TYPE DESIGN INFORMATION PAGE last updated on Thu Oct 17 15:28:49 EDT 2019
FONT RECOGNITION VIA FONT MOOSE
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:
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] ⦿
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) co-designed 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.
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:
At ATypI 2013 in Amsterdam, he spoke about New Transport. Winner of the type design prize at the Tokyo Type Directors Club TDC 2019, with Matt Willey, for the New York Times Magazine Olympic font. [Google] [MyFonts] [More] ⦿
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 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 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).
Typefaces from 2018: Narin. A geometric sans family with rounded corners.
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 2017: Neato Serif (followed in 2018 by Neato Serif Rough), Highest Praise (brush script), Citrus Gothic, Bakerie (42 hand-drawn typefaces), Trailmade, Farmhand (Farmhand is a textured, hand drawn, condensed font family featuring serif, sans, inline, italic, and extras styles suited for display titling), Garlic Salt, Likely (brush script), Likely Sans, Active (an upright brush script).
Typefaces from 2018: Config (a condensed geometric sans; see also Config Condensed in 2019), Config Rounded, Quiche (in Text, Display, Fine and Stencil substyles, for a total of 52 ball terminal-themed fonts), Quiche Sans (Peignotian), Cheddar Gothic Sans Two, Botany, Braisetto (connected signature font).
Typefaces from 2019: Magdelin (a 40-style gothic sans), Fractul (a geometric sans characterized by its dramatic squarish "a"), Gopher (a reverse contrast family), Konnect (a geometric sans family). [Google] [MyFonts] [More] ⦿
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:
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: 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).
Typefaces from 2017: Achillers Bant, Bouchers Script 2.0, Smbrn Stencil, Bouchers (vintage layered typeface), Moalang Pro, Salted Monthoers, Bouchers Layered, Garagethers.
Typefaces from 2018: Moalang-Melintang, Moalang X, Carters Layered.
Typefaces from 2019: Chalmers, Bouchers X1, Scarlett Display, Miss Waited, Buenos Script (brushed),
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).
Pottstown (Philadelphia)-based designer and PostScript font hacker who ran Prescott Design and now Alan Jay Prescott Typography, but was also involved in other ventures such as the Black Walnut Winery. Originally from Greenfield, MA, he graduated from Saddleback College. He advertizes himself as Leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. Alan 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).
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:
Albatross (or: Font Deals)
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).
Serbian type designer. In 2018, he co-designed Hanley Pro with Megan Tamaccio of District 62. This typeface family was influenced by wood block lettering and consists of Script, Slim, Sans and Block subfamilies. [Google] [MyFonts] [More] ⦿
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.
Speaker at ATypI 2013 in Amsterdam: Forma, Dattilo, Modulo. Nebiolo's last effort to produce a 'universal' typeface. Organizer of ATypI 2017 in Montreal. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More] ⦿
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)
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.
Alter Deco Typefoundry
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, Handland.
American Amateur Press Association (AAPA)
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.
The following PDF files were prepared from the individual worksheets in the spreadsheet file.
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.
Amtypes (was: TypeWolves, Amtypefoundry, or Try and Error)
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: Badhorse, 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: Cinamon (brush script), Blackships (Victorian), Explode (a fresh all caps sans layered typeface), Black Gate, Cup Cakes, Wildest Script, Buffalo.
Typefaces from 2018: Hellios (a signature script), Haste, Sunborn Sans, Sunborn Script, Bright, Sweet Belly, Cortez (octagonal), Silver Stone (a vintage Western font), Sumo Book.
Typefaces from 2019: Masquerouge.
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. Graphicriver link. [Google] [More] ⦿
Andrew H. Leman
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] ⦿
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.
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 Binny 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 Binne&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More] ⦿
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 Binny 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 Binny&Ronaldson. For this book, the type has been printed from photopolymer plates. [Google] [More] ⦿
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 co-designed 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 2018: Vocal (Latin and Cyrillic; published by Lettersoup). Vocal has slightly tapered stems and tilted terminals that give the 28-weight typeface family warmth, pizzazz and oomph.
Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free). [Google] [MyFonts] [More] ⦿
Archivio Tipografico is a letterpress printshop in Torino, Italy, which also has a collection of metal typefaces, letterpress machines and type specimens and catalogues. It is maintained and managed by Gabriele Fumero, who graduated from ECAL in Lausanne, class of 2017. At ECAL, he designed the flared typeface Opale (2017). [Google] [More] ⦿
Arkitype (was: Virtue Creative)
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:
Artcoast Design (was: 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).
Typefaces from 2017: Santens Script (dry brush).
Astigmatic One Eye
Astigmatic One Eye (AOE) has lots of nice original fonts by Brian J. Bonislawsky (b. 1973, Pittsburgh, PA). Many are free, others are not. AOE joined Font Brothers Inc in 2006. Brian Bonislawsky currently lives in Las Vegas, NV.
A partial list of the AOE fonts made in 2011: Engagement (2011, a free brush script at Google Web Fonts), Fascinate (2011, an art deco typeface at Google Web Fonts; +Inline), Original Surfer (2011, a free Google Web Font inspired by a vintage advertisement for the "California Cliffs Caravan Park"), Smokum (2011, a Western / Italian face), Yellowtail (2011, signage face), Redressed (2011), Special Elite (2011, free typewriter face), Aclonica (2011).
Typefaces from 2008 or before: Horseplay AOE (2008, Western style), Cake and Sodomy AOE (2008), Good Eatin AOE (2008), Paradiso AOE (2008, inspired by logotype of the Paris Resort and Casino in Las Vegas), Montelago AOE (2007, a script inspired by the logotype of the Mirage Resort and Casino in Las Vegas), Jack Chain AOE (2007), Henhouse (2007), Schnitzle (2007), Luxurian AOE (2007, inspired by the logo of the Luxor Hotel&Casino in Las Vegas), Digital Disco AOE (2007), Mighty Tuxedo AOE (2007), Makeshift AOE (2007), Clarity AOE (2007, slab serif headline; + grungy version), Red Pigtails AOE (2007), Run Tron 1983 (2002), Eyeliner AOE (2006, Tekton-like), Mother Hen (2007), Gloversville (2007, comic book style), Mighty Tuxedo AOE (2007, condensed sans), Quick Handle AOE (2007), Surfing Bird (2007), Hydrogen (2004), Hardliner (2004, fifties diner style), Big Ruckus (2004), SS Antique No. 5 (2004), Europa Twin (2003), EuroMachina (2003, techno), Lord Rat (2003: papercut sans), Love Anxiety (2003), BuzzSaw (2003), Skullbearer (2003, skull dingbats), Beatnick Blue (2002), Geisha Boy (2002), Mardi Party (2002), Midcrime (2002), Ocovilla (2002), Ruthless (2002), Saltie Doggie (2002), Whiskers (2002), Royal Gothic, Family, Eggit, Jericho, Wild Monkeys (2002), 5FingeredGothSW, AlienArgonautAOE, AlphaMackAOE, AmphibiPrint, AngiomaAOE, AntiChristSuperstar, AntiChristSuperstarSW, AstigmaSolid, BigLimboAOE, BigLimbodOutAOE, BoneRollAOE, BoneRollAOEBold, BoundAOE, BrailleAOE, BulletBallsAOE, ButterflyChromosome, ButterflyChromosomeAOE, ButtonButton, ButtonButtonAOE, CType, CTypeAOE, CelticLionAOE-Bold, CelticLionAOE-BoldItalic, CelticLionAOE-Italic, CelticLionAOE, CharailleAOE, ChickenScratch, ChickenScratchAOE, ClunkerAOE, ClunkerAOE-Bold, CropBats, CropBatsAOE, CropBatsIIAOE, DarkNightAOE, DeadGrit, DeliveryMatrixAOE, DetourAOE, DigitalDiscoAOE, DigitalDiscoAOEOblique, DingleBerries, DoggyPrintAOE, DraxLumaAOE, DungeonKeeperII, DungeonKeeperIIBold, DungeonKeeperIIItalic, EggItAOE, EggitAOE-Italic, EggitOutlineAOE, ElectricHermes, ElectricHermesAOE, ElectricHermesAOECharge, FearAOE, FilthAOE, FishyPrintAOEOne, FishyPrintOneAOE, FishyPrintTwoAOE, FutharkAOE, FutharkAOEInline, FutharkAOEInline, GateKeeperAOE, Ghoulish Fright AOE (2006), GlagoliticAOE (1999, grungy glagolitic), GorgonCocoonAOE, Gotik, GreyAlienSW, HAL9000AOE, HAL9000AOEBold, HAL9000AOEBoldItalic, HAL9000AOEItalic, HandageAOE, HandageAOEBold, HauntAOE, HybridLCDAOE, IDSupernovaSW, IslanderAOE, JokerWildAOE, KillMeCraig, KillMeCraigAOE, Kinderfeld, KittyPrint, KittyPrintAOE, Kornucopia, KornucopiaAOE, LinusFace, LinusFaceAOE, LinusPlayAOE, LinusPlaySW, Lochen, LovesickAOE, Manson, MasterPlan, Mervale Script (2012: a brushy script based on the 1940's Fawcett Publications Mary Marvel comic), Microbe, MooCowSW, MotherlodeLoadedAOE-Italic, MotherlodeLoadedAOE, MotherlodeStrippedAOE-Italic, MotherlodeStrippedAOE, MysterioSWTrial, NightmareAOE, OrnaMental, Pantera, PapaManoAOE, PenicillinAOE (described as a bacterial stencil typeface), PixelGantryAOE, PixelGantryAOEBold, PixelGantryAOEBoldItalic, PixelGantryAOEHeavy, PixelGantryAOEHeavyItalic, PixelGantryAOEItalic, PixelGantryHiliteAOE, PixelGantryHiliteAOEItalic, PoppyAOE, PoseidonAOE, Prick, QuiltedAOE, QuiltedAOEBlack, QuiltedTrial, RippleCrumb, RippleCrumbUltraCon, ROCKY, ROCKYAOE, RustedMachineSW, SSExpAntiqueAOE, Schizm, Schrill, SchrillAOE, SchrillAOEOblique, Scrawn, ScrawnAOE, ScrawnCyrAOE, ScrawnKOI8AOE, ScrewedAOE, ScrewedAOEOblique, ScrewedSW, SeaweedFireAOE, SenthAOE, ShampooSW, ShottyTransferTrial, SkinnerAOE, SlurCrumb, SpatCrumb, SpikeCrumbGeiger, SpikeCrumbSwizzle, SpikeCrumbSwollen, SteelcapRubbingTrial, StruckSW, StrutterAOE, SunspotsAOE, SurferComicTrial, TRANSHUMANALPHABET10, TRANSHUMANKATAKANA20, TannarinAOE, TannarinAOEOblique, TibetanBeefgardenAOE, TibetanBeefgardenAOE, TouristTrapAOE, TransponderAOE, TransponderGridAOE, UglyStickAOE, VanguardIIIAOE-Bold, VanguardIIIAOE-BoldOblique, VanguardIIIAOE-Oblique, VanguardIIIAOE, Ventilate, VentilateAOE, Y2KPopMuzikAOE, Y2KPopMuzikOutlineAOE, YoungItchAOE, ZeichensSW, ZenoPotionAOE, Zombie, BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth (an eerie brush script), Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper (Halloween font), Gargamel Smurf, Invocation, Neuntotter, Geisha Boy, Saratoga Slim, Gobe, Stingwire, Lavatype, Tapehead, Islander, Clunker, Digelectric, Gargamel, Krulo-Tag, Krelesanta, SurferComic, Bound, Culture Vulture, Intruder, Cavalier, Anoxia, Synchrounous (IBM logo style lettering), Luna, Data Error, Lunokhod, Jericho. There are many techno and gothic fonts. Kill Me Craig is the first 26 death scene dingbat font (scenes by Craig Dowsett). KittyPrint takes the LinusFace font concept to more realistic cat head dingbats. Krelesanta (not free) is a funky font inspired by the band Kreamy Electric Santa. The free ButtonButton is useful for making buttons. Lovesick AOE is a scrawly, lovelorn typeface, i's dotted with hearts. Strutter AOE is based on the KISS logo. Senth AOR is a runic font. Charaille is one of the many dot matrix fonts. Cavalero is inspired by the logotype of the Chevy Cavalier.
In 2005, Bonislawsky and Sandler realeased 500 fonts, via Bitstream and MyFonts, under the label Breaking The Norm.
In 2006, Astigmatic published their typewriter collection, which includes Military Document, Bank Statement, State Evidence Small Caps, State Evidence, Urgent telegram, Library Report, Overdrawn Account, Customs Paperwork, Incoming Fax and Office Memorandum.
From the bio and various pieces of information, one is led to believe that Brian was born in Poland, and now lives in Miami, but that may be wrong.
In 2010, he placed a free font at the Google Directory, Syncopate. Along the same lines, we find the derived square serif typeface Stint Ultra Condensed (2011, Google Web Fonts) and Stint Ultra Expanded (2012).
In 2011, several other typefaces followed there, like Ultra (fat didone), Maiden Orange, Special Elite, Just Another Hand, Crushed, Luckiest Guy (comic book face), Aclonica, Redressed, Montezuma (a curly connected upright script), Devonshire (brush script), Fondamento (calligraphic lettering), Yellowatil (connected retro script), Righteous (free at Google Web Fonts: inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano), Ribeye and Ribeye Marrow> (cartoon and/or tattoo style lettering---free at Google Web Fonts), Spicy Rice (2011, free festive display typeface at Google Web Fonts).
Contributions in 2012: Marcellus (2012, Trajan, flared roman, at Google Fonts and CTAN), Eagle Lake (a free calligraphic font at Google Web Fonts), Uncial Antiqua, Jim Nightshade (2012, free at Google web fonts), Dynalight (2012, a retro script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive), Yesteryear (a retro script loosely based on the title screen from the 1942 film The Palm Beach Story), Parisienne (Google Web Fonts: casual connected script based on a 1960s ad for bras), Shojumaru (Google Web Fonts: an oriental simulation typeface inspired by a poster for the Marlon Brando movie Sayonara), Berkshire Swash (Google Web Fonts), Audiowide (Google Web Fonts), Romanesco (Google Web Fonts: a narrow calligraphic style), Galindo (Google Web Fonts), Oregano (Google Web Fonts: based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's), Peralta (Google Web Fonts: an Egyptian comic book face), Eagle Lake (Google Web Fonts: calligraphic), McLaren (Google Web Fonts: comic book style alphabet), Freckle Face, Hanalei Fill, Hanalei [Polynesian bamboo or tiki lettering], Purple Purse, Margarine, Risque, Clicker Script [image], Stalemate [a gracious script, by Jim Lyles for AOE], Mouse Memoirs, Quintessential [Google Web Fonts: chancery hand], Bigelow Rules, Englebert [Google Web Fonts: from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich], Sacramento [Google Web Fonts: connected script].
Typefaces from 2013: Freckle Face (grunge), Grand Hotel, Purple Purse (Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously).
Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).
Typefaces from 2014: Franken Jr AOE Pro (inspired by the title screen from the 1966 Hanna Barbera cartoon Frankenstein Jr), Good Eatin Pro AOE (inspired by the title screen from the 1942 Warner Bros. cartoon Dog Tired), Ghostkid AOE Pro (comic letter style).
Typefaces from 2015: Shanks Antique 5 AOE (after the newspaper typeface Memorial (1865, Stevens, Shanks & Sons)), Reliquaire AOE (a somber blackletter typeface inspired by Memorial (1881, Boston Type Foundry)).
Typefaces from 2016: Mailuna Pro AOE (a gothic sans), Kentish AOE Pro (art deco). Reardon AOE (a digitization of a film typeface called Joyce Black by LetterGraphics), Berkmire AOE (1970s style robot-inspired techno font), Blackheath Pro AOE (this typeface started as a digitization of a film typeface called Roberts Square by LetterGraphics), Delaware Pro AOE (art deco), Rutland AOE (a futuristic font that is a digitization of a film typeface called Maccaro by LetterGraphics). In 2016, Brian J. Bonislawasky and Jim Lyles published the rugged octagonal mega typeface family Tradesman at Grype. In 2017, they added the art deco typeface Cowling Sans AOE (which is based on alphabet from "Lettering for Commercial Purposes" by Wm. Hugh Gordon). In 2018, they published the letterpress emulation typeface Prison Pro, Pink Sangria (50s style movie font), Manic Tambourine, Motenacity (a Martian cartoon font), the old typewriter font Office Memorandum Pro, and the Flintstone font Strongman.
astype.de (or: Astype)
Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975, bad saarow, near Berlin, Germany). He lives in Cottbus, Germany. In 1998, he obtained a Masters degree in business administration. In 2007, he and Ingo Preuss set up The German Type Foundry. In 2017, he joined the initial crew at Fust & friends. The typefaces:
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] ⦿
Bart Co Design
Or Bartosz Wesolek, b. 1986. Nowa Sol / Poznan, Poland-based graphic designer, who published the vintage typeface Rheiborn, the display typeface Onufry (based on lettering on vintage cycling posters), the poster typeface Molheim, the letterpress typeface Darmond, the squarish Garthram, the vintage typeface Martslock, the free squarish typeface Rheiborn Sans, the vintage Apothecary collection (Asplin, Garriger, Hagerman, Kimmell and Seidlitz), and the slabbed display typeface Kinshel in 2017.
His vintage liqour collection (2017) includes
Typefaces from 2018: the Print Press collection (Blutzen, Fratley, Garnet, Harold, Stilzkin Sans, Stilzkin Slab), Nimitz (a free retro all caps sans), Bosmark (a vintage sketched typeface), Monkstead (a block display family with several textures), Signist, Hartwood, and the Newsstand collection (which includes Presson, Stammark, Brookset, and Darmond).
Typefaces from 2019: Moorland (a fat face didone), Keller (an all caps sans), Mosley (a weathered letterpress emulation font), Madchen Sans (a free retro sans), Maurine (a retro script). [Google] [More] ⦿
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.
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).
Typefaces from 2017: The Breaks (monoline script), Aswatama (rounded monoline script).
Designer in Cape Town, South Africa, who created the slab typeface Deputy Serif (2012).
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] ⦿
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] ⦿
Brazilian graphic designer and prolific creator of free typefaces, which often combine calligraphy, retro signage, and grunge.
Fonts from 2019: Talk Sing, New Garden Two (a circle-based sans), Hearts Garden, Garden Black, Adalgisa, Mellissa, Mattisse, Universal Sans, Universal Script, The Light, Campesina, Babeface, Soulstice, Movements, Love Empure, No Stress (grungy sans), Flowers (script), Magical Day, North Shore (a weathered slab serif), Theodora, Amandita, Brilhant, Alamoana, Palomita, Superworld, Black Rose, Mistical, Rocks (grungy), Marvelous, Dinasty, Magic Touch, Hot Jacket (brush script), Simplicity (beatnik face), Ibiza Crystal, Mystical Eyes, Allicia, Misterios del Amor, Sugar Kisses, Gonna Getha (weathered sans), Valentine Day, Secretss, Honey Lips, Got to be real, Afternoon in Stereo, Hotel Costes, Wall Paper,
Fonts from 2018: Children's Party, Music Magic, Awesome Season, Lavelle, Wonderful Night, Chapter One, Atmospherica, Lost Sunset, Claudina, Run To The Hills, Placid Pool, New Balance, Euphoria, Claudia, Barbecue, Salsa Parrilla, Pilsen Extra, Morphine, Love is the Law, United Forces, Smell a Daisy, Allegratta, Hamburguer, Gingerale, Anette, Marshmallow, Bunch of Flowers, Cinderela, Antonine, Sepetiba, Anastasia Script, Alliance, Mustard, Superstar, Makeup, Flowers of Summer, Honeybe, Mirella, Fantastic (signage script), Inked Skin, Girls Got Rhythm, Dirty Queen, Ipanema, Antidote, Galaxie, Moving Star, Miraflor, Beredith, Allessa, Worldwide, Andorra, Single case, Carpenters, Monster Party (eerie font), Dontchastop, Love Strong, The Hills, Romantica, Attraction, Burning Heart (monoline script), Local Motion, Summer Daisy, Pumpkins, Space Jam, Sweet Movements, California Sun, Body & Soul, Choppers, Magical Waste, Over The Seas, Vegan Yummy, Glamour Girls, Flower Power, Quick Kiss, Star Light, Costa Rica, Nuclear Boots, Amore Mio, Lovely Summer, Roses Everywhere, Love Is The Antidote, Wisdom Words, Limousines, Mysteries of Passion, Moving Pictures, Blackberry Jam, Movie Poster, Beauty Mountains, Bunch Blossoms, Flora, Inked Angels (tattoo font), Loveland, Beautiful Lovers, Belle et Belle, Cherry Blossom, Let It Be, Casual Chance, Caranda, Aromabar, Capable of Loving, Miss Daisy, Mardi Gras, Last Frontier, Nouvelle Vague, Travel Light, Mind Rescue, Bella Fashion, Amarula, Sweet Easy, Indian Strength, Everlast, Megan, Hello Beauty, Vegan Style, Andaluzia, Ambar Pearl, New Era, Candice, Hometown, Sunrise Place, Lemon Jelly, Nature Beauty, Natural Beauty, Black Pearl, Tan Pumpkins, Acid Label II, Thrasher, Inked Babes, Ribbons in the wind, Calligraphy (inky), Amsterdam, Sweet Sixteen, Sunset Beach, Star King, Countryside, Crazy Love, Little Sister, Creature, House Queen, Dr Phibes (beatnik style), Moskitoes, Nirvana (script), Iceland, The Cure, Mr. Fink (beatnik style), Sea Balance, Hot Dog, Blow Up, Blow Me (crayon font), Sunrise, Joes Burguer, Splatted, Moonbeam, Tomatoes, Beautiful People, Hamsters, Vacations in Paradise, Lover Artefacts, School Days, Traffic, Campus (weathered athletics font), Universidad (weathered athletics font), Sundance, Siberian, Rich The Barber, Aurora, Dove of Peace, Clipper, The Quick Fox, Daisy Days, Dieselpower (grungy texture), Progress, Loud and Clear, Generator, Wannabees, Ripmonsters, Shity Chats, Death Before Chocolate, Karmacoma, Clever Couple, Astrovegan, Clarification, Breakfast on the beach, Graceland (signage script), Beauty Bright, Atlantida (letterpress grunge), Cassandra, Gene Loves Jezabel (brush), Great Cities, Crackerdown, Lost Ages, Bite Chocolate (script), Sunflowers (script), Mon Cherry (script), Lovely Day (heart font), Miracle Place, Ebony Eyes, Skywalker, Zabritzkyes, Black (grungy octagonal slab serif).
Fonts from 2017: Waiting a Silver Moon, Master of Comics, Millenia, Fantastic Reason (signage script), Varukers (dry brush), Awakening (grunge), Majestic (signage script, Emotional Rescue, Misstral, Elements, Alouette, Cure of Pain (ink splash type), Farenheight (octagonal), Peacemaker (upright retro script), Altavista (creamy script), Ananda (script), Alexandra (script), Paper Rib (script with paper rib outlines), Honeymoon (script), Gotcha (heavy headline type), Christmas Day (signage script), Clarice, Orange (signage script), Indiana (baseball script), Magnificent (blackletter), Sketching Summer (signage), September Five, Cross Town (weathered), Saturday Nights (signage script), Blessed (baseball script), Blobbers (baseball script), Jam Sessions, Moon Walker (dry brush), Drawing Nature, Sketching Stars, Lone Wolf, Cubika Script, Bonneville Co, Walk (wide wood type), Rio Black (counterless), Secret Agent, Trouble (blackletter), Trouble II (blackletter), Living Colours, Crystal, Sepia (letterpress poster font), Rainbow Bridge, Black Diamonds (signage script), Candy Shop, Enthrall (sharp-edged retro signage script), Movie Makers (script), Sunshine Boulevard, Black Napkins (grungy), Brush Stroke, Carolina Mountains, South Gardens, Calling Angels, Cherry Kisses (candy script), 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, 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).
Blazej Ostoja Lniski
Bill Moran is Artistic Director of Hamilton Wood Type & Printing Museum in Two Rivers, Wisconsin. He also teaches typography and printing history at the University of Minnesota. Together with his brother Jim, Museum director, they are third generation letterpress printers, presiding over the largest collection of printing equipment and wood type in the U.S.
At Blinc Publishing (est. 1996, St. Paul, MN) he released Goshen, Gommorah, and Prospect, typefaces that were done together with Darrel Austin at Chank. 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; co-designed 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.
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 shaded 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 Stock, 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, Run Wild, Body Rock, Alpha Beta (rounded sans), 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, including some free fonts: After-Hours, Black-Marble, Breathe-Easy, Cosmic-Rays, Diamond-Creek, Just-Wright, Mighty-River, Street-Magic, Third-Rail, Wild-Thing, Super Natural, Special Touch, Master Works, Peak Times, Flash Back, Lucky Turns, Raw Selvedge, Play Time, Extra Mile (thick brush), Daily Grind, Furious Styles, Stay Fresh, Touch Base, Painted Paradise, Casual Delight.
Typefaces from 2018: Ultra Fresh (brush script), Special Request, Beyond Infinity, Human Nature (script), New Rules, Box Office, Pure Seduction, Seaside Grove, Heavy Trip, Stay Fresh, Shine Bright, Sweet Nothings, Real World, Mind Rush, Easy Going, Future Shock, Hot Cakes, Good Vibes, Crown Heights, Cold Crush, Hand Book, Fresh Daily, Bad Habits.
Typefaces from 2019: Short Circuit, Super Sonic, Jungle Jam, Hot Spot, Live Source, World Rhythm, Deluxe Edition.
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
Borutta (or: Duce Type)
Borutta (or Duce Type) 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 custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), 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 co-designed 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 / Futura take on Alergia Grotesque).
Typefaces from 2017: Nocturne Serif, 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).
A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms.
Typefaces from 2019: Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).
Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms.
Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic. [Google] [More] ⦿
Bowery Studio (was: Hipster Font)
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 Adasmine (2017), Denarrio Script (2017), Arminia Script (2017), 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).
Brian J. Bonislawsky
Bumbayo Font Fabrik
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.
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] ⦿
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: Dandeleon, American Whiskey, Vulturemotor (with Gusti Ngurah Widiantara), Sandglow (signage script).
Typefaces from 2018: Renaissance Garden (vintage), Victorian Fonts Collection (which consists of King Edward (Edwardian) and Queen Victoria (Victorian)), Billyforges (weathered letterpress style; with Ade Meida and I Gusti Widiantara). [Google] [MyFonts] [More] ⦿
Type designer from Hong Kong who graduated from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Havil, a multiscript (Latin, Arabic and Chinese) typeface family for branding and business documents. This beautifully balanced typeface was inspired by 19th century British and French letterpress poster typefaces.
In 2018, he published the slab serif Urushi at Future Fonts and writes: Urushi is the first Future Fonts release aiming to support Japanese Kana and Kanji, and Chinese Hanzi. This charming and slabby, reverse contrast is inspired by old Hong Kong movie magazines.
C.C. Stern Type Foundry
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] ⦿
Chank Fonts (or: Chank Store, or: Chank Diesel))
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:
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.
Charles R. Anderson
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:
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).
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 (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:
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: Urbane Cuisine (sketched), Boots And Spurs, San Antono Charros (spurred), Faxine Sky (hairline), Hooligan (graffiti face), Pack of Wolves (dry brush), Tweaky, Eatn Cake, Who Asks Satan (brush style), The Devil Net, Hallow Grave, Death To Metal, Brake Fluid (tattoo style), Boiled Denim, El Sancho.
Typefaces from 2018: Reposed, A Glimpse, The Waiting Room (scratchy typeface), Philophobia, Medium Rare (a Western font; and its grunge version, Soiled Doves), Chased Through The Woods, Blood Thirst, Voices in my Head, The Quick Marker, Watch People Die, Blue Waffle (erasure font), Under Your Bed (all caps grunge), Eater of Children, Burn The Witch (dripping blood blackletter)Side Effects.
Typefaces from 2019: Jackknife, Cowboy Cadaver (Western, spurred), Commanders, Mortem Throne, Among Dead Priest (brush), Smile and Wave, Impact Brutas, Rustic Man.
Christian Pannicke (Christian Jung) is a typeface designer and art director based in Berlin. His typefaces:
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] ⦿
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, Copperplate New (2019, Martin Cincar).. [Google] [More] ⦿
Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed 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.
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. It was extended in 2017 by Pancini as Antipasto Pro.
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed 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 and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), 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. Updated in 2019 as Cocomat Pro.
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 designed 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 co-designed 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 co-designed 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.
Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.
In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.
Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli.
In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical.
His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.
In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.
In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.
In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.
In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.
In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.
Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, togheter with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the latin letters find a natural connection with modern arabic letterforms. [Google] [MyFonts] [More] ⦿
Creative Toucan (was: Leo Supply Co)
Cakovec, Croatia and Washington Park, WA-based designer (b. 1995) of preponderantly grunge typefaces. In 2013, he created Funny Classic, Lion Pro, Lover, War is in the Air (military stencil), Aussen (squarish), Ensione (outlined), Rangle, Gaon, Momgers, Escapea (athletic lettering), 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 (shaded 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: Musterion (brush script), Wolvos (rough brush), Xenos, Descolorido, Mushroom (an angulara children's book font), California Jackpot, Zondas, Codiac (rough brush), 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.
Typefaces from 2018: Storehouse (free, copperplate style), San Francisco, Quick Pick (brush), Mick's, Jumper, Alask (brush), Royal Twins, Clas (brush script), Yolloy, Scolarship (sketched).
Typefaces from 2019: Planina, Athletica (letterpress style), Costa La Vista (font duo), Springs, Originals 2 (dry brush), Astana.
Peter Olexa (Bratislava, Slovakia, b. 1978) created the (typically retro / vintage) mostly commercial typefaces Angelic (2019: dry brush), Umbrella (2019), Cellica Bold (2019), Abigaile (2019), Ragtime (2019: a brush font), Ragtime Marker (2019), Futu (2018), Kiko (2018), Pineapple (2018), Urban (2018: inline), Plasma (2018), Evolve (2018: inline), Hallowen (sic; 2018), Phantom (2018), Palam (2018), Alter (2018), Chrome (2018), Rhino (2018), Giant (2018), Valeria (2018), Ruas (2018), Strife (2018), Giant (2018), Atari (2018), Octopus (2018), Green Light (2018), Atlantis (2018), Maroon (2018), Secure 3D (2018), Cube (2018), Billionaire (2018: art deco), Savana (2018: bejeweled), Castile (2018), Starla (2018), Brodo (2018), Nomos (2018), Brisk (2018, art deco), Tron (2018), Jewel (2018), Forest (2018), Noxa (2018), Ama Deust Inline (2018), Goliath Inline Grunge (2017), Arbatosh (2017: Victorian), Momoco (2017), Heyro Fun (2017), Calliope Fun (2017), Steampunk Gears (2017), Ponds (2017: Victorian), Zahra (2017: inline grunge), Green Light (2017: inline grunge), Jordan Bold Grunge (2017: inline), Metalic 3D (2017), Mecha Grunge (2017), Buffalo (2017), Queen (2017), Lacoste Inline (2017), Ollie (2017, sans family), Nomos (2017), Blue North (2017: spurred), Regolith (2017), Murray (2017), 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.
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.
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 2017: Northwoods (hand-crafted sans).
Dan X. Solo: The Horse and Buggy Printer
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] ⦿
David Fleming Nalle
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] ⦿
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)
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:
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: Stay Wildy, Oldventure, Historycal, Holiday in Monday, Chapter One (grungy), Bohem Press (spurred vintage style), Hillenberg (vintage).
Typefaces from 2018: Rajawaley, Outistyle (brush script), Outistyle Brush, Mahoni (an attractive fat script), Wildlast, Wild Ones.
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. Graphicriver link. Creative Fabrica link. [Google] [More] ⦿
District 62 Studio
Megan Tamaccio (District 62, Miami, FL) designed the Jack & Zoe Font Collection and the LilRebel and Hanley Pro font collections in 2016. In 2017, she published Hanley Rough (letterpress emulation).
In 2018, she published the connected script typeface Musette and Hanley Block Pro. According to MyFonts, Hanley Pro was co-designed with Aleksandar Veljasevic.
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.
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] ⦿
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).
Mal de Ojo (2008) is a dingbat/sans font scanned from letterpressed Mexican religious pamphlets by Tim Gibbon.
Eduard Wilhelm Tieffenbach
Conidi obtained an MA in typeface design from the University of Reading in 2008, and a PhD from the same university a few years later. Her graduation typeface is Nabil, a hookish serifed typeface that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. She also holds a Masters degree in Design and Visual Communication from the Polytechnic University in Milan
Emanuela joined Fontsmith in 2008: 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 co-designed the slab serif family FS Rufus.
She co-designed the legible sans family FS Me with Mitja Miklavic, Phil Garnham, Jason Smith and Fernando Mello (Fontsmith).
Emil Karl Bertell
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:
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).
E-phemera (was: HPLHS Prop Fonts, and earlier: Prop Fonts)
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.
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 Pind-O-Rama (2019), Pieches (2019: a linocut font inspired by the powerful political and social posters by Paul Peter Piech), Soundstar (2019), Clafoutis (2019), Pedrita (2018), Transmogrified (2018), Melodia (2018), Minute (2018), Mindset (2018), Salted (2018), Plunct Plact (2017: a children's script), Manihot, Brushtones (2017), Strange Times (2017), Mudstone (2017), 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 co-designed 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.
Etcetera Type Company (or: ETC; was: Finck Font Co)
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).
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 shaded 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 (a condensed didone poster typeface), Retrograde (monoline and monospaced organic sans), Plainview (squarish and fat), Nonesuch (condensed sans), Juju (octagonal layered typeface family).
Typefaces from 2017: Juju (a layerable octagonal typeface family), Ichabod (an eroded typeface), Atiga, Imbue FT (a skyline typeface), Porter FT (his earlier font Porter Sans remade, and rounded styles added), Grandstander Classic.
Typefaces from 2018: ETC Gluten (an organic font family), ETC Epilogue (a variable sans font), ETC Anybody (a 72-style variable font with weight, width and slant axes), Furrow (grungy sans), Cease (techno, squarish).
Typefaces from 2019: ETC Trispace (a variable font with weight and width axes; based on League Mono), ETC Imbue (a variable font version of Imbue with a variation in optical size from Text to Display), ETC Tourney (variable font, playing on outline versus inline), Struthio (a rounded sans).
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. YWFT link. Old home page. Behance link. [Google] [MyFonts] [More] ⦿
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.
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).
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 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 2018: Fortezza (a stiifened didone), Portoluce, Hotdogger (a cursive brush font family), Hotdogger Extras (dingbats), , Favarotta, Vikive (a grotesque family), Aretino (a renaissance text typeface), Mirabella, Lectio.
FA Studio (or: Fluffy Art Studio)
Or FA Supply Co. Yogyakarta, Indonesia-based designer (b. 1987) 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.
Typefaces from 2018: Doraemon (fat marker font), The Murder (a horror font), Sempak, Venom, Brooklyn Script, New York, Boomber (graffiti font), The Red Moon (Halloween font), Zebra Cross. [Google] [More] ⦿
Fenotype, a Finnish typefoundry, has the original (often techno) designs of Emil Bertell (b. 1983, Helsinki) and his brother Erik Bertell and wife Kea Bertell. Emil has been studying graphic design at University of Art&Industrial Design in Helsinki since 2004. He designed most of his typefaces during 2001-2004, and works as a freelance illustrator. Behance link.
Typefaces made in 2002: Disco (prismatic), Lakmus, Valimo, FUTU, Test1, Foton Torpedo, Cheaptype, Personal Computer, Copycut, Unicode 0024, HKI Metro, HKI NightLife, Digital Kauno, Fenotravels (dingbats), Tivoli, Kosmonaut, 10124, JouluFonttiFenotype, Testi, 1laitos, 1120, 0629 (2002, a kitchen tile font), 0927, 0210, FTdingsprevi, Fenotypedings#lego3, Genotype, NeoPangaia, NeoPangaia 2, Nipponblocks, Pectopah, Personalcomputer, Pouttu, Samarin (2002, athletic lettering), Unicode0024, URALphat, URALthin, URAL, URAL3d (all Latin/Cyrillic fonts with incomplete punctuation though), Automania (multiline), Copycut, Halo, 222_2003, Tantor, Letters, Rikos, Lastu, ThreeTheHardWay, Bukkake, Halo. Emil's brother Erik designed Neon (paperclip face), Mama and Mama Round (paperclip typefaces). In private email, he calls himself Carl. The foundry evolved from 2theleft.
Fonts made in 2003: Military Dingbats, 08 02 03 Fenotype, Projectsfenotype, Rock-it.
Fonts made in 2004: Scandinavian Titan white, Scandinavian Titan, Acid Test 2, Acid Test (texture typefaces), 080203, Letters11, Linja, Projects, Rock it, Simpletype. Commercial typefaces: Sapluuna, Shortcut, Transeuro-Express, Omega-Uros, Fenotype Dings, Military Dingbats, Nippon Noodle. Typefaces made in 2004: Kolari, Kolari Light, FTfaces, Twisted Ontogenesis. Alternate URL.
In 2005: RoundAbout, Nihilist Philosophy, Boogie Monster, Chunky Hunk (Western), Diy Typeface (kitchen tile style), Futuretro (stencil-like), 3TheHardWayOverrun, Pedant Dilettante, FT Rosecube, FT Blockbuster, 3TheHardWayRMX, Adios Gringo (Western face), Helsingfurt (3d oil glow face), Cream Soda (liquid), Thashed Paper Bag, Big Medium.
In 2006: Rock It Deluxe (grunge), Cassette (dingbats), Kings Garden (Japanese trees as dingbats).
MyFonts link, opened in 2009, where one can buy 080203, 3 The Hard Way Overrun, 3 The Hard Way RMX, Adios Gringo, Depth Charge, FT Helsingfurt, FT Roundabout, FT Scandinavian Titan, FT Twisted Ontogenesis, Ice Cream Soda, Kings Garden, Kolari, Nihilist Philosophy, Old Note, Rock It, November Script, and Majestic Mishmash (ransom note caps), Digital Kauno (2002, upright script), 10.12, EB Vintage Future, Fenotype Dingbats, FT Forest, FT Funghis, FT Military Dingbats, FT Weapon of Choice, Motel Xenia, URAL, Valima.
Additions in 2010: Linguine (connected script), FT Telegraph (slab serif), FT Brush, FT Industry Machine, FT Giorgio, Killer Elephant (signage), FT Supervisor (retro), FT Dead Mans Diary (scribbly), FT Grandpa Script (grunge calligraphy), FT Stamper (angular lettering), FT Tantor (fat, rounded), FT Bronson (fat display typeface with mustache dings thrown in), FT Master of Poster (bi-level display typeface with many ligatures and interlocking letters), FT Hidden Forest (tree dingbats), FT Mammoth (grotesque headline face), Rikos (futuristic), Squarendon Extra Bold (2010, a Clarendon), FT Moonshine Script (a Treefrog style face), Billboard (a hand-printed rounded caps family), EB Bellissimo Display (rounded monoline sans), Malamondo (an all caps display typeface with a large number of interlocking ligatures), Linja (2002 and 2010, a rounded ultra condensed family), Punavuori (2002 and 2010: a monoline sans family), Signor (2010, a rounded all caps family), Mrs. Lolita (connected script), Funghi Mania (mushroom dingbats), Funghi Mania Script, Darlington (very open upright connected script family), Archipelago (+Caps: an upright connected script), Tower (pieces that enable one to modularly construct towers when stacked; created as a school assignment at the University of Industrial Art&Design Helsinki in 2006), Monster (just as Tower but for monsters), Verna (informal face with ball terminals), Verner (2010, a connected script version of Verna), Verner (2010, a connected script version of Verna).
Typefaces from 2011: Pepita Script (an upright connected script with small lachrymal terminals), Pepito (its nonconnected version), Barber (upright script family), Banzai Bros (a fat caps-only signage face), Mishka (an upright connected script with tear drop terminals).
In 2012, he created Salamander Script, Taiga (connected upright script), Mercury Script (a set of upright connected script typefaces), Slim Tony (a bubblegum retro signage face) and Mercury Ornaments.
Typefaces from 2013: No. Seven (a successful brushy signage or baseball script), Alek and Alek Ornaments (an upright signage script), Voyage (a vintage script), Barracuda Script (brushy signage face), Bonbon (signage script), Bonbon Ornaments, Scaramouche (a playful connected script).
Typefaces from 2014: Larry (sturdy connected script), Silver (upright connected script), Powder Script, Peaches And Cream (creamy signage or baseball script), In and Out (a connected retro signage script), The Carpenter (a script family in the style of Mercury Script).
Typefaces from 2015: HMS Gilbert (a collection of 14 hand-crfated vintage types), Lager (a signage script family with adaptable swashes and other opentype goodies), Vanilla Shot, Journey (a smooth and elegant vintage script family of four weights and a matching ornament set, packed with alternate characters, and, in Bertell's style, perfect connections between glyphs), Tea Biscuit (signage script), Skipper, Skipper (connected script), Frost (a signage typeface that is just right, a sure award winner), Monday (sign apinting typeface).
Typefaces from 2016: Jazz Script, Fragola (sign painting font), Syrup (sign painting font), Cosmopolitan (monoline connected script), Bluebell (copperplate calligraphic script), Inkston (vernacular brush script together with the standard hand-crafted sans and text styles), Beaujolais (brush script), Black Script (a heavy signage script), Beaujolais (an organic brush script), Cold Brew (signage script), Inkheart (tattoo style).
Typefaces from 2017: Camper (monoline script, accompanied by Camper Print), Aether Rain (thin script), Thang, Big Fish, Bolton (Bolton Script and Bolton Script, and the degraded Bolton Print pack), Vodka (Slab, Sans, Pen and Brush), Poster Brush, Fresh Press (signage style), Praktika (grotesk), Praktika Rounded, Blossoms, Kitchen (sign painting brush), Letterpress Studio, Takeaway, Aether Rain, Pitcher (baseball script), Karu (a workhorse sans), Bluebell (calligraphic), Roster (signage script), Dog Days, Catsy, Alfons (in Script, Display, Sans, Serif, Tiki, Extras and Ornaments subfamilies), Cosmopolitan (monoline script and sans pair), Snooker (retro signage script), Salty (a creamy brushed signage typeface).
Typefaces from 2018: Aster Script, Audrey (a monoline script and sans duo), Galatea (a 48-style sans family by Erik and Emil Bertell), Double Porter (a font collection with scripts, sans, and grunge faces thrown in the mix), Matchstick, Fruitos, Corner Deli (a layerable set of fonts in script and sans styles), Bayamo (a brush script done for Monotype), Sidecar (a connected monoline neon sign script, and a matching sans), Ginger John, Brush Marker, Shirataki (monoline soft pen script), Ash (a crayon font), Breakfast Script, Dallas Print Shop (a display family by Teo Tuominen and Emil Karl Bertell), Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell). Elixir, Maestri (a classical connected scrupt by Teo Tuominen and Emil Karl Bertell), Popcorn (brush script), Cherry (signage script), Goodwater, Signature Script, Kingfisher (a beer botle signage script), Sonder (brush script).
Typefaces from 2019: Yes Script, Gainsborough (script), Florian (a roman typeface with crisp edges and some contrast), Vogue Sans (a haute couture all caps contrast sans), Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Chai (an expressive sans / serif hybrid), Rainmaker Script (monoline), Aequitas (a stylish sharp-edged roman typeface family), Tapas (by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Lawrence (a stylish roman typeface), Kallio Brush, Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Felicity Serif (a juicy bold high-contrast serif), Las Palmas (Brush, Pen, Slab, Condensed), Honey Drops, Explorer, Boardwalk Avenue (a sans/script font duo), Skye (a heavy decorative didone), Leftfield (a retro baseball script), Steak And Cheese, Agile Sans (a humanist sans by Emil Karl Bertell, Erik Jarl Bertell, and Teo Tuominen), Punk Rocker, Silverline, Perfume (Pen, Brush and Sans), Hops And Barley, Allison.
Fernando Forero Foundry
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.
FHFont (was: Feydesign)
Ferry Hadriyan (FHFont and before that, Fey Design, located in 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, Wowangle Brush Script, Nightamore (free brush script font), Honeymoon Midnight (calligraphic).
Typefaces from 2017: Peace Maker (script), Hunter Skyfar (dry brush), Wonderfebia (wedding script), Chocolate Milky, Soybeanut (upright script), Vertical Brushy, Firefly, Ambergris Script (calligraphic), Arthouse Display Pro (Victorian), Real Stones, Hard Stones Pro, Photograph (a formal calligraphic wedding script font).
Typefaces from 2019: Esmetralda, Pinkalova (a free brush script), Magentasia, Butter Swany, Butter Luchy, Caramello, Wondertime (dry brush), Mangotea, Simpletune, Pintenium Script (brush script), Pinkalova Script, Pentenium (brush script), Dragtime, Auntekhno Script (handlettered script style), Salute Riches, Shutten Reason, Young Blood Solid. [Google] [MyFonts] [More] ⦿
Japanese foundry in Nagoya that offers 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:
London-based font vendor who started in 2015 or 2016, and carries mostly brush script typefaces. They are mainly pushing their own work.
Typefaces from 2017: Treasure Script, Hastter Sontial script, Dealina (calligraphic script), Red Mist, Queen, Wishing Well, Highlights, Handy Man, Hey Betty, Polar Bear, Realtech, Golly Gosh, Magic Man, Ardina Script (by Ari Fadli), Rusty Bucket (dry brush), Dolly Script (calligraphic wedding script), Handstyles, Bouncy Hunter (spurred), Django (Western), Olivia Script, Questioned, Renegade, One Dance (calligraphic), Mammoth (script), Honey Bee, September Script (calligraphic), Amanda (calligraphic), Sandy Pro, Lilly Mae.
Typefaces from 2018: Squishy, Squishy Extras (sea life dingbats), Billie Harley, Origami, Arkinay, Moscow (a Cyrillic emulation typeface), Bindi, Felt Tip, Christina, Park Ranger, Rembulan, Catchy Script, Champagne (brush and ink splatter), Azalea, Loft Yian (script), Love Candy, Wisdom Script, Montage (signage script), Bristol, Stephanie Jane (brush pen font), Glamorous Silhouette (font duo), Sun City (sans), Crackers, Sliders Script, Jaquilane (upright script), Gladis (formal calligraphic script), Wheatbread (monoline sans), Monstera (a stylish serif typeface), Sailor (tattoo font), Comic Boom (cartoon font), Kely Rose, Radical, Granger (brush font), New Type (prismatic), Sugar Script, Aloha Big Man, Magical Unicorn, Chocolove, Gentle, Roseland, Queensland (copperplate calligraphy), Pink Grapefruit, Jingle Boo, Old Press, Michigan (outline slab serif), Boulder Holder, Angelica (a creamy signage script), Anchor, Freshca (upright connected script), Zimbra (zebra-striped, by Alex Etewut), Adele, AlyshiaScript, BackStitch, BirthdayScript, Brat, BringHearte, CherryBlossom, Eastland, ElhammerBrush, Enyssala, Florva, GloomyDay, HappyBirthday, Heavenfield, Herbie, Junitha, Kayleigh, Mirantie, Mountiane, Nattalia, Quance, QuickBrush, Rafifi, Reebiolla, Rockets, SandyBeaches, Springer, Strangelove, TheCharlotte, Valentino, VictorianMonogram, WinterTime, Zebra.
Typefaces from 2019: Blackstar (blackletter), Maskoolin, Tatima, Hands Down, Monday Blues, September Script, Restuner, Mammoth, Hey Betty, Ciscopic, Hatterline, Honey Bee, Jaiho Script, Diamonds, Indah Script, Amanda (calligraphic), Molyna, Mellow Line, Sandy, Renegade, One Dance, Loveya Script, Angelina Script, Heilig, Dealicha, Allana. [Google] [More] ⦿
Font Forestry (Charlottetown, Prince Edward Island, Canada) is yet another venture of Jeremy Vessey, this time in cooperation with his companion, Stephanie Arsenault. I assume that it too is actually based in Montreal. Established in 2017, their initial fonts include Tuesday Night (a free signature script), Mr. Quincy, Harvester (script), Fischer (rounded industrial octagonal sans), Henrik (a free letterpress emulation typeface), Quartz Grotesque, Cymbria (free weathered sans), Waves (a great caps only skyline font) and Seaport (brush script).
Typefaces from 2018: Monique Script, Maveryk.
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. Typegoodness link. YWFT link.
View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed 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 co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009). Svetoslav Simov, Plamen Motev and the Fontfabric team (Vladislav Jordanov, Stan Partalev, Mirela Belova, Jacklina Jekova, Nikolay Petroussenko) produced Zing Rust, Zing Sans Rust and Zing Script Rust in the same year: it consists of 521 handmade typefaces.
In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont. Svet Simov and Svetlin Balezdrov co-designed the humanist sans family Squad, and Simov published the free all caps flared terminal font Colus in 2018. Gilam was designed in 2018 by Ivan Petrov, Plamen Motev and Svetoslav Simov---it is based on DIN, but is more geometric and has obliquely cut terminals.
In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head). Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free). [Google] [MyFonts] [More] ⦿
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).
Fortunes Co (was: Celcius Design)
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: Beast (rough brush, SVG format), Mield Script, Fountain, Celestial, Postmark Typewriter (rough and textured), Pinkerton Script, Manhattan (brush script), Brighton (Victorian), Loveable Script, Camp Press, Campground (connected script; free after a complicated immigration procedure; see also Pixel Surplus).
Typefaces from 2018: Minted Mood, Modular, Carlsons Script (a vintage lettering family), Milestone (baseball script), Maldina, Signatra, Block.
Frederic W. Goudy
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.
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 shaded 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 (shaded 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 (shaded 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: Crazy Krabs, Old Barbwire, Gregory Packaging, Ghost Army Stencil, Old Wise Sketch (sketched blackletter), Packaging Funny, Blackboard Restaurant, Kavernosa (bony typeface), Little Kid.
Typefaces from 2018: 1927 Epoque, Cartoon Toy Turbo, Old Wise Lord (blackletter), Handmade Memories, Silly Cartoon, Old Press Original, Pet Shop, Cute Script, Dust West College (hatched), New Comic BD.
Yusof Mining (Gearwright) specializes in old American typefaces and letterpress. His typefaces:
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. Thom Janssen is a graduate of the TypeMedia program at the KABK in The Hague in 2017. 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. Thom currently works as a freelance type designer and as a researcher at PXL, Hasselt University, Belgium.
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:
George Everet Thompson
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).
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] ⦿
Or Oghi 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: Burnout, The Elders, Alora, Sisterfields Script, Badger, Brashed, Organic, Martabak, Brownies, Mighty, Beauty Script (watercolor brush), Society Script (monoline script), Feminim Script, Attack Attack (comic book lettering), Nobbler (vintage lettered typeface).
Typefaces from 2018: Estoria Script (SVG font), Butter Sweet (a horror brush font), Postcard Script, Silence Good (font duo), Hellprint, Brought, Shining Bright, Boxer (an effective hand-crafted fat slab), Southeast, MilkAndShake, Hangover Script (calligraphic), Awakening Script, Macbeth (a free opentype SVG dry brush font).
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 (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.
Good Craft Supply Co
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] ⦿
Good Gravy Type
BFA Graphic Design, Boise State University, ID, 2011. Now located in Tampa, FL, Conrad Garner created of the free heavy copperplate sans typeface Idaho (2012) and the copperplate display typeface family Port City (2017, Font Bros; in Press, Sans and Serif sub-styles).
In 2018, he designed the signage typeface Koozie Script (+Icons), the condensed grotesque Dabronx, and the squarish all caps sans typeface family Cold Cuts (the latter with Dathen Boardman).
Typefaces from 2019: Da Bronx Sans (a 12-style condensed grotesque family by Dathan Boardman and Conrad Garner).
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. In 2017, they added Jukebox Hero (stencil), Lustra (a mechanical sans), Lustra Text, and Sunblock Pro (2017, by Brian J. Bonislawasky and Jim Lyles).
Typefaces from 2019: Decade (a logotype inspired by an alphabet in Letters and Lettering (1938, Paul Carlyle and Guy Oring)).
Hannes von Döhren
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:
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.
Hustle Supply Co
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: Boathouse (brush script), The National (condensed sans, in 12 styles, including aged, weathered versions), Renegade (dry brush), North Port (dry brush), Rustico (a free dry brush font), Gastro Pub (a 3d layered typeface family), Harper Script, The Brewers Collection, Everyday Script and Sans, Genuine Sans and Script (by Jeremy Vessey and Stephanie Arsenault).
Typefaces from 2018: Holtzberg (a free letterpress emulation font), Purveyor (vintage all caps), Rothmans (a heavy monoline script), Bolder (an OpenType SVG font), JV Signature (an opentype SVG font for signatures), Köhler (a condensed textured typeface family), Restless (brush script), Secret Society, Berringer, Portrait (signature script), the Artisan collection (letterpress set: Heinberg, Holtzman, Trade Supply, Barley Script).
Typefaces from 2019: Avondale (monoline script), The Great Outdoors (all caps sans), Huscon (vintage label style), HSCO John Hancock (a signature font), Portrait Script (a signature script family), Heather Oliver (a signage script), Haroldson (condensed sans), Youthful (dry brush script).
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).
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. It was followed in 2018 by Brandon Grotesque Condensed.] 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 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).
Typefaces from 2018: Giulia (a creamy cutesy baby shampoo font family).
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:
Image Club Graphics
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.
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).
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 (chalky 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 shaded 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: Scoubidou Rap, Good Morning (cartoon font), Graphik Arts (textured), Danger Zone Warning, Love The One You're With, Are You Hung Up (textured), Keys of Paradise, Mr Headlines Fancy, Game of Brush, Powerful, Ghost Shadow, Quick Menu Boards, Urban Fresh Air, Cheer Lace Leader (textured), Cracked Code (grunge), Very Simple Chalk, Fluo Gums, Very Popular, Personal Service, Blind Signature (crayon font), Blood n Guts, Quarterback Fight (octagonal athletic lettering), Supersonic Rocketship, Reboot Crush, Strange Path (dry brush font), Heroes Legend, Cache-Tampon, Championship (a great horizontally striped typeface), Silver Age Queens, Strange Tales.
Typefaces from 2018: Play With Fire, Scrunched, Megalomaniac Headliners, Craps of Paper (white on black), All Things Must Pass (textured), Presque Normal, Interfearence, Pop of the Tops, Universal Knowledge, Digital College, Cold Turkey (a hand-crafted horror font), Strange Magic, Grandissimo, Best Prices (sketched), Magician's Daughter, Children's Theater (textured), Magnifico, Lethal Slime, Pop of the Pops, Slow Death, Folk Festival, Strange Marvel, Strong Impact (octagonal), Heavy Metal Blight, Mango Slice, Are You Jimmy Carl Black, Strange Clowns, Mechanical Animals, Fast Forward, Spanish Castles, Vintage Warehouse, Swamp Black, Pixelmania, Enigma key, Vlump (wooden plank font), Guns n Flash Comix, Black Streamer, East Border (military stencil), Bot Craftshop, Super Quick, Don't You Know?, Return of the Flash, Only The Strong (weathered athletics font), Hands Up, Strange Shadow, White on Black, Ed Wood Movies.
Typefaces from 2019: African Style (textured with African patterns), Secret Planet (sci-fi), Universal Ignorance, Give Peace a Chance, Hard Punk Gothic, Vraoum (speed emulation font), Galaxy Travels, Megapoliscape, Red Signal, Perfect Mystery (dry brush), Many Years Ago (mechanical, octagonal), Vintage Display (textured caps), Space Sport (textured, octagonal), Dancing Days, Steam Punk, Splatch (comic book font), Rear Defender (octagonal, stencil), Ghost Factory, Kids Magazine.
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)
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:
Intelligent Design (was: Intelligent Foundry)
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. He is currently working as a senior typeface designer at URW in Hamburg and offers consultation in Greek script design for other foundries too.
In 2011, he used FontStruct to make the counterless typeface UglyKost.
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.
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. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.
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] ⦿
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.
Jack Stauffacher (b. 1920 or 1921, d. 2017, Tiburon) was a master printer who worked with metal and wood type and printed everything from business cards and tickets to fine art books and museum monographs. 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. Later he ran the Greenwood Press in San Francisco, and lived in Tiburon.
John Berry on Jack Stauffacher and his use of large wooden letters in illustrations. 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).
Jaduger Design Studio (and: Twodollarshop)
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: Ashial Chalky, Mibrush (dry brush script), Malo Script, Egyp (hieroglyphs), Cycle Font (bike scanbats), Tamaki Pro (grungy letterpress emulation typeface), Stone Age, Kabadi (a geometric headline sans), King's Initials, Handwriter (grungy).
Catalog of some of his digitized typefaces: they include Canyon (SoftMaker), Humanist Slabserif 671 (Bitstream) and a custom typeface by Reymund Schroeder and Andrej Loll. Various digital versions of Candida. Jakob Erbar typeface showcase. [Google] [MyFonts] [More] ⦿
Jamie Clarke Type
Jamie Clarke (Bristol and London, UK, and at some point, 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).
Typefaces from 2018: Shovel Knight Drop Caps (partial woodblock print alphabet), Rig Solid (a superb family of layered 3d fonts).
Author of the very informative article The Evolution of Chromatic Type (2017).
Jeff Levine: Dingbats and Alphadings
Jeff Levine: Octagonal typefaces
Octagonal typefaces made by Jeff Levine: Air Corps JNL (2014, featuring retro letters and numbers from military aircraft), Amateur Lettering JNL (2018), Arvada JNL (2009), Bike Tag JNL (2013), Borough Hall (2006), Case Lot JNL (2015), Celluloid NL (2010), Chamferwood JNL (2015), Condensed Chamfer JNL (2018), 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), Sentiment JNL (2017), 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] ⦿
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!.
All work in the Starhaped Press studio is done with metal and wood type, making Starshaped one of the few presses in the United States producing commercial work while preserving antique type and related print materials. [Google] [More] ⦿
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).
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.
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 received his apprenticeship from Moran's Quality Print Shop in Green Bay, Wisconsin, while serving as printer's devil, pressman, partner, and owner for 29 years. He became the Director of Hamilton Wood Type & Printing Museum in 2009, where he maintains the collection of wood type, runs and repairs the museum's presses, teaches workshops, archives and restores the museum's collection of 20th-century decorative and advertising plates, and oversees museum operations. Speaker at ATypI 2017 in Montreal and at ATypI 2018 in Antwerp. In Antwerp, his talk, Old Beer New Type, presented together with Fred Smeijers, is concerned with the typographic revival of one of the Plantin Moretus' oldest (17th century) posters, promoting beer. [Google] [More] ⦿
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 (1988; 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:
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:
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).
Jordi Manero Pascual
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] ⦿
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
Judith Poirier is professor at UQAM in Montreal. She developed an interesting wood-based modular typeface, Latitude, in 2014 for the inuktitut syllabary.
In 2013, she produced a typographic short movie, Two Weeks Two Minutes, that won the Canadian Film Institute Award for Best Canadian Animation at the Ottawa International Animation Festival. The idea is very clever---just transfer letterpress directly to 35mm film stock. The hallucinating images remind me of noisy movie fragments used in Hitchcockian thrillers. [Google] [More] ⦿
Juha Korhonen (b. 1966, aka Junkohanhero) is a Finnish artist and type designer, who created these free fonts:
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: CAB Letterpress, Duga Stencil (a Latin / Cyrillic military stencl based on lettering seen in the Chernobyl Exclusion Zone).
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).
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:
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] ⦿
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] ⦿
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:
Onur Cem Tan is the Istanbul, Turkey-based designer of Square Dot Matrix (2018), Balat Sans (2018), Seven Segment (2018: an LED font), LED Dot Matrix (2018), Grunge Paintbrush (2018), Handwritten Marker (2018), Marker Font (2018), 3D Block Letters (2018), Brush Numbers (2018), Retro 3D Numbers (2018), and Melted Liquid Numbers (2018).
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.
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 Â»bitte setzen!Â« 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] ⦿
Letterhend Studio (or: Magang Letterhend)
Hendry Juanda runs Letterhend Studio in Yogyakarta, Indonesia. He designed the signage script typefaces Redoura (2016) and Kadisoka (2016), and the accompanying Redoura Serif (2016) and Kadisoka Monoline (2016). Hendry also designed the hand-crafted typefaces Signerella Script (2016, +Sans), Motherline (2016), Motherline Sans (2016), Mukadua (2016), Mukadua Script (2016), Sakra (2016) and Sakra Script (2016).
Typefaces from 2017: Kaylar Script (formal calligraphy), Keylar Serif, Legion, Hipsterious (signage script), Megattor, Dear Jane Script, Wonder Stark, Kingbirds (monoline script), Mandatory (Sans+Script), Modesta Script, Romzul Sans (a fat finger font by Muhammad Romzul Khoir), Kanuda (by Galih Prasetyo), Aamonoline (by Ageng Jatmiko), Fad Script, Ageng Sans (by Ageng Jatmiko), Anisa Sans, Morsel, The Lentigo, Quinible, Storytella, Rose Colored, Swiftone, Antone (letterpress family), Retrology (monoline script), Claytonia, Pipetton (brush Script and Sans), Marttabuck (retro), Gloriant Signature Script, Jouska, Brooklyn (dry brush), Holiday, Take Easy (dry brush), Larizo (brush script), Vanillate (monoline retro script).
Typefaces from 2018: Sabatons, Autogate (font duo), Sharon Baker, Blue Phantom Script, Dologan, Bolica, Jaceline, Youther (brush script), The Goldies, Carllosta (curly), Black Space (brush style), Anjani Script, Melania Monoline, Calasans (retro layered), Greatly (font duo), Arlington (spurred, Tuscan), Pastelle (SVG brush font), Diana Webber, Caligor Sans, Greatly, Belymon Script (a great signage script), Majestika Script (signage script), Nagoya (monoline script), Charlotta Script, Stronger (vintage style), Wonder Stark (rhythmic script), Vanillate (connected monoline script), Pipetton (script), Roseville (calligraphic: by Hendry Juanda and Sarid Ezra), Rupture, Gustolle (a great watercolor brush font in OpenType SVG format), Riverside (monoline script), Bulgaria Script, The Majority (calligraphic script), Blacklite (signage script), Athalia Script, West Hood (Western), Fort Collins (font duo, by Sarid Ezra at Letterhend), Flanders Script, Thirdlone, Bigstorm, Melania Script (named after the first golddigger), Motherline, Harsey (a 16-font toolbox of signage scripts and dingbats), Dearday Script, Dearday Sans, Blodders, Callonsky, Kulon, Quicken, Reklase, Skizzle, Storytella, Brighter.
Typefaces from 2019: Asterone (a wide all caps sans), Venettica Script (a signature script), Hougbon Script, Philomena Script, Cephalonia, Birmingham Script (calligraphic), Hillstown (Sans and Script).
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, where you can ogle his creations, Normandia (done at KABK), Joel (also done at KABK), Jerusalem (part Hebrew), Kristal and Rain Birds (another KABK font).
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".
In 2015, he was working on Kristal at Bold Monday.
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] ⦿
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] ⦿
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 Binny 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 Binny&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] ⦿
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] ⦿
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] ⦿
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'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.
Big Brother (2013, letterpress style) is inspired by the Big Brother poster typography from Michael Anderson's adaptation of George Orwell's "1984".
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:
Martha Carothers is Professor of Art at the University of Delaware where she teaches book arts, foundation design, and visual communications. Carothersâ€™ 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:
Dutch freelance graphic, logo, type and web designer, b. 1989. He operated as MS Designs. In 2010, he made an extensive comic book / fat finger typeface called Dion which was used in a national Dutch campaign "Zonder Cash ben je nergens" (You're nowhere without Cash). Celente (a transitional typeface) is also from 2010. Modani is an unfinished didone from 2010.
He writes: I am now working on several typefaces including a modern grotesque typeface called Dagon Sans, an antique humanist/grotesque typeface called Crouton Grotesque, a sturdy transitional typeface with oldstyle elements called Icarus (+ Icarus Sans) and a modern serif called Hagel (+ Hagel Slab).
In 2011, he created Icarus (text family), Icarus Sans, Triumviraat (+Display, +Sans, a flared family), Kolibrie (humanist sans), Noorderlicht (after Gerrit Noordzij's Ruse), and Noorderlicht Sans (both were discontinued), Crouton Grotesque, Celcius (his most complete font family yet) and Dagon.
Typefaces from 2016: Zilver (a letterpress emulation text typeface based on Fleischmann's work).
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.
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] ⦿
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
Born in Jablonec nad Nisou, Czech Republic, 1992, Matyas Machat created Sandokan in 2014. Sandokan is a brush script font with that conjures up oriental calligraphy, art nouveau and psychedelic flower power.
In 2017, he designed BC Brief (Briefcase Type).
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:
Magdalena Boffito (Mezzo Mezzo) 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).
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] ⦿
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] ⦿
Typefaces from 2019: Retjeh (an all caps vintage sans), Mesquin (letterpress emulation), Opulent (a display typeface with possible applications in fashion typography), Beatster (a weathered all caps lettepress emulation typeface family; free demo). [Google] [MyFonts] [More] ⦿
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] ⦿
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.
Indian graduate from the type design program at the University of Reading in 2010 currently based in Goa. He is a partner and cofounder of BrandNewType, an independent type and typography design studio. He studied Graphic Design at the National Institute of Design, India and received a master's degree in typeface design from the University of Reading. He develops typefaces for Indian scripts, working in close collaboration with Fiona Ross and John Hudson.
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. 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 and at ATypI 2019 in Tokyo 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.
In 2017, Adobe Type released Myriad Devanagari and Myriad Bengali. Designed by Vaibhav Singh and Neelakash Kshetrimayum, respectively, these typefaces translate the design of Adobe's popular Myriad family (by Carol Twombly and Robert Slimbach) to the most-used writing systems of India. [Google] [More] ⦿
New Blazing Star Press
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). The 40 fonts from 2014: TPTC CW2 AdamsSentinel, TPTC CW2 ArmedAlphabet, TPTC CW2 BoldBeniciaBoy, TPTC CW2 Broderie, TPTC CW2 ComparativeBorder, TPTC CW2 FaceBorder, TPTC CW2 FishermansSongBorder, TPTC CW2 GuttaPercha, TPTC CW2 Jambieres, TPTC CW2 Klegg, TPTC CW2 LincolnsToothpickHollow, TPTC CW2 Lorenz, TPTC CW2 LoungerHashed, TPTC CW2 Lovejoy, TPTC CW2 Massaponax, TPTC CW2 MassaponaxHashed, TPTC CW2 NewRatesofTollBorder, TPTC CW2 NiblosGarden, TPTC CW2 NicodemusHeights, TPTC CW2 NorthStar, TPTC CW2 NutritiveCoffeeBorder, TPTC CW2 OysterHouse, TPTC CW2 SaltJunk, TPTC CW2 Schnepf, TPTC CW2 ShieldofFreedom, TPTC CW2 ShockoeBottomDisplay, TPTC CW2 ShockoeBottomSmall, TPTC CW2 SolilioquoyBorder, TPTC CW2 SpikedLineBorder, TPTC CW2 SquareLineBorder, TPTC CW2 SquarzasPunch, TPTC CW2 SquarzasPunchOutlined, TPTC CW2 St.LouisArsenal, TPTC CW2 TariffBorder, TPTC CW2 TheNorthStar, TPTC CW2 TitlePageLowercase, TPTC CW2 WestWoods, TPTC CW2 Whitworth, TPTC CW2 Zollicoffer, TPTC CW2 Zylobalsamum.
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
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.
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] ⦿
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. Chuck has partnered with various typefoundries such as Bitstream, Filmotype, Sideshow, Tart Workshop, Device, and Cultivated Mind. The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. Working with Stuart Sandler and Crystal Kluge at Tart Workshop, he developed the method by which their Aya Script delivers its characteristic curlicue ribbons. His types grace book covers, greeting cards, film titles, museum façades, and the seal of the United States Copyright Office. At present, he teaches typography and type design at Tufts University in Boston. In 2015, he set up Oddsorts. His typefaces, in more or less chronological order:
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] ⦿
Open Source Publishing (or: OSP)
Free software project based in Belgium and run by four people (and I quote from their web page):
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.
Oriol Moret-Viñals (b. 1968, Barcelona) has a Phd in Letterpress Typography and teaches at the Faculty of Fine Arts of the University of Barcelona since 1997. At ATypI 2014 in Barcelona, he spoke about the geminated el (l-l) in the Catalan language.
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'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 co-designed 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), P22 FLW Exhibition, P22 FLW 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 co-designed 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).
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.
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).
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 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:
British designer who worked for Condé Nast in the 1980s. Paul Harpin created his first typeface, Laura---a twelve-weight typeface family--in 2014, assisted by Paul Hickson. It is named after his niece Laura, who died of cancer, and has Display, Stencil, Ribbon and Regular styles. In 2017, he co-founded London Type. At London Type he published these typefaces:
Paul van Oijen
Santiago de Chile-based creator of Selaive (2011, Latinotype), a geometric monoline sans with an extreme hairline weight, a bold, and several curly alternates. She also made the curly swashy script typeface Dulce (2011; Dulce Pro appeared in 2013 at Latinotype). Dulce has slight teardrop terminals.
In 2012, she and Daniel Hernandez created the Bosque family at Latinotype, which comes with six variants, Normal, Wood, Shadow, Wood Shadow, Dingbats and Shadow One. Julieta is a curly swashy thin monoline typeface family. Romeo (Latinotype) is a swashy curly condensed unicase typeface.
In 2014, together with Daniel Hernandez, she created the upright good-spirited coffee shop script Showcase. It is morally supported by a set of Ornaments and a few Sans and Slab styles.
Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.
In 2016, she designed the delicate display didone typeface family Camila (Latinotype), for which she was influenced by Coco Chanel.
In 2017, Paula Nazal and Daniel Hernandez co-designed Trenda, a geometric sans family based on the uppercase of Trend. The rounded edge version of Trenda is Boston [corrections and review by Alfonso Garcia and Rodrigo Fuenzalida].
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.
In 2012, Peter published a free pixel typeface called Six.
In 2014, he started work on a gorgeous letterpress style typeface, Ijskelder.
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 books include Signs, lettering in the environment (with Catherine Dixon, 2003) and Type&Typography (2002, with Andrew Haslam).
Author of Rookledges 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, 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: free).
In 2016, he designed the letterpress emulation typeface Prequel, the informal monoline typeface Kanada and the experimental typeface Artypa.
Typefaces from 2017: Grape, Coyote (sans), Airfly (sans), Corn (sans), Tugano (serif typeface), Okashi (oriental brush font), Coffee & Tea, Fish & Chips, Cream, Leixo, Leixo Stencil.
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 Pind-O-Rama (2019), Pieches (2019: a linocut font inspired by the powerful political and social posters by Paul Peter Piech), Soundstar, Clafoutis (2019), Pedrita (2018), Transmogrified (2018), Melodia (2018), Minute (2018), Mindset (2018), Salted (2018), Plunct Plact (2017: a children's script), Manihot (2017), Brushtones (2017), Strange Times (2017), Mudstone (2017), 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 co-designed 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.
Portland, OR-based company. Its timeline:
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.
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.
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).
Quill Type Co
Berlin-based product designer who created these typefaces in 2017: Luzia (text typeface), Cache (letterpress emulation), Stash, the display sans typeface Gerst, Konstanz (industrial age font), the slab serif Wrangell, the great all caps sans typeface Hossa (+Soft) (2017), and the dashing serif typeface Elaris (2017).
Typefaces from 2018: Meryll (serif), Hanko (sans), Brusco.
Rare Letterpress Wood Type
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] ⦿
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:
Refolve Design Studio
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: Fetani (a wonderful hand-crafted typeface for bohemian gastronomy), The Jevera (brush script), Floure (letterpress emulation), Clairborne. Behance link. Creative Market link. Behance link. Creative Market link for Refolve. [Google] [More] ⦿
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] ⦿
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.
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] ⦿
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:
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. He 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; 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 creates 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 on 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 vastly expanded 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).
Keynote speaker at ATypI 2017 Montreal. Youtube video of that talk entitled "Type Night In Canada".
Bloomington, IN-based designer of Deco Alphabet (2012).
Ruben R Dias (was: Item Zero)
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).
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.
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] ⦿
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). [Google] [More] ⦿
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] ⦿
Scriptorium (Ragnarok Press, Fontcraft)
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:
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: Buzzmill (wooden plank font), Pumpkin Patch Initials, Talinn, Reliquary, Nopalito, Scattershot (script).
Typefaces from 2018: Marionettas (a Mexican horror movie poster font), Fascination, Architextura, Santa Sangre, Glyphos.
Typefaces from 2019: Comic Classix.
Sebastian Cabaj (or: Pan Cabaj) studied graphic design at the Academy of Fine Arts in Warsaw, where he now works as a graphic and type designer, and runs Kometa Studio. In 2012, he set up the Sebastian Cabaj Foundry via MyFonts.
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).
Typefaces from 2013: USKOK, Bosman (a sketched or tattoo font family), Marina (a tattoo font), Grot, Olech (a layered poster or letterpress simulation face based on Martin Jacoby-Boy's Bravour, 1912), Garda (a layered system with a great inline), Pancake (a signage script), Zapora, Sailors Dream (layered font family).
Typefaces from 2014: USKOK, Old Craftsman.
Typefaces from 2018: Epsum (a squarish poster or logo typeface family).
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] ⦿
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 (spurred), 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: Hunky Dory, Bangers and Mash, Circus Freak, Fake Empire, Gilly Script, Banoffee (a kooky hand-crafted typeface), Tuck Shop (a chalk font), Fake Empire (grunge), Mu-Th-Ur (a free octagonal typeface inspired by the film Prometheus).
Typefaces from 2018: Be More Human (for Reebok), Higgs Boson Blues (SVG font), Fierce (dry brush SVG font), Yeah Foil Balloon (color font).
Leeds, U.K.-based designer of Graft (2019), a condensed typeface intended first as a display face for the giant People Powered Press (for letterpress printing). They explain: The letterforms take inspiration from the north's rich industrial heritage, using the shape of the cross section of a steel I-beam as their starting point. [Google] [MyFonts] [More] ⦿
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] ⦿
In 2012, Stawix was established in Bangkok by Stawix Ruecha (b. 1986, Bangkok). At Stawix, Ruecha published these typefaces:
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)
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), Mustardo (2017, signage script), Gloss And Bloom (2017, dry brush), La Guapita (calligraphic), Rose of Baltimore (calligraphic), Broadcast Matter (2017, dry brush script), Mocking Bird (2017, signage script), Hotel de Paris (2017, beveled), Julietta (2017, script based on the lettering of Stéphane Lopes), Meat Buckets (2017, a nervous signage script), Strawberry Blossom (2018: script), Jasmine and Greentea (2018: script), Grand Adventure (2018: script), Silver Charm (2018: script), The Breakdown (2018: script), Rosetta Black (2018: brush style), Rosetta Color (2018: SVG color font), The Perfect Christmas (2018: a starry font), Strawberry Blossom (2019: watercolor brush), Mollywood (2019), Badass Moon (2019), Rotten Mangos (2019: made from a fudenosuke brush pen; a renaming of Badass Moon?).
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] [MyFonts] [More] ⦿
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 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 of 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: I Robot, Christmas Stitch, Nightmare (dripping blood font), Tangerine (inline typeface), CF Klondike (spurred Western font), CF Letterpress Type, CF Brothers in Arms, CF Etoffe du Pays (a dusty typeface), CF Second Son, CF The Rock (textured), CF Old School, CF Pretty Trees.
Typefaces from 2018: CF Le Dernier Empereur (oriental emulation), CF Sacred Planet, CF Glitch City, CF Remington Typewriter, CF Cyborg, CF Punk vs Cyborg, CF The Ocean Song (monoline connected script), CF Wild West (Tuscan), CF Three Dimensions, CF Mexicana.
Typefaces from 2019: CF Worls at War (an old typewriter font), CF Night of Terror (a dripping blood font), CF Blackboard (a chlak font), CF Punk Fashion, CF Punk Songwriter.
Stevens Shanks & Sons Ltd
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 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 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:
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, 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 worked 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 University of the Arts in Philadelphia, at the New Jersey City University, at the Hochschule für angewandte Wissenschaft und Kunst Hildesheim/Holzminden/Göttingen (HAWK), at the Kunsthochschule Kassel, at The Cooper Union, and at the City University of New York. He is presently based in Brooklyn, NY.
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 (1996: 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.
Typefoundry in Prague, Czechia, est. 2014 by Vojtech Riha (b. 1989), who studied at the Technical School of Ceramics in Karlovy Vary, and at the Studio of Typography of the Academy of Arts, Architecture and Design in Prague.
Born in Lincoln, UK, in 1942, Ted Staunton now in Surrey, BC, 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. Some of his fonts were used privately on transfer lettering sheets and cast in metal for hand typesetting at his private press, Sherwood Letterpress. His typefaces are mostly published bi P22:
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.
Thirteen Studio (or: Lost Volt Typefoundry)
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), the striped shadow typeface Vhiena and the copperplate typeface Renassance (sic).
Typefaces from 2017: Moon & Chips, Vhiena 2.0 (layered), Vayentha Script, Vayentha Sans, The Braggest.
Typefaces from 2018: Madeleine (a free signature font), Lineton (sans).
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] ⦿
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.
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
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:
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] ⦿
Plymouth, UK-based designer of the two-dollar hand-printed typefaces Brixton (2013), Brixton Pro (2015), Brixton Bled (2013), Brixton Outline (2014, a hand-crafted blackboard bold typeface), Brixton Sans (2014), Brixton Line (2014), Brixton Roug (2014), Brixton Hand (2015), Brixton Sans Outline (2015), Hayrah Hand Script (2014), Allister (2013), Bobby Jones (2013) and Liberal Hand (2013). Avera (2013) is a serifed typeface. Rivina (2013) is a commercial outline font with hand-crafted qualities. Berty Boo (2013) is hand-drawn. Max Rock (2013) is a grungy sans display face.
Typefaces from 2014 include Swindale Sans, Hectra, Liberal Hand, Liberal Hand Sans, Lance Sans, Lance Serif, Lance Serif Rough, Avera Sans, Jimmy (a free hand-drawn typeface in Sans and Serif styles).
In 2015, he made Jimmy Sans and Jimmy Script (monoline), Rock Out (brush script), Handy Script, Tallow (with Bogdan Sandu; includes Tallow Sketch Sans, Tallow Sketch Serif, Tallow Rough Sans & Serif, Tallow Oen Sans & Serif, and Tallow Brush Sans & Serif), Rivina Brush (watercolor brush), Rivina Pen, Rivina Dip Pen, Rivina TC Pen, Petal Brush (watercolor brush), Scribbling Tom, Abbie Script and Hectra (free hand-crafted typeface).
In 2016, he designed Grocery Brush and Whicker (brush script).
Typefaces from 2017: Magnite (brush script), Russell (dry brush script), Bouncy Castle (calligraphic).
Typefaces from 2018: Bobby Rough (to accompany Bobby Jones), Casual Line Script, Lance Sans, Lance Serif, Bravura (a brush SVG font), Russell Brush, Hamilton (an SVG font in Serif, Sans, Script and Painted substyles), Rustic Gold (a handpainted SVG font), Meraki (SVG format dry brush script), Acrylic Hand (hand-painted SVG fonts), Buckwheat TC (a handpainted SVG font, and a vintage textured typeface family).
Typefaces from 2019: Revive 80.
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.
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] ⦿
The book Type Navigator Typography The Independent Foundries Handbook by Jan Middendorp (2011) contains a CD with fonts. A list of the contents:
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 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: Morl Sans and Morl Rounded, Grimpt (hand-crafted), Noyh Geometric (with sharp corners), Noyh Geometric Slim, Mates Malty (in Brush, Brush Dry, Marker and Inkpen versions), Vild Scapes (by Chatnarong Jingsuphatada and Kamonjit Lerdsittikul: a hand-crafted brush typeface family), Flowy (brush script), Gliny (hand-crafted), Betm Rounded.
Typefaces from 2019: Prayuth 9a 32-style sans), Motiraw (an 28-font bgeometric sans), Germalt (a 32-style geometric sans), Kelpt Sans (32 styles; a corporate version of Kelpt), Tomkin (a 54-style rounded sans), Brilk (a 40-font condensed rounded sans family).
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).
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
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] ⦿
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).
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] ⦿
Viaction Design (or: Viaction Type)
Yogyakarta, Indonesia-based designer (b. 1990) of the layered vintage typeface Barra (2017), the rounded sans typeface Chalif (2017), the rounded monoline script Saffa Recordminded (2017), and Afifah Script (2017).
Typefaces from 2018: Stengkol (an all caps slab serif inspired by the Western era), Hiyagh Ahey (a monoline script), Contender (a stamp font with weathered texture), Routerline (monoline script), Routerline Rough, Morella, Beauty Rains (creamy connected script), Believer (a connected heavy monoline script), Saffa Script Monoline, Rosella Script, Rosella Sans, Bricklane.
Typefaces from 2019: Sunmore, Velcro (brush lettering), Basaro, Hansel (letterpress emulation, +Rough), Kindson, Talesian (a signature font), Raventame, Staincool (Tuscan, layered). Graphicriver link. [Google] [MyFonts] [More] ⦿
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 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).
Vintage Foundry Illustrator
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.
Vintage Type Co
Graphic designer from Summerside and/or Charlottetown, Prince Edward Island, Canada, who was located first in Edmonton, Alberta, and then in Moncton, NB, then in Toronto, and finally in halifax, Nova Scotia. He runs SRC Designs and founded Vintage Type Co in 2015 (not to be confused with Susan Townsend's Vintage Type, a company set up in the 1990s). Creator of the free sans titling typeface family Municipal (2013) and of the hand-printed typeface Fruit Sale (2013).
In 2014, he created Shifty Sailor (spurred), Hofmann (psychedelic typeface), Kalopsia Slab (a condensed slab serif family with an arts-and-crafts flair). One weight is free---the others can be bought here. He also created free User Interface Icons in 2014.
Typefaces from 2015: Jackal Display, Anaheim Gothic, Alehouse (vintage connected script), Dorchester Display (vintage Victorian typeface), Huxley (brush script), Drone Ranger, Authentico (vintage poster typeface in eight styles), Firefly (free poster font), Highbinder (an eroded vintage typeface), Adventurous Script (watercolor brush), Nomad Icon Font, Arctic Express (hand-crafted capitals).
Typefaces from 2016: VTC Numeric (free), Grindstone (vintage), Grindstone Script, Grindstone Sans, Midnight Owl, Southbank (free), Planet Rouge, Life Is Jazz Script, Mystery Tour (+Sans) (a layered Americana or circus font), Sugar Boats, Navy Queen (a nice free font influenced by vintage nautical posters).
Typefaces from 2017: Virgo Antique, Virgo Display, PressBox (letterpress and Americana emulation), Merchant Street Sans (eight stackable fonts), Old Spirits (spurred Victorian style), Prizefighter (art deco sans), Andre's Diner, Artisans Script (signature script), Milton Grotesque (a free all caps American grotesque), Queen Street (a layerable family).
Vintage Type Co (or: Vintage Design Co)
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: Simple Things (old typewriter font), Dorchester Display (Victorian), Besties, Montebello (monoline script), Money Penny (script), Outbound, Radiant Beauty (brush script), Adrenaline Brush, Foxtrail Script.
Typefaces from 2018: Lemon Bird (free).
Typefaces from 2019: Bloke (a revival Miller & Richardâ€™s classic metal typeface Egyptian Expanded).
Vintage Voyage Design
Aka P. Rudakov and Pasha Korzhenko, and operating as Vintage Voyage Design. Perm, Russia-based designer of the vintage hand-crafted typefaces West End (2015, spurred Western typeface family), Winter Holidays (2015), The Sugar Cane (2015, eroded signage script), Montana (2015), Canyons (2015), Forest Tramp (2015), Heart of Gold (2015, a think inky brush), La Fa Salt (2015, a connected monoline script), Robinson (2015, hand-crafted), Rise (2015, rough brush), Stout (2015, +Stout Roughen), Jack's Guitar (2015) and Bough (2015).
Typefaces from 2016: Chameleon (rough brush), Les Paul (beatnik style), 1994 Fancy, The First Division (an elegant hand-crafted Peignotian typeface family), The Aviator, Ocean Beach (weathered athletic lettering font), Fenway Script (baseball script), Fenway Sans, Octanis (display family in Sans, Slab, Serif, and Rounded Sans sub-styles), Compare (a vintage wedge serif typeface inspired by the mafia), Unchained (Western typeface), The Selvedger (signage script), Driver (a retro speed emulation typeface family), Pasternak Script.
Typefaces from 2017: The Bartender (a 14-font vintage typeface family with some letterpress styles), Easy Rider (a layered road movie brush script font), The New America (penmanship script), Ace of Spades (grungy), Cavalcade (a layered serif typeface inspired by American and European typography of early 20th century, from movie posters to design of alcohol bottles like Martini, Cinzano and Campari), Old Standard, Season Times (Sans+Script), Roadstar (a vintage speed emulation techno font).
Typefaces from 2018: VVDS Pacifica (a hand-lettered bold signage script inspired by American branding typography from the end of the 20th century), Le Bonjour (a retro sans), The Voyage Culture (font duo), Afterglow (a didone), VVDS The Bimbo (circus fonts), Two Letter Monogram, Diamond Monogram, Circle Monogram, Circle Frames, Harbour (a free decorative blackletter, +Harbour Decor: 2017-2018), Sandwich (a large 3d beveled typeface family), The Telegraph (transitional newspaper type), Golden Horn (a layered vintage typeface).
Typefaces from 2019: The Pretender (a package inspired by vintage American sign painting), VVDS Praliner (an all caps sans for display), Le Bonjour (Peignotian), Kristopher (a fancy serif), Nurnberg (an expressionist, modernized blacletter), The British Telegraph (based on vintage British headline type), Halau (a tiki font), Halau Serif, Sign Painter (a monoline Script, a layerable Sans, and two Decor ornamental styles, all based on Victorian era signs).
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 (David Sum, aka 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).
VSF (or: Vasil Stanev Foundry)
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.
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 and 2017, he designed the mythological typefaces Bugazoo Letterbat and Etymonster, respectively.
Typefaces from 2017: Combax (rounded sans), Tengwar Sindarin Latin and Cyrillic, Hel Grotesk Gothiq Cyr (a cyrillization of Kevin Yuen Kit Lo's Hel Grotesk), Celtic Cyr, Jardin Ornatis (decorated caps).
Typefaces from 2018: Crona, Etymonster (a letterbat font), Mistnake (Halloween dingbats), Ergam, Cloch, Ufont (an aliens font), Needlephabet, Ornatis (a floriated caps alphabet for Latin, Cyrillic, Armenian and Hebrew).
Jakarta, Indonesia-based designer of Batisde (2019: a font duo), Haglos (2019: a signage script), Delpina (2019, a vintage monilinear sans; at Vultype), Quefira (2019: monoline script), The Bredan (2019: script), The Bredan Sans (2019), Handler (2019: an interlocking typeface), the monoline script typeface Hesland (2019: free demo) and the letterpress emulation font Foregen (2019). [Google] [MyFonts] [More] ⦿
Walden Font (est. 1997) sells historical typefaces&clip-art by Oliver Weiss from Winchester, MA. Walden's site includes a brief history of blackletter, as summarized in the PDF document The Gutenberg Press: Five Centuries of German Fraktur (1997). Typefaces by categories:
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.
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. Creative Market link. List of typefaces: