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 (2009, Typotheque)---it was completed by Nikola Djurek and Peter Bilak.

His free faces include Fava Black (2012, a massive magazine font) and Keytin Light (2012, a thin condensed sans).

Dafont link. Home page. [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]  ⦿

Chance Type Co (was: 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. These used to be shareware when the place was called Jedi Serpent Fonts. A list: 5 AM Chance No. 1 (which used to be called Vespers), Melfina, 5 AM Summer, 5 AM Transit, Children's Television Workshop, Grey, Vespers (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, Codeca, 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), Display Swash, KY and Urge, 65 Swash, Melfina, 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, such as Vespers and Childrens Television Workshop. Jedi Serpent evolved into 510 ink and then Krayon Ink. [Google] [MyFonts] [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]  ⦿

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.

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]  ⦿

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. FontShop link. Klingspor link. Font Squirrel link. Dafont link.

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 faces 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), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, OK for programs), PragmataFlash (2002, a pixel font), Pragmata Pro (2011), Essential Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Virna (2003, a multiline face 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 CPCompany (2000). Other clients include 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.

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

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

Famous Fonts

Free fonts from movies, TV shows, and CD covers. [Google] [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:

• FF Max (a bit wide)
• Section
• Apex Sans
• Simian
• Cachet
• Zemestro
• FF Signa
• Amplitude
• Gotham
• ClearViewOne
• Giacomo
• Locator
• Tiresias (later slightly modified by Monotype as Tioga)
• Monitor
• Critter
• Sauna

Fontsmith
[Jason Smith]

Jason Smith is the British corporate typeface designer who founded Fontsmith in 1999, where he retails his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. His fonts include FS Sinclair (2008, octagonal), Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, FS Ingrid, FS Rome, FS Albert (2002, a soft-cornered sans family), and Saudi Aramco. Of these, only FS Albert (2002), FS Rome and FS Ingrid can be purchased. Newest fonts: Champions (Regular, Bold, Headline; done in 2009 for the UEAFA Champions League), FS Rufus (a slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi), FS Sophie (2004, sans), FS Rigsby (2005, sans), FS Clerkenwell (2004, with Phil Garnham, slab serif), FS Pele (2007, ultra fat), FS Kitty (2007), FS Sinclair (2007, rounded octagonal), FS Alver (2007), FS Dillon (influenced by the Bauhaus quest for simplicity), FS Lola (2006, for Wechsler Ross&Portet; done with Phil Garnham, it is advertised byFontsmith as a transgender type). In 2007, he made the custom face Xerox Sans as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well. 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.

Custom typefaces include 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), FS Conrad (2009, a multiline display face). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar face Lurpak a few weeks later. [Google] [MyFonts] [More]  ⦿

Holofontes
[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]  ⦿

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]  ⦿

John Gill

Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom, designer Tiresias (2001), a screen/TV font family at Bitstream. [Google] [MyFonts] [More]  ⦿

LiveFonts

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

Apple's software, as advertised: " 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. [Google] [More]  ⦿

LiveType Central

Billed as "the ultimate source of royalty free content built for LiveType, Final Cut Pro 4's title generation tool." This is meant for NTSC and PAL TV signals. [Google] [More]  ⦿

LiveType User

A support page for LiveType users. [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. At ATypI in Rome in 2002, he spoke about type for branding and communication. Scan of some posters made in 2010. Behance link. [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]  ⦿

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, 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 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. [Google] [More]  ⦿

Nina Lee Storm

Born in Seoul, Nina Lee Storm moved to Denmark in 1975, where she works as a freelance type designer. 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 face was published by Linotype in 2004. FontShop link. [Google] [MyFonts] [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]  ⦿

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]  ⦿

ScreenCaffeine

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]  ⦿

Screenfont.ca
[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 faces such as Bitstream's Tiresias or Monotype's Arial. Speaker at ATypI 2007 in Brighton. [Google] [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): AbaldA 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.
• 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
• Amor Sans and Serif (2005).
• Andulka (2004): 24 weights for use in books, mags and newspapers
• 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 face with serifs on top and serifless at the bottom.
• Bahnhof: poster typeface from the 1930s.
• Baskerville Original comprising Baskerville Ten Pro, Baskerville Ten Cyr, Baskerville 10 Pro, JBaskerville, and JBaskerville Text. This is an important and thoroughly studied execution strating from photographs of prints from Baskerville's printing office, ca. 1760. Examples: I, II, III, IV, V, VI, VII.
• 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.
• 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)
• Defender (2008): a heavy slab family.
• Digita (2004)
• 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): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008.
• Evil
• Excelsior Script (1995-1996)
• Farao (a great Egyptienne font in 3 weights)
• Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shadowed (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.
• Hexenrunen (2006, + Reverb): a runic simulation face.
• Ideal Gothic
• 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
• JohnBaskerville (2000)
• JohnSans (2001, a 72-weight sans version of Baskerville)
• Juvenis (2003)
• Kompressor: techno face
• Lexon Gothic: newspaper and magazine type family
• 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 face
• Lokal Script (2009): a large handprinted 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 face 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
• 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
• Pivo (2006), a connected diner script inspired by Bohemian beer labels.
• Plagwitz (2000, blackletter).
• 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
• Preissig 1918: a typeface by Vojtech Preissig cut in linoleum
• Preissig Ozdoby
• Regent II: a rustic Baroque typeface
• 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 face 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.
• Technomat (2006): this face 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), and Trivia Slab (2012).
• 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).
• Zeppelin (2000): a display grotesk

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]  ⦿

Technika

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

Tioga

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 Tireasias: 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]  ⦿

Typography and TV Captioning

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