TYPE DESIGN INFORMATION PAGE last updated on Wed Mar 22 00:21:18 EDT 2017
FONT RECOGNITION VIA FONT MOOSE
Type design in the United Kingdom
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:
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.
Design studio in London that created an experimental geometric typeface called Shellington (2012).
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] ⦿
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) codesigned 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.
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:
At ATypI 2013 in Amsterdam, he speaks about New Transport.
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).
Illustrator and graphic designer in Farnham, UK, who created some experimental counterless typefaces in 2013.
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] ⦿
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 sans family, done together with Jakub Steiner, free at CTAN 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.
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.
ABC Types (was: Absolutetype)
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.
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] ⦿
ACME Fonts (or: CHK Design)
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.
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).
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).
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] ⦿
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] ⦿
Joe Prince (Admix Designs) was a student at Academy of the Canyons near LA, 2007-2011. His typefaces:
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] ⦿
British advertising typographer and type designer, b. 1950, Somerset. Co-designer with Rosemary Sassoon of Sassoon Primary and Sassoon Infant in 1990. 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] ⦿
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.
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] ⦿
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] ⦿
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. [Google] [More] ⦿
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
Alan M. Stanier
Alan M. Stanier
Alan M. Stanier
Alan M. Stanier
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.
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] ⦿
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.
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] ⦿
Alex Banks (AB Design; b. 1983) is based in Warrington, UK. Creator of the 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.
Graphic designer and illustrator from Barcelona who works in London. Behance link.
Creator of Excritura (2013, a calligraphic script influenced by the work of the Catalan architect Antoni Gaudi), Die Modularität (2012), De Palo (2011), Scriptura (2011, a calligraphic connected script), Variable (2010), this triangle/circle based modular type, of GoodBye (experimental type based on Barcelona's night lights), and of a geometric custom-designed typeface for the Aroy Restaurant in Barcelona.
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). [Google] [More] ⦿
During his studies in Leeds, Alex Dyson created Decorative New Roman (2012).
London-based designer of an untitled decorative 3d caps typeface in 2012.
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] ⦿
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] ⦿
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] ⦿
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 are Binny Old Style and Ronaldson Old Style (1884, MacKellar, Smith&Jordan). The latter family was digitized by Canada Type as Ronaldson Regular (2008) and by Lars Törnqvist as Fitzronald (2013). The former was digitized by Monotype as Binny Old Style MT. [Google] [MyFonts] [More] ⦿
London-based designer of Lathe (2013), a 3d computer-generated typeface based on Futura.
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.
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] ⦿
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. In 1932, Alfed 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).
Designer in based in Hertfordshire, UK. Behance link.
Alias is a typefoundry and graphic design agency founded by David James and Gareth Hague, and 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).
Corporate typefaces include Prada Candy (2012).
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 Savoie, Frenchtype
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.
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 typefoundry is called French Type. Her typefaces:
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. Behance link. Estienne link. Reading link. Another link for the University of Reading. [Google] [MyFonts] [More] ⦿
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] ⦿
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.
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] ⦿
Al's Font Booth
Ambyr Gregg (Brighton, UK, b. 1990) created Nisaba (2013).
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.
Liverpool, UK-based designer of a bilined display typeface called Candi (2013).
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.
At Falmouth University, Amy Nicole Cox (Falmouth, UK) designed the free display typeface Plum (2015), the free hand-crafted typeface Iced Tea (2016), the free hand-printed Blackberries (2016), the free hand-crafted typeface Land (2016), and the free brush script typeface Peach Tea (2016).
Amy Kilner (Sheffield, UK) was inspired by Kandinsky's paintings when she created the Kandinsky Font (2013, Font Bureau).
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] ⦿
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.
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] ⦿
Maidstone, United Kingdom-based programmer. Designer of the experimental typefaces Circula Track (2016) and GX Stretched Lines (2016), and the free grungy hand-crafted typeface GX Ruff Stuff (2016).
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] ⦿
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] ⦿
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] ⦿
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).
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 Lines Graphic Arts (or: Drewfont Foundry)
Andrew 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. Fonts include Gotheau (2001, blackletter), Starman (2002), Spaceboy (2001), Jester (2001, bouncy), Celt (2001), and The Castles (2001, an Arnold Boecklin remake?), Histry (2004), Seahorse (2004), Nondy (2004). [Google] [MyFonts] [More] ⦿
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 nclude 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] ⦿
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.
Andrew Patrick Lines
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] ⦿
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:
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.
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.
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] ⦿
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.
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).
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] ⦿
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] ⦿
Designer at ACME in London. Her creations include AF Oneline (1998), a geometric hairline monoline stencil font.
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] ⦿
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] ⦿
Annsley G. Flood
Designer at ACME of AF Video Wall (1998, a gridded pixel font).
Another one of my favorite designers, Anthony James (Manchester, UK) has this license for his refreshing art deco typeface Kaiju (2014): It is absolutely free and can be used for personal or commercial use. Downloads: Bold, Regular. Unfortunately, the free offer lasted only briefy---the font is now retail.
Chase (2014) is a free monoline sans. QG (2014) is a minimalist free typeface. Argö (2014) is a commercial decorative fashion mag didone typeface. The slender ball terminal-laden Global (2014) is also meant for magazine titling.
Goku (2014, +Regular, +Stencil) is a multilingual didone fashion mag typeface, initially designed as a stencil font for the Basel & Geneva Watch Launch Event for Watches of Switzerland.
Giza (2015, +free Stencil) is a fashion mag didone [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], and Kaiju II (2015) is a modern art deco typeface.
Typefaces from 2016: Kingston (a fashion mag typeface derived from didones), Jitzu (a multilingual high-contrast fashion didone in ten styles).
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.
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.
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), Barbarian (2013), 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.
Founder of the Entente, a Brighton (UK)-based design and art direction studio formed with Edd Harrington in late 2008. The studio is named after the relationship between both parties: The Friendly Understanding. Alongside Entente, he also runs Colophon Foundry.
His typefaces include Apercu (2009, +Mono (slab); see here), Monosten, Montefiore, and Reader. All are sans typefaces. With Edd Harrington at Colophon, he designed Value Sans in 2012. [Google] [More] ⦿
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] ⦿
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.
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] ⦿
Art nouveau timeline
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).
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] ⦿
British designer of Stratford, a blackletter font done at Letterhead Fonts in 2002. Also in 2002, he made the 6-weight Hindlewood fraktur family (in Sans, Soft, or Hard; and Regular or Groteque) and the 3-weight signage font Opening Night (2002). Other fonts include 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), Tallington (strong sans), and American Sans. [Google] [More] ⦿
James Marsh Art&Design (or Arty Type) (Hythe, UK) is a visual arts and illustration company located in Hythe, UK.
His typefaces are 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 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.
ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their typefaces categorized by revival type:
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. Its Ptolemy Roman type was designed based on the roman lettering of Leonhard Holle used in "Ptolemy" (1482). The Ashendene Press disappeared in 1936.
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. [Google] [More] ⦿
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.
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.
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.
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)
On this site dedicated to Pali fonts, we found Bhikkhu Pesala's free fonts: Akkhara (2006, derived from Gentium), Cankama (2009, blackletter), Carita (2006, all caps roman), Garava (2006), Guru (2008: made for Buddhist publications, it is a rather complete Latin, Greek and symbol font), Hattha (2007, felt marker face), Kabala (2009, after Kabel...), Lekhana (2008, in Zapf Chancery style), Mandala (2007, geometric sans), Odana (2006), Pali, Talapatta, Talapanna (2007), Veluvana (2006), Verajja (2006), Yolanda (2008, calligraphic). The Pali fonts all have over 1400 Latin characters with diacritics including those needed for Sanskrit and Pali transcriptions. They cover Latin, Vietnamese, chess symbols, and astrological signs, and are based on Zapf's Palatino.
The fonts as of 2016, including newer fonts, but with some older ones removed:
Typefoundry 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.
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 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:
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:
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 dogital typeface Gothic Herbarium (2015, Lukyan Turetskyy). [Google] [More] ⦿
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).
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. 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. Arabic typefaces include 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).
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] ⦿
Azza Alameddine has been working as a graphic designer in Lebanon, the Netherlands and London since 2009. A graduate of the Masters in Typeface Design progra 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. [Google] [More] ⦿
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] ⦿
Barcode Writer in Pure Postscript
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] ⦿
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). [Google] [More] ⦿
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:
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] ⦿
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] ⦿
Freelance graphic designer from Brighton, UK, b. 1976. He created the modular serif typeface Eternal (2007).
In 2010, he was working on the angular serif face Mixteca, which in turn evolved into Feld spar, a typeface with strong unbracketed serifs. Mint (2009-2010, in many weights) is a spiced-up Optima family. And Gecko (was Melia) is a family designed for small sizes.
Typefaces from 2012: Lumen (a typeface developed at the University of Reading for Burmese, Thai and Latin).
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] ⦿
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.
Benjamin de Lotz
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] ⦿
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)
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.
German type designer (b. Offenbach, 1905, d. London 1989), who studied under Rudolf Koch from 1924-27 at the Kunstgewerbeschule in Offenbach. 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
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 Typefoundry 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] ⦿
UK-based creator of the sci-fi typeface Forlorn Hope (2012).
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.
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 codesigned 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] ⦿
University of Worcester, UK-based designer of Soft Sans (a compass-and-ruler sans) an unnamed geometric typeface in 2013.
Bird Brain Factory
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 hand-crafted 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).
Type foundry in the early 20th century in London. Richmond Oldstyle (1920s) was digitally revived in 2007 by Nick Curtis as Rowan Oak NF. In 2009, Nick Curtis digitized Whitefriars NF. [Google] [More] ⦿
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.
Graduate of 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 suffers from a multiple personality disease, with asymmetric serifs, a strange axis, some timid ball terminals, and other exogenetic details. After her graduation, she joined Dalton Maag in London, where she heads the Skills & Process team, a multidisciplinary team of typeface designers, font engineers and software developers. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿
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.
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.
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] ⦿
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).
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: Nineteen43 (high contrast sans), Maeve (art deco influenced by the didone style).
Boo to the Business World
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] ⦿
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. Behance link. [Google] [More] ⦿
Bouma Type Foundry
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] ⦿
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.
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).
Branding with Type
Alberto Romanos is a Zaragoza, Spain-based type designer who was briefly located in London. First he founded the typefoundry Alberto Romanos. In 2015, that morphed into Branding with Type.
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).
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] ⦿
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 (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.
Typeface classification according to "British Standards 2961:1967" (or BS 2961), British Standards Institution, London, 1967.
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] ⦿
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.
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] ⦿
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. St. John Hornby
Callum Best (Bournemouth, UK) created the art deco typeface Ark Deco (2012).
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.
Graphic design student at the University of Salford, Manchester, UK who made the futuristic typeface Apastron (2011).
London-based designer of the market signage typeface R Kelly & Son (2013).
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] ⦿
In 2012, he made the modular typeface Trap.
Carl Thomas Redfern
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:
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:
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] ⦿
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] ⦿
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] ⦿
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 typefoundry 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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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:
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] ⦿
Australian-born graphic design student at Manchester Metropolitan University. She created the experimental typeface Bang (2012).
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.
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:
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 (by Phill Grimshaw), ITC Rennie Mackintosh Ornaments (also by Phill Grimshaw), 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<.
UK-born type designer, 1866-1930. He designed three fonts, "The Vale," (Vale Press, 1896, Ricketts' house) "The Avon," and "The King's." He also designed many decorations and initials. Books with his work. [Google] [MyFonts] [More] ⦿
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, Endevour (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.
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] ⦿
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.
Graphic designer in Norwich, UK. Behance link.
Upminster, UK-based designer of these hand-crafted typefaces in 2016: Mango Stone, Paradise Circus (brush style), No More Allies (heavy brush), Lock (octagonal), Core, Skin, Psyarch. [Google] [More] ⦿
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).
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] ⦿
Design student at Leeds College of Art. Creator of the geometric line typeface Constellation (2012).
Chequered Ink (est. 2015) is a two-man design studio consisting of Andrew McCluskey (b. 1992, UK) and Daniel Johnston. Fonts here are predominantly by Andrew. 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 (hand-crafted 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 (hand-crafted), 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: 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.
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] ⦿
Graphic designer in Manchester, UK, who studies graphic design at the University of Salford. He created the hand-printed typeface Remnant (2010).
Chris' British Road Directory
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 Coombes studied at Exeter College and Plymouth University in the UK amd lives in Exeter. As a FontStructor, he made Duro (2011) and Guggenheim (2011), two squarish ultra-black typefaces inspired by the Guggenheim Museum in Bilbao. Other Fonstructions include Gugg Straight (2011), Drype (2010), Don't Hurt Me (2008, pixel face), Blox, Big Blocks (2008) and Blockface (2008). Aka Piyo Duck.
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 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] ⦿
Graphic designer and illustrator in Darwen, UK. Behance link.
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.
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.
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.
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).
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.
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 J. Fynn
British creator of The Dog Ate My Homework (2016), Social Circles (2016, web icons), Christopher's Scribble (2013) and Arty Signature (2013).
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.
British designer of Awaken (2002, ink splatter).
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] ⦿
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.
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 Typefoundry 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.
Classic Font Company
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".
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.
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] ⦿
Cleber Rafael de Campos
French designer in London who has a Masters from Maryse Eloy Art School in Paris, 2011. Behance link.
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] ⦿
The founder of and only designer at 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.
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 (1990, 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), 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.
Codesign (or: Aviation Partners, or AVP)
Nicholas Garner (b. 1949, Windsor) runs Codesign (or: Aviation Partners), a small London-based design firm which has created these commercial type families:
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] ⦿
British type designer and art director, born in 1940 (MyFonts.com says 1945, Warwickshire), who was type director at Letraset for some time. 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.
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).
Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is 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. Fonts:
Commercial Type (Was: Schwartzco)
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. The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer) and Mark Record (font technician). Miguel Reyes joined in 2013.
The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer) and Mark Record (font technician). Miguel Reyes joined in 2013.
UK-based creator (b. 1992) of the modular typeface Curvada.
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] ⦿
Contrast Type Foundry
Maria Doreuli (Moscow) and Krista Radoeva (London) combine forces in Cyrillicsly, a site that deals with Cyrillic type and asks basic questions about it. 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.
Contrast Type Foundry (London) is a joint venture of Maria Doreuli, Krista Radoeva nad Lisa Rasskazova (Moscow).
In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova codesigned 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.
Creator (b. 1985, based in Worcester, UK) of Dead Ends Lettering (2011, hand-printed).
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] ⦿
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 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).
Crave Ltd is a foundry in London that is run by Lyndon Povey, the Ingoldisthorpe, Norfolk, 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. [Google] [MyFonts] [More] ⦿
Crazy Diamond Design Historical Fonts
Wonderful 16-th century (commercial) fonts from this Manchester, UK-based foundry, including the Formal Text Hand package, Written Square Capitals (2005: roman inscriptional caps), Rustic Capitals (2005), Chancery Hand, Italic Hand, Bastard Secretary Hand, Secretary Hand, Hand of the Court of the Common Pleas, 17th Century Print, 17th Century Italic. Most fonts by Alex Moseley. For a fee, get the fonts used in the Harry Potter film, globally called Wizardings: The Wizard Hand, Black Cat Letter (blackletter), Parchment Print&Italic, Wizard Runes, Wizardings. [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] ⦿
Michael Gills is a British calligrapher and graphic and type designer. He founded Creative Goats in Ipswich, Suffolk, UK. He worked first at Letraset (1988-1995) where he made typefaces such as Charlotte and Charlotte Sans, Elysium, Gilgamesh, Fling, Forkbeard, Frances Uncial, Isis, Katfish, Prague and Type Embellishments. He is currently an art director at The Folio Society: Book publishers, London. His fonts:
Italian 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. Behance link. [Google] [More] ⦿
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] ⦿
CTR Font Foundry
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] ⦿
Graphic designer at BMT London.
Cybertype (was: Western Commercial Arts Company (WCA Co))
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.
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.
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 Bookerly by Dalton Maag for their typeface.
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. [Google] [MyFonts] [More] ⦿
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] ⦿
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] ⦿
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.
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.
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] ⦿
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.
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).
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).
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!
Designer (b. 1988) of Mashed Potato (2011).
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] ⦿
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] ⦿
Designer in East Sussex, London. Creator of the grungy typeface Lino-set (2010, free at Dafont). In 2012, he started his own commercial foundry via MyFonts.
Web and logo designer in Bristol, UK, b. 1993. Creator of Silly Pixel (2012, a pixel face).
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).
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.
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] ⦿
Sheffield, UK-based creator of Sidekick (2016, an all caps typeface for children), Incido (2016, a straight-edged typeface family), Plate Mono (2015, a monospaced all caps stencil typeface), Paper Cut (2012, a geometric typeface) and Ivory (2015, a rounded octagonal titling sans).
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] ⦿
London-based designer (b. 1979) who created the free font Inkable Case 1979 (2011).
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] ⦿
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] ⦿
Type designer from the UK. Darren Raven and John Critchley designed the FF Bokka dingbat cum comic book letters family (116USD per family; all of FF Bokka for 464USD). Phil's Fonts link. FontShop link. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿
Darren Scott Typographics (was: Truth Design)
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:
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. Fobia is his first typeface (Font Bureau). A fun and exciting font, it is also in Robin Williams' book "A Blip in the Continuum" (Peachpit Press). Bauklotz (2010) are letters made from building blocks. Behance link. shr communication GmbH is his art direction and graphic design business in Hamburg. [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] ⦿
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] ⦿
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] ⦿
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] ⦿
Based in the north west of England, David Armstrong designed the dot matrix all caps typeface Fernando (2012).
London-based creator of the free fonts Modo (2012, logotype) and Oomix (2012, monoline sans).
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] ⦿
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.
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).
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:
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] ⦿
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] ⦿
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] ⦿
Author of The Art of Calligraphy (Dorling Kindersley), Calligraphy: Inspiration, Innovation, Communication (Anaya), and The Calligrapher's Bible (A&C Black).
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] ⦿
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.
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).
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 Nathan Davies
David Nathan Type (or: dn.type)
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] ⦿
Sheffield, UK-based designer of the thin headline sans typeface Basal (2012) and of the sarcastic Bespoke Type (2015).
David Pustansky (was: 24hourbauer.co.uk)
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).
British type and graphic designer (b. 1948, London) who graduated from Ravensbourne College of Art&Design in 1968, 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. 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. His fonts, in chronological order:
Born in 1986, David Rudnick is a graphic designer in the UK. He created quite a number of typefaces ca. 2013. These include:
Wood type foundry in Fann Street, London. Publishers of Wood Type, Printing and Bookbinding Materials (1904, London).
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] ⦿
British creator of the scratchy typeface Light Scribe (2012) and the rectangular strip typeface Ripstone (2013).
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. Located in Paris, he currently works 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 operates the UK-based graphic design office Defalign.
Wood type foundry in York, England, est. 1888. Face Photosetting published Specimens of Delittle's wood type, Face book of typefaces, Type catalogue (1976). Robert Lee shows part of Delittle's Wood Type Specimens (1967).
In 2014, David Shields researched this British wood type foundry, which was founded in 1888 by Robert Duncan DeLittle as the R D DeLittle Eboracum Letter Factory. The wood type manufacturer was known for their unique production of White-Letter they named Eboracum after the Roman name for DeLittle's native city of York, England.
Books by Claire Bolton: DeLittle, 1888-1988: the first years in a century of wood letter manufacture, 1888-1895 (Oxford: Alembic Press, 1988) and DeLittle: an English wood-letter manufacturer; including a brief history of the development of wood-type (Winchester: Alembic Press, 1981). Starting in 1940, DeLittle also cut wood type for Stephenson Blake, the leading type foundry in the United Kingdom. DeLittle ceased operation in 1998. Robert James "Jim" DeLittle (b. 1936), the third and last owner, died in 2014 in Fulford. The Type Museum in London now houses the archives and machinery of the firm. See also DeLittle's Wood Type Specimens, 1966, The Cary Graphic Arts Collection at the Wallace Center, Rochester Institute of Technology.
Drawings made in 2004 (PDF files) for the lettering to be used on Britain's highways: TM1 Transport medium alphabet (upper case letters), TM2 Transport medium alphabet (lower case letters), TM3 Transport medium alphabet (numerals and arrows), TH1 Transport heavy alphabet (upper case letters), TH2 Transport heavy alphabet (lower case letters), TH3 Transport heavy alphabet (numerals and arrows), MW1 Motorway alphabet (permanent), MB1 Motorway alphabet (temporary). [Google] [More] ⦿
Typographer and graphic designer Paulus M. Dreibholz was born in 1977 in Graz, Austria. In order to study communication design he moved to London, where, after obtaining a Bachelor degree in graphic and media design from the London College of Printing, and a Masters degree in communication design from Central Saint Martins College of Art and Design, he founded The Atelier for Typography and Graphic Design in London in 2003.
British firm that markets FontMaker, a partial truetype font editor developed by Derek Floyd. Handles TrueType, type 1 and bitmaps. It can import type 1 fonts, and thus should be able to transform type 1 into truetype and vice versa. Between 140 and 630 USD. Also sells special hinting software, as well as foreign language fonts. [Google] [More] ⦿
Descender fonts (was: Asshole)
Descender fonts is run by Josh (Jacob Moreno). The site is also called "Josh On", and in an earlier life, "Asshole". It is located in the UK. Downloadable fonts include Wormy, Romanj2, BlockNormal, SimpleNormal and (earlier) Zosh On. All fonts are "liquid" and/or techno. [Google] [More] ⦿
Design by Pascal
Pascal Barry (London, UK) set up his own commercial typefoundry, Design by Pascal, in 2015. His typefaces include LuLu (2015, a monoline, bifurcated serif typeface in all caps taht is based on a classic French biscuit logo). [Google] [MyFonts] [More] ⦿
Design Locket is Eva Toth, who is based in Cheltenham, UK. Designer of the monoline connected cursive typeface Curious Cafe Script (2014) and of the wartercolor brush script Mr Story Brush (2014). Creative Market link. [Google] [More] ⦿
Founded in 2009, by designers Ben Wright and Paul Stafford, DesignStudio is a global brand and design agency with offices in London and San Francisco. For AirBNB, they commissioned Lineto to create a typeface family Circular Air Pro (based on Circular LL). [Google] [More] ⦿
Design Surplus Co
Freelance graphic designer from London, who lives in Wellington, New Zealand. In 2014, she created Gentleman's Poison, and Taco&Tequila. In 2015, she designed the hand-crafted typefaces Pilgrim, Chesapeake Script (a monoline script), Kodiak (+Icons: brushy wilderness font), Globe, Old Pine, Tiny Moose, Grayling and Hawk&Hunter.
Typefaces from 2016: Wildbelle, Rawson, Stove, Shilling (hand-crafted, almost art nouveau), Marling, Manitoba, Augusten Script, Hawthorne.
Rian Hughes studied at the LCP in London before working for an advertising agency, i-D magazine, and a series of record sleeve design companies. Under the name Device he now provides design and illustration for the advertising, entertainment, publishing, and media industries. He works from Richmond, UK, as a comic book artist, letterer and typefounder---his foundry is called Device. He creates mostly display type. List of fonts. Interview. Review by Yves Peters. Monotype Imaging page. Interview by Die Gestalten. Various (overlapping) font listings, still unorganized.
Creator of the pixelish typeface A Mistry Font (2013) and the textured typeface family Population (2013), in which the textures are related to the cities---London, London Crowd, Blackburn, Blackpool, Preston, Manchester, Nottingham. Dharmesh is based in Manchester, UK. [Google] [More] ⦿
British designer of the techno family Crillee (Letraset, 1980-1981) and the athletic lettering font Princetown (Letraset, 1981; Linotype version; the ITC version is here). Princetown is revived as Allstar (Softmaker), Indiana (Corel), Indira (Primafont) and Principal (Softmaker).
Dieu et mon droit
Jas Rewkiewicz ("Dieu et mon droit") was a Swiss graphic design student at ECAL (Lausanne) who made Armstrong (a revival of Letraset Neil Bold), Didot MAT (serifless Didot tailored for Man About Town magazine), Didot Builder, Eugenie (a didone), LOL (a clean sans), Miranda Sans, Miranda Serif and Roma 1560. He lived in Lausanne but is now in London, where he works as a graphic designer. Normandia Bold (2007) is in the spirit of the extra-black high contrast Didot caps typefaces. Fournier RD (2007) is his interpretation of the famous Fournier typeface. Doop (2007) is a basic sans made for a client in London. Ultra (2007) is based on a Clarendon, inspired by Beton and finally its borrowing certain details from more extreme fonts like the Gill Sans Ultra Bold and the Maple from Process Type Foundry. Bonbon (2009) is a stylized headline font designed for the unique typographic style of Bon magazine. Industria (2009, Light Italic, Light, and Medium) is a corporate font family of the Saturday Group. Neo Futura Book (2009, in progress) is a contemporary interpretation of Paul Renner's classic. [Google] [More] ⦿
Manchester, UK-based designer of the game or computer console emulation fonts Antar (2012) and Gamma 1500 (2006), and the futuristic typefaces Blazium (2003, MICR style), Futurespore, Supercomputer, Transistyr, Unicephalon, Lazenby Computer, Cilica and Membra (circuit font). Even though they are free, these are some of the best fonts around in this genre. Dafont link. [Google] [More] ⦿
Founding partner and creative director of Toronto-based Concrete Design Communications Inc. She has lectured at the Ontario College of Art and Design and the design department of York University. [Google] [More] ⦿
DM Founts is Drew Maughan (b. London, 1982), an artist and web developer. He created the fat counterless modular mechanical typeface STKR (2009) and the squarish typeface DM Unarmed (2010). The pixelish Project D (2013) is a font inspired by the infamous graffiti atop the Heygate Estate in South London.
DogStar (Gavin Lawson, UK) offers shareware handwritten and comic book fonts in 1998-1999: Chinacat, ChinacatThin, Dupree, DupreeLight, Fennario, FennarioLight, Hooteroll, HooterollJam, HooterollLight, Mcgannahan.
Dominic Gerry has a degree In BA Graphic Communication, from the Cardiff Metropolitan University. Plymouth, UK-based creator of the hybrid typeface Ludo (2012), which is based on Aldo Semi Bold and Lucida Calligraphy Italic.
A resident of Peterborough, UK, graphic designer Dominic Le-Hair created Ribbon (2009, multiline caps), Tribbon (2009, a free layered font family that can be tested here), Frankenface (2009) and Clipper (2009, experimental). Spykado (2009) is an electric-discharge-meets-Luc's-hair font. Hyaline (2010) is a bicolored affair---letters only appear after overlaying colored glyphs. Gas Alphabet (2013) emulates a gas furnace.
London-based designer of a calligraphic alphabet called Hybrid (2012).
Doves Type was from Doves Press, founded in 1900 by Thomas J. Cobden-Sanderson (a disciple of William Morris) and Emery Walker. They had type based on Jenson. Thomas J. Cobden-Sanderson threw the typefaces in the Thames when the press closed in 1916 to prevent anyone from using it again. Ben Archer writes: although William Morris's Golden Type predated this design, it is thought that the Doves Type was more faithful to the design of the original Venetian type of the fifteenth century. Punches were cut by Edward Prince on the instructions of Walker and Cobden Sanderson in a single size and weight only, and used for printing the Doves Press edition of the Bible. This celebrated type was used privately for sixteen years and never released to the general trade. It was lost to history forever when Cobden Sanderson threw the entire font into the Thames river, provoking a bitter argument with his business partner, the master printer Emery Walker.
Cobden-Sanderson was born in 1840 in Alnwick, Northumberland, and died in London in 1922.
DTP Types Ltd was launched in 1989 by Malcolm Wooden (b. London, 1956) from Crawley, West Sussex, England. Wooden worked at Monotype for over 20 years just before that. Malcolm Wooden joined Dalton Maag early 2008 to work on font engineering and production. DTP Types does/did custom font work, and sells hundreds of retail fonts.
In the Headline Font Collection (50 fonts), we find reworked and extended designs (Apollo, New Bodoni (1996-2002), Camile, Engravers, and so forth), as well as fresh typefaces (Hellene handwriting, Finalia Condensed, Birac, Delargo Black, Delargo DT Rounded (comic book family), Dawn Calligraphy).
In the Elite Typeface Library, there are type 1 and truetype typefaces for Western and East-European languages. For example, Elisar DT (1996, see also Elisar DT Infant) is a humanist sans family made by Malcolm and Lisa Wooden. Fuller Sans DT (1996) is a grotesk family by Malcolm Wooden. Greek and Cyrillic included. Other typefaces: Garamond 96, Pen Tip (Tekton-like).
Fonts distributed by ITF and MyFonts.com: Berstrom DT, Beverley Sans DT (2007, comic book style face), Birac DT, Century Schoolbook DT, Convex DT, Delargo DTInformal, Delargo DT Infant, Engravers DT (1990), Finalia DT Condensed, Garamond DT, Garamond Nine Six DT, Goudy Old Style DT, Graphicus DT (1992, a 24-style geometric sans family), Kabel DTCondensed, Leiden DT, Macarena DT, Modus DT (2007), New Bodoni DT (1992), Newhouse DT (1992, a large neo-grotesque family), Office Script DT (1994, copperplate script), Pelham DT (1992), Pen Tip DT, Pen Tip DT Infant, Pretorian DT (a revival of an old Edwardian font by P.M. Shanks done by Ron Carpenter and Malcolm Wooden in 1992; for a free version, see Vivian by Dieter Steffman), Solaire DT, Triest DT, Vigor DT (2000---a slab serif family).
Discussion: Something I don't get is that Vecta DT (2006) is based on Vecta (2005, Wilton Foundry)---same name, same sans family, what gives? Duet DT (2006, a calligraphic script) is by Robbie de Villiers of Wilton, based on his own Duet (2004). MyFonts page. The typophiles reserve harsh judgment: I recognize these designs by their original names. Slightly manipulating Times Roman, Optima, Icone, Franklin Gothic, Sabon, Tekton, does not make them new or original. Many of the designs are identical to the originals they're derived from (Carl Crossgrove), The DTP Types outfit sells the usual rip-off fonts under new and old names (e.g. Century Schoolbook DT, Engravers DT, Goudy Old Style DT, Kabel DT, etc.) (Uli Stiehl).
In 2008, DTP announced a new newspaper and magazine text family, Arbesco DT (PDF), based on a 1980s photolettering family (see also here), and a simple 24-style architectural sans family called Sentico Sans DT (elliptical). They also published the marker family Pen Tip DT Lefty in 2008.
In 2009, the calligraphic Trissino DT was published: it was named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.
Happy graphic designer in Manchester, UK, who created a number of typefaces in 2012. Via Hellofont, he sells Slabfont, Sectional (kitchen tile font), Extraordinary (hipster font) and Modern Font (sans family). Hellofont link. [Google] [More] ⦿
UK-based creator of these commercial typefaces in 2014: Brush Serif (in five styles called Julian, Hugo, Edward, Collin, and Percy), Nueva York (a lovely hand-drawn poster font), Cobo Bay, New Berlin, Khormaksar (free). In 2015, he designed the brush eroded script typeface Tropicana.
Typefaces from 2016: Camphor (hand-painted), Huho (hand-crafted).
Design studio in Leicester, UK. Designers of ED Stencil Rund (2012).
Edit Me From Casper
Jernej Simoncic (aka Diego Gonzalez, aka dafontatron, aka Vinesauce, and aks Edit Me From Casper) is the UK-based designer (b. 1996) of the textured typefaces I Have Bad News (2014, pixel font), This is Sparta (2014), Forbidden Resolution (2014) and Love Runs Out (2014), the ransom note typeface Windows Broken (2014), the hipster font Inmodify (2014), the dot matrix typefaces Syntax Zazz and 28 Sys (2014, FontStruct), the pixel typeface Our Arcade Games (2014), the textured typeface Screw Your Guys (2014), Uni Stay Own Now (2014), In Dude Woah (2014), and the scanbat typefaces The Martin Garrix Font (2014) and SuperMario Lost (2014).
Typefaces from 2015: Pac Man 2 The New Adventures, Sonic Chaos (textured), Super Smash TV (pixel font), Break Down, Super Mario World (pixel dingbats), Sketch Major (ransom note font), Tagi Securite, The Smurfs (pixel typeface), Weird Mario Bros (pixel font), Bowser Rampages (textured), Hyperexcitability, Bonni Africa (pixel font), Trusted Installer Fontrast.
British typefounder, d. 1835. Son of Joseph Fry, the founder of the Fry Letter Foundry in Bristol. Quoted from MyFonts: In 1784 he introduced a raised roman letter for the blind, and was awarded a prize by the Edinburgh Society of Arts. Louis Braille's system of lines and dots ultimately proved better. In 1787, he and his brother Henry took over the Fry Letter Foundry from their father. Credited with many great typefaces, including Fry's Baskerville (1768) and Fry Moxon (or Graisberry), a Gaelic typeface, Fry A Gothic Capitals (ca. 1819), an angular transitional Gaelic face, and Fry B Gaelic Capitals, a transitional Gaelic typeface (Everson mentions the date 1836, but that would be one year after his death...) and Priory Text.
Mac McGrew writes: Priory Text was the blackletter of the Fry Foundry in England, with some sizes dating back to about 1600, and most sizes shown in 1785. It was revived by Talbot Baines Reed for his History of the Old English Letterfoundries in 1887, and DeVinne used it for his edition of Philobiblon in 1889. The Dickinson foundry, a forerunner of ATF, issued it as Priory Text about that time. It is very similar to Caslon Text (q.v.). BB&S made a near-duplicate type, originally called Reed Text, but later shown as Priory Black Text. Although the latter was shown as late as 1925, these typefaces had generally been replaced earlier by Cloister Black (q. v.) and other Old English typefaces with more refined draftsmanship.
About the Gaelic types, Brendan Leen writes: In 1819, Edmund Fry cut a type once again commissioned by the British and Foreign Bible Society. The design of the Fry type signifies a departure from the angular minuscule toward the more rounded form of the half-uncial, a characteristic of Irish typography in the nineteenth century. Sample of Fry Irish type from The Two First Books of the Pentateuch.
Author of Pantographia (1799, Cooper&Wilson, London), a work that shows the scripts of many languages [a careful digitization of some can be found in the font family Pantographia (2010) by Intellecta Design]. The full title is Pantographia; Containing Accurate Copies of All the Known Alphabets in the World; Together with an English Explanation of the Peculiar Force or Power of Each Letter: To Which Are Added, Specimens of All Well-Authenticated Oral Languages; Forming a Comprehensive Digest of Phonology. Examples from that book: Bastard, Bengallee and Berryan, Bulgarian and Bullantic, Chaldean.
English author of Writing Book (1660), in which we can find wonderful flourish work. Other books include The Pen's Transcendency : or Fair Writings Store-house Fur- nished with examples of all the Curious Hands practised in England and the Nations adjacent (London, 1660) and Magnum in Parvo or the Pen's Perfection (probably 1675). [Google] [More] ⦿
Born in Uruguay in 1872, he died in the UK in 1944. A medical doctor, he taught all his life at the Central School of Arts and Crafts in London and at the Royal College of Art in London. From 1910 until 1930, he designed fonts for the Cranach-Presse in Weimar, which was owned by Count Harry Kessler.
In 1916, he makes a typeface for the London Underground (helped by Eric Gill). Johnston's London Transport type was reworked by Colin Banks in his New Johnston (1979), and again in 2016 by Malou Verlomme at Monotype, on commission for Transport For London (TfL), as Johnston100.
Edward Johnston's fonts show a strong influence by Eric Gill: Hamlet-Type (1912-27, designed for a Shakespeare edition, Cranach Press, 1929), Imprint-Antiqua (with Gerard Meynell and J. H. Mason, 1913; +Imprint Shadow; digital forms exist at Monotype [Imprint MT], URW [Imprint URW, preferred over the MT version by some of my correspondents], SoftMaker [I771], and Bitstream [Dutch 766]), Johnston Sans Serif (1916).
A version of the London Underground typeface (1997) was digitized by P22 foundry. In 2007, P22 extended that typeface to a 21-style multilingual collection called P22 Underground Pro. At ITC, Dave Farey and Richard Dawson recreated a Johnston sans serif family with 3 weights, aptly called ITC Johnston. Nick Curtis created Underground NF in 1999. Jordan Davies called his revivals London Medium (2017) and London Heavy (2017). Many other designers aped Johnston's Underground as well. Hamlet, the almost-blackletter script, was revived by Manfred Klein and Petra Heidorn as HamletOrNot. In 2012, Greg Fleming published Railway Sans as a free open source font at OFL. It is based upon Johnston's original drawings and work started by Justin Howes just before his death.
Edward Johnston is a book published by Priscilla Johnston (London, 1959). Author of Writing&illuminating,&lettering (1917, J. Hogg, London; original done in 1906). Writing Illuminating Lettering at Amazon.
Scans of some lettering by him: illuminations (1917), modernized half uncial (1906), Calligraphy by Johnston. Digital fonts based on alphabets from the 1906 book include Edward's Uncial 1904 (2011, David Kettlewell).
English punchcutter active from 1862 to 1923, associated with seemingly the whole of the blossoming private press movement in England and America, b. 1841, Kennington, d. 1923, North London. His type creations include Tudor Black (1878, Miller&Richard), a typeface codesigned by Frederick Tarrant. Notable work was for the Kelmscott Press of William Morris, and the Doves Press of Emery Walker&Thomas Cobden-Sanderson. For the Doves Press he cut the revivals of Jenson's type that stimulated an interest in 15th century printing in the wider printing industry. (This Doves type was later thrown into the River Thames by an upset Cobden-Sanderson, over a protracted argument about its authorship). Prince's major design failure is worth noting. He was commissioned by Emery Walker to design type for Count Harry Kessler's Cranach Presse. The roman design was not a problem, for Prince had cut similar designs for the Kelmscott and Doves presses. The italic presented a new challenge though. Based on a type used in a 1525 work of Tagliente, this was the first attempt to recut a chancery italic. Despite help from Edward Johnston, Prince was seemingly unable to do interpret the design, and demanded finished drawings from Johnston, which the Englishman - in accordance with his views on the nature of craftsmanship - was not inclined to provide. It is instructive to note a confession Prince made to Kessler, characterizing himself as "a craftsman carrying out other men's designs". For Kelmscott Press, William Morris (a founder of the Arts and Crafts movement and a forerunner of the influential private press movement in Europe) and Edward Prince (master engraver) designed Golden Type (1890), a robust typeface made after the 1469 roman by Nicolas Jenson [Charles Leonard: The Golden Type was one of the most influential of the 19th century, but doesn't hold a candle to the Venetian revival typefaces that quickly followed.]. See also ATF Jenson Recut, and the digital Linotype ITC Golden Type. [Google] [MyFonts] [More] ⦿
Effektive (Greig Anderson) practices graphic design and communication in the UK. Among its many creations are some experimental typefaces such as Circul8 (2009) and Pixel8 (2009). Behance link. Originally from Aberdeen, Scotland, Greig graduated with a BA (Hons) Graphic Design degree in 2004 and previously spent 4 years working withinn the Scottish/UK design industry at multi disciplinary agency Curious (Previously CuriousOranj) based in Glasgow. Greig spent the academic year 2008-2009 in Sydney. [Google] [More] ⦿
Eightface (was Dave Kellam.com)
Eightface had free truetype fonts by Dave Kellam who was a student at Queen's University. He currently lives in England. David's fonts were mostly made in 1998: Cof, Plastic Tomato (thick round letters), dawgbox (grunge), Stay Clear (sloppy paint-- nice !), Pigment 08 (artsy), Dimestore Hooker (great eroded font), Niner, After Shok, and Eau de Toilet. Plus Discount Inferno (double vision font), Millionair, Nineteen 77, Adlock, Grade, Issac. Dave Kellam was born in Brockville, Ontario in 1981. He joined Fontmonster, where he (re)published Stay Clear, Adlock, DawgBox, DimestoreHooker, DiscountInferno, and PlasticTomato.
Japanese type designer. He started out in the photo optical industry in Tokyo with Carl Zeiss and American Optical. He studied type design at the London College of Printing and the Royal College of Art. From 1979 until 1985 he worked at the graphic design firm Banks&Miles in London. There he redesigned Johnston Underground Sans for text setting as well as display use, now known as New Johnston, and carried out a feasibility study for space saving and legibility for the BT telephone directory, proving that Matthew Carter's Bell Centennial was the best suited typeface for the purpose. He also taught typography at Middlesex Polytechnic between 1980 and 1988. With Matthew Carter, he developed the full Roman and kanji OpenType font family Meiryo (2005), as part of Microsoft's ClearType project. Other participants on this project included Takeharu Suzuki of C&G and Yukiko Ueda. Meiryo won the Tokyo TDC 2007 award. He is currently a senior research fellow at University of Brighton, leading research into Edward Johnston's legacy. From 2015 until 2016, he is president of Double Crown Club in London, a dining club and society of printers, publishers, book designers and illustrators in London that was founded in the 1920s.
At ATypI 2007 in Brighton, he spoke about Sustainability and typography.
In 2012, he designed CC Art Sans for CCA Kitakyushu.
With Lida Lopes Cardozo, he designed Kindersley Street Italic, a typeface created to accompany Kindersley Street (2005), which in turn is a revival of David Kindersley's MoT Serif (1952). [Google] [More] ⦿
During her studies, Bristol, UK-based Eleanor Elliott-Rathbone designed the rebellious and anarchist typeface Blimey (2015). Inspiration was drawn from the punk movement of the 1970s. [Google] [More] ⦿
Electronic Font Foundry
The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts at about 15 dollars per weight, and made custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.
The font designer and owner was Edward Detyna, who died in March 2014. People are reporting to me that the fonts are in limbo, and that Detyna's family is not replying to requests for information.
On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a few. I have a feeling that these folks just happen to be twins with entities that are currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at least twenty years ago, Edward and his associates had a font design studio based in Ascot, near London. He is a mathematician/statistician turned typographer, and was really on top of type design at the time. There are academic articles published on mathematical subjects on the internet. He's an old man now, but still a very smart guy. When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British computer of mid-eighties to -nineties), he had very advanced and sophisticated algorithms for anti-aliasing and hinting, and his hand-hinting is still better than almost any other fonts I have used for screen work. He still sells fonts and adapts to user requirements promptly. I recently asked him to adjust the hinting on a font and he turns it around in a day.
Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was 13, and he mentored me to a great degree. For a while I worked an internship of sorts at EFF, and then one day, my mother came to see what I was up to---he gave her the job of office manager. He was a tremendously helpful and meaningful person to me then as a very young man with a passion for typography.
Closed captioning fonts for TV, made according to the EIA 708-B specifications, include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.
EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.
EFF Primary is a large family of educational fonts.
British type designer at Stephenson Blake, 1831 (Bury St. Edmunds)-1902 (London). Designer of these typefaces:
Italian graduate of ISIA Urbino, Italy (M.Sc. in Communication and Design for Publishing and a Bachelor's in Graphic Design and Visual Communication). Graduate of the MATD program at the University of Reading in 2012. Elena lives in the UK. Her graduation typeface at Reading was the multi-script Dr. Jekyll and Miss Hyde (2012), created for Latin, Greek and Armenian. My first reaction is that the curviness and roundness of the Latin part is due to the desire to harmonize with the two other scripts. All styles are flared out near the top, which gives the result a comic book feel. In fact, Elena mentions that children's books was one of the main motivations.
Ex-editor of Iconographic Magazine, who studied first in the MATD program at the University of Reading, and is presently pursuing a Ph.D. at Central Saint Martins College of Art & Design in London. She also joined the typefoundry TypeTogether where she works out of their London office as communications manager. In addition, she is on the board of Tipo E (Tipo Editorial). [Google] [More] ⦿
Graphic designer in London who graduated from Camberwell College of Arts, University of the Arts London. She designed the humanist sans typeface Henk (2016) and the stencil typeface New Shoes Theatre (2014). Behance link. [Google] [More] ⦿
Elliot Jay Stocks
Guernsey, UK-based designer of the constructivist typeface Bigntall (2010, iFontMaker). He also made the hand-printed Notebook Scribble (2010) and SoozieQS (2011). Homepage. He also created this font with iFontMaker on the iPad: Elliotts Comic Gill (2010). In 2010, he started the commercial foundry Mariess, where one can now buy Notebook Scribble. That must be the first iFontMaker font that hits the market. [Google] [MyFonts] [More] ⦿
Graphic and motion graphics designer in Liverpool, UK. He created the grungy thematic typeface Rain (2010).
Éloïse Parrack was born in 1977 in Bethesda, MD, Parrack graduated in 2006 from the University of Brighton, UK. She still lives in the UK. Since 2007, she co-manages Defalign with David Millhouse. Raeling (2010, Volcano Type) is a curvy light inline face.
Born in London in 1851, Emery Walker died also in London in 1933. He was a printer who worked with William Morris at the Kelmscott Press. In 1900 he co-founded Doves Press with Thomas J. Cobden-Sanderson. Walker drew the revival of Jenson's types, which were later cut by Edward Prince. One of his types there (made with Cobden-Sanderson) is known as Doves Roman (1900). He left the Doves Press in 1909. He was engaged by Harry Kessler to produce type for the Cranach Presse in Weimar. Walker commissioned Percy Tiffin and the highly-regarded Prince. With the accompanying Tagliente-based italic, the project ran into serious difficulties and the mediocre design remained unfinished until after Prince's death. Ben Archer writes: Although William Morris's Golden Type predated this design, it is thought that the Doves Type was more faithful to the design of the original Venetian type of the fifteenth century. Punches were cut by Edward Prince on the instructions of Walker and Cobden Sanderson in a single size and weight only, and used for printing the Doves Press edition of the Bible. This celebrated type was used privately for sixteen years and never released to the general trade. It was lost to history forever when Cobden Sanderson threw the entire font into the Thames river, provoking a bitter argument with his business partner, the master printer Emery Walker.
Emil Kozole (Ljubljana, Slovenia) studied communication design at Central Saint Martins London. He created the slab serif typeface Sarajevo (2012), Icons Night Out (2012), the artsy art deco typeface Typometry (2012, Ten Dollar Fonts) and the information design typeface family Signalia (2012). Free download.
Attitude (2013) is a 7-style semi-alchemic typeface family. Random (2014) is a large and very pretty ransom note family. In Project Seen (2014), he provides three free typefaces, See Underline, Seen Strikethrough, and Seen Blackout, that make use of Opentype tables to automatically censor words the NSA is looking for in text monitoring programs according to an NSA Prism database of terms originally leaked by Edward Snowden in 2013.
In 2015, he designed the monospaced typewriter typeface Resolution at The Designers Foundry.
During her studies at Plymouth University, Emilia Pepperrell (Walton-on-Thames, United Kingdom) created the cog-based typeface Gadget (2014). She says that she was inspired by Elia Kaza's movies. [Google] [More] ⦿
London-based designer who wrote a Ph.D. thesis on typeface design of the late 1980s and early 1990s (at Kingston University, 199): "New Faces: type design in the first decade of device-independent digital typesetting (1987-1997)". Her thesis is on-line. [Google] [More] ⦿
Devon, UK-based creator (b. 1995) of the hand-printed typefaces Neds Writing (2014), Girly Graffiti (2013), LC Look With Your Heart (2013), LC Selena (2013), La Carmella (2013), LC Daisy (2012), LC Simple (2012), LC Scribbles (2012) and La Carmella (2012).
Manchester, UK-based designer and student there in 2012 at the University of Salford. Creator of the ornamental caps typeface Early Bird (2012). This typeface was published at Salford Type Foundry in 2012.
In 2013, she published the paperclip and circle-based typeface Continuous.
Emma Bowey is the Manchester, UK-based designer (b. 1990, London) of Mancitecture (2015, an experimental font influenced by the architecture of Manchester), the spindly handwriting typeface Alphasplat (2012, Treefrog style) and of Mancitecture (2013), Chippy Handwriting (2012), Bond Me (2012, a piano key face), Sponge (2012, a fat poster font), and Tickle Me Elmo (2012).
Aka Girl with the AWOL muse.
University of Salford link, where she participates in Salford Type Foundry.
London-based British type designer who obtained an MA in typeface design from the University of Reading in 2008. Her graduation typeface is the oldstyle typeface Milvus, created specifically for periodicals and books.
Other typefaces include Hepworth (2011: for a gallery in Wakefield called Hepworth), Christoffel (2010, with Paulus M. Dreibholz), Rowse (2010), APFEL (2010), COSTA (2010), Virgin Galactic (2006, sci-fi), and John Lewis (2006).
Graduate of Birmingham Metropolitan College. Birmingham, UK-based designer of Kronen (a free monospaced typeface family), Bolde (2013), a sans titling face. The octagonal typeface Ontwerp (2013) was a school project at Birmingham Metropolitan College. Emraan also designed the hairline sans caps typeface Ava (2013, avant-garde) and Sanotra (2013, an alchemic typeface). [Google] [More] ⦿
Envy Technologies Ltd
Damien Guard (Envy Technologies Ltd) resides in the parish of St. Peter Port, capital of an island called Guernsey that sits just off the coast of France in the English Channel. He created the screen font families Envy Code A, Envy Code R and Envy Code B (2006). FON and/or truetype formats. See also here. Typedia link.
FontStructor of Curvature (2008-2011), Atari ST (2011), Amstrad CPC (2011), Lickable 5 (2011), Magic 5 (2008), Magic 5 Bold (2008), Subpixel5 (2011), Tiny (2008). Most of these are screen or pixel fonts. [Google] [More] ⦿
Eric Gill was born in Brighton, England, 1882-1940. British stone carver, wood engraver, essayist and type designer. Student of Johnston. Influential British type designer who for a while worked for the Golden Cockerell Press in London. The text book Eric Gill (Fiona McCarthy, Faber and Faber Ltd) describes his life. Publishers Weekly writes: An English artist-craftsman in the tradition of William Morris, Eric Gill (1882-1940) exemplifies the search for a lifestyle to heal the split between work and leisure, art and industry. He is remembered today for his fine engravings and stone carvings, his legendary typefaces and book designs for the Golden Cockerel Press. Yet there was another side to the man, downplayed by previous biographers: a fervent convert to Catholicism and leader of three Catholic arts-and-crafts communes, Gill had a hyperactive libido which extended to incest with his sisters and daughters, as well as numerous extramarital affairs, according to British writer MacCarthy. He rationalized his penile acrobatics by inventing a bizarre pseudoreligious theory. In MacCarthy's candid portrait, Gill, who preserved the outward image of a devout father-figure, was neither saint nor humbug, but a highly sexed creative artist trapped by his Victorian concept of masculinity. This charismatic firebrand was a renegade Fabian socialist, a bohemian friend of Augustus John and Bertrand Russell. His adventurous life, as re-created in this beautifully written, absorbing biography, is disturbingly relevant to our time. A follow-up article by McCarthy in The Guardian, 2006. Canicopulus Script (1989, Barry Deck) is a font named to remember one of Eric Gill's favorite extracurricular activities. Quote: There are now about as many different varieties of letters as there are different kinds of fools. FontShop link. Linotype link.
His typefaces include
Eric Kindel is a designer, writer and Lecturer in the Department of Typography&Graphic Communication at The University of Reading. He lives in London. Eric Kindel's project at Central Saint Martins College of Art&Design (London) includes an on-line survey of typeforms.
At ATypI in Rome in 2002, he spoke about stencil letters ca. 1700. This talk was followed by a talk on the same topic at ATypI 2006 in Lisbon (with Fred Smeijers). His research (jointly with Fred Smeijers, James Mosley and Andrew Gillmore) involves stencil making, ca. 1700 according to an apparatus escribed in a late seventeenth-century text compiled by Gilles Filleau des Billettes for the French Royal Academy of Sciences. He also researches the Parisian stencil maker Gabriel Bery, from whom Benjamin Franklin purchased a large set of letter stencils and decorative borders in 1781. The stencil set survives in the collections of the American Philosophical Society (APS) in Philadelphia, and was first examined in 2001 as part of the project described above. Editor of Typeform dialogues: a comparative survey of typeform history and description, compiled at Central Saint Martins College of Art&Design (Hyphen Press, 2004), which has articles by himself and Catherine Dixon (who writes on type classification). He describes his research on stencil letters at Reading as follows: The period under consideration begins in the sixteenth century and ends in the present day. The intention is to recover, if possible, a relatively continuous history of stencil letters and stencilling (in the Americas and Europe) by drawing together artefacts and practices that are in many cases now largely forgotten. In addition to forming a broad view of how stencil letters have been designed, made and used over the past five centuries, specific practices will also be examined through an on-going series of articles and papers. The first, `Marked by time', was published in issue 40 of Eye magazine: it offered two contrasting instances of stencil letter-making in Germany and the United States in the mid-twentieth century. Another, `Stencil work in America, 1850-1900', was published in Baseline 38 and unearths innovations in the manufacture and use of stencils in America in the second half of the nineteenth century, and the stories of some of their makers. The article also draws on the writings of Mark Twain for whom stencils served as a literary device on several occasions. And a third, longer, article `Recollecting stencil letters' has been published in Typography papers 5. It discusses the many forms stencil letters take, and how their form is influenced by a number of factors. The article is based on the study of period writings and MSS., patent specifications, collected artefacts and other primary documents and materials. See also Patents progress: the Adjustable Stencil (Journal of the Printing Historical Society, no. 9, 2006). In Typography papers 7, he wrote about another stencil method in a paper entitled The Plaque Découpée Universelle: a geometric sanserif in 1870s Paris (2010).
Speaker at ATypI 2011 in Reykjavik on the topic of stencils. Speaker at ATypI 2013 in Amsterdam: Futura Black, circa 1860. Speaker at ATypI 2016 in Warsaw on The stencilled poster in Paris in the 19th century.
In 2013, Christopher Burke, Eric Kindel and Sue Walker co-edited the wonderfully informative book Isotype Design and Contexts 1925-1971 (Hyphen Press), which includes a full discussion of Otto Neurath's work. [Google] [More] ⦿
German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.
In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).
He made the following typefaces and type families:
Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.
Ethan Is Sweet
Typefaces from 2016: Moku26 (a geometric typeface for the digital woodworker; extended in 2017 to include styles such as Birch, Oak, and Pine). Creative Market link. Behance link. [Google] [MyFonts] [More] ⦿
In 2014, Eugenie Kang (London, UK) and Bhavik Samani cooperated on the experimental United typeface. They used five basic shapes to draw al the letters of the Latin and Hangul alphabets. [Google] [More] ⦿
Portuguese student of graphic design at London College of Communication. His typefaces include Rounded Regular (2011), Mariana (2011, wavy), London Fields (2011), Pontocruz Smallcaps (2011), Colher V3 (2011, hipster typeface) and Colher Rounded (2011).
Fabian Leuenberger's foundry is called Europa Type. It is located in Zurich and London. Their typefaces include:
Eva Karapidaki holds a Bachelor of Arts in Graphic Design from Middlesex University /AKTO. She often writes for +Design magazine and works for Tsevis Visual Design. Her first commercial typeface is PF Hardkore (2007, Parachute). [Google] [More] ⦿
London-based designer of the minimalist monoline sans typeface Plastic Crowds (2013, with Marta Yarza): Inspired by old cinema marquees and by the 60s advertisements of NASA, we created this unique upper case typeface for the art collective Plastic Crowds. In 2014, she added Orchid (2014), a ball terminal typeface influenced by didone fat typefaces. She was also involved in the design of a custom typeface for the Banh Mi 11 store in London, together with Sam Phong Nguyen and Sergio Tatoli. She also codesigned Japanica (2014, a free experimental Asian simulation typeface, with Marta Yarza).
Journal publisher and editor from United Kingdom, b. 1872, Yorkshire, d. 1945. He studied at Academie Julian and Ecole des Beaux Arts in Paris, and at Central School of Arts and Crafts, London, and Royal Art School. In 1912, Gerard Meynell, with J.H. Mason, Ernest Jackson and Edward Johnston, commissioned Imprint, a large x-height typeface modelled on Caslon's designs from Pierpont and the Monotype Corporation as the text typeface for The Imprint, a short-lived magazine about fine printing and typography. It was finished in 1913. Digital version now called Imprint MT. There is also a version called Imprint URW.
F is for Fonts
Commercial foundry in London that specializes in hand-painted and brush styles. Their web site does not work on Firefox. F Is For Fonts made the free grunge slab serif font F. Vermont (2013). Commercial typefaces at 30 pounds a pop: Bronx (2013), St. Germain (2013), Battersea, Big Sur (a great ultra-fat brush face), Lowell (old typewriter), Wisconsin, Dunkirk (stencil), Helsinki, Hamburg (brush typeface), Stockholm, Vermont, Malibu, Belize, Los Alamos, Wilton, Saigon (army stencil), Kojima (2015, grunge and textured hand-painted font), Kansas (2015, hand-painted), Amsterdam, (2015, a fantastic inky poster script). All fonts are in highly detailed vector format.
Typefaces from 2017: F Saint Tropez.
F37 (or: Face37)
Photo era foundry set up in the 1960s by John McConnell and Chris Dubber in London. I could only find Pluto Outline, the art nouveau typeface Desdemona (a digital version was created in 1992 by David Berlow at Font Bureau and in 1994 by Richard Beatty; Letraset showed Desdemona in its 1981 and 1986 catalogs; the original is from the late 19th century by Karl Brendler&Soehne, Vienna), Stack, and Oxford (a multiline face) on-line. Steve Jackaman worked in the studio in Newman Street and Hanway Place, and recalled El Paso (a Western/Mexican simulation face) when he created El Paso Pro (2011, Red Rooster).
According to Wes Wilson's web site, Face Photosetting led the way by launching a number of Art Nouveau revivals which were taken from Ludwig Petzendorfer's "A Treasury of Authentic Art Nouveau Alphabets". A selection of these, which included Arnold Böcklin, Edel Gotisch and Eckmann Schrift, were made more widely available when Letraset produced them for their dry transfer product. They published a number of books and catalogs, ca. 1976-1977: Face headline catalogue [1981/82] (1977), Specimens of Delittle's wood type, Face book of typefaces, Type catalogue (1976). Some of the typefaces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). Bully Pulpit Plain NF (2014, Nick Curtis) is a revival of Bullion Shadow. [Google] [More] ⦿
Fann Street Foundry is a defunct London-based foundry, started by Robert Thorne in 1794. It specialized in display types, often Victorian in nature towards the end of the 19th century. The foundry was bought by William Thorowgood in 1820, by Robert Besley in 1849, became Reed&Fox in 1866 and closed in 1906. Its designs passed to Stephenson Blake.
The Reed and Fox typefaces Viennese and Corinthian were combined in 2014 in Nick Curtis's digital typeface Genever NF. Johannes Lang and Stefan Ellmer revived Viennese in 2013 as Brevier Viennese. [Google] [MyFonts] [More] ⦿
UK-based FontStructor (student at Bristol UWE) who created the grungy texture typeface Mouldy Strawberries (2010), which was obtained after letting fruit cut in the shape of letters decay on a sheet of paper. [Google] [More] ⦿
Fatchair is Alan Rimmer's company in Chessington, Surrey, UK. MyFonts catalog. He has made corporate type such as Kingston Gill Sans (for Kingston University), and Contact. Other type families: Naranja (2012, a nice rounded sans family), Reon Sans (2012), Vasarely Light (2002), Deep Fried (1996), Drug (1998), Illuminati (2000, monospaced, sans serif), Informatic (2002, 20-style sans family marketed as friendly alternative to DIN), Mizar Grotesk (2002), San Jaime (2002), WSK (2002, a modern family), Ozone Inline (free dot matrix font, 2002).
Commercial fonts include Boeotian (2004), DeepFried (2005, 28 members in this multiline typographical experiment), Drug (2004, eroded face), Friday (2004), Illuminati (2004), Informatic (2004, 20-weight sans family), Mizar Grotesk (2004, 10 weights), Procyon (2004), San Jaime (2004), Stranski (2004), Venkmann (2004) and WSK (2004, a 4-weight serif).
FatFonts is a graphical technique conceived and developed in 2012 by Miguel Nacenta (a lecturer in human-computer interaction at the School of Computer Science, University of St Andrews, Scotland), Uta Hinrichs (originally from Lübeck in Germany, she is currently a PhD candidate at the University of Calgary in Canada), and Sheelagh Carpendale (a computer science professor at the University of Calgary).
Numerals in vector fonts developed by the team have a thickness that is proportional to their value. Numerals can also be nested. The (free) fonts were converted to opentype by Richard Wheeler (a PhD student at The Sir William Dunn School of Pathology of Oxford). Uta Hinrichs designed Gracilia, Cubica, and Rotunda. She codesigned Miguta with Miguel Nacenta. Finally, Richard Wheeler himself created the LED typeface 7Segments. [Google] [More] ⦿
Anthony "Ant" Roberts is the former director of the Manchester design agency, Fathom. Between 2001 and 2003, he created some commercial techno, Playstation, manga and motor racing fonts such as Baja (Medium, Bold), Fraudster, Keet Heavy, Shooter Bold, Soon Black and Zedd Bold.
Norwich, UK-based graphic designer, b. 1961. He created Handergus (2012, hand-printed), Baby Pirate (2008), Boneyard Army (2010) and Aztec Bouffon (2008).
In 2013, he added Clown Town.
Graduate of the University of Reading in 2011 who lives in Catalunya and/or the UK. He created the Latin / Arabic typeface Bubblegum (2011) during his studies there. Bubblegum is soft and rounded, but is remarkably well-suited for small text thanks the careful use of inktraps.
In 2012, he won the Bronze Prize in the Latin category of the Morisawa Type Design Competition for Baldufa. Baldufa was also crowned at TDC 2013. Award winner at The 2014 Horouf Type Design Competition. Its angular and stocky design makes it ideal for use in catalogs and magazines.
In 2013, Pilar Cano and Ferran Milan codesigned the text typeface Quars, which was published at Letterjuice. It was influenced by Scotch Roman and classical Dutch typefaces. In addition, it offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona. [Google] [MyFonts] [More] ⦿
Martin Fewell is the type designer who started the Fewell foundry in London, and who runs MartinFewell.com and Yolo in Manchester. Martin is also a part time Lecturer at The University of Salford and Chelsea School of Art and Design. His techno fonts are available from [T-26]: Assembler (2004, a paperclip face), Mechwar (2002), Techstep (2002), Sushi (2002), Synthesis (2002, a techno font family) and Turbo (2002).
And now also from MyFonts.com: Memory (a sensational techno font, 2003), Exhaust (2002), Kanister (2003), Datastream (2003, an octagonal font) and the military octagonal stencil font Airbrake (2003). At Union Fonts, he published Memory, Airbrake (octagonal stencil font), Exhaust, Datastream and Kanister in 2003. At Yolo, one can ogle and buy his typefaces: Airbrake (mecahical face), Airframe, Assembler, Datastream (octagonal), Delicious, Exhaust, Insatiable, Kenister (octagonal), Lovebeing, Mechwar, Memory (experimental, techno), Newart, Nova, Rapture, Sushi, Synthesis (techno), Techstep, Turbo.
Graphic designer at BMT London.
Dr Fiona Ross, is a typographic consultant, typeface designer, lecturer and author, specializing in non-Latin scripts. From 1978 to 1989, Fiona Ross worked for the British arm of Linotype, Linotype Limited, where she was responsible for the design of their non-Latin fonts and typesetting schemes, notably those using Arabic and Indic scripts such as Devanagari. Since 1989 she has worked as a consultant, author, lecturer, and type designer. In 2003 Fiona joined the Department of Typography and Graphic Communication at the University of Reading, England as a part-time sessional lecturer on non-Latin type. The Adobe Thai typefaces were commissioned to from Tiro Typeworks and collaboratively designed by Fiona Ross, John Hudson and Tim Holloway in 2004-2005 for use with Adobe Acrobat (production by Tiro Typeworks). Vodafone Hindi (2007, with Tim Holloway and John Hudson) won an award at TDC2 2008. Fiona holds a BA in German; a Postgraduate Diploma in Sanskrit and Pali; and a PhD in Indian Palaeography from SOAS (London University). Fiona Ross is the recipient of the 2014 SOTA Typography Award.
Bio at ATypI. Her books and/or essays:
Flava Fonts (was Flava Fontz)
Fonts by Leigh Taylor (UK), who wrote on his (now defunct) web site: My Creations, Blurmix, Hoodlum, The Sauce, Thompson, House of Fun and Fingerpop find their real home, along with numerous other creations including Isomer, Hawk, Frostbitten Again and all my future creations (10 currently on the Drawing Board!). Watch out for Alfred E. Neuman, Ren&Stimpy and Manga Dingbats coming your way! Also a Tribute to Don Martin Dingbat!.
Spy vs Spy is a gorgeous dingbat font. House of Fun is a bouncy comic book typeface.
He made the contemporary informal typeface Jula (2012).
Asgaard was created during the one-week typeface design workshop tipoRenesansa in Trenta, Slovenia (February 2012). It is specially designed for street signage. Runge writes: To achieve great legibility the design paid much attention to features such as: large x-height, open counters, tiny serifs, slightly rounded corners, square terminals as well as inktraps. Research leading to asgaard is described in Runge's paper The echo of architecture in Danish type design of the 20. century.
In 2016, he published the flared lapidary typeface Sherpa Sans at Rosetta. The naming caused a bit of a stir, not so much because of Oskar Boscovitz's Sherpa Sans (2002), but because of an unpublished font by a competitor. Rosetta took the moral high ground (even though it could have fought this trademark and won) and decided to rename Sherpa Sans Gitan.
Flotsam is the Manchester, UK-based home of free futuristic fonts created by Gary Clarke: Smart (1993), Carnage (1994), Performance (1994), Coming Up (1994), Motorway (1995), Astronaut (1995), Stiff Upper (1995).
Graphic designer, born in 1973 in Birmingham, UK. Lee Basford (Fluid +) is the [T-26] designer of FungFoo (1996, with James Glover, an oriental simulation font), Euphoric (1996, with James Glover, a paperclip style font).
At Fountain, you can buy his techno font Nuephoric.
At his Fluid + studio, you can find Euphoric, Fungfoo, Haircut Sir? (1999), Ultra and Death, mostly grunge fonts.
Fluid Fonts sells custom fonts and design by James Glover (Birmingham, UK). Amberjack, Big Foot Ultra Bold and Ultra are all grunge fonts. F-one, Euphoric (a futuristic font done in 1996 with Lee Basford; available from T-26), and Wheel of Death are techno/futuristic, and Fufanu and FungFoo (a T-26 font done in 1996, with Lee Basford) are Chinese/Japanese lookalikes. MyFonts sells Euphoric and Fung Foo. [Google] [MyFonts] [More] ⦿
Foundry based in London, UK, set up by Lee Henry (b. 1982, Gateshead, UK). Lee studied Graphic Design in Newcastle and first got involved in font design when he designed GOTHFEST for a magazine project. He now works in London as a newspaper designer and continues to produce new and original font designs. Creations include Modernist (2006, a MICR style family), Arctic Chunky (2006), Gothfest (2006), Bogus (2006, in the style of Toolego), Bad Azz (2006, grid-based), Cubist (2006, thin octagonal family), and React (2006, also grid-based), Modernist (2006, monoline sans), 1up (pixel face), Allstar (2009, constructivist), Ole (2009, fat and squarish). [Google] [MyFonts] [More] ⦿
British designer of the free rounded sans font SciFly-Sans (2012, with Tomi Haaparanta).
London-based font vendor who started in 2015 or 2016, and carries mostly brush script typefaces. Their fonts include Kayleigh (2016) and Prologue Script Lite (2016, calligraphic).
Typefaces from 2017: Questioned, Renegade, One Dance (calligraphic), Mammoth (script), Honey Bee, September Script (calligraphic), Amanda (calligraphic), Sandy Pro, Lilly Mae. Dafont link. Creative Market link. [Google] [More] ⦿
Andy Benedek's (b. Manchester, UK, 1945) Cotswolds-based outfit for "custom fonts and lettering of distinction", founded by him in 1988. Andy (András) made corporate typefaces for Umbro, QZERO, Bowater, Lloyds Bank, Royal Free Hospital, Liptons teas, Gordons gin, Marlboro cigarettes, as well as typefaces for magazines (Royal Academy of Arts, Elle, Blueprint) and for newspapers (The Scotsman). All this was done under the label of The Font Factory. With Michael Johnson and Mike Pratley, he created a font for BT Cellnet. A braille typeface has been developed to aid the production of signage for the blind. In 2001, he co-founded Fine Fonts with Michael Harvey. CV. Typefaces: