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Native-American fonts



[The Cherokee syllabery.]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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Absolut Foundry
[Gumpita Rahayu]

Gugum Gumpita Rahayu is a graphic designer based in Bandung, Indonesia, b. 1991. In 2013, he set up Absolut Foundry.

Creator of the rounded sans typeface Tracks Type (2013, free at Fontfabric). Yuma is a free tweetware alchemic typeface. It is based on navajo patterns. Kurve (2013) is a sans headline typeface. Biere (2013) is a modular display typeface. Mojave (2013) is an all caps sans typeface.

In 2013, he created Rocca, which is modeled after spurred wood type display styles from the Victorian era. Warenhuis de Vries is inspired by the signage on a 19th century colonial Dutch heritage building---the De Vries building, which today houses the OCBC NISP Bank---in Bandung, Indonesia. This font was renamed Oud Warenhuis (2013). Dutch colonial tropical architecture in Bandung led to the art deco typeface Bandoengsche (2013). Buy it here. Companion League (2013) is an octagonal Latin / Cyrillic signage typeface. Driekleur (2013) is pure Dutch colonial deco based on signage in a 1930s building (called De Driekleur) in Bandung built by Dutch architect A.F. Aalbers. March (2013) is a display family that includes beveled and inline styles.

Free typefaces from 2013 include Mohave (all caps sans) and Flagship Slab Rounded.

Typefaces made in 2014: Dealers, Metrisch (a wide tall x-height geometric sans family), Luzern (a neutral Swiss sans family---two free weights), Swarha Neue (an art deco sans named after the Swarha Islamic Building in Bandung made by Dutch architect Wolff Schoemaker from 1930 until 1935).

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

Acolina

Small rune font archive. Has, for example, from Ecological Linguistics, their Maya glyph fonts DaysBF, DaysCodBold, DaysCodBoldItalic, DaysCodItalic, DaysCod, all made in 1994. From the American Philological Association, Jeffrey Rusten's Greek font Athenian (1991). Also, the Maya glyph fonts Abaj, AbajBold, TunBold, Tun, Wuuj, WuujBold, WuujBoldItalic, WuujItalic. [Google] [More]  ⦿

AiPaiNunavik Font
[Ray Taylor]

Ray Taylor (Acorda Design Integration Inc) created a new Inuktitut font specifically for the Nunavik region of Northern Québec: AiPaiNunavik (2001) represents a return to the traditional way of writing the AI-PAI-TAI column of syllables. Fully-compatible Macintosh and Windows TrueType fonts in regular, italic, bold and bold-italic are available. The fonts contain the full Eastern Arctic syllabary (Nunavut and Nunavik). A version that is fully Unicode 3.0 compatible is available too. There are also AiPaiNutaaq (Unicode 3.0, full eastern arctic syllabary and Greenlandic), AiPaiNuna (a.k.a. AiPaiNunavik 2.0, all of the improvements to AiPaiNutaaq with AiPaiNunavik 8 bit encoding) and AiNunavik (1995, Ray Taylor), a font based on an original design of F. Firard and S. Putulik. The site also carries plenty of utilities for these languages. [Google] [More]  ⦿

Al Webster

Designer of the Cherokee glyphs used in the Unicode chart. [Google] [More]  ⦿

Alan M. Stanier

Alan M. Stanier from Essex University (UK) has created the following metafonts: ams1, cherokee, cypriote, dancers (the "Dancing Men" code of Conan Doyle), estrangelo (ancient Syriac language), georgian, goblin, iching, itgeorgian, ogham (found on ancient Irish and pictish carvings), osmanian (twentieth-century font used in Somalia), roughogham, shavian, southarabian (for various languages circa 1500BC), ugaritic (ancient cuneiform alphabet). More direct access. [Google] [More]  ⦿

Alan M. Stanier
[Cherokee metafont]

[More]  ⦿

Alexis Roizen

Graphic designer in Moscow, ID. She created an all caps alphabet that was inspired by Indian art in 2009. [Google] [More]  ⦿

Algonquian

About ten fonts here, including some barcode fonts, and a truetype font for Algonquian (Algic languages) by Peter S. Baker, called Junicode (2000). [Google] [More]  ⦿

American Indian language fonts

Discussion of American Indian language fonts on typophile. See also here. [Google] [More]  ⦿

American Indian Languages

Free fonts at Howard Berlin's site included Cherokee, LucidaSans Navajo. Also, Chey1SILManuscriptL (1994, Summer Institute of Linguistics, a Cheyenne font that looks like Courier). [Google] [More]  ⦿

Amigian

Designer of Mohawk Gone Wrong (2003). [Google] [More]  ⦿

André Simard

Rouyn-Noranda, Québec-based designer who created the sans typeface ITC Migration Sans (2009, ITC and now, Monotype). His second typeface was Harfang (2010, PSY/OPS: a 12-style transitional family).

In 2012, he designed OurType Corbeau Pro. The sans family Corbeau comes in three times eight styles and was completed with Fred Smeijers, and produced and released by OurType.

His projects for 2013 include a font for the Cree and Naskapi in Northern Quebec developed with assistance of Bill Jancewicz. This font, tentatively called Goosebreak, is being extended to also include all the Unified Canadian Aboriginal Syllabics (Athapascan, Blackfoot, Carrier, Cree, Naskapi, Nunavik, Sayisi Dene, etc.). The Latin part of the semiserif typeface is based on Harfang.

Still in 2013, he will publish a typeface called Carouge over at Psyops.

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

Angela Lane
[Fonts by WindWalker64]

[More]  ⦿

Anina Grace

During her studies in Melbourne, Australia, Anina Grace created an native American-themed display typeface called Tipi (2013). [Google] [More]  ⦿

Anshuman Pandey

Anshuman Pandey (University of Washington, Seattle) made a Bengali METAFONT. He also created wnri, a METAFONT set of fonts for Old English, Indic languages in transcription, and American Indian languages. The Washington Romanized (WNRI) Indic package enables texts encoded in the 8-bit Classical Sanskrit/Classical Sanskrit eXtended (CS/CSX) encoding to be typeset in \TeX{} without modification of the input scheme. Pandey also developed a LaTeX package for Gurmukhi/Punjabi, which uses a metafont he generated (with permission) from Hardip Singh Pannu's Punjabi truetype font.

Frans Velthuis (Groningen University) developed a Devanagari Metafont in 1991, which is on the CTAN archive. Later, Anshuman Pandey took over the maintenance of font. Primoz Peterlin made type 1 outlines based on this. These outline renderings (Type 1) were automatically converted from METAFONT by Peter Szabo's TeXtrace, and subsequently edited using George Williams' PfaEdit PostScript font editor by Anshuman Pandey (University of Washington). In 2003-2004, additional updates in the set of 22 Metafont files are due to Kevin Carmody, who presently maintains the package. The font names: TeX-dvng10, TeX-dvng9, TeX-dvng8. These were later changed to VelthuisDevanagari8-Regular, VelthuisDevanagari9-Regular and VelthuisDevanagari10-Regular. This font was used in the GNU freefont project for the Devanagari range (U+0900-U+097F). [Google] [More]  ⦿

António Martins
[Guincho, 1421]

[More]  ⦿

Apostolos Syropoulos

Xanthi-based designer of the Greek type1 font family Phaistos (2004, with Stratos Doumanis). He also created the "oinuit" system, a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language which comes bundled with the type 1 family Inuit (2002). In 2007, he published the Philokalia package, which includes a free Philokalia OpenType font developed with Ioannis Gamvets. It was specially made to print the Philokalia books. The UM Typewriter font family (2008, for OpenType fonts) is a monospaced font family that was built from glyphs from the CB Greek fonts, the CyrTUG Cyrillic alphabet fonts ("LH"), and the standard Computer Modern font family. Epi-Olmec (2008) is an Aztec dingbat font. In support of the href="http://openfontlibrary.org/member/asyropoulos">Open Font Library, he created the rune font Icelandic (2008: this font includes most "magical" staves that have been "used" in Iceland. Original drawings from the Museum of Sorcery&Witchcraft). He also made Asana Math (2007), which also has references to Young Ryu (2000) and Claudio Beccari (1997-1999). Kernest link. [Google] [More]  ⦿

Apostolos Syropoulos
[Oinuit]

[More]  ⦿

Archaeological Fonts (by Bonneville Electronics)

Mayan, hieroglyphs, cuneiform, Syriac, etc.: commercial site located in West Clinton, Utah. Free demos. Etruscan, old Greek, old Hebrew, archeological fonts. Run by Scott T. Smith from Clinton, Utah. Plus Native American dingbats. [Google] [More]  ⦿

Arthur Durkee
[White Dragon Type Foundry]

[More]  ⦿

Baby's Breath
[Cindy Baker]

Several free original truetype dingbat fonts by Cindy Baker. Each font has just a few intricate and beautiful drawings. There are Baby'sBreath2, Baby'sBreathnativeamerican, BabysBreathEaster, BabysBreathStPats, Kids, CindyBaker, and a few other fonts. [Google] [More]  ⦿

Baker and Greele Type Foundry

Boston-based foundry dating from the 19th century. Nick Curtis made the Western billboard typeface New Boston WBW (2004) based on a 1826 Baker and Greele face. Baker and Greele were the first to cast some native Indian type. For example, in 1827-1829, they cast type for the Cherokee script, a syllabary composed of 85 unique glyphs, each representing a distinct phonetic component. This syllabary was invented by Sequoyah [or George Guess, or Gist, 1760-1843] in 1809. Of the characters finally used, only a few actually retain the original shape, or derivatives thereof. Those sharing Latinate forms may or may not have been suggested by the Rev. Samuel Worcester, who helped Sequoyah to improve and finally adapt the script for use as foundry type. Wm. Joseph Thomas from the Joyner Library of East Carolina University, Greenville, NC, writes; "I know that the American Board of Commissioners for Foreign Missions, which was also headquartered in Boston, arranged for the types to be cast, and they ordered a press to be sent to the Cherokee Nation. The first known printing in the syllabary was December 1827 in the Missionary Herald; the types and press were shipped to the Cherokee Nation in November 1827, according to letters between the ABCFM and the missionary in C.N. The Cherokees began printing their newspaper, the Cherokee Phoenix in February 1828." Harvard has an old type specimen book: "Specimen of printing types and metal ornaments, cast at the New England Type Foundry by Greele & Willis, Congress Street, Boston" (New England Type and Stereotype Foundry, Boston: Beals, Homer & Co., Printers, 1828). In this book, most specimens have imprint: Baker & Greele, Boston, some dated. [Google] [MyFonts] [More]  ⦿

BenChalit Sagiamsak

Bangkok-based designer (b. 1989) of the modular triangular typeface Furtive (2011), the ornamental CS BenWood (2011, free), the Ugaritic and native Indian cultures inspired CS Zero (2011), and the minimalist monoline typeface CS Cacher (2011).

CS Liana (2013) is a mixture of art nouveau and Tuscan. In 2014 he created Oldben. Like his other typefaces, these are all vector format typefaces.

Fontspace link. YWFT link. Behance link. Alternate URL. Hellofont link. Dafont link. [Google] [More]  ⦿

Benjamin Rivera

Benjamin Rivera (b. 1987, Santiago, Chile) created the alchemic typeface Paihuen Mapuche (2013), which was inspired by native symbologies. Dafont link. [Google] [More]  ⦿

Bill Bogusky
[Bogusky2]

[MyFonts] [More]  ⦿

Bill Jancewicz
[CreeKeysLT]

[More]  ⦿

Bogusky2
[Bill Bogusky]

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]  ⦿

Brian Thom
[Halq'emiylem Font Downloads]

[More]  ⦿

Buey Okyan

Detroit-based designer. He created Tsalagi (2009), a font for Cherokee, but based on the constructivist shapes. [Google] [More]  ⦿

Cami Fuuh

Multimedia designer in Santiago, Chile. Creator of the Mapuche [native people in Chile] display typeface Kewen (2013). [Google] [More]  ⦿

Carolyn Gibbs

Creative Alliance designer of Artifact 1 through 4, a beautiful set of dingbats, influenced by American Indian art. At Monotype, she did Pi Fonts 2 and 3.

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

Catherine Kosasih

Portland, OR-based graphic designer who made Traditional Aztec (2013), a typeface custom made for American Trails in Talent, OR. She also designed a set of aquarium pictograms in 2013. [Google] [More]  ⦿

César Ramírez

César graduated from Universidad Tecnológica Metropolitana de Santiago de Chile in 2007. For the type design course there, he created Tarucafont based on ancestral culture found in the Andes region. [Google] [More]  ⦿

Charles J. Coker
[Navajo Fonts&Language]

[More]  ⦿

Cherokee alphabet

Jump page for Cherokee (Tsalagi). [Google] [More]  ⦿

Cherokee language wiki

On this wiki page, we find the following font information: For years, many people wrote transliterated Cherokee on the internet or used poorly compatible fonts to type out the syllabary. However, since the fairly recent addition of the Cherokee syllables to Unicode, the Cherokee language is experiencing a renaissance in its use on the Internet. For example, the entire New Testament[18] is online in Cherokee Syllabary, and there is a Cherokee language Wikipedia featuring over 200 articles.[19] Since 2003, all Apple computers come with a Cherokee font installed. Cherokee Nation members Joseph L. Erb, Roy Boney, Jr., and Thomas Jeff Edwards worked with Apple to bring official Cherokee language support to the iPhone and iPod Touch in iOS 4.1[20] (released 8-Sept-2010) and for the iPad with iOS 4.2.1 (released 22-Nov-2010). [Google] [More]  ⦿

Cherokee metafont
[Alan M. Stanier]

Alan M Stanier's metafont for Cherokee based on the Cherokee script was designed in 1821 by Segwoya. [Google] [More]  ⦿

Cherokee Nation

The Cherokee Nation web site shows several Cherokee fonts.

[Google] [More]  ⦿

Chloé Marchand

During her graphic design studies, Chloé Marchand (Paris) designed a poster in 2012 for the exhibition of Bart Van der Leck, an artist of the Modern De Stijl Movement (1910-1930), at the Museum of Modern Art in Paris.

In 2013, she used Giacometti's sculptures to created a Giacometti lettering alphabet. Nahkoa (2013) is an angular typeface that is inspired by the native American culture. [Google] [More]  ⦿

Christopher Harvey
[Language Geek]

[More]  ⦿

Chung-deh Tien

Chung-deh Tien is associated with the Cherokee Nation. Designer in 2011-2012 of the following free Latin / Cherokee fonts: Nikwasi, Tsisquilisda, Danisvdanvsgv, Alewisdodi, Gola Unole, Nvdaasdawadidohi, Atuyasdodi, Tsi yu gunsini (a copperplate design for Unicode Cherokee, named after a Cherokee chief called Dragging Canoe), Wilma Mankiller Old (2012, also for Cherokee), Gadaquali (flared face), Gageda (Cherokee font).

Fontspace link. [Google] [More]  ⦿

Chung-Deh Tien

American designer in Jackson Heights, NY (b. 1965) of the free wedge serif typeface Grendel (2011).

Dafont link. Flickr link.

He created the tattoo fonts Maelstrom (2011) and Reign Sample (2010), the mechanical typeface Dans Hardware (2010), the graffiti typeface Stone Angel (2010), the Western typeface Mary's Cherry&Co (2010), the squarish typeface Dashboard Jesus (2010), the fat wood style typeface John Brown (2010), Dantone (2010), the fat roundish typeface Creamy (2010), Thermobaric (2011, Star trek face).

Chung-deh Tien created a few Cherokee fonts including Nikwasi San (2012), Sequoya Bold (2012), Oconosota (2012), Kanagota (2012), and Tsalagi Ameliga (2010). [Google] [More]  ⦿

Cindy Baker
[Baby's Breath]

[More]  ⦿

ClearlyU BDF font

Mark Leisher's creation: "ClearlyU is a set of BDF (bitmap) 12 point, 100 dpi fonts that provides glyphs that can be used for Unicode text. The font contains over 4000 glyphs, including numerous additional glyphs for alternate forms and ligatures. The ClearlyU typeface was originally inspired by Donald Knuth's Computer Modern typeface, but has been slowly evolving into something else." Supported are: Navajo, Armenian, Cyrillic, Georgian, Greek and Coptic, Hebrew, Lao, Thai. [Google] [More]  ⦿

Connie Scoble

Connie Scoble made ornamental dingbat faces in 2007, often around the theme of native americans: ccdiv, ccdiv2, cornrs, cornrs2, namotifs, swmotif1, swmotif2. [Google] [More]  ⦿

Cosmorama (or: Laser Printing Solutions)
[Kenneth Hirst]

Esoteric fonts and special symbols by Kenneth Hirst. Includes shareware and full version ($$) fonts such as Astro (1993), Alchemy, American Indian (2001, dingbats), Arabic, Flowchart, SpecialPi, Sequoyah (for Cherokee), CircleBullets, ArrowBullets, GD Enochian (2011, Enochian and Astrology symbols based on the Golden Dawn system), Siddiqua (Arabic: Laser Printing Solutions. P.O. Box 5362, Irvine, CA 92616), Starfisher Uni (2014, an astrological & sans font originally designed by Laser Printing Solutions).

Some of his fonts. Fontspace link. Another Fontspace link. Open Font Library link. [Google] [More]  ⦿

Cree

Cree jump and link page. [Google] [More]  ⦿

Creek Fonts

Four Times-like truetype fonts for Muskogee: CreekPS-BoldItalicMT, CreekPS-BoldMT, CreekPS-ItalicMT, CreekPSMT. Alternate URL. Direct access. [Google] [More]  ⦿

CreeKeysLT
[Bill Jancewicz]

At this site of the Cree Cultural Institute in Opemiska Meskino, Oujé-Bougoumou, Quebec, we find free Unicode and non-Unicode Cree fonts BJECreeBold, BJECree, BJCreeUNI, BJCreeUNI-Bold, all designed in 2000 by Bill Jancewicz, NDC Kawawachikamach Quebec, Canada. [Google] [More]  ⦿

Cuttlefish Fonts
[Jason Pagura]

Cuttlefish Fonts offers free original fonts by Cupertino, CA-based graphic designer Jason Pagura, such as Rutaban (2001), Bernur (1996, sans), Gemelli (handwriting), Gohan (fat finger comic book lettering, updated into ShinGohanSix in 2007), Bolonewt (2003), Antherton Cloister (2003, insect antenna influences! Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).

From 2006 until 2010, he published Agamemnon, a large and warm transitional slab serif typeface with wood type influences that covers Latin, Cherokee, Cyrillic and Greek.

Later typefaces include Cartmeign and Posterony (2007, anthroposophic).

Dafont link. 1001fonts link. [Google] [More]  ⦿

Cyberian Khatru
[Ronnie Cruz]

Ronnie Cruz (Cyberian Khatru) is Filipino type designer, b. 1966, Asinaan, Panaasinan, Philippines. His fonts include techno and gothic faces such as Bone Voyage, Iron Warrior, and Jupiter Squadron (futuristic). Shanghai Babe (2010) is an oriental simulation face. Blue Thunderbird (2011) is based on native American symbolism. Brush With Death (2011) is a brush face. Byrning Bridgez (2011) is a trekkie font. Cyberian Khatru is located in Hayward, CA. [Google] [MyFonts] [More]  ⦿

Daniel Johnson

Designer at the Open Font Library of Triad Postnaya (2013, an old Church Slavonic typeface and its Latin simulation twin), Stanislav Caps (2013), Pacaya (2013, a medium-weight sans), Jura (2011, in the style of Eurostile), Didact Gothic (2010, a simple and readable sans i in the form most often used in elementary classrooms), Judson (2010, designed for African literacy), Megrim (2010, a monoline drawing table sans), Aguardiente (2010, heavy sans), Deka (2010, a monospace font designed for very small display sizes), Rahel (2009, Hebrew), Sacco-Vanzetti (2009, sans), Travelogue (2008), Grana Padano (2010), Pfennig (2010, an extensive humanist sans family) and Jura (2009, sans family with support for Burmese, Cyrillic and Greek).

Johnson explains: Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. (Kayah Li is a language used by a minority people group in Burma. Because the Burmese government suppresses the teaching of minority scripts, the Kayah Li script is taught only in schools in refugee camps in Thailand.) I wanted to create a Roman alphabet using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born.

Triod Postnaja (2010) attempts to mimic the typefaces used to publish Old Church Slavonic service books prior to the 20th century. It also provides a range of Latin letters in the same style.

He contributed to the GNU Freefont project. In particular, he created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono. And never to be outdone by himself, then he did UCAS Extended and Osmanya. His GNU Freefont ranges:

  • Armenian (serif) (U+0530-U+058F)
  • Cherokee (U+13A0-U+13FF)
  • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
  • UCAS Extended (U+18B0-U+18F5)
  • Kayah Li (U+A900-U+A92F)
  • Tifinagh (U+2D30-U+2D7F)
  • Vai (U+A500-U+A62B)
  • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
  • Osmanya (U+10480-U+104a7)

Klingspor link. Fontspace link. Dafont link. Kernest link. Fontsquirrel link. [Google] [More]  ⦿

Daniel Ortega
[IC Fonts]

[MyFonts] [More]  ⦿

Daniel Will-Harris
[Will-Harris House]

[MyFonts] [More]  ⦿

Dave Aquino

Designer of the art deco multiline typeface Beacon Hill (2009, FontStruct). The font is called "Beacon Hill" because it's inspired by the totem pole carvings at Beacon Hill park in Victoria, BC, Canada. If you turn the word on its side, it looks reminiscent of a totem pole. Dave Aquino is located in Vancouver. [Google] [More]  ⦿

David Kerkhoff
[Hanoded]

[MyFonts] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.

Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.

Alternate download site. Wiki page with download information.

Fontspace link. [Google] [More]  ⦿

Developer information: font

Archive of pre-1996 fonts and font software. Has refont, Orienteering Control Description TrueType Font, three signature making pieces of software, Supersigno (software for creating Esperanto fonts), and Inuit1.00. [Google] [More]  ⦿

Dick Pape
[Dick Pape: ornamental typefaces]

[More]  ⦿

Dick Pape
[Dick Pape: Mayan Signs]

[More]  ⦿

Dick Pape
[Dick Pape: Tribal Tattoo]

[More]  ⦿

Dick Pape: Mayan Signs
[Dick Pape]

Dick Pape created the following Indian ornamental topefaces: MayanAffixesA, MayanAffixesB, MayanMainSignsA, MayanMainSignsB, MayanProfiles (2006). All these Mayan symbol faces are based on The Mayan Epigraphic Database Project (MED). Furthermore, he created NativeDesigns-MexicoPeru (1, 2 and 3, done in 2009, and credited to Maarten Hesselt van Dinter), NativeDesignsfromIndia.

Download page. [Google] [More]  ⦿

Dick Pape: ornamental typefaces
[Dick Pape]

Ornamental typefaces made in 2008-2010 by Dick Pape: 2 Cute 4 U (+Block), Abstract Alphabet (2009), Aged Ornaments (2009), Ancient Mortises (2008), Angel Alpha (2009), Angelica Alpha (2009), Ani-Red Jello Alpha (2009), Antique Alphabet (2009), Arabesque Design (2009), Art Deco Dingbat Images (2010), Art Deco Frames (2010), AlphabetArt, AndrewHolmesArtA, AndrewHolmesArtB, AndrewHolmesArtC, AndrewHolmesArtD, AndrewHolmesArtE, AndrewHolmesArtF, Angel Alpha, Angelica Alpha, Ani Red Jello Alpha (2009), AvonInitials, BritishAirwaysNumbers, CaFaitDur, CelticDesignDark, CelticDesigns-Light, Continnental, EckenFlowerBorders, GermanGothicManuscript, KafkaFlourishes, LaxtonCommonRevival, NiceOldAlphabet, Portent, RomanoAlphabet, Weissranken-Initialen, Babylon Initials (2009), Bird Drawings Alphabet (2008), Black Buttons (2010, +Bold), Bold Cameo (2009), Bubble Gum (2010, +Condensed, +Extended), Bultaco (2010, after the motorcycle brand), Cardio Black and White (2010, ECG-inspired), Charcoal family (2010, crayon faces), Checkerboard (2010), Chinese Flowers (2008), Chiswick Press (2007), Chocolate Type (2011), ChrisGreen (2010), Calligraphia Latina (2010), Dough (2011), Electronic Alphabet (2011), Elo (2010), EstupidoEspezial1, EstupidoEspezial2 (2010, based on the Hoefler Swash variant of OCR_A), TokoFont, Clip People (2010), Clothes Pin Font, Compass Rose (2008), Coptic Letters (2010), Cubes, Cups, Cute Lolo Animals, Dark Herald (2011, Celtic caps), Dave's Glyphs, Design Images, Digital Auto Sampler, Drinking Scenes, Drinking Utensils, DunHuang Art, Eating Signs, EcoLeaf, Eduardo Recife, Eggs And Milk, Eroding Alphabet Italic (2010), Extra Initials, Extra Ornaments, Fantasy Butterflies, Fantasy Dragon FX, Fantasy Monster Skulls, Far Away Places Images, Festival Books Borders, Festival Books Initials, Festival Books Ornaments, Fire Letters, Fire Letters Cameo, Fire Letters Monospaced, Fire Letters Monospaced, Floral Initials, Florentine Initials, Florentine Initials Reverse, Flower Panels, Flower Panels Outline, Flower Vines, Fresh Fish, Funky (2010), Funny Numbers, Furore Mexican (2011), Futorisugi Face, Garden Nouveau Initials, Gill Canterbury Capitals (2011), Give me a break, Gothic Metal Initials, Goudy Initials, Graph Glyphs (2010), Halbfette Egyptienne (2008), Hat Dance Alpha, Haunted Initials (2010), Hellenic Sketch (2010), Hollandisch-Gothic (2008), Holly Alpha, Hula Ribbon, Hula Ribbon 2, Hula Ribbon1, Humanistic Alphabet 106 Italic (2011), Humanistic Alphabet 108 (2011, uncial), India Designs, Irina Batkova HRG (2010, based on Giger's paintings), Japanese Design Parts, Japanese Design Templates A, Japanese Design Templates B, Jugendstil A, Jugendstil B, Kelt Ornaments 1, Kelt Ornaments 2, Kleft Bold (2011, dot matrix face), Lichte Jonisch, Madeleine Shaded (2010), Mayan Affixes A, Mayan Affixes B, Mayan Main Signs A, Mayan Main Signs B, Mayan Profiles, Mc Call's Magazine, Metal Branches (2010), Mimbres Pottery, Moderne-Zelda (2010, after a Dan X. Solo alphabet), Moderne-Zelda Black, More Drinkings Scenes, Mostly Fish, Moto Bykes, Mythological&Fantastic I, Mythological&Fantastic II, Mythological&Fantastic III, Mythological&Fantastic IV, Mythological&Fantastic V, Mythological&Fantastic VI, Mythological&Fantastic VII, Native Designs-Mexico&Peru 1, Native Designs-Mexico&Peru 2, Native Designs-Mexico&Peru 3, New Music, Objects of Nature, Old English Images, Ondawall Versal (2011, Celtic), Panels&Frames, Parapam (2010), Pinto Inline (2010, +Speckled), Random Doodles, RangeMurata, Rankin-Initialen, Really Black Alphabet (2010), Robu Bold (2010), Rons Old Patterns, Rons Old Patterns Bare, Rosart Initials, Rustic Alphabet, Sacon Inititals, Saks (2010, bilined), Schmale Jonisch, Sea Shells of Nature, Shuttershock Vector Demo, Simple Alphabet, Simple China Images, Simple Doodles, Snails&Slugs, Softsquare, Some Guitars, Soviet Founders, Soviet Life Posters I, Soviet Life Posters II, Soviet Life Posters III, Soviet Life Posters IV, Soviet Propaganda Posters, Splish-Splash (2009), Strange Black Blobs, Tauba Auerbach, The Goetia, Tribal Dividers, Tribal Flames, ViaFaceDon Black, ViaFaceDon Black Hats, ViaFaceDon Outline, ViaFaceDon Speckled, Victorine (2010, Tuscan typeface), Viking Design A, Viking Design B, White Buttons Bold (2010), Wood Type Cheltenham Bold (2010), ZEart Designs, Zelek, Zelek Black, Zelek Boldline, Zelek Shadline.

  • From 2012: French Onion.

    Download here. [Google] [More]  ⦿

  • Dick Pape: Tribal Tattoo
    [Dick Pape]

    Indian symbology fonts made in 2010 by Dick Pape called TribalTattoo-NorthAmerica and TribalTattoo-SouthAmerica.

    Download here. [Google] [More]  ⦿

    Diego Mier y Terán

    Diego holds a Masters from the KABK in Den Haag, 2004. His thesis project was entitled Tuhun. A typographic exploration of the Mixtec language. He made the stencil typeface Nairobi Quality, the text typeface Tuhun (2006), the text typeface Viko (2004), and a font for the Mixtec language of Oaxaca, Mexico. Currently living in Mexico and working with his wife, Kythzia Barrera, in their studio called Frutas y Verduras. He teaches at the Universidad Iberoamericana, in Mexico City. Mainly interested in typography, graphic design and organic agriculture. Speaker at ATypI 2009 in Mexico City, where he explained the challenges posed by native languages in Mexico. [Google] [More]  ⦿

    Dixie Bogusky

    Miami, FL-based designer of the dingbat fonts Papillon (2006, butterflies) and Esquimaux Graphics (2006). Bill and Dixie Bogusky together run Bogusky 2. [Google] [MyFonts] [More]  ⦿

    Doug Ritch

    Designer of the Inuktitut font called Ukiuq. [Google] [More]  ⦿

    EBI Guatemala

    Free Mayan dingbat fonts from 1995: Ab'ajA, TunA, WuujA. Plus the phonetic font OKMAFonetica (1996) and the old language font Maya (1994). [Google] [More]  ⦿

    Ecological Linguistics
    [Lloyd Anderson]

    Located at P.O. Box 15156, Washington, D.C., 20003, this outfit published Arab language fonts, as well as fonts for Sinhalese, Tamil, Bengali, Gujarati, Hindi, Kannada, Malayalam, Punjabi, Telugu, and Tibetan. In addition, it had Kharoshti, Brahmi and Harappan symbols, and sold typefaces for many "complex alphabets". Free truetype fonts with plenty of Maya icons, made in 1997 by "Ecological Linguistics": Abaj, AbajBold, DaysBF, DaysCodBold, DaysCodBoldItalic, DaysCodItalic, DaysCod, TunBold, Tun, Wuuj, WuujBold, WuujBoldItalic, WuujItalic. See also here.

    The Times-Roman-like font AlaBas (1998) is also due to Ecological Linguistics. [Google] [More]  ⦿

    Eiko Emori

    Designer of the Inuktitut fonts Emi Inuktitut Regular and Medium (1995). They can be downloaded here. [Google] [More]  ⦿

    Elite Latina

    Free fonts at this Guatemalan site include Ab'ajA (1995, Mayan dingbats), TunA (1995, same as previous one), WuujA (1995, more Mayan dingbats), Maya (1994, Mayan numerals), OKMAFonetica (1996, phonetic font). See also here. [Google] [More]  ⦿

    Eric Drapier

    Creator of the free pixelish square dingbat font Maya Calendric (2013). Eric writes that he was inspired by "An Outline Dictionary of Maya Glyphs: With a Concordance and Analysis of Their Relationships" (William Gates, 1931), and by the work of Ivan Van Laningham. [Google] [More]  ⦿

    Eric Wannin
    [Quartet Systems]

    [More]  ⦿

    Etienne Aubert Bonn

    Etienne is a graduate of the graphic and type design program at UQAM in Montreal. Cofounder in 2011 of Coppers & Brasses in Montreal, together with Alexandre Saumier Demers. In 2012, he designed the signage typeface Sardine and the blackletter typeface Freitt. Together with Alexandre, he created Martha (a monospaced slabby grotesque), still in 2012. At The Cooper Union, he created Barapa (2012).

    In 2013, Etienne graduated from the Type & Media program at KABK in Den Haag. His graduation typeface is called Nurraq. He explains this Latin/ Inuktitut typeface: Nurraq is a multi-script typeface system that matches a Latin serif text typeface with a Canadian aboriginal syllabics character set for the Inuktitut language. The very different nature and origin of these two scripts creates an interesting context for both typefaces to share influences coming from each other's tradition, and, by doing so, bridging the gap that usually separates these two forms of writing. [Google] [More]  ⦿

    Eva Kamieniak

    Eva Kamieniak Cassetta was a graphic and web designer in Richmond, VA, where she studies at Virginia Commonwealth University. She now lives in Pearl River, NY.

    Her typefaces include Acoma (2010), which has a native American Indian look---it is based on the motifs and style of the Acoma Pueblo's traditional pottery. The type was applied as an identity system for the National Museum of the American Indian. She also made Lean (2010), a typeface made to illustrate a book on a fight between a whale and a squid.

    Behance link. [Google] [More]  ⦿

    EversonMono for MacOs

    Free Mac fonts in the EversonMono series for CSX, Celtic, Croatian, Cyrillic, Esperanto, Gaelic, Georgian, Greek, Icelandic, Inuktitut, Ogham, Romanian, Sami, and Turkish. [Google] [More]  ⦿

    Evertype (was: Everson Typography)
    [Michael Everson]

    Michael Everson's (b. Norristown, PA, 1963) brilliant pages on Celtic and other languages and on font standards, featuring the following sub-pages:

    • CeltScript describes Michael's contributions to unicode in general and to Celtic typography in particular. He created (commercial) Celtic fonts such as Gaillimh (1989, bitmap font), Ceanannas (1993), Doire (1993, a monowidth font based on the typeface used on the old Royal Gaelic manual typewriter. Doire Royal (1999) is a rough version of this font), Duibhlinn (1993, after Monotype Series 24), Everson Mono Gaelic (1995, hybrid sans), Acaill (1997, based on the Watts type, an early 19th century transitional angular form of Gaelic type; it was renamed and further developed into a unicode-compliant typeface called Dumha Goirt in 2011), Corcaigh (1997), Teamhair (1993, a monowidth font based on the typeface used on the old Sears Tower Gaelic manual typewriter; the rough version is Teamhair Tower, 1999), Darmhagh Underwood (1993, a "rough" monowidth font based on the typeface used on the old Underwood manual typewriter), and Loch Garman (1999, after Baoithin, Colm Ó Lochlainn). He is working on Cluain (Gaelic modern grotesque), Cois Life (his take on the hybrid Queen Elizabeth type), Darmhagh (Underwood), Doolish (Gaelic modern round, after Biggs), Lóbháin (after Louvain), Páras (after the Paris type).
    • Everson Mono is a huge free monospaced font family started in 1994, but still being adjusted in 2010. As Michael puts it, Everson Mono is a simple, elegant, monowidth font. I designed it primarily to make glyphs available in support of all the non-Han characters in the Basic Multilingual Plane of ISO/IEC 10646-1 (BMP = Unicode, if you prefer), though I hope that users may find it a pleasant alternative to Courier and Monaco for general purposes, e-mail, and so forth. I have found it quite legible at sizes as small as 4 points. It is lighter and a bit looser than Courier.
    • Ogham fonts created by Michael Everson (and free for download): Beith-Luis-Nion, Pollach, Maigh Nuad, Craobh Ruadh, Everson Mono Ogham, Cog, Crosta. Mac and PC. This page also has TITUS Ogham by Jost Gippert, and Ragnarok Ogham by David F. Nalle from Scriptorium.
    • Inuktitut fonts designed by Everson include Allatuq (1998, hand-printed glyphs), Everson Mono Inuktitut, Jiniiva Maanaku, Naamajuttaaqqauq, Sikaagu.
    • The Sutton signwriting fingerspelling fonts created by Everson are free.
    • List of language lists.
    • Fonts for the Sami language of the Barents region.
    • Gaelic Typefaces: History and Classification.
    • Armenian encoding on the web.

    Elsewhere, one can find rare Everson creations such as Musgrave (1994). MyFonts.com sells Corcaigh, Doire, Darmhagh and Loch Garman. About Loch Garman: Loch Garman is based on Baoithmn, designed by Viktor Hammer and Colm Ó Lochlainn; Baoithmn was based on Hammerschrift, which was related to Hammer's American Uncial -- though Loch Garman is more authentic Gaelic font than American Uncial. He continues: American Uncial sucks. It is inauthentic and it's not even attractive. It has a "dot" on the i (which it shouldn't) which makes it look like an í (which it doubly shouldn't). Hammer Uncial isn't much better. In my own view, the only one of Hammer's Uncials that I have seen that was any good was Pindar, and then only in its reworking as Baoithín (with Colm ÓÓ Lochlainn).

    His bio, in his own words: Michael Everson, based in Westport, Co. Mayo, is an expert in the writing systems of the world. He is active in supporting minority-language communities, especially in the fields of character standardization and internationalization. He is one of the co-authors of the Unicode Standard, and is a Contributing Editor and Irish National Representative to ISO/IEC JTC1/SC2/WG2, the committee responsible for the development and maintenance of the Universal Character Set. He is a linguist, typesetter, and font designer who has contributed to the encoding in of many scripts and characters. In 2005 and 2006 his work to encode the Balinese and N'Ko scripts was supported by UNESCO's Initiative B@bel programme. Michael received the Unicode "Bulldog" Award in 2000 for his technical contributions to the development and promotion of the Unicode Standard. Active in the area of practical implementations, Michael has created locale and language information for many languages, from support for Irish and the other Celtic langauges to the minority languages of Finland. In 2003 he was commissioned by the United Nations Development Programme to prepare a report on the computer locale requirements for Afghanistan, which was endorsed by the Ministry of Communications of the Afghan Transitional Islamic Administration. He prepared a number of fonts and keyboard layouts for Mac OS X 10.3 (Panther). Michael moved to Tucson, Arizona at the age of 12. He studied German, Spanish, and French for his B.A. at the University of Arizona (1985), and the History of Religions and Indo-European Linguistics for his M.A. at the University of California, Los Angeles (1988). He moved to Ireland in 1989, and was a Fulbright Scholar in the Faculty of Celtic Studies, University College Dublin (1991). In 2010, he made Timenhor, a Latin-script font whose glyphs are based on the uncial letterforms of Coptic manuscripts. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.

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

    Felipe Ibañez

    Felipe (b. 1984) graduated from Universidad Tecnológica Metropolitana de Santiago de Chile in 2007. For the type design course there, he created Tabon. Tabon is a squarish and almost labyrinthine typeface that was inspired by the textile patterns in the Mapuche culture. Home page. [Google] [More]  ⦿

    Fonts by WindWalker64
    [Angela Lane]

    Angela Lane from Dallas, Iowa, sells some of her own creations at about 5USD a font at her outfit, Windwalker64. Other fonts are freeware or shareware, but all fonts are nice! Dingbats include WWNativeDream, WWNativeSpirit, WWFeathers, WWAnimalPrints, WWBearySpecial, WWFurryFriends, WWKuteKats, WWSafari, WWDesigns, WWFloralCorner, WWFloralGreetings, WWFreebie, WWBorderBat, WWBullets, WWDaffyDelight, WWBeauty, WWFloralTime, WWFancyHats, WWDelightful, WWGingerbread, WWButtonTime, WWFairyFantasy, WWFlakes, WWAweNuts, WWYoureOut, WWYoureOutToo, WWShields, WWShieldsA, WWElegance, WWFantasy, WWHeavenSent, WWMustang, WWRosebud, WWRoseyDreams, WWSafari, WWVampireDingbats, WWWolfSpirit, WWSpringTime.

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

    Forgotten Scripts by Dino Manzella

    Dino Manzella's draft on a book entitled Forgotten Scripts: a Book of Runes. Fantastic pages in all respects! Many fonts can be downloaded. Includes Academiury-ITV (Georgian, by Alexander&Temuri Imnaishvili), Rashi, Alex and ChayaBold (by Aaron Schmiedel), Angelic and Enochian (by Digital Type Foundry), several rune fonts by Dan Smith, Beth-Luis-Fearn and Beth-Luis-Nion (by Curtis Clark), Cherokee (by Joseph LoCicero), Moonrune (Morton Bek, 1995), Eshmoon (by Salim G. Khalaf, Family Health International), Glagoljica UGL and Glagoljica OBL (old Croatian; by Zox), RK Meroitic, RK Sanskrit, RK Ugaritic, Mendel Siddur, Nug-Soth (by Daniel U. Thibault), Tzipporah and RuthFancy (by AFS Ltd), and RNIB Braille. [Google] [More]  ⦿

    Francis Beltran

    Talcahuano, Chile-based designer of the native symbolism font Mapuche (2013). [Google] [More]  ⦿

    FREELANG Fuentes

    Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More]  ⦿

    Gary Munch
    [MunchFonts]

    [MyFonts] [More]  ⦿

    Georg Popp

    Munich-based designer of Sindbad, a dingbat font of ornaments found in Oman. He also designed the dingbat font Linotype Circles (2002), Linotype Squares (2002), Linotype Triangles (2002), and Linotype American Indian (2002).

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

    Germain Felzinger

    Designer in Strasbourg, France, who created the minimalist geometric typeface Imagin (2012). Indiana (2013) is a thin decorative typeface with native Indian symbolisms. [Google] [More]  ⦿

    Gina Aguilera
    [JMRBooks Fonts]

    [More]  ⦿

    GNU Freefont (or: Free UCS Outline Fonts)
    [Steve White]

    The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

    • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
      • Basic Latin (U+0041-U+007A)
      • Latin-1 Supplement (U+00C0-U+00FF)
      • Latin Extended-A (U+0100-U+017F)
      • Spacing Modifier Letters (U+02B0-U+02FF)
      • Mathematical Operators (U+2200-U+22FF)
      • Block Elements (U+2580-U+259F)
      • Dingbats (U+2700-U+27BF)
    • Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.
      • Latin Extended-B (U+0180-U+024F)
      • IPA Extensions (U+0250-U+02AF)
      • Greek (U+0370-U+03FF)
      • Armenian (U+0530-U+058F)
      • Hebrew (U+0590-U+05FF)
      • Arabic (U+0600-U+06FF)
      • Currency Symbols (U+20A0-U+20CF)
      • Arabic Presentation Forms-A (U+FB50-U+FDFF)
      • Arabic Presentation Forms-B (U+FE70-U+FEFF)
    • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
    • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
    • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
    • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
    • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
    • Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).
    • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
    • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
    • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
    • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
    • Harsh Kumar has started BharatBhasha for these ranges:
      • Devanagari (U+0900-U+097F)
      • Bengali (U+0980-U+09FF)
      • Gurmukhi (U+0A00-U+0A7F)
      • Gujarati (U+0A80-U+0AFF)
    • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
    • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
    • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
    • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
    • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
    • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
    • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
    • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
    • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
    • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
      • Devanagari (U+0900-U+097F)
      • Bengali (U+0980-U+09FF)
      • Gurmukhi (U+0A00-U+0A7F)
      • Gujarati (U+0A80-U+0AFF)
      • Oriya (U+0B00-U+0B7F)
      • Tamil (U+0B80-U+0BFF)
      • Telugu (U+0C00-U+0C7F)
      • Kannada (U+0C80-U+0CFF)
      • Malayalam (U+0D00-U+0D7F)
      Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
    • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
    • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
    • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
    • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
    • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
    • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
    • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, lead by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. janabhaaratii is localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
    • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
      • Devanagari (U+0900-U+097F)
      • Gujarati (U+0A80-U+0AFF)
      • Oriya (U+0B00-U+0B7F)
      • Malayalam (U+0D00-U+0D7F)
      • Tamil (U+0B80-U+0BFF)
      In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.
    • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
    • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
    • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
      • Armenian (serif) (U+0530-U+058F)
      • Cherokee (U+13A0-U+13FF)
      • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
      • UCAS Extended (U+18B0-U+18F5)
      • Kayah Li (U+A900-U+A92F)
      • Tifinagh (U+2D30-U+2D7F)
      • Vai (U+A500-U+A62B)
      • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
      • Osmanya (U+10480-U+104a7)
    • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
      • Aegean: Phoenecian (U+10900-U+1091F).
      • Analecta: Gothic (U+10330-U+1034F)
      • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
      • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
    • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
    • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
    • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
      • Hanunóo (U+1720-U+173F)
      • Buginese (U+1A00-U+1A1F)
      • Tai Le (U+1950-U+197F)
      • Ugaritic (U+10380-U+1039F)
      • Old Persian (U+103A0-U+103DF)
    • Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:
      • Latin Extended-B (U+0180-U+024F)
      • IPA Extensions (U+0250-U+02AF)
      • Arrows (U+2190-U+21FF)
      • Box Drawing (U+2500-U+257F)
      • Block Elements (U+2580-U+259F)
      • Geometrical Shapes (U+25A0-U+25FF)
    • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
    • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
    • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

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

    Government of Nunavut

    The Government of Nunavut's web site has these free Inuktitut fonts: EmiInuktitutMedMedium, EmiInuktitutRegular, Naamajut (2000), Nunacom, NunacomU, Pigiarniq-Bold, PigiarniqHeavy, Pigiarniq-Italic, PigiarniqLight, Pigiarniq, ProSyl, ProSylBold, TunngavikBold, Tunngavik. [Google] [More]  ⦿

    GSC ArcInfo Symbolsets

    From the Government of Canada: "The suite of GSC ArcInfo Symbolsets consists of line, marker (point), shade (area) and text symbols appearing on geological maps produced by the Cartographics Services Section since 1995." The following truetype fonts are included: GSC1, GSC10, GSC2, GSC3, GSC4, GSC5, GSC6, GSC7, GSC8, GSC9, Inuktitut-Sri-Regular, Nunacom, OldSyl. The last two fonts are Inultitut fonts by Krista Thompson, Nortext Multimedia (1997-1998). [Google] [More]  ⦿

    Guincho, 1421
    [António Martins]

    Free original TrueType fonts: Ugarit, Cherokee Arial, ISO 3166-2, Sulawesi (Buginese), and Vexillogical Symbols. By Portugal's António Martins. [Google] [More]  ⦿

    Guisela Mendoza Puentes

    Chilean type designer, aka Coto Mendoza. She created the cooking dingbat face Dans Le (sic) Cuisine (2011, Latinotype). She also made Printa (2011, inspired by Mandala symbols).

    Dans le cuisine won an award at Tipos Latinos 2012.

    Abel (2012, Latinotype) is a dingbat typeface that reinterprets the artistic expression of the Mapuche people in Chile, rescuing the handmade stroke they embodied to textiles and pottery, this time in a fresh way to use contemporary patterns. It has contemporary "mapuche" patterns.

    Ride My Bike (2012, Latinotype) is a hand-printed headline typeface family that comes with a Dingbat style.

    The hand-printed Bon Appetit family (2012, +Dingbats) would be perfect to illustrate a breakfast with Agatha Christie in a remote British village.

    In December 2012, she published the Christmas dingbat font Dans Le Noël.

    Typefaces from 2013: In a Jar (hand-lettering, Latinotype), Four Seasons (handwritten, with Luciano Vergara), Dans Le Toilette (sic), Love Story (with Luciano Vergara, Latinotype: a hairline upright Valentine's Day script), Love Story Dingbats.

    Typefaces from 2014: Macarons, DIY Time (hand-printed, with Luciano Vergara at Latinotype), Ride My Bike Serif.

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

    Gumpita Rahayu
    [Absolut Foundry]

    [MyFonts] [More]  ⦿

    Gustavo Alayza

    Based in Arequipa, Peru, art director Gus Alayza created Runasimi, or Real Quechua, in 2013. It is based on the Quechua (Inca) language. [Google] [More]  ⦿

    GWER
    [Rutger Paulisse]

    Eindhoven, The Netherlands-based type and graphic designer who runs GWER. Creator of the gothic typeface At Discipline (2008) and the native American totem pole look typeface Wakito (2010). Image. [Google] [More]  ⦿

    Halq'emiylem Font Downloads
    [Brian Thom]

    Four free truetype fonts for Halq'emiylem, a Salishan language spoken by First Nations people living in the Fraser Valley (Canada). Designed by Brian Thom. HalqemeylemSans is based on Martin Majoor's ScalaSans, and HalqemeylemSerif on his Scala. [Google] [More]  ⦿

    Hanoded
    [David Kerkhoff]

    Hanoded is the foundry (est. 2010) of Dutch designer and photographer David Kerkhoff, b. Epe, 1969. In its first year, Hanoded was a free font outfit specializing in handwriting and hand-printed faces. Its creations could be seen at Dafont, Abstract Fonts and Fontspace. Klingspor link.

    In 2011, he went partially commercial via MyFonts. His typefaces became more diversified and are quite stunning at times:

    • A: Abysmal Gaze (2011. scratchy face), Aderyn (2012: a poster family), Aint Nothing Fancy (2010). All Over Again (2010), All Over Again All Caps (2010), Allez Hop (2011), Americain (2012, constructivist), Amoebica (2014), Andorra Script (2014), Antisocial Behavior (2010), Artful Dodger (2012, a grungy Clarendon), AshesToAshes (2010), Ashtanga (2013, curly caps), Au Revoir (2012).
    • B: BadPaintjob (2010), Balagan (2010), Bandolina (2014), Baznat (2010), BehindDirtyBlinds (2010), DK Bergelmir (2014), Black Bamboo (2014), Black Mark (2012, a heavy brush face), Bloemgracht (2014, Dutch deco), Bottle Shop Faded (2010), Brooklyner (2013: an art deco caps typeface based on the typeface used for The Brooklynite, a magazine from the 1920's), Bullet in your Head (2010). Business As Usual (2011, scratchy).
    • C: Canned Whale (2012, outlined and hand-printed), Carambola (art deco sans), Carbonara (2011, grungy typewriter), Carte Blanche (2012, a gorgeous arched / sketched caps face), Castanea (2012, a painter's font), Celluloid Bliss (2010), Charons Obol (2011, scary brush face), Cheat Sheet (2013, handwritten), Chunky Chicken (2013), DK Clair de Lune (2012, an exquisite curly poster font), Codswallop (2011, fat hand-printed), DK Coliseu (2014, art deco), DK Cool Crayon, Corner Shop Chique (2010), Couldnt be bothered (2010), Courant (2011, grungy blackletter), Crayon Crumble (2011, chalk face), DK Crayonista (2012), Criss Cross (2011), Cubissimo (2013, a cubist geometric font inspired by a 1929 poster advertising a museum exhibition), Cul de Sac (2010, 3d outline face, hand-printed and sketched).
    • D: Deco Pimp (2011), Die Bruecke (2013, a woodblock printing emulation typeface named after the Die Brücke movement), DK Allez Hop (2011). Don Quixote (2011. nice grunge calligraphic hand), Douceur (2014, a blackboard bold / tattoo script), Drawing Blood (2010), Dreadnought (2014, brush face).
    • E: Early Morning Coffee (2012), Ersatz Quality (2010).
    • F: Face Your Fears (2011), FairNSquare (2010), Fallout Font (2010), Fantastique (2012, a 3d hand-printed caps face), Fat Little Piggy (2010), Father Frost (2012), Fiebiger Eins (2013, an art nouveau / arts & crafts typeface after a 1908 poster by Franz Fiebiger), Fiebiger Zwei (2013), Fledermaus (2012: Fledermaus ("bat") was a cabaret theater from Vienna. The original Jugendstil decor was designed by Josef Hoffman and several posters, advertising performances, were designed by other members of the Vienna Workshop. The Fledermaus font was based on a 1907 poster by Bertold Löffler.; the missing glyphs were created by Kerkhoff), DK Formosa (2012).
    • G: Galangal (a phenomenal poster typeface that plays on thick and thin, in the style of Horst Caps), Gerards Gold (2010, script face), GerardsGold (2010). Ghost Reverie (2010, a scratchy family), Grafiker (2013, a brush typeface loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), Gulag Decay (2010).
    • H: Hanoded Hand (2010), Hanoded-Heavy (2010), Harimau (2012, a rounded children's book font), Harrumph (2011, a fat poster lettering family), Hasty Tasty (2011), HaraldRunicDEMO (2010), Heckel (2013, a German expressionist hand-drawn typeface based on the handwriting of Erich Heckel (1883-1970), a founding member of Die Brücke, a group of German expressionist), Hedgehog Hans (2012, comic book typeface), Hex (2012), Hieratic Numerals (2010), High Tea (2012), DK Himmelblau (2012, art nouveau font based on a poster from 1902 made by the Künstlerbund Hagen), Hofstad (2014, after an art deco typeface used by poster designer John Lavies), Hokitika (2014, art deco), Huggin and Muninn (2012, script face), Hummus Chips Salat (2010).
    • I: Inky Fingers (2013, a fat finger font), Interstellar Erosion (2010), Ishtar (2012: spooky brush font).
    • J: Jambo (2014, bouncy and funky), Joe Schmoe (2011, hand-printed), Jubileum (2013), Just Before Liposuction (2010).
    • K: Kaikoura (2014, art deco), Kempoka (2014, brush script), Kerberos Fang (2011), Keswick (2013, a lipstick font created using a 6B pencil), Fat Kitty Kat (2013), DK Koerier (2014, a 3d outlined typeface), Kokomo (2012, 3d and outlined), Kolkata Hotelroom (2010), Komsomol (2014: was modeled on several Soviet propaganda posters and anmed after the youth division of the Communist Party of the Soviet Union, the Komsomol, or Kommunisticheskii Soyuz Molodyozhi), Koshatnik (2011, all caps brush face), Kubikajiri (2011, an India ink brush face), DK Kundalini (2013, curly), Kunstschau (2012: a beautiful poster font that was modeled on a stamp, designed by Austrian artist Bertold Löffler, for the Kunstschau 1908 exhibition in Vienna), Kurkuma (2013, a wonderful poster caps face), Kusukusu (2011, hand-printed), Kwark (2013: a 3d poster font).
    • L: Lampion (2012, a condensed unicase hand-drawn face), Leakage (2010, ink splash face), DK Limoen (2012, shadow outline face), Lokomotiv (2012, an art deco caps typeface based on poster for the 1930 Geneva Motor Show), DK Louise (2012, art deco, cubist: based on the art of Louise Marie (lou) Loeber, a Dutch painter).
    • M: Maduki (2013), Majolica (2014, art deco), DK Mama Bear (2012), Mandolin (2014), Mary Ate a Little Lamb (2010), Mayonaise (2011), Meshuggeneh (2013---crazy fool on Yiddish; a twisted 3d typeface), Midnight Hour (2011), Moi Non Plus (2011), DK Monsieur Le Chat (2012, curly face---can't wait for Madame La Chatte...), Moonlight Shadow (2010, a nice scribbly pair of fonts), Mosca (2013), Mothman (2011, a spooky scratchy face).
    • N: Nakata (2012, a great notebook style script), Nanuk (2013, an outlined 3d typeface), Neues Bauen (2011). Nightbird (2011, blood drip face), Northumbria (2012: modeled on original 7th and 8th century monastic gospel books from Northern England), DK Nutnik (2012, a mural paint font), Nyctophobia (2010, brush face).
    • O: Obrigado (2012, rounded art deco face), Oei (2010), Oomph (2010), Okiku (2014, a scratchy poster typeface), Oranjerie (2013, poster typeface), Otago (2014: a classic all caps art deco typeface), DK Oyuki's Ghost (2013, scratchy scary typeface made with a steel pen and Chinese Ink---the name comes from a painting by Maruyama Okyo (1733-1795), which depicts his mistress who died young. Maruyama Okyo claimed she haunted him in his sleep).
    • P: Pandanus (2014), Pardesi (2013, a fat marker pen font), Paviljoen (2014: Dutch art deco), Pawn Shop Pretty (2010), Petit Oiseau (2013), Pimpernel (2012), Pinda (2011), P.I. (2011, grungy typewriter), Pingo (2012, display face), Pinkus (2013, a caps-only poster font), Pisang (2013, an all caps poster font), Plakkaat (2011), Porcupine Pickle (2011), ProjectX (2010), ProjectY (2010), ProjectZ (2010), Promedanenmischung (2010), Psycho Killer (2013), Pumpkin Soup (2013: a poster typeface), Pundak (2014, all caps 3d outlined typeface), DK Pusekatt (2013).
    • Q: DK Qilin (2014: a great inky font), Quatrain (a hand-drawn didone), Quid Pro Quo (2011, scratchy calligraphic), Quilted Butterfly (2010), QuoVadisQuasimodo (2010).
    • R: Rabbit on the Moon (2011, children's typeface), Rainforest (2010). Rat Infested Mailbox (2010), Retch (2013, frightening scratchy script), Rotorua (2014, art deco), Rum Doodle (2013), Rumpelstiltskin (2011, comic book family), Runic Series [Gunfjaun Runic (2010), Modraniht Runic (2010), Leakage (2010), Hyrrokkin Runic (2010), Harald Runic (2010). Gunnar Runic (2010), Nidhogg Runic (2010), Skraeling Runic (2010), Sleipnir Runic (2010), Tjelvar Runic (2010), Yggdrasil Runic (2010), Graip Runic (2010), Fenrir Runic (2010), Beowulf Runic (2010)], Rusty Cage (2011).
    • S: Same Same but Different (2010), DK Samhain (2012, brush face), Sammy Boy (2011, fat poster face), Satsuma (2013, a poster face), Saturday Sunday Monday (2010), Scurvy Dog (2011, scratchy hand), Secret Diary (2013: hand-printed), Sheepman (2012), Shesek (2011, a fat finger face), Single Malta (2010), Sirius B (2013, poster font), Sketchy Smiley (2010, smilies), Sketchy Smiley II (2012), Skratch (2010, broken glass face), Sleepy Time (2013, hand-printed), Sleight of Hand (2010), Slipstream Sweetheart (2010), Snemand (2013, a poster titling typeface), Sobriquet (2012: a wonderful antique poster face), Souplesse (2013), Spiderlegs (2011. Images: i, ii), SquareOne (2010), SquareOneGrunge (2010), Squint (2013, squarish), Statendam (2014, caps only Dutch art deco influenced by interbellum ads for the Holland America Line), Suco de Laranja (2012), SundayMonday (2010), Sweet Steeffie (2010). Syphon Spritz (2010, a great curly script; a Pro version appeared in 2010 at CheapProFonts).
    • T: That Little Piggy (2010), Technojunk (2014, 3d squarish hand-drawn typeface), Thievery (2012, curly script), This Little Piggy (2010), Tobu (2014), Trashtype (2011, grungy), Tripping on Acid (2010), Trollslayer (2011, brush face), Twelve Weeks Pregnant (2010), Tzeva Tari (2010, grunge Hebrew).
    • U: Ugh (2010).
    • V: Ventana (2013, created using Chinese ink and a bamboo pen), Vermilion (2013, hand-printed poster face), DK Viareggio (2012, an art deco font Viareggio is based on the handlettering found on a 1931 poster, advertising the carnival of Viareggio), Vienna Workshop (2012, an art nouveau typeface based on some of the artwork produced by Vienna Workshop artists, in particular that of Koloman Moser), Visum (2014), Vox Populi (2012, medieval).
    • W: Warpspeed (2010), Wayang (2013, influenced by Indonesian puppets), Weekend Warrior (2010), Welt Schmerz (2012, a post-art nouveau typeface based on a 1910 poster from Austria), WetDream (2010), Whatnot (2013), Whynot (2014), WindshieldMassacre, With A Twist (2011).
    • Y: Yellow Balloon (2013, a fat poster face), Yuli (2014).
    • Z: Zeebonk (2013, a tattoo font), Zonnig (2011).
    [Google] [MyFonts] [More]  ⦿

    Hanry Abreu

    During his graphic design studies in Rio de Janeiro, Hanry Abreu designed the ethnic typeface Guarany Serif (2014), and the informal custom typeface Lorenzo Sans (2014). [Google] [More]  ⦿

    Henry Warwick

    New Jersey native who lives in San Francisco. He states: "Over the years I've had the good fortune to be very involved with photolettering and type design. In the 1980's I set headlines, letter by letter by letter, on a VGC Typositor at Phil's Photolettering in Washington DC. The desktop computer quickly destroyed that entire industry, and that is how I became involved with computer graphics. In the early 1990s, I designed type for FontBank, and consulted for several other type companies, including Microsoft and Galoob Toys. It's nearly impossible to make a living in type design these days, as the industry was basically done in by a combination of legal precedents and rampant piracy. Having worked on "conventional" / Wester / Roman fonts for so long, I've acquired a preference for unusual or obscure fonts or alphabets. I am always available for type design work or consulting." His designs (not downloadable) include Coptic Chelt, Fruthrak Sans, Ojibway Futurae, Cyrillic-Helv-Flash-8pt, KTR-katakana10, Celestia, Daggers, Enochian Times and Nugsoth. [Google] [More]  ⦿

    Hermann Zapf

    The prolific master designer (born in Nuremberg, 1918, lives in Darmstadt), who made many Antiqua faces and Grotesk faces at URW++ (such as URW Grotesk) and is best known for Palatino, Optima, Melior, Zapf Dingbats, and ITC Zapf Chancery. From 1990 dates URW Palladio Regular. And look at the gorgeous calligraphic font Zapfino (Linotype, 1999, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. Linotype write-up. Zapf lives in Darmstadt, Germany. Pictures of his 80th birthday party at Linotype. Winner of the Gutenberg Prize in 1974.

    Author of Manuale Typographicum (1954), of which only 1000 copies were printed. Author of Typografische Variationen (1963, Stempel), of which only 500 copies were printed.

    Zapf's drawing of a blackletter alphabet in Feder und Stichel (1949, Trajanus Presse, Frankfurt) and Feder und Stichel (1952). Zapf's design of a postage stamp depicting Ottmar Mergenthaler in 1954.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, they produced the more calligraphic set now called AMS Euler (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgenart Fraktur (1938, D. Stempel).
    • Heraklit Greek.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2003, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012).
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Sequoya (Cherokee redesign).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985), URW Antiqua. The URW Grotesk family today contains 59 styles.
    • Uncial (Hallmark Kansas City).
    • Virtuosa Script (1952, D. Stempel: Zapf's first script face; revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi).
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype Library GmBH 1998): a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady , with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party.

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

    IC Fonts
    [Daniel Ortega]

    IC Fonts is graphic artist Daniel Ortega's foundry in New York City. They specialize in fun non-text typefaces. In 2012, IC Fonts published Devils Own Type, Alphabet Citi, Crown Peaks, Milf Man Drips, Lumps, Nubby, High Sky (puffy cloud face), Megalith, Brick City, Dopey (2012, an outlined graffiti face), Eye Bets (2012, fat bubblegum letters), Dough Nuts (2012), and Bonerfied.

    Typefaces from 2013: Hip Mob (graffiti font), Graff3rd Row, Indian Joe (ornamental Indian-themed caps), Crown Decay 3D, Graffrow (graffiti face).

    Typefaces from 2014: Hip High, Crown Decay, Olds Cool (2014, a graffiti font), Oldscool Rock. [Google] [MyFonts] [More]  ⦿

    Ignazio Balboa

    Peruvian codesigner (with Michael Prado) of the circle-based typeface Ena (Ena Kuei), which won an award at Tipos Latinos 2014. He writes: This project was born at the request of the Wildlife Conservation Society (WCS). The brief was to diffuse and protect the Bahuaja Sonene national park located in the rainforest of southern Peru. Panibo (2014) is a free native symbol-inspired typeface. It was influenced by the culture of the Ucayali river communities. Free download. [Google] [More]  ⦿

    indigena

    Designer who used FontStruct to make Indigena (2008, Inca lettering simulation) and Mapu (2008, blackletter). [Google] [More]  ⦿

    Inuktituk Unicode Fonts

    Wazu Japan's list of Unicode fonts that cover Inuktitut. [Google] [More]  ⦿

    Inuktitut Encoding Test Site

    Inuktitut standards and codes by Michael Everson. [Google] [More]  ⦿

    Inuktitut Font
    [Krista Thompson]

    Krista Thompson (Nortext Multimedia) designed the Inuktitut font Nunacom (1998). She also designed OldSyl, a free truetype font for PC and Mac (Western, i.e., Canadian style, not Greenland style). Alternate URL. One more URL. [Google] [More]  ⦿

    Inuktitut Fonts

    At the government of Nunavut's site, about ten free Inuktitut truetype fonts: Naulak (Saali Peter, 1996), NaulakBold (Saali Peter, 1996), Nunacom (Krista Thompson, Nortext Multimedia, 1998), ProSyl (Saali Peter, 1996), ProSylBold (Saali Peter, 1996), QalluSylNormal (Datarctic Information Systems, Iqaluit, NWT, 1992), TunngavikBold (Nunanet Worldwide, 1997), Tunngavik (Nunanet Worldwide, 1997). [Google] [More]  ⦿

    InupiaQ

    Free font for Inupiat (Alaska natives) called Inupiaq (1999), created by the Institute of Social and Economic Research, University of Alaska Anchorage. [Google] [More]  ⦿

    Ivan A. Derzhanski

    Ivan A. Derzhanski works at the Institute for Mathematics and Computer Science of the Bulgarian Academy of Sciences in Sofia. His fonts include

    • CASYL: CASYLTEX (Canadian Aboriginal Syllabics TeX) enables you to typeset Cree/Inuktitut text. The package by Ivan A. Derzhanski was developed in 1999 and is based on James Evans' syllabic script.
    • eiad (IAD's Computer Modern Irish Family of Founts): a metafont family for Gaelic, dated 1993. It was modelled on Irish Texts Society "An Irish Corpus Astronomiae".
    [Google] [More]  ⦿

    J. Eric S. Thompson

    Author of A Catalog of Maya Hierogrlyphs (1962, University of Oklahoma Press). It is a catalogue of most of the glyphs known up to the time of its publication. [Google] [More]  ⦿

    Jack Hughes

    Cardiff, Wales-based designer of the straight-edged typeface Narcotical Navajo (2013). [Google] [More]  ⦿

    James Evans

    A British immigrant in Canada (1801-1846) who developed the syllabic writing systems for Ojibwa, and then Cree (with initials, syllables and finals making up the alphabet). In 1840, he started the Rossville Mission Press and had to use rather primitive methods of printing. An excerpt from Roderick Cave's The Private Press (1983, R.R. Bowker Co., New York): A Wesleyan Methodist missionary, the Rev. James Evans, had been at work among the Ojibway Indians in Canada since 1822 and had published a Speller and Interpreter in English and Ojibway in New York. Evans, however, like many missionaries, found the roman alphabet less than ideal to represent the sounds of speech in native tongues and eventually (by 1840) perfected a system of 36 syllables he believed would meet all the needs of the Canadian Indian languages. Evans reported that those in his mission at Norway House could read and write it with ease and fluency. At first he copied out his syllabics by hand on pieces of birchbark. These proved so popular that he realized he must resort to printing. But there was a difficulty, quite apart from the lack of type for his syllabary: the Hudsons Bay Company, which controlled all transport, was not in favor of making the Indians literate and refused to bring in a press. Being a man of much determination, Evans built his own primitive press on the model of the fur presses used at the trading posts. He also overcame the problem of providing type, for which he used musket balls and the linings of tea chests melted down. With some coarse paper and with ink contrived of soot and oil, in 1841 Evans printed 100 copies of a 16-page booklet containing the syllabary and some Bible texts and hymns translated into Cree. This effort was enough to overcome the skepticism of the church authorities about the value of his syllabary. They had a regular font of the type cut in England, and the Hudsons Bay Company withdrew its opposition. With the new type and a small handpress shipped in via Hudsons Bay, Evans and his successors at the mission continued work under rather easier circumstances. Image of his syllabery. [Google] [More]  ⦿

    Jason Pagura
    [Cuttlefish Fonts]

    [More]  ⦿

    Jasper Habicht

    Between 2005 and 2012, Jasper Habicht (Accipiter Media, Germany) created the free typefaces Roaat Regular (for Khmer), Al Saqr (for Arabic), Maya Modern, Pixelfont, Ukussa (for Sinhala), Kayah Li (for Karen), Deutsche Kurrent (deutsche Schreibschrift), Blissymbolics, PixelFraktur, Vexillogic Symbols, Braille, Airport (a segmented font), and Karakorum (for Mongolian) in 2012.

    Behance link.

    Jasper was born in 1986 in Duisburg, Germany, and is affiliated with the University of Köln, where he specializes in Modern Chinese Studies. [Google] [More]  ⦿

    Jeremy Tankard
    [Jeremy Tankard Typography]

    [MyFonts] [More]  ⦿

    Jeremy Tankard Typography
    [Jeremy Tankard]

    Jeremy Tankard established Jeremy Tankard Typography in 1997, after corporate design work at Addison Design Consultants and Wolff Olins. This Londoner made some extraordinary and daring font families, such as Enigma, Blue Island (Adobe), FF Disturbance (1993, a unicase based on Sabon), Alchemy, The Shire Types (1998, consisting of Shire-Cheshire, Shire-Derbyshire, Shire-Shropshire, Shire-Staffordshire, Shire-Warwickshire, and Shire-Worcestershire), Shaker (2000, sans serif), Harmony Greek (which netted him a Bukvaraz 2001 award alongside the Shire Types and Shaker), Aspect (2002, with many ligatures and swashes, in OpenType), Bliss (Agfa Creative Alliance), and Corbel (2004, a sans OpenType family made for Microsoft's ClearType project, for which he received a TypeArt 05 award).

    In many of his faces, Jeremy mixes upper and lower case letters for more impact. Custom designs of his include Epsilon (a very bold face, supposedly designed for the Düsseldorf branch of Frogdesign) and Harmony (for Telstra in Australia).

    In 2005, he designed Kingfisher, a transitional petit-Bodonesque serif family.

    In 2006, Tankard cooperated with Arjowiggins and design agency Blast on a font called Arjowiggins AW Inuit that was commissioned by ArjoWiggins for the launch of the Inuit paper: it is a unicase Latin font inspired by Inuit letterforms. See also at MyFonts. The typophiles are quite upset at this sort of typeface though. [I disagree with them.]

    In 2009, he published an extenseive family, trilogy, which consists of Trilogy Sans Compressed, Trilogy Sans Condensed, Trilogy Sans Normal, Trilogy Sans Wide, Trilogy Sans Expanded, Trilogy Egyptian Normal, Trilogy Egyptian Wide, Trilogy Egyptian Expanded, and Trilogy Fatface.

    In 2012, he published the 14-style ink-trapped Fenland family of sans typefaces.

    Redisturbed is a classical unicase typeface.

    Capline is a bilined all-caps typeface family for titling work.

    Fontfont write-up. Alternate URL. Interview by Planète Typographie. Interview by Brendan Staunton. FontShop link. Klingspor link. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Jim Rimmer

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

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

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

    His metal typefaces at Pie Tree Press include:

    • Juliana Oldstyle 18pt, 1981
    • Nephi Mediaeval 18pt, 1983
    • Fellowship 24pt, 1984
    • Albertan 16pt, 1985
    • Garamont [not entirely sure that this was done in metal]
    • Cartier Roman 14pt, 2004
    • Cree Syllabic 14pt, 2006
    • Duensing Titling 12, 14, 18, 24, 36, 48&60pt, 2004-07. Duensing in use.
    • Hannibal Oldstyle 18pt, 2003
    • Quill 14pt, 2006
    • Stern 16pt, 2008. This was his last completed typeface.

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

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

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

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

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

    FontShop link.

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

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

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

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

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

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

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

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

    JMRBooks Fonts
    [Gina Aguilera]

    Gina Aguilera (JMRBooks) created the hand-gridded free font Olde Wampum Belt (2009), classified by Fontspace under "Native American". JMR stands for Jennie's Music Room. [Google] [More]  ⦿

    Joan Sarah Touzet

    Joan Sarah Touzet developed the font Cherokee between 1993 and 1998 at Yale University. Cherokee is a free font that covers the native language of the Tsalagi (Cherokee) Indians of North America. Touzet is now at the University of Toronto. Thomas Phinney does not like it: It's utter junk in both design and execution. Bizarrely irregular stroke weights, sidebearings chosen by rolling dice, extrema often ignored in point placement, non-Euclidean geometry of curves. [Google] [More]  ⦿

    Joey Stephen Maul

    Born in Bedford, IN, in 1959, Joey runs Joey Maul in Paoli, IN. Creator of the ultra-fat Duro (2008), Finelight (2009), Smitty (2009), Quatrus (2009, pixel), Rainsong (2010, a display font inspired by the art and symbols of the Native Americans), Bunkhouse (2009, mechanical/octagonal), Tranzit (2009, rounded architectural drawing face), Ampmosphere (2010, music instruments), Spring #7 (2011), Applbitz (2011, a pixel family), and the techno typeface Crubster (2009).

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

    Johannes König
    [Melville Brand Design]

    [MyFonts] [More]  ⦿

    John Hudson
    [Tiro TypeWorks]

    [More]  ⦿

    John Moore

    Born in 1951, John Moore is a Venezuelan type designer. He studied graphic design in the Institute of graphic design Neumann from 1972 until 1976. In 1980 he took a workshop with Milton Glaser and since 1983 he has worked as an art director and creative director in many advertising agencies. He designs type since 1976.

    His typefaces Gordis (a fattish comic book family) and Tepuy won awards at Tipos Latinos 2008 in the non-text and experimental typeface categories, respectively. At Tipos Latinos 2010, he won twice in the display category, for Victorina and Radio Time.

    His typefaces: (New) Maracay (2013, a large layered Victorian signage family), Fine Art OT (2013, brushy typeface), Roadline Italic (2013, a retro script), JMTF Robin (2013, a layered post-modernist display family), Virgin Script (2013), Radio Time (2013, fat retro signage script), Radio Time Icons (2013), Palaima (2013, an aboriginal style face), Factor (2012, a layered geometric font), Onda (2012, a wavy psychedelic face), Blockee (2012), Aliykit Open (2012, a multiline typeface), VE Inconexa (2006, outline architectural face), VE Makiritare (2006, a double labyrinthine script that is based on symbolisms used by the Makiritare or Yecuana, river people who live in the village of Santa Maria de Erebato in the Venezuelan jungle on the border with Brazil), VE Moho (2006; or simply Moho in 2014), VE Palaima (2006, futuristic, Amazonian), Radio Time (fifties style script, with Alejandro Paul at Sudtipos), Fruta (stencil, influenced by Glaser?), Glaser Stencil Round, Gothike (sharp-edges), Aqua (ultra round), Club, Caracas (sans), Factor (hookish), Space Lab (futuristic family), Robin (headline), Victorina (multiline Victorian poster typeface which won an award at Tipos Latinos 2010), Victorina Black Shadow (2011), Waterman (2010, a flowing undulating script family), Spacelab (2010, futuristic) and RobinBienalII (2005).

    Sudtipos sells these fonts of his via MyFonts: Makiritare (bilined, based on woven baskets), Palaima (experimental, runic), Precolombino (petroglyphs), Tepuy (rounded version of Makiritare), Roadline (2009, fifties diner font), Sacred Geo (2011, a geometric dingbat font that won an award at Tipos Latinos 2012), DeCoro (2011, art deco family), Sacred Geo Tiling (2011), Primate (2012, an African look typeface family), Morenita (2012, a connected fifties or school script), Takox (2012), Petroglifos (2012), Xtencil (2012, a rounded stencil influenced by Milton Glaser; followed by Xtencil LC and UC in 2013).

    Typefaces from 2014: InkArt Labels, Moho (named after Laszlo Moholy-Nagy), Moho Condensed, Moho Script, Duvall (named after Edward J. Duvall, who published Modern Sign Painting in the late 1940s; Duvall won an award at Tipos Latinos 2014).

    Klingspor link. MyFonts link. Behance link. Poster.

    View John Moore's typefaces. [Google] [MyFonts] [More]  ⦿

    John Rade
    [John Rade Fonts]

    [MyFonts] [More]  ⦿

    John Rade Fonts
    [John Rade]

    In 2009, John Rade Fonts was established as an independent foundry by John Rade from Melbourne. John had 15 years experience in advertising and branding. His first font is Paperocked (2009). This was followed by Jazzbang Inca (2009).

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

    Jorge Letona

    Guatemalan graphic designer in Mixco. Creator of the alchemic typefaces Balam (2011: inspired by the Mayan culture; can be bought at Ten Dollar Fonts), Imperio Pastel (2012), Teepee One and Two (2012, Ten Dollar Fonts), Confusa (2012), and Hunab Ku (2012). [Google] [More]  ⦿

    José Antonio Garrido Izquierdo
    [Noem9 Studio]

    [MyFonts] [More]  ⦿

    José Nicolás Silva Schwarzenberg

    Nicolás Silva was born in Mérida, a city in the Andes Mountains of Venezuela, where he studied graphic design at the University of the Andes. After completing his studies, he moved to Caracas to work in an advertising agency (JWT) as an art director. He later moved to Buenos Aires, where he completed a post-graduate certificate in Typeface Design at the University of Buenos Aires. He has been working in that city since 2009, first in a graphic production studio (Pool cp) and then in an animation studio (Gizmo). He is currently working at the design studio Fontana Diseño. Behance link. His typefaces:

    • Poly (2011, Google Font Directory) is a medium contrast condensed serif font. He explains: Poly was my final project for the postgraduate certificate in typeface design (University of Buenos Aires). Poly was originally designed for aglutinative languages, (which is why it's wide) specifically a South American indigenous language (Wayuunaiki). I paid a lot of attention to the "diacritics zone" to harmonize and unclutter the upper zones of the lowercase letters. The Wayuu language or wayuunaiki is spoken by 305,000 indigenous Wayuu people in northeastern Colombia and nothwestern Venezuela on the Guajira Peninsula.
    • Creator with John Vargas of the free upright italic sans typeface Convergence (2011, Google Web Fonts).

    Font Squirrel link. Behance link. Google Plus link. [Google] [More]  ⦿

    Joseph Erb

    Cherokee font designer from Gore, OK, who spoke at ATypI 2011 in New Orleans. He wrote this on typophile (excerpts only): As font makers you have noticed that much of what we use today, as a designed font, is pretty bad when it comes to some of the very rough looking uneven font designs. It is a very complex issue when it comes to the Cherokee orthography in the community. Cherokees take great pride in our writing system. It is true that many in the eastern band of Cherokees do not read and write cherokee but some do. And it is also true that at one time some people at the museum over there proposed the idea of changing our syllabary writing system in to a alphabet. This was quickly dismissed and did not go over very well and we should just leave it at that. Many more people here in Oklahoma Cherokee Nation and United Keetoowah Band read and write in Cherokee. Roy Boney and I were very honored to speak to so many font designers that work on so many languages. Roy and I worked with many advanced speakers from our community and that work at Cherokee Nation to find out what advanced speakers look for in a writing system for each character. We developed a very thin font that was made in fontlab. It is not really that professionally made but it has many needed things in it. Most languages around the world have font styles for many different needs, printed type, signs, web, fun, ads and so on as you all know. but we do not have this for our own language at this time, when we need it the most. Many in the community do not question why we dont have more fonts. In fact many get defensive when we first talk about new fonts a few years ago thinking we where trying to change the language or proposing something like what the museum over and eastern band wanted. Roy and I believe that if we are going to continue to have a language for our community it must have all the power and strength that different fonts can offer.. We started realizing we needed to be on the computers and cell phones then after we got on that we realized that we needed more fonts. This idea is starting to be understood by some of our elders when we start to show them why we want to do this or have it done. It is always important to work with the community that reads and writes the language that you are designing for. Most languages have enough material out there so that that is not needed but in smaller language groups it is important to talk to people before starting your design work. Much of the problems with the present fonts is that people did not at least have the community it was made for, have look at it, before the release. The Cherokee Type face was made for a printing press and all of our fonts still look like they are for that same purpose. Sequoyah in his time wrote with print from the style influenced from the printing press also, even after he made the cursive style too. His main reason was to create a writing system that would allow his people to communicate in written form. If he was round today, I believe he would be designing fonts and having others to design some for all these technologies that are constantly coming out (and have different requirements) for Cherokee people to use and communicate with each other. So if anyone needs more information about cherokee handwriting for fonts feel free to email me. We have collected handwriting samples and old documents that might help a font designer with the information they are looking for.

    Designer of some Cherokee fonts in 2012, including a blackletter version, CherokeeOldEnglish, and a hand-printed version called Cherokee Handone. [Google] [More]  ⦿

    Josh Hadley

    Joshua Hadley works at Ascender Corporation since 2004. He studied at the Rochester Institute of Technology in the School of Printing Management and Sciences. He was briefly involved in type design, creating the Native American-themed Blackfoot (a collection of fonts for creating decorative borders), and working at Monotype's Palo Alto, CA, office. Between 1994 and 2004, he developed a number of programs, techniques, and procedures for developing fonts of all sorts. These included simple scripts for font development, a graphics-intensive kerning editor, and programs to make complex multi-script fonts of fifty thousand glyphs.

    With Steve Matteson, Hadley designed (a reincarnation of) Binner Gothic (original by John F. Cumming). [Google] [More]  ⦿

    Juan A. Lavalle

    Juan Antonio Lavalle (b. 1959, Buenos Aires) studied Architecture at the University of Buenos Aires. Later, he moved to Madrid were he worked on large design projects. He resides in Madrid, Spain and offers his fonts through the Eurotypo foundry. Ethnicity (2011) is inspired and based on many indigenous South American geometric shapes such as Mapuche and Diaguitas. Equalis (2011, with Olcar Alcaide) is a monoline slab typeface with a huge x-height and wide open counters. Quadratique (2011) and Trigonus (2011) are typefaces for making patterns.

    In 2012, he made the Skinwall and Centers dingbats faces, and the art deco typeface Saxo.

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

    Juan Pablo Meza Recabarren

    Graphic designer in Santiago, Chile. He created the experimental typeface Selknam (2009). His inspiration was the Selk'nam or Onas, an indigenous people from Tierra del Fuego (now extinct) and their initiatory rites for adolescents. The typeface was designed using FontStruct. Selknam Unicase followed in 2013.

    Home page. Dafont link. Behance link. [Google] [More]  ⦿

    Julie Winther Villadsen

    During her studies in Aarhus, Denmark, Julie Winther Villadsen designed the alchemic Native Typeface (2014). [Google] [More]  ⦿

    Juliet Shen
    [Shen Design]

    [MyFonts] [More]  ⦿

    K. Srinivasan

    Designer of the Inuktitut font called Inuktitut-Sri (1996). Resident of St. Bruno, Quebec, he also made the Tamil fonts Valai-Sri (1997), Mylai-Sri (1996), Sri-TSC (1998), TSC-Sri (2001), Adhawin-Tamil. Some of these fonts are here and here. [Google] [More]  ⦿

    Kanati

    Designer of Cherokee (2011), a nice patterned typeface done at iFontMaker. Kanati also created Cherokee Shadow, Cherokee Old English, Cherokeehalf, Cherokeehandy, Cherokeepaws, Cherokeebubble, Cherokeebuilder, Cherokee Dots, Cherokee Blockstyle, Cherokee Blocky, Cherokee Flowers, Cherokee Cloud, Cherokee Angles, and Cherokee Handone. [Google] [More]  ⦿

    Kartika Wijaya Kosasih

    Graphic designer in Singapore. Creator of Honk (2012), an ornamental caps typeface on the theme of musical instruments. [Google] [More]  ⦿

    Kenneth Hirst
    [Cosmorama (or: Laser Printing Solutions)]

    [More]  ⦿

    Kit Pullen

    Kit Pullen (Multilingual E-Data Solutions, Ottawa) assembled the Inuktitut font NunacomU (1999) for the Government of Nunavut, Iqaluit. Download site. [Google] [More]  ⦿

    KNet.ca

    Free Oji-Cree native (syllabic) fonts: Syllabic-Eastern, SyllabicROeast, SyllabicROwest, SyllabicWestern. [Google] [More]  ⦿

    Kollontai Cossich Diniz

    Kollontai researches typography and native languages of Brazil. She obtained her bachelors degree in graphic design from the University of Brasilia in 2007, and during that time she was a trainee at the Fundação Nacional do Índio, the governmental protection agency for indigenous people interests and culture, where she worked on editorial projects in various native languages. She won the young scientist award from the Brazilian Society of Information Design. She currently works at the Institute for Brazilian Studies in the University of São Paulo. Speaker at ATypI 2009 in Mexico City on the topic of type and native languages in postcolonial America. She lives in Sao Paulo. [Google] [More]  ⦿

    Krista Thompson
    [Inuktitut Font]

    [More]  ⦿

    Kristin Duke

    During her studies at Flagler College, Saint Augustine, FL, Kristin Duke created the decorative typeface Tsalagi (2014) which uses a lot of native American symbols. [Google] [More]  ⦿

    Language Geek
    [Christopher Harvey]

    Chris Harvey's site on native languages in North America (for now, mainly Canada). He includes several free Unicode-compliant creations (Aboriginal Sans Unicode, Aboriginal Serif Unicode). The following are covered: Dakelh, Cherokee, Cree syllabics, Ojibway (Ojibwe, Ojibwa) syllabics, Naskapi syllabics, Dene or Athabaskan/Athapaskan (Chipewyan, Slavey) syllabics, Blackfoot syllabics, and roman orthographies of Canadian (and some US) native languages. Of particular interest are his pages on syllabics. I quote some passages: "Syllabics became very popular first among the Cree people, then spread to other Algonquian languages such as Ojibway, Naskapi, and Blackfoot. Heading north and east, Syllabics were adopted by some of the Dene languages, and Inuktitut. The writing system was transferred from parent to child despite the attempts of the Canadian residential school system to obliterate Native languages. The system was so popular, that it has been reported that the Cree once had a near 100% literacy rate. [...] These days, Inuktitut, Cree, Naskapi, Oji-Cree, are the languages most often written in Syllabics (although Roman orthographies for these languages are also available). The others have generally switched to Roman writing systems, however some dialects, communities, or individual speakers still prefer syllabics." The list:

    • AboriginalSans-Bold, AboriginalSans-BoldItalic, AboriginalSans-Italic, AboriginalSans, AboriginalSerif-Bold, AboriginalSerif-BoldItalic, AboriginalSerif-Italic, AboriginalSerif: Made by Chris Harvey, 2004-2006. These are full aboriginal Unicode fonts that include Syllabics (Cree, Ojibway, Naskapi, Inuktitut, Dakelh, Blackfoot, Dene), Cherokee and Latin.
    • AfRomanSerif-Bold, AfRomanSerif-BoldItalic, AfRomanSerif-Italic, AfRomanSerif, AfSans-Bold, AfSans (Chris Harvey, 2004):
    • Digohweli (Chris Harvey, 2006): for Cherokee. Free download. This font was adopted as the official Cherokee Nation font.
    • Kayases (Chris Harvey, 2006): for Blackfoot, Dene, Algonquian (Cree, Ojibway, Naskapi), Dakelh (Carrier Dene) and Inuktitut.
    • Kisiska (Chris Harvey, 2005): for Moose Cree, East Cree, Inuktitut, Naskapi, Northern Ojibway, Plains Cree, Swampy Cree, Woods Cree, Saulteaux Ojibway, Dene.
    • Masinahikan-Bold, Masinahikan-SemiBold, Masinahikan (Chris Harvey, 2005): for Moose Cree, East Cree, Inuktitut, Naskapi, Eastern Ojibway, Plains Cree, Swampy Cree, Woods Cree, Oji-Cree, Western Ojibway, F-C Dene.
    • OskiBlackfoot-Bold, OskiBlackfoot-BoldItalic, OskiBlackfoot-Italic, OskiBlackfoot (Chris Harvey, 2003): for Blackfoot.
    • OskiDakelh-Bold, OskiDakelh-BoldItalic, OskiDakelh-Italic, OskiDakelh (Chris Harvey, 2004): for Dakelh (Carrier Dene).
    • OskiDeneA-Bold, OskiDeneA-BoldItalic, OskiDeneA-Italic, OskiDeneA, OskiDeneB-Bold, OskiDeneB-BoldItalic, OskiDeneB-Italic, OskiDeneB, OskiDeneC-Bold, OskiDeneC-BoldItalic, OskiDeneC-Italic, OskiDeneC, OskiDeneS-Bold, OskiDeneS-BoldItalic, OskiDeneS-Italic, OskiDeneS (Chris Harvey, 2005): for Dene (Chipewyan, Beaver, Dene, South Slavey.
    • OskiEast-Bold, OskiEast-BoldItalic, OskiEast-Italic, OskiEast (Chris Harvey, 2003): for Moose Cree, East Cree, Inuktitut, Naskapi, Eastern Ojibway.
    • OskiWest-Bold, OskiWest-BoldItalic, OskiWest-Italic, OskiWest (Chris Harvey, 2003): for Plains Cree, Swampy Cree, Woods Cree, Oji-Cree, Western Ojibway.
    • Pitabek (Chris Harvey, 2005): for Plains Cree, Swampy Cree, Oji-Cree, Western Ojibway, Chipewyan (F-C), Dogrib (F-C), Slavey (F-C), Beaver (F-C), Dene.
    • RotinonhsonniSans-Bold, RotinonhsonniSans-BoldItalic, RotinonhsonniSans-Italic, RotinonhsonniSans, RotinonhsonniSerif-Bold, RotinonhsonniSerif-BoldItalic, RotinonhsonniSerif-Italic, RotinonhsonniSerif (Chris Harvey, 2004): full aboriginal Unicode fonts.
    [Google] [More]  ⦿

    Larson Mirek Design (or: LMD)
    [Robert Mirek]

    Robert Mirek of Lathrup Village, MI, designed the dingbat Totem Forms (2005), available from MyFonts. The dingbats refer to their Native American style art work. Robert Mirek is partner of Larson Mirek Design (LMD), a small design studio located in the metro-Detroit area. [Google] [MyFonts] [More]  ⦿

    LaserCree Fonts from Linguist's Software

    100USD per font for the Cree language. Mac and Windows. [Google] [More]  ⦿

    LaserLakota

    Commercial fonts (100USD) for Assinaboin, Dakota (Sioux, Lakota), Lakota, Nakota, Omaha, Stony. [Google] [More]  ⦿

    LaserSalish Fonts for Windows

    Commercial fonts sold by A-BIT-Z: TrueType and Type 1 fonts containing the entire character set for the following northwest Native American Salishan languages: Clallam, Coeur d'Alene, Columbian, Comox, Cowlitz, Flathead, Halkomelem, Kalispel, Kootenai, Lillooet, Lower Chehalis, Lushootseed, Nooksack, Northern Straits, Okanagan, Pentlatch, Quinalt, Seshelt, Shuswap, Snohomish, Squamish, Thompson, Tillamook, Twana, and Upper Chehalis. The font also contains English. [Google] [More]  ⦿

    Laura Caso Barrera

    Obtained a Ph.D. degree in 2001 on the topic of Mayan culture. She spoke at ATypI 2009 in Mexico City on the Mayan codices and script, which initially was not known to be phonetic. [Google] [More]  ⦿

    Lauren Owen

    Freelance graphic designer in San Diego, who created these typefaces in 2013: Kiya (a beautiful display typeface that brims with native Indian symbolism), Feesh (a sketched typeface), and Cabana (a blackboard bold typeface). [Google] [More]  ⦿

    Laval Chabon

    Québec City-based creator (b. 1952) of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 7,615 glyphs.As of 2014, 188 languages care covered, inclufing Afrikaans, Arabic, Archaic Greek Letters, Armenian, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Bengali, Catalan, Central European, Cherokee, Devanagari, Dutch, Euro, Farsi, Georgian, Gujarati, Hanunó'o, Hebrew, Igbo Onwu, IPA, Kannada, Kazakh, Lao, Malayalam, Myanmar, New Tai Lue, N'Ko, Ogham, Oriya, Pashto, Pinyin, Polytonic Greek, Romanian, Runic, Sindhi, Syriac, Tai Le, Tai Tham (Lanna), Telugu, Thaana, Thai, Tibetan, Turkish, Uighur, Unified Canadian Aboriginal Syllabics, Urdu, Vietnamese, Western European.

    Dafont link. Fontspace link. Aka Leaurend-Lavie-Hyppere (Laval) Chabon and as Joseph Rosaire Laval Frandey Leaurend Lavie Hyper Chabom. [Google] [More]  ⦿

    Lee Anne Phillips
    [Tsalagi Cherokee]

    [More]  ⦿

    Lennyn Salinas

    Merida-educated Venezuelan graphic designer at the Colombian foundry Andinistas. Now based in Caracas, Lennyn designed the futuristic dingbat typeface Skuke Dingbats (2012), which is based on the Kuikas culture.

    Behance link. [Google] [More]  ⦿

    Leonardo Vázquez Conde
    [Macizo.com (or: Macizotype)]

    [More]  ⦿

    Lloyd Anderson
    [Ecological Linguistics]

    [More]  ⦿

    Macizo.com (or: Macizotype)
    [Leonardo Vázquez Conde]

    Leonardo Vázquez (Macizotype, Mexico City) is the Mexican designer of Bunker (2005, a monolithic display face, which won an award at the TDC2 2005 type competition. It uses the rounded stone features found in Aztec sculptures and designs. Designer of Señal Mexico (2000, a Mexican highway sign face, with four styles called Rural, Nacional, Mediana and Asfalto), mentioned here. He also made Proteo (2005, sans), Lectura (2007, a text family in Regular, Negro and Versalitas styles), and Libre.

    Leonardo is a graphic and type designer. After finishing his studies in Mexico City, Leonardo worked in several design studios and advertising agencies. In 1998 he settled in France where he studied in the Atelier National en Recherche Tipographique in Nancy. Leonardo returned to Mexico in 2001, where he works in his own studio macizo.com.

    Speaker at TypeCon 2007 and at ATypI 2009 in Mexico City and at ATypI 2013 in Amsterdam, where he introduces his Mayan transcription font Mayathan, and talks about the importance of designing typefaces for oral languages as a way of spreading their culture.

    Klingspor link. [Google] [More]  ⦿

    Manfred Klein
    [Manfred Klein's Fonteria]

    [MyFonts] [More]  ⦿

    Manfred Klein's Fonteria
    [Manfred Klein]

    Frankfurt-based designer (b. 1932) whose creative output is so large that he deserves a separate web page. His URL at Moorstation from 2000-2007. New page on him by Florian Rochler. Font squirrel link. Dafont link. [Google] [MyFonts] [More]  ⦿

    Mariana Barbieri

    Graphic artist in Pelotas, Brazil, who designed the hipster or native symbolism font Espaco Amerindio in 2013. It is based on pre-Colombian graphic culture. [Google] [More]  ⦿

    Mark Jamra
    [Type Culture]

    [MyFonts] [More]  ⦿

    Mark Visbal

    American type designer in Santa Barbara, CA. His foundry is listed at MyFonts. His typefaces: Taos (native American look), Albuquerque (a decorated version of Taos), Dot Gain, Easy Grunge, Santa Barbara. [Google] [MyFonts] [More]  ⦿

    Mark Williamson

    Designer of a public domain Unicode font in 2005 called MPH 2B Damase. It can be found here. Created by Mark Williamson, it covers Armenian, Cherokee, Coptic (Bohairic subset), Cypriot Syllabary, Cyrillic (Russian and other Slavic languages), Deseret, Georgian (Asomtavruli and Nuskhuri but no Mkhedruli), Glagolitic, Gothic, Greek (including Coptic characters), Hebrew, Latin, Limbu, Linear B (partial coverage of ideograms and syllabary), Old Italic, Old Persian cuneiform, Osmanya, Phoenician, Shavian, Syloti Nagri (no conjuncts), Tai Le (no combining tone marks), Thaana, Tifinagh, Ugaritic, Vietnamese. See also here. The font is used by the popular Debian Linux software. Mark Williamson also designed a free fonts for Osmanya, Ugaritic and Shavian called Andagii (2003). His Penuturesu covers Linear B.

    Mark contributed to the GNU Freefont project, which used these ranges:

    • Hanunó?o (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)

    Dafont link. [Google] [More]  ⦿

    Max Project

    Designers of the Mexican dingbat font Mapuche (2002). [Google] [More]  ⦿

    Melisa Siedow

    In 2012, Melisa Siedow graduated from Flagler College, Saint Augustine, FL. Her typefaces include Cherokee (2012) and Dashes (2012, dot matrix font). [Google] [More]  ⦿

    Melville Brand Design
    [Johannes König]

    Led by Michael Schmidt, with participation of Florian Brugger, Lars Hamsen and Johannes König (art director, b. 1979). This German design studio made the free font Melville Too Bold (2009). Johannes König graduated from the University in Salzburg as a "Magister for Multimedia-Arts" he worked for Fantomas and Starshot Munich as a free-lance art director and illustrator. In 2010, Johannes published the art deco all caps typeface Abracadabra and the variable stroke size typeface Trick Pony at Volcano.

    In 2012, he created the alchemic typeface Mestizo, which was published by Volcano. Accius, Alerio and Amias are three substyles that deal with the basic geometric shapes, while the Balbo, Belus and Borba styles are for playful icons.

    Some of the guys are involved in Karlsruhe-based MAGMA Brand Design (Behance link). The successful Slanted magazine is published by MAGMA Brand Design.

    Home page. Klingspor link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Michael Everson
    [Evertype (was: Everson Typography)]

    [MyFonts] [More]  ⦿

    Monotype

    North American aboriginal fonts by Monotype: Andalé Canadian Syllabics, Andalé Mono Cherokee. [Google] [More]  ⦿

    Multilingual E-Data Solutions

    American aboriginal language font archive. It carries AUJAQ2 (1998), Ballymun-RO-Bold, Ballymun-RO-BoldItalic, Ballymun-RO-Italic, Ballymun-RO (1999, Ronald B. Ogawa), Naamajut, nunacom (1998, Krista Thompson, Nortext Multimedia), Old-Syl-(C)-Normal (1992, Datarctic Information Systems), Pigiarniq-Bold, Pigiarniq-Italic, Pigiarniq-Heavy, Pigiarniq-Light (2001, Tiro), ProSyl (1996, Saali Peter), ProSyl-Bold. [Google] [More]  ⦿

    MunchFonts
    [Gary Munch]

    Gary Munch (born 1953) is the Stamford, CT-based principal of MunchFonts. He teaches at Norwalk Community College and at the University of Bridgeport Shintaro Akatsu School of Design.. His typefaces:

    • GMAhuramazda (runes).
    • Calligraphic.
    • Candara (2005), a flared typeface done for Microsoft's ClearType project. Candara received a TypeArt 05 award.
    • GMChanceryModern.
    • Munch produced three new Cherokee fonts in 2011 in response to a request by Joseph Erb, of language technology and education services at the Cherokee Nation: Chancery Modern ProCherokee (a sleek sans serif semi-cursive font), Neogrotesk Cherokee (a multipurpose workhorse design), and Munch Chancery Cherokee (a calligraphic font that resembles handwriting). The Cherokee Nation is using Munch Chancery at its Cherokee Immersion School.
    • GMClavier.
    • GMDuomo.
    • Linotype Ergo.
    • The 8-weight didone font family GMFidelio is my favorite.
    • Finerliner (linked handwriting).
    • GMGlobe.
    • GMHieroglyphic.
    • GMHyperspace.
    • GMLondinium (1993, a blackletter face), and GM Londinium Versals (a Lombardic face).
    • GMMage.
    • GMMedallion. An architectural writing font made in 1997.
    • GMMeter.
    • GMMunchfonts.
    • GMMunchies.
    • GMNanogram.
    • GMPepRally.
    • GMPrentice.
    • Linotype Really (1997). An almost-didone family with Cyrillic and Greek extensions for which he received an award at the TDC2 2001 competition, and obtained third prize at the 3rd International Digital Type Design Contest by Linotype Library. It was updated to Really No2 in 2009.
    • GM SPQR. A Trajan type family.
    • UrbanScrawlButtah, UrbanScrawlChill, UrbanScrawlDown, UrbanScrawlFly.
    • GM Wodensday.

    Klingspor link. FontShop link. Linotype link. Old home page.

    Showcase of Gary Munch's fonts. [Google] [MyFonts] [More]  ⦿

    MyFonts: Native typefaces

    View some commercial typefaces that include dingbats with native American symbology, or are alphabetic but on the same theme. [Google] [More]  ⦿

    MyFonts: Pre-Columbian Typefaces

    A short list of pre-Columbian typefaces, i.e., typefaces that relate to Latin American culture before Columbus. Pre-Columbus would have been a better name. [Google] [More]  ⦿

    MyFonts: Pre-Hispanic typefaces

    A short list of pre-hispanic typefaces, i.e., typefaces that relate to Latin American culture before Columbus. [Google] [More]  ⦿

    Native American Languages

    Jumpsite. [Google] [More]  ⦿

    Native American Languages

    Links to Native American language resources. [Google] [More]  ⦿

    Native American Languages

    List of native American languages, and some related font links. [Google] [More]  ⦿

    Native Languages of America

    Jump page for native languages of America. Their list:

    • Algonquian Languages (Algic, Algonkian): Abenaki-Penobscot, Algonquin, Arapaho, Attikamekw (Tête-de-Boule), Blackfoot, Cheyenne, Cree, Etchemin, Gros Ventre-Atsina, Kickapoo, Lenape Delaware, Loup A/B, Lumbee (Croatan, Pamlico), Mahican (Mohican), Maliseet-Passamaquoddy, Menomini, Mesquakie-Sauk (Sac and Fox), Miami-Illinois, Michif (Metis), Mi'kmaq (Micmac), Mohegan-Pequot), Montagnais Innu, Munsee Delaware, Nanticoke, Narragansett, Naskapi Innu, Ojibwe (Chippewa, Ottawa), Potawatomi, Powhatan, Shawnee, Wampanoag, Wiyot, Yurok; possibly Beothuk (Red Indian)
    • Arawakan Languages: Amuesha, Arawak, Ashaninka, Garifuna, Taino, Timucua
    • Athabaskan Languages (Na-Dene): Ahtna, Apache, Beaver, Carrier, Chilcotin, Chipewyan, Gwichin, Haida, Hupa, Kaska, Navajo, Slavey, Tlingit
    • Caddoan Languages: Arikara, Caddo, Pawnee
    • Cariban Languages: Carib, Macushi
    • Chibchan Languages: Arhuaco (Ika), Bribri, Cofan, Chibcha, Cuna (Kuna)
    • Eskimo-Aleut Languages: Aleut, Alutiiq, Inuktitut
    • Gulf Languages: Atakapa, Chitimacha, Natchez
    • Hokan Languages: Chimariko, Chumash, Havasupai, Karuk, Kashaya, Mohave, Pomo, Yuma-Quechan
    • Iroquoian Languages: Cayuga, Cherokee (Tsalagi), Huron-Wyandot, Mohawk, Oneida, Onondaga, Seneca, Susquehannock, Tuscarora
    • Kiowa-Tanoan Languages: Kiowa, Tewa, Tiwa, Towa
    • Macro-Ge Languages: Apinaye, Bororo, Xavante
    • Mayan Languages: Ch'ol, Itza, Yucatec Maya
    • Muskogean Languages: Alabama, Apalachee, Chickasaw, Choctaw, Coushatta, Miccosukee, Muscogee
    • Oto-Manguean Languages: Amuzgo, Zapotec Panoan Capanahua, Mayoruna
    • Penutian Languages: Alsea, Cathlamet, Chinook, Chinook Jargon, Coos, Klamath, Maidu, Miwok, Nez Perce, Nisgaa, Ohlone, Tsimshian, Wintu, Yakama, Yokuts
    • Salishan Languages: Bella Coola, Chehalis, Coeur d'Alene, Cowichan, Cowlitz, Flathead Salish, Lillooet, Quinault, Saanich, Skagit-Snohomish, Squamish
    • Siouan Languages: Assiniboine, Biloxi, Catawba, Crow, Dakota-Lakota, Hidatsa, Hochunk, Kansa, Mandan, Omaha-Ponca, Osage, Otoe, Quapaw
    • Tucanoan Languages: Orejon
    • Tupian Languages: Guarani
    • Uto-Aztecan Languages: Cahuilla, Chemehuevi, Cocopah, Comanche, Diegueno, Gabrielino-Tongva, Hopi, Huichol, Juaneno, Luiseno, Nahuatl (Aztec), Paiute, Papago-Pima, Shoshone, Tarahumara, Ute, Yaqui
    • Wakashan Languages: Bella Bella, Haisla, Kwakiutl, Makah, Nootka
    • Other North American Indian Languages: Cayuse, Keres, Kootenay, Tonkawa, Yuchi, Zuni
    • Other Central American Indian Languages: Mixe-Zoque, Misumalpan, Totonacan
    • Other South American Indian Languages: Alacalufan, Arawan, Arutani-Sape, Aymara, Barbacoan, Cahuapanan, Chapacuran, Chocoan, Chon, Guaicuruan, Guahiboan, Harakmbet, Katukinan, Jivaroan, Lule-Vilelan, Makú, Mascoian, Matacoan, Mura, Nambiquaran, Quechua, Saliban, Uru-Chipayan, Witotoan, Yaguan, Yanomam, Zamucoan, Zaparoan
    [Google] [More]  ⦿

    Navajo Fonts&Language
    [Charles J. Coker]

    Navajo language page kept by Chuck Coker. A Navajo font is for sale. Coker also designed the East-European typeface ILPRumanianB100 (1996). [Google] [More]  ⦿

    Navajo Truetype Fonts

    Free Navajo truetype fonts: Times New Roman Navajo. See also here and here. [Google] [More]  ⦿

    Nick Curtis

    Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997, and lives since 1997 in Gaithersburg, MD and Alexandria, MD. From ca. 1990 onwards, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. In 2013, he stopped making fonts, and donated his collection of rare books and type material to the University of Virginia. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool.

    Near the end of 2012, he posted this comment on his web site: Fifteen years ago, I embarked on a wonderful voyage of discovery, when I created my very first font with Fontographer 3.15. My maiden voyages were, frankly, rather clunky and amateurish, but I have been told that they showed promise. Well, sure enough, thanks to the diligent (and patient) efforts of Ilene Strizver, I polished up my craft enough to sell my humble efforts---first as a sideline business and, since 2006, as my full-time job. In total, I have produced over eleven hundred fonts---almost five hundred of them freeware fonts, which I conservatively estimate have been downloaded and enjoyed by over three million people worldwide. Unfortunately, this past year has brought a series of unanticipated setbacks, culminating in the loss of my wife's beautiful mind and soul to the scourge of alcoholism. In an effort to generate extra income to cover the expenses for her long-term care, I have proposed a number of, I believe, innovative ways to revamp the online font business; unfortunately, those efforts have fallen flat, primarily due to the professional font community's abject fear of crossing the $165 million Elephant in the Room. I even offered a special discount rate of 75% off retail price for full-time students of Typohile Forum. To date, there have been zero takers. Hell: even the webfont kit of one of my own fonts which I purchased from myfonts.com turned out to be an empty folder. Talk about a run of bad luck. Which leaves my with you, dear readers. If you or someone you know has had fun or made a buck from my humble efforts throughout the years, please donate whatever you can---even a lousy dollar would help---to help me out. I would greatly appreciate it.

    Home page. Dafont link. FontShop link. Klingspor link. Abstract Fonts link.

    View the typefaces designed by Nick Curtis. [Google] [MyFonts] [More]  ⦿

    Nick Curtis
    [Nick Curtis: Commercial faces]

    [MyFonts] [More]  ⦿

    Nick Curtis: Commercial faces
    [Nick Curtis]

    Nick Curtis (b. Chicago, 1948) lived in Texas from 1952-1997. Since 1997, he is in Gaithersburg, MD and Alexandria, MD. Since the 1990s, he has been designing fonts, first for free, and then commercially. He had a great reputation as a "revivalist" type designer, with a particular interest in retro fonts and art deco types. In 2003, his site had become too popular and too expensive to maintain, and thus he went commercial as Nick's Fonts. Interview. Free downloads at TypOasis. Complete list of names and other info, maintained by Sander de Voogt. Interview in which we learn about his fondness for Corel Draw as a type design tool. Home page. His free fonts are listed elsewhere.

    On MyFonts, he says this about himself: Nick's Fonts is a modest little foundry dedicated to the preservation of our rich typographic heritage. Most of the foundry's designs are based on authentic historical sources, gleaned from the massive collections of the Library of Congress. If you are looking for a font that captures the essence of the Wild West, the Gay Nineties or the Jazz Age, look here first: if it is not in the catalog, it will be soon. [Google] [MyFonts] [More]  ⦿

    Noem9 Studio
    [José Antonio Garrido Izquierdo]

    Noem9 Studio is an online studio created by Jose A. Garrido, a graphic designer who was born in Alcañiz, Teruel, Spain, in 1987, and who lives in Zaragoza.

    He created Avanth (2012), a modular experimental typeface that is very useful for logos and titles.

    Typefaces from 2012 include Ballege (a partially free athletic lettering font).

    Typefaces from 2013: Chronic (a free alchemic font inspired by native American legends), Essay (a copperplate headline sans published by Avondale).

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

    Noto

    A large free font family released under the Apache license at Google Web Fonts. URL with details. The fonts are property of Monotype, with the exception of Noto Khmer and Noto Lao, which belong to Danh Hong.

    Noto Sans and Noto Serif cover Afar, Abkhazian, Afrikaans, Asturian, Avaric, Aymara, Azerbaijani-AZERBAIJAN, Bashkir, Bambara, Belarusian, Bulgarian, Bislama, Bini, Breton, Bosnian, Buriat, Catalan, Chechen, Chamorro, Mari (Russia), Corsican, Czech, Church Slavic, Chuvash, Welsh, Danish, German, Modern Greek (1453-), English, Esperanto, Spanish, Estonian, Basque, Finnish, Fijian, Faroese, French, Fulah, Friulian, Western Frisian, Irish, Scottish Gaelic, Galician, Guarani, Manx, Hausa, Hawaiian, Hiri Motu, Croatian, Hungarian, Interlingua (International Auxiliary Language Association), Igbo, Indonesian, Interlingue, Inupiaq, Ido, Icelandic, Italian, Kara-Kalpak, Kikuyu, Kazakh, Kalaallisut, Kurdish-ARMENIA, Kumyk, Komi, Cornish, Kirghiz, Latin, Luxembourgish, Lezghian, Lingala, Lithuanian, Latvian, Malagasy, Marshallese, Maori, Macedonian, mo, Maltese, Norwegian Bokmål, Low German, Dutch, Norwegian Nynorsk, Norwegian, South Ndebele, Pedi, Nyanja, Occitan (post 1500), Oromo, Ossetian, Polish, Portuguese, Romansh, Romanian, Russian, Yakut, Scots, Northern Sami, Selkup, sh, Shuswap, Slovak, Slovenian, Samoan, Southern Sami, Lule Sami, Inari Sami, Skolt Sami, Somali, Albanian, Serbian, Swati, Southern Sotho, Swedish, Swahili (macrolanguage), Tajik, Turkmen, Tagalog, Tswana, Tonga (Tonga Islands), Turkish, Tsonga, Tatar, Twi, Tuvinian, Ukrainian, Uzbek, Venda, Vietnamese, Volapük, Votic, Walloon, wen, Wolof, Xhosa, Yapese, Yoruba, Zulu, Akan, Aragonese, ber-dz, Crimean Tatar, Kashubian, Ewe, Fanti, Filipino, Upper Sorbian, Haitian, Herero, Javanese, Kabyle, Kuanyama, Kanuri, Kurdish-TURKEY, Kwambi, Ganda, Limburgan, Mongolian-MONGOLIA, Malay (macrolanguage), Nauru, Ndonga, Navajo, pap-an, Papiamento-ARUBA, Quechua, Rundi, Kinyarwanda, Sardinian, Sango, Shona, Sundanese, Tahitian, Zhuang.

    Non-Latin scrips include Noto Armenian, Noto Georgian, Noto Carian, Noto Greek, Noto Devanagari, Noto Ethiopic, Noto Glagolitic, Noto Hebrew, Noto Sans Imperial Aramaic, Noto Sans Lisu, Noto Sans Lycian, Noto Sans Lydian, Noto Sans Old South Arabian, Noto Sans Osmanya, Noto Sans Phoenician, Noto Sans Shavian, Noto Sans Tamil, Noto Sans Thai, Noto Serif Thai, Noto Sans Kannada, Noto Sana Telugu, Noto Sans Malayalam, Noto Sans Cherokee, noto Sans Bengali.

    Other typefaces in the package include Arima, Cousine, and Tinos. [Google] [More]  ⦿

    NTI and Nunavut Worldwide

    Designers of the Inuktitut fonts Tunngavik and Tunngavik Bold (1997). They can be downloaded here. [Google] [More]  ⦿

    Nunacom font

    Free Inuktitut font by Krista Thompson, Nortext Multimedia (1998). [Google] [More]  ⦿

    Nunavut's languages

    In support of Inuktitut, the Languages Commissioner of Nunavut recommends the use of new "Unicode compliant" syllabic fonts. It has Pigiarniq and Uqammaq for free download. [Google] [More]  ⦿

    Oinuit
    [Apostolos Syropoulos]

    The "oinuit" system is a set of Lambda (Omega LaTeX) typesetting tools for the Inuktitut language. Developed by Apostolos Syropoulos, it comes bundled with some of his type 1 fonts, such as the Inuit family (2002). [Google] [More]  ⦿

    Osiyo Dohitsu NF

    A commercial Cherokee font created in 2006 by Nick Curtis. He writes: This rugged typeface is based on letterforms in the Cherokee Syllabary, reputedly devised by a gentleman named Sequoyah in the early nineteenth century. In addition, Native American petroglyphs---some authentic Cherokee designs, some from other tribes---are included in several positions. The name of the typeface, however, is authentic Cherokee, and can be loosely translated as Yo, whuzzup? [Google] [More]  ⦿

    Pancho López

    Graphic designer in Guadalajara, Mexico, who made Miami Deco (2011, a multiline art deco jewel), Poiret 1940s (2012, art deco), Juke Box (2010, retro type), El Solitario (2011, an Italian Western typeface, a redesign of an earlier type by Francisco Bustamante), Arcan Magic (2012, an alchemic typeface based on Cherokee Indian symbology), OK Mr Lopez (2012, open caps face), and Bardot Type (2012, a fashion mag typeface). [Google] [More]  ⦿

    Patrick Giasson

    Patrick Giasson runs Behaviour Design in Montreal. He studied type design at Reading in 2004, and worked for some time at Wolff Olins and Agfa Monotype UK. At ATypI 2005 in Helsinki, he spoke on The typographic inception of the Cherokee syllabary. He states: "A Cherokee man named Sequoyah single-handedly invented the Cherokee script at the beginning of the nineteenth Century. In a reversal of the usual process, Sequoyah explicitly developed the syllabary in a shape which would make it--in his own words--suitable for print, and deliberately took inspiration from Latin typography for the design of some of its characters. The actual translation of the syllabary into print further involved typographic considerations to establish its definitive forms. In what represents an exceptional case in the history of writing systems, the cherokee syllabary can be considered an essentially typographic syllabary." His typefaces include:

    • Molotov (Thirstype).
    • Oz (1998-1999, Thirstype). A revival of Oswald Cooper's family.
    • The Royal Family (Thirstype).
    • Proton (1994: [T-26] and 2Rebels) .
    • GE Inspira (2004). Done for GE's brand with the help of in-house Agfa designers.
    • As a graduate student in Reading in 2004, he designed Median, a typeface that has Latin and Greek components that are well adjusted, considering that the axes of both scripts are so different.

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

    pDAM for Unified Canadian Aboriginal Syllabics

    At Michael Everson's page, a proposal for the inclusion of the Canadian Syllabics character repertoire in ISO/IEC 10646. [Google] [More]  ⦿

    Peter Hyde

    This page includes the Chippewa/Ojibway truetype font created by Peter Hyde at Maskwachees Cultural College, Hobbema, Alberta, in 1993. Check also his Cree font (1993). [Google] [More]  ⦿

    Peter Saali

    Designer of the Inuktitut fonts ProSyl and ProSyl Bold (1996). They can be downloaded here and here. [Google] [More]  ⦿

    Place (or: We Are Place)

    Design studio in Buenos Aires. Their typefaces include the macho semi-stencil face Sudamérica (2011) and the contemporary Inca-inspired beauty called Aymara (2011). Behance link. [Google] [More]  ⦿

    Quartet Systems
    [Eric Wannin]

    Eric Wannin's French commercial foundry with PC and Mac fonts for all European languages, most Indic languages, Cyrillic, Vietnamese, Amharic, Inuit, Slavonic, Greek, Tibetan, Thai, Lao, Khmer, Burmese, Cri. Hieroglyphic fonts too. Free font family: EuroQuartet. These fonts have one glyph only, the Euro symbol. It has some bar code fonts too.

    Multilingual fonts. They cover Braille, East European languages, Turkish, Baltic, Cyrillic, Icelandic and Greek. According to the Google] [More]  ⦿

    Rafael Saldaña

    Mexican creator of the teddy bear alphading family Rilakkuma (2011).

    The dingbat font Mayan Glyphs (2012) is based upon Mayan glyphs from the Catalog of Maya Hieroglyphs (1962, J. Eric S. Thompson, University of Oklahoma Press), pages 719 to 781. Dotgrid (2012) is a textured and pixelized typeface. Circles and Sticks (2012) uses only arcs and straight line segments.

    In 2014, he created Ribbons.

    Devian Tart link. [Google] [More]  ⦿

    Ray Taylor
    [AiPaiNunavik Font]

    [More]  ⦿

    Rebeca Hinojos

    During her graphic design studies in Chihuahua, Mexico, Rebeca Hinojos designed an unnamed typeface family that was inspired by native American symbolism (2013). [Google] [More]  ⦿

    Robert E. Leuschke
    [TypeSETit]

    [MyFonts] [More]  ⦿

    Robert Mirek
    [Larson Mirek Design (or: LMD)]

    [MyFonts] [More]  ⦿

    Rodrigo Valenzuela

    Chilean type designer who graduated from Universidad Tecnológica Metropolitana de Santiago de Chile. Award winner at Tipos Latinos 2010 for his experimental typeface Maipo (2009, a precolombian native face). At Esos tipos de la UTEM, one can download both Maipo and La Vega Fraktur (2008). [Google] [More]  ⦿

    Ronald B. Ogawa
    [UCAS font]

    [More]  ⦿

    Ronnie Cruz
    [Cyberian Khatru]

    [MyFonts] [More]  ⦿

    Roy Boney

    Type designer for the Cherokee language. He and Joseph Erb explained the Cherokee font design problems at ATypI 2011 in New Orleans. [Google] [More]  ⦿

    Rutger Paulisse
    [GWER]

    [More]  ⦿

    Sarah L. Roberts

    During her graphic design studies at Leeds College of Art, Sarah Roberts created an arrowed typeface called Native Americans (2012). [Google] [More]  ⦿

    Shell LINUX

    An 8MB file with the Microsoft core fonts, and some fonts for other scripts such as PalatinoLinotype, Raavi, Shruti, Sylfaen, Gautami, Tunga, Latha, Mangal, EstrangeloEdessa. [Google] [More]  ⦿

    Shen Design
    [Juliet Shen]

    Born in New York where her father was a translator for the United Nations, Juliet Shen (Shen Design) graduated from the University of Reading in 2006. Creator of Bullen (2006), named after Henry Lewis Bullen of ATF fame. It was inspired by typefaces found in the ATF catalogs. This quirky typeface was added to the Font Bureau catalog in 2011.

    Juliet was a speaker at ATypI 2007 in Brighton on Searching for Morris Fuller Benton. She currently is the principal of Shen Design, a graphic design studio she founded in 1989, and has taught design and typography at School of Visual Concepts, Cornish College of the Arts and Art Institute of Seattle.

    Current projects include type design for the University of Oxford Press children's division: in 2007, she made the Earlybird type family for Oxford University Press's educational division.

    In 2009, she made Lushootseed School and Lushootseed Sulad fonts for the Tulalip Tribes, Washington State.

    Speaker at TypeCon in 2007 and 2008 and at ATypI 2009 in Mexico City. Speaker at ATypI 2013 in Amsterdam. Her Font Bureau bio mentions that she started out as a painter and became a graphic designer later.

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

    Simone Schöpp

    Simone May (b. 1962, Wuppertal, Germany) studied type design, typography/book design and free illustration in Wuppertal and Essen. She has been working independently as a freelancer for various design agencies and a publishing house since 1990. She has published a number of typefaces at FontShop International and other typefoundries.

    Creator of fun fonts such as BB BadBlocks EF (1994), BB Candy EF (1995), BB Comanche EF (1995), BB Mao-Mao EF (1994), BB Miro EF (1995, her best font, of which Joan would have been proud), BB Ninive EF (1995), BB Sioux EF (1995), BB Stayawhile EF (1994), BB Truck EF (1994), BB Xabbie EF (1994), Luzie (spooky), A Lazy Day (FontFont), Littles (FontFont).

    FontShop link.

    It is a bit of a mystery why FontShop calls her Simone May. Also, FontShop says that she designed Beasty Bodies, while MyFonts credits this 1993 design to Günther Flake and Gisela Will.

    View Simone Schöpp's typefaces. [Google] [MyFonts] [More]  ⦿

    Siouan Fonts

    Standard Siouan truetype fonts: includes Dakotanist fonts (orthographies of Riggs, Williamson, Boas&Deloria, and Buechel), BAE fonts (orthographies of Dorsey, LaFlesche, and Swanton), Siouan phonetic fonts, Siouan ANSI fonts. Free. Page by John Koontz. [Google] [More]  ⦿

    Siouan Fonts in BDF format

    Siouan fonts in BDF format (X-Windows screen fonts), brought to you by Christophe Schneiderhan. [Google] [More]  ⦿

    Sofia Dezaki

    Navajo tribal symbols inspired Barcelona-based Sofia Dezaki's typeface Navajo (2014). [Google] [More]  ⦿

    Solvita Marriott

    Designer in Modesto, CA, who created the ornamental caps typeface Native Voices (2012). She also made beautiful typographic posters entitled Berlin (2012) and Languages Matter (2012). For Trattortia Sorrent Panini, she made a custom art deco typeface. [Google] [More]  ⦿

    Southern Software Inc. (SSi)

    SSi sells foreign fonts for Arabic, Urdu, Greek, Hebrew, Armenian, Baltic, Burmese, Cherokee, Cyrillic, Cree, Simplified Chinese, Ethiopian, Inuktitut, Gaelic, IPA, Japanese, Korean, Laotian, Mayan. Farsi, Punjabi, Sanskrit, Syriac, South Arabian, Tamil, Thai, Tibetan, Turkish, Ugaritic, and Vietnamese. Plus musical dingbats. Of course, they did not make a single of these fonts themselves. [Google] [More]  ⦿

    Stepan Roh
    [DejaVu Fonts]

    [More]  ⦿

    Stephen McBride

    Stephen is based in Kansas City, MO, formerly of Edwardsville, KS and Earle, AR. He was the man behind the SWMCA catalogs, an ex-signpainter who is now turning his typefaces into digital fonts.

    Creator of the free hand-printed font Tribal (2012). The explanation is interesting: Tribal was first drawn in 1979 as Indian. For many years it was one of the most popular SWMCA fonts. Shortly there after there was a heavy movement among Native American tribes about being called "Indians". They'd constantly complain that they weren't from India or an Arabic nation. In response, SWMCA changed the name to Typeface (later Typefont) of Native American Honor. It was redrawn in 2012 and sent to Font Panda to be digitalized and came back more "liquidity" and much more playful than the original. Tribal was followed by Tribal Schoolhouse (2012).

    In 2013, he designed the hand-printed typeface families Fun Euro Schoolhouse, 2013 SWMCA Demo, Watermelon Stand, 2013 Demo of Cadaver's Script (eerie), Midtown Roman, Hexagonal Delight (angular script), Ol West Rustik, Disco Grudge and 12 Steps.

    Typefaces from 2014: Area 51 UFO (+Apocalypse, a glazkrak typeface).

    Dafont link. [Google] [More]  ⦿

    Steve Cloutier

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

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

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

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

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

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

    Steve White
    [GNU Freefont (or: Free UCS Outline Fonts)]

    [More]  ⦿

    Sylvia Prats

    Graphic designer in San Diego, who created the alchemic typeface Navajo (2012). Behance link. [Google] [More]  ⦿

    Tatiana Rusalovskaya

    Under the supervision of Igor Mustaev, Tatiana Rusalovskaya designed the modular logotype Totem (2011) at the British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

    Thalia Echevarria

    Lima, Peru-based designer of Quota (2013, a display typeface) and Shipibo (2013), a display typeface that is inspired by the aesthetics of the ethnic population of the Peruvian Amazonian that live near the rivers in Ucayali. She also designed an artistic set of pictograms.

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

    The Linguist List

    Edited by James Yuells, this site offers links for foreign typography and phonetic fonts. Very helpful! They also have free phonetic fonts for the Mac, a Cree font (TTF for PC), and the SIL-IPA fonts. Alternate URL. [Google] [More]  ⦿

    The Linguist List: Web Resource Listings

    [More]  ⦿

    Thomas Ridgeway

    Thomas Ridgeway (d. 2005) held a Ph.D. in Asian linguistics. He was Director of the Humanities and Arts Computing Center, University of Washington, Seattle WA, where he worked until around 2002. He is the author of

    • Poorman: Free fonts (metafont/bitmap/pk) for Chinese and Japanese, developed in 1990. As Ridgeway explained: pmC and pmJ are less than ideal implementations of Chinese and Japanese for TeX. Less than ideal because they use fonts based on 24x24 dot-matrix fonts, and don't do vertical format typesetting and so forth.
    • IPBS (Indo-Persian BitStream Charter): a free font family in truetype with these fonts: IPbschtrBoldItalic, IPbschtrBold, IPbschtrItalic, IPbschtrNormal. The fonts were modified by Richard J. Cohen, from "HACC Indic" by Thomas Ridgeway (1993), which is based on "BitStreamCharter," a font in the public domain. Richard Cohen is with the South Asia Regional Studies Department, University of Pennsylvania.
    • WNTamil: a Tamil metafont created by Ridgeway in 1990. Hal Schiffman writes: I worked together with Tom Ridgeway to design this font, at my instigation, since I needed it for my dictionary, and he knew METAFONT. (He did not know Tamil, although he did know Hindi.) We spent many Friday mornings designing the glyphs. He would write the code and run the program, and I would then critique it, and then we would run it again until we had an acceptable glyph. But I realize he thought of himself as the sole developer, which is why he registered it in his name. Afterwards we tweaked some of the glyphs, and Vasu Renganathan worked on later versions, too, so the authors of this font should be listed as myself, Ridgeway, and Vasu Renganathan. Anshuman Pandey from the University of Washington took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF). This set was used in the GNU Freefont project.
    • A phonetic typeface was designed by Thomas Ridgeway for a large subrange of American Indian languages. The first active projects using this were in Salish and Navajo. In the case of Salish, Tom's font was based on a Lushootseed alphabetic script was developed by Thomas Hess.
    [Google] [More]  ⦿

    Tiro Polyglot Fonts

    Tiro Polyglot Fonts offers Pigiarniq, a free Inuktitut font family made by Wm. Ross Mills (Tiro) for the Government of Nunavut, Canada. It also has Uqammaq which was developed for Nunavut Tunngavik Incorporated. The web site also contains useful information on the history of various North American scripts, and is maintained by Wm. Ross Mills. See also here for Pigiarniq. [Google] [More]  ⦿

    Tiro Typeworks

    Ross Mills Hudson at Tiro Typeworks makes these fonts for native (Canadian) Indian languages available to the public: Euphemia (2004), Pigiarniq (2001-2002), Uqammaq (2002). Euphemia covers most languages which use the Canadian Syllabic script including various Cree orthographies, Inuktitut and the historical Carrier/Dakelh script (dulkw'ahke). [Google] [More]  ⦿

    Tiro TypeWorks
    [John Hudson]

    John Hudson and Wm. Ross Mills, the co-founders of Tiro Typeworks, design wonderful top-of-the-line fonts in Vancouver. From the TIRO web page: TIRO TYPEWORKS is an independent digital type foundry developing&marketing high quality typeface families for PC and Mac platforms. Our commitment is to continuing the independent tradition of typography, as it has existed for more than five hundred years, free from the influence of fashion and novelty. Tiro is increasingly involved in font technologies, and are avid advertisers for OpenType and work often with Microsoft and Linotype on projects. Interview in 2008 by Hiba Studio. Tiro's typefaces:

    • Academia (1997, by Mills).
    • The titling and display typeface Aeneas based on classical Roman capitals. This incomplete typeface was created by John Hudson based on glyphs drawn by an Austrian designer.
    • 1530 Garamond (one of the most beautiful and faithful revivals of Claude's creations), by Mills.
    • Manticore (John Hudson's own absolutely magnificent brainchild).
    • Plantagenet (by Mills).
    • Sylfaen was designed for Microsoft in 1998 by John Hudson and Wm. Ross Mills of Tiro Typeworks, and Geraldine Wade of Monotype Typography. Sylfaen is a Welsh word meaning "foundation"; an apt name since the font stemmed from research into the typographic requirements of many different scripts and languages. Sylfaen supports the WGL4.0 character set, for Pan-European language coverage. In addition to Latin, Greek and Cyrillic letterforms, the font contains the characters necessary for support of the Armenian and Georgian languages. [Download site, see also here].
    • Hudson also does corporate identity work, such as HeidelbergGothicOsF (done for Heidelberger based on NewsGothic). Other clients included Microsoft, IBM and Apple.
    • In 2001, Mills developed Pigiarniq (Download site), a multiscript typeface for native American languages. This project was commissioned by the government of Nunavut, a new Canadian territory. Note: please visit the page on James Evans' type cutting methods: it was this missionary who developed the Cree writing system which was later adapted for use with Inuktitut.
    • Winner with Mamoun Sakkal and Paul Nelson at the TDC2 2003 competition for Arabictype.
    • In 2003, he is publishing unicode-compliant fonts called SBL Greek, SBL Hebrew and SBL Latin, at the Society for Biblical Literature.
    • In 2004, winner of an award at TDC2 2004 with Nyala, an Ethiopic text face, which has a nice Latin component as well.
    • Hudson and Mills have, to date, designed and built fonts for the Arabic, Cherokee, Cyrillic, Ethiopic, Greek, Hebrew, Inuktitut (Canadian Aboriginal Syllabics), extended Latin, and Ogham scripts. These include, for example, Adobe Hebrew (2000-2008).
    • Constantia (2004, a beautiful OpenType family made for Microsoft's ClearType project).
    • Helvetica Linotype (2004), for which he received a TypeArt '05 award for the Cyrillic component.
    • Vodafone Hindi (2007, with Tim Holloway and Fiona Ross) won an award at TDC2 2008.
    • Gabriola (2008) is a script font by Hudson done for Microsoft---it is included in some Windows packages---see, e.g., here. It has many swashes and special ligatures, but it is not connected.
    • Athena Ruby (2012), a winner at the TDC 2013 competition. Client: Dumbarton Oaks Research Library & Collection, Washington DC.
    • Brill (2012, with Alice Savoie). Also a winner at the TDC 2013 competition. Client: Koninklijke Brill NV, Leiden, The Netherlands.
    • Slabo 27px and Slabo 13px (2013) are free Google Web Fonts. Optimized to be used at 27px and 13px, resectively, these fonts were created for use in online advertising.
    [Google] [More]  ⦿

    Tonia Williams

    Designer of the official 2005 font of the Cherokee nation, which was destroyed by Thomas Phinney: The 2005 official font by the Cherokee Nation and Tonia Williams, which I had looked at long ago, is not as bad, but still pretty awful. It can't decide whether it's monoline or if it's high-contrast Didone. No overshoots for the rounds. Inconsistent stroke weights. Inconsistent stress. Spacing needs to be thrown out and redone, because it's useless. But at least there are points at extrema. [Google] [More]  ⦿

    Traci Zellmann

    Designer of the native pottery painting-inspired typeface Pottery (2004). [Google] [More]  ⦿

    TransRoman

    Commercial Mac and PC fonts from Linguist's Software. These are useful for most European languages, as well as for these African languages: Acholi, Afrikaans, Anyi, Ashanti, Bantu (Zulu, Xosa), Bobangi, Buluba-Lulua, Chikaranga, Fulani-Adamawa, Ga, Kanuri, Kongo, Lu-Ganda, Masai, Mashona (Chiswina), Mole, Namaquah-Hottentot, Nyika, Shuna, Swahili, Tebele, Temne, Umbundu, Wolof, Yao, Yoruba, and Zulu-Kafir. And also for these native American languages: Caddoan, Chippewa (Ojibway and Otchipwe), Choctaw, Cree, Dakota (Sioux), Eskimo, Hupa, Iroquoian, Kalispel, Kwakiutl, Maidu, Muskokee (Creek), Navaho, Osage, Tsimshian, Zuñi. [Google] [More]  ⦿

    Trey Gaines

    While studying at the University of South Carolina in Columbia, SC, Trey Gaines created the alchemic typeface Native (2014). [Google] [More]  ⦿

    Tsalagi Cherokee
    [Lee Anne Phillips]

    Tsali_Cherokee fonts made in 1993-1994 by Lee Anne Phillips, and distributed by White Rose Foundry. Free. [Google] [More]  ⦿

    Tseshaht

    Download Nuu-Chah-nulth, a Latin font with the proper additional diacritics for reading stories in the American native language Tseshaht. [Google] [More]  ⦿

    Type Culture
    [Mark Jamra]

    Advertised as Mark Jamra's Portland, ME-based digital type foundry and an academic resource. There is an extremely useful research directory, a great jump point for learning about type and its history. The site also has useful articles such as Jamra's article on optical image support and his article on form and proportion in a typeface. Mark Jamra (b. 1956) lives in Portland, Maine, where he designs type and teaches letterform and graphic design at the Maine College of Art. He did postgraduate work at the Basel School of Design, Switzerland, 1980-83, then worked for URW in Hamburg (where he lived for 12 years), and set up Jamra Design there. He left Germany in 1995. Brief bio. Speaker at ATypI 2006 in Lisbon. FontShop link. Fonts by Jamra:

    View Mark Jamra's typefaces.

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

    TypeSETit
    [Robert E. Leuschke]

    Rob Leuschke was born in and lives in St. Charles, MO. A former lettering artist at Hallmark Cards (1983-1987), Rob Leuschke now has his own design businesses, Alphabytes and the new TypeSETit. He earned a BFA in graphic design at the University of Missouri at Columbia. He started freelancing in 1987. Rob has created over 250 custom typefaces. In addition, he made tens of calligraphic and other script faces. Ambiance BT is Rob's first typeface. Also, early on, he created the free emoticon font AairChat (1995). He used to run Alphabytes (dead URL). He founded TYPEsetIT in 2004. MyFonts place. In 2008, he took his fonts and site to P22.

    Fontsquirrel link. Fontspace link. FontShop link. Fontspace link. Interview. Pic. Another Fontspace link.

    An incomplete list of his creations: AlexBrush, Cherish, Ephesis, Hurricane, Ingrid Darling, Inspiration, Jackie-O, Licorice, Kolker Brush (2004, Western version of Japanese calligraphy), Love, Neanderthaw, Ruge Boogie (2004), Saliere, Send Flowers, Updock, Whisper, TheNautiGal (2006, connected script), Water Brush, Love Light, Passions Conflict, Mea Culpa, Beau Rivage, Good Vibrations, Great Vibes, Lovers Quarrel, GrechenFuemen, Moon Dance, MsMadi, Lavishly Yours, Bonheur Royale (2005), Fuzzy Bubbles, LA Heat (2005), Qwigley ROB (2005), Vujah Day, he added Kings Honor (2006), Kings Quest (2006), Kings Dominion (2006), RUSerius (2007, curly handwriting), QwitcherBychen (2007, calligraphic), Arizonia (2007, calligraphic, based on lettering seen on a truck), Road Rage ROB (2008, grunge), GreyQo (2008, calligraphic), FleurDeLeah (2008, flowery calligraphic), MySoulOne (2008), MooLahLah (2008, cow-spotted letters), SassyFrassROB (2008, calligraphic).

    MyFonts sells Alex Brush, Allison, Ambiance BT, ITC Arid, Arizonia, Babylonica (2008, a great connected brushy script), Beau Rivage, Bilbo, Bilbo Swash Caps (2011, Google Web Fonts), Bonheur Royale, Caramel (Crunch, Candy, Nuggets), Carattere, Cherish, ITC Chivalry, Corinthia (calligraphic but with slope errors on some connections such as between "o" and "r"), Ephesis, FleurDeLeah, Fuzzy Bubbles, Good Vibrations (2003), Grapenuts, Great Vibes (2012, Google Web Fonts), GrechenFuemen, GreyQo, Gwendolyn, Holiday Font, Hurricane, Imperial Script, Ingrid Darling, Inspiration, Jackie O, Kings, Kolker Brush, LA Heat, Lavishly Yours, Licorice, Love Light, Lovers Quarrel (since 2012 at Google Web Fonts), Mea Culpa, MooLahLah, Moon Dance, Ms Madi, MySoulOne, Neonderthaw, Oh Ley, Oooh Baby, Passions Conflict, Petemoss, Qwigley, QwitcherBychen, RoadRage, Roelandt BT (2002), RUSerius, Ruthie (2003), Saliere, SassyFrass ROB, Send Flowers, Shalimar, Square Peg, Tapestry, TheNautiGal, Twinkle Star, Updock, VujahDay, Water Brush, and Whisper.

    Fonts made in 2009 at P22: Babylonica, RobsPickles, RoadRage, QwitcherBychen, the Caramel family (including Crunch, Candy, Nuggets). In 2009, he also published Italianno ROB.

    Typefaces made in 2010: Allura (see Google Web Fonts), Estonia Nouveau (based on calligraphy by Villu Toots), Estonia Regular, Estonia Swash, Island Moments, Neon Derthaw (neon light face).

    Typefaces from 2011: Robs Pickles, Waterfall, Monte Carlo (formal script), Genos (anthroposophic; includes Cherokee), Bilbo (free at Google Web Fonts), Playball (free connected signage or baseball script face at Google Web Fonts).

    Designs from 2012: Fuggles, Explora (a delicate calligraphic script face).

    Typefaces from 2013: Style Script.

    Typefaces from 2014: Praise Pro (signage script), Ise Sport (flared font).

    Showcase of Rob Leuschke's typefaces at MyFonts. View Rob Leuschke's fonts. [Google] [MyFonts] [More]  ⦿

    UCAS font
    [Ronald B. Ogawa]

    "This font implements the Unified Canadian Aboriginal Syllabics encoding as defined in Michael Everson's pDAM and includes some additional characters that were missing from the original proposal. " This is the BallymunRO family by Ronald B. Ogawa, 1999, St. Catharines, Ontario, Canada. It has characters for Cyrillic, Greek, Cree, Naskapi, Ojibwe and Inuktitut. See also here for these fonts. [Google] [More]  ⦿

    Unicode ISO 8859

    Description of character sets.

    • 8859-1 Europe, Latin America (Afrikaans, Catalan, Danish, Dutch, English, Faeroese, Finnish, French, German, Galician, Irish, Icelandic, Italian, Norwegian, Portuguese, Spanish and Swedish.)
    • 8859-2 Eastern Europe
    • 8859-3 SE Europe
    • 8859-4 Scandinavia (mostly covered by 8859-1 also)
    • 8859-5 Cyrillic
    • 8859-6 Arabic
    • 8859-7 Greek
    • 8859-8 Hebrew
    • 8859-9 Latin5, same as 8859-1 except for Turkish instead of Icelandic
    • 8859-10 Latin6, for Eskimo/Scandinavian languages
    [Google] [More]  ⦿

    University of Washington

    Huge metafont families for Old English (called wngb, or Washington Gerald Barnett), Washington Romanized Indic (called wnri), and Washington Puget Salish (called wnps, or Lushootseed, for American Indian languages). [Google] [More]  ⦿

    VADA Software Talen I-L

    Free fonts for Ibo, Inuit, Japanese, Kannada, Telugu, Malayalam, Kanuri, Khmer, Kikongo, Kikuyu, Kinya Rwardan, Hangul, Kpelle, Krio, Kru, Laotian, Latvian, Luba, Luo, Maltese, Oriya, Kannada, Malayalam, Sanskrit, Pali, Punjabi, Marathi, Telugu, Hindi, African languages such as Mandinka, Mende, More, Ngala. Plus Navajo, Oromo, Ogham, Phoenician. [Google] [More]  ⦿

    VADA Software Talen M-Q

    [More]  ⦿

    Vanessa Zuñiga

    Vanessa Zuniga (Amuki) is a graphic designer in Loja, Ecuador. She created the experimental typeface Pacha (2010), which is based on old Indian patterns. Lineas Y Puntos is a bribeware display typeface created in 2014.

    Amaru Creador won an award at Tipos Latinos 2014.

    Behance link. [Google] [More]  ⦿

    Victor Daniel Sheckels

    Des Moines, IA-based artist. Alternate URL. Creator of the Mayan symbology fonts MaianNeptune (2007), MaianQuiet (2007), MaianTempest (2007). [Google] [More]  ⦿

    wats.ca

    Native font archive: Code2000, Pigiarniq-Bold, Pigiarniq-Italic, Pigiarniq, Pigiarniq-Heavy, Pigiarniq-Light. It also has AiPaiNutaaq. [Google] [More]  ⦿

    Wendy Elliott

    Designer of the free Canadian native font Nakaway. [Google] [More]  ⦿

    White Dragon Type Foundry
    [Arthur Durkee]

    Arthur Durkee is the designer at White Dragon Type Foundry (earlier: Black Dragon Productions) in 2000-2003 of the native American font Dakota, on commission from the Dept. of American Indian Studies at the University of Minnesota. Other fonts by Durkee: Futura Exotic AD (1998), Roughcut AD (1997), 26RueduDepartScrawl (2003), 26RueduDepartSophist (2003), 26RueduDepartSpearfisher (2003), 26RueduDepartSyllabus (2003), FractalOne (2002), Scraggle (2002), SmithWessonCorona (2003), UNAmericanTypewriter (2002), Undieline (2002). [Google] [More]  ⦿

    Will-Harris House
    [Daniel Will-Harris]

    General typography site run by Daniel Will-Harris (USA). In Type pairs, he lists pairs of fonts that go well together. His Architect Pack has six truetype fonts (Mr.Hand, Sketcher, Stamped, Scribble, Heavyhand, and Glasgow) for 42 dollars. Not sure if he made the Petroglyphs and Bride of Petroglyph fonts. Other fonts: Americratica (medieval lettering simulated). You can also buy fonts by Judith Sutcliffe and David Rakowski. [Google] [MyFonts] [More]  ⦿

    WinMac Dene Fonts

    Jim Stauffer's page on Dene fonts, with lots of downloads for Mac and PC for Dogrib, Chipewyan, North Slavey and South Slavey. (These are Athabaskan languages of Canada's Northwestern Territories.) [Google] [More]  ⦿

    Wm. Ross Mills

    Designer (b. Vancouver, 1970) of high-quality faces at Tiro Typeworks in Vancouver, which he co-founded with John Hudson. He created Plantagenet (1995, a great transitional type family: the OpenType extension of 2004 is called Plantagenet Novus), 1530 Garamond (1994), and Academia (1995), three full font families. Academia2 (Mills, 2006-2007) is a complete redesign of the 1996 sans family.

    In 2000, Tiro was commissioned by the government of the new Canadian Arctic territory of Nunavut to design a set of Inuktitut and Latin script fonts. That font family is called Pigiarniq (Mills; see also here). He is working on Maxwell (also since 2005), a text typeface designed for the typesetting of mathematical and scientific texts.

    With Marian Bantjes, he created the ornamental font Restraint (2007), which won an award at TDC2 2008.

    The book family Huronia was designed from 2005-2010. The Pro version, which is currently in development, expands upon the standard character/glyph set, with targeted language and script support for languages of the Americas, including Canadian Syllabics, Cherokee, Latin and Latin derivatives for Americanist orthographies, IPA and support for arbitrary accent positioning. Polytonic Greek will also be included in the Pro version. It was published by Rosetta Type in 2013. There are small differences in language coverage between the original font from 2010 and the Rosetta version of 2013, but they promise that these will be evened out. PDF file of the 2010 original.

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

    WorldScript Macintosh Support

    WorldScript: language utilities for the Mac (free downloads). Includes Turkish, Cherokee, Uralic Cyrillic, Georgian, Icelandic, Maltese, Vietnamese, Celtic, Intuktitut, Greek and Coptic support. Page maintained by Michael Everson. [Google] [More]  ⦿

    Xavier Orssaud

    French graphic designer who lives and works in Montreal. He created Abu Latia (2012), a hand-drawn poster typeface family for Réseau Santé Étudiant du Québec (RSEQ). In 2012, he also designed a set of 21 animal icons, Toto T'Aime, that were inspired by native totems. In 2014, he created NeoNeon. [Google] [More]  ⦿

    XenoType Technologies

    Commercial outfit with language kits (including fonts) for these languages: Burmese, Cherokee, Inuktitut, Kannada, Lepcha, Limbu, Lontara, Malayalam, Sinhala, Telugu, Tibetan, Bassa, Cambodian, Ethiopic, Laotian, Saurashtra, Sylheti, Tai Le, Tamil, Assyrian (Syriac), Burmese, Georgian, Khmer. [Google] [More]  ⦿

    Yukon Native Language Centre

    The Yukon Native Language Centre, or YNLC, created the YNLC Csrefi font package (truetype) which can be used for eight Yukon languages. [Google] [More]  ⦿