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Author of Steel Pen Trade 1930-1980 (1983). [Google]
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 wth 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.
His work there includes Tierra (a titling face), Latinaires (originally called Latina Sans), Reflex, Downtempo (2003), Stardust and Mosaico (1999, pixel face).
Still at Sudtipos, he digitized the beautiful handwriting/calligraphic faces by Angel Koziupa called Alma (2005), Murga, Habano and Tiza, which together with his script face Argenta (2004), Oxida (2005), the medieval script face Mama Script (2004, designed with Alfredo Graziani), Divina (2004, with Alfredo Graziani), and the sans family Kautiva (2004) can be bought via Umbrella Type at Veer.
For children's orthography, he developed Estrada Hand, on commission for Editorial Estrada. He was working on the serif family Libertina (2004).
Herencia (2004, a handwriting face done with Diego Giaccone), Grover (2004, slab serif), Milk Script (2004, with Alfredo Graziani), Mama Script (2004, with Alfredo Graziani), Politica (2004, a techno face 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) (PDF; 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 face 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, see also the slide show).
The 2009 haul: Sugar Pie (signage font), Bravissima Script, Theorem (upright semi-script).
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 face 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.
In 2011, he and Koziupa made the fat signage face Aventura and Viento (a grunge version of their earlier 2004 face, Brisa).
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 face based on an incompletete 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: Bellissima Script (based on a copperplate calligraphic alphabet from Bellezas de la Caligrafía by Ramón Stirling, 1844). [Google]
Alexandra Leopoldovna Gophmann
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:
- A: Adine Kirnberg (2005, the Cyrillic version), Advokat Modern (2008), Afisha, Afisha Cap, Agatha-Modern, AlexandraScript, Amadeus, American Text C, American-Retro (2008), Ametist [based on Lorelei] (2008), AmpirDeco, Andantino-script (2008), Andantinoscript, Anfisa Grotesk (2008), Angelica, Annabelle, Antikvar (2008), Antikvar Shadow (2008), Antonella Script (2008), Antonella Script X (2008), Antract, Aquarelle, Ariadnascript, Ariston-Normal, Arkadia (2008), Arkhive, Arlekino, Art-Decoretta (2008), Art-Decorina (2008), Art-Metropol, Art-Nouveau Initial (2008), Art-Nouveau1895, Art-Nouveau1895-Contour, Art-Nouveau1900, Art-Nouveau1910, Art-Victorian (2008), ArtNouveau-Bistro, ArtNouveau-Cafe, Artemis Deco (2008), Artemon (2008, psychedelic), Arthur Gothic, Artist-Modern, Astoria Deco (2008), Atlas Deco A (2008), Atlas Deco B (2008), Auction, Augusta One, Augusta Two, AvalonMedium.
- B: Ball-Point Pen, Bankir-Retro, Barocco Floral Initial (2008), Barocco Initial (2008), Baron Munchausen, Batik Deco (2008), Belukha, BelukhaCapital, BickhamScriptAltFour, BickhamScriptAltOne, BickhamScriptAltThree, BickhamScriptAltTwo, BickhamScriptOne, BickhamScriptThree, BickhamScriptTwo, Birusa (2008), Bodoni Initials (2008), Boleroscript, Bonapart-Modern, Briolin, Brokgauz&Efron, Brokgauz&Efron-Italic.
- C: Caberne, Cafe Paris C, Calligraph-Medium, Campanella (2008), Capitol Deco (2008), Carmen, Carolina, Casanova (art nouveau) (2008), Cassandra, Castileo (2008), Certificate of Birth (2008), Chocogirl (2008), ClassicDecor (ornaments), Classica-One (2008), Classica-Two (2008), Cleopatra (2008), Conkordia (2008), Cordeballet, Corinthia, Corleone, CorleoneDue.
- D: Dama Bubey (grunge) (2008), Debut (art deco in the style of Broadway) (2008), Decadance Cursiv (2007), Decor Initial (2009: decorative caps, a Cyrillic extension of a face by Pampa Type), Decor Line (2008), DeutschGothic (blackletter), Donaldina (2008).
- E: Edisson (blackletter), Egipet-Bold, Ekaterina Velikaya One (2005), Ekaterina Velikaya Two (2005), English Rose (2008), EnglishScript, EseninscriptOne, EseninscriptTwo, Evgenia Deco (2008).
- F: Fairy Tale (2008), Fantasia (2008), Fata Morgana, Favorit, Favorit Grotesk (2008), Flamingo (2008), Fortuna Gothic FlorishC (2009, blackletter).
- G: Geisha (2006), Gertruda Victoriana (2008), Globus (2006), Gloriascript, Goudy Decor InitialC (2009, ornamental caps), Goudy Decor ShodwnC, Goudy OrnateC, Graceful Mazurka (2008).
- H: HeatherScriptOne, HeatherScriptTwo, HeinrichText, Hogarth Script (2005).
- I: Isabella-Decor, Italy-A (2008), Italy-B (2008), Izis One (monoline sans), Izis Two.
- K: Kabriolet Decor (2009), Kamelia (2009, Victorian face), Kareta-A (2007), Kareta-B (2008), KarnacOne, KarnacTwo, Konkord-Retro, Konrad-Modern (2008), Konstrukto-Deco (2008) (2008), Kot Leopold (2008), Kumparsita.
- L: Lastochka (2008), Le Grand, Leokadia Deco (2008), Lombardia, Lombardina One, Lombardina Two, Lombardina-Initial-One (2008), Lombardina-Initial-Two (2008), Lombardina-One-Roman (2008), Lombardina-Two (2008), Ludvig van Beethoveen (sic) (2005).
- M: Majestic X-2, Majestic-, MajesticX, Malahit-Bold, Margaritascript, Marianna, MarkizdeSadscript, MartaDecor One and Two, MartaDecorTwo, Martina Script C, Masquerade (2008), Matilda, Matreshka, Maya (2008), Medieval English, Melange Nouveau (2008), Menuetscript, Metro Modern, Metro Retro B (2008), Metro Retro C (2008), Metro-Retro A (2008), ModernistNouveau, ModernistOne, ModernistThree, ModernistTwo, ModernoNouveau, ModernoOne, ModernoThree, ModernoTwo, Modestina (Victorian), Mon Amour Two (both jointly copyrighted with David Rakovsky) (2008), Mon Amoure One (2008), Monte-Carlo, Monte-Kristo, Monti-Decor A B, Moonlight, Moonstone, Moonstone Stars, Morpheus, Moulin Rouge (2008).
- N: Nocturne (2005), Nostalgia (2008).
- O: Old Comedy, OldBoutique, Olietta-script-BoldItalic (2008), Olietta-script-Lyrica-BoldItalic (2008), Olietta-script-Poesia-BoldItalic (2008), Orpheus, Ouverture Script (2004, calligraphic).
- P: Parisian, Picaresque One, Picaresque-Two (2008), Pilotka (2008), Plimouth, Port-Arthur (2008), Poste Retro (2008), Postmodern One, Postmodern Two, Promenad Deco (2008), Prospect-Deco (2008), Pudelina (2008), Pudelinka (2008).
- R: Red Sunset, Regina Kursiv (2008), Renaldo Modern, Rochester, RochesterLine, RockletterSimple, RockletterTransparent, Romantica Script, Romashka Deco (2008), Romashulka (2008), Rondo Ancient One (2008), Rondo Ancient Two (2008), Rondo Calligraphic (2008), Rondo Twin (2008), Rosa Marena, Rosalia (2008), RosamundaOne-Normal, RosamundaTwo, Rotterdam, Rubius, Rurintania (sic) (2005).
- S: Samba DecorC (2006), San Remo, Sapphire C (2008), Scriptorama (a clone of Scriptina), Secession-Afisha, Sevilla Decor X, SevillaDecor, Sladkoeshka (2008), Stereovolna (2008), Stereovolna Black (2008), Stradivari Script (2008), Stradivari Script [the Latin part copyrighted by Grosse Pointe Group] (2008), Stravinski Deco (2008).
- T: Taverna, Teddy Bear [Latin by House Industries] (2008), Telegraph, TelegraphLine, TelegraphShodwn, TelegraphSmall, Terpsichora (2008, psychedelic), Theater (2009, Victorian), Theater Afisha, Topaz, Trafaret Kit (2008), Trafaret Kit Hatched (2008), Trafaret Kit Transparent (stencil) (2008), Traktir-Modern, Traktir-Modern3-D, Traktir-ModernContour, Turandot.
- V: Valentina (2008), Variete (2008), VenskiSadTwo-Medium, VenskisadOne-Medium, Vera Crouz, VeronaGothic (blackletter), VeronaGothicFlourishe (blackletter), Veronica-script-One (2008), Veronica-script-Two (2008), Victorian-Gothic-One (2007), Victorian-Gothic-Two (2008), Victoriana, Vizit (2010, engraved face).
- W: Wolfgang Amadeus Mozart (2005), Wonderland (2008), Wonderland Star (2008).
- Z: ZanerianTwo, Zeferino Two (2004), Zeferino Three (2005), Zeferino One (2004).
Alfred John Fairbank
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).
It is possible that Fairbank MT (2003, Robin Nicholas) is named after him.
Klingspor link. [Google]
[Handwriting: An Elegy]
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 faces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter faces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic faces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other faces: 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 faces: 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:
- The Archive 40: Archive Western Iron, Archive American Shadow, Archive Antiqua Extra Cond, Archive Antique Extended, Archive Atlantique, Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider, Archive Copperplate Head, Archive Copperplate Text, Archive Egipt Compressed, Archive French Script, Archive French Shaded, Archive Garfield, Archive German Text, Archive Gothic Ornate, Archive Grotesque Shaded, Archive Harlem Title, Archive Ironlace, Archive Kludsky, Archive Lightface Extended, Archive Magno Script, Archive Mann, Archive Modern II Open, Archive Modern II, Archive Old Style Condensed, Archive Penman Script, Archive Petite Script, Archive Ribbon, Archive Roundface Script, Archive Roundhand Script, Archive Salisbury Script, Archive School Text, Archive Steeler, Archive Tale, Archive Tilt, Archive Tinted.
- Archive Americana: Archive American Shadow, Archive Steeler, Archive Tilt, Archive Garfield, Archive Grotesque Shaded, Archive Black Title, Archive Mann, Archive Autograph Script, Archive Tinted, Archive Harlem Title.
- Archive Western: Archive Egipt Compressed, Archive French Shaded, Archive Western Iron, Archive Antique Extended, Archive Copperplate Head, Archive Ribbon, Archive Gothic Ornate, Archive Oldstyle Condensed, Archive Lightface Extended, Archive Ironlace.
View Archive Type / Matevz Medja's typefaces. [Google]
Austin Norman Palmer
Born at Fort Jackson, New York, in 1860, this penman died in 1927. He ran the A.N. Palmer Company in New York City. Author of 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]. In Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull, we find a chapter on his life. [Google]
Austin Norman Palmer
[Portfolio of Ornate Penmanship]
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 faces Grazia (2008) and Greta (2008), the brush script Juliana (2008), the comic book style faces Carina (2008), Isara (2008), Kiki (2008), and Fanny (2008), and the calligraphic script faces 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]
Best fonts of 2006 (MyFonts)
Based on sales, MyFonts ranks the best fonts for 2006, from first to tenth:
- Swan Song: calligraphic, Canada Type.
- Boycott: grunge, Ryoichi Tsunekawa.
- The NautiGal: brush script, Rob Leuschke.
- Dear Joe Four: handwriting by Joe Bob Graphics.
- P22 Zaner: a penmanship font by Paul Hunt.
- Cyan: a roman face by Wilton Foundry.
- Korotaki: techno face by Ray Larabie.
- Fleurons Two: ornaments by Gert Wiescher.
- Estilo Script: art deco, DS Type.
- Camingo: flexible family, by Jan Fromm.
Brian J. Bonislawsky
[Monogram Fonts Co]
Coauthor with J.T. Henderson and J.N. Yocom of Oberlin Business College - Compendium of Penmanship (1901). [Google]
Calligraphic drawings: XVIIth century
Samples of calligraphic penmanship: a devil, a dog, an emu, a half-man. [Google]
Calligraphy and Penmanship in History 42 Books
Alternate URL. Alternate URL. These files haver 42 e-books on penmanship, for a total of 300MB. The list:
- 1.Ames, Daniel T., 1884, Ames' Guide to Self-Instruction in Practical and Artistic Penmanship
- 2.Ames, Daniel T., The Daniel T. Ames Notebook, A wonderful collection of penmanship from the early 1860s from one of America's preeminent penmen and teachers
- 3.Behrensmeyer, H.P, Lessons in Practical Penmanship
- 4.Barnett, C.A., J.T. Henderson and J.N. Yocom, 1901, Oberlin Business College - Compendium of Penmanship.
- 5.Bloser, P.Z. (Copies by E.A. Lupfer), 1948, Lessons in Ornamental Penmanship.
- 6.Canan/Zanerian College, 1921, C.C. Canan Collection of Penmanship - The Canan Book, Copyright by Zaner-Bloser, Inc. Used with permission. All rights reserved.
- 7.Champion, Mary L., Champion Method of Practical Business Writing
- 8.Charles, A.A.S., 1983, Steel Pen Trade 1930-1980 Used with permission. All rights reserved.
- 9.Clark, Clinton H., The Clinton Clark Scrapbook Part One, Part Two, Part Three.
- 10.Comer, George and Oliver Linton, 1864, Penmanship Made Easy
- 11.Courtney, F.B., The Francis B. Courtney Scrapbook, courtesy of Bob Hurford
- 12.D'Avignon, L'ecriture Americaine, "Writing American" by D'Avignon, circa 1840
- 13.Dennis, W.E., 1914, Studies in Pen Art
- 14.Gaskell, G.A., 1883, Gaskell's Compendium of Forms (the section on writing)
- 15.Huntington, Eleazer, 1821, Art of Penmanship
- 16.IAMPETH Scrapbooks - A remarkable collection of Golden Age penmanship, PDF Number 1, PDF Number 2.
- 17.Jenkins, John, 1813, The Art of Writing
- 18.Jones, C.W., editor, 1914, Lessons in Engraver's Script
- 19.Jones, C.W., editor, 1914, Ninety-five Lessons in Ornamental Penmanship
- 20.Kelchner, L.M., 1901, Complete Compendium of Plain Practical Penmanship
- 21.Knowles and Maxim, publisher, 1881, Real Pen Work - Self Instructor in Penmanship
- 22.Madarasz, Louis, Lessons in Advanced Engraver's Script, published by C.W. Jones
- 23.Madarasz/Zanerian College, 1911, The Madarasz Book - The Secret of the Skill of Madarasz, Copyright by Zaner-Bloser, Inc. Used with permission.All rights reserved.
- 24.McDonald Business Academy, 1894, Penman's Leisure Hour
- 25.Meyrat, P., circa 1920's, Recueil Methodique de Principes d' Ecriture ("A Methodical Collection of Principles of Writing"
- 26.Mills, Edward C., 1903, Modern Business Penmanship
- 27.Noyes, Enoch, 1839, Noyes's Penmanship
- 28.Palmer, A.N., 1935, The Palmer Method of Business Writing
- 29.Palmer, A.N., 1919, Palmer's Penmanship Budget
- 30.Palmer Company, The A.N., Portfolio of Ornate Penmanship
- 31.Real Pen-Work Publishing, 1867, Bible Pearls of Promise
- 32.Spencer Authors, 1874, Theory of Spencerian Penmanship
- 33.Spencer Brothers, 1881, New Standard Practical Penmanship
- 34.Spencer, Platt Rogers, Sr., 1866, Compendium of Spencerian or Semi-Angular Penmanship
- 35.Spencerian Authors, 1879, New Spencerian Compendium
- 36.Stacy, L.E., 1907 (compiled by), The Blue Book
- 37.Sull, Michael R., 1989, Spencerian Script and Ornamental Penmanship, Volume I, Chapters 1,2 and 8.
- 38.Sykes, circa 1885, Sykes's Manual of Penmanship
- 39.Williams, J.D. and S.S. Packard, 1867, Gems of Penmanship
- 40.Zaner, C.P., 1888, Gems of Flourishing
- 41.Zaner, C.P., 1920, Lessons in Ornamental Penmanship
- 42.Zaner, C.P., 1900, The New Zanerian Alphabets
Carleton V. Howe
Penman from Philadelphia who drew an engravers alphabet that was shown in Lessons in Advanced Engraver's Script (Louis Madarasz, published by C.W. Jones in Brockton, MA). [Google]
Charles Paxton Zaner
Famous American teacher of penmanship. Author of Lessons in Ornamental Penmanship (1920) 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. [Google]
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 (Bitstream). [Google]
Daughter of Iza W, who started producing type at Intellecta in 2010. She studied applied mathematics and graphic design. She is credited with these faces:
- ABC Hand (2011). A sign language face.
- Pencraft (2010): a penmanship face with uppercase based on Swagger Capitals (Carl Stephen Junge, at Barnhart Brothers&Spindler), and lowercase based on Sidney Gaunt's Pencraft Oldstyle series (1914), as displayed in the BBS catalog from 1922.
- Eingraviert Dutch Capitals (2009). An engraved typeface.
- Vintage Hands (2012). A set of fists and penman's hands.
- Bonsai Paufo (2010): a dingbat face.
- Jugendstil Flowers (2011).
- Libertee Ornaments (2011): an elegant art nouveau face done with Paulo W.
- MesoAmerican (+Two) (2011): native Indian dingbat faces.
- Tribalism (2011): three faces with ornaments and fleurons, done together with Iza W and Paulo W.
- Cripto (2011). With Paulo W.
- Bruce 1065 Soft Serifs (2011). Very Victorian.
- Gothic Revival Layered (2012). One of the first layered blackletter typefaces anywhere.
- Forte (2013) is a fee brush font in the style of Forte MT (1962, Carl Reissberger).
- Tribalism (2011). Three fonts with penmanship-style flourishes.
- Enchiridion (2012).
Behance link. [Google]
Clinton C. Canan
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. Samples of his penmanship: i, ii, iii. Letterhead. [Google]
Clinton N. Clark
Author of The Clinton Clark Scrapbook. Parts two and three are here and here. [Google]
Author of Lessons in Engraver's Script (1914) and Ninety-five Lessons in Ornamental Penmanship (1914). Jones lived in Brockton, MA. The former book contains one full formal calligraphic alphabet by Jones himself. [Google]
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. [Google]
Daniel T. Ames
American penman. Author of Ames' Guide to Self-Instruction in Practical and Artistic Penmanship (1884). His 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). Handdrawn portrait of Ames found in "Real Pen Work" (1881, knowles and Maxim). [Google]
David A. Hobbs
[David A. Hobbs, Inc.&Tolley Studios]
David A. Hobbs, Inc.&Tolley Studios
[David A. Hobbs]
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, Roamn 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]
K. James is an afficionado of old lettering and type. Based in Chicago, he posts many useful photographs on Flickr. [Google]
Dino dos Santos
Commercial outfit marketing D'Nealian handwriting fonts and software. Based in LaSalle, MI. [Google]
[Doyald Young: Logotypes and Letterforms]
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. Picture. 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 Youngâ€™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. Short obituary and video. Longer video about his life. Steven Heller's obituary in the New York Times. Obituary by Marian Bantjes for AIGA.
He was adored and respected for his craft and gentleness. Portrait. Another portrait (credit: Louise Sandhaus). Author of several influential texts:
- Logotypes and Letterforms (1993, Delphi Press). Review. It includes the corporate typefaces and original and revised logotypes he created for General Electric, Sony, Hilton International, John Deere and other businesses. Steve Heller: It was well received by designers for its defiance of fashionable trends.
- Fonts&Logos (1999, Delphi Press, and 2000, Sherman Oaks). A book of examples, it includes many logos designed by him for the cosmetic, fashion and entertainment industries. Review. Bette Midler logo (2002). Grammy Awards logo (1988). Prince, The Hits Collecton, cover (2000). Sinatra, The Man and his Music TV Special (1981). Logo for Apex Engraving (1974).
- The Art of the Letter (2003, Smart Papers, Hamilton, Ontario).
- Dangerous Curves Mastering Logotype Design (2008, Delphi Press). Delphi Press was his own company.
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 face used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script). [Google]
[Dino dos Santos]
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. Pic. Klingspor link. Dino created these typefaces:
- Access (1997).
- Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family.
- Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
- Andrade Pro (a modern) and Andrade Pro Script: based on the calligraphy of Andrade de Figueiredo, ca. 1766.
- Anubis (2003): a unicase face.
- Apud and Apud Display (2010): a high-contrast serif family.
- Aquila (2004).
- Boldina (2004). A fat informal poster family with 18 weights and styles.
- Braga (2011, Dino dos Santos and Pedro Leal). This 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.
- Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
- Ception (2001): a futuristic sans family.
- Cultura, and its improved version Cultura New (2013), a text book typeface family.
- Decline (1996).
- Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
- Esta (2004-2005): extensive (transitional) text and newsprint family.
- Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
- Ezzo: a sans family.
- Factor (1997).
- Finura (2009): this face has hints of University Roman.
- Fragma (2003): squarish techno family.
- Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
- Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
- Hades (2012). A yummy and free blackletter typeface.
- Hypergrid (2002): octagonal.
- Kartago (2005): based on Roman inscriptions from Cartago.
- Large (1999) and Large Pro (2006).
- Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): this 31 styles were all made in 2007.
- Maga (2012). A text family.
- Methodo (2005): calligraphic penman faces.
- Missiva (2004).
- Monox and Monox Serif (1998-2000): a monospaced family.
- Musee (2006): a transitional family with ornaments and borders.
- Nerva (2004). A subdued Trajan typeface with flaring.
- Nyte (2012). A serifed text family.
- Otite (1995).
- Outside (1996): grunge.
- Plexes (2003). See also Plexes Pro (2006).
- Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manoel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
- Poesis (1999).
- Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
- Priva Pro (2006): a sans family that includes Greek and Cyrillic).
- Prumo (2011-2012). A 92-font family oroginally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
- Quadricula (1998).
- Quaestor and Quaestor Sans (2004). Roman inscriptional faces.
- Resea (2004) and Resea Consensed: Bank Gothic style faces.
- Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. Codesigned with Pedro Leal.
- Synuosa (1999): an experimental face showing only the top half of the characters.
- Terminal (1996).
- Titan and Titan Text (2003).
- User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
- Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
- Ventura (2006): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
- Volupia (2005): a connected advertising face.
View Dino dos Santos's typefaces. DS Type's typeface library. [Google]
English author of "Writing Book" (1660), in which we can find wonderful flourish work. [Google]
Edward C. Mills
Author of Modern Business Penmanship (1903, American book Company). Image from that book. [Google]
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]
EFI Home Page (Educational Fontware)
Sells handwriting-fonts designed to exactly replicate many educational handwriting styles. In particular, they have these:
- D'Nealian: DN Cursive and DN Manuscript.
- Zaner-Bloser: ZB Manuscript, ZB Cursive, OZ Manuscript, OZ Cursive.
- A Beka: AB Cursive and AB Manuscript, based on the style shown in workbooks developed by A Beka Book, Inc.
- Bob Jones University: CCU Cursive and CCU Manuscript, ugly fonts based on materials copyrighted by Bob Jones University.
- DKL Cursive and DKR Cursive, patterned after the handwriting methods in the workbooks Cursive Writing Skills (Educators Publishing Service, Inc, 31 Smith Place, Cambridge, MA), by Diana Hanbury King.
- Frank Schaffer: FS Classic, FS Contemporary, and FS Manuscript, developed using materials copyrighted by Frank Schaffer Publishing.
- Getty-Dubay Italic: GDI Basic, GDI Combined, and GDI Cursive, a handwriting method developed by Barbara M. Getty and Inga S. Dubay at Portland State University, Continuing Education Press. EFI worked with Getty and Dubay to develop its GDI fonts.
- Handwriting Without Tears: HWT Cursive and HWT Manuscript, pretty upright cursives and a hairline geometric sans. Handwriting Without Tears is a registered trademarked of Jan Z. Olsen.
- Harcourt Brace: HB Cursive and HB Manuscript.
- Loops and Groups: LG Cursive, based on the handwriting samples in the copyrighted Instructor's Manual Loops and Other Groups---A Kinesthetic Writing System by Mary Benbow.
- McDougal, Littell: McD Cursive and McD Manuscript, based on materials copyrighted by McDougal, Littell&Company.
- Palmer: Palmer Manuscript (simple hairline sans), Vintage Palmer and New Palmer, which include several variations of the cursive handwriting style that constitute the Palmer Method. Vintage Palmer is based on a 1923 workbook, and New Palmer on a 1987 workbook.
- Pentime: PT Cursive and PT Manuscript, developed for use by the Amish communities, through workbooks rather than directly with computers. The fonts were created for JKL Services, who use the fonts to produce handwriting materials for the Amish community.
- Peterson Directed Handwriting: PM Cursive, PM Block, and PM Slant.
- Queensland: QM Cursive and QBA Manuscript, based on samples from workbooks by Horowitz Martin Education.
- Russian: RU Cursive and Manuscript families (9 fonts) for Cyrillic.
- Seattle School District: SSD Cursive and SSD Printscript, based on handwriting samples and methods developed by Patricia Heller and Elaine M. Aoki for the Seattle Public Schools. samples were found in a 1993 K-5 handwriting manual called Write It Right (Seattle Public Schools).
- Steck Vaughn: SV Cursive and SV Manuscript, developed using materials copyrighted by Steck Vaughn Company.
- Specialty Fonts: four Ball-and-stick and Dashes fonts, Braille 24 and Braille 24 Hollow, Clocks, EFI Count Dots on Numbers, EFI Direct Instruction, EFI Music Symbols, Emo-faces, Fingerletters (for American Sign Language), Lettersound Pictures, Morse Code, Phonetics Phont, POSTNET-16.
Author of Art of Penmanship (1821, Hartford, CT). [Google]
Heilbronn-based creator of a nice script alphabet in 1985. [Google]
Elmer Ward Bloser
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 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]
Author of Noyes's Penmanship (1839, Jenks&Palmer, New York). Samples from that book: calligraphy, German text, hand exercises, Old English. [Google]
eSnips: Didactic fonts
Didactic font archive: Amandine, ColorFont, CrayonE, CrayonL, Cursif-&-Lignes, Cursif, DJ-Fancy, Ecolier, Ecolier_court, Ecolier_lignes, Ecolier_lignes_court, Gessele-Regular, GinoSchoolScript-Bold, LA-El-2, LA-El-2-Italic, Maternellecolor-trace-cursive, Penmanship-Print, PlumBAE, PlumBAL, PlumBDE, PlumBDL, PlumNAE, PlumNAL, SeyesBDE, SeyesBDL, SeyesNDE, SeyesNDL, Trace, UlusalOkul.Comizgili, PlumNDE, PlumNDL. [Google]
Japanese foundry in Nagoya that offers these 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:
- 2013: Griffon (copperplate titling face), Antique Spenserian (based on Spencerian Script by Mackellar, Smiths and Jordan).
- 2012: Geom Graphic (a retro sci-fi family that can be considered as a squarish version of Eurostile), Sheepman (modular), House of Cards, Space Colony (a lovely monoline futuristic techno family), Rama Slab (an antiqued wood-style slab serif), Rama Gothic. An antiqued sans serif family that recalls the wood type era), Diamond Ring (an art deco typeface inspired by Japanese cosmetics-packaging designs and posters from the late 19th and early 20th centuries), Controller (techno meets organic in this rounded squaris sans family), Revolution Gothic (an extended version of PAG Revolucion), 2008, which was inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s), Diamond Ring (art deco).
- 2011: Yummo (monoline organic sans), Sheepman (based on the wood type No. 506 of William Page), Onick (2011, an art deco neojaponist fat display face done for Wordshape), Shiva (2011, hairline sans), Mocha Mattari (2011, grunge), Dharma Slab (2011, inspired by 1800s-style wood type), Dharma Gothic (2011, +P), Rama Gothic (2011, also inspired by 1800s-style wood type), Dimensions (2011, squarish), Design System (2011, a large family based on 70s style techno faces), Speedometer (2011, condensed piano key face).
- 2010: Stereo Gothic (2010: an extended all caps slightly techno sans family), Behrensmeyer Vigesimals (2010, a pixel format connected script), Civilite Vigesimals (2010, pixelized Civilite), Flat10 Arts and Crafts (2010), Flat20 Hippies, Flat10 Segments (2010), Flat10 Antique (2010), Flat20 Gothic (2010), Flat20 Streamer (2009, pixelized ribbon font), Flat10 Fraktur, Flat10 holy, Flat10 Holly, Flat10 Stencil, Flat20 Headline, Flat10 Artdeco, Word From Radio (2008-2010). Cigarette (2007, Bauhaus/Peignot-style type family).
- 2009: African Elephant Trunk (2009), Concrete Script, Concrete Stencil (2009, a stencil calligraphic script), Perfect Magic (2009), HT Maison (2009, signage face), HT Farmacia (2009, connected school script), HT Espresso (2008, upright script), HT Cartoleria (2008, connected script), HT Cafe (2009), Sneaker Script (2009).
- 2007-2008: Bistro Mono (2007, an awkward monoline face), Thousands (2007), Balaghat (2008), Garash Script (2008, a Halloween face), Woodstamp (2008), Banana (2008, brush script), Rebel Train Goes (2008, a piano key font), Rouge (2007, an elegant lipstick-on-the-bathroom-mirror pair of faces), Yasashii (2007, a great geometric art deco Broadway-style family), Lily Wang (2006, calligraphic script), Nothing (2007), Garash (2007, Arabic simulation), Moon Star Soul (2007, Western saloon font), Grandes Vacances (+ Une, Deux) (2007), Pansy Bo (2006, calligraphic), Dremie (2007, an art deco headline face with Open and Fill weights), Grandes Vacances (2007, based on 19th century billboard letters), Xesy (2007, a fantastic "ronde" high-contrast upright connected script), Deluta Black (2007, a soft blackletter), Cotoris (2007, a 4-style family that takes inspiration from Koch Antiqua and the art nouveau movement).
- 2006: Daisy Lau (2006, calligraphic), Agedage Luxeuil (2006, based on a monasteric script from the 8th century), Agedage Cancellaresca (2006), Agedage Simple Versal (2006, Lombardic caps simplified), Amsterdam Modern (2006, art nouveau influences), Flat10 [Holly, Holy, Stencil, Fraktur] (2006, a set of pixel faces), Machiarge (2006, a heavy connected brushed signage script), Chic Hand (2006, connected script), Double Dagger (2006, geometric stencil family), Fault (2006, an art deco striped lettering face), Killernuts (2006, headline serif face with brush stroke endings), Underconstructionism! (2006, a rectangular look family with associated dingbats), Machia (2006, decorative script), Kiwi (geometric hairline), Bagel (roundish comic book face), Jaguarundi (2006, distressed), Boycott (2006, distressed), Tokyotrail (2006, futuristic techno family), Coconut (noisy outline face), Coconut Split, Fresh Tomato (LED simulation), Dried Tomato (LED simulation), Dutch Style, Mocha Harrar (great stencil face), 103 (experimental, Bank Gothic style), Airhead, ArealBlack, Awkward, BagelNew, BagelOld, Banbino, Bebas (2005, industrial sans), Berlin89, Blackout (redesigned in 2011 as the ulta-narrow Dimensions), Boycott (grunge), Built-1970, Bunyan, Busted, Camera (2007), Canstop, Chiangmai (Thai simulation face), DBLline, Dijkstra, Dutchstyle, Fling, Graphite, Harcomaso, Hiexplosive, Hitech, Honeycomb, Junkmix, Kanatypo, KemikalHi, Machia (2006, a calligraphic family), Meegoreng, Mikrob, Natsupopy, Overwork, Palsu, Plamo, Plasitico, REC001, REC002, REC003, Resistance, SQRT, STdigi (LED font), Shandy, Superstar, Tembaga, Tenaga, Tomodachi, Tragedia, Trucker, VRdigital, VRembroidery, Welcome2M, Workaholic, Zeebraa, plot-A, plot-K, Appendix 3, Gesso (grunge), Pusab (2006, ultra round; one free weight), Sushitaro, Typewrong, Celtics Modern (2006, a Celtic family of fonts). At T-26, he published CRZ (2006), Guppy, Ohana (2006, octagonal), Picnica (2006), and Wearetrippin.
MyFonts link. Fontsquirrel link for their free fonts such as Bebas (2005, industrial sans), Boycott, Gesso, and Pusab. YWFT link. Bagel & Co. link. Klingspor link. Dafont link. Dafont link.
View Ryoichi Tsunekawa's typefaces. Kernest link. [Google]
Francis B. Courtney
American author of The Francis B. Courtney Scrapbook. Elsewhere, in 1896, he showed these swashy penman's capital alphabets drawn by him: i, ii, iii. [Google]
Free School Fonts
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]
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]
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]
Sign designer. He made the Victorian signage font families Tyler (2003), Palmer and Dixie at Letterhead. Tyler was inspired by E.L. Brown who taught penmanship and engrossing in the late 1800's. He designed Brien in 2003, based on lettering by Iskra Johnson. At SignDNA, he published the script face 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." [Google]
Gems of Penmanship by Williams&Packard
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, Beveled Alphabet, Ribbon Alphabet, (continued), Soft and Twisted Alphabet, (continued), Rustic Alphabet, (continued). Selected drawings: a hand, a bird, a deer, a swan. [Google]
UK engraver and penman, 1684-1769, who wrote the manual The Universal Penman (published in parts from 1733 to 1741, reprinted complete in 1743). That book also contains work by Bickham's collaborators, such as Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, and William Leckey. Book cover. 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). [Google]
George J. Becker
Author of Becker's Ornamental Penmanship and Draughtsman's Letter Book (1854). This book was used by Monogram Fonts Co in the creation of Noir Monogram (2009). [Google]
English writing master, 1666 (?)-1736 (?). Designer of the famous Shelley Script (calligraphic). Linotype's version 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. Sample of a copperplate alphabet done in London in 1709. Author/editor of The Penmans Magazine. 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. [Google]
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, handprinted 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 faces), Semafor (1997, dot matrix, at T-26 since 2002), Gf H2O (2005, a humanist sans family done with Mitja Miklavčič).
MyFonts link. Linotype link. Identifont link. Klingspor link.
View Matevz Medja's typefaces. [Google]
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:
FontShop link. [Google]
- A scanfont based on his chancery is 1491 Cancellaresca Formata (2009, GLC).
- Stanley Morison's metal Bembo (1929) is based on Tagliente's letters. Bitstream's Aldine 401 is the first digital take of Bembo, which is attributed jointly to F. Griffo and G. Tagliente. JY Aetna (1994) is Jack Yan's version. Other revivals include Bembo MT (Monotype), Bamberg Serial (Softmaker), Bergamo and Bergamo Osf (Softmaker), Bergamo (Infinitype) and Bergamo (FontSite).
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]
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]
Handwriting font styles
Jacci Howard Bear discusses the various styles of cursive and manuscript fonts used to teach handwriting:
- Getty-Dubay Italic
- Harcourt Brace
- McDougal, Littel
- Peterson Directed Handwriting
- Zaner-Bloser (old style)
- Zaner-Bloser (new style)
- UK handwriting
- Australian 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]
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]
Henry W. Troy
Designer of the ornamental blackletter alphabet Trojan Text (1884). He also has some instructions on penmanship.
His work inspired several digital typefaces, including Blaq (2012, Giuseppe Salerno). [Google]
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 by FontBank, Riccio by Southern Software (SSi, SSK), 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, redone by R. Beatty), Circular Black (1883), Columbian (1891), Columbus (1890: for a digital revival, see Cristoforo by Thomas Phinney, 2012), 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 (?), 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 faces), 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), Nymphic (1889, 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 Dover), 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).
At ATF: Taylor Gothic (1894), Schoeffer Old Style (1897), Roundhand Series (1902), 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 faces by Mac McGrew:
- American Italic is a heavy, novel design by Herman Ihlenburg introduced by ATF in 1902, as a companion to Columbus, which had been designed for ATF's MacKellar Smiths&Jordan branch in 1892. The italic survived its roman mate, being shown by itself in 1906, but was gone by 1912. It is essentially a nineteenth-century design.
- Bradley (or Bradley Text) was designed by Herman Ihlenburg-some sources credit it to Joseph W. Phinney--from lettering by Will H. Bradley for the Christmas cover of an Inland Printer magazine. It was produced by ATF in 1895, with Italic, Extended, and Outline versions appearing about three years later. It is a very heavy form of black-letter, based on ancient manuscripts, but with novel forms of many letters. Bradley and Bradley Outline, which were cut to register for two-color work, have the peculiarity of lower alignment for the caps than for the lowercase and figures, as may be seen in the specimens; Italic and Extended align normally. The same face with the addition of German characters (some of which are shown in the specimen of Bradley Extended) was sold as Ihlenburg, regular and Extended. Similar types, based on the same source and issued about the same time, were St. John by Inland Type Foundry, and Abbey Text by A. D. Farmer&Son. They were not as enduring as Bradley, which was resurrected for a while in 1954 by ATF. Also compare Washington Text.
- Round Hand was designed for ATF about 1900, and has been ascribed to Ro Herman Ihlenburg. It has the appearance of handwriting with a broad pen, but letters are not quite connected.
- Schoeffer Old Style [No.2] was designed by Herman Ihlenburg for ATF in 1897. It is typical of a number of faces of the day-a plainly lettered roman with small, blunt serifs. Some references list Schoeffer Condensed, cut in 1902; this is probably the face shown a little later as Adver Condensed (q.v.). On Linotype, Schaeffer Oldstyle was called Elzevir No.2.
Klingspor link. Ihlenburg at the Rochester Institute of Technology's Cary Graphic Arts Collection. [Google]
Author of Lessons in Practical Penmanship (publ. D.L. Musselman, Quincy, IL). [Google]
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:
- He created the ecccentric serif families Alida Text and Display (2007).
- Bent (sans family).
- The Contra Sans and Contra Serif families.
- The Crema family (2012) has various flowing thick signage script styles.
- Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
- The TV-screen-curved Fernseher family.
- The signage brush script face Flavour (2004).
- Flow (sans).
- Glenda (2009). A script face.
- Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
- Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
- June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
- Keks (2009). A broken angular type.
- The industrial sans family Konsens (with related Konsens Stencil).
- Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic.
- The serif family Leaf.
- The sans family LegauSans (2007).
- Libris, Bally Libris.
- LTA Identity.
- Madita (2011). An upright connected script family.
- Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
- The display serif face Mighty.
- Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display face award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
- The wide basic sans family Monday.
- Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat).
- Neopop (2009). A circular type experiment.
- New Libris Sans. This is a multi-weight extension of Libris, the corporate face of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
- Other Sans.
- Other Oldstyle.
- Perfetto (2008) is a new classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
- Riccia (2010). A grotesk family with schizophrenic "a" and "g".
- The angular serif face Rudolph.
- Safran (2009). A solid 18-style sans family.
- In 2005, he made the brush script headline faces Schoko and Drop.
- In 2008, he added the brush signage families Schwung and Milk.
- Spring (2008).
- Susa (2009). A connected script face.
- The comic book family Tasty (2005).
- Venturio (50s diner face).
- Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
- Vivid (2009).
- Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
- The *very* interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar faces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
- Work ahead: this serif face (2005).
- Xmas Rudolph (2006). A free display serif face.
View Hubert Jocham's typefaces. Another view.
Klingspor link. [Google]
Free copies in PDF format of many rare books on calligraphy and penmanship, typically from the 19th century:
| Ames' Guide to Self-Instruction in Practical and Artistic Penmanship, Daniel T. Ames, Author and Publisher, 1884 |
| Ames - The Daniel T. Ames Notebook, A wonderful collection of penmanship from the early 1860s from one of America's preeminent penmen and teachers |
| Arm Movement Method of Rapid Writing, The, Charles Paxton Zaner, 1904 |
| Art of Penmanship, Eleazer Huntington, 1821 |
| Art of Writing, The, John Jenkins, 1813 |
| Bible Pearls of Promise, Real Pen-Work Publishing, 1867 |
| The Blue Book, Compiled by L.E. Stacy, 1907 Text-converted PDF |
| C.C. Canan Collection of Penmanship - The Canan Book, Canan/Zanerian College, 1921, Copyright by Zaner-Bloser, Inc. |
| Champion Method of Practical Business Writing, Mary L. Champion |
| Clinton Clark Scrapbook, Clinton H. Clark: Part One, Part Two, Part Three. |
| Compendium of Spencerian or Semi-Angular Penmanship, Platt Rogers Spencer, Sr., 1866 |
| Complete Compendium of Plain Practical Penmanship, L.M. Kelchner, 1901 |
| Francis B. Courtney Scrapbook, F.B. Courtney, courtesy of Bob Hurford |
| Gaskell's Compendium of Forms (the section on writing), G.A. Gaskell, 1883 |
| Gems of Flourishing, Charles Paxton Zaner, 1888 |
| Gems of Penmanship, John S. Duncun, 1858 |
| Gems of Penmanship, J.D. Williams and S.S. Packard, 1867 |
| How To Become A Good Penman, An advertising packet by F.W. Tamblyn |
| IAMPETH Scrapbooks, A remarkable collection of Golden Age penmanship: Scrapbook 1, Scrapbook 2. |
| L'écriture Américaine par D'Avignon - "American Writing" by D'Avignon, circa 1840 |
| Lessons in Advanced Engraver's Script, penned by Louis Madarasz, published by C.W. Jones |
| Lessons in Engraver's Script, C.W. Jones, editor, 1914 |
| Lessons in Ornamental Penmanship, C.P. Zaner, 1920 |
| Lessons in Ornamental Penmanship, P.Z. Bloser (Copies by E.A. Lupfer), 1948 |
| Lessons in Practical Penmanship , H.P. Behrensmeyer |
| Madarasz Book, - The Secret of the Skill of Madarasz, Madarasz/Zanerian College, 1911, Copyright © by Zaner-Bloser, Inc. |
| Metodo Palmer de Caligrafia Comercial, A.N. Palmer Company, 1949. Donated by Mauricio Aguilar. Please visit his website www.VintagePen.net |
| Modern Business Penmanship, Edward C. Mills, 1903 |
| Muster Alphabete, circa 1885 |
| New Spencerian Compendium, Spencerian Authors, 1879 |
| New Standard Practical Penmanship, Spencer Brothers, 1881 |
| New Zanerian Alphabets, C.P. Zaner, 1900 |
| Ninety-five Lessons in Ornamental Penmanship, C.W. Jones, editor, 1914 |
| Noyes's Penmanship, Enoch Noyes, 1839 |
| Oberlin Business College - Compendium of Penmanship, C.A. Barnett, J.T. Henderson and J.N. Yocom, 1901 |
| Palmer Method of Business Writing, A.N. Palmer Company, 1935 |
| Palmer's Penmanship Budget, A.N. Palmer, 1919 |
| Penmanship Made Easy, George Comer & Oliver Linton, 1864. See also here. |
| Penman's Leisure Hour, McDonald Business Academy, penwork by F.F. Wildish, 1894 |
| Portfolio of Ornate Penmanship, The A.N. Palmer Company |
| Practical Penmanship Being A Development of the Carstairian System, Benjamin Franklin Foster, 1830 |
| Real Pen Work - Self Instructor in Penmanship, Knowles and Maxim, publisher, 1881 |
| Real Pen Work Compendium of Penmanship, Ivison, Blakeman, Taylor and Co., publisher, 1880 |
| Recueil Méthodique de Principes d' Ecriture "A Methodical Collection of Principles of Writing", P. Meyrat, circa 1920's |
| Spencerian Script and Ornamental Penmanship, Volume I, Chapters 1,2 and 8, Michael R. Sull, 1989. . |
| Steel Pen Trade 1930-1980, A.A.S. Charles, 1983. . |
| Studies in Pen Art, W.E. Dennis, 1914 |
| Sykes's Manual of Penmanship, Sykes, circa 1885 |
| Theory of Spencerian Penmanship, Spencer Authors, 1874 |
| 19th Century Swedish Copybook, dated December 9, 1858 and penned by Carl Damm, a tutor, this copybook contains 12 pages of handwritten forms of Copperplate/Engraver's Script. Contributed by Evan Lindquist. |
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:
- Free fonts: CornPop Three (borders), Too Good To Be True (2013, retro script), Blanchard Inland (2013), Living Together (2013), Arresto (2013, brush script), Hertziano (2013, non-connected fat script), Japanese Tourist (2013), Nouveau Never Dies Free (2013), The Beat Goes On (2012, fifties script), Stencix (2012), Figgins Brute Trash (grunge), Fontaniolo Beveled (2011, ornamental caps), Czech Gotika (2011), Random Dingbats (2011), Victorian Free Ornaments (2011), Rustic (2011), Armorial (2011), Woman Silhouettes (2011), The Nile Song (2010, hieroglyphics), Smith Typewriter (2009), Sign Flags (2010, semaphore dingbats), Senectus Morbus (2010), MesoAmerica (2010, Indian symbols), ClassicSketches (2010, dingbats), Columns (2010, dingbats of Greek and Roman columns), EasyCuneiform (2010), EasyLombardicTwo (2010), EasyOpenFace (2010, blackboard bold style), Egidia (2010), Significante (2010, dingbats with, e.g., gender symbols), WhiteDominoes (2010, domino pieces), Easy Heraldics (2010), Intellecta Heraldics (2010), Heraldic Devices (2011), KidingsFree (2010, dingbats), RoughTuscan (2010), The French (2009, Fleur de Lys dings), AprendizCaligrafico (2010), Volitiva (2006, Trajan caps and chancery lower case, all based on work by Ludovico Vicentino Arrighi), Gaivota (2006), KurrentKupferstichThin (2006), PaulKlein (2010), PaulKleinTwo (2010), PortuguesArcaicoLectura (2005), ReproxScript (2009, based on Jerry Mullen's Repro Script from 1953-1954), RickGearyHomage (2007, scanbats), WestBalaio (2006, ornamental caps), Corto Maltese (2006, scanbats), Renaissance Coiffure (2006), Renaissance Ornaments (2007), Renaissance Shoes (2012, free), TTF Tattoef (2006, tattoo-inspired dingbats), ExperiTypo5 (2006), Lower Metal (2006), Geometric Serif PW (2006), Geometric (2006), Geometric Petras PW (2006), War II Warplanes (2005), Carbono (2005), Times New Vespasian (2005), BoldBold (2005), Vengeance (2005), Doppleganger (2005), Chancelaresca (2005), Cursivo Saxonio (2005), Gotische Minuskel 1269 (2005: a Kanzlei Schrift after Dekan Hermann zu Soest, 1269) and Guto Lacaz (2005, dingbats).
- Richard Gans revival project: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada (2006), Gans Ibarra (2006), Gans Antigua (2006), Gans Antigua Manuscrito (2006), Gans Radio Lumina (2006), Gans Fulgor (2006), Gans Carmem Adornada (2006), Gans Italiana (2006, extensive Italian-style slab serif family), Gans Titania (2007), Gans Titania Adornada (2007), Gans Titular (2007), Gans Gotico Globo (2007: 9 styles by Iza W), Gans Royality (2007: 3 styles by Iza W), Gans Headpieces (2008), Gans Rasgos Escritura (2010: filets---followed in 2011 by Rasgos Escritura Nuevos), Gan Esquinazos (2010, frames), Gans Blasones (2010, shields), Gans Neoclassic Fleurons (2008), Gans Classical Fleurons, Gans Ding.
- Wood-inspired faces: Dead Wood Rustic (2007), Taranatiritza (5 wood type styles, after William Hamilton Page), Majestade (2007, by Iza W---two Tuscan style faces), Decorative Tuscanian (2007), Concave Tuscan (2010, wood type), Palermo (2007, by Iza W---Tuscan style family), Teatro (2009, Tuscan), Bruce Double Pica (2009, Tuscan; the Beveled weight is free), Antique Extended (2010, slab serif wood type), Dark Wood (2009, gothic), Dark Wood Beveled (2011).
- Charles Bluemlein's script revivals: Bluelmin Kisaburo (2013), Bluelmin Ralph (2012), Bluelmin Ronald (2012), Bluelmin Sandsfort (2012) and Bluelmin Benedict (2012). (2012).
- Blackletter: Salterio (2012, +Trash, +Three, +Gradient, +Shadow, +Shadow Two), Leothric (2011, bastarda), Bruce 532 Blackletter (2011, after George Bruce), Schneider Buch Deutsch (2007, +Trash, +Shadowi, +Shadow Two), Schneidler halb fette Deutsch (2009, +Beveled), Schneidler Zierbuchstaben, Hostetler Fette Ultfraktur Ornamental (2007, blackletter caps), Gothic 16 CG (2007), Gothic 16 CG Decorative (2007, blackletter caps), Schneidler Grobe Gotisch (2008, Iza W, T-26), Allerlei Zierat (2008, ornament fonts based on a 1902 catalog of Schelter & Giesecke), Allerlei Zierat Capitals (2007), Psalter Gotisch (2009, a blackletter after the Benjamin Krebs blackletter face by the same name, ca. 1890), Münster-Gotische (2009, a blackletter family after a 1896 face by the same created by Schelter&Giesecke), Koberger N24 Schwabacher (2007), Student's Alphabet (2007, blackletter), Like Gutemberg Caps (2007), Nürnberg Schwabacher, Gotische Frame (2007: four framed blackletter styles by Iza W), Gotische (2007: ten ornate blackletter styles by Iza W), Gothic Garbage, Gothic Shadow, Gothic Trashed, Gothic Flourish (2009), Gotica Moderna (octagonal, blackletter), AltDeutsch (2007, four severe blackletter fonts by Iza W), Fin Fraktur, Gotische Bouffard, Heimat RGS, Gothic Handtooled Bastarda (2006), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Gothic Handtooled Bastarda (2006).
- Historical revivals: Pantographia (2010: a digitization, as is, of several alphabets from Edmund Fry's Pantographia, 1799), Caslon2000, Caslon B, Delamotte Large Relief (2010), Figgins Brute (2007: 8 heavy Egyptian styles by Iza W based on Figgins' 1817 specimen book), Erased Figgins Brute (2007), Gras Vibert (2007, a didone family; followed by Gras Vibert Two in 2009).
- Erotic or human alphabets: American Way of Life (2011), oman Silhouettes (2011), Silvestre Weygel (2007, named after Martin Weygel'a erotic alphabet from 1560, which in turn was based on Peter Flötner's 1534 alphabet), Gravure (caps face made of human silhouettes), Innocence (2007, dingbats of girls).
- Medieval chancery hand: Portugues Arcaico (2005, three medieval handwriting styles), Kurrent Kupfertisch (2006, a medieval hand done with Fernanda Salmona), Dovtrina Christam 1622 (authentic old manuscript face), Catania (2007, exquisite medieval caps in 3 styles by Iza W).
- Typewriter faces: Remix Typewriter (2012), Smith Trash (2012), Neo Bulletin (2010, +Trash), Remington PW (old typewriter face), Olivetti Linea (old typewriter face), Erased Typewriter 2 (2007: 4 styles by Paulo W), RIP Typewriter (2009), Shadow Typewriter (2007), Underwood Typewriter (by Iza W).
- Calligraphic: Bradstone Parker Script (after Zaner's penmanship), Jan van den Velde Script (2011, based on the penmanship of Jan van den Velde as illustrated in vna den Velde's 1605 book Spieghel der schrijfkonste; developed jointly by Paulo and Iza W), Penabico (2010, with Iza W); Penabico is a free interpretation of the copperplate script styles to be found in the Universal Penman, London, 1741, by George Bickham---it contains over 1500 calligraphic glyphs and 250 ornaments. Samples of Penabico: i, ii, iii, iv, v, vi, vii, viii, ix), Easy Calig, Intellecta Mixed Script (2008), Spencerian Constancia (2008), Calligraphia Latina Soft4 (2010, quilled ornaments), Intellecta Script commercial (2009), Spencerian By Product (2009), Spencerian Palmer Penmanship Pro (2010), Indenture English Penman (2010), Calligraphia Latina (2008-2010, in weights called Soft2, Dense, 3, Soft4, Mixed, Square Edition).
- Victorian, Edwardian: Engel (2007, by Iza W in 15 styles that have a 1870s look), Compendium (Victorian), Costado (2009, a Victorian / Western face).
- Ornamental caps: Doppel Mittel Lapidar Azure (2012), Musirte Antiqua (2012), The House of Usher (2012), Peterlon (2012), Dolphus Mieg Alphabet (2011, +Two), Dolphus Mieg Monograms (2011), Human Nature (2011), English Arabesque Revival 1900 (2011), Imprenta Royal Nonpareil (2011), XVI Century Shaw Woodcuts (2011), Ichweis Caps (2011), Cherubim Caps (2011), Rara Beleza (2011), Gothic 1880 Revival (2011), Angelicaps (2010), Unnamed Caps Two (2010), VertiCaps (2010) Rebimboca Caps (2010), Rebimboca Beveled (2012, free), Rebimboca Gradient (2012, free), Rebimboca Trash (2012, free), Rebimboca Outlined (2012, free), Republica Presente (2010), Speedball Metropolitan Caps (2010, after a design by Ross F. George), Nice Initials (2010), Morphelic (2010), DurerGotischCapitals (2010), Egmontian (2007, ornamental caps family), Saducismus Triumphatus (ornamental caps), Vogus (Victorian caps), Victorian Ornamental Capitals (2009) and Frompac 1889 Arabesque (2007) [both are classical arabesques published in Ludwig Petzendorfer's Schriften-Atlas. Eine Sammlung der wichtigsten Schreib- und Druckschriften aus alter und neuer Zeit nebst Initialen, Monogrammen, Mappen, Landeskarten und heraldischen Motiven fur die praktischen Zwecke des Kunstgewerbes, 1889], Lettrines Petin (+Ornée), Numa Initials (2006), Gradl Initialen, Vampirevich (2009, ornamental caps), Paulus Franck 1602 (2006, ornate caps), Geodec (2006, baroque caps), HostetlerFetteUltfrakturOrnamental (2007, blackletter caps), Cadels (2007, ornate caps by Iza W), Manuscript XIV Century (2007, by Iza W--four Lombardic caps), Merona (2007, by Iza W--ten Lombardic caps fonts), Selena (2007, by Iza W---ornate Victorian caps), Leyenda (great Victorian era ornamental caps), Mixed Capital Style (2007, caps), Lenda (2008, capitals), Kidnaped at Old Times (2008, ornamental caps, ransom note style), Mortised Capitals, Is Not ABrazilian Font (handprinted blackboard bold caps), Robur The Conqueror (2009, ornamental caps), Georgia Capitals (2009), Decadence avec Elegance (exaggerated ornamental caps).
- The American Advertise series: American Advertise No. 9 (2008), American Advertise No. 17 (2007, 19th century caps), American Advertise 018 and 019 (2008), American Advertise Square Series (2007), American Advertise 003 (2012), American Advertise 004 (2010), American Advertise 005 (2010), American Advertise 006 (2010, alphadings), American Advertise 007 (2010, ornamental caps).
- Ornaments, fleurons: Unpublished Ornaments Two (2013), Classix (2012), Cornucopia of dingbats (2012, +Two, +Three, +Four, +Five), Cornucopia of Ornaments (2013), Cornucopia Caligrafica (2012), Vintage Hands (2012), Human Silhouettes (2012), Easy Fleurons (2012), Floreale Two (2012), Neoclassic Fleurons Free (2011), Calligraphic Frames Soft (2011, +Two), Jugendstil Flowers Free (2011), Easy Ornaments (2011), Blasons (2011), Blasons Free (2012), Armorial (2011), Monograms Soft (2010, with Iza W), Easy Tiles (2010), Free Tiles (2010), Rough Fleurons Two (2010), Vegetable Breath (2010), Corn Pop Plus (2010), Mortised Fleurons (2010), Mortised Ornaments (2011), Mortised Ornaments Free Two (2013), Golden Times (2010), Stahlhelme und Kronen (2010), Rough Fleurons (2006), Nouveau Never Dies (2009, ornaments), GeodecBruceOrnamented6 (2006, after a sample from the Bruce Type Foundry), Grave Ornamental (2006), BlackOrnaments (2008), Hera Hedelix (2009, ornamental tiles), Mortised Ornaments (2009), Soft Fleurons (2007), Half Flower (2007), Frames 1 (2007, by Iza W), Flower Essences, Micro Fleurons (2009), Naturella (2009, leaf and grape dingbats by Iza W), Black Fleurons (2010), Easy Fleurons Two (2011), Intellecta Borders (2008, by Iza W), Intellecta Style (2007, borders).
- Fonts made before 2007: Bad Situation (2007, after a design by Freeman Delamotte from 1864), Benjamin Franklin (2007), Geodec Petras Enhanced (2006), Deutsche Poster (2006), FatFontGrotesk (2006), Orchis (2006, an art deco family by Iza W), Fantis (2006), Frompac (2006, with Iza W), Geodec Fog (2006), Intellecta Modern (2006), Intellecta Modern 2 (2006), Intellecta Romana Humanistica (2006), Advantage (2006, together with Iza W), Biza (2006, together with Iza W), Elegancy (2006, together with Iza W), Estiliza (2006, a sans family together with Iza W), Experitypo 4, Stairway to Heaven, Copperplate PW, Dings PW, Roger Dean, Gliphs PW, Luxeuil, Watchtower Bible 1965, Gabinete Portugues (11 fonts), Elara (2009), Xilografuras (dingbats), Beta, Alta, Paleolitica Nacional, Shakespeare Studs, Copperplate collection (5 fonts), Wine, Ampersamp, James Poem, Leal Conselheiro, Haeckel Enygma, Iza B, Of, Lementa (2006, ornate family), Pirates (dingbats), Wire Clip (2009), Divina Proportione (2009, dingbats), Tharagaverung (2007), Correo (2009, a nice manly bold face), Titivilus (2007, Roman lettering), Pirates De Luxe (2007, dingbats), Geodec Minuskel (2006), Geodec Spyral (2006), Copperplate Decorative (2006), Feosa (2006), Francesco Decorative (2006, Iza W), Geodec Petras Enhanced (2006), Ibarra Flourished (2006), Intellecta Decorative 017 (2006), Intellecta Decorative 018 (2006), Intellecta Slab Bold (2006), Kansas Decorative (2006), Pingente (2006), Sixties Living (2006), Caractere Doublet (2007), DeutschePosterSteinschrift (2007; by Iza W), GP Casual Script (2007), Colonia Portuguesa (2007), Contouration (2007), Deco Experiment 3 (2007), Floresco (2007), Flower Jars (2007, by Iza W---a very nice idea), Frutisis (2007), Intellecta Monograms (2007: 19 monogram fonts by Paulo W), Intellecta Monograms Random Sample (2012), Peloponeso (2007, by Iza W), Porcupine (2007, by Iza W), Southern Flight (2007, by Iza W---condensed), TTF TTTOEF 4 (2007, by Iza W---dingbats), GeodecBruceFlourished, HostetlerNormande, Victorian Ultra Parphernalia (2007), Angels (2007), Angels Free (2013), Mondrongo (2007), Oorlog (2007).
- Fonts in 2008: Das Riese (3d engraved caps, +Shadow), Economica (sans, T26), Antiqua Double 12, Bad Baltimore (+Beveled, +Typewriter), Calligraphia Latina (2008-2009, in weights called Soft2, Dense, 3, Mixed, Square Edition, Free), Fry's Alphabet, Grissom (bug dingbats, by Iza W), Latinish (by Iza W), Lettering Deco (by Iza W), Litho Romana Inland, Quadratta Serif (a slab serif by Fernando Diaz), TTF TATTOEF 7 (by Iza W).
- Fonts made in 2009: Eingraviert (engraved; scans: i, ii, iii), Eingraviert Beveled (2011), Greko Roman Oldstyle, Ortodoxa do oriente, Sans Square, Speedball (by Iza W, Victorian style), Speedball Western Letters (after Ross F. George's lettering), Elara (2009), Intellecta Roman Tall, Force Brute & Ignorance, Sunamy Caps, Starret, The Pilgrim (alphadings), Renaisperian (alphadings), Real Caps Two, Mateus Bold (4 bold styles), Intellecta Crafts (arts and crafts family), Bruce 1490, Bradley Dingies (five dingbat faces, after William H. Bradley), Allerlei Zierat Renaissance, Grave Plus, the grungy Monkey series (Victorian Monkey, Monkey Poesy, Monkey Messed Gutenberg Caps, Monkey Was Here, Monkey Insinuation, Monkey In The Middle Ages), Montezuma (dingbats), Grotesque and Arabesque, Calhambeque (old car dingbats), Eiger (2009, a 3d sketched headline face).
- Faces made in 2010: Polen, Pencraft (capitals were inspired in Swagger Capitals, an original design from Carl Stephen Junge, at Barnhart Brothers & Spindler; lowercase based Pencraft Specials, an ornamental variation of the Pencraft Oldstyle series, as displayed in the BBS catalog from 1922), Salamemingoe (children's hand), BarberPoles, Beware the neighbors (scary), BlackInitialText, CaligrafiaDivina, CornPop, CowboyHippie Pro, Grotesca3-D, Nardis, Senzacuore, Speedball Metropolitan Poster (2010, after a design by Ross F. George), TagWood, Tosca, TypographyTribute, Zooland, Bubbleboddy-Fat, bubbleboddylight-Light, Pretoria Gross (a Victorian family done with Iza W), Wood Font Five, Wood Font Four, Herr Foch (art nouveau), Rebimboca, Octagon French (a 3d beveled face due to George Nesbitt, 1838), Picuxuxo (retro futuristic, comic book style), Large Old English Riband, Ornamental Riband, Kidings (Dutch dingbats), Hostil (originally done in 2007: a headline family; followed by Hostil Shadow Two (free, 2012) and Hostil Gradient (free, 2012)), Grotesca, Heptagon French, Antiquariaat (condensed), Cortinado, Sanoxio (3d headline face), Violentia (grunge), Swirlies (spiral dings).
- Faces from 2011: Dia de los Muertos (fantastic skeletal masks), Inland Becker, Rasgos Escritura Nuevos, Jaggard Two, Naive Ornaments Black, Augustus (+Beveled: roman letters), Sayonara (oriental simulation face; the Beveled style is free), Trash Barusa (inline ornamental face), Free Ribbons, Black Ornaments Three, Calligraphia Latina Soft 5, Heraldic Devices Premium, Ornate Blackboards, Benjamin Franklin Beveled, Baltimore Typewriter Beveled, Bernardo Beveled, Van den Velde Script (a free interpretation of the work of the famous master penman Jan van den Velde, found in the Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe (Haarlen, 1605)), Indenture English Penmanship, Penmanship Birds and Ornaments (2012), Beware The Neighboors Shadow (texture face), White Free (shadow face), Delamotte Large Relief Beveled.
- Typefaces made in 2012: Porosa, Presto, Derradeira (signage script), About Sweet Memories (brush script), Intellecta Ribbons, Irrelevante (beveled caps), Laus Sus Chris (Christian dingbats), Unpublished Ornaments, Heavy Squared Writing (brush face), Mezcla Titan, Sweet About (retro script), Publicité, Hard to read monograms, Free Medieval, Doctor Polidori (initial caps), Mixed Silhouettes, Glosilla Castellana Cursiva (inline type family), Sayonax (a textured version of the oriental simulation typeface Sayonara), Wood Stevens (free), Rockabilly (fifties script), Interdite Script (heavy calligraphic face), Prismatica (free), Cristlid (free prismatic face), Zed Leppelin (free), Neo Bulletin Outline (free), Victorian Free Ornaments, Spanish Army Shields (+Two), Varius Multiplex, Stephens Heavy Writing.
- Typefaces from 2013: Corn Pop Two (ornamental corners), Astrodings, Vulnavia Sans (comic book face), Capitular Heraldica, Mirella Initials Ornamntals (a swashy calligraphic script; with Iza W), Carpete (retro script), Free Writer, Round Hand, Exclusivite (fifties script), Hertz Oscillations (fat retro script), Heavy Rock (fifties script), Raindrops (retro script), Ralph Walker (ronde), Exiles (retro signage script), Mr. Richmond Caps (art nouveau alphadings), Berengard Caps Two.
Italian penmanship and calligraphic teaching books
Nice set of articles by Gio Fuga on some Italian penmanship books from the late 19th and 20th centuries---see also here and here. He discusses
- Modello di Calligrafia---Metodo La Manna (Prof. Francesco La Manna 1947-1948, Casa Editrice Carlo Signorelli di Milano).
- Modelli di Calligrafia (Prof. Primo Scapellato, 1953, Casa Editrice Giuseppe Principato di Milano).
- Stile---Corso di bella scrittura (Enrica Magenta Piatti and Sergio Franchini, 1950s).
- La Calligrafia nelle Scuole medie (Prof. Angelo Mona).
- Modelli di Calligrafia per le Scuole Medie. Metodo Lamanna (approvato dal Ministero della Pubblica Istruzione) (Prof. Cav. Francesco La Manna). La Manna worked at the Reale Scuola tecnica Bonaventura Cavaliera di Milano. [Sample of the Metodo La Manna.]
- Metodo razionale di calligrafia, ad uso delle scuole tecniche, normali, complementari, commerciali e degli aspiranti al diploma di calligrafia (1921, Prof. Tullio Giaconi edited in Livorno by R. Giusti).
- Metodo di Calligrafia (1938, Prof. Gaetano Filosa). Other publications by Filosa include Trattato di calligrafia (1904, Litografia Democratica), Corso completo di calligrafia, per le scuole medie, professionali, commerciali e militari (1911), L'arte calligrafica nelle scuole medie: Raccolta di prospetti, intestazioni commerciali e composizioni calligrafiche (1913, Tipografia G. Federici), and Metodo di calligrafia (1958, ed. A. Garzanti).
- Modello di calligrafia (1899, Eliodoro Andreoli, Milano). Andreoli was a renowned calligrapher.
- La Calligrafia. Metodo teorico pratico (Prof. Giovanni Tonso). Tonso taught at Regio Istituto Sommeiller and at la Scuola Lagrange di Torino at the end of the 19th century. This book is not just about teaching calligraphy---it also covers writig for professionals, for the industry, the government and schools, and is a comprehensive manual on penmanship.
- Il bello scrivere. Studio completo di calligrafia svolto con i piÃ¹ moderni sistemi e con procedimento teorico, pratico, nazionale (Giuseppe Ferrini, ca. 1902). This is a series with instructions for English, gothic (blackletter), Lapidary, Aldine, and Rotunda. Samples: i, ii, iii.
- Calligrafia Moderna (Prof. Nicola D'Urso): this was used in high schools and graphic arts schools. [Sample of scrittura italiana, and of scrittura rotonda.]
- La Calligrafia per le Scuole Medie. Metodo teorico-pratico diviso in 15 quaderni (Antonio Agostini): published in the early part of the 20th century in Treviglio, this book won a silver medal at the Fifth Esposizione Internazionale di Roma in 1903.
- Manuale di Calligrafia per uso delle classi elementari (Cav. Michele Favaloro, Palermo).
- The didactical worksof Bologna-based Fausto Saggiotti such as Esemplare di scrittura con massime di ben vivere per uso delle Scuole tecniche e normali (1882, Litografia G. Wenk, Bologna), Metodo per apprendere con facilità l'arte dei contorni per saggi di calligrafia, disegni, ecc. (1888, Stab. Litografico F. Barbieri, Bologna), Metodo di calligrafia (1888, Lit. G. Wenk, Bologna).
- Metodo teorico---pratico illustrato (Prof. Giovanni Mundici, Società Tipografica Modenese). Sample of calligrafia inglese.
- Metodo Teorico Pratico di Calligrafia (Prof. Ettore La Creta, Libreria Editrice Baroni, Lucca).
- Metodo Cobianchi (Pietro e fratelli Cobianchi, Intra).
- Metodo di calligrafia per le scuole elementari (Carlo Rossi). This book series was approved in Udine in 1878 and used in Friuli.
- Metodo di Calligrafia (1889, Torello Bianchi): used in Umbria.
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 faces 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. His Carpenter is a connected flowing script face that was digitized by ICG in 1995 and called Carpenter ICG. The GroupType revival is called Carpenter Script (1993-2006). FontShop link. [Google]
Jan van den Velde
Dutch (Belgian?) author (b. 1568, Amsterdam, d. 1623, Rotterdam) of the writing manual Spieghel der Schriftkonste (1605, Haarlen). Samples of his engravings: Duytsche Exemplaren (1622). Sample of his calligraphy on paper, done in Antwerpen in 1622. His work is extended---modernized---in the extensive ligature-laden Jan van den Velde Script type family by Intellecta Design (2011). [Google]
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).
Commercial faces: JB Davayé (2010, connected upright script), Belladone (2010, a graceful display family), Maceriam (2010, +Nova, +Putri, +Lapide: letters cemented into walls---a great idea).
From 2011: Old French School Bold (upright connected script), Filature (a monoline connected upright script).
Typefaces from 2012: Only One Dollar (a shaky script), JB Cursive 3, Purple Line, Purple Deco, Suilly La Tour, Typha Latifolia, Bouclettes (a curly upright typeface).
Typefaces from 2013: Typha, Centaurea (a beautifully executed layered type system based on a didone with curved serifs), Toubib (hand-printed).
Fontsy link. Klingspor link. Dafont link. [Google]
J.D. Williams and S.S. Packard
Author of Gems of Penmanship (1867). [Google]
Jean de Beauchesne
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 th italian, 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). Sample of his batarde angloise (1570). Digital typefaces based on his examples include Piacevole (2008, Marc H. Smith). [Google]
Designer in Portland, OR, where she studies at the Pacific Northwest College of Art. Joan drew a calligraphic penman script unfortunately called Grunge in 2010. Home page. [Google]
Johann Georg von Schwandner
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]
Self-proclaimed writing master who wrote the pompous, childish and utterly useless The Art Of Writing (1813). [Google]
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]
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]
Joseph de Casanova
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 toda forma de letras, impressa (1650). Samples of his work. Curlicues from 1650. Signature ornament. [Google]
Juan Bautista de Morales
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]
[Rare Books on Calligraphy and Penmanship]
Knowles and Maxim
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. [Google]
Laura worthington of Bonney Lakes, WA, is a letterer, illustrator and graphic designer. Images of her typefaces.
In 2009, she created the vampire font Grindel Grove.
In 2010, she set up shop at MyFonts. Catalog. Her typefaces include the vampire face Grindel Grove, the flowing calligraphic face Bianca (2010), the pointy Textura face Sepian, the spurred serif face Yana (2010), Greeting Cards (2010), the antique look calligraphic face Origins (2010, hand-lettered with a crow quill pen), Sheila (2010, a connected calligraphic script), Ladybird (2010, curly script), Tiva (2010, handprinted and almost connected), Yana (2010; image), and the delicate script faces Regina and Recherché.
In 2011, Laura created Liam (bouncy, curly), Samantha Upright Script (2700 flourished glyphs in the classical ronde upright script style; +Swash), Wallflowers (dingbats), Wallflowers II, Wallflowers III, Alana MF and Alana Ornaments MF (a connected script face), Nelson (2011, a notched eroded family, almost for Mexican simulation), Shelby (2011, a monoline, semi-connected script typeface based on hand lettering created with a Speedball B metal nib), Rosarian (a pointed brush connected script typeface).
Typefaces made in 2012: Buckley, Winter Wallflowers, Hummingbird (a penmanship font), Azalea (+Rough, +Smooth), Honey Bee (an all caps pirate ship font), Funkydori (a fat retro signage script), Gioviale (calligraphic script).
Typefaces from 2013: Harlowe (a rough-edged, powerful, and slightly sinful script face), Mandevilla, Number Five (pure Americana, signage).
Interview by MyFonts in 2010. FontBros link. Klingspor link. Behance link. Fontspring link. Picture.
View Laura Worthington's typefaces. [Google]
Lewis Foreman Day
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, 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 face 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 face 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 face by Foreman Day), LFDThinFrench208 (based on an alphabet by John Vinycomb). [Google]
Author of Complete Compendium of Plain Practical Penmanship (1901). [Google]
Influential French master penman, b. 1589, d. 1670. He published several texts including Les Escitures 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]
Penman, b. 1859, San Antonio, TX, from Hungarian parents. 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 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.
His work influenced Burgues Script (2007, Sudtipos). [Google]
Lucas Benjamin Sharp
Designer (b. 1986, San Francisco) who lives in San Francisco, but is listed at MyFonts as a denizen of Brooklyn, NY. Creator of Happy Stache (2010, blackletter), Hera (2010, a ball terminal-laden ornate didone done for his thesis at Parsons), and Designer Sucks (2010, ultra-fat and counterless).
MyFonts link. Klingspor link. Behance link. Another Behance link.
Lucas Sharp is involved with Typeslashcode in New York.
He designed the free fat counterless face Doughboy (2010).
Type catalog, 2010.
Lucas Sharp does penmanship drawings such as Go Big Or Go Home (2010) and We're on a roll (2010).
His talent shines through his award-quality ornamental didone family, Hera Big (2010), which I guess is an extenion of his earlier thesis work. Images of Hera Big: Black, Bold, Extra Light, Extra Thin.
In 2011, he and Juan Carlos Pagan set up Pagan&Sharp in Brooklyn, NY. Foundry link at MyFonts. Together, Pagan and Sharp published Malleable Grotesque Regular (2011). [Google]
Graduate from FADU, University of Buenos Aires, who created the swashy penman's script face Backigham Palace (2009). [Google]
M. M. (Dave) Davison
American letter designer in the phototype era. He cntributed to the Photo-Lettering library with many Spencerian designs. His typefaces include
- Western typefaces: DavisonBaroque (this Western / Tuscan typeface was revived by House Industries in 2012), Davison Variety A through J (pre 1954), Davison Carousel A though H (pre 1954).
- The spurred Egyptian wood type simulation font ATDavison Americana (1965, Monotype). The digital Photolettering revived it as PL Davison Americana.
- The fat brush face Davison Zip (1965) or Davison Swash Zip, which was digitally revived as PL Davison Zip.
- Dimensional, a 3d beveled face done in the 1970s. We had to wait until 2010 for a proper digital version, when Nick Curtis published Double D NF in Fill and Outline versions. Caps only.
- Spencerian scripts done in or before 1954: Davison Condensed Spencerian, No. 1 Davison Spencerian, No. 2 Davison Spencerian No. 3 Davison Spencerian.
- Other formal scripts done in or before 1954: Davison Victorian Script, Davison Victorian Backhand, Davison Vanity, Davison Vanity Fair.
Other Photo-Lettering typefaces, all done before 1954: Savison Airfield Medium, Davison Ebony, Davison Steno Antique, Davisn Antique Gothic, Davison Harlequin (+Black), Davison Julien Condensed.
Author of the article Notes on Designing for Photo-Lettering (Print Magazine, Volume IX, Number 1, June-July 1954).
A second MyFonts link. [Google]
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]
Manoel Andrade de Figueiredo
Portuguese penman of the 17th century. Author of Writing Book (1721, in Portuguese), in which we can find exceptional flourish work. This horseman was drawn in one stroke in 1722. See also these Versalien (1722). Dino dos Santos's Andrade Pro (a modern) and Andrade Pro Script typefaces are based on the calligraphy of Andrade. [Google]
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]
Mary L. Champion
Des Moines, IA-based author of Champion Method of Practical Business Writing. Alphabet. The Champion Method. Picture. [Google]
McDonald Business Academy
Company in Milwaukee, WI, that published Penman's Leisure Hour (1894). [Google]
Michael Gene Adkins
Michael R. Sull
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, Penmanship Hall of Fame, and Penmanship in a New Land. [Google]
Monogram Fonts Co
[Brian J. Bonislawsky]
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, MFC Manoir Monogram (2009, Victorian initials), MFC Bijou Mopnogram, 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), 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), Diamant Monogram, 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), 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 face based on DeRoos Inline), 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: MFC Hardwood Monogram, MFC Almond Monogram, MFC Brass Rules Petit (based on filets from the Franklin Type Foundry).
View the typefaces made by Brian Bonislawsky. [Google]
Mel Drake (Musimon Fonts) is the designer of Groceries (2010, hairline handprinted face) and Hopes are free (2010, calligraphic penmanship face). [Google]
View a small collection of digital versions of Bickham Script and typefaces related to Bickham's penmanship. [Google]
MyFonts: Penmanship fonts
A collection of fonts in the penmanship style, harvested by a user on MyFonts. [Google]
MyFonts: Roundhand typefaces
A selection of commercial roundhand typefaces. [Google]
MyFonts: Spencerian typefaces
Spencerian penmanship typefaces, as culled from the MyFonts library. See also here. [Google]
MyFonts: Typefaces like Bickham Script
A list of penmanship typefaces in the style of Bickham. [Google]
MyFonts: Zanerian typefaces
Zanerian script typefaces, as selected from the MyFonts library. [Google]
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 face 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.
Google Plus link. Klingspor link. Fontspace link. [Google]
[Nick Curtis: Calligraphic faces]
Nick Curtis: Calligraphic faces
Nick Curtis's foray into calligraphic faces, and penmanship.
- His Nibs NF (2007) was inspired by an American roundhand presented by John M. Bergling in his Art Alphabets and Lettering, first published in 1914.
- Shishka Bob NF (2005). Based on the calligraphy of Paul Carlyle and Guy Oring.
[NF Fonts (or: Nicole Fally Fonts)]
A 1.3MB file with D'Nealian fonts (for orthography) by EFI. [Google]
French author of Recueil Méthodique de Principes d' Ecriture (ca. 1920, Limoges). Samples: Fine Cursive, Fine Cursive Droite, Majuscules, Teaching tracing. [Google]
Page Studio Graphics (or: Pixymbols)
Page Studio Graphics is Roger Vershen's Oro Valley, AZ-based company specializing in symbols and symbol fonts, founded by him in 1986. Roger Vershen died in Tucson, AZ, in 2003.
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.
Alternate URL. Previews at MyFonts. Klingspor link.
View the Page Studio Graphics typeface library. [Google]
Paul D. Hunt
Pedro de Flórez
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]
Pedro Díaz Morante
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.
Scans: a calligraphic drawing of Felipe IV in 1624, a Spanish Bastarda (1624), a chancery hand (1630).
For digital typefaces based on Morante's work, check out Ramiro Espinoza's Dulcinea (2012) and Dulcinea Serif (2012, semi-uncial).
Penman's Hall of Fame
An article that appeared in Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull. [Google]
Penmanship Made Easy
Book published in 1864 by George N. Comer and Oliver E. Linton in Boston, MA. They were affiliated with Comer's Commercial College in Boston. Image from that book. [Google]
New York based photocomposition, lettering and digital type business active from 1936-1997, cofounded by Harold Horman and Edward Rondthaler 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. 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):
- World War II: Photo-Lettering was a combination of aesthetic, technical and marketing efforts. Horman was a competent letter designer, Rondthaler an experienced typographer; both they and the other staff shared a keen interest in mechanical devices. Photo-Letterings initial client, advertising agency J. Walter Thompson, was brought in by their corporate parent. It was the Rutherfords always freshly exposed characters, precision variability, and consistency that kept the agency as a client. The firms initial stock of typefaces was built both by Horman and by photographing existing metal designs. During World War II the firm supplied headlines for wartime posters. The full capabilities of the process became steadily realized. The ability to italicize, reproportion, outline, and add weight to type increased the attractiveness of Photo-Letterings service.
- 1944: In 1944 Tommy Thompson, perhaps the pre-eminent New York lettering designer of the day, approached Photo-Lettering. He had been asked by The Saturday Evening Post, a national weekly, to furnish hand-drawn lettering in a consistent, distinctive style for their headlines and bylines. The volume made a compelling case, and a royalty agreement, the first with an outside artist, was made. From this beginning, the type library at Photo-Lettering tapped into a pool of lettering artists who ordinarily would not have had their work become type.
- 1946: Publication of a catalog with 979 alphabets called Photo-Lettering's Basc 979 Alphabets. Most of the original designs were by Harold Horman, including the ten-weight Photo-Futura Condensed (bassed on a Bauer typeface). Other early designers included J. Albert Cavanagh and M. M. (Dave) Davison (who made Spencerian types).
- 1950: The 1950 catalog features the Pete Dom series in three weights, Twixt, Husky and Darky. Bain comments: Peter Dombrezians highly skilled, informal brush-written type was furnished with numerous alternates. There were at least three versions of each capital and lowercase letter, and two sets of figures for the Twixt weight alone. The restricted number of alternates offered by metal typefounders, combined with the handmade competition, may well have encouraged early display phototype families to be as expansive as possible. In the case of ATFs Dom Casual, completed in 1952, the more reserved letters from the Twixt were chosen for metal type. Other designers mentioned in the catalog include Alfred Bosco, Hollis Holland, Oscar Ogg and Tony Stan. The catalog lists 1631 faces.
- 1965: A catalog with 5474 typefaces is published. Of these, 146 appear to be exclusive.
- 1970: Ed Rondthaler cofounds ITC with Herb Lubalin and Aaron Burns. Bain: Ed Benguiat, a longtime letterer and type designer at Photo-Lettering, became known for his renovation of The New York Times masthead, and for his typefaces released by ITC. The growing success of computerized composition offered stylistic and financial incentives for new typefaces that could be used for display as well as text. ITC was well positioned to exploit that opportunity worldwide. This connection with ITC leads to many ITC typefaces with roots in Photo-Lettering.
In 2003, the entire collection was bought by House Industries. Its fonts included ITC Flatiron (a very wide caps face 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).
Photo-Lettering Collection Revival link at MyFonts.
View their typeface library. More images of digital typefaces based on the Photo-Lettering collection. [Google]
[Paul D. Hunt]
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.
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: Midway One, Two and Ornaments; based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright---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 face 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. Designer of the display faces Seventies Schoolbook (2004) and Interlocq (2004). He also digitized Goudy's Village (2005) and 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. Working on Junius (2006), a revival/adaptation of Menhart Antiqua.
Free fonts at Google Web Fonts: Source Sans Pro (2012), Source Code Pro (2012, a companion monospaced sans set).
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.
Klingspor link. Google Plus link. [Google]
Platt Rogers Spencer
Platt Rogers Spencer (b. East Fishkill, NY, 1800, d. 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 book New Spencerian Compendium of Penmanship (1879) was posthumously completed and published by his sons. In Spencerian Script and Ornamental Penmanship, Volume I (1989), by Michael R. Sull, we find an extensive biography.
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]
Portfolio of Ornate Penmanship
[Austin Norman Palmer]
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 handdrawn 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 handprinted), 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]
P.R. Spencer's Sons
Authors in 1879 of New Spencerian Compendium of Penmanship (1879), in which they continue the work of their famous father, Platt Rogers Spencer. [Google]
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, CKBreeze, CKBroadPen, CKBubbles, CKButterfly, CKBuzz, CKCalligraphy, CKCalligraphy, CKCalligraphy, CKCamp, CKCandles, CKCandyCorn, CKCatsDogs, CKCelebration, CKChecks, CKChemistry, CKChick, CKChildsPlay, CKChoppyBlock, CKChristmasBerries, CKChristmasMemories, CKChunky, CKChunkyBlock, CKClassic, CKClassic, CKColumn, CKConcave, CKConstitution, CKContemporaryCapitals, CKContemporaryCapitals, CKCorners, CKCorral, CKCracked, CKCrayons, CKCrayons, CKCrescent, CKCrookedClassic, CKCurly, CKCurly, CKCursive, CKCursive, CKCute, CKDaydream, CKDelight, CKDiva, CKDiva, CKDoodles, CKEasyGoin, CKEclectic, CKElegant, CKElusive, CKEvolution, CKExpedition, CKExpedition, CKExpedition, CKExtra, CKFairytale, CKFanClub, CKFantasy, CKFiesta, CKFillIn, CKFillIn, CKFillIn, CKFillIn, CKFishBones, CKFishingPole, CKFlair, CKFlair, CKFlourish, CKFlowerGarden, CKFlowerPower, CKFootnote, CKFortune, CKFrankenstein, CKFraternity, CKFrayed, CKFreedom, CKFreestyle, CKFreestyle, CKFreezing, CKFresh, CKFriend, CKFrosting, CKFrosting, CKFrosting, CKFun, CKFun, CKFunBoxes, CKFunBoxes, CKFunkieFun, CKFunkieFun, CKFunkyWave, CKFunkyWave, CKGala, CKGala, CKGameNight, CKGardenVariety, CKGeometric, CKGifts, CKGirl, CKGirl, CKGlyph, CKGrandstand, CKGrandstand, CKGrapevine, CKGrapevine, CKGrapevine, CKGroovy, CKGroovy, CKGutenberg, CKHandprint, CKHandprint, CKHappyCamper, CKHappyKids, CKHarvest, CKHarvest, CKHearts, CKHearts, CKHigginsHandprint, CKHollyBerries, CKHopscotch, CKHunting, CKHustle, CKIndigo, CKInky, CKItalic, CKItalic, CKJot, CKJot, CKJournaling, CKJournaling, CKJuneBugs, CKJustPlainWide, CKKeystroke, CKKiddo, CKKinder, CKKittyScratch, CKLala, CKLazyDays, CKLeafyCapitals, CKLeftyLisa, CKLetterHome, CKLogs, CKLongLanky, CKLoveLife, CKLumpy, CKMansPrint, CKMarker, CKMonogram, CKMonogram, CKMuddy, CKMystery, CKNewsprint, CKNoah, CKNostalgia, CKOffRoad, CKOrnament, CKOuch, CKOuch, CKOverall, CKPaintbrush, CKPeekingPosies, CKPencils, CKPenman, CKPicketFence, CKPillow, CKPink, CKPlainJane, CKPlayBall, CKPopsicle, CKPorridge, CKPosies, CKPretty, CKPretty, CKPrimary, CKPrimary, CKPrint, CKPumpkin, CKPumpkin, CKPumpkinPatch, CKQuake, CKQuick, CKQuickStitch, CKQuiltSquares, CKQuirky, CKRanch, CKRansom, CKRocketShips, CKRoses, CKRubberPencil, CKRubberPencil, CKRugged, CKSassy, CKScript, CKScript, CKScript, CKShadowedBlock, CKShadowedBlock, CKShearMadness, CKShearMadness, CKShiver, CKSignature, CKSimple, CKSimple, CKSimplicity, CKSimplicity, CKSingleSerif, CKSingleSerif, CKSinkOrSwim, CKSinkOrSwim, CKSketch, CKSketch, CKSkinnySerif, CKSkinnySerif, CKSlice, CKSlime, CKSloppy, CKSmokey, CKSmoothRock, CKSnow, CKSnow, CKSnowman, CKSouthwest, CKSouthwest, CKSpikyBlock, CKSpikyBlock, CKSpikyClassic, CKSpikyClassic, CKSpirit, CKSplitBox, CKSportsBalls, CKSportsBalls, CKSportsBaseball, CKSportsBasketball, CKSportsBowling, CKSportsFootball, CKSportsGolf, CKSportsHockey, CKSportsPlain, CKSportsSoccer, CKSportsTennis, CKSportsVolleyball, CKSpringtime, CKSpringtime, CKSpringtime, CKSquiggle, CKStacks, CKStacks, CKStalk, CKStenography, CKStitches, CKStitches, CKStoneAge, CKStorybook, CKStrips, CKStrips, CKSugarCookie, CKSummerDays, CKSunshine, CKSweetBows, CKSweetDreams, CKSwirl, CKTags, CKTakeaHike, CKTallTrees1, CKTallTrees1, CKTallType, CKTeachersPet, CKTemplate, CKTies, CKTimeless, CKTipsy, CKToDoList, CKToddler, CKToddler, CKToggle, CKToggle, CKTools, CKTrellis, CKTulips, CKTwiggy, CKTwigs, CKTwilight, CKTypeset, CKTypewriter, CKUrban, CKVogue, CKVoluptuous, CKVoluptuous, CKWanted, CKWavey, CKWedding, CKWedding, CKWeddingRose, CKWendy, CKWhereItsAt, CKWhirl, CKWildnCrazy, CKWildnCrazy, CKWildnCrazy, CKWindsong, CKWinter, CKWinter, CKWired, CKWrangler, CKWreaths, CKZigZag, 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]
Print and Penmanship 1450-1830
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, Geoffrot 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]
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.
- Billingsley (2005, Protimient: a script based mainly on a writing specimen of the penman Martin Billingsley, originally published in 1618).
- Buxus (2005, T26: a shaded display family).
- Cale (2004).
- Caligne (2004), Caligne Sans (2004).
- Clarence (2007) is a sturdy 2-style serif family.
- Eksja (2009) is a humanist slab serif family which to me feels a lot like a sans family---the slabs added as an afterthought.
- Emrys (2011) is his graduation typeface at Reading: Emrys is a modulated sans face for scripts including Latin, Greek, Armenian, Arabic and Cyrillic. Emrys won Third Prize at Granshan 2011.
- Gilibert (2005, T-26, a decorative didone face).
- Greenwood (2006, Protimient: a monospaced, cursive typewriter script, based on a typewritten letter from a Mr J. G. Greenwood Esq. to a branch of the National Westminster bank in Oxfordshire, Great Britain, dated 6th June 1904).
- ModernModern (2004, Protimient: a squarish didone).
- Nosta (2006, a nice modern text family).
- NotanuthaSerif1 (2005, text face; see also here).
- Pasquinade (2005, blackletter).
- Stobart (2006) is a script font based on the characters written in a letter by Henry Stobart, dated 1899. It is an Opentype handwriting face with 1200 glyphs with heavy character substitution.
- Travis (2005, Protimient: a legible sans family).
View Ben Jones's typefaces. [Google]
[RSFS - Ralph Smith's Formal Script Symbol Fonts]
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]
Rare Books on Calligraphy and Penmanship
Kathy Saunders posts scans of many beautiful old calligraphy and penmanship books. Quite remarkable! There are also many images of beautiful penmanship. A true treasure trove. [Google]
Real Pen-Work Publishing
This company published Bible Pearls of Promise (1867). [Google]
Argentinian designer Ramiro Espinoza (b. Santa Fe, 1969) dabbled in fonts at his gorgeous (but now defunct) Jazz Futurezone site. His current company is Re-type, where he heads a group of designers including Yomar Augusto, Leo Beukeboom and Ricardo Rousselot. Ramiro graduated from Universidad del Litoral (Santa Fe), and 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 is currently located in Amsterdam. His typefaces:
MyFonts interview in 2012.
Klingspor link. Fontspace link. Dafont link. Behance link. [Google]
Richard Douglas is the designer of Penmanship, a font with letters between lines. See also here. [Google]
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. Bitstream write-up. MyFonts interview in which his modesty comes to the fore. Picture. His typefaces:
Klingspor link. FontShop link.
- Alhambra: calligraphic.
- Apotek: based on lettering on old medicine bottles seen in Oslo.
- Arrus BT (Bitstream, 1991). This is a serif face with heavy calligraphic influences. The capitals are roman inscriptional. More faces in this style are to come, he promises in 2010.
- Avalon (1995, calligraphic): based on the writing of Austrian artist Friedrich Neugebauer.
- Benton Modern Display (2008, codesigned with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.). See also here.
- Bickham Script (Linotype), Bickham Script (Adobe): The 2004 OpenType Pro version has hundreds of ligatures and substitute forms. Review of Bickham by Timothy Rolands. Bickham Script is based on examples from Bickham's The Universal Penman.
- Bodoni FB (1992, Font Bureau, a headline bold based on Benton's 1933 Ultra Bodoni).
- Bremen (Bitstream), Bremen (1992, Font Bureau). Bremen, a German art deco face, was influenced by the poster lettering of Ludwig Hohlwein in 1922. Munich is an angular version of Bremen.
- Bureau Grot. One of Font Bureau's bestsellers.
- Canto (2011, Font Bureau) is an 8-style roman family that started out from the Trajan inscriptions via a few styles called Canto Brush to smooth and delicate styles such as Canto Pen.
- Cataneo BT (Bitstream, 1993; with Jacqueline Sakwa): an elegant chancery cursive based on the calligraphic work of the 16th-century writing master Bernardino Cataneo.
- Hoffmann (1993): a display family that is based on lettering by Lothar Hoffmann.
- Meno (1994, Font Bureau). Lipton explains: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam.
- Miller Banner (2010, Font Bureau): a completion of Matthew Carter's Scotch family Miller, that has banner and titling styles, and adds styles with extreme contrast and hairline serifs.
- Moderno FB
- Rocky (2008, Font Bureau, with Matthew Carter).
- Savanna Script (2013). A connected tightly spaced calligraphic script in three weights.
- Shimano: an industrial geometric font.
- Shogun (with Margo Chase, 1995).
- Sloop (medieval script, 1994), inspired by the lettering of Raphael Boguslav.
- Tangier (2010, Font Bureau): a Spencerian calligraphic family that was part of the 2008 redesign of Glamour Magzine.
A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Jill Pichotta and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.
View Richard Lipton's typefaces. [Google]
[Page Studio Graphics (or: Pixymbols)]
Roland W. Paul
British architect actve ca. 1900, known for his penmanship. His lettering led Nick Curtis to develop a font called Chantilly Lace NF (2005).
In 2012, Dick Pape made the free font LFD Penwork 181 based on Paul's work. [Google]
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]
Commercial educational fonts from Signature Software. Includes D'Nealian and Zaner-Bloser style schoolhouse fonts. All demos are complete except for the lower case a. Defective web page. [Google]
Sidney Clyde Gaunt
Artist and type designer at Barnhart Brothers&Spindler, 1874-1932, who lived in Chicago. Creator of many faces:
Images of some of his faces when they were patented by BBS: 1908, 1908, 1908, 1906. [Google]
- Adstyle&Italic (plus Condensed, Extra Condensed&Headletter, Wide, Lightface, Black, Black Outline, Shaded: 1906-1920, BB&S).
- Authors Oldstyle&Italic, Authors Oldstyle Bold, Authors Roman&Italic (plus Condensed, Wide, Bold, Bold Condensed). Mac McGrew writes: Authors Roman Italic, and Authors Roman Wide were designed by Sidney Gaunt for BB&S in 1902, with other versions added in 1909 to 1915. It is a legible but generally undistinguished face, perhaps best in the Wide version. The italic includes a number of quaint swash characters. and was one of the first BB&S italics to be cast on its offset body, described elsewhere (see "The Third Dimension of Type" in the Introduction); the bold faces provide restrained complementary display for headlines. Authors Oldstyle, shown by BB&S in 1912, bears little resemblance to Authors Roman.
- Barnhart Oldstyle&Italic (and a No. 2 version). Mac McGrew writes: Barnhart Oldstyle was designed in 1906 by Sidney Gaunt for BB&S, followed by the italic and Barnhart Oldstyle No.2 the next year. The latter appears to have the same caps as the first face but larger lowercase with shorter ascenders. There is also Barnhart Lightface, advertised in 1914 but perhaps designed earlier. This series seems undistinguished, but the original roman and italic were popular enough to be shown as much as twenty years later. Ascenders are long, and some characters have a bit of the irregularity that was popular at that time. The italic apparently was one of the first faces cast by BB&S on its offset body, which provided mortises to avoid overhanging kerns in italic designs.
- Barnhart Lightface.
- Cardstyle. Mac McGrew writes: Cardstyle is an unusual face designed in 1914 by Sidney Gaunt for BB&S. It is a medium weight monotone, rather narrow, with tiny serifs, and was intended for use on announcements. There is no lowercase, but caps are cast in several sizes on each of three bodies, for cap-and-small-cap combina- tions. Notice the logotypes, which were more common around the turn of the century.
- Chester Text (1914, blackletter). Mac McGrew writes: Chester Text is a fancy shaded letter designed by Sidney Gaunt in 1914 for BB&S. It features caps and small caps, and is intended for stationery and social work, but is hard to read and not suited to anything but a few simple names or words.
- Engravers Old Black, Engravers Roman Shaded.
- French Plate Script. Mac McGrew writes: French Plate Script (or French Plate) was designed by Sidney Gaunt for BB&S in 1904. It is an upright script, otherwise similar to the same founder's Wedding Plate Script, both derived from types cut by Mayeur of Paris which were based on eighteenth-century engraving. Both are connecting scripts, the former being similar to Typo Upright (q.v.). Inland Type Foundry showed a similar French Script in 1905, patented by William Schraubstadter, and later listed by ATF. Douglas C. McMurtrie, in his book Type Designs, calls this "one of the finest script types ever produced."
- Mission. Mac McGrew writes: Mission was designed for BB&S by Sidney Gaunt in 1905, but patented by George Oswald Ottley. It is a rather novel face, with long ascenders and short ascenders. Serifs are triangular, like some members of the Latin series. Most noticeable is the way some strokes in the capital letters are joined with curves, especially in the B. Compare Viking.
- Old Roman Condensed (plus Bold, Bold Condensed, Black&Italic, Semitone).
- Parsons Swash Initials.
- Pencraft Oldstyle&Italic (1914, plus Bold, Shaded), Pencraft Text (1916, blackletter). Pencraft Oldstyle and its ornamental version (Pencraft Specials), as printed in the 1922 BBS catalog, inspired the lowercase of Pencraft (2010, Chyrllene K, Intellecta Design). Mac McGrew writes: Pencraft Text was designed by Sidney Gaunt for BB&S in 1916. It has somewhat the character of Pencraft Oldstyle, by the same artist at about the same time, but it can hardly be considered a part of that family. It has just a suggestion of the angularity of Text or Old English faces, but retains more of the character of simple hand-lettering. Mac McGrew writes: Pencraft Old Style and Pencraft Italic were designed by Sidney Gaunt for BB&S in 1914, with the bold and shaded versions following over the next two years. The Oldstyle is a rather charming interpretation of lettering styles popular at that time, but the other versions are not as impres- sive. Pencraft Oldstyle is notable for the large number of Auxiliary charac- ters, some of which were commonly included with other similar faces, and the unique Pencraft Specials, which consisted of a variety of swash strokes to be used to extend the special ascending and descending letters. Pencraft Italic included several swash caps among its Auxiliaries, and Pencraft Bold had Auxiliaries comparable to the roman, but without the flourishes or Specials. Compare the long ascenders and descenders of Parsons and Stymie.
- Publicity Gothic (1916). Free versions called Lemiesz by David Rakowski and Dieter Steffmann. Publicity Gothic was digitally extended to a commercial all-caps face, Publicity Headline, in 2006 by Tom Wallace (HiH). See also the revival in 1995 by Image Club Graphics: Publicity Gothic ICG Out and Solid. Holy Ravioli NF (Nick Curtis) is also based on Publicity Gothic. Mac McGrew writes: Publicity Gothic was designed by Sidney Gaunt in 1916 for BB&S. It is basically a bold gothic, but with many deep irregularities designed into the edges of strokes, which are the same in all sizes. There are no descenders. characters which normally have descenders being designed within the x- height. Caps and ascenders are nearly the full body size, making the face considerably oversize by usual standards. Lowercase q has a capital form and is made only in combination with u. The colon and semicolon are full cap height, and there are a number of special characters as shown. ATF revived it for a short time about 1933. Compare Advertisers Gothic.
- Stationers Semiscript. McGrew: Stationers Semiscript as offered by BB&S was a renaming of Palmer Series, introduced by Inland Type Foundry in 1899. It has been ascribed to Sidney Gaunt. It is similar to the BB&S Wedding Plate Script in slope, proportions, and general appearance, but characters do not join. This face was revived and extended by Canada Type in 2010 as Siren Script.
- Talisman&Italic. Patented in 1903 and 1904 resopectively.
- Wedding Plate Script. Mac McGrew writes: Wedding Plate Script was designed by Sidney Gaunt for BB&S in 1904. It is much like the same founder's French Plate Script, but sloped, and similar to Typo Slope, produced the following year by ATF.
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]
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. [Google]
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.
Download Pape's fonts here. [Google]
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:
- In 1899 C. Howard Hunt formed his own company, which he incorporated in 1901. George E. Bartol, a Philadelphia grain and commodities exporter and founder of the Philadelphia Bourse, a merchants exchange and business center, was among the first 28 shareholders. In 1903, Mr. Bartol was elected president and a director of the Company and served until 1917.
- The C. Howard Hunt Pen Company invented the smooth gliding round pointed pen, which required about 15 operations in the manufacturing. Expert cutters used cutting presses to produce almost 45,000 pens a day from rolled sheets of steel. Pictured from left, workers imprint, grind and ship 25 pens per minute.
- The C. Howard Hunt Pen Company began in this building in Camden, NJ. The factory moved to Statesville, NC, in 1958. The office moved from Camden to Pennsauken, NJ, in 1963 and then to Philadelphia in 1965. Also pictured here is Benjamin Newman, one of the expert pen makers C. Howard Hunt brought to Camden from Birmingham, England, in 1899.
- The Speedball Pen was developed and patented by sign letterer Ross F. George of Seattle. His square-tipped pen could make broad and thin lines. George took the patent to the C. Howard Hunt Pen Company in 1915.
- In 1916, George E. Bartol resigned as President of the C. Howard Hunt Company. His son George Bartol, Jr., succeeded him and was elected Vice President and then Chairman of the Board in 1926. He led the Company for 50 years. George Bartol, Jr., retired in 1969 and died in 1972 at the age of 80.
- The Hunt Company expanded and branched out. In 1997, Speedball Art Products was born, with headquarters in Statesville, NC.
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]
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]
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]
Studies in Pen Art
[William E. Dennis]
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 faces 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.
Additional link. Another PDF file. Examples of Dennis's hand: a bird (1896), his signature (1896), Austin N. Palmer's name handprinted (1896). [Google]
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), 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 at Veer), Murga (display font by Alejandro Paul based on lettering of Angel Koziupa, 2003), and these faces by Alejandro Paul: Tierra, Latinaires, Reflex (unicase), Downtempo, and Stardust. Free fonts: Mosaico (2003, pixel face 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).
Fonts from 2012 include the angular pair Bayoneta Pro and Machete Pro, both codesigned by Alejandro Paul and Angel Koziupa. Platinus Script Pro (done with Angel Koziupa) is a wedding font.
His Hipster Script won an award in the TDC 2012 competition and at Tipos Latinos 2012.
Klingspor link. [Google]
[Michael Gene Adkins]
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 (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).
Adkins also designed the commercial font First Vision at GarageFonts in 1998. Review at &Type. List of the fonts on his CD.
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 faces Ironhorse and Ironrider (2007), revivals of classic wood type faces. FontShop link.
Some fonts are inspired by sign painter Frank H. Atkinson. These include the Broken Poster series done in 2010 and FHA Modernized Ideal Classic (2011).
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 faces. 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) is a similar severe headline sans family. Sinder (2010) and Demon Sker (2011) are free grunge faces. 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 (2012, art nouveau) are based on Frank H. Atkinson's examples.
Typefaces from 2013: Iron Man of War, RACE1 Brannt (prismatic, beveled, art deco), FTY Skorzhen (mini-spurred), FTY Speedy Casual.
Typefaces made by Fontry West. Typefaces by Mike Adkins.
Fontspace link. Klingspor link. Dafont link. Abstract Fonts link. [Google]
Tipos Latinos 2010
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:
- Type families:
- CdE: Isac Correa Rodrigues (for Monarcha), Raúl Plancarte (for Kukulkan), Cristóbal Henestrosa (for Espinosa Nova).
- Ordinary: Johnatan Cuervo (for Corvus), Eduardo Manso (for Geogrotesque, and for Sunday Times Modern), Veronika Burian and José Scaglione (for Adelle and for Karmina Sans), Alejandro Lo Celso (for Perec), Fernando Mello and Jason Smith (for FS Jack), Ramiro Espinoza (for Lavigne Display and Lavigne Texto), Raúl Plancarte (for Sedna), Fernando Caro (for Arauto), Juan Pablo del Peral (for Kalidoscopio).
- Text faces (ordinary awards only): Ana Paula de Bragança Megda and Pablo Ugerman (for Voces), Juan Montoreano (for Kalu), Sol Matas and Juan Pablo del Peral (for Parque Chas), Carlos Zinno (for Latinité Roman), Horacio Mella (for Fedora Regular), Martín Sommaruga (for MVD Rambla), Viviana Monsalve and Gustavo J. Ibarra (for Enriqueta Book), Diana Edith Domínguez Ruiz (for Kafka Regular), Sebastián Salazar (for Sedán), Fernando de Moraes Caro (for Petra), Miguel Reyes Cabrera (for Sancho Regular), Rodrigo López Fuentes (for Amaranta Regular).
- Script / signage faces:
- CdE: Alejandro Paul (for Brownstone), Oscar Yáñez (for Carlota).
- Ordinary awards: Carlos Fabián Camargo Guerrero (for Modelia Black), Ramiro Espinoza (for Tomate), Darío Muhafara and Eduardo Tunni (for Lassi Display), Julio Palacio (for Todo Todo), Alejandro Paul (for Semilla, Kewl Script, Calgary Script, and for Business Penmanship), Pedrina Reis (for Boneca de Pano), Diego Negrete (for Picacho), Alejandro Valdéz Sanabria (for López), Leonidas Loyola Valenzuela (for Elolinea), Eduardo Tunni (for Changa), Mariana Pariani and Eduardo Tunni (for Club Universo), John Moore (for Victorina and for Radio Time), Marconi Gomes Lima (for Adriane Lux), Macarena Budín Acevedo (for Juanita la envidiosa), Miguel Reyes Cabrera (for Plastilina), Eli Castellanos Chávez (for Barrilito), Daniel Hernández (for Pincoya Black), Ricardo Esteves Gomes (for Force), Gabriel Martínez Meave (for Tlatoani Sans), Alejandro Lo Celso (for Margarita).
- Experimental typefaces:
- CdE: Rodrigo Fuenzalida (for Khubo), Manuel Guerrero (for Optica).
- Ordinary awards: Diego Sanz Salas (for Quincha), Rodrigo Valenzuela (for Maipo Regular), Rodrigo Fuenzalida (for Isosibilia), Luis Bolaños (for Chacana Regular), José Luis Coyotl Mixcoatl (for Zoomanic), César Rodríguez (for Masiva), Manuel Guerrero (for MiniBlock), Edgar Alejandro Reyes Ramírez (for Ps Pronts OS29).
- Screen / pixel faces (ordinary awards only): Roberto Robles Quiroz (for Verpix), Mauricio Vital (for Coqueta), Elí Castellanos Chávez (for Lucecita Maniac), Jorge Iván Moreno Majul (for Wixarika).
- Miscellaneous: Diego Cataldo and Sergio Rodríguez (for Uruguay 1976), Víctor García (for Garcia Toons), José Luis Coyotl Mixcoatl (for Cubomatics Icons), Rodrigo Araya Salas (for Globeface).
- Designs that use Latin-American typefaces: Several awards were given.
Vicente Fernandez Valliciergo
Spanish author of various books on calligraphy and penmanship. These include:
- Nuevo metodo de caracteres goticos y de adorno (1905, Madrid).
- Nuevo metodo grafico del escritura inglesa (1896, Madrid).
- Nuevo metodo de ensenanza de la letra inglesa. Caligrafo de la Real Casa premiado con diferentes medallas de oro y plata.
- Caligrafia francesa : primer metodo de ensenanza de la letra redondilla: para uso de los colegios y academias, y de todo aquel que desee aprender por si solo (Madrid, ca. 1887).
Based in München, Gerd Wiescher designed many classy and classic Bodoni families, as well as New Yorker Type (1985). All characters 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 faces can be bought at MyFonts. Catalog of his bestselling typefaces. Interview in 2008. List of faces:
- Scripts: Fiorentina (2012, a renaissance style script with 650 characters), Excelsia Pro (2012), Delicia Pro (2012, a fat bruishy signage script), Nono (2011, formal swashy calligraphic family), Dyane (2011), Penn (2011), Lettera (2011, hand-drawn formal face), Tosca (2010, a high-contrast calligraphic face with 730 glyphs), Grandcafe (2010), Loulou (2010, curly and of extreme contrast), Schoolblock (2010, handprinted school font), Grandezza (2010, calligraphic family; +Xtra), Sixtra (2010, a curly didone script), English Script (2010, classic Spencerian calligraphic script), Savage Initials (2009), Morning News (2009), Revolte (2009, a brush script for demonstration signs), Estelle (2009), Scriptofino (2008, 4 calligraphic styles to give Zapfino a run for its money), Exprima (2008), Daiquiri (2008), Lisa Bella, Lisa Fiore and Lisa Piu (2008, connected and calligraphic), Tati (2008), Movie Script (2007), Cake Script (2007), Eddy (2007, grungy calligraphy), Pointino (2007), Bohemio (2007, a great oriental-brush script), Artegio (2007, two calligraphic scripts), Xylo (2006, in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer), Tamara (2005, art-deco script based on some initials for Semplicita made in the 1930s by the Nebiolo foundry), Tecon, Ellida (2005, inspired by the elaborate scripts of 18th-century English calligrapher George Bickham, with additional influences from 19th-century American calligrapher Platt Rogers Spencer), Eloise (2009, a high-contrast version of Ellida), Nadine Script (2005, an elegant script inspired by a set of initials the French designer and artist Bernard Naudin drew for Deberny&Peignot in the 1920s), Royal Classic (2005, unbelievable script based on a design that has initially been comissioned by King Ludwig I of Bavaria for in-house-use), DesignerScript, Filzer Script (1995, handwriting), Futuramano-Condensed-Bold, Futuramano-Condensed, Futuramano-Plain, Futuramano-Thin, Giambattista, Scriptissimo-Plain, Scriptissimo-Forte, Scriptissimo-Swirls, Squickt (1989), Konstantin A, B and C (2005), Konstantin Forte (2005), MyScript, GrocersScript, Swanson (2006). Scriptissimo (2004) has versions named Start, Middle and End, tweaked for their position in the word, and there are plenty of ligatures. Check also Bodoni Classic Chancery (2007) and Bodonian Script (2012).
- Sans: Franklin Gothic Raw (2013, like Franklin Gothic but with raw, not rough, outlines, only visible at very large sizes), Blitz (2012, a flared family), Blitz Condensed (2012), Contra Sans (2011, which led to Contra Slab, Contra Condensed and Contra Flare), Vedo (2011, a Bauhaus style family that include a hairline weight), Germania (2011, a useful and beautiful monoline sans family), Geometa (2011, +Rounded, +Rounded Deco, +Deco: all based initially on Renner's Futura), Geometra Rounded (2011, a rounded family based on Futura and "much less boring than DIN"), Bombelli (2010, ultra-wide architect's hand), Bluenote Demi (2010, a grungy Franklin Gothic Condensed), Perfect Sketch (2010, sketched grotesque), Unita (2009), Antea (2009), Eterna (2009, sans with a swing), Pura (2008, an uncomplicated grotesk family), Purissima (2010, a decorated extension of Pura; +Bold), Copperplate Gothic Hand (2009, after a 1901 design by Goudy), Copperplate Alt (2011), Copperplate Wide (2011), FranklinGothicHandDemi (+Shadow), Franklin GothicHandCond (2009), Franklin Gothic Condensed Shadow Hand (2010), and Franklin Gothic Hand Light (2009, a hand-drawn version of Franklin Gothic), Papas (2005, sturdy, slightly curly), Julienne (2005, a condensed sans family), Cassandra (1996, an art deco style after Adolphe Mouron Cassandre), Cassandra Plus (2012), Ela Sans (2005, a large family), Mondial-Bold (2004), Mondial-Demi, Mondial-Light, Mondial-Medium, Mondial-Normal, Mondial-XBold, Monem-Bold, Monem-Medium, Monem-Normal, Monem-Roman.
- Serif: Imperia (2011, a Trajan column caps face), Monogramma (2012, a Trajan family for monograms), Imperium (2005, a precursor of Imperia with a Relief shadow style included), Hard Times (2011), Fat Times (2011, retraced Times), Elegia (2011, slightly Victorian family), Breathless (2010, a spiky family, inspired by nouvelle vague movie posters), Bodoni Classic 1, Bodoni Classic 2, Bodoni Classic 3, BodoniClassic-Condensed, BodoniClassic-Handdrawn, BodoniClassic-Swashes, BodoniClassic-Text, Bodoni Classic Deco, Bodoni Classic Swirls (2009), Bodoni Classic Pro (2011), Bodoni Classic Inline (2012), Bodoni Comedia (2010, one of my favorites: a funny "live one day at a time" curly Bodoni cocktail), Bodoni Classic Swing (2010), Bodoni Classic Free Style (2010, curly), Bodoni Classic Ultra (2010), La Bodoni Plain (+Italic, 2008), Take Five (2005, a jazzy take on Bodoni Classic), DonnaBodoniAa, DonnaBodoniBe, and DonnaBodoniCe (three scripts named after Bodoni's wife, Margharita dell'Aglio, who published his complete works, the Manuale Tipografico, in 1818, five years after his death), Edito, Robusta. A great series, some of which were originally published at Fontshop, see, e.g., FFBodoniClassic (1994). MyFonts: When the first of Wiescher’s Bodoni Classic fonts came out in the 1993, there was nothing like it. Up to then, virtually all Bodoni revivals had been given clear-cut forms and square serifs. But Bodoni’s originals from the late 1800s were never as straight and simplistic as is often assumed: they had rounded serifs and slightly concave feet. Wiescher digitized a wide range of Bodoni letterforms, including a wonderful script-like family called Chancery and a nice series of Initials. Having accomplished his mission twelve years later, he began making personal additions to the family, such as the more decorative Bodoni Classic Swashes. Recently a useful little family was added to the clan: LaBodoni is sturdier and less optically delicate than most Bodonis, and therefore more usable as a text face. Wiescher made Metra Serif (2009), Principe (2008) and Paillas (2009). Prince (2009) is a curlified didone.
- Romain du roi: In 2008, Wiescher designed the two-style Royal Romain, which is based on the Romain du Roi of Philippe Grandjean, which was completed in 1745 after Grandjean's death by Grandjean's successor Jean Alexandre and Louis Luce. Wiescher: The Romain du Roi was for the exclusive use of the Louis XIV. It was never sold or given to any other king or government. The king of Sweden tried to scrounge a set, but the king refused. This font is the basic design for such famous fonts as the Fournier and Bodoni. Just so the Romain du Roi doesn't get lost in the digital turmoil I set out to redesign it in 2004 and finished now in early 2008. I did a lot of research in France's National Library. A good excuse to visit Paris is always welcome!!!
- Engravers: Cavaliere (2010), Guilloche A (2009), CopperplateClassic-Plain, CopperplateClassic-Round, CopperplateClassic-Sans, Copperplate Classic Light Floral (2009), Cimiez-Bold, Cimiez-Roman (2004), Ela-Demiserif, Ela-Sans (2004), Eleganza (2008).
- Blackletter/Fraktur: Renais (2011, renaissance initials), Flipflop (2011), Fraktura and Fraktura Plus (2008), Royal Bavarian (2004, based on a face commissioned by King Ludwig 1st of Bavaria about 1834), Royal Blossom (2009), Royal Bavarian Fancy (2004), Bold Bavarian (2010, a heavy version of Royal Bavarian), Monkeytails (2008), Fat Fritz (2006, rounded endings), Ayres Royal (2005, blackletter face based on drawings of London's calligrapher John Ayres, ca. 1700; to be used with RoyalBavarian; followed in 2010 by BoldAyres).
- Slab serif: Egyptia (2010), Egyptia Rounded (2010).
- Typewriter: Lectra (2011), QuickType-Bold, QuickType-Plain, QuickType-Sans.
- Decorative: Frank Woods (2013, letterpress simulation based on Franklin Gothic Heavy), Ohio Bold (2012, a rough headline type in the tradition of Louis Oppenheim's Lo-Type from 1913), Viking Initials (2012), Cannonball (2012, a psychedelic face derived from a jazz record-sleeve for Cannonball Adderley), Byblos (2011, derived from the logo of St. Tropez's famous Hotel Byblos), Blockprint (2013, early 1900 German expressionist grunge face, renamed Bannertype after 24 hours), Ferrus (2010, inspired by Acier, ca. 1920), Petite Fleur (2009, flowery embellishments and the capitals of his redesigned Royal Romain), Glass Light (2012, a decoirative art nouveau type family based on Glass Light by Franz Paul Glass, 1912), Penstroxx (2009, 5 fonts that are based on the powerful, expressive Traits de plume (penstrokes) designed in Paris around 1930 by Alfred Latour), Liquoia A, B and C (2008, decorative scripts), Modernista (2008, an art nouveau headline face, based on an 1898 sample by Peter Schnorr), Ornata A, B, C, D, E, F and G (2008-2009: ornaments), Fleuraloha (2008), Floralissimo (2008: flowery ornaments), Frank Flowers (2011), Scrolls A (2010, penman's dingbats), Bacterio (2007), Alpha Bravo, Alpha Charlie, Alpha Echo (2006), Barracuda, Cacao (2005, fifties style), Cassandre Initials (2004, Elsner&Flake, after the 1927 original by Adolphe Mouron Cassandre), Contype, Fleurie (2005), Fleurons Two (2006), Fleurons Three (2006), Fleurons Four (2006), Fleurons Initials (2007), Fleurons Six (2008), Fleuron Labels (2008), HebrewLatino, Julius, Lunix (2006), MyHands, NewYorkerType (1985; extended in 2011 to NewYorker Plus; after Rea Irvin's well-known typeface for The NewYorker), Venice Initials (2006, after a 15th century find, but Wiescher added about half of the caps), Ventoux, Vivian (2005), Woody.
- Pixel and/or futuristic: Nexstar (2013: this octagonal typeface is also useful or athletic lettering), Alpha Fox (2007), Alpha Juliet (2010), Alpha Papa (2010), Alpha Square (2010), Alpha Jazz (2010), Alpha Papa (2010, LED meets stencil).
- Stencil faces: Dripps (2010, handpainted, perhaps brutalist).
- Dingbats: Wayside Ornaments (2012), XX Century Ornaments (2012), Thistle Borders (2012), Greenaway Mignonettes (2012, after Kate Greenaway (1846-1901), author and illustrator of childrens books), Collins Florets (2012), Flourishes A (2010), Jingle Doodles (2010).
View Gert Wiescher's typefaces. [Google]
William E. Dennis
[Studies in Pen Art]