TYPE DESIGN INFORMATION PAGE last updated on Mon Apr 15 04:42:33 EDT 2024






Type for TV

[Headline set in Sergiy Tkachenko's Fatquad 4F (2009)]


A critique of existing typefaces for HDTV (EIA-708) captioning
[Joe Clark]

Joe Clark (Toronto) takes all the fonts proposed by Agfa/Monotype, Ascender and Bitstream for HDTV screen captioning apart. [Google] [More]  ⦿

Agfa Closed Captioning Font Set

Agfa's suggestion for closed captioning fonts for TV is their Closed Captioning Font Set, which is based on Agfa Screen serif, Agfa Screen serif Monospaced, Agfa Screen Sans and Agfa Screen Sans Monospaced, and is supplemented with Plate Gothic, Ashley Script and Floridian. Character effects include drop shadow, emboss, engrave, outline, depressed, and uniform. [Google] [More]  ⦿

Andrej Krátky

Slovak designer who made FF Bradlo (1994-1995) at FontFont. He studied with professor Jan Solpera at the Academy of Applied Arts in Prague. He now lives in Bratislava, Slovakia, where he and his colleague, painter Simona Bubánová, founded Creative Department, a studio for advertising, design and TV-oriented graphics.

He also made the extensive family Adriq (1989-1990). This typeface became Nara (1989-2009, Typotheque)---it was completed by Nikola Djurek and Peter Bilak. The modern serif text typeface is accompanied by two different angular scriptish italics for dramatic and quite spectacular effects. In 2017, he added Nara Sans (designed with the assistance of Slavka Paulikova, Nikola Djurek, and Marko Hrastovec).

Speaker at ATypI 2016 in Warsaw on Creating a platform for type foundries.

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

Andrew Galarza
[Andrew Galarza Foundry (was: Chance Type Co, and Krayon Ink, and before that, Jedi Serpent Fonts)]

[MyFonts] [More]  ⦿

Andrew Galarza Foundry (was: Chance Type Co, and Krayon Ink, and before that, Jedi Serpent Fonts)
[Andrew Galarza]

Chance Type Co evolved out of Krayon Ink (ex- Jedi Serpent). It has commercial fonts by American designer Andrew Galarza who lives in Miami, who started making type in 2001. These used to be shareware when the place was called Jedi Serpent Fonts.

Galarza's early typefaces: Jeannette (2002), Display Swash, KY and an Urge, 65 Swash, Melfina, Redheads in Transit (beautiful handwriting), Butterfly Collection (dingbats), 5 Am Summer, Transit One, Superchalmers, Like Wind in The Summer, Delithium, Fane Serane, 5am Andrew (2005, handwriting), 5am Chance No 01, 5am Transit (handwriting), 5am Gender, Grey (2005), Melfina (2002, inspired by Emigre's Council), 5 AM Chance No. 1 (which used to be called Vespers), Vespers (2001, based on lettering for a Bjork album), NewTimesRomanHyper and CourierStrange (reworked Monotype fonts: the latter one has letters in brackets), 90Days, Blistel, Cancer, Freeware, Futura, Lode, Love-Quickie, Image Times, Stylus (modified Monotype font), Jenice, Element, Prozac Child, Codeca, Ginger, Ginger2, Boredom, Awitched, Mastillo, Mastillo2, PaperChase2blockedinside (reworked BadFilms by Ray Larabie), Screwupsuprock, Arialbullets39mmwideclear and Arialbullets4VerbRicochet (reworked Monotype Arial-Plain: letters in and on balls), Dots, VanishingBoy (modified Ray Larabie font; the best in the series I think), 1979 (fantastic avant-garde font), Agent 508 (equally great display font), Aloin, Bionic, Backspace, ChemicalTest, Click, Dragon, Eggman, Feelings, Flowery Text, Gallows, Gigayoda, Impression, Lavero, Lorent Roman, LoveJoy, Melody Metrics, Never, Noose, Numbers (hacker font), Opagan, Opus-sc, Panama, Poison Pill, Potheads, Rainy, RoamJapan, Room, Butterfly, Thinker, Veronica, Western Flick, Reterik, MisbehaviorTake23, Thinker, Paperchase2blockedinside, Children's Television Workshop (letters based on the Sesame Street TV show, 2002), KY and Urge, 65 Swash, Redheads in Transit, and I Love My Momma.

On my last visit, there were just a few shareware fonts left (in OpenType format): 5AMButtercup, 5AMButterflyCollection, 5AMDelithium, 5AMLikeWindInTheSummer, 5AMSuperchalmersItalic, 5AMSuperchalmers.

MyFonts sells some of his fonts: 5 AM Buttercup (Andrew Galarza), Grey (Andrew Galarza), 5 AM Gender (Andrew Galarza), 5 AM Chance No 01 (Andrew Galarza), 5 AM Andrew (Andrew Galarza), 5 AM Transit (Andrew Galarza), 5 AM Summer (Andrew Galarza), Melfina (Andrew Galarza), Childrens Television Workshop (Andrew Galarza), Vespers (Andrew Galarza).

Jedi Serpent evolved into 510 ink and then Krayon Ink. In 2005, Krayon Ink was renamed Chance Type Co. Home page. Old MyFonts link. [Google] [MyFonts] [More]  ⦿

Andrew Wood

Designer of the TV Logos TrueType Font, which inspired MDTA Design and Green Dragon. [Google] [More]  ⦿

Camiel Verhaag

Aka "Zeppo", Camiel Verhaag is the Dutch designer of Kijkwijzer NL (2003), a dingbat font with Dutch TV ratings symbols. Posted on alt.binaries.fonts. [Google] [More]  ⦿

Carlos Mignot

Graphic designer in Rio de Janeiro associated with Plau Design. At Miami Ad School, as a student, he created Minimal Fraktur (2015). In 2018, he designed the corporate art deco typeface Chez Lalu 70. In 2019, he co-designed Muda, a corporate typeface for the fashion brand Oficina Muda with Ana Laura Ferraz, Gabriel Menezes and Rodrigo Saiani. In 2020, still at Plau, he designed the custom all caps sports company typeface Brio. With Rodrigo Saiani, Carlos Mignot designed the video game font family (+stencil, +Cyrillic) either called Killing Sans or Nine to Five (2020). Still in 2020, Mignot designed the flared Koch Antiqua-style custom typeface Xilo.

In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). Carlos Mignot and Felipe Casaprima designed the corporate family iN Serif and iN Sans (+Mono) for iN Consultoria de Marcas in 2021. Still in 2021, Carlos Mignot and Rodrigo Saiani designed a few hip typefaces for the Brazilian TV channel Canal Brasil.

At Plau, he published the 10-style humanist ans typeface Redonda. [Google] [More]  ⦿

Closed Caption Fonts
[David Delp]

A sub-site of Ray Larabie's Typodermic. Closed Caption Fonts sells Cinecav, a big font family developed in 2006 by Ray Larabie and David Delp. The Cinecav family is the first set of fonts designed specifically for meeting FCC EIA-708B requirements, and is designed for captions on TV screens. David is creative director at Viewfarm, a design firm that specializes in television user interface design. His first interactive TV project was with Silicon Graphics in 1992 where he led the UI design of Japan's first interactive television network. As Creative Director for Microsoft's interactive television division, David managed the teams that designed the UI for WebTV, Microsoft TV, Ultimate TV, and MSNTV. Viewfarm continues to provide user interface research and design for Avtrex, Comcast, Sedna (TV Gateway), the television groups at Microsoft, ATI, and Pause TV. He has personally designed closed caption systems for several clients. Typodermic also developed Cinecav X (2006). See also HypeForType to buy Cinecav. [Google] [More]  ⦿

CNN Sans

CNN Sans Display W04 is a font family made in 2015 by Monotype for CNN. [Google] [More]  ⦿

Dan Evans

Creator of the free typeface TIFAX (1999): This font was originally generated by the Texas Instruments TIFAX teletext decoder as used in the very first teletext TV sets. The character generator ROM was the 74S262 chip, which was also used for the Research Machines 380Z microcomputer. [Google] [More]  ⦿

David Delp
[Closed Caption Fonts]

[More]  ⦿

David Earls on fonts for TV

David Earls explains the do's and don'ts for type on TV, a medium he has worked with for some time. Summarized here, he says:

  • Avoid fonts with thin horizontal lines - they will flicker like crazy on a television screen due to interlacing.
  • Pick fonts with a large x-height - that will allow you to experiment with smaller sizes but remain readable.
  • (Assuming a nominal resolution of 72pt) Dont use a font smaller than 18pt ever ever, and try and keep to above 21pt as much as possible.
  • Dont use finely seriffed fonts - the serifs will break down on screen unless they're set massive. Slab or wedge serifs are cool though - experiment.
  • For static screens, gaussian blur the end screen by "0.3" in Photoshop: this will help with flickering.
  • Be careful of red type, especially if its highly saturated. View your designs on a television or a broadcast monitor to be sure.
  • This is where people may disagree with me: Be wary of chunky fonts at smaller sizes, they can appear to fill in a little, much like print on newspaper.
[Google] [More]  ⦿

Denis Masharov

Born in Moscow in 1973, he emigrated to Israel in 1990 and has a Bachelor of Arts degree from the Bezalel Jerusalem Academy of Arts, 1996. A professional designer since 1996, he designs type and is involved in typographic projects.

At Google Font Directory, we can download his Latin/Cyrillic poster font Ruslan (or Rusland) Display (2011), the freehand lettering typeface Marck Script (2011, based on the hand of Marck Fogel), and the angular Kelly Slab (2011).

Bolster (2011) is a unicase fat Western face.

Forum (2011) is a free classical roman face. TeX support.

Ruslan Display (2011) was co-designed with Vladimir Rabdu, this decorative typeface is in the poluustav style dating from the 16th century.

In 2011, he set up the Denis Masharov foundry at MyFonts.

Free fonts published at Google Web Fonts in 2012: Ledger (Ledger was likened to Zapf's Melior by Nick Shinn, but Masharov says that it is closer to Swift), Glass Antiqua. This is a revival of the 1913 typeface Glass Antiqua by Genzsch & Heyse (original by Franz Paul Glass, 1912). Poiret (2012, free at Google Web fonts) is a Latin / Cyrillic geometric grotesque that combines art deco with avant garde. TeX support for Poiret One.

Bolster (2012) is a great Italian wood type face.

Tenor Sans (2012) is a Peignotian typeface (free at Google Web Fonts).

In 2017, Denis Masharov and Roman Shchyukin co-designed the custom squarish sans typeface Match TV for the Russian TV sports channel MachTV. Still in 2017, he designed TNT Sans for the Russian entertainment TV channel TNT (on commission for Elena Shanovich, Shandesign).

Denis did the logo and typeface for the bakery brand Volkonsky in 2017.

In 2019, he created the Elzevir style titling typeface Matilda Titling for Coronation, а historical TV seriеs by Alexei Uchil. It was inspired by typefaces from Georges Revillon's type foundry, ca. 1860.

Klingspor link. Behance link. Fontsquirrel link. Google Plus link. Fontspace link. [Google] [MyFonts] [More]  ⦿

Drex Agency

Designer of the wooden plank-themed Jake Neverland Pirates Regular (2011) for Disney/ABC Television Group. Free download. [Google] [More]  ⦿

Éamonn Hanratty
[MDTA Design -- Green Dragon]

[More]  ⦿

Edward Detyna
[Electronic Font Foundry]

[More]  ⦿

EK Type
[Sarang Kulkarni]

Type design collective in Mumbai, India, est. 2013, managed by Mumbai-based Sarang Kulkarni (b. 1980). Sarang studied at the Sir J J Institute of Applied Art in Mumbai, class of 2002. He worked with R.K. Joshi at the National Centre for Software Technology and Design Temple in 2002. In that same year, he assisted R.K. Joshi with the design of the Jana Gurmukhi typeface. In 2008 and 2009, he created 11 Indic typefaces for Vodafone India. In 2009-2010, he created an additional eight typefaces for Virgin Mobile India. Kulkarni also runs White Crow Designs.

Typefaces at Ek Type from 2011 by Hanif Kureshi include Painter Umesh, Painter Kafeel, and Painter Suhail.

In 2013, Girish Dalvi and Yashodeep Gholap co-designed Ek Devanagari at Ek Type for Hindi, Marathi, Sanskrit, Konkani and Nepali. It is a contemporary, humanist, monolinear typeface available in seven weights. Its companion, also designed by them, is the humanist sans typeface family Ek Latin (2013).

Designer of Modak (2013, Ek Type), a Latin / Devanagari bubblegum typeface that was published in the Google Web Font collection in 2015. Modak Devanagari was designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi and Pradnya Naik. Github link. Another Github link for Modak.

In 2012, he designed Star Jalsha, a Bengali television screen font for Star India Pvt Ltd.

In 2016, Ek Type designed the free Latin / Devanagari / Gujarati font Mukta Vaani. More precisely, it was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. Google Fonts link. Github link.

In 2017, EK Type released Jaini and Jaini Purva designed by Girish Dalvi and Maithili Shingre: Jaini is a devaagari typeface based on the calligraphic style of the Jain Kalpasutra manuscripts. The design of this font is based on the 1503 Kalpasutra manuscript.

In 2020, EK Type published the devanagari typeface Gotu at Google Fonts. Niranjan collected these EK fonts:

  • Mukta (Girish Dalvi, Yashodeep Gholap)
  • Baloo (Sarang Kulkarni)
  • Modak (Sarang Kulkarni, Maithili Shingre)
  • Jaini (Girish Dalvi, Maithili Shingre)

In 2022, Ek Type released a multi-script (variable) Indic typeface family that includes Anek Telugu, Anek Malayalam, Anek Latin, Anek Kannada, Anek Gurmukhi, Anek Tamil, Anek Odia, Anek Gujarati, Anek Devanagari, and Anek Bangla. Contributors of this project are: Maithili Shingre (Anek Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi. Ek Type won an award at 25 TDC in 2022 for Anek. The designers mentioned in the TDC press release are Girish Dalvi, Noopur Datye, Sarang Kulkarni, Aadarsh Rajan, Kailash Malviya, Mahesh Sahu, Maithili Shingre, Mrunmayee Ghaisas, Omkar Bhoir, Sulekha Rajkumar, Vaishanvi Murthy, and Yesha Goshar. Github link for Anek.

Behance link. White Crow Designs link [White Crow was established in 2005 in Mumbai by Sarang Kulkarni]. Typophile link. Behance link. White Crow Designs. Fontsquirrel link. Github link. Fontsquirrel link. [Google] [More]  ⦿

Electronic Font Foundry
[Edward Detyna]

The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts at about 15 dollars per weight, and made custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.

The font designer and owner was Edward Detyna, who died in March 2014. People are reporting to me that the fonts are in limbo, and that Detyna's family is not replying to requests for information.

On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a few. I have a feeling that these folks just happen to be twins with entities that are currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at least twenty years ago, Edward and his associates had a font design studio based in Ascot, near London. He is a mathematician/statistician turned typographer, and was really on top of type design at the time. There are academic articles published on mathematical subjects on the internet. He's an old man now, but still a very smart guy. When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British computer of mid-eighties to -nineties), he had very advanced and sophisticated algorithms for anti-aliasing and hinting, and his hand-hinting is still better than almost any other fonts I have used for screen work. He still sells fonts and adapts to user requirements promptly. I recently asked him to adjust the hinting on a font and he turns it around in a day.

Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was 13, and he mentored me to a great degree. For a while I worked an internship of sorts at EFF, and then one day, my mother came to see what I was up to---he gave her the job of office manager. He was a tremendously helpful and meaningful person to me then as a very young man with a passion for typography.

Closed captioning fonts for TV, made according to the EIA 708-B specifications, include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.

EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.

EFF Primary is a large family of educational fonts.

EFF Utamaru is an oriental simulation font. [Google] [More]  ⦿

Emad Fohid
[RTL Type (was: Black Tiger)]

[More]  ⦿

Etienne Robial

French TV graphics personality who uses woodtype samples to set logos. In many cases, he also uses digital characters, but he resizes them and distorts them a bit. See also here and here. Artistic director of Canal+, and designer of the typeface used by Canal+ (in France). Additional URL. [Google] [More]  ⦿

Fabio Haag Type (was: ByType, and: Foco Design)
[Fabio Luiz Haag]

Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is located in Sapiranga, Rio Grande do Sul.

Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the new Creative Director of the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

In 2007, he created the organic sans typeface IronThree.

Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

In 2009, Foco Italics was published.

At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016.

In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.

In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.

In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).

Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).

Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).

Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

View Fabio Haag's typefaces. Fabio Haag Type. [Google] [MyFonts] [More]  ⦿

Fabio Luiz Haag
[Fabio Haag Type (was: ByType, and: Foco Design)]

[MyFonts] [More]  ⦿

Fabrizio Schiavi
[Fabrizio Schiavi Design (or: FSD)]

[MyFonts] [More]  ⦿

Fabrizio Schiavi Design (or: FSD)
[Fabrizio Schiavi]

Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.

Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.

[T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.

Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), CP Company (2000: a corporate sans), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.

He does some custom typeface design, such as the innovative sans serif family called CP Company (2000). Other clients include Al Hamra Complex Kuwait, Nike, MTV, YU, Beretta, Abitare magazine, Ferrari and Philip Morris.

In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.

In 2013, he published Sys Falso, Abitare Sans (30 weights, originally commissioned by the group Rizzoli Corriere della Sera. Abitare is an Italian magazine).

Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).

The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.

In 2016, he designed the custom corporate typeface R&M in art nouveau style.

In 2020, he released the (variable) retail version of CP Company called oook.

In 2021, he released Nure (a 54-style sans font family that includes a three-axis (weight, optical, width) variable font).

At ATypI in Rome in 2002, he spoke about the need for more fonts.

Hellofont link. FontShop link. Font Squirrel link.

Showcase of Fabrizio Schiavi's typefaces. [Google] [MyFonts] [More]  ⦿

Final Cut Pro 4 (FCP4)

Apple's professional and extensible tool for editing and finishing in SD and HD formats. It includes LiveType, a title generator. Discussion on Typographica. [Google] [More]  ⦿

Fonts for television

Typophile suggestions for a clear, legible and flexible typeface for a television channel, either for text in shows or for captioning:

[Google] [More]  ⦿

[Jason Smith]

Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retailed his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham was one of the in-house type designers. In January 2020, Fontsmith was acquired by Monotype.

Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), Severstal (2009), and Moto GP (2020: a custom techno / sports font).

Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later.

Most of Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:

  • FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. Followed by Emanuela Conidi's FS Albert Arabic. In 2007, Jason Smith designed the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well.
  • FS Aldrin (2016). A rounded sans by Phil Garnham.
  • FS Alvar (2007, Jason Smith and Phil Garnham). A modernist utilitarian headline font family inspired by the work of Alvar Aalto.
  • FS Benjamin (2018). A flared sans serif by Stuart De Rozario.
  • FS Blake (Emanuela Conidi). A sans with some inherent tension.
  • FS Brabo (2015, Fernando Mello). Named after Brabo in Antwerp, FS Brabo was inspired by the Plantin Moretus museum and the garalde styles (Bembo, Garamond, Plantin). FS Brabo won an award at Tipos Latinos 2016.
  • FS Clerkenwell (2004, Jason Smith and Phil Garnham). A slab serif.
  • FS Conrad (2009). A multiline display face by Phil Garnham.
  • FS Dillon. Influenced by the Bauhaus quest for simplicity.
  • FS Elliot (2012). By Nick Job.
  • FS Emeric (2013, Phil Garnham). A large humanist slightly angular sans family. Dedicated web site.
  • FS Hackney. An assertive sans typeface family by Nick Job.
  • FS Industrie (2018). A 70-style techno / mechanical sans family by Fernando Mello and Phil Garnham.
  • FS Ingrid. A humanist sans family by Jason Smith.
  • FS Irwin (2017). An incised typeface inspired by New York, FS Irwin is a sans serif with calligraphic roots.
  • FS Jack (2009, Jason Smith and Fernando Mello). A confident sans family that was awarded at Tipos Latinos 2010.
  • FS Joey (2009, Jason Smith and Fernando Mello). An organic sans typeface family.
  • FS Kim (2018). A joyful display typeface family by Krista Radoeva.
  • FS Kitty (2007, Jason Smith and Phil Garnham). In the Japanese kawaii style.
  • FS Koopman (2018). A sans family designed by Andy Lethbridge and Stuart De Rozario. A hybrid sans workhorse that takes inspiration from Swiss grotesks, American gothics and early British grotesques
  • FS Lola (2006). Originally designed for Wechsler Ross&Portet by Phil Garnham, it is advertised by Fontsmith as a transgender type.
  • Lost + Foundry (2018, Pedro Arilla and Stuart de Rozario). The Lost & Foundry family of seven fonts includes FS Berwick, FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland and FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless. Fontsmith's designers Stuart de Rozario and Pedro Arilla worked with M&C Saatchi London to develop the fonts.
  • FS Lucas (2016). A geometric sans by Stuart de Rozario.
  • FS Maja. A curvy display typeface.
  • FS Matthew. A sans family.
  • FS Me. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant. Codesigned by Jason Smith, Mitja Miklavcic and Phil Garnham.
  • FS Meridian (by Kristina Jandova). A rhythmic geometric sans family with circular forms.
  • FS Millbank (2015). A wayfinding typeface family by Stuart de Rozario.
  • FS Neruda (2018, by Pedro Arilla). A transitional storytelling text family named after Chilean poet Pablo Neruda.
  • FS Olivia (2012). An angular poetic text typeface family by Eleni Beveratou.
  • FS Ostro (2018, Alessia Mazzarella). A modern typeface family in text and display versions. It brings warmth and fresh air to the cold Italian didones. Its more subdued and less contrasted text version was influenced by Scotch romans. There are also genetic elements of Spanish display types.
  • FS Pele (2007). An ultra fat typeface by Jason Smith and Phil Garnham.
  • FS Pimlico (2011, Fernando Mello). A humanist display sans.
  • FS Rigsby (2005). A sans.
  • FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
  • FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
  • FS Sally (Jason Smith and Phil Garnham). FS Sally Pro won an award at Granshan 2016.
  • FS Sammy (Satwinder Sehmi, Jason Smith). A script typeface.
  • FS Shepton (2015). A calligraphic brush script by Andy Lethbridge.
  • FS Siena (2016). A luxurious fashion mag typeface given a new life in 2016 by Krista Radoeva. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.
  • FS Silas Sans (2008, Jason Smith, Bela Frank, Fernando Mello and Phil Garnham).
  • FS Silas Slab (2015, Bela Frank).
  • FS Sinclair (2007-2008). A rounded octagonal typeface by Jason Smith and Phil Garnham.
  • FS Sophie (2004). A feminine sans typeface.
  • FS Split Sans and FS Split Serif (2019, Jason Smith and Fernando Mello). Has a variable type option.
  • FS Truman (2012, Jason Smith and Fernando Mello). A sans family.
  • FS Untitled (2016, Jason Smith and Fernando Mello). Developed for screens.
[Google] [MyFonts] [More]  ⦿


Orphaned typeface made in 2015, probably by modifying Nick Shinn's Sense Black (2010). [Google] [More]  ⦿

Frantisek Storm
[Storm Type Foundry]

[MyFonts] [More]  ⦿

Graham Herrli

Swiss creator of the free caption font Minikin (2015). [Google] [More]  ⦿

Günther Flake

German type designer (b. 1951, Hamburg) who co-founded Elsner&Flake in 1986 with Veronika Elsner. There, he designed many typefaces, including EF Renova (2006, a boutique sans; see also Renova Pro, 2016), EF Beasty (1993, with Gisela Will), Bluset EF (2000-2010, a monoline sans family), EF Casanova Script (2006-2007, Petra Beisse; the Pro version in 2015 also had input from Jessica Franke), EF Cash Monospaced (1994), EF Double Pac, EF TV Nord (an 18-style grotesque that is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001; characterized by a large x-height, it was influenced by Trade Gothic; a redesign was done in 2014), Eurostile Mono, Glaser Stencil, EF KiddingKid, EF Petras Script, EF StealPlate (1994), EF Thordis Mono, EF TwinPick, Versa Old Style EF.

At Apply Design in 1999, he co-designed a nice series of stencil fonts with Sigrid Claessens: WaltonStencil-BlackRough, WaltonStencil-WhiteRough, LaPinaStencil, Lasertac Stencil, Reedon Stencil, RoundedStencil, SerpentineStencil, StencilAntiqua, TeaChestStencil, WesternStencil, AdveraStencil, ArstonStencil, BankStencil-Medium, BankStencil-MediumRough, CaslonFinaStencil-Black, CaslonFinaStencil-BlackRough, ChicoStencil-Rough, ChicoStencil, FerroStencil, GeometricStencil, GlaserStencil, Futura Headline, Futura Index, Futura Text.

In 2010 he created a digital family based on Morris Fuller Benton's Bank Gothic, called Bank Sans EF.

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

[Hugo Cristo]

Holofontes is a Brazilian foundry, established in 2004 by Hugo Cristo from Jd da Penha, Vitoria. Typefaces: HF Bayer, HF Ceramic, HF Conillon Black, HF Contras, HF Daft, HF Design Az San, HF Dutra, HF Fastne, HF Health, HF Health Blac, HF Janaina Roman, HF Logic, HF Maxwell, HF Minotau, HF Neo Bodoni, HF Newslin, HF Painted, HF Phocus San, HF Quadredondo, HF Round Gothi, HF Slab, HF Tecnométric, HF Tim Maia, HF Visualice. Before Holofontes, Hugo Cristo ran Design AZ. He also makes custom type, such as this face specially designed for reading from TV screens. [Google] [More]  ⦿

Hugo Cristo

[More]  ⦿

India Pro Special Effects Titler

700 USD software for creating titles and animated text from DVFonts. Review by Jerry Jones. [Google] [More]  ⦿

Jason Fryer

Santa Monica-based student at the Art Center College of Design in Pasadena. His first font (2003) is a pixel font to be used for TV text captioning. [Google] [More]  ⦿

Jason Smith

[MyFonts] [More]  ⦿

Jim Wasco

Type designer who worked at Adobe from 1989-2002 and for Monotype from 2003 until today. His typefaces in chronological order:

  • 1974 to 1989: As a freelance, he assisted Jim Parkinson in the Cochin, and Kennerley revivals, an old Perspective metal type design, and Rolling Stone alphabet additional weights Elephant, Italics and Condensed, done in pen and ink. For several ad agencies, he designed the Franzia winery logo, and many other logos for packaging and advertisementsi and was mainly a lettering a logo artist.
  • 1985: He produced font designs for DHL Express and SFO International Airport at Primo Angeli Inc.
  • 1986 to 1989: He produced various font families like Garamond, Goudy, Eras, American Typewriter, Futura and Stymie at SlideTek using a B-Spline vector graphic system.
  • 1989 to 2002: He produced fonts at Adobe Systems in Redwood City, CA. There, he designed Tekton Bold, Mythos (1993: a mythical figure caps face done together with Min Wang), Tekton GX (with David Siegel), Waters Titling word ligatures. He designed and produced the Romaji Latin characters of Heisei Maru Gothic W4 and W8, Adobe Sans and Adobe Serif. He did font production work on ITC Garamond, ITC Cheltenham, Albertus, Castellar. He helped expand Adobe Originals to Pro character sets in Jenson Pro, Minion Pro, Kepler, Sanvito Pro, Cronos, and Calcite Pro. He played an important role in the production of Multiple Master fonts.
  • 2003 to present: He produced fonts at Monotype Imaging:
    • For Microsoft, he designed the family of five weights of Segoe based on Segoe Regular.
    • He directed design production and programmed OpenType features for Segoe Script and Segoe Print.
    • He designed Wasco Sans a font for the gaming and flight simulator groups at Microsoft.
    • He designed AT&T Sphere Gothic Sans fonts.
    • He designed a new slab serif family for Gatorade.
    • He directed a new design for General Electric called GE Sans.
    • He designed and directed production of various non-Latin scripts for Monotype for Armenian, Ethiopic, Khmer, Thai, Arabic, Hebrew and African language scripts including Tifinagh, N'Ko and Bamum.
    • He designed the original geometric sans font family Harmonia Sans (2011), which is a blend of contemporary geometric sans serif lettershapes and classic calligraphic proportions. Jim Wasco was aided by George Ryan in the production of the typeface family. He said: I wanted to create a simple and legible typeface by pulling the best aspects of classic geometric sans designs, such as Futura and ITC Avant Garde Gothic.
    • He directed a language expansion project for Edward Johnston's London Transport fonts, adding Cyrillic and Greek.
    • He designed a script typeface based on Ed Benguiat's calligraphy for the ITC logo in 1970 called Elegy (2010-2011). Elegy has 1546 glyphs, and was awarded at TDC2 2011.
    • He designed nine new weights for the Neue Aachen font family (2012) expanding it to 18 fonts including Italic.
    • He designed swash caps and directed Morris Freestyle.
    • He designed ITC Avant Garde Pro ligatures for the new OpenType version.
    • He designed Baskerville Cyrillic and Greek for E reader fonts (2012).
    • Daytona (2015) is a sans family that grew out of a desire to provide improved fonts for use in televised sporting events.
    • Elicit Script (2018, by Laura Worthington and Jim Wasco). A hybrid (casual and formal) scrpt typeface based on pointed pen Spencerian Script handwriting.

Linotype link. Linotype interview. FontShop link. Pic. His talk at ATypI 2014 in Barcelona was entitled OpenType features for Script Typefaces. Linotype link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Joe Clark
[A critique of existing typefaces for HDTV (EIA-708) captioning]

[More]  ⦿

Joe Clark
[Tiresias: Critique by Joe Clark]

[More]  ⦿

Joe Clark

[More]  ⦿

John Gill

Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom is designer Tiresias (2001), a screen/TV font family at Bitstream. The Tiresias LPfont is a large print typeface specifically designed for people with low vision. [Google] [MyFonts] [More]  ⦿

John Sizemore

Creator of the modular display typeface Westinghouse (2013). This typeface has a long history, as John explains: In 1963, the Westinghouse Broadcasting Company adopted a moniker, Group W, and a new corporate identity, which included a Group W logo and a typeface for use by the Group W-owned radio and TV stations in call letters and logos. This typeface--which I've called Westinghouse--was also used for Group W-owned satellite communication companies, syndicated productions and satellite distribution units. This practice ended in 1995, when Group W began a lengthy merger with CBS to become CBS Broadcasting, Inc. I grew up in one of the cities that was served by a Group W station, WJZ 13. While many found the logo unattractive, it got me interested in graphic design at an early age, though I never became a professional designer. I've spent twenty years collecting samples of the typeface from print and online sources. After much procrastination, I've completed this version of Westinghouse in three weeks. I created one many years ago, but, in light the popularity of Ray Larabie's Anklepants, I didn't want to be accused of infringing on his work. A comparison of Westinghouse with Anklepants is included on a sample sheet, which can be obtained by request. I also designed punctuation marks and a Greek and Russian alphabet. I even included the Group W logo. As this font design may still be the property of CBS Broadcasting, Inc., it is free for commercial use. Just acknowledge some thanks to me via e-mail. [Google] [More]  ⦿


LiveFonts is the world's first animated font standard, available from Apple for the Mac. It is part of the TV and animated titling package, LiveType. [Google] [More]  ⦿


LiveType was a computer program developed by Apple Inc. to create animated title sequences for video projects. It was discontinued with the release of Final Cut Pro X, Motion 5, and Compressor 4. When it was introduced, Apple advertised it as follows: "LiveType revolutionizes titling with a breakthrough new font standard - LiveFonts, the world's first animated font standard, available only on the Macintosh platform - as well as a whole new way to create effects." It imports and exports all QuickTime-supported file formats, including Photoshop, JPEG, TIFF and PICT. It also import clips from Final Cut Pro 4 complete with markers, so it is possible to synchronize titles to video and audio transitions in Final Cut Pro 4 projects. Apple link for LiveType. [Google] [More]  ⦿

Martin Anderson

Designer of the SKYfont family (SKYfontbrands, SKYfontmovies, SKYfontnews, SKYfontone, SKYfontsport, SKYfonttravel, SKYfontThick) for the SKY TV station. Can be freely downloaded here. [Google] [More]  ⦿

Massimo Pitis

Teacher (b. 1964) of Visual Communication at the Politecnico di Milano and of Tools and Techniques of Graphic Design at the Rome University, La Sapienza. In 1995 he founded the Vitamina studio with Aldo Buscalferri, where he does graphic design work, calligraphy, photography, and illustration for industrial clients. In 2002, he became the creative director at Landor Associates in Milan. He is the vice-president of BEDA. His clients include MTV, Heineken, Onyx, Sony, Mediaset (TV network) and Blu (an Italian mobile phone company), for whom he created a company typeface, Blutype. He also made a hip version of Agenda, called Diario.

Founder of Pitis e Associati, a design and consultancy studio based in Milan and Paris, and art director for Wired Italia. At ATypI in Rome in 2002, he spoke about type for branding and communication. [Google] [More]  ⦿

Mathias Gamarra

Montevideo, Uruguay-based designer of the cable channel-themed Zapping Font (2016). [Google] [More]  ⦿

MDTA Design -- Green Dragon
[Éamonn Hanratty]

MDTA Design, and in some cases MDTA together with Green Dragon, created these fonts, all related to British or Irish TV stations and their logos: BBCStripedChannelLogos, BBCTVChannelLogos, ITA-IBALogos, ITVNetworkChannels, Sky Television Logos, SKYfontbrands, SKYfontmovies, SKYfontnews, SKYfontone, SKYfontsport, SKYfonttravel, SKYfontThick, Sky1998ChannelLogos, SkyTVChannelLogos, UKDigitalTVChannelLogos, IrishRTVLogos, SkywardBold, SkywardRegular, Terrestrial Television Logos, UKtvFamilyLogos, UKTV Channel Logos, UK-&-Ireland-RTV-21, WelshTVLogos. The SKYfont family is originally by Martin Anderson. The web site states: "It all began in the year 2000 with the release of the original and ground-breaking TV Logos TrueType Font by its creator Andrew Wood. Ever since, it has become the inspiration for many other TrueType Font creators who have an abiding passion for television presentation, history and heritage to follow in their footsteps. The brainchild for the Green Dragon catalogue is Éamonn Hanratty. He has already compiled a comprehensive history of the television logos which have been used in the Republic of Ireland, from 1961 up until the present day. The title "Green Dragon" comes from the fact that Éamonn is the son of an Irishman and a Welsh mother. Born in 1963, he comes from Swansea, in Wales. As well as taking Andrew Wood for his inspiration, Éamonn also wishes to gratefully acknowledge the outstanding and progressive work in this field which Martin Anderson of England, Ray Larabie of the U.S.A., Rupert ten Hove of the Netherlands and so many others have been and are continuing so to do: that is, to present a growing range of non-commercial and freely available TrueType Fonts for private use." Apparently they also made Hylian Symbols, but I think that is a mistake by the people at DaFONT. Corporate text fonts: Sky Movie Sans, Sky Corporate Font, LIVINGtv Font, Telewest Voice, E4 Headline Font, uktv Home Font. [Google] [More]  ⦿

Miral Amr

At German University in Cairo, Miral Amr designed the display typeface Minara (2015). In 2016, he created the TV caption Arabic font LCD. [Google] [More]  ⦿

Miranda Hayes

Miranda Hayes (Randa Graphics, Anderson, SC, b. 1994) designed these typefaces in 2015 while she was studying at Anderson University: Blithedale (a 192-style mixed heritage superfamily that includes Serif, Sans, Slab and Roman subfamilies in Regular, Expanded, Condensed and Oblique styles spread over 8 weights each), Davicar (named after David Carson), Fellatype (an irregular script named after Ed Fella), and Brodyville (named after Neville Brody).

In 2016, she created Starvision for the redesign of the World Vision Website, and Rossfit (for a sports branding project). The typeface was inspired by the star in the World Vision logo. She also designed Rossfit (for a sporting goods comnpany) and Tiboro (which was inspired by Tibor Kalman's work). Dafont link. [Google] [More]  ⦿

Monotype ESQ Fonts

Monotype's ESQ fonts (enhanced screen quality) are designed for TVs and monitors. A list of their fonts: Albertus, Albany, Andalé LineDraw, Andalé M Sans, Andalé Mono, Andalé Mono bold, Andalé Mono CP437, Andalé Mono CP737, Andalé Mono CP850, Andalé Mono CP852, Andalé Mono CP855, Andalé Mono WGL, Andalé Sans, Andalé Sans bold, Andy, Andy bold, Apollo, Apollo italic, Apollo semi bold, Arial, Arial black, Arial black italic, Arial black Latin 1/2/5, Arial black WGL, Arial bold, Arial bold italic, Arial bold italic Latin 1/2/5, Arial bold italic WGL, Arial bold Latin 1/2/5, Arial bold WGL, Arial CE, Arial CE bold, Arial CE bold italic, Arial CE italic, Arial italic, Arial italic Latin 1/2/5, Arial italic WGL, Arial Latin 1/2/5, Arial Monospaced, Arial Monospaced bold, Arial Monospaced bold oblique, Arial Monospaced oblique, Arial Narrow bold italic Latin 1/2/5, Arial Narrow bold Latin 1/2/5, Arial Narrow italic Latin 1/2/5, Arial Narrow Latin 1/2/5, Arial Rounded, Arial Rounded bold, Arial Tur, Arial Tur bold, Arial Tur bold italic, Arial Tur italic, Arial WGL, Monotype Baskerville, Monotype Baskerville bold, Monotype Baskerville bold italic, Monotype Baskerville bold italic Latin 1/2/5, Monotype Baskerville bold Latin 1/2/5, Monotype Baskerville italic, Monotype Baskerville italic Latin 1/2/5, Monotype Baskerville Latin 1/2/5, Bell, Bell bold, Bell bold italic, Bell italic, Bembo, Bembo bold, Bembo bold italic, Bembo italic, Monotype Bernard condensed, Binner Gothic, Blueprint Web, Blueprint Web bold, Monotype Bodoni book, Monotype Bodoni book italic, Book Antiqua bold italic Latin 1/2/5, Book Antiqua bold Latin 1/2/5, Book Antiqua CE, Book Antiqua CE bold, Book Antiqua CE bold italic, Book Antiqua CE italic, Book Antiqua italic Latin 1/2/5, Book Antiqua Latin 1/2/5, Bookman Old Style, Bookman Old Style bold, Bookman Old Style bold italic, Bookman Old Style bold italic Latin 1/2/5, Bookman Old Style bold Latin 1/2/5, Bookman Old Style italic, Bookman Old Style italic Latin 1/2/5, Bookman Old Style Latin 1/2/5, Buffalo Gal, Century Gothic bold italic Latin 1/2/5, Century Gothic bold Latin 1/2/5, Century Gothic italic Latin 1/2/5, Century Gothic Latin 1/2/5, Century Schoolbook, Century Schoolbook bold, Century Schoolbook bold italic, Century Schoolbook bold italic Latin 1/2/5, Century Schoolbook bold italic WGL, Century Schoolbook bold Latin 1/2/5, Century Schoolbook bold WGL, Century Schoolbook CE, Century Schoolbook CE bold, Century Schoolbook CE bold italic, Century Schoolbook CE italic, Century Schoolbook italic, Century Schoolbook italic Latin 1/2/5, Century Schoolbook italic WGL, Century Schoolbook Latin 1/2/5, Century Schoolbook WGL, Monotype Clarendon, Monotype Corsiva Latin 1/2/5, Courier CE, Courier CE bold, Courier CE bold italic, Courier CE italic, Courier LD, Courier LD bold, Courier LD bold italic, Courier LD italic, Courier New bold italic Latin 1/2/5, Courier New bold italic WGL, Courier New bold Latin 1/2/5, Courier New bold WGL, Courier New CP437, Courier New CP437 Bold, Courier New CP737, Courier New CP737 Bold, Courier New CP850, Courier New CP850 Bold, Courier New CP852, Courier New CP852 Bold, Courier New CP855, Courier New CP855 Bold, Courier New italic Latin 1/2/5, Courier New italic WGL, Courier New Latin 1/2/5, Courier New WGL, Courier Tur, Courier Tur bold, Courier Tur bold italic, Courier Tur italic, Creepy, Creepy Latin 1/2/5, Cumberland, Curlz, Cyrillic: Arial, Cyrillic: Arial bold, Cyrillic: Arial bold inclined, Cyrillic: Arial inclined, Cyrillic: Courier, Cyrillic: Courier bold, Cyrillic: Courier bold inclined, Cyrillic: Courier inclined, Cyrillic: Times Bold A, Cyrillic: Times Bold inclined A, Cyrillic: Times New Roman A, Cyrillic: Times New Roman inclined A, EraserDust, EraserDust Latin 1/2/5, Facade Condensed, Felix Titling, Footlight, Footlight light, Monotype Franklin Gothic extra condensed, Monotype French Script, Forte, Monotype Garamond, Monotype Garamond bold, Monotype Garamond bold italic, Monotype Garamond bold italic Latin 1/2/5, Monotype Garamond bold Latin 1/2/5, Monotype Garamond bold WGL, Monotype Garamond italic 156, Monotype Garamond italic 156 WGL, Monotype Garamond italic Latin 1/2/5, Monotype Garamond Latin 1/2/5, Monotype Garamond WGL, Gill Alt One bold italic Latin 1/2/5, Gill Alt One bold italic WGL, Gill Alt One bold Latin 1/2/5, Gill Alt One bold WGL, Gill Alt One italic Latin 1/2/5, Gill Alt One italic WGL, Gill Alt One Latin 1/2/5, Gill Alt One WGL, Gill Sans, Gill Sans ALT1, Gill Sans bold, Gill Sans bold ALT1, Gill Sans bold condensed, Gill Sans bold extra condensed, Gill Sans bold italic, Gill Sans bold italic ALT1, Gill Sans bold italic Latin 1/2/5, Gill Sans bold italic WGL, Gill Sans bold Latin 1/2/5, Gill Sans bold WGL, Gill Sans condensed, Gill Sans condensed bold Latin 1/2/5, Gill Sans condensed Latin 1/2/5, Gill Sans extra bold, Gill Sans extra bold Latin 1/2/5, Gill Sans extra condensed bold Latin 1/2/5, Gill Sans italic, Gill Sans italic ALT1, Gill Sans italic Latin 1/2/5, Gill Sans italic WGL, Gill Sans Latin 1/2/5, Gill Sans light, Gill Sans light ALT1, Gill Sans light italic, Gill Sans light italic ALT1, Gill Sans shadow, Gill Sans Shadow Latin 1/2/5, Gill Sans ultra bold, Gill Sans ultra bold condensed, Gill Sans ultra bold condensed Latin 1/2/5, Gill Sans ultra bold Latin 1/2/5, Gill Sans WGL, Ginko, Ginko Latin 1/2/5, Gloucester bold, Gloucester bold condensed, Gloucester bold extended, Gloucester Old Style, Glowworm, Glowworm Latin 1/2/5, Haettenschweiler, Haettenschweiler Latin 1/2/5, Haettenschweiler WGL, Impact, Impact Latin 1/2/5, Impact WGL, Imprint Shadow, Kidprint, Kidprint Latin 1/2/5, Monotype Letter Gothic, Monotype Letter Gothic bold, Monotype Letter Gothic bold oblique, Monotype Letter Gothic Latin 1/2/5, Monotype Letter Gothic LineDraw, Monotype Letter Gothic LineDraw bold, Monotype Letter Gothic oblique, Monotype Letter Gothic WGL, Letter Gothic CP437, Letter Gothic CP437 Bold, Letter Gothic CP737, Letter Gothic CP737 Bold, Letter Gothic CP850, Letter Gothic CP850 Bold, Letter Gothic CP852, Letter Gothic CP852 Bold, Letter Gothic CP855, Letter Gothic CP855 Bold, Monotype Lydian, MICR, Monotype News Gothic, Monotype News Gothic bold, Monotype News Gothic bold condensed, Monotype News Gothic bold italic, Monotype News Gothic bold italic Latin 1/2/5, Monotype News Gothic bold italic WGL, Monotype News Gothic bold Latin 1/2/5, Monotype News Gothic bold WGL, Monotype News Gothic CE, Monotype News Gothic CE bold, Monotype News Gothic CE bold italic, Monotype News Gothic CE italic, Monotype News Gothic condensed, Monotype News Gothic Cyr, Monotype News Gothic Cyr bold, Monotype News Gothic Cyr bold inclined, Monotype News Gothic Cyr inclined, Monotype News Gothic Gre, Monotype News Gothic Gre bold, Monotype News Gothic Gre bold inclined, Monotype News Gothic Gre inclined, Monotype News Gothic italic, Monotype News Gothic italic Latin 1/2/5, Monotype News Gothic italic WGL, Monotype News Gothic Latin 1/2/5, Monotype News Gothic WGL, Nimrod, Nimrod bold, Nimrod bold italic, Nimrod italic, Monotype Old English Text, Monotype Onyx, Ocean Sans bold, Ocean Sans book, OCR-A, OCR-B, Pepita, Perpetua, Perpetua bold, Perpetua bold italic, Perpetua italic, Plantin, Plantin bold, Plantin bold EXPERT, Plantin bold italic, Plantin bold italic EXPERT, Plantin EXPERT, Plantin italic, Plantin italic EXPERT, Rockwell, Rockwell bold, Rockwell bold condensed, Rockwell bold italic, Rockwell condensed, Rockwell italic, Rockwell light, Rockwell light italic, Sabon, Sabon italic, Sabon semi bold, Sabon semi bold italic, Sassoon Infant Pro, Sassoon Infant Bold, Sassoon Sans, Sassoon Sans Bold, Monotype Script bold, Monotype Sorts, Swing bold, Theatre Antoine, Theatre Antoine Latin 1/2/5, Thorndale, Times New Roman bold F, Times New Roman bold italic F, Times New Roman bold italic Latin 1/2/5, Times New Roman bold italic WGL, Times New Roman bold Latin 1/2/5, Times New Roman bold WGL, Times New Roman CE, Times New Roman CE bold, Times New Roman CE bold italic, Times New Roman CE italic, Times New Roman F, Times New Roman italic F, Times New Roman italic Latin 1/2/5, Times New Roman italic WGL, Times New Roman Latin 1/2/5, Times New Roman Tur, Times New Roman Tur bold, Times New Roman Tur bold italic, Times New Roman Tur italic, Times New Roman WGL, Twentieth Century bold, Twentieth Century bold condensed, Twentieth Century bold italic, Twentieth Century bold italic Latin 1/2/5, Twentieth Century bold Latin 1/2/5, Twentieth Century condensed bold Latin 1/2/5, Twentieth Century condensed medium Latin 1/2/5, Twentieth Century medium, Twentieth Century medium condensed, Twentieth Century medium italic, Twentieth Century medium italic Latin 1/2/5, Twentieth Century medium Latin 1/2/5, Twentieth Century ultra bold, Twentieth Century ultra bold Latin 1/2/5. [Google] [More]  ⦿

Movie, television fonts @ 1001 fonts.com

Movie and TV font archive. [Google] [More]  ⦿

MyFonts: Captions

Fonts that are appropriate for captions are showcased at MyFonts. See also here, here, here and here. [Google] [More]  ⦿

MyFonts: Television fonts

The main typefaces at MyFonts under the keyword Television. These are mostly fonts based on the titles of famous TV shows, but there is an occasional TV subtitling font. View a longer list of television fonts. See also here. [Google] [More]  ⦿

Nihon Literal

Japanese type foundry. Its typefaces as of 2018 include:

  • Seibi Isarago: a sans typeface.
  • Seibi Jindai: based on characters called kanteiryu, which were used in the Edo period for signboards and the rankings of actors in stage performances such askabukiandjoruri.
  • Seibi Ohkido: based on "yose-style characters" used in entertainment during the Edo period for signboards and the rankings of rakugo performers and flyers to attract customers.
  • Seibi Takanawa: a squarish, or kaisho-tai, typeface.
  • Seibi Ai: a sans.
  • Seibi Minato: Designed for the covers of children's books.
  • Seibi Mita: a modern take on the clerical script that is often used for TV captions.
  • Seibi Seireisho: An orthodox clerical script typeface.
  • Seibi Shiba: A semi-cursive script.
  • Seibi Shirogane.
  • Seibi Socho: The Socho (Song Dynasty-style) typeface is based on a style used for woodblock printing during the Song period in China. The Seibi Socho typeface simplifies the Song style.
  • Seibi Yuni: Originally intended for TV captions, this is a flattened style of font for horizontal Japanese typesetting.
[Google] [MyFonts] [More]  ⦿

Nina Lee Storm

Born in Seoul, Nina Lee Storm moved to Denmark in 1975, where she works as a freelance type designer. Nina lives in Middelfart, Denmark, and her company is Lee Storm Design. She designed Storm Sans at Agfa/Monotype in 2000. She designed Noa for use on television and computer screens during the late 1990s. This tall x-height short-ascendered typeface was published by Linotype in 2004.

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


A custom-made typeface for ABC (the government-funded Australian Broadcast Corporation). In 2016, the cost of 32,750 dollars caused an uproar in Australia when the extravagant amount was questioned by Liberal senator James Paterson to The Australian. It comes soon after the ABC executive behind the typeface resigned. Digital director Angela Clark has left the ABC for the commercial sector. Media report in The Australian on September 19, 2016.

Its designer is Wayne Thompson of Australian Type Foundry. Link with a video. [Google] [More]  ⦿

[Rasmus Lund Mathisen]

Rasmus Lund Mathisen is a prolific Danish type designer who lived in Copenhagen. At the School of Design of KAKD (The Royal Danish Academy of Fine Arts), he obtained a BA (2008-2011) and an MA (2011-2014). After graduation Rasmus joined Overtone in Aarhus. Overtone specializes in branding and corporate type design.

His typefaces include:

  • Nima. A free slab serif.
  • Beika, Beika Leika. Free sans family.
  • Bila. An angular German expressionist typeface.
  • Dada. A stencil face.
  • Enno. A lava lamp typeface.
  • Cela.
  • OLEW. A DIN-like technical typeface.
  • At Overtone, and in cooperation with DR Design, Rasmus developed the bespoke sans type family DR Publik in 2019 for The Danish Broadcasting Corporation. DR Publik will be used uniformly on TV channels, streaming platforms, news services, radio channels, websites and apps. This classy Scandinavian typeface family is characterized by nearly monolinear stroke widths and horizontal or vertical terminals.
[Google] [More]  ⦿

Plau (was: Niramekko)
[Rodrigo Rocha Saiani]

Rodrigo Saiani is a graphic and type designer who graduated from Parsons School of Design. In 2006, he founded Niramekko, which he ran with his brother Gustavo Saiani until 2013. Niramekko became Plau, now located in the Botafogo suburb of Rio de Janeiro. The type and graphic designers associated with Plau design include the cariocas Gabriel Menezes, Carlos Mignot, Valter Vinicius Costa, Rodrigo Saiani, Felipe Casaprima, and the expatriate in Köln, Germany, Ana Laura Ferraz. Plau joined Type Network in 2021. Saiani teaches type design at Miami ad School / ESPM in Rio de Janeiro.

Saiani's first typeface was Swiss: Motiva Sans (2009). Plau (2011) and Plau Italic (2012) are organic sans typefaces.

In 2013, Saiani published Guanabara Sans and Primot (an upright fat connected gelateria script).

Coralinda (2014) is a didone-based custom headline typeface.

Tenez (2015) is a didone display typeface family for use in logos and titling. It won an award at Tipos Latinos 2016.

In 2016, Rodrigo Saiani and Flora de Cavalho co-designed the typewriter typeface Odisseia, which was originally designed for the brand identity for Leblon Arquitetura, a Rio de Janeiro-based architecture firm.

In 2017, Daniel Rocha, Flora de Carvalho and Rodrigo Saiani jointly designed the handcrafted branding typeface Dariquim.

Collaboration between Plau and Rede Globo, Globotipo (2018: a collaboration between Plau and Rede Globo) is a family of 30 fonts made exclusively for the Brazilian TV chain Rede Globo.

In 2018, he designed the custom restaurant menu and branding typeface Chez Lalu, the creamy retail typeface Manteiga, and the sturdy sans typeface family Vinila (with Flora de Carvalho).

Typefaces from 2019: Reserva (Sans, Serif, Display), Muda (a corporate typeface for the fashion brand Oficina Muda; type design by Ana Laura Ferraz, Carlos Mignot, Gabriel Menezes and Rodrigo Saiani).

Typefaces from 2020: Salsero (a display typeface with Latin vibes), the video game font family (+stencil, +Cyrillic) either called Killing Sans or Nine to Five, co-designed with Carlos Mignot.

Plau joined forces with the NotCo creative team in 2021 to design their custom typeface, NotFont. The brief was to create a typeface with unexpected logic. The Kabel-style geometric typeface won a bronze medal at the Brasil Design Award 2021 competition. Other bronze medal winners at that competition by Plau include custom typefaces for In Brands (called In Type), XP Investimentos (XP Lighthouse is the name of the typeface) and Exame Invest (a didone).

In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). Still in 2021, Carlos Mignot and Rodrigo Saiani designed a few hip typefaces for the Brazilian TV channel Canal Brasil. Their Canal Brasil woin the gold medal and grand prize at the Brasil Design Award 2021 competition.

MyFonts link. Behance link. Logo. Klingspor link. Behance link for Saiani. Old Niramekko link. Old home page. Behance link for Plau Design. Type Network link. [Google] [MyFonts] [More]  ⦿

Radek Sidun

Radek Sidun (b. 1980) wrote a graduation thesis at the Prague Academy of Arts, Architecture and Design (UMPRUM) (Graphic Design and Visual Communication, MgA. 2010) on diacritics in world languages. He has worked at Cornel Windlin's Zurich studio for two years. He is currently based in Prague, where he is an associate editor of Komfort magazine and teaches at the Type Design and Typography studio of the UMPRUM Prague Academy of Arts, Architecture and Design.

Designer at the Suitcase Type Foundry of RePublic (a 2004 revival, done with Tomas Brousil, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo). At Briefcase, he published BC Alphapipe and BC News (for which he received a TDC Certificate of Typographic Excellence 2015).

Diacritics link. Type design and typography web site.

At ATypI 2018 in Antwerp, he spoke on typefaces for television, in which he gave an overview of Czech television type from the 1960s until 2018, showing original typeface designs, archive materials, current approaches, rare videos, and type in motion. [Google] [More]  ⦿

Rasmus Lund Mathisen

[More]  ⦿

Roberto Bagatti

Italian designer (b. 1971) who graduated from the Art Institute of Parma. He is currently the main designer for MTV Italia. He created the gothic font Grimoire, first as a logo for the group Barbie Car and later for some MTV titles. [Google] [More]  ⦿

Rodrigo Rocha Saiani
[Plau (was: Niramekko)]

[MyFonts] [More]  ⦿

RTL Type (was: Black Tiger)
[Emad Fohid]

As Black Tiger, this outfit was reportedly based in Riyadh, Saudi Arabia, but as RTL Type, it appears to be in Hebron, Palestine. It was also known as Emad ISkyFalcons. On Behance, we learn that the designer is Emad Fohid.

They designed the Arabic typefaces Halime (2017), Natalie (2017), TV Sans (2016), Moscow (2016), Hajar (2016), Hilary (2016), Hattan (2015), Amal (2014, Latin / Cyrillic art deco), Lamis (2014), Saba (2014), Saba Mubarak (2014, integrated with Latin), Hajar (2014), Kufi (2014), Nicole (2013), Rajab (2014), Jody (2014), Logo (2014), Misr (2014), Egypt (2014), Free (2014), Salim (2014), Nagham (2014), Lujain (2014), Nora, Nicole, Yasmin, Joory, Rim Extra Min, Jannat Extra and Diana Extra in 2013. He also made Nicole Latin (2013) and Maram (2013, Arabic).

Old Behance link. Behance link. [Google] [More]  ⦿

Rudi Bass

The Graphic Arts Department of CBS News developed CBS News 36 [dead link], a TV font with ink traps. The project leader was Rudi Bass. Adam Twardoch compares the ink trapping with that of other fonts, such as Bell Centennial Bold (Matthew Carter, 1978). [Google] [More]  ⦿

Sahar El-Meligy

Cairo, Egypt-based designer of SH1949 (2013, an octagonal FontStruct font), Nasfi (2015, an Arabic font designed for TV) and Circtor (2014, a connect-the-dots typeface). Circtor and SH1949 were projects at the German University in Cairo. [Google] [More]  ⦿

Sara Ragab

Cairo-based designer of the circular arc typeface Peace (2013) during her studies at the German University in Cairo. RGB (2014) is an extra-Bold sans serif Kufic inspired typeface for TV captions. [Google] [More]  ⦿

Sarang Kulkarni
[EK Type]

[More]  ⦿

Sarang Kulkarni
[White Crow]

[More]  ⦿


From their site: "LiveFonts for LiveType and Final Cut Pro - animated fonts for film and video projects". The fonts of this team include Sonida, Circus, Poolside, Marquee, Undulator, Chocolate and Warhol. [Google] [More]  ⦿

[Joe Clark]

Joe Clark (Toronto) is developing special fonts for captioning and subtitling for TV and film. Joe's motto is Watching TV is bad enough. Reading TV shouldn't be worse. Two interesting sub-pages: Here he explains the difference between captioning and subtitling. Captions are basically for the deaf, and are manually turned on. They not only describe what is said or heard but also mention or show things about the intonation, style, language, or nature of the voices or sounds. Subtitling is mostly used to translate. It is generally automatically turned on, and shown at the bottom of the screen. On this page, Joe lists the main issues with captioning and subtitling and lists the many problems with popular subtitling typefaces such as Bitstream's Tiresias or Monotype's Arial. Speaker at ATypI 2007 in Brighton. [Google] [More]  ⦿

Sofiya Dobreva

Sofia, Bulgaria-based designer of a custom sans typeface (Latin / Cyrillic) for the TV show Dnes (2017). [Google] [More]  ⦿

Steve Matteson

Rochester Institute of Technology's School of Printing graduate who lived in California and in Holland, MI, and now resides in Louisville, Colorado. He was a disciple of Chuck Bigelow and Kris Holmes. MyFonts page on him. In 1990, he started work at Monotype in Palo Alto to create the Windows truetype core fonts Arial, Times New Roman and Courier New. He stayed with Monotype and then Agfa/Monotype until 2003 (when he was probably fired, but that is only an unreliable guess), directing type development from the design office in Palo Alto, CA. Bio at Agfa/Monotype. He has directed branding projects such as Agilent Technology's corporate sans serif and Microsoft's corporate font family 'Segoe'. At the same time, he was involved in producing bitmaps and outline fonts for cell phones and TV set top environments. He has worked extensively designing Greek, Cyrllic, Thai, Hebrew and Arabic alphabets to satisfy the requirements of customers such as IBM, Microsoft, Nokia, Sun and Sybase. In 2004, he co-founded Ascender Corporation in Northbrook, IL, where he remained Type Design Director until Ascender was bought by Monotype, where he now heads the type design team (12 people in all, as of 2013).

CBC interview in 2012. Fontspace link. FontShop link. At ATypI 2011 in Reykjavik, he spoke on typefaces for Android OS.

His typefaces:

  • Amanda.
  • Andale Mono (Monotype), Andale Mono (Ascender). This is a monospace sans-serif typeface designed for terminal emulation and software development environments. It was originally created by Monotype. Andalé Mono was first distributed as an Internet Explorer 4.0 add-on under the name Monotype.com. In version 1.25 of the font, it was renamed to Andale Mono, distributed with Internet Explorer 5. It is often used by programmers, and is bundled with Mac OS X.
  • Andy (Monotype), his first face, a design based on a friend's lefty handwriting. Published at Agfa's Creative Alliance.
  • Arimo (2010). A free sans family at Google Web Fonts that is metrically compatible with Arial. TeX support and further downloads on CTAN.
  • Ascender Sans Mono (2004-2008, Ascender). Metrically compatible with Courier New. Ascender Serif (2005, 4 styles) is metrically compatible with Times New Roman.
  • Ascender Uni Duo is a fixed-width comprehensive Unicode-compatible font available with support for the Unicode Standard. Ascender Uni Duo is a 39MB TrueType font with approximately 53,000 glyphs. The Latin and related glyphs (designed by Steve Matteson) are Sans Serif, with Gothic ideographs drawn in Japanese style, and complementary styles for other scripts. There are also versions of Ascender Uni that provide localized support for Korean, Simplified Chinese and Traditional Chinese. OpenType layout support is included for Arabic (initial, medial, final, isolate, and required ligature forms, as well as basic mark positioning), and vertical writing for CJK locales (consisting mostly of Latin, symbol, punctuation, and kana glyph variants). Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish), Chinese, Japanese, Korean, Thai, Vietnamese, Hebrew, Arabic. Ashley Crawford.
  • Ascender Sans (Ascender).
  • Ascender Serif (Ascender).
  • Ayita (2006, Ascender), a decorative sans family co-designed with Jim Ford.
  • Bertham Pro (2009, Ascender). Four styles including Open, after Goudy's Bertham.
  • Bierstdat (2021). A sans typeface that could replace Calibri later in 2021 as Microdoft's go-to font in Microsoft 365 apps.
  • Blueprint (1993).
  • Binner Gothic (Monotype).
  • Blueprint (Monotype).
  • Cambria (Ascender).
  • Carnero (2019, Monotype). Steve describes this sans family as a feisty hybrid of precise geometry and calligraphic flair.
  • Chicory (2006, Ascender). A calligraphic script face.
  • (2010). A free family at Google Code that is metrically compatible with Courier New. See also OFL.
  • Creepy (Ascender Corporation): a Halloween font designed with Carl Crossgrove.
  • Curlz (1995, Monotype). Done with Carl Crossgrove, based on wrought iron on chairs.
  • Dempster (2016, with Jim Ford at Ascender). The original iangular industrial design, by Jim Ford, goes back to 2010.
  • Droid Sans Mono Pro (Ascender), Droid Sans Pro (Ascender), Droid Serif Pro (Ascender). and Droid Sans Mono: a font family designed in 2006-2007 by Steve Matteson at Ascender for Google's Android project, mobile phone software for handsets. Free download at CTAN.
  • Dujour (2005, Ascender): an art deco revival of the 1930's typeface Independant by Joan Collette and Jos Dufour for Plantin. Compare with the free Independant by Apostrophic Labs.
  • Endurance Pro (2009, Ascender): neo-grotesque sans. Endurance Pro Cond (Ascender).
  • Facade (Monotype).
  • Fineprint (Monotype). A design loosely based on his own penmanship ("on a good day"). Another Creative Alliance face.
  • Friar Pro (2009, Ascender): Friar Pro is a revival of Frederic W. Goudy's "Friar" typeface. Goudy described this typeface design as a 'typographic solecism' as it combines a lowercase of half-uncial forms from the 4th through 7th centuries with an uppercase of square capitals from the 4th century. Friar was originally designed in 1937 and used to print a Christmas keepsake produced by Goudy and printer Howard Coggeshall. The fire that burned Goudy's studio in 1939 destroyed the drawings and matrices before many metal fonts were cast. Of all that was lost in the fire, Goudy once said he missed Friar the most.
  • Futura Now (2020: a 107-style family by Steve Matteson, Terrance Weinzierl, Monotype Studio and Juan Villanueva, that includes variable fonts as well as subfamilies called Text, Display, Headline, Inline, Outline, Shadow and Script).
  • Georgia Pro (Ascender).
  • Gill Floriated Caps.
  • Goudy Fleurons (2010, Ascender).
  • Goudy Modern MT (Monotype).
  • Goudy Ornate (2002). Unsure if Matteson made this or Carl Crossgrove.
  • Kennerley. Based on Goudy's Kennerley family.
  • Kidprint (Monotype).
  • Kootenay (2006, Ascender), a sans family.
  • LeBeau (Ascender): a signage font.
  • Liberation Mono, Sans and Serif (2007-2009, Ascender). A set of free open source fonts done for Red Hat Inc.
  • Lindsey Pro (2006, Ascender): a cursive script based on his niece's hand.
  • Louisville Script (2008, Ascender): ordinary handwriting.
  • Massif (2006-2011, Monotype). Odd name, since Jean Joveneaux made a font called Massif in 1957. How can Monotype get away with a trademark for this is beyond me.
  • Mayberry (2008, Ascender): a 14-font sans family with extremely large x-height and strange proportions. Mayberry semibold is free. Mayberry Pro (Ascender).
  • McZee, a Microsoft symbols font.
  • Miramonte Pro (2006, Ascender). A geometric-meets-humanist sans after the typeface Marsuv Grotesk by Stanislav Marso at Grafotechna, 1960.
  • Open Sans (2010, Ascender). A free family by Steve Matteson. See also at Google Fonts. In 2021, he added the rounded companion, Open Sans Soft (20 styles).
  • Overpass and Overpass Mono (2011-2019), designed by Delve Withrington, Dave Bailey, and Thomas Jockin. A free open source sans font. The design of Overpass is an interpretation of the well-known Highway Gothic letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration in 1948. It was created for Red Hat Inc. Dedicated web page. Link at Delve Fonts.
  • Newstyle. Based on Goudy's 1921 typeface, Newstyle. See also Newstyle (2018, Steve Matteson).
  • Pericles Pro (2005, Ascender): an Ascender typeface based on the work of Robert Foster who created the original for American Type Founders in 1934), a 433-glyph OpenType font for Greek simulation or stone cut looks.
  • Pescadero Pro (2005, Ascender),
  • Pescadero Pro: a serif face.
  • Rockwell Team (Ascender): an athletic lettering face.
  • Rebus Script (2009, Ascender): done with Terry Weinzierl.
  • Scooter Script (2009, Ascender): comic book style face.
  • Segoe Chess (Ascender), Segoe Mono (Ascender), Segoe TV (1997-2004, Ascender: done for MSNTV).
  • Tinos (2010). A free serif family at Google Fonts that is metrically compatible with Times New Roman. Download at CTAN, where one also finds TeX support maintained by Bob Tennent. Nerd Fonts patch.
  • Tipperary eText (2012-2013), Monotype.
  • Titanium Motors (2012, Monotype), Titanium (2006, Ascender): techno typefaces.
  • Truesdell (1994, Monotype): a revival and extension of the "lost" Goudy types cut in 1931. Also at Creative Alliance. Also includes Truesdell Sorts.
  • Tucker Script (2009, Ascender): ordinary handwriting face.
  • Twentieth Century Poster (2002), an art deco display font straight from the late 1920s.
  • VAG Rounded Next (2018, Monotype). Developed under the direction of Steve Matteson, this revival of the 1979 classic corporate font of Volkswagen AG has new weights and adds support for Greek and Cyrillic. The MyFonts site co-lists Tom Grace as designer.
  • Verdorgia (2010): an ugly duckling.

Klingspor link. Fontspace link. View Steve Matteson's typefaces. [Google] [MyFonts] [More]  ⦿

Storm Type Foundry
[Frantisek Storm]

Storm Type is a major Czech foundry that offers the inspiring work of Frantisek Storm (b. 1966, Prague). Most typefaces are made by Storm himself. The typefaces:

  • Aaahoj: a ransom note font.
  • Abald (2005): Abald adds to the number of "bad-taste" alphabets as seen on faded commercial inscriptions painted on neglected old houses.
  • Academica: Josef Týfa first published Academia in 1967-68. It was the winning design in a competition for scientific typefaces, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes in plain, italic and semi-bold designs. In 2003 Josef Týfa and Frantisek Storm began to work on its digital version. The new name Academica distinguishes the digital execution (and modifications) from the original Academia. In 2021, Frantisek Storm added Academica Sans.
  • Aichel: originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelenà Hora). It has a stone-chiseled look.
  • Alcoholica
  • Alebrije (2015). A 42-cut exaggerated cocaine-driven typeface family with instantly recognizable v and w that have slabs on their baselines.
  • Amor Sans and Amor Serif (2005).
  • Amphibia (2016). A lapidary typeface family.
  • Andulka (2004): 24 weights for use in books, mags and newspapers. Extended in 2011 to Andulka Sans.
  • Antique Ancienne, Moderne&Regent (2000): Baroque typefaces.
  • Anselm Sans and Serif (2007): 20 styles about which Storm writes The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. It won an award for superfamily at TDC2 2008. It covers Greek as well.
  • Areplos (2005): Based on Jan Solpera's 1982 typeface with serifs on top and serifless at the bottom.
  • Bahnhof: poster typeface from the 1930s.
  • Baskerville Original Pro (2010) comprising Baskerville 10 Pro, Baskerville 10 Cyr, JBaskerville, and JBaskerville Text. This is an important and thoroughly studied execution starting from photographs of prints from Baskerville's printing office, ca. 1760.
  • Beletrio and Beletria (2018). Beletria (26 styles) is intended as a modern book type. Beletrio is a peaceful accompanying sans.
  • Bhang (2011) is a flat brush signage family of exceptional balance.
  • Biblon (2000; note: ITC Biblon is a watered down version of Biblon, so please go for the original, not the ITC version). Biblon Pro (2006) is even better; 6 weights.
  • Briefmarken (2008): letters that look dented like postage stamps.
  • The 64-style Carot type system (2020), which consists of Carot Sans, Carot Display, Carot Slab and Carot Text.
  • Clara Sans and Clara Serif (2014). Based on sketches by Rotislav Vanek, and published at Signature Type Foundry.
  • Clichee
  • Cobra (2001)
  • Comenia Script (Radana Lencov&acaute;), an upright script with a handwritten look for teaching writing.
  • Comenia Text (2006): a serif family for school books. Also called Comenia Pro Serif.
  • Compur (2000).
  • Coroner (2018). A blackletter first sketched in 1988.
  • Defender (2008): a heavy slab family.
  • Digita (2004)
  • Dracula (2017). A great blackletter family.
  • Dynamo Grotesk (1995): Storm's 60-weight sans family going back to the early sans traditions. In 2009, this was updated to Dyna Grotesk Pro.
  • Enamelplate (2011).
  • Etelka (2005, 42 styles): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008. Etelka Sans and Etelka Slab were released in 2019.
  • Evil
  • Excelsior Script (1995-1996), perhaps renamed Excelsor Script around 2000.
  • Farao (a great Egyptienne font in 3 weights)
  • Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shaded (Geist + Deko) variations.
  • Gallus Konzept (2007, in many weights):
  • Carolingian-Roman-Gaelic-Uncial script, or an exploration into how the Latin alphabet could look were the evolution of the Carolingian Minuscule to stop in the 8th century AD in Sankt Gallen.
  • Genre: a modern face.
  • Fenix 21 through 23 (2010): An elliptical sans family that includes a hairline (21).
  • Header (2009): a magazine headline family.
  • Hercules (2001). A didone family originally influenced by Monotype's fat face Falstaff (1935).
  • Hexenrunen (2006, + Reverb): a runic simulation face.
  • Ideal Gothic
  • Inicia (2018). A sans originally drawn in the 1980s.
  • Jannon (this is a formidable Garalde family). Jannon Pro appeared on MyFonts in 2010.
  • Jannon Sans (2011).
  • Jannon Text Moderne (2001): thicker hairlines and smaller x-height than Jannon Text, thus more generally useful
  • Jasan (2017). A 36-strong sans family with lots of wide styles.
  • JohnBaskerville (2000)
  • JohnSans (2001, a 72-weight sans version of Baskerville)
  • Josef Sans (2013, with Jan Solpera). A humanist sans family related to Josef Tyfa's Tyfa Roman (Tyfa Antikva).
  • Juvenis (2003)
  • Kompressor: techno typeface
  • Lexicon Gothic: newspaper and magazine type family, created in 2000. Renamed Lexon Gothic.
  • Libcziowes: based on the oldest lettering found in Bohemia, on a gravestone in Libceves dating from 1591
  • LidoSTF (2001, free): a redrawn Times with lots of individuality, yet still a newspaper typeface
  • Lokal Script (2009): a large hand-printed letter family.
  • ITC Malstock (1996-1997), a condensed film poster face.
  • Mediaeval
  • Metron (2004, a digital version by F. Storm and Marek Pistora after a huge sans design from 1973 by Jiri Rathousky, which was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. In 1986, the metro started using Helvetica): this typeface is eminently readable!
  • Modell: techno
  • Monarchia [The Monarchia family, consisting of three designs, is a transcription of "Frühling" of the German type designer Rudolf Koch, enriched by a bold and text design]
  • Moyenage (2008): a 25-style blackletter family for Latin and Cyrillic, almost an experiment in blackletter design and flexibility. Winning entry at Paratype K2009.
  • Mramor (1988-2013). A roman caps typeface with lower case added. Storm: The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Even so, ten display styles are left.
  • Negro
  • Ohrada: condensed upper case
  • Ornaments 1+2
  • Ozdoby 1+2 (great dingbats): The set includes heraldic figures, leaves, decorative endings, various skull forms, weather signs, borders and many more.
  • Patzcuaro
  • Pentagramme
  • Pentagraf: a slab serif
  • Pepone and Pepone Stencil. Designed for setting belles-lettres, this serifed family defies classification.
  • Pivo (2006), a connected diner script inspired by Bohemian beer labels.
  • Plagwitz (2000, blackletter). Plagwitz poster by Lissa Simon (2012).
  • Politic (2004): a clunky fat octagonal family made for billboards, flyers, posters, teabags, and matches for the green Party in the 2004 Czech elections. Caps only.
  • Preissig Antikva + Ornaments: a 1998 digitization and interpretation of Preisig's polygonal type from 1925. The Pro version is from 2012.
  • Preissig 1918: a typeface by Vojtech Preissig cut in linoleum
  • Preissig Ozdoby
  • Regent Pro (2015): a rustic Baroque typeface that oozes energy out of its semi-transitional semi-didone orifices.
  • Quercus Whiteline, Quercus 10, Quercus Serif, and Quercus Sans (2015). Four large families, created for informational and magazine design, corporate identity and branding. The sans has a Gill flavor.
  • Regula Text and Regula Old Face. Regula is named after the secular monastic order Regula Pragensis. Initially, the digitized font (regular old Face, which is now free) had jagged edges and a rather narrow range of applications until the summer of 2009, when Storm added text cuts. Regula was a baroque alphabet faithfully taken over from a historical model including its inaccuracies and uneven letter edges.
  • Rondka (2001)
  • Sebastian (2003, a sans with a funky italic), about which he writes: Sans-serif typefaces compensate for their basic handicap---an absence of serifs---with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. More# Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.
  • Serapion (a Renaissance-Baroque Roman typeface with more contrast than Jannon)
  • SerapionII (2002-2003): early Baroque
  • Solpera (digitization of a type of Jan Solpera, 2000)
  • SplendidOrnamenty (1998, a formal script font)
  • Splendid Quartett: an Antiqua, a sans, a bold and a script. Stor writes: The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period.
  • St Croce (2014). Based on worn-out lettering on tombstones in the St. Croce Basilica in Florence, this is a flared lightly stenciled typeface family.
  • Technomat (2006): this typeface takes inspiration from matrix or thermal dot printers.
  • Tenebra: a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols
  • Teuton (2001): a severe sans family inspired by an inscription on one German tomb in the Sudetenland
  • Traktoretka
  • Trivia Sans (2012), Trivia Serif (2012, a didone), Trivia Serif 10 (2012), Trivia Grotesk (2012, 48 cuts), Trivia Gothic (2013), Trivia Slab (2012), and Trivia Humanist (2013, a strong wedge serif family: I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts).
  • Tusar (2004): a digitization of a type family by Slavoboj Tusar from 1926
  • Tyfa ITC + Tyfa Text: Designed by Josef Týfa in 1959, digitized by F. Storm in 1996.
  • Vida Pro (2005), a big sans family designed for TV screens. Vida Stencil Demo is free.
  • Walbaum Text (2002). Walbaum 10 Pro (2010) and Walbaum 120 Pro (2010) are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he offers Walbaum Grotesk Pro (2011).
  • Wittingau (2016). A wonderful decorative blackletter typeface family, with a great set of Wittingau Symbols.
  • Zeppelin (2000): a display grotesk
This foundry cooperates in its revivals with experienced Czech designers Ottokar Karlas, Jan Solpera and Josef Týfa.

Alternate URL. Myfonts write-up.

At ATypI 2004 in Prague, he spoke about his own Czech typefaces, on his Czech Typeface Project, and on the life of Josef Týfa.

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


Two free TrueType fonts, TV Times and TV Arial. [Google] [More]  ⦿


Monotype's answer for TV fonts and low resolution screens is Tioga. It is not ashamed to state that Tioga sticks closely to RNIB/Bitstream's Tiresias: Tioga is metrically compatible with Tiresias, a widely-used typeface designed for digital TV applications and adopted by the DVB and MHP standards. [Google] [More]  ⦿

Tiresias: Critique by Joe Clark
[Joe Clark]

Joe Clark (Toronto) deflates the balloon blown up by Bitstream regarding John Gill's Tiresias, which was specially developed for screen captioning. His main points:

  • It was tested on only a few dozen people, but is marketed as a font for everyone.
  • Some of the tests for this claimed caption and subtitle font used printouts, not captions or subtitles.
  • It is claimed to be superior to typefaces like Times, even though what were talking about are screenfonts, not print fonts.
  • It costs up to $17,500, but it does not even have an italic.
  • Its researchers admit to little expertise in typography, yet the researchers parent organization receives 40% of the retail price.
  • It is claimed to be a better solution to a specific problem than a generic typeface would be, but it has itself turned into a generic typeface that is misapplied to specific problems.
  • The ingenious, unique typeface has already been partially cloned, via a competing knockoff typeface with a different design and identical widths.
  • It is ugly by design.
[Google] [More]  ⦿

Typography and TV Captioning

Joe Clark's article in vo. 43, No. 1 of Print, dated 1989. [Google] [More]  ⦿

WDR Minion

The house font of the TV chain WDR, which also uses FF Meta 1 and FF Meta Black, as well as an on-screen font called WDR TV. [Google] [More]  ⦿

White Crow
[Sarang Kulkarni]

WhiteCrow is a type foundry and design studio founded by Sarang Kulkarni in Mumbai in 2005. It specializes in multilingual branding, type design and calligraphy. A collective of type designers, the White Crow team creates customized typefaces for all Indian scripts, including Devanagari, Bangla, Gujarati, Tamil, Telugu, Kannada, Malayalam, Gurmukhi, Meitei Mayek (Manipuri), Oriya and Urdu. Their typefaces:

  • Life OK. A Devanagari custom type designed for the new Hindi entertainment channel- Life OK. It consists of 3 weights and is hinted for television use.
  • Painter Kafeel and Painter Suhail. Digital typefaces based on letterforms that were originally handpainted by Kafeel. In collaboration with Hanif Kureshi at Handpainted Type.
  • Star Jalsha. Custom logo type and typeface in Bengali script for a regional TV channel- Star Jalsha. It consists of 3 weights and is hinted for television use.
  • Vodafone India. Regional language logos, corresponding text type design as per the existing Latin type and 'power to you' taglines in 11 Indian languages.
  • Modak. Modak is an open source chubby Devanagari/Latin display typeface.
  • The Economist. Six sets of Latin characters were designed to resemble other scripts like Sinhala, Tibetan, Hebrew, Cyrillic, Chinese and Urdu for the Economist magazine's outdoor campaign.
  • Being Human. A handwriting based display typeface that carries forward the look of the Being Human logotype.
  • TATA AIA. Custom typeface designed for TATA AIA.
  • Anek Gurmukhi (2022, Ek Type).
[Google] [More]  ⦿

Zak Design
[Zakariya Saleh]

Arabic font foundry based in Ramallah, Palestine, and run by Zakariya Saleh, a graduate of Palestine Polytechnic University. They made Osama (2013), Exo Sans (2013, a free Latin sans typeface---not to be condfused with Gama's Exo font), Asmaa (2013, Latin and Arabic), Ourtilane (2013), Oday (2013), AraSym Ramadan (2010, a family) which can be downloaded here.

In 2013, he extrapolated the Sony Walkman logo into his Sony Walkman organic font. He also made the Arabic typefaces Bon Font, Saramah, Aqeeq, Graphici, Asri, Ink Drip, Arabic Script, Ink Stream, Alqusair, and Diana Extra, and the octagonal Latin / Arabic typeface Shohadaa.

Typefaces from 2014: Ara Hala Bo She'sha, Ara Hamah 1964 B Bold, Ara Hamah 1964 R Light, Ara Hamah 1982, Ara Hamah AlFidaa, Ara Hamah AlHorra, Ara Hamah AlThawra, Ara Hamah Alislam, Ara Hamah Homs, Ara Hamah Kilania, Ara Hamah Sahet AlAssi, Ara Hamah Zanki, Ara Hamah City, Assaf, Haneen (signage script), Sally (with Sally Alzaza), Bondoq, Amal (art deco for Latin and Arabic), Lamis, Hilary, Saba, Mary (piano key typeface), Nisreen, Hajar, Kufi, Muslimah (free), Ahrar, Ghang Tachkili and Djadli Tachkili (designed by Jadli Zein Alabedeen (Algeria) and programmed by Zakaria Saleh), Al Hadari, El Maidan, Israr Syria, Etab AmMoniee, Hala, Hamah, Al Bayan, Assaf, Baghdad.

Typefaces from 2015: Handmade (custom Latin/Arabic font for a Palestinian store), K24 (a corporate font for Kurdistan 24 channel), Hattan (Latin and Arabic), Nicole, Natalie, MasterFont, Naskh, Moscow (constructivist Arabic typeface).

Typefaces from 2016: Joory, Twitter Headline Type, TV Sans, Corporative Sans (Latin and Arabic), Eliyaa Pro, Yasmin, Feather, Bein Sports Network typeface.

Typefaces from 2017: Halimah.

Typefaces from 2018: Media Pro, Maghfira.

Behance link. [Google] [More]  ⦿

Zakariya Saleh
[Zak Design]

[More]  ⦿