated immigration procedure).

    Old URL. Creative Market link. Behance link. Dafont link. Graphicriver link. [Google] [More]  ⦿

    Chank Fonts (or: Chank Store, or: Chank Diesel))
    [Charles R. Anderson]

    Born in Edmonton in 1969, Chank works out of the north-east corner of Minneapolis. Chank Diesel is a famous and prolific designer, type designer, busy-body and mentor. His Chank Foundry in Minnesota was started in 1992. Free fonts sub-page. Chank Diesel is Charles Andermack in the NY Times and Charles R. Anderson, b. Edmonton, 1970, elsewhere. Chank Fonts was run with Heidi Olmack ("El Mack de los Toros"). Earlier notices in his typefaces refer to CAKE Publications (2401 University Ave. NE, Mpls, MN 55418), Chank Foo, Schmopyright, and Exploding (PO Box 90100, San Diego, CA 92169). Bio by Susan Froyd. See also here or here or here or here. Handwriting font service for 95USD. 95 USD Go font Yourself font service based on filling out a form. Piece on Chank in the MinnPost.

    Chank became a popular and colorful figure who said this about himself: I like to drink a lot, and would like to think I'm known for it. Several of my fonts were inspired by booze, and I like to encourage other people to drink more, too. My best font is called Liquorstore.

    A partial list of his typefaces:

    • 200proofmoonshineremix.
    • A: Adrianna (2004, a sans family), Anger-Prerelease, Asswipe, AsswipeDeluxxe, AztecPezRegular, Adrianna Extended (2005), Aguas Frescas, Ammonia.
    • B: BabOonjaZzbaSsoOn, Ballers Delight (2007, free), Bell Martellus (2006, a Carolongian script family designed with Bill Moran of Blinc Publishing for the James Ford Bell Library at the University of Minnesota: Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled Liber Insularum), Bastard, Bawdy (T-26), Birthday Girl, Blinkers, Bonehead, Brainhead, Bric-A-Brac BV (2002), Bridie, Brieincarnation, ButtplugTaft, B Complex, Badoni, Boochie&Snoochie (T-26, by by Khai Pham&Chank Diesel), Billsville, Blazedale, BlincType Letterpress Fontpak (2004, commercial: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom), Braingelt (gothic), Brimley, Brubecks Cube (2004), Buckethead.
    • C: Carima (2002), Cheesewiddler, Chicken, ChickenBonus, Chrysler Electric (2007, fifties style connected script), Chumley (2002, first grade handwriting), Cleptomania, CrotchlessTeddyRoosevelt, CurbDog (by Matthew Desmond), Cookie Dough (2002), Chaloops (2005, comic book face), Chankbats (2001, +Objects, +Critters, +Flowers, +Flakes), Chauncy (ChauncyDecaf, ChauncyFatty, ChauncyPerkins, ChauncySnowman; this popular series from 1996-1998 is the first font family Chank ever made based on his own handwriting), Chauncy Pro, Chippewa Falls (2005), Chub, Chunder (1996, T-26), Cocaine, Coffeedance, Collateral Damage, Corndog, Coronette (2006, slab serif), Cosmic (1996), Couchlover, Cowboy Rhumbahut (2000, Matt Frost), Crusti, Crusti Wac.
    • D: DickwhippedLincoln, DongCasual, Duesenberg (T-26, by Jamie Nazaroff), Dutch-Oven, Dutch-Treat, Darling Nikki, Dekapot (2007), Destructive Decisions (2013, a foggy font), Drunk Cowboy, Dry Cowboy (2006, Tuscan).
    • E: Easterbuns (2008, Ascender Corp: a signage face), EatpooChubby, EatpooSkinny, EatpooTall [note: the latter three fonts were renamed Eatwell], Evergreen, Eatwell, El Hombre, Evolve (2015: video game font codesigned with Turtle Rock Studios).
    • F: Fatthinfog, Flutterby (2006, free), Fornicator, Fucker, Fastlab (by David Cushman), Fosho (2014), Fridayluck, FriskyFlakes (2004).
    • G: The Gemini Type Fontpack (2015: GT-Adrianna DemiBold GT-Adrianna Bold, GT-Adrianna ExtraBold, GT-Fairbanks, GT-Forward Thinking, GT-Hydropower ExtraCondensed, GT-Kegger, GT-Shopaganda, GT-Shopaganda Condensed, GT-Timeless Geometric. These fonts aaare optimized for use as exterior cast-metal signage in bronze or aluminum in collaboration with Gemini, a family-owned industry leader in the wholesale manufacture of dimensional letters, logo and plaques based in Cannon Falls, MN), Girl77, Glovebox, Goshen, Groovies-Normal, GFY Handwriting Fontpak, GFY Handwriting Fontpak 2, Gobbler. The GFY Handwriting Fontpak (2002-2005) is a collection of 21 fresh handwriting fonts in OpenType format for Macintosh or Windows. Contains the following fonts: GFY AuntSusan, GFY Brutus, GFY HeySteve, GFY JacksBluePrint, GFY Jeanna, GFY Josie, GFY Kersti, GFY Kimberly, GFY Loopy, GFY Marcie, GFY Mancini, GFY Michael, GFY Palmer, GFY Peggy, GFY Pollak, GFY Shue, GFY Ralston, GFY Sidney, GFY Sonya, GFY Thornesmith, and GFY Woodward. His DFY Handwriting Fontpak 2 (2008) contains GFY Artie, GFY Bobby, GFY Bobbys Kid, GFY Bracco, GFY Butcher, GFY Carmela, GFY Christopha, GFY Clarice, GFY Erin B, GFY Father Mike, GFY Finn, GFY Furio, GFY Georgio, GFY Janice, GFY Junior, GFY Madre, GFY Meadow, GFY Paulie, GFY Syl, GFY Tina, GFY Tony, GFY Uncle Junior, GFY Vito.
    • H: Halebopp, Harvester 3D (2008), HelveticaInaHamper, Hermenaut, HieronymousBoschian, HipstersDelight, HooskerDont, HooskerDoo, Hoover, Hystrix, HystrixHystrax, HystrixHystraxBordex, HystrixHystraxSleestax, HUGS (2005, comic book style), Hilde Sharp.
    • I: Imastar, IndustrialSchizophrenic, Isotope, Instructor.
    • J: Javatronic (retro), JawboxChanky, Jawbreaker, Jeffersonofabitch, Johnson, Jingles (with Mike Cina), Jawbox.
    • K: Kat Walk (geometric sans), Keester Black (2002), Kaiser, KlippyDingbats, Kraftwerk, KraftwerkNarrow, Kroozr, Kwikfont, Kegger (2007, a collegiate lettering face), Kazootie, King George (2003, ransom note font).
    • L: Lambretta, Lambrettista, Laundrette, LemonadeSpeedster (retro), Limonata (2016, a display family, co-designed with Nicollazzi Xiong), Liquor 3D, Luncheonette, Laundry, Lavaman, Liquorstore (1997, a squarish face; since 2005 also in OT as Liquorstore 3D).
    • M: Mars (2007), Marcusia, Metolurgy2typeindexcom, Mikrokoszmo, MisterFrisky, MisterLincoln, Mister Twiggy (woodsy design), Monko-Blocky, MC Auto (2002), McKraken, Mantisboy, Mars (2007, a custom family for Mars Inc), Millesime, Mingler (MinglerNipsy, MinglerRitzy, MinglerTipsy), Miss AmyLynn (2008, based upon the handwriting of the former Miss Kentucky, Amy Lynn Brown), Mister Hand, Moonshine (Moonshine Murky).
    • N: NailedToTheCross, NapkinTheModern, Nomadic Egyptian (2005), Nomadic Sketchbook (2005, like Nomadic Egyptian, based on drawings by Kent Aldrich of the Nomadic Press), Newcastle (2005, blackletter typeface designed with Kevin Hayes), Nube, Naughties, Newercastle, Nicotine (+Jazz).
    • O: Omnivore, Oooopsie (this 1997 font is just Helvetica with some circles dropped on top of it. The Helvetica trademark and Adobe copyright notices are still in the font!), OooopsieReverse, Ooopsie, Ollivette (2008, old typewriter), Ollivette Elite (2008), Orbital, Orbus (OrbusBjorkus, OrbusMultiserif).
    • P: Panefresco (2011, 16 styles---a free sans family), PHreAkKruSty, Panzer, Paregos, PhysicsAlpha, PhysicsBeta, PlasticLasso, Player Piano (old stencil), Poker Party (2003), Polaroid22, Portastat, Prickly, ProletarianBeta, Prospect-Modern, Puckfont, Parkway, Patching Compound, Porkshop (1997, based on immigrant Manhattan signage; +PorkshopGoodluck), Professor Minty (2006-2010: spindly and gothic). R: Redherring, RhumbaHut, Ribjoint, Rubble, Ribjoint, Rosemary (2000-2001, T-26, a sign painters font).
    • S: Spooooky (2011, a custom typeface design for the 2011 Target Halloween campaign), Saltwater, Schwinger (2003, script face), Schwing Shift (2003), Shadowboxer, Shakopee, SharpieStylie, SaucyMillionaire, SooperCosmic, SpaceKrafty, Spacesuit, StarryFHope, Sundayluck, Swister (2004), GFY Santa Script (2004), Skylab, Shatner, Sunshine (2000-2001, T-26, grunge), SandraOh, Shrub (2007, grunge), Sister Frisky, Skippy Sharp, Snipple, Soccerboy (2012, a hand-drawn multiline typeface), Space Toaster, Spunkflakes (2002), Sunflower (2006, distressed typewriter), Sunshine, Swingdancer (2002, a custom connected script font first made for P. Puff Company).
    • T: Tabitha, Tacklebox, TackleboxFive, Transam, Transam03 (2003, commercial version), Thymesans, Trucker (2005), Turman Grotesk.
    • U: Ultramagnetic (by Mike Cina), UncleStinky, Urban Circus.
    • V: VenerealDisease, Venis Small Caps (2004, T-26), Venis (2000: big text family, T-26: reviewed by Hrant Papazian).
    • W: Westsac (2003), Whorn, Wichita, Woodrow, Wordy Diva (1995, based on the handwriting of Lisa Bralts).
    • W: Woodrow, Wordy Diva.
    • Y: Yearling (2000), Yellabelly.
    • Z: ZsaZsa Galore.

    At Ascender: the mostly hand-printed typefaces Birthday Girl, Bleacher, Bobby Zee, Chauncy Decaf, Churros, Collateral Damage, Couchlover, Easterbuns, Loopy Fiesta, Mister Marker, Mister Twiggy, Prickly, Snowballs, Space Toaster, Tipsy, Twigdancer, Younger Than Me (2009, grunge).

    Chank also has a bunch of free fonts such as Yellabelly (handwriting), Fridley, Airboy, SundayLuck, Shadowboxer, Portastat, Fridayluck, Twenty Six Snake Rumba, and Blinkers.

    Interview by MyFonts in 2011.

    Dafont link. Behance link. Klingspor link.

    View Chank Diesel's typefaces. [Google] [MyFonts] [More]  ⦿

    Charles Gibbons

    Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office. In 2015, he set up Oddsorts.

    Designer in 2000 of Aphasia at Bitstream. He co-designed Full Moon Suite with Mary Trafton at Bitstream in 2001. These include FM Black Cherry Moon, Alternate, Ligature, and Doubles. This family won an award at the TDC2 2003 competition.

    In 2002, he designed Fleischmann BT Pro, a family heralded by the typophiles as outperforming the DTL Fleischmann.

    In 2011, he helped out Stuart Sandler in his Filmotype project, and created the identical lively freestyle typefaces Filmotype Nemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same typeface but renamed under various scenarios of pressure. In 2011, he also made the signage typeface Filmotype Atlas.

    In 2012, he created the art deco fat didone typeface Filmotype Rose, and the fine brush letter signage typeface Filmotype Havana. Filmotype Adonis (2012) is a clean hand-drawn typeface. Filmotype Royal (2012) is a transitional typeface family.

    Typefaces from 2013: Filmotype Orlando (cartoonish), Filmotype Parade (cartoonish), Filmotype Zeal (a formal almost-copperplate script).

    Typefaces from 2014: Local Market (with Cindy Kinash: hand-drawn collection of typefaces), Filmotype Western (an italian, or reversed stress, typeface based on a Filmotype design from 1955), True North (+Extras, +Textures: a vintage letterpress emulation set of fonts designed for posters and banners), Ciao Bella (with Cindy Kinash at Cultivated Mind: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments).

    Typefaces from 2015: True North Textures (letterpress emulation; with Cindy Kinash), Filmotype Wand.

    FontShop link. Creative Market link. Klingspor link. Oddsorts link. [Google] [MyFonts] [More]  ⦿

    Charles Leroux
    [Grype]

    [MyFonts] [More]  ⦿

    Charles R. Anderson
    [Chank Fonts (or: Chank Store, or: Chank Diesel))]

    [MyFonts] [More]  ⦿

    Chatnarong Jingsuphatada
    [Typesketchbook]

    [MyFonts] [More]  ⦿

    Chauncey H. Griffith

    Kentucky-based type designer and printer, 1879-1956. He was a Linotype salesman who directed the growth of the Linotype library from 1915 to 1948, and improved the look of the world's newspapers. He worked to establish Linotype as the composing machine of choice in America. He continued as a consultant to Linotype well into his retirement.

    Claus Eggers Sorensen writes: In 1922 Chauncey H. Griffith was promoted to Vice President of Typographic Development at Mergenthaler Linotype. He immediately started the development of new typefaces to replace the prevailing modern style typefaces. The issue troubling the moderns was their high contrast design. Especially the hairline parts of the cast lines could break of while printing, and counters could clog with ink and pulp. Faster printing meant transferring the cast lines with the stereotype process to a letterpress cylinder for high-speed rotary printing on endless rolls of paper stock. C. H. Griffith's new approach was to engineer new typefaces to the printing method. That meant drawing inspiration from the Egyptienne style as seen in the Clarendon typeface, with its very sturdy lower contrast design, and Theodore Low De Vinne and Linn Boyd Benton's Century Roman, which possessed elegance and legibility. The first product of these efforts was Ionic No. 5. It was an instant success, within eighteen months it was used by more than 3000 newspapers all over the world. C. H. Griffith and Mergenthaler Linotype continued to refine the design in subsequent iterations: Excelsior (1931), Paragon (1935), Opticon (1935), Corona (1941). These became known as the Legibility group. Ionic No. 5, Excelsior and Paragon form the Linotype Legibility Group.

    He designed or co-designed the following fonts, all at Mergenthaler:

    • Baskerville (1939, Linotype).
    • Bell Gothic (1937-1938). Now available at Bitstream. Font Bureau has its own version, Griffith Gothic (1997-2000, by Tobias Frere-Jones): Of all his work, Chauncey Griffith claimed one type, Bell Gothic, as his own design. Griffith Gothic is a revival of the 1937 Mergenthaler original, redrawn as the house sans for Fast Company. Tobias Frere-Jones drew a six weight series from light and bold, removing linecaster adjustments and retaining the pre-emptive thinning of joints as a salient feature. Mac McGrew: Bell Gothic was developed in 1937 by C. H. Griffith of Mergenthaler Linotype, primarily for use in the New York City telephone directory, but quickly became standard for telephone books nationwide. The aim was to eliminate roman types with objectionably thin serifs and hairlines. Furlong and Market Gothic were specialized adaptations of this typeface for newspaper work, the former with special figures and other characters for setting racetrack results, the latter in 1941 with other special characters for stock market details. The basic Bell Gothic was also cut by Intertype in 1939. Compare No. 11 and No. 12, shown under Numbered Faces, previously used for directory work. Imitations include OPTI Benet (Castcraft). Poster by Jaime Schweitzer. View digital versions of Bell Gothic.
    • Bookman (1936, after the 1960 original by Alexander Phemister at Kingsley ATF).
    • Corona (1941), a narrow newspaper typeface with large x-height. Corona was designed to meet the rigorous requirements of high-speed printing, and is still the chosen type of many American daily newspapers. Mac McGrew: Corona was drawn and cut by Linotype under the direction of C. H. Griffith in 1941. It is a member of the "Legibility Group" offaces designed for easy reading under newspaper conditions of stereotyping and high-speed printing with inks that could be trapped in close quarters. Royal on Intertype is a 1960 copy of Corona.
    • Elegant Garamond (Bitstream). This Granjon design was made by Chauncey H. Griffith based on models by George William Jones, and before that, Robert Granjon.
    • Excelsior (1931, Linotype). At Bitstream, this is News 702. Mac McGrew: Excelsior was cut for Linotype in 1931 under the direction of C. H. Griffith. It is a plain type, but designed for the utmost readability, with only slight variation from thick to thin, and careful fitting that makes the characters flow into easily recognizable words. Long or short descenders are available in certain sizes. Like a number of Linotype typeface intended primarily for newspaper work, Excelsior is available in closely graded sizes, including odd and some half-point multiples.
    • Granjon (1928-1930, with George William Jones at Linotype). MyFonts: Claude Garamond's late Texte (16 point) roman was the model used by George W. Jones when he designed this typeface for Linotype&Machinery in 1928. To avoid confusion with the Garamond romans based on Jannon's seventeenth century work, L&M called the typeface Granjon, after the designer of the italic used as a model, thus creating confusion with the typefaces based on Granjon's romans, Plantin and Galliard. Granjon is a little less crisp in cut than either Sabon, Stempel Gararmond or Berthold Garamond, but makes a magnificent and most readable text face, as shown in Reader's Digest since its founding. Mac McGrew: Granjon was designed for Linotype in 1928 by George W. Jones, distinguished English printer, to meet his own exacting requirements for fine book and publication work. It is derived from classic Garamond sources, but with refinements made possible by modern methods of punch cutting. In fact, one critic has called it "the purest form of Garamond." It is named for Robert Granjon, mid-sixteenth-century punch cutter noted in particular for his italics, from which the present Granjon Italic was derived. Granjon Bold, by C. H. Griffith, was added in 1931. Lanston Monotype acquired reproduction rights to the typeface from Mergenthaler.
    • Ionic No. 5 (Linotype, 1925). Mac McGrew: Ionic is a general name for a style of typeface which is closely related to the Clarendons (q.v.). Plain, sturdy designs with strong serifs and little contrast, the Ionics were popular in the latter part of the nineteenth century. Although many founders offered them, they were generally gone by early in this century. A few received a new lease on life when they were copied by Monotype, Linotype, or Intertype. Two new Ionics appeared in this century. Ionic No.5 was designed by C. H. Griffith in 1926 for Linotype, as a newspaper text face. It features a large lowercase with short ascenders and descenders, with no fine lines or serifs to break down in stereotyping, and no small openings to fill up with ink. This is one of a few typefaces made in many closely graded sizes: 5-, 51/2-, 6-, 61/2-, 63/4-, 7-, 71/2-, 8-, 9-, 10-, and 12-point. Intertype's Windsor, developed in 1959, is comparable. Ionic Condensed was designed by Griffith in 1927, also for Linotype. It is a refinement of traditional designs, intended for newspaper head- ings, and has most of the general characteristics of the text face. Ionic Extra Condensed is essentially the same, a little narrower and without lowercase, also for newspaper headlines.
    • Janson (1932). Mac McGrew: Janson is adapted from types often attributed to Anton Janson, seventeenth-century Dutch letter founder, although researchers have shown that the originals were cut by Nicolas Kis, a Hungarian punchcutter and printer. The Linotype version was done in 1932 under the direction of C. H. Griffith, based on the 14-point size of about 1660. The Monotype version was adapted by Sol Hess in 1936, in collaboration with Bruce Rogers. Both versions are sharp and clear cut, and rather compact. They bear some resemblance to the types of William Caslon, which were based on later, similar Dutch types.
    • Memphis (1929): the prototypical Egyptian of Rudolf Wolf. Mac McGrew: Memphis is the Linotype copy of the popular German square-serif typeface known as Memphis or Girder, designed by Rudolf Weiss about 1929, which did much to revive interest in this old style. Memphis Light and Bold were introduced by Linotype in 1933, Italics and Unique Caps in 1934, Medium in 1935, and other variations up to 1938. The Extra Bold versions were designed by C. H. Griffith. Alternate characters are available in some versions to more nearly approximate the appearance of Stymie or Beton (q.v.). The Lining versions are comparable to small caps in the regular versions, being propor- tionately wider and heavier than caps, and have no lowercase; there are several sizes each in 6- and 12-point, permitting various cap-and-small-cap combinations, in the manner of Copperplate Gothic. Also see Ward; compare Cairo, Karnak. Digital versions are everywhere. The Bitstream version is Geometric Slabserif 703.
    • Linotype Monticello was designed by Griffith in 1946. Its design is based on James Ronaldson's Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965-1981. Mac McGrew: Monticello is a Linotype recreation of America's first great typeface, Binny&Ronaldson's Roman No.1, cut about 1796 by Archibald Binny in Philadelphia. His was the first permanent American type foundry. After about 30 years, the Binny typeface fell into disuse. The matrices survived, though, and a few fonts were cast about 1892 and the typeface was renamed Oxford (q. v.). In 1943 Princeton University Press announced plans for publishing a 52-volume edition of The Papers of Thomas Jefferson. As President, Jefferson had personally written to friends in France, introducing a Binny&Ronald- son representative who was seeking a source of antimony to replenish the shortage which threatened the young typefounding industry in this country. Jefferson also referred in this letter to the importance of type to civilization and freedom. In addition, the popularity of this typeface coincided with the most prominent years of Jefferson's life. Therefore Linotype suggested that a recutting of the typeface would be most appropriate for the Jefferson books, and the publisher heartily agreed. C. H. Griffith, Linotype typographic consultant, made a detailed study of Binny's type and redrew it in 1946 for the requirements of Linotype composition and modern printing conditions. It is a vigorous transitional face, somewhat similar to Baskerville but slightly heavier and a little crisper.
    • Opticon (1935, Linotype). Mac McGrew: Opticon was designed in 1935 by C. H. Griffith for Linotype. It is a member of what that supplier calls its Legibility Group of typefaces designed primarily for newspaper use. It is essentially the same as Excelsior, but with stems and thick lines weighted slightly, for printing on hard-surfaced paper.
    • Paragon (1935, Linotype). Mac McGrew: Paragon was designed by C. H. Griffith for Linotype in 1935. It is a member of that company's Legibility Group of typefaces, planned primarily for sharp and clean printing under the difficult inking and printing conditions of newspaper production, but also useful and popular for other periodical work. This typeface is lighter and airier than most such typefaces; otherwise it is much the same style. Compare Excelsior, Ionic, Opticon, Textype.
    • Poster Bodoni (1920). Digital versions of Poster Bodoni or a textured ornamental version of it include Poster Bodoni (Bitstream), Modern 721 (Bitstream), OPTI Poster Bodoni Compressed (Castcraft), Bodoni Poster (Softmaker), Bodnoff (Corel), Poster Bodoni (Tilde), Poster Bodoni WGL4 (Bitstream), Saphir (Linotype), Bodoni Poster (Linotype), Bodoni poster (Adobe; same as the Linotype version), and Bodoni Ornamental (FontMesa).
    • Ryerson Condensed was designed by C. H. Griffith in 1940 for Linotype, as a modernization of Globe Gothic Condensed.
    • Textype (1929, Linotype). Mac McGrew: Textype was designed in 1929 by C. H. Griffith for Linotype. Although intended as a newspaper face, Textype with its smaller x-height and longer ascenders than most newspaper typefaces also became popular for magazines and other publications, as well as for a certain amount of advertising and general printing. There is an 18-point size in roman with italic, also a bold and bold italic. The 18-point size and the bold italic are both rare in newspaper typefaces. Compare Excelsior, Ionic, Rex, etc.
    • Non-Latin typefaces: Porson and Metro Greek; thirteen Arabic designs adaptable for use throughout the Moslem world; Hebrews; the Indian scripts devanagari, Gujarati, and Bengali; Sinhalese for use in Ceylon, Tamil, and Syriac.

    Klingspor link. Linotype link. FontShop link. Font Bureau link. Pic. [Google] [MyFonts] [More]  ⦿

    Chepi Devosi

    Jakarta-based designer (b. 1985) of the free poster typeface Spidola (2013) and of the Veneer-style letterpress grunge typefaces Skyfall (2013) and Warpaint (2013, based on Alterante Gothic (1903, Morris Fuller Benton).

    Behance link. [Google] [More]  ⦿

    Chitchai Kuandachakupt

    Ph D researcher at Kyoto Institute of Technology, Japan. At Typography Day 2012 he speaks on Ariyaka, the early typeface leads modern industrialization of letterpress printing in Thailand. [Google] [More]  ⦿

    Chris Costello

    Chris Costello (b. 1959, Poughkeepsie, NY) graduated from Northeastern University in Boston. Since 1989, he works as a graphic, web and font designer and illustrator from his base in watertown, MA. From 2002 onwards, he has worked as a creative director and senior graphic designer for Coldwell Banker Residential Brokerage in Woburn, MA. Since 2010, hae also creates artistic designs and renderings for United States coinage and medal programs for the U.S. Department of the Treasury. He runs Costello Art, and is involved in graphic design and handlettering. His typefaces:

    • The simultaneously gorgeous and overused Papyrus (1983, Letraset). One variant is sold by Elsner&Flake as Papyrus EF Regular, and another is in the Linotype library. The Avatar 2009 movie poster features Papyrus, and many are getting tired of the ubiquity.
    • Letterpress Text. An antiqued rough outline family based on Caslon.
    • Mirage (2001).
    • Blackstone (2001). A medieval (blackletter) typeface. Winner of the Chartpak typeface design competition.
    • Virus (2001).
    • In the planning stage: Driftwood (great lettering!), Sheriden's Letters (writing by a 5-year old), Costello (text font).

    Klingspor link. Bio. MyFonts entry. Papyrus blog. FontShop link. Linotype link. [Google] [MyFonts] [More]  ⦿

    Chris Vile

    Chris Vile (Fontmonger, Austin, TX) is a type and graphic designer and web developer, who was briefly located in Chicago.

    Creator of Cannibal (2012, scratchy hand), Die Already (grungy caps), The Dead Saloon (2012, Western caps face), the scratchy scary typeface Dead Bitch (2012), the athletic lettering typeface No Honor Roll (2012), the grungy Redux (2012), Konquer (2012), Sandy Ravage (2012), and Digital Anarchy (2012), the blood drip typefaces Spiked (2012) and XSpiked (2012), and the brushed typeface GwizsK (2012).

    In 2013, he designed The Five One Two (graffiti font), Skidmarked (graffiti font), There Be Monsters, Digital Disorder (a textured typeface), We Are Depraved, The Dead Are Coming (grunge), Barbaric, Welcome To Texas (graffiti font), Chopper City (a spurred constructivist typeface), Maya Rose (a script face), Chaos and Pain (a tattoo font), Abandon (grungy poster face), Virtual Bliss, and Pale Horse (a dagger font), Malevolentz (grungy caps), Shrapnel (grungy caps).

    In 2014, he created Turnt Up (graffiti font), Grind Mafia, No Hard Evidence (glass scratch typeface), Techno Wanker, Abduco (grunge), Blackhead, Summon The Executioner (grunge), The Grinder (eerie font), Normal Sometimes (rounded sans), November Mornings, One More Day, Waukegan Hustle, Thoughts of Her, All Cracked Out, Redux, Cook County Jailhouse, Ol Skool (graffiti font), Why So Serious (grunge), Never Speak Of, Taco Truck Militia, Reason to see evil, Reaching for heaven, Digital Firebomb, Gas Mask Warriors, Necrotype, The Deadliest Saloon, The Decompozed, Necro Monger, Self Righteousness (grunge face), Rasterized (brush face), Some Devil Faces, Flowers For You, Dirtgrub Graffiti, M Ponderosa (letterpress typeface), Dr. Toboggan, Midnite Hour.

    Typefaces from 2015: Thoughts of Her, Any Takers, Men of Nihilist, Rise Inside, Ugly Kids, Mya Papaya, The Unknown, Shun Set, Chops Chops, My Funeral, Blood Lust (dripping blood font), Middle Schooler, Hood Rich, Tequila Sunset, Hire a Cowboy, Tequila Sunrise, Cynical Hills (spurred eroded vintage typeface), Make them suffer (grungy letters), Gristled, Dark Waters, Poison Hope, Code Predators (grungy and squarish), Oak Lawn, Sovereign (grungy blackletter), Crucifixion, Sinner Script, Travis County (graffiti font), No Reverence (grunge), Barter With A Gypsy, Vance Jackson (graffiti script), Vary Sharky (brush face by Chris Vile and Roland Huse), Sons of Noah, Knife Fight Ballet, Dingle Huckleberry (grungy blackletter), The Grim Raiders, Tha Kool Kidz, Genesee St, Quaaludes, Quaalude Hulk, Kings Butcher, Gunfighter Academy (grungy and spurred), Buffalo Grove, Children Among Lions, Dedecus Putro, Dedecus.

    Typefaces from 2016: El Sancho Rancho, Hells Rider Decay (spurred style), Eternity Tomorrow, The Last Call, Our Retaliation (grungy), Zero Athletics, Filth of Icarus (grungy), Texas Slaughter, Black Dahlia, Real Horror, Means of Malice, Mechanization, Valley of Elah, Hells Rider (Tuscan), Black Jacket Boys, Outerspace Militia, Fort Death, The Lost Canyon, The Defiler, Solace for Sadist, Mind Antiks, Tattle and Tales, In Collection, Skinny Jeans (all caps sans), Born Addict, Born a Sinner, Pistol Grip Pump (spurred Western style), Under Authority (grungy), Thrash It, They Perished, Sinthetic, Epitaph (spiky tattoo font), Eternity Now (hipster style), Sniffin Paint, Poker Kings, Virtual Rot, Apex Flunkee.

    Typefaces from 2017: Brake Fluid (tattoo style), Boiled Denim, El Sancho.

    Home page. Personal home page for Designs By Chris.

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

    Cindy Kinash
    [Cultivated Mind]

    [MyFonts] [More]  ⦿

    Clément Nicolle
    [Stereotype (was: Zone Erogene, or Dasklem)]

    [More]  ⦿

    Conor Muirhead
    [Icon Stacks]

    [More]  ⦿

    Conrad X. Shinn

    Aka Cobb Shinn (b. 1887, Fillmore, IN, d. 1951). His story is told by Jeff Levine, who designed a series of cartoon character dingbat fonts inspired by Cobb shinn: Conrad X. "Cobb" Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname Uncle Cobb] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of stock cuts of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from journeyman artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's CUTalogs [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called little big head guys by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Levine's font that shows these charming charcaters is Shinn Kickers JNL (2014). [Google] [More]  ⦿

    Copperplate Gothic
    [Frederic W. Goudy]

    A typeface made by frederic Goudy in 1903. Mac McGrew: Copperplate Gothic Heavy was designed in 1903 by Frederic W. Goudy, who is much better known for his classic roman typefaces. Other weights and widths were drawn shortly thereafter by Clarence C. Marder of ATF, except the Shaded, designed by Morris F. Benton in 1912. A rather wide, monotone, conventional gothic with the added feature of minute serifs, Copperplate Gothic is imitative of the work of engravers, as suggested by the name. It became ATF's all-time best seller, being used extensively for stationery and form work, especially in the small neighborhood printshops of the letterpress era. It is the typical lining gothic face, featuring four sizes each on 6- and 12-point bodies, and two sizes each of 18- and 24-point in foundry (composing-machine sizes differ somewhat), so that a wide variety of cap-and-small-cap combinations can readily be set. Before Monotype developed its "Plate Gothic arrangement" (see under "Design Limitations" in Introduction) in 1919, permitting the keyboarding of all four sizes of 6- or 12-point at once, that company had made the Copper plate Gothics simply as cap-and-small-cap combinations, typically in 5-, 6-. 8-,10-, and 12-point plus display sizes. Hence most of these gothics have two different series numbers on Monotype, the lower number for display sizes and the obsolete cap-and-small-cap combinations, the other for the four-size combination. Several versions of Steelplate Gothic (q.v.) from BB&S were near duplicates of Copperplate Gothic, although a few characters differed slightly and the extended versions were not quite as wide. Hansen had Engravers Gothic in several versions, differing apparently only in the R as shown in the specimen. Compare Plate Gothic, Whittier; also see Bank Gothic, Blair, Boxhead Gothics. D.J.R. Bruckner lists the date as 1905 and writes: Goudy's recollection was that this hodgepodge was done for American Type Founders. It was made for Marder, Luse and Company and then taken on by ATF and can still be found in old ATF specimen books and their old fonts..

    Digital versions: Copperplate Gothic (Linotype), Copperplate Gothic (Adobe), Copperplate Gothic (Bitstream), Copperplate Gothic Hand (Wiescher Design), Opti Copperplate (Castcraft), Copperplate Gothic. [Google] [More]  ⦿

    Cosimo Lorenzo Pancini

    Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He codesigned some typefaces there such as Arsenale White (2009). Targa Monospace (2002) is a sans inspired by Italian vehicle registration plates. It has an handmade version (Targa Hand) that can be used for comic book lettering.

    The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts).

    MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion.

    In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro codesigned Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s.

    In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (Cocobike), Arts and Crafts, or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia.

    Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini and Bruno La Versa codesigned Cocobiker (2015) to celebrate the hipster and bike cultures. Cocobiker (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico.

    Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).

    In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari codesigned the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.

    In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli codesigned the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.

    Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.

    Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.

    Dafont link for some of his free fonts. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Cruzine
    [Peter Olexa]

    Peter Olexa (Bratislava, Slovakia, b. 1978) created the (typically retro / vintage) mostly commercial typefaces Atlantis (2017), Montana (2017, outlined), Speedhunter Line (2017), Star Black Inline (2017), Gatsby Inline (2017: art deco), Jibril (2016: spurred), Hallowen (sic) (2016), Kiko (2016), Ultimatum (2016), Sailor (2016, tattoo font), Annabel (2016), Zalora (2016), Geno (2016), Marin (2016), Starship (2016), Mozza Shadow (2016), Meravin (2016), Venomous (2016), Amora Inline Grunge (2016), Rocket Shadow (2016), Hydrant (2016), Boston Inline Grunge (2016), Skywalker (2016, art deco), Ocela (2016), Columbus (2016), Raven (2016), Nomura Grunge (2016), Stella (2016), Salada (2016), Vultron (2016), Rock N Roll (2016), Majestic (2016), Napoleon (2016), Temu (2016), Rodeo (2016, Western style family), Brooklyn (2016), Thunder (2016, Victorian label typeface family), Murray Inline Grunge (2016), Opera (2016, Victoriana), Flamingo Shadow (2016), Blue North Inline Grunge (2016), Montana Bold Outline (2016), Regolith (2016), Monophone Fancy (2016, retro style), Marin Victorian (2016), Westwood (16-style Western font family), Mozza (2016, +Inline, +Shadow, +Grunge), Speed Hunter (2016), Metro Grunge (2016), Annabel (2016, Victorian), La Forest (2016, blackletter), Star (2016, decorative caps, with outlined and inline versions), Phoenix (2016, a spurred typeface), Gatsby (2016), Bureno (2016, a Victorian display typeface), New York (2016, letterpress emulation), Capella (2016), Almanac Italic Grunge (2015), Anabel (2016, roman caps), Regolith (2015), Chocoleta (2015, hand-printed), Sailor (2015), Turmeric (2015), Ultimatum (2015), Heyro (2015, a rough brush font), Calliope (2015, a rough brush), Glass Beads (2015), Red Paprika (2015), Greenkitchen (2015), Artistico (2015, grungy), Brush Shop (2015), Graceful (2015, irregular script), Brush Wall (2015), Nickainley (2015, connected script), Harloft (2015, a warm brush script), Detective Typewriter (2015), Not Perfect (2015), Good Vibes (2015), Cool Story (2014), Get Coffee (2014), Think Happy (2014), Say Less (2014), Let's Do This (2014), Just Be Cool (2014), Brooklyn Coffee (2014, a spurred poster typeface), Bronx Shoes (2014), Nevermind (2014), RockNRoll (2014), Bluegrass (2014), Memento (2014, spurred Victorian face), Melody (2014) and Grazioso (2014). He runs Dealjumbo.

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

    Cultivated Mind
    [Cindy Kinash]

    Cindy Kinash is an apparel graphic designer from Canada. She started the Cultivated Mind foundry in 2012, and made a reputation as a script font designer. She published the hand-printed poster typefaces Amour (2012), Happy Cloud (2012), Have a nice day (2012, +Ornaments), Gionni (2012), Dreamy Hand (2012), Taluhla (2012) and Hello I Like You (2012). Requiem (2012) is grungy.

    Cocobella (2012) is a delightful Treefrog-style connected brush script. Luella (2012) is a vintage poster font family. It includes several typefaces with ornaments.

    Typefaces from 2013: Pacific Northwest (hand-drawn poster typeface), Mimbie (+Kitschy Ornaments, +Spooky Ornaments, +Social Media Icons), Maisy.

    Typefaces from 2014: Westcoast Letters, the curly typeface Veronia (2014, with Callie Hegstrom), Local Market (with Charles Gibbons), True North (with Charles Gibbons: a set of letterpress emulation and poster typefaces in all caps; +Extras), Ciao Bella (with Charles Gibbons: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments), La Chic (sic) (a poster font family on a didone body, with several sets of frilly frames), Pacific Northwest Letters, Pacifc Northwest Labels, Azaelia (hand-painted; comes with a dingbat font that has handmade frames, page dividers, ribbons and fancy flourishes).

    Typefaces from 2015: Mulberry Script, Glamour Brush, True North Textures (letterpress emulation; with Charles Gibbons), Wanderlust (watercolor brush script), Wanderlust Collection (including Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments).

    Typefaces from 2016: Viva Beautiful, Garden Grown (brush script), Local Brewery (vintage script).

    Creative Market link. YWFT link. [Google] [MyFonts] [More]  ⦿

    Dan Carr
    [Golgonooza Letter Foundry]

    [MyFonts] [More]  ⦿

    Dan X. Solo: The Horse and Buggy Printer
    [Gene Gable]

    Gene Gable reviews Dan Solo's contributions. He writes: Dan X. Solo spent a lifetime building Solotype, one of the world's most interesting type collections. For three decades he ran his business with unparalleled character and panache. Type designers and graphic artists tend to fall into two categories. You either like ornate old typefaces or hate them. I'm a big fan -- the more ornate and over the top the better. So it was a terrific find when I came across a box of original Solotype catalogs, brochures, and other promotional material. The Solotype shop closed in the early 1990s, leaving a big hole in the availability of unique and unusual type designs. Dan X. Solo, who still lives in Alameda, California, was born in 1928. For his ninth birthday his grandfather gave him a small Kelsey letterpress, and he quickly became a self-described boy printer. He started collecting typefaces in earnest at age 14, and the Solotype collection officially began. After dropping out of high school, Solo became a radio announcer and sometime-actor. In 1949, the 21-year-old put together a magic act and toured the West Coast with some success. Along the way he continued to collect old typefaces, which were plentiful around his native Oakland and the San Francisco Bay area. In 1962, Solo decided to see if he could make a living from his type collection, which by then numbered about 1,000 unique fonts. He printed 4,000 catalogs, sent them to ad agencies around the country, and waited for the orders to come in. This flyer is from 1962 when the Oakland shop opened. The shop took off, as the '60s were a time of design experimentation and there was a keen interest among some designers in ornate and unusual type designs. Solo didn't just offer typesetting. He was a one-man consulting service on the history and appropriate use of his type designs. In 1974 Solo connected with Hayward Cirker, owner of Dover Publications, and a long relationship began that resulted in 30 books showing various type collections, mostly organized by era or theme. The Solotype catalog, reproduced by Dover, reached graphic artists all over the world and inspired a generation of type designers. The type designs weren't the only unusual thing about Solotype. Its business practices and the attitude that Solo fostered were unique. Here are several sections from early Solotype catalogs addressing the way Solo preferred (or insisted) on doing business. Unlike most type shops of the era, which were accustomed to being available to customers on demand, Solotype closed every year for the month of October. During this time, Solo traveled around the country and the world, collecting more type designs and fonts. In the early '90s, Dan X. Solo realized that the digital era was rendering his services obsolete. By that time, he had a collection of more than 13,000 type designs. During that decade he did convert many of his designs to digital format and sold them as collections through Dover, but the type business was changing, and bookstores were not the preferred distribution method for type. Since many of the designs in the Solotype collection are public domain and not associated with any active foundry, they do crop up here and there, mostly in low-priced, generic font collections. But of the thousands of Solotype designs, probably only a few hundred can be had in digital form from any foundry. Perhaps a future resurgence in historic typestyles will make it worthwhile for someone to digitize those that remain. The Solotype collection is an important and historically significant part of type history, even if considered lowbrow by some type purists. Some images scanned by Gables: i, ii, iii, iv, v. [Google] [More]  ⦿

    Darrel Austin

    Codesigner with Bill Moran at Blinc Publishing of Goshen, Gommorah (1999), and Prospect. These fonts were published at Chank's Place. [Google] [More]  ⦿

    Dave Tribby
    [American Amateur Press Association (AAPA)]

    [More]  ⦿

    David Fleming Nalle
    [Scriptorium (Ragnarok Press, Fontcraft)]

    [MyFonts] [More]  ⦿

    David S. Rose

    New York-born founder of the wireless publishing company AirMedia, who designed a character in the September 11 charity font done for FontAid II.

    CV at MyFonts. Author of An Annotated Bibliography of Typography, Letterpress Printing & Other Arts of the Book (2003, Five Roses Press, New York), of Overviews of Printing Types, and of Introduction to Letterpress Printing. [Google] [MyFonts] [More]  ⦿

    David Wolske
    [Letterpress Daily]

    [More]  ⦿

    Denise Bayers

    American designer at Letterhead Fonts who specializes in vintage typefaces. Her designs:

    • LHF Durango (2014). A rustic Western typeface, inspired by the opening credits and title of the 1957 version of 3:10 to Yuma.
    • LHF Spencer (2014). In the Victorian style.
    • The 19th century (Victorian) display typeface LHF Royal Crimson (2014), which can be used for layering.
    • Euphoria (2004). A Victorian extravaganza. Followed by LHF Euphoria2 in 2015.
    • The Peignot-inspired Charlotte (2004).
    • LHF Dark Horse (2014). A blackletter tattoo font.
    • Boot Camp. A letterpress emulation.
    • Cavalero. A Victorian typeface.
    • Fat Daddy. A fat art deco poster typeface, done with Chuck Davis, based on an original by Alf Becker from the 1940s.
    • Big Daddy. Like Fat Daddy.
    • Shogun. A spurred Victorian typeface.
    • The retro dingbat typeface LHF Retro Ricky Doohickies (2015).
    • LHF Mercantile (2015).
    • The gorgeous compressed art deco typeface LHF Speakeasy (2016).
    [Google] [MyFonts] [More]  ⦿

    Design Panoply
    [John Shaver]

    Californian designer of San Luis (2017, brush script), Grembo Duo (2017), the hand-brushed Eiffel (2016, with iconic dingbats such as a kakmadam poodle), the monoline script typeface Cosmodrome (2016), the brush script typeface Maloishes Emellie (2016) and (2016), the whimsical typeface Canterbury (2016), the casual script typeface Wendell (2015), the hand-drawn sans poster typeface Tender (2014), the letterpress emulation typeface Blocklyn (2016), the art deco typeface Nouvelle (2014) and the tall poster typefaces Simplesse (2013) and Hensel (2013). Creative Market link. [Google] [More]  ⦿

    Dialekt Design (was: Robert Beck Design)
    [Robert Beck]

    Canadian graphic designer and creative director Bob Beck has been living in the Montreal area since 1995. In 1999, he set up Dialekt Design. His typographic oeuvre is extensive:

    • Learned Behaviour (1996-1997), Manipulator, LaPlaya, 1996, all experimental/exploratory typefaces available from 2Rebels.
    • Table Manners, 1997, PsyOps, 2Rebels, Prototype Experimental Foundry (defunct). Beck: Table Manners was born out of the desire for a highly readable text typeface with a subtle graphic edge that would amplify with size. This otherwise simple and geometric type shows its mischief through devilishly spiked-serifs and unexpected curves.
    • Loop. 1998. The loop typeface is a pure research project designed by Dialekt in order to investigate the development of simple letterforms through rigid, bold geometric structures and rigorous grid systems.
    • RagingBoner, 1999. Custom typeface designed for Burton Snowboards for product packaging and communications materials.
    • Hermetique (2001), designed initially for Cascades Paper's exclusive use on paper sample swatchbooks, soon to be released in modified form as a full family.
    • Private Press, 2001. This typeface was letterpress printed from an original 1858 10-Line woodtype specimen from the Wells, NY type foundry, and then digitzed in ultra high resolution to retain all the character and wear of this aged alphabet. It is available for purchase as a bitmap TIFF image collection only.
    • Asylum, 2005. Asylum is a hand-lettered typeface designed specifically for a snowboard project application for Performance Boardshop in Quebec. It contains 1,313 unique individual glyphs and comes in OpenType format.
    • Blaikie, 2006. Blaikie is a custom commission for Canadian Law Office Heenan Blaikie, a national copyright and patent law office. It was developed for proprietary use in all communications materials, as well as signage and wayfinding needs internally for all offices Canada-wide.

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

    Dikas Studio
    [Andika Setiawan]

    Bogor, Indonesia-based designer (b. 1996) of the hand-crafted display typeface Hantam Mereka (2016), the letterpress emulation font Caredrock (2016, 14 styles), the vintage label font Redvolve (2016), Sunday Quotes (2016), the spurred Victorian typefaces Bohem (2016) and Sadis (2016), Besitoea (2016), a vintage Sunburst collection (2016), the spurred Caringin (2016) and Dramaga (2016) and Sherlock (2016), the sci-fi typeface Space Weel (sic) (2016), the vintage Savaro (2016), the free poster typeface Kalemun (2016), and the mix-and-match poster typeface family Bollo (2016).

    Typefaces from 2017: Chapter One (grungy), Chapter One, Bohem Press (spurred vintage style).

    I am really at a loss here---at Behance, we read that Nuryana Fajartama designed some of these fonts like Sadis and Dramaga. Behance link. Dafont link. [Google] [More]  ⦿

    Dmitry Mankoff
    [Artcoast Design (was: Mankoff)]

    [More]  ⦿

    Doug Sheets

    Doug Sheets (b. 1989) lives in Seattle, WA. He created these typefaces in 2010: the Auctoritas family, Sheets Braille, Humberg, RADARbyDougSheets, Construct (counterless, mechanical), Standard Nib Handwritten (the only free font), Old Letterpress Type, Evie's Hand, and Radius.

    In 2012, he created Coffee Shop.

    Dafont link. [Google] [More]  ⦿

    Doug Wilson

    Doug Wilson (b. 1982) is a designer, filmmaker, and self-proclaimed font detective. Born and raised in the Midwest, he joined Process Type Foundry (Minneapolis, MN) early in his career. Doug received his BFA in Graphic Design from Missouri State University focusing on typography and letterpress printing.

    In 2012 Doug released his first documentary, Linotype: The Film, about the Linotype type casting machine. Since 2008, Doug has taught typography, design, and letterpress printing as an adjunct professor at Missouri State University. He has documented vernacular typography all across the United States. [Google] [More]  ⦿

    Draghia Cornel

    Romanian creator (b. 1967) in Bucharest of the free fonts DCC Ash (2013, grungy headline face), DCC Manifest (2013, grungy caps), DCC Scisor (2013), DCC Bushido (2013), DCC Bomber (2013, letterpress grungified), DCC Dreamer (2013), DCC Marker Quick (2013), DCC Cloud (2013), DCC Anatolia Strong (2013), DCC Anatolia Classic (2013), DCC Stripes (2012), DCC The Aliens Are Coming (2012), DCC Stained Aliens (2012), DCC Long Nails (2011), DCC Marker Latino (2010) and DCC Sharp Distress Black (2010), and of the blackboard bold style font Cornel (2007).

    Alternate URL. Home page. Devian tart link to his vector art. Behance link. [Google] [More]  ⦿

    Dynamite Printworks
    [Tim Gibbon]

    Mal de Ojo (2008) is a dingbat/sans font scanned from letterpressed Mexican religious pamphlets by Tim Gibbon.

    Home page. Alternate URL. [Google] [More]  ⦿

    Eddy Biel
    [Layerform Magazine]

    [More]  ⦿

    Eduard Wilhelm Tieffenbach
    [Officina Serpentis]

    [More]  ⦿

    Emanuela Conidi

    Conidi obtained an MA in typeface design from the University of Reading in 2008. Her graduation typeface is Nabil, a hookish serifed typeface that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. Emanuela joined Fontsmith in 2008 after studying typeface design. With a background in Graphic Design, experience in hot-metal type hand composition and letterpress printing, she is passionate about typographic history, 19th century typefaces and Arabic typography. In 2009, Mitja Miklavcic, Jason Smith and Emanuela codesigned the slab serif family FS Rufus.

    She codesigned the legible sans family FS Me with Mitja Miklavic, Phil Garnham, Jason Smith and Fernando Mello (Fontsmith).

    Klingspor link. [Google] [More]  ⦿

    Emil Ruder

    Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Ruder taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962.

    Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruder's students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions.

    Quotes from Shaw's piece:

    • It is clear that those lucky enough to study under Ruder found him as exciting and demanding as they had expected. With a few exceptions these former students quickly and permanently fell under the sway of the charismatic and ambitious Ruder.
    • Ruder promised a new functionalism derived from the Bauhaus. His was a new approach to typography that went beyond the technical fundamentals of metal type composition to embrace modern art (especially that of Paul Klee and Piet Mondrian). Ruder focused on the point, the line, the plane, and the way in which typography activated space. His article Die Flache (the plane or the space), following lessons he had learned from The Book of Tea by Kakuzo Okakura and from modern art, stressed the activation and destruction of space as the goal of typography as well as of art and architecture.
    • Ruders typography is defined by asymmetry and an emphasis on counter, shape, and negative space.
    • Harry Boller writes that Ruder and his students were Puritans on a mission, serious, humorless. We had been led to a morality, and strong convictions remain. Banality, lack of imagination, and swiping of ideas were all ridiculed, while sincerity of expression was encouraged. Gottschalk says that Ruder taught courtesy, ethics, and modesty as much as he taught typography.

    IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel).

    Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More]  ⦿

    Emily Kay Penn

    During her studies at Design College Australia, Emily Kay Penn (Brisbane, Australia) created an untitled letterpress emulation typeface (2014). Behance link. [Google] [More]  ⦿

    End Grain
    [Bethany Heck]

    Bethany Heck's blog on wood type and letterpress. I especially like her efforts to reassemble the mystery wood typeface Grecian in 2010. [Google] [More]  ⦿

    E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)
    [Andrew H. Leman]

    Andrew Leman is a prop designer in Hollywood, CA. The type foundry HPLHS Prop Fonts (was: Ephemera, Prop Fonts) was started by Hollywood's Andrew Leman, and is now located in Pasadena, CA. Some fonts are free, most are commercial.

    Dafont link. Klingspor link.

    Andrew Leman's fonts:

    • Cablegram (2001, old typewriter face, T-26).
    • Leviathan.
    • Garamold (2007, 2 styles).
    • Journalistic (2007, a blackletter inspired by the nameplate of a New England newspaper from the 1920s).
    • Blackburn (2006, distressed).
    • RTemporal (2006, blackletter).
    • Fonts in the HPLHS series, dated 2002: HeadlineTwoHPLHS, OldStyle1HPLHS, OldstyleItalicHPLHS, OldstyleSmallCapsHPLHS, Rogo, SlabSerifHPLHS, TelegramHPLHS, WW2BlackletterHPLHS, WW2BlackltrAltHPLHS, HPLHS-Lovecraft Cursive and Block (replica of H. P. Lovecraft's own handwriting), HPLHS-Autograph Lanier (replica of the 1875 handwriting of Sidney Lanier, a 19th century American poet), HPLHS-TextSerif (really Linotype Antique No. 1), HPLHS-TypoScript, HPLHS-TextSerif Oblique, HPLHS-Bulfinch, HPLHS-Colwell, HPLHS-Colwell Italic, HPLHS-Cromwell, HPLHS-National Oldstyle (after Goudy's font by that name), HPLHS-Post Monotone, HPLHS-Atlas Italic, HPLHS-Italic, HPLHS-Victoria (from the 1923 ATF book), HPLHS-Manuscript Caps, HPLHS-Tome Pi, HPLHS-TypoGothic, HPLHS-Copperplate Roman, HPLHS-Gothic520, HPLHS-Times Gothic, HPLHS-Persnickety, HPLHS-Roman Engraved, HPLHS-Mercantile, HPLHS-Mercantile Oblique, HPLHS-Mercantile Card, HPLHS-Headline Modified, HPLHS-ExtraExtra, HPLHS-Extra (wood type), HPLHS-Forsythe, HPLHS-MetroThin, HPLHS-MetroLight, HPLHS-MetroMedium, HPLHS-MetroMedium Italic, HPLHS-MetroBlack, HPLHS-Policy Gothic, HPLHS-Black Gothic, HPLHS-Gothic Compressed, HPLHS-Black Condensed, HPLHS-Black Oblique, HPLHS-Electro Gothic, HPLHS-Blackletter (an irregular hand-drawn textura font based on the lettering of French heraldic engraver Charles Demengeot).
    • The E-phemera Font Collection, available from MyFonts, which includes these fonts, with a majority being retro or script typefaces: Policy Gothic (2012, an eroded caps face), Mooseheart (2012), Operapolitan (2012), Fishwrapper (2012), Fred (2007, inspired by a 1930s typeface by Fred G. Cooper), Schreibweise (2007, a pirate-flavored font inspired by a hand-lettered manuscript dating from 1492), Cablegram-Regular, Golden Ticket-Base, Cablegram-Urgent, Golden Ticket-Fill, Cablegram-Madras, Golden Ticket-Highlight, Cablegram-Ottoman, Julius Klinger (2003, based on 1925 fabric lettering by Julius Klinger), Cablegram-Zagreb, DMV Printer, Landry Gothic, Telegrafo, Toronto Gothic (2003: worn wood type or letterpress emulation, close to Condensed Titling Gothic #11), Vogue (pencil-lettered caps), Penitentiary Gothic (+Fill, +Lolite, +Hilite, +Shadow), Chicago House, Compliments (+Upright), Satisfaction (script based on 1930s cigarette ads), Vandal Broke Extra Juicy, Lanier (2004), Impersonal. The Cablegram and DMV series are typewriter fonts. Heck Italic (2010) is based on captions, labels and legends appearing on 19th-century maps and natural history engravings by Johann Georg Heck. Dai Vernon (2010) is based on the handwriting of card magician Dai Vernon.

    View Andrew Leman's typefaces. View the E-phemera typeface collection. [Google] [MyFonts] [More]  ⦿

    Eric Kurniawan

    Eric Kurniawan (or Burntilldead, b. 1986) is located in Bali, Indonesia. He created the vintage script typeface The Goldsmith Vintage (2015).

    Typefaces from 2016: Bestters Supply (signage script), The Wild Hammers, Ramblin Script, Ramblin Sans, Angeline Vintage (brush typeface), Victorian Deco (more Victoriana), Steelworks (letterpress), Angeline (swashy brush script), La Petitenget, Azarus (brush style), Victorian Parlor (Victorian).

    Typefaces from 2017: Sandglow (signage script).

    Creative Market link. Dafont link. Behance link. [Google] [MyFonts] [More]  ⦿

    Erica Jung

    Brazilian printmaker, graphic artist and illustrator, b. 1975. Her fonts are created together with Ricardo Marcin at Pintassilgo Prints (est. 2009). Pintassilgo relocated to Florianopolis at some point. Her fonts at PintassilgoPrints include Plumcake (2017), Cordelia (2017), Dunkelbunt (2016, inspired by the eccentric artist, architect and designer Friedensreich Hundertwasser), Chronic (2016, influenced by the work of HAP Grieshaber and Willem Sandberg), Unboring (2016), Sunbeat (beatnik style), Hand It (2016, a childish script), Botanique (2016, after Lucian Bernhard's Schmalfette Bernhard Antiqua, 1912), Somehand (2015), Gumdrop, Granz (2015: retro lettering based on a Porgy & Bess album cover by David Stone Martin), Stabile and Stabile Toys (2015, hand-crafted), Cluster (2015, a layered letterpress emulation typeface), Stick Around (2014), Marker Aid, Unpack, Felt Noisy (fat brush), Blueshift (2014), Daft Brush (2014, a vernacular brush), Tuesnight (2014, offbeat poster font), Periplus (2013), Marujo (2013: a decorative typeface inspired by paintings of Arthur Bispo do Rosário, a Brazilian artist who lived for 50 years in a psychiatric institution), Brush Up (2013: a rough brush script), Undersong (a stackable script system), Tremendous (2013: a retro poster typeface), Rockinstead (2013), Runcible (2013, +Cleft, its glaz krak version), Mamute (2013: a layered letterpress style type system), Sabotage (2013: squarish poster font inspired by the iconic Vertigo movie poster by Saul Bass), Sheldon (2013, based on posters by the Polish graphic artist Marian Stachurski; +Extras), Dranskof (2013, inspired by a page from a publication for children by Serbian writer, poet and journalist Dusko Radovic), Gentil (2012, an all caps poster font), Sundowners (retro poster face), Kokoschka (2012, based on the the lettering on the poster of an expressionist play by Austrian painter, printmaker and writer Oskar Kokoschka in 1909), Monstrinhos (2012, dingbats), YWFT Duncan (2012), Card-o-mat (2012, bird dingbats), Soundtrack (2012), Monstro (2012, fat poster face), Attic (2012).

    Typefaces from 2011: Melkslijter (2011, a stylish art deco typeface based on a brochure by Dutch graphic artist Dirk Hart), Polyspring (2011, a Victorian typeface hand-drawn based on Italia Condensed, Keystone, 1906), Berimbau (2011), Populaire (2011, a hand-drawn poster caps typeface that was inspired by the electrifying posters from May 1968 by Atelier Populaire, and loaded with alternates to give a random effect), Manicuore (2011, a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni, aka Sandro Simeoni), Smashing (2011, a fat hand-printed poster face), Smashing (2011, a fat hand-printed poster face), Chancellor (2011), the eccentric poster face Polygraph (2011, based on lettering of the Polish poster artist Leszek Zebrowski. Images: i, ii, iii, iv, v, vi, vii, viii, ix, x), the vintage serif typeface Organically (2011), Transitore (2011: Transitore is a lively hand-drawn font with loads of alternates and ligatures which, managed by advanced OpenType features, help create a convincing handcrafted look), the poster display typeface Sforzando (2011; +Alto), the signage typeface Jongleur (2011).

    Typefaces from 2010: the Cuban poster typeface Transmogrifier (2010, based on lettering by Cuban poster artist Eduardo Muñoz Bachs), the ultra-fat art deco typeface Loudine (), Crocante (2010, comic book face), Love Birds Pattern (2010), Swung Note (2010), Amarelinha (2010, hand-printed), Cuadrifonte (2010, a fat hand-printed family including styles called Pics, Sketch (regular), Fill and Line), Xylo Sans (2010, wooden texture face), Ritornelos (2010, a curly all caps hand-printed face), Roadway (2010, based on wood Clarendons), Bandoliers (2010, an informal hand-printed sketched face, with 3D versions such as Beefy, High and Rocky), Changing (2010), Vitrines (2010, hand-printed), Prokaryotic (2010, a "bacterial attack" face), Football World (2010, soccer silhouettes), Singela (2010), Butterfly Effect (2010), Tonal (2010, ultra-fat with mini-counters), Dynatomic (2010, inspired by the hand-drawn lettering of a 1964 polish movie poster designed by Andrzej Krajewski), Lovebirds (2010, bird silhouettes), Somewhat (2010, hand-drawn), Oyster (2010, hand-drawn dingbats), Grante (2009, a lively poster face), Mondiale (2009), Nanquim (2009, sketched letters), Merceria Antique (2009) and Arca (2009, + Dashed). All have an informal and attractive look, and were codesigned with Ricardo Marcin.

    The prints of Horst Janssen had a characteristic uneven hand-printed lettering that led Erica Jung and Ricardo Marcin to design the multi-featured opentype typeface Horst (2010). Nova Horst followed in 2012.

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

    Eurotypo
    [Olcar Alcaide]

    Institute in Benalmadena, Spain (was: Santa Severa), where one can take 4-week courses at 1450 Euros a shot on the Etruscan alphabet, Trajan, Cuadrata and Rustic Roman Capital letters, and related subjects. They also organize lettering tours in Italy and guided tours in various musea. The teachers are Alberto Di Santo (Professor of the visual communication, Tor Vergata University, Rome; Professor of Graphic Design, Istituto Europeo di design, Rome; Professor of editorial design, La Sapienza University, Rome; Professor of Typography, C.F.P. Sinalunga, Siena) and Olcar Alcaide (b. 1952, Argentina, Professor of Graphic and Typography Design, University of Buenos Aires; Professor of Typography, University of Lanús, and Professor of Graphic Design, Marbella Design School, Spain). Type link jump page.

    Eurotypo is also the foundry of Olcar Alcaide.

    Catalog of Olcar Alcaide's typefaces.

    In 2010, he published the text family Antium and the warm signage typefaces Mijas Ultra and Lila Pro Heavy.

    Typefaces from 2011 include Lila pro, Atenea (a humanist sans family), Agerola Script (a fat flowing signage face), Teja (signage face), Zalea (yet another signage face), and Nabu Pro (a connected signage script). Equalis (2011M, with Juan Lavalle) is a monoline slab typeface with a huge x-height and wide open counters. It was followed by Equalis Stencil (2011). Ravel (2011) is a fat signage script face. Atenea Egyptian (2011) is a solid slab serif family. Berta (2011) is a signage brush typeface with connected and unconnected versions. Optic Art (2011) is an ornamental typeface with building blocks that can be used for overlays. Creator of Eurotypo Bodoni Bold (2011).

    Typefaces from 2012: Cubus (dingbats), Saxo Deco (art deco), Moliere (2012, an elegant didone family with outspoken ball terminals), Melon Script (a fat curvy signage script family), Riky (comic book family), Chipa (a signage and package design script), Heket (an expressive curly script), Lenga (a slab serif typeface family), Mikal (brush script). Duktus is a 1940s style script in the style of Donatello (1935, Wagner & Schmidt), Troubadour (1927, Wagner & Schmidt), Liberty Script (1927, Willard T. Sniffin), Trafton Script (1933, Howard Allen Trafton), and Coronet (1937, R.H. Middleton).

    Picture.

    Typefaces from 2013: Dignus (influenced by Bank Gothic and Eurostile), Bague (old Dutch style with little contrast, in the style of Jan Van Krimpen), Lugo (a heavy signage or advertising script), Brittes (copperplate script), Talis (contrast-rich sans family), Fiesole (display family with an awkward back-curled lower case d), C Duflos (after a bâtarde coulée by Claude Duflos, a French engraver who was acitve around 1690).

    Typefaces from 2014: Talks (creamy signage script), Fiume (calligraphic script), Predy, Daevon (copperplate script), Beily (letterpress style), Ritts (a heavy script-like display family), Ritts Cursive (in the style of the brush signage scripts descending from Robert E. Smith's Brush Script for ATF in 1942).

    Typefaces from 2015: Valentia (a semi-copperplate calligraphic script followed by Valentia Condensed in 2016), Stabia, Digatte Quill (connected script), Digatte (connected monoline cursive script).

    Typefaces from 2016: Duero (signage script), Turia (calligraphic script), RRollie (a lapidary typeface based on the roman inscriptions), Valentia Nit (a copperplate typeface enriched with swashes and extensions).

    Typefaces from 2017: Merick.

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

    Eyal Holtzman
    [Letterpress]

    [MyFonts] [More]  ⦿

    FA Studio (or: Fluffy Art Studio)
    [Indra Gunawan]

    Ot FA Supply Co. Yogyakarta, Indonesia-based designer of these typefaces in 2016: Scratch, Jasmine Script, Silent (brush script for horror movies), Morning Sky, Smoothless (brush style), Section (marker pen font), Old Press (letterpress emulation font), Old Peace (signage script). Aka Arsenio Azka.

    Typefaces from 2017: Need Bullet, Jessica Script, Blackstairs (brush script), The Authentic Script, Wild Style. Creative Market link. [Google] [More]  ⦿

    Face Type
    [Marcus Sterz]

    Austrian foundry located in Vienna, est. in 2008 by Marcus Sterz (b. 1971) and Andrej Waldegg. MyFonts link. Unless exlicitly mentioned, all typefaces are by Marcus Sterz. You Work For Them link.

    • Adria Grotesk (2013). This was followed by Adria Slab (2014).
    • Aldrans (2009, minimal sans).
    • Anymals (2008) is one of my favorites: it has dingbats of imaginary undersea monsters.
    • Asimov (2009). What is this?
    • Baustelle Thin (2009, hairline sans).
    • Bikra (2010, Plain and Stencil).
    • Blitzplakat (2009). A poster face, white on black.
    • Darjeeling (2010) is a display family inspired by both Optima and Bodoni.
    • Doll (2008), Dollbats (2008).
    • Flint (2008). A hand-drawn squarish face.
    • Gerber (2009, pixel face).
    • Grafinc (2009). An ultra fat art deco. See also Grafinc Rounded.
    • Hausbau (2009, experimental).
    • Idrans Medium (2010). A poster face.
    • With Georg Herold-Wildfellner, he created the Victorian family Ivory in 2009.
    • Letterpress (2009) is an experimental grungy family in which he mixes glyphs of three classics, Jakob Erbar's Phosphor (Ludwig&Mayer Foundry, ca. 1923), Aurora (1912, Johannes Wagner Foundry) and Permanent Headline or simply Headline (Karlgeorg Hoefer).
    • Lignette Script (2011) is an extensive loopy monoline script font.
    • Loki (2009). A decorative pixel family.
    • The Marlowe family (2010) is pure art deco elegance---a play on geometric forms and elegance. Subfamilies include Marlowe Cocktail and Marlowe Swirl.
    • Moki (2011).
    • Motto (2009). An art deco typeface in the style of the Italian Futurismo of the 1920s, designed for using with two colors.
    • Mouse (2008-2009, pixel), Mousedings (2008).
    • Newcastle (2014).
    • Notdef (2009). A strange experiment.
    • The handwriting typeface Palma (2008).
    • Pinback (2009, techno).
    • Publica Sans (2016). A clean geometric sans typeface family. Publica Play (2016) is a playful, and even more organic, sans that exploits many OpenType features.
    • Scrap Outline (2008).
    • Slug (2009). A geometric typeface made for bicoloring.
    • Status (2009, super fat art deco).
    • Strangelove Next and Strangelove Next Slab (2010). This beautiful typeface was inspired by Stanley Kubrick's movie Dr. Strangelove. The original titles were designed by Pablo Ferro, who is one of the most acclaimed film title designers, especially famous for his hand-drawn lettering. Dr. Strangelove is a hairline face.
    • Substance (2013). A sans family.
    • Wenzel (2009). Handprinted.

    Facetype's typeface library. See also here. View Marcus Sterz's typefaces.

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

    Fernando Forero
    [Fernando Forero Foundry]

    [MyFonts] [More]  ⦿

    Fernando Forero Foundry
    [Fernando Forero]

    Fernando Forero (b. 1978, Tunja) ran EisartGraphic.com together with Weronika Kwiatkowska, and moved from Bogota to Kalisz, Wielkopolska, Poland, where he started Fernando Forero Foundry. He is now located in Warsaw, where he works as a graphic and type designer and illustrator.

    Designer of Ishia Antiqua (2013, a cursive hand), Urbania (2013, a dusty face), Ilex (2012, hand-printed), Baltan (2012, a calligraphic script), Old Stamps (2011, scanbats), Boys and Girls (2011, dingbats), Aliovha (2011, a monoline elliptical sans), Old Nyleshina or Old Nyleshna (2010, roughened calligraphy), Vexa (2010, grunge), Ornamentus (2010, an interesting modular ornamental face), Melonella (2010, a medieval script), Cioran (2010, aged letters), Ornalia (2010), Selbst (2010, hand-printed caps), Nugg (2010, grungy), Feeda (2010, a curly face), Intuitiva (2010, grungy), Czarnulka (2010, script), Khamus (an earthy calligraphic face) and Últimos Ritos (a hybridization between the forms of the Cyrillic and Roman characters), two typefaces that won awards at Tipos Latinos 2008. He also made the grungy Refaxed (2008) and Efficient Fax Font (2010), and the experimental Aleah (2010) and Ovhol (2010).

    In 2014, Forero published the grungy letterpress emulation font family Asfalto.

    Devian tart link. Behance link. Another Behance link. Klingspor link. Old URL. [Google] [MyFonts] [More]  ⦿

    Ferry Hadriyan

    Ferry Hadriyan (Fey Design, Indramayu and/or Cirebon, Indonesia) designed these typefaces in 2015: Milkytwins Modern Wave, Fantasia (a charming curly upright script), King City (calligrapghic signage script), Chocolate Heart Script, Adefebia (calligraphic wedding script font), Sexy Shout, Awesome Display (signage script), Love Mile (curly brush-painted font), Shakila (a vampire script), Hard Brush Ghost, Telena Brush, Slow Motion Script, Heaven Sky, Candy Sugar, Chocolate Heart (curly script), and Hard Brush.

    Typefaces from 2016: Anniversa (wedding script), Point Break, Atlantis Heart (brush font), Hometown (a 15-style vintage letterpress-style family, +Clean, +Rough), Apple Tree (dingbats), Strawberry, Wild Zova (a free brush script), Beauty Heart, Devil East, Sexy Shout, Hometown Script (signage script), Awesome, Hunter Heart (free vintage titling font), Voltury, Adefebia (script), Wowangle Brush Script, Nightamore (free brush script font), Honeymoon Midnight (calligraphic).

    Typefaces from 2017: Photograph (a formal calligraphic wedding script font). Graphicriver link. Behance link. Dafont link. [Google] [More]  ⦿

    Finck Font Co
    [Tyler Finck]

    Graphic designer (b. 1982) at the New York studio AWP currently based in Ithaca, NY. He created the fat counterless caps typefaces Blackout and Blackout Midnight (2008), and his most famous typeface, Ostrich Sans (2011). This typeface includes many weights, including a beautiful Ostrich Sans Inline and a hairline. In 2016, this was followed up by the layered monoline sans typeface family Ostrich Proper (+Inline).

    I am not sure if he designed the wood type-inspired slab serif typeface Chunk Five.

    Porter Sans (2013) is a large wide headline type family. It has a free inline outline weight. Elm (2013) is hand-printed. Blackout Sunrise (2013) is an outlined face. Lickety Split (2013) is a crayon or brush face. Almost (2013) is a poster face. Guilder (2011) is a free typeface family with an inline thrown in. Itthaca Sans and Guilder were made in 2013.

    At Google Web Fonts, he republished Knewave (2011), a brush signage face.

    Typefaces from 2014: Fartlek Sans (hand-crafted poster typeface), Katahdin (free), Upstater (a classical American gothic with shadowed and layered styles), Grandstander (comic book face), Boo City (pixel face), Didactic Display (grunge), Upstater Ink (grunge), Blackout Noon, Finck32A, Saturnight (heavy brush), Porter Sans Ink, Typocopia (letterpress emulation), Taurus Mono (outline), Southpaw (nice informal hand), Chawp (crayon face), Mr. Brunch (brush face), Gluten FT.

    Typefaces from 2015: Flabbergast (a didone), Grandstander Classic (comic book style), Korsque (layered), Bico (a rounded condensed organic typeface).

    Typefaces from 2016: Porter Rough, Ichabod (an antiqued serif), Altitude Condensed, Imbue (poster typeface), Juju Combo (outlined and octagonal), Retrograde (monoline and monospaced organic sans), Plainview (squarish and fat), Nonesuch (condensed sans), Juju (octagonal layered typeface family).

    Typefaces from 2017: Porter FT (his earlier font Porter Sans remade, and rounded styles added), Grandstander Classic.

    Alternate URL, called The League of Movable Type. Typedia link. Kernest link. League of Movable Type link. Creative Market link, Klingspor link. Dafont link. Home page. Creative Market link. Abstract Fonts link. Google Plus link. Old home page. [Google] [MyFonts] [More]  ⦿

    Flat-It
    [Ryoichi Tsunekawa]

    Japanese foundry in Nagoya that offers these free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:

    • 2016: Bio Sans, Gomme Sans, Quiet Sans, Siro (sans).
    • 2014: Pero (condensed rounded organic sans), Kiro (minimalist organic sans), Graphie (modern geometric sans), Compasse (semi-condensed sans), Como (rounded sans).
    • 2013: Spoon (organic, rounded, monoline sans family), Antoinette Monogrammes (based on early 1900s embroideries by Janon Co; with frames), Clonoid (a sci-fi family that pays tribute to arcade game logos in 80s and 90s), All Round Gothic Demi (a sans based on perfect circles),Griffon (copperplate titling face), Antique Spenserian (based on Spencerian Script by Mackellar, Smiths and Jordan).
    • 2012: Geom Graphic (a retro sci-fi family that can be considered as a squarish version of Eurostile), Sheepman (modular), House of Cards, Space Colony (a lovely monoline futuristic techno family), Rama Slab (an antiqued wood-style slab serif), Rama Gothic. An antiqued sans serif family that recalls the wood type era), Diamond Ring (an art deco typeface inspired by Japanese cosmetics-packaging designs and posters from the late 19th and early 20th centuries), Controller (techno meets organic in this rounded squaris sans family), Revolution Gothic (an extended version of PAG Revolucion), 2008, which was inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s; Revolution Gothic P followed in 2014), Diamond Ring (art deco).
    • 2011: Yummo (monoline organic sans), Sheepman (based on the wood type No. 506 of William Page), Onick (2011, an art deco neojaponist fat display face done for Wordshape), Shiva (2011, hairline sans), Mocha Mattari (2011, grunge), Dharma Slab (2011, inspired by 1800s-style wood type), Dharma Gothic (2011, +P), Rama Gothic (2011, also inspired by 1800s-style wood type), Dimensions (2011, squarish), Design System (2011, a large family based on 70s style techno typefaces), Speedometer (2011, condensed piano key face).
    • 2010: Stereo Gothic (2010: an extended all caps slightly techno sans family), Behrensmeyer Vigesimals (2010, a pixel format connected script), Civilite Vigesimals (2010, pixelized Civilite), Flat10 Arts and Crafts (2010), Flat20 Hippies, Flat10 Segments (2010), Flat10 Antique (2010), Flat20 Gothic (2010), Flat20 Streamer (2009, pixelized ribbon font), Flat10 Fraktur, Flat10 holy, Flat10 Holly, Flat10 Stencil, Flat20 Headline, Flat10 Artdeco, Word From Radio (2008-2010). Cigarette (2007, Bauhaus/Peignot-style type family).
    • 2009: African Elephant Trunk (2009), Concrete Script, Concrete Stencil (2009, a stencil calligraphic script), Perfect Magic (2009), HT Maison (2009, signage face), HT Farmacia (2009, connected school script), HT Espresso (2008, upright script), HT Cartoleria (2008, connected script), HT Cafe (2009), Sneaker Script (2009).
    • 2007-2008: Bistro Mono (2007, an awkward monoline face), Thousands (2007), Balaghat (2008), Garash Script (2008, a Halloween face), Woodstamp (2008), Banana (2008, brush script), Rebel Train Goes (2008, a piano key font), Rouge (2007, an elegant lipstick-on-the-bathroom-mirror pair of typefaces), Yasashii (2007, a great geometric art deco Broadway-style family, famous for being used in Damien Chazelle's La La Land, the 2017 blockbuster movie), Lily Wang (2006, calligraphic script), Nothing (2007), Garash (2007, Arabic simulation), Moon Star Soul (2007, Western saloon font), Grandes Vacances (+ Une, Deux) (2007), Pansy Bo (2006, calligraphic), Dremie (2007, an art deco headline typeface with Open and Fill weights), Grandes Vacances (2007, based on 19th century billboard letters), Xesy (2007, a fantastic "ronde" high-contrast upright connected script), Deluta Black (2007, a soft blackletter), Cotoris (2007, a 4-style family that takes inspiration from Koch Antiqua and the art nouveau movement).
    • 2006: Daisy Lau (2006, calligraphic), Agedage Luxeuil (2006, based on a monasteric script from the 8th century), Agedage Cancellaresca, Agedage Beneventan, Agedage Simple Versal (2006, Lombardic caps simplified), Amsterdam Modern (2006, art nouveau influences), Flat10 [Holly, Holy, Stencil, Fraktur] (2006, a set of pixel typefaces), Machiarge (2006, a heavy connected brushed signage script), Chic Hand (2006, connected script), Double Dagger (2006, geometric stencil family), Fault (2006, an art deco striped lettering face), Killernuts (2006, headline serif typeface with brush stroke endings), Underconstructionism! (2006, a rectangular look family with associated dingbats), Machia (2006, decorative script), Kiwi (geometric hairline), Bagel (roundish comic book face), Jaguarundi (2006, distressed), Boycott (2006, distressed), Tokyotrail (2006, futuristic techno family), Coconut (noisy outline face), Coconut Split, Fresh Tomato (LED simulation), El Piedra (2006, letterpress emulation), Dried Tomato (LED simulation), Dutch Style, Mocha Harrar (great stencil face), 103 (experimental, Bank Gothic style), Airhead, ArealBlack, Awkward, BagelNew, BagelOld, Banbino, Bebas (2005, industrial sans), Bebas Kai (2014: free!), Bebas Neue (2010: free!), Bebas Neue Bold, Berlin89, Blackout (redesigned in 2011 as the ulta-narrow Dimensions), Boycott (grunge), Built-1970, Bunyan, Busted, Camera (2007), Canstop, Chiangmai (Thai simulation face), DBLline, Dijkstra, Dutchstyle, Fling, Graphite, Harcomaso, Hiexplosive, Hitech, Honeycomb, Junkmix, Kanatypo, KemikalHi, Machia (2006, a calligraphic family), Meegoreng, Mikrob, Natsupopy, Overwork, Palsu, Plamo, Plasitico, REC001, REC002, REC003, Resistance, SQRT, STdigi (LED font), Shandy, Superstar, Tembaga, Tenaga, Tomodachi, Tragedia, Trucker, VRdigital, VRembroidery, Welcome2M, Workaholic, Zeebraa, plot-A, plot-K, Appendix 3, Gesso (grunge), Pusab (2006, ultra round; one free weight), Sushitaro, Typewrong, Celtics Modern (2006, a Celtic family of fonts). At T-26, he published CRZ (2006), Guppy, Ohana (2006, octagonal), Picnica (2006), and Wearetrippin.

    MyFonts link. Fontsquirrel link for their free fonts such as Bebas (2005, industrial sans), Boycott, Gesso, and Pusab.

    YWFT link. Bagel & Co. link. Klingspor link. Dafont link. Dafont link.

    Interview.

    View Ryoichi Tsunekawa's typefaces. Kernest link. [Google] [MyFonts] [More]  ⦿

    Fontfabric
    [Svetoslav Simov]

    Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic. Picture. Behance link. Dafont link. Typegoodness link. YWFT link.

    • Typefaces from 2008: Cubic (3d face), Clou (cloud-like letters), Colo (double-lined and geometric), Snail, Blou (very thick and counterless letters).
    • Typefaces from 2009: Uni Sans (first called United Sans), Kare (psychedelic), File (fat face), Zag (7-style monoline sans with tear drop terminals; it include Zag Drps and Zag Deco), Clou (cloudy letters), Facet (Black and Ultra: paper fold typefaces), Noveu (psychedelic, art nouveau), Pastel (brush face), Rolka (round ultra-fat and curly lettering), Val (rounded fat), Kvant (severe and octagonal), Duplex (fat techno), Avatar (ultra fat black), Dovde (bubbly, co-designed by Maria Karkova), LOT (fat art deco), MOD (ultra-fat), Oval (rounded sans), Quad (octagonal outline), Portal Strips and Portal Black (hyper-experimental geometric typefaces), Prisma (more ultra-fat experimentation) and Wigan (Wigan Thin and Bold of this paperclip typeface appeared in 2014).
    • Creations in 2010: Hero (free sans family), Null (ultra fat, free), Aston (a modern high-contrast rounded display face), DAN (free piano key font; Dan Pro is not free though), Solomon (headline sans family) [Images of Solomon: i, ii, iii, iv, v, vi, vii, viii], Dox (ultra fat geometric poster face), Sudoku (a geometric display family with several biline and triline styles, done with Fontan2), VAL Stencil (a stencil in which repeating letters makes them tilt the other way; free), Code (2010, a fantastic monoline sans family; images: i, ii, iii, iv, v), Dekar (techno), Clipdings Web, Clipdings Travel, Clipdings Graphic Arts, Babydings, Artdings, Reader (Light, Bold: avant garde sans), SAF2010 (comic book/signage: well, Jan Erasms, the designer in 2006 of Menyaka for FIFA WC 2010 is not happy, calling SAF a blatant imitation), Age Free (free fat organic face), GOTA (a free fat finger sans face).
    • Typefaces from 2011: Gabriel Sans (grotesk family), La Boheme (signage face), Qero Mite (an organic monoline sans), Code Pro (caps only clean sans headline family), Solomon Sans (a headline monoline sans family).
    • Typefaces made in 2012: Nexa (a geometric sans in 16 styles), Nexa, Rex (free octagonal family for Latin and Cyrillic), Hagin (free), Intro (26-style superfamily in the Futura style) and Intro Inline (free Futura-style family for Latin and Cyrillic). Intro Condensed was created in 2014.
    • Typefaces from 2013: Nexa Slab, Nexa Slab XBold, Nexa Slab Bold, Nexa Slab Book, Nexa Slab Light. [Recognize the typeface by the a and the g (an 8 with a small piece missing).
    • Typefaces from 2014: Nexa Rust (a weathered letterpress emulation family of 83 typefaces by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev).
    • Typefaces from 2015: Bronn Rust, Bronn Script and Bronn Rust Extras is a hand-crafted collection of 22 typefaces created on the coat tails of the hugely popular Nexa Rust and other typefaces in the grungy worn letterpress and layering vogue. The roundish tightly set broad-ranged sans typeface family Panton is sure to make waves for years to come---it is the typeface for mobile devices. Sensa (2015, Radomir Tinkov and Svetoslav Simov) is a hand-crafted 21-style family divided into the subfamilies Sensa Brush, Sensa Pen, Sensa Wild, Sensa Sans, Sensa Serif and Sensa Goodies.

    View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov codesigned the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies. Still in 2015, we find Nexa Script.

    In 2017, Plamen Motev and Svetoslav Simov codesigned Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009).

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

    Fontscafe (was: Fonts-Lab)

    Fonts Lab was an Italianfree font foundry with emphasis on "free", even for commercial use. The first fonts, all made in 2011, included Fonts-lab Gift, Fonts Lab Symphony, Free For Fonts-Lab Subscribers, Lady Jane Old, Five Dollars Matter, Writing Something by Hand, Hint Retro, Hint Retro Grunge, Soul Handwriting (brushy script), Variety, Universal College Draft (2011, a sketched sports jersey alphabet), Handwriting Draft (sketch face), Around 20 (experimental), Adelfy, Old Printing Press (grunge), Frank Handwriting, Sketch Me, Retro Lined Area.

    Fonts Lab became Fontscafe, located in Milan.

    Production in 2012: Making Lettering Tall, Universal College (grungy athletic letters), Marmellata Jam (connected script), Marmellata Jar 01 and 02 (connected fat signage scripts), Henry Rodeo Circus (Western face), Scrappy-Looking, Contribute Free Version (connected fountain pen script), Basically Serif, I'm Fashionista, Sign Handwriting, Chalk Hand Lettering, Chalk Hand Lettering Shaded, Voluptate (retro connected script), Retroactive (a great connected script face).

    Around June 2012, something happened---possibly a complaint from the FontLab software people---, and the name changed from Fonts Lab to Fontscafe. In the same year, a commercial foundry was started via MyFonts.

    Typefaces from 2013: Free Sketching, Hand Printing Press [in ten styles such as Meshed, Scraped, Normal, Stencil, Stamps, and Eroded], Egregio Script (retro script), Hand Shop Typography A20 (an 8-style poster font set that includes shadow and inline typefaces), Hand Shop Typography C30, and many more in the Hand Shop Typography pack, including the frame font Hand Shop Elements.

    In 2014, we find Hand Christmas Doodle, My Valentines Love (heart dingbat font) and Bold Pressing (vintage letterpress typeface family, with ornaments).

    Typefaces from 2016: Handwriting Draft (a great sketched font that shouts Leonardo da Vinci), Universal College (a grungy athletic lettering font, updated from an earlier 2011 version).

    Typefaces from 2017: Display of Character.

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

    Foxys Graphic

    Designer of the vector format hand-crafted poster typefaces Queendansse (2017) and James Boltt (2017). [Google] [More]  ⦿

    Frederic W. Goudy
    [Copperplate Gothic]

    [More]  ⦿

    Fritz Garner Swanson

    Fritz Swanson lives in Manchester, Michigan with his wife Sara and his children Oscar and Abigail. He teaches at the University of Michigan, where he runs a letterpress studio, The Manchester Press. He is also director of Wolverine Press. Creator in 2011 of a few grunge style typefaces at iFontMaker: Fritz Old Style, 1776, Fritz Roman, Fritz Roman Nova, Special (K). In 2016, he added the hand-crafted typefaces Wolverine, Aldine Lower Case and Talisman Spindler By Hand Open.

    Twitter link. iFontmaker link. [Google] [More]  ⦿

    Galdino Otten

    Cartoonist from Recife, Brazil, b. 1966, whose sense of humor and artsistic prowess shine in his dingbat fonts. Dafont link. Fontsy link.

    Creator of the experimental Almost Sanskrit (2009), Zodiac Nice (2009, astrological symbols), Xilo in Zodiac (2009), Xilo-Cordel-Literature (2009, dingbats), Cordel Circo Mambembe (2010), Inside Issue (2009), Stretched Signature Flex (2009), Action of the time (2009, grunge), the dingbat typeface Ugly Cars (2010), the grunge typeface Capitão Galdino (2008), the grunge typeface Saltpeter-N-Fungus (2010), Texture Road (2010, more grunge), BSB DF 50 (2010, grunge), Fine Serif (2009), and the nice dingbat typeface Ochent Silibrina (2008).

    Fonts made in 2010: Sport 4 Ever (dingbats for Olympic Games), 60sPop (multiline face), DotSpot (dot matrix), IRON H METAL (tattoo, gothic), IngaStoneSigns (stone age glyphs), Ode2PasteUp (hand-printed), WideSquare (pixelish), ActionoftheTimeNewUL, BSBDF50, Haus-Sweet-Haus, INSIGHT-ISSUE-NEW, Movie Filmstrip, SquareChalk, Action Of The Time New (grunge), CordelValentine (dingbats), IngaStoneSigns (petroglyphs), SustainableAmazon, VeryDamaged (grunge), ParkTechCG (letters as in wired circuits), kidSWritten, Iron H MetallLight, LaceNice (knitted look), Ode2PasteUp, TextureRoad (grunge).

    Fonts from 2011: Booklet Cordel (sketched), Cordel Encarnado, Nuclear Accident (texture face), Noncircular (techno), Old Press (grunge), Old Typography (grunge).

    Fonts made in 2012: New Press (condensed sans family, +Eroded), Sketch Wall, Comic Gibi, Own Written, Comica BD (comic book shadow font), Cartoon Relief (a 3d cartoon typeface), Riscada Doodle (scratchy hand), Sketch Nice, Needlework Good (a stitching font), Biscuit Made, Just Skinny, Crazy Style, After Cheret (hand-drawn 3d shadowed outline face), Spots in the mirror, TNT Xplosion, Escrita Toska (curly script), Cordel Movies (moviemaking dingbats), Fine N Tall, Cordel Groteska, From Street Art (free graffiti font), Sketch College (sketched athletic shirt font), Thin Press (grungy vernacular type), Sketch Serif, Relief BD, Maxxi Serif (very heavily slabbed serif face), Semi Cursive Gut, Sketch Coursive (sketch face), Salt Pet Non Eroded, Advanced Architecture, Very Fine Serif (a monoline Egyptian), Sketch Nothing, Freehand Nothing, Shark Attack (curly), Do Doodle, Maybe Pollock (dust texture face), Xilo Prosa (grunge), Thin Design, Amazon Palafita (hand-drawn 3d outline face), Snow Times, Snow Traces, USSR Army (rough army stencil with a Russian feel), Needlework US (stitch font), Old Scribe (Greek lapidary face), Nickel Bumpy, Soviet Style (stencil face), Top Modern (heavy slab serif), Lettering Set New, Carton East, Not Tuned TV (sketch font), Scar Bleed (scary font), Maxxi Dots (texture face, +Shadows), Dots Land Gotika (grungy blackletter), Stefanie Dots (textured letters), Karamuruh (textured caps), Broken Type (grunge: a glaz krak font), Touppeka (a Kafkaesque, tribal or painter's font), Old Dreams (grungy), Bad King (sketched typeface), False 3D (hand-printed 3d outline typeface), True2D, I Wrote All, Resistance Until The End.

    Typefaces from 2013: Serifa Comica (comic book slab), Press Style Serif (letterpress style), Press Style Large, Triatlhon In (sic: a Greek simulation face), Go 2 Old Western (grungy wood type), Old Serif Gut, Press Style (letterpress style typeface), Dust Serif, Thing Press, Thin Grotesk Serif, Before Collapse (glaz krak face), Stencil Style New (a military stencil), Damaged Serif, Press Serif Cool, Press Feeling, Sketch Toska, Link Parties, Almost Cartoon, Cartoon Toy, Toy Toy Toon, Fine Style (didone caps), Fine Sans (Peignotian), Beyond Blackboard, Forgotten Junk (grunge).

    Typefaces from 2014: Simply Rounded, Cartoon 2 Packages, Pain N Bleed, Yummy Lollipop, Hippie Movement, Rotunda Geo, Old Figaro Cursive, Cute Cartoon, Sketch Gothic School (sketched blackletter), Fine College (hatched athletic lettering face), Press Felling Eroded (letterpress emulation), School Book New (sketched), Stencil Cargo Army (military stencil), Fine Eroded, Grunge Poster, Education Is A Way, Cartoon Blocks, Cartoon Bones, Cursive Option, Odd Press (letterpress emulation), Cartoon Tunes, From Cartoon Blocks (3d), Hippie Movement, Yummy Lollipop, Needlework Perfect, Press Gutenberg (blackletter), Unic Calligraphy, Roundfed Eroded, Children's Book (outlined), Neon 2 News, Good Choice (shadowed letterpress emulation), Cartoon 2 Us, O 10 Type, Dust West (grungy Western style), Comic Balloon, Caligraf 1435 (pirate era script), No Name Sans, Top Secret Stamp (grungy stencil), Fine Blackboard (blackboard bold, inline), Press Style Extra L (letterpress), Sounds Good (geometric sans), Sounds Eroded (shadowed letterpress font), Cartoon Blocks Christmas, Street 2 Art (graffiti font).

    Typefaces from 2015: Snaps Taste (a grocery store or comic book font), Snaps Taste Christmas, Calligraphy Hand Made, Silly Aliens (dingbats), Sketch Match (3d, sketched), Cartoon 4 Sports (dingbats), Kids Book, Almost Japanese (oriental simulation font, +Comic, +Cartoon), Inga Stone Redesigned, Money Money Plus (engraved money font emulation), Thin Cool, Old N New Media (dingbats), Thinkers World (scanbats of famous intellectuals), Magical Cord, Quick Writing, Eroded 2 Much, Stencil Army WW I (miltary stencil), Stencil WW II (military stencil), D-Day Stencil (military stencil), Western Bang Bang (weathered Western font), Modern Serif, Modern Serif Eroded, Money Money (hand-crafted engraved currency font), Almost Japanese Smooth (oriental simulation typeface), Write Righ, Ease Christmas (dingbats), Sketch Script Cool, Ficticcia College.

    Typefaces from 2016: Doodle Cafe Scents (dingbats), Christmas Cookies, Coffee Written, Soft Marshmallow, Niagra Faults, Sketch Toronto, Sketch Fine Serif, Sketch Handwriting, Typewriter Press, Typewriter Style, Sketch 3D, Maple 3 Cartoon (snow-covered letters).

    Typefaces from 2017: Packaging Funny, Blackboard Restaurant, Kavernosa (bony typeface), Little Kid. [Google] [More]  ⦿

    Gatis Cirulis
    [RAWTYPE]

    [More]  ⦿

    Gearwright
    [Yusof Mining]

    Yusof Mining (Gearwright) specializes in old American typefaces and letterpress. His typefaces:

    • Shrimpse (2016). A grungy descendant of Cheltenham.
    • Steelplate Script (2015): A revival of William Jackson's copperplate style script typeface Steelplate script (1888, Central Type Foundry).
    • In 2015, he revived Morris Fuller Benton's Gothic as Newston, and added Newston Inked.
    • Similarly, Caston (2015) and Caston Inked (2015) revive Card Litho (1917, Morris Fuller Benton, ATF), itself a modification of Litho Roman (1907, Inland).
    • Enigton (2015): a revival monogram typeface based on virkotype combination monograms issued by the American Type Founders in 1920's.
    • Standard Issue (2015). An octagonal sans that emulates weathered inky prints. He added Standard Issue Clean a bit later in 2015.
    • Arpegio Brush Script (2015).

    Creative Market link. [Google] [More]  ⦿

    Geen Bitter
    [Thom Janssen]

    Geen Bitter (Den Haag, The Netherlands) consists of Thom Janssen (b. 1984, Maastricht), Jorn Henkes and Rogier van der Sluis. All three are graduates of the Graphic Design course at the Royal Academy of Art in The Hague, The Netherlands. The work of Geen Bitter has a strong typographical influence and covers designing typefaces, books, websites and identities, all with a typographic approach. Late in 2014, Geen Bitter disbanded.

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

    Their commercial typefaces:

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

    Gene Gable
    [Dan X. Solo: The Horse and Buggy Printer]

    [More]  ⦿

    George Everet Thompson
    [No Bodoni Typography]

    [MyFonts] [More]  ⦿

    Gerrit Noordzij

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

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

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

    His typefaces:

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

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

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

    Gert Wiescher
    [Wiescher Design]

    [MyFonts] [More]  ⦿

    Glasshouse DF

    Seattle and Tacoma, WA-based design group. Creators of some commercial typefaces that are often weathered, vernacular or emulating letterpress. Typefaces from 2015: Producer. Typefaces from 2014: Legends. Typefaces from 2013: Absolution, Zombie Gothic FS, Foreman. Creative Market link. [Google] [More]  ⦿

    Golgonooza Letter Foundry
    [Dan Carr]

    Dan Carr (b. Cranston, RI, 1951-2012) was an American poet, type designer, typographer, printer, teacher, punchcutter, environmentalist, human rights activist and New Hampshire State Representative (2008-2010). Carr received his BA at Clark University in Worcester, Massachusetts. In Boston, in 1979 he and his partner Julia Ferrari, started the Golgonooza Letter Foundry & Press, a hot metal Monotype graphic design and composition house, which they moved to Ashuelot, NH, in 1982. Together they created Trois Fontaines Press in 1997, a limited edition fine press. Carr taught typography, and the history of typography at Keene State University in Keene, NH. He died after a struggle with cancer.

    At Golgonooza they produced high-quality letterpress books for a wide variety of clients. Dan Carr is the designer of the great-looking text fonts Lyons and Cheneau, 1990-1994, as well as Regulus (a metal font created in 1998 that earned him the title of Master Typographic Punchcutter of France in 1999), Philosophie, Genesis Numerals, and Beckett Bodoni, at the Golgonooza Letter Foundry. He won a Bukvaraz 2001 award for Parmenides (a metal type for archaic Greek). His digital typeface "Cheneau" was chosen for a judges' choice award by the Type Directors Club in 2000. Both Dan Carr's Parmenides Greek and Christopher Stinehour's Diogenes Greek were commissioned by the printer Peter Koch for The Fragments of Parmenides.

    Alternate URL. Klingspor link. Caxton Club link. [Google] [MyFonts] [More]  ⦿

    Greg Kolodziejzyk
    [Image Club Graphics]

    [MyFonts] [More]  ⦿

    GRIN3
    [Bartek Nowak]

    A group of independent designers from Poland, heade by Bartek Nowak, and located in Staromiejska. Nowak has been designing typefaces since ca. 2000. Typefaces:

    • Inkaust (2011). A grungy face.
    • Uniwerek (2011). A sketched hand-drawn family inspired by college and university sportswear.
    • Galicya (2011).A hand-printed poster family.
    • Tygodnik (2011, Bartek Nowak) is a poster font inspired by logo of Polish magazine Tygodnik Powszechny.
    • Tentacle Szrift (2011, Bartek Nowak) is a blackletter family.
    • Stencimilla (2011) is an army stencil face.
    • Goniec (2011) is inspired by graffiti.
    • Pascal (2011).A brush script.
    • Machina G and Machina R (2011). A pair of grunge typewriter typefaces.
    • Nokian11 (2011). A gridded face.
    • Quattro Tempi (2012). A sketched typewriter face.
    • Centura Round (2012). A hand-drawn monoline sans family.
    • Kidorama (2012) is a hand-drawn script inspired by the calligraphic models used in Polish primary schools.
    • Revers (2012). A roughened slab serif.
    • Eight Zeta (2012). A casual hand-drawn typeface family.
    • Skurier (2012) is a hand-drawn font inspired by Courier.
    • Monosketch (2012) is a hand-drawn font inspired by monospaced fonts like Andale Mono. This sketch typeface can be layered.
    • Holy Roller (2012). A lively hand-drawn outline typeface.
    • Larsson (2012). A tall poster font.
    • Antidotum (2012). A stamp or eroded wood typeface in the style of Veneer or Anodyne.
    • Sahan (2012). An elaborate Arabic simulation typeface.
    • Martita (2012). A festive connected script.
    • Secesja Pro (2013) is a redesign of his earlier Secesja PL font. It is a revival of Hermann Ihlenburg's über-Victorian typeface Nymphic Caps (1889).
    • Astalamet Pro (2013) is a dot matrix typeface that evolved from Astalamet Pure (2001).
    • Engineer and Engineer Stencil (2013) is a rounded techno sans family based on Bartek's own TechnicznaPomoc (2001).
    • Collegium (2013) is an athletic lettering font.

      Barme Reczny (2013) is a hand-printed typeface.

    • Splasher (2013) consists of nothing but ink, coffee and paint splashes.
    • Gwidon (2013) is a connected script typeface.
    • Athletico (2013) is a layered university sports lettering typeface family. See also Athletico Clean (2013).
    • Polina (2013) is a hand-drawn 3d shadowed layered typeface system. Its original name, Dobra, had to be discarded because that name was already taken by Dino dos Santos.
    • Leitmotiv (2013) is a heavy calligraphic typeface.
    • Misterall (2013). An all caps brush typeface for posters.
    • Delegat (2014). A comic book lettering font inspired by handwritting of Frank Ching.
    • Procent (2014). Bold and hand-printed.

      Gotyk Nr 7: a grungy blackletter typeface that evolved from Nowak's 2001 typeface Gotyk Poszarpany.

    • Suarez (2014). A vintage upright connected script. The dingbats are called Suarez Extra.
    • Kowalski (2014) and Kowalski2 (2014). A swashy typeface family.
    • Revers (2014) is a grungy slab serif typeface.
    • Pascal (2014, handwriting), Inkaust (2014, fat finger font).
    • Jasminum (2014). A connected script together with a flower dingbat font, Jasminium Extra.
    • Quattro Tempi (2014).
    • Athletico Clean (2014). Athletic lettering font.
    • Procent (2014). A shop signage typeface.
    • Charlize Script (2015). A connected curly script family.
    • Rossellina (2015). A connected calligraphic script font.
    • Giulietta (2015). A calligraphic script family.
    • Bellfort. A letterpress font family.
    • Elementarz Pro (2016). A monoline school font.
    • Dramaturg (2016). A brush script.
    • Ripley (2016). A connected monoline script.
    • Baltasar (2016). A brush script.

    Aka Leitmotif. Dafont link. Klingspor link. Fontspace link. GRIN3 link. Old free font URL. Creative Market link. Home page.

    Showcase of Bartek Nowak's commercial fonts. [Google] [MyFonts] [More]  ⦿

    Grype
    [Charles Leroux]

    Grype was set up by Charles Leroux (b. 1980, Montreal) in Montreal. It was acquired by Astigmatic (Las Vegas, NV) in 2016. He created Rendezvous GRP (2008, a Tuscan typeface inspired by the lettering of Ben Shahn on the cover of the novel Rendezvous with Destiny), Condemned (2008, grungy letterpress style) and Banished GRP (2008, a Western slab serif saloon font inspired by Astro Zombies, the 1968 Cult Cinema Classic).

    Obliterate GRP (2013) is a grungy letterpress typeface.

    In 2016, Brian J. Bonislawasky and Jim Lyles published the rugged octagonal mega typeface family Tradesman, the rounded sans Tailwind, and the techno typeface Offroad at Grype.

    Sunblock Pro (2017, by Brian J. Bonislawasky and Jim Lyles).

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

    Hamdani Putra
    [Refolve Design Studio]

    [More]  ⦿

    Hannes Famira
    [Studio Hannes Famira]

    [MyFonts] [More]  ⦿

    Hannes von Döhren
    [HVD Fonts]

    [MyFonts] [More]  ⦿

    Harrisson
    [Open Source Publishing (or: OSP)]

    [More]  ⦿

    Hendrik Nicolaas Werkman

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

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

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

    Groninger Museum link. [Google] [More]  ⦿

    Henrik Kubel
    [A2 Type]

    [MyFonts] [More]  ⦿

    Hermann Berthold

    Typographer and entrepreneur, b. Berlin 1831, d. Berlin, 1904. In 1858, he founded his "Institute for Galvano Technology" in Berlin. He discovered a method of producing circular lines from brass instead of lead or zinc. The soldering normally necessary could be dispensed with. The lines were elastic and highly durable, and produced fine results. Most of German's letterpress printers and many printers abroad placed their orders with Berthold. In 1864, he set up H. Berthold Schriftgießerei und Messinglinienfabrik in Berlin. The company specialized initially in new technical processes for printing, such as galvano-type, as described above. Hermann Berthold headed the foundry until 1888. Around 1900, Haus Berthold was one of the largest foundries in the world.

    MyFonts link.

    Portrait by Arthur William Presser regarding the Akzidenz Grotesk typeface pioneered by Berthold's company. [Google] [MyFonts] [More]  ⦿

    HoneyDrax Productions

    Creator of the free grunge letterpress emulation typeface Disintegration. [Google] [More]  ⦿

    Hustle Supply Co
    [Jeremy Vessey]

    Jeremy Vessey (Hustle Supply Co, Charlottetown and/or Cornwall, PEI, Canada) created these commercial typefaces in 2014: Parlour (a grungy vintage typeface), Native (quaint style), Instapress (letterpress emulation).

    In 2015, he designed the vintage typeface Arbour, the free octagonal caps-only typeface Cast Iron, the hand-crafted Yosemite, Wayfarer, American Tradition, Growler Script, Yonder and Longshore. He also made the old whisky label-inspired Höchstadt, and the brush typeface Sitka, which will have to be renamed once Microsoft's lawyers hear about the name, which coincides with MS Sitka (2013, Matthew Carter et al).

    Typefaces from 2016: Bonfire, Belfast (brush style), Buffalo, Gibson Script (vintage label font), Hochstadt (a whiskey-inspired sans serif), The Great Outdoors, Summer Hearts, Oatmeal Stout (a vintage beer label font, with Rough, Hatched and Aged substyles that can be mixed and matched), Whiskey (letterpress emulation), Greenstone, Hochstadt Rounded, Hochstadt Serif, Pathways, Restless Youth, Cast Iron, Yorkshire (brush script), Hustle Script (retro connected script done with the help of Scott Byrne).

    Typefaces from 2017: The Brewers Collection, Everyday Script and Sans, Genuine Sans and Script (by Jeremy Vessey and Stephanie Arsenault).

    Creative Market link. Behance link. [Google] [More]  ⦿

    HVD Fonts
    [Hannes von Döhren]

    Hannes von Döhren (b. 1979, Berlin) is a Berlin-based designer (b. 1979). His foundry is HVD Fonts. He started out with free handwriting and grunge fonts such as HVD Comic Serif Pro (2009, an alternative to Comic Sans, according to HVD), The Subway Types (2009, a graffiti family: Shik (New York), Deon (Paris) and Etan (Berlin) came together to show the typical tag styles of their respective metropolitan areas. The fonts were digitized, spaced, kerned and programmed by Hannes von Döhren).

    Later he went commercial, first at T-26, and then under his own label, HVD Fonts. His typefaces: Shelton (2008, T-26), HVD Peace (2008, an army stencil font), HVD Comic Serif (2007, a serifed spoof on Comic Sans), HVD Rowdy (2007), HVDSpencils-Block (2007, stencil), HVDSpencils (2007, stencil), HVD Steinzeit (2005), HVD Edding 780, HVD Rawcut (2005), HVD Age 11 (2006), HVD Shelton (2008, T-26: wood type grunge), HVD Bodedo (2009, potato-Bodoni lettering), Quench Pro (2008, Linotype), HVD Peace (2008), and HVD Poster (2006, grunge).

    Typefaces made in 2009: Grandma (great hand-printed style---move over, Comic Sans), Christmas Dingbats, ITC Chino (a soft-edged signage and sans family, done with Livius Dietzel), Klint (sans family, +Rounded), Brevia (a soft sans in seven styles), Cowboyslang (a Western slab serif family), Embryo (superblack), Embryo Open, and Opal, a classy old style text family with tall ascenders. Bumper (2009) is an ultra-black sans family in a style related to Impact.

    Typefaces from 2010: FF Basic Gothic (a grotesk family done with Livius Dietzel), Reklame Script, Shelton (grunge), Blow Up is a fat balloon font. His masterpiece of 2010 and perhaps of his career thus far is the Brandon Grotesque family that relives the 20s and 30s. [A year after I wrote the previous sentence, Brandon Grotesque won an award at TDC2 2011, and all during 2011, it was the most sold typeface at MyFonts.] Livory (2010, with Livius Dietzel) is a rounded serif type family of four fonts influenced by the French Renaissance Antiquas from the 16th century.

    Production in 2011: Brix Slab (2011, with Livius Dietzel), Brix Slab Condensed (2011, with Livius Dietzel:(24 styles in all), Pluto (16-style semi-scriptish sans family, +Italics), Cheap Pine (a wood type caps family), Supria Sans (free web font family; +Black). Together with Supria Sans Condensed, this 36-style family is a basic sans workhorse. It won an award at TDC2 2011.

    Typefaces from 2012: Shelton Slab (eroded wood type or dirty letterpress look), Diamonds (geometric caps only family), Pluto Sans, Love Potion No. 10.

    Typefaces from 2013: Embryo Tiny, Niveau Serif (an engravers / copperplate style typeface), Niveau Grotesk, Mikado (signage family for games, food and advertising with a lot of genetic material from Brandon Grotesque: Mikado Bold Demo is free), Brandon Text (similar to, but with a higher x-height and more rounded corners than Brandon Grotesque, it is more appropriate for long texts and small print), FF Mark (together with Christoph Koeberlin and the FontFont team: this font is marketed as Ze new Germanetric sans; one weight is free).

    Typefaces from 2014: Brix Sans (2014, created using precisely engineered glyphs for corporate or information design; with Livius Dietzel), Brandon Printed (a caps-only letterpress version of Brandon Grotesque).

    Typefaces from 2015: Brandon Grotesque Office (screen-optimized; specially designed for Microsoft Office applications, it has 4 styles), Brandon Text Office (also made for Microsoft Office applications), Goodlife (a hand-lettered collection, consisting of Brush, Sans, Script, and Serif styles), Americane Condensed and Americane (based on American wood types).

    Dafont link. URL at T-26. Abstract Fonts link. Another URL. Behance link. Alternate URL. MyFonts link. Creative Market link. Font Squirrel link. Fontspring link. Fontsy link. Pic.

    View Hannes von Döhren's typefaces. [Google] [MyFonts] [More]  ⦿

    Ian Barnard
    [Vintage Type Co (or: Vintage Design Co)]

    [More]  ⦿

    Icon Stacks
    [Conor Muirhead]

    Conor Muirhead shows how to combine icon glyphs to create complex icons using clever CSS programming. [Google] [More]  ⦿

    Ikea: The flap

    In 2009 Ikea, which had been using Ikea Sans and Ikea Serif, switched to Verdana for its signs. Freely distributed by Microsoft, the typeface allows Ikea to use the same font in all countries and with many alphabets. An Ikea spokesperson adds: It's more efficient and cost-effective. Plus, it's a simple, modern-looking typeface. But the verdict by typographers is unanimous---this is a bad choice. One person even started a wiki page called Verdanagate. Excerpts from their reactions:

    • Carolyn Fraser (a letterpress printer in Melbourne, Australia): Verdana was designed for the limitations of the Web - it's dumbed down and overused. It's a bit like using Lego to build a skyscraper, when steel is clearly a superior choice.
    • Simon l'Anson (creative director at Made by Many, London): It has open, wide letterforms with lots of space between characters to aid legibility at small sizes on screen. It doesn't exhibit any elegance or visual rhythm when set at large sizes. It's like taking the family sedan off-road. It will sort of work, but ultimately gets bogged down.
    • Lise Abend (Time Magazine): The main complaint that online protesters have, though, is that the newly adopted font is plain ugly. Especially when it's enlarged to, say, the size of a catalogue headline. Or worse yet, a billboard.
    [Google] [More]  ⦿

    Image Club Graphics
    [Greg Kolodziejzyk]

    Image Club Graphics was founded by Greg Kolodziejzyk from Calgary, Alberta, in 1985. ICG sold fonts at about 30 dollars per typeface around 1992 and became successful as a font distributor and direct marketer and software developer. They issued new catalogs regularly. The most recent edition of the CD (called Letterpress 7.0) cost $1500 for 890 fonts. They also had a wide variety of artwork. The ITC on Display CDROM cost 3000 dollars for 375 display fonts.

    Greg writes: In 1994 I sold Image Club to Adobe Systems of Mountain View, California. At that time, Image Club was distributing over 10 million software catalogs to it's customers world wide. With sales topping $20 million in 1996, Image Club is very well known in the industry as a successful direct marketer and software developer. [...] The company still operates in Calgary, but has been purchased back from Adobe by the manager who I had hired years ago who changed the name to Eyewire. In 1998, Eyewire was sold to Getty Corporation for a whopping $30 million.

    The ICG site said at one point that Image Club no longer exists. As a company, it ceased to be sometime between our purchase by Aldus in 1994 and our rebranding as Adobe Studios in 1998.

    Until recently, the Image Club Typeface Library and Image Club clip art products were available at EyeWire. Eyewire then became Veer. The ICG library can now be bought at MyFonts. List of available ICG fonts. Martin Kotulla states that ICG copied fonts in an aggressive manner, and finds it ironic that this pirate was bought by Adobe. Greg Kolodziejzyk's reply: You should add that all fonts "aggressively copied" by this "pirate" were licensed from the foundries who owned the copyrights to those fonts. I can't tell you how many 100's of thousands of dollars we paid over the years to foundries as licensing fees. This statement is false.

    Selected typefaces: Eclat (retro signage script), Cariola Script Std (a wide connected script by James West).

    View the Image Club Graphics typeface library. [Google] [MyFonts] [More]  ⦿

    imagex

    Frenchman (b. 1957) who started making fonts in 2010, after a career in illustration, comics, and video games. In 2010, he created the free fonts BabyJo (pixel face), Bayday, Chrom (beveled face), LaPresse (grunge), Muffaroo, Poppy, Poppydot, Spacecard, Strokewith, Strokeless, ToonLand (comic book lettering), ToonLandBlack, ToonLandShad, TrashToys (grunge), WorldColors (3d face).

    In 2011, he published Francobelge (comic book face), Freepress (grunge), Gamix (Western titling face), Inmyroom (dingbats), Majestrick (calligraphic), Onomatopaf (comic book dings), Outerzone, OuterzoneB, Starz (dingbats), Stenstreet (grunge), Tram, Tramix (texture face), TrashToys02, War-Lettersn, Mixagex, Massive Dynamite (grunge), Not Well (grunge), Actu, Blck, Gling (texture face), HeRioz (silhouettes), Brightoon (cartoonish brush face), Muzo (ink spill face), Sharpy, Space Shop (dingbats), Pulp Dance (hand-printed), Essef (art deco), Retro Sign (grunge), Labo (grunge), Exhausted, Komikoz, Puzzled, Toonimals (dings), Penstriped (sketch face), Cashier (grungy), Dan Hand, Hardwell (grungy caps), Colleged (athletic lettering), Goodjean (jeans texture face), Seaside Things (dingbats), Real Tek (techno), Zou (3d hand-printed caps), Painter, Border Line (grunge), Handout (grunge), Tract (grunge), Pulpatone (grunge), Logos I Love, Pal Antic (chancery hand), Twent (fat rounded display face), DoodFlow (dingbats), Afro Add (texture face), Crump (grunge), Big White, Dark Room (grunge), Manifesto (grunge), Tacketil (a FontStruct font), Otto Land (sketch face), Over (outline face), Under (brush dings), Baskertown (grunge), Nursery Tale, Panic (texture face), BlackNDot (ink spill face), Beyond (striped display face), Advert, Car Crash (grunge), Heartz, Starsteel, Smart Faces, Blackflag (a brushed blackletter), Dock 51 (grungy stencil), Lead (3d face).

    In November 2011, he created a number of texture typefaces: Hotöcop, Pal Mod, Speedy (sketch face), Thirties Gold, Sunset GP.

    Further 2011 typefaces: Poptivi, Shadow Mole, Super Modern Black.

    Faces from 2012: Remanence, Winter Days (dingbats), Nowharehouse (grunge), Snuff (grunge), Cup of Tea (3d shadow face), Talk of the wall.

    Typefaces from 2012: Egirlz (dingbats), Art Post (white on black poster lettering), Volutes (copperplate calligraphic script), From me 2 you (curly script), PS I Love You, Kolossal (caps only), Kraash, Alexandre (3d engraved headline face), Monstres de poche (dingbats), Alternate (grunge), Warning, Dreams (brush face), Headline Crack, Bump Pad (textured typeface), Carton (grungy white-on-black stencil face), Maybe maybe Not, Frames n Riboons (sic), Blackboard (sketched face), Logotronik (a 3d techno face), Big Bad Dogs (dingbats), Libre Expression (engraved copperplate typeface), Mecagothix (textured blackletter face), Destroy, Destroy Helpers, Buy More, Things we said (curly face), Lost Saloon (Tuscan), Salon de Coiffure (beveled), Brighton Pier (grunge), Motel Vacancy (grunge), Bates Shower (dripping blood typeface), Venus Furs (texture typeface), Showmen, True Men Tattoos (dingbats), Quicker (sketch font), Romanum Est (grungy Trajan face), Also (scratchy letters), Lazy Day (3d font), Pusher, Hard Dumb, The Idiot, Overflowing (grunge), Fast Foont (sketched), Melange (grunge), Jumbo Parade (circus font), Happy Monsters, Zozox (experimental), Magic Sound (packaging typeface), Arena Mascaras (dingbats), Top View (3d face), Flagadoum, Last King Quest, Rhythm n Blacks (textured face), Troll Sketched, Superpoz (a 3d painted typeface of exceptional beauty), HalloCuties (Halloween font), Gothik Steel (circus font), Silvestre Relief (3d titling face), Just Like That (comic book face), Numero 10 (athletic lettering), Tet de Mor (skulls), Facelook, Xmas Dad, Instant Marker, Ragtimer, Punk Dots (textured face), Onomato Vlam (comic book balloons), 8th Cargo (textured mechanical octagonal face), Zu Kabarett (creepy curly German expressionist face), Unusual Day One, Happy New One (party font), Xmas Doods, Xmas Doods 2, Higher, Usual Day One, Team 401 (athletic lettering), Doonga (comic strip letters), Killer's Move.

    Typefaces from 2013: Them (fat brush), Ghost Code, Tiny Heroes (figurines), Over There (sci-fi), Higher than High, Abandon (sketched face), Broken Hearts, True Stories, A wolf at the door (wood style poster face), Elo Hand, Bots n Droids (dingbats), Toonimals 2 (dingbats), Halftoned Backup (textured face), Novlang (textured poster face), Come With Us, Ptits Pirates (pirate figurines), Board Dudes (skateboard dingbats), Big Bro's Watch (grungy), Doonga Slash (comic book face), Round About, Signz, Lethal League (grungy athletic lettering), Dark Times, Dandy Hat Trick, tardots (textured typeface), Dinoz (dinosaur dingbats), Big Surprise (fat script), Comix Loud, Arlequin, Fanzine Title, Scotch Taped, Phoenix (dingbats), Rock's Death (grunge), Tuamotu (textured), Trees Friends (dingbats), King Arthur Legend (blackletter), Fairy Strange, Flame On, Mystery, Money Go Round (ransom note font), Seven of One, Captain's Talk, Peaches en Regalia (sketch font), Wrong Board (textured or crayon typeface), Subito (comic book face), Extra Sales (signage face), Gimme Danger (grunge stencil), Alphabet City (graffiti font), Raleigh Rock, Rysky Lines, Splash, Good Vibers (comic book figurines), Tequilla Sunrise (3d shadow face), Graphers Blog, Star Waves, Splash, Action Comics, Wild Trails (wood plank typeface), Tiki Club (dingbats), Bad Striped (sketched face), Come With Me (paint drip face), Famous Oldies (textured face), Girly Toons (dingbats), Eshop Advert, Full Pack 2025, Dickson's Tale (a great grungy caps face), Hand Typewriter, Campus Relief (athletic lettering), ZalienZ (dingbats), Manga Style (oriental brush), Journal du Soir (letterpress emulation), Royal Delight (3d sketched face), Gothix Fate, Lettrisme (a letterpress ransom note font), NYC Zone 123 (graffiti face), Tedz (teddy bear dingbats), Merry Xmas, Last Day On Earth (textured typeface).

    Typefaces from 2014: Dite Alla Giovine (flared cursive script), Heavy Gothik (textured blackletter), Comix Bubbles, King of Scotland (textured), Lazy Sketch, Arabica Export (coffee bag texture), Scream Again, Season of the Witch, Soul Festival, Back Ride 342, Cheap-Potatoes, Nine-Feet-Under (grunge), Remingtoned-Type, Search'n-Destroy, Starz-2, Vanished, On The Roof (or: On The Tops), Mad Groove Blast, Another Brick (textured face), Destination Future, Perversionist, Dex's Jobs (Treefrog-style typeface), Ptit Coeur d'Amour, Mickey's School (athletic lettering), One Way or Another (a hand-drawn poster typeface), Californian Cars (license plates), Building State Empire, Back on Lime (shadow face), Next Ups (graffiti face), PatchFun (textured face), Railway to Hells, Shut'em Down, Misunderstanding, Another Brick (textureface), Perversionist (grunge), Destination Future, Linographer, Polish Posterisation, For Girls Only, Half Price 4 You (sketched typeface), Secret Agency (bad ink grunge), Player One (a grungy baseball Script), Raw Notice, Home Mad Popsters, No Silly Walk There, Bad Coma (lovely grunge), Dark Net Warrior (grunge), Cowboy Movie (Western font), Palm Beach (textured typeface), Search n Destroy (textured), Carnaval de mai, Variations (textured), Black Jeans (weathered font), City of Light, Santa's Air Mail (snow-capped letters), Cheap-Potatoes, Nine-Feet-Under, Remingtoned-Type, Search'n-Destroy, Starz-2, Vanished.

    Typefaces from 2015: Snake Jacket, Big Campus (athletic lettering), Penball Wizard, When The Eagles Dare, Urban Brush Zone (graffiti font), Wild West Pixel, World Black Shadow, Next Custom, Irresponsible Direction (grunge), Doodle Gum (textured), Posthuman (textured), Red Zone (glaz krak face), Smasher 312 (graffiti font), Columbine (dripping blood font), Tarentula's Web, Just Like This (retro funk), Eastern Brush (oriental brush typeface), Pulp Headlines (grungy typeface), War is Over (letterpress emulation), Thirties Relief, Flowers Power (sic) (floral caps), Direct du Gauche (inky brush), Jackpot (3d, sketched), Numero 10 Clean (athletic lettering), Lace Dreams (textured), Right Chalk (cahlky crayon font), Lazy Sketch Black, Golden Age (shaded pixel font), Swamp Death (textured), Astounding News, Heavy Metal Rocking, Fifties Movies, Grunge Strokes 01, Cosmik Orchestra, Paysley Sports (sandy athletic lettering), No Safety Zone (grungy stencil), Quicksands (textured), Break It Down (glaz krak font), Naughty Cartoons, Mad Groove Clean (athletic lettering), Outlaw Stars (grungy Western face), Space Comics, Dirty Bowl 86 (athletic lettering), Cheap Potatoes Black (imitating pototo printing?), ExtraBlur (textured), Backside Air, Megalopolis, Curse of the Zombie, After the Goldrush, Avantgardiste 1934, Easy Fashion (textured), Free Thinking's Murder (textured), Phantom Zone (zombie texture), Snake In The Boot, Checkpoint Charlie (grungy stencil), For Girls Only Bold, Playing In The Mood (piano key face), Intergalactik Airlines, Les Mystères de Paris, Season of the Witch Black (blackletter), Resistance Is Futile (a great textured mechanical typeface), On The Tops Lights (matinee signage), Strawberry Fields, Serif of Nottingham, OnomatoBom (cartoon smaks).

    Typefaces from 2016: Dynamix (a shadowed comic book typeface), Black Santa (snowy letters), Astral Delight, Mr. Headlines (titling sans), Sister Spray, Shaka Pow (cartoon font), Jack in the Box, Glitter Campus (athletic lettering), Ghost Crazy (heavy brush), Prezident, Flowers Kingdom (psychedelic), Galaxy Corps (octagonal stencil), Stitchn School, Brown Shoes, Armagedon (dry brush), Smasher 312 (graffiti style), Bad Stories, Master Droid, Heavy Metal Box (grungy letterpress), Outerspace Shoping (sic), Extros Backstage (squarish), Jelly Crazies (jellybean font), Black and White Banners, Ballad of Dwight Frye (grungy), Crazy Sixties, SciFi Movies, Maximum Strength (athletic lettering), Evanescente (sketched typeface), Urban Ghost, Vif Argent (watercolor brush script), Demolition Crack (textured), How to Disappear, Public Market, Pyjama Party, Magician Rings (modular sans), Pale Blue Eyes (brush script), All The Mad men (sketched), Dixociative (white-on-black), White Flame (octagonal typeface), Asian Delight (oriental brush emulation), Candy Shop, Barb Wire Club, Super Weird, My Socks Line.

    Typefaces from 2017: Strange Path (brush font), Heroes Legend, Cache-Tampon, Championship (a great horizontally striped typeface), Silver Age Queens, Strange Tales.

    Dafont link. [Google] [More]  ⦿

    Indra Gunawan
    [FA Studio (or: Fluffy Art Studio)]

    [More]  ⦿

    Inés Atienza

    Designer in Madrid (since 2008) who has worked with Alberto Corazon in Madrid (2004-2005) and Massimo Vignelli in New York (2006-2007). She studied at the Sorbonne (1999), Universidad San Pablo CEU in Madrid (2004), Parsons in New York (2007) and Cooper Union (2011). With Juanjo López, she designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Insigne Type Design Studio (was: Dooley Type)
    [Jeremy Dooley]

    Insigne Type Design Studio (est. 2006) is run by Jeremy Dooley, b. Columbia, SC, 1981, who received a masters in graphic design at Savannah College of Art and Design in 2005. He lived in Atlanta, GA, and is now in Knoxville, TN. From 2004 until 2006, he ran Dooley Type in Greenville, SC. Behance link. Klingspor link. Font squirrel link. Creative Market link. MyFonts interview. His fonts:

    • 44th President (2009, based on Obama's handwriting).
    • Aberlyth (2006). An informal script face.
    • Ainslie (2014), Ainslie Slab (2014), and Ainslie Sans (2014).
    • Antigen (2007) is futuristic.
    • Arendahl (2007) is a connected but irregular handwriting font.
    • Ashemore (2012). Production assistance for Ashemore was provided by Lucas Azevedo and Marcelo Magalhaes. Followed by Ashemore Softened (2012).
    • Avaloc (2006) is an expanded sans.
    • The Aviano superfamily. Aviano Wedge (2012), Aviano Slab (2007), Aviano Serif (2008), 2009 Aviano Didone (2009), Aviano Flare (2010), Aviano Sans (2010), Aviano Future (2011), Aviano Contrast (2012), Aviano Gothic (2013), Aviano Sans Layers (2013). Aviano Titling (2007) is inspired by Trajan. Aviano Silk (2015) is a bilined decorative titling typeface. Aviano Royale followed in 2016.
    • Barcis (2013). An organic sans family.
    • Beastias (2006). An informal script face.
    • Biortec (2004).
    • Biscuit Boodle (2008) is a fun and crazy script from Portland Studios illustrator Justin Gerard. Biscuit Boodle Ornaments (2009, dingbats).
    • Blue Goblet (2005) is a Treefrog-style script developed for the pending illustrated childrens book from Portland Studios, The Blue Goblet. It was codesigned by Cory Godbey of Portland Studios and Jeremy Dooley. In 2011, Cory Godbey added Blue Goblet Christmas Ornaments.
    • Boncaire Titling (2012) was iInspired by the type elements of 17th century map of Curacao made by Dutch cartographer Gerard Van Keulen.
    • Brigette (2007) is an ink-splattered calligraphic script.
    • Cabrito (2013). A typeface for children's books. Followed by Cabrito Inverto (2014) for reversed stroke stress---some of its heavier styles have a Western appearance. In 2014, Cabrito Sans was added to the set. Cabrito Semi followed in 2015, and the playful Cabrito Didone in 2016.
    • Caridade.
    • Carta Marina is a family of medieval map text typefaces and dingbats (2007).
    • Cavole Slab (2011).
    • Celari Titling (2014).
    • Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.
    • Chennai and Chennai Rounded (2007) are playful display sans typefaces. Chennai Slab (2009).
    • Civane (2017). A flared inscriptional typeface family.
    • Coegit (2012). A sans family that offers Compressed, Compact and Condensed subsets.
    • Cohort (2010, elliptical sans).
    • Coupe (2003).
    • Dever (2015) is a 107-style family of rough and weathered letterpress typefaces with industrial octagonal skeletons.
    • Dienstag (2008, 8 styles).
    • Donnerstag (2010, extended slab serif).
    • Dulcian (2017). A bright open sans family.
    • Eigerdals (2010, rounded sans family).
    • Enocenta (2013). A penmanship typeface family done with Cecilia Marina Pezoa.
    • Enzia (2009, an elegant sans family).
    • Fizgiger (2006). An informal script face.
    • Florencia (2007) is a vintage script.
    • Foverdis (2010, a calligraphic family that includes a hairline).
    • Gineso (2016). A set of 48 slightly condensded and squarish headline typefaces. Followed by Gineso Titling (2016).
    • Grayfel (2015). i 42-style sans typeface family characterized by flush horizontal or vertical terminal endings.
    • Grenale (2013). A flashy in-your-face didone family from Thin to Heavy. Grenale #2 (2013) is a curvy sans that is almost a monoline. In 2015, Dooley launched Grenale Slab.
    • Haboro (2016). A 54-font strong didone family with wedge serifs replacing the standard rectangular ones. It has no ball terminals. Followed by Haboro Slab (2016), Haboro Soft (2016), Haboro Serif (2016), Haboro Sans (2016) and Haboro Contrast (2017).
    • Insigne Abstractions (2007) and Insigne Fleurons (2008) are dingbats.
    • Jon Cary (2004, the handwriting of John Kerry).
    • Kairengu (2007) is a comic book family.
    • Kasuga (2008) and Kasuga Brush (2009) are fresh new scripts with oriental undertones.
    • Kidela (2007) is a sassy scrapbook family. Kidela Sketch (2009).
    • Kochi (2015). A 54-font rounded organic sans typeface family.
    • Le Havre (2008) is a gorgeous 8-style geometric art deco sans with tall ascenders. In 2010, the Le Havre Sketch family was added. We also have Le Havre Rough (2014, a bit of letterpress feel thrown in), Le Havre Rounded (2009), Le Havre Titling (2012), Le Havre Layers, Le Havre Hand (2015) and Le Havre Width (2017).
    • Look (2015). In Sans, Script, and Serif subfamilies, this super-collection blends a bit of vernacular signage with weathered letterpress.
    • Lorelei (2007, Insigne) is a bouncy script family.
    • Lourdes (2007) is an informal script.
    • Madeleine (2007) is a basic handwriting face.
    • Madurai (2012). A simple monoline sans superfamily. Madurai Slab (2013) has 54 styles.
    • Mahalia (2008) is a retro script.
    • Majidah and Majidah Potens (2006) are medieval scripts.
    • Marintas (2012).
    • Maris (2015). A curly script.
    • Massif (2008) is an aggressive sans family.
    • Mittwoch (2009, organic serif).
    • Montag (2007) is a casual rounded sans family in six styles.
    • Mr Darcy (2015). A Tuscan all-caps typeface.
    • Mynaruse (2010; +Titling, +Royale) is another roman inscriptional titling family---it is characterized by skinny flared serifs.
    • Nanumunga (2007) is a comic book style face.
    • Natalya (2007) is a connected calligraphic script. Natalya Monoline (2007). Natalya Swashes (2009, calligraphic).
    • Newcomen (2008) is a 4-style roman titling face.
    • Obline (2004, sans).
    • Oita (2014). An octagonal typeface family.
    • Olidia (2008) is calligraphic.
    • Orewelia (2004, grunge face).
    • Pauline Didone (2011, a curly didone family). Pauline (2008) is a monolinear retro script.
    • Plathorn (2014). Inspired by the Wild West, this generous typeface family uses flaring in a thousand ways to recreate the feel of that era.
    • Promethian (2005, futuristic).
    • Quarca (2013). A 36-font sans family with a sturdy rounded square look.
    • Quatie (2013). A curvaceous family: Quatie draws much of its inspiration from the industrial brawn of the railroad and the unique characteristics of Cherokee letterforms, giving it an atypical form not usually found in an industrial slab (accring to Dooley).
    • Questal (2007) is a unicase serif face.
    • Qurillian (2006, legible sans).
    • Ranelte (2016). A condensed sans series with techno or DIN appeal.
    • RendtPhysic (2006).
    • Ript Cure (2005).
    • Sabler Titling (2016). An all caps typeface family with tapered flared strokes.
    • Sancoale (2011, an organic sans family, from Thin to Black). Sancoale Narrow (2011). Sancoale Softened (2012). Sancoale Slab (2012). Sancoale Slab Soft (2013). Sangli">Sangli (2015). A 54-style rounded organic sans typeface family.
    • Savigny (2011). Images: Savigny Black Extened, Savigny Regular Condensed.
    • Serofina (2010, a calligraphic face).
    • Savory Paste (2007). Grunge.
    • Shrike2003 (2003).
    • Sildetas (2010, a high-contrast script typeface with tear drop terminals).
    • Solitas (2015). A rounded 42-style geometric sans family. Followed by Solitas Slab (2015).
    • The sans family Sommet (2008; see also Sommet Rounded (2008), Sommet Slab, 2010, and Sommet Serif (2011, a wedge serif family)) is futuristic. Sommet Slab Rounded (2011).
    • Sovba (2009, upright italic).
    • Steagal (2013). A geometric sans with a 1930s American feel.
    • Steam Court (2015). A combination of steam punk and blackletter.
    • Stefania (2007) has two calligraphic/chancery styles. Its aged version is called Stefania Antique (2008).
    • Stratham (2007) is a medium to black family of legible sans typefaces.
    • Terfens (2007) is an informal and quite rounded sans serif with inspiration from chancery scripts like Stefania.
    • Torcao (2013). An elliptical anthroposophic typeface family.
    • Ultine (2016), an utilitarian sans family.
    • Valfieris (2006). Valfieris Aged (2007) imitates medieval printing.
    • Wreath (2016). A script typeface family.
    • Xalapa (2008) is a grunge family.
    • Yevida and Yevida Potens (2006, scripts).
    • Yorkten (2015): 54-style monoline stans family.
    • Youngblood (2008, +Youngblood Antique, 2010) is non-connected.

    Catalog of their typefaces. View Jeremy Dooley's font library. View Jeremy Dooley's typefaces. [Google] [MyFonts] [More]  ⦿

    Intelligent Design (was: Intelligent Foundry)
    [Kostas Bartsokas]

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016.

    In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    In 2015, he designed the geometric sans typeface family Averta and Averta Standard.

    He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics.

    Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.

    Behance link. The Designers Foundry link. [Google] [MyFonts] [More]  ⦿

    Interrobang Letterpress
    [Michael Babcock]

    Michael Babcock's hot metal type collection. He made Bradley Combo Ornaments (2001) by digitizing samples from the Nov. '74 Kingsley/ATF "Fonted Ornaments and Typographic Accessories" sheet. Free. [Google] [More]  ⦿

    Isaac Ballesté Martorell

    Catalan graphic designer who lives in Olot and/or Montblanch. He created the sans family Alfa (2012), in which he attempts to offer total neutrality by taking common legible features from all famous sans typefaces.

    Black Flag (2013) is a poster typeface motivated by revolutions. Dans (2013) is a letterpress typeface. [Google] [More]  ⦿

    Jack W. Stauffacher

    Hunt Roman is a type designed by Hermann Zapf in the early sixties in collaboration with Jack Stauffacher. Jack wrote a lot about typography, e.g., Janson, a Definitive Collection (The Greenwood Press, 1954), Hunt Roman: the birth of a type, (1965), and Inscriptions at the Old Public Library of San Francisco (2003, edited by Jack). Jack was at Carnegie Tech (now Carnegie Mellon) during the early 1960's. He started the Laboratory Press and taught the creative possibilities of letterpress. He left there about 1964. He now runs the Greenwood Press in San Francisco.

    Robert Harlan describes Jack Stauffacher's involvement in Sumner Stone's "Cycles" font.

    John Berry on Jack Stauffacher and his use of large wooden letters in illustrations. [Google] [More]  ⦿

    Jadugar Design Studio (and: Twodollarshop)
    [Mobaric Minhas]

    Mobaric Minhas is the Auckland, New Zealand-based designer of the old typewriter typeface families AMTW (2016), Typerighter (2016) and Silk Remington Typewriter (2016) and the vintage typeface Steadfast (2016). In 2016, he created the modular sans typeface Production, the display typefaces Whakatani and Whangarei, the techno sans typeface family Glorifie, the grungy letterpress font Handy, the grungy typeface Brushed, the high-contrast display typeface Manukao and the squarish typeface Manurewah.

    Typefaces from 2017: Stone Age, Kabadi (a geometric headline sans), King's Initials, Handwriter (grungy).

    A substore of Jadugar Design Studio is . MyFonts link. Creative Market link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Jakob Erbar

    Born in Düsseldorf in 1878, died in Köln, 1935. A teacher at the Köner Werkschule, he designed Candida (Ludwig&Mayer, 1936, a mediocre modern family), Erbar, Erbar-Fraktur (1936, Ludwig&Mayer), Erbar-Kanzlei (1913, Ludwig & Mayer), Feder-Grotesk (Ludwig&Mayer, 1908, an early sans), Erbar Mediaeval (1914, for Ludwig and Mayer), the extensive and popular sans family Erbar-Grotesk> (1922, Ludwig&Mayer, 1922-1930), Koloss (Ludwig&Mayer, 1923), Lautsprecher (1931, a script typeface at Ludwig&Mayer), Lucina, Lumina, Lux, Phosphor (1922-1930, Ludwig&Mayer, a very famous inline typeface; variations of Erbar for titling and display: see Phosphate by Steve Jackaman, and Letterpress Phosphor (2009, Marcus Sterz)).

    Digitizations. Linotype (London) published two weights of Linotype Erbar, and Mergenthaler Linotype four weights of Erbar Condensed. In 2009, URW published URW Erbar in 8 styles. In 2010, they published URW Erbar Neo Mini. Feder Grotesk was the basis of Olexa Volochay's free web font Federo (2011). Dick Pape's free version is called Initialen Feder Grotesk (2010). The art deco typeface Koloss was digitized by many---check for example Koloss SB (Scangraphic), and Koloss EF (Elsner+Flake). Erbar Mediaeval inspired Nick Curtis's Jacopo Mediaeval NF (2012). Dieter Steffmann published Erbar Initialen.

    Linotype page. Typedia link. FontShop link. Klingspor link.

    Catalog of some of his digitized typefaces. Various digital versions of Candida. [Google] [MyFonts] [More]  ⦿

    Jamie Clarke
    [Jamie Clarke Type]

    [MyFonts] [More]  ⦿

    Jamie Clarke Type
    [Jamie Clarke]

    Jamie Clarke (London, UK, now based in Sydney, Australia) creates illustrative type and lettering. He ran his own digital agency for ten years, and retrained after that period by studying type design at the University of Reading and letterpress at the St. Bride Foundation in London. His commercial typefaces include Brim Narrow (2015). He writes about this engraved layered typeface: Brim is inspired by antique woodtype and chromatic type from the 1800s. Its various styles stack together creating a variety of decorative combinations. Each layer can be assigned its own colour. The horizontal etching in some styles and subtle shadow effects can give the typeface the appearance of a vintage money font. In 2016, he added Brim Combined.

    His commissioned led him to the Kelmscott Bakehouse K (2016), a decorative letter commissioned by Kelmscott Bakehouse and based based on William Morris's ats and crafts style.

    Typefaces from 2017: Rig Shaded (a large 3d shaded typeface family---the best such collection available to date). Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿

    Jared Shofner

    Art director in Anderson, IN, involved in branding and lettering. As Good Craft Supply, he designed the vintage display sans typeface Copper Etched (2016) and the letterpress emulation typeface Historical Press (2016). Creative Market link. [Google] [More]  ⦿

    Jason Wickersty
    [New Blazing Star Press]

    [More]  ⦿

    Jay Hilgert
    [Albatross (or: Font Deals)]

    [MyFonts] [More]  ⦿

    Jeff Jenkins

    Clearwater, FL-based designer of Chuck Wagon (2017), a hand-drawn slab serif font reminiscent of letterpress typefaces and the wild west. [Google] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Dingbats and Alphadings]

    [MyFonts] [More]  ⦿

    Jeff Levine
    [Jeff Levine: Octagonal typefaces]

    [MyFonts] [More]  ⦿

    Jeff Levine: Dingbats and Alphadings
    [Jeff Levine]

    Before 2006, Jeff Levine was mostly known for his free dingbats, having made over one hundred of them. He keeps making them, but now commercially, and less frequently. The list is long though:

    [Google] [MyFonts] [More]  ⦿

    Jeff Levine: Octagonal typefaces
    [Jeff Levine]

    Octagonal typefaces made by Jeff Levine: Air Corps JNL (2014, featuring retro letters and numbers from military aircraft), Arvada JNL (2009), Bike Tag JNL (2013), Borough Hall (2006), Case Lot JNL (2015), Celluloid NL (2010), Chamferwood JNL (2015), Diagon JNL (2007), Directory Board JNL (2010), Eckhardt Poster Display JNL (2011), Government Issue (2006), Hayfork JNL (2011, based on wood type sans typefaces from the 1880s), Industrialist JNL (2014), Inventory JNL (2007), KP Duty (2006), Mailbox Letters Two JNL (2008), Mechanized JNL (2011), Mixed Drinks JNL (2013), Moving Van JNL (2010), Oven Plate JNL (2013: Oven Plate JNL solidifies the outline lettering of Stove Plate JNL; based on the logo for Red Star Oil Stoves and found on an old letterpress cut), Poster Chamfer JNL (2012, a condensed octagonal face), Quirkley JNL (2006), Shopping Basket JNL (2016), Stadium JNL (2011), Staple Remover (2013), Stove Plate JNL (2013), Techno Retro (2015), Transcribed JNL (2015), Wall Sign JNL (2012). [Google] [MyFonts] [More]  ⦿

    Jeff Shay
    [C.C. Stern Type Foundry]

    [More]  ⦿

    Jennifer Farrell

    Together with Richard Kegler (P22 Type Foundry), Jennifer Farrell of Starshaped Press (Chicago, IL) created P22 Blox (2015). They write: In 1944, American Type Founders (ATF) introduced Alpha-Blox, an impressive system of both solid and linear shapes that could be combined to create all manner of typefaces, ornament and pattern in 1- or 2-colors. The design possibilities were endless and limited only to the imagination of the printer/designer. [...] P22 Blox is a set of modular letterpress printing blocks made from space age material... plastic!. [Google] [More]  ⦿

    Jeremy Dooley
    [Insigne Type Design Studio (was: Dooley Type)]

    [MyFonts] [More]  ⦿

    Jeremy Vessey
    [Hustle Supply Co]

    [More]  ⦿

    Jesse Snyder
    [Warehouse Design]

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    Jessica Hische

    Jessica Hische was born in Charleston, SC, in 1984. She is a Brooklyn-based hand-letterer and illustrator, who has worked for clients such as Tiffany&Co., Victoria's Secret, American Express, Target, The New York Times, The Boston Globe, Chronicle Books, Random House, and Penguin Books. Blog. She created various calligraphic and hand-lettered scripts such as Valentine Script (2009), Buttermilk (2009, a calligraphic connected script) and New York Times Buzzwords (2009). Creations in 2010: Snowflake, Snowflake ornaments. Typefaces from 2011: Bryan Who (quaint, antique). Fonts made in 2011: Brioche (a dessert menu script face).

    She also has a site called Daily Drop Cap Cap, in which she adds a free drop cap every day (but this lasted four days only).

    Her drop caps typeface family Minot (2013) and her initals Penguin Drop Caps (2013: a series of twenty-six collectible hardcover editions of fine works of literature, each featuring on its cover a specially commissioned illustrated letter of the alphabet by Jessica in collaboration with Penguin Art Director Paul Buckley) won awards in 2014 at the Communication Arts 4th Typography Competition: 2014.

    In 2014, Jessica Hische created the script typeface Tilda at Font Bureau for Moonrise Kingdom.

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

    Jessica Hoppe

    In house type designer at Elsner&Flake in Hamburg who designed the grungy letterpress emulation typeface EF Carpe Diem (1996) and the hand-drawn dingbat typeface EF Communication Modern (1997).

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

    Jesus Morentin
    [Bunker Type]

    [More]  ⦿

    J.F. Coakley

    J. F. Coakley is Senior Lecturer in the Department of Near Eastern Languages and Civilizations, and on the staff of Houghton Library, at Harvard University. His private press, the Jericho Press, occasionally makes use of Syriac and other exotic types. In 2006, he wrote The Typography of Syriac: a Historical Catalogue of Printing Types, 1537-1958 (Oak Knoll Press, New Castle, DE). Oak Knoll writes: Syriac, a dialect of the ancient Aramaic language, has a remarkable Christian literature spanning a thousand years from the fourth to the thirteenth century, including important versions of the Bible. It remains the liturgical language of several churches in the Middle East, India, and the West, and 'Modern Syriac' is a vernacular still in use today. It is no wonder that this language has a long and rich printing history. The challenge of conveying the beautiful cursive Syriac script, in one or another of its three varieties, was taken up by many well-known type-designers in the letterpress era, from Robert Granjon in the sixteenth century to the Monotype and Linotype corporations in the twentieth, as well as by many lesser-known ones. This study records and abundantly illustrates no fewer than 129 different Syriac types, using archival documents, type-specimens, and the often scattered evidence of the print itself. The Typography of Syriac will be of interest not only to scholars of Middle Eastern languages and scripts but also to all historians of type and printing. [Google] [More]  ⦿

    Jim Moran

    Museum Director of the Hamilton Wood Type Museum in Wisconsin. He runs letterpress workshops, archives the collection and maintains the museum on a daily basis. [Google] [More]  ⦿

    Jim Rimmer

    Jim Rimmer (b. Vancouver, 1934, d. 2010) was one of the great contemporary type designers whose creations had a lot of flair, individuality, and charm. Based in New Westminster (near Vancouver, BC), Jim Rimmer was also an illustrator. Obituary in the Globe and Mail, dated April 27, 2010.

    He designed Albertan (Albertan No.977, Albertan No.978 Bold) and Cloister (2000; a roman type family originally done by Morris Fuller Benton) in the Lanston collection. He also designed typefaces like Juliana Oldstyle (1984), Nephi Mediaeval (1986), Kaatskill (a 1929 typeface by Goudy, revived and optimized for Lanston in type one format; the Kaatskill Italic was done by Rimmer based on Goudy's Deepdene), RTF Isabelle (Roman and Italic; 2006. A pair of delicate serif typefaces based on typefaces by Elizabeth Friedlander) and Fellowship (1986).

    ATypI link. Jim began work as a letterpress compositor in 1950. He entered the field of graphic design in 1963, working as a designer lettering artist and illustrator, and freelanced in this capacity from 1972 to 1999 in the same capacity. In 1960, he began collecting letterpress printing and typefounding equipment, and operated a private press and foundry (Pie Tree Press&Type Foundry). FontShop link.

    His metal typefaces at Pie Tree Press include:

    • Juliana Oldstyle (1981; McGrew says 1984): It represents my first attempt at cutting a metal type. I drew my letters completely freehand, hoping to capture a punchcut look. My artwork was then reduced and made into a dry transfer sheet, which I rubbed onto type-high typemetal blanks. I then cut the letters and electroformed copper matrices.
    • Nephi Mediaeval (1983, for private use; McGrew gives the date 1986): It was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes.
    • Fellowship (1984; McGrew says 1986). Designed and cut by Jim Rimmer, and cast by him for private use: The design is the result of the feeling of joviality and 'fellowship' I experienced at the meeting (American Typecasting Fellowship in Washington, D.C.). The design was not so much drawn as it was written. The letters were written quickly in a calligraphic manner with an edged pencil and then enlarged and inked to make a dry transfer sheet. As in my two previous designs (see Juliana Oldstyle and Nephi Mediaeval), Fellowship was cut not in steel, but in type metal, and then electroplated to make castable matrices.
    • Albertan 16pt, 1985
    • Garamont [not entirely sure that this was done in metal]
    • Cartier Roman 14pt, 2004
    • Cree Syllabic 14pt, 2006
    • Duensing Titling 12, 14, 18, 24, 36, 48&60pt, 2004-07. Duensing in use.
    • Hannibal Oldstyle 18pt, 2003
    • Quill 14pt, 2006
    • Stern 16pt, 2008. This was his last completed typeface.

    In 1970, Jim made his first film type, Totemic. This sturdy text type was revived in 2015 by Canada Type as Totemic, and contains as an extra a et of stackable totems.

    Jim has designed and produced a collection of digital types, and over the past 20 years has designed and cut six metal types. He recently completed a Monotype Large Comp type named Hannibal Oldstyle, is currently cutting 14 point matrices for Cartier Roman, and is making drawings for the cutting of a 14 point Western and Eastern Cree. Samples and discussion of his Cree typeface.

    Jim in action in 2003. According to Gerald Giampa from Lanston, Jim is the most talented type designer alive in 2003. About his typefaces, I quote McGrew: Fellowship was designed and cut by Jim Rimmer in Vancouver in 1986, and cast by him for private use. He says, "The design is the result of the feeling of joviality and 'fellowship' I experienced at the meeting (American Typecasting Fellowship in Washington, D.C.). The design was not so much drawn as it was written. The letters were written quickly in a calligraphic manner with an edged pencil and then enlarged and inked to make a dry transfer sheet. As in my two previous designs (see Juliana Oldstyle and Nephi Mediaeval), Fellowship was cut not in steel, but in type metal, and then electroplated to make castable matrices." Juliana Oldstyle was designed and cut in 1984, as a private type. He says, "It represents my first attempt at cutting a metal type. I drew my letters completely freehand, hoping to capture a punchcut look. My artwork was then reduced and made into a dry transfer sheet, which I rubbed onto type-high typemetal blanks. I then cut the letters and electroformed copper matrices." Nephi Mediaeval was designed and cut in 1986, for private use. He says it "was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes."

    In 2012, Rimmer Type Foundry was acquired by Canada Type. The press release: Canada Type, a font development studio based in Toronto, has acquired the Rimmer Type Foundry (RTF) from P22 Type Foundry, Inc. The RTF library contains the complete body of work of Canadian design icon Jim Rimmer (1934-2010), who was an enormous influence on Canadian type design and private press printing, and the subject of Richard Kegler's documentary, Making Faces: Metal Type in the 21st Century. The RTF library contains many popular font families, such as Albertan, Amethyst, Credo, Dokument and Stern, as well as quite a few analog designs that were never produced in digital. Now that Rimmer's work has been repatriated, it will be remastered and expanded by Canada Type, then re-released to the public, starting in the fall of 2012. Jim's analog work will also be produced digitally and available to the public alongside his remastered and expanded work. Once Jim's designs are re-released, part of their sales will be donated to fund the Canada Type Scholarship, an award given annually to design students in Canada. This will be done in coordination with the Society of Graphic Designers of Canada (GDC), the national professional association that awarded Jim Rimmer with the prestigious GDC Fellowship in 2007.

    Jim Rimmer digitized Elizabeth (+Italic). From 2006 until 2012, the Rimmer Type Foundry collection was offered by P22. It included:

    • RTF Albertan: A great text family developed between 1982 and 2005. In 2013, it as remastered by Canada Type and reissued as Albertan Pro, calling it a first post-Baskerville-post-Joanna typeface.
    • RTF Alexander Quill: An artsy fartsy (in the good sense) and slightly 1920s Czech type family.
    • RTF Amethyst: A tall ascender serif family.
    • RTF Cadmus: A stone slab or Greek simulation face. P22 writes: Rimmer's re-working of a design done by Robert Foster, a hand lettering artist. Foster's type, named Pericles, is a style that he used for a time in lettering magazines and advertising headings. The design is based closely on early inscriptional Greek, but is less formal than the sans types of Foster's time. Cadmus keeps the proportions of Pericles but is overall less quirky than the Foster design. This was further expanded by Canada Type as Cadmus Pro (2016).
    • RTF Cotillion (1999): A tall ascendered Koch inspired sans family. Looks quite like Bernhard Modern.
    • RTF Credo: A six-weight sans family.
    • RTF Dokument: An extensive sans family: Dokument was my attempt to make a Sans Grotesque in the general weight of News Gothic (for the Dokument regular) but took nothing from News Gothic. I used some of the basic forms of my Credo series, but made many on-screen changes and broke away entirely from Credo on the range of weights. My plan was to make a typeface that will fill the requirements of financial document setting; things like annual reports and other such pieces of design. It is my hope that the large family of weights and variants will suit Dokument to this kind of work. This family was created in 2005 and published in 2006. A reworking by Patrick Griffin at Canada Type eventually led to Dokument Pro (2014).
    • RTF Elizabeth: An elegant tall ascender typeface about which Rimmer writes: Elizabeth Roman and its companion Italic were designed as a pair by Elizabeth Friedlander, and cut and cast for decades by the historic Bauer foundry of Germany.
    • RTF Fellowship: A standard script.
    • RTF Lancelot Titling: A roman titling typeface with Koch-like influences.
    • RTF Lapis: A calligraphic serif, inspired by Rudolf Koch.
    • RTF Posh Initials: A formal script.
    • RTF Poster Paint: A fat irregular poster font inspired by Goudy Stout.
    • RTF Zigarre Script: A bouncy brush script with rough outlines.
    • RTF Canadian Syllabics (2007): This font was developed as a metal typeface by Jim Rimmer for a special project and is now available in digital form. Containing over 700 glyphs in OpenType format, this font covers most Canadian Aboriginal Languages. RTF Canadian Syllabics is a more calligraphic version of the syllabary developed by Reverend James Evans for the languages of the native tribes of the Canadian provinces in the early 1800s. Jim Rimmer originally designed the characters for the Eastern and Western dialect Cree to be cut as a metal font. The digital version then grew to include all the characters of the Canadian Syllabics Unicode block.
    • Nephi Mediaeval (2007), a type heavily reflective of the semi roman of Sweynheim and Pannartz (in Jim's words).
    • Stern (2008, RTF) was simultaneously released both digitally and in metal. Named after the late printer Christopher Stern (WA), it is an upright italic intended for poetry. Colin Kahn (P22) has expanded the Pro digital version (originally designed by Jim Rimmer) for a variety of options. The set features Stern Aldine (Small x-height Caps with standard lower case), Regular, Tall Caps (with standard lc)&Small Caps with x-height caps in place of lc). Youtube. David Earls writes: I've heard people say that letterpress gives warmth, but I prefer to think of it as giving humanity. That the types interaction on a page is so dependent on the punch cutter, the caster, the compositor, the printer, the humidity, the papermaker and inkmaker gives it a humanity, not a warmth, and decries the demise of letterpress. In 2013, Canada Type remastered Stern as Stern Pro---this typeface now covers Greek, and is loaded with Opentype features.
    • RTF Loxley (2010): The style of Loxley is based on early Roman typefaces, such as the "Subiaco" type of the late 1400s that was also inspirational to Frederick Goudy for his "Franciscan", "Aries" and "Goudy Thirty" type typefaces. Loxley displays some of Jim's particular left handed calligraphy and is in a similar style to his "Fellowship" and "Alexander Quill" typefaces, both of which were made in metal and digital formats. In 2013, Canada Type published a remastered and expanded version simply called Loxley.

    FontShop link.

    Jim Rimmer passed away early on January 8, 2010. His friend Richard Kegler (P22) wrote this obituary the next day: Jim was a multi-talented type designer, graphic artist, bookbinder, printer, letterer, technician and a most generous teacher. He was never glory-seeking and turned down most speaking engagements offered to him, not out of vanity or indifference, but rather thinking that he was not worthy of being given a spotlight. Jim offered free typecasting instruction to anyone who asked and came to visit him in his studio in New Westminster BC. He took as much time as needed and was generous to a fault. Anyone who took him up on this open invitation can attest to the intense and elegant chaos of his studio and work habits. I was fortunate enough to know Jim but for only a few years. What started as a business arrangement grew into a mutual respect and ongoing correspondence that I can only describe as life changing for me. His kindness and generosity were exceptional and his diplomacy even when given the opportunity to speak ill of anyone else was measured and kind. Jim's dedication to the craft of type design and related arts was beyond most if not all contemporaries. After his "retirement" from his professional life as a graphic artist and illustrator, he tirelessly worked on type designs for book projects where all aspects of his skills were applied. His book "Leaves from the Pie Tree" (I encouraged him to change the title from his original plan to call it "Droppings from the Pie Tree"...a truly self-effacing Jim Rimmerism) is the best single tome that summarizes his life and work. He designed the bookąs typeface in Ikarus (as he had with the 200+ other type design he created), cut the matrices and cast the type, wrote the text using an autobiographical introduction and continued to explain the process he used to cut pantographic matrices for his metal typefaces. The multi colored lino cut illustrations, book design, individual tipped in sheets and attention to press work and binding would be impressive for one specialist to complete on each component. The fact that Jim did all of this himself is awe inspiring. A trade edition of this book has been printed by Gaspereau press but does not hint at the grandeur of the beautiful book that is Pie Tree. Jim's follow up of his edition of Mark Twain's Tom Sawyer (set in his Hannibal Oldstyle font designed for and fitted onto on a monotype composition caster) was recently completed and is equally if not more imposing as a fine press book, but with a sympathetic humor and humanity that would knock the stuffing of any other fine press attempt at the same material. Almost two years ago I visited Jim for a week and filmed footage for a documentary on his cutting of the Stern typeface. For various reasons the finishing of the film has been delayed. I truly regret that Jim could not see the finished version. With the film and his Pie Tree book, Jim generously conveys information on making metal type that has otherwise been largely lost and previously limited to a now defunct protective guild system. It was his wish that the information and craft be kept alive. Jim's last email to me was in classic Jim form hinting at his tireless dedication to his work: details of a new type family for a new book. He was one of the great ones. He will be missed.

    Sumner Stone: Jim's insights into Goudy's typefaces in particular, and his devotion to doing everything in his own shop made me think he was perhaps Fred's reincarnation, but it took me awhile to realize this due to the self-deprecating personality you so accurately describe. His passing is truly a great loss to our craft.

    Rod McDonald: I would like to relate a telephone conversation I had with Jim last month because I believe it shows his incredible spirit, and wonderful sense of humor. My wife and I visited Jim in November and were delighted to hear that his doctors had pronounced him cancer free. He looked good, just a little tired, but that was to be expected after his recent radiation treatment. Of course he was also anxious to get back to work. Less than two weeks later I received an email from him informing me that they had discovered that the cancer had spread to his lungs and, not only was it inoperable, he now only had six months to live. This sudden turn of affairs was devastating for me and I called him, hoping I think, to hear that it wasn't as bad as it sounded. He said it was bad and apparently nothing could be done. However he felt he would outlive the six months and in fact we even talked of getting together in the fall. The conversation then turned to his latest type family and when I gently asked him how long he thought it it would take to complete he simply said "I've got lots of time, after all I'm only going to be dying during the last fifteen minutes". I knew Jim for thirty-five years and will miss him more than his work, and that's saying a great deal.

    In 2012, Canada Type, which had purchased Rimmer's designs started publishing some of Jim's lesser known designs. These include Cotillion Pro (2012, a very graceful typeface with high ascenders), Fellowship (2013, calligraphic), Poster Paint (2012, a take on Goudy Stout), Zigarre Script and Zigarre Rough (2012, brush scripts that were actually drawn with a marker), and Alexander Quill (2012, a calligraphic monastic typeface).

    In 2013, Canada Type remastered several of Rimmer's typefaces, including in particular Isabelle Pro: Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal typeface was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite typefaces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Lancelot Pro (2013) is a calligraphic all caps typeface based on Rimmer's digital original from 1999.

    Pictures: Jim Rimmer casts 48pt ATypI keepsake (by John Hudson), Remembering Jim Rimmer (Facebook group), In his studio, a picture taken by the Globe and Mail. Another pic. Making Faces (trailer) (movie by Richard Kegler).

    Klingspor link. ContentDM collection. Jim Rimmer at the Fine Press Book Association. Rimmer Type Foundry link.

    View all typefaces by Jim Rimmer. An alphabetical listing of Jim Rimmer's typefaces. Catalog of Jim Rimmer's typefaces. [Google] [MyFonts] [More]  ⦿

    Jimba Osamu

    Art director in Tokyo, who designed a letterpress typeface family, Neo (2014), which has several styles for layering, and a beveled style. [Google] [More]  ⦿

    John Bonadies
    [Mpress Interactive]

    [MyFonts] [More]  ⦿

    John Gardner

    UK-based designer of the letterpress emulation typeface McDonalds (2014). [Google] [More]  ⦿

    John Shaver
    [Design Panoply]

    [More]  ⦿

    Jorge dos Reis Tavares

    Jorge (b. 1971) served as a letterpress typography apprentice at a composing and printing workshop in Cais do Sodré in Portugal. Designer of Via Estreita (for the National Railway Museum), Simplissima Beira (for the Covilha newspaper) and Tintinolho (for the Guarda town hall). From 1997 until 2003, he ran Jorge dos Reis Studio. From 1999 until 2003, he was Lecturer at the Faculdade de Belas-Artes Universidade de Lisboa. Since 2003, he is a research student at the Royal College of Art, UK. Bio. [Google] [More]  ⦿

    Joshua Langman
    [Orbis Typographicus]

    [More]  ⦿

    Joshua Lurie-Terrell

    Sacramento-based letterpress printer and typesetter. Obtained a BA in Literature from CSU Sacramento. He works as a graphic designer for the California State Legislature, and runs the successful type blog Typographica with Stephen Coles as well as Hewn and Hammered. He also runs the successful type blog Typographica with three others. Recently, he started Urban Cartography. [Google] [More]  ⦿

    Juan José Lopez
    [Juanjo Lopez (was: Huy Fonts)]

    [MyFonts] [More]  ⦿

    Juanjo Lopez (was: Huy Fonts)
    [Juan José Lopez]

    Huy Fonts is a foundry in Madrid run by Juan José Lopez. In 2016, he designed the great poster typeface Black Pack, which is inspired by the odd bold plastic shops signs from the 60s and 70s. With Ines Atienza, he designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co. Inés Atienza and Juanjo López are members of the Familia PlĂłmez association, a small printshop based in Madrid that devote their efforts to promote everything about letterpress printing, calligraphy, and lettering.

    With Inés Atienza, Juanjo designed the multilayered and/or chromatic circus font family Show (2014). Influenced by chromatic letterpress types, it is based on a type family called Concave, a Victorian type launched in 1884 by the foundry Marder, Luse & Co.

    Lopez made Choriza and Choriza Sans (2013: sausage-inspired type), Adoquin (2013), the informal sketchified family Bodoniez (2011), Chiripa (2011, hand-printed), Hands Up (2011, various hands, including "thumbs up", "a OK", "the finger", and fists), Paquita Pro (2011, informal lettering; this children's book font was remodeled in 2016 as Paquita Next), Ultramarina (2011, a quaint face based on wood type headline examples), and Pichi (2011).

    Earlier, Lopez was a T-shirt designer, who also used the name Juanjo Lopez. Old page of Juanjez Nikis.

    At Dafont, one could download the headline handwriting font Paquita (2006), a predecessor of Paquita Pro.

    Klingspor link. Home page. Behance link.

    View Juanjo Lopez's typefaces. [Google] [MyFonts] [More]  ⦿

    Juha Korhonen

    Juha Korhonen (b. 1966, aka Junkohanhero) is a Finnish artist and type designer, who created these free fonts:

    • In 2006: Tasapainoaisti (grunge), Type-Ra (old typewriter), 60 Sekuntia (grunge), Waving My Arms in the Air (dingbats), Cold Night for Alligators (grunge), Shangri-La (handwriting), Horros, How Can I Organize My Garage?, They're coming to take me away, Hullunkruunu (grunge), Liitu (grunge), Snakepit (dings), In My Head (grunge), FCockroach (grunge), 3-2-1 Jungbats (which includes a Deux Chevaux!), Aamunkoi (handwriting), Not now, I have a headache!, Kulminoituva, Kallot (skeleton dingbats), Ummagumma (handwriting), finitimusiungo, jungodingbats, Junkos Typewriter (almost a ransom note font), notakangaroo (handwriting), Minenookenguru, ympyroity.
    • In 2007: 215000E, 6000km, Gubben-I-L, Hevonen, Horros, IKHIOOGLA2, IKHIOOGLA3, IKHIOOGLAcow, IKHIOOGLAone, IKHIOOGLAwithout, Postinkantaja-Job (ransom note face), They're-coming-to-take-me-away, Typenoksidi, Jungobungo (ransom note), Nollapistet (grunge), VieraskirjanPeto (skull dingbats), Maksukehoitus (white on black), Avain (dingbats of keys), Pink Bazooka, Phorssa (ransom note), Bones (pirate font), 215000EURO (ransom note), DINGDONG (dingbats including a 2CV), CKAS (tape dingbats), JoskusEi (grunge), Puoli-ihminen, Zupagargonizer, ZupagargonizerT, Puoli Ihminen (hand-printed), Polla (a great scratchy ink stain lettering font in the style of Treefrog), Wahroonga, Tienpaalla (traffic signs), Typenoksidi (old typewriter), Pozo, Pozotwo, Pozothree, Pozofour (Kafkaesque). He also made the dingbats Avain, Tajunnan-tuolla-puolen (movie dingbats), Vieraskirjan-Peto, Payday (white on black).
    • In 2008: Melkein Aito Kopio (tool dingbats), Znort3000 (white on black grungy typewriter), Oravanpyörä (white on black outline face), Ellet Niin (ransom note face), Kuusinollakahdeksan (ransom note font), Aikasiirtyma, Jadefedga08, Jadefedgah80, Jadefedgah8002 (all ransom note fonts), Jormadorka (more ransom notes), Maaliskuu (handwriting), PajaRaja, Aikasiirtyma, Bugghet.
    • In 2009: Tarkistatiedot, Bugebol, Harmaa Perkele (grungy outline face), Huomenna (grunge outline), Betelgeuse (hand-printed), Merkurius (more grungy outlines), GhundZiliag, Laboratoriokoira (grunge), PolviHumppilasanoo.
    • In 2010: Tammikuunkolmas, Kosminentaustasateily (old typewriter), SinisenharmaaPerkele, Osasto329suljettu.
    • In 2011: 19000paarmaa, Tunnepinta, Vuosivuodelta (grunge).
    • In 2014: Adieresis, Air-Atlas, Appendix (ransom note font), Bactosaurus, Bad-Pizza-wth-Pepperoni, Bad-Pizza, Bakesaurus, Balochisaurus, Bambiraptor, Beast-Of-Burden, Bilbao (a fat rough brush face), Birds-Requiem-Svart, Birds-Requiem, Bug-Report, Burgerbuzz, Buzz-Aloha, BwheroGreeZero, Cactus-Tequila, Charlie Dont Surf, Chryse-Planitia, Culdesac, Cyberpnuk2, DSIODRER, DSIODRER2, Damsterdam, Downleft (3d typeface), Drop!, Existence, Firebug, GogolSimone&Monroe (textured), GROmagnon, Gromagroo, Handful of Nothing (grunge), Hangen-henki, Hangover, Haudankorva, Helleplus 32, Hetkea Myohemmin, Hiekkalasi, huhtikuu, Human Error, Hyeenan-haukotus, Inertia-Creeps, I Wanna Be Your Dog, Jamaica Aroma (grunge), Jazz Zebra, Jockey Full of Bourbon (white on black letters), Jupiter (children's script), Kaktuspiste, Kalmari (blackletter), Keskiyon-Lumisade, Kothika (grungy blackletter), Krakle!, Kulkeuma, Kuumotus, Lasihiekka, Lean on me, Liima,-paperi,-sakset-2 (ransom note font), Llama-Grazy, Llama-Mad, Louis Cypher, Lumenharmaa, Lumihyeena (ransom note font), Lyhyt-Lauantai (children's script), Me-and-your-mother, Mechanical-Machine (old typewriter), Metalbox, Mustasurma, Muurahaiskarhu (weathered calligraphic script), Nasty MSG, Neptunus, Nirhauma, Nopee Torstai, Noppalukemat, Onion-soup, Paltamo 88300, Persona Non Grata (grungy ransom note font), Pintaväre, Plastika-Elektronika, Pyromaani, Quark Zone, Quiet Evening (old typewriter typeface), Quiet Zoo, Red Rabbit, Rho Cassiopeiae, RGMB 6044 Str, Rottapuisto, Ruoste, Rush-Minute, Rust Never Sleeps, Sadannes, Sensory Cortex, Sensuroitu, Siamese-Twins, Singalonga, Singapore, Sitruunahyeena, Skinny Zebra (shadowed face), Snapz!, Soul-Sister, Stranger-In-You, Takapiru, Takapiru2, Tempo-Minimo-Bass, Terra, Terraario, Terrieri, Territorio, Terrorisoija, Tomorrow-Comes-Today, Torstai-perjantai, Tricky-Christine (all caps Treefrog style inky script), Trolli, Tulihuuma, Tulikuume, Typetype, Typetys, Typistys, Typpea (old typewriter), Union-soap, Wallowxenon, Whisper in the Dark, White Elk, Wripetyter (old typewriter), Wrong-place-right-time, Wrong-time-right-place, Wrong-time-wrong-place, Xmas Year Zero, Yericho-Punx, ZIGZAGZOEL, Zombie Queen (grungy old typewriter).
    • In 2015: 49 Birthdays, A Box For, All Rights Reserved, Almost-like-the-blues, Androidi Pisa, Aurinko, Avojaloin (old typewriter), Boring, Blacklist, Blah-blah-bang, Blank Eye, Burn Out Fade Away, Beyond-These-Things, Can-you-ever-see-a-whole-circle, Children-of-the-revolution, Close-your-eyes, Cut The Crap, Dancing-in-the-dark, Dark-Dream, Dark-was-the-night, Deafening Silence, Destroy-X, Dharma Bum, Dharma Punk, Digi Ziggy, Divisible-Invisible-High, Divisible-Invisible-Low, Drenazmozgow, Dystopia, Eight Days A Week, Endrophenomeua, Ensimmäinen-kevät, Every Little Thing That You Did, Everything is possible, Feeling Babylon (shadowed typeface), Fifteen Feet of Pure White Snow, Forty Six, FourFiveSixSevenEight, GalvanizeBurn, Garbage Guerilla, Glingzerminator, Good-And-Evil-Day, Good-And-Evil-Night, Green-Dream, Have-nothing-to-do-with, Hidden Zebra, Holy Cow, Humectez-La-Mouture, Hyvä voittaa pahan, Hugo Z, Ice-cream-for-crow, Ihana-Perkele-Alaston, Ihana-Perkele, I Love You, Instant Karma, Instant-Nirvana, Is That Clear, Is-there-anybody-out-there?, January Threed, Justaword, Kasuaari-kirjastossa, Keveat Sandaalit, Killing Me Softly, Kasuaari-kirjastossa, Kirjainkone (old typewriter), Kirkuvanpunainen kirsikk, Kiss Me My Darling Kiss Me (grunge), Last-living-souls-Dark, Last-living-souls-Dirty, Last-living-souls-Shadow, Last-living-souls, Lauantaiaamu-7:25, Lazy Opossum, Life is so wonderful, Lilith X, Lost in Moments, Lovely Weekend, Lower Atmosphere, Lumi-nauroit, Manamansalo (shaded hand-crafted font), Mandelio di Paedre (textured), Metamorphose Requiem (blackletter), Moa, Molienda de Paedra (textured), Moons of Jupiter, Nicotine Love, Nie Zabawne Komik, Nirepnirun-atsum, Nirepnirun-oivuk, Nirepnirun-oknalb, Nollanaama, Onnenmyyra (halftone emulation), Open-your-eyes, Oranssi Hohde (textured), Paljain Jaloin (grunge), Pikku-Julmuri, Pink-T-shirt, Puolelta Toiselle, QWERTYpe (old typewriter), Quicksand-x, Radar Echoes Unclear Atmosphere, Raparperitaivas, Read between the lines, Redhair, Refuse-to-bow-down, Regurgance, Requiem-for-A (blackletter), Rhinoceros (a pretty Treefrog script), Rip-off, Road-to-nowhere, Ronttifontti, Rye Field, Safe-from-harm, Screaming Red, Sekunda, Seven Deadly Sins, Shadow Catcher, Six Feet Under, Slave-only-dreams-to-be-king, Some-Distant-Memory-Dark, Some-Distant-Memory, Something-in-the-air, Something in the Way, Sonic Barrier, Sound of Silence, Syntax Error, Syyskuu-repaleinen, TakeYourClothesOffWhenYouDance, Tango Psychedelia (old typewriter), Tell Us Pangaia, The-Beginning-Of-Memory, Thirteenth Floor 2, This-side-up, Time Goes So Slowly, Toinen Tammikuu, Too-drunk-to-fuck, Uglygoodbad, Uglygoodbaddark, Under the Influence (grungy texture), Unfinished-Sympathy, Universal Mind, Universedge, Universum Invenire, Velvet Queen, Viimeinen-syksy, Villasukat, Walk-with-me-now (letterpress emulation), Waste-of-time, Waveternity, White Elephant, White-funky-rabbit, White-light,-black-line, White Submarine, Windy Indigo, World Without End, Xsdeterminatoer (sic).
    • Typefaces from 2015 published in 2016: Dark Monday (ransom note font), Jinzingoer, No More Lies, Cubebroken, Cult-of-the-toucan, Doublpeopl, InvisiblerrorEdge, InvisiblerrorFast, Invisiblerror, Jugglingoose, On-the-horizon, Raccoon, Strawolverine, Wantedo, Edge, Black is not a color, Apocalypse, Disturbo, Black Owl, Spirit Ritual, Woodcut, Animals are like people, Tox Typewriter, I Believe In Life Before Death, Crab, Dieproud, In the deep dark woods, Chic Chak Zubra (Treefrog style), Non Watercolor, April-Fools'-Day-Crazy-vrs, April-Fools'-Day-Silly-vrs, April-Fools'-Day, As-long-as-I-can-hold-my-breath, Floating-tin-can, Head-like-a-hole, Here-Just-Now-Black, Here-Just-Now-Out, Here-Just-Now, Scratch-X-Black, Scratch-X, Shoemaker, Skriik!-Electro-mechanical-mach, Thin-king, Blinded-by-desire, Brake-a-leg, Deja Vu Dive, Greater-than-the-sum-of-its-par, Hell-is-round-the-corner, I-love-the-smell-of-rain, Kopio-639, March-of-the-pigs, Methods-of-escape, Overdose, People-per-square-kilometer, Right-where-it-belongs, The-universe-in-a-nutshell, This-is-nu-jazz, Torture, Trashbox (white on black), Walk-this-way, What-is-this--some-kind-of-joke (white on black), Why-do-we-blink-so-frequently (old typewriter), 2016-Bugs, 3-Times-Recycled-Old-Newspaper, 3TimesRecycledOldNewspaper, Always-Been-Right, Amateur-Dirty, Amateur-Naked, Amateur-Slash, Another-name-for, Brief-Moment-Between, Bubu-Ghost, By-the-way, Contrite-in-spirit, Crash-test-dummy, Dead-end, Dimension-Zero, Dirty-Old-Town, Dreamer-Eternal, Dreamer, Endless-heartache, Feel-the-universe, Found-my-way-out, Grapevine, Grasshopper-Z, GrasshopperZ, Hehku, Here-we-are-now,-entertain-us, Hidden-meanings-Italic, I've-seen-that-face-before, I-Did-It-My-Way, I-tell-you-all-my-secrets, IDidItMyWay, Is-there-time-in-outer-space?, Jokioinen, Kube-Vertiko, KubeVertiko, Lazarus-Oz-Kolsvart, Lazarus-Oz-Moerkt, Lazarus-Oz-Syndfri, Lazarus-Oz, Libertango, More-news-from-nowhere (white-on-black), Now-your-conscience-is-clear, Paradox-Mosaic, Paranoid Orange, Pelkistettya todellisuutta (old typewriter), Piparivahtiperhonen-Itio, Piparivahtiperhonen, Planet-Garbage, Secretly-wishing-for-rain, Send-me-a-postcard, Sun-zoom-spark, Through-the-night (old typewriter), Trash!-More-trash!, Trash-Zydego, Tremolo-Flaw, with-righteous-indignation,-aga, with-righteous-indignation, Dark-Underground, Feelings-On-Off, From-here-to-eternity-too, From-here-to-eternity, Fuga-de-cerebros, Gsubadaslowly, Hell-Finland, Hello-Finland, It-started-here,-again, It-started-here, Lost-in-the-supermarket, Muspi-Merol-Krad, Muspi-Merol-Mirg, Muspi-Merol-Thgil, Razterhunch-Burn (textured typeface), Razterhunch-Shadow, Razterhunch, Sister-Morphine, Syntinen-ihminen-on-kaunis-ihmi, Tropic-of-Cancer, Velvet-Dream, Viiden-pennin-operetti, Auribus-tenere-lupum, Big-Bubu, Completely-Nonsense, Corner-Dark-Distance, Corner-Dark-Just-X, Corner-Dark (white on black font), How-do-you-sleep?, How-low-is-low?, Karmakooma, Long-distance-call, On-aika-soittaa-sinfonia, Pink-Bunny-2, Pink-Bunny, Pink-Chaos, Right-to-remain-silent, Rough-Simple.

      Typefaces from 2017: Punktype, Dog Foz Zebra, Mondmonkey, Quiet Horror Story, Strawobbly, Better Get Ready, Flea Market Finds, Background Noise, Rhythm Vino, Echoes, Music For Empty Apartments, Synonym Blank.

    Dafont link. Old URL. Additional URL. Font Squirrel link. Fontsy link. Abstract Fonts link. [Google] [More]  ⦿

    Justin Knopp
    [Typoretum]

    [More]  ⦿

    Justyna Sokolowska

    Polish graphic and type designer who started her own typefoundry in 2014. Typefaces:

    • The squarish typeface Erazm (2014), which is inspired by Polish books from the 1930s.
    • Arbuz (2014) is a grungy typeface that emulates letterpress.
    • Avocado (2015) is a brush script.
    • Banana ans Sun. A handwriting font.
    • Woodout (2016). A wooden block font.

    Creative Market link. [Google] [MyFonts] [More]  ⦿

    K22 Foundry
    [Niall Kitching]

    Teesside, UK-based graphic designer. Creator of Poster Slab (2011), Stussy Script (2013, hand-printed), Alycidon (2013, condensed wood face), Tulyar, Tulyar Eroded, Meld Bold Extended, Crepello.

    Typefaces from 2014, all inspired by wood type: Ballymoss, Green Howard, Blackwatch, Saint Paddy, Nimbus Condensed, Pinza Bold Condensed, Deltic Catchwords, Koyli Compressed (letterpress emulation). Tulyar (2015) is a Tuscan eroded woodbloack typeface.

    Typefaces from 2017: Duga Stencil (a Latin / Cyrillic military stencl based on lettering seen in the Chernobyl Exclusion Zone).

    Dafont link. Old URL Creative Market link. Aka Kitch 22. [Google] [More]  ⦿

    Kadu Supanik

    Kadu Supanik (Joinville, Brazil) created the free hand-printed script typeface Rose (2013). In 2014, he created the free social media icons font family Sozialize, the warm commercial sans typeface family Elisabeth and the ornamental caps typeface Windflower.

    Typefaces from 2015: Vintage Break (letterpress emulation).

    Behance link. Creative Market link. Gumroad link. [Google] [More]  ⦿

    Karlgeorg Hoefer

    German scribe, type designer and unbelievable calligrapher, b. 1914 in Schlesisch-Drehnow, d. 2000 in Offenbach. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg and later at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main. From 1939 until 1945 he was in active military service and became a prisoner of the Russians. After that ordeal, he became a calligraphy teacher at the Werkkunstschule in Offenbach, and developed a universal pen with novel writing and drawing techniques for the company Brause. It is at that point that Hoefer started designing types as well. From 1970 to 1979, Hoefer was a lecturer and later professor at the HfG (School of Design) in Offenbach. From 1981 to 1988, Hoefer ran summer calligraphy workshops in the USA (Los Angeles, San Francisco, Boston, New York, Washington, and other cities). In 1982, Karlgeorg Hoefer founded a calligraphy workshop in Offenbach for everyone, with evening courses and summer school, and in 1987, the registered association "Calligraphy Workshop Klingspor, Offenbach, Supporters of International Calligraphy." From 1987 to 1995, he was the chairman of the association while teaching continuing courses and summer school classes with leading foreign calligraphers. Hoefer has written two books about calligraphy: "Das alles mit einer Feder" (Brause, 1953) and "Kalligraphie, gestaltete Handschrift" (Econ, 1986). Numerous articles about Hoefer's work have appeared in calligraphy journals in Holland, France, the USA, and Japan. In 1989, the book "Schriftkunst/Letterart Karlgeorg Hoefer" was published as part of Calligraphy-Editions Herbert Maring (Die Kalligraphie Edition, Hardheim, Germany, 1989). For his activities as a calligrapher, Hoefer received the Order of Merit of the Federal Republic of Germany in 1993. His typefaces:

    • At Klingspor: Salto (1952), Saltino (1953), Saltarello (1954), Monsun (1954). Salto is a famous and often-copied brush script.
    • At D. Stempel: Prima (1957), Zebra (1963-1965, D. Stempel, a script that plays on the simulation of grey and the use of two colors; revived by Colin Kahn in 2007 as P22 Zebra).
    • At Ludwig&Mayer: Permanent (1962-1969, a large Grotesk family developed over many years---this was revived by Daylight in 2010 as Permanent Massiv; URW sells Permanent Headline URW D without even a word about the original designer; Softmaker has Plakette Serial and P700 sans; Castcraft has OPTI Permanent and OPTI Pinacle; Marcus Sterz published Letterpress Headline in 2009), Stereo (1963, an outline poster headline script developed between 1957 and 1968; digitally revived in 1993 as Stereo (Tobias Frere-Jones, Font Bureau)), Elegance (1964, a handwriting script, which was the basis for Sincerely (2005, Canada Type)), Big Band (1974, a fat poster script revived in 2007 by Nick Curtis as Baby Cakes NF (2007)), Big Band Terrazzo (1974, a glaz krak face), Headline (1964, a poster typeface that emanated fom Permanent).
    • Programm-Grotesk (1970): Hoefer's first digital typeface, commissioned by JT Hellas for the Greek telephone books It was first used in the digital machine Digiset of Dr. Ing. Hell in Kiel.
    • From 1978 until 1980, Karlgeorg got involved in the development of a German license plate font that could withstand forgery by black marker pens. The typeface, FE Mittelschrift/Engschrift, had also input from other sources.
    • Lateinischen Ausgangsschrift (1974): a school script for the Linotype phototypesetter. This led later to VA Schrift (Berthold and Linotype).
    • At Linotype: Omnia (1990, a unicase typeface with a Celtic uncial feel), San Marco (1990, round gothic / Rundgotisch), Notre Dame (1991-1993, a full blackletter face), Dominatrix (1994), Sho (1992, Asian brush script), Beneta (1992, a French bastarda inspired by the Littera beneventana, the script of the Benedictine scribes from the 10th to the 12th century).

    Linotype page. FontShop link. Klingspor link.

    View Karlgeorg Hoefer's typefaces. [Google] [MyFonts] [More]  ⦿

    Kathryn Podorsky

    Calligrapher and letterpress artist Kathryn Podorsky runs Della Carta Studio near Baton Rouge, LA. In 2016, she designed the calligraphic typeface Vena Amoris (Delve Fonts), which is based on a letter written by her great-great-grandfather in response to a request to marry his daughter. Vena Amoris would be a great wedding invitation font. [Google] [More]  ⦿

    Kay Louise Amert

    Professor in the School of Journalism and Mass Communication and Director of the Typography Laboratory at the University of Iowa, b, 1947, d. Iowa City, 2008. At ATypI 2003 in Vancouver, she spoke about this fascinating topic: "Both experts on letterforms, Geofroy Tory and Simon de Colines often worked together in the 1520s and 30s, skillfully developing the French Renaissance style. As a punchcutter and printer, Colines worked behind the scenes at the university in Paris, while Tory left the university to write Champ Fleury, a treatise on letterforms, and later assumed the role of King.s printer. This presentation examines the many points of connection between the two men and explores the typographical interplay achieved by their collaboration." She was the first mentor of John Downer, and John's obituary mentions this: Our times in Iowa City were fabulous, as well. We enjoyed visits paid by our mutual friends John Dreyfus, Sebastian Carter, Robert Bringhurst, and other notable writers and typographers whom Kay was able to invite on behalf of the UI. Last year, Kay accepted Professor Emeritus distinction. As a scholar of type and printing, Kay spent summers in research libraries and rare book collections. Her primary interest was The Golden Age of French Printing, and Paris was like a second home to Kay. Her particular focus within that one aspect of 16th-century French typography was on the work of Simon de Colines. She was widely regarded as the world's foremost authority on Colines. Her contributions to our collective knowledge of his work are substantial. The articles she wrote and the papers she presented were but a small taste of what she had in store. Her book on Colines was in progress when she died. [Google] [More]  ⦿

    Kelly Paris

    Cheltenham, UK-based creator of the display caps typeface Letterpress (2013). [Google] [More]  ⦿

    Kimberly Geswein

    Born in Missouri in 1979, Kimberly moved first to Texas and later (in 2007) to China, and most recently, to Orlando, FL. She made some free fonts (often handwriting styles), and also ran a personal handwriting font service [those fonts have names that start with KGD]. MyFonts link. FontSquirrel link. Home page. Fontspace link. Dafont link. Fontsy link. Abstract Fonts link. Fontspring link. Klingspor link. Google Web Font Directory link. Creative Market link. Family home page. Her fonts, by year:

    Kostas Bartsokas
    [Intelligent Design (was: Intelligent Foundry)]

    [MyFonts] [More]  ⦿

    Layerform Magazine
    [Eddy Biel]

    Designer Eddy Biel (Stourbridge, UK and before that, Birmingham, UK) created the hand-drawn poster typeface Madeline, the hand-drawn Breezy and the display typeface Pointbreak Sans in 2014. In 2016, he designed the brush script typefaces Honey Bun, Coast 2 Coast, La Brava, Buffalo, Tamaluna (crayon style), Meet Manny and Mcallister Script, and the letterpress typeface Range Sans.

    Typefaces fro 2017: Slowbird (brush script). Creative Market link. [Google] [More]  ⦿

    Lazar Dimitrijevic
    [Posterizer KG]

    [MyFonts] [More]  ⦿

    Lazydogs: Bitte Setzen

    Author of Bitte setzen! The Typefaces Of The Letterpress Printshop Fliegenkopf (2013). The blurb: The Fliegenprobe---probably one of the last letterpress specimens---was released in a limited edition, consisting of two volumes and an accompanying box with large format prints. The project was started under the appeal »bitte setzen!« in summer 2008 bMunich Designschool in collaboration with the letterpress printshop Fliegenkopf. The ambitious goal was to create a specimen of the approximately 170 different typefaces of the workshop. [Google] [More]  ⦿

    Leo Supply Co
    [Leonard Posavec]

    Cakovec, Croatia-based designer (b. 1995) of preponderantly grunge typefaces. In 2013, he created Campus A (athletic lettering), Zebraliner, The Alistaren, Goteros, Collegerion (athletic lettering face), Prestinia Pro (grungy serif face), Fast Ostrich, Funny Trip, Boro, Electric (grungy face), On The Left, Power Balloon, Heavy Bomb (grungy), Kid From Hell, Army Stamp (rough army stencil), Jump Party, Comic Type, Commy, Faster, Fati, Funny me, Hypnotize, Half Half, My Day, Totally Outline, First Day, Funny Kid, Waterline, Piranha, Fish (grunge face), Modern Sketch, Beboline (dymo label grunge), Metalic (sic), Moter (grungy outline face), Privjet, ShadowM (shadowed typeface), Old Movie, Strong Boy, Russian Line, Long Leg, Cool Day, Jungle Tree, Funny Teca, End of Era, DeLeo, Buble Muble, Morris, Funky Monkey, Leonards (a scratchy typeface), Dead John (grunge), Square Baby (grunge), Handwriter, Outline Storm, Mejiko (grungy Western font), Bird Fly, Died, Close To (grungy dymo label font).

    Typefaces from 2014: Dabre, Handeer, Bad Land, Thron, 806 Typography (wood style didone), Rypote.

    Typefaces from 2015: Debeli Bridge (faded, grungy and gorgeous), Rustal, Madalen, Stiquez, Vallyns (grungy, stamped typeface), Falsthan (brush face), Areson, Summeron (brush script), Surpal Lovely (Victorian kitsch), Summer 2, Megeon (+Grunge), Dabre Grunge (textured caps).

    Typefaces from 2016: Taramda, Endless Script, Riot Ton, Dabre (grungy stamped style), La Tequila (Western font), Originals (painted letters), Originals is out, Avenue Drift, Amoky (sketched), Bastielle Script, Ipsum Script, Baroquey Script, Pomah Type (brush script), Vrown Fox (dry brush), Time Machino (dry brush), The Gohe Go, My Boquet Script, The Sellen, Baley Sun, Brushed Traveler, Salone Strand, Aple Time (brush), Bert Loch (brush), Brushed Car, Last and Chaos (brush), Thin Zeus (brush), Top Light (fat brush typeface), Summer Soul Script, Summter (connected script), Summdraw, Planine Script, Samtak Script, Astel Script, Rostek Old, Megiline, Sally Script, Rolley, Naila Script, Amoky (textured letterpress emulation typeface family), Reeld (dry brush typeface), Stamped Navy (textured).

    Typefaces from 2017: Gullias (signage script), California or California Jackpot (brush font), Rhinos Rocks (brushy), Quick Toy (inky brush script), Italiano (dry brush), Gode (thick brush), Ananas Lips, Kiwano Apple, Cup of Sea, Fly N Walk, Sign 45 (vintage grungy poster style), Jaoy, Gas Rock, Acids.

    Fontspace link. Creative Market link. Old URL. Another Creative Market link. Dafont link. [Google] [More]  ⦿

    Leonard Posavec
    [Leo Supply Co]

    [More]  ⦿

    Leonardo Buggy
    [Tipos do aCaso]

    [MyFonts] [More]  ⦿

    Letterpress
    [Eyal Holtzman]

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

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

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

    Page at Myfonts. [Google] [MyFonts] [More]  ⦿

    Letterpress Daily
    [David Wolske]

    Beautiful letterpress type showcase site by David Wolske, who has taught design, typography, and letterpress printing at Indiana University, Herron School of Art and Design, Columbia College Chicago's Center for Book and Paper Arts, Hamilton Wood Type and Printing Museum, and The University of Utah. [Google] [More]  ⦿

    Letterpressfonts

    The name Letter Press (or: Letterpressfonts) makes it sound like this company is steeped in typographic tradition, and completely legit. Most of their 3000 or so fonts are sold for 9.90 US dollars. Most classic fonts are renamed: Mystral became Mystic, and so forth. Now, this Mystic renaming was also done by Jason Hogrefe's Summitsoft Corp, which operated out of Omaha, NE. Maybe this parasitic company is run by the same person. Maybe not. [Google] [More]  ⦿

    Linnea Lundquist

    Noted calligrapher, who also designs type. Stigmata won the Silver prize in the Morisawa Type Design Competition in 1999. It is her fantastic interpretation of European Gothic Cursive writing from the Middle Ages and early Renaissance. Linnea is responsible for the roman transitional family Aitken commissioned in 2002 for Arion Press. Arion Press writes: Hoyem has taken advantage of twenty-first century technologies in order to revive what is believed to be the first type family cut and cast in America. In 1796 two Scotsmen named Binney and Ronaldson started a type foundry in Philadelphia, the first in the country to endure. By 1800 they had produced a remarkably beautiful and utilitarian type, identified simply as Roman No. 1. It is a Transitional face, between Old Style (as in Caslon) and Modern (as in Bodoni). The type was used by Jane Aitken, daughter of Robert Aitken, the famous printer of the American Revolution, and an accomplished printer herself, for the printing of the first American translation of the Bible, by Charles Thomson, in 1808. It was reintroduced by American Type Founders Company in 1892 under the name Oxford and was used by a succession of fine printers, such as Daniel Berkeley Updike, Bruce Rogers, and the Grabhorn Press. Arion Press has 1,200 pounds of the original type that once belonged to the Grabhorn Press. Oxford was cast for hand composition only and was not adapted for Linotype or Monotype composition. The matrices are now in the collection of the Smithsonian Institution and unavailable for further casting. In 2002, Hoyem worked with type designer Linnea Lundquist, assisted by Andrew Crewdson, to create a digital version of this historic face, which he renamed Aitken. The Memoirs of Benjamin Franklin is its first use for book printing. The Aitken design has been optimized for letterpress printing, allowing for the spread of ink biting into paper just like with the original metal type design cut by Binney&Ronaldson. For this book, the type has been printed from photopolymer plates. In 2008, she joied Mark van Bronkhorst at Sweet Fonts and designed Sweet Upright Script with him. [Google] [MyFonts] [More]  ⦿

    L.L. Daddy

    Designer who used FontStruct in 2009 to create Noon (condensed pixel face), Parallea (similar), Mazey, Letterpress (3d face), i-Ching (horizontal stripes), Broaden, Dot Screen, Mazey, Shadowman (3d shadow face) and One Stroke (octagonal paperclip face). In 2010, he added the stitching font Stitchery. [Google] [More]  ⦿

    Lost Volt Typefoundry
    [Ryan Prasetya]

    Ryan Prasetya (Republik Digital and Lost Volt Typefoundry, Tangerang, Indonesia) created the spurred Victorian signage typefaces Arsemith (2015) and Stonebangs (2014), the tattoo typeface family Maroline (2015), and the art deco typeface Herline (2014).

    In 2015, he created Beautiful Friday (a calligraphic script and about 20 related hand-crafted typefaces), Mutiara Vintage (letterpress emulation), the connected Vanessa, the connected script The Flanela, Mutiara (brush script), Nadhin Script (cursive), Nadhin Sans, Lussira Brushscript, Castrina Typescript and Syaquilla, as well as the spurred Victorian typeface Evolution.

    Typefaces from 2016: Agistha (logotype and script), Novitha Script, Kali Angke (layering typeface), Shella Hera (sans and script).

    Typefaces from 2017: Agista Script, The Braggest.

    Behance link. Graphicriver link. Creative Market link. Dafont lnk. Graphicriver link. [Google] [More]  ⦿

    Magdalena Boffito

    Magdalena Boffito studied at the Graphic Arts Department at the Warsaw Academy of Fine Arts, class of 2003. In 2006 she studied at the Turin Academy of Fine Arts.

    At You Work For Them, Magdalena Boffito published the sans typeface Aquilone (2015), and the hand-crafted typefaces Favo (2014: grungy), Fungo (2014), Fungo Extras (2015), Grano (2014) and Nevica (2014, Christmas season dingbats). Other typefaces include De Bouffet (2015, hand-crafted).

    Creative Market link. Additional link. [Google] [More]  ⦿

    Make Reasy

    Make Ready is a journal featuring news and observations on letterpress, book arts, typography, design, and other delectables - slightly caramelized, with a healthy dollop of ephemera. [Google] [More]  ⦿

    M&H Type (or: Mackenzie&Harris)

    Metal type foundry (est. 1915) located at 1802 Hays Street, San Francisco, CA 94129. Some of its types are listed here. From their site: The venerable firm of Mackenzie&Harris, established in 1915, is the oldest and largest type foundry for letterpress printers in the United States. Also known as M&H Type, it offers for sale an extensive selection of fonts of type for hand composition and keeps current with printing technology by providing digital typography as well as traditional lead typecasting and Monotype composition. M&H Type is associated with Arion Press, fine printers and publishers of deluxe limited-edition books, and the Grabhorn Institute, which sponsors educational and apprenticeship opportunities. All share the premises of a handsome1928 industrial building in the Presidio national park of San Francisco. Types available from them. [Google] [More]  ⦿

    Marc Janet Martinsz

    Marc Janet's (mostly free) fonts include a number of pixel typefaces in FON format, and a grungy typeface called Orwell (2008). In 2012, he published the grungy typefaces aRape Softular and aRape Angular, and the mechanical typeface MSU1.

    Metropolische (2012) is a font inspired by the French poster for Fritz Lang's Metropolis.

    Zentropa (2012) is based on the typography of Lars von Trier's film Europa.

    Mondo Cane (2012) is a sans typeface inspired by Mondo Cane (A Dog's World, 1962), a documentary written and directed by Italian filmmakers Paolo Cavara, Franco Prosperi and Gualtiero Jacopetti.

    Big Brother (2013, letterpress style) is inspired by the Big Brother poster typography from Michael Anderson's adaptation of George Orwell's "1984".

    Dafont link.

    Born in 1991, Marc Janet lives in Santiago, Chile. [Google] [More]  ⦿

    Marcus Sterz
    [Face Type]

    [MyFonts] [More]  ⦿

    Marie Wagner
    [Vintage Foundry Illustrator]

    [More]  ⦿

    Markus Schröppel

    German designer, b. 1965. Currently, he teaches typography at the University of Lapland in Rovaniemi, Finland, but maintains a home in Wuppertal, Germany. His typefaces:

    • The dingbat typefaces LL Sami Signs (2016) and LL Hullu Poro (2016).
    • LL Mystic (2016). A pixel or embroidery typeface.
    • LL DCL (2016). A dot matrix typeface.
    • LL Disco (2016).
    • LL Colon (2016).
    • LL Mountain (2015). Mountain scene dingbats.
    • LL Calligraphy (2014).
    • LL Paladin (2014). Medieval calligraphic typeface.
    • LL Liberte (2013). a rough stencil typeface based on railway stencils seen in Arles, France.
    • LL Lisa (2013). A Cyrillic sans.
    • LL Faces (2013).
    • LL Rounded (2012).
    • LL Charlotte
    • LLChina (2009): a grunge stencil face.
    • LLTippa (2009): old typewriter.
    • LL Pochoir (2007, grunge).
    • The dingbats font LL Hulu Poro (verrucktes Renntier) presented at FUSE95.
    • LL Faktotum (1995, grunge). Download here.
    • LL Humboldt (2012). A grungy signposting or poster face.
    • LL Record (2002-2006): music dingbats.
    • LL Medien (2004): extra-wide rounded techno face.
    • Free typefaces: LL Nitro (2002, grunge), LL Futur (2013), LL Pearl (2013), LL Pixel, LL Pikseli (2009, dotted face, done with Rovaniemen Yliopisto), LL Rubber Grotesque (grunge, letterpress simulation, and/or rubber stamp font originally done in 1997), LL Regular (grunge), LL Cooper (2009, sketched typeface based on Cooper Black) and LL Alarm (roughened stencil face). LL Rubber Grotesque has been used in the Harry Potter films since 2005: see here.
    • The typefaces for the interior of Smart cars (Smart Roadster) and the exterior of the Smart 4-4 and 4-2 (see here).
    • LL Textur (2014, a calligraphically constructed Textura face).
    • LL Xmas (2012, stitching font) and LL Dot (2012, dot matrix face).
    In October 2007, he organized a Type Workshop in Rovaniemi. At that workshop, his students made a number of typefaces: Väinö Klemola, Siru Lämsä, Mika Junna, Merja Lahti, Lena Raeuchle, Kalle-Pekka Alare, Jussi-Pekka Koivisto, Heidi Ettanen, Hanna Piekkola, Hanna Kauppinen, Esa-Pekka Niemi, Elisa Niemelä, Elina Virtanen, Emile Uggla, Antti Huhtala. This was followed by similar workshops in 2008 and 2009. Type glossary.

    http://www.dafont.com/markus-schroppel.d1142">Dafont link. Old download link. Abstract Fonts link. Klingspor link. [Google] [More]  ⦿

    Martha Carothers

    Martha Carothers is Professor of Art at the University of Delaware where she teaches book arts, foundation design, and visual communications. Carothers’ book arts often highlight text about books, reading, and typography. Her books are letterpress produced, hand-bound, and computer generated under The Post Press. Carothers' graduate graphic design research at Penn State University focused on pop-up and moveable books. She continues to research conceptual design and illustration in children's books. Carothers was a 2011-2012 Fulbright Scholar affiliated with the City University of Hong Kong.

    Speaker at ATypI 2012 Hong Kong: An Alphabet of 26 Symbols. This talk describes the history and discusses the advantages of unicase fonts. In particular, she contrasts ideasof Bradbury Thompson and Beatrice Warde:

    • In 1945, Bradbury Thompson, graphic designer and art director, introduced his typographic experiment Monalphabet in the publication Westvaco Inspirations for Printers 152. This experiment suggested the exclusive use of lower-case characters for the 26 letters of the alphabet. To perform the function of capital letters, Thompson prepared large letterforms with altered ascenders and descenders. He implemented these letterforms in a series of typographic experiments. Subsequent to the Monalphabet, Thompson went on to reconsider ascenders and descenders and developed Alphabet 26. This type experiment removed ascender and descender characters and established an alphabet of only 26 symbols for the characters of the alphabet. As such, nineteen characters which varied in appearance between upper- and lower-case were eliminated.
    • In 1951, Beatrice Warde, publicity manager for the Monotype Corporation, wrote an essay entitled "The Design of Books". This essay was later published in The Chrystal Goblet, 1956, a compilation of sixteen essays on typography. Warde also probed the utility of upper- and lower-case letters and proposed words "can most efficiently be set forth in the twenty-six simple code-symbols called capitals".
    [Google] [More]  ⦿

    Mary Faber

    Mary Faber (b. 1987) from Hamilton, New Zealand, writes about Mainline, a copperplate creation in 2011: Mainline's style was formed through an amalgamation of two historical typefaces titled Copperplate and Glyptic; research proved these the most popular metal display typefaces in New Zealand letterpress printing during the period of 1880 to 1900. Despite the lack of typeface designers in New Zealand in the late 1800s, this hybrid typeface design could be considered a national reflection of historic typefaces seen in New Zealand during that time. It should be noted that the selected parent typefaces were both Victorian typefaces by Hermann Ihlenburg.

    She also created Marino (2011): Marino is a contemporary typeface design influenced by a period of New Zealand's typographic history. Its letterforms were created based on research into typeface trends within newspaper advertising from 1920 until 1940, reflecting the increasing popularity of geometric modernity, and the peak of typographic Art Deco in 1930. In particular, Marino is based on an ad for Mencken from ca. 1930.

    Speaker at AtypI 2012 in Hong Kong: New Zealand Type on Display. In this talk, she introduced her typefaces.

    Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. [Google] [More]  ⦿

    Mary Louise Killen

    Mary Louise earned a BFA in graphic design and painting from Louisiana State University. She also earned a MFA from the School of the Art Institute of Chicago in Visual Communications. Now based in Louisiana, she graduated from the type design program at the University of Reading in 2010.

    As a student, she designed the upbeat text typeface Acadie and the Thai typeface Yala. She explains: Acadie regular and italic are drawn with reference to the broad-edged pen. A model of inspiration was Christoph Noordzij's typeface, Collis. It maintains a good performance in long texts with subtle calligraphic fluidity. To enhance liveliness and avoid a static monolinear stroke, Acadie utilizes higher contrast with a tall x-height to show an energetic visual impression on a page. About Yala: Yala regular is also created with reference to the broad-edged pen. Precedents examined are Adobe Thai, Sukothai (Linotype) and other angular typefaces printed in 1930 letterpress editions. The design of Yala creates an even color suitable for long texts and even diacritical positioning. Resisting a monolinear stroke similar to Cordi New (Microsoft), a higher contrast design favorable to a handwritten form is developed. Additional scans of Acadie: i, ii, iii. In 2010, she drew Apartment Type, a set of objects. Behance link. [Google] [More]  ⦿

    Mateusz Machalski
    [Borutta]

    [MyFonts] [More]  ⦿

    Matt Braun
    [Wood Type Revival]

    [More]  ⦿

    Matt Frost

    Matt Frost Type is located in Madison, WI. Matt designed some fonts at Chank's place, including Cowboy Rhumbahaut (2000), a take on a mid 19-th century ornamental face. His home page. In 2011, he set up Matt Frost Foundry.

    His commercial typefaces include

    • Escape From Budapest (2011). Art deco, based on a type specimen in the Communist Sculpture graveyard outside of Budapest.
    • Baron of Arizona (2011). A Victorian ornamental face.
    • Praha Nouveau (2011). Art nouveau. Praha Nouveau is based on a type specimen on the statue of Jan Hus in Prague's Old Town Square. The statue was designed in 1903 by Ladislav Saloun.
    • King of Prussia (2011) is an angular Halloween face.
    • Dubliners (2011) is a signage script face.
    • Quijibo (2011) is a quaint handmade slab serif.
    • Street of Crocodiles (2011) is inspired by the main title of the Quay Brothers film Street of Crocodiles (based on the 1934 Bruno Schultz book).
    • Aegean (2012). A swashy take on roman capitals. The spurred version is Cirque (2012).
    • Antler (2014-2016). A spurred woody letterpress vintage family of typefaces Antler has your back for beer bottles, fantasy novels, taco shops, beekeepers, cattle rustlers, tattoo artists, druids, hair bands, and bounty hunters, is how Matt descrives the typeface family. The Western typefaces Antler East, Antler North, Antler West (spurred; in Regular, Wood and 3d) and Antler South (Tuscan) were published in 2016. In 2017, he added Antler.
    • Cow Boss (2015). A Tuscan Western typeface.
    • Baboon (2015). A hand-crafted poster typeface.
    [Google] [MyFonts] [More]  ⦿

    Matt Griffin
    [Rare Letterpress Wood Type]

    [More]  ⦿

    Matthew Butterick

    Matthew Butterick (b. 1970, Michigan) grew up in New Hampshire. He got his B.A. degree from Harvard University in visual&environmental studies, also studying mathematics and letterpress printing. His work is in the permanent collection of the Houghton Library at Harvard. Butterick started his design career at the Font Bureau as a typeface designer and engineer. At the beginning of the Internet era, he moved to San Francisco and founded website design and engineering company Atomic Vision. Atomic Vision was later acquired by open-source software developer Red Hat. More recently, Butterick got a law degree from UCLA and has been practicing civil litigation in Los Angeles, Butterick Law Corporation. He operates a web site called Typography for Lawyers and another one called Butterick's Practical Typography.

    In 2010, he published Typography for Lawyers. MyFonts link. FontShop link. Klingspor link. Font Bureau link. He has some great one-liners, such as The only good Copperplate is a dead Copperplate. Matthew Butterick's creations:

    • Agitprop: in the FUSE 12 collection.
    • Wessex (1993): A family published at Font Bureau in 1993. Font Bureau writes: Initially conceived by Matthew Butterick as a Bulmer revival, Wessex took on characteristics of Baskerville&Caledonia as design proceeded. In 1938, W.A. Dwiggins had taken the hard necessities of the non-kerning line-caster italic duplexed onto the same widths as roman, and turned them into design virtues. Inspired by the surprising beauty of his wide-bodied Caledonia italic, Butterick used it as a model for Wessex.
    • Hermes (1995, 2010, Font Bureau). Blurb at Font Bureau: Schriftguss and Wollmer called it Hermes; Berthold called it Block. Hermann Hoffmann's 1908 design inspired FB Hermes, which evokes the German grotesks that were workhorses of factory printing 100 years ago. Blunt corners suggest the wear and tear of rough presswork. Matthew Butterick created the original styles in 1995. In 2010, he added more weights, italics, and alternate glyphs to expand the family's versatility.
    • Triplicate. A large family of typewriter fonts that feature both monospacing and proportional spacing.
    • HeraldGothic (1993, Font Bureau). A condensed typeface with bevelled, or octagonal, corners.
    • Chunk.
    • Alix FB (2011, Font Bureau). A monospaced family based on two IBM selectric typewriter face, Prestige Elite and Light Italic.
    • Equity (2011) is a readable text family, based on Ehrhardt.
    • Berlin Sans (1994). Font Bureau: Berlin Sans is based on a brilliant alphabet from the late twenties, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights.
    [Google] [MyFonts] [More]  ⦿

    Max Infeld
    [Xerographer Fonts]

    [More]  ⦿

    Michael Babcock
    [Interrobang Letterpress]

    [More]  ⦿

    Michael Cina
    [You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)]

    [MyFonts] [More]  ⦿

    Mobaric Minhas
    [Jadugar Design Studio (and: Twodollarshop)]

    [MyFonts] [More]  ⦿

    Mpress Interactive
    [John Bonadies]

    Typefoundry set up in 2013 in Champaign, IL, by John Bonadies who has an MFA in graphic design from the University of Illinois. In 2011, he set up an iPad application in which one can move wooden letters around as in a letterpress. He says: LetterMpress will be a virtual letterpress environment---released first on the iPad---, that will allow anyone to create authentic-looking letterpress designs and prints.

    The typefaces are based on letterpress and/or vintage wood type, and have names that are prefixed by MPI.

    In 2013, Mpress Interactive published MPI Roman Condensed (based on a typeface from Showcard Machine Company), MPI Old Style, MPI Bodoni Ultra, MPI Sardis (after Warren Chappell's Lydian from 1938, ATF), MPI Republic Gothic, MPI No. 510 (based on a design by William H. Page, 1887), MPI No. 508 (based on William H. Page, 1890), MPI No. 507 (based on William H. Page, 1890), MPI Headline Modified (also called Modified Gothic by some type manufacturers, it is based on a typeface by Hamilton Manufacturing Company from 1897), MPI Gothic, MPI Aldine Extended (based on a 1872 wood type by William H. Page), MPI Antique (slab serif), MPI French Clarendon (based on wood type from 1865 by William H. Page), MPI French Antique (a typical far West saloon font based on wood type by William H. Page, 1869), MPI Egyptian Ornamented (a western typeface based on a 1870 wood type by William H. Page), MPI Arcadian (based on a 1870 design by William H. Page), MPI Tuscan Extra Condensed (based on William H. Page wood type from 1872), MPI Norwich Aldine Reversed (from a 1872 original), MPI Nouveau, MPI Delittle (based on a wood type by DeLittle), MPI Deco (art deco caps), MPI Atlas (slightly art nouveau typeface based on a font by Day & Collins), MPI Circle Sans (white on black letters). [Google] [MyFonts] [More]  ⦿

    Mrs. Eaves

    The type and design communities react to Mrs. Eaves, Zuzana Licko's version of Baskerville. Of those comments, Keith Tam's is the winner: " Mrs Eaves was a typeface designed by a graphic design-driven type designer for graphic designers. Yes, it may have been inspired by Baskerville, but I'm afraid it is no Baskerville. This is by no means a demeaning comment. While Baskerville has a calculated, crisp and stately charm to it that evokes neoclassical architecture, Mrs Eaves is soft spoken, warm, low contrast and has a distinct feminine touch to it. This subtle femininity is very rarely seen in contemporary type design, except perhaps some (almost stereotypical) script typefaces. I think Mrs Eaves is probably a typeface for graphic designers rather than typographers, as are many other Émigré fonts. Rebecca wrote that Mrs Eaves is perhaps a 'tolerable' display face, but not for text. I can't make up my mind. Mrs Eaves's distinctive features and small x-height certainly makes it tough to use for continuous text in most cases (not 'invisible' enough); on the other hand the generous spacing, robust serifs and low think-thin contrast make it somewhat unrefined for display use and lend it more towards the league of typefaces for small sizes. Perhaps it is this paradox that makes Mrs Eaves so appealing to graphic designers? I think that's Émigré's mission: to design typefaces that are on the threshold between text and display. Wait, it's the ligatures! They are simply delicious. Who can resist...? The best piece I've ever seen set in Mrs Eaves is their specimen booklet. I've only seen the offset lithographed version, but I imagine the letterpressed one would be quite exquisite. I don't think Mrs Eaves became popular because of trend. For a contemporary seriffed typeface to become a classic, that's quite something. I do think Mrs Eaves have some uniquely distinctive attributes that stand on her own two feet. It really can't be compared with ephemeral typefaces like Template Gothic, though also by Émigré. They are not really in the same league. Overused typefaces by graphic designers are quite different from overused typefaces by general users. The former became overused because of the aesthetics/formal characteristics, while the latter became overused simply because they are widely available. Whether they are inherently good typefaces is another matter. I disagree with the comment that Georgia should only be used for screen. It is an extremely good workhorse typeface for general used, in my opinion, for print, made by a master type designer, Matthew Carter. It should replaced Times New Roman as the default typeface for general office correspondence and documents. It is probably the best free font there is." [Google] [More]  ⦿

    MyFonts: Letterpress simulation typefaces

    MyFonts: Letterpress simulation typefaces. [Google] [More]  ⦿

    Natale Varetti

    Italian designer of Tanagra (1924), which in 1910-1911 won an award sponsored by the Fonderia Augusta. It appeared in 1924 in the publication "Archivio Tipografico", and was produced by Nebiolo in Turin. Varetti was a teacher at the Regio Scuola Tipografica in Turin. [Google] [More]  ⦿

    Nathan Williams
    [Baseline Fonts]

    [MyFonts] [More]  ⦿

    Nautica Studios
    [Aritra Das]

    Kolkata, India-based creator of the free sans typeface Gauthier (2015), the free caps-only sans typeface Jaden (2015) and the free hipster typeface Paramont (2015). In 2016, he published the letterpress emulation typefaces Roadster, Jonas, and Woodsman, and the sans family NS James. In 2017, he published the sans typeface NS Jude and the free monoline script Mademoiselle.

    Das is associated with Nautica Studios. Creative Market link for Nautica Studios. [Google] [More]  ⦿

    Neelakash Kshetrimayum

    Indian graduate from the type design program at the University of Reading in 2010. He designed Frijky at Reading, which he introduces as follows: A progressive family of Latin and Bengali typefaces. Based on the calligraphic stroke movement, Frijky is fluid yet sturdy. Intended for publications, Frijky gives news extra bite with its aggressive edge. Additional scans: i, ii, iii. Frijky was used for the logo of the ATypI 2011 meeting in Reykjavik. Neelakash has designed two typefaces---Pakhangba and Sanamahi---for Meetei Mayek, the native script of Manipur.

    In 2011, Neelakash co-founded Mayek Projects with Anand Naorem, which offers design solutions for type, news and branding. Speaker at ATypI 2011 in Reykjavik on the revival of Meeti Mayek.

    He writes: In the beginning of the 18th century, as a result of political and cultural changes, the Bengali script replaced Meetei Mayek---the indigenous script of Manipur (a north-eastern state of India bordering Myanmar). Since then, the people of Manipur have been using the Bengali script for writing Meeteilon, the main spoken language of Manipur. This led to the introduction of new sounds in the Meeteilon from the Bengali script. Hence, during this period some new and modified letterforms were added for these sounds in Meetei Mayek. However after a number of conferences, the scholars have finally concluded that Meetei Mayek consists of 27 letteforms with their supplements. After almost 250 years, in 2005-06, the Government of Manipur officially approved the Meetei Mayek and included in the academic curriculum of Manipur Education. The new generation is learning Meetei Mayek instead of Bengali script to read and write Meeteilon. As the new generation is learning Meetei Mayek and it is slowly replacing the Bengali script, new typefaces will also be required for various forms of communication [...]. At present there are only a few typefaces, of questionable quality. Very limited research has been done on Meetei Mayek from the typographic point of view. Besides, there is a need to develop a system or guideline for designing Meetei Mayek typefaces. [...] This presentation discusses the typographic evolution of Meetei Mayek with examples from inscription, manuscript, letterpress, sign-paintings and digital typefaces. It reflects on the existence of multi-script communication in Manipur and its influence on Meetei Mayek. [Google] [More]  ⦿

    New Blazing Star Press
    [Jason Wickersty]

    The New Blazing Star Press (Jason Wickersty, Bayonne, NJ) revives historical fonts, borders, ornaments, rules, and woodcut artwork from the 18th and 19th centuries, copying every letter from original type specimen, business directories, broadsides, and advertisements printed over 150 years ago. The foundry sells 100 fonts under the title Fonts of the Civil War Era (60 fonts in 2012, 40 fonts in 2014).

    Creative Market link. [Google] [More]  ⦿

    Niall Kitching
    [K22 Foundry]

    [More]  ⦿

    Nirut Krusuansombat

    Bangkok-based type designer, designer and letterpress specialist, who cofounded the typefoundry Behaviour in 1996 with Anuthin Wongsunkakon. He made several typefaces such as the dingbat font Arvayawa. [Google] [More]  ⦿

    No Bodoni Typography
    [George Everet Thompson]

    Glenview / Chicago, IL-based foundry run by George E. Thompson (b. 1945, Chicago). George Thompson teaches at the Art&Design Department of Columbia College Chicago since 1986: He has a deep involvement in letterpress printing and co-founded Columbia's private press, the Calhoun Press, named for John Calhoun, the first printer in Chicago. He also founded his own Spurius Press, devoted to publishing matters of typography and named for Spurius Carvillus, the ancient Roman credited with designing the letter G.

    Expensive but high quality typeface families designed by Thompson include Estiennium (quirky humanist sans), Isbellium (a sans serif version of Dick Isbell's Americana type, the last type cut in metal by American Type Founders), Nirvanium (wedge serif), ITC Oldrichium (2011, angular lettering in the style of Oldrich Menhart), Parmatype, Parisette, Marseillette, Lyonette, and Berlinette (2001).

    MyFonts is selling these fonts now: Claudium NB (2002), Crowbird Pro Bold (2012), Dog Butter (2004, script face), the eerie didone font Floridium NB (2002, based on wood type from the 1800s), Ms Kitty NB (2002, a fun face), Parma Typewriter NB (based on Bodoni), and Tinman Pro (2011).

    In 2013, George published the dingbat typeface Ovoid Two Zero, ITC Oldrichium.

    FontShop link. Klingspor link. Behance link.

    View the No Bodoni typeface library. [Google] [MyFonts] [More]  ⦿

    OCR-B: Adobe
    [Adrian Frutiger]

    Adobe's version of OCR-B, which was originally designed by Adrian Frutiger in 1966 for the European Computer Manufacturer's Association. It is rounded and easier to read than the rounded octagonal OCR-A font, which was designed for machine readability. OCR-B is ugly, malformed and quite useless nowadays. Quoting Linotype: Additional acclaim came after Frutiger was approached to come up with a more pleasing design for the optical character recognition typefaces used for computers. The result was OCR-B, which became the worldwide standard in 1973. Quoting Spiekernmann: The work was commissioned by the European Computer Manufacturers Association ECMA in Geneva. They didn't want to adapt OCR A, which was already used in the USA. Frutiger's job was to make a machine-readable type that was acceptable to the human eye as well. He started in 1963 and designed it on a finer grid than OCR A with its 5x9 squares. Apart from the font for machines he also designed a version for letterpress printing that had lower case characters and subtle stroke variations. The original OCR B was monospaced and had round stroke endings. The second version was proportional and had straight stroke endings. [Google] [More]  ⦿

    Officina Serpentis
    [Eduard Wilhelm Tieffenbach]

    Eduard Wilhelm Tieffenbach was born in Königsberg (1883) and died in Berlin (1948). He ran a private letterpress in Berlin around 1900 called Officina Serpentis. His typeface (now dubbed) Officina Serpentis (1913, digitized by Petra Heidorn under the name SerpentisBlack in 2004; also, see the extension Serpentina (2004) by Manfred Klein) is a gotico-antiqua type reminiscent of the 15th century types. It is in fact based on typeforms by Peter Schoeffer (Mainz, 1462) which in turn were refined a few years later by Creussner and Koberger. [Google] [More]  ⦿

    Oghie Novianto

    Bandung, Indonesia-based designer of the brush typefaces Mons (2015), Eyepic (2015) and Wild Nature (2015).

    In 2016, he designed Spacethink, the grungy letterpress typeface Black Mask, the sketched typeface Baddest, the eroded marker typeface Lonsdale, the excellent poster typeface Brother, and the brush scripts Artur Script, Mars Attack, Flawless, Sekut, Bright Sight, Spacethink, Mighty, Blowing, Faithful and Damn Right, as well as the vintage hand-crafted Antebellum.

    Typefaces from 2017: Nobbler (vintage lettered typeface). Creative Market link. [Google] [More]  ⦿

    Olcar Alcaide
    [Eurotypo]

    [MyFonts] [More]  ⦿

    Open Source Publishing (or: OSP)
    [Harrisson]

    Free software project based in Belgium and run by four people (and I quote from their web page):

    • Harrisson: Graphic designer and typographer, based in Liege and Brussels. Started to use as much Open Source software as possible on his Macintosh, as part of a research project The Tomorrow Book at the Jan van Eyck Academy in Maastricht.
    • Pierre Huyghebaert: Exploring for eighteen years several practices around graphic design, he currently drives his own studio Speculoos. Interested to use free sofware to re-learn to work in others way and collaboratively on cartography, type design, web interface, schematic illustration, teaching and book design.
    • Nicolas Malevé: Systems- and software developer from Brussels with a long interest in the politics and practice of software. Uses Linux since 1998 and makes publishing- and distribution systems for collaborative work.
    • Femke Snelting: Graphic designer and artist based in Brussels. Most of her current work is for the web. Recently switched to Linux after using Apple Macintosh for more than ten years.
    Alternate URL. They also describe interesting autotrace software included in Inkscape and UNIX batch tools for good autotracing of images. Designers of free fonts:
    • Alfphabet (2009). Based on the Belgian road signage system in use from 1945 until 1975. It came from Minneapolis to Brussels with 3M.
    • Broodthaers.
    • Cimatics (2009). Totally experimental. This font was designed in July 2009, for the graphic identity of Cimatics A\V Platform. It gathers glyphs from FreeSerif, FreeSerifItalic, DejaVuSans, DejaVuSerif, the OSP_frog mascot, the Cimatics two piece heart, a baronchon_palm_tree from Open Clip Art Library and private use dingbats drawn for Cimatics (Cimatics_scare_eye, white_pentagon).
    • Crickx. A digital reinterpretation of a set of adhesive letters.
    • Distilled Spirit and Whisky Jazz. In September 2009, Harrisson and Jean Baptiste Parre from LPDME remixed URW Gothic (Avant Garde) and published the free fonts Distilled Spirit and Whisky Jazz.
    • DLF. DLF stands for Dingbats Liberation Fest.
    • Libertinage. In August 2008, Harrisson designed 26 variations on Philipp H. Poll's 2006 font Libertine, and called the new family Libertinage. It covers Greek, Latin and Cyrillic.
    • Limousine. This font was made for a poster to support nine people accused of "criminal association for the purposes of terrorist activity". They were arrested the 11th of November 2008, in France. They and others are the victims of a witch-hunt where the word "terrorism" was applied to any idea or practice which challenges the status quo. An international movement is emerging in their support. For the poster, we re-mixed an open font, the Free Sans from Free UCS Outline Fonts. Open Font Library link.
    • Logisoso. Logisoso is a reinterpretation of the Delhaize logo lettering.
    • NotCourierSans. NotCourierSans is a reinterpretation of Nimbus Mono and was designed in Wroclaw at the occasion of Linux Graphics Meeting (LGM 2008). We took Nimbus as the base of the design. We proceeded to remove the serifs with raw cuts. We did not soften the edges. We are not here to be polite.
    • OSP-DIN (2009). The first cut of OSP-DIN was drawn for the festival Cinema du réel.
    • Polsku Regula (2010). Polsku Regula is inspired by polish signage, street signs and shop windows lettering.
    • Reglo (2011) was used for the new identity of Radio Panik.
    • Sans Guilt (2011). The three Sans Guilt fonts have been produced during "Read The Fucking Manual", an OSP workshop at Deparment 21 (Royal College of Art), using Gimp, Fonzie and Fontforge. They are different versions of Gill Sans based on three different sources. Sans Guilt MB: based on a rasterized pdf made with the Monotype Gill Sans delivered with Mac OSX. Sans Guilt DB: Based on early sketches by Eric Gill Sans Guilt LB: Based on lead type from Royal College of Arts letterpress workshop. Open Font Library link.
    • Univers Else (2010-2012). A geometric sans, about which they write: Univers Else is an experiment, a first attempt to escape the post ’80 era of geometrical purity that is so typical of Postscript vector based font drawing. The shapes of Univers Else were obtained from scanning printed textpages that were optically composed by cheap phototypesetting machines in the sixties and seventies. Some of Univers Else beautiful features are: round angles, floating baselines, erratic kerning. More precisely in this case, George Maciunas of the Fluxus group used an IBM composer (probably a Selectric typewriter) for most of his own work, and as a former designer, for all Fluxus work. In the 1988 book Fluxus Codex, kindly given to Pierre Huyghebaert by Sylvie Eyberg, the body text is typeset in a charmingly rounded and dancing Univers that seems to smile playfully at its dry swiss creator. Different scans were assembled by Grégoire Vigneron following different grids. These huge bitmaps were processed with appropriate potrace settings by the Fonzie software* through a .ufo font format as a working format, and an OpenType as output. Some testing and fine-tuning was done by Pierre Marchand, Delphine Platteeuw and Pierre Huyghebaert in FontForge and the font was ready, in a finished state enough to typeset the book. The oblique versions was simply slanted on the fly.
    • VJ12 (2009).
    • W Droge. In 2008, they ran a workshop in Wroclaw, Poland, to design a font in a day with the free tools Inkscape, Gimp and FontForge---called W Droge. It was based on Polish traffic signs. Cooperation with Dave Crossland, Alexandre Prokoudine and Nicolas Spalinger.
    • Le Patin Helvète (2011) is a slab typeface derived from Nimbus L. It covers Latin, Greek, Cyrillic and Hebrew: Patin Helvete is a attempt to turn the slick propergol purity of the modernist lines back to the coal dirt of the iron horse by going backward in time and space through little pieces of rail. Designed by Harrisson, Ludi Loiseau and Sebastien Sanfilippo.
    • Mill (2012) is an architectural style typeface that has been created for engraving building instructions into the wood of a bench.
    • Sans Guilt Wafer (2012) is described by OSP as follows: Gill Sans eats a Gaufrette.
    [Google] [More]  ⦿

    Orbis Typographicus
    [Joshua Langman]

    Orbis Typographicus is a set of twenty-nine 9x12 letterpress broadsides, designed by Hermann Zapf and printed by Philip Metzger of Crabgrass Press between 1970 and 1980. The broadsides feature quotations on art, science, nature, faith, and the human condition, from authors ancient and contemporary. The text includes poetry, prose, anagrams, and palindromes, in English, German, Spanish, French and Japanese. Hand set by Philip Metzger, the set showcases many of the typefaces of Zapf and his wife, Gudrun Zapf von Hesse.

    In 2013, the web site Orbis Typographicus was set up by Joshua Langman. It features high-resolution scans, available for download, and a complete computer-searchable transcript. The web site also features an essay by Philip A. Metzger, the son of the printer, in which he shares his recollections of his father working on the project.

    Joshua Langman is a freelance graphic designer and typographer based in New York. [Google] [More]  ⦿

    Oriol Moret-Vinals

    Oriol Moret-Viñals has a Phd in Letterpress Typography and teaches at the Faculty of Fine Arts of the University of Barcelona. At ATypI 2014 in Barcelona, he spoke about the geminated el (l-l) in the Catalan language. [Google] [More]  ⦿

    P22 Analog

    P22 Analog is an offshoot of Richard Kegler's P22 Type Foundry, a digital type house founded in 1994 and located in Aurora-on-Cayuga, NY. P22 Analog is dedicated specifically to hand-printing and hand-craft along with research related to printing, letterpress and typographic history. [Google] [More]  ⦿

    P22 Type Foundry
    [Richard Kegler]

    Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.

    The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (2003, free), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio, Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, P22 Brass Script Pro (2009, Richard Kegler; based on an incomplete script fond in a booklet from Dornemann&Co. of Magdeburg Germany, ca. 1910 entitled Messingschriften für Handvergoldung; for years, P22 and MyFonts claimed that Michael Clark codesigned this, but Michael does not want any credit, as he did only about 20 letters), Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), FLLWExhibition, FLLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), , Garamouche (2004, +P22 Garamouche Ornaments; all codesigned with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by him as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), Preissig, Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).

    In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).

    Bio and photo.

    In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.

    P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence.

    At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.

    Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).

    MyFonts interview.

    View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google] [MyFonts] [More]  ⦿

    Pablo Ugerman

    Argentinian type designer who lives in Buenos Aires where he runs UGR Design. Award winner at Tipos Latinos 2010 for his text and IPA typeface Voces (done with Ana Paula de Bragança Megda). The latter typeface appeared in 2012 at Google Web Fonts.

    At Tipos Latinos 2012, he won awards for Sopi (an ornament and border typeface published by Tipo in 2014) and Rosarivo (2011, Google Web Fonts: a typeface designed at FADU-UBA for use in letterpress printing). Google Plus link. [Google] [MyFonts] [More]  ⦿

    Paul Alan Grosse

    Paul Alan Grosse is a very prolific Gurmukhi type designer (among many other things, often technical things---check out his own computer-generated Sudoku and Kakuro puzzles, for example). He created over 200 free Gurmukhi typefaces:

    • Fonts from 2000: Cut-Out-PG, Jotter-PG, Gas-Plasma-PG (dot matrix), Typewriter-PG, Water-Rocket-PG, Handwritten-PG, MySchoolFont (2001, chalk on blackboard style).
    • Gurmukhi: In 2008, he made the Gurmukhi font families Bulara, Magaz (2008), Karmic Sanj (2007: advertized as a Gurmukhi mirror of Cimic Sans MS), Punjabi Typewriter, Gurmukhi Old Letterpress, Gurvetica A, Gurvetica (48 styles---like Helvetica for Gurmukhi), Dekho (2012), Dekho Naveen (2012), Rupe, Lanma (2007, with decorative tails), Choti (stylized script), Raaj (a handwritten style with tails), and Raajaa.
    • His Dave font family (2009) takes the Gurmukhi range but outputs Devanagari characters instead. This means that a piece of text written in Gurmukhi (using Unicode) can easily be displayed as Devanagari, simply by changing the font. Iragan does the opposite: it converts Devanagari to Gurmukhi.
    • Handwriting typefaces for Gurmukhi: GHW Adhiapak, GHW Dukandar, GHW Penti Akhari, GHW Purani Primer PDL, GHP Full (based on sign-writing). Purani Primer (2013) is a font based on a cursive design from a 100 year-old primer sent to him by Punjab Digital Library.
    • Uttar (2012) and Tsheg (2012): Gurmukhi fonts in the style of Tibetan. Tsheg also has Latin and makes a great oriental simulation typeface.
    • Gurmukhi fonts made in 2013: DIN 1451 Punjabi, Gubara (a balloon font), Modhera (in the style of Gujarati), Dwarka.

    Fontspace link. Old URL. Another site for his Gurmukhi fonts. Paul Grosse's main web site. Behance link. [Google] [More]  ⦿

    Paul Reis

    Paul Reis (Covington, KY) created the 3d architectural typeface Pane (2012). Ana (2012) is a bicolored typeface made to be seen with 3d red/cyan glasses.

    In 2013, he designed Wabeco (a free 6-style art deco typeface family), Brooklyn (+Inline). Free download here and here. Promesh (2013, an athletic lettering font) is also free.

    Typefaces from 2014: Promesh Two (free), Wafer (3d face: free), Redbud (a free vintage set with a letterpress feel).

    Typefaces from 2015: Royals (a free mechanical octagonal typeface). [Google] [More]  ⦿

    Paulo Vinicius Lima

    Aka Mr. Pow. Sao Paulo-based designer of a few great lambe lambe posters (2016). Behance link. [Google] [More]  ⦿

    Pedro Lobo
    [Uppertype]

    [More]  ⦿

    Pete McCracken
    [Plazm Fonts]

    [MyFonts] [More]  ⦿

    Peter Fraterdeus
    [Alphabets Inc (or: Fontsonline.com)]

    [MyFonts] [More]  ⦿

    Peter Olexa
    [Cruzine]

    [More]  ⦿

    Peter Van Lancker

    Flemish web log about the history and mechanics of type, run by Belgian graphic designer Peter Van Lancker (b. Ghent). There is a lot of information on the early printing and typefounding by Joos Lambrecht in Gent, ca. 1539.

    His Flickr page has many nice shots of old presses (lithography, copperplate, etc.). He is working on this octagonal face and a rhythmic broad nib pen.

    In 2012, Peter published a free pixel typeface called Six.

    In 2014, he started work on a gorgeous letterpress style typeface, Ijskelder.

    Dafont link. [Google] [More]  ⦿

    Phil Baines

    Graphic designer (born in 1958 in Kendal, Westmorland) who graduated from St Martin's School of Art in 1985 and the Royal College of Art in 1987. He works as a freelance graphic designer, is Professor of Typography at Central Saint Martins College of Art&Design (now a university) in London (since 1991), runs Phil Baines Studio, maintains Public Lettering (about type found in cities), and is Typographic Advisor to the Central Lettering Record CD-Rom project.

    He designed FUSE Classic 1, Can You (1989), Ushaw (FUSE 8, FontShop, 1993), Toulon (1994), Horncastle (1994), VereDignum LT Std in Alternate, Decorative and Regular weights (2003, Linotype Taketype 5 collection) and Can You Read Me (FUSE 1, 1991).

    His pages on public lettering in London.

    His books include Signs, lettering in the environment (with Catherine Dixon, 2003) and Type&Typography (2002, with Andrew Haslam).

    Author of Rookledge’s Classic International Typefinder (Christopher Perfect, Gordon Rookledge, Phil Baines).

    At ATypI 2007 in Brighton, he spoke on From the Motor Car Act to motorways. He has also a good reputation for taking people on typographic city tours, as he did in 2006 at ATypI in Lisbon, and at ATypI 2010 in Dublin. Linotype link. FontShop link. Speaker at ATypI 2010 in Dublin in which he explained how he and Catherine Dixon produced the lettering for the Pozza Palace in Dubrovnik on commission for the Serbian Orthodox Church. [Google] [MyFonts] [More]  ⦿

    Philip Trautmann
    [Phitra Design]

    [More]  ⦿

    Phitra Design
    [Philip Trautmann]

    Philip Trautmann (Phitra Design, b. 1996) is the Düsseldorf, Germany-based creator of the free hand-crafted fonts PhitraDesign Handwritten (2013), Cookies+Milk (2016), Inkina (2016), Georgina (2016, a rounded stencil typeface), PhitraDesign Ink (2016), Skybird (2016), Skybird Rough (2016, free), and the sans typefaces Aquino (2016) and Sequel (2016).

    In 2016, he designed the letterpress emulation typeface Prequel, the informal monoline typeface Kanada and the experimental typeface Artypa.

    Typefaces from 2017: Fish & Chips. Dafont link. Creative Market link. Behance link. Behance link for Philip Trautmann. [Google] [More]  ⦿

    PintassilgoPrints
    [Ricardo Marcin]

    Brazilian printmaker, graphic artist and illustrator in Vitoria, b. 1973, Rio de Janeiro. His fonts are created together with Erica Jung at PintassilgoPrints (est. 2009). Pintassilgo relocated to Florianopolis at some point. Their typefaces include Plumcake (2017), Cordelia (2017), Dunkelbunt (2016, inspired by the eccentric artist, architect and designer Friedensreich Hundertwasser), Chronic (2016, influenced by the work of HAP Grieshaber and Willem Sandberg), Unboring (2016), Sunbeat (beatnik style), Hand It (2016, a childish script), Botanique (2016, after Lucian Bernhard's Schmalfette Bernhard Antiqua, 1912), Somehand (2015), Gumdrop, Granz (2015: retro lettering based on a Porgy & Bess album cover by David Stone Martin), Stabile and Stabile Toys (2015, hand-crafted), Cluster (2015, a layered letterpress emulation typeface), Stick Around (2014), Marker Aid, Unpack, Felt Noisy (fat brush), Blueshift (2014), Daft Brush (2014, a vernacular brush), Tuesnight (2014, offbeat poster font), Periplus (2013), Marujo (2013: a decorative typeface inspired by paintings of Arthur Bispo do Rosário, a Brazilian artist who lived for 50 years in a psychiatric institution), Brush Up (2013: a rough brush script), Undersong (a stackable script system), Tremendous (2013: a retro poster typeface), Rockinstead (2013), Runcible (2013, +Cleft, its glaz krak version), Mamute (2013: a layered letterpress style type system), Sabotage (2013: squarish poster font inspired by the iconic Vertigo movie poster by Saul Bass), Gentil (2012, an all caps poster font), Card-o-mat (2012, bird dingbats), Kokoschka (2012, based on the the lettering on the poster of an expressionist play by Austrian painter, printmaker and writer Oskar Kokoschka in 1909), Sundowners (2012), YWFT Duncan (2012), Rather Jazzy (2012), Rather Loud (2012), Soundtrack (2012), Monstrinhos (2012, dingbats), Monstro (2012, fat poster face), Attic (2012), Melkslijter (2011, a stylish art deco typeface based on a brochure by Dutch graphic artist Dirk Hart), Polyspring (2011, a Victorian typeface hand-drawn based on Italia Condensed, Keystone, 1906), Berimbau (2011), Populaire (2011, a hand-drawn poster caps typeface that was inspired by the electrifying posters from May 1968 by Atelier Populaire, and loaded with alternates to give a random effect), Manicuore (2011, a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni, aka Sandro Simeoni), Ziclets (2011, a bubblegum typeface), Smashing (2011, a fat hand-printed poster face), Chancellor (2011, a plakatstil style caps face), the eccentric poster face Polygraph (2011, based on lettering of the Polish poster artist Leszek Zebrowski. Images: i, ii, iii, iv, v, vi, vii, viii, ix, x.), the vintage serif typeface Organically (2011), Transitore (2011: Transitore is a lively hand-drawn font with loads of alternates and ligatures which, managed by advanced OpenType features, help create a convincing handcrafted look), the poster display typeface Sforzando (2011; +Alto), the signage typeface Jongleur (2011), the Cuban poster typeface Transmogrifier (2010, based on lettering by Cuban poster artist Eduardo Muñoz Bachs), the ultra-fat art deco typeface Loudine (), Crocante (2010, comic book face), Love Birds Pattern (2010), Swung Note (2010), Amarelinha (2010, hand-printed), Cuadrifonte (2010, a fat hand-printed family including styles called Pics, Sketch (regular), Fill and Line), Xylo Sans (2010, wooden texture face), Ritornelos (2010, a curly all caps hand-printed face), Roadway (2010, based on wood Clarendons), Changing (2010), Vitrines (2010, hand-printed), Prokaryotic (2010, a "bacterial attack" face), Football World (2010, soccer silhouettes), Singela (2010), Bandoliers (2010, an informal hand-printed sketched face, with 3D versions such as Beefy, High and Rocky), Butterfly Effect (2010), Tonal (2010, ultra-fat with mini-counters), Dynatomic (2010, inspired by the hand-drawn lettering of a 1964 polish movie poster designed by Andrzej Krajewski: caps only), Grante (2009, a lively poster face), Somewhat (2010, hand-drawn), Mondiale (2009), Merceria Antique (2009), Nanquim (2009, sketched letters), Lovebirds (2010, bird silhouettes), Oyster (2010, hand-drawn dingbats), and Arca (2009, +Dashed). All have an informal and attractive look, and were codesigned with Erica Jung. Dafont link. He created the grunge typeface Talvezassim (2009) and the fat geometric typefaces Parafuse Ultrablack (2009, +Outline, Shadow) and DeLarge (2009). Monster Boxes (2009) is a dingbat face. Oyster (2010) is hand-printed.

    The prints of Horst Janssen had a characteristic uneven hand-printed lettering that led Erica Jung and Ricardo Marcin to design the multi-featured opentype typeface Horst (2010). Nova Horst was published in 2012.

    Alternate URL. Open Font Library link. Fontspace link. YWFT link. Fontsy link. Klingspor link. Creative Market link.

    Catalog of typefaces.

    View all of Pintassilgo's typefaces. [Google] [MyFonts] [More]  ⦿

    Plazm Fonts
    [Pete McCracken]

    Portland, OR-based company. Its timeline:

    • Plazm magazine started as a free zine in 1991. The founding partners were Pete McCracken, Joshua Berger and Niko Courtelis.
    • Plazm Fonts was founded in 1993 by Pete McCracken and Joshua Berger. McCracken lead the effort to create the foundry and is the director and sole type designer there.
    • Plazm incorporated into Plazm Media, Inc. in 1995.
    • McCracken buys all of the assets of the type design portion of the company in 2006.
    • In 2010, the branding and type design business that was Plazmfonts become the Portland Type Co. Plazm continues as a design company not involved in type design, led by creative director Joshua Berger.
    The typefaces, by designer:
    • Marcus Burlile: Stelefont (1993), Widows (1994), Flytrap (1995), GhostTown (1995), Ablefont (1993, of Harry Potter fame), Anvil (1993), Autumnull (1995), Colony (1993), Pilgrim (1993), Reckon (1996), Sillbat (1994), Spiderust (1995), Thistlem (1995), Kitsch (1993), COLONIST.
    • Andrew D. Taylor: Avenatha (1995).
    • Robert James Foley Jr: Blitso-funk (1995).
    • Angus R. Shamal: CensorSans (1994), CensorSerif (1994), Credit (1995), Epilogue.pfa (1995), Humain-Graphica (1995), Humain-Synthetica (1995), Platrica (1994), Roscent (1995).
    • Ermin Mededovic: Centrifuga (1996), Board (1995).
    • Marty Bee: Cibola (1995), ThreeRivers (1994), WetandWilde (1994).
    • Don Synstelien: Derision (1995), NudE (1995), SlickDog (1995).
    • Dave Henderleiter: DizzySpell (1995).
    • Opulux Fonts (Dave Henderlieter): DoeMan (1995), DogboySplitHome (1995), Pulsitallia (1995).
    • Pete McCracken: Erosive (1993), Facsimiled (1994), INKy-black (1994), Mtvpe (1997), NeoDeko (1993), Petescript (1992: based on Pete's handwriting, this font was used on Aerosmith's album Big Ones), PresidentNixon (1994), Altered (1993).
    • Jim Marcus: EscalidoGothico (1994), EscalidoStreak (1994).
    • Stephen Farrell: Flexure (1993).
    • Christian Kusters: Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996), Interface One (1996).
    • Garland Lyn: Milk (1994).
    • Paul Bissex: Pscruf (1995), Rufnu (1994).
    • Robert Selby: Selbezi (1994), NewHamburger (1993).
    • Charles Wilkin: Velvet (1995).
    • Roland Hess: Capitalis Pirata.
    • Riq Mosqueda: Codesigner of Mtvpe (1997)
    • Elliott Peter Earls: Subluxation (1994).
    • Scott Yoshinaga: Grunge (1994).
    • Travis A. Waage: Belch (1994).
    • Pablo A. Medina: Vitrina, Cuba.
    Other fonts: CarPlatesCarPlates, NorthBergen, PHatFont, Pilgrim, RocketScience-1, Twiggy, Victory (2002-2004, an Avenir-Futura style geometric sans family custom made for Nike. The typographers at Typographicom are blasting this typeface. Marc Oxborrow writes: It seems that the less original the work, the more overblown and pretentious the description.).

    Write-up at Fontnews. Fonts also sold by Mindcandy.

    Bio of McCracken by ATypI: Pete McCracken is a type designer, designer, artist, musician and educator in Portland Oregon. He owns and runs Plazm Media with business partner Josh Berger. Current projects include 20+ custom typefaces for Nike, the recently published book "XXX The Power of Sex in Contemporary Design", and an extensive branding project for Pierce Brosnan. He also owns and runs Crack Press producing music and custom artwork using silkscreen and letterpress. Current projects include a 43 color commissioned screen print of the Last Supper; Heavy Grass, a metal bluegrass band; and a cd of various compositions called Crack Tracks. He also teaches in the design programme at PNCA.

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

    Posterizer KG
    [Lazar Dimitrijevic]

    Lazar Dimitrijevic, who set up the foundry Posterizer KG, was born in 1981 in Bajina Basta, Serbia, and lives in Kragujevac, Serbia. He obtained a Master of Graphic Design from the Department of Graphic Design, FILUM Kragujevac, Serbia. Presently, he is art director at Design Studio BOX.

    His first font, Art Decor (2009), is a brush typeface in the style of Treefrog. Koma Latin (2009) is a roughly outlined script face. Bajka (2010) is a wonderfully entertaining Baskerville family (Latin, Cyrillic, dingbats, ornamental caps) made for children's fairy tale books. Scarface (2010) is a sublime scratchy hand ideal for torture movies. Kaligraf Latin (2010) is a rough-edged calligraphic face.

    In 2012, he published Collage BB (hand-drawn didone), the heavy Egyptian typeface Posterizer KG at DizajnDesign. This font was created for Celebration of 5 years anniversary of Design Studio Box from the city of Kragujevac (KG), the industrial city of Serbia. Posterizer KG (+Rounded) contains all the Latin and Cyrillic glyphs. Posterizer KG Inline and Posterizer KG Rough (a letterpress emulation version) were added in 2013. Posterizer KG Sketch followed in 2015.

    Still in 2012, he designed the ink splatter typeface Oops, and the calligraphic typefaces Cal Humanistic Cursive (a renaming of Cal Humanist Corsiva, posibly under pressure from Monotype), Cal Humanist Minuscule and Cal Humanist Corsiva.

    He also creates stunning calligraphic works.

    Cal Roman Capitals (2012) is a Trajan typeface. In the same calligraphic series, we find Cal Rustic Capitals (2012), Cal Square Capitals (2012), and Cal Uncial (2012).

    Typefaces from 2013: Posterizer KG Sketch, Cal Expressive, Cal Bakerly (calligraphic script in the style of Arthur Baker), Cal Cursive Roman, Cal Rustic Black, Cal Neuland Bold (after the German expressionist typeface Neuland by Rudolf Koch), Cal Gothic Bastard, Cal Gothic Fraktur, Cal Fraktur Modern, Cal Rotunda, Cal Gothic Textura, Cal Carolingian Minuscule, Cal Carolingian Gothic, Cal Insular Minuscule, Cal Insular Majuscule, Cal Beneventan Minuscule.

    Typefaces from 2014: Cal Neuland Shadow, Mozzart Sketch (a decorative hand-sketched version of Mozzart Sans, a slightly rounded, neo-Grotesque corporate font, that was originally created for the Belgrade-based company Mozzart DDO; followed in 2015 by Mozzart Rough).

    In 2015, he designed Drina (brush typeface), My Way (a TreeFrog style handwritten face).

    Typefaces from 2016: Bali Beach (brush script), Omorika (a rustic hand-crafted sketched serif typeface).

    Behance link. Creative Market link. Klingspor link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Rachid Aitouaissi
    [Bowery Studio (was: Hipster Font)]

    [More]  ⦿

    Ramandhani Nugraha
    [Celcius Design]

    [More]  ⦿

    Rare Letterpress Wood Type
    [Matt Griffin]

    Matt Braun and Matt Griffin (Pittsburgh, PA) are interested in digitizing some old letterpress wood types from original specimen. Their first font, Fatboy Husky (2011), is free. Matt Griffin is one of the founders of the design firm Bearded. He also teaches letterpress printing to young designers at Carnegie Mellon University. Matt Braun is a senior designer at Bearded and letterpress printer. [Google] [More]  ⦿

    RAWTYPE
    [Gatis Cirulis]

    Gatis Cirulis (Rawtype, Latvia) is a graphic designer and illustrator who does projects for individuals and companies in Central Europe and the USA. He specializes in logos, identity, illustration, publication, drawing, painting, lettering, book arts web design. He was art director at McCann Latvia but is now located in Bloomington, IN, where he was Letterpress Type Shop Graduate Assistant at Indiana University Bloomington. He currently lives in Las Cruces, NM. His typefaces:

    • The BDSM-inspired all caps alphabet Bound (2009). Example glyphs: A, B, BDSM, C, C, PS. Poster.
    • Aker (2010). An erotic all caps alphabet.
    • Karo (2010). A free geometric font.
    • Frank (2010). A blackletter face.
    • Ray Five (2010). A font based on letters that were projected onto the walls of a dark room.
    [Google] [More]  ⦿

    Refolve Design Studio
    [Hamdani Putra]

    Bandung / Semarang, Indonesia-based designer of the Victorian signage typeface Erudite (2014) and the spurred typeface Trave (2015). In 2016, he designed the monoline connected script typeface Roundless, Favor, Boaedan Script (calligraphic wedding script style, accompanied by great ornaments) and Roundless Script.

    Typefaces from 2017: The Jevera (brush script), Floure (letterpress emulation), Clairborne. Behance link. Creative Market link. Behance link. [Google] [More]  ⦿

    R.H. Stevens
    [Stevens Shanks & Sons Ltd]

    [MyFonts] [More]  ⦿

    Ricardo Marcin
    [PintassilgoPrints]

    [MyFonts] [More]  ⦿

    Richard Kegler
    [P22 Type Foundry]

    [MyFonts] [More]  ⦿

    Rick Poynor

    London-based founding editor of Eye in 1990. Author of Typographica (2001, Princeton Architectural Press), described by the editor as follows: The magazine Typographica--brainchild of founder, editor, designer, and renowned typographer Herbert Spencer--had a brief life, a total of 32 issues published over nineteen years. But its influence stretched--and stretches--far beyond its modest distribution and print runs of the time. Indeed, for many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs and techniques not seen since. Remarkably, Spencer never intended to turn a profit, so no expenses were spared in the making of the magazine. Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter typefaces, street lettering, matches, and avant-garde poetry all found their way into the magazine. Rick Poynor, founding editor of Eye, recreates the excitement of Typographica in this carefully researched, accessibly written, and beautifully illustrated book that pays tribute to the man and the magazine that changed the course of graphic design.

    Author of Typography Now: the Next Wave (1991), and frequent invited speaker at meetings. His other books include The Graphic Edge, Design Without Boundaries, and Obey the Giant. At ATypI 2004 in Prague, he spoke about the crossroads of civilizations. [Google] [More]  ⦿

    Riscatype
    [Thomas Yendall]

    British printer and typefounder. British Letterpress writes: In 1878 Thomas Yendall took over a printing business started by John Taylor eight years earlier. The firm became a limited company in 1911. By 1925 type casting had started under the name Riscatype. Ten years later printing stopped and Yendall concentrated on the manufacture of type. In 1984 Yendall and Co. went into voluntary liquidation. The firm had cast type using Monotype machines, housed in a cramped green metal building in Risca, South Wales.

    Pictures of the 1938 Riscatype Catalogue of the Yendall&Co. of London. I can't detect any original types in that catalog. [Google] [More]  ⦿

    Robert Beck
    [Dialekt Design (was: Robert Beck Design)]

    [MyFonts] [More]  ⦿

    Robert Grabhorn Collection

    A collection of over 10,000 volumes focusing on traditional letterpress printing. It has many type specimen books and permits photocopying. It is part of the San Francisco Public Library. [Google] [More]  ⦿

    Robin Nicholas

    Born in Westerham, KE (1947). He joined the Monotype drawing office in 1965 and moved to the type design department in 1968, where he became manager in 1982. In 2009, he is head of typography at Monotype. Klingspor link. Robin Nicholas's typefaces:

    • With Patricia Saunders and a team of ten, he co-designed the Arial family at Monotype, an outgrowth of a program for low resolution sans typefaces started in 1982. I do not have to add anything here---Arial was made to mimic Helvetica and to adopt the same metrics. No other motivation. No higher artistic ideals. No admission from Nicholas, and no apologies. Arial is a stained 1982 stamp on the rest of Robin Nicholas' life.
    • Still at Monotype, he made Nimrod (1980), which was first used by the Leicester Mercury in its year of introduction. Nimrod became a popular newspaper type.
    • He created Plantin Headline Condensed (1995).
    • He had a hand in the development and revival of Bell, Centaur, Clarion (a newspaper text face), Janson, Van Dijck and Walbaum, all between 1982 and 1989, all at Monotype. A blurb: Nicholas has directed the design of fonts such as the Clarion and Columbus fonts, as well as the digital versions of many Monotype typefaces including the Bell, Centaur, Dante, Monotype Janson, Fournier, Van Dijck, Monotype Walbaum, Bulmer and Pastonchi designs.
    • He had a hand in Columbus (1992, Monotype). Ascender writes: Columbus has a fresh and lively hand-drawn feel but works well with today's computer systems and printers. An excellent text face, Columbus can also be used for display in advertising, posters, flyers and headlines, where the true elegance and beauty of the letters can be seen. Columbus was designed by Patricia Saunders and directed by Robin Nicholas in 1992 to celebrate the quincentenary of the voyage from Spanish shores by Christopher Columbus. The regular weight is based on types used in Spain by Jorge Coci circa 1513, and the italic is derived from a font cut by Robert Granjon circa 1543 and used by Bartolome de Najera in 1548 to print a famous manual by the writing master Juan de Yciar.
    • He has done custom font projects for British Airways, Scandinavian Airlines, Barclays Bank, Opel automobiles (see Opel Sans; more here on this derivative of Futura; posted here), and Ikea (Ikea Sans is based on Futura and Ikea Serif on New Century Schoolbook).
    • In 2003, he published the Felbridge family and Fairbank MT (a chancery hand) at Agfa-Monotype.
    • Cambria, Jelle Bosma's 2006 typeface for Ascender and Microsoft, was a joint effort with Steve Matteson and Robin Nicholas.
    • In a project started in 2002 at Monotype, and finished in 2005, he created Bembo Book. Monotype's page explains: Originally drawn by Monotype in 1929, Bembo was inspired by the types cut by Francesco Griffo and used by Aldus Manutius in 1495 to print Cardinal Bembos tract de Aetna. A beautiful design with tall ascending lowercase and elegant letterforms, Bembo has been a favourite for book setting for over 70 years. No italic was used in the Aldine de Aetna work so another source was needed. This was found in a publication by the writing master, Giovantonio Tagliente, produced in Venice circa 1524. Considered by many to be one of Stanley Morisons finest achievements during his tenure as Typographical Advisor to the Monotype Corporation, Bembo has consistently been a best selling typeface, both in its original hot metal form and in todays digital formats. Not intended to be a facsimile of Manutius work, Bembo was drawn to embody the elegance and fine design features of the original but marry them with the consistency of contemporary production methods and to ensure that the typeface would work satisfactorily with high speed printing techniques. The first phototypesetting and digital versions were based on hot metal 9 point drawings. This gave good legibility in small sizes, due to a comparatively large x height, but lacked some of the elegance present in larger hot metal sizes. This new digital version of Bembo, called Bembo Book, has been designed to be more suited to text setting in the size range from 10 point to 18 point. Based on the hot metal 10/18 point drawings, which were used to cut all sizes from 10 point to 24 point, this new typeface has been carefully drawn to produce similar results to those achieved from the hot metal version when letterpress printed. The project started in 2002 when a high quality UK Printing House asked for a digital version of Bembo which would give a similar appearance on the page to the 13 point hot metal they were currently using. Hot metal drawings were digitised and extensive editing was carried out on the resultant outlines to ensure that design features and overall colour from the digital output remained close to that of the letterpress product. The resultant typeface is slightly narrower than existing digital versions of Bembo, it is a little more economical in use and gives excellent colour to continuous pages of text. Ascending lowercase letters are noticeably taller than capitals, giving an elegant, refined look to the text.
    • In 2009, he codesigned Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Alice Savoie, also working at Monotype Imaging's UK subsidiary, and Delve Withrington based in the U.S. The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s.. The web version by Linotype in 2013 is called Ysobel eText Pro. It has larger x-height and wider spacing.

    View the typefaces made by Robin Nicholas. [Google] [MyFonts] [More]  ⦿

    Rod McDonald

    Born outside Pince Albert, Saskatchewan, Rod McDonald is perhaps the greatest Canadian type designer ever. First based in Toronto and later in Lake Echo, Nova Scotia, he designed the great Cartier Book family in 2000 based on the work of Carl Dair, who had started Cartier in the sixties, but died in 1968 with his Cartier unfinished. He won an award at the TDC2 2003 competition for his text family Laurentian---a typeface commissioned by Macleans magazine as part of a design project to refresh the 96-year-old publication. McDonald began as a lettering artist in the 1960s, and was a freelance type designer for most of his life, contributing custom creations to Mclean's Magazine, General Motors and Toronto Life magazine. He runs Smashing Type, and Rod McDonald Typographic Design, and he used to run Stylus Lettering&Typography Inc, 131 Bogert St, North York, ON M2N 1K7 CANADA. He is (was?) professor of typography at the Ontario College of Art, Toronto, ON, and also taught at NSCAD University in Halifax.

    The Stylus fonts included Bodoni Open Condensed (Rod McDonald, 1993), Fanfare Recu (Louis Oppenheim, 1927, revival by Rod McDonald, 1993: Stylus was reworked in 2012 by Canada Type as Louis, Goudy Globe Gothic (revival by Rod McDonald, 1993), Loyalist Condensed (Rod McDonald, 1993), Regency Gothic (Rod McDonald, 1992). He designed ITC Handel Gothic at ITC. In 2004, he designed Smart Sans, a bold, compressed, sans serif design in three weights, suited for setting headlines and display copy) as a tribute to the late Sam Smart, a Canadian type designer (d. 1998) who helped establish the first Type Directors Club in Toronto.

    In 2007, he became a Design Fellow for Monotype Imaging where he will create new and revived typefaces.

    In 2006, he created Slate (an 18-style sans family) and Egyptian Slate (in 2008), both at Monotype. Slate was used in the Blackberry. In 2011, Slate was reissued and given a second life, but now as Gibson, with the help of Patrick Griffin and Kevin King at Canada Type. The Gibson typeface family sells for less than one style of Monotype's Slate. For other digital brothers of Egyptian Slate, we refer to Rockwell, Stafford Serial (Softmaker), Rambault (Softmaker), Roctus (URW), Slate (Bitstream) and Geometric Slabserif 712 (Bitstream).

    Rod McDonald created the 14-style Classic Grotesque (2011, Linotype) which is based the older German grotesks, Ideal Grotesk and Venus (1907), and is related to the Monotype Grotesques, ca. 1926 that gave rise to Arial. In 2016, Monotype published the 54-style Classic Grotesque. Metronews Canada tells the story of Classic Grotesque. At a TDC meeting in New York, Patrick Griffin said: One thing he's not saying, because this guy doesn't like to toot his own horn: it's the biggest thing to ever be released by a Canadian. It's the largest and the longest, just in terms of how much time it took. It's the biggest thing to ever come out of Canada in terms of type design.

    In 2013, Rod McDonald launched Goluska, named to honor the late Canadian typographer Glenn Goluska, whose letterpress collection was acquired by Gaspereau Press in 2012.

    Author of A Glossary of Typographic Terms (2013).

    FontShop link. Linotype link. Agfa-Monotype link. Klingspor link. View Rod McDonald's typefaces. [Google] [MyFonts] [More]  ⦿

    Ross Frazier

    Bloomington, IN-based designer of Deco Alphabet (2012).

    Behance link.

    He also found and letterpress-printed a Bodoni-style typeface found in the Hamilton Wood Type Museum. [Google] [More]  ⦿

    Ross MacDonald

    Canadian illustrator. Letterpress is one of his specialties. [Google] [More]  ⦿

    Rúben Dias
    [Ruben R Dias (was: Item Zero)]

    [MyFonts] [More]  ⦿

    Ruben R Dias (was: Item Zero)
    [Rúben Dias]

    Portuguese designer Rúben Dias graduated in design from IADE. He ran Item Zero and built his own letterpress studio, where he prints and experiments with both metal and wood type. Since 2012 he has been working on a doctoral degree on Portuguese Royal Printing Office typefaces at the Technical University of Lisbon's School of Architecture (FA-UTL). He teaches typography at ESAD.CR (Escola Superior de Arte e Design) and ESTAL and holds workshops on type and typography all across Portugal. In 2013, Aprígio Morgado, Ricardo Santos and Rúben Dias cofounded the typefoundry Tipos da Letras.

    Designer of the promising font Oban (2002), which resulted in the production of a formidable sans family, Oban (2006), in which all straight lines have been replaced by curvatures one could find on TV screens from the 1960s. An elegant display family! It got raving reviews and was compared in style with Mayo (Peter Bruhn), Gregarious (Mike Kohnke), Crank8 Plus/Minus (Henk Elenga), Ectoplasm (T-26) and Armchair Modern (PsyOps).

    Type designs include Medro (2008), Quarto (2006), Arco (2009), Euro 2012 (2010, a rounded sans).

    In 2012, he published the elliptical sans family Taca at Fountain Type and republished it in 2015 at his own typefoundry. He calls it a squircle---neither square nor circle, and explains: We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese's classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. It adds a bit of anthroposophic warmth and mystery.

    Fountain Type link. Home page. [Google] [MyFonts] [More]  ⦿

    Russell Maret

    Russell Maret is a type designer and letterpress printer working in New York City. He is a fellow of the American Academy in Rome and the current North American Chair of the Fine Press Book Association. He has written and lectured widely on the intersection of letter design, technology, and the private press book.

    In 2012, he used Kickstarter to fund a metal type project for Cancellaresca Milanese and its companion roman, Gremolata. He writes: Cancellaresca Milanese is based on a type that first appeared in Milan in 1541 in the books of Giovanni Antonio Castiglione. The type distinguishes itself in its combination of calligraphic energy with a minimal slope in its lower case and its comparatively small, upright capitals. Generally viewed as a descendent of the typefaces of Ludovico degli Arrighi, Castiglione's type has a darker, rougher quality than Ludovico's---its grace is a forceful one. In the design of Cancellaresca Milanese I have attempted to retain the liveliness of Castiglione's original type by resisting the temptation to "correct" the slightly modulating alignment or homogenize the finial strokes on the ascending and descending characters. The type is outfitted with both corsiva (as in the original) and formata descenders as well as a significant number of compound ligatured characters. He already did digital versions: I first developed the digital predecessor of the type for my book Aethelwold Etc in 2009 and I have used it in a few publications, taking each opportunity to redraw and refine the characters. I designed Gremolata in 2011 as a companion roman for Cancellaresca Milanese to be used in my book Specimens of Diverse Characters. For Gremolata, I designed a slightly larger set of capitals based on those in the Cancellaresca, and paired them with a lower case that is inspired, but not based on, Alpine typefaces of the mid-sixteenth century. [Google] [More]  ⦿

    Ryan Martinson
    [Yellow Design Studio]

    [MyFonts] [More]  ⦿

    Ryan Prasetya
    [Lost Volt Typefoundry]

    [More]  ⦿

    Ryan Pyae

    Graphic designer in Rangoon (Yangon), Burma. In 2014 he created the free hipster typeface Frinco. As in really free, both for personal and commercial work. In 2015, he designed Bernier (a free letterpress emulation font in Regular, Shade and Distressed styles), and Maxwell (free). Behance link. [Google] [More]  ⦿

    Ryoichi Tsunekawa
    [Flat-It]

    [MyFonts] [More]  ⦿

    Sara Goodnight

    Kalamazoo, MI-based designer, who, during her studies at Western Michigan University, created the modular wood block typeface Switch (2016). Her system breaks down letterpress forms into their components, and reattaches pieces using various color codes. Behance link. [Google] [More]  ⦿

    Scott Williams
    [A2 Graphics--SW--HK]

    [More]  ⦿

    Scriptorium (Ragnarok Press, Fontcraft)
    [David Fleming Nalle]

    Dave Nalle was born in Beirut in 1959, but lives and works in Texas. He is currently in Manor, TX. From his wiki page: Dave Nalle is a political writer, game author and font designer who was active in the early history of the development of the internet. He is Chairman of the Republican Liberty Caucus, a group that promotes libertarianism within the Republican Party and is Senior Politics Editor at Blogcritics online magazine and is the CEO of Scriptorium Fonts. A creative and prolific designer, he has made hundreds of beautiful (often historic) fonts. His outfit, Scriptorium (based near Austin, TX, est. 1989), also does custom font and logo design. At some points, Scriptorium was also known as Ragnarok Press and Fontcraft. It specializes in artsy and ancient typefaces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.

    Images of his best selling fonts. Special subpages:

    • Three free fonts: Onuava (a mini-serifed hybrid fixed-width font), Divona (sans), Sirona (based on Lombardic calligraphy).
    • Lombardic: Aneirin, Benevento (8th century Lombardic), Cymbeline, Fabliaux, Formidable, Locksley.
    • Decorative initials such as the 20th century sign lettering initials set Pencraft Initials (2009), New Saxon Initials (2016, based on work by F.G. Delamotte), Delamotte Initials One (2016), Delamotte Initials Two (2016), Holly Initials (2010, based on Real PenWork (1880s, Knowles and Maxim), Vyones (2010), Vergennes (2001), Cascade (2009), Bergling (2010; based on initials by John M. Bergling).
    • Wild West fonts: Academy, Alcalde, Atkinson Boomtown (2009, after the lettering of Frank Atkinson), Atkinson Eccentric (2009), BigIron, Cibola, Del Norte, Lachesis, Perdido, Plowright, Primer, Riudoso, Niederwald, San Lorenzo (2011, with a Mexican and Tuscan look), Stonehouse, Manquo, Rochambeau, Purcell, Vaquero.
    • Arabic simulation fonts: Samaritan is based on the poster lettering of Alphons Mucha from his poster for the play La Samaritan. Serendib and Waziri are based on the hand lettering of René Bull from his edition of the Arabian Nights. Caliph (1993) is derived from Ernst Schneidler's classic Legende font, with variant characters based on his original lettering. Also: Samarkand, Satampra, Jerash, Samarkand, Isfahan.
    • Celtic fonts: the fonts include Constance, Durrow (1993, traditional rendering of Insular Minuscule calligraphy), Malvern, Glendower (based on the most common lettering in the Book of Kells), Knotwork (caps based on Celtic knots), Alba Text (modernized text font based on Celtic uncial lettering), Lindisfarne (based on a square uncial style), Stonecross (1997, derived from Celtic cross and gravestone inscriptions), Celtic Spirals (dingbats), Celtic Borders font (lets you combine key strokes to form decorative borders; many frames and borders are original Celtic designs by Arts&Crafts period artists like Evelyn Paul and Louis Rhead), Spiral Initials, Brigida (based on Rudolph Koch's interpretation of a squared uncial), Macteris Uncial, Coverack (heavy non-traditional uncial), Dahaut (modernized uncial), Dunsany, Glendower, Morgow (1999, spiral uncial), Teyrnon (elaborate spurred uncial), Padstow (heavy uncial), Vafthrudnir (2011, uncial), Sualtim and Columba (decorative initials based on characters found in the Book of Kells), Albemarle (2001).
    • Oriental simulation fonts: Yoshitoshi (2003, based on the 1900-style writing by Yoshi Toshi.
    • Gothic fonts, including Alt Gothic, Koch Gothic, Barnabas (2011), Sternhagen (2014), Montgisard (2010, roman capitals with blackletter lower case), Serenissima, Gelderland, Alcuin, Monumental, Goldwork, Waldeck, Roncesvalles, Montressor (2010, ornamental blackletter capitals), T4C Beaulieux (1998, a free copy here), Bastarda (2011), Burgundian, Cadeaulx, Collins Old English, Courtrai, Descant, Ereshkigal, Faustus, Franconian (1993, a Schwabacher), Froissart (2000), Ghost Gothic, Katisha, Koch Gothic, Ligeia, Magdeburg, Magdelena, Melusine, Pyle Gothic, Rheingold, Sanctum, Stuttgart Gothic (2010), Textura, Theodoric, Yngling (2002).
    • German expressionist: Dromon.
    • Renaissance fonts: Monumental Gothic, Caswallon (a Caslon family), humanist cursive (Palmieri, Castiglione and Hanes Italic), quirky Italian cursives (Fiorenza and Alleghieri), a Roman style hand-lettered font (Rudolfo and Rudolfo Swash), a Trajan-style Roman lettering (Hadrianus), a classic flourished cursive (Trinculo) and a set of floral intials from the Quattrocento (Fraticelli).
    • Modern poster fonts: Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg (2002, based on Samuel Welo's posters), Fortinbras, Hamilton, Jambon, Oblivion, Posada (2008, based on the poster lettering of Mexican artist José Guadalupe Posada), Squiffy, Suspicion, Magnin (2003).
    • Mapmaker fonts: building elements are available in Basilica; Ortelius is a map dingbat font; Queensland (based on lettering by artist and calligrapher Eric Sloane), is bold, hand-drawn and reminiscent of medieval writing on maps. There are also Brandywine, Daresiel, Hesperides, Longhorne, Windlass (1996), and Cityscape. Orford (2008) is based on samples of hand lettering from a 1693 manuscript collected by Lewis Day in his classic book on historical paleography, Alphabets Old and New.
    • Calligraphic fonts: Albemarle (2001), Azariel, Moncrief (2011, based on the calligraphy of J.M. Bergling), Pavane, Rasael (2009), Abdiel (2005), Roncesvalles, Gazardiel (2003, connected script), Spoonbill (2003, arts and crafts), Macteris (Roman uncial font), Antioch Uncial (Roman uncial font), Burgundian (Classic black letter font), Franconian (993, a classic black letter font), Castiglione (Attractive Renaissance lettering), Cicero (Roman Rustica font), Formidable (1993, very bold late medieval / Lombardic style), Collins Old English (Classic Old English style gothic), Corbei Uncial (Roman uncial font), Cymbeline (late medieval lettering), Durrow (Standard insular minuscule uncial font), Theodoric (Classic black letter font), Gazardiel, Ghost Gothic (Unusual gothic font), Glendower (Uncial font based on Book of Kells), Gloriana (Interesting hand lettering style), Folkard (from the hand-lettering of Charles Folkard), Offenbach Chancery, Ranegund Merovingian Courthand, Benevento (8th century Lombardic), Hesperides.
    • Art deco typefaces: Lyceum (2014), Borealis (2009), Criterion (2011), Illuminata, Madding (2009, a bold poster font that grew out of Aventine), Alexandrine (2009), art Deco Stencil (2009, based on samples of Art Deco stencil lettering by Pedro Lemos), Falmouth.
    • Art nouveau typefaces: Acadian, Agravain (2009), Amphitryon (2009), Ariosto, Asphodel, Averoigne, Beaumains (2011, based on J.M. Bergling's lettering), Beauvoir, Belgravia (based on J.M. Bergling), Bernhardt (based upon the lettering of the Czech art-nouveau artist Alphonse Mucha), Bentham, Berenicia, Boetia (2003, based on J.M. Bergling's lettering), Bruges, Bucephalus (1993), Burd Ellen (2009), Butterfield, Curetana, Damariscotta, Elsene (2011, based on lettering by early 20th century illustrator Clara Elsene Peck), Elysian, Exotique, Flaubert, Gaheris, Ganelon, Gehenna, Goodfellow, Harbinger, Huyot (2016, after Georges Auriol's types), Jugendstil Kunsthand (2003), Lysander, Maginot (1993; after Peter Schnorr, 1898), Munich (after the Munchner Jugend magazine), Norumbega, Odeon, Ormandine (2010), Pantagruel, Phaeton, Reggio, Rochmbeau, Rockne (2009), Rudolfo, Setebos, Sprite, Summerisle, Sylphide (2005), Undine, Valentin (2008), Vambrace (2010), Walhal, Wendingen (2016), Zeitschrift (2016, based on the Ver Sacrum magazine).
    • Modern poster fonts: Field Day (2003), Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg (2002, based on Samuel Welo's posters), Fortinbras, Hamilton, Jambon, Oblivion, Squiffy.
    • Constructivist fonts: Krasny Mir (2009), Vrubel, Structura (1997).
    • Futuristic fonts: Alecto, Angelus, Circuit, Culdrose, Gearhead, Ironclaw, Parika, Sanhedrin, Semiramis (1997), Slither, Structuro, Yazata, Adastra (dings).
    • Borders and ornaments. These include New Arets and Crafts Borders (20912, based on The Calendar of Golden Thoughts (Barse and Hopkins Publ, 1911).
    • Boneyard fonts: Undertaker (2014), Antrobus (2010), Sepultura (2002), Halloweenies, Dementia, Boneyard, Skull and Bones, Malagua (1999-2013), Paleos (2002, from titling of B movies in the cave girl genre), Carmilla, Abaddon, Black Cow (1998), Valdemar, Cuede, Ligeia, Mayhem, Mephisto, Golgotha, Sanguinary, Ironworks, Moravia, Gehenna, Nosegrind (2005, graffiti), Corpus, Ghostly.
    • School fonts: Schoolhand (2010).
    • Arts and Crafts movement (late Victorian period, 19th century), based on work and lettering by Walter Crane, William Morris, Charles Rennie Mackintosh and Elbert Hubbard. The Arts&Crafts movement was enormously influential on the works of designers, artists and architects of the 20th century, and inspired the Art Nouveau and Art Deco movements. Fonts include William Morris' Kelmscott (based on Morris' Troy type), and True Golden, fonts from the Glasgow branch of the movement like Chelsea Studio (1997), which is based on Charles Rennie Mackintosh's lettering, fonts from the Roycrofters of New York like Semiramis and Ganelon, fonts based on Walter Crane's work such as Crane Gothic, Pencraft Initials (2009) and Walter Crane, and even fonts from the California Arts&Crafts period of the early 1900s like Coloma. Other typefaces: Jesse M. King (refreshed in 2015, and based on hand lettering from a frontispiece design by Glasgow-based Jessie King who was known for her lavish book covers), Aylward, Palmyra (based on work by the Roycrofters, a design community founded by Elbert Hubbard), Aylward (2010, Victorian), Hyacinth Initials, Spoonbill, Adresack (1996), Brandywine, Changeling (2009, based on lettering by fairy artist Fanny Railton), Goddard, and Advertising Gothic (2003), Valentin, Gaheris, Agravain (2009). Delaguerra (2001-2009) is based on a lettering style originating in the California Arts&Crafts period commonly associated with Mission Style. It is still in common usage in signage at historical sites in California.
    • Victorian: Beaumarchais, Berenicia, Bilibin, Brandywine, Brigidis, Curetana, Durendal, Elphinstone, Flaubert, Folkard, Gjallarhorn, Gloriana, Hermia, Ironclaw, Magnus.
    • Typewriter: Fontcraft Courier.
    • Anthroposophic: Ekberg (2002, based on a sample of poster lettering by Samuel Welo).
    • Medieval fonts of Scriptorium, critiqued by Marc Smith, page 65: Batwynge is based on lettre gffe by Geofroy Tory (1529), and not on an illuminated manuscript of the tenth century as claimed by Scriptorium.
    Some selected fonts: Finchley (psychedelic), Captain Kidd (2012, an original font design based on the title lettering from the classic pirate movie starring Charles Laughton), Aerobrush (2011), Fondry Ornament (2009), Atkinson Egyptian (2008, after the lettering of Frank Atkinson), Verne (2008), Goldwork (almost blackletter), BigBlok (2010), LetterpressGothic (2010), Plymouth (2010, in the style of Cooper Bold), Broadley (2008, an architecturally inspired script based on lettering by British architect and designer C.F.A. Voysey), Locksley (2004, medieval lettering), Tuscarora (curly lettering), Fiorenza (Renaissance calligraphy), Hesperides (old colonial calligraphic script), Angelus (beautifully printed monospaced script), Esperanza (1996, connected medieval handwriting), Ithuriel (2002), Alleghieri (2002), Hamilton (2002), Spiral Initials, Zothique (great font, based on hand lettering from a map of Clark Ashton Smith's fantasy world of Zothique), Reynard (semi-Celtic), Daresiel (elegant script), Caliph (1992, Arabic simulation), Bassackwards, Rosalinde (1999, handwriting), Arakne (2000, connected handwriting), Falconis (by Michael Scarpitti), Asrafel (semi-Celtic), Swithin (2004), Tyrfing (Art Nouveau/Fraktur, 1999), Waldeck (2008, blackletter), Woburn Initials, Stampwork, Draughtwork, Roughwork (a codex font derived from Nalle's own True Golden which is based on a=n earlier typeface by arts and crafts master William Morris), Melusine (gothic calligraphy), Corbei (uncial), Niederwald (hand lettering), Gjallarhorn (great uncial), Gaiseric (early medieval uncial), Taranis (1987, an uncial first drawn as a font for the cover of the old Ysgarth roleplaying system), De Bellis (roman era, by Michael Scarpitti), Engravers Gothic, Monimental Initials, Sanhedrin (Enemy of the State font), Vespasiano (roman capitals, by Michael Scarpitti), Bilitis, Hendrix (2002), Collins OE (old English), Samedi, Praitor, Evadare (1993, based on a character set which was hand calligraphed by Rudolf Koch), Koch Fantasie (1993), Black Cow (1998). Zothique, Ruritania, Mariner (2004, based on hand lettering originally done by Willy Pogany), Trinculo (a swinging cursive font), Texas Star (2002), Octavian (antique demi-serif font), Ruffian (antique type font), Ascelon (thin sans serif font), Munich (title lettering from Munchner Jugend magazine), Necromantic (bizarre bold titling font), Titania (romantic decorative lettering font), Oberon (bold romantic font), Knotwork, Guede (1993), Pullman, Purcell (Victorian circus poster style font), Allegheny, Carmilla, Malagua (1999-2013), Ardenwood, Platthand, Buccaneer, Cochin Archaic (2010), Boswell (1994), Guilford (based on lettering by artist and calligrapher Eric Sloane), Death Ray (2012, constructivist), Alecto (futuristic), Candlemas (2003), Bridgeport (2003, based on lettering by artist and calligrapher Eric Sloane), Medieval Tiles (2003), Linthicum (2003), Draughtwork (2003), Yngling (Fraktur, 2003), Rheingold (elaborate Fraktur: Music Hall Text elsewhere; see also Teuton Text, Cincinnati Type Foundry, 1877), Kidd (2003), Belgravia (2004), Peck Shields (2004), Albrecht Durer Gothic (2004), Orpheus (2004), InduXtrial (2004, a grunge face), Yoshitoshi (2003), Veronique (2004), Veneto (2006), Vidilex (1993, monospaced), Abelarde (2006), John Speed (1993), Furbelow (2006), Estoril (2006), Tangle, Aventine (sans), Texas Star (2002), Groningen (Bauhaus design), Nevins Hand, Scrapple (2011, Victorian, ornamental), Leodegar (2011, based on samples of 7th century Frankish hand lettering), Candlemass (2012).

    Fonts from 2013: Doge (a Venetian font based on a J.M. Bergling revival), Original Django (after the titling font in Quentin Tarantino's movie Django Unchained).

    Fonts from 2014: Highball, Carillon (based on a typeface by Samuel Welo), Edifice (based on lettering by J.M. Bergling).

    Fonts from 2015: Gods of Mars (an inline sci-fi typeface), Rykov (based on a 1930s Ukrainian constructivist style; Latin and Cyrillic), Vie Moderne (French art deco), Dahlgren, Grand Concours (art deco), Tantalus, Power Tie (art deco), Marquis Greeking.

    Fonts from 2016: Ekberg Modern (based on lettering samples by Samuel Welo from poster designs of the 1920s), Knuckleduster, Tzaphkiel, Sarandiel, Primrose Initials, Elizabethan Script (chancery style), Zeitschrift (an art nouveau font based on the Ver Sacrum magazine), Wendingen (Dutch deco), Memento Mori (Tuscan), Rounders (art deco).

    Fonts from 2017: Scattershot (script).

    Klingspor link. Abstract Fonts link. Dafont link.

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

    Sebastian Cabaj

    Sebastian Cabaj studied graphic design at the Academy of Fine Arts in Warsaw, where he now works as a graphic and type designer.

    Creator of the octagonal modular Castania (2012), the squarish display typeface DLG Monospace (2012), the dadaist cut-out typeface Mad Cut (2012), the hand-printed poster typeface Morning Coffee (2012), the Polish antiqua typeface Modena (2012, +Modena Printed), and the blackletter typeface Luft (2012).

    In 2012, he set up the Sebastian Cabaj Foundry via MyFonts.

    Typefaces from 2013: USKOK, Bosman (a sketched or tattoo font family), Marina (a tattoo font), Grot, Olech (a layered poster or letterpress simulation face), Garda (a layered system with a great inline), Pancake (a signage script), Zapora, Sailors Dream (layered font family).

    Typefaces from 2014: USKOK, Old Craftsman.

    Behance link. Hellofont link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Sergiy Tkachenko
    [4th February]

    [MyFonts] [More]  ⦿

    Shirley-Anne Murdoch

    Edinburgh, Scotland-based creator of a typographic poster called The Boy Who Wanted To Play The Violin (2013). She explains: Commissioned by Craigmillar Communiversity in conjunction with newly established Small + Crummy Press to work with illustrator Andrew Crummy to develop a special edition book. The launch of this publication was planned to coincide with the opening of the 'Arts: The Catalyst (for social change)' exhibition at Edinburgh's City Art Centre. The book's first edition sold out on the night! [Google] [More]  ⦿

    Simon Stratford

    London-based creator of the free shaded caps font Airbag (2013), which imitates the successful genre of Trend (Latinotype). Before Breakfast (2013) is a free hand-printed typeface. Packt (2013) started out from watercolor lettering. Distractor (2013) is a tweetware grungy slab serif reminiscent of letterpress---it is partially based on Bevan. In Limbo is a free vernacular typeface. Typefaces from 2014: Type Old Writer, Before Breakfast, Hitchcut (a dadaist typeface designed to honor Hitchcock's Vertigo and Saul Bass), Separator (octagonal), Dirty Slab (letterpress emulation), Enfold (hand-drawn).

    Typefaces from 2015: Buckley, Buckley Serif, Bold Riley (a hand-crafted serif), Balham to Brooklyn (fifties script), Petit Jardin, Gently Script, Troupe (an inline Tuscan typeface), Mr. Blue Sky (an inline typeface), Moorgate (fat brush font), Sunshine, Dogtown (grunge), Gods Own Junkyard (neon sign font, named after Chris Bracey's neon sign store in London), Teardrop (watercolor brush with dripping ink), Western Grit, In The Wood, Gallow Tree (free brush font), Thirsty Dog (scratchy brush), Dear Prudence.

    Typefaces from 2016: Get Lucky, Take Me To The River, Lawless (vintage display typeface), Not My Type (old typewriter font), Roadhouse Blues, Just Like Heaven, Resize, Atomic Dustbin, Mind The Gap (stencil family), Munky (a fun children's book typeface), Hunky Dory (a hand-crafted children's book typeface), Little Wonder (brush script), Mister Rooster, Whippin Piccadilly (hand-crafted), Bangers & Mash, Mr. Chumley.

    Typefaces from 2017: Tuck Shop (a chalk font), Fake Empire (grunge), Mu-Th-Ur (a free octagonal typeface inspired by the film Prometheus).

    Behance link. Another Behance link. Creative Market link. Dafont link. [Google] [More]  ⦿

    Startype
    [Brian Horsfall]

    British Letterpress writes: Startype based in Birstall, West Yorkshire used Monotype machines to cast type and advertised that they were contractors to HM Government and Overseas Governments. The casting machines were modified to work at higher temperatures with a different mix of type metal meaning that they could produce type suitable for hot foil work on a composition caster. The firm closed in the late 1980s. Some machines and the expertise continue with Brian Horsfall who casts type under the name Supertype. [Google] [More]  ⦿

    Stephen Miggas
    [Aerotype]

    [MyFonts] [More]  ⦿

    Stephen O. Saxe

    Letterpress specialist. Author of a fine article in 1983 on wood type. Alastair M. Johnston and Stephen O. Saxe edited the book Nineteenth Century Designers and Engravers of Type (Oak Knoll), which republishes William E. Loy's entire series of articles about America's type designers that had appeared ca. 1896-1900 in The Inland Printer. [Review by James Puckett] [Google] [More]  ⦿

    Stereotype (was: Zone Erogene, or Dasklem)
    [Clément Nicolle]

    Stereotype is Clément Nicolle's web outfit. He designed these (free) fonts between 2004-2006: 3grammes5, BagpackDemo (grunge), Base02 and Base05 (grunge; this one dates from 2009 though), FrakturikaDemo, Fleur Aux Dents (happy dingbats, by Damien Raymond), Barrio 30 (degraded stencil face), Heroin07 (2008, grunge), Base 05 (stitching font), Madredeus, MarcelleScript, MarcelleSwashes, MigraineSans, MigraineSerif, Perestroika (Cyrillic font simulation), Petiote, Phonetica, Reclame, Sodium'76. Fleur aux Dents was designed by Damien Raymond. Today (2008) is a connected diner style script. Morgenstern (2008) is a wiry font.

    Dasklem (Zone Erogene) was a French foundry (est. 2002) in Nancy also founded by Clément Nicolle. At Dasklem, he created nice typefaces (with repetitions from the list already mentioned above) such as Frakturika (2004), Phonetica (2003, a semi-phonetic unicase face), C'dans l'air, Irreversible, Migraine Sans (2002), Migraine Serif (2002, unicase), Fleur aux Dents (dingbats by Damien Raymond), 3 Grammes 5 (2002), Arriere Garde (2002), Base 02 (2002), Perestroika (Russian simulation face), Petiote (2003, pixel face), Marcelle (2004, fifties style baseball script), Madredeus, ReclameDingbats, Bagpack (grunge), Barrio 30 (grunge), Morgenstern (electrical circuit font), Today (2008, signage script), Heroin 07 (2008, grunge), Base 05 (2009, grunge).

    The most recent typefaces: Bugeater (2013, textured typeface), Docktrin (2014, a spurred letterpress-style typeface), Huntress (2015, grungy letterpress style), Wasted (2015, a connected retro script), Bakery (2015, curly script), Bernadette (2016, signage script), Master of Break (2016, free signage script), Magnolia Sky (2016, a wonderfully irregular curly script), Marguerite (2016, signage script), Beyond The Mountains (2016), Mark My Words (2016), Thinking of Betty (2016, retro signage script), Bernadette (2016), Thinking Of Betty (2016, a retro signage script), Bernadette Rough (2017), Work in Progress (2017), Gloss & Bloom (2017, dry brush).

    Older (dead) URL. Dafont link. The foundry survives as Stereo Type (since about 2005). Another Dafont link. Yet another link. Klingspor link. Abstract Fonts link. Creative Market link. [Google] [More]  ⦿

    Steve Cloutier

    Quebec-based designer (b. 1971) in 2010 of the outline face Elégante and of the grunge typefaces Apocalypse Regular, Arbre, Autodestruction, Papineau (hand-printed), de Lorimier, Gardien d'herbe, Elusion (organic), Cataclysme (grunge), Wolfred Nelson (rubber stamp caps), Chénier (grunge), Crack and Bold, Fleur de Lys (dingbats that are useful pour mon pays), Manuscrit, Ancien (grungy inline face), Confusion, Patriote 1837 Regular, Arbre (hand-printed) and Cloutier Script (hand-printed).

    Typefaces created in 2011: Sioux Caps (ornamental caps: a scanbat face), Flower Cap (floriated caps), Damned (a grungy horror movie typeface), Sketch Me (a sketched face).

    Typefaces from 2012: Dill Francis, I Hate Futur, Fabrics (stitch font), Stucco, Children, Hacking Trashed, Flower (floriated caps), Arbre, Patriotes 1837, Damned Deluxe, Trashed Light (grunge), Leather (ornamental caps), Punk Rock Show, Crack And Bold, Ana Eve (grunge), British Museum 1490 (ornamental caps), Nature Font (grungy caps), Chenier (grunge), Mosaique (a textured typeface), Motor Pieces (commercial), Mixtec Codice (Maya, Aztec or Inca dingbats), Parkinson (grungy outlines), Ludger Duvernay, Monster, Sponge, Napoleon (a nice fat poster face), Negative Film, Nelson Old Newspaper, Fuck Autority (sic), Rene Levesque (hand-printed), First Nation (an Indian scanbat face), Pustule, Emilie (hand-printed caps), Papineau (hand-printed), Sixties, Dali, Midnight (brush face), Fairy Tale (ornamental caps), Tiger Balloon (African-themed), Rafael (fat poster face), Sacred Place (heavy poster family), Pistache Regular (unicase Plakat font), Morning Stress, Hippie Gypsy (ornamental caps), FBI Old Report (old typewriter face), Mitsouskos, Ten O Clock (a multiline hand-printed face), Strawbwrry, Jewels, CF Night of the Damned, CF One Two Trees (tree-themed), Hagadou (bejeweled letters), CF Punk Forever (white on black grunge), CF Anabelle (curly script), CF Samurai Bob, CF Marie-Eve, CF Christmas Shit, CF Pinceau (fat brush face), CF Deco 1492, CF Cracked Stone, CF Metropolis Serif, CF Punky, CF Snowball (snow-capped glyphs), CF Tuques, CF Revolution, CF Fashion, CF Tissus, CF Christmas Letters, CF Diamond (diamond-studded letters), CF Stencil Orama, CF Dallas Stars (stars and stripes face), CF Old Photograph Credit Font, CF Christmas Letters.

    Typefaces from 2013: CF National Stitches, CF Spaceship, Historia (sans caps), CF WireFrame, CF NaVia, CF Sortilege, CF Spirality, CF Charlie, CF Fredo Style, CF Little Monsters (alphadings), CF Tissus, CF I Love Montreal (fat finger face), CF Jungle, CF Paris (art deco caps), CF Marie Eve Cartoons, CF Circuit Electrique, CF Jack Story, CF Punk Attitude, CF Billabong, CF I Want To Believe Comp (grunge), CF Zombie Party (crayon or lipstick font), CF Life Is Beautiful (paint font), CF Gothika (grungy blackletter), CF Manifesto (painted letters), CF Rise of Nations, CF The Lost Batallion, CF Armageddon, CF Electronic Board, CF Old Typography (letterpress font), CF Modern 165, CF Hockey Players (dingbats published on the day the Montreal Canadians were humiliated, 6-1, by the Ottawa Senators in the Stanley Cup playoffs), CF Nelson Old Caracters (sic), Peru Adventure, CF Montreal High School (athletic lettering), Urban Life (textured font), CF Same Old Story (grunge), CF Plants And Flowers, CF Cant Change The World (clean, hand-printed), CF Jeanne Mance, CF Jeans Collection (textured), CF Alien Abduction, CF Rebelle (brush font), CF Jungle Adventure, CF Never Trust A Hippy, CF Anarchy (ransom note font), CF Life Is A Dream (grunge), CF Farwest, CF Typocraft, CF Politicians Killers (blood drip face), CF Technomania, CF Technorama, CF I Love Ugly Fonts, CF Ribbon, CF Tree Of Life, CF Revenge, CF Back to School, CF Nut And Bolts, CF Final Conflict (brush script), CF Nostalgia (brush face), CF Industrial Fabrics (textured face), CF Font Shading, CF Rock Age, CF Nouvelle France (antiqued alphabet), CF My Bloody Valentine, CF Ceinture Flechee (multilined typeface), CF Disappointed, CF Atlantide, CF Bucherons (texture face), CF Simon Marchessault (hand-printed), CF Haunted House (brush face), Gray Texture, CF Space Cowboy (textured typeface), CF Louis Cyr.

    Typefaces from 2014: CF Goliath, CF Alone on Earth, Stencil o Rama, Bad News (textured face), CF Xerography, CF Milk, CF Springtime, CF Crayons, CF Dwarf, CF Asshole Politicians, CF Old Milwaukee (spurred typeface), CF Paris Old Style (grungy Peignotian typeface), Creature of Darkness (textured typeface), Quebec Stamp (grungy stencil), Schizophrenia (neurotic typeface), La Belle Helene, CF William Wallace, CF Dots 521, CF LCD 521, CF America, CF Left Behind, CF Jacques Cartier, CF My Best Friend, Flowers of Destiny.

    Typefaces from 2015: CF Rise of Nation (bold poster typeface), CF Punk (grungy capitals), Baron Rouge, General Tao (oriental simulation font), CF Mother Board (circuit font), CF John Doe (sketched), CF Crayons de Plomb, CF US Army (textured type), CF White Trash (Treefrog style), CF Punk Rock Show, CF Denim Jeans, CF School Handwriting, CF Nuclear War (very grungy caps face), CF Jack Story, CF Civilisation Maya (textured typeface), CF Punk Is Not Dead, CF Calligraphia, CF Life Is A Dream (grungy textured font), CF Blueprint, CF Far West Regular, CF Samuel de Champlain, CF Azteques (Mexican decorative font)., CF Fleurs de Lys (dingbats), CF Chevalier de Lorimier (connected script), CF Bonaparte, CF Expedition, CF Boston Regular (casual script), CF Jacques Parizeau (a grungy font named after a racist and pompous former political figure in Quebec), CF Trash Zone (grungy stencil), CF I Dont Want To Grow Up, CF Metro Parisien (art deco), CF Craig Robinson, CF Paradise City, CF Great Destiny, CF Robert Nelson, CF Grand Nord (a snow-capped design), CF Green Monster (slab serif).

    Typefaces from 2016: CF Showbizz, CF Halloween (dripping blood font), CF La Sorciere Noire (vampire script), CF Green Corn (white on black), CF Engraved, CF Ghost Stories, CF Legends of the Fall, CF Bad Cops, CF Cherokee (wood block printing emulation), CF School Zone (crayon font), CF Snowboard Project (grunge), CF Oak Island, CF Peterson.

    Typefaces from 2017: CF Second Son, CF The Rock (textured), CF Old School, CF Pretty Trees.

    Fontspace link. Klingspor link. Dafont link. Creative Market link. [Google] [More]  ⦿

    Stevens Shanks & Sons Ltd
    [R.H. Stevens]

    Stevens, Shanks & Sons Ltd. was an English type foundry formed in 1933 by the merger of the Figgins Foundry with P. M. Shanks (Patent Type Foundry) to form Stevens, Shanks. Sometime after 1971 the foundry ceased operations and all materials (including Figgins's punches and matrices) went to St. Bride's Printing Library.

    British Letterpress writes: Stevens, Shanks & Sons Ltd was based in Southwark, London SE1. During the 1950s they used Monotype equipment, with a modified heating unit and harder alloy to make their type more hard-wearing. In 1971 they moved from 89 Southwark Street to 22 Coleman Fields where they continued to cast type until the mid-1980s. They revived some very old typefaces, and held some ancient founders matrices. They did not use Monotype Thompson Casters for this work, so must have modified the matrix holders on standard Monotype machines.

    David McMillan notes: Millington (167) notes that in 1928 P. M. Shanks and Sons Limited [Patent Type Foundry] discussed the sale of their company to Stephenson, Blake. No sale occurred, after four years of discussion. Millington (167) notes that at the end of that discussion P.M.Shanks and Sons Ltd. "amalgamated" with R. H. Stevens Limited [the Figgins foundry] The new firm was "Stevens, Shanks and Company" Moseley, Howes & Roche (p. 30) identify the date of the merger of R. H. Stevens and P. M. Shanks as 1933. They give the name of the resulting company as "Stevens Shanks & Sons Ltd". They also note that R. H. Stevens (the person) was the grandson of Vincent Figgins I, thus identifying R. H. Stevens Ltd. with the Figgins foundry. Moseley et. al. note that the firm moved in 1971, so it must have been in operation at least until then. Finally, Moseley, Howes & Roche also note that the Stevens Shanks & Sons. Ltd. materials (including Figgins' punches and matrices) went to the St. Bride's Printing Library on the dissolution of the foundry (but give no date for that).

    According to Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson's The Encyclopedia of Type Faces (Blandford Press Lts.: 1953, 1983), these types were made by Stevens Shanks:

    • Bessemer (1936, Dennis Morgan)
    • Bristol (1925, Gans Type Foundry)
    • Clarence Condensed (c. 1910, R.H. Stevens)
    • Expanded Antique (c. 1880) originally cast by the Figgins Foundry.
    • Extra Onamented 2
    • Extended 3
    • Figgins Condensed No. 2 (c. 1870) originally cast by the Figgins Foundry.
    • Figgins Shaded (1815) originally cast by the Figgins Foundry.
    • Gresham (1925) originally cast by the Figgins Foundry (c. 1796).
    • Rosart (1925, Gans Type Foundry)

    To this list, one can add Memorial (1865), Robur, Antique No. 3 (ca. 1860, taken over from the Figgins Foundry), Antique No. 6 (ca. 1860, taken over from the Figgins Foundry) and Antique Old Style (ca. 1860). [Google] [MyFonts] [More]  ⦿

    Studio Hannes Famira
    [Hannes Famira]

    Hannes Famira, who runs Studio Hannes Famira, was born in Buchholz in der Nordheide, Germany in 1966. Hannes Famira studied graphic and typographic design at the Royal Academy of Fine Arts in The Hague in the Netherlands. He works as a type designer in the Hague and used to work at Buro Petr van Blokland. Hannes started his own design studio Das Kombinat in 1999 and the Kombinat-Typefounders in 2001. He taught various typography and typedesign classes at the SfG, School for Design in Basel (CH), at The Cooper Union, the New Jersey City University and the City University of New York.

    Typefaces by Famira include FF Blocker, FF Mutilated, H-Stamp, Tieshy, Bubblejet on Steroids, Plantijn, Humiliated, Kugelkopf Letter, Hernard, MaryPason. He also doescustom font work. At Kombinat Typefounders, he designed InterFamily (Interpol Sans and Interpol Serif, 1992), ScanLine Bundle (which includes the nice display font Mary Pason), H-Stamp, FF Blocker, Sonar Sans (2011), JC Corrido (2001, letterpress emulation), JC Tieshy (1993, grunge), JC Bubblejet on Steroids (1992, grunge, based on cardboard box prints), and JC Kugelkopf (12996: an old typewriter font based on the IBM Selectric type ball). The letters JC stand for the Jetsam Collection.

    He explains the Futura-like Sonar Sans: Sonar is the attempt to marry the rule of geometric, historical form with the forgiving, human expression of early gothic typefaces. In fact, nothing about this typeface is truly symmetrical. The geometric nature of the underlying model merely served as a starting point to find the shapes of a low contrast expansion typeface. Through Sonar it seems that I have finally made peace with the Geometric Sans.

    Famira on Interpol Sans: it is a robust, low contrast typefaces designed for legibility in low resolution situations. It performs particularly well on media like television and computer screens or in projections and on lightboxes.

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

    Svetoslav Simov
    [Fontfabric]

    [MyFonts] [More]  ⦿

    Swistblnk

    Malang, Indonesia-based designer who also uses the name Agga. Creator of the free fonts Lucker (2013), Blnker (2013, a spurred Victorian typeface), BLNK Taper Lucker (2013) and Sivernake (2013, a spurred typeface).

    Typefaces from 2014, some of which are commercial: Wilder, Rocking Rochoes, Rocking Bones, Brch Handdrawn, Reidfork, Hoverage (letterpress emulation, spurred), Hobric (letterpress emulation), Blnc (vintage, hand-lettered), Garado Blnco (spurred), Bracker (spurred Victorian typeface), Averake (sic) Glam (spurred, Victorian).

    Typefaces from 2015: Banthers, Ruffle, Ruffle Beauty, Moabhoers, Neaments (watercolor script: a renamed version of Sortdecai Handmade Script?), Banthers, Bleakerst (free), Monthoers (free letterpress emulation font), Sortdecai (a fantastic watercolor brush script in sub-styles called Handmade, Handmade Script, Vintage, Script, Display, Cursive Script, Cursive Wild Script, and Brush Script).

    Typefaces from 2016: the script typeface Missmallove (designed by Lativa), Yellow Dawns (chalky), Coellack, Moalang (tweetware), Duwhoers (tweetware brush script).

    Hellofont link. Behance link. Dafont link. Creative Market link. Fontspace link. Creative Market link. [Google] [More]  ⦿

    Ted Staunton

    Born in Lincoln, UK, in 1942, Ted Staunton now lives near Vancouver, and designs type. After serving a five-year apprenticeship as a hand compositor (1958-1963) with the Lincolnshire Publishing Co., he spent three years (1963-1966) at Leicester College of Art&Design, graduating in type design. After spending some time in London working for Penguin, Hamlyn and other book publishing houses, he emigrated to Canada in 1970, working for Mitchell Press and Hemlock Printers in Vancouver before opening his own design business and letterpress printing shop, Sherwood Graphics, in 1984. In 1991 he published a private press book, The Lincolnshire Poacher, illustrated with his own wood-engravings. He is lives in Surrey, BC. Some of his fonts were used privately on transfer lettering sheets and cast in metal for hand typesetting at his private press, Sherwood Letterpress.

    At P22, he designed the semi-gothic font P22 Tyndale (2002) and Tyndale Extras (2002). In 2003, P22 launched Staunton's Sherwood Type Collection, a beautiful collection of revivals: Afton (2003), Albemarle (2008: connected script), Albion (2003), Albion Italic, Amelia (2003: ornamental caps in the style of William Morris), Aragon (2003), Avocet Light (2000: chancery script), Canterbury (2006, +Caps A, Caps B, Caps C, Pro), Elven (2003), Floriat (2003: floriated ornaments), Founders (2003), Freely (2002), Kaz (2008, between architecture and Comic Sans), P22 Kelly Pro (2009, Celtic style uncial), Latimer (2002), Lindum (2000), Mayflower (2002: medieval lettering), Mayflower Italic, Mayflower Smooth (2009), Mercian (2003), Phantasmagoria (2006: Celtic influences), Plymouth (2001), Roanoke Script (2002, a rough texture typeface; Albemarle is the smooth version), 1722 roman (2002), 1722 italic, Sherwood (2002), Sparrow (2001), Symphony (1995), Tyndale, and Tyndale Xtras.

    In 2005, he published the Staunton Script family at P22. This package includes handwritten style typefaces that simulate the period spanning between the English Civil War (1640s) and the Victorian Era (1839-1901): Virginian, Royalist, Grosvenor, Grenville, Elizabethan, Broadwindsor, Chatham. In 2009, just in time for Halloween, he created P22 Spooky. P22 Ruffcut was designed in 2012.

    In 2014, Ted Staunton finished P22 Amelia Jayne which has a classical roman, with several sets of initial caps.

    Typefaces from 2015: Clementine (Sans, Curly: pure Victoriana), Regina, Ridley (spurred mediaeval typeface), Ringwell (Victorian).

    Klingspor link.

    View Ted Staunton's typefaces. [Google] [MyFonts] [More]  ⦿

    Textism: Baskerville

    Based on John Baskerville's typefaces (1752), Textism likes George W. Jones' version of this font published as ITC New Baskerville: Compared to the slightly gothic feel of Caslon, Baskerville is purely neo-classical, in it is seen the straight lines and arches of neo-classical architecture. This digital version is ITC Baskerville, which is quite usable but unready for use in long-term reading. Excellent for display use however. See also Mrs Eaves, an interesting experiment in reviving Baskerville, aping the idiosyncratic nature of letterpress text in digital form.

    View digital versions of Baskerville. [Google] [More]  ⦿

    The Beauty of Letterpress

    Web site by paper manufacturer Neenah Paper (Atlanta, GA), dedicated to letterpress. [Google] [More]  ⦿

    Thom Janssen
    [Geen Bitter]

    [More]  ⦿

    Thomas Stupan

    German designer (b. 1983) of Onkelz 2014 (2014), a grunge letterpress style typeface created for the German rock group Böhse Onkelz. Chubby Poof (2014) is pure grunge. [Google] [More]  ⦿

    Thomas White Smith

    English typefounder, 1835-1907, who created Old Roman (incl. Italic) in 1895. This typeface was digitally recreated by Patrick Michael Murphy as Old Roman (2002, Mad Irishman Productions). Mac McGrew writes: Old Roman was designed about 1895 by T. W. Smith, manager of the foundry of H. W. Caslon&Company in England, where it was cast in small sizes, and copied by BB&S about 1903 with Caslon's permission. Sizes above 16-point were originated by BB&S. It is a modernized antique letter, with a little more weight than many romans, and became popular for advertising, especially for work that was to be reduced or reproduced photographically, before photolithography or etched letterpress plates had been developed to the point of sharp, accurate reproduction of typefaces. It has somewhat the feeling of Bookman, but serifs are unbracketed and longer with rounded ends, and some characters are less formal. This typeface was called Caslon Old Roman in some BB&S specimens, and copied by Monotype only under that name. Some versions were put on Linotype in 1913. A number of variations of this typeface were drawn by Sidney Gaunt for BB&S in 1907 to 1909, making a substantial and popular family, especially for display advertising. These variations include Old Roman Condensed,. Bold, which is about the proportion of Condensed; Bold Condensed, which is much narrower and heavier; Black and Black Italic, which are about the proportion of the original typefaces; and a unique Semitone, which is the Bold with a series of diagonal white lines cut through all strokes without an outline, making a shaded effect. This Semitone is also unusual among shaded typefaces in that the number of white lines is the same for any given letter, regardless of size; thus the shading is coarse in large sizes and fine in small sizes. [Google] [More]  ⦿

    Thomas Yendall
    [Riscatype]

    [More]  ⦿

    Tim Gibbon
    [Dynamite Printworks]

    [More]  ⦿

    Tipografia Leone sas

    Letterpress and typefoundry located in Firenze, Italy, est. 1950. At Dafont, and on their home page, they offer the free font Typography Times (2013), which is like Times, but with sharper edges and corners---the dagger and harpoon look. The same harpoon theme returns in the free sans typeface Leo Arrow (2013). Urban Elegance (2013), Typography Ties (2013) and America Faster (2013) are display typefaces. Romanesque Serif (2013) is a copperplate typeface. Carved Rock (2013) is a serifed typeface. Wind Sans Serif (2013) has angled cut terminals.

    Typefaces from 2014: Downtown Elegance, Paris in Love, Signoria (sans family), Clocker, Christmas Sounds, Dream Love Valentine, Dalmata Dream.

    They also set up a parallel free font foundry, Jambo Fonts.

    Dafont link. Fontspace link. Open Font Library link. [Google] [More]  ⦿

    tipoRenesansa

    A series of four international workshops run by Tomato Kosir in Slovenia from 2010 until 2012. The fifth was renamed TypeClinic, and that name will be used from 2012 onwards. The first workshop was held from July 25-31, 2010: A first-time international workshop deals with designing typeface for poster size in letterpress technique. That was repeated from August 28 until September 4, 2011 in Ljubljana. The Fourth Workshop took place in Trenta Valley near the beginning of February 2012. [Google] [More]  ⦿

    Tipos do aCaso
    [Leonardo Buggy]

    In 1998 a group of friends decided to study typography and produce digital types in Pernambuco, Brazil. Two years later they organize an exhibition of their work and established Tipos do aCASO as the first Brazilian Northeast digital type foundry. In the following years they sold and distributed their own types from catalogs, small objects and merchandising stuff. The group gained national prominence participating and being rewarded in competitive design exhibitions like Tipografia Brasilis, Pernambuco Design Conference, Biennial of Design by ADG-Brasil and Biennial Tipos Latinos. Soon the invitations to give lectures and workshops around the country started. The collective turns into a business and developes important dingbat projects for the Pernambuco's Government such as Manguebats and Armoribats. Today, Tipos do aCASO returned to its origins and works as a collective again. Managed by its founder, Buggy (author of the only Brazilian type design book written in Portuguese) the type foundry undertakes researches and promotes educational activities focusing on letterpress, typography and typeface design. Some designers:

    • Diego Credidio: Cabra-da-peste, Wayana.
    • Miguel Sanches: a great experimental font Arqueo, Bolha, Snake, Xilot.
    • Rodrigo Pires: Chango, Estuque (grunge), Rano Light (very experimental), Quadrinaits.
    • Buggy (Leandro Araújo da Costa): Cordel, the bitmap font Disquete, Oxe, Regua, Ferro de Boi, Palm and Stone. Most of his fonts were made in 1999.
    • Alex Carvalho: Rec Block.
    • Marcos Buccini: the destructive font Estruturas, Cafeina, Poracaso, Quadra (pixel font).
    • Renata Faccenda and Joana Amador: Toinho (children's handwriting).
    • Helder Diniz: Grea.
    • Marcelo Garcia: Celo Bold.
    • Yuri: Yuri Manimals.
    • Luciana de Mari: 3x4.
    • Damiao: Vincent.
    • Priscila Farias.
    • André Moraes.
    • Antonio.
    • Marcia Maia.
    Others include Matheus Barbosa, Leopoldo Leal, Bosco, Plínio Uchoa Moreira, Kboco, Gustavo Gusmao, Eduardo Cavalcanti, Marina Pontual, Milena Thé, Joceanny Lima, Daniel Lopes, Maurício Nunes, Luciana Medeiros, Daniel Pinheiro, Nara Rocha, Virgulino Melo, José Fabio, Melissa Trigueiro, Ricardo, George Vinícios, Paula Robalinha, Anderson Kleber, Carlos Santos, Fábio Henrique, Leonardo Rosa Borges. MyFonts link.

    Leonardo Buggy was born in Brazil in 1976. In 1998, two years before he graduated in design from UFPE, Buggy founded the first digital type foundry in northeastern of his country, Tipos do aCASO. Later, he worked as a graphic designer and art director collaborating and providing services to companies like Ford, Unilever, WalMart and Nannai Beach Resort. Between 2003 and 2006 he was cultural director of the Professional Association of Designers from Pernmabuco, APD-PE, and manager of Visual Arts and Design Centers of Recife City. At the same time he became CEO at Fundicio Design & Technology, member of Pernambuco's IT cluster. Still in 2006 he took a master's degree in Design also at UFPE. One year later, he wrote O MECOTipo, the first book published in Brazilian Portuguese about type design. In January 2008 he founded the Course of Technology in Graphic Design at Barros Melo College in Olinda City. He coordinated this first graphic design course offered in Pernambuco by a private institution until 2009, when he joined the staff of UFPE professors. He also organized and participated actively in conferences, exhibitions and competitions in Brazil and abroad, having been awarded on the 7th and 9th Biennial of Graphic design from ADG-Brasil, the 2004 and 2008 Biennial Tipos Latinos and the 2nd and 3rd Pernambuco Design. Currently, he works on post graduate programs in graphic design around his country and teaches typeface design, history of typography and printing techniques at the Design Center of CAA, UFPE. His most important fonts are Cordel, Disquete, Bitmap, Oxe, Regua, AvantBuggy, Lia and Fatwood. Located in Fortaleza, Brazil, he teaches at UFC. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Tricia Treacy

    Tricia Treacy has been running her own letterpress design studio, Pointed Press, creating custom book and print work for commercial clients, international artists, designers and writers since 2000. Using a combination of digital and analog methods, she collaborates on conceptual projects with a range of artists and designers.

    She has taught graphic design, letterpress and book arts at the University of Pennsylvania, the University of Delaware and the Mason Gross School of the Arts. Tricia is currently an Assistant Professor of Design at Appalachian State University in North Carolina.

    Speaker at ATypI 2012 Hong Kong: Vista Sans wood type project. [Google] [More]  ⦿

    Tyler Finck
    [Finck Font Co]

    [MyFonts] [More]  ⦿

    Type Americana 2

    American type history conference in Seattle, May 4, 2012, followed by workshops on May 5-6. Speakers included Paul Shaw (Oswald Cooper: Attacked by an itch to work with type), Cathleen Baker (Roycrofters to Renaissance: The progression of Dard Hunter's letterforms from arts and crafts to classical), Paul F. Gehl (Ludlow's Mutt and Jeff: Douglas McMurtrie and R. Hunter Middleton), Nancy Sharon Collins (Engraving: The curiously shy stepchild in American type genealogy), Thomas Phinney, Steve Matteson, and Richard Kegler (A second life for vintage American typefaces), and Frank Brannon (Print Your Own Language: The role of letterpress in Cherokee language revitalizationC). [Google] [More]  ⦿

    Type Navigator

    The book Type Navigator Typography The Independent Foundries Handbook by Jan Middendorp (2011) contains a CD with fonts. A list of the contents:

    • Anatoletype: Acuta Thin,DejaRip Demo, Dolce Basic-Thin
    • ARS Type: ARS Novelty
    • Avoid Red Arrows: Empties Full, FITAL Regular, Nazens, RegionBold, Zuendli Streichholz
    • Buro Dunst: Heimat Sans Demo Regular, Novel Pro Demo Regular, Novel Sans Demo Regular. Novel Std Demo Regular
    • BuyMyFonts.com: BMF Elettriche Mono Cubetto, BMF Elettriche Mono Cuore
    • Emtype Foundry: Periodico Text Light
    • Fabrizio Schiavi Design: Siruca Pictograms 1.2
    • FaceType: Letterpress Bastard, Lignette Script, Marlowe Swirl
    • Fontsmith: FS Blake Heavy, FS Rome, FS Rufus Regular, FS Sally Medium
    • Gestalten Fonts: Adhesive Black Ltd, Basic Light Ltd, Capricorn OSF Black Ltd, Engel Light Ltd, Naiv Fat, Nautinger Regular Ltd, Regular Cargo, Treza Regular Ltd
    • HVD Fonts: HVD Age 11, HVD Bodedo, HVD Comic Serif Pro, HVD Edding 780, HVD PEACE, HVD POSTER, HVD POSTR Clean, HVD ROWDY, HVD Spencils Block, HVD Spencils Regular, HVD Steinzeit fillin, HVD Steinzeit
    • Just Another Foundry: Zalamander Caps Bold, Zalamander Caps Extrabold, Zalamander Caps Extralight, Zalamander Caps Light, Zalamander Caps Regular, Zalamander Caps Semibold
    • LucasFonts: JesusLovesYou
    • Neutura: Orange Round Regular
    • OurType: Alto Condensed Semibold, Alto Pro Mono Condensed Bold, Comb Pro Thin, Eva Standard Light Italic, Fakt Medium, Fakt Condensed Light Italic, Fakt SemiCondensed Semibold, Fayon Standard Extra Black, Fresco Plus Standard Black Italic, Fresco Sans Condensed Light, Lirico Press Semibold, Ludwig Condensed Thin, Meran Condensed Normal Italic, Monitor Condensed Bold Italic, NeueSans Semibold, Parry Semibold, Sansa Condensed Soft Black Italic, Sansa Slab Light, Tiina Medium, Versa Condensed Normal, Versa Sans Condensed Bold Italic
    • Playtype: Play Bold, Play Regular
    • Storm Type: Aaahoj, Bhang Strong, LidoSTF, LidoSTFBold, Lido S T F Bold Italic, Lido S T F Italic, Lido S T F Condensed, Lido S T F Condensed Bold, Lido S T F Condensed Medium, Lido S T F Medium, Lido S T F Medium Italic, Regula Old Face Italic, Regula Old Face, Rondka Urtyp, Stencilul, Vida 33 Stencil Demo
    • Subtype: Cloud, Quart, SWEM
    • VetteLetters: VLNL Dream Meal Left, VLNL Dream Meal Right, VLNLDBXLZX-Bold, VLNLDBXLZX-Light, VLNLDBXLZX-Regular
    • Volcano Type: Matryoshka Pregnant
    [Google] [More]  ⦿

    Typesketchbook
    [Chatnarong Jingsuphatada]

    Chatnarong Jingsuphatada is a type designer in Thailand. He set up Typesketchbook in Bangkok. In 2012, Chatnarong made the 4-style plumpish sans family called Gusto and the elegant condensed hand-drawn Olive (2012). Kilo (2012) is a clean sans family of the Eurostile genus. Caffeine (2012) is a hand-printed poster typeface. Gram (2012) is another elliptical sans family.

    Typefaces from 2013: Labrador A and B (a 32-style simple sans family---the B series is a rounded version of the A series), Quan, Quan Slim (32-font organic sans family), and Quan Rounded (a clean sans family covering all weights from Hairline to Black).

    Typefaces from 2014: Orev (+Hairline: an organic sans), Tolyer (a large letterpress emulation family), Abula and Abula Organic (slab serif family), Klimt (+Organic, a slab serif family).

    Typefaces from 2015: Noyh (a 72-style geometric sans family with and without rounding; it was extended in 2016 to Noyh A, which has Cafe Press, Bistro, Text and Hand sub-families), Robolt (Machine, Battery (weathered), Vintage (art deco)), Delm (a rounded ink-trapped sans family), Betm (a geometric sans family covering Hairline to Extrablack), Mairy (rounded display sans).

    Typefaces from 2016: Breul Grotesk (a 32-style Bauhaus-inspired geometric typeface with sharp (A) and rounded (B) subfamilies), Orev Edge (an organic sans), Meltow (Sans, Script and Marker families of hand-drawn typefaces).

    Typefaces from 2017: iGliny (hand-crafted), Betm Rounded.

    Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿

    Typoforge
    [Blazej Ostoja Lniski]

    Blazej Ostoja Lniski (b. 1974, Czersk, Poland) specializes in painting and lithography. From 1994 until 1999, he studied at the Warsaw Academy of Fine Arts. Currently, he is the Dean of the Faculty of Graphic Arts at he Warsaw Academy of Fine Arts. He founded the typefoundry Typoforge.

    Creator of Merlo (2014, inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa; followed in 2015 by Merlo Round and in 2016 by Merlo Grotesque and Merlo Neue ), Cervo (2014, a simple almost heartless sans that was inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa that appeared from 1960 until 1973 in Poland), Cervo Neue (2016), Toppo (2014, a letterpress emulation family inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa), Pekora and Pekora Slab (2014: inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa (Poland) between May 1960 and December 1973), Rospi Clean (2014: inspired by the weekly Tygodnik Ilustrowany from 1933), Rospo Wood (2014: a worn letterpress typeface inspired by the weekly Tygodnik Ilustrowany (1933)), Lupo (2014), Kapra (2014) and Bobbin and Bobbin Cyrillic (2014, letterpress style), which were inspired by You And Me Monthly published by the (Polish) National Magazines Publisher RSW Prasa which was active from 1960 until 1973. Kapra is beautiful---it has some of the masculinity of Impact and the naïveté of wood type. Other typefaces by him in 2014 include Skuul (a desperate cold war font inspired by a Letraset font from 1981), Blezja (inspired by a metal tin dated 1907, Potsdam), Greta (a roman typeface based on a prayer book from 1888), and Kleks (grunge typeface inspired by vernacular typography in Potsdam).

    Typefaces from 2016: Cozza (a grungy typeface family based on the dry transfer architect set Unitras Letraset from the 1980s).

    Typefaces from 2017: Kapra Neue (24 styles).

    You Work For Them link. Creative Market link. Behance link.

    View Typforge's typeface. [Google] [MyFonts] [More]  ⦿

    Typography Day 2012

    Typography Day was organized for the fifth time in 2012 (1st-3rd March) at the Industrial Design Centre (IDC) at the Indian Institute of Technology Bombay (IIT Bombay) with support from India Design Association (InDeAs) and Aksharaya. The event will include an international conference which will be devoted to addressing issues faced by type designers, type users and type educators. The theme for this year's event is Typography in Publication Design. The speakers whose talks touch upon type design include

    • Evripides Zantides: The use of eye-tracker technology to evaluate typefaces, greek fonts and publication design for screen
    • Mahmood MazaheriTari: Abilities Of Persian Typefaces&Persian Calligraphy In Stencil Type Design
    • Mariko Takagi: Typographic Culture of Hong Kong
    • Sophia Oduol: Innovative applications of Typography - Ancient African Typographic Symbols in Contemporary Publication Design
    • Veronika Burian: Typographic matchmaking
    • Ishan Khosla: Typocraft: Creating an Indian Typographic Identity
    • Yashodeep Gholap: Designing a Devanagari text font for newspaper use
    • Chitchai Kuandachakupt: Ariyaka, the early typeface leads modern industrialization of letterpress printing in Thailand
    • Samradhi Katare: All That I Have Learned About Devanagari----Evolution of the Devanagari script and development of letter-form design based on Vox-ATypI classification of type
    [Google] [More]  ⦿

    Typoretum
    [Justin Knopp]

    Justin Knopp graduated with a BA in Graphic Design from Central Saint Martins College of Art&Design in 1994. Now, he runs a letterpress shop in Colchester, UK, and makes beautiful cards (among other things). He also has a blog. [Google] [More]  ⦿

    Uppertype
    [Pedro Lobo]

    Portuguese foundry in Guimaraes and Porto, est. 2011 by Pedro Lobo, that sells Yorker (2012, a layered athletic lettering font), Borba (2012, a beautiful inline typeface), Sahara (2012, an antique shadow caps face), Akila (2012, a fashion mag didone), Public (2012, art deco marquee face), Scape (2012), Smart (2012, inline caps face), Desk (2012, shadow caps face), Kleiner (2012), Fabrica, Wannabe (octagonal), Kodhigo (slab serif), Molesk (2011, a free slab display face), Tabbaco (connected retro script) and Jono (2011, art deco).

    Typefaces from 2013: Player (a layered beveled typeface system), Porto (tweetware), Woodstik (a tall gothic wood type layered sans family that plays with texture and letterpress), Darko (alchemic, designed under the motto Uppertype goes hipster), Player (a layered type system), Bonie (organic sans).

    In 2015, he made the cursive school script font London Script and the vintage hand-crafted Vintagefolk.

    Typefaces from 2016 include Roska (a free stencil type) and Twoface (an Escher-style impossible font).

    Behance link. < [Google] [More]  ⦿

    Vasil Stanev

    Typographer and type designer in Sofia, Bulgaria, b. 1982, Sofia, who works mostly for Svetoslav Simov's typefoundry Fontfabric. In 2010, he made the ornamental all caps Cyrillic typeface Orthodox. In 2011, he created the ornamental caps typeface Floralis (which was finished by Svetoslav Simov) and the experimental typeface Negativ. Individual letters of Floralis: B, H, Q, Z.

    In 2012, he made Times New Roman Sans Serif.

    Nexa Rust is a set of 83 weathered letterpress emulation fonts that evolved from Nexa and Nexa Slab. This was a project by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev.

    In 2016. he designed the mythological typeface Bugazoo Letterbat.

    Typefaces from 2017: Jardin Ornatis (decorated caps).

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

    Vasilis Skandalos

    Athens, Greece-based designer of the free Latin / Greek font Retro Sans (2014), and the free sans display face family Wask (2015). In 2016, he designed the letterpress stamp typeface Stamps. Hellofont link. Behance link. [Google] [More]  ⦿

    Victor Debone

    Sao Paulo-based founder of Estudio Arnold, b. Sao Paulo. Victor has a degree in industrial design from Mackenzie University. Creator of the letterpress emulation typeface Muinto (2015), named after a Brazilian interior design studio. They explain the design: We thoroughly researched old letterpress studios to find the best combination of wooden typefaces, later printed, selected and digitalized to compose Muinto Display, which uses two different typesets combined to represent the Brazilian plurality and unevenness. Behance link. [Google] [More]  ⦿

    Victoria Bellavia

    Victoria Bellavia is a letter designer based in New York City. Her portfolio is outstanding. She created the curly typeface Mochina (2012), the letterpress style sans Astor (2013), and the quaint wedge slab serif typeface Marzipan (2013).

    Behance link. Hand Letter Design link. [Google] [More]  ⦿

    Vintage Foundry Illustrator
    [Marie Wagner]

    Marie Wagner (Vintage Foundry Illustrator, Munich, Germany) created a vintage Victorian typeface in 2015. In 2014, she designed Ink Collective (2014), a vintage letterpress emulation typeface.

    She originally operated as Mousemade Fonts [dead link]. Behance link. [Google] [More]  ⦿

    Vintage Type Co (or: Vintage Design Co)
    [Ian Barnard]

    Crowborough, East Sussex, UK-based designer Ian Barnard (Vintage Design Co) created the curly hand-drawn typeface Warrior in 2014. With Sam Jones, he designed the school script font Path Type (2014).

    In 2015, Ian created the vernacular script Northern Soul, the brush script Enjoy The Ride, the free hand-crafted typeface Foxhole, the brush font Sun Kissed, the connected monoline script typeface Smoothy and the letterpress emulation font Saltash.

    In 2016, he designed the poster typeface Sticky Lollipop, the American Oak series (Script, Serif, Slab, +scratchplate drawings by Emma Lindley), the vintage artisanal display typeface family Sugar Boats, the hand-crafted Outbound and Money Penny Script, VTC Symbols, the sans titling typeface Fruitbox, Money Penny Sans, the hand-crafted travel poster typeface Cool Britannia (2016), the vintage typeface family Sugar Boats, and the connected script font Bloomsbury, which is accompanied by Bloomsbury Sans and Bloomsbury Serif. In his Wood Type series (2016), he emulates old worn wood type and letterpress type---try out the free Condensed Slab Rough.

    Typefaces from 2017: Radiant Beauty (brush script), Adrenaline Brush, Foxtrail Script.

    Creative Market link. Behance link. Home page. [Google] [More]  ⦿

    Vitaly Glyph

    Moscow-based designer of Latin and Cyrillic, or purely Cyrillic, fonts. There is a list of Cyrillizations of existing fonts: Atreyu, LHF Bounce Script, Modeka, Turnpike, PL Barnum, Good Times Regular, Playful JNL (Jeff Levine), Armageda, Showcard Gothic, SF Comic Script, Jolly Good Sans Basic, Enemy (Shaivanalla Perumal), House Slant (House Industries), House Brush (House Industries), Komika Axis (Apostrophic Labs), Snickers (Mark Simonson), Grand Hotel (AOETI), Wisdom Script (Lost Type), Mission Script (Lost Type), Cylburn (Lost Type), House Script (House Industries), House Holiday Gothic (House Industries), LHF Branding Iron (Letterheadfonts), LHF Fancy Full (Letterheadfonts), LHF Firehouse (Letterheadfonts), American West (FontMesa), Champ Ultra (BA Graphics), PL Davison Americana (Monotype), Blenny (Dalton Maag), Bigfish (Floodfonts), Same Same, But Different (Hanoded), Enemy (Lost Type), Special Forces (Typodermic), Serpentine (URW++), Ritts Cursive (Eurotypo), Voga Medium (CD Type), Hermes 1943 (Lukas Krakora), Brand (Lian Types), Tasty (Hubert Jocham), Bullet Regular (House Industries), Filmotype Athens (Filmotype), Signika (Anna Giedrys), Art Department (Jeff Levine), Borg (titusprod).

    Original fonts made ca. 2015: GF Deathmatch (a super-macho typeface), GF Ram (pixel font), GF Mario (video game font), GF Mario Two, GF Oversize, GF Magnifica, Deadpool, GF Enroll (letterpress emulation), GF Happy Elephant (comic book style), GF Standout (compressed titling sans), Snickers Super (after the logo for Snickers), GF Bitrika (condensed display sans), Skazka (cartoon font), Minnesota (digitized Hamilton wood type), Alumnus (soft blackletter), Terminator Genisys, Comanchero (+Bevel (beveling using four layers)), Viko, Police (octagonal, athletic lettering), Terminator (after the movie), Old Poster font family, Lic Plate RUS, Lic Plate CT, Taurus Gothic, Slant GP (like Zelek), Brick Game (like Tetris), System Message, System Pixel, Digital 16s (LED).

    Behance link. [Google] [More]  ⦿

    Warehouse Design
    [Jesse Snyder]

    The Warehouse is a collaborative effort between Brittany Deighton (Kent, Ohio) and Jesse Snyder, who is located in Ohio. We also find a mention of Wilmington, NC, more recently.

    Typefaces by them include some icon font sets, Stilts (2013, a thin headline typeface), Narwhal (2013, a clean all-caps sans typeface), Miniglyph, Parks and Rec (icons), and Snack Time (icons). Together, they designed the slabby wood type (and letterpress emulation) typeface Ohio, Medical Icons, Survival Icons, Bike Icons and Transit Icons in 2013. In 2015, they published the squarish sans typeface Carolina.

    Creative Market link. [Google] [More]  ⦿

    Wiescher Design
    [Gert Wiescher]

    Gert Wiescher was born in Braunsbach am Kocher, Germany, in 1944. Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All of his typefaces are carefully fine-tuned and balanced. Wiescher founded first Munich Type and then Wiescher Design and Autographis. He is known as a hard, fast and prolific worker. His exquisite typefaces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. Wikipedia page. List of typefaces:

    • Scripts: Prima Script (2017: for menus and cookbooks), Marmelade (2015, +Fruits, a set of dingbats), Triana (2014, a thin monoline penmanship script named after a Spanish sailor on the Pinta who in 1492 was the first to see America---in this case the Bahamas), Floral Script (2014, copperplate style script), Sherlock Script (2014: this comes with Sherlock Stuff (fingerprints) and Sherlock Stuff Dots (ink stains)), Felicita (2013, a swashy copperplate script), Vividangelo (2013, after the handwriting of a real person), Dreamline (2013, connected monoline cursive wedding scripts in A, B and C styles), Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat bruishy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic typeface with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, hand-printed school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
    • Sans: Nic (2017), Azur (a large almost geometric sans famly with 1950s Roger Excoffon-style French flavours, called a Medterranean grotesk by Wiescher himself), Royal Sans (2017, after Theinhardt's Royal Grotesk---the forerunner of Akzidenz Grotesk--- from 1880), Docu (2016, a workhorse elliptical sans family), Viata (inspired by Bauhaus), Noticia (2016, in the Bauhaus tradition, with very pointy v and w, and a bipartite k; not to be confused with the 2011 Google Web Font Noticia Text by José Solé), Avea (2015), Aramis, Nota Bene (2015: squarish, narrow, technical), Nota (2015, technical and cold), Dylan Condensed (2014), Dylan Copperplate (2014), Supra (2013, grotesk: Supra Thin is free. See also Supra Condensed (2013), Supra Mezzo (2013, between regular and condensed), Supra Extended (2013), Supra Rounded (2015), Supra Classic (2014), and Supra Demiserif (2013, slab serif derived from Supra)), Dylan (geometric sans), Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Futura Classic (2006), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
    • Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Classic Fleurs (2014, ornamental caps), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
    • Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
    • Engravers: iDylan Copperplate (2014), Cavaliere (2010), Guilloche A (2009), Guilloche B (2013, op-art borders), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
    • Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a typeface commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter typeface based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
    • Slab serif: Suez (2017: with extra tall ascenders and descenders), Egyptia (2010), Egyptia Rounded (2010).
    • Typewriter: Lettera (2014), Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
    • Decorative: Franklin Gothic Raw Semi Serif (2015), Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic typeface derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Cassandre's Acier Noir, 1936), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain, which in turn is based on the famous romain du roi), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
    • Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
    • Stencil typefaces: Dripps (2010, handpainted, perhaps brutalist), Red Tape Plus (2014).
    • Comic book fonts or brush fonts: Breezy (2015), Caboom (2014).
    • Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
    • Commissioned and special typefaces include a version of the logotype for the Munich's newspaper Abendzeitung, a Cyrillic version of Bodoni Classic for Vogue Moscow, a special Bodoni Classic for Ringier Publishers in Zurich, and Red Tape, a typeface that is on permanent exhibition at the German National Library in Leipzig.

    Author of many books, including Zeitschriften & Broschüren (Systhema-Verlag, München, 1990), Schriftdesign (Systhema-Verlag, München, 1991), and Blitzkurs Typografie (Systhema-Verlag, München, 1992).

    The following text was excerpted from his wikipedia page: At 14 years of age, Wiescher went to Paris to study fine art. He financed his stay by doing portraits on the Place du Tertre on Montmartre. In the sixties Wiescher studied graphic design at the Berlin Academy of Fine Arts. (Since November 2001, Berlin University of the Arts.) He financed his studies by sidewalk painting and drawing portraits. While doing sidewalk paintings, he met the typeface designer Erik Spiekermann, who inspired his love of this branch of design. After two years he quit his studies, and went to Barcelona where he worked at the offices of Harnden & Bombelli, for whom he designed the OECD-Pavilion of the 1970 Osaka World Expo. In 1972 he moved on to Johannesburg working as an art director at Grey and Young advertising . In 1975, he returned to Germany, working first for DFS+R-Dorland, and then for the "Herrwerth & Partner" ad agency. At Herrworth, he was involved in introducing IKEA into the German market. In 1977 he became a creative partner in the Lauenstein & Partner ad agency, creating mainly campaigns for large German retail chains. In 1982 he started his own design office, creating work for editors (Markt & Technik, Systhema and Langen-Müller-Herbig), computer companies (House of Computers, FileNet) and he worked for Apple Computers designing their publications (Apple-Age and Apple-LIVE).

    View Gert Wiescher's typefaces. Wikipedia link. [Google] [MyFonts] [More]  ⦿

    William S. Peterson

    William S. Peterson is a University of Maryland professor, who had some nice pages on modern fine printing, with interesting contributions on George Allen, William Morris, Charles Ricketts, Henry Stevens, Daniel Berkeley Updike, and Emery Walker. Reservocation publishes an interview regarding his book The Well-Made Book (2003, a collection of Daniel Berkeley Updike Essays).

    I quote a passage: In the first half of the twentieth century, the best typefaces were almost always produced by Monotype, but that firm unfortunately fumbled the ball when the era of hot metal came to an end. Monotype's digital versions (and, slightly earlier, the versions for phototypesetting) of its own library of typefaces were often embarrassingly bad: Perpetua, Bembo, Bell, and Centaur, for example - all great Monotype triumphs in the days of letterpress printing - seem to me, now essentially unusable in their present forms. The Monotype typefaces that still look good in the twenty-first century are mainly ones that were a bit heavy to begin with, such as Poliphilus, Bulmer and Ehrhardt. [...] Of the typefaces designed since the digital revolution, my favorites for bookwork are Adobe Caslon, Founder's Caslon, Minion, Galliard, and Miller. [Google] [More]  ⦿

    Wood Type Revival
    [Matt Braun]

    Foundry specializing in digital versions of old wood type. Set up in 2011 by Matt Griffin, all font licenses refer to Bearded, which has offices in Pittsburgh, Pennsylvania and Montpelier, Vermont. Matt Griffin is a designer and co-founder of Bearded, and teaches in the School of Design at Carnegie Mellon University. He also has a great love for letterpress printing, which he acquired while attending Indiana University in Bloomington, Indiana, where he received a BFA in Graphic Design. Bearded writes: Matt Braun and Matt Griffin wanted to collect lost and forgotten old wood type from the 1800s and revive those typefaces as digital fonts for modern designers. Matt Braun is a senior designer at Bearded and letterpress printer. They first operated Rare Letterpress Wood Type as a kickstarter. After some time, they started the foundry Wood Type Revival.

    Their typefaces include

    • Concave Tuscan (2015). Concave Tuscan was first shown as wood type under the name Gothic Tuscan by William H. Page in James Conner's Sons Typographic Messenger (1866). Almost all the major manufacturers of the 19th century offered a version of Gothic Tuscan.
    • Cosmopolitan (2016).
    • Delittle Chromatic (2016). DeLittle Chromatic was issued by DeLittle of York around the turn of the century under the name No. 56/54.
    • WTR Fat Boy (2011). Fatboy is derived from a widespread (no pun intended) typeface of the 19th century, commonly known as Antique Extended. It was first seen in print as wood type in 1838 in George Nesbitt's First Premium Wood Types Cut by Machinery.
    • WTR French Clarendon Ornamented (2011). The original design for French Clarendon Ornamented first appeared in print in the catalogs of the type manufacturer Young&Morgans (who was later purchased by Morgans&Wilcox Mfg Co) between 1876-1880. M&W was later purchased by Hamilton Mfg Co in 1897. Hamilton then offered this typeface under the name No 3026.
    • French Octagon (2011). French Octagon was first shown by Morgans & Wilcox Manufacturing Co. in their 1884 Condensed Specimen Book of Wood Type.
    • Grecian Light Face (2016). This revives Light Face Grecian by David Knox & Co. in 1858.
    • WTR Gothic Open Shaded (2011). Gothic Open Shaded was first seen in George Nesbitt's First Premium Wood Types, Cut by Machinery (1838). This cut of Gothic Open Shaded most closely matches a design first cut by Young&Morgans between 1876-1880. Once Morgans&Wilcox was acquired by Hamilton Manufacturing Co. (1897), they listed the typeface as No. 3238.
    • WTR Gothic Outline (2016).
    • WTR Roycroft (2011). The arts and crafts typeface Roycroft was originally created by Miller & Richard under the name Teutonic and is shown in their 1909 catalog. It is a hand-carved typeface.
    • Planned is Grecian Light Face.
    Creative Market link. [Google] [More]  ⦿

    Xerographer Fonts
    [Max Infeld]

    Max Infeld (b. 1981, aka Xerographer Fonts) from Chico, CA, makes free fonts and offers a free font-making service. He surged onto the font scene in 2012, and is currently located in Ojai, CA.

    Creations in 2012: Perspect (3d face), Nuevo Stencil, Dingus, Dirty Serif, Skinny Serif, Batt Marber, Hollavetica (2012, grunge), Stick Tickle, Carve Your Table (2012), Stripe Fest (2012, 3d, hand-printed), Craycray For You, Feed The Bears, Yummy Nubs, Yum Nub Extended, Sleeping in Lecture (2012, informal 3d face), Zombie Checklist (2012, hand-printed), Lisas First Class (2012, hand-printed), Stick Four, Two Stick, Spacetime, Drunk Tattoo, Bantum Caps (2012, hand-printed stencil face), Funny Zebra, Sick Future (2012, grungy), Fuzzy Handcuffs, Black Spiral, Happy Caps, Come Party, Hellawood, Chronic Gothic, Ice Cream Party, Grassevent (2012, texture face), Electrical (2012, letters cracked by lightning), Rockster, Strungout, Bubbletea (2012, bubblegum font), Yumernub, Nighthour, Pointy, Simplehand, Linerstencil, Stickchop, Tapetype, Rolling Deep (2012, based on arcs of circles), Pony Rides, Bambu, Stolen Script, Secret Sauce, Eighties, Negative, Turds, Identify (2012, a fingerprint font), Another Party, Mighty Roping, Copy Stand, Cloudstorm, Teardrops, Friends Forever, Delicious Applepie (texture face), Crackvetica, Stormtime (grungified face), Therp (2012: 3d face), Spookies, Freeline (3d engraved face), Super Serious, Robot Shadow (2012: 3d face), Great Arrows, Great Shadow (2012: textured face), Alien Fur, Graffical, Bent Out, Splatish, Seamonster, Thirds Hand (2012: 3d outline face), Particle Physics, Poster Script (2012: rough script), Badazzle (2012, texture face), Serifvetica, Make Impact (2012, a 3d headline typeface), Stenciltration, Naughty Pipe, Qrurl, FunHaus, Flame Time, Steller Script, Summer Festival (2012, grungy caps), Major Earthquake (2012, grungy outline text face), Hot Sweat (2012, texture face), Metal Crime (2012, a cracked marble typeface), Summer Blacktop, Great Farmer, an angular typeface, Lucky Scratcher, Future Moon (textured face), Shatter Web (2012, a glaz krak face), Power Play (2012, another glaz krak face), Magic Crystal (2012, yet another glaz krak typeface), Rough Cut, Rock Harder (2012, texture face), Shred Hard, Clock Work, Major Veins, Paint Scratch, Break Away, Quick Comic, Summer Scriptastic, Absolute Money, Brush Sand, Playhouse, Pleasure Wash, Meat Market (dripping blood font), Paper Folder, Scratchingly, Fresh Sticks, FunTrucks, Quick Rodeo, Poster Bold, Open Bars (horizontal stripes), Outline Twelve, Spot Event (grungy outline face), Final Slash (textured typeface), Munchies, Meltasstic, Some Bubbles, French Sugar (very curly script), Cream Cone, Zap Deal, Crack Snacks, High Method, Crack Bars, Wall Fresh, Star Wonder, CurlyQue, Summer Script, Happy Lines, Just Marker, Solid Marker, Straight Hand, Wurm Fun, Rave Time (sketched face), Graff Caps, Erect Angle (outlined and hand-printed), Circle Caps, Story Time, Upper Side, Lower Side, Tech Haus (sketched), Boneyard, Status Update, Eigth Grade (sic), Table Shank, Serial Lover, Freaky Night (blood drip font), Future Girlfriend, Summer Scare, Faster Stronger, Smoking Cracks (texture face), After School, Cutting Edge, Animal Cracker, Sticky Mad, Comic Chub, Right Way, RockLess, CleanFade, Exploded Capital, Size Matters, EightBite, Extra Dimension, Cap Scratched, FanCom, Optic Nerd, Spooky Stencil, Five Dozen, Great Mix, LowCase, Swirl Insertion, Lube Splash, Organic Vines, Fall Greetings, Plant Type, Fast Brush, Hair Bows, Limo Caps, Bold Shake, Path Check, PopCap, Angle Stroke, Scratch Point, China Town (oriental simulation), Gunky Ick, Super Fade (textured), Practical Script, Delicious Outline, Fourth Dimension, College Scribble (sketch font), Dirty Western, Freeky Typewriter, Creature Builder, Bang Time (a rough brush), Fall Harvest (sketch face), EuroParty, Fire Proof, Eye Scare, Empire Caps, Pleasure Castle (a great barbed face), Scribble Time (sketched font), Star Rising (poster font), Dottline, Euro Horror, Metal Show (metal band font), Fantastic Sunset, Toxic Waste, Alien Waffle (textured face), Rewind Forward, Stitchy Times, Snug Bum, Star Fishy, Ghost Clouds, Epic Slash, Childs Persprective, Thin Fine, Metal Event (chiseled face), Tight Box, Saber Husk, Major Scare, Terminal Event, Pirates Bay, Wicked Cockney, Great Splunk, Diamond Cut, Treehause Horror, Indie hand, Sweet Revenge, Chronical Script, Peaceful Violence, Basic Header, Hand Work, Ninja Turtle, AquaColor, Furry Sack, Mad Style, Alien Dot, Dirty Feature, Wine Basement (connected script), Pen War (scratchy script), Angelina, Skate Around, Wide Thin (brush face), Frisky Vampire, SuperBling, Chronic Harvest, Fur Handcuffs, Darth Fader (textured face), House Rave, Snow Frosting, Post News, Straight Baller (white on black poster face), Heavy Weight, Angry Nerds (brush face), Future Style (hand-printed 3d face), Liner34, Tweak Diner, Frosty Holiday, Zap Control, Kids Outline, Shock Treatment, Flesh Digster, Shredding Harder (grungy scratchy typeface), Metal Chakra (barbed wire face), Childs Funtime, Super Cut, Holy Scriptacular, Tangent Print, Chung Flew, Lucky Money, Oven Bread, Soda crack, Quick Dirty, Victory Cut, College Dropout (athletic lettering), Comic Shadow, Mystery Forest (sketched), Code Danger, Slash King, Phat Rave (sketched), Tiger Tails, Major Rules, Cloud Home, Flower Header (floriated caps), Tiny Friends, Tasty Sundae, Leaking Type, Saturday Evening, Agenda Clash, Tripple Dots, Plain Handline, Cutefold, Gift Exchange, Reaganald Script, Broadway Event (marquee face), Gotfaded (textured face), Disco Rush, Some Lines, Inside Flower, Scratch This, Alien Sweater (stitch font), Fantom Bantum, Stripe Fun, Thrift Store, Legit Outline, Country Gold, Chrome Fancy, Barnyard Massacre (Treefrog style), Holiday Event, Art Times, Flesh Shop, Heart Baller, Free Kittenz, CreamPuff, Outline Around, Quivering Noodle, Rocking Lines, Tugboat, Comic Bubble, Hand Shadow, Sans College, Winter Ice, Cutout Poster, Woodblock Cutter, Handy Stencil, Dirty Cursive.

    The following typefaces were designed by Matt Barber: Gateway Drug (2013), Crankdeal (2012, a hand-printed poster face), Mad Caps, Third Leg (multiline typeface), Late Nights, Sewn Tight (2012, stitch font), Black Widow (2012).

    The following typefaces were codesigned with Dylan Tellesen in 2012: Dingleberry (+Solid), Threed, Brushingtons, Excellent Stencil, Handrelief, Partyline, Basic Chrome, Spot Lights, Big Spit, Code Bars, Color Blind, Skullvetica, Diamond Plate, Blambu, Hounds, Knity (texture face), Eightballer, Another Line (a basic straight-edged monoline sans), Rocking Poster, Robotic Revolution, Organic Nature, Underground Event, Surf Shack, Greater Shadow, Razor Slice, Big Print (textured face), Scripty Caps.

    Typefaces made in 2013: Fresh Maker, Lucky Dogs, Quickly Write, Gourmet King (glaz krak font), Austin Lights, Pony Maker, Crystal House (grunge), Secret Event (textured face), Indian Tiger, Great Camp, Cowboy Would, Western Racing, Stripe Attack (textured font), Art Bang (grunge), Quick Scratch, Cold Brew, Fresh Twist, Nine Eight, Going Fast, Mega Riches, Taste Bomb (textured face), Brighten Days, Supergraf (a brushy graffiti face), Last Hand, Spring Ninja (brush face), Circuit City, Global Village, Yard Gnome, Lite Hand, Metal Block (Zero, Two, Three: scanbats), Indie Rock, Ancient Story, Super Drag, Slight Rocking, Over Scribble, Quickly Caps, Crack Deco, Victory Time (faded formal script), Futuristic Outline, Another Student, More Party, Brush Grunge, Zipper Fries, Diamond Lux, Splatter Funtime, Durh Shapes, Frosty Winter, Whole Space, BlockWood, Soda Water, Magic Scribble, Seaming Stitchy, Thrash Party, Line Fever, Great Bush, Right Price, Tight Carve, American Freedom, Jimbos Print, Quick Cut (faded face), Super Cracks (glaz krak face), More Party, Half Faded (textured face), Charcoal Script, Future Lines, Dot Outline, Half Tones, Shady Walk, Quick Slash, School Notes (sketched face), Block Party, Wonderful Party, Heart Stripe, Heart Beat, Heart Hole, Paint Balls, Golden Lights, Spring Party (texture face), Shockvetica (glaz krak face), Safe Paper, Sword Fighting, Camo Wear (textured face), Disco Night (art deco), Reverse Frick, Scratchy Fun (sketched), Fun Origami, Special Exit, Kid Print, an old typewriter collection (Dirty Olympia, Sterling Keys, SuperKeys, Quiet Type, Hermes Rocket, Double Studio, Light Fingers), Designer Pixels, Beauty Salon (Treefrog script), Headshot, Mega Bone, Fantastic Habits, Fridge Letters (textured), Kids Blocks (scanbats), Theater Event (grunge), Circle Pixels, Taste Bomb, Kite High, Run Away (3d) Dirty Coal (brushy), Dot Sticks, Twerk Fifty, Dance Lights (textured), Steam Rose (textured), Donkey Punch, Fold Line (origami), Tiger Nuts (textured), Fun Bear, Standard Header (letterpress, 3d), Marble Wasteland, Bender Lines, Magical Springtime, Open Hatch (hand-printed), Retro Tastic, Space Zombie (hand-printed), Mad Triangle (textured typeface), Sweaty Party (a fun sketched typeface), Freaky Manor (gothic typeface), Special Brand (texture face), Western Clown, Company Problem, Derp Icons, Pixel Hour (textured face), Basic Scratch, Indie Sellout, Next Level (textured face), Third Rail (grunge), Real Trap (athletic lettering), Bang Party, Title Solution (textured face), Special Third (textured face), Deal Maker (textured typeface), Liquor Bank (3d), Electrical Neue, Eighties Locker (grunge), Visual magnets (textured typeface), Final Relief (textured), Comic Tans, Bright Headline (hand-printed), Tiger Bawl, Cut Away (cutout letters), Kings Castle (textured face), Southern Riots (grunge), Slick Wave (textured face), Smash Break (texture face), Thin Simple, Super Rocket, Kids Game, Eighties Shades, Melt Factory, Pirate Zombie (grunge), Doktor Scratch, Mix Tape (textured face), City Tags, Gotcha (3d face), Wild Scratch (textured), Inter Fade (textured), Urban Labels (textured), Hot Tropics, Quantum Pixel (grungy), Minus Plus, Lower Scratch, Flying High, Broken Mustangs (script), Byte Shades (textured), Bolt Light (textured), Just Quick, Hotrocks, Total Event, Racing Flow, Energy Drink (textured), Inside Box (a wonderful metal-look textured typeface), Heat Wave (a wide poster face), Great Miami (arched typeface), Disco Midnight, Clean Scratch, Vegas Nights (textured and smudgy), Pirate Disco, Swift Chops, Zero Hype, Dot Tricks (grungy), Shaken (glaz krak font), Great Points (textured), High Level (textured), Break Time (textured), Circus Party, Crash Site (glaz krak face), Lower Resolution, Fifty Hours (script), For Sale (script), Broken Fixed (script), Hieroglyph Licks, Think Plan, Fancy Shadow, Forwards Backwards, High Sales, Slash Thirty (blood drip face), Universal Freaky, Event Shark, Bone King, Sharking, Magnetic, Paper Shreads, Summer Watermelon, Bubble Yums, Crazy Eyes, Danger Waffles (textured face), Early Scare, Farm Barns, Freckle Jackson, Greater Sales, Indian Summer, Mixed Thirty, Positive Warp, Reasonable Speculation, School Party, Scratching Matters, Lemonade Summer, High Style (textured face), Biology, Aweseome Style, Box Lines, Cloud Ahead, Going Around, Hot Flash, Major Stripe (sketched face), Pixel Draw, Summer Fire, SuperTack, Sure Real (Treefrog style), Totally Straight, Mega Gothic, Basic Hand, Chief Scare, Plain Slice, Sail Away, Gone Away, Chubby Muffin, Crack King, Dirty Jobs, Paris Label, Phone Home, Kids Party, Zombie Stitch, Moden Post, Rock Bait (Treefrog style script), Tent Sale (brush face), Event Maker, Quantum Ants, Cheap Horror, Extra String, Scratch Times, Snorkel Whisp, Dirty Looks, Bould, Window Crash (glaz krak face), California Harvest, Twerking Nasty, College Movie, Easy Horror, Brush Some, Autumn Two, Season Fourteen, Always Never, Fresh Bone, Scare Camp, Twinkle Fingers, Dirty Bandit, Metal Clash, Simple Folks, Sunrise Disco, Danger Zone, Swift Break, Dusty Salmon (textured face), Urban Poster, Tasty Drips (dripping paint font), HardLine (3d font), Technophilia, Zombie State, Come Inside, Popular Invite, Tough Horror, Wonderful Phonograph, Zombie Scratch, Thunder Crack, Fresh Riot, Metal Atlas, Grunge Shack, Gif Wrap, Punk Inside, Disco Break, Quantum Future, Major Black (textured), Stone Bird, Fantastic Party, Quick Money, Fast Time, Hecka Grunge, Electric Night, Tasty Swirl, Helping Stranger, Radical Llamas, Real Gold, Double Shadow, Space Cats, Space Fight, Furious Racing (textured typeface), Snow Flakes, Solid Event, First Place, Total Shock, Hairy Fun, Cats String, Dragons Breath, Stripe Disco, College Bytes, Late Club, Road Skin (textured), City Heights (textured), Easy Bricks, Insert Fun, Grunge Kids (textured), Solid Brand, Winter Decor (snow crystal font), Doctor Meow, Real Fast, Major Sketchy, Easy Romance, Globtastic, Noses, Strike King, Salty Would, First Contact, Extra Zero, Space Bang, First Avenue, Dirty Shocker, Delicious Candy, Drop Inside.

    Typefaces from 2014: Absolute Invite, Fancy Sauce (simulates an oriental typeface), Fair House, Gansta Walk (graffiti typeface), Spring Away (script), Heavy Load (fat brush), Amazing Sunshine, Club House, Magic Status, Big Party, Ocean Twelve, Lost Type, Spring Harder (textured), Escape Great, Fine Things, Cut Five, House Boat (textured), Splat Matrix, We Spring (gunge), Great Band (textured), Sky Limit, Four Six, Quick Sales (textured), Vegas Neon, Xero Typique, Ink Special, Bad Luck (glaz krak face), Handing Over, Megaphilia, Late Drank, Atlas Grunge, Right Track (textured), Square Deal, Great Party, Next Wave, Doges Walk, Dirty Locals, Boulder Scare, Clean Easy, Come Around, Fresh Holiday, Half Light (a condensed brush face), Light Curls, Lower Case, Magic Beauty, Much Funky, Plain Lines, Ten Fresh, Simply Fresh, Windy Metro, Play Along, East City (textured), Bernal Heights (grunge), Metalblock Delta (textured), French Disco (textured), City Magic (textured), Thunder Head, Lucky Diamonds, Great Storm, Neon Taste (textured), Night Hawk, Trap Music (a sketched typeface), Close Race, Major Label, Fresh Track (an all-caps brush typeface), Jack Trades, Cut Blox, Metal Block Theta (textured), Fired Bread, Angry Beavers (script face), Get Real, Lost Ray, Slot Machine, Animal Planet, Very Rich, Hawt Would, Above Ground, Grave Pain, Heaven Gate, Countrry Diamonds, Master Strike, Great Ending, Dreaming Pandas, Olden Times, String Tyme, Wrecking Ball, Great Nineties (sketch face), Lightning Blaze, Club Night, Certain Times, Clean Bubbles, Disco Party, Stoned Heights (glaz krak font), Can Opener, Metal Block Tango, Disco Fresca, Static Heights, Chronic Deal, Fire Block, Capital State, Burger Hut, Chicken Waffles, Bro Hugs, Indie Hype, Smoking Pistols, Mega Play, Light Break, Fadevetica, Metal Block Serif, Dream Stencil, String Piano (grunge), Binaty Waters (textured), Soth West, Magic Pens (fat finger font), Mega Bits (dot matrix), Zebra Disco, Luxury Import, Rapid Sloths (Treefrog-style handwriting), Spring Rage, Delicious Mocha (textured), Tropic Disco, Sprung Breakers, Urban Trails, Many Times (textured), Spring Headliner (textured), Party Lights (rounded stencil), Slick Ride (grungy), Burn Side (textured), City Stencil (grungy), Love Joy (textured), Neon Disco, Witches Brew (halftone texture), North Beach (textured), Metal Black Naked, Metal Block Ultra, Wet Razors, Cat Meow (sketchy face), Dance Away, Salty Beach (textured typeface), Great Horizons, American Western, Start Menu (halftone texture typeface), Zip Down, World Peace, Super Round, Spring Fruit, Open Lounge, Magic Kids, Fresh Candy, Four Stars, Gold Ring, Fun Time, Dark Box, Major Clue, Alert Notice, Love Riot, High Boat, Real Hard, Canada Mist (textured), Flavor Maker (textured), Spring Daisy, Great Springtime, Danish Crack (glaz krak), High Rating, Awesome Play, Flash Dance, Super Awesome, Paint Night, Pixel Drip, Ready Start, High Flight, House Music, Alternative Nineties, Technologic, Beaver Scratches, Spring Bump, Fancy Animal, Graph Master, Many Lines, Quality Control, Hot Discovery, Disco Trap, Ripe Dusk, Spring Dance, Electrical Storm, Electro House, North Cowboy, BiteTyme, BubLight, ChronicSales, ColdSpring, DeliciousFrosting, FloweringBuds, FrenchDance (white on black), Frequency, GetAround, GiftCards, LargeCrayon, MadSkilz, MetalShred, PeaceFight, ProximaFour, RightPlace, RockingTimes, ShwedyBawls, ThinkLight, WildThang, Make Out (crayon font), Clean Dirty (another crayon font), Digital River, Jaged Edge (sic), Loathing Fear (a great Treefrog style typeface), Metal Spectacular, Quit Work (crayon font), Special Delivery, Big Crump, High Fence (glaz krak face), Delicious would, Neon Tech, Right Brew, After Work, Pit Stop (textured), Strong Void, Love Scratch, Maiden Voyage, News Worthy, Mint Coin, Hipster Bike, Ready Made, Ten Dimensional, New Highs, Banlieue Disco (textured face), Punk Event, Soup Kitchen, Such Money, The Pulse, Thirdly (3d face), Train Station (a great ultra-fat rounded sans), Goldfinger (script), Neurotick, Hawt Comix, Talking Louder, Mind Storm, Astral Projections, AncientSprawl, BeautifulThangs, BoulderRough, ChronicMethodMB, CleanSimpleDT, DropKickMB, EasyDoughDT, FairBanks, FaultLineDT, FiftyShadowsDT, FrenchPirates, FuelControl, FunMeatsDT, GrandCircleDT, GreatFriendsDT, GreatSails, HawtFriend, JuicyCultureDT, JustWriteDT, LearningMachine, LearningMachineItalic, Marijuana, MegaLife, RedPanda, SecretTickleMB, SlickRoadsDT, SmokingParadise, StarDancing, StringTheory, StrongEventDT, ThinkingAcademicDT, ThugLoveDT, California Delights (connected script), Super Freak (textured), Extra Highs, Slime Bawls, Metal Witch, Grape Soda, Little Spooky, Such Frosting, Monster Slash, Burn Time (textured), Quick Fade (textured), Urban Animal, Prison Escape, Super Fear (dripping blood font), Final Days, Racing Numbers, Pirate Spider, Walking Dead, Hatch (textured), Strawberry Longcake (curly), Mad Zombies, More Dimension (3d), Popular Culture, Princess Cake, Wine Tasting (vampire script), Toxic Powers, Zombie Treats (rough brush), Total Eclipse (brush), Whisky Lickers, Brain Washers, CityVetica, Turn Up, Basic Sharpie, Electronic Voyage, Swingers, Heavy Loading, Solid Waste (textured typeface), Swingers, HighLines (sketched typeface), IceCold (textured), ManyGifts, OpenStore, PlaidEvent (textured), RustyNail, SickDream, WantedPirates, BreakingNews, FantasticSeasons, FantasyMachine, FluShots (rough brush), GreatWinter, HeavenlyWings (sketched), KentuckyBourbon, LoveBombs (rough brush), MicroBrew, Slashtacular, XmasLite, Golden Dabs (grunge), Urban Paints, Making Ideas, Just Brains.

    Typefaces from 2015: DigitalStream, EightyOne (sketched), GrandStencil, GrandZeroes, LightFuze, LiquidMagic, MetalReason, MiamiShades (shadow font), TakenBlack, TakenBlackItalic, TeaParty, WinterCrops, WonderInk (tattoo font), YoungRanger (connected script), Late Noise, Dark Papers (textured), College Thrash (sic), CrispyBones, DrawingMachine, JusticeWanted, KrampsHandso, PolarBears, SolutionFive, Shock Colours, Washer (textured), Dynamatics (textured font), Flowery Death, Pushing Sticks (dry brush font), Righty Marks (marker pen font), Baked Trains (graffiti font), Chronic Delivery (signage script), Intaglio Plains, Modern Reality (dry brush script), Nuevo Trenta, Rastaerize, World Shocker, Grape Blaster, Slate, Stencil Disco, Technocracy, Yarden Tawns, Flaunts (textured), Ringlead (textured), Freshly Thinking (script font), Plutonium (textured), Space (textured), Boulevard, Nuevo Disco, Stamp Ink, Educated, Krusty Signs, Quagent, Dusty Hotels, Cracked (glaz krak face), Amplitudes (techno sans), Frozen Rita, Beast Mode Suite (an avant garde family; +Disco), Epicenter (athletic lettering), Kitchen Cowboy (modular and spurred), Forest Lakes, Northern Montgomery, Biometric (techno family), Modernism, Higher Pixels, Grandious Vengeance (scratchy script), Second Avenue, Just Perforate, Grave Danger, California Designs, Natural Products, Boxing Chocolates, Beyond Space (textured), Asterisk, Katchy Markers (rough dry brush), Black Ties (sketched), Twenty Singles, Great Shake, Monster Energy (textured), Precious Moments (vampire script), Nuevo York (a vampire script), Faux Antique (another vampire script), Zero College, Fun Sized (drop shadow face), Blueberry Waffle, Stale Marker, 12 ounces, Raw Diet, Megadeal, Blklite (textured), Prison Break, More Candy, Fuel Tanks, Hot Bone, Break Point, Fresh Waters, Lower Haight, Carnal Devices, Juicy Boxes (sketched font), Special Case, Urban Life (dingbats), World Beings (dingbats), Twenty Something (textured), Many Fun, Expensive Solutions (brush), Dopeframes, Fun Lines, This Way (hand-crafted arrows), Rinse Wash, Trap House (crayon font), Love Marks (dingbats), Viral Fun (scanbats), Grape Dragon (brush script), Juicy Rags, Pleasure Riot.

    Typefaces from 2016: DecoRated (art deco), Recreational (3d, outlined), Tiny Shack (3d, outlined), Sugar Cakes, Regime Change, Treasure Hunt, Taco Fiesta (Mexican simulation font), Crystal Breath, Purple Drank, Denominator, Perceptual (art deco), Realismo (futuristic), Banquetier (a monoline deco typeface), Continents, Asperian, Fonderian, DeadTasty, Distinguished, DraftHouse, FreakyTwenties (white on black poster typeface), LuckyTricks, (outlined) MajorChronic, (outlined) Moulden (outlined), OldeBarnsby, (outlined) Marquez (crayon script), Hand Typist, Fauquier, Blockchain (3d style), Zombie Story, Private Fort, Spiral, Spherism, Swaingarm Yori, Solarium (outlined techno typeface), Tracksion, Hail Stormz (grunge), Paper Scraps, BombingStencil (textured), ExtraSprinkles (textured), MagneticFriends, PerfectChisle, PrizedStudy (sketched), RealPrizesItalic (tattoo script), RealPrizesVeryItalic, SketchyBuilder, Tragic Prequel, Twisty Pixel, Movie Nite, Gaslighter, BeautyScript, BlackSmith, Education (grungy athletic lettering), Kickstop (white on black), LemonadeHustler, PrinceCharming, SurfPoint, Wickers, BigTangle (triangulated), FlavoredCrayons, FreshCandies, RedlightDistrict, SingleOrigin, SnakeBite, SpringRaces (children's script), Valencia (dry brush script), BoldDrink (textured), BrandStruck (sketched), CarteBlanche, DarkStars (sketched), FreightCarts, HipsterFactory (sketched), HugeCrunch (textured), LateVaping, Masquerade, Neturality (white on black), Playgrounds, Prescriptivism, RockSolid, SewModern, SimpleLucky, TotalFreak, Transylvania, WasteFactory, WickedSeventies, WindowMarkers, Boards (sketched), BigSmoke, BrightSigns, ClubSport, DatBox (3d, white-on-black), EasyPeople (signage script), GouldenTreatise, Invertage (white-on-black), SpaceTransit, Above Stars, Band Stand, Market Crash (glaz krak typeface), Opiated Values, Stamped Envelopes, Higher Bounties, Gothic Friends (blackletter tattoo font).

    Typefaces from 2017: Martienso, Bacon Request, Corpsey, Cloudier (cloud-themed font), Draft Quick (draftsman font), Forgivable Sin, Manufactured Consent, Comedy Show (shaded), AvailableReservation, CandyDelish, ForgeMelt (textured), FreshSteaks, FunSpace (textured), Gouldage, StuckBrayers, Substrate, SunsetBreak (textured).

    Aka Xerographer.

    Dafont link. [Google] [More]  ⦿

    Yellow Design Studio
    [Ryan Martinson]

    Yellow Design Studio is a fine art, graphic design and typography studio based in Sanibel, FL, and before that, in Madison, Wisconsin. The font designer is Ryan Martinson (b. 1972), who is from Chetek, WI. Rena Martinson is the other partner in the venture.

    Via MyFonts, they sell fonts such as Lullabies (2016, watercolor brush script), Kiln (2016, an eroded caps only letterpress typeface), Canvas Acrylic Megafamily (2016, by Ryan and Rena Martinson), Sucrose (2015, a letterpress emulation family with eight levels of textured distress), Sant Elia Script (2015), Lulo (2014, a stackable chromatic typeface family), Lulo Clean (2014), Thirsty Soft (2014, a vintage signage script family), Eveleth (2014, a detailed vintage letterpress emulation family), Gist (2014, an inline slab serif; one weight is free), Gist Rough (2014, rough letterpress), Verb (2012, a very open sans family; +Verb Condensed, 2013, +Verb Compressed, 2013 +Verb Extra Condensed, 2013), Thirsty Script (2012, a retro connected signage script, which by his own admission, is based on Jack Edmondson's Wisdom Script, a fact he did not originally mention in the typeface description), Thirsty Script Shadow (2012), Thirsty Rough (2012), Thirst Script Extrabold (2014), Anodyne (2012, grungy caps), Veneer (2012, letterpress style), Veneer Clean (2016), and Veneer Extras (2012, dingbats), Melany Lane (2011, a connected school script), Skitch (2011, sketch / blackboard bold face); +Skitch Shaded, Magesta Script (2010, a grungy calligraphic script), and Wausau (2010, an all caps grunge face).

    Klingspor link. Creative Market link, Dafont link. [Google] [MyFonts] [More]  ⦿

    You Work For Them (or YWFT; formerly Cinahaus or TrueIsTrue)
    [Michael Cina]

    Michael Cina (Minneapolis) is the cofounder of WeWorkForThem and YouWorkForThem (in 2002), also known as YWFT. Before that, he ran TrueIsTrue, and before that was partner in Test Pilot Collective (which he left in 2001), and before that he ran Cinahaus. YWFT is located in Knoxville, TN and/or Baltimore, MD. The creative director is Michael Paul Young.

    Cina's fonts include the pixel fonts Caliper (1998), YWFT Bit (1998), 6x7oct (1998) and BlackGold; the handwriting font Cinahand; Blessed (1999, techno), YWFT Cam (1998, a slab serif based on industrial lettering), CommunityService, Crossover (1998, dot matrix with stars instead of dots), Composite (1998, octagonal), Formation (1999, a big octagonal family), Jute (2004, a masculine, military, sans-serif), YWFT Maetl (1999, octagonal, angular family), YWFT Moteur (a technical, retro, machine-like design; it briefl went under the name Alloy---in the early 2000s it was heavily used in the video gaming magazine Playstation), YWFT Novum (2002: a heavy block font that draws inspiration from a typeface originally used by the Swiss graphic designer Siegfried Odermatt), Pakt, Reversion (1997, squarish), Selector, Selek (1998, pixelish), Service (2001-2002, an octagonal family), YWFT Signature (1998), Trisect (1999, three-lined family), Unisect (1999, organic monoline sans), YWFT Ultramagnetic (1996, a popular rounded gothic typeface family), Ultramagnetic2 (1999), YWFT Ultramagnetic Expanded (2011), Unfinished. Bastard (1998), Kcap6 (with Matt Desmond), Cheese (1998), Novum (2002), Overcross (2002, unfocused letters), Stem (1998), Testacon (with Kral and Desmond, 1999), Praun (2002, pixel typefaces), OneCross (2002, pixelish stitching family), Estenceler (2004, a great stencil family a bit related to Milton Glaser's Glaser Stencil), Graphium (2004, octagonal Western style family), Expos (2004, graffiti or poster face), YWFT Pixacao (2007, after the Brazilian graffiti style), Vox (2007, monoline sans), Militia Sans (2007, like a Russian constructivist stencil), Jupiter (roman), Militia (2007, heavier stencil), Merc (2007, grunge), Guild (2007), Clarendon Text (2007, a complete revival), Jezebel (2007, script), Ambassador Script (2007, a digital revival of Novarese's typeface by that name), Enam (2002, influenced by Crouwel), Enigmatic Hand (2007), Dusty (2007, a Tuscan-eared Western font), YWFT Poplock (2007, experimental), YWFT Pakt (2004, geometric sans), Sudsy (2007), Black Sabbath (2008, ultra black slab serif, by Stefan Kjartansson), YWFT Belle (2008), Agostina (2008), Bitwood (2009, pixelish western face), YWFT Mullino (2009, letterpress emulation), Trithart (2008, grunge by Emma Trithart), Tapscott (2008, in the style of Rennie Mackintosh), Habano (2008, script), Amorinda (signage script), Retron (2008, connected script), MD01 (medical-themed dingbats), Adelaide (script), Centennial Script (calligraphic), Alexia (calligraphic), Ultramagnetic (experimental), Nash (1997, grunge), Amber (kitchen tile), Fab (3d), 6x7 Oct (1998, pixels and dots), Wool (2009, stencil), YWFT Matter (2009, a wide bold grotesque), YWFT Merriam (2009, a Clarendon-styled slab serif), Agostina Alternate (2011, with Michael Paul Young and Taechit Jiropaskosol), Ramsey (2012), YWFT Dessau (2013, schizograms and capitals like Bauhaus on drugs), YWFT League (2014, inspired by college football jerseys), YWFT Yoke (poster typeface done with Pintassilgo), YWFT Illuminati (2015, abstract capitals).

    Blog. His lovely g poster (2010).

    House fonts at YWFT by unknown designers: YWFT Knit (2010: knitting patterns), YWFT Motif (2015), Ramsey Condensed (2015), YWFT Roamer (2016), YWFT Whisky (alchemic), YWFT Psychosis, YWFT Filbert (2012), YWFT Nim (2012, combining the hipster style with overlays for bevel and shadow effects), Dogma (2012, alchemic), Attic (spooky poster face, in EPS format), YWFT Yoke (textured all-caps), Riblah (2003, dot matrix), YWFT Fraktur (tattoo face), YWFT Burls (2013, fat poster typeface), YWFT Coltrane (2011, handdrawn poster typeface), YWFT Symplify (2013: haute couture snowflakes), YWFT Smoothie, YWFT Chance (2016), YWFT Skipper (2016), YWFT Wheatgrass (2016).

    View Michael Cina's typefaces. Alternate URL. Behance link. Interview. [Google] [MyFonts] [More]  ⦿

    Yusof Mining
    [Gearwright]

    [More]  ⦿