TYPE DESIGN INFORMATION PAGE last updated on Wed Oct 17 01:20:39 EDT 2018
FONT RECOGNITION VIA FONT MOOSE
Author of The Book of Alphabets and Layouts, Designs, Scrolls, Panel Ends, Descriptive Matter: The Art of Metal Etching for Ornamental and Sign Purposes, Written and Illustrated by Al. Imelli (1922, Signs of the Times Publishing Co, Cincinnati, OH). Alternate link. Hathi Trust link. For a list of the alphabets in the book, scroll down and check this page.
Some of Imelli's alpabets inspired others to create digital typefaces. Examples:
Aceh, Indonesia-based designer (b. 1993) of the thin calligraphic typefaces Yesterday (2017: upright) and Jazzi Script (2017), and the swashy formal calligraphic typefaces Peaches (2017), and Sinday College (2017).
Typefaces from 2018: Karmila Script (a signature font), William Duke (a great formal calligraphic script), Differenlight (Spencerian calligraphic), Stipa Willington (formal calligraphic), Gatlik Saphir (formal calligraphic), Lile Dahliya (formal penmanship calligraphy), Bulgattie (copperplate calligraphy). [Google] [More] ⦿
Designer who lives in Buenos Aires and who teaches graphic design and typography at the Universidad de Buenos Aires. He has worked as an art director in prestigious Argentina-based studios, handling high-profile corporate brands such as Arcor, Marta Harff, Morph, SC Johnson, Danone, and Movicom. He runs Estudio Paul. Professor at Facultad de Arquitectura, Universidad de Buenos Aires. Co-creator, with Apostrophe at Apostrophic Laboratory, of Usenet (2000), FontCop I through IV (2000) and the pixel font family Cayetano. Published the dot matrix font Stardust with T-26 in 2000. Designed the gorgeous font Elektora in 2000. He developed with Michael Lynch a 17-font Tennis set of grid-based pixel fonts. At Typeworx, he published Reflex (2002), a commercial 6-style unicase font family. Another web site by Alejandro. Cofounder of DAS, a design studio in Buenos Aires.
Cofounder of Sudtipos (2003), where he does custom work and creates new typefaces.
Still at Sudtipos, he digitized the beautiful handwriting/calligraphic typefaces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script typeface Argenta (2004), Oxida (2005), the medieval script typeface Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type.
Herencia (2004, a handwriting typeface done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno typeface with a very thin Thin weight) are at Sudtipos.
The Bluemlein Scripts (2004-2005, Umbrella and Veer) are based on the calligraphic renderings of Charles Bluemlein, shown in a 1943 ink catalog: Miss Le Gatees, Mr Rafkin, Mr Keningbeck, Mr Lackboughs, Lady Dawn, Mrs Von Eckley, Mr Sheppards, Mr Dafoe, Mr Canfields, Mr Stalwart, Mr Sandsfort, Mr Leopolde, Mr DeHaviland, Mr Blaketon, Miss Stanfort, Miss Packgope, Miss Fajardose, Mrs Saint-Delafield, Mrs Blackfort, Mr Sopkin, Mr Sheffield, Miss Lankfort, Herr Von Muellerhoff, Dr Sugiyama, Dr Carbfred. (Note: Soft Horizon's Lainie Day (1993) is an earlier free font in the style of Lady Dawn and Mr Lackboughs). In 2011, that series was made available at Google Web Fonts.
Sudestada (2005, Sudtipos) is a handwriting script developed with Diego Giaccone. Cuisine (2005, Umbrella Type) is an informal bold script. Mousse Script (2005, Sudtipos) is based on Glenmoy, a 1932 Stephenson Blake typeface. Suave Script (2005) is a 4am jazz bar script. Ministry (2005) is related in style but less funky, Chocolate (2005) is for sales ads, and Cenizas (2005, with Angel Koziupa) is straight from an old manuscript.
Whomp (2006, Umbrella) was based on a partial sign-painting font by Alf Becker (1930s), and so was Buffet Script (2006, Sudtipos). Affair (2006, Umbrella) is swashy and calligraphic, while Candy Script (2007) and its italic version Sugar Pie (2011) are based on Argentina's market lettering. Galgo Script (2007) is a brush calligraphic font based on a design of Angel Koziupa.
Burgues Script (2007) is an ornate calligraphic script based on the lettering of calligraphy teacher Louis Madarasz (1859-1910) (award at TDC2 2008). Burgues Script, Adios Script (2008: it won an award at TDC2 2009), Feel Script and Sugar Pie all won awards at Tipos Latinos 2008.
Sinfonieta (2006) and Buffet Script are fifties style connected scripts. Feel Script (2007) is based on lettering that calligrapher and logo designer Rand Holub created in 1950 and that was subsequently captured in Intertype's typeface Monterey (1958). Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), Cuisine (2008, food advertising script), Pronto (2008, comic book style, by Alejandro Paul and Angel Koziupa), Grover (2004, rounded sans family), Grover Slab (2004). Burgues Script, Adios Script, Feel Script and Sugar Pie all won awards at Tipos Latinos 2008. Calgary Script (2008, Umbrella) is a pure signpainting job.
Accolades from all typophiles for his calligraphic wunderkind, Compendium (2008).
Speaker at ATypI 2009 in Mexico City.
The year 2010 starts off with a bang, five awards at Tipos Latinos 2010: a grand prize for Brownstone Sans, and four standard awards, for Semilla, Kewl Script (for food packaging and store windows), Calgary Script, and for Business Penmanship.
Typefaces from 2010 include the baseball lettering typeface Fan Script and the tattoo script face Piel Script (piel=skin), which was influenced by Burgues Script and more remotely by showcard lettering by B. Boley (1930s, Sign of the Times Magazine). Piel Script won an award at Tipos Latinos 2012.
He added one retro connected signage font to the Filmotype collection in 2012, called Filmotype Kitten (original from 1955). Filmotype Zephyr (2012) is an italic roman formal script. Filmotype Yukon (2012) is inspired by the classic Palmer style of penmanship.
Storefront (2012) is a swashy signage typeface based on an incomplete alphabet by Alf Becker.
His signage script typeface Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.
Typefaces from 2013: Rolling Pen (a connected script that recalls the business penmanship genre), Bellissima Script (based on a copperplate calligraphic alphabet from Bellezas de la Caligrafía by Ramón Stirling, 1844).
In 2014, he helped Panco Sassano, a lettering artist and illustrator from Mar del Plata, who designed the wide connected semi-calligraphic handwriting typeface Horizontes Script (Horizontes subsequently won an award at Tipos Latinos 2016). Still in 2014, he published the fat packaging or signage script Bowling Script, which is based on Freely Drawn Italic, a non-font alphabet by Ernst Bentele (1953).
In 2015, Alejandro Paul, Yani Arabena and Guille Vizzari combined forces in the signage script typeface Quotes (Script+Caps) (2015, Sudtipos).
Merengue Script (2015, with Panco Sassone) is a fun creamy script, ideal for pastry shops, tea rooms or supermarkets.
Steak (2016) is a connected vintage signage script based on an Alf Becker design.
Envelove (2017) is a script typeface family consisting of Script, Icons, and Caps, designed at Sudtipos by Yani Arabena, Guille Vizzari, and Alejandro Paul. Winner at Tipos Latinos 2018 of a type design award for Envelove.
Still in 2017, Guille Vizzari and Alejandro Paul co-designed the great Moleskine notebook-inspired typeface family Proprietor. Proprietor comes in Script, Icon, Deco, Wide, Open and Roman styles. It won an award at Tipos Latinos 2018.
Rigatoni (2017): A skyline didone based on mid-20th century example by Eugen Nerdinger.
Bibliophile Script (2017). A pair of copperplate calligraphic typefaces.
Winner at Tipos Latinos 2018 of a type design award for Tennis Set, Bibliophile Script, French Bulldog, Envelove, La Taqueria, and Speakeasy Set (a collection of (copperplate) script, sans, modern, flare and gothic substyles). [Google] [MyFonts] [More] ⦿
Aka Saint-Sanches. Saint Petersburg, Russia-based designer of Italian Roundhand (2017), a Latin / Cyrillic typeface based on the work of C.P. Zaner, ca. 1900. Other typefaces from 2017 include Unadorned Hairline (perhaps a silent movie font) and Skeleton Letters (a curly decorative monoline typeface family, with monogram ornaments). Creative Market link. Behance link. Graphicriver link. [Google] [More] ⦿
Russian designer of typefaces who collaborates with Ivan Zeifert and specializes in revivals, cyrillizations and beautiful digitizations, some of them done with Anatole Gophmann. There have been complaints about her practice of borrowing fonts from type designers without asking. One typophile writes: I have cracked open fonts she claims as hers, Bolero, Bickham and others, she has copied and pasted glyphs, copyright data, added Cyrillic and changed the copyright string. As an example, Angelica is a copy of Alejandro Paul's Miss Fajardose. Alejandro has drawn the numerals in his font in 2004 to accompany the letters found in an old catalog of alphabets. There is no other source of the numerals, and Angelica has them. Michael Clark writes: I initiated a battle with the illustrious Alexandra "Bitch" from Russia who has renamed Pouty (FontBureau) and copyrighted [it as] Bolero. She and her partner Anatoly shithead. Available on Fonts101.com for anyone who wants it free. The ass's site, Jagdesh, is in Pakistan and we cannot touch him. 260+ viewings and 140+ downloads. Let's see that is 1400$ I will never see! Others have complained as well about her practice of taking and extending fonts without permission. Anyway, her "fonts" are:
English calligrapher, b. 1895, Grimsby, d. 1982, Hove, Sussex. Student at the Central School of Arts and Crafts, disciple (in his own words) of Edward Johnston. In 1921, he co-founded the Society of Scribes and Illuminators, and was honorary secretary from 1931 to 1933.
He wrote several books on handwriting, including A Handwriting Manual (1932), many times reissued. In 1932, Alfed Fairbank proposed Dryad Writing for schools. It is a connected regular and legible style of writing that was influenced by Francisco Lucas (16th century, Spain), and could be called chancery script. After the Second World War he founded the Society for Italic Handwriting.
His only typeface was the first italic for Monotype, Bembo. This was not the italic that was put out for general use, and was eventually released (in 1928) as Bembo Narrow Italic. It is sometimes referred to as Fairbank Italic. The Bembo family is of course due to Stanley Morison at Monotype, after models of Francesco Griffo and Giovanni Tagliente. It has digital reinterpretations such as Bamberg Special (Softmaker) and Bergamo (Softmaker).
Dutch penman (b. Utrecht, 1657 or 1658-1718) who published Exemplaar-Boek Jnhoudende Verscheyde nodige Geschriften. Geschreven en Gesneden in Amsterdam in 1679, and Schat-Kamer van Verscheyde Geschriften in 1685. Perlingh became a citizen of Amsterdam in 1683. He kept a boarding school where calligraphy was taught. The first issues of the books written by Perling were published at his own expenses, the later ones were published by members of the family De Broen, engravers and publishers in Amsterdam. Ambrosius Perling reached a high fame during his lifetime as the last writing master who could hold in honor the calligraphic tradition of the Dutch republic. De Broen advertised his scripts as produced by the jewel of the writing masters and in fact the fame of Perling as unsurpassed calligrapher lasted well into the XIXth century, both in Holland and abroad.
Croiset van Uchelen writes: While 16th and early 17th century Italian handwriting had still been formed in a rather compressed and angular manner, the Dutch masters developed a broader and more rounded variant which, so far as writing line is concerned, was written at a wider sloping angle. This hand, which could be written more quickly, was imitated and developed further by a number of English masters ....
S. Morison in his introduction to the book of Heal on the history of 26 27 calligraphy in England stresses the important role played by Perling alongside the Frenchmen Barbedor and Matherot. Specimens of Perling's writing were reproduced by English masters as Snell, Champion and Bickham. Also in Spain Perling's influence was felt, as demonstrated by the insertion of a letter by him in the manual of Servidori (1787).
Spanish penman who produced two writing books between 1583 and 1612. A facsimile of these was printed by Mardersteig (Officina Bodoni) for The Pegasus Press in Paris in 1928, in a 32-page book edited by Henry Thomas and Stanley Morison: Andres Brun, Calligrapher of saragossa, Sme account of his Life and Work, with a Facsimile in Collotype of the Surviving Text and Plates of his two Writing Books, 1583-1612. [Google] [More] ⦿
Author of Pen Lettering (1958), an interesting penmanship book. The construction of an alphabet as presented by Ian Taylor on his blog, based on Ann Camp's book, is fascinating. It all starts with a square, and within it, an inscribed circle and an oblong rectangle of area equal to the circle. All letters relate, as Ann Camp shows, to that basic structure. Ann's all caps skeleton alphabet obtained in this manner predates Avant Garde and Herb Lubalin by almost twenty years! [Google] [More] ⦿
Aroujo was a Portuguese calligrapher and a professor of writing and arithmetic. He also was a correspondent of the Imperial Academy of Science in St. Petersburg. Author of Nova arte de escrever offerecida oa Principe Nosso Senhor, para instrucção da mocidade... (1794, Lisboa, na officina de Antonio Gomes). [Google] [More] ⦿
Slovenian foundry which specializes in old typefaces found in old prints, books and samples. Typefaces are reproduced as they appeared in print. In order to preserve the original feel of typefaces, no additional characters were added to originals therefore most of fonts consist just of basic character set. Upper case letters, lower case letters, numerals and basic punctuation. It was set up in 2000 by Matevz Medja. Engraving style typefaces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter typefaces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic typefaces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other typefaces: American Shadow (2005), Lightface Extended (2005), Grotesque Shaded (2005), Gothic Ornate (2005), Antique Extra Condensed (2005), Antique Extended (2005), Ironlace (2005), Atlantique (2005), Mann (2005), Old Style Condensed (2005), Ribbon (2005), Salisbury Script (2005), Black Title Text (2005, blackletter), German Text (2005, blackletter), Archive Hands (2006, pointing fingers), Archive Woodchild (2006). Distressed typefaces: Archive Tale (2006), Archive Egipt Compressed (2006). In 2011, he published the Archive Garamond family, which is closer to the unpolished originals. The 2010 catalog has three parts:
Born in Auerbach, Germany, 1882. Died in Braunschweig in 1971. He studied at the Akademie für Kunstgewerbe in Dresden, and became professor there in 1920. During World War II, he was director of the Akademie für graphische Künste und Buchgewerbe in Leipzig. After a period as freelance designer, he finally moved to Braunschweig in 1960.
Drescher is best known for his large geometric Super Grotesk family (Schriftguss, 1930). The list of his typefaces:
Typefaces made in in 2008 as thalamic: Hello (connected upright script), Epilogie (blocks), WimSoft (+U/C), Chunk Chip, Konstruct (Russian constructivism face), Sensei Says, FS Tributary, Twotype Font, Urge (fat octagonal), Subliminal, FS United One, The Game of Type, Anaximander Zooom!, Corrupt and Corrupt Ed (piano key stencil fonts), Blueprint, Monomum, Synergy, Insert Coin Italic, Write I Careful, Write I Casual, Write I Dump, Loop UC, Loop LC, Emergic, Prick!, Insert Coins Pixels, Retro Electro, Bubble Lab IJ, Bubble Lab Bang, A Needle Pulling Thread, Send, Scan (IBM logo look), Intermittent and Intermittent Sans (stencil typefaces), Melt x DR and Melt x tDR (dot matrix), Oval x DR and Oval x tDR (original design by theDesignersRepublic for Issey Miyake), On Grid, Indigo (almost blackletter), orange_2 (dot matrix), Scan (horizontal stripes), Bass, Grape (simple pixel face), Nachahmung and Nachahmung Block (fat and extra condensed, Wim Crouwel simulation typefaces), Nachahmung Block Serif, Conjunction, Interjection, Is It, Sangular (nice experiment), Anonon (nails in square letters), Purple and Purple Very (slab serif headline typefaces, pixelized), Arc Echo (biline and strutted), The Question (a fantastic 3d paper fold imitation face), FS Minimal (a fantastic ultra fat decorative face), FS FontStructor, Vibrant (multiline labyrinthine or op-art face), Writ (upright pixel script), Castor, Ooki (octagonal), Industrial, The I Flat, The I, Indiscrete, Analog (connected script), Dent (mechanical), Digital (connected script), Hello Hello, and Sensei Says.
In 2009, he made Clone It, Entwined, C64, Helix, Fontsration, Bent, Stripe Zoo, Dull, Indent (stencil), Quartertined (kitchen tile), Firox, Orfix, A Priori, Ignore, Confused, S-Ookii, Ookii (octagonal), Very Becoming, Crisis Averted, Crisis (neat bold octagonal face), Penmanship, Up All Night, Sleep All Dayi, Chunk Chip, Grayletter (upright script), Soso, Mostly Harmless (textured face), Etched, La Cross, Twotype, Etched Bare, Aught (One, Two, Three), as: Inflate (Pop, Pfft, Puff, Poof), Istic, Very Becoming, Ignore, Ought, Balance, Broken, Dry Flat (dot matrix), La Cross, Etched (+Bare), Fontsration (+Refined: multilined beauties), FS Institutional (fat multiline face), FS Industrial, FS Pixelayers.
Additions in 2010 as thalamic: fs Section, fs Reboot, fs Easy DNA Auto Stencil, fs Institutional (+Ho, +Elements), fs Quartertined, fs Stencil 2.0, fs Rivet, fs Intaglish, fs Dumb Italic, fs Loop Gap, fs GoTeam (stencil), fs ITilic, fs Kerplunk (Startrek face), fs Dumb Italic, fs Ribbon, fs Beringer, fs Ooki Woodcut, fs Croissant (stencil), fs 45 (octagonal stencil), fsXO, fs Pipe, fs Confused Less.
Fonts from 2011 as thalamic: fs Xenon (a paperclip face), fs Instant, fs Twist, fs WIP (blackletter), fs Sparc, fs Reboot (texture face), fs Pod, fs Flute Tune, fs Special, fs Watch Out (stencil), fs Etched Nyle (labyrinthine face), fs No Kerning Required (2011, connected upright script).
Creations in 2012 as thalamic: fs Flip, fs Mom, fs Noise, fs Noise II, fs Junk, fs You Are Here, fs Flash (outlined), FS Easy Too (paperclip face), FS Strict, FS Fix, fs in three (octagonal stencil face), fs Single, fs Wakarimasen, fs r-failed (white on black), fs Permutation X, fs Pan Am, fs Institutional, fs Institutional 2, fs Chunky (counterless), fs Grayletter (textured face), fsXply (op-art).
Creations in 2013 as thalamic: fs So Not Right, fs Grid Urdu (pixel face), fs Not So Right, fs Six Sticks, fs Half (octagonal family), fs Bored, fs Make it Happen, fs Salvage, fs To Be Discarded, fs Connect (stencil), fs Whomp, fs Praxis, fs Fez (3d face), fs Input, fsTramp, fs Five Alive, fs Hote-Zyd (labyrinthine), fs Patterns (Layers, Quarters), fs Five Alive (origami font), fs Go To Sleep (retro speed font), fs Vaerktoj (inspired by the brand identity of Hoejmark Cycles), fs Permutation B, fs Jester, fs Permutation XII (op-art), fs Insatiable, fs Electronic, fs Carbon (a nice chequered face), fs When We Were Young (multiline typeface), fs Shogun Tiny (a lined kitchen tile typeface), fs Optical, fs When We Were Young (multilined), fs Slate, fs Shogun (gridded), fs Iie (+Filled), fs Blocky (dot matrix), fs Thalamic.
Creations in 2014 as thalamic: fs Perhaps, fs Perhaps Perhaps, fs Stability (Turmoil, Flux), fs Industrial (an artsy fat dot matrix face), fs Rehash, fs Ah, fs Curly, fs So, fs Flint, fs ICK (blackboard bold style), fs Wiggle, fs Grid, fs Ah.
Creations from 2015 as thalamic: fs B-Chain (bike chain font), fs Risque (art deco), fs Squangular (Impair, Square, Flair, Pair), fs Oval, fs MIP, fs Flower (kitchen tile face).
Creations as minimum: fs Chips (2014), fs Oh (2014, piano key style), fs Stack (2014, +Overflow), fs llljjj (2014), fs Turn Off The Sun (2014, beveled), fs Zag (2013 textured), fs Zig (2013, textured), fs Mullions (2013), fs The Italic (2013), Gridlock (2009), Mingle Minx (2009), Mingle Co (2009), Mingle (2009, gridded letters), Bevel (2009, 3d beveled family), illiij (2009, multiline family), m.ove.r (2009, multiline family), Grayscale (2009, multiline family), fs Cubed (2010, 3d-face), Bas Relief (2009, 3d face), Silver (2009, 3d face), Tin (2009), Lead (2009), Bevel (2009), Bevel Just (2009), Bevel Just Shadowed (2009), Ceci n'est pas une vague (2009), A Fault in Reality (2009, optical effect font), Blit Slash (2009, experimental), Blit Hack (2009), Dot Dot Hex (2009), Super Black (2009), fs Overlap (2010), fs Fabric (2010, texture font), fs Original (2010), fs Ink Blot (2010), fs Dots and Dashes (2010), fs I Square (2010), fs Squared Up (2010), fs Super Black (2010), fs Unoriginal (2010), fs Minimum (2010, geometric stencil face), fs Pin and Thread (2010, stitching face), fs Shade (2012, 3d face).
FontStructions from 2011: fs Perpetual (dotted line face), fs Slither, fs No Escape, fs Prompt (a DNA-inspired biochemical lab face), fs Plus H (horizontally striped face), fs Arc Test 2:2 (a modular blackboard bold face), fs V Simple (2010, textured face), fs Instant, fs Permutation V, fs Rehash Monoic (labyrinthine), fs Meta (texture face), fs Scroll, fs Scroll Not (stencil).
FontStructions from 2012: fs Translucent (a texture face), fs Bank, fs Shade, fs Confined (white on black), fs Institutional (+Vo, +HeVe, +Ho, +He, +Ve: texture typefaces), fs Bang, fs Random (textured face), fs Random Pattern, fs Lead, fs Tin, fs Silver, fs Tungsten.
Typo Script is a Spencerian script in the ATF library, cut by them in 1902. However, many similar scripts existed around that time. Mac McGrew explains: Typo Script is a group of ATF typefaces, most of which have little or no relation to each other except that all are intended for use on stationery, invitations, and other social printing, and are imitative of the work of copperplate and steelplate engravers. Several members of the group were originally named Tiffany; the name apparently was changed late in 1906, although a few typefaces were still shown with the earlier name as late as 1909. Typo Gothic is the oldest of the group, and has been made by many founders. It is a plain, square, monotone gothic with very small serifs, cast in several sizes of caps and figures on each of several point sizes.
He continues about the origins: The earliest showing seems to have been offered as Lining Antique by Illinois Type Foundry in 1889; Keystone Type Foundry later used the same name. Subsequently it was shown as Cleveland by Standard Type Foundry, as Standard Lining Antique by Marder, Luse, and as Olympia by Inland, all before 1900. ATF showed it as Tiffany Gothic from 1901 to 1909 and later as Typo Gothic. BB&S took over Olympia and renamed it Engravers Gothic. Damon&Peets called it Franklin Card Gothic, which is the cap alphabet shown in the specimen here. Hansen called it Steel plate Gothic. From all sources it is essentially the same design, although there are some slight differences. Some versions have a horizontal crossbar on the G " some lack this on certain sizes.
Now back to ATF. McGrew: Typo Roman was designed by Morris F. Benton for ATF in 1926; it is a narrow modern roman with small lowercase and very long ascenders. The M is splayed with a short vertex. Figures are much the same as Bodoni. Typo Roman Light was cut by Intertype in 1939. Typo Roman Shaded was the first of this group; it is said to have been designed by Morris F. Benton in 1921, adapted from engravings, but was not released by ATF until 1924. Typo Script and Typo Script Extended were designed by Benton and cut by ATF in 1902, originally as Tiffany Script and Extended, when they were called "as close a copy as possible to reproduce in type the work of the artist who did much of the copperplate engraving for the Pan-American exposition." But Middleton says Tiffany Script was the "first typeface engraved by Wiebking (and Harding) on their engraving machine brought from Germany." They are a refinement of popular nineteenth-century scripts; like some of them, these two typefaces share the same capitals, figures, and punctuation marks-only the lowercase differs. They are similar to Bank Script and Commercial Script, but lighter and more delicate. Inland's Invitation Script was very similar to Typo Script Extended. Also see American Script, Formal Script, Plate Script. Typo Text is a shaded Old English design, first shown by ATF as Tiffany Text in 1901, although this may be the same typeface shown by Bruce Type Foundry as Invitation Text a short time earlier, just before that foundry merged with ATF. Hansen copied it as Card Text. Also see Plate Text, Inland Copperplate. [Google] [More] ⦿
Punchcutter born in Frankfurt am Main (1844), who died in New York in 1896. He worked for some time at A.D. Farmer&Son in New York, as well as at Conner Typefoundry, and at Bruce Typefoundry after his emigration to the USA in 1868. In Germany, he was a punchcutter at Flinsch and from 1864-1868 at Haas in Basel.
McGrew says: Merrymount was designed by Bertram G. Goodhue for Daniel B. Updike's Merrymount Press in Boston, and was cut only in 18-point. This was used in an impressive Altar Book, which established the reputation of Updike and his Press. Steve Watts says the typeface was cut by Mr. [August] Woerner of A. D. Farmer&Son Type Foundry in New York. The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as part of its extensive Updike Collection, where a note with the mats says, "Cut by A. Woener (sic), June 21st, 1895."
His typefaces: Bruce No. 11, No. 13 and No. 21 (Bruce Typefoundry), German no.91 (1876, Bruce), Penman Script No.2053 (Bruce), Merrymount (1896, Merrymount Press), and the following typefaces published at Farmer, Little & Co: Card Gothic (1893), Gotham (ca. 1890), Lightface, Old Style No. 5 (ca. 1887), Old Style No. 5 Italic, and No. 6, 15, 17, 18, 20 21, 22 and 23. [Google] [More] ⦿
Austin Norman Palmer
Born at Fort Jackson, New York, in 1860, this well-known penman died in 1927. After studying at Gaskell's Business College in Manchester, NH, Palmer first worked in Indiana, Missouri and Iowa, befor founding the A.N. Palmer Company in New York City to teach and practice penmanship. Author of The Palmer Method of Business Writing (1915) and Palmer's Penmanship Budget (1919). He introduced the Palmer Method of business penmanship, which soon became the most popular handwriting system in the United States. Author of Portfolio of Ornate Penmanship [see also here].
Snellville, Atlanta, GA-based designer (b. 1977) of the playful fonts Austie Bost Dreamboat (2015), Austie Bost There For You (2015), Austie Bost Envelopes Print (2014), Austie Bost Take A Chance (2014), Austie Bost Lifted Up (2014), Austie Bost Arrow Mania (2014, arrows), Austie Bost Envelopes (2014), Austie Bost Versailles (2014: thin curly script), Austie Bost Chunky Description (2014), Austie Bost Descriptions (2014), Austie Bost Wibbly (2014: a great curly poster typeface), Austie Bost Somersaults (2014), Austie Bost Cartwheels, Austie Bost Roman Holiday Sketch (2014), Austie Bost Matamata (2014), Austie Bost Serifina (2013, a curly script), Austie Bost Happy Holly (2013), Austie Bost Bumblebee (2013), Austie Bost Toy Chest (2013), Austie Bost All My Love (2013), Bost Chunkilicious (2013), Austie Bost in Wonderland (2013), Austie Bost You Wear Flowers (2013), Austie Bost Rest of Our Lives (2013, penmanship font), Austie Bost Simple Simon (2013, a curly face), Austie Bost Dust Into Diamonds (2013), Austie Bost Small World (2013), Austie Bost High Altitudes (2013), Austie Bost Marketplace (2013), Austie Bost Starlit Beach (2013), Austie Bost Cherry Cola (2013), Austie Bost Hooked on a Feeling (2013), Austie Bost in a Rush (2013), Austie Bost Blueberry Muffins (2013), Austie Bost Kitten Klub (2013), Austie Bost Mud Pies (2013, a connect-the-dots typeface), and Austie Bost Crazy Days (2012) and of the dingbat typeface Austie Bost Christmas Doodles (2012).
München-based foundry, est. 2008 by Gert Wiescher, whose main font foundry is Wiescher Design. Myfonts link. Specializing in handwritten scripts and rough fonts, they created Obsession A through F (2012, a penmanship typeface family), Pigalle Swing (2012), Amaro (2011, a signage script family; + Amaro Block, +Amaro Fleurie), Obsession (2011, a calligraphic family), Astara (2010), Golden Love (2010), Homer (2010, a comic character script), Moon Love (2010), Perfecto (2010), Nikita (2009, upright connected script), English Lazy Bird (2009), Script Hand (2009), Angel Eyes (2009), Cheap Thrill (2009), Viva Maria (2009), True Love (2009), WildThing (2009), Doria (2009), Verena (2009), Astria (2009), Chloe (2009), Bea (2009, brush), Xan (2009, rough Japanese-style script), Fat Sally (2009, comic book face), Wally (2009, calligraphic), Ysadora (2009, calligraphic), Zoe (2009, calligraphic), Joyosa (2009), Ulissia (2009, hand-drawn slab serif), Querida (2009), Riana (2008), Quiana (2008), Quirina (2008, calligraphic), Naomi (2009, calligraphic; based on his Nana), Don Julio (2008, calligraphic), Donna Julia (2008, calligraphic), Novita (2008, calligraphic), Novido (2008), Flatpen (2008, a rounded sans face), Kato (2008), Leona (2008, brush script), Tina (2008, fat brush), Maeva (2008, calligraphic script), Oona (2008, like Maeva), the brush script Paula (2008), the upright cursive typefaces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style typefaces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script typefaces Dalia (2008), Elisara (2008), Simona (2008), Helenia (2008), Annabella (2008), Brigitta (2008) and Constanza (2008). Gert writes about himself: I went to Paris when I was very young, just for the sake of art. That caused many a sleepless night to my beloved mother, but she accepted my decision. Once I met Salvador Dalí, but he did not take me very seriously. To this day I dont know why! After some years I decided to start a serious life. I got married and studied graphic design at the Hochschule der Künste in Berlin. Making detours, once more to Paris, then to Barcelona, where I designed the OECD pavillion for the Osaka World Expo at the office of Harnden&Bombelli, I reached South Africa. Grey and Young advertising got to know me! I had to fiddle around with Agfa cameras and films, Epol dog-food, several kinds of toilet paper, unbelievable insurance companies and I-dont-know-what. Sometime on a holiday in Munich I stayed there. Someone made me an offer I did not want to refuse. DFS&R-Dorland bought me out of South African slavery! I now became an art-director for Paulaner, CMA, Phillip Morris, and Peugeot. Being a young adventurous man, I changed to the Herrwerth&Partner agency, which at that time was supposed to be the most creative outfit in town. Mister Herrwerth taught me to think simple. I was allowed to introduce IKEA into the German market. Afterwards I became Creative Partner with Lauenstein&Partner. That was OK, til someone discovered his love for horses! Thats when I rented my own office in 1982! Since then I design some typefaces per year, I guide a couple of nice young people (apprentices) along to designer stardom. I write a couple of books and newspaper articles about design, computers, food, drink and crime! As a graphic designer I have nothing but happy clients! I am open to every challenge! [Google] [MyFonts] [More] ⦿
Bartolomeo Sanvito (1435-1518) was a scribe from Padua, Italy, who was trained in Rome. A master of the humanist italic script, his style is characterized by wquare capital letters alternating colored and gold.
Books on Sanvito include Bartolomeo Sanvito: the Life and Work of a Renaissance Scribe (A.C. de la Mare and Laura Nuvoloni, Paris: Association internationala de Bibliophilie, 2009) and The Script of Humanism: Some Aspects of Humanistic Script 1460---1560 (James Wardrop: Oxford University Press, 1963).
Many digital typefaces were modeled or named after Sanvito. These include
German penman who published Gründliche and leichte Anweissung zur Zierlichen Schreib-Kunst der lieben Jugend zum besten und auf vielfaltiges Zegehren an den Tag gegeben von Berthold Ulrich Hofmann Schreib und Rechenmeister in Nürnberg in Nürnberg in 1694. [Google] [More] ⦿
Brian J. Bonislawsky
Honolulu, HI-based lettering artist and typographer. C. Lee created Vintage Alphabet in 2013. In 2014, he designed Cassandre Alphabet (2014, art deco, named after Cassandre) and Ornate Alphabet (decorative blackletter caps, which was inspired by Williams and Packard's Church Text). [Google] [More] ⦿
Book shop owner in Utrecht, The Netherlands, in the 19th century. In 1855, he published the popular lettering model book Alphabeths voor steenhouwers, schoonschrijvers, schilders, graveurs, lithegraphen. In his book Nederlandse Belettering, Mathieu Lommen deduces that the alphabets in this book were developed in the atelier of lithographer P.W. van de Weijer in Utrecht in cooperation with van der Post.
Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿
Coauthor with J.T. Henderson and J.N. Yocom of Oberlin Business College - Compendium of Penmanship (1901). [Google] [More] ⦿
During her studies, wiesbaden, Germany-based Camilla Wiedemann designed The New Palmer, a deco typeface influenced by and named after famous American penman Norman Austin Palmer, who suggested a similar script ca. 1888. Behance link. [Google] [More] ⦿
At P22, Carolyn Porter published P22 Marcel Script in 2014. This stylish fountain pen script comes with a story: The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel's letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters---stained and scarred with censor marks---were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé's original handwriting. The letters were found in an antique shop in Stillwater, Minnesota, and the 1300-glyph font was developed from 2011 until 2014. It comes with a set of filets and calligraphic ornaments, P22 Marcel Ornaments, and a set of capitals, P22 Marcel Caps. Marcel Script won an award at TDC 2014. Speaker at ATypI 2017 Montreal. [Google] [MyFonts] [More] ⦿
French engraver, penman and calligrapher, 1718-1789. Author of Notice historique sur les hommes célèbres de toutes les nations de l'Europe, qui depuis la renaissance des sciences et des arts, se sont distingués dans la configuration des caractères qui composent les diverses Ecritures, which appeared in J. H. P. Pouget, Dictionnaire des chiffres et de lettres ornées à l'usage de tous les artistes (Paris, 1767).
In 1796, Charles Paillasson wrote L'arte di scrivere: tratta dal Dizionario d'arti e mestieri dell' Enciclopedia metodica (Padova, Appresso Niccolo Bettinelli). The date, 1796, is a bit puzzling, but The Getty Research Institute writes: The text is a separate publication of the section on handwriting from an Italian edition of the Encyclopédie méthodique, originally published in Geneva by C.J. Panckoucke, 1783-1790. The 15 leaves are copies of those first published in: Encyclopédie, ou, Dictionnaire raisonné des sciences, des arts et des métiers. Recueil des planches, v. 2. Paris, Chez Briasson, David, Le Breton, Durand, 1763. The engraved leaves consist of 2 leaves showing position of the hand and writing posture, and 13 writing samples, engraved by Pasquali. Local download. [Google] [More] ⦿
Famous American teacher of penmanship, b. 1864. Author of Lessons in Ornamental Penmanship (1920), Gems of Flourishing (1888), and The New Zanerian Alphabets (1900, Zaner & Bloser, Columbus, OH). This site describes his story: In 1888, Charles Paxton Zaner founded the Zanerian, College of Penmanship, in Columbus, Ohio. The schools curriculum included courses that prepared students for careers as penmen who, at that time, wrote by hand most of the documents used by business and industry. The school also trained students to become teachers of penmanship, illustrators, engravers, and engrossersspecialists in the kind of ornamental writing used for diplomas and certificates. In 1891, Zaner sold a share of the Zanerian to Elmer Ward Bloser, whom he met in 1883 while the two men were students at Michaels Pen Art Hall. Bloser, who had been working as an instructor at the Spencerian Business College in Cleveland, was a superb penman, and he had accumulated the capital necessary to sustain the college in its early days (when its three instructors had only three pupils). By 1895, the Zanerian College of Penmanship had become the Zaner-Bloser Company, an institution that offered courses in penmanship, published professional materials about handwriting and illustration, and sold handwriting supplies. In 1904, Zaner-Bloser published The Zaner Method of Arm Movement, a landmark text that taught the simplified style of writing learned by students at the Zanerian to children in elementary schools all over the United States. This book also applied the findings of psychologists who had discovered that young children completed manual tasks more easily if allowed to use the large arm movements that were natural to them at their early stage of motor skills development.
In 2006, Paul Hunt designed a set of connected calligraphic scripts, called P22 Zaner.
English writing master in the 17th century. Matthew Carter revived his roundhand in 1966 for photocomposition and extended it by adding weights. It became Snell Roundhand Script (Linotype) and Roundhand BT (Matthew Carter, Bitstream). [Google] [MyFonts] [More] ⦿
Author of Luthy's Scientific Handwriting: Being an Analysis of Roman Script Form and Execution (1918, C.T. Luthy). See also here. C.T. Luthy was based in Peoria, IL. [Google] [More] ⦿
Aka Chyrllene K. Daughter of Iza W, who designed many typefaces at Intellecta Design starting in 2010. She studied applied mathematics and graphic design, and works as COO of Intellecta Design. In 2013, she wrote a thesis entitled Revival Tipografico at Faculdades Integradas Barros Melo, Brazil. Based in Recife, Brazil, she is credited with these typefaces:
Belgian penman. Clément Perret published the first writing manual in the low countries: Exercitatio alphabetica nova et vtilissima, varjis expressa linguis et characteribus, raris ornamentis, umbris&recessibus, picture, architecturaeque, speciosa (1569, Antwerp---some sources mention Brussels though). [Google] [More] ⦿
The Columbus, OH-based Zaner-Bloser Company published a penmanship book to celebrate the life of a Zanerian scholar, C.C. Canan, C.C. Canan Collection of Penmanship---The Canan Book (1921, The Zaner-Bloser Company, Columbus, OH). Clinton C. Canan was a penman born in Pleasantville, PA, in 1873. In bad health, he died at a young age in 1904 in Bradford, PA. Sull writes about him that he was equaled by no living penman in delicate, accurate, free-hand ornamental penmanship. He attended the Zanerian College in 1893, and taught penmanship for two years at Cleary College in Ypsilanti, MI. Later he taught penmanship at Cedar rapids Business School in Iowa and at the Shissler College in Norristown, PA. Samples of his penmanship: i, ii, iii. Letterhead. [Google] [More] ⦿
American penman, b. New York, 1864, d. 1937. He taught in business schools in san Antonio, TX, Buffalo, NY, Hutchinson, KS, and Sioux City, IA. From 1916 until his death he was at the Strayer's Business School in Philadelphia. In 1893 he won first prize in a world-wide contest conducted by the Penman's Art Journal. Author of The Clinton Clark Scrapbook. Parts two and three are here and here. [Google] [More] ⦿
Commercial Script is a typical Spencerian (connected) script, with early versions available from the Chicago and Inland typefoundries, ca. 1888. The most famous, and very popular, implementation is due to Morris Fuller Benton in 1906 and cut by ATF in 1908. It is similar to Bank Script, but heavier and with fewer flourishes. It also is similar to Typo Script. Some modern day digital versions:
Creator of the comic book / chalk board font Whiteboard (2007). She is the designer of Heroes Font (2006, hand-printed, made based on screenshots of the Heroes TV series; see also here) and House Whiteboard Font (2006). Commercial fonts include Spidery Elegance (2008), Dausby (2012, based on a secretary's hand from the 1850s), Ashby (2015, a Spencerian script), Concinnitas (2015, a neat upright hand-crafted typeface), and Deveren (2017, based on goosefeather writings from the late 1600s).
She also offers a commercial handwriting font service (40 USD), and has some free handwriting demo fonts from 2005 and 2006: Angela, Bob-H., Escribiente, Heroes-font, Kendall-j, Krusoe, Nongtung, R.-Bruce, Whiteboard, richie.
Author of Alphabets for Practical and Ornamental Engrossing (1914), Lessons in Engraver's Script (1914) and Ninety-five Lessons in Ornamental Penmanship (1914). Jones lived in Brockton, MA. The second book contains one full formal calligraphic alphabet by Jones himself. [Google] [More] ⦿
Dutch printer located in Rotterdam, who published the lettering model book Calligrafische voorbeelden ten dienste van schlders, steenhouwers, lithographen, bouwkundigen enz in 32 genres (1888).
Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿
Author of Art du tracé rationnel de la lettre (1934, Société Française d'Éditions Littéraires et Techniques, Paris). The text shows how to trace letters in different styles.
There are some digital typefaces that are based on Duville's alphabets. In 2015, Nick Curtis designed Retrorocket NF (art deco) based on one of the alphabets. Also in 2015, Julie Patat created Wolf after one of Duville's alphabets. [Google] [More] ⦿
Painter turned type designer in Baltimore. Creator of Velocipede Stencil (2011), an art deco typeface made for a bike shop in Baltimore. At Lost Type Coop, he published the humanist remaissance italic typeface Pigeon (2011) and the calligraphic script Cylburn (Lost Type): Cylburn is a semi-connected script, structurally based on Roundhand but written with a pointed brush and restrained tension that separate it from its traditional roots.
In 2014, he created the commercial signage typeface Globe Script, which was renamed Eubie Script (dedicated page). Eubie Script draws from the many lettering styles of Harry Knorr, an artist at Globe Poster for over 50 years.
In 2016, Dai Foldes and Laura Worthington designed the connected script typeface family Adorn Garland Smooth. Fairwater (2016), co-designed by Laura Worthington and Dai Foldes, has Script, Sans, and Serif subfamilies, as well as several sets of Ornaments. The Serif subfamily conjures up tattoo lettering, but also mathematical blackboard bold style and art deco. And still with Laura Worthington, Dai designed Renata (2016), a connected calligraphic script. [Google] [MyFonts] [More] ⦿
American penman. Author of Compendium of Practical and Ornamental Penmanship (New York, ca. 1883) and Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). The latter book contains some explicit alphabets: Roman, Italic Roman, Gothic, German text, Old English, Church Text, Medieval, Egyptian, German Round Hand, Marking and Rustic (elaborate caps). One of the initial caps in that text led Robert Fauver to create the free font Dirty Ames (2006).
In 1890, Ames wrote Ames' Book of Flourishes.
Medan, Indonesia-based designer of these (mostly calligraphic) typefaces:
David A. Hobbs
David A. Hobbs, Inc.&Tolley Studios
David Hobbs (b. Midland, MI, 1943) worked for and with William E. Tolley, a noted Engrosser, the son of A.B. Tolley, the White House Calligrapher for several presidents. He opened his own studio in 1976, and says that he "has done work for kings and presidents". David A. Hobbs, Inc.&Tolley Studios in Washington DC provides calligraphic lettering services. They have developed their own in-house fonts, like Engravers Script, Gothic, Readable Text, Cursive, Old English, Simplified Old English, Roman and Stump Script. He has developed Hobbsian Script (Based on Zanerian script), Hobbsian Stump Script, Hobbsian Old English, Hobbsian Roman Cap and Hobbsian Readable Text. [Google] [More] ⦿
Belgian penman who published t'Magazin OftTac-huys der Loffelycker Penn-const . . . Ghepractizeert Door David Roelands van Antwerpen, Fransoijschen School-Mr. binnen Vlissinghen in 1616. [Google] [More] ⦿
Dino dos Santos
Dira Kuntum Chaira (Dira Studio, Banda Aceh, Indonesia), b. 1999, created Attention (2016, a confident upright script), Penmanship (2016), the brush typeface Direction (2016) and the connected Hammock (2016), Lavender (2016), Hailey (2016), Photograph Script (2016) and Beloved Script (2016).
Typefaces from 2017: King And Queen (connected script), Bianca Script, Number One.
Doyald Young: Logotypes and Letterforms
Graphic designer, typographer, type designer, author, teacher and lecturer, born in 1926 in Holliday, TX. He died on February 28, 2011 due to complications following a recent heart operation. He attended Los Angeles City College, Los Angeles Trade Technical Jr. College, and Art Center College of Design where he has taught for 27 years and holds the honorary title Inaugural Master of the School. Doyald drew characters, often of a calligraphic or handlettered nature. He was deeply influenced by his mentor, Hermann Zapf.
Steve Heller writes: When digital programs like Fontographer made it easy for anyone with a computer to create typefaces, many of them purposefully inelegant, he advocated a high level of craftsmanship that he believed had been lost. In so doing, Mr. Young challenged a new generation to reject so-called grunge design in favor of precision. When the American Institute of Graphic Arts awarded Young its 2009 Medal for Lifetime Achievement, Marian Bantjes wrote Taste. Practicality. Formality. Understated prestige. The combination of those qualities forms as perfect a descriptor of Young's work as any you are likely to find, both in the process and the result. Although he is widely known for his elegant curves and scripts, he has never been a showy designer---there is not a trace of ego in his work. The range of letterforms able to flow at any time from his hand is great, and there is no way to particularly define Young's mark unless you have seen the hand-drawn comp. That is where his work is unmistakable: perfect letterforms drawn in pencil at a surprisingly small size without so much as a mark of hesitation or awkwardness. The style varies but the fluidity and perfection do not.
Links and media: Scott Erickson's movie on Doyald Young. FontShop link. Klingspor link. Short obituary and video. Longer video about his life. Steven Heller's obituary in the New York Times. Obituary by Marian Bantjes for AIGA.
His typefaces include the extra bold condensed sports scripts fonts Home Run Sanscript (1999) and Home Run Script (1999, a connected bold retro signage script), Young Gallant (2010, a formal calligraphic script based on the alphabets his teacher, Leach, trained him on), ITC Eclat (1985, 1992, fat script face, which was used for titles by Comedy Central and the Queen Latifah movie Beauty Shop), Young Finesse (2003, an Optima-inspired thin headline typeface used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script; this is copied by Castcraft as OPTI Yen Script). [Google] [MyFonts] [More] ⦿
Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. Dino created these typefaces:
DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.
The seventeenth century saw The Netherlands flourish in all respects, after the fall of Antwerp in 1585. Between 1590 and 1650, teachers and professionals taught and developed penmanship in the Low Countries---Penneconste in old Dutch. The most talented of them was Jan van den Velde. Others included Lucas Fopsz Lely, Abraham van Overbeke, Maria Strick and Felix van Sambix. [Google] [More] ⦿
Born in Irvona, PA, in 1890, Earl Lupfer studied at the Zanerian College of Penmanship in 1908 and 1908, and joined the faculty there afterwards. He taught penmanship into the 1950s and was known as an inspirational teacher. He was the last principal of the Zanerian College. He died in 1974. [Google] [More] ⦿
Master of business writing and business penmanship, b. 1872, Illinois, d. 1962. He worked mostly in Rochester, NY first for The Williams & Rogers Company and later as an independent penman. Author of Modern Business Penmanship (1903, American book Company). [Google] [More] ⦿
English author of Writing Book (1660), in which we can find wonderful flourish work. Other books include The Pen's Transcendency : or Fair Writings Store-house Fur- nished with examples of all the Curious Hands practised in England and the Nations adjacent (London, 1660) and Magnum in Parvo or the Pen's Perfection (probably 1675). [Google] [More] ⦿
American penman, b. Camden, ME, 1869, d. Rockland, ME, 1958. He studied at Rockland Commercial College in Rockland, ME, 1887-1888. In 1888, he met penman A.R. Dunton who employed him to assist in engrossing the diplomas of the Boston Public Schools. He entered in a partnership with his penmanship teacher, H.A. Howard in 1902 until Howard's death in 1952. Howard & Brown had a thriving engrossing and designing business that covered all of the United States and Canada. [Google] [More] ⦿
EFI makes and sells D'Nealian-style, Zaner-Bloser-style, Harcourt Brace-style, Peterson Directed Handwriting-style, McDougal, Littell-style, Getty-Dubay Italic (handwriting method developed by Barbara M. Getty and Inga S. Dubay), and Palmer style handwriting fonts. The Harcourt and Brace HB Cursive and HB Manuscript font families are useful for connect-the-dots and orthographic exercises. 250USD for the HB family for one school. They mention that their fonts are in over 8600 schools. At 4 styles per school, that looks like a 8.6 million dollar affair... Also, two Braille fonts at 10 USD a shot. [Google] [More] ⦿
Sells handwriting-fonts designed to exactly replicate many educational handwriting styles. In particular, they have these:
Spencerian calligrapher. In 2017, Elaina DeBoard, Eliza Gwendalyn, and Jim Lyles (Studioways) published Madison Street, which consists of four Spencerian fonts and is accompanied by three styles that are based on the handwriting of Elaina DeBoard. [Google] [MyFonts] [More] ⦿
Pennsylvanian penman, 1865-1929. He became penmanship instructor at G.W. Michael's Pen Art Hall in Oberlin, OH. The school and Bloser relocated to Delaware, OH. He worked briefly with Platt Spencer Rogers in 1885. He purchased a third interest in the Zanerian Art College in 1891---the latter was founded in 1888 by C.P. Zaner (who also had a third). The third third belonged to Zaner's cousin, Lloyd M. Kelchner. After Kelchner left, Zaner and Bloser were partners of the Zanerian College and the Zaner and Bloser Company. Zaner died in 1918 or 1919, and Bloser ran it by himself until his own death in 1929. He wasa gentle hard-working and talented penman and a great teacher. Bloser and Zaner were two of America's most influential penmen. Picture of Bloser, Zaner and Kelchner. [Google] [More] ⦿
Dutch book shop active in the 19th century in Arnhem and Nijmegen, which was run by two brothers. In 1887, they published a lettering model book, Modelboek.
Reference: Nederlandse belettering negentiende-eeuwse modelboeken (2015, Mathieu Lommen, de Buitenkant, Amsterdam). [Google] [More] ⦿
Outfit known for its formal script fonts (which all have "ES" in their names). A list of their typefaces: CenturionES (1998), CynthiaScriptES (1998), GrandPrixES (1998), Perplexity (2001), Augusta ES (1998), BeautifulCapsESSwashCapitals (1998), BeautifulES (1999), Cancellaresca-ES (1998), Helena Script-ES (1998), La-Jolla-ES (1998), Olde-European-ES (1998), Original-Script-ES (1998), Sorrento-Script-ES (1998), Splendid-ES (1998), Ville-de-Geneve-ES (1998), Wedding-Bliss-ES (1998), York-Script-ES (1998, calligraphic), Young-Love-ES (1998), Zenith-Script-ES (1998). Most (all?) of these are plain copies of other scripts: Augusta ES is Augusta Cancelaresca Schnurkl (1998, by Julius De Goede), Perplexity is Perpetua, Olde European is OPTI Venetian Script, Original Script is OPTI Original Script, Beautiful ES is Bickham Script, Sorrento Script is Agfa's Florentine AT Script, Ville de Geneve is AT Old Fashion Script (1992, Miles Inc), Wedding Bliss is Aristocrat LET Plain (1994, Letraset), York Script is Yorkshire (1990, Brendel Informatik), Young Love is Young Baroque LET Plain (1990), Zenith Script is Zither Script (1999, FontShop), and so forth. [Google] [More] ⦿
Institute in Benalmadena, Spain (was: Santa Severa), where one can take 4-week courses at 1450 Euros a shot on the Etruscan alphabet, Trajan, Cuadrata and Rustic Roman Capital letters, and related subjects. They also organize lettering tours in Italy and guided tours in various musea. The teachers are Alberto Di Santo (Professor of the visual communication, Tor Vergata University, Rome; Professor of Graphic Design, Istituto Europeo di design, Rome; Professor of editorial design, La Sapienza University, Rome; Professor of Typography, C.F.P. Sinalunga, Siena) and Olcar Alcaide (b. 1952, Argentina, Professor of Graphic and Typography Design, University of Buenos Aires; Professor of Typography, University of Lanús, and Professor of Graphic Design, Marbella Design School, Spain). Type link jump page.
Eurotypo is also the foundry of Olcar Alcaide.
Typefaces from 2011 include Lila pro, Atenea (a humanist sans family), Agerola Script (a fat flowing signage face), Teja (signage face), Zalea (yet another signage face), and Nabu Pro (a connected signage script). Equalis (2011M, with Juan Lavalle) is a monoline slab typeface with a huge x-height and wide open counters. It was followed by Equalis Stencil (2011). Ravel (2011) is a fat signage script face. Atenea Egyptian (2011) is a solid slab serif family. Berta (2011) is a signage brush typeface with connected and unconnected versions. Optic Art (2011) is an ornamental typeface with building blocks that can be used for overlays. Creator of Eurotypo Bodoni Bold (2011).
Typefaces from 2012: Cubus (dingbats), Saxo Deco (art deco), Moliere (2012, an elegant didone family with outspoken ball terminals), Melon Script (a fat curvy signage script family), Riky (comic book family), Chipa (a signage and package design script), Heket (an expressive curly script), Lenga (a slab serif typeface family), Mikal (brush script). Duktus is a 1940s style script in the style of Donatello (1935, Wagner & Schmidt), Troubadour (1927, Wagner & Schmidt), Liberty Script (1927, Willard T. Sniffin), Trafton Script (1933, Howard Allen Trafton), and Coronet (1937, R.H. Middleton).
Typefaces from 2013: Dignus (influenced by Bank Gothic and Eurostile), Bague (old Dutch style with little contrast, in the style of Jan Van Krimpen), Lugo (a heavy signage or advertising script), Brittes (copperplate script), Talis (contrast-rich sans family), Fiesole (display family with an awkward back-curled lower case d), C Duflos (after a bâtarde coulée by Claude Duflos, a French engraver who was acitve around 1690).
Typefaces from 2014: Talks (creamy signage script), Fiume (calligraphic script), Predy, Daevon (copperplate script), Beily (letterpress style), Ritts (a heavy script-like display family), Ritts Cursive (in the style of the brush signage scripts descending from Robert E. Smith's Brush Script for ATF in 1942).
Typefaces from 2016: Duero (signage script), Turia (calligraphic script), RRollie (a lapidary typeface based on the roman inscriptions), Valentia Nit (a copperplate typeface enriched with swashes and extensions).
Off-hand flourishing artist, b. Poughkeepsie, NY, 1845, d. 1924. He worked in many eastern states but reached the peak of his craft while teaching from 1883 until 1890 at the Gem City Business College in Quincy, IL. After that, he taught in San Francisco, Utica, NY and Boston, MA. [Google] [More] ⦿
Japanese foundry in Nagoya that offers free and commercial Latin fonts made by Ryoichi Tsunekawa, who also runs Bagel & Co, Dharma Type, HolidayType and Prop-A-Ganda. Most of his work was done at Flat-It. His typefaces:
Fontforecast is a typefoundry in the Netherlands that was set up by Hanneke Classen in 2013. Hanneke designed Graduate Script (2013, a connected script), Graduate Ornaments (2013), Bachelor Script (2013), Tyfoon Script (2013) and Tyfoon Sans (2013).
Her greatest work to date is the 16-font Chameleon family (2013). It includes Chameleon Basic (a calligraphic script that can be used for layering), Chameleon Pen, and Chameleon Sketch. This combination of poster styles was also seen in Laura Worthington's Charcuterie a few months earlier, so a trend seems to be developing. Santa's Pen (2013) is derived from Chameleon.
Typefaces from 2015: Bambusa Pro (a great bamboo pen script collection), Mucho Sans (a 12-style geometric sans), Stylist Pro (a great dip pen connected calligraphic typeface), Salt & Spices Pro (a script family).
Typefaces from 2016: Dragonflight Pro (brush script, +Sans), Salt + Spices Mono (the monoline version of Salt & Spices Pro), Kinfolk Pro (brush script accompanied by many ornamental fonts containing arrows and flowers).
Typefaces from 2018: Sabbatical.
French penman who published Le Paranimphe de Lescriture Ronde financière & italienne de nouuelle formes prompte enriches de diuers traictez des inuentions de françois Desmoulins escriuain. Le tout faict & grauépar luy mesme in Lyon in 1625. [Google] [More] ⦿
Spanish penman who published Arte nueva de escribir, inventada por el insigne maestro Pedro Diaz Morante e illustrada con Muestras nuevas, y varios discursos conducentes al verdadero Magisterio de Primas Letras, por D. Francisco Xavier de Santiago Palomares etc in Madrid (Antonio de Sancha) in 1776. His Arte de Esrcibir was published by Benito Cano in Madrid in 1789. [Google] [More] ⦿
Archive and discussion of free school fonts such as Jarman, Jardotty, Primer Print, Print Clearly, Penmanship Print, Zyia Learns Letters, Learning Curve BV. Also a listing of shareware and commercial school fonts. A nice start page if you need such fonts. [Google] [More] ⦿
In 1878, Soennecken developed a method for creating glyphs, based on metal elements that are arcs or straight lines. The center lines of the glyphs are aligned with a grid. This was introduced in the German educational system in 1913. He wrote didactic texts on his construction method and on penmanship for the classroom. He died in 1919. [Google] [More] ⦿
Author of Gaskell's Compendium of Forms (1883, G.W. Borland&Co, Chicago). Number 1. Number 2. Image from the 1883 book. A drawing of Platt Rogers Spencer, also found in the 1883 book. [Google] [More] ⦿
Sign painter and gilder now located in Blue Ridge, GA. He made the Victorian signage font families Tyler (2003, inspired by a typeface by E.L. Brown from the late 1800's), Palmer, Brien (2003, inspired by the Clive Barker "Imajica" book cover by lettering artist Iskra Johnson), and Dixie at Letterhead. Tyler was inspired by E.L. Brown who taught penmanship and engrossing in the late 1800's.
At SignDNA, he published the script typeface Monika.
Letterhead had this bio: Gary Godby's career as a sign artist has spanned nearly 28 years. He has worked in commercial sign shops in Virginia and Florida. While in Florida he spent thirteen years at Disney's in-house sign shop. In 1995 he returned to his native Virginia to work for Graphic Services, Inc., a large commercial shop in Manassas. Graphic Services is a full service sign and display company that primarily works for builders and developers. The shop employs 42 people with Gary's primary role as designer. "When you're designing," Gary says, "you see a project go from concept to reality, and I get alot of gratification out of that."
Penmanship book written in New York in 1867 by D. Williams and S.S. Packard. It has a few blackletter and other alphabets, and many freehand drawings of birds and animals. Selected alphabets: Grand Capitals, Italian Capitals, Ladies Hand, Roman Capitals, Italian, Half Block, Williams Style German Text, Williams and Packard's Steel Pen German Text, Old English, Williams and Packard's Church Text [this inspired C. Lee's Ornate Alphabet], Beveled Alphabet, Ribbon Alphabet, (continued), Soft and Twisted Alphabet, (continued), Rustic Alphabet, (continued). Selected drawings: a hand, a bird, a deer, a swan.
UK engraver and penman, 1684-1769, who wrote the manual The Universal Penman (published in parts from 1733 to 1741, reprinted complete in 1743). The full title is The Universal Penman Or the Art of Writing Made Useful To the Gentleman and Scholar, as well As the Man of Business . . . Written With the friendly Assistance of several of the most Eminent Masters And Engraved by Geo. Bickham. That book also contains work by Bickham's collaborators, such as Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, and William Leckey. Book cover. Other books by Bickham include Penmanship in its utmost Beauty and Extent (Overton & Hoole, London, 1731).
A free interpretation of the copperplate script styles of The Universal Penman can be seen in the monumental font Penabico (2010, Intellecta Design). Images: From The Universal Penman, Roundhand Script (ca. 1740), Greek Writing (1743).
Digital typefaces based on Bickham's scripts include 1739 Bickham (2010) and 1741 Bickham (2013) by Klaus-Peter Schäffel, Bickham Script (1997, Richard Lipton), Penabico (Intellecta Design), and interpretations such as Poem Script (Sudtipos). [Google] [MyFonts] [More] ⦿
Philadelphia, PA-based author of The American system of penmanship ... In ... ten numbers (1842, Uriah Hunt and Son, Philadelphia), Becker's System of Penmanship, Comprising Manual and Elementary Excercises, Business and Epistolary Writing, and Ornamental Penmanship. In Twelve Numbers. No. 10 (1856, Uriah Hunt and Son, Philadelphia), Becker's Ornamental Penmanship (1854), and Ornamental Penmanship Analytical and Finished Alphabets (1854, Uriah Hunt and Son), a lettering manual.
In 2013, James Puckett (Dunwich Type Founders) revived five typefaces from this manual as digital typefaces in his Becker Gothics collection. They include Egyptian, Egyptian Rounded, Stencil, Tuscan and Concave. All have Western and wood type influences. In 2009, Becker's 1854 book was used by Monogram Fonts Co in the creation of Noir Monogram (2009), which was based on Becker's Pearl type.
Downloads of his 1854 book: University of Michigan scan. For a Facsimile, see Becker's ornamental penmanship. A series of analytical and finished alphabets [FACSIMILE]. Free PDF file of the latter book.
In 1993, Dover reprinted 23 complete alphabets in Ornamental Calligraphy [With 50 Plates] (Dover Books on Lettering, Graphic Arts & Printing). Local download of his 1854 book. [Google] [MyFonts] [More] ⦿
Author/editor of The Penmans Magazine. Author of Natural Writing in all the Hands, with Variety of Ornament (1709) and Alphabets in All the Hands (1715).
In 1730, he wrote several pages for Bickham's Universal Penman. English writing masters including George Bickham, George Shelley and George Snell helped to propagate Round Hand's popularity, so that by the mid-18th century the Round Hand style had spread across Europe and crossed the Atlantic to North America. The typefaces Snell Roundhand and Kuenstler Script are based on this style of handwriting. The famous Shelley Script is named after him. Linotype's version, also called Shelley Script, was implemented by Matthew Carter in 1972 at Letraset and was split into Allegro, Andante and Volante styles. The Bitstream "copy" is called English 111.
Flemish cartographer, b. Rupelmonde (as Gheert Cremer), 1512-1594. Educated at the University of Leuven, the alma mater of Luc Devroye, he lived in Duisburg (now Germany) from 1552 and is remembered for the Mercator chart named after him. Author of Literarum Latinarum, quas Italicas cursorias que vocant, scribendarum ratio (1540), which contains some beautiful alphabets, and teaches cursive writing [see Cursiv Latein].
Digital mapmaking fonts based on Mercator's chancery hand include Mercator (1995, Arthur Baker; see also the P22 version from 2001), and Ribbon Cursive (2009, Natsuko Hayashida). A scan of his 1540 book led Gilles Le Corré to 1540 Mercator Script (2010).
FontYou was set up in Paris by Gregori Vincens in 2013. Gregori is the CEO, and Gia Tran is its type director.
Under the cover of Type Lovers and/or Fontyou in Paris, Gia Tran created the medieval typeface Court Hand (2012) and the blackletter typeface Gothic Fraktur (2012). He also did some great calligraphic pieces.
In 2013, together with Gregori Vincens, Alisa Nowak, Valentine Proust, and Elvire Volk at FontYou, Gia Tran created the monoline geometric sans typeface Younion FY. Younion One FY is free at Dafont. With Franck Montfermé, he co-designed the ball terminal beauty Squirrel FY. The letters of this ultra-fat didone reveal audacious geometric smoothness at large sizes.
The EPS format display typeface Alice FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It was inspired by Adrien Genevard's lettering. Sub-themes are Alice in Wonderland and playing cards. The EPS format frilly script typeface Lullaby FY (2013) was co-designed by Alisa Nowak, Micaela Neustadt, Gia Tran, Bertrand Reguron and Valentine Proust at Fontyou. It too was inspired by Adrien Genevard's lettering. Exquise FY (2013) is a fashion mag didone co-designed by Bertrand Reguron, Alisa Nowak, Valentine Proust, Elvire Volk and Gia Tran at Fontyou. Gia Tran and Jason Vandenberg created the decorative typeface Ella FY (2013, Fontyou). Gia Tran, Alisa Novak, Micaela Neustadt, Bertrand Reguron and Grégori Vincens co-designed the curvy stressed elliptical sans typeface Bruum FY (2013).
Beaurencourt FY (2013) is a 19th centery secretary's hand co-designed with Jeremie Hornus.
Gregori Vincens, Gia Tran, J&eacxute;rémie Hornus and Alisa Nowak co-designed the humanist sans typeface Klaus FY (2013).
At Fontyou, Benjamin Lieb, Gia Tran and Julien Priez co-designed the hand-drawn typeface Brixton FY (2013). Not to be confused with two earlier typefaces called Brixton, one by Tom Chalky, and one by Luke Ferrand. Since two of the three Brixtons are commercial, I expect FontYou to change the name imminently.
In 2014, Gia Tran and Bertrand Reguron co-designed the zombie script Vidok FY (free at Dafont). Together, Elliott Amblard (France) and Gia Tran created the bold signage / retro baseball script typeface Paname FY at FontYou in 2014. Minuit FY (2014, by Jason Vandenberg and Gia Tran) is a beautiful angular angry calligraphic display typeface. The punchy poster typeface Kraaken FY (2014) was designed by the FontYou team of Bertrand Reguron, Alice Resseguier, Valentine Proust, Julien Priez, Gia Tran, Jérémie Hornus, and Alisa Nowak.
Bertrand Reguron, Alice Resseguier and Gia Tran co-designed the retro signage script typeface Coco FY (2014).
Alice Resseguier and Gia Tran co-designed the girly script typeface Lola Lola FY (2014). This typeface was forcibly renamed Chelly FY a few days after its first appearance, possibly because there already was a typeface called Lola by Laura Messeguer.
Codesigner with illustrator Quentin Vijoux of the hand-printed typeface Léon FY (2014).
In 2014, he published the modular kitchen tile typeface Dorum FY with Julien Thébault.
Benjamin Lieb and Gia Tran co-designed the 4-style retro display family Belleville FY (2014).
Hansom Slab FY (2014, Gia Tran, Jeremie Hornus and Alisa Nowak).
Gigofonts is a Ljubljana-based foundry run by Matevz Medja (b. 1966, Kranj). He set up design studio Medja & Karlson in 1990 and Gigodesign in 2000. He founded Gigofonts and Archive Type typefoundries.
Matevz designed Compressor (1997, T-26), Gf Blackmail (2004, ransom note font), Gf Patetica (2004, an elegant renaissance serif with tall ascenders), Gf Scribbles (2005, hand-printed family), Gf Script No 2 (2005), Gf Script No 4, Gf Script No4 Scratch (2004, based on Penman Script), Gf Script No. 5 (2005), Gf SelfcensorShit (2004, T-26, and later at Gigofonts, now simply called Gf Selfcensor---a unicase family), Gf Spacetrash (2004), Gf Special (2005, 22 funky disco fonts, many of which are piano key typefaces), Semafor (1997, dot matrix, at T-26 since 2002), Gf H2O (2005, a humanist sans family done with Mitja Miklavčič).
Or Giovanni Antonio Tagliente. Calligrapher and writing master, born in Venice, 1468-1527. Author of Lo presente libro insegna la vera arte de lo excellente scrivere de diverse varie sorti de litere (1524). Sample images from that penmanship book, which includes scripts for Latin, Hebrew and Greek: i, ii, iii, iv. Also: Chancery, Florentine, Florentine bastarda, Lettera bollatica, Lettera imperiale. Sets of ornamental capitals: Italian gothic Initials and Italian Renaissance Capitals. Picture of Tagliente's title page of his book in 1531. PDF of his work by Toni Pecoraro. Digitizations:
Gruso Schriftenmappe: Eine Auswahl schöner Gebrauchsschriften für Maler, Graphiker, Schaufensterdekorateure und verwandte Berufe. Heft 3 and Heft 4 (1952) are booklets with tens of alphabets. They were scanned in by Michael Stoll. I cleaned up a subset of the scans, reorganized the set, and commented on them. [Google] [More] ⦿
Handwriting: An Elegy
A wonderful article by Ann Wroe in the November 2011 issue of Intelligent Life. She celebrates the dying art of writing. The first two paragraphs set the tone: Take a sheet of paper. Better still, take a whole sheaf; writing prospers with comfort and cushioning. The paper may be deliciously thick, with ragged edges and a surface capillaried with tiny fibres of the rags that made it. It may be thin, blank, industrial A4, one of a thousand in a cut-price pack from Staples. It may be wove paper, vellum-smooth and shiny, or a bit of scrap, torn not quite straight, with a palimpsest of typed meeting-minutes showing through. But write. The instrument matters but, for the moment, seize anything. The old fountain pen, so familiar that it nestles like a warm fifth finger in the crook of the thumb, its clip slightly shaky with over-use; the pencil, its lead half-blunt and not quite steady in that smooth cone of wood; the ultra-fine felt tip from the office cupboard, with its no-nonsense simplicity, or the ancient mapping pen, nibbed like a bird's claw, which surely writes only in copperplate, scratching fiercely as it goes. Seize even a ball-point, though its line is mean and thin, and though teachers will tell you that nothing ruins writing faster. Dip, fill or shake vigorously; and write. [Google] [More] ⦿
Jacci Howard Bear discusses the various styles of cursive and manuscript fonts used to teach handwriting:
Handwriting Models An Icelandic Manual, 1883, was written by Benedikt Gröndal (1826-1907), an Icelandic poet, painter, draftsman, calligrapher and library historian. After a master's degree in Scandinavian Studies from the University of Copenhagen in 1863, he taught, wrote, and published a periodical, Gefn. In 2007, a foreword and useful introduction to handwriting models was added by Gunnlaugur Briem, and he placed all on his web site for free download. I quote: In 1875, Denmark changed handwriting models, replacing blackletter cursive by copperplate. This extended to its Icelandic dominion, where copybooks and model sheets in the new style were in short supply. Eight years later, a much needed handwriting manual by Benedikt Gröndal was published. The old style and the new are similar in appearance but have different letterforms. This picture shows the old blackletter cursive (top) and the new copperplate (bottom)---it was taken from Almanak Hins íslenzka þjóðvinafélags, Copenhagen (1877). Gröndal's copperplate and Gröndal's ronde. The foreword by Briem also shows a Danish ronde that appeared in Rundskrifts-Bogen; til Skolebrug og Hjemmeøvelse, ca. 1880. He also grabs the opportunity to showcase the most handsome of all Icelandic copperplate models done by Jón Þórarinsson in Skrifbók með forskriftum, 1. hefti (Reykjavík, ca. 1896). The American Palmer method, more open but less gracious, is illustrated in this alphabet from 1922 by Steingrímur Arason (from Litla skrifbókin, Reykjavík. Variants of this are shown in the alphabets of Guðmundur I. Guðjónsson, published between 1939 and 1953. Briem concludes: Handwriting based on copperplate was largely abandoned in Icelandic schools in 1984. It was replaced by italic, a modern monoline version of renaissance handwriting that owes much to Ludovico Arrighi's approach. A large selection of model sheets in this style is available for free download from the internet. He also shows Italiuskrift05, his own suggestion for schools. [Google] [More] ⦿
American calligrapher, 1788-1849. He wrote Dean's Analytical Guide. Containing A Variety of Plates in which are exhibited A Complete System of Practical Penmanship (1805, second edition 1808), a calligraphic primer containing many alphabets. In 2007, Jane Rodgers Siegel writes in APHA, vol. 163: The 1805 first edition of Henry Dean's Analytical Guide is the first ambitious American handwriting manual, a handsome quarto of 56 pages and 18 engraved plates. It may be of interest that Dean, as Nash tells us, not only was a writing master, teacher, and bookkeeper (writing and arithmetic, the two skills needed for com- merce, went hand in hand for centuries), but also had run a copperplate printing business in Salem, Mass. [Google] [More] ⦿
Respected American penman, b. 1868, Quincy, IL, d. 1948, Quincy, IL. Author of Lessons in Practical Penmanship (publ. D.L. Musselman, Quincy, IL). He taught penmanship his entire life in Quincy, IL, at the Gem City Business College. He is remembered for his exceptionally graceful flourished birds and swans. [Google] [More] ⦿
German-American type designer (b. 1843, Berlin) who apprenticed at the Trowitzsch & Son type foundry in Berlin, and then worked as a punchcutter in Dresden and at the G. Haase & Sons foundry in Prague. After positions at the Flinsch foundry in Frankfurt, the Battenburg foundry in Paris, and the Fonderie Haas in Basel, Ihlenburg moved to the United States in 1866 to work for the L. Johnson & Company foundry in Philadelphia, which became MacKellar, Smiths & Jordan some time later. Specializing in ornamental (Victorian) fonts and borders, he designed over eighty typefaces for that Mackellar and a few more for American Type Founders after it purchased MacKellar, Smiths & Jordan in 1901. Ihlenburg became an American citizen in 1874, and died in Philadelphia in 1905.
His typefaces at MacKellar: American (1876), Angular Text (1884, Victorian blackletter; digitally interpreted by Toto in 2012 in his free font K22 Angular Text), Arboret (1884), Arboret No. 2 (1885), Archaic (1888), Artistic (1886), Bijou (1883: digital copies include Bangle (1990-1991, FontBank), Riccio Display Script by Southern Software (1994, SSi, SSK), Grebe (1994, by an anonymous designer) and Mexacali by Swfte), Black Ornamented (1873), Byzantine (1868), Centennial Script (1874, a spectacular high-contrast script digitized in 2007 by Canada Type and in 2011 as a free font called Mortem Stylus by Stylus, and by Intellecta Design as Centennial Script), Chaucer (1883), Childs (1892, revived by R. Beatty, and by Ingo Preuss as Daring), Circular Black (1883), Columbian (1891), Columbus (1890: for a digital revival, see Cristoforo by Thomas Phinney, 2012, and Colombo by Ingo Preuss), Columbus Outline (1892), Copperplate (1877), Crayon (1886), Culdee (1885), Dado (1882), Dynamo (1891), Eureka Text (1870, blackletter), Ferdinand (1892, now at Dover), Filigree (1878), Fillet (1890), Glyptic, Glyptic No. 2 and Glyptic Shaded (1878), Gothic Ornate (?), Greenback (1871), Grolier (1887), Gutenberg (1888), Houghton (ca. 1880), Illuminated and Illuminated No. 2 (1876), Isabella (1892, a bastarda face; digital version at Agfa, Adobe, and Linotype, 2001), Italic Copperplate (1878), Japanesque and Japanesque No. 2 (1877, oriental simulation typefaces), Johnson (1892), Lady Text (1884, blackletter), Lippincott (1895?), Mediaeval Text and Mediaeval Text Ornate (1870, blackletter), Minaret (1868), Minster (1878), Mortised and Mortised No. 2 (1884), Newfangle (1892, revived in 2015 by Nick Curtis as Newfangle NF), Nymphic (1889 [Ruffa says 1884], revived by Barmee in Secesja Pro (2013), and by Paul D. Hunt (2004), who published it as Kilkenny (2005, P22)), Obelisk (1881), Oxonian (1881), Pencraft (1885), Phidian (1870, redone by Dan X. Solo), Philadelphian (1867), Pynson (1887), Quenn Bess Script (1882), Radiant (1876), Radiated (1871), Relievo (1878), Relievo No. 2 (1879), Rimpled (1895), Ringlet (1882, the prototypical Victorian typeface; Dan X. Solo made a digital version in 1998 which is also called Ringlet), Romanesque (1874), Sansom Script (1888), School Text (1876), Spiral (1890, redone by R. Beatty), Stipple (1890), Stylus and Stylus No. 2 (1883), Tendril (1878), Treasury (1874), Treasury Open (1875), Unique (1874), Unique No. 2 (1875), and Zinco (1891, revived by Jim Spiece in 2002 as Zinc Italian SG).
At ATF: Taylor Gothic (1894), Schoeffer Old Style (1897), Roundhand Series (1902), Post Oldstyle Roman No. 2 (1901---possibly made by E.J. Kitson and/or Guernsey Moore), Post Oldstyle Italic (1901), Ihlenburg Series (1900?), Bradley Series (1895-1897, now at Dover), American Italic (1902). Ludlow offers a digital version of Hannibal.
Klingspor link. Comments on some typefaces by Mac McGrew:
German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today Hubert Jocham is a freelance designer located once again in Memmingen, Germany. He develops brandmarks and logotypes for leading brand agencies like Interbrand, Landor, Enterprise and Futurbrand. He designs text and headline systems for international magazines like GQ London, Vogue Moscow, Vogue France (2010), Vogue Turkey, L'Officiel Paris, and New York and German publishers like Milchstraße and Gruner&Jahr. He is responsible for the corporate type of Bally in Switzerland, the Kunsthaus Graz and Agfa Photo. He set up Hubert Jocham Type in 2007. MyFonts link. FontShop link. His typefaces:
Free copies in PDF format of many rare books on calligraphy and penmanship, typically from the 19th century:
Insigne Type Design Studio (was: Dooley Type)
Insigne Type Design Studio (est. 2006) is run by Jeremy Dooley, b. Columbia, SC, 1981, who received a masters in graphic design at Savannah College of Art and Design in 2005. He lived in Atlanta, GA, and is now in Knoxville, TN. From 2004 until 2006, he ran Dooley Type in Greenville, SC. Behance link. Klingspor link. Font squirrel link. Creative Market link. MyFonts interview. His fonts:
Design company in Brazil run by Paulo W (b. 1970) from Recife. Paulo W is a gaúcho (Brazilian southerner), with interests in multiple areas, including poetry (he has published the digital opus Magical Book), graphic design and, most recently, type design.
Dafont link. MyFonts. MyFonts link. Abstract Fonts link. YWFT link. Behance link. Blog. Home page. Fonthaus. Monotype. Eshops. Facebook. Flickr. Klingspor link. Wordpress. Devian tart. T26. Linkedin. Identifont. Linotype. ITC. Faces.co. His typefaces:
Dutch architect in Amsterdam who edited the lettering model book Alphabet: letters van allerlei vorm (1895-1898), which, according to Mathieu Lommen, is the prettiest and most ambitious model book ever published in The Netherlands. The text has lettering examples from many contributors, such as Jan Boerma, C.L. Stal, and J.B. Heukelom (1875-1965). Heukelom's contributions include Sierletters (Dutch art nouveau style) and Perspectiefletters.
American penman. J. W. Payson, S. Dunton, W. M. Scribner, G. H. Shattuck and A. S. Manson published The Payson, Dunton, & Scribner manual of penmanship (1873, Woolworth, Ainsworth, and company, New York). See also here.
Belgian penman who published Exemplaria sive Formulae Scripturae Ornatioris XXXIV. In quis, praeter diuersa Litterarum genera, varij earumdem ductus structurae & connexiones in Antwerp in 1591. [Google] [More] ⦿
Born in 1830, this American punchcutter designed fonts for ATF. Bank Script No. 1, 2 and 3 (1895) is a formal script that is now in the Scangraphic collection. Many other 19-th century typefaces are due to him. McGrew writes: Bank Script is a formal, traditional Spencerian script, designed in 1895 for BB&S by James West. It is of medium weight, and seems to have served as a model for the heavier Commercial Script and the lighter Typo Script, which came along later. Like many scripts of the day, it was designed with several lowercase alphabets to be used with the same capitals; of these only the original (No.1) set has endured, some sizes still being shown in the most recent ATF catalog. No. 2 lowercase had a larger x-height than No.1, while No.3 was both higher and wider.
Image Club Graphics also revived the wide connected script Cariola Script Std (2016).
Or Jan van de Velde the Elder. Famous Dutch (Belgian?) calligrapher and penman (b. 1568, Antwerp, d. 1623, Haarlem) who worked first in Rotterdam (1592-1620) and then in Haarlem (1620-1623). Author of the writing manual Spieghel der Schriftkonste in den welcken ghesien worden veelderhande Gheschriften met hare Fondementen ende onderrichtinghe. Ut ghegeven door Jan van den Velde Fransoysch-School M. binnen Rotterdam (1605, Haarlem). He wrote a second penmanship book, Exemplaer-Boec Inhoudende alderhande Geschriften zeer bequaem ende dienstelijck voor de Joncheydt onde' alien Liefhebbers der Pennen (1607, Haarlem).
Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. [Large image at the University of Amsterdam Special Collections].
His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011) and in DTL VandenVelde (2015, Jeroen Koning). [Google] [MyFonts] [More] ⦿
Lithographer in Groningen, The Netherlands, who studied at Academie Minerva in Amsterdam. Born in 1856, he taught at two schools, the Quellinusschool and the Teekenschool, and died in 1938. He published the lettering model book Lettervormen voor school en werkplaats, ca. 1885. published the lettering model book Lettervormen voor school en werkplaats, ca. 1885.
JB Foundry was established by Jean Boyault (b. 1960, Suilly La Tour, France), a type designer who lives in Suilly La Tour. He is the designer of the cursive and other school fonts for teachers, all free and made in 2006-2007: JBCursive, JBEtude-Regular, JBMatrice, JBBatonRond-Bold, JBBatonRond-Extra, JBBatonRond-Italic, JBBatonRond-Regular, JBChantier, JBCursive++Feutre, JBCursive++Marqueur, JBCursive++Normal, JBFil, JBRond, JBScolaireT1-Bold-Italic, JBScolaireT1-Bold, JBScolaireT1-Italic, JBScolaireT1, JBScolaireT2-Bold-Italic, JBScolaireT2-Bold, JBScolaireT2-Italic, JBScolaireT2.
Typefaces made after 2007: Simple Ronde (2011, upright connected script), JB Etude (2007), JB Script (2010), JB Haut>, JB Lames (2008), JB Elegant (2008), JB Cursive, JBStyle (2008), JB Fil Std (2009) and JB Calli (2008).
Typefaces from 2013: Friandise (a decorative typeface reserved for chocolate enthusiasts), Capucine (a chocolate store pair of typefaces), Cuivrerie (a flared interlocking typeface based on lapidary inscriptions found in Bourgogne), Only One Dollar, Suilly La Tour (calligraphic script), Gaston (a large script family), Typha, Centaurea (a beautifully executed layered type system based on a didone with curved serifs), Toubib (hand-printed).
Typefaces from 2015: HopefulGrasshopper (a fun printed script), Henri Modeste (an experimental didone typeface), Gaston (upright connected ronde script), R+C (the ultimate explicit ruler-and-compass technical drawing typeface with filled, outlined and sketched substyles).
Typefaces from 2016: Belle Allure (connected upright school script).
Typefaces from 2017: Badinerie (flowery semi-connected connected script), Badinerie Love (with hearts added).
Dutch penman and teacher in Den Haag, d. 1848. According to Mathieu Lommen, he was probably the first one to publish a lettering model book in The Netherlands, Alphabet-album: collection de différentes feuilles d'alphabets historiés et fleuronnés (ca. 1846).
Frenchman Jérémie Hornus studied typography at Le Scriptorium de Toulouse, France and the University of Reading, where he graduated in 2006. He worked at Dalton Maag, where he designed Tornac (which became a retail typeface in 2013 at Dalton Maag), a connected script face, and was involved in brand identity for clients such as Burberry, Toyota, HP, Nokia, Danish Industries, Dubai Metro, Manchester Metrolink, and the city of Southampton.
Currently located in Paris, he set up his own commercial foundry in 2013. He also started publishing some of his typefaces at the French type coop Fontyou in 2013. His typefaces:
French penman who published L'art d'Ecrire ov Le moyen d'exceler en cet Art sans Maistre in Paris in 1680. The manual of the Parisian writing master Jean-Baptiste Alais (or Allais) de Beaulieu is an important monument in the history of 17th century calligraphy. While keeping alive the great traditions of the Renaissance, Alais emphasizes technical skill in achieving fluency and speed, thus paving the way towards the later developments of cursive writing which eventually culminated in Spencerian script. Besides alphabets and single letters, the engravings show drawings of children writing at a table, writing materials and hands. Alais' work was shown to Grandjean, engraver of the Romain du Roi and served as the basis for the new italic "du roi". [Google] [More] ⦿
Influential French master penman, 1538-1620. Jean de Beauchesne and John Baildon published the first writing manual in England: A Booke containing divers sortes of hands, as well the English as French secrataries with the italic, roman, chancelry&court hands (1570-1571, London: Thomas Vautrollier). In 1580, he published Le Tresor d'escriture, auquel est contenu tout ce qui est requis&necessaire à tous amateurs dudict art. His third book was La Clef de l'escriture laquelle ouvre le chemin à la jeunesse, pour bien apprendre à excrire la vraye lettre françoyse&italique (1595, London: G. Boulengier). He also published Specimens manuscrits anglais dédiés à Mme Elizabeth fille unique du roi de Grande Bretaigne (1610, England).
French penman. An undated book by him is Poecilographie Ov diverses escritures propres pour L'Usage Ordinaire avec une methode fort breve et facile pour les bien apprendre par Jean de Beaugrand Parisien Secretaire . . . de la chambre de Roy etc (Paris). [Google] [More] ⦿
Or Werdet ainé, le père Werdet, Joseph Werdet, or Joseph Verdet. French penman, b. ca. 1770, d. 1854. As a writing master, penman, school script developer and calligraphy expert, he wrote several writing manuals:
Werdet taught penmanship at the Kycée de Bordeaux in 1809. In 1812, he became professor at Ecole Normale Suoérieue in Paris.
Type designer (b. 1916, Dantzig, d. 1996, Kronberg). He studied lithography from 1933-1937 in Dantzig, and typography in Offenbach until 1944. After that he was associated loosely with Gebr. Klingspor, and was a freelance graphic designer from 1948 onwards.
Romann designed fonts at Klingspor. Chief among these is Constance or Constanze (1954, a light script). Several digital revivals exist such as Stanzie JF at Veer, Constanze Pro (2012, Ralph M. Unger)), and Constanze Initialen (calligraphic; digitally revived as Constanze Initials (2010, Claude Pelletier) and as VIP (2008, Canada Type)). Other typefaces at Klingspor include Doppelmittel halbfette Constanze, Doppelmittel fette Constanze, Queen (1954, outline and decorated renaissance penmanship initials typeface revived as Jaggard (2007) by Paulo W at Intellecta Design), Variante (1951, formal script without lower case). Various typefaces remained unpublished such as Constanze fett, Constanze halbfett (1956) and Kronberg (blackletter). At the Ernst Engel Presse, he created a Schwabacher in 1940 and an Antiqua in 1941. Alternate image from Klingspor.
Revivals of his work also include Jaggard (2007), a renaissance penmanship initials typeface developed by Paulo W at Intellecta Design.
Dutch penman and lettering artist (1797-1879), who published the lettering model book Alphabeth in onderscheiden soorten van oude, nieuwe en ornament letteren, ca. 1843. Some of his work is close to earlier model book work of Jean Midolle in Switzerland.
German penman who published Kunst-richtige so wohl Deutsche als Lateinische Sachsiche Vorschriften bestehend in allerhand Current--Cantzelen--fractur--Verfal--Romanischen Quadrat-Buchstaben und Zugwerk so insgemein in Ueutschland in sonderheit aber in oberwehnten Sachsischen Landen am gebrauchlichsten, etc. Franckfurth und Leipzigk bey Johann Christoph Stosseln (1702). [Google] [More] ⦿
Austrian calligrapher and penman (1716-1791) who created many calligraphic alphabets, often of capitals. MyFonts link. Author of Calligraphia Latina (1755), reprinted by Dover in 1958. This book has twelve full alphabets, over 300 initials and many exquisite borders and frames. Samples from that book: i, ii, iii, iv, v, vi, vii. Digital remixes: Schwandner Versalia (2010, Iza W, Intellecta Design). [Google] [MyFonts] [More] ⦿
Painter in Sluis, The Netherlands (1830-1857) [at least, this is the educated guess of type historian Mathieu Lommen], who published the lettering model book Verzameling van letteren ten gebruike voor schilders en teekenaars (ca. 1855).
British penman who published A Tutor to Penmanship ; or, the writing master: a Copy Book shewing all the Variety of Penmanship and Clerkship as now practised in England in London in 1698. [Google] [More] ⦿
British penman, Together with Jean de Beauchesne, he published the first writing manual in England: A Booke containing divers sortes of hands, as well the English as French secrataries with the italic, roman, chancelry&court hands (1570-1571, London: Thomas Vautrollier).
British penman who published Writing Improv'd or penmanship made easy, in its useful and ornamental parts. With various Examples of all the Hands now Practis'd in Great Britain. Engraved by George Bickham in London in 1714. [Google] [More] ⦿
British penman who published The Writing Schoolemaster, or the Anatomie of faire writing, Wherein is exactlie expressed each severall Character. Together with other Rules and Documents coincident to the Art of Faire and speedy writing in London in 1648. [Google] [More] ⦿
Penman who wrote Examples Written by John Heinrigs, Fourth Book Containing Sets of Round Text in 1812. He was based in Creveld in Germany's Ruhr region. [Google] [More] ⦿
John Seddon (1644-1700) was a master at Sir John Johnson's Free Writing School at Priest's Corner, Foster Lane, London. Author of The Ingenious Youth's Companion (1690), The Pen-man's Paradise both Pleasant and Profitable (1695), and The Penman's Magazine (1705, published posthumously---its subtitle is a new copy-book, of the English, French and Italian hands, after the best mode; after the originals of John Seddon. Perform'd by George Shelley).
The second book was republished in a facsimile edition produced by Jan Tschichold in 1966. The plates in his first two books were engraved by John Stuart. In the third book, Seddon only contributed the decorative flourishes---all writing exemplars were by George Shelley.
Bestiario (2011, Iza W, Intellecta Design) is a digital typeface based on John Seddon's work. Seddon Penmans Paradise Capitals (2011, Iza W) is an elaborate initial caps typeface along the lines of Bestiario. [Google] [More] ⦿
Type and logotype company in Polanco (and now Mexico City), Mexico, run by John Nahmias (b. 1935, New York City). John is a graphic designer who started his career in 1952 in a New York studio with Lucian Bernhard. He left that company in 1958. He now lives in Mexico where he paints and runs his own studio. John's typefaces, mostly but not exclusively scripts, are sold by MyFonts.
Castro obtained a Master's degree in Communication Design and Multimedia at the Escola Superior de Artes e Design (ESAD) in 2011. He lives in Vila Nova de Gaia, Portugal. Under the guidance of Dino dos Santos, his study project was entitled The typographic process in Pedro Diaz Morante. Related to that project, he created a sweet, delicate and absolutely stunning penmanship typeface called Morante (2011), named after Spanish penman Pedro Diaz Morante, whose calligraphy inspired the typeface. His illustrations and graphic design work are equally impressive and perfect. [Google] [More] ⦿
Basque penman, 1788-1853. His designs were engraved in 1833 by Giraldos and Nicolás de Gangioti and dedicated to the Queen Governor. That work was published in Colección General de los Caractéres de Letras Europeas (see here).
Author of Arte de escribir la letra bastarda española (1827). The second edition, dated 1835, was published by Imprenta de don A. Mateis Muñoz in Madrid. Local download of that book. [Google] [More] ⦿
Josep Pep Patau i Bellart
Joseph Champion (b. Chatham, 1709, d. 1765) was a British calligrapher and penman. Champion contributed many plates to Bickham's Universal Penman. His most important work, The Parallel or Comparative Penmanship Exemplified, was published in 1750. It consists of reproductions of the work of foreign masters like Materot, Barbedor, Van den Velde, Perlingh and Maria Strick, with corresponding plates by Champion. Following these plates come some alphabets by Champion. His last published work was The Penman's Employment (1762). The first known attempt to implement Champion's alphabets, was in 1989 by French type designer François Boltana, who in Ligatures&calligraphie assistée par ordinateur (1995) proposed a couple of alphabets based on Champion. These did not result in a commercial font however. PF Champion Script Pro (Panos Vassiliou, 2004-2008; a winner at Paratype K2009) on the other hand has 4280 glyphs in erach of its two styles, and it supports Latin, Greek and Cyrillic. One of Champion's alphabets, dated 1733-1741. Samples of hisd penmanship from The Universal Penman 91730): i, ii. [Google] [More] ⦿
Spanish penman and writing master, 1751-1822. Author of Arte de escribir por reglas y sin muestras, establecido de Orden Superior en los Reales Sitios de San Idlefonso y Valsain despues de haberse experimentado en ambos la utilidad de su ensenanza, y sus ventajas respecto del metodo usado hasta ahora en las escuelas de primeras letras (1781, Madrid, Imprenta Real). [Google] [More] ⦿
Also, José de Casanova. Noted Spanish calligrapher from the mid 17th century, who had the title examinador de los Maestros de Arte de la Caligrafía en la villa de Madrid. He was a highly regarded penman. Author of Arte de escribir todas formas de letras, impressa (Madrid, 1650).
Well-known Canadian penman (1879-1970) who studied under Edward C. Mills. He graduated from the Zanerian College of Penmanship in 1910, and became involved in teaching penmanship in high schools. Author of The Bailey Method of Penmanship, which was used in high schools throughout Ontario, Alberta and Saskatchewan for over 40 years. One of the founding members of the International Association of Master Penmen, Engrossers and Teachers of Handwriting. He significantly influenced the education of handwriting in Canada during the first half of the twentieth century. [Google] [More] ⦿
Spanish penman, who lived around 1600. He published Pronvnciaciones generales de lenguas, ortografía, escuela de Leer, Escriuir y Contar, y Sinificación de letras en la mano (1623, Montilla). [Google] [More] ⦿
Spanish penman who published Arte Nueva de Escribir por preceptos geometricos, y reglas mathematicas at Imprenta de los Herederos de Manuel Ruiz de Murga in Madrid in 1719. Victoria and Albert write: Aznar de Polanco was not only a writing master and callig- rapher, but also a mathematician, architect and fencing master. Arte nuevo de escribir was his most important work on calligraphy. It is based on the firm belief that writing should depend on geometrical principles. [Google] [More] ⦿
Or Juan Sebastian Rincon Redondo. Bogota, Colombia-based designer of the (very beautiful) Dutch krul letter font Morgan (2014). He also creates wonderful calligraphic lettering pieces. In 2014, he co-designed Beauty Script with Manuel Corradine. His penmanship typeface Alexandria Script (2015) won an award at Tipos Latinos 2016.
Authors in Pittsfield, MA, of Real Pen Work---Self Instructor in Penmanship (1881). Selected alphabets: Slanted Letters, Business Letters, Capitals, Ornamental Alphabet, Rustic Alphabet, German Text, Old English, Marking Alphabet, Steel Pen Capitals. Additional drawings: Fists, afish, a lion, a deer, a horse, two horses, flourished heads.
They also wrote Golden Gems of Penmanship (1884).
Swiss calligrapher in Basel who made and sells various medieval and historically important script fonts. These included the paleographic (PAL) series and the KPS series. He lives in Ühlingen--Birkendorf, Germany. His fonts are uniformly of high quality and are usefl for illustrating historical alphabets.
His early commercial collection: KPS Anglaise (calligraphic script), KPS Antiqua (+Kapitälchen), KPS Capitalis (classic Trajan caps), KPS Cicero, KPS Epona (calligraphic), KPS Fein (hand-printed), KPS Hand (calligraphic), KPS Horaz (calligraphic), KPS Iris (calligraphic), KPS Petit (calligraphic), KPS Plinius, KPS Spitzfelder, KPS Vitruv (calligraphy), PAL Bastarda, PAL Cancellaresca, PAL Carolina, PAL Gotisch, PAL Humanistica, PAL Lombarden, PAL Quadrata, PAL Rotunda, PAL Rustica, PAL Textura, PAL Uncialis, PAL Uncialis Roemisch, Weissranken Initialen, Ranken Initialen (Celtic capitals).
Since September 2013, all of his fonts are free. They were renamed and have conveniently the date of original creation in the font name. The fonts dated in the 1990s and 2000s are new typefaces or creative revivals by Klaus-Peter. The list of revivals: 0100DeBellisMacedonicis [Pre-uncial letters from the fragment "de bellis macedonicis", ca. 1st century], 0300Petros [Greek hand from the oldest surviving copies of St. Peter's epistles, dated 3th / 4th century], 0362Vitalis [Roman Minuscule Cursive from the so called Vitalis letter, written before 362 on papyrus (Strasburg)], 0480VergiliusRomanus [Capitalis Rustica from the Vergilius Romanus written in Rome, ca. 480], 0500VergiliusSangallensis [Capitalis Quadrata from the Vergil fragments in Stiftsbibliothek St.Gallen], 0512Dioskurides [Greek Uncials from the Vienna Dioskurides (about 512)], 0746Beda [from Beda Venerabilis: Historia ecclesiastica gentis Anglorum, Northumbria, dated 746], 0800Kells [Half Uncials from the Book of Kells], 0800Remedius [So called "Lombardic-Raetic Minuscule" from Codex 348 of the Stiftsbibliothek St. Gallen], 0800 Theophanes [Greek Hand after a 9th century Theophanes manuscript], 0850CarolinaTours [Carolingian Minuscule], 0850Carolinaundulata [Carolingian Minuscule from the Scriptorium of Tours], 0864Folchart [St. Gall Carolingian from the Folachart Psalter], 1012Otto [Late Carolingian Minuscule from the Perikopes of Heinrich II, written at the Reichenau, donated to the dome of Bamberg in 1012], 1258FridericusII [Gothic Rotunda from the falcon book of Emperor Friedrich II, Southern Italy 1258-1266], 1400Wenzel [Bohemian Textura from Vienna], 1450Sebastos [Humanistic Greek hand from Homer, Ilias, Vatican Library], 1455GutenbergB42 [Gothic Textura types from the 42 line Gutenberg Bible], 1458GutenbergB36 [Gothic Textura types from the 36 line Gutenberg Bible], 1470Jenson [an antiqua by Nicolas Jenson], 1475HumanisticaCursiva [Humanistic Cursive of the kind Bartolomeo Sanvito of Padua wrote, after Cod. Pal. Lat. 1508], 1480Humanistica [Humanistic Book Hand from Valerius Maximus: Facta et dicta memorabilia, ca. 1480-1485. The calligraphy is attributed to Antonio Sinibaldi from Florence and the titling capitals to Bartolomeo Sanvito from Padua], 1483Koberger [Incunabula type from the Koberger Bible, printed in Nuremberg in 1483], 1485Grueninger [Incunabula type from the Grueninger Bible, printed in Strasburg in 148], 1493SchedelRotunda [Incunabula type from the Latin edition of Hartmann Schedel's World Chronicles, printed by Koberger at Nuremberg in 1493], 1501Manutius [First printed Italic Antiqua by Aldus Manutius (Venice 1501)], 1513Gebetbuch [Fraktur from Emperor Maximilian's Prayer Book, printed in Augsburg in 1513], 1517Gilgengart [Fraktur type from Emperor Maximilian's 1517 private print "Gilgengart"], 1517Teuerdank [Fraktur type from Emperor Maximilian's "Teuerdank", printed at Augsburg in 1517], 1519NeudoerfferFraktur [Fraktur alphabet from a woodblock model in Johann Neudoerffer the Elder's Calligraphy book "Fundament", Nuremberg 1519], 1739Bickham [Copperplate or running hand after models from "The Universal Penman" by George Bickham, printed in London 1743], 1741Bickham [Bickham's round hand from Universal Penman], 1782Thurneysen [Baroque Antiqua Type of J. Jacques Thourneysen fils, Basel 1782].
Original versions by Schaeffel, with date of design in the font name: 1999Anglaise1, 1999Anglaise2, 1999Cancellaresca, 1999Carolina (Carolingian minuscule), 1999Livius, 1999LiviusBold, 1999LiviusItalic, 1999LiviusSmC, 1999LiviusTitel, 1999Ovidius, 1999Stylus, 1999Textualis, 2000Bastarda, 2000Cicero, 2000Humanistica, 2000Plinius, 2000PliniusItalic, 2000Seneca-Italic, 2000Seneca, 2000TextualisFormata, 2000Uncialis, 2001RotundaFormata, 2002Cato, 2002Horatius, 2002Vitruvius, 2003Epona, 2003Lombarden, 2004CapitalisQuadrata, 2004CapitalisRustica, 2004Iris, 2004UncialisQuadrata, 2004UncialisRomana, 2008-Noeuds-1 [for making Celtic knots], 2008-Noeuds-2, 2008-Noeuds-3, 2009Xenophon, 2010Filigrane, 2010Gouttes, 2010Labyrinthe [squarish], 2010Pointu [a calligraphic blackletter], 2010Vergilius [a great calligraphic face].
Type designer, calligrapher and lettering artist in Moscow. In 2015, at Artem Gorbunov Design Bureau, she created the script typeface Voltaire, which is based on illustrations in one of Voltaire's books from 1734. Voltaire covers Latin and Cyrillic. Still in 2015, she designed Di Mare, a layered script inspired by Italian restaurant and cafe signs.
Laura Worthington of Bonney Lakes, WA, is a letterer, illustrator and graphic designer. Her script typefaces became quite popular in recent years. In 2010, she set up shop at MyFonts. Catalog. Her typefaces:
Lettering artist and author, 1845-1910. His books include Alphabets Old and New: Containing Over One Hundred and Fifty Complete (1902, B.T. Batsford), which has a large number of historic alphabets, initials, blackletter examples, and new alphabets by the author himself. Other books: Alphabets Old And New For The Use Of Craftsmen (1910, B.T. Batsford, London), Lettering in ornament (B.T. Batsford, 1902), The anatomy of pattern (B.T. Batsford, 1895), Penmanship of the XVI, XVII&XVIIIth centuries (1911, B.T. Batsford, London: Local download), and Nature and Ornament (B.T. Batsford, Charles Scribner's Sons, 1892).
He created numerous pen-drawn alphabets. I am using the descriptive names he used in his own book, Alphabets Old and New: Modern Brush Letters, Blunt Brushwork, Blunt Twisted Brushwork, Japanese Brushwork, Modern Capitals for engraving on metal, Modern Capitals, more Modern Capitals, and yet more Modern Capitals, Modern early Gothic Capitals for engraving on metal, Modern Early Spanish Letters, Modern Foliated Capitals, Modern Gothic Capitals, Modern Minuscule Gothic, Modern Roman Capitals, Modern Roman Italics, Modern Twisted Letters, Numerals (set 1), Numerals (set 2), and Numerals (set 3).
In 2012, Dick Pape created a number of typefaces based on alphabets found in Alphabets Old And New For The Use Of Craftsmen (1910). These include LFD14thCItalian75 (drawn by J. Vinycomb), LFD15thCFrenchRelief91, LFDAlphabetUndOrnamente216 (after roman capitals by Otto Hupp), LFDAsianStencilling205 (an art nouveau stencil based on an original by E. Grasset and M. Verneil), LFDBlockCapitals213 (based an alphabet by Walter John Pearce), LFDEngravingonSilver196 (a Foreman Day original designed for engraving on silver), LFDFreehand170 (based on an alphabet by Bailey Scott Murphy, architect), LFDFrenchPrintedType189 (based on a type by E. Grasset), LFDFrenchType209 (a caps typeface by Lewis Foreman Day), LFDIncisedinWood114 (a Foreman Day original Elizabethan lettering aklphabet based on an inscription incised in wood at North Walsham, Norfolk), LFDMetalEngraving187 (another original by Foreman Day, for engraving on metal), LFDModernCaps210 (an original), LFDPainted148 (a sketched typeface that was painted in 1727 on the wooden drug-drawers of an old apothecary's shop and kept in the Germanisches Museum, Nuremberg), LFDPenAlphabet222 (an art nouveau alphabet by Foreman Day), LFDPenwork160 (after an original monstrosity by Walter Crane), LFDPenwork181 (based on an alphabet of Roland W. Paul), LFDPenwork206 (based on lettering by Franz Stuck), LFDQuasiJapanese203 (an oriental art nouveau design by Foreman Day), LFDRomanCapitals224 (based on lettering by Franz Stuck), LFDScriptStencil219 (an oriental art nouveau design by Foreman Day), LFDSquareCut202 (an original pixelish typeface by Foreman Day), LFDThinFrench208 (based on an alphabet by John Vinycomb). [Google] [More] ⦿
Argentinian foundry located in Buenos Aires, est. in 2008 by Maximiliano Sproviero (b. 1987, Buenos Aires). It specializes mainly in gothic, uncial, script and handwriting typefaces. Sproviero graduated from FADU, University of Buenos Aires in 2008 with a script thesis typeface called Colofon.
His fonts from 2008 include Devil Kalligraphy, Pumba (great futuristic rounded look), Tobogan (retro), Kiwi Sans Serif, School Rainbow, Suave Calligraphy, Tonika (handwriting), Goddess (handwriting), Cursivessca (calligraphic; 4 styles), Friendship (6 styles), Chechelo Lawyer (modern italic condensed), Quijote Italic (calligraphic with tall ascenders and descenders), Miscelanea (arabesques), Lunga (a condensed hairline family consisting of real Ligada, exacta, Versalita and Extras), Mabela (a rounded fat display font), Red Wagon (ultra-condensed), Valeria Script (swashy), Kalligrand (2008, a tall calligraphic face), Intima Script One, Two and Three (described by him as a sensual calligraphic script family), and Paradise Script (96 styles, all calligraphic).
At Tipos Latinos 2012, Maximiliano Sproviero won awards in the display type category for Aire (2012, a thin curly didone family), Breathe Pro, and Reina. At TDC 2013, he won an award for the copperplate script Erotica. Erotica also won an award at Tipos Latinos 2014.
Typefaces from 2013: String (a hairline Spencerian script), Brand (a signage script family), Agile Pro (a hairline swashy calligraphic family), Bird Script (which an award at Tipos Latinos 2014), Live Pro.
Typefaces from 2014: Selfie (connected monoline signage script), Heroe (a script that takes Lubalin and Caslon to the extreme), Dream Script (a chancery script that won an award at Tipos Latinos 2016), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).
Winner at Tipos Latinos 2018 of a type design award for Lubaline, Posh and Preta.
Typefaces from 2018: Burger (a fast food slab serif bonanza), Fleur, Pantera (a lively pointed brush calligraphic typeface family), Girasol (based on sketches by Susana Maurette), Rafaella (all caps---described by Sproviero as coquette).
Liberty Type Foundry
Commercial typefoundry of George Thomas (Dallas, TX), whose fonts include Pendula (2014, art nouveau). They write: Pendula is an adaptation of Pittoresques Droites (Scenic Casual) found in the circa 1924 specimen book of La Fonderie Typographique Française. Changes to a very small number of the original characters were made to make the typeface work better with more languages, as well as for aesthetic reasons. A newly designed Cyrillic character set was added.
In 2015, he released the penmanship font Smith Spencerian, which is a revival of a 1878 script by Richard Smith for MacKellar, Smiths & Jordan, which is possibly the most decorative Victorian script. [Google] [More] ⦿
American penman (1862, Light Street, PA-1948, Seattle, WA). Author of Complete Compendium of Plain Practical Penmanship (1901). He studied at G.W. Michael's Pen Art Hall in Oberlin, OH, in the early 1880s. In 1883 he met C.P. Zaner and E.W. Bloser. Bloser and Kelchner taught in Delaware, OH, and in Cleveland, OH. In 1889, Kelchner purchased a half interest in the Zanerian College of Penmanship in Columbus, OH. He sold his interest in 1892 and left for teaching positions in Dixon, IL, and later in Des Moines, IA. In 1909, he moved to Seattle to teach at Seattle Business College. [Google] [More] ⦿
Italian writing master, b. Bologna, d. Roma 1617. Examples of his work date from 1582 and 1588. Author of II Cancelliere di Ludovico Curione ornato di lettere corsiue et d'altre maniere di caratteri vsati a scriuersi in Italia. Libre Quarto (Roma, 1609). [Google] [More] ⦿
Spanish penman, 1632-1698. Author of El maestro de escrivir: la theorica y la practica para aprender y para enseñar este vtilissimo arte: con otros dos artes nuevos, uno para saber formar rasgos, otro para inventar innumerables formas de letras (1696, Venice: Presso Paolo Baglioni). Local download. [Google] [More] ⦿
Influential French master penman, b. 1589, d. 1670. He published several texts including Les Escritures Financieres Et Italienne Bastarde Dans Leur Naturel (ca. 1650). He is known for his round hand, or "ronde". Hans Eduard Meier's Barbedor (1987, URW) is named after him. The ronde typeface La Petite Ronde (2008, Marc H. Smith) is based upon examples by Barbedor. Portrait. Specimen from 1640. Specimen from 1659. [Google] [More] ⦿
Penman, b. 1859, San Antonio, TX, from Hungarian parents. [Some say January 20, 1860] His maternal grandfather, Ladislaus Ujhazi, was Governor of Kameron and the Count of Saros. He traveled a lot and was a versatile and multi-dimensional person. He worked in Sterling, IL, Jersey City, NJ, and Poughkeepsie, NY. He spent most of his life in New York, and died in 1910 in San Francisco. Author of Lessons in Advanced Engraver's Script, published by C.W. Jones in Brockton, MA. Zaner&Bloser published The Madarasz Book - The Secret of the Skill of Madarasz in 1911, based on documents and sources given to them by Louis Madarasz's widow, Clara K. Madarasz. Scan of a calligraphic alphabet called Commercial College. Scans from the 1911 book: capitals drawn in 1909, death notice from 1910, engraved capitals, instructions, image, letter in 1902 to zaner and Bloser, lower case alphabet, Madarasz Script, Plate five alphabet, sample, signature, another signature, yet another signature, teachable capitals, portraits at ages 25, 35 and 45.
Lucas Benjamin Sharp
French penman who published Les Oeuvres de Lucas Materot Bovrgvignon Frangois, Citoyen d'Avignon. Ou lon comprendra facilement la maniere de bien et proprement escrire toute sorte de lettre Italienne selon I'vsage de ce siecle in Avignon in 1608. [Google] [More] ⦿
LYB Design (or: Liu Yinbin Design)
Liu Yinbin graduated from the Xian Academy if Fine Arts in 2007. Director at Meitu Design Company since 2013. Creator of these typefaces in 2014: Calliraphy (sic) (oriental brush font), Lake Font (art deco), Rough (sans caps). In 2015, he made Gorgeous (a penmanship style calligraphic script), Dense Forest, Christmas Font (hand-crafted script), Arrow, Vertical Line (sans) and Imagine (hand-crafted bold typeface).
Son of Platt Rogers Spencer, one of the most famous American penmen, 1800-1864. Lyman was born in 1840 and fought in the Civil War. In 1876, Lyman Spencer and Henry Flickinger (b. Ickesburg, PA, 1845), both among the finest penmen of their age, wrote New Spencerian Compendium of Penmanship (1879), which continued to explain the Spencerian system of penmanship that originated with Lyman's father, Platt Rogers Spencer. In Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull, we find an extensive biography. Lyman Spencer died in 1915.
Images from the 1879 book: Capital exercises, Construction of roman letters, Free italic, French round hand, Half Block or Egyptian, Italian Script, Morse, Old English, Spencerian Ladies Hand, Spencerian Medium Hand. [Google] [More] ⦿
American letter designer in the phototype era. He contributed to the Photo-Lettering library with many Spencerian designs. His typefaces include
Author of the article Notes on Designing for Photo-Lettering (Print Magazine, Volume IX, Number 1, June-July 1954).
Mannerism is a period of European art that evolved from the Italian high renaissance around 1520. It lasted until about 1580 in Italy, when the baroque style began to replace it. Northern mannerism continued into the early 17th century throughout much of Europe. Mannerism is characterized by elongated proportions, very stylized poses, and a lack of clear perspective. In typography, this is the era of early penmanship in the style of Palatino, and of styles like Civilté. [Google] [More] ⦿
Portuguese penman of the 17th century, 1670-1722. Some say 1670--1735. Andrade de Figueiredo was born in Espirito Santo, where his father was Governor of the Capitania. His work follows the style of the great Italian masters in its use of clubbed ascenders and descenders, and of Diaz Morante, the famous Spanish writing master, in its very elaborate show of command of hand. He was known as the Morante portugues.
Author of Nova Escola para aprender a ler, escrever, e contar. Offerecida a Augusta Magestade do Senhor Dom Joao V. Rey de Portugal (Lisboa Occidental: na Officina de Bernardo da Costa de Carvalho, Impressor do Serenissimo Senhor Infante, 1722).
His work inspired Ventura da Silva, a Portuguese typographer who published Regras Methodicas in 1803, who redesigned some of Figueiredo's type specimens.
Digital descendants include Dino dos Santos's Pluma (2005), Andrade Pro (2006, a modern) and Andrade Pro Script (2006) typefaces. Intellecta Design's Invitation Script (2013) is based on Andrade's 1722 book. Miguel Bernardino's Manoel Display (2016) is named after Andrade. [Google] [More] ⦿
Dutch penman who published Tooneel der loflijcke Schrijfpen Ten dienste van de Constbeminnende Jeucht int licht gebracht Door Maria Strick Fransoysche School-houdende binnen . . . Hans Strick (1607). [Google] [More] ⦿
Martin Billingsley (1591-1622) was an English writing master based in London. Author of The Pens Excellencie, or the Secretarys Delight (1618).
The number of hands set out by Billingsley in examples was six, with some additional subdivisions. The six were the Secretary ["the usuall hand of England"]; the Bastard Secretary, or Text; the Roman [the hand "usually taught to women"]; the Italian; the Court [used in the courts of King's Bench and Common Pleas]; and the Chancery. [Google] [More] ⦿
May 30 2016
German penman who published Vollkommene Wieder-Herstellung der Schreib-Kunst in Nürnberg in 1716. Pia Frauss made a blackletter typeface called Love's Labour in 2007 based on his work. [Google] [More] ⦿
Michael Gene Adkins
Author of Spencerian Script and Ornamental Penmanship, Volume I (1989). He lived in Prairie Village, KS. That book has nice chapters on Austin Norman Palmer, Platt Rogers Spencer, Styles of penmanship, Penmans Hall of Fame, and Penmanship in a New Land. [Google] [More] ⦿
Michael R. Sull's Penmanship Hall of Fame from his 1989 book Spencerian Script and Ornamental Penmanship discusses 26 master penmen from the golden era of American penmanship (between the Civil War and World War II). [Google] [More] ⦿
Misprinted Type (est. 1998) offers free and commercial old typewriter and grunge fonts designed by Eduardo Recife, an illustrator and graphic designer from Belo Horizonte, Brazil, b. 1980. Although his main work is in illustration, he became well-known in the early 2000's for his original grunge type designs. Typefaces:
Earlier versions of this site could be found at TypOasis (dead link) and Dafont. Many of his fonts are also here and here. Klingspor link. Creative Market link. Fontspace link. Dafont link. [Google] [MyFonts] [More] ⦿
Monogram Fonts Co
Commercial foundry, est. 2009 by Brian J. Bonislawsky (Las Vegas, NV), known for his participation in the Astigmatic One Eye Typographic Institute, the Breaking the Norm Font Library, VersusTwin Type Foundry, and Foundry-X. Fonts made in 2009 include MFC Franklin Corners (based on Metal Corners from the 1889 "Convenient Book of Specimens" from Franklin Type Foundry in Cincinnati), MFC Manoir Monogram (2009, Victorian initials), MFC Bijou Monogram, MFC Escutcheon Monogram, MFC Pantomime Monogram, MFC Peony Monogram (2009), MFC Vice Monogram (an Art Deco letterset (capitals only) from a 1915 publication by Cartier-Bresson of Paris), MFC Viper Monogram (based on Hollywood Combination Initials, found in a 1934 ATF book), MFC Carson Monogram (from Art Monogram and Lettering by J.M. Bergling, Vol. 1, Fifth Edition, 1912), MFC Semicirculus Monogram, MFC Royaume Monogram (after lettering from the 1884 Ames' Guide to Self Instruction in Practical and Artistic Penmanship by Daniel T. Ames), MFC Bindi Monogram (after a 1915 publication by Cartier-Bresson of Paris), Carson Monogram (a letter set from the book Art Monogram and Lettering by J.M. Bergling, Vol. 1, Fifth Edition published in 1912, where it was simply labeled New Antique 53), Noir Monogram (after the "Pearl" letterset from the 1854 Becker's Ornamental Penmanship and Draughtsman's Letter Book by George J. Becker), Distinto Borders (after the Black&White and Running Borders from the 1906 Abridged Keystone Type Foundry Specimen Book), Tagliato Monogram (after a decorative letterset (capitals only) from the 1899-1900 Treatise on Embroidery, Crochet and Knitting booklet by M. Hemingway&Sons Silk Co), Mouchoir Monogram, Memoriam Initials (based on University Initials in the 1934 Book of American Types by ATF), Moissanite Monogram (based on Diamond Combination Monograms from the same book), MFC Monarchy Initials (based on Diamond Combination Monograms from the same book), Morningside Monogram and Neuport Monogram (both based on letters found in the 1934 Book of American Types by American Type Founders), Diamant Monogram, Distinto Borders (based on borders found in the 1906 Abridged Keystone Type Foundry Specimen Book), Ruse Monogram (an all caps typeface based on DeRoos Inline), MFC Tagliato Monogram (from the 1899-1900 Treatise on Embroidery, Crochet and Knitting booklet by M. Hemingway&Sons Silk Co), and Tryst Monogram. MFC Franklin Corners (2009) is a series of three border dingbat fonts.
MFC Hills Medieval (2010) was developed from an overly ornamental blackletter type specimen found in the 1882 Hills Manual of Social and Business Forms. The interesting Victorian outline family Sappho Monogram (2010) was inspired by an alphabet set from the book, Monograms and Alphabets for Combination by Dollfus Mieg&Cie, first published in the 1890s.
Typefaces from 2012: MFC Bruce Corners.
Typefaces from 2013, all done with Jim Lyles: MFC Baelon Monogram (an 800-character monster font with outlined spurred letters from Dollfus Mieg's book, ca. 1890), MFC Bontebok Monogram, MFC Carnivale Monogram (known as Romantiques No. 3 and Ornate No. 2), MFC Thornwright Monogram (from the Manuel de Broderies No. 179 by N. Alexandre & Cie. from the late 1800s), MFC Zulu Monogram (an African-themed font inspired by Bibliothèque D.M.C: Alphabets et Monogrammes 2nd Series), MFC Jewelers Monogram (based on a decorative alphabet designed in 1901 by Marcus Goldsmith, an inventor of elegant accessories), MFC Verre Monogram, MFC Triangulus Monogram (based on a vintage publication called "Bibliotheque D.M.C: Alphabets et Monogrammes 2nd Series"), MFC Chaoxiang Monogram, MFC Fantasie Monogram, MFC Mastaba Monogram, MFC Voyeur Monogram (based on Broadway Monogram Initials in Book of American Types (1893, ATF)), MFC Haute Monde Monogram, based on Elite Monogram Initials in Book of American Types (1893, ATF)), MFC Budding Monogram, MFC Hardwood Monogram, MFC Almond Monogram, MFC Brass Rules Petit (based on filets from the Franklin Type Foundry), MFC Damask and MFC Damask Flourish (by Brian J. Bonislawsky and Jim Lyles, a Victorian capitals and floriated caps pair of typefaces based on Oxford No. 2 from the 1893 catalog of the Cleveland Type Foundry).
Typefaces from 2014: MFC Medieval Monogram (a Lombradic caps typeface based on Book of American Types (1934, American Type Founders)), MFC Chaplet Monogram (from Dessins de Broderies---Album No. 486 (Sajou, late 1800s)), MFC Capulet Monogram (based on Monograms and Alphabets for Combination (Dollfus Mieg & Cie, 1890s)), MFC Klaver Monogram, MFC Billow Monogram (from Manuel de Broderies No. 179 by N. Alexandre & Cie. from the late 1800's), MFC Aldercott Monogram (by Brian J. Bonislawsky and Jim Lyles, after a 1901 alphabet by Marcus Goldsmith, an inventor of elegant accessories of personal nature).
Typefaces from 2015: MFC Tattersaw Monogram, MFC Livermore Monogram (based on Victorian alphabets shown in Charles J. Strong's The Art of Show Card Writing, 1907), MFC Ringold Monogram (based on Strong's Book of Designs, 1917), MFC Petworth Monogram, MFC Piege Monogram, MFC Gilchrist Initials, MFC Gilchrist Monogram, MFC Arteaga Borders One, MFC Arteaga Borders Two, MFC Arteaga Borders Three, MFC Brass Rules Grand (based on Franklin Type Foundry's brass rules in Convenient Book of Specimens, 1889).
Typefaces from 2016: MFC Diresworth Monogram (based on an alphabet set from the book, Monograms and Alphabets for Combination by Dollfus Mieg & Cie, first published in the 1890's), MFC Spindler Borders, MFC Imperator Monogram (based on Monograms and Alphabets for Combination by Dollfus Mieg & Cie, 1890s), MFC Mercer (an initials set from the book Monograms and Alphabets for Combination by Dollfus, Mieg & Cie, first published in the 1880s), MFC Botanical Borders (based on a collection of border treatments from the 1886 Spécimens de caractères d'imprimerie by E. Houpied a Paris), MFC Diamondside Monogram, MFC Redding Monogram (a highly ornate lettering style from Letters and Lettering by Carlyle & Oring), MFC Rodizio (a layered chromatic typeface family inspired by wood types by William H. Page), MFC Falconer Monogram, MFC Glencullen Monogram, MFC Bruce's Corners Two (based on Metal Corners found in Specimens of Printed Types (1882, Bruce Type Foundry)), MFC Westport Monogram, MFC Arkena Monogram (art nouveau font based on Strong's Book of Designs (1917)).
Typefaces from 2017: MFC Enschede Borders (based on floral borders in the 1904 Ornamenten Hoofdlijsten en Sluitstukken book by Joh. Enschedé & Zonen, Haarlem), MFC Keating Monogram (based on Monograms and Alphabets for Combination (1890s, Dollfus, Mieg & Cie)).
Typefaces from 2018: MFC Elmstead Monogram and MFC Endeavor Monogram (both based on Dollfus, Mieg & Cie, 1890s), MFC Blossom Monogram (a chromatic layering font), MFC Buttergin Monogram (based on Tuscan typeface shown in Letters and Lettering by Carlyle & Oring), MFC Stencil Borders Five, MFC Stencil Borders Four, MFC Stencil Borders Three, MFC Stencil Borders Two, MFC Stencil Borders One (all by Brian Bonislawsky), MFC Diamondstack Monogram, MFC Sansome Monogram (an art nouveau typeface based on John F. Irwin's Rustic Roman from 1906).
Naldi Studio (or: Naldy Studio)
Banda Aceh, Indonesia-based designer of these connected calligraphic typefaces in 2017: Ganitalia (condensed, formal calligraphy), Beruntung (upright script), Dandanga (upright), Pemberani (penmanship style), Saphira, Barokah, Angelisa, Lynelli, Badger, Charlie, Gabriella, Demanding, Knowledge, Melanie, Morinda. Creative Market link. Graphicriver link. [Google] [More] ⦿
NF Fonts (or: Nicole Fally Fonts)
Nicole Fally started NF Fonts in 2012. She is an Austrian-born graduate of the type design program at the University of Reading in 2010.
She created the typeface Miss Informed there. It has Latin styles (regular, italic, connected script), as well as Hebrew styles (regular and script). The Latin has one-sided serifs to fit in with the Hebrew. The italic and script styles are soft, smooth and balanced.
In 2011, she published Hammersmith One with Sorkin Type / Google Font Directory: Hammersmith One is a very low contrast typeface inspired by the Johnston UK lettering tradition. Hammersmith One shows the quirks of a somewhat naive, handmade, brush written letters including a wider than normal "e" and "s" as well as dark joins between stroke which are normally compensated for in type. The sources for this design have been adapted not just for type but specifically for use as a web type. This font works well to even smaller sizes than was originally expected. Nicole Fally's elegant art deco typeface Limelight (2011, Sorkin Type) can also be found on the Google Font Directory, as well as Ovo (2011). Vast Shadow (2011) is a Victorian slab serif advertising type. Pinyon Script (2011, Sorkin Type) is a (free) romantic round hand script style font.
BUT (2012) was first drawn as a logotype for the magazine BUT Bilder und Texte, which was published by an experimentally-oriented non-commercial initiative. This fat poster / headline typeface became the first commercial typeface at NF Fonts.
Oldenburg (2012, Google web fonts) is a slabby bouncy poster face. Stoke (2012, Google Web Fonts) is a semi-wide high contrast serifed text typeface. Rye (2012, Google Web Fonts) is a medium contrast design inspired by posters using wood type, and is in the Western style.
Nick Curtis: Calligraphic typefaces
This college in Oberlin, Ohio, was well-known in the 19th century for its penmanship studies. C.A. Barnett, J.T. Henderson and J.N. Yocom published the Oberlin Business College Compendium of Penmanship (1901). [Google] [More] ⦿
Page Studio Graphics (or: Pixymbols)
The fonts (grouped under the name PIXymbols) include ADA symbols v.2.0, Africa, Alphabox, Alphacircle, Ameslan (ASL), Antorff (blackletter), Antorff Fractions, Apothecary, Arrows, Astrology, Backstitch, Boxkey, BoxNLines, Braille grade 2, Casual, Chalk Casual, PIXymbols Chess, Command Key, Courex (typewriter family), Crossword, PIXymbols Deco Glass (2001), Digit&Clocks (+LED symbols), Dingbats&Online, DOSScreen, Fabric Care, FARmarks (Federal Aviation Regulations lettering), Flagman (semaphore), Fractions, Gridmaker, Highway Gothic (U.S. Department of Transportation's Standard Alphabets for Highway Signs), PIXymbols Highway Gothic 2002, Highway Signs (U.S. Department of Transportation), Hospital&Safety, LCD, Linea (2002, prismatic), Luna, Malkoff (calligraphic font), Marina, Meeting, Mejicana (2001, a Mexican party font), Menufonts, Morse, Musica (instruments), Newsdots, Orchestra, Passkey, Patchwork, PCx, Phone, PIXymbolsMusica, Prescott (2001, Western), Penman (2001, connected script), PrimerD (letters with lines), Recycle, Roadsigns, Shadowkey, Signet (family), Signet Shadow, Squared, Strings, Stylekey, Tolerances&Datum, Travel&Hotel, TV List, Unikey, US Map, Vershen (2001), Xcharting, Xstitch. They also sell EPS files of all Arms of Swiss cantons, and many nice initial caps. Look also for Faux Hebrew (simulated Hebrew), as part of the Faux package that also includes Faux Sanskrit, Faux Runic, Faux Hebrew, Faux Japanese, Faux Arabic, Faux Chinese and Faux Chinese Sans.
Paul D. Hunt
Designer of a set of curly baroque initials in Nürnberg in 1601, published in Schatzkammer. Allerhand Versalien. The original book was scanned in at the BSB (Bayerische Staats Bibliothek and can be downloaded.
A penmanship book due to Paulus (or Paul) Franck from 1655 under the title Kunstrichtige Schreibart: allerhand Versalien oder AnfangsBuchstaben der teütschen, lateinischen und italianischen Schrifften aus unterschiedlichen Meistern der edlen Schreibkunst zusammen getragen was published in 1655 in Nürnberg by Paul Fürst (ca. 1605-1666) and printed by Christoph Gerhard (1624-1681). This text, of which some pictures can be viewed here, consists largely of hyper-ornamental blackletter initials.
Franck's über-ornamental decorative caps were revived digitally in several typefaces:
Spanish Jesuit father and penman, who lived around 1600. He published Método del Arte de Escribir (1614, Madrid, Luys Sánchez), a book in which he teaches how to write and draw Bastarda. [Google] [More] ⦿
Spanish penman, calligrapher and engraver, 1565-1636. He lived in Toledo from 1591 on and moved to Madrid in 1612. He published Arte nueva de escribir in which he explains his system for teaching cursive writing, published in five volumes between 1615 and 1631. He was respected as a great penman, who, incidentally, was ambidexterous.
For digital typefaces based on Morante's work, check out Ramiro Espinoza's Dulcinea (2012).
Pedro Leal graduated in graphic design and advertising from the ESEIG-Escola Superior de Estudos Industriais e de Engenharia in Vila do Conde, Portugal, and lives in Porto. In 2010 he obtained a degree in type design at ESAD (Escola Superior de Artes e Design, Matosinhos) and started working at DSType. MyFonts link. Behance link.
He used FontStruct in 2008 to create the pixel typeface Minimal 8pt (514 glyphs!). In 2010, he created the text family Mafra at DSType. This was followed a bit later by Mafra Display (2010; +Medium, +Black). Apud and Apud Display (2010, DSType) are high-contrast typefaces.
Penna (2011) is a calligraphic type system. Braga (2011, Dino dos Santos and Pedro Leal, DS Type) is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a Portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
In 2012, he designed User, User Stencil and User Upright>/a>, a monospaced type family with 30 styles, from Hairline to Bold. This too will many awards. Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed together with Dino dos Santos at DS Type. Solido (2012, with Dino dos Santos, DS Type) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts.
In 2013, Dino dos Santos and Pedro Leal published Diversa, a set of nine very different fonts that are jointly kerned so that letters can be swapped out and replaced at will. Diversa Std (2014) extends this to include Stencil, Inline and other decorative styles. Pedro Leal's main typeface of 2013 is Aparo, a script that is calligraphic, yet keeps the characteristics of penmanship scripts, and the pizzazz of a good fashion font.
In 2014, he published Ocre and Ocre Poster in sans and slab serif substyles inspired by W.A. Dwiggins, Torio, a penmanship script based on a style used in Arte de Escribir por Reglas y con Muestras (1798, by Spanish penman Torcuato Torío de la Riva y Herrer). Torio received the Communication Arts Type Award of Excellence in 2014.
In 2015, he created the large Rudo and Rude Slab typeface families that exhibit many humanist traits: Rude ExtraWide, Rude Icons, Rude SemiCondensed, Rude SemiWide, Rude Wide, Rude, Rude Condensed, Rude ExtraCondensed, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide, Rude Slab, Rude Slab Condensed, Rude Slab ExtraCondensed, Rude Slab ExtraWide, Rude Slab SemiCondensed, Rude Slab SemiWide, Rude Slab Wide. Early in 2015, he also did a custom typeface family for the Jornal de Notícias, including sans, serif and micro sub-styles. Dino dos Santos and Pedro Leal published Jules and Jules Text in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. Ecra is a workhorse slab serif, also done in 2015. Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print. Finally, TCF Zellige (2015, TypeCult) is a modular typeface inspired by the tiles that can be found in Southern Europe and North Africa.
Typefaces from 2016: Oposta (Italian, Western style pushed to the esthetic extreme; received the Communication Arts Type Award of Excellence in 2017), Ardina (with Dino dos Santos: a text typeface family with three optical sizes).
Typefaces from 2017: Scrittore (a heavy dark Italian bastarda influenced by the connected hand of Giovanniantonio Tagliente and Robert Granjon's Civilité; at DS Type), Zart (a voluptuous ebullient black didone, or fat face). Fusta (a gorgeous wood-type inspired poster typeface), Ordem (a low-contrast contemporary Capitalis Monumentalis).
Typefaces from 2018: Striver (a crisp contrasted curvy display typeface), Certo Slab and Certo Sans, Foreday (a forward-looking typeface family with associated variable font, covering sans, serif, semi-sans and semi-serif), Perfil (an inline and swashy high end script). [Google] [MyFonts] [More] ⦿
British penman who published Gerii Viri in Arte Scriptoria quondam celeberrimi opera. Or a copie Book of all the hands now in use Performed according to the naturall Freenes of the Pen by that excellent Mr. of writing PeterGery. EngravedbyWm.Faithorne in London in 1670. [Google] [More] ⦿
New York based photocomposition, lettering and digital type business active from 1936-1997, cofounded by Harold Horman and Edward Rondthaler in 1936 (in 1928, but only open for business in 1936). Its designers included Bob Alonso, Vincent Pacella, Vic Caruso, Herbert Post, Holly Goldsmith, and Ed Benguiat. It sold type drawn by the likes of Herb Lubalin, Milton Glaser, Seymour Chwast and many others. It was one of the earliest and most successful type houses to utilize photo technology in the production of commercial typography and lettering, employing over 200 people at its peak. It folded ca. 1990. Ed Benguiat: The alphabet styles in this collection, many of which took over 200 hours to complete, were drawn with pen and ink to exacting standards by veteran lettering artists. I know....during my 35 years employed by Photo-Lettering I produced over 500 complete fonts. In all, 6500 fonts were produced. A partial time line was offered by Peter Bain (italics are quotes from Bain):
In 2003, the entire collection was bought by House Industries. Its fonts included ITC Flatiron (a very wide caps typeface published by ITC in 1997), BenguaitCharisma (1993), FourthOfJuly (1992), Swinger (1992), Parchment (1993), ITC Musica (1996, which was Bel-Canto at Photo Lettering in 1968), and ITC Static (1996; called Bounce at Photo Lettering).
Book seller in Groningen, The Netherlands, who published the anonymous lettering model book Letter-album: verzameling van de nieuwste lettersoorten ten dienste van architecten, huisschilders & steenhouwers (1885-1886). According to Mathieu Lommen, Folmer borrowed / copied heavily from Ecritures modernes (1885, Emil Frankes, published by Orell-Füssli & Co in Zürich)
Drawing and lettering high school teacher in Haarlem (1853-1930) who studied at the Rijksakademie van beeldende kunsten in Amsterdam. He published the lettering model book Letters en hare grondvormen (1885, Scheltema & Holkema, Amsterdam). Remarkable in this book is an example of the Dutch krulletter found on the windows of cafes in Amsterdam in the 20th centurys---the Oud Hollandsche Schrijfletter that has its roots in the 17th century Dutch neorenaissance.
Type and graphic designer from Joseph City, AZ. His first degree was from Brigham Young University. He was a type designer at P22/Lanston from 2004-2007. In 2008, he obtained an MA in typeface design from the University of Reading where he designed the typefaces Grandia and Grandhara (Indic). In January 2009, he joined Adobe just after Thomas Phinney left. He lives in San Jose, CA. His talk at ATypI 2014 in Barcelona was entitled The history of non-Latin typeface development at Adobe.
He created Howard (2006, a digitization of Benton's Sterling), P22 Allyson (2006, based on Hazel Script by BB&S; a winner at Paratype K2009), the P22 FLWW Midway font family (2006-2018: Midway One, Two and Ornaments; based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright from 1913---tall-legged and casual), Kilkenny (2005, P22), a Victorian-style font based on the metal types named Nymphic and Nymphic Caps which were designed by Hermann Ihlenburg in 1889. This typeface has almost 1000 glyphs and comes in OpenType format. It includes Cyrillic characters. Check the studies here and here. For another revival of Nymphic Caps, see Secesja by Barmee.
Hunt also digitized Goudy's Village (2005). Village was originally designed by Fredric Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005). Hunt's version was eventually released in 2016 by P22/Lanston as LTC Village.
He revived Hazel Script (BB&S), which he renamed Allyson (2005).
Still in 2005, he created a digital version of Sol Hess' Hess Monoblack called LTC Hess Monoblack.
In 2006, he published a nice set of connected calligraphic script fonts, P22 Zaner. Bodoni 175 (2006, P22/Lanston) is a revival of Sol Hess' rendition of Bodoni. He was working on Junius (2006), a revival/adaptation of Menhart Antiqua. Frnklin's Caslon, or P22 Franklin Caslon, was designed in 2006 by Richard Kegler and Paul Hunt in collaboration with the Philadelphia Museum of Art. This slightly eroded font set includes faithfully reproduced letterforms digitized directly from images of impressions made by Benjamin Franklin and his printing office circa 1750. It comes with a set of ornaments.
In 2007, he used Goudy's 1924 typeface Italian Old Style in the development at P22/Lanston of LTC Italian Old Style. That typeface was remastered and extended to cover several languages by James Grieshaber in 2011.
In 2014, Paul Hunt finished work on the wood type revival font HWT Bulletin Script Two (P22 & Hamilton Wood Type). This backslanted psychedelic typeface can be traced back to the wood type manufacturers Heber-Wells (Bulletin Condensed, No. 5167), Morgans and Wilcox (Bulletin Script No. 2, No. 3184), Empire Wood Type (1870: Bulletin Script), Keystone Type Foundry (1899: Bulletin Script), Hamilton (117), and Wm. H. Page & Co (No. 111 through No. 113).
Free fonts at Google Web Fonts: Source Sans Pro (2012; Source Sans Pro for the TeX crowd), Source Code Pro (2012, a companion monospaced sans set by Paul D. Hunt and Teo Tuominen). Source Serif Pro, its Fournier-style relative, was developed at Adobe by Frank Grießhammer. They can also be downloaded from CTAN and Open Font Library.
Fun creations at FontStruct in 2008-2009: Possibly (a stencil loosely based on the Mission Impossible series logo), Probably (same as Possibly but not stenciled), Med Splode, Arcade Fever, negativistic_small, New Alpha_1line, New Alpha_4line, New Alpha_bit, New Alpha_dot [dot matrix font], New Azbuka [after Wim Crouwel's New Alphabet from 1967], positivistic, slabstruct_1, slabstruct_too, structurosa_1, structurosa_bold, structurosa_bold_too, structurosa_caps, structurosa_faux_bold, structurosa_leaf, structurosa_script, structurosa_soft, structurosa_tape, structurosa_too, structurosa_two, Slabstruct Too Soft, Structurosa Clean Soft, Structurosa Script Clean, Structurosa Clean, Structurosa Clean Too, Structurosa Clean Leaf, Structurosa Boxy, Stucturosa Script Heavy.
In 2010, he designed he programming font Sauce Code Powerline. Well, this is probably a renaming of Source Code by some hackers. Just mentioning that sauce Code is on some Github pages.
Platt Rogers Spencer (b. East Fishkill, NY, 1800, d. Geneva, OH, 1864) created what would become the most widely accepted and prized cursive writing method used in business, now known as "Spencerian writing". As an outspoken supporter of American business education, his influence insured that by the late 1800s business education in America included some courses on penmanship. He taught at the Bryant&Stratton Business College in New York. His son was Lyman P. Spencer. Lyman's book, New Spencerian Compendium of Penmanship (1879) can be considered as an extension of the work of Platt Rogers Spencer. [Google] [More] ⦿
Portfolio of Ornate Penmanship
Penmanship book by the Austin N. Palmer Company in Cedar Rapids, IA, probably published in 1896, and edited by Austin N. Palmer. It contains numerous hand-drawn alphabets. Contributors include F.A. Curtis of Hartford, CT (blackletter faces and a marking alphabet), F.B. Courtney (swashy capitals), F.W. Martin of Boston (several blackletter alphabets, one of which is called Rapid German Text, and another is is for diploma filling), W.E. Dennis of Brooklyn, NY (a bird, his signature, Austin N. Palmer's name hand-printed), E.L. Brown of Rockland, ME (a bird, several calligraphic alphabets, a woody caps face, and several blackletter alphabets), G.N. Bretscher of New York (several blackletters, one of which is called Western Penman), G.W. Wallace (Normandie Script), W.C. Henning of Cedar Rapids, IA (swashy caps and a blackletter face). [Google] [More] ⦿
Scrapbooking company related to the brand Creating Keepsakes (or: CK), which in turn is run by Tracy White. Creating Keepsakes made fonts which lead to the web site Scrap N Fonts. They are selling over 1,000 fonts whose names all start with CK or LDJ. They are of the playful kind. The older fonts: CKAnythingGoes, CKArrows, CKArtisan, CKAshleyAlpha, CKBabyBottle, CKBalloons, CKBamboo, CKBarbedWire, CKBeachcomber, CKBella, CKBlackTie, CKBlock, CKBlockRose, CKBouquet, CKBreeze, CKBroadPen, CKBubbles, CKButterfly, CKBuzz, CKCalligraphy, CKCalligraphy, CKCalligraphy, CKCamp, CKCandles, CKCandyCorn, CKCatsDogs, CKCelebration, CKChecks, CKChemistry, CKChick, CKChildsPlay, CKChoppyBlock, CKChristmasBerries, CKChristmasMemories, CKChunky, CKChunkyBlock, CKClassic, CKColumn, CKConcave, CKConstitution, CKContemporaryCapitals, CKContemporaryCapitals, CKCorners, CKCorral, CKCracked, CKCrayons, CKCrescent, CKCrookedClassic, CKCurly, CKCursive, CKCute, CKDaydream, CKDelight, CKDiva, CKDoodles, CKEasyGoin, CKEclectic, CKElegant, CKElusive, CKEvolution, CKExpedition, CKExtra, CKFairytale, CKFanClub, CKFantasy, CKFiesta, CKFillIn, CKFishBones, CKFishingPole, CKFlair, CKFlourish, CKFlowerGarden, CKFlowerPower, CKFootnote, CKFortune, CKFrankenstein, CKFraternity, CKFrayed, CKFreedom, CKFreestyle, CKFreezing, CKFresh, CKFriend, CKFrosting, CKFun, CKFunBoxes, CKFunkieFun, CKFunkyWave, CKGala, CKGameNight, CKGardenVariety, CKGeometric, CKGifts, CKGirl, CKGlyph, CKGrandstand, CKGrandstand, CKGrapevine, CKGroovy, CKGutenberg, CKHandprint, CKHandprint, CKHappyCamper, CKHappyKids, CKHarvest, CKHearts, CKHigginsHandprint, CKHollyBerries, CKHopscotch, CKHunting, CKHustle, CKIndigo, CKInky, CKItalic, CKJot, CKJournaling, CKJuneBugs, CKJustPlainWide, CKKeystroke, CKKiddo, CKKinder, CKKittyScratch, CKLala, CKLazyDays, CKLeafyCapitals, CKLeftyLisa, CKLetterHome, CKLogs, CKLongLanky, CKLoveLife, CKLumpy, CKMansPrint, CKMarker, CKMonogram, CKMuddy, CKMystery, CKNewsprint, CKNoah, CKNostalgia, CKOffRoad, CKOrnament, CKOuch, CKOverall, CKPaintbrush, CKPeekingPosies, CKPencils, CKPenman, CKPicketFence, CKPillow, CKPink, CKPlainJane, CKPlayBall, CKPopsicle, CKPorridge, CKPosies, CKPretty, CKPrimary, CKPrint, CKPumpkin, CKPumpkinPatch, CKQuake, CKQuick, CKQuickStitch, CKQuiltSquares, CKQuirky, CKRanch, CKRansom, CKRocketShips, CKRoses, CKRubberPencil, CKRugged, CKSassy, CKScript, CKScript, CKShadowedBlock, CKShearMadness, CKShiver, CKSignature, CKSimple, CKSimplicity, CKSimplicity, CKSingleSerif, CKSinkOrSwim, CKSketch, CKSkinnySerif, CKSlice, CKSlime, CKSloppy, CKSmokey, CKSmoothRock, CKSnow, CKSnowman, CKSouthwest, CKSpikyBlock, CKSpikyClassic, CKSpirit, CKSplitBox, CKSportsBalls, CKSportsBasketball, CKSportsBowling, CKSportsFootball, CKSportsGolf, CKSportsHockey, CKSportsPlain, CKSportsSoccer, CKSportsTennis, CKSportsVolleyball, CKSpringtime, CKSpringtime, CKSquiggle, CKStacks, CKStalk, CKStenography, CKStitches, CKStoneAge, CKStorybook, CKStrips, CKSugarCookie, CKSummerDays, CKSunshine, CKSweetBows, CKSweetDreams, CKSwirl, CKTags, CKTakeaHike, CKTallTrees1, CKTallType, CKTeachersPet, CKTemplate, CKTies, CKTimeless, CKTipsy, CKToDoList, CKToddler, CKToggle, CKTools, CKTrellis, CKTulips, CKTwiggy, CKTwigs, CKTwilight, CKTypeset, CKTypewriter, CKUrban, CKVogue, CKVoluptuous, CKVoluptuous, CKWanted, CKWavey, CKWedding, CKWeddingRose, CKWendy, CKWhereItsAt, CKWhirl, CKWildnCrazy, CKWildnCrazy, CKWindsong, CKWinter, CKWired, CKWrangler, CKWreaths, CKZigZag, CkBlockhead, CkCircleSerif, CkStars, CkStarsStripes, Frankieghost, LDSpecs, ck_jewels. Their designers: Ali Edwards, Allison Kimball, Andie Smith, Ashley Bennett, Becky Higgins, Beth Opel, Candice Stringer, Candice Stringham, Cherie Mask, Cindy Knowles, Deb Anderson, Deb Perry, Elizabeth Cass, Elsie Flannigan, Emily Magleby, Francesca Saccarola, Jennifer Antoini, Jillustratin, Jillustration, Kim Crothers, Kim Hughes, Kim Shields, Leora Sanford, Lettering Delights, Jillustration, Lisa Botte, Lori Buehrig, Maegan Jenn, Marna Hill, Monica Moss, Peay Carter, Rebecca Sjonger, Renee Senchenya, Sara Winnick, Shannon Zickel, Simple Scrapbooks, Stacy McFadden, Stephanie Ford, Susan Cyrus, Talia Audenart, Tammy Moore, TexType, Tiffany Tillman, Tracey Odachowski, TXT Type, TxType, Wendy Groff. [Google] [More] ⦿
Course by James Mosley at l'Institut de l'Histoire du Livre (IHL) in Lyon, France, from October 14-17, 2002. Limited to twelve persons. 450 Euros. A beautiful course content: Introduction---the writing, of the Roman capital to the tiny Gothic. The discovery of the Roman capital in Italy to the 15 E century. L B Alberti, Felice Feliciano, Luca Pacioli, Geoffroy Tory, Albrecht Dürer. The invention of printing works and Gothic character. The Italian writing: scrittura umanistica and corsiva cancellaresca. Roman characters and italics in Italy and France, 1470-1600. Nicolas Jenson, Francesco Griffo, Claude Garamond, Pierre Haultin, Robert Granjon, Guillaume Bé. Literature of the engraving of the punches and the foundry of the characters: Joseph Moxon (London, 1683), Jacques Jaugeon (Paris, 1704) Pierre-Simon Baker (Paris, 1764). Characters with the "taste hollandois". Hendrik van den Keere, Nicolas Briot, Christoffel van Dijk, Nicolas KIS, Joseph Moxon, William Caslon. Towards a new penmanship 1560-1740 G.F. Cresci, Lucas Materot, Louis Barbedor, Charles Snell, George Bichkam. Of the "Roman of the roi" in Didot. Philippe Grandjean, John Baskerville, Pierre-Simon Baker, François-Ambroise (and others) Didot, Giambattista Bodoni. A new typography: use of the conceited person-face, antique and the Egyptian woman in printed publicity. [Google] [More] ⦿
Ben Jones (b. 1980, Buckinhamshire, UK) is a student of typography and graphic communication in Reading (2000-2004). He got his Masters in Typeface Design from the University of Reading in 2011. MyFonts link for Protimient.
Spanish author of the calligraphy and penmanship book Bellezas de Caligrafia (1844, Joaquin Verdaguer, Barcelona). Stirling was active in Barcelona.
This book led to the development of various modern script typefaces, such as Alejandro Paul's Bellissima Script (2013). Ramon's influence can also be seen in Ramiro Espinoza's Medusa (2013). [Google] [More] ⦿
Rare Books on Calligraphy and Penmanship
Many say that Ray Nash's book American Penmanship, 1800-1850. A History of Writing and a Bibliography of Copybooks from Jenkins to Spencer (1969, Worcester: American Antiquarian Society) is the best bibliography on the subject. The book is 303 pages long. [Google] [More] ⦿
Argentinian designer Ramiro Espinoza (b. Santa Fe, 1969) studied at the Universidad Nacional del Litoral in Santa Fe. He dabbled in fonts at his gorgeous (but now defunct) Jazz Futurezone site. In 2007, he founded Re-type, where he heads a group of designers including Yomar Augusto, Leo Beukeboom and Ricardo Rousselot. Ramiro graduated from the Type and Media's KABK (Den Haag) in 2004. He taught typography at the Universidad Nacional del Litoral, Universidad de Buenos Aires and the Escola d'Art i Superior de Disseny in Valencia, Spain. At FontShop International, he was in a team that converted more than 50 font families to OpenType. He freelances occasionally for David Quay's studio. He joined Type Network in 2017. He is currently located in Amsterdam. His typefaces:
British penman who published Chirographia or A Booke of Copies containing sundrie Examples for such as are desirous to better their hands and attaine to perfection in the Art of commendable Writing, with certaine peeces of Cursorie hands (not heretofore extant) newlie com in vse amongst the gentrie especiallie with secretaries and their Clearks, and are of excellent facilitie and dispatch for any manner of imploinients whatsoever in 1645.
In 1619, he wrote Calligraphotechnia or The Art of faire writing. Sett forth and newly enlarged by Ri: Gethinge Mr: in the said Art dwelling in Fetter-lane, at the hand and Penne, and are to be soulde by George Humble at the white horse in Popes head alley over against the roiall Exchange in London. [Google] [More] ⦿
Designer from Milton, Mass., who was born in New York, studied at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. In 2016, he joined MyFonts page. MyFonts interview in which his modesty comes to the fore. His typefaces:
Richard Smith was one of the owners of the Philadelphia-based foundry MacKellar, Smiths and Jordan, which evolved in 1860 from the Johnson Type Foundry, which in turn evolved from Binny&Ronaldson. The proprietors were Thomas MacKellar (1812-1899), John F. Smith, Richard Smith, and Peter A. Jordan. MacKellar became one of the foundries merged into ATF in 1892.
He patented typefaces such as Cameo (1874), Plain Shade (1874) and Light Shade (1874). The latter decorative typeface appeared in Dan X. Solo's The Solotype Catalog of 4,147 Display Typefaces on page 17 as Night Shade. The first known digital version of this typeface was Nigel SadeSH (1993, Soft Horizons). Other versions include Shadowed Serif (1994, James Fordyce), Cameo Antique (2009, by Character), and Outstanding (2012, Bobistheowl). In 2016, Bobistheowl published Cabbagetown, a large typeface family started in 2014. It extends Light Shade in many directions, and is digitally fine-tuned.
Graphic designer designer, b. 1959, Parma, Italy. He studied at the Art Institute in Parma. After graduation in 1983 from the Urbino ISIA Academy, Antonio spent 20 years working as Senior Art Director and Creative Director for various international advertizing agencies in Milan (Pirella Lowe, Armando Testa, Young & Rubicam).
In 2016, he designed the calligraphic typeface Gerolinda. This OpenType-feature-laden typeface family, at 1900 glyphs per weight for six weights, leaves all other calligraphic typefaces from the past decade in the dust. It is as if the Italian penmen from the renaissance period are being reborn through Antonio's hand. In fact, he intended something very specific---the recreation of an Italian gentlewoman's hand (his own words).
In 2018, he designed Ziletti Pop (a layerable pre-psychedelic font influenced by Girolamo Ziletti (1552-1583) in Venice) and Eletric Lady (a light copperplate calliraphic script). [Google] [MyFonts] [More] ⦿
Illustrator, lettering artist and graphic designer in Vitoria, Brazil. Creator of the great bold poster sans typeface Condensa (2016) and the vintage (art deco) display font Calzone (2013).
RSFS - Ralph Smith's Formal Script Symbol Fonts
UCSD's Ralph Smith developed METAFONT sources for fonts of uppercase script letters for use as symbols in scientific and mathematical typesetting. His glyphs are based on the so-called Spencerian or Copperplate hand lettering which prevailed in the eighteenth century. Type 1 sources now available as well. [Google] [More] ⦿
American penman, 1868-1938. He was associated with the A.N. Palmer Company for pver twenty years. Regarded as one of the masters of business penmanship in America, he served as the editor of American Penman and was a principal of the Palmer School of Penmanship in New York. [Google] [More] ⦿
Commercial educational fonts from Signature Software, aka vLetter, run by Dave Fenwick. Includes D'Nealian and Zaner-Bloser style schoolhouse fonts. All demos are complete except for the lower case a. Defective web page. Schoolhouse Fonts is a product of vLetter, Inc., 509 Cascade, Suite H, Hood River, OR 97031, USA. [Google] [More] ⦿
Lucas Sharp is a designer (b. 1986, San Francisco) who lives in San Francisco, but is listed at MyFonts as a denizen of Brooklyn, NY. Lucas Sharp was involved with Typeslashcode in New York. In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY, but they split a few years later. In 2015, Lucas Sharp and Chantra Malee [at Sharp Type, Malee handles business, brand management, marketing, graphic design and sales] started Sharp Type in New York City. Foundry link at MyFonts. Lucas Sharp's typefaces:
Artist and type designer at Barnhart Brothers&Spindler, 1874-1932, who lived in Chicago. Creator of many typefaces:
Italian mathematician and astronomer from Ferrara. He published Theorica et Practica de modo scribendi fabricandique omnes litterarum species (Venice: Giovanni Rosso, 1514). In 1535, he published the penmanship book Thesauro de scrittori: opera artifisiosa laquale con grandissima arte si per pratica come per geometria insegna a scrivere diversa sorte littere... . Quoting this site: Fanti published this work so that secretaries, copyists, merchants, and artisans could learn techniques of applying geometry to the construction of letterforms. These woodcuts of the capital letters "D" and "E" are examples of how Fanti used geometric patterns in the design of his letters. The circle and the square, the building blocks of classical architecture and the basis for letter designs that appeared in Luca Pacioli's Divina proportione, published in Venice in 1509, provide a starting point for Fanti. He, however, pushed past the limits of Pacioli's theory of proportion by applying principles of geometry to extend the lines of his letterforms beyond the limits imposed by the proportionality of the circle and the square. [Google] [More] ⦿
Signature Software (or: Vletter Inc.)
Expensive, so-so quality signature/custom handwriting fonts at this company run by Dave Fenwick. Signature Software, Inc., 489 N. 8th St. Suite 201, Hood River, OR 97031. About 100 US dollars per handwriting font. West Europeans pay almost double. Demo fonts for personal handwriting, as well as D'Nealian and Zaner-Bloser style schoolhouse fonts. All demos are complete except for the lower case a. Alternate URL. The company is also called Vletter Inc What I find incredible is that the home page says that over 75,000 handwriting fonts have been sold. That adds up to a nifty 7.5 million dollars in raw income over a twelve year period. Alternate URL.
Their children's font series DMOACursive (2000) and DMOBCursive (2000) was posted on alt.binaries.fonts in November 2002. It also sells handwriting fonts of US presidents such as Abraham Lincoln, George Washington, Thomas Jefferson, John Adams, as well as a font in the style of the Declaration of Independence.
Author of Von der Schrift und den Schriftarten (Reinhard Welz Vermittler Verlag, Mannheim). These have a history of type and lettering, instructions on lettering (e.g., stroke guide for Antiqua Majuskeln, Lombardische Versalien, and Gotische Majuskeln), some type specimen (mainly German, from the early part of the 20th century), some alphabets, drawn by her, information on the German school scripts, and a German type and lettering glossary: i, ii, iii, iv. It was probably published between 1956 and 1959.
In 2010-2012, Dick Pape created a number of (mostly caps-only) typefaces based on that book. These include SSWAntiquaPionsel, SSWAntiquaVersalien (a caps set based on Ludovico Vicentino, 1523), SSWCelticAntiquaOutline, SSWFederAntiqua, SSWHollowScript, SSWHolz (Lombardic caps), SSWJensonsAntiqua, SSWLeopoldAntiqua, SSWLombardischeVersalien, SSWMannheimOrnament, SSWPlakatschrift (a useful outline alphabet), SSWRoundPrinting, SSWRusticAlphabet, SSWRusticScript, SSWSchablonenschrift (Bauhaus-style stencil face), SSWUrbanAntiqua-Versal, SSWWoodcuts.
Speedball pens were invented by Hunt Corporation (or Hunt Company) which was located in Camden, NJ and later (since 1958) in Statesville, NC. The highlights of that company:
The sons of Platt Rogers Spencer are the authors of Theory of Spencerian Penmanship (1874), New Standard Practical Penmanship (1881) and New Spencerian Compendium (1879). See also here. [Google] [More] ⦿
From Encyclopaedia Britannica: Style of cursive script developed by Platt Rogers Spencer (d. 1864) of Geneva, Ohio. Energetically promoted by five sons and a nephew, the Spencerian method became the most widely known system of handwriting instruction in the third quarter of the 19th century. [Google] [More] ⦿
Handwriting Software to trace dots, intended for kids. Software comes with three trace-the-dot fonts. "Included with StartWrite are the Manuscript (Zaner Bloser), Modern Manuscript (D'Nealian), and Italic (Getty-Dubay or Portland Italic) font styles." With an additional cursive font, 50USD. Based in Salt Lake City. [Google] [More] ⦿
Storic Type (was: Flavor Type)
Panji Nugraha is the Bandung, Indonesia-based designer of Caferus (2014), Murmers (2014, Victorian), Bonerica (2014, a Victorian typeface), Vanderchalk (2014) and Glowist (codesigned in 2014 with Ilham Herry and Maghrib Lab at Flavor Type).
In 2015, he made My Dear Script (penmanship script), Hava Shine (Victorian signage face), Lovile, La Chalk (chalk writing emulation), Carneval (a fun hand-drawn typeface family with a possibility of layering), To Dear (brush script typeface), Allic (brush typeface), Vidiz (a swashy slab serif poster typeface), Levitte Script, Leila, Holisun (brush face), Vacamous, Summerica, Callalily, Vicent (watercolor brush), Morning Sugar (brush script), Blacky, Lonssa (hand-drawn type, with ornaments), Heartwell (a wonderful brushy poster script), Noside (a splashy brush), Toxine and Fruty.
Typefaces from 2016: Enlighten (bouncy sans), Bite Chalk, Stay Alive (Victorian), Dafodil (Western), Vercha, De Arloy (art nouveau), Herald Bouncy, Mon Cheri (signage script).
Typefaces from 2017: Relove (Victorian), Floresh, Chester (a layered spurred vintage typeface), Recipe Daily (free), Glandish, Moody Blue (a curly Victorian typeface), Reborn (ornamental Victorian typeface), Recipe Diary.
Typefaces from 2018: Limit Corner (Victorian), Bride Chalk (sans and serif).
Studies in Pen Art
A PDF file of the book Studies in Pen Art (by Brooklyn, NY-based penman William E. Dennis, 1914, A.N. Palmer Co). This 95-page booklet has beautiful specimens of alphabets, from display typefaces to calligraphic scripts, blackletter types and ornamental types. There are also reproductions of flowery ornaments such as the acanthus ornaments popular in the early 20th century. He created Sickels alphabet, ca. 1899.
In 2017, she teamed up with Boston-based type designer Jim Lyles to form the Studioways Studio, which specializes in calligraphic typefaces. Studioways features Eliza's own lettering as well as that of other popular calligraphers.
Typefaces from 2017: Madison Street (a Spencerian set of fonts by Elaina DeBoard, Eliza Gwendalyn, and Jim Lyles, accompanied by a few styles that are based on the handwriting of Elaina DeBoard), Hart (by Virginia Lucas Hart, Eliza Gwendalyn and Jim Lyles), Boronia, Lady Slippers.
Typefaces from 2018: Petunia Monogram (with Jim Lyles).
Alejandro Paul's Argentinian foundry is called Sudtipos. Veer writes about Paul: Alejandro Paul is one of the founders of the Sudtipos project, the first Argentinian type foundry collective. He taught graphic design and typography at the Universidad de Buenos Aires from 1996 until 2004 and has worked as an art director in prestigious Argentina-based studios, handling high-profile corporate brands such as Arcor, Marta Harff, Morph, SC Johnson, Danone and Movicom. He has walked away with awards from several design competitions. In 2003, he began working with artist Angel Koziupa, designing fonts and lettering for several top packaging agencies. In 2006 he was a speaker at TMDG06, the largest Latin American graphic design event - more than 4,000 designers were in attendance. His work has been featured in publications around the globe, including Step and Creative Review. He has walked away with awards from numerous design competitions. He has received two Type Directors Club TDC2 awards, in 2008 for Burgues Script and in 2009 for Adios Script. He teaches a postgraduate typography program at the University of Buenos Aires, where he previously taught graphic design.
Sudtipos has made a reputation as the place to go to for script and signage type.
Faces include Brownstone Sans (2010), Brownstone Slab (2013), Politica (2008, an architectural lettering superfamily), Domingo (by Ariel Garófalo), Plumero (connected handwriting font by Diego Giaccone, which is also in the Umbrella Type collection), Murga (display font by Alejandro Paul based on lettering of Angel Koziupa, 2003), and these typefaces by Alejandro Paul: Tierra, Latinaires (2003-2018), Reflex (unicase), Downtempo, and Stardust. Free fonts: Mosaico (2003, pixel typeface by Alejandro Paul), Mabella (2001, Ramiro Espinoza), Rolinga (Carlos Carpintero). Divina (2004) is a Latinized digitization of Kurrent (designed by Rudolph Koch in 1927 and cut in 1935). Myfonts link. Pictures of their fonts in use. YouWorkForThem link. Blog / Facebook group.
Additions in 2010: Business Penmanship (which is based on models of American business education penmanship, ca. 1900). Poem Script is another Spencerian face---it won an award at TDC2 2011 and at Tipos Latinos 2012.
Fonts from 2011: Calgary Script (brush signage face), Viento (a lively version of Brisa, 2004, another font done with Angel Koziupa), Semilla (2011, a retro script based on an alphabet drawn by Ernst Bentele in 1953).
His Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.
In 2013, he created Seashore Script (described as a feminine script, it has horizontal stress and is backslanted; some may consider it an Arabic simulation typeface).
At Tipos Latinos 2014, Alejandro Paul cleaned up, winning awards for Bellissima Script, Seashore Script, Auberge Script (a penmanship font in the style of the French bâtarde and coulée), and Bayoneta.
Typefaces from 2016: Wink (a connected script font co-designed with Joluvian), Henderson Slab and Henderson Sans (a large slab serif family loosely based on an alphabet drawn in 1906 by Albert Du Bois for the Henderson Sign Painter Book), Prangs (a thinly connected italic didone named after Prussian-American printer and lithographer Louis Prang (1824-1909)).
Typefaces from 2017: In 2017, Tropical (with Joluvian: this package contains a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look).
Dutch wood engraver and printer located in Nijmegen, who lived from 1809 until 1863. He published the lettering model book Cahier van acht en dertig lettermodellen, ten dienste van huis- en rijtuig-schilders, enz. (1854)
The Fontry is a Watts, OK, based outfit, est. 1992 by Michael Gene Adkins (b. 1965, OK) and James L. Stirling (b. 1964, OK): Digital type for computer-aided signmaking, with fonts designed for signmakers by signmakers.
Since 2009, they have been producing various digitizations of alphabets designed by Alf R. Becker in the 1930s and 1940s. Gene Adkins designed ARB-187 Moderne Caps AUG-47 (2013, didone), ARB 85 Modern Poster JAN-39 (2011, after Modern Poster Script, 1939), ARB-70 (1995), ARB-67 (1998), ARB-66 Neon (2010, +Block, +Line), ARB-44 (1995), ARB-96 Jitter Display DEC-39 (1999), SCRIPT1 ARB-85 Poster Script Normal (2000), ARB-66 Neonline Block, ARB114 Hillbilly Roman JUN-41 Normal (1999), ARB-187 Moderne Caps AUG-47 CAS family (2009, a beautiful didone display face), the ARB 08 Extreme Roman AUG-32 CAS family (2009), ARB-218 Big Blunt (2010), ARB-218 Neon Blunt.
Another product is the Wild Bunch Pak #3: Danthr Skal, Kastaka, Gas Bumps, Skrawl 613, Sharrpe Gothik, Levo Fraz, Kommerce, Stellar Spice, Infected Hurt.
Wild Bunch Pak #2 (50 USD) has Marbles&Strings, Keetoowah, Peppermint, Ghixm (2008: a retrospective of the horror comics and movie posters of the 1960s and the 1970s), Klash, all outline fonts. In Wild Bunch Pak #1, look for Toxia. Race Pak #1 contains 5 chiseled fonts, including ARB67, Brannt Chiseled, Excursions, JLS Ultra, and Race Checkers. 50 USD. There are also Greek Pak #1 (12 Greek fonts for 25 USD, including GRK Orbit, GRK Universe City, GRK Albert, and GREK Bodnaut) and Signfaces Narrow Pak #1. At Garagefonts, Wild Larra, Wild Ruts, Wild Toxia, Wild Nobody families (1999), Jackport (2014, athletic lettering and Western typeface family).
MyFonts sells FTY Garishing Worse (2011---there is a free version at Dafont), SCRIPT1 Team (2010), SCRIPT1 Toon (2010), SCRIPT1 Voodoo Script (1999-2009, signage script), What Sound Pounds (2009), WILD3InfectedHurtNormal (2010), WILD1 Firstvision (1997), WILD1 Larra (1997, grunge), WILD1 Nobod (1997, grunge), WILD1 Ruts (1997), WILD1 Toxia (1997) and the blackletter typefaces Ironhorse and Ironrider (2007), revivals of classic wood type typefaces. FontShop link.
In 2008, The Fontry published the Greek Font Set, Copper Penny DTP (after Copperplate Gothic, but with lower case included), Droeming (an eerie family) and Earth A.D. (more eerie stuff, metallic, and with sharp serifs). It then generated a break-away subfoundry that carries fonts solely designed by James Stirling, Fontry West. Fontry West is located in Tulsa, OK. At MyFonts, these Fontry West fonts can be bought: Iron, WILD1 Firstvision, WILD1 Larra, WILD1 Nobody, WILD1 Ruts, WILD1 Toxia, WILD2 Ghixm, Greek Font Sets 1 and 2 (not Greek, only Geek-ish, made for fraternity use), and a large Comic Fanboy set which includes glyphs painted with stars and stripes (CFB1 American Patriot, CFB1 Captain Narrow, CFB1 Shielded Avenger, all made by Adkins). The CFB1AmericanPatriot family (2009), and the SCRIPT1 Rager Hevvy family (2009) are free here. JLS Overkill (2009, Bloque, Stencil, Grunge, Champion [athletic lettering], Hammer) is a sturdy family covering everything from SUV-strength stencils to grunge stencils and macho slab serif headline typefaces. After Disaster (2008), FHA Eccentric French Normal (2008, wood type after an alphabet created by Frank H. Atkinson in 1908), WHATSOUNDPOUNDS?Normal (2009) are free at Dafont. Sinder (2010) is a grunge face. FTY Konkrete (2010) is constructivist, and has a beveled weight. FTY Strategycide (2010-2018) is a similar severe headline sans family. Sinder (2010) and Demon Sker (2011) are free grunge typefaces. American Purpose (2011) is a grotesk family. American Purpose Casual and American Purpose Stripe (2011) are follow-ups. Garishing Worse (2011) is a casual bold face. Sharpe Gothik (2011) is hand-drawn. American Captain (2011, a manly retro squarish propaganda headline face; see also American Captain Patrius 02 FRE). Deathe Maach (2012) is a sturdy 6-style display family. Avengeance (2012) is a techno typeface. FHA Condensed French (2012, by Michael Gene Adkins and James L. Stirling) and FHA Nicholson French (1999-2014, art nouveau) are based on Frank H. Atkinson's examples.
Typefaces from 2013: FHA Broken Gothic (a layered chiseled family done with James Stirling, based on Broken Poster by Frank H. Atkinson), FTY SKRADJHUWN (a flared family), Iron Man of War (with layering effects, +001Rivet), Iron Man of War 2 NCV, RACE1 Brannt (prismatic, beveled, art deco), FTY Skorzhen (mini-spurred), FTY Speedy Casual, FTY Skradjhuwn NCV (comic book family).
Typefaces from 2015: FHA Sign DeVinne (after a popular sign painting design by Frank H. Atkinson named after DeVinne).
Typefaces from 2016: FTY Delirium (+Neon), Delirium NCV.
TYpefaces from 2017: FTY Galactic VanGuardian.
Tipo Pepel (was: Antaviana Typeface Division, or: Astramat)
Antaviana Typeface Division is a Catalan foundry, est. ca. 2002. It went also under the name Astramat and was also known as ANTAVIANA SERVEIS INTERACTIUS, SCCL. Located in Lleida, it is run by Josep Patau i Bellart (b. 1971, Les Borges Blanques, Lleida). Patau i Bellart offered free fonts, as well as commercial fonts. He has emerged as one of the most talented contemporary Spanish type designers. In 2011, he started Tipo Pepel [MyFonts link] in Les Borges Blanques. Josep Patau's typefaces:
Additional links: Dafont. MyFonts page. Alternate URL. Fontspace link. Fontfreak page. Patau Bellart is also involved in the type information site Unos Tipos Duros. Klingspor link. Abstract Fonts link.
The Fourth Bienal de la Tipografía Latinoamericana comprised a type competition, Tipos Latinos 2010. The jury consisted of Paco Calles (Mexico), José de los Santos (Uruguay), Juan Heilborn (Paraguay), Fabio López (Brazil), César Puertas (Colombia), Hugo Rivera Scott (Chile) and Marcela Romero (Argentina). The awards have in each category, if applicable, a first prize (certificado de excelencia, CdE below) as well as regular awards:
Spanish writing master (b. 1759, Villaturde, d. 1820) who published Arte de Escribir por reglas y con muestras según la doctrina de los mejores autores antiguos y modernos, extranjeros y nacionales in 1798 (and also in 1802 in Madrid, chez Joaquin Ibarra). His name is also spelled Torcuato. Torio studied Latin, theology and law at the University of Valladolid in 1773. A Spanish script from his 1802 book. Ornamental caps from that same book. Download Arte de Escribir. See also here. Full download from the University of Huelva. See also here.
Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.
Most of Parson's fonts cover both Latin and Cyrillic.
In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).
In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).
In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (a modular sharp-edged blackletter with illuminated capitals), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).
Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans that won an award at Modern Cyrillic 2014),Fuera (2011, bilined face, T26).
In 2013, he published Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera (2011), Ignorance (an American 19th century style penmanship font), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers Latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (2011, a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (2012, an elliptical sans family), Pictypo (2012, a useful icon typeface).
In 2014, he updated the interlocking poster display typeface Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Lale (2014), which won an award in the TDC 2015 Type Design competition, uses the opentype features to set up a font system for flowers. Jane (2014) is a rounded sans typeface family. Vulgat (2014) is a vibrant display typeface based on uncial letterforms. Elsuave is a free rounded piano key typeface.
Typefaces from 2016: Auro (rounded sans), Dejecta (rough and ragged), Apollonius (a swashy didone), Rosengarten (vintage type influenced by Lucian Barnhard), Deleplace (influenced by didones), Furius (Tuscan style).
Typefaces from 2017: Kurstiva (an informal sans family), Banja (a plump signage script), Bignoy (Wild West, modernized), Kimbo (octagonal), Mensrea (organic sans with beveled, inline, and various layered and graffiti styles), Nibbles (a food truck-inspired dingbat typeface), Huggy (an art nouveau typeface influenced by the work of Heinrich Heinz).
University of Amsterdam: Special Collections
The library of the University of Amsterdam has many on-line and hard copy collections. Among these, the following stand out:
Mathieu Lommen is an author and book historian who works as a curator at the Special Collections department of the Amsterdam University Library. Mathieu regularly publishes on 19th and 20th century book typography and type design. He is also editor of the scholarly magazine Quaerendo. His books include Dutch Alphabets (2016, De Buitenkant, Amsterdam), Letterproeven van Nederlandse gieterijen / Dutch typefounders specimens (1998, Amsterdam), Bram de Does: Letterontwerper and Typograaf (2003, De Buitenkant), and Nederlandse Belettering Negentiende-Eeuwse Modelboeken (De Buitenkant, Uitgelezen Boeken, Jaargang 17, Nummer 3, 2015).
Moscow-based illustrator specializing in vintage style, calligraphy, ornate crests and emblems. In 2014, Vates Design created the commercial copperplate script typeface Bodega Script and the engraved currency font Bold Price. In 2015, Vates added the copperplate gothic typeface Barracuda Display and the curly Austen Display. In 2016, they published the calligraphic chancery style November Script. Fonts from 2017 include Achievement, Black Spot (vintage style).
In 2018, he designed the beautiful Spencerian penmanship font Jamaica Script, which was inspired by Louis Madarasz.
In the early part of the 20th century, British calligrapher Vere Foster (1819-1900) designed a set of figurative initials for one of his calligraphy workbooks. These were turned into a font simply called Foster Figurative Initials by David Nalle in 2016. Vere Foster called it Comic Alphabet in his book.
Foster was also active as a penman. In the UK in the 1940s, children were taught the Vere Foster Civil Service Script which was a simplified form of copperplate (roundhand). It was written with a straight pen fitted with a moderately flexible dip nib. That script was promoted in Vere Foster's New Civil Service Copy Book Series (ca. 1919, Blackie and Son, London), about 50 books in total. PDF file of Vere Foster's Copy Books Lettering, Plain and Ornamental (ca. 1900). Local PDF file for that same book. [Google] [More] ⦿
Spanish author of various books on calligraphy and penmanship. These include:
Vintage Voyage Design
Aka P. Rudakov and Pasha Korzhenko, and operating as Vintage Voyage Design. Perm, Russia-based designer of the vintage hand-crafted typefaces West End (2015, spurred Western typeface family), Winter Holidays (2015), The Sugar Cane (2015, eroded signage script), Montana (2015), Canyons (2015), Forest Tramp (2015), Heart of Gold (2015, a think inky brush), La Fa Salt (2015, a connected monoline script), Robinson (2015, hand-crafted), Rise (2015, rough brush), Stout (2015, +Stout Roughen), Jack's Guitar (2015) and Bough (2015).
Typefaces from 2016: Chameleon (rough brush), Les Paul (beatnik style), 1994 Fancy, The First Division (an elegant hand-crafted Peignotian typeface family), The Aviator, Ocean Beach (weathered athletic lettering font), Fenway Script (baseball script), Fenway Sans, Octanis (display family in Sans, Slab, Serif, and Rounded Sans sub-styles), Compare (a vintage wedge serif typeface inspired by the mafia), Unchained (Western typeface), The Selvedger (signage script), Driver (a retro speed emulation typeface family), Pasternak Script.
Typefaces from 2017: Bartender (a 6-font vintage typeface family), Easy Rider (a layered road movie brush script font), The New America (penmanship script), Harbour (a decorative blackletter typeface), Ace of Spades (grungy), Cavalcade (a layered serif typeface inspired by American and European typography of early 20th century, from movie posters to design of alcohol bottles like Martini, Cinzano and Campari), Old Standard, Season Times (Sans+Script), Roadstar (a vintage speed emulation techno font).
Typefaces from 2018: Le Bonjour (a retro sans), The Voyage Culture (font duo), Afterglow (a didone), Bimbo (circus fonts), Two Letter Monogram, Diamond Monogram, Circle Monogram, Circle Frames, Harbour (blackletter), Sandwich (a large 3d beveled typeface family), Bartender, The Telegraph (transitional newspaper type), Golden Horn (a layered vintage typeface).
Walden Font (est. 1997) sells historical typefaces&clip-art by Oliver Weiss from Winchester, MA. Walden's site includes a brief history of blackletter, as summarized in the PDF document The Gutenberg Press: Five Centuries of German Fraktur (1997). Typefaces by categories:
Gert Wiescher was born in Braunsbach am Kocher, Germany, in 1944. Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All of his typefaces are carefully fine-tuned and balanced. Wiescher founded first Munich Type and then Wiescher Design and Autographis. He is known as a hard, fast and prolific worker. His exquisite typefaces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. Wikipedia page. Creative Market link. List of typefaces:
Author of many books, including Zeitschriften & Broschüren (Systhema-Verlag, München, 1990), Schriftdesign (Systhema-Verlag, München, 1991), and Blitzkurs Typografie (Systhema-Verlag, München, 1992).
The following text was excerpted from his wikipedia page: At 14 years of age, Wiescher went to Paris to study fine art. He financed his stay by doing portraits on the Place du Tertre on Montmartre. In the sixties Wiescher studied graphic design at the Berlin Academy of Fine Arts. (Since November 2001, Berlin University of the Arts.) He financed his studies by sidewalk painting and drawing portraits. While doing sidewalk paintings, he met the typeface designer Erik Spiekermann, who inspired his love of this branch of design. After two years he quit his studies, and went to Barcelona where he worked at the offices of Harnden & Bombelli, for whom he designed the OECD-Pavilion of the 1970 Osaka World Expo. In 1972 he moved on to Johannesburg working as an art director at Grey and Young advertising . In 1975, he returned to Germany, working first for DFS+R-Dorland, and then for the "Herrwerth & Partner" ad agency. At Herrworth, he was involved in introducing IKEA into the German market. In 1977 he became a creative partner in the Lauenstein & Partner ad agency, creating mainly campaigns for large German retail chains. In 1982 he started his own design office, creating work for editors (Markt & Technik, Systhema and Langen-Müller-Herbig), computer companies (House of Computers, FileNet) and he worked for Apple Computers designing their publications (Apple-Age and Apple-LIVE).
Lettering and writing teacher in Groningen, The Netherlands, 1809-1882. He published two lettering model books, Handleiding bij het vervaardigen van onderscheidene soorten van schrijf-model en kunstletters (1869, P. van Haren, Groningen) and Alphabet voor bouwkundigen enz in 12 voorbeelden.
William E. Dennis
Author of An Elegant Hand, The Golden Age of American Penmanship and Calligraphy (2006, Oak Knoll Press). Edited by Paul Melzer. Oak Knoll writes: This work chronicles the history of the Golden Age of American penmanship and calligraphy. The author guides the reader through the lives and careers of some of the most important American penmen, including Platt Rogers Spencer, the Father of American Handwriting, and Spencer's gifted student, George A. Gaskell, whose books and periodicals reached hundreds of thousands of students throughout the second half of the 1800s. Paul Melzer, the editor of this work, added more than 400 examples taken from original specimens to handsomely illustrate Henning's manuscript. [Google] [More] ⦿
Images of Lettering for Commercial Purposes, Cincinnati, Ohio, 1918, a Speedball pen book written by William Hugh Gordon (1860s-1920), who was Ross F. George's teacher. Warning: immense page. [Google] [More] ⦿
Disciple of Charlton V. Howe, who together with Howe was considered as the master of the engraver's script. Born in Santa Cruz, CA, in 1882, he died in Brooklyn, NY, in 1954. Partly educated by C.P. Zaner in 1909, he met William E. Dennis (for whom he penned some diplomas and did some other artwork) and became a partner in The Dennis and Baird Studio in Brooklyn. [Google] [More] ⦿