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Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:
- 2008: the techno faces Bladi One 4F, Bladi One Slab 4F, Bladi Two 4F, Abia Wide 4F Thin.
- 2009: Serifiqo (a (free) thin didone fashion mag display face), Codename Coder 4F (monospace programming font), Droporado 4F (using circles only), Tovstun (futuristic, ultra-fat and rounded), Perfocard 4F, Modularico (five modular faces based on a logo from Master Kremenchug a company for which Sergiy worked for 4 years), Boldesqo Serif 4F (a splendid informal fat didone, now with Greek support), Tkachenko Sketch, Unicase Slab (a techno slab), Laftatic, Logofontik 4F (techno), PC.DE Stencil (+Italic; custom stencil font), Stenciliqo 4F, Tiap Liap 4F (handwriting), Nut Kit 4F, Rezzzistor 4F, Wrongo 4F, the inline modular face Grand Hotel, and Bijou 4F.
- 2010: PädIn (a custom typeface for Pädagogische Initiative e.V.: rounded fat informal face), Fat Quad (in the fatty trend), Veselka (a free multiline face), Smeshariki Black (+ Gleams: a bubble gum font made for an animation company), Republica 4F (a fat family), Rodeqa Slab 4F, ComFi (semi-octagonal), Grotesqa 4F, Nowy Geroy 4F, Fabryka 4F (a monospaced typewriter family), Placarto4F-Italic (an ultra fat art deco), Lavina 4F (a hairline sans with lachrymal terminals).
- 2011: Kylie 4F (bilined and geometric), Waldemar 4F (a large didone style fat face family), Dinesqo (2011, a monoline sans of utter simplicity), Qargotesk (+Cyrillic) [images: i, ii, iii, iv], Neultica 4F (black unicase family), Squartiqa 4F (2011, constructivist), Clarenta 4F Black (after Clarendon---a great family), Designosaur (free sans), Perfopunto (based on perforated circles and squares), OlaScript 4F, Bayadera 4F (a tamed upright monoline script), Febrotesk4FUnicase (squarish unicase family).
- 2012: Ukraintica 4F Wide (a monoline wide-bowled sans family), Sports World (free athletic lettering font), Web Serveroff (free computer geek font).
- Cyrillizations: several typefaces such as Lavoisier (by Alec Julien), Budmo Jiggler (Ray Larabie) and JoAnne Display (Sandy Cerovich), Gnuolane (of a Ray Larabie font), Paranoid Cyrillic (based on Kevin Lo's Paranoid), Movavi Grotesque Black (+Cyrillic; ; numerals), Azoft Sans (made for Azoft, and free here).
- Custom fonts: Blue Pill, Sansus Webissimo (since 2011 free at Open Font Library), Minaeff ECT (2011, a free legible family for Latin and Cyrillic, custom-made for and downloadable from WebhostingRating.com), Web Serveroff, Movavi Grotesque, Azoft Sans, PÄd In, Smeshariki, Fat Cow, Comfi, PC.de, League Gothic Cyrillic, Paranoid Cyrillic, 28 Days Later Cyrillic, Acid Label Cyrillic, Dead Secretary Cyrillic, Rezland Cyrillic, Sweet Leaf Cyrillic, Droid Cyrillic, Jo Anne Display Cyrillic, Gnuolane Free Cyrillic, Bosox Cyrillic, Budmo Jiggler Cyrillic.
Abstract Fonts link. Dafont link. [Google]
Best fonts of 2006: Typographica
Stephen Coles and Joshua Lurie-Terrell publish their list of the 23 best fonts of 2006. These are the Oscars of type design. A summary:
- Guardian, by Paul Barnes and Christian Schwartz. Not yet available for licensing. Proprietary license expires in 2008. Carl Crossgrove: A slab-serif design with a large x-height, low contrast and open aperture, the Guardian superfamily (including the subfamilies Guardian Egyptian, Guardian Sans, Guardian Text Egyptian, Guardian Text Sans, and Guardian Agate) offers the designers of the newspaper a galaxy of expressive weights which most certainly fit the various editorial tones required of such a publication.
- Titling Gothic, by David Berlow. Mark Simonson says: According to the Font Bureau's promotional copy, Titling Gothic was inspired by Railroad Gothic. To me it feels a more like old standbys Univers and Helvetica, but with the panache of custom-lettered advertising headlines from the fifties and sixties.
- Estilo, by Dino dos Santos. Chris Rugen states: The geometric simplicity of the characters is the basic step in this stylish Deco face's surprising range.
- Exchange, by Tobias Frere-Jones. Proprietary commission. Not available for licensing. Commissioned as a replacement for the Wall Street Journal's DowText. Christian Schwartz says: The real genius of this face is that it still has enough formal ties to DowText that I really doubt whether many of the readers will notice a difference.
- Darka, by Gabriel Martinez Meave. Mark Jamra raves: Darka is a fine achievement — not only for its crisp tension and accomplished nuances, but also for its sheer inventiveness. He has thrown the revivalists' rules out the window and, operating from what is obviously a firm understanding of blackletter forms, has created a hybrid which combines elements of gothic cursives, frakturs (uppercase and ascenders) and French lettre bâtardes (lowercase) with a hint of the Spanish-influenced Rotundas thrown in for good measure.
- FF Milo, by Michael Abink. Cheshire Dave comments: It's like a more modern, more square Gill Sans. The legs and tails (e.g., roman ‘K' and ‘R', italic ‘h', ‘k', ‘m', ‘n', and ‘x') have personality without dominating the design. Anyone searching for a versatile sans would likely be very happy with FF Milo.
- Fabiol, by Robert Strach. Tim Ahrens loves it: Compared to most other Garalde fonts Robert Strauch's Fabiol is less rational. It has a very sensual touch and an almost "hand-made". It is not irregular or pretentious.
- Rumba, by Laura Meseguer. Jan Middendorp loves it: Script faces are published at a dazzling rate nowadays; but Rumba is one of the most personal and most intelligent ones I've seen in a while.
- PTL Skopex, by Andrea Tinnes. Jan Middendorp again: With the Gothic expecially, Andrea Tinnes achieved an overall text image that is quite original: it doesn't emanate the late-modernist chill of a latter-day Helvetica or Akzidenz, nor does it try to be “warm” by conforming to the humanist model. If anything, it's close to some American gothics, but becomes more German as it gets bolder. An interesting hybrid.
- Omnes, by Joshua Darden. Armin Vit comments: The italics truly stole my heart. If you can look at Omnes Black Italic and not feel joy, you have Yoohoo running through your veins and you should get that checked. Omnes is chameleonesque. Last year we designed the identity for a non-profit organization devoted to fighting childhood obesity and we used Omnes for each kind of application and audience without missing a beat.
- Paperback, by John Downer. Paul Hunt states: Paperback's handsome appearance is enhanced by a range of optical sizes, so everything from miniscule body copy to ginormous headlines looks clean and crisp. The roman exhibits a warmth that is absent from most faces following the same rationalist construction principles.
- Margie Script, by G. Marggraff, Dan X. Solo. Anna Malsberger: Margie is a sexy, robust script that commands attention, a face that knows how to play a crowd. Wearing ball terminals and flauncy flourishes like big baubles and gauzy scarves, you might think she was compensating for a lack of substance.
- Eudald News, by Mário Feliciano. John Downer's opinion: This is a new set of four additions to Mário Feliciano's previous interpretations of faces by the 18th Century Spanish punchcutter, Eudald Pradell. The fonts form a handsome quartet: diverse in scope, yet sufficiently tame for newspaper work.
- KLTF Tiptoe, by Karsten Lücke. Dan Reynolds says: Like his TDC2 Award winning KLTF Litterata, Tiptoe is subtly inspired by early blackletters. Just as scribes would fit more letters onto a page by breaking the curves on their strokes, Karsten tells the forms in Tiptoe who's boss. Instead of letting the curves themselves define weight growth, his unorthodox angles allow for more density without sacrificing letter integrity. The result is a heavy face with surprisingly open counters and increased legibility.
- Odile, by Sibylle Hagmann. Following Yves Peters: Odile is definitely not some half-arsed “fun font” with curly bits all over. The initial caps have a perfectly balanced, interesting texture with carefully designed curves, which are contrasted with abruptly placed straight lines. Just the right amount of flair is added in the Initials, whereas the playful and intricate Deco Initials look like modern reinterpretations of medieval illuminated capitals.
- Palatino Sans, by Hermann Zapf and Akira Kobayashi. Hrant Papazian comments: The confluence of competence, freedom and kiai (more on that below) evident in Palatino Sans is breathtaking. The sober organicity, the bravado of the raised ‘r', the confident flair of the italic; all done before, but never in such a usable, contemporary whole. The texture of its setting is dynamic yet serene, reminiscent of a masterful exhibit of martial arts. Officially, the brilliance of this effort is ascribed to the old master, Zapf. But I, for one, have to wonder whether this isn't essentially a product of Kobayashi instead, delivering a personal showing of bujutsu.
- Freight Big and Display, by Joshua Darden. This one was expected by all typophiles. Dyana Weissman explains: This family is insane. Not only because of the 100 styles, but also because of its charming little quirks. The tail of the ‘G', the italic ‘i's, the delicious ‘k'. While we move out of the era of the antiseptic sans serifs, Freight Sans offers refreshing anomalies that warm up the design.
- Young Finesse, by Doyald Young. According to Peter Bruhn: I am in love with Young Finesse! The subtle slim calligraphic strokes is pure beauty. Based on classic Roman proportions — like a modern, slim and gentle serifless version of Van Krimpen's Lutetia and clear references to Hermann Zapf's Optima — it transcends all references and takes it step further.
- Esta, by Dino dos Santos. Brad Pityo says: It possesses the characteristics of recent serif faces — like Fabiol, Delicato, and Relato — with a Mediterranean-Catalan twist. If Esta's warm and curvy teardrops don't win you over, its versatility will. Esta is economical and humble when set small, but its strokes and counterspaces can also dance beautifully — in a postmodernist sort of way, believe it or not — when set large.
- Luxury, by Dino Sanchez and Christian Schwartz. Kris Sowersby comments: No longer shall we slum it with Helvetica, fake it with Trajan, or be shamed by out-dated Optima. The Luxury Collection is made available and affordable to us lowly typographic peons and our budget-conscious clients by the style mongers at House Industries.
- Deutsche Bahn, by Christian Schwartz, Erik Spiekermann, and Tal Leming. Proprietary commission. Not available for licensing. This impressive comprehensive system of fonts was made for the German national rail system (Deutsche Bahn AG) and you can't buy it. Richard Kegler: This practical and well-considered type system was made to suit the many needs of the client and performs with utmost efficiency. It looks great too. However, Linotype now seems to sell it. In 2007, Schwartz and Spiekermann were awarded a gold medal by the German Desig Council for this system of fonts.
- Confetti, by Josep Patau. Stephen Coles himself writes: Confetti hits the market at just the right time, joining Signal, Loupot, Zigarre, and Coptek in a group of underexposed retro scripts. Patau writes: The Confetti is a typeface created about 1930 by the defunct José Iranzo foundry in Barcelona, and imitates the forms and gestures of handwriting created with a round nib as Speedball Series B. The original typefaces were a pair, called Escritura Energica and Escritura maravilla.
- Amalia (OurType), by Nikola Djurek. Eben Sorkin mulls: a type family quietly breaking conventions of matching serifs, modes of contrast, and letter shape — all to good effect. Amalia feels open and approachable despite its Didone contrast usually associated with formality and authority. It also features a finely restrained but almost cheeky exuberance.
Spanish graphic design group Blastto is actually Carlos Llorente. He created a nice art deco type booklet in 2010, covering Broadway (1929), Bifur (1919), Parisian (1928) and others. Designer of the free experimental face Teardrop (2010) and the gridded face Try Type (2011).
Behance link. Dafont link. [Google]
Viennese designer, illustrator and typographer. Creator of the hairline face Opium (2010) characterized by teardrop terminals. Creator of Paige (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Marge (2011) is edgy and highly legible even at very small sizes---it was developed at the tipoRenesansa 2nd international type design workshop. Paige Italic (2012) was done at tipoRenesansa 4. [Google]
[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: Lakmus, Valimo, FUTU, Test1, Foton Torpedo, 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, FTdingsprevi, Fenotypedings#lego3, Genotype, NeoPangaia, NeoPangaiap2, 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, Mama and Mama Round. 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, Nihilist philosophy, Acid Test 2, Acid Test, 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, 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 handprinted 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 Slim Tony (a bubblegum retro signage face).
View the Fenotype typeface library. [Google]
British type designer. With David James, [T-26] co-designer of AES, August. At Alias (a company he founded with David James in London), he made Aspic (2011, a signage script), Asphalt (2011, signage script), Perla and Perla Outline (2004, an elegant artdeco unicase didone with teardrop terminals), Oban (2011, a didone display family), Klute (Black, Capitals, White: an ugly and useless octagonal family), Anomoly (2004), Key, Elephant, Harbour, Harbour (2008. a medieval broken look), Cactus (2004), Civility (2002, connected handwriting), Factory, Aminta, Granite (1995), Intimo, Jackdaw, Progress, Sylvia, Jude (1999, a big text family), Mantis, Metropolitan, Metsys (1997), Pop (triline font), Sister (1995), Text.
In 2009, he designed 2012 Headline for the London Olympics---typophiles are generally disappointed with this daring design in the general angular category, and refer to better representatives of this genre such as Cyrus Highsmith's Occupant Gothic, Emigre's Elektrix, Hubert Jocham's Keks, and Chris Lozos's Dez Sans Script.
Fontworks interview. Catalog of Gareth Hague's typefaces. FontShop link. [Google]
Graphic designer in Auckland, New Zealand, who created the high-contrast lachrymal terminal typeface Olbdio (2012). [Google]
Insigne Type Design Studio (was: Dooley Type)
Insigne Type Design Studio (est. 2006) is run by Jeremy Dooley, b. Columbia, SC, 1981, who received a masters in graphic design at Savannah College of Art and Design in 2005. He lived in Atlanta, GA, and is now in Knoxville, TN. From 2004-2006, he ran Dooley Type in Greenville, SC. Behance link. Klingspor link. Font squirrel link. MyFonts interview. His fonts:
- 44th President (2009, based on Obama's handwriting).
- Aberlyth (2006). An informal script face.
- Antigen (2007) is futuristic.
- Arendahl (2007) is a connected but irregular handwriting font.
- Avaloc (2006) is an expanded sans.
- The Aviano superfamily. Aviano Slab (2007), Aviano Serif (2008), 2009 Aviano Didone (2009), Aviano Flare (2010), Aviano Sans (2010), Aviano Future (2011), Aviano Contrast (2012). Aviano Titling (2007) is inspired by Trajan.
- Beastias (2006). An informal script face.
- Biortec (2004).
- Biscuit Boodle (2008) is a fun and crazy script from Portland Studios illustrator Justin Gerard. Biscuit Boodle Ornaments (2009, dingbats).
- Blue Goblet (2005) is a Treefrog-style script developed for the pending illustrated childrens book from Portland Studios, The Blue Goblet. It was codesigned by Cory Godbey of Portland Studios and Jeremy Dooley. In 2011, Cory Godbey added Blue Goblet Christmas Ornaments.
- Boncaire Titling (2012) was iInspired by the type elements of 17th century map of Curacao made by Dutch cartographer Gerard Van Keulen.
- Brigette (2007) is an ink-splattered calligraphic script.
- Carta Marina is a family of medieval map text faces and dingbats (2007).
- Cavole Slab (2011).
- Chatype is a geometric slab serif typeface family designed in 2012 for the city of Chattanooga, TN, by Robbie de Villiers and Jeremy Dooley.
- Chennai and Chennai Rounded (2007) are playful display sans faces. Chennai Slab (2009).
- Cohort (2010, elliptical sans).
- Coupe (2003).
- Dienstag (2008, 8 styles).
- Donnerstag (2010, extended slab serif).
- Eigerdals (2010, rounded sans family).
- Enzia (2009, an elegant sans family).
- Fizgiger (2006). An informal script face.
- Florencia (2007) is a vintage script.
- Foverdis (2010, a calligraphic family that includes a hairline).
- Insigne Abstractions (2007) and Insigne Fleurons (2008) are dingbats.
- Jon Cary (2004, the handwriting of John Kerry).
- Kairengu (2007) is a comic book family.
- Kasuga (2008) and Kasuga Brush (2009) are fresh new scripts with oriental undertones.
- Kidela (2007) is a sassy scrapbook family. Kidela Sketch (2009).
- Le Havre (2008) is a gorgeous 8-style geometric art deco sans with tall ascenders. In 2010, the Le Havre Sketch family was added. Le Havre Rounded (2009).
- Lorelei (2007, Insigne) is a bouncy script family.
- Lourdes (2007) is an informal script.
- Madeleine (2007) is a basic handwriting face.
- Mahalia (2008) is a retro script.
- Majidah and Majidah Potens (2006) are medieval scripts.
- Marintas (2012).
- Massif (2008) is an aggressive sans family.
- Mittwoch (2009, organic serif).
- Montag (2007) is a casual rounded sans family in six styles.
- Mynaruse (2010; +Titling, +Royale) is another roman inscriptional titling family---it is characterized by skinny flared serifs.
- Nanumunga (2007) is a comic book style face.
- Natalya (2007) is a connected calligraphic script. Natalya Monoline (2007). Natalya Swashes (2009, calligraphic).
- Newcomen (2008) is a 4-style roman titling face.
- Obline (2004, sans).
- Olidia (2008) is calligraphic.
- Orewelia (2004, grunge face).
- Pauline Didone (2011, a curly didone family). Pauline (2008) is a monolinear retro script.
- Promethian (2005, futuristic).
- Questal (2007) is a unicase serif face.
- Qurillian (2006, legible sans).
- RendtPhysic (2006).
- Ript Cure (2005).
- Sancoale (2011, an organic sans family, from Thin to Black). Sancoale Narrow (2011). Sancoale Softened (2012).
- Savigny (2011). Images: Savigny Black Extened, Savigny Regular Condensed.
- Serofina (2010, a calligraphic face).
- Savory Paste (2007). Grunge.
- Shrike2003 (2003).
- Sildetas (2010, a high-contrast script face with tear drop terminals).
- The sans family Sommet (2008; see also Sommet Rounded (2008), Sommet Slab, 2010, and Sommet Serif (2011, a wedge serif family)) is futuristic. Sommet Slab Rounded (2011).
- Sovba (2009, upright italic).
- Stefania (2007) has two calligraphic/chancery styles. Its aged version is called Stefania Antique (2008).
- Stratham (2007) is a medium to black family of legible sans faces.
- Terfens (2007) is an informal and quite rounded sans serif with inspiration from chancery scripts like Stefania.
- Valfieris (2006). Valfieris Aged (2007) imitates medieval printing.
- Xalapa (2008) is a grunge family.
- Yevida and Yevida Potens (2006, scripts).
- Youngblood (2008, +Youngblood Antique, 2010) is non-connected.
Catalog of their typefaces. View Jeremy Dooley's font library. [Google]
Type designer from Minneapolis, Minnesota, b. 1974. He created the monoline upright connected script family Hennepin (2011), and the ultra-fat art deco slab face Thickset (2011), and its companion hairline slab face Thinset (2011). Mere (2011) is a monoline geometric sans. Simpleton (2011) is a fat display face. Calhoun (2011) mixes a liquid style with tear drop terminals. Mortadella (2012) is a hand-drawn burly-looking sans.
MyFonts link. Behance link. Cargo Collective page. Klingspor link. YWFT link. [Google]
Chico, CA-based creator of Perspect (3d face), Nuevo Stencil (2012), Dingus (2012), Dirty Serif (2012), Skinny Serif (2012), Batt Marber (2012), Hollavetica (2012, grunge), Stick Tickle (2012), Carve Your Table (20120, Stripe Fest (2012, 3d, handprinted), Craycray For You (2012), Feed The Bears (2012), Yummy Nubs (2012), Yum Nub Extended (2012), Sleeping in Lecture (2012, informal 3d face), Zombie Checklist (2012, handprinted), Lisas First Class (2012, handprinted), Stick Four (2012), Two Stick (2012), Spacetime (2012), Drunk Tattoo (2012), Bantum Caps (2012, handprinted stencil face), Funny Zebra (2012), Sick Future (2012, grungy), Fuzzy Handcuffs (2012), Black Spiral (2012), Happy Caps (2012), Come Party (2012), Hellawood (2012), Chronic Gothic (2012), Ice Cream Party (2012), Grassevent (2012, texture face), Electrical (2012, letters cracked by lightning), Rockster (2012), Strungout (2012), Bubbletea (2012, bubblegum font), Yumernub (2012), Nighthour (2012), Pointy (2012), Crankdeal (2012, a handprinted poster face, done with Matt Barber), Simplehand, Linerstencil, Stickchop (2012), Tapetype (2012), Rolling Deep (2012, based on arcs of circles), Pony Rides (2012), Bambu (2012), Stolen Script (2012), Secret Sauce (2012), Eighties (2012), Negative (2012), Turds (2012), Identify (2012, a fingerprint font), Another Party (2012), Mighty Roping (2012), Copy Stand (2012), Cloudstorm (2012), Teardrops (2012), Friends Forever (2012), Delicious Applepie (texture face), Crackvetica (2012), Stormtime (grungified face), Therp (2012: 3d face), Spookies, Freeline (3d engraved face), Super Serious (2012), Robot Shadow (2012: 3d face), Great Arrows (2012), Great Shadow (2012: textured face), Alien Fur (2012), Graffical (2012), Bent Out (2012), Splatish (2012) and Seamonster (2012).
The following typefaces were codesigned with Dylan Tellesen in 2012: Dingleberry (+Solid), Threed, Brushingtons, Excellent Stencil, Handrelief, Partyline, Basic Chrome, Spot Lights, Big Spit, Code Bars, Color Blind, Skullvetica, Diamond Plate, Blambu, Hounds, Knity (texture face), Eightballer, Another Line (a basic straight-edged monoline sans), Rocking Poster.
Aka Xerographer. [Google]
MyFonts: Lachrymal terminals
Typefaces with lachrymal (tear drop) terminals, as culled from the MyFonts type library. [Google]
FontStructor from Limerick, Ireland. His fonts include Teardrop (2011) Sabrefont (2011) and Electric Rain (2011). [Google]