TYPE DESIGN INFORMATION PAGE last updated on Sun Apr 22 22:50:59 EDT 2018
FONT RECOGNITION VIA FONT MOOSE
In house type designer at Elsner&Flake. He designed an elegant high-contrast art deco display typeface Miami EF in 1994, the broken black lettering typeface EF Splitter, the horizon lettering typeface EF Eastside in 1995, and Nivea in 2000 (for Beiersdorf).
Type designer. Not to be confused with "Walden Font", a commercial foundry run by Oliver Weiss. Dafont link. Full list of his work: African (1993, a jungle font), Amelia, Asimov, Beveled, CalculatorItalic, Checkbook (MICR-like font), CrystalItalic, FinalFrontier (1993), FinalFrontierOldStyle, FinalFrontierShipside, Goethe, Japan, Jurassic, Lansbury (1993), Neon Lights (1993, based on Quantum), NewYorker (after Rea Irvin's irvin Font for tThe NewYorker), OliviaBrush, StencilExport (1993: based on Gerhard Schwekendiek's Gesh Export, 1972), Terminator (techno).
Lansbury is a free art nouveau typeface that mimics the font used in the TV series Murder She Wrote. The actual font used for the title of that series was URW's Art Gothic (specimen). Fletcher Gothic (1992, Casady&Greene) is another free version of it. [Google] [More] ⦿
Developer and distributor of business fonts and barcodes including MICR E13B, OCR-A and OCR-B, CMC-7, POSTNET, RM4SCC, Interleaved 2 of 5, Codabar, PLANET bar code (for the U.S. postal service), Code 128 and Code 39. Very expensive. All their free sample fonts are useless (most letters are missing). [Google] [More] ⦿
British graphic and type designer, most famous for his Data Seventy (1970, Esselte/Letraset), a display typeface that emulates the shapes of the early computer types [see Data EF at Elsner and Flake, and for a free knock-off, Westminster]. A cyrillization of Data70 was done in 1976 by Victor Kharyk.
Bill Bogusky runs the design studio Bogusky 2 in Miami, together with his brother. He created Gonzo Bruno, Gonzo Monza and Gonzo Grosso (2007), Sundial (2006, Trajan lettering), Condo (2006, condensed), Ar Deco 1, 2, 3 and Deep (2006), Technia 1 and 2 (2006, athletic lettering or MICR applications), Sport (2006, dingbats), Macarena (2005: art deco), Zanzibar (2006: decorative), 42nd Street (2005: Broadway style lettering), Boffo (2005), Bronco Rose (2005, Wild West style), Decora (2005), Switchback (2005, a computerish face), Capzule (2005, a condensed black face), Tulip (2005, a decorated stencil face), Kondor (2005), Mah Jongg (2005, with many ornaments), Metro (2005, LCD face), Squircle (2005), Zeke (2005, artsy display font), Baby Blox (2005), Kurly (2005), Pipeline (2005), Dealer's Choice (2005), Stencille (2005), Terra, GogoBig and GogoSquat (were free at FontFreak site), Nouville (2006, art deco sans), Back Fence (2005, comic book face), Gogo Latin (2005, condensed), Zandakas (2006), Ameche Pisa (2005), Gogo Serif (2005), Bolo (2005), Hyline (2005), Compado (2005), Ameche Padua (2005), Tera (2005), Xtera (2005), Tudor New (2005), Boffo (2005), Byline (2005), Decora (2005), Quazar (2005), Grafo Graffiti (2005), Acid Bath (2005), Benz (2005), Hulk (2005). These fonts are now commercial and can be obtained at MyFonts.com. A graduate of the School of Industrial Arts in New York City, he worked as an industrial designer in New York before moving to Miami, FL, where he opened Studio Bogusky 2. Dixie Bogusky designed Esquimaux Graphics (2006). [Google] [MyFonts] [More] ⦿
Brenden C. Roemich
Commercial fonts: "The MICR CMC-7 font is a special font that is used in Mexico, France, Spain and most Spanish speaking countries to print characters for magnetic recognition and optical character recognition systems." There is also a page on MICR E13B. [Google] [More] ⦿
Designers of these MICR fonts in 2007: CS-MICR-E13B, CS-MICR-E13B-B1, CS-MICR-E13B-B1N1, CS-MICR-E13B-B1N2, CS-MICR-E13B-B1W1, CS-MICR-E13B-B1W2, CS-MICR-E13B-B2, CS-MICR-E13B-B2N1, CS-MICR-E13B-B2N2, CS-MICR-E13B-B2W1, CS-MICR-E13B-B2W2, CS-MICR-E13B-L1, CS-MICR-E13B-L1N1, CS-MICR-E13B-L1N2, CS-MICR-E13B-L1W1, CS-MICR-E13B-L1W2, CS-MICR-E13B-L2, CS-MICR-E13B-L2N1, CS-MICR-E13B-L2N2, CS-MICR-E13B-L2W1, CS-MICR-E13B-L2W2, CS-MICR-E13B-N1, CS-MICR-E13B-N2, CS-MICR-E13B-W1, CS-MICR-E13B-W2. Download them here. [Google] [More] ⦿
Digital Graphic Labs
Brenden C. Roemich's Winnipeg-based foundry. They sold fonts at 10 to 20 USD a shot, but made them free starting in 2003, when they quit the font foundry business. The entire collection, mostly dated 1998: ALSScript (knock-off of Shelley Script Andante by Matthew Carter), Aberration, AngleterreBook, Aramis, AramisItalic, ChanceryCursive, Dichotomy, Eddie, EnterSansmanBold (heavy serious sans), EnterSansmanBoldItalic, FLWScript, Fanzine (ransom note face), GlassHouses, Gunmetal, ILSScript, Incite, KellsUncialBold, KellsUncialBold, LDSScriptItalic, MICREncoding, Misbehavin', NinePin, NobilityCasual, Overmuch (fat rounded), PinchDrunk, Protestant, PunchDrunk, RamseyFoundationalBold, RocketPropelled, SNCScriptItalic (a knock-off of Nuptial Script), ShagadelicBold (psychedelic), Spirit, StaticAgeFineTuning, StaticAgeHorizontalHold (textured like a bad TV signal), Symbolix, TempsNouveau, TitleWave, TypeWrong-Smudged-Bold, VinylTile, VulgarDisplay, Whimzee, WhizKid, alsscripttrial, bitwise (LED face), holyunion, overmuchtrial.
Manchester, UK-based designer of the game or computer console emulation fonts Mainframe (2017), Multivac (2017), Antar (2012) and Gamma 1500 (2006), and the futuristic typefaces Blazium (2003, MICR style), Futurespore, Supercomputer, Transistyr, Unicephalon, Lazenby Computer, Cilica and Membra (2007, circuit font). Even though they are free, these are some of the best fonts around in this genre. Dafont link. [Google] [More] ⦿
Down10 is San Francisco-based Jesse Burgheimer, the designer of the wormy font Munificent (1997) based on the logo of the Muni (San Francisci Municipal Railway) designed by Walter Landor, of Swerve (2000, octagonal), of Jamtoaster (2000, based on the logo of Adaptec), and of McLawsuit (2000, based on McDonald's lettering for the arches). Spokes (2004) is a heavy geometric typeface based on the English IDM recording artists Plaid, from the cover of their album Spokes. The original typeface design was made in The Designers Republic for Warp Records.
There is also a Down10---probably Jesse Burgheimer---at FontStruct, where several modular typefaces made in 2015 can be downloaded: Billing-Black, Billing-Bold, Billing-Heavy, Billing, Bitties, Changeup, Enforcement-Bold, Enforcement-Light, Enforcement, Fipi-Lele, Fipi-Lele-Shadow, Foilness (a textured halftone typeface), Grateful (Western font), MICRal (a MICR font), Munificence (an inline typeface), Ordinance-Bold, Ordinance-Light, Ordinance (stencil font), Scanlord, Stripelane, Tracking-Blur, Tracking-Outline, Tracking (pixel typeface).
Elfring Soft Fonts
Gary Elfring's company in Wasco, IL, which was founded in 1979, sold many fonts in the early 1990s, often adaptations of well-known fonts. It is presently based in St. Charle, IL. Some subcategories of fonts:
F25 Digital Typeface Design
Volker Busse (F25 Digital Typeface Design) is a graphic designer at Grafikkontor in Berlin.
Designer of the old typewriter simulation fonts F25 Executive (2008), F25 BlackletterTypewriter (2006), Typewriter Condensed (2007), Telegraphem (2004), Cella (2007) and Daisy Wheel (2007). He also made Am Sans (2005), which he derived from a 1960s sample of Intertype Vogue (itself a geometric and clean-lined sans, ca. 1930), and F25 Bank Printer (a MICR family, 2005).
At FontStruct, he made F25 Borderfont (2009, a multiline family including styles called Alita and Kapata), F25 Fontstruction 157 (2009, experimental), and Hidden Text 01 (2009).
Designer in Pistoia and Firenze (and before that, Barcelona) who was born in 1982 in Pistoia, Italy. He created the ultra fat counterless typeface Virgola Mobile (2010) and the elegant art eco fashion mag typeface Fabrizio (2011). In 2011, he created an original octagonal typeface called Excellens: Excellens is the first font totally created using Microsoft EXCEL 97. The glyph design was done using a standard EXCEL 97 worksheet, adding some border and diagonal color to draw the letters shape. The final result is something that reminds one of the Cholo Graffiti Calligraphy used by Mexican gangs in Los Angeles, but in a new digital and elegant way. Anunnaki (2011) is an artificial language font.
Federico Landini and Jonathan Calugo cooperated on Chinotto Regular (2012), a sans typeface custom designed for the Pistoia Underground Festival.
Ferrets N Fonts
Perry Mason is the prolific ozzie creator (based in Newcastle) of Nato, a truetype font apparently made for NATO military vehicle lettering (2001). Since that first font, he has made well over 1000 fonts, mostly in 2001, but some as late as 2003. Back-up of his fonts at Just Us Now, now defunct. Alternate URL for Just Us Now (also defunct). Yet another URL. List of his fonts, by date, and alphabetical list. Perry Mason's dingbats. [Google] [More] ⦿
Foundry based in London, UK, set up by Lee Henry (b. 1982, Gateshead, UK). Lee studied Graphic Design in Newcastle and first got involved in font design when he designed GOTHFEST for a magazine project. He now works in London as a newspaper designer and continues to produce new and original font designs. Creations include Modernist (2006, a MICR style family), Arctic Chunky (2006), Gothfest (2006), Bogus (2006, in the style of Toolego), Bad Azz (2006, grid-based), Cubist (2006, thin octagonal family), and React (2006, also grid-based), Modernist (2006, monoline sans), 1up (pixel face), Allstar (2009, constructivist), Ole (2009, fat and squarish). [Google] [MyFonts] [More] ⦿
Michel Bujardet (a Frenchman living in West Hollywood, CA) runs Matchfonts, and started Fontmenu.com in August 2001. Commercial fonts, and free demos in all formats.
A partial list of fonts:
Free fonts by the Japanese group called Gaia: Teigay, DaiChalk (handwriting), TimeTrek (blocky MICR font), the handwriting Gaiasian (2001), FudenM, Floydian (scratchy, Treefrog style), the hiragana font REO, the display fonts Daipop, Daiblur, DaiheadB, and the geometric experiment Kackin-01. Virtually no punctuation. Unclear who the designers are: Masako Ibayashi, Daisuke Katayama, Masako Tsuda or Naoki Matsui. Site not updated since 2001.
Genshichi Yasui's free truetype fonts that emulate screen pixels. Direct access to all Techno fonts. List of fonts: G7-Gradius3-TTS, G7-Genshichi-Kana-1, G7-Check-writer-(TT), G7-Copic-TTF, G7-cute-pop, G7Tani-6-Medium, G7Tile(Katakana), G7Tile(ver2), G7Teishi(FL), G7-Genshichi-Tani-4-L-TTE-ver, G7CoconaworldDIGITAL, G7CoconaworldTTF, SpellofMagic, SpellofMagicDigital. Some katakana and kanji fonts, such as RsbNVhE. Game fonts: G7_1943-TTF, G7-Mr.Do!,-vs-unicorns,-wild~, Solomon's-Key-True-Type, Solomon's-Key-True-Type-Smoose, G7-After-Burner-TTF, G7-A-Jax-TTF, G7-Walt-Disney's-Aladdin-TTF, G7-Assault-TTF, G7-Atomic-Robo-kid-TTF, atari_rounded, G7-Athena-TTF, G7-Butasan-TTF, G7-Chelnov,-Trio-the-punch-TTF, G7-Cho-Makaimura-TTF, G7-Cocona-world-TTF, G7-Command-TTF, G7-Dragon-Spirit-TTF, G7-Exed-Exes-TTF, G7-Family-stasium-TTF, G7-Final-Fantasy-Font-TTF, G7-Flicky-TTF, G7-Gemini-Wing-TTF, Gradius,-Gradius-2-TTF, G7-Gradius3-TTF, G7-Gradius3-TTS, G7-Hydlide2-for-MSX-TTF, G7-Image-Fight-TTF, G7-Kiki-Kaikai-TTF, G7-Adventures-of-Lolo-2-TTF, G7-Mahou-Daisakusen-TTF, G7-Makaimura-TTF, G7-Meikyujima-TTF, G7-Moero-!!-Pro-Yakyu-TTF, G7-Nakayoshi-to-issyo-TTF, G7-Newzealand,-Dondokodon-TTF, G7-Parodius-TTF, G7-PuLiRuLa-TTF, G7-R-Type-TTF, G7-Ryger-TTF, G7-Same!-Same!-Same!-TTF, G7-Shalom-MSX-TTF, G7-Silkworm-TTF, G7-Chee_chai-Alien, G7-Spelunker-TTF, G7-Family-Tantei-Club-1-TTF, G7-Tashiro-Masashi-no-princess, G7-Twinbee-for-arcade-TTF, G7Wakuwaku7, G7-Wizardly-for-famicom-TTF, G7-Xevious-TTF. Fontspace link. [Google] [More] ⦿
Creator at FontStruct in 2009 of mostly pixel font families such as IMSureItSBeenDoneBefore (in many styles). He also made Material Electrons, as well as The Video Game Arcade Font, CASIOpeia ((+Menus), based on the CASIO fx-7700G Power Graphic Scientific Calculator) and Data Entry (inspired by TechnoDisplayCapsSSK, (C) 1992 Southern Software, Inc. [and 4 glyphs from the MICR font E-13B]). Other fonts: Futuristic Terminal Display (2009, great!), Mag Not Mad Solid (2009, pixel face), Mag Not Max (2009, horizontally striped pixel face), Son of Zaxxon (2009, horizontally striped, +Solid; both based on the 1984 Sega game Future Spy), Goin'Commando (2009, based on a 1985 Capcom game called Commando), Zenny Coins (2009, based on a 1987 Capcom game called Black Tiger), Smoking Gun (2009, based on the game Gun.Smoke (1985, Capcom; used again for 1943: Battle Of Midway, 1987, Capcom)), Bentley Bear (2009, based on 1983 Atari game called Crystal Castles), Temporal Aviator 84 (based on the 1984 Konami game Time Pilot 84), Reindeer Flotilla, Jet Bradley (inspired by the video game logo for "TRON 2.0", 2003 Buena Vista Interactive / Monolith Productions), Alan One (Font from TRON, 1982 Bally Midway Mfg Co), Buzzard Bait (font from Joust, 1982 Williams Electronics Inc., and its sequel, Joust 2: Survival of the Fittest, 1986 Williams Electronics Games, Inc), Genetic Engineering Error (from Robotron: 2084, (C) 1982 Williams Electronics Inc., and its sequel, Blaster, (C) 1983 Williams Electronics Inc), Mutant Bender (from Defender, (C) 1980 Williams Electronics Inc), Stargate Immortals (from Stargate, (C) 1981 Williams Electronics Inc), Separate Ways (from Journey, (C) 1983 Bally Midway Mfg), Deadly Disks (from Discs Of TRON, (C) 1983 Bally Midway Mfg Co), Jerry Belvedere (from Satan's Hollow, (C) 1981 Bally Midway Mfg Co, and from Satan's Hollow, (C) 1981 Bally Midway Mfg Co), Tortuga (from 600, (C) Konami 1981; Turtles, (C) 1981 Stern Electroncs/Konami; and Turpin, (C) 1981 Sega/Konami), OCRA Pixel 15x10, Intelligent Television Dings (Right, Left), Hand Aviator (Palm pilot font family), Intelligent Television (based on typeface used in Intellivision games by Mattel Electronics, and the True Type Font "Intellect"), DMP-200RS (based on the output of the Radio Shack DMP-200 printer), Bubbles (based on Bubbles, (C) 1982 Williams Electronics Inc), Mukor Rules All Galaxies (from Blasteroids, (C) 1987 Atari Games), Futuristic Terminal Display, Winky and the Hallmonsters (from Venture, (C) 1981 Exidy), Bubble City (from Road Blasters, (C) 1987 Atari Games), Mag Not Mad (from Mag Max, (C) 1985 Nichibutsu / Nihonbussan Co., Ltd), The Bacterian Empire (from Thunder Cross, (C) 1988 Konami, and its sequel, Thunder Cross II, (C) 1991 Konami), Solvalou Combat Aircraft (from Xevious, (C) 1982 Namco Ltd / Atari, and its sequel, Super Xevious, (C) 1984 Namco), Red Falcon Organization (from Super Contra, (C) 1988 Konami), Lucas Readies The Lawyers (from Star Fire, (C) 1979 Exidy), Cheese Was The Bait (from Mousetrap, (C) 1981 Exidy), Thunder and Lightning (from Raiden, (C) 1990 Seibu Kaihatsu Inc), Pepper The Zippering Angel (from Pepper II, (C) 1982 Exidy Incorporated), Beware I Live (from Sinistar, (C) 1982 Williams Electronics Inc), Goin Commando (from Commando, (C) 1985 Capcom), The Monkey Biz Gang (from Kangaroo, (C) 1982 Sun Electronics Corp. / Atari), Vic Viper (from Gradius / Nemesis, (C) 1985 Konami), Diskarmor Attack (from Rygar, (C) 1986 Tecmo), Benkin The Jogging Elf (from Mystic Marathon, (C) 1984 Williams Electronics Inc), Qix Are For Kids (from Qix, (C) 1981 Taito America Corporation), Omni Consumer Products (from ROBOCOP, (C) 1987 Data East Corporation), Mister Not Undo (from the Mr. Do series, Lady Bug and Jumping Jack: Lady Bug, (C) 1981 Universal; Mr. Do, (C) 1982 Universal; Mr. Do's Castle, (C) 1983 Universal; Mr. Do's Wild Ride, (C) 1984 Universal; and Jumping Jack, (C) 1984 Universal), Micro Police Pgo Stick Division (from Hopping Mappy, (C) 1983, 1986 Namco), Great Demon World Village (from Ghouls 'N Ghosts, (C) 1988 Capcom), Demon World Village (from Ghosts 'N Goblins, (C) 1985 Capcom), Secret Agent Dabney Coleman (from Cloak&Dagger, (C) 1983 Atari), Getting Away With It (from Electronic's 1991 self-titled album; a variation of Wim Crouwel's "Stedelijk" alphabet, used on his 1966 Vomgevers poster for the Stedelijk Museum in Amsterdam), Galden Tribe Attacks Mu (from Last Duel, (C) 1988 Capcom), Superior Scientists (from Vastar, (C) 1983 Sesame Japan Corp), Keeper of the Zoo (from Zookeeper, (C) 1982 Taito America Corp), Taito 1982 (Font used in the following Taito games: Elevator Action, (C) 1982 Taito Corp; Front Line, (C) 1982 Taito Corp; Jungle Hunt, (C) Taito America Corp / Jungle King, (C)1982 Taito Corp; and Wild Western, (C) 1982 Taito Corporation), Howard Fine&Howard (from The Three Stooges, (C) 1984 Mylstar Electronics), TwinBee And WinBee (from TwinBee, (C) 1985 Konami), Quest For Honor (from Last Mission, (C) 1986 Data East USA, Inc), Street Justice (from Vigilante, (C) 1988 Irem Corp), Colwyn's Glaive (from Krull, (C) 1983 D. Gottlieb And Co.), Command Prompt (a family based on Microsoft system fonts), Temporal Aviator 84 (from Time Pilot '84, (C) 1984 Konami; used again for Contra, (C) 1987 Konami), Helicopter and Jeep (from Silkworm, (C) 1988 Tecmo Ltd), A Different Space Odyssey (from Space Odyssey, (C) 1981 Sega Enterprises Ltd), Cosmic Cruiser (from Kozmik Krooz'r, (C) 1982 Bally Midway Mfg Co), Kaptn Kroozr Goes Wacko (from Wacko, (C) 1982/1983 Bally Midway Mfg Co), Rescuing Astronauts (from S.R.D. Mission, (C) 1986 Taito Corp), Super Joe (from The Speed Rumbler, (C) 1986 Capcom), Alex Murphy (inspired by the RoboCop movie logos), Blazer of Trails (Chevy logo font), Second Vanguard (2010, from Vanguard II, 18=984 SNK Electronics; +Sold). Arthur Decorates (2010) is a kitchen tile/stencil face. Shinobi Child (2010) is based on a type in Nova 2001, (C) 1983 UPL Company Limited / Universal USA Inc; used again for Rad Action, (C) 1987 UPL Company Limited and Ninja Kid II (C) 1987 UPL Company Limited. Dingbats from Rad Action / Ninja Kid II. Smokey and the Dukes (2010) is based on Stocker, (C) 1984 Bally Sente; used again for Rescue Raider, (C) 1987 Bally Sente. Space Patroller Final Star (2010) is based upon from Star Force, (C) 1984 Tehkan Ltd (Tecmo) and Mega Force, (C) 1984 Tehkan Ltd (Tecmo) / Video Ware. Common People (2010) is based on Vulgus, (C) 1984 Capcom. Bongo Defense Method (2010) is based on a game from Stinger, (C) 1983 Seibu Denshi. Common People (2010) is based on the game Vulgus, (C) 1984 Capcom. Data Man (2010) is inspired by the "M" and horizontal "V" behind Yori in the 1982 movie "TRON" (0:58:08-0:58:54); shares similarities to Ray Larabie's "Para Aminobenzoic" font with just a hint of "Otto Mason SH".
Creations in 2011: Generic Video Game Font 01 and 02, Take A Walk Man (based on the original logo for the Sony Walkman Cassette Tape Players from the 1980s), 21st Century Dot Matrix, Diamond Plate (texture face), Extrude (an experimental 3-D/geometric font, inspired by Mynameiscapo's "Metal Hammer [beta]"), Backtrude, OneQuarterTrude, OneQuarterTrude Inverse, MidTrude, ThreeQuarterTrude, ThreeQuarterTrude Inverse, InTrude, FrontTrude, Diamond Plate, Qbet, Fun With Curves.
Creations in 2012: Titanium Mines (an octagonal typeface based on the logo of Outland, 1981).
Creations from 2014: Medieval Pixel (for use in the graphic adventure game "Quest For Infamy" by Infamous Quests), New Dot City, Getting Away With It 2 (a variation of Wim Crouwel's "Stedelijk" alphabet, used on his 1966 Vormgevers poster for the Stedelijk Museum in Amsterdam). [Google] [More] ⦿
Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
In 2009, Hackberry Font Foundry grew out of NuevoDeco Typography, which in turn was a commercial foundry that formed part of Bergsland Design located in Mankato, MN, and before that, Las Lunas, NM, and run by David Bergsland (b. 1944, Buffalo, NY), a 1971 graduate of the University of Minnesota. Author of Practical Font Design: 2nd Edition: Rewritten for FontLab 5. Klingspor link. Creative Market link, as Radiqx Press. His fonts:
Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via FontBros. His typefaces:
Commercial barcode vendor since 2000 that wove an intyricate web of various web sites and company names. It seems to be run by Brant Anderson from AdvanceMeants. Other business names: BizFonts.com, AdvanceMeants.com, MicrEncodingFonts.com, PostnetFonts.com. In any case, they sell almost all imaginable barcode fonts, including PDF417, Code 39, Interleaved 2 of 5, Code 128, POSTNET (POSTal Numeric Encoding Technique: used for US zip codes by the US Postal Service), PLANET (a new US Postal Service barcode), FIM (Facing Identification Mark: US Postal barcode for classifying mail), 4-State, RM4SCC (Royal Mail 4 State Customer Code: British barcode), and Australia Post Address bar code fonts. The demo fonts IDAutomationSC128L, IDAutomationSI25L, IDAutomationSOCRa, IDAutomationSPLANET, IDAutomationSPLANETn, IDAutomationSPOSTNET, IDAutomationSPOSTNETn can be found here. IDAutomationHC39M Code 39 Barcode (2014) is free. They also sell other things such as MICR and OCR fonts. The PDF417 font costs 300USD per user for one computer. Postnet, Planet, OCR fonts evaluation package. There is a free Code 39 font, but the same page issues the following incredible warning: In many cases, other barcode fonts distributed as "freeware" or fonts that are sold very cheap are illegal counterfeits. You and your organization may be held liable for using and/or distributing these illegal software products. Beware of companies that distribute "free" fonts from unverifiable sources with copyright notices from companies that do not exist. Learn more about how to identify and report illegal counterfeit barcode fonts. Fear tactics are well known to politicians. To see them used by a company is particularly disturbing. First of all, barcode fonts are the easiest thing on earth to make. There are totally free barcode packages that cover *all* barcode schemes, and they were built from the ground up. Their campaign asks readers to report suspicious barcodes - huh? ID Automation's definition of "suspicious" is "different from ID Automation fonts". This is bottom of the gutter stuff, and if I were in the market, I would say no to ID Automation.
FontStructor known as jffry101 who is mostly interested in recreating pixel or dotted matrix typefaces after alphabets seen on trams, buses and trains.
Typefaces from 2015: Parisienne (dot matrix style).
Creations from 2011: GVB Bus PID (a vertically striped family) in versions 7x4, 13x8, 13x6, 5x3, 7x3, 10x7. He made these fonts in 2010: Combino Klein and Combino Groot, both based on the font used on the front displays of the GVB Siemens Combino trams. In 2009, he fontstructed Citaro Voor DM II, Citaro voor DB (dot matrix typefaces), Citaro voor DS, Citaro Zij DS, Citaro Voor EB, Flappen Regular (white on black), GVB Metro PID, Sevebyseven (+Monospaced, +Bold Monospaced, +Proportional: dotted pixel typefaces), Bus Destinations, Aeroport (MICR font), GVB Bus PID, Arriva 9x6, Arriva 7x3, 7 segments (LED simulation face), 9 Hoog Arriva, Dice. In 2008, he made Binnen Display 5, 6 and 7 (all for the RIS displays in GVB trams and buses), and 15x5 and 07x5. In 2007, before FontStruct existed, he made the kitchen tile font Metro (2007).
Kummaeno calls himself an art director, graphic stuntman and fontstructor. He lives in Sweden where he works at Infobahn Reklambyra. He "fontstructed" the pixel/stencil family Soft Cell (2010), and the squarish typefaces Samizdat (2010, his remix of the constructivist T-26 font "Revolution" by Douglas Carter, 1994), Gearbox (2010), FS Crude (2010, a heavy typeface inspired by 224MKSD Black by Masayuki Sato), Manifesto (2010, influenced by Donald Beekman's FF Tsunami) and Aegis (2010; think ITC Bolt Bold). Modicum (2010) is a pointy severely angled black sans. Bonfire (2011) is a semi-blackletter face. Soft Cell (2010) is an LED font. About the MICR font MegaSpacer (2010), he says: Inspired by the fantastic "MICR" font set. And the Solaris font design from the nineties by Büro Destruct (ah, those were the days). Old but good ideas brought to Fonstruct. Fun and easy as pie. Basking (2010) looks like Martin Wenzel's FF Marten. Aerostyle (2010) is a techno / Eurostyle typeface inspired by Masayuki Sato&Tsuyoshi Nagae at Maniackers Design. Kuiper (2010) is a remix of the techno typeface Straker by Rian Hughes. Gamepad (2010) is an angry fat display face. Piquance (2010) and Quanted (2010) are ultra-fat decorative typefaces. Jacobine (2010) is a bellbottom face. Bitrate (2010) is a carbon copy (in his words) of Data 90 (Rian Hughes).
FontStructions from 2011: Bayonet is a high-contrast art deco display face. Arbour is a piano key face. Pugilista is a fat boxy face. Pistolera is where the West meets psychedelia. About Syncope he says: You have seen the likes before ("FF HardSoul Ultra" by Donald Beekman or "Loudine" at pintassilgoprints.com). Constructivism with extreme bulk. Ultra-fat retro letter shapes. Ubangi is a hip "remix" of Rian Hughes's Darkside. FS Space Opera is party art deco. FS Rasterbator is a dotty raster halftone exercise. [Google] [More] ⦿
Designer of Westminster (1973, Berthold), related to VGC's Amelia (1967) and based in the look of the magnetic ink bank cheque font MICR E-13B that was developed in the mid 1950s and is used by banks from the 1960s onwards. Klingspor's site says that he is German, but that is wrong---he is British. In an interview, the writer says: There is one space age one called One Up, a ghastly 60s thing, and the guy who designed that, Leo Maggs, talks about how he wished he hadn't designed it. "Way back in the swinging 60s," he says, "when my youthful soul was consumed with enthusiasm, if not naked ambition, I was surprised and delighted to have my first typeface, Westminster, accepted by Robert Norton. I produced several further designs, most of which were properly strangled at birth. One Up unfortunately survived... Looking at it now I feel much as I imagine a mature film star must feel when, 30 years after the event, she comes across photographs of herself as a struggling starlet revealing all for the readers of popular girly magazines, and I wish I hadn't done it." [Google] [More] ⦿
Letterhead Studio VG Fonts
Letterhead Studio is located in Moscow. One of its designers, Valery Golyzhenkov (b. 1965, Moscow) cofounded Letterhead Studio, ca. 1998 and has since designed over 100 typefaces. Still based in Moscow, he published the following Cyrillic fonts at Letterhead: 04.07 (1998), AeroBonus (2010-2014: for Aeroflot), Alfavita (awarded at Paratype K2009), Atlas 1904 (2010), Barrytone (2005), Bort#1 (2000), Capitul (2015), CardHolder (1997), Channel (2004-2007: 24-style rectangular family), Chellebrity (2004, screen), DBL Cheque (2009, 22 styles), Cracker (1997), Cubes (2000), DBL Check, Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Do Not Touch (1997), Dream Team (2000), First Prize (2016, techno style inspired by Futura Display), Formalista (2001, squarish), Gamering (+Sans, 2009: a game font), Garbage (1997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997, children's book font), Hole Down (1997), Ice Cola (2000), Kabotage (1998, octagonal), Karkas (2010; images: i, ii), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Lexica (2010), Libellula (2018), Local Xellebrity (2010), Matrrolla (2001, octagonal), Medved (2010, angular), Method Two (2016: organic sans), Mnickers, Mono (2000), Monomania (2017), Musor (1997), Odessa 1832, OneCode (1998), Pricelist (2017), Primitiv (1998), Principal (1998-1999), PsyType (2013, an organic sans family done at Letterhead), Recruit (2004, octagonal), Remont (2000), Romb (2010, a Latin / Cyrillic poster typeface family), Rounded Slab (2009), Rounds (basic dingbats), Silver Winner (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), WTF Didot (2016, by Valery Golyzhenkov and Letterhead for WTFashion Magazine), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
Calgary-based designer of Naranja (2005), an experimental typeface built up of quarter circles and L-brackets. Its dingbats are inspired by Clockwork Orange. Faces made with FontStruct in 2008: Robot Builder (Solid, Shaded and Open: squarish typefaces), Polygonal Lasso (Far West type: 938 glyphs for Latin, Latin Extended A & B, Greek, Cyrillic, and Katakana), Marshmallow Script (based on Einhorn, Eclat, Deftone Stylus, and Magneto, all connected diner scripts), Crazy Eights (deck of cards), Ficus Stencil (+Compressed, +Condensed, +Extended, +Regular, +Zebra, +StencilOpen), Big Fat (+Vibrate, +Solid, +Shaded), Negatron (Regular, Solid and Fill), Tuscan Radar, Nuclear Depot Americum (495 glyphs consisting of stars), Nuclear Depot (Radioum, Neptunium, Plutonium, Uranium: a futuristic family that covers Cyrillic), Am I see are you pee see, eh? (a font that combines MICR with UPC-A). The links: big_fat_shaded, crazy_eights, ficus_stencil_compressed, ficus_stencil_condensed, marshmallow_script, negatron_fill, negatron_regular, negatron_solid, serpent_like_bold, tuscan_radar.
2009 creations: Haemophobe (pixel), Star Wreck, Mouthcaster (a bilined typeface based on the lettering on the front of the 1978 edition of the Scoutmaster's Handbook), Pasta (white on black), Medical Station Alpha (techno), Disco Stud (Chrome, Solid, Chrome Oblique, Solid Oblique), Affix, Infix (experimental and minimalist), Pinball Blizzard, Tears in Rain (a simplistic textura), Five Minute Hair Colour (slab serif), Seg Sixteen (LED face), Trajedy (pixel), Nobody 8 Italic (pixel), Home Sweet Home (a cross-stitch font), Wotan, Tiki Deaky, Writetyper, Chromatose (shadow family), Chocobot (an octagonal family containing Dark, Stacked (multilined), Milk, White), Big Fat (Shaded, Vibrate, Solid).
2010 creations: Fungal Sharp, Fungal Rounded (described by himself as a unicase stovepipe sans), Elliptical Lasso (Western ornamental caps), Astral Projection (a dot matrix typeface that updates Astra, a Letraset font designed by François Robert and Natacha Falda in 1973), Brick-block tops (3d effect), Knots, Spacerock (an extensive arc-based geometric family), Telephone (counterless), Pixular, StarWreck the Next Generation, Hockey Club, Brick-Block Tops, Bubblemania, Ziabelle Remix (outline, 3d, shaded), Hextone, Falcone (robotic face), but I didn't Trap the Deputy (Egyptian), Dinosaur Gothic.
Typefaces from 2013: Portafina, Portofino.
Typefaces from 2014: Hanz and Franz, McRasky (a MICR font), Apricpt, Classic Spacerock, Five Minute Hair Colour.
This used to be be a great kiwi professional font service site run by Marvin Wong out of Auckland. Our professional services feature a wide range of expertise in Image Fonts, Picture Fonts, Logo Fonts, Signature Fonts, Symbol Fonts, Handwriting Fonts, and Multiple Language Fonts. Several truetype sample fonts could be downloaded. Prices varied from 10USD (one signature) to 120USD (full connected handwriting font). Fonts: MFpad4, MFpatent, MFrings2, MF-hint, MF-pic, MF_bankcheck (MICR font), MF_boats, MF_sig, MFbmw5b, MFbmwZ8, MFcareCA, MFcareJP, MFrings, MFrky6. It disappeared ca. 2004 after only a handful of years. [Google] [More] ⦿
Markus Wäger Designwerke
Austrian photographer and digital artist. Markus Wäger designed the following fonts in 1999: MXCascade, MXJemalCaps, MXJemalItalic, MXJemal, MXOnyx (a MICR font?). DWBeispiel A (1998) is a corporate font. He also created the free fonts Deck Type (2006, unicase) and Lindau (2003), a minimalist severe rounded sans family, apparently (to me, at least) based on German car license plates. On his web site, we also find broken links to fonts called Twelve Bricks and Hasenfuss.
Maryann Jiménez is a graphic designer in New York City and North Bergen, NJ. She began her studies at Altos de Chavón School of Design and obtained a BFA in Communication Design at Parsons The New School, NYC. While living in New York City, she worked as Creative Coordinator for renowned British fashion label, Ben Sherman Clothing Inc. and currently is working freelance, specializing in Communication Design, Visual Identity, Branding, Print and Editorial.
Match Fonts is the West Hollywood, CA-based foundry led by Michel Bujardet (b. Bordeaux, France, 1951), who is Mike Budge on alt.binaries.fonts. They make and sell interesting font paks. A particular favorite of mine is the Calligraphic Fonts Pack 2, which has the beautiful medieval-look typeface Rodolphe (2001), together with the Chancellerie family, the blackletter font SquareText, and a few Uncial fonts called Oncial. Free demos. Cursive Handwriting is a 6-font pak for teaching handwriting. Also offering a handwriting and signature font service. Among free offerings, check Le Blackmail (ransom font). Also, commercial fonts for these languages: Armenian, Bulgarian, Croatian, Czech, Estonian, Greek, Hawaian, International Phonetic (IPA), Hebrew, Hieroglyphs, Hungarian, Japanese, Latvian, Lithuanian, Macedonian, Marshallese, Polynesian, Polish, Romanian, Russian, Serbian, Slovak, Turkish, Ukrainian, Yiddish.
Interesting typefaces: Boulon (letters with bolts), Bujardet Freres (French restaurant type), Calebasse (1997, semi-psychedelic), Chinoiseries (Chinese look-alike), Cristolikid (LCD), Diodes Light, Grecques, Halloween, Malabars, Metroplitain (art nouveau), Monogram, Octogone, Osselets (bones), Parador, Ruban Dis-Moi, SilBooettes, TSF et Compagnie, Venitienne, Yiddilatin, Zebrues, and the dingbats Dinosotype, Alphabetzier, Nahkt Hieroglyphics, Norman Prince (children's handwriting), Angelots, Sceaux, Seraphiques, Talismans, La Main Guided, La Main Solid (both children's tracing fonts), Bordini, Bordofixed, BoumBoum, ChapClerk, Dactylographe (nice!), Halotique (sans serif), Tortillon (2001, art deco), Normographe (great too!), Normafixed, Oloron, Parlante (serif family), Presse (typewriter), Technicien. Plus handwriting fonts Skrypta, Skryptaag (upright and connected), Willegha. a Morse Code font. The Halloween pack includes Coulures, Halloween, Osselets and SilBooettes. Fixed width fonts include Dactylographe, Oloron, Bordo, Norma. Direct access. Interview and photo. Alternate URL (in French), with many more fonts, such as the handwritten Pierre, Mariette. MICR E13 B font.
MICR stands for Magnetic Ink Character Recognition. This PDF file by Thomas D. Hayosh (1995) retraces the history of the cheque. The American Bankers Association had a Technical Committee, about which we read: In July 1956, the Technical Committee published Document 138, Magnetic Ink Character Recognition: The Common Machine Language for Check Handling where the committee recommended magnetic ink character recognition (MICR) based on the advantages of having a machine readable language which is also easily readable by humans; on the relative insensitivity of the magnetic ink signals to mutilation by most overstamping, endorsing and writing instruments; and on a demonstration of the feasibility of this approach. Following this, all the major machine manufacturers involved, representatives of the printing industry, and the Federal Reserve System unanimously indicated their concurrence of MICR as the common machine language for mechanized check handling. Of note, during the first OEM Committee meeting, in September 1956, Dr. Kenneth R. Eldredge of the Stanford Research Institute presented his work on magnetic character recognition on behalf of the General Electric Co. Dr. Eldredge filed for a patent on Automatic Reading System on May 6, 1955 and was granted U.S. Patent 3,000,000 on September 12, 1961. The U.S. Patent Office was reported to have held the number 3,000,000 to be assigned to a significant invention. Indeed, MICR as applied to banking automation, in retrospect, was truly significant. Stanford Research Institute, Bank of America, and GE because of their early state of the art work in magnetic ink recognition were heavily involved in submitting and evaluating many of the fonts which were submitted to the Type Design Committee.
It continues about the E-13A font: Publication 146, released in July 1958, entitled A Progress Report: Mechanization of Check Handling, specified the clear printing areas on the check and announced the field evaluation test for the E-13A type font. Some 50 printers were involved in a trial printing of the font. The Type Design Committee engaged Batelle Memorial Institute to administer the details of the trial printing and machine readability of the font. The Institute acted as a clearing house for instructions and to receive unidentified printing batches and forward them to the 5 machine companies for evaluation. The readability results were compiled by Battelle and presented in a report. Finally, in November 1958, the Type Design Committee agreed on a change in the Transit symbol and a relaxation of the void specification.
Finally, E-13B was born: Many often wonder what does the designation E-13B stand for? E is the 5th letter of the alphabet which signifies 5 numerical type fonts or styles of type that were studied starting with the letter A. The 13 means the 0.013 inch grid that constitutes the matrix of the font. Each character has segments which are multiples of the 0.013 inch grid. The B stands for a modification of the 5th type font. In this case, with the E-13A font, a problem was noted as the transit symbol was sometimes misread as a character 8. Subsequently, the transit symbol was changed to what we have today and the type font was then designated as E-13B.
And CMC-7 saw the light in 1965: The Standards Committee on Computers and Information Processing, X3, with the Business Equipment Manufacturers Association as Secretariat, recognized the desirability of issuing the E-13B work as an American National Standard. It formed the X3-7 Subcommittee on MICR and with the assistance of the X3-7-1 technical group issued 2 related standards on MICR in 1963 as ANSI X3.2-1963, American National Standard: Print Specifications for Magnetic Character Ink Character Recognition and ANSI X3.3-1963, American National Standard: Bank Check Specifications for Magnetic Ink Character Recognition. Much of the information presented in those first Standards were taken from Publication 147. Meanwhile, the X3 committee kept X3-7 active and endorsed X3-7's participation in the International Organization for Standardization, Technical Committee 97, Subcommittee 3 (ISO/TC 97/SC3) on Character Recognition. After a series of international meetings which terminated in 1965, the ISO Recommendation R 1004-1969, Print Specification for Magnetic Character Recognition, was published. This recommendation contained the E-13B specifications in addition to another MICR character set known internationally as CMC-7. [Google] [More] ⦿
MICR stands for Magnetic Ink Character Recognition (also known as E13-B). Some countries use CMC-7 MICR. You can't just print this. MICR requires either specially designed printers and/or MICR Toner. Standard ink does not have the appropriate magnetic qualities. Anyway, for the glyphs, see the other sites on this page. [Google] [More] ⦿
A 29-font MICR font set for 90USD, developed by Michel Bujardet. For Windows and Macintosh, Linux and OS/2.. Demo version available. He writes: " Micr-fonts.com is created especially for the new MICR font suite. This product is not available from matchfonts.com, where the regular MICR font I had for years will remain available. The MICR font suite contains 15 different MICR fonts, to address all printing chains. Mac and PC versions. Additional MICR fonts are provided for other printing systems, such as offset printing and typesetting, which require different weights. To increase check security, the suite also contains 14 different SecureAmounts fonts, with anti-fraud features found in latest bank notes, such as waves of fine-line printing. Shareware download package for Windows and Macintosh." Later, the MICR Calibration Wizard and SecureAmounts fonts were added to the site. [Google] [More] ⦿
MICR encoding fonts MICR E13B&CMC-7 at AdvanceMeants. Commercial, type 1 and truetype. Sample downloads. This site is by ID Automation as part of their multi-URL strategy. Equivalent site where the expensive font package (2370 dollars for an unlimited developer license) can be had. [Google] [More] ⦿
MICResque Type Design
A part of Zach Whalen's 2008 thesis at the University of Washington touches upon the history of MICR. Excerpts: The technology necessary for MICR developed roughly parallel with OCR and addressed a similar need: inputting large amounts of information into a computer system using characters which could be read and verified by humans. In the 1950s, the growing demand of check processing demanded that a mechanized, automated solution replace the tedious methods of hand sorting, routing, and processing all personal checks. A Technical Subcommittee of the American Banker's Association convened in 1954 to address the problem, and after a series of consultations with banks, manufacturers and the Federal Reserve Bank, the committee developed a recommendation and standard for a common machine language for check processing, which was published in its final form as Document 147 of the Bank Management Commission, first published in 1959 and still in use today. The committee's use of the term language here is significant because the standards and specifications set forth in their recommendations encompass the numeric font itself, the location of MICR information on the check face, the ink quality, the system for encoding routing, transit, and account numbers, and the equipment required to process it. James McKenney's detailed narrative of the technical subcommittee is careful to note that the use of language in this context is strictly metaphorical, but the sense in which it describes the entire system strongly resembles Ferdinand de Saussure's use of langue (the complete semiologic system of any language) as a field that is distinct from parole (the singular expression of a specific language act). This analogy between langue and MICR as a "common machine language" also will help explain the means by which re-appropriated MICR fonts express associations similar to those identified with OCR-A. [...] MICR works by a recognition process similar to OCR, except that in MICR, the ink is magnetized and it is read by a magnetic tape head rather than an optical scanner. This prevents stray marks and paper degradation from interfering with reading, both of which were important problems the Technical Subcommittee had to solve. The typeface ultimately selected by the committee, E-13B, consists of simple, geometric forms adorned with asymmetrical rectangular slabs. This design conforms to the technical requirements of the MICR input devices, and the variability of the slab location among individual letterforms ensures that even degraded type will yield a sufficiently distinct magnetic waveform in order to be properly read. [Google] [More] ⦿
Monotype's monospaced font families: Andalé Monospace, Arial Monospace, Courier, Letter Gothic, Lucida Console, OCR-A, OCR-B, MICR, Typewriter, Typewriter Elite, Typewriter Gothic.
Also called Page Tech Inc. San Diego-based outfit that produced a package of (renamed?) fonts in 1991-1994: Alamo (Western font), Announce, Articulate, Aurora, Baxter, Bethel, Bockloo, Calculator, Calico (stencil font, +Cyrillic), Campfire, Centurion, CheckStub (MICR font), Excellence, Freedom, Graduate, Indio, LaCosta, Maryland-Italic, Maryland, Merced, Mettler, Miami (Broadway?), NovaScript, Oakland, Oxford, Palomar, Parker, Parsec, Quincy, SanDiego, Shadow, Silicon, Springer, Sunnyvale, TopHat. [Google] [More] ⦿
Waxham, NC-based vendor of barcode fonts and software. These cover Code 128, Code 3 of 9 (Code 39), EAN, UPC, Postnet, Interleaved 2 of 5, PDF417, ASP Barcodes, PDF417, OCR-A, OCR-B, MICR, and Data Matrix barcodes, and cost between 75 and 129 dollars per barcode style. [Google] [More] ⦿
RoastHorse Type Foundry
Joe Baldwin (b. UK, 1973) runs RoastHorse Type Foundry. He is the designer of the pixel font Flash Script (2002, italic), the sarcastic RHBertholdRegularIndustryofTyrany RHBurroughs, RHCarrierStencil (2004, a free font created because of Berthold's "abuse of copyright"; it is an octagonal stencil font), Linx Pro (a MICR and dot matrix family), the pixel typeface RHBurroughs, the fat Western style typeface Hubbard Hand Lettered (2003, available at T-26), and the flash-optimized Kerouac (2002, T-26).
American letter designer who created Orbit-B (1972, VGC), an LED font, now digitized by Bitstream as Orbit-B BT. Zach Whalen on Orbit-B: Orbit-B is less common than either Moore Computer or Data 70, possibly because its MICR influence is more subtle and less arbitrarily intrusive, but it still appears frequently in and around videogames and in contexts where some intimacy is suggested between humans and computers. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿
Designer of Stan Free (VGC, 1973) and the liquid font Amelia (1965, Visual Graphics Corporation). Amelia was later "stolen" by Bitstream and Linotype. Here is what Stan wrote: Bitstream and Linotype have stolen my "Amelia" font (their renditions of it are pathetic). My digitized version of Amelia and other fonts I designed are available at: email@example.com.
Tepid Monkey Fonts
Free original fonts by Brandon Schoepf at Tepid Monkey. The foundry closed its doors in July 2002, to be continued by The Typover Foundry, starting July 15, 2002. That site too seemed to have problems, so Typoasis took over in 2005.
The list of typefaces: Abscissa, AbscissaBold, AbscissaBoldItalic, AbscissaItalic, AccidentalPresidency, Bedizen, Benegraphic (a handwritten Fraktur, 2001), CadmiumEgg, Caduceus, Charybdis, Dadhand, Discognate, DiscognateLight, Dotimatrix3, Dotimatrix5, Dotimatrix7, Dulethia (Greek simulation face), EagerNaturalist, EightyPercent, EightyPercentCaps, EightyPercentCapsOutline, EightyPercentOutline, ElectedOffice, ElectedOfficeOutline, ElectedOfficeOutline18118, FifteenOkay, FifteenOkaySlanted, Galaxy Monkey, Hipchick, Hoffmanhand, Jrhand, KetchupSpaghetti, LockedWindow, Medrano, Monoglyceride, MonoglycerideBold, MonoglycerideDemiBold, MonoglycerideExtraBold, Nauvoo, NegativeTuning, November (2001, pixel font), Opossum, Origami Mommy (2002, square outline font), Ponderosa, Ptarmigan, PtarmiganCondensed, PtarmiganCondensedItalic, PtarmiganItalic, Qhytsdakx (2001), RationalInteger (checkbook font), RepetitionScrolling, Scott, Stockstill (stencil font), Sujeta, Sujeta3D, SujetaBold, SujetaBoldItalic, SujetaItalic, SujetaOutline, Survivant, Transuranium (2001), Updike, VerticalTuning, Zig.
Thomas D. Hayosh
Quezon City or Kyusi (Philippines)-based designer of revivals and opportunistic typefaces, who is quite active on newsgroups like alt.binaries.fonts. His production is impressive:
Type Market is a Russian type foundry. Alexey Kustov made most fonts at Type Market (Moscow) between 1993-1995. Many of these are cyrillizations of Western typefaces: Aksent (futuristic, based on a design by Yevgeny Dobrovinsky), Bebit (similar to Baby Teeth by Milton Glaser, Photo Lettering), Countdown [based on a 1965 original by Colin Brignall], Cricket, Crystal, Europe, Everest, Gals, Gill Sans (1993), Glasten, Helios, Luxor [1993; based on Colin Brignall's Aachen, 1967], Micra, Micogramma (1952, Aldo Novarese and A. Butti, digitized in 1993), Miniature, Mistral, New Zelek [1993, inspired by the typeface of G. Klikushin, 1987, which in turn was based on the typeface of Bronislav Zelek of Mecanorma], Oliver, Peignot (A.M. Cassandre, 1937, done in 1993), Penta, Plain [after an art deco typeface by A. Grachev], Rodeo (F. Pierpont, 1934, cyrillicized in 1993), Start [1993, like Aldo Novarese's Stop from 1971], Stencil Bold Cyrillic (1993, based on Milton Glaser's Stencil Bold (1973)), Techno28 [1993, a MICR font based on Letraset's Data 70 by R. Newman, 1970], Trafaret [1993, a stencil font based on Tom Hultgren's Traffic, Letraset, 1973], Traktir [1993, based on Elsner&Flake's Old Town], Viola [1996, based on Adobe's Willow]. These are Cyrillic fonts that are typically extensions of well-known Roman fonts. Other designers at Type Market include A. Shevtsov, Anton Bisiajew, Oxana Doubovic, A. Babaljan, S. Shanovich, D. Gulinoff, Viktoria Grigorenko, Anna Terentieva. Fonts not by Kustov: Anastasia Script, Arthur, Dikovina, Dikovina Bildchen, Fita Church, Fita Poluustav, Fita Vjaz, Funny, HeinrichScript, Industry, Jatran, Keyboard, Magic, Morris, Office Type Sans, Oliver New, OpiumNew, OrnamentTM, OrnamentTM2, Palladium, Regata, Roger Script, Romul, Secretary, Sonet Serif, Unicum Condensed, Zodiac1, Zodiac2.
Moore Computer and Moore Swash are both attributed to David Moore. Zach Whalen on Moore Computer: The minimal aesthetic properties of E-13B saw extended influence in a number of type designs created in the late sixties and early seventies, and many of these MICR-based typefaces saw extensive use in relation to videogames. The typesetting and printing industries were undergoing rapid and dramatic changes during this period, adapting to new technologies like photo- and CRT-based compositors, so a number of companies and design studies were going out of business or changing hands. In addition, the decorative typefaces echoing the style of E-13B were often seen as novelty products, so records about several of these typefaces and fonts are cursory may be unreliable. Nevertheless, the evidence indicates that the first full alphabet based on E-13B was a font called Moore Computer, published by the Visual Graphics Corporation (VGC), possibly as early as 1968. [Google] [More] ⦿
Ray Larabie (b. 1970, Ottawa, Canada) ran Typodermic in Mississauga, ON, which opened in the Fall of 2001. In 2006, it moved to Vancouver, BC, and in 2009 it moved on to Nagoya, Japan. Dafont page. Ray Larabie has been making fonts since 1996, but those early fonts were freeware. His pre 2001 fonts are grouped under the label Larabie Fonts. In 2001, he set up Typodermic. Latest additions.
The Typodermic fonts:
Typotheticals (was: F.O.N.Type)
Typotheticals (F.O.N.Type) (est. 2002) is a supplier of fonts from a number of independent amateur foundries that make up the C.O.I.F.F (Collective of Independent Font Foundries) group. Originally free fonts, the fonts are now commercial and can be bought at MyFonts. It is run by Graham Meade in Melbourne, Australia. Font families for now:
For completeness, Graham Meade's fonts at MyFonts: Alum, Aunchanted Elite, Blound, Caluminy, Capitalus Diabolus (2014, a beveled neon-look typeface based on Lucifer No. 10), Carnova, Cordin, Cyne (2004), Czaristane, Dbased Material, Elspeth GM, Etched Fractals, Etho (2013, +Etho Wide), Eutheric, Flute, Frangle (2013, octagonal), Freekenfont, Frogster, FrownTown, Gurnee, Gyant, Houral Etched, Hulbert, Humper, (2005), Ilbit, Italican Oblique, Italican Script (2004), Jains, Jointed (2008), Koster, Kylemott, Laural Hardy (2011, piano key family), Marjoram (2008), Meichic, Modcon, Nacissism (sic) (2013), Neu Phollick Alpha, Nok (2006, with Daniel Athburton), Norlik, Phollick, Quiffed, Quoral (2003), Ramadesh, Reluxed, Rhomus Omnilots (geometric dingbats), Simiate, Stripwriter, Sweetmix, Typothetical 1, Tzaristane (2005), V-Hand (2005), Wastrel (2004), Whinter, Wiki, Worstveld Hand, Worstveld Sling (2005, with ), Worstveld Sting.
This site is a blog about a book proposal by Zach Whalen on the typography and types used in videogame text. It is immensely useful for type historians, and highly recommended. It is based on Zach's 2008 dissertation at the University of Washington entitled The Videogame Text: Typography and Textuality. Interesting subpages:Google] [More] ⦿
VS Software in Little Rock, AR, offers these products and services: signature/logo font making, Jet True (TrueType to PCL font converter for 325 USD), barcode and MICR fonts, FontGen v1 (300 USD: bitmap font editor, 7 formats). About FontGen: FontGen's most common format is a 300 or 600 dpi PCL 5 bitmap font for use with the PCL driver of an HP or compatible laser printer. [Google] [More] ⦿
Westminster is the ultimate cybernetic font from the early seventies. It was created by Leo Maggs (1973, Berthold) as a photo type. Eraman Inc made a Westminster typeface in 1993. Zach Wahlen wrote in his 2008 thesis: The origins of Westminster are somewhat unclear, but it emerged at least as early as 1971. It is also the most pervasive and common of the MICR fonts because it has been distributed freely with Windows operating systems since Windows 98. [..] Simon Daniels of Microsoft believes it is possible that Robert Norton (head of Microsoft Typography during the mid-1990s) originally designed Westminster himself, and the little available evidence does support this possibility. The font description mentions Photoscript, a phototypesetting company Norton founded in 1970; the unnamed designer is identified as British, as was Norton; and the choice to focus the font's description on the story of a willful designer who is ultimately vindicated seems consistent with Norton's sense of humor and habit of self-deprecation.
I think Simon Daniels and Zach Whalen are both wrong, as this interview of Leo Maggs demonstrates: There is one space age one called One Up, a ghastly 60s thing, and the guy who designed that, Leo Maggs, talks about how he wished he hadn't designed it. "Way back in the swinging 60s," he says, "when my youthful soul was consumed with enthusiasm, if not naked ambition, I was surprised and delighted to have my first typeface, Westminster, accepted by Robert Norton. I produced several further designs, most of which were properly strangled at birth. One Up unfortunately survived... Looking at it now I feel much as I imagine a mature film star must feel when, 30 years after the event, she comes across photographs of herself as a struggling starlet revealing all for the readers of popular girly magazines, and I wish I hadn't done it." Quite incredible, since I had the Leo Maggs info on my site long before Whalen's thesis---sigh, why am I even bothering? [Google] [More] ⦿
Designer (aka Funk King, b. Fort Knox, KY) who lives in Orlando, FL, and/or Apopka, FL. He used FontStruct in 2008-2009 to make over 550 decorative fonts, and became one of the world's top experts on FontStruct, FontShop's on-line font editor. Most of his fonts were withdrawn in 2012. He did a few commercial typefaces at his commercial foundry, Funk King. His creations include
In 2012, he added these fonts at MyFonts: Architect, Black Tie, Carousel, Check Mate, Cobblestones, Cruise, Dog Tag, Edgar Fernhout (based on the famous poster by Wim Crouwel), Fifty Famous Fairy Tales, Fratturato Digitale (pixelish blackletter face), Ghost Town, Jackpot, Jelly Bean, Keyboard, Kingdom (a castle font), Lagniappe (Victorian), Lyrical, Madie, Matchstick, Menagerie, Q Typ, Scaffo, Sprinkle, Stained Glass, Stencillated, Stensei (stencil), Sweet Valley, Toothpaste, Vibration MF, Yoyo, Zephyrelli.
Typefaces from 2013 (no longer freely downloadable!): Pome (dot matrix), Cow Poke (dot matrix), Sausalito Nautica, Cut Here (stitching typeface), Belly Button (dot matrix face), Rouletto (bejeweled typeface), Picnic Basket (alphadings), Fandangle (dot matrix), Trace Remains (dot matrix), Billiards (dot matrix), Cross Worded, Script Town, Schematode (connect-the-dots), Electrifunkified, Aloha, Signal Strength, Ink Well, Satellite, Supper Time (alphadings), Mike (alphadings), Licorice, Conga Lounge OF, Monkey Bars, Daisies, Fractal OF (textured face), Saloon OF, Ball and Chain, Say What.
Typefaces from 2014: the multilined or inline typefaces Ozmosis, Ozian, Cardinal, Hollow Branch, Emblem, and Oblio. The alphading typefaces Rat Race and Picnic Basket. The pearly dot matrix typeface Rouletto and Crawler. The video game typefaces Pod Invasion and Zogg Domination. The stitching typeface Cut Here. The pixelized typeface Code Hijack.
WSI: Weatherly Systems Inc
Mike Charness's Huntsville, AL-based foundry used to offer a huge number of handwriting fonts, and thousands of other fonts at rock bottom prices, in all font formats. It stopped selling fonts to end users or licensing fonts for redistribution in 2003, but continues OEM work.
Lists of font names:
WSI had barcode fonts, MICR fonts (such as CheckNums-MICR), some foreign language fonts, and many dingbats. The full collection could at one point be downloaded here. The handwriting font collection (known as WSI Hand) was downloadable from here, here and here. Apparently, these whandwriting fonts ere obtained by first selling a handwriting font service, and then selling a CD with the created fonts.
WSI is no longer selling fonts and has this ironic line: WSI's fonts are not freeware, but are commercial software protected by copyright. Now, how did WSI start up its business? I quote from this archived page: We don't sell directly to end users, but rather provide fonts to software publishers who sell our fonts under their own labels. Current and past licensees include PowerUp, Spinnaker, SoftKey, Wayzata, Canon, Fuji, Epson, Serif, Borland, Novell, Maxis, Cosmi, Xoom, Dynamix/Sierra Online, Synergistic Software, Expert Software, IMSI, Parsons Technology, MySoftware, Abstract Software, Dunlop Corp., Case Inc., GraphicCorp, CAI, Creative Wonders, The Learning Company, Current Inc., Pierian Springs Software, Lookout World, Palladium Interactive, Philips Publishing, AIG, Asymetrix, Media Graphics, Knowledge Adventure, WIZ Technology, Paper Direct, Sanctuary Woods Multimedia, GST/GSP, Baudville, Zedcor, and many others.