TYPE DESIGN INFORMATION PAGE last updated on
Tue May 22 04:19:29 EDT 2012 TYPE DESIGN INFORMATION PAGE last updated on
Tue May 22 04:19:29 EDT 2012
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Type design in the United Kingdom |
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Durham, UK-based creator of the bouncy handprinted Paisy (2007). [Google] [More] ⦿ | |
100types
| Educational and reference site run by Ben Archer, a designer, educator and type enthusiast located in England (who was in Auckland, New Zealnd, before that). Glossary. Timeline. Type categories. Paul Shaw's list of the 100 most significant typefaces of all times were recategorized by Archer:
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24hourbauer.co.uk
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Creator of the picture-derived faces 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. [Google] [More] ⦿ |
Birmingham, UK-based design firm. Creators of the futuristic type Slacker Journal for the journal by that name, 2001. No longer active. [Google] [More] ⦿ | |
8 Faces
| 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] ⦿ |
A2 Graphics--SW--HK
| A2 Graphics/SW/HK is a London based design bureau founded in 1999 by Scott Williams and Henrik Kubel. They co-designed AF-Klampenborg (1997-1999) and FY-Brush Script Regular. [Google] [More] ⦿ |
A2 Type
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Klingspor link. [Google] [MyFonts] [More] ⦿ |
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), Sanzettica (2007, 36 sans styles of the geometric kind), 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). [Google] [MyFonts] [More] ⦿ | |
Graphic designer and illustrator studying Graphic Communication at UCA, Farnham, UK. He created Modular (2011, a kitchen tile face). [Google] [More] ⦿ | |
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 face Exogenetic (2010). Behance link. MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Abattis
| 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. In 2009, for his MA work at Reading, he designed Cantarell, a free sans family, done together with Jakub Steiner, free at CTAN. OFL page. Finally, in 2009 or 2010, he started work on the Google Font Directory. Klingspor link. [Google] [More] ⦿ |
Abbas Mushtaq (Leeds College of Art) is working on a font called Parallel Lines (2011). [Google] [More] ⦿ | |
Student at UWE in Bristol, UK. FontStructor who made the circus fonts Ornamental Circus (2010) and Draft Two (2010). [Google] [More] ⦿ | |
ABC Types (was: Absolutetype)
| 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, Monolith Sans, Poster Gothic, Ranger, Society, and Text Gothic. Before ABC Types, he ran Absolutetype, where he sold the faces 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 is in Cedars, PA. It is identical to that of ITF. Tony Mayers has died. Ascender also sells its collection. [Google] [MyFonts] [More] ⦿ |
Ablaze Studio
| 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] ⦿ |
Student at UWE in Bristol, UK. FontStructor who made the Celtic caps faces Radiating Bold (2011), Radiating (2011) and Closed Energy (2011). [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 Font Factory or MyFonts. The company evolved, I guess, into CHK Design. Interview. Klingspor link. The ACME font list:
View ACME's typefaces. [Google] [MyFonts] [More] ⦿ |
A-D Foundry
| 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 face Mason Regular (2010), Kläda (2011, a bilined face made for a UK-based online fashion label), Retail (2011), Process (2011, stencil), and the monolined Agostin family (2010). [Google] [More] ⦿ |
Adam | London-based designer of Bootround (2006, a techno version of Amelia). [Google] [More] ⦿ |
Media Production student at the University of Lincoln, UK. As iFontMaker, he created the scratchy hand Shotgun Shak (2011). [Google] [More] ⦿ | |
Graphic designer in Manchester, UK. Behance link. Creator of the free modular font ABStochome (2010). [Google] [More] ⦿ | |
Graphic designer in Northampton, UK. Behance link. In 2010, he designed Typegram, a modular typeface that consists of puzzle pieces. [Google] [More] ⦿ | |
Manchester, UK-based typographer and digital artist who studies at Pendelton College in Manchester. His stern display face High Rise (2010) was inspired by concrete city monsters. In college, he created several other (unfinished) alphabets: i, ii, iii, paper cut typeface. [Google] [More] ⦿ | |
Studied Graphic Design at London Guildhall University from 2000-2003. Worked for six months in a design/marketing agency working on commercial projects for clients such as Wella and Vodafone. At present designer for a design/print company based in Newbury, UK. With the experimental typeface Landing Ship, he won an award at the 2005 FUSE competition. [Google] [More] ⦿ | |
Adam Greasley (Colt Creative Design, or Wearecolt, Bradford, UK) made Adams Hand (2010) and Quick Death (2012, a hand-drawn poster family). [Google] [MyFonts] [More] ⦿ | |
During his studies at the University of Salford, Huddersfield, UK-based Adam Hesling designed a handprinted poster face and a piano key face (2012). [Google] [More] ⦿ | |
Students at the University of Leeds (UK) who made a nice Bodoni poster in 2011. [Google] [More] ⦿ | |
Graphic designer who studied at University College Falmouth. Now based in London, Adam designed Infected Type (2012, ornamental caps). Behance link. [Google] [More] ⦿ | |
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 graphic designer based in London, b. 1964, Worthing, Sussex. He made the Bauhaus-style Bremner family in 2000 for the visual identity of Mute Records. [Google] [MyFonts] [More] ⦿ | |
British advertising typographer and type designer, b. 1950, Somerset. Co-designer with Rosemary Sassoon of SassoonPrimary in 1990. He ran Club Type/Adrian Williams Design Limited in Merstham, Surrey (UK). His typefaces now owned by Monotype Imaging: Bulldog, Column, Congress, Congress Sans, Eurocrat, Leamington (1978), Mercurius, Monkton, Poseidon, Raleigh (1978), Seagull (1978, + Bob McGrath, design owned by Ingrama), Stratford, Worcester Rounded (1974), Worchester. Perhaps the most famous in this list is the slab serif faily 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] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the spiky face Witchita (2010). [Google] [More] ⦿ | |
AGA Fonts
| The (beautiful!) AGA Fonts for Arabic are exclusively sold by Almedia Interactive Limited, which is based in the UK. Designed by Mohammad Alagha, some are free at the web site: AGA Rasheeq, AGA Juhyna, AGA Furat, AGA Cordoba, AGA Granada, AGA Mashq, AGA Sindibad, AGA Aladdin, AGA Kayrawan (could not find out where to download them though). Dingbats, beautiful arabesques and ornaments: AGA Horoof, AGA Arab Cities, AGA Greeting Phases, AGA Islamic Phrases, AGA Kalemaat, AGA Names, AGA Arabesque (Regular, Bold and Outline), AGA Islamic regular, AGA Greetings 1 and 2, AGA Publishing regular. Dafont link for some free fonts. Andalus (1993) can be found here. Another URL. [Google] [More] ⦿ |
Graphic designer in Hastings, UK, who made an experimental typeface in 2012. [Google] [More] ⦿ | |
UK-based designer of Azu (2005, handwriting). [Google] [More] ⦿ | |
Graphic design student in London. Creator of Culture Face (2010, Asian look). [Google] [More] ⦿ | |
British design studio, est. in 1998 in London by Alex Maclean, Fred Deakin and Nat Hunter. In 2009, they designed Airplot (2009), a typeface specifically for Greenpeace's Airplot campaign against a new runway at Heathrow. [Google] [More] ⦿ | |
British designer of LCD (1981, ITC), Crystal (1981, cyrillicized in 1993 by A. Kustov), Bitmax (1990), Rubber Stamp (1983), and Synchro (1984). URW listing. MyFonts write-up. Linotype link. FontShop link. [Google] [MyFonts] [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] ⦿ | |
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Londoner who designed a font for an imaginary language---check Behance. For his MA degree, he is working on variations of Frutiger (2009). [Google] [More] ⦿ | |
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Milton Keynes, UK-based creator of Greenlish (2012), a font that mixes Latin and Greek. Behance link. [Google] [More] ⦿ | |
UK-based graphic designer. Creator of the octagonal font Sliced AB (2006). [Google] [More] ⦿ | |
Graphic designer and illustrator from Barcelona who works in London. Behance link. Creator of Die Modularität (2012), De Palo (2011), Scriptura (2011, a calligraphic connected script), this triangle/circle based modular type, of GoodBye (experimental type based on Barcelona's night lights), and of a geometric custom-designed face for the Aroy Restaurant in Barcelona. [Google] [More] ⦿ | |
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] ⦿ | |
UK-based youngster (b. 1994) who created the graffiti face Prince Dub (2007). [Google] [More] ⦿ | |
Designer and illustrator in Coventry, UK. In 2011, he created the quaint World War I era poster headline face Prest. [Google] [More] ⦿ | |
Graphic design student in London who created Futura Champagne (2011). Behance link. [Google] [More] ⦿ | |
Designer from Bristol, UK, who created some fonts at FontStruct in 2009. [Google] [More] ⦿ | |
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Graphic designer in London, UK. He graduated from Nottingham Trent Univeristy in 2007. Behance link. Designer of the folded paper font Origami (2009). [Google] [More] ⦿ | |
Graduate of the University of Salford in Greater Manchester (2008) in graphic design. Designer of the outline monoline sans face Hire (2010), done on commission for Andy Golpys. [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 (2008). The former was digitized by Monotype as Binny Old Style MT. Pic. [Google] [MyFonts] [More] ⦿ | |
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 face 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 face 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 face 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. Handwriting. oHe 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). Klingspor link. [Google] [MyFonts] [More] ⦿ | |
UK-based art student (b. 1988) who created the handwriting font Ali (2006). [Google] [More] ⦿ | |
Designer in based in Hertfordshire, UK. Behance link. Creator of a fat counterless typeface in 2012. [Google] [More] ⦿ | |
Alias
| Founded by Gareth Hague and David James in 1996, and based in London, the fonts made here can be bought through T-26, ITF and/or FontWorks UK. Partial font list: AES (1995, David James), August (1996, a fifties font by Gareth Hague), 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). View the Alias typeface library. [Google] [MyFonts] [More] ⦿ |
The alien font "alien_font_8" has some strange runes. Alien Head Graphics is located in Oxfordshire, UK. [Google] [More] ⦿ | |
London-based graphic designer. Creator of Distorted Lines (2011, grunge). [Google] [More] ⦿ | |
British graphic designer who made this poster of eyes in 2009. [Google] [More] ⦿ | |
A few original designs by Canadian graphic designer Allen Zuk include 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. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the handprinted face Teenage Kicks (2009). [Google] [More] ⦿ | |
Student at UWE Bristol in the UK. FontStructor who made the grunge face Tooth Decay (2010). [Google] [More] ⦿ | |
UK-based designer (b. 1984) of the beautiful and artistic display face Font Bola (2007, aka Secret). [Google] [More] ⦿ | |
Swedish freelance graphic designer located in London. Behance link. Creator of the formal upright script/display face Rund (2009). [Google] [More] ⦿ | |
English sign writer who will soon publish Gotheau, Jester and Castle with Letterhead Fonts. [Google] [More] ⦿ | |
London-based designer of Dazed&Confused (2011): Custom font derived from Serifa for the fashion section themed 'Vibrations/Movement'. The font looks as though it shivers/vibrates. [Google] [More] ⦿ | |
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] ⦿ | |
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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] ⦿ | |
British designer (b. 1976, Bedford) of Mister Loopy (2009). He went commercial in 2009: via MyFonts, one can now buy the grungy Spud AF (2009), Peepz AF (2011, a collection of faces of boys), and the handprinted Scribbles AF family (2011, +Biro, +Felt Tip, +Marker). Andrew lives in Bedford, UK. Fontsy link. MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
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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] ⦿ |
Independent game developer Andrew McCluskey (Nalgames, Dundee, UK, b. 1991) designed the free LED-inspired Kinglify (2011), Digital Display (2012), and Princelify (2011). Manly Man (2011), Metal Arhyrthmetic (2011) and Ace Futurism (2011) are semi-octagonal. Consider Me Vexed (2011) and Pixel Flag (2011) are pixel faces. In 2012, he made Vermin Vibes (futuristic), Dubbing Star (futuristic), Sorrier Statements, Particulator (an octagonal paper fold typeface), Coder's Crux (a pixel face created for programmers, FontStruct), Triggering Fanfares (octagonal), Alt West, Notalot25 (pixel face), Notalot35 (pixel face), Lord Juusai (inspired by the logo for Lord Tensai from WWE), Zephyr Jubilee (an alien language simulation typeface), Bevel Fifteen, Xero's Theorem (sci-fi), Dubbing Step and Here Be Dubstep (FontStruct), Italic Bricks, Gang Wolfik (angular), Ruaturecu, Quous Inno, Electramaniacal. Dafont link. Most of his faces were made using FontStruct, where he is known as NAL or Notalot. [Google] [More] ⦿ | |
London-based and Australia-born designer of Doodlebug (Letraset, a nice scratchy handwriting face), Jokerman (1995, Esselte), Retro Bold (1992, 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), DoublerScript (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. | |
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] ⦿ | |
London-based creator of the handprinted outline face Poynterism (2011). [Google] [More] ⦿ | |
British graphic designer in Manchester who used FontStruct to make the squarish faces Barcelona (2011) and Barca Thick (2011). Behance link. [Google] [More] ⦿ | |
Brand identity designer in London. He created a typeface for the identity of Life Bank (2009). Another typeface by him is Pressure (2009, severe octagonal). Behance link. [Google] [More] ⦿ | |
Andrew Young | Manchester, UK-based designer of the gorgeous MICR-look futuristic face Blazium (2003). [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:
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British graphic designer who lives in Stoke-on-Trent. Behance link. His type experiments include a handwriting face and a piano key face, both made in 2008. No downloads. [Google] [More] ⦿ | |
UK-based architect and designer. Behance link. Creator f the origami face KaWaii Desu (2011). [Google] [More] ⦿ | |
British type designer. Based in South London, he co-started ACME with Christian Küsters. [Google] [MyFonts] [More] ⦿ | |
Littleborough, Lancashire-based designer of Black Swirl (2007) and of Diablo (2007-2010). Dafont link. Aka Smudge and Scribble. [Google] [More] ⦿ | |
Designer from the UK who created Spira (Font Bureau), a beautiful Venetian revival font family, and AT Pastor (FontHaus), an elegant high-legged serif face. [Google] [MyFonts] [More] ⦿ | |
Designer at the Department of Mathematics, University of Nottingham of the GNU chess font, to be used with "gnuchess". [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. [Google] [More] ⦿ | |
Durham, UK-based designer of the artificial language font Theban (2009). [Google] [More] ⦿ | |
Aka Bob Todd, Anna Ghislaine (b. 1985, lives in London, UK) created Precursors (2005), a font based on the Precursor writing seen in the Jak & Daxter games. Alternate URL. [Google] [More] ⦿ | |
Scribe, calligrapher and teacher (1871, Mönchengladbach-1951, Prien). From 1896-1903, 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] ⦿ | |
Designer at ACME in London. Her creations include AF Oneline (1998), a geometric hairline monoline stencil font. [Google] [MyFonts] [More] ⦿ | |
Annette O'Sullivan | Annette O'Sullivan trained as a graphic designer and worked in design studios in New Zealand prior to further study in typography at the London College of Printing. She has an MA degree in typography and graphic design. While in Britain, she worked in publishing and museum design, notably for The Museum of the Royal Welch Fusiliers, Caenarfon Castle, North Wales, the Hong Kong Museum of Coastal Defence, Hong Kong and the Royal Armouries Artillery Hall, Fort Nelson. She currently lectures in typography at Massey University, Wellington, and continues to explore contemporary typographic application within a historic context. [Google] [More] ⦿ |
British dark artist, b. 1990, aka Diagonna. She created Block Font, Pixel FF and Inverted Pixel FF in 2011. [Google] [More] ⦿ | |
Designer at ACME of AF Video Wall (1998, a gridded pixel font). In 2012, he published the stencil typeface Kit Form (HypeForType). Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Dafont link. Aka Anfa. Home page. [Google] [More] ⦿ | |
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 (+Mono (slab)), Monosten, Montefiore, and Reader. All are sans faces. [Google] [More] ⦿ | |
Anthony Smith graduated from The Arts Institute At Bournemouth with a BA in Graphic Design. He made a modular typeface in 2011 called Hollow Type. Behance link. [Google] [More] ⦿ | |
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] ⦿ | |
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Graphic designer in Newcastle upon Tyne, UK. Creator of The Simple Font (2012, experimental, geometeric and minimalist) and Geometric Font (2012). [Google] [More] ⦿ | |
Manchester, UK-based designer. Behance link. Creator of the triangle-themed face Kosmos (2011). [Google] [More] ⦿ | |
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 face of extraordinary grace), Infographique (2010), Mod Gothic (2010, metal band face), and Pyramid (2010). In 2012, he made the (free) neon tube font Chrome (+Light, +Black). Dafont link. [Google] [More] ⦿ | |
Arthur is a bespoke font for Guinness, dated 2011. Produced by the Jones Knowles Ritchie studio in London. [Google] [More] ⦿ | |
Architect, born in 1861 in London, died in 1934 in Beckenham, Kent. He created this architectural alphabet. [Google] [More] ⦿ | |
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, 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] ⦿ | |
This site offers a truetype font (called CRMackintosh) for the Mac based on the writing of Charles Rennie Mackintosh. The font costs 13 UKP. [Google] [More] ⦿ | |
ARTypes
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ArtyType
| James Marsh Art&Design (or ArtyType) (Hythe, UK) is a visual arts and illustration company. Behance link. His typefaces are modular, and include 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), and Nutcase (2010). [Google] [MyFonts] [More] ⦿ |
Ashendene Press
| "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. " Note: Its Ptolemy Roman type was designed based on the roman lettering of Leonhard Holle used in "Ptolemy" (1482). The Subiaco type (1902) is now owned by Cambridge University Press. Its punches were cut by E.P. Prince. It is a humanist face with blackletter tendencies, and is based on the first roman used in Italy for printing, developed around 1464 at subiaco by Conrad Sweynheym and Arnold Pannartz. The Ashendene Press disappeared in 1936. [Google] [More] ⦿ |
Designer who used FontStruct in 2009 to make Dance (dancing dudes making the Latin capitals), Signature (handwriting), Flex and Slab. Aka Adne Wall, he is located in the UK. [Google] [More] ⦿ | |
This British graphic design student created the ornamental caps alphabet Fish Face (2011). [Google] [More] ⦿ | |
British type designer (1903-1973), who made Ashley Crawford (a heavy monotone caps face at Monotype, 1930), Ashley Script (1955 at Monotype, now available at Adobe). Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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Ashton
| Ashton is the Southend, Essex, UK-based foundry of Andrew Ashton, est. 2008. Born in 1971, Andrew Ashton is a book designer and illustrator. He won the British Book Industry Award for Design and Production (Nibbie) 2007 for The Dangerous Book for Boys. He created Bowen Script (2008), a font from the lettering of some Caribbean maps. [Google] [MyFonts] [More] ⦿ |
Association for Insight Meditation (or: Aimwell)
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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:
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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:
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British designer who works in London. He made New Formula Tippex (2001) with letters drawn using a bottle of Tippex. [Google] [More] ⦿ | |
AvanType
| 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 web page is impossible to access on most browsers though. 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). [Google] [More] ⦿ |
South-African or UK-based designer of A Perfect Circle (2003) and Serpentine Bold Flaat (2004). [Google] [More] ⦿ | |
Bababau
| 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 face Ihavebeenwaitingforyou (2009) and the LED face Water In My Casio (2009). In 2010, he added Sexything. Dafont link. [Google] [More] ⦿ |
Chris Ireland's commercial product by CIA (BAR CODES) UK, based in Manchester. Demo. Includes Bookland, Codabar, Code 39 (Normal), Code 39 (Extended), Code 39 (Mod 43), Code 93, Code 128 A, Code 128 B, Code 128 C, Code 128 (Automatic ABC), EAN 8, EAN 8 Plus 2, EAN 8 Plus 5, EAN 13, EAN 13 Plus 2, EAN 13 Plus 5, EAN 128, Interleaved 2-of-5, Interleaved 2-of-5 (Mod 10), ISBN, ISSN, POSTNET, UPC A, UPC A Plus 2, UPC A Plus 5, UPC E, UPC E Plus 2, UPC E Plus 5, UCC 128, UCC / EAN 128, UPC Shipping Container Code, SCC-14 Shipping Container Code, SSCC-18 Serial Shipping Container Code, HIBC LIC (Code 128, Code 39), NHRIC (UPC A, ITF, UCC / EAN 128), UPN. [Google] [More] ⦿ | |
Londoner who created the experimental Bezier-driven Blended Alphabet in 2009. [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] ⦿ |
Graphic designer in London. Flickr page. Creator of some experimental faces, including several 3-d alphabets. [Google] [More] ⦿ | |
bbold
| bbold is a blackboard bold math symbol font written in metafont by Alan Jeffrey in 1994. 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 face 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 1921-1925, 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] ⦿ | |
The typeface Moment was commissioned by the Belfast City Council for its brand. Unknown designer, but free download. [Google] [More] ⦿ | |
UK-based designer, who created Synthetic Stencil (2011) and Pixel Error (2011). Behance link. [Google] [More] ⦿ | |
Ben Drury | British designer in London. He made D.cal, a tilted nib pen-stroke font (2000). All lines are based on off-set circles. He also designed Unkle (1998, a high tech font used on the album Psyence Fiction, based on lettering from the Disney film Tron) [Google] [More] ⦿ |
Digital artist from Plymouth, UK. He created the experimental typeface Juice (2009). Behance link. [Google] [More] ⦿ | |
UK-based comic artist, b. 1985. Home page. Designer of GB Nametag (2006), based on the lettering of the Ghostbuster nametags. Ben King also made Ghostbusters Nametag (2006). [Google] [More] ⦿ | |
Typefaces from 2011: Carnet (a take on Gill Sans and the British humanist sans in general), Sentosa (an elliptical sans family). [Google] [More] ⦿ | |
London-based web designer. He created a modular stencil face, AlphaBetas (2010). Behance link. [Google] [More] ⦿ | |
Bew Swift (Cogilium) made the handprinted face 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] ⦿ | |
Student at Brighton University, Hastings, UK. He created the thin avant-garde type family Quantis (2012). [Google] [More] ⦿ | |
British designer who created glyphs from icons in order to create the experimental Punk Rock Font (2010). [Google] [More] ⦿ | |
Student at the University of Western England in 2011. FontStructor who made the paper folding face Shami (2011, FontStruct). [Google] [More] ⦿ | |
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] ⦿ | |
Graphic designer in Southampton, UK. Creator of FMP-3D (2011). [Google] [More] ⦿ | |
Bristol, UK-based digital artist, who drew a few beautiful ornamental caps in 2011. [Google] [More] ⦿ | |
Benny Designs (was: Benjamin de Lotz Design&Typography)
| Benny Designs (ex-Benjamin de Lotz Design&Typography) is Benjamin de Lotz's outfit in London. de Lotz (b. 1973) created Bereta (1998), available from 2Rebels. [Google] [MyFonts] [More] ⦿ |
Welsh creator of the irregular chiseled face ITC Bolthole (2008). He writes: My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art. Philpot studied graphic design and typography at the London School of Printing, and soon after graduation started work in a large advertising agency in London. Klingspor link. [Google] [More] ⦿ | |
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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, Heinz 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 FontStructor (student at Bristol UWE) who made the ornamental caps face Ornée (2010). [Google] [More] ⦿ | |
Bezier Design Limited | Designers of freeware fonts such as Beniolo. Affiliated with Camrose House in Pembroke, UK. Custom font design by Ian Smith. [Google] [More] ⦿ |
British creator of the free font Big Teez SQ (2011). Home page. [Google] [More] ⦿ | |
From 2009-2011, 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 faces 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 acknow- ledged some of its flaws, and even proposed alternate fucntionality treatments, with a more humanistic 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. [Google] [MyFonts] [More] ⦿ | |
Digital artist in London. Home page. He created the experimental faces Bebo Sans (2011) and X Code (2011). [Google] [More] ⦿ | |
Blackfriars Type Foundry |
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Blahfonts
| About ten creations by UK-based Giles Edkins, such as The Daily Blah, Anger, BoringBoring, Loopy, MetalFont, Squiggly, Subtlety, TheDailyBlah, WhatAStupidName, ZanyWhateverItMeans (1997), WonkyTypewriter (1997), Humbug. Fontspace link. Dafont link. [Google] [More] ⦿ |
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Blake Type Foundry | British typefoundry in the late 19th century. One of its types, Blackfriars, was digitally revived by Nick Curtis as Drury Lane in 2007. [Google] [More] ⦿ |
London-based graphic designer. Behance link. Her first font was called Letterpress (2010): it is a grunge face with pizzazz. [Google] [More] ⦿ | |
Zach Whalen analyzes Data Seventy in his 2008 thesis and states that Data Seventy is the first full alphabet based on the MICR font E-13B, since it includes both upper and lower case letters. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
UK-based designer of Arch (2011), a typeface made up of lines and arcs. [Google] [More] ⦿ | |
Boico Typography
| 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] ⦿ |
Boicozine
| Dead link. Design blog with an eye for typography, as practiced and created by designers. Example subpages include a typographic tour of the city of London (a 15 minute video). [Google] [More] ⦿ |
Using iFontMaker, Bonnie Rafferty (Wye, Kent, UK) created Bonnie (2011, fat finger face). [Google] [More] ⦿ | |
Boo to the Business World
| Chris Hall lives by the motto boo to the business world. Pick up free fonts Boodudes (funny faces), 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] ⦿ |
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] ⦿ |
Artistic director in London, who created an Escheresque typographic poster called The Truth (2012). [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 faces 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 face frequently, naming it 'Brimmer', after the author of a book he'd seen the face 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 face 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 face in 1788, all numerals were traditionally written like lower-case letters -- small, with some numerals hanging below the line. Bell is the first typeface to break with that tradition cleanly: Austin's numerals are larger than lower-case letters (at two-thirds the height of the capitals) and sit evenly along the line. The trend was taken up. These days the numerals in most printed matter are (unfortunately) the full size of the capital letter, and are called titling figures, ranging figures, or lining figures." See also here. FontShop link. [Google] [MyFonts] [More] ⦿ |
Publishers of the free font Reader Sans, which covers Cyrillic, Greek, Latin, Hebrew and Slavonic. The copyright says Bitstream. [Google] [More] ⦿ | |
Free BDA fingerspelling font. See also here. [Google] [More] ⦿ | |
Typeface classification according to "British Standards 2961:1967" (or BS 2961), British Standards Institution, London, 1967.
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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] ⦿ | |
Discussion at the FontWorks site of British typeface/font law, with some private interpretations. FontWorks UK is a type vendor. [Google] [More] ⦿ | |
Brittany Coxon (aka Britt7094) is the Newcastle, UK-based designer of Randomness (2005). Home page. [Google] [More] ⦿ | |
British creator of the druggy (useless?) face Gaian. [Google] [More] ⦿ | |
Brook Elgie | Graduate student of typography at the University of Reading, 2006. [Google] [More] ⦿ |
Burdock Design is located in London. It created the modular geometric tiling face Shapes (2011). [Google] [More] ⦿ | |
British design firm run by "Chris". Dafont link. Creator of the dotted line face Meticulous Round (2009). [Google] [More] ⦿ | |
Callum Best (Bournemouth, UK) created the art deco typeface Ark Deco (2012). Behance link. [Google] [More] ⦿ | |
Creator of an experimental typeface in 2009. He lives in the Sheffield/Hull area of the UK. [Google] [More] ⦿ | |
Graphic design student in the UK who made the futuristic face Apastron (2011). [Google] [More] ⦿ | |
Wigan, UK-based typographer and graphic designer, who created the high-contrast fashion mag font Myth (2010). Currently studying at Staffordshire University. Behance link. [Google] [More] ⦿ | |
Designer at Tealeaf Digital Type Foundry in the UK. [Google] [More] ⦿ | |
Graphic designer and illustrator from Brighton, UK, who created some minimalist geometric monoline faces such as Womb (2009). Tycho (2009) is very organic. Alternate URL. [Google] [More] ⦿ | |
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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:
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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] ⦿ | |
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 face 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] ⦿ | |
British designer. Creator of Citybloxx (2008), a shadowed handwriting font. [Google] [More] ⦿ | |
UK-based artist (b. 1985) who created My Untidy Handwriting (2005). [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. [Google] [More] ⦿ | |
Catherwood |
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CCG Arts (UK) created the display face Happy (2012). [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] ⦿ | |
Ch. Rud & Son | London-based foundry, active at the end of the 19th century. Creators of the Victorian/almost art nouveau face Artistique Recherche. [Google] [More] ⦿ |
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Australian-born graphic design student at Manchester Metropolitan University. She created the experimental typeface Bang (2012). Behance link. [Google] [More] ⦿ | |
Graphic designer currently studying Graphic Communication with Typography at the University of Plymouth, UK. Creator of the Tycho typeface (2012), a dot matrix face that is based on the Imperial Villa Katsura in Kyoto. Dafont link. [Google] [More] ⦿ | |
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:
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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 wikipedi] 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. [Google] [MyFonts] [More] ⦿ | |
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London, UK-based designer who created some interlocking geometric type in 2010. Behance link. [Google] [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. | |
UK-based designer who created a Herb Lubalin poster in 2010. [Google] [More] ⦿ | |
UK-based creator of the Rebirth family (2011), which includes a stencil and many octagonal faces. That type family was inspired by Wim Crouwel's New Alphabet. [Google] [More] ⦿ | |
British youngster (b. 1992) who created a typeface out of her own handwriting. It is called Charlieface (2008). [Google] [More] ⦿ | |
Student at UWE Bristol in the UK. FontStructor who made the sparkling grunge face Atomise (2010). [Google] [More] ⦿ | |
Graphic designer in Birmingham, UK, who made Didot Reverse (2012), an Italian typeface. [Google] [More] ⦿ | |
Cherokee metafont
| Alan M Stanier's metafont for Cherokee based on the Cherokee script was designed in 1821 by Segwoya. [Google] [More] ⦿ |
Chicken
| 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). [Google] [MyFonts] [More] ⦿ |
Student at UWE in Bristol, UK. She created the curlicue face Keys (2011, FontStruct). [Google] [More] ⦿ | |
British creator of these fonts: Curls (2006, a curly sans), Curlial (2006), Absolute Zero (2006, pixel face), and Minimono (2006, pixel face). Dafont link. [Google] [More] ⦿ | |
Graphic designer in Manchester, UK, who studies graphic design at the University of Salford. He created the handprinted face Remnant (2010). Dafont link. [Google] [More] ⦿ | |
Leeds, UK-based graphic designer who created the display typefaces Bones (2012) and Cuckoo (2012). Behance link. [Google] [More] ⦿ | |
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] ⦿ |
British flash specialist. He created these pixel faces in 2009: Perfecto Small, Future File. [Google] [More] ⦿ | |
Bristol, UK-based freelance graphic designer. He created the Type Cube, which can be used to make modular fonts---a bit like a 3d-real life version of FontStruct's bricks. [Google] [More] ⦿ | |
Brighton, UK-based designer of the ultra geometric commissioned face Situation Modern (2010). [Google] [More] ⦿ | |
Chris Copping | Portsmouth, UK-based designer who is working on the high-legged display face Dilfana (2004). [Google] [More] ⦿ |
Student at the University of Greenwich, UK. Designer of the experimental face Binary Code (2011). [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who made the cubist face Kaos (2010). [Google] [More] ⦿ | |
Chris Jeffreys | Creator of the ornamental typeface Trust Me 97, which won an award at the Creative Review Type Competition 2005. He works at The Chase, UK. [Google] [More] ⦿ |
Student at Leeds University, UK, b. 1986. Creator of the spiky techno face Barbie Final-ish (2006) and the organic techno face 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 face Untitled (2011). [Google] [More] ⦿ | |
Designer in Leeds, UK. Chris experimented with exaggerated ligatures in his Interconnect (2012), and the results are fresh, beautiful and promising. Behance link. [Google] [More] ⦿ | |
Creator of the multilined typeface Moon (2012). [Google] [More] ⦿ | |
Brighton, UK-baseed designer of Vintly's Hand (2009). [Google] [More] ⦿ | |
UK-based designer (b. 1989) of the tall-ascendered pixel font Mode (2006). Alternate URL. [Google] [More] ⦿ | |
East Sussex, UK-based designer of the commercial families Sagittar (wedge serif) and Virgo. She calls these "sculptural typefaces". Old URL. [Google] [More] ⦿ | |
Christie Font Foundry
| Foundry in London, est. 2009 by Christie Podioti. Her fonts include Podioti (child's hand), Noisetoy (hyper-contrast art deco), and Chrysa (handprinted), all made in 2009. [Google] [MyFonts] [More] ⦿ |
Christina Schultz works as a freelance designer in London and Berlin. Her current focus is on iconography and intelligent fonts. Recent projects include logo, corporate and web design. She graduated from Central Saint Martins School of Art and Design with an MA in Communication Design in January 2005. At ATypI 2005 in Helsinki, she spoke about Piclig (for picture ligature), an intelligent OpenType font, which makes it possible to create symbols out of letters. These letters, when typed in a specific order, merge automatically and form picture ligatures. To achieve this replacement, piclig uses OpenType's contextual character substitution. The font contains a library of 112 symbols which are encoded not as images, but as characters. Piclig occupies little disk space, which is important in applications such as mobile phones. FF PicLig (2005, Fontshop). FF Piclig won an award at TDC2 2006. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
London-based designer of the hip timeless font GF Hegemonic at Garagefonts. [Google] [More] ⦿ | |
Behance link. [Google] [More] ⦿ | |
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Designer from Salford, UK. Creator of Tall Boy (2011, condensed, tall, squarish and monoline---done at FontStruct). [Google] [More] ⦿ | |
Graduate of the University College Falmouth, UK. Graphic designer in Bristol. Creator of Simple Simon (2011). Home page. [Google] [More] ⦿ | |
Download the (free) Acorn handwriting font. Also, instructions on improving handwriting. JarFont, also free, is not a font but a simulation of the Christopher Jarman cursive handwriting as seen in the handwriting scheme for schools, see e.g., "The Development of Handwriting Skills" by Christopher Jarman now published by Stanley Thornes Ltd, Cheltenham, UK. Now four PC fonts made in 1998: Jarman, Jardotty, Jumper (by Christopher Jarman), Jarsphere. See also here. [Google] [More] ⦿ | |
British designer of Awaken (2002, ink splatter). Dafont link. [Google] [More] ⦿ | |
Manchester-based company specializing in bar codes. From 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] ⦿ | |
Web and print designer in London. He created the typeface The Balls (2011). [Google] [More] ⦿ | |
The Manchester School of Printing, part of City College Manchester, is based at the Wythenshawe Centre. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who made the texture face Headless Roman (2010) and Tangle (2010). [Google] [More] ⦿ | |
Student at UWE, Bristol, UK, who made the floriated caps face Vintage Mechanism (2011, FontStruct). [Google] [More] ⦿ | |
British designer who made the dingbat face death Note (2009). Home page. [Google] [More] ⦿ | |
Digital artist from the UK (b. 1981) who is involved in Evenstar Art. As Cosmomouse, she created the underlined and boxed caps font House M.D. (2006). [Google] [More] ⦿ | |
Creator of the hand-rendered typeface Rubbish (2012). [Google] [More] ⦿ | |
Clare Bell | Clare Bell received a BA degree from Central Saint Martins College of Art & Design in London after working as a designer in Dublin for eight years. She also worked in the design department of the Guardian newspaper for five years before returning to Dublin where she is undertaking a PhD entitled Typography, Culture & Society: An analysis of the visual representation of the Irish language in Northern Ireland at the Dublin Institute of Design and Technology, where she is a typography tutor. At ATypI 2005 she spoke on Typographic tales from the edge of empire, and deals mainly with the story of uncial, from the Book of Kells to present day murals in West Belfast. [Google] [More] ⦿ |
Graphic Design at NUCA in Norwich, UK. She created Fluent (2011). [Google] [More] ⦿ | |
A discussion on Typophile regarding the history of Clarendon and good versions. This site provides additional information. A summary:
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Clarendon | 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 faces 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 face 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 faces were classified as Egyptians, and inspired such later designs as Cairo, Karnak, Memphis, and Stymie.) Early Clarendons were used primarily as titles and display faces, for which their strong and sturdy nature was well suited. They have the general structure of romans, but lack the hairlines typical of those faces. 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 faces 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 faces 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 face 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 faces, 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. [Google] [More] ⦿ |
Classic Font Company
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ClaWrite
| 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] ⦿ |
French student who is studying graphic arts at the Winchester School of Art in the UK. He created a thin and moody typeface called Decay (2011). [Google] [More] ⦿ | |
French designer in London who has a Masters from Maryse Eloy Art School in Paris, 2011. Behance link. Dünn (2012) is a thin blackletter font created in collaboration with Claire Doghmi during a workshop with Jean Widmer. Dünn is the skeletal version of Fette Gotisch. [Google] [More] ⦿ | |
Clive Bruton graduated from the London College of Printing in 1988. He became a type technology specialist. He is a director of INDX/Creatives Connect, a consultancy in London for new technologies and workflow. He started the on-line type publication Fontzone in 1996. Bruton designed Julius, based on Frutiger's Avenir, Adams Rounded, based on VAG Rounded, Christina, and Mad Mach. Someone told me he also designed Debenhams Titling, but I can't find any evidence of that on the web. The link has gone dead. At Typotechnica 2005, he spoke about "a practical demonstration of font customisation, for example the name of the purchaser and their address, on a per-customer basis. With a desktop application to display such information to any end user." [Google] [More] ⦿ | |
Club 21
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Club Type
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Codesign (or: Aviation Partners, or AVP)
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Showcase of Nicholas Garner's typefaces. [Google] [MyFonts] [More] ⦿ |
Born in London 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. 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, and other identities for many UK Government agencies and universities. These included 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 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. [Google] [MyFonts] [More] ⦿ | |
FontShop link. [Google] [MyFonts] [More] ⦿ | |
Commercial Type
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In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh. View Christian schwartz's typefaces. [Google]
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Graphic design student at Falmouth University in Falmouth, UK. He used lines only to construct, as a bridge, the glyphs of Frequency (2011). [Google] [More] ⦿ | |
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] ⦿ | |
British creator of Molecular (2011), an experimental typeface in which glyphs represent parts of organic chemical compounds. [Google] [More] ⦿ | |
Creator (b. 1985, based in Worcester, UK) of Dead Ends Lettering (2011, handprinted). Dafont link. [Google] [More] ⦿ | |
The pixel font countzeero4own (2008) was created through FontStruct. Alternate URL of this designer in the UK. [Google] [More] ⦿ | |
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Cartoonist in the UK who created the handprinted Marker Fumes (2009, FontCapture). [Google] [More] ⦿ | |
Manchester, UK-based retired football player, book addict, and graphic designer. He made a "nudist" typeface (jpg only). [Google] [More] ⦿ | |
Creator of nice typographic examples, such as his Hairy Futura (2008). He designed the fat didone display face Lovechild (2009). He is based in London. Home page. [Google] [More] ⦿ | |
Crave
| 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). [Google] [MyFonts] [More] ⦿ |
Crazy Diamond Design Historical Fonts
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Creative Goats
| 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 faces 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:
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Truetype font service based in the UK: signature fonts for 29 pounds. Font matching for 39 pounds. Company logos. [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] ⦿ |
C.W. Shortt | Type foundry in the early 20th century in London. Gravure (1929), an engraved old style face by them, was digitally revived in 2007 by Nick Curtis as Lateral Incised NF (2007). [Google] [More] ⦿ |
London, UK-based illustrator (b. 1985). Blog on design. Creator of True Love's Kiss (2008), after the official logo of the Disney movie Enchanted. [Google] [More] ⦿ | |
Cypriote metafont
| From Essex University, Alan M. Stanier's metafont for Cypriot. [Google] [More] ⦿ |
Graphic designer in Leeds, UK. Her typeface Block Life (2012) consists of transparent cubes in which letters are carved by straight edges. [Google] [More] ⦿ | |
DaltonMaag.Com
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Other custom faces: 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. [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 face always seems different. Behance link. [Google] [More] ⦿ | |
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UK-based designer of Deebee (2010, handprinted font made with iFontMaker). Aka Binary Dental. [Google] [More] ⦿ | |
Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [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 face in 2011. Devian tart link. [Google] [More] ⦿ | |
Dan Howells | UK-based designer of the freeware fonts Buttmunch, SwedishBird, ScruffyBuggerNormalII. [Google] [More] ⦿ |
He designed La Avería en El Ordenador (2011, OFL), an average of all 725 fonts on his computer. The fontfamily was split into Avería, Avería Sans and Avería Serif. Now, this may seem like a simple thing, but it is not! He took almost a year to complete this task, giving it a lot of thought. In the process, he created Font Path Viewer, a free web app for viewing the font outlines (with control points) of all fonts on one's system. He did the following clever thing: each font contour was split into 500 equal pieces (a serious exercise for Bezier fanatics), numbered from 1 to 500, and all 500 positions were averaged (over the fonts on his system) to obtain Avería. Interpolations between fonts have been attempted before (see Superpolator, or Font Remix), but to have it automated in this way is quite another achievement. More images of Avería: i, ii, iii. Averia Serif Libre (2012) exists in six styles, and there are also the Averia Libre, Averia Sans Libre and Averia Gruesa Libre families. These are available from Google Web Fonts. So, here is my small request for Dan: build an on-line tool, based on the Bezier outline cutting principle you pioneered, for interpolating between two typefaces. The user would submit two fonts, and the interpolation would be shown on the screen after a couple of seconds. I am sure you can do it! Abstract Fonts link. Google Plus link. Dafont link. Fontspace link. [Google] [More] ⦿ | |
Designer (b. 1988) of Mashed Potato (2011). Dafont link. Dan lives in Winchester, UK. [Google] [More] ⦿ | |
Dancers
| From Essex University, Alan M. Stanier's metafont for stick figures dancing. [Google] [More] ⦿ |
Illustrator and designer at Deletion Design in Sittingbourne, UK. Creator of a few techno faces like Techno Funk and Roun Da Funk. At Behance, one can find his fat counterless face 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 London. Creator of the grungy face lino-set (2010). Home page. [Google] [More] ⦿ | |
Cartoonist in Kent, UK (b. 1984), who created Tengwar of Fëanor (2006) and Angerthas Runes (2006). Home page. [Google] [More] ⦿ | |
London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More] ⦿ | |
Sheffield, UK-based creator of Paper Cut (2012, a geometric typeface). [Google] [More] ⦿ | |
British designer of the multiline labyrinthine font Maze (2008), and of Boo (2009). He runs Dlight Graphics. [Google] [More] ⦿ | |
Typographer and graphic designer in Norwich, UK. In 2010, he created a geometric typeface. [Google] [More] ⦿ | |
Student at Southampton Solent University, who lives in Portsmouth, UK. He created the experimental typeface Tube (2012) based on parts of the London subway system map. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the grungy face Twisting Vines (2010). [Google] [More] ⦿ | |
Manchester, UK-based illustrator and graphic designer who has some nice typographic posters. Behance link. [Google] [More] ⦿ | |
London-based designer (b. 1979) who created the free font Inkable Case 1979 (2011). Dafont link. [Google] [More] ⦿ | |
Darklight Systems
| Eoweniel (aka Lady Dark Bane, and aka Darklight Systems) is the British designer of the African theme font DreamWalker (2001) and of the handwriting font Stray Cat (2007). [Google] [More] ⦿ |
UK-based designer of a sans font called Iris. [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. [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 faces 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 faces available from FontWorks. Before Truth Design, which started in 2007, Darren Scott sold and licensed his typefaces through various firms:
FontShop link. Klingspor link. View the typefaces of Darren Scott. [Google] [MyFonts] [More] ⦿ |
London-based designer of the fat outline face Rounds (2012). [Google] [More] ⦿ | |
Designer in Portsmouth, UK. He created the experimental circle-based typeface Rotoid (2012). [Google] [More] ⦿ | |
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 1992-1994, 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] ⦿ | |
Typographic experimenter in London who made Street View Font (2011). [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 Brady (The Creative Rebellion, London, UK) is an advertising designer. He created the experimental face Nokia (2010). [Google] [More] ⦿ | |
Nottingham, UK-based graphic design student who dabbled in experimental typefaces in 2010. [Google] [More] ⦿ | |
Scottish designer (b. Galashiels, Scotland, 1962). He 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). [Google] [More] ⦿ | |
Type designer ho 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. Biography at Agfa. His typefaces for various foundries:
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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] ⦿ | |
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Graphic designer in London who created DG (2010). [Google] [More] ⦿ | |
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Illustrator ad typographer in London. Behance link. Creator of a few typefaces for a comic strip called Lars The Last Viking. [Google] [More] ⦿ | |
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. [Google] [More] ⦿ | |
Kindersley's MoT Serif (1952) was submitted for use on UK signs to the British Ministry of Transport, which eventually selected designs of Jock Kinneir and Margaret Calvert. The book face Octavian was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. He also created Itek Bookface. Kindersley was known for his letterspacing system. Author of Optical Letter Spacing for New Printing Systems (Wynkyn de Worde Society/Lund Humphries Publishers Ltd, 1976) and Computer-Aided Letter Design (with Neil E. Wiseman). The Cardozo Kindersley workshop, which Kindersley founded and was later continued by cardozo, writes: Kindersley Street (aka Kindersley Grand Arcade; pictures found by people on typophile: I, II), our new face based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised. Linotype link. FontShop link. MyFonts link. Wikipedia. [Google] [MyFonts] [More] ⦿ | |
British illustrator who drew the dingbats for P22 Way Out West Critters and the characters for the Western font P22 Way Out West. [Google] [More] ⦿ | |
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] ⦿ | |
North Yarmouth, UK-based designer (b. 1985) of The Dave Font (2005, handwriting face created with Fontifier). [Google] [More] ⦿ | |
Designer of Biffo Script (Monotype, 1964) [The revival at Softmaker is called Bonito]. Currently employed by Dalton Maag in London as a technologist and in-house software and support engineer. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
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David Wilson | British teacher with a research interest in foreign cursive handwriting fonts. He wrote this "doc" document on the topic. [Google] [More] ⦿ |
Senior type designer at HypeForType. Based in the UK, she made the monoline slab serif face Rakki (2010), and she codesigned the brush face Lippy Sans (2012) and the chalkboard face Mr Chalk (2012) with Alex Haigh at Thinkdust. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
UK-based designer of the handwriting font Dean's Hand (2002-2004). Alternate URL. [Google] [More] ⦿ | |
UK-based designer of the pixel font 3DBoxes (2005), which is just a bunch of empty rectangles. [Google] [More] ⦿ | |
Youngster from the UK, b. 1992. Designer of the minimalist geometric font Stark Tech (2007). [Google] [More] ⦿ | |
British outfit only tangentially into type creation. Nevertheless, their commercial pixel fonts, Deep 101 and 102 are superb. They also created a more futuristic face, Egocentric. [Google] [More] ⦿ | |
defalign
| David Millhouse is the UK-based creator of the gothic face SAR Lupe (Volcano Type). His web site, joint with Éloïse Parrack, is defalign. The fonts there include DInterf (grunge), Gottlieb (grunge), Kimberlite Rich (octagonal family), Kimberlite, DTruck and Intro-Basic. The themes in all these fonts are anarchy and angst. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Type designer. He created the slightly grungy Uni Magnetic (2007, Substance). MyFonts says that he also designed the fat brush face Ardy Mass (2010). [Google] [MyFonts] [More] ⦿ | |
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] ⦿ | |
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] ⦿ |
Designers Talk
| Oli Dale is the Manchester, UK-based designer of the futuristic sans face Busby Sans (2004). He also runs the Designers Talk type discussion page. [Google] [More] ⦿ |
Device Fonts
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FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Manchester, UK-based artist (b. 1984) who created Daggarland (2004, a scratchy handwriting face). No downloads. [Google] [More] ⦿ | |
DF667 (or: DiagnostiK foundation; was: Oblong Design)
| D. Busson from the UK designed the futuristic DF Temple Heavy font (1997) at DiagnostiK foundation. See also here. Other fonts: Plastic Jesus, New Kinder (1998), Chlorine (1998, organic). Old URL. [Google] [More] ⦿ |
Linotype bio. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
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 faces. 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] ⦿ |
Student at Central Saint Martins College, Lonodon, who created Wadi for Arabic and Latin in 2011. This face is loosely based on the Naskh style of writing. [Google] [More] ⦿ | |
Dingbats UK | UK-based archove for lost dingbats. Very useful. [Google] [More] ⦿ |
Disastergraphics
| Cambrideshire, UK-based surreal artist, b. 1992. Creator of the futuristic face Cyborn (2008). Alternate URL. [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] ⦿ | |
British creator of Aquis (2010, FontStruct). [Google] [More] ⦿ | |
UK-based barcode font seller. Full product list. [Google] [More] ⦿ | |
DM Founts
| DM Founts is Drew Maughan (b. London, 1982), an artist and web developer. He created the fat counterless modular mechanical face STKR (2009) and the squarish face DM Unarmed (2010). [Google] [MyFonts] [More] ⦿ |
DogStar Fonts
| DogStar (Gavin Lawson, UK) offers shareware handwritten and comic book fonts in 1998-1999: Chinacat, ChinacatThin, Dupree, DupreeLight, Fennario, FennarioLight, Hooteroll, HooterollJam, HooterollLight, Mcgannahan. See also here. Fontspace link. [Google] [More] ⦿ |
Dominic Gambetta (Dog Designs, Worcester, UK) created a Circle typeface in 2011. Behance link. [Google] [More] ⦿ | |
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Calligrapher from Lancashire, b. 1938. [Google] [MyFonts] [More] ⦿ | |
Foundry based in Warwick, UK. They sell Flacrobats (2006: shapes and strange creatures) and Buttoneer (2006: symbols for media controls). MyFonts location. [Google] [MyFonts] [More] ⦿ | |
Script, issued in 1938 by Monotype, based on a Grover Foundry script found in Ichabod Dawkes's News Letter from 1698. [Google] [More] ⦿ | |
Doves Type
| 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. The Doves Type face was revived by Tjörbjörn Olsson at T-Type. 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. [Google] [MyFonts] [More] ⦿ |
DTPTypes Limited
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E&F Gyles | London-based foundry at the end of the 19th century. Creators of Quill Pen Script, an art nouveau signage face. [Google] [More] ⦿ |
Vazhe Negar is a registered trade mark of Eastern Languages (UK-based). Contact Habib Yosri. [Google] [More] ⦿ | |
Design studio in Leicester, UK. Designers of ED Stencil Rund (2012). | |
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 faces, 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 face (Everson mentions the date 1836, but that would be one year after his death...). 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 soe 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. FontShop link. [Google] [MyFonts] [More] ⦿ | |
London-based painter (b. 1980) who designed this slab serif face, called Answer (2005). [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 1910-1930, 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 is reworked by Colin Banks to produce New Johnston (1979). His 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] 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. Many other designers aped Johnston's Underground as well. Hamlet, the almost-blackletter script, was revived by Manfred Klein and Petra Heidorn as HamletOrNot. Edward Johnston is a book published by Priscilla Johnston (London, 1959). Author of Writing&illuminating,&lettering (1917, J. Hogg, London; original done in 1906). Scans of some lettering by him: illuminations (1917), modernized half uncial (1906). Digital fonts based on alphabets from the 1906 book include Edward's Uncial 1904 (2011, David Kettlewell). Links: Linotype, FontShop, Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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 face 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 faces that quickly followed.]. See also ATF Jenson Recut, and the digital Linotype ITC Golden Type. [Google] [MyFonts] [More] ⦿ | |
Creator of the outline face HelvetidoodlebyEdT (2009). Edward is located in South Yorkshire, UK. Home page. [Google] [More] ⦿ | |
Effek-Tive
| 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] ⦿ |
Stirling, UK-based graphic designer and typographer. Originally from Latvia, he cooked up some exquisite corporate identities. [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. Direct download [now dead]. His type blog. [Google] [More] ⦿ |
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 1979-1985 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. At ATypI 2007 in Brighton, he spoke about Sustainability and typography. [Google] [More] ⦿ | |
UK-based designer of the rough handprinted faces Scribulous Scrawlin (2009) and Spaceman Spiff (2009). [Google] [More] ⦿ | |
London-based graphic designer who graduated from Glasgow School of Art and the Royal College of Art. Creator of the inline caps face Betsy Works (2011). Behance link. [Google] [More] ⦿ | |
Electronic Font Foundry
| The Electronic Font Foundry (EFF) sells most classical fonts at about 15 dollars per weight, and makes custom fonts. It is hard to believe they designed all these fonts themselves from scratch. Here is a sample of EFF Lipa. Cyrillic fonts. EFF Times Phonetic and other phonetic fonts. Some claim Vain is a rip-off of Rotis. The font "designer" is Edward Detyna. 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. [Google] [More] ⦿ |
British type designer at Stephenson Blake, 1831 (Bury St. Edmunds)-1902 (London). Designer of Windsor at Stephenson Blake (cut by William Kirkwood in 1905, digital versions now available at Bitstream and URW), of Booklet Italic (punches cut in 1904 by William Kirkwood; this face is used in the titles of many Woody Allen movies), of Long Imperial Script (punches cut in 1906 by Karl Gomer), and of Grotesque No 9 (1906). Question: How can Pechey have designed a font four years after passing away? I got the date 1906 from the Scangraphic site, but either that is wrong, or Myfonts.com erred--still researching this. Charlemagne (1886, ornamantal) is supposed to be a Photoscript font according to Berthold Headlines E3---again a mistake. In 2009, Göran Söderström (Autodidakt) and Peter Bruhn (Fountain) published Trailering Heroine, which was inspired by Windsor. [Google] [MyFonts] [More] ⦿ | |
Italian graphic designer and illustrator in London. She created Feather Sans (2011), a sans family with calligraphic influences. [Google] [More] ⦿ | |
Student at the University of Western England in 2011. Creator of the ornamental caps face Decay (2011, FontStruct). [Google] [More] ⦿ | |
Elli Egilsson (b. Reykjavik, Iceland) runs the AC Bananas studio in London. His typefaces include Splatter (2012) and Cactus (2012, spiky). All typefaces are free. [Google] [More] ⦿ | |
Brighton, UK-based youngster (b. 1992) who created the spiky display face Ella Spike Garden (2006). Alternate URL. [Google] [More] ⦿ | |
Guernsey, UK-based designer of the constructivist face Bigntall (2010, iFontMaker). He also made the handprinted 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). [Google] [More] ⦿ | |
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. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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. | |
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] ⦿ | |
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Emma Richards (London, UK) is a graphic designer who experimented with two sahpes and created an entire alphabet with it in 2012. [Google] [More] ⦿ | |
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British type designer who obtained an MA in typeface design from the University of Reading in 2008. Her graduation typeface is the oldstyle face Milvus, created specifically for periodicals and books. [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. He used iFontMaker to draw the fat face Damien Typewriter (2011) and Damien Vertical (2011). 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] ⦿ |
Author of An Essay on Typography (1931, revised in 1936). For a French edition, see Eric Gill Un Essai sur la Typographie (Boris Donné and Patricia Menay, Ypsilon Editeur, 2011). His typefaces include
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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. [Google] [More] ⦿ | |
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). His essay on information design. Biography. Bio alt Linotype. Laudatio by John Walters of Eye Magazine. Blog. Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin. He made the following typefaces and type families:
Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012. View Erik Spiekermann's typefaces. [Google] [MyFonts] [More] ⦿ | |
Scouting font archive: UKPatrolBadges, Baden-Powell-Patrol-Animals, ScoutingUKDings, Twig. [Google] [More] ⦿ | |
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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) and Colher Rounded (2011). Behance link. [Google] [More] ⦿ | |
Part of the University of Plymouth, UK. One of only two schools in the UK that offer exclusively typographic degrees. The University of Reading is the other one. [Google] [More] ⦿ | |
Journal publisher and editor from United Kingdom, b. 1872, Yorkshire, d. 1945. FontShop link. MyFonts: In 1912 Gerard Meynell, with J.H. Mason, Ernest Jackson and Edward Johnston, commissioned this large x-height typeface [i.e., Imprint] modelled on Caslon's designs from Pierpont and the Monotype Corporation as the text face for The Imprint, a short-lived magazine about fine printing and typography. It was finished in 1913. Digital version now called Imprint MT. [Google] [MyFonts] [More] ⦿ | |
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F37 (or: Face37)
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Multimedia artist in East Sussex, UK, b. 1988. He created the stitching font Block Plus (2009, FontStruct) and the ocagonal Grated (2009, FontStruct). [Google] [More] ⦿ | |
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 face 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, 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 faces, Type catalogue (1976). Some of the faces were Cyrillicized, such as Bullion Shadow (1970; Cyrillic version by Victor Kharyk, 1978). [Google] [More] ⦿ | |
British font vendor which deals with over one hundred foundries. [Google] [More] ⦿ | |
Defunct London-based foundry, started by Robert Thorne in 1794. It specialized in display types. 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. Fann Street Foundry Reed&Fox (1873, London) is one of their specimen books. [Google] [MyFonts] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the grungy texture face Mouldy Strawberries (2010), which was obtained after letting fruit cut in the shape of letters decay on a sheet of paper. [Google] [More] ⦿ | |
Fatchair
| 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: Vasarely Light (2002), Deep Fried (1996), Drug (1998), Illuminati (2000, monospaced, sans serif), Informatic (2002, 20-style sans family), Mizar Grotesk (2002), San Jaime (2002), WSK (2002, a modern family). Free font: Ozone Inline (dot matrix font, 2002). Agfa/Monotype sells 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
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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 face 7Segments. [Google] [More] ⦿ |
London-based graphic designer who created Nailed (2011, experimental). [Google] [More] ⦿ | |
F.C. Herrick | British poster artist who drew a roman capital alphabet (maybe even a typeface) for the Empire Exhibition in Wembley in 1924. [Google] [More] ⦿ |
UK-based FontStructor (student at Bristol UWE) who made the nice ornamental caps face Royally Struct (2010), allegedly inspired by the word pompous (in his/her own words). [Google] [More] ⦿ | |
Norwich, UK-based graphic designer, b. 1961. He created Baby Pirate (2008), Boneyard Army (2010) and Aztec Bouffon (2008). Home page. [Google] [More] ⦿ | |
Fewell Foundry
| 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. |
The Fifth Annual Conference of the Friends of St. Bride took place from October 16-18, 2006 at the Custard Factory, Birmingham. Its theme was Fast Type, Slow Type. [Google] [More] ⦿ | |
British studio located in Brighton. Behance link. Creators of the oily display face Filthy Black Italic (2011). [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who made the broken marble face Kalkutta (2010). [Google] [More] ⦿ | |
A new foundry in Cheltenham, UK, started by Michael Harvey and Andy Benedek in 2001. Their output was sold through Faces, but is now marketed via MyFonts. The fonts: Aesop (calligraphic writing), Tisdall Script, the spectacular Songlines, Fine Gothic, Marceta (uncial), Braff, Balthasar, Mentor Roman, Mentor Italic. Also sold at Fonts.com. A type designer close to me said: The Mentor and Mentor Sans superfamilies were released last February by Monotype, and nobody even mentioned them. To me they look Michael Harvey's best ever masterpiece, and probably the best new superset to be released this millenium, but nobody's paying attention. [Google] [MyFonts] [More] ⦿ | |
Blandford. Dorset, UK-based photographer, b. 1991, aka Finn Margrie. Creator of the simple handwriting font Finn's Script (2006). [Google] [More] ⦿ | |
In 2012, Fiona added A Gothique Time (grungy blackletter). Dafont link. Devian Tart link. [Google] [More] ⦿ | |
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). Bio at ATypI. Her books and/or essays:
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The First Annual Conference of the Friends of St. Bride took place on September 24-25, 2002 at the St. Bride Library in London. [Google] [More] ⦿ | |
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. Dafont link. [Google] [More] ⦿ |
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. Behance link. [Google] [More] ⦿ | |
Flotsam Typography
| 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). [Google] [More] ⦿ |
Fluid +
| 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. FontShop link. Home page and blog. [Google] [MyFonts] [More] ⦿ |
Fluid 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] ⦿ |
Fly Fonts
| 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] ⦿ |
Font Factory
| 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 faces for Umbro, QZERO, Bowater, Lloyds Bank, Royal Free Hospital, Liptons teas, Gordons gin, Marlboro cigarettes, as well as faces 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:
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British foundry selling fonts at about 1USD a shot. [Google] [More] ⦿ | |
Fontdeli (or: LF Design, or: 83grafik)
| UK-based foundry, est. 2005 by freelance designer Leigh Flurry, with some free and some pay fonts, specializing in the techno look. Creators of the techno face FDshogun (2005). Free: FD Acorn (paino kaey face), FD Shogun, FD Hunterseeker, FD Spank, FD Tounge, FD Twinpines. Pay fonts: FD Bughug, FD Calibre, FD Childsplay, FD Dieselpower, FD Formula One, FD Knukledusta, FD Locust, FD Lungbutter, FD MrMajestic, FD Skylarking, FD Wolfglove, FD Flurry (paperclip font). In 2006, he added FDnaturesfinest, FDNaturesshadows, FDKubi, FDJazzclouds, FD Tek9, FD Xavier (fat, counterless) and FD Insight. Fonts made in 2009: FD Hustla (brush), FD Southbron (graffiti face), FD Parkway (rounded stencil). Fonts from 2010: FD Necromancer (octagonal, dark, and counterless), FD 57RMX, FD Gridlock, FD Jawbreaker, FD Noir, FD Optimus, FD Rainpaper (multiline face), FD Richtea, FD Skylarkdog, FD Warlord. Alternate URL. Behance link. Dafont link. Another Dafont link. [Google] [More] ⦿ |
Fontico
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Fontifier is a 9USD handwriting font service (was free for its first month only) by David Johnson-Davies, who runs Human-Computer Interface Ltd in Cambridge, UK. One submits a GIF-format scan of a properly filled out template. Fontifier then analyzes a sample of each letter of the GIF version of the template, and constructs a character outline. The result is a standard truetype font. Comments at Typographica. Heinrich Lipschka reports that it made a grunge font from Noga. It sure looks like the low dpi requested (75 to 100) leads to jaggies and a severe loss of information. List of fonts made with this software. Fontifier tips. [Google] [More] ⦿ | |
Fontmill Foundry (or: Studio Liddell Ltd Graphic Design)
| Manchester, UK-based foundry run by Dave Lawless (b. Liverpool, 1974). MyFonts sells their work. Designs include ABC (techno), Loop (2004, techno), Train (kitchen tile), Bubble Wrap, Suredog (sans), Bomb, Flat Pack (2007, at T-26), Imaginer (2006, paperclip style techno family), Train, Bloxed Rounded, 3D Bloxed, British Rail, Orcin Sans (2006, 6 styles), Invaded 2600 (2006: based on the Atari 2600 arcade classic Space Invaders). Before Fontmill and Studio Liddell, Dave Lawless ran Tealeaf Digital Type Foundry (also called Little Red Circles) and created these fonts there: 3DBloxed, Architext, AU79, BaskerSans4, Bitmapbreakfast, breathe, Bubblewrap, Bull, Butter, Calliglession, Calligruffy, CarlSeal, Chewy, Crushedtalc, DuoGypsy, EasyLino, Forma, Geek, Grivant, Growbag, Gypsy, Inbreed, Index, Instamatik, Kyleaged5, Kyleaged5half, Ladyboy, Leavingglassvegas, Litrecs, Matrix, Mend, Metis Rota, Mr.fish, Munch, Next, NuChina, Nudgeashak, NuEngland, NuJapan, Number, Optimistic, Passion, Phobia (by Mark Bradley), Print is dead, Raygun, Reop-sans, Rupture, Scritch, Shakasonik, Shati, SheMale, Skript, Something, Stamp, Synsis, Timig, Tweak, Typeone, Underworld, Unruly Cucumber, Unstuklino, Untitled, User-unknown, Whanted, Yatta, Yuleo (Tony Howell). Free demos. Some were entirely free, such as Yatta, Tweak, Synsis, Skript, RepoSans, MrFish, Leavingglassvegas, Kyleaged5, Instamatik, Grivant, Geek, Crushedtalc. Working on ES811 (2006, a sans). |
Fontron
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Fontscape
| David Johnson-Davies (Human-Computer Interface Ltd, Cambridge, UK) lists and classifies commercial fonts to make font selection easier. The same people also run Fontifier and Identifont. [Google] [More] ⦿ |
Fontsmith
| Jason Smith is the British corporate typeface designer who founded Fontsmith in 1999, where he retails his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. His fonts include FS Sinclair (2008, octagonal), Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, FS Ingrid, FS Rome, FS Albert (2002, a soft-cornered sans family), and Saudi Aramco. Of these, only FS Albert (2002), FS Rome and FS Ingrid can be purchased. Newest fonts: Champions (Regular, Bold, Headline; done in 2009 for the UEAFA Champions League), FS Rufus (a slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi), FS Sophie (2004, sans), FS Rigsby (2005, sans), FS Clerkenwell (2004, with Phil Garnham, slab serif), FS Pele (2007, ultra fat), FS Kitty (2007), FS Sinclair (2007, rounded octagonal), FS Alver (2007), FS Dillon (influenced by the Bauhaus quest for simplicity), FS Lola (2006, for Wechsler Ross&Portet; done with Phil Garnham, it is advertised byFontsmith as a transgender type). In 2007, he made the custom face Xerox Sans as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant. Custom typefaces include More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), FS Conrad (2009, a multiline display face). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar face Lurpak a few weeks later. [Google] [MyFonts] [More] ⦿ |
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Company located in Fareham, Hampshire, UK, and (possibly) run by David Gibbins. 150 truetype-font collection: go here, here, here, here, here, and here. The 150 fonts have no copyright information other than the date, 2001. Here are the names of this collection: Aston-Italic, Aston, AstonPoster, Barker, Bentine, Brancusi-Italic, Brancusi, Burns, ButlerCaps, Cambridge-Bold, Cambridge-BoldItalic, Cambridge-Italic, Cambridge, CambridgeOpen, Chaplin, Charterhouse-Bold, Charterhouse, Cleese, Constable, Cooke, Corbett, CorpusChristi-Bold, CorpusChristi-Italic, CorpusChristi, Crosby, DaVinci, Dali, Degas, Dodd, Donnatello, Durham-Bold, Durham-Italic, Durham, DurhamPoster-Bold, DurhamPoster-Italic, Edinburgh-Bold, Edinburgh-BoldItalic, Edinburgh-Italic, Edinburgh, Epstein, EpsteinFat, Eton-Italic, Eton, Exeter-Bold, Exeter-Italic, Exeter, Formby, Gainsborough, Gauguin, Gilbert, Gordonstoun-Bold, Gordonstoun-Italic, Gordonstoun, Hancock, Hardy, Harrow-Bold, Harrow-BoldItalic, Harrow-Italic, Harrow, Harvard-Bold, Harvard, Hepworth-Bold, Hepworth, Hope, Keaton, KebleBlack, KebleBoldOutline, KebleCondensed, KebleCondensedBlack, KebleCondensedLight, Keele-Bold, Keele, KingsCollege-Bold, KingsCollege-Italic, KingsCollege, Laurel, Leighton, LeightonCondensed, LeightonExtended, Lloyd, Manet, Marceau, Marlborough-Bold, Marlborough, Matisse, Michaelangelo, Miller, Millfield, Milligan-Bold, Milligan-BoldItalic, Milligan-Italic, Milligan, Miro, Monet, Moore, Morecambe, Peterhouse-Bold, Peterhouse-BoldItalic, Peterhouse-Italic, Peterhouse, Picasso, PicassoLite, Pollock, Pryor, QueensCollege-Bold, QueensCollege-BoldItalic, QueensCollege-Italic, QueensCollege, Raphael, Rembrandt, Rodin, Roedean-Bold, Roedean, Rubens, Secombe, Sellers, Seurat, Sorbonne-Bold, Sorbonne-BoldItalic, Sorbonne-Italic, Sorbonne, StAnnes-Italic, StAnnes, StPauls-Bold, StPauls, Stowe, Sykes, ToulouseLautrec, Turner, Upminster-Bold, Upminster, VanGogh, Verrochio, Warhol, WarholHeavy, WarholLight, Warwick-Bold, Warwick-BoldItalic, Warwick-Italic, Warwick, Wellington, WellingtonHeavy, Winchester-Bold, Winchester-Italic, Winchester, Wisdom, Wise, Yale-Bold, Yale-Italic, Yale. This free font collection may or may not be produced in agreement with Qualitype. Commercial font services, including barcode solutions (about 500 USD for Barcode2000, which includes 3 of 9, Code 93, Interleaved 2 of 5, EAN/UPC, MSI/Plessey, Code 128, Codabar, MICR/E13B, CMC-7&USPS Barcode, and OCR A, OCR B, Letter Gothic, Line Draw&the Euro Currency Symbol) and TrueType logo and signature fonts (200 USD per font in 6 weights). Sells Barcode Assistant. Free barcode demo fonts. Free copy of Fontaware (Windows 3.1 font management). Free font recognition service. Font vendor for Bitstream. Barcodes sold:
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Older font vendor and occasional font developer. From their 2008 web page: type.co.uk is the online arm of Fontworks UK Ltd, part of the Creative Publishing Solutions (CPS) Group who own the Fontshop brand in the UK. With an online presence since 1994 we represent over 100 foundries worldwide, offering a huge range from industry favourites (Adobe, Linotype, Monotype, Berthold, ITC, Bitstream), leading independents (Emigre, Font Bureau, T-26) and cutting edge collections such as Virus, Alias, ACMEFONTS, ShinnType, G-Type, and Device. We are a leading provider of custom fonts and type design services to the corporate, advertising and design sectors. Their foundries. [Google] [More] ⦿ | |
Fontyoufonts.com
| Nearly all (Mac only) fonts at Fontyoufonts.com are made by Henrik Kubel, who works at the London-based design studio A2-GRAPHICS/SW/HK in London, which was founded in 2000 by Royal College of Art graduates Scott Williams and Henrik Kubel. Henrik Kubel is visiting lecturer at Royal College of Art since 2009. In 2010, Kubel and Williams set up A2 Typwe. Kubel's text fonts include FY-Battersea, FY-Klampenborg, FY-Neon, FY-ParsonsGreen, FY-M.Carpenter, FY-Gt.Eastern, FY-Stencil, FY-Typewriter, FY-Centera, FY-Cubitt Fax, FY-S.Staton. The display fonts include FY-Grot-7, FY-Boing, FY-Army, FY-Woodblock, FY-Rodeo, FY-Ornamenta, FY-Italic One, FY-Signsystem, FY-Black, FY-Stencil. There are grid-based/pixel fonts such as FY-Lego-Logo, FY-Bauhaus (a kitchen tile font), FY-Link, FY-Optic, FY-Graduate, FY-MeSoHungry, FY-Buckminster, FY-3D (2001), FY-Dictate, FY-Angel, FY-DotZero, FY-Square. Finally, there are the dingbat fonts FY-Pictogrammes, FY-Early Learning Dingbats. Kubel is also the designer at ACME of 4590, AF-Battersea (1999, a grotesque family), AF-CENTERA, AF-Copenhagen, AF-Klampenborg (1997-1999, grotesque sans, done with Scott Williams), CPH-ArabicNumbers, CPH-Medium, Grot-25. With Margaret Calvert, he updated the British Rail fonts in 2009, adding East European characters, for example. At ATypI 2010 in Dublin, he spoke about New Rail Alphabet, a revival of that typeface, still with Margaret Calvert. During the Expert Type Design Class (2011, Plantin Genootschap, Antwerp), he created the text family called Antwerp. [Google] [More] ⦿ |
TrueType logos, symbols, signatures and handwriting fonts, all custom designed. 145 British pounds per font. UK-based. Plus a free demo font. [Google] [More] ⦿ | |
Detailed listing of all addresses of all historical foundries in London. Research by Justin Howell and Nigel Roche for The Friends of the St. Bride Printing Library, 1998. [Google] [More] ⦿ | |
Graphic design studio in London. They created the bespoke typeface Constellation (2012). Behance link. [Google] [More] ⦿ | |
The Fourth Annual Conference of the Friends of St. Bride took place on October 10-12, 2005 at the St. Bride Library in London. Its theme was ``temporary type''. [Google] [More] ⦿ | |
Graphic designer from the UK who made the handprinted face Jitter (2009). [Google] [More] ⦿ | |
Vendor of old type books, based in Nottingham, UK. Type specimen books. Books on typography. [Google] [More] ⦿ | |
Graduate of the KABK in Den Haag in 2008. Originally from Italy, she was at Spiekermann Partners in Berlin for two years, working closely with Erik Spiekermann for clients such as Birkhauser, Bosch, Messe Frankfurt, and FontShop. After Den Haag, she moved to London where she works as a graphic and type designer. She created the heavily serifed Kina family as a student at KABK. That was followed by the quite original alphabet Python, the feminine transitional family Duchesse. The last face is a revival of this typeface from a French book dating from 1908. About this mysterious face, Hrant Papazian writes: That font looked familiar to me, and I immediately looked at my copies of Audin's books, since that's such a singular repository for funky old French stuff. The roman is shown in figure 125 of volume 3 as "Type Beaudoire" #2 (the #1 is actually even more fascinating). The italic is a few pages down in figure 141, shown as the font "XXe Siècle" by Mayeur. I remember from the time I translated Ponot's article about Perrin that there's a connection between Perrin, Beaudoire and Mayeur (and Marquet). IIRC one of them swiped a design from one other, with the help of another, or something. In 2011, she and Miles Newlyn created Frank, a 5-style humanist sans family. [Google] [More] ⦿ | |
British book designer (b. London, 1891, d. Lavenham, Suffolk, 1975). He ran Nonesuch Press (founded in 1923) using Monotype machines. Coauthor with Herbet Simon of Fleuron Anthology (1973, London: Ernest Ben Limited), which contains many of the journal The Fleuron's best articles. [Note: Stanley Morison edited The Fleuron, which appeared as a series in the 1920s.] [Google] [MyFonts] [More] ⦿ | |
London-based digital artist, who created a font in 2010. Behance link. [Google] [More] ⦿ | |
Klingspor link. Dafont link. [Google] [More] ⦿ | |
Illustrator and branding artist in London. He made the ultra-fat counterless face Fattoush (2010). [Google] [More] ⦿ | |
View digital typefaces related to Frank Hinman Pierpont's work. [Google] [MyFonts] [More] ⦿ | |
Frank Spinatra | Manchester, UK-based designer of a a comic book face (2004). [Google] [More] ⦿ |
Frans Font (was: Siren Fonts)
| Frans Font (or: Siren Fonts) is a foundry, est. in 2009 in Cheltenham, Gloucestershire, United Kingdom, by British designer Fran Board. Their fonts include Rounded Two (2009), Manic (2009, grunge), Rooky Hand (2009, irregular hand), and Mesh Stitch (2009, a stitching font). All are free for personal use and pay fonts for commercial use. In an earlier life at Dafont, one could download the handprinted 3d font Decade 3d (2008), the stitching face Mesh Stitch (2009), the thin sans faceRound (2009), RoundNormal (2009, an avant garde face), Bloc Regular (2009, pixel face), Pixel Regular (2009), Zuben (2009, classy sans), Manic (2009, an angular face), Rounded Two (2009) and the squarish Blablabla (2009, FontStruct). Another URL. [Google] [MyFonts] [More] ⦿ |
British designer of the futuristic face Rezland (2005). Dafont link. Fontspace link. [Google] [More] ⦿ | |
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Frederic Wesselhoeft Ltd
| London-based foundry, which published typefaces such as Thor (1930). Thor was digitized in 2006 by Nick Curtis as Munchkin Land NF. [Google] [More] ⦿ |
"My project of extending the xterm default font "6x13" or "fixed" to the around 2500 character subset of Unicode and ISO 10646-1 that can adequately be represented in such a small cell size is now pretty much completed." By Markus G. Kuhn, Computer Laboratory, University of Cambridge, UK. [Google] [More] ⦿ | |
FreeFontConverter
| A free on-line font converter between these font formats: pfa, pfb, pt3, sfd, ttf, otf, otb, t42, cef, cff, gsf, ttc, svg, ik, mf, dfont, bin, suit and bdf. By J. Bench in the UK. [Google] [More] ⦿ |
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Fry
| Founded in 1764 in Bristol by Joseph Fry and Isaac Moore who interpreted the work of Baskerville and Caslon. Joseph retired in 1787 and left the company to his sons Edmund and Henry. The foundry moved to Type Street (now Moore Street) in London. Joseph's son Edmund sold up to the Fann Street Foundry in 1828. The foundry no longer exists. [Google] [MyFonts] [More] ⦿ |
Future Fonts
| Future Fonts is the Liverpool-based company run by Jonathan Edwards, the UK-based designer of GFCappuccino (1999, at GarageFonts), Nemesis (2003, brushy handwriting), Nemesis Shareware, CherryCoke (a dadaist face) and Expresso. Other commercial fonts: Ameticana (handwriting), Bjork (a 2000 update of a 1998 font by Animus), Dragon, Nightingale, Scrooge. Free fonts: Aftermath, Cherry Coke, Da Bomb, OverExpose, Tribal Funk. They used to have Oberon, Broken, Coca Kola, Willo the Wisp, Not-so-free fonts Santa-Claus, Bitched, and the beautiful Ginseng. Alternate URL. FontShop link. Dafont link. Alternate site for Cherry Coke. [Google] [MyFonts] [More] ⦿ |
Gabrielle Reith and Philip Thompson are British artists. Gabrielle graduated from Gray's School of Art in 1998. Philip is a professionally trained graphic / new media designer, who later chose to pursue a career in fine art, and he obtained his Masters Degree from Gray's School of Art. Their site Type7 shows free fonts made by them: Blether, Atatat, Inevitable Alphabet, Maple, Perspex, Handwrought, and so forth. No downloads or sales. [Google] [More] ⦿ | |
UK-based type designer. At Masterfont, he published the Hebrew typefaces Addam MF, Arava MF, Galit, Woodstock MF, Ronni MF, Lolla MF, Dimona MF and Florentin MF. [Google] [MyFonts] [More] ⦿ | |
Michael is the UK-based designer of My_Handwriting_by_Ganey (2008). [Google] [More] ⦿ | |
Designer in 2002 of UKNumberPlate. Fontspace link. [Google] [More] ⦿ | |
In 2009, he designed 2012 Headline for the London Olympics---typophiles are generally disappointed with this daring design in the general angular category, and refer to better representatives of this genre such as Cyrus Highsmith's Occupant Gothic, Emigre's Elektrix, Hubert Jocham's Keks, and Chris Lozos's Dez Sans Script. Fontworks interview. Catalog of Gareth Hague's typefaces. FontShop link. [Google] [MyFonts] [More] ⦿ | |
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Garrett Reil (Rain Design, Ireland) is a graduate of Limerick School of Art and Design and the National College of Art&Design (MA). He has worked in London and Dublin with leading international design consultancies. He founded Rain design partners in 1998 with Clíona Geary. Garrett lives in the picturesque twin towns of Ballina-Killaloe and does much of his work in Dublin and around Ireland. Garrett designed the size-specific New Johnston Book typeface for London Transport with Colin Banks and John Miles at Banks&Miles London; he co-designed signing manuals for Bass Plc and created a number of their retail brands; with Landor Associates he led the implementation of a new identity for Delta Air Lines. In 2008-2009, he got involved in the design of road signs for Ireland, and his proposal is Turas (2009). It deals with matters such as halation (the effect of headlights hitting a highly reflective material used in modern signs. This causes an overglow, which can make the sign difficult to read), bilingual time delay, and the longer Irish names. Ireland adopted the Transport type designed for UK roads by Jock Kinneir, a design lecturer at the Royal College of Art, and Margaret Calvert, his assistant, in the late 1950's and early 1960s. [Google] [More] ⦿ | |
Illustrator and web designer in Falkirk, UK, who made the great ultra-fat experimental face Flabby (2010). Behance link. [Google] [More] ⦿ | |
Freelance graphic designer in the UK. Behance link. He created Aquila (2011), a hip sans titling face. [Google] [More] ⦿ | |
British designer at T26 of the Urbanite family (2000, octagonal, techno) and of Linotype Submerge One (2002), Linotype Submerge Two (2002) and Linotype Sharquefin (2004, a destructionist face). Linotyper link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who made the grungy face Ghost Signs (2010), which was based on decaying advertising signs in Bristol. [Google] [More] ⦿ | |
Graphic designer in Newcastle upon Tyne (UK), who created the display face Awkward (2004) and a very thin sans face (2004). [Google] [More] ⦿ | |
Southampton-based designer in 1999 of the font Kontainer. He also runs a logo and signature font service, at about 15 USd per signature/logo. Old URL. [Google] [More] ⦿ | |
British calligrapher. Designer (with the help of Akira Kobayashi) of the OpenType calligraphic script Hamada (2007, Linotype). This typeface has multiple variants for all letters. [Google] [MyFonts] [More] ⦿ | |
GE Inspira (2004, free under conditions spelled out in an EULA) is a face designed for GE's brand based on ideas of Patrick Giasson (who worked at Wolff Olins and is now with Agfa Monotype UK). Giasson writes: A number of people were involved. I did the initial typographic development on the regular Latin weight, with Adam Throup (London) and Douglas Sellers (NYC) art directing the project. Further development was subsequently done by Mike Abbink (SF). Agfa Monotype US was then involved to create additional weights, and expand the family to cover roughly the WGL4 character set and finalize the fonts. [Note: the Agfa team consisted of Jim Wasco, Carl Crossgrove and others.] Mike Abbink writes: I actually spent over a year working on the design of Inspira. It was Patrick's [Patrick Giasson] early concept that GE was drawn to, but at that time, it was way too funky and more display like then they wanted. I then took patricks original thoughts and spent several months refining the roman and created an italic (which Patrick did not do) which was then handed to monotype to create more weights and refine a bit. What you see in Inspira now, is quit different from Patrick's original concept. However, the more unique forms from Inspira are indeed driven by patricks original drawings and are the interesting forms of the font (v, x, z, y). I was also involved with art directing and working with the Monotype team (for over a year) in developing all the other iterations of inspira. All told, there were many people involved in the refinement of the Inspira font family, but I must say i would have to take a large credit in the design of inspira along with Patrick. I believe Patrick's designs and my designs created a nice balance that has made Inspira what it is today and of course let's not forget the hard work of monotype in really taking the font to the next level with all the weights, the condensed version, and exotics (Greek, Cyrillic, Turkish, etc.). Mike now works at Wolff Olins in New York. [Google] [More] ⦿ | |
In 2011, she created the absolutely fantastic ornamental caps face Saudade, which consists of overlapping circles. She writes: Poster for a talk of Marina Willer. Saudade is the most beautiful word in Brazilian Portuguese. It means something a bit like nostalgia. Typeface: In collaboration with Henrik Kubel. Maya (2011) and Sea Shells (2011) are typefaces that were inspired by Indian architecture. Behance link. [Google] [More] ⦿ | |
British designer of the free sports font Nike 2002-04 (2012). [Google] [More] ⦿ | |
UK-based creator of an alphabet made up of old iron bits (2010). [Google] [More] ⦿ | |
English designer (b. Wimbledon, 1929, d. 2005) of Impact (1965, an extra bold sans now available from many companies, including Agfa/Monotype, Linotype, Adobe, URW++ and Microsoft), Stephenson Blake's penultimate metal typeface, produced while Lee was Type Director and Design Group Head of Pembertons Advertising. He also made Camden (1999, with Michael Lynch) for specific use in the Long Melford Millennium Book. It was based on the types used in Camden's Remaines concerning Britaine published in London in 1638. It became a well-known Microsoft core font. FontShop link. Linotype link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
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George Daniel (London, UK) created nice typographic work for the Montana Film Project in 2012. [Google] [More] ⦿ | |
George Horton | Author from Northallerton, UK, who played a bit with Bitstream Aldine 721 and applied some of the principles of Fleischmann 65 in the creation of his Aldine 65 (2006). [Google] [More] ⦿ |
Student at the Winchester School of Art, UK. Creator of the oblique constructivist face Propaganda (2011). [Google] [More] ⦿ | |
English writing master, 1666 (?)-1736 (?). Designer of the famous Shelley Script (calligraphic). Linotype's version was implemented by Matthew Carter in 1972 at Letraset and was split into Allegro, Andante and Volante styles. The Bitstream "copy" is called English 111. Sample of a copperplate alphabet done in London in 1709. Author/editor of The Penmans Magazine. In 1730, he wrote several pages for Bickham's Universal Penman. English writing masters including George Bickham, George Shelley and George Snell helped to propagate Round Hand's popularity, so that by the mid-18th century the Round Hand style had spread across Europe and crossed the Atlantic to North America. The typefaces Snell Roundhand and Kuenstler Script are based on this style of handwriting. [Google] [MyFonts] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created Times New Georgian (2009) on the theme of pompous for a class. [Google] [More] ⦿ | |
View typefaces designed by George William Jones. [Google] [MyFonts] [More] ⦿ | |
Geraint Franklin | British designer of Playford (2003), a geometric sans with varying stroke width. Geraint works at Network Archaeology Ltd., a company registered in England and Wales. [Google] [More] ⦿ |
ATypI states: "Gerald Cinamon was born in Boston, received his MFA Degree in Design at the School of Art and Architecture, Yale University, and has lived in London since 1961. He freelanced for numerous publishers and eventually became Chief Designer at Penguin Books for almost 20 years. His books regularly were chosen for the Best Books of the Year shows. He has written studies of designers and is now especially interested in lettering and design history." He wrote "Rudolf Koch: Letterer, Type Designer, Teacher" (2000, Oak Knoll Press and The British Library) and spoke at ATypI 2003 in Vancouver on Koch's work. [Google] [More] ⦿ | |
British designer (b. Newcastle-upon-Tyne, 1877, d. Newcastle-upon-Tyne, 1942) of Imprint (1913; +Imprint Shadow), now available at Agfa-Monotype and URW++. It is a 10-weight transitional family, codesigned by J.H. Mason, Ernest Jackson and Edward Johnston, who commissioned this typeface modelled on Caslon's designs from Pierpont and the Monotype Corporation as the text face for The Imprint, a magazine about fine printing and typography. [Google] [MyFonts] [More] ⦿ | |
Hungarian graphic design student studying and living in the UK. He created the themed face Watch My Shoes (2011, experimental). He also made the fat blocky Quadrata series in 2011, with styles called Child, Hippie, Light, Origin, and Scrib. [Google] [More] ⦿ | |
Gerry Leonidas is a Lecturer and Course Director of the MA in Type Design in the Department of Typography&Graphic Communication at the University of Reading, England. He is a practicing designer of Greek and Latin typefaces, and a regular consultant on typography and type design. Brief CV. Site with the list of his graduates. Speaker at ATypI 2008 in St. Petersburg. Speaker at ATypI 2009 in Mexico City. Speaker at ATypI 2011 in Reykjavik. [Google] [MyFonts] [More] ⦿ | |
Typographer and industrial designer, b. 1899. A sample of Gerry Powell's work from 1937 for the Lettergieterij Amsterdam, now on the URW CD-ROMs: Arsis (or Onyx (ATF, 1937, now available at Bitstream; the URW version is called Arsis)}, Stymie (ATF, 1931, with Sol Hess; now available at Bitstream), Stencil (ATF, 1937; versions at Bitstream, Adobe and Elsner&Flake), Daily News Gothic and the Spartan Series. Onyx is a condensed elongated fat "modern" face. Cyrillic version of Stencil by A. Chekulaev at ParaType (1997). About Onyx versus Arsis, there has been some discussion by type lovers. Apparently, both were released in 1937, Onyx by ATF and Arsis by Tetterode. It is believed both foundries had a deal on the exchange of some typefaces. Lanston Monotype had a metal Onyx that was probably copied from the ATF version, and the Monotype UK metal Onyx was probably a copy of Lanston Monotype. The current digital version of Monotype seems to be made after the Monotype UK metal version. The Bitstream digital version was copied from the ATF Onyx typeface. [Google] [MyFonts] [More] ⦿ | |
Oxford, UK-based creator of the hairy custom typeface Blow Out (2010). [Google] [More] ⦿ | |
Gilbert Van Citters (Seattle, WA) an illustrator, printer and graphic designer who is curreently working in the UK. He has a BA in graphic design from Western Washington (2011). Behance link. His work includes the ball-themed geometrically constructed display face Nexus (2011). [Google] [More] ⦿ | |
Type Designer from York, North Yorkshire, UK, b. 1973 in York. He created Vernon (2011, a slightly humanist sans). MyFonts link to his foundry. [Google] [MyFonts] [More] ⦿ | |
UK-based designer who designed a nice handwriting font called Giles (1999). [Google] [More] ⦿ | |
Giles is a senior creative director, consultant, designer and illustrator in London. Behance link. In 2010, he created a very original 3d blocky face called 40Four that he used as decoration on walls of homes. [Google] [More] ⦿ | |
Stephen Coles, based on article by Ben Archer, lists the alternatives for Gill Sans (1932, Monotype), a typeface they both find lacking. Here is the list:
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Graphic design student in Liverpool, UK. Creator of Bubbleman Type (2012, experimental). Behance link. [Google] [More] ⦿ | |
Typographer and food historian who lives in London. She is the author of the National Gallery cookbook, and is currently working on the Oxford Companion to Italian Food. At ATypI in Rome in 2002, she spoke about the connection between the works of Renaissance Humanist scholars and the food they enjoyed eating. [Google] [More] ⦿ | |
Manchester, UK-based designer (b. 1990) of the spindly handwriting face Alphasplat (2012) and of Chippy Handwriting (2012) and Tickle Me Elmo (2012). [Google] [More] ⦿ | |
London-based designer and illustrator who has some nice type posters such as Sticky (2009). [Google] [More] ⦿ | |
London-based graphic designer, b. 1987. At Dafont, one can download his handwriting font Glenns Hand (2010). [Google] [More] ⦿ | |
Gloomnshloom
| From the UK, Annsley G. Flood's free fonts: Between my Ears (dingbats), Do I Lie? (dingbat), Water (handwriting), WhatWasTheCooking Show (handwriting), HappyOffspringOfPlankton (dingbat), I am nervous, Unusual suspects (dingbats). Dafont link. [Google] [More] ⦿ |
Glyn Adgie | Electronics engineer from Birmingham, UK, who created Clarissa (2005) in regular and bold weights as a sans body family. No downloads. Continued here. In 2005, he started the serif face Ledbury. [Google] [More] ⦿ |
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London-based designer who is also an MA student at Leeds University. She created the aquarel-themed Happy Typeface (2011). [Google] [More] ⦿ | |
British designer of the handwriting font Handwrought (2009). [Google] [More] ⦿ | |
British FontStructor who made Pixur (2010, pixel font). [Google] [More] ⦿ | |
Newcastle, UK-based designer of the pixel font Gray Sans (2005). [Google] [More] ⦿ | |
Seaford, UK-based logo, identity and brand designer. He created the blocky experimental face Prone in 2009. Behance link. [Google] [More] ⦿ | |
Graham Taylor | London-based designer for Runner's Magazine. He is working on this serif face (2007). [Google] [More] ⦿ |
English calligrapher and illuminator, b. 1864, London. He started out as a lawyer, then as a writer, before turning to calligraphy. He was one of the first students of Edward Johnston at the Central School of Arts and Crafts in London in 1900. Hewitt went on to teach classes at the School for over thirty years. Hewitt's works include The Pen and Type Design (1928), which was set in his own typeface, Treyford, and Lettering (1930). He died in 1952. [Google] [MyFonts] [More] ⦿ | |
Illustrator at the Winchester School of Art in the UK. He created an ornamental all caps alphabet called Discovery (2011). Behance link. [Google] [More] ⦿ | |
Graphics outfit in Manchester, UK, which has produced some outstanding typographic examples, such as In Rainbows (2009). Behance link. [Google] [More] ⦿ | |
Great (commercial) ornamental/fleuron/pattern type fonts for use in decorations. Check out GT-Piccoli to get an idea. Based in Somerset, UK. They also sell a software product, Graphic Type Designer. [Google] [More] ⦿ | |
Graphic Workman
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In 2010, he created the Stencil Book family. [Google] [More] ⦿ |
UK-based creator of Chubby Checker (2009, gridded face). [Google] [More] ⦿ | |
Grayhaze
| Kevin Purcell (Grayhaze) is the London-based designer of the bitmap font Eden (2003). [Google] [More] ⦿ |
Foundry in Derby, UK, est. 2012. [Google] [MyFonts] [More] ⦿ | |
Greater Albion Typefounders (or: GATF)
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Edwardian creations from 2008-2010: Ark Wright (traditional shop signage), Adantine, Goldbarre, Brosse, Crewekerne, Crewekerne Magna and Crewekerne Magister, Larchmont, Brissard, Brossard (slab serif), Bonavia, Bonavia Blanc, Clementhorpe, Veneribe, Chiara Script, Howlett, Svengali Roman, Bonning and Bonnington (1920's style families with ideas from University Roman), Absinette, Bamberforth, Tumbletype, Vertrina, Bromwich, Great Bromwich, Fleete, Helenium. Chipping emulates the Edwardian 1920s. Art deco faces: Oakland (2011, multiline face gleaned from a 1930s French car ad), Zenia (2010, trilined), Plebe (Plebia, 2008: a grotesk emulating the 1930s), Whitehaven (2008, an extensive art deco family with several shadow weights), Merry Fleurons (2008, Christmas ornament dingbats), Braxia (2008), Keynsia (fifties style art deco family with Peignot influences). Other faces: Haymer is a large sans family made in 2010. Clunic (2008) is a blackletter face. Tectura (2008) is a handwriting font. Eldridge is a slab serif family. Aliqua (2009), Chipperly (2009) and Syondola (2009) are Wild West families. Terazza Tilings (2009) and Valentine's Fleurons (2009) are dingbat faces. Additions in 2009 include Lowndes (soft blackletter), Christmas Fleurons, Merry Snowmen, Cherritt (described as a Victorian era Courier), DoodleBirds, Halloween Fleurons, ButtonFaces, Sabio (neither slab nor sans), Daub (brush graffiti font), Sabinard (a modern swash face), Cullions (futuristic blackletter), Coronard (blackletter / roman hybrid), Easter Fleurons, Chapter Initials, Paveline (19th century calligraphic script), Mellin Sans and Open, Gildersleeve (evoking the 1920s Arts and Crafts movement), Stannard (a 1920's advertising inspired small caps face), Slattery (a horizontally shaded fun face), Slatterine (2009, more retro futurism), Spillsbury (2010, Victorian family), Cirflex (2010, geometric display face based on arcs of circles), Oxonia (2010, a classic roman family) and Vectis (classic Roman elegance, another small caps face). Creations in 2010: Windevere, Albion's White Christmas, Paragon (a great didone display family with a wood type feel), Compton (slab serif family), Mexborough, Morover (Schwabacher family), Anavio (a classical roman family), Corvone (3d-effect font), Granville (Victorian), Corton (Victorian), Wellingborough (Victorian), Worthing (Victorian), Ark Wright (traditional shop signage), Bonaventure (art nouveau), Federal Streamliner (1950s feel techno face), Deva (classical roman), Crucis Ornaments (crosses), Bronzino (a roman with Arts and Crafts roots), Bertoni (2010, a didone family), Pardon Me Boy (train dingbats), Woodruff (Open Face fonts with a wood type look), Jonquin (based on a WWI poster; +Incised), Luscombe (1920s display family; +Parva), Movella (futuristic from the 1950s), Magdalena Sans (2010: a clear monoline sans), Endymion (2010: Tuscan), Paget (a Tuscan experimental all caps face), Portello (Victorian). Typefaces made in 2011: Admiral (art nouveau), Tuscaloosa (Tuscan face), Eccles (bombastic Victorian), Wolverhampton (pre-Victorian), Doncaster (Victorian family), Metropole (art nouveau family), Corsham (stone engraved lettering family), Leibix (casual), Albia Nova (an elegant futuristic organic face), Flapper (art nouveau face), Bertolessi (curly Victorian), Tulk's Victorian Banner (all caps banner face), Fitzgerald (Victorian all caps face), Cleveden (Victorian headline family), Spargo (an extensive set of early 20th century-look engraved faces for official documents and securities), Bettendorf (2011, based on a 1900s masthead typeface), Wolvercote (2011, similar to Bettendorf), Pittsburgh (2011, a Western-style engraved face), Chubbly (2011), Portmeirion No. 6 (2011, a Victorian / circus design), Bronzetti (2011; images: i, ii, iii, iv, v, vi), Sophie J (hanprinted), Dem Bones (2011, glyphs made from bones), Stout (2011), Birmingham New Street (a Victorian family inspired by the hand lettered title on a 19th century railway map), Beckinslade (ornamental blackletter). Production in 2012: Penrose Slabserif (an Escher-like trompe l'oeuil 3d face), Haldane (art nouveau, Arabic look), Solidarius (chubby, fat felt-tip pen font), Bluebottle (angular display face), Merrivale (Victorian), Future Runes (runic simulation), Coliseo, Alfrere Sans (inspired by a 1950s television caption style), Tectura II (Lloyd's answer to Comic Sans), Secombe (Edwardian caps family), Milligan, London Court (Tudor-era caps family). Type announcements. Behance link. Klingspor link. Abstract Fonts link. Font Squirrel link. Kernest link. Abstract Fonts link. View all typefaces by Paul Lloyd. Images of Paul Lloyd's best-selling typefaces. [Google] [MyFonts] [More] ⦿ |
Greenstreet Technologies (also: Greenstreet Software and GST Technologies) | Cambridge, UK-based publisher of cheap font collections called 100 Fonts True Type, 500 Fantastic Fonts, 1000 Professional Fonts, 500 Fantastic Fonts, 500 Elegant Fonts, and 2000 Fonts Collection. They were sued in 2001 by Linotype for copyright infringement of their typefaces Arcadia, Duc de Berry, Herculanum and Neue Helvetica, and lost in September 2001, although there is no financial settlement. See also here. Ulrich Stiehl researched the matter and provides this pdf file describing the five CDs. He states: The forgery "Chanson" contained on the "500 Fantastic Fonts" CD and provided by the forgers in Cologne with the false copyright notice "(C) 1994 Brendel Informatik GmbH" is a forgery of the font "Arcadia" designed by Neville Brody in 1990. Note that all five Greenstreet CDs are still sold today in 2005 including the forgeries of "Arcadia" etc. [Google] [More] ⦿ |
Greg Colley | British designer of British Sign Language 3 at XRMX Software Solutions. [Google] [More] ⦿ |
UK company selling barcode font packages (TrueType and PostScript in each package) for about 150 USD: for example, code 39 alone is 135 USD! It sells Fontographer for 400 USD. [Google] [More] ⦿ | |
Grover Foundry
| London-based foundry of James and Thomas Grover, active in the late 17th century. Quoting Stanley Morison (Fleuron, vol. 6): "In succession to the so-called Polyglot founders who worked under privilege during the period 1637-1667, the Grovers began business about 1674. The possessed types which came from Day, Wynkyn de Worde and others, also a fine Greek uncial, a number of scripts and the curious letter entitled "Double Pica Union Pearl". This elegant decorative script face, Union Pearl, the first known English decorated letter (ca. 1690), later became a Stephenson Blake typeface. Designers of a Greek typeface in 1894, based upon the Greek of the Complutensian Polyglot of 1514. According to "Fleuron", vol. 6, p. 231, this face was surpassed by Victor Scholderer's "New Hellenic" (1928). [Google] [More] ⦿ |
Grummedia
| Ilkley, UK-based foundry of Graham David Blakelock (b. 1947, York, England). MyFonts sells his fonts. These include faces used in role playing games, often with a medieval look, all published in 2005: Fifteen36 (Venetian with rough edges), Fourteen64 (Venetian with rough edges), High German (blackletter), ItalicHand (inspired by 11th or 12th century Carolingian hand drawn cursive), Old Russian (fake Cyrillic), Ye-As-Ta (rotated brush style caps), Good Taste (2006), Hieroglyph Informal (2006), Kanjur (2006, Indic simulation face), Mayan (2006, dingbats and Mayan-looking letters), Pepper (2006), Salt (2006). [Google] [MyFonts] [More] ⦿ |
GT Foundry
| GT Foundry is run by Michael Green, an English designer in Seoul, Korea. In 2011, he created a custom typeface for the Southwark Community Fair. [Google] [More] ⦿ |
G-Type
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View all typefaces by Nick Cooke (G-Type). [Google] [MyFonts] [More] ⦿ |
Illustrator and graphic designer in Birmingham, UK. He used road signs to construct his Motorway Madness alphabet in 2011. [Google] [More] ⦿ | |
Mayger (from Felpham, UK) works at Ascender Corporation since 2004. His CV states that he has "probably hinted more italic fonts than any other hinter and has worked with a large range of customers including Barclays, British Airways, Hewlett-Packard, Ikea, Lexmark, Microsoft, Nokia, Opel and Waitrose." He has worked most of his life at Monotype, often alongside Tom Rickner. Guy has worked with an array of different tools to develop high quality fonts in nearly every production environment including TrueType, ClearType, PostScript Type 1, Multiple Master and a multitude of bitmap formats. [Google] [More] ⦿ | |
London-based larger than life Welsh bon vivant, and author of Encyclopaedia of Fonts (December 2005, Cassell Illustrated, London), a book that can be considered as a digital successor of Jaspert, Berry & Johnson. The coverage is up to the present. The fonts are classified in one of about 40 styles, and are shown in chronological order within each style. Gwyn has worked on it for four years. [Google] [More] ⦿ | |
Halo Media (Hamish McWhirter) has designed a custom typeface for Beauty UK Cosmetics called You Beauty (2010). [Google] [More] ⦿ | |
Halpin Hand
| MyFonts: Geoff Halpin has been a graphic designer and creative director in London for 40 years, working on music album covers, advertising campaigns, corporate identity and brand packaging. Has worked on album covers for The New York Dolls, Elton John, Paul McCartney and Mike Rutherford. He was creative Director of Identica London for 10 years. During this time he created the current Universal Studios identity and the Johnnie Walker whisky brand mark. Creating logos and bespoke letterforms has always been a major part of his work. He has created corporate fonts for Universal Studios, Chivas Regal Whisky and McDonalds. His foundry in Sutton, Surrey, UK, is Halpin Hand. In 2010, he created the organic display face Halpin Hand Roman. [Google] [MyFonts] [More] ⦿ |
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Jacci Howard Bear discusses the various styles of cursive and manuscript fonts used to teach handwriting:
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UK handwriting interest group. Links and information. [Google] [More] ⦿ | |
London-based graphic designer and illustrator, who studied graphic design at London's Architecture and Visual Arts school. Behance link. Her typefaces include Valence (2011, blackletter/tattoo face). Also, starting in 2011, she decided to drawn one letter per day. Shapes (2011) is a geometric face. [Google] [More] ⦿ | |
Dutch freelance graphic designer. Behance link. Graduate of the University of Reading in 2011. Her graduation typeface, Foxhill (2011), was designed for small sizes. It has Greek and Latin styles and has the angularity necessary for agate faces. Foxhill won Third Prize in the Greek text typeface category at Granshan 2011. She wrote a dissertation about Dutch typeface designer Sjoerd Hendrik de Roos. Hanna lives in London. [Google] [More] ⦿ | |
UK-based designer (b. 1987) of the handwriting face Hannah's Hand (2004). Alternate URL. [Google] [More] ⦿ | |
Hannah Dossary (Nottingham, UK) created an Arabic type companion for the road sign family ClearviewHwy (2011) while studying communication at Loughborough University. [Google] [More] ⦿ | |
Fontstructor who made the Tape Type (2011) and Protest (2011). Hannah is a student at UWE in Bristol, UK. [Google] [More] ⦿ | |
Leeds, UK-based graphic designer. Behance link. Creator of the kitchen tile face Cakehole (2011). [Google] [More] ⦿ | |
Graphic designer from Leeds, UK, who made the experimental typefaces Keep Dry and This Way Up in 2010. [Google] [More] ⦿ | |
In an interesting experiment, Harrison Reilly (UK) used Impact to make a grungy bouncy version called Impacted (2009, Fontcapture font). Dafont link. [Google] [More] ⦿ | |
Father of Matthew Carter, typographic historian, and archivist of the Oxford University Press, who lived in the UK from 1901-1982. Author in 1969 of "A view of early typography: up to about 1600". This will be reissued by Hyphen Press in 2002 and is reviewed by Andy Crewdson. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in London. He created Minty Modular (2012), King Modular (2012) and Current Cut (2012, arc and circle-themed typeface). [Google] [More] ⦿ | |
British youngster, b. 1997, who created the handprinted Wizzo(2011). [Google] [More] ⦿ | |
Croydon, UK-based designer (b. 1982) of the beautiful stencil font Quarters (2007). Download here. All glyphs are made up from quarter circles and straight edges. [Google] [More] ⦿ | |
Student at The University of Western England (UWE) in Bristol who made the dusty texture face Diverge (2010). [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the crumbly smudgy face Diverge (2010) and Decay (2010, grunge). [Google] [More] ⦿ | |
Head:Line Typedesign
| UK's Tom Oldfield (b. Yorkshire) designed some free fonts and a few commercial ones: Bokken, Creole, Dimbaza, Extrema, Gasoline, Quorn, Litany, Whiplash, Hombre BT (2004, a sketched face done at Bitstream), Jerk Chicken BT (2007, blotty handwriting), Nostromo, Reaper BT Roman (2002, a font for cemeteries) and Chicken BT. 150 UK pound custom font making service. In 2005, he reorganized things, and his catalog is as follows. Freeware fonts include Blotto, Incised, Chunk, JustFiveMins, all destructionist faces. Shareware faces: Shrivel, Shrapnel, Mello (stencil), Rabid. Commercial faces:
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Graphic Designer based in Leeds, UK. She is scheduled to obatin a BA in Graphic Design from the Leeds College of Art in 2011. behance link. Creator of the counterless face Squircle (2010). [Google] [More] ⦿ | |
Foundry whose fonts are sold via Fontworks UK, who write: The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products. Basic Heinemann is defined by longer ascenders and descenders which help children to distinguish between letters; rounded edges on all letterforms help focus the reader on the individual letter shape; and modified characters (e.g., a, g) ensure instant recognition of letterforms. Heinemann Special offers further modified characters and kerning pairs ideal for dyslexic or special needs use (eg a, d, b). The Heinemann fonts were developed in partnership with children, literacy advisors, teachers of special needs/dyslexia and primary school teachers, and are now released in response to hundreds of requests from publishers, designers and teachers to purchase them. They have been trialled in schools and learning institutions over an 8 year period, and are a favourite for use in both print and electronic product. Heinemann is a 12-style sans family. [Google] [More] ⦿ | |
University student in High Wycombe, UK, who created the experimental typeface Tube (2011) based on parts of the London subway system map. [Google] [More] ⦿ | |
British creator of the Helena Lou Script series of handwriting fonts (2009, Fontcapture). [Google] [More] ⦿ | |
Henry Caslon |
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Herbert Percy Horne | A London-based designer of principally roman fonts, who lived from 1864-1916: Florence Press Type (Chatto and Windus, 1908), Montallegro Type (Merrymount Press, 1904), Riccardi Press Fount (Medici Societa, 1909). Montallegro is a Florentine style font that was designed by Horne at the request of Daniel Berkeley Updike for the Merrymount Press in Boston. Under Horne's direction, the punches were cut by E.P. Prince in 14 point roman only. [Google] [More] ⦿ |
UK-based designer (b. 1982) who created the free icon dingbat font Heydings Icons (2011). See also Heydings Controls (2011) and Heydings Common Icons (2011). Fontsquirrel link. Dafont link. [Google] [More] ⦿ | |
Hibernia Type
| Hibernia Type is run by Christopher Burke (b. 1967), the British designer of the text face Celeste (FontFont, 1999-2000) and Celeste Sans (2004). His balanced sans serif text face Pragma ND (1995) is available from Neufville. Chris got a Ph from, and later taught typography at the University of Reading from 1996-2001. He was instrumental in setting up the MA program in type design at Reading. In 2002, he finished Parable, which was published at FontFont as FF Parable. Author of Renner, Paul: The Art of Typography, Hyphen Press, 1999 (U&LC review). His essay "Jan Tschichold&Sabon" written in the specimen book "Linotype Sabon Next" (Linotype, 2002) is is a must for anyone wishing to understand Tschichold. FontFont bio. FontShop link. MyFonts listing. Chris lived (still lives?) in Barcelona. [Google] [MyFonts] [More] ⦿ |
Hicks Design
| Small design studio in Oxfordshire, UK, run by Jon Hicks, who created the free arts and crafts face Hill House, based on the handwriting of Glasgow architect Charles Rennie Mackintosh (1868-1928). He writes: The Hill House is a building originally designed for the publisher Walter Blackie, and is now in the care of The National Trust for Scotland. Now that the copyright on his handwriting style is in the public domain, this typeface is seen everywhere in Glasgow, from jewellers to chip shops! Fontsquirrel link. Klingspor link. Abstract Fonts link. [Google] [More] ⦿ |
Designer of MushroomHill (2001), a modification of the famous Andes font. Hivebrain is "Leon" and lives in the UK. No other info. [Google] [More] ⦿ | |
Graphic Design student at Anglia Ruskin University, who lives in Cabridge, UK. Creator of Arabic (2011), an Arabic simulation face. [Google] [More] ⦿ | |
FontStructor who made Bones (2011), a great caps face, as well as Badger Spine (2011). It is almost unbelievable that this amount of detail could be achieved in FontStruct. Holly is a graphic design student at the University of Western England in Bristol. Home page. [Google] [More] ⦿ | |
Graphic Communication student at UCA Farnham, UK. She designed the anti-smoking face Stub Out Your Addiction (2010). [Google] [More] ⦿ | |
House of Burvo
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Type home of Dave Farey and Richard Dawson. Based in London. They "developed and repaired" type such as The Times, McDonalds (the company), CWS Script and Din Display. [Google] [More] ⦿ | |
Foundry in the UK, est. 2005, to develop and repair type. Commissioned faces: CWS Script, DIN Display, McDonalds (a face in use by that chain since 1998, based on an idea of Geoff Halpin), The Times (1999). [Google] [More] ⦿ | |
View Hubert Jocham's typefaces. Another view. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Founded by William Caslon in 1716, Caslon's was the leading English typefoundry of the 18th and 19th centuries. It continued under William Caslon II. Upon the latter's death in 1778 the property was split between his wife and his son, William Caslon III. In 1792 the son sold his share to his mother and his sister-in-law to buy the foundry of their rival, Joseph Jackson, who had just died. The family of the sister-in-law kept the main Caslon foundry running until 1937, when it closed and the designs passed to Stephenson Blake (who back in 1819 had purchased the other Caslon foundry). [Google] [MyFonts] [More] ⦿ | |
H.W. Caslon&Co Ltd
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Justin (b. Solihull, 1963; d. London, 2005) was director of the Type Museum until 2005, when he moved to the Plantin-Moretus Museum, and then to Reading for postgraduate work. He published "Johnston's Underground Type" for the London Transport Museum in 2000. Justin was a typographer as well as a printing historian. He was responsible for designing many books. He was chair of the Friends of St. Bride from 1998-2003. He died in February 2005 at age 42. Obituary. Quote by Nick Shinn: "Founders Caslon is a trompe l'oeil masterpiece, a carefully crafted amalgam of subtle judgements as to what will best mimic the desired patina of 18th century typography." Obituary at St. Bride. Old URL (now occupied by squatters). [Google] [MyFonts] [More] ⦿ |
HypeForType
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Design boutique in East London which has created some alphabets (perhaps not fonts) such as Animal Alphabet (2010) and Circus Alphabet (2010). [Google] [More] ⦿ | |
Sguidford and/or Cranleigh, UK-based creator of the cryptic typeface Kruptos (2012). Shapabet (2012) is an alphabet composed entirely of simple geometric shapes. Behance link. Dafont link. [Google] [MyFonts] [More] ⦿ | |
Iain Hector | Cirencester, UK-based designer of the display face Generator (2004). [Google] [More] ⦿ |
British graphic designer, aka Zilla774, b. 1974. Creator of the techno font deviantZ Black (2007). Alternate URL. [Google] [More] ⦿ | |
Ian Moore was a British graduate student in type design at the University of Reading, 2007. Home page. He set up The Colour Grey in London in 2010, together with Dan Rhatigan. Ian Moore created the informal typeface Broomfield (2007). In 2009, Ian Moore and Dan Rhatigan created Sodachrome, a typeface designed 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 a nice optical effect. In 2010, Moore created the fat counterless face Leyton, and the sans face Broomfield (which he started in 2007 as his graduation project at the University of Reading). In 2007, Dan Rhatigan produced the extensive serif faces Gina and Gina Italic as part of his graduation project at Reading. [Google] [MyFonts] [More] ⦿ | |
British-born designer of Webdings (Microsoft, 1997). He also made Railway (Monotype, alphadings), Hollywood (Monotype, alphadings), Freeway (Monotype), and Crusader (grungy blackletter). MyFonts page on Ian Patterson. [Google] [MyFonts] [More] ⦿ | |
Illustrator (b. London) who studied at the London College of Printing, and lives and works in London. He is a freelance artist who also teaches illustration at the University of Brighton. Designer in the FUSE 11 collection of Hand Job. Codesigner with David Crow of FF Beadmap (2002). FontShop link. [Google] [More] ⦿ | |
Identifont
| Font identifier based on answering questions. A great initiative of David Johnson-Davies [Human-Computer Interface, Cambridge, UK], it currently contains information about most major type libraries, including Adobe, Agfa-Monotype, Bitstream, Elsner+Flake, Font Bureau, FontFont, ITC, Linotype, P22, and URW++, and is undergoing continuous development. Interview. Free fonts listing. [Google] [More] ⦿ |
Identikal Foundry
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Fontworks site. Catalog. Klingspor link. View Identikal's typefaces. [Google] [MyFonts] [More] ⦿ |
Designer in the UK, b. 1974. He created the outline face Cartoonia 3D (2009) and the black all caps sans face Anonim Round (2009). Fontsy link. [Google] [More] ⦿ | |
UK-based designer (b. 1993) of some typefaces. [Google] [More] ⦿ | |
Image Daddy
| Also called Image Daddy Collection. Foundry, est. in London by type and graphic designer Duncan Rogers, ca. 2006, and associated with (and having the same address as) Fontworks. Duncan Rogers designed the display face Worm Punch in 2006. In 2008, Overlap (a fat rounded face) was published. In 2009, they designed Balearic Thread. [Google] [MyFonts] [More] ⦿ |
Imprint Foundry
| Imprint Foundry in London is run by Fred Birdsall, who is a typographer and book designer, who occasionally designs and/or digitizes typefaces and fonts. He created Default Mono (2010, a pixel face). [Google] [MyFonts] [More] ⦿ |
In The Midnight Hour
| Lauren Harrison (In the Midnight Hour) is the Leeds, UK-based designer (b. 1992) of the brush face The Hungry Ghost (2009, also called Lauren's font, and of the handprinted decorative caps face Plaisantin (2010). Other faces include Skeleton Sketched (2010), Retro Lights (handprinted outline), HighLight (2010), Dirty (2010), Electro (2008), Hair Line (2010), Retro Italics (2010), Dirty (chalk face), Hyperbole (2010), Bellatrix (2011), Mono (2010) and Tinga (2009, child's hand), Wednesday Printed (2012, grunge). Dafont link. Devian Tart link. Fontspace link. Old URL called joycrusher. [Google] [More] ⦿ |
DSM Martland House in Haydock, UK, sells Infadot, "a suite of 4 specially developed post cursive computer fonts and a phonetic depict font designed to enable teachers and parents to quickly and easily produce their own resources for teaching hand writing for all ability levels." [Google] [More] ⦿ | |
Inge Kubel | UK-based type designer who won an award at Granshan 2009 for Vogue, a didone display typeface she designed with Henrik Kubel. [Google] [More] ⦿ |
FontStructor who made the texture face Decay radioactive (2011). Student at UWE in Bristol, UK. [Google] [More] ⦿ | |
Professor John C. Wells (Department of Phonetics and Linguistics, University College London) tells about displaying Unicode phonetic symbols. Fonts with these capabilities include
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UK-based site: The IPA-SAM fonts are proprietary copyrighted Encore fonts created using Typecaster software supplied by the Summer Institute of Linguistics. However, they can now be downloaded free of charge (see above). If you prefer to have them supplied on diskette, you may purchase a diskette from the Department of Phonetics and Linguistics, University College London. Families of TrueType IPA fonts. Address: Department of Phonetics and Linguistics, University College London, Wolfson House, 4 Stephenson Way, London NW1 2HE, UK. The site is run by Professor John C. Wells of the Department of Phonetics and Linguistics. The fonts: Intone-dIntonSILDoulosLBoldItalic, Ipa-samdUclphon1SILDoulosLItalic, Ipa-samdUclphon1SILDoulosLBold, Ipa-sammUclphon1SILManuscriptLBold, Ipa-sammUclphon1SILManuscriptLItalic, Ipa-samdUclphon1SILDoulosLBoldItalic, Ipa-samsUclphon1SILSophiaLBold, Ipa-samsUclphon1SILSophiaLItalic, Ipa-samdUclphon1SILDoulosL, Ipa-sammUclphon1SILManuscriptL, Ipa-sammUclphon1SILManuscriptLBoldItalic, Ipa-samsUclphon1SILSophiaL. To help out: Doulos is similar to Times, Sophia is a sans serif, and Manuscript is similar to Courier. See also the original site at the Summer Institute of Linguistics. [Google] [More] ⦿ | |
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+ism
| The gorgeous fonts by London-based Matius Gerardo Grieck at this commercial foundry include: Dysthymia, Typographiction, Idiosynoptium (very very original), Arsmagna, Transhuman, Xyperformulaic, Requiem (phenomenal face!), Karoshi, Nanoscopics, Kunstware (techno font), Circumcision (1999, simulating Hebrew), CQN-Molecular, Anthropolymorphics (2000), Arsmagna, Dysthymia, Hypertexturion, Karoshi, Metastases, Netopath, Transhuman (has a katakana component), Transkryption (one of the latter fonts in the family was done by Tsuyoshi Nakazako). Great web page (but a bit slow). Some of the fonts are also available at T-26. Another MyFonts link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Graphic designer from Moscow. He is I am in his final year (BA [Hons] Graphic design&Illustration) at University of Hertfordshire, UK. He made the techno face Neu Eichmass (2010). Dafont link. Behance link. [Google] [More] ⦿ | |
Birmingham, UK-based graphic designer who created the art-nouveau-meets-the-future face Cosmic. (2009). [Google] [More] ⦿ | |
Engraved Winchester Old Style in 1908 at Stephenson Blake, based on Cheltenham, a typeface of the Inland Type Foundry. [Google] [More] ⦿ | |
J. Haddon & Co | London-based foundry with a sense of humour, because all their type names start with the letter H. Examples of art nouveau faces: Harlech, Harquilh, Harrington, Hawarden ItaliHuntsmanc, Huntsman. [Google] [More] ⦿ |
UK-based FontStructor who made the chain and bike gear-themed face Dirt Cycles (2010). [Google] [More] ⦿ | |
British creator of the charcoal-based grunge face Disordered (2009). [Google] [More] ⦿ | |
Staff compositor in the London Office of Stephenson and Blake who designed Chippendale Initials, to go with the Stephenson and Blake typeface Chippendale (1915). [Google] [More] ⦿ | |
UK-based designer of Blocky Font (2007) also called Test. [Google] [More] ⦿ | |
British graphic designer who specializes in logos. Behance link. His typefaces include the art deco GhostFace Bold (2009). [Google] [More] ⦿ | |
Born in 1985 and based in the UK. Creator of the elegant sans face Jacks Font (2008), which, he says, was inspired by a zinc-plated screw. Home page. Fontsy link. [Google] [More] ⦿ | |
Graphics and Media Design student at the London College of Communication, whi hails from Hong Kong. Home page. Designer of the high contrast free face Currency (2011). [Google] [More] ⦿ | |
Graphic designer and illustrator who graduated from Cambridge School of Art in 2009, and who still lives in Cambridge, UK. He created several experimental typefaces in 2010. Behance link. [Google] [More] ⦿ | |
UK-based designer (b. 1991, Cuckfield) of the monoline almost modular faces Abode (2009), Altera (2011, hairline sans--caps only), and Tenga (2009), which were free at Dafont. MyFonts link. In 2011, he extended Michael Tanner's counterless fat copperplate design Peep and called it MT Peep. His commercial faces: JK Abode, JK Altera, JK Define, JK Prestige. [Google] [MyFonts] [More] ⦿ | |
Manchester, UK-based designer of Honey Stuckle (2010), a font based upon hexagons found in beehives. [Google] [More] ⦿ | |
London-based graphc designer and illustrator. Behance link. Creator of the handprinted ransom note letter fonts Handdrawn and Indecisive in 2010. She also made the irregularly shaped handprinted alphabets Eyes Closed and No Rules in 2010. [Google] [More] ⦿ | |
British designer of the experimental alphabet Deception (2012). He also made the bespoke heavy slab face Unique (2012). Behance link. [Google] [More] ⦿ | |
British graphic designer who runs "Look at me" in London, and who designed a character in the September 11 charity font done for FontAid II. [Google] [More] ⦿ | |
A graduate from Shillington College in London. Behance link. In 2010, Birks created the free octagonal face Aura. [Google] [More] ⦿ | |
James Butters (aka Deze) lives in Nottingham, UK, and was born in 1970. At Devian Tart, he designed Phat Phont (2001, futuristic, revised here) and GHETTOBROKE(dezedezines)-Grunge (2004). [Google] [More] ⦿ | |
British freelance graphic artist and occasional type designer in London, who published FF Innercity (ransom note face) at Fontfont. In 1997, he published the fun dingbat font LunarTwits at T-26. He graduated from Central St. Martin's School of Art in 1992 with a degree in graphic design. He lectures on typography and design computing at Goldsmiths, University of London. [Google] [MyFonts] [More] ⦿ | |
James Clough |
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Scottish architect, 1862-1940. He was part of the Arts and Crafts movement. Examples of his alphabets include Modern Roman Capitals. [Google] [More] ⦿ | |
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FontStructor who created Doctor Who (2010). Based in the UK. I suspect that this is the same person as thejamjar96. [Google] [More] ⦿ | |
A British immigrant in Canada (1801-1846) who developed the syllabic writing systems for Ojibwa, and then Cree (with initials, syllables and finals making up the alphabet). In 1840, he started the Rossville Mission Press and had to use rather primitive methods of printing. An excerpt from Roderick Cave's The Private Press (1983, R.R. Bowker Co., New York): A Wesleyan Methodist missionary, the Rev. James Evans, had been at work among the Ojibway Indians in Canada since 1822 and had published a Speller and Interpreter in English and Ojibway in New York. Evans, however, like many missionaries, found the roman alphabet less than ideal to represent the sounds of speech in native tongues and eventually (by 1840) perfected a system of 36 syllables he believed would meet all the needs of the Canadian Indian languages. Evans reported that those in his mission at Norway House could read and write it with ease and fluency. At first he copied out his syllabics by hand on pieces of birchbark. These proved so popular that he realized he must resort to printing. But there was a difficulty, quite apart from the lack of type for his syllabary: the Hudsons Bay Company, which controlled all transport, was not in favor of making the Indians literate and refused to bring in a press. Being a man of much determination, Evans built his own primitive press on the model of the fur presses used at the trading posts. He also overcame the problem of providing type, for which he used musket balls and the linings of tea chests melted down. With some coarse paper and with ink contrived of soot and oil, in 1841 Evans printed 100 copies of a 16-page booklet containing the syllabary and some Bible texts and hymns translated into Cree. This effort was enough to overcome the skepticism of the church authorities about the value of his syllabary. They had a regular font of the type cut in England, and the Hudsons Bay Company withdrew its opposition. With the new type and a small handpress shipped in via Hudsons Bay, Evans and his successors at the mission continued work under rather easier circumstances. Image of his syllabery. [Google] [More] ⦿ | |
Graphic design student at South Essex College who lives in Southend-on-Sea, United Kingdom. Creator of an experimental typeface in 2011. [Google] [More] ⦿ | |
Typographer and graphic designer in Newcastle upon Tyne, UK. He created Barcelona Octagon (2010), a name that everyone who has visited Barcelona will understand. In 2011, he added the experimental faces Interlaced and Eixample. Airship 27 (2011, Lost Type) is a tall condensed industrial sans face. Behance link. [Google] [More] ⦿ | |
James Goggin founded graphic design studio Practise in 1999 after graduating from London's Royal College of Art. In August 2010, Goggin moved to Chicago where he is now Design Director at the Museum of Contemporary Art Chicago. Previously he was based in Arnhem, the Netherlands, working as course director and teacher at Werkplaats Typografie and visiting lecturer at ECAL (Ecole cantonale d’art de Lausanne). Aka Jacques Gauguin and "Practise", he has worked in London, Auckland and Sri Lanka. In 2001, he made the 3-weight CourierSans at lineto. [Google] [More] ⦿ | |
James Green | Leeds-based illustrator and designer, who made Bionique, StickyTape and Transistor at Fontmonster (now obsolete). [Google] [More] ⦿ |
London-based designer of various modular typefaces in 2012. [Google] [More] ⦿ | |
Williamson runs the multi-disciplinary design consultancy bureau W Studio in the UK. At FontStruct, he created the textured face Progress (2009), and the ultra-fat Move (2009). [Google] [More] ⦿ | |
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UK-based FontStructor (student at UWE) who made the horizontally striped texture face 200MillionThousand (2010). [Google] [More] ⦿ | |
From 1958 until 1999, Mosley was librarian of St Bride Printing Library, London. He is Visiting Professor in the Department of Typography and Graphic Communication at the University of Reading, UK, 1964-present. He was a founding member of the Printing Historical Society and the first editor of its Journal. He is currently a faculty member in the Rare Book School, University of Virginia, Charlottesville, and in the Ecole de l'Institut d'histoire du livre, Lyon. He is a Senior Research Fellow in the Institute of English Studies, University of London. A specialist of type history from 1400 until today, he has written many articles, including "Les caractères de l'Imprimerie Royale" in "Le romain du roi: la typographie au service de l'état, 1702-2002" (2002, Lyon: Musée de l'Imprimerie). Among his recent writings are studies of the Italian 16th-century calligrapher Giovan Francesco Cresci, the origins in England of the modern sans serif letter, and notes to a facsimile edition of the Manuel typographique (17646) of Fournier le jeune. Speaker at ATypI 2007 in Brighton. He has a blog. At ATypI 2010 in Dublin, he spoke about the types of the Proclamation of the Irish Republic. Pic. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in London, b. 1986. Behance link. He created the modular typeface Square Peg (2011). [Google] [More] ⦿ | |
But more than his typefaces, I like the sarcasm and humour in his designs. For example, he created a hilarious set of postage stamps in 2012 commemorating Charles Darwin and writes: I created these stamps for the RSA competition based on the theme of British Firsts. The idea behind these was that Charles Darwin was the first to theorise Evolution. I used the well known image of the stages of evolution and created my own characters and set them in front of 10 downing street to make them look more British. This was also a joke about how everyone who has lived in 10 Downing Street are all monkeys and are taking orders from a higher authority. [Google] [More] ⦿ | |
Cheltenham, UK-based designer of Transeb (2012, a Cyrillic typeface). [Google] [More] ⦿ | |
Creator of a well-designed typographic poster for the BA Costume with Performance Design at The Arts University College at Bournemouth, UK. [Google] [More] ⦿ | |
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Graphic Communication student at The University for the Creative Arts in Farnham, UK. Behance link. In 2011, he created Modular. [Google] [More] ⦿ | |
Telford, UK-based digital artist. Designer of some great type posters in 2008. [Google] [More] ⦿ | |
UK-based designer (b. 1987) of the children's handwriting font Armins Frozen Peas (2012). [Google] [More] ⦿ | |
Graphic designer in the UK who is studying at Falmouth. Behance link. He created Rowsky (2012). [Google] [More] ⦿ | |
Jamie Dean (Disastergraphics) is the British youngster (b. 1992) who designed the futuristic typeface Cyborn (2008). Alternate URL. [Google] [More] ⦿ | |
British designer of the alphading face Zoological (2008). He is a London-based graphic designer and a graduate of Central Saint Martins College of Art and Design (2008). [Google] [More] ⦿ | |
Graphic design student in the UK who created Two Toned (2012). [Google] [More] ⦿ | |
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Indonesian designer in London who used Indonesian symbology in the creation of his thin display typeface Voyage (2012). [Google] [More] ⦿ | |
Illustrator and type designer in Manchester, UK, who is studying at the University of Salford. Creator of an unnamed ultra-fat display typeface in 2012. [Google] [More] ⦿ | |
London-based graphic designer. Behance link. He made the techno faces Construct (2010) and Pacman (2010). [Google] [More] ⦿ | |
Jason Polan (Manchester Press, UK), aka Fritz at iFontmaker, created the handprinted inline face Fritz Roman Nova (2011). He also used iFontMaker to create Fritz Roman (2011) and Special K (2011, outlined face). [Google] [More] ⦿ | |
UK-based FontStructor and student at Bristol UWE who made the alphading face Military Precision Order (2010). [Google] [More] ⦿ | |
Influential French master penman, 1538-1620. Jean de Beauchesne and John Baildon published the first writing manual in England: A Booke containing divers sortes of hands, as well the English as French secrataries with th italian, roman, chancelry&court hands (1570-1571, London: Thomas Vautrollier). In 1580, he published Le Tresor d'escriture, auquel est contenu tout ce qui est requis&necessaire à tous amateurs dudict art. His third book was La Clef de l'escriture laquelle ouvre le chemin à la jeunesse, pour bien apprendre à excrire la vraye lettre françoyse&italique (1595, London: G. Boulengier). He also published Specimens manuscrits anglais dédiés à Mme Elizabeth fille unique du roi de Grande Bretaigne (1610, England). Sample of his batarde angloise (1570). Digital typefaces based on his examples include Piacevole (2008, Marc H. Smith). [Google] [More] ⦿ | |
UK-based type designer, originally from Mauritius. He created Kub AF (2002, an experimental 3d face) at ACME. [Google] [MyFonts] [More] ⦿ | |
The web site is now located at a charity, Shipbrook Hill Farm in Cheshire, UK. In the 1990s, it had a remarkable high-quality pair of freeware fonts, JSL-Ancient and JSL-AncientItalic. From Jeff's web page at the time: My most ambitious typographical achievement so far has been to re-create an antique roman/italic typeface pair, complete with ligatures and obsolete characters. Basing the fonts on nearly identical typefaces used by two English printers in the mid-to-late 1600s (Edward Jones and J. Redmayne), I strove to create as faithful a reproduction as I could manage. Using standard typeface classification terminology, it is a transitional or Baroque Oldstyle font. He also made JSL-Blackletter, Alien Nations, The Tenctonese Alphabet (a sci-fi face), and Tenctonese Sinescript. | |
With Simon Wicker, the British designer Jenny Luigs drew Facsimile LL in 1994, a pixel face available from Linotype. FontShop link. [Google] [MyFonts] [More] ⦿ | |
British designer who lives in London. Behance link. Creator of a monoline sans face (2010). Images: i, ii, iii, iv. [Google] [More] ⦿ | |
Jeremy Tankard Typography
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In many of his faces, Jeremy mixes upper and lower case letters for more impact. Custom designs of his include Epsilon (a very bold face, supposedly designed for the Düsseldorf branch of Frogdesign) and Harmony (for Telstra in Australia). In 2005, he designed Kingfisher, a transitional petit-Bodonesque serif family. In 2006, Tankard cooperated with Arjowiggins and design agency Blast on a font called Arjowiggins AW Inuit that was commissioned by ArjoWiggins for the launch of the Inuit paper: it is a unicase Latin font inspired by Inuit letterforms. See also at MyFonts. The typophiles are quite upset at this sort of typeface though. In 2009, he published an extenseive family, trilogy, which consists of Trilogy Sans Compressed, Trilogy Sans Condensed, Trilogy Sans Normal, Trilogy Sans Wide, Trilogy Sans Expanded, Trilogy Egyptian Normal, Trilogy Egyptian Wide, Trilogy Egyptian Expanded, and Trilogy Fatface. In 2012, he published the 14-style ink-trapped Fenland family of sans typefaces. FontWorks write-up. Fontfont write-up. Alternate URL. Interview by Planète Typographie. Interview by Brendan Staunton. FontShop link. [Google] [MyFonts] [More] ⦿ |
Artist from Sheffield, UK, b. 1978. Creator of the dot matrix font DIGIBLOX (2006). [Google] [More] ⦿ | |
British designer of Knuckles (2004), a typeface that used to be free. [Google] [More] ⦿ | |
Jess | Creator of the handprinted typefaces Jessica Lauren and Jessica Lauren Bold (2012, iFontMaker). [Google] [More] ⦿ |
Graphic art student at the University Of Salford. Liverpool-based designer of some all caps alphabets called Doodling (2012). [Google] [More] ⦿ | |
Student in Singapore who created Contemposcript (2012). [Google] [More] ⦿ | |
Jesson Yip's typographic clock
| Jesson is a London based freelance digital designer specialising in web, interaction and visualisation. Latest clients include the Green Party, Pure Productions and Sainsbury Center for Mental Health. Formerly a senior designer at Lateral, working with clients such as Amnesty, Five, Levi's, Lexus, Nintendo and RSPCA. His clock is wonderful. [Google] [More] ⦿ |
Jester Font Studio
| UK-based Jessica Slater's fonts at Jester Font Studio include JF Ringmaster (2001, Western ornamental caps), Flamingo (a scan of 19th century birds in forms of letters), JF Ringmas, Cotsworld, FairFaces, JFAutumnFair, JFFerrule, JFHollyBows, JFHollyDayz, JFHollyNites, JFIvyLaceAlt, JFIvyLace, JFJungleRock, JFRockOutcrop, JFRockSolid, JFSnowbiz, JFSpringFair, JFSummerFair, JFWinterFair, JFWildWood, Flamingo, Diabolique (2001), Night Vigil (2001), McKloud, Clouds of Despair, Clouds of Hope. Enlargements of these delicately constructed fonts reveal magical things---for example, in Jungle Rock, spiders, ants and parrots will appear in the letters. The glyphs are veritable pieces of art! She designed McKloud (2001, with Apostrophe), Wiggles (dropcaps with snakes), Wibbles and Wobbles (2001) at Apostrophic Labs. Dafont link. Fontspace link. [Google] [More] ⦿ |
Jez McKean | |
Malaysian woman who lives in the UK and who has made the pixelish face Puzzle (2010). [Google] [More] ⦿ | |
Designer in the UK, who created a Bicycle alphabet (2010). She graduated from The University of Lincoln, England, with a BA Hons in Graphic Design&Illustration in 2007. [Google] [More] ⦿ | |
Designer of a playing card font at Hat-Trick Design in London. [Google] [More] ⦿ | |
Art director in Sheffield, UK, who made the modular geometric typeface families Cheezy No (2012), Blue Stilton (2012), and Ground Rush (2012). Home page. [Google] [More] ⦿ | |
Graduate of the University of Reading in 2011. Before that, Joana worked as an architect and graphic designer in Portugal. She currently lives in the UK. Behance link. Creator of the script face Violet (2011). Artigo (2011) is an angular type family for Latin, Hindi and Greek that was created during her studies at Reading. Artigo won Second Prize for Greek typefaces at Granshan 2011. In 2012, she published the didone text face Cantata One at Google Web Fonts. [Google] [More] ⦿ | |
London-based designer of Mechanic Type (2011, based on nuts and bolts). [Google] [More] ⦿ | |
Located in York, UK, Joanne is interested in children's reading and writing. Creator of two fonts in 2008: Qongosushi has a kind of raw but chunky feel and might look goor on Menu or Magazine heading pages, whereas Qyrillic would be for Chapter Headings in children's or fantasy stories. [Google] [More] ⦿ | |
British type designer, born in 1917. Designed TransportD (1963) with Margaret Calvert, in a project for the British Government started in 1957. Two fonts were made, Transport Medium and Transport Heavy. The Akzidenz-Grotesk-inspired typeface is used in countries around the world, such as the crown dependencies, British overseas territories and in Commonwealth states or former nations of the British Empire. The typeface is also used in Hong Kong, Ireland, Iceland, Italy, Greece and Spain. Rail Alphabet (1965) was also designed by both, this time as a rebranding face for British Rail. The font can still be seen in station signage. Wikipedia states that Rail Alphabet is similar, but not identical, to a bold weight of Helvetica. Andrea Bergamini, who is involved in Italian road signage type, writes: The story is a bit complicated and confused. The road and highway signage is based on relatively international standards, that also involve the fonts to be used. From the beginning of the '60s Italy used the font designed (from 1957 to 1967) specifically for street signs in the UK. The designers of the sign layouts and the of the font in use are Jock Kinneir and Margaret Calvert, and the font is Transport (URW, 1980). The laws on Italian signage (quite depressing) are on any complete edition of the Italian “Codice della Strada” -Manual of road laws and rules, that has specimens of all the alphabets to be used. Some engineers from the Public Works Department, one of which maybe was called Cecilia, worked on it. The system designed by Kinneir and implemented in 1963 is an example of stylistic durability. In an article called “Roadside traffic sign” (originally published on the British magazine Design No. 178, 1963) Anthony Froshaug proved that there was no reason for an improvement of that signage system. The Italian license plates are designed by the IPZS, the Istituto Poligrafico. In Spring 2003 the Triennale in Milano hosted a very interesting show called “Asfalto, the character of the city”. In my research, I found that Traffic Type Spain D (from an unknown designer), as it appears here is a lot closer in look to what appears on the Italian highways than Kinneir's Transport, (1957-67), even in its Heavy variant. My opinion is that the font that is being used took its shape from Kinneir's original design (the similarity with it is out of doubt), but was redrawn and applied without consideration of what were the lighting and optical problems concerned. [Google] [MyFonts] [More] ⦿ | |
North-London based creator (b. 1994) of the comic book fonts ComickBookCaps (2009) and ComickBookSimple (2009). Home page. Fontsy link. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the grungy Times Roman lookalike, Derelict Growth (2010). [Google] [More] ⦿ | |
Student who created Carbon (2012, a display typeface). [Google] [More] ⦿ | |
Student at Academy of the Canyons near LA, 2007-2011. Maven Pro (2010, a sans characterized by constant curvature and vertical cuts) was created by American graphic designer Joe Prince, courtesy of Vissol Ltd.. It is an extensive free typeface, and in fact, it is more than free: visitors can request that a new glyph be added. Page at ADMIX designs. Vissol is a British web design company. Typefaces made in 2011: Valencia (condensed art deco family in five weights; free at Lost Type), Varela (a sans serif face), Questrial (influenced by Helvetica), Geostar (a blackboard bold face), Geostar Fill, Handlee (free Google Web Font), Squada One (2011, Google Web Fonts: squarish Impact-like family), Bemio (2012, Lost Type: an ultra bold sans). Google Font Directory link. Additional Google link. Klingspor link. Devian Tart link. [Google] [More] ⦿ | |
Joe Scerri Design
| Joe A. Scerri is a British born Maltese-Australian graphic designer based in Zürich Switzerland. Since graduating with a diploma from Central Metrolpolitan College of Visual Art in Perth Western Australia in 1990, he has worked in publishing, multimedia, advertising and design, both in Sydney and in Basel. For the Spanish magazine Neo2, Joe Scerri created the free experimental dotted line face Kassette (2006). In 2005, he made the experimental face Faena (no download). [Google] [More] ⦿ |
Joe Simpson (UK) created This Is My Handwriting (2009, Fontcapture font). [Google] [More] ⦿ | |
Cheltenham, UK-based graphic designer and illustrator. Creator of Untitled (2010, a circular arc face) and Era (2010, counterless and geometric). [Google] [More] ⦿ | |
Joel Shane | Canadian typography student in Reading (UK), who was working on a condensed serif text family for low quality printing. [Google] [More] ⦿ |
Scottish type founder from Edinburgh who was active during the second half of the 17th century. He started out in St. Andrews in 1742 in partnership with Alexander Wilson when thwey co-founded the Wilson Foundry there, but moved in 1744 to Glasgow and in 1749 to London (when his partnership with Wilson ended) and in 1768 to Edinburgh. In 1787, he published "A Specimen of Printing Types, By John Baine&Grandson in Co", and emigrated to Philadelphia, where he set up a foundry. The elder Baine died in 1790, and his grandson continued until 1799, when he sold the equipment to Binny&Ronaldson for $300. [Google] [More] ⦿ | |
In modern times, we find the 1978 rendering of ITC New Baskerville by Matthew Carter and John Quaranda. Linotype offers 38 Baskerville faces. URW Baskerville has 51 styles. Biography by Nicholas Fabian. Graphion's site. CV in Spanish. Wikipedia. In 2009, the Baskerville Project was conceived, an animated movie with David Osbaldestin as its Creative Director, and Caroline Archer and Ben Waddington as researchers. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
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Student at UWE in Bristol, UK. Fontstructor who made the shadow face Khaos Two Point Oh (2011). [Google] [More] ⦿ | |
After graduating from Manchester Polytechnic in 1990, Critchley joined Neville Brody's "Research Studios". He was recently appointed Art Director of MTV Networks Europe. He used to design fonts such as FF Bokka, FF Bull and FF Child's Play (1993). In FUSE 12, he made Populist (Control, Exclaim, Noise, Shout), and Ollie (Guilty, Not Guilty, The Evidence). In FUSE 10, he published Mutoid (limbs). [Google] [MyFonts] [More] ⦿ | |
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British typefounder, 1625-1686. The Dutch Type Library created the typeface DTL Fell. Stanley Morison wrote a book about Fell in 1951: The Roman, Italic&Black Letter bequethed to the University of Oxford by Dr. John Fell (Oxford). DTL Fell is based on proofs from 1695 in a text entitled A specimen of the several sorts of letter given to the university by Dr. John Fell sometime Lord Bishop of Oxford (1693---this is the first English Type Specimen Book). Morison claims that the English Roman may possibly have been cut by Christoffel van Dijck. Other digitizations include the Fell Types by Igino Marini. The Fell type collection was a gift made to Oxford University by a bishop of Oxford, Dr. John Fell, in the late seventeenth century. He bought punches and matrices in Holland and Germany in 1670 and 1672 and entrusted his personal punchcutter, Peter de Walpergen, with the cut of the larger bodies. Bibliography compiled by Igino Marini, who revived some Fell types in 2004:
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Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom, designer Tiresias (2001), a screen/TV font family at Bitstream. [Google] [MyFonts] [More] ⦿ | |
John Green (Wolverhampton, UK) made Boxit (2010). [Google] [More] ⦿ | |
Born in London in 1918, died in London in December 2002. Assistant University Printer, Cambridge University Press 1949-56 Cofounder of ATypI with Charles Peignot in 1957. He was the typographic advisor to The Monotype Corporation (now Agfa Monotype) from 1955-1982, having taken over from Stanley Morison. President, Association Typographique Internationale 1968-1973. Sandars Reader in Bibliography, Cambridge University 1979-1980. He was a great writer about typographic matters. Author of Aspects of French Eighteenth Century Typography (The Roxburghe Club, Cambdridge, 1982). Obituary and biography by Nicolas Barker. Winner of the Gutenberg Prize in 1996. Reflections on his life by various typographers. [Google] [MyFonts] [More] ⦿ | |
John H. Bowman | Programme Director for Library and Information Studies at University College, London. At the meeting in Thessaloniki in June 2002, he spoke about The fine printing of Greek in Britain and its types. Author of Greek printing types in Britain, from the late eighteenth to the early twentieth century (Thessaloniki : Typophilia, 1998). That book is based on the author's thesis completed in 1988 for the Department of Typography and Graphic Communication at the University of Reading, England. [Google] [More] ⦿ |
British graphic artist who designed Mastercard (ITC, 1984). [Google] [MyFonts] [More] ⦿ | |
British type designer (b. London, 1875, d. London, 1951) who created Imprint (Monotype, 1913) together with Gerard Meynell, F. Ernest Jackson and Edward Johnston. This family, which includes Imprint Shadow, has a large x-height and is related to Caslon. Imprint was copied by Bitstream, who called it Dutch 766. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Artist and graphic designer affiliated with the Linotype Library. Runs John Jones Art&Design in St. Albans, UK. He designed Taut at Linotype in 2001. Jones writes: The original typeface idea was outline with diagonal stripes at 45o through the characters and was to be called "Candy". This was in 1971. The font "Taut" which is based on "Candy" was started in summer 1995 and four versions of the font were submitted to Linotype in February 1996 and included a striped version. As with "Albertus" the font has only caps and is essentially minimalist. Taut was originally named "Mies" after the great architect Mies van der Rohe, whose designs inspired the geometric simplicity of the font. "Mies" has an unfortunate meaning in the German language and so "Taut" was chosen as the final name for the font, after the Bauhaus architect Bruno Taut. In Taut, I have attempted to marry this geometry and a 30s personality with the stylish graphic adventures of the 90s. [Google] [MyFonts] [More] ⦿ | |
John Langham | Designer of Johndvl, a sans serif font. From Bristol, UK. [Google] [More] ⦿ |
British designer of LANTERN_UNI_NO_CODE/BAFO (2007), Saqua Pixels (2007) and Macromedia and Dingbats (2007). Download these here. [Google] [More] ⦿ | |
British type designer, b. 1931. He co-founded the London design agency Banks&Miles in 1958 with British designer Colin Banks. [Google] [MyFonts] [More] ⦿ | |
British type designer, b. 1917 Hilton, d. 1989 Hilton. Designer of Angelus (Monotype, 1954, a 4 1/2 point type face for Bible composition), Traveller (1964), Castellar (an open caps face, Monotype, 1954? or 1957), Fleet Titling (1967, Monotype Series 632), and ITC Peter's Miro (a scratchy kid's handwriting, sold by ITC and Linotype). [Google] [MyFonts] [More] ⦿ | |
John Powner | Creator of the custom typeface Sheffield, which won an award at the Creative Review Type Competition 2005. He is with Atelier Works in the UK. [Google] [More] ⦿ |
John Romero IV is the British designer of the handwriting font Roddy (2002, based on the handwriting of Elizabeth Garber). Home page. [Google] [More] ⦿ | |
Prolific British author (b. 1917), who published, e.g., A suite of fleurons : or a preliminary enquiry into the history&combinable natures of certain printers' flowers (London : Phoenix House, 1956). Pictures, including cover page. This site has a font, Fleurons-A (based on A Suite of Fleurons by John Ryder, developed by S. G. Moye v1.6 July 14, 1991). [Google] [More] ⦿ | |
Londoner designing at FontFont. He made FF Boomshanker (1995, grunge). [Google] [MyFonts] [More] ⦿ | |
British recreator of the Saw movie font (grunge, ransom) s'AWesome (2007). [Google] [More] ⦿ | |
British designer of the free counterless geometric face Blokked (2010). Home page. Aka Rapscallion. [Google] [More] ⦿ | |
Artist, b. Newcastle-upon-Tyne, 1833, d. 1928. John Ward, a printer in Belfast, employed John Vinycomb as the company's artistic director. Vinycomb organized drawing classes at the art studios of Marcus Ward&Sons after normal working hours. These classes were held under the company's auspices and were open to all for the price of a penny a session. Vinycomb was an internationally acknowledged expert in heraldry who was regularly consulted by the British and European royalty and aristocracy. Author of a number of art books such as Fictitious and symbolic creatures in art (Chapman and Hall, 1906) and Fictitious and Symbolic Creatures in Art (1909). He also drew a number of alphabets, such as Italian 14th Century Capitals, Modern Roman french Style, Modern Roman Italics OldStyle, and Modern Sans. The last alphabet was also called a "skeleton" at the time---all letters are of equal stroke width. Photo in 1910. [Google] [More] ⦿ | |
Johnny Isaacs (Oh Momma, UK) created the didone caps face Red (2011, work still in progress). [Google] [More] ⦿ | |
Located in Portsmouth, UK, Jon Baines is a web designer and advertising person. He created a super-fat font called Square in 2009. [Google] [More] ⦿ | |
Jon Cameron is from Bristol, UK. He created the themed alphabet DIY Tools (2011). [Google] [More] ⦿ | |
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UK-based designer of the stylized sans display face Mis-ShapeTessellate (2007). [Google] [More] ⦿ | |
Designer at Tealeaf Digital Type Foundry in the UK. Home page. [Google] [More] ⦿ | |
Graduate of the University of Leeds, UK. He created the modular typeface Brug (2012). [Google] [More] ⦿ | |
Graphic design student at Leeds Metropolitan University, UK. Creator of Metria (2012, an experimental prismatic typeface), Rainbow (2012, another prismatic typeface), and Erinnerung (2012, a solemn blackletter typeface). I especially appreciate the anti-coke poster in his portfolio, which reads: For nine years the 450 workers at the Coca-Cola bottling plant in Guatemala City fought a battle for their jobs, their trade union and their lives. Three times they occupied the plant---on the last occasion for 13 months. Three General Secretaries of their union were murdered and five other workers killed. To celebrate the Olympics in London in 2012, he created a typeface based on the Olympic rings, using a circular grid system. The typeface is called Olympia (2012). [Google] [More] ⦿ | |
London-based designer at Lineto. He created the neat typewriter family Superstudio (2003), a clean digital version of the IBM Selectrix "12 Dual Gothic". At Lineto, he designed the artsy poster font Bart. [Google] [More] ⦿ | |
Jonathan Kew | Software engineer at Mozilla in Thame, Oxfordshire, UK. Among other things, he is involved in the development and research on web font technologies, and is part of the Mozilla team that proposed WOFF as a web font format in 2009. [Google] [More] ⦿ |
FontFont designer of the stencil font FF Snafu (2002). Born in Sheffield, UK, Hitchen is a full time lecturer in Graphic Design and Multimedia at Liverpool School of Art&Design since 1995. There is a stencil font that is floating around on the web under the name FuckingGoodStencil APlainCaps that has his name in the copyright line (1995). It was posted on alt.binaries.fonts on January 17, 2003. The font is shown in Nathan Gale's book. [Google] [More] ⦿ | |
Jonathan Pinhorn | Birmingham, UK-based design and typography student. Creator of Italic Antique Clarendon (2007), a face based on old wood types. [Google] [More] ⦿ |
British designer of Vox Humana containing reed organ glyphs created by Jonathan Reed. [Google] [More] ⦿ | |
Birmingham, UK-based designer. Creator of the counterless geometric face Supa Round (2011). [Google] [More] ⦿ | |
In 2012, he published the free sans serif typeface Karla at Google Web Fonts. [Google] [More] ⦿ | |
York, UK-based designer (b. 1987) of JonoStyle (2005, handwriting face). [Google] [More] ⦿ | |
British designer of Cimex Bold (2005, a geometric sans), Lingwood (2003, a slab serif), Boxybit (2005, a display bitmap face), Bayopic (2005, another display bitmap face), the De Stijl faces Doesburg and Doesburg Fat, and the futuristic sans Nivelo (2004). Jordan used to live in Cheshire. He now resides in Islington, London. [Google] [More] ⦿ | |
Graphic designer in Plymouth, UK. Dafont link. Creator of JI Amalgam (2012), a typeface inspired by architectural wonder, falling water, and its environmentally integrative properties. [Google] [More] ⦿ | |
Leicester, UK-based graphic designer who made the grotesque family Axis Pro (2010). [Google] [More] ⦿ | |
Jorge (b. 1971) served as a letterpress typography apprentice at a composing and printing workshop in Cais do Sodré in Portugal. Designer of Via Estreita (for the National Railway Museum), Simplissima Beira (for the Covilha newspaper) and Tintinolho (for the Guarda town hall). From 1997-2003, he ran Jorge dos Reis Studio. From 1999-2003, he was Lecturer at the Faculdade de Belas-Artes Universidade de Lisboa. Since 2003, he is a research student at the Royal College of Art, UK. Bio. [Google] [More] ⦿ | |
Jose Miguel Méndez is a Spanish graphic designer and illustrator living and working in London. He created some poster typefaces in 2012. [Google] [More] ⦿ | |
Joseph Allison Graphic Design
| Joe Allison (Joseph Allison Graphic Design) is a UK-based FontStructor (student at Bristol UWE) who created Rebuild Metal, Newbuild Featherlight, Skylight, Newbuild, Picaresque, Newbuild Reflecto, Convention (a great experimental face), Newbuild Demi, Newbuild Bold, Newbuild Modular (octagonal), Familiar Face Inkjet, Familiar Face Grey (texture face) and The New Alphabet (a Wim Crouwel face) in 2008 and 2009. In 2010, he made Global Village (an organic grotesk). His blog. [Google] [More] ⦿ |
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Born in Birmingham, 1728-1787, Fry was a punchcutter. He became a typefounder in 1764 when he set up the Fry Letter Foundry in Bristol together with William Pine, a printer. He designed Fry's Baskerville (1768) and Old Face Open (Fry's Shaded) (1788). [Google] [MyFonts] [More] ⦿ | |
British punchcutter who apprenticed with William Caslon I in London. He started his own foundry in 1763. His typefaces include an Anglo-Saxon type for an edition of the Domesday Book. Vincent Figgins apprenticed for Jackson from 1782. On his death in 1792 the business was purchased by William Caslon III. [Google] [MyFonts] [More] ⦿ | |
British typefounder, 1627-1691. Well known for his book, "Mechanick Exercises or the Doctrine of the handy-works Applied to the Art of Printing" (London. Printed for Joseph Moxon on the Westside of Fleet-dtch, at the Sign of Atlas, 1683). This book was reedited by Herbert Davis and Harry Carter, London, Oxford University Press, 1958. He also published "Moxon's Exercises or the whole Art of Printing, 1683-1684", which was reissued in 1978 by Herbert Davis and Harry Carter (Dover, NY). Moxon manufactured an angular Gaelic typeface, Moxon (ca. 1680) based on the Louvain type. This was necessary as the Queen Elizabeth type matrices, used for catechisms and other religious material, had disappeared. [Google] [More] ⦿ | |
Graphic designer in Cambridge, UK. He drew several typefaces in 2010. [Google] [More] ⦿ | |
Smith lives in Sheffield, UK, and was born in 1992. He designed the grungy Mindless Self Indulgence (2008). [Google] [More] ⦿ | |
British author who died in 1962. [Google] [MyFonts] [More] ⦿ | |
Josh Caddick (Surrey, UK) created the modular geometric face MyFirstFont (2011). [Google] [More] ⦿ | |
Student at The University of Western England (UWE) in Bristol who made Joint (2008, FontStruct). [Google] [More] ⦿ | |
Hull, UK-based creator of the futuristic ornamental caps typeface Antevorta (2012). [Google] [More] ⦿ | |
British musician in London. He created the ultra-fat face Bozu (2010). Home page. [Google] [More] ⦿ | |
Designer who will forever be known as the designer of the typographic poster Suck Me (2011). Student at Southampton Solent University, UK. Home page. [Google] [More] ⦿ | |
British graphic designer. In 2010, he created the titling face ULTRA. [Google] [More] ⦿ | |
Graphic designer in London who created the 3d typeface called Barbican's Futuras (2012). [Google] [More] ⦿ | |
Joe is the British creator of the free font Krips2 (2008), which was made primarily for teachers who are using the 'Cripps' scheme to teach spelling and handwriting in British schools but glyphs have been added which will cover other languages. [Google] [More] ⦿ | |
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Julia
| Julia is Valerio Di Lucente (Italy), Erwan Lhuissier (France) and Hugo Timm (Brazil), who met at the Royal College of Art in London, founding the studio Julia in 2008 upon graduation. Julia works on books, typefaces, exhibition design, posters, websites, identities and tablet applications. Typefaces created by them include
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UK-based designer of Pixel Siggy (2008), a pixel font. [Google] [More] ⦿ | |
Graphic designer based in Swindon, Wiltshire, UK, b. 1986. Dafont link. Behance link. For the music band Sailors, she created the paper cut poster face Sailors EP (2011). [Google] [More] ⦿ | |
Just Another Foundry
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At ATypI 2008 in St. Petersburg, he spoke about Font Remix Tools and on Optical Sizes. In 2010, he started a web font service. In 2011, I found his name listed as an employee of the web font service Typekit. Abstract Fonts link. MyFonts page. FontShop link. Linotype page. Home page. Klingspor link. [Google] [MyFonts] [More] ⦿ |
London-based graphic and web designer, who created the outline face Limitations Digitized (2010) and Allen Key (2010, rough handprinting). Type anatomy poster. [Google] [More] ⦿ | |
British designer (b. 1991) of the wall brush slab serif Mexican Knappett (2009) and of Pablo Narrow (2011, futuristic, oblique). Blog. [Google] [More] ⦿ | |
Foundry in the UK. Creators of the modular or gridded typefaces K&T Heidi (2009, an almost stencil face inspired by the pennant numbers on British Royal Navy warships), K&T Martine (2009, octagonal) and K&T Sasha (2009, tile face). [Google] [MyFonts] [More] ⦿ | |
Kapitza
| Kapitza ir run by the Oberndorf, Germany-born Kapitza sisters, Nicole and Petra. They relocated to London to study graphic design at Camberwell College of the Arts. They established Kapitza in 2003 in London, where they create imaginative dingbat fonts. Their typefaces: Wave (2012), Pod (2012), Tape (2012), Orbit (2011, circular scribbles), Dainty (2011), We Love mature Autumn Leaves (2011), We Love Nature Blooms (2010, +Outline), Furry (2010, silhouettes of cats and dogs), We Love Nature Leaves (2010), We Love Nature Bouquet Flowers (2011), We Love Nature Summer Flowers (2011), Roto (2011, kaleidoscopic ornaments), Paris (2010, Paris-themed dingbats T-26), New York (2010, T-26), Dalston (2010), FF Elementary (1995), Moonscape (1995, T-26, grunge font), East End (2005, silhouette fonts consisting of Brick Lane, Liverpool Street and Victoria Park), Blossomy (2005, T-26, flower dingbats), Posy (2009, a flower font inspired by the plant Sison Amomum or Stone Parsley), and LunarOrbiter (1998, T-26, text font), the animal dingbat fonts Furry (2006) and Feathery (2006), Hearts (2007), Pop (2007), Pop Flowers (2007), Architekt (2007), Brick Lane (2005), Victoria Park (2005), Liverpool Street (2005), Painter (2007, a brush face), We Love Nature (2009, flowers), We Love Nature Stems (2010, +Two), We Love Nature Forest (2010), Snow (2009, snow crystals), Manhattan (2009, silhouettes), Cyberkids, Cybergirls and Cyberboys (2007, silhouette faces), Ice Flowers (2009), Geometric (2008, 101 fonts with patterns). Nicole also makes high quality vector graphics such as this beautiful set of snow crystals. Other vector illustrations include leaves, flowers, a herbarium, blooms, stems, heads of people and pop flowers. Myfonts link. FontShop link. Interview by MyFonts in 2010. Klingspor link. Interview in 2010. [Google] [MyFonts] [More] ⦿ |
Derby, UK-based logo and identity studio. Designers of Bodoni Hand (2005). Alternate URL. [Google] [More] ⦿ | |
British type designer who punchcut Chisel (1935, design by Robert Harling), Imperial Script (1905), Long Imperial Script (1906, design by Elisha Pechey), Thorne Shaded (1938) and Plantin (1942, designed and engraved by F. H. Pierpoint from a 16th century model, adapted by Stephenson Blake and cut by Gomer) at Stephenson Blake. [Google] [More] ⦿ | |
Northern Irish creator in 2009 of these display faces: Ice Lolly, Click Fit, Cheese Mouse, Bubblegum, Squarmetric. [Google] [More] ⦿ | |
The high-contrast artsy face Center of Gravity was made by Kate Goodridge in 2009. Kate is based in london, and offers her fonts for free via Dafont. [Google] [More] ⦿ | |
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UK-based designer of a codex-style identity and type style for the Mutton Quad restaurant in 2012. [Google] [More] ⦿ | |
Scottish illustrator who lives in London. She made Flint's Pictorial Alphabet (2011), an all-caps ornamental alphabet that consists of fantastic creatures and pieces of morphine dreams. [Google] [More] ⦿ | |
British youngster (b. 1993) who calls herself Mrs. Rainey. She created fonts like Funky Pirates and Funky Pirate v. 2 in 2007. No downloads. She also made the handwriting font Katy Handwriting (2007). [Google] [More] ⦿ | |
Keith Edkins | Keith from Cambridge, UK, is trying to write his own simple Truetype editor/compiler. [Google] [More] ⦿ |
London-based creator of a piano key custom face for Scout: The Trends Intelligence magazine in 2011. The face is called Scout. [Google] [More] ⦿ | |
Bournemouth, UK-based designer (b. 1981) of the ultra-black almost illegible typeface Suihou (2007). Dafont link. [Google] [More] ⦿ | |
British designer of the handwriting face Hello Earthling (2008). [Google] [More] ⦿ | |
UK-based programmer, b. 1992. He made the handwriting font ThunderPunk (2007). See also here. [Google] [More] ⦿ | |
Kiddiefonts
| Owen Dawson [Kiddiefonts, UK, b. 1970] is the creator of a true children's font, Tallula Selby Willis Aged 4 (2011). Other faces from 2011: Little Miss Cursive, Sharkboy&Lavagirl, Children in Need, Innocent Smoothie (dingbats), Peppa Pig (handprinted), Little Miss (dingbats), Little Miss Cursive, Peppa Pig, Mr. Men (dingbats), Red Nose Day (dingbats), Honkus, Honkus Conkus (white on black alphading face), Comic Relief (scanbats), Kidnap Note, Joshua Dawson aged 4, Storyteller Medium, Ben's Aliens (dingbats), Blush Bear (alphadings). The Royal Wedding (2011) is a scanbat font. Typefaces made in 2012: Save the Honeybee (alphadings), License Plate USA, Registration Plate UK, Sport Relief (dingbats), Rugrats, Only Fools And Horses, Burnt paper, Olympiad XXX, Alcatraz (grunge), Prometheus, Lego Brix, Silent Witness. Fontspace link. Dafont link. Owen Dawson's Dafont link to SpideRaY. [Google] [More] ⦿ |
Huddersfield, UK-based student who created Circuit Boards (2011). [Google] [More] ⦿ | |
King Ink
| UK-based Timothy Donaldson's web site. Calligraphy and type design. FontFont write-up. [Google] [More] ⦿ |
Kingthings
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Kitabat Arabic Calligraphy and Typography Conference was the first major conference dealing solely with Arabic calligraphy and type design. Held from April 5-8, 2006, in Dubai. Speakers included Nabil Safwat (keynote speaker), Ugur Derman (Istanbul, Turkey), Mohamed Zakariya (Virginia, USA), Dr Goeffrey Roper (London, UK), Mamoun Sakkal (Seattle, USA), Johannes Bergerhausen (Germany), Adil Allawi (Diwan, UK), Kamal Mansour (Monotype, USA), Bruno Steinert (Linotype, Germany), Mounir Al-Shaarani (Cairo, Egypt), Huda Smitshuijzen AbiFares (AUD, UAE / Khatt, Holland), Nadine Chahine (Linotype, Germany), Gerard Unger (Bussum, Holland), Tajelssir Hassan (Sharjah, UAE), Reza Abedini (Teheran, Iran), Tarek Atrissi (Utrecht, Holland), Ihsan Hammouri (Jordan/USA), Obeida Sidani (Dubai, UAE), Yasmine Taan (LAU, Lebanon), Aida Sakkal (Seattle, USA), Antonia Carver (Dubai, UAE), Zeina Maasri (AUB, Lebanon), Fawzi Rahal (Dubai, UAE), Nadine Touma (Beirut, Lebanon), Leland Hill (VCU, Qatar), and Petr Van Blokland (Holland). [Google] [More] ⦿ | |
In 2011, he created the fun free display face Odyssey [it became commercial a bit later---see Ten Dollar Fonts]. Sherif 3000 (2012, athletic lettering) is a serif, bold, display typeface inspired by Teddy jackets we can see in old American movies or TV. Brainwash (2012) is a free dripping soap typeface in EPS format. Aequitas (2012) is a constructivist family. [Google] [More] ⦿ | |
Graphic designer in Milton Keynes, UK. He created Hexagon (2011). [Google] [More] ⦿ | |
Krispy Krush
| Marie Antoine (Krispy Krush) is an illustrator and art director in London, b. Gerardmer, France, 1979. Creator of the curvy free font A Taste ofHeaven (2010). Home page. In 2011, she went commercial at MyFonts. [Google] [MyFonts] [More] ⦿ |
Graphic designer in Manchester, UK. She made the experimental face Save Energy (2011) using electrical wires. [Google] [More] ⦿ | |
K-Type
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Commercial faces:
His free fonts are here:
Custom / corporate typefaces: With Liverpool-based art director Liz Harry, Bates created a personalized font, loosely based on Coco Sumner's handwritten capitals, for the band I Blame Coco. Medium and Semibold weights of Gill New Antique were commissioned by LPK Design Agency. Stepping Hill Hospital and Bates created Dials, a pictorial font to help hospital managers input data about improvements. A custom font was designed for Bolton Strategic Economic Partnership. [Google] [MyFonts] [More] ⦿ |
Designer at Tealeaf Digital Type Foundry in the UK. [Google] [More] ⦿ | |
Graphic designer in Brixham, UK, aka Laura Pakora Design. For a University of Plymouth project, she was asked to design letterforms based on Gino Severini's work. She looked into Futurism, Cubism and Pointillism, and created the experimental face Eclectic (2010) by cutting up Helvetica Bold into angular pieces. Petallic (2010) is an experimental face based on the architecture and design of the Guggenheim, Bilbao. [Google] [More] ⦿ | |
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Laura Taylor studies graphic design at Manchester Metropolitan University. She created the condensed typefaces Infomaniac (2010) and Dijitul in 2010. [Google] [More] ⦿ | |
Londoner (b. 1991) who created the young teen handwriting font Lauren W (2007). [Google] [More] ⦿ | |
Norwich, Norfolk, UK-based youngster (b. 1991) who created Scribbz (2006). No downloads. [Google] [More] ⦿ | |
British designer, b. 1975. He created the scratchy wall-writing font No Running in the Halls (2009) and Black Chop (2009). [Google] [More] ⦿ | |
Laurence Penney (born Isleworth, London, 1969, based in Bristol) is a digital type specialist, who has his own blog, and who is involved in the development of MyFonts.com. Type chimerique (the link) has info on TrueType. Also, from that site: "TYPE*chimirique (formerly Kendrick Digital Typography) is a small organization dedicated to digital fontology. In other words, we specialize in everything to do with digital type. We design, hint and customize type to your requirements - avoiding automatic systems whenever there's a suspicion of inferior quality, writing our own tools where existing ones aren't enough. We're particularly into TrueType, and take commissions for writing custom TrueType (and OpenType) editing tools - for glyph outlines and other parts of the font file. We also design, adapt and hint and Type 1 fonts." At ATypI 2004 in Prague, Penney spoke about EULAs. He writes about himself: Laurence is a consultant in font technology and font marketing, based in Bristol, England. At university (computer science) he developed a weird and unusable font production system, proving to himself that over-automation of type design is a Bad Thing. He soon went freelance and divined the black art of TrueType hinting, tweaking fonts for Microsoft, Linotype and indie designers. In 1999 he became part of the initial MyFonts.com team, and helped create the site's unique balance between newbie appeal and an extensive typographic resource. He now develops MyFonts.com's in-house software, contributes editorial content, and co-manages the distributor's contacts with foundries and designers. Laurence also lectures on font technology at typographic conferences and is visiting lecturer at Reading University. [Google] [MyFonts] [More] ⦿ | |
U.K.-based artist (b. 1983) who published some fonts at Devian Tart in 2003 [no downloads], including Deadly Sins. [Google] [More] ⦿ | |
Designer at Lineto of fonts such as Pez, a block letter font (1999). He lives and works in London, after graduating from the Royal College of Art in London in 2000. [Google] [More] ⦿ | |
Swiss-born London-based designer at Lineto of Akkurat (2004), a 3-weight sans family (Leicht, Normal, fett). He also made Circular (2011). [Google] [More] ⦿ | |
Graphic designer in Birmingham, UK, who studied at the Birmingham Institute of Art and Design at BCU (Birmingham City University) in 2008. He created a number of typefaces in 2012 such as Coco, Deco Sans, Lovelle Stencil, and dada paper cutout typeface. Behance link. [Google] [More] ⦿ | |
Digital and graphic designer in Kent, UK. Designer of Schild Binär (2010), an experimental typeface based on binary expansions. [Google] [More] ⦿ | |
Layton Filmset | London-based film type company. They sold and/or used the main typefaces at the time. I do not believe that they ever made original type. Just for history's sake, a few shots from their catalog: Andrich Minerva, Arnholm Medium Sans, Bodoni, Craw Clarendon Condensed, display faces (list), Ehrhardt, Jana, Jana, lightline Gothic, Modern No. 20, Pistilli Roman, text faces (list). [Google] [More] ⦿ |
Bournemouth, UK-based designer. Creator of the sketchbook font Lele's Scribadoo (2010). Facebook page. [Google] [More] ⦿ | |
Manchester, UK-based designer of Pyratrons (2011), an experimental typeface constructed on the basis of triangles. [Google] [More] ⦿ | |
Graphic design student at the University of Cumbria, who created Annette (2011). Behance link. She lives in Carlisle, UK. [Google] [More] ⦿ | |
Student of Graphic & Web Design at DMACC (Des Moines Area Community College). FontStructor who made the UPC barcode-inspired typeface Barcode Boy (2012). [Google] [More] ⦿ | |
London-based [T-26] designer of Paggio (2004), Astro (2004), Devine Town (an Indic simulation font), T-Minus (2003), Jones (2002), Duty (2002), Napier (2003), Doctarine (2002), Pescara (2001) and Fasciani Senza. The grunge family Process was made in 1997. Lee works at Intro in London. At Union Fonts, he published Chube, Dispose, Engage, Headroom (an octagonal almost mechanical font), Quarantine, System02 and Vlad in 2003. At The Type Trust, we find Novacane (futuristic), System02, Dispose and NeoGothic. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Lee Hasler studied at Kent Institute of Art & Design, graduating in 1993 with an honours degree in illustration / graphics. He has designed many fonts since leaving college, of which ENV is his most recent. The patterned letters in ENV (for envelope) are so original that he won the FUSE 2005 competition with them. [Google] [More] ⦿ | |
Designer from the UK who created Heliotype (1991, Letraset), a face that was inspired by Soviet constructivist designs. [Google] [MyFonts] [More] ⦿ | |
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Malaysian student at UWE in Bristol, UK. FontStructor known as Skipper Lee, who made Control Points 001 (2011). [Google] [More] ⦿ | |
British art student. Behance link. Creator of a mechanical alphabet simply called Mechanik (2011). [Google] [More] ⦿ | |
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British designer who created the flat-footed bold slab serif Impakt (Letraset, 1995; sold by ITC). FontShop link. [Google] [MyFonts] [More] ⦿ | |
Formed in 1956, the company started by doing transfer sheet lettering. Since 1964, Colin Brignall has been involved in Letraset as its design director. In the late seventies, they set up TSI, a digital type group, which lasted until 1983. Then, as Esselte Letraset, they produced new fonts, such as the Fontek library of display fonts. Letraset type designers included Martin Wait, Philip Kelly and Friedrich Peter. Esselte went on to acquire ITC, and the font libraries were merged to some extent. Nowadays, the collection is often marketed together with the ITC fonts. Esselte sold ITC to Agfa-Monotype, along with certain rights to Letraset fonts. On June 1, 2001, Esselte sold Letraset to directors Martin Gibbs and Mike Travers who were both former managers within Esselte Letraset. The new company is called Letraset Limited. It intends to continue to develop and market new fonts under the Fontek brand name. Colin Brignall continued to be involved with the new company in a consultant capacity [until his death]. It is presently based in Ashford, UK. MyFonts page, where one can buy over 360 typefaces. In 2009, Ascender started selling the Letraset fonts. Examples of its faces: Optex Letraset (1970), Bergell, Stripes (1973), Letraset Garamond [the scan is of a clone by Infinitype called Garamond Elegant]. [Google] [MyFonts] [More] ⦿ | |
London-based independent design studio. At Dafont, one can download their graffiti font Ding Grafs (2011). [Google] [More] ⦿ | |
Letters&Numbers
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British author of 20th Century Type (Rizzoli, 1992), The End of Print: The Graphic Design of David Carson (with David Carson, Chronicle Books, 1996), G1: New Dimensions in Graphic Design (with Neville Brody, Rizzoli, 1997), 20th Century Type: Remix (Laurence King, 1999), and Edward Fella: Letters on America (Princeton Architectural Press, 2000). Creative director at Getty Images. [Google] [MyFonts] [More] ⦿ | |
Bournemouth, UK-based designer of Ina Segsby (2011, a blackletter pixel face). [Google] [More] ⦿ | |
Birmingham, UK-based designer of the futuristic geometric typeface AngleFont (2012). [Google] [More] ⦿ | |
Lewis Francis, a graphic designer in the UK, created Typeface for Lisa (2012). [Google] [More] ⦿ | |
Liam Hine was born in Wegberg, Germany, in 1989. He lives in Leeds, where he is a graphic designer. He created the experimental faces Belt Up Lad (2011), Blame Tools (2011), Takes The Biscuit (2011). Behance link. [Google] [More] ⦿ | |
Cardiff-based British designer (b. 1989) of the charcoal font UNLtd (2008), and of Lewis Hand (2008). [Google] [More] ⦿ | |
British graphic designer who created the hairline face Airline (2011), which takes its forms from the exterior design of planes. [Google] [More] ⦿ | |
Timothy Guy and Lida Lopes Cardozo are the UK-based designers of Emilida. Cardozo was born in Leiden, The Netherlands, in 1954, and was married to David Kindersley. A well-known letter cutter, she organized David Kindersley's Workshop in 1987. Coauthor with David Kindersley of Letters Slate Cut (Taplinger Pub Co, 1981). After Kindersley's death in 1995, she set up a stonecutting / handwriting / type design site called The Cardozo Kindersley Workshop, to continue what Kindersley started. One of its many activities focused on a revival of Kindersley's MoT Serif (1952) [a design that had been submiited for use on UK signs to the British Ministry of Transport]. She writes: Kindersley Street (aka Kindersley Grand Arcade), our new face based on Kindersley Mot, is being designed, for the Grand Arcade, Cambridge. It will have a newly designed lower-case to fit the original capitals from David Kindersley's drawings which have now properly digitised. [Google] [MyFonts] [More] ⦿ | |
Fontstructor who made Green Eyed Girl (2011). Liddy is a student at UWE in Bristol, UK. [Google] [More] ⦿ | |
Student at UWE Bristol in the UK. FontStructor who made the vertically striped face Walking (2010). [Google] [More] ⦿ | |
UK-based creator of the free fat finger face Cut Sans (2012). [Google] [More] ⦿ | |
Designer from the UK. She codesigned Elisar DT (1996, a humanist sans family) with Malcolm Wooden at DTPTypes Limited. [Google] [MyFonts] [More] ⦿ | |
Born in Germany, Lissy Bonness moved to the UK in 2007 to study design. at the University of Northampton, where she graduated in 2012. Behance link. She used sound signal time plots in her experimental typeface Sonic Typography II (2012). [Google] [More] ⦿ | |
UK-based designer of the artificial language face D9non-humans (2009). [Google] [More] ⦿ | |
Little Fonts
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Inspired by the work of Wim Crouwel, he designed the massive mechanical octagonal super-heavy stencil typeface Mass (2012). Loop and Loopo Stencil (2012) are circle-based stencil typefaces. |
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London-based graphic design student. Creator of a few art deco typefaces in 2011, done for a New York City cocktail bar, and based on Futura. Devian tart link. [Google] [More] ⦿ | |
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Loft is located in London. This design studio created a free EPS-format font, Plugin (2011), that was inspired by USB cables. [Google] [More] ⦿ | |
The London 2012 Olympic Typeface, which is called 2012 Headline, may be even worse than the London 2012 Olympic Logo, but by the time it was released people were so tired of being outraged by the logo that the type almost passed by unnoticed. The Logo was the subject of immediate parody (some detected Lisa Simpson having sex, others a swastika), and even the subject of a health warning--an animated pulsing version was said to have brought on epileptic fits. In the International Herald Tribune, Alice Rawsthorn observed that "it looks increasingly like the graphic equivalent of what we Brits scathingly call--'dad dancing'--namely a middle-aged man who tries so hard to be cool on the dance floor that he fails." Like the logo, the uncool font is based on jaggedness and crudeness, not usually considered attributes where sport is concerned. Or maybe it's an attempt to appear hip and down with the kids--it looks a little like the sort of tagging one might see in 1980s graffiti. It also has a vaguely Greek appearance, or at least the UK interpretation of Greek, the sort of lettering you will find at London kebab shops and restaurants called Dionysus. [Google] [More] ⦿ | |
The aim of this site: London Typographica is aimed at type and lettering enthusiasts in London. Our aim is to photographically record publicly available lettering and type throughout the capital. [Google] [More] ⦿ | |
London-based Lorien Pitsinos runs Floss Creative. She designed Floss (2011, a super-organic face). [Google] [More] ⦿ | |
UK-based designer (b. 1989) of the grunge faces Drunk Loserboi (2006), Loserboi Allstar (2006) and Loserboi Grunge (2006). Alternate URL. [Google] [More] ⦿ | |
London-based designer of the caps face Ode to Eine (2011). [Google] [More] ⦿ | |
Louis John Pouchée | Foundry in London in the 20th century. The book Ornamented types: twenty-three alphabets from the foundry of Louis John Pouchée (1993, London : I. M. Imprimit; in association with the St. Bride Printing Library) has an introduction by James Mosley. [Google] [More] ⦿ |
Student at the University of Creative arts in London, where he designed the experimental (gridded, yet rounded) typeface Handle Break Bar 64 (2011). [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who was inspired by the architecture of the churches in Bristol when she made Edifice (2010). [Google] [More] ⦿ | |
Designer at FontStruct of Road Signs (2008) and Road Signs 2 (2008), based on the road signs used in the UK. His font had to be split up into many sub-fonts because of the limitations in FontStruct. [Google] [More] ⦿ | |
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Fine Arts graduate from the University of Barcelona, who is now at Central Saint Martins College of Art&Design in the UK. She revived a 1931 face by Carlos Winkow, called Elzeviriano Ibarra (2011). Behance link. [Google] [More] ⦿ | |
Senior Italian designer who is based in London. Basik home page. His typefaces include Bass It Up (squarish), Privacy (modular), and Wellvetica (+Bold). [Google] [More] ⦿ | |
British type designer of Linotype Dot (1997). Linotype link. [Google] [MyFonts] [More] ⦿ | |
Ludlow |
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Luis José Vazquez | London-based designer of the beautiful Exocet-style gothic face Poverty (2004). [Google] [More] ⦿ |
Autodidact who currently works with Neville Brody's Research Studios. British designer (b. 1983) of the sans face Book First. In 2006, he created Times Modern, designed for The Times. It was first used on November 20, 2006. Reaction from the typophiles. Sans papier (2007, Umbrella Type, Veer) is a halftone and paper-inspired experimental concoction. Oscilloscope (2007) is a typeface in which the oultlines seem to be electrified---he calls it Filtered licks of electric, programmatic arcs. Crafted code, coded nodes, amphatic wave forming calm storming sparks. Oscilloscope is three juicy bolts of blue-volted love. [Google] [More] ⦿ | |
Hockley, UK-based FontStructor (student at Bristol UWE) who created the grunge faces Overuse and Inferior in 2009. Behance link. In 2011, he created the free modular grid-based luxury item called Watermelon. [Google] [More] ⦿ | |
London-based designer who created a thin sans headline face called Nicholson (2012). [Google] [More] ⦿ | |
Type designer in the making, b. 2001, London. She created the 3d alphabet Picklepie (2008) and the hand-drawn Pigeonpie (2009). Her father Tim Barnes produced the fonts at his Chicken typefoundry. [Google] [MyFonts] [More] ⦿ | |
London, UK-based creator of Alphatube (2009), based on the London subway map. [Google] [More] ⦿ | |
London-based graphic designer and illustrator who did some experimental type design work in 2010. [Google] [More] ⦿ | |
UK-based designer. Home page. Fontspace link. Creator of iukj (2011, handprinted). [Google] [More] ⦿ | |
UK firm which created Hiven, Kirkby, Tippey and Martin Handwriting. [Google] [More] ⦿ | |
Macaroon | UK-based designer of the experimental face Board Poster (2005). [Google] [More] ⦿ |
This is decribed as an advertising book for a XVIth century design studio. It has some elaborate sets of initials. The British Library paid 600,000 pounds for a copy in 2009---hard to believe for something did the Italians did more often and more elegantly. [Google] [More] ⦿ | |
Independent creative consultancy in the UK. Creators of some typefaces in 2011. Typetoken link. [Google] [More] ⦿ | |
Graphic designer in London, who has created some typefaces in 2011. [Google] [More] ⦿ | |
London-based booksellers with a small typography selection, but many books on design. [Google] [More] ⦿ | |
Magnum Software
| Alex Duncan's page. Commercial symbol and sign fonts, including Credit Card, Ele Grading, Hazard / Warning, Packaging, Recycle, SignFont Fire, SignFont Mandatory, SignFont Safety, SignFont Transport, SignFont Warning, Special Access, Tourism 1a, Tourism 1b, Tourism 2a, Tourism 2b, Tourism 3, Tourism 4a, Tourism 4b, Tourism 5a, Tourism 5b, Tourism 6, Tourism 7, Tourism Grades, Tourism Grades II, Transport Heavy, Transport Medium, all made by Alex Duncan. Magnum UK Ltd is based in Tiverton, UK. Magnum also made the Charles Wright 2001 Mandatory, and Charles Wright 2001 Regular fonts after the UK number plate font that came into effect in September 2001. Dafont link. [Google] [More] ⦿ |
Londoner who designed Freddie Frog (1996), Jam Jamie (1996, like painted letters) and Buckshot (1994, grunge) at Garcia fonts. [Google] [More] ⦿ | |
Malcolm Wooden (b. London, 1956) started DTP Types Ltd in 1989 after over 20 years of work at Monotype. In this article, he hawks his OpenType fonts, and explains the advantages of OpenType. [Google] [More] ⦿ | |
MapSymbs.com
| British military man (Major) Tom Mouat designed military dingbat fonts. MapSymbs are NATO APP-6 and the new APP-6a military map marking symbols made up as embeddable TrueType Fonts. Free truetype fonts: CIRILICA---B-H, CIRILICA-SS-B-H, LATINICA---B-H, LATINICA-SS-B-H, Map-Symbol-NATO-EnBde, Map-Symbol-NATO-EnBk, Map-Symbol-NATO-EnBn, Map-Symbol-NATO-EnCoy, Map-Symbol-NATO-EnD&C, Map-Symbol-NATO-EnPl, Map-Symbol-NATO-EnRgt, Map-Symbol-NATO-EnSct, Map-Symbol-NATO-EnSqd, Map-Symbol-NATO-Pl, Map-Symbol-NATO-Section, Map-Symbol-NATO-Squad, Map-Symbols-NATO-Army, Map-Symbols-NATO-ArmyGp, Map-Symbols-NATO-Bde&Regt, Map-Symbols-NATO-Bde, Map-Symbols-NATO-Blank, Map-Symbols-NATO-Bn, Map-Symbols-NATO-Corps, Map-Symbols-NATO-Coy, Map-Symbols-NATO-Div&Co, Map-Symbols-NATO-Div, Map-Symbols-NATO-Eqpt, Map-Symbols-NATO-Misc, Map-Symbols-NATO-Misc4716, Map-Symbols-NATO-Pl, Map-Symbols-NATO-Regt, Map-Symbols-NATO-Sect, Map-Symbols-NATO-Squad, MapSym-EN-Air-APP6a, MapSym-EN-Land-APP6a, MapSym-EN-Sea-APP6a, MapSym-FR-Air-APP6a, MapSym-FR-Land-APP6a, MapSym-FR-Sea-APP6a, MapSym-NK-Air-APP6a, MapSym-NK-Land-APP6a, MapSym-NK-Sea-APP6a, MapSym-NU-Air-APP6a, MapSym-NU-Land-APP6a, MapSym-NU-Sea-APP6a, Mapsym--Draft-G5, Mapsym--Engineer, Mapsym--FM101-5-1-Gen, Mapsym--NATO-Logsymb, Mapsym--NATO-Tools, Mapsymbs--German-WW2, Mapsymbs--WD-MapIcons2, Mapsymbs--WD-Napoleonic, Milpics-Generic, Milpics-Generic4716, Miltrain-Generic, NATOKit, Planes-S-Modern, PlanesTModern, SoldierWW2, Space-MarinePersonnel, Specsym, StarWarsKit, Soviet-Kit, Tanks-WW2. [Google] [More] ⦿ |
Marc Foley | London-based designer of this humanist sans (2007). [Google] [More] ⦿ |
Designer (b. 1958, Chatham, Kent, UK) whose fonts may be bought from 2Rebels in Montreal. Some creations: Oplontis (2003, at Garagefonts), Eternity, EternityFusion, Pilgrim (1997). Did Boustrophedon (1998), Squish (1999), Octember Cyrillic, Octember (1999), Red (1999) and Red Cyrillic (Garagefonts). CV. [Google] [MyFonts] [More] ⦿ | |
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Student at the University of Western England in 2011. Creator of Dynamik (2011, FontStruct), Sonorous (2011) and Sonorous Light (2011, texture face). [Google] [More] ⦿ | |
Graphic and type designer (b. 1936, South Africa) and teacher, who after studies at the Chelsea College of Art became the partner of Jock Kinneir in 1964 in Kinneir, Calvert Associates. There, she designed type for signals, highways, the British Rail, airports, hospitals, the army, and the subway. Designer in FUSE 9 of the experimental font A26 (1994). She also made TransportD with Jock Kinneir in 1963, a URW++ font. Monotype Calvert (1980) is a retail Egyptian typeface that was originally used in Newcastle's Tyne & Wear Metro. Ashley Ng (San Francisco) did a great set of advertising posters for MT Calvert in 2012. She taught at the Royal College of Art in London from 1966, and headed its graphics unit from 1967-1981. She was awarded an honorary degree by the University of the Arts London in 2004. In 2009, Margaret Calvert and Henrik Kubel designed New Rail Alphabet, a revival of the 1964 British Rail alphabet of Margaret Calvert and Kinneir Calvert Associates. Wikipedia entry. Linoype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Graphic designer and photographer in the UK who studied at the Arts University College at Bournemouth. Creator of Symmetrical Typeface (2011). [Google] [More] ⦿ | |
London-based designer of some typefaces. [Google] [More] ⦿ | |
Creator of a beautiful ornamental caps alphabet (2011). [Google] [More] ⦿ | |
Information designer. CEO of Text Matters. Frequent contributor to ATypI meetings, with special interests in information design, book design, web typography and page layouts. He lives in the UK. Speaker at ATypI 2011 in Reykjavik. [Google] [More] ⦿ | |
Designer of Phobia at the Manchester, UK-based foundry Tealeaf. [Google] [More] ⦿ | |
Australian type designer, b. 1974, UK. He lives in Sidney. Behance link. Creator of Claire Hand (2011). Home page. [Google] [MyFonts] [More] ⦿ | |
Graphic and web designer in Liverpool, UK, who works here. He created the geometric sans face Centrepoint (2011). [Google] [More] ⦿ | |
Typographer and designer in Norwich, UK. Creator of the Braille Sans family (2010). [Google] [More] ⦿ | |
British designer of Zon (2009, geometric face). [Google] [More] ⦿ | |
British designer of the free liquid font Syreeta (2001). Knight also uses the name "Fire Angel". [Google] [More] ⦿ | |
Graphic designer in Leeds, UK. Creator of the geometrically precise blackboard bold family Born (2011). Behance link. [Google] [More] ⦿ | |
Mark Thomson | Born in London in 1961. He lives in London, where he is the founder and Director of International Design UK (1998-2004). At ATypI 2004 in Prague, he spoke about Microtypography: Designing the new Collins dictionaries. [Google] [More] ⦿ |
British creator of the fat finger typeface Welch Script (2012, iFontMaker). [Google] [More] ⦿ | |
Born in 1932 in London, Martin Kaye was well-known for his sturdy posters which he made from 1972 until 1983 for Paradiso in Amsterdam. A set of 1100 of these posters owned by Stichting Martin Kaye Alphabet Index&Library is being managed by Affichemuseum in Hoorn, The Netherlands. He was also a type expert, and had started a catalog of typefaces, having made a listing of 60,000 typefaces when he was murdered in 1989 during a robbery. His work included also many unique complete alphabets. The book Facade AlphaBets et Cetera is the only published book document. At Amazon, we read about his book: Although out of print Martin Kaye's work deserves some recognition for his part in the world of typographic design. This book of some 90 pages reflects his work throughout 20 years. With typographic studies to reproductions of some of Kaye's Paradiso posters, this is perhaps the best example of of a lifetime's work by this artist. It is unfortunate this item remains out of print since it remains a definitive example of typographic inovation and inspiration. It is with great sadness that the book, published in 1985, four years prior to his death, remains as his only epitaph. Since only 1000 copies were ever printed it may never be seen by as many as might apreciate such a work. Examples of Kaye's work do hang in the Rock Museum in Amsterdam. But for me this book is a must for anyone interested in typography. This was done in the days before computers. Martin would hand cut the designs in 'red film' a method by which screenprint templates would be made. The intricacy of his designs and skill would astound anyone seeing him at work, the results of which would shine out from poster stands all over Amsterdam. [Google] [More] ⦿ | |
Martin Wait Typeface and Lettering Company
| Martin Wait (born Forest Gate, UK, 1942) is based in Horndon on the Hill, UK. The Martin Wait Typeface and Lettering Company is Martin Wait's outlet for his fonts. Initially he was associated with Letraset. Martin made Freestyle Script in 1981 for Letraset, but this face has now been surpassed many times, in my opinion. He also designed Artiste (1991), Cathedral (multiline decorative face, Letraset---this face has never been digitized), Emphasis (1989), Forest Shaded (1986), Hadfield (1980), Balmoral (1978, Letraset [see also Ballad Script (SoftMaker), Balmoral ICG, BalmoralD (URW) and Balmoral SH (Scangraphic)]), Informal Roman (1989), Horndon (1984, Western lettering), Banner (1986), Laser (1987), Laser Chrome (1987), Bertram (1991, comic book lettering named for the famous Bertram Mills Circus), Pendry Script (1981), Pritchard (1990), Rapier (1989), Refracta (1988), Challenge Bold (1982), Conference (1978), Forest (1986), Riva (1994), Roquette (1993), Scriba (1992), William Lucas (free-flowing connected script), Wild Thing (1995), Masquerade (1977, Letraset), Tractor (2001), Julietrose (2006, informal script, Monotype), Company (2012), Spectra New Style (2012, monoline sans). MyFonts.com link. Linotype link. Klingspor link. FontShop link. Typeface catalog. Catalog of fonts at MyFonts. [Google] [MyFonts] [More] ⦿ |
British cartoonist (b. 1988). Designer of the irregular handwriting font Face (2007). He lives in Whitchurch, Hampshire. [Google] [More] ⦿ | |
East London / Exxex-based design studio. Their first typeface is the basic sans RM Regular (2011). Behance link. [Google] [More] ⦿ | |
Stoke, UK-based graphic designer. Behance link. Magnum Opus (2011) is an experimental typeface inspired by alchemy and black magic. [Google] [More] ⦿ | |
British creator of the handprinted typefaces Pickwick, Pickwick Bold, and Pickwick Light (2012, iFontMaker). [Google] [More] ⦿ | |
Graphic designer from Ipswich, UK. Behance link. Creator of Lunar (2009), a typeface that uses exclusively arcs of circles. [Google] [More] ⦿ | |
London-based creator of a 3d typeface (2012) called Quilling. [Google] [More] ⦿ | |
Creator in the UK (b. 1978) of the chiseled look face Jaggersaurus (2011). [Google] [More] ⦿ | |
Canterbury, UK-based creator of the ornamental caps face called Maori (2011). [Google] [More] ⦿ | |
Graphic designer and illustrator (b. Southampton, UK, 1993) who studied graphic design at University College Falmouth. He created the dingbat face Social Networking Icons (2011) and the counterless geometric face Grobsidian (2011). Other typefaces: Echo Gothic (like Avant Garde), Hanson, Interlocked, Pixter (dot matrix face), Scrawlster (handprinted), Tubular Type, Unnamed. He set up the Matt Grey typefoundry in 2011 in Southampton. Dafont link. Fontspace link. Behance link. Catalog of his typefaces. [Google] [MyFonts] [More] ⦿ | |
Creator in 2008 at FontStruct of Bento Box (oriental simulation), London 2012, and Reckon. [Google] [More] ⦿ | |
Communication design student from Brighton, UK. Creator of the grotesk all caps face Milosz Sans (2011). [Google] [More] ⦿ | |
Matt Wingfield | London-based designer. For the Harvey Hichols department store, he created an in-house handwriting font, MW. [Google] [More] ⦿ |
Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. View Matthew Carter's typefaces. View Matthew Carter's typefaces. The typefaces made by Matthew Carter. [Google] [MyFonts] [More] ⦿ | |
Type designer, b. 1975, Clitheroe, Lancashire, UK. MyFonts link. His first creation is Matthew (2010), a slightly angular rounded edge sans face. [Google] [MyFonts] [More] ⦿ | |
British creator (b. 1990) of CIL (2010, squarish), Rownd (2009), DST (2009), Rational (2009, sans), Gadolinium (2009, techno) and Gadolinium Script (2009, handwriting), Resolute (2010, octagonal). [Google] [More] ⦿ | |
Graphic and web designer in London. He created the fat counterless face High Five in 2010. [Google] [More] ⦿ | |
Preston, UK-based typographer and print designer. Creator of the tubular face Weaver (2010). [Google] [More] ⦿ | |
Manchester, UK-based creator (b. 1990) of the fat blocky face Chipblocked (2010). Dafont link. Another URL. [Google] [More] ⦿ | |
Matthew Sage (Sage Designs, Kent, UK) makes superb use of bright colors in his work. He created an art deco face called Rounded Fun (2009). [Google] [More] ⦿ | |
Student in illustration at the University of Westminster, UK. He created a condom alphabet (2011), which possibly was scanned in as a scanbat font. [Google] [More] ⦿ | |
British wood engraver of the first part of the 19th century. Author of "Specimen of stereotype ornaments, 1825". [Google] [More] ⦿ | |
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Maxine Abbott (Nottingham, UK) studies graphic design at Nottingham Trent University. He created the pixelish typeface Nokia Snake (2012). [Google] [More] ⦿ | |
British creator (b. 1987) of Pixel Maz (2008, FontStruct). [Google] [More] ⦿ | |
MDTA Design -- Green Dragon
| MDTA Design, and in some cases MDTA together with Green Dragon, created these fonts, all related to British or Irish TV stations and their logos: BBCStripedChannelLogos, BBCTVChannelLogos, ITA-IBALogos, ITVNetworkChannels, Sky Television Logos, SKYfontbrands, SKYfontmovies, SKYfontnews, SKYfontone, SKYfontsport, SKYfonttravel, SKYfontThick, Sky1998ChannelLogos, SkyTVChannelLogos, UKDigitalTVChannelLogos, IrishRTVLogos, SkywardBold, SkywardRegular, Terrestrial Television Logos, UKtvFamilyLogos, UKTV Channel Logos, UK-&-Ireland-RTV-21, WelshTVLogos. The SKYfont family is originally by Martin Anderson. The web site states: "It all began in the year 2000 with the release of the original and ground-breaking TV Logos TrueType Font by its creator Andrew Wood. Ever since, it has become the inspiration for many other TrueType Font creators who have an abiding passion for television presentation, history and heritage to follow in their footsteps. The brainchild for the Green Dragon catalogue is Éamonn Hanratty. He has already compiled a comprehensive history of the television logos which have been used in the Republic of Ireland, from 1961 up until the present day. The title "Green Dragon" comes from the fact that Éamonn is the son of an Irishman and a Welsh mother. Born in 1963, he comes from Swansea, in Wales. As well as taking Andrew Wood for his inspiration, Éamonn also wishes to gratefully acknowledge the outstanding and progressive work in this field which Martin Anderson of England, Ray Larabie of the U.S.A., Rupert ten Hove of the Netherlands and so many others have been and are continuing so to do: that is, to present a growing range of non-commercial and freely available TrueType Fonts for private use." Apparently they also made Hylian Symbols, but I think that is a mistake by the people at DaFONT. Corporate text fonts: Sky Movie Sans, Sky Corporate Font, LIVINGtv Font, Telewest Voice, E4 Headline Font, uktv Home Font. [Google] [More] ⦿ |
London-based personal font service: 163 USD per font. If you want a bold version and your signature as well, the total is 200 USD. [Google] [More] ⦿ | |
London-based personal font service for your own handwriting. Expensive. [Google] [More] ⦿ | |
London-based designer and illustrator. She created a typographic fashion poster in 2010. [Google] [More] ⦿ | |
16th century German printer on whose work Lotther Text (Fraktur font, Ludlow, UK) is based. [Google] [MyFonts] [More] ⦿ | |
York, UK-based designer (b. 1987) of JonoStyle (2005, handwriting face). [Google] [More] ⦿ | |
Mesh Design is a graphic and web design outfit in Burton upon Trent, UK. It created a polygonal experimental face, simply called Mesh (2009). [Google] [More] ⦿ | |
Graphic designer in Carlisle, UK. Graphic Design student at the University of Cumbria. Inksplat (2012) is a typeface created by Mica for the cover of One Flew Over the Cuckoo's Nest (Ken Kesey, Penguin). [Google] [More] ⦿ | |
Michael Barbosa | Portuguese designer who during his employment at Wolff Olins (UK) started work on Metroplis (1995) for Metroplisboa, the Lisbon subway. This face was subsequently drawn by Freda Sack and David Quay at The Foundry, London. [Google] [More] ⦿ |
Michael C. Place (founder of Build, a graphic design studio in London, in 2001) who used to represent Designer-Republic, shows this ultra ultra black face designed for the Computerlove International Graphic Design Exhibition, November 2003, Brussels. He created B-HMMND (2008) for the covers of the Faber Finds books (elsewhere the font is attributed to Corey Holms). Creator in 2001 of B-FUQ 01 and B-FUQ 02. Typedia link. [Google] [More] ⦿ | |
Michael Harkins | Mike graduated from the University of Plymouth, Exeter School of Art and Design with BA(Hons) in Design: Typography which included some time spent studying at Arnhem in the Netherlands. He gained his MA from Central Saint Martins in Design Studies where his major project was in type design. Mike was a director within a successful design company before returning to education to teach full-time at the University of Portsmouth. He is an advocate of the development of typographic study within graphic design. Mike is currently working under Catherine Dixon and Phil Baines towards a PhD at Central Saint Martins, London, researching contemporary processes of text typeface design. He is a course leader in the MA Graphic Design program at the University of Porsmouth. Speaker at ATypI 2010 in Dublin. [Google] [More] ⦿ |
Stonecutter and renowned carver (b. 1931), cyclist, maker of Ellington and Strayhorn (both at Monotype), Braff (2003, Agfa), the multiple master Mezz at Adobe, Conga Brava MM at Adobe (a fluid stencil font), Studz, Andreas and Moonglow (all three at Adobe), DTL Unico (an extensive all-purpose family at the Dutch Type Library), and Zephyr (at Ludlow). The outline font Andreas (1996) and the all-caps Moonglow show stone-cutting influences. In 2001, he and Andy Benedek founded Fine Fonts, an independent digital type foundry in Cheltenham, UK. Fine Fonts has since released a number of typeface designs, including Aesop, Fine Gothic, Tisdall Script, Songlines, Marceta, Balthasar (2002), Braff and Mentor. Michael was a visiting lecturer in the Department of Typography&Graphic Communication at the University of Reading, and is the author of several books on the lettering arts. CV and picture. He works from his studio in Bridport (Dorset). At ATypI 2007 in Brighton, he analyzes the work of Frederic Goudy, Hermann Zapf, Eric Gill, Georg Trump, and Jan van Krimpen, and takes the listener from analog to digital. Klingspor link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Graphic communication student at UCA Farnham (UK). Creator of the octagonal origami typeface Modular (2012). [Google] [More] ⦿ | |
British graduate student of typography at the University of Reading who graduated in 2005. He designed Xplor. Since 2006 he has worked in London as an in-house designer for a leading international law-firm, and most recently as typographic designer for David James Associates, working on typeface designs for its subsidiary type foundry Alias (including font designs for AnotherMan Magazine and the London 2012 Olympic Games). [Google] [More] ⦿ | |
With Argentine co-designer Alejandro Paul, this British designer created in 2002 the 17-font family Tennis, a collection of grid-based pixel fonts. Codesigner with Geoffrey Lee of Camden (2003). [Google] [More] ⦿ | |
Graphic designer in Derby, UK. He created the grid-based octagonal typeface Trile TypeM (2012). [Google] [More] ⦿ | |
Student in Graphic Communication and Typography at the University of Plymouth, UK. Creator of the geometric face Peep (2010). [Google] [More] ⦿ | |
Born in London, 1934. British typographic historian and founder, in 1968, of the renowned Reading University course, Typography&Graphic Communication. LetterPerfect interview. Michael Twyman is Emeritus Professor of Typography&Graphic Communication at the University of Reading. Since the early 1960s he has taken groups of students to Rome and Florence on a regular basis to study inscriptional lettering. At ATypI in Rome in 2002, he spoke about the inscriptional lettering in Rome&Florence. His research focuses on 19th century printing, and specifically on the early history of lithography. Among his books are: "Lithography 1800-1850", "Printing 1770-1970", "Early lithographed books", "Early lithographed music" and "The British Library guide to printing". Interview by Garrett Boge. [Google] [MyFonts] [More] ⦿ | |
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Graphic designer in the UK, who created a triangular modular typeface in 2011. [Google] [More] ⦿ | |
British creator of the free grunge face LP Educational (2011). Aka Marshmallow Creative. [Google] [More] ⦿ | |
UK-based designer, b. 1985. She created Bub (2010, a fat face with small bullet holes). [Google] [More] ⦿ | |
UK-based creator of the texture face Wondermilk (2010). Born in 1990, Michelle lives in Birmingham. Dafont link. [Google] [More] ⦿ | |
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Type and graphic designer from Birmingham, UK, who made the thin octagonal face Boton (2009). [Google] [More] ⦿ | |
Links to Indic language fonts, compiled by Paul Baker at the Department of Linguistics of Lancaster University, UK. [Google] [More] ⦿ | |
Minifonts.com
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Ministry of Candy
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MNW Foundry
| MNW foundry (Nottingham, UK) is run by Mark Nathan Willetts. He created Happyfin (2012, handprinted). [Google] [MyFonts] [More] ⦿ |
Modern Typography
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His typefaces:
His St Bride Type Foundry. Dafont link. Klingspor link. [Google] [MyFonts] [More] ⦿ |
Arabic calligrapher, graphic designer and digital artist. Located in Sheffield, UK. [Google] [More] ⦿ | |
British MI5 agent who created Super Retro (2009), Face Off M54 (2010), Pulp Fiction M54 (2009, octagonal), Wanted M54 (2009, heavy octagonal face), Franklin M54 (2009), Cafe Nero M54 (2010, squarish), WashCareSymbolsM54 (2010), Outcast M54 (2010, an angular outline face), AcademicM54 (2009, athletic lettering), CharlieBrownM54 (2010, techno), JerseyM54 (2010, athletic lettering), Legend M54 (2010, grotesk), LifestyleM54 (2010, slab serif), LifestyleMarkerM54, LifestyleRoundedM54, Motor-Oil-1937-M54 (2009, an art deco grotesque), NewAthleticM54 (2010, athletic lettering), SuperstarM54 (2010, athletic lettering). Aka Just me. Fontspace link. [Google] [More] ⦿ | |
Monika Kierepka (MK Studio, UK) made Soft (2010), a rounded font with shapes inspired by egg shells. [Google] [More] ⦿ | |
In 2004, Monotype Imaging Inc was created when TA Associates bought Agfa-Monotype from Agfa. Its headquarters are in Woburn, MA. Agfa had bought the previous incarnation of Monotype in 1998. Before that, Agfa, a well-known photographic film, chemicals and paper manufacturer and Bayer subsidiary, entered the typography scene in 1982 by acquiring an interest in Compugraphic Corporation, the American phototypesetter company. From the press release: Based in Wilmington, MA, with regional offices in the U.K., Chicago, Redwood City, Calif., Japan and China, Monotype Imaging provides fonts and font technologies to graphic professionals, software developers and manufacturers of printers and display devices. Formerly Agfa Monotype Corp., the company also provides print drivers and color imaging technologies to OEMs (original equipment manufacturers). Monotype Imaging is home to the Monotype typeface library, a collection that includes widely used designs such as the Arial, Times New Roman and Gill Sans typeface families (now in OpenType in 21 weights). Monotype Imaging offers fonts and industry-standard solutions for most of the world's written languages. Information about Monotype Imaging and its products can be found on the company's web sites at www.monotypeimaging.com, www.fonts.com, www.monotypefonts.com, www.customfonts.com, www.fontwise.com, www.itcfonts.com and www.faces.co.uk. [...] Robert M. Givens remains as president and chief executive officer of the company. [...] Senior vice presidents Doug Shaw and John Seguin of Monotype Imaging have been named to its board of directors along with Givens and Johnston. Jonathan Meeks, a principal at TA Associates, has also joined the board. Dave McCarthy remains as vice president and general manager of Printer Imaging, and Al Ristow continues as vice president of engineering. The senior management team of Monotype Imaging also includes Jeff Burk, vice president of finance, Geoff Greve, vice president of type development, John McCallum, managing director of Monotype Imaging Ltd., David DeWitt, general manager of the U.S. consumer division, and Pattie Money, director of human resources. In 2006, Monotype Imaging acquires Linotype, one of the last truly dedicated and honest large type companies. In 2007, Doug Shaw succeeds Robert M. Givens as president and chief executive officer. In 2010, Monotype acquires Ascender. In 2011, Monotype buys Berthold Types, Bitstream and MyFonts. Images of their best-selling typefaces in 2011: i, ii, iii. Full catalog of Monotype's typefaces [large web page warning]. [Google] [MyFonts] [More] ⦿ | |
In July 1998 Agfa acquired Monotype Typography and became Agfa Monotype. In 2000, Agfa acquired ITC. In 2004, TA Associates purchased a majority interest in Agfa Monotype from Agfa Corp and the company was renamed Monotype Imaging Inc, with headquarters in Woburn, MA Monotype Imaging in turn went on a spending spree: it acquired Linotype (in 2006), Ascender Corporation, Berthold (unconfirmed), Bitstream (in 2011) and MyFonts (in 2011). They also own China Type Design Ltd, Fontwise, iType, Planetweb, WhatTheFont, and WorldType. The Monotype specimen book of type faces. A complete catalog of matrices made for use with the Monotype composing machine and with type&rule caster Catalog at the most popular faces available via MyFonts. Full catalog of Monotype's typefaces [large web page warning]. [Google] [MyFonts] [More] ⦿ | |
Free fonts made in 1998 for the blind: RNIB Moon, Wibble. They write: Moon allows people who are blind or partially sighted to read by touch. It is a code of raised shapes and takes its name from its blind English inventor, Dr William Moon. As the characters are fairly large and over half the letters bear a strong resemblance to the print equivalent, Moon has been found particularly suitable for those who lose their sight later in life, or for people who may have a less keen sense of touch. Fontspace link. [Google] [More] ⦿ | |
British youngster, b. 1992, who created Digimon Digicode (2009), an artificial or coded language font. [Google] [More] ⦿ | |
More Type
| British foundry located in Liverpool and run by Chris Dickinson, a graduate from Brighton University. MyFonts sells its 8-style sans families Alber (2006, and in 2010, Alber New), Hedley New (2010), Faricy New (2010, a monoline geometric sans), Depot New (2010), and Depot (2006) and its 10-style monoline large x-height sans family Alwyn (2008, and in 2010, Alwyn New, and in 2011, Alwyn New Rounded). These faces appeared a bit earlier at The TypeTrust as well. Before More Type, Chris Dickinson was affiliated with T-26, where he designed the sans type family Hedley (T-26, 2004), the checkbook face Fold (T-26, 2004), the sans face Faricy (T-26, 2004; followed by the FontShop font New Faricy in 2009), the humanist (futuristic) sans Mic32 (T-26, 2004, a futuristic family), and the stencil face Faricy Stencil (T-26, 2004). Fontshop URL. Postscript: Under the alias Simon Cooper (or simply, coop) he discussed early versions of his faces on Typophile: Mare (2005, not a bad sans!), Depot (2005, humanist sans; see also here and here and here; this was updated to Depot New in 2010), Alwyn (2005, updated to Alwyn New in 2010) and Alber (2005, see also here, and the update Alber New in 2010). FontShop link. [Google] [MyFonts] [More] ⦿ |
Illustrator and designer (b. 1977) based in Manchester, UK. Creator of LF Childsplay (2011, a fat counterless poster face) and LF Jazzcloud (2011). [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who made the mushroom-themed alphading font Mushaboom (2010). [Google] [More] ⦿ | |
MuirMcNeil Design Systems
| MuirMcNeil Design Systems is a project-based collaborative between Hamish Muir and Paul McNeil. Our activities are focussed on exploring parametric design systems to generate appropriate solutions to visual communication problems. Hamish Muir is a founding principal of 8vo (1985-2001) and co-editor of Octavo (1986-1992). He currently combines work as an independent graphic design consultant specialising in editorial, information and systems design with teaching part-time at the London College of Communication. Paul McNeil is a London-based independent graphic design consultant specialising in type, information and systems design. He is a Senior Lecturer in Postgraduate Graphic Design at the London College of Communication and lead developer, MA Contemporary Typographic Media. They have several parametric and modular software syystems for typography and type design. These include 20-20 (done in 1974: a modular design idea in the spirit of FontStructor, but without any active software), Interact (done in 1994---grid-based parametric screen fonts), Three Six (an experimental optical / geometric type system consisting of six typefaces in eight weights. It explores the possibilities of using systematic principles to generate geometric typeforms which are distinctive at large point sizes but which can also be read at smaller sizes in bodies of extended text), Four Two (an extension of Three Six). The Three Six project led to a number of multiparametric dot fonts. Muir helped Dalton Maag with the development of Tephra (2008), an experimental multi-layered LED-inspired family. Typetoken link. [Google] [More] ⦿ |
MyFonts selection for William Thorowgood. see also here. [Google] [More] ⦿ | |
British freelance designer who completed a custom type called Bibelot (2010), which is based on an art nouveau alphabet drawn by the Rotterdamse Schilderschool. Home page. [Google] [More] ⦿ | |
Narate
| Chris Gray (Narate) is a Manchester, UK-based student at Salford University who is working on this typeface (2005). Narate's Pixel Font (2005) is free. He also made several logotypes. [Google] [More] ⦿ |
Designer of the Punjabi font Sukhmani (1993-1994), as well as Sulaikh kulum (1992, with Jagvinder Singh Chadha), Punjabi Outline (1992), DhunGuruNanak (1993). Chadha is affiliated with GurSys, Birmingham, UK. [Google] [More] ⦿ | |
London-based creator of a great handwritten resume in 2012. [Google] [More] ⦿ | |
Designer of Read Regular, a typeface family designed for dyslexic people. Frensch is associated with the Royal College of Art and Design in London. See also here. [Google] [More] ⦿ | |
Graphic designer and illustrator in London. She created an experimental modular triangular typeface in 2009. Behance link. [Google] [More] ⦿ | |
UK-based designer. Creator of Ruba (2009, FontStruct), Shanghai (2009), Beijing (2009, rounded octagonal), Beijing Redux, French Electric (2009, a horizontally striped techno face), Team Icaras (2009, futuristic font based on the logo and slogan 'Flying High' for Icaras, a team in the Wipeout series), Intercorp II (2009, techno), Team Feisar (2009, a futuristic font based on the logo and slogan 'The Future Is Euro' for Feisar, a team in the Wipeout series), Team Goteki 45 Font (2009, a futuristic font based on the logo and slogan 'Future Proof' for Goteki 45, a team in the Wipeout series), Xiaku (2009, a techno oriental simulation face), Cutting Edge (2009, poster font), Y.Vlone (2009, techno), Team Qirex (2009, a FontStruct font based on the logo and slogan 'High Speed Revolution' for Qirex, a team in the Wipeout series), and WipeoutHD (2009, techno). Serif Neu (2009) is constructivist. More fonts basded on Wipeout series, all made in 2009, and most but not all based on FontStruct: Team Icaras [also called In Its Right Place, copyright "tople"], Empire, Multiplex, Piranha. Intercorp (2009, +Redux; made with FontStruct) is a futuristic font based in some of The Designer's Republic work. Zeta (2009, FontStruct) is based on the futuristic logo for Sylva, a fictional company in the Wipeout series. In 2009, he also made a series of blocky fonts such as The Elements Fire, The Elements Water, the Elements Air, and The Elements Earth. Creations in 2010: Itralia (Lalte, Fitra, Trale: retro, art deco), Alba (angular sans family), Cancranacancarnaca, Intliga family (FontStruct; octagonal), Kiki (geometric family), Chrome (constructivist), Ieil. [Google] [More] ⦿ | |
Nathan Eden (Leeds, UK) created the modular typeface Gridular (2012). [Google] [More] ⦿ | |
British designer of the handprinted Nathan's Notations (2010). [Google] [More] ⦿ | |
Nathan Heins (Romford, UK) created Microchip as a student project in 2012. The glyphs were inspired by an electrical circuit. [Google] [More] ⦿ | |
Bradford, UK-based graphic designer and illustrator who has made a nice poster about the letter I in 2009. Home page. [Google] [More] ⦿ | |
He complains: is everywhere, in airports, on signage, on TV and in corporate literature. Meta has become synonymous with the German middle ground. Almost too convenient and easy to digest it has spread like a disease. So he made the cancerous grungification of Meta, Metastasis (2011). [Google] [More] ⦿ | |
Manchester-based designer, b. 1967. Creator of the pencil sketch font Skooper Black (1999), with Cooper Blackish outlines. Skylab is his design studio in Manchester. [Google] [More] ⦿ | |
London-based creator of Nermins Graffiti (2011) and of Nermin's Template (2012, a gridded typeface). [Google] [More] ⦿ | |
Short bio of this star type designer and hyperactive contributor to all aspects of graphic design and typography. Check out another biography at FontNet. Born in 1957 in London, his fonts include FF Autotrace (1994, a sans family progressively distorted by Fontographer's autotrace feature), F Cyber Static (1997, letters based on layered sequences of halftone dots), Arcadia (1990), Industria (1990), Insignia (1990), Blur (1991), FF Pop (1991, a rectagular font originally made for a German music TV program), FF Dirty (1994), Gothic (1991), Harlem (1991). Did the following FUSE fonts: in FUSE 1, he started with the experimental font State; in FUSE 5, he published Virtual; at FUSE 6, he published Code; at FUSE 7, he drew Crash (Regular and Cameo); in FUSE 8, he showed us Religion (Order, Obidience, Loss of Faith); at FUSE 9, he did F-AutoSuggestion (1994); in FUSE 11, he published Peep, a font only showing parts of letters; in FUSE 13, Ritual, in FUSE 14, CyberStatic, in FUSE 15, F-City Avenue (1997), in FUSE 16, GeneticsSecond Generation, in FUSE 17, Echo Downloaded, Page Three, in FUSE 18, Lies. [Google] [More] ⦿ | |
New Typography
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He developed Mako (2007), a type family for text and image in magazines. Earlier, he created AutoPacHousehold. Nobile (2010) is part of the Google font directory. Through the Open Font Library, one can get the source Fontforge code for this open source sans family. About Mako, he writes that he submitted the font to Fontsmith, which sat on it for a while and rejected it, only to publish a few weeks later Lurpak, which according to Vernon is too similar to his rejected design. Free fonts at Google Code by Vernon, as of the end of 2010 include Coda (a heavy elliptical face), Nobile (mentioned above), Corben (a curvy bold face in the style of Cooper Black), and Gruppo (a thin sans). In 2011, he added Coustard (a slab serif family), Damion (connected signage script), Smythe (Victorian), Radley (display face), Oswald (a reowking of the Alternate Gothic style), Candal (sans), Pacifico (connected signage face), Bangers (comic book face), Anton (heavy sans), Bevan (a reworking of Beton, a traditional slab serif display typeface created by Heinrich Jost in the 1930s), Six Caps (a condensed headline face), Meddon (a display font created from the handwritten script of an Eighteenth century legal document), Rokkitt (an Egyptian), Paytone One (headline face), Holtwood One SC (wood block simulation face), Monofett (white on black), Carter One (casual face), Francois One (gothic sans), Sigmar One (think mid twentieth century pulp magazine advertising), Bigshot One, Metrophobic, Mako, Francois One, Nunito (rounded), Shanti, Sigmar, Muli (minimalist sans), Kameron (an Egyptian), Stardos Stencil, Bowlby One, Bowlby One SC (fat poster face), Tienne (serif), Monoton (a multiline face in the style of Koch's Prisma, 1931), Sancreek (emulating an ornamental wood font), Amatic SC (handprinted poster family), Sancreek (a Tuscan face), Oswald (in the old Alternate Gothic tradition of sans faces), Rammetto (based on the Stephenson Blake uppercase display font Basuto, released in 1926), and Michroma (modeled after Microgramma). Typefaces made in 2012 include Oxygen (a sans face available from Google Web Fonts), Norican (free script font at Google Web Fonts based in part on Stephenson Blake's Glenmoy from the 1920s), Cutive (free at Google Web Fonts, based on the IBM typewriter faces Executive and Smith-Premier), Pontano Sans (Google Web Fonts: a light basic sans), Trocchi (Google Web Fonts: derived from Nebiolo's Egiziano, and Caslon & Co's Antique No.4 and Ionic No.2). [Google] [More] ⦿ |
Newlyn.com (was: x&y)
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Artist from Manchester, UK. Behance link. Creator of a hand-drawn floral caps face in 2010. [Google] [More] ⦿ | |
Teesside, UK-based graphic designer. Dafont link. Creator of Poster Slab (2011). [Google] [More] ⦿ | |
Nice Type
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British designer. Behance link. Creator of the free typeface Smoke and Mirrors (2010, handprinted). Download page. [Google] [More] ⦿ | |
Creative director and founder of BOZ Design in London. He blended two fonts to make the experimental typeface Arrow (2012). [Google] [More] ⦿ | |
Nick Cernis | UK-based designer of the box-based typeface Blackbox (2004). [Google] [More] ⦿ |
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Macclesfield, UK-based designer of Energy (2007), a sans family. No downloads. He also made Camphor (2011). [Google] [More] ⦿ | |
British designer of the experimental face Pea Brain (2010). [Google] [More] ⦿ | |
Nick Kelly (Must Design, Bristol, UK) designed an outstanding typographic logo in 2012 for a handbag company called Desejo. He created the typeface Picnick (2012). [Google] [More] ⦿ | |
British designer of the handwriting font Kindy (2001). See also here. [Google] [More] ⦿ | |
London-based graphic designer. Creator of Teflon (2009), a minimalist hairline sans face. Behance link. He also created a beautiful sans serif time chart (2009). [Google] [More] ⦿ | |
Nick Plant | Based in Manchester, UK. Designer of Glue (2004, a grunge face) and this sctachy face (2005). [Google] [More] ⦿ |
Nick experiments widely with type. Noteworthy is his Albers Moiré, which is part of a project for creating complex type designs with a limited and easily interchangeable set of parts. The structure of Albers Moiré is based on the Bauhaus stencil type designs by Joseph Albers, and uses radiating lines to achieve the moiré effect when layered. [Google] [More] ⦿ | |
Manchester-based creator of the free font Assiduous (1999, +SmallCaps), after an original design by Peter Blake, who in turn mimicked the look of the typeface used by the BBC on its range of Doctor Who books and videos. He also made ThetaSigma (1999, a dingbats font which features three variations of the Doctor Who logo). Fontspace link for Peter Blake. Fontspace link for Nick Smale. [Google] [More] ⦿ | |
British author (b. 1911, Stevenage, d. 1997) of "Nineteenth Century Ornamented Typefaces" (University of California Press, Berkeley, CA, 1938, revised in 1976), "Lettering on Buildings" (1960) and "A History of lettering" (Phaidon, 1986). For examples from the first mentioned book, see here. She taught at the Central School of Art and Design (London) from 1964 to 1981. [Google] [MyFonts] [More] ⦿ | |
British designer, aka Spunky McPunk. He created the broken glass simulation face Skratch Punk (2006). [Google] [More] ⦿ | |
Student at the University of Western England in 2011. Creator of the labyrinthine face Broken Record (2011, FontStruct). [Google] [More] ⦿ | |
Ninth Annual Conference of the Friends of St. Bride: DIY Design | The Ninth Annual Conference of the Friends of St. Bride took place on May 27 and 28, 2010 at the Custard Factory, Birmingham. Its theme was DIY Design [I think that DIY stands for do it yourself]. Speakers included Mette D. Ambeck, Martin Andrews, Paul Antonio, Hudson Bec, Kevin Braddock, Colin Brignall, Petr van Blokland, Dave Farey, Mark Frith, Linzie Hunter, Helen Ingham, Michael Johnson, Jon Melton, Ann Pillar, Teal Triggs, Theo Wang and Wolfgang Weingart. Not sure there was a lot of type design content. [Google] [More] ⦿ |
UK-based designer (b. 1986) of Surrounding (2007, 3 styles), a sans family inspired by the text face used for Vespertine-era Björk merchandise. Aka TypeGirl, she also made BMFA (2007, an angry font), and Gayatri (2009) and Caprica (2009), the latter two based on a type used in Battlestar Galactica. Dafont link. [Google] [More] ⦿ | |
FontStructor who made Aesthete (2011). He/she is a student at UWE in Bristol who writes: Typeface based on the work of Victorian Designer and Architect E. W. Godwin (1833-1886) born in Stokes Croft, Bristol. He was influential in the Aesthetic movement that created "the look" of Victorian Britain. He began his career working in the strongly polychromatic "Ruskinian Gothic" style of mid-Victorian Britain, inspired by The Stones of Venice, then moved on to provide designs in the "Anglo-Japanese taste" of the Aesthetic Movement and Whistler's circle in the 1870s. A friend of Oscar Wilde, James Whistler and William Burges he was also the father of revered actress Dame Ellen Terrys illegitimate child. Godwin's influence can be detected in the Arts and Crafts Movement. [Google] [More] ⦿ | |
Noem9 Studio
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Creattica link. [Google] [More] ⦿ |
Non-Format
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St Bride Library and the Department of Typography, University of Reading are collaborating on a two-day conference on non-Latin typeface design, held on September 18-19, 2007. Speakers include Graham Shaw (Head of Asia, Pacific and Africa Collections at the British Library), Mammoun Sakkal, Maxim Zhukov, and Victor Gaultney. Hands-on sessions at Reading will be conducted by Gerry Leonidas, Fiona Ross, Jo de Baerdemaeker, and Martin Dodds (Principal Examiner for Urdu, Cambridge International Exams). [Google] [More] ⦿ | |
Norton Photosetting Ltd
| Oxford, UK-foundry of Robert Norton (1929-2001). It produced Else NPL (1982). [Google] [MyFonts] [More] ⦿ |
Octopi
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Oded Ezer Design Studio
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Another designer at the studio is Michel Sahar. Ezer graduated from Bezalel Academy of Art&Design, Jerusalem, with a Bachelor degree in Visual Communication Design (1998). He teaches typography and graphic design in several academies in Israel and other countries, among them the Bezalel Academy for Art&Design, Jerusalem, the Shenkar College of Engineering near Tel Aviv, the Wizo College of Design, Haifa, and the Mimar Sinan University, Faculty of Fine Arts Graphic Design Department, in Istanbul, Turkey. At ATypI 2005 in Helsinki, he spoke on Contemporary hebrew typography as an expression of a new identity. He spoke at ATypI 2005 in Helsinki on Contemporary hebrew typography as an expression of a new identity. About his award-winning posters. The Oded Ezer Typosperma Project. Ezer's Flickr page. His experimental Hebrew typography is discussed by Uleshka in Ping Mag. It deals with a 3-d lettering experiment called Plastica, and describes many other ingenious projects. Speaker at ATypI 2010 in Dublin. Winner at D&AD 2011 with his typeface Rutz (2011, aka Vesper Hebrew). [Google] [MyFonts] [More] ⦿ |
offset media
| Kyri Kyprianou (Offset Media, UK) is the London-based designer of the free handprinted Kyri Kaps (2009) and and the free sans family Hero (2010). Envy (2010) is a free comic book font. Another URL. Another Dafont link. [Google] [More] ⦿ |
Ogham
| From Essex University, Alan M. Stanier's metafont for Ogham, an alphabet found on a number of Irish and Pictish carvings dated from the 4th century AD. The characters touch or cross the edges of the stone. [Google] [More] ⦿ |
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Birmingham, UK-based graphic designer and photographer. Creator of the metal-look octagonal font Dystopia (2009). [Google] [More] ⦿ | |
Lecturer at the University of Birmingham. Creator of the iFontMaker font OLFont1 (2010, comic book style). [Google] [More] ⦿ | |
London-based designer of some deconstructed typefaces in 2012. [Google] [More] ⦿ | |
BA (Hons) Graphic Design student in his final year at Leeds College of Art in 2011. He lives in London. Creator, also in 2011, of a typeface for use as the identity for singer songwriter Emily White. Poster of type faces (2011). [Google] [More] ⦿ | |
Londoner who made the treasure hunt font Lost Lemon (2010). Behance link. He will obtain a BA in Graphic Design&Media (Illustration) from the London College of Communication (University of the Arts) in 2011. [Google] [More] ⦿ | |
UK-based designer of Didrik (2004, handwriting). [Google] [More] ⦿ | |
FontStructor who made the brushy Asian simulation faces Onii (2009) and Auni (2009), and the ornamental caps face Clover (2010). He was a student at UWE in Bristol. [Google] [More] ⦿ | |
Graphic design ad signage company in the UK. Behance link. Tey created a display face that only uses arcs, and called it Circulaspence (2011). [Google] [More] ⦿ | |
Designers in London. For the Spanish magazine Neo2, they created the experimental Laser Font (2008). [Google] [More] ⦿ | |
Oscar & Ewan is a design studio based in East London and Stockholm. Oscar & Ewan produced Leroy, a typeface designed for use on Bonobo's Black Sands album, which was released on Ninja Tune in 2010. Leroy was based on a technical drawing found in a 60's model car magazine. Leroy can be bought at Colophon Foundry. [Google] [More] ⦿ | |
Designer in London of LWF Little Cheveney Font (2011), a deliberately imperfect grotesk. Behance link. [Google] [More] ⦿ | |
He created these typefaces in 2011: the gothic faces ThunderCats-Ho, Papier Maché, Generator REX (grunge), Wizards Magic, Witches Magic, Dig Dug, Cross Stitch (stitching face), Monaco Stitch, Mythbusters (grungy, based on the famous TV show), Kryptoscripto (signage face), Farscape, Secret Mole, Silk, Heroes (handprinted), Dem Bones (letters made up of bones), Garfield (cartoon face), Accused (a white-on-black grotesk face), The Hands of Deaf (a sign language face), Crimson Petal (grungy), Battleforce 5 (Startrek face), Bakugan (heavy display face), Naked, Crimson Petal (after the title sequence of the Crimson Petal and the White), SpideRaY, Rosetta Stone, Stop Shark Finning, Calligraphy Pen, Double Pencil, Light Emitting Diodes (dot matrix face), Movember (moustache face), Pencil Stencil, Watchmen, Compostable. Fonts from 2010 or earlier: The Deeper (2010), Trueblood (2009), FreeFontPro (2010), Misfits, Fangtasia, The Event, Clash of the Dinosaurs (2010), The Avengers (2010, futuristic), The Mighty Avengers (2010), Shaun The Sheep (2010), Joshuas Font (2010), Lazytown (2010, cartoon face). Aliases: SpideRaY, Windows Tips Club. Abstract Fonts link. Dafont link< to SpideRaY/a>. Newer Dafont link. Devian Tart link. [Google] [More] ⦿ | |
Graphic designer from Portsmouth, UK, who made the experimental typefaces Bird in Hand and Vertigo in 2010. [Google] [More] ⦿ | |
British photographer. London-based creator of Illusion X (2011). Home page. [Google] [More] ⦿ | |
PaceSoft Ltd (UK) provides a software development environment that allows engineers to monitor and control both simple and complex industrial systems. They can be seen at FontStruct as Popski 3125. In 2011, using Fontstruct, they made a number of mechanical symbol fonts called Pacesoft Mixers, Pacesoft Pumps, Pacesoft Augers, Pacesoft Motors and Pacesoft Fans. [Google] [More] ⦿ | |
Panache
| British foundry (est. 1990) headed by Richard Dawson, who runs Housestyle Graphics with Dave Farey. Richard Dawson and Dave Farey co-designed the Eric Gill face now known as IT Golden Cockerel, 1996. The Panache library contains these typefaces: Abacus (art nouveau), Amethyste, Apache, Aries (a family), BodoniUnique, BolideScript, Boris, BreadlineNormal, Britches-Script, Cachet, Cameo-Outline, Cameo-OutlineShaded, Cameo-Solid, Cavalier, Classic, Cupid, Demonstrator, EborScript, Erazure, Fancy-Extended, Fancy-ExtendedOutline, FontOutline, FontSolid, FrenchLetters-Plain, FrenchLetters-Raised, Gabardine, Goldwater, GreyhoundScript, Heatwave, LettresEclatees (a family), LittleLouisOne, LittleLouisThree, LittleLouisTwo, Longfellow, LutherFonts, Paleface, Parade, Pike, RaleighGothic, RevolutionNormal, Ringworld, RioChico, RioGrande, RioMedio, RioNegro, RoslynGothic, RoundSans, Rubylith, Sixpack, Slimline, Stanley, ToolCities, TorinoModern, VirginRomanNormal (Agfa, an art nouveau face), Warlock. Richard Dawson designed Letraset Comedy with Dave Farey, based on a particular lettering style by British lettering artist, Cecil Wade. With Farey, he also made Letraset Collins, and Azbuka (2008-2009, Monotype: a 20-style sans family). MyFonts page. Linotype page. FontShop link. Klingspor link. Catalog of Richard Dawson's typefaces. [Google] [MyFonts] [More] ⦿ |
Papertank
| British digital artist. In 2007, she made the handprinted fonts Sour Eyes and Pumpkin Head. Home page. Alternate URL. Others at Papertank include Liam Rutherford (who made Loveable Scruff in 2007, another handwriting font), and Chris Baldie. [Google] [More] ⦿ |
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UK-based designer of the stylized sans display face Mis-ShapeTessellate (2007). [Google] [More] ⦿ | |
Graphic designer in London. Behance link. Creator of a number of handprinted alphabets and fonts in 2010. [Google] [More] ⦿ | |
Patent Type Foundry (or: P.M. Shanks&Co, or P.M. Shanks and Sons)
| P.M. Shanks&Co, or the Patent Type Foundry was based in 31 Red Lion Square in London. Established in 1857, it was active in the second half of the nineteenth century. Its "Epitome Specimen Book of Printing Types Manufactured by the Patent Type Foundry" (1890) offers little help--no full type showings, and no grand designs. The name "siderographic" caught my eye---they used it to name ornate and ornamental headline type. For example, Siderographic Ornate is from 1872. Scan of Pretorian. [Google] [More] ⦿ |
Student at the University of Western England in 2011. Creator of the the grubgy face Decay (2011, FontStruct) and the film strip face Simple Film Font (2011, FontStruct). [Google] [More] ⦿ | |
British type designer who worked for decades in Monotype's design studio. Her typefaces:
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Lauke runs Splintered in the UK, a design company. He made a number of free pixel fonts in 2004: 3x7-High, 3x7-Low, 3x7-Normal, Chaos-Engine, Erix-Outline, Robovox, syndicate, xenon2. FontStructions in 2012 involve mostly pixel fonts that are related to video games. We have Lucasfont (+Alternate), TFX Tactical Fighter Experiment, F-16 Falcon, F-19 Stealth Fighter, Phonephreak, Architypixel Doesburg 25x25 (based on Theo van Doesburg's Architype), Architypixel Doesburg 5x5, Dogs of War, Hoodlum samurai, 3x7 High, 3x7 Low, Isaac Espy Sans system, Chaos Engine, Erix Outline, Syndicate, Xenon2, Robovox, Sierra, Ages. Pre-2012 Fontstructions include Greeked, Robotron 2084, Cosimo, 3x7 Pixels. FontStruct link. Fontspace link. [Google] [More] ⦿ | |
The beautiful typographic designs by Patrycja Zywert (High Wycombe, United Kingdom) include her paperclip logo (2009) and Avocado (2009), and the hexagonal / 3d face Foster (2010) created to celebrate architect Norman Foster. More ornamental art. [Google] [More] ⦿ | |
British Victorian, pre-art nouveau illustrator, 1868-1928. Creator of this (lettered) set of Modern Capitals. [Google] [More] ⦿ | |
Pen name of Beatrice L. Warde. Born in New York in 1900, she died in London in 1969. A typographer, writer, and art historian, she worked for the British Monotype Corporation for most of her life, and was famous for her energy, enthusiasm and speeches. Collaborator of Stanley Morison. She created a face 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 1921-1925, 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 graphic designer. He created the casual fat finger typeface One Stroke Script (1984, Letraset). [Google] [MyFonts] [More] ⦿ | |
Paul Davis (b. 1984, of Davis and Davis Design in Runcom, Cheshire, UK) created the clock font Mister Wolf (2011). Dafont link. [Google] [More] ⦿ | |
Designer at Acme of Camberwell AF One (1998, grotesque sans), AF Tasience (1998), and Amateur 69 AF (1998, grunge). Klingspor link. [Google] [More] ⦿ | |
Computer programmer in the UK. Creator of Segment14 (2010, Open Font Library), an LED font, and Dotrice (2011, after an old EPSON FX-80 printer). Home page. [Google] [More] ⦿ | |
Paul Hill (aka Pabhstock) is the UK-based designer of disenfranchide fightthepower (2007, grunge), Scrumplestiltskin scrumpled (2007, grunge), Infekt (2006, grunge), Antisocial (2006, grunge), Infektcellwall (2006), Scrumplestiltskin (2006, grunge), Handy (2006, grunge handwriting), Minima Chopped (2006), Anti-social (2006, grunge), SquircleCirquarequbiqreg, SquircleCirquarequbiqregitalic, SquircleCirquaresemiserifbold, SquircleCirquaresemiserifbolditalic, SquircleCirquaresemiserifregular, SquircleCirquaresemiserifregularitalic, SquircleCirquaresemiserifthin, SquircleCirquaresemiserifthinitalic, SquircleCirquareTopHeavyTitler, SquircleCirquareTiltTopHeavyTitler (2006, a pixel family). Alternate URL. Dafont link. And another URL. [Google] [More] ⦿ | |
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About 100 free TrueType fonts by University of Western Australia lecturer Paul Lloyd (b. UK), many of them elaborate caps fonts: Larkin Capitals (2004), QuaNauticale Initials (2004, with Manfred Klein), Blavicke Capitals (2002), FoliarInitials (2002, Caps), Halftone (2003, blackletter), UltraBlack (2003, blackletter), Infula (2002, Caps), Strelsau (2002, Fraktur), Dampfplatz-DemiBold (2002, Fraktur), DampfplatzShadow-Black (2002, Fraktur), DampfplatzSolid-Black (2002, Fraktur), GenzschEtHeyse (2002, Fraktur), GenzschEtHeyseAlternate (2002, Fraktur), Moderna (2002, Fraktur), Lightfoot (2002), Nuffield Initials (2002), Cantebriggia (2002, Fraktur), Charterwell (2002, Fraktur), Portcullion (2002, blackletter), Portculliard Initials (2003, blackletter), Proclamate (2002, blackletter), Zenda (2002, blackletter), Teutonic (2002, blackletter), Medieval Victoriana (2002, caps), Portland Roman (2002), Wolnough (2002, caps), Landsdowne (2002, + Shadow: Victorian faces), Grimeswade (2002, caps), Orotund-Heavy, OrotundCapitals-Heavy (2002), Minster (2002, a 6-font Fraktur family), Killigrew (2002, Fraktur), Minim (2002, Fraktur), Coltaine (2002), Emporium Capitals (2002), Penshurst (2002), Cherubim Initials (2002), Pompadour Initials (2002), Casua (2002), Wadsworth's Industria (2002), Radaern Script (2002), Queen Empress (2002), Lisburne Initials (2002), Dundalk (2002), Claritty (2002, handprinting), Mysterious Voyage (2002), Arborial (2002), Deepwoods (2002), Florana (2002), Springtime (2002), Topiary (2002), Woodland (2002), Bertham, Camelot Initials, Chocolate Box (2002), Altea, Mosaic (2002, caps), Burgoyne (2002, caps), Hentzau Initials (2002), Engravier (2002, caps), Rustick Capitals (2002), Louvaine (2002), Chipperfield&Bailey (2002), Boister Black (2002, blackletter; the commercial Boister Black Pro was done in 2009 at CheapProFonts), Quill (2002), Erasmus (2002), Birmingham, Bolton, Brassett (2001), Chancera, Glastonbury, Grantham, E-Caps, CleaversJuvena, CoronationScot, Chronos, Brodgnorth, Draughtsman (2002), Duvall, Helena, Hominis, Imperator, Lewisham, Newstyle, Noir-et-Blanc, Peake, Priory, Ruritania, Shrewsbury, Simplicity, Sylph, Ubiqita_Europa, Woodcut Capitals, Watson, Wrenn, Imperator, Trefoil Capitals (2002), TinplateTitling, Freame, Graphis, Dutch I, Festival, Festival Flourish, d'Spenser, Sylvan-Capitals, Helena, Bridgnorth and Paladin Caps. In his Black Jewels series (as in "blackletter"), he published Black (2002), Germanica (2002), and is working on Minim and Killigrew. Most faces come in many weights, and are carefully manicured products. Other Lloyd creations may be found here, here, here, here, or here in Russia. In 2008, he started a commercial foundry, Greater Albion Typefounders. Font Squirrel link. Behance link. [Google] [MyFonts] [More] ⦿ | |
British designer who participated in the Type Tarts competition (2010). Behance link. [Google] [More] ⦿ | |
Born in London in 1952, Paul Luna is a professor at the University of Reading. He designed the Oxford Shakespeare, the Oxford English Dictionary second edition and the Revised English Bible. At ATypI in Rome in 2002, he spoke about the type used in dictionaries. At ATypI 2008 in St. Petersburg, he spoke about the phototypesetting era, 1950-1970. [Google] [More] ⦿ | |
UK-based designer of the handwriting font Lazy Dog. Home page. [Google] [More] ⦿ | |
Type designer from the UK, b. 1966. He created the humanist sans face Silkstone Sans (2011), the script face Frazzle (2011), Swash (2011, a signage script face), Jester Script (2011), and the angular face Hotspur (2011). Mosaic (2011) and Bloated (2011) are handprinted. MyFonts link for Paul O'Connell Typographics. In an interesting twist, Erik Spiekermann showed that Silkstone is a rip-off of his own ITC Officina, obtained by an automatic procedure. Silkstone was subsequently removed from MyFonts. [Google] [MyFonts] [More] ⦿ | |
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Paul Sach (Casually hardcore) is the UK-based designer of the ultra-fat face Casually Hardcore (2007). [Google] [More] ⦿ | |
Kent, UK-based designer (b. 1981) of the pixel face 5peero (2011). [Google] [More] ⦿ | |
Reader at the Department of Typography&Graphic Communication of the University of Reading (since 1980). Born in 1949, he died on March 8, 2011 [obituary by Sue Walker]. Editor in 1996, 1997 and 2002 of Typography Papers. At ATypI 2004 in Prague, he spoke about East-European emigres in Britain who had an impact on professional typography there. At ATypI 2006 in Lisbon, he spoke about typographic support for wayfinding. Speaker at ATypI 2010 in Dublin. [Google] [More] ⦿ | |
British logotype and type designer (b. 1979) who created the avant garde face Evolution (2007-2008). In 2010, Paul made the modular kitchen tile face Consume Or Die, the octagonal face Wipeout, and the geometric arc-based MSD10. See also here. The copyright notice says that the font is codesigned by Matt Schoch. [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. Creator of Christoffel-Book (2008, sans), Nilo-Enrico (2007, monospace), and Eam (2005, octagonal face). [Google] [More] ⦿ | |
Payvers&Bullens Ltd | British foundry, active in the early part of the 20th century. [Google] [More] ⦿ |
London-based typographic services, run by Peter Lerup. [Google] [More] ⦿ | |
Pedro Proença | Portuguese communication design student in London who is working on this sans (2006). [Google] [More] ⦿ |
UK-based designer of Wonderland (2011). Home page. [Google] [More] ⦿ | |
Pen&Brush Lettering and Practical Alphabets | Book with many samples of alphabets, published by Blandford Press, Ltd., London, 1929. Several typefaces served as models for digital designs by Nick Curtis. [Google] [More] ⦿ |
A free barcode font (part of QuickStart) can be downloaded at this barcode hardware and software vendor from East Yorkshire, UK. (Download a free demo and find the file)Contact person: Guy Allensby. [Google] [More] ⦿ | |
Perrens Fonts
| Bridgetown Totnes, UK-based foundry of Will Perrens (b. 1983, Devon). Perrens created the futuristic and large x-height sans face Doop (2007), sold by MyFonts. Klingspor link. MyFonts link. [Google] [MyFonts] [More] ⦿ |
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Pete Lacey (Northampton, UK) is a specialist in branding. I particularly like the type-based logo called Danzk (2010). [Google] [More] ⦿ | |
British designer of Evil Green Plant (2009, grunge) and Castafiore (2009). Home page. GitHub link for his faces. Dafont link. [Google] [More] ⦿ | |
Peter Dixie (Ishmael) is the British photographer who used FontStruct in 2009 to create the dingbat face Kameras. This face has glyphs for Leica III, Nikon F2, Rolleicord, Sinar, Canon EOS 1D, Box Brownie, Box Brownie with flash, a few more Leicas, Ricoh GR1, Agfa Clack, Mamiya 7, Polaroid 600, Hasselblad, Mamiya RB, Pentax Auto 110, Olympus XA2, Olympus XA2 with flash, Konica Big Mini, Lomo LC-A, Holga, Cambo Wide, 3DWorld, Canon F1, Mamiya Super 23. [Google] [More] ⦿ | |
British type designer (born in 1972) of the amorphous Amoeba face (1995) at FontFont. This includes Amoebats. See also here. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Unbelievably talented graphic designer in London. Designer in the FUSE 15 collection (1996) of DIY (Foundations and Skeletons). Debutart page. There, we find an architectural B (2011), a poster called Type Countries, martial arts icons, colorful safety icons, colorful departmental icons, a stunning techno wheel poster, Office Icons, a gorgeous typographic bike, an exemplary London city map, a poster entitled Africa, and a Vodafone Head illustration (2011). Bio from his web site: Tilly Northedge and Peter Grundy set up Grundy&Northedge in 1980 because they were both interested in information design. Firstly because it was a totally un-glamorous area of the business which they thought they could change, and secondly because it was less about selling things and more about explaining things which seemed a lot more interesting. Grundy&Northedge spent twenty six years making information visually interesting and in the process developed a way of drawing simple images to illustrate ideas that became their signature. They called it iconography, pictures that provide information and explain complex things. When Tilly left design in 2006 Peter Grundy renamed the studio Grundini with the intent of more extensive iconographic experimentation, not only for the clients who were in effect already there, but newly for customers, people who would see his work and buy one for there home, office or elsewhere. Peter Grundy's previous clients include Shell Oil, Moet&Chandon, Royal Mail, The Guardian G2, The Red Bull F1 Team, Men's Health, South West Trains, Hampton Court Palace and Volkswagen. [Google] [More] ⦿ | |
British designer of several Letraset faces: Crillee Bold Italic (1986, a techno face), Letraset Axis Bold (inspired by the handwriting style of the late Jimi Hendrix), Demian Bold (1987), Odessa (1988, a multiline face), and Van Dijk Bold (1986, non-connected handwriting). Peter O´Donnell at Linotype. [Google] [MyFonts] [More] ⦿ | |
Graphic designer (b. Manchester, 1955). Creator in FontShop's FUSE 5 collection of the stencil font Flo Motion. At his site, one can download a number of fonts under the label "N.O." (New Order). These are (I think) Saville's modifications of some typefaces by SSi and Bay Animation: N.O.- Ceremony (of ElseWare: Albertus Medium Regular), N.O.- Substance 1987 (of BodoniBookSSiBook), N.O.- Blue Monday '88 (of Bay Animation: ChiselWide), N.O.- Mesh/1981 - 1982 (of Bay Animation: (FujiExtended), N.O.- 1981 (of Bay Animation: FusiNormal), N.O.- Perfect Kiss/Low-life (of Bay Animation: Geo579Condensed), N.O.- 1993 (of Bay Animation: Hanzel), J.D.- Closer/LWTUA (of SSi: HeliosSSi), N.O.- Movement (seems to be a 1998 original), and N.O.- Brotherhood (of Salina Display SSi). Biography. Dafont link. Vitaly Friedman, on advice from Wolfgang Hartmann, states that N.O 1981 is indeed licensed and that other fonts presented in the Peter Saville Graphic Design Fonts Collection are the illegal copies of licensed, copyrighted fonts as well. [Google] [More] ⦿ | |
This Slovenian researcher in languages and typography obtained her Ph.D. at the Department of Typography and Graphic Communication from the University of Reading, UK, in 2004 on the topic of the development of special characters in Slavonic languages. She won a typographic excellence award from the Type Directors Club of New York in 1999. She is the ATypI delegate for Slovenia and was a graphic designer and teacher in Ljubljana. At ATypI 2004 in Prague, she spoke about "The development of diacritical marks". Link at Reading, where she is a Research Fellow. [Google] [More] ⦿ | |
London-based creator of the super-experimental geometric faces Artificer (2011) and Flatland (2011). Home page. Petros is also a talented typographic illustrator---see, e.g., his Blue Heron (2011). An example of his typography for information design: Table Tennis for the 2012 Olympics. [Google] [More] ⦿ | |
Graphic designer (born in 1958 in Kendal, Westmorland) who graduated from St Martin's School of Art in 1985 and the Royal College of Art in 1987. He works as a freelance graphic designer, is Professor of Typography at Central Saint Martins College of Art&Design (now a university) in London (since 1991), runs Phil Baines Studio, maintains Public Lettering (about type found in cities), and is Typographic Advisor to the Central Lettering Record CD-Rom project. He designed FUSE Classic 1, Can You (1989), Ushaw (FUSE 8, FontShop, 1993), Toulon (1994), Horncastle (1994), VereDignum LT Std in Alternate, Decorative and Regular weights (2003, Linotype Taketype 5 collection) and Can You Read Me (FUSE 1, 1991). His pages on public lettering in London. His books include Signs, lettering in the environment (with Catherine Dixon, 2003) and Type&Typography (2002, with Andrew Haslam). At ATypI 2007 in Brighton, he spoke on From the Motor Car Act to motorways. He has also a good reputation for taking people on typographic city tours, as he did in 2006 at ATypI in Lisbon, and at ATypI 2010 in Dublin. Linotype link. FontShop link. Speaker at ATypI 2010 in Dublin in which he explained how he and Catherine Dixon produced the lettering for the Pozza Palace in Dubrovnik on commission for the Serbian Orthodox Church. [Google] [MyFonts] [More] ⦿ | |
British creator of the experimental Kreased and gridded Kreased Remix (2009, FontStruct). [Google] [More] ⦿ | |
London-based Phil Garnham joined Fontsmith in June 2003 as designer to assist in the development and production of new alphabets for the Fontsmith font library. He is a 2002 graduate of Middlesex University. FontShop link. Most of his fonts are codesigned with Jason Smith. In 2004, he designed the slab serif FS Clerkenwell. Other fonts by him: FS Alvar (octagonal stencil), FS Kitty, FS Pele, FS Sinclair (2008, rounded octagonal), FS Conrad, FS Sally, FS Albert Pro, FS Lola. He made a custom face for the Northern Ireland Tourist Board in 2010. [Google] [More] ⦿ | |
UK-based illustrator who created Mediaevaround (2005) and Handscrawler (2005). [Google] [More] ⦿ | |
Successful British designer, 1950-1998, who lived in Manchester. Obituary in Serif, the magazine. Klingspor file (PDF). FontShop link. List of typefaces:
View Phill Grimshaw's typefaces. [Google] [MyFonts] [More] ⦿ | |
Designer of Festival Titling or Festival of Britain (1950-1951, Monotype) at the London Press Exchange for festival advertising. This almost beveled face has caps and numerals only. Monotype carries digital versions. [Google] [More] ⦿ | |
Photoscript Ltd. | Photo-era foundry located in London. Their house fonts include Blackfriars, Chin Century 2000 (computer simulation family in Nr 1, 2 and 3 versions), De Vinne Ornamented, Granby Elephant, Mexico Olympic (multilined) and Nova. Fonts are shown in Berthold Headlines E3 (1982). [Google] [More] ⦿ |
UK-based FontStructor (student at Bristol UWE) who created the cracked letter face Breaking Point (2009), which reminds me of Ray Larabie's famous Glaz Krak. [Google] [More] ⦿ | |
UK-based student. He reated the squarish typeface Romen (2012). [Google] [More] ⦿ | |
Surbiton, London-based designer of the handprinted family Roughly Write (2010). [Google] [More] ⦿ | |
Pixelscript
| Teesside, UK-based designer of the pay fonts Mono Dyslexic (2011) and Gill Dyslexic (2011). [Google] [More] ⦿ |
Pixelsurgeon fonts (was: Phont Typographics)
| Pixelsurgeon has pixel and other fonts by Jason Arber, a typographer/designer based in London. Partially commercial. Free fonts: Teenage Delinquent, Pancake, Good Advice, Chinese Whisper (neat Chinese seals by Rina Cheung). Commercial: Waikiki, Tekno, Surgery, San Francisco, Rubbish, Protopixel, Pixelbitch, PhutureBelly, Octopuss, Offender, Los Mutantes, Eviltype, EqualRights, Buddha's Teeth, Boxy 35, Boxy 5, Bongo, 3Some, Area 51. old Phont Typographics page. Other fonts that were at Phont Typographics include Phont Threesome (like Mahovac's Kalendar), Poopy (by Funny Satan), Fantazija (by Jason Arber), Crunchy Fax Phont, Death Phont (Jason Arber) and Nobby Phont (by Jason Arber), as well as Iron Forge Phont (1999, free at Chank's). [Google] [More] ⦿ |
P.M. Shanks&Sons | London-based foundry in the early 20th century. Fonts include
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Pojo (b. 1986) is in the UK. Creator of the neat and clean handprinted phawkenone (2010). [Google] [More] ⦿ | |
Graphic design student at Middlesex University in London. Creator of the experimental geometric face Polik (2011). [Google] [More] ⦿ | |
Graphic design student at middlesex University in London. Creator of the geometric experimental face Pollik (2011). [Google] [More] ⦿ | |
Pomegranate Fonts
| Pomegranate fonts is a joint venture between Edik Ghabuzyyan (Yerevan, Armenia) and Carolyn Puzzovio (b. Yorkshire, UK), intended to produce a number of Armenian / Latin typefaces. Carolyn is a lecturer at the University of Lincoln, UK, and a practising graphic designer. At AtypI 2005 in Helsinki, she spoke on Mesrob & Yacob: The story of the Armenian alphabet. In 2007, she created an Armenian font, Lagoon, which was based on a Venetian model from 1810. She won an award for Armenian type design at Granshan 2008. Since then, she is a regular member of the Granshan competition jury. Part of her research has been to trace the forms of Armenian types cut by the renaissance and later punchcutters in Europe. Carolyn plans to design further OpenType typefaces which feature both Latin and Armenian glyphs and are inspired by historical models. At ATypI 2010 in Dublin, she spoke about Armenian typography. The font list at Pomegranate as of 2010: Lagoon, Davit, Avandakan, Brayford, Hayk, Kantegh, Khoragir, Vosdekar, Tigran. [Google] [MyFonts] [More] ⦿ |
Bangkok-born creator of a number of striking type posters in 2008. Based in London, Pomme Chan runs Pomme Pomme Studio (illustration, design). [Google] [More] ⦿ | |
UK-based artist (b. 1991) who created Scratchy Handwriting V.1 (2005). [Google] [More] ⦿ | |
Porky Design
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Behance link. [Google] [More] ⦿ |
Preston Graphics
| Roy Preston was born in London, and worked most of his life as an art director and graphic designer. He is a prolific type designer, who created original families such as Paldus and Prentis (great-looking Old Style families), Preston-Roman, and Handroy (handwriting). His Prentis won the gold prize in the 1999 Morisawa Awards International Typeface Design Competition. (Some Dutch are saying that it is too close to DTF Lexicon, but I disagree.) Other faces: Prescipio, Preference, Prenton, Petal, Thorn, Quantum. Photo. Roy Preston published the Prenton RP humanist sans family in 2006 and the comic book style family Roy Hand RP in 2007 at BluHead Studio. MyFonts page. [Google] [MyFonts] [More] ⦿ |
Conference organized on January 11, 2002 at the University of Reading, UK. [Google] [More] ⦿ | |
Protimient.com
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His typefaces:
View Ben Jones's typefaces. [Google] [MyFonts] [More] ⦿ |
Public Lettering
| A site managed by Phil Baines, who says: This site is based on a walk by Phil Baines for his graphic design students which was then written up for the 1997 ATypI conference. The text has been updated and expanded to include other examples. This walk concentrates on larger examples of public lettering and doesn't mention incidentals - stop-cocks, manholes, dates on buildings, builders marks, &c - of which there is much en route. Much of the pleasure of this kind of walk, is finding things yourself. Although also public, it entirely ignores advertising hoardings, store signs and most corporate identities as these are usually approached as pieces of graphic design rather than opportunities for specialist, site-specific lettering. [Google] [More] ⦿ |
PurOKC Creations
| Randy Bouse (PurOKC Creations, UK) is the designer of the extended display font Ponchovia, and of Madrid. He also calls his fonts OKCRandy fonts, but currently, there are no fonts on his site. They used to be free but won't be in the future. [Google] [More] ⦿ |
British designer of Dragonscript (2007), a rune font. Home page. [Google] [More] ⦿ | |
Quantum Enterprises
| Run by Andrew Hunt. Handwriting font service in Somerset, UK, at 16USD a shot. Free sample truetype fonts made in 2003: QEAndySully2, QEAshleySmith-1, QEDawnKing, QEHandSerif, QESteveColes. Other faces that can be found on the web include JF_Arc_De_Triomphe, JF_Butterfly_1, JF_Liberty, JF_Playing_Cards, JF_Tower_Of_Westminster, all made in 2004. In 2006, there was a more extensive list of free handwriting fonts, dated 2004-2006: QEAmyDrake, QEAndyHamment, QEAndySully2, QEAshleighLowery, QEAshleySmith-1, QEBenjaminMerritt, QEBobGellatly, QECarlMorris, QECarolRobertson, QECaroleHall, QEChristopherTodd, QECliveCounsell, QEConnorGilmore, QEDSFont, QEDanaJOliver, QEDawnKing, QEDenisWilson, QEDonaldRoss, QEDotWilliams, QEDrewAngell, QEDunk, QEGerryHughes, QEGrahamGrover, QEHandSerif, QEJANMackenzie, QEJGS, QEJerryJohns, QEJessicurl, QEJohnCaplin, QEJohnChivers, QEJohnMoir, QEJonasVasey, QEJonathanTucker, QEJulietteCule, QEKraid1, QELisaHuntPU, QELocalGirlUneven, QELoriWollmann, QEMamasAndPapas, QEMarciaBein, QEMarekHill, QEMarionMitchell, QEMichaelBourne, QENormanMorgan, QEPamelaPeake, QEPattiButche, QEPeteLister, QERicoRomano, QERobFeltner, QERobertaLapointe, QERogerBrown, QERogerKilner, QERogerLaw, QERoseMcCullagh, QESaraWiseman, QESteveColes, QEStuartDurrant, QESusanHunting, QESusanZelie, QEValerieMorris-Cook, QEVernKits, QEWillows, QEgeeKzoid. Jig Font turns any image sent to them into a "jig font" which you can use in a word processor to reconstruct the image as a jigsaw puzzle. A free JF Liberty font, as well as JF Arc de Triomphe, JF Playing Cards, JOF Butterfly and JF Tower of Westminster are freely provided as examples. In 2007, a custom logo font service was added. [Google] [More] ⦿ |
British architect and designer, who made the handwriting font Gonzo. Alternate URL [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who was inspired by the windows in Bristol when he made Windowstruct (2010). [Google] [More] ⦿ | |
British designer of the techno font Linotype Besque (1999). [Google] [MyFonts] [More] ⦿ | |
British artist. Linotype designer of the modernist outline font Linotype Clascon (1997, with Rachel Botha), a highly original face. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Graphic artist in Firenze (and soon London). She made Blackout (2010, a geometric face), and Pac (2010, a circular face, inspired by Pacman). Behance link. [Google] [More] ⦿ | |
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UK-based graphic designer and digital artist. Creator of the experimental face Rectangulum (2009). [Google] [More] ⦿ | |
UK-based graphic design student Raj Mohanial created Mind Your Step (2010, handprinted), Tempered Pixels (2010, pixel face) and Nincompoop (2009, handprinted informal outline face). [Google] [More] ⦿ | |
Professor at the University of Portsmouth, UK. Designer of the old Bulgarian font Dilyana (2005), which can be downloaded here and here. [Google] [More] ⦿ | |
Celebrated British illustrator whose ink blot stytle of writing can be seen on all his drawings. Several typefaces are based on this style. These include Bat Country (2009, by Loboarches), Deadman (and Deadman Blotting and Deadman Squirting) (2010, by Christoph Seiler), Steadmanesque (2003, by Foxx Nolte), and Collateral Damage (1998, Chris Hunt). [Google] [More] ⦿ | |
Rami Al-Kilani | Graduate student of typography at the University of Reading, 2005. [Google] [More] ⦿ |
British designer of the dot matrix face Round Tech (2010, FontStruct). Aka MystaaRS. [Google] [More] ⦿ | |
French designer of the grotesque faces Raoul Transport Britannique (2011) and Raoul AUTOROUTE Britannique (2011), which are modeled after the glyphs of British traffic signs. [Google] [More] ⦿ | |
Bristol, UK-based creator of Career (2011), a collage face. Home page. [Google] [More] ⦿ | |
Reading Type
| Reading Type is a UK enterprise that offers free fonts designed by Ben Weiner, a British information designer specialising in internet work. Fonts: Acknowledgement (2001, heavy slab serif), Bentham (didone), Crop, Geo (1999, a squarish face completed in four hours---influenced by modernist designers such as Theo van Doesberg and Herbert Bayer), GeoOblique, Lineastraightforward, Puritan (grotesque), PuritanBold, PuritanBoldItalic, PuritanItalic, RolloutBold, RolloutBoldItalic, RolloutPlain, RolloutRegularItalic, St. Margaret's Cross (2008, a Victorian Gothic revival cross drawn over a photo of a stone cross in the masonry of St Margaret's church, Oxford, England). Acknowledgement (2001, OFL) is an Egyptian face. Dafont link. Another URL. And another Open Font Library URL. Fontsquirrel link. Google Code link. [Google] [More] ⦿ |
British graphic designer who created Artificer (2010), a typeface that took inspiration from Bifur. No downloads yet. [Google] [More] ⦿ | |
Student at Central St Martins in London, who is working on an alchemic typeface called Aztec (2012). [Google] [More] ⦿ | |
British designer (b. 1990) of the handprinted Rushed (2009, FontCapture). [Google] [More] ⦿ | |
Rebecca Simpson ("Becky S") is a British designer. She created Wobbly Bob (2011, sketch face), Old Rubber Stamp (2009) and Jolotte (2011, grungy). [Google] [More] ⦿ | |
Illustrator, art assistant and do-er of things based in Peckham, London. Behance link. Creator of a font for a commercial project, called Apiary (2011). [Google] [More] ⦿ | |
Red Rooster Typefoundry
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Alphabetic catalog of the Red Rooster typeface library [large web page warning]. [Google] [MyFonts] [More] ⦿ |
Research Studios (was: Research Arts UK)
| Neville Brody (b. 1957, North London) is a famous graphic designer who has influenced the practice of design in the 1990s. Iconic posters by him include the Tyson vs Tubs Tokyo poster from 1988. Other people working on Brody's site include Mike Williams and Simon Staines. Home of all FUSE fonts. Direct access. FontShop link. FontFont link. In 1993, Neville Brody published the poster font family FF World (FontFont), which used his lettering from his Tyson versus Tubbs Tokyo match poster (1988). This became a free web font in 2010 over at FontFont under the name FF World Wide Web. In 2006, Neville Brody published Times Modern, designed for The Times. The press release states: The new typeface, called "Times Modern", encapsulates the paper's heritage while adapting to the demands of the new compact format. Like The Times' previous typeface, Times Classic, Times Modern has been designed as a bespoke type family. The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts. The project has been led by Ben Preston, Deputy Editor of The Times, in partnership with Neville Brody, formerly art director of The Face, and lead designer on Actuel, City Limits and Arena magazines. Brody also worked on the redesign of Times2 in 2005. Collaborating with Neville is lead designer Jon Hill supported by Research Studios' Luke Prowse. Jon has worked on many large editorial projects, including the design of supplements for The Guardian, the redesign of Swiss newspaper Le Temps and UK business-to-business magazine Media Week. Twenty-three year old Prowse has created the new Times Modern headline font for the newspaper. That press release has been blasted by the typophiles for being plainly wrong ("The Times is the only newspaper to create and use bespoke fonts, all other UK newspapers purchase ready-to-use fonts." What, and how about The Guardian, for example?) and disrespectful of its designers (you really have to dig through it to learn that Luke Prowse actually did the type work). And controversy keeps following Neville Brody: in 2009, New Deal, a constructivist typeface, was made for the Micheal Mann film "Public Enemies", starring Johnny Depp and Christian Bale. The bloggers comment that the type is "rubbish" (sic), and that others such as Chank beat him to this type style. In 2012, Research Studios published Vetena (HypeForType). |
British engraver, stone carver and type designer, 1909-1979. He designed the garalde face Minerva (1954, Linotype) as a display face to accompany Gill's Pilgrim (or Bunyan) [he was Gill's student briefly]. He also designed the face Janet for private use, which was named after his wife, Janet Woods. Bio by Eason&Rookledge. He was famous for his wood-engraved lettering, which he put to good use on bookplates, title pages, and other inscriptions. See also here. A 1946 postage stamp designed by him. [Google] [MyFonts] [More] ⦿ | |
Punjabi designer in London. Behance link. He made these Gurmukhi/Punjabi fonts: Panjvi Jamaat (2012), Southwest (2012), RGX Gurmukhi Bit Font (2011), RGX PB Black Box Gurmukhi (2011), RGX PB Threat (2011), RGX Punjabi Black Box (2011), RGX Punjabi Bit Font (2011), RGX Punjabi Club (2011), Punjabi Vammala (2011). [Google] [More] ⦿ | |
London-based designer at Steven Shanks who made the slab serif face Clarence Condensed ca. 1910. Around 1904, he made the Gaelic modern angular font Stevens Celtic (or: Later Figgins Bold). The latter face resurfaced in a similar form as Monotype Series 85, ca. 1906. R.H. Stevens started R.H. Stevens&Co. [Google] [More] ⦿ | |
Rhys Tomlinson (Studio Push, UK) is based in Newcastle, UK. He created the Peignotian avant-garde face Kirstie McCrystal (2010). Behance link. [Google] [More] ⦿ | |
British creator of the experimental hexagonal typeface Triso (2008). [Google] [More] ⦿ | |
British co-designer, with Apostrophe at Apostrophic Laboratory, of the Textan family, based on shapes of the game Tangram; and of Glaukous (2001, also with Apostrophe), TexRounded MM (2001, multiple master font, with Apostrophe), TexSquareMM (2001, multiple master font, with Apostrophe) and Luteous (with Graham Meade, 2001). [Google] [More] ⦿ | |
Creator of the experimental face Divine (2011). Rich studied Graphic Design at the Arts University Collage at Bournemouth (AUCB). [Google] [More] ⦿ | |
Richard Bradbury (UK) is a graphic design student. In 2011, he designed a modular typeface by intersecting circles---it is called Kaleidoscopic. [Google] [More] ⦿ | |
Designer From Manchester, UK. Creator of the fat round filled-in face KLEFT (2009). Home page. [Google] [More] ⦿ | |
FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Freelance web designer and digital creative director in Market Harborough, UK (b. 1973). His free fonts include McCoy-HelloLori (2007, outline face), McCoyCheakyCharlie (2007), McCoyDingbatKarate (dingbats), McCoyDyslexia (2003, handwriting), McCoyPage13 (2004, old typewriter). Dafont link. [Google] [More] ⦿ | |
Richard Porson | Creator in the 18th century of Greek types (d. 1807), which led to many digitizations known as Porson Greek. See, for example, GFS Porson Greek, digitized by George Matthiopoulos for the Greek Font Society, which writes: In England, during the 1790's, Cambridge University Press decided to procure a new set of Greek types. The university's great scholar of Classics, Richard Porson was asked to produce a typeface based on his handsome handwriting and Richard Austin was commissioned to cut the types. The type was completed in 1808, after the untimely death of Porson the previous year. Its success was immediate and since then the classical editions in Great Britain and the U.S.A. use it, almost invariably. In 1913, Monotype released the typeface with some corrections, notably replacing the upright capitals suggested by Porson with inclined ones. In Greece the typeface was used under the name Pelasgika type. GFS Porson is based on the Monotype version, though using upright capitals, as in the original. [Google] [More] ⦿ |
Exemplary web page by Brighton-based Richard Rutter on web typography. He showcases the first few pages of Robert Bringhurst's book. [Google] [More] ⦿ | |
British font software specialist and type designer. A graduate in natural sciences from Cambridge (1960), he joined Crosfield Electronics Ltd in London, where he was responsible for producing photomatrices for the Photon-Lumitype direct- photography photocomposing machines sold by Crosfields in Europe. From 1974 to 1983 he was a lecturer in the Department of Typography and Graphic Communication at the University of Reading. Between then and the end of the decade he worked in California and France, at Stanford University, Xerox Palo Alto Research Center and the Université Louis-Pasteur in Strasbourg. Since then he has been a consultant type designer with the American Mathematical Society, BT, the Civil Aviation Authority, National Air Traffic Services and US West Dex (now Qwest Dex). Author of Printer's Type in the Twentieth Century Manufacturing and Design Methods (British Library Publishing, 2005). Sumner Stone reviews this book. He also wrote Designing a new typeface with METAFONT (Springer Lecture Notes in Computer Science, vol. 236, pp. 161-179, 1986). [Google] [MyFonts] [More] ⦿ | |
FontShop link. Klingspor link. Wikipedia link. View ichard T. Austin's typefaces. [Google] [MyFonts] [More] ⦿ | |
British designer of Back to the Future (2001). See also here. [Google] [More] ⦿ | |
London-based creator of the Gaelic early transitional angular typeface Watts (ca. 1818). Recent digitizations include Acaill (1997, Michael Everson) and Seanchló (1998). Later similar Gaelic fonts include Irish Echo (ca. 1881, by an unknown) and Ballhorn (ca. 1861, by Friedrich Ballhorn). The Watts type was originally cut for the Hibernian Bible Society, an organ of the The British and Foreign Bible Society, which tried to convert the Irish speaking majority. [Google] [More] ⦿ | |
British cartoon designer and type designer (b. London, 1945). He has redesigned the The Boston Herald American, the International Herald Tribune and Die Welt. In addition, he has been Art Director for The New York Times and the European edition of The Wall Street Journal. Images of some of Richard Yeend's typefaces. Agfa/Monotype designer of Abbot Uncial, Acorn, Bangor, Broad Street, Comix, Honerswerda (fraktur), Saxony Script, Ski Gothic (fraktur), Xmas and Maidenhead (2001). At Linotype, he made Plantagenet, Achipado, Bandolero, Linotype Buckingham Fraktur (2002, part of TakeType 4), Linotype Richmond Fraktur, Hoyerswerda Fraktur (Agfa) and Linotype Richmond Zierschrift (2002). In 2003, as part of Linotype's Taketype 5 collection, he published Achispado LT Std, AmherstFraktur LT Std Bold, AmherstFraktur LT Std Heavy, AmherstFraktur LT Std Regular, AmherstGothicSplit LT Std It, AmherstGothicSplit LT Std Rg, AmherstGothicSplit LT Std RgAlt, Anasdair LT Std Bold, Anasdair LT Std BoldAlt, Anasdair LT Std Regular, Anasdair LT Std RegularAlt (2003), Bandalero LT Std, BurgstaedtAntiqua LT Std Italic, BurgstaedtAntiqua LT Std Rg, Hawkhurst LT Std Bold (2003, after a face by Albert Kapr), Hawkhurst LT Std BoldItalic, Hawkhurst LT Std Italic, Hawkhurst LT Std Regular, Hawkhurst LT Std RegularAlt, Hawkhurst LT Std RegularSC, Italienne LT Std (a true Western face), NeuseidlerAntiqua LT Std Bd, NeuseidlerAntiqua LT Std BdAlt, NeuseidlerAntiqua LT Std Hv, NeuseidlerAntiqua LT Std HvAlt, NeuseidlerAntiqua LT Std Rg, NeuseidlerAntiqua LT Std RgAlt. The Neuseidler family has art nouveau influences. [Google] [MyFonts] [More] ⦿ | |
Designer in the UK, b. 1982. He created the pixel face Retro Rescued (2010). [Google] [More] ⦿ | |
London-based founding editor of Eye in 1990. Author of Typographica (2001, Princeton Architectural Press), described by the editor as follows: The magazine Typographica--brainchild of founder, editor, designer, and renowned typographer Herbert Spencer--had a brief life, a total of 32 issues published over nineteen years. But its influence stretched--and stretches--far beyond its modest distribution and print runs of the time. Indeed, for many graphic designers, Typographica is something of an obsession, to be collected if and when found, savored, and poured over for designs and techniques not seen since. Remarkably, Spencer never intended to turn a profit, so no expenses were spared in the making of the magazine. Different papers, letterpress, tip-ins, and more were all employed in the presentation of an eclectic range of subject matter: Braille, locomotive lettering, sex and typography, typewriter faces, street lettering, matches, and avant-garde poetry all found their way into the magazine. Rick Poynor, founding editor of Eye, recreates the excitement of Typographica in this carefully researched, accessibly written, and beautifully illustrated book that pays tribute to the man and the magazine that changed the course of graphic design. Author of Typography Now: the Next Wave (1991), and frequent invited speaker at meetings. His other books include The Graphic Edge, Design Without Boundaries, and Obey the Giant. At ATypI 2004 in Prague, he spoke about the crossroads of civilizations. [Google] [More] ⦿ | |
Graphic design student at The Manchester College of Manchester Metropolitan University, UK. Creator of Logo Typeface (2011), with letters taken from famous logos. He also made a nice Wim Crouwel poster (2011). [Google] [More] ⦿ | |
British graphic designer who studied graphic design at Worcester University. In 2011, he created the Rubix Cube Typeface, Suave (2011, an avant garde family with art deco elements). Behance link, Marble Display Font (2011, a geometric experiment). [Google] [More] ⦿ | |
Freelance designer in London, who created a fashion mag type family called Suave (2012), and a modular typeface called Marble (2012). Behance link. [Google] [More] ⦿ | |
Riscatype | London-based printer and typefounder. Pictures of the 1938 Riscatype Catalogue of the Yendall&Co. of London. I can't detect any original types in that catalog, so maybe Riscatype was just a printer or type seller. [Google] [More] ⦿ |
Risque.nu (or: HEARTS.NU)
| Free handwriting fonts by UK-based Sarah Oliver (b. 1986) at Risque.nu: Pookie (2007), A Letter From Home (2007), Funny Valentine (2007), Hello Daniel (2008, handprinted). She also has a gothic and a minimalist sans font archive. Alternate URL. [Google] [More] ⦿ |
RoastHorse Type Foundry
| Joe Baldwin (b. UK, 1973) runs RoastHorse Type Foundry. He is the designer of the pixel font Flash Script (2002, italic), the sarcastic RHBertholdRegularIndustryofTyrany RHBurroughs, RHCarrierStencil (2004, a free font created because of Berthold's "abuse of copyright"; it is an octagonal stencil font), Linx Pro (a MICR and dot matrix family), the pixel face RHBurroughs, the fat Western style face Hubbard Hand Lettered (2003, available at T-26), and the flash-optimized Kerouac (2002, T-26). His home page. Alternate URL. [Google] [MyFonts] [More] ⦿ |
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Wigan, UK-based designer of the experimental face Domino (2011). He is studying design at Runshaw College. Home page. [Google] [More] ⦿ | |
Oxford, UK-based illustrator and designer, who made the blocky octagonal counterless face Dot By Four (2011). Behance link. [Google] [More] ⦿ | |
Graphic designer in Plymouth, UK, where he studies at Plymouth University. He created the constructivist face Bukuju (2011), which was influenced by the Imperial Villa in Katsura, Japan. Behance link. [Google] [More] ⦿ | |
Leeds, UK-based designer of the experimental typefaces Side View and Ellipsis (circle-based typeface) in 2012. [Google] [More] ⦿ | |
Rob is currently studying for his PhD in the Department of Typography&Graphic Communication at the University of Reading. At ATypI 2003 he spoke about Experiments in wood: early 19th Century wood-engraved lettering and wood types: "A brief introduction to the work of jobbing printers Frederick Gye and Giles Balne, innovative London based jobbing printers in the first half of the nineteenth century. Gye and Balne were printers for the State Lottery and Vauxhall Gardens, the former in particular being a driving force behind developments in advertising including new display types. The focus of the talk will be on the contribution made by Gye and Balne (and some of their rivals) to developments in type design in the form of wood-engraved letterforms and wood types which influenced the metal types produced by the type founders." Coauthor with Fiona Ross of Non-Latin Typefaces at St Bride Library, London and Department of Typography&Graphic Communication, University of Reading (2008, London: St Bride Library). [Google] [More] ⦿ | |
British typefounder and punchcutter, active from about 1840-1860. He succeeded William Thorowgood at the Fann Street Foundry in 1849. Credited with cutting the first Clarendon (1845), a fat face with thick slabs. This was also the first registered typeface, ever. See also here. Stephenson Blake acquired Clarendon when it bought the Sir Charles Reed typefoundry, and issued the face as Consort. Typophile discussion on Besley's Clarendon from which I quote a few passages.
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Robert de Neit
| Litewait is a UK based type design company. Its page requires shockwave, and will stop those without. Even with Shockwave installed, this site is a time-sink. Commercial faces: Adrenalin (Robert N. de Niet, 140 USD), and Alladin, Albert Speer, Astropogo, Beewing, Chemical Child, Concept Sans, Cool Iron, Cordial, Dedica, End of the Cat People, Flux, Generation, Harrass, Hyperion (1998), Issey, Light Bits, Lo-Fi, Lord Haw Haw, Must-Have-Her, Newq, Ovoid, Pan, People, Prince, Pyrex, Reform, Royalty, Rubber Nipple, Stitch Cross, Testface, Very. Robert de Niet is also the [T-26] designer of the futuristic fonts Lord Haw-Haw (1998), Hyperion (1998) and Adrenalin (1998). MyFonts spells his name de Neit. Other write de Niet. [Google] [MyFonts] [More] ⦿ |
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UK-based graphic designer. Fontspace link. Creator of My Chemical Romance (2011, a scratchy hand). [Google] [More] ⦿ | |
Robert Lomas (Lomas Design, Manchester, UK) created a multiline prismatic typeface called Groove (2012), and a 3d multiline typeface called Good Vibrations (2012). Behance link. [Google] [More] ⦿ | |
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Kent, UK-based digital artist who made an ornamental all caps face in 2010. [Google] [More] ⦿ | |
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Quoting from the typophile wiki: In 1794 Robert Thorne purchased the foundry of Thomas Cottrell, a former employee of the original William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. By 1798 Thorne had replaced all of Cottrell's types with his own designs and in 1801 was the first type founder to begin showing the fat face types. He went on to design many popular display typefaces. He also moved the foundry to Fann St. renaming it the Fann Street Foundry. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery though he was never involved in the type founding business. Subsequently many of the types identified as Thorowgood's are actually the designs of Robert Thorne. Thorne Shaded was digitized and condensed by Nick Curtis as Shady Grove NF (2006). [Google] [MyFonts] [More] ⦿ | |
Manchester, UK-based designer of the grunge faces HelenBrown and HelenBrownSolid (2008). [Google] [More] ⦿ | |
Ipswich, UK-based designer, b. 1985. Creator of the Futura-based font Pinch (2007). No downloads. Alternate URL. [Google] [More] ⦿ | |
British typographer, editor and writer. After graduating from the Department of Typography, University of Reading, he wrote a thesis on Otto Neurath and Isotype in 1979. Author of Modern Typography (1992, here is the second edition) and Unjustified Texts (2002). He works for Hyphen Press. Interviewed by Andy Crewdson. [Google] [MyFonts] [More] ⦿ | |
Robs Fonts
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Other typefaces by Hillier: Dine (an experimental interactive font) and CIRCS (experimental display font). [Google] [More] ⦿ |
Rodney Mylius
| Mylius is the British Airways font. It can be found on some sharemation site. It was designed by Rodney Mylius at Newell and Sorell (a branding consultancy firm), and finished by Agfa/Monotype. [Google] [More] ⦿ |
Type designer from Staffs, UK. His 114 free creations, all done between 1992-1998, include AmertonOutline, AmertonOutlineItalic, Cambridge (a copy of University Roman), Cardiff, CardiffBold, CardiffBoldItalic, CardiffItalic, Carolus, CarolusItalic, Circled, Colton, ColtonSmallCapitals, Curborough, CurboroughBold, CurboroughBoldItalic, CurboroughItalic, Derrington, Dresden, Dublin, DublinBold, DublinHollow, Dunstall (art nouveau), Fradley, FradleyBlack, FradleyBold, FradleyBoldItalic, FradleyExtended, FradleyExtendedItalic, FradleyItalic, FradleyNarrow, FradleyNarrowItalic, FrysOrnamented, GloucesterOpenFace, Gresham, Hanch, HanchBold, HanchBoldItalic, HanchItalic, HanfordScript, Jana, Jarrow (uncial), KeeleDecorated, Lancaster (blackletter), Libra, LongdonDecorative, Loxley, Lydian, Milford, MilfordBlack, MilfordBold, MilfordBoldItalic, MilfordCondensed, MilfordCondensedBold, MilfordCondensedBoldItalic, MilfordCondensedItalic, MilfordHollow, MilfordItalic, MilfordLight, MilfordLightItalic, Milwich (Lombardic), NationalFirstFont, NationalFirstFontDotted, NationalPrimary, NationalPrimaryDotted, Newborough, NewportGothic, NewportGothicItalic, Newtown, NewtownBold, NewtownBoldItalic, NewtownItalic, Orgreave, OrgreaveBold, OrgreaveBoldItalic, OrgreaveExtendedBold, OrgreaveExtendedBoldItalic, OrgreaveExtendedItalic, OrgreaveExtendedNormal, OrgreaveItalic, Oxford, Plymouth, QueensPark, QueensParkBold, QueensParkBoldItalic, QueensParkItalic, Rochester, Rosart, StoweOpenFace, StoweTitling, StoweTitlingItalic, SudburyBook, SudburyBookBold, SudburyBookBoldItalic, SudburyBookItalic, SudburyLight, SudburyLightItalic, Swansea, SwanseaBold, SwanseaBoldItalic, SwanseaItalic, TamworthGothic, Telford, TelfordHollow, TelfordHollowItalic, TelfordItalic, Tiverton, TrajanusRoman, Tutbury (blackletter), TutburyBold, TutburyBoldItalic, TutburyItalic, Typewriter, TypewriterBold, WrexhamScript, WrexhamScriptLight, Yoxall, YoxallBold, YoxallBoldItalic, YoxallItalic. Many of these are text families, both sans (like Milford) and serif (like Fradley). The collection is largely a revival or an extension of historic typefaces. Specialty styles covered by him include blackletter (Derrington, Lancaster, Rochester), ornamental caps (Dresden), calligraphic scripts (Hanford Script, Wrexham Script), uncial (Libra) and medieval (Milwich). Fontspace link. Dafont link. Abstract Fonts link. [Google] [More] ⦿ | |
Roland W. Paul |
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NEUE is the design practice of editorial graphic designer Rosalind Stoughton (Leeds, UK) who is studying at Leeds College of Art. In 2012, she created Fonecian, a futuristic display typeface with two character sets and two widths that was inspired by the ancient Phoenician alphabet. It can be bought at Ten Dollar Fonts. Behance link. [Google] [More] ⦿ | |
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Born in 1931, Rosemary Sassoon is a British handwriting and script expert who has worked a lot on didactic scripts for children. She obtained a PhD from the University of Reading for her work on how models and teaching methods affect children's handwriting. She is the author of Handwriting of the Twentieth Century: from Copperplate to Computer (Routledge, 1999) and Better Handwriting with G.S.E. Briem (Teach Yourself series, 1994). She is most famous for her Sassoon Primary font family (primary school writing; see the 2000 face Sassoon Infant). Her fonts were developed by Adrian Williams of Club Type. [Google] [MyFonts] [More] ⦿ | |
Graphic designer in London, where she runs Rosemary Design (dead link). She created the multiline display face Gelam (2009). Fontspace link. [Google] [More] ⦿ | |
Visual Communication student at Loughborough University, UK, who lives in Oxford. In 2011, she made Cycling in London, a typeface inspired by bicycle parts. She also created London Olympic (2011, silhouettes of athletes in the forms of letters). [Google] [More] ⦿ | |
UK-based FontStructor (student at UWE) who made Fat Lass (2010), an ultra-fat all-caps face. He also did We Dont't Disco in 2010. [Google] [More] ⦿ | |
Roy Cole Foundry
| Roy Cole (b. Bradford, UK, 1932) is a British typographer who trained under Emil Ruder and Robert Büchler at the Allgemeine Gewerbeschule Basel in Switzerland. His foundry, est. 2003, is located in Wells, Somerset, UK. He designed the 6-weight sans family Lina (2003) and the 6-style Swiss-style sans family Zeta (2006). In 2009, he published the humanist sans family Colophon. |
Scottish typographer and scholar, b. near Newton Stewart, Galloway, 1917, d. 2006. Author of "Jan Tschichold: Typographer" (1975). He wrote the classic "The Thames&Hudson Manual of Typography," originally published in 1980. He also wrote "True to Type: A Typographical Autobiography," published by Oak Knoll Press in the United States and Werner Shaw in the UK. McLean was raised in Oxford and spent most of his life in London. Obituary. [Google] [MyFonts] [More] ⦿ | |
Rugrats typeface | Ask for a free copy of the Rugrats typeface, faithfully reproduced at Picardy Television in the UK. It will be sent by email. [Google] [More] ⦿ |
London, UK-based visual designer, who made some fonts. Home page. [Google] [More] ⦿ | |
Illustrator in Birmingham, UK. Creator of an experimental counterless typeface in 2009. In 2010, he did similar faces called Shape Font V1 and Shape Font V2. Home page. [Google] [More] ⦿ | |
Rune Fonts
| Bob Oswald's commercial rune fonts foundry in the UK. Each font contains 40 characters representing all the runes of both the Elder (Norse) Futhark and the Anglo-Saxon (Frisian) Futhorc: RuneGrafic (Bevel, Engraved, Ruins, Twigs), RuneSans (Regular, Bold, Italic, Light, Outline), RuneCraft (Regular, Bold, Italic, Light, Outline), RuneMaster (Regular, Bold, Italic, Light, Outline). [Google] [More] ⦿ |
Norfolk, UK-based designer (b. 1983) of the handwriting face I have problems (2005), of the clipped Arial face CD Player (2005), of the tall-ascendered Doctor Fox Classic (2006) and of FishNChips (2005). Web page. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created Hippie Mark (2009, psychedelic), Freddie Shadow (2009, an LED face) and Altered Sound (2009, an unfinished art deco face). [Google] [More] ⦿ | |
Student at UWE in Bristol, who made the texture face HiFi (2011, FontStruct). [Google] [More] ⦿ | |
Bedworth, UK-based designer who studied at Leeds Metropolitan. Behance link. He created the construcyivist face Bunkier Sztuki (2010). [Google] [More] ⦿ | |
Salamandra
| Mark Davies (Salamandra), (b. 1956, Manchester, UK) lives in Victoria-Gasteiz, in Basque country. In 2010, he made Iturritxu. [Google] [MyFonts] [More] ⦿ |
Leeds, UK-based designer of the display face Tacit (2011). [Google] [More] ⦿ | |
Sally Castle | Type design student at Reading who created Grover (2004), a serif-sans-casual family specially designed for dyslexic people. Incidentally, Grover is also the maiden name of Sally. [Google] [More] ⦿ |
Graphic Design student at the University of Brighton. He created a modular monoline typeface in 2012. Behance link. [Google] [More] ⦿ | |
Graphic designer from Derby, England. His Warp font (2011, geometric and counterless) was created for Warp Music and Film Company. [Google] [More] ⦿ | |
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Graphic designer in Basingstoke, UK. Behance link. He created the modular paper cut face Falte (2011). [Google] [More] ⦿ | |
London and Vienna-based designer of this sans face (2004). [Google] [More] ⦿ | |
Graphic designer in Rochdale, UK, who is studying at Salford University. Creator of the experimental typeface AZ Freaky font (2012). [Google] [More] ⦿ | |
London-based creator (b. 1995) of the handwriting font Samie (2007). [Google] [More] ⦿ | |
UK-based designer of CMonkee (2012, thin, hand-printed). [Google] [More] ⦿ | |
Student at Middlesex University, UK, 2008-2011, and graphic designer in London. Creator of the experimental face Dynamik (2011), a geometric sans face with blackened cunters and ultra-hairline strokes. Behance link. [Google] [More] ⦿ | |
London-based graphic designer. Creator of the geometric typeface Insomniak (2012). Behance link. Aka Essay Me. [Google] [More] ⦿ | |
Farnham, UK-based designer of the triangular modular face Nineninenine (2010). [Google] [More] ⦿ | |
UK-based creator of Artphabet (2012, art deco). [Google] [More] ⦿ | |
Illustrator and animation designer in London. Behance link. She seems to have designed the flared serif face Jin (2009, Politecnico de Milan). [Google] [More] ⦿ | |
Designer at Acme of AFCarplates (1997, based on British license plates; the lower case letters were added by Christian Küsters). One of the weights is called AF Carplates Bold Stencil. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
UK-based designer, b. 1986. He created the art deco face New York Sanj. [Google] [More] ⦿ | |
British graduate student of typography at the University of Reading, 2006. She created the typeface Chatham as a student project. She runs The Letter G, "an ideas-led design company specialising in typography and graphic communication". It is located in Harpenden, Hertfordshire, UK. Creator of Chatsworth, a brand typeface for a stately home in Derbyshire, in the Peak District in northern England. I was trying to incorporate influences from height-of-the-empire-post-industrial- revolution-England. [Google] [More] ⦿ | |
Sara De Bondt is a London-based Belgian graphic designer who has been running her studio since 2003. Before that she worked for Foundation 33 and studied graphic design at Sint-Lukas, Brussels (B), Universidad de Bellas Artes, Granada (ES) and Jan van Eyck Akademie, Maastricht (NL). She has given workshops/talks at Beckmans college Stockholm, Ecole des Beaux Arts Lyon, Ecole de Recherche Graphique Brussels, deSingel Antwerp, Jan van Eyck Akademie Maastricht and Laus Symposium Barcelona. She teaches at The Royal College of Art and co-curated the The Form of the Book conference at St Bride Library in January 2009. In 2008, she designed the dingbat face FuturaET. [Google] [More] ⦿ | |
Ipswich, UK-based designer (b. 1984) of a letter from home (2007, handwriting) and Pookie Caps (2006, handprinted). [Google] [More] ⦿ | |
Graphic design student in the UK who created the modular face Week Project (2011). [Google] [More] ⦿ | |
SAS Scandinavian is the SAS Airlines font made by the Agfa/Monotype staff in 1997: Diefenbach Elkins Davis Baron of London had created the foundation for the design. Stockholm Design Lab went on to develop the design further; and apply a Scandinavian touch. Monotype was then selected to provide the necessary typographic expertise. It can be found on some sharemation site. SAS Monospace BT Roman (1994) is here. [Google] [More] ⦿ | |
Kenyan-born England-based calligrapher and designer of ITC Simran (1998, an Indic simulation face). With Colin Brignall, he co-designed the angular blackletter family ITC Werkstatt. The author of Calligraphy--The Rhythm of Writing, he often lectures on on-screen calligraphy, and calligraphy in general. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
In 2012, Sawdust published Ivory, a stencilish typeface. Behance link. [Google] [More] ⦿ | |
S&C Stephenson |
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Schizotype
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Additions in 2010: Christmas Tuscan (a modular Tuscan), Masonic Lodge, Mook (a retro, unicase, bubble font), Toothpaste 2, Gaden Sans (organic monoline face that includes a hairline weight), Sizemore (all caps slab headline face), Quickscript (signage face), New Wave. Fonts designed in 2011: Brag Pro (like Brag, a Cooper Black alternative), Brag Stencil Pro, Chestnut (curly, handprinted), Brag (a fat round face in Cooper Black style), Gelato Script (a connected signage face), Brag Stencil (2011), Streetscript (2011, brushy signage face). In 2011, he created a quanit text family, Vulpa, with quirky foxtail terminals. Showcase of Schizotype's typefaces at MyFonts. [Google] [MyFonts] [More] ⦿ |
School of Oriental and African Studies
| Page for John Okell, who wrote "Burmese: an introduction to the script" in 1994. The school also offers two fonts: AvaLaser for the Mac is available from Andrew Osmond, and ICMyanmar for PC is available from its designer, Ian Carter, 98 Aung Mingalar Street (ground floor, right), Kyaukmyaung Quarter, Tamwe Township, Yangon, Myanmar (Burma), or from Justin Watkins at the School. [Google] [More] ⦿ |
At Dafont, one can download Scott Scanlan's techno typeface Isometype (2012). Scott is an American designer who lives in London. [Google] [More] ⦿ | |
ScoutBase UK is developing a series of True Type (and some Adobe Type 1) fonts containing Scouting images: UKPatrolBadges, Baden Powell Patrol Animals, ScoutingUKDings, Explorer (2002, a Bank Gothic style font by HouseStyle Graphics Limited), ScoutsSection (2001, by HouseStyle Graphics Limited), ScoutsLogofont (2001, by HouseStyle Graphics Limited). Free downloads. [Google] [More] ⦿ | |
Scrowleyfonts
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Images of her typefaces. [Google] [MyFonts] [More] ⦿ |
Sean Jennett | Author of "The making of books", 5th edition, Faber&Faber, London 1973. On page 169, we find this quotation: "It does not require many fingers to count the number of great types in the history of printing." [Google] [More] ⦿ |
UK-based web and graphic designer, b. 1970. Creator of Hand of Sean (2008), Sean's Other Hand (2010), and Tidy Hand. Dafont link. [Google] [More] ⦿ | |
Bristol, UK-based designer of the oddly concocted face Grocian (2011). [Google] [More] ⦿ | |
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UK-based FontStructor (student at Bristol UWE) who created Decay of TNR (2010), an interesting all caps face. [Google] [More] ⦿ | |
British author of Twentieth-Century Type Designers (Trefoil, 1987; Lund Humphries Publishers, 1995). Owner of Rampant Lions Press. [Google] [MyFonts] [More] ⦿ | |
FontShop link. Linotype link. Interview in 2008 by iLT. Klingspor link. View Sebastian Lester's typefaces. [Google] [MyFonts] [More] ⦿ | |
The Second Annual Conference of the Friends of St. Bride took place on October 20-21, 2003 at the St. Bride Library in London. See also here. Its theme was "hidden typography". Conference Proceedings. [Google] [More] ⦿ | |
Student at UWE in Bristol, UK. Creator of Jank and Jank Reverse (2011, FontStruct), a pair of futurismo faces. [Google] [More] ⦿ | |
SelfBuild Type Foundry
| SelfBuild Type Foundry has commercial fonts by Craig Stainton (York, UK, b. 1974). The fonts may be bought through DsgnHaus. These include SB Expo (bitmap face), SB Grip (bitmap face), SB Degenerate, SB Modem, SB Tokyo, SB Vibe, SB Message (pixel fonts, 2001), SB Liquid, SB Byte, SB Websnap (pixel font). Downloadable demos without punctuation or numerals. Free font: SB Censor (2001). Experimental dot matrix font: go here. At FontHaus, he made Censor-Cameo. Experimental graffiti font: Graff (2005; see also here). Creator of Mighty Robot Lettering (2011). Behance link. Klingspor link. [Google] [More] ⦿ |
Shady Characters The secret life of punctuation
| UK-based Keith Houston's blog about the unusual stories behind some well-known marks of punctuation. [Google] [More] ⦿ |
UK-based designer (b. 1995) of the handprinted faces Quick Note (2011) and Fat Fairy (2011), and of the dot matrix face Disco Never Dies (2011). [Google] [More] ⦿ | |
From Essex University, Alan M. Stanier's metafont for Shavian. From Alan's readme: "The Shavian "Proposed British Alphabet" was devised by Kingsley Reed and was the winning entry in a competition financed by a trust set up under George Bernard Shaw's will. The aim was to find an alphabet able to write English without indicating single sounds by groups of letters or by diacritical marks." [Google] [More] ⦿ | |
Shelley Gruendler is a designer and typographer working in the United States and England and has written for the American national biography and the forthcoming Spirit of St Bride and The education of a typographer. She is currently completing her PhD at the Department of Typography and Graphic Communication at the University of Reading and will soon publish a biography of Beatrice Warde. At ATypI 2003 in Vancouver, she spoke about Beatrice Warde. [Google] [More] ⦿ | |
British type designer, born in 1959, who runs Type Design, an independent consultancy which she founded in 1981. From 1977 on, she worked in the type department of Linotype, where she and Walter Tracy developed Arabic and Cyrillic typefaces. She created Telegraph Newface Bold (1989, with Walter Treacy, for The Daily Telegraph), Telegraph Newface Roman (1990), Pegasus Bold (1980, with Matthew Carter for Berthold Wolpe), Mitsubishi Arabic (1987, with Tim Holloway), New Johnston Signage Light (1988), Sun Life Engraved (1988), and helped Matthew Carter with the creation of foreign glyphs to extend his Galliard family. BAA Bembo, used at BAA airports, was drawn by her (and possibly Freda Sack as well). Typographers laud it for its legibility compared to Vialog and Frutiger. [Google] [MyFonts] [More] ⦿ | |
Student at UWE Bristol in the UK. FontStructor who made Voscillate (2010, based on oscillator signals), Piece Of Pie (2010), and Flick (2010). [Google] [More] ⦿ | |
Shinn Type
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Shinn Type fonts at MyFonts. Behance link. He is the designer of Fontesque (a wild family of curly glyphs), the monospaced font Monkey Mono, Artefact (1999), Beaufort (a sharply serifed family; in 2008, he published a 10-style extension called Beaufort Pro), Bodoni Egyptian (1999), Alphaville (2000, straight mono-width strokes), Brown, Brown Gothic, Duffy Script (2008, in 4 styles: an interpretation of the lettering of contemporary illustrator Amanda Duffy, aka Losergirl), Handsome (1999, cursive handwriting family, since 2005 available in OpenType), Merlin, Oneleigh (masterful!!), Paradigm (1995, updated in 2008, inspired by 15th century letterforms), Shinn, Walburn (1996) [note: Walburn and Brown were originally commissioned for the 2000 redesign of the Globe and Mail. Walburn is an adaptation of a didone typeface by Erich Walbaum, c.1800], Worldwide (1999). In 2001, he designed the Richler font in honour of the memory of Mordecai Richler. The Richler font is currently only available to the Giller Prize, Random House and the Richler family. In 2002, he published Goodchild (a Jenson revival) and the liquid lettering family Morphica, exclusively at Veer. In 2003, he released the absolutely gorgeous "modern" sans Eunoia (which has a unicase weight), and the quirky sans family Preface (2003; Preface Thin is a hairline weight; Preface Light is free at FontShop). Veer also sells his spectacular monowidth unicase family, Panoptica (2003). In 2005, he created Nicholas, a serif family, which is the headline version of Goodchild. Additions in 2006 include Softmachine (VAG Rounded/comic book style family). Sexy type from Toronto is an article by Erin Kobayashi about Shinn's work published in the Toronto Star on April 15, 2007. Nick Shinn designed the type for the redesign of The Globe and Mail in April 2007: Globe and Mail Text [look at the f], Globe and Mail Sans (or GM Sans), Globe and Mail News (or GM News). In 2008, these faces went retail. One face is called Pratt, named after David Pratt, the design director at The Globe and Mail who commissioned the face for his redesign of the paper. The companion face will be called Pratt Sans. Additions in 2008: Figgins Sans (4 styles), Scotch Modern (a 5 style didone family that revives the typeface used in New York State Cabinet of Natural History), Scotch Micro. Paul Shaw writes: Scotch Roman, beloved by D.B. Updike and W.A. Dwiggins, was a standard in the typographic repertoire of pre-World War II printers but fell out of favor after the war, supplanted by Bodoni. Nick Shinn of Shinntype has made a bid to resurrect this oft-maligned face with Scotch Modern. Scotch Modern is not a revival of the familiar Scotch Roman of Linotype and Monotype, but of a more modern design attributed to George Bruce, the great 19th-century New York punchcutter. Shinn used a sample of the face from the New York State Cabinet of Natural History's 23rd Annual Report for the Year 1869 (printed in 1873) as a model. He drew it by eye, aided by a sharp loupe: no photographic enlargements, no scans, no tracing. The ends of the strokes are slightly rounded, to capture the effect of metal type being impressed into soft paper. Shinn contends that the 19th-century Scotch types were "eminently readable" and a factor in the rise of modern literacy. His rendition, an OpenType font, aims for readability in all situations with display, regular, and microtype versions. The display roman includes a unicase font-a nod to Bradbury Thompson's Alphabet 26 experiment-and the italic has elegant swash caps. Scotch Roman has never been a face for those seeking eternal beauty or anyone desperate for typographic kicks. Dwiggins gave it a 10 for legibility (where 10 was "reasonable human perfection") but only 4 for grace and 0 for novelty. Shinn's Scotch Modern, with its many OpenType extras, scores well on all three counts. It's a face for those who prefer a mature single malt: simple at first, but more complex as it is savored. Photograph. At ATypI 2008 in St. Petersburg, his talk was entitled Scotch Modern. Several catalogs have been published by Shinntype. Particularly noteworthy is The Modern Suite (2008, Nick Shinn, Coach House Press, Toronto), which showcases Figgins Sans and Scotch Modern. Sample of some Scotch Modern dingbats. Production in 2010: Sensibility (a humanist sans superfamily), Sense (a modernist sans superfamily), Bodoni Egyptian Pro (a monoline slab Bodoni experiment---the Pro version of a 1999 family by him). More images of sense and Sensibility: i, ii, iii, iv, v, vi, vii, viii. In 2011, he created Checker, an all caps 3d black and white-tiled typeface, and Parity (a roman unicase pair). [Google]
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A nice quote by him: Designing a proper typeface is a difficult and boring process. When you've sketched down your main ideas, there is not much room for creativity, it just becomes hard labor, a bit like doing the dishes. [Google] [More] ⦿ | |
Signature or logo converted to TTF by Michael Pruett. Starting at 20 UKP (40 dollars). Portrait into a TTF file for about 30 UKP. [Google] [More] ⦿ | |
David Quay and Freda Sack made the New Johnston (or: NJ) family in 1992 that is used on the London Transport. They founded The Foundry (see link to the left). Some other foundries have taken their shots at designing their own emulations, such as ITC Johnston, P22 London Underground, Device English Grotesque, Jonathan Paterson's London Tube and the freeware font Paddington. Other Signus fonts include VanDerLeckAT (1993) and VandoesburgatPlain (1993), the last one being a pixel font. [Google] [More] ⦿ | |
Silverleaf Studio is a Leicester-based graphic design consultancy studio. Cave paintings inspired them to create the typeface Wild. [Google] [More] ⦿ | |
Graphic designer in Falmouth, UK, who created Art Zeko (2011, art deco face). [Google] [More] ⦿ | |
Designer at AlphaBeck in the UK of the free font Bayou (2006), which can dbe downloaded here. [Google] [More] ⦿ | |
Londoner who designed the experimental multiline face Rolet (2009). Behance link. [Google] [More] ⦿ | |
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Simon Garfield | Simon Garfield is a British journalist and non-fiction author. He was educated at the independent University College School in Hampstead, London, and the London School of Economics, where he was the Executive Editor of The Beaver. Author of Just My Type: A Book About Fonts (2011). Michael Bierut's comment: With wit, grace and intelligence, Simon Garfield tells the fascinating stories behind the letters that we encounter every day on our street corners, our bookstore shelves, and our computer screens. In Imprint, Paul Shaw tears the book apart however: But those who actually know something about type design and typography -- two related subjects that Garfield frequently mixes up -- will find it maddening. The factual mistakes are grounds for complaint, but on their own they are not enough to get upset about. Instead, it's Garfield's style that is the problem. Garfield flits about from one topic to the next like a nervous hummingbird, without settling long enough to give any a proper telling. On the other hand, Matthew Butterick recommends it for non-specialists: To me, any book that introduces readers to the pleasures of typography is a good book, and ultimately makes life better for every professional typographer and type designer. [Google] [More] ⦿ |
Simon Gofton | British designer of Crayfish Rounded (2001, Tom Hingston Studio), designed in lower case only for the band Spacek. Working (2000, Tom Hingston Studio) was made for a Japanese music client. [Google] [More] ⦿ |
U.K.-based designer of fonts at Garagefonts, including Train Wreck (1997, with Christopher Sperandio). He was born in London. [Google] [More] ⦿ | |
Author of Type: The Secret History of Letters (2004, I.B. Taurus, London, UK). See also Google books. Cover of that book. Anatomy of type drawing from that book. [Google] [More] ⦿ | |
Newcastle upon Tyne, UK-based designer who runs Sirimo Design, and who created four handwriting fonts with Fontfier: SirimoScript1, SirimoScript2, SirimoScript3, SirimoScript4 (2004). Alternate URL. [Google] [More] ⦿ | |
Creator (b. 1989, UK) of Prime (2012, an experimental hexagonal typeface) and Blocked Out (2012). Inkie Block (2012) is another geometric experiment. [Google] [More] ⦿ | |
UK-based graphic designer who made the gungy face Like A Boss (2011, FontStruct). [Google] [More] ⦿ | |
British computer scientist who offers free software and fonts. "mkwinfont" is a small program that generates Windows bitmap fonts from a text description. Also supplied is dewinfont, which generates the text description files from the source fonts. The programs are written in Python. Tektite is a 9x15-pixel bitmap font, in the style of Tekton. Tatham provides PCF, BDF and FON format bitmap fonts. [Google] [More] ⦿ | |
British designer who made FacsimileLL (1994, pixelish), together with Jenny Luigs. [Google] [MyFonts] [More] ⦿ | |
Composer and religious thinker (b. Rustington, UK, 1968) who has designed two unpointed Hebrew fonts, Beckercocks Pointless and Polansky Cursive, as well as a Roman font, Xaara. No downloads. [Google] [More] ⦿ | |
After graduating from an Austrian Graphic Design College, she studied for three years at the University of Northampton, UK, and is scheduled to graduate there in 2011. She created an architectural typeface in 2011. [Google] [More] ⦿ | |
Simone Verza (London, UK) did an ad campaign for Caramelo (2011), which has some nice examples of creative typography. [Google] [More] ⦿ | |
Sinhala TeX is a package of Metafont fonts and a preprocessor suitable for writing Sinhala script using TeX or LaTeX. This package was originally developed by Yannis Haralambous, with funding from the Wellcome Institute for the History of Medicine, 183 Euston Road, London NW1 2BE, England. It was later modified by Vasantha Saparamadu at Macquarie University in Sydney to add support for the "samanala" transliteration scheme developed by Prasad Dharmasena. See also here and here. [Google] [More] ⦿ | |
British type designer who punchcut Athenian (1889), Antiques Nos. 1,2,3,4 (1904), Booklet Italic (1904, design by Elisha Pechey) and Windsor (1905, design by Elisha Pechey) at Stephenson Blake. Windsor was publshed in digital form by URW. [Google] [More] ⦿ | |
British creator of Political Alphabet of the 1970s (2011), a hand-drawn caps alphabet. [Google] [More] ⦿ | |
Independent British foundry, offering for now about ten display faces (some are grunge). Most at around 30 or 35 US dollars per face, even those that can be had for free elsewhere (modulo some minor changes). No designer names. About ten grunge types, of which Encounter and Jiminy are the most original. Dead link. [Google] [More] ⦿ | |
UK-based designer of LooP (2007), a futuristic face. [Google] [More] ⦿ | |
Smith Hands Collection
| MyFonts says that Smith Hands Collection is the "foundry of type designer Robbie Smith". Their address is that of Fontworks in London. Icite that source: Robbie Smith is a graduate of Reigate School of Art&Design and went on to work in Richard Kindersley's letter carving studio in London. Now a freelance type designer in London trading under the moniker of Smith Hands, Robbie is focusing on incorporating the pattern and drive of calligraphy into modern styles of lettering that will fit beautifully into the modern corporate world. Robbie Smith created Hoplight (2010) and English Engravers Roman. [Google] [MyFonts] [More] ⦿ |
Smoking Drum
| John Bloor's free and commercial fonts (Mac type 1, PC truetype) at Smoking Drum (est. 1997) in Whitchurch, UK. The fonts include Fauxetry, Gruyere, Orange n Blue, H-Be, BubbleLife, Mnooba, Pyrobats, TragicBureau, BulkyPixels, DotShortofaMatrix, DoubleStrike, FatPixels, FGParma, HandHackedNoisy, HelveticaCondensedDestressed, HelveticaCondensedStressed, InfiltraceItalic, InlinesRough, LoopsofFuryWide, RefuseTrip, RoughSheetsOutline, ScratchyLarge, StrokeyBacon. MyFonts sold Mnooba and Infiltrace, but he is selling those now himself. Description of how he made StrokeyBacon from Helvetica. Alternate URL. Interview. |
Creators of the angular face London Olympics 2012 (2011). [Google] [More] ⦿ | |
Association run by David Quay and Freda Sack of The Foundry (London). [Google] [More] ⦿ | |
Sofie "Soffi" Beier graduated from Danmarks Designskole (The Danish School of Design) in 2000, and has since been working as a graphic designer, designing several Danish magazines, websites, books and CD covers along with a number of typefaces. She studied at the Royal College of Art in the UK, with a thesis entitled Legibility and Visual Compensation of Typefaces. Sofie works in London and Copenhagen. She teaches at Danmarks Designskole. MyFonts link. Speaker at ATypI 2011 in Reykjavik. Designer at Die Gestalten of Engel New Sans (2010), Pemba Script (2005, a connected 50s script), Engel (2005, 8-style sans family; Engel Light is free). In 2011, she created the round sans family Ovink which was loosely inspired by Knud V. Engelhardt's work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Named after legibility expert Gerrit Willem Ovink, the family was designed for legibility at great distances based on research published by Beier in Beier, S.&Larson, K. (2010): "Design Improvements for Frequently Misrecognized Letters", Information Design Journal, 18(2), 118-137. That same research was used in the calligraphic text face Spencer (2011), which was named after legibility expert Herbert Spencer. And to Pyke (2011), a variation (with optical scaling) on the didones, named after legibility researcher Richard Lionel Pyke. These are two phenomenal contributions to the field, sure to garner her a gaggle of awards. [Google] [MyFonts] [More] ⦿ | |
Software&Fonts for Bodhic Languages&Script
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Also check Fynn's list of Tibetan fonts. Open Font Library link. Jomolhari link at the Free Tibetan Font Project. Fontspace link. Pic. [Google] [More] ⦿ |
Soldans&Payvers Foundry | British foundry, active in the early part of the 20th century. [Google] [More] ⦿ |
British designer who created Sookie Domino Ding Font 1 (2008), DottySookieFontDesign (2008), Sookiesooker Font Designs (2008), a roundish sign script font, and SookiesookerJaggyFont (2008) and SookiesookerMrSoftFont (2008, children's hand). Alternate URL. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who made the all caps chaos-themed font Pandemonium (2010). [Google] [More] ⦿ | |
SouthArabian
| From Essex University, Alan M. Stanier's metafont for South Arabian. "% This font was used for several languages in Southern Arabia in the second millenium BC." It was made into a type 1 font in 2005 by Peter Wilson. [Google] [More] ⦿ |
Spark Creative
| Typefoundry in Birmingham, UK, est. 2011. Its type designer is Mark Astle. Creator of the marker font Scamps (2011). [Google] [MyFonts] [More] ⦿ |
Electronic publishing consultants (London, UK). Includes articles, written by members of the team. [Google] [More] ⦿ | |
Upcoming events at St. Bride Library, Bride Lane, Fleet Street, London. [Google] [More] ⦿ | |
Located on Fleet street in London, the St. Bride Printing Library opened in 1895 as a technical library, and since 1992, has built its international reputation as one of the world's foremost printing and graphics arts library. On-line catalogue. [Google] [More] ⦿ | |
Outfit in London. Via Dafont, one can download their geometric / circular-themed multiline face Radfahren (2010). [Google] [More] ⦿ | |
Two year program in typography in the UK. One of the type design teachers is none other than Tim Donaldson. Stafford College is part of the University of Wolverhampton. [Google] [More] ⦿ | |
Graphic designer and illustrator from Swindon, UK. He/she/they created these experimental typefaces in 2009. [Google] [More] ⦿ | |
Influential British designer and type designer (1889, Wanstead, Essex-1967, London), who spent most of his creative energy at Monotype between 1920 and 1950. Designer with Victor Lardent of Times New Roman (1932) while consultant for the London Times. He designed Blado MT at Monotype (1923) (a revival of characters drawn by Ludovico degli Arrighi). He is also credited with revivals of Garamond (1922) and Bembo (1929). Bio at Britannica. Biography by Nicholas Fabian. He wrote "Four Centuries of Fine Printing" (1924), "Type Designs of the Past and Present" (1926, The Fleuron Limited, London: a highly recommended 70-page treatise on the history of type), and First Principles of Typography (1936). A Tally of Types was published by Cambridge University Press in 1973. A quote from First Principles of Typography: Type design moves at the pace of the most conservative reader. The good type-designer therefore realizes that, for a new fount to be successful, it has to be so good that only very few recognize its novelty. Linotype link. FontShop link. Wikipedia link. [Google] [MyFonts] [More] ⦿ | |
Stealthcow
| Thomas Bowler (Stealthcow) is the British designer of the sans font BubbleFont (2003) [no downloads]. Alternate URL. [Google] [More] ⦿ |
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UK-based stencil company, located in Ipstones. Samples of their alphabets: a script, Old English, Western. [Google] [More] ⦿ | |
British designer of Linotype Tapeside (1997). Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More] ⦿ | |
Manchester, UK-based creator of Mol Hybrid (2011, a serif face). Web site. [Google] [More] ⦿ | |
Stephen Lowe (Luton, UK) is a graphic design at De Montfort University. He created the geometric face Gridded (2011) and the organic modular face Rounded Off (2011). Pentography (2011) is a lines-only face with all vertices on the intersections of the complete graph formed by a pentagon. Folded (2011) and Sharp Folds (2011) are based on folded paper. Gridded (2011) is more experimental. [Google] [More] ⦿ | |
Graphic designer in Bristol, UK. He created the human silhouette alphabet Alpha-My-Bet (2010). Behance link. [Google] [More] ⦿ | |
Stephenson Blake
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In 1996, all remaining materials (punches, matrices, specimen books) were sold to Justin Howes' Type Museum. The information in The Ancestry of British Typefounding and the complete list of the Stephenson-Blake typefaces comes from Roy Millington's Stephenson Blake The Last of the Old English Typefounders, The British Library, London, 2002. Today, Stephenson Blake continues in manufacturing only. Partial typeface list: Algerian (URW), Brittanic (Linotype), Baskerville Old Face (URW), Carlton (1910s, digitized by Letraset in 1983), Chisel (an enragvers face done in 1939 by Robert Harling; digital version at URW), Consort [the Stephenson Blake version of Clarendon], Doric Bold (Adobe), Fry's Ornamented No. 2 (many digitizations exist, e.g., Beffle (1991, David Rakowski)), Grotesque No 9 (URW), Impact (Linotype, Adobe), Latin (URW), Latin Wide (1940), Latin Antique (1880s; a woodish face revived by Nick Curtis in 2011 as Indubitably NF), Old Town No 536 (Western face, see Linotype), Playbill (a 1939 western saloon face by Robert Harling; digital versions at Bitstream, Linotype, and URW), Tea Chest (1939, an all-caps stencil face revived in 2011 by Nick Curtis as East India Company NF; Sigred Claessens and Günther Flake revived Tea Chest Stencil in 1999 for Apply Interactive), Thorowgood (URW), Vivaldi (Linotype), Windsor (Bitstream, URW, Linotype, after a 1903 original by Sir William Kirkwood at Stephenson Blake), Marina Script (1936, a copperplate script), Parisian Ronde (acquired from the Inland Type Foundry in 1905), Imperial Script (late 1800s formal script not unlike Firmin Didot's Anglaise, 1809), Bologna (script face, 1946), Glenmoy (script face, 1932, digitized and expanded in 2005 by Alejandro Paul as Mousse Script (Sudtipos) and in 2007 by Nick Curtis as Glengary NF, and in 2012 by Vernon Adams as Norican at Google Web Fonts), Francesca Ronde (1948), Granby (1930, a fat grotesk, revived in 2011 by Steve Jackaman and Ashley Muir as Granby Elephant), Recherché (revived by Nick Curtis as Plus de Vagues NF (2006)), Youthline Script (1952, a copperplate script for the banking and insurance industry, digitized and extended into a 7-weight family in 2005 by Rebecca Alaccari and Patrick Griffin as Sterling Script (2005)). Some type specimen, and a discussion of some typefaces, by yours truly. Scans of some old typefaces: Britannic Italic, Flemish, Freehand Script, Olympian. [Google] [MyFonts] [More] ⦿ |
London-based designer of Swirl (2011), a typeface based on strings. [Google] [More] ⦿ | |
Steve Bailey is the designer (b. UK, 1984) of DigitalDream (2003), an LED font. Alternate URL. [Google] [More] ⦿ | |
Steve Haslip is a graphic designer originally from a small village in the South of England, UK. He is currently in his final year on the MFA Design course at the School of Visual Arts New York. Since completing his undergraduate studies at Central Saint Martins he has undertaken internships and been working as a freelance designer. His type designs include Ave An Ear (2009, a black-bowl face based on the proportions of Avenir), and Flickird (2009, semi-sans). Behance link. [Google] [More] ⦿ | |
British graphic designer, who designed GrotRough (2005), which can be downloaded here. [Google] [More] ⦿ | |
British architect and designer, who made the handwriting font Steve. Alternate URL [Google] [More] ⦿ | |
Graphic designer in Stirling, UK. He created some fonts and designed some letters for GQ Magazine in 2011. He also made the modular face Build (2011). In 2012, he created the stencil face Muirside, and published a modular compose-as-you-go blackletter type system called Granimator or Blackpack. Behance link. [Google] [More] ⦿ | |
Graphic designer in the UK, who made Animal Alphabet (2011). [Google] [More] ⦿ | |
British designer (b. 1996) of the handwriting font LawsonHandwriting (2008). Home page unrelated to type. [Google] [More] ⦿ | |
A Hull, UK-based graduate from the Hull School of Art and Design, Steven Robertson designed the blocky 3d alphabet called Geometric Alphabet (2011). [Google] [More] ⦿ | |
Steven Shanks | British Type Foundry in the 19th century. Around 1860, Steven Shanks designed a family called Antiques. Antique No. 3 (a Clarendon) and Antique No. 6 (a fat Egyptian) were taken over from the foundry of V. and J. Figgins. He made Figgins Condensed No. 2 around 1870. [Google] [More] ⦿ |
UK-based designer in 1996 of Datmatrix (sic). See also here. [Google] [More] ⦿ | |
Born in York, UK, 1973. Studied graphic design, Reading, UK, 1991-95. Cofounder of the magazine Dot Dot Dot. [Google] [More] ⦿ | |
UK-based designer, b. 1989. Student at the University of Portsmouth. Dafont link. He created Blaise Gothic (2009) and SL PiXL (2010). [Google] [More] ⦿ | |
Creator from Westgate on Sea (UK) of Gypt (2010), an experimental font that as inspired by hieroglyphs. Behance link. [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created Hybrid, Hybrid Lower, and Hybrid 2 in 2009. He writes about his Arabic simulation fonts: A Hybrid font based on the idea of the decay of the reputation of Islam in Western society since the media have taken grasp since the 9/11 and 7/11 bombings. [Google] [More] ⦿ | |
Studio K
| Keith Tricker (b. 1949) is the Creative Director of a UK advertising agency, and during his career has worked as both a copywriter and art director. MyFonts lists him as Keith Gordon. Klingspor link. His foundry is Studio K: The foundry specialises in display fonts designed primarily for advertising, publishing, product packaging and signage. He created the wavy face Calypso (2011), the techno face Charta (2011), the sturdy black face Anvil (2011), Jazz Age (2011, art deco), and the brush face Pagoda (2011). In 2012, he published the art deco typeface Tea Dance and the stylish Contessa family. [Google] [MyFonts] [More] ⦿ |
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Substance
| British foundry in Sheffield that sells some fonts via MyFonts such as the broken fonts Uni Magnetic (2001), Doyen-D (2002) and Substance.Type.1. Ardy Mass (2010) is a fat brush face. It is located in Sheffield, South Yorkshire. The fonts were designed by Daniel Hudson. MyFonts says that the fonts are designed by Dennis Shinobi though. [Google] [MyFonts] [More] ⦿ |
Subversive Type (was: Meztone Design)
| James Stone (b. 1987; was Meztone Design, but later became Subversive Type, Ilminster and Bermingham, UK) created the scary blackletter face Guttural (2007, metal band face) and the grungy Disordered Bold (2009). Murder Face (2012) is a commercial font. Phantom Lord (2012) is a thrash metal band font. Fontspace link. Dafont link. Devian tart link for Meztone Design. Behance link. [Google] [MyFonts] [More] ⦿ |
Sue Walker | Professor of Typography and Head of the Department of Typography & Graphic Communication at The University of Reading, and a partner in Text Matters, an information design consultancy based in the UK. At ATypI 2005 in Helsinki she spoke on Children and typography. Speaker at ATypI 2010 in Dublin. [Google] [More] ⦿ |
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SUMO Design (or: Hello Fonts)
| Jim Richardson studied graphic design in Dundee, Scotland. In 1999, he started fontmonster.org (Fontmonster [dead link!] offered fonts such as Armadillo, Torn, Ringpull (handwriting), Akei (LCD font), Bad Lobster and VELCRO). SUMO Design was founded in 2000 in Newcastle, UK. In 2003, he set up Hello Fonts as an outlet for his own fonts such as Golden Bus Co, Chello, Hello Sans and Cassidy. In 2003, he started Union Fonts, and he is working on new typefaces such as Richmond Sans (2003), the hip and cheerful Chello (2004), Cassidy (2004, an ultra thin techno font), Zonso (2004), and Golden Bus Co (2003). [Google] [More] ⦿ |
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London-based graphic design collective. Blox (2011) is a fat rounded stencil face with both horizontally and vertically stencilled alphabets, created using FontStruct. They also made Sqair (2011, squarish), Plug (2011), Asian (2011), Basik (2011, a simple clean monoline sans), Slash (2011), Twist (2011), Blob, Slick (2011) and Slice (2011). Typefaces made in 2012: Brix (like Lego blocks). Behance link. Dafont link. [Google] [More] ⦿ | |
Foundry, est. 2011 in Eastbourne, UK. Behance link. Creator of the scratchy face Skribz (2011). [Google] [More] ⦿ | |
Swifty Typografix (was: Command (Z))
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Student at UWE, Bristol, UK. FontStructor who made Slice 2 (2009, 3d origami-inspired face). [Google] [More] ⦿ | |
Swordfish Design Studio
| UK-based Peter J. Allen Ramsey owns Swordfish and designed SF Extinction and SF Distro. Co-designer later of Distro (2001) with Apostrophe at Apostrophic Laboratory. He is planning a Hebrew version of Distro. Newer versions include Distro II and Distro Bats. Home page. Dafont link. Homepage of peter A Designer. [Google] [More] ⦿ |
Designer in Wolverhampton, UK (b. 1989), who created Leaping Typewriter (2011) and Chocolate Type (2011). [Google] [More] ⦿ | |
Birmingham, UK-based designers of the artsy ultra fat face Creature Comfort (2007). [Google] [More] ⦿ | |
Tamil Software research and development | A free Tamil truetype font, Planet, by S. Manoharan (UK) of Mano Products. [Google] [More] ⦿ |
London-based freelance designer. He created some nice typographic posters of Baskerville (2011). [Google] [More] ⦿ | |
Illustrator in Brighton, UK, who drew some children's alphabets in 2011. She has an MA Fine Arts from the Chelsea School of Art&Design, 2007. Behance link. [Google] [More] ⦿ | |
Taylor Lane Typography
| Sexy compositions of letters in the shapes of pin-ups by LIDA Agency in the UK. Creative and Art Director: David Harris. Typographers: David Harris, Justin Shill, Stuart Addy, Jan Hansen. Additional URL. Miss Bodoni, Miss Meta, Miss Sabon, Miss Serifa, Miss Perpetua, Miss Bembo, Miss Joanna, Miss Gothic. [Google] [More] ⦿ |
Teal Triggs | Teal Triggs is director of postgraduate studies, faculty of art, design and music, Kingston University, London. She has written on graphic design, typography, and feminism. Her books include Type Design: Radical Innovations and Experimentation, and The Typographic Experiment: Radical Innovation in Contemporary Type Design (Thames&Hudson, 2003). [Google] [More] ⦿ |
Tealeaf Digital Type Foundry (or: Little Red Circles)
| Tealeaf Digital Type Foundry (or: Little Red Circles) was a Manchester, UK-based foundry, which existed from ca. 2000 until ca. 2004. Designers included Carl Seal, Dave Lawless, Tony Howell, Jon Ratcliffe and Kyle Seal. There were about 30 commercial Mac fonts and about 25 free PC/Mac fonts in truetype. By designer:
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Klingspor link. [Google] [MyFonts] [More] ⦿ | |
British artist. Designer of Linotype Araby Rafique (1997), a mix between scribbly handwriting and Arabic font simulation. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Portsmouth, UK-based youngster (b. 1986), who created Lemon Poo (2006, designed as a sign font for lemonade vendors) and Tehste (2006, handwriting). Future home page. [Google] [More] ⦿ | |
Multi-disciplinary design studio in London: We work in the fields of art direction, branding, graphic design and interactive design. We also create our own design products including fonts and tote bags. Their typefaces: Typiqal Mono (2011, a monospaced typewriter face), Luce Mono (2011, a beveled condensed monspace face), and CDS Mono (2011, a tall monospaced geometric face). All their faces are based on geometric constructions and grids. Behance link. I like the quote, the motto on their site, by Shunryu Suzuki: When you do something, you should burn yourself up completely, like a good bonfire, leaving no trace of yourself. [Google] [More] ⦿ | |
tenbytwenty
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The Tenth Annual St. Bride Library Conference, curated by John Walters and Becky Chilcott, will take place on November 10-11, 2011. Speakers include Phil Baines, Jonathan Barnbrook, Zoë Bather, Tom Farrand, Amelia Gregory, Matt Jones, Alan Kitching, Gerry Leonidas, Vaughan Oliver, Paul Rennie, Lucienne Roberts, Jack Schulze, Steve Watson, Matt Webb, Rebecca Wright and Derek Yates. The theme is critical tensions. [Google] [More] ⦿ | |
Creator of the experimental caps typeface NSWE (2012). [Google] [More] ⦿ | |
UK-based creator of Scarborough Puzzle Map Font (2009). [Google] [More] ⦿ | |
British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. [Google] [More] ⦿ | |
The 8 Worst Fonts In The World
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The Design Office
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John's CV: John Caserta is a Providence-based designer, artist and educator. He received an MFA from Yale University in 2004 and a BA in Journalism from The University of North Carolina in 1995. Upon completion of his graduate thesis, Take Your Time, he was awarded the J. William Fulbright Fellowship in Art to create a time capsule for a small village in southern Italy. Upon return to the United States in January of 2006, he was appointed critic in the department of graphic design at The Rhode Island School of Design. In addition to course instruction, he is a graduate thesis adviser and leads various workshops. In November of 2007, he founded The Design Office. He continues to run a solo information design practice, taking commissions primarily from media companies and universities. He lives in Pawtucket, R.I. with his wife Sarah, daughter Lucia and dog Ray. Fontsquirrel link. [Google] [More] ⦿ |
Famous 1953 book W. Pincus Jaspert, W. Turner Berry, and A.F. Johnson, published in 1953 by Blandford, but now reissued in paperback (2001) by Cassell Illustrated in the UK (part of the Octopus Publishing Group) and/or Sterling in the USA. It gives samples and histories of almost 2000 fonts. Its digital successor is going to be "The Encyclopaedia of Fonts", to be compiled by Headley, and scheduled for March 2005. Fifth Edition of The Encyclopaedia of Type Faces. [Google] [More] ⦿ | |
The Flea Pit
| UK-based Kevin Wilson (The Flea Pit) designed these free fonts: Wonka Bar, Catwoman, Shrek. All made in 2005. In 2004, he created The Goonies, Gremlins, Ghostbusters, Hey You Guys and Unfortunate Events. It also has a movie font database. [Google] [More] ⦿ |
London-based foundry created by David Quay and Freda Sack in 1989. Fonts available here: Architype Renner, Architype Vanderleck, Architype Van Doesburg, Architype Bill, Architype Tschichold (very thin avant-garde font), Architype Bayer, Architype Renner Bold, Architype Albers, Architype Bayer-Type, Architype Ballmer, Architype Schwitters, Architype Aubette, Architype, Architype van der Leck (1993-1994, based on a 1941 De Stijl alphabet designed by Bart van der Leck for the avant-garde magazine Flax), Foundry Sans, Foundry Old Style, Foundry Wilson, Foundry Journal, Foundry Gridnik, Foundry Form Sans, Foundry Form Serif, Foundry Monoline (2000), Foundry Sterling (2002, sans serif). Architype New Alphabet 1 through 3 by The Foundry are also based on Crouwel's New Alphabet (a free version of this is New Alphabet (2008, Matt McInerney)). The Foundry also made Architype Stedelijk (1997, LED-like) and Architype Fodor based on Crouwel's work. Foundry Architype Van Doesburg (1996) is based on a 1919 alphabet by Van Doesburg obtained by dividing a square into 25 equal smaller squares. Michael Barbosa started work on Metroplis (1995) for Metroplisboa, the Lisbon subway, while he was working at Wolff Olins. That custom font project was finished by David Quay and Freda Sack. [Google] [More] ⦿ | |
British creator of Geefium Serif (2009, ornamental, handprinted) and Aldorath Serif (2009, similar). [Google] [More] ⦿ | |
The entire Gutenberg Bible on-line at the British Library. [Google] [More] ⦿ | |
The Ministry of Type
| British type blog run by Aegir Hallmundur who lives in Brighton, UK. Subpages. [Google] [More] ⦿ |
The Northern Block (TNB)
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In 2010, he started FontStructing faces. His first was the grungy wooden plank face Timber Remnants. Also in this category is Laser Disco (2008, futuristic). Typefaces from 2006-2008: Sylar (2008, a techno family in 16 styles), Geta Robo (2008, a mechanical typeface influenced by Japanese animation), Arctic Patrol (angular family), Dokter Bryce (2008, octagonal and severe), Orange Royale (2008, 8 styles of fat techno and stencil fonts), CorTen (2008, octagonal ultra-fat stencil), QueueBrick (2008, LED simulation), Center Forward (2008, futuristic), Platform One (2008, a futuristic family), Line Wire (2008, octagonal, influenced by the work of Dutch designer #Wim Crouwel), StealWerks (2006, LED-inspired stencil face; published at T-26) and Blockout (2007, 5 weights of a futuristic blocky type family). In 2008, these were followed by more computer-related typefaces such as VideoTech (futuristic), JoyRider and AstroNaut (octagonal+futuristic, now at T-26). WerkHaus (2008) is a 5-style family inspired by the minimal sans faces of Herbert Bayer and the Bauhaus movement. Typefaces from 2009: Scriber (2009, octagonal techno family), Get A Robo (2009, a 10-weight mechanical family influenced by Japanese animation (Anime)), Ten Gu (2009, paperclip font remastered from the 1970's Letragraphica font Tangui), Orange Royal (2009, rounded stencil), VideoTech (2009, inspired by computer games for the Commodore 64), SkyWing (2009, rounded face inspired by Japanese computer console games, such as Captain Tsubasa created by Yoichi Takahashi), VanBerger (2009, an octagonal family influenced by the De Stijl movement), Logan Five (2009, techno family inspired by the 1976 sci-fi film Logan's Run), Zaius (2009, a bold sans family that includes a stencil style, all based on Ed Benguiat's work for the 1968 movie poster for Planet of the Apes), Oric Neo (2009, a free octagonal techno family; +Stencil), VanBerger Stencil (2009, a free geometric sans influenced by Theo Van Doesburg and the De Stijl movement), Aldo (2009, +Open: a bold stylized type face re-worked from the original 1970s movie poster The Battle For The Planet Of The Apes), Sylar Stencil, Aldo Open. Typefaces from 2010: Intropol (2010; image), Arcle (a monoline organic sans), Hoxton (humanist sans family), Lintel (monoline sans family with a large x-height), Knul (monoline sans), Dohrma (a machismo geometric face; +Inline), Planer (a technical writing family), Otomo (a Japanese techno family that includes a stencil), Yodo (a geometric experimental family in 3 weights), Nu Order (a sans family that includes a very thin weight), PyeMan (2009, a piano key font named after the PacMan game), ProtoFet, DraftWerk (a minimal rounded typeface inspired by architecture and furniture detail drawings), DyeLine (a geometric face with a great hairline weight), Cobol (2010, great octagonal monowidth face), Draftwerk (architectural lettering), Olympik (a gorgeous multiline family based on Letraset's Optex, 1970), Kaine (a slab family inspired by 1960s spaghetti westerns: +Stencil, +Outline, +Italic +Block; Hill says that The grid template is based on Welt Extra Bold from Letraset with detailed changes, additional characters and new style variations.), Brion (a modernization and extension of A. Mailay's rounded sans font Arpad (1971, VGC); kaine Block, the counterless version, is free at Dafont). Mekon (2010) is a fat sans display face with a free horizontally striped style. MarkusLow (2010) is a revival and extension of Basilea (1965, Markus Low, VGC). Teletex (2010; +Ultra Light, +Light, +Medium) is a typewriter style slab serif whose design was influenced by Rockwell.
Jonathan Hill's most popular typefaces. Type designs done in 2012: Borda (octagonal), Savile (humanist sans), Metrik (a nice geometric---borderline organic---sans family). |
British dysfunctional web site that makes my browser hang. Creator of Sputturt Fecal (2008, grunge), Cleanfont Bare (2008, geometric sans), and Stencil Proto (2008, no downloads). [Google] [More] ⦿ | |
A study of modernism in British typography between 1945 and 1979, undertaken by the University of Reading teachers Paul Stiff and Petra Cerne Oven. [Google] [More] ⦿ | |
The politically incorrect alphabet
| UK-based Mark Jones' alphabet of politically incorrect drawings. No font yet. [Google] [More] ⦿ |
The Tree Is Green
| British commercial font design company run out of London by Jonathan Sleeman (b. Plymouth, 1973). He designed Road Art (2008), a grunge face simulating writing on pavement. MyFonts link. [Google] [MyFonts] [More] ⦿ |
The Type Museum
| London-based museum, whose curator was Justin Howes (until his death in 2005). Established in 1992, since 1995 the collection has been housed in Stockwell, in a range of industrial buildings built between 1895 and 1905 as a veterinary hospital. In 1996, the Type Museum bought all of Stephenson Blake's materials, i.e., punches, matrixes, archives, and specimen books. iThey have been acquing other material including highly important collections of eighteenth- and nineteenth-century type specimen books and, in the case of Monotype, the complete business records of a global enterprise. There are rich holdings of punches, matrices and moulds from the principal eighteenth- and nineteenth-century London typefoundries, complemented by business archives and by one of the world's best collections of type specimen books. In 2003, it started to offer some workshops and demonstrations on metal and wood type printing. In 2006, the museum intended to close with this message: The trustees of the Type Museum have taken the decision this week to CLOSE and disperse the museum due to lack of funding. These unique collections spanning the evolution of type design and manufacture will be split up and the majority put into storage - unlikely to see the light of day again. You are receiving this email because you have previously expressed your interest in, and support for the Type Museum. We need your help urgently if we are save the Type Museum as a working resource for the future. In 2009, they still exist, and despite the fact that they were supported by British Government grants, there is no public access (!!!!!). Hmmm. They will take donations (hopefully to make the collection free and public to anyone). The web site does not mention the name Justin Howes---w [Google] [More] ⦿ |
The library comprises more the 4,000 items of typographic interest including reference books, journals and periodicals, trade literature, items of printed ephemera and collections of special interest. Free to the public. They explain: The Typographic Hub is part of the Birmingham Institute of Art&Design at Birmingham City University; the Hub works to promote the history, theory and practice of typographic design. Historically, the Midlands are England's typographic heart. William Caslon (1692-1766) the first grandée of English type design, was born in Cradley, whilst Birmingham was home to John Baskerville (1706-1775), creator of the world's most well-known and enduring typeface; and Leonard Jay, a teacher par excellence revolutionised 20th century British typographic education whilst Head of the Birmingham School of Printing (1925-1953). The Typographic Hub works to preserve this great heritage. [Google] [More] ⦿ | |
British designers of some pixel faces in 2008: Pixel Round, Pixel Perfect, Pixel Handwriting, Pixel Perfect Stretch. Home page. [Google] [More] ⦿ | |
FontStructor who made Matt Smith Doctor Who and Doctor Who 2010. Dafont link. [Google] [More] ⦿ | |
Thinkdust
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In 2009, some of their fonts, such as Miyagi (paperclip type) seem to survive at HypeForType. YouWorkForThem carries BAQ, Hiruko, Miyagi, Amaya (2009, grunge), Gen (2009, ink spill grunge), Taku and Yume (2009, ultra fat retro). Additions in 2010: Rika (a strong condensed sans), Saki Medium (a headline sans that builds on Ebisu), Sho Medium (an elegant expanded sans, also for headlines), Toshiko (techno face), Vow (extra thin, avant garde), Lippy (a lipstick brush face; see also Lippy Sans, 2012), Mr Chalk (2012, done with Dawn Lewandowski), Vow Neue (2012). Portfolio. I finally understood the name Thinkdust. Upon blowing up the characters, one notices that all the glyphs are sprinkled with dust---see, e.g., Kono, Yumo, Yuko, Yoko, Soto, Roka, Mikagi (paperclip face), Hiroko, and BAQ Metal. [Google] [MyFonts] [More] ⦿ |
The Third Annual Conference of the Friends of St. Bride took place on October 18-19, 2004 at the St. Bride Library in London. Its theme was ``bad type''. Speakers include Lynne Baggett, WilliamBaggett, Nigel Bents, Sebastian Carter, Grant Carruthers, Nadine Chahine, Vincent Connare, John Downer, Alice Ford-Smith, Allan Fogg, Nick Foster, Emily Luce, Vici McDonald, Etienne Giradet, Shelley Gruendler, Lukas Hartmann, Warren Hutchinson, Justin Howes, Dennis Ichiyama, David Jury, Gerry Leonaidas, Barry McKay, Ross Mills, Tom Phinney, Caryn Radlove, Jay Rutherford, Rathna Ramanathan, Peggy Smith, Adi Stern, Yasmin Tann, Jef Tombeur, Joyce Yee and Karel van der Waarde. [Google] [More] ⦿ | |
Famous British wood-engraver (b. Eltringham, Northumberland, 1753, d. London, 1828), whose work was printed by his friend from childhood, William Bulmer. The punchcutter Richard Austin trained with Bewick as a wood-engraver. [Google] [MyFonts] [More] ⦿ | |
Art and design student in the UK, who is working on the sans family called Work (2008). [Google] [More] ⦿ | |
British typefounder who introduced the sloped scripts in the copperplate tradition of the Italian hand writing in 1774 [these were later developed in France, where they became known as "anglaise" faces]. This page states: In 1794 Robert Thorne purchased the foundry of Thomas Cottrell, a former employee of the original William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. By 1798 Thorne had replaced all of Cottrell's types with his own designs and in 1801 was the first type founder to begin showing the fat face types. [Google] [More] ⦿ | |
Thomas Davis (Manchester, UK) is a web designer. Behance link. He created Apostrophaces (2011), which is a set of smilies with eyes taken from the quotes of various typefaces. [Google] [More] ⦿ | |
Graphic and type designer in London. Foley obtained an MA in Communication Design Central from Saint Martins in 2009. Visiting lecturer on The MA Communication Design course at Central Saint Martins and the BA Visual Communications Course at Bristol University of Art&Design. Designer of the transitional text face Nib (2010; developed under the guidance of Freda Sack) and the sans family Hewitt (2010). Speaker at ATypI 2010 in Dublin, where he discussed the history of Irish type and the roots of his book family, Nib. [Google] [More] ⦿ | |
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Thomas White Smith |
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Thrift and Thistle
| British free font foundry located in London run by Matt Hull, a graphic designer, web designer and illustrator based in Surrey, UK. Behance link. Matt's typefaces:
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Thumbnail Designs
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Graphic designer in London, UK. She dabbles in experimental type design, and created these alphabets (probably not actual fonts) in 2010: Circuit, Marbling, Slice. Behance link. [Google] [More] ⦿ | |
Tim Daly | London-based designer of Chute (2004, sans), a quirky slab serif face (2003) and of Clam (2004). [Google] [More] ⦿ |
Tim Fishlock made an alphabet by using pieces of the London Underground Map. He also made an alphabet based on seats, and another one based on geometric shapes. Typetoken link. [Google] [More] ⦿ | |
Tim Fletcher | London-based designer of the Dim family (1997, Typical), a minimalist font. Also at Typical, he made the US sports shirt font family Aut Frat (2000). [Google] [More] ⦿ |
British designer who won an award at Bukvaraz 2001 for NoName. At Linotype in 1994, he designed the Arabic font Karim. His Adobe Arabic (2005) won an award at TDC2 2006. Vodafone Hindi (2007, with Fiona Ross and John Hudson) won an award at TDC2 2008. Mitra (2005, Linotype) is a modern Arabic text typeface with two weights: Mitra Light and Mitra Bold. Both of the fonts include Latin glyphs (from Optima Medium and Optima Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Linotype link. FontShop link. MyFonts link. [Google] [MyFonts] [More] ⦿ | |
UK-based FontStructor (b. 1991, student at Bristol UWE) who made the 3d face Tetrominoes (2010). Dafont link. [Google] [More] ⦿ | |
Tim Rolands Digital Design (was: TR Typographic Services, Phont Typographics, Stylus Digital Typography, Studio Renaissance)
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Tim's creations include Orlando (free), Anvil (also available in OpenType), Valor (2006, an experimental modern face that combines geometry and mediaeval Lombardic ideas), Miranda (an Aldine, roman caps family: Pro version appeared in 2012), Aegis, Prospero (1997, inspired by the early Romans of Nicolas Jenson; see Prospero Pro (1997-2008)), Illiad, Kimberly, Timotheus, Envoy (2001, garalde family), Odyssey (2001, classical Roman caps), Alexander. [Google] [MyFonts] [More] ⦿ |
UK-based designer who used FontCapture to make the human position alphabet Naked Chicks and the 3d font Chunky (2010). [Google] [More] ⦿ | |
Freelance graphic designer in Birmingham, UK> Behance link. Tim made the customized face Escape (2011). [Google] [More] ⦿ | |
Creator of some signage lettering and handdrawn alphabets. He writes: Timba Smits is an award winning Melbourne born / London based graphic designer, artist, illustrator, independent publisher, self confessed magazine addict and wannabe olympic ping-pong playa. [Google] [More] ⦿ | |
Graphic designer in Norwich, UK. At Behance, one can look at his Bauhaus typeface District 87 (2011). [Google] [More] ⦿ | |
British calligrapher, signwriter, lettering artist, and type designer. He teaches typography at Stafford College and is a Research Fellow at the University of Lincoln. His typefaces:
At ATypI 2004 in Prague, he spoke about The world's even bigger Hamburgefonts. At ATypI 2008 in St. Petersburg, he spoke about the resurrection of the pencil. He states in the abstract: During research for my recently published book, "Shapes for sounds", I investigated the Glagolitic alphabet created by the brothers Cyril and Methodius. This alphabet was the mother of Cyrillic. I learned to write the letters, an activity that took on a life of its own and led to a body of interpretation bordering on the obsessive. My talk will focus on the history, development, and subsequent abandonment of the Glagolitic alphabet and will show the new drawings, sculptures, scripts and typefaces I have produced as a result of this investigation. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik. View Timothy Donaldson's typefaces. [Google] [MyFonts] [More] ⦿ | |
Timothy Guy Design
| Timothy Guy and Lida Lopes Cardozo are the UK-based designers of Emilida. Homepage. [Google] [More] ⦿ |
Graphic design student at Norwich University College of the Arts in the UK. Behance link. Creator of the modular typeface On The Rocks (2012), which is based on circles and arcs. [Google] [More] ⦿ | |
UK-based designer who graduated in graphic design from Central St. Martins in 2009. He made several typefaces, including Detain (2011, a high-contrast octagonal face), DDR 1967 (2011, an ultra-fat beauty). Behance link. [Google] [More] ⦿ | |
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Tom Hingston runs Tom Hingston Studio in London. Designer in the FUSE 16 collection (1997) of Condition Birth, Conception, Mutated, Pulse, and in FUSE 14 (1995) of Chaos. In 2000, he made Whappen based on an American woodcut typeface called Poster Gothic. Simon Gofton has designed the octagonal font Working (2000) at the studio for a Japanese music client. [Google] [More] ⦿ | |
Tom Howe | London-based designer of Martins Corner (2007), a monoline sans. [Google] [More] ⦿ |
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British designer of Corrupt Pixel (2011, dot matrix face), Fat Wedge (2011, Peignotian) and Class A (2011, a sans face with gothic cathedral curves). Both faces have only capitals. [Google] [More] ⦿ | |
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Londoner who created Skeleton (2011), a face based on pieces of a skeleton and of the spine. [Google] [More] ⦿ | |
Manchester, UK-based creator (b. 1991) of Lost in the forest institute (2011) and Skribler (2012). Dafont link. [Google] [More] ⦿ | |
British designer (d. 2008) at Letraset of the calligraphic nuptial style face Tiranti Solid (1993-1995). He also made Willow (1990, Letraset, a font based on lettering of Charles Rennie Mackintosh, now offered by both ITC and Linotype). Quoting from Timothy Donaldson's announcement of his death: He was well-known for his commercial lettering and type-design, which he continued to practice until the last. He also influenced many through the mid-period of his career, when he was a lecturer at Bolton College of Art (now a part of the university). Possibly the most well-known amongst the influenced was Phill Grimshaw. FontShop link. [Google] [MyFonts] [More] ⦿ | |
Tony Geddes designed Flamenco Inline (Letraset and ITC, 1979) and Spotlight (Letraset and ITC, 1989). In 1968, he created the avant-garde face Capone. He was the co-chair with Dave Farey of Panache in London. He also made an athletic lettering typeface which was at the basis of Sis Boom Bah NF (2007, Nick Curtis). [Google] [MyFonts] [More] ⦿ | |
Designer of Yuleo at the Manchester, UK-based foundry Tealeaf. [Google] [More] ⦿ | |
Located in Cornwall, UK, this company has free educational font downloads: Christopher Jarman's Jarman, Jardotty, Jarital and Jumper. [Google] [More] ⦿ | |
Design studio in London. Behance link. Designers of Cabaret Nouveau (2009, organic) and Conrad (2009, sans). [Google] [More] ⦿ | |
Tre2 (was: mural division, or: Casa Phunk Phonts)
| Free graffiti fonts by UK-based Derek Revenge: Callahan, CAPconstruct, Hardcore, FATTIP, Inthacity, Meglaphoid, Pleiades, UrbanScrawlButtah, UrbanScrawlChill, UrbanScrawlDown, WestSidePlain, BrooklynKid, One8seven20, Eclipse-Designs. At Mural Divsion (or: Md Malarky Fonts), he made Pleiades, Acid House, Blufunken, Asylum, Maya AllStars, Meglaphoid), and by Derik Revenge (SquarePusher, Minimal, Sickness). Direct access. Later he made MooWall and Reticulum. Because Md Malarky Fonts changed some copyright notices in Casa's fonts, Casa asked Md to remove all his fonts. Dafont link. Fontspace link. [Google] [More] ⦿ |
Graphic designer based in London. Creator of Ezra Phonetic (2011) and Wyndham Roman&Compressed (2011). The latter is a caps only face that was designed by using the golden ratio. There are no frilly things here. He says: At times this typeface erred on the side of Din Mittleshrift (German motorway signage fonts) but I fought back and feel it has a touch of the lettering found on the side of WWII British fighter planes. [Google] [More] ⦿ | |
British designer of the brushy handprinted face Pablo (1995, Letraset). [Google] [MyFonts] [More] ⦿ | |
UK-based graphic designer who graduated from Central Saint Martins in 2006. Once in a while, an experimental font makes me straighten my back. After seeing Troy Hyde's Channeled Light Font (2010), I got to think again about the inherent beauty of natural things, and how the laws of physics create almost perfect curves. Curves we can't get by tweaking Bezier points in a font editor. Here is what Try Hyde says about the process: This font is created inspired by the shapes found at the cross section of a rolled cylinder of corrugated paper. The scanner is a key part of the process: There is high definition at the point at which the paper touches the scanners surface. Light is also channelled though the tunnel of paper, thus becomes as integral a part of the font's shape as the paper itself. Behance link. [Google] [More] ⦿ | |
True Signatures
| Defunct company. Used to have 3-d text creation and truetype versions of signatures and logos. The company was run by Kalpesh Vadera in the UK. [Google] [More] ⦿ |
UK-based FontStructor (student at Bristol UWE) who made the vibration font Viiberz (2010). [Google] [More] ⦿ | |
East Preston, UK-based web developer who created the basic sans face Macro (2009). [Google] [More] ⦿ | |
Twintype
| Twintype is the company of graphic designer Owen Johnston, who was born in 1979 in New Zealand, and works in the UK. He created several pixel or techno typefaces (no sales, no downloads): Minus (pixel family), Midgit, Frown Box (2010, multilined), Typhoon, Twice (bilined). Double Up is a bilined stencil-like face reminiscent of neon lights. Species is a two-line square techno face. [Google] [More] ⦿ |
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Type Initiative
| Type Initiative is a typefounding and design collective based in Canada and Greece. It was co-founded by type designers Michail Semoglou and Keith Chi-hang Tam, who are both graduates of the Department of Typography and Graphic Communication at the University of Reading, UK, in 2005. In 2005, they joined the type coop Village, where you can buy their typeface Arrival (2005). Michail Semoglou, who is based in Thessaaloniki, was commissioned in 2005 by The Secretariat of Research and Development (EDET), at the Greek Ministry of Industry, to design a serif and a sans for the Greek Open Source Community to be used by all the Greek public administration. Michail Semoglou works as a calligrapher and type designer. [Google] [MyFonts] [More] ⦿ |
A tart card competition at the St. Bride Library in London in 2009. They explain: We would like you to design a tart card either for a typeface or a letter of the alphabet. If you are unfamiliar with these things, tart cards are the means by which London prostitutes advertise their services. Step in to any Central London call box and you can contemplate up to eighty cards inviting you to be tied, teased, spanked or massaged either in luxury apartments, fully-equipped chambers or the privacy of your own hotel room. So pervasive are these things, and so curious is their typography, images and copy writing they are now regarded as bona fide items of accidental art and have something of a cult following. Once on the periphery of design, the cards have influenced the work of many mainstream artists including Royal Academician Tom Philips and Sex Pistols designers, Ray and Nils Stevenson. Perhaps they can inspire you too? Examples: 1, 2, 3. Exhibition at KasselsKramer, London, 22-29 June 2009. See also Wallpaper's June 2009 issue entitled Sex Issue: Type Tart Cards. [Google] [More] ⦿ | |
Type Together
| Foundry est. in 2005 by Veronika Burian and José Scaglione. TypeTogether's library of retail fonts includes
Catalog of the Type Together typeface library. [Google] [MyFonts] [More] ⦿ |
Outfit specializing in the organization of type conferences such as ATypI. The team: Caroline Archer (UK-based), Simone Wolf (born in Germany, lives in Italy), Shelley Gruendler (American who lives in Canada), and Alexandre Parré (French architect, lives in the UK). [Google] [More] ⦿ | |
46-page article about the design of symbolism and typefaces in the subway systems of Prague, Paris and London. [Google] [More] ⦿ | |
An outgrowth of TYPO Berlin, TYPO London started in 2011, and hopes to become an annual event. It was organized by the industry (FontShop) for industry. The scope was very wide, covering design in general. There was a typographic component. The 2011 meeting took place from 20-22 October in Logan Hall, University of London. Speakers in 2011 included King Bansah, Michael Bierut, Neville Brody, Jonathan Ellery, Jeff Faulkner, Tim Fendley, Dale Herigstad, Nat Hunter, Gary Hustwit, Michael B Johnson, Chip Kidd, Eva-Lotta Lamm, Pamela Mead, Morag Myerscough, Joachim Sauter, Karin von Ompteda, Lawrence Weiner, Marina Willer, and Julian Zimmermann. Type design was confined to Saturday, and featured Bruno Maag, Jonathan Barnbrook and Ivo Gabrowitsch. Pic by Juergen Siebert. [Google] [More] ⦿ | |
Typographic organization in UK. Organizes seminars and talks. Started by Erik Spiekermann in the 70s, it is now headed by Phil Jones of London's Real Time Studio. [Google] [More] ⦿ | |
Typofabric
| Plymouth, UK-based foundry, est. 2009. In 2009, they made the organic and slightly experimental sans faces Aplica, Shelter, Qero Lite and Qero Nite, and the schoolbook handwriting faces Sweety and Sweety Hollow, and the industrial Fabrikey (2009). In 2010, Dois Debe made the calligraphic face Shanklin for them. It is unclear who made the other typefaces. In 2012, they published the ball terminal face Coquelicot. [Google] [MyFonts] [More] ⦿ |
Frank commentary and commercial type news, compiled by David Earls. As he states: "Typographer.com only covers commercial typeface releases and very carefully selected others." Archives. [Google] [More] ⦿ | |
British outfit with extremely annoying web pages with moving things, small print, hidden buttons, and pop-ups that take over your screen. After reading all their stuff, I still don't know what they are up to, except that they are interested in on-screen typography. The members include Nicky Gibson, Fred Flade, Dionne Griffith, Richard Ho, Mike Reid, Pete Everett, Fred Wheeler, Ghazwan Hamdan, Phil Bulley, Chanuki Sereshine, Punyd Sakharet and Frances O'Reilly. Sorry for the misprints, because I could not read some of the characters in the names. [Google] [More] ⦿ | |
The Typographic Circle is dedicated to promoting type and typography in all fields. London-based. [Google] [More] ⦿ | |
Typolar (was: Jarno Lukkarila Type Foundry, or: Format Design)
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His type families, most of which start with an extreme hairline weight.
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Typomatic (Swifty Typografix)
| London based foundry founded in 1998 by Ian Swift (aka Swifty, who started Command (Z) 3 years earlier), offering (for now) 12 Mac type 1 fonts of the funky type. Offering mainly grunge and grunge fonts for money: Coltrane Regular, Dolce Vita, Miles Ahead, Obsolete, Repo-Thin, Bit Normal, Fat Arse, Gunshot (grunge), Keep it Locked, Bear, Cut it Out, Five Point Fuzzy. Emodigi site. Newer releases (2007): Bad Eggs (stencil), Funkadelic, Get Stoked, Positiveldent, Sci-Fi. [Google] [More] ⦿ |
Conference organized by Linotype in London, 17-19 February 2005. Speakers. Linotype people speaking here include Bruno Steinert (the boss), Thomas Caldwell (European language support), Nadine Chahine (Arabic type support), and Attila Korap (computer wiz). The meeting is principally by and about Linotype, Adobe, Microsoft and FontLab. Linotype report. Ben Kiel's write-up. [Google] [More] ⦿ | |
Ian Currie (Ugghhzilla) is a Londoner, b. 1984, who made the sturdy bold face Headthinker (2009). Dafont link. [Google] [More] ⦿ | |
Type site in Birmingham, UK. It has a Type Mine, and UK type events calendar. [Google] [More] ⦿ | |
Ultrasparky
| 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. Currently, he is a senior type designer at Monotype Imaging, based in the UK. He is an expert on Indic scripts, and will speak about that at ATypI 2011 in Reykjavik. His first typeface 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 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 face Copse font was published at Kernest (free downloads). Kernest link. Google Web Font Directory carries his free face Astloch, a monoline blackletter face. [Google] [More] ⦿ |
Undt Typefaces
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Unicode Kannada Font
| Computer scientist Nicholas Shanks (UK) is working on a free Unicode-compatible Kannada font, Kedage (2006), which was originally designed by the Indian Institute of Science in Bangalore. [Google] [MyFonts] [More] ⦿ |
Union Pearl | The oldest of the English decorated typefaces. Around 1700, it belonged to the Grover Foundry. It then bacame part of Fry's, then the Fann Street Foundry, and finally Stephenson Blake. Known for its swash capitals and pearl decorations. A sample can be found in Jaspert, Berry and Johnson. [Google] [More] ⦿ |
Department of Typography and Graphic Communication in Reading (UK). Main teachers: Gerard Unger (!!!), James Mosley, Gerry Leonidas, Michael Harvey, Christopher Burke, Eric Kindel, Paul Luna, Paul Stiff, Michael Twyman, Richard Southall, Maxim Zhukov, Laurence Penney, and David Woodward. One can obtain an MA degree in Typeface Design. Info on type design at Reading. See also here. The 2008 teaching staff includes Martin Andrews, Jo de Baerdemaeker, Veronika Burian, Rob Banham, Carolyn Davidson, Mary Dyson, Victor Gaultney, Eric Kindel, Gerry Leonidas, Paul Luna, Charlene McGroarty, Hadj Messelles, Tom Milo, Jonathan Hoefler, John Hudson, James Mosley, Linda Reynolds, Daniel Rhatigan, Fiona Ross, José Scaglione, Christian Schwartz, Paul Stiff, Miguel Sousa, Mirjam Somers, Michael Twyman, Gerard Unger, Marjan Unger, Sue Walker and Geoff Wyeth. [Google] [More] ⦿ | |
At the University of Western England in Bristol, aka UWE, there is clearly a course in which students have to use FontStruct for one or more assignments, because a group has been formed at FontStruct. [Google] [More] ⦿ | |
UTF-8 for UNIX
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The University of Western England (UWE) in Bristol is well-represented at FontStruct. Remarkable contributions there by Chloe Johnston (curlicues), Joe Allison (stencil face), Emma Brown, A.C. Smithy (Celtic caps), and Louise Kelly (medieval caps). [Google] [More] ⦿ | |
British bookseller of "books about books". [Google] [More] ⦿ | |
London-based freelance visual designer and illustrator. Home page. Creator of Kling Old Style (2010) and the squarish face Empa Display (2010). [Google] [More] ⦿ | |
Graphic artist in London who mixed Kino and Harrington in a cloning experiment (2011). [Google] [More] ⦿ | |
Graphic designer in London. Creator of a stencil face in 2012. [Google] [More] ⦿ | |
Plymouth, UK-based graphic designer who made the neon light/paperclip face Nasius (2010). [Google] [More] ⦿ | |
London-based graphic designer and illustrator, who created some nice typographic illustrations. Behance link. [Google] [More] ⦿ | |
Graphic designer in London. Behance link. Ramen (2010) is a great high-contrast typographic poster for an imaginary fashion mag. [Google] [More] ⦿ | |
Charles Bigelow explains the development and the choice of the name (Times New Roman versus Times Roman) in May 1994: "Times Roman" is the name used by Linotype, and the name they registered as a trademark for the design in the U.S. "Times New Roman" was and still is the name used by The Monotype Corporation. The face was developed by The Times newspaper for its own use, under the design direction of Stanley Morison. Originally cut by the Monotype Corp. in England, the design was also licensed to Linotype, because The Times used Linotype equipment for much of its actual production. The story of "The Times New Roman" can be found in Stanley Morison's A Tally of Types, published by Cambridge University Press, with additional, though not quite the same, versions in Nicolas Barker's biography of Stanley Morison, and in James Moran's biography of SM. (There should be an apostrophe in that name, "Times' Roman", I suppose, though no-one uses it.) During WWII, the American Linotype company, in a generous spirit of Allied camaraderie, applied for registration of the trademark name "Times Roman" as its own, not Monotype's or The Times', and received the registration in 1945. In the 1980's, all this was revisited when some entrepreneurs, desirous of gaining the rights to use the name, applied to Rupert Murdoch, who owned The Times; separately, a legal action was also initiated to clarify the right of Monotype to use the name in the U.S., despite Linotype's registration. The outcome of all of the legal maneuverings is that Linotype and its licensees like Adobe and Apple continue to use the name "Times Roman", while Monotype and its licensees like Microsoft use the name "Times New Roman". During the decades of transatlantic "sharing" of the Times designs, and the transfer of the faces from metal to photo to digital, various differences developed between the versions marketed by Linotype and Monotype. Especially these became evident when Adobe released the PostScript version, for various reasons having to do with how Adobe produced the original PostScript implementations of Times. The width metrics were different, as well as various proportions and details. In the late 1980's, Monotype redrew its Times New Roman to make it fit exactly the proportions and metrics of the Adobe-Linotype version of Times Roman. Monotype claimed that its new version was better than the Adobe-Linotype version, because of smoother curves, better detailing, and generally greater sensitivity to the original designs done for The Times and Monotype by Victor Lardent, who worked under the direction of Stanley Morison. During the same period, Adobe upgraded its version of Times, using digital masters from Linotype, which of course claimed that it had a superior version, so there was a kind of competition to see who had the most refined, sensitive, original, genuine, bona-fide, artistically and typographically correct version. Many, perhaps most, users didn't notice and didn't care about these subtle distinctions, many of which were invisible at 10 pt at 300 dpi (which is an em of 42 pixels, a stem of three pixels, a serif of 1 pixel, and so on). When Microsoft produced its version of Times New Roman, licensed from Monotype, in TrueType format, and when Apple produced its version of Times Roman, licensed from Linotype, in TrueType format, the subtle competition took on a new aspect, because both Microsoft and Apple expended a great deal of time and effort to make the TrueType versions as good as, or better than, the PostScript version. During the same period, Adobe released ATM along with upgraded versions of its core set of fonts, for improved rasterization on screen. Also, firms like Imagen, now part of QMS, and Sun developed rival font scaling technologies, and labored to make sure that their renderings of Times, licensed from Linotype in both cases, were equal to those of their competitors. Hence, the perceived quality of the Times design became a litmus for the quality of several font formats. Never before, and probably never again, would the precise placement of pixels in the serifs or 's' curves etc. of Times Roman occupy the attention of so many engineers and computer scientists. It was perhaps the supreme era of the Digital Fontologist. As for the actual visual differences in the designs, well, like any good academic author, I leave the detection and analysis of those "as an exercise for the reader". [Google] [MyFonts] [More] ⦿ | |
London-based graphic designer with a special interest in information design and typography, who graduated from reading in 2010. At Reading in 2008, she created a blackletter face using FontStruct. In 2010, she created a semi-blackletter face for her graduation at Reading. [Google] [More] ⦿ | |
Influential typefounder, born in England, 1766-1844 (Peckham). He published several books of type specimens, and designed Gresham (1792), Old English (1815), Figgins Shaded (1816), Figgins Tuscan (1817, digitized by HiH (2005)), Egiziano Black (1815) and Egyptian (1817). Giza (Font Bureau, 1994) is a revival by David Berlow of the latter face. Among the Gaelic typefaces he designed, we mention the later transitional angular face called Early Figgins by Michael Everson (ca. 1815), and the Gaelic modern angular face Everson calls Later Figgins. The latter face resurfaces ca. 1913 as Intertype and Intertype Bold (designer unknown), with versions at ATF (ca. 1916) and Linotype (ca. 1916), and as Monotype Series 24a (ca. 1906, which according to Everson was recast in 1913 by Michael O'Rahilly, and digitized in 1993 as Duibhlinn). Another digitization is Figgins Antique by Tom Wallace. Scans: Sample of the Figgins type from Hardiman's "Irish Minstrelsy", Two-Line Pearl Outline (1833). Epitome of Specimens by V.&J. Figgins was published in London in 1866. Vincent Figgins Type Specimens 1801 and 1815. Reproduced in facsimile. Edited with an introduction and notes by Bernard Wolpe wwas published in 1967 in London by the Printing Historical Society. Digital typefaces that can be traced back to Figgins. [Google] [MyFonts] [More] ⦿ | |
Creative designer from Naples who is based in Bristol, UK. At Behance, one can enjoy his semi-industrial typeface NeoEnz (2009). [Google] [More] ⦿ | |
UK-based FontStructor (student at Bristol UWE) who created the texture face Loco (2009). [Google] [More] ⦿ | |
Viraj Deo, a graduate of the London College of Communication, started the Braille Devanagari project in 2011. [Google] [More] ⦿ | |
VirusFonts (was: Virus Foundry, Studio 12)
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MyFonts interview. Creative Pro interview. Bio at Emigre. In 2007, Mathieu Réguer wrote a thesis at Estienne on Barnbrook. Barnbrook designed these typefaces:
Klingspor link. Fontworks link. MyFonts link. FontShop link. Showcase of Jonathan Barnbrook's typefaces. [Google] [MyFonts] [More] ⦿ |
W. Negga | Located in Croydon, UK. Designers of these Ethiopic fonts in 2002: A1-Desta, A1-Kidan, A1-Qelem, A1-Tesfa, A2-Desta, A2-Kidan, A2-Qelem, A2-Tesfa. Downloadable here. [Google] [More] ⦿ |
Born in the UK (1914-1995). He was a type designer at Barnard Press from 1935-1938, did freelance design in 1947, and worked for Linotype England as head of the typer department from 1948-1978. He continued after 1978 designing Arabic typefaces for Linotype. Fonts: Jubilee (1953-1954, Linotype), Adsans (1959, also known as Bitstream Humanist 970; with short descenders to jam as much text as possible in newspaper ads), Maximus (1967), Telegraph Modern (1969, for "The Daily Telegraph" newspaper), Times Europa (1972, for The Times of London, as a replacement of Times New Roman which was made in 1931), Doric (1973), Telegraph Newface Bold (with Shelley Winter, 1979), Qadi (1979, Arabic font at Linotype), Kufics (1980, Arabic font at Linotype), Oasis (1985), Sharif (1989, Arabic font at Linotype), Malik (1988, Arabic font at Linotype), Medina (1989, Arabic font at Linotype). He was a typographic advisor to The Times. He is perhaps most famous for his bestselling book "Letters of Credit, a View of Type Design" (London, 1986). He also published "The Typographic Scene" (London, 1988). For lo-fi printing types, a recommended reading is Tracy's Telephone Directories (in issue #15 of the old series of Typographica (1958), pp 4-15). | |
Student at UWE in Bristol, UK. Creator of the ornamental blackletter caps face Apostle XIII (2011, FontStruct). [Google] [More] ⦿ | |
Wayne Birch ("Aanguish") is the British designer of Major Minus (2011), a fat counterless face. [Google] [More] ⦿ | |
British designer (b. 1986) of the grunge display faces Assassins Dub (2010) and Blackleafs (2010). Wayne works at Blackleaf Recordings. [Google] [More] ⦿ | |
UK-based FontStructor (student at UWE) who made the hairline negatively tilted face The New Italic (2010). [Google] [More] ⦿ | |
WCM
| WCM, or Woods Creative Media, which is based in Salburg, UK, is run by Paul Woods(b. 1980, Bolton, England). At MyFonts, it sells Skulebook (2007), a school book-style handprinted font. [Google] [MyFonts] [More] ⦿ |
Graphics design studio in London. At FontStruct, they published the octagonal fat face Sector7 (2011). [Google] [More] ⦿ | |
Born near London in 1912, he designed Klang (1955; this face was bought by Stephenson Blake from Monotype), Dartmouth (1961), Dartmouth Titling (for Letraset) and Octavian (1961, with David Kindersley). He died in 2001. Catalog of his faces. Obituary: Founder of the Rampant Lions Press, who kept Cambridge supplied with fine printing and lettering of all kinds begun by Will Carter more than 60 years ago and continued by his son Sebastian, the Rampant Lions Press has been the leading English private press of the postwar period, following handsomely in the tradition of the Golden Cockerel and Nonesuch Presses. The Rampant Lions location in Cambridge and its close ties to the university guaranteed a stream of jobbing work in the early years---supporting it financially and spreading its reputation, as well as making it the obvious choice of printer for many books conceived within academia's groves. Both Will and Sebastian have been notable for their wide circle of friends and collaborators from the worlds of typography and lettercutting, fine printing, literary criticism, scholarly publishing and good bookselling. In addition to its own books, the Rampant Lions Press has always taken on work for other publishers, making printing not a solitary obsession, but a co-operative and convivial pleasure. Their customers have included Lord Rothschild, Dadie Rylands, Brooke Crutchley, Douglas Cleverdon and Ted Hughes, while those who produced illustrations for the press have included John Piper, Michael Ayrton, Anthony Gross, Leonard Baskin and John Buckland Wright. At a time when commercial publishing was increasingly done by lithographic methods, the Rampant Lions kept before the public examples of how much deeper, crisper and blacker good presswork from metal type can be. In reaction to photocomposition and then computer setting, there has been something of a revival of private printing, with presses of various degrees of accomplishment and preciousness emerging around the country; but the Rampant Lions was a crucial link back to the days when metal type was in everyday use. The changes in technology also gave it the opportunity to build up a collection of specialist fonts of type from foundries and from other presses, including the Golden Cockerel Roman. William Nicholas Carter was born in Slough into a very bookish family. He was, for instance, a great-great-nephew of the Eton master William Johnson Cory, famous for the Eton Boating Song and his translation of Callimachus' Epigram, "They told me, Heraclitus, they told me you were dead." Cory's Lucretilis was in due course handsomely printed at the Rampant Lions, with an introduction by John Sparrow. Will was the younger brother by seven years of the bookseller, biblio-historian and Housman scholar John Carter, who with Graham Pollard exposed the T. J. Wise forgeries of 19th-century pamphlets, in the classic case of bibliographic detection. Their cousin was the outstanding wood-engraver Reynolds Stone, who was to cut one of several devices for the Rampant Lions, as he previously had for Frances Meynell's Nonesuch. Will Carter's interest in printing began when he visited Oxford University Press in 1924 at the age of 12, where he was allowed to print a visiting card for himself using the 17th-century Fell type. A few days later, John Johnson, who was shortly to become Printer to the University of Oxford, sent the boy some type to experiment with, hoping that it would make for an amusing and useful hobby. After his schooling at Radley, Carter worked as a trainee with the printers Unwin Brothers for two years. He transferred to the Shenval Press, under James Shand, and then to Heffer's printing works in Cambridge in 1934, where he rose to be a designer. In his spare time, he began jobbing printing in Jordan's Yard on an octavo flat-bed Adana press, an Albion hand-press and later an Adana platten press. His first book, in an edition of just 50 copies, was the printer John Baskerville' Preface to his 1758 edition of Paradise Lost. "The pathetic part about it was that I took the text from Updike" wrote Carter years later, "and, beyond noticing a certain abruptness in the ending, didn't realise that it wasn't complete." The slump in the prices of rare books and modern first editions at the beginning of the 1930s made life difficult for private presses. Book-collecting had been fashionable in the giddy 1920s. Books had been bought as financial speculations and there were many eager customers, so it was possible to sell comparatively long runs. "Nonesuch limited editions sold to the full of their hundreds," wrote Sir Frances Meynell in My Lives in 1971. But after the crash of 1929-30, the next two decades saw a retrenchment in book collecting and publishing. Most of the successful new enterprises of the period were in the form of popular editions, such as Penguins, rather than fine collector’s items, and Carter could not support himself with Rampant Lions work alone. He married Barbara Digby in 1939 and moved to Chesterton Road, where they were to live for the rest of their lives. During the war he served in the Royal Navy in the South Atlantic and the Eastern Mediterranean, commanding a converted Greek sailing ship, transporting undercover agents around occupied Greece, until his demobilisation in 1946. Back in England he returned to Heffers, but in 1949 he steeled himself to pursue his passion, and the Rampant Lions Press, named after the family arms, became his full-time occupation. Happily, he was soon commissioned by Geoffrey Keynes to print 75 copies of Emblems of Experience by Siegfried Sassoon, for the author. Although much of his work consisted of printing wedding invitations, change-of-address cards and suchlike announcements, rather than books, it was so conspicuously fine that five years later an entire issue of the typographic world's house magazine, The Monotype Recorder, was devoted to Carter. In 1961 he served as president of the fine printers and typophiles dining society the Double Crown Club. And his life in letters extended beyond printing, into calligraphy, letter-cutting and type-design. In 1936 he had carved some lettering on a round breadboard for Brooke Crutchley, and he was to continue carving decorative alphabets---often of his own design---into different shaped panels for 60 years. In 1948, the year he published an essay on Chancery Italics in Printing Review, he met Eric Gill's last apprentice, the lettercutter David Kindersley, and learnt to cut in slate. The first of his commissions was the war memorial at Magdalene College, and he went on to produce many elegant gravestones and tablets. His lettering in stone and wood was exhibited in Frankfurt, Prague and New York, and his hand and eye were chosen for the foundation stone of the new British Library, cut and installed while St Pancras was still a building site. As he wrote, "the handling of type and the setting out of carved inscriptions came to influence each other. The setting of printer's caps in particular has reached a fine point of sensitivity as a result." This feeling for the shapes of letters led naturally to his designing his own. His typeface Klang was released by Monotype in 1955, and showed the influence of Rudolf Koch and his son Paul, in whose studio Carter had spend some months in 1938. (The type designer Hermann Zapf had been working nearby in Frankfurt at the time, and Carter considered him a major influence on his own lettering.) Later Carter and Kindersley collaborated on the design of another face, Octavian. Around 1963 Douglas Cleverdon approached the Rampant Lions to print an edition of The Rime of the Ancient Mariner, with ten copper-engravings that had been exe cuted by the artist and writer David Jones in 1928. This partnership was to lead to a series of books under the Clover Hill imprint, culminating in 1981 in the mighty (and mighty expensive) Engravings of David Jones. In 1974 Clover Hill Editions published William Morris's poem The Story of Cupid and Psyche, with wood-engravings designed by Edward Burne-Jones. The blocks for this large two-volume set had been engraved, mostly by Morris, for the Kelmscott Press in 1865 but had never been printed. Fortunately, Brooke Crutchley, by then the Cambridge University Printer, was able to persuade the University Library to lend Will and Sebastian the Kelmscott collection's black-letter Troy type for this edition, the most ambitious collaboration between father and son. Will Carter was artist-in-residence at Dartmouth College, New Hampshire, in 1969, where for Letraset he designed Dartmouth Titling, a slightly swaggering set of Roman capitals. He served on the Royal Mint's advisory committee from 1971 to 1991, and the architectural advisory panel of Westminster Abbey from 1979 to 1992. He was elected an honorary Fellow of Magdalene College in 1977, and appointed OBE in 1984. In the summer of 1982 a Rampant Lions retrospective was held at the Fitzwilliam Museum in Cambridge, for which the Carters wrote and printed a useful catalogue and checklist of the 172 books printed up to that time. By then the press had largely been handed over to Sebastian, and Will was devoting his time to carving and lettering. Over the years he produced many calligraphic book-jackets and title-pages, particularly for Cambridge University Press and Chatto&Windus. He also accepted commissions for book-labels for private collectors, many of which were doubtless pasted into volumes from the Rampant Lions Press. Will Carter's wife died in 1994, but he is survived by his son and three daughters. Will Carter, OBE, printer, type designer and lettercutter, was born on September 24, 1912. He died on March 17, 2001, aged 88. Mac McGrew on Dartmouth: Dartmouth may be the last new typeface cut in metal. Paul Duensing says it was designed by Will Carter as a titling letter for the college of that name for signage and other display uses. It was based on Octavian Roman which Carter and David Kindersley had co-designed in 1960-61 for English Monotype. New figures for this cutting were drawn by Will Rueter of Toronto. Dartmouth was cut and cast in 22-point in 1991 at Duensing's Private Press and Typefoundry. Klingspor link. FontShop link. Linotype link. [Google] [MyFonts] [More] ⦿ | |
Will Hill is Senior Lecturer in Graphic Design at Anglia Ruskin University, Cambridge, UK and headed the MA program in Typographic Design there since 2005. He is the author of The Complete Typographer (2nd Edn) (2005). In 2006, he completed an MA in Typeface Design at the University of Reading. This included the design of a dual Latin/Cyrillic typeface, and a dissertation exploring aspects of postmodernity in typographic revivals. Speaker at ATypI 2010 in Dublin and at TypeCon 2011 in New Orleans. [Google] [More] ⦿ | |
Fontstructor who made the eroded ornamental caps faces Deadwood (2011) and Final Font (2011). Student at UWE in Bristol, UK. [Google] [More] ⦿ | |
Typographer in London. Using Taylormade Type, he created his own interactive squarish alphabet called Vulnerable Type (2011). [Google] [More] ⦿ | |
British author, 1824-1890. He wroe Some early type specimen books of England, Holland, France, Italy, and Germany 91875, J.M. Powell, London). [Google] [More] ⦿ | |
English publisher and printer active c1786-c1817, b. Newcastle upon Tyne, 1757, d. 1830. He first worked for the printer-publisher John Bell. He came to prominence as a result of being chosen by George Nicol, bookseller to King George III, to produce a major new edition of Shakespeare. [Google] [MyFonts] [More] ⦿ | |
A listing of some digital version/revivals of Caslon's types:
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Son of William Caslon I. He managed the Caslon family business from his father's death in 1766 until his own death in 1778. The business was then divided between his widow and their two sons, William Caslon III and Henry Caslon I. [Google] [MyFonts] [More] ⦿ | |
Images from A specimen of printing types (1785): a crown, Double Pica Greek, English Arabic, English Italic, Five Line Pica Ships, Long Primer Roman No 1, Pica Black No. 2, Pica Coptic, Pica Ethiopic, Two Line Double Pica, Two Line Great Primer, Two Line Long Primer. [Google] [MyFonts] [More] ⦿ | |
Son of William Caslon III, great-grandson of William Caslon I. He took over management of the Salisbury Square foundry (ex-Joseph Jackson) from his father in 1807, and called it William Caslon. He is credited with the first sans typeface, an upper-case only face called Egyptian, in 1816. In 1819 he sold the business to the new Sheffield foundry of Blake, Garnett&Co (later Stephenson Blake), which had started in 1818. He died in 1869. [Google] [MyFonts] [More] ⦿ | |
First English type founder (b. 1420, 1421 or 1422, Weald of Kent, d. 1491, Westminster). Graphion's site. Caxton Gotisch is due to him. Many fonts were named after him, such as Caxton Initials (Frederic Goudy), and the ITC Caxton Roman family. His life's story can be found in Typophiles Chapbook: William Caxton and His Quincentenary (John Dreyfus). [Google] [MyFonts] [More] ⦿ | |
Illustrator and graphic designer in Leicester, UK. He created two experimental typefaces in 2012 that are rooted in the basic geometric forms used in Bauhaus posters. [Google] [More] ⦿ | |
Punchcutter, b. 1851, Southgate, UK. Picture. In 1865, he went to Flinsch in Frankfurt to study punchcutting with William Kirkwood. Then he left for Chicago, and became American. His later work was done while he lived in Bayonne, New Jersey. His typefaces, often quite ornamental and/or Victorian, were all done at Marder, Luse & Co, except Adtype (+Italic) (1903, ATF), Lithograph Shaded (1914, ATF), a typeface patented by ATF in 1916, and Alfereta (ca. 1897, Crescent Type Foundry). Google atent link. The Marder, Luse faces by date:
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British typefounder and punchcutter trained under Baskerville, active as supplier to the Boydells, Nicols, the Bewicks, and Bulmer 1776-1815. Born in Birmingham, he died in London in 1815. Morris Fuller Benton's ATF version of the Baskerville style text typeface cut by William Martin for the English printer and publisher, William Bulmer, is called Bulmer. It comes in two styles and is available from Bitstream. ATF released the design in 1928. Adobe and Monotype, which have a multistyle family, also called Bulmer, write: Designed in 1792, the Bulmer types are named not after their designer, William Martin, but after the printer who used them so well in his Shakespeare [sic] Press editions. In fact, it was Morris Fuller Benton who gave them the name back in 1928 when he was creating revivals for American Type Founders. Originally, Martin's type was the English answer to the sharp, fine letterforms of Italy's Bodoni and France's Didot type foundries. But the Bulmer types did more than imitate the starkness of the modern-style Didot-Bodoni types. By condensing the letterforms, giving the strokes higher contrast, and bracketing the serifs slightly, Martin made his typefaces both beautiful and practical. [Google] [MyFonts] [More] ⦿ | |
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Born in Exeter in 1572, he became a master printer and owner of his own shop in London, and died some time after 1638. For the typographer, the main interest in Stansby will be his collection of printers' ornaments used between 1615-1617, that is being catalogued at the University of Virginia. [Google] [More] ⦿ | |
A joke started by Mike Parker at the 1994 ATypI: In recent years Mike Parker has unearthed evidence showing that the famous design [Times New Roman] was probably not the original work of Lardent and Morison, but of the American yacht racer and designer, Starling Burgess (b. Boson, 1878, d. 1947). People are still falling for it in 2007 and 2008. I will quote Bill Troop from the latter article. As for Burgess - - has a shred of independent evidence emerged to support the theory that this man, never hitherto associated with type - - was capable of designing TNR or any other typeface? Has a single page of a single book in Times printed before 1932 emerged? Where are the secret 'bonds' between the corporations that Mike Parker talks about? I retain my belief that Mike Parker has perpetrated a marvellous prank. There is not a single piece of verifiable evidence to support it as history. If anything were more decisive than another, it would be Jim Rimmer's unimpeachable statement that the italic attributed to 'Burgess' was in fact designed by him. That's OK. We know Jim Rimmer is a type designer and a very, very good one. We know little of Starling Burgess except that he was never a type designer. Nobody has ever shown an original drawing. Everything we have been allowed to see has been digitized. And all the 'secret agreements' from 1960 which Mike Parker speaks of - - where are they? Why has nobody managed to photograph or scan one of them? And why has nobody, a hundred years later, been able to discover a single page printed in TNR before 1932? This is just an amusing hoax that doesn't even rise to the level of the pranks that are occasionally inserted into the august Grove Dictionary of Music and Musicians. However, it has served its purpose, which was to distentangle Giampa from Monotype's legal eagles. Now that Gerald's Lanston/Monotype establishment doesn't seem to exist anymore, why doesn't everyone just come clean? Even Trever-Roper admitted he had been had. It doesn't seem to have done irreparable harm, long-term, to his reputation. Joel Alas reports it differently, as he tells how Mike Parker created a new font, Starling, in 2009, in honor of Burgess, but a Times-Roman lookalike. Excerpts from his piece: William Starling Burgess was born into a wealthy Boston family in 1878, and is best remembered as an accomplished naval and aeronautical designer, the builder of yachts for the America's Cup and aircraft for the Wright brothers. But before embarking on his stellar career on wind and water, Parker believes Burgess had a short but brilliant dalliance with typography. An old photograph of William Starling William Starling Burgess When Giampa started investigating the Lanston Monotype archives, he claimed to have found correspondence between the company and Burgess, who, in 1904, ordered the manufacture of a font series to be used for company documents at his shipyard in Marblehead, Massachusetts. But before Lanston Monotype could complete the order, Giampa claimed, Burgess witnessed an early flight by the Wright brothers and abandoned his interest in type in favour of aviation. His original drawings were filed at the company as Number 54, and remained on a shelf for years. Parker says that in 1921 Lanston Monotype tried unsuccessfully to sell the Number 54 font to a fledgling news magazine called Time. Sometime after that, Burgess's drawings fell into the hands of Stanley Morison, a type consultant at the Monotype Corporation in Britain, by way of Frank Hinman Pierpont, an American who managed that company's factory in Surrey and who made a career out of reviving old fonts. In the early 1900s typography was progressing rapidly, but newspapers were failing to keep up with the advances. The Times of London used a chunky serif font that was hard on the eye and wasteful of ink and paper. When Morison criticised The Times for its typeface in 1929, the newspaper challenged him to come up with something better. In his writings, Morison says that he looked to old-style fonts for inspiration, and set upon modifying a 16th-century typeface called Plantin. A sketch sheet was handed to Victor Lardent, a staff illustrator for The Times, who finalised the design. The Morison-Lardent drawings were accepted, and on October 3 1932, The Times went to print with its proud new typeface. [...] "Morison knew no bounds," says Parker, who has numerous anecdotes about their many encounters that paint a picture of a cunning and devious man. Morison never took credit for designing the font himself, but claims only to have "excogitated" it. [...] To date, no one but Giampa and Parker have claimed to have seen most of the evidence that supports the Burgess story. Sadly, no one else is likely to have the chance to verify their claims. In 1918, a fire tore through Burgess's shipyard, incinerating any documents that might have shed light on his activities during 1904, when Parker suggests he made the original drawings for the new font. On the other side of the Atlantic, a bomb blast near the London offices of Monotype Corporation in 1941 destroyed much information about Morison's activities during the redesign of The Times's typeface. The surviving brass B pattern plate of Starling The surviving brass pattern plate at the centre of the font controversy All that remained were the Lanston Monotype archives in Giampa's possession, until they too met with disaster. In January 2000, Giampa's house was flooded, and a century's worth of printing history was lost. "The bulk of the files ended up in a dumpster," Giampa said. FontBureau perpetuates the joke: In 1904 William Starling Burgess, gifted American polymath, drew his second type for Lanston Monotype, designated Lanston No. 54. A few years later, Burgess would abandon type for a distinguished career designing experimental aircraft, racing yachts, and the Dymaxion automobile. The type languished for decades until Frank Hinman Pierpont, American head of the British Monotype factory, passed on proofs of the design to Stanley Morison, who was developing a new roman for The Times of London. Mike Parker found the original drawings, now housed at the Smithsonian Institution, to be superior and prepared the Starling series for Font Bureau. [Google]
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Quoting from the wiki: In 1794 Robert Thorne had purchased the foundry of Thomas Cottrell, a former employee of William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery. Though he was never involved in the type founding business before this Thorowgood made the foundry initially successful by publicizing Thorne's typefaces. Many of the types identified as Thorowgood's are actually the designs of Robert Thorne. Thorowgood went on to issue new specimens and added more typefaces including Frakturs, Greeks, and Russian types which he obtained from the Breitkopf and Härtel foundry of Leipzig, Germany. In 1828 he also purchased the Edmund Fry foundry which had a large collection of foreign language types as well. Robert Besley became a partner in the firm in 1828, and on Thorowgood's retirement in 1849, Besley took over the foundry. FontShop link. Linotype link. [Google] [MyFonts] [More] ⦿ | |
Wolf | A London printer in the sixteenth century. Their English No. 2 (1582) passed to the John James foundry, bought by Fry and then passed to Sir Charles Reed foundry. It was acquired from Reed by Stephenson Blake in 1904. [Google] [More] ⦿ |
Designer of the Renault family in 1978 at Mecanorma, a Times-like serif family [R690 Roman on the SoftMaker MegaFont XXL CD, 2002]. He founded the famous design company Wolff Olins in 1965. Presently, it has offices in London, San Francisco, Barcelona, New York and Tokyo. This company is guilty of many custom typefaces, and employed at some point people such as Jeremy Tankard. WO specializes in brand typing. For example, in 1993, National Westminster contracted them to make the NatWest corporate family, which was then drawn by David Quay and Freda Sack, and digitized by Bruno Maag. Wolff also designed the beautiful Tate Gallery Corporate Typeface. During his employment at Wolff Olins (UK), Michael Barbosa started work on Metroplis (1995) for Metroplisboa, the Lisbon subway. This face was subsequently drawn by Freda Sack and David Quay at The Foundry, London. Typedia link. [Google] [MyFonts] [More] ⦿ | |
London-based DsgnHaus designer of fonts like BoldAloha, CroAloha (1996), CurlyLuly, Doublecross, Fleche-Heavy, Fleche-Thin, Fleche (1996), FrankGorshin (1996), LeticeaBumstead, PhoenixChunky-Italic, PhoenixChunky, Wooders, WoodersCAPS. Aka Flavourfont. [Google] [More] ⦿ | |
James, aka Xero, is the UK-based designer of Monstur (2007). Home page. [Google] [More] ⦿ | |
xrayman | British designer of Baby Toys (1999) and Elfabet Decorative (1999). Elfabet is a digitization of an ornamental caps alphabet of Doug Keith (1981). [Google] [More] ⦿ |
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Graphic designer in London. He made Fat Font (2011) based on paper folding.Chairs inspired him to make an experimental type family in 2011. [Google] [More] ⦿ | |
youthess | Creator of the handprinted typeface Benjamin (2012, iFontMaker). [Google] [More] ⦿ |
Zephyris
| Richard Wheeler (b. 1987) was first based in Reading and the in Oxford, UK. His foundry, est. 2012, is Zephyris. Creator of the marker pen family MarkerWheeler (2010) and of the open text family Treatise (2012). Klingspor link. Devian tart link. [Google] [MyFonts] [More] ⦿ |
Located in the UK, this outfit created the experimental face Plinth (2011) and the octagonal techno face Ramscoop (2011). They also made some modular typefaces in 2011---one is called Flux. Cartalog. [Google] [More] ⦿ | |
Graphic designer in Winchester, UK, who was so impressed by the Winchester Cathedral that he made a font called Arch Type (2011) that reflects the gothic arches found in the cathedral. He writes about his Sino-Latin face Hakka (2011): Hakka ethnic group distributes around south China and other part of the world. They were the earliest Han settlers in China and affiliated with royal blood. However, globalization and cultural collectivism today are wiping out their individuality. Young generation of Hakka is about to forget their identity. The design is aim to arose people's attention by rebranding the group with typeface of traditional looks and New Hakka phonetic system. They will be widely used in publications. [Google] [More] ⦿ | |
Creator of the modular face "Modular" (2011) while studying graphic communication at UCA Farnham, UK. [Google] [More] ⦿ | |
zone23 fonts
| Lots of original freeware fonts at this British foundry. Nick Wannabe (old typewriter), Fisheye, Underwater, Psilocybine (broken letters), Helvetica Flip (flipped letters), Explosion, Asunder. Plus dingbat fonts Foopy 1 through 11. Seems that most if not all fonts are by Christopher Wood. Newer fonts: Nootropics (bad vision font), Ayahuasca (grunge font), Rayz, Dreamtime 623, Two Kinds of Love, Gravity, Hiromi, Zazen, Pheromones, TWENTYTHREE, Nick Molloy. Dingbats: Stars, Symetrix, Gothics, Crosses, 23Gyros, Lightning. The commercial version of Zone23 is foopy.com. Link went dead. [Google] [More] ⦿ |
zwei
| Type designer from Austria. Creations include Vienna Remixed (Sans, italic, bold, blackletter, renaissance, baroque, rococo, classicist), Audrey Sans, Dkoder, Noise Full. In February 2008 he set up his new studio, zwei, to specialise in typography and type design. There one can find the type families Adele, Vienna (Sans, Renaissance, Baroque, Classicist and Blackletter), and Noise Full (pixel face). [Google] [More] ⦿ |
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UK-based type designer (b. 1985) who was active in 2005-2006, and published many free fonts. His 
Prolific type designer, b. London, UK, 1951. Alan started work 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 faces also showed up in the Scangraphic collection. Together with type director Colin Brignall, Alan contributed to the success of Letraset. All the original typographic artwork produced at Letraset was produced by hand cutting the fonts in Rubylith, a highly-skilled technique known as stencil cutting. Alan was responsible for training the entire Letraset studio in this art. Most of the original Letraset artwork has now been archived at St. Brides Printing Library, London. Today, Alan works independently, specializing in all facets of corporate identity including type design, typography, packaging, and development of logos and symbols. His 
Polish graphic designer and illustrator. She created the grungy typeface 
Illustrator and graphic designer in Portsmouth, UK, b. 1992. Designer in 2010 of the experimental fonts 
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 
UK-based creator (b. 1967) at FontStruct in 2008 of Metal Vampire (athletic lettering meets vampire), 
Londoner who created the oriental simulation face 
ARTypes is based in Chicago, and is run by Ari Rafaeli. UK-based pre-press production specialist who has made type 1 font revivals in 2006-2007, listed below. I am confused as this outfit seems to have grown out of Angus R. Shamal's ARS Type in Amsterdam. Who is who and what is what? 
Student at UWE Bristol in the UK. FontStructor who made the constructivist face 
On this site dedicated to 
Freelance graphic designer from Brighton, UK. 
Hamburg-based 
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 1941-1978, 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). 
Type foundry in the early 20th century in London. Richmond Oldstyle (1920s) was digitally revived in 2007 by Nick Curtis as 
British graphic and type designer, most famous for his 
A graduate from Cambridge School of Art, carmen Lam lives in Bury Saint Edmunds, UK. She created a 
Caslon and Catherwood published a now famous Italian in 1821. Scans: 
Seoul-based graphic designer who spent some time in London. 
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. Typefaces based on his lettering include 
English writing master in the 17th century. 
Graphic designer and illustrator in Darwen, UK. 
Graphic designer and illustrator in Chesterfield, UK. He created the experimental 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 
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 (2000), Batard, Bede, Byro, Carol (1997, blackletter family), Classic (2000-2002), Copper, Doodles (2000), El Cid (2000), Frameworks, Karen, Kells (celtic uncial), Prima, Priory (1997), 
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), 
Original typefaces designed by Rosemary Sassoon and 
British type designer and art director, born in 1940 (MyFonts.com says 1945, Warwickshire), who was type director at 
Foundry, est. 2009 or 2010 by Paul Barnes (London) 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. 
UK-based FontStructor (student at UWE) who made the all-caps texture face 
UK-based designer in 2008-2009 of the free fonts ABC (using arcs of circles), 
Wonderful 16-th century (commercial) fonts from this Manchester, UK-based foundry, including the 
Student at UWE Bristol in the UK. FontStructor who made the squarish minimalist faces 
Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991 and designed these 
Sunderland, UK-based designer of the minimalist rounded sans face 
Dan Sayers (aka iotic) is an app developer and software engineer, who studied mathematics at Oxford from 1994-1998, and evoluionary systems at Sussex from 2008-2010. 
British comic book artist. Codesigner with John Roshell at Comicraft of some comic book style typefaces such as Belly Laugh (2001), 
British lettering artist who designed 
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. 
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 
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 
British designer of the techno family Crillee (Letraset, 1980-1981) and the athletic lettering font 
A resident of Peterborough, UK, graphic designer Dominic Le-Hair created 
Student at UWE (Bristol, UK). FontStructor who made the textured outline face 
London-based designer who created 
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 
London-based graphic designer who made the custom avant-garde face 
Fiona Clarke (aka 
Designer in London, who was born in Flensburg (Germany) and studied for four years in Aarhus (Denmark). 
Fontico is a foundry est. in 2009 in Wallasey, in the north of England by 
Foundry, est. 2005 by 
American type designer, b. 1860, New Haven, CT, d. 1937, London. In 1894 he strated working at Loewe AG in Berlin. In 1899, he became president of Monotype in England. 
Born in 1984, Tracer graduated from the National College of Arts and Design Olivier de Serres in Paris. He is now based in London, where he is a freelance graphic and type designer. His typefaces include 
Prolific British designer (b. 1951). Fonts: Proteus EF (1983), University EF Roman (1984), 
Author, artist, photographer and wood engraver, b. Sandhurst, 1814, d. London, 1862. He published 
British type designer. With David James, [T-26] co-designer of AES, August. At Alias (a company he founded with David James in London), he made 
Bournemouth, UK-based graphic and type designer who made some bling type posters, and created a 
Geetika Alok is a graphic designer and works on projects in London and India. She graduated from the Royal College of Art with an MA in Communication, Art&Design and had previously completed her Bachelor's degree from the National Institute of Design with specialisation in Graphic Design. With Henrik Kubel, she designed the typeface India (2011). 
UK engraver and penman, 1684-1769, who wrote the manual 
British printer and 
Eric Gill would turn in his grave if he saw the 
Golova is a community of graphic designers, illustrators and art directors in the UK. 
David Ottley (the Graphic Workman) is a typographer and graphic designer in the UK. He created 
Graphic designer in London. Creator of 
British typefounder from the famous Caslon family. Author of 
UK-based foundry of 
German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today 
H.W. Caslon&Co Ltd was Justin Howes' foundry based in Rushden, UK, with one product, 
British foundry started in 2009 in Sheffield. Their fonts include 
Identikal is a UK foundry run by identical twins 
London-based creator of 
English punchcutter and typographer who worked as a partner at the Fry Foundry, around 1765-1775. He made 
James Clough (b. 1947, London) studied typographic design at the London College of Printing. For more than thirty years he has lived and worked in Milan as typographer, designer and calligrapher and since 1990 also as a teacher of the theory and history of typography and visual communication at various institutions including the Milan Polytechnic University (since 2002) and the ISIA of Urbino. He lectures on many aspects of calligraphy, type design and the history of typography in Italy, Britain and Switzerland. Recent essays of his research for English and Italian publications include a study of the various editions of the Hypnerotomachia Poliphili (first printed by Aldus Manutius in 1499), types used by the earliest printers in Milan and Venice, the 20th century revivals of Bodoni's types and a study of historical and contemporary script types. In 2005 he curated the Mondovì Museum of Printing. He is on the scientific board of 
Graphic designer in Manchester, UK, who made 
British designer based in Dubai, b. 1978. 
James Rogers studies graphic design at the Hull School of art and Design in Hull, UK. Electronic circuits inspired him in the design of 
Leeds, UK-based designer. 
Jannuzzi Smith is a cross-media design consultancy based in London and Lugano. It made a sans out of the slabby MT Calvert (by Margaret Calvert, 1936) called 
Jeremy Tankard established Jeremy Tankard Typography in 1997, after corporate design work at Addison Design Consultants and Wolff Olins. This Londoner made some extraordinary and daring font families, such as Enigma, 
Birmingham-based British writing master, stonecutter, letter designer, typefounder and printer (1706-1775). Designer of 
Midlands, UK-based graphic design student. 
One of the first English type founders, 1522-1584. Designer of Anglo-Saxon (1567-1574), a Gaelic typeface. [
British designer of 
Type designer and India enthusiast. British designer who obtained an MA in typeface design from 
Joseph Champion (b. Chatham, 1709, d. 1765) was a British calligrapher and penman. Champion contributed many plates to Bickham's Universal Penman. His most important work, The Parallel or Comparative Penmanship Exemplified, was published in 1750. It consists of reproductions of the work of foreign masters like Materot, Barbedor, Van den Velde, Perlingh and Maria Strick, with corresponding plates by Champion. Following these plates come some alphabets by Champion. His last published work was The Penman's Employment (1762). The first known attempt to implement Champion's alphabets, was in 1989 by French type designer François Boltana, who in Ligatures&calligraphie assistée par ordinateur (1995) proposed a couple of alphabets based on Champion. These did not result in a commercial font however. PF Champion Script Pro (Panos Vassiliou, 2004-2008; a winner at 
Julia is Valerio Di Lucente (Italy), Erwan Lhuissier (France) and Hugo Timm (Brazil). They met at the Royal College of Art in London having come from different professional backgrounds in editorial design, web and art direction. The studio was founded in 2008 upon their graduation. Together, they on books, typefaces, posters, websites, identities and exhibition design. They teach as visiting lecturers at Kingston University. Typefaces: 
Just Another Foundry was established in 2005 by 
English Victorian illustrator and letterer (b. London, 1846, d. 1901), known for her 
Graduate of the London College of Communication. In 2011, he created the free fat geometric counterless face 
Graphic design student at Nottingham Trent University in the UK. 
Designer in Newcastle, UK. Creator of the beautiful mechanical / octagonal typeface 
Designer in London, UK, who made a display typeface called 
Ursula Hitz (
Little Fonts is a type foundry in Norwich, UK, run by Max Little (b. London, 1986). Max Little studied graphic communication at Norwich University. 
Typographic artist in the UK, whose work includes a series of ruler-and-compass constructions of letters. Images: 
Creator at FontStruct in 2009 of Lobo, and Bat Country, while studying at UWE in Bristol, UK. Bat Country is as an aweseome blotchy handprinted face, in the style of Treefrog. He explains: I made this for my UWE [note: University of Western England] graphic design first year project "communicating with words". I created this inspired by influences from Ralph Steadman and Jackson Pollock using the concept of inconsistency and randomized mark making with ink. The name is derived from a quote from the book "fear and loathing in Las Vegas". I designed it by firstly creating the text with a pot of ink and the back side of a Biro pen, then from that I drew them by hand onto A4 sheets of graph paper limitating each line to only 4 given angles, then finally transfering that onto FontStruct, wich took roughly 30-40mins per letter. [
The hookish 
Born in Sweden in 1976, Lucas Brusquini studied at the Graphic Arts Institute of Denmark. As a designer and art director he has worked in the UK, Denmark and Sweden. He currently lives in Landskrona, Sweden. At Fountain, he designed Tycho (2008). He writes: The typeface Tycho started as a college project in collaboration with Landskrona Museum, Sweden. The brief was to design a typeface to be used for print and signage at the associated Tycho Brahe Museum on the island of Ven. The printed works of Tycho Brahe, printed on the same island, was the natural starting point for the project. After careful examination of some of the original books Epistolarum Astronomicarum Liber Primus (printed in 1596) was chosen as the main source of inspiration. However, it soon became clear that the font used in the book was of very poor quality and most likely a mix of several diferent fonts. As a result the work shifted from pure revival to the design of a new typeface that took inspiration from - but was not faithful to - the fonts found in the book. The italic is a totally new design. Although there are italics in Epistolarum Astronomicarum Liber Primus it seemed more appropriate to design an italic that would match the new Tycho typeface rather than the original font used in the book. The letterforms of the italic are based on my own calligraphy, but the construction details of the letters (the visible returning stroke) owe a great deal to the gorgeous italic of Fred Smeijer's Renard. Tycho Book is a strictly intended for editorial use in small sizes (6 to 12 points), while 
Foundry in Chicago run by Robert Hunter Middleton. Myfonts.com states "The type library was largely derivative, with some original scripts.". After Middleton's death, and Ludlow's demise, most of the typefaces from the Ludlow library were licensed exclusively to International TypeFounders, Inc., (ITF) and are part of the Red Rooster collection. Fonts by Middleton at Ludlow include Bodoni Campanile, Bodoni (now sold by URW), Coronet, Mandate, Lafayette (now sold by Font Bureau), and Umbra (now sold by Bitstream). A renewed Ludlow was established in 2001 and is run from the UK. Current (2002) catalog: Admiral Script (Robert H. Middleton's formal script, 1953), 
Graduate from the type design program at the 
British designer of the three weight display face 
British type designer from Waltham Abbey principally associated with P22. Morisawa Judge's Choice Award winner in 1996 for his typeface 
UK-based FontStructor (student at Bristol UWE, aka Bad Gerkins) who made the brush face 
Born in London in 
Joe Gillespie from London created Hi-Type, and then Minifonts.com (in 2002). In 1996, he designed the screen font 
His business is Ministry of Candy. London-born graphic designer and artist (b. 1983) who works in Nantes, France, although Behance says he is in Lyon, which leads us to the board game Find Ronan and the titillating movie sequel Free Ronan. Creator of 
Modern Typography is a dot com web presence organized by the London-based type designer and graphic designer, Paul Barnes, typophile extraordinaire. It is promised to have plenty of material for the typophile. Author of Swiss Typography: The typography of Karl Gerstner and Rudolf Hostettler (Modern Typography, 2000). 
A major type foundry, set up in 1887 by Tolbert Lanston. The Monotype Corporation, based in Redhill, Surrey, was an independent English company that originally shared patents with the Lanston Monotype Company in Philadelphia. In the first half of the twentieth century, F.H. Pierpont and Stanley Morison built up the best type library of its time, and Monotype came to be leaders in European book printing. After the Second World War, Monotype continued to offer printing machines, entering the photocomposition era with the Monophoto in 1955, and pioneering laser technology in printing with the LaserComp in 1976. In 1992 the company was split up. The hardware side was purchased by the IPA Group. The type department, continued as Monotype Typography. 
Vernon Adams (born England, 1967) is a furniture restorer, woodcarver and typeface designer. New Typography is his type design site. Vernon graduated in 2007 with an MA in type design from the 
Nice Type (London) is Dan Jones's foundry. Dan Jones created the geometric monoline sans face 
Winchester, UK-based 
Nick Shea is a designer based in East London. 
Noem9 Studio is an online studio created by Jose A. Garrido, a graphic designer who was born in Spain and who lives in Zaragoza. 
Ekhornforrss Limited / Non-Format is an Anglo-Scandinavian creative direction and design team. Creative directors and founding partners Kjell Ekhorn (from Norway) and Jon Forss (from the UK) started the company in 2000. In their own words: They work on a range of projects including art direction, design and illustration for arts&culture, music industry and fashion and advertising clients. They also art direct Varoom: the journal of illustration and made images. Nominated for Best Design Team in Music Week's Creative and Design Awards 2001. Non-Format is based in London, UK and Minneapolis, USA. In 2006, Kjell Ekhorn and Jon Forss designed a 
Octopi is UK-based foundry of 
Givatayim, Israel-based Hebrew type design studio in London established in 2000 by one of the main Hebrew type designers of today, Oded Ezer (b. Tel Aviv, 1972). Ezer designed the award-winning font Mayai (Hebrew script: awards at 
UK-based FontStructor (student at UWE) who was inspired by bridges when he designed 
Owen Dawson (b. 1970, UK) created these typefaces in 2012: Honeycombed (hexagonal), Dynamo Magician, 
British graphic and type designer. His (commercial) fonts include LDN Digital (2008, a dot matrix face), Cono Blok (2008, a beautiful fat condensed display face), and D1 (heavy octagonal face). [
Newcastle, UK-based photography illustrator and designer. He created the experimental 
UK-based designer. At 
Paignton, UK-based designer who did some interesting type experiments. 
Porky Design is Rob Miszkowski (Swindon, UK). He created 
Ben Jones (b. 1980, Buckinhamshire, UK) is a student of typography and graphic communication in Reading (2000-2004). He got his 
British designer of the calligraphic script font Swan Song which was digitized in 2006 by Canada Type's Rebecca Alaccari. Canada Type writes: Swan Song is a digitization of gorgeous free form calligraphy by British artist Rachel Yallop. It first appeared in The Calligraphy Source Book edited by Miriam Stribley (Running Press, 1986). [
Red Rooster is a Cedars, PA-based foundry run by 
Artist, calligrapher and type designer born in Portsmouth, England, in 1947. 
London-based punchcutter (1768-1830) who had his own foundry, The Imperial Letter Foundry, in London. Before that, he had worked at John Bell's British Letter Foundry from 1788-1798 (when tthe foundry closed) as a punchcutter, and at William Miller's foundry in Edinburgh. His typefaces: 
London-based designer who made many logotypes and custom / corporate typefaces. Examples: 
Born in Highbury, north London in 1910, Robert was brought up by an aunt after the early deaths of his parents, and went to school in Brighton and London. He then studied at the Central School of Arts and Crafts, London. He first worked as a designer for the Daily Mail and was simultaneously an adviser on typography for London Transport and for the Sheffield-based foundry Stephenson Blake&Co, designing their literature and three popular display typefaces, 
Type designer who joined Microsoft's truetype department (b. London, 1929, d. West Huntspill. Somerset, 2001). 
English punchcutter and typefounder (1754-1820, North London), designer of the first fat faces, founder of the Fann Street Foundry in 1794 and active until his death in 1820, when his foundry was sold to William Thorowgood. Designer of one of the first fat didone faces, Thorowgood (1809). 
Dr. Robert Hillier is a Senior Lecturer at Norwich University College of the Arts in the UK. He designed and developed the Sylexiad range of fonts for adult dyslexic readers as part of his doctoral research. He has presented his research findings at design institutions and conferences, including the St.Bride Library Conference Fast Type Slow Type, Birmingham (2006). 
British architect known for his 
Designer (b. 1950, Dorking, UK), who worked first as a letter draughtsman in Monotype's type drawing office, before becoming a full-fledged type designer in 1982. He worked for Monotype for 25 years before joining 
UK-based FontStructor (student at Bristol UWE) who made the curly fonts Rose (2010) and 
Sam Johns (Mint Choc Design, London) created the fun round face 
Design studio of Rob Gonzalez and Jonathan Quainton located on London's Hoxton area. Creators in 2009 of two art deco custom typefaces for Middle Boop magazine, and of many other types for visual identities and projects. One, 
British foundry of Simon and Charles Stephenson in the 18th century, which later became Stephenson Blake. In 1796-1797, it published 
Type foundry in Sheffield, UK. Its designer, 
Tanya Davis (Scrowleyfonts) is a ttype designer in Shrewsbury, UK (b. 1966). Her typefaces: 
His typographic work/
Graduate of Central Saint Martins College of Art and Design in London. Started out designing fonts for [T-26] and Garagefonts, but is also (or, perhaps, mainly) a 
Nick Shinn (b. London, 1952) is an art director and type designer. He teaches at York University in Toronto, and is a founding member of the Type Club of Toronto. He writes regularly for Graphic Exchange magazine, and has contributed to Applied Arts, Marketing, Design, and Druk. He founded Shinn Type in 1999, and made fifteen type families. 
The digital images by Si Scott will blow you away. He is a master at creating images that escape from letters. Wonderful typography and type art. 
Icelandic graphic designer, illustrator and type designer, b. 1984 in Akureyri, a small town on the north coast of Iceland. He graduated from the Iceland Academy of the Arts in Reykjavík in 2006. He now lives in London and/or Berlin. 
Swiss art director who has done substantive typographic work for some clients. For Tess model agency in London, he custom-designed 
Fantastic page about Tibetan and Dzongkha (Bhutanese) typography and word processing maintained by London-based 
London-based graphic designer. His fonts 
Founded in 1819 in Sheffield by toolmaker 
Studio8 Design is an independent graphic design studio in central London, that was established in 2005 by Matt Willey and Zoé Bather. In 2009, they created 
Bristol, UK-based creator of a number of modular experimental typefaces in 2012. These include 
Graphic and type designer in Birmingham, UK. Creator of the ultra-black experimental face 
Ian Swift, aka Swifty, designed 
Born in Lincoln, UK, in 1942, 
Foundry set up in 2007 by 
London-based designer who is originally from Italy. 
A place for independent designers in downtown Providence, RI. One of the designers in this group is 
The Northern Block (TNB) is Jonathan Hill's foundry based in Leeds and/or Sheffield, UK, est. 2006. Maybe it's on the Snake Pass? The designer is 
Typefaces from 2011: 
Graphic and identity design company founded by 
British graphic designer (b. 1989) who lives in Leisester. Designer of Tampy (2009, handprinted), Sketchy (2009), Plasticine (2009, handprinted), 
English typefounder, 1835-1907, who created Old Roman (incl. Italic) in 1895. This face was digitally recreated by Patrick Michael Murphy as 
Andrew Martin (Thumbnail Designs) is a Manchester, UK-based type and graphic designer. He will do custom type design, including signatures. His fonts, dated ca. 2008: 
Belgian design director Tom Muller (b. 1974) specializes in graphic design, typography, identity design, and illustration. Based in London, he is the creator of 
UK-based 
Blog of Hello, a design studio based in rural Somerset, UK. Its main contributors are Jamie Gallagher, Martin Lee, and Gudrun Hoff. They are working on some fonts. [
Marcus McCallion (Undt Typefaces) is a one-man British commercial foundry located in Brighton (and now, London) and affiliated with 
UK-born designer (1905-1968) who worked at The Times. Creator of 
Born in Worcestershire in 1692. Died in London in 1766. English typographer whose foundry operated in London for over 200 years. His 
British typefounder in London, 1754-1833. Son of William Caslon II, grandson of William Caslon I. He co-owned the Chiswell Street family firm from the death of his father in 1778 until 1792, when he sold his share in the foundry to his mother and his sister-in-law, the widow of his brother Henry. In the same year he purchased the Salisbury Square foundry of Joseph Jackson (apprentice to his grandfather and rival to his father), who had recently died, and called the foundry Caslon&Son. In 1807, this business was passed on to his son William Caslon IV who in turn sold up in 1819 to Blake, Garnett&Co. (later Stephenson Blake). Author of 
British type designer, architect and designer (b. Walthamstow in East London, 1834, d. 1896). Defender of the medieval form, he set up Kelmscott Press in 1891, and was one of the founders of the Arts and Crafts Movement. Morris was an artist, poet, writer and designer himself, but he is probably best remembered for his fabric designs and his book designs for Kelmscott Press. All his punches and matrices and some types are now with Cambridge University Press. 
English punchcutter and typefounder who died in 1877. He worked at the Fann Street foundry in London and was active ca. 1820-1849. Modern digital revivals of his work are limited a superblack, supercontrasted didone face simply called Thorowgood (
![Letraset Garamond [the scan is of a clone by Infinitype called Garamond Elegant]. [](Infinitype--GaramondElegant--based-on-LetrasetGaramond.png){kind=link}
