TYPE DESIGN INFORMATION PAGE last updated on Thu Jul 18 08:31:32 EDT 2013



Ronde (Rondo, Rundschrift): Upright scripts



[Samantha Upright Pro was designed by Laura Worthington in 2011. Famous rondes include those of Nicolas Gando (now French 111) and the American rondes that came from the Inland Foundry (now Linoscript and Typo Upright).]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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Alexandre Matos

Portuguese photographer and designer in Viana do Castelo, Portugal. Alexandre obtained a degree in Graphic Design at IPCA (Polytechnic Institute of Cavado and Ave) in Barcelos in 2010. He created the elegant squarish typeface Finez (2010) and the geometric circle arc-themed sans face Ronde (2010, his graduation work). [Google] [More]  ⦿

Allain Guillaume

Typefounder in Paris, ca. 1900, whose production included Batardes coulées, Gauloises, and Ronde Ancienne (upright script). [Google] [More]  ⦿

Amatraca Design Grafico
[Marcelo Sodre]

Amatraca Design Grafico (Marcelo Sodre) is located in Sao Paulo, Brazil.

Dafont link, where one can download these free faces: Ju Gulart (2012, thin curly face), Tia Marcia (2009, upright script; almost a ronde), FSM Sans (2005), Zoi Mao (2005, handwriting), Mix Serif Condense (2012, pixel font). [Google] [More]  ⦿

Ari Rafaeli
[ARTypes]

[MyFonts] [More]  ⦿

ARTypes
[Ari Rafaeli]

ARTypes is based in Chicago, and is run by Ari Rafaeli. UK-based pre-press production specialist who has made type 1 font revivals in 2006-2007, listed below. I am confused as this outfit seems to have grown out of Angus R. Shamal's ARS Type in Amsterdam. Who is who and what is what? List of typefaces categorized by revival type:

  • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
  • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
  • Jacques-François Rosart: Rosart811, a decorative initial face that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
  • Stephenson Blake revivals: Borders, Parisian Ronde.
  • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
  • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
  • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
  • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
  • Max Caflisch (Bauer) revival: Columna.
  • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
  • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
  • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
  • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
  • F. H. E. Schneidler (Bauer) revival: Legende.
  • Herbert Post revival: Post-Antiqua swash letters.
  • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps face Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic face Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
  • Hermann Zapf revival: Stempel astrological signs.
  • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
  • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
  • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
  • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
  • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
  • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
  • Ernst Bentele revivals: Bentele-Unziale (2007).
  • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps face from 1828.
  • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
  • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
  • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
  • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
  • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
  • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
  • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
  • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
  • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
  • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
  • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
  • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque face by Hans Kühne.
  • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
  • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
  • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
  • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
  • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
MyFonts link.

View the typefaces made by Ari Rafaeli / ARTypes. [Google] [MyFonts] [More]  ⦿

Bernard Vivier

Frenchman Bernard Vivier made some wonderful school handwriting fonts (with rulers) between 1998 and 2003: BV_Api, BV_Batboi, BV_Baton, BV_Baton_Italiques, BV_Rondes, BV_Rondes_Boite, BV_Rondes_Ital, BV-Cursive-Ital-Italic, BV_Baton-Boite, BV_Rondes2, BV_Rondes2-ital, BV_Rondes_Ital, Bv-Arial-Boite.

Old dead URL. [Google] [More]  ⦿

Character

Prolific Woodland Hills, CA-based typophile and type designer (b. 1937) whose portfolio consists largely of revivals. The typefaces:

  • Animal dingbat fonts: AbecedarianZoo (2003, created from an alphabet in Art Explosion 200,000), Turf&surf (2005).
  • Alphadings: Jennifer's train (2011), ABCPlay (2005), DiddleTheMouse (2005), Silly Set (2005), Stone Carving (2005), Snow Persons (2005), Alaskan Ice (2005), Peppermin Canes (2005), USStarsNStripes (2003, first called USFlags), XmasTree (2002), XmasTree II (2004), Xmas Alpha (2005).
  • Erotic alphabets: Flotner (2002, based on a scan of the human character alphabet by Peter Flötner (1534)), SilvestreBodies (2006, based on a figurative alphabet designed by Joseph Balthazar Silvestre in 1834, with engravings made by Girault), ErotiCaps Outline (2007), ErotiCaps Solid (2007), WeygelBodies (2006, adapted from Martin Weygel's 1560 interpretation of Peter Flotner's 1534 figurative alphabet).
  • Stained glass themed fonts: ModernStainedGlass (2007), ModernStainedGlass2Tone (2007).
  • Capital alphabets: Cameo Antique (2011, after Cameo Antique on page 17 of The Solotype Catalog of 4,147 Display Typefaces---a shadowed outline version of the typeface called NightShade, on the same page of Dan Solo's book; the only known digitized fonts of NightShade are "Shadowed Serif" by James Fordyce (1994) and NigelSadeSH, from Soft Horizons (1993)), Modern French Capitals (2010, after a set of capitals drawn by Alphonse Mucha), Mucha French Capitals (2010, similar?), Marcel Caps (2007; based on "Crossroads" by August Will (1891)), WoodLook (2007, an improvement of 101's Wooden Alpha BlockZ), 3DAlphabet (2008, based on an alphabet coloring book designed by Jean Larcher, 1978), RomantiqueInitials (2007, based on work by Aridi), Blistered, BlisteredFramed, BlisteredReverse (2005, based on Marwan Aridi's Blister from the Initial Caps Vol I), ChiseledRound, Contemporary CH (2010), CourierInitials (2005, based on an alphabet by Johan)), Eclectica (2003, party-theme), FeathersInYourCaps (2002), FlowerSketches (2002), LACETRIM (2002), LeafyStencil (2003), QuiltedStippled (2004, based on an embroidery alphabet created by DesignsInStitches), RetroCapsBW (2004), RetroCapsWB (2004), Rope5 (2004, rope font), Rustic Black Shadow (2011. He explains: In the Solotype Catalog of 4,147 typefaces, RUSTIC is shown with a black shadow. RUSTIC WHITESHADOW has a white shadow. However, the Solotype digital font named RUSTIC has no shadow. Similar no-shadow fonts are also available as Pinewood (by Rick Mueller and one by Dieter Steffmann) and as Woody (by DincType). As of October, 2011, no digitized version of Rustic Whiteshadow is known. Character has produced a font named RusticBlackShadow, which matches the font named Rustic in the Solotype Catalog. Dick Pape had created an earlier version named "Pepin Press Caps FA204", based on fonts contained in the Pepin Press book "Fancy Alphabets". ), THINROPE (2002), VALENTINEHEARTS (2002), Printed Circuit (2005), SportsABC (2005), Feathered Flight (2005), Joe Clement (2007, Western pixel face), Ribbon Shadow (2007).
  • Fonts based on scans from Awesome Alphabets (Mike Artell, 1999, Good Year): SketchBoards, SketchBones, SketchClothes, SketchLogs (2005), SketchPencils, SketchPipes, SketchTools, all done in 2005.
  • Athletic lettering: Collegiate Heavy Outline (2006), Real Madrid 2011-2012 (2011, an expansion of a font by "Adriano"), The Football League (2011), Adidas Euro 2008 (2011), Puma World Cup 2010 (2010: based on Crepello, a custom-made font by Paul Barnes for Puma, that was used on the jersey of Italy, Switzerland and Uruguay during the 2010 FIFA World Cup), Adidas Unity (2010), LINKEB+Regular (2008) uses the lettering of the Geaux font used by LSU.
  • Pixel or dot matrix style fonts: Dash It All (2007, based on Cooper Black), Even Hearted (2007, an improvement of CK More Hearts), Square 9x9 (2007).
  • Brush faces: Skippingbrush (2006), GraffitiPaintBrush (2008).
  • Dingbats: Being Sport Pictograms (2008).
  • Scanbats: PilobusSilhouettes (2010) is based upon a human alphabet photographed by John Kane.
  • Techno: BultacoDual (2010), Dr Who 42 (2007), London MMXII (2008), ArrowheadLake (2009, +Shadows, +Sunlit; based on the nearly blackletter face Arrowhead from the Solotype Catalog and alphabet books).
  • Historic faces: Driftwood 67 (2011, Driftwood on page 67 of The Solotype Catalog of 4,147 Display Typefaces), ArrowheadLake and ArrowheadLakeShadows (2011, based on Solotype Catalog p.74), Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces),Cutin (2011, a simple rounded monoline sans called Cut-in Medium on page 163 of The Solotype Catalog of 4,147 Display Typefaces), Pepin FA288 (2011, based on Matra, or Bifur, on page 54 of The Solotype Catalog of 4,147 Display Typefaces by Dan X. Solo), Varicka (2010, from "Decorative Condensed Alphabets", by Dan Solo, p. 94. It is similar to Red Rooster's Triple Gothic Condensed, but the Solo's font has different features), MaxfieldParrish140 (2007: From an incomplete (no "N") hand-drawn alphabet by Maxfield Parrish. See figure 140 of "Letters&Lettering" by Frank C. Brown, 1921. This is a different source than the P22 Parrish font family.), Ronde Antique (2009, based on page 110 of the Verlag Gerlach 1881 catalog).
  • Other: Scramble Mixed (2006, scrabble face), Happy Fourth, Emperor AN (2009: this semi-art nouveau face is Emperor on page 42 of The Solotype Catalog of 4,147 Display Typefaces---not the same as Dan Solo's Emperor at MyFonts), Wood Gothic Caps (2011, blackletter), WoodWud (2011), Gallia Two (2010, based on a font found on page 55 of The Solotype Catalog of 4,147 Display Typefaces as Gallia No. 2), Charleston (2010, based on page 46 of The Solotype Catalog of 4,147 Display Typefaces), Azteca Regular (2010: based on Azteca Condensed by Dan X. Solo, page 74 of The Solotype Catalog of 4,147 Display Typefaces), Othello Fill and Solid (2011, derived from Othello on page 155 of The Solotype Catalog of 4,147 Display Typefaces), Sharons Shadows (2010, +Bold), Masked Menace (2012, based on Bodoni Poster).

Fontspace link. Dafont link. Yet another URL. Fontspace link. And another one. See also at abfonts. Dafont link. [Google] [More]  ⦿

Cochard&David

Typefounders in Paris. Their work can be found in this specimen book (Paris, ca. 1890). No full specimens in this publication, which has many of the useless faces of the late 19th century. The No. 549-553 faces are of the "Ronde" script style. Also standing out is No. 670, the Initiales Ornées Vénitien Romain, a very light face with frivolous border-like ornaments in the glyphs. [Google] [More]  ⦿

Coen Hofmann

Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy.

Designer at URW++ of Altrincham (2003, a sans family), Perugia Cursive (2003, gorgeous calligraphic script), Ramona (2004, shadow face), Romeo (2004, a 3d beveled shadow face), Sax (2008, serif family), Silvestrini (2003, a gorgeous Gando-style ronde), Sirius Caps and Sirius (2003, a garalde family), and FontForum Sax (2008, a serifed display family).

At URW++ in 2011, he revived Herbert Thannhaeuser's 1952 slab serif family, Technotyp, under the same name. Revis (2011) is a formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later. Jason Uncial (2012, URW++) is a unicase uncial design. Holland Gothic (2012, URW++) and Caxtonian Black (2012, URW++) are blackletter typefaces.

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

Creative Goats
[Michael Gills]

Michael Gills is a British calligrapher and graphic and type designer. He founded Creative Goats in Ipswich, Suffolk, UK. He worked first at Letraset (1988-1995) where he made faces such as Charlotte and Charlotte Sans, Elysium, Gilgamesh, Fling, Forkbeard, Frances Uncial, Isis, Katfish, Prague and Type Embellishments. He is currently an art director at The Folio Society: Book publishers, London. His fonts:

  • Elyseum Book (1992), originally at Letraset, now sold by ITC.
  • Charlotte Book (1992), originally at Letraset, now sold by ITC.
  • Figural Book (1992; art direction by Colin Brignall; based on a face of Oldrich Menhart), originally at Letraset, now sold by ITC.
  • Isis (1990, Letraset).
  • Katfish (1994, Letraset).
  • Prague (1991, Letraset, sold by ITC; based on a face of Oldrich Menhart).
  • Fling (1995), an upright connected script originally published at Letraset, but now an ITC font. Recently used for Martha Stewart's Blueprint magazine.
  • Gilgamesh Book (1994), Gilgamesh Book Italic, Gilgamesh Medium, Gilgamesh Bold, all originally at Letraset, now sold by ITC. Plus Gilgamesh Titling (Fontek).
  • Spidercave (Fontek).
  • Type Embellishments Three (with Martin Wait, 1994, originally at Letraset). With Colin Brignall, Type Embellishments One (1993) and Type Embellishments Two (1993).
  • Forkbeard (Letraset).
  • Frances Uncial (1995, Letraset).
  • Avalanche Script (originally from Letraset).

FontShop link. Klingspor link.

View Michael Gills's typefaces. [Google] [MyFonts] [More]  ⦿

Dan X. Solo
[Solotype]

[MyFonts] [More]  ⦿

Die Entwicklung unserer Schrift
[Peter Doerling]

Peter Doerling's visual overview of the styles of writing in Germany, for books, official documents (Urkunden) and in letters. For books, he takes us here:

  • 200-300: Roman capitals.
  • 300-500: Quadrata.
  • 500 on: Uncial.
  • 900 on: Karolingian minuscules.
  • 1200 on: Gothic minuscules.
  • Textura.
  • 1400 on: Rotunda.
  • 1500 on: Schwabacher.
  • 1600 on: Fraktur.
  • 1500 on: Humanistic style.
  • 1570 on: Antiqua.
  • 1900 on: Grotesk, Egyptian. [Note that he omits the modern style.]
  • 1960 on: Helvetica. (???)
For official documents:
  • 200-300: Roman capitals.
  • 400-600: Rustica.
  • 500 on: Half Uncial.
  • 900 on: Karolingian minuscules.
  • 1500 on: Notula.
  • 1600 on: Canzlei (Cantzley, Kanzlei).
  • 1600 on: Humanistic Canzlei
  • 1875: Ronde, Rondo, Rundschrift.
  • 1915: Jugendstil.
  • 1930: Tannenberg.
For letters:
  • 200-300: Roman capitals.
  • 400 on: Young Roman cursive.
  • 900 on: Karolingian minuscules.
  • 1300 on: Cursive.
  • 1600 on: Cancellaresca [refined formal script].
  • 1600 on: Kurrente.
  • 1600 on: Humanistic cursive.
  • 1800 on: deutsche Schreibschrift.
  • 1800 on: Lateinische (Latin) Schreibschrift.
  • 1930: Tannenberg.
[Google] [More]  ⦿

Emil Gursch

German foundry based in Berlin, active from 1866 until 1917, when it was acquired by H. Berthold AG. Klingspor's file on Gursch. Typefaces published by them include:

  • Accidenz-Versierungen.
  • Akademisch.
  • Alexandra (<1897).
  • Antiqua No. 2 through 9.
  • Apollo Grotesque (1897).
  • Alt-Gotisch (1899) mager&halbfett. Altgothische initialen.
  • Bambus Grotesque (1896).
  • Berliner Fraktur (ca. 1897).
  • Briefschrift Deutsch (<1899).
  • Britannia-Versalien (1902).
  • Continental Grotesque.
  • Dekorative Vignetten (1899).
  • Egyptienne.
  • Elzevir, ca. 1899: many weights and styles.
  • Eskorial (1909) and Eskorial halbfett (1908) by Eduard Lautenbach.
  • Flächer Ornamente (1899).
  • Fraktur 14g (1910), Fraktur 14 halbfett (1915), Fraktur 16 (1916), Fraktur No.4 through No.8. Halbfette and Moderne schmale halbfette Fraktur, Schmale Fette Zeitungs-Fraktur, Fette Fraktur.
  • Gloria (1898), Fette Gloria Kursiv (1904), Gloria fett (1902), Gloria schmalfett. Gloria Kuric schmalfett.
  • Gothisch (schmale enge, Courante and Accidenz), Renaissance Gothisch (1902: eng, magere and halbfette), Fette Gothisch (neueste and breite). Gothische Federzüge.
  • Grandezza I and II (1904) by Hermann Zehnpfundt.
  • Grotesque.
  • Hermes Grotesque (1897).
  • Hortensia (<1902). A digital version of this Victorian script was finished in 2009 as Hortensia by Canada Type: Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release.
  • Industria (1913, a grotesk designed for ads). Weights include Zart, Halbfett, Fett and Zephyr. By Hermann Zehnpfundt.
  • Journal (1912-1913) by Hermann Zehnpfundt. Weights include Antiqua, Kursiv, Antiqua Halbfett.
  • Breite Kanzlei, Moderne halbfette Kanzlei, Antike Kanzlei (wow!).
  • Kavalier (1910) by Hermann Zehnpfundt.
  • Klinger (1919, +Antiqua) by Julius Klinger.
  • Koenig-Type (1903-1907, Heinz König), Koenig Schwabacher (1912-1913, Heinz König), Koenig-Fraktur (1910, Heinz König. This is also called Gursch Fraktur),
  • Kontinental Grotesk.
  • Korona (1905, + Halbfett) by Albert Auspurg.
  • Mediaeval, Cursiv, Mediaeval Cursiv.
  • Monument (+Halbfett).
  • Moderne Schreibschrift.
  • Phönix-Cursiv (1897).
  • Polygon Undine (1904).
  • Roma (ca. 1897).
  • Rubens (1905) by Albert Auspurg.
  • Rundschrift.
  • Saxonia Einfassung (borders).
  • Schwabacher, Fette Schwabacher (1899).
  • Schwarze Hände, and many great math and astrological sets.
  • Senefelder (1908).
  • Sirius Ornamente (1908).
  • Skulptur (1901): has styles called Halbfett and Licht.
  • Sütterlin Unziale (+Halbfett), made in 1905 by Ludwig Sütterlin himself.
  • uncial gotisch or Morris Gotisch. For a digital version, see Morris Gotisch by Gerhard Helzel.
  • Versierte Italienne.
  • Werk Fraktur (fett, halbfett), done before 1907.
  • Zierschrift Roma, Zierschrift Apollo, Zierschrift Gloria, Boston Zierschrift.
  • Zirkular Kursiv (1913) by F. Müller-Münster.
There were also numerous ornaments and vignettes. Published documents include Industria, eine charaktervolle Reklame-Grotesk (1913), Polygon-Undine. Fette Gloria-Kursiv (1904), Nachtrag zur Handprobe. Neue Erzeugnisse aus den Jahren 1898-1901 (1902), Munster-Sammlung der Schriftgiesserei Emil Gursch, Berlin S., Messinglinien-Fabrik und Gravir-Anstalt (1899). That last book is their main publaction, 112 pages of nicely presented specimens covering all lettertypes and ornaments in detail. A peek into one of Gursch's specimen books. PDF prepared by Klingspor Museum. [Google] [MyFonts] [More]  ⦿

Emil Karl Bertell
[Fenotype]

[MyFonts] [More]  ⦿

Fenotype
[Emil Karl Bertell]

Fenotype, a Finnish typefoundry, has the original (often techno) designs of Emil Bertell (b. 1983, Helsinki) and his brother Erik Bertell and wife Kea Bertell. Emil has been studying graphic design at University of Art&Industrial Design in Helsinki since 2004. He designed most of his typefaces during 2001-2004, and works as a freelance illustrator. Behance link.

Typefaces made in 2002: Disco (prismatic), Lakmus, Valimo, FUTU, Test1, Foton Torpedo, Cheaptype, Personal Computer, Copycut, Unicode 0024, HKI Metro, HKI NightLife, Digital Kauno, Fenotravels (dingbats), Tivoli, Kosmonaut, 10124, JouluFonttiFenotype, Testi, 1laitos, 1120, 0629 (2002, a kitchen tile font), 0927, 0210, FTdingsprevi, Fenotypedings#lego3, Genotype, NeoPangaia, NeoPangaia 2, Nipponblocks, Pectopah, Personalcomputer, Pouttu, Samarin (2002, athletic lettering), Unicode0024, URALphat, URALthin, URAL, URAL3d (all Latin/Cyrillic fonts with incomplete punctuation though), Automania (multiline), Copycut, Halo, 222_2003, Tantor, Letters, Rikos, Lastu, ThreeTheHardWay, Bukkake, Halo. Emil's brother Erik designed Neon (paperclip face), Mama and Mama Round (paperclip faces). In private email, he calls himself Carl. The foundry evolved from 2theleft.

Fonts made in 2003: Military Dingbats, 08 02 03 Fenotype, Projectsfenotype, Rock-it.

Fonts made in 2004: Scandinavian Titan white, Scandinavian Titan, Acid Test 2, Acid Test (texture faces), 080203, Letters11, Linja, Projects, Rock it, Simpletype. Commercial typefaces: Sapluuna, Shortcut, Transeuro-Express, Omega-Uros, Fenotype Dings, Military Dingbats, Nippon Noodle. Typefaces made in 2004: Kolari, Kolari Light, FTfaces, Twisted Ontogenesis. Alternate URL.

In 2005: RoundAbout, Nihilist Philosophy, Boogie Monster, Chunky Hunk (Western), Diy Typeface (kitchen tile style), Futuretro (stencil-like), 3TheHardWayOverrun, Pedant Dilettante, FT Rosecube, FT Blockbuster, 3TheHardWayRMX, Adios Gringo (Western face), Helsingfurt (3d oil glow face), Cream Soda (liquid), Thashed Paper Bag, Big Medium.

In 2006: Rock It Deluxe (grunge), Cassette (dingbats), Kings Garden (Japanese trees as dingbats).

MyFonts link, opened in 2009, where one can buy 080203, 3 The Hard Way Overrun, 3 The Hard Way RMX, Adios Gringo, Depth Charge, FT Helsingfurt, FT Roundabout, FT Scandinavian Titan, FT Twisted Ontogenesis, Ice Cream Soda, Kings Garden, Kolari, Nihilist Philosophy, Old Note, Rock It, November Script, and Majestic Mishmash (ransom note caps), Digital Kauno (2002, upright script), 10.12, EB Vintage Future, Fenotype Dingbats, FT Forest, FT Funghis, FT Military Dingbats, FT Weapon of Choice, Motel Xenia, URAL, Valima.

Additions in 2010: Linguine (connected script), FT Telegraph (slab serif), FT Brush, FT Industry Machine, FT Giorgio, Killer Elephant (signage), FT Supervisor (retro), FT Dead Mans Diary (scribbly), FT Grandpa Script (grunge calligraphy), FT Stamper (angular lettering), FT Tantor (fat, rounded), FT Bronson (fat display face with mustache dings thrown in), FT Master of Poster (bi-level display face with many ligatures and interlocking letters), FT Hidden Forest (tree dingbats), FT Mammoth (grotesque headline face), Rikos (futuristic), Squarendon Extra Bold (2010, a Clarendon), FT Moonshine Script (a Treefrog style face), Billboard (a hand-printed rounded caps family), EB Bellissimo Display (rounded monoline sans), Malamondo (an all caps display face with a large number of interlocking ligatures), Linja (2002 and 2010, a rounded ultra condensed family), Punavuori (2002 and 2010: a monoline sans family), Signor (2010, a rounded all caps family), Mrs. Lolita (connected script), Funghi Mania (mushroom dingbats), Funghi Mania Script, Darlington (very open upright connected script family), Archipelago (+Caps: an upright connected script), Tower (pieces that enable one to modularly construct towers when stacked; created as a school assignment at the University of Industrial Art&Design Helsinki in 2006), Monster (just as Tower but for monsters), Verna (informal face with ball terminals), Verner (2010, a connected script version of Verna), Verner (2010, a connected script version of Verna).

Typefaces from 2011: Pepita Script (an upright connected script with small lachrymal terminals), Pepito (its nonconnected version), Barber (upright script family), Banzai Bros (a fat caps-only signage face), Mishka (an upright connected script with tear drop terminals).

In 2012, he created Salamander Script, Taiga (connected upright script), Mercury Script (a set of upright connected script typefaces), Slim Tony (a bubblegum retro signage face) and Mercury Ornaments.

Typefaces from 2013: Voyage (a vintage script), Barracuda Script (brushy signage face), Bonbon (signage script), Bonbon Ornaments, Scaramouche (a playful connected script).

Dafont link. Behance link.

View the Fenotype typeface library. [Google] [MyFonts] [More]  ⦿

Francesco Paolo Siniscalco

Naples-based foundry. Their work can be found in Saggio di caratteri della fonderia di proprietà di Francesco Paolo Siniscalco e c. (Napoli, Dalla stamperia di Salvatore de Marco, 1846). That book shows a modern family, some Fraktur families such as Gotico Tedesco and Gotico Inglese, a Rondo, an Inglese connected writing face, the frilly caps face Toscano, flared caps faces called "Chinese", and a few minor families grouped under generic names such as Ornato, Egiziano, Ombrato, Americano, Bislunche and Grasso. [Google] [More]  ⦿

Gérard Mariscalchi

Montrealer who designed ITC Redonda (1998, an upright ronde script), Baylac (a psychedlic font fdirst done at at Agfa, and then at ITC) and the Comic Strip family. Planned are the calligraphic font Herald (for Font Bureau), the protest font Infamy, and Robin Hood. He created the following Agfa Creative Alliance fonts: Evita (1998, now an ITC font: an organic roundisch script), Baylac, Link, Lineale, Iona, Marnie and Toots (1997, based on calligraphy by Villu Toots). He designed the great calligraphic font Scrivener in 2000 (I guess the Herald project at Font Bureau must be dead then).

FontShop link. Klingspor link. Alternate link.

View Gérard Mariscalchi's typefaces. [Google] [MyFonts] [More]  ⦿

Gillian Fisher

American designer of Rochester Pro (2013), a gestual connected upright retro script codesigned with Stuart Sandler at Neapolitan. [Google] [MyFonts] [More]  ⦿

Group Type
[Mark Solsburg]

Mark Solsburg's outfit located in Westport, CT. Before GroupType, Solsburg worked at ITC, which he left in 1989 to start FontHaus. Later he started TypoBrand and Grosse Pointe Group LLC. Solsburg headed the Type Directors Club for a few years. He is presently located in Ann Arbor, MI. He is President / CEO of DsgnHaus (1989-present), and partner in TypoBrand LLC (2004-present), a specialized typographic consulting firm founded by type designer, Mark van Bronkhorst; former type designer for Adobe, Linnea Lundquist, and Mark Solsburg. It seems that the FontHaus collection is now being marketed under the Group Type label at MyFonts. Group Type does technology consultation in the field of providing software and type face fonts for designers, publishers and typographers, related to the selection, purchase and use of design software and type face fonts for use in graphic, industrial, interactive and communications design. They specialize in revivals. Their fonts include

View the Group Type typeface libary. [Google] [MyFonts] [More]  ⦿

Hans-Jörg Hunziker

Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967-1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971-1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990-2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998-2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich.

He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW).

Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here.

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

Hubert Jocham

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:

  • Adonis.
  • 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.
  • Dolce.
  • Element.
  • Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
  • The TV-screen-curved Fernseher family.
  • Fire.
  • 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.
  • Magazine.
  • 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.
  • Oktober.
  • 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.
  • September.
  • Softedge.
  • Spring (2008).
  • Susa (2009). A connected script face.
  • The comic book family Tasty (2005).
  • Teleneue.
  • 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.
  • Weekend.
  • Work ahead: this serif face (2005).
  • Xmas Rudolph (2006). A free display serif face.

View Hubert Jocham's typefaces. Another view.

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

Imprimerie du Commerce Evariste Mangin

French printer. In 1867, they published Spécimen des caractères de l'Imprimerie du commerce Évariste Mangin. Samples: Cover page, Egyptiennes blanches, Egyptiennes éclairéees, Fantaisie, Ronde, i, ii, iii, iv. [Google] [More]  ⦿

Imprimerie Edmond Monnoyer

French printer, est. Paris, 1618, and in Le Mans in 1751. In 1889, they published Spécimen des caractères de l'imprimerie Edmond Monnoyer (Le Mans) [Other link]. Picture of Edmond Monnoyer.

Samples: Anglaise, Cover page, Elzevir, latines lithographiqes, Ronde and écossaise, Ronde and gothique.

Antoine Monnoyer was master printer in Paris in 1618, and ran the print shop until 1634, when (his son?) Pierre Monnoyer took over. There is a historical hole after that, until Jean Baptiste Monnoyer (b. 1688, d. 1777, Joinville), who was a printer for the duke of Orleans in Joinville. Charles Monnoyer (b. 1720, joinville, d. 1793, Le Mans) became the printer of the king and the bishop of Le Mans, where he established himself in 1751. He headed the business until 1789. Charles II Monnoyer (b. 1758, Le Mans, d. 1811) was in charge from 1789-1811. Charles III Nicolas Monnoyer (b. 1793, Le Mans, d. 1860) headed the firm from 1811-1860, and was followed from 1860-1889 by Charles IV Edmond Monnoyer (b. 1829, Le Mans, d. 1899). Finally, from 1889-1932, the firm was in the hands of Charles V Antoine Monnoyer (b. 1868, Le Mans) and Paul Charles VI Frederic Monnoyer (b. 1903, Le Mans). [Google] [More]  ⦿

Intellecta Design
[Paulo W]

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, +Shadow, +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; +Free, 2013; +Two, 2013), 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: several typefaces), 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 Titling.
  • Typefaces from 2013: Fat Fantasy, Das Krieg (soldier dingbats), Corn Pop Two (ornamental corners), Corn Pop Four, 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.
[Google] [MyFonts] [More]  ⦿

JB Foundry
[Jean Boyault]

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: Gaston (a large script family), 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] [MyFonts] [More]  ⦿

Jean Boyault
[JB Foundry]

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Jessica Castillo

During her graphic design studies at Savannah College of Art and Design (SCAD) Jessica Castillo (Swanton, VT) created the upright frilly script face Bellaluna (2013). [Google] [More]  ⦿

Jim Lyles

Bitstream designer (b. 1955) who lives in Michigan City, IN. At Bitstream, he did in-house work, and had his signature on Candy Bits (1996, an M&M simulation font), Prima Sans (1998), Prima Serif (1998), Prima Sans Monospace (Bitstream, with Sue Zafarana, 1998) and Bitstream Vera (2003).

According to Lyles, Bitstream Vera is actually a detuned Bitstream Prima. Gnome asked that we modify some of the characters in the monospace, particularly for coding legibility. We added a center dot to the zero and modified the lcase l to distinquish it from the figure one. Although I designed Vera (Prima), it was actually Sue Zafarana who adapted it to a mono version, at times a very challenging task. The Vera fonts are also here.

Vera Sans is at the basis of Menlo (2009), a Snow Leopard system font, about which Apple writes: Apple's Menlo is based upon the Open Source font Bitstream Vera and the public domain font Deja Vu.

He revived some Filmotype fonts from the 1950s: Filmotype Jade (2012, based on an original connected script typeface from 1955), Filmotype Reef (2011), Filmotype MacBeth (2007), and Filmotype Austin (2009, brush face).

In 2012, he created a gracious upright script face, Stalemate, which can be downloaded from Google Web Fonts.

The upright connected script Grand Hotel (2012, Google Web Fonts, with Brian Bonislawsky for Astigmatic) finds its inspiration from the title screen of the 1937 film "Cafe Metropole" starring Tyrone Power. The free Rum Raisin was published at Astigmatic One Eye.

Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).

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

John Stephenson
[Stephenson Blake]

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Jonathan Stephen Harris
[Tattoo Woo (or: Smokewire)]

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José Luis Cóyotl Mixcoatl

Mexican designer in Puebla of the 4-weight semi-blackletter display family El Chamuco (2004, T-26), the pixel/modular family Zoomanic (2007, an award winner at Tipos Latinos 2010), Artico (2003, a custom family for the Spanish magazine Simbad), the script face Santanera (2004, consisting of Cha Cha Cha and Rhumba), the purely geometric and linear Mixcoatl (2005), the octagonal face Vulcana (2004), and of the pixelated face Pixetl (2004, T-26).

At Tiypo, we find his futuristic face Cachirul, the futuristic Rayos Gama, Forever, Frizz (2004, Display, Quadra: octagonal and squarish), the starry face Galaxia, Gen (2004), Gum Sans, Gum Organica, the squarish Ix Sans, the organic Latex, Mimetic, Monique, the techno face Neutron, Pancracia, Pixetl, the Broadway face Pocket, Super (grunge), the script face Santanera, and the octagonal Vulcana.

In 2012, he designed the warm serif family Maria, the angular typeface Anahuak. For the magazine Padres & Hijos, he created a custom ronde typeface in 2012.

He lives in Tlaxcalancingo, Puebla. His company is called The Coyote Lab of Design. At Tipos Latinos 2010, he won awards for Zoomanic and for Cubomatics Icons.

Klingspor link. T-26 link. Behance link. [Google] [MyFonts] [More]  ⦿

Julien Chazal

Frenchman who has a wonderful historic overview of the calligraphic styles. Here are his categories:

Additional scans of his work: The letter G | Happy 2005 | Abcdefg | Fine chancery alphabet | Lettres cadeaux | Starting alphabet for the lettres cadeaux | Trial 1 | Trial 2 | Trial 3. [Google] [More]  ⦿

Julius Klinkhardt
[Julius Klinkhardt Schriftgiesserei]

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Julius Klinkhardt Schriftgiesserei
[Julius Klinkhardt]

Julius Klinkhardt was a type designer who designed faces such as the blackletter font Neue Schwabacher (1922, Berthold). He ran the Julius Klinkhardt Schriftgiesserei in Leipzig in the late 19th century. It was taken over by Berthold in 1920. Their typefaces include Flora Ornamente (1906), Lithographia (1895), Secessions Schriften (1906), Baldur (1903, art nouveau), Britania-Gotisch (1900, also known as Altgotish, and as Kloster Gotisch, and as Mammut Gotisch), Breitkopf Fraktur (just like versions of this face at C.F. Rühl (1912), Stempel (1912) and Berthold (1919)), Rosen Zierat (ca. 1910), Negro (1908), Elvira (1908), Cornelia Einfassung (1908), Hubertus Schmuck (1909), Filigran Ornamente (1910), Doris Ornamente (1917), Stigma Ornamente (1911), Bastard gross (a Kanzlei face with mager and fett versions), Werkschrift Germanisch (ca. 1880), Tango-Cursiv (1914), and Bismarck-Gotisch gross, all digitally revived by Gerhard Helzel. His TipTop (ca. 1900) was digitized under the same name by Petra Heidorn (2004). Tip Top Pro (2008, URW++) is a commercial revival of the same face by Ralph M. Unger.

On EBay, they were selling the specimen book: See here. Their main specimen books are Gesamt-Probe der Schriftgiesserei Julius Klinkhardt in Leipzig und Wien (1885, 690 pages) and Oktav-Probe II (1890, 452 pages). See the cover of an earlier specimen book.

Some type designers:

  • Richard Grimm-Sachsenberg: Grimm-Antiqua und Schmuck (1914), Neue römische Antiqua (1907), Saxonia (1907), magere römische Antiqua (1912).
  • Heinz König: Rundine (1913).
  • Hermann Delitsch: Ramses (1912, an Antiqua face), Delitsch-Kanzlei (1903), Delitsch Antiqua (1911).
  • Julius Nitsche: Unger Fraktur (1910; Wetzig says 1907), Neudeutsche Ornamente (1911), Buchschmuck (1905), Akzidenz-Zierat (1905).
  • Remarkable faces: Schmale Runde Grotesk (1885, a forerunner of DIN?).
  • Gadso Weiland: Toscana Schriften und Schmuck (1908).

Examples from their catalog from 1890: Fette Universal, Garnitur XII and XIII, Garnitur XIV, Kurrentschrift, Verzierte Merkur Kanzlei, and Neue Cursiv Zierschrift, Antika and Italia Grotesk Versalien, drawing of a boudoir, Enge Egyptienne, Fette Cursiv, Fraktur, Halbfette Fraktur, Holz Schriften (wood type), more wood type, drawing of horses, Moderne Fette Fraktur, monograms, Neue Fette Fraktur and Victoria Gotisch, Neue Fette Fraktur, Neue Schmale Fette Egyptienne, Romanische Gotisch, Rundschrift Polytypen, Schmale Antiqua, Schmale Fraktur, Schmale Halbfette Grotesk, Schwabacher, Silhouette Initialen, Stickmuster Typen, vignetten, more vignetten, Zierschriften, more Zierschriften, Zweifarben-Schriften. [Google] [More]  ⦿

Julius Schmohl

In 1891, Julius Schmohl and Ernst Lauschke designed an art nouveau and a Victorian face for BBS. Schmohl was born in Germany, but lived in Chicago for most of his life. In 1895, he and Max Rosenow published an upright script with BBS. [Google] [More]  ⦿

Keystone Type Foundry

Philadelphia-based foundry, 1888-1917. The history of this short-lived foundry was told by James Eckmann in The Keystone Type Foundry, 1888-1917: a reprint [from] Printing&graphic arts, volume VI, number 1, February 1958 (Lunenburg, Vermont: The Stinehour Press, 1958). Their work appeared in Keystone Type Foundry, 1901 (362 pages), Abridged specimen book, type: nickel-alloy on universal line comprising a price list of types, borders, leads and slugs, brass rule, brass galleys; miscellaneous cuts and general supplies for printers (1906, 636 pages, see also here, here and here), A book of Keystone type faces (2nd ed., Philadelphia, ca. 1920), Catalogue and specimen book. Keystone products, consisting of type, material, furniture, complete line of miscellaneous supplies for printers and publishers, machinery and wood goods (Philadelphia, ca. 1910), See also Keystone Products Catalogue and Specimen Book, Consisting of Type, Material, Furniture, Complete Line of Miscellaneous Supplies for Printers and Publishers, Machinery and Wood Goods (1915).

Typefaces: Admiral, Ayer (Mac McGrew: Ayer was introduced by Keystone Type Foundry in 1909, which said it was "named for F. Wayland Ayer, founder of Keystone Type Foundry and the great advertising agency which bears his name." The non-kerning italic was added in 1910.), Ben Franklin, Ben Franklin Condensed, Ben Franklin Open, Bulletin, Caslon Adbold, Caslon Adbold Extended, Caslon Adbold Extra Condensed, Caslon Bold, Caslon Bold Condensed, Caslon Bold Extended, Caslon Bold Italic, Caslon Lightface, Caslon Lightface Condensed, Caslon Lightface Italic, Caslon Title Extended, Charcoal, Charter Oak, Compressed Gothic, Condensed Lining Gothic, Crayonette, Elite Typewriter, Gothic Condensed No. 3, Gothic No. 102, Gothic No. 114, Harris Italic, Harris Roman, Herculean Gothic, Italia Condensed (1906), John Alden Decorative Initials (1906), John Hancock, John Hancock Condensed, John Hancock Extended, John Hancock Outline, Keystone Gothic, Laureate (1906: revived in 2012 by Isabel Urbina), Lining Antique [Keystone], New Model Remington Typewriter, Outline, Outline Condensed, Remington, Remington Typewriter, Round Gothic (1884), Skeleton Lining Gothic, Skeleton Lining Gothic No. 19, Smith Premier, Title Gothic, Venezia, Washington Text (1902, blackletter), Washington Text Shaded.

Digital pictures I took from the Specimen Book of Type (1903): Bulletin, Keystone Bikes, Boldface Cellini, Crayonette Open, Keystone Cyclers, Encore, Lining Antique, Lining Gothic, Outing Initials, Remington Typewriter, Remus, Ronde Initials, Salem, Venezia, Victoria Italic, Worcester. Catalog A-C, Catalog C-P, Catalog P-Z.

Digitizations:

  • The slab serif John Hancock (ca. 1903) and condensed slab serif John Hancock Condensed (ca. 1917, Lanston Monotype) were digitized as Hancock RR (1994) by Steve Jackaman (Red Rooster).
  • The Remington typewriter faces (ca. 1905) were digitized as Secret Service Typewriter RR (2002) by Steve Jackaman (Red Rooster).
  • Roman TyresRR (1997) was made by Steve Jackaman (Red Rooster).
  • Poor Richard RR is based on a Keystone design from 1919, namely Ben Franklin, Ben Franklin Condensed, Ben Franklin Open (named after Benjamin Franklin's "Poor Richard Almanack"). There is also a free font Poor Richard (1994, Projective Solutions).
  • Caslon FB (1992, Font Bureau) comes with this text: Our familiar Caslon Bold headletters were invented around the turn of the twentieth century in the United States and were only loosely based on William Caslons romans. The best of the Caslon Bolds originated at the Keystone Type Foundry of Philadelphia, whose Caslon Bold Condensed appeared about 1905, probably drawn by R.F. Burfeind. Jill Pichotta revised his Bold Condensed&drew the Bold Extra Condensed.
  • Gibbs Mason designed the art nouveau face Vanden Houten (1904) at Keystone. This typeface was remade by Dan X. Solo as Dutch Treat at Solotype.
  • Emerge BF (2009, John Bomparte) is a flare serif face that was inspired by Admiral, c.1900.
  • Old Softy NF (2010, Nick Curtis) is a soft round face based on Round Gothic (1884).
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Laura Worthington

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, hand-printed 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---renamed to Harlean after a few days), 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] [MyFonts] [More]  ⦿

Lauren Thompson
[Nymfont (was: Nymphont)]

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Linoscript

Linoscript was made by Morris Fuller Benton at ATF in 1905. It is in the ronde style, and was earlier called Typo Upright and before that, Tiffany Script, at ATF. Equivalent names and designs include Basque, Agfa Codex, Linotype Computer, Agfa Dominante, Berthold Joanna, MT Kaylin, MT French Script. The Softmaker version is called L730 Script. [Google] [More]  ⦿

Marcelo Sodre
[Amatraca Design Grafico]

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Mark Solsburg
[Group Type]

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Matthew Carter

Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Write-up in US News in 2003. Interview. His fonts:

  • The Microsoft screen fonts Verdana (1996: [image by Offeibea Adu-Darko]), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
  • Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
  • Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a face commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
  • Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a face designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
  • Alisal (1995, +Bold).
  • ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
  • The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
  • Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
  • Walker (1994), designed for The Walker Art Center.
  • Ionic Number One (1999, Carter&Cone).
  • Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
  • Big Caslon (1994, Font Bureau), a display face based on the largest romans from William Caslon's foundry.
  • Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
  • Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful face designed to accompany kanji and kana faces produced by Dynalab in Taiwan.
  • Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
  • Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
  • Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
  • Bell Centennial (1978, Bitstream), a legible family designed as a replacement of Bell Gothic at Mergenthaler. There is also a Linotype version.
  • Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
  • New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
  • Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
  • Helvetica Greek (Linotype).
  • Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
  • Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
  • Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom face Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
  • Gando, a French "ronde" face based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitsteam's Typo Upright.
  • Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
  • Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. See Roundhand BT (Bitstream). A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
  • Auriga (1970). (Wallis dates this in 1965 at Linotype.)
  • CRT Gothic (1974).
  • Video (1977).
  • V&A Titling (1981).
  • Deface (in the FUSE 18 collection).
  • Madrid (2001), done for the Spanish newspaper El País.
  • Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
  • Durham, a sans serif family for US News&World Report.
  • Airport.
  • Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
  • For Microsoft: Georgia, Verdana, Tahoma, Nina.
  • New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
  • Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See .
  • Le Bé, a Hebrew face that was used in the Pennyroyal Caxton Bible.
  • Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
  • Time Caledonia.
  • Wiredbaum, for WIRED.
  • Wrigley (for Sports Illustrated).
  • Benton Bold Condensed (for Time Magazine).
  • Foreman Light (for the Philadelphia Inquirer).
  • Newsbaum (for the New York Daily News).
  • Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
  • Times Cheltenham (2003), which replaces in 2003 a series of headline faces including Latin Extra Condensed, News Gothic, and Bookman Antique.
  • The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
  • DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere.
  • Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
  • Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
  • Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
  • In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.

Speaker at ATypI 2013 in Amsterdam.

Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. [Google] [MyFonts] [More]  ⦿

Mecanorma

French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.

Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.

Fonts.com sells these: MN Access Bold, MN Access Medium, MN Access Volume, MN Art Deco, MN Art World, MN Balloon Bold, MN Balloon Extra Bold, MN Blippo Black, MN Brio, MN Bulletin Typewriter, MN Choc, MN Circus, MN Comic Strip, MN Estro, MN Fumo Dropshadow, MN Galba, MN Gillies Gothic Bold, MN Gillies Gothic Light, MN Gillies Gothic Ultra, MN Gillies Gothic Ultra Shaded, MN Gillies Gothic Ultra Volume, MN Gillies Gothic Volume, MN Globe Gothic Bold, MN Globe Gothic Bold Condensed, MN Globe Gothic Outline, MN Globe Gothic Volume, MN Glowworm, MN Glowworm Compressed, MN Glowworm Volume, MN Gothique, MN Hotel, MN Isonorm, MN Jackson, MN Leopard, MN Milton Demi Bold, MN Orator, MN Organda, MN Organda Bold, MN Organda Volume, MN Ortem, MN Renault, MN Renault Bold, MN Renault Volume, MN Rondo, MN Sayer Interview, MN Sayer Script Black, MN Sayer Script Bold, MN Sayer Script Light, MN Sayer Script Volume, MN Squash, MN Squash Outline, MN Squash Volume, MN Sully Jonquieres, MN Sully Jonquieres Bold, MN Sully Jonquieres Volume, MN Swaak Centennial, MN Vivaldi, MN Watch Outline, MN Windsor, MN Windsor Elongated, MN Xerxes, MN Zambesi.

Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Geroges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.

The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.

A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.

MyFonts link.

View Mecanorma's typefaces. [Google] [MyFonts] [More]  ⦿

Michael Gills
[Creative Goats]

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Morris Fuller Benton

Prolific American type designer (b. 1872, Milwaukee, d. 1948, Morristown, NJ), who published over 200 alphabets at ATF. He managed the ATF type design program from 1892 until 1937. Son of Linn Boyd Benton. MyFonts page on him. Nicholas Fabian's page. Linotype's page. Klingspor page. Unos tipos duros page. His fonts include:

  • 1897: Cloister Old Style (ATF). [Stephenson Blake purchased this from ATF and called it Kensington Old Style, 1919] [Cloister (2005, P22/Lanston) is based on Jim Rimmer's digitization of Benton's Cloister.]
  • 1898: Roycroft. Mac McGrew on Roycroft: Roycroft was one of the most popular of a number of rugged faces used around the turn of the century, when printing with an antique appearance was in vogue. It was inspired by lettering used by the Saturday Evening Post. then a popular weekly magazine, and has been credited to Lewis Buddy, a former Post artist and letterer, but ATF says it was designed "partly" by Morris Benton, about 1898. Gerry Powell, director of typographic design for ATF in the 1940s, says, "Roycroft was first known as Buddy, changed when it was adopted by Elbert Hubbard for the Roycroft Press." Henry L. Bullen, ATF librarian and historian, says, "The first font of type to be made from matrices directly engraved on the Benton machine was 24-point Roycroft. October 4, 1900." While the machine was originally designed in 1884 to cut punches rather than matrices, it is doubtful that no fonts of mats were cut before 1900. Roycroft is also said to be the first face for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many faces of the day had a number of alternate characters. For this face. ATF gave specific instructions for their intended use: "M with the short vertex, in words the letters of which are open; R with the long tail, as a final letter in all-cap words; the wide h, m, and n, as a final letter only; t with the swash tail, as a final letter but not too frequently; u with the descending stroke, in words having no descending letters; ct ligature, wherever possible; the long s and its combinations, in antique work." Roycroft Open was cut in 1902, probably from the same patterns as the parent face. Roycroft Tinted is a very unusual face, in which the face is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this face was cut by the Dickinson Type Foundry branch of ATF in Boston, and includes the same special characters as Roycroft. Compare Post Oldstyle.
  • 1900: Century Expanded: a revival of Century Roman which was designed in 1894 by his father (Linn Boyd Benton) for Theodore Low DeVinne. Digitizations by Elsner&Flake, Bitstream and URW.
  • 1901: Linotext (aka WedddingText).
  • 1901-1910: Engravers.
  • 1901: Wedding Text (some put this in 1907), Old English Text, Engravers' Old English (a blackletter font remade by Bitstream). Wedding Text has been copied so often it is sickening: Wedding Regular and Headline (HiH, 2007), Dan X. Solo's version, Comtesse, Elite Kanzlei (1905, Stempel), Meta, Lipsia, QHS Nadejda (QHS Soft), Blackletter 681, Marriage (Softmaker), Wedding Text TL (by Tomas Liubinas).
  • 1902: Typoscript.
  • 1902-1912: Franklin Gothic. Digital versions exist by Bitstream, Elsner&Flake (in a version called ATF Franklin Gothic), Red Rooster (called Franklin Gothic Pro, 2011), Linotype, and ITC (ITC Franklin Gothic). Discussion by Harvey Spears. Mac McGrew: Franklin Gothic might well be called the patriarch of modern American gothics. Designed in 1902 by Morris Fuller Benton, it was one of the first important modernizations of traditional nineteenth-century faces by that designer, after he was assigned the task of unifying and improving the varied assortment of designs inherited by ATF from its twenty-three predecessor companies. Franklin Gothic (named for Benjamin Franklin) not only became a family in its own right, but also lent its characteristics to Lightline Gothic. Monotone Gothic, and News Gothic (q.v.). All of these faces bear more resem- blance to each other than do the faces within some other single families. Franklin Gothic is characterized by a slight degree of thick-and-thin contrast; by the double-loop g which has become a typically American design in gothic faces; by the diagonal ends of curved strokes (except in Extra Condensed); and by the oddity of the upper end of C and c being heavier than the lower end. The principal specimen here is Monotype, but the basic font is virtually an exact copy of the ATF face in display sizes, except that Monotype has added f- ligatures and diphthongs. Franklin Gothic Condensed and Extra Condensed were also designed by Benton, in 1906; Italic by the same designer in 1910; and Condensed Shaded in 1912 as part of the "gray typography" series. Although Benton started a wide version along with the others, it was abandoned; the present Franklin Gothic Wide was drawn by Bud (John L.) Renshaw about 1952. Franklin Gothic Condensed Italic was added by Whedon Davis in 1967. Monotype composition sizes of Franklin Gothic have been greatly modi- fied to fit a standard arrangement; 12-point is shown in the specimen-notice the narrow figures and certain other poorly reproportioned characters. The 4- and 5-point sizes have a single-loop g. Gothic No. 16 on Linotype and Inter- type is essentially the same as Franklin Gothic up to 14-point; in larger sizes it is modified and more nearly like Franklin Gothic Condensed. However. some fonts of this face on Lino have Gagtu redrawn similar to Spartan Black. with the usual characters available as alternates; 14-point is shown. Western Type Foundry and later BB&S used the name Gothic No.1 for their copy of Franklin Gothic, while Laclede had another similar Gothic No. 1 (q.v.). On Ludlow, this design was originally known as Square Gothic Heavy with a distinctive R and t as shown separately after the Monotype diphthongs; when the name was changed to Franklin Gothic in 1928, it was redrawn, closer to Franklin Gothic but still a bit top-heavy; the unique R was retained in standard fonts but an alternate version like that of ATF was made available separately; also a U with equal arms, a single-loop g, and a figure 1 without foot serifs. Ludlow Franklin Gothic Italic, partially shown on the third line of the specimen, is slanted much more than other versions, to fit the standard 17 -degree italic matrices of that machine. Modern Gothic Condensed and Italic (q.v.) are often though not properly called Franklin Gothic Condensed and Italic, especially by Monotype users. Also see Streamline Block.
  • 1903: Alternate Gothic (ATF). See Alternate Gothic EF (Elsner&Flake), Alternate Gothic No2 (Bitstream), and Alternate Gothic No1, No2 and No3 (see the URW version). Mac McGrew: Alternate Gothic was designed in 1903 by Morris F. Benton for ATF with the thought of providing several alternate widths of one design to fit various layout problems. Otherwise it is a plain, basic American gothic with no unusual features, but represents a more careful drawing of its nineteenth-century predecessors. The Monotype copies in display sizes are essentially the same as the foundry originals, with the addition of f-ligatures. The thirteen alternate round capitals shown in the first line of Alternate Gothic No.1 were designed by Sol Hess in 1927 for Monotype, hence the "Modernized" name; with these letters the design is sometimes referred to as Excelsior Gothic. Monotype keyboard sizes, as adapted by Hess about 1911, are considera- bly modified to fit a standard arrangement; caps are not as condensed as in the original foundry design. In 6-point, series 51 and 77 are both the same width, character for character, but some letters differ a bit in design. Note that these two narrower widths are simply called Alternate Gothic on Monotype, while the wider version is Alternate Gothic Condensed! Alternate Gothic Italic, drawn about 1946 by Sol Hess for Monotype. matches No.2, but may be used with other widths as well. Condensed Gothic on Ludlow, is essentially a match for Alternate Gothic No.1, but has a somewhat different set of variant characters, as shown in the third line. There is also Condensed Gothic Outline on Ludlow, introduced about 1953. essentially an outline version of Alternate Gothic No.2. On Linotype and Intertype there is Gothic Condensed No.2 which is very similar to Alternate Gothic No. 1 in the largest sizes only, but with even narrower lowercase and figures. Also compare Trade Gothic Bold and Trade Gothic Bold Condensed.
  • 1904: Bold Antique, Whitin Black [see OPTI Bold Antique for a modern digitization], Cheltenham (digitizations by Bitstream and Font Bureau, 1992), Cloister Black (blackletter font, see the Bitstream version).
  • 1905: Linoscript (originally known as Typo Upright). Clearface, about which McGrew writes: Clearface was designed by Morris Benton with his father, Linn B. Benton, as advisor. The bold was designed first, in 1905, and cut the following year. The other weights and italics were produced through 1911. As the name implies, the series was intended to show unusual legibility, which it certainly achieved. The precision of cutting and casting for which ATF is noted produced a very neat and handsome series, which had considerable popularity. Clearface Heavy Italic has less inclination than the lighter weights, and is non-kerning, a detail which helped make it popular for newspaper use; the specimen shown here is from a very worn font. Some of the faces have been copied by the matrix makers. But the face Monotype calls Clearface and Italic is the weight called Bold by other sources. Monotype also includes Clearface Italic No. 289, a copy of the lighter weight. Revival and expansion by Victor Caruso for ITC called ITC Clearface, 1978. Also, American Extra Condensed, an octagonal mechanical face revived in 2011 by Nick Curtis as Uncle Sam Slim NF.
  • 1906: Commercial Script (versions exist at Linotype, URW, Bitstream (called English 144), and Elsner&Flake), Miele Gothic, Norwood Roman.
  • 1907: Lincoln Gotisch, named after Abraham Lincoln. This found found its way from ATF to Schriftguss, Trennert und Sohn, and Ludwig Wagner. Digital revivals include Delbanco's DS Lincoln-Gotisch. Compare with Comtesses, Lipsia, Elite Kanzlei, Lithographia and Wedding Text.
  • 1908: News Gothic, Century Oldstyle (digital versions by Bitstream, Elsner&Flake, and URW), Clearface Gothic (1907-1910: digital revivals include Clear Gothic Serial (ca. 1994, SoftMaker) and Cleargothic Pro (2012, SoftMaker). McGrew: Clearface Gothic was designed by Morris Benton for ATF in 1908, and cut in 1910. It is a neat, clean gothic, somewhat thick and thin, which incorporates some of the mannerisms of the Clearface (roman) series. However, it can hardly be considered a part of that family. There is only one weight, and fonts contain only the minimum number of characters.
  • 1909-1911: Rugged Roman.
  • 1910: Cloister Open Face, Hobo, ATF Bodoni (Bitstream's version is just called Bodoni, and Adobe's version is called Bodoni Book or Bodoni Poster or Bodoni Bold Condensed, while Elsner&Flake call theirs Bodoni No Two EF Ultra; Font Bureau's version has just two weights called BodoniFB-Bold Condensed and Compressed). McGrew writes about Hobo: Hobo is unusual in two respects---it is drawn with virtually no straight lines, and it has no descenders and thus is very large for the point size. It was designed by Morris F. Benton and issued by ATF in 1910. One story says that it was drawn in the early 1900s and sent to the foundry without a name, which was not unusual, but that further work on it was continually pushed aside, until it became known as "that old hobo" because it hung around so long without results. More time elapsed before it was patented in 1915. The working name was Adface. Hobo was also cut by Intertype in three sizes. Light Hobo was also drawn by Benton, and released by ATF in 1915. It is included in one list of Monotype faces, but its series number is shown elsewhere for another Monotype face, and no other evidence has been found that Monotype actually issued it.
  • 1911-1913: Venetian, Cromwell. Cromwell was digitized by Nick Curtis in 2010 as Cromwell NF.
  • 1914: Adscript, Souvenir, Garamond (with T.M. Cleveland).
  • 1916: Announcement, Light Old Style, Goudy Bold. Digitizations: Announcement Roman was done by Nick Curtis in 2009 and called Society Page NF.
  • 1916-1917: Invitation. For a digital revival, see Sil Vous Plait (2009, Nick Curtis).
  • 1917: Freehand.
  • 1917-1919: Sterling. Digitizations include Howard (2006, Paul D. Hunt) and Argentina NF (2009, Nick Curtis).
  • 1918: Century Schoolbook (1918-1921). (See ITC Century (Tony Stan, 1975-1979), or the Century FB-Bold Condensed weight by Greg Thompson at Font Bureau, 1992. For Century Schoolbook specifically, there are versions by Elsner&Flake, Bitstream and URW. Bitstream has a monospaced version.) URW Century Schoolbook L is free, and its major extension, TeXGyre Schola (2007) is also free.
  • 1920: Canterbury. Mac McGrew: Canterbury is a novelty face designed by Morris F. Benton for ATF in 1920, when trials were cut, but not completed for production until 1926. It features a very small x-height, with long ascenders and descenders; monotone weight with minute serifs; and a number of swash capitals. It is primarily suitable for personal stationery and announcements. Compare Camelot Oldstyle. Digital versions were done by Nick Curtis in his Londonderry Air NF (2002-2004), and Red Rooster in the series Canterbury, Canterbury OldStyle, and Canterbury Sans.
  • 1922: Civilité. Mac McGrew on the ATF Civilité: Civilite in its modern adaptation was designed by Morris Benton in 1922 and cut by ATF in 1923-24. The original version was cut by Robert Granjon in 1557 to imitate the semi-formal writing then in vogue, and is believed to be the first cursive design cut in type. It became popular for the printing of poetry and for books of instruction for children, where the type itself could serve as a perfect model of handwriting. The first of these books was titled La Civilite puerile, printed at Antwerp in 1559. The books were so popular that the design came to be known as "civility" type. Other interpretations of the letter have been made, including Cursive Script, cut in the nineteenth century in 18-point only from French sources by ATF predecessors and by Hansen, but Benton's seems more attractive and legible to modern eyes. The French pronunciation of ci-vil'i-tay is indicated by the accented e, which was used only in ATF's earliest showings. The many alternate characters were included in fonts as originally sold; later they were sold separately and finally discontinued, although the basic font was still listed in recent ATF literature. Also see ZapfCivilite. Compare Freehand, Motto, Verona.
  • 1924: Schoolbook Oldstyle.
  • 1926-1927: Typo Roman.
  • 1927: Chic (American Typefounders; doubly shaded capitals and figures), Gravure, Greeting Monotone, Goudy Extra Bold. The art deco face Chic was revived by Nick Curtis as Odalisque NF (2008) and Odalisque Stencil NF (2010).
  • 1928: Parisian, Bulmer (revival of William Martin's face from 1792 for the printer William Bulmer; digital forms by Monotype, Adobe, Linotype, and Bitstream), Broadway (1928-1929, see two styles offered by Elsner&Flake, Linotype, Bitstream, and 11 weights by URW), Goudy Catalogue, Modernique, Novel Gothic (ATF, designed with Charles H. Becker), Dynamic. Novel Gothic has seen many digital revivals, most notably Telenovela NF (2011, Nick Curtis), Naked Power (Chikako Larabie) and Novel Gothic SG (Jim Spiece). Images of Bulmer: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii.
  • 1929: Louvaine. McGrew: Louvaine series was designed by Morris F. Benton for ATF in 1928. It is an adaptation of Bodoni (the working title was Modern Bodoni), and many of the characters are identical. Only g and y are basically different; otherwise the distinction is in the more abrupt transition from thick to thin strokes in this series. In this respect, Ultra Bodoni has more affinity to Louvaine than to the other Bodoni weights. The three weights of Louvaine correspond to Bodoni Book, Regular, and Bold. This series did not last long enough to appear in the 1934 ATF specimen book, the next complete one after its introduction. Compare Tippecanoe.
  • 1930: Benton, Engravers Text, Bank Gothic (see Bitstream's version), Garamond-3 (with Thomas Maitland Cleland), Paramount (some have this as being from 1928: see Eva Paramount SG by Jim Spiece). McGrew: Paramount was designed by Morris Benton in 1930 for ATF. It is basically a heavier companion to Rivoli (q. v.), which in turn is based on Eve, an importation from Germany, but is heavier than Eve Bold. It is an informal face with a crisp, pen-drawn appearance. Lowercase is small, with long ascenders and short descenders. Vertical strokes taper, being wider at the top. It was popular for a time as an advertising and announcement type.
  • 1931: Thermotype, Stymie (with Sol Hess and Gerry Powell). Stymie Obelisk is a condensed Egyptian headline face---the latter was revived by Nick Curtis as Kenotaph NF (2011).
  • 1932: Raleigh Gothic Condensed (the digital version by Nick Curtis is Highpoint Gothic NF (2011)), American Text (blackletter). Mac McGrew: Raleigh Gothic Condensed was designed by Morris F. Benton for ATF in 1932. It is a prim, narrow, medium weight gothic face, with normally round characters being squared except for short arcs on the outside of corners. The alternate characters AKMNS give an even greater vertical appearance than usual. At first, this face was promoted with Raleigh Cursive as a stylish companion face, although there is no apparent relationship other than the name. Compare Phenix, Alternate Gothic, Agency Gothic.
  • 1933: American Backslant, Ultra Bodoni (a great Bodoni headline face; see Bodoni FB (1992, Font Bureau's Richard Lipton). About Agency Gothic, McGrath writes: Agency Gothic is a squarish, narrow, monotone gothic without lower- case, designed by Morris F. Benton in 1932. It has an alternate A and M which further emphasize the vertical lines. Sizes under 36-point were added in 1935. Agency Gothic Open was drawn by Benton in 1932 and introduced in 1934; it follows the same style in outline with shadow, and probably has been more popular than its solid companion. Triangle Type Foundry, a Chicago concern that manufactured matrices, copied this face as Slim Open, adding some smaller sizes. ATF's working titles for these faces, before release, were Tempo, later Utility Gothic and Utility Open. Compare Raleigh Gothic Condensed, Poster Gothic, Bank Gothic. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency (1995, David Berlow at FontBureau)
  • 1934: Shadow, Tower (heavy geometric slab serif), Whitehall. Font Bureau's Elizabeth Cory Holzman made the Constructa family in 1994 based on Tower. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency Gothic (1995, David Berlow at FontBureau) and Agency Gothic by Castle Type. Eagle Bold followed in 1934. McGrew: Eagle Bold is a by-product of the depression of the 1930s. The National Recovery Administration of 1933 had as its emblem a blue eagle with the prominent initials NRA, lettered in a distinctive gothic style. Morris Benton took these letters as the basis for a font of type, released later that year by ATF, to tie in with the emblem, which businesses throughout the country displayed prominently in advertising, stationery, and signs; naturally it was named for the eagle. Compare Novel Gothic. USA Resolute NF (2009, Nick Curtis) is based on Eagle Bold.
  • 1935: Phenix. This condensed artsy sans was revived in 2011 at Red Rooster by Steve Jackaman and Ashley Muir as Phoenix Pro.
  • 1936: Headline Gothic.
  • 1937: Empire (Bitstream version). This ultra-condensed face was digitally remade and modernized by Santiago Orozco as Dorsa (2011).
Linotype link. FontShop link. Picture.

Typefaces alphabetic order:

  • Adscript
  • Agency Gothic (+Open
  • Alternate Gothic No.1 (+No.2, +No.3)
  • American Backslant
  • American Caslon&Italic
  • American Text
  • Announcement Roman&Italic (1916). For digital revivals or influences, see Friendly (2012, Neil Summerour) and Society Page NF (2009, Nick Curtis).
  • Antique Shaded
  • Bank Gothic Light (+Medium, +Bold, +Light Condensed, +Medium Condensed, +Bold Condensed). For digital versions, see Bank Gothic AS Regular and Condensed (2008, Michael Doret).
  • Baskerville Italic
  • Benton (Whitehall)&Italic
  • Bodoni&Italic (+Book&Italic, +Bold&Italic, +Bold Shaded, +Bold Open)
  • Bold Antique (+Condensed)
  • Broadway (+Condensed). The prototy[ical art deco typeface.
  • Bulfinch Oldstyle
  • Bulmer&Italic
  • Canterbury
  • Card Bodoni (+Bold)
  • Card Litho +Light Litho)
  • Card Mercantile
  • Card Roman
  • Century Expanded&Italic
  • Century Bold&Italic (+Bold Condensed, +Bold Extended)
  • Century Oldstyle&Italic (+Bold&Italic, +Bold Condensed)
  • Century Catalogue&Italic
  • Century Schoolbook&Italic (+Bold)
  • Cheltenham Oldstyle&Italic (+Condensed, +Wide)
  • Cheltenham Medium&Italic (+Medium Condensed, +Medium Expanded, +Bold&Italic, +Bold Condensed&Italic, +Bold Extra Condensed&Title, +Bold Extended, +Extrabold, +Bold Outline, +Bold Shaded&Italic, +Extrabold Shaded, +Inline, +Inline Extra Condensed, +Inline Extended)
  • Chic
  • Civilite
  • Clearface&Italic (1907, +Bold&Italic, +Heavy&Italic)
  • Clearface Gothic: a flared version of Clearface.
  • Cloister Black
  • Cloister Oldstyle&Italic (+Lightface&Italic, +Bold&Italic, +Bold Condensed, +Cursive, +Cursive Handtooled, +Title&Bold Title)
  • Commercial Script
  • Copperplate Gothic Shaded
  • Cromwell.
  • Cushing Antique
  • Della Robbia Light
  • Dynamic Medium
  • Eagle Bold
  • Empire
  • Engravers Bodoni
  • Engravers Old English (+Bold)
  • Engravers Bold
  • Engravers Shaded
  • Engravers Text
  • Franklin Gothic&Italic (+Condensed, +Extra Condensed, +Condensed Shaded)
  • Freehand. Mac McGrew: Freehand, a face based on pen-lettering, was designed for ATF by Morris Benton in 1917. The working title before release was Quill. Derived from Old English, it is an interesting novelty, and has had quite a bit of use. Compare Civilite, Motto, Verona.
  • Garamond&Italic (+Bold&Italic, +Open)
  • Globe Gothic (+Condensed, +Extra Condensed, +Extended, +Bold&Italic)
  • Goudy Bold&Italic (+Catalogue&Italic, +Extrabold&Italic, +Handtooled&Italic, +Title)
  • Gravure
  • Greeting Monotone
  • Headline Gothic
  • Hobo&Light Hobo (1910). For digital versions, see Informal 707 (Bitstream), Hobbit (SF), Homeward Bound (Corel), and Hobo (Bitstream).
  • Invitation (+Shaded)
  • Light Oldstyle
  • Lightline Gothic&Title
  • Lithograph Shaded
  • Louvaine Light&Italic (+Medium&Italic, +Bold&Italic)
  • Miehle Extra Condensed&Title
  • Modernique
  • Monotone Gothic&Title
  • Motto
  • News Gothic (+Condensed, +Extra Condensed&Title)
  • Norwood Roman
  • Novel Gothic
  • Othello
  • Packard (+Bold)
  • Paramount
  • Parisian
  • Pen Print Open
  • Phenix
  • Piranesi Italic (+Italic Plain Caps, +Bold&Italic, +Bold Italic Plain Caps)
  • Poster Gothic
  • Raleigh Gothic Condensed (1934).
  • Rockwell Antique
  • Roycroft
  • Rugged Roman
  • Schoolbook Oldstyle
  • Shadow
  • Souvenir (1914). Revived in 1977 by Ed Benguiat as ITC Souvenir, but a total failure as a type design. Simon Garfield: Souvenir was the Comic Sans of its era, which was the 1970s before punk. It was the face of friendly advertising, and it did indeed appear on Bee Gees albums, not to mention the pages of Farrah Fawcett-era Playboy. Mark Batty from International Typeface Corporation (ITC) on one of his best-selling fonts: A terrible typeface. A sort of Saturday Night Fever typeface wearing tight white flared pants. Garfield also retrieved this quote by type scholar Frank Romano in the early 1990s: Real men don't set Souvenir. Digital revivals also include Sunset Serial by Softmaker, and ITC Souvenir Mono by Ned Bunnel.
  • Sterling&Cursive
  • Stymie Light&Italic (+Medium&Italic, +Bold&Italic, +Black&Italic)
  • Thermotypes
  • Tower Condensed (1934). Revived by Photo-Lettering Inc as PL Tower.
  • Typo Roman&Shaded
  • Typo Script&Extended
  • Typo Shaded
  • Typo Slope
  • Typo Upright&Bold
  • Ultra Bodoni&Italic (+Condensed, +Extra Condensed)
  • Venetian&Italic (+Bold)
  • Wedding Text&Shaded

View Morris Fuller Benton's typefaces. A longer list. A listing of various digital versions of News Gothic. More News Gothic-like typefaces. [Google] [MyFonts] [More]  ⦿

MyFonts: Ronde typefaces

Ronde typefaces in the MyFonts collection. [Google] [More]  ⦿

Nicolas Gando

French calligrapher, engraver and type founder, d. ca. 1767. He acquired the types of Claude Lamesle: Épreuves générales des caracteres provenants de la fonderie de Claude Lamesle, lesquels se trouvent présentement dans celle de Nicolas Gando, l'aîné (Paris, Cloître S. Julien le Pauvre, 1758). See also Epreuves des caractères de la fonderie Gando, père et fils (Paris, Cloître Sc Julien le Pauvre, 1760). His son is Pierre-François.

He was involved in music typography and wrote an angry response Observations sur le traité historique et critique de M. Fournier (1766) as a reaction to accusations of plagiarism made by Pierre-Simon Fournier in 1765 in Traité historique et critique sur l?origine et les progrès des caractères de fonte pour l'impression de la musique. A 170-page specimen book was published in 1810: Specimen des caractères de la fonderie de N.P. Gando à Paris et de son fils TH. S. Gandon à Bruxelles. [facsimile reprint in 1992 by Lane and Lommen] This shows that his son, Th. S. Gando, had set up shop in Brussels.

Nicolas Gando is often associated with upright connected script style. Digital versions include Gando Ronde (a formal script by H.J. Hunziker and Matthew Carter in 1970; Linotype), French 111 (at Bitstream) and Gando BT (at Bitstream). Typo Upright / Linoscript is a genetically slightly different family of rondes (compare the k's). [Google] [MyFonts] [More]  ⦿

Nymfont (was: Nymphont)
[Lauren Thompson]

Lauren Thompson (Nymfont, or Nymphont) is a designer from Las Vegas (b. 1982). She created the elegant sans face LT Oksana (2008), the grungy Frail 7 bedazzled (2008) and the classical ornament face Nymphette (2008). Her LT Nutshell Library (2008, an ornamental titling font and a display text font) was inspired by the "Nutshell Library," a book series by Maurice Sendak. LT Chickenhawk (2008) is a hand-printed outline font.

Nymph's handwriting (2009) followed a bit later. LT White Fang (2009) is an outline blackletter face. LT Sweet Nothings (+ Dingbats), Cupi de Locke and Damask Dings were added in 2009. Champagne&Limousine (2009) is an elegant geometric sans family. Caviar Dreams (2009) and LT Anomaly (2009) are sans families. Happy Phantom (2009, +Demi) is a typewriter-style slab serif.

Pinstripe Limo (2010) is bilined. Sachiko (2010) is an upright connected script. Jolly (2010) is a monoline sans family with four weights.

Lemondrop (2012) is an art deco family. Tellural (2012) is a monoline sans typeface family. The 4-style serif face Aver (2012) is quite useful.

In 2013, she published Merveille (a ronde script), Xiomara (connected curly script), Connie (a late Victorian or early art nouveau typeface), Whipsmart (a clean flared sans), the classic ornamental font Dingleberries, Margot (a quaint almost art nouveau alphabet), and the informal Tuscan face Robinne (+Truecase).

Devian Tart link. Abstract Fonts link. Fontspace link. Nymfont home page, which has a type design blog. Klingspor link. [Google] [More]  ⦿

Paulo W
[Intellecta Design]

[MyFonts] [More]  ⦿

Peter Doerling
[Die Entwicklung unserer Schrift]

[More]  ⦿

Poole Foundry
[Wesley Poole]

Wesley Poole's foundry based in Kaneohe, HI, and established in 2006. Wesley Poole (b. California, 1952) was a sign painter and wine label designer in the Napa Valley (his companies were called Oasis Graphics and then Titus&Poole, and Poole Aert&Design) for almost 25 years before moving to Hawaii in 2002 due to multiple sclerosis. Typefaces:

  • Pagoda International (2006, designed with his son Samuel Poole). A comic book font based on the lettering of the Pagoda Hotel in Honolulu.
  • Poole Standard (2006). A stylish headline face.
  • Poole Chiselcut (2007). Digitization with the help of Rod Cavazos (PsyOps).
  • Polynesiac (2007, Wesley and Samuel together). Simulation of Easter Island lettering.
  • Jigger Statz (2007).
  • Contempo Elan (Grand Script and Ornamental) (2006). A festive and assertive calligraphic script done by Wesley and Samuel Poole.
  • Alphaluxe (2008). A calligraphic upright connected ronde script by Wesley and Samuel.
  • Vingo (2006).

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

Ralph Michael Unger
[RMU (Ralph Michael Unger Typedesign)]

[MyFonts] [More]  ⦿

RMU (Ralph Michael Unger Typedesign)
[Ralph Michael Unger]

Ralph M. Unger (b. 1953, Thuringia, East Germany) says this about himself at MyFonts: Typesetter from the composing stick via Linotype setting machines to the Mac. Jobs in various Thuringian printeries. Barred further education by Communist authorities due to political reasons. Imprisoned in East Germany. Since 1988 in the state of Baden-Wuerttemberg, former West Germany. Jobs in several newspaper printing houses as advertisement compositor. Own office since 1995, in Aalen, Baden-Wuerttemberg. He lives in Schwaebisch Gmuend, and was a freelance type designer for Profonts and URW++, where he contributed frequently to these libraries between 2002 and 2009. In 2009, he founded RMU. MyFonts link. I split his contributions into two groups, the URW / Profonts group, and the RMU group. The prefix FontForum refers to a subseries of URW++ fonts. Unless specifically mentioned, all the following fonts are at URW++ and/or Profonts:

  • FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
  • Amitié (2009): a garalde family.
  • Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
  • Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
  • Atze (2010): a comic book family.
  • Behrensschrift D (2007): after the jugendstil face Behrens Schrift, 1902, by Peter Behrens.
  • FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
  • Bradley (2005): blackletter, after the original by William H. Bradley.
  • Breite Kanzlei (2007).
  • Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
  • Brocken (2011) is a signage face inspired by a design of Volker Küster (1960s).
  • Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
  • FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
  • Card Pro (2006): a decorative display based on lettering by Sjoerd Hendrik de Roos.
  • Chaweng (2006, Profonts): an oriental all caps simulation face.
  • Civilite URW (2005).
  • Compliment (2004, casual script).
  • Cranach (2007): a blackletter face modeled after Kuenstler Gotisch from the Krebs Foundry.
  • Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
  • Dominique (2010, profonts): an informal typeface.
  • FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
  • Edda Pro (2008): an art nouveau face that revives a Heinrich Heinz Heune face from 1900.
  • Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
  • Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
  • Eurobrush Pro (2007, Profonts): handwriting.
  • EuroSans (2008).
  • Euroscript Pro (2006, Profonts): school script face.
  • Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
  • Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
  • Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
  • Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
  • Gmuender Elan Pro (2011) is a 1950s style script face.
  • Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
  • Graphique Pro (2008): shadowed caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
  • Handel Slab (2009): a 6-style extension of Trogram's 1980 face Handel Gothic.
  • Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
  • Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
  • Profonts Impression (2008): art deco.
  • Jessen Schrift (2004): after the Rudolf Koch blackletter face by that name.
  • FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
  • Legende (2002): a script face based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
  • Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971-1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
  • Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
  • The Maszynysta family of heavy industrial sans faces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
  • Maxim (2003, Profonts): The heavy brush face Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
  • New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
  • Old Borders and Lines (2010). A free font.
  • Ornella (2008): Jugendstil.
  • Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
  • Pedell (2009): a casual script.
  • Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
  • In 2012, Ivana Koudelkova codesigned the grungy headline face Retroactive Pro with Ralph M. Unger at Profonts.
  • Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
  • Roberta (2003): art nouveau face after obert Trogman's face for FotoStar.
  • FontForum Signs and Symbols (2006).
  • Splendor (2009): a revival of a brush script face by Wilhelm Berg, Schriftguss, 1930.
  • Sportowy (2009): an outline face.
  • Stanford (2011). A sports lettering face.
  • Stiletto (2006): a medieval script.
  • Fontforum Stripes (2007): a multistripe op art display face based on a Letraset font from 1973 by the same name.
  • Fontforum Thalia (2006): retro font.
  • Tintoretto (2006): shadow display face.
  • Tip Top Pro (2008): a Julius Klinkhardt art nouveau face revival.
  • FontForum Unciala (2005): a revival of Oldrich Menhart's face Unciala (1953, Grafotechna).
  • Unger Chancery (2005).
  • Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
  • Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
  • Profonts Woodpecker (2008).
The list of RMU fonts:

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

Samuel Poole

Son of Wesley Poole, born in California in 1984. Sam lives and works with his father Wesley in Hawaii, and has cooperated with him on these fonts that were published by Poole Foundry:

  • Pagoda International (2006, designed with his son Samuel Poole). A comic book font based on the lettering of the Pagoda Hotel in Honolulu.
  • Poole Standard (2006). A stylish headline face.
  • Poole Chiselcut (2007). Digitization with the help of Rod Cavazos (PsyOps).
  • Polynesiac (2007, Wesley and Samuel together). Simulation of Easter Island lettering.
  • Jigger Statz (2007).
  • Contempo Elan (Grand Script and Ornamental) (2006). A festive and assertive calligraphic script done by Wesley and Samuel Poole.
  • Alphaluxe (2008). A calligraphic upright connected ronde script by Wesley and Samuel.
  • Vingo (2006).
[Google] [MyFonts] [More]  ⦿

Sasha Godiaieva

Art director at Leo Burnett Kiev in Kiev, Ukraine. Creator of the hairline upright connected script typeface Lena (2013).

Behance link. [Google] [More]  ⦿

Sidney Clyde Gaunt

Artist and type designer at Barnhart Brothers&Spindler, 1874-1932, who lived in Chicago. Creator of many faces:

  • 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.
Images of some of his faces when they were patented by BBS: 1908, 1908, 1908, 1906. [Google] [MyFonts] [More]  ⦿

Solotype
[Dan X. Solo]

Dover Press sells Oakland's Dan X. Solo's digitizations. Dan Solo (b. 1928, d. 2012) has collected over 13,000 sets of metal fonts, starting when he was 9 years old and growing up in Oakland, CA. Finally, in 2002, he stopped doing that and began converting all of his fonts to computer type. He printed 30 books on fonts (with Dover), [including The solotype catalog of 4,147 display typefaces] and created hundreds of fonts. In 2007, he retired from the font business.

Robert Trogman writes: I know Dan X. Solo personally. He ran a typographic studio in Berkeley for over 30 years. He had a large collection of film fonts, including some of my own. He created thousands of fonts and is now retired and is an avocational prestigitator. Copyrights have run out on most of his fonts. He also protected himself by creating pseudonyms on the questionable font names. Stuart Sandler confirms that many of the fonts in Solo's Dover books are in fact from the Filmotype collection, which Stuart is digitizing right now.

Gene Gable writes: Dan Solo of Solotype in Berkeley was experimenting with photo type as early as 1945 and started doing optical special effects in the early '60s. And a number of the larger display-type shops developed their own techniques. But in terms of opening up new markets for display type (and giving designers more control over type setting), Visual Graphics and Letraset lead the way. These companies were proud of, and promoted, the fact that that their products could be used by non-typesetters with little training.

MyFonts sells these faces under the name Solotype (the company is in Alameda, CA): Acantha, Assay, Baraboo Banner, Beijing, Bindweed, Brevet (after a Victorian original by Ernst Laushke, 1887), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dime Museum, Dutch Treat, Egyptian Oldstyle, Excelsis, Extravaganza, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade, Rigney, Trixie, Valerie, Zorro.

Bio. Bio.

He writes about himself: Dan X. Solo The Solotype Archive was begun in 1942 when I was 14. I was a kid printer for several years before that. At 16, after a quick three months of training, I dropped out of school and went to work full time as a radio actor and announcer in San Francisco. (Easy to get jobs in those days, due to the war-induced manpower shortage.) In 1949 and 1950, I created a magic show which played West Coast theatres with some success. After that, back to broadcasting. By 1962, I was completely burned out on radio, so I decided to see if I could make a living with my collection of antique types, which numbered about a thousand fonts at that time. In 1962, I sent out 4,000 catalogs showing the type to ad agencies all over the U.S. The timing was perfect (no thanks to me) because there was developing at that time a renewed interest in the old types. Business took off immediately. The Solotype collection was one of four commercial collections at the time, but I seemed to have been more aggressive in marketing than the other chaps. (Well, Morgan Press certainly knew how to market.) Two years into the business, I began to collect alphabets on paper for conversion to photo lettering, which was just becoming mainstream in the type business. We closed the shop for a month every year and went on a type hunt, mostly in Europe where there didn't seem to be much competition among collectors. Other typographers couldn't understand how we could do this, but I believe it made people appreciate the resource we offered even more. Over the years, the collection became quite large. When I closed Solotype a couple of years ago, I got rid of about half the archive (because the fonts were dull, or already digitized, or for a variety of other reasons) leaving me with about 6,000 fonts on paper or film. In 1974, I began to supply Dover Publications with mechanicals for books of 100 alphabets on a particular theme. I did 30 of these books over the years, and 30 more of printers' ornaments, borders, and so forth. Sometime in the 1990s, Dover asked me to digitize books of 24 fonts each, to be sold with a disk in the back. I did 12 of these. The Dover relationship came to an end when Haywood Cirker, the owner and my special friend, died and the company was sold to another publisher. Dover felt that they had covered the type field thoroughly. Now in my old age, my wife and I have a mindreading act that is great fun and good for the ego. Even so, when not traveling, I digitize type for relaxation and enjoyment, but have made no effort to sell it. Until now.

A list of some digitized fonts:

  • Art Deco: Advertisers Gothic Light, Alex, Beverly Hills, Boul Mich, Cabaret (2003, as in Murder She Wrote), Capone Light, Chic, Clyde, Eagle Bold, Eagle Narrow, Eden Bold, Eden Light, French Flash, Gallia, Graybar Book, Grock, Matra, Modernique, Parasol, Parisian, Phoenix American, Plaza Suite, Publicity Gothic, Salut, Stymie Obelisk, Zeppelin.
  • Victorian: Anglo, Arboret, Campanile, Chorus Girl, Fancy Celtic, Ferdinand, Floral Latin, Glorietta, Grant Antique, Gutenberg, Hogarth, Jagged, Katherine Bold, Lafayette, Meisteringer, Olympian, Phidian, Ringlet (1998, a Victorian face after an 1882 original by Hermann Ihlenburg), Romanesque, Rubens, Stereopticon, Templar, Wedlock, Zinco.
  • Script/Cursive: Amapola, Artists Script, Carpenters Script, Certificate Script, Commercial Script, Conway (an architectural script), Elegance, Engrossing Script, Figaro, Flare, Gloria Script, Hanover, Helvetica Cursive, Holly, Kunsteler Bold, Liberty, Manuscript, Orion Script, Pantagraph Script (+No2, +No3), Park Avenue, Romany Script, Trafton Script, Typo Upright, University Script, Virginia Antique.
  • Art Nouveau: Ambrosia, Argus, Artistik, Auriol, Baldur, Bocklin, Carmen, Childs, Edda Black, Excelsior, Francomia, Giraldon, Harrington, Isadora, Metropolitan, Murillo, Oceana, Odessa, Orbit Antique, Palmetto (2005; based on a 1887 face called Palm from the A.D. Farmer Foundry), Siegfried, Skjald, Spartana, Titania.
  • Gothic/Medieval: Academy Text, American Uncial, Antique Black, Becker Bold, Bradley, Castlemar, Celebration Text Fancy, Church Text, Engravers Old English, Frederick Text, Freehand, Hingham Text, Initials-Bradley and Caxton, Kanzlei Light, Lautenbach, Lautenbach Fancy Caps, Libra, Morris Black, Nicholini Broadpen, Rhapsodie Swash Caps, Scottford Uncial, Solemnis, Washington Text, Wedding Text.
  • Celtic: Anglo Text, Camden Text, Chappel Text, Cimbrian, Colchester Black, Durer Gothic, Durwent, Fenwick, Genzsch Initials, Gloucester Initials, Gutenberg Gothic, Hansa Gothic, Harrowgate, Kaiser Gothic, Kings Cross, Konisburg, Malvern, Medici Text, Middlesex, Progressive Text, Tudor Text, Warwick, Westminster Gothic, Yonkers.
  • Special-Effects Display Fonts: Azteca Condensed, Buddha (oriental simulation face, after a Schelter&Giesecke type), Burst, Campaign (1970), Chinatown (oriental simulation), Cigar Label (1997-2002), Colonial Dame, Contract Banner (2004, a take on Mezzotint from 1880)Direction, Fillet, Filmstar (1999), Firebug, Headhunter, Hollywood Lights, Igloo Solid, Import, Lariat, Needlepoint, Old Glory, Protest, Rustic, Scimitar (Arabic simulation face), Scoreboard, Skyline, Starburst, Sundown Shadow, Tableau, Tonight, Xerxes.
See also here.

The Solotype Catalog is a file with information on Dan Solo's typefaces, annotated with remarks about name equivalences and digitizations. The original file was due to Thibaudeau, but typophiles on alt.binaries.fonts have added to it in 2010. PDF version. Excel version. Text version.

Images of other selected typefaces: Agency Gothic, Alpha Midnight, Alpha Twilight, Anita Lightface (1977), Art Deco Display Alphabets, Ashley Crawford, Ashley Inline, Astur, Bamberg, Banco, Beans, Blackline, Bobo Bold, Braggadocio, Broadway Engraved, Busorama Bold, Busorama Light, Bust, Charger, Checkmate, Colonel Hoople, Corral, Dudley P Narrow, Dynamo, Earth, Eclipse, Empire, Ewie, Fat Cat, Fatso, Festival, Futura Black, Futura Inline, Gillies Gothic Bold, Greeting Monotone, Grooviest Gothic, Hess Neobold, Hotline, Huxley Vertical, Inkwell Black, Joanna Solotype, Joyce Black, Koloss, Lampoon, Mania, Mania Contour A, Mania Contour B, Margit, Mindy Highlight, Modernistic, Monograms Stencil, Mossman, Neon, Neuland (+Inline), Phosphor, Piccadilly, Pickfair, Polly, Prismania P, Quote, Rhythm Bold, Shady Deal, Sheet Steel, Sinaloa. [Google] [MyFonts] [More]  ⦿

Stephenson Blake
[John Stephenson]

Founded in 1819 in Sheffield by toolmaker John Stephenson (died in 1864), silversmith William Garnett and financier James Blake, initially largely based on the purchase of the foundry of William Caslon III and IV in 1819. iIn 1829 Garnett left to become a farmer. The company was renamed Blake&Stephenson in 1830, but Blake died soon after. It became Stephenson, Blake&Co. in 1841. John Stephenson died in 1864, the year after he handed control to his son Henry. The company grew by acquiring most British typefoundries: Fann Street Foundry (1906); Fry's Type Street Letter Foundry; H.W. Caslon&Sons (1937); Miller&Richard (1952). The matrices and other old typographic equipment to Monotype and can be seen in the Type Museum of London. MyFonts provides this update: Members of both the Stephenson and Blake families still sit on the board of the present company. In 2001, according to managing director Tom Blake, the foundry was still producing some type in zinc, but by 2005 the company was wound up. There are plans to turn the former premises into an apartment complex.

In 1996, all remaining materials (punches, matrices, specimen books) were sold to Justin Howes' Type Museum. The information in The Ancestry of British Typefounding and the complete list of the Stephenson-Blake typefaces comes from Roy Millington's Stephenson Blake The Last of the Old English Typefounders, The British Library, London, 2002. Today, Stephenson Blake continues in manufacturing only.

Partial typeface list: Algerian (URW), Brittanic (Linotype), Baskerville Old Face (URW), Carlton (1910s, digitized by Letraset in 1983; some say the original is F.H. Ehmcke's Ehmcke Antiqua, 1909), Chisel (an engravers face done in 1939 by Robert Harling; digital version at URW), Consort [the Stephenson Blake version of Clarendon], Doric Bold (Adobe), Fry's Ornamented No. 2 (many digitizations exist, e.g., Beffle (1991, David Rakowski)), Grotesque No 9 (URW), Impact (Linotype, Adobe), Latin (URW), Latin Wide (1940), Latin Antique (1880s; a woodish face revived by Nick Curtis in 2011 as Indubitably NF), Old Town No 536 (Western face, see Linotype), Playbill (a 1939 western saloon face by Robert Harling; digital versions at Bitstream, Linotype, and URW), Tea Chest (1939, an all-caps stencil face revived in 2011 by Nick Curtis as East India Company NF; Sigrid Claessens and Günther Flake revived Tea Chest Stencil in 1999 for Apply Interactive), Thorowgood, Verona (1923), Vivaldi (now at Linotype), Windsor (Bitstream, URW, Linotype, after a 1903 original by Sir William Kirkwood at Stephenson Blake), Wood Indexes (fists), Marina Script (1936, a copperplate script), Parisian Ronde (acquired from the Inland Type Foundry in 1905), Imperial Script (late 1800s formal script not unlike Firmin Didot's Anglaise, 1809), Bologna (script face, 1946), Glenmoy (script face, 1932, digitized and expanded in 2005 by Alejandro Paul as Mousse Script (Sudtipos) and in 2007 by Nick Curtis as Glengary NF, and in 2012 by Vernon Adams as Norican at Google Web Fonts), Francesca Ronde (1948), Granby (1930, a fat grotesk, revived in 2011 by Steve Jackaman and Ashley Muir as Granby Elephant), Recherché (revived by Nick Curtis as Plus de Vagues NF (2006)), Youthline Script (1952, a copperplate script for the banking and insurance industry, digitized and extended into a 7-weight family in 2005 by Rebecca Alaccari and Patrick Griffin as Sterling Script (2005)).

Some type specimen, and a discussion of some typefaces, by yours truly.

Scans of some old typefaces: Britannic Italic, Flemish, Freehand Script, Olympian.

A few scans from Henry Taylor Wyse's book of 1911, showing types owned jointly by Stephenson Blake and Sir Charles Reed of Sheffield: AntiqueRoman, Athenian, Baskerville, Black No. 3, DeVinne, DeVinne Italic, Hallamshire Old Italic, Italian Old Style, Italian Old Style, Italian Old Style Italic, Lining Modern No. 20, Lining Old Style No. 5, Lining Westminster Old Style, Winchester Bold, Winchester Old Style, Winchester Old Style Italic.

View digital typefaces that descend from the Stephenson Blake collection. [Google] [MyFonts] [More]  ⦿

Tattoo Woo (or: Smokewire)
[Jonathan Stephen Harris]

Tattoo Woo (or: Smokewire) is American tattooist Jonathan Harris.

In 2011, he created the curly gothic tattoo faces Hot Chocolate Latte, League of Ages, Royal Inferno, Tribal Times and Tribal Dragon, and the spiky face Quasari (2011). He also made Jelly Swirls (curly), Highway to hell, What a mess (grunge), Pixie Moon, Sword Thrasher, Starship XXXII (Star Trek face), Christmas Snow (art nouveau snowcapped glyphs), and Jazzy Caveman (a stone age face).

Typefaces created in 2012: Bright Star Tonight, Harristoon, a crayon series (Crimes Times Six, Colored Crayns, XXX Dirty Jokes XXX, Harris Wear, Black Crayon), Alien Mutations Begin, Vineyard Magazines, Forbidden Land (scratchy face), Way Gardens (flowery script), Pencil Shading, Cartoon Shadow, Heart Shapes, Sassy Stark, Back to School, Black Eye Peas, Silly People, Street Art (a great ink splatter font), Heartbroken, Jen Luves Ben Forever, Heart Broken, Catalina, Anywhere but home, Holly Christmas, Kringley Christmas (dingbats), Seasons Greetings, Cheese Cake, Abraham Heights, Call me maybe (sketch font), Lydia Puente (calligraphic script), Tribal Script, The Daily Bread (a beautiful ronde), Naughty Nights, a set of four Asian brush style faces (Japanese Style, All Yoko, Chinese Asian Style, Chinese Takeaway), Hey Cutie, Zing Easy (brush), Kids Play, Keep It Simple (loopy script), Standing Tall (anguished Kafkaesque typeface), The Abandoned Treasure (brushy caps face), The Mocking Bird, Nighty Nights, Road Trip, Been Hanging Around, Divided Nations, Dodger Gear, The Best Night (brush), Stencil Brush (brush), Quite Chocolatey, Round About (stitch font), Physics Teacher, Madman Howling, Love Sequel, Cross Out, My Mistake, Colours of Autumn, Da Streets (graffiti face), Hard Fox (stencil brush), You Are Precious (curly script), The Blue Oasis, Dysfunctional Family (brush face), Lovely Excuse (brush family), No Fear (brush face), Dead End, The Art Show (brush face), Comical Smash, The Quick, The Lost Paintings, Stone Age, Eyeliner Tattoo, Sketch Pad, Art Class (spilled paint face), Ink Studio, Stay Holy Okay, Water Park (bubblegum face), Urban Jungle, Geez Seriously (curly typeface), Crazy Weekend, Slimeball, Real People, A Brush No, Beware of the Hogs (blood drip typeface), Definitely Maybe, Draw Freehand, Bloodthirsty (blood drip font), Zombie Slayer (blood drip font), Your Bloody Choice (blood drip font), Barn Animals, Comic Strip, Scribble Fun (textured face), Boom Shanker, Girly Punk, Pucky, Spray Break, Font Insane, Fairground, Last Breath (2012),Follow Your dreams, Together Again, Drawing Guides, Death Branch, Panda Spots, Fuzzy Bear, Threadz Needle, Homeboy, Hairs Dens Bag, Primitive Alien, Bonney Lass, Cake Nom (3d and shaded), Headshop (psychedelic), Tribal Butterflies (dings), Tribal Dragons Tattoo Designs, Tribal Animals Tattoo Designs, Abstract Alien Symbols, Jewelry Design Shapes, Wander Ball, Love Hue, The Fat Store, Chooka Zoon (bubblegum face), Happy Roxy, Hearts and Stars, Arcade Book, Teaspoon Display (swashy calligraphic face), Ready Black (another swashy calligraphic face), The Lodger Rang (gothic script), Sketch Book, Sketchline, Drafting, Last Breath (tattoo font), Drawing Pad, Child's Play, Design Bubble, A Stitch Plus Nine, Ming in Bling (comic book shadow face), You Are Something (curly script), Hot Pink, How To Do Something (comic book face), I Love What You Do, Get Wet.

Typefaces from 2013: Reed of Love (a textured script face), First Grader, School Holiday (brush script), Spin Head (sketched face), Russian Roulette, Blah (brush face), Eating You Alive (brush face), Christians United (brush face, same as Blah), Beginning of Summer (brush face), Something Strange (blood drip font), Messy Script, Broken Ink, Car Wash, Head Case (a very curly script), Barn Owl, Ruff Ruff, Shadow Jumper, Barn Oil, Phantom Ghost, Tardy Kid, Scrapbooking, Fiesta Time, Science Project, Oh No Not Again, Oh Shit (brushy), Teaser Houses, Eternal Fascination (connected script), Shades of Black, Bingo Bangos (brushy script), Street Fighter, Marker Pen (brush), Home and Away (brush), Spring Cleaning, Scribble Table, Sound Heart, Imagination Station (a heavy brush face), Teddy Bear, Good Day, Easy Rider (retro script), Silent Reaction, Today is the Oldest and Youngest (tall condensed script), Brush Strokes, Texas (brush), Messing About (scratchy hand), Kindergarten (hand-printed), Oh No (dusty typeface), Art Studio, Crazy Horse (great grungy brush), Time Machine, Strings and Things (sketched typeface), Twisted Brother, Big Easy, Egyptian Nights, Demolished, Lazy Girls, Angels Message (pixie dust script), Medieval Queen, Kings and Queens (swashy script), Admiration Pains, Confetti Stream, Hill Billies (signage face), Sweet Heart, Manhunter, Beware of the dog, Kiss Me Quick (Valentine's Day script), Atomic Number (a chalky dusty typeface), Potted Balls, The Boatman (graffiti font), Dead Island (brush face), Age to Age (swashy brush), Sticky Things (brush face), Lasting Love, Beware of the Zombies, Skyscraper, Coffee House, Rough Rider (fat brush face), The Green Life, National Cartoon (sketched 3d face), True Lies (brush face), Heron's Nest (sketched), Freaky Friday, Be There Soon, Praying Angel, Leap of Faith (graffiti brush), Beginning Yoga (brush script), Tims Grocery Store, Biogalaxy, Funga Donga Binge, Sketchbook Challenge, Arsonist, Say No to Drugs, Frizzled Planet, Decayed in Sixty Seconds.

Fontspace link. Dafont link. Abstract Fonts link. Fontspace link for Smokewire. Link to Smokewire. Fontspace link for Jonathan harris. [Google] [More]  ⦿

Typo Upright

Typo Upright is a ronde style upright script that originated from the Inland Type Foundry as French Script.

MacMcGrew: Typo Upright is Morris Benton's interpretation in 1905 of a popular style of vertical French Script, introduced by ATF as Tiffany Upright. It is the only such design suitable for adaptation to keyboard slug casting, and is called Lino Script and Interscript by the two leaders in that field. There is also Typo Upright Bold and Typo Shaded, both recorded as being designed by Benton in 1906, but only the latter is noted as having the Tiffany name originally. These two faces are adaptations of the Typo Upright design. Finally there is Typo Slope, a sharply inclined version of the same design; it is credited to Benton in 1905, originally as Tiffany Slope. The lowercase of this face is more nearly a conventional script, while the caps show the French influence. Typo Upright was copied by Western as Society Script. Also see French Plate Script.

Stephenson Blake's version of this design is Parisian Ronde.

Typo Upright is also known as French Script, Interscript, Kaylin Script and Linoscript. Digital versions include French Script (Monotype), Typo Upright (Bitstream), Linoscript (Adobe), and Ronde Script (2012, Group Type). [Google] [More]  ⦿

Wagner&Schmidt

German foundry establshed in 1888 by Theodor Robert Arthur Schmidt and Ludwig Wagner in Leipzig. In 1902, Ludwig wagner calls it quits and founded Gundelach&Ebersbach (first founded in 1897) also in Leipzig, and opens his own foundry, Ludwig Wagner. Schmidt stops in 1932, and Otto Schmidt takes over--the company is now called Wagner&Schmidt Nachfolger. Otto Schmidt dies in 1941, and the company is dissolved in 1942. Wagner&Schmidt was responsible for such successful Fraktur typefaces such as Allemannia-Fraktur (see also Ludwig&Mayer, Frankfurt am Main, 1908), Deutschmeister (Berthold Wolpe; the date 1927 has been suggested), Fette Fraktur (well, their own version at least, dated 1875, with present day versions by that name at Adobe and Berthold. Imitations of Fette Fraktur: Fraktur Fett (Greenstreet), Baron&Berliner (Swfte), Bauble (SSi), Luftwaffe (WSI), F692 Blackletter (SoftMaker), Fraktur (SoftMaker)). They also made the upright semiscript Mirabelle (1926, which was digitized and extended by Nick Curtis as Anna Nicole NF (2007)), Kurmark (see also Norddeutsche Schriftgießerei, Berlin, 1934), Annonce Grotesque (1914; see also Ludlow), Amanda Ronde (1939; see Stephenson Blake) and Senta (1904). Under C.E. Weber in Stuttgart, we find these additional typefaces: Colonna Antiqua (1908), Druckhaus Antiqua (1919), Druckhaus Kursiv, Ekkehard (1903), Erika (1920), Margarete (before 1927), Orient Antiqua (1914), Parlements Fraktur (1908) and Progreß Reklameschrift. [Google] [More]  ⦿

Wesley Poole
[Poole Foundry]

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William A. Schraubstadter

St. Louis-based punchcutter and typefounder (1864-1957) who started the Inland Type Foundry in St. Louis in 1895 together with his brothers Carl and Oswald. He is credited with the heavy square-serif face Foster (Inland Typefoundry, 1905). Mac McGrew says: [Foster] seems rather crude by later Stymie standards-even compared with the earlier Boston Breton-particularly for the narrow G, the wide J, the high-waisted B, P, and R, and several other unusual letters. Condensed Foster, introduced by the same foundry in 1908, is comparable. He goes on: Adcraft Medium was formerly known as Rugged Medium or Alfred [Medium]. It was originated by Inland Type Foundry and patented by William A. Schraubstadter in 1910. About Comstock, McGrew writes: Condensed Comstock was introduced by Inland in 1905, but patented in the name of William A. Schraubstadter in 1908. It has no lowercase, but the design is more contemporary. Monotype has copied both faces, but Monotype Comstock Condensed is in 18-point only, without figures. Schraubstadter also created Woodward and Woodward Outline (1894, Inland Typefoundry), Winchell Condensed, Webb, French Script, Devinne Recut, Devinne Recut Outline, and many 19th century typefaces.

All notes by Mac McGrew about various typefaces designed by Schraubstadter:

  • ADCRAFT. The three weights shown by BB&S in 1927 under this name were assembled from three different sources. While they are acceptable as family members, their resemblance to each other is merely coincidental and not as pronounced as in most families. The unifying feature is their rugged or irregular shape, a popular style of the time. Adcraft Black, the oldest member, was introduced by BB&S under the name of Plymouth Bold in 1900 or earlier. It is very heavy, and the most rugged of the group. Fonts contained all the Special characters shown, except for certain ones in the largest sizes. The regular weight of Plymouth (q.v.) was called Adcraft Bold by some users, but that name does not seem to be in any of the founders' literature. Adcraft Medium was formerly known as Rugged Medium or Alfred [Medium]. It was originated by Inland Type Foundry and patented by William A. Schraubstadter in 1910. Adcraft Lightface originated with Western Type Foundry in 1911 as Carlton and was taken over by BB&S as Rugged Lightface; it was also made under the name Puritan by Hansen, which is the source of this specimen. Adcraft Lightface fonts contained all the Special characters shown plus capital AE and DE diphthongs, but Adcraft Medium fonts had ct and st ligatures only. Compare Avil, Drew.
  • COMSTOCK was advertised by Inland Type Foundry in 1902 as "a striking novelty, our brand new face." It was revived by ATF in 1957. It is a medium weight conventional gothic, distinguished by a hairline surrounding each letter. The G lacks a crossbar, typical of many nineteenth-century gothics. The design was sponsored by A. H. Comstock of Omaha, according to a review at the time of its introduction. Condensed Comstock was introduced by Inland in 1905, but patented in the name of William A. Schraubstadter in 1908. It has no lowercase, but the design is more contemporary. Monotype has copied both faces, but Monotype Comstock Condensed is in 18-point only, without figures. In both foundry faces, there are several sizes on 12-point body; No.1 is the largest in regular, but No.1 is the smallest in Condensed. In 1911, a copy of Comstock was issued by Bauer in Germany under the name Astoria, revived in 1957.
  • FOSTER is a heavy square-serif letter, patented and probably designed by William Schraubstadter and introduced by Inland in 1905. It seems rather crude by later Stymie standards-even compared with the earlier Boston Breton-particularly for the narrow G, the wide J, the high-waisted B, P, and R, and several other unusual letters. Condensed Foster, introduced by the same foundry in 1908, is comparable. See Webb for the outline version of the same design.
  • ROCKWELL ANTIQUE was a reissue of Litho Antique, cut by William Schraubstadter for Inland Type Foundry and introduced in January 1910 when it was advertised as the "newest typeface; one of our best; closely imitating steelplate and lithography." In the late 1920s similar faces became popular in Europe, and some were imported into the United States. Morris Benton of ATF added several characters to the old Inland face, matrices of which were then in ATF's vaults, and it was reissued in 1931 as Rockwell Antique. But Benton saw that something more was needed, and redrew it as Stymie Bold (q.v.) in the same year. The alternate characters which were added to Rockwell are the same ones now shown with Stymie Bold. Monotype copied Rockwell but erroneously called it Stymie Bold in some literature, and there has been confusion between the two faces ever since; the latter name is often applied to fonts of Rockwell cast on Monotype machines by secondary suppliers. Indicative of this confusion, Stymie Bold Italic on Mono is series 1891, corresponding to Rockwell series 189, while Stymie Bold is 790. English Monotype has several weights of Rockwell, a square serif family which differs from this face and should not be confused with it; see Imports in Appendix. Antique Shaded (q. v.) is sometimes called Rockwell Antique Shaded.
  • WEBB is an outline version of Foster (q.v.). It is cut to register for two-color v work; slightly larger so slight misregister will not let the Foster show around C the edges. It was patented in 1905 by William Schraubstadter, probably the designer, and shown by Inland the same year. Condensed Webb was shown shortly after.
  • WINCHELL was designed by Edward Everett Winchell, art director of the Matthews-Northrup Printing Works in Buffalo, New York, and introduced by Inland Type Foundry in 1903 as "especially adapted for use in fine catalog and booklet printing, as well as for commercial stationery, where something out of the ordinary is demanded." It is a bold, thick-and-thin display face, but more like a nineteenth-century design, with some characters seeming to be poorly proportioned or having awkward shapes. These faults are less noticeable in Condensed Winchell, introduced by Inland the following year, but patented by William Schraubstadter in 1905. Neither is a distinguished face by later standards. Compare John Hancock, Bold Antique.
  • WOODWARD was designed for Inland Type Foundry in 1894 by William A. Schraubstadter, and named for a Saint Louis printer. Other versions followed over the next few years. In 1911 Inland was purchased by ATF and its equipment divided between that foundry and BB&S. Some time later BB&S reissued Woodward and Woodward Outline as DeVinne Recut and DeVinne Recut Outline (q.v.).
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