| || |
A six is not a six: the Landis case
An analysis of the handwriting in the Floyd Landis Tour de France doping case shoots down at least one of the arguments of Landis's lawyer. By yours truly. [Google]
A sad story of how Adobe misled the world about the origins of Robert Slimbach's Cronos family, which was modeled after Kuester's Today Sans Serif, available from Mannesmann-Scangraphic. [Google]
Akademie der bildenden Künste Stuttgart
Description of the main type work at the Academy of Graphic Arts in Stuttgart. The big names there were Walter Brudi, J.V. Cissarz, F.H.E. Schneidler and Walter Veit. From 1920 until 1948, F.H.E. Schneidler was head of the graphics division of the Akademie der bildenden Künste Stuttgart.
Some stencil alphabet by them (ca. 1930), and later digitized by "Mindofone" as free art deco stencil typeface Glas Deco (2012). Other examples [taken from the book Handsatzschriften des Instituts für Buchgestaltung an der Staatlichen Akademie der bildenden Künste Stuttgart von Walter Brudi, J.V. Cissarz F.H.E. Schneidler und Walter Veit include Veit Antiqua (Walter Veit), Brudi Mediaeval, Brudi Kursiv and Pan (Walter Brudi), Cissarz-Latein.
The following typefaces are by F.H.E. Schneidler: Amalthea, Bayreuth, Buchdeutsch Zierbuchstaben, Buchdeutsch, Deutsch Roemisch Fett, Deutsch Roemisch Kursiv, Deutsch Roemisch, Die Zierde, Ganz Grobe Gotisch, Graphik, Halbfette Buchdeutsch, Halbfette Deutsch, Halbfette Schneidler Schwabacher, Juniperus Antiqua, Kontrast, Legende, Schmalfetten Gotisch, Schneidler Antiqua, Schneidler Fraktur Zierbuchstaben, Schneidler Mediaeval Halbfett, Schneidler Mediaeval Kursiv, Schneidler Mediaeval, Schneidler Schwabacher Initialen, SSchneidler Untergrund, Schneidler Werk Latein, Schneidler Zierat, Schneidler, Suevia Fraktur Initialen, Zentenar Fraktur Halbfett, Zentenar Fraktur, Zentenar. [Google]
Akke Ragnar Kumlien
Swedish painter, poet, scholar, publisher, typographer and type designer (b. Stockholm, 1884, d. Stockholm, 1949) who designed fonts at Klingspor such as Kumlien (1943), Kumlien Bold and Kumlien Antiqua. Tjörbjörn Olsson created interpretations such as KumlienMM (1993) and Kumlien-Initialer (1994). The fist major digital revival and extension came in 2011 at Canada Type, where Patrick Griffin and Kevin King designed the Kumlien Pro family.
Bror Zachrisson penned Akke Kumlien: 1884-1949 in PAGA, volume 1, number 3, pp. 45-56, 1953. Kumlien studied the history of arts and literature at Uppsala University, which later bestowed on him an honorary doctorate. He was also the founder of the Institute for Research of Materials at the Royal Academy of Arts in Stockholm, the head of the Thiel Gallery's well-known art collection, and the main artistic consultant at P. A. Norstedt&Sons, the royal printing house. His Kumlien transitional typeface was the first major Swedish-designed typeface in over a hundred years. Specimen.
Author of Bokstav och ande (The Letter and the Spirit: 1948), and Kunstneren og bokkunsten (Artist and Book Art).
MyFonts link. Klingspor link. [Google]
Stanley Davis is the designer of the well-known font Amelia (1964), a winner at an international type competition run by Visual Graphics Corporation (VGC). In this article, we investigate why Stan is mad at Linotype and Bitstream (in his words: [...] Bitstream and Linotype have stolen my Amelia font [...] their renditions of it are pathetic). A comparison is made between these fonts: A770Deco (SoftMaker Software GmbH) [true to the original, a feature of most of the SoftMaker collection], BarbarellaSF (Brendel Informatik&SoftMaker Software GmbH, 1990-1993), PerkleDisplaySSi (Southern Software, Inc, 1992), AmeliaBT-Regular (Bitstream, 1990-1992), LinotypeAmelia (Linotype*Hell AG, 1997), and Amy (Corel, 1991). Stan is in favor of strengthened copyright protection to avoid this sort of thing. [Google]
ATypI 2001 report
Report by yours truly of the 45th ATypI meeting held in Copenhagen from September 20-23, 2001. Dean Allen's report. Programme and CVs of the speakers. John Berry's report. Joachim Müller-Lancé's report. Report by Chester of Thirstype. [Google]
ATypI 2002 report
Report by yours truly of the 46th ATypI meeting held in Rome from September 19-22, 2002. Bread and circuses: on-line report by Mark Barratt and Ben Weiner. From an ATypI Board's member: John Berry's report. Jill Bell's pictures. Joachim Müller-Lancé's picture report and text report. Jef Tombeur's report (in French). Michail Semoglou's report. Luciano Perondi's report (English version). [Google]
ATypI 2004 was held in Prague from 30 September-3 October 2004. ATypI's own newsletter. Report by yours truly. Picture report by yours truly. Pictures by J.-F. Porchez. More pictures by J.-F. Porchez. Report by Dan Reynolds. Pictures by Richard Kegler. Laurence Penney's pictures. Pictures by Ryan Pescatore Frisk. Report by John Berry. Pictures by Letterror. Pictures by Diederik Corvers. Tony De Marco's pictures. Lettering in Prague by Robert Kravjanszki. Ilya Ruderman's extensive picture report (in Russian), continued here. Vera Evstafieva's report of the Type Tech Forum (in Russian). Pictures by Erik Van Blokland. Report and pictures by Andrzej Leraczyk. Report and pictures by Filip Blazek and Pavel Zelenka. [Google]
ATypI 2006 was held in Lisbon, Portugal, from 27 September-1 October 2006 on the theme Typographical Journeys. Mario Feliciano was the main organizer. Luc's report. Picture report by Dan Reynolds. One by Jean-Baptiste Levée. Pictures at Flickr. Pictures by Dan Rhatigan. Van Lancker's pictures. A French report with pics by Jean-Baptiste Levée. His pictures. General Flickr site. Pics by Rob Keller. Roger Black's pic of Spiekermann. Oleg Koshe's pics of Verena Gerlach's talk. Tagir Safaev's pics of the newspaper design track. Oleg Koshe's pics of Massimo Vignelli and François Chastanet and Spiekermann's main talk. Comments and links by Dan Reynolds. Lisbon Letters by Jerrold Maddox (Penn State University). Oleg Koshe's report on Kindel&Smeijers. Brief report by Ana Sabino. Pictures by Birx. Henrique Nardi's shots. Ukrainian report (+pics) by Victor Kharyk. Pics by Protype. Pics by Vera Estafieva. Pictures by Iria Cunha (and many transparencies of talks). Yves Peters comments. letters.sdu (VinOlga, Annette) shows a collection of Lisbon street lettering images. See also the fontme site for Lisbon stree lettering. The student volunteers have their own photographs on Picasa: 1, 2, 3, 4, 5, 6. [Google]
A brief report (with pictures) of the ATypI meeting held in October 2009 in Mexico City, by your humble servant. [Google]
ATypI 2012 was held at Hong Kong Polytechnic University and Hotel Icon in Kowloon from 10-14 October 2012. The conference was hosted by the School of Design of the Hong Kong Polytechnic University. The main organizer was Keith Tam.
Report by Luc Devroye. [Google]
ATypI '99 report
Report by Luc Devroye of the ATypI '99 meeting held in Boston, 7-10 October 1999. Great pictures by Jill Bell, including two close-up shots of BenguiatFrisky. [Google]
[Inland Type Foundry]
Barnhart Bros. Spindler Type Founders: Book of Type Specimens, 1907
Trying to fit this 1000-page book into one web page, with discussion of many types. It's impossible, but I tried it. [Google]
A listing, with comments, of the fonts in the BERTLib library. [Google]
Bruce Type Foundry
Founded in New York in 1813, and acquired by ATF in 1901, this foundry made fonts such as Bruce Old Style (now Bitstream), Madisonian (now available from Présence Typo), and Old Style 7 (Linotype, Adobe). Also called D.&G. Bruce, George Bruce, George Bruce&Co., George Bruce's Son, George Bruce's Son&Co., and V.B. Munson. They published a 592-page specimen book in 1901: Bruce Type Foundry: Our Handy Book of Types, Borders, Brass Rule and Cuts, Printing Machinery&General Supplies.. In 1869, George Bruce (b. 1791, Edinburgh, Scotland; d. 1866, New York) published An abridged specimen book Bruce's New York Type-Foundry (1869), now available as a free Google book. Page with specimen of Great Primer Ornamented No. 5, Meridian Black Open (blackletter), Canon Teutonic Ornamented, Small Pica No. 2, Double Pica Graphotype, all taken from An Abridged Specimen of Printing Types Made at Bruce's New-York Type-Foundry (1868) and stolen from Luc Devroye's web site. Fists by the Bruce Foundry.
Bruce Ornamented No. 6 was digitized by Iza W from Intellecta Design in 2006 as GeodecBruceOrnamented. (2008, FontMesa) is a family of Western style faces based on a Bruce type family from 1865. FontMesa also made Belgian (2008) based on a Bruce Type Foundry design from the 1860s. Bruce 532 Blackletter (2011, Paulo W, Intellecta Design) is an excessively ornamental blackletter face. Michael Hagemann's slab serif family Gold (2011) is based on Bruce's Gold Rush (1865) after removing the shadows. [Google]
C. E. Weber
Stuttgart-based foundry established in 1827, and taken over by D. Stempel in 1970, which in turn became Linotype in the eighties. Their library included Druckhaus Antiqua (1919), Schadow Antiqua (1938), Weber Fraktur (1860) and faces by these designers:
- Albert Auspurg: Start (1935).
- Julius Kirn: Bison (1954-1955). Well, Hans Reichardt says 1938. This brush typeface became Brush 738 BT (Bitstream).
- Walter Jakobs (or Jacobs): Chronika (1936), Verzierte Chronika (1937), Chronika fett (1938) and Chronika licht (1939).
- Hans Möhring: Gabriele (1938; Hastings mentions 1947).
- Erich Mollowitz: Forelle and Forelle Auszeichnung (1936, script types).
- Willy Schaefer: Neon (1935).
- Friedrich Hermann Ernst Schneidler: Bayreuth (1935), Deutsch Roemisch (1923; Kursiv in 1926, fett in 1930), Roemisch fett (1930), Kontrast (1930), Suevia Fraktur (+halbfett).
- Georg Trump: Amati (1951), Codex (1954), Delphin I and II (1951), Forum I and II (1948 and 1952), Jaguar (1965), Palomba (1954, script), Schadow (Antiqua 1938, Antiqua werk, 1948, Kursiv 1942, Antiqua Fett 1952, Antiqua halbfett 1939, Antiqua Schmalfett 1945), Signum (1955), Time Script (+Light and Medium) (1956), Trump Mediaeval (1954; Kursiv and halbfett in 1956; fett in 1958; Kursiv fett and schmal halbfett in 1962).
- Wagner&Schmidt, Leipzig: Colonna Antiqua (1908; halbfett in 1911), Druckhaus Kursiv, Druckhaus Antiqua (1919; +fett, + halbfett, +schmalhalbfett), Ekkehard (1903), Erika (1920; +halbfett), Margarete (<1927), Orient Antiqua (1914), Parlements Fraktur (1908), Progress Reklameschrift.
Cali Ruchala does not think that the attacks on shareware and freeware sites are being done in a haphazard manner. Read on. [Google]
Carl Gustav Naumann
C.G. Naumann is Carl Gustav Naumann, who ran a family printing business in Leipzig. In 1901, he published Schriftproben der Firma C.G. Naumann. Sample pages of that book are shown in the link. Poster by Naumann. [Google]
Carl Stephen Junge
Illustrator and poster designer in Chicago in the 1920s and 1930s, who lived from 1880 (b. Stockton, CA)-1972 (d. Des Plaines, IA). Many of the ornamental typefaces in the Barnhart Brothers&Spindler catalog of 1931, Typefaces : border designs, typecast ornaments, brass rule: selective specimens of preferred matter, are due to Junge. His typefaces:
- Caslon Italic Specials (1924).
- Swagger Capitals, which already appeared in the 1922 catalog of BBS. Swagger Capitals was reworked by Nick Curtis in 2004 as Mazurka NF [the lower case of Mazurka NF is based on Gothic Novelty Title, perhaps not a Junge type]. Swagger Capitals also inspired Pencraft (2010, Intellecta Design).
Mac McGrew: Swagger Capitals or Swagger Initials were designed by Carl S. Junge for BB&S in 1925. They are virtually monotone, with an elongated flourish on each of the letters, most of which are cursive in character. There are only twenty-four letters, without X or Z. The foundry promoted them as being usable as initials with various typefaces.
- Many ornaments were collected and digitized by Nick Curtis in Junge Holiday Cuts NF (2004).
Charles Percival Bluemlein
Charles Percival (or just Percy) Bluemlein (b. 1891) served in the 346th Infantry in World War I. In 1920, he married Mildred Vanderbilt and settled in Brooklyn, NY. He died in 1944 and is buried in the Long Island National Cemetery in Farmingdale, NY. Famous for his scripts and penmanship, his best known book is Script and Manuscript Lettering (1947, Higgins Ink Co, Brooklyn). Earlier editions are from 1943 and 1944 and have Bertram Cholet and Dorothy Sara (1943 edition only) as co-authors.
Modern revivals of his scripts include
- KolinskySable SG (Jim Spiece, 2004), based on a 1944 brush design called Mr. Ronald G. Sheppards.
- Bender Script (2008) by Alison Argento. She writes: Would you hire one of the top hand lettering artists that worked for companies like Max Factor for your designs? Of course you would! Chas Bluemlien passed away many years back, and you couldn't have afforded his services anyway, but his lettering prowess which graced many advertisements, primarily cosmetic ads, has been pulled together from numerous samples to make this font.
- Alejandro Paul's Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on Bluemlein's alphabets from the book cited above: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde, Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. In 2011, that series was made available at Google Web Fonts. Al;ejandro writes: From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography, became virtually extinct.
- Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Paul's Lady Dawn and Mr Lackboughs.
- In 2012, Intellecta Design got into the act and promised to digitize the entire series under the name Bluelmin instead of Bluemlein. They created Bluelmin Kisaburo, Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012).
Credits: Several of the images below, as well as some biographical information, are courtesy of Charles's grandson, David Musgrave. [Google]
Cornelis Dirckszoon Boissens
Dutch letterer and calligrapher, 1568-1634 (or 1635). He published the calligraphic masterpiece Gramato graphices in Amsterdam in 1605. This book has several blackletter and chancery alphabets proposed by Boissens. Teaser web site by yours truly. [Google]
Dead History (Emigre: Scott Makela, 1990, redrawn "from scratch" by Zuzana Licko in 1994) has some characters that do not seem to be redrawn from scratch, as Emigre claims. It sure looks like they were borrowed from VAG Rounded (an Adobe font) and thrown in a font editor for a minor touch-up. [Google]
Douglas C. McMurtrie
[McMurtrie: A Memorandum on Early Printing on the Island of Malta]
Douglas C. McMurtrie
[McMurtrie: The Didot Family of Typefounders]
A peek into Schriftgiesserei Emil Gursch Berlin: Gesamtprobe Schriften Ornamente Vignetten Messinglinien (488 pages), one of Gursch's gorgeous specimen books. Emil Gursch was the main principal/owner of the Schriftgießerei Gursch in Berlin from 1866 until 1917, at which point the foundry was acquired by Otto Tech Berlin, an arm of H. Berthold AG. MyFonts link. [Google]
Eurocrat and Eurofart
In 2009, I decided to make Eurocrat, a Euro symbol font, according to the European specifications. I added various weights and an outline version, called Eurofart, to celebrate the hot air surrounding Europarliamentarians. Finally, there is also a single-official-glyph font, Euron. [Google]
Formatting Font Formats
A research article published in 1993 by Luc Devroye at EuroTeX. [Google]
Los Angeles-based company that distributed a 5000+ library of two-inch film fonts for display faces, some of which were original, such as Yagi Double (the CNN logo font) and Yagi Link Double. It ceased operations in 1985. Trogman maintains a design studio in Palm Springs, California. Blippo (1970) and Handel Gothic (by Robert Trogman) are in that collection. And so is Buxom, a beveled 3-d athletic lettering typeface sold, e.g., by Elsner&Flake as Buxom SB (Scangraphic).
Yagi Link Double was revived by Alex Haigh as Miyagi (2008, Thinkdust). Yagi Bold and Yagi Double were revived in 2010 by Gus Thessalos as Retro Mono Wide and Retro Stereo Wide, rewspectively. Gus revived Yagi Link Double as Retro Stereo Thin.
FotoStar is a small web page made by yours truly that showcases some typefaces in the FotoStar collection taken from their catalog, Film Font Digest FotoStar Graphic Supply.
Images of some of his fonts. [Google]
FOX versus Graham Meade
FOX complained that Graham Meade made a font called Buffied, which looks to much like the letters from the "Buffy the Vampire Slayer" television series owned by FOX. Graham counters that he made the font from scratch and that letterforms cannot be protected. In June 2000, Graham's web site was pulled by Fortunecity. Then Graham Meade called his font Rebuffed. But now, ironically, FOX itself is using new letters that are directly taken from Graham's Rebuffed font. But what can you expect from the network that brought TV down the gutter with Temptation Island? See also here. [Google]
Author of The Shaping of our Alphabet (1955, Alfred A. Knopf, New York), a 228-page type history book. His oeuvre. [Google]
A personal opinion on the membership and conference fees for ATypI. After a Typophile discussion, ATypI's president, Mark Batty, lowered ATypI's membership fee for citizens of developing countries on February 18, 2003. A positive move! [Google]
Author of Das Buch des Setzers (1948), an overview of the hand composition typefaces available by German type foundries at the end of World War II:
- From Frankfurt: Bauersche Giesserei, Ludwig&Mayer, D. Stempel.
- From Berlin: H. Berthold, Norddeutsche Schriftgiesserei.
- From Hamburg: Genzsch&Heyse.
- From Offenbach: Gebr. Klingspor.
- From Leipzig: J.G. Schelter&Giesecke, Ludwig Wagner.
- From Dresden: Brüder Butter.
- From Altona: J.D. Trennert und Sohn.
- From Stuttgart: C.E. Weber.
A survey of fonts with the gender symbols, and a creation by yours truly, called Sekushii. [Google]
Luc argues for the creation of generic fonts (copyright and trademark protection disappear after about ten years) in a piece entitled "the font patrimony" (2003). [Google]
[Bruce Type Foundry]
Gerald Giampa: 1950-2009
Reporting on the death of Lanston Type owner and metal/digital type expert Gerald Giampa. [Google]
Gillen versu Jami
Jeff Gillen (Mincandy) insults Jami (TrueType Resource). Find out how and why. [Google]
[Libro di M. Giovambattista Palatino cittadino romano]
H.C. Hansen Type Foundry
Boston-based foundry. [Google]
Henrik Keyser II
Swedish book printer and typographer, whose story is told be Douglas McMurtrie in The First Swedish Type Specimen (Chicago, 1933). He published Sweden's first type specimen book in 1691: "Någre få prooff. Hoos Henrick Keiser Kongl. Maytz: och Upsal. Acad. Booktryckiare Stockholm 1691". Only two copies of this specimen book remain, one in Stockholm, and one in Upsala, where Keiser was the University of Upsala printer. The type specimen book shows Fraktur, Schwabacher, music notation, Hebrew, Greek, Cursive, Antiqua, Roamyn and title capitals. Later on, Keyser became the royal printer. He died in 1699. Bio in Swedish. [Google]
Imprimerie L. Danel
Imprimerie L. Danel was founded in 1698, as a successor of Imprimerie Fache, which existed in Lille since the early 1600s. It has remained a family business, and occupies two factories, one in Lille, and one in Loos. It appears that some original type was made by L. Danel over the years, although it cannot be said that such was the focus of the business. The Livret Typographique L. Danel (Lille, 1935) describes some of its history and typefaces. [Google]
Inland Type Foundry
The Inland Type Foundry in Saint Louis was established in 1892 by the three sons of Carl Schraubstadter (1827-1897), William A. Schraubstadter (1864-1957), Oswald Schraubstadter (1868-1955) and Carl Schraubs Jr. (1862-1947). Carl had run the Central Type Foundry in Saint Louis and sold it to ATF (American Type Founders) in 1892, and the sons reacted by setting up Inland. Until 1911, Inland was one of the most successful foundries in the United States. In 1911 Inland was purchased by ATF and its equipment divided between that foundry and Barnhart Brothers and Spindler (BBS). A.V. Haight (Poughkeepsie) designed Rogers (art nouveau) at Inland Typefoundry in 1902. He also designed Haight. Nicholas J. Werner, who used to work for Central, also created many designs at Inland. Look for "Specimen book and catalog, a price list of printers' supplies, showing types and rules in which are embodied all the latest styles ... among which ... may be especially mentioned the casting of types on standard line and unit sets." (1902, 464 pages), Specimen Book and Catalog. A Price List of Printers Supplies, Showing Types and Rules in which Are Embodied all the Latest Ideas that Enable the Printer to Produce Superior Work in a most Economical Manner Among which Betterments May Be Especially Mentioned the Casting of Types on Standard Line and Unit Sets (St. Louis, 1897) (a free copy is here and here) and Specimen Book and Catalog. A Price List of Printers Supplies, Type, Rules and Accessories of the Very Latest Designs which Facilitate the Economical Production of Superior Printing. A Notable Improvement Is the Casting of All Type on Standard Line&Unit Sets (St. Louis, 1907). MyFonts page.
Scans of some typefaces: Becker (art nouveau), Blanchard Italic [Blanchard was revived in 2013 by Paulo W as Blanchard Inland], Commercial Script, Edwards (art nouveau), Inland, Lightface Blanchard, Matthews, Extended Studley, Rogers (art nouveau), Poster French Oldstyle (1897 catalog), Poster Ionic (1897 catalog), Poster Latin Antique (1897 catalog), Pacific Bikes (ornaments, 1897 catalog), Recut Caslon (1907, as taken from the 1923 ATF catalog), Drew (1910, from the 1923 ATF catalog: a digital version called Droobie NF was created by Nick Curtis in 2014), Title Shaded Litho (1911), Litho Roman (1907), Gothic No.578 (1898), Pen Print (1911), Blair (1900), Comstock (1902), Inland Copperplate (1901), Shaw Text (1907).
Commentaries by Mac McGrew on some of the typefaces:
- Gothic No. 578: Gothic No. 578 was shown as Gothic No.8 by Inland in 1898 as "the latest candidate for the printer's favor; a popular old typeface entirely recut." It was shown until 1941. It is a bold weight, and is quite similar to Standard Bold which as an import from Germany was very popular in this country in the 1950s. It is also similar to Comstock, but without the added outline. Keystone called it Standard Gothic, although it is not identical to the German face. As a nineteenth-century gothic, the cap G had no crossbar. Paragon Gothic is the same design, without lowercase, cast as a title face.
- Pen Print: Pen Print and Pen Print Bold were introduced by Inland Type Foundry in 1911, with the latter thought to have been the last typeface cut by that foundry before its sale to ATF. Pen Print Open was designed for ATF in 1921 by Morris Benton, and includes open versions of all the characters shown for the bold. The series has more the appearance of rather crude brush lettering than pen "printing," but the inclusion of an open version is contrary to the conception; perhaps it was intended for two-color printing. The letters have a slight backslant. The bold was also cut by Intertype, in 1927. Compare Dom Casual.
- Blair: Blair was advertised in 1900 by Inland Type Foundry as new and original, calling it "an exact imitation of the small gothic letter now so popular with engravers for stylish stationery." Its production was continued by ATF until the 1950s. It is similar to Copperplate Gothic Light, but without the tiny serifs of that face. Litho Gothic is the same design but with lowercase. Mitchell (106) is the same design but slightly heavier. The condensed version was produced in 1903 or earlier. Hansen copied Blair as Card Gothic No.2. Compare Lightline Gothic.
- Comstock: Comstock was advertised by Inland Type Foundry in 1902 as "a striking novelty, our brand new face." It was revived by ATF in 1957. It is a medium weight conventional gothic, distinguished by a hairline surrounding each letter. The G lacks a crossbar, typical of many nineteenth-century gothics. The design was sponsored by A. H. Comstock of Omaha, according to a review at the time of its introduction. Condensed Comstock was introduced by Inland in 1905, but patented in the name of William A. Schraubstadter in 1908. It has no lowercase, but the design is more contemporary. Monotype has copied both faces, but Monotype Comstock Condensed is in 18-point only, without figures. In both foundry faces, there are several sizes on 12-point body; No.1 is the largest in regular, but No.1 is the smallest in Condensed. In 1911, a copy of Comstock was issued by Bauer in Germany under the name Astoria, revived in 1957.
- Inland Copperplate: Inland Copperplate is a shaded Old English typeface, first shown by Inland Type Foundry in November 1901. It is similar to Typo Text (q.v.). although the specimen here, reproduced from an over-inked showing, doesn't reveal the shading.
- Shaw Text: Shaw Text was introduced by Inland Type Foundry in 1907 as its "latest novelty," although it is a rather conventional Old English face, a little heavier than Wedding Text, and a little lighter and fancier than Engravers Old English. After Inland merged with ATF, Shaw Text continued to be shown until 1954. Compare Plate Text.
- Litho Antique (1910). Mac McGrew: Rockwell Antique was a reissue of Litho Antique, cut by William Schraubstadter for Inland Type Foundry and introduced in January 1910 when it was advertised as the "newest typeface; one of our best; closely imitating steelplate and lithography." In the late 1920s similar faces became popular in Europe, and some were imported into the United States. Morris Benton of ATF added several characters to the old Inland face, matrices of which were then in ATF's vaults, and it was reissued in 1931 as Rockwell Antique. But Benton saw that something more was needed, and redrew it as Stymie Bold (q.v.) in the same year. The alternate characters which were added to Rockwell are the same ones now shown with Stymie Bold. Monotype copied Rockwell but erroneously called it Stymie Bold in some literature, and there has been confusion between the two faces ever since; the latter name is often applied to fonts of Rockwell cast on Monotype machines by secondary suppliers. Indicative of this confusion, Stymie Bold Italic on Mono is series 1891, corresponding to Rockwell series 189, while Stymie Bold is 790. English Monotype has several weights of Rockwell, a square serif family which differs from this typeface and should not be confused with it; see Imports in Appendix. Antique Shaded (q. v.) is sometimes called Rockwell Antique Shaded.
- Herald Extra Condensed (1909). An octagonal typeface.
- Extra Condensed Title Gothic No.12.
ITF versus McCullough
On October 23, 2002, Anna McCullough is alleged to have posted a bunch of Red Rooster (ITF) fonts on alt.binaries.fonts. ITF reacts by sending a letter (via their lawyers, Ballard Spahr Andrews&Ingersoll) in which they threaten to ask 22,500 dollars in damages ***per download***. Analysis and details in this web page. [Google]
Prolific British author (b. 1917), who published, e.g., A suite of fleurons : or a preliminary enquiry into the history&combinable natures of certain printers' flowers (London : Phoenix House, 1956). Pictures, including cover page. This site has a font, Fleurons-A (based on A Suite of Fleurons by John Ryder, developed by S. G. Moye v1.6 July 14, 1991). [Google]
A listing and comparison of various digital implementations of Koch's German expresionist Neuland typeface from 1923. Rudolf Koch chiseled an all caps typeface directly from metal and called it Neuland (Gebr. Klingspor). This experimental typeface has been copied and revived over and over again. It was even used as the typeface for Jurassic Park. A non-exhaustive list includes
- Neuland and Neuland Star (Linotype). Linotype owns the trademark to Neuland. This typeface is possibly identical to Adobe's Neuland Std.
- Othello MT (Pierpont at Monotype, 1928-1929). The digital version is by Carl Crossgrove and Steve Matteson.
- URW Neuland.
- Albertus MT (Berthold Wolpe at Monotype, 1932).
- Informal 011 Roman and Black (Bitstream).
- Newfish (PrimaFonts).
- ITC Outback (based on Bob Alonso's interpretation at Photo-Lettering).
- FFD Neuland (Doug Olena, Keystrokes, 1995).
- Culpepper (George Ryan, Galapagos): a family with lower cases added and glyphs freely interpreted.
- Newfoundland (Corel).
- N691 Deco (Softmaker).
- AINeuland (Lester Dore at Alphabets Inc).
- Tribeca (David Rakowski), an outline version, as in the Jurassic Park movie font. Others in this category include BD Jurassic Black (Streetwise Software), Jurassic (Computer Support Corporation, 1996), Jurassic (COSMI, 1993), Jurassic (WSI, 1993), JurassicNormal (Elfring, 1993), JurassicPark (Sierra On-Line, Inc), Jurassic (Allen R. Walden), Tambor-Inline (Casteletype), FFD Neuland Inline (Keystrokes).
- Tambor (Light, Black, Inline and Adornado) (Jason Castle, Castletype).
- Rudolf (Jason Castle, Castletype).
- BrideOfTheMonster (Harold Lohner, 1998).
- Newland Black (Andrey Mel'man).
- P22 Koch Nueland (sic) (Richard Kegler, P22, 2000).
- Jungle Fever NF (Nick Curtis) and Blandford Woodland NF (2005, Nick Curtis).
- On Kochs Roots (Manfred Klein, 2002): a lower case and hair-serifed extension.
- KochNeu-ExtraBlack (Manfred Klein, 2003). Now called New Country.
- Neuerland (2010, Ian Lynam).
- OPTI Neuland (by Castcraft).
- (Metal typefaces by Baltimore Type). Mac McGrew: Neuland and Neuland lnline were originally handcut by Rudolf Koch for Klingspor foundry in Germany, about 1923. Being handcut, each size differed somewhat from others, and the lnline differed from the regular. The copies cast by Baltimore Type were recut by pantagraph from one size of the regular. and thus are uniform from one size to another. The white inline was added to this same recutting, and is slightly wider than in the German version.
Shown are some of the versions of Koch's Neuland. Indeed, there is no true "original", because each of Koch's type sizes comes with its own peculiarities (recall that each was cut directly in metal). The Linotype version, which is supposed to be the digital counterpart of the "original", is a bit too "clean". The Softmaker face, N691 Deco, is probably closer to Koch's original cuts, as most of Softmaker's historical faces aspire to be true revivals. However, only AI Neuland and FFD Neuland have the pointy M's that we find in the "Encyclopedia of Typefaces" of Jasper, Berry and Johnson, so go figure. The P22 typeface and Klein's typeface have K's with horizontal right upper arms and U's that hang together similarly, so they are in a category by themselves and one may well have inspired the other.
View abnd compare some digital versions and extensions of Koch Neuland. [Google]
Agfa Creative Alliance designer Leslie Cabarga has the following thesis: all free fonts are either of poor quality or are in some way pirated. This is a disappointing view from a talented type designer. Clearly, there are top-of-the-line original free fonts out there made by the likes of Apostrophe, Nick Curtis, Manfred Klein, Petra Heidorn and Dieter Steffmann. On the other hand, Cabarga is right about the abundance of poor quality fonts (unfortunately, both free and commercial), and the proliferation of pirated fonts, renamed time and again, but the renaming is mostly done by commercial companies (often cheap CD vendors). The page used to be here. [Google]
Lettering in Havana
Pictures from Havana (by yours truly, dated April 2003), and a brief report on type in Cuba. [Google]
Lettering in Santiago
Pictures of lettering in Santiago de Compostela, taken by yours truly with a cheap digital camera in 2003. [7MB] [Google]
Libro di M. Giovambattista Palatino cittadino romano
This jewel of a book was published in 1550 by Antonio Blado asolano in Rome. It is now available on the web and contains of complete alphabets, from chancery scripts, to blackletter and roman. There are also Greek, Hebrew, Cyrillic, Syrian, Arabic and other alphabets. Selected pics to make you drool. [Google]
Linotype enforces Helvetica
More harassment in 2001 by Linotype lawyers for people who merely use the word Helvetica, a Linotype trademark. Linotype has to protect its trademarks, yet the military approach it takes with respect to your average internet user is not acceptable. I wrote this article in 2001. In 2007, I came across a (now defunct) Russian link of equivalences with Helvetica: Pragmatica (ParaType), Crash (ParaType), Helvetica Neue (Linotype/2Alex), Helios (TypeMarket), AxxxxHelvetika (Tygra), Arial (Monotype), Artsans (.), Bastion (2Alex), BastionX (Unknown Soldier), Cyrvetica (SoftUnion), Encyclopaedia (!22!), Encyclopedia (Intermicro), Europa Grotesk (SC), Global Cyrillic (Global), NTHarmonica (IpexR), Hebar (Eurotype), Helga (Intermicro), Helios (Agfa), Helios Black (Anonymous), HelvCondenced (Vita BBS), HelvDL (DynaLab), Helvetica Y (Apple), AZ Helvetica (AzZet), Helvetica (Tilde), NTHelvetica (IpexR), Hylvetica (SoftUnion), Ladoga (MacCampus), AG Letterica (Tilde), Megaron (Tegra), NewhouseDT (DTP Type), Nimbus Sans (URW++), Nimbus Sans (URW++/Valek Filippov), Pragmatica (!22! Soft), Prague (N&L), PromtImperial (PROject MT), Swiss 721 (Bitstream), Swiss 721 (Bitstream/Tilde), Switzerland (Corel), Vanta (Intermicro), Vanta (!22! Soft), Sans (Anonymous, 1991 Font Collection), SvobodaFWF (Cassady&Green). Yet, in 2001, CybaPee was harassed by Linotype for using HelvAssim for a non-Helvetica font. This is not logical, and convinces me that the legal threats were selective, targeting the free font defenders. [Google]
The lawyers' letters signed by N. Yilmaz continue to flow out of the Linotype offices to unsuspecting typographers such as Dieter Steffmann, Markus Wäger, Dirk Uhlenbrock and others, all claiming trademark violations, and asking for immediate payment of sums ranging from 300 to over 10,000 Euros. This page explains how Linotype itself is "interpreting" the law. German language page on the same topic by Cybapee. [Google]
Linotype versus Beaumont
In 2002, Linotype harassed Beaumont at Freelang.net and called Times SudEuro, a Monotype font, the "intellectual property of Linotype". This was before Monotype absorbed Linotype. Linotype's lawyer Yilmaz asked an immediate 300 dollar payment from Beaumont for, among other things, posting that Monotype font. [Google]
[Eurocrat and Eurofart]
MacKellar, Smiths & Jordan
A study of the types made by MacKellar, Smiths & Jordan, the company that grew out of the Lawrence Johnson Type Foundry in 1860 and led to the creation of ATF in 1892. [Google]
Matthew Urlwin Sears
British wood engraver of the first part of the 19th century. Author of "Specimen of stereotype ornaments, 1825". [Google]
McMurtrie: A Memorandum on Early Printing on the Island of Malta
[Douglas C. McMurtrie]
Scans of a 13-page booklet by Douglas C. McMurtrie published in Chicago in 1936: A Memorandum on Early Printing on the Island of Malta. [Google]
McMurtrie: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie
Scans of an 8-page booklet by Douglas C. McMurtrie published in Chicago in 1936: Le Moreau-le-Jeune A Typographical Specimen with an Introduction by Douglas C. Murtrie. McGraw writes about Caslon Openface: Caslon Openface was originated by BB&S in 1915, where it was first called College Oldstyle. It started out as a reproduction of a delicate 18th century French typeface known as Le Moreau le Jeune, by the foundry of G. Peignot&Son, but in the American version some strokes are heavier. In a later ad, BB&S said, "Placing it in the Caslon group of types is taking a liberty, but it assuredly 'belongs.' " Actually it has somewhat more affinity for the Cochin types. Caslon Shaded was adapted by ATF from Heavy Caslon in 1917, by W. F. Capitain. Caslon Shadow Title was adapted from Caslon Bold by Monotype about 1928. Compare Cameo, Cochin Open, Gravure, Narciss. [Google]
McMurtrie: The Didot Family of Typefounders
[Douglas C. McMurtrie]
Scans of an 8-page booklet by Douglas McMurtrie published in Chicago in 1935: The Didot Family of Typefounders. [Google]
Memimas and LittleDays
Stephen Coles claims that Memimas (by Joan Barjau at Type-o-tones) was knocked off by Westwind in its free font Little Days. He suggested that it would be considerate to remove Little Days (2001) from the Westwind archive. My page shows that this is an exaggerated claim and request. [Google]
Monotype and ITC versus Bitstream
On July 12, 2005, plaintiffs Monotype and ITC bit the dust against defendant Bitstream, when the Judge Amy J. St. Eve in Northern Illinois found Bitstream not liable under any of the plaintiffs' claims of contributory copyright infringement, contributory trademark infringement, or infringement under the DMCA. The case was about Bitstream's TrueDoc and PFR software for embedding/porting fonts in web pages. [Google]
More on Palatino
A list of equivalent names for Palatino in the font world. And some more discussion on the rip-off of Zapf's font by the major foundries. This page also shows the original Palatino designed in 1948 at Stempel AG, and proves that all later versions, including Linotype's, are very different. [Google]
Morgans&Wilcox Mfg Co.
[William T. Morgans]
American wood type manufacturer from the 19th century, set up in 1880 by William T. Morgans and H.K. Wilcox. The latter had taken over Young's shares at Young and Morgans Mfg Co., prompting a company name change. It was located in Middletown, NY.
On-line 1890 catalog by Robert Lee. On page 22, that 1890 catalog even shows a typeface called Belgian.
Some digitizations can be found. See, for example, HWT Geometric (2013, James Grieshaber, Hamilton Wood Type Foundry). This is a squarish wood type family based on a design by Gustave F. Schroeder from 1881, as explained by HWT: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. Dick Pape designed AWT Morgans Wilcox Doric Cond in 2013. [Google]
Emil J. Klumpp's Murray Hill script font (ATF, 1956) has been imitated many times. This page shows some of the imitations by several major foundries. It was written as a reaction to a vicious attack on SnapFonts (a small new foundry) by John Butler, who claims that SnapFonts should not imitate MurrayHill [I do not think that John is writing URW, Bitstream, Elsner&Flake, Softmaker, Linotype, Image Club Graphics, or Berthold about removing their imitations]. [Google]
French painter in Paris, who published many (painted) alphabets in Album du peintre en bâtiment (1882, ed. Ducher et Cie, Paris).
The captions of the alphabets, in alphabetic order: Lettres, Lettres à Boule Fantaisie, Lettres Antiques Monumentales, Lettres Bronze Fantaisie Penchées, Lettres Capitales Antiques, Lettres Capitales Fantaisie, Lettres Capitales Ornées, Lettres Capitales Penchées Fantaisie, Lettres Capitales Romaine, Lettres Capitalesa Gros Deliés, Lettres Demi Monstre Allongées, Lettres Demi Monstre Fantaisie, Lettres Egyptiennes Ou Baton Allongées, Lettres Fantaisie, Lettres Monstre, Lettres Renaissance à Boule Fantaisie, Lettres Romaine et Batarde, Lettres Types Divers. [Google]
Oh it's not a circle
Piece by Luc Devroye about the lack of circles in font description languages. This was a pre-publication version of an article by the same title that appeared in Volume 1 of Pica Magazine (2009, pp. 88-91). [Google]
OpenType crashes Windows
A defect in the design of OpenType and in the way the Windows operating system handles it can cause a Windows crash. Read here exclusively how this could happen. A demo OpenType font is included, as well as instructions on how to change OpenType files to behave in this manner.
I have predicted the collective frustration of type designers with any type format that would demand too much technical input. One such format is OpenType, with its numerous tables that have to be adjusted. This effort turns off the true artists, the letter painters. A type designer friend, who will remain anonymous, wrote: I get the impression that OpenType has just begun troubling the type design world -- when Windows Vista and XPress will be published. Especially Windows seems to implement certain OT features differently than Adobe applications do, which means that Adobe will have to change their applications too, and font developers will have to update their fonts again. [...] I could imagine doing other things than keeping up with ever new developments which, unfortunately, don't improve anything. [Google]
By yours truly, dated 2002. I can't take the corporate manipulations and halftruths any longer. [Google]
Designer of a set of curly baroque initials in Nürnberg in 1601, published in Schatzkammer. Allerhand Versalien. The original book was scanned in at the BSB (Bayerische Staats Bibliothek and can be downloaded.
Joseph Kiermeier-Debre and Fritz Franz Vogel published a facsimile that can be seen at Google Books and at Amazon (Ravensburger Buchverlag, 1998).
A penmanship book due to Paulus (or Paul) Franck from 1655 under the title Kunstrichtige Schreibart: allerhand Versalien oder AnfangsBuchstaben der teütschen, lateinischen und italianischen Schrifften aus unterschiedlichen Meistern der edlen Schreibkunst zusammen getragen was published in 1655 in Nürnberg by Paul Fürst (ca. 1605-1666) and printed by Christoph Gerhard (1624-1681). This text, of which some pictures can be viewed here, consists largely of hyper-ornamental blackletter initials.
Franck's über-ornamental decorative caps were revived digitally in several typefaces:
- PaulusFranckInitialen (2002) was created by Dieter Steffmann based on those initials, but they are apparently incomplete.
- Paulo W (Intellecta Design) created the font Paulus Franck 1602 (2006).
Open Library link. [Google]
A family of typefounders, starting with Edward Pelouze in Boston in 1818 until the last of the third generation of Pelouzes sold out in September 1901 to ATF to become branch 5 of American Type Founders. The link has a reproduction of The Pelouze Family of Typefounders, an article by Steve L. Watts in PAGA, vol. 4, no. 2, pp. 29-35, 1956 and a Pelouze family tree courtesy of yours truly. [Google]
R. H. Munsch
Author of Recueil d' Alphabets à Dessiner (1951, Eyrolles, Paris). [Google]
Rudolf von Larisch
Information about the books written by Rudolf von Larisch. [Google]
Samuel Louis Sem Hartz
Dutch designer at Johan Enschedé en Zonen in Haarlem, whose work was also published by Stephenson Blake and Linotype. Born in Leiden in 1912, he died in Haarlem in 1995. He studied at the Academy of Fine Arts in Amsterdam, specializing in engraving. He joined Enschedé in 1936 where he would become art director. He made Juliana (Linotype, 1958; the original commission by Walter Tracy dates back to 1952; many penguin editions used Juliana), Emergo (1949, Enschedé, a typeface that was never released; he wrote The Emergo Type in PAGA, volume 2, number 3, pages 57-60, 1954), Molé Foliate (1960, see below) and Ponture (1971).
Lines&Splines reports the famous line by Hartz about Jan van Krimpen, his predecessor at Enschedé: the story of Van Krimpen's life could be subtitled, From Angry Young Man to Angry Old Man (note: Van Krimpen did not get along with many people.) Molé Foliate is a great floriated caps font designed by the Parisian founder Molé, with floral decorations inside the open typeface 3d letters. Redrawn in 1960 by Hartz at Stephenson Blake. A free digital version, Molé Foliated, was made in 1997 by an unknown designer.
In 2006, Mathieu Lommen published Sem Hartz and the Making of Linotype Juliana (Inferno Press, Vancouver). Digitizations of Juliana include Juliana Text by David Berlow at Font Bureau.
A collection of Hartz's correspondence and prints (from his own press, Tuinwijkpers) can be found at the University of Amsterdam. He also designed some Dutch postage stamps. [Google]
Information on the oeuvre of American advertising letterer Samuel Welo: his books, his alphabets, samples of his work, and a list of digital typefaces inspired by his creations. [Google]
Scanner to bitmap to PostScript
With Sandro Mazzucato, we developed a program that takes fonts from scanner to bitmap to PostScript type 1 outline. The Bézier curves in the outline are found by a specially adapted random search method. "The Thienen family of fonts" (44 fonts) are freely available for everyone except for persons or companies that are now selling (or intend to sell) fonts for profit (see the readme file). Type 1 fonts with a larger but unusual FontMatrix (which somehow seem to upset some programs, even though they follow PostScript rules and are accepted by native PostScript printers and Ghostscript) may be found here [dead link]. Random search in automatic font generation (1994) is an article by Luc Devroye and Sandro Mazzucato that describes the entire process. [Google]
Stempel's history, 1895-1955
Stempel's first 60 years, from its start in 1895, through the purchases of the Juxberg-Rust foundry from Offenbach in 1897 and W. Drugulin in 1919, to the era of Hermann Zapf in the 50s. That same publication was extended here. [Google]
A few notes and type specimens on the Stephenson Blake Foundry, compiled by your servant. [Google]
The Sugaku family of fonts (over 120 at the end of 2003) consist of ornaments and symbols. These fonts were generated by a PostScript program because the placement of the points of the outlines had to mathematically exact (for example, the vertices of a polygon with 17 sides cannot be correctly placed using a mouse in a font editor). All brought by yours truly, for free. I had (mathematical) fun making them.
Mola's font plays based on Sugaku. Fontplay by Zillah (Sue Lang), and another one by Zillah. [Google]
Technical problems with Lino's Palatino and Zapfino
The famous Linotype Palatino font and the Linotype Zapfino family are technical nightmares, full of errors, omissions, and sloppy mistakes. Read about the details here. [Google]
Testing fonts for web pages
A small web page by yours truly for testing what a given font name in the "font-family" field of a web page produces. The results depend upon one's operating system and browser! [Google]
TEX and Type 1
Help using type 1 fonts in (pure) TEX files. LATEX is harder, see elsewhere. [Google]
The best typefaces of 2013: Luc's selection
This is my own selection of the best commercial and non-commercial typefaces published in 2013, grouped by category.
|Text typefaces: |
- Aria Text (Rui Abreu, R-Type). A magazine or newspaper type in three optical sizes of six styles each.
- Essay (Stefan Ellmer, Type Together). Still under development, I can't resist adding this very readable text font to the best-of-2013 list.
- Louize (Matthieu Cortat). Six styles, about 6000 glyphs in all. This is a major revival of the Elzevirian style Augustaux type by Louis Perrin, 1846-1855. A slightly flared version is called Louize Display.
- Desire (Charles Borges de Oliveira). A good old condensed typeface for book covers, editorial work, packaging, advertising, branding and more.
- Quars Black, a weight of Quars by Pilar Cano and Ferran Milan, Letterjuice.
- Urge Text (Dave Rowland).
- Damien, the graduation typeface family of Lukas Schneider at KABK in Den Haag.
- Richler (Nick Shinn). Originally designed in 2001 to commemorate Mordecai Richler, it was released to the public in 2013.
- FF Dora by Slavka Paulikova.
- Karol (Daniel Sabino, Type O Tones).
- Mauritius (Patrick Griffin and Kevin King, Canada Type). A revival of Georg Trump's last typeface, the transitional Mauritius (or: Barock Antiqua; 1967, Weber).
- Bridone (Josep Patau Bellart). This is a didone typeface family that takes elements from Victorian British slab faces to add a dash of old charm and sturdiness.
|Sans typefaces: |
- PF Square Sans Condensed Pro (Panos Vassiliou, Parachute).
- Canaro (Rene Bieder). Large counters, no spurs, simplicity and under-the-radar charm, ideal for information design.
- Clear Sans (Neil Summerour). Unclassifiable, semi-geometric, appealing. A good choice for web use.
- Divenire (by FF3300 and Molotro Type Design). This typeface was commissioned for the identity of the Italian Democratic Party.
- Sensato (Jasper De Waard, Bureau Roffa). A humanist almost flared sans family. A few days after its publication, Sensato had to be renamed---the new name is Proza.
- MTT Milano (Mattia Bonanomi). Inspired by the Milanese typographic heritage and the Futurist movement behind it.
- FF Mark (by Hannes von Döhren, Christoph Koeberlin and the FontFont team).
- Equip (Dieter Hofrichter) and Equip Condensed. A geometric sans in two families of 16 styles each.
- Mandag-Fredag (Maximilian Huber; buy it at Ten Dollar Fonts).
- Freight Neo Pro (Joshua Darden, Garage fonts).
- Westeinde (by Adam Katyi). This geometric sans is Adam Katyi's graduation typeface at the KABK in Den Haag.
- Brisbane: a wayfinding sans created by Troy Leinster for his graduation project at KABK.
- Gentona (2013, Rene Bieder) is a neutral neo-grotesque sans that has 18 styles/weights.
- Niveau Grotesk (Hannes von Döhren).
- Bicyclette (Nikola Kostic). A slightly rounded sans with small x-height and elegant proportions.
- Tenso by Jos Buivanga. A lively humanist sans family.
- Core Sans NR (Hyun-Seung Lee, Dae-Hoon Hahm, Min-Joo Ham). This large soft-edged typeface family has a few oddities like very short descenders but should be useful in a variety of situations.
- Core Sans G (Hyun-Seung Lee, Dae-Hoon Hahm, Min-Joo Ham). The G stans for geometric. This is my favorite typeface family from S-Core.
- Mettro Pro (Olivier Gourvat) is an elliptical style sans family. The family was renamed Metronic Pro after a few weeks.
- Rams (Ramiz Guseynov).
- Azo Sans (Rui Abreu, R Type) and Azo Sans Uber, its heavy headline partner.
- Estragon (Johannes Steil, Stabenfonts). This humanist sans has Venetian touches and small uppercase characters for use in languages such as German.
- Acronym (Michael Jarboe, Reserves).
- Brandon Text (Hannes von Döhren).
| Type system: |
- Duplicate (Sans, Slab, Ionic) (Christian Schwartz and Miguel Reyes, Commercial Type).
- Audree (Typonine's Nikola Djurek and Marko Hrastovec): a parametrized tour de force with hundreds of type styles.
- Hermecito (Ari Rafaeli, AR Types) has 46 styles including phonetic, mathematical, Cyrillic, Vietnamese and Greek subsets geared towards readability in small print.
- Unimed (Sans, Slab, Serif): a large bespoke type system by Eduilson Coan for the Brazilian health care company, Unimed.
- Herman (Rogier van der Sluis, Geen Bitter). A layered monospaced elliptical signage family.
|Architectural typefaces: Landmark (Jonathan Hoefler and Tobias Frere-Jones, HFJ). |
|Typewriter typefaces: Courier Prime (Alan Dague-Greene). |
|Display typefaces: |
- Trump Gothic Pro and Trump Soft Pro (Patrick Griffin). A revival and major optimization of Georg Trump's Signum (1955) and Stanislav Marso's Kamene.
- Elettra (Leonardo Di Lena). A Titling typeface with mostly but not entirely didone features.
- Spoloch (Denis Izotov).
- Progressiva (a sans family by Ricardo Esteves Gomes).
- VF Didot (Paul Barnes and Christian Schwartz), a custom Didot for Vanity Fair, based on Didot specimen of Molé le Jeune.
- Streets of London. A lapidary typeface family by Boris Kochan and Robert Strauch of Lazydogs Type Foundry, based on David Kindersley's street signs in the city of London.
- New Paris (Swiss Typefaces). A didone family.
- Domaine Text and Display (by Kris Sowersby, KLIM). A wedge serif family with 48 weights, on a didone body.
- Curtis, the calligraphic and text typeface family by Bernd Volmer. This is his his graduation typeface at KABK, Den Haag.
- Core Circus (Hyun-Seung Lee, Dae-Hoon Hahm, Min-Joo Ham). A layered type system.
- Woodstik (Pedro Lobo, Uppertype). A layered wood / letterpress style typeface family. I will also nominate Pedro Lobo's other layered 3d typeface system, Player.
- Capline (Jeremy Tankard). A bilined and inline all-caps layered typeface system.
- Le Havre Layers (Jeremy Dooley). A layered art deco typeface system.
- Houston (Alexey Frolov).
- Styla Pro (Joao Henrique Lopes, URW++): a flared romantic sans with a gorgeous small caps weight.
- Selenic (Paul Dersidan).
- Taxi (Patrick Seymour).
- Tushi (Ossi Gustafsson). A brush face.
|Sketched or poster typefaces: |
|Fat typeface didone: |
|Technical sans: Herrmann (Antje Driemeyer). |
- Australis Pro Swash (Francisco Galvez).
- XXII Yonia (Doubletwo Studios). A yummy signage script.
- Tulipan (Felipe Calderon).
- Al Fresco (Laura Worthington).
- Ameglia (Carine de Wandeleer, Eurotypo).
- Odesta (Ondrej Job, URTD).
- Mercy (Eduardo Recife). A set of Spencerian scripts and ornaments.
- Chameleon (Hanneke Classen). A 16-style family of script typefaces with the possibility of layering.
- Caligo (Aron Jancso, Die Gestalten). A calligraphic script with flared serifs.
- Asterism (Dathan Boardman and Molly Jacques Erickson).
- Erotica (by Maximiliano Sproviero). A copperplate calligraphic script of extreme contrast and award winner at TDC 2013.
- String (Maximiliano Sproviero): a hairline Spencerian script.
- Ondise (Jessica McCarty, Magpie Paper Works).
- Cantoni Pro (Debi Sementelli).
- Ignorance (Michael Parson).
- Zulia (by Joluvian and Alejandro Paul). A gorgeous brushy packaging script.
- Lust Script (Neil Summerour). A high-contrast curvy fashion script.
- Aparo (Pedro Leal and/or Dino dos Santos, DS Type). Calligraphy, flair and penmanship, all in one.
- Cal Cursive Roman (Lazar Dimitrijevic). A pure calligraphic cursive script.
- Harlowe (Laura Worthington). A rough-edged quirky script, later renamed to Harlean.
- Voyage (Emil Karl Bertell). A vintage script.
- Medusa (Ramiro Espinoza, Re-Type).
- Bellissima (Alejandro Paul, Sudtipos).
- Southern Aire (Mans Grebäck).
|Dingbats: Wayfinding Sans Symbols (Andreas Wohlleben, FDI). |
|Fashion mag typefaces: |
|Slab Serif: |
|Art Deco: |
|Copperplate: Niveau Serif (Hannes von Döhren). |
|Multilingual typefaces: |
|Wood type revivals: |
The best typefaces of 2014: Luc's selection
This is my own selection of the best commercial and non-commercial typefaces published in 2014, grouped by category. The list will grow until December 31, 2014.
|Text typefaces: |
- Berenjena (Javier Quintana Godoy). This charming antiqua text typeface from 2007 won a Tipos Latinos award in 2012 but was only published in 2014 by Pampa Type.
- Kaius (Lisa Fischbach). A University of Reading typeface family created for very small text.
- Pratt Nova (Nick Shinn). Shinn's 17-style large x-height typeface family strives for visual and semantic opulence, equipping the typographer with a comprehensive array of harmonized fonts, all rigorously drawn, superbly fitted iterations of a single, profoundly original design.
- GT Sectra (Dominic Huber, Marc Kappeler and Noel Leu at Grilli Type). Broad coverage, angular design, readable yet elegant, the works.
- Milio (Josep Patau Bellart). A ten-style transitional family.
- FF Franziska (Jakob Runge). A multidimensional typeface family based on Runge's 2012 Masters project.
- Big Moore (Matthew Carter, Font Bureau). Based on a 1766 specimen by Isaac Moore.
- Mengelt Basel Antiqua (Christian Mengelt, Linotype). Based on the Basel types from the 16th century, this typeface family for Latin, Cyrillic and Greek brings classical and relaxing Venetian charm.
- Garibaldi (Henrique Beier, Harbor Type). Angular and based on calligraphic strokes, this is quite powerful and legible.
- Tautz (Mariya V. Pigoulevskaya, The Northern Block).
- Essay Text (Stefan Ellmer, TypeTogether). A warm slightly angular and extremely legible book text typeface.
- Epica (Oscar Guerrero, Sumotype).
- Leidener (Jesus Barrientos). Based on letters used by the Elzevir family in their workshop in Leiden.
- Pesaro (Dieter Hofrichter).
|Sans typefaces: |
- FF Bauer Grotesk (Thomas Ackermann and Felix Bonge). A revival of the Trennert & Sohn metal art deco era sans Friedrich Bauer Grotesk (1933-1934).
- Pembroke (Jeremy Tankard).
- Galano Grotesque Alt (René Bieder). An importnat geometric sans family. Free demos of some styles.
- Karlsen (Type Union). Minimalist in conception.
- Naste (Josep Patau). Sixteen styles in a strong-willed purely geometric exercise.
- Balto (Tal Leming, 2007-2014). An American Gothic family.
- Brix Sans (Hannes von Döhren and Livius Dietzel). A typeface family, wichich together wioth Brix Slab (2011) has carefully engineered glyphs for use in information design and corporate applications. This could possibly become a blockbuster package.
- Franz Sans (Mona Franz).
- Certa Sans (Elena Kowalski).
- Klef (Adrian Talbot). A geometric sans family influenced by Avant Garde.
- Orgon (Dieter Hofrichter). Orgon as in organic, and in Argon, the inert gas---uncomplicated, unpretentious, neutral, but still distinctive.
- Lipa Agate (Ermin Mededovic, Type Together). A sans workhorse family for very small print.
- Founders Grotesk Mono (Kris Sowersby, KLIM).
- Glober (Ivan Petrov, Fontfabric).
- Nokio (Type Union). A geometric rounded minimalist family for mobile devices.
- Como (Ryoichi Tsunekawa). A rounded sans family with large x-height.
- Campton (René Bieder).
- Arquitecta (Miguel Hernandez and Daniel Hernandez, Latinotype).
- Museo Sans Display (Jos Buivenga). Great new Hairline and Extra Black weights.
- Bague Sans (Panos Vassiliou). A geometric grotesk. Also take a look at PF Bague Inline Pro and PF Bague Round Pro to get a fuller picture.
|Type systems: |
|Art deco typefaces: |
|Hipster typefaces: |
|Script typefaces: |
|Sketched, Layered or Poster typefaces: |
|Blackletter typefaces: |
|Dingbats and ornaments: |
- Tepu (Sergio Ramirez Flores, Latinotype). A large set of infographics icons with rounded shapes.
|Garalde typefaces: |
|Display typefaces: |
- Spot Mono (Lauri Toikka and Florian Schick). Attractively rounded monotype typeface.
- Vezus Serif Texture (Slobodan Jelesijevic).
- Brute (Kirby Matherne, Ten Dollar Fonts). A layered beveled type system with oomph.
- Manola (Ira Lensberr). An expressive lapidary typeface family with applications in stonecutting.
- Getter (Camilo Zamora). A large family influenced by Japanese robots and advertized as Bogotá cyberpunk.
- Attica RSZ (Giuseppe Salerno). A Western typeface inspired by Caslon's Italian and Aldo Novarese's Estro.
- Rubik One (Elvire Volk Leonovitch, under art direction of Philipp Hubert and Sebastian Fischer at Hubert and Fischer). A rounded heavyweight sans of attractive proportions. It is a free Google Web Font.
- Hedon Display (Dusan Jelesijevic).
- Valter (Nikola Djurek, Typotheque). A variable contrast sans inspired by pointed-pen writing.
- Helsinki XXL (Ludwig Übele). Helsinki XXL Black and Helxinki XXL Thin are free additions to Übele's successful Helsinki typeface family.
- TDL Ruha Hairline and Latin (Tipos das Letras). A didone foundation morphed into a slab serif and wedge serif pair of typefaces.
- Marigny (Tal Leming). This warm roundish display typeface might just as well fit into the text typeface category.
- Briller (Nikola Kostic). A striking ultra-wide sans typeface family.
- UT Amen (Marco Virgillito). In search of the fattest and artsiest poster typeface.
- Jack London (Terezija Donlic). A fat and lively poster typeface family based on a revival.
- Terrorista (Tony de Marco and Bernardo Faria, Just in Type). A masculine sans headline typeface created to honor all those who fought against Brazil's military regime from 1964 until 1985.
- Lichtspiele (Stefan Huebsch). Retro cinema marquee and lettering typeface family.
|Slab serif typefaces: |
|Wood type revivals: |
- HWT Artz (Erik Spiekermann, P22). A true wood type with a digital version added to support the Hamilton Wood Type Museum.
- Dobro (Mariana Alen).
|Letterpress emulation: |
|Didone typefaces: |
- Lewis (Alexandre Saumier Demers). A graduation typeface family at KABK in Den Haag, this didone family was specially designed for typesetting mathematics and for use with TeX.
- Yo Italic series by James Montalbano. One hundred didone italics were added in 2014 to the 100 regular didones from 2010.
- Parmigiano Typographic System (Riccardo Olocco and Jonathan Pierini).
- Encorpada Essential (Eduilson Wessler Coan). A fat didone that completes the Encorpada font series started in 2011.
- Barkley (Poster and Block) by Björn Gogalla, Letter Edit.
- Normandie Modern FY (Julien Priez, Fontyou). A wide fat typeface didone.
- Caponi (Christian Schwartz, Paul Barnes, Miguel Reyes). A sturdy didone family in Text, Display and Slab versions that can survive the flagellations of print.
|Fashion mag typefaces: |
|Stencil typefaces: |
|Multilingual typefaces: |
- Raylaw (Ryota Doi). A Latin / Greek / Cyrillic Latin typeface family for use in travel magazines.
- Makar (Leo Phelp). This graduation project at the University of Reading covers Cyrillic, Greek, Latin and Gurmukhi.
- Mirna (Teja Smrekar). Her graduation project at the University of Reading covers Latin, Cyrillic, Greek and Khmer.
- Source Han Sans, a new open source Pan-CJK typeface family brought by Adobe and Google for Japanese, Korean, Traditional Chinese, and Simplified Chinese, all in one font. It also includes Latin, Greek, and Cyrillic glyphs from Adobe's Source Sans family. Each of the 42 fonts has 65,535 glyphs. This monolinear sans design is not beautiful or artsy---it is a basic and useful workhorse. The Google version is called Noto.
- Journal Sans New (Alexandra Korolkova and Maria Selezeneva, Paratype). A typeface family for Latin and Cyrillic that updates and extends the old Journal Sans (1990s) with charming new Erbar Grotesk-based styles such as an Inline and tall-legged Display.
- Gion (Mariko Takagi). A modern serif typeface for multi-lingual typesetting in Latin, Japanese and Chinese.
- Bustan (Jamal Bustan and Mamoun Sakkal). An Arabic jewel with tens of stylistic sets and opentype features, based on calligraphic originals.
|Wonderful, adorable, refreshing typefaces: |
The Canadian Flag Font
Tired of looking for a Canadian flag in a font, I made one myself, and named it after Julius Grey. [Google]
Read on the story of the Hunts, and how they are dragging Berthold down with them. [Google]
The Janet Jackson Nipple font
The Janet Jackson Nipple font (2004), brought to you by your faithful servant. [Google]
The Lisa Jenkins story
The sad story of how Lisa Jenkins ended up removing KitchenTiles from her site. [Google]
The mysterious Linotype table
An analysis of the mysterious LINO table found in the most recent Linotype truetype and opentype fonts. [Google]
The Solus story
Keith Bates from K-Type tells us the story of his revival of Eric Gill's Solus (1929), which has never been digitized. His revival is also called Solus (2004). [Google]
The SSi--Adobe case
The SSi/Adobe court case and settlement provoked some reactions. Of all these, the best point was made by Richard Kinch. I extracted his comments and added a few of my own. [Google]
The truetype embedding byte
I will tell you how to locate and alter the truetype embedding byte. No program, just a brief educational tour. If fonts can't be embedded in certain documents, this trick might help you out. There are programs that do this, such as Tom Murphy's embed, so I doubt that you will ever need my silly instructions. Direct download (C program). PC executable. [Google]
Thomas Ewing French
Scientific lettering expert, 1871-1944. The Essentials of Lettering (1912, McGraw-Hill, New York), coauthored with Robert Meiklejohn, has many historical examples and takes the reader on a grand tour of lettering. The tease. [Google]
Toronto Type Foundry
Toronto-based foundry, located on Bay Street. It was active in the late 19th century, and published a specimen book on wood type: "Wood Type" (1897). It went out of business in 1967 and was taken over by Howard Graphic Equipment. [Google]
Truetype versus type 1
Short piece by yours truly. [Google]
Signed by Luc in 2004, some immature thoughts on preserving type for future generations. Comments by the type community. [Google]
A discussion by yours truly about UPM, or "units per em", a quantity that matters in the design of fonts. I argue of course for larger values of the UPM than are normally used in fonts today. But just to make a point, I designed two fonts that have an UPM of one. [Google]
Vincent F. Apicella
Vincent V. Apicella, Joanna V. Pomeranza and Nancy G. Wiatt co-authored The Concise Guide to Type Identification (1990, Lund Humphries, London), in which modern day types are classified, listed, and named. It contains equivalences between type names for various type manufacturers. Most importantly, it shows typeface equivalences for various typefaces from the phototype era. [Google]
Author of Moderne Alphabete (1922, Verlag Bernhard Friedrich Voigt. Leipzig), a booklet in which Hilder shows about 40 of his hand-drawn alphabets. I scanned in most of that book for all of you. [Google]
William T. Morgans
[Morgans&Wilcox Mfg Co.]