TYPE DESIGN INFORMATION PAGE last updated on Tue May 14 16:05:03 EDT 2024






Type design in the United Kingdom



Durham, UK-based creator of the bouncy hand-printed Paisy (2007). [Google] [More]  ⦿

[Ben Archer]

Educational and reference site run by Ben Archer, a designer, educator and type enthusiast located in England (who was in Auckland, New Zealand, before that). Glossary. Timeline. Type categories. Paul Shaw's list of the 100 most significant typefaces of all times were recategorized by Archer:

  • Religious/Devotional: Gutenbergs B-42 type, Gebetbuch type, Wolfgang Hoppyl's Textura, Breitkopf Fraktur, Ehrhard Ratdolt's Rotunda, Hammer Uncial, Zapf Chancery, Peter Jessenschrift, Cancellaresca Bastarda, Poetica.
  • Book Publishing&General Purpose Text Setting: Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Cheltenham family, Aldus Manutius' roman, William Caslon's roman, Pierre-Simon Fournier's italic, Ludovico Arrighi da Vicenza's italic, Johann Michael Fleischmann's roman, ATF Garamond, Giambattista Bodoni's roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida, Optima, Bauer Bodoni, Adobe Garamond, Scotch Roman, Romanée, ITC Stone family, Trinité, ITC Garamond, Sabon, ITC Novarese, Charter, Joanna, Marconi, PMN Caecilia, Souvenir, Apollo, Melior, ITC Flora, Digi-Grotesk Series S.
  • Business/Corporate: Akzidenz Grotesk, Helvetica, Univers, Syntax, Courier, Meta, Rotis, Thesis, Antique Olive.
  • Newspaper Publishing: Times Roman, Bell, Clarendon, Century Old Style, Ionic, Imprint.
  • Advertising and Display: Futura, Robert Thorne's fat typeface roman, Vincent Figgins' antique roman (Egyptian), Memphis, Fette Fraktur, Avant-Garde Gothic, Deutschschrift, Peignot, Erbar, Stadia/Insignia, Penumbra, Compacta, Bodoni 26, WTC Our Bodoni.
  • Prestige and Private Press: Romain du Roi, Golden Type, Johnston's Railway Sans, Doves Type, Walker.
  • Signage: William Caslon IV's sans serif, Trajan.
  • Historical Script: Snell Roundhand, Robert Granjon's civilité, Excelsior Script.
  • Experimental/expressive: Mistral, Beowolf, Dead History, Behrensschrift, Eckmannschrift, Neuland, Element, Remedy, Template Gothic.
  • Onscreen/multimedia: Chicago, Oakland, OCR-A, Base Nine and Base Twelve, Evans and Epps Alphabet.
  • Telephone Directory publishing: Bell Gothic.

Link to Archer Design Work. [Google] [More]  ⦿

[William Lyall]

London-based graphic design studio founded by William Lyall and Josh Epstein-Richards in 2015. Its typefaces include PM Grotesk (2018), which was designed by William Lyall. [Google] [More]  ⦿

[Chris Henley]

24exp was the online portfolio of Buckinghamshire, UK-based freelance designer and art director Chris Henley. Some time alter, he set up Good and Brave in Milton Keynes, UK.

Creator of the rounded octagonal typeface GAS (2012) and the 2d typeface Build Me Up and Knock Me Down (2013).

Behance link. [Google] [More]  ⦿

3 Things

Design studio in London that created an experimental geometric typeface called Shellington (2012).

Behance link. [Google] [More]  ⦿


Birmingham, UK-based design firm. Creators of the futuristic type Slacker Journal for the journal by that name, 2001. No longer active. [Google] [More]  ⦿

8 Faces
[Elliot Jay Stocks]

8 Faces is published in England by Elliot Jay Stocks Design Ltd. Volume 1 (2010) features interviews with Erik Spiekermann, Jessica Hische, Ian Coyle, Jason Santa Maria, Jos Buivenga, Jon Tan, Bruce Willen, and Nolen Strals. Volume 2 (2011) has interviews with eight designers: Martin Majoor, Ale Paul, Stephen Coles, Tim Brown, Nick Sherman, Rich Rutter, Veronika Burian, and José Scaglione. Written and edtited by Elliot Jay Stocks. [Google] [More]  ⦿

A. Jay Bisset

Graphic designer in Berkhampstead, UK, who created an experimental typeface in 2012. [Google] [More]  ⦿

A. Pat Hickson

Britsh designer for ITF, most of whose fonts were mainly published by Red Rooster. After 2017, she started contributing to her husband's foundry, London Type. List (all ITF/Red Rooster unless otherwise specified):

  • Alghera Pro (1996): hand-printed, based on a handwritten Portuguese wine label design.
  • Alys (1995): Calligraphic.
  • Appleyard (1992): based on an old Monotype design, Prumyslava.
  • Badger (1992): comic book style. In 2010, this was Steve Jackaman and Ashley Muir as Badger Pro.
  • Basset, Basset Five, Basset Four, Basset One, Basset Six, Basset Three (1997): headline family.
  • Bellini (1992): a garalde typeface based on Progreso (1923, Richard Gans Foundry). See Veer, where the font is sold as "Bellini". Linotype sells Greco (DsgnHaus, 1996) which according to some typophiles really is Progreso.
  • Byron (1992, by Paul and Pat Hickson): a calligraphic font originally cut in the 1980s for QBF based on a design in Printing Types of the World (1931, Pitmans). Later redone in digial form as LDN Piccadilly (2019) at London Type.
  • Coliseum (1992, ITF), co-designed with Julie Hopwood. Steve Jackaman completely redesigned, redrew, and improved the Coliseum family in 2017 and called it Coliseum Pro. That redesign also produced the sister typefaces Clydesdale and Torpedo.
  • Dundee, Dundee Condensed (1993), inspired by the various headlines used in children's comic books in England, published by D.C. Thompson of Dundee, Scotland.
  • Erasmus (1992): based on a design of Sjoerd Hendrik de Roos, 1923, Amsterdam Foundry.
  • Forum Titling (1994): based on the Frederick Goudy design first shown in 1912, which was produced as a foundry typeface by Lanston Monotype in 1924.
  • Gilmore Fahrenheit and Gilmore Sans (1992): ugly typefaces based on Eric Gill designs.
  • Grove Script (1992).
  • Javelin (1994): a connected fifties diner typeface in the style of Continental Railway Magneto Bold, Parkway Hotel, Permanent Waves, and Raceway.
  • ITC Mona Lisa (ITC, 1992, and Elsner&Flake, 1991), ITC Mona Lisa Recut (ITC, 1991): an interpretation of a 1930 tall modern type by Albert Auspurg for Ludwig&Mayer.
  • Rivoli Initials. Based on the William T. Sniffin design for ATF, circa 1928.
  • Roller, Roller Shadow (1997): based on Iberica by Carlos Winkow for Fundicion Nacional, ca. 1942.
  • Sinclair Script (1992).
  • Stirling (1992).
  • Venezuela (2000, Red Rooster) is a decorative Mexican simulation font based on the typeface Vesta by Albert Auspurg, circa 1926.
  • Heseltine (2014) was designed by Paul & Pat Hickson in Text & Titling weights. The Heseltine typeface family was originally produced as a gift from Haymarket Media Group to Lord Heseltine for his 75th birthday.
  • London Belgravia (2019, by Paul and Pat Hickson). An art deco sans.
  • With Paul Hickson, she designed the floriated initial caps font LDN Garamond Initials (2020), which accompanies Paul's LDN Garamond (2020), which is a faithful revival of Claude Garamond's typeface.
MyFonts link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

A2 Graphics--SW--HK
[Scott Williams]

Scott Willimas is the cofounder (with Henrik Kubel) of A2. Before that, it was called A2 Graphics/SW/HK, a London based design bureau founded in 1999 by Scott Williams and Henrik Kubel. At A2, he designed the elliptical typeface family Cubbit, as well as the pixel typeface game Over and Eyeslies. Williams and Kubel co-designed AF-Klampenborg (1997-1999) and FY-Brush Script Regular.

In 2014, Scott Williams and Henrik Kubel (A2 Type) co-designed A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.

Klingspor link. [Google] [More]  ⦿

A2 Type
[Henrik Kubel]

A2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. The designers are Henrik Kubel and Scott Williams. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. Their typefaces:

  • 4590
  • 60 Display.
  • Amplify (2013) won an award at TDC 2014.
  • Antwerp (2011). A readable text family designed by Kubel during an Expert Type Design Class in 2011 at Plantin Genootschap in Antwerp.
  • A2 Archi (2005, Henrik Kubel): an octagonal face.
  • A2 Aveny-T (2000, Henrik Kubel): Poster typeface commissioned as aprt of the identity of the Aveny-T theatre in Copenhagen.
  • Agriculture.
  • Archi.
  • Banknote.
  • A2 Battersea (1999, Henrik Kubel): inspired by Meta, DIN and Transport Alphabet. Followed in 2012 by Battersea Slab.
  • Bauhouse.
  • A2 Beckett (2008). A condensed sans family with the masculinity of Impact.
  • Boing.
  • Copenhagen
  • A2 CPH Tram (2009, Henrik Kubel): revival of an odd mini-serifed type found on the exterior of Danish trams, ca. 1920.
  • A2 CWM (2008, Henrik Kubel): constructivist type designed for the headlines and cover of Cold War Modern Design 1945-1970. Octagonal.
  • Dane.
  • A2 Danmark (2008, Henrik Kubel): a display stencil family.
  • A2 Ergonomics (2011).
  • Flavin Medium. A neon tube font.
  • A2 Flowers (2005, Henrik Kubel): arrows, fists, flourishes, ornaments.
  • A2 FM: slab serif family.
  • Foundation (2018) in Sans (Number 44, Condensed, Wide), Serif, and Serif Didot subfamilies. These are all revivals of skeletal typefaces. Foundation Sans Number 44 was inspired by Circular Gothic No. 44 (1879, Charles E. Heyer, for the Great Western Type Foundry). Foundation Sans Condensed and Foundation Sans Wide are derived from two types described as Caractères pour Marques de Linge (typefaces for marking on linen) in the Signes section of the first volume of Spécimen Général des Fonderies Deberny et Peignot (ca. 1934). Foundation Serif is based on Caractère No. 7, another Caractère pour Marques de Linge in that 1934 Deberny & Peignot specimen book. Kubel's inspiration for Foundation Serif Didot was a sheet of lettering (dated 1939) he discovered in the archive of the influential Danish architect and graphic/industrial designer Gunnar Biilmann Petersen, 1897-1968.
  • Grand. A stencil typeface.
  • A2 Grot 10 (2009, Henrik Kubel): a take on the Grot Series by Stephenson Blake. Grot 12 followed in 2015.
  • A2 Impacto (2005-2011, Henrik Kubel): Impact?
  • A2 Klampenborg (1997, Henrik Kubel): industrial style sans.
  • Kunstuff.
  • London (2010).
  • Magna.
  • Maximum.
  • A2 Mazarin (2017). A2 writes: Originally designed as a Garamond-inspired metal typeface by Robert Girard ca. 1921-1923, and published under the name Astrée by Deberny Peignot, the typeface was soon recut and renamed Mazarin by the English foundry Stephenson Blake in 1926. That single style original has now been expertly restored and reimagined as a contemporary typeface in multiple styles.
  • Melissa Script (2010).
  • A2 Monday (2003-2016, Henrik Kubel): based on 19th century English vernacular serif signage type.
  • Moscow Sans (2014-2015). Award winning custom fonts and pictogram system for Moscow Metro. Art directed and designed by A2 (Scott Williams and Henrik Kubel) with Margaret Calvert as type and pictogram consultant. Cyrillic script designed in collaboration with Ilya Ruderman.
  • Naive.
  • New Grotesque Square series (2015). A newspaper typeface modeled after a Stephenson Blake typeface. Followed by New Grotesque Round in 2015-2016.
  • New Rail Alphabet (2009). A refreshed and expanded version of Margaret Calvert's alphabet from the 1960s which saw nationwide use with British Rail, BAA, and the NHS. Developed in cooperation with Margaret Calvert.
  • New Transport (with Margaret Calvert). A digital version of Transport, the Jock Kinnear and Margaret Calvert typeface for the British road signs. New Transport will be commercially released in September 2013.
  • Register (2012-2017). A text typeface family inspired by French renaissance types.
  • Regular (2012-2016). Think Futura in new clothes. Accompanied by Regular Slab.
  • Sans, Slab and Serif typefaces for a redesign of The New York Times Magazine in 2015. The starting point for the Serif font is the Stephenson Blake Garamond-ish metal typeface Mazarin also known as Astrée from French foundry Deberny & Peignot. The slab fonts used for pull quotes and headlines are a continuation of the magazines existing Stymie font but in a condensed format. The sans fonts are linked to the industrial grotesque types, with metal type specimen versions of Futura and Akzidenz fonts as loose models for inspiration.
  • Nosferato.
  • Ole.
  • Outsiders (+Outsiders Light and many other weights). A slab serif family.
  • Parsons Green Medium.
  • A2 Record Gothic (2019, Henrik Kubel), after Robert H. Middleton's American grotesk, Record Gothic (1027, Ludlow). Kubel writes: In celebration of Record Gothic's eclectic history, we designed four related but independent styles: Slab, Mono, Stencil and Outline.
  • Square.
  • Staton.
  • Tagstyle.
  • Test.
  • Triumph.
  • A2 Typewriter (2000, Henrik Kubel): based on Olivetti Typewriter 22.
  • A2 Vogue Floral: a fashion mag modern display face in two styles.
  • Vogue Paris. Granshan 09 Type Design Competition. 1st Prize, Display fonts.
  • A2 Zadie (2005, Henrik Kubel): inspired by Edwardian railings surrounding the Royal Army Military College in London. Used on the cover of the Zadie Smith bestseller On Beauty (2005, Penguin Press, NY). Granshan 10 Type Design Competition. 3rd Prize, Display fontt described as an ornamental blackboard bold type.
  • In 2014, Scott Williams and Henrik Kubel (A2 Type) co-designed A23D, a 3d-printed letterpress font. It was fabricated by model making specialists Chalk Studios. The font is presented by New North Press, which specializes in traditional letterpress printing. Adrian Harrison made a short film about the birth of the font, charting its progress from preliminary sketches to first inking and printing at New North Press. A23D won an award in the TDC 2015 Type Design competition.
  • English 1766 (2017). Kubel's take on Caslon.
  • Regular (2017). A sans family inspired by Memphis, Karnak, Stymie and Futura.
  • Schwiss (2018). Inspired by Akzidenz Grotesk and Helvetica.
Custom type by them include an alphabet for Qantas Airlines (2017), a masthead for Toronto Life (2010), a custom typeface for Banca Sella (2018), Qualcomm (2017), Arne Jacobsen (2018?), Evening Standard Newspaper (2018: 43 fonts), New York Times Magazine's Olympics issue (2018: a monowidth font for stacking), Eurosport Pyeongchang 2018, Weekendavisen (2007-2010), Design Museum London (2010), Faber&Faber (2009-2010), Afterall Publishing (2006-2010), Faulkner Browns Architects (2007), Penguin Press (2005), and Norrebro Bryghus (2005).

At ATypI 2013 in Amsterdam, he spoke about New Transport. Winner of the type design prize at the Tokyo Type Directors Club TDC 2019, with Matt Willey, for the New York Times Magazine Olympic font. [Google] [MyFonts] [More]  ⦿

Aah Yes

Southampton, UK-based foundry, est. 2006. Font families include Regalese (2008, 8 weights with stylish rounded serifs), Arrow Heaven (2007, 6 styles of fonts with 62 arrows in 40 orientations each), Lydiard (2007, sans cum comic book), Demigrunge (2007), Nidex (2007, caps-only grunge), Rocksolid (2007), Perio (2007, a grungy didone), Havenbrook (2007, a 22-style family), Sudoku Blank (2007), Pikelet (2007, grunge headline face), Sanzettica (2007, a 40-style geometric sans family, but the x-weight is unacceptably large), Hunniwell (2007, felt tip style), Meriden (2007, display sans family), Saint Val (2007), Funkywarp (2006), Cheedo (2006, bi-lined), Old Forge (2006, roman style), Blank Manuscript (2006, music font), Disgrunged ABCD (2006), Disgrunged 1234 (2006), Beeble (2006), Choob Stripes (2006), Diffie (2006), Pixettish (2006), Caldicote (2006, a 13-style serif family), Starbell (2006), Tuzonie (2006, grunge), Cabragio (2006, free-flowing informal), Deltarbo (2006, sans), Write (2006, an almost architectural script), Dascari (2006, an informal headline sans), Smeethe (2006, comic strip face), Crockstomp (2006, grunge), Dorkihand (2006), Meltifex (2006, melting letters), Rappica (grunge), Blue Sugar (2007, grunge), Front Desk (2007), Powdermonkey (2007), Sideshadow (2007), Spiky (2007), Zebra Spots (2007), Amescote (2007, a 6-weight sans), Mivron (2007, outline sans), Puggu (2007, comic strip font), Luzaine (2007), Overlapper (2007), Satron (2007), Stubble (2008, grunge), Newsanse (2008, a 15-style large x-height disaster), Rysse (2008, an 11-style grunge family), Chelp (2008, grunge), Snather (2008: thin, rounded squarish), Keybies (2008, piano key font), Quickle (2008), Pevensey (2008: 21 styles, each with 1200 glyphs, transitional style), Spiraltwists (2008), Music Sheets (2009), Snazzy (2009), Shelflife (2012, a macho sans), Langton (2012, a workhorse sans family), Indipia (2012, a corroded family), Bradwell (2012, condensed sans), Dunsley (2013, a hand-drawn sans), Darnalls (2013, antiqued book face), Stamppad (like a rough rubber stamp pad), Heavenly Bodies, Stripated (2016), Slonk (2016: an ornamental font with a pearl in each outline), Guitar Chords (2016).

Typefaces from 2017: Time Exactly (just type in the four numbers of any time from 0000 to 2359 and it will give you that clock face, in one of 60 styles of your choice), Rebista, Magg (a corroded condensed sans typeface family), Sanstone.

Typefaces from 2018: Hypersans (12 weights), Martian Tiles, Dominoes (a domino tile font).

Typefaces from 2020: Yafferbuddle (a cartoon font).

View the Aah Yes typeface library. [Google] [MyFonts] [More]  ⦿

Aaron Bass

Illustrator and graphic designer in Farnham, UK, who created some experimental counterless typefaces in 2013.

Behance link. [Google] [More]  ⦿

Aaron Bradley

UK-based designer, b. 1999, of the modular typeface Loncazt (2019) and the squarish typeface family Gipfel (2019). [Google] [More]  ⦿

Aaron Chiffers

[MyFonts] [More]  ⦿

Aaron Hocking

During his grpahic design studies in Norwich, UK, Aaron Hocking created the rounded modular typeface Theo (2016) which can be used for coloring and overlays. [Google] [More]  ⦿

Aaron Jarred

Graphic designer and illustrator studying Graphic Communication at UCA, Farnham, UK. He created Modular (2011, a kitchen tile face). [Google] [More]  ⦿

Aaron Joll

Bristol, UK-based designer of the 3d typeface Two Faced (2014). Behance link. [Google] [More]  ⦿

Aaron Nicholls

Graphic design student at the University of Creative Arts, Epsom, UK. Worthing, UK-based creator of the sans family Static (2010). MyFonts link to his foundry and to his persona. He designed the monoline octagonal typeface Exogenetic (2010). Behance link. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

[Dave Crossland]

Abattis is a free software type foundry launched in 2009 by Dave Crossland. Auto-description on his wiki: I'm a designer and nerd in Bournemouth, UK, and I do systems and network consultancy for a living. I completed a BA (Hons) Interaction Design degree at Ravensbourne College in 2006, and am currently on the MA Typeface Design course at Reading, from October 2007 to July 2009. My design philosophy centers around the parameterisation and automation of design to improve the design process, and some of my old ideas are published at designprocess.com. He is a proponent of open source code and of free fonts, and involves himself with dedication in the Open Font Library project. He defines Free fonts as follows: Free Fonts are about freedom, not price. They are fonts you are free to use for any purpose, fonts whose internals you are free to study, fonts you are free to improve, fonts you are free to redistribute, and fonts you are free to redistribute improved versions of which means - in the specific context of font software - fonts you are explicitly free to embedded, subset, bundle and derive from to create any kind of artwork. To be truly Free they must allow commercial use and even to be sold by anyone - as it is about freedom, not price.

Dave dreams of a free culture of visual communication around the world, so he decided to free fonts. His Masters Thesis written in 2008 at the University of Reading is entitled The Free Font Movement.

In 2009, for his MA work at Reading, he designed Cantarell, a free humanist sans family, done together with Jakub Steiner, free at CTAN, Github and Open Font Library. OFL page. Cantarell was there at the launch of Google Fonts and has become widespread. In 2010 it was selected as the default User Interface font for GNOME 3. Petra Sans (2017) is a further development of Cantarell by Cristiano Sobral. Irene Vlachou added Greek support for Cantarell in 2018. The current state of Cantarell as reported on Github: After the GNOME project adopted the typeface in November 2010, minor modifications and slight expansions were made to it over the years. Pooja Saxena initially worked on the typeface as a participant of the GNOME outreach program and later developed her own Devanagari typeface Cambay, which included a redesigned Latin version of Cantarell. It was backported to the GNOME branch of Cantarell by Nikolaus Waxweiler, who also performed other janitorial tasks on it. The overall quality of the design was however far from good, given that the regular and bold face were worked on seperately and without consistency and had low quality outlines, and the oblique variants were simply slanted uprights without much correction. The GNOME design team also requested lighter weights. Up to this point, the work on Cantarell was mainly done with libre tools such as FontForge. Given the decaying state of FontForge (arcane user interface, heaps of quirky and buggy behavior) and the very early development status of alternatives such as TruFont, Nikolaus Waxweiler started redrawing Cantarell in the proprietary and Mac-only Glyphs.app under mentorship from Jacques Le Bailly ("Baron von Fonthausen"). Later, Alexei Vanyashin and Eben Sorkin reviewed the design.

Finally, in 2009 or 2010, he started work on the Google Font Directory. Dave works as a typographic consultant to the Google Fonts project and gives financial support to libre type projects including FontForge, Glyphr Studio and Metapolator.

Klingspor link. Kernest link. Google Plus link. Font Squirrel link.. [Google] [More]  ⦿

Abbas Mushtaq

Abbas Mushtaq (Leeds College of Art) is working on a font called Parallel Lines (2011). [Google] [More]  ⦿

[Abigail Pickess]

UK-based designer of the handcrafted typeface Superman (2020). [Google] [More]  ⦿

Abbie Vickress

Student at UWE in Bristol, UK. FontStructor who made the circus fonts Ornamental Circus (2010) and Draft Two (2010). [Google] [More]  ⦿

ABC Types (was: Absolutetype)
[Tony Mayers]

ABC Types is Tony Mayers' foundry. Identifont link. Tony produced film titles in London's West End. He learned the craft of phototypesetting. In 1979, he moved to Manchester, where he founded The Quick Brown Fox Company. He created Concept Crisis (grunge face), Concept Sans, De-Generation, Generation Gothic, Generation Graffiti, Generation Headline, Generation Lost, Generation Open, Generation Pixel, Generation Uncial, Monolith Roman (2004), Monolith Sans, Poster Gothic, Ranger, Society, and Text Gothic. Before ABC Types, he ran Absolutetype, where he sold the typefaces mentioned above. The typefaces are now digitally available from Cedars, PA-based International Type Founders (ITF), which was created by Steve Jackaman. The latest address for ABC Types was in Cedars, PA. It is identical to that of ITF. Tony Mayers has died.

Ascender also sells its collection. Klingspor link. [Google] [MyFonts] [More]  ⦿

Abi Evans

During her studies in London in 2017, Abi Evans designed the confetti typeface Haywire Bound. [Google] [More]  ⦿

Abi Fuller

During her studies at the University for the Creative Arts Farnham, UK, Abi Fuller designed the pattern-filled octagonal typeface Tribal (2014). [Google] [More]  ⦿

Abi May

At Falmouth University in the UK, Abi May designed the neuron and axon emulation typeface Anxious (2016). [Google] [More]  ⦿

Abigail Frances Twomey

Artist and illustrator in London, UK, who designed a great all caps typeface based on cats called Just My Type (2016). [Google] [More]  ⦿

Abigail Lee

Huddersfield, UK-based designer of the 3d skeletal typeface Huddersfield (2017). [Google] [More]  ⦿

Abigail Pickess

[More]  ⦿

Abigail Stevens

Illustrator in Cambridge, UK, who created the decorative alphabet Bestiary (2014). Behance link. [Google] [More]  ⦿

Ablaze Studio
[James Cianciaruso]

James Cianciaruso (Ablaze Studio) (b. 1967) lives in the UK. Dafont link. He created these fonts: Chaos Times (2007, grunge), Arkham (2007, Arabic simulation face), Leicester (2007, old typewriter face), and Veggi terra (2007, fruit and veggie dingbats). [Google] [More]  ⦿

Abygail Bradley

During her studies in Manchester, UK, Abygail Bradley created the rhombic typeface Diamond Heist (2014). [Google] [More]  ⦿

A.C. Smithy

Student at UWE in Bristol, UK. FontStructor who made the Celtic caps typefaces Radiating Bold (2011), Radiating (2011) and Closed Energy (2011). [Google] [More]  ⦿

Achraf Amiri

Creative director and founder of Illustrashion Magazine, based in London. Known as Prince, Amiri used to live in Brussels, where he was art director and graphic designer. Home page. In 2010, he published a booklet, Didot Fashion Victim. His fashion-inspired lettering is quite amazing, and so are his fashion illustrations. In 2011, he continues his amazing mixtures of typography and illustration in his design of a wall logo for Boutique no. 7 in Moscow. He also made the hairdo experimental caps typeface Touffe (2011). More fashion and vamp illustrations: Milano 2011, New York 2011, Paris 2011, Sophia Loren, Sofitel Brussels Le Louise (2011). [Google] [More]  ⦿

Acid Type
[Zac Hallgarten]

Design studio started in London in 2015, and now located in Manchester. In 2021, Zac released the 12-style gentle grotesk typeface family Rabona. [Google] [MyFonts] [More]  ⦿

ACME Fonts (or: CHK Design)
[Christian Küsters]

Started in 1996, by Christian Küsters and Andy Long (from South London), ACME Fonts is a London-based foundry, offering fonts by Küsters and these designers: Anthony Burrill, Gérard Paris-Clavel&Johannes Bergerhausen, Jean-Lou Désiré, Paul Farrington, Robert Green, Paul Kehra, Henrik Kubel, Simon Piehl, Alex Rich, Carsten Schwesig, Sandy Suffield, Dirk Wachowiak, Anne Wehebrink and Paul Wilson. Christian Küsters is an ex-student of Matthew Carter at Yale. Born in Germany, he now lives in Oberhausen. Buy the fonts at MyFonts. The company evolved, I guess, into CHK Design.

MyFonts link. Interview. Klingspor link. The ACME font list:

  • By Christian Küsters: AF Angel (1998, based on an old woodblock typeface), AF Satellite, AFWendingen, Cashier 1 AF (1998, dot matrix), AF Champ Fleury (1996, a Codex-like face), AF Hybrid (1996), AF Hadrian Roman (1998, art nouveau), AF Interface One and Two (1998, grotesque sans), AF Retrospecta (1998, exaggerated wedge serif family), AF Track AF One and Two (1998, white on black dot matrix printing), Unzialis (1994), Zip Code AF 30, 40, 50 and 60 (2001, hairline squarish sans family). Christian had a nice connection at Plazm, where he published Hadrian (1996), Retrospecta (1994), Unzialis (1994), Hybrid (1996) and Interface One (1996).
  • By Robert Green: AF PAN (1997, octagonal).
  • By Henrik Kubel: 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (2000, grotesque sans), CPH-ArabicNumbers, CPH-Medium, Grot-25.
  • By Sandy Suffield: CarPlatesCarPlates, AF Carplates (1998, squarish, including Carplates AF Bold Stencil).
  • By Paul Wilson: AF Screen (1999).
  • By Pete McCracken: INKy-black (1994).
  • By Carsten Schwesig: Nicoteen 13 AF (1998, grunge), AF Syrup (1998, slab serif).
  • By Paul Farrington: Camberwell AF One (1998, grotesque sans), AF Tasience (1998), Amateur 69 AF (1998, grunge).
  • By Dirk Wachowiak: AF Diwa (2002, large squarish sans), AF Generation (2002, huge squarish sans families called A, A2, A2A, Z, and ZaZ).
  • By Jean-Lou Désiré: Kub AF (2002, experimental).
  • By Johannes Bergerhausen and Gerard Paris-Clavel: LeBuro AF (2003, grunge in weights called Breau, Crade, Louche, Extra Crade, Demi Beau).
  • By Sylvia and Daniel Janssen: AF Nitro (2004, techno family in subfamilies called Intro, Riton, Trion).
  • By Anne Wehebrink: Oneline AF (1998, squarish sans).
  • By Paul Kehra: PostSoviet AF (2001, geometric sans family; with Cyrillic and Latin letters; weights called Culture, Free Latvian, Free Revolution, Ideology, Revolution).
  • By Simon Piehl: Spin AF (1998, squarish sans).
  • By Anthony Burrill: Video Wall AF (1998).
  • By Christian Küsters, based on lettering of H.T. Wijdeveld: AF Wendingen (1998, LED simulation).
  • Other: AFConstants (1998), Allen, Indy 500, Interface, AFLogotype (1998).

View ACME's typefaces. Acme's typeface library. Typefaces made by Christian Küsters. MyFonts selection for ACME. [Google] [MyFonts] [More]  ⦿

[John Eickhoff]

John Eickhoff (Bristol, UK) cast type until 2005 under the name Acorntype. He used Monotype machines to cast, and produced several specimen booklets and broadsheets. [Google] [More]  ⦿

ACPS Creative

London-based studio. In 2015, it published the stencil typeface A.S. Koops. In 2016, they added the high-contrast typeface Apposite. In 2018, they published the beveled arched typeface Sushi. [Google] [More]  ⦿

A-D Foundry
[Daniel Westwood]

A-D Foundry is a small independent type foundry established by Daniel Westwood (of Family) in the UK in early 2010. Their typefaces include the inline typeface Mason Regular (2010), Kläda (2011, a bilined typeface made for a UK-based online fashion label), Retail (2011), Process (2011, stencil), and the monolined Agostin family (2010).

Klingspor link. [Google] [More]  ⦿


London-based designer of Bootround (2006, a techno version of Amelia). [Google] [More]  ⦿

Adam Ascroft

Wigan, UK-based designer of the monoline geometric sans typeface Castor (2014), a typeface finished during his studies at Salford University. [Google] [More]  ⦿

Adam Bibilo

Media Production student at the University of Lincoln, UK. As iFontMaker, he created the scratchy hand Shotgun Shak (2011). [Google] [More]  ⦿

Adam Brandon

Graphic designer in Manchester, UK. Behance link. Creator of the free modular font ABStochome (2010). [Google] [More]  ⦿

Adam Brightman

Graphic designer in Northampton, UK. Behance link. In 2010, he designed Typegram, a modular typeface that consists of puzzle pieces. [Google] [More]  ⦿

Adam Conley

During his studies in Norwich, UK, Adam Conley created the blocky 3d typeface Iso Blok (2013) and the experimentak Doll Face (2013). [Google] [More]  ⦿

Adam Cottam

Fleetwood, UK-based designer of the monoline (DNA-inspired?) stencil typeface Wharf (2017). Behance link. [Google] [More]  ⦿

Adam Gorton

Manchester, UK-based typographer and digital artist who studied at Pendelton College in Manchester and at The University Of Salford. His stern display typeface High Rise (2010) was inspired by concrete city monsters. In college, he created several other (unfinished) alphabets: i, ii, iii, paper cut typeface, Weekender (counterless, paper cut-out face), Elena (2014, an extreme contrast wedge-serif typeface), McGowan, Mercury (2014, a minimalist stencil typeface), Kraftwerk (2014, octagonal and techno).

Behance link. [Google] [More]  ⦿

Adam Gravely

Studied Graphic Design at London Guildhall University from 2000-2003. Worked for six months in a design/marketing agency working on commercial projects for clients such as Wella and Vodafone. At present designer for a design/print company based in Newbury, UK. With the experimental typeface Landing Ship, he won an award at the 2005 FUSE competition. [Google] [More]  ⦿

Adam Greasley

[MyFonts] [More]  ⦿

Adam Green

Graphic design student at the University of Creative Arts based in Farnham, in 2012-2013. He created the experimental circular font Modular in 2013. [Google] [More]  ⦿

Adam Hesling

During his studies at the University of Salford, Huddersfield, UK-based Adam Hesling designed a hand-printed poster face and a piano key face (2012). [Google] [More]  ⦿

Adam Jedrzejewski

British designer of the free cartoon font Nathaniel Covid19 (2020). [Google] [More]  ⦿

Adam Jeffries

British designer of the children's hand font Adams Font (2013). [Google] [More]  ⦿

Adam Knights

Student at the University of Leeds (UK) who made a nice Bodoni poster in 2011. [Google] [More]  ⦿

Adam McCabe

During his studies at Falmouth University, Birmingham, UK-based designer Adam McCabe created Elasti Sans (2014), a typeface inspired by elastics. [Google] [More]  ⦿

Adam Payne

Stratford-upon-Avon, UK-based graphic designer, who created the display typeface Sharptype (2014). [Google] [More]  ⦿

Adam Reeves

Graphic design student at the University of Salford in Manchester, who created Masking Tape (2012), Decipher (2012, a minimalist typeface dedicated to Alan Turing), Shedge (2013, a stiletto typeface for a local band called Shedge), and Sporidium (2013). [Google] [More]  ⦿

Adam Robinson

During his studies in Manchester, UK, Adam Robinson created the free crop circle font UFO Nest (2015) and the thin squarish sans typeface Elppa (2015). Behance link. Dafont link. [Google] [More]  ⦿

Adam Rogers

Graphic designer in Derby, UK, who created YCN 3 Prong Type in 2012 at the University of Derby. He also created fun Dog Icons (2012). [Google] [More]  ⦿

Adam Schofield

Twocester, UK-based creator of an alphabet collage entitled Traditional Versus Radical (2014). [Google] [More]  ⦿

Adam Stewart

British designer of the hand-printed typeface Adams (2013). [Google] [More]  ⦿

Adam Witton

Graphic designer who studied at University College Falmouth. Now based in London, Adam designed Infected Type (2012, ornamental caps). Behance link. [Google] [More]  ⦿

Adesola Amusan

London, UK-based designer of the display typeface Comb (2017). [Google] [More]  ⦿

Admix Designs
[Joe Prince]

Joe Prince (Admix Designs) was a student at Academy of the Canyons near LA, 2007-2011. His typefaces:

Google Font Directory link. Additional Google link. Klingspor link. Devian Tart link. Cargo collective link. [Google] [More]  ⦿

Adrian Smith

When you click on "download", you get Adrian Smith's APL2741 font (1994-1999) in truetype format. It looks like a slanted Courier. Adrian Smith resides in York, UK. He also made Dyalog Std TT, a Courier-like truetype font (1996) for use as a system screen font. Another typewriter font is KAPL (2001). [Google] [More]  ⦿

Adrian Talbot
[Talbot Type]

[MyFonts] [More]  ⦿

Adrian Williams
[Club Type]

[MyFonts] [More]  ⦿

Adrian Williams

British advertising typographer and type designer, b. 1950, Somerset. Co-designer with Rosemary Sassoon of the school fonts Sassoon Primary and Sassoon Infant in 1990. See also Sassoon for Start-Bee (2020) and Sassoon Infant Pro (2020). He ran Club Type/Adrian Williams Design Limited in Merstham, Surrey (UK). His typefaces now owned by Monotype Imaging: Bulldog (2005-2010, +Slab: based on 1870 Figgins), Column, Congress (1974), Congress Sans, Eurocrat, Leamington (1978, can be found at Elsner & Flake), Mercurius, Monkton, Poseidon, Raleigh (1978), Rileyson (2010), Seagull (1978, + Bob McGrath, design owned by Ingrama), Stratford, Worcester Rounded (1974), Worchester. Perhaps the most famous in this list is the slab serif family Congress (1974), which has been digitally revived to death by URW++, Elsner&Flake, TypeShop, Scangraphic, SoftMaker, and Linotype. Williams was attached to the Swiss foundry Ingrama, where he made Leamington, Raleigh and Seagull. [Google] [MyFonts] [More]  ⦿

Adrian Wrzesinski

Plymouth, UK-based designer of the EEG-inspired typeface Dream (2018). [Google] [More]  ⦿

Adrianna Bilas

Graphic and type designer in London, UK. In 2019, she released Cinque, a vintage slab serif with arts and crafts elements that was inspired by the movie The Grand Budapest Hotel. [Google] [MyFonts] [More]  ⦿

Adrien Vasquez

Adrien Vasquez is from Grenoble, France. He studied in Valence and the University of Reading (class of 2011). He lives in London and teaches type design at ESAD Valence. His graduation typeface at Reading was Modern Seven (2011), a didone family for Latin and Cyrillic that comes with its own Modern Slab Serif.

With John Morgan, he founded Abyme in 2017. At Abyme, he published these typefaces:

  • English Egyptian (2011-2017, with John Morgan). English Egyptian is an interpretation of William Caslon's Two Lines English Egyptian of 1816, considered by some to be the first sans serif printing type to be sold commercially.
  • Nizioleti (2011-2017, with John Morgan). Named and modeled after the nizioleti, or Venetian street signs, Nizioleti is typeface consisting of painted letters stencilled within white plaster panels directly onto the city walls, in use since the early 19th century.
[Google] [More]  ⦿


UK-based FontStructor (student at Bristol UWE) who created the spiky typeface Witchita (2010). [Google] [More]  ⦿

Aegir Hallmundur
[The Ministry of Type]

[More]  ⦿

[Warren Woodhouse]

British designer of some fonts such as the angry angular typeface WP (2014) and To Sharp Lingo (2014). Woodhouse acquired Aenigmate in 2009, and is the owner of Bajo la Luna, Baja la Luna, Norfok, Norfolk, BRK, Disney Fonts and Mickey Avenue Fonts since 2009. Warren is based in Newcastle upon Tyne.

As of 2021, the free or donationware fonts:

  • 08 Underground (2004). A fat finger font by Johan Waldenström.
  • 50 Cent.
  • 798 (2008). The name Arial Narrow is still in the font.
  • Abduction (2001), in three styles. By Richard Gast (GreyWolf WebWorks).
  • Absolutist.
  • Aftermath. By Aenigma.
  • Alone In The Dark (2009). Based on the game logo for Alone In The Dark by Atari. By Aenigmate.
  • Alphabeta (2011). A pixel font by Aenigma.
  • Alternative. By Boris Moser, unknown year.
  • BackSlash (2004-2005). By Luis Huacuja.
  • Bebo (2008). A modification of Dubina Nikolay's DS Podd Cyr Light (1998).
  • Blogger (2006). A grungy typeface based on Brendel Informatik's Mercedes (1995).
  • Brawl (2005). By Luis Huacuja.
  • Daft Freak.
  • Daft TV. This looks like Impact (1965, Geoffrey Lee).
  • Darkness in Room 943 (2011). By Warren Kris Woodhouse Corporation.
  • DJXB42CREWBOY. The name Arial Narrow is still in the font.
  • Dreaming of Lilian (2005). By Luis Huacuja.
  • SL Drops of Moonlight (2005). By Luis Huacuja.
  • Emophonic (2005). A sci-fi font by Aenigmate.
  • FeedMaker. A renaming of Harold Lohner's Wireframe (2000), which in turn was inspired by Letraset's Bombere.
  • Google. Inside this font, it says "Georgia".
  • Grace Webster. A childish handwriting font based on CatholicSchoolGirls BB (2004, Nate Piekos).
  • Gran Turismo. A grungy typeface by Aenigmate.
  • iSAFE. Created by Warren Woodhouse.
  • Narnia (2006). A spurred all caps typeface by Luis Huacuja.
  • Panzer Kardinal (2005). A sci-fi font by Luis Huacuja.
  • Party Ninja.
  • Piczo.
  • Runaway Girl (2005). A script typeface by Luis Huacuja.
  • Thank you for the Venom (2005). By Luis Huacuja.
  • TRON and TRON Legacy. By Disney Fonts.
  • To Sharp Lingo. A straight-edged typeface by Warren Woodhouse.
  • Warren Language (2008). By Warren Woodhouse.
  • Warren Woodhouse. By Warren Woodhouse.
  • Warren Woodhouse Logo. By Warren Woodhouse.
  • Woodhouse Productions. By Warren Woodhouse.
  • WordPress (2007). A renaming of Microsoft's Georgia?

Twitter link. Fonts prior to the acquisition in 2009 were published by Luis Huacuja at Dafont. The other fonts, still free, are avialble vi GitHub, FontMeme and Warren Woodhouse's website. [Google] [More]  ⦿

Afiqah Hassan

London, UK-based designer of Holmes Lighthouse Generator 1867 (2017). [Google] [More]  ⦿

After The Flood
[Max Gadney]

Mike Gallagher and Max Gadney founded After The Flood, a design consultancy based in London. Github link.

Designers of the free 15-font family AtF Sparks (2017-2019). They write: Data can be hard to grasp however visualising it can make comprehension faster. Sparklines (tiny charts in text, like this: 123{10,20,30,40,50,60,70,80,90,100}789) are a useful tool, but creating them for the web has always required code and using them in word documents was previously impossible. Sparks, now in its second release, is a family of 15 fonts (three variants in five weights each) that allows for the easy combination of text and visual data by removing the need for any technical know-how. By installing the Spark font you can use them immediately without the need for custom code. Sparklines were first conceptualised by Edward Tufte as a way of placing data evidence as close as possible to the idea(s) it supports. Spark makes clever use of the OpenType calt table. CTAN link for TeX support by Herbert Voss. [Google] [More]  ⦿

Aidan Cooke

Blackpool, UK-based designer of the hipster typeface Penultimate (2013), which was created during his studies at the University of Huddersfield. In 2014, Aidan created the squarish typeface Second and the geometric all-caps sans typeface Enigma.

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

Aidan Croucher

Graphic designer in Hastings, UK, who made an experimental typeface in 2012. [Google] [More]  ⦿

Aidan Shephard

During his studies in Norwich, UK, Aidan Shephard created an unnamed illustrative typeface (2013). [Google] [More]  ⦿

Aigeriwa Aaa

At Camberwell College of Arts, London, UK, Aigeriwa Aaa created a squarish bilined typeface in 2015. [Google] [More]  ⦿

Aimé Alexia

UK-based designer of Azu (2005, handwriting). [Google] [More]  ⦿

Aimee Tilling

During her studies at the University of Leeds, UK, Chester, UK-based Aimee Tilling designed a dot matrix typeface (2016). [Google] [More]  ⦿

Aimee Winston

Graphic design student in London. Creator of Culture Face (2010, Asian look). [Google] [More]  ⦿

Aimee-Joy Jones

Student-designer of London Bridge Typeface (2014). Aimee-Joy is based in London. Behance link. [Google] [More]  ⦿


British design studio, est. in 1998 in London by Alex Maclean, Fred Deakin and Nat Hunter. In 2009, they designed Airplot (2009), a typeface specifically for Greenpeace's Airplot campaign against a new runway at Heathrow. [Google] [More]  ⦿

Aisha Nazir

For a rock album cover, Aisha Nazir (Nirmingham, UK) designed the grungy typeface Corrosive (2015). [Google] [More]  ⦿

Aizhan Abdrakhmanova

Graphic designer in London who created Mirror (2013). [Google] [More]  ⦿

A.J. Goddard Designs

In 2013, A.J. Goddard (Essex, UK) drew a De Stijl-genre alphabet by hand for a project at South Essex College. [Google] [More]  ⦿

Alaa Alsaraji

During her studies in London, Alaa Alsaraji created the hairline avant-garde typeface Vienna (2015). Behance link. [Google] [More]  ⦿

Alaina Jensen
[Studio Denmark]

[More]  ⦿

Alan Birch

British designer of LCD (1981, Letraset, ITC, and then Linotype), Crystal (1981, cyrillicized in 1993 by A. Kustov), Letraset Bitmax (1990), Rubber Stamp (1983, a grungy military stencil), and Synchro (1984).

Digital versions of LCD include LCD SH (2004, Scangraphic) and Quartz (2019, SoftMaker).

MyFonts write-up. Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Alan Bright

British designer of Brighton Bold (1979, Letraset), Brighton Light (1979, Letraset), and Brighton Medium (1979, Letraset). For another execution, see B820-Roman-Regular from SoftMaker. [Google] [MyFonts] [More]  ⦿

Alan Cheetham

[More]  ⦿

Alan Cutler

Manchester, UK-based designer of the fat LED font Cyberntk (2019). [Google] [More]  ⦿

Alan Jeffrey

[More]  ⦿

Alan M. Stanier

Alan M. Stanier from Essex University (UK) has created the following metafonts: ams1, cherokee, cypriote, dancers (the "Dancing Men" code of Conan Doyle), estrangelo (ancient Syriac language), georgian, goblin, iching, itgeorgian, ogham (found on ancient Irish and pictish carvings), osmanian (twentieth-century font used in Somalia), roughogham, shavian, southarabian (for various languages circa 1500BC), ugaritic (ancient cuneiform alphabet). More direct access. [Google] [More]  ⦿

Alan M. Stanier

[More]  ⦿

Alan M. Stanier

[More]  ⦿

Alan M. Stanier

[More]  ⦿

Alan M. Stanier
[Cypriote metafont]

[More]  ⦿

Alan M. Stanier
[Cherokee metafont]

[More]  ⦿

Alan Meeks

Prolific type designer, b. London, 1951. Alan started working in 1970 for Graphic Systems as a lettering artist. In 1975, he joined Letraset as the Senior Type Designer and Studio Manager where he was responsible for all the artwork produced by the Letraset studio. During his tenure at Letraset, he designed over 40 popular typefaces, including Bramley, Candice, Bickley Script and Belwe. Most of these typefaces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols.

His oeuvre (sold via MyFonts) includes:

Galadriel, Kornelia and Sparky are floating around freely in cyberspace.

FontShop link. Linotype link.

View Alan Meeks's typefaces. Yet another page with Alan Meeks's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

Alan Rimmer

[MyFonts] [More]  ⦿

Alan Tinsley
[Al's Font Booth]

[More]  ⦿

Alan Trott

Winchester, UK-based designer of the grotesque (school project) typeface RIG (2013). [Google] [More]  ⦿

Alan Yoshimura Pires

Bournemouth, UK-based designer of the free handcrafted typeface Magaya (2017), the free handcrafted blackboard bold typeface Eva Cute (2017) and the free free hand-drawn typeface Woodbone (2017). Behance link. Dafont link. [Google] [More]  ⦿

Alanna Bentley

London, UK-based designer of Zadar (2016), a font designed to accompany the packaging of an album celebrating the Sea Organ of Zadar. She also designed Toothed (2016), a display font inspired by a carved wooden mask from Bamana in Mali, that can be found in the permanent collection of the British Museum, London. [Google] [More]  ⦿

Alasdair Booth

During his studies at Milton Keynes, UK, in 2015, Alasdair Booth created the techno typeface G-Shock. [Google] [More]  ⦿

Alastair Bush
[MA Design]

[MyFonts] [More]  ⦿

Albert Angus Turbayne

Albert Angus Turbayne (b. 1866, Boston, MA, d. 1940, London) was an American book designer and bookbinding artist. He worked in London for the London County Council School of Photoengraving and Lithography and also for Carlton Studio. He wrote Monograms and Ciphers (republished by Dover in 1968 and by Mayflower Books in 1978 with the title A Complete Book of Monograms & Ciphers). Designer of an initial caps face at the end of the 19th century. One of his typefaces inspired Ben Noe's typeface Turbayne (2021). [Google] [More]  ⦿

Albert Ellison

During his studies at Farnham, UK, Albert Ellison created the pixelish typeface Trinidad (2015). Behance link. [Google] [More]  ⦿

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Alberto Vitullo

Italian photographer who works in London. He created the alchemic typeface Universe (2013), a custom typeface made for Feel Good Inc. Collective in Genoa, Italy. [Google] [More]  ⦿

Aleksandra Grünholz

Polish graphic designer and illustrator. She created the grungy typeface Dead Metal (2012) and the beautiful serifed text typeface Milosc (2012). In 2012, she added the great octagonalized version of Bodoni called Quadratoni. Just brilliant. As a Polish graphic design student, Aleksandra Grünholz created the Puenta transitional text family in 2012.

Another URL. [Google] [More]  ⦿

Aleksandrs Golubovs

UK-based designer of the 10-style typeface family Proto Serif (2020). [Google] [MyFonts] [More]  ⦿

Alessandra Grasso

During her graphic design studies in London, Alessandra Grasso created the spiky typeface Aliens (2012). [Google] [More]  ⦿

Alessandro Benassi

London-based designer of the handcrafted typeface It Wasn't Me (2016). [Google] [More]  ⦿

Alessia Nicotra

Italian medical doctor with a PhD in neurology and neurophysiology. She currently works as a clinical neurophysiologist at Charing Cross Hospital in the UK and is also involved in academic research into the autonomic and peripheral nervous systems. Together with Bruno Maag she researches the physiological emotional impact of different type styles. At ATypI Sao Paulo 2015, her talk, together with Dalton Maag, is entitled Busting the Dyslexia Myth. As the master communicator of type design, Dalton Maag shows that nearly all dyslexia type research in the past was ignorant. Witness the abstract of the Nicotra / Maag talk at ATypI: There have been a number of fonts in recent years which claim to improve reading for people with dyslexia. Many of these designs have a handwritten quality, similar to Comic Sans. Often, the designers of these fonts claim to understand what is required to design a dyslexic font, simply by virtue of being dyslexic themselves. There may be some design merit to these fonts but the claim that they are favourable to dyslexics is misleading, and shows a complete lack of understanding what dyslexia is. The presentation will critique the designs that claim to be "the font for dyslexia", based on a scientific overview of dyslexia, and how dyslexia is dependent on language and other factors. It will also highlight the ignorance of design institutions that have awarded MAs and PhDs for fonts designed in the name of dyslexia. The talk was forceful, entertaining and convincing, based on an analysis of various pathways in the brain. For one thing, opaque languages (i.e., with a very tentative connection between what is written and spoken, as in English) have a higher population density of dyslexia. Italian and German are notr opque and thus fare better. Alessia also spoke at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw: Bruno Maag and Alessia Nicotra review a selection of studies published in regards to the emotional and functional qualities of typefaces since Poffenberger in 1927. The presentation investigates the methodologies employed and questions the results in the cultural and technological contexts of their time, and provide guidance as to their relevance today. [Google] [More]  ⦿

Alessio Agnello

London, based-designer of the stencil font Vacui (2020). [Google] [MyFonts] [More]  ⦿

Alex Alexandrou

Milton Keynes, UK-based creator of Greenlish (2012), a font that mixes Latin and Greek. Behance link. [Google] [More]  ⦿

Alex Banks

Alex Banks (AB Design; b. 1983) is based in Warrington, UK. Creator of the free octagonal font Sliced AB (2006) and the chunky Chukny (2013). In 2015, he made the free rounded sans typeface Duster AB.

In 2016, he designed the squarish Flat Four typeface family.

In 2018, he published the speed-themed techno typeface Hachiroku86, the pixel / video game font Gridner AB, the industrial futuristic typeface Karbonis, and the modular monoline typeface Shampoo AB.

Typefaces from 2019: Spectrum (wavy, techno).

Typefaces from 2020: Auratium (a tall slab serif), Epyon Mech (a mechanical or futuristic typeface), Initium (a glitch font family), Exolus (futuristic), Bear Hunt (a national park font), Undertow (squarish), Luna Parc (rounded, techno), Classic Retro.

Typefaces from 2021: Shampoo, Supply, Vecktor (futuristic and octagonal).

Devian tart link. Behance link. Another Behance link. [Google] [More]  ⦿

Alex Benson

British creator of the hand-printed typeface Amelia Lily KT (2013). [Google] [More]  ⦿

Alex Blattmann

UK-based type designer. The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016. [Google] [More]  ⦿

Alex Buckley

Manchester, UK-based designer of these typefaces in 2018: Renk (squarish, modular), IRP Sans (pixel face) and Geinua (a text typeface). [Google] [More]  ⦿

Alex C. Beaumont

Alex C. Beaumont (ACB Graphics) is a student at London College of Communication. He creates experimental designs, and this includes a typeface called Fracture (2013). [Google] [More]  ⦿

Alex Camacho Studio
[Alex Camacho Pizarro]

Graphic designer and illustrator from Barcelona who has an MA from Central Saint Martins, and works in London since 2009. His typefaces:

Cargo collecive link. Linotype link. [Google] [MyFonts] [More]  ⦿

Alex Camacho Pizarro
[Alex Camacho Studio]

[MyFonts] [More]  ⦿

Alex Davies

Caterham, UK-based designer. Creator of the experimental circle-based typeface Circle One (2012). During his studies at University of the Creative Arts Farnham in the UK, Alex Davies designed the experimental typeface Triangle One (2013) and the hipster deco typeface New Type (2018). [Google] [More]  ⦿

Alex Doyle

During his studies at London College of Communications, Alex Doyle designed a dot matrix typeface (2016). Behance link. [Google] [More]  ⦿

Alex Duncan
[Magnum Software]

[More]  ⦿

Alex Dyson

During his studies in Leeds, Alex Dyson created Decorative New Roman (2012).

Behance link. [Google] [More]  ⦿

Alex Elnaugh
[Little A]

[More]  ⦿

Alex Fowkes

London-based designer of an untitled decorative 3d caps typeface in 2012.

Behance link. Cargo Collective link. [Google] [More]  ⦿

Alex Gollner

Designer of the free fonts Digital 2, Warp 1, and Roxanne. He has built a career in London that does not involve typefaces: I've been in the business of the visual arts for almost 20 years. After introducing desktop publishing into the UK by concieving and managing Neal's Yard Desktop Publishing Studio in 1988 aged 21. In 1990 I moved into graphic design. I joined Decode Design as technical director and designer where I co-designed Collier's Rules, a book on design and typography. In 1991 I became the art editor of DEC User, a monthly magazine from Emap Business Publishing. In 1993 I joined Project Multimedia, a conference company that organised events for multinational companies all over the world. I was a senior event designer: designing conference print, logos, sets, presentations, animations and videos. On January 16th 2006, I started work on a documentary on dating and relationships in support of Help The Aged's Hug campaign. Instigated and produced by George Blackstone, The Things We Do for Love was completed in April and had it's cast and crew screening at The Curzon Soho in London's West End on April 26th. Since then it has been shown at the 2007 Portobello Film Festival. [Google] [More]  ⦿

Alex Haigh

[MyFonts] [More]  ⦿

Alex Haigh

[MyFonts] [More]  ⦿

Alex Harriott

UK-based youngster (b. 1994) who created the graffiti typeface Prince Dub (2007). [Google] [More]  ⦿

Alex Harwood

Alex Harwood (Plymouth, UK) designed the modular typeface Degnoid in 2014 during his studies at Plymouth College of Art. Behance link. [Google] [More]  ⦿

Alex Hunt

During his graphic design studies at UCA Farnham, Alex Hunt (London) created an unnamed modular typeface (2013), which only uses rectangles, circles and triangles. [Google] [More]  ⦿

Alex Hurst

Designer in Peterborough, UK, who created the experimental typeface Razor and the electric circuit typeface Ammeter in 2016. Behance link. [Google] [More]  ⦿

Alex Iliescu

Designer and illustrator in Coventry, UK. In 2011, he created the quaint World War I era poster headline face Prest. [Google] [More]  ⦿

Alex Joseph

Woking, UK-based designer of the experimental typeface Anglr (2016). [Google] [More]  ⦿

Alex Moseley
[Crazy Diamond Design Historical Fonts]

[More]  ⦿

Alex Phipps-Attwell

Graphic designer in Leeds, UK, who created the typefaces Milo (2013) and Blueprint Letterforms (2013) during his studies. [Google] [More]  ⦿

Alex Preston

During his studies in Oakham, UK, Alex Preston designed the connect-the-dots typeface Enkelhet (2013), Gentleman (2013, a bilined display typeface), Borders (2013), Droop (2013), the circle-based typeface Circles (2013), and the experimental typefaces Wirbel (2013) and Kurvor (2013). [Google] [More]  ⦿

Alex Price

Student at UWE in Bristol, b. 1992. During his studies at UWE, he used FontStruct to create the textured typefont Balloon (2012). [Google] [More]  ⦿

Alex Rooney

London-based designer of Quaterback Western (2015), a spurred outlined typefaces inspired by American football and Western movies. Behance link. [Google] [More]  ⦿

Alex Satriani

Graphic design student in London who created Futura Champagne (2011). [Google] [More]  ⦿

Alex Smye-Rumsby

Designer from Bristol, UK, who created some fonts at FontStruct in 2009. [Google] [More]  ⦿

Alex Tomlinson
[Ursa Minor]

[More]  ⦿

Alexander Cooper

Alexander Cooper has run the letterpress workshop at what is now London College of Communication since 2004, and lectures in Graphic and Media Design. He is co-author of 6x6: Collaborative Letterpress project with Rose Gridneff and Andrew Haslam. Together Alex and Rose run an independent letterpress workshop. Speaker at ATypI 2014 in Barcelona. [Google] [More]  ⦿

Alexander Glenn

Graphic designer in London, UK. He graduated from Nottingham Trent Univeristy in 2007. Behance link. Designer of the folded paper font Origami (2009). [Google] [More]  ⦿

Alexander Jones

Graduate of the University of Salford in Greater Manchester (2008) in graphic design. Designer of the outline monoline sans typeface Hire (2010), done on commission for Andy Golpys. [Google] [More]  ⦿

Alexander Kay

Type designer and punchcutter, b. Edinburgh, Scotland, 1827, d. Philadelphia, 1905. Born Alexander Thompson MacKaye, he apprenticed with a bookbinding tools manufacturer, and went to London in 1850, where he worked for punch-cutting expert John Skirving. He cut typefaces for English typefounders such as Henry Caslon, Vincent Figgins, and the Stephenson Blake company. After that, he joined L. Johnson&Co. in Philadelphia in 1854, where he changed his surname from MacKaye to Kay. He stayed with L. Johnson&Co (later Binny&Ronaldson, then MacKellar, Smith&Jordan) for 40 years, until he lost much of his sight to cataract. His most famous typefaces are Binny Old Style and Ronaldson Old Style (1884, MacKellar, Smith&Jordan). Ronaldson Old Style, which is characterized by beaks on the top serifs, is generally considered to be the first typeface designed in North America.

Berry, Johnson and Jaspert write: Ronaldson Old Style (Monotype, 1903) is an old face practically identical with Old Style. Originally cut in 1884 by the American founders, MacKellar, Smiths & Jordan, and no doubt named after one of the original founders of their house, James Ronaldson. It is easily distinguished by the beak-like serifs on the capitals and lower case and by the squared-up shoulders of m and n. The type can be converted to Old Style No. 1 by changing a few characters. In the italic the serifs are more normal and the design becomes very like Old Style italic. The Monotype Corporation's version has short ascenders and descenders and capitals not rising above the ascenders.

Mac McGrew: Ronaldson Old Style was designed and cut by MS&J in 1884, and subsequently copied by various other foundries. It was notable for the exaggerated serifs on a number of letters, and the name is now associated with these peculiarities, which were also applied to various other typefaces in the nineteenth century. Monotype cut a reasonably good copy of the foundry face, although modified to fit mechanical requirements, while Linotype cut a set of conversion characters which could be substituted for the regular characters of Old Style No.7. A similar set of conversion characters was cut for Linotype and Intertype Old Style No.1 (q.v.), which is a somewhat lighter face. Keystone called its version Keystone Old Style. Other versions of Ronaldson did not last long into the twentieth century.

Digital revivals of Ronaldson Old Style:

  • Ronaldson Regular (2006-2008). By Patrick Griffin at Canada Type.
  • Ronaldson Pro (2021). A revision and extension of Griffin's 2006 font, Ronaldson Old Style. It now has four weights and two variable fonts.
  • Fitzronald (2013) by Lars Törnqvist.

Digital revivals of Binny Old Style include Monotype's as Binny Old Style MT. [Google] [MyFonts] [More]  ⦿

Alexander Klement

London-based designer of Lathe (2013), a 3d computer-generated typeface based on Futura.

Behance link. [Google] [More]  ⦿

Alexander Price

As a student at Norwich University of the Arts, Swindon, UK-based Alexander Price designed the piano key typeface Modular (2016). [Google] [More]  ⦿

Alexander Stephenson

Alexander Stephenson is an Anglo-German Art Director and type designer who specializes in holistic brand design-systems. He studied graphic design at the Ecole nationale supérieure des Arts Décoratifs in Paris and Central Saint Martins in London. After working for twelve years in the advertising industry in both Paris and Berlin, he became an independent graphic and type designer. In 2020, he designed a 12-style mixed-genre fragile-looking sans typeface family called Acies. [Google] [MyFonts] [More]  ⦿

Alexander Wilson

Scottish typefounder, b. St. Andrews, 1714, d. Edinburgh, 1784. Educated in London, he started the Wilson foundry in 1742 at St. Andrew's in a partnership with John Baine, and set up shop in Glasgow in 1744, where he began work with Glasgow University Printers, Robert and Andrew Foulis. William Miller (who later started Miller&Richard), Richard Austin and Johann Christian Bauer all worked for Wilson. Wilson's first known specimen sheet was issued in 1772. However, William Rind seems to be using these types as early as February, 1770 in his Virginia Gazette. The business was left to his son Andrew and later to his grandson Alexander. Under Alexander's tenure, it went bankrupt in 1845.

Several specimen books exist, including A specimen of printing types by Alexander Wilson&Sons, dated 1783. Life and Letters of Alexander Wilson (by Alexander Wilson) was reprinted in 1983 by Diane Publishing Company, and is freely viewable at Google.

Wikipedia link.

They are credited with the first British modern face, Scotch Roman, whch became very popular in the United States. Mac McGrew: Scotch Roman is derived from a typeface cut and cast by the Scotch foundry of Alexander Wilson&Son at Glasgow before 1833, when it was considered a novelty letter. The modern adaptation of the typeface was first made in 1903 by the foundry of A. D. Farmer&Sons, later part of ATF. It is a modern face, but less mechanical than Bodoni, and has long been popular. Capitals, though, appear heavier than lowercase letters and tend to make a spotty page. Hansen's National Roman is virtually the same face, with the added feature of an alternate r with raised arm in the manner of Cheltenham Oldstyle. When Monotype copied Scotch Roman in 1908, display sizes were cut to match the foundry face, but in keyboard sizes, necessarily modified to fit mechanical requirements, the caps were lightened and the entire typeface was somewhat regularized. Scotch Open Shaded Italic, a partial set of swash initials, was designed by Sol Hess in 1924. Similar swash letters, but not shaded, were also drawn by Hess and made by Monotype for regular Scotch Roman Italic. Linotype had adapted Scotch Roman to its system in 1903, retaining the heavier capitals, but in 1931, by special permission of Lanston Monotype, brought out Scotch No.2 to match the Monotype version. Compare Atlantic, Bell, Caledonia, Original Old Style. [Google] [MyFonts] [More]  ⦿

Alexandra Snowdon

Manchester, UK-based designer of a decorative spurred watercolor typeface (2017), the watercolor typefaces Lagom (2017), Hideaway (2017) and Little Mo (2017), the tattoo typeface Sailor Bob (2017), and the pearl-studded watercolor typeface Charlie (2017). Behance link. Creative Market link. [Google] [More]  ⦿

Alexandra Whitfield

Graphic communication design student at the London College of Communication from 2010 until 2012. In 2012, she designed the grunge typeface Hemophic. [Google] [More]  ⦿

Alfie Wheatley

An independent graphic designer based in London. In 2022, he published Hawk (Type Department). He writes: Hawk was the result of a final year Graphic Design university project, researching the subcultures of rave and football hooliganism, with influences from rhythm, dance and movement as well as other aspects such as abstract sculpture. [Google] [More]  ⦿

Alfred John Fairbank

English calligrapher, b. 1895, Grimsby, d. 1982, Hove, Sussex. Student at the Central School of Arts and Crafts, disciple (in his own words) of Edward Johnston. In 1921, he co-founded the Society of Scribes and Illuminators, and was honorary secretary from 1931 to 1933.

He wrote several books on handwriting, including A Handwriting Manual (1932), many times reissued, e.g., in 1954 by Faber and faber in London. In 1960, Alfred Fairbank and Berthold Wolpe co-authored Renaissance handwriting: An anthology of italic scripts (Cleveland: World Publishing Co). His last book was A Book of Scripts (1968, London: Pelican Books).

In 1932, Alfred Fairbank proposed Dryad Writing for schools. It is a connected regular and legible style of writing that was influenced by Francisco Lucas (16th century, Spain), and could be called chancery script. After the Second World War he founded the Society for Italic Handwriting.

His only typeface was the first italic for Monotype, Bembo. This was not the italic that was put out for general use, and was eventually released (in 1928) as Bembo Narrow Italic. It is sometimes referred to as Fairbank Italic. The Bembo family is of course due to Stanley Morison at Monotype, after models of Francesco Griffo and Giovanni Tagliente. It has digital reinterpretations such as Bamberg Special (Softmaker) and Bergamo (Softmaker).

It is possible that Fairbank MT (2003, Robin Nicholas) is named after him. [Google] [MyFonts] [More]  ⦿

Alfred Rehbach

London-based graphic designer who created the fat slabby display typeface Alexandra (2013). [Google] [More]  ⦿


UK-based art student (b. 1988) who created the handwriting font Ali (2006). [Google] [More]  ⦿

Ali Salih

Designer in based in Hertfordshire, UK. Behance link.

Creator of a fat counterless typeface in 2012. [Google] [More]  ⦿

[Gareth Hague]

Alias is a type foundry and graphic design agency founded in 1996 by David James and Gareth Hague. It is based in London. Their fonts can be bought through T-26, ITF and/or FontWorks UK. They also did substantial corporate type design work.

Partial font list: AES (1995, David James), August (1996, a fifties font by Gareth Hague), Caustic (2012, calligraphic script family), Elephant (1994-1995, Gareth Hague), Enabler (1995, David James), Factory, Granite (1995, Gareth Hague), Harbour (1998, Gareth Hague), Intimo (2000), Jackdaw (1997, Gareth Hague), Jude, Key, Klute (1997, Gareth Hague), Mantis (1996, Gareth Hague), Metropolitan (1996, Gareth Hague), Metsys, Sister (1995, Gareth Hague), Text (1995, Gareth Hague).

Typefaces from 2015: AnoStencil, Capo (a pinched sans family), Sabre (an incised wedge serif).

Corporate typefaces include Prada Candy (2012).

Old link.

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

Alice Beavon

During her graphic design studies, Alice Beavon (Birmingham, UK) created an unnamed modular geometric typeface (2012). In 2013, she published a modular bilined typeface possibly called Sense Of Memory. [Google] [More]  ⦿

Alice Mansfield

London, UK-based designer of the connect-the-dots typeface Gemini (2016). [Google] [More]  ⦿

Alice Morris

Leeds, UK-based designer of the roman typeface Acutus (2015). [Google] [More]  ⦿

Alice Sandwell

At the UAL in London, Alice Sandwell created Edge (2015), an octagonal typeface with a matching stencil style. [Google] [More]  ⦿

Alice Savoie
[Alice Savoie, Frenchtype]

[MyFonts] [More]  ⦿

Alice Savoie, Frenchtype
[Alice Savoie]

Alice Savoie is an independent typeface designer and researcher, b. 1984, based in Lyon. She studied graphic design and typography in Paris at Ecole Duperré and Ecole Estienne, and in 2006 graduated from the MA in typeface design from the University of Reading (UK). In 2014 she was awarded a PhD from the University of Reading for the research she carried out in collaboration with the Musée de l'imprimerie in Lyon (France). Her research focuses on the design of typeface in France, the UK and the USA in the postwar period, and for phototypesetting technologies in particular: International cross-currents in typeface design: France, Britain, and the US in the phototypesetting era, 1949-1975. She collaborates with international type foundries such as Monotype, Process Type Foundry, and Tiro Typeworks, and specializes in the design and development of typefaces for editorial and identity purposes. She also designs multi-script type families, including Latin, Greek, Cyrillic and Hebrew. She intends to sell her typefaces via 205 Corp.

Between 2008 and 2010 Alice joined Monotype as an in-house type designer, working mainly on custom type designs for international clients (The Times, Turner Broadcasting, Ogilvy, etc.). She has also contributed to the design of new typefaces for the Monotype library, such as the Ysobel type family (in collaboration with Robin Nicholas), and Rotis II Sans. Her type family Capucine is distributed by Process Type Foundry. In 2012 she collaborated with John Hudson/Tiro Typeworks over the development of the Brill typeface family for the Dutch publisher Brill. Since September 2013 she teaches typeface design at the Atelier National de Recherche Typographique in Nancy, and at ESAD Amiens (France). Her type foundry is called French Type.

She holds an MA and a PhD from the University of Reading (UK). She collaborates with design studios and type foundries on the design of multi-script typeface families. In 2018 she released the typeface family Faune, commissioned by the Centre national des arts plastiques (CNAP) in partnership with the Groupe Imprimerie Nationale. Alice teaches and supervises research projects at ANRT Nancy and ENSBA Lyon (FR). She is the principal Post-doctoral Researcher on the Leverhulme-funded project Women in Type under the supervision of Fiona Ross at the University of Reading. Her typefaces:

  • Her graduation typeface at Reading, Capucine Greek (2007) has been awarded as the best text typeface of the Greek alphabet exhibition, taking place during the 3rd international conference on typography and visual communication in Thessaloniki, Greece, 2007. Capucine is a very informal, almost hand-printed family covering both Latin and Greek in many styles. In 2010, finally, she published Capucine at Process Type Foundry (Grand Valley, MN), where she was briefly part of Eric Olson's team.
  • The constructivist typeface Pozor (2005).
  • The connected handwriting typeface Jeanine, done in 2006 at the École Estienne in Paris, where she studied from 2004 until 2006.
  • In 2009, she co-designed Ysobel (Monotype; winner of an award at TDC2 2010) with type designers Robin Nicholas, head of type design at Monotype, and Delve Withrington. The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. Buy it from Monotype.
  • Brill (2012), co-designed with John Hudson for Koninklijke Brill NV, Leiden, The Netherlands, won an award at TDC 2013.
  • The Royal Docks typeface was developed in 2012 for the London-based design studio APFEL (A practice for everyday life) as part of a wider architectural project by the London Development Agency, which proposed a new vision for the Royal Docks in East London. The strong-willed sans display typeface draws inspiration from the kind of industrial lettering frequently found around the Docklands, such as on cranes and containers. The typeface was used for a number of publications in relation to the redevelopment of the Royal Docks, and remains to this day exclusive to APFEL.
  • The Fred Fredburger family was conceived by Monotype as a custom design for the identity of a children's TV channel. Conceived to be fun, friendly and adventurous, Fred Fredburger is a distinctive family of five styles: The Headline versions are conceived to be visually striking and appealing to children, while the Roman, Bold and Condensed weights are a touch quieter in order to be comfortable to read at text sizes. All five weights are also designed to work harmoniously across five different scripts: Latin, Greek, Cyrillic, Hebrew (designed by Alice Savoie) and Arabic (designed by Patrick Giasson).
  • Egra Tiflex was designed in collaboration with London-based Fraser Muggeridge Studio. The starting point for the design came from an unidentified set of old stamping capital letters produced by Tiflex, a French company specialised in industrial signage. A set of lowercase letters was later designed to accompany the caps, which was inspired from Grotesk wood types from the beginning of the twentieth century.
  • In 2014, she worked on the typeface family Bogartes, which is a contemporary tribute to French typographic history, from Garamond, Fournier, and Didot to the idiosyncratic shapes of the 19th century. As a result of its mixed genetic make-up, the typeface family is rather playful. The project was started with the support of the Centre National des Arts Plastiques.
  • Romain Vingt (2016) is a modern reinterpretation of a foundry face originally released by the Fonderie Alainguillaume at the beginning of the twentieth century. Alice writes: An elegant and voluptuous design with a resolutely French touch, this digital interpretation departs in places from its original model, just enough to withstand modern taste.
  • In 2016, she designed Faune for Centre National Des Arts Plastiques. It is freely available from Fontsquirrel and at the Microsite. Faune won an award at the Type Directors Club's Type Design Competition 2019.
  • Lucette (2021, Future Fonts). Alice writes: Lucette revisits the heavy top idea, a concept dear to French type designers throughout the last century. The typeface toys with the theory that emphasizing the top part of letterforms increases legibility, taking the concept to an extreme in Lucette Black. Lucette is loosely inspired by a variety of designs such as Gill Sans Double Elefans, Antique Olive, and the unreleased Nordica by Ladislas Mandel. Its name was chosen as a tribute to Lucette Girard, a talented letter-drawer who assisted some renowned designers throughout the second part of the twentieth century, including Adrian Frutiger, Roger Excoffon and Raymond Loewy.

Typecache link. Klingspor link. At ATypI 2014 in Barcelona she spoke about phototypesetting. Speaker at ATypI 2016 in Warsaw on Typefaces for telephone directories, a talk in which she and Dorine Sauzet describe Ladislas Mandel's oeuvre. Speaker at ATypI 2018 in Antwerp. Behance link. Estienne link. Reading link. Another link for the University of Reading. Fontsquirel link. [Google] [MyFonts] [More]  ⦿

Alicia Pfeffer

During her studies in Manchester, UK, Alicia Pfeffer created Lattice (2013). [Google] [More]  ⦿

Alien Head Graphics

The alien font "alien_font_8" has some strange runes. Alien Head Graphics is located in Oxfordshire, UK. [Google] [More]  ⦿

Alina Popa

During her studies at the University of Reading, UK, Alina Popa created the photographic alphabet Desire (2014), which is based on photographs of sexual paraphernalia. [Google] [More]  ⦿

Alisha Mann

Hook, UK-based designer of Peeper (2019). [Google] [More]  ⦿

Alison Carmichael

UK-based letterer. [Google] [More]  ⦿

Alistair Parsons

London-based graphic designer. Creator of Distorted Lines (2011, grunge). [Google] [More]  ⦿

Allan Sommerville

British graphic designer who made this poster of eyes in 2009. [Google] [More]  ⦿

Allen Zuk

Canadian graphic designer Allen Zuk designed these typefaces: Swing (was freely downloadable), Beat, the Kooky family (since 2004 a Bitstream font), Creep, Shadow, Krumple, Arson, Skritch, Schroder. Zuk used to run web pages/outfits called trashtype fonts and Financial Peril. These have disappeared. Home page (his original font pages are gone). Zuk used to work in Edmonton. In 2000, he moved to the UK where he worked as a freelance designer and copywriter until 2004. He currently lives in Toronto. Klingspor link. [Google] [MyFonts] [More]  ⦿

Allison James
[Chequered Ink]

[More]  ⦿

Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts, or: AGA Fonts)
[Mohammad Alagha]

Mohammad Alagha is Almedia Interactive (or: MAK Alagha, or: Applied Graphic Arts), an Arabic font producer active since 1994. The (beautiful!) AGA Fonts for Arabic are exclusively sold by Almedia Interactive Limited, which is based in the UK. His fonts include AGA-AbasanRegular, AGA-AladdinRegular, AGA-BattoutaRegular, AGA-DimnahRegular, AGA-FuratRegular, AGA-GranadaRegular, AGA-JuhynaRegular, AGA-KayrawanRegular, AGA-MashqBold, AGA-MashqRegular, AGA-NadaRegular, AGA-PetraRegular, AGA-RasheeqBold, AGA-SindibadRegular.

  • Free fonts in 2012: AGA Andalus, AGA Cordoba Reg, AGA Cordoba Bold, AGA Cordoba Reg, AGA Granada, AGA Sindibad Reg, AGA Sindibad Bold, AGA Mashq Reg, AGA Mashq Bold, AGA Rasheeq Reg, AGA Rasheeq Bold, AGA Kayrawan, AGA Balloon, AGA Juhyna, AGA Furat, AGA Aladdin.
  • Dingbats, beautiful arabesques and ornaments: AGA Horoof, AGA Arab Cities, AGA Greeting Phases, AGA Islamic Phrases, AGA Kalemaat, AGA Names, AGA Arabesque (Regular, Bold and Outline), AGA Islamic regular, AGA Greetings 1 and 2, AGA Publishing regular.
  • Commercial fonts in 2012: Alquds, Gaza, Abu Dhabi, Dubai, Beirut, Demashq, Amman, Baalbek, Baghdad, Doha, Kufa, Aden, Jeddah, Riyadh, Masqat, Benghazi, Onwan, Mishmish, Barqooq, Hassan, Hazem, Zokhrof.

Another URL. Free font sublink. Fontspae link. Dafont link. Download here. The beautiful dingbat fonts AGA Arabesque and AGA Arabesque Desktop (1994-1996) are here and here. OFL link. [Google] [More]  ⦿

Alonzo Fontaine

Graphic designer in Birmingham, UK, who created a few display typefaces in 2015. Behance link. [Google] [More]  ⦿

Al's Font Booth
[Alan Tinsley]

British designer of the bitmap font Topaz New (1997). Dafont link. [Google] [More]  ⦿

Alvaro Arregui

London-based graphic designer. He created a custom Taiwanese display face. Behance link. [Google] [More]  ⦿

Alyssa Dieterich

During her graphic design studies in London, Alyssa Dieterich created the wrought iron typeface Mandrake (2015). Behance link. [Google] [More]  ⦿

Alyssa van Zweel

Ascot, UK-based designer of the Misunderstood Monsters typeface (2015). Alyssa grew up in Pretoria, South Africa, and studied design in Cape Twon, South Africa. [Google] [More]  ⦿

Aman Raiyat

London, UK-based designer of a decorative typeface in 2018. [Google] [More]  ⦿

Amba Mears
[Amba Smith]

Amba Mears or Amba Smith. Doncaster, UK-based designer of the display typefaces In Stitches (2018), Time For A Laugh (2018) and Doodle (2018). These were projects at Cambridge School of Art ARU. [Google] [More]  ⦿

Amba Smith
[Amba Mears]

[More]  ⦿

Amber Charlton

British designer of the free experimental typeface Charlton (2017). [Google] [More]  ⦿

Amber Hicks

Graphic design student at Southampton University's Winchester School of Art, who created the purely geometric typeface Marcato (2014). [Google] [More]  ⦿

Amber Maxwell

During her graphic design studies at UCA Farnham, Amber Maxwell (London) created the modular typeface Angle Right (2013), which only uses rectangles, circles and triangles. [Google] [More]  ⦿

Amber Reyland

UK-based FontStructor (student at Bristol UWE) who created the hand-printed typeface Teenage Kicks (2009). [Google] [More]  ⦿

Ambyr Gregg

Ambyr Gregg (Brighton, UK, b. 1990) created Nisaba (2013).

Dafont link. [Google] [More]  ⦿

Ami Littlefair

During her graphic design studies in Newcastle upon Tyne, UK, Ami Littlefair created Paperclip (2013), Colostic (2013: purely geometric shapes), Backtrack (2013) and Croudi (2013, a stitching typeface). Inspired by the constructivist movement, she created Geometric Typeface (2013) by superposing and juxtaposing geometric solids. Other geometric experiments include Line Alphabet (2013), Diagonal Alphabet (2013, a stitching font), Connecting Alphabet (2013).

In 2014, she made the free hipster font Aesthetika.

Dafont link. [Google] [More]  ⦿

Amiika X

British student who designed the modular display typeface Open Book in 2019. [Google] [More]  ⦿

Amitai Landau Pope

Liverpool, UK-based designer of a bilined display typeface called Candi (2013).

Behance link. [Google] [More]  ⦿

Ampersand 2018

Ampersand is a one-day web typography conference in Brighton, UK, taking place on June 29, 2018. It is organized by Clearleft. [Google] [More]  ⦿

Ampersand Creative

Ampersand Creative (Liverpool, UK) created the hairline avant-garde sans typeface Duality (2013). [Google] [More]  ⦿

Amy Barstow

Amy Barstow (Leeds, UK) created a multiline typeface in 2013 for a school project at Huddersfield University. This typeface was inspired by the lines used by couture house Viktor & Rolf.

Still in 2013, she created The Modern Roman (an art deco face) and The Perfect Woman. [Google] [More]  ⦿

Amy Beth

Student at UWE Bristol in the UK. FontStructor who made the grunge typeface Tooth Decay (2010). [Google] [More]  ⦿

Amy Cox

At Falmouth University, Amy Nicole Cox (Falmouth, UK) designed the free display typeface Plum (2015), the free handcrafted typeface Iced Tea (2016), the free hand-printed Blackberries (2016), the free handcrafted typeface Land (2016), and the free brush script typeface Peach Tea (2016).

Typefaces from 2017: Paper (a free counterless cut-out typeface). [Google] [More]  ⦿

Amy Elms

Experiments with the Nodebox software led Amy Elms (London, UK) to develop the experimental typeface Circuline (2015). [Google] [More]  ⦿

Amy Fowler

UK-based designer of the free wooden branch-inspired font Twiggy (2015). UK Oak Doors is her business. Dafont link. [Google] [More]  ⦿

Amy Haseldem

Huddersfield, United Kingdom-based designer of the 3d typeface Off The Shelf (2018). Behance link. [Google] [More]  ⦿

Amy Hill

During her studies at Leeds College of Art, Leeds, UK, Amy Hill created the glaz krak typeface Shatter (2014). [Google] [More]  ⦿

Amy Kilner

Amy Kilner (Sheffield, UK) was inspired by Kandinsky's paintings when she created the Kandinsky Font (2013, Font Bureau).

Behance link. [Google] [More]  ⦿

Amy Leskevicius

Illustrator in Leicester, UK. Creator of a rough-textured typeface in 2015. [Google] [More]  ⦿

Amy Lomax

Crowthorne, United Kingdom-based graphic designer and illustrator. In 2018, she created the modular typeface Mind The Gap. [Google] [More]  ⦿

Amy Louise Kibler

UK-based designer of the fat finger font Kibler (2015). [Google] [More]  ⦿

Amy Richards

Student at UWE in Bristol. During her studies at UWE, she used FontStruct to create Fizz (2012). [Google] [More]  ⦿

Amy Rodchester

Graphic designer in Manchester, UK. She designed the beveled caps typeface Fred Aldous (2015). Behance link. [Google] [More]  ⦿

Ana Araujo

London-based designer of the display typeface Floffy Foffi (2013). [Google] [More]  ⦿

Ana Muñiz

London-based graphic designer who created the brush script typeface Sweet Annie in 2016. [Google] [More]  ⦿

Ana Novakovic

Graduate of of the Graphic and Media Design program of the London College of Communication at the University of the Arts London, who was first based in London, where she worked as a graphic designer, and is now in Thessaloniki, Greece, where she is at Mossom Design while studying at AAS College Thessaloniki. Fontstructor who made the modular art deco typefaces Mercury and Mercury Bold in 2012. In 2013, she created Modular Typeface and Fontastic Typeface (gridded). [Google] [More]  ⦿

Ana Rita Cruz

UK-based designer (b. 1984) of the beautiful and artistic display typeface Font Bola (2007, aka Secret). [Google] [More]  ⦿

Anatoly Shabalin

London, UK-based designer of the octagonal Latin /Cyrillic typeface AS Izhevsk (2018), which is inspired by the industrial city of Izhevsk. [Google] [More]  ⦿

AND Studio

Huddersfield, UK-based designer of the circle-based tiled typeface Ernest (2016). Behance link. [Google] [More]  ⦿

Anders Kristoffersen

Anders writes about himself: A Norwegian wine-loving Interactive Art Director student from the cold depths of Lofoten. I did a two year advertising degree in Trondheim, Norway at the Norwegian School Of Creative Studies, giving me the fancy title "Creative market communicator". I then topped up my degree with an Honorary Bachelor of Arts in advertising from Southampton Solent University. At the moment I am studying at Hyper Island in Stockholm. I am currently exploring experience design, business transformation, team development and tech. His Behance page has him in London. He has won many awards, and his web presence is both minimalist and stunning.

In 2015, he created the free poster font Chubby. [Google] [More]  ⦿

Anders Orrberg

Swedish freelance graphic designer located in London. Behance link. Creator of the formal upright script/display typeface Rund (2009). [Google] [More]  ⦿

Andonis Moushis

During his studies in Nottingham, UK Andonis Moushis designed the alchemic typeface Circus (2013) for the Museum of the Circus. [Google] [More]  ⦿

Andre Claro

London, UK-based designer of the monoline sans typeface Linda (2018). [Google] [More]  ⦿

Andrea Buttieri

London-based creator (b. 1991) of the tweetware font Morden (2013).

Dafont link. [Google] [More]  ⦿

Andrea Wirth

London-based designer of Dazed&Confused (2011): Custom font derived from Serifa for the fashion section themed 'Vibrations/Movement'. The font looks as though it shivers/vibrates. [Google] [More]  ⦿

André Taylforth

Manchester, UK-based designer of the rounded sans headline typeface Ulterior (2015). This typeface family is also called Zukunft. [Google] [More]  ⦿

Andreas Koller

[More]  ⦿

Andreas Pohancenik

[More]  ⦿

Andrew Ashton

[MyFonts] [More]  ⦿

Andrew Bellamy
[Otherwhere Collective (or: Ilott Type, Bellamy Studio)]

[MyFonts] [More]  ⦿

Andrew Boag

Andrew Boag's writings about type and typography. Cofounder of "Boag associates in London, ex-typography teacher at the University of Reading (1985-1990), and special projects manager at Monotype. Dead link. [Google] [More]  ⦿

Andrew Brash

British graphic designer. Creator of the Greek simulation font Eschaton (2012). [Google] [More]  ⦿

Andrew Buckle

Maidstone, United Kingdom-based programmer. Designer of the experimental typefaces Circula Track (2016) and GX Stretched Lines (2016), and the free grungy handcrafted typeface GX Ruff Stuff (2016). Behance link. [Google] [More]  ⦿

Andrew Byrom

Andrew Byrom was born in Liverpool, England in 1971. After Graduating from the University of East London in 1996 he opened his own design studio and worked for various clients including Penguin Books, The British Academy of Composers and Songwriters, The Industrial Design Centre, Time Out Online and The Guardian Newspaper. Around this time he also began teaching graphic design at The University of Luton and Central Saint. Martins. Byrom moved to the USA in 2000 to teach at Northern Illinois University in DeKalb, IL. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. He created the experimental typeface Interiors (2002), about which AIGA writes: Interiors (3D type) is a collaboration between type designer Andrew Byrom and designer Joel Wolter. It was originally conceived as a digital font (Interiors) and was inspired by an old wooden chair in Byrom's office that, when looked at from a certain angle, resembled the letter h. Using the three-dimensional principles of this simple form, and closely adhering to type design conventions, 26 letters of the alphabet were drawn and generated as a font. The characters were then constructed in three dimensions using tubular steel into full-scale furniture frames. Because the underlying design concept is typographical, the end result becomes almost freestyle furniture design. Letters like m, n, o, b and h can be viewed as simple tables and chairs, but other letters, like e, g, a, s, t, v, x and z, become beautifully abstract pieces of furniture. He also made the distressed font Bloodclot, the stencil family Byro Stencil (free), Byro Sans, 1byrosquare (2000), 2byroround (2000), ByroBlock Stencil (2000, stencil), Concussion (dot matrix with various size dots), Easy Vie, Venetian (2009, like Venetian blinds), Fresh (1995, scratchy type), Ply, Rage, St. Auden, Bandaid (2006), 3D Dot Matrix. He divides his time between teaching, designing for various clients and playing with his sons, Auden and Louis. He has recently been commissioned to design typefaces and type treatments for Elle Decoration, The New York Times Magazine, McGraw-Hill, and Turner Classic Movies. In 2006 he moved to Long Beach to take up an Associate Professor position at California State University, where he is currently the Area Head of the Graphic Design Department. Speaker at ATypI 2009 in Mexico City. [Google] [More]  ⦿

Andrew C. Bulhak

Australian creator of ModeSeven (1998, pixel font based on the Teletext bitmap font) and the splendid Flicker family (2002), pixelized in the format of kitchen tiles. Bulhak runs the news blog Null Device, and is lecturer in Computer Science at Australia's RMIT University. Fontspace link. [Google] [More]  ⦿

Andrew Clarke

During his studies in Sheffield, UK, Andrew Clarke created the sans caps typeface Spectrum (2014) and the decorative caps typeface Sheffield Cutlery (2014). [Google] [More]  ⦿

Andrew Edward Fish

During his studies at the University of Huddersfield, Andrew Edward Fish (Blackpool, UK) created Only Human (2015), a very experimental circular typeface inspired by El Lissitzky's brand of constructivism. Behance link. [Google] [More]  ⦿

Andrew Foster

British designer (b. 1976, Bedford) of Mister Loopy (2009). He went commercial in 2009: via MyFonts, one can now buy Spud AF (2009, a potato cut font), Peepz AF (2011, a collection of typefaces of boys), and the hand-printed Scribbles AF family (2011, +Biro, +Felt Tip, +Marker).

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

Andrew Hunt
[Quantum Enterprises]

[More]  ⦿

Andrew Hunt

Codesigner at Wolfram Research of some Mathematica fonts, such as Math5Mono, Math5MonoBold (1999), Math5, Math5Bold (1998). Not to be confused with the other Andrew Hunt, who set up Quantum Enterprises in Somerset, UK, a company involved in handwriting fonts, custom fonts, logo fonts, and related type services. [Google] [More]  ⦿

Andrew Iontton

Andrew Iontton (Anerio Designs, London) created the free art deco typeface Slab Head (2011) and the free sans typeface Cap Disk (2011). Milk (2011) is an angular face. [Google] [More]  ⦿

Andrew Lines Graphic Arts (or: Drewfont Foundry)
[Andrew Patrick Lines]

Andrew Patrick Lines (b. Lowestoft, Suffolk, UK, 1958) is a signage and logo specialist in Norfolk, UK. His fonts are sold through MyFonts. He started Drewfont Foundry (Great Yarmouth, UK) in August 2001 as part of Andrew Lines Graphic Arts. His typefaces:

  • Jester (2001).
  • Seahorse (2004).
  • Histry (2004).
  • Nondy (2004).
  • The Castles (2001). Includes Castle Nouveau and Castle squat. Inspired by the Victorian gothic revival and the work of Augustus Pugin.
  • Celt (2001, Celtic).
  • Gotheau (2001). This blackletter was developed for the logo of the Letterhead UK movement (an informal yearly gathering of sign based crafts people).
  • Spaceboy (2001).
  • Starman (2002).
[Google] [MyFonts] [More]  ⦿

Andrew Martin
[Thumbnail Designs]

[More]  ⦿

Andrew McCluskey

Independent game developer Andrew McCluskey (NAL Games, Dundee, Scotland, b. 1991) published hundreds of free typefaces before 2015 under the NAL label. In 2015, Andrew McCluskey, after becoming Allison James, joined forces with Daniel Johnston and set up Chequered Ink in bath, UK. They live in Newport, Wales. Andrew's pre-merger fonts are listed here.

Andrew McCluyskey designed the free LED-inspired Kinglify (2011), Digital Display (2012), and Princelify (2011). Manly Man (2011), Metal Arhyrthmetic (2011) and Ace Futurism (2011) are semi-octagonal. Consider Me Vexed (2011) and Pixel Flag (2011) are pixel typefaces.

In 2012, he made She Curls in the Mist, Xero's Karma, Pastcorps (army stencil), Gnome Splinters, Fought Knight, Vermin Vibes (futuristic), Vermin Vibes 1989 (pixel face), Vermin Vibes 2, Vermin Vibes 3 (2014), Vermin Vibes Diet, Vermin Vibes Redux, Dubbing Star (futuristic), Sorrier Statements, Particulator (an octagonal paper fold typeface), Coder's Crux (a pixel typeface created for programmers, FontStruct), Triggering Fanfares (octagonal), Alt West, Notalot25 (pixel face), Notalot35 (pixel face), Lord Juusai (inspired by the logo for Lord Tensai from WWE), Zephyr Jubilee (an alien language simulation typeface), Bevel Fifteen, Xero's Theorem (sci-fi), Sawchain (2012, FontStruct), Dubbing Step and Here Be Dubstep (FontStruct), Italic Bricks, Gang Wolfik (angular, +Blade), Ruaturecu, Quous Inno, Electramaniacal, Xodohtro-Nu (a black octagonal typeface), Distortion of the Brain, Berate the elementary (techno face), Not sure if weird or just regular, Opulent Fiend, Rawhide Raw 2012 (techno, inspired by the WWE Raw logo of 2012), Particulator II (octagonal), The Missing Link (trekkie), Thunderstrukk, Understrukk, Ganf Wolfik Blade (a pointy Blade style font).

Typefaces made in 2013: Call of Ops Duty, Spinebiting, Laceration, Casual Hardcore, Zany Races, Vermin Vibes 2 Nightclub, Exoskeleton, Perspire, Piston Pressure (sans), Particulator III, Liberty City Ransom (grunge), Zdyk Leo, Variety Killer (grunge), Savantism, Vermin Vision, Zdyk Sagittarius (a circle-based experimental font), Milestone One (a gaspipe sans), Comfortably Fucked, Noasarck (+Sporadico, +Quattro), Future Time Splitters, Heart Breaking Bad, Jan Hand, Erhank, Exoskeleton, The Rave Is In Your Pants, Minecraft Evenings (inspired by the Minecraft logo), FoughtKnight Victory (a video game font), Piescese, Comic Spans, Cauterise, Dead Font Walking (rough-edged poster font), Cutthroat Clawmarks, Eride (grunge), Effervescent Superbeings, Front Page News, Kill The Noise (brush script), Distort You A Lesson (grungy), Vermin Vibes 2 Black, Vermin Vibes 2 White, Vermin Vibes 2 Soft, Dubstep Cadence, Relapse Into Madness, Kings of Kings Lynn (dadaist), Smorgasbord, Scream When You'Re Ready, I Phone You Phone, Respire, Perspire, Vermin Vibes Slant, Sharp, Cursivertex, Rick Lobster (stencil face), Cursivertex, Vermin Vibes Dystopia (cyberpunk), Wabbit Sans, Calligraphy Aquiver, Agra Axera (knife-edged sci-fi face), The Keepsake Days, See You At The Movies, Xero's Proof, Vermin Vibes Out Of Ink (textured), Melancholic Roadeo, Wickermanor (a stiletto typeface), Lord Juusai Rises, Vermin Vibes Ex, Vermin Vibes Roundhouse, Just in the Firestorm, Stuntcroft (modular), Ghetto Magnetic (grunge), QA Reports (fat finger typeface), Y-Andermo (stiletto style), Dragon Slapper.

Typefaces from 2014: Man Flu (FontStruct), Zany Races, Big Quicksand, Modern Caveman, Alpha Sapphire (a Pokemon typeface), Omega Ruby (a Pokemon typeface), Schweiz, Beta (FontStruct), Jawbreaker (FontStruct), Tomorrow Wind, Embezzler, Royal, Final Gambit (grungy athletic lettering), NAL Hand, Fingbanger, Dont Waste That Napkin (squarish font), Bold Testament, Cisgender, NonchalantLove, Grelsey Kammar (sic), Valiant (stencil), Anger Management, Italipixel, Ultramarine, Nero (sci-fi font), Bamboozler, Seriffic, High Jinks, Iregula (sic), LNR Phonetic Alphabet, Primary School, Playtime (3d face), Electromagnetic Lungs, Node to Nowhere, Alienated (trekkie font), Questrian, Scars, Da Se Nei (art deco), Dance Floor (dot matrix face), Edge Cutting, Lord Juusai reigns, Superpower Synonym (fat brush), Fought Knight Die (techno), The Thrill of the Kill, Lay of the Land, Deavantgar (art deco), Confidel, Fight Night, Comeback of the Damned, Vermin Vibes Corrupto, Chandstate, Scars, Bustin Jieber (pixel typeface), A Dash of Salt, Come Rain or Fall, Xsotik, Sanseriffic (avant-garde sans), Cassius Garrod, Effortless Tattoo, Coder's Crux 2, Radaro, Overdrive Sunset (brush face), Dead CRT, Fatality's Edge, Tolerant, Coder's Crux 2 (dot matrix), Consider Me Vexed (pixel face), Diamante, Pixel Flag, Aardvark CWM Type, Enter The Grid, Vermin Vibes 2 EDM XTC, Byron, See You at the Movies 2, And Then It Ends, God Hates Westboro, Writing Without Ink, Zdyk Aquarius, Curvert, Superdie, Rocky Road, Animal Silence (constructivist), Gnaw Hard, 19th Century Renegade, Trip Trap, Freudian Slit, Digital Dismay (LED face), Zdyk Pisces (circle-based typeface), Zdyk Scorpio, Guilty Treasure (techno), Wolfganger (inspired by Wolfgang Gartner), Xero's Retreat, Sitdown (octagonal), Stencylette, No More Justice (blackletter), Masterblast (sci-fi), Kesha (sci-fi), Primal Dream, Grandma's Television, Keyboard Warrior, Foughtknight, Blissful Thinking, Positive Reinforcement, The End of Days.

Typefaces from 2015: This Sucks (pixel font), Front Page Neue, Vermin Vibes Mert, Rock Elegance, Stripes.

Typefaces from 2016: Enter The Grid, Fill In The Gaps, FoughtKnight, Grunge Tank, Alt West.

Dafont link. Most of his typefaces were made using FontStruct, where he is known as NAL or Notalot. Fontspace link. [Google] [More]  ⦿

Andrew Osman

Andrew Osman (b. 1985) is a London-based designer. He graduated from Central Saint Martins in 2008. He has since worked for Wood McGrath and Christie's Marketing. In 2012 Andrew joined Stephen Barrett as a typography tutor at the University of East London. His creations include the sans typefaces Ursus (2013) and Corvus (2013). He also made the wedge-serifed all caps typeface Dalston Waste (2013, with Fraser Muggeridge). [Google] [More]  ⦿

Andrew P. Smith

London-based and Australia-born designer of Doodlebug (Letraset, a nice scratchy handwriting face), Jokerman (1995, Esselte), Retro Bold (1992, a slab serif done with Colin Brignall), Scratch (1995), Smudger (1994), Chiller (1995, Esselte), the frivolous curly font Laughin (FontHaus, since 2006 also at Group Type: sample, another sample, and another one), Doubler Script (FontHaus), Chipper (1995), and Faxsimile (at 2Rebels, 1998). Creator of Barbed Wire AS (1998). Goo Goo Gjoob (Letraset Fontek) was inspired by the hand-writing and drawings of John Lennon (see also John Lennon (2008, a free font by Analia Wainer). Potato Cut (Fontek) is a comic book face.

Klingspor link. FontShop link.

View Andrew P. Smith's typefaces. [Google] [MyFonts] [More]  ⦿

Andrew Patrick Lines
[Andrew Lines Graphic Arts (or: Drewfont Foundry)]

[MyFonts] [More]  ⦿

Andrew Polhill

Web professional with six years of commercial experience. Polhill graduated from Brunel University with a degree in Product Design BSc, and lives in London. Creator of the free font Comic Andy (2009). Dafont link. Alternate URL. [Google] [More]  ⦿

Andrew Poynter

London-based creator of the hand-printed outline typeface Poynterism (2011). [Google] [More]  ⦿

Andrew Richards

British cartoonist in Manchester who used FontStruct to make the squarish typefaces Barcelona (2011) and Barca Thick (2011).

In 2017, he designed the comic book font Drewdles. Behance link. Newer Behance link. [Google] [More]  ⦿

Andrew Sabatier

Brand identity designer in London. He created a typeface for the identity of Life Bank (2009). Another typeface by him is Pressure (2009, severe octagonal). Behance link. [Google] [More]  ⦿

Andrew Tindale

[More]  ⦿

Andrew West

[More]  ⦿

Andrew Young
[Disaster Fonts]

[More]  ⦿

Andrius Maknevicius

Manchester, UK-basded designer in 2018 of an experimental 3d mesh-based typeface to recall Marshall McLuhan's The medium is the message adage. Devian tart link. [Google] [More]  ⦿

Andy Anlody

UK-based designer of the fat finger font Andy (2014). [Google] [More]  ⦿

Andy Benedek
[Font Factory]

[MyFonts] [More]  ⦿

Andy Budd

Managing Director of Clearleft in Brighton, UK. He has a blog, where people were prompted for the names of type families, if they could only buy six of them. Continued here and here. The totals are tallied for you:

  • Akzidenz Grotesk (2 votes): Akzidenz Grotesk is the classic alternative to its dowdy and overused relation, Helvetica. If you ever feel the need to use Helvetica, resist the urge and try Akzidenz instead.
  • Avenir or Avenir Next (2 votes): Futura is a wonderful typeface, although is can feel slightly sterile at times. Adrian Frutiger set about humanizing Futura and created Avenir in 1988. Avenir is a beautiful typeface but is restricted to just 12 weights. In 2004 the typeface was completely revised and Avenir Next was released with a stunning 96 weights. If you are looking for a modern sans, you need look no further.
  • Neutraface (2 votes): Designed by Christian Schwartz for House Industries, Neutraface captures the 1950s stylings of architect Richard Neutra in a beautiful typeface meant for application on the screen, in print, and in metalwork. If you are ever in need of a classy retro face, they don't get any more polished than this. [...] Tired of Futura and Gill Sans? Neutraface is a beautiful art-deco alternative. Modern yet retro, this typeface comes with loads of ligatures and 7 beautiful figure styles. If this typeface was a drink it would be a Vodka Martini, shaken, not stirred.
  • Engravers Gothic: For a period of about two years, I attempted to inject this font into every single project I worked on. Even if I couldn't fit it into the main scene, I screened it back somewhere in the distance just to feel better about myself. For a brief time, I was actually creating design projects for the sole purpose of using Engravers Gothic in them. It was at this point that I sought professional help.
  • Myriad: Its quite simply the most readable sans-serif typeface ever invented for print at least. On the web, that'd be Lucida Grande, but thanks to Apple, I don't really have to buy that now, do I?
  • Meta: Like a good mullet, this typeface has something for everyone. Its clean lines make it ideal for logotype, headings, and other professional applications, but its curvy flourishes keep it from looking sterile or uptight.
  • Agency: Originally designed in 1932, and then expanded to multiple weights and widths in the 1990s by David Berlow, this typeface can be made to look futuristic or retro. Im partial to flexible typefaces, and Agency is second-to-none in this regard. Use it for old movie posters. Use it for your pathetic Star Trek Convention flyers. Agency feels at home in any environment.
  • Palatino: Also abused in both web and print work, Palatino is undeniably versatile and (imho) a much better option overall than Times.
  • Proxima Nova: I am counting down the minutes until this typeface is available. No joke.
  • Dynasty Light: Someone please give me an excuse to use this in my next project. I take that back: no excuse needed.
  • Trajan Pro: I am a sucker for classic Roman letterforms, and it doesn't get much better than Trajan.
  • Warnock Pro Light Italic: I stumbled across this gorgeous typeface just recently, and its one of the hottest italics I have had the pleasure of using in recent months.
  • Frutiger: Originally designed for the signage at Charles De Gaulle Airport in Paris, Frutiger is a beautifully fluid and legible typeface. Without doubt the most influential typeface in the past 30 tears, Frutiger has been the inspiration for many amazing fonts including the excellent Myriad Pro.
  • DIN Schriften: DIN stands for Deutsche Industrie-Norm, the German industrial standard. Originally used for German road signage, this typeface was the darling of 90s graphic designers, and like FF Meta, is starting to make a comeback. With its wide open letter forms DIN is am extremely clear and legible typeface, great at any size.
  • Mrs Eaves: If I had to choose one serif typeface it would be Mrs Eaves. Named after John Baskervilles wife, this stylised version of Baskerville is loved by graphic designers around the world. Mrs Eaves is a modern serif that retains an air of antiquated dignity. Playful without being too scripty, its a fully featured typeface with a beautiful collection of ligatures.
[Google] [More]  ⦿

Andy Cooke

British graphic designer who lives in Stoke-on-Trent. Behance link. His type experiments include a handwriting typeface and a piano key face, both made in 2008. No downloads. [Google] [More]  ⦿

Andy Hau

UK-based architect and designer. Behance link. Creator of the origami typeface KaWaii Desu (2011). [Google] [More]  ⦿

Andy Kelly

Newcastle upon Tyne and/or Belfast, UK-based designer of the free squarish typeface 9Bar (2018). [Google] [More]  ⦿

Andy Lethbridge
[Hand Foundry]

[MyFonts] [More]  ⦿

Andy Long

British type designer. Based in South London, he co-started ACME with Christian Küsters. [Google] [MyFonts] [More]  ⦿

Andy Stockley

Designer from the UK who created Spira (1999, Font Bureau), a beautiful Venetian revival font family, and AT Pastor (FontHaus), an elegant high-legged serif face.

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

Andy Walker

Designer at the Department of Mathematics, University of Nottingham of the GNU chess font, to be used with "gnuchess". [Google] [More]  ⦿

ANFS Foundry
[Freddy Taylor]

UK-based ANFS foundry groups the following designers: Freddy Taylor (b. London, a graduate of the Edinburgh College of Art, art director at KesselsKramer), Noah Collin, Shaun Dowling. Their typefaces: Monomodern, Das Neue, Biblo, Basic, Drop, Lucid, Plotter, Forms.

In 2014, Freddy Taylor contributed the free font London Citype to Citype.

Typecache link. [Google] [More]  ⦿

Angela In The Fields
[Angela Lukanovich]

North London-based designer. In 2021, she released the Valentine's Day hand-crafted typeface Lovechild and the retro sports font Sport Elegant.. [Google] [More]  ⦿

Angela Lukanovich
[Angela In The Fields]

[More]  ⦿

Angela Michanitzi

Angela Michanitzi (AVMC Studios, London, UK) created the tweetware squarish typeface AM Oceanus in 2014. Other typefaces include Hyperion (oriental simulation face), Water, Crystal (experimental typeface), Dione (3d), Crius, and AM Gaea (2014). Angela lectures at the University of the Arts in London.

Dafont link. Behance link. Fontspace link. [Google] [More]  ⦿

Angelo Konofaos

Cambridge, UK-based designer of the calligraphic brush script typeface Inkinity (2017) and the handcrafted typefaces Handflow (2017), Norsanda (2017) and Bustille (2017). Creative Market link. Behance link. [Google] [More]  ⦿

Angus Macpherson

British designer who works as a designer at Church of London. Creator of commercial typefaces at The Type Foundry, such as Nord Express (art deco; based on the Nord Express train poster) and Grande Fete (hairline avant garde caps face). [Google] [More]  ⦿

Anigma New Media (was: Abracadabra)

Designers in West Midlands, UK, of comics fonts such as BritComicsNormal, BurningRubberBlack, BananaSundaeBold, LithoComixItalic, PoopedEyesExtraBold, ChunkyComixSemiBold, LithoComixItalic, Chalkpat, Cheesey-Nibble, Fatkid, Irtusk-BoldItalic, Jellybean, Jilted-Medium, Leafmold-Leafmold, Squish, Swink, Uptight, ChunkyComixStretchItalicsItalic, ClassikComikNormal. Shareware and freeware PC truetype fonts.

Dafont link. [Google] [More]  ⦿


Durham, UK-based designer of the artificial language font Theban (2009). [Google] [More]  ⦿

Anita Tran

Manchester, UK-based designer of the hexagonal typeface Cascade Killer (2014), which comes with a stencil and and an outlined style. [Google] [More]  ⦿

Ann Piecha

Cambridge, UK-based designer of the experimental stick figure typeface Line Eyes (2016) and a colorful geometric all caps tape font (2016). Behance link. [Google] [More]  ⦿

Anna Ghislaine

Aka Bob Todd, Anna Ghislaine (b. 1985, lives in London, UK) created Precursors (2005), a font based on the Precursor writing seen in the Jak & Daxter games. Alternate URL. [Google] [More]  ⦿

Anna Maria Geals

Graphic and type designer, and design educator at University of Brighton, UK. She worked previously at Dalton Maag (1999-2001). Based in Willingdon, UK, Anna Maria Geals created three-weight didone typeface family Parvenu (2002, Garage Fonts).

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

Anna Molony

Nantwich, UK-based designer of Helvetica Shadows (2012). [Google] [More]  ⦿

Anna Peniaskova

Digital designer in London, who created a modular piano key typeface called Abba (2014), to honor the Swedish pop group. [Google] [More]  ⦿

Anna Sheriakova

London-based designer of the decorative Joker Type (2016). [Google] [More]  ⦿

Anna Simons

Scribe, calligrapher and teacher (1871, Mönchengladbach-1951, Prien). From 1896 until 1903, she studied at the Royal College of Art in London, and was a student of Edward Johnston in 1900. She taught at Weimar from 1908-1914 and collaborated with the Bremer Presse from 1918 on. She created the initials for "Dante" (Berlin: Rowolth 1930) and for "Augustinus" (München: Bremer Presse 1924). Jakob Erbar was one of her students. The Bremer Presse published Anna Simons Titel und Initialen für die Bremer Presse in 1926. The book blurb: A portfolio of titles and initials designed by Anna Simons for the Bremer Presse. Along with Graily Hewitt, Eric Gill, and Percy Smith, Simons was one of Edward Johnston's star pupils at the Royal College of Art in London, and she has inscribed this copy to him on the title-page in black ink. It was after studying with Johnston, whose Writing&Illuminating,&Lettering she translated into German, that Simons in 1918 went home to Germany to work at the Bremer Presse. During her time at the Presse, she would design many titles and initial sets for them, and in 1926 this portfolio was issued to showcase her work. Each sheet in the portfolio is headed by one of Simons' Bremer Presse title designs, including her titles for the Divine Comedy, Fichte's Reden an Die Seutsche Nation, Chansons d'Amour, Albii Tabulli Elegiae, and others. The titles are followed by the initials she cut for the work. [Google] [More]  ⦿

Anna Zoladz

During her studies in Birmingham, UK, Anna Zoladz designed the hand-drawn typeface Slink (2013). [Google] [More]  ⦿

Annabel Grant

During her studies in 2014 in Huddersfield, UK, Annabel Grant created an all-caps typeface that was inspired by the art of El Lissitzky (1890-1941). Behance link. [Google] [More]  ⦿

Annabel Light

Plymouth, UK-based student-designer of a pixelish typeface in 2018. [Google] [More]  ⦿

Annastasia Chaplin

Graduate of the University of Derby, UK. Now based in Leicester, Annastasia Chaplin created a triangle-based display typeface and the informal typeface The Cafe in 2016. Behance link. [Google] [More]  ⦿

Anne Maraike Czieslik

During her studies at Middlesex University in London, Anne Maraike Czieslik (b. Germany) designed the decorative typeface Waterbeast (2015). Behance link. [Google] [More]  ⦿

Anne Wehebrink

Designer at ACME in London. Her creations include AF Oneline (1998), a geometric hairline monoline stencil font.

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

Annemarieke Kloosterhof

Annemarieke Kloosterhof was born and grew up in The Netherlands. In 2012 she started her graphic design studies at Central Saint Martin's University of the Arts in London. During her studies, she created Alphabet for Architects (2014). Behance link. Cargo Collective link. [Google] [More]  ⦿

Annet Stirling

Amersham, UK-based designer and stone carver. At Google Web Fonts, she published the distinctive hand-lettered typeface Snowburst One (2012). [Google] [More]  ⦿

Annette O'Sullivan

Annette O'Sullivan trained as a graphic designer and worked in design studios in New Zealand prior to further study in typography at the London College of Printing. She has an MA degree in typography and graphic design. While in Britain, she worked in publishing and museum design, notably for The Museum of the Royal Welch Fusiliers, Caenarfon Castle, North Wales, the Hong Kong Museum of Coastal Defence, Hong Kong and the Royal Armouries Artillery Hall, Fort Nelson. She currently lectures in typography at Massey University, Wellington, and continues to explore contemporary typographic application within a historic context. [Google] [More]  ⦿

Annie Miller

As a student at the University of Salford, UK, Annie Miller designed Kidscan (2016). She also designed Uni Halls Icons (2016). [Google] [More]  ⦿

Annsley G. Flood

[More]  ⦿

Annulus Designs

London-based creator of the rounded organic typeface Annulus (2017). [Google] [More]  ⦿

Anouk Faber

British dark artist, b. 1990, aka Diagonna. She created Block Font, Pixel FF and Inverted Pixel FF in 2011. [Google] [More]  ⦿

Anthony Burrill

Designer at ACME of AF Video Wall (1998, a gridded pixel font).

In 2012, he published the stencil typeface Kit Form (HypeForType).

  • Lisbon (2013, Colophon). Lisbon is a geometric stencil typeface based on an original metal stencil that Burrill found in a sign makers shop in Lisbon, Portugal. The font was first used in a series of posters commissioned by the British Council for Experimenta cultural biennale in Lisbon (2010).

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

  • Anthony Gibson

    Leeds, UK-based designer of an unnamed hand-printed typeface in 2012. [Google] [More]  ⦿

    Anthony James

    Anthony James (Manchester, UK) is a talented British type designer. iHis typefaces, in chronological ordr:

    • Kaiju (2014). A dashing art deco typeface. Kaiju II followed in 2015.
    • Chase (014). A free monoline sans.
    • QG (2014). A minimalist free typeface.
    • Argö (2014). A commercial decorative fashion mag didone typeface.
    • Global (2014). A slender ball terminal-laden typeface meant for magazine titling.
    • Goku (+Regular, +Stencil; 2014). A multilingual didone fashion mag typeface, initially designed as a stencil font for the Basel & Geneva Watch Launch Event for Watches of Switzerland.
    • Giza (+free Stencil; 2015). A fashion mag didone. It was unfortunately named, as David Berlow's famous Egyptian typeface is also called Giza. After I wrote this in June 2015, I noticed that Giza became Giaza in July 2015.
    • Kingston (2016). A fashion mag typeface derived from didones.
    • Jitzu (2016). A multilingual high-contrast fashion didone in ten styles.
    • Osgard (2017). A swashy blackletter.
    • Ghost Cove (2017).
    • Indulge Script (2017). Formal calligraphy.
    • Kenjo (2018). Fashion mag headline type.
    • Omega Sans (2018).
    • Solar Vesta (2018). A font duo.
    • Qavo (2018). A sharp-edged monoline all caps sans.
    • Mojita (2019). A geometric display typeface, inspired by Japanese art deco, as well as Aztec & Mayan pattern design.

    Facebook page. Buy his commercial typefaces here. [Google] [MyFonts] [More]  ⦿

    Anthony Morgan

    Anthony Morgan (London) created the octagonal typeface family Carbonado (2012). [Google] [More]  ⦿

    Anthony Nash
    [Classic Font Company]

    [MyFonts] [More]  ⦿

    Anthony Odu

    Graphic designer in London, who created the geometric solid typeface Aku Display in 2017. [Google] [More]  ⦿

    Anthony Oram

    Somerset, UK-based designer of the rounded sans typeface Peg Face (2016). Creative Market link. [Google] [More]  ⦿

    Anthony Prudente

    Typefounder in Polegate, UK, who was born in 1981 in Croydon, Surrey, UK. He created the art deco typeface Foreman (2012), which is typified by condensed tall-legged letters.

    Hurstmonceux (2013) is an antiqued Victorian typeface. [Google] [MyFonts] [More]  ⦿

    Anthony Roberts
    [Fathom Creative]

    [MyFonts] [More]  ⦿

    Anthony Robinson

    UK-based creator (b. 1967) at FontStruct in 2008 of Metal Vampire (athletic lettering meets vampire), Moonbase Tokyo (neat futuristic oriental simulation), Sir Robin's Minstrels (blackletter), Starscraper (techno), Moonmonkey (outline LED font), First.

    In 2010, he added the non-FontStruct typefaces Chromium (a great special effect face), Clawripper, Dirty Play, HairyMonster, HairyMonsterSolid, Punched, and Slasha, mostly inspired by blood, guts, and murders. Static Buzz (2010) is a texture face. Newcastle (2010) is a castle-themed alphabet. Blinger (2010) is a star-studded outline face. New York Punk (2010) is grungy. Dinosaurs (2011) is a dingbat face. NUFC Shield (2011) is a shield face. Zombified (2011) and Sound Sample (2012) are grunge typefaces.

    Rollerball 1975 (2012) is the font used in the Rollerball movie. Western Show Caps (2012) is a Western circus font. Stoned (2012) evokes letters carved in stone.

    In 2013, Robinson published the textured athletic lettering font Robbie Rocketpants, Airlock, Cargo Bay (a great army stencil, with a negative letter option), Dogma (a grungy Lombardic face), and the grungy blackletter typeface Flesh Wound. MDMA (2013) is a halftone simulation texture face. Barbarian (2013) is an alphading typeface on the theme of swords. Camouflage (2013) is a textured typeface. Atheist (2013) is an outline typeface. Power (2013) is inspired by lettering on pwer buttons. Witching Hour (2013) is a halloween font. Dystopian Future (2013) is a grungy typeface. Olde Stencil (2013) is a stenciled blackletter typeface. Anonbats (2013) has scanbats and dingbats related to the famous hacker group Anonymous. Creature Feature (2013) is a slimy typeface. Ka Blamo (2013) is a comic book font. Beer Goggles (2013), Supercreep (2013), KaBoing (2013), Gloop (2013, an oil slick face), Voodoo Vampire (2013) and Ye Olde Oak (2013) are textured typefaces. Anti Everything (2013) is a blood drip typeface. PCB (2013) is a printed circuit board font. Dickensian Christmas (2013) is a decorative Christmas font.

    Typefaces from 2014: Spondulix (hacker type), War Wound, Lasso of Truth, Counter Dial.

    Typefaces from 2015: English Football Club Badges, Fuzzy Cops, Kick to the Face (oriental simulation).

    Typefaces from 2016: Squeal Piggy.

    Typefaces from 2019: Footy Scarf.

    Dafont link. Aka Anfa. Home page. Another URL. FontStruct link. [Google] [More]  ⦿

    Anthony Sheret
    [The Entente]

    [More]  ⦿

    Anthony Smith

    Anthony Smith graduated from The Arts Institute At Bournemouth with a BA in Graphic Design. He made a modular typeface in 2011 called Hollow Type. Behance link. [Google] [More]  ⦿

    Antonio Roberts

    Birmingham, UK-based Antonio Roberts (aka Hellocatfood) wrote a program called glitch that will replace a certain portion of the font data by random values, esulting in glitch typefaces. A prototype example was called Dataface (2012, free at OFL). OFL link. [Google] [More]  ⦿

    Antonio Rodrigues

    Prolific and talented Brazilian designer in London and Brasilia, who created the modular monoline display typeface Colibri (2012), the hairline sans typeface The Fake Blondes (2012), and the fashion mag typeface Models (2012). He created several other modular alphabets and typefaces in 2013, including Boogie (a fat disco typeface), Stay With Me (fashionable fat didone), Concrete Butterflies (2013, paper cutout theme), London (blackboard bold, derived from Bodoni MT Bold) and Cardboard. Berlin (2014) is a group of display typefaces. Subfaces include Berlin, Berlina, Slaberlin and Überlin. He also designed Havana and the free typeface Gili Meno in 2014.

    Behance link. [Google] [More]  ⦿

    Antonio Rodrigues

    Freelance illustrator and graphic designer in London, who drew a modular typeface in 2012 that is based on tangrams. Behance link. [Google] [More]  ⦿

    Antony Walton

    Londoner who created the oriental simulation typeface Japanish (2010). He also got interested in the Russian avant garde period, and made a constructivist family called Potemkin (2010). Behance link. [Google] [More]  ⦿

    Antria Sofroniou

    During her studies in Canterbury, UK, Cyprus-born Antria Sofroniou designed an unnamed Latin typeface for a children's book. [Google] [More]  ⦿

    Aoyce C

    Graphic designer in Newcastle upon Tyne, UK. Creator of The Simple Font (2012, experimental, geometeric and minimalist) and Geometric Font (2012). [Google] [More]  ⦿

    Apfel Type Foundry

    Apfel Type Foundry (London, UK) was launched in 2020. The initial team consists of Kirsty Carter (Director), Emma Thomas (Director), Daniel Griffiths (Associate Director), Joanna Rutter (Senior Designer), Olivia Diaz (Senior Designer), Matt Kay (Junior Designer) and Jason Wolfe. Apfel stands for A Practice for Everyday Life. It engages in custom and retail type. Initially, in 2020, it had four retail typefaces:

    • Marquis (2021). A humanist sans by Jason Wolfe. This is a contemporary reinterpretation of the Stephenson Blake typeface Granby (1930), which was itself influenced by the letter forms of Johnston and Futura.
    • Certeau. A sans typeface with a short-legged e. They write: Influenced both by geometric Modernist monoline typefaces and by examples of Dutch and German sans-serif typography from the 1930s, Certeau evolved through research into type styles that strike a balance between rationality and idiosyncrasy.
    • Lining. A sans with large counters designed by Jason Wolfe. Apfel writes: A contemporary reinterpretation of a sans-serif typeface family first advertised by the American Type Founders Company in 1897.
    • Remnants. Remnants is a skyline style typeface that is based on a display type found on an old Serbian book cover, and was expanded to encompass a full Latin character set which captures a sense of the beauty of the Cyrillic alphabet.
    • Periferia. An experimental stencil typeface.

    Apfel also released these typefaces made by Jason Wolfe: Asia Art Archive, the various Camper typefaces, and Friedel (2021).

    Custom typefaces include Piloti (a light flared sans with large x-height, for Feilden Fowles), Elle Play Display (2017, a headline typeface for Elle UK), House of Voltaire, Apfel AB (a quadrangulated typeface done with Anthony Burrill), Camulodunum (2011; Display and Stencil), Camper (2014; in SS15, SS16 and AW15 styles), V&A Dundee (stencil), Royal Docks, Asia art Archive Display. [Google] [More]  ⦿

    April Syder

    During her studies in Nowich, UK, April Syder created an ornamental caps typeface called London Typography (2013). [Google] [More]  ⦿

    Aradhana Chand

    During her studies in London, Aradhana Chand designed Geometype (2017) and Gothvetica (2017: a blackletter / heavy metal font). Behance link. [Google] [More]  ⦿

    [Aaron Chiffers]

    Falmouth, UK-based designer of Tetsuo AT (2019: a geometric, futuristic and monospaced typeface; +Stencil), High Tide AT (2019: inspired by the lettering of the fishermen of Cornwall), and the copperplate-inspired all caps typeface, Caeli AT (2019), for Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Arek Zajac

    At Kenneth Academy, Thatcham, United Kingdom-based Arek Zajac designed the free grid-based outlined monospaced all-caps Traveler's Typeface (2018). [Google] [More]  ⦿

    Ari Rafaeli

    [MyFonts] [More]  ⦿

    Arjun Harrison-Mann

    Design student in Birmingham, UK. Creator of Forma (2012), an alchemic typeface that was inspired by Aztec and third century Coptic symbols and signs. [Google] [More]  ⦿

    Arlette Boutros

    Lebanese type designer who runs the London-based Boutros Foundry with Mourad Boutros. She created or co-created the Arabic typefaces Boutros Ads Pro, Boutros Advertising, and Boutros Thuluth Light. She also was one of the four co-designers (with Mourad Boutros, Richard Dawson and Dave Farey) of Tanseek Pro (2008, Monotype), a typeface family for Latin and Arabic. It contains Tanseek Modern and Tanseek traditional.

    In 2017, Arlette Boutros designed Boutros Futura, or Futura Arabic, at URW to work harmoniously with the URW-Latin whilst respecting Arabic calligraphic and cultural rules. URW's Futura Arabic contains, of course, as a subset, the regular Latin Futura. Still in 2017, Boutros Fonts added URW Geometric Arabic to Joern Oelsner's URW Geometric.

    In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic. She also published the ten-style Latin/Arabic humanist sans typeface Boutros Angham in 2019.

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

    Armel Bellec

    London, UK-based designer of the free pixelish blackletter typeface Frakture (2017), the ribbon typeface Neo Rotunda (2017), and the brutalist Beton Brut (2017). Behance link. [Google] [More]  ⦿

    Arminda Borges

    London-based creator of an unnamed display typeface in 2013. [Google] [More]  ⦿

    Arron Tierney

    Manchester, UK-based designer. Behance link. Creator of the triangle-themed typeface Kosmos (2011). [Google] [More]  ⦿

    Art nouveau timeline
    [Rachel Oke]

    An art nouveau timeline drawn by Rachel Oke (Exeter, UK). [Google] [More]  ⦿

    Arte Designs

    London-based designer of the 3d typeface 3D Knockout (2017). [Google] [More]  ⦿

    Artem Sukhinin

    Graphic designer in London, UK, who seems to specialize in geometric and modular type. His creations include SQ (2010, free at Dafont, a FontStruct font), T2 (2010, a tall multiline typeface of extraordinary grace), Infographique (2010), Mod Gothic (2010, metal band face), and Pyramid (2010).

    In 2012, he made the (free) neon tube font Chrome (+Light, +Black).

    Dafont link. [Google] [More]  ⦿


    Arthur is a bespoke font for Guinness, dated 2011. Produced by the Jones Knowles Ritchie studio in London. [Google] [More]  ⦿

    Arthur Beresford Pite

    Architect, born in 1861 in London, died in 1934 in Beckenham, Kent. He created this architectural alphabet. [Google] [More]  ⦿

    Arthur Rackham

    Born in London in 1867, Rackham became a famous illustrator, and was noted for hand lettered titles, decorative marginalia, hand-drwan headers and borders, and color plates. Scriptorium made a font family called Rackham based on his lettering. Rackham died in Limpsfield, Surrey, in 1939. [Google] [MyFonts] [More]  ⦿

    Arthur Vanson

    British designer whose typefaces were published by Letterhead Fonts. They include Stratford (2002), Hindlewood (2002: a fraktur family, in Sans, Soft, and Hard; and Regular or Groteque), Opening Night (2002: for sgnage), Red Sable Script (2006, photolettering age script), Senatus, Flash Script (signage), LHF Chesham Sans (2002-2012), Wade Grotesque (2003), Wade Dynamic (2008, bold sans), Cincinnati Poster (2003, signage), Tallington (2003, a great gas-pipe lettering font), Stevens Percepta (2003, inspired by showcard writer/designer Mike Stevens), Speedstyle (2004, comic book face), LHF Tideway Script (2004, connected fifties script), Essendine (roman), Stevens Percepta (flared headline sans), and American Sans. Klingspor link. [Google] [More]  ⦿

    Arthur William Presser

    Graphic designer in Blumenau, Brazil, and/or London, UK, who created these typefaces:

    • Bossa Nova Font (2012, art deco). Updated in 2016. Free download.
    • Brasilac (2016). An irregular typeface based on early Brazilian vernacular typographic elements from the 18th and 19th centuries.
    • Johann Script (2016). A handwriting typeface based on the hand of Johann P. P. Presser dated between 1760 and 1809. Johann, an ancestor of Arthur William Presser, owned a leather tanning company in the city of Woldersweiller (today known as Nohfelden) in Germany and used a book to keep records of the financial affairs of his business. It is from this book that the font was derived.
    • Gothic Roots (2016). A blackletter design.

    Home page. [Google] [More]  ⦿


    This site offers a truetype font (called CRMackintosh) for the Mac based on the writing of Charles Rennie Mackintosh. The font costs 13 UKP. [Google] [More]  ⦿

    Arty Type
    [James Marsh]

    James Marsh Art&Design (or Arty Type) is a visual arts and illustration company located in Hythe, UK, founded by James Marsh in 2010.

    His typefaces are often modular, and include Somaskript Tall (2012), Origami Incised (2012), Groovy (2012, +Inline: sixties face), Dropout (2012), Rough Diamond (2012), Thorny (2012), Tangent (2011, a geometric monoline sans), Scroll (2010), Marsh Scroll (2011), Tulip (2011, modular, heavy, and counerless), Somatype (2011, über-organic; +Skwosh), SomeSkript and SomaSkript Incised (2012, organic), and Nutcase (2010).

    In 2013, he published Soma Slab, Soma Slab Tall, Angleface, Anglepoise (a paper clip typeface family) and Mortice (octagonally cut).

    In 2014, he designed Sanzibar (a decorative sans), Sliced, Sliced Open, Omni (a minimalist organic monoline sans) and its companion, Omni Serif, and Tangential Semiserif, Tangential Rounded, and Tangential.

    Typefaces from 2015: Storybook (informal script), Sliced, Sliced Open, Sanzibar Schreef (swashy typeface), Galerie, Galerie2.

    Typefaces from 2016: Polke, Avocado Sans, Cyclic Uncial, Cyclic Serif. The Cyclic series was extended in 2018 to include Cyclic Sans.

    Typefaces from 2017: Troika (monoline display typeface), Caché.

    Typefaces from 2018: Sanzibar Script, Cyclic Sans.

    Typefaces from 2019: Sanzibar Script.

    Typefaces from 2021: Cyclic Eclipse (art deco), Bodonieqsque (a decorative didone), Cyclic Elite (a stylish sans).

    View James Marsh's typefaces. [Google] [MyFonts] [More]  ⦿

    [Ari Rafaeli]

    ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:

    • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
    • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
    • Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
    • Stephenson Blake revivals: Borders, Parisian Ronde.
    • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
    • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
    • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
    • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
    • Max Caflisch (Bauer) revival: Columna.
    • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
    • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
    • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
    • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
    • F. H. E. Schneidler (Bauer) revival: Legende.
    • Herbert Post revival: Post-Antiqua swash letters.
    • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
    • Hermann Zapf revival: Stempel astrological signs.
    • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
    • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
    • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
    • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
    • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
    • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
    • Ernst Bentele revivals: Bentele-Unziale (2007).
    • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
    • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
    • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
    • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
    • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
    • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
    • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
    • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
    • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
    • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
    • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
    • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
    • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
    • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
    • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
    • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
    • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
    • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
    • Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
    • Custom typefaces include Fabrizio (2016), a classical serif typeface family for Hebrew, Latin, Cyrillic and Greek, with hints of Garamond and Caslon. Ari writes that Fabrizio made its first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed.
    MyFonts link.

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

    Ash Booth

    Manchester, UK-based designer of the chunky typeface Chunk (2018). [Google] [More]  ⦿

    Ashendene Press
    [C. H. St. John Hornby]

    Founded in 1895 at Ashendene, Hertfordshire, England, by Sir C. H. St. John Hornby and moved in 1899 to Chelsea, London. It was a leader (with the Kelmscott Press and the Doves Press) in the 19th-century revival of fine English printing. Its edition of Dante (1909) is considered an achievement comparable to the Kelmscott Chaucer of William Morris. The Subiaco type used by the Ashendene Press was designed by Sir Emery Walker and S. C. Cockerell from an early Italian typeface. The Ashendene Press, which set all of its editions by hand, issued 40 books in the years from 1895 to 1915 and from 1920 to 1935.

    Ptolemy was designed in Chelsea by St John Hornby, Sidney Cockerell and Emery Walker, and was cut in 18 pt by Edward Prince for Cervantes's Don Quixote, which was published by the Ashendene Press in 1927. The type used until 1935 was a revival of Lienhart Holle's cut for Ptolemaeus's Cosmographia printed in 1482 in Ulm. Ptolemy in turn was digitally revived in 2019 by Alexis Faudot and Rafael Ribas in 2019.

    The Subiaco type (1902) is now owned by Cambridge University Press. Its punches were cut by E.P. Prince. It is a humanist typeface with blackletter tendencies, and is based on the first roman used in Italy for printing, developed around 1464 at Subiaco by Conrad Sweynheym and Arnold Pannartz.

    The Ashendene Press disappeared in 1936. [Google] [More]  ⦿

    Ashleigh Claire Etherington

    Graphic designer and illustrator in Southend-on-Sea, UK, who created a fat lettering typographic poster for pub signage in 2013. [Google] [More]  ⦿

    Ashley Dean Newall

    Designer who used FontStruct in 2009 to make Dance (dancing dudes making the Latin capitals), Signature (handwriting), Flex and Slab. Aka Adne Wall, he is located in the UK. [Google] [More]  ⦿

    Ashley Dsouza

    This British graphic design student created the ornamental caps alphabet Fish Face (2011). [Google] [More]  ⦿

    Ashley Eldrid Havinden

    British type designer (1903-1973), who made Ashley Crawford (1930, a heavy caps typeface at Monotype with a vey recognizable inline style; digital version from Monotype), and Ashley Script (1955; metal number 574 at Monotype, a brush script based on her own handwriting; now digitally available at Monotype).

    Ashley Havinden was director and art director at W. S. Crawford, an advertising agency in London. The typeface Ashley Crawford (1930) was the resuklt of a request by Stanley Morison of Monotype to make a typeface based on Crawford's Chrysler advertizing campaign.

    Xavier (1992, Jason Castle) is an art deco family based on Ashley Crawford.

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

    Ashley Garrod

    Designer from Liverpool who graduated from Liverpool John Moores University in July 2009 with a BA Hons in Graphic Design. She made CircleType (2009, letters based on lines and arcs) and the experimental modular typefaces Craft Fonts and Tessellated Fonts.

    Behance link. [Google] [More]  ⦿

    Ashley Kirby

    Student at UWE in Bristol. During her studies at UWE, she used FontStruct to create Cast a Shadow (2012, +Dotted). [Google] [More]  ⦿

    Ashley Religion

    Student at UWE Bristol in the UK. FontStructor who made the constructivist typeface Beat The Whites With The Red Wedge (2010). [Google] [More]  ⦿

    Ashley Wong

    During her studies in London in 2019, Ashley Wong designed a typeface influenced by carpentry, i.e., each piece is rectangular. [Google] [More]  ⦿

    Ashliegh Wick

    Ashliegh Wick's school project at Sunderland University in Newcastle upon Tyne, UK, was an unnamed constructivist typeface (2013). [Google] [More]  ⦿

    [Andrew Ashton]

    Ashton is the Southend, Essex, UK-based foundry of Andrew Ashton, est. 2008. Born in 1971, Andrew Ashton is a book designer and illustrator. He won the British Book Industry Award for Design and Production (Nibbie) 2007 for The Dangerous Book for Boys. He created Bowen Script (2008), a font from the lettering of some Caribbean maps.

    In 2013, he published the handwriting typeface Maree. [Google] [MyFonts] [More]  ⦿

    Asma Nazir

    Graphic Arts graduate of the WInchester School of Art, University of Southampton. Asma is a graphic and type designer. Designer of experimntal typefaces such as Genius Loci (2012), Transmission Towers Typeface (2012), Unity Typeface. [Google] [More]  ⦿

    Association for Insight Meditation (or: Aimwell)
    [Bhikkhu Pesala]

    Bhikkhu Pesala, a Buddhist monk based in London, designs free fonts. His original we page was called Aimwell (Association for Insight Meditation). On that site dedicated to Pali fonts, there was a file with Bhikkhu Pesala's free fonts. Most of Pesala's fonts have well over 1000 glyphs, cover Latin, Vietnamese and Greek, and have an enormous set of symbols including chess symbols and astrological signs.

    The present list of fonts, with some older ones removed:

    • Acariya (2016): a Garamond style typeface derived from Guru, but with suboptimal kerning.
    • Akkhara (2006). Derived from Gentium.
    • Balava (2014): a revival of Baskerville derived from Libre Baskerville.
    • Cankama (2009). A Gothic, Black Letter script.
    • Carita (2006). An all caps roman.
    • Garava (2006). Designed for body text. It has a generous x-height and economical copy-fit. The family includes Extra-Bold and Extra-Bold Italic styles besides the usual four. Typeface Sample
    • Guru (2008). A condensed Garamond style typeface designed for economy of copyfit in Buddhist publications. 100 pages of text set in the Pali typeface would be about 94 pages if set in Garava, or 92 pages if set in Guru.
    • Hari (2016): a hand-writing script derived from Allura by Robert E. Leuschke, released under the SIL license.
    • Hattha (2007). A felt marker pen typeface.
    • Jivita (2012): an original sans typeface for body text.
    • Kabala (2009). A sans serif typeface designed for display text or headings. Kabel?
    • Lekhana (2008). Pesala's version of Zapf Chancery.
    • Mahakampa (2016): a hand-writing script derived from Great Vibes by Robert E. Leuschke.
    • Mandala (2007). A geometric sans designed for decorative body text or headings. Has chess symbols.
    • Nacca (2016): a hand-writing script derived from Dancing Script by Pablo Impallari.
    • Odana (2006). A calligraphic almost blackletter brush font suitable for titles, or short texts where a less formal appearance is wanted.
    • Open Sans (2016): a sans font suitable for body text. Includes diacritics for Pali and Sanskrit.
    • Pali: Pesala's version of Hermann Zapf's Palatino.
    • Sukhumala (2014): derived from Sort Mills Goudy.
    • Talapanna (2007). Pesala's version of Goudy Bertham, with decorative gothic capitals and extra ligatures in the Private Use Area.
    • Talapatta.
    • Veluvana (2006). A heavy brush style. The Greek glyphs are from Guru. Small Caps are greater than x-height.
    • Verajja (2006). A Pali word meaning "variety of kingdoms or provinces." It is derived from Bitstream Vera.
    • Verajja Serif.
    • Yolanda (2008). Calligraphic.
    [Google] [More]  ⦿

    Aston Rose

    Aston Rose (London, UK) designed the alchemic typeface Hunter (2012) and the inline athletic lettering typeface Dunamai (2014). [Google] [More]  ⦿

    [Alan Cheetham]

    Nottingham / Derby, UK-based designer. He made the straight-edged experimental display typefaces Lazer Addiktz (2013: free EPS format typeface) and Next Level (2013). In 2016, he published an all caps poster entitled Alphabetica and the octagonal typeface family Ghetto.

    In 2021, he released Uberdank (an all uppercase modular mono slab serif display typeface). [Google] [More]  ⦿

    Atomic Type Collection

    Type foundry in Cheltenham, UK. In 2014, they published a collection of 300 handwriting fonts with names like Abigail's Hand, Yank's Hand, and so forth.

    The full list: AcaciasHand, AdamsHand, AlainasHand, AlexsHand, AlinasHand, AlisonsHand, AllensHand, AlvinsHand, AmandasHand, AmbersHand, AngelasHand, AnniesHand, ArchiesHand, ArdleysHand, ArronsHand, AshtonsHand, AstersHand, AubreysHand, AudreysHand, AustinsHand, AverysHand, BabcocksHand, BarrysHand, BartsHand, BerniesHand, BerrysHand, BerylsHand, BethanysHand, BettysHand, BinghamsHand, BobbiesHand, BrandysHand, BrendasHand, BrendensHand, BrettsHand, BrodysHand, BrooksHand, BrucesHand, BudsHand, BurkesHand, BurtonsHand, CalvinsHand, CamdensHand, CandysHand, CarlysHand, CarolinesHand, CartersHand, CathysHand, CattsHand, ChasesHand, ChelsiesHand, CherylsHand, ChicksHand, ChristinesHand, CidsHand, ClaytonsHand, CodysHand, ColemansHand, CoreysHand, CormicksHand, CrosbysHand, CrystalsHand, CutiesHand, DarbysHand, DarinsHand, DarlenesHand, DavesHand, DeannasHand, DebbiesHand, DentonsHand, DereksHand, DianasHand, DonaldsHand, DonnysHand, DorothysHand, DunleysHand, DunnsHand, EddiesHand, EdgertonsHand, EdmondsHand, ElliesHand, ElliottsHand, EmilysHand, EmmettsHand, EricasHand, EricsHand, ErinsHand, EvansHand, EvelynsHand, EverlysHand, EwingsHand, FannysHand, FarinasHand, FarrahsHand, FentonsHand, FiniansHand, FletchersHand, FlintsHand, FlorasHand, ForrestsHand, FostersHand, FranklinsHand, FranksHand, FrasiersHand, FrostysHand, FultonsHand, GailsHand, GarthsHand, GarysHand, GavinsHand, GemmasHand, GeorgesHand, GiffordsHand, GinasHand, GinnysHand, GinosHand, GlennsHand, GradysHand, GrantsHand, GreersHand, HaleysHand, HanfordsHand, HanksHand, HansonsHand, HarmonsHand, HenrysHand, HerricksHand, HershelsHand, HigginsHand, HodgesHand, HuntersHand, IrvingsHand, IvysHand, JackiesHand, JacksHand, JamesHand, JanicesHand, JasonsHand, JeffreysHand, JeninesHand, JenkinsHand, JeremysHand, JessiesHand, JilliansHand, JodysHand, JohnsHand, JolenesHand, JoshsHand, JulianasHand, JuliesHand, JustinsHand, KanesHand, KarensHand, KarinsHand, KarlsHand, KaspersHand, KathrynsHand, KeithsHand, KellysHand, KelseysHand, KennethsHand, KianasHand, KimballsHand, KimsHand, KingsHand, KirbysHand, KitsHand, KorasHand, KramersHand, KylesHand, LannysHand, LarkinsHand, LarriesHand, LaurensHand, LauriesHand, LawfordsHand, LeesHand, LeonardsHand, LeroysHand, LesleysHand, LestersHand, LibertysHand, LinfordsHand, LisasHand, LloydsHand, LuanasHand, LydiasHand, MandysHand, MannysHand, MarcelsHand, MarciesHand, MarcosHand, MargosHand, MarionsHand, MattsHand, MerylsHand, MichaelsHand, MiriamsHand, MonicasHand, MontysHand, MorgansHand, MyrasHand, NancysHand, NappysHand, NatsHand, NedsHand, NellysHand, NettiesHand, NewellsHand, NicholesHand, NickysHand, NicolasHand, NolansHand, NortonsHand, NoviasHand, OlliesHand, OpalsHand, OrsonsHand, OscarsHand, ParkersHand, PatriciasHand, PaulasHand, PennysHand, PerkinsHand, PerrysHand, PetersHand, PrincesHand, QueeniesHand, QuentinsHand, QuestsHand, QuinnsHand, RachelsHand, RalphsHand, RamseysHand, RaysHand, ReardonsHand, ReedsHand, RickysHand, RobinsHand, RogersHand, RonaldsHand, RonniesHand, RoscoesHand, RoslinsHand, RossysHand, RoydensHand, RubysHand, RustysHand, RyansHand, SaffronsHand, SammysHand, SandysHand, SashasHand, SawyersHand, ScottsHand, SeftonsHand, SergesHand, SherylsHand, SkylersHand, StacysHand, StanleysHand, StewartsHand, SusansHand, TanyasHand, TashasHand, TaylorsHand, TerrysHand, ThelmasHand, TobysHand, ToddsHand, TracysHand, TrasksHand, TriciasHand, TrixiesHand, TullysHand, TylersHand, UrsasHand, ValeriesHand, VanessasHand, VansHand, VeronicasHand, VictorsHand, VincentsHand, WalkersHand, WallysHand, WangleysHand, WaynesHand, WebstersHand, WeldonsHand, WendysHand, WillysHand, WilsonsHand, WiltonsHand, WinstonsHand, YancysHand, YanksHand, YoungsHand, ZacksHand, ZonkersHand.

    View the Atomic Type typeface library. [Google] [MyFonts] [More]  ⦿


    Company based in Sussex, UK, active ca. 2001: AtomicType is a distributor of the International TypeFounders library and CD-ROMs. Founded in 1995, ITF's goal is to provide a unique opportunity for the world's best independent small type foundries and typeface designers to display and distribute their fonts. Over 10,000 typefaces are available. Also some custom design work. [Google] [More]  ⦿

    ATypI 2007

    ATypI 2007 was held at the Faculty of Arts and Architecture at the University of Brighton in Brighton, UK, from 12-16 september 2007. Keynote presentations by Richard Hollis, Humphrey Stone, David Crow, Ken Garland, James Mosley, Matthew Carter, and Michael Harvey. Speakers: Andy Altmann, Bill Baggett, Lynne Joddrell Baggett, Phil Baines, Ebru Baranseli, Chinmay Battacharya, John D. Berry, Anne McLaren Boddington, Karl Rose Cesta, Karen Cheng, Joe Clark, Catherine Dixon, Alessandro Fiore, Gerald Fleuss, Artur Frankowski, Fritz Grögel, George Hardie, Florian J. Hardwig, Andy Haslam, Xurxo Insua Pardo, Pouya Jahanshahi, Viktor Kharyk, Richard Kindersley, Akira Kobayashi, Eiichi Kono, Kevin Larson, David Lemon, Alessio Leonardi, Edna Lucia Cunha Lima, Oliver Linke, Lida Lopes Cardozo Kindersley, Tanja Madved, Thomas Maier, George Matthiopoulos, Sarah McCoy, Yaki Molcho, Klementina Mozina, Caglar Okur, Thomas Phinney, Albert-Jan Pool, Jean-François Porchez, Ieuan Rees, Ole Schaefer, Juliet Shen, Sumner Stone, Keith Chi-Hang Tam, Ipek Torun, Michele Wong Kung Fong and Masayuki Yamamoto. Report by J.-F. Porchez. Flickr picture report. Videos of the talks:

    • Masterpieces of Johann Neudörffer the Elder (1497-1563) (Oliver Linke).
    • The legacy of Edward Johnston (Gerald Fleuss).
    • Reynolds Stone, a life in graven letters (Humphrey Stone).
    • The kindest cut of all the Kindersley Workshop (Linda Lopes and Cardozo Kindersley).
    • Searching for Morris Fuller Benton (Juliet Shen).
    • The word is on the street (Ken Garland).
    • Typography in the Environment (Andy J. Altmann).
    • Teaching type in the city (Karen Cheng).
    • National Armed Forces Memorial Staffordshire (Richard Kindersley).
    • The typographic design of the Valley of the Communities in Jerusalem (Yaki Molcho).
    • Inscribed in the living tile (Joe Clark).
    • Better than a poke in the eye (Kevin Larson).
    [Google] [More]  ⦿

    ATypI 2007: TypeTech

    ATypI 2007 was held at the Faculty of Arts and Architecture at the University of Brighton in Brighton, UK, from 12-16 september 2007. Its TypeTech section was reported on by Christophe Badani here. Since it is in French, I will loosely translate it for my readers:

    [Google] [More]  ⦿

    Audrey Manlot

    London-based designer, b. Paris, who created the script typeface Arrow (2013). [Google] [More]  ⦿

    Augustus Welby Northmore Pugin

    Augustus Welby Northmore Pugin (1812-1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style. His work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.

    Pugin designed several blackletter and uncial style alphabets ca. 1844. His Gothic Revival ornaments influenced the design of the digital typeface Gothic Herbarium (2015, Lukyan Turetskyy). [Google] [More]  ⦿

    Austin Cowdall

    British designer who works in London. He made New Formula Tippex (2001) with letters drawn using a bottle of Tippex. [Google] [More]  ⦿

    [Daniel Berio]

    AutoGraff is a research project aimed at computationally modelling the perceptual and dynamic processes involved in the production of graffiti art and calligraphy. The purpose of the study is to develop computer graphics and robotic systems that are capable of generating traces, letters, and patterns that are similar to the ones made by an expert human artist. The project is driven by Daniel Berio and Frederic Fol Leymarie at the University of London.

    Daniel Berio is a researcher and artist from Florence, Italy. Since a young age Daniel was actively involved in the international graffiti art scene. In parallel he developed a professional career initially as a graphic designer and later as a graphics programmer in video games, multimedia and audio-visual software. In 2013 he obtained a Masters degree from the Royal Academy of Art in the Hague, where he developed drawing machines and installations materializing graffiti-inspired procedural forms. In 2021, Daniel obtained a PhD at Department of Computing Goldsmiths, University of London under the supervision of Frederic Fol Leymarie. Daniel Berio's PhD thesis is entitled AutoGraff: Towards a computational understanding of graffiti writing and related art forms.

    The abstract of this spectacular work that mixes art and mathematical modeling: The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letterforms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes.

    Co-author of StrokeStyles: Stroke-based Segmentation and Stylization of Fonts (ACM Transactions on Graphics, vol. 41 (3), pp. 1-21, 2022). In this paper by Daniel Berio (Goldsmiths, University of London), Frederic Fol Leymarie (Goldsmiths, University of London), Paul Asente (Adobe Research, San Jose, CA), and Jose Echevarria (Adobe Research, San Jose, CA), the authors develop a method to automatically segment a font’s glyphs into a set of overlapping and intersecting strokes with the aim of generating artistic stylizations. The segmentation method relies on a geometric analysis of the glyph’s outline, its interior, and the surrounding areas. It uses the medial axis, curvilinear shape features that specify convex and concave outline parts, links that connect concavities, and seven junction types. We show that the resulting decomposition in strokes can be used to create variations, stylizations, and animations in different artistic or design-oriented styles while remaining recognizably similar to the input font. [Google] [More]  ⦿

    Avalon Design

    Studio in London. In 2016, they designed these typefaces: Opal, Emery Sans, Nova Display, Chopsticks (asian look), Holiday, Game Over (squarish), Pumpkin (Halloween font), Neons Display, Styllo (art deco, fashionable), Lans Sans Serif, Greenvine, Unfinished, Indigo Handcrafted (calligraphic blackletter), Audovera (techno; organic sans).

    Typefaces from 2017: Roadtrip, Samara, Glowe, Easy, Corona, Fibo Serif, Pablo (handcrafted), California, Jules Sans Serif, Pisano, HappyB. Behance link. Creative Market link. [Google] [More]  ⦿

    Avalon Portolan

    British designer (b. 1996) of the graffiti typeface Avalon Old Skool Graff (2013). [Google] [More]  ⦿

    [Habib Khoury]

    Israeli designer Habib Khoury (born in Fassouta, Upper Galilee, 1967) is presently Executive Creative Director of Avant Design Communications, which specializes in trilingual typography and communications. The type division, AvanType, offers commercial Latin, Arabic and Hebrew typefaces. He holds a Masters degree from Central Saint Martins College in London. Habib spent several years in Haifa, London, and New York, and is now based in Cathedral City, CA.

    His Hebrew designs: Casablanca, Derby, Falafil, Girnata, Rituals, Talona. His Latin fonts include Adorey, Alluremda, Granada, Merkory and Stocky. He won an award at Bukvaraz 2001 for Maqsaf. At TDC2 2003, he won a Certificate of Excellence in Type Design for Falafil.

    His Arabic typefaces include Chiaka, Ghirnata (1996), Sinan (1992), Alwadi (1996), Onwan (1998), Shallal Ultra Light (1995), Saljook (1997), Barhoom (1995), Alkhoury (1997), Sayaf, Maqsaf and Qasab (1998).

    He won an award at TDC2 2006 for Hogariet (2005, a Hebrew face) and at TDC2 2008 for Al Rajhi (an Arabic text family). [Google] [More]  ⦿

    Avatar of Shadows

    South-African or UK-based designer of A Perfect Circle (2003) and Serpentine Bold Flaat (2004). [Google] [More]  ⦿

    AVMC Studios

    AVMC Studios (London) created a Water font and a Crystal font in 2013---both are experimental and are based on digital images of water and crystals. It is part of the AVMC Group in London. Other typefaces include Hyperion (2013, oriental simulation), Crius (2013), and Uranus (2013, experimental). [Google] [More]  ⦿

    [Colin Ayres]

    Taunton, UK-based designer of Ayres Mono (2020), which includes some music and mathematical symbols. A guitarist and guitar teacher, he also created The Ayres Music Standard font for use in Sibelius and Finale. [Google] [MyFonts] [More]  ⦿

    Azza Alameddine

    Azza Alameddine has worked as a graphic designer in Lebanon, the Netherlands and London since 2009, and is now based in Barcelona. She holds a BA in visual communication from Créapole, Paris. A graduate of the Masters in Typeface Design program of the University of Reading, she specializes in Arabic script. Her talk at ATypI 2014 in Barcelona was entitled The art of typographic matchmaking. In 2016, Azza joined TypeTogether as a type engineer and type designer.

    The Latin / Arabic version of Dalton Maag's Effra was co-designed by Azza Alameddine and Alex Blattmann. It won an award at Granshan 2016.

    In 2017, she finished Adelle Sans Arabic at Type Together.

    In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence. Catalpa was followed in 2021 by Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

    At the end of 2021, she finished Bree Arabic as part of Type Together enormous Bree multiscript typeface family. [Google] [More]  ⦿

    [Xavier Puig]

    Xavier Puig is a type and graphic designer, born in Artés, Barcelona. He moved to London in 2003 where he graduated in Visual Communication and Typography at the London College of Communication. He created the severe octagonal typeface Ihavebeenwaitingforyou (2009) and the LED typeface Water In My Casio (2009). In 2010, he added Sexything. Dafont link. [Google] [More]  ⦿

    [Andrew West]

    UK-based Andrew West's great intro page to the 'Phags-pa script, a Brahmic script based on Tibetan that was used for writing Mongolian, Chinese and other languages during the Mongolian Yuan dynasty (1271-1368). Although it is no longer used for Mongolian and Chinese, it is still used to a limited extent as a decorative script for writing Tibetan. Unlike other Brahmic scripts, 'Phags-pa was written vertically from left to right after the manner of the Uighur-derived Mongolian script. The script is named after its creator, the Tibetan lama known by the title 'Phags-pa Lama "Reverend Lama" (1239-1280). Font subpage with samples of BabelStone Phags-pa Book, BabelStone Phags-pa Tibetan A, BabelStone Phags-pa Tibetan B, BabelStone Phags-pa Seal. These fonts were made in 2006 by Andrew West. In 2007, he added the free Zhang Zhung Opentype fonts for Zhang Zhung scripts: sPungs-chen, sPung-chung and Bru-sha, sMar-chen and sMar-chung. The Zhang Zhung culture was an ancient culture that flourished in the western and northern parts of Tibet before the introduction of Buddhism into the country during the 7th century. The extinct Zhang Zhung language is a distinct language related to but separate from Old Tibetan.

    Andrew West's free font BabelStone Modern was designed between 2008 and 2013. This font has almost 2000 glyphs and covers, e.g., Latin, Cyrillic, Ogham, and Braille, and has hundreds of symbols, including a large set of arrows, mathematical symbls, domino tiles, and dingbats.

    BabelStone Han (2017) is a Unicode Han font in Song/Ming style with G-source glyphs used in Mainland China. The font is derived from Arphic's AR PL Mingti2L Big5 and AR PL SungtiL GB fonts, converted to Unicode mappings, and expanded to cover a wide range of traditional and simplified characters in the CJK, CJK-A, CJK-B, CJK-C, CJK-D, CJK-E, and CJK-F blocks, as well as a large number of currently unencoded characters in the Private Use Area. A few glyphs for non-CJK symbol characters are derived from images uploaded to Wikimedia Commons by Christopher J. Fynn. The number of glyphs is closeto 40,000. [Google] [More]  ⦿

    Barbara Brownie

    Londoner who created the experimental Bezier-driven Blended Alphabet in 2009. [Google] [More]  ⦿

    Barcode Writer in Pure Postscript
    [Terry Burton]

    Barcode Writer in Pure Postscript is an open source project that facilitates the printing of many barcode symbologies entirely within level 2 PostScript. Hence the process of generating a printed barcode representing a given input is performed entirely within the printer (or print system) where it is no longer the responsibility of your application or a library. Written and distributed by UK-based Terry Burton. Supported formats: EAN-13, EAN-8, UPC-A, UPC-E, EAN-5 & EAN-2 (EAN/UPC add-ons), Code 128 (A, B & C), Code 39, Interleaved 2 of 5 (including ITF-14), Code 2 of 5, Codabar, MSI, Plessey, Postnet. [Google] [More]  ⦿

    Barnbrook (was: VirusFonts, Virus Foundry, Studio 12)
    [Jonathan Barnbrook]

    Jonathan Barnbrook was born in 1966 in Luton, England. He is a type and graphic designer and filmmaker. Since 1990 he has worked with cultural institutions, activist groups and charities and produced a steady stream of posters. He is also known for his collaborations with Adbusters and Damien Hirst, his work for David Bowie, and his typefaces released by Emigre and Virus (his own foundry). He started Virus in 1997, and works out of the Barnbook Studio (now Studio 12) in London's Soho. Virus Foundry became just Barnbrook ca. 2017. He specializes in cult-type typefaces.

    MyFonts interview. Creative Pro interview. Bio at Emigre.

    In 2007, Mathieu Réguer wrote a thesis at Estienne on Barnbrook.

    Barnbrook designed these typefaces:

    Fontworks link. MyFonts link. FontShop link.

    Showcase of Jonathan Barnbrook's typefaces. [Google] [MyFonts] [More]  ⦿

    Barry Slater

    Graduate from the Bath School of Art and Design. He designed a counterless geometric typeface called Second Half (2012). [Google] [More]  ⦿

    Bart Kut

    Manchester, UK-based creator of a high-contrast art deco typeface in 2013. In 2014, he created the art deco typeface Zeppelin. [Google] [More]  ⦿

    Bart Ladosz

    During his studies, Chichester, UK-based Bart Ladosz created Futuristic (2015). [Google] [More]  ⦿

    Bart Miko

    London, UK-based designer of the experimental square-themed typeface Miko18 (2018). [Google] [More]  ⦿

    Bart Rzeznik

    London-based designer of Curule Sans (2015). Behance link. [Google] [More]  ⦿


    British type foundry active in the 19th century, located in Clare-Market. [Google] [More]  ⦿

    Bartosz Janczak

    Graphic designer in London. Flickr page. Creator of some experimental faces, including several 3-d alphabets. [Google] [More]  ⦿

    Bas Jayel

    Student at UWE in Bristol, UK. FontStructor who created the ornamental caps typeface Templar (2012). [Google] [More]  ⦿

    [Alan Jeffrey]

    bbold is a blackboard bold math symbol font written in metafont by Alan Jeffrey in 1994, and later converted into a type 1 font. This CTAN page can be used for downloads. Type 1 versions are here, courtesy of Berthold K. P. Horn and Khaled Hosny (2007-2010).

    Done for Y&Y, the weight of the original bbold font was a good match to Computer Modern, with upper and lower case Latin and Greek letters as well as punctuation and a number of symbols. The font was the property of Y&Y, and, after their dissolution, the copyright was gifted to TUG in 2007. Michael Sharpe's package bboldx (2021) extends the original by adding a couple of glyphs and adding two new weights. Where the original stem widths were 40 units, the additions have stem widths of 56 units and 90 units respectively. [Google] [More]  ⦿

    Beasts of England
    [Simon Walker]

    Aka SuperFurry. Home page. Simon is a freelance designer and custom-typographer working in Chicago, IL (and before that, Austin, Texas). Born in Bournemouth, UK, his family moved to San Antonio, TX in 1988. Some of his clients, past and present, include Nickelodeon, American Eagle, Ed Helms, Vanity Fair, Pepsi, ESPN, Brené Brown, Nike and Target. In 2016, he designed the rounded slabby display typeface Matchbook (Lost Type).

    In 2017, he created the script typeface Blackbike and the sans typeface Carnaby Street.

    In 2018, he released Rough Cut (with flared edges) and in 2019 he designed Jack's Maggot (a vintage label typeface), Room 205 (a wrought display typeface released by Typeverything) and Mrs. Carter (a back-slanted cursive).

    Typefaces from 2020: New Forest (a display type).

    Typefaces from 2021: Sisteron (a flashy serif with many ball terminals featuring elephant feet; published by Typeverything), Lovechild (a bold decorative serif).

    Typefaces from 2022: Alder Road (a condensed fashion mag serif). [Google] [More]  ⦿

    Beatrice L. Warde

    Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a typeface called Arrighi. She is famous for The Crystal Goblet or Printing Should be Invisible (The Crystal Goblet, Sixteen Essays on Typography, Cleveland, 1956, and Sylvan Press, London, 1955), which is also reproduced here and here. The text was originally printed in London in 1932, under the pseudonym Paul Beaujon. Here are two passages:

    • Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.
    • Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page? Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour and is impatient of anything that alters it. There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of 'doubling' lines, reading three words as one, and so forth.

    Drawing of her by Eric Gill. Life story.

    Beatrice Warde was educated at Barnard College, Columbia, where she studied calligraphy and letterforms. From 1921 until 1925, she was the assistant librarian at American Type Founders. In 1925, she married the book and type designer Frederic Warde, who was Director of Printing at the Princeton University Press. Together, they moved to Europe, where Beatrice worked on The Fleuron: A Journal of Typography (Cambridge, England: At the University Press, and New York: Doubleday Doran, 1923-1930), which was at that time edited by Stanley Morison. As explained above, she is best known for an article she published in the 1926 issue of The Fleuron, written under the pseudonym Paul Beaujon, which traced types mistakenly attributed to Garamond back to Jean Jannon. In 1927, she became editor of The Monotype Recorder in London. Rebecca Davidson of the Princeton University Library wrote in 2004: Beatrice Warde was a believer in the power of the printed word to defend freedom, and she designed and printed her famous manifesto, This Is A Printing Office, in 1932, using Eric Gill's Perpetua typeface. She rejected the avant-garde in typography, believing that classical forms provided a "clearly polished window" through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings. Wood engraved portrait of Warde by Bernard Brussel-Smith (1950). [Google] [MyFonts] [More]  ⦿

    Beatrice Tamagnini

    London, UK-based designer of the floriated caps typeface Naturale (2018), which was created during a course taught by the Riccardo Olocco at the University of Bolzano, Italy. [Google] [More]  ⦿

    Becca Corlett

    Liverpool, UK-based designer of the experimental school project font Seel Street (2014). [Google] [More]  ⦿

    Becca Haywood

    During her graphic design studies in London, Becca Haywood created the ultra-fat square-shaped typeface Hole (2013), a candidate for the blackest typeface on earth. [Google] [More]  ⦿

    Becky Sewell

    During her studies at Flamouth University, UK, Becky Sewell created the minimalist typeface Undervalued (2014). [Google] [More]  ⦿

    Bell & Stephenson

    British typefoundry. Specimen books by them include

    [Google] [More]  ⦿

    Ben Archer

    [More]  ⦿

    Ben Bartels
    [Benny Blunder]

    [More]  ⦿

    Ben Chadwick

    Ben Chadwick is a designer & art director living in London. Designer of the pixelish typeface Frederick (2020). [Google] [More]  ⦿

    Ben Clarke Hickman

    London-based designer who created the squarish poster typeface Factory Floor in 2016. Behance link. [Google] [More]  ⦿

    Ben Dolphin

    UK-based designer, who created Synthetic Stencil (2011) and Pixel Error (2011). Behance link. [Google] [More]  ⦿

    Ben Drury

    British designer in London. He made D.cal, a tilted nib pen-stroke font (2000). All lines are based on off-set circles. He also designed Unkle (1998, a high tech font used on the album Psyence Fiction, based on lettering from the Disney film Tron) [Google] [More]  ⦿

    Ben Gilchrist

    London-based designer (b. 1990) of the heavy typeface Mundial (2020), which is based on retro soccer fonts. Mundial also has a colored version. [Google] [More]  ⦿

    Ben Gilchrist

    London, UK-based designer of the organic sans typeface Greenhithe (2014) and the fat round hand-drawn typeface Smile High (2014). [Google] [More]  ⦿

    Ben Grimes

    Manchester, UK-based designer of the experimental typeface Mofo (or Mock Font, 2017). Mofo is an oriental simulation typeface that is legible as a Latin typeface when viewed from a different angle. The work highlights the danger of using aesthetic references from foreign cultures in a superficial way. [Google] [More]  ⦿

    Ben Hewitt

    Digital artist from Plymouth, UK. He created the experimental typeface Juice (2009). Behance link. [Google] [More]  ⦿

    Ben Howarth

    Manchester, UK-based creator of The Car Parts Font (2012). [Google] [More]  ⦿

    Ben Hutchings

    During his studies at the School of Visual Arts & Central Saint Martins, Ben Hutchings (London, UK) designed the copperplate typeface Fenial (2017). Behance link. [Google] [More]  ⦿

    Ben Hutchinson

    London-based designer of the deconstructed typeface Ecelectic (2013). [Google] [More]  ⦿

    Ben Jones

    [MyFonts] [More]  ⦿

    Ben King

    UK-based comic artist, b. 1985. Home page. Designer of GB Nametag (2006), based on the lettering of the Ghostbuster nametags. Ben King also made Ghostbusters Nametag (2006). [Google] [More]  ⦿

    Ben Mecke-Burford
    [M-B Creative]

    [MyFonts] [More]  ⦿

    Ben Mitchell

    [More]  ⦿

    Ben Nipper

    During his studies at the University of Lincoln, UK, Ben Nipper created the Paper Fold typeface (2013). [Google] [More]  ⦿

    Ben Smith

    During his sudies in London, Ben Smith designed 10,000 Year Clock (2017). Behance link. [Google] [More]  ⦿

    Ben Smith

    Guildford, UK-based designer of several typefaces or alphabets in 2013. [Google] [More]  ⦿

    Ben Stevens

    London-based web designer. He created a modular stencil face, AlphaBetas (2010). Behance link. [Google] [More]  ⦿

    Ben Swift

    Bew Swift (Cogilium) made the hand-printed typeface Skulduggery (2010). He is from West Sussex, UK. His main typeface is the clean sans family Intra (2010). A preliminary free version can be had. [Google] [More]  ⦿

    Ben Theobald-Morgan

    Graphic design student at Plymouth University in the UK. Ben created Ribbon Type (2012). [Google] [More]  ⦿

    Ben Weeks

    British illustrator who got a Masters degree in 2004 from the University of Huddersfield. Now, located in Toronto, he created some nice hand-lettered chalk mural pieces such as one called Metcalf Interns--it has the names of all 2001-2011 Metcalf interns.

    Cargo collective link. [Google] [More]  ⦿

    Ben Weiner
    [Reading Type]

    [More]  ⦿

    Ben Wood

    Student at Brighton University, Hastings, UK. He created the thin avant-garde type family Quantis (2012). [Google] [More]  ⦿

    Benan Barwick

    British designer who created glyphs from icons in order to create the experimental Punk Rock Font (2010). [Google] [More]  ⦿


    Student at the University of Western England in 2011. FontStructor who made the paper folding typeface Shami (2011, FontStruct). [Google] [More]  ⦿

    Benjamin de Lotz
    [Benny Designs (was: Benjamin de Lotz Design&Typography)]

    [MyFonts] [More]  ⦿

    Benjamin Fox

    British punchcutter and type designer who died in 1877. He was the partner in Besley and Co (est. 1849 by Robert Besley---in fact Besley and Co grew out of Thorowgood and Co in which Besley was a partner until Thorowgood retired in 1849, causing the change of name) in London. He helped Robert Besley in the development and cutting of Clarendon in 1845 at Fann Street Foundry/Thorowgood and Co. [Google] [MyFonts] [More]  ⦿

    Benjamin Green

    UK-based creator of the clean free hand-printed typeface Byrow (2014). Dafont link. [Google] [More]  ⦿

    Benjamin Lilof

    Graphic designer in Southampton, UK. Creator of FMP-3D (2011). [Google] [More]  ⦿

    Benjamin Melville
    [Graphics Bam]

    [More]  ⦿

    Benjamin Mounsey

    Bristol, UK-based digital artist, who drew a few beautiful ornamental caps in 2011. [Google] [More]  ⦿

    Benjamin Robinson

    During his studies in Leeds, Benjamin Robinson created the circular and triangular pair of typefaces Cirque du Angle (sic) (2015). [Google] [More]  ⦿

    Benny Blunder
    [Ben Bartels]

    Ben Bartels (aka Benny Blunder, London, UK) is a graphic designer and illustrator. He created a number of typefaces in 2014 that are related to comic books and illustrations. These include Bones, Creepin (Halloween font), Bruiser, and Foundry (a spurred heavy octagonal typeface). [Google] [More]  ⦿

    Benny Designs (was: Benjamin de Lotz Design&Typography)
    [Benjamin de Lotz]

    Benny Designs (ex-Benjamin de Lotz Design&Typography) is Benjamin de Lotz's outfit in London. de Lotz (b. 1973) created Bereta (1998), available from FontHaus (via MyFonts), after it inherited the 2Rebels collection. [Google] [MyFonts] [More]  ⦿

    Bernard Allum

    Type designer, b. 1946, based in Twickenham, United Kingdom. He made a career in the broadcast business and has for for Channel One Television, Swan Media and The Graphics Department. In the 1970s, he designed these art deco typeface designs for Panache Photosetting / Face Ronchetti: Allumette, Ruthie, Danny Boy. He also designed the Neon Condensed weight for the Pink Floyd album Koda, but Neon was conceived by someone else.

    Linkedin link. [Google] [More]  ⦿

    Bernard Philpot

    Welsh creator of the irregular chiseled typeface ITC Bolthole (2008. ITC>). He writes: My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art. Philpot studied graphic design and typography at the London School of Printing, and soon after graduation started work in a large advertising agency in London.

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

    Bernhard Hörlberger

    Hamburg-based designer of the fat counterless modular Porno (2009). He has lived in Austria, Kenya and the UK, and was born in 1986. Behance link. [Google] [More]  ⦿

    Berthold Types Limited
    [Harvey Hunt]

    The link recalls the history of this new company owned by the Hunts in Chicago. They bought the trademarks and some outlines from the bankrupt Berthold Types GmbH, but are not the successors of that famous German company. Since its creation, Berthold Types Limited has been sending (frivolous) legal letters usually related to alleged trademark violations. The typophiles discuss the situation, which turns a lot around the issue of Berthold not paying the original designers, such as Albert Boton. Erik Spiekermann is particularly (and rightfully) upset about the situation. A partial list of the "victims":

    • Adobe (2001): This page explains: Berthold had given Adobe a non-exclusive right to include many of Berthold's typefaces in the Adobe Type Library, and to use Berthold's trademarks in connection with the Library, from 1990 through 2015. Adobe had proudly included the Berthold Library in its Adobe Type Library since 1991, only to remove them in 1999/2000. Berthold claimed that this violated the contract and sued. The judge dismissed the suit, stating that Adobe was not forced to include the Berthold typefaces.
    • On Nick Curtis' site, we found this cryptic message, June 2003: "Berthold Types threatens legal action, claiming trademark infringement and dilution of our ... marks, counterfeiting, and unfair competition with Berthold Types under applicable law" because of the similarity of the names Boulevard and Boogaloo Boulevard [the latter is a font by Curtis], and City and City Slicker [the latter is a font by Curtis]. More news as things develop." Not only is this frivolous and ridiculous, but I can't understand how a reputed typographer like G. G. Lange could keep his name associated with the Berthold syndicate. More details.
    • Jamie Nazaroff from Zang-o-fonts has been marketing a typeface called Omicron Delta, created by him in 2001. He was contacted by Melissa Hunt (Vice President&General Counsel, Berthold Types Limited, 47 W. Polk St. #100-340, Chicago, Illinois 60605). She claims that Delta, designed by Gustav Jaeger, has been in the Berthold library since 1983, and asked him to remove the font, which Jamie did. The reaction by various type designers is documented in this page.
    • The (now extinct) German foundry PrimaFont. Press release by Berthold: "Chicago, Illinois (January 25, 2000) - As a result of legal action taken by Berthold Types Limited, PrimaFont International of Germany agreed to immediately cease the unauthorized sales of more than 300 Berthold typefaces from the PrimaFont CD-ROM, which also includes typefaces from other type foundries including Adobe, Agfa, Bauer Types, Bitstream, ITC, Letraset, Linotype and Monotype. PrimaFont infringed upon the trademark rights of Berthold Types by employing a "compatibility list" to identify the true names of the typefaces that PrimaFont sold using false names. Berthold Types actively seeks to prevent the use of compatibility lists as such use has gone unchecked in the type industry," stated Melissa Hunt, Vice President&General Counsel for Berthold Types. Adding: "The use of compatibility lists causes as much damage in the type industry as any other form of font piracy." This most recent success in Berthold Types' continued aggressive anti-piracy efforts means that PrimaFont must remove the Berthold typefaces from the PrimaFont CD-ROM. In addition, PrimaFont agreed never to sell or deal in any products that contain Berthold's typefaces and to pay Berthold an undisclosed sum."
    • This page discusses the case of Cape Arcona's fonts CA Cosmo-Pluto and CA Cosmo-Saturn, which Berthold did not like (they have a typeface called Cosmos). To avoid legal costs, Cape Arcona renamed its fonts CA-Cosmolab.

    Things unraveled in 2008: Berthold fonts were possibly going to be sold by Linotype, which turned out not be the case. The news of Melissa's possible departure from the font scene in 2008 prompted this response from Erik Spiekermann: As quite a few people here could testify, Melissa Hunt was very much a part of this business. I certainly have been at the receiving end of many documents written on behalf of her husband. I certainly hope she has quit the type business for good, as that may put an end to a lot of arbitrary legal actions that have cost a lot of us time, money and sleep.

    Harvey Hunt was born in 1949 in Lincoln, UK. He died in Jacksonville, FL, in 2022. His wife Melissa, an attorney, is still involved in type. Ironically, Hunt's obituary mentions that Harvey will be remembered in the type industry as a maverick who fought to build a market for independent digital type, despite stiff competition and rampant online piracy. [Google] [More]  ⦿

    Berthold Wolpe

    German type designer (b. Offenbach, 1905, d. London 1989), who studied under Rudolf Koch from 1924-27 at the Kunstgewerbeschule in Offenbach. With the help of Stanley Morison, he emigrated to England in 1935 because of his Jewish background. Wolpe taught at the Camberwell College of Art (1948-53), at the Royal College of Art in London (1956-75) and at the City&Guilds of London School of Art (from 1975 onwards). From 1941 until 1978, he worked as a book designer for Faber&Faber in London, designing over 1500 book jackets. He published Schriftvorlagen (Kassel 1934), Marken und Schmuckstücke (Frankfurt am Main, 1937), A Book of Fanfare Ornaments (London, 1939), Renaissance Handwriting (with A. Fairbanks, London 1959), and Architectural Alphabet. J. D. Steingruber (London, 1972). Designer of

    • Albertus (Monotype, 1932-1940) is a famous lapidary roman with thickened terminals. The Bitstream version is called Flareserif 821. The Ghostscript/URW free version is called A028 (2000). The Softmaker and Infinitype versions are both called Adelon. The original Monotype version is Albertus MT. The letters are flared and chiseled, and the upper case U looks like a lower case u. The northeast part of the e is too anorexic to make this typeface suitable for most work. Some say that it is great for headlines. It is reminiscent of World War II. See also Albertus Nova (2017) by Toshi Omagari for Monotype.
    • Cyclone (Fanfare Press). A travel poster typeface family.
    • Fanfare. Revived by Toshi Omagari at Monotype in 2017 as Wolpe Fanfare.
    • Hyperion (1931, Bauersche Giesserei). Berry, Johnson and Jaspert write: An angular pen-lettered design, with several unusual letters. The right hand serifs of upper- and lower-case V and W run inwards, the Y descends below the line and has a pronounced serif running to the right. Also done by Berthold in 1952.
    • Pegasus (1938, Monotype). Monotype's digital revival, Wolpe Pegasus, was done in 2017 by Toshi Omagari for Monotype.
    • Tempest (1936). Digital revival in 2017 by Toshi Omagari at Monotype as Wolpe Tempest.
    • The blackletter typeface Sachsenwald-Gotisch (1936-1937, Monotype). In 2017, Monotype published the digital revival Sachsenwald by Toshi Omagari. Sachsenwald was originally called Bismarck Schrift, when it was first designed by Wolpe in the early 1930s.
    • The blackletter typeface Deutschmeister (1934, Wagner&Schmidt, Ludwig Wagner). Revival by Gerhard Helzel in 2009. Warning: The German type community believes that this typeface was not designed by Wolpe, so further research is needed. See also the revival called Deutschmeister by Ralph M. Unger in 20017.
    • Decorata (1950).
    • Johnston's Sans Serif Italic (1973).
    • LTB Italic (1973). Done for the London Transport, and unpublished.

    In 2017, Toshi Omagari designed the Wolpe Collection for Monotype, all based on Berthold Wolpe's distinctive typefaces: Wolpe Pegasus, Wolpe Tempest, Wolpe Fanfare, Sachsenwald, Albertus Nova.

    Bio at Klingspor. FontShop link. Wiki page. Linotype page.

    View Berthold Wolpe's typefaces. Klingspor link. [Google] [MyFonts] [More]  ⦿

    BERTLib (Fontstuff)

    Fontstuff, est. 2005, sells BERTLib, the "Berlin Electronically Remastered Type Library". It has offices in London. Berthold, which folded in 1993, had a 2000+ type collection, which came in the hands of Freydank, Körbis, Pillich, Talke GbR in 1996 who lent it out to Berthold PrePress GmbH in 1997 under the name The Berthold Type Collection. Babylon Schrift Kontor GmbH, the company of Klaus Bartels, offered type 1 fonts from this collection for sale since 2000, but it disappeared some time later when Bartels died. BERTLib acquired the original Ikarus data of the Berthold Type Collection (over 2000 fonts) and set out to make high quality OpenType fonts with full support of all European languages, and fully Unicode-compliant. Slowly, these fonts are now being released by BERTLib. Not to be confused with Berthold Types Ltd from Chicago, who produced its library from Berthold type 1 data, not Ikarus data, of the same collection. Because of typename protection by Berthold Types, BERTLib had to change some font names. Some fonts also cover Cyrillic and Greek, but Maltese and Turkish are standard in all typefaces. More research needs to be done about the Berthold bankruptcy in 1993. They had a lot of debts. How can two different companies "acquire" or "get" the rights and sources of their collection? Who took care of the debts? Were there some underhanded deals? BERTLib twice refused to send me a list of types to which their own names can be matched. No names of digitizers or font BERTLib font designers or BERTLib owners are given. And finally, one has to pay 2.50 Euros just to see a sample of a font. All that makes me think that this company is one of businessmen rather than passionate type designers. Typefaces from these type designers/foundries have been or are being converted right now: Aldo Novarese, American Typefounders, Bernd Möllenstädt, Bertram Grosvenor Goodhue, Bruce Rogers, Claude Garamond, David Quay, Eric Gill, Erik Spiekermann, Facsimilie Fonts, Frederic Warde, Friedrich Berthold, Georg Trump, Giambattista Bodoni, Gustav Jaeger, Günter Gerhard Lange, Hermann Hoffmann, Herbert Post, Inland Type foundry of St. Louis, John Baskerville, Justus Erich Walbaum, Karl Gerstner, Louis Oppenheim, Morris Fuller Benton, Nicolas Cochin, Otl Aicher, Schriftenatelier Taufkirchen, Thomas Maitland Cleland, William Caslon. I created this page with remarks on their fonts. [Google] [More]  ⦿

    [Rory Snow]

    Hartlepool, UK-based graphic and book designer who specializes in bible designs. Creator of Barbou (2021). He explains: Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier's time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. [Google] [MyFonts] [More]  ⦿

    Beth Doherty

    During her studies at University of the Arts London in 2013, Beth Doherty created a decorative all caps alphabet. Behance link. [Google] [More]  ⦿

    Beth McLoughlin

    Graphic art student at the Winchester School of Art (Winchester, UK) in 2013. She used a grid to create the typeface family Grille in 2013. [Google] [More]  ⦿

    Beth Morrison

    During her studies, Winchester, UK-based Beth Morrison created the rhombic typeface Edge (2015). [Google] [More]  ⦿

    Beth Nott

    British creator of the fat hand-printed typefaces Firefly (2015), Handwriting (2013) and Bananananananana (2013). Dafont link. [Google] [More]  ⦿

    Bethan Durie

    UK-based FontStructor (student at Bristol UWE) who made the ornamental caps typeface Ornée (2010). [Google] [More]  ⦿

    Bethany Dalzell

    Leeds, UK-based designer of the brushy typeface Paste-Up (2014). Behance link. [Google] [More]  ⦿

    Bethany Dalzell

    During her graphic design studies at the Leeds College of Art, Bethany Dalzell designed the bilined art deco typeface Issy Tanner (2013). [Google] [More]  ⦿

    Bethany Nash

    During her studies, Gloucester, UK-based Bethany Nash designed the futuristic typeface The Future Is (2017) and the experimental teardrop stencil typeface Personality (2017). [Google] [More]  ⦿

    Bethany Shaw

    Tamworth, UK-based designer of Stripe Font (2015). [Google] [More]  ⦿

    Bethany Woodcock

    At the University of Huddersfield (UK), Bethany Woodcock designed the pixelish art deco typeface Half Windows (2017). [Google] [More]  ⦿

    Bettie Belle

    Manchester, UK-based student-designer of an experimental geometric typeface (2015). [Google] [More]  ⦿

    Bettina Myklebust Støvne

    During her graphic design studies in London, Bettina Myklebust Støvne created the free lava lamp typeface Safavid (2015), which is inspired by wine bottles in 18th century Iran. [Google] [More]  ⦿

    Betty Fishcake

    UK-based creator of the sci-fi typeface Forlorn Hope (2012).

    Behance link. [Google] [More]  ⦿

    Betwixt Designs
    [Euan Smith]

    London, UK-based designer (b. 1992) of the metal band typefaces BTX Radiant Sunshine (2018), BTX Renegade (2018: spurred), BTX Excelsius (2018) and BTX Ornstein (2018), and the script typefaces BTX The Bee Line (2018), BTX The Knights Squire (2018), BTX Ittally (2018), BTX Benafor (2018), BTX Dainty Creek (2018) and BTX Gilther (2018).

    Typefaces from 2019: BTX Chaos Made (a tattoo font), BTX Angelika (script), BTX Fluidz, BTX Lindas (script). [Google] [More]  ⦿

    Bezier Design Limited

    Designers of freeware fonts such as Beniolo. Affiliated with Camrose House in Pembroke, UK. Custom font design by Ian Smith. [Google] [More]  ⦿

    Bhadal Studio
    [Caroline Barton]

    There are several Bhadal Studios in Indonesia. This one, according to MyFonts, is run by UK-based Caroline Barton. Designer in 2020 of Lingkari Heart (a script). [Google] [MyFonts] [More]  ⦿

    Bhikkhu Pesala
    [Association for Insight Meditation (or: Aimwell)]

    [More]  ⦿

    Bianca Berning

    Graduate of the MA Typeface Design program at the University of Reading in 2011 who was born in Germany. Her graduation typeface was Clint (2011), a text family for Latin, Greek and Cyrillic. Clint is characterized by multiple personalities, with asymmetric serifs, a daring axis, some timid ball terminals, and other exogenetic details.

    Bianca specializes in the technical aspects of type design. As a font engineer with a background in civil engineering, communication and typeface design, she joined the Brixton, UK-based Dalton Maag type foundry in 2011. Until 2018 she headed their Skills & Process team, responsible for training and development, knowledge management, and for the implementation of font development processes. In 2018, she was appointed Creative Director and became responsible for ensuring that Dalton Maag remains at the forefront of type innovation. She directed the design of brand typefaces and complex type systems for international clients such as the Amazon, AT+T, BBC, Bodyform, Goldman Sachs [Goldman Sans], and Jacobs Engineering Group [Jacobs Chronos], and oversaw the design and refinement of wordmarks and font modifications.

    Speaker at ATypI 2018 in Antwerp, at ATypI 2017 in Montreal and at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Bibiana Casassas Fontdevila

    Bristol, UK-based designer of Hexagon (2016). [Google] [More]  ⦿

    Big Teezar

    British creator of the free font Big Teez SQ (2011). Home page. [Google] [More]  ⦿

    Bilal Ahmed
    [Graphic Out]

    [More]  ⦿

    Bilal Ijaz

    Bradford, UK-based designer of a geometric decorative multicolor typeface in 2015. [Google] [More]  ⦿

    Bill Troop

    Bill Troop, a phenomenal wordsmith, runs Graphos. Just read this quote: Typeface Design is obtuse, incomprehensible, unsuitable, unremunerable, and irresistable. With the aid of the computer, it has never been easier to design a typeface, and never easier to manufacture one. Because of PostScript, TrueType, and font creation programs like Fontographer, Font Studio, and Font Lab, there have never been more typeface designs available, nor have there ever been so many typeface designers active. Yet, just as at all times and places there is very little good of anything to be had, so there are remarkably few fine typefaces available today. Printers now have merely a fraction of the first rate types they had in 1930. He is active in the typophile community, where he is a fervent supporter of high quality and ethical typography. Bill Troop (b. Montreal) grew up in New York and London. He studied classical piano, type design, photography and writing. He is married to the novelist Elspeth Barker, and lives in England.

    Bill designed Busted (2008, Canada Type: grunge family) and the luxurious families Didot Headline (2009, Canada Type) and Didot Display.

    From 2009 until 2011, he cooperated with Patrick Griffin at Canada Type on a monumental revival of Alessandro Butti's Semplicità typeface---the new family is called Semplicità Pro. The designers write: Bill and I spent some time looking closely at Futura, the instant popularity of which in the late 1920s triggered Butti's design. This was for the most part a pleasant process of rehashing what constitues a geometric typeface, musing over the fundamental phallacy of even having such a classification in type while in reality very little geometry is left after the application of the optical adjustments inherently needed in simplified alphabet forms, trying to understand how far such concepts can go before entering into minimalism, and scoping the relativity between form simplicity and necessary refinement. Mostly academic, but very educational and definitely worth the ticket. [...] For an answer to Futura, Semplicità was certainly quite adventurous and ahead of its time. It introduced aesthetic genetics that can be seen in popular typefaces to this very day, which is to say eighty years later. Though some of that DNA was too avant-garde for the interwar period during which Semplicità lived out its popularity, much of it remains as an essential aesthetic typographers resort to whenever there is call for modern, techno, or high-end futuristic appeal. The most visibly adventurous forms at the time were the f and t, both which having no left-side crossbar, with the f's stem also extended down to fully occupy the typeface's descender space. Aside from those two letters, Semplicità's radical design logic and idiosyncracy become more apparent when directly compared with Futura. [...] Futura attempted to go as far as geometry could take it, which ultimately made it too rigid and considerably hurt its viability for text setting. Renner himself acknowledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanist aproach applied to some forms, all of which went nowhere because Futura's momentum and revenue were deemed undisruptable by some- thing so trivial as aesthetic or functionality. William Dwiggins' Metro design, a direct descendent of the Renner's design, went almost diametrically the opposite way of Futura, with the deco facets considerably magnified and the geometry toned down. Butti decided a design that finds the middle ground in that aesthetic tug of war was probably a better idea than either extreme.

    In 2016, Patrick Griffin and Bill Troop co-designed Bunyan Pro, which is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s. [Google] [MyFonts] [More]  ⦿

    [Billy Bogiatzoglou]

    Digital artist in London. In 2013, he created a sharp-edged staccato display typeface called Kadrin. He also designed the experimental typefaces Bebo Sans (2011) and X Code (2011).

    Behance link. Home page. [Google] [More]  ⦿

    Billy Bogiatzoglou

    [More]  ⦿

    Billy Flynn

    London-based designer of the poster typeface Grizzly (2013) and the experimental typeface Robust (2014). [Google] [More]  ⦿

    Billy Sawyer

    University of Worcester, UK-based designer of Soft Sans (a compass-and-ruler sans) an unnamed geometric typeface in 2013.

    Behance link. [Google] [More]  ⦿

    Bird Brain Factory
    [Sean Rees]

    Assistant Professor at Utah Valley University in Salt Lake City, who is based in Sandy, UT. His typographic work/posters is first-rate. See, for example, this a. In 2015, he designed the handcrafted typeface Miquel, Rough Rider (rough brush typeface), Sean Sans, Stubby Napoleon (dadaist style) and the experimental Junk Font.

    Typefaces from 2016: Space Fox (a trekkie font).

    Instagram link. Behance link. Creative Market link. Dafont link. [Google] [More]  ⦿

    Black Designs

    London, UK-based designer of the nightmarish typeface Specter (2017). Behance link. [Google] [More]  ⦿

    Blackfriars Type Foundry

    Type foundry in the early 20th century in London. Their typeface Richmond Oldstyle (1920s) was imitated by Sylvester A. Cypress in the phototype Wembley, which in turn was digitized by Joe Treacy (Treacyfaces) as Wembley TF. Novel Fonts revived Richmond Oldstyle as Valhalla in 1994. Nick Curtis revived Richmond Oldstyle as Rowan Oak NF (2007). In 2009, Nick Curtis digitized Whitefriars NF. [Google] [More]  ⦿

    [Giles Edkins]

    About ten creations by UK-based Giles Edkins, such as The Daily Blah, Anger, BoringBoring, Loopy, MetalFont, Squiggly, Subtlety (blood-drip typeface), TheDailyBlah, WhatAStupidName, ZanyWhateverItMeans (1997), WonkyTypewriter (1997), Humbug.

    Fontspace link. Dafont link. [Google] [More]  ⦿

    Blake Cotterill

    UK-based designer of Lowbridge Hand (2019), an all caps typeface designed to annotate sketches (for product designers, fashion designers, architects and garden designers). [Google] [MyFonts] [More]  ⦿

    Blake, Garnett&Co

    Sheffield-based foundry. [Google] [More]  ⦿

    Blake Type Foundry

    British type foundry in the late 19th century. One of its types, Blackfriars, was digitally revived by Nick Curtis as Drury Lane in 2007. [Google] [More]  ⦿

    Blanka Kvetonova

    London-based graphic designer. Behance link. Her first font was called Letterpress (2010): it is a grunge typeface with pizzazz. [Google] [More]  ⦿

    [Carlos Llorente]

    Spanish graphic design group Blastto (Madrid) is actually Carlos Llorente, b. Guadalajara, Spain, currently based in London. He created a nice art deco type booklet in 2010, covering Broadway (1929), Bifur (1919), Parisian (1928) and others. Designer of the free experimental typeface Teardrop (2010) and the gridded typeface Try Type (2011).

    In 2012, he made Pigopago (a free double stroke font).

    The tweetware experimental typeface Del Gherp Al Tipo followed in 2013 after a TypoMad workshop in Madrid.

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

    Blessing Raimi

    Cambridge, UK-based designer of the display typeface Antithesis (2017). . [Google] [More]  ⦿

    Bob Anderton

    British designer of these typefaces:

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

    Bob Newman

    British graphic and type designer, most famous for his Data Seventy (1970, Esselte/Letraset), a display typeface that emulates the shapes of the early computer types [see Data EF at Elsner and Flake, and for a free knock-off, Westminster]. A cyrillization of Data70 was done in 1976 by Victor Kharyk.

    Other designs by Newman include Penny Farthing (1974, Letraset), Odin (1972), Frankfurter (1970, Letraset, with Alan Meeks and Nick Belshaw), Linotype Horatio, and Pump (EF and Linotype versions).

    On Frankfurter: a lowercase was done by Alan Meeks in 1978. FrankfurterHighlight (by Nick Belshaw) followed in 1978. An inline was added in 1981. Among the revivals, we mention Rafael Nascimento's Choripan (2020), Yorlmar Campos's RNS Baruta Black (2004), Scangraphic's Frankfurter, Linotype's Frankfurter, Infinitype's Farnham, SodftMaker's F821 Deco, and Castcraft's OPTI Frankfurter. See also the film type Frankfurter by Robert Trogman at Fotostar.

    Zach Whalen analyzes Data Seventy in his 2008 thesis and states that Data Seventy is the first full alphabet based on the MICR font E-13B, since it includes both upper and lower case letters. [Google] [MyFonts] [More]  ⦿

    Bob Oswald
    [Rune Fonts]

    [More]  ⦿

    Bobby Cole

    During his studies at Salford University in the UK, Bobby Cole designed a few unnamed typefaces, as well as Freaky Font (2013). [Google] [More]  ⦿

    Boico Typography
    [Michael Bojkowski]

    Dead link. London-based company run by graphic designer and creative director Michael Bojkowski. They are involved in several interesting type projects such as Bubbleblock and RealTransport. For a brief period, Michael Bojkowski and Joe Bland (from Melbourne) ran a joint venture, The Type Testing Centre and Bland Fonts. [Google] [More]  ⦿

    [Michael Bojkowski]

    Dead link. Design blog with an eye for typography, as practiced and created by designers. Example subpages include a typographic tour of the city of London (a 15 minute video). [Google] [More]  ⦿

    Bonez Designz
    [Fiona Clarke]

    Fiona Clarke (aka Dead Duckling, Fie Clarke, and Bonez Designz) lives in Birmingham, UK, where she studied at Birmingham City University. She created the angular typeface Do You Like My Font Andy (2011), Cubee (2011, very fat and cubic), Boutique (2011, grunge), Anorexia (2011, a shrieky scribbled face), Time to Scribble (2011, sketched face).

    In 2012, Fiona added Bonez, A Gothique Time (grungy blackletter).

    Typefaces from 2013: Bernadette, Inky (heavy brush), Nebula, Harsh Hand.

    Typefaces from 2014: Mary (art deco), Bernadette.

    In 2015, she made Gothic Scribble (inky script), Sun & Rain, Apotheque, Bernadette Display, Bitter Sweet (a blackletter tattoo font) and Mary Outline.

    Typefaces from 2016: Sun + Rain, Anti, Anti Display.

    Typefaces from 2017: Farbe (dry brush script), Nineteen43 (a decorative didone pushed to extreme contrast), Maeve (art deco influenced by the didone style).

    Typefaces from 2018: Night Braille.

    Typefaces from 2020: Nineteen43 (a decorastive didone pushed to extreme contrast), Dias de Follaje (a floral sans).

    Dafont link. Devian Tart link. Behance link. Another Behance link. Dafont link [Google] [MyFonts] [More]  ⦿

    Bonnie Rafferty

    Using iFontMaker, Bonnie Rafferty (Wye, Kent, UK) created Bonnie (2011, fat finger face). [Google] [More]  ⦿

    Boo to the Business World
    [Chris Hall]

    Chris Hall lives by the motto boo to the business world. Pick up free fonts Boodudes (funny typefaces), Symbol, chutzpah, lemans, Atewaza (karate dings), keysmoney&fagsbats (bats), Kill Me Sarah (bats), all designed by Chris Hall from the UK ca. 1999. Fontspace link. [Google] [More]  ⦿

    Borderline Artistic (or: Valley Type)
    [Richard Chambers]

    Borderline Artistic is type foundry set up by Welshman Richard Chambers, a freelance graphic designer based in North London, UK. In 2021, he designed the 9-weight sci-fi typeface family Exmachino. [Google] [MyFonts] [More]  ⦿

    Borna Izadpanah

    At the London College of Communication in 2010, Borna Izadpanah (b. Iran) created a modular pair of typefaces, one for Latin and one for Farsi.

    In 2015, he graduated from the MATD program at the University of Reading. His graduation typeface, Lida, blends Latin and Perso-Arabic in a multi-font family that includes Lida Sans, Lida Serif, Lida Avestan (for the Avestan script), and various styles of Lida Arabic that produce beautiful yet readable Naskh calligraphic texts. If Lida is any indication, Borna is destined for greatness.

    In 2015, he designed the free Latin / Farsi typeface Lalezar: During the 1960s and 1970s a genre of filmmaking emerged in Iran, which was commonly known as FilmFarsi. The main focus of the films produced in this period was on popular subjects such as, sexual romances, musicals and unrealistic heroic characters. The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a Latin companion. Lalezar won an award at Granshan 2016 and in the TDC Typeface Design competition in 2017.

    In 2018, Borna Izadpanah, Fiona Ross and Florian Runge co-designed the free Google Font Markazi Text. They write: This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. Four weights are advertized at Google, but only the Regular is available.

    Behance link. GitHub link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

    Bouma Type Foundry
    [George Russell]

    George Russell (Bouma type Foundry) is a British web portfolio designer. Creator of these fonts with iFontMaker: 130MinuteFont, 230minuteFontBold, 30MinuteFont, 3HandwrittenScript, 4FiveMinuteFont, 5NurseryDingbat, 6Reeves, 7ScribblySerif, 8ReevesBold. [Google] [More]  ⦿

    Boutros International (or: Boutros Arabic Typefaces)
    [Mourad Boutros]

    Boutros calligraphic Arabic fonts (sold by Glyph Systems of Andover, MD) are fonts designed by "Boutros International" a group of experts headed by Lebanese designers Mourad and Arlette Boutros, who run Boutros Foundry out of London, UK. The blurb: These beautiful TrueType Fonts are designed to work in Microsoft's Arabic Windows versions 3.1 / 95 / 98 / NT as well as on the Mac OS with an Arabic Language Kit.

    Their fonts include Boutros Decorative Kufic, Boutros Display, Boutros Koufic, Boutros MB Naskh, Boutros Modern, Boutros New Koufic Modern, Boutros Simplified Naskh, Boutros Asifa, Boutros Farah, Boutros Farasha, Boutros Fares, Boutros Najm, Boutros Thuluth (2012, based on Arabic bamboo calligraphy), Boutros Advertisers Naskh, Boutros Advertising, Boutros BBC Arabic, Boutros GE Tasmeem, Boutros Latin (Serif, Sans Serif), Boutros Maghribi, Boutros Minaret. See also here.

    Mourad Boutros is an experienced Arabic creative director, calligrapher and typographer. From his bio: Since 1978, he has been Arabic typographical consultant to many international companies including Letraset. Mourad has designed more than 50 Arabic typefaces, some of which are available on IBM printers as core fonts. Typeface commissions have included corporate typefaces for Mercedes-Benz and for Al Anba, the leading Kuwaiti Arabic newspaper.

    The early ITC collection in the 1980s had six Arabic typefaces: ITC Latif, ITC Boutros Calligraphy, ITC Boutros Setting, ITC Boutros Kufic, ITC Boutros Modern Kufic, ITC Boutros Rokaa.

    At Ascender, Mourad published Boutros Maghribi (2009, co-designed with Rana Abou Rjeily), based on the Arabic calligraphy bamboo classical Maghribi style.

    In 2008, Boutros co-designed Tanseek Modern and Tanseek Traditional with Richard Dawson and Dave Farey.

    Here you can download these 2004 fonts by Boutros: GEBox-Bold, GECapMedium-Medium, GEContrastBold-Bold, GECurvesMedium-Medium, GEDinarOne-LightItalic, GEDinarOne-Medium, GEDinarOne-MediumItalic, GEDinarTwo-Light, GEDinarTwo-LightItalic, GEDinarTwo-Medium, GEDinarTwo-MediumItalic, GEEast-ExtraBold, GEEast-ExtraboldItalic, GEElegant-Italic, GEElegantMedium-Medium, GEFlow-Bold, GEFlow-BoldItalic, GEFlow-Italic, GEFlow, GEHili-Book, GEHili-Light, GEJarida-HeavyItalic, GEJaridaHeavy-Heavy, GEMBFarahBold-Bold, GEMBFarashaLight-Light, GEMBFaresMedium-Medium, GEMBMBBold-CondensedBold, GEMBNajmBold-Bold, GEModernBold-Bold, GEModernLight-Light, GEModernMedium-Medium, GENarrowLight-Light, GESSTVBold-Bold, GESSTextBold-Bold, GESSTextItalic-LightItalic, GESSTextLight-Light, GESSTextMedium-Medium, GESSTextUltraLight-UltraLight, GESSThree-Italic, GESSThree-Light, GESSTwoBold-Bold, GESSTwoLight-Light, GESSTwoMedium-Medium, GESSUniqueBold-Bold, GESSUniqueLight-Light, GESmooth-LightItalic, GESmoothLight-Light, GETasmeem-Medium, GEThameen-Book, GEThameen-BookItalic, GEThameen-DemiBold, GEThameen-DemiBoldItalic, GEThameen-Light, GEThameen-LightItalic, GETye, GEUnique-ExpandedBold, GEWideExtraBold-ExtraBold. Here one can find Boutros-Ads-Pro-Bold, Boutros-Ads-Pro-Bold-Condensed, Boutros-Ads-Pro-Light, Boutros-Ads-Pro-Medium, and Boutros-Ads-Pro-Medium-Italic.

    In 2017, Mourad Boutros and Soulaf Khalifeh published the free low contrast Tajawal sans typeface family for Latin and Arabic. Google Fonts link. Github link.

    In 2018, Boutros Fonts published URW Geometric Arabic.

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

    B&P Type foundry
    [Maxime Buechi]

    Defunct type foundry in Lausanne, Switzerland, founded in 2005 by Ian Party and Maxime Buechi. From 2000 until 2004, Maxime Buechi studied graphic design&typography at the Ecole Cantonale d'Art de Lausanne (ECAL). His typefaces include Rhodesia , a private type designed with Aurèle Sack for the book African Sniper (for NORM) in 2003 (it was not used there, but was used instead in the book Periferic 7), and a corporate typeface for the Centre for Curatorial Studies Bard&Hessel Museum, New York (2006, with Ian Party). In 2007, the following BP fonts saw the light: Neutral BP (Kai Bernau, a supposedly neutral sans family), La Police BP, Romain BP and Romain BP Headline (as the creator, Ian Parry, states: Based on the Commission Jeaugeon's models and on Philippe Grandjean's classic character, the Romain BP celebrates the marriage of geometric rationality and elegance, of science and craftsmanship. The Romain BP Text is actually closer to the Commission's model than Grandjean's Romain du Roi. It is more synthetic in its structure, more radical, and thus, more modern. It is a contemporary text typeface based on a structure that was created in 1690, not a revival mimicking Greandjean's shapes.). In 2007, they released Esquire, an upright script headline face. Other fonts are listed on my site under the various designers' names.

    IN 2013, the type foundry morphed into Swiss Typefaces, which is jointly run by Ian Party and Emmanuel Rey. Maxime Buechi now mainly runs a big tattoo parlor in London. [Google] [More]  ⦿

    Bradley Mead

    During his studies, Norwich, UK-based Brad Mead (originally from Essex) designed the ultra-condensed squarish typeface Six Feet Over (2017) and the 3x3 pixel font Strip (2017). [Google] [MyFonts] [More]  ⦿

    Bradley Stewart

    At the Winchester Scool of Art, Southampton, UK-based graphic designer, who created the techno typeface Bond and the experimental typefaces Spectrogram and Play Stereo in 2014. Bond is a geometric typeface inspired by Wim Crouwel's "New Alphabet" (1967). In 2015, he designed the soft-cornered modular typeface Aaronic and the ultra-experimental spectral typeface Dot Raw and the free gridded typeface Gridli (2015).

    In 2016, he created the free techno sans typeface Peon, and the free Helghan Sans (based on the Helghast font and alphabet in the video game Killzone). Behance link. [Google] [More]  ⦿

    Brae Savva

    During his graphic design studies at Norwich University of the Arts, UK, in 2013, Brae Savva designed an unnamed modular monospaced display typeface. [Google] [More]  ⦿

    Branding with Type
    [Alberto Romanos]

    Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the type foundry Alberto Romanos. In 2015, that morphed into Branding with Type.

    Alberto designed a font for an imaginary language. For his MA degree, he worked on variations of Frutiger (2009). His first commercial typeface is Bw Quinta Pro (2015, a sans family).

    In 2015, he created the variable width condensed grotesque and poster typeface Bw Stretch, and the bespoke retro-futuristic elliptical sans typeface Flat Sans for the Spanish digital agency Flat101. During Typeclinic 11th International Type Design Workshop, he created the typeface Stretch Caps (2015).

    In 2016, he designed Bw Darius (a sharp-edged high-contrast 4-style typeface family), Bw Surco (humanist sans for Latin and Cyrillic), Bw Modelica (a minimal, robust, reliable and pragmatic geometric sans in 64 styles), Bw Modelica Ultra Condensed, Bw Modelica Condensed, Bw Modelica Expanded, and Bw Mitga (a sans with strong personality and a 16 degree angle that dominates the design).

    Typefaces from 2017: Bw Nista (Grotesk, International and Geometric), the Cyrillic / Greek expansion of Modelica, called Modelica LGC, Bw Helder (an 18-style sans typeface developed with Thom Niessink), Bw Gradual (an eccentric ink-trapped hipster sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.

    Typefaces from 2018: Bw Seido Round (a rounded almost-but-not-quite monoline sans in 12 styles that takes elements from DIN 1451; fiollowed in 2019 by Bw Seido Raw), Bw Vivant (a Peignotian typeface co-designed wih Moritz Kleinsorge).

    Typefaces from 2019: Bw Beto (a text family in two optical sizes, the larger one being called Bw Beto Grande), Bw Aleta (geometric sans).

    Typefaces from 2021: Bw Pose (Bw Pose No 3 and Bw Pose No 5, two times twelve fonts: didone typefaces with additional features such as uninterrupted slabs in the No3 family, and occasional wedges in the uppercase).

    Behance link. Creative Market link. Home page of Alberto Romanos.

    Typefaces from 2022: Bw Fusiona (a workhorse sans family). [Google] [MyFonts] [More]  ⦿

    Bree Gorton
    [Gort's Fonts (aka Font Farm, was: Font Factory)]

    [More]  ⦿

    Brendan Ratliff

    Newcastle, UK-based designer of the free font ProTracker, an 8x8 pixel font reconstructed as TTF from the Protracker v2.3D/v2.3E assembly source. Github link. [Google] [More]  ⦿

    Brett Naughton

    Creator of Yafit (2013), a Celtic /uncial/ gaelic / insular typeface. [Google] [More]  ⦿

    Brian Hollingsworth

    Artistic director in London, who created an Escheresque typographic poster called The Truth (2012). [Google] [More]  ⦿

    Brian Horsfall

    [More]  ⦿

    Brice Queirel

    Frenchman who graduated in Applied Art at Teesside University, UK, and who has a Master's degree in Applied Arts fromn Ecole de Cond&eaciute; in Paris. Now based in London, he created the heavy octagonal typeface family Geogothic in 2014. Behance link. [Google] [More]  ⦿

    Brink Type
    [Christoph York]

    Christoph York is a British graphic and type designer currently splitting his time between Berlin and London. He specialises in branding and identity design. His typefaces:

    • The precise geometric sans serif family Segma (2018), which spans the thickness range from Black to Thin (hairline).
    • BR Firma (2018). BR Firma is a functional geometric sans serif consisting of eight weights ranging from thin to black with matching italics.
    • At The Designers Foundry, he released Shape (2019), a contemporary geometric type family in 18 styles.
    • BR Omega (2019: a thin to black-weighted clear geometric sans).
    • BR Hendrix (2019). In 16 styles. Described as a modern geometric grotesque.
    • BR Candor (2020). A sixteen-style geometric sans in the Futura tradition.
    • BR Omny (2020). A slightly rounded geometric sans typeface.
    • BR Nebula (2020). A 20-style sans inspired by Futura.
    • BR Sonoma (2020). A 16-style sans with strong rhythm and clean geometric features.
    • BR Cobane (2021). A 16-style neo-grotesque.
    • BR Shape (2022). An 18-style geometric sans.
    [Google] [MyFonts] [More]  ⦿

    British APL Association

    APL font links. Some downloads too: from Adrian Smith (York, UK), APL2741PS-APL2 (2002), APL2741x (2000), JSansPS (2000), KAPLPS (1995-2001); from Amadeus Information Systems Limited, the big slab-serifed monospaced font SImPL (1996-2001). [Google] [More]  ⦿

    British Letter Foundry
    [John Bell]

    John Bell (1746-1831) was a London-based publisher of several periodicals and newspapers. He founded the British Letter Foundry in 1788, with Richard Austin as punchcutter. The foundry closed in 1798.

    John Tranter tells the story: John Bell, an English publisher and bookseller, advertised a book called The Way to Keep Him in The World newspaper in London in June 1787, saying: 'J. Bell flatters himself that he will be able to render this the most perfect and in every respect the most beautiful book, that was ever printed in any country.' That was a tall order. In his quest for perfection he set up a type foundry, and hired a young punchcutter named Richard Austin to cut a new typeface for him. The face, named after Bell, was based on a typeface designed some thirty years before by John Baskerville, another perfectionist. Baskerville had said 'Having been an early admirer of the beauty of Letters, I became insensibly desirous of contributing to the perfection of them.' Though Baskerville went broke eventually, his typeface was indeed very close to perfection, and went on to become one of the most popular typefaces of all time. John Bell's type foundry didn't do well. He closed down his shop within two years and went on to other things, and his typeface sank almost without trace in England. Newer trends in typefaces (Didot in France, and Bodoni in Italy) eclipsed the modest elegance of Richard Austin's design. The Americans, though, took a shine to it. It was copied as early as 1792, and always remained popular there. A complete set of type cast from Bell's original matrices was purchased by the American Henry Houghton in 1864 and installed at his Riverside Press. He thoughtlessly labelled it 'English Copperplate'. Later, the distinguished American book designer Bruce Rogers used the typeface frequently, naming it 'Brimmer', after the author of a book he'd seen the typeface used for when he worked as a young man at the Riverside Press. The designer Daniel Updike also worked at Riverside, and also used the 'English Copperplate' type extensively in later years, naming his version of it 'Mountjoye'. Bell's type would have remained obscured by these disguises perhaps forever, but for the alert eye of Stanley Morison. He was doing research at the Bibliothèque Nationale in Paris in 1926 when he came across a copy of the first specimen sheet of type samples issued from John Bell's foundry in 1788. No copy of it existed in England at that time, and Morison recognised the typeface immediately as the original of the 'Brimmer' and 'Mountjoye' fonts used in America. He researched the matter and in 1931 published an important monograph which, as the type scholar Alexander Lawson says, 'returned the name of John Bell to its proper place in the pantheon of English printers'. The typeface was unique in another way. Until Richard Austin cut the typeface in 1788, all numerals were traditionally written like lower-case letters -- small, with some numerals hanging below the line. Bell is the first typeface to break with that tradition cleanly: Austin's numerals are larger than lower-case letters (at two-thirds the height of the capitals) and sit evenly along the line. The trend was taken up. These days the numerals in most printed matter are (unfortunately) the full size of the capital letter, and are called titling figures, ranging figures, or lining figures.

    See also here. FontShop link. [Google] [MyFonts] [More]  ⦿

    British Library

    Publishers of the free font Reader Sans, which covers Cyrillic, Greek, Latin, Hebrew and Slavonic. The copyright says Bitstream. [Google] [More]  ⦿

    British Sign Language (BDA)

    Free BDA fingerspelling font. See also here. [Google] [More]  ⦿

    British Standards for Type Classification

    Typeface classification according to "British Standards 2961:1967" (or BS 2961), British Standards Institution, London, 1967.

    • Humanist: Centaur, Jenson, Verona, Kennerley.
    • Garalde: Stempel Garamond, Garamond, Caslon Old Face, Granjon, Sabon, Bembo.
    • Transitional: New Baskerville, Baskerville, Caslon, Fournier, Perpetua.
    • Didone: Bodoni, Bauer Bodoni, Torino, Walbaum.
    • Mechanistic: Clarendon, Memphis, Rockwell, Lubalin.
    • Lineal
      • Lineal Grotesque: Franklin Gothic Demi-Bold, Franklin Gothic, News Gothic, Alternate Gothic.
      • Lineal Neo-Grotesque: Helvetica Light, Akzidenz Grotesk, Folio, Helvetica, Univers.
      • Lineal Geometric: Avant Garde Medium, Avant Garde, Futura, Eurostile, Erbar.
      • Lineal Humanist: Gill Sans, Goudy Sans, Optima.
    • Incised: Albertus, Latin, Friz Quadrata.
    • Script: Brush Script, Mistral, Park Avenue, Zapf Chancery.
    • Manual: Neuland, Broadway, OCR-A, Pritchard.
    • Black Letter: Fette Fraktur, Old English, Goudy Text, Wilhelm Klingspor-Schrift.
    • Non-Latin.
    [Google] [More]  ⦿

    British Standards Institute (BSI)

    BSI is the National Standards Body of the UK, with a globally recognized reputation for independence, integrity and innovation in the production of standards that promote best practice. It develops and sells standards and standardization solutions to meet the needs of business and society. After that paragraph, my brain needs a bit of rest. I think it says that they run a bureaucratic joint and that people better listen, or else. MyFonts pencils OCR-A down under the name of BSI, but I think that font was made by URW++. [Google] [MyFonts] [More]  ⦿

    British typeface--font law

    Discussion at the FontWorks site of British typeface/font law, with some private interpretations. FontWorks UK is a type vendor. [Google] [More]  ⦿

    Britt Fabello

    London-based designer of the handcrafted typefaces Fabello (2017), Norway (2017), Switzerland (2017), Sea Legs (2017), Edinburgh (2017: blackboard bold), Lazy River (2017), Amsterdam (2017, handcrafted Dutch deco), Whimsical Path (2017), Weekend Notes (2017) and Wild Woods (2017). She also designed the art deco typeface Montmartre (2017), Ireland (2018) and Striped (2018). Creative Market link. [Google] [More]  ⦿

    Britt Robinson

    UK-based creator of the fat finger font Bad Handwriting (2014). Dafont link. [Google] [More]  ⦿

    Brittany Coxon

    Brittany Coxon (aka Britt7094) is the Newcastle, UK-based designer of Randomness (2005). Home page. [Google] [More]  ⦿

    Brody Fonts (was: Brody Associates, Research Studios, Research Arts UK)
    [Neville Brody]

    Neville Brody (b. 1957, North London) is a famous graphic designer who has influenced the practice of design in the 1990s. He created record covers, did magazine design and was art director for projects for companies like Christian Dior, Nike, and the BBC. His company was first called Research Studios, and then morphed into Brody Associates. In 2018, Brody joined Type Network with a new foundry, Brody Fonts.

    Largely focused on typography, Brody has been at the forefront of many developments in type culture, from his hand-drawn headlines for The Face magazine and experimental typographic platform FUSE to global fonts for Coca-Cola, Samsung, and Channel4. Iconic posters by him include the Tyson vs Tubs Tokyo poster from 1988. Check also Pat Tmhu's Brody-style Weather Forecast poster (2012). Other people working on Brody's original site include Mike Williams and Simon Staines.

    His early type was experimental, and was collected under the name FUSE fonts. Direct access. He did the following FUSE fonts: in FUSE 1, he started with the experimental font State; in FUSE 5, he published Virtual; at FUSE 6, he published Code; at FUSE 7, he drew Crash (Regular and Cameo); in FUSE 8, he showed us Religion (Order, Obidience, Loss of Faith); at FUSE 9, he did F-AutoSuggestion (1994); in FUSE 11, he published Peep, a font only showing parts of letters; in FUSE 13, Ritual, in FUSE 14, CyberStatic, in FUSE 15, F-City Avenue (1997), in FUSE 16, GeneticsSecond Generation, in FUSE 17, Echo Downloaded, Page Three, in FUSE 18, Lies.

    Born in 1957 in London, his fonts include FF Autotrace (1994, a sans family progressively distorted by Fontographer's autotrace feature), F Cyber Static (1997, letters based on layered sequences of halftone dots), Arcadia (1990), Industria (1990, readapted in 2012 by Yautja into the free font Instrumenta), Insignia (1990), Blur (1991; FF Blur is from 1992; see poster), FF Pop (1991, a rectagular font originally made for a German music TV program), FF Dirty (1994), Gothic (1991), Harlem (1991).

    In 1993, Neville Brody published the poster font family FF World (FontFont), which used his lettering from his Tyson versus Tubbs Tokyo match poster (1988). This became a free web font in 2010 over at FontFont under the name FF World Wide Web.

    In 2006, Neville Brody published Times Modern, designed for The Times. The press release states: The new typeface, called "Times Modern", encapsulates the paper's heritage while adapting to the demands of the new compact format. Like The Times' previous typeface, Times Classic, Times Modern has been designed as a bespoke type family. The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts. The project has been led by Ben Preston, Deputy Editor of The Times, in partnership with Neville Brody, formerly art director of The Face, and lead designer on Actuel, City Limits and Arena magazines. Brody also worked on the redesign of Times2 in 2005. Collaborating with Neville is lead designer Jon Hill supported by Research Studios' Luke Prowse. Jon has worked on many large editorial projects, including the design of supplements for The Guardian, the redesign of Swiss newspaper Le Temps and UK business-to-business magazine Media Week. Twenty-three year old Prowse has created the new Times Modern headline font for the newspaper. That press release has been blasted by the typophiles for being plainly wrong ("The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts." What, and how about The Guardian, for example?) and disrespectful of its designers (you really have to dig through it to learn that Luke Prowse actually did the type work).

    And controversy keeps following Neville Brody: in 2009, New Deal, a constructivist typeface, was made for the Micheal Mann film "Public Enemies", starring Johnny Depp and Christian Bale. The bloggers comment that the type is "rubbish" (sic), and that others such as Chank beat him to this type style.

    In 2012, Research Studios published Vetena (HypeForType).

    For FIFA's World Cup in 2014, Neville Brody custom-designed Case Brody for England's Nike kit.

    In 2015, Neville Brody designed Horseferry and Chadwick for the new visual identity for UK broadcaster Channel 4.

    In 2018, Brody Associates announced their custom font, TCCC Unity, for Coca Cola. It was jointly designed by Neville Brody and Luke Prowse.

    The first fonts at Brody Fonts in 2018 are BF Bonn (1989-2018) and BF Buffalo. Neville Brody originally designed the geometric sans BF Bonn for The Boon Ausstellungshalle and the Bundeskunsthalles signage and identity systems in 1989-1991. BF Buffalo (2009-2018) is a soft octagonal punk-meets-sci-fi design debuted as an editorial type in 2009 in Arena Homme Plus. It later appeared as the signature face for London's Anti Design Festival. Brody significantly reworked Buffalo with the help of David Jonathan Ross.

    Linotype link. Klingspor link. FontShop link. FontFont link.

    Short bio. Check out another biography at FontNet. Type Network link.

    View Neville Brody's typefaces. [Google] [MyFonts] [More]  ⦿


    British creator of the druggy (useless?) typeface Gaian. [Google] [More]  ⦿

    Brook Elgie

    Graduate student of typography at the University of Reading, 2006. [Google] [More]  ⦿

    Bruno Formiga

    Graphic and web designer in Cambridge, UK. Creator of Atomo (2013, an experimental typeface) and Medieval (2013). [Google] [More]  ⦿

    Bruno Jacoby

    Gruppo Due (Berlin, London, Karlsruhe and Bern) is a type design platform and foundry offering retail typefaces, alongside bespoke designs resulting from a close collaboration with our commissioners. Gruppo Due was founded in 2019 by Moritz Appich, Massimiliano Audretsch, Jonas Grünwald and Bruno Jacoby.

    He published these typefaces at Gruppo Due:

    • G2 Kosmos. A monolinear rounded sans by Moritz Appich and Bruno Jacoby. They write: G2 Kosmos is a modernistic monoline typeface. Its simple shapes follow a geometric grid, but don't hesitate to break free to form better flowing and smoother letters. The grid is the same one artist and designer Wolfgang Schmidt used for his Lebenszeichen. This system of signs was developed to measure the entire cosmos of his emotions and experiences. The typeface's first incarnation was drawn as part of the 2019 diploma project by Maxim Weirich surrounding the Lebenszeichen.
    [Google] [More]  ⦿

    Bruno Maag
    [Dalton Maag]

    [MyFonts] [More]  ⦿

    Bryan Dowley
    [Pirated Material]

    [More]  ⦿

    Bryan Talbot

    Bryan Talbot is a comic book artist, graphic novelist in Lancashire, UK. Comicraft's John Roshell created a typeface based on his lettering, Bryan Talbot, for Bryan's Alice in Sunderland. [Google] [MyFonts] [More]  ⦿


    Design coopertive in London. They created the brass stencil typeface Frank in 2015, and published it at Milieu Grotesque: Frank is a limited edition typeface designed by Bunch and Alberto Hernandez. It was created especially for the rebranding of Cerovski, a print production studio, in 2013, then developed into a commercial full character set by Milieu Grotesque. [Google] [More]  ⦿


    Burdock Design is located in London. It created the modular geometric tiling typeface Shapes (2011). [Google] [More]  ⦿

    C. George Brown

    As a student at Manchester School of Art (Manchester Metropolitan University) in Manchester, UK, C. George Brown designed an interesting pair of geometry-themed typefaces, Rund and Rund SSE (2016). [Google] [More]  ⦿

    C. H. O. Daniel

    Printer from the UK. [Google] [MyFonts] [More]  ⦿

    C. H. St. John Hornby
    [Ashendene Press]

    [More]  ⦿

    C3J Design

    British design firm run by "Chris". Dafont link. Creator of the dotted line typeface Meticulous Round (2009). [Google] [More]  ⦿

    Cagdas Ilke Unal
    [Föy Studio]

    [More]  ⦿

    Caio Santos

    As a student in Bauru, Brazil, Cal Santos designed the display sans typerface Avendesora Sans (2015). [Google] [More]  ⦿

    Calligraphy&Lettering Arts Society

    CLAS is located in London. [Google] [More]  ⦿

    Callum Best

    Callum Best (Bournemouth, UK) created the art deco typeface Ark Deco (2012).

    Behance link. [Google] [More]  ⦿

    Callum Blair Graham

    During his studies at Plymouth College of Art (class of 2016), Callum Blair Graham created the art deco typeface Interwar (2015). [Google] [More]  ⦿

    Callum Copley

    Creator of an experimental typeface in 2009. He lives in the Sheffield/Hull area of the UK. [Google] [More]  ⦿

    Callum Crew

    Bristol, UK-based graphic designer who created Harmony (2012, an Arabic simulation typeface inspired by the Alhambra in Granada) and Diversity (2013), a grid-based geometric typeface.

    Behance link. [Google] [More]  ⦿

    Callum Cussen

    Callum Cussen (Limeblue Design) graduated from University for the Creative Arts in Surrey in 2013. Now based in Hindhead, United Kingdom, he designed a decorative all caps typeface in 2017. [Google] [More]  ⦿

    Callum David Finn

    Warrington, UK-based designer of the minimalist all caps sans typeface Alpha (2018). [Google] [More]  ⦿

    Callum McGoldrick

    Designer and illustrator in Liverpool, UK, who created Personal Type Font (2015: arched caps), Colour Line Type (2015) and Geometric Type (2015, using colored solids). [Google] [More]  ⦿

    Callum Rowney

    Margate and/or Westgate-on-Sea, UK-based designer of Bauen (2015), which is influenced by Bauhaus, the avant garde and Akzidenz Grotesk. Later in 2015, he designed the octagonal typeface Azimuth and the pixelish typeface Alpha Display.

    His Atom Display (2016) is influenced by Wim Crouwel's Stedelijk. [Google] [More]  ⦿

    Callum Shutt

    Graphic designer in Worksup, UK. In 2017, he designed the free outlined monoline sans typeface Oil. Behance link. [Google] [More]  ⦿

    Callum Webster

    As a student, London-based Callum Webster designed the stencil typeface Webster (2016). [Google] [More]  ⦿

    Calum Adams

    Freelance graphic designer from Chipping Norton in rural Oxfordshire, UK. In 2015, Calum designed the sans typeface Zyana. Dafont link. Behance link. [Google] [More]  ⦿

    Calum Bennett

    Graphic design student at the University of Salford, Manchester, UK who made the futuristic typeface Apastron (2011).

    Salford Type Foundry link. [Google] [More]  ⦿

    Calum Hewitt

    Leigh, UK-based creator of the bilined compass-and-ruler display typeface Endless (2015). [Google] [More]  ⦿

    Calum Rudd

    Wigan, UK-based typographer and graphic designer, who created the high-contrast fashion mag font Myth (2010). Currently studying at Staffordshire University. Behance link. [Google] [More]  ⦿

    Cameron Bensimon

    Product, graphic and fashion designer in London, UK, b. 1999. Creator of the free hand-printed typeface Last Line (2013) and the squarish typeface FuturBlock (2018). [Google] [More]  ⦿

    Cameron Gibson

    During his graphic design studies at Edinburgh Napier University, London-based Cameron Gibson created Ferro (2015) and writes about this 3d experimental typeface: Ferro is a typeface made up of strong Neodymium Magnets and Ferrofluid. Cameron also created Connectivity (2015). In 2021, he released the display serif typeface Fidra at Type Department: Fidra is inspired by Scotland's rugged coast and is influnced by charismatic Latin typefaces of the old type foundries, in particular Scottish type foundry Miller & Richard's Antique No.12. [Google] [More]  ⦿

    Cameron Morton Watts

    Petersfield, UK-based designer of the triangulated typeface Pryzm (2018) and the circle-and-squre typeface Valiant (2018). [Google] [More]  ⦿

    Cameron Thorpe

    During his studies, Huddersfield, UK-based Cameron Thorpe created the Greek simulation typeface Unique (2015). [Google] [More]  ⦿

    Camila Cardenosa

    London-based designer of the market signage typeface R Kelly & Son (2013).

    Behance link. [Google] [More]  ⦿

    Cankat Saribas

    Cankat Saribas is UX/UI, graphic, and type desginer of Armenian and Alevi-Kurdish background who was born and raised in London. In 2022, he designed the stencil display typeface Dersima, as an homage to the victims of genocide and oppression. [Google] [MyFonts] [More]  ⦿

    Carl Cooper
    [Styler Design]

    [More]  ⦿

    Carl Peel

    Worksop, UK-based designer of the pixelish typefaces Pliskin (2015) and Kenney (2015), the origami typeface Mathilda (2015), the caveman font Leonard (2015), the triangulated typeface Shelby (2014) and the grungy typeface Decking (2011). [Google] [More]  ⦿

    Carl Rylatt

    Brighton, UK-based creator of the copperplate caps typefaces Laudanum (2012, available from Ten Dollar Fonts) and Fuck Powerpoint (2012).

    Tenebrae (2013) is a spooky spurred display typeface. Tenebrae is inspired by the Giallo films of the 70s and other cult cinema film posters. It can be bought at Ten Dollar Fonts.

    Behance link. [Google] [More]  ⦿

    Carl Seal
    [Little Red Circles (or: LRC Type Foundry)]

    [More]  ⦿

    Carl Simcox

    Graphic designer in Hull, UK. Creator of the gridded typeface Hypno (2012). He also created the original typographic poster called Seedy Motel (2012). [Google] [More]  ⦿

    Carl Sutton

    Graphic designer and illustrator from Brighton, UK, who created some minimalist geometric monoline typefaces such as Womb (2009). Carl now lives in Cardiff. Tycho (2009) is very organic.

    In 2012, he made the modular typeface Trap.

    Aka Deprived Anxiety. Alternate URL. Behance link. [Google] [More]  ⦿

    Carl Thomas Redfern
    [CTR Font Foundry]

    [MyFonts] [More]  ⦿

    Carles Rodrigo

    Carles Rodrigo (Mucho) won a D&AD 2011 award in the typeface design competition for his Art Out. He set up Carles Rodrigo Studio in London, and specializes in branding and corporate type design. His creations there are visually striking:

    • Splash Rounded. Corporate type design for Barcelona-based LED screen display company. Planned as a rounded version of Avant Garde.
    • Peppurat Outline (2011). Headline typeface especially designed for the book "Pepe Andreu---Thinking Furniture". The typeface was planned as an outline version of Akkurat.
    • Primera Bold. A stencil didone designed for the Primero Primera Hotel.
    • Lexus Inline. Corporate identity type design for Lexus Design Awards, which took place in Tokyo.
    • Art Out (2010). A blackboard bold typeface that was created for Fundación Arte y Mecenazgo in Spain.
    • Monaco Book (2015). An art deco sans based on Geo Ham's racing posters from the 1930s.
    • Zarzuela Poster (2009). Typeface developed for hypothetical rebirth of Zarzuela. an important genre of Spanish folklore. The structure of the typeface is based on the genre's 17th century origin, and is a hybrid between the transitional roman and the didone.
    • Bhldn Display (2015). An extreme contrast custom fashion mag and wedding typeface in five styles based on Hoefler Display. It was created for an American clothing company.
    • Sarda Display. This display typeface was especially developed for the book "Andres Sarda Moda Amor Arte". It is based on ITC Grouch (1970, Ronne Bonder and Tom Carnase).
    Behance link. [Google] [More]  ⦿

    Carlos de Toro

    Born in Logroño, Spain, Carlos studied graphic design at ESDIR (Escuela Superior de Diseño de La Rioja), and type design in the Advanced Typography Master class of the Universidad Autónoma de Barcelona (EINA). He was first based in Barcelona, but currently works out of London.

    In 2013, he designed the humanist mediterranean sans typeface Born (tweetware).

    In 2014, he created Neon (2014), a set of capital numerals, for the September issue of Yorokobu Magazine. Neon is inspired by American road movies from the 80's and 90's. In 2015, he created Yorokobu numbers for the magazine. Still in 2015, he designed Recia (Indian Type Foundry): an angular ten-style wedge serif typeface family. Free at Fontshare.

    Typefaces from 2016: 3D Experimental.

    In 2018, he graduated from the TypeMedia program at KABK in Den Haag. His graduation typeface, Azor, was designed for editorial use. He explains: Azor is a typeface for display and text that requires comfortable legibility, personality and a human touch. Azor's italics are quite angular for added contrast with the romanstyles. [Google] [MyFonts] [More]  ⦿

    Carlos Llorente

    [More]  ⦿

    Carlos Martin Onis

    During his studies at Universidad de Salamanca, Spain, Carlos Martin Onis designed the curvy modular typeface Judia Verde (2018). [Google] [More]  ⦿

    Carlota Novo Gonzalvo

    During her studies in Vigo, Spain, Carlota Novo Gonzalvo (now based in London) created Twiggy (2013). [Google] [More]  ⦿

    Carmen Lam

    A graduate from Cambridge School of Art, carmen Lam lives in Bury Saint Edmunds, UK. She created a comic book face, and a hand-printed typeface called The Typeface in 2011. [Google] [More]  ⦿

    Carol Cockeram
    [Linkpen Handwriting Fonts]

    [MyFonts] [More]  ⦿

    Carol Kemp

    Freelance lettering designer from Sussex, UK, b. 1965 Rustington, Sussex. In 1987, she graduated in typography and hand lettering at the Exeter College of Art and Design. Since 1987, Carol has worked as a freelance lettering designer, producing hand-drawn and digital lettering, calligraphy and type designs for hundreds of companies worldwide. She created these fonts:

    • The clean food dingbat font Delectables (1994).
    • Party (1993, a dingbat font for Letraset).
    • Gastropub (a blackboard typeface done for Marks and Spencer).
    • ITC Jiggery Pokery (1998).
    • ITC Zinjaro (1994, Mexican-style letters).
    • WacWakOoops (comic book face, Agfa Creative Alliance).

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

    Carolina Vargas

    Carolina Vargas studied at IED Barcelona and IDEP Barcelona, and hold an MA in Graphic Design from the London College of Communication. She created Perpetuidad (2016), which is based on the traditional wrought iron crosses found in the General Pantheon cemetery in Oaxaca, Mexico. [Google] [More]  ⦿

    Caroline Archer

    British printer who obtained a Ph.D. in typography and graphic communication at the University of Reading in 1999. After a stint as a freelance journalist and writer, specializing in the graphic arts, she wrote four books on design and printing. She is a partner of Typevents. She and Shelley Gruendler became Executive Directors of ATypI in 2005, and will mainly be in charge of organizing the ATypI meetings. Currntly (in 2010) she is a Research Fellow at the Birmingham Institute of Art & Design, Birmingham City University. Speaker at ATypI 2010 in Dublin, where she looked at the British typeface trends from 1920-80 through the work of three of the leading UK printers of the period: The Curwen Press [London] that enjoyed promoting artists' and ornamental continental founts; The Kynoch Press [Birmingham] which favoured English revival types; and Percy Lund Humphries [Bradford] that was interested mainly with continental sans serif types. [Google] [More]  ⦿

    Caroline Barton
    [Bhadal Studio]

    [MyFonts] [More]  ⦿

    Caroline Denton

    Caroline Denton (Elf Creative, Bristol, UK) designed a the calligraphic blackletter ornamental caps alphabet Gothic (2017). [Google] [More]  ⦿

    Caroline Ibikunle

    During her studies at UCA Farnham, UK, Caroline Ibikunle (Sutton, UK) created the experimental geometric typeface Neo (2014). [Google] [More]  ⦿

    Caroline Kan

    Design student in London. Designer of the experimental typeface Triangle (2012). [Google] [More]  ⦿

    Carolyn Puzzovio
    [Pomegranate Fonts]

    [MyFonts] [More]  ⦿


    Plymouth, UK-based creator of the hand-printed typeface Ribcage (2013). [Google] [More]  ⦿

    Casim Ahmed

    UK-based designer of Bravo Sans (2017), a display typeface designed to accompany the cartoon character of Johnny Bravo. [Google] [More]  ⦿

    Caslon & Catherwood

    British type foundry active in the 19th century. Caslon and Catherwood published a now famous Italian in 1821.

    They also had a collection of fat faces that were popular in the first three decades of the 19th century.

    Books by the foundry include Specimen of Printing Types (T. Bensley, printer, 1815). [Google] [More]  ⦿

    Caslon: A brief history

    A brief history of the Caslon family, as summarized by Dave Forster in 2012 while he was a student at KABK [the text below quotes verbatim passages from his document entitled Another Bloody caslon].

    • Introduction. The lineage of the Caslon family is complicated because they all shared similar names, even their wives. Unless initials are present, it should be assumed that the first name is William. If no roman numerals are present afterwards, that person was the first with that name.
    • Main influences on Caslon. For many reasons, The Crown of England enforced regulations on the printing presses from the mid-16th century until the beginning of the 18th-century. This dampened efforts to establish type founding in England. Consequently, type was imported, mainly from Holland. Dr. John Fell bought punches and matrices for the Oxford University Press in 1670. Seven years later, Cambridge University Press also imported type from Holland. These were the works of Dirk Voskens and Christoffel van Dijck respectively, who were major influences on Caslon as noted by Morison, Johnson and Lane. Miklos Totfalusi Kis, a Hungarian who had been Voskens' apprentice and who later cut Janson, was also influential. Updike explains the fame and excellence of Caslon's types: While he modelled his letters on Dutch types, they were much better; for he introduced into his fonts a quality of interest, a variety of design, and a delicacy of modelling, which few Dutch types possessed. Dutch fonts were monotonous, but Caslon's fonts were not so. His letters when analyzed, especially in the smaller sizes, are not perfect individually; but in their mass their e ect is agreeable. That is, I think, their secret: a perfection of the whole, derived from harmonious but not necessarily perfect individual letterforms.
    • Establishing the foundry. In 1692, William Caslon was born in Cradley, England. After serving an apprenticeship with a metal-worker, he left and began engraving ornamental gun-locks, gun-barrels as well as silver-chasing and making book binding tools, presumably ones used to place lettering on spines and covers. It was only later he became involved with type when two separate strangers noticed his lettering on books found in Mr. Browne's bookshop. The first was Bowyer, the second was John Watts. Both printers recognised Caslon's potential to repair the standard of printing since its decline from the days of Caxton: the elder Mr. Bowyer, [...] accidentally observed in a bookseller's ship a bound book, the lettering on the back of which seem to him to be executed with more than common neatness; and on inquiry nding Mr. Caslon to be the artist by whom the letters had been cut, he was induced to seek an acquaintance with him. Bowyer took Caslon to James's Foundry. Caslon had never been exposed to type founding before. He was asked whether he could undertake the cutting of types, Caslon requested one day to consider. When one day passed he replied that he had no doubt that he could. Bowyer, Watts and Bettenham (another printer) then lent him 500 pounds to establish the Caslon Foundry.
    • The growth of the foundry. His first commission was in 1720, an Arabic fount to set the New Testament and Psalters (completed 1727 and 1725 respectively) for the Society for Promoting Christian Knowledge. For the bottom of the specimen he cut the letters of his name in Pica Roman. Mr. Palmer, the author of Psalmanazar's History of Printing encouraged him to complete the whole fount. Caslon's Pica Roman exceeded the quality of many other founders at the time, many of whom Palmer's circumstances as an author relied on. He promptly withdrew his advice and discouraged Caslon from further development. The fame of the Caslon foundry developed through further commissions, including Coptic, Armenian, Gothic and Black letter. His son, Caslon II developed Etruscan and Ethiopic. The foundry became less reliant on its patrons. In 1730, he had the custom of the King's printers, excluding all others. In 1734, after fourteen years of work, the Caslon foundry published a specimen that included thirty-eight founts. Excluding three, all are Caslon's work. Reeds says It placed Caslon absolutely without rival at the head of his profession. One of these specimens resides in the Meermanno Museum.
    • William Caslon II, Caslon & Son. By 1742 and 1748, Caslon printed his specimens showing founts created by his son, Caslon II, who was now partner and the firm changed names. The young Caslon proved to be as able as his father. Under his watch, the specimens of 1763 and 1764 displayed twice the amount of founts since the first specimen. Caslon dies two years later in 1766 at Bethnal Green. From here onwards, the history becomes complex. An attempt has been made to simplify it with the aid of a timeline and family tree.
    • William Caslon III. When Caslon II died in 1778, the foundry was split between three people. His brother (Henry Caslon I), Wife (Mrs Caslon II) and their son (Caslon III). One specimen appeared in 1785 but nothing else was released until 1800. In 1788, Henry Caslon died, leaving his share to his two-year-old son, H. Caslon II. A major change happened in 1792 when Caslon III sold his shares to his mother, Mrs Caslon II and sister-in-law, Mrs H. Caslon for 3000 pounds. He then purchased Joseph Jackson's foundry and renamed it to Caslon & Co.
    • Mrs Henry Caslon---Caslon & Catherwood. Three years after Caslon III left, Mrs Caslon II died without a will. Mrs Henry Caslon was required to purchase the foundry for 520 pounds (a fraction of the price Caslon III had received seven years before). The Caslon name was no longer enough to sell type and the foundry was fading. She commissioned John Drury to cut new types. She also took on Nathaniel Catherwood (a distant relation) as partner and she was able to restore the foundry's reputation by 1808. In 1805, they released an important specimen containing new romans of Caslon and Catherwood. Most cuts were completed between 1802 and 1804. Another specimen was released in 1808 with Stower's Printers Grammar. The original founts of Caslon had been put away and forgotten. According Jane Smith (2010), All the once admired founts of the originator of the foundry have been discarded, and between the specimen of 1785 and 1808 there is absolutely no feature in common. In 1809, Mrs H. Caslon and N. Catherwood both died. Control passed to her son Henry Caslon II.
    • Henry Caslon II. H. Caslon II took Nathaniel's brother, John Catherwood as a partner. Together they looked after the business well. Hansard says, the additions and varieties made to the stock of the foundry have been immense. John Catherwood leaves in 1821. One year later, Martin Livermore, a trusted employee is promoted as partner. They built the stock of the foundry towards advertising types like fat faces and Egyptians.
    • Henry William Caslon and The Chiswick Press. In 1839, a specimen is released under the name Caslon, Son and Livermore. This signalled Henry William Caslon, the son of Henry Caslon II, joining the firm. In 1844, Charles Whittingham of the Chiswick Press requested the original Caslon, known as Old Face, in Great Primer to print The Diary of Lady Willoughby as the type was appropriate to the story's history. The Caslon foundry had the original matrices in storage and recast Whittingham a small amount of Great Primer. The Chiswick Press continued to use the type for further books and in 1958 used electrotyped matrices to cast type by hand. S. Peterson [The Kelmscott Press: a history of Morris's typographical adventure, University of California Press, 1991, page 22] writes: Unlike modern printers in search of historic designs, the proprietor of the Chiswick Press, was not compelled to have the Caslon type recut; he simply went to the fi rm run by Caslon and discovered that the original matrices were still in storage. 1846 saw an attempted sale of the foundry under the name Caslon & Son (apparently Livermore had left). But no acceptable offer was made. Henry Caslon dies 4 years later. Old Face returned to popular use later in the 1850s when a historicist movement in ne printing adopted the typeface. The foundry then began displaying Old Face in specimens again. The term Old Face refers to the original founts of Caslon, owned by foundry. The first reference appeared in 1854. The name Old Style stems from two events. One in the 1850s when predecessors of the ATF published identical type, most likely from electrotyped matrices with the permission of the Caslon Foundry. The second occurred in Edinburgh at Miller & Richard. Their punchcutter, Phemister made an Old Style in which they have endeavoured to avoid the objectionable peculiarities, whilst retaining the distinctive characteristics of the medieval letters [reference: J. Southward, Modern Printing, 1924, vol. 1 page 106]. This induced the Caslon Foundry into cutting their version too. Reed says, In spite of the vogue for Caslon Old Face, they found it expedient to cut their own copy of Old Style, which was first shown in 1877 and the full range completed in 1880.
    • H.W. Caslon & Co. With H. Caslon II dead, H.W. Caslon was the sole proprietor. Thomas White Smith, a trusted employee of the firm since 1857, describes H.W. Caslon as a man of generous impulse but of little wisdom in business matters. The firm then purchased Glasgow Letter Foundry. Alexander and Patrick, the grandsons of the founder joined Caslon & Son and it was renamed to H.W Caslon & Co. In 1865 there was an 8-month-long strike and lockout. Smith and the two Wilson partners left. In 1872, H.W. Caslon became ill and asked Smith to return as manager. He returned and H.W. Caslon died two years later at Medmenham. He was the last male in the Caslon lineage and left the whole foundry to Smith.
    • Thomas White Smith. Smith made immeasurable improvements to the business. In 1875 he sets up Caslon's Circular, an important publication regularly issued by the foundry. In 1878-1879 it published articles by De Vinne about the point system for measuring type. Smith was a leading campaigner for its introduction. In 1886 he made a formal proposal that was only accepted by the other founders later, in 1898. It took until 1905 before the transition was complete, according to Southward. They also used Caslon's Circular to vocally oppose the piracy of type using electrotyping and defend themselves against trade publications that criticised them for obstructing the progress of mechanical invention. This was untrue; Smith was an early pioneer of combing matrices in a line, a precursor to the linotype machine. In 1878 there was an article stating an increased demand for Old Face. But there were complaints about irregularity and rough edges then uncommon in modern faces. Smith published the following in The Circular: We are taking steps to improve them [the original founts] so far as smoothness of face is concerned, and to produce them by the machine-casting process, without altering their shapes in the least degree. In the specimen of 1884, it is possible to see the progress of this, a small amount of founts are smoothed out, others are not. Justin Howes (1963-2005), a scholar of Caslon, placed the recutting of Old Face from around 1893. The first size was the Great Primer, equivalent to 18-point. Emile Bertaut and George Hammond were the punchcutters responsible for the work that took place between October 1894 and 1908. In 1896, Smith's three sons joined and changed their name to Caslon-Smith and later to Caslon. In 1900, he retired, the year a newly equipped foundry at Hackney Wick was established. In 1907 he died. Twenty years later in 1937, the Caslon Foundry to Stephenson, Blake & Co.
    [Google] [More]  ⦿

    Caslon wiki

    The Caslon wiki states: William Caslon's types of the early eighteenth-century were extremely popular then, and strongly revived in the late nineteenth century, producing many versions. Since the Caslon Foundry was in business for a long time, there are many Caslon typefaces. Caslon's designs were markedly different at different sizes (for instance, some of his uppercase Cs had serifs at top and bottom, some only at the top); variation in design is not therefore necessarily a sign of "inauthenticity". Caslon's type was popular in every sense. It was popular in the eighteenth century (until it was eased out by modern typefaces in the early 19th). When the fashion of "old face" revived in the 19th, many in England and America looked to Caslon's type as the model. And, at a time when lay people probably knew less about font-names than they do now, "Caslon" was a name quite a few people did know. George Bernard Shaw, for example, absolutely insisted that his work be set in Caslon. This vast popularity of Caslon's types led to a practically endless range of copies, among them Caslon 540 from American Type Founders in 1902, and Caslon 3, a slightly bolder typeface also from ATF in 1905, which was later modified for use on Intertype and Linotype technologies. Both designs have the warm, solid, straightforward style that has made Caslon popular for over 200 years; these Caslons, however, have shorter descenders, and higher contrast, features that enable them to hold up better with the faster presses and the new varieties of paper introduced at the turn-of-the-century. As with Garamond, there are not only typefaces which use the Caslon name, but typefaces which are Caslon-inspired. Of some importance historically is Imprint, which was designed by (English) Monotype in 1913 for use in the (short-lived) Imprint journal. Because the journal was interested in the "improvement" of typography, it chose to release its typeface for general use. It took the "cleaning up" of Caslon's type for modern use a stage further, deliberately increasing x-height, reducing the notoriously loose fit of some of Caslon's type, and removing some of its archaic character. Wikipedia. [Google] [More]  ⦿

    Caslon: Wikipedia

    Excerpts from the wiki page on Caslon: Caslon refers to a number of serif typefaces designed by William Caslon I (1692-1766), and various revivals thereof. Caslon shares the irregularity characteristic of Dutch Baroque types. It is characterized by short ascenders and descenders, bracketed serifs, moderately-high contrast, robust texture, and moderate modulation of stroke. The A has a concave hollow at the apex, the G is without a spur. Caslon's italics have a rhythmic calligraphic stoke. Characters A, V, and W have an acute slant. The lowercase italic p, q, v, w, and z all have a suggestion of a swash. [...] Caslon's earliest design dates to 1722. Caslon is cited as the first original typeface of English origin, but type historians like Stanley Morison and Alfred F. Johnson, a scientist who worked at the British Museum, did point out the close similarity of Caslon's design to the Dutch Fell types cut by Voskens and other type cut by the Dutchman Van Dyck. [...] Nicols writes: "he (Caslon) cut the beautiful fount of English which is used in printing Selden's Works 1726. Nicols describes this character as far superior over comtemporary Dutch founts used in English books at this period. Rowe More does not give any comment on this. Dutch founts were in use by several printers in England at that time. The Oxford University Press used the "Fell-types", character cut by the Dutch typefounder Voskens. The Cambridge University Press had received in January 1698 some 52 series of alphabets from Holland, all cut by Van Dyck. But even before that in 1697 thay used the Text-sized roman and italic of Van Dyck in an edition of Gratulatio Cantabrigiences. Character of Van Dyck and Voskens is found also in: William Harison, Woodstock Park, Tonson, 1706. Although Nicols attributes this character to Caslon, the fount used in Seldens Works is actually cut by Van Dyck. The italic is identical to the Van Dycks Augustijn Cursijf fount in specimen sheets issued in 1681 by the widow Daniel Elzevir. This woman had bought the type foundry of Van Dyck after Van Dyck died. The roman in this book, is a Garamond. This fount is used in the first volume and in the greater part of the second volume, It is found in a specimen sheet of the Amsterdam printer Johannes Kannewet, in accompagny with Van Dyck's Augustijn Cursijf. The only thing known about this Kannewet is that he was a printer, not a typefounder. This specimen-sheet is preserved in the Bagford-collection in the British Museum, and can be dated 1715 or earlier because Bagford died in 1716. There is no reason to suppose anything is added on a later date to this collection. The roman is named: Groote Mediaan Romyn. This fount is also found on a specimen sheet of the widow of Voskens. Therefore it can be assumed to be the work of Voskens. The earliest use of it at Amsterdam is 1684. The earliest use of a roman and italic cut by Caslon can be identified in books printed William Bowyer in 1725, 1726 and 1730. The founts cut by Caslon and his son, were close copies of the Dutch Old typeface cut by Van Dyck. These founts were rather fasionable at that time. The alternative founts they cut for text were a smaller, rather than a condensed letter. The Caslon types were distributed throughout the British Empire, including British North America. Much of the decayed appearance of early American printing is thought to be due to oxidation caused by long exposure to seawater during transport from England to the Americas. Caslon's types were immediately successful and used in many historic documents, including the U.S. Declaration of Independence. After William Caslon I's death, the use of his types diminished, but saw a revival between 1840-1880 as a part of the British Arts and Crafts movement. The Caslon design is still widely used today. For many years a common rule of thumb of printers and typesetters was When in doubt, use Caslon. [Google] [More]  ⦿

    Caspian Whistler

    During his design studies at the University of the Arts London, Caspian Whistler designed the moiré-effect typeface Grade (2015). [Google] [More]  ⦿


    British designer. Creator of Citybloxx (2008), a shaded handwriting font. [Google] [More]  ⦿


    UK-based artist (b. 1985) who created My Untidy Handwriting (2005). [Google] [More]  ⦿

    Cassia Friello

    Graphic designer in the UK, who created a decorative caps alphabet in 2013. [Google] [More]  ⦿

    Castle Press

    Small printing press in the UK, est. 1860. Paul Davy had access to their wood types in 2015, and created the free digital typefaces Castle Press No 1 (2015) and Castle Press No 2 (2015). [Google] [More]  ⦿

    Cat Hamilton

    Oxford, UK-based creator of Digital Diamond Stitch Type (2012). [Google] [More]  ⦿

    Catherine Dixon

    Catherine Dixon is a freelance designer, writer, and Senior Lecturer in Typography at Central Saint Martins College of Art&Design, London. She completed her PhD, A description framework for typeforms: an applied study at Central Saint Martins in 2001. She has worked together with Phil Baines on book designs for Phaidon Press; Laurence King; and for the award-winning Penguin Books Great Ideas series. She is a frequent contributor to Eye. Other writing includes a web site and the book Signs: lettering in the environment (Laurence King 2003). Speaker at ATypI 2006 in Lisbon on the topic of Nicolete Gray's Lisbon (with Phil Baines). At ATypI 2009 in Mexico City, she spoke on Lambe-lambe letters: Grafica Fidalga, São Paulo a project she undertook with Henrique Nardi (Tipocracia). Speaker at ATypI 2010 in Dublin, where she dealt with a lettering project for the Pozza Palace in Dubrovnik, and took people on a lettering walk of Dublin. Speaker at ATypI 2013 in Amsterdam. Keynote speaker at ATypI 2015 in Sao Paulo. [Google] [More]  ⦿

    Catherine Fuller

    For a school assignment at the University of Salford, Manchester, UK-based Catherine Fuller created the display typeface Mustansiriya (2015). Her lettering and alphabets are influenced by the Arabic culture. Behance link. [Google] [More]  ⦿


    British type foundry active in the 19th century located in Hoxton. [Google] [More]  ⦿

    CCG Arts

    CCG Arts (UK) created the display typeface Happy (2012). [Google] [More]  ⦿

    CCW Resources (or: Cursive Writing)

    Commercial cursive (didactic) writing site, with a few pay fonts named CCW Cursive 1 through 5, CCW Precursive 1 through 4. All come in dotted, lined, outlined and arrow styles to help young students. The company, CCW Resources, is located in Burton-on-Trent, Staffordshire, UK. [Google] [More]  ⦿

    Cecil A. Wade

    British lettering (b. 1896) artist who wrote Manual of Lettering (1952, Blandford Press, London) and Modern Lettering from A to Z (1932), a book which shows many alphabets. We also find a 1934 edition: Ed. Pitman Isaac & Sons LTD - London. Example. There are several art deco alphabets. Another example (scanned by Sam Judge). His books provided inspiration for several digital typefaces:

    • Nick Curtis: Slapdash Deco NF (2005, based on a showcard alphabet presented by Cecil Wade in his Manual of Lettering), Block Party NF (2008).
    • Jim Parkinson: Wigwag (2003, a display family inspired by Ross George as well as the work of Samuel Welo and Cecil Wade).
    • Richard Dawson: Letraset Comedy (with Dave Farey).
    [Google] [MyFonts] [More]  ⦿

    Cecilia Redondo-Zaratiegui

    Graphic Communication student at Bath Spa University. Designer of Cross Stitch (2013, a stitching typeface), Stencil (2012) and Sierra (2013). [Google] [More]  ⦿

    Celeste H

    Graphic designer in London who created the decorative caps typeface Construction Type (2015). Home page. [Google] [More]  ⦿

    Celinn Bentzen

    Norwegian-born graphic designer in London, UK, who designed the eperimental typeface Tissi (2016) which is named after designer Rosemary Tissi. [Google] [More]  ⦿

    Ceyda Cemal

    UK-based creator of the teardrop display typeface Organic Type (2012). [Google] [More]  ⦿

    Ch. Rud & Son

    London-based foundry, active at the end of the 19th century. Creators of the Victorian/almost art nouveau typeface Artistique Recherche. [Google] [More]  ⦿

    Changbae Seo

    Seoul-based graphic designer who spent some time in London. Behance link. As an experiment, he took a standard font, and connected the letters using a certain geometric algorithm to get a special effect. More analytic geometry went into the design of the squarish but rounded display typeface Box (2010). [Google] [More]  ⦿

    Channon Wallace

    Bristol, UK-based FontStructor who studied at the University of Western England. Designer of the free font Mushaboom (2014). [Google] [More]  ⦿

    Chantell Vorster
    [Cosmic Hog]

    [More]  ⦿

    Chantelle King

    Australian-born graphic design student at Manchester Metropolitan University. She created the experimental typeface Bang (2012).

    Behance link. [Google] [More]  ⦿

    Chantelle Lloyd

    During her studies in Cheltenham, UK, Chantelle Lloyd designed a couple of grungy typefaces (2015). [Google] [More]  ⦿

    Charlee Pincombe

    During his studies, Charlee Pincombe (Colchester, UK) created an imaginary sci-fi typeface for the Scxience Museum of London (2014). [Google] [More]  ⦿

    Charles Grant

    Charles Grant (b. 1981) started his career as an apprentice at Vaughan Oliver's V23 studio in London. He has since been active across many disciplines including retail/spatial design, fashion art direction, motion, typography, digital and packaging. He approached Lineto with the idea to digitally revive Dieter Zembsch's iconic typeface Beans (1972-1973, Mecanorma), and developed it into LL Beans (2008), and with the aid of Dieter Zembsch himself and Lineto, in 2019-2020 as LL Jumping Jack. First designed in 2011, LL Jumping Jack remained unpublished for several years. In 2019, it was overhauled and its character set was completed by Sascha Bente at Lineto, with approval by Dieter Zembsch and Charles Grant. Since 2016, he has worked as a Senior Creative at LOVE in Manchester, UK. [Google] [More]  ⦿

    Charles Hasler

    British author of A Show of Hands (Typographica, 1953, pp. 4-11). The journal Typographica was edited by Herbert Spencer and published sporadically between 1949 and 1967. This article has many images of printer's fists and pointing hands.

    Plinc Hasler Circus (2011, House Industries) is a digitizztion of a photo era font, Circus, done by Hasler for Photo-Lettering, Inc. in the 1950s. This circus font was digitized by Erik van Blokland in 2011 at House Industries, with a helping hand from Ken Barber.

    Other typefaces designed by him at Photo Lettering include Regency Inline (caps only), French Antique Inline and Pearl Shaded (decorative caps). [Google] [MyFonts] [More]  ⦿

    Charles Nolan

    Graphic designer currently studying Graphic Communication with Typography at the University of Plymouth, UK. Creator of the Tycho typeface (2012), a dot matrix typeface that is based on the Imperial Villa Katsura in Kyoto.

    Dafont link. [Google] [More]  ⦿

    Charles Pearce

    Calligrapher and painter, b. 1943, Birmingham, UK. He made several calligraphic fonts: Cantabria (first developed at Camberwell School of Art and loosely based on the work of poet and artist, David Jones), Daniel, Fiorentina, Helena, Penkridge, Ullswater (brush script), Umbria (classic calligraphy). Corporate/custom typefaces: RKO Century Warner, Guinness (Cranks Health Foods font redesign). Author of these books:

    • Calligraphy, The Art Of Fine Writing (1975). Published by Cumberland Graphics division of British Pens as part of the Penstyle Calligraphy Set.
    • Lettering, The Art Of Calligraphy (1978). Published by Platignum as part of their Lettering Set.
    • Italic Writing (1979). Published by Platignum as part of their Italic Handwriting Set.
    • A Young Person's Guide to Calligraphy (1980). Published by Pentalic as part of A Young Person's Calligraphy Starter Set.
    • A Little Manual of Calligraphy (1981). Published by Wm. Collins (worldwide) and Taplinger (USA).
    • A Calligraphy Manual for the Beginner (1981). Published by Pentalic as part of the Pentalic Introductory Calligraphy Course.
    • The Calligraphy Sampler (1985). Published by Wm. Collins.
    • The Anatomy of Letters (1987). Published by Taplinger.
    [Google] [More]  ⦿

    Charles Rennie Mackintosh

    Lettering artist and architect in Glasgow (b. Glasgow, 1868, d. London, 1928). He was a designer in the Arts and Crafts movement and also the main exponent of Art Nouveau in the United Kingdom. Some speculate that he had Asperger's Syndrome. Typefaces based on his lettering include ITC Rennie Mackintosh (1996, by Phill Grimshaw), ITC Rennie Mackintosh Ornaments (also by Phill Grimshaw), ITC New Rennie Mackintosh (2017, by the Monotype design team), and Willow (by Tony Forster). Check the Glasgow School of Art, ITC and U&LC.

    The CRMFontCo headed by George R. Grant specialises in typefaces based upon the letterforms of Mackintosh. They published multiple styles of these fonts: Rennie Mackintosh (1993, the original by George R. Grant), Rennie Mackintosh Glasgow (2007, with lowercase letters added), and Rennie Mackintosh Artlover (1995: art deco dingbats by George Grant and Joanna McKnight). Later additions include The Classic Charles Rennie Mackintosh Font, The Charles Rennie Mackintosh Artlover Font, The Charles Rennie Mackintosh Stems Font, The Charles Rennie Mackintosh Glasgow Font, The Charles Rennie Mackintosh Renaissance Font, The Charles Rennie Mackintosh Hillhouse Font, The Charles Rennie Mackintosh Moonlight Font, The Charles Rennie Mackintosh Scotland St. Font, and The Charles Rennie Mackintosh Venezia Font<.

    Poster by Ryan Irven (2010). See also the free font Nouveau (1992) by Alan Cairns. CRM company link.

    View Charles Rennie Mackintosh's typefaces. [Google] [MyFonts] [More]  ⦿

    Charles Ricketts

    Type designer, b. 1866, Geneva, d. 1930 or 1931, London. He designed three fonts, "The Vale," (Vale Press, 1896, Ricketts' house) "The Avon," and "The King's Fount" (1903). He also designed many decorations and initials. Books with his work.

    Berry, Johnson and Jaspert write about The Kings' Fount: Another black face with heavy serifs and a number of uncial letters, designed by Charles Ricketts. It was first used in an edition of the King's (James I of Scotland) Quair. In the upper case E has the uncial form and in the lower case a, e, and g. f,r and t have the designs of capitals. An exotic, surpassed only by the Endeavour and Prayer Book types. [Google] [MyFonts] [More]  ⦿

    Charles Robert Ashbee

    British type designer, b. Isleworth, 1863, d. Kent, 1942. He made Endeavour Type (1901) and Prayer Book Type (1903). Part of the Arts and Crafts movement, [quoting Wikipedia] he was the son of businessman and erotic bibliophile Henry Spencer Ashbee. His Jewish mother developed suffragette views, and his well-educated sisters were progressive as well. Ashbee went to Wellington College and read history at King's College, Cambridge from 1883 to 1886, and studied under the architect George Frederick Bodley.

    Ashbee was involved in book production and literary work. He set up the Essex House Press after Morris's Kelmscott Press closed in 1897. Between 1898 and 1910 the Essex House Press produced more than seventy books. Ashbee designed two typefaces for the Essex House Press, Endeavour (1901) and Prayer Book (1903), both of which are based on William Morris's Golden Type.

    Quoting wikipedia again: Despite his father's amateur career as an enthusiastically heterosexual pornographer, Ashbee was gay. He came of age in a time when homosexuality was illegal and "the love that dare not speak its name". He is thought to have been a member of the Order of Chaeronea, a secret society founded in 1897 by George Ives for the cultivation of a homosexual ethos. To cover his homosexuality, he married Janet Forbes, daughter of a wealthy London stockbroker. CRA, as he was known, had admitted his sexual orientation to his future wife shortly after he proposed. They wed in 1898 and, after 13 years of rocky marriage (including a serious affair on the part of Janet), had children: Mary, Helen, Prue and Felicity.

    Berry, Johnson and Jaspert write: A black face with heavy serifs, designed by C.R. Ashbee, the punches cut by E.P. Prince. This is perhaps the most exotic of the private press types. Few of the letters have a normal design. The bowls of the B are divided diagonally. H has a very high bar. The M has slab serifs and very short middle strokes. W has foot serifs and brief middle strokes. In the lower case e is a cursive form, g has no link and a contorted tail, in the h, m and n the last stroke is curved and descends below the line, w has the foot serifs of the capitals. Ascenders and descenders are short. The ampersand is curious. The name is derived from the title of the first book in which the type was used, An Endeavour towards the Teachings of Ruskin and Morris. The Prayer Book Type of 1903, is the same design in Great Primer. [Google] [MyFonts] [More]  ⦿

    Charles Snell

    English writing master in the 17th century. Matthew Carter revived his roundhand in 1966 for photocomposition and extended it by adding weights. It became Snell Roundhand Script (Linotype) and Roundhand BT (Matthew Carter, Bitstream). [Google] [MyFonts] [More]  ⦿

    Charles Williams

    London, UK-based designer who created some interlocking geometric type in 2010. Behance link. [Google] [More]  ⦿

    Charles Wright

    The UK number plate font that came into effect in 2001 is called Charles Wright. It can be bought here from Magnum UK (Alex Duncan) for about 100 dollars in two versions, Charles Wright 2001 Mandatory, and Charles Wright 2001 Regular. The new number plate style is based on a font originally designed in 1935 by Charles Wright but with modifications to character shapes and width to improve readability. If you want a similar free font, consider UKNumberPlate by Gareth Attrill. Another free font was made by Keith Bates at K-Type in 2004, called Mandatory. Keith writes: "I've tried to ease the congestion in the middle of W and M by adding Gill-esque points, and thinned the tail of the Q - a slight improvement." Both the free and the commercial fonts are unofficial.

    In 2016, Keith Bates made a set of fonts called Charles Wright. He explains: Some have assumed that the typeface was named after the original designer, but it's actually the name of the company that developed it for die stamping vehicle plates. According To Yasmin Webb at Barnet Local Studies and Archives, Charles Wright senior was born in London in 1842 and founded his sheet metal pressing plant in 1867 at Clerkenwell, initially making Crimean war medals, and later producing seals, dies and embossing presses. He set up home in Mill Hill, married in 1870 and had twin girls, Annie and Christina born in 1870, and a son also called Charles born in 1874. Business flourished and when the factory proved too noisy for an inner city location in 1900, Charles Wright Ltd moved to new premises at Thorn Bank, Edgware. By the 1920s the company was also known as Wright & Son, Charles junior having evidently joined the family business, and was producing huge numbers of medals for soldiers from World War 1, an article from The Record News on 19th June 1923 boasts an output of 35,000 medals a day. By 1935, the Wright company would have been a logical choice for pressing vehicle number plates. It's unlikely that Charles junior himself would have designed the idiosyncratic sans serif, the task is more likely to have fallen to a company draughtsmen at a time when drawing office jobs accorded little prestige and individual innovations went uncredited. And since the business was wound up in the early 1970s, it's doubtful we'll ever know who masterminded the company's legacy, the typeface that still bears its name. The current lettering is sometimes referred to as Charles Wright 2001. At the turn of the century, the numbers and letters were condensed from 57mm wide to 50mm in order to make room for an optional European symbol or national flag. The 2001 style became compulsory and a growing trade in fancy, often illegible, registration plates was eliminated. Bates has three typefaces for platemakers: For vehicle platemakers, three additional fonts are included which only contain uppercase letters, numerals and basic punctuation, and which are not kerned: Charles Wright Motorcycle is a version of the slightly lighter, smaller lettering on motorcycle plates for character heights of 64mm and widths of 44mm. Charles Wright 1935 is a version of the original wider lettering, still used on the plates of older vehicles, for character widths of 57mm and heights of 79mm. Charles Wright Bold Caps contains unkerned uppercase letters and numerals in the standard 2001 style for character heights of 79mm and widths of 50mm.

    In 2020, Jeff Levine and Ahmed Eraqi collaborated on another revival, British Vehicle JNL.

    Old URL. [Google] [More]  ⦿

    Charley Bailey

    During her studies at Chelsea School of Art, UAL, Charley Bailey (London, UK) created the hairline display typeface Fringe (2015). Behance link. [Google] [More]  ⦿

    Charlie Beadle

    UK-based designer who created a Herb Lubalin poster in 2010. [Google] [More]  ⦿

    Charlie Boyden

    During his studies in in Suffolk, Ipswich, UK-based Charlie Boyden created an untitled avant garde typeface (2014). Also in 2014, he created the Bauhaus-inspired typeface Circles. [Google] [More]  ⦿

    Charlie Climo

    Charlie Climo (Plymouth, UK) designed the octagonally cut typeface Reticulate (2013) during his graphic design studies. [Google] [More]  ⦿

    Charlie Garrod

    Graphic designer in Norwich, UK. Behance link.

    He created the 3d shaded Typeface Illusion (2012). [Google] [More]  ⦿

    Charlie Harvey Jones

    Swindon, UK-based designer of the script typeface Hitchcock (2016) during his studies at Plymouth University. [Google] [More]  ⦿

    Charlie Jeffrey Thacker

    Upminster, UK-based designer of these handcrafted typefaces in 2016: Mango Stone, Paradise Circus (brush style), No More Allies (heavy brush), Lock (octagonal), Core, Skin, Psyarch. [Google] [More]  ⦿

    Charlie Middleton

    During his studies in the UK, Charlie Middleton created the avant-garde sans typeface family Deko (2013). Behance link. [Google] [More]  ⦿

    Charlie Samways

    Born in the UK in 1995, Grimsby, UK-based Charlie Samways designed the bold display typeface Flexibendi (2012), the puxelish The Other Brothers (2012), CS Fox (2012), the grungy typeface CS Grimrock (2012) and the techno typeface Surfsup (2012).

    Dafont link. [Google] [More]  ⦿

    Charlie Witham-Kozma

    UK-based creator of the Rebirth family (2011), which includes a stencil and many octagonal typefaces. That type family was inspired by Wim Crouwel's New Alphabet. [Google] [More]  ⦿

    Charlotte Bagnara

    During her studies, Charlotte Bagnara (Manchester, UK) created the connect-the-dots typeface Anger Tracks (2013). [Google] [More]  ⦿

    Charlotte Brown

    Leeds, UK-based designer of Home Before Dark (2013, a display sans). [Google] [More]  ⦿

    Charlotte Clarke

    During her graphic design studies at the University of Huddersfield, UK, Charlotte Clarke created an outlined "broken" 3d typeface called Juan Gris (2013). [Google] [More]  ⦿

    Charlotte Gray

    Charlotte Grey (Hastings, UK) drew an alphabet in one continuous line and called it Connected Typeface (2013). [Google] [More]  ⦿

    Charlotte Harris

    During her studies in Huddersfield, UK, Charlotte Harris designed an untitled hipster typeface (2014). [Google] [More]  ⦿

    Charlotte Holland

    Southampton, UK-based designer at Southampton Solent University of the textured typeface family Lisa King (2016), which is inspired by the patterns in the swimwear of UK fashion designer Lisa King. [Google] [More]  ⦿

    Charlotte Macdonald-Knowlson

    During her studies at the University of Northampton, UK, Charlotte Macdonald-Knowlson created the grungy typefaces Interrupted Sans (2013) and Smudge Sans (2013). [Google] [More]  ⦿

    Charlotte Tomlinson

    British youngster (b. 1992) who created a typeface out of her own handwriting. It is called Charlieface (2008). [Google] [More]  ⦿

    Charlotte Warren

    Design student at Leeds College of Art. Creator of the geometric line typeface Constellation (2012).

    Behance link. [Google] [More]  ⦿


    Student at UWE Bristol in the UK. FontStructor who made the sparkling grunge typeface Atomise (2010). [Google] [More]  ⦿

    Chebo Besa

    As a student in Salford, UK, Chebo Besa created Diamond Typeface (2015). [Google] [More]  ⦿

    Chelsea Herbert

    Graphic designer in Birmingham, UK, who made Didot Reverse (2012), an Italian typeface. [Google] [More]  ⦿

    Chequered Ink
    [Allison James]

    Chequered Ink (est. 2015) is a two-man design studio consisting of Daniel Johnston (b. 1993) and Allison James (b. 1991; Allison is a reincarnation of Andrew McCluskey). Their business is based in Bath, England but they currently reside in Newport, Wales. Before 2015, Andrew McCluskey operated as NAL Games. That font collection was merged with Chequered Ink. As of early 2019, they designed 912 fonts, virtually all downloadable at Fontspace. For detailed attributions, we have:

    Typefaces from 2015, mostly made with FontStruct: Heartbeat Synchronicity, Sawchain, Man Flu, Ace Adventure, Disco Nectar, Hex Girlfriend, Future Now, Lycra, Rygarde (pixel font), Empire Straight (avant garde caps), Kitty Katastrophe, Gang Wolfik Craze, O.K.Retro, Xxrdcore, the blocky sans serif Horticulture, the modular angular Heartbreaker, Ninja Thing, Fort Brewith, Urgently, Baxter's Slab (heavy octagonal style), Lady Radical (pixel font), Provisionary, Quickfyr, Vermin Vore, Even Stevens.

    Typefaces from 2016: Sportscream, Assvssin, Brandsom (ransom note font), BromineCocktail, DestinationMercury, Eviscera, Halloween*Heresy, IReallyReallyReallyReallyReallyReallyLikeFonts, Viadukt, Yetimology, Indocorno, Overdose Sunrise (dry brush), Happy Talk, Camaraderie, Death Hector (sci-fi), Scones And Crossbows, Casual Softcore, Notepads & Roleplay, Order in Chaos, Stencil of Destiny, ViceVersus, Magenta Flow, Prick Habit, Go Faster, BlackboardRovers, Caperput, Chavelite, Lovecraftimus, RawhideRaw2016, SmackLaidethDown2016, SmackLaidethDown2016Oblique, Pelode, The Nineties Called They Want Their Font Back, You Can't Kill Old School, Thoroughbred, Card Shark, Sheeping Dogs, Zen Monolith, The Joy Facade, Cerulean Nights, Pounds of Violence, Altered Quest (octagonal), Thrash Decision (dripping paint font), Afroed Dizzy Yak (handcrafted style), Circulus (octagonal style), 53 Dollars and 92 Cents, Endless Boss Battle (pixel font), Guest Circus Paradiso, Niagaraphobia (sans), Noseblood (squarish italic), Shake Your Plums, The Light Brigade (trekkie font), Beautiful Heartbeat (handcrafted), Poisoned Paradigm (dripping paint font), Development Hell (modular), Energetic Star (stencil), Men Down (display or poster type), Apple Korea (Hangul emulation typeface), Zdyk Capricorn, CQ Mono (a rounded monoline monospaced sans programming font), Pyrsing, Executionist, Mono a Mano (pixel typeface), Toxico, Swiggity (hexagonal), Mono a Mano (pixel font), Dissolved Exchange, Thundercover, Hors d'oeuvres The Garter, Distortion Dos Digital, Acetate, Arcapulse, ChelseaSmile, Headshots, Here&NotFound, IregulaTo, Japers, MidnightsontheShore, RallyBlade, Sothin (a great ultra-condensed squarish typeface), VerminVibes4Helium, 6Cells, DistortionDosAnalogue, SpotMonkey, Summoners, UnderwearProtest (Piano key style), VerminVibes4, Shapeshifters, Puerto Magnifico (Mexican party style font), Zdyk Gemini (intergalactic font), Bones To Your Generic Script Font, Breathe Fire (medieval style), Escalatio (hipster style), Pocket Monka (beatnik style), Jack Frost, Hiruleon, Cfour, CrystalCathedral, DigitalDust (LED font), DotLirium, Griefmachine, KillerCollege, OfMaidsandMen (oriental emulation typeface), Red Dragons, Grimeplex, Iron Amore, Twizzled, ZedSaid, Vermin Vibes, Major League Duty (military stencil), Moist (dripping paint font), Wondertribute, Of the Blue Colour of her Eyes, Anastasia (script).

    Typefaces from 2017: Technoma (rounded sans), Gothiqua, Tune Up De Ting, Diary of an 8-bit mage, Night Machine, The Wastes of Space, Nuernberg Messe, Torque Sense, Crevice Stencil, Glitch Slop, Balloonatic, Typist's Pseudonym, Flob Out A Bork, Tumbling Down (grungy), Onomber, Have a Banana (angular style), Not The Far East (oriental simulation font), Electric Shocker, Lady Radical 2 (pixel), AmidVerrion, Basilisk, Beillingsday, Butcher the Baker (a gory brush), CQ-Full-Stretch, Chillit, Diagon, Durmstrong, Embryonoid, Gravedigger, Gridget (gridded), Gridlocked, Hannover-Messe-Sans, Hannover-Messe-Serif (pixel), Ineptic, I Shot the Serif, JesusFrank, Messe Muenchen (slab serif), Ode-to-Idle-Gaming, Punishment (grungy stencil), Rumutocu (squarish), Slitter, Slim Stradiva, Supercarver, Technoma, VitruvianMan, VoiceInMyHead, Riemann Theatre (art deco), The Messenger, Revengeance, Pimlico, North to South, Qui Finn, Oganesson, Xmas Sweater Stitch, Tinsel Christmas, Inky Thin Pixels, Saint Knick Knack, Cookie Cutter Culture, Talking Baseball, Balls of Bastille, Vegan Abattoir, Oxen Crossbow, Thumbs Down, Enter the Harbinger, Im Not Like Most Fonts, We Used To Be Friends, Trendgetter, Strings Theory, Carnival trash, The Life of Flight, Sci Auralieph (rounded sci-fi style), Foreplayer, Pixel or GTFO, Block Stock, Unability, Swore Games (military stencil), Clintwood (Western, spurred), Floral Compass, Skull and Void, Weymouth Ribbon (7 pixel font), Four Mad Dogs, Blaize, Chisholm Heliport, ConfettiWestern, EdgyMarker, Ganymedian, Klein Bottle, LeipzigerMesse, LifeInTheFastLane, Messe-Duesseldorf, MilestoneOutline, Oilrig, QueenofClubs, Peking Assignment, Racetrack-Stencil (trilined typeface), RodentRage, Spoopy Ghost Pixels, SquareRaising, Whisperer, ZdykLibra, Equalize (sci-fi), Helicopta (sci-fi), Saveloy, Hangar Nine, Robo Arriba (a font with Mexican-patterned texture), Clutching Toth, Freestyling Centipede, Idiot Stax, Lorra Lorra Dates (an image font simulated on FontStruct), Rampant, Typingrad (constructivist), Lovesauce (squarish), Scaremonger, Happy Accidents, Aztechno (Mexican Aztec culture emulation typeface), BeastofRage, ComicKhazi, DaisyRoots, DogRough (ink splatter font), Drowsy, FrankfurtMesse-Serif, FrankfurtMesse-Wide, FrontPageSupplement, HipsterHandGrenade, MerrimentHelicopter, OffspringRemorse, PlacktheHanet, RevolutionWillBeHypnotised, SomersetBarnyard, Almond Rocks, Gridking, Rollcage (circle-themed sans), Satire, Some Kinda Madness, Blackletter Buffoonery, Toe the Lineless, Merriment Helicopter, Revolution Will Be Hypnotised, Long Haired Freaky People, Sui Coward, Pirates of Cydonia, Old School Adventures (pixel style), Mersey Cowboy, Disco Everyday Value, Koln Messe-Deutz, Stress Genesis, Vermin Vibesy, Madness Hyperactive, Nebulous Content, Toe The Line, Chunky Felt, Madness Hyperactive, Member Kinglify, Bristol and Bath, Dirty Princess, Modern Bohemian, Chocolate Cavalcade, Capital Clickbait, Frogotype, Ipscrik, Front Page Supplement, Sex Drugs and Fidget Spinners, Pickle Pushing, Thickedy Grunge (crayon font), Knockout Grunge, League of Extraordinary Justice, Thickedy Quick, Avenged for Yourself, Zoon Hoot, Ambidextrose, Thinly Handled, Sketchit Means Sketchit, Return of the Grid, Fierce Brosnan, Chubby Thumbs, Pseudonumb, West End Knights, Cybercrime 2004, Reflecques, Death Knell, Fake News, Zealousy, Aquamarina (rounded sans), Amateur Camcorder, Mighty Squidge, Track & Shield (multilined), Wander Z, Gardenfreude, The Wild Breath of Zelda, Effective Power, Techno Agony, LED Specimen (textured), Projectionist, Splinter Wonderland, Shiny Eyes, Uncopyrightable, Hallowed Grad, Peace and Equality, Steriliser (heavy sans), Electro Shackle, Castforce (titling sans), Butterfly Reflect.

    Typefaces from 2018: January Fair, Scared of the Unknown, Teddy Bears, Wicked Jumps, Enter The Grid 2, Chump Change, Take Me Out, Breathe Fire II, Toon Around, Tabloid Scuzzball, The Jjester, Play Pretend, A Friend In Deed, Girlesque, Bumblebear, Joyful Theatre, Snow Deep, Car Lock, Digital Display (an LED font), Game Played, Seldom Scene, The Shape Of Things, Candy Beans, Internal Rainbows, Pride Thusly, Armwarmer, Futuristic Armour, Refresher (dry brush), Brick Shapers, Frostbite Boss, Armed and Traitorous (a rough-edged stencil typeface), Ambystoma Mexixana, The Slug and Lion, Gourmet Hearth, Virtu, Star Doors, Winter Spice Cake, Canvas Bags, Shocking Headline, Tiny Islanders (pixel font), Yumi, Nobody Talks, Finished Sympathy (white on black), One Slice, Somerton Dense, Sunday Afternoon, Close & Open, Another Flight, Kuiper Belt, Platonica, Smoother, Ladders, Cold Warm, Name Smile, Shepherdy, Friend Head, Kevlar Underwear, Scrambled Tofu, Dillydallier, Joy Kim, Office Square, You've Gotta Point, District Four, Scare Arms (grunge), 22 September, Alimony, Xmas Fairy Lights, Segreteria, Leg Hug, Coded Message, Madeleina Sans, Trample Over Beauty, Emerald Grey, Fine Allie, Bottled It, Glee Finder, Pill Anthropic, Achtung! Polizei, Say the Words, Outcome, First In Line, Brain Wants, Green Strand, Die Grinsekatze, Eight Bit Dragon (a pixel typeface), KreepTown, Loudhailer, Progesterone, Insomniax, Quick Fuse, Rowdy Space Pirates, Oestrogen, Whisper Quiet, Zosilla, Construction Lines, Construction Lines, Juxtaposer, Tommi, Under The Weather, Xero's Punishment, Betryal of Mind, Rustic Love Tattoo, Younger Love (heavy octagonal typeface), Gossamer Girls (a pixel font), Dispence, Time Won, Blessings of Babylon, Requires Moonshine, Stroud, Hot Bleb, Nightmare Codehack, Manilla Cellos, Teeny Tiny Pixls, Ava Meridian, Wonders of the Orient, Float The Boat, Cute Zealand, Super Renewables, Lean Foreword, Mister Fisher, Love Nature, Exposure Salary, A Goblin Appears (pixel type), Project H, There Must Be, Charlestoning, Sportsquake, Violet Wasteland (dry brush), Clubbed to Life (sans), Moonwalk Miss, Best Tease, Reach The End (art deco), Slalom, A Grazing Mace, Boomer Tantrum, Disarmer (military stencil), Hell Underwater, Carnival Centenary (Tuscan), Mahalo Brother, Glue Gun, Tyrannothesaurus, Casanova Scotia, Fatherland Faker, Daughter Of A Glitch, Sparkles, Europhonic, Betelgeuze, Goregeous, Supermarketed, All The Way To The Sun, Russia Five, Soccer Scoreboard, Cinqcent, Megan June, Big Old Boldy, 501, Earthshattering, Sheeping Cats, Thousandyard, Closet Dwellers, Clicky Bricks, Painter Decorator, The 27 Club, Adventure ReQuest, Miamagon, Nineteen Ninety Seven, Vermin Verile, Great Attraction, Great Attraction, Zirconia, Oh Beehive (hexagonal), Gofuyo (experimental geometric sans), Wideboy, Im Spiegelland, Battenberg and Custard, Bugfast, Robotic Harlequin, Scouser Ste, Blend Her, Ancient Venusian, Sivereign State (constructivist), Daily Mix 3, Brushstroke Horror, Hellgrazer, Corporation Games (sci-fi), Pride Cometh (dry brush), Squirk (stone cut), Mecklabecka (octagonal), Nineteen Ninety Three (pixel), Dominian (octagonal), Perfectly Together, Super Comic, Nrvsbrkdwn, Bottom Brazil, Don't Delay Act Now, Nu Home, Just My Type, techno at Dusk, Starbirl, Hate Agent, Fool's errand, Bullet Rain, Orchestra of Strings, One Pill Makes You Larger, Interlewd, Fandomonium, Ball Bearing, Jamboree, Hot Thin Roof, No Added Sugar, X Termination, Real Fun Time, Der Neue Spargel, Nineteen Eight Seven (pixel), Bittypix Countdown, Nineteen Ninety Six, Fasterisq, Peekavous, Modest Felt, Im Wunderland, Megarok, Sunk Foal Brother, Skydiver, Chasing Rabbits, Background Noise, Viridian College, Sacred Hertz, Sawyers Whitewash, Brittle, Cupcake Smiles, Machine Gunk, Dubspikes, Onslaughter, Eyes Wide Suicide, Boatycabiners, All Square Now (pixel), Hawking Bowen (octagonal), Style Thief, Tagon (octagonal), Withheld Data (LED font), Dubstep Blackletter, Pixabubble, Hopelelessly in Lurve, Springtime Daydream, Techno Til Dawn, Fluid Lighter, Rush Rush (stencil), Incompetent Landlord, Danger on the Motorway (dot matrix), Hippopotamus Apocalypse (hexagonal), Homunculus, Bittypix Monospace (pixel font), Unicorn Scribbles, Rockout, Truly Madly Dpad, Tincture, Virtual Pet Sans (dot matrix font), How Are You Today (ultra-condensed), Juicebox, Chemical Superior, Organic Teabags, Broadsheet Bubble, Document Two, Slope Opera, Blockbrokers, Off The Haze, Gang Wolfik, Gnorts Mr A, Radiator Falls, Take Me On, Cyberspace Raceway, Rocket Rinder, May We, The Citadels, Life Is Okay, Astrolab, Simple Stitch, Feeding A Moment, Gooseberry Juice, Namso, Rabbit Fire, Texas Drop, Short Xurkit, Maiden Crimes, Hysterix, Introducing Pretentiousness, Lullaby Weight, Slumbers Weight, Vampires, Veal Nerve (a neurotic typeface), Be Kind To Earth, Aardvark Sk8, Ancient Modern Tales (blackletter), Spider Talent (Halloween font), Pooch Doo, Plan G, Rhapsodies (art deco), Lab Pulsar (sci-fi), Hamburg Messe (blackletter), Xide, Scrawling Pad, Bun Ting, Speedeasy, Itty Bity Notebook.

    Typefaces from 2019: Hindsight 2020, Provicali, Go Everywhere, Smack Laideth Down 2019, China Fad, Monster Twenty, Into Deep (sci-fi), Mandatory Plaything, Galaxy Girl, San Marino Beach (a shadowed font), Acorn Caravan (a rounded sans stencil), Hairy Beard, Phonograph, Sterelict (futuristic), Egosurf, Bankruptcy, Wayfarer's Toy Box (a pixel font), Fox Cavalier, Heartisan, Modular Amplitude (heavy octagonal, Dolphin with a Massive Shotgun (a glitch font), Jasmine Laslo, Earth Spirit, Nemesis Grant, Daily Mix 4 (an all caps blackboard bold typeface), Uplifting, Ministry of Moron (a heavy sans), Extinction Event, Cut Deep, Q For The Memories, Wozcott, Super Legend Boy (pixelish), Chopsic, Lesotho Beach (octagonal), Illiead, Ten Pin, Isite, Motorstrike, Hwyl Fawr Hello, Undersided, Shut Up and Love Me (shaky letters), Terminal Day, I Am A Designer, Born to Grille (a semi-stencil), Amuse-Bouche, Die Frau, Err Hostess (octagonal), Cthulhu's Calling, Fresh Eaters, Gamma Orionis, Greatsby Gat, Hands Oversaturation (sans), Joy Multiplication, Kotoba, Midnight Champion (an extra tall sans), She Smiles, Read Wharf, Ohno (poster sans), Prodigy Forever (a blood and paint splatter font), Questrian 2 (sans), Nau Sea (squarish), The Macabre, Long Fox, Roll Accurate (stencil), Princess Saves You (pixel font), Clone Machine, Cyberpunk Sealion, Misery Garment, Klimaschutz, Space Obsessed, Serpentire, Squidgy Sweets (fat rounded sans), Yokelvision (fat letters), Coral Colour, None Away From The Moon (counterless), Squidgy Sweets, Yokelvision, Coral Colour, None Away from the Moon, Robot Roc, Figure Things, Gaeilge Kids, FoughtKnight Haymaker, Medical Shape, Revenant (octagonal), Pinch My Ride, Dire Gramme, Assembled from Scratch, Premier 2019 (squarish).

    Typefaces from 2020: Hardigan (a titling sans), Petrichor Sublimey, Bardolatry, Star Trebek, Fast Hand (sci-fi), Bonk Robbers, Neuterous, Demoness, Lucid Streams (sci-fi), Fosterama (an elliptical sans), Woman, Shock Mint Fund (octagonal), Milletun (an all caps slab serif), Mille, Vudotronic, Elder Head, Dead Revolution, Charge Off, Asleepytiming, Questrian3, SplendidConfusion, XXIX, Septacharge, Dark Seed, Hawkeye, Dustfine, We Are Survivors, Be A St, Computo Monospace, Dealer Strikes, Zdyk Virgo, Bathrind, Honk, Revamped, Clease Plap, Zdyk Cancer, Cyberway Riders, Memorial Lane, Doubleplus, Ominus (italic), Army Buster (stencil), Tudor Victors (a grungy stencil), Romantic Chemicals, Migraine Machine, Warhead (constructivist), X-Heighting.

    Dafont link. Creative Market link. Fontspace link. [Google] [More]  ⦿

    Cher Pratley

    Illustrator in Oxford, UK, who created an illustrative poster of Ogham symbols in 2015. [Google] [More]  ⦿

    Cherokee metafont
    [Alan M. Stanier]

    Alan M Stanier's metafont for Cherokee based on the Cherokee script was designed in 1821 by Segwoya. [Google] [More]  ⦿

    [Tim Barnes]

    British outfit located in London. MyFonts sells the double-stroked and African-themed comic book style family Picklepie (2008), the curly Galerie Simpson (2011), the playful Message of the Birds (2009), Lemon Flower (2010), No Liming (2009), Out Back (2009) and Pigeonpie (2009), made jointly by Tim Barnes (b. 1967, London) and his six-year old daughter Lydia Barnes (b. 2001, London).

    In 2013, Tim Barnes published the hand-printed caps family Pegasus, Lobo (an interlocking letter typeface), Barb (angular poster face), Ply, and the crazy mixed-glyph typeface Coo Coo I Coo Coo For You Too. [Google] [MyFonts] [More]  ⦿

    Chloe Analeise Small

    Uckfield, UK-based designer of the handcrafted textured typeface Scissors (2015). [Google] [More]  ⦿

    Chloe De Suze

    During her studies in London, Chloe De Suze designed a modular typeface in 2017. [Google] [More]  ⦿

    Chloe Hope Jessop

    Coventry, UK-based student-designer of a handcrafted display typeface in 2015. [Google] [More]  ⦿

    Chloe Johnson

    London-based designer of a modular typeface in 2016. [Google] [More]  ⦿

    Chloe Johnston

    Student at UWE in Bristol, UK. She created the curlicue typeface Keys (2011, FontStruct). [Google] [More]  ⦿

    Chloe Stokes

    During her studies at UOG, Cheltenham, United Kingdom-based Chloe Stokes designed a display typeface (2016) and Outdoor Icons (2015). [Google] [More]  ⦿


    British creator of these fonts: Curls (2006, a curly sans), Curlial (2006), Absolute Zero (2006, pixel face), and Minimono (2006, pixel face). Dafont link. [Google] [More]  ⦿

    Chris Anderson

    English artist (b. 1988) who created the Bifur-inspired Vuur (2008). Dafont link. [Google] [More]  ⦿

    Chris Au

    Graphic designer in Manchester, UK, who studies graphic design at the University of Salford. He created the hand-printed typeface Remnant (2010).

    Dafont link. [Google] [More]  ⦿

    Chris Bannister

    UI designer at Fueled who is based in London. He is working on a sans typeface in 2015. [Google] [More]  ⦿

    Chris Bentham

    Leeds, UK-based graphic designer who created the display typefaces Bones (2012) and Cuckoo (2012).

    Cargo collective link. Behance link. [Google] [More]  ⦿

    Chris Boulden

    London-based designer of Monster Alphabet (2016) and Bloodline (2016: a poster typeface). [Google] [More]  ⦿

    Chris Bradbury

    London, UK-based designer of Penny 200 (2015), a typeface made for a children's book. Behance link. [Google] [More]  ⦿

    Chris' British Road Directory
    [Nathaniel Porter]

    Chris Marshall's web site on British roads and traffic signs. He has a subpage on fonts used on British highways. Based on these specifications, Nathaniel Porter and John Prentice (who added Greek characters, based on Greek road signs) made a set of free fonts that follow the British highway system. These include Transport Medium, Medium Greek and Heavy (the main British highway font), Motorway Permanent (for numbers on signs), Motorway Temporary (for use on temporary signs), Pavement (for painted lettering on the road surface), and VMS (an octagonal font for use in light-up panels). Erik Spiekermann blasts his implementation of Transport: A gentleman called Nathaniel Porter has digitized Transport Heavy, and it is being used by various agencies. The data is even worse than the Swedish Tratex font which must have been done by an amateur on on Ikarus system without corrections. This one here is just a raw scan. Amazingly, it works as a font. Too heavy for signs, but just shows how good font software has become if it can actually make a working font from a scan that looks like a piece of German rye bread. I suspect that this version of Transport Heavy is being used in Italy and Spain. And in Greece as well. They also made Old Road Sign Font after the road sign lettering in the UK in use before 1964. Its origins go back to 1944. [Google] [More]  ⦿

    Chris Brown

    British flash specialist. He created these pixel typefaces in 2009: Perfecto Small, Future File. [Google] [More]  ⦿

    Chris Butt

    Creative director in London who created an art nouveau poster for a masquerade ball in 2013. Behance link. [Google] [More]  ⦿

    Chris Clarke

    Bristol, UK-based freelance graphic designer. He created the Type Cube, which can be used to make modular fonts---a bit like a 3d-real life version of FontStruct's bricks. [Google] [More]  ⦿

    Chris Cooke

    Brighton, UK-based designer of the ultra geometric commissioned typeface Situation Modern (2010). [Google] [More]  ⦿

    Chris Coombes

    Chris Coombes (UK) made these typefaces:

    • Duro (2011) and Guggenheim (2011), two squarish ultra-black typefaces inspired by the Guggenheim Museum in Bilbao.
    • Gugg Straight (2011), Drype (2010), Don't Hurt Me (2008, pixel face), Blox, Big Blocks (2008) and Blockface (2008).
    [Google] [More]  ⦿

    Chris Copping

    Portsmouth, UK-based designer who is working on the high-legged display typeface Dilfana (2004). [Google] [More]  ⦿

    Chris Corbett

    [More]  ⦿

    Chris Dale

    Student at the University of Greenwich, UK. Designer of the experimental typeface Binary Code (2011). [Google] [More]  ⦿

    Chris Day

    Designer in Birmingham, UK, who created the fun colorful Milton Glaser style display typeface Discopolis (2016). Behance link. [Google] [More]  ⦿

    Chris Dickinson
    [More Type]

    [MyFonts] [More]  ⦿

    Chris Edwards
    [Hektik Designs]

    [More]  ⦿

    Chris EF

    British designer of the handcrafted CEF (2016). [Google] [More]  ⦿

    Chris Gray

    [More]  ⦿

    Chris Hall
    [Boo to the Business World]

    [More]  ⦿

    Chris Hampshire

    Milnthorpe, UK-based designer of the hipster typeface Red Dawn (2014). [Google] [More]  ⦿

    Chris Hawtin

    Harpenden, UK-based designer of the 3d blocky gaming typeface GameBlock (2016). [Google] [More]  ⦿

    Chris Helingoe

    UK-based FontStructor (student at Bristol UWE) who made the cubist typeface Kaos (2010). [Google] [More]  ⦿

    Chris Henley

    [More]  ⦿

    Chris James
    [F is for Fonts]

    [More]  ⦿

    Chris Jeffreys

    Creator of the ornamental typeface Trust Me 97, which won an award at the Creative Review Type Competition 2005. He works at The Chase, UK. [Google] [More]  ⦿

    Chris Kontogeorgos

    During his studies at Central Saint Martins College of Art and Design in London, Chris Kontogeorgos created the graffiti typeface BerlinGraffic (2012). [Google] [More]  ⦿

    Chris Lensicle

    London-based designer (b. 1987) of the white-on-black boardgame font Kid's Board Game (2015). Dafont link. [Google] [More]  ⦿

    Chris Leyland

    Truro, UK-based designer of the hand-drawn typeface family Idlewild (2014). Behance link. [Google] [More]  ⦿

    Chris Lord

    Richmond, UK-based designer of the Kandinsky Bauhaus alphabet in 2014. [Google] [More]  ⦿

    Chris M. Hughes

    British designer of the free condensed squarish sans typefaces Fyodor Bold (2017) and Sacco Semi Bold (2017). Open Font Library link. [Google] [More]  ⦿

    Chris Moore

    Northampton, UK-based designer of the experimental typefaces Juniper Regularis (2014), Portmanteau (2014) and ramen (2014). [Google] [More]  ⦿

    Chris Nuelle

    London-based designer of the modular typeface Law & Order (2015). [Google] [More]  ⦿

    Chris O'Leary

    Norwich, UK-based designer of the sans typeface Fotoautomatica (2013). [Google] [More]  ⦿

    Chris Page

    Chris Page is a graphic designer based in London. He created the multiline caps typeface Gilinier (2012). [Google] [More]  ⦿

    Chris Pitney

    Student at Leeds University, UK, b. 1986. Creator of the spiky techno typeface Barbie Final-ish (2006) and the organic techno typeface Bobel (2007, organic). Alternate URL [dead]. Fonts2u link. [Google] [More]  ⦿

    Chris Place

    Macclesfield, United Kingdom-based designer of the modular techno typeface Swoosh (2018). [Google] [More]  ⦿

    Chris Poole

    Chris Poole (Pooley Design, UK) is a third year student of Graphic design at the Arts University College at Bournemouth. Behance link. Creator of the monoline rounded minimalist sans typeface Untitled (2011). [Google] [More]  ⦿

    Chris Seaborn

    Cheltenham, UK-based designer of the brutalist typeface Monolith (2015). [Google] [More]  ⦿

    Chris Shuttleworth

    Leeds, UK-based designer of the experimental typeface Dead Space (2012). [Google] [More]  ⦿

    Chris Stephenson

    Designer in Leeds, UK. Chris experimented with exaggerated ligatures in his Interconnect (2012), and the results are fresh, beautiful and promising. Behance link. [Google] [More]  ⦿

    Chris Thornley

    Graphic designer and illustrator in Darwen, UK. Behance link.

    Creator of the multilined typeface Moon (2012). [Google] [More]  ⦿

    Chris van Niekerk

    During his studies at Leeds College of Art, Chris van Niekerk CVN Design) created the fashion mag typeface Modern No. 4 (2012) and Amstersans (2012). [Google] [More]  ⦿

    Chris Watson

    Chris Watson is an award-winning, London-based illustrator with an incorrigible knack for steely, hand-drawn illustrations. Besides being commissioned from around the world by the likes of Levi Strauss and the Guardian, Watson frequently indulges in his penchant for cycling, providing illustrations for periodicals like Cycling Active, Cycling Weekly, and Performance Bikes.

    At Voltage, he published Watson Steel Pen No. 1 (a hand-drawn nostalgic poster face), DingBikes (bicycle dingbats) and Watson Grotesk (Tuscan face). [Google] [MyFonts] [More]  ⦿

    Chris Winter

    Brighton, UK-based designer of Vintly's Hand (2009). [Google] [More]  ⦿

    Chris Zammit

    UK-based designer of the 4-style sans typeface EchoTech (2016) and the organic monolinear typeface Bumble (2017). Graphicriver link. [Google] [More]  ⦿

    Chrissy Fox

    Plymouth, UK-based designer of the grungy typeface Hopper (2013). That typeface was designed during her studies at Plymouth University. [Google] [More]  ⦿

    Christian Brown

    UK-based designer (b. 1989) of the tall-ascendered pixel font Mode (2006). Alternate URL. [Google] [More]  ⦿

    Christian Küsters
    [ACME Fonts (or: CHK Design)]

    [MyFonts] [More]  ⦿

    Christian Moorhead

    During his design studies in Manchester, UK, Christian Moorhead created the kinetic typeface Serverus (2015). Behance link. [Google] [More]  ⦿

    Christian Schwartz
    [Commercial Type (Was: Schwartzco)]

    [MyFonts] [More]  ⦿

    Christian Widlic

    Christian Widlic (Brighton, UK) created a knitting typeface called Askeladden (2011). He writes: Based on Norwegian tradition and the so called lusekofte (the traditional sweater), I have designed a typeface specifically made for knitted sweaters. The typeface is called Askeladden and comes with six different fonts. Askeladden is the main character in many Norwegian folktales. In some ways, he represents the small man who succeeds where all others fail. He always wins in the end, often winning the princess and half the kingdom. Academic project 2011.

    Behance link. [Google] [More]  ⦿

    Christiana Bryan

    East Sussex, UK-based designer of the commercial families Sagittar (wedge serif) and Virgo. She calls these "sculptural typefaces". Old URL. [Google] [More]  ⦿

    Christie Podioti
    [MyChristie (was: Christie Font Foundry)]

    [MyFonts] [More]  ⦿

    Christina Dias Andrade

    During her studies at Middlesex University, London-based Christina Dias Andrade designed Missing Anatomy Typeface (2016). [Google] [More]  ⦿

    Christina Osipova

    As a student at Central Saint Martins in London, Christina Osipova designed the triangle-themed typeface Troika (2016). [Google] [More]  ⦿

    Christina Schultz

    Christina Schultz works as a freelance designer in London and Berlin. Her current focus is on iconography and intelligent fonts. Recent projects include logo, corporate and web design. She graduated from Central Saint Martins School of Art and Design with an MA in Communication Design in January 2005. At ATypI 2005 in Helsinki, she spoke about Piclig (for picture ligature), an intelligent OpenType font, which makes it possible to create symbols out of letters. These letters, when typed in a specific order, merge automatically and form picture ligatures. To achieve this replacement, piclig uses OpenType's contextual character substitution. The font contains a library of 112 symbols which are encoded not as images, but as characters. Piclig occupies little disk space, which is important in applications such as mobile phones. FF PicLig (2005, Fontshop). FF Piclig won an award at TDC2 2006.

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

    Christine Hampshire

    Rainham, UK-based designer of the deco typeface Chaplin (2016). [Google] [More]  ⦿

    Christine Taylor

    London-based designer of the hip timeless font GF Hegemonic at Garagefonts. FontShop link. Klingspor link. [Google] [More]  ⦿

    Christoph York
    [Brink Type]

    [MyFonts] [More]  ⦿

    Christopher Algar

    During his studies at the University Of Lincoln's School of Art and Design, Christopher Algar (London, UK) designed the display typeface Two-Faced (2013).

    Behance link. [Google] [More]  ⦿

    Christopher Berry

    Brighton, UK-based creator of the op-art set of alphabet wall prints called Factory Twenty One (2015). Behance link. [Google] [More]  ⦿

    Christopher Burke
    [Hibernia Type]

    [MyFonts] [More]  ⦿

    Christopher Goodwin

    Graphic designer and illustrator in Chesterfield, UK. He created the experimental typeface Yatagan (2009). Xone (2009) is a geometric typeface inspired by shapes and children's building blocks. Flux (2009) is a hand-set typeface created in response to creative writing about time and reality. The multiline Flux Deux followed in 2012. Yatagan (2012) is an oddly-curved monoline typeface.

    Behance link. [Google] [More]  ⦿

    Christopher Gunter

    During his studies at Plumouth University, Warminster, UK-based Christopher Gunter created Agitator (2015), a typeface dedicated to movie director Werner Herzog. [Google] [More]  ⦿

    Christopher Haanes

    Oslo-based Norwegian who was born in Cheltenham, UK, in 1966. Haanes teaches calligraphy, lettering and typography, and is a freelance calligrapher, book designer and typographer. He designed many alphabets, which are mostly calligraphic, but he has also drawn some old Roman lettering and blackletter alphabets. His blog (in Norwegian) has interesting typographic threads, such as this educational comparison between Antiqua typefaces like Brioso, Adobe Jenson, Bembo, Adobe Garamond, ITC New Baskerville and Linotype Didot. This thread looks at sans typefaces. He designed a calligraphic alphabet specifically for Cappelen Damm in 2008, which was digitized by Sumner Stone as Litterat. [Google] [More]  ⦿

    Christopher Hampshire

    Designer from Salford, UK. Creator of Tall Boy (2011, condensed, tall, squarish and monoline---done at FontStruct). Roseshock (2012) is a grunge version of Rosewood.

    Behance link. [Google] [More]  ⦿

    Christopher Harrold

    Graduate of the University College Falmouth, UK. Graphic designer in Bristol. Creator of Simple Simon (2011). Home page. [Google] [More]  ⦿

    Christopher J. Fynn
    [Software&Fonts for Bodhic Languages&Script]

    [More]  ⦿

    Christopher Jackson

    British creator of The Dog Ate My Homework (2016), Social Circles (2016, web icons), Christopher's Scribble (2013) and Arty Signature (2013). [Google] [More]  ⦿

    Christopher Jarman

    Download the (free) Acorn handwriting font. Also, instructions on improving handwriting. JarFont, also free, is not a font but a simulation of the Christopher Jarman cursive handwriting as seen in the handwriting scheme for schools, see e.g., "The Development of Handwriting Skills" by Christopher Jarman now published by Stanley Thornes Ltd, Cheltenham, UK. Now four PC fonts made in 1998: Jarman, Jardotty, Jumper (by Christopher Jarman), Jarsphere.

    See also here. Fontspace link. [Google] [More]  ⦿

    Christopher Keegan

    British designer of Awaken (2002, ink splatter).

    Dafont link. [Google] [More]  ⦿

    Christopher King
    [Wing's Art Studio]

    [MyFonts] [More]  ⦿

    Christopher Skinner

    King's Lynn, UK-based designer of the experimental typeface Pabulum (2013). Behance link. [Google] [More]  ⦿

    Christopher Wood
    [zone23 fonts]

    [More]  ⦿

    Christos Hooper
    [Hooper Type]

    [MyFonts] [More]  ⦿


    Chris Ireland's commercial product by CIA (BAR CODES) UK, based in Manchester. Demo. Includes Bookland, Codabar, Code 39 (Normal), Code 39 (Extended), Code 39 (Mod 43), Code 93, Code 128 A, Code 128 B, Code 128 C, Code 128 (Automatic ABC), EAN 8, EAN 8 Plus 2, EAN 8 Plus 5, EAN 13, EAN 13 Plus 2, EAN 13 Plus 5, EAN 128, Interleaved 2-of-5, Interleaved 2-of-5 (Mod 10), ISBN, ISSN, POSTNET, UPC A, UPC A Plus 2, UPC A Plus 5, UPC E, UPC E Plus 2, UPC E Plus 5, UCC 128, UCC / EAN 128, UPC Shipping Container Code, SCC-14 Shipping Container Code, SSCC-18 Serial Shipping Container Code, HIBC LIC (Code 128, Code 39), NHRIC (UPC A, ITF, UCC / EAN 128), UPN.

    om the spokesman: "Our 'BAR CODE PRO v3.0' for Windows product is unique in that it contains ALL TrueType barcode fonts for all of the popular barcode types; Bookland, Codabar, Code 39, Code 93, Code 128, EAN, Interleaved 2-of-5, ISBN, ISSN, POSTNET, UPC A, UPC E, UPC Shipping Container Codes". [Google] [More]  ⦿

    Ciaran Horrex

    Web and print designer in London. He created the typeface The Balls (2011). [Google] [More]  ⦿

    City College Manchester, Manchester School of Printing

    The Manchester School of Printing, part of City College Manchester, is based at the Wythenshawe Centre. [Google] [More]  ⦿

    Claire Deacon

    Graphic design student at University College Falmouth, UK, who created the hand-printed typeface Eyre Script (2012). [Google] [More]  ⦿

    Claire Hollingworth

    Graphic designer who created the display typeface Stomach in 2017 during her studies at Birmingham City University. Behance link. [Google] [More]  ⦿

    Claire Joines

    London-based designer of Arnie (2020). [Google] [More]  ⦿

    Claire Joines

    During her studies in Southampton, UK, Claire Joines created the free hand-drawn typeface Billy (2014). See also here. Behance link. [Google] [More]  ⦿

    Claire Malboeuf

    During her studies at Nazareth College in Rochester, NY, Claire Malboeuf created the metal; band typeface Metallica (2015) by combing the free fonts Wide Black and Tolerant. [Google] [More]  ⦿

    Claire Mitchell

    UK-based FontStructor (student at Bristol UWE) who made the texture typeface Headless Roman (2010) and Tangle (2010). [Google] [More]  ⦿

    Claire Scully

    London-based graphic designer who created the commercial typefaces Nature Club (2012), Feather (2012, a caps face) and Anemone (2012, floriated initials) at The Type Foundry. [Google] [More]  ⦿


    Student at UWE, Bristol, UK, who made the floriated caps typeface Vintage Mechanism (2011, FontStruct). [Google] [More]  ⦿


    British designer who made the dingbat typeface death Note (2009). Home page. [Google] [More]  ⦿

    Clara Jonas

    During her studies, Boscastle, United Kingdom-based Clara Jonas designed the brush typeface Warrior (2016). [Google] [More]  ⦿


    Digital artist from the UK (b. 1981) who is involved in Evenstar Art. As Cosmomouse, she created the underlined and boxed caps font House M.D. (2006). [Google] [More]  ⦿

    Clare Acheson

    Creator of the hand-rendered typeface Rubbish (2012). [Google] [More]  ⦿

    Clare Vacha

    Illustrator and designer in London. Creator of the Ciomic Sans-style typeface Chat Up (2014). Behance link. [Google] [More]  ⦿

    Clare Vickers

    Graphic Design at NUCA in Norwich, UK. She created Fluent (2011). [Google] [More]  ⦿


    A discussion on Typophile regarding the history of Clarendon and good versions. This site provides additional information. A summary:

    • The original Clarendon is due to Robert Besley (1845). Robert Bringhurst writes: Clarendon is the name of a whole genus of Victorian typefaces, spawned by a font cut by Benjamin Fox for Robert Besley at the Fann Street Foundry, London, in 1845. These typefaces reflect the hearty, stolid, bland, unstoppable aspects of the British Empire. They lack cultivation, but they also lack menace and guile. They squint and stand their ground, but they do not glare. In other words, they consist of thick strokes melding into thick slab serifs, fat ball terminals, vertical axis, large eye, low contrast and tiny aperture. The original had no italic, as the typeface had nothing of the fluent hand or sculpted nib left in its pedigree.
    • Robert Bringhurst: Herman Eidenbenz drew a revival Clarendon for Haas Foundry in Münchenstein, Switzerland, in 1951, and in 1962 the foundry finally added the light weight that transformed the series, paring it down from premodern ponderousness to postmodern insubstantiality. Clarendon LT (Linotype) is the digital version of this typeface (Linotype says that the typeface was created in 1953, contradicting Bringhurst).
    • Freeman "Jerry" Craw designed the Craw Clarendon (Book and Condensed) at ATF in 1955-1960. It is available, e.g., as Craw Clarendon EF, OPTI Craw Clarendon, and Craw Clarendon (2013, Jordan Davies).
    • Contemporary Clarendons include Font Bureau's Giza, Storm's Farao and Hoefler's Proteus.

    Poster by Elizabeth West. [Google] [More]  ⦿


    The original Clarendon is due to Robert Besley (1845). Robert Bringhurst writes: Clarendon is the name of a whole genus of Victorian typefaces, spawned by a font cut by Benjamin Fox for Robert Besley at the Fann Street Foundry, London, in 1845. These typefaces reflect the hearty, stolid, bland, unstoppable aspects of the British Empire. They lack cultivation, but they also lack menace and guile. They squint and stand their ground, but they do not glare. In other words, they consist of thick strokes melding into thick slab serifs, fat ball terminals, vertical axis, large eye, low contrast and tiny aperture. The original had no italic, as the typeface had nothing of the fluent hand or sculpted nib left in its pedigree.

    Mac McGrew adds: Clarendon is a traditional English style of typeface, dating from the 1840s, the name coming from the Clarendon Press at Oxford, or, according to some sources, from Britain's Earl of Clarendon and his interest in that country's Egyptian policies. (Such typefaces were classified as Egyptians, and inspired such later designs as Cairo, Karnak, Memphis, and Stymie.) Early Clarendons were used primarily as titles and display typefaces, for which their strong and sturdy nature was well suited. They have the general structure of romans, but lack the hairlines typical of those typefaces. Being heavier, the traditional Clarendons were often used as boldfaces with romans, before the family idea provided matching boldface designs.

    McGrew continues his discussion by pointing out various revivals and typefaces with strong similarities: Similar typefaces were known as Doric or Ionic, before more individualized type names became common; in fact, all three names were sometimes used interchangeably. Most foundries had versions of Clarendon, and sometimes Doric and Ionic, in the nineteenth century, but most of these typefaces were obsolescent by the turn of the century. However, a few were copied by Linotype, Intertype and Monotype, and thus given a renewed lease on life. Clarendon Medium of BB&S was formerly known as Caledonian. ATF had a similar typeface known as Ionic No. 522. Keystone showed Clarendon Condensed in 1890. Clarendon [No. 51 of BB&S was called Winchendon by Hansen, and extended to 48-point. Like many pre-point-system typefaces, some foundries adapted them to point-system standards by casting them on oversize bodies, others on undersize bodies with overhanging descenders. In the later 1950s Stephenson Blake in England revived several of these early Clarendons under the new name of Consort, which became a popular import (and the source of some of our specimens). Consort Bold Condensed is said to be the first Clarendon, of 1845. (Some added members of the Consort family are noted under Popular Imports in the Appendix.) In 1953 a new version of Clarendon was developed by Hermann Eidenbenz for the Haas Type foundry in Switzerland and later acquired by Stempel in Germany. The Haas Clarendon was copied by Linotype in 1966, in light and bold weights, and about the same time Ludlow brought out three weights of essentially the same face. This was created primarily to set the newspaper ads of a large department store, but it was a good addition to the resources of Ludlow. ATF commissioned a modernized rendition of Clarendon from Freeman Craw, and this was brought out in 1955 as Craw Clarendon (q.v.). About 1961 Monotype brought out Clarendon Bold Extended, similar to Craw Clarendon but heavier. Also see Ionic, News with Clarendon, Manila.

    Poster by Elizabeth West. [Google] [More]  ⦿

    Clarice Dall'Orto

    London, UK-based designer of Conceptual (2014), an experimental font based on circles. [Google] [More]  ⦿

    Classic Font Company
    [Anthony Nash]

    The Classic Font Company is a small foundry with absolutely gorgeous commercial fonts (often revivals of pen drawings) by Tony Nash (b. Bristol, 1944): Abby (blackletter family), Amadeus (1997), Batard, Bede, Byro, Carol (1997, blackletter family), Classic (2000-2002), Copper, Doodles (2000), El Cid (2000), Frameworks, Karen, Kells (celtic uncial), Prima, Priory (1997), Savoy (1997, a great bastarda font family accompanied by Savoy Frames), Scriptoria, Theodore (1995, blackletter font), Tuscany (Lombardic face), Versals (2000, Lombardic capitals). Plus 13 sets of fantastic caps (but not in font format) by Andy Jeffery. Based in North Somerset, UK.

    Not to be confused with the rip-off outfit "Classic Font Corporation, USA".

    Linotype link.

    Identifont lists these typefaces: Abby, Abby Hilite, Abby Lowlite, Abby Open, Abby Split, Amadeus, Carol, Classic, Copper, Doodles (CFC), El-Cid, FW-Leaves, Kells, Priory, Savoy, Theodore, Theodore Fancy, Tuscany (CFC), Versals.

    View Classic Font Company's typeface library. Klingspor link. [Google] [MyFonts] [More]  ⦿

    [Matthew Meddy Collins]

    ClaWrite is an alphabet based on a 3x3 grid of straight strokes -- which are very easily made with claws, hence the name. It was something I designed in the early 1990s as a system of dragon writing, but it has plenty of applications for us folks in human bodies, too. No kidding, this is an alphabet for dragons. A font was made by Mark Johnston, but I could not find it. Matthew Meddy Collins from the UK made another one, called ClaWrite2009, but that font in turn seems to have been made by Tori Kabuto---help. [Google] [More]  ⦿

    Clément Fusil

    French student who is studying graphic arts at the Winchester School of Art in the UK. He created a thin and moody typeface called Decay (2011). [Google] [More]  ⦿

    Cleber Rafael de Campos

    [MyFonts] [More]  ⦿

    Clement Robert

    French designer in London who has a Masters from Maryse Eloy Art School in Paris, 2011. Behance link.

    Dünn (2012) is a thin blackletter font created in collaboration with Claire Doghmi during a workshop with Jean Widmer. Dünn is the skeletal version of Fette Gotisch. [Google] [More]  ⦿

    Clive Bruton

    Clive Bruton graduated from the London College of Printing in 1988. He became a type technology specialist. He is a director of INDX/Creatives Connect, a consultancy in London for new technologies and workflow. He started the on-line type publication Fontzone in 1996. Bruton designed Julius, based on Frutiger's Avenir, Adams Rounded, based on VAG Rounded, Christina, and Mad Mach. Someone told me he also designed Debenhams Titling, but I can't find any evidence of that on the web. The link has gone dead. At Typotechnica 2005, he spoke about "a practical demonstration of font customisation, for example the name of the purchaser and their address, on a per-customer basis. With a desktop application to display such information to any end user." [Google] [More]  ⦿

    Club 21
    [Julian Morey]

    The founder of and only designer at Club 21 is Julian Morey, a graphic designer and font creator from London who designed Pacific (1999, an octic typeface influenced by American naval lettering), VMR (1999), SignPlate (a stencil font), Sigma OT (2008, a sans based on a Stephenson Blake grotesque), Skye (2001, a stencil font), Skye Outline [note: Skye used to be called Axis], Checkout, Alpine (2000), Brassplate, Greenwich (2001, a stencil font with fine breaks; used to be called Bronxville), Codex, Electro, Ionia, Jakarta (2000, an octagonal sports/stencil font; was called Jersey), Kathode, Octago (an octagonal stencil face), Liquid, Simpson Typewriter, Preset, Roadworks (1992, stencil font), Thompson Monospaced, Spacer (1999), Paintworks, Portfolio.

    FontWorks used to sell their fonts, but now Faces does.

    FontShop link. [Google] [More]  ⦿

    Club Type
    [Adrian Williams]

    Original typefaces designed by Rosemary Sassoon and Adrian Williams (b. Bridgwater, Somerset, 1950), an English advertising typographer and type designer. Located in Red Hill, Surrey, Club Type was founded in 1985 by Williams and Sassoon. Before that, Williams had been been converting many established metal designs for the new filmsetting devices in 1969, and continued with conversions into the digital era. This led to the production of custom made fonts for Renault, Marks&Spencer, Jaguar Cards and Foster's Lager among others. Wide font services. Sassoon worked on scripts with joined letters. She is most famous for her Sassoon Primary font family (primary school writing). Adrian Williams designed the following families: Admark (1990), Bulldog (1999, a grotesque family based on 1870 Figgins), Bulldog Slab (2009), Bulldog Hunter Std (2010, another slab version), Club Type (1998-2002: his inspiration was the lettering used for cartoon captions in the Mercurius Aulicus, England's first regular newspaper, from 1642 to 1647), Club Type Script Pro (quill pen script), Column (1992), Congress Sans (1992), Eurocrat (1991), Leamington, Mercurius (1989, a bouncy typeface inspired by the lettering used for cartoon captions in the Mercurius Aulicus, England's first regular newspaper, from 1642 to 1647), Monkton (1990: incised, with a bit of Trajan, and a bit of gravestone type), Monkton Aged (2020), Monkton Book Condensed (2020), Monkton News (2020), Monkton Incised (2020), Poseidon (1991), Raleigh (1977, with Carl Dair and Robert Norton; see Softmaker's R651 Roman and Raleigh Serial, and Bitstream's Calligraphic 631), Rileyson (2010, humanist sans family; +Great, +Teen, +Parent), Seagull, Stratford [see Stratford SH, Scangraphic], Veronan and Worcester Rounded and Worchester.

    FontShop link. Klingspor link.

    Typeface library. View Adrian Williams's typefaces. [Google] [MyFonts] [More]  ⦿

    [Elí Castellanos Chávez]

    A 2004 graduate of Universidad Autonoma de San Luis Potosi. As a student at CEAD in Mexico, Elí Castellanos Chávez (b. 1980) is the director of Cocijotype, a foundry located in Oaxaca. He taught editorial design and typography in Loma Bonita, Mexico. Cocijotype was earlier called Sexytype. He won the Gold prize at the Morisawa Type Design Competition in 2014. He works as a Font Developer at studio Dalton Maag in London.

    Flickr page.

    Their typefaces:

    • Koch's Neuland inspired Elí to create Barrilito (2009). This anthroposophic typeface won an award at Tipos Latinos 2010 in the script category.
    • Barricada (2008, Sudtipos) is a fat rounded signage typeface that was awarded in the Tipos Latinos 2008 competition in the non-text category.
    • Lucecita (2009) is a dot matrix LED font. It won an award at Tipos Latinos 2010 in the screen typeface category.
    • Barronegro (2009) is a text family on which he has been working between 2006 and 2009. Barronegro is based on the cultural heritage of Oaxaca, as found on local posters, menus, shops, clothing, and art.
    • Miniblock (2009, by Manuel Guerrero) is created to stack letters next to each other to look like labyrinths. It won an award in the Tipos Latinos 2008 competition for best text family.
    • Optica (2008, Manolo Guerrero) is a tribute to Colombian artist Omar Rayo's optical art.
    • Block02 (2009, Manolo Guerrero) is a FontStruct font that is part pixelized, part stencil.
    • Optica (2008, Manolo G) is an optical experiment.
    • Chicha (2012, Diego Sanz) is based on Peruvian market signs.
    • Quincha (2009, Diego Sanz) is the quechua word for stone wall. Letters can be packed together in a way that reminds one of ancient Inca art.
    • Casiopea (2010) is a corporate or signage type family that comes in six weights including Bold and Thin.
    • Zipolite (2011). A mix of grotesk and humanist. See also Zipolite Rounded (2013). Zipolite won an award at Tipos Latinos 2014.
    • Hola is a text typeface that won an award at Tipos Latinos 2014. In addition, it won the Gold Prize in the Latin category at the Morisawa Type Design Competition 2014.
    • Calmetta (2017). Designed at Dalton Maag as an extension of Dalton Maag's wayfinding font Pantograph originally created by Marc Weymann.
    • Speaker at ATypI 2018 in Antwerp (together with Eloise Parrack) on a revival project summarized as follows: In November 2017 an international cohort on the Expert Class in Type Design, based in the UNESCO world heritage site of the Museum Plantin-Moretus, embarked upon a collaborative project to research and revive a Renaissance-era typeface of the Flemish punchcutter Hendrik van den Keere from the collection of Christophe Plantin. Comparing Van den Keere's well-known Real Romain (1575) and Ascendonica Romain (1577) with his Small Pica Roman (1578), and investigating the patterning, proportions, and details, our research led to the design of a revival using Small Pica Roman at 9-point Didot size as a departure. Evaluations of the approaches of working in metal and standardization in type design at different optical sizes were considered, and were contrasted to methods and tools of digital typeface design today. The unique and rich historic archive of punches, matrices, and printed materials provided an exciting basis for our research, leading to some surprising discoveries counter to our expectations and to accepted theories found in many typography and type design texts. This project provoked a wide range of interpretations, approaches, and opinions about how to create a contemporary usable digital typeface, whilst honouring and imagining the intentions of Van den Keere five centuries past.

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

    Codesign (or: Aviation Partners, or AVP)
    [Nicholas Garner]

    Nicholas Garner (b. 1949, Windsor) runs Codesign (or: Aviation Partners), a small London-based design firm which has created these commercial type families:

    • Cerafino (2005): informal sans.
    • Delamere (2005): more classical sans.
    • Kensington (2005): titling sans related to Gill Sans.
    • Maisee (2005): an open, wide, generous and broadly smiling sans family.
    • Tenison (2005): connected formal script.
    • Fiendstar (2006, 16 styles; +Cameo (white on black), +Shaded) (after Gill Sans Schoolbook).
    • Rosie (2010): a connected cosy script, in the Mistral style.
    • Norwich (2006): a grungy version of Tenison. Outrage (2006) is more grunge.
    • Cashback (2006).
    • Crystal (2006): a slab serif family.
    • Autobahn (2011) is a monoline elliptical sans family. Garner writes: Autobahn is a robust masculine sans of near monoline thickness and angular characteristics. Autocode (2011) is a monoline monospaced (for programs) elliptical sans based on Autobahn.
    • LaCarte (2007): inspired by a series of handwritten menus produced in 1980. Further extended to La Carte Pen in 2010.
    • Midas (2007).
    • Sky Sans (including hairline weights) (2007).
    • Lamoreli (2007).
    • Backstage (2007). A stencil face.
    • Amy (2010). Nicely hand-printed.
    • Atria (2010) An ink-trapped sans-serif.
    • Blocksta (2010). A rounded fat sans.
    • The elegant script typeface Jacqueline (2010).
    • New Fiendstar (2010).
    • Omniscript (2010).
    • Cambridge (2010). An elegant sans family with a misbehaving lower case q. Accompanied by a Cambridge Round family. It is designed as a schoolbook font, and is useful for dyslexics, since there are no ambiguities between letterforms.
    • Central (2011). A rounded geometric sans family. Followed in 2012 by Central Inline.
    • Combi (2011). This is a wonderful effort, as described by Garner himself: The Combi collection includes Sans, Sans Oblique, a true Italic, Serif, Serif Oblique and a set of Openface capitals. Combi fonts have 5 compatible weights and metrics allowing them to be used in free combination. Inspiration came from Jan Van Krimpen's Romulus (Enschedé, 1931). In addition to the Roman style, Van Krimpen created a set of open capitals, a simple oblique variant and subsequently, an attractive calligraphic italic, Cancelleresca Bastarda. In addition to Van Krimpen's idea, Combi has been influenced by features from many typefaces including Bembo, Melior and Optima. The object was to create a versatile family of body text and titling typefaces for use in books, magazines and on the web.

      Polaris (2012) is a rounded sans family that reads well in print and on screens.

      Mensa (2012) is a 36-weight large x-height sans body family.

    • Beaulieu (2012).
    • Clocktime (2012). A dingbat font with clocks.
    • Chokey Pro (2012). A tall connected script face.
    • Alleyn (2013). A soft geometric sans family. Followed in 2021 by the 12-style Alleyn Pro (2021).
    • Corsica (2013). Corsica is an all-purpose geometric sans-serif typeface of visually uniform stroke thickness. The family contains six weights, two widths and three lowercase size options, together with an italic variant for each.
    • Intrinseca (2014). An incised sans with some contrast and flaring, but still quite readable thanks to a good x-height.
    • Browser Serif and Browser Sans (2014). These families were designed for use on screen.

      Arethusa (2014) and Arethusa Pro (2014) are 12-style transitional typeface families.

    • Gimbal Egyptian (2018). Characterized by some asymmetric slabs and curvy italics. It covers Latin and Cyrillic and comes in several widths. See also Gimbal Grotesque (2018).
    • Cadmium (2020). A 48-style grotesk family influenced by DIN.
    • Varisse (2021). A 60-style superfamily consisting of Baskerville and transitional serifs on one end and Gill Sans-inspired humanist sans typefaces at the other end.
    • Fielding (2022). A 12-style confident flared text and titling serif family.

    MyFonts site. Klingspor link.

    Showcase of Nicholas Garner's typefaces. [Google] [MyFonts] [More]  ⦿

    Colin Ayres

    [MyFonts] [More]  ⦿

    Colin Banks

    Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles.

    Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander.

    Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press.

    The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s.

    The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani.

    Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More]  ⦿

    Colin Brignall

    British type designer and art director, born in 1940 (MyFonts.com says 1945, Warwickshire), who was type director at Letraset for some time. In 1980 he became Type Director for Esselte Letraset. In 1995 Brignall moved to ITC. With the closure of ITC's New York office in November 1999, Brignall was re-appointed Type Director for Esselte Letraset. The latest major project in which Brignall was involved was the ITC Johnston series launched in 1999. He received the Type Directors Club Medal at TDC2 in 2001. The Letraset and ITC collections are now owned (via Linotype) by Monotype.

    Bio. Bio at Linotype. His fonts include

    • Aachen Bold (1967, Letraset), Aachen Medium (1977, an extension done with Alan Meeks). Digital implementations of Aachen: Aachen (ITC), Aachen (Tilde), Aachen (Adobe), Neue Aachen (ITC), Aachen SH (Scangraphic Digital Type Collection), Aachen SB (Scangraphic Digital Type Collection). In 2012, Jim Wasco (Monotype) extended Aachen to 18 fonts including an italic, called Neue Aachen. Aachen is characterized by short slab serifs, which gives it a retro techno look.
    • Revue (1969), an unsuccessful display face.
    • Countdown (1965, LED simulation face), cyrillicized in 1993 by A. Kustov at TypeMarket.
    • Superstar (1970, an athletic lettering typeface now owned by ITC and sold by MyFonts).
    • Italia (1974; see Istria on the SoftMaker MegaFont XXL CD, 2002, and Revival 791 in the Bitstream collection), Italia Book (1977). Influenced by the Venetian style. Designed for Letraset and then licensed to ITC, where it became ITC Italia.
    • Premier Lightline (1969), an elegant art deco hairline face. For a digital revival, see Pergamon (2012, SoftMaker).
    • Premier Shaded (1970), caps only shaded art deco face.
    • Romic Light (1979-1980). See R790 Roman on Softmaker's XXL CD (2002).
    • Corinthian (1981).
    • Epokha (1992), a 1910 poster style slab serif.
    • Edwardian (1983). Digital versions: Edwardian Medium (ITC), Edwardian (Linotype), Edwardian EF (Elsner&Flake).
    • Harlow (1977-1979), a fifties style keavy monoline display script. The Scangraphic versions are Harlow SB and Harlow SH. Harlow Solid was revived by Felipe Calderon as Melts Script (2017, more an interpretation than a revival). For other digital versions, see Harlekin (2012, SoftMaker), HarlowICG (Image Club Graphics), Harlow (ITC), HarlowD (URW), OPTI Hastings (Castcraft), H652 Script (SoftMaker), and Harrogate (SoftMaker).
    • Octopuss (1970), similar to Harlow. Digital versions exist at ITC and Scangraphic.
    • Tango (1974) [a freefont inspired by Tango can be found in Julius B. Thyssen's Kylie 1996-J], yet another typeface in the spirit of Harlow.
    • Jenson Old Style (1982, with Freda Sack), a Venetian face.
    • Victorian (1976, Letraset; with Freda Sack).
    • Type Embellishments One, Two and Three (1994): handsome ornaments developed in the Letraset Type Studio by Michael Gills and Colin Brignall to complement the Fontek Typeface Library.
    • Retro Bold (1992, a slab serif done with Andrew Smith).
    • ITC Werkstatt (1999, ITC: a hookish Preissig-style typeface developed with Satwinder Sehmi).

    FontShop link. Klingspor link.

    View Colin Brignall's typefaces. [Google] [MyFonts] [More]  ⦿

    Colin Forbes

    British designer (1928-2022) who was responsible for the sign system for the No. 3 Passenger Building of London Airport. The typefaces in that system was by Matthew Carter, who was inspired by Standard Bold (the English name for Akzidenz Grotesk). Carter lowered the uppercase and shortened the ascenders and descenders to fit large letterforms in a limited space. Characteristics include the steep curve with which the descender of the y changes its direction and the thinned descender on the g.

    Forbes co-founded Pentagram. Obituary. [Google] [More]  ⦿

    Colin R. Gibson

    Derby, UK-based graphic designer who created experimental typefaces called Bipolar (2012) and OCD (2012). [Google] [More]  ⦿

    Colleen Burns

    Colleen Burns (London, UK) created the hand-drawn Times Even Newer Roman (2014). Behance link. [Google] [More]  ⦿

    Colm Clafferty

    Colm Clafferty (London, b. 1987) published the following typefaces in 2014: Lamebrains, Tat Style (tattoo font; the date inside is 2008), Pistol Sex, Odeon Drop (fat octagonal shadow typeface), Punkband (2014), and Stampwriter Kit (old typewriter emulation typeface).

    In 2015, he created Neuvo Sello (grungy stamped typeface), Budget Stencil (a grungy typeface). [Google] [More]  ⦿

    Colophon Foundry
    [Edd Harrington]

    Colophon Foundry was a London and Los Angeles-based digital type foundry established in 2009. Its members comprised Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design was complemented by independent and interdependent initiatives in editorial design, publishing, curation, and pedagogy. It grew out of the Brighton-based design studio, The Entente (Anthony Sheret&Edd Harrington) in April 2009. Benjamin Critton (Brooklyn, NY) joined them later. In December 2023, it was acquired by Monotype.


    • Aperçu (2010, +Mono), a sans family by Anthony Sheret / The Entente.
    • Archive (2013). A text family by Anthony Sheret and Edd Harrington.
    • Basis Grotesque (2015). Influenced by Akzidenz Grotesk.
    • Burgess (2014). A Times-Roman-like typeface family by The Entente and Benjamin Critton.
    • Castledown (2014). A sans family for educational purposes. They write: From 2012-2014 we collaborated closely with Castledown Primary School, Hastings, UK. The project began as a custom typeface commission for the school but soon developed into an initiative to develop and unify typography within primary education. Extended in 2020.
    • Central Avenue (2011). By Studio Makgill.
    • Coign (2018-2021). An extensive study of ultra condensed forms based on the DeLittle type foundry's Elongated Sans.
    • DM Mono (2020). A free 3 weight, 3 style family designed for DeepMind. DM Mono was loosely based off of Jonny Pinhorn's DM Sans, with a reduction in contrast and less geometric proportions. The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. Design by Edd Harrington and Anthony Sheret. They also developed DM Sans, DM Serif Text and DM Serif Display (2019). The Serif families are derived from Source Serif Pro. The Sans family is derived from Jonny Pinhorn's Poppins (2014-2017). Github link. Google Fonts link.
    • Fann Grotesque (2019). A 9-weight sans family inspired by the 19th century British Grotesque types from British type foundries such as Stephenson Blake, Day & Collins and Miller & Richard.
    • Fortescue (2009): a text family with triangular serifs commissioned for the identity of artist and printmaker, Jake Spicer.
    • La Fabrique Pro (2012-2017). A sans by The Entente.
    • Goodall. A 10-style take on the geometric slab serif genre; bringing together a melting pot of 19th century wood type influences and more contemporary reference points such as Memphis (Rudolf Wolf, 1929) and Rockwell (Monotype, 1934).
    • Grenette (2020). Colophon writes: Combining influences from Windsor (from Stephenson Blake & Co's Wood Letter Specimen, 1915) and Richmond Old Style (from DeLittle's Wood Type Specimens, 1966), Grenette's imposing serifs contrast with the serif-less interiors of certain forms such as n, h and v.
    • Leroy (2012). By Stockholm-based Oscar & Ewan.
    • Lisbon (2013, Anthony Burrill). Lisbon is a geometric stencil typeface based on an original metal stencil that Burrill found in a sign makers shop in Lisbon, Portugal. The font was first used in a series of posters commissioned by the British Council for Experimenta cultural biennale in Lisbon (2010).
    • Lydia Bold Condensed (2013, Benjamin Critton) revives an angular typeface by Warren Chappell from 1946.
    • Mabry (2018, Benjamin Critton): Originally commissioned in 2014 for Los Angeles-based apparel company Nasty Gal---named as such after the 1975 album and song of the same name by influential funk singer Betty Davis (b. Betty Mabry, 1945)---Mabry is the commercial iteration of the former NG Grotesque.
    • MAD Sans and MAD Serif (2011-2017) by Dries Wiewauters.
    • Marché (2014). By The Entente, inspired by Eurostile.
    • Midnight sans (2021). Colophon writes: Midnight Sans was initially drawn for Gary Green's "When Midnight Comes Around", published by our friends at Stanley/Barker in 2020. The condensed-only style embodied a warm but idiosyncratic flavour: a reflection of the publication's photographs, which document the burgeoning downtown alternative music scene of 1970s New York City.
    • Monosten (2011). A rounded monospace sans by Anthony Sheret that includes a couple of stencil styles.
    • Montefiore (2009): a grotesque with wood type influences.
    • One Night Sans (2020). A bespoke typeface for condom manufacturer Durex.
    • Pantograph: Pantograph is an authentic redraw of the typeface employed by the British pantograph etching process. Designed by Hamish Makgill in 2009.
    • Peggs (2009): typewriter style for the identity of Peggs&Son, designed by Edd Harrington.
    • PDU (2010). By Dries Wiewauters. PDU stands for Plaque Découpée Universelle, a stencil system patented in 1876 by Joseph A. David.
    • Perçu (2010): a full sans family that is---in their own words---an amalgamation of classic humanist typefaces such as Johnston and Gill Sans with Neuzeit and Franklin Gothic.
    • Perfin (2009, by Alison Haigh).
    • PIN (2015). By Hoon Kim / Why Not Smile LLC.
    • Raisonné (2010). By Benjamin Critton. Raisonné is a 7-weight geometric sans-serif type initially designed in 2010 and subsequently expanded upon, first in 2012 and again in 2018-2019. Colophon writes: The typeface is parodic-serious, intended to be blunt, candid, and affable all at the same time. It outwardly pays homage to noteworthy precedents, among them Rudolf Koch's Kabel (1927) and Victor Caruso's later redrawing for ITC (1976), Joseph Churchward's Crossbred (1970s), Paul Renner's Futura (also 1927), and Herb Lubalin's Avant Garde (1968).
    • Reader (2009): Reader is a neo-grotesque typeface initially created in a medium weight, and now re-cut into a base family of six weights with an additional seventh in the form of Reader Black. The typeface itself has been referenced from an RSPB letter dating 1972. The original typeface, which is unknown, was a monospaced, rounded face. It had geometric proportions which felt like they wanted to break free of the restrictions of a monospaced grid.
    • Relative (2011). By The Entente: Initially drawn in August 2010 for Outside In by Stephen Gill; a book designed for the Brighton Photo Biennale 2010. Includes monospaced styles.
    • System85 (+Mono). A sans family.
    • Transcript Pro (2017).
    • Value Sans and Value Serif (2012): Value Sans borrows in style and behaviour from precedents like Elegant Grotesk and Granby. Value Serif pays homage to forebears like Plantin Infant and Italian Old Style. The Sans was drawn first by The Entente (Edd Harrington & Anthony Sheret, UK). The Serif was drawn shortly after, by Benjamin Critton (US). Each borrows their geometries from the other, and nuances were finalised by all parties as Colophon Foundry.
    • Visuelt (2013-2016, The Entente). Originally created as a bespoke face for the 2013 and 2014 identity for Visuelt, Oslo, Norway, Visuelt spawned from a more considered and constrained version of Aperçu. Visult Pro (2019) covers Cyrillic and Greek as well.

    Bespoke projects:

    • Battlebridge for the area of King's Cross, London (2016).
    • Burberry Apercu Bespoke (2010-2017).
    • Chelsea Basis (2015) and Chelsea Basis Chiselled (2018). For FC Chelsea.
    • Corona Headline for Corona (2016).
    • Europa Nuova & Europa Mono (2016). For UEFA's Europa League.
    • Fanta Playful for Fanta (2017).
    • Fulham First XI & Substitute XI for Fulham Football Club (2013). Stencil types.
    • FQ Value for New Covent Garden Market (2016).
    • GF Smith for paper manufacturer and merchant G.F. Smith (2014).
    • Grey Goose for the French Vodka Producer (2014).
    • Helen for Race Against Dementia (2016).
    • Mondial for Rapha's Magazine (2015).
    • NG Grotesque for LA-based fashion label, Nasty Gal, with Benjamin Critton (2014).
    • Poynings, for printer Generation Press (2014).
    • Tesco Modern, Tesco Modern Condensed, Tesco Slab and Tesco Serif for supermarket chain Tesco (2016-2017).
    • Ubisoft Sans for French games publisher, Ubisoft (2016).
    • Unify for the English Rugby Football Union (2013).
    • Wales and Cymru Sans for Visit Wales / Welsh Government (2015).
    [Google] [More]  ⦿

    Commercial Type (Was: Schwartzco)
    [Christian Schwartz]

    Foundry, est. 2009 or 2010 by Paul Barnes (London and New York) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. Klingspor link.

    In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

    Typefaces sold by them:

    • Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
    • Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
    • Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
    • Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
    • Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
    • Neue Haas Grotesk (2011).
    • Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
    • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator. Extended to Atlas Typewriter in 2012.
    • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
    • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
    • Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.
    • Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
    • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
    • Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes.
    • The Commercial Classics series from 2019:
      • Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
      • Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
      • Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
      • Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
      • Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
      • Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.
      • Christian Schwartz collaborated with Richard Turley, the art director behind the famous redesign of Bloomberg Businessweek (for which Druk was initially commissioned), in 2019 on a custom typeface for the windows of Barneys, a near-century-old New York department store, which recently filed for bankruptcy. AIGA link.
      • In 2019, Christian Schwartz, Paul Barnes and Mark Porter were asked by the Nature journal to develop a new typeface, Harding.

    The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Greg Gazdowicz joined in 2014. Hrvoje Zivcic helps with font production.

    View Christian Schwartz's typefaces. [Google] [MyFonts] [More]  ⦿


    UK-based FontStructor (student at UWE) who made the all-caps texture typeface In My Mind (2010). [Google] [More]  ⦿

    Connor Beck

    London, UK-based designer of Wim (2017), a typeface dedicated to Wim rouwel. [Google] [More]  ⦿

    Connor Jaxk

    During his studies in London, Connor Jaxk designed the free avant garde sans typeface Indent (2016). Behance link. [Google] [More]  ⦿

    Connor McKay

    British designer of the angular typeface Jiggly Duo (2013). [Google] [More]  ⦿

    Connor Senior

    Reading, UK-based creator the multiline typeface Activate Learning (2015). [Google] [More]  ⦿

    Connor Spink

    Graphic design student in Leeds, UK, who created the textured typeface Skateface (2012). [Google] [More]  ⦿

    Conor Culhane

    During his graphic design studies in London, Conor Culhane created 8-Bit typeface (2014). Behance link. [Google] [More]  ⦿

    Conor Dorsett

    Graphic design student at Falmouth University in Falmouth, UK. He used lines only to construct, as a bridge, the glyphs of Frequency (2011). [Google] [More]  ⦿

    Conor Green

    UK-based creator (b. 1992) of the modular typeface Curvada.

    Dafont link. Fontspace link. [Google] [More]  ⦿

    Conor Leary

    Manchester, UK-based designer of the free handcrafted typeface Signify (2015) and the free hand-made Tombow (2015). [Google] [More]  ⦿

    Conor Mangat

    British designer (b. 1968, South East London) of Platelet (1993, inspired by California license plate systems---organic and dysfunctional, and in my view an eyesore) and Boks (1994) at Emigre. A graduate from CalArts in 1994, he returned to London in 1999 for a Masters in Typeface Design at Reading University. He is also a freelance typographic designer whose latest font project is called Protocol, which he originally developed Protocol (2001) as a student at the University of Reading. He works in San Francisco. At ATypI in Rome in 2002, he spoke about the Euro currency symbol. FontShop link. [Google] [MyFonts] [More]  ⦿

    Conrad William Schmidt

    Author of An Album of Monograms, Crests & Scrolls (1895). Conrad William Schmidt was a manufacturer of coach and railway varnishes and colours located on Carpenters Road in Stratford, London. He writes F.A. Glaeser in brackets, so perhaps one of the two names is an alias or nom de plume. [Google] [More]  ⦿

    Corey J. Dixon

    British creator of Molecular (2011), an experimental typeface in which glyphs represent parts of organic chemical compounds. [Google] [More]  ⦿

    Corey Turner

    During her studies at Staffordshire University, Corey Turner (Stoke-on-Trent, UK) created Pencil Themed Typeface (2014). Behance link. [Google] [More]  ⦿


    Exeter, Devon, UK-based designer of the free programming font Julia Mono (2020). [Google] [More]  ⦿

    Cos Ryan

    Aka Jason Terrific. Creator (b. 1985, based in Worcester, UK) of these hand-printed typefaces: Dead Ends Lettering (2011), Mayin's Hand (2020), Rich Eatin (2020).

    Open Font Library link. [Google] [More]  ⦿

    Cosmic Hog
    [Chantell Vorster]

    Chantell Vorster (b. 1987) of Cosmic Hog, Norwich (UK) designed the handcrafted typeface Chantell hand in 2018. [Google] [More]  ⦿

    CoType Foundry

    CoType is the London-based type foundry of Mark Bloom and Joe Leadbeater, est. 2019. Their typefaces include

    • Aeonik and Aeonik Pro (2018). A 14-weight sans typeface family by Joe Leadbeater and Mark Bloom. Aeonik supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono and Aeonik Fono.
    • Altform (2021). A low contrast sans family by Mark Bloom. Designed by mixing geometric and grotesque elements, it has many weights and is accompanied by a two-axis (weight, italic tilt) variable font.
    • Ambit (2019). A sans by Mark Bloom: Ambit is an eccentric and unique sans serif font inspired by early grotesques, but adapted for the 21st century. It is characterized by the misbehaving curly lower case f and r glyphs.
    • Coanda (2019). A techno typeface by Mark Bloom, who writes: Coanda: an ideology of the future, crafted from the past. Coanda honours the ambitious outlook of 20th century designers Wim Crouwel and Mimmo Castellano, and pays respect to the meticulous detail crafted by The Designers Republic.
    • Orbikular (2020). A 5-weight modern typeface by Mark Bloom.
    • RM Neue (2019). A sans by Mark Bloom. The first iteration of RM was released in 2011, followed by RM Pro in 2016. RM Neue is a completely redrawn and redesigned adaptation of RM Pro, previously available in only three weights. Bloom writes: Inspired by utilitarian neo-grotesques, RM Neue aims to be a timeless addition to each designer's font repertoire and has been designed to be clean and legible at all sizes.
    • Betatron (2021). Sci-fi.
    • Scandium (2021). a 14-style sans: Scandium is a contemporary sans with open shapes and a technical vibe inspired by the needs of the automotive industry---openness, performance, and style. With its modestly squared curves, high x-height, and vertical terminals, Scandium marries performance with purpose. It includes many icons and some emojis.
    [Google] [More]  ⦿


    The pixel font countzeero4own (2008) was created through FontStruct. Alternate URL of this designer in the UK. [Google] [More]  ⦿

    Coventry University Font Foundry

    Coventry University Font Foundry is a group of students that design and sell fonts. It is used as a learning aid, where students learn about typography and the final outcome is a working font. [Google] [MyFonts] [More]  ⦿

    Craft Graphic (was: Thrift and Thistle)
    [Matt Hull]

    British free font foundry located in London run by Matt Hull (or Matt Rowan), a graphic designer, web designer and illustrator based in Surrey, UK. Behance link. Creative Market link, where Matt started selling his fonts. Matt's typefaces:

    • Acquaintance is a free rounded hand-drawn display typeface that is best used for headlines.
    • Acta (2019). A weathered label font.
    • Albium (2019). A rounded sans.
    • Aneto (2019). A rounded sans.
    • Baird Sketch Serif (2019).
    • Cavalcade is a free hand-drawn 3d face.
    • Crotched (2012).
    • Delineate is a free handwriting face.
    • Exesa (2019).
    • Flumen (2019).
    • Gaunt is a free uppercase variable-width poster face.
    • Griffonage is a free uppercase chalk/pencil/crayon typeface for a scribble or scrawl style. See also Griffon (2019).
    • Incision (2012). A paper cut out typeface.
    • Jabre (2019). A condensed sans.
    • Ottavia (2019). A simple sans.
    • Meander. Hand-printed.
    • Perplex is a heavy ink script face.
    • Piav (2019). An open single stroke sans.
    • Polpo (2019). Hand-crafted.
    • Quercia (2019). A contemporary slab serif.
    • Sampler (2012). An ornamental caps typeface based upon an original needlework sampler pattern.
    • Selva (2019).
    • Signe (2019). A condensed display typeface.
    • Viscid (2012). A brush face.
    • Winchester (2019). A script typeface.
    • Typefaces from 2013: Franq (poster typeface), Densen, Chroma (a sign painters' font), Mulligan (a hand-drawn Western / Victorian typeface).
    • Typefaces from 2014: Heiter, Viscount (Western typeface).
    [Google] [More]  ⦿

    Craig Berry

    During his studies, Leeds, UK-based Craig Berry created Cheeky Vimto (2015). [Google] [More]  ⦿

    Craig Croucher

    Portsmouth, UK-based designer (b. 1993) of the fat finger typeface Craaig (2015). [Google] [More]  ⦿

    Craig Cummings

    UK-based designer in 2008-2009 of the free fonts ABC (using arcs of circles), UNC (2008, gorgeous multiline headline face), Getting Blocky (geometric, abstract), London 2012 (based on the font of the Olympic Games), Fox Font (extremely simple monoline sans), Artree (2008, hairline geometric monoline sans), myfoxhandwritenItalic (2008, sic), Moraz (2008, experimental titling font), WeWant (2008, hand-printed), Kylie Baker (2009, soft techno avant garde face), My Handwriting, Contempory (2008, elegant avant-garde sans), Alta (2008, hand-printed geometric sans experiment), GettingBlocky (2008, experimental), MyFox (2008, simp0le sans), and Everyone (aka London2012). [Google] [More]  ⦿

    Craig Melvin

    Craig Melvin (Reading, UK) created Stencil (2013) during his studies. [Google] [More]  ⦿

    Craig Munro

    Cartoonist in the UK who created the hand-printed Marker Fumes (2009, FontCapture). [Google] [More]  ⦿

    Craig Oldham

    Manchester, UK-based retired football player, book addict, and graphic designer. He made a "nudist" typeface (jpg only). [Google] [More]  ⦿

    Craig Stainton
    [SelfBuild Type Foundry]

    [MyFonts] [More]  ⦿

    Craig Ward

    Craig Ward is a British graphic designer and art director wjho moved to New York City in 2009, where he set up Words and Pictures in 2011. In 2015, he created the experimental typeface Fe203, and wrote: To form the glyphs, a tiny amount of ferrofluid was placed between two glass plates and subjected to a combination of spinning vertical and horizontal magnetic fields. The result is an array of complex hieroglyphics and shapes - each one as unrepeatable as a snowflake - that simultaneously call to mind ancient indigenous markings or symbols from science fiction.

    Designer of nice typographic examples, such as his Hairy Futura (2008). He designed the fat didone display typeface Lovechild (2009) and the spurred typeface Killer (2013). Other typefaces: Go Vote (2012, a brush poster and modular typeface for the American elections), Dark White (didone), Epitaph (alchemic), NM Serif (2015, for the branding of Dior's new perfume, Sauvage), England World Cup Kit (2018).

    Home page. [Google] [More]  ⦿

    [Lyndon Povey]

    Crave Ltd is a foundry in London that is run by Lyndon Povey, the Ingoldisthorpe, Norfolk (or Hunstanton), UK-based designer who specializes in labels for whiskey, vodka and gin bottles. Povey designed the nearly Victorian font family Boatbuilder (2012), which has a nautical look. Behance link. [Google] [MyFonts] [More]  ⦿

    Crazy Diamond Design Historical Fonts
    [Alex Moseley]

    Wonderful 16-th century (commercial) fonts from this Manchester, UK-based foundry, including:

    • Bastard Secretary
    • Black Cat Letter. A blackletter font used in the Harry Potter films.
    • Chancery Hand
    • Formal Text Hand
    • Hand of the Court of the Common Pleas.
    • Italic Hand
    • Parchment Print & Italic. From the Harry potter films.
    • Rustic Capitals (2005).
    • Secretary Hand
    • Seventeenth Century Print and Italic
    • Uncial
    • Wizard Runes and wizrdings. From the Harry Potter films.
    • Written Square Caps (2005: roman inscriptional caps).
    [Google] [More]  ⦿


    Student at UWE Bristol in the UK. FontStructor who made the squarish minimalist typefaces Litewerk, Slitewerk, and Heavywerk in 2010. About these, he says: Roughly based on the structure of the London underground designed by Harry Beck. [Google] [More]  ⦿

    Creative Magic Studios

    London, UK-based designer of these (mostly handcrafted) typefaces in 2018: Chameleon, Red Panda, Frog, Firefly, Jelly Fish, Star Fish, Penguin, Dolphin, Flamingo, Expression. [Google] [More]  ⦿

    Creative Sauce
    [James Burtoft]

    James Burtoft is the creative director and managing director of Creative Sauce, UK. He co-designed Sauce Grotesk (a 7-style monolinear grotesk) in 2021 with Alfredo Marco Pradil. [Google] [MyFonts] [More]  ⦿

    Creative Truetype Font Service

    Truetype font service based in the UK: signature fonts for 29 pounds. Font matching for 39 pounds. Company logos. [Google] [More]  ⦿

    Cristina Pagnotta
    [Cristina Pi]

    [More]  ⦿

    Cristina Pais

    Gorgeous web page. UK-based designer of the free fonts Fely (2007, script), Opalo (2007, artsy), Camomile (2007, orthogonal cut) and Unruly (2007). Dafont link. She also made the artsy sans family Lua (2007). Alternate URL. Fontsy link. [Google] [More]  ⦿

    Cristina Pi
    [Cristina Pagnotta]

    Italian art directore designer in London who created the futuristic typeface Space, the modern geometric sans typeface King Lear, and the free Peignotian typeface family Audrey in 2016. In 2015, she made a free EPS format set of icons. [Google] [More]  ⦿


    British designer of the fat finger font Saturnscript Handwritten (2015). [Google] [More]  ⦿

    CTR Font Foundry
    [Carl Thomas Redfern]

    Carl Thomas Redfern is a British type designer, b. 1993, Shrewsbury. He set up CTR Font Foundry in Oswestry, UK. CTR's first typeface is the squarish military typeface Alpha (2012). [Google] [MyFonts] [More]  ⦿

    Cubic Type
    [David Jones]

    Sheffield, UK-based designer of the MICR font Atwin (2021). In 2022, he released the all caps futuristic typeface Avimode. [Google] [MyFonts] [More]  ⦿

    Curtis White

    Graphic designer at BMT London.

    In 2014, Ricardo Martins, Filipe Almeida and Curtis White co-designed the ray-lit 3d Balloon typeface (2014), which must have been a technical tour de force. [Google] [More]  ⦿

    C.W. Shortt

    Type foundry in the early 20th century in London. Gravure (1929), an engraved old style typeface by them, was digitally revived in 2007 by Nick Curtis as Lateral Incised NF (2007). [Google] [More]  ⦿

    Cy King

    London, UK-based illustrator (b. 1985). Blog on design. Creator of True Love's Kiss (2008), after the official logo of the Disney movie Enchanted. [Google] [More]  ⦿

    Cybertype (was: Western Commercial Arts Company (WCA Co))
    [Kevin Simpson]

    Cybertype is Kevin Simpson's web presence. He used to run a site called the Western Commercial Arts Company (WCA Co). Kevin is a freelance designer in Wokingham, East Berkshire, U.K. He used to do custom type design. His fonts include Dead Oak, Emphive, Stainless Steel, Faux, Fiftyfour, Jonathan, Optika, MrJones, Remington, Shel, Stewart, diGriz, Shel, Optika (hoowee!), Obscura (great target vision font), Swiss92, Chatham, Eadwy, Jonathan, Hoopy Frood.

    Agfa-Monotype, he published Aitos (2000), a beautiful fat lettering display font. Portobello is a connected children's educational font. Kevin offers a host of type services. In 2014, he created the free bespoke typeface Red Kite for Kinetik Design.

    Home page. FontShop link. Behance link. Kinetik Design link. [Google] [MyFonts] [More]  ⦿

    Cypriote metafont
    [Alan M. Stanier]

    From Essex University, Alan M. Stanier's metafont for Cypriot. [Google] [More]  ⦿

    Cyril Aboubacar Fofana

    During his studies at London College of Communication, Cyril Aboubacar Fofana designed the experimental typeface FF Bilboa Newspeak 84 (2016). Behance link. [Google] [More]  ⦿

    [Lisa Rasskazova]

    Maria Doreuli (Moscow) and Krista Radoeva (London) combined forces in Cyrillicsly, a site that deals with Cyrillic type and asks basic questions about it. They also organize type workshops.Maria and Krista met while studying type design in The Hague. During their studies, they had many discussions about the peculiar differences between Russian and Bulgarian Cyrillics, which lead to further investigation of this topic.

    Later, Maria Doreuli and Lisa Rasskazova teamed up in Contrast Foundry, which is located in Moscow. Other team members include Anna Khorash and Nikita Sapozhkov.

    In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed Sputnik Display for Sputnik News. This organic sans typeface family covers Latin, and various brands of Cyrillic, including the ones used in Uzbekistan, Tajikistan, Abkhazia and Mongolia. In 2015, Sputnik Display received a Special Mention at the Granshan Non-Latin Typeface Design Competition.

    Liza Rasskazova designed CoFo Robert between 2012 and 2018 at Contrast Type Foundry. Named after Robert Beasley, it is inspired by Clarendon.

    In 2020, she designed CoFo Cinema1909 (Contrast Foundry) for exclusive use by Moscow's Khudozhestvenny Cinema until Autumn 2022. She was inspired by the Moscow Metro., and in partucular, by the art deco letterforms in the Komsomolskaya station of the Sokolnicheskaya line. [Google] [More]  ⦿

    D. Busson
    [DF667 (or: DiagnostiK foundation; was: Oblong Design)]

    [More]  ⦿

    Daisy Boothman

    During her studies, Woking, UK-based Daisy Boothman created the modular triangulated typeface Triad (2015) and priced it at 790 pounds. [Google] [More]  ⦿

    Daisy Hill

    Graphic designer in Leeds, UK. Her typeface Block Life (2012) consists of transparent cubes in which letters are carved by straight edges. [Google] [More]  ⦿

    Dale Peart

    London, UK-based designer of the free Comic Sans-style typeface family Coffee Shop (2016). Behance link. [Google] [More]  ⦿

    Dale Titterton

    London, UK_based designer of the handcrafted typeface Olatype (2015). Behance link. [Google] [More]  ⦿

    Dalton Maag
    [Bruno Maag]

    Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.

    The Dalton Maag team designed these commercial fonts:

    • Airbnb Cereal (2018). A sans typeface commissioned by Airbnb. Dalton Maag describes it as playful, open and simple.
    • Aktiv Grotesk (2010). Published as an alternative to Helvetica, a typeface Bruno hates with a passion. It also covers Chinese, Japanese and Korean. In 2020, it became a 3-axis (weight, width, italic) variable font.
    • Aller Typo.
    • Almaq.
    • Blenny (2014). A fat face didone by Spike Spondike.
    • Bligh (2015). A three-weight sans family.
    • Co (2007): a rounded monoline minimalist sans co-designed by Bruno Maag and Ron Carpenter.
    • Cordale: a text family.
    • Dedica (2007): a didone face.
    • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
    • Elevon (2012). By Bruno Maag and Marconi Lima.
    • Fargo (2004): a humanist sans in 6 weights.
    • Foco. A sans family.
    • Grueber (2008): a slab serif.
    • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
    • Kings Caslon (2007). By Marc Weymann and Ron Carpenter.
    • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family (Dalton Maag mentions the date as 2007). In 2019, Dalton Maag added Lexia Mono.
    • Magpie (2008). A serifed family by Vincent Connare for Dalton Maag.
    • Objektiv.
    • Oscine (2014, by Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva). A rounded organic sans typeface.
    • Pan (1996). A text family at 1500 US dollars per style.
    • Plume (2004): a display typeface inspired by calligraphy, co-designed with Ron Carpenter.
    • Prometo. An organic stressed sans.
    • Royalty (1999, +Royalty Obese, 2007): a stunning art deco display family.
    • Scope One (2015). A free Google Font. It has a single light weight, whose slab serifs make it useful for headlines.
    • Setimo (2015). By Fernando Caro. A distinguished sans.
    • Soleto (2014, a simple sans by Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter). Soleto won an award at Tipos Latinos 2014.
    • Southampton.
    • Sparkasse Serif (2003-2005). A custom typeface.
    • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
    • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
    • Tondo (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
    • Tornac (2013). A casual script.
    • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
    • Verveine (2009). A casual script by Luce Averous.
    • Viato. A simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

    Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).

    Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.

    In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.

    In 2015, Kindle picked the custom serif font Bookerly by Dalton Maag for their typeface. Still in 2015, Dalton Maag custom designed the sans typeface family Amazon Ember for Amazon for use in its Kindle Oasis. Free download of both Amazon Ember and Bookerly.

    Dalton Maag created the custom typeface family Facebook Sans in 2017.

    Bressay (2016). Stuart Brown led the design and did the engineering for Bressay (design by Tom Foley, Sebastian Losch, and Spike Spondike, at Dalton Maag, London), which won an award at TDC 2016. Later additions include Bressay Arabic [designers not identified by Adobe] and Bressay Devanagari [designers not mentioned by Adobe].

    ATT Aleck is a large custom typeface family designed in 2016.

    Netflix Sans (2018): Netflix replaced Gotham to combat spiraling licensing costs and commissioned its own bespoke typeface: Netflix Sans under design lead Noah Nathan. Free download. The family include Netflix Sans Icon (2017). Comments by designers at The Daily Orange.

    In 2018, Dalton Maag designed the custom typefaces Itau Display and Itau Text for Itau Unibanco, a large Brazilian bank.

    In 2019, Dalton Maag produced a corporate typeface for Air Arabia.

    Venn (2019, Bruno Maag). A 5 weight 5 width corporate branding sans typeface, with an option to get Venn Variable.

    Typefaces from 2020: Dark Mode VF (a humanist sans designed specifically for digital user interfaces, offering subtle grade adjustments to counteract the effects of setting light type on a dark background, as is common with many dark mode digital reading environments; it has two axis in its variable type format---weight and dark mode), Highgate VF (a variable humanist sans inspired by traditional British stone carving), Goldman Sans (a free clean sans family that includes three variable fonts; Goldman Sachs lets you use it except to criticize the company or any other capitalist pigs).

    Interview in 2012 in which he stresses that typefaces should above all be functional.

    View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp.

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

    Damian Flores

    Spanish graphic designer who works in London. Creator of the bubblegum typeface Moruna (2013). Behance link. [Google] [More]  ⦿

    Damian Kidd

    Damian Kidd (UK) created the optical effect font Nucleus (2011). Each letter is created from 360 seperate spikes that all link to the centre. Printing at different sizes causes distortion so that the type typeface always seems different. Behance link. [Google] [More]  ⦿

    Damien Collot

    A 2011 graduate of École supérieure d'art et de design (2011) in Amiens, France, where he was supervised by Titus Nemeth. His type family, called Milosz, won the Type Design International Student Competition Milosz 2011. His thesis on the origins of italic script.

    In 2013, he joined Dalton Maag in London to work as a junior font designer. At Dalton Maag, he worked on Intel Clear Arabic, which won an award at Granshan 2014. He also published Lemance (2016) there. [Google] [More]  ⦿

    Damien Guard
    [Envy Technologies Ltd]

    [More]  ⦿

    Damilola Oladimeji

    UK-based designer of the fat finger font Dami Was Here (2015). [Google] [More]  ⦿

    Damion Seddon

    London-based designer of the custom handcrafted typeface Philips Senseo (2015). [Google] [More]  ⦿


    UK-based creator of Dan's Hands (2012). [Google] [More]  ⦿

    Dan Atkinson

    Sunderland, UK-based designer of the minimalist rounded sans typeface Modello (2010). [Google] [More]  ⦿

    Dan Bryant

    UK-based designer of Deebee (2010, hand-printed font made with iFontMaker). Aka Binary Dental. [Google] [More]  ⦿

    Dan Chamberlain

    Totnes, UK-based designer of great typographic posters such as M Squared (2015), K (2015), 49 (2015), S (2015), Tundra (2015), Congratz (2015). Behance link. [Google] [More]  ⦿

    Dan Colz

    London, UK-based designer of the modular typeface E One Elegance (2016) and Ti-Wench (2016). [Google] [More]  ⦿

    Dan Coombes

    During his studies, Dan Coombes (Bristol, UK) designed the foliated typeface Folium Sans (2016). [Google] [More]  ⦿

    Dan Erik Rønnbäck

    Dan Erik Rønnbäck (Noob Design, Kragerø, Norway) is a Norwegian designer who has a Bachelors degree in Multimedia Arts from John Moores University Liverpool, UK. He created an octagonal display face and a multiline art deco typeface in 2011.

    In 2013, while studying at IAD at Hyper Island in Stockholm, he created onezero Display, a large sans family.

    Behance link. Devian tart link. [Google] [More]  ⦿

    Dan Heron

    Dan Heron (Manchester, UK) explains his experimental typeface Kittinger (2013): Inspired by Colonel Joseph Kittinger and his record-breaking skydive from 31,300m in 1960. The letter forms are based on the outlines of buildings seen from above, referencing the view Kittinger had as he fell to earth.

    Behance link. [Google] [More]  ⦿

    Dan Hoopert

    Dan Hoopert (UK) created the Wire typeface in 2012, a 3d type project. While not a digital font, it is nevertheless a feat to be able to fit wires in three dimensional space to make these letters. What we need now is digital font technology to follow up on his idea so that we can rotate and turn 3d letters at will. [Google] [More]  ⦿

    Dan Howells

    UK-based designer of the freeware fonts Buttmunch, SwedishBird, ScruffyBuggerNormalII. [Google] [More]  ⦿

    Dan Jones
    [Nice Type]

    [MyFonts] [More]  ⦿

    Dan Parker

    [More]  ⦿

    Dan Pearce

    Gosport, UK-based designer of NeoGothic (2014). [Google] [More]  ⦿

    Dan Penn

    During his studies at Birmingham City University, Dan Penn (Stourbridge, UK) created the piano key typeface WarFair (2013). [Google] [More]  ⦿

    Dan Rhatigan

    Daniel Rhatigan (Ultrasparky) was born on Staten Island in 1970. He finished the MA Typeface Design program at the University of Reading, UK, in 2007. Before that, he briefly taught type design at the City College of New York. He briefly was type director at Monotype Imaging, based in the UK, and is scheduled to replace David Lemon as the new Senior manager of the Adobe Type team at the beginning of 2017. In 2021, Dan Rhatigan joined Type Network where he curates Type Network's typeface library and oversees its foundry relationships.

    Dan is an expert on Indic scripts, and spoke about that at ATypI 2011 in Reykjavik.

    His graduation typeface at Reading was Gina (2007), a serif about which the reactions are generally good (a Minion with character according to Stephen Coles, and an awful lot of Unger in one gulp according to Joe Clark). Gina covers not only Greek, but most European languages. I especially appreciate its attention to mathematical symbols and typesetting. In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed at The Colour Grey for Sodabudi, a forthcoming online store for art work inspired by folk art from India. Dan Rhatigan blogged about it here. When the two parts of the typeface are screenprinted in different colours on top of each other, they produce an optical effect. In 2010, his (free) rounded bold serif typeface Copse font was published at Kernest (free downloads).

    Kernest link. Google Web Font Directory carries his free typeface Astloch, a monoline blackletter face.

    Another download link. Clear Sans (2013) was designed by Daniel Ratighan at Monotype under the direction of the User Experience team at Intel's Open Source Technology Center. Clear Sans is available in three weights (regular, medium, and bold) with corresponding italics, plus light and thin upright (without italics). Clear Sans has minimized, unambiguous characters and slightly narrow proportions.

    Ryman Eco is a free multilined typeface created in 2014 by Dan Rhatigan and Gunnar Vilhjálmsson at Monotype that satisfies its two design goals---beauty and economy (it uses 33% less ink than a normal text font).

    Speaker at ATypI 2017 Montreal.

    Fontsquirrel link. CTAN download link. Klingspor link. Monotype link. Google Plus link. [Google] [More]  ⦿

    Dan Sayers

    Dan Sayers (aka iotic) is an app developer and software engineer, who studied mathematics at Oxford from 1994 until 1998, and evoluionary systems at Sussex from 2008 until 2010.

    He designed La Avería en El Ordenador (2011, OFL), an average of all 725 fonts on his computer. The fontfamily was split into Avería, Avería Sans and Avería Serif. Now, this may seem like a simple thing, but it is not! He took almost a year to complete this task, giving it a lot of thought. In the process, he created Font Path Viewer, a free web app for viewing the font outlines (with control points) of all fonts on one's system. He did the following clever thing: each font contour was split into 500 equal pieces (a serious exercise for Bezier fanatics), numbered from 1 to 500, and all 500 positions were averaged (over the fonts on his system) to obtain Avería. Interpolations between fonts have been attempted before (see Superpolator, or Font Remix), but to have it automated in this way is quite another achievement. More images of Avería: i, ii, iii.

    Averia Serif Libre (2012) exists in six styles, and there are also the Averia Libre, Averia Sans Libre and Averia Gruesa Libre families. These are available from Google Web Fonts.

    So, here is my small request for Dan: build an on-line tool, based on the Bezier outline cutting principle you pioneered, for interpolating between two typefaces. The user would submit two fonts, and the interpolation would be shown on the screen after a couple of seconds. I am sure you can do it!

    Abstract Fonts link. Google Plus link. Dafont link. Fontspace link. [Google] [More]  ⦿

    Dan Speer

    Designer (b. 1988) of Mashed Potato (2011).

    Dafont link. Dan lives in Winchester, UK. [Google] [More]  ⦿

    Dan Uwe

    Student at UWE in Bristol. Called Dan Uwe... ahem. During his studies at UWE, he used FontStruct to create the pipe font Pipeography (2012). [Google] [More]  ⦿

    Dan Walsh

    Manchester, UK-based designer of the experimental typeface Concept (2015). [Google] [More]  ⦿

    [Alan M. Stanier]

    From Essex University, Alan M. Stanier's metafont for stick figures dancing. [Google] [More]  ⦿

    Dane Beasley

    Illustrator and designer at Deletion Design in Sittingbourne, UK. Creator of a few techno typefaces like Techno Funk and Roun Da Funk. At Behance, one can find his fat counterless typeface Humain (2010). [Google] [More]  ⦿

    Dane Wilson

    Graphic designer who published the ten-style elliptical sans family Synergy in 2012 at T26 and the techno typeface ITC Sportbet at ITC in 2009. He founded the design studio dane Design in London. [Google] [More]  ⦿

    Daniel Bennett

    UK-based designer of the free advertizing font Ammonite (2019). [Google] [More]  ⦿

    Daniel Berio

    [More]  ⦿

    Daniel Bland

    Illustrator and designer in Shipley, UK, who created a few decorative caps typefaces in 2016. Behance link. [Google] [More]  ⦿

    Daniel Boss

    During his graphic design studies in 2015, Daniel Boss (Portsmouth, UK) created the experimental typeface Negative and the straight-edged hipster typeface Crosswise (2015). [Google] [More]  ⦿

    Daniel Britton

    London-based graphic designer who wants to show the world how dyslexics perceive words and letters. For that purpose, he created Dyslexia (2015), a special typeface. [Google] [More]  ⦿

    Daniel Cassidy

    British software specialist and gamer. FontStructor who made several typefaces meant to be legible at extremely small sizes. In 2011, he made Three By Five (+AllCaps). In 2011, he designed Albach. [Google] [More]  ⦿

    Daniel Duncan

    Birmingham, UK-based designer of the Hebrew simulation typeface Hebrew Land (2016) for a school project at Solihull College. [Google] [More]  ⦿

    Daniel Ensor
    [Ensor Creative]

    [MyFonts] [More]  ⦿

    Daniel Gellatley

    British designer of the free sports font Nike 2002-04 (2012) and of Total 90 (2012). [Google] [More]  ⦿

    Daniel Harding

    London-based graphic designer who created an unnamed modular typeface in 2013. [Google] [More]  ⦿

    Daniel Harper

    During his studies in Birmingham, UK, in 2012, Daniel Harper created a modular typeface just by using two shapes, an arc and a straight line segment. [Google] [More]  ⦿

    Daniel Hudson

    [MyFonts] [More]  ⦿

    Daniel Johnston

    Web and logo designer in Bristol, UK, b. 1993. Creator of Silly Pixel (2012, a pixel face).

    Dafont link. Aka designmoth. [Google] [More]  ⦿

    Daniel Jones

    [MyFonts] [More]  ⦿

    Daniel Jones
    [Type Union]

    [MyFonts] [More]  ⦿

    Daniel Jonston

    Chequered Ink (est. 2015) is a two-man design studio consisting of Daniel Johnston (b. 1993) and Allison James (b. 1991; Allison is a reincarnation of Andrew McCluskey). Their business is based in Bath, England but they currently reside in Newport, Wales. Before 2015, Andrew McCluskey operated as NAL Games. That font collection was merged with Chequered Ink. As of early 2019, they designed 912 fonts, virtually all downloadable at Fontspace. For detailed attributions, we have:

    [Google] [More]  ⦿

    Daniel Lehrke

    Designer in London who created the counterless typeface Hidden Meanings (2013). Behance link. [Google] [More]  ⦿

    Daniel Mckay

    Leyland, Lancashire, UK-based designer (b. 1987) of the handcrafted typeface Debbie (2020). [Google] [More]  ⦿

    Daniel McShee

    Graphic designer (b. 1991) from Gloucestershire, UK, who has a BA in graphic design from Hereford College of Art. Creator of the (free) tall condensed sans typeface Gabba All Caps (2012), the geometric caps typeface Subversion Display (2012) and the Egyptian typeface Chremsel Serif (2012).

    Dafont link. [Google] [More]  ⦿

    Daniel Miller

    During his studies at Ravensbourne, Daniel Miller (London Colney, UK) designed the modular typeface Imply (2016). [Google] [More]  ⦿

    Daniel Moori

    Sao Paulo, Brazil-based designer of Gothic Soup (2014). [Google] [More]  ⦿

    Daniel Nielsen

    Daniel K. Nielsen (Sheffield, UK) designed his first font in 2013. Called Hydra Grotesque, it was inspired by Bauhaus and art deco styles. Its low x-height makes it stylish---its rounded corners cry out "made after 2010".

    Daniel was born in Copenhagen and graduated from DMJX Danish School of Media and Journalism in 2013.

    Behance link. [Google] [More]  ⦿

    Daniel Normington

    Cartoonist in Kent, UK (b. 1984), who created Tengwar of Fëanor (2006) and Angerthas Runes (2006). Home page. [Google] [More]  ⦿

    Daniel Owen
    [Nemesis Design]

    [More]  ⦿

    Daniel Pudles

    Talented illustrator based in Brussels who has worked for The Guardian, The Economist, The Financial Times and Le Monde. In 2016, he designed a decorative alphabet / typeface. Behance link. [Google] [More]  ⦿

    Daniel Ralph

    London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More]  ⦿

    Daniel Reed
    [DR Foundry]

    [More]  ⦿

    Daniel Ryves

    Eastleigh, UK-based designer (b. 1983) of the 3d multiline labyrinthine font Maze (2008), and of Boo (2009). He ran Dlight Graphics. Dafont link. [Google] [More]  ⦿

    Daniel Seex

    Britrish creator of the inky hand-printed typeface Experimental Seex (2013). [Google] [More]  ⦿

    Daniel Stuffins

    Typographer and graphic designer in Norwich, UK. In 2010, he created a geometric typeface. [Google] [More]  ⦿

    Daniel Thompson

    Birmingham, UK-based designer of the display typeface Fusture (2016). [Google] [More]  ⦿

    Daniel Tomlinson

    Student at Southampton Solent University, who lives in Portsmouth, UK. He created the experimental typeface Tube (2012) based on parts of the London subway system map. [Google] [More]  ⦿

    Daniel Ty Wong

    UK-based FontStructor (student at Bristol UWE) who created the grungy typeface Twisting Vines (2010). [Google] [More]  ⦿

    Daniel Westwood
    [A-D Foundry]

    [More]  ⦿

    Daniela Ancuta

    UK-based designer of Emmental Font (2017) and Juliet Script (2017). [Google] [More]  ⦿

    Daniela Benitez

    Daniela Benitez (Bogota, Colombia) created a set of numbers useing a compass and ruler in 2014. Behance link. [Google] [More]  ⦿

    Daniela do Prado Fre

    During her graphic design studies in Basingstoke, UK, Daniela do Prado Fre created Modular Typeface (2013), an experimental typeface that consists entirely of circles, triangles and squares. [Google] [More]  ⦿

    Daniela Healey

    During her studies, Winchester, UK-based Daniela Healey designed the handcrafted typeface Twisted (2015). [Google] [More]  ⦿

    Daniela Stramotas

    During her studies at the University of Leeds, Daniela Stramotas (London, UK) designed an arched art deco typeface (2017). [Google] [More]  ⦿

    Daniele Cavicchia
    [Studio DC]

    [MyFonts] [More]  ⦿

    Daniella Martini

    Designer in London of the experimental typeface PP Type (2013). [Google] [More]  ⦿

    Danielle Hames

    During her studies in Huddersfield, UK, Danielle Hames created No Name Font (2014). [Google] [More]  ⦿

    Danielle Lockwood

    Birmingham, UK-based student designer of some promising posters and cobver pages for Inviso Magazine (2014). [Google] [More]  ⦿

    Danielle Quail

    As a student, Liverpool, UK-based Danielle Quail designed an Escher style 3d typeface in 2016. [Google] [More]  ⦿

    Danielle Warne

    [MyFonts] [More]  ⦿

    Danielle West

    During her studies, London-based Danielle West created the display typeface Scribble (2014). Behance link. [Google] [More]  ⦿

    Danny Dawson
    [Zap Studio]

    [MyFonts] [More]  ⦿

    Daren Newman

    Manchester, UK-based illustrator and graphic designer who has some nice typographic posters. Behance link. [Google] [More]  ⦿

    Daria Berezneva

    London-based designer of the constructivist typeface MI6 (2014). Behance link. [Google] [More]  ⦿

    Daria Cristea

    London-based designer of an experimental typeface in 2017. [Google] [More]  ⦿

    Darius Gardner

    Boston, UK-based designer (b. 1996) of the children's hand Darius Gardner (2013). [Google] [More]  ⦿

    Dariusz Nowacki

    London-based designer (b. 1979) who created the free font Inkable Case 1979 (2011).

    Dafont link. [Google] [More]  ⦿

    Darklight Systems
    [Lady Dark Bane]

    Eoweniel (aka Lady Dark Bane, and aka Darklight Systems) is the British designer of the African theme font DreamWalker (2001) and of the handwriting font Stray Cat (2007). [Google] [More]  ⦿


    Darkmode refers to white type on black background. It is generally understood that for white type on dark printed matter should be bolder (than its black on white counterpart), while white text on a black screen should be thinner as the screen spews white in the reader's direction. Dalton Maag, in its presentation of its Darkmode typeface family writes: There are well-known optical and psychological effects in design which result in text presented white-on-black being perceived as larger and bolder than the same text presented black-on-white. This presents a challenge for consistent visual hierarchy on different backgrounds, especially when designing for emissive displays.

    Dalton Maag's Darkmode (2020-2021) is an adaptation of an earlier font by them, Stroudley, which was created for physical signage and wayfinding: Our [Dalton Maag's] aim for Darkmode was to translate Stroudley's fundamental characteristics of accessibility, readability, and legibility to on-screen reading, digital navigation, and electronic signage. Darkmode's open counters, tall x-height, humanist proportions, and clear and distinguishable characters all contribute to a comfortable reading experience, even at low resolutions or small sizes. The Darkmode family consists of eight static weights, ranging from Thin to Black, plus a variable font (VF) file, with both weight and darkmode [on/off] axes.

    Additional references include

    • A discussion of Darkmode by Nikolay Petroussenko, type designer at Fontfabric.
    • A discussion of white-on-black typography at Typedrawers (2021). Some typophiles find the darkmode issue overrated (including Jasper de Waard and Scott-Martin Kosofsky), while others point to tools that may be readily available to automatically embolden or lighten weights (such as the Offset Curve filter in Glyphs (for designers), and CSS code snippets (for users and web site designers)). Peter Constable observes however that the weight axis does not do the exact same thing as Dalton Maag's "Darkmode" axis: weight affects advance widths; "Darkmode" does not. "Darkmode" is like what is often referred to as "grade": small adjustments in stroke weights to compensate for medium or context conditions that affect apparent weight without affecting advance widths.
    [Google] [More]  ⦿

    Darren Hammond

    During his studies at Southend-on-Sea, UK, Darren Hammond created a custom typeface for a poster to celebrate World war II pianist Myra Hess in 2013. [Google] [More]  ⦿

    Darren Hewitson

    UK-based designer of a sans font called Iris. [Google] [More]  ⦿

    Darren O'Driscoll

    Graduate of the National College of Art and Design in Dublin. In 2013, he obtained an MDes from the Glasgow School of Art, specializing in animation. Now based in London, he designed Newer Alphabet (2013), which was inspired by Wim Crouwel's unicase proposal New Alphabet (1967). [Google] [More]  ⦿

    Darren Raven

    Type designer from the UK. Darren Raven and John Critchley designed the FF Bokka dingbat cum comic book letters family. FontShop link. FontShop link. [Google] [MyFonts] [More]  ⦿

    Darren Scott
    [Darren Scott Typographics (was: Truth Design)]

    [MyFonts] [More]  ⦿

    Darren Scott Typographics (was: Truth Design)
    [Darren Scott]

    Darren Scott Typographics (was: Truth Design) is Darren Scott's design firm in Manchester, UK. Darren Scott graduated from Salford University in Manchester with a Design Practice Degree in 1996. Formerly the Senior Designer and Typographic Consultant at McCann-Erickson Manchester, Darren now runs his own consultancy, Truth Design. Their type design includes typefaces such as Aggregate, Amplifier (hairline geometric), Berliner, Como (artsy display), Imprimitur (serif), Mechanic (influenced by the poster types found in advertising during the industrial revolution), Nitrogen (hookish sans), Press On (grunge), Rivo (stencil), Rub On, Sodium. All typefaces available from FontWorks. Before Truth Design, which started in 2007, Darren Scott sold and licensed his typefaces through various firms:

    • [T-26]: BadAngel, Berliner, Circuit, Mechanic Gothic (1997), Polymer (1997), Retoric, Petrol Medium, Rub-On, Launderette Rinse.
    • TSi Font Foundry: TSI Aggregate.
    • ITC: Mechanic Gothic and Petrol.
    • FUSE 15 collection: Berliner (1996).
    • Atomic Type: Aggregate, Mechanic Gothic and Hydrate.
    • Red Rooster Type: Mechanic Gothic.


    FontShop link. Klingspor link.

    View the typefaces of Darren Scott. [Google] [MyFonts] [More]  ⦿

    Darren Walters

    London-based designer of the fat outline typeface Rounds (2012). [Google] [More]  ⦿

    Darryl Fordham

    Designer in Portsmouth, UK. He created the experimental circle-based typeface Rotoid (2012) and the squarish typeface I-Foid (2012). [Google] [More]  ⦿

    Daryl Roske

    Daryl Roske is a British and German national studying and working in Montreux, Switzerland and Hamburg, Germany. He studied visual arts at the College Voltaire in Geneva, graduating in 1991. He has carried out identity designs for Buitoni, The Art Center (Europe), the IDRH, and the Federal Office of Civil Aviation. His typefaces:

    • Fobia (1994, Font Bureau). A fun and exciting vampire script typeface, it is featured in Robin Williams' book A Blip in the Continuum (Peachpit Press).
    • Bauklotz (2010). Letters made from building blocks.

    Behance link. shr communication GmbH is his art direction and graphic design business in Hamburg. Klingspor link. FontShop link. Font Bureau link. [Google] [MyFonts] [More]  ⦿


    British font service company located in London. They have barcodes, a handwriting and signature font service, and sell all famous font families. As an example, from 1992 until 1994, they made Garamond-No-100-Bold, Garamond-No-100-Italic, Garamond-No-100, Garamond-No-49-Bold-Italic, Garamond-No-49-Bold, Garamond-No-49-Italic, Garamond-No-49. One source claims that this Garamond family was made by Compugraphic and that Datascan merely changed the name in the font information field. Maybe that is the way its collection grew so mysteriously and quickly to thousands of fonts. And here is the beauty: each font is priced at 320 US dollars for a single user. There are 30,000 fonts listed. Their collection, on paper, can be had for 9.6 million US dollars. For five users, cost doubles. [Google] [More]  ⦿

    Dave Crossland

    [More]  ⦿

    Birmingham, UK-based design and typography student. Creator of Italic Antique Clarendon (2007), a typeface based on old wood types. [Google] [More]  ⦿

    Dave Ellis

    Leeds, UK-based designer of the hand-printed typefaces Sile (2015), Ellis (2014) and Dickie (2014). Dafont link. Behance link. [Google] [More]  ⦿

    Dave Elmes

    Typographic experimenter in London who made Street View Font (2011). [Google] [More]  ⦿

    Dave Farey
    [HouseStyle Graphics]

    [More]  ⦿

    Dave Kellam
    [Eightface (was Dave Kellam.com)]

    [More]  ⦿

    Dave Lawless
    [Fontmill Foundry (or: Studio Liddell Ltd Graphic Design)]

    [MyFonts] [More]  ⦿

    Dave Lawless
    [Tealeaf Digital Type Foundry]

    [MyFonts] [More]  ⦿

    Dave Rowland
    [Eclectotype (was: Schizotype)]

    [MyFonts] [More]  ⦿

    Dave Towers

    British graphic designer. Towers Type (2012) is an ornamental typeface inspired by the stained glass windows of the Saint-Rémy Church in Baccarat, France. He also made Creative Circle Headline Font (2012), and Shot (2012). [Google] [More]  ⦿

    Dave Williams

    UK-based designer of the large pixel fonts in the Haeccity DW family (2007). From the web site: There are all the basic Latin characters with standard punctuation, most extended Latin (accented), spacing and (common) combining diacritics, Greek and extended Greek, Cyrillic, a sort of a bash at Armenian, a sort of a bash at Glagolitic, Ogham, Runic, Gothic, mathematical and logic operators, most arrows, miscellaneous letter-like and currency symbols, box-drawing and OCR characters, astrological symbols, dingbats (I got fed up about three-quarters of the way through the stars, but most of them are there), common ligatures (ff, fi, fl, ffi, ffl, st), fractions, IPA symbols, openface and monospace characters. Also small caps for the basic Latin and Greek alphabets. Alternate URL. [Google] [More]  ⦿

    Davey D. Doodlebug

    Bleching, Wompfordshire-based designer (b. 1991) of the fat finger typeface Daveys Doodleface (2013). [Google] [More]  ⦿

    David Adrian Smith

    David Smith is a lettering and signage artist in Torquay, the city of Fawlty Towers, specializing in vintage and Victorian designs. In 2015, he designed the Victorian style typeface Mayer: This is the original font I created for the song titles for the Album Born and Raised by the American pop and blues rock musician, singer-songwriter, recording artist, and music producer John Mayer. Behance link. [Google] [More]  ⦿

    David Armstrong

    Based in the north west of England, David Armstrong designed the dot matrix all caps typeface Fernando (2012).

    Behance link. [Google] [More]  ⦿

    David Bird

    London-based creator of the free fonts Modo (2012, logotype) and Oomix (2012, monoline sans).

    Home page. Devian tart link. [Google] [More]  ⦿

    David Bohn

    London-based designer of two blocky typefaces in 2013. [Google] [More]  ⦿

    David Brady

    David Brady (The Creative Rebellion, London, UK) is an advertising designer. He created the experimental typeface Nokia (2010). [Google] [More]  ⦿

    David Brodie

    UK-based designer of the hand-printed poster typeface Eightball (2013). [Google] [More]  ⦿

    David Brooks

    Freelance designer in Birmingham, UK. During his studies at Birmingham Institue of Art and Design, david Brooks created of the slab serif typeface B42 (2013), about which he writes: Can a typeface really represent a place, it's community, it's heritage? B42 is a typeface that tries to achieve this, it is a typeface for Perry Barr, an inner city area in north Birmingham. [Google] [More]  ⦿

    David Casey

    Nottingham, UK-based graphic design student who dabbled in experimental typefaces in 2010. [Google] [More]  ⦿

    David Clegg
    [The 1477 Font Foundry]

    [More]  ⦿

    David Cooper

    Plymouth, UK-based creator of the free modular typeface Pinophyta (2013, FontStruct). In 2014, he created Capital Sans: Typographic response to the visual culture of London, taking influence from the designs of Edward Johnston and Eric Gill. This new typeface is an uppercase humanist sans serif, which will soon be available for free download.

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

    David Crow

    Scottish designer (b. Galashiels, Scotland, 1962) who studied graphic design in Manchester and moved to London where he worked for eight years. He headed the Graphic Arts Department at Liverpool School of Art and Design. A professor now, he is head of the School of Design at Manchester Metropolitan University. Designer in the FUSE 16 collection (1997) of Mega and in the FUSE 8 collection of Creation 6, mechanical-looking dingbats. Designer of the Alphapeg family (2001) and Dialogue (1999, a Hebrew simulation font done with Yaki Moicho). Designer of FF Beadmap (2002, with Ian Wright).

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

    David Davies

    UK-based type foundry, est. 2016. [Google] [MyFonts] [More]  ⦿

    David Farey

    Type designer who was born in London in 1943. Dave Farey runs Housestyle Graphics with Richard Dawson in London. He was well-known for running the successful auctions at many ATypI meetings. His typefaces for various foundries:

    • Panache Typography: the artsy typeface Cupid, Azbuka (sans family).
    • ITC: ITC Beesknees (1991), the sans-serif family ITC Highlander (1993), ITC Ozwald (1992, a beautiful fat face), ITC Johnston, and ITC Golden Cockerel family (1996, with Richard Dawson, an Eric Gill revival). The former three are part of the Linotype library. ITC Beesknees has been remade and extended by Nick Curtis as Arbuckle Remix (2008). Another revival, by Thomas E. Harvey, is BeesWax (1992-1993).
    • Agfa: Zemestro (2003, a 4-weight sans tapped as a typeface for television). His Creative Alliance typefaces: Abacus (art nouveau), Blackfriar, Bodoni Unique, Breadline Normal, Cachet, Cavalier, Classic, Cupid, Font Outline, Gabardine, ITC Golden Cockerel, Greyhound Script, ITC Johnston, Little Louis, Longfellow, Maigret (art nouveau), Revolution Normal, Stanley, Stellar, Virgin Roman Normal (art nouveau), Warlock.
    • Galapagos: Ersatz (2002, with Richard Dawson, at Galapagos, originally done at Panache).
    • HouseStyle Graphics: ClassicFranklin family (2000-2001).
    • FontHaus: Aries (1995), a font designed by Eric Gill (1932).
    • Monotype: Azbuka (2008-2009): a 20-style sans family by Richard Dawson and David Farey.
    • Elsner&Flake: Caslon EF Black.
    • OEM work: TimesClassic (2000-2001) for The London Times.
    • P22: In 2021, he was part of a big effort by P22 to revive and extend Johnston's Underground to P22 Underground Pro [Richard Kegler (1997), Paul D. Hunt (2007), Dave Farey (2021), James Todd (2021) and Patrick Griffin (2021) contributed at various stages]. Farey's contribution was to the italics.
    View David Farey's typefaces.

    FontShop link. Klingspor link. Biography at Agfa. [Google] [MyFonts] [More]  ⦿

    David Gasi

    Designer in Leeds, UK. Behance link. In 2010, he created Uniblock Ultra (fat and counterless), Neo Georgia (based on Georgia), Neo Calibri (based on Calibri) and Emira (an avant-garde face). In 2011, on commission for Ben Bowser, he created the geometric "coded message" family Theory (2011). Digital Delay (2011) is an angular face. [Google] [More]  ⦿

    David Gibbons

    British comic book artist. Codesigner with John Roshell at Comicraft of some comic book style typefaces such as Belly Laugh (2001), Dave Gibbons (2001), Dave Gibbons Journal (2009), Gibbons Gazette (2009). [Google] [MyFonts] [More]  ⦿

    David Gogarty

    Graphic designer in London who created DG (2010). [Google] [More]  ⦿

    David Graham

    During his studies at the University of Southampton, David Graham created the experimental squarish typeface Step (2012). As a freelance designer in Blackburn, UK, he created the hexagonal typeface Hexis (2016). Behance link. [Google] [More]  ⦿

    David Gutierrez

    London-based designer of the multiline display typeface Vortex (2016). [Google] [More]  ⦿

    David Hand

    British designer of a glitchy typeface for the 2018 Supersonic Festival. [Google] [More]  ⦿

    David Harris

    British lettering artist based in Exeter who specializes in the medieval versal cadel (or cadeau) letter. He created these typefaces:

    • Alexei Copperplate (1982, Letraset). A copperplate calligraphic script.
    • Chromium One (1983, Letraset, and later ITC). A decorative neon-light all caps typeface.
    • Becka Script (1985, ITC).
    • Julia Script (1983, psychedelic).

    Author of The Art of Calligraphy (Dorling Kindersley), Calligraphy: Inspiration, Innovation, Communication (Anaya), and The Calligrapher's Bible (A&C Black).

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

    David Hayter

    British designer of the brush typeface MGS 4 Brush (2014). [Google] [More]  ⦿

    David Hinga

    David Hinga, a fashion photographer, created the thin octagonal typeface Dungeness (2012), which is based on and inspired by the highland village Dungeness in Kent, England. [Google] [More]  ⦿

    David Hughes

    Illustrator ad typographer in London. Behance link. Creator of a few typefaces for a comic strip called Lars The Last Viking. [Google] [More]  ⦿

    David Hutton

    Bournemouth, UK-based designer of Dirty Halftone Font (2013) and Receipt (2016, a weathered till receipt font). Home page. Creative Market link. Behance link. [Google] [More]  ⦿

    David James

    David James met Gareth Hague in 1990, and worked together designing record sleeves for bands such as Soul II Soul (Club Classics Volume 1), Neneh Cherry (Buffalo Stance) and Boy George (Tense Nervous Headache). Increasingly their designs featured custom designed typefaces and logos (System 7, Wynton Marsalis, One Dove). Projects for independent magazines Road and A Be Sea also combined art directed photography and custom type design. They formed Alias in 1996 to design and market their typefaces. Alias also undertakes commissions for custom typeface and logotype design, services include designing custom type and digitising and amending existing typefaces.

    With Garrett Hague, [T-26] co-designer of AES, August. At Alias (a company he founded with Garrett Hague in London), he made Enabler (1995), also available from [T-26], which later evolved into Progress (2003). Designer of FatZZHandwriting (2002, his own free handwriting font). Identifont link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    David Jeffery-Hughes

    Bristol, UK-based designer of Paint Font (2014). [Google] [More]  ⦿

    David Johnson-Davies

    [More]  ⦿

    David Johnson-Davies

    [More]  ⦿

    David Jones
    [Cubic Type]

    [MyFonts] [More]  ⦿

    David Kindersley

    English stonecutter (b. Codicote, 1915; d. Cambridge, 1995). An ex-apprentice of Eric Gill, he set up his own shop in Cambridge in 1939. His carved plaques and inscriptions in stone and slate can be seen on many churches and public buildings in the United Kingdom. He and his third wife Lida Lopes Cardozo, also a stonecutter, designed the main gates of the British Library.

    In 1952 Kindersley submitted MoT Serif to the British Ministry of Transport, which required new lettering to use on United Kingdom road signs. The Road Research Laboratory found Kindersley's design more legible than Transport, a design by Jock Kinneir and Margaret Calvert, but nevertheless chose Transport. Many of the street signs in England, especially in Cambridge use Kindersley's fonts.

    The book typeface Octavian was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. He also created Itek Bookface.

    Kindersley was known for his letterspacing system. Author of Optical Letter Spacing for New Printing Systems (Wynkyn de Worde Society/Lund Humphries Publishers Ltd, 1976) and Computer-Aided Letter Design (with Neil E. Wiseman).

    The Cardozo Kindersley workshop, which Kindersley founded and was later continued by Cardozo, publishes a number of typefaces based on Kindersley's work. They include Kindersley Street (2005, aka Kindersley Grand Arcade) which is based on Kindersley Mot Serif (1952). It was designed for the Grand Arcade, Cambridge.

    London street signs that were designed by David Kindersley served as the basis of a complete lapidary typeface by Boris Kochan and Robert Strauch of Lazydogs Type Foundry, called Streets of London (2013).

    Image: Stone cut alphabet from 1979 displayed in the University of Amsterdam' Special collections.

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

    David Lane
    [The Gourmand Magazine]

    [More]  ⦿

    David Lyttleton

    British illustrator whose work has appeared in such publications as The Guardian, The Times, The Daily Telegraph, The Sunday Tribune, FT, The Independent, Reader's Digest, Sunday Express, The Scotsman, Time Out, NME, Future Publishing, BBC, Emap, Haymarket and Dark Horse Comics. He drew the dingbats for P22 Way Out West Critters and the characters for the Western font P22 Way Out West. [Google] [MyFonts] [More]  ⦿

    David Manthey

    For The Practical Surveyor, a reprint of the classical 1725 text by Samuel Wyld, David Manthey created a font, Wyld (2001, +Italic), that was developed to explicitly match the original text, which was set in Caslon. The free typeface contains glyphs for several ligatures commonly used in printing during the early 18th century. It does not include a bold weight. [Google] [More]  ⦿

    David Marshall

    North Yarmouth, UK-based designer (b. 1985) of The Dave Font (2005, handwriting typeface created with Fontifier). [Google] [More]  ⦿

    David Marshall

    Designer of Biffo MT (Monotype, 1964) [The revival at Softmaker is called Bonito]. Currently employed by Dalton Maag in London as a technologist and in-house software and support engineer.

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

    David Martin
    [David Pustansky (was: 24hourbauer.co.uk)]

    [More]  ⦿

    David McCreight

    Type foundry set up in the UK in 2013. David McCreight created the geometric monoline logotype typeface LongYouLongTime in 2013. [Google] [MyFonts] [More]  ⦿

    David Millhouse

    David Millhouse has a Masters degree in design and illustration from the University of Brighton, UK, class of 2006. During this period he developed his first typefaces. In Paris, he worked in close collaboration with Editor Sico Carlier on the magazine Currency in conjunction with clients seeking typographic formulae. Extending on principal typographic systems, David often incorporates the bespoke typefaces into the relative development of branding and packaging. He also operated the (now defunct) UK-based graphic design office Defalign. He will start the MATD program at the University of Reading in the UK in September 2019.

    His typefaces include: Caesura, Solit, DCapital, Obiter, Turing, Gottlieb, DInterf. [Google] [MyFonts] [More]  ⦿

    David Nathan Davies
    [David Nathan Type (or: dn.type)]

    [MyFonts] [More]  ⦿

    David Nathan Type (or: dn.type)
    [David Nathan Davies]

    David Nathan Type is a digital type foundry set up by David Nathan Davies, a London-based graphic designer specializing in branding and typographic design. In 2016, he created the octagonal unicase sans typeface P49, which is inspired by the angular patterns found in modern suspension bridges. [Google] [MyFonts] [More]  ⦿

    David Nott

    As a design student in the UK, David Nott created SemiSerif (2012). [Google] [More]  ⦿

    David Ottley
    [Graphic Workman]

    [MyFonts] [More]  ⦿

    David Palmer

    Sheffield, UK-based designer of the thin headline sans typeface Basal (2012) and of the sarcastic Bespoke Type (2015).

    Behance link. [Google] [More]  ⦿

    David Pustansky (was: 24hourbauer.co.uk)
    [David Martin]

    David Pustansky (b. 1985) is a UK-based type designer who was active in 2005-2006, when he operated as David Martin and his web site was called 24hourbauer.co.uk. He published many free fonts, but then became inactive ca. 2007. In 2014, he resurrected as David Pustansky.

    Creator of the picture-derived typefaces Eye Spy (2006), Batman The Dark Knight (2006, scanbats), Simpsons Mmmm...Font (2006), Pokemon Pixels (2006), Silent Hill Nightmares (2006), Mario and Luigi (2006), Final Fantasy Elements (2006), Lara Croft Tombraider (2006), Superman Last Son of Krypton (2005), The Ultimate Lance Hoyt font (2005), Harry Potter and the Dingbats (2005), TNA Bound for Glory (2005), tna wrestling (2005), Doctor Who 2006 (2005), Futurama Dingbats (2005), Red Dwarf Characters (2005), Evil Characters (2005), and 24hourbauer (2005, scanbats), Simpsons Treehouse of Horror (2007), Split Splat Splodge (2006, ink slpatter), Splish Splash Splosh (commercial), TNA Lockdown (2007), Splis (2007), Donkey Kong World (2006), SonicMegaFont (2006), Doodlebears (2006), Tetris Blocks (2006), twentyfour, WWE, residentevilcharacters, wrestlinglogos.

    In 2014, he created Garfield Hates Mondays Loves Fonts (scanbats), the retro typeface Shakespeare First Folio (after the lettering in the 1623 collection of Shakespeare's plays), Brush Stroke of Genius, Wilson (after the baseball in the movie), Eye Am Confused Optical Illusions, Game Logos, Retro Hasbro WWF Figures, Doom and Gloom, Nato Phonetic Alphabet, Shakespeare To Be Or Not To Be (ornamental caps), Super Street Fighter Hyper Fonting (scanbats)m), An Apple A Day Fruit Font, Secret Diary (hand-printed), Balls Balls and more Balls (scanbats), Legend of Zelda TriFont (scanbats), Crushed Candy (scanbats), A Work of Art (scanbats), Console Wars Console Yourself, Futurama All Hail the Hypnotoad, Family Guy Giggity (cartoon character font), and American Dad Good Morning USA (cartoon dingbats).

    In 2018, he designed the shaky handcrafted Jack The Ripper Dear Boss (inspired by the original "Dear Boss" letter sent to the police at Scotland Yard by Jack the Ripper). In 2019, he added the caricature font Guess Who at the scanbat typeface Metal Gear Solid The Phantom Font.

    Abstract Fonts link. Home page of David Pustansky. Fontspace link. [Google] [More]  ⦿

    David Quay

    British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1967, and after working as a graphic designer in London, founded Quay&Gray Lettering with Paul Gray in 1983. David Quay Design started in 1987, and finally, in 1990, he co-founded The Foundry with Freda Sack and Mike Daines in London. The Foundry also develops custom typefaces, marks and logotypes for companies inernationally these include a special typeface to be readable at very small sizes for Yellow pages, corporate fonts for BGplc (British Gas) NatWest Bank, and signage typefaces for both RailTrack in the UK and the Lisbon Metro system in Portugal. After Freda's death, he set up The Foundry Types with Stuart de Rozario. He taught typography and design at the Academie St. Joost, Hogeschool Brabant from 2001-2003. He taught part-time at IDEP in Barcelona, and lives and works in Amsterdam. In 2009, he started selling his fonts at MyFonts. He is also a designer at Retype in Den Haag, The Netherlands. His fonts, in chronological order:

    • Custom lettering and type for the Penthouse calendar.
    • 1983: Santa Fe (monoline script), Agincourt (1983, Letraset and ITC, blackletter), Blackmoor (1983, ITC, English-style blackletter).
    • 1984: Titus, Vegas.
    • 1985: Quay, Milano.
    • 1986: Bronx (brush script).
    • 1987: Bordeaux (a skyline font family, Letraset), Bordeaux Script.
    • 1988: Latino Elongated, Mekanik.
    • 1989: Aquinas, Robotik, Helicon (1989, Berthold).
    • 1990: Quay Sans (a humanist sans based on Syntax), Digitek, Teknik.
    • 1991: Letraset Arta.
    • 1992: Coptek, La Bamba, Lambada (1992, Victorian; Letraset), Scriptek (angular design, ITC).
    • 1993: Marguerita (curly vampire script).
    • 2010: Kade (Re-Type---it is a display/semi display sans family of fonts based on vernacular lettering photographed around the harbours of Amsterdam and Rotterdam).
    • 2011: Bath (2010-2011), a typeface developed with Ramiro Espinoza for the signage and orientation of the city of Bath. It comes in Bath Serif and Bath Sans versions.
    • Foundry Gridnik (2016, The Foundry). Influenced by Wim Crouwel's work: Foundry Gridnik was developed from the single weight monospaced typewriter face, originally created by Dutch designer Wim Crouwel in the 1960s.
    • Foundry Tiento (2020). A magnificent very Latin didone family with exquisite hairline ligatures.
    • Fernhout (2021). The prototypical kitchen tile typeface. Quay was inspired by an icomplete alphabet Wim Crouwel designed in 1963 for an exhibition poster font the Dutch painter Edgar Fernhout at the Van Abbemuseum.

    List of his typefaces, or revivals, at MyFonts: Bordeaux (Elsner+Flake), Bronx (Elsner+Flake), Agincourt (ITC), Aquinas (ITC), Blackmoor (ITC), Bordeaux (ITC), Bronx (ITC), Coptek (ITC), Digitek (ITC), La Bamba (ITC), Lambada (ITC), Latino Elongated (ITC), Letraset Arta (ITC), Marguerita (ITC), Mekanik (ITC), Milano (ITC), ITC Quay Sans (ITC), Robotik (ITC), Santa Fe (ITC), Scriptek (ITC), Teknik (ITC), Vegas (ITC), Titus (Linotype), Kade (Re-Type), Metallic Sky (SoftMaker), Foundry Sans (The Foundry), VLNL Hollandsche Nieuwe (VetteLetters).

    View David Quay's typefaces. Klingspor link. FontShop link. Linotype link. View David Quay's typefaces. [Google] [MyFonts] [More]  ⦿

    David Rudnick

    Born in 1986, David Rudnick is a graphic designer in the UK. He created quite a number of typefaces ca. 2013. These include:

    Typefaces not listed above: Alastor, Etude, Ezekiel, HyperTerra, HyperZoa, Kala Light, ManMake, Mandem, Marathon, Tranz Mono, Unity Terminal, Verseau. [Google] [More]  ⦿

    David Sokan

    Digital designer in London, who created the fat counterless typeface Cuvared (2014). [Google] [More]  ⦿

    David Talmadge

    British designer of pixel typefaces at MiniFonts in 2003 and 2004: Epitomi, Foxley 712, Foxley 816, Foxley 916, Shrimpton, Foxley 712 XUB, Foxley 816 XUB, Foxley 916 XUB. Shrimpton. [Google] [MyFonts] [More]  ⦿

    David Williams
    [Manchester Type]

    [MyFonts] [More]  ⦿

    David Wilson

    British teacher with a research interest in foreign cursive handwriting fonts. He wrote this "doc" document on the topic. [Google] [More]  ⦿

    Dawn Lewandowski

    [MyFonts] [More]  ⦿

    Day & Collins

    Wood type foundry in Fann Street, London. Publishers of Wood Type, Printing and Bookbinding Materials (1904, London).

    Revivals of their work include MPI Atlas (2013, MPress Interactive). A 1910 catalog inspired Jeremia Adatte to create Day and Collis Logotypes (2014). [Google] [More]  ⦿

    dBarcode v5.51

    Barcode program by the UK-based DLSoft company. Single user Standard: 5803875303 Single user Professional: 1301732101 Multi-user Standard: 3904256154 Multi-user Professional: 8702721102 [Google] [More]  ⦿

    Deadcat Dreaming

    British creator of the scratchy typeface Light Scribe (2012) and the rectangular strip typeface Ripstone (2013).

    Dafont link. [Google] [More]  ⦿

    Dean Chillmaid

    Royal Tunbridge Wells and Hitchin, UK-based designer of the free rounded sans typeface Nova (2016). Behance link. [Google] [More]  ⦿

    Dean Rivers

    UK-based designer of the handwriting font Dean's Hand (2002-2004). Alternate URL. [Google] [More]  ⦿

    Dean Robinson
    [Lets Go]

    [MyFonts] [More]  ⦿

    Deanna Cox

    Birmingham, UK-based designer of a handcrafted typeface in 2018. [Google] [More]  ⦿

    Deanna Gardner

    During her studies, Deanna Gardner (Birmingham, UK) designed Prim (2019). [Google] [More]  ⦿

    DeAnne Frost

    American-born, Bristol, UK-based designer of various interesting handcrafted alphabets in 2015. Behance link. [Google] [More]  ⦿

    Debora Soares

    [MyFonts] [More]  ⦿

    Deborah Ranzetta

    London, UK-based designer (b. 1972) of the blackboard bold font Ogham (2020). [Google] [More]  ⦿

    Deep Blue

    UK-based designer of the pixel font 3DBoxes (2005), which is just a bunch of empty rectangles. [Google] [More]  ⦿

    Deep Brown

    Youngster from the UK, b. 1992. Designer of the minimalist geometric font Stark Tech (2007). [Google] [More]  ⦿

    Deep Creative

    British outfit only tangentially into type creation. Nevertheless, their commercial pixel fonts, Deep 101 and 102 are superb. They also created a more futuristic face, Egocentric. [Google] [More]