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Educational and reference site run by Ben Archer, a designer, educator and type enthusiast located in England (who was in Auckland, New Zealand, before that). Glossary. Timeline. Type categories. Paul Shaw's list of the 100 most significant typefaces of all times were recategorized by Archer:
- Religious/Devotional: Gutenbergs B-42 type, Gebetbuch type, Wolfgang Hoppyl's Textura, Breitkopf Fraktur, Ehrhard Ratdolt's Rotunda, Hammer Uncial, Zapf Chancery, Peter Jessenschrift, Cancellaresca Bastarda, Poetica.
- Book Publishing&General Purpose Text Setting: Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Cheltenham family, Aldus Manutius' roman, William Caslon's roman, Pierre-Simon Fournier's italic, Ludovico Arrighi da Vicenza's italic, Johann Michael Fleischmann's roman, ATF Garamond, Giambattista Bodoni's roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida, Optima, Bauer Bodoni, Adobe Garamond, Scotch Roman, Romanée, ITC Stone family, Trinité, ITC Garamond, Sabon, ITC Novarese, Bitstream Charter, Joanna, Marconi, PMN Caecilia, Souvenir, Apollo, Melior, ITC Flora, Digi-Grotesk Series S.
- Business/Corporate: Akzidenz Grotesk, Helvetica, Univers, Syntax, Courier, Meta, Rotis, Thesis, Antique Olive.
- Newspaper Publishing: Times Roman, Bell, Clarendon, Century Old Style, Ionic, Imprint.
- Advertising and Display: Futura, Robert Thorne's fat typeface roman, Vincent Figgins' antique roman (Egyptian), Memphis, Fette Fraktur, Avant-Garde Gothic, Deutschschrift, Peignot, Erbar, Stadia/Insignia, Penumbra, Compacta, Bodoni 26, WTC Our Bodoni.
- Prestige and Private Press: Romain du Roi, Golden Type, Johnston's Railway Sans, Doves Type, Walker.
- Signage: William Caslon IV's sans serif, Trajan.
- Historical Script: Snell Roundhand, Robert Granjon's civilité, Excelsior Script.
- Experimental/expressive: Mistral, Beowolf, Dead History, Behrensschrift, Eckmannschrift, Neuland, Element, Remedy, Template Gothic.
- Onscreen/multimedia: Chicago, Oakland, OCR-A, Base Nine and Base Twelve, Evans and Epps Alphabet.
- Telephone Directory publishing: Bell Gothic.
Link to Archer Design Work. [Google]
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 typefaces mentioned above. The typefaces are now digitally available from Cedars, PA-based International Type Founders (ITF), which was created by Steve Jackaman. The latest address for ABC Types was in Cedars, PA. It is identical to that of ITF. Tony Mayers has died.
Ascender also sells its collection. Klingspor link. [Google]
Affolter und Gschwind AG
Werner Affolter ran a phototype and printing company in Basel, Switzerland, called Affolter und Gschwind AG, Fotosatz&Reprotechnik. In 1981, Affolter published an extensive catalog entitled Letterama that showed over one thousand alphabets. Few of those were original, so I suspect he acted as a vendor of sorts, but at least a couple seemed original, or were claimed to be original or exclusive: Guigoz, Moby Dick. Moby Dick was revived in 2014 by Nick Curtis as Call Me Ishmael NF.
Some examples of the types shown, in alphabetical order: Antique Wood MP363 (art nouveau), Antique Wood MP 364 (oriental simulation face) [the Antique Wood series is quite extensive, and is just numbered], B+T Classic (roman), Bernhard Fett, Beton Fine Line (typewriter), Burko (avant garde family), fonts starting with G, Gaston Fett (a squarish gothic typeface also called Gipsy), Gaston Halbfett (also called Grassy), Gemini Computer, Germanic Sans (more avant garde and Lubalin-style glyphs), Hollandse Mediaeval, Hollywood (a 3d decorative family), typefaces starting with K, Lineamarca (slabby), Linear (avant garde, geometric monoline), Melen (experimental, geometric), Meola Bookman swash (decorative), Metro (art nouveau, after the Metroploitaine font), Moraine (squarish), the Old Foundry sub-collection [another mysterious numbered collection; examples include some uncials, and some more art nouveau typefaces, some Victorian ornamental typefaces (F260 through F262), more art nouveau (MP418 through MP420) and blackletter typefaces (MP421)], Pierrot (psychedelic, groovy), Phydian (one of many Western style ornamental typefaces), Ronda, Roulette, Roulette Schattiert (=Rajah) (more Western fare), Ruby (shaded caps), Runic Small (condensed), Rustic (wood log look), typefaces starting with S, Spengler Gothik, St. Clair (ornamental), Zither (calligraphic script). [Google]
Pavlodar, Kazakhstan-based designer (b. 1987) of the medieval calligraphic typeface Square Capitals (2014, Latin and Cyrillic), the uncial typeface Uncial (2015) and the Trajan typeface Capitalis Monumentalis (2015). In 2015, he designed the angular and angry straight-edged typeface KZ Kirpich, the tangram-inspired German expressionist typeface Tangramus, and the Latin / Cyrillic deco typeface Kvadrat.
Dafont link. [Google]
Alois Ritter Auer von Welsbach
Alois Ritter Auer von Welsbach (b. Wels, Austria, 1813, d. Vienna, 1869) was a typographer and printer for the state. He was famous for special techniques for "nature printing". Michael Everson Conjectures that he made the Gaelic typefaces Vienna A (also called Altirisch A, Altkeltisch) ca. 1845 and Vienna B (also called Altirisch B or Neukeltisch) ca. 1845. The former typeface is a manuscript face, while the latter is Gaelic uncial round. [Google]
Alphabets Inc (or: Fontsonline.com)
Alphabets Inc was founded by type designer Peter Fraterdeus, who made AI Marlowe, AI Prospera, AI Wood (1992, interpreted from examples shown in Rob Roy Kelly's American Wood Types) and AI Quanta (1994, a multiple master face). Check here. This foundry has some of the nicest typefaces anywhere, including many gorgeous typefaces by Philip Bouwsma (example: Alexia, Juliana, BouwsmaScript, Weissenau). Other designers include Bonnie Barrett (Arbor), Brian Sooy (multiple master fonts AIVeritas and AIVeritasItalic), Ejaz Syed, Inna Gertsberg, John Pugh, Karen Ackoff (check out the Russell handwriting), Kurt Roscoe, Lester Dore, Manfred Klein, Mike Brooks, Peter Fraterdeus (Oberon, Prospera and Quanta (multiple master) families), Randall Jones (the multiple master font AIKochAntiqua), Robert McCamant, Martha Chiplis, Serge Pichii, and Steve Meek. In 2007, Peter Fraterdeus started Exquisite Letterpress for top quality printing. In 2010, he promised to release Quanta Uncial.
Dafont link [where one finds the free experimental typeface AI Fragment]. [Google]
[Juan-José Marcos García]
Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.
He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.
Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.
Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).
In 2013, he created Cuneus, a cuneiform simulation typeface.
Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google]
[José Alberto Mauricio]
Spanish foundry, est. ca. 2009, and on the web since 2012. It is located in Madrid. Alter Littera's fonts and web site are designed and managed by José Alberto Mauricio, who holds a doctorate degree in Economics and Business Administration, and is Associate Professor of Econometrics at the Universidad Complutense de Madrid.
Alter Littera produces and markets opentype fonts reviving some of the most beautiful bookhands from medieval Western manuscripts, as well as some of the finest European and North-American typefaces from the mid-fifteenth through the early-twentieth centuries. The "Bookhand", "Oldtype" and "Initials" font collections cover gothic and/or blackletter letter forms.
- Gutenberg (B42-type) A (Johann Gutenberg, Mainz, ca. 1455). Includes the full set of special characters, alternates and ligatures from The 42-line Bible. Under development.
- Gutenberg (B42-type) B (Johann Gutenberg, Mainz, ca. 1455). Includes the full set of special characters, alternates and ligatures from The 42-line Bible. Published as Gutenberg B in 2012, this is a clean, smooth rendition of the B42-type used by Johann Gutenberg in his famous 42-line Bible. The font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in Gutenberg's Bible and later incunabula. He says: The main historical sources used during the font design process were high-resolution scans from several printings of Gutenberg's Bible. Other sources were as follows: Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 7); De Hamel, C. (2001), The Book - A History of The Bible, London: Phaidon Press (ch. 8); F├╝ssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 7).
- Gutenberg (B42-type) C (Johann Gutenberg, Mainz, ca. 1455). Includes the full set of special characters, alternates and ligatures from The 42-line Bible. Published in 2012 as Gutenberg C, this is a slightly roughened version of the Oldtype "Gutenberg B" Font, simulating irregularities and ink spreads associated with old metal types, papers and parchments.
- Psalterium (Psalter-type) (Peter Schoeffer, Mainz, 1457). Includes the full set of special characters, alternates and ligatures from The Mainz Psalter (Psalterium Moguntinum). He writes: A clean, smooth adaptation of the magnificent gothic types used by Johann Fust and Peter Schöffer in their famous Mainz Psalter (Psalterium Moguntinum) of 1457, also used in their Canon of the Mass (Canon Missae) of 1458, and in their Benedictine Psalter (Psalterium Benedictinum) of 1459. [Although these works were published after Gutenberg's break with Fust, it is generally agreed that Gutenberg was working along with Fust and Schöffer on the Mainz Psalter while the 42-line Bible was still being printed.] In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, uncial initials (adapted from both the Mainz Psalter and early sixteenth-century Dutch types by Henric Pieterszoon), alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in the Mainz Psalter and later incunabula.
- Oude Hollandse (Henric Pieterszoon "Lettersnijder", Antwerp, 1492). Under development.
- French Textura (Joos Lambrecht, Ghent, 1541). Under development.
- Flamand A (Hendrik van den Keere, Antwerp, 1571). Under development.
- Flamand B (Hendrik van den Keere, Antwerp, 1571). Under development.
- Nederduits (Johann M. Fleischmann, Haarlem, 1733). Under development.
- Psalter Gotisch (Benjamin Krebs Nachfolger, Frankfurt am Main, 1890). Under development.
- Manuskript Gotisch (Bauersche Giesserei, Frankfurt am Main, 1899). Under development.
- Munthe Schrift (Gerhard Munthe, Offenbach am Main, 1904), Under development.
- Deutsche Schrift (Rudolf Koch, Offenbach am Main, 1910). Includes both normal and large, ornamental capitals (two sets), plus several finial characters and ornaments from Koch's original designs. He writes:A comprehensive and faithful rendition of Rudolf Koch's first release, usually referred to as "Fette Deutsche Schrift" or "Koch-Schrift". In addition to the regular character set, the font includes a large number of alternates and ligatures, plus two sets of ornamental initials (Initialen mit Zierstrichen und Punkten zur Koch-Schrift, and Initialen zur halbfetten deutschen Schrift). The main sources used during the font design process were a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 164), and several specimen sheets from the Gebrüder Klingspor Type Foundry for Koch's Deutsche Schrift type family.
- Maximilian (Rudolf Koch, Offenbach am Main, 1914). Includes normal, small (Klein), and roman (Antiqua) capitals, plus ornamental capitals and alternates (Zierbuchstaben). Under development.
- Wilhelm Klingspor Schrift (Rudolf Koch, Offenbach am Main, 1925). Includes both normal (wide) and narrow capitals, plus the full set of alternates, ligatures and finial characters from Koch's original designs.
- Caslon Gotisch (D. Stempel A.G., Frankfurt am Main, 1926). Produced in 2012 as Caslon Gotisch, it is a faithful adaptation of the "Caslon-Gotisch" type acquired (among several other types) by D. Stempel A.G. in 1919 from the Leipzig printer Wilhelm E. Drugulin, and further developed by Stempel in later years. Details: In addition to the usual standard characters for typesetting in modern Western languages, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting as in antique writings and printings. The main sources used during the font design process were as follows: A sample page from Typographische Mitteilungen - XXIII Jahrgang - Heft 2 (1926), and a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 37).
- Gótico Cervantes (Fundición Tipográfica Richard Gans, Madrid, 1928). Under development.
- Wallau (a rotunda by Rudolf Koch, Offenbach am Main, 1930). Includes German, Uncial, and Ornamental capitals. Under development.
- Alter Gothic (Alter Littera, Madrid, 2012), or Alter Gothisch. This is Alter Littera's first original design. They write: Two specific sources must be acknowledeged: (1) the "Black" type from William Caslon's A Specimen of Printing Types (1785), and (2) the "Caslon Gotisch" type by D. Stempel A.G. (1926).
- Gothic A. After late Carolingian and early Gothic manuscripts (12th century). Under development.
- Gothic B. After Erhard Ratdolt's Lombardic Capitals (1491). Under development.
- Gothic C. After Henric Pieterszoon's Uncials (1508). A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the Germanic variety, designed after Henric Pieterszoon's Gothise Monnikke Letteren as appearing in Enschedé, J. (1768), Proef van Letteren, Haarlem (p. 120); also mentioned as Great Primer Uncials and 2-line Brevier Uncials in Vervliet, H.D.L. (1968), Sixteenth-Century Printing Types of the Low Countries, Amsterdam: Hertzberger (pp. 54-55, and 212-213).
- ATF Cincinnati, ATF Caxton, ATF Missal. From American Type Founders Company's American Specimen Book of Type Styles (1912). Under development.
- Initials Bergling (2012, Alter Littera) is a comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the French variety, adapted from Bergling's book Art Alphabets and Lettering (Second Edition) (1918, Chicago: Blakely-Oswald Printing Company).
- Bergling B. From J.M. Bergling's Art Alphabets and Lettering (1918). Under development.
- Morris. From William Morris's The Kelmscott Chaucer (1896). Under development.
- Initials ATF Cloister (2012). After F.W. Goudy's Cloister Initials (1917).
- Roman Square Capital. From 1st century B.C. onwards. Under development.
- Roman Rustic. 1st to 6th centuries. Under development.
- Uncial. 3rd to 6th centuries. Under development.
- Artificial Uncial. 6th to 10th centuries. Under development.
- Roman Half-Uncial. 3rd to 9th centuries. Under development.
- Insular Majuscule. 6th to 9th centuries. Under development.
- Insular Minuscule. From 6th century onwards. Under development.
- Luxeuil Minuscule. 7th and 8th centuries. Under development.
- Beneventan Minuscule. 8th to 13th centuries. Under development.
- Carolingian Minuscule. 8th to mid-12th centuries. Under development.
- Early Gothic. 11th and 12th centuries. Under development.
- Gothic Textura Quadrata. 13th to 15th centuries. Under development.
- Gothic Textura Prescisus. 13th to 15th centuries. Under development.
- Gothic Rotunda. 12th to 16th centuries. Under development.
- Gothic Littera Bastarda. From 13th century onwards. Under development.
- Fraktur. From 15th century onwards. Under development.
- Humanistic Book Script. From 15th century onwards. Under development.
- Humanistic Cursive. From 15th century onwards. Under development.
- ATF Missal Caxton (2012): A comprehensive set of initials, frames and borders, adapted from American Type Founders (ATF) Company's American Specimen Book of Type Styles, Jersey City, 1912 (pp. 944-5). The font contains over one hundred glyphs, including clean renditions of both Missal Initials and Caxton Initials, plus adaptations of Department Store Initials and French Cast Squares. Caxton Initials were first designed by F. Goudy in 1905. Missal Initials is originally due to Will Bradley in 1904.
- Alter Headletter (2012). An original from Alter Littera in the style of Century Bold Condensed.
- The Oldtype Gutenberg A Font (2012, free) is a free abridged edition of the full-featured Gutenberg B and Gutenberg C fonts.
Alvaro De Amicis
Designer of the free uncial font Antagea (2007, OFL). [Google]
Amsterdam Continental Types and Graphic Equipment Co.
Typeface importer and vendor and foundry located on Fourth Avenue and Park Avenue South in New York City, with offices in Burbank, CA, and Chicago, IL. Their typefaces included Annonce Grotesque. Amsterdam Continental ceased operations.
A Handbook of Types (PDF catalog). [Google]
[SIAS (or: Signographical Institute Andreas Stötzner)]
Russian designer of the beautiful Open Font Library uncial Cyrillic typeface Ostromirovo (2008), which is based on Ostromirovo evangeliye [Ostromir Gospel] (1056-1057). Other typefaces there include Rus Sans Pokrytie (2009, based on Luxi Sans; withdrawn in 2010) and Rus Sans 3 (2010). [Google]
Melbourne-based graphic designer. Creator of Fat Face (2007), a fat serifed headline face. He also made AB Uncial (2007). Graduate with an MA in typeface design, University of Reading, 2008. His graduation project was a versatile serif typeface created for use in magazines and books, Hyde Serif. [Google]
Animals have always been an important source of inspiration for Manfred, for various reasons---to satisfy his grandchildren (I guess), to make political statements, to have fun, and to design animal-inspired alphabets. Here is a partial list of his typefaces: AIDino-Heavy, AbermalsAnimals, AnimSilhous, AnimSilhousB, AnimalShadows, AnimalShadows2 (2005), AnimalShadowsDrei (2005), AnimalTypeFaces, AnimaliSilhouetti, Animalia, AnimaliaScissored, AnimaliaTwo, AnimalishMK (2007), AnimalishSilhouettes, AnimalsAnywhere, AnimalsMeetings, AnimalsOldfashion (2006), AnimalsPrey (2006), AnimalsTwo, Apish (2005), Austranimals01 (2005), BeastlyBats, BeforeAlphabetsFour, BeforeAlphabetsThree, BigCats (2007), BirdSymbols (2007), BugsNFriends, Butterfly (2007), ButterflyAndCo (2007), CatDogHorse (2007), CatSketches (2006), Cats, CatsCats, CatsCo (2005), ChildrenAnimalsFriends (2005), ChildrensDarlings (2006), CreaturesShadows (2005), CubismCreatures, CyberDinxx, Dillefanten, Dillfanten, DinoSilhous (2006), DinosFragments, Dinotiqua-Heavy, Djungle, DogsDogs, DomesticAnimals, DueTresQuattro (2005), EthnoFont, Fabeltiere04, FarmAnimals, FischersFritze (2006), Fishermans, FlyingSwimming, FroxXMedium, Getier (2005), Getier Two (2005), GetierAnimalish, GraphicAnimals (2005), Horses, HotchPotch, HowDrawAFish, HundeDogsChiens (2005), IhrHunde (2005), Impossibile, Insects (2005), Insects07 (2007), InsectsMK (2005), InsectsTwo (2006), KaraBenNemsi, KarawaneSilhous, Krabbeltiere, LandAnimals, LetsDance, LionsClub, LittleFriendsTwo (2005), Lorbeer, M-AnimalsUno (2006), MAnimalsK (2007), MensBestFriends, MensFriends, MesoFaunaBats, MonkeyUncialica, MonkeysTheatre, MyPrivateZoo, NewCaveDrawings (2006), NewDinos (2005), OldstyleZoo, Orcas, OurLittleDarlings (2006), OurLittleFriends (2005), OwlsAndMore (2005), OwlsNFriends, OwlsNOtherWitches, PatternsAnimals (2005), RareAnimals (2005), RealllyAnimalishOne, ReallyAnimalsTwo, Shamanbats, Shamanish, SilhouettesAnimalish, SwimmingBeautys, TangramAnimals (2005), TaurusCowboys, TypoApish, VectorAnimals (2006), Viecher, Wacominals, WildAnimalsOne, ZigzagAnimals, ZooCages (2006), ZooWoodcuts (2005), Zoobats, Zoography-Normal, ZooloVectoriA, ZoologicalGarden (2006). [Google]
[PCCrafter.com (was: Provo Craft)]
[Classic Font Company]
Aon Celtic Art
Cari Buziak (Calgary, Canada) is the author of Calligraphy Magic---How to Create Lettering, Knotwork, Coloring and More (North Light, 2011).
She also created the beautiful freeware Celtic font family Aon Cari (1998, a modern pseudo-Gaelic uncial).
Dafont link. [Google]
[Fredrick M. Nader]
One of the most dynamic foundries from 2000 until 2003. The "Lab" was run by Apostrophe (Fredrick Nader) and was based in Toronto. It has produced well over 1000 original free fonts, in all formats (type 1, truetype, and opentype, PC and Mac), and nearly all fonts have full character sets. Many have character sets for extended European languages and Cyrillic as well. It was for a few years the only active producer of multiple master fonts. Download site at Typoasis. Original URL, now being reworked. Highlights:
The list of designers and their fonts:
- Miltown (from the Matrix movie).
- Fluoxetine (old typewriter).
- Desyrel (handwriting, Dana Rice).
- PicaHole-1890Morse font.
- Ritalin has almost 500 glyphs, and is a family designed for Latin, Greek, Turkish, eastern European, Cyrillic and Baltic.
- The 3-axis multiple master ImpossibleMM (of Mission Impossible fame).
- Carbolith Trips (letters from cuneiforms).
- Diehl Deco (revival of 1940 lettering by Wooster Bard Field; with Marley Diehl).
- Textan (with Rich Parks or Richard D. Parker; inspired by the Chinese Tangram).
- Poultrygeist (horror comic font).
- Hard Talk (an R-rated font by Slovenian Marjan Bozic).
- Independant (with Phynette; a faithful revival of a 1930s font by Collette and Dufour for Maison Plantin in Belgium---a fantastic Art Deco font family).
- Metrolox ("Enemy of the State" font, with Karen Clemens; a Unicode font with 567 glyphs for over 20 Latin-based languages and some math symbols).
- Komikaze, Komikazba, Komikahuna and Komikazoom (comic book fonts: 1280 glyphs for Latin, Greek, Cyrillic, Baltic, Turkish, East-European, with dingbats and Braille).
- Republika (a 300-font techno family; read about it here).
- ChizzlerMM (3-axis multiple master, a reworked version of Graham Meade's Chizzler).
- Street (a 87-font family by Graham Meade).
- Amerika (fantastic Armenian-look font series, with support for Greek, Cyrillic/Russian, Baltic, Turkish and Central European).
- The dingbats Eyecicles and Texticles, both with Graham Meade.
- Insula (2001, a Celtic/uncial font with Cybapee).
- Komika (2001, 50 comic book fonts designed with Vigilante).
- Labrit (a great Fraktur font, with Graham Meade).
- Frigate (a Roman-kana font by Melinda Windsor).
- Scriptina (an unbelievable calligraphic font by Apostrophe, 2000-2001). In 2010, CheapProFonts published an extension, Scriptina Pro.
- Freebooter Script (an equally unbelievable calligraphic font by Graham Meade, 2001).
- Choda (a display font like none you have seen before; Apostrophe and Meade, 2001).
- Endor (with Meade, a Gothic font; 2001).
Font Squirrel link. Dafont link. Abstract Fonts link. [Google]
- Apostrophe [dead link]: Day Roman (2002, the first digitization of Fr. Guyot's "Two Line Double Pica Roman", designed in the early 1600s), Bombardier (2002), Propaganda (2002), PropagandaCyrillic (2002), PropagandaGreek (2002), Contra (2003), Ergonome (2002), Ergonomix (2002, techno dingbats), Alfabetix (2002), SoMM (2002, a multiple master font), Templo (2001, a pixelish font), Zoloft, Miltown, Witches Brew, Celexa, Labrat, Effexor, Fluoxetine, Tralfamadore, Halcion, RxMM, Paxil, Valium, Fight This, Ritalin, Xanax, Maskalin, PicaHole, ImposMM, MiltownII, Carbolith, Komikaze, Komikazoom, Komikahuna, Diogenes, Komikazba, MistressScript, Sledge, Mary Jane, Republika, StarBat, Merkin, Erectlorite, Halter, Estrogen, Steinem (based on Dalton Maag's British Steel typeface), Lab Mix, Mary Jane II, Amerika, Masque, Konfuciuz, Mastodon, Broad, Amerika Sans, Scriptina, Karnivore, Cholo, Sedillo and Reprobate (all three based on Mike Sedillo's handwriting, 2001), Templo (screen font family, 2001).
- Marjan Bozic and Apostrophe: Hard Talk.
- Karen Clemens and Apostrophe [dead link]: Wellbutrin, Metrolox, Jagz.
- CybaPee and Apostrophe [dead link]: Cyclin, Lady Ice, Insula.
- CybaPee [dead link], Graham Meade and Apostrophe: Yellowswamp, Lady Ice revisited.
- Steve Deffeyes: Loopy.
- Marley Diehl and Apostrophe: Diehl Deco.
- Fleisch and Apostrophe: Colwell, Hadley.
- Steve Graham: Hypnosis.
- Frank Guillemette and Apostrophe: Ankora.
- Jeri Ingalls and Apostrophe: Paxil.
- Neumat Ick and Apostrophe: Icklips, Powderfinger.
- Keya Kirkpatrick: Extasy
- Keya Kirkpatrick and Apostrophe: Kimono.
- Jeff Lan: Healthy Alternative, Haven Code.
- Su Lucas and Apostrophe: Barbarello.
- Brigido Maderal and Apostrophe: Lab Bats.
- Graham Meade: Quastic Kaps (8-weight family, 2003), Quixotte (2002), Mechanihan (2002), Kameleon (2002), Lady Ice Extra (2002), Gizmo (2002), Zillah Modern (2002), Wazoo (2002), JamesEightEleven (2002), Equine (2001), Street Corner (2001), Freebooter Script, Street (31 font sans and slab serif), Bipolar Control, Lane, Street, Street Slab, 2nd Street, Kronika, Thong, Whackadoo Upper, Charrington, Lady Copra, Zebra, Extra Meade Pack, Control Freak, Dekon, Asenine, Heidorn Hill (a Fraktur font), Castorgate, Troglodyte.
- Graham Meade and Apostrophe: Moondog (2001), Choda, Futurex, Duralith, Epyval, BooterMM, Pamelor, Sabril, Erinal, Karisma, Whackadoo, Bicicles, Drummon, Primary Elector, Youthanasia, Grunja, Prussian Brew, ChizMM, Luciferus, Labtop, Gilgongo, Labrit, Kandide, Brassiere (which became the commercial typeface Ipscus in 2009), Eskargot, Endor, Labag.
- Graham Meade and Rich Parks: Luteous, Luteous II.
- Link Olsson and Apostrophe: Librium, Severina, Poultrygeist, Extrano, Komikandy.
- Rich Parks and Apostrophe: Textan, Glaukous, Textan Round, TexSquareMM, TexRoundMM.
- Alejandro Paul and Apostrophe: Fontcop, Usenet, Cayetano, Elektora.
- Evelyne Pichler: Sindrome.
- Evelyne Pichler and Apostrophe: 1910 Vienna.
- Phynette and Apostrophe: Independant.
- Peter Ramsey and Apostrophe: Distro, Futurex Distro (2001).
- Dana Rice and Apostrophe: Desyrel, Lilly.
- Wayne Sharpe: Ovulution I and II.
- Jessica Slater: Wiggles.
- Jessica Slater and Apostrophe: McKloud.
- Derek Vogelpohl: Phosphorus, Florence sans, Plasmatica, Covington, Avondale, Phosphorus II.
- Melinda Windsor: Plastic, Frigate.
- Robby Woodard: Ashby (2001).
- WolfBainX and Apostrophe: Tribal, Komika.
- Yol: Traceroute.
Born in 1882 in Leipzig, died in 1945 in Vienna. Creator of Hammerschrift (or Hammer Unziale), ca. 1921, a modern pseudo-Gaelic uncial typeface named after Victor Hammer. [Google]
James Marsh Art&Design (or Arty Type) (Hythe, UK) is a visual arts and illustration company located in Hythe, UK.
His typefaces are modular, and include Somaskript Tall (2012), Origami Incised (2012), Groovy (2012, +Inline: sixties face), Dropout (2012), Rough Diamond (2012), Thorny (2012), Tangent (2011, a geometric monoline sans), Scroll (2010), Marsh Scroll (2011), Tulip (2011, modular, heavy, and counerless), Somatype (2011, über-organic; +Skwosh), SomeSkript and SomaSkript Incised (2012, organic), and Nutcase (2010).
In 2013, he published Soma Slab, Soma Slab Tall, Angleface, Anglepoise (a paper clip typeface family) and Mortice (octagonally cut).
In 2014, he designed Sanzibar (a decorative sans), Sliced, Sliced Open, Omni (a minimalist organic monoline sans) and its companion, Omni Serif, and Tangential Semiserif, Tangential Rounded, and Tangential.
Typefaces from 2015: Storybook (informal script), Sliced, Sliced Open, Sanzibar Schreef (swashy typeface), Galerie, Galerie2.
Typefaces from 2016: Avocado Sans, Cyclic Uncial, Cyclic.
Klingspor link. Creative Market link. Behance link.
View James Marsh's typefaces. [Google]
Type designer at Red Rooster, where she published Creighton (2009, a sans family done with Steve Jackaman), Carlingtown (2009, an almost art nouveau face), Glasgow Pro (2010; a refreshed version of Steve Jackaman's Glasgow grotesque family), Harry Pro (based on the original design by Marty Goldstein (and C.B. Smith) done at VGC in 1966), Karnak Pro (2009, a slab family based on the original design by Robert Hunter Middleton, ca. 1931-1942), and Ronsard Crystal (2009, based on a VGC photo display font in the 1950s), together with Red Rooster's boss, Steve Jackaman. About Creighton: It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it Creighton. A crisper version of Creighton is Megaphone (2009).
Typefaces from 2010, all with Steve Jackaman at Red Rooster: Shamus (uncial), Ryder Gothic Pro (a revival of Roslyn Gothic by Harry Winters, 1972), Pickworth Old Style Pro (rustic), Wurlitzer Pro (slab serif), Eden Pro (based on the original 1934 Ludlow drawings by Robert Hunter Middleton), Connemara Old Style (uncial), Overtime LCD Pro (LED simulation face), Phosphate Pro (Solid and Inline).
Typefaces from 2011, still with Steve Jackaman at Red Rooster: Phoenix Pro (after the condensed artistic sans called Phenix by Morris Fuller Benton, 1935, ATF), Guildford Pro (+Light, +Medium, +Titling; after Stephenson Blake's Guildford Sans, which in turn was identical to the 1928-1929 typeface by Hans Möhring called Elegant Grotesque), Granby Elephant (after the fat grotesk typeface Granby by Stephenson Blake, 1930), Franklin Gothic Pro (after Morris Fuller Benton's original from 1903), Windlesham (2011, a basic sans family), Relish (2011, another basic sans family), Rocklidge Pro (2011, with Ashley Muir; based on Jana (Richard D. Juenger, VGC, 1965), Packard New Style and Packard Old Style (2011, with Steve Jackaman, after Packard by Oswald Cooper (1913) and Morris Fuller Benton (1916, ATF).
Klingspor link. Fontspace link. [Google]
Astigmatic One Eye
[Brian J. Bonislawsky]
Astigmatic One Eye (AOE) has lots of nice original fonts by Brian J. Bonislawsky (b. 1973, Pittsburgh, PA). Many are free, others are not. AOE joined Font Brothers Inc in 2006. Brian Bonislawsky currently lives in Las Vegas, NV.
Fontsquirrel link. Dafont link. Fontspace link.
A partial list of the AOE fonts made in 2011: Engagement (2011, a free brush script at Google Web Fonts), Fascinate (2011, an art deco typeface at Google Web Fonts; +Inline), Original Surfer (2011, a free Google Web Font inspired by a vintage advertisement for the "California Cliffs Caravan Park"), Smokum (2011, a Western / Italian face), Yellowtail (2011, signage face), Redressed (2011), Special Elite (2011, free typewriter face), Aclonica (2011).
Typefaces from 2008 or before: Horseplay AOE (2008, Western style), Cake and Sodomy AOE (2008), Good Eatin AOE (2008), Paradiso AOE (2008, inspired by logotype of the Paris Resort and Casino in Las Vegas), Montelago AOE (2007, a script inspired by the logotype of the Mirage Resort and Casino in Las Vegas), Jack Chain AOE (2007), Henhouse (2007), Schnitzle (2007), Luxurian AOE (2007, inspired by the logo of the Luxor Hotel&Casino in Las Vegas), Digital Disco AOE (2007), Mighty Tuxedo AOE (2007), Makeshift AOE (2007), Clarity AOE (2007, slab serif headline), Red Pigtails AOE (2007), Run Tron 1983 (2002), Eyeliner AOE (2006, Tekton-like), Mother Hen (2007), Gloversville (2007, comic book style), Mighty Tuxedo AOE (2007, condensed sans), Quick Handle AOE (2007), Surfing Bird (2007), Hydrogen (2004), Hardliner (2004, fifties diner style), Big Ruckus (2004), SS Antique No. 5 (2004), Europa Twin (2003), EuroMachina (2003, techno), Lord Rat (2003), Love Anxiety (2003), BuzzSaw (2003), Skullbearer (2003, skull dingbats), Beatnick Blue (2002), Geisha Boy (2002), Mardi Party (2002), Midcrime (2002), Ocovilla (2002), Ruthless (2002), Saltie Doggie (2002), Whiskers (2002), Royal Gothic, Family, Eggit, Jericho, Wild Monkeys (2002), 5FingeredGothSW, AlienArgonautAOE, AlphaMackAOE, AmphibiPrint, AngiomaAOE, AntiChristSuperstar, AntiChristSuperstarSW, AstigmaSolid, BigLimboAOE, BigLimbodOutAOE, BoneRollAOE, BoneRollAOEBold, BoundAOE, BrailleAOE, BulletBallsAOE, ButterflyChromosome, ButterflyChromosomeAOE, ButtonButton, ButtonButtonAOE, CType, CTypeAOE, CelticLionAOE-Bold, CelticLionAOE-BoldItalic, CelticLionAOE-Italic, CelticLionAOE, CharailleAOE, ChickenScratch, ChickenScratchAOE, ClunkerAOE, ClunkerAOE-Bold, CropBats, CropBatsAOE, CropBatsIIAOE, DarkNightAOE, DeadGrit, DeliveryMatrixAOE, DetourAOE, DigitalDiscoAOE, DigitalDiscoAOEOblique, DingleBerries, DoggyPrintAOE, DraxLumaAOE, DungeonKeeperII, DungeonKeeperIIBold, DungeonKeeperIIItalic, EggItAOE, EggitAOE-Italic, EggitOutlineAOE, ElectricHermes, ElectricHermesAOE, ElectricHermesAOECharge, FearAOE, FilthAOE, FishyPrintAOEOne, FishyPrintOneAOE, FishyPrintTwoAOE, FutharkAOE, FutharkAOEInline, FutharkAOEInline, GateKeeperAOE, Ghoulish Fright AOE (2006), GlagoliticAOE (1999, grungy glagolitic), GorgonCocoonAOE, Gotik, GreyAlienSW, HAL9000AOE, HAL9000AOEBold, HAL9000AOEBoldItalic, HAL9000AOEItalic, HandageAOE, HandageAOEBold, HauntAOE, HybridLCDAOE, IDSupernovaSW, IslanderAOE, JokerWildAOE, KillMeCraig, KillMeCraigAOE, Kinderfeld, KittyPrint, KittyPrintAOE, Kornucopia, KornucopiaAOE, LinusFace, LinusFaceAOE, LinusPlayAOE, LinusPlaySW, Lochen, LovesickAOE, Manson, MasterPlan, Mervale Script (2012: a brushy script based on the 1940's Fawcett Publications Mary Marvel comic), Microbe, MooCowSW, MotherlodeLoadedAOE-Italic, MotherlodeLoadedAOE, MotherlodeStrippedAOE-Italic, MotherlodeStrippedAOE, MysterioSWTrial, NightmareAOE, OrnaMental, Pantera, PapaManoAOE, PenicillinAOE, PixelGantryAOE, PixelGantryAOEBold, PixelGantryAOEBoldItalic, PixelGantryAOEHeavy, PixelGantryAOEHeavyItalic, PixelGantryAOEItalic, PixelGantryHiliteAOE, PixelGantryHiliteAOEItalic, PoppyAOE, PoseidonAOE, Prick, QuiltedAOE, QuiltedAOEBlack, QuiltedTrial, RippleCrumb, RippleCrumbUltraCon, ROCKY, ROCKYAOE, RustedMachineSW, SSExpAntiqueAOE, Schizm, Schrill, SchrillAOE, SchrillAOEOblique, Scrawn, ScrawnAOE, ScrawnCyrAOE, ScrawnKOI8AOE, ScrewedAOE, ScrewedAOEOblique, ScrewedSW, SeaweedFireAOE, SenthAOE, ShampooSW, ShottyTransferTrial, SkinnerAOE, SlurCrumb, SpatCrumb, SpikeCrumbGeiger, SpikeCrumbSwizzle, SpikeCrumbSwollen, SteelcapRubbingTrial, StruckSW, StrutterAOE, SunspotsAOE, SurferComicTrial, TRANSHUMANALPHABET10, TRANSHUMANKATAKANA20, TannarinAOE, TannarinAOEOblique, TibetanBeefgardenAOE, TibetanBeefgardenAOE, TouristTrapAOE, TransponderAOE, TransponderGridAOE, UglyStickAOE, VanguardIIIAOE-Bold, VanguardIIIAOE-BoldOblique, VanguardIIIAOE-Oblique, VanguardIIIAOE, Ventilate, VentilateAOE, Y2KPopMuzikAOE, Y2KPopMuzikOutlineAOE, YoungItchAOE, ZeichensSW, ZenoPotionAOE, Zombie, BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth, Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper (Halloween font), Gargamel Smurf, Invocation, Neuntotter, Geisha Boy, Saratoga Slim, Gobe, Stingwire, Lavatype, Tapehead, Islander, Clunker, Digelectric, Gargamel, Krulo-Tag, Krelesanta, SurferComic, Bound, Culture Vulture, Intruder, Cavalier, Anoxia, Synchrounous (IBM logo style lettering), Luna, Data Error, Lunokhod, Jericho. There are many techno and gothic fonts. Kill Me Craig is the first 26 death scene dingbat font (scenes by Craig Dowsett). KittyPrint takes the LinusFace font concept to more realistic cat head dingbats. Krelesanta (not free) is a funky font inspired by the band Kreamy Electric Santa. The free ButtonButton is useful for making buttons. Lovesick AOE is a scrawly, lovelorn typeface, i's dotted with hearts. Strutter AOE is based on the KISS logo. Senth AOR is a runic font. Charaille is one of the many dot matrix fonts. Cavalero is inspired by the logotype of the Chevy Cavalier.
At Bitstream in 2001, AOE published Cavalero, Stingwire and Tannarin. And in 2002, he published the comic book font Big Limbo, Euro Machina BT and Islander there. Bio at Bitstream.
In 2005, Bonislawsky and Sandler realeased 500 fonts, via Bitstream and MyFonts, under the label Breaking The Norm.
In 2006, Astigmatic published their typewriter collection, which includes Military Document, Bank Statement, State Evidence Small Caps, State Evidence, Urgent telegram, Library Report, Overdrawn Account, Customs Paperwork, Incoming Fax and Office Memorandum.
From the bio and various pieces of information, one is led to believe that Brian was born in Poland, and now lives in Miami, but that may be wrong.
In 2010, he placed a free font at the Google Directory, Syncopate. Along the same lines, we find the derived square serif typeface Stint Ultra Condensed (2011, Google Web Fonts) and Stint Ultra Expanded (2012).
In 2011, several other typefaces followed there, like Ultra (fat didone), Maiden Orange, Special Elite, Just Another Hand, Crushed, Luckiest Guy (comic book face), Aclonica, Redressed, Montezuma (a curly connected upright script), Devonshire (brush script), Fondamento (calligraphic lettering), Yellowatil (connected retro script), Righteous (free at Google Web Fonts: inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano), Ribeye and Ribeye Marrow> (cartoon and/or tattoo style lettering---free at Google Web Fonts), Spicy Rice (2011, free festive display typeface at Google Web Fonts).
Contributions in 2012: Marcellus (2012, Trajan, flared roman), Eagle Lake (a free calligraphic font at Google Web Fonts), Uncial Antiqua, Jim Nightshade (2012, free at Google web fonts), Dynalight (2012, a retro script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive), Yesteryear (a retro script loosely based on the title screen from the 1942 film The Palm Beach Story), Parisienne (Google Web Fonts: casual connected script based on a 1960s ad for bras), Shojumaru (Google Web Fonts: an oriental simulation typeface inspired by a poster for the Marlon Brando movie Sayonara), Berkshire Swash (Google Web Fonts), Audiowide (Google Web Fonts), Romanesco (Google Web Fonts: a narrow calligraphic style), Galindo (Google Web Fonts), Oregano (Google Web Fonts: based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's), Peralta (Google Web Fonts: an Egyptian comic book face), Eagle Lake (Google Web Fonts: calligraphic), McLaren (Google Web Fonts: comic book style alphabet), Freckle Face, Hanalei Fill, Hanalei [Polynesian bamboo or tiki lettering], Purple Purse, Margarine, Risque, Clicker Script [image], Stalemate [a gracious script, by Jim Lyles for AOE], Mouse Memoirs, Quintessential [Google Web Fonts: chancery hand], Bigelow Rules, Englebert [Google Web Fonts: from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich], Sacramento [Google Web Fonts: connected script].
Typefaces from 2013: Freckle Face (grunge), Grand Hotel, Purple Purse (Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously).
Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).
Typefaces from 2014: Franken Jr AOE Pro (inspired by the title screen from the 1966 Hanna Barbera cartoon Frankenstein Jr), Good Eatin Pro AOE (inspired by the title screen from the 1942 Warner Bros. cartoon Dog Tired), Ghostkid AOE Pro (comic letter style).
Typefaces from 2015: Shanks Antique 5 AOE (after the newspaper typeface Memorial (1865, Stevens, Shanks & Sons)), Reliquaire AOE (a somber blackletter typeface inspired by Memorial (1881, Boston Type Foundry)).
Typefaces from 2016: Kentish AOE Pro (art deco). Reardon AOE (a digitization of a film typeface called Joyce Black by LetterGraphics), Berkmire AOE (1970s style robot-inspired techno font), Blackheath Pro AOE (this typeface started as a digitization of a film typeface called Roberts Square by LetterGraphics), Delaware Pro AOE (art deco), Rutland AOE (a futuristic font that is a digitization of a film typeface called Maccaro by LetterGraphics).
View Astigmatic's typeface library. View the typefaces made by Brian Bonislawsky.
Fontsquirrel link. Dafont link. Fontspace link. Creative Market link. [Google]
Astype.de is a German foundry started in 2003 by illustrator and type designer Andreas Seidel (b. 1975). He lives in Cottbus, Germany. Home page. See also here. In 2007, he and Ingo Preuss set up The German Type Foundry. The typefaces:
- One of his first typefaces was Crayfish (originally a URW font, but withdrawn by Seidel from URW in 2002). Crayfish is a display type originally designed for an American Football club. The Crayfish typefaces are sold as Thunder Bold and Titan Bold.
- Check his nice weather symbols (not a font).
- He finished Ornaments Thanksgiving and the great ASTYPEOrnaments-WineGrape A (2004).
- He is working on 14th century initials (2003).
- He created Sattler (2003): Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, type designer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses.
- He made Heraut (2003), an art nouveau lettering typeface based on a 1901 design of Hermann Hoffmann called Herold Reklameschrift.
- He created Sveva AS Versal (2003, art nouveau).
- About Missa Solemnis, he writes: Solemnis was designed by Günter Gerhard Lange and first cut in metal 1953 (this is the date he quotes himself, other sources mention 1950 or 1952). It seems to be one of his earliest typeface designs that he had done as a freelancer for H. Berthold AG in Berlin. [...] Missa Solemnis AS is a new, remastered and extended version of Mr Lange's typeface. The font is available in the OpenType format and comes in two styles: 1953 and 2003. The 1953 style contains all characters of the original metal type, as well as a few additions. [...] The 2003 cut is more delicate and makes extensive use of the OpenType format. It contains over 650 glyphs, covering Roman-based languages of Western and Central Europe. His Solemnis inspired Simeon AS (2003), a 650-glyph uncial style face.
- In 2004, he created Missale Incana, an interpretation of a typeface from Herbert Thannhaueser.
- Still in 2004, he created ASTYPE Ornaments Christmas A2 and ASTYPE Ornaments Christmas A. These were followed in 2005 by ASTYPE Ornaments Christmas B.
- He made Missale Lunea (2004, uncial). This has astroligical symbols, moon phases and medieval characters.
- In 2005, the exquisite calligraphic script typeface Gracia was added, consisting of Gracia No. 44, 45, 54 and 55 (graceful calligraphic script), and Gracia Solo.
- Paola is a redesigned, new interpretation of a brush typeface from Carl Rudolf Pohl.
- He made Adana (2005): The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. The Initials are nearly close to the original drawings but the Circular typeface was changed dramaticly. Excentric, unusual forms and loops were changed to fit todays needs. Due to the lack of a corresponding Roman letter form, the Regular version was designed including small caps, fitting the contrast and swinging shapes of Adana Circular. Both typefaces play well together in all kinds of adverts, as well with designs like Bodoni or Didot.
- Alea AS Initials (2005) is a floral faced based on the drawings of Maria Ballé.
- Taiko (2006). A revival of Otto Arpke's Arpke Antiqua (1928, copperplate).
- ASTYPE Ornaments Accolades A (2007), and ASTYPE Ornaments Accolades C (2011).
- GTF Toshna Std (2008, German Type Foundry) is a garaldic type family in three optical weights, after a 1955 family called Tschörtner-Antiqua by Hellmuth Tschörtner that was very popular in the DDR.
- Secca (2009, German Type Foundry) is a simple sans family rooted in early German grotesque type designs. See also Secca Soft (2014) and Secca Stencil (2015).
- Nepos (2010) is an experimental modular type kit consisting of ready-made typefaces and a set of special BUILD fonts to build your own letters and ornaments. These BUILD fonts can be used on layers with different colors and overprinting for special effects. The effects like Antiplex can be considered as kitchen tiles. There are also color inversions and stencil types.
- Secca Saloon (2011) is a versatile ornamental Western family.
- Popsil (2011) is a white-on-black hand-printed poster face.
- Ademo (2011) is a classic shaded layered 3d caps face, based on two typefaces designed by Carl Albert Fahrenwaldt that were published in 1931-1932 by Schriftguss AG.
- Wood Bonnet Antique No.7 (2012) is based on real vintage wood type blocks from Switzerland.
- VTG Stencil US No. 4 (2012) is based on plate US No. 4 from New York Stencil Works. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. The military stencil fonts VTG Stencil US No. 2 (+Ornaments), VTG Stencil US No. 51, VTG Stencil UK No. 76, VTG Stencil Germany No. 101 (2014, modeled after historic blackletter stencil plates from Bavaria), and followed in 2014. In 2016, he added Vtg Stencil DIN.
- VTG Stencil Germany No. 1 (2013) is a set of nicely executed didone stencil typefaces based on real models used in Germany from 1871-1918 and later. There is a Sketch style.
- Wood Poster Eight (2015) is a free wood type slab serif.
Behance link. Creative Market link. Klingspor link.
View Andreas Seidel's typefaces. [Google]
Russian type foundry. Their Cyrillic/Latin fonts include: AZ HighWay (Leonid Silkin, 1990-1995, based on Broadway by Morris Fuller Benton, ATF, 1928), AZ LatinWide (1990-1995, by Kirill Tchouvashew, based on Stephenson Blake's Wide Latin), AZ LifeSigns (1990-1995, Serge Agronsky: astrological symbols), AZ McLeud (1990-1995, by Victor Kuchmin, based on American Uncial by Victor Hammer, 1943), AZ NewsPaper (1990-1995, by Andrey Andreev, based on News Gothic by Morris Fuller Benton, ATF, 1908), AZ ParagonNord (1990-1995, by Serge Agronsky, based on Elizavetinskaya, Lehmann type foundry (St. Petersburg, 1904-1907), which in turn was based on Russian metal typefaces of the mid-18th century), AZ Poligon (1990-1995, by Leonid Silkin: a kitchen tile font). [Google]
Augustus Welby Northmore Pugin
Augustus Welby Northmore Pugin (1812-1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style. His work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.
Pugin designed several blackletter and uncial style alphabets ca. 1844. His Gothic Revival ornaments influenced the design of the dogital typeface Gothic Herbarium (2015, Lukyan Turetskyy). [Google]
Aure Font Design
Aurora Isaac (Aure Font Design, Issaqua, WA) is a California-born type designer. She created the uncial typeface Aure Westra LP (2011) and the Victorian family Aure Zeritha LP (2011).
Klingspor link. [Google]
[Aure Font Design]
Designer in 2008 at FontStruct of NuGothicA (blackletter), BauForm, DINAMO (mechanical), Magnum (great industrial strength slab serif headline face), Cocoa (rounded and ultra fat), EUROstruct (thin and architectural), Kaotic (graffiti), Weimar (pixel face), Rondo, Rondo Tail, Fabrica (octagonal), Fabrica Rotula (stencil, octagonal), Quadrat, Electrica, Electrica Dots, Fabrica Screen (horizontally striped octagonal face), Block Black, Bloop, Blackwolf, Guru Blackletter (Indic simulation face), Inslab (slab serif), Inslab II, Minima (stencil), Boxer (ultrafat, octagonal), Bloko (nice ultra-fat face), Steel (macho slab serif), Nextar (pixelish but elegant), Simplex, Ulises 7 (+Serif) (pixel typefaces), Digita (kitchen tile) and Block (ultra fat), June Cleaver. See America (2008, octagonal) is an octagonal lettering font that was inspired by a travel poster (WPA, 1936) designed by Jerome Roth. Faces made in 2009: Morgana (a beautiful fat piano key face), Manitoba, Machina (+Slab), Old Monk (uncial), NughoticA Brush, LUBA 8 Lowercase (after Lubalin), Nugothic A (blackletter), Dinamo, Ross (strong mechanical face).
Faces made in 2010: Sketch Pix and Sketch Pix 2. [Google]
Betatype was established in 2003 by Christian Robertson, and is located in Concord, CA. It offers custom type design services as well as commercial fonts. Christian completed the BFA program in Graphic Design at Brigham Young University in Provo, UT, and was a partner at Mansfield Design Company in American Fork, UT. He joined Google where he presently works.
While at at Brigham Young University, he designed Alexandre (2004, a roman influenced by blackletter), Blackletter No.36, Uncial New (2004, an uncial with a unicase feel), Aloe (2003), Betatype No. 28 (2003, a semiserif), Ulysses (2003), Pill Aberration, Raisin Nut, Pill Gothic (2001, a sans family published in 2004 at Umbrella Type/Veer), Beezer Sans, Uncial Slab, Sketch No. 26, Sketch No. 25, Dear Sarah (2004, a contextual handwriting typeface done with great care, available from Umbrella Type), and Factory. i
Betatype published these fonts:
Google Plus link. [Google]
[Foster and Horton]
Bjorn Capens (possibly from Beveren and/or Antwerpen, Belgium) made these typefaces at Fontasia International in the mid 1990s: Blake (an avant-garde typeface after the comic strip album Blake and Mortimer), Suske en Wiske, Karolingisch, and Unciaal. The original link disappeared. Alternate URL. Blake is at Dafont.
A sad comment: In 2014, the Blake font was claimed by a certain Rebecka Danielle and posted on Fontspace. [Google]
Blackletter, Fraktur, Rotunda
Manfred's fascination with blackletter and its German roots is apparent from the tens of typefaces he designed that are either revivals of historic typefaces or playful and not so playful extensions. Here we go:
- ArtNouveauDecadente (2007)
- BarlosRandom, BarlosRandomRings
- BarlosiusEdged (2007)
- Bastarda, Bastarda-K, BastardaButtonsBeta, BastardaMajuskel1300 (2005), BastardusSans
- BauernFraktur (2004, after the 1911 original by Bauersche)
- BayreuthFraktur, Bayreuther-BlaXXL (2005, a variation of Schneidler's Bayreuth)
- BigBroken, BigBrokenTwo
- Brahms-Gotisch (2005, with Petra Heidorn: a revival of Heinz Beck's 1937 typeface at Genzsch&Heyse)
- BrokenAlphabetTradition, BrokenBrainsFrax, BrokenCapsJumperB, BrokenHand, BrokenHand-Bold, BrokenHandLight, BrokenRoman-Bold, BrokenSansCaps, BrokenSansCaps (2007), BrokenSansCapsJumper, BrokentTraditionRound
- Burtine (2003: handwritten freestyle version of Burte Fraktur, 1928), Burte-Fraktur, Burtinomatic, Burtinomatic-DemiBold
- Cantzley Inverse Caps (2007), CantzleyAD1600 (2005)
- Clausewitz-Fraktur (2005)
- Cuxhaven Initials Round (2006), CuxhavenFraktur (2006), CuxhavenInitials (2006), CuxhavenTimes
- DecadentaFrax (2007)
- DolbyFraxCaps (2005)
- DrunkenSailor (2006)
- ElectrUnciale (2005)
- ElephantaBlack (2006)
- FlyingHollander (2005)
- FracturiaSketched, FracturiaSketchedCaps
- FraktKonstruct, FraktSketch, FraktSketchFS, FraktalConPablos, FrakturInRings (2007), FrakturInitials07 (2007), FrakturNitials (2006), FrakturaFonteria, FrakturaFonteriaSlim (2006)
- FraxBricKs, FraxBrix, FraxHandwritten, FraxHandwrittenCaps (2007), FraxHandwrittenXtrem-Medium, FraxInCage, FraxInCageLeftOblique, FraxInCageRightOblique, FraxInitials, FraxxSketchQuill
- GermanFatman (2006)
- GingkoFraktur (2006)
- GoldenSwing, GothicMajuscles
- GotenborgFraktur (2007)
- GotikaButtons (2005, after Imre Reiner's Gotika from 1933)
- GothicLetters (2007)
- Gotic Caps (2006), GoticaBastard, GotischeMajuskel
- GutenbergsGhostypes, GutenbergsTraces
- HamletOrNot, HamletTobeornot
- HansSachsCaps (2007)
- HappyFrax (2006)
- Haunted-Normal, HauntedBricks
- Holland-Gotisch (with Petra Heidorn; a revival of Nederduits by Johann Michael Fleischmann, ca. 1750)
- ImresFraktur, ImresFraxCaps (2007)
- JohannesBricks, JohannesButtons-02, JohannesGDiamonds, JohannesGLastTraces (2007), JohannesTraces
- Jugendstil (2006)
- KaiserRotbartCaps (2007)
- KleinSchwabach (2005)
- KleinsBrokenGotik (2006)
- KlungerCaps (2006)
- LudwigHohlwein (2006)
- LufrakturBricks (2006)
- LutherDuemille, LutherMousedrawn, LutherMousedrawn-Bold
- MK Broken Types (2006)
- MKFraxConstr (2007)
- MKalligFrax, MKalligFrax-MediumItalic
- MKancellerescaCaps (2005)
- MKantzley (2005), MKanzleiCaps-One (2006)
- MoKsford, MoKsfordBold, MoKsfordDemiBold, MoKsfordExtraLight, MoKsfordLight
- MonAmourCaps (2006), MonAmourFraktur-Broken (2006), MonAmourFrakturRegular
- MousefraKtur, MousefraKtur-Bold
- Münchner-Fraktur (2005; a revival of Renaissance Fraktur by Heinz König, 1885, Genzsch&Heyse)
- Neudoerffer, NeudoerfferScribbleQuality. Both codex style typefaces are from 2003. Manfred writes that Neudoerffer is an unaltered version of the original Neudoerffer Initialen from 1660.
- OKsfordBadFat, OKsfordItalic
- OldTypographicSymphony-Regular, OldTypographicSymphony-Round
- PopFraxFrankfurt (2007), PopFraxFrankfurtCondensed (2007)
- Potsdam (2005, a revival of a 1934 typeface by Robert Golpon)
- Prothesis-Black, Prothesis-Caribiqu, Prothesis-Caripix
- Schaftstiefel Kaputt (2003)
- SchmaleGotischMK, SchmalfetteGotisch
- SchneidlerSchwabacher, SchneidlerSolitaires, SchneidlerSolitairesRound, SchneidlerSolitairesRound
- Schwabach, SchwabachDuemille, SchwabachScribbels, SchwabachScribbelsSecond
- ScribbledFrakturX-Heavy (2006)
- SmallEdgedFrax (2006)
- Snoutlike (2003)
- SpaceWinningFrax (2007)
- TypoasisBoldGothic (2003)
- Weissgotnitials (2005, based on Weiss's Lichte Initialen, 1935)
- WittewittMajuscles-Flourish, WittewittMajuscles-FlourishBricks
- WrittenFrax (2007)
Swedish designer born in 1924 in Stockholm. He says of himself: Compositor, Linotype operator, teacher of typography. Type designer in a small matrix factory 1950-51. Calligrapher, book designer, author, lecturer and trade mark specialist. Now retired, but does type design as a hobby and to special orders for museums, ad agencies, companies and even to private persons. Prolific typographer who created beauties such as Boberia LL (1994), a fantastic didone text family with an antique bouquet. Most of his work is available from Linotype and/or Agfa/Monotype.
Images of his best-selling typefaces.
His fonts include Boberia LL (1994, a fantastic didone text family with an antique bouquet), the Grafilone LL family (1994, an avant-garde family that is almost illegible), Cartesius (2006, a beautiful 5-style family done at T4 in a mix of garalde and Venetian fashions), Byngve (2004, Linotype, in the style of 15th century Italy), Linotype Dala Text (2002, Fraktur, with ornaments and borders), Ornabo dingbats. Art Gallery, Belltrap (1995), Benedict (uncial), Beowulf (uncial), Boscribe (2005), Bosis (1991, sans), Botobe (2011, an informal script), Brigida, Buccardi (1998, Agfa), Caballero Script (2011, inspired by Spanish handwriting from 15th and 16th century), Carl Beck Script (1992, calligraphic), Esseltube, Euclides, Exlibris (1998), Frisans (2005, Monotype), Gertrud (2006, T4, based on 16th century calligraphy), Geometra (2011, T4), Gianpoggio (1992), Golota (1998, Agfa), Grantofte (1995), Hagalind (2011, a calligraphic connected script), Jerrywi (1994), Johabu (Fraktur), Lebensjoy (1994), Läckö, Linotype Dala Borders, Linotype Dala Pict (2002, beautiful dings!), Linotype Hieroglyphes One and Two (2002), Logoform, Magellan (1993), Maricava, Moorbacka, Naniara (1998), Nordik, Olaus Bandus (medieval script), Olaus Magnus, Palekin (1994), Pelegotic (2006, an art deco inspired but minimalist sans), Pelican, PocketType (1994), Picadyll (2011, art deco), Promemoria, Ringlingje, Sabellicus (1997), Space Kid (runes), Swingbill, Trotzkopf (1998), Unotype (1997, mono), Vadstenakursive (1989, blackletter typeface with almost Lombardic-looking capitals), Viger Spa (runes).
In 2003, these typefaces were published in the Linotype Taketype 5 collection: Berndal LT Std Bold, Berndal LT Std BoldItalic, Berndal LT Std Italic, Berndal LT Std Regular, Berndal LT Std SC, Siseriff LT Std Black, Siseriff LT Std Bold, Siseriff LT Std BoldItalic, Siseriff LT Std Italic, Siseriff LT Std Light, Siseriff LT Std LightItalic, Siseriff LT Std Regular, Siseriff LT Std Semibold, Siseriff LT Std SemiboldItalic.
Pelle Anderson interviews Bo Berndal. Bitstream write-up. Agfa/Monotype write-up. Author of Typiskt typografiskt (Fisher and co, 1990). MyFonts page. Linotype page. MyFonts interview. FontShop link. Klingspor link. [Google]
[Peter R. Wilson]
Renton, WA-based Peter R. Wilson's metafont code (2000-2003) for the "bookhands" series of fonts. It was his intention to provide the main examples of manuscript hands from the first century until the invention of printing. Included are the following: [Google]
Born in 1975 in Schwäbisch Gmünd, Kahl graduated in 2001 from the Hochschule für Gestaltung in Pforzheim. Boris Kahl is Art Director of the German advertising agency MAGMA (Büro für Gestaltung) since 2001. He cofounded the German type and design weblog Slanted. His type designs are published at Volcano Type (Karlsruhe):
- Athletic lettering: Sports (grungy, with Lars Harmsen), Sports Skinny.
- Blackletter: Frakturbo, Fraktendon (=Fraktur+Clarendon, codesigned with Harmsen)
- Dingbats: Mr. J. Smith Eye, Mr. J. Smith Head, Mr. J. Smith Mouth, Mr. J. Smith Nose, and Mr. J. Smith Wanted are experimental dingbat typefaces by Nikolaii Renger, based on an idea of Lars Harmsen, and digitized by Ulrich Weiss and Boris Kahl. These won an award at the 2005 FUSE competition. Multigenic are a collection of black and white boxes and rectangles (free).
- Dot matrix typefaces: C64 (original Commodore 64 font), Doublepoint (five styles), Monopoint (three styles), Rollerblind, Rollerblind Grid
- Grungy: Mud (free), Psycho, Poke
- Hand-drawn: Decomic Oblique
- LED style: Digibeck, Strichcode (a family codesigned with Harmsen).
- Kitchen tile typefaces: Bus, Bus PI.
- Patriot family, done with Lars Harmsen: Saddam, Commander Robot, Fidel, Slobbodan, Osama, George.
- Pixel typefaces: Amiga, Screeny, Pixel, C64, Fette Pixel
- Script typefaces: Filou (free, three styles)
- Techno typefaces: DigiBo, Teckbo (2002. Boris Kahl writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks)
- Uncial: Chaucer
free fonts at Dafont include Filou Medium (2010, calligraphic).
View Boris Kahl's typefaces.
Klingspor link. Dafont link. Volcano Type link. [Google]
[Four centuries of printing in the Irish character]
Brenden C. Roemich
[Digital Graphic Labs]
Creator of Yafit (2013), a Celtic /uncial/ gaelic / insular typeface. [Google]
Brian J. Bonislawsky
[Astigmatic One Eye]
Bruno Aedys Camargo
Brazilian designer of the Avant Garde-inspired Ultravioleta (2008). I am unsure if this Dafont designer of Huggies (2012, an uncial typeface made with FontStruct) is the same Bruno Camargo. [Google]
[Aon Celtic Art]
Fonts designed by Lou Harrison and implemented by Carter Scholz include Pluma, Rotunda, Lou Casual, Federov, Lou Titling, Aptos Uncial. He also made Kepatihan Cipher Notation Font, a typeface for cipher notation based on the Central Javanese system called kepatihan, which includes symbols for punctuating instruments, octave dots, phrase markings, bowing marks and more. [Google]
Casady&Greene, Inc. started out as two separate little companies, CasadyWare and Greene, Inc. CasadyWare, which was founded by Robin Casady in August 1984, began producing Fluent Fonts, which were bitmapped typefaces for the Macintosh. The 1984 set of fonts have copyright lines that mention Richard A. Ware. As soon as PostScript fonts appeared, CasadyWare got hold of the first version of Fontographer and produced the first downloadable PostScript fonts, even beating Adobe, the originators of PostScript, to the punch. These were marketed as Fluent Laser Fonts (FLF).
The FLF series includes Abilene (Western), Alexandria (1986, slab serif family), Black Knight (1991, blackletter), Bodoni FLF (1986), BodoniUltra (1986, a fat didone), Bonnard (art nouveau), ButtonHighlight, ButtonPlain, Calligraphy (1986), Campanile (a great didone face), Checkbox, Chicago FLF, Collegiate (1988, sports lettering), Coventry Script (calligraphic), Cutouts FLF (1992, cargo stencil), Desperado, Dorovar Carolus (1988, Carolingian), DryGulch, Epoque (art nouveau), FattiPatti, Fletcher Gothic (1992, art nouveau), Galileo (1987, didone), Gazelle (1988, calligraphic script), Gatsby (1986, pure art deco), Giotto, Gregorian (1986, English Gothic style blackletter), Harlequin FLF (1990), Highland Gothic (1992), Jott, Kasse (1992), Kells (modern round Gaelic font, 1988), KeyCaps, La Peruta, Meath (modern round Gaelic font, 1988), Michelle (1992, art deco, marquee face), Micro, MicroExtend FLF (1986, like Microgamma) , Monterey (1986, Peignotian), Moulin Rouge (1992, an art nouveau typeface by Richard A. Ware), Nouveau (1990, art nouveau), Paladin (1988, blackletter), Pendragon (1991), Phoenix Script FLF (1990), Prelude (1986, connected script), Regency Script (1986, calligraphic copperplate script), Right Bank (1986, art deco), Ritz (1986, art deco in the style of Broadway), Rocko (1992, rounded like VAG Round), SansSerif FLF (1986, a large geometric sans family), Sedona Script (1990, connected, calligraphic, semi-psychedelic), Slender Gold (1992, script), Vertigo (1992, condensed monoline sans), VertigoPlus, Zephyr Script (1986, brush script).
Many fonts were digitized by Richard Ware, and some were designed by Mike Wright. The contact was Terry Kunysz in Salinas, CA.
On July 3, 2003, Casady&Greene closed it doors permanently. However, one of its designers, Mike Wright, writes: I believe that all the fonts that were developed by the company are now in the public domain. Robin Casady and I are thinking of putting up a site with free downloads of all of the old C&G public domain fonts--mainly as a way of attracting Mac users to see iData 2.
Robin Casady in 2003: I founded Casady Company in 1984 to publish fonts for the new Macintosh. The name changed with incorporation to CasadyWare, Inc. Around this time I met Mike Greene who was looking for a software project to do after SpellsWell. I talked him into doing a program that became QuickDEX. Later CasadyWare, Inc. merged with Greene, Inc. and became Casady & Greene, Inc. Over the years, my role in management reduced as my interests in other areas developed. In the last ten years I have had no official management duties at C&G. About a year ago I removed myself from the Board of Directors.
Some fonts can be found at TypOasis. Fontspace link. Fontex link. Font Squirrel link. Scan of some fonts. Dafont link. [Google]
[Christian "Cinga" Thalmann]
Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. It had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).
As Catharsis, the commercial foundry, he published Octant in 2013: Octant is an original steampunk display typeface drawing inspiration from Victorian-age steel and brass engineering, as well as from blackletter typography. Gryffensee (2013, in styles called Eins, Zwei and Drei) is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. It also covers Cyrillic.
Backstein (2013), baked brick, took its inspiration from the broken antiqua lettering in Berlin's old subway stations.
Volantene Script (2013) is a (free) uncial display typeface inspired by the penmanship of Lady Talisa Maegyr-Stark as seen on HBO's Game of Thrones. Numina (2013, Glamour and Glory substyles) is an extensive condensed fashion-oriented typeface family related to Skyline and Corvinus.
Maestrale (2013) adds calligraphic and flamboyant extenders to a decorative text typeface for a dramatic effect. Choose between Maestrale Manual (swashy) and Manuale Text.
Blumenkind (2013) is inspired by an instance of metal-strip lettering found on the Bürgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s.
Brilliance (2013) is a glamorous contemporary display blackletter combining the rich tapestry of Textura with a hint of the airy lightness of Spencerian script. Let's say that it is a light-hearted Textura.
In 2015, he made the 25-style classic serif typeface family Cormorant, which includes several unicase fonts. This typeface started out in 2014 as Paramond, a light, contrasted, space-taking Garalde with impossibly tiny counters and long extenders.
In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.
1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont link. Open Font Library link. [Google]
Celtic fonts at Scriptorium
David Nalle at Scriptorium has a bunch of Celtic fonts to offer: Sualtim, Morgow (1999, spiral uncial), Teyrnon (spurred uncial), Padstow (heavy uncial), Columba (decorative initials), Alba (angular hybrid uncial), Dahaut (uncial), Glendower (uncial based on The Book of Kells), Knotwork, Stonecross (1997, derived from Celtic cross and gravestone inscriptions), Celtic Spirals, Celtic Borders, Lindisfarne, and Durrow (1993, minuscule calligraphy), Spiral Initials, Owen Jones Borders. [Google]
Celtic Fonts by the Celtic Lady
Original Gaelic fonts. Designer Susan Kathryn Zalusky sells California Uncial for 20 dollars. She also gives away for free a simple Gaeilge (Irish Celtic) font, Celtic Gaelige UNICODE (1997). [Google]
Châteaux Celtes et Chimères
Marie-Louise Pépin's page on medieval resources and "enluminures". Has a Heraldic (uncial) truetype font for download. Medieval resources in Québec. Addresses and links. [Google]
Born in Utrecht in 1921, Chris Brand lived in Breda, and died in 1998. He studied calligraphy in 1940, and worked in Brussels from 1948-1953. He taught design at various academies until 1986. Known for book cover jackets, Brand created the clean serif typeface Albertina in 1964-1965 (Monotype). This typeface was first used for a retrospecive on Stanley Morison's work exhibited at the Albertina Library in Brussels in 1966. Dean Allen [Textism]: Working designers should have at least one text family to focus on; to test its idiosyncrasies and stretch its limits, to see how it responds to the unpredictable demands of day-to-day work. Albertina is the family with which I do the most tinkering. It's remarkably flexible, offering a full complement of text and titling figures, roman and italic small caps, as well as supplemental Greek and Cyrillic fonts. It has the sort of strength, or presence on the page absent from most digital type, owing to sturdy construction, and it lacks fussiness.
The digital font DTL Albertina saw the light in 1987 at Dutch Type Library.
Brand also created Veerle Uncialis (1991, named after his granddaughter Veerle Simons) but it is unclear whether this font is his or a reworking of a typeface by the Parisian typefounder Fournier. Finally, he made the coptic font Draguet (1968). I
FontShop link. Klingspor link. [Google]
Christian "Cinga" Thalmann
Ciarán Ó Duibhín
Gaelic fonts for Windows expertly categorized and explained by Ciarán Ó Duibhín. A great jump page. One can find opinions on choices of fonts. For example, on the choice of a Gaelic uncial, we find this paragraph:
I find it useful to classify uncial fonts on a three-point scale of ornateness. The fonts at each point may then be compared on the extent to which their unciality is affected by minuscule or by Latin influences.
- The most ornate ("Hammer") style is best represented by Loch Garman and by Mórchló GC, either of which is infinitely preferable to American Uncial. The Gaeilge 1/Gaeilge2/Gaeilge 2 family are also of this type, but have come under some minuscule influence.
- At the intermediate degree of ornateness, the purest is Ceanannas, while Léarchló and Orchló show minuscule tendencies in uppercase, Fíorchló shows Latinising tendencies in uppercase, and the Petrie metal types are digitally represented by Eirinn Gaelic showing minuscule influence in long r and s, and by GaelicLS showing Latin influence in letters like d and g.
- The least ornate or most "modern" uncials are ┌rchló (pure) and Glanchló and Lánchló (both with minuscule-influenced uppercase), and Colmcille (with both minuscule and Latin influence in uppercase, and minuscule influence in long r and s).
- A preference for uncial purity would select Loch Garman, Mórchló GC, Ceanannas and Orchló. The suitability of any one of these depends on the purpose, but plainness is a virtue for body text, and Orchló is the uncial font with the most realistic prospects for body text use. It may be noted that Loch Garman and Ceanannas both have bold, oblique and bold oblique variants, and Orchló has a bold variant.
Clare Bell received a BA degree from Central Saint Martins College of Art & Design in London in 1999 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. She coorganized ATypI in Dublin in 2009. Currently, she is Associate Researcher at the Graduate School of Creative Arts and Media. [Google]
Classic Font Company
The Classic Font Company is a small foundry with absolutely gorgeous commercial fonts (often revivals of pen drawings) by Tony Nash (b. Bristol, 1944): Abby (blackletter family), Amadeus (1997), Batard, Bede, Byro, Carol (1997, blackletter family), Classic (2000-2002), Copper, Doodles (2000), El Cid (2000), Frameworks, Karen, Kells (celtic uncial), Prima, Priory (1997), Savoy (1997, a great bastarda font family accompanied by Savoy Frames), Scriptoria, Theodore (1995, blackletter font), Tuscany (Lombardic face), Versals (2000, Lombardic capitals). Plus 13 sets of fantastic caps (but not in font format) by Andy Jeffery. Based in North Somerset, UK.
Not to be confused with the rip-off outfit "Classic Font Corporation, USA".
Identifont lists these typefaces: Abby, Abby Hilite, Abby Lowlite, Abby Open, Abby Split, Amadeus, Carol, Classic, Copper, Doodles (CFC), El-Cid, FW-Leaves, Kells, Priory, Savoy, Theodore, Theodore Fancy, Tuscany (CFC), Versals.
View Classic Font Company's typeface library. Klingspor link. [Google]
French type designer (b. 1948) who was born in the South of France. He studied typography, calligraphy and painting at the School of Fine Arts in Toulouse. He received the Prix Charles Peignot in 1982. In 1992, the President of France invited him to design the inscriptions for the royal tombs in the Basilique Saint Denis in Paris. He published Calligraphie (Imprimerie Nationale, 1993). Author of Calligraphy (Wommelgem, Belgium, 1996) and Histoire de la calligraphie française (Albin Michel, 2006; examples here). In 2009, with the help of Atelier des Signes, he created a typeface for the signage at Chateau de Fontainebleau. Additional URL. In 2010, Mediavilla cofounded Media type Foundry with Sonia Da Rocha and Joel Vilas Boas in Paris.
- Galba: an elegant roman titling face, done at Mecanorma in 1987.
- Media Script (Mecanorma, 1985).
- Mediavilla (CCT, 1976).
- Mediavilla Script (Graphitel, 1986).
- Palazzo (Mecanorma, 1984).
- Tory (1991).
Examples of calligraphic alphabets drawn by him and shown in his Histoire de la calligraphie française (2006): Bastarda, Cancellaresca, Carolingian, Cursive gothic 1410, Luxeuil, Roman Capitals, Roman cursive 1st century, Roman cursive 4th century, Rustica 1st century, Textura 14th century, Textura 15th century, , Tourneure 15th century, Uncial 4th century.
Klingspor link. [Google]
Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy, and finally into a type designer.
Designer at URW++ of
- Altrincham (2003).
- Caxtonian Black (2012). A blackletter.
- Globus Cursive (2015, +Cyrillic). This cursive font is a revival of a font by Friedrich Hermann Wobst (1932, D. Stempel AG).
- Gothic Initials (2015). After an original from 1821 by Firmin Didot's foundry.
- Holland Gothic (2012). A blackletter.
- Jason Uncial (2012). A unicase uncial design.
- Perugia Cursive (2003). A gorgeous calligraphic script based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
- Pinel Pro (2014). A revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.
- Ramona (2004). A shadowed typeface.
- Revis (2011). A formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later.
- Romeo (2004). A 3d beveled shadow face.
- Sax (2008). A didone typeface family.
- Seizieme Pro (2013). Based on the 1905 font Série 16 by Peignot, which was mainly used for scientific publications.
- Signpainters Script (2013). A connected copperplate script.
- Silvestrini (2003). A gorgeous Gando-style ronde. Based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
- Sirius and Sirius Caps (2003). A garalde family developed together with British type designer Neville Brown.
- Technotype (2011). A revival of Herbert Thannhaeuser's 1952 slab serif family Technotyp.
- Thomas Schrift and Thomas Versalien (2015). Based on Friedel Thomas's Thomas Schrift and Thomas Versalien from 1956-1958.
Klingspor link. View Coen Hofmann's typefaces. [Google]
Coron's Sources of Fonts
Dead link. Stephan Baitz's informative page about Ancient Scripts and Fonts, including fantasy fonts, alien and sci-fi fonts, Blackletter fonts, uncials, runes, symbolic fonts, Indic simulation fonts, Arabic simulation fonts (such as Caliph) and exotic fonts. Lots of links are provided as well. Fonts are displayed an can be downloaded from an archive. His page looks great too. [Google]
Coruja do Norte
Fraktur, medieval, uncial and astrological font archive. [Google]
Michael Gills is a British calligrapher and graphic and type designer. He founded Creative Goats in Ipswich, Suffolk, UK. He worked first at Letraset (1988-1995) where he made typefaces such as Charlotte and Charlotte Sans, Elysium, Gilgamesh, Fling, Forkbeard, Frances Uncial, Isis, Katfish, Prague and Type Embellishments. He is currently an art director at The Folio Society: Book publishers, London. His fonts:
- ITC Iris (1990).
- Elyseum Book (1992), originally at Letraset, now sold by ITC.
- Charlotte Book (1992), originally at Letraset, now sold by ITC.
- Figural Book (1992; art direction by Colin Brignall; based on a typeface of Oldrich Menhart), originally at Letraset, now sold by ITC.
- Isis (1990, Letraset).
- Katfish (1994, Letraset).
- Prague (1991, Letraset, sold by ITC; based on a typeface of Oldrich Menhart).
- Fling (1995), an upright connected script originally published at Letraset, but now an ITC font. Recently used for Martha Stewart's Blueprint magazine.
- Gilgamesh Book (1994), Gilgamesh Book Italic, Gilgamesh Medium, Gilgamesh Bold, all originally at Letraset, now sold by ITC. Plus Gilgamesh Titling (Fontek).
- Spidercave (Fontek).
- Type Embellishments Three (with Martin Wait, 1994, originally at Letraset). With Colin Brignall, Type Embellishments One (1993) and Type Embellishments Two (1993).
- Forkbeard (Letraset).
- Frances Uncial (1995, Letraset).
- Avalanche Script (originally from Letraset).
FontShop link. Klingspor link.
View Michael Gills's typefaces. [Google]
Dan M. Zadorozny
Dan Smith's Fantasy Fonts for Windows
[Daniel Steven Smith]
Dan Smith's historical/rune fonts for Germanic, Anglo/Saxon and Dwarvish, RUNenglish (runic-looking English), Celtic-looking knotwork fonts (DS_Celtic_Border-1), Tolkien-Tengwar fonts (Tengwar Quenya, Tengwar Sindarin, Tengwar Noldor), Mysticora (2001), DS Charity, DS Aqua, DS Khazuldum (for an alphabet invented by David De Lane Snow), DS_Sinenya (also for an alphabet invented by David De Lane Snow), and Tolkien-Cirth fonts (Cirth-Erebor has 6 weights including various Caps). All free.
Current font list: AmericanUncialNormal, AngloSaxonRunes, AngloSaxonRunes1, AngloSaxonRunes2, DwarfRunes, DwarfRunes1, DwarfRunes2, GermanicRunes, GermanicRunes1, GermanicRunes2, VikingMedium, CelticBold, DSAqua1, DSCeltic1, DSCeltic2, DSCelticBorder1, DSCharity, DSKhazuldum, DS_Mysticora, DSNasilnese, DSRUNEnglish1, DSRUNEnglish2, DSSinenya, TengwarNoldor, TengwarNoldorA, TengwarNoldor1, TengwarNoldor2, TengwarQuenya, TengwarQuenyaA, TengwarQuenya1, TengwarQuenya2, TengwarSindarin, TengwarSindarinA, TengwarSindarin1, TengwarSindarin2, CelticBold, DwarfRunes, DwarfRunes1, DwarfRunes2, GermanicRunes, GermanicRunes1, GermanicRunes2, VikingMedium.
Fontspace link. Dafont link. Mirror. Alternate URL. Archive of some of Smith's fonts. [Google]
Dan X. Solo
Daniel Mellis (Chicago) printed a small book in 2010 based on 19th century ornamented metal typefaces from the collection at Wells College. These include Tinted, Tasso, Banquet, Antique Extra Condensed, Aquatint, Dandy, Modoc, Columbus, Art Gothic, Rubens, Yukon Pointed, Tuscan Stellar, Halftone, Obelisk, Alpine, Gothic Shade, Ruskin, Condensed Roman, Ray Shade, Tuscan Floral, Souvenir and Aurora Uncial (Victor Hammer, ATF---never produced, but rediscovered by Theo Rehak). [Google]
Daniel Reeve is a freelance artist, cartographer, calligrapher and type designer from Titahi Bay, near Wellington, New Zealand. His hand-crafted fonts allow users to emulate the calligraphic styles for which he has built up a reputation in the film world. For example, he did the lettering and maps in The Lord of the Rings films. He is creating hand-crafted fonts of some of his writing styles, starting with the uncial typeface Kereru (2011). Foundry link. [Google]
Daniel Steven Smith
[Dan Smith's Fantasy Fonts for Windows]
Das Nest der Qualle
Ren Kiryu is the Japanese creator in 2007 of RN-DawnRaid (hand-printed), RN-Digitalian (LED simulation), RN-EasyCirclet-OL, RN-EasyCirclet-WL, RN-EasyCirclet, RN-Fraktur1 (blackletter), RN-Gothic1 (blackletter), RN-HoneyBlade, RN-Italic1, RN-Laboratory, RN-Lagopus, RN-LovelyBaby, RN-MilkCafe, RN-RibbonSweets (curly), RN-RoughhewnRomancer, RN-SealingClub, RN-SugarRuskHoney, RN-SwingingJohn, RN-UncialHalfUncial1, RN-disStrayedGhost. Free downloads. [Google]
[Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)]
David Fleming Nalle
[Scriptorium (Ragnarok Press, Fontcraft)]
[New Renaissance Fonts (was: New Fontografia, or: David's Fontografia 2006)]
Editor of American Proprietary Typefaces (New York: American Printing History Association, 1998). This book has contributions by the following people:
- Susan Otis Thompson: American Arts & Crafts Typefaces
- Martin Hutner: Type of the Merrymount Press
- Herbert Johnson: Montaigne and Centaur Types of Bruce Rogers
- Cathleen Baker: Typefaces of Dard Hunter, Senior & Junior
- Mark Argetsinger: Frederic Warde, Stanley Morison, and the Arrighi Type
- Jerry Kelly: Joseph Blumenthal's Spiral/Emerson Type
- Dwight Anger: Frederic Goudy's Kaatskill Type
- W. Gay Reading: Victor Hammer's Uncial Types
- John Kristensen: The Experimental Types of W.A. Dwiggins
- Paul Hayden Duensing: Contemporary Private Types.
[David Thometz Design]
David Thometz Design
David Thometz (b. Everett, WA, 1966) is a designer in South Jordan, UT (near Salt Lake City) who has produced some fonts for his own projects. In 2004, he moved to Hampton, TN. Typefaces by him include DTD Silvertone Woodtype, DTD Architrave Sans, DTD Tinhorn, DTD Venceremos Latin, DTD Hefeweizen (blackletter, beer bottle font), DTD Architrave (2001), DTD Digita (a great screen font), DTD Seriatim [+ Seriatim Gestalt, + Seriatim Uncial, 2003, + Seriatim Sans, 2003), DTW Erwin (2004, a Venetian newspaper typeface for the Erwin Record, a small, weekly newspaper in the town of Erwin in northeastern Tennessee, based on a cross of Plantin and Cloister), and Erwin Gothic (2007), its companion. About Erwin Gothic, he says: The design of Erwin Gothic is based on a series of German grotesque families from the early 1900s, designed originally by Johannes Wagner and distributed originally by Wagner&Schmidt as Wotan (ca. 1914?), Lessing, Reichsgrotesk and Edel Grotesque; and subsequently reworked and re-released by several foundries under these names as well as names such as Annonce Grotesque (ca. 1912?), Aurora Grotesk (ca. 1928), Neue Aurora Grotesk (1964) and Aura. Anzeigen Grotesk (ca. 1943) appears to be another offspring of these designs.
In 2004, David Thometz Design made its debut at MyFonts with Seriatim (dingbats), Silvertone Woodtype and Hefeweizen.
View David Thometz's typefaces. [Google]
Designer of Apollo and AmericanUncial in 1992, and of the Western font Western Slant (1992). Based in Medford, OR. [Google]
Steve Deffeyes from Fairfax, CA, is the designer of free fonts such as Sabon Sans, Kells (uncial/Celtic), Gondola SD (2001, calligraphic), Ramsey SD (2001, uncial), MarkerSD (1999), Roman SD (1999), Loopy (2001-2009, Apostrophic Labs [dead link]), Futurex Arthur (2009). His Oblivion family (2003) is here, here and here. Here, we find the artificial language families Dwemeris (2004) and Oblivion (2003). Dafont link. [Google]
Delve Fonts (was: Delve Media Arts)
Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at Savannah College of Art and Design, designed signage, print projects and web pages in addition to designing custom typefaces, worked for Fontshop, and in 2004, joined the type team at Agfa Monotype, which morphed into Monotype Imaging, Redwood City, CA. From Asheville, NC, he moved around and ended up in San Francisco. In 1996, he founded Delve Fonts in Berkeley, CA (in fact, Delve Media Arts, and later renamed Delve Fonts). He has collected a virtually complete list of books on typography. Author index. New books. One of the first places to consult, in my view. New type books. MyFonts link. Designer of these typefaces:
His Art work often involves type. Bitstream's Type Odyssey 2 (2002) has Continuo, Blot Test, Peso, Peso Negative. In 2009, Steven Skaggs designed Rieven Uncial and Rieven Italic at Delve Fonts. Pic.
- Beleren (2015). A custom typeface for the trading card game Magic: The Gathering (Hasbro).
- Blasphemy Initials: a free (and also commercial...) spooky font.
- Blot Test (1999): a dingbat font inspired by the work of noted German psychologist Hermann Rorschach [1885-1922].
- Cody (1999): an informal comic book face.
- Continuo (1996): an all caps bilined outline face.
- Cortina (2011). A futuristic family by Joachim Müller-Lancé.
- Delve Hand (1996-2003).
- Eucalyptus Regular.
- Eulipia (1997-2003): organic.
- Helfa (2011). Delve writes: Readability is baked in with a generous x-height, fine proportions that have a medium height to width ratio, and reasonable contrast in stroke weight variation.
- Oktal Mono (2012, a rounded octagonal modular typeface by Joachim Müller-Lancé and Erik Adigard of MAD studio in Sausalito).
- Peso (1999): an octagonal family inspired by a parking sign discovered in Guanajuato, Mexico.
- Quara (2009): a techno sans.
- Tilden Sans (2004-2009): low contrast, large x-height.
- Uppercut Angle (2011). A signage typeface by Joachim Müller-Lancé. It was originally developed for the Krav Maga training center of San Francisco.
- Ysobel (2009; winner of an award at TDC2 2010). Delve codesigned the newspaper type family Ysobel (Monotype) with type designers Robin Nicholas, head of type design at Monotype, and Alice Savoie (Frenchtype, Monotype). The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. See also Ysobel eText Pro (2013).
Klingspor link. [Google]
[Delve Fonts (was: Delve Media Arts)]
Denis A. Serikov
[Dick Pape: Initials]
[Dick Pape: ornamental typefaces]
Dick Pape: Initials
Dick Pape revived hundreds of initial caps typefaces. Some came from collections. The unclassified ones include these fonts from 2009 (unless date specially mentioned): Antique Alphabet, Avante Light (2010, avant garde caps), Babylon Initials (2009), Bird Drawings Alphabet (2008), Boast Feder Bold (2010, horizontally-striped caps), Boast Plain Bold (2010), BoldCameo (2009), Clea Initials (2010, nudes), Command (2010), Dover Old Fashion Alphabet (2010, silhouettes), Fancy Nouveau (2010, art nouveau caps), Floral Initials (2010), Flotner Anthropomorphic (2010), Flower Panels Outline (2010), Flower Panels (2010), Flower Vines (2010), Flowery Alphabet (2010), Framed Alphabet (2010), Frankfurt Stempel-Series 52 (2011), Frankfurt Stempel-Series 55 (2011), Garden Nouveau Initials (2010: great art nouveau initials), Genteliza Hand (2011), Gothic Metal Initials (2008), Goudy Initials (2008), Haas'sche 1925 (2010), Humanistic Alphabet 107 (2011, uncial), Humanistic Alphabet 109 Swash (2011), Humanistic Alphabet 110 (2011), In Bloom Alpha (2010), Iniciales Greco (2010, after Richard Gans, 1922), Initialen Feder Grotesk (2010, after Jakob Erbar's 1908-1910 typeface at Ludwig & Mayer), Lichte Jonisch (2008), Light Me Up (2010), Madeleine (2010), Nelma (2011), New Music (2010), Rankin-Initialen (2010: Celtic), Rosart Initials (2010), Sacon Initials (2010: birds, beasts and flowers by Jacques Sacon, Lyon, 1519), Schmale Jonisch (2008), Schriftgiesserei Series 56 (2013: after D. Stempel, 1915), Victorine Embellished (2010).
Download here. [Google]
Dick Pape: ornamental typefaces
Ornamental typefaces made in 2008-2010 by Dick Pape: 2 Cute 4 U (+Block), Abstract Alphabet (2009), Aged Ornaments (2009), Ancient Mortises (2008), Angel Alpha (2009), Angelica Alpha (2009), Ani-Red Jello Alpha (2009), Antique Alphabet (2009), Arabesque Design (2009), Art Deco Dingbat Images (2010), Art Deco Frames (2010), AlphabetArt, AndrewHolmesArtA, AndrewHolmesArtB, AndrewHolmesArtC, AndrewHolmesArtD, AndrewHolmesArtE, AndrewHolmesArtF, Angel Alpha, Angelica Alpha, Ani Red Jello Alpha (2009), AvonInitials, BritishAirwaysNumbers, CaFaitDur, CelticDesignDark, CelticDesigns-Light, Continnental, EckenFlowerBorders, GermanGothicManuscript, KafkaFlourishes, LaxtonCommonRevival, NiceOldAlphabet, Portent, RomanoAlphabet, Weissranken-Initialen, Babylon Initials (2009), Bird Drawings Alphabet (2008), Black Buttons (2010, +Bold), Bold Cameo (2009), Bubble Gum (2010, +Condensed, +Extended), Bultaco (2010, after the motorcycle brand), Cardio Black and White (2010, ECG-inspired), Charcoal family (2010, crayon typefaces), Checkerboard (2010), Chinese Flowers (2008), Chiswick Press (2007), Chocolate Type (2011), ChrisGreen (2010), Calligraphia Latina (2010), Dough (2011), Electronic Alphabet (2011), Elo (2010), EstupidoEspezial1, EstupidoEspezial2 (2010, based on the Hoefler Swash variant of OCR_A), TokoFont, Clip People (2010), Clothes Pin Font, Compass Rose (2008), Coptic Letters (2010), Cubes, Cups, Cute Lolo Animals, Dark Herald (2011, Celtic caps), Dave's Glyphs, Design Images, Digital Auto Sampler, Drinking Scenes, Drinking Utensils, DunHuang Art, Eating Signs, EcoLeaf, Eduardo Recife, Eggs And Milk, Eroding Alphabet Italic (2010), Extra Initials, Extra Ornaments, Fantasy Butterflies, Fantasy Dragon FX, Fantasy Monster Skulls, Far Away Places Images, Festival Books Borders, Festival Books Initials, Festival Books Ornaments, Fire Letters, Fire Letters Cameo, Fire Letters Monospaced, Fire Letters Monospaced, Floral Initials, Florentine Initials, Florentine Initials Reverse, Flower Panels, Flower Panels Outline, Flower Vines, Fresh Fish, Funky (2010), Funny Numbers, Furore Mexican (2011), Futorisugi Face, Garden Nouveau Initials, Gill Canterbury Capitals (2011), Give me a break, Gothic Metal Initials, Goudy Initials, Graph Glyphs (2010), Halbfette Egyptienne (2008), Hat Dance Alpha, Haunted Initials (2010), Hellenic Sketch (2010), Hollandisch-Gothic (2008), Holly Alpha, Hula Ribbon, Hula Ribbon 2, Hula Ribbon1, Humanistic Alphabet 106 Italic (2011), Humanistic Alphabet 108 (2011, uncial), India Designs, Irina Batkova HRG (2010, based on Giger's paintings), Japanese Design Parts, Japanese Design Templates A, Japanese Design Templates B, Jugendstil A, Jugendstil B, Kelt Ornaments 1, Kelt Ornaments 2, Kleft Bold (2011, dot matrix face), Lichte Jonisch, Madeleine Shaded (2010), Mayan Affixes A, Mayan Affixes B, Mayan Main Signs A, Mayan Main Signs B, Mayan Profiles, Mc Call's Magazine, Metal Branches (2010), Mimbres Pottery, Moderne-Zelda (2010, after a Dan X. Solo alphabet), Moderne-Zelda Black, More Drinkings Scenes, Mostly Fish, Moto Bykes, Mythological&Fantastic I, Mythological&Fantastic II, Mythological&Fantastic III, Mythological&Fantastic IV, Mythological&Fantastic V, Mythological&Fantastic VI, Mythological&Fantastic VII, Native Designs-Mexico&Peru 1, Native Designs-Mexico&Peru 2, Native Designs-Mexico&Peru 3, New Music, Objects of Nature, Old English Images, Ondawall Versal (2011, Celtic), Panels&Frames, Parapam (2010), Pinto Inline (2010, +Speckled), Random Doodles, RangeMurata, Rankin-Initialen, Really Black Alphabet (2010), Robu Bold (2010), Rons Old Patterns, Rons Old Patterns Bare, Rosart Initials, Rustic Alphabet, Sacon Inititals, Saks (2010, bilined), Schmale Jonisch, Sea Shells of Nature, Shuttershock Vector Demo, Simple Alphabet, Simple China Images, Simple Doodles, Snails&Slugs, Softsquare, Some Guitars, Soviet Founders, Soviet Life Posters I, Soviet Life Posters II, Soviet Life Posters III, Soviet Life Posters IV, Soviet Propaganda Posters, Splish-Splash (2009), Strange Black Blobs, Tauba Auerbach, The Goetia, Tribal Dividers, Tribal Flames, ViaFaceDon Black, ViaFaceDon Black Hats, ViaFaceDon Outline, ViaFaceDon Speckled, Victorine (2010, Tuscan typeface), Viking Design A, Viking Design B, White Buttons Bold (2010), Wood Type Cheltenham Bold (2010), ZEart Designs, Zelek, Zelek Black, Zelek Boldline, Zelek Shadline. From 2012: French Onion.
Download here. [Google]
Die Entwicklung unserer Schrift
Peter Doerling's visual overview of the styles of writing in Germany, for books, official documents (Urkunden) and in letters. For books, he takes us here:
For official documents:
- 200-300: Roman capitals.
- 300-500: Quadrata.
- 500 on: Uncial.
- 900 on: Karolingian minuscules.
- 1200 on: Gothic minuscules.
- 1400 on: Rotunda.
- 1500 on: Schwabacher.
- 1600 on: Fraktur.
- 1500 on: Humanistic style.
- 1570 on: Antiqua.
- 1900 on: Grotesk, Egyptian. [Note that he omits the modern style.]
- 1960 on: Helvetica. (???)
- 200-300: Roman capitals.
- 400-600: Rustica.
- 500 on: Half Uncial.
- 900 on: Karolingian minuscules.
- 1500 on: Notula.
- 1600 on: Canzlei (Cantzley, Kanzlei).
- 1600 on: Humanistic Canzlei
- 1875: Ronde, Rondo, Rundschrift.
- 1915: Jugendstil.
- 1930: Tannenberg.
- 200-300: Roman capitals.
- 400 on: Young Roman cursive.
- 900 on: Karolingian minuscules.
- 1300 on: Cursive.
- 1600 on: Cancellaresca [refined formal script].
- 1600 on: Kurrente.
- 1600 on: Humanistic cursive.
- 1800 on: deutsche Schreibschrift.
- 1800 on: Lateinische (Latin) Schreibschrift.
- 1930: Tannenberg.
[Dieter Steffmann's Homepage]
Dieter Steffmann's Homepage
FontShop was the name of Dieter Steffmann's foundry in Kreuztal, Germany (not to be confused with the FontShop foundry and font vendor). He made about 600 self-proclaimed "old-fashioned" fonts, and among these many Fraktur fonts. His site became too expensive to run, and is now hosted by Typoasis. Alternate URL. Current list of fonts. See also here. New stuff. Fontspace link. A nice essay about Fraktur fonts accompanies the fonts. News. As Dieter puts it: I am not a designer but I add missing letters to public domain fonts in order to get a complete character set and I hint the fonts and create new weigths (shadow, inline etc.) His Christbaumkugeln font, and how it was made. The font families:
- Acorn Initialen, Adine Kirnberg, Albert Text, Alpine, Alte Caps, Alte Schwabacher, Ambrosia, American Text, Aneirin, Angel, Anglican Text, Angular, Ann-Stone, Antique No. 14, Arabella, ArabesqueInitialen (2002), Argos George, Aristokrat Zierbuchstaben (2002), Ariston Script, Art Nouveau Initialen, Attic Antique, Augusta.
- Baldur, Ballade Halbfett (2002, a font originally designed by Paul Renner in 1937), Barock Initialen (2002), Becker, Beckett-Kanzlei, Behrens-Schrift (2002), Belshaw, Belwe (Gotisch, Vignetten), Benjamin Franklin Antique, Berlin Squiggle Condensed, Bernhard Schmalfett, Bier und Wein Vignetten (2002, also based on drawings from the Bauersche Giesserei), Billboard, Bizzaro, Black Forest Text, Blackletter ExtraBold, Blackwood Castle, Breitkopf Fraktur, Bretagne Gaelic, Brian James Bold, Bridgnorth, Broadcast Titling, Broadway Poster, Brock Script.
- Cabaret, Campanile, Camp Fire, Canterbury Old English (blackletter), Cardiff, Cardinal Anglican, Carmen, Carrick Caps, Caslon Antique, Caslon Fette Gotisch, Cavalier, Celtic Frames, Celtic Hand, Challenge, Chelsea, Chopin Script (2000, identical to Polonaise), Christbaumkugeln, Chursächsische Fraktur, Cimbrian, Circus Ornate Caps (2001, Western), Cloister Blackletter, Coaster Black, Coelnische Current Fraktur, Colchester Black, College, Courtrai, Coventry Garden, Cruickshank.
- Davy's Dingbats, Debussy, Decorated Roman Initials (2003), Deutsch Gotisch, Deutsche Zierschrift, Devinne Swash, Digits, Direction, Dobkin Script, Domino, Dover, Driftwood Caps, Due Date, Duerer Gotisch, Duo Dunkel (+Licht), Durwent.
- Easter Bunny, Easter Egg, Eckmann-Schrift, Egyptienne Zierversalien (2002), Ehmcke-FrakturInitialen, Ehmcke-Schwabacher Initialen (2002), Eichenlaub Initialen, Eileen Caps, Eisenbahn (2002, based on train vignettes at Bauersche Giesserei), Elzevier Caps, Enge Holzschrift, English Towne, Epoque, Erbar Initialen, Estelle, Evil of Frankenstein, Express.
- Faktos, Fabliaux, Fancy Card Textura, Fat Freddie, Faustus, Fenwick Woodtype, Fette Deutsche Schrift (2002, a revival of a Rudolf Koch font from 1908), Fette Egyptienne, Fette Haenel Fraktur, Fette Trump (2002, original by Prof. Georg Trump, 1936), FetteKanzlei (2002), FetteSteinschrift (2002), Fette Thannhäuser (2001), Firecat, Flaemische Kanzleischrift, Flowers Initials, Forelle, Fraenkisch (2002), Fraktur Schmuck, Fraktur Shadowed, Frederick Text, Futura Script.
- Gabrielle, Gebetbuch Fraktur, Gebetbuch Initialen, Germania (2001, a revival of the 1903 blackletter typeface by Heinz König called Germania as well), Germania-Versalien, Ganz Grobe Gotisch, Gille Fils Zierinitialen (2002), GingerbreadInitials, Globus, Gloucester Initialen, Gorilla Black, Gotenburg A+B (2002), Gothenburg Fraktur, Gotische Initialen, Gotisch Schmuck (2002, Fraktur), Goudy Initialen, Goudy Medieval, Goudy Twenty, Goudy Thirty, Grange, GrenzschInitials, Grusskarten-Gotisch, Gutenberg Textura.
- Haenel Fraktur Fett, Hansa, Hansa Gotisch, Hansen, Happy Easter, Harrowgate, Hazard Signs, Headline Text, Hercules, Herkules, Hermann-Gotisch (2002; after an original by Herbert Thannhaeuser, 1934), Herold (2002), Hippy Stamp, Hoedown, Holla, Holidayfont, Holtzschue, Honey Script (2006, after a Filmotype original from the 1950s), Horror Dingbats, Houtsneeletter, Humboldt Fraktur (2002-2005; after a font by Hiero Rhode, 1938).
- Iglesia Light, Isadora Original.
- Jan Brady, Journal Dingbats, Jahreskreis (seasonal dingbats, 2002), JSL Blackletter Antique, Jugendstil Ornamente (2002).
- Kabinett Fraktur, Kaiserzeit Gotisch, Kanzlei, Kanzlei Initialen (2002), Kalenderblatt Grotesk, Kashmir, Kinder Vignetten (2002), KingsCross, Kinigstein Caps, Klarissa, Kleist Fraktur + Zierbuchstaben (2002), Koch Antiqua, Koch Antiqua Zierbuchstaben (2002), Koch Initialen, Koenigsberger Gotisch, Koenig-Type (2002; a Jugendstil Fraktur originally designed by Heinz Koenig, 1907-1910), Kohelet, Koloss, Konanur Kaps, Kramer, Krone Bold.
- La Negrita, Lautenbach, Legrand, Lemiesz, Lettres ombrées ornées (2002, based on a typeface by Schriftgiesserei J. Gillé, 1820), Linolschrift, Lintsec, Liturgisch + Zierbuchstaben (2002), Logger, Lohengrin Fraktur, Long Island Antiqua, Louisianne Black (bold upright connected script), Ludlow Dingbats.
- Mainzer Fette Fraktur, Marker Felt, Marketing Script, Marlboro, Maximilian (2002, Fraktur font and decorated caps based on Rudolf Koch, 1914), Mayflower Antique, Medici, Mediaeval Caps, Menuetto, Messing Lettern, Metropolitain, Middle Saxony Text, Moderne Fraktur, Monats-Vignetten (2002, based on drawings by Franz Franke for Bauersche Giesserei, 1920), Montague, Monument (2002, original by O. Menhart, 1952), Mordred, Morgan Twenty-Nine, Morris Roman Black, Morris Initialen.
- Napoli Initialen, Neptun Gotisch, NeugotischeInitialen, North Face, Nougat ExtraBold, Nouveau Drop Caps, Nubian.
- Olde English, Old English Five, Old Town, Old London.
- Packard Antique, Paganini Text, Pamela, Parsons Heavy, PaulusFranckInitialen (2002), Penelope (2000, Victorian), Peter Schlehmil (2002, based on work by Walter Tiemann, 1918-1921), Peter Schlemihl Fraktur, Picture Alphabet, Pilsen Plakatschrift, Pinewood (2003, like wooden branches), Pinocchio, Plakat-Fraktur, Plakat Antiqua, Plastisch (2002), Plum Script, Pointage, Polonaise (1999), Polo Semi, Powell Antique, Printer's Ornaments One, Prisma (2003, a four-line typeface inspired by Rudolf Koch's Prisma), Progressive Text, Puritan, Prince Valiant Blackletter.
- Quentin Caps.
- Rediviva, Rediviva Zierbuchstaben (2002), Reeperbahn (aka Rope), Regatta Relief, Reiner Script, Revue Decor, Reynold Art Deco, Rio Grande, Rockmaker, Roland, Rolling No. 1 ExtraBold, Roman Antique, Romantik Initialen, Romantiques (2002), Rondo, RosemaryRoman, Roslyn Contour, Rossano, Rothenburg Fraktur, Royal Initialen, Roycroft Initialen, Rudelsberg (Munich Jugendstil style, based on Otto Eckmann's Eckmann from 1901).
- Saddlebag, Saloon ExtraBold, Saltino, Salto, Sans Plate Caps, San Remo (Paris (art) nouveau style), Savings Bond, Schampel Black, Schmalfette Fraktur, Schluss-Vignetten (2002, also from Bauersche Giesserei), Schmale Anzeigenschrift + Zierbuchstaben (2002), Schwabacher, Sebaldus-Gotisch (2002), Sentinel, Sesame (2000), Shaded (2002, a take on Sans Serif Shaded by Stephenson, Blake & Co. Ltd., Sheffield), Sholom, Showboat Caps, Shrapnel, Siegfried (2001, art nouveau, based on a typeface by Wilhelm Woellmer), Simplex, Sixties, Snowtop Caps, Starburst, Steelplate Textura, Stencil Display, Subway, Supermarkt.
- Tanach (Hebrew), Tannenberg Fette Gotisch, Thannhaeuser Fette Fraktur, Thannhäuser Zier (2002; original by Herbert Thannhauser, 1937/38), Theuerdank Fraktur, Thorne Shaded (2002, a shaded didone based on a Robert Thorne design of 1810), Tierkreiszeichen (2002, Zodiac, based on drawings by Franz Franke for Bauersche Giesserei), Tintoretto (2000, after a Schelter Giesecke original), Titania, Titling Roman Antique, Tobago Poster, Tone And Debs, Tonight, Topic, ToskanischeEgyptienneInitialen (2003), Transport Pictorials, Tribeca (2001, after a David Rakowski original), Trocadero Caps, Trucker Style ExtraBlack, Turtles, Typographer Caps, Typographer Fraktur (2002), Typographer Rotunda (2002), Typographer Subway (2011), Typographer Textur (2002, Fraktur), TypographerGotisch (2002, Fraktur), TypographerWoodcutInitials (2002), Typographer's Schmuck-Initialen.
- Uechi Gotisch, Uncialis Deutsche, Unger Fraktur Zierbuchstaben, Unicorn.
- Vadstena Rundgotisch, Varah Caps, Ventura Bold, Verve, VictorianInitials, Victorian Text, Viking, Vivian, Vogeler Initialen (2002), Volute.
- Walbaum Fraktur, Wallau Deutsch, Wallau Rundgotisch, Wallau Uncial and Wallau Zierbuchstaben (2002; originals by Rudolf Koch 1925-1930), Walthari Text, Washington Text, Waterloo Relief, Wave, Weiß Initialen, Weiss Lapidar (2002, revival of a typeface by Emil Rudolf Weiss), Werbedeutsch (2002, original by Herbert Thannhaeuser, 1934), Westminster Gotisch, Wharmby, White Bold, Wieynk Fraktur (now also in OpenType), Wieynk Vignetten, Will-Harris Caps, Woodcut.
- Yellow Submarine Font, Yonkers, Yorktown.
- Zallman Caps, Zentenar Fraktur, Zentenar Zier (2002; by F.H.E. Schneidler, 1937), Zierinitialen 1 (2002), Zierinitialen Two (2002; based on Deutsche Zierschrift by Rudolf Koch), Ziffern und Pfeile, Zither Script, Zodiac Pictorials.
A set of TeX service files for many of the decorative caps fonts was published by Maurizio Loreti from the University of Padova.
The collection is now also available in OpenType. Fontsquirrel link. Dafont link. Fontspace link. Abstract Fonts link. Home page. [Google]
Digital Graphic Labs
[Brenden C. Roemich]
Brenden C. Roemich's Winnipeg-based foundry. They sold fonts at 10 to 20 USD a shot, but made them free starting in 2003, when they quit the font foundry business. The entire collection, mostly dated 1998: ALSScript (knock-off of Shelley Script Andante by Matthew Carter), Aberration, AngleterreBook, Aramis, AramisItalic, ChanceryCursive, Dichotomy, Eddie, EnterSansmanBold (heavy serious sans), EnterSansmanBoldItalic, FLWScript, Fanzine (ransom note face), GlassHouses, Gunmetal, ILSScript, Incite, KellsUncialBold, KellsUncialBold, LDSScriptItalic, MICREncoding, Misbehavin', NinePin, NobilityCasual, Overmuch (fat rounded), PinchDrunk, Protestant, PunchDrunk, RamseyFoundationalBold, RocketPropelled, SNCScriptItalic (a knock-off of Nuptial Script), ShagadelicBold (psychedelic), Spirit, StaticAgeFineTuning, StaticAgeHorizontalHold (textured like a bad TV signal), Symbolix, TempsNouveau, TitleWave, TypeWrong-Smudged-Bold, VinylTile, VulgarDisplay, Whimzee, WhizKid, alsscripttrial, bitwise (LED face), holyunion, overmuchtrial.
Direct download. Dafont link. Fontspace link.
Local download. [Google]
Dino Art Corporation
Cyrillic fonts by the Dino Art Corporation, dating from 1993, include Cirilica60, Cirilica80, AmericanUncialCirilica, ArabiaCirilica, AardvarkCirilicaBold, AardvarkCirilica, ArialCirilicaBold, ArialCirilicaItalic, Arial-Cirilica, ArialCirilicaBoldItalic, AristonCirilicaBoldItalic, AtletaCirilica, BahamasCirilica, BangkokCirilicaBold, BangkokCirilica, BedrockCirilica, BekerCirilicaBold, BodoniCirilicaBold, BodoniCirilicaItalic, BodoniCirilica, BodoniRomanCirilica, BodoniCirilicaBoldItalic, BookCirilicaBold, BookCirilicaItalic, BookCirilica, BookCirilicaBoldItalic, BremenCirilica, BroadwayCirilica, BrushScriptCirilica, CaligraphCirilica, CenturyCirilicaItalic, CenturyCirilica, CzarCirilicaBold, CzarCirilicaItalic, CzarCirilica, CzarCirilicaBoldItalic, GoliatCirilicaBold, Goliat-Cirilica, HelveticaCirilicaBold, HelveticaCirilicaItalic, HelveticaCirilica, HelveticaCirilicaBoldItalic, HippoCirilicaBold, Madrone-Cirilica, MemorandumCirilica, Miroslavljeva-Cirilica, MurmanskCirilica, OdessaScriptCirilica, RenfrewCirilica, SouthernCirilicaItalic, Southern-Cirilica, TimesCirilicaBold, TimesCirilicaItalic, Times-Cirilica, TimesRomanCirilicaItalic, TimesRomanCirilica, TimesRomanCirilicaBoldItalic, TimesCirilicaBoldItalic, UnicornCirilica. They can be downloaded at the site of the Serbian Orthodox Church. Some are also here. [Google]
Designer at FontStruct in 2008 of pillbug, pixuncial, pixuncial_alternate. [Google]
[Illustration Ink (was: Lettering Delights)]
[Doyald Young: Logotypes and Letterforms]
Doyald Young: Logotypes and Letterforms
Graphic designer, typographer, type designer, author, teacher and lecturer, born in 1926 in Holliday, TX. He died on February 28, 2011 due to complications following a recent heart operation. He attended Los Angeles City College, Los Angeles Trade Technical Jr. College, and Art Center College of Design where he has taught for 27 years and holds the honorary title Inaugural Master of the School. Doyald drew characters, often of a calligraphic or handlettered nature. He was deeply influenced by his mentor, Hermann Zapf.
Steve Heller writes: When digital programs like Fontographer made it easy for anyone with a computer to create typefaces, many of them purposefully inelegant, he advocated a high level of craftsmanship that he believed had been lost. In so doing, Mr. Young challenged a new generation to reject so-called grunge design in favor of precision. When the American Institute of Graphic Arts awarded Young its 2009 Medal for Lifetime Achievement, Marian Bantjes wrote Taste. Practicality. Formality. Understated prestige. The combination of those qualities forms as perfect a descriptor of Young's work as any you are likely to find, both in the process and the result. Although he is widely known for his elegant curves and scripts, he has never been a showy designer---there is not a trace of ego in his work. The range of letterforms able to flow at any time from his hand is great, and there is no way to particularly define Young's mark unless you have seen the hand-drawn comp. That is where his work is unmistakable: perfect letterforms drawn in pencil at a surprisingly small size without so much as a mark of hesitation or awkwardness. The style varies but the fluidity and perfection do not.
Links and media: Scott Erickson's movie on Doyald Young. FontShop link. Klingspor link. Short obituary and video. Longer video about his life. Steven Heller's obituary in the New York Times. Obituary by Marian Bantjes for AIGA.
He was adored and respected for his craft and gentleness. Portrait. Another portrait (credit: Louise Sandhaus). Author of several influential texts:
- Logotypes and Letterforms (1993, Delphi Press). Review. It includes the corporate typefaces and original and revised logotypes he created for General Electric, Sony, Hilton International, John Deere and other businesses. Steve Heller: It was well received by designers for its defiance of fashionable trends.
- Fonts&Logos (1999, Delphi Press, and 2000, Sherman Oaks). A book of examples, it includes many logos designed by him for the cosmetic, fashion and entertainment industries. Review. Bette Midler logo (2002). Grammy Awards logo (1988). Prince, The Hits Collecton, cover (2000). Sinatra, The Man and his Music TV Special (1981). Logo for Apex Engraving (1974).
- The Art of the Letter (2003, Smart Papers, Hamilton, Ontario).
- Dangerous Curves Mastering Logotype Design (2008, Delphi Press). Delphi Press was his own company.
His typefaces include the extra bold condensed sports scripts fonts Home Run Sanscript (1999) and Home Run Script (1999, a connected bold retro signage script), Young Gallant (2010, a formal calligraphic script based on the alphabets his teacher, Leach, trained him on), ITC Eclat (1985, 1992, fat script face, which was used for titles by Comedy Central and the Queen Latifah movie Beauty Shop), Young Finesse (2003, an Optima-inspired thin headline typeface used in his book, Fonts&Logos), Young Finesse Italic (2006), Guts (1976, VGC), and Young Baroque (1984, 1992, Letraset; calligraphic Spencerian copperplate script; this is copied by Castcraft as OPTI Yen Script). [Google]
British typefounder, d. 1835. Son of Joseph Fry, the founder of the Fry Letter Foundry in Bristol. Quoted from MyFonts: In 1784 he introduced a raised roman letter for the blind, and was awarded a prize by the Edinburgh Society of Arts. Louis Braille's system of lines and dots ultimately proved better. In 1787, he and his brother Henry took over the Fry Letter Foundry from their father. Credited with many great typefaces, including Fry's Baskerville (1768) and Fry Moxon (or Graisberry), a Gaelic typeface, Fry A Gothic Capitals (ca. 1819), an angular transitional Gaelic face, and Fry B Gaelic Capitals, a transitional Gaelic typeface (Everson mentions the date 1836, but that would be one year after his death...) and Priory Text.
Mac McGrew writes: Priory Text was the blackletter of the Fry Foundry in England, with some sizes dating back to about 1600, and most sizes shown in 1785. It was revived by Talbot Baines Reed for his History of the Old English Letterfoundries in 1887, and DeVinne used it for his edition of Philobiblon in 1889. The Dickinson foundry, a forerunner of ATF, issued it as Priory Text about that time. It is very similar to Caslon Text (q.v.). BB&S made a near-duplicate type, originally called Reed Text, but later shown as Priory Black Text. Although the latter was shown as late as 1925, these typefaces had generally been replaced earlier by Cloister Black (q. v.) and other Old English typefaces with more refined draftsmanship.
About the Gaelic types, Brendan Leen writes: In 1819, Edmund Fry cut a type once again commissioned by the British and Foreign Bible Society. The design of the Fry type signifies a departure from the angular minuscule toward the more rounded form of the half-uncial, a characteristic of Irish typography in the nineteenth century. Sample of Fry Irish type from The Two First Books of the Pentateuch.
Author of Pantographia (1799, Cooper&Wilson, London), a work that shows the scripts of many languages [a careful digitization of some can be found in the font family Pantographia (2010) by Intellecta Design]. The full title is Pantographia; Containing Accurate Copies of All the Known Alphabets in the World; Together with an English Explanation of the Peculiar Force or Power of Each Letter: To Which Are Added, Specimens of All Well-Authenticated Oral Languages; Forming a Comprehensive Digest of Phonology. Examples from that book: Bastard, Bengallee and Berryan, Bulgarian and Bullantic, Chaldean.
FontShop link. [Google]
Born in Uruguay in 1872, he died in the UK in 1944. A medical doctor, he taught all his life at the Central School of Arts and Crafts in London and at the Royal College of Art in London. From 1910 until 1930, he designed fonts for the Cranach-Presse in Weimar, which was owned by Count Harry Kessler.
In 1916, he makes a typeface for the London Underground (helped by Eric Gill). Johnston's London Transport type is reworked by Colin Banks in his 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], URW [Imprint URW, preferred over the MT version by some of my correspondents], SoftMaker [I771], and Bitstream [Dutch 766]), Johnston Sans Serif (1916).
A version of the London Underground typeface (1997) was digitized by P22 foundry. In 2007, P22 extended that typeface to a 21-style multilingual collection called P22 Underground Pro. At ITC, Dave Farey and Richard Dawson recreated a Johnston sans serif family with 3 weights, aptly called ITC Johnston. Nick Curtis created Underground NF in 1999. Many other designers aped Johnston's Underground as well. Hamlet, the almost-blackletter script, was revived by Manfred Klein and Petra Heidorn as HamletOrNot. In 2012, Greg Fleming published Railway Sans as a free open source font at OFL. It is based upon Johnston's original drawings and work started by Justin Howes just before his death.
Edward Johnston is a book published by Priscilla Johnston (London, 1959). Author of Writing&illuminating,&lettering (1917, J. Hogg, London; original done in 1906). Writing Illuminating Lettering at Amazon.
Scans of some lettering by him: illuminations (1917), modernized half uncial (1906), Calligraphy by Johnston. Digital fonts based on alphabets from the 1906 book include Edward's Uncial 1904 (2011, David Kettlewell).
Links: Linotype, FontShop, Klingspor link. [Google]
[Ricardo Victor Rousselot Schmitt]
Ricardo Victor Rousselot is a calligrapher and type designer born in Argentina in 1936. He was trained in the sixties in Chicago in the studio Ficho&Corley Inc., which was led by a disciple of Frederic Goudy and Oswald Cooper, Carl Corley. After that, he returned to Buenos Aires, and in 1975, he settled permanently in Barcelona, where he teaches at the University of Barcelona.
His typefaces include Carlomagno (1997-2000) and Uncial Romana (1996), released by Neufville.
He sells his fonts nowadays through his foundry, Edy Type. For example, in 2010, Edy Type launched the lively connected handwriting font Despeinada, which, Ricardo says, tries to find the middle between Mistral and Zapfino. Chevronne (2010, not my favorite) is based on mediaeval / gothic forms but tries to be contemporary. Drumbeat (2011) is a calligraphic script face, and Bambola (2011) is a curly signage script.
Klingspor link Behance link. MyFonts link. [Google]
Judith Sutcliffe (Audubon, IA) is the Electric Typographer (est. 1986, Santa Barbara, CA). She has made absolutely exquisite highly original typefaces, which are sold by many foundries and vendors, including Will-Harris.
Her typefaces: Abelard (1988, mediaeval), LeonardoHand (Da Vinci's handwriting--greeeeaaaat), Lutahline (clean hand-printed family), ArabiaFelix, Petroglyph (nice dingbat series), AuntJudy, BlockParty, PetroglyphHawaii, ItalianAElectric, TaglienteInitials (another great calligraphic font), TommysType (letters on a clothesline), Kiilani, and Troubador (1988-1989, mediaeval) and Troubador Initials (1989). Atomic Type sells her fonts. Other fonts: Petroglyph Hawaii (1993), Daylilies, Greene, GreeneGreene, Insecta, Leaves, OldstyleChewed, Finfont, Flourish, Hawaii Set, Maskerade, Santa Barbara Electric (1989, a Lombardic / uncial face; + Barbara Svelte, + Barbara Plump), Schampel, Electric Stamps, Daly Hand, Kiilani, Mesopotamia (1992). Emodigi site. At Will-Harris House, we find these fonts by Judith Sutcliffe: Catastrophe, Tommy, Daly Hand and Daly Text (based on the casual calligraphy of Pacific Northwest artist George Daly), Finfont (fish), Daylilies, Leaves, Flourish (calligraphic family), Greene&Greene (architectral lettering), a Hawaiian set consisting of Kiilani, Hibiscus (alphadings), and RockArt dingbats, Insecta (dings), Oldstyle Chewed, Leonardo (neat handwriting of DaVinci simulated), Petroglyphs, Schampel (blackletter), Serpent, Maskerade (masks), Tagliente (nice old-fashioned lettering and caps).
FontShop link. Another FontShop link. Klingspor link. [Google]
Eli T. Evans
[Logos Bible Software]
Evertype (was: Everson Typography)
Michael Everson's (b. Norristown, PA, 1963) brilliant pages on Celtic and other languages and on font standards, featuring the following sub-pages:
- CeltScript describes Michael's contributions to unicode in general and to Celtic typography in particular. He created (commercial) Celtic fonts such as Gaillimh (1989, bitmap font), Ceanannas (1993), Duibhlinn (1993, after Monotype Series 24), Everson Mono Gaelic (1995, hybrid sans), Acaill (1997, based on the Watts type, an early 19th century transitional angular form of Gaelic type; it was renamed and further developed into a unicode-compliant typeface called Dumha Goirt in 2011), Corcaigh (1997), Darmhagh Underwood (1993, a "rough" monowidth font based on the typeface used on the old Underwood manual typewriter), and Loch Garman (1999, after Baoithin, Colm Ó Lochlainn). He is working on Cluain (Gaelic modern grotesque), Cois Life (his take on the hybrid Queen Elizabeth type), Darmhagh (Underwood), Doolish (Gaelic modern round, after Biggs), Lóbháin (after Louvain), Páras (after the Paris type).
- Everson Mono is a huge free monospaced font family started in 1994, but still being adjusted in 2010. As Michael puts it, Everson Mono is a simple, elegant, monowidth font. I designed it primarily to make glyphs available in support of all the non-Han characters in the Basic Multilingual Plane of ISO/IEC 10646-1 (BMP = Unicode, if you prefer), though I hope that users may find it a pleasant alternative to Courier and Monaco for general purposes, e-mail, and so forth. I have found it quite legible at sizes as small as 4 points. It is lighter and a bit looser than Courier.
- Ogham fonts created by Michael Everson (and free for download): Beith-Luis-Nion, Pollach, Maigh Nuad, Craobh Ruadh, Everson Mono Ogham, Cog, Crosta. Mac and PC. This page also has TITUS Ogham by Jost Gippert, and Ragnarok Ogham by David F. Nalle from Scriptorium.
- Inuktitut fonts designed by Everson include Allatuq (1998, hand-printed glyphs), Everson Mono Inuktitut, Jiniiva Maanaku, Naamajuttaaqqauq, Sikaagu.
- The Sutton signwriting fingerspelling fonts created by Everson are free.
- List of language lists.
- Fonts for the Sami language of the Barents region.
- Gaelic Typefaces: History and Classification.
- Armenian encoding on the web.
Elsewhere, one can find rare Everson creations such as Musgrave (1994).
MyFonts sells these typefaces:
- Loch Garman. Everson: : Loch Garman is based on Baoithmn, designed by Viktor Hammer and Colm Ó Lochlainn; Baoithmn was based on Hammerschrift, which was related to Hammer's American Uncial -- though Loch Garman is more authentic Gaelic font than American Uncial. He continues: American Uncial sucks. It is inauthentic and it's not even attractive. It has a "dot" on the i (which it shouldn't) which makes it look like an í (which it doubly shouldn't). Hammer Uncial isn't much better. In my own view, the only one of Hammer's Uncials that I have seen that was any good was Pindar, and then only in its reworking as Baoithín (with Colm ÓÓ Lochlainn).
- Teamhair (1993). A monowidth font based on the typeface used on the old Sears Tower Gaelic manual typewriter.
- Teamhair Tower (1999). The rough version of Teamhair.
- Dumha Goirt.
- Doire (1993). A monowidth font based on the typeface used on the old Royal Gaelic manual typewriter.
- Doire Royal (1999). A rough version of Doire.
- Darmhagh Underwood.
His bio, in his own words: Michael Everson, based in Westport, Co. Mayo, is an expert in the writing systems of the world. He is active in supporting minority-language communities, especially in the fields of character standardization and internationalization. He is one of the co-authors of the Unicode Standard, and is a Contributing Editor and Irish National Representative to ISO/IEC JTC1/SC2/WG2, the committee responsible for the development and maintenance of the Universal Character Set. He is a linguist, typesetter, and font designer who has contributed to the encoding in of many scripts and characters. In 2005 and 2006 his work to encode the Balinese and N'Ko scripts was supported by UNESCO's Initiative B@bel programme. Michael received the Unicode "Bulldog" Award in 2000 for his technical contributions to the development and promotion of the Unicode Standard. Active in the area of practical implementations, Michael has created locale and language information for many languages, from support for Irish and the other Celtic langauges to the minority languages of Finland. In 2003 he was commissioned by the United Nations Development Programme to prepare a report on the computer locale requirements for Afghanistan, which was endorsed by the Ministry of Communications of the Afghan Transitional Islamic Administration. He prepared a number of fonts and keyboard layouts for Mac OS X 10.3 (Panther). Michael moved to Tucson, Arizona at the age of 12. He studied German, Spanish, and French for his B.A. at the University of Arizona (1985), and the History of Religions and Indo-European Linguistics for his M.A. at the University of California, Los Angeles (1988). He moved to Ireland in 1989, and was a Fulbright Scholar in the Faculty of Celtic Studies, University College Dublin (1991). In 2010, he made Timenhor, a Latin-script font whose glyphs are based on the uncial letterforms of Coptic manuscripts. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.
Dafont link. View Michel Everson's commercial typefaces. [Google]
[Protofonts (and Loosy Design)]
During his studies in Buenos Aires, Facundo Beccaglia created two typefaces---an unnamed experimental blackletter typeface (2013), and Filo 74, an uncial-style display typeface (2013). [Google]
Nice designs by Feòrag NìcBhrìde (or Feòrag Forsyth) from Edinburgh, Scotland. Her Mac TrueType and PostScript fonts are mostly reproductions of historic type. Styl, Styl Round, Astradyne and DaySquareCut are futurist in inspiration. Chapbook and Chapbook Italic are based on 17th century type and Vespasian is taken from a late 7th century manuscript. Symbats and Orkney Runes are of particular interest to occultists. Flgheadh, my first shareware font, makes the creation of knotwork rows as easy as typing three characters which happen to be next to one another on the keyboard. Viking Runes from the Orkney Isles, Taisean (2010, angular uncial), Accelerando (2009, nice simple techno face), Day Square Cut (1997; based on lettering designed by Lewis Day, some time around 1900), Cianán (Mac type 1 font based on an old Irish manuscript, 1998), Astradyne (based on the font used on Ultravox's Vienna LP from 1980), Symbats (1997-2008, a Pagan dingbats font), Innsmouth Plain (2011, hand-printed), Skelett (2011, blackletter), Maeshowe (2014, Futhark runes), Orkahaug (2014, a grungy version of Maeshowe), Lindberg (2014, a beer bottle font), Lindberg Caffeine (2014), Springmarch (2014). In 2016, he designed the Victorian typeface Whittier.
Dafont link. Older URL for her free stuff. [Google]
Fergus Costello Studios
The font Gaeilge 1 was originally developed by Pádraig McCarthy in 1993. Gaeilge 2 is an updated version, dated 1996, by Padraig McCarthy and Nikita Vsesvetskii (LINBIT group, P.O. Box 234, St. Petersburg 199155, Russia). Both are free at Fergus Costello Studios. Padraig McCarthy resides at The Presbytery, Rathdrum Co., Wicklow, Ireland. Alternate URL for Gaeilge1. Both fonts have proprietary encoding for the dotted consonants, but Gaeilge2 has nicer grave-accented vowels. Dafont download site of Peter Rempel. [Google]
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 (blackletter), 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]
Flashfonts is Leslie Cabarga's Los Angeles-based foundry. Leslie Cabarga is a baby boomer from New Jersey and author of The Lettering and Graphic Design of F.G. Cooper, the Illustrator/Fontographer/Fontlab resource book, Logo Font&Lettering Bible (2004), and Learn Fontlab Fast (2004, with Adam Twardoch). He runs Leslie Cabarga Design in Los Angeles. His lettering prowess is apparent in this drive-in sign for "Betty Boop's Drive-In" (which inspired Nick Curtis to make Drive-Thru NF), FontShop link. MyFonts link.
Leslie Cabarga's typefaces:
- Raceway (1995), a famous retro script.
- Casey (2007), a fat-bottomed script at Font Bureau.
- Streamline. Another fifties diner or Chevrolet grille font.
- Kobalt and Kobalt Kartoon (at Font Bureau), great for displays.
- Ojaio, a beautiful art deco font.
- Central Station, an original display face.
- The retro script Magneto.
- Neon Stream (1995, Font Bureau). Connected retro nightclub letters.
- Peace: an original psychedelic 60s font based on an alphabet copyright 1997 by Wes Wilson, creator of the classic 1960s Fillmore Poster Lettering style; see here.
- Saber (2002), a mix of uncial, Fraktur, gothic and Exocet.
- Love, a psychedelic 60s font also based on Wes Wilson's lettering. At Font Bureau.
- Esselte's Cabarga Cursiva. Cabarga Cursive was jointly designed in 1982 by Leslie Cabarga and his father Demetrio.
- Cocoanut, Grassy Knoll, Straight Light, Straight Medium, Rocket (1995), Progressiv, Cymbal Regular, Dotcom Medium, Generik Regular, Graffiti Regular, Angle, Badtyp, Haarlem (2000), Margarete, Primitiv, Progressiv, Rocket, Rocket Gothic, Straight, Bellbottom, Hihat, Baseball. Jo the Webmistress on Cabarga.
Abstract Fonts link. [Google]
Andy Benedek's (b. Manchester, UK, 1945) Cotswolds-based outfit for "custom fonts and lettering of distinction", founded by him in 1988. Andy (András) made corporate typefaces for Umbro, QZERO, Bowater, Lloyds Bank, Royal Free Hospital, Liptons teas, Gordons gin, Marlboro cigarettes, as well as typefaces for magazines (Royal Academy of Arts, Elle, Blueprint) and for newspapers (The Scotsman). All this was done under the label of The Font Factory. With Michael Johnson and Mike Pratley, he created a font for BT Cellnet. A braille typeface has been developed to aid the production of signage for the blind. In 2001, he co-founded Fine Fonts with Michael Harvey. CV. Typefaces:
- Aesop (2000, with Michael Harvey): developed from book jacket lettering drawn by Michael Harvey for an edition of Aesops Fables.
- Balthasar (2002, with Michael Harvey): a serifed stencil font.
- Braff (2002, with Michael Harvey, for Monotype Imaging): an outline face.
- Fine Gothic (2002, a blackletter typeface codesigned with Michael Harvey): a blackletter family with a Basque A.
- Friezea (Andy Benedek and Michael Harvey, Fine Fonts). The original font dates from ca. 1990. They explain: The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and guild them. Instead, they were cut in perspex and guilded. Some twenty years later, the missing upper-case letters were drawn together with the lower-case letters and Frieze, the font, was born.
- Marceta (2003, with Michael Harvey): an eighth-century uncial.
- Mentor (2004, with Michael Harvey, for Monotype Imaging): a Times-Roman style family.
- Mentor Sans (2004, with Michael Harvey, for Monotype Imaging): a sans family.
- Quirky (2010).
- Ruskin (2008, Andy Benedek and Michael Harvey, Fine Fonts). This display serif typeface was originally created as a commission for Michael Harvey to design a signage font for the Dean Gallery in Edinburgh.
- Scorpio (2015). Based on he condensed lettering Michael Harvey drew for the card The Sign of The Nudge which was designed in collaboration with poet Ian Hamilton Finlay. It was digitized after Harvey's death by Benedek.
- Songlines (2001, with Michael Harvey): based upon a pen-drawn script drawn by Michael Harvey to illustrate a poem by Johannes Thurman.
- Tisdall Script (2002, with Michael Harvey): based upon the brush-drawn script lettering of Hans Tisdall, who was the designer of many distinctive lettered book jackets for Jonathan Cape in the 1950s.
- Victoriana (2002, a Victorian font by Andy Benedek and Michael Harvey, Fine Fonts). Named after cyclist Victoria Pendleton.
View Andy Benedek's typefaces. [Google]
Fontek (Letraset Fontek)
Collection of typefaces at Letraset. Newest typefaces include Donaldson Hand (Tim Donaldson), La Gioconda (based on letters from Giovanni Francesco Cresci, done by Richard Dawson and Dave Farey), Spidercave (Michael Gills), Locomotiv (Phill Grimshaw), Bobbysox (Alan Dempsey), Bouchon (Roselyne and Michel Besnard), Eplica (Yvonne Diedrich), Uffington (Tim Donaldson). The fonts: Aachen Bold, Aachen Medium, Academy Engraved, Agincourt, Algerian Condensed, Ambrose, Aquinas, Aquitaine Initials, Aristocrat, Arriba, Arriba-Arriba, Artiste, Augustea Open, Avalanche Script, Avenida, Axis Bold, Balmoral, Bang, Banner, Becka Script, Belwe Mono, Belwe Mono Italic, Bendigo, Bergell, Bertie, Bertram, Bible Script, Bickley Script, Bitmax, Blackmoor, Bluntz, Bobbysox, Boink, Bordeaux Display, Bordeaux Family, Bordeaux Italic, Bordeaux Roman, Bordeaux Roman Bold, Bordeaux Script, Bouchon Bold, Bouchon Light, Brighton Bold, Brighton Light, Brighton Medium, Bronx, Burlington, Buzzer 3, Cabaret, Cabarga Cursiva, Campaign, Cancellaresca Script, Carlton, Carumba, Caslon 540 Ital/Swash, Caxton Light Italic, Caxton Roman Bold, Caxton Roman Book, Caxton Roman Light, Chalkline Bold, Challenge Bold, Challenge Extra Bold, Champers, Charlotte Bold, Charlotte Book, Charlotte Book Italic, Charlotte Family, Charlotte Medium, Charlotte Sans Bold, Charlotte Sans Book, Charlotte Sans Book Italic, Charlotte Sans Family, Charlotte Sans Medium, Charlotte Sans Small Caps, Charlotte Small Caps, Chiller, Chipper, Choc, Chromium One, Citation, Claude Sans, Claude Sans Bold Italic, Claude Sans Italic, Collins, Comedy, Commercial Script, Compacta, Compacta Bold, Compacta Italic, Coptek, Corinthian Bold, Corinthian Bold Condensed, Corinthian Light, Corinthian Medium, Crillee Bold Italic, Crillee Extra Bold Italic, Crillee Italic, Crillee Italic Inline Shadow, Cult, Dancin', Data 70, Dave Farey Display Fonts, David Quay Display Fonts, David Quay Scripts, Demian, Demian Bold, Design Font Attitudes, Design Font Calligraphic Ornaments, Design Font Celebrations, Design Font Commercials, Design Font Delectables, Design Font Diversions, Design Font Diversities, Design Font Eclectics, Design Font Energetics, Design Font Expressions, Design Font Incidentals, Design Font Industrials, Design Font Inspirations, Design Font Journeys, Design Font Mo' Funky Fresh Symbols, Design Font Moderns, Design Font Naturals, Design Font Organics, Design Font Organics II, Design Font Primitives, Design Font Radicals, Design Font Urbans, Design Font Well Beings, Design Font Wildlife, Digitek, Dolmen, Donaldson Hand, Doodlebug, Dynamo Shadow, Edwardian Medium, Elysium Bold, Elysium Book, Elysium Book Italic, Elysium Family, Elysium Medium, Elysium Small Caps, Emphasis, Enviro, Eplica Bold, Eplica Bold Italic, Eplica Book, Eplica Book Italic, Eplica Family, Eplica Medium, Eplica Medium Italic, Epokha, Equinox, Etruscan, Faithful Fly, Fashion Compressed No. 3, Fashion Engraved, Figural Bold, Figural Book, Figural Book Italic, Figural Family, Figural Medium, Figural Small Caps, Fine Hand, Flamenco Inline, Flamme, Flight, Fling, Follies, Forest Shaded, Frances Uncial, Frankfurter, Frankfurter Highlight, Frankfurter Inline, Frankfurter Medium, Freestyle Script, Freestyle Script Bold, Gigi, Gilgamesh Bold, Gilgamesh Book, Gilgamesh Book Italic, Gilgamesh Family, Gilgamesh Medium, Gilgamesh Small Caps, Gilgamesh Titling, Gill Display Compressed, Gill Kayo Condensed, Gillies Gothic Extra Bold Shaded, Glastonbury, Globale, Globale Bold, Globale Bold Italic, Globale Family, Globale Italic, Goo Goo Gjoob, Gravura, Green, Greyton Script, Hadfield, Hand Drawn, Harlow, Harlow Solid, Harvey, Hazel, Heliotype, Helvetica Bold Condensed, Helvetica Medium Condensed, Highlight, Hollyweird, Ignatius, Impakt, Indy Italic, Informal Roman, Inscription, Iris, Isis, Jazz, John Handy, Jokerman, Kanban, Katfish, Katytude, Klee, La Bamba, La Gioconda, La Gioconda Bold, Lambada, Laser, Laser Chrome, Latino Elongated, Laura, LCD, Le Griffe, Lexikos, Lightnin', Limehouse Script, Lino Cut, Locarno Italic, Locarno Light, Locomotiv, Magatama, Malibu, Marguerita, Martin Wait Display Fonts, Martin Wait Scripts, Mastercard, Mekanik, Mekanik Italic, Milano, Mistral, Mo' Funky Fresh, Montage, Neo Neo, Oberon, Odessa, Old English, One Stroke Script, One Stroke Script Bold, One Stroke Script Shaded, Orange, Orlando, Pablo, Papyrus, Party, Pendry Script, Phill Grimshaw Display Fonts, Phoenikia, Pink, Plaza, Pleasure Bold Shaded, Pneuma, Potato Cut, Prague, Premier Lightline, Premier Shaded, Princetown, Pristina, Pritchard, Pritchard Line Out, Pump, Pump Demi Bold, Quadrus, Quixley, Rage Italic, Ragtime, Rapier, Refracta, Regatta Condensed, Retail Script, Retro Bold, Retro Bold Condensed, Riva, Robotik, Robotik Italic, Romic Light, Romic Light Italic, Roquette, Ru'ach, Rubber Stamp, Rundfunk, Santa Fe, Savoye, Scratch, Scriba, Scriptease, Scriptek, Scriptek Italic, Scruff, Shaman, Shatter (op-art), Sinaloa, Skid Row, Slipstream, Smack, Smudger, Spidercave Bold, Spidercave Book, Spidercave Book Italic, Spidercave Family, Spidercave Ornamented, Spooky, Spotlight, Squire, Squire Extra Bold, Strobos, Superstar, Synchro, Tag, Tannhauser, Teknik, Telegram, Tiger Rag, Tim Donaldson Display Fonts, Tim Donaldson Scripts, Tiranti Solid, Trackpad, Tropica Script, Twang, Uffington, Ulysses, University Roman, University Roman Bold, University Roman Italic, Van Dijk, Van Dijk Bold, Varga, Vegas, Vermont, Victorian, Victorian Inline Shaded, Vienna Extended, Vivaldi, Wade Sans Light, Wanted, Waterloo Bold, Westwood, Wild Thing, Willow, Xylo, Young Baroque, Zaragoza, Zennor, Zinjaro. [Google]
At Fontgrube AH, Andreas Höfeld, a protestant pastor from Erbach/Odenwald, designed these typefaces:
- A Charming Font (with Graham Meade).
- Adam's Family (based on Addams by John Roshell).
- Annifont FG (2002) is an improvement of Annie de la Vega's Annifont (1997).
- Brinkmann (Fraktur font, 2000).
- Brubeck (2001).
- CD Numbers.
- Civitype (2013, a civilité font).
- Fanjofey and Fanjofey Leoda (2002, Tolkien-like fonts that can also be viewed as Arabic simulation typefaces).
- Gabriele Bad and Gabriele Ribbon (2013). Old typewriter font families that are based on David Rakowski's Harting.
- Gapstown (2002, to replace Comic Sans, he says).
- Gismonda (2013, art nouveau).
- HermanDecanusAH (medieval handwriting based on the kanzleischrift of Dekan Hermann zu Soest, 1269).
- Hymnus FG (2015, notes of a 5-line staff).
- Jorvik Informal.
- Lansbury (2013, art nouveau).
- MojacaloAH (2002) and Mojacalo Relief (2013).
- PaternosterAH (uncial).
- SeferAH (2001, Hebrew simulation).
- Slim Fast (2002-2013).
- SlotMachine (no longer there, only put here for historical reasons).
- Traditio (2013, blackletter).
- Trinigan (2013, art nouveau).
- He improved Jörgen Gedeon's Vurt and calls it Tusch FG (2002).
Dafont link. Abstract Fonts link. Klingspor link. Fontspace link. [Google]
Gábor Kóthay (Fontmunkások) is a Hungarian type designer (b. 1962) who lives in Szeged. Gábor Kóthay's fonts include:
- At T-26: Alphabet2, Alphabet4, Archetype, Axis No 1, Bacchus, and Tyrnavia in 2000, and the Roman inscription inspired family Minerva Modern, Minerva Display (a Roman family) in 2002. Also, Betabet sans, Betabet web, Gnosis (hairline italic), Oceanus (2004, hairline sans), Pelso (2004, hairline), Laureate (2004, hairline art deco), Picaresque (2004, irregular handwriting).
- At FONTana: LaDanse, Y2K, Domino, QwertyRegular and Luxury, all in 1999-2000.
- At P22: Driade (2005, Regular, Linea and Aged: calligraphic futuristic experiments), Zephyr (2001, curly; +Open Face), Schwarzkopf (2003, a Schwabacher face), La Danse (2001), Ambient (2001), the Schwabacher Fraktur font SchwarzKopf (2002), Caffe (2009: originally designed for the Artz Gallery Cafe in Budapest Hungary. The design is a contemporary handwriting style adapted from examples in lettering exercise books. It has been redrawn and expanded into six styles. The four weights were created by drawing the style using different mediums: Cappuccino in pen, Pastry in felt-tip, Lemonade in brush and Tobacco, the original, in pencil, and Poster and Poster Inline are additional styles).
- At PsyOps: the formal script Anglia (2001), Berill (2001), SchwarzKopf (2002, Fraktur) and Plexo (2001).
- At Job Art Studio (his own studio in Szeged, which he founded): Cats (free dingbats), Disasters (dingbats), Bubble (comic book font), 103 kék.
- At Fountain: Zanzibar (2003, nice script face), Incognito (2007, a typical old map typeface), Dessau (2007-2008, a collection of eleven Bauhaus and Bauhaus stencil styles).
- At Fontana: Zodiac, Tisza (2001-2007), a sans family. And Kinesis (2003), a sans typeface based on geometrically precise instructions.
- At Cinqueterre Type Foundry: Eva (wedge serif; sample, another sample).
- At Fontmunkások: Birdland (1999-2002), a minimalist face; Asphalt and Asphalt Signs (1996-2000), a slightly grungy set of fonts; Arcade (1999); Adagietto (2000); Flyer and Flyer Fossil (2002), a curly family.
- Custom typefaces: Aqua Futurist (2008): a hairline unicase sans family with uncial influences. It is unclear if he had a hand in the typography of stockings, which I found on his site.
Dafont link. FontShop link. [Google]
Online font site run by Sean Cavanaugh (b. Cape May, NJ, 1962) out of Camano Island, WA. This used to be called Title Wave Studios. In the archives, find essays on writing style, rules of typography, and a comparison by Thomas Phinney (program manager of Latin Fonts at Adobe) of T1 and TTF. The Fontsite 500 CD (30 USD) offers 500 classical fonts with the original names, plus a few names I have not seen before, such as Bergamo (=Bembo by Francesco Griffo), Chantilly (=Gill Sans), Gareth (=Galliard), Palladio (=Palatino, Savoy (=Sabon), URWLatino, Unitus, Toxica, Publicity, Plakette, Pericles, Opus (=Optima), Melville, Function, Flanders, Cori Sans, Binner. Uli Stiehl provides proof that many of the fonts at FontSite are rip-offs (identical to) of fonts in Martin Kotulla's collection. Free fonts: Bergamo, CartoGothic (1996-2009), CombiNumerals. At MyFonts, the CombiNumerals Pro and CombiSymbols dingbat families are available since 2010. The site has a number of fonts with the acronym FS in the name, so I guess these are relatively original (but I won't swear on it): Allegro FS, Beton FS, Bodoni Display FS (+ Bold, Demibold), Bodoni No 2 FS (+ Ultra, Bodoni Recut FS (+Bold, Demibold), and so forth. His 500 Font CD has these fonts:
Some more fonts: Alperton, Anaconda, Arizona, Bamboo, Bellhop, Bellows Book, Bernhard Modern FS (2011), Le Havre. MyFonts link. Fontspace link. His art deco fonts, as always without "source" and confusing Victorian, art nouveau, and psychedelica with art deco, include Rimini, Arnold Boecklin, Eldamar, Erbar Deco, Rangpur, Pinocchio, Azucar Gothic, Boyle, Busorama FS, Winona, Abbott Old Style, Almeria (after Richard Isbell's Americana) and Adria Deco, Bernhard Modern FS (2011). [Google]
- Garalde, Venetian: Bergamo, Bergamo Expert, Bergamo SC&OsF, Caslon, Caslon Expert, Gareth, Garamond, Garamond Expert, Garamond SC&OsF, Garamond Condensed, URW Palladio, URW Palladio Expert, Savoy, Savoy Expert, Savoy Small Caps&OsF, Vendôme.
- Slab Serif: Clarendon, Glytus, Typewriter, Typewriter Condensed.
- Script: Commercial Script, Deanna Script, Deanna Swash Caps, Hudson, Legend, Mistral, Park Avenue, Phyllis, Phyllis Swash Caps, Vivaldi.
- Uncial: American Uncial, Rosslaire.
- Blackletter: Fette Fraktur, Fette Gotisch, Olde English.
- Borders and symbols: Celtic Borders, Deanna Borders, Deanna Flowers, Picto, Sean's Symbols.
- Transitional: URW Antiqua, Baskerville, Baskerville Expert, New Baskerville.
- Didone, modern: Bodoni, Bodoni Expert, Bodoni Small Caps&OsF, Modern 216, Walbaum.
- Sans serif: Chantilly, Franklin Gothic, Franklin Gothic Condensed, Franklin Gothic Cnd. SC&OsF, Function, Function Small Caps&OsF, Function Condensed, Goudy Sans, Opus, Opus Small Caps&OsF, Syntax, Letter Gothic.
- Decorative: Ad Lib, Algerian, Arnold Boecklin, Binner, Caslon Antique, Chromatic, Copperplate Gothic, Davida, Delphian Open Titling, Function Display, Glaser Stencil, Goudy Handtooled, Handel Gothic, Hobo, Honeymoon, Horndon, Mercedes, Mona Lisa, OCR-A&OCR-B, Plakette, Reflex, Salut, Stop, Toxica, VAG Rounded.
Foster and Horton
Bill Horton designs fonts at Foster and Horton, a foundry which sells through Atomic Type: BARNDOOR, BENKREBS, BOLERO, CAROUSEL, CAVALIER, CHAMPLEVE, Castaway-Normal, Chancery-Italic, Chappel-Italic, Chappel, CoffeeCan-Normal, Constantia-Italic, Constantia, Cursiva, DERVISH, ELFINSONG, Erasmus-Italic, Erasmus-Medium, Findhorn, Foho-Mod, FohoMod-Italic, GOETHENormal, Heidelberg94-Regular, JAMESCROW-Regular, JAMESCROW-inside, JCROW-Regular, Mendocino, Menhart-Italic, Menhart-Regular, MonasticINITIALS, NewSylph-Medium, NightshadeCaps, RIMSKY, Requiem, SIXTEENTHCENT, Sevilla, Trajanus-BoIdItal, Trajanus-Bold, Trajanus-Italic, Trajanus-Roman, Trident. Mac postscript fonts. Sold by Universal Fount Co. Some free fonts on the web include MacHumaine (1992, uncial). Fontspace link. [Google]
Four centuries of printing in the Irish character
Dead link. Brendan Leen (St Patrick's College, Drumcondra) writes about the early Irish alphabets. The preface goes as follows: Although the existing roman letter was officially sanctioned as the standard medium for the printing of Irish language documents in the early 1960s, the four preceding centuries had witnessed a rich tradition of printing in the Irish character. The origins of Irish character typography regress to the high standard of calligraphy achieved by the monastic scribes of the fifth century, and to the two discrete styles __ the half-uncial and the minuscule__ that emerged from the scriptorium to subsequently exert a defining influence on the design of Irish printing types. The full, rotund form of the half-uncial was typically used in the transcription of Latin tracts _____ notably, in the earliest known Irish manuscript, the Cathach, and, magisterially, in the Book of Kells. The Irish minuscule, a more angular form with a pronounced vertical emphasis, was often resorted to in manuscripts where vellum, and as a consequence space, would have been premium, and normally for the transcription of Irish as opposed to Latin texts. Although mostly in Latin, early texts in which the Irish minuscule hand appears include the Book of Armagh and the Book of Leinster. [Google]
Frank Chouteau Brown
Author (b. 1876) of Letters&Lettering: A Treatise With 200 Examples (1921, Bates&Guild Co, Boston). This book shows many decorative alphabets. Alternate URL. Yet another URL.
Examples from that book: Alphabet after Serlio, An outline caps face, A Roman caps face. The best page on Chouteau Brown, complete with all images from his 1921 book. Some of Chouteau Brown's own lettering from that 1921 book: Incised English Script, 15th Century English Gothic Blackletter, 16thCentury German Blackletter, Capitals adapted from Renaissance era medals, Classic Roman Capitals, English Gothic Letter 15th Century, English Incised Script from a tombstone in Westminster Abbey, 18th Century French Script Capitals, German Blackletter (from brass), Italian Renaissance Capitals from a Marsuppini tomb, Italian Renaissance Capitals from Santa Croce, Florence, Italian Uncial Gothic Capitals from the 14th century, Modern American Letters, Modern American Letters for rapid use, Modern American Lowercase, Modern German blackletter, Modern German capitals, Spanish Script from the latter part of the 17th century, Spanish Script capitals, early 18th century, Uncial Gothic Capitals 13th century, Uncial Gothic Capitals 14th century, Uncial Gothic Initials 12th century, Venetian Gothic Capitals 15th century.
The Siamese style in Brown's 1912 book inspired Nick Curtis's digital font Owah Tagu Siam (2007). [Google]
[Storm Type Foundry]
Frederic William Goudy
Fredrick M. Nader
Free Celtic Fonts
Four free original Celtic fonts. And these uncial fonts by Cari Buziak: AonCari (1998, a modern pseudo-Gaelic uncial), AonCariCondensed, AonCariExtended. [Google]
Designer of Manuscript Caps (2011, uncial or Celtic caps). [Google]
Fundicion Tipografica Richard Gans
The Richard Gans Foundry is a defunct Spanish foundry which existed from 1888-1975. Richard Gans was the son of a medic from Karlsbad, Austria. He emigrated to Spain in 1874, and died in 1925. Until 1936 the foundry was led by Mauricio Wiesenthal, but in 1936, his children, Ricardo, Manuel and Amalia Gans Gimeno, now adults, took over. Ricardo and Manuel were assassinated during the Civil War. The foundry was used to make ammunition, and after the war, Amalia Gans and then Reinaldo Leger Tittel started anew in run-down buildings. The foundry operated roughly from 1881-1975. Throughout its existence, types were designed by a number of people from within and outside the foundry. Designers included José Ausejo Matute (d. 1998), Antonio Bilbao (who created Escorial in 1960), the son Ricardo Gans, and Carl Winkow. In the post-war era, Reinaldo Leger and Amalia Garcia Gans made typographic decisions on which types to produce, and acted as typographic directors. Richard Gans' grandson, José Antonio Gans García, is still alive today.
Six specimen books were published with titles like Fundicion Richard Gans Muestrario Edicion V. The first and second editions, rare books indeed, were published between 1883 and 1903. Editions 3 through 6 appeared in the period 1903-1922. The 1922 edition is here in its entirety (thanks to J.R. Penela). See also here. In 1965, a small catalog was published under the name Tipos Gans. The National Library in Madrid has Muestrario de Richard Gans (Madrid, Richard Gans, 1903, 410 pages) and Catalogo provisional (Madrid, 1950).
On the web, the most complete discussion of Richard Gans is in the PDF file Fundicion Tipografica Richard Gans Historia y Actividad 1888-1975 (2004) by Dimas García Moreno and José Ramón Penela.
Catalog of font names.
Fonts: Until 1925, there were basically no original types. Almost everything in the specimen books of that era is due to German foundries, principally those of Wilhelm Woellmer in Berlin and Edmund Koch in Magdeburg. Some of those typefaces in common with Koch include Grotesca Chupada Redonda, Ronda Universal. Early types in this category also include Escritura Selecta, Escritura Favorita, Escritura Luis XV, Gótico Globo (blackletter), Gótico Uncial (blackletter), Nueva Titular Adornada, Tipos de Adorno, Latina Moderna, Grotesca Ancha, Grotesca and Grotesca Chupada. Many, if not most of these, saw the light at the end of the 19th century and survived until 1965.
It is fashionable now to revive all the typefaces. Nick Curtis created a few (see below), and Paul W (Intellecta Design, Brazil) did many more. Intellecta Designs revivals include Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Animals, Gans Italiana, and Gans Titania.
The original Gans types can be categorized as follows:
- Anchas Americanas.
- Antigua El Greco (+Adornada, Cursiva, Negro, Negro Cursiva, Seminegro, Seminegro Cursiva, Titular), aka El Greco Antique. Weights include Antigua El Greco (1924), El Greco Adornado Titular (with Mexican-style sawteeth). Greco was the inspiration for Melina BT (Nick Curtis, 2003). Curtis' Melina Fancy is based on Greco Adornado. For a free version of Adornado, see GrekoDeco (1992, Dave Fabik). Revived as Kifisia Antigua NF in 2005 by Nick Curtis.
- Antigua. See the digital family Gans Antigua (2006, Paulo W). The Antigua series includes weights like Esbelta, Estrecha, Heraldo, Heraldo Cursiva, I, I Cursiva, I Titular, Mercantil, Negra, Prolongada, Universal, Universal Cursiva, Universal Negra, Universal Negra Cursiva, Universal Negra Estrecha, Universal Seminegra, Veneciana, Veneciana Cursiva, Veneciana Cursiva Fantasia.
- Antigua Manuscrito: a semiscript typeface designed by Hermann Delitsch at the Royal Academy of Graphic Arts in Leipzig. Delitsch was Tschichold's teacher. Digitized as a family by Paulo W as Gans Antigua Manuscrito (2006).
- Antigua Progreso (1923) (+Cursiva, Negra): an interesting serif face. A digital version called Bellini was made by A. Pat Hickson, 1992. Linotype sells Greco (DsgnHaus, 1996) which really is Progreso.
- Bodoni and Bodoni Redonda.
- Carmen, Carmen Adornada, Velázquez, Españolas Adornadas, Antigua Adornada, Utopian, Tipos de Adorno, Americanas (Tuscan style), Americanas-Titular, Elzevirianas Adornadas: Late 19-th century style display typefaces. Paulo W (Intellecta Design) created the beautiful digital family Gans Tipo Adorno (2006). He also made the family Gans Titular Adornada (2006).
- Cursiva Comercial.
- Dalia (or Ibarra Vaciada): a two-line display face. Similar to Delphian Open Titling (Middleton, Ludlow, 1928).
- Egipcia in weights called Estrecha, Negra and Nueva. Egipcia Progreso (1923, short ascenders): slab serif styles.
- Elzeviriano: Anchas, Adornado, B, B Cursiva, Chupado, Ibarra, Ibarra Cursiva, Ibarra Titular, Negro.
- Escorial: a display typeface with Koch Antiqua influences, designed ca. 1960 by Antonio Bilbao. Additional weights include Cursiva, Seminegra and Titular.
- Escritura Juventud (1950, Joan Trochut Blanchard): a great script with lots of identity and swing. Other Escritura styles: Decorativa, Gloria reformada, Isabel, Luis XV, Selecta.
- Etienne Ancha.
- Filetes de Bronce, Filetes de Metal.
- Fulgor (1930): a connected script face.
- Gloria (already listed above under Escritura), Gloria Reformada (1930): a connected script family. Gloria was revived by Nick Curtis in 2005 as Pismo Clambake NF.
- Gótico Cervantes (1928): blackletter with regular and ornamental caps.
- Gótico Globo: art nouveau style with blackletter influences. Revived by Intellecta Design in 2007.
- Gótico Uncial (blackletter).
- Graciosa (+Gris).
- Grotesca Ancha (+Fina, Negra, Nueva, Vaciada).
- Grotesca Antigua.
- Grotesca Chupada and Grotesca Chupada Redonda: a rounded sans.
- Grotesca Colón.
- Grotesca Compacta.
- Grotesca Cursiva (+Seminegra).
- Grotesca Estrecha Hercules.
- Grotesca Mercantil, Grotesca Mercurio, Grotesca Negra Cursiva.
- Grotesca Ideal (Negra, Fina, Entrelina), Grotesca Favorita, Grotesca Reformada.
- Grotesca Radio: a geometric no-contrast sans. Styles: Editorial, Estrecha Fina, Estrecha Negra, Fina, Fina Cursiva, Negra, Negra Cursiva, Seminegra, Seminegra Cursiva.
- Helenica (+Ancha, Ancha Negra, Ancha Seminegra, Cursiva, Seminegra).
- Ibarra (1931) and Ibarra Cursiva: a tall ascender garalde family. Ibarra Negra, Ibarra Negra estrecha, Ibarra Vaciada, Ibarra Redonda. See also under Elzeviriano above. Iniciales Ibarra.
- Imán: a shadow headline all-caps face. This was digitally revived in an authoritative way by Manuel Lage in 2016 as Iman RG.
- Inglesa Excelsior.
- Italiana (Cursiva, Titular), 1951, a black caps face. Italienne (Chupada, Moderna).
- Luxor (+Cursiva, Negro, Negro Estrecho).
- Manos (manicules, fists).
- Maquina de Escrebir.
- Normanda (Ancha Negra, estrecha Negra).
- Nueva Antigua No. 1 and No. 2. Nuevas Titulares Adornadas.
- Orlas de Linea.
- Preciosa: Showboat-style Western look.
- Primavera: a condensed sans. Paulo W digitized a condensed family called Gans Lath Modern (2006).
- Radio Bicolor: a headline sans family.
- Radio Gris. Scans of the Radio catalog of 1930.
- Radio Lumina: a display sans. Digitized as Gans Radio Lumina (2006) by Paulo W at Intellecta Design.
- Regina (+Estrecha), Helios, Vulcano (1920s): art nouveau style. Ludlow's Vulcan Bold is based on Vulcano.
- Renacimiento Ancha.
- Romana I (+Cursiva, Egipcia, Estrecha, Negra).
- Senefelder: engraved look all caps.
- Talla Dulce (+Cursiva).
- Tipo Sombreado, Tipos Adornados, Tipos de Texto.
- Titania (1933): an elegant two-line poster face. See the revival (2006, Nick Curtis).
- Veneziana Negra.
showcase-gans/">View the digital revivals of typefaces by Gans. [Google]
Since 1994, Vincent Morley has been designing Gaelic fonts, which can be freely downloaded at Gaelchló. His list, as annotated by Ciarán ó Duibhín:
Former Gaelchló fonts now discontinued include:
- Bunchló GC (1996): Newman-style; also italic, Bunchló Iodálach GC (2006, +Bold), Bunchló Trom GC (2003, +Extra Bold), Bunchló Dubh GC (1997), Bunchló Ársa GC (2004, +Italic), Bunchló Ársa Iodálach GC (2006, +Bold), Bunchló Ársa Trom GC (2004, +ExtraBold), Bunchló Ársa Dubh GC (2004), Bunchló na Nod GC (1996): style as Bunchló GC.
- Seanchló GC (1998): Watts-style; also bold, Seanchló Trom GC (2003), and extra bold, Seanchló Dubh GC (1998), Seanchló Ársa GC (2004): also bold, Seanchló Ársa Trom GC (2004), and extra bold, Seanchló Ársa Dubh GC (2004), Seanchló na Nod GC (2003),: style as Seanchló GC.
- Glanchló GC (1994): Colmcille-style but rounder; also italic, Glanchló Iodálach GC (2007), bold, Glanchló Trom GC (2003), and extra bold, Glanchló Dubh GC (1997).
- Úrchló GC (1996): modernized uncial; also bold, Úrchló Trom GC (2004).
- Úrchló Rómhánach GC (1996): Latin-style sans; also bold, Úrchló Rómhánach Trom GC (2004), Úrchló Dubh (1998): bold version of Úrchló, similar to Úrchló Trom.
- Fíorchló GC (1997): uncial lowercase with rustic uppercase.
- Lánchló GC (2000): uppercase is Latinised; also bold, Lánchló Trom GC (2004).
- Órchló GC (2001): semi-ornate uncial.
- Aonchló GC (2003): typewriter-style; also bold, Aonchló Trom GC (2003).
- Saorchló GC (2003): decorative, after pre-decimal coinage.
- Mínchló GC (2003): fine and rounded Newman-style; also bold, Mínchló Trom GC (2004).
- Mórchló GC (2004): ornate uncial; monocase, but for d, d-dot and n, the nominally upper- and lower-case positions contain variant glyphs
- Caschló GC (2005): an "artistic" minuscule
- Mearchló GC (2005): a contemporary handwriting minuscule, quite rounded
- Mionchló GC (2005): a traditional handwriting minuscule, quite angular
- Slimchló GC (2006): a stylized modernistic font with a 1920s/1930s feel
- Ollchló (1997); see Bunchló Dubh above
- Tromchló (1997); see Glanchló Dubh above
- Léarchló (1999): after Libra Uncial (1938)
- Nuachló (2000): partially-Latinised minuscule-style
- Nuachló Rómhánach (2000): Latin-style serif
Gaelic printing in Scotland and Man uses normal Latin letters. However, there are specific diacritics, and the same is true of Ireland. The required diacritic letters are acute-accented and grave-accented vowels (a,e,i,o,u) in both upper and lower case, and, for Manx Gaelic, c-cedilla in both upper and lower case.
The requirements for letters should not be confused with gaelic script, which refers more to a special shapes---characters that are different include d, g, t, i (dotless), j (dotless), r, s and ampersand. among Gaelic styles, we mention uncial or majuscule (rounded) and minuscule (angular). [Google]
Gaelic Typefaces: History and Classification
Detailed historical listing of Gaelic typefaces by Michael Everson. He says that it is not always easy to classify Gaelic typefaces. His classification proposal:
First order classification [Google]
Second order classification
- Gaelic fonts have Insular letterforms: delta-form d; s-form g; dotless i; round t with no ascender above the crossbar.
- Pseudo-Gaelic fonts may be identical to Gaelic ones in other respects, but are inauthentic in that they have Carolingian letterforms: a bowled g and/or either a round t with its ascender piercing the crossbar or a rectilinear T. May have a tall f or a two-stroke vertical b and d. May have a dotted i (this is a cardinal sin).
- Roman fonts use unmodified Roman forms, but have dots above and acute accents required for Irish Gaelic. If dotted i is used, its dot and the dot of lenition must be harmonized with regard to height.
- Hybrid fonts use both Roman letterforms and Gaelic letterforms. The earliest typefaces mix special Gaelic glyphs with existing Roman ones. A few typefaces give Roman capital letters with Gaelic small letters; even if the strokes of the capital letters are "gaelicized", if they are not strictly speaking Gaelic, Hybrid is used to classify the face.
Third order classification
- Manuscript fonts are generally spiky or angular; often irregular.
- Transitional fonts are designs intermediate between typefaces that reproduce calligraphic manuscript hands and rectified, regularized typographical typefaces.
- Modern fonts are regularized typographically.
- Angular fonts have the inverted-v type a, though sometimes this contrasts with round-humped h, m, n.
- Round fonts have the script type a.
- Uncial fonts give a strong suggestion of pen-based strokes. Sometimes it is hard to tell the difference between Manuscript and Uncial but the latter is a "pre-Gaelic" class (there are non-Insular Uncials)
- Monowidth fonts are typewriter typefaces.
- Sans-serif fonts have no serifs.
- Grotesque fonts have no serifs.
Galaxie Software (was: Biblescript 97)
Located in Garland, TX. BibleScript: Commercial Greek and Hebrew font package. Has a shareware version. Windows and Mac. Their fonts are also here: GU-Greek (2001), GU-Hebrew (2001), Greek (2001), Greek-Uncials (2005), Greektl, Hebrew (2001), Hebrewtl, OLBGRK (2003), OLBHEB (2003), Scholar (1997). "GU" stands for Galaxie Unicode. [Google]
Ganlo R. Ithsm
Los Angeles-based creator of the very cleverly and beautifully executed futuristic uncial typeface (if you can picture such a beast!) Saoirse Smalls (2006). [Google]
[Unicode Fonts for Ancient Scripts]
Dublin-based creator of the Gaelic uncial round typefaces Petrie A (also called Irish Archaeological Society 1 and 3), ca. 1835, and Petrie B (Irish Archaeological Society 2), ca. 1850. The Gaelic Modern round typeface Petrie C (also known as Thom) is due to Alexander Thom (ca. 1856). Petrie made the Gaelic modern angular typeface Newman (or: Keating Society) around 1857. That typeface was digitized as Gaeilge (1991) and Bunchló (1996). Brendan Leen explains: The artist and antiquary George Petrie occupies a central position in the history of Irish character typography in the nineteenth century. In 1830, Petrie purchased a holograph copy of the Annals of the Four Masters and, shortly afterward, commenced the design and production of an Irish type suitable for the printing of the Annals. An artist of contemporary renown, Petrie possessed a sound knowledge not only of the aesthetics, but also of the mechanics and technology of print production. The Petrie type continued to be used in the Clann Lir periodical, printed until 1922 by Colm Ó Lochlainn at the Sign of the Three Candles, Temple Bar, and by the National University of Ireland until 1957 for the setting of its examinations in Irish. Sample. About the Newman type, inspired by the Book of Hymns, and commissioned by Cardinal John Henry Newman, Leen writes: A typeface that owed more to the minuscule calligraphic tradition was prepared specifically for the Catholic University of Ireland, also by George Petrie. In order to avoid confusion with the earlier, half-uncial Petrie designs is generally referred to as the Newman type. [Google]
George Williams's site (now defunct) site was a discovery! George Williams (b. 1959) wrote spline-generating code and then went on to produce several fonts with his software between 1987 and 1998:
- Art nouveau style: Carmen, Ambrosia (1989), Fantaisie Artistique, Baldur, Monopol, Parisian, Peignot, Bocklin, Edda.
- Lombardic: Lombardic.
- Victorian: Caprice, Ringlet.
- Uncial: Uncial Animals, Roman Uncial Modern.
- Ornamental caps: Versal, Decorative, Square Caps, Extravagant Capitals, Floral Caps, Morris, Andrade.
- Display typefaces: Crystal, Flash, Cupola, Santa Barbara Streets (2013-2014; after the street signs in Santa Barbara, CA).
- Blackletter: Rotunda (1998), Bastarda, Textura Modern, Fractur (a remake of Wittenbach).
- Art deco: Piccadilly, Mirage (1999, prismatic).
- Calligraphic: Humanistic.
- Text: Caslon.
- Slab: Monospace.
- Sans: Caliban.
- Bamboo Gothic (2007).
- TIS620-2529 (a Thai font).
George Williams writes: I have been slowly working to provide free unicode postscript fonts for the three major groupings of styles used by European (Latin, Greek and Cyrillic anyway) type designs: serif, sans-serif and typewriter (or Times, Helvetica and Courier). Monospace is my approximation to Courier. Close examination will reveal that it is a bad copy of courier. Caslon Roman (1992-2001) is a serif font (designed by William Caslon in 1734), it's not a bad copy of Times, it's a bad copy of something else. Caliban is a bad copy of Helvetica. If Microsoft can call their version of Helvetica Arial, then Caliban seems appropriate for mine. Yet another URL.
George Williams is best known as the inventor and creator of FontForge, the bigest and best free font editor today. It made him the darling of the Open Software community. Interview with OSP.
Fontspace link. Dafont link. Abstract Fonts link. [Google]
Diplom Engineer and painter from Hamburg who designed or digitized over 210 Fraktur fonts [see my compilation of his list]. He is heavily involved in the Bund für Deutsche Schrift und Sprache. Helzel is the designer at Delbanco-Frakturschriften of DS-DtWerkschrift (1997), DS-Fruehling (1996), DS-MaximilianGotisch (1994), DS-MaximilianTitel (1994), DS-Post-Fraktur (1997). He has hand-digitized over 200 Fraktur fonts, including
- BreitkopfInitialen (2000). Breitkopf Fraktur was made in the 18th century.
- ElementSchmalfett (1998). Element is a modern Textura by Max Bittrof (1933, Bauersche Giesserei).
- Fichte Fraktur, after M. Tiemann, 1934.
- GotenburgA and GotenburgB (1998-2000). Gotenburg was originally designed by Friedrich Heinrichsen (1935-37, Stempel AG).
- HamburgerDruckschriftFett (1996). Hamburger Druckschrift is due to Friedrich Bauer (1904, Genzsch&Heyse). According to "Blackletter: Type and National Identity", Hamburger Druckschrift "is an accomplished entry in this category of hybrid typefaces made before the 1st World War. They work within the black-letter tradition while borrowing lighter weight, softer curves and more open proportions from roman. Bauer maintained the structure of broken script, but subdued any flourishes. The width of his letters are generally wider than in traditional frakturs and, as in Jugendstil hybrids, some lowercase letterforms are modernized." It has been used as headliner for "Hamburger Nachrichten" which was stopped by the Nazis in 1939. Today's "Hamburger Abendblatt", the daily Hamburg Times, is still using it as headliner.
- Humboldt Fraktur (2000, gross and klein). Humboldt Fraktur was made originally by Hiero Rhode (1938, Stempel AG).
- KochFrakturSchmaleHalbfette (2000). This font is due to Rudolf Koch (1910-1921, Gebr. Klingspor), and was originally named Deutsche Schrift. Digitized in 1998.
- Mainzer Fraktur. After an original in 1901 by Carl Albert Fahrenwaldt.
- Mars Fraktur (1995, free family).
- RatdoltRotunda (1998). Named after Erhard Ratdolt (1443-1528), typesetter. Designed by Wolfgang Hendlmeier in 1989. Available at Delbanco. Tannenber (after E. Meyer, 1934).
- Weber Fraktur.
- WieynckGotischLicht (2001). A font by by Heinrich Wieynck (1926, Schriftguss Dresden), inspired by William Morris' work.
Helzel also offers a free "Frakturconverter" program for Windows which transforms Antiqua fonts into Fraktur fonts.
List of his fonts as of 2009: (Anker-)Schul-Fraktur, Accidenz-Gotisch, Akzidenz-Gotisch, Aldine, Albion-Gotisch, Alt-Fraktur, Alt-Gotisch (Bradley), Alt-Deutsch (after Ferdinand Theinhardt, 1851), Alte Münchner Fraktur (after a 1850 typeface by Gustav Lorenz), Alte deutsche Schreibschrift, Alte Schwabacher, Amts-Fraktur (after Heinrich Wilhelm Hoffmeister), Andreae Fraktur, Andreas-Schrift, Angelsächsisch, Angelsächsisch, Verzierte, Antike Gotisch, Aramäische Quadratschrift, Astra, Bastard, Bernhard-Fraktur, Bismarck-Gotisch, Breite deutsche Anzeigenschrift, Breite Kanzlei, Breitkopf-Fraktur, Britannia (Alt-Gotisch), Büxenstein-Antiqua, Büxenstein-Fraktur (after a house style at D. Stempel, 1912), Canzlei, Caxton, Caxton-Type, Claudius, Courante Gotisch, Danziger Fraktur (after A. W. Kafemann), Derby, Deutsche Reichsschrift (after a 1910 typeface by Wilhelm Woellmer), Deutsche Schrägschrift, Deutsche Schreibschrift (Bismarck-Zeit and Goethe-Zeit: school fonts), Deutsche Schrift, Deutsche Werkschrift, Deutsche Zierschrift, Deutsch-Gotisch, Deutschland, Dresdner Amts-Fraktur, Eckmann-Schrift, Einfache Kanzlei, Elegant, Element, Enge Gotisch (2008, after an 1880 font by Bauersche Giesserei), Enge moderne Kanzlei, Enge König-Type, Enge Kanzlei, Englische Antiqua, Faust-Fraktur, Fette Gotisch, Fette Schwabacher, Fichte-Fraktur, Fractur, Französische Antiqua, Frühling-Fraktur (1997, after Koch's original from 1917), Garamond-Antiqua, Genzsch-Antiqua, Germanen-Fraktur (this is the same as Stempel's Normannia from 1905), Germanisch, Goethe-Fraktur (after Wilheml Woelmmer), Gotenburg, Graeca, Gronau-Gotisch (after Heinrich Ehlert, 1850), Gursch-Fraktur, Gutenberg-Fraktur, Gutenberg-Bibelschrift, Gutenberg-Gotisch, Haenel-Antiqua, Halbfette Aldine, Halbfette Kanzlei, Halbfette Normalfraktur, Halbfette Schwabacher-Flinsch, Halbfette Wallau, Hamburger Druckschrift, Hamburger Fraktur, Hamburger Schwabacher, Hammonia-Gotisch, Hansa-Fraktur, Hansa-Gotisch (after a Genzsch & Heyse original), Hebräisch, Hellenistische Antiqua "Graeca", Hölderlin (after Eugen Weiss, 1927), Holländische Gotisch, Hoyer-Fraktur, Humboldt-Fraktur, Hupp-Fraktur, Ideal-Fraktur, Jean-Paul-Fraktur, Jubiläumsfraktur, Kaiser-Gotisch, Kanzlei, Karl-May-Fehsenfeld-Fraktur, (after a 1870 font used in the Karl-May books) Karl-May-Radebeul (after a 1890 font used in the Karl-May books), Kirchengotisch, Moderne, Kleist-Fraktur, Kleukens-Fraktur, Koch-Antiqua, Koch-Fraktur, König-Fraktur G14, König-Type, Kühne-Gotisch, Kühne-Schrift, Kurante Gotisch, Kurmark, Lichte National, Liebing-Type, Liturgisch (after Otto Hupp, 1906), Logos, Ludlow-Wartburg-Fraktur (after Ludlow, ca. 1920), Magere Wallau, Mainzer Fraktur, Manuskript-Gotisch, Mars-Fraktur, Maximilian-Gotisch, Mediaeval-Gotisch, Leipziger Altfraktur (after a 1912 typeface by Carl Kloberg), Midoline (after Jean Midolle's typeface from 1840 at Julius Klinkhardt), Moderne Kanzlei, Moderne Kirchen-Gotisch (based on an original from ca. 1880), Mönchs-Gotisch, Morris-Gotisch (Uncial-Gotisch, Unzial-Gotisch, after Emil Gursch), Münster-Gotisch, Neu-Gotisch klein, Neudeutsch(-Hupp), Neue (moderne) Fraktur, Neue Schwabacher, Nordisch-Antiqua, Normal-Fraktur (1999, after the font by Gustav Schelter, 1835), Normannia-Fraktur, Nürnberg, Offenbach, Post-Fraktur, Psalter-Gotisch, Ratdolt-Rotunda, Reklame-Fraktur halbfett, Renaissance-Fraktur, Renaissance-Kanzlei, Renata (after a Schwabacher of the Bauersche Giesserei, 1914), Richard-Wagner-Fraktur, Romeo Fraktur (2009, after a Stempel font from 1910), Rundgotisch, Russisch-Römisch, Salzmann-Fraktur, Schmale Accidenz-Gotisch, Schmale Haas-Gotisch, Schmale halbfette Fraktur, Schmale halbfette Gotisch, Schneidler-Schwabacher, Schraffierte Gotisch "Stella", Schreibschrift, Schul-Fraktur, Schwabacher, Schwabacher Mager Gross (after Albert Anklam, 1876), Sonderdruck-Antiqua (2008, after a 1913 typeface by Deberny and Peignot), Stahl (2007, after a 1937 typeface by Hans Kühne), Stahl Kursiv (2009, after Hans Kühne), Stella, Stempel-Fraktur, Straßburg (a blackletter based on fter H type by H. Berthold, 1926), Tannenberg, Thannhaeuser-Fraktur, Tiemann-Fraktur, Tiemann-Gotisch, Tiemann-Mediaeval, Unger-Fraktur, Verzierte Angelsächsisch, Verzierte Musirte Gotisch, Victoria-Gotisch (Viktoria-Gotisch), Wallau, Wartburg-Fraktur, Weber-Fraktur, Weiß-Fraktur, Werkschrift Germanisch, Wieynck-Gotisch, Wilhelm-Klingspor-Gotisch, Wohe-Kursive (after Wolgang Hendlmeier, 1988), Wohe Textura (2009, after Wolfgang Hendlmeier), Zeitungs-Fraktur, Zeitungs-Schwabacher (halbfette Neue Zeitungs-Schwabacher, to be more precise---based on a 1900 typeface by Pustet), Zentenar-Buchschrift.
Catalog from 1996. Article in 1995 by him on Normal Fraktur. Another catalog, in pieces: I, II, III, IV, V, VI, VII, VIII. Antiqua catalog. [Google]
Gilles Le Corre
[GLC --- Gilles Le Corre]
Giraldo Fernandes de Prado
Or Giraldo del Prado (b. ca. 1535, d. Almada, 1592). Paulo Heitlinger writes about him in Cadernos vol. 16, 2010. De Prado was a painter, and acted as the calligrapher of the Teodosio II, the duke of Bragança. His home was in Guimaraes, but from 1580 on he lived in Almada. Author of the writing manual Caderno manuscrito de Caligrafia (1560, Lisbon). He seems to have been the first calligraphy specialist in Portugal. Heitlinger used Prado's examples to make his Lomabardian typeface Uncialis in 2009. Scans: Geometrically formed letters, Chancery hand (1560-1561), Another chancery hand (same year), And another one, Gotica rotunda (1560-1561). [Google]
GLC --- Gilles Le Corre
[Gilles Le Corre]
French painter born in Nantes in 1950, who lives in Talmont St Hilaire. His fonts include 2010 Cancellaresca Recens (inspired by a chancery type of Francisco Lucas from the late 16th century), 2009 Handymade (comic book style), 2009 Lollipop (chancery style), 2009 GLC Plantin, 2009 Primitive (2009, a rough-edged roman script), 2008 Script 2 (2008), GLC Ornaments One (2008) and 2008 Xmas Fantasy (2008: blackletter). In 2008, he started GLC -- Gilles Le Corre and became commercial. Creative Market link. He is best known for his historic revivals:
Creative Market link. [Google]
- 161 Vergilius (2010)
- 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
- 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
- 825 Karolus (2009), and 825 Lettrines Karolus (2009).
- 1066 Hastings (2009).
- 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
- 1420 Gothic Script (2008).
- 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
- 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenberg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
- 1462 Bamberg (2008).
- 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
- 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
- 1470 Jenson-SemiBold (2008).
- 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
- 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
- 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
- 1484 Bastarda Loudeac (2008).
- 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
- 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanist script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
- 1492 Quadrata (2008).
- 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
- 1495 Bastarda Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
- 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
- 1509 Leyden (2008; inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
- 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
- 1512 Initials.
- 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
- 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 typeface published in La Operina.
- GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
- GLC 1525 Durer Initials (2010). Sample R.
- 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
- 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
- 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
- 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
- 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
- 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
- 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
- 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
- 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
- 1543 HumaneJenson-Bold (2008, after the typeface used in Vesalius' 1543 book De humani corporis fabrica).
- 1543 HumaneJenson-Normal (2008, same source).
- 1545 Faucheur (2011) is a rough garalde typeface that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
- 1546 Poliphile (2009), nspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
- 1550 Arabesques (2008, caps).
- 1557 Civilité Granjon (2010).
- 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
- 1565 Renaissance (2010), inspired by French renaissance decorated letters.
- 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
- 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
- 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
- 1585 Flowery (2009): inspired by French renaissance decorated letters.
- 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
- 1590 Humane Warszawa is a rough-edged garalde typeface inspired by a font carved circa 1590 for a Polish editor.
- 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
- 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
- 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
- GLC 1619 Expédiée (2015). A grungy Civilté.
- 1621 GLC Pilgrims (2010).
- 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
- 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
- GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
- 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
- GLC 1669 Elzevir (2011) was inspired by the font typefaces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
- GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
- GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
- 1682 Writhed Hand: very irregular handwriting.
- 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
- 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
- 1695 Captain Flynt.
- 16th Arabesques (2008, an exquisite ornamental caps scanfont).
- 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
- GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
- 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
- 1742 Frenchcivilite (2008).
- 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
- 1756 Dutch (2011).
- 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
- 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
- 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
- 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
- 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
- 1791 Constitution (2011).
- 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
- 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
- 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
- 1809 Homer (2011), a grungy typeface named after the "homer" message pigeons.
- 1815 Waterloo (2008): a handwriting typeface originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
- 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
- 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
- 1845 Mistress (2009): calligraphic script.
- 1848 Barricades Italic, a quill pen italic.
- 1859 Solferino (2009).
- 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
- 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
- 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
- 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
- 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
- 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
- 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
- GLC 1886 Romantic Initials (2012).
- 1890 Registers Script (2008): inspired by the French "ronde".
- 1890 Notice (2009): a fat didone family.
- 1902 Loïe Fuller (art nouveau face).
- 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
- 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
- 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
- 1906 Titrage (2009): a didone headline typeface from the same newspaper.
- Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
- 1920 French Script Pro (2010).
- 1920 My Toy Print Set, 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
- 1968 GLC Graffiti (2009).
- 1917 Stencil (2009; with rough outlines).
- 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
- 2009 Primitive (2016).
- 2009 GLC Plantin Pro (2016).
- 2010 Pipo Classic: a grungy typewriter slab serif family.
- 2010 Cancellaresca Recens (2016).
- 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
[Kalligarfie 't Veertje]
Example of a gothic uncial alphabet, dated 1349, and found at St. Margaret's, King's Lynn, England. Here is another example from the XIVth century. [Google]
[Frederic William Goudy]
List of Goudy's typefaces, with dates, compiled by Paulo W. 1896 Camelot. 1897 Unnamed, A Display Roman. 1898 DeVinne Roman. 1902 Pabst Roman. 1903 Pabst Italic, Powell, Village. 1904 Cushing Italic, Boston News Letter, Engravers Roman. 1905 Copperplate Gothics, Caxton Initials, Globe Gothic Bold, Caslon Revised. 1908 Monotype No. 38-e, Monotype No. 38-e Italic. 1910 Norman Capitals. 1911 Kennerley Old Style, Kennerley Open Caps, Forum Title. 1912 Sherman, Goudy Lanston. 1914 Goudy Roman. 1915 Klaxon, Goudy Old Style, Goudy Old Style Italic. 1916 Goudy Cursive, Booklet Old Style, National Old Style (often used in silent movies), Goudytype. 1917 Advertisers Roman, An Unnamed Design. 1918 Kennerly Italic, Cloister Initials, Hadriano Title, Goudy Open, Goudy Modern. 1919 Collier Old Style, Goudy Modern Italic, Goudy Open Italic, Goudy Antique. Mac McGrew about Collier Old Style: Collier Old Style was designed by Frederic W. Goudy in 1919 as a private type for Proctor&Collier, a Cincinnati advertising agency, which had its own printing plant. Matrices were engraved by Robert Wiebking. Goudy has remarked that this typeface "seemed to me to give a quality akin to that given by William Morris's Golden type without, however, imitating that famous letter." Fonts were apparently cast for Goudy by ATF, for these matrices were among those given by ATF to the Graphic Arts Division of the Smithsonian Institution in 1970, and used for a special revival casting in 1982 by the Out of Sorts Letter Foundery. 1921 Nabisco, Lining Gothic, Garamont, Garamont Italic, Goudy Newstyle. Mac McGrew: National Oldstyle was designed by Frederic W. Goudy for ATF in 1916. It is based on lettering he had done about fifteen years earlier for National Biscuit Company, hence the name. It was moderately popular for a while for publication and advertising display work, and for titles for silent motion pictures. Compare Nabisco. 1924 Goudy Italic, Italian Old Style, Italian Old Style Italic, Kennerly Bold, Kennerley Bold Italic. 1925 Goudy Heavy Face, Goudy Heavy Face Italic, Marlborough, Venezia Italic. 1926 Aries [image by Nikolas Matses]. 1927 Goudy Dutch, Companion Old Style, Companion Old Style Italic, Deepdene, Record Title, Goudy Uncials. 1928 Deepdene Italic, Goudy Text. 1929 Strathmore Title, Lombardic Capitals, Sans Serif Heavy, Kaatskill, Remington Typewritter. 1930 Inscription Greek, Trajan Title, Sans Serif Light, Mediaeval, Hadriano Lower-case, Advertisers Modern, Goudy Stout, Truesdell. 1931 Truesdell Italic, Deepdene Open Text, Deepdene Text, Ornate Title, Sans Serif Light Italic, Deepdene Medium. 1932 Goethe, Franciscan, Deepdene Bold, Mostert, Village No. 2, Quinan Old Style, Goudy Bold Face, Goudy Book. 1933 Goudy Hudson, Goethe Italic, Deepdene Bold Italic. 1934 Saks Goudy, Saks Goudy Italic, Saks Goudy Bold, Hadriano Stone Cut, Village Italic, Hasbrouck. 1935 Tory Text, Atlantis, Millvale. 1936 Bertham, Pax, Mercury, Sketches Unnamed, Sketches Unnamed. 1937 Friar. 1938 University of California O.S., University of California Italic, New Village Text, Murchison. 1939 Bulmer. 1941 Scripps College Old Style. 1942 Goudy Thirty. 1943 Spencer Old Style, Spencer Old Style Italic. 1944 Hebrew, Scripps College Italic, Marlborough Text. [Google]
Greek Uncial fonts
Greek uncial metafont. [Google]
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 called "Double Pica Union Pearl", or simply "Union Pearl". This elegant decorative script face, which is the first known English decorated letter (ca. 1690), later became a Stephenson Blake typeface. Designers of a Greek typeface in 1694 (some say 1894), based upon the Greek of the Complutensian Polyglot of 1514. According to "Fleuron", vol. 6, p. 231, this typeface was surpassed by Victor Scholderer's "New Hellenic" (1928). [Google]
Günter Gerhard Lange
Known to his peers as GGL. German type designer, born in Frankfurt-an-der-Oder in 1921, d. 2008. He fought in World War II and lost his leg in a battle in France. Starting in 1941, Lange studied as apprentice of Georg Belwe at the Academy of Graphic and Book Arts in Leipzig. After graduation in 1945, until 1949, he was assistant of Professor Walter Tiemann, while also practicing painting and graphic design independently. In 1949, he continued his studies with Professors Hans Ullmann and Paul Strecker at the Hochschule für Bildende Künste in West Berlin. From 1950 onwards, he worked at Berthold AG in Berlin, where he designed his first type, Arena in 1951. In 1955, he became Reader in Typography at the Meisterschule für Graphik, Druck und Werbung in West Berlin. One of his many students was Manfred Klein. He also was Advisor in Visual Communications and Reader at the U5 Academy of Graphic Design and Art Direction Munich, and Instructor at the School of Applied Art in Vienna. H. Berthold AG's artistic director from 1961 to 1990, Lange was responsible for the creation and meticulous production of many of Berthold's typefaces. According to Dieter Hofrichter, his motto was 8 point is the moment of truth (when proofing typefaces). In 1989 he received the Frederic W. Goudy Award from the Rochester Institute of Technology (RIT). Recipient of the year 2000 TDC medal. After ten years of retirement from his position as Berthold AG's artistic director, Lange resumed his design activities in 2000 at Bertholdtypes (now Berthold Direct Inc) in Chicago. Bio at ATypI.
Lange's own designs include his revivals of many classical typefaces. Here is a list, all Berthold typefaces:
- Akzidenz Grotesk AG Book (1969-1972; see Atkins on the SoftMaker MegaFont XXL CD, 2002), AG Book Stencil Pro, AG Old Face (1984), AG Schoolbook.
- Arena (1951-1959): a condensed stocky roman. Now called Arena New.
- Berthold Baskerville (1961). Berthold Baskerville Book appeared in 1980.
- Berthold Bodoni Old Face (1983; see Giambattista on the SoftMaker MegaFont XXL CD, 2002).
- Bodoni Antiqua (1935).
- Boulevard (Berthold, 1955; imitated by Opticast (Brandenburg), Greenstreet (Koepenick), and in Regency and Francis No.982).
- Caslon Buch (1977).
- Champion (1957, a paint brush typeface revived in 2010 by Ray Larabie as Gloss).
- Concorde (1969; see C791 Roman on the SoftMaker MegaFont XXL CD, 2002, CJ by Itek, Chinchilla by Scangraphic, Transport by Varityper, Contus by URW, Dutch 809 by Bitstream, and Concept by SoftMaker), Concorde Nova.
- Deepdene (1982-1983), a revival of Frederick Goudy's Deepdene of 1927-1934.
- Derby (1952-1953). This script typeface was digitally revived by Gerhard Helzel.
- El Greco (1964).
- Franklin Antiqua (1976; see F820 Roman on the SoftMaker MegaFont XXL CD, 2002).
- Berthold Garamond (1972).
- Imago (1982).
- Publica. This Peignotian sans typeface was the source of inspiration for Ralph M. Unger's Bravura Pro (2013).
- Berthold Script (1977; see B690 Script on the SoftMaker MegaFont XXL CD, 2002).
- Solemnis (1952-1953, refreshed in 2003; a hybrid uncial remade by Harold Lohner in 2000).
- Walbaum Buch (1975) and Walbaum Standard (1976).
- Whittingham (with Dieter Hofrichter, 2000).
Yvonne Schwemer-Scheddin writes a day after his death: Dear type friends, yesterday morning, the 2nd of December 2008, Günter Gerhard Lange died, 87 years old. We lost an upright, steadfast fighter for quality in type design. Not only Berthold's artistic director, but a friend and objective adviser to many who needed personal help or an evaluation in type design. GGL was Berthold. For Berthold GGL "enhanced" many type designs of other well known type designers. His valued critizism was a great help, because it came from a positively tuned man. GGL transferred the lead heritage and its classical type typefaces into photocomposition and into the digital format on a high aesthetic and historically authentic level - as for instance Garamond or Van Dijk. Akzidenz-Grotesk is not thinkable without GGL. Bodoni Old Face one of the best contemporary text typefaces. With his sans serif Imago you can be different and yet classical. And the Americans should be pleased with the revival of Deepdene, which he also turned into a well working textface with a distinct character. But perhaps most important of all, he relentlessly encouraged the young, teaching and talking up to almost the end. Thus opening fences, eyes and hearts to art, architecture, literature and for the values of studies and love for the correct details without which the whole would not function. He was a rare communicator, because he lived his convictions and values. He became an example, a light of orientation. We lost a passionate type lover and expert---an authentic man. An era has come irreversible to its end.
Credit for some images below: Danielle West. [Google]
Hackberry Font Foundry (Was: NuevoDeco Typography, or: Bergsland Design)
In 2009, Hackberry Font Foundry grew out of NuevoDeco Typography, which in turn was a commercial foundry that formed part of Bergsland Design located in Mankato, MN, and before that, Las Lunas, NM, and run by David Bergsland (b. 1944, Buffalo, NY), a 1971 graduate of the University of Minnesota. Author of Practical Font Design: 2nd Edition: Rewritten for FontLab 5. Klingspor link. Creative Market link, as Radiqx Press. His fonts:
View David Bergsland's typefaces. [Google]
- Aargh!- Light and Heavy.
- Abiquiu Black.
- Ablati (2009)
- Out of Nuevo Litho (1993) appeared Abrect (2009).
- Academi (2010).
- Adieu (1998). Adieu Two (2006, an almost blackletter script).
- The high-ascendered and bouncy sans typeface Aerle (2009).
- Aero Script (2001, and its extension, JargonPro, 2004)
- Aggressian (2012). An angular and angry typeface.
- Akme Pro (2002). Akme (2002, an industrial sans family).
- Albe Sans (2000).
- Allektra (2002).
- Altra (2006).
- AmeriDistort (old typewriter, Seamus Mills).
- Amico (2008, a sans family).
- Amitale (2008). Amitale (2008) has eight styles in each of AmitaleBook and AmitaleWide.
- Aramus (2008). Aramus is an old style text face.
- Archaic Penpoint Pro (2004, stylish blackletter).
- Ardone Book (2007, garalde, a close relative of his own Diaconia Old Style, which in turn was influenced by the 19th century Dutch bible font, Minister (Linotype)). Ardone Book (+ Italic) is accompanyied by a sans called Arinar, and a slab serif called Alexandrya.
- Artichoke (2007). A calligraphic printed script typeface with rough outlines, which according to the typophiles is a shameful clone of Chris Costello's Papyrus.
- Out of Aramus grew Artimas (2009), a "book" family with tall ascenders.
- Arturo (2008). A flared sans serif based on an alphabet found in Dan Solo book.
- Artz (2002).
- Astaire Pro (2004). He writes: This is a deco-style text OpenType Pro font loosely based on Koch's Locarno as seen in KochAltschrift a recent free German tribute to Koch's work. I was familiar with Meeks' Letraset presstype version called Locarno, but I never liked the proportions used by either Meeks or Koch. So I radically revised ascender, descender, and x-height to make them more usable.
- Auntie Pat (2008). A decorative script face.
- Avenue (2002)
- Beatz (by or with Seamus Mills).
- Bergsland Engravers Pro (2005).
- Bergsland Display (2005).
- In 2005, he created Bergsland Fashion and Bergsland Round
- Bergsland Pro.
- Bilbo Black.
- Bilbo Pro Fiesta.
- Bjorgi Pro (2004).
- Bling (2009).
- Brinar (2006). A Koch-inspired slightly playful humanist sans text family.
- Buddy (2010). Buddy Slender (2011) is an informal display sans family.
- Bushing (2010). An interpretation of Cushing No. 2 by ATF.
- Chunkie (2010).
- Contenu (2010). A text book family. Followed by Contenu EBook (2012).
- Cushing Two (2011).
- Cutlass (2010). Uncial, created in a swashbuckling style.
- Diaconia Old Style (1994-2001).
- In 2006, he added Fiscal, a squarish sans typeface
- For his book Practical Font Design With FontLab 5, David Bergsland designed a set of text typefaces in 2016,, Librum, Librum Sans, Librum E, and Bream (the display version of Librum).
- NuevoLitho (1993).
- Poniard (2011). A medieval script.
- Sturdy (2006, heavy sans).
Half Uncial English
A primitive uncial style that was practiced in the eighth century. [Google]
Harold Lohner was born in upstate New York in 1958. He received an MFA in printmaking from the University at Albany and is Professor of Visual Arts at Sage College of Albany. He began making fonts in 1997 and starting distributing them the next year through Harold's Fonts. He lives in Albany, NY, with his partner, Al Martino. Originally, most of his typefaces were freeware or shareware, but gradually, he started selling most on his site or via FontBros. His typefaces:
- Famous fonts: Boom Chicka (2013: a set of three cartoon fonts inspired by the poster for the Marilyn Monroe film, The Prince and the Showgirl (1957), designed by Bill Gold), Auteur (2007, after the handwriting in the opening titles of Jean Cocteau's The Beauty and the Beast, 1946), 12 to the Moon (2000, runes based on the Columbia Pictures movie "12 to the Moon"), Aardvark Café (2000, extrapolated from the famous Hard Rock Café logo), BENSFOLK (2000, adapted from the work of Ben Shahn, in turn adapted from "folk or amateur" alphabets. Font originally developed for The Arts Center of the Capital Region.), BENSFOLK CONDENSED (2000), Bensgothic (1998), BensgothicLigatures (1998), CALAVERAS (2002, a take on Daisyland), Comet Negative (2000, based on the logo of Country Music Television (CMT)), Comet Positive (2000), HonestJohns (2000, based on the lettering in the classic Howard Johnson's restaurants logo), METRODF (2000, based on the Mexico City subway's lettering), Radio (2002, derived from the old NPR (National Public Radio) logo).
- Handlettering: Empress Monograms (2014), Frank the Architect (2004, +Bold, 2009: after the lettering of architect Frank Ching), National Archive (2009, calligraphic), Rough Draft (2009, sketched font), Greg's Hand (2009), Rudland Hand (2007, inspired by the work of the British artist and designer Peter Rudland), Gamera (2006), Directors Script (2006, based on a film credits script from the 1940s), National Archive (2005, based on the lettering of Timothy Matlack, who wrote the Declaration of Independence), Frank the Architect (2004, based on Frank Ching's lettering, which also gave rise to the Tekton family), Imitation (2003, inspired by the handlettered titles of the film Imitation of Life (1959), directed by Douglas Sirk and artdirected by Richard H. Riedel), Imitation Two (2004), antiestablishment (2000), Christmas Card (2000, based on the handlettered opening titles of the film "It's a Wonderful Life", Art Director: Jack Okey. This font was retired and replaced in 2006 by Testimonial), Espangle (2002, as the lettering for El Corte Ingles), Dad's Recipe (2000, based on his dad's handwriting), Greg's Hand (2001, Greg Smith's writing), Greg's Other Hand (2002), Kaela (1998, reshaped and extended in 2006), Marker Man (1999), Synch (2000, with Phil Campbell, inspired by the work of the artist Stuart Davis), Synchronous (2000, based on Syncopated Script, again made with Phil Campbell), Syncopated Script (1999).
- Blackletter: Waldorf Text (2011, after a 1914 original), Waldorf Heavy Illuminated (2011), Manucrypt (2011), Rude Goth (2007, grunge blackletter), Alsace-Lorraine, Benighted, Chinese Gothic, Christmas Card II, Kombine Regular, Kombine Kursiv (2000), Olde Chicago.
- Woodtype: Blacktops (caps, 1999), Blacktop Small Caps (1999), Blacktop Regular (2014), Cinderella (1998). The Western font Cattle Annie (2006) is an unauthorized digital interpretation of the analog font "Les Catalanes." According to ABZ: More alphabets and other signs by Rothenstein and Gooding, it was designed in 1952 by Enric Crous-Vidal (1908-1987) but was never produced.
- Stencil fonts: JJ Stencil, JJStencilLight (2000, inspired by the work of Jasper Johns), JJStencil Wet, JJStencilMedium, Sideshow (2000, based on the stencilled lettering on a vintage Ouija board), JJStencilSolid (2003), StencilFour (2001, inspired by the logo of Channel 4 (UK); reworked in 2006 into Oaktag), StencilFourReversed (2001).
- Western: Oklahoma (2006, based on the title of the film by that name), Captain Howdy (1999, 2000, Western font based on the lettering on a Ouija board).
- Fraktur fonts: Benighted (2002), AlsaceLorraine (2000), Chinese Gothic (2000), Kombine Regular (2000), Kombine Kursiv (2000).
- Revived Letraset fonts: BLOCK UP family (2000, based on the font family by the same name by Sally Ann Grover (1974) for Letraset), Good Vibes (2001, based on the analog font "Good Vibrations" by Trevor Hatchett for Letraset, 1973), GoodVibesBackbeat (2001), ObliqueTextBold (2000, based on a Letraset font called Obliq, 1984), ObliqueTextLight (2000), ObliqueTextMedium (2000), Wireframe (2000, based on the Letraset font Bombere designed by Carla Bombere (or Carla Ward)).
- Art deco fonts: Cartel (2005, simply gorgeous), based on the lettering of the 1936 movie by that name), Crazy Harold (2009), Road Jester (2009), Onion (2003), Roberta (2003, based on a font of Bob Trogman, 1962), Roberta Raised Shadow (2003), Boomerang family (1998-2000), LeFilmClassic family (2000, based on the classic Art Deco font of the same name, originally designed by Marcel Jacno and released by Deberny&Peignot, 1927), LeFilmLetters (2000), LeFilmShadow (2000), PopUps (1998, a 3-d art deco font for signboards), Tapeworm (1998, based on the work of artist Ed Ruscha), Farouk (2001, a five-line art deco font, based on an analog font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; in fact, the original source should be Fatima, a font designed by Karl Hermann Schaefer in 1933 at Schriftguss, and a copy of it at FT Française was called Atlas (1933). Lohner renamed Fatima to Atlas at some point, and added Atlas Solid, still in 2001).
- MICR fonts: CMC7 (1998).
- Dingbats: Everyday People (2013, silhouettes), Bingo Dingo (2011, inspired by the classic Mexican game, Loteria), Essene Dingbats (2005), Chapeau (2005, inspired by the 1902 Sears Catalog), Corset (2005, inspired by the 1902 Sears Catalog), Harold's Pips (2004), Alpha Bravo (2003), Rebus, AmericanCheese (1999), Candide Dingbats (1999, a reclinming women dingbat typeface based on decorations designed by Rockwell Kent for "Candide," circa 1928), Maritime Flags (2000), New Year Dingbats (1999: Japanese patterns).
- Monospace fonts: Chica Mono (2000, based on Apple's Chicago; not really monospaced, by the way), Queer Theory Black, Bold, Regular and Light (1999).
- Arabic simulation typefaces: Alhambra (2006), Alhambra Deep (2006).
- Oriental simulation fonts: Bruce Mikita (+Solid) (after a metal font by the same name; Dan Solo calls it Lantern), Pad Thai (2006), Mystic Prophet (2002, inspired by Ouija boards), Chines Gothic, Font Shui (inspired by a style of hand-lettering illustrated in Alphabets: Ancient&Modern, compiled by J. B. Russell (Padell, 1946), Rubaiyat Shadow and Inline, Seoul (Korean font simulation), Shazi, Twelve to the moon, Chow Fun (2001, an oriental simulation typeface based on a sample of hand lettering identified as "Crooks' Stencil Designed Alphabet" in Alphabets: Ancient&Modern, compiled by J. B. Russell and published in 1945 by Padell Book Co), Quasi (1998).
- Cartoon fonts: Laughtrack (2009, based on the work of the cartoonist Jerry Robinson), CokerOne (2000, based on the work of cartoonist Paul Coker Jr), Coker Two (2000) (note: therse fonts were erroneously named. They were renamed to Denney because of this: "The lettering in the fonts you have was developed by Alan Denney at Hallmark in the late 1950s. He also worked for American Greetings Hi Brows from 1960 - 1966 and then returned to Hallmark.... And he later went to a different lettering style when Shoe Box cards became Hallmark's funny card line replacing Contemporary Cards. Alan retired from Hallmark in 1993 and died two years later."), ZITZ (2000, based on the hand lettering in the King Features daily strip "Zits" by Jim Borgman and Jerry Scott), Ohmigosh (2007: 12 styles of comic book lettering).
- Dot matrix fonts: Fortuna Dot (2001).
- Pixel fonts: Larcher (based on a modular font designed by Jean Larcher).
- Medieval script fonts: Sonnet Italic&Swash (2009), Galathea (2000, based on a classic analog font of the same name, "Originalerzeugnis von J. S. Schelter&Giesecke, Leipzig").
- Fonts made in 2015: Ace of Clubs, Roberta (after Bob Trogman's art nouveau font Roberta, 1962).
- Fonts made in 2013: OK Monograms (retro-futuristic), Splunge (based on Franklin Gothic).
- Fonts made in 2012: Humerus (Halloween font inspired by the opening credit sequence of Abbott and Costello Meet Frankenstein, 1948), Retrospace (inspired by the hand-lettered opening credits of the film Some Came Running (1958)), Toynbee Idea (free font based on Toynbee tiles), Hymn (scanbat).
- Fonts made in 2011: Institute Stamps (grunge), Magic Carpet, Shoemaker (shoe stitch face).
- Fonts made in 2010: Salmagundi (grunge), Dynamotor (like Dynamo, which was designed by K. Sommer and first released in 1930), Poignant (inspired by the hand-lettered film titles of certain mid-1900s films from Twentieth-Century Fox, including "All About Eve", "Gentleman's Agreement" and "No Way Out."), Pharmacy MMX (unicase), Karta (3d face), Flores MMX.
- Fonts made in 2009: Wexley (revival of a VGC font called Wexford), Sonnet (based on the printed text of Shakespeare, 1609), Fashion Brush, Fashion Script, Imitation One, Two, and Three, Generation B (all at Font Bros), Gainsborough (2009, an art deco typeface inspired by the hand-lettered titles of an Alfred Hitchcock film, The Lady Vanishes (1938)), Comfy (FontBros: inspired by an example of "Pinselschrift" (brush lettering) by Wilhelm Dechert), Sirena (FontBros: inspired by the hand-lettered opening titles of the film I Married a Witch).
- Fonts made in 2008: Alumino (inspired by Saul Bass's design for the aluminum company Alcoa), République (four fonts inspired by Paris Metro signs---not the familiar Art Nouveau "Metropolitain" signs, but the later Art Deco design by Adolphe Dervaux), Handbill (based on rubber stamps), Flash Mob, Pen Script Monograms, Royal Wedding (commercial set at Font Bros), 2 Clover Monograms, 4 Heart Monograms, Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Tricot (lettering as done on a sweater, after a design by Nancy Stahl), Silverliner (based on the opening titles of the 1951 Hitchcock movie Strangers on a Train), Carbon Copy, Bracelet Mongrams.
- Fonts made in 2007: Aeolian, Pub Bites, Barril and Barril Doble (a digital interpretation of the 1970s Neufville font Barrio), Circle Monograms, XOXO (grunge), Safety Pin (inspired by the cover of the June 1946 Ladies Home Journal), Swizzle Script (a script based on Stylescript, 1940, Sol Hess: compare with Coronet and Trafton), New England (script), Madfont (after MAD magazine's logo), Quince (a brush version of Klumpp's Murray hill), Plumber's Gothic, Gamera.
- Fonts made in 2006: Humdinger (comic book lettering), Stella Dallas (a Koch Antiqua style typeface based on he hand-lettered titles of the film Stella Dallas), Foam Light, Mean 26 Sans, Mean 26 Serif, Gaudi, Lapis Lazuli (3 calligraphic fonts based on Dan X. Solo's Papyrus), Garden, Boston Line and Philadelphia Line (inspired by Boston Line Type, developed in the 1830s by Samuel Gridley Howe for use in raised-letter printing for the blind; the Philadelphia Line fonts were inspired by another raised-print font, this one developed by Julius Friedlander and adopted in 1837 by his Philadelphia school, now the Overbrook School for the Blind), Honeymoon (a script based on the Holiday Inn lettering), Blooper and Bloop Script (after Cooper Black and Brush Script), Roman monograms.
- Fonts made in 2005: Don Semiformal, Fabulous Prizes, Valentin (inspired by the work of Valentin Haüy, creator of the first books for the blind), Chelt Press (a grungy Cheltenham), National Debt, Pub Smooth (followed in 2007 by Pub Bites), Baronial Monograms, Vine Monograms, Thaleia (revival of Thalia), Harold's Monograms Bold, Blockograms, CarmenMonograms, Profiler, Goya, Jest, Chaser, Rebus (dingbats), Dilemma, The Birds, CVelestial Alphabet.
- Fonts made in 2004: Snowflake Monograms, Upbeat Demi, Pessima, White Birch, Artistamp, Entwined Monograms, Project, Dirty Finger, Koch Dingbats, Yard Sale, Shield Monograms, Gainsborough (inspired by the hand-lettered titles of the Alfred Hitchcock film "The Lady Vanishes", 1938), Jim Dandy (an interpretation of the 19th century typeface Jim Crow), Gaumont (based on the hand-lettered titles of the film The 39 Steps (1935), a Gaumont-British Picture, directed by Alfred Hitchcock), Imitation2, Sunset, Bend It, Pretz, Cantabile, Echo, Skidz, Columbia Stamp, Trudeau Sans (a companion of his architectural typeface Trudeau), Frank the Architect (2004, a Frank Ching-inspired typeface not unlike Tekton).
- Fonts made in 2003: Card Characters, Pieces, Harlequin, Hexagrams&Octograms, Popstars, Level, Peace, Collegiate Monograms, Bead Chain, Marquee.
- Fonts made in 2002: Level, Backhand Brush, Joggle, Script Monograms, Brickletter, Font Shui (oriental simulation), Heartland (for Valentine's day), Melodymaker (for music), Antiestablishment, Penmanship, RingTV, Cabaletta (now called Roosevelt), Graceful Ghost (caps based on an 18th century French design by Pouget&fils), the Ixat family (grunge fonts), PalimpsestBlack (grunge font), PalimpsestDark, PalimpsestLight, PalimpsestRegular, Pearlie, Repent (based on the work of American folk artist Jesse Howard), WillingRace (upper and lower case together).
- Fonts made in 2001: Carmen Caps, Crazy Harold (2001, based on a font of the same name, as illustrated in Paul E. Kennedy's "Modern Display Alphabets"; extended to 8 weights in 2006), Easter Parade (brush script), Famous Label (pen lettering), FLORES (based on a florist's sign in Valencia, Spain), FONT ERROR, Guadalupe (Mexican simulation face), GuadalupeDos, HMBlackDiamondThree, HMBlackDiamondTwo, HMBlackOvalThree, HMBlackOvalTwo, HMWhiteDiamondThree, HMWhiteDiamondTwo, HMWhiteOvalThree, HMWhiteOvalTwo, Handmedown, Hymn, KaffeehausNeon (based on Kaufmann), PubSmooth (a variant of the classic font Publicity Gothic), Roselyn (a script font based on a font in "Lettering and Alphabets" by John Albert Cavanagh), RubaiyatDoubleLine, RubaiyatEngraved, RubaiyatInline, RubaiyatOutline, RubaiyatShadow, RubaiyatSolid, SanitaryBoldCaps, SanitaryDemi, SanitaryRegular, Shazi, ShaziGhost, Subtext (grunge font).
- Fonts made in 2000: Arrobatherapy, Barbeque, Black Oval Monogram, Bruce Mikita (oriental simulation), Bruce Mikita2, Cantabile, CantabileAlternate, Celestial Alphabet, the Goya family (extrapolated from the logo of the GOYA food products company), King Harold (inspired by the lettering on the Bayeux Tapestry), KingXmas, KingXmasStars, KochQuadratFill, KochQuadrat, KochQuadratGuides, KochQuadratInline, KochQuadratOutlines, Koch Rivoli, Lab Rat, Law School (based on the architectural lettering at Albany Law School, Albany, NY, now named Trudeau, after a design by architect Robert Louis Trudeau), Milky Way (based on a style of hand lettering by Ross F. George included in 1930s Speedball lettering books), MilkyWayTwo (2001), Neurotoxin, Pharmacy, Punchhappy (holes in letters, influenced by Apostrophe's Toolego?), Punchhappy Shadow, Quarterround, Quarterround Tile (a kitchen tile font), RedCircle (based on the lettering on Eight O'Clock brand coffees), Ringpin, ScarletRibbons (inspired by a Speedball lettering book from the 30s by Ross F. George), Screwball (font in memory of Madeline Kahn), Solemnity (an uncial font modeled on the analog font SOLEMNIS by Günter Gerhard Lange, 1952), ThreePartySystemA, ThreePartySystemB, ThreePartySystemC, Vasarely (named in honor of Op artist Victor Vasarely; based on a modular font by Jean Larcher).
- Fonts made in 1999: BrideOfTheMonsterStencil, Bubble Gum Rock A and B (1999-2002), CheltPressDark, CheltPressDarkVariegated, CheltPressLigh, CheltPressLightVariegated, CheltPress, Esquivel, EsquivelEngraved, Fulton Artistamp, MADFONT, Smellvetica, SmellveticaOutline, Vedette Blanche (movie roll font), VedetteNoire.
- Fonts made in 1998: BrideOfTheMonster (caps and numbers are based on Rudolph Koch's Neuland), Cheapskate family, Dominican (coffee bean bag font), Landmark, OldeChicago (based on the Apple Chicago font), Ricecakes, SavingsBond extended in 2006 to National Debt, National Debt Hilite and National Debt 3D), StampAct, StampActJumbled, Thanksgiving, Virile Open, Virile Solid.
- Typefaces from 2011: Bingo Dingo (dingbats inspired by the classic Mexican board game, Lotería), ManuCrypt (blackletter), Waldorf Text (blackletter).
- Typefaces from 2012: Albanita (date unclear though), Curator (a compact handwriting font), Seafare (circus style face), Hardline (op art prismatic style), London (inspired by London, Susan Kare's bitmap-style Olde English designed for Apple in the early 1980s. Variations include cross-stitch, harlequin (black and white diamonds), and shaded (diagonal lines)).
- Typefaces from 2015: Gilded Age (inspired by the opening titles of the 1952 French film Casque d'Or.
- Typefaces from 2016: Bluelakehawk (with Jason Martinez, inspired by Southwest Pueblo pottery patterns and tribal art).
Link at Dafont. . Abstract Fonts link. [Google]
Henric Pieterszoon Lettersnijder
Aka Henric Pieterszoon. Dutch letter cutter ("lettersnijder"), d. ca. 1511. He made a textura some time before 1492
Sixteenth Century Printing Types of the Low Countries (H.D.L. Vervliet, 1968) mentions that he was from Rotterdam, and cut letters. Occasionally, he printed as well, in Antwerp from 1496-ca. 1500, in Rotterdam from 1504 until 1509, and in Delft from 1508 until some time after 1511. It is estimated that he cut a third to half of all the type used in the Low Countries at that time. These typefaces, including the Textura, remained popular there from 1492 until about 1550-1560, when they were superseded by the blackletter type of Ameet Tavernier and Hendrik van den Keere. His son was Cornelis Henricszoon Lettersnijder, who also cut type, starting out in Delft.
Digitizations: Oude Hollandse (2012, Alter Littera; after Henric Pieterszoon "Lettersnijder"'s 1492 typeface), Initials Gothic C (2012, Alter Littera, based on a 1508 type by Pieterszoon), English textura. [Google]
Herman Miller made several typefaces for Kolagian languages (runes): Kisuna, MizarianUni, OlaeUni, ZireenUni, CispaNormal, OlaetyanNormal, Thryomanes, Zirinka (font used for Zireen languages including Zírí:nká and Zharranh), Lhoerr (font used for Jarrda and Jaghri), Pintek (Braille-type font), Velika, Minza, Lindiga, Teamouse VS, Tirelat (2001), Ludireo, Tilya, Czirehlat.
TIPANormal, ThrIPANormal and ThrSAMPANormal are fonts designed for phonetics. Livagian (2003) has a reasonable character set. TeamouseLX, TeamouseVS, TeamouseVS (all 2001) are Miller's versions of Times Roman.
He also made the unicode font Thryomanes (fully accented Times, with Greek, Latin, Celtic/uncial and Cyrillic).
FTP source. Direct link. Older alternate URL. Fontspace link. Dafont link. [Google]
Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.
He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG typefoundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.
- 1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
- 1973 Gutenberg Prize, City of Mainz.
- 1975 Gold Medal, Museo Bodoniano, Parma.
- 1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
- 1987 Robert Hunter Middleton Award, Chicago.
- 1994 Euro Design Award, Oostende.
- 1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
- 1999 Type Directors Club award for Zapfino (1998), New York.
- 2010 Bundesverdienstkreuz 1. Klasse.
Some publications by Hermann Zapf: Feder und Stichel (1949, Trajanus Presse, Frankfurt) About Alphabets (1960) Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original. Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed. Orbis Typographicus (1980) Hermann Zapf and his Design Philosophy (Chicago, 1987) ABC-XYZapf (London, 1989) Poetry through Typography (New York, 1993) August Rosenberger (Rochester, NY, 1996).
List of his typefaces:
- Alahram Arabisch.
- Arno (Hallmark).
- Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
- Alkor Notebook.
- Attika Greek.
- Artemis Greek.
- Aurelia (1985, Hell).
- AT&T Garamond.
- Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
- Brush Borders.
- Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
- Crown Roman and Crown Italic (Hallmark).
- Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
- Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
- Charlemagne (Hallmark).
- Digiset Vario (1982, Hell): a signage face.
- Edison (Hell), Edison cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
- Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
- Firenze (Hallmark).
- Festliche Ziffern (transl: party numbers).
- Frederika Greek.
- Gilgenart Fraktur (1938, D. Stempel).
- Heraklit Greek.
- Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
- International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
- Janson (Linotype).
- Jeannette Script (Hallmark).
- Kompakt (1954, D. Stempel).
- Kalenderzeichen (transl: calendar symbols).
- Kuenstler Linien (transl: artistic lines).
- Linotype Mergenthaler.
- Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
- Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
- Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
- Medici Script (1971).
- Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
- Magnus Sans-serif (Linotype, 1960).
- Missouri (Hallmark).
- Noris Script (1976; a digital version exists at Linotype).
- Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2002, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
- Orion (1974).
- Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. Palatino was designed in conjunction with August Rosenberger, In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
- Phidias Greek.
- Primavera Schmuck.
- Pan Nigerian.
- Quartz (Zerox Corporation Rochester, NY).
- Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
- Saphir (1953, D. Stempel, see now at Linotype).
- Sistina (1951, D. Stempel).
- Sequoya (Cherokee redesign).
- Scriptura, Stratford (Hallmark).
- Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
- Linotype Trajanus Cyrillic (1957).
- Textura (Hallmark).
- URW Grotesk (1985, 59 styles), URW Antiqua, URW Palladio (1990).
- Hallmark Uncial (Hallmark).
- Virtuosa Script (1952, D. Stempel: Zapf's first script face; revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi).
- Venture Script (Linotype, 1966; FontShop says 1969).
- Winchester (Hallmark).
- World Book Modern.
- ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
- Zapfino (Linotype, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).
Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady , with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].
Linotype link. Klingspor link. [Google]
Historical Gaelic metal fonts
Partial list of historical metal Gaelic fonts: of minuscule type: Queen Elizabeth, Louvain, Watts, Newman; and of half-uncial type: Petrie, Colmcille. [Google]
History of gothic
The comparative image traces gothic writing from the year 50 via 510 (uncial), 950 (Carolingian), 1230 (gothic) until 1513 (cursive versions of gothic). [Google]
Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)
Born in 1970 in New York, Jonathan Hoefler ran the Hoefler Type Foundry (or: HTF) in New York. It employed Tobias Frere-Jones, Josh Darden, and Jesse Ragan. In 2004, it was renamed Hoefler&Frere-Jones, or HFJ for the cognoscernti. However, a legal problem between Jonathan and Tobias led to a corporate divorce in 2014---the company is renamed again The Hoefler Type Foundry.
HTF carefully designed and complete families include HTF-Didot (1991, in 42 weights/variations, originally designed for Harper's Bazaar; based on the grosse sans pareille no. 206 of Molé le jeune), the antiqua text typeface HTF Hoefler Text (27 fonts made in 1991-1992, distributed with many Apple products), Hoefler Text Ornaments (distributed with Apple products), Saracen, Ziggurat, Leviathan, Historical-EnglishTextura, Historical-FellType, Historical-GreatPrimerUncials, Historical-StAugustin, HTF Hoefler Titling, Gestalt-HTF, Fetish-HTF (blackletter modernized, 1995), Ehmcke-HTF, Champion-HTF, Acropolis-HTF, Requiem, Knockout, all in the period 1998-2000.
In 2003, they published Retina (which was originally designed for the stock listings in the Wall Street Journal), Gotham, and Shades (in Cyclone, Topaz, Giant and Knox weights). The Geometer Screen Fonts are free Mac fonts.
In 2004, they produced an amazing 58-weight sans serif family, Whitney (by Tobias Frere-Jones), designed for use in infographics. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.
Hoefler received Bukvaraz 2001 awards for HTF Guggenheim, HTF Knockout, HTF Mercury (1997, no relationship with Goudy's Mercury of 1936) and HTF Requiem. In the 1996 Morisawa Awards competition, Hoefler received a bronze prize for Ideal Sans (a slightly flared humanist sans family).
In 2011, HFJ writes it up beautifully: Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram's Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller's new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we've developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features. Today, H&FJ is delighted to introduce Ideal Sans, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and hand-crafted feeling.
At ATypI in 2002, he received the Charles Peignot award. Time.com provides previews of fonts made for Esquire, Lever House, eCompany Now, The Guggenheim Museum, The New York Times, and the Whitney Museum. He has worked on custom fonts for The New York Times Magazine, Times Mirror, Esquire and McGraw-Hill (1995, free download). Hoefler has made many more custom fonts, but he asked me to remove the names of these fonts from my pages.
From 2005 until 2007, they made the custom font General GG (available for free here, here and here).
In 2006, HFJ published the Numbers family, 15 fonts with nothing but numbers from various sources: Bayside (based on a set of house numbers produced around 1928 by H. W. Knight & Son of Seneca Falls, New York), Claimcheck, Delancey, Depot, Deuce, Dividend, Greenback, Indicia, Premium, Prospekt, Redbird, Revenue, Strasse, Trafalgar, Valuta. They also made a 30-style art deco-inspired geometric sans family called Verlag in 2006 based on six typefaces originally designed for the Guggenheim.
In 2007, HFJ published the "blended Scotch" newspaper serif text family Chronicle, which led to Chronicle ScreenSmart in 2015. Still in 2007, we find the gorgeous 30-style semi-Bauhaus sans family Verlag about which HFJ writes: From the rationalist geometric designs of the Bauhaus school, such as Futura (1927) and Erbar (1929), Verlag gets its crispness and its meticulous planning. Verlag's fairminded quality is rooted in the newsier sans serifs designed for linecasting machines, such as Ludlow Tempo and Intertype Vogue (both 1930), both staples of the Midwestern newsroom for much of the century. But unlike any of its forbears, Verlag includes a comprehensive and complete range of styles: five weights, each in three different widths, each including the often-neglected companion italic.
In 2008, they released Archer, a humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. However, I see trouble down the road with the name Archer which has been used previously by several other foundries such as SignDNA, Arts&Letters and Silver Graphics. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and as been used by wes Anderson for The Budapest Hotel, and in Wells Fargo branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter. Poster featuring Archer by Courtney McNary (2013).
Sentinel (2009) is HFJ's take on a Clarendon. Yet again, I can't understand why they picked a name already taken by many foundries such as Graphx Edge Fonts, alus, Comicraft, Dieter Steffmann, not to speak of a foundry called Sentinel Type. And they repeated that daredevil naming of fonts with Tungsten (2009), which has been around---as a font name---since 2005 at Sparklefonts. Their sales pitch: That rarest of species, Tungsten is a compact and sporty sans serif that's disarming instead of pushy - not just loud, but persuasive. Douglas Wilson compares Tungsten with Alternate Gothic No. 3 (Morris Fuller Benton).
Naming fonts is Hoefler's weakness. In 2010, they again took an existing name, Vitesse, for their newest font family. The typophiles react to the slab family with praise: I think they're chasing Cyrus Highsmith, Dispatch and Christian Schwartz, Popular on this one. Doing a pretty good job of it too! [...] Looks to me like the love-child of Eurostile and City. To continue the trend, they published Forza in 2010, a sans family, not to be confused with the 2007 font Forza by Michel Luther at Die Gestalten--surely, there must be a way to choose original names. St. Augustin Civilité: St. Augustin Civilité is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.)
In 2012, they published the wide sans typeface family Idlewild.
HFJ also sells a package of various number fonts. This includes the following: Bayside (after ornamental house numbers), Claimcheck (inspired by ticket stubs), Delancey (from tenement doorways), Depot (modeled on vintage railcars), Deuce (based on playing cards), Dividend (from an antique check writer), Greenback (based on U. S. currency), Indicia (inspired by rubber stamps), Premium (after vintage gas pumps), Prospekt (based on Soviet house numbers), Redbird (inspired by New York subways), Revenue (from cash register receipts), Strasse (after European enamel signs), Trafalgar (inspired by British monuments), Valuta (after Hungarian banknotes).
Typefaces from 2013 include Landmark (Regular, Inline, Shadow and Dimensional), a collection of architectural caps (which started out as a custom typeface for Lever House in New York).
Typefaces from 2014 include the exquisite mapmaker and newsprint didone font family Surveyor.
In 2015, Jonathan Hoefler and Andy Clymer cooperated on the decorative copperplate engraved emulation typeface Obsidian. Various kinds of 3d illumination in Obsidian were obtained by an algorithmic process. Not to be confused with about ten other fonts called Obsidian--for example, we have Obsidian (pre 2003, Silver Graphics), Obsidian (2014, Steffi Strick), Obsidian (2012, Krzysztof Stryjewski), Obsidian Deco (2013, Yautja), Obsidian (2005, Spaklefonts), and Obsidian Chunks (pre 2002, Jeni Pleskow). [Google]
Graphic designer who graduated from Universidad Champagnat. He founded Kaleida Digital Branding, and lives in Argentina. He designed Siglo X, a beautiful uncial typeface that was started in 2002. [Google]
Unknown outfit that has its name in these fonts: Florence'Striped', Florence'Stripped', GreatPrimerUncials'SnowBound', NewYorkTimes, Puffy'SandStone', Tekton'WhiteOnBlack' (2002). [Google]
During his graphic and type design studies at Ecole Estienne in Paris (2013-2015), Hugo Dumont created the Arabic and/or Indic simulation typeface Humanist (2014). Still in 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak codesigned Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.
In 2015, he created the uncial typeface Scylla and the display sans Ban (named after Japanese architect Shigeru Ban, Ban was his graduation typeface). From 2015 until 2019, he is doing a Masters at Ecole Nationale Supérieure des Arts Décoratifs de Paris.
In 2016, he designed the bitmap-inspired hipster typeface Building (2016). Behance link. [Google]
[Walter Bernard "Ben" Hunt]
Walter Bernard "Ben" Hunt (b. 1888, Greenfield, WI, d. 1970) was an American artist, outdoor educator and author. His books covered native American arts, woodworking, scouting, pioneering, jewelry making, metalworking, and calligraphy. Quoting wikipedia: Hunt was born in Greenfield, Wisconsin and grew up in a log cabin. He attended Milwaukee's South Division High School, but did not graduate, dropping out to become lithographic engraver at the Bruce Publishing Company. Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In 1924, Hunt, along with his father-in-law and brother, Edwin C. Hunt, built a log cabin behind his home. The cabin, a 16x28-foot structure, made of tamarack logs, was the subject of Hunt's first article, How We Built Our Log Cabin. During the late 1930s, Hunt began to study the work of Native American artists. As part of his research, Hunt met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles for Boy's Life. He became a regular member of its staff, ultimately writing over 1,000 articles. Hunt's work for Boy's Life, led him to serve on the staff of the National Boy Scout Jamboree in 1950, 1953, 1957, and 1960.
Edwin and Ben Hunt published Fifty Alphabets (1931), Lettering of Today (1935, revised in 1941), 60 Alphabets (1935, Bruce Publishing), and 101 Alphabets (1954, 1958). Several digital typefaces resulted from those publications. Grouped by type designer:
- Pablo Mateu: HFF Hunts Deco (2012). Based on an alphabet designed by the Hunt Brothers in Lettering of Today.
- Nick Curtis: Moonshine Script NF (2004). A casual connected script patterned based on 60 Alphabets.
- Dick Pape created 11 fonts in 2012 that are based on 101 Alphabets, all named HuntBros101Plate followed by a plate number. Plate 02 is a Trajan typeface. Plate 5 is a Trajan face. Plate 6 is an art nouveau face. Plate 7 is a flared caps typeface. Plate 10 is a textured poster typeface. Plate 11 is an ornamental caps face. Plate 13 is a condensed caps face. Plate 14 could be considered as a Mexican vernicular typeface. Plate 18 is an antique italic face. Plate 25 is an upright script. Plate 26 Brush is fifties brush signage at its best. Plate 29 (octagonal), Plate 46 (Celtic), Plate 52 (German expressionist), Plate 54 Blackletter, Plate 56 (Lombardic), Plate 62 (uncial), Plate 63 Script, Plate 65 (Victorian ornamental caps), Plate 66 (Western typeface), Plate 74 (Mexican fiesta font), Plate 68 (Arabic simulation), Plate 71, Plate 76 (architectural lettering), Plate 77 (inline caps) and Plate 83 (stencil face) complete the collection.
Download some typefaces based on the latter publication. Flickr site sith images of 101 Alphabets, courtesy of Diane Zerr. Local download of 101 Alphabets. Download link for Pape's typefaces. [Google]
HypoTypo (real name: Walter J. P.) is the designer in 2002-2004 of a number of ornamental fonts, which he showcased via alt.binaries.fonts.
His typefaces: Amber'Shadowed', AnnabelleJF'LessItalic', AntiqueThings-01, AridiRenaissanceCaps, Asphalt'Wicker', Bauhaus'StainedGlass'-Heavy, BigRigs, Centurnalus'Deluxe', ChurchText'Replicant', ChurchText'Shaded' (blackletter), Coventree'Deluxe', CupieDoll, CupieDoll Buckshot (2004), Dantium'Tracing', FearFactor'3D', FearFactor'SmallCaps', FearFactor, FearFactorBlack, FearFactorText, Florence'Striped', Florence'Stripped', FuturexRoughlySliced, GillSans'MonkeyBars'-UltraBold, Gramius Blizzard (snow-cover alphabet), Gramius'ChromeDeco', Gramius'StainedGlass', GreatPrimerUncials'SnowBound', Guppulla'RoughlySliced', HopScotch'Denim', HopScotch'ElectricEddie', Kreepshow'Frigid', Lancastershire (2004), Licinia'Aged', Licktenstein'Chromed', Malaki'Continuum', Malaki'Deluxe', Metilius'BongoWood', Metilius'LeadedGlass', Metilius'PopCulture', Modius'Frigid', NewYorkTimes, Oleander'RoyalTablets', Oleander'StainedGlass', Ornam-oodles-01, PhoenixScriptUpr'Shadowed', PhoenixScriptUpright, Plautius'Branded', Plautius'LeadedGlass', Plautius'Rugged', Point-Dexter, Puffy'SandStone', Quintus'StainedCameo', QuintusLeadedGlass, Rocillius'QuickSilver', RocilliusBlack'Arson', Sintex'3D'UltraBlack, SkuareNot'BongoWood', Snoilies-01, Snoilies-02, Tekton'WhiteOnBlack', Timrombo'Erroded-DoubleVision'-Tall, VehicleDecals'Flames&Art', WoodsWorld'Deluxe', WoodsWorld'LeadedGlass', WoodsWorld'Melting', WoodsWorld'Quilted', WoodsWorld'StainedGlass', Auriol 'Shaded' Black (posted 09-02-2002), Bauhaus 'Shaded' Heavy (posted 09-19-2002), Bauhaus 'StainedGlass' Heavy (posted 10-23-2002), Bauhaus 'Textile' Heavy (posted 09-14-2002), Broadway 'Corroded' (posted 09-19-2002), Cooper 'Chromed' Heavy (posted 10-22-2002), Kid Type 'Flintstones' (posted 10-17-2002), Zapf 'SnowBound' Heavy (posted 10-19-2002), Zapf Int'l 'BubbleWrap' Heavy (posted 10-06-2002), LocusDelecti'Sibylline', SkuareNot'PlankYou', SkuareNot'Waveform', TexasWilly'Tracing', Half SunBurst-w4-01 (2003), Half SunBurst-w4-02 (2003), Half SunBurst-w4-03 (2003), NurfStar 'Shaded' (2003), StarBurst-w4-01 (2003), HavingWrit, IceCrystals-01'Continuum', IceCrystals-01'Impressions', IceCrystals-01 (snowflakes), PictoGlyphs, PlymouthRock'SnowDusted', Santa'sSleighFull-Bold, Santa'sSleighFull (a silent movie / art nouveau font), Zoophel (2003), Monika'Engraved'-Italic, Monika'Upright', Monika-Italic (2003), DotsType (Regular and 'OnFilm'), Hearts-O-Plenty, PinWheel, SchoolsOut, ButterCream'Tracing' (2004), Bartholomeow, ChitownScript (Regular, Bold, Light, Italic, Bold Italic and Light Italic), Guppula 'Ripples', Gramius Blizzard (2004), Letter People Things, Point-Dexter, TownSquare ('Grate' and 'Lattice'), StarryType.
Dafont link. [Google]
Graphic designer (b. Plattsburgh, NY, 1972) and type designer who studied graphic design at Portland State University and the California Institute of the Arts. He currently runs a multidisciplinary creative studio specializing in unique solutions for international clients. The studio has been based in Tokyo since 2005. Lynam writes for a number of design, typography, and cultural publications including Font Magazine, This American Life, PingMag, and Neojaponisme. In 2008, he released his book Parallel Strokes, an investigation into the intersection of type design and graffiti. He created these commissioned fonts: Diesel Sans, Tri (dot matrix as in billboard lights). He also made Hanger, Garland Sans (based on stencil letters used by British designer, educator and theorist Ken Garland), Inversion (uncial), Cruller (a fantastic handlettered typeface based on a German lettering book from 1910), Bon Appetit (a custom cut Antique Olive for Bon Appetit magazine), Cooper Pink, Cooper Swash Italic Traditional & Cooper Swash Italic Custom, Cooper Italic (2010, after Cooper's original from 1924), Cooper Initials (2010), Cooper Old Style (2010), Cooper Capitals (2010), Cooper Text (2010), Cooper Fullface (2010), Clobber (2010, is a stencil typeface designed for readability at very small sizes), Hanger, Rubber Vloeren (a geometric display typeface adapted from an alphabet used by Piet Zwart in the Netherlands for a series of advertisements for rubber flooring), Ensenada (a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico) and BeautifulDecay. Before Ian Lynam Creative Direction and Design, Ian was involved in Wordshape, and I guess he still is. The main people are Ian Lynam, Simon Gane and Selena Hoy. MyFonts link. [Google]
[Dan M. Zadorozny]
Born in Philadelphia and a resident of Texas, Dan Zadorozny's creations at Iconian. He is a prolific type designer who specializes in techno and sci-fi typefaces. Dafont link. Fontsy link. Abstract Fonts link. Font Squirrel link. His fonts in alphabetical order:
- #44 font (2002), 00Starmap (2001, pixel font), 1968 Odyssey (2016), 1st Cav (2008), 2-Tech, 21 Gun Salute (2013), 2nd Amendment (2007, guns), 2nd Amendment 2050 (2009, more gun silhouettes), 2Toon, 300 Trojans (2008, comic book family), 4114 Blaster (2008, futuristic), 5th Agent (2008, techno), 7th Service (2002), 8th Element (2013), 911Porscha, 98 Bottles of Beer (2016).
- Achilles, Action-Men (2008), Action Women (2008, female outlines), Aegis (2010, Greek simulation family), Aetherfox (2013), AirCobra (2002), Aircruiser (2011, trekkie family), AirForce (planes and copters), Airstrike (2013), Airstrip One (2003), Aldo's Moon, Aldo's Nova, Alexis (2001), Alien League, Alpha Men (2015), Alpha Sentry, Alpha Taurus (2007, octagonal, athletic lettering), Amalgam, Americorps (2012), Anakefka (2009, ultra-fat family), Annapolis (2016), Antietam (2015), Antikythera (2013, Greek simulation face), Antilles (2009, sans family), Argosy, Arilon (2008), Army Rangers (2013, octagonal), Assassin Nation (2015, scary and perhaps referring to the "tradition" of school shootings in the USA), Astropolis (2009), Atlantia (2012, futuristic), Avenger (2008, futuristic).
- Babes&Bond (2009, erotic silhouettes), Babe-alicious (2002, erotic outlines), Bad Robot (2007, computer game look), Bal-Astaral, Bamf (2011, techno family), Banshee Pilot (2016), Battlefield, Battleworld (2016), Beam Rider, Beam Weapon (2015), Beastian (2011), Ben Zion (2008, Hebrew simulation), Berserker (2008, grunge), Beta Biergärten (2008), Bio-disc, Bio-discSolid, Bio-discThin, Bionic Comic (2002), Bionic Type (2002), Birds of a Feather (2007, dingbats), Black Bishop (2015), Block, Blood Crow (2009), Bloodlust (2011, dripping blood face), Blue July (2009), Body Swipers (2014, Halloween font), Bog Beast (2013), Boomstick (2015), Borgsquad (2014, mechanical/octagonal), Brin Athyn (2008, uncial/Celtric), Bronic (2004), Bubble Butt (2014, bubblegum typeface), Buddy Champion (2015), Bummer (2007, octagonal), Bushido (2008, oriental simulation), Butch and Sundance (2013), Buttons the Bear (2008, children's hand), Byte Police.
- Capella (2011, a wide techno family), CasperComics, Centaurus (2015), Chardin Doihle (2008), a useful informal handprinting family), Charlemagne, Charlie's-Angles, Cheyenne Hand (2008), Chicago Express (2016), Christendom, Clubber Lang (2013, grungy), Cobalt Alien (2015), C.O.D.E.R. (2012), Colossus (2011, old chipped stone look), ComicBookCommando, ComicFX, Commonwealth, Concielian, Concielian Break (2015), Concielien Jet (2015), Corinthian, Count Suckula (2015, horror font), Covert Ops (2012, army stencil), Coyote Deco (2007, art deco), Crappity-Crap-Crap (2007), Creepy Crawlers (2015, horror font), Crime Syndicate (2013), Crixus (2011, a squarish sans that includes an athletic lettering style), Cro-Magnum (2003), CryUncial, Cyberdyne (2016), Cyberia (like Soviet: neat Russian imitation letters), Cyborg Rooster (2015), Cyrus The Virus (2012, grungy, hand-printed).
- DS Man, Daedalus (2008), Daemonicus (2012), Dameron (2016), Danger Flight (2015), Dan Stargate (2008), Dan'sHand, Dark Alliance (2014), Dark Horse (nice brush font), Darkwind, Dassault (2013), Deathblood (2014, Halloween font), Dekaranger (2015), Delta Ray, Demon Priest (2013), Department-K, DepartmentH, Deranian (2008), Detonator, Devil Summoner (2014), DiegoCon (2004), Digital Desolation (2014), Ding-o-saurs (2007), Direktor (2008, Cyrillic simulation techno), Dire Wolf (2013), Disco-Dork, Disco Deck (2005), Disco Duck, Discotechia (2015), Dodger, Dotcom (2002), Drafting Board (2008), Drafting Table (2008), Dragon Order (oriental simulation), Dread Ringer (2015), Drid Herder (2002), Drive (2015, techno font), Droid-Lover (2008), Drosselmeyer (my favorite).
- Eagleclaw (2009), Eaglemania, Eagle Strike (2015), Earth Orbiter (2016), Earthrealm (2013), Earthshake (2013), Earth's Mightiest (2002), East West (2015, constructivist), Eco-files, Eldebaran (2012), Elder Magic (2009), Election Day (2009), Emissary (2014, sci-fi), Empire Crown (2011, blackletter), Enduro, Ensign Flandry, Ephesian (2007), Eridanus (2015, octagonal / mechanical), Erin Go Bragh (2009, Celtic/uncial), Escape Artist (2015), Eskindar (2013), Eternal Knight (2013), Eurofighter (2015), EverettSteele'sHand, Excelerate, Excelsior, Excelsior Comics, Exedore (2008), Exoplanet (2013, techno), Extechchop (2005).
- Factor (2016), Falconhead, Falcon Punch (2015), Famous Spaceships (2007), FantasticCreatures, Fantazian (2003), Fantom (2009, bad handwriting), Federal Escort (2014), Federal Service (2011), Federapolis (2008, octagonal techno face), Fedyral, Fedyral-II, Feldercarb (2003, octagonal font), Ferret Face (2013), Fiddler's Cove (2012), Fight Kid (2009), First Order (2001), Flash Rogers (2016), Flesh Eating Comic (2013, grunge), Flight Corps (2008, techno/pixelish), FlyingLetaherneck (2002), Force Majeure, Foucault (2014, uncial), Frank-n-Plank (2013, a wooden plank font), Freakfinder (2014: Halloween font), Free-Agent (2008), Freedom Fighter (2013, stencil), From Bond With Love (2014: military stencil), FunnyPages, Future Forces (2015), Futurex Grunge (2005).
- Galactic Storm (2014), Galant, Galaxy-1 (2008), Galaxy Far Far Away (2009, futuristic dingbat font), Galaxy Force (2014), Galga (2008, futuristic), Gamma Sentry, Gemina (2011, sci-fi / techno family), Gemina2 (2013), Generation Nth, Gentleman Caller (2014), GeoBats (2007), Gearhead (2013, octagonal), Ghost Clan (2014), GI Incognito (2012), Global Dynamics (2014), Goalie (2008, hockey mask alphading), Gods of War, Gotharctica (2015, blackletter for horror flicks), Governor, Grand National (2015), Grand Sport (2015), Graymalkin (2011, trekky), Grease Gun (2012), Grendel's Mother, Grim Ghost (2013), Grimlord (2009), Guardian (2008), Guardian-Laser (2008), Guardian-Pro (2008), Guardian-Shadow (2008), Gunner Storm (2015), Gunship, Gunship V2 (2002), Gypsy Killer (2013), Gyrfalcon.
- Hadriatic (2008, roman lettering), Half Elven (2013), Halfshell Hero (2013), Hall of Heroes (2007), Halo, Han Solo (2013), Harrier (2002), Hawkmoon (2011), Hello Copters (2013: helicopter dingbats), Heorot (2009, stone age fonts), Heroes Assemble (2011), Heroes Assemble Dingbats (2014: all Avenger characters), Highrise Heaven (2007, city skyline dingbats), Hip Pocket (2014: psychedelic), Hollow Point (2015), Holly Dingle (2015), Holy Empire, Homemade-Robot, Holo Jacket (2016), Homeworld (2003), Homeworld Translator (2003), Hong Kong Hustle (2015), Horroroid (2015), Horroween (2013, Halloween font), Hulkbusters, Hydro Squad (2014), Hypno Agent.
- Iapetus (2014, sci-fi), Icebox Art (2012), IWantMyTTR!, Iconian (2002), Iconified, Illuminati, Illumino (2016), Imaginary Forces (2008, mythical dingbats), Imperial Code (2003, Startrek style face), Imperium, Incubus, Incubus-Italic (2008), Incubus-Shadow (2008), Infinity Formula (2003, super techno), Infobubble, Inhumanity (2014), I-House Edition (2014), Interceptor (2008), Interdiction (2012), International Super Hero (2002), Intrepid, Iron-Cobra (2008), Iron Forge (2012).
- Jack's Candlestick (2013), Jackson, Jannisaries, Jedi Special Forces (2012), Jerusalem (1999, Hebrew font simulation)[see also here], Jetta, JettaTech, Jetway (2012, a stencil face), Johnny Torch (2012), Judge, Judge Hard, Justice (2009), Jumptroops (2003-2015), Justinian.
- Kahless, KameraDings (2009), KarateChop (2009), Kartoons (2008), Katana, Kennebunkport (2013, script), Keystone (pixel font), Khazad-Dum (2011), Kid Cobalt (2008, comic book face), Kinex, King Commando (2011), King's Ransom, KnightsTemplar, Knock Furious (2003, dingbats), Kobold (2008, futuristic), Kondor (2013), Kountry Kodes (2008, international license plate lettering), Kovacs-Spot, Kovacs, Kreeture (2002), Kubrick (2008).
- Lamprey (2012, techno family), LandShark (2001), LandWhale (2001), Laredo Trail (2013, a Western face), Laserian, Law and Order (2005, dingbats), League Wars (2013, sci-fi stencil), Leatherface (2013), LegalTender, Legion, Lethal (2014), Liberty Island (2013, sci-fi), Liberty Legion (2015), Lightsider (2011, Star Trekkish family), Lincoln Lode, Livewired (2015, sci-fi), Lionel (2009), Low Gun Screen (2008, a totally square screen type family), Lincoln Chain, Lionheart, Lobo-Tommy (2008), Lord of the Sith, Loveladies, Low Gun Screen (2008, screen face).
- Machiavelli, Mad Marker, Magic Beans (2007), Major Force (2016), Marathon-II, Marathon, Marsh Thing (2014, Halloween font), Masked Marvel (2002), Masterdom (2004), Merri Christina (2015, children's hand), Metal Storm 3D (2008), Metronauts (2013), Metroplex, MetroplexLaser, MetroplexShadow, Michaelmas, Michigan (2015), Micronian (2009, pixelish headline family), Milk Bar (2003), Micronian (2008, extensive pixel-based family), Military-RPG (2008), Mindless Brute (2015), Missile Man (2002, futuristic), Miss Amanda Jones (2004, brush style), Mobile Infantry, Modi Thorson (2013, techno), Monsterama (2011, scary face), Montroc (2015: squarish and varsity style), Moon Dart (2008), Morse Kode, MorseNK, Movie Gallery (2008, dingbats), Mrs. Monster (2013, Halloween brush font), Mystery Mobile (2015), Mystic Singler (2008, rough brush face).
- Nathan Brazil (2013, art deco), National Express (2003), Native Alien, Nemesis Enforcer (2013), Neo-Geo (like the letters on the Neon cars), Neo Navy (2015), Neuralnomicon, New Mars (2015), New York Escape (2015), Nextwave (2014), Nick Turbo (2001), NifeFite, NifeFiter, NifeFites, Nightchilde (2013), Nightrunner (2008, sci-fi), Nightwraith (2011, techno family), Ninjas (2002), Nobody's Home (2014: poster font), NoloContendre, Northstar (2014), Nostromo, Nuevo Passion (2013), Nyet (2002, Soviet letter simulation).
- Oberon, Oberon-Deux, Obsidiscs (2003, dingbats), Oceanic Drift (2013), October Guard (2013, Cyrillic simulation face), Odinson (2007, runes), Oh Mighty Isis (2014, Greek simulation family), Olympicons (2003), Omega 3 (2010, futuristic), Omega Force (2013, octagonal / mechanical), Omega Sentry, OmniGirl (2003, techno), Opilio (2012), Opus Magnus (2013, metal band font), Opus Mundi (2015), Oramac (2004), Ore Crusher (2013), Outlands-Truetype (2001), Outrider (2013), Overstreet Bible (2014, hand-printed), Ozda (2011, a fat techno family with several horizontally striped styles), Ozymandias.
- Psyonic VII (2012), Paladins (2015), Pandemonious Puffery (2002), Parker's Hand (2002, handwriting), Perdition, Peregrine, Phaser Bank (2008, techno), Philadelphia, Philly Dings (2003), Phoenicia (2015), Piper Pie (2007), Pistoleer (2011), Planet N (2016), Planet S, Planet X, Player 1 Up (2012: architectural family), Pocket Ball (2016, dot matrix style), Police Cruiser (2013), Postmaster, Power Lord (2011), Presley-Press (2007), Press Darling (2012), Procyon, Prokofiev (2009, rounded and squarish), Promethean (2008), Protoplasm, Prowler (2013), Pseudo Saudi (1999, Arabic simulation), Psycho Butcher (2014, ransom note font), PuffAngel, Pulse Rifle (2009), Pyrabet.
- QTs (2013: erotic silhouettes), Quake-&-Shake, Quantum of Malice (2013), Quark Storm (2013), Quarrystone (2015), Quartermain (2002), Quasitron (2009, futuristic), Quatl (2002, an Inca font), Queen&Country (2009), Quest Knight (2009), Questlok, Quicken (2013, horizontal stencil), Quickening (2014), QuickGear, Quickmark (2004), QuickQuick, QuickStrike, QuickTech, Quill Sword (2016: soft blackletter style).
- RCMP, RadZad, Radio-Space, Raise Your Flag (2013), Realpolitik, Rebecca, Rebel Command (2012, Star Trek family), Redcoat (2008, blackletter), Redline (2015), Red Rocket (2011, techno), Regulators, Renegado (2014), Replicant, Repulsor (2013, pixelish), Rhalina (2011, a nice upright script), Righteous Kill (2009), Robotaur (2008), Rocket Junk, Rocket Type (2002), Rogue-Hero, Roid Rage (2003), Ro'Ki'Kier (2008), Rosicrucian (2009, stone age font), Rubber Boy (2013, poster font family).
- Sable Lion (2002), Sagan (2008, futuristic), Scarab, ScarabScript, Sci-Fi (2008), SDF (2013), Sea-Dog, Searider-Falcon (2008), Secret Files (2011), Sever, Shablagoo (2015: thick creamy poster font), Shining Herald (2013), Singapore Sling (2014), SisterEurope, Skirmisher (2014), Skyhawk (2014), Sky Marshal (2015), Snubfighter (2009, sci-fi), Soldier (2011), Sound FX (2003), Soviet, Space Cruiser, Space Junker, Space Ranger (2013), Spartaco (2016), Speedwagon (2015), SPQR (2008, grunge roman), Spy Agency (2012), Spy Lord (2001), Starduster (2011), Star Eagle (2014), Starfighter, Star Navy (2009: dingbats), Stranger Danger (2014: grunge), Strikelord (2011, trekkie family), Stuntman, Subadai Baan (2013), Super Commando (2015), Super Soldier (2014, silhouettes), SuperUltra911, Superago (2002).
- Talkies (2008, dingbats), Tarrget (2013, based on the Tekken "Tag Tournament" logo), Taskforce (2008), Tauro (2012), Team America (2014), Tele-Marines, Terra Firma, Terran, Texas, Texas2, TheRifleman, The Shire (2009), The Shooter (2012: gun dingbats), Texas Ranger (2014: Western font), Thundergod, Thundergod II (2013), Thunder-Hawk (2011, an aviation techno face), Tigershark (2013), Timberwolf (2011), Time Warriors (2007), Tokyo Drifter (2016), Tool (2012, dingbats of tools), Toon Town Industrial (2005, comic book font), Tower Ruins (2014: stencil), Tracer (2015), Trajia (2008, a techno/stencil/athletic lettering family), TransAmerica (2015), Traveler (2008), Travelicons (2009), Travesty (2003, scrawly handwriting), Trek Trooper (2008, Startrek font), Trigger Man (2013, octagonal and mechanical), Trireme (2011, Star trek family), Tristram (2008, uncial), Troopers (2011, futuristic), Trueheart (2009, Celtic), Tussle (2002), Typeecanoe (hand-printed), Typhoon (2013).
- Uberholme, Uberholme Lazar (2001), UFO Hunter (2009), Ultra 911, Ultramarines (2013), Underground Rose (2014, connect-the-dots), Union Gray (2015), Unisol, United Palanets (2014), UniversalJack, Uno Estado (2009, constructivist), U.S.A., USArmy, US Army II (2013), US Marshal (2012), US Navy (2007), U.S.S. Dallas (2008), Usuzi.
- Valerius (2009, uncial), Valkyrie (2008), Valley Forge (2008), Vampire Games (2001), VariShapes (2001), Vicious Hunger (2014, grunge), VideoStar, Vigilante Notes (2003), Viking Squad (2015, stencil), Vilmos Magyar, Vindicator (2012, techno), Virgin Hybrid (2014), voxBOX, Voortrekker Pro (2009: octagonal and athletic lettering family), Vorpal (2012: sci-fi stencil face), Vorvolaka (2013), Voyage Fantastique (2013), VX Rocket (2014, fat octagonal face), Vyper (2008, futuristic stencil).
- War Eagle (2009), Warlock's Ale (2014), War Machine, War Priest (2012), Warp Thruster (2013: military or Star Trek stencil), Warrior Nation (2011), Wars of Asgard (2009), Watchtower (2012), Weaponeer (2008, military lettering), Were-Beast (2008), Westdelphia (2015, blackletter), Western Rail (2015), Wet Works (2013, grungy stencil), Whatafont, Ensign Flandry (2003), Whiskey Bravo (2003), Whovian (2015, scanbats of all Dr. Who characters owned by the British Broadcasting Corporation), Wildcard (2011, Star trek family), Wimp Out (2004), Wolf Brothers (2015), Wolf's Bane (+II, +Super-Extended, 2013), Woodgod (2013), Worldnet (great wordly O), Write Off, Writer's-Block, WyldStallyns.
- Xaphan (2003), XCryption (1999, a hacker face), X-Fighters (2014), XPED, Xcelsion (2002), Xenophobia, Xephyr, Xeppelin (2005, zeppelin dingbats), X-Grid (2008), Xiphos (2007), Xmas Xpress (2013), Xoxoxa, X-Racer (2012).
- Yahren, Yama Moto (2009: oriental simulation), Yankee Clipper (2011), Yay USA (2013), Year 2000, Year3000 (2001), Yellow Jacket (2002), Y-Files (2016), Yiroglyphics (2004), Yorstat (oriental simulation), Younger Brothers (2014), Young Frankenstein (2013), Youngtechs (2008, futuristic), Yukon Tech.
- Za's Vid (2001, pixel font), Zado (2002, dot-matrix font), Zakenstein (2011, caps only grunge), Zamboni Joe (2002, hand-printed)), Zealot (2008), Zee Lance, Zen Masters (2002, pixelish), Zeta Sentry (2009, techno/futuristic), Zollern (2013), Zombie Control (2013: a bloody paint drip face), Zone Rider, Zoologic (2009, animal dingbats), Zoomrunner (2016), Zyborgs, Zymbols.
Illustration Ink (was: Lettering Delights)
Lettering Delights (later ranmed to Illustration Ink) is a company founded by Doug Larson in 1994, and located in Pleasant Grove, UT. Before that, Doug was at WordPerfect Corporation. Lettering Delights specializes in scrapbook, handwriting and alphading fonts. MyFonts link. MyFonts sells the following fonts, made in 2007-2008: LD Chaver (faux Hebrew), LD Cottage (blackletter), LD Daffy, LD Castle (Lombardic), LD Christmas Ale (uncial), LD Appliquée, LD Count Fontula (a grungy blackletter), LD Absurd, LD Bohemian Filigree, and many more. The "LDJ" series is made by Jillustration. A more complete list, as of March 2009: DB Dainty Swirl, LD Bohemian Filigree, LD Honeydukes, LDJ Christmas Troll, DB Trees, DB Floridity, DB Frilly Frames, DB Animal Occasion, DB Roman Philosophy, LD Garbo, DB Flornaments, DB Post Master, LD Daffy, LDJ Flirt, DB Flower Power, LD Absurd, DB Fancy Flourishes, LDJ Exhibit, LDJ Crafty (2007), LD Lamestain, DB Borders Birthday, DB Journal Doodles, LD Dirty Drusillus, LD Unconventional, DB Circles-Frilly, DB Foliage, LD Kung Pow, LDJ Jill Bird, DB Spring Fling, LD Goober, DB Artsy, DB Girly Flowers, DB Girly Girl, DB Journaling Boxes, DB Falalalala Doodle, LD Rock Hero, LDJ Yuletide, LD Count Fontula, LD Hang Ten, LD Horror Movie, DB Bridal Doodles, DB Floragraphy, LDJ Silly Sister, LDJ Jillk And Cookies, DB Birthday Cheer, LDI Fancy Folk, LD Imagine That, TXT Bethlehem, LD Distorted Drusillus, LD Romeo, LD Ugly Duckling, DB Beach Doodles, DB Easter Bunny, DB Smartypants, LD Christmas Ale, LD Shmutz, LDJ Eccentric, LD Cottage, LD Roman Sketch, LD Flutter, LD Generation X, LDJ Whimsey, LDJ Bash, LDJ Hen Hand, LD Roman Engraving, LDJ Scribble Scriptish, DB Fleuries, DB Pit Stop, DB Post Stamp, LDJ Distressed Yuletide, LDJ Jillegible, LDJ Cool Play, LD Demure, LDJ Caper, LD Poco, LD Softy, LD This Way, DB Easter Fun Doodles, DB Family Tree, DB Fright Night, DB Frilly Paisley, DB Just For U, DB Wedding Book, LD Scary, LD Appliqué, LDJ Forever Friends, LD Castle, LDJ Jill Scratch, LD Puck, LD Chaver, DB Bugs, DB Doodledeedoo, DB Frilly Words, DB Girly Soccer, DB Once Upon A Time, DB Spooky Doodles, DB Vintage Halloween, DB 'Tis The Season Modern, DB 'Tis The Season Words, DB Buggy Christmas, DB Christmas Doodles, DB Christmas Fun Doodles, DB Circles -, DB Circles - Christmas, DB Snowflakes, LD Hoot. Additions in 2009: TXT Fat Hatch, TXT Santa Font, LD Deck The Halls, LD Heather, LD Astoria, LDJ Doodaddles, TXT Brush Script, LD Elementary, LDJ Jingleberry, LDJ Knick Knack, LDJ Sneezes, LDJ Snow Doodles, TXT Annesia, TXT Groovy Smooth, TXT Hoopla, LD Let It Snow, LDJ Ho Ho Snow, TXT Altius, TXT HunkaSpunk, TXT Jubulation, TXT Monkeyshine, TXT Long Hand, LD Painters Hand, TXT Soda Shoppe, TXT Stonewashed, TXT Antique Italic, LD Wait, LD Soccer Mom, LDJ Sweet Potatoes, Scrap Caps, TXT Romanesque, Scrap casual, TXT Scribbletti, TXT Sloppy Script, LDJ Billy Bob, LDJ Cool Cat, LD Wedding, TXT Menu Item, LD Red Hatters Hand, Scrap Twiggy, LD Lanky, TXT Modern Mom, TXT Nuptials, TXT Delicate Script, LDJ Fadoodle, LD Kiss The Cook, LD Kooky, LD Old Country, LD Remington Portable, LD Underwood 5 (old typewriter), TXT Personality, TXT Jersey, LD Wanted (Far West), LDJ Dear Santa, TXT Monique, TXT Old English (blackletter), LD Christmas Carol (blackletter), LDJ Cooligraphy, LDJ Elf writing, LDJ Friend Font, LD Harry, Scrap Brother, LDJ Squirrel Tracks, TXT Tough Love, TXT Small World, TXT Stitched, LDJ Elf Note, LD Engraved, Scrap Sloppy, LD Sidewalk Chalk, LDJ Story Stamp, LDJ Tickled Tourist, LD Little Buggy (2008), LD Platform Soul (2011).
Images of some fonts made in 2010: LD Chaplin, LD Confucius, LD Cursive, LD Cursive Flourish, LD Eleanor Ray, LD Elegance, LD Gettysburg, LD Newborn Vampire, LD Twilight, LD Werewolf. View Doug Larson's typefaces. [Google]
Russian company which sells CDs with ornaments (not in font format though) designed by Dubina Nikolay. There is also a free font archive. All fonts designed or codesigned by Dubina Nikolay, and most are Cyrillizations of well-known Latin fonts. A partial list: AirportCyr, Anarchy-Normal, BMspiralCapCyr, BMstampCyr-Normal, CranberryCyr, DPix_8pt, DS-Diploma-Bold, DS-Diploma, DSArabic, DSArmyCyr, DSAyaks-Normal, DSBroadBrush, DSBrushes-Normal, DSCenturyCapitals, DSComedyCyrBold, DSCoptic, DSCrystal, DSCyrillic, DSDiploma-Bold-Outline-DBL, DSDiplomaArt-Bold, DSDots-Medium, DSDownCyr, DSEraser2, DSEraserCyr, DSFlashSerif, DSGoose, DSGreece, DSHiline, DSIzmir-Normal, DSJapanCyr--Normal, DSJugendSCDemo, DSKolovrat, DSKork, DSMechanicalBold, DSMoster, DSMotionDemo-Italic, DSMotterStyle, DSNarrow-Extra-condensedMedium, DSNote, DSNova-Black, DSOlymPix, DSPoddCyrLight, DSPoster, DSPosterPen, DSProgress-SemiBold, DSQuadro-Black, DSRabbit-Medium, DSRada, DSRada_Double, DSReckoningCyr, DSRussiaDemo, DSSharper, DSSholom-Medium, DSShowBill, DSSofachrome-Italic, DSSonOf-Black, DSStain, DSStampCyr, DSStamper, DSStandartCyr, DSSupervixenCyr, DSThompson, DSUncialFunnyHand-Medium, DSUstavHand, DSVTCoronaCyr, DSVanish-Medium, DSYermak_D, DSZombieCyr, DS_Cosmo-Semi-expandedSemiBold, DefWriter|BASECyr, DisneyPark, Eh_cyr, Etude, Frant-Bold, InavelTetkaCyr, Matrix_vs_Miltown, MicroTech, MisirlouCyr, Nadejda-Bold, NewDeli, PixelCyr-Normal, QuakeCyr, Runic, RunicAlt, RunicAltNo, Scrawl, SeedsCyr-Medium, StillTimeCyr, Stylo-Bold, ZrnicCyr-Normal, hooge05_55Cyr2, supercarcyr. [Google]
Iza Wilma Lima Peixoto
Iza W is a Brazilian type designer who works with Paulo W at intellecta Design. Klingspor link. She created Kocham (2008, an art deco geometric typeface with dots centered in all letters), Orchis (2006, Intellecta Design), an art deco famliy in the style of Broadway. Other fonts, done with Paulo W at Intellecta Design in 2006: Advantage, Biza, Elegancy, Estiliza, Frompac. She designed DeutschePosterSteinschrift, Alta (5 styles), Apolo Decorative (Victorian era caps), Ariana, Black, Cresciesco (roman times lettering), Drianh (late 19th century styles), Easy Callig, Evangeliaire Uncial, Geodec N9 (high contrast sans family), Glaciana (decorative caps), Grid, Half Flower 2, Laureatus (Lombardic), Malvinna, Paola Decorative (caps), Passo Borgo (the ultimate spiky dungeon family), Schneider Kontrast (a 15-style art deco and ornamental family based on the work of F.H. Ernst Schneidler), and Questy (semi-slab serif) in 2007.
Productions in 2008: Basilissa (flowery caps), Calligraphia Latina Soft, Chyrllene (curly Victorian family), Clea (caps), Fridha (undrerstated and 3d calligraphy), Hostetler Kapitalen 2, Litho Romana Inland (a caps family), Ogden (calligraphic), Olivetti Typewriter (5 styles), Syl (frilly Victorian caps), Tissot (2008, fine caps), Triball (headline blackletter family), TTF TATTOEF 8 (tattoo dings). MyFonts says The mysteriously-named Iza W shares most of the development activities at Intellecta Design with Paulo W. She specializes in revivals of historic advertising types, specifically metal and wood display types of the Americas, from the early 19th to mid 20th century. and lists these fonts at the end of 2008 as having been designed by her: Advantage, Agua (2007, an extension of Heinrich Maehler's 1931 font, Salut), Alta, AltDeutsch, Anatomy, Antiqua Shaded, Apolo Decorative, Ariana, Basilissa, Biza, Black, Boliche, Bruce Borders, Bruce Flourished, Bruce Hairline, Bruce Miscelania, Bruce Ornament, Cadels, Calligraphia Latina Soft, Catania, Centennial Script Fancy (+Three), Chancelaresca Spanola, Chyrllene, Clea, Cleo (Lombardic ornamental caps), Cresciesco, Deco Experiment 2, Deco Experiment 3, Deco Experiment 4, Deco Experiment 5, Deco Experiment 6 (2007), Deco Experiment 7, Deutsche Poster Steinschrift, Donald, Drianh, Easy Callig, Egipcia, Elara (2009), Elegancy, Engel, Estiliza, Evangeliaire Uncial, Faroeste, Feosa, Figgins Brute, Fin Fraktur, Flower Essences, Flower Jars, Fofucha (2007, a psychedelic typeface modeled after Seymour Chwast's Artone from 1968), Frames 1, Francesco Decorative, Fridha, Frompac, Fry's Alphabet, Furniet Roman (2008, after Fournier), Gans Animals, Gans Carmen Adornada, Gans Cornucopia, Gans Gotico Globo, Gans Italiana, Gans Royality, Gans Sport Club, Gans Titania, Gans Titular Adornada, Gans Transportation, Gans Vessels Fishes, Geodec Bruce Ornamented (2006, a tribute to George Bruce), Geodec Minuskel, Geodec N9, Geodec Petras Enhanced, Glaciana, Gloo Biloo (2010, spooky alphading face), Gothic Handtooled Bastarda, Gotische, Gotische Frame, Gottar (blackletter), Gradl Initialen, Grid, Grissom (insect dingbats), Grolier (caps), Grolier Beveled (2011, free at Dafont), Half Flower, Hannover, Hostetler Kapitalen, Imperio Romano (2009, roman heads), Intellecta Bodoned (+Two, +Trash), Intellecta Borders, Intellecta Crowns (royal crowns), Intellecta Grotesca Compacta, Intellecta Slab Bold, Intellecta Square, Intellecta Typewriter, Intellecta Typewriter 2, Japonesa (2010, oriental simulation), Julisa Script, Kocham, Latinish, Laureatus, Lettering Deco (2008, art deco, +Shadow), Litho Romana Inland, Littler Serifada, Magro, Majestade, Malvinna, Manuscript XIV Century, Merona, Missal, Monograms Soft (2010, with Paulo W), Naturella (2009, leaf and grape dingbats), Neretta (2008, +Italic), Numbers, Ogden, Olivetti Typewriter, Orchis, Palermo, Paola Decorative, Peloponeso, Porcupine, Questy, Remington Elite Typewriter, Samuello, Schneider Kontrast, Schneidler Zierbuchstablen, Schwandner Versalia (2010, ornamental caps based on an alphabet by Austrian penman Johann Georg von Schwandner), Schwandner Black Fleurons (2010), Schwandner Ornaments (2010), Selena, Sinfonia, Southern Flight, Speedball, Standard Typewriter, Suciellid, Sunamy (oriental simulation, after lettering by Ross F. George), Surrey (2008), Syl, Tissot, Tondella, Triball, TTF TATTOEF 4, TTF TATTOEF 6, TTF TATTOEF 7, TTF TATTOEF 8, Tuska, Underwood Typewriter (+Underscore), Uthan, Versatile Initials, Victorian Exotical Capitals, Warp, Woodball, Yanna, Zooth.
From 2009: Calligraphia Latina Soft3, Cantate (+Beveled), Remington Weather (old typewriter), Xyla (caps), Polen, Polen Two (2007), Arrius (calligraphic), Catilina, Pentagraph (upright connected script), Renania (calligraphic), Renania Double Line (free), Samantha (caps), Silius Engraved (caps), Stencil Intellecta (+Trash), Tatooyn, Urszula (caps), Victorio (caps), Elfort (formal calligraphy after Poppl Exquisite, a typeface by Friedrich Poppl), Pretoria Gross (2009), Holy Church (2009, blackletter), Holy Church Fleurons (2009), Single Silhouettes (2009).
Typefaces done in 2010: Penabico (a calligraphic script; with Paulo W), Baltimore Typewriter (a great typewriter family, with a black-on-white typewriter keys style added), Izouda (an art deco Broadway-style beauty), Bernardo (an italic family, with swash initials thrown in, named after Lucian Bernhard), Netuno, Supermarket (shop signage family), Bruce Influence (interpretation of Great Primer Ornamented No. 30, from the Bruce's TypeFoundry 1869 catalog), Pretoria Gross (a Victorian family done with Paulo W), Reliant (2010, with Dmitrij Greshnev: a free interpretation of Bernhard Schönschrift (Lucian Bernhard) and Liberty, which was designed by W.T. Sniffin for ATF in 1927, following the original designs by Lucian Bernhard), Reliant Limited (2012, free version).
Gostosinhos (2010) are hilarious faces put together in a dingbat font. Centennial Onaments (2010) was done with Paulo W. Calligraphic Birds is pure penmanship.
Fonts done in 2011: Ambrose Bierce Daned Font (ornamental caps), Menina Carinhosa (floriated caps), Menina Formosa (floriated caps), Menina Espinhosa (2011), Menina Graciosa Ornaments (2011, +Two), Menina Poderosa Ornaments (2011), Azalleia (floriated caps), Azalleia Ornaments, Naoko (a fantastic oriental simulation face), Bestiario (calligraphic penmanship dingbats based on the work of English writing master John Seddon, 1644-1700), Seddon Penmans Paradise Capitals (elaborate caps along the lines of Bestiario), Dolphus-Mieg Monograms (after a 1901 book by the Dollfus-Mieg company), Imprenta Royal Nonpareil, Dia de los muertos (2011), Naive Ornaments (2011), Eingraviert Dutch Capitals (2011).
Creations in 2012: Spirulina, Promotion Script, Soft Ornaments (+Two, +Three, +Four, +Five, +Six, +Seven, +Eight, +Nine, +Ten, +Eleven, +Twelve, +Thirteen, +Fourteen, +Fifteen, +Sixteen, +Seventeen, +Eighteen, +Nineteen, +Twenty, +21), Soft Garden (ornaments), The Black Shapes, Sabor Words, Sabor Digital (textured), Sabor Rasgos Escritura (upright connected script), Floreart (floral dingbats), Mirella Script (French bastarda penmanship script), Soft Flowers, Derriey Vignettes (after Charles Derriey), Gracious Azaleas (flowery dings).
Design from 2013: Bruce Ornaments Collection, Invitation Script (after the calligraphy of Andrade de Figueiredo, 1722), Mirella Initials Ornamentals (a swashy calligraphic script done with Paulo W), Menina Graciosa (ornamental caps), Menina Gostosa (Loira (caps), Morena (calligraphic), Ornamentos (floral)), Alien Trees. [Google]
[Jack's Scribal and Epigraphic Fonts]
Jack's Scribal and Epigraphic Fonts
Houston's Jack Kilmon designed many archaic and epigraphic TrueType fonts. Free for academics. His site also has an archive of some fonts by Reinhold Kainhofer (RK Ancient Fonts), and some Coptic, Hebrew, Hieroglyphic and Greek fonts. A list of his creations: Early Phoenician (8th century BC), Moabite/Mesha Stele Epigraphic, Lachish Ostraca Cursive Palaeohebrew, Elephantine Papyrus Cursive, Jack's Early Aramaic (10th c. BCE), Nabataean Aramaic, Jack's Samaritan, Jack's Siloam Inscription, Jack's Dead Sea Scroll Scribal (or DSS Scribal) (based on Great Isaiah Scroll), Jack's Habakkuk Scribal (based on Pesher Habakkuk), Jack's Meissner Papyrus Cursive, Dead Sea Scroll Scribal, Latin Epigraphic, Roman Rustica (Capitalis Rustica), Latin bookhand from 1st to 6th century, C. Sinaiticus Uncial Greek, Early Greek Epigraphic, Greek Minuscule with Ligatures, Carolingian Minuscule, Insular Minuscule, early Gothic, Gothic Textura Quadrata, C. Sinaiticus Uncial Greek, Early Greek Epigraphic, Greek Minuscule with Ligatures, Jack's Etruscan. Essay on the history of writing. And an archive of Greek, Coptic, Hebrew and hieroglyphic fonts.
Dafont link. Marc Smith is not kind in his critique of Kilmon, who he calls an amateur (page 65). He deplores (page 69) that most letters, o, b, p and y included, have the same height in Kilmon's work. [Google]
Jana Horackova (b. 1962) studied at the Type and Book Culture department of the Academy of Arts, Architecture and Design in Prague. During her studies, she participated in an internship at the Nottingham Polytechnic University, focusing on digital font processing. She is currently involved in research work among tribal communities of the Alto Purus river basin in Amazonia, where she she is studying medicinal and ritual herbs as part of her doctorate studies.
Designer of the uncial/blackletter typeface Rebeka, which is based on 13th century Italian bastarda scripts. Read its review by Dan Reynolds. We find it published in 2014 at Briefcace Type as BC Rebecca. [Google]
Dutch designer and type designer. He created the custom uncial typeface Bonifatius in 2007 for the municipality of Dokkum, The Netherlands. He collaborates with René Knip on various type projects. In October 2012, Knip and Hahn cofounded Arktype. [Google]
Jeffrey Glen Jackson
Jeffrey Jackson designed a great blackletter font JGJ Durer Gothic (1997): This font is based on the book Of the Just Shaping of Letters by Albrecht Dürer, 1535. In consists of just the upper and lower case letters with no provision for modern forms (U and V are the same, as is I and J). Other designs by him include JGJackson Fountain (1999), JGJ Roman Rustic (1999) and JGJ Uncial (1999). Dafont link. [Google]
[Stiggy & Sands]
Joao Henrique Lopes
Ananindeua, Brazil-based creator of FontForum Giureska (2012), a blackletter / uncial family published by URW, and of Styla Pro (2013), a flared typeface also published by URW, and advertized as a romantic sans influened by Bodoni.
Lucca (2013) is a flared humanist sans typeface that was inspired by Italian Renaissance fonts like Poliphilus, Blado, Centaur and Arrighi.
Typefaces from 2015: Pleiad (seven interchangeable scripts published by URW++: Pleiad Alcyone, Pleiad Celeno, Pleiad Electra, Pleiad Maia, Pleiad Merope, Pleiad Sterope, Pleiad Taygete). [Google]
Joelle's Font Collection
Celtic font archive: American-Uncial, AncientScriptExtended, AncientScript, Anglo-Saxon,-8th-c., Celtic-Bold, CelticHand, Celticmd-Decorative-w-Drop-Caps, Enchantment-BlackItalic, Enchantment-Black, EnchantmentCondensed, EnchantmentExtended-Italic, EnchantmentExtended, Enchantment-Italic, Freehand591, GabrielExtended, Gabriel, Gaelic-Regular, InnkeeperCondensed-Italic, InnkeeperCondensed, InnkeeperExtended, InnkeeperExtended-Italic, Innkeeper-Italic, InnkeeperOutline-Italic, InnkeeperOutline, Innkeeper, MaidenWord, MiddleAges. Most of these fonts are from the Swfte collection, 1996. [Google]
John H. Schmidt
[Neurological Associates Inc]
John R. Scotford
Creator of typefaces at VGC, such as Scotford Uncial (1965). [Google]
Provo, UT-based designer of the experimental uncial font Pseudo Sachsen (2003) and of the handwriting font Hand Me Down (2003). [Google]
[Hoefler (was: Hoefler&Frere-Jones, and Hoefler Type Foundry)]
José Alberto Mauricio
Joseph Moulton Jaquinta Grant
Designer (b. Fort Lauderdale, FL, 1965) of a few metafonts such as old uncial and cirth (Tolkien runes), to be found here, and Celtic Knotwork Font. Designer of the metafont Cun (runes, cuneiform). Now software engineer for IBM/Lotus in Ireland. [Google]
Journal of Biblical Studies
Alternate URL. Archive: Altrussisch, Altrussisch-Bold, Altrussisch-BoldItalic, Altrussisch-Italic, Web-Hebrew-AD, BSTGreek, BSTHebrew, Coptic-Normal, Web-Hebrew-Monospace, Cyrillic, Cyrillic-Bold-Italic, Cyrillic-Bold, Cyrillic-Normal-Italic, DSS-Scribal-Normal, Elephantine-Aramaic, Etruscan-Epigraphic-Normal, Netextmo, Netextpro, Greek, Hebrew, IluInternet, Koine-Medium, l562-Minuscule-Normal, Lachish-Bold, Latin-Uncial-Normal, Linear-B, Nippur-Sans-Regular, Macedonian-Ancient, Meroitic---Demotic, Meroitic---Hieroglyphics, Nabataean-Aramaic, Nahkt, Paleo-Hebrew-NormalA, Phoinike, Qumran, RD-Akkadian1, RK-Ugaritic-Transscript, Rashi, SPAchmim, SPAtlantis, SPDamascus, SPEdessa, SPEzra, SPIonic, SPTiberian, Schwaben-Alt-Bold, Sinaiticus-Greek-Uncial, Sorawin-Plain, Ugarit. [Google]
Creator of these free Latin / Cyrillic typefaces in 2004-2005: NK 123, NK 124 (uncial), NK 128, NK 138 (a Greek simulation face), VUK-44, Goran, Blagovest 2. The NK in these names refers to Nikola Kovanovic, who created the Cyrillic portions of all typefaces. [Google]
Juan de Iciar
Also written as Juan de Yciar or Juan de Ycíar or Ioannes de Yciar. Spanish calligrapher, mathematician and writing master, 1515-1590. Author of Arte Subtillissima (1553, Zaragossa) and Arte Breve (1559, Zaragossa). According to Heitlinger, he was born in 1523, not 1515, in the Basque city of Durango (Vizcaya). He studied calligraphy with Tagliente and Palatino, and invented the so-called Spanish Bastarda, and drew many beautiful chancery alphabets.
Image of Spanish gothic capitals (1550).
He published Recopilación subtillísima intitulada Orthographia Practica in 1547-1548 (Zaragoza), the first writing manual in Spain. He also published Arte Subtilissima por la cual se enseña a escribir perfectamente in 1548 (8 editions from 1548 to 1566).
Recopilación subtillísima intitulada Orthographia Practica was republished in 2003 by Jakider. From that book, his beautiful Latina initial caps. Scan of his Spanish renaissance alphabet, other alphabets, Ave Maria (1548, from Arte Subtilissima), chancery hand, and Cancellaresca gruesca (1548). Biblioteca complutense de Madrid has images on-line. [Google]
Juan Diego López Medina
Medellín, Colmobia-based designer (b. 1975) of Dawn of Mellido (2006) and of the uncial/blackletter typeface Mellogothic.
Abstract Fonts link. [Google]
Juan-José Marcos García
Julius de Goede
Dutch Creative Alliance designer of Uncia (1999, uncial), Rudolph (Fraktur), Julius Primary (1999, a school font family), Amadeo (handwriting, 1999, with Fiel van der Veen) and Augusta (1999, +Cancellaresca, +Schnurkl). He published Xander (2001) at Agfa, a font based on the handwriting of the Dutch type designer Alexander Verberne. Finally, he published the calligraphic script family Gaius (2002), the calligraphic Bastarda typeface family Bernhardt Standard (2003), the Fraktur typeface family Frakto (2003), and the blackletter family Rockner (2005) at Linotype.
Linotype link. FontShop link. Klingspor link. [Google]
Kalligarfie 't Veertje
Fantastic Belgian site on the history, teaching and understanfing of calligraphy. Run by Godelief Tielens in Halen. Three subpages worth visiting include Humanist Cursive, Anglaise/Copperplate, and Uncial. The pages are in Flemish. [Google]
Born in Stockholm in 1954. Designer whose fancy caps and uncial fonts will soon be developed in cooperation with David Kettlewell. The first one in this series is Karins Lombardy Caps (2006). MyFonts link. [Google]
[Klingspor (or: Gebrüder Klingspor)]
German scribe, type designer and unbelievable calligrapher, b. 1914 in Schlesisch-Drehnow, d. 2000 in Offenbach. Following schooling in Schlesien and Hamburg, he served a four-year typesetting apprenticeship from 1930-1934 in Hamburg and later at the Kunstgewerbeschule (School of Arts and Crafts) in Offenbach am Main. From 1939 until 1945 he was in active military service and became a prisoner of the Russians. After that ordeal, he became a calligraphy teacher at the Werkkunstschule in Offenbach, and developed a universal pen with novel writing and drawing techniques for the company Brause. It is at that point that Hoefer started designing types as well. From 1970 to 1979, Hoefer was a lecturer and later professor at the HfG (School of Design) in Offenbach. From 1981 to 1988, Hoefer ran summer calligraphy workshops in the USA (Los Angeles, San Francisco, Boston, New York, Washington, and other cities). In 1982, Karlgeorg Hoefer founded a calligraphy workshop in Offenbach for everyone, with evening courses and summer school, and in 1987, the registered association "Calligraphy Workshop Klingspor, Offenbach, Supporters of International Calligraphy." From 1987 to 1995, he was the chairman of the association while teaching continuing courses and summer school classes with leading foreign calligraphers. Hoefer has written two books about calligraphy: "Das alles mit einer Feder" (Brause, 1953) and "Kalligraphie, gestaltete Handschrift" (Econ, 1986). Numerous articles about Hoefer's work have appeared in calligraphy journals in Holland, France, the USA, and Japan. In 1989, the book "Schriftkunst/Letterart Karlgeorg Hoefer" was published as part of Calligraphy-Editions Herbert Maring (Die Kalligraphie Edition, Hardheim, Germany, 1989). For his activities as a calligrapher, Hoefer received the Order of Merit of the Federal Republic of Germany in 1993. His typefaces:
- At Klingspor: Salto (1952), Saltino (1953), Saltarello (1954), Monsun (1954). Salto is a famous and often-copied brush script.
- At D. Stempel: Prima (1957), Zebra (1963-1965, D. Stempel, a script that plays on the simulation of grey and the use of two colors; revived by Colin Kahn in 2007 as P22 Zebra).
- At Ludwig&Mayer: Permanent (1962-1969, a large Grotesk family developed over many years---this was revived by Daylight in 2010 as Permanent Massiv; URW sells Permanent Headline URW D without even a word about the original designer; Softmaker has Plakette Serial and P700 sans; Castcraft has OPTI Permanent and OPTI Pinacle; Marcus Sterz published Letterpress Headline in 2009), Stereo (1963, an outline poster headline script developed between 1957 and 1968; digitally revived in 1993 as Stereo (Tobias Frere-Jones, Font Bureau)), Elegance (1964, a handwriting script, which was the basis for Sincerely (2005, Canada Type)), Big Band (1974, a fat poster script revived in 2007 by Nick Curtis as Baby Cakes NF (2007)), Big Band Terrazzo (1974, a glaz krak face), Headline (1964, a poster typeface that emanated fom Permanent).
- Programm-Grotesk (1970): Hoefer's first digital typeface, commissioned by JT Hellas for the Greek telephone books It was first used in the digital machine Digiset of Dr. Ing. Hell in Kiel.
- From 1978 until 1980, Karlgeorg got involved in the development of a German license plate font that could withstand forgery by black marker pens. The typeface, FE Mittelschrift/Engschrift, had also input from other sources.
- Lateinischen Ausgangsschrift (1974): a school script for the Linotype phototypesetter. This led later to VA Schrift (Berthold and Linotype).
- At Linotype: Omnia (1990, a unicase typeface with a Celtic uncial feel), San Marco (1990, round gothic / Rundgotisch), Notre Dame (1991-1993, a full blackletter face), Dominatrix (1994), Sho (1992, Asian brush script), Beneta (1992, a French bastarda inspired by the Littera beneventana, the script of the Benedictine scribes from the 10th to the 12th century).
Linotype page. FontShop link. Klingspor link.
View Karlgeorg Hoefer's typefaces. [Google]
Creator of Sweeney (Agfa-Monotype, 2002), an italic uncial with strong Celtic overtones. Sweeney Lino Cut is a companion series of illuminated initial letters. Agfa explains: Sweeney is the name of a seventh-century Irish king who went mad (some say from the din of battle; others say he was cursed by a Christian monk), roamed Ireland naked and composed poetry.
Klingspor link. [Google]
15-font truetype archive. Includes mostly Fraktur and uncial fonts such as DorovarFLF-Carolus (or: Carolingia), Chaucher, ClerestorySSK, CloisterBlackBT-Regular, Diamond-Gothic, Diploma, EnglishTowne-Normal, FaustusNormal, Gothic-Straight-Faced,-16th-c., OffenbachChancery, OldGondor, Paganini, PR-UncialAltCaps, SchwabenAlt-Bold, Wellsley. [Google]
KLIM (or: Klim Type Foundry)
KLIM is a type and graphic design studio run by Wellington, New Zealand-based designer Kris Sowersby, now affiliated with Village. Interview. Behance link.Klingspor link. Views on engineered geometry. His creations:
- Feijoa (2007, a serif family for text, Village).
- National (2007, a sans serif family, Village). This type family won an award at TDC2 2008. Duncan Forbes: National is slightly mannered, which becomes more apparent in the heavier weights yet it still remains simple, subtle and serious. [...] It has a human charm that gives such warmth and learned beauty to text.
- FF Meta Serif (2007, Serif counterpart of FF Meta, with Erik Spiekermann and Christian Schwartz).
- Galaxie Copernicus (2009) is a large x-height serif family done at Village in cooperation with Chester Jenkins. It was inspired (from very far) by Plantin's types.
- Domaine Text and Display, in 48 styles (2013). Wedge serif on a didone skeleton. The Domaine Sans Display and Domaine Sans Fine subfamilies are exquisite fashion mag typefaces.
- Founders Grotesk (2010). Roughly based on Miller&Richard Grotesque (No. 4, No. 7, No. 3), from a 1912 Miller&Richard specimen book. The proportions are just right---I will place my bets on this one for several best of 2010 award lists. The Condensed and X-Condensed are from 2011, and Founders Grotesk Text was published in 2013. ">Founders Grotesk Mono followed in 2014.
- Metric (2011). A sans family with hints of art deco in the heavier weights. It is paired with Calibre (2011). Sowersby writes: Metric&Calibre are a pair of typefaces that share a fundamental geometry yet differ in the finish of key letterforms. Metric is a geometric humanist, sired by West Berlin street signs. Calibre is a geometric neo-grotesque, inspired by the rationality of Aldo Novarese's seldom seen Recta. They were conceived as a pair but function independently of each other. In a clever twist, Metric offers vertical stroke endings and Calibre horizontal ones in a selected number of glyphs.
- Tiempos Text and Tiempos Headline (2010). Named for Times New Roman, this type has influences from the egyptian Galaxie Copernicus, which is based on Plantin, as well as from Times New Roman.
- FF Unit Slab (2007, with Erik Spiekermann and Christian Schwartz).
- Newzald (2007), an economical text serif based on rough lettering found in New Zealand. Review of Newzald at Typographica.
- The blackletter pixel font Pixel Fraktur (2002).
- The pixel script font Nobody came to class (2003).
- Pixel uncial (2003).
- Luca Titling (2003, an ancient roman titling typeface based on inscriptions from 1590).
- Mono, Mono Pre (2003).
- Kilbernie Sans (2003), Kilbirnie Serif (2004).
- Klim Sans (2004).
- A Slabb (2004, a slab serif), Slabb (nice slab version of Klim Sans).
- Karv (2005, alternative for Trajan), Karv Sans.
- National Condensed and National Compressed (2007).
- Aperture (2007), a sans for small sizes.
- Valencia (2007), a warm didone.
- Salamanca (2005).
- Sevilo (2005).
- Zinc (2005).
- Elegantia (2005, based on Polyphilus).
- Karbon, Karbon Serif (2006: raves from the typophiles!). Karbon is an open, geometric sans serif with a contemporary spartan finish. It is an exploration of Paul Renner's reductionist Futura concept channelled through the proportions of Eric Gill's eponymous sans, with a slight nod towards Jan Tschichold's Uhertype sans-serif. Includes seven weights in roman and italic.
- In 2015, the custom octagonal typeface Pure Pakati was developed at Whybin TBWA Auckland for Tourism New Zealand. Its design team comprised Philip Kelly (design director), Karl Wixon (Maori design consultant), Kris Sowersby (type designer) and Rangi Kipa (Maori carver). Pure Pakati blends the traditions of wood type with the traditional indigenous carving style of Aotearoa (New Zealand) in a hand-carved and digital fonts. It won an Nga Aho Award from the Designers Institute of New Zealand and Nga Aho Inc in 2015.
- Domaine Sans (2014, with Dave Foster) won an award in the TDC 2015 Type Design competition.
Klingspor (or: Gebrüder Klingspor)
German foundry established in 1906 by brothers Karl Klingspor (1868-1950) and Wilhelm Klingspor (1871-1925) in Offenbach am Main. About half of its catalog consists of blackletter types (as listed in 2000 by Harald Süß), and many of its typefaces were designed by German über-designer Rudolf Koch. History (in German, PDF), resummarized here:
That library included typefaces by these designers:
- 1892: Carl Klingspor (1839-1903), the father, buys the Rudhardsche Gießerei in Offenbach am Main in 1892, which was originally founded in 1842 by Johann Peter Nees, Phillip Rudhard and Johann Michael Huck.
- 1899: Heinz König designs Walthari (a light Fraktur font).
- 1900: Otto Eckmann designs the Fraktur font Eckmann Schrift, and Kurt Wanschura (from Leipzig) designs the Fraktur font Offenbacher Schwabacher. Reform appears!
- 1901: Peter Behrens publishes Behrensschrift (art nouveau style). Offenbacher Fraktur appears too.
- 1902: Behrens Schrift by Peter Behrens. Fette Eckmann Schrift und Ziermaterial by Peter Behrens. Vignetten by Emil Doepler d.J., and Schmuck für Bücher und Akzidenzen by Robert Engels, München.
- 1903: Reform Kursiv.
- 1904: Karl and Wilhelm Klingspor become the sole owners of the Rudhardsche Gießerei. As a private typeface, they decide on Munthe Schrift by Norwegian Gerhard Munthe.
- 1905: Heinz König designs König Antiqua. Breitkopf Fraktur is published, based on the original design of Joh. Gottl. Immanuel Breitkopf (1719-1794). Also new is Auszeichnungsschriften für Fraktur, as well as Die Leidensstationen by Robert Engels.
- 1906: The form is renamed Gebr. Klingspor. Otto Hupp makes Liturgisch (another Fraktur font). Jugendschrift is published.
- 1907: Peter Behrens publishes Behrens-Kursiv.
- 1908: Peter Behrens publishes Behrens Antiqua. Otto Hupp makes Neue Anzeigen Schriften. Halbfette Reform is published.
- 1909: Otto Hupp makes Hupp Antiqua (a Basque "A" in here!), Hupp Unziale. Walter Tiemann designs Tiemann Mediäval.
- 1910: Rudolf Koch designs Fette Deutsche Schrift (Fraktur) and Fette Kochschrift (are these not the same?). Hupp Fraktur appears. The company publishes Kalender Bilder by Heinrich Vogeler.
- 1911: Tiemann makes Halbfette Tiemann Mediäval.
- 1912: Tiemann makes Tiemann Mediäval. Kursiv and Tiemann-Kursiv. Koch makes Halbfette Deutsche Schrift and Deutsche Schrägschrift.
- 1913: Peter Behrens publishes Behrens Mediäval. Koch makes Schmale deutsche Schrift.
- 1914: Rudolf Koch publishes Frühling, Maximilian Gotisch, Maximilian-Antiqua and Maximilian. Walter Tiemann makes Peter Schlemihl and Tiemann Fraktur.
- 1915: Klingspor acquires F. W. Aßmann and Wilhelm Gronau in Berlin.
- 1917: Albert Windisch makes Windisch Kursiv.
- 1919: Karl Michel designs Schraffierte Antiqua. Some cooperation is established with D. Stempel AG, which acquires some shares.
- 1920: Tierbilder-Probe is published.
- 1921: Rudolf Koch publishes Deutsche Zierschrift (Fraktur) and Magere deutsche Schrift. Walter Tiemann makes Narziß. The company publishes Elfenschmucjk, as well as Schräge Schwabacher. Leo Wackerle makes Kalender Bilder.
- 1922: Rudolf Koch designs Koch Antiqua and Koch Antiqua Kursiv. Otto Hupp publishes Deutsche Schrägschrift. Ernst Engel designs Mörike Fraktur, a private typeface just created for the Ernst Engel Presse.
- 1923: Rudolf Koch designs Koch Antiqua Kursiv and Neuland. Walter Tiemann designs Tiemann Antiqua.
- 1924: Koch designs Grosse Koch Antiqua, and Tiemann makes Tiemann Gotisch.
- 1925: Wilhelm Klingspor dies. Rudolf Koch designs Wilhelm-Klingspor-Schrift (Fraktur), and Victor Hammer creates an uncial font, Hammerschrift.
- 1926: Tiemann makes Tiemann Antiqua Kursiv and Koch publishes Klingsporschrift.
- 1927: Rudolf Koch designs Kabel.
- 1928: Rudolf Koch designs Neuland Licht. Walter Tiemann makes Kleist Fraktur.
- 1929: Rudolf Koch creates Zeppelin.
- 1930: Rudolf Koch designs Wallau (rotunda) and Jessen-Schrift (Fraktur).
- 1931: Heinrich Maehler makes Salut.
- 1932: Rudolf Koch designs Holla.
- 1934: Walter Tiemann makes Fichte Fraktur.
- 1935: Rudolf Koch creates Koch Kurrent.
- 1937: Rudolf Koch publishes Claudius.
- 1940: Rudo Spemann's Gavotte appears.
- 1944: A bombardment destroys a lot of material and drawings.
- 1950: Karl Klingspor dies. Walter Tiemann makes Offizin. According to Chronik und Stammfolge der Familie Klingspor (1989, Reinhard Klingspor and Gerhard Moisel), Karl Klingspor died on January 1, 1951, but everywhere on the web we find 1950.
- 1951: Karl Hermann Klingspor (1903-1986), son of Wilhelm, takes over the company.
- 1952: Karlgeorg Hoefer makes Salto.
- 1953: Karlgeorg Hoefer publishes Saltino. Victor Hammer makes Hammer Unziale. The Klingspor Museum in Offenbach is created.
- 1954: Hans Kühne designs Andreas Schrift (Fraktur) and Kühne Schrift (Fraktur). Joachim Romann makes Constanze (a formal script) and Queen. Alfred Finsterer designs Duo Licht and Duo Dunkel.
- 1955: Karlgeorg Hoefer makes Monsun.
- 1956: D. Stempel AG buys the remaining shares of Klingspor, and incorporates many of its types in its own catalog.
- H. Kühne: Andreas Schrift (1954, carried by Delbanco and Gerhard Helzel), Kühne Antiqua (1954), Kühne Schrift (1954), Stahl (1933-1939).
- P. Behrens: Behrens Antiqua (1907), Behrensschrift (offered by Intecsas as Sprecher Gothic), Behrens Initialen (called Sprecher Initials at Intecsas).
- Rudolf Koch: Claudius (carried by Delbanco), Deutsche Schrift (1910), Frühling (1917, carried by Delbanco), Deutsche Zierschrift (1921, offered by Delbanco and Gerhard Helzel), Holla (1932), Jessen-Schrift (1924-1929, carried by Delbanco), Kabel (1927, at Linotype now; called Geometric 231 at Bitstream, and Kalten at PrimaFont, and Koch Original at LetterPerfect), Koch Antiqua (1922, published by Linotype now; available from Alphabets Inc as AI Koch Antiqua MM; called Eva Antiqua SG at Spiece Graphics), Zeppelin (1929, available from Agfa now), Koch Kurrent (1935, offered by Delbanco), Koch Fraktur (offered by Delbanco, Gerhard Helzel, and Christian Richter), Marathon (1938), Maximilian (1917, available at Castle Systems, and carried by Delbanco), Maximilian-Gotisch (carried by Gerhard Helzel and by Walden Font), Neuland (1923, available from Linotype; available from Alphabets Inc as AI Koch Neuland, and at Bitstream as Informal 011, and at PrimaFont as Newfish, and at Keystrokes as Neuland inline), Prisma (1928; a multiline typeface revived in 2003 by Dieter Steffmann), Wallau (1926-1934, carried by Delbanco, and called Wal at PrimaFont), Wilhelm Klingspor-Schrift (1925, carried by Delbanco and Linotype; Wilhelm Klingspor-Gotisch is called Wilson at PrimaFont).
- J. Romann: Constanze (1954), Queen (1954, called Ferrante by Intecsas).
- Walter Tiemann: Daphnis (1929), Fichte Fraktur (1934-1939, carried by Delbanco and Gerhard Helzel), Kleist Fraktur (1928, revived by Dieter Steffmann in 2002, and carried by Delbanco), Narziss (1921, available from Font Bureau and Spiece Graphics as Narcissus), Offizin (1952), Peter Schlemihl (revived by Walden Font, and by Dieter Steffmann in 2002), Tiemann Mediäval (carried by Gerhard Helzel), Tiemann Antiqua (1923, now at Linotype).
- A. Finsterer: Duo licht/Duo dunkel (1954).
- O. Eckmann: Eckmann Schrift (1900, called Freeform 710 at Bitstream, and called Eckmann at Elsner&Flake, ScanGraphic, Linotype, URW++, Gerhard Helzel and Delbanco), Eckmann Initialen (called Jan Bent at Intecsas).
- Kurt Wanschura: Offenbacher Schwabacher (1900, Offered at Delbanco).
- H. König: Falstaff (1906).
- H. Schardt: Folkwang (1949).
- R. Spemann: Gavotte (1940, available from Linotype).
- V. Hammer: Hammerschrift (1923, available as Martel at Scriptorium), Hammer Unziale (1953). [Linotype has it as Neue Hammer Unziale. Agfa carries Uncial, which is really Neue Hammer Unziale. The Electric Typographer calls it Electric Uncial. Elsner&Flake have a version called American Uncial.]
- O. H. W. Hadank: Ornata (1943).
- H. Bohn: Orplid (1929).
- O. Hupp: Liturgisch (1906, carried by Gerhard Helzel), Hupp Antiqua (1909).
- F.K. Sallwey: Information breitfett (1958).
- A. Kumlien: Kumlien Antiqua.
- R. Bauer: Magnet (1906).
- K. Hoefer: Monsun (1955), Salto (1952, now at Linotype), Saltino (1953, carried by TypeRevivals), Saltarello (1954).
- H. Maehler: Salut (1931, version available from Agfa).
View the Klingspor typeface library. [Google]
Korvigelloù An Drouizig
Breton site with free Celtic fonts such as Rudhraigheacht UNICODE (2003). There is also a Celtic font archive. Korvigelloù An Drouizig made many existing fonts Unicode-compliant, and the list is growing. OTF versions were prepared by David Goode (Faculty of Divinity, University of Cambridge). These include Peter Rempel Narrow KAD, Peter Rempel Uncial KAD, Kelt, Gael AX - BX, Gaeilge, Celtic Gaeilge, American Uncial, Umber SSK, Tuamach, Thryomanes, Stonehenge, Rudhraigheacht, Merzhin, William Boyd Uncial, DS Celtic 1 KAD, DS Celtic 2 KAD. The KAD fonts were made by Korvigelloù An Drouizig. He also made Gaeilge Unicode (2003). The Gael AX and BX Unicode fonts are unicodizations of fonts originally made by F.M. O'Carroll. [Google]
Korvigelloù An Drouizig (or: KAD)
Celtic (mostly uncial) font archive. Some fonts were modified by KAD. The list: AmericanUncial, BoydUncialUNICODE, CelticGaeligeUNICODE, DSCeltic1_KAD, DSCeltic2_KAD, GaeilgeUNICODE, GaelAXUNICODE, GaelAXUNICODEBold-Bold, GaelBXUNICODE, GaelBXUNICODEBold-Bold, KeltUNICODE-Bold, KeltUNICODE-Italic, KeltUNICODE, Merzhin, PR-CelticNarrowKAD, PRUncial_KAD, RudhraigheachtUNICODE, StonehengeUNICODE, Thryomanes, ThryomanesBold, ThryomanesBoldItalic, ThryomanesItalic, TuamachUNICODE, UmberSSKUNICODE. Alternate URL. Of these, the following are all based on BoydUncialUNICODE (William Boyd, 1991, see also Carlongia): KeltUNICODE (Bay Animation), StonehengeUNICODE (unknown source), UmberSSKUNICODE (Paul King, Southern Software). No surprise to find Bay Animation and Southern Software in this list. [Google]
Swiss calligrapher in Basel who made and sells various medieval and historically important script fonts. These included the paleographic (PAL) series and the KPS series. He lives in Ühlingen--Birkendorf, Germany. His fonts are uniformly of high quality and are usefl for illustrating historical alphabets.
His early commercial collection: KPS Anglaise (calligraphic script), KPS Antiqua (+Kapitälchen), KPS Capitalis (classic Trajan caps), KPS Cicero, KPS Epona (calligraphic), KPS Fein (hand-printed), KPS Hand (calligraphic), KPS Horaz (calligraphic), KPS Iris (calligraphic), KPS Petit (calligraphic), KPS Plinius, KPS Spitzfelder, KPS Vitruv (calligraphy), PAL Bastarda, PAL Cancellaresca, PAL Carolina, PAL Gotisch, PAL Humanistica, PAL Lombarden, PAL Quadrata, PAL Rotunda, PAL Rustica, PAL Textura, PAL Uncialis, PAL Uncialis Roemisch, Weissranken Initialen, Ranken Initialen (Celtic capitals).
Since September 2013, all of his fonts are free. They were renamed and have conveniently the date of original creation in the font name. The fonts dated in the 1990s and 2000s are new typefaces or creative revivals by Klaus-Peter. The list of revivals: 0100DeBellisMacedonicis [Pre-uncial letters from the fragment "de bellis macedonicis", ca. 1st century], 0300Petros [Greek hand from the oldest surviving copies of St. Peter's epistles, dated 3th / 4th century], 0362Vitalis [Roman Minuscule Cursive from the so called Vitalis letter, written before 362 on papyrus (Strasburg)], 0480VergiliusRomanus [Capitalis Rustica from the Vergilius Romanus written in Rome, ca. 480], 0500VergiliusSangallensis [Capitalis Quadrata from the Vergil fragments in Stiftsbibliothek St.Gallen], 0512Dioskurides [Greek Uncials from the Vienna Dioskurides (about 512)], 0746Beda [from Beda Venerabilis: Historia ecclesiastica gentis Anglorum, Northumbria, dated 746], 0800Kells [Half Uncials from the Book of Kells], 0800Remedius [So called "Lombardic-Raetic Minuscule" from Codex 348 of the Stiftsbibliothek St. Gallen], 0800 Theophanes [Greek Hand after a 9th century Theophanes manuscript], 0850CarolinaTours [Carolingian Minuscule], 0850Carolinaundulata [Carolingian Minuscule from the Scriptorium of Tours], 0864Folchart [St. Gall Carolingian from the Folachart Psalter], 1012Otto [Late Carolingian Minuscule from the Perikopes of Heinrich II, written at the Reichenau, donated to the dome of Bamberg in 1012], 1258FridericusII [Gothic Rotunda from the falcon book of Emperor Friedrich II, Southern Italy 1258-1266], 1400Wenzel [Bohemian Textura from Vienna], 1450Sebastos [Humanistic Greek hand from Homer, Ilias, Vatican Library], 1455GutenbergB42 [Gothic Textura types from the 42 line Gutenberg Bible], 1458GutenbergB36 [Gothic Textura types from the 36 line Gutenberg Bible], 1470Jenson [an antiqua by Nicolas Jenson], 1475HumanisticaCursiva [Humanistic Cursive of the kind Bartolomeo Sanvito of Padua wrote, after Cod. Pal. Lat. 1508], 1480Humanistica [Humanistic Book Hand from Valerius Maximus: Facta et dicta memorabilia, ca. 1480-1485. The calligraphy is attributed to Antonio Sinibaldi from Florence and the titling capitals to Bartolomeo Sanvito from Padua], 1483Koberger [Incunabula type from the Koberger Bible, printed in Nuremberg in 1483], 1485Grueninger [Incunabula type from the Grueninger Bible, printed in Strasburg in 148], 1493SchedelRotunda [Incunabula type from the Latin edition of Hartmann Schedel's World Chronicles, printed by Koberger at Nuremberg in 1493], 1501Manutius [First printed Italic Antiqua by Aldus Manutius (Venice 1501)], 1513Gebetbuch [Fraktur from Emperor Maximilian's Prayer Book, printed in Augsburg in 1513], 1517Gilgengart [Fraktur type from Emperor Maximilian's 1517 private print "Gilgengart"], 1517Teuerdank [Fraktur type from Emperor Maximilian's "Teuerdank", printed at Augsburg in 1517], 1519NeudoerfferFraktur [Fraktur alphabet from a woodblock model in Johann Neudoerffer the Elder's Calligraphy book "Fundament", Nuremberg 1519], 1739Bickham [Copperplate or running hand after models from "The Universal Penman" by George Bickham, printed in London 1743], 1741Bickham [Bickham's round hand from Universal Penman], 1782Thurneysen [Baroque Antiqua Type of J. Jacques Thourneysen fils, Basel 1782].
Original versions by Schaeffel, with date of design in the font name: 1999Anglaise1, 1999Anglaise2, 1999Cancellaresca, 1999Carolina (Carolingian minuscule), 1999Livius, 1999LiviusBold, 1999LiviusItalic, 1999LiviusSmC, 1999LiviusTitel, 1999Ovidius, 1999Stylus, 1999Textualis, 2000Bastarda, 2000Cicero, 2000Humanistica, 2000Plinius, 2000PliniusItalic, 2000Seneca-Italic, 2000Seneca, 2000TextualisFormata, 2000Uncialis, 2001RotundaFormata, 2002Cato, 2002Horatius, 2002Vitruvius, 2003Epona, 2003Lombarden, 2004CapitalisQuadrata, 2004CapitalisRustica, 2004Iris, 2004UncialisQuadrata, 2004UncialisRomana, 2008-Noeuds-1 [for making Celtic knots], 2008-Noeuds-2, 2008-Noeuds-3, 2009Xenophon, 2010Filigrane, 2010Gouttes, 2010Labyrinthe [squarish], 2010Pointu [a calligraphic blackletter], 2010Vergilius [a great calligraphic face].
Old URL. [Google]
[KLIM (or: Klim Type Foundry)]
[Volcano Type (MAGMA)]
Early 20th century designer of letters, such as this Modern Poster Alphabet with art nouveau influences, Adapted Roman (uncial), and Gothic. The Celtic style typeface Ballyhaunis NF (2005, Nick Curtis) and Inglenook Corner NF (2005, Nick Curtis) are based on his lettering. [Google]
Valletta, Malta-based designer of an untitled uncial typeface (2014). [Google]
Chuck Davis (Palmdale, CA) is the founder of Letterhead Fonts, which is now loacted in Reno, NV. LHF was established in 1999. They specialize in sign and logo fonts, taking inspiration from wood type and late 19th century style typefaces.
Free fonts "Letterhead Tuscan" (handlettering), Quadrex (2006, 3d effect font), and Wal-Mart People (dingbats). Early display fonts include Esoteric (1999), Wall Dog, Double Gild, Convecta, Smalts, Splash, Lisa. His Atkinson collection has a few nice lettering alphabets: Heavy Sign Script, Eccentric French, Fancy Roman and Modern 1908 Classic (now called Cafe Nouveau).
Mike Stowe designed Old Blackletter in 2001. Ken McTague made the hand-lettered style typeface Boston Truckstyle. Designed by Brian Kniceley in 2000: LHF Henderson Church, LHF Ohnimus Florid, LHF Ohnimus Spiked, LHF Strong Tea House, Strong Caliope, Strong Nouveau.
Fonts made around 2000 by Chuck Davis: LHFActionMovie LHF Bulletin Plug, LHF Classic Block, LHF Condensed French, LHF Convecta (2005, beveled face), LHF Cool Blue, LHF Crouching Tiger, LHF Def Artist, LHF Def Writer, LHF Double Gild, LHF Eccentric French Lt, LHF Esoteric, LHF Heavy French Roman, LHF Heavy Sign Script, LHF Jami (2000), LHF Letterhead Tuscan, LHF Lisa, LHF Modern 1908 Classic, LHF Quantum (2001, techno family), LHF Smalts, LHF Splash,LHF Tuscan Full Block (Western style), LHF Wall Dog, LHF Letterhead Tuscan. Fonts made in 2001 by Chuck Davis: LHF Advertisers Plug ATK, LHF Argentine Solid, LHF Boston Truckstyle, LHF Esoteric New, LHF Grants Antique, LHF Mister Kooky, LHF Mister Spooky, LHF Scriptana (2003, angular calligraphic script).
The following are all by Chuck Davis: LHF Antique Shop, LHF Fat Cat (2011, a round informal typeface influenced by Alf Becker's rounded block letterstyle), LHF Bank Note (2007), Quadrex (2005), Menace (2004, comic book style), Michelle (2004, calligraphic script), LHF Ambrosia (2004, free), Sofia Script (2003), Stanford Script (2003), Sarah Script (2003), Fancy Full Round (2003, a Western typeface inspired by Al Imelli, ca. 1900), Matthews Thin (2003, tall caps face), New Modern Classic (2003), LHF Birgitta (2003, roman style typeface, inspired by an E.C. Matthews book), LHF Happy Fun Ball (2003, comic book style), CD Esoteric, OldSignFont, Robin, LHFDefWriter, LHFDefArtist, LHF Amarillo (2001, a spurred serif), LHFBeckerMonogramEnglish, LHFBeckerPosterScript, LHFBeckerRoundedBlock, LHFConclaveFLATreg, Cool Blue (2003), LHFConclaveFLATwide, LHFConclaveROUNDreg, LHFConclaveROUNDwide, LHFConclaveSHARPreg, LHFConclaveSHARPwide, LHFCrouchingTiger, LHFCrouchingTigerCONVEX, LHFEquinox, LHF Esoteric3 (2004), LHFMirageBOLD, LHFMirageITALIC, LHFMirageREG, LHFMonogram, LHFQuantumCONVEX, LHFQuantumREG, LHFRomanaClassico, LHFScriptana (great lettering font), LHFTimberlodge, Village, Kelly Ann, Outlaw, Hensler (2002, a cigar box face), Antique Half Block (2002, wood type), Spurred Egyptian, Wolverine, Ortlieb, Super Thick&Thin, Denise, Hensler, Charlotte, Antique Half Block (2002), Supabad (2003), Brianna (2003, techno), Happy Fun Ball (2003, comic book family), Naylorville (2004), LHF Grant's Antique (2004, caps only Victorian face), Michelle (2004), Cafe Corina (2006, a decorative 19th century style free font by Chuck Davis), LHF Ambrosia (2004, a purely Victorian free font by Chuck Davis), Lincoln (2006), No Fishin (2006), LHF Bell Boy (2004, a free art deco font, Chuck Davis), LHF Full Block (2003; free slab serif athletic number typeface by Davis), Mike's Block (free slab serif by Davis), Old Block (free athletic numbering typeface by Davis), LHF Old Stock (2007), (2007, lettering from old stock market certificates), Hick Sticks (2007, letters made from sticks), LHF Fast Slant (2007, comic book style), LHF Cartoon Cowboy (2009), LHF Big Daddy (2012, fat signage family), LHF Comic Caps 2 (2014), LHF Advertisers Square (2014, after a signage alphabet by Al Imelli, 1922), LHF Asylum (2015, scratchy brush).
At one point, Chuck Davis was running Blu Creative Media, where he published BLU Esoteric (1999).
Interview at MyFonts. Letterhead link. Behance link. [Google]
Argentinian foundry located in Buenos Aires, est. in 2008 by Maximiliano Sproviero (b. 1987, Buenos Aires). MyFonts link. Behance link. It specializes mainly in gothic, uncial and handwriting. Sproviero graduated from FADU, University of Buenos Aires in 2008 with a script thesis typeface called Colofon.
His fonts from 2008 include Devil Kalligraphy, Pumba (great futuristic rounded look), Tobogan (retro), Kiwi Sans Serif, School Rainbow, Suave Calligraphy, Tonika (handwriting), Goddess (handwriting), Cursivessca (calligraphic; 4 styles), Friendship (6 styles), Chechelo Lawyer (modern italic condensed), Quijote Italic (calligraphic with tall ascenders and descenders), Miscelanea (arabesques), Lunga (a condensed hairline family consisting of real Ligada, exacta, Versalita and Extras), Mabela (a rounded fat display font), Red Wagon (ultra-condensed), Valeria Script (swashy), Kalligrand (2008, a tall calligraphic face), Intima Script One, Two and Three (described by him as a sensual calligraphic script family), and Paradise Script (96 styles, all calligraphic).
Creations from 2009: Kaligrafia, Galana, Mon Amour Script (hyper-calligraphic), Oh Lara (also hyper-calligraphic), and Quijot sauvage (a 7-style calligraphic feat).
In 2010 he made these typefaces: Parfait Script (a high-contrast calligraphic script), Kanikama, Breathe Pro (calligraphic with didone serifs), Boston Script.
Creations from 2011: Reina (a curvy didone family, +Engraved). Images of Reina: i, ii, iii, iv, v, vi, vii.
At Tipos Latinos 2012, Maximiliano Sproviero won awards in the display type category for Aire (2012, a thin curly didone family), Breathe Pro, and Reina. At TDC 2013, he won an award for the copperplate script Erotica. Erotica also won an award at Tipos Latinos 2014.
Typefaces from 2013: String (a hairline Spencerian script), Brand (a signage script family), Agile Pro (a hairline swashy calligraphic family), Bird Script (which an award at Tipos Latinos 2014), Live Pro.
Typefaces from 2014: Selfie (connected monoline signage script), Heroe (a script that takes Lubalin and Caslon to the extreme), Dream Script (a chancery script that won an award at Tipos Latinos 2016), Dream Caps (Trajan capitals), Beatle (a Spencerian script with psychedelic touches).
Typefaces from 2015: Seventies (a funkadelic typeface), Indie (a signage script family that won an award at Tipos Latinos 2016), Model (a hairline fashion mag calligraphic script family).
Typefaces from 2016: Skill (signage type).
Klingspor link. Behance link. Interview by MyFonts in 2014. [Google]
Logos Bible Software
[Eli T. Evans]
Company located in Bellingham, WA, which is involved in ancient languages. Eli Evans developed some fonts for Ugaritic, a Semitic language written in cuneiform, in use around 1300 bc in the city of Ugarit in modern Syria. The fonts, called Zebel Open, are part of a commercial Ugaritic package. Here we learn that he designed Gotisch (2003) with letters representing the Gothic alphabet, as written by Wulfila and presumably as used by the Goths (pre-uncial). This was followed by a bold version, Gothic 1. He also created the runes font Futhorc. [Google]
Lord Kyl's Medieval and Fantasy Fonts
[Robert D. Anderson]
Old URL. Another old URL. This was of the greatest archives, loaded with medieval and fantasy fonts, including many dingbats. Robert D. Anderson (aka Lord Kyl MacKay) scanned in many alphabets from "Medieval and Renaissance Alphabets" and created tens of beautiful historical fonts, and made them available free of charge: Anglo-Saxon 8th c, Battel Abbey 8th C, British Block Flourish 10th c, British Museum 14th c, British Outline Majuscules 10th c., Celtic Knot, Curved Majuscules 17th c., Decorated Majuscules 14th c., English Gothic 17th c, Floral Majuscules 11th c, German Blackletters 15th c, Gothic Leaf, Gothic Straight-Faced 18th c., Italian Cursive 16th c (GREAT!), Library of Minerva 9th c., Spanish Round Bookhand 16th c., Traditional Gothic 17th c, Vatican Rough Letters 8th c, Celtic Knot (caps), Gothic Leaf (caps font), Medieval Dingbats.
Alternate URL at TypOasis. Other archive categories: runic fonts, gothic, versals (initial caps), uncial, roman era, anglo-saxon.
Old URL. Dafont link. Fontspace link. [Google]
Musician. Interestingly, Lou Harrison (b. Portland, 1917) designed a few fonts that were subsequently implemented by Carter Scholz: Pluma, Rotunda, Lou Casual, Federov, Lou Titling, Aptos Uncial. Web page. Interview. Biography. [Google]
Ludwig Übele is a Berlin-based German type designer (b. Memmingen, 1974). In 2007, he established Ludwig Type in Berlin. Ludwig practiced type design and branding in his own studio in Den Haag, The Netherlands. He graduated in 2007 from the KABK in Den Haag, the same year in which he started his foundry Ludwig Uebele (or: Ludwig Type) in Berlin. MyFonts interview. Behance link. His award-winning typefaces:
- The extensive serif family Marat, a winner in the TDC2 2008 competition. Its 9 styles can be bought here.
- In 2008, he published Mokka, a subdued serif family with Zapfian influences (lower case "a"). [Do not confuse it with Mokka, Fidel Peugeot's script font from many years earlier---I wonder how Uebele got the Mokka trademark, quite impressive that oversight by the trademark office].
- Augustin (2004). A renaissance typeface inspired by the type of Nicolas Jenson made in Venice in 1470.
- Helsinki. A sans based on Finnish traffic signs---has a hairline weight, and a gorgeous Fat weight. Helsinki 2.0 was published in 2013. In 2014, he published the formidable free weights Helsinbki XXL Black and Helsinki XXL Thin.
- Mediana. A custom typeface based on Franklin Gothic.
- NewTaste. Commissioned by McDonald's.
- Walhalla (2008) is a strong and bold uncial family inspired by uncial letters of the Czech type designer Oldrich Menhardt, made in 1948.
- Daisy (2010) is an artsy ultra-fat vogue magazine style display face, best shown in pink. It won an award at TDC2 2011.
- Tundra (2010, FontFont) is a narrow low-contrast small-text type family that was also awarded at TDC2 2011.
- Daphne Script (2013) based on Georg Salden's Daphne.
Riga and Riga Screen (2014). Designed for web page use, this is a practical space-saving sans family. Not to be confused with several other typefaces called Riga, one by Mostar / Olivier Gourvat (2009) and one by Gunnar Link (2012).
- Diogenes (2014) and Diogenes Decorative (2014). Microsite.
- Brenta (2015). A sharp-edged wedge serif text family. Microsite.
- Contemporary Sans (2015). This sans family is characterized by the contrast between horizontal and vertical strokes.
- Godfrey (2015). A compact sans typeface family characterized by straight edges in the terminals of f, j and y, and elongated dots on i and j.
- Kakadu (2016). A squarish sans typeface family.
View Ludwig Übele's typefaces. A list of Ludwig Übele's typefaces. Klingspor link. [Google]
Author of 100 Alphabets Publicitaires Dessinés par M. Moullet (1946, Editions Caboni, Bruxelles). Alphabets from that book include Letters in relief, Fancy Character, Ornamental Antique (art deco), Fancy Antique (multiline art deco), Fancy Antique 2 (a different style altogether), Pochoir (stenciled).
Free digitizations of these alphabets were made by Pape in his Mindofone / French Advertising Alphabets series of 2011-2012. Pape's fonts: FAA3DLettresEnRelief, FAAAllongees, FAAAllongeesBold, FAAAntiqueAllongee, FAAAntiqueGrasse, FAAAntiques, FAAAntiquesGrasses, FAABaroque3DInitiales, FAABlockLettresEnRelief, FAACameoHollow, FAACaracteresdeFantaisie, FAAChevauchantes, FAACubiques, FAAEcossaises, FAAEcritureGrasseEmoussee, FAAEgyptienneGrasse, FAAEgyptiennesEmoussees, FAAFantaisie, FAAFantaisieBlaireau, FAAFantaisieHardi, FAAFantaisieHaut, FAAFantasio, FAAFloralGothiqueInitiales, FAAFrenchMecane, FAAItalianHeavySlab, FAALettresAuCrayonItalic, FAALiberty, FAANormandes, FAANormandesAllongees, FAAOmbreeEnRelief, FAAOnciale, FAAOrientales, FAAPochoir, FAARomainClassique, FAARomainTypographique, FAScenesPaysannes, FAASerifEgyptienne, FAAVetteFantasieAntieke.
Download page. [Google]
[Patrick Michael Murphy]
Mad Irishman has original fonts by Patrick Michael Murphy, who is American (from Mebane, NC), not Irish: Aberration (2001), Game Icons (2008), Baldur (1999, uncial), Carlisle (2000), Graz (2001), Miyama (2001, oriental simulation font), Old Roman (2002, a text family based on an 1895 typeface designed by T.W. Smith), Ronan (2006), Splendors (2001; modeled on the modified version of the Mason font that Wizards of the Coast uses for their titling on their Dungeons&Dragons Forgotten Realms publications). MyFonts page. The fonts are now also available at Agfa/Monotype. Celtic look fonts include Aberration, Baldur, Graz and Splendors. Klingspor link. [Google]
[Manfred Klein at Fontshop]
[Typoasis output before 2001]
[Blackletter, Fraktur, Rotunda]
Manfred Klein at Fontshop
Manfred Klein's Fontshop fonts in the FontFont series: FFDouble Digits, FF Witches, FF Quill, Carolus Magnus (uncial), Johannes G (Fraktur), Koberger (Fraktur), Schoensperger (Fraktur). [Google]
Match Fonts is the West Hollywood, CA-based foundry led by Michel Bujardet (b. Bordeaux, France, 1951), who is Mike Budge on alt.binaries.fonts. They make and sell interesting font paks. A particular favorite of mine is the Calligraphic Fonts Pack 2, which has the beautiful medieval-look typeface Rodolphe (2001), together with the Chancellerie family, the blackletter font SquareText, and a few Uncial fonts called Oncial. Free demos. Cursive Handwriting is a 6-font pak for teaching handwriting. Also offering a handwriting and signature font service. Among free offerings, check Le Blackmail (ransom font). Also, commercial fonts for these languages: Armenian, Bulgarian, Croatian, Czech, Estonian, Greek, Hawaian, International Phonetic (IPA), Hebrew, Hieroglyphs, Hungarian, Japanese, Latvian, Lithuanian, Macedonian, Marshallese, Polynesian, Polish, Romanian, Russian, Serbian, Slovak, Turkish, Ukrainian, Yiddish.
Interesting typefaces: Boulon (letters with bolts), Bujardet Freres (French restaurant type), Calebasse (1997, semi-psychedelic), Chinoiseries (Chinese look-alike), Cristolikid (LCD), Diodes Light, Grecques, Halloween, Malabars, Metroplitain (art nouveau), Monogram, Octogone, Osselets (bones), Parador, Ruban Dis-Moi, SilBooettes, TSF et Compagnie, Venitienne, Yiddilatin, Zebrues, and the dingbats Dinosotype, Alphabetzier, Nahkt Hieroglyphics, Norman Prince (children's handwriting), Angelots, Sceaux, Seraphiques, Talismans, La Main Guided, La Main Solid (both children's tracing fonts), Bordini, Bordofixed, BoumBoum, ChapClerk, Dactylographe (nice!), Halotique (sans serif), Tortillon (2001, art deco), Normographe (great too!), Normafixed, Oloron, Parlante (serif family), Presse (typewriter), Technicien. Plus handwriting fonts Skrypta, Skryptaag (upright and connected), Willegha. a Morse Code font. The Halloween pack includes Coulures, Halloween, Osselets and SilBooettes. Fixed width fonts include Dactylographe, Oloron, Bordo, Norma. Direct access. Interview and photo. Alternate URL (in French), with many more fonts, such as the handwritten Pierre, Mariette. MICR E13 B font.
Fontspace link. [Google]
Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.
John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:
- The Microsoft screen fonts Verdana (1996), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
- Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
- Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
- Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
- Alisal (1995, +Bold).
- ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
- The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
- Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
- Walker (1994), designed for The Walker Art Center.
- Ionic Number One (1999, Carter&Cone).
- Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
- Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
- Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
- Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana typefaces produced by Dynalab in Taiwan.
- Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
- Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
- Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
- Bell Centennial (Linotype-Mergenthaler, 1975-1978), a legible heavily ink-trapped family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There are also digital Linotype and Bitstream versions. AT&T commissioned the font to replace their previous typeface choice Bell Gothic for their 100th Anniversary.
- Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
- New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
- Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
- Helvetica Greek (Linotype).
- Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
- Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
- Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
- Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitstream's Typo Upright.
- Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
- Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
- Auriga (1970). (Wallis dates this in 1965 at Linotype.)
- CRT Gothic (1974).
- Video (1977).
- V&A Titling (1981).
- Deface (in the FUSE 18 collection).
- Madrid (2001), done for the Spanish newspaper El País.
- Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
- Durham, a sans serif family for US News&World Report.
- Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
- For Microsoft: Georgia, Verdana, Tahoma, Nina.
- New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
- Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
- Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
- Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
- Time Caledonia.
- Wiredbaum, for WIRED.
- Wrigley (for Sports Illustrated). Matthew Carter designed Roster in the 1990s, and it was adopted as a display face for Sports Illustrated under the name Wrigley. Jesse Ragan was instrumental in later expanding the family from its original seven styles to the current 60. In 2015, Carter & Cone and Font Bureau released an expanded 60-style family of this typeface under the new name Roster.
- Benton Bold Condensed (for Time Magazine).
- Foreman Light (for the Philadelphia Inquirer).
- Newsbaum (for the New York Daily News).
- Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
- Times Cheltenham (2003), which replaces in 2003 a series of headline typefaces including Latin Extra Condensed, News Gothic, and Bookman Antique.
- The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
- DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere.
- Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
- Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
- Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
- In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
- MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link. Sitka won an award at Modern Cyrillic 2014.
- Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
- Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles. Big Moore won an award in the TDC 2015 Type Design competition.
Speaker at ATypI 2013 in Amsterdam.
Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.
View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. Klingspor link. [Google]
French graphics lettering company initially involved in instant lettering (made by Trip Productions), and some original typeface designs. From 1989 until 1994, Mecanorma worked with another Dutch company Visualogik to create digital versions of their typefaces, all having MN in their names. Monotype licensed and digitized some of Mecanorma's typefaces. In 1995, Mecanorma got out of graphics and stepped into home decoration. In 1999, Trip Productions, a Dutch Company located in Lisse, purchased the Mecanorma brand and what was left of the company. In 2004, International TypeFounders from Cedars, PA, licensed the typefaces from Trip Productions and released them as the Mecanorma Collection.
Their collection includes some great fonts: Access, Artdeco, Artworld, BalloonMN, Brio, BusoramaMN, Campus, CardCamio, Carplate, CaslonAntiqueVL, ChocMN, CircusMN, ComicStripMN, DynamoMN, Galba, Globe-Gothic-Outline, Glowworm, Jackson, LibraMN, MtPlacard, Ortem, Renault, RoslynMN, Sayer, SayerScriptMN, SquashMN, Sully-Jonquieres, Watch-Outline. You can also buy through Atomic Type. Projected new URL, which I am afraid will never be activated because in 1999, the company was bough by the Dutch company Trip Productions.
MyFonts sells these typefaces: Access, American Uncial, Anatol, Arnold Bocklin (art nouveau), Artdeco, Artworld (an embossed font), Aster, Balloon (brush font), Blippo Black, Brio, British Inserat, Brush, Bulletin Typewriter, Caligra (blackletter), Campus (athletic lettering), Cardcamio, Carplate, Caslon Antique, Celtic (in the style of University Roman), Chicago (dot matrix / marquee typeface), Chinon, Choc (brush script), Circus (Western font), Classic Script (a copperplate calligraphic script), Comic Strip, Commercial Script, Contest, Cooper Black, Dubbeldik, Dynamo, Egyptienne, Estro (Western font), Eurostile, Forelle, Fumo Dropshadow MN, Galba (Trajan typeface), Globe Gothic, Glowworm (a bubblegum font), Gothique (blackletter), Hansson Stencil, Hillman, Hotel (multilined art deco), Isonorm, Jackson, Jubilee Lines (an engraved money font), Latina, Leopard, Libra (uncial), Michelina (anthroposophic), Milton, Mistral, Normalise Din, Old Style, Olive, Orator, Organda, Ortem, Polka (a brush typeface), Renault, Rondo (retro script), Roslyn, Sayer Interview (old typewriter font), Sayer Script, Sayer Spiritual, Squash, Stencil, Stop (stencil typeface), Studio, Swaak Centennial (pure art nouveau), Tzigane, Viant, Vivaldi, Voel Beat (beveled), Watch Outline (LED font), Windsor, Zambesi (African look font).
Designers include Albert Boton, J.H. Crook, Jan van Dijk, J. Dresscher, Roger Excoffon, U. Fenocchio, L. Fumarolo, William Gillies, N. Glason, Lennart Hansson, B. Jaquet, K. Kochnowicz, J. Larcher, C. Mediavilla, José Mendoza y Almeida, L. Meuffels, Aldo Novarese, Georges Renevey, F. Robert, Manfred Sayer, M. Schmidt, J.P. Thaulez, J. Werner and Bogdan Zochowski.
The Western slabby font Figaro MT (2004) is ascribed to Mecanorma.
A list culled from the web: AccessMN-Bold, AccessMN-Medium, AmericanUncialMN, AnatolMN, ArnoldBocklinMN, ArtdecoMN, ArtworldMN, AsterMN-Demi, AsterMN-Roman, BalloonMN-Bold, BalloonMN-ExtraBold, BlippoBlackMN, BrioMN, BritishInseratMN, BritishInseratMNCondensed, BrushMN, Bulletin-Typewriter, BusoramaMN-Bold, CaligraMN, CampusMN, CardcamioMN, CarplateMN, CaslonAntiqueVL, CelticMN-Bold, CelticMN-Italic, CelticMN, CenturyMNCondensed-BoldItalic, CenturyMNCondensed-Bold, CheltenhamMN-Book, CheltenhamMN-BookItalic, CheltenhamMN-Ultra, ChicagoMN, ChinonMN, ChocMN, CircusMN, ClassicScriptMN, ComicStripMN-Italic, ComicStripMN, CommercialScriptMN, ContestMN, Cooper-Black-Italic, Cooper-Black-Outline, CooperBlackMN, CushingMN-Book, CushingMN-Heavy, CushingMN-HeavyItalic, CushingMN-Medium, DubbeldikMN, DynamoMN-Bold, DynamoMN-Medium, DynamoMN-Shadow, EgyptienneMNCondensed-Bold, ElanMN-Extended, ElanMN-Light, ElanMN-Medium, EnrouteVL, ErasMN-Book, ErasMN-Demibold, ErasMN-Ultra, ErasMN, EstroMN, EurostileMN-Extended, EurostileMN-ExtendedBold, EurostileMN-Medium, FidelioMN, FolioMN-Bold, FolioMN-Extrabold, ForelleMN, FranklinGothicMN-Book, FranklinGothicMN-BookItalic, FranklinGothicMN-Heavy, FrizQuadrataMN-Bold, FrizQuadrataMN, Fumo-DropshadowMN, FuturaBlackMN, GalbaMN, Gillies-Gothic-Bold, Gillies-Gothic-Light, Gillies-Gothic-Ultra-Shadow, Gillies-Gothic-Ultra, GlobeGothicMN-Bold, GlobeGothicMNCondensed-Bold, GlobeGothicMNOutline, GlowwormMN, GlowwormMNCompressed, GorillaVL-Bold, GothiqueMN, HanssonStencilMN-Bold, HanssonStencilMN, HillmanMN, HillmanMNCondensed, HotelMN, IrishUncialVL, IsonormMN, Italia-Bold, Italia-Book, Italia-Medium, JacksonMN, JubileeLinesMN, LatinaMN, LeopardMN, LibraMN, MRunic-Condensed, MSwingBold, MachineMN-Bold, MachineMN, MichelinaMN, MiltonMN-Demibold, MistralVL, MtPlacard-Condensed, NormaliseDinMN, OklahomaState, OliveCompactMN, OliveMNBold, OliveNordMN, OratorMN, OrgandaMN-Bold, OrgandaMN, OrtemMN, PascalMN, PolkaMN-Bold, PolkaMN, PopplExquisitMN, PopplExquisitMN-Alternative, RenaultMN, RenaultMNBold, RondoMN, RoslynMN-Bold, RoslynMN-Bold, RoslynMN-Outline, RoslynMNMedium, SaphireMN, SayerMN-Interview, SayerScriptMN-Black, SayerScriptMN-Bold, SayerScriptMN-Light, SayerSpiritualMN-Italic, SayerSpiritualMN, SloganMN, SquashMN-Outline, SquashMN, StencilAntiqueMN, StencilAntiqueVL, StencilMN, StencilMNOutline, StopMN, StudioMN, SullyJonquieresMN-Bold, SullyJonquieresMN, SwaakCentennialMN, Syntax-Bold, Syntax-Roman, ToucheVL, TziganeMN, ViantMN-Bold, VivaldiMN, VoelBeatMN, WashSymbolVL-Light, WatchMN-Outline, WindsorMN, WindsorMNElongated, ZambesiMN.
View Mecanorma's typefaces. [Google]
Detailed listing of medieval fonts on the web, by Peter Keel (Switzerland), with downloads. Categories:
- Roman fonts used until the 7th century: Justinian and justinian2 (Iconian), JGJ Roman Rustic (Jeffrey Glen Jackson), CelticHand90.
- Early medieval fonts: InsularMinusculeNormal-6th, LatinUncialNormal-1st, RomanHalfuncialNormal-1st, RomanRusticaNormal-1st, CarolingianMinuscule (all by Jack Kilmon), Beowulf1 and AngloSaxonCaps (Peter S. Baker), AngloSaxon-8th, BattelAbbey-8th, VaticanRoughLetters-8th, LibraryOfMinerva-9th, BritishBlockFlourish-10th (all by Robert Anderson), JGJUncial (Jeffrey Glen Jackson), GeschlossenGotikKaps (Jim Fordyce), Gothic1.
- Medieval fonts: BritishOutlineMajuscules and FloralMajuscules-11th (by Robert Anderson), Pontifica-12th (Michael Scarpitti), GothicTextureQuadrata-13th and EarlyGothicbold (by Jack Kilmon).
- Late medieval fonts: MAGotic-14th (Will Software), GothicLeaf, BritishMuseum-14th, DecoratedMajuscules-14th, ItalianCursive-14th and GermanBlackletters-15th (all by Robert Anderson), GoodcityModern-15th (A.S. Meit), MABastarda1-15th (Will Software), BastardaPlain.
- Renaissance and later: JGJDuererGothic-1535 (Jeffrey Glen Jackson), ElegantCapitalsII-16th (Paul Lloyd), MAGKursiv1-16th (WillSoftware), GothicStraightFaced-16th, SpanishRoundBookhand-16th, CurvedManuscript-17th, TraditionalGothic-17th, EnglishGothic-17th (all by Robert Anderson), JohnSpeedDemo-17th (Scriptorium), BuccaneerRegular-18th, CourthandPlain, Fraktur BT, ILShakeFest.
Jobst-Hartmut Lueddecke's page has metafont sources for Suetterlin (by B. Ludewig), old Irish Uncial (by Jo Jaquinta), Italic (Cancellaresca corsiva) of Ludovico degli Arrighi, called Vicentino (Italy, early 16. century) by Willibald Kraml, yfrak, yinit, ygoth, yswab and cmfrak, Fraktur fonts by Yannis Haralambous. Also, the rune fonts bard (Celtic Bard Runes by Jobst-Hartmut Lueddecke), futhark (by Micaela Pantke and Sigrid Juckel), srune (by Jobst-Hartmut Lueddecke), the fantasy fonts cirth (dwarven runes created by J.R.R.Tolkien, by Jo Jaquinta), engwar (by Michael Urban), goblin (by Alan M. Stanier), tengwar (elven runes created by J.R.R.Tolkien, by Michael Urban), Jörg Knappen's EC fonts, hksym (a dingbat font by Hartmut Kennhöfer and Jobst-Hartmut Lueddecke), moonphases (dingbats by Stanislav Brabec, and wasy (dingbats by Roland Waldi). [Google]
Dublin-based creator of the modern Gaelic Uncial typeface Biggs (1953). A draft of a digitization, called Doolish (Michael Everson), is in the works. [Google]
[Gaelic Typefaces: History and Classification]
[Evertype (was: Everson Typography)]
Mike graduated from Ohio State University with a degree in philosophy. Prolific Columbus, OH-based designer (b. Columbus, OH) whose fonts are mainly available through Scriptorium. Many of his fonts were influenced by roman inscriptional or Trajan types. These include Caesario (1993, a Trajan column font based on Goudy's drawings from 1936), Minerva (1993), Falconis and Vespasiano. Other typefaces with ancient origins include DeBellis, Pomponianus, Praitor, Jerash (1993, with Nalle), Macteris Uncial (1993), Antioch (1993), and Corbei Uncial.
He prepared a set of fonts based on a medieval Latin British manuscript (Pontifica, 1999) and another one called Orlock, based on the lettering in a poster for the German German expressionist silent film Nosferatu. Pontifica was redesigned in 2009 based on the source manuscripts from the Papal Archive. He writes: Pontifica is an example of protogothic calligraphy, a style developed at the monestery of St. Gall in the 12th century to replace Carolingian minuscule with a more efficient and compact system of lettering. Ultimately it became the progenitor of the gothic lettering styles of the late Medieval period.
Viw Michael Scarpitti's typefaces. [Google]
Creator from Trim (Ireland) of the Gaelic modern uncial typeface Binín (1994). [Google]
MoKsford Fraktur was roughly based on a bitmap font that came with the early Macs. Manfred made versions like Moksford BetaTest and Moksford Stencil. Other experimental typefaces of that era include Unciale Experimental, Jahn Caps Round (named after Klein's friend Joachim Jahn, who studied type with him in the fifties under G. G. Lange). [Google]
From Collingswood, NJ, Jerry Landers' type designs: Waters Gothic (calligraphic), Waters Gothic Deux, Waterhole (2000), Animal Caps (2000), Bouwsma Uncial, Foundational, Georgia Pond, Gourdie Cursive (2000), Goudie Cursive Deux, Gourdie Handwriting (2000), Gourdie Uncial, Gourdie Gothic Black, Gourdie Uncial Deux, Ken's Calligraphic, Korger Gothic Deux. Jerry also drew a character in the September 11 charity font done for FontAid II.
Dafont link. Old URL (which died in 2015). [Google]
MyFonts: Uncial typefaces
MyFonts hit list for uncial typefaces. Many would call these "Celtic" typefaces. [Google]
Aussie Nancy Lorenz (aka Lothlorien, and aka Queen of Spain Font Girl) created fonts in the theme of Lord of the Rings, all in a medieval handwriting or uncial style or Tolkien style: Party Business, Bilbo-hand-Bold-Bold (2002), Bilbo-hand-fine (2002), Bilbo-handRegular (2002), ElvenCommonSpeak (2001), Hobbiton Handscrawl (2001), Hobbiton Brush (2001), Marigold Wild (her modification of Marigold, made in 1992 by Miles), PartyBusiness (2002).
Fontspace link. Dafont link. Klingspor link. [Google]
In 2014, Natan Sabatello (Rome, Italy) and Elisa Lucaccini (Rome) codesigned the tattoo font Epoca. He also created Like Oncial that year. [Google]
Cheney, WA-based designer of these typefaces: Arthuriel (medieval), Berkyspex (techno), BeviaGrowth (experimental), Brenin (unicase uncial), Brickfun (pixel), Bywater (uncial), Cheetah (fat display), Cipher (octagonal), Crown (uncial), Delivar, Drive, Drumsage, Efficient, Fanghorne (uncial), Figbead, Gaelothic (celtic), Galiden, Handshake (lego style), Havinoth (uncial), Humolion (experimental), Knowledge (indic simulation), Lancaster (indic simulation), Neoxidan, Nightime (uncial), Ockiahex (hexagonal), Paradox, Parfiche, Piecemeal, Pickel (pixel), Providian (uncial), Realight (fun experimental), Reliner (indic simulation), Rhubarb, Ribbon, Rimvet, Runestick (runes), Sageight, Skipfrog, Subrail, Toystack (pixel), Umbrella (clean geometric face), Valifas (uncial), Webgura, Westmarch. I assume that most typefaces were done in 2004-2005. [Google]
Fundicion Tipografica Neufville SA is a foundry based in Barcelona, headed by Wolfgang Hartmann, which writes about itself: Neufville Digital produces and markets the fonts from Fundicion Tipografica Neufville, Bauersche Giesserei, Ludwig&Mayer, Fonderie Typographique Française and Fundicion Tipografica Nacional.
List of typefaces. MyFonts link.
Fonts include a newly digitized Futura family (Paul Renner, 1928), in the Bauer Classics collection.
In the collection Grafia Latina, we find Diagonal ND (Antoni Morillas, 1970), Uncial Romana (Ricardo Rousselot, 1996), Pascal ND (José Mendoza y Almeida, 1959), Sully-Jonquieres (José Mendoza y Almeida, 1980), Fidelio ND (José Mendoza y Almeida), Llerda ND, Paris ND, Flash ND and Arabescos ND, all by Enric Crous Vidal (1945 to 1953). They write: Within the GRAPHIE LATINE collection Neufville Digital releases the works of famous typographers like José Mendoza y Almeida, René Ponot, Tomas Vellvé, Antonio Morillas, Ricard Giralt Miracle, Ricardo Rousselot, Juan Trochut and others. The BAUER CLASSICS collection includes the many typefaces from the Bauersche Giesserei. The first fontfamily available is FUTURA that has been completely digitized anew to meet today's professional demands. Many other fonts are to follow. Neufville Digital produces and markets the fonts from Fundición Tipográfica Neufville, Bauersche Giesserei, Ludwig&Mayer, Fonderie Typographique Française and Fundición Tipográfica Nacional. You will certainly be familiar with famous typefaces like Futura, Bauer Bodoni, Weiss, Folio, Imprimatur and many others from the rich type founding era. Neufville Digital digitizes them from their original artwork using state of the art technology and makes them available in compliance with the latest standards.
Among the fonts to be reissued, we cite a few.
From Ludwig&Mayer: Allemannia Fraktur (1908), Allright (1936), Altenburger Gotisch (1928), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Diplomat (1964), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Krimhilde (1934), Kupferplatte (1950), Largo (1939), Magnet (1951), Wolfram (1930). From FT Neufville: Antiqua (1850).
From FT Nacional: Astur (1940), Belinda (like 15th century Spanish calligraphic writing, with fine curved serifs on the tips of the ascenders), Cervantes, Elzeviriano, Hispalis (1940), Imperio (1949), Inglés (1940), Interpol (1950), Numantina (1940; for a digital version, see Nick Curtis's Numancia NF (2011)), Radar (1940), Romana, Victoriana (1940).
From the Bauersche Giesserei: Astoria (1911), Azurée (1908), Baron (1911), Baroness (1911), Baskerville-Antiqua (1923), Batarde (1915), Bauer Bodoni (1926), Fette Antiqua (1850), Lithographia (1895), Manuskript Gotisch (1899), Noblesse (1908), Steile Futura, Stephanie (1890), Times-Antiqua, Venus (1907).
From FT Française: Bizerte, Italienne, Romantiques (1937), Stylo (1937). Their Catalogo de tipos (1978) shows many other typefaces too, so, with some repetition, we find the handwriting/script typefaces Vigor, Sinfonia, Privat, Sirena, Maxim, Litografia, Leyenda (Legend), Bernhard Cursive and Adagio, the federal money typeface Azuree (1908), the typewriter family Ibematic, OCR A-1, the blackletter typeface Gotico (or Manuskript-Gotisch), the outline fonts Royal and Columna, the checkbook typeface Litho, the display typefaces Nobleza and Carnaby, the Egyptian family Epoca (=Beton), as well as Homera (=Hyperion), Corvinus, Volta and Impressum. Galaxy ND (2006) is a mysterious, organic and quite useless typeface.
Go here for a description of the old printing machines.
Check also the Fundicion Tipografica Bauer in Barcelona and Visualogik Technology and Design in the Netherlands.
Showcase of Neufville's fonts. Neufville Digital's typeface library. Neufville Digital's collection of fonts. [Google]
Neurological Associates Inc
[John H. Schmidt]
Designer of the uncial/medieval typefaces Magna Carta (2006), 1454GutenbergBibel (2006), 12th C. Fancy Caps (2006) and 12th C. Abbey (2006). Home page. [Google]
New Renaissance Fonts (was: New Fontografia, or: David's Fontografia 2006)
David Kettlewell (b. Edinburgh, Scotland, 1946), who has been professor at Tartu university in Estonia, and now works from his forest farmhouse in Bollstabruk, Northern Sweden, explains how fonts work and how to work with Fontographer and other programs. Kettlewell also runs Fontografia, a medieval and calligraphic type site featuring subpages on Ludovico Vicentino [degli Arrighi], Giovambattista Palatino, and Giovanniantonio Tagliente. He also tells us why Fontlab is so much better than Fontographer when developing fonts from scans.
David Kettlewell is a harper, renaissance musicologist and conductor who illuminate his work with text and type. His own work through New Renaissance Fonts is mostly with medieval and renaissance scripts, calligraphic alphabets and ornamental capitals. Direct acess. MyFonts link for New Renaissance. Klingspor link.
Free fonts: AliceScrolltipRoman, AndersFancyCapitals, AndersPlainCapitals, BickhamSwashCaps, Cartouches, CelticNoadProtoype, Chiswickblack, DagmarIlluCaps, Davies-RomantiqueCaps, DaviesIlluminatedcapitals, DaviesRoundhand, DaviesSapphire, DeBeauChesneRoman, FantasiaCaps, GothicCaps, KarinsFreeLombardyCaps (2006, with Karin Skoglund), KingRichard2Caps, Kurbits3, Lettreornee, LubnaCaps, NesbittDecoratedCaps-Medium, RicksClassicItalic, RicksDecoratedUncial-Medium, RicksFolkloreRoman, RicksRelaxedHand-Italic, Samuel, SevilliaDancingText, Sevilliastandingtext, Sevilliatiles, ShawDecoratedInitials1, ShawDecoratedInitials4-Medium, Taliente-IlluCaps, WestminsterMemorialBrasses-Medium.
Other fonts (some no longer available or shown): Soest St. Mary (2006, decorative capitals from embroidery work in a German church), Kurbits, Samuel, Celtic Noad, Dagmar IlluCaps, Lettre ornée, Phalesiodecor (medieval caps, 1998), American Uncial (adaptation of a URW font), FinalRomanfat or FatRoman50 (adaptation of an RWE font), Marshall (made from an 1822 parchment).
Some fonts are developed in conjunction with Richard Bradley. Others involved more loosely include Adam Twardoch, Karin Skoglund, Dagmar Varaksits and Anders Rosen.
MyFonts offers fonts like Chiswick Illuminated Caps (2009, Lombardic), Alice Scrolltip (2006), Albrecht Fraktur (2011), Edward's Uncial 1904 (2011, after an alphabet drawn by Edward Johnston), Davids Roundhand, Karins Lombardy Caps, Sevillia (2006, with Richard Bradley), and Soest St Mary.
View the New Renaissance Fonts library. [Google]
[Nick Curtis: Celtic or uncial typefaces]
Nick Curtis: Celtic or uncial typefaces
Celtic or uncial typefaces by Nick Curtis include the free typefaces Avignon (1999; spectacular ironwork font; +Heavy, +Light), Laconick-NormalA (based on an alphabet of William Morris), and TwoForJuanNF (2002, based on Canas (1998, Andreu Balius and Joan Carles Casasin)). Leabhar Ceilteach NF (2014) is inspired by lettering in the Book of Kells. [Google]
Aachen-based German type designer (born in 1967). After finishing his vocational training as a typesetter in 1991, he went on to the Fachhochschule Aachen, where he studied visual communication under W. Eikel (calligraphy) and K. Mohr (typography), and graduated in 1996. He created these typefaces:
Linotype link. FontShop link. [Google]
- FF Tarquinius Pro (1995). A roman typeface.
- Éirinn AsciiLL and Eirinn Gaelic (1994, Linotype). A modern round Gaelic typeface based on Petrie A.
- EF Domingo (1995) and EF Flamingo (1995): glyphs tilted 90 degrees. Available from Elsner & Flake.
- Ossian EF(1995), Ossian EF Gaelic, and Ossian EF Ornaments (1995): very beautiful Gaelic / Irish / uncial typefaces.
- Linotype Octane (1997): a display sans typeface.
Czech type designer (b. Prague 1897, d. Prague 1962) who was mainly active at Grafotechna, a state foundry in Prague. Menhart was also an author who wrote about type and its history. After the World War II, he helped the communist party to promote itself. He was the author of fonts celebrating the victory of communism in hand-written manifests. Menhart considered himself foremost as a craftsman, and derived typefaces from calligraphic origins. Author of Nauka o pismu (1954) and Tvorba typografickeho pisma (1957). PDF file of Nauka o Pismu.
Veronika Burian on Menhart. FontShop link. Klingspor PDF. Oldrich Menhart's typefaces include
- Manuskript Antikva (1944-1950, Grafotechna), Manuskript Kursiva (1951, Grafotechna). An angular and slightly irregular typeface with a handwritten feel. Burian places Manuscript Antikva in 1943 and Kursiva in 1946. Digitizations of Manuskript: the five-weight family by Franko Luin (1991) at Omnibus, Menhart Manuscript by Alex V. White, Manuskript Antiqua (URW++, by Ralph M. Unger), and ITC Oldrichium by George Thompson from No Bodoni Typography.
- Menhart Antiqua and Menhart Kursiva, 1930. Menhart Antiqua was first published by the Bauersche Giesserei in 1932. We also find versions of this garalde set in 1936-1938 at Monotype. See also Grafotechna. Paul Hunt's Junius (2006) is a revival/adaptation of Menhart Antiqua. See also the beautiful revival Menhart Antiqua (2008, Albert Creus).
- Menhart Roman (1933) and Menhart Italic (1933), published by Lanston Monotype in 1934-1935, and by Bauersche Giesserei in 1939. Bill Horton recreated Menhart-Italic and Menhart-Regular. Alexander W. White revived Menhart Italika [his revivals of Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript won him awards at the TDC2 2001 competition].
- Menhart Latein.
- Parlament (1950, Czech Government Printing Office). Calligraphic type with lots of individuality and irregularity, first planned to be used for printing the Czech Constitution.
- Standard Antikva and Kursiva (1959). See also at Grafotechna in 1966.
- Victory Roman, Medium and Italic, 1942-1943. Published in 1947 at Intertype. An angular text face.
- Triga Antikva, Kursiva and Medium (1951, published in 1954 at Sluzba Tos, Prague). Calligraphic text type.
- Ceska Unciala (1944), published in 1949 at Grafotechna. An angular pseudo-Gaelic uncial. Ralph Unger's FontForum Unciala (2005, URW++) is a revival.
- Figural Romana or Antikva (1940, published in 1949 at Grafotechna), Figural Kursiva or Italika (1948; published in 1949-1950, Grafotechna), Figural Romana (1940). Rather angular lower case letters with several slopes. Michael Gills, under the art direction of Colin Brignall, did Figural (1992) and Prague for Letraset without Grafotechna's permission, and ITC is still selling those fonts now as ITC Figural and ITC Prague. Monotype and Linotype also offer Figural. Figural and Figural Italic were also revived in 2006 by Ari Rafaeli.
- Grazdanka (1953, Grafotechna), Grazdanka Kursiva (1954, Grafotechna). Manuscript Grazhdanka (cyrillic) was revived in 2006 by Ari Rafaeli.
- Hollar (1939, at Jaroslav Picku, Prague).
- Monument (1950-1952, Grafotechna). An almost pen-drawn all-caps outline face. Digital version by Ralph M. Unger called Monument (2010, Profonts). Dieter Steffmann has a free revival of Monument in 2002.
- Vajgar (1961, Tiskarna Straz)
View the typefaces related to Oldrich Menhart. See also here. [Google]
Oldrich Menhart: Classification of blackletter types
Oldrich Menhart compares and classifies various blackletter typefaces in his book Nauka o Pismu (1954). He also compares Quadrata and Rustica in the uncial genre. [Google]
[Denis A. Serikov]
Denis Serikov (OT Lab) is the Moscow-based Russian designer of DionisiiOTF (2003), the caps font Remeslo (2002), the Cyrillic font Clip Condensed (2002), the dingbat fonts EL Symbols (2003), Notice (2002-2007, a useful dingbat family), Notice2 (2006) and Notice3 (Notice3 (2007, household icons) DisplayOTF (2002, dot matrix), Display (2009, +3D, gridded typefaces), Remeslo STD (2009, ornamental didone), Rusticus STD (2009, roman), Rusticus (2004, semi-uncial), Agatha (2001, like Toulouse Lautrec), Display 3D (2003, pixelized face), Grafoman (weather and finger dings), DestinyLight, Shashki (2010, a game of checkers font), and the Latin/Cyrillic font Joke. His commercial typefaces are listed here. They include Pi (2009, weather and other dingbats), TUI Type Pro (a rounded sans, 2008, at Dalton Maag) and White Wind (2005, a pixel face, at Dalton Maag). Scazanie (2005) is a future project.
Metrofont (2013, free) contains navigation and warning signs for transportation systems.
Forum / Blog (in Russian). Dafont link. Behance link. Font Squirrel link. [Google]
[Fergus Costello Studios]
Type designer at Canada Type. Wikipedia tells us that Patrick Griffin had been locked away in a mental institution by Carter and Barbara, after he walked in on his mother performing oral sex on Jackie Gleason. He had a nervous breakdown and was sent to a mental hospital, where he came to the conclusion that Gleason was evil because he was fat, leading him to hate fat people. However, that is a different Patrick Griffin. The real Patrick Griffin, a graduate of York University, lives and works in Toronto, where he founded Canada Type and made it the most successful Canadian typefoundry. His work is summarized in this 2009 interview by MyFonts. It includes lots of custom work for banks, TV stations, and companies/groups like New York Times, Pixar, Jacquin's, University of Toronto, and the Montreal Airport. His retail fonts include the following.
- Ambassador Script (2007): a digital version of Juliet, Aldo Novarese's 1955 almost upright calligraphic (copperplate style) connected script, with hundreds of alternates, swashes, ends, and so forth. Done with Rebecca Alaccari.
- Autobats (2005).
- Ballantines Twelve (2014). A custom typeface for Allied Domecq Spirits & Wine Limited, the brand owner of Ballantine's Scotch Whisky.
- Bigfoot (2008), the fattest font ever made (sic).
- Blackhaus (2005), an extension of Kursachsen Auszeichnung, a blackletter typeface designed in 1937 by Peterpaul Weiß for the Schriftguss foundry in Dresden.
- Blanchard (2009): a revival and elaborate extension of Muriel, a 1950 metal script typeface made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud.
- Bluebeard (2004), a blackletter face.
- Book Jacket (2010): this is a digital extension of the film type font Book Jacket by Ursula Suess, published in 1972.
- Boondock (2005): a revival of Imre Reiner's brush script typeface Bazaar from 1956.
- Broken (2006): grunge.
- Bunyan Pro (2016, Patrick Griffin and Bill Troop). Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s---the most popular Gill text face in Britain from its release until well into the 1980s.
- Chalice (2006). Religious and Cyrillic influences.
- Chapter 11 (2009): an old typewriter face.
- Chikita (2008): an upright ronde script done with Rebecca Alaccari, and rooted in the work of 1930s Dutch lettering artist Martin Meijer.
- Clarendon Text (2007). A 20-style slab serif that uses inspiration from 1953 typefaces by Hoffmann and Eidenbenz and the 1995 font Egizio by Novarese.
- Classic Comic (2010).
- Coconut and Coconut Shadow (2006). Great techno pop typefaces.
- Coffee Script (2004): the digital version of R. Middleton's Wave design for the Ludlow foundry, circa 1962. Designed with Phil Rutter.
- Comic book typefaces: Caper or Caper Comic (2008), Captain Comic (2007), Classic Comic (2010), Collector Comic (2006, a comic balloon lettering family), Common Comic (2013).
- Counter (2008): A futuristic beauty with a double-lined cursive thrown in. Available exclusively from P22. This typeface was based on the idea for an uncredited film typeface called Whitley, published by a little known English typesetting house in the early 1970s.
- Cryptozoo (2009): Late director of design for VANOC, the Vancouver 2010 Olympic Committee, Leo Ostbaum, commissioned Canada Type to make a typeface for the Vancouver Winter Olympics. Patrick Griffin came up with a rounded signage font called Cryptozoo, whose Notice reads Concept and design by Leo Obstbaum, VANOC Brand & Creative Services. Additional character data and technical production by Canada Type. Copyright 2007 VANOC Brand&Creative Services.
- Dads Handwriting (2014, custom typeface).
- Dancebats (2004).
- Dokument Pro (2014). This is a reworking of a typeface made in 2005 by the late Jim Rimmer: Jim Rimmer aptly described his Dokument family as a sans serif in the vein of New Gothic that takes nothing from News Gothic. Dokument Pro is thoroughly reworked and expanded, with different widths still in the pipeline.
- Dominion (2006). Based on an early 1970s film type called Lampoon. Dominions severely geometric shapes are a strange cross between early Bauhaus minimalism and later sharp square typefaces used for instance in Soviet propaganda posters.
- Doobie (2006). 60s psychedelic style.
- Driver Gothic (2008): based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this typeface is very similar to, if not outright identical with, the typeface used on car plates in 22 American states: Arizona, California, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Ideal for license plate forgers.
- Expo (2004): an octagonal family.
- Fab (2007). A tube-design family reminiscent of the 1980s. Ricardo Cordoba writes: Fab reminds me of leafing through my first Letraset catalog in the mid-1980s all those decorative typefaces with rounded ends and tubular shapes, trying to imitate the look of neon signage. But Fab, with its contemporary twist on that aesthetic, and its unicase characters, manages to look like a cross between Cholla Bold and Frankfurter Highlight. Its handtooled, narrow shapes are perfectly suited to pop subject matter and bright colors. Fab Trio can be used to create layered chromatic effects, but its components can stand alone, too. The Seventies sure aint drab in Patrick Griffin's hands.
- Fantini (2006). An update of the curly art nouveau typeface Fantan, a film type from 1970 by Custom Headings International.
- Feather Script (2012). A revival of an old Lettering Inc font from the 1940s, known then as Flamenco.
- Fido (2009) is the official font of dog owners everywhere. Has Saul Bass influences.
- Filmotype fonts: Filmotype Ace (2015; based on a Filmotype script from 1953), Alice (2008, a casual hand-printed design based on a 1958 alphabet by Filmotype), Filmotype Arthur (2015; based on a Filmotype script from 1953), Athens (2014), Filmotype Brooklyn (2009, a casual script based on a 1958 Filmotype font), Filmotype Candy (2012), Filmotype Carmen (2012), Filmotype Hemlock (2013, a retro signage script), Hickory (2014), Filmotype Homer (2014, a brush signage script), Filmotype Hudson (1955, based on a 1955 original), Filmotype Jessy (2009, a flowing upright connected script based on a 1958 design by Filmotype), Filmotype Jupiter (2015; based on a Filmotype brush script from 1958), Filmotype Kellog (2013), Filmotype Lakeside (2013, a retro signage typeface), Filmotype Leader (2013), Filmotype Liberty (2015; based on a Filmotype brush script from 1955), Filmotype Giant (2011, a condensed sans done with Rebecca Alaccari) and its italic counterpart, Filmotype Escort (2011, done with Rebecca Alaccari), Filmotype Keynote (2013, a connected bold advertising script), Filmotype Lacrosse (2013, a retro script from the 1950s sometimes used in department store catalogs of that era), Filmotype LaSalle (2008, based on a 1952 retro script by Ray Baker for Filmotype), Filmotype Harmony (2011, original from 1950 by Ray Baker), Filmotype Kentucky (a 1955 original by Ray Baker), Filmotype Kingston (a 1953 original by Ray Baker), Filmotype Lucky (2012, based on a font by Ray Baker), Filmotype Hamlet (a 1955 original by Ray Baker), Filmotype Panama (2012, a flared casual serif typeface based on a 1958 original), Filmotype Prima (2011, with Rebecca Alaccari), Filmotype Quiet (2010, based on a 1954 military stencil typeface by Filmotype), Filmotype Yale (2012, a wedding invitation script based on a 1964 original by Filmotype), Filmotype York (2014).
- Flirt (2005). Based on an art deco typeface found in a Dover specimen book.
- Fuckbats (2007).
- Fury (2008): an angry techno family.
- Gala (2005). By Griffin and Alaccari. Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milanos 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novareses Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design.
- Gallery (2004): art deco.
- Gamer (2004-2006), by Griffin and Alaccari: modeled after a few 1972 magazine advertisement letters, the origin of which was later identified as a common film type called Checkmate.
- Gaslon (2005): a modification of A. Bihari's Corvina Black from 1973.
- Gator (2007). A digital version of Friedrich Poppl's Poppl Heavy (1972), which in turn was one of the many responses by type designers to Cooper Black.
- Genie (2006): a psychedelic typeface based on a 1970s film type called Jefferson Aeroplane.
- Gibson (2011, with Kevin King and Rod McDonald). This 8-style humanist sans family is a revival of McDonald's own Monotype face, Slate. It was named to honour John Gibson FGDC (1928-2011), Rod's long-time friend and one of the original founders of the Society of Graphic Designers of Canada. All the revenues from its sale will be donated by Canada Type to the GDC, where they will be allocated to a variety of programs aiming to improve the creative arts and elevate design education in Canada.
- Go (2005): a techno face.
- Goudy Two Shoes (2006): a digitization and expansion of a 1970s type called Goudy Fancy, which originated with Lettergraphics as a film type.
- Gumball (2005).
- Hamlet (2006): medieval. Based on an old type called Kitterland.
- Happy (2005). Happy is the digital version of one the most whimsical takes on typewriters ever made, an early 1970s Tony Stan film type called Ap-Ap. Some of the original characters were replaced with more fitting ones, but the original ones are still accessible as alternates within the font. We also made italics and bolds to make you Happy-er.
- Heathen (2005). A grunge calligraphic script: The original Heathen was made by redrawing Phil Martin's Polonaise majuscules and superposing them over the majuscules of Scroll, another Canada Type font. The lowercase is a superposition of Scrolls lowercase atop a pre-release version of Sterling Script, yet another Canada Type font.
- Hortensia (2009): a semi-script Victorian typeface modeled after Emil Gursch's Hortensia (1900). Codesigned with Rebecca Alaccari.
- Hunter (2005). A revival of a brush script by Imre Reiner called Mustang (1956).
- Hydrogen (2007, a rounded geometric unicase family.
- Informa (2009): a comprehensive 36-style sans serif text family based on traditional lettering. He says: While some typefaces classified as such exhibit too much calligraphy (like Gill Sans, Syntax and Optima), and others tend to favor geometric principles in rhythm and proportion (like Agenda, Frutiger and Myriad), Informa stays true to the humanist ideology by maintaining the proper equilibrium between the two influences that drive the genre, and keeping the humanist traits where they make better visual sense.
- Jackpot (2005): The idea for Jackpot came from a photo type called Cooper Playbill, which as the name implies was simply a westernized version of Cooper Black. The recipe was simple: Follow Mr. Coopers big fat hippy idea, cowboy it with heavy slabs, give it true italics, then swash away at both for beautiful mixture. And there you have the bridge between groovy and all-American. There you have the country lover shaking hands with the rock and roll enthusiast. There you have your perfect substitute for the very overused Cooper Black.
- Jazz Gothic (2005): an expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. Image.
- Jezebel (2007).
- The psychedelic typeface Jingo (2014, with Kevin Allan King): This is the digital makeover and major expansion of a one-of-a-kind melting pot experiment done by VGC and released under the name Mardi Gras in the early 1960s. It is an unexpected jambalaya of Art Nouveau, Tuscan, wedge serifs, curlycues, ball endings, wood type spurs and swashes, geometry and ornamental elements that on the surface seem to be completely unrelated.
- Johnny (2006): with Rebecca Alaccari; based on Phil Martin's Harem or Margit fonts from 1969.
- Jupiter (2007): based on Roman lettering.
- Latex (2015). A layered all caps decal typeface.
- Leather (2005): an expansion of Imre Reiner's blackletter typeface Gotika (1933).
- Libertine (2011). Libertine (done with Kevin Allan King) is an angular calligraphic script inspired by the work of Dutchman Martin Meijer (1930s): This is the rebel yell, the adrenaline of scripts.
- Lionheart (2006). A digitization and extension of Friedrich Poppl's neo-gothic typeface Saladin.
- Lipstick (2006): handwriting. Plus Lipstick Extras.
- Louis (2012). A faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927, and redrawn in 1993 by Rod McDonald as Stylu.
- Maestro (2009) is a 40 style chancery family, in 2 weights each, with 3350 characters per font, codesigned with calligrapher Philip Bouwsma. This has to be the largest chancery/calligraphy family on earth.
- Magellan (2014). A custom stencil typeface.
- Martie (2006). Done with Rebecca Alaccari. Based on the handwriting of Martie S. Byrd.
- Marvin (2010): a fat comic book face.
- In 2013, Kevin Allan King and Patrick Griffin revived Georg Trump's transitional typeface Mauritius (1967, Weber).
- Memoriam (2009): An extreme-contrast vogue display script which was commissioned by art director Nancy Harris for the cover of the 2008 commemorative issue of the New York Times magazine. He also did the typography and fonts for the 2010 issue. This became an unbelievably successful family, and was extended in 2011 with headline, Outline and Iline variants.
- Merc (2007). Based on an all-cap rough-brush metal typeface called Agitator, designed by Wolfgang Eickhoff and published by Typoart in 1960.
- Messenger (2010), a calligraphic script. Patrick Griffin writes about Messenger (2010, Canada Type): Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film typefaces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both typefaces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one.
- Middleton Brush (2010): a redigitization of R.H. Middleton's connected brush typeface Wave, ca. 1962; see also an early Canada Type face, Coffee Script.
- Miedinger (2007). Created after Max Miedinger's 1964 face, Horizontal. Canada Type writes: The original film typeface was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This typeface is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original..
- Militia (2007). An octagonal and threatening stencil.
- Militia Sans (2007).
- Monte Cristo (2012, with Kevin Allan King) is a grand type family with five styles and 1630 characters with many swashes and ways of connecting the calligraphic glyphs---it is the ultimate wedding font.
- Neil Bold (2010): an extension of the fat typeface Neil Bold (1966, Wayne J. Stettler).
- Nightlife (2005): inspired by a pre-desktop publishing grid design by L. Meuffels.
- Nuke (2005): a fat stencil grunge weith pizzazz.
- In 2011, he and Kevin Allan King published the refined Orpheus Pro family, which was based on the elegant Orpheus by Walter Tiemann (1926-1928, Klingspor), and its Italic which was called Euphorion (Walter Tiemann, 1936). Their enthusiastic description: The Orpheus Pro fonts started out as a straightforward revival of Tiemann's Orpheus and Euphorion. It was as simple as a work brief can be. But did we ever get carried away, and what should have been finished in a few weeks ended up consuming the best part of a year, countless jugs of coffee, and the merciless scrutiny of too many pairs of eyeballs. The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase. So the lowercase went overboard plenty alternates and swashes and ligatures. Even the italic uppercase was augmented by maybe too many extra letters. Orpheus Pro has been a real ride. Images of Orpheus: i, ii, iii, iv, v.
- Outcast (2010): a grunge family.
- Oxygen (2006): a great grid-based design.
- Paganini (with Kevin Allan King) is another jewel in Canada Type's drawers: Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text typeface with obvious roots in the oldstyle of the Italian renaissance, its contrast reveals a clear underlying modern influence. i, ii, iii, iv, v, vi, vii.
- The last joint project of King and Griffin in 2012 was Pipa, a pseudo-psychedelic groovy bellydancing font: Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography.
- Player (2007). An 11-style athletic lettering family.
- Plywood (2007): a retro typeface based on Franklin Typefounders's Barker Flare from the early 1970s.
- Press Gothic (2007). A revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blakes Impact.
- Quanta (2005, stencil). Two weights, East and West.
- In 2011, Kevin Allan King and Patrick Griffin completed work on an exceptionally beautiful revival, Ratio Modern (the original by F.W. Kleukens is from 1923). This is a didone family with a refined humanist trait. Images of Ratio Modern: i, ii, ii, iv, v, vi, vii.
- Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke.
- Recta (2011, with Kevin King). This is eighteen-stye sans family that extends Novarese's Recta.
- Rhino (2005): a revival of the informal typeface Mobil (1960, Helmu Matheis, Ludwig&Mayer).
- Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival typeface Filmotype Brooklyn.
- Ronaldson Regular (2008, with Rebecca Alaccari), a 17-style oldstyle family based on the 1884 classic by Alexander Kay, Ronaldson Old style (MacKellar, Smith&Jordan). Griffin reconstructed this family from the metal typeface and from many scans from rare documents provided by Stephen O. Saxe, Philippe Chaurize and Rebecca Davis.
- Roos (2009): A 10-style revival of Sjoerd Hendrik de Roos's De Roos Romein (1948), created in cooperation with Hans van Maanen.
- Robur (2010): Done with Kevin King, this set of two fonts revives Georges Auriol's Robur Noir from 1909.
- Runway (2004): racetrack lettering.
- Rush (2005): futuristic.
- Sailor (2005): digital rendition of West Futura Casual (late 1970s film type).
- Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics).
- Santini (2004): Bauhaus-inspired architectural lettering.
- Screener (2006): an extensive octagonal family, including Screener Symbols.
- Sears Social (2014). A custom typeface family that includes Sears Social Monocase.
- Secret Scrypt (2004): four shaky script styles done for a New York restaurant. With Alaccari.
- Semplicita Pro (2011). A grand revival of Alessandro Butti's Futura-like Semplicità, executed between 2009 and 2011 by Patrick Griffin and Bill Troop. Image of the Medium weight.
- Shred (2010): an octagonal heavy metal face.
- Siren Script (2009-2010): Done with Rebecca Alaccari, this six-style script family is based on the metal typeface Stationers Semiscript (BBS, 1899).
- Skullbats (2005).
- Serial Killer (2005): bloody.
- Slang (2004): a blood scratch face.
- Slinger (2010): a flared art nouveau face.
- Social Gothic (2007). After Tom Hollingsworth's Informal Gothic, a squarish unicase grotesk done in 1965. Followed by Social Stencil (2011-2012) and Social Gothic 2 (2014).
- Soft Press (2012). A rounded version of Canada Type's Press Gothic.
- Sol Pro (2010): a 20-style revival and extension of the monoline sans typeface Sol by Marty Goldstein and C.B. Smith (1973, VGC), done with Kevin Allan King. Griffin writes: This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness.
- Spade (2012). A super-heavy slab face, done with Kevin King.
- Spadina (2010): a psychedelic / art nouveau revival with Kevin Allan King of Karlo Wagner's Fortunata (1971, Berthold).
- Sterling Script (2005): done with Rebecca Alaccari. Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. Many alternates were added, so this is a virtually new type family.
- Sultan: a Celtic-Arabic simulation typeface after "Mosaik" (1954) by Martin Kausche.
- Stretto (2008) is a revival and expansion of Sintex 1 (Aldo Novarese, Nebiolo, 1973), a funky nightclub face. It was used as the basis of Cowboy Hippie (2010, CheapProFonts). Similar typefaces include ITC Zipper (1970) and Berthold Beat Star (1972).
- Swan Song (2006): a calligraphic typeface based on the hand of Alexander Nesbitt. [A later document states that it is based on work by British artist Rachel Yallop.]
- Symposium Pro (2011). This Carolingian family was drawn by Philip Bouwsma. Patrick helped with the production.
- Tabarnak (2012) and its shadowed version, Tabarnouche (2012). Lovingly named to attract business from Quebec, this is a packaging or signage pair of fonts.
- Taboo (2009) is a geometric display typeface that was inspired by lettering by Armenian artist Fred Africkian in 1984.
- Testament (2010): a calligraphic uncial family done with Philip Bouwsma.
- Tomato (2005): done with Rebecca Alaccari, this is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare.
- Treasury (2006): a huge type family based on a calligraphic script by Hermann Ihlenburg from the late 19th century. Canada Type writes: The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of todays design software: Layering.
- Trump Gothic (2005): a revival and expansion of two different takes on Signum (1955, Weber), Georg Trumps popular mid-twentieth-century condensed gothic: Less than one year after Signum, the Czech foundry Grafotechna released Stanislav Marso's Kamene, a reinterpretation of Signum. The differences between the two were quite subtle in most forms, but functionally proved to offer different levels of visual flexibility. Marso changed a few letters, most notably the wonderful a and g he added, and also made a bold weight. Trump Gothic West is a revival of Trump's original Signum, but in three weights and italics for each. Trump Gothic East is a revival of Marso's Kamene, but also in three weights and corresponding italics.. In 2013, Patrick Griffin redrew and optimized these condensed and ultra-economical typefaces in his Trump Gothic Pro and the rounded version, Trump Soft Pro.
- Trump Script (2010) revives the African look script by Georg Trump called Jaguar (1962). An improvement on an earlier Canada type family called Tiger Script.
- Tuba (2010).
- Valet (2006): inspired by an uncredited early 1970s all-cap film type called Expression.
- Veronica Polly (2005).
- Vox (2007): a 24-style monoline sans family done with Rebecca Alaccari. This was followed in 2013 by a softer version, Vox Round.
- Wagner Grotesk (2010): a sturdy grotesk, after a typeface from the Johannes Wagner foundry. Kevin King is also credited.
- Wagner Script Pro (2011). Done together with Kevin King, this is a revival of Troubadour (1926, Wagner&Schmidt).
- King and Patrick Griffin published Wonder Brush in 2012. This is partly based on a signage brush script called Poppl Stretto (1969) by Friedrich Poppl.
- Opentype programming help for several fonts by Michael Doret, such as Deliscript (2009), Dynascript (2011) and Steinweiss Script (2010). Deliscript (a winner at TDC2 2010) is an upright connected script with accompanying slanted version. Steinweiss Script is a 2200-glyph curly script typeface called Steinweiss Script (2010), which captures a lot of the spirit of Steinweiss's album covers from the late 1930s and 1940s.
Klingspor link. [Google]
Patrick Michael Murphy
Paul Baker's type-related book, right here on the web. He created Alphabet26 in 2001, an implementation of a unicase font proposal by Bradbury Thompson. Writings on "Evaluating typography and typesetting". He digitized Andromaque Uncial (1958, Victor Hammer) in 1995. [Google]
Paul Hayden Duensing
[The Private Press and Typefoundry]
Son of Rudolf Koch. Skilled punchcutter who cut type for his father, but also for others such as Herbert Post, Berthod Wolpe and Victor Hammer. Specific examples:
Upon his father's death in 1934 he took over the Frankfurt workshop called Haus zum Fürsteneck, at which Hermann Zapf studied typography from 1938-1941. Paul Koch was killed on the Russian front in 1943.
- When his father designed Claudius (1931-1934), Paul followed Rudolf's instructions to make one weight. Rudolf died in 1934. Klingspor completed this family in 1937.
- He helped Herbert Post with his Post-Fraktur (1935, Berthold).
- Hammer Samson Uncial. Mac McGrew tells its story: This typeface was designed by Victor Hammer in Florence, Italy, about 1930, with punches cut by Paul Koch, and type cast by them and their private press associates. Their first book was Milton's Samson Agonistes, for which the type was named Samson. During World War II the type was lost or destroyed, but the punches survived. About 1970, R. Hunter Middleton made new matrices and directed a casting of new fonts as Hammer Samson Uncial. Compare American Uncial.
Klingspor link. [Google]
Paul Shaw's choice of 100 best typefaces of all times:
- 1-10: Gutenberg's B-42 type, Nicolas Jenson's roman, Francesco Griffo's italic, Claude Garamond's roman, Firmin Didot's roman, Akzidenz Grotesk, Gebetbuch type, Cheltenham family, Helvetica, Aldus Manutius' roman.
- 11-20: William Caslon IV's sans serif, William Caslon's roman, Pierre-Simon Fournier's italic, Futura, Times Roman, Chicago, Bell, Ludovico Arrighi da Vicenza's italic, Univers, Romain du Roi.
- 21-30: Johann Michael Fleischmann's roman, Clarendon, ATF Garamond, Giambattista Bodoni's roman, Century Roman, Nicolas Kis' roman, Minion multiple master, Unger Fraktur, John Baskerville's roman, Lucida.
- 31-40: Ionic, Golden Type, Robert Thorne's fat typeface roman, Wolfgang Hopyl's textura, Vincent Figgins' antique roman (Egyptian), Johnston's Railway Sans, Optima, Bauer Bodoni, Adobe Garamond, Breitkopf Fraktur.
- 41-50: Bell Gothic, Courier, Trajan, Mistral, Doves Type, Scotch Roman, Syntax, Snell Roundhand, Memphis, Robert Granjon's civilit├ę.
- 51-60: Fette Fraktur, Ehrhard Ratdolt's rotunda, Romanee, ITC Stone family, Trinit├ę, ITC Garamond, Avant-Garde Gothic, Oakland, Deutschschrift, Hammer Uncial.
- 61-70: Beowolf, Meta, OCR-A, Sabon, ITC Novarese, Zapf Chancery, Rotis, Base Nine and Base Twelve, Peter Jessenschrift, Excelsior Script.
- 71-80: Bitstream Charter, Peignot, Erbar, Cancellaresca Bastarda, Joanna, Dead History, Behrensschrift, Eckmannschrift, Poetica, Marconi.
- 81-90: PMN Caecilia, Stadia, Imprint, Souvenir, Thesis, Apollo, Penumbra, Melior, Neuland, Flora.
- 91-100: Element, Walker, Remedy, Template Gothic, Digi-Grotesk Series S, Compacta, Antique Olive, Bodoni 26, Evans and Epps Alphabet, WTC Our Bodoni.
Portuguese author of Tipografia: origens, formas e uso das letras (2006, Paulo Heitlinger, Lisbon) and Alfabetos, Caligrafia e Tipografia (2010, Lisbon). Born in Lisbon, he studied nuclear physics in Germany. He lectured on communication design at the Universidade do Algarve. His pages (in Portuguese) are quite complete, with a great glossary, a beautiful section on the history of type, a mag called Cadernos de Tipografia, links to type design in the world in general, and in Brazil, Spain and Portugal in particular, and more general information on type. Font-making how to. Useful timeline of 16th century writing manuals. An absolute must. He has also created or revived a number of typefaces, which can be bought on-line.
An incomplete list of his typefaces:
Bertrand (2008): an art deco typeface patterened after the shop sign of Livraria Bertrand in Chiado, Lisbon. Rotunda: Visigotica: based on the calligraphic writings of the 10th and 11th centuries. This font has many alternates. Based on scans of a text of the 10th century called Actas de Concilio de Caledonia de 451. Styles: Imperatorum, Isidoro. Typefaces based on the calligraphic work of Francisco Lucas, 1570: Bastarda de Lucas Italic (2009), Bastarda de Lucas (2009), Redondilla de Lucas (2009). Uncialis (2009): a Lombardian type based on a 16th century model of Giralde de Prado. Escolar Portugal (Fino, Forte) and Escolar Brasil are school fonts of the "upright connected script" style that were made in 2008. For more on didactic fonts, read the booklet Caderno de Tipografia e Design Nr. 14 (March 2009). [Google]
- Sinalética: A sober serif typeface for excellent legibility.
- CantoneirosRegular (2008), Cantoneiros-Thin (2008): art deco / avant-garde.
- Transito (2008): the famous 1930s stencil face of Jan Tschichold at Lettergieterij Amsterdam, with reinvented forms for f, g and y. [Note: the pic on the right-hand-side is Transito, as grabbed from Heitlinger's page---the grammatical error is not mine.]
- Sturmblond-Medium (2008): Revival of simple lettering of Herbert Bayer.
- Bayer Condensed: Revival of simple lettering of Herbert Bayer.
- Imperatorum (2008)
- Ratdoldt (2008): a blackletter typeface made from scans, and attributed to Erhard Ratdolt.
- Valentim (2008): a blackletter typeface made from scans of the book Vita Christi. Named after Valentim Fernandes, a printer active in Lisbon, ca. 1480-1519.
- Incunabulo Normalizado (2008): a blackletter typeface made from scans of the book Vita Christi.
- Uhertype-Medium (2007): Revival of another Bauhaus era typeface, by Joost Schmidt.
- Arkitekto: A Bauhaus style piano key font based on an image found in a book of Kurt Weidemann.
- His Spanish collection includes Bastarda de Francisco Lucas, a versão espanhola da Cancelleresca italiana do século XVI. Um ponto alto da Caligrafia del Siglo de Oro.
- Redondilla de Francisco Lucas, a penmanship font based on Arte de Escribir (1577).
- Gótica Rotunda Gans.
- Juan Bravo, based on azulejos (tiles).
- Segovia, a titling font.
- Centauro, a decorative font.
- Kurrsiva, inspired by scripts from the 1960s.
- Deco de Avila, an avant-garde face.
Kielce, Poland-based type designer who was born in 1971 in Kielce. Since 2010 he has been working as a freelance graphic and type designer. He created these typefaces:
Dafont link. [Google]
- Peppo (2012). A feisty informal script family.
- Arsinoe (2012). A condensed geometric typeface noted for its unorthodox long ascenders and low x-height.
- Althea (2015). Free.
- Ethlinn. A Gaelic uncial typeface.
- Carbonium (2015) and Carbonium OSF (2015). Cursive text typefaces.
- Longa Iberica (2015). A tall-ascendered mediaeval typeface.
- Uranos (2016). A geometric display typeface.
- Fusione (2016). A scribbly multiline typeface.
PCCrafter.com (was: Provo Craft)
Shareware fonts: pcbang, pccrazed, pcdoubletick, pceasteregg, pcgarden, pcgroovy, pchardball, pckoolskool, pclights, pcshamrock, pcsketched, pcspeckle, pcspooky, pcsquiggle, pcsquirrelly, pcswiss, pcteetime, pcweb, pcwedgie. Free fonts: PC Goo, PC Needles. List of names, including the commercial fonts as well: PC Alphabet Soup, PC Americana, PC Anderson, PC Antique, PC Baby, PC Balloon, PC Balloons, PC Bandages, PC Bang, PC Barney, PC Beach Front, PC Beached, PC Becca Brush, PC Bedrock, PC Big Stick, PC Black, PC Blanket Stitch, PC Block Italic, PC Borders, PC Bubble, PC Buzzy Bee, PC Calico, PC Callihan, PC Campus, PC Candlewick, PC Candy Cane, PC Casual, PC Cereal, PC Childish, PC Chopsticks, PC Chunky Dash, PC Chunky Jumbled, PC Chunky, PC Chuva, PC Classic English, PC Clubhouse, PC Comic Strip Black, PC Comic Strip, PC Cookie Crumbs, PC Cookie Dough, PC Crazed, PC Crazy Serif, PC Cream, PC Cross Stitch, PC Curl, PC Curls, PC Curly Que, PC Cursive, PC Curved, PC Dangle Star, PC Dashes, PC Dazzle Outline, PC Dazzle Tremor, PC Dazzle, PC Dot, PC Double Line, PC Double Tick, PC Drop, PC Easter Egg, PC Eire Medium, PC Fancy, PC Fiesta, PC Flower Garden, PC Flower, PC Folk, PC Foundation Hand, PC Friends, PC Funky Black, PC Funky, PC Garden 1, PC Garden 2, PC Garden Packet, PC Garden, PC Geo Angles, PC German Text, PC Goo, PC Goofy, PC Grandma's Garden, PC Groovy, PC Halloween, PC Hardball, PC Harvest, PC Hawaiian Hut, PC Heart Strings, PC HeartBeat, PC Hook&Line, PC Hotdog, PC In a Heart Beat, PC In the Pines, PC InformalFormal, PC Italic, PC Jenn Pen, PC Jump Rope, PC Just Rosie, PC Kennedy, PC Keyhole, PC Kick Plate, PC Kid, PC Knobbish, PC Kool Skool, PC Lady Bug, PC Laundry, PC Leere`, PC Licorice, PC Lights, PC Line, PC Lines and Loops, PC Little Bear, PC Little Grace, PC Little Squiggles, PC Log, PC Lombardic Limbo, PC Loring, PC Lorisans, PC Marshmallow, PC Mira Medium, PC Miss Thom, PC Monster, PC Mouse, PC Munchkin, PC Nature, PC Needles, PC Old English, PC Outline, PC Over the Moon, PC Overalls, PC Paintbrush, PC Paper Clip, PC Paper Clips, PC Party, PC Patch Scraps, PC Paw Print, PC Pencil, PC Petite Dot, PC Picket Fence, PC Pig Pen, PC Pilgrims, PC Pizazz Outline, PC Pizazz, PC Plain Jane, PC Point, PC Popstick, PC Posie, PC Pretty, PC Puffy, PC QTip, PC Quilt Blocks, PC Ragtime, PC Randsom Note, PC Ratatat, PC Rebecca Uncial, PC Rebecca, PC Rebs Writ, PC Regular, PC Rock Block, PC Rod Iron, PC Rope, PC Round About, PC Ruler, PC Saucy, PC School Days, PC Scrap Wood, PC Scratch Pad, PC Script, PC Sellers Swirls, PC Senior Regular, PC Sewing Scraps, PC Shadow Hut, PC Shamrock Dark, PC Shamrock Light, PC Shamrock, PC Sketchbook, PC Sketched, PC Snapdragon, PC Snow Caps, PC Snowballs, PC Snowflake, PC Snowmen, PC Sommerset, PC Spaghetti, PC Speckle, PC Splinters, PC Spook It!, PC Spooky, PC Sports, PC Squiggle, PC Squirrelly, PC Stars and Stripes, PC Stars, PC Stitch, PC Stone Script, PC Straight, PC Stringy, PC Swiss Cheese, PC Tee Time, PC Thick and Thin, PC Thick Dots, PC Thick Swirls, PC Thick, PC Thicky, PC Thumbtack, PC Twiggi, PC Twisted Ribbon, PC Type, PC Typewriter, PC Uneven Crazy, PC Uneven, PC Vine, PC Wacky, PC Watermelon, PC Wave, PC Web, PC Wedgie, PC Wet Noodle, PC Whimsey Holly, PC Whimsey, PC Willa, PC Willabella, PC Wired, PC Witches Toe, PC Witches, PC Wooden Letters, PC Wooden, PC Yellow Sands, PC Youngstuff, PC Zesty, PC Zig Zag, PC Ziggy Zag. [Google]
Pedro Díaz Morante
Spanish penman, calligrapher and engraver, 1565-1636. He lived in Toledo from 1591 on and moved to Madrid in 1612. He published Arte nueva de escribir in which he explains his system for teaching cursive writing, published in five volumes between 1615 and 1631. He was respected as a great penman, who, incidentally, was ambidexterous.
Scans: a calligraphic drawing of Felipe IV in 1624, a Spanish Bastarda (1624), a chancery hand (1630).
For digital typefaces based on Morante's work, check out Ramiro Espinoza's Dulcinea (2012).
[Die Entwicklung unserer Schrift]
[Alphabets Inc (or: Fontsonline.com)]
Pete "The Hutt" Klassen created the "Lord of the Rings" movie logo font, Ringbearer Medium (2002), as well as Aniron (2004), an uncial typeface that was used in the credits of the same movie. See also here and here and here. There is also a small rune archive.
Fontspace link. Alternate URL. Dafont link. [Google]
Peter R. Wilson
Peter von Zezschwitz
[Zetafonts (Tangram Studio)]
Type designer born in Boston in 1948 who created many exquisite designs such as Alexia (1992), Sallando Italic, Dorothea or Cresci Rotunda. His work shows the influence of masters such as Arthur Baker.
View Philip Bouwsma's typefaces. [Google]
Moscow-based designer of the free Latin / Cyrillic uncial typeface Legend (2015). [Google]
Pontifial de Metz
Nice pages (in French) on the history of letterforms, and in particular, Fraktur and uncial types. [Google]
Lazar Dimitrijevic, who set up the foundry Posterizer KG, was born in 1981 in Bajina Basta, Serbia, and lives in Kragujevac, Serbia. He obtained a Master of Graphic Design from the Department of Graphic Design, FILUM Kragujevac, Serbia. Presently, he is art director at Design Studio BOX.
His first font, Art Decor (2009), is a brush typeface in the style of Treefrog. Koma Latin (2009) is a roughly outlined script face. Bajka (2010) is a wonderfully entertaining Baskerville family (Latin, Cyrillic, dingbats, ornamental caps) made for children's fairy tale books. Scarface (2010) is a sublime scratchy hand ideal for torture movies. Kaligraf Latin (2010) is a rough-edged calligraphic face.
In 2012, he published Collage BB (hand-drawn didone), the heavy Egyptian typeface Posterizer KG at DizajnDesign. This font was created for Celebration of 5 years anniversary of Design Studio Box from the city of Kragujevac (KG), the industrial city of Serbia. Posterizer KG (+Rounded) contains all the Latin and Cyrillic glyphs. Posterizer KG Inline and Posterizer KG Rough (a letterpress emulation version) were added in 2013. Posterizer KG Sketch followed in 2015.
Still in 2012, he designed the ink splatter typeface Oops, and the calligraphic typefaces Cal Humanistic Cursive (a renaming of Cal Humanist Corsiva, posibly under pressure from Monotype), Cal Humanist Minuscule and Cal Humanist Corsiva.
He also creates stunning calligraphic works.
Cal Roman Capitals (2012) is a Trajan typeface. In the same calligraphic series, we find Cal Rustic Capitals (2012), Cal Square Capitals (2012), and Cal Uncial (2012).
Typefaces from 2013: Posterizer KG Sketch, Cal Expressive, Cal Bakerly (calligraphic script in the style of Arthur Baker), Cal Cursive Roman, Cal Rustic Black, Cal Neuland Bold (after the German expressionist typeface Neuland by Rudolf Koch), Cal Gothic Bastard, Cal Gothic Fraktur, Cal Fraktur Modern, Cal Rotunda, Cal Gothic Textura, Cal Carolingian Minuscule, Cal Carolingian Gothic, Cal Insular Minuscule, Cal Insular Majuscule, Cal Beneventan Minuscule.
Typefaces from 2014: Cal Neuland Shadow, Mozzart Sketch (a decorative hand-sketched version of Mozzart Sans, a slightly rounded, neo-Grotesque corporate font, that was originally created for the Belgrade-based company Mozzart DDO; followed in 2015 by Mozzart Rough).
In 2015, he designed Drina (brush typeface), My Way (a TreeFrog style handwritten face).
Typefaces from 2016: Omorika (a rustic hand-crafted sketched serif typeface).
Behance link. Creative Market link. Klingspor link. Dafont link. [Google]
Peter Rempel (b. 1958) is a Winnipeg-based calligrapher. Nice graphic about classical roman types. He designed some exquisite shareware fonts: PR Uncial Creepy (2010), PR Agamemnon Bold (2008), PR-Uncial (2003), PR-UncialAltCapsExtended, PR-UncialAlternateCapitals (1998), Demo-ofGabrielCondensed, Demo-ofGabrielRegular, Demo-version:Gabrielextended, PR-CelticNarrow (1998), Magickal Signs, PR Runes (2000), PR Rune Stones (2000), Pi Rho Runestones (1998), PR Astrological (1998), PR Compass Rose (2007), PR Viking (2007; +Alternates) and Pirho Herakles (1998, an Etruscan-style or Greek simulation font). In preparation: PR Alchemyst, PR Snaggly, PR Monk's Holiday.
He writes about himself: educated in music composition and visual design. In his family home, there were many wall plaques with German Bible verses, rendered in a variety of gothic and fraktur lettering styles. In the 1980s he discovered the art of calligraphy, first through the speedball lettering textbook, and later by joining the calligraphers Guild of Manitoba. He has studied a variety of lettering styles, but his strongest interest is in the letter styles of the Middle Ages, starting with the German Fraktur styles he knew from childhood, and extending back, into uncials, runic shapes, and the Classical Roman Letter. The Chancery cursive, or Italic hand, which to many people is synonymous with calligraphy, never held much interest for him. He released his first shareware fonts in 1996.
In 2010, he went partially commercial. His first pay font is PR Pointers (2010, an arrows font).
In 2011, he designed the commercial typefaces PR Mapping and PR Stars.
In 2012, he published PR Arco (arcs for framing curved lines of text, in a style common on Victorian posters and almanac covers) and PR Hydra (a Greek simulation font).
Typefaces from 2013 include PR Snowflakes 01, PR Bramble Wood 1 and 2, PR Valendoodle 01 (Valentine's Day ornaments), PR Swirlies (in series numbered 01 through 13), PR Swirlies Frames, PR HallowDoodles (Halloween dingbats), PR Nouveau Ornaments (art nouveau), PR Viking (a rune simulation face), PR Foxtail 01, PR Foxtail 02, PR Scrolls 03, 04 and 05 (2014), PR Sprucewood (2014), PR Swells One (2014), PR Xmas Doodles (2014), PR Hearts Take Wing 01, PR Mysticon 01 (star dingbats), PR Pointers 01 (arrows), PR Valknut (Norse god symbolism), PR Scrolls, PR Uncial (1998), PR Dim Sum (brush face), PR Columban (a Celtic uncial, named after Irish monk Columbanus), PR Columbian.
Typefaces from 2014: PR Cauldron (a scary Celtic style font), Vanaheim (a flared display typeface influenced by Nordic runes).
Typefaces from 2015: PR Hallow Doodles 03, PR Ex Cathedra (Trajan capitals).
MyFonts link. MyFonts foundry link. Klingspor link. Fontsy link. Dafont link. Castles&Crypts link. [Google]
Friendly French Agfa Creative Alliance designer (b. 1961) who lives in Baratier. He was an ex-student of José Mendoza at the Imprimerie Nationale à Paris. He started Présence Typo in 2000. Great web pages, great designer, fantastic fonts. Bio. He published numerous typefaces in various places:
- ITC: ITC Korigan Light (1997), ITC Friz Quadrata Italic (2003, to complete the ITC Friz Quadrata of 1965), Friz Quadrata Bold Italic (1994).
- Agfa creative Alliance: Alinea (1995-1997).
- Présence Typo: Cicero (1995; Cicero2 is promised), Bebop (1996), Adesso (1999), Classica (a very elegant family, 1999), Classica Gallic (2001), Madisonian (1999), Tschichold (1999, the only lineale typeface by Tschichold drawn in 1933-1936 for the Uhertype photo-typesetting machine), Presence (1998), Prosalis (1998), Tangram (2001), Tuxedo (1999, a fun didone experiment), Kouros (2003, a Greek simulation font), Indigo Sans (2003), Indigo Serif (2003), Classica Prestige, BigTicy (2005), Ubik (2004, an 8-weight sans family), Diana and Princess (2004, calligraphic typefaces, after designs by Roger Excoffon in 1956). A.M. Cassandre's Cassandre (1968) was largely unfinished, after having been turned down by Berthold and Olivetti. It was finished in a revival of sorts (3 weights) by Thierry and is still called Cassandre (2003) [Cassandre Original includes only the letters drawn by A.M. Cassandre. Cassandre Normal and Bold are completed and expanded interpretations of the original drawings of 1968. Cassandre was the last typeface designed by the great poster artist and type designer A.M. Cassandre (1901-1968)]. Fonts available at MyFonts include Fusion Engraved, Fusion Standard, Laricio, Tandem, and Zipper, Placebo Sans (2003), Tuxedo (1999, a fun didone experimental face), Placebo Serif.
- Typotek: Tangram (1999, letters and dingbats made from triangles and squares), Présence (1999, sans serif), Classica (1999, serif), and Prestige (1999, serif).
- Custom fonts: Add Electric City, Add Iron, ITC Friz Quadrata Italic (2003, to complete the ITC Friz Quadrata of 1965), Père Castor Flammarion (designed for Flammarion by José Mendoza and digitized by Thierry), Option Italique (designed as an italic for Optima), ITC Korigan (uncial).
Klingspor link. FontShop link. Linotype link.
View the typefaces designed by Thierry Puyfoulhoux. [Google]
Foundry that was run in the 1990s by Christine Mauerkirchner and Rainer Grunert out of Kronberg, Germany. They made about 30 free Truetype and PostScript fonts, and are selling over 2000 fonts at 2.50 Euro a shot. Check here for Berthold A.G. clones of all famous families. The main PrimaFont collection in PostScript cost 1700 USD! As far as I can tell, if the 30 free-font sampler is any indication, this collection is not different from the good old Adobe, Monotype or Linotype collections, which may all be found somewhere if one looks hard enough.
Free fonts: Cheboygan, Exmouth (copperplate script), Jacoba (another copperplate calligraphic script), Mouth (uncial), Livingstone (uncial), Marlon Book, Oliver (Victorian), Scoutlight DB, Shanghai (oriental simulation face), and Xtra (Greek simulation face).
Dafont link. Abstract Fonts link. Font Journal link. [Google]
Protofonts (and Loosy Design)
Fabian Pfeifhofer is an Italian/Tirolian designer, b. 1984. Creator of Ugloosy (2007, grunge), Loosydings Extended (2008), Karmoofel (2007, experimental; see also here), Freestyle Silouet, Funnighosts (2007, a Halloween font), Funghosts (2007), Tramyad (2007, grunge; see also here), Trashco (2007, grunge), Helvari (2007, a Helvetica-style family), Fracta (2007, a blackletter family).
Free fonts from 2006 until 2007: Blabloosy (grunge), bubbles bubbles (grunge), Loosydings, LoosydingsExpert, UntitledRegular, Freestyle-pictos, loosy-Italic, loosy-regular, mashen-Semi-expanded-Bold, ruculus-Semi-expanded-ExtraBold, ruculus (rounded futuristic face), Skirules-Sans2 (grunge), skirules-Sans-Expanded-Medium (grunge), skirules-Sans-Expanded-Medium, spikes, staccato, wing.
Typefaces from 2008: the grungy Dinstik. As Loosy Design, he also made the grunge typeface Malle (2007), Ambo Thin (2012: a monoline hipster script), loosydings-extended (2008) and the pixel typeface Blockline (2008). Creations in 2009: Slutotronic (dripping paint font), Illoosy (grunge), Training (dingbats), Camera (dings), Haloa-Heavy, Minuscula (uncial).
Dafont link. Another URL. Link at Devian Tart. Loosy Design link. [Google]
Ralph Michael Unger
[RMU (Ralph Michael Unger Typedesign)]
Aka p2pnut, b. Wales, 1943, who started making fonts in 2009 at FontStruct. Alternate URL. Dafont link. Klingspor link. In 2010, Ray Meadows set up shop at MyFonts.
Prolific creator at FontStruct in 2009 of the 3d typefaces Alphabox, Alphabox Reverse, Alphabox Lite, Alphabox Lite Complete, Alphabox Shadow and Alphabox Basic. He also made RM Playtime (outlined 3d family), Art DECOrated, Single DECOr, Romantic (+Carved, +Carved Shadow), TripleDECOr, New Romantic, SOFA, Mondrianish, Eye Test, Meltdown (grunge), Ameslan (American Sign Language), DECO Noir, DECOction, DECOserif (+Bold), DECOoction (+Bold Open), DEChrome, DECOpix, DECOr (a pure art deco typeface like Levine's Art Lover JNL), DECOThin (+Medium), Scrapheap, Westward (Far West font), Cheese Fondue, Alphabox Reverse (shadow font), AlphaRune, Spaced, Gothicky, Grand Prix, Entrees (alphadings), Compround, Phatzzo (nice!), DECOr8, Gothicky, Gothicky Grey, RM Ginger, RM Albion (blackletter), and Opening (outline face). RM Squarial (2009) is a hairline sans. Its 3d version is RM Squarial 3D. RM Typewriter (2009, +Medium, +Bold, +Old) is an old typewriter face. RM Serifangle (outline art nouveau face, +3D, +Chrome, +3DChrome) and RM Corrugation (postage stamp, white on black style) are both interesting. RM DECO Serif (2009) is in the RM Typewriter style series. RM Bowie Basic is a futuristic typeface based on the typeface used on Mars in "The Waters of Mars" (2009). RM Playtime Stencil (2009) is a rounded stencil typeface based on RM Playtime Solid. There are more styles such as RM Playtime 3D.
Additions in 2010: RM New Albion (blackletter), RM Lined, RM Serifancy (Western face), RM Almanack (+Old), RM Tubeway (+Chrome), RM Thinny, RN White Letter, RM Blacklet, RM Squarial (+Ribbon, +3d), RM Typewriter Old, RM 7even, RM SideSlip, RM Teeny, RM Teeny 1.5, RM Narrowboat (+3D) (athletic lettering).
His typefaces at MyFonts include RM Victoriana (2010, caps only Victorian face), RM Whiteletter (2010), RM Signwriter (athletic lettering), RM Deco (pure Broadway art deco), RM True to Type (typewriter face), RM Scrapheap, RM Elegance (condensed, with high ascenders), RM Playtime, Graphite
Creations in 2011: RM Celtic, RM Uncialic (+RMWL Uncialic: Carolingian), RM A Sign of the Times, RM Sans, RM Oliver (bold rounded sans), RM Soft Sans (wonderfully round sans), RM True To Old Type (old typewriter), RM True to Type (new typewriter), RM Middy, RM Phatso (textured), RM Phatso 2.0, RM Phatso 2.0 Solid (texture typefaces).
Creations in 2012: RM Luceat (a bullethole typeface), RM Jazz Age, RM Basic Serif (roman face), Alphabox (a 3d family: +Reverse, +Lite, +Reverse Stencil), RM Slab, RM Slabb, RM Tubes (3d typeface), RM Smoothsans (rounded sans), RM Romantic Carved (+Shadow: a beautiful set of beveled typefaces), RM Westward, RM Typerighter, RM Uncorrugated, RM Snowtime, RM Smooth Jazz, RM Smooth Age, RM Nova Albion (blackletter), RM Tubes Chrome, RM Squarial FS10, RM Basic Serif.
Typefaces from 2013: RM Bloc, RM Greek, RM Victoriana, All Bricks, RM Deco, RM Random Outline, RM Random 3D, RM Random (cartoon face), RM Celtic Condensed, RM Westus Condensed, RM Westus (Western, spurred), RM Hunky (chunky and modular), RM Thunk (piano key face, thick and chunky), Westward Ho (spurred Western face), RM Hangle (chuunky and elliptical).
Typefaces from 2014: RM Firmstone (+Outline, +Condensed, +Outline Condensed), RM Ebdon Outline, RM Imber Outline, RM Moss Outline, RM Imber, RM Art Decorated, RM Celtic Inline.
Typefaces from 2015: RM Deco, RM Stoney, RM Mondrianish, RM Stoney Shaded, RM Middy, All Bricks.
Abstract Fonts link. Dafont link. [Google]
[Das Nest der Qualle]
French type designer (b. La Houssaye, 1917, d. 2003) whose typefaces include Blason (1978), Continent (1959, Optype - Letterphot), Mopon (1965, Moreau - Lettrage Relief), Nil (1978), Psitt (1954, Fonderie Typographique Française), Castellane&Valensole (Fonderie typographique Française), Roncevalles (1955, Fundicíon Tipográfica Nacional), Solide (1958, Optype - Letterphot), Suresnes, Ulysse (1958, Optype - Letterphot), Uncialis (1950, Optype - Letterphot).
A quote from him: La typographie est un art précieux parce qu'elle forme le dernier revêtement de la pensée. Author of Louis Perrin et l'Énigme des Augustaux (Editions des Cendres, Paris, 1998). This book has a history of Perrin as a printer and typographer, with special attention to Perrin's Augustaux type. It contains two fold-out Augustaux type specimens and several examples of Perrin's printing in black-and-white, has a preface by Fernand Baudin, and is printed in Perrin type redesigned by L'Atelier National de Création Typographique in 1986. [Google]
Ricardo Victor Rousselot Schmitt
Richard Beatty (Colorado) made beautiful fonts, often revivals and interpretations of old typefaces and calligraphic designs, around 1990-1993 under the name "Richard Beatty Designs". In all, he created over 500 designs, but most were only for private or corporate use. Typefaces:
- Baxter New Style (1988), Baxter Old Style (1988)
- Beatty Victoriana (1991): a set of five Victorian era fonts---Wanted, Spiral, Recherché, Hermosa and Childs (1985). Hermosa and Childs are nearly art nouveau. Childs is a revival of an 1892 typeface by Hermann Ihlenburg. Puzzling note: the Linotype catalogue says that Kismet was designed in 1879 by John F. Cumming. When you look at Spiral by Richard Beatty, you find a close copy of Kismet; Beatty says it's an "edited version of Kismet", but he holds the copyright. Is this another case of legal cloning?
- Benjamin (2002, BeattyType): from sketches by Ed Benguiat.
- BernardsHand (beautiful medieval hand)
- Borders (1990, some designed by R. Mitchell and R. Beatty)
- Calligraph Initials (1997): a Lombardic face.
- Desdemona (1994, +Black): art nouveau
- Duchy, Duchy Initials (2002): A blackletter typeface based on a sketch by Ed Benguiat of Benton's Dutch Initials.
- Elizabeth (1994, BeattyType): An all caps almost uncial face.
- Fanny Mitchell, Fanny Mitchell Initials
- Goudy typefaces [Goudy is his favorite type designer]: Goudy Claremont (1993: based on Scripps College Old Style), Goudy Italian, Goudy Mediaeval Beatty, Goudy Saks (1990: based on a typeface designed in 1934 by Goudy for Saks Fifth Avenue in New York), Kennerley Old Style (1986, after Goudy's 1911 design)
- Jensen Eusebius, Jensen Eusebius New Style (1989)
- Mediaeval Calligraphy
- Ornaments (based on 1928 figures drawn by E. Adler)
- Overdressed (2002): based on a sketch by Edward Benguiat for his Phototype Company.
- Prairie Poster (Plain, Fancy): arts and crafts face.
- Quillsong (calligraphic)
- ReneLouis (1992)
- Rolls Royce Designer
- Velda (2005, connected hand): the handwriting of Velda Burgess Will, classmate of the designer.
- White Tie, White Tie Relaxed (2005): roman lettering.
[Fundicion Tipografica Richard Gans]
Richard J. Bradley
Artist, calligrapher and type designer born in Portsmouth, England, in 1947. Richard Bradley designed ITC Bradley Hand (1995), Fine Hand (1987), Calligraphic Ornaments (1993, ITC; also in the Corel collection), and the flowing Bible Script (1979). Part-time teacher at the Portsmouth College of Art, and type designer for Linotype. From 2006 onwards, he is cooperating with David Kettlewell at New Renaissance Fonts, where he jointly developed these renaissance-era fonts: AliceScrolltipRoman, RicksDecoratedUncial-Medium, RicksFolkloreRoman, RicksRelaxedHand-Italic, SevilliaDancingText, Sevilliastandingtext, Sevilliatiles, Ashbourne 1241 (2009, an uncial based on a gravestone in Ashbourne, Derbyshire, dated 1241). Future releases will include Ashbourne Uncials, Rick's Christmas card, Country Cursive, Curly Classic, Rick's Graphica, Rick's Rustic Caps, Rick's Rustic lettering, and Rick's Square Caps. In 2011, he and Linotype released a 3-style extension of Bradley Hand called Bradley Type. At New Renaissance Fonts, he released Bradley Chancery (2011), Alice Scrolltip (2006) and Sonnet Script (2011, inspired by the calligraphy of the Welsh artist and poet David Jones (1895-1974)). Bradley Texting (2014) is an informal script.
FontShop link. Klingspor link. Linotype link. [Google]
Richard Keith Frazine
Thomaston, CT-based author of The Barefoot Hiker (1993). FontStructor whose fonts in 2011 include Frumfceaft Uncial (an outlined art nouveau typeface with uncial roots), Barefoot Hikers (a roman typeface done for his book), Caedmon, Nikonorian (needlepoint face), Frumfceaft Rune (an anglo-saxon rune face), Barefoot Standard. [Google]
Richard William Mueller
Designer from Elkader, IA (or is he from Garnavillo, IA?). No web page, but the fonts, mostly made in the early 1990s, were collected by CybaPee at TypOasis for your downloading pleasure.
The original list of fonts: Advert-Regular, AkashiMF (oriental simulation), Angles-Regular, Argos-Regular, AtlantisMF, BlackCastleMF, BodieMFFlag, BodieMF (1995), BodieMFHolly, Bolide (script), BrandyScript, BurntMF, CarnivalMFOpenShadow, CarnivalRimmed, CasualMarkerMF, Cigno, Cinema-Regular, ClubMF, Daisy-Regular, EarthquakeMF, FantasticMFInitials, FantasticMFModern, HayStackMFWide, HeeHaw-Regular, Hoffman, InkHighlight, Knockout-Regular, Kompakt, Legrand, Maize-Regular, Mama-Regular, Mantel, Mercurius-Regular, NewDayScript, OceanViewInitials, PaintPeelInitials, Pinewood, Plymouth, PollockMF (marble-filled artsy display letters), Primitive, Quaint, Ragged, RopeMF, SantaMonicaMF, Sixties (1993, psychedelic font), Speedline, Spirits-Regular, StarshineMF, Stowaway, Tarantella, Coffee Tin (1999), Credit Cards, Dragonfly, Flames, Grange, Long Ears, Meltdown, Parchment, Polo Brush, Stereo, Wet Paint, TamboScript, Titania, TolkienUncialMF, TradingPostBold, Tumbleweed, TuscanMF (a Tuscan font family), UncleBobMF, Vassar, VeronaScript, Waverly-Regular, WindsweptMF.
At GarageFonts, he made GFCristateMF (borders and dings, 1997).
In 2005, the list of free fonts shrank/changed to this:
- 1993: EddaMF (art nouveau), UncleBobMF-Shadow.
- 1994: ApolloMF (1900-style decorative), BravoMF (a script typeface inspired by a 1945 font by E.A. Neukomm), CasualContactMF (brush), FarleyMF, FranconiaMF, LavaMF (art nouveau), OmegaMF-Bold, OmegaMF, ReefMF.
- 1995: AmbrosiaMF (art nouveau), CamelotMF-Bold, CamelotMF, DirectionsMF, EdisonMF (1900-style decorative), GuttenbergMF (art nouveau), PenMarkMF-Bold, ProtestSignMF, SophieMF (art nouveau), SwingtimeMF, TomahawkMF.
- 1997: ApolloMF-Shadow, BaileyMF (handwriting), ElectMF, GingerMF (in the style of Auriol), SteveMF (handwriting), WishMF (art nouveau), WizardryMF-Contour, WizardryMF (art nouveau).
Abstract Fonts link. Klingspor link. Dafont link. Fontspace link. [Google]
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, Achispado, 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, 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 (Regular, Italic: with deformed letters, this is in the necrocock style), Hawkhurst LT Std Bold (2003, after a typeface 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.
View Richard Yeend's typefaces. Klingspor link. FontShop link. [Google]
Designer of Certificate Face Bold (Itek, 1982, an uncial face). [Google]
[rzy-- SD Fonts]
RMU (Ralph Michael Unger Typedesign)
[Ralph Michael Unger]
Ralph M. Unger (b. 1953, Thuringia, East Germany) says this about himself at MyFonts: Typesetter from the composing stick via Linotype setting machines to the Mac. Jobs in various Thuringian printeries. Barred further education by Communist authorities due to political reasons. Imprisoned in East Germany. Since 1988 in the state of Baden-Wuerttemberg, former West Germany. Jobs in several newspaper printing houses as advertisement compositor. Own office since 1995, in Aalen, Baden-Wuerttemberg. He lives in Schwaebisch Gmuend, and was a freelance type designer for Profonts and URW++, where he contributed frequently to these libraries between 2002 and 2009. In 2009, he founded RMU. MyFonts link. I split his contributions into two groups, the URW / Profonts group, and the RMU group. The prefix FontForum refers to a subseries of URW++ fonts. Unless specifically mentioned, all the following fonts are at URW++ and/or Profonts:
The list of RMU fonts:
- FontForum Admiral Script (2005): revival of Middleton's Admiral script from 1953.
- Amitié (2009): a garalde family.
- Arabella Pro (2006): after the script by Arnold Drescher from 1936, published at Joh. Wagner.
- Fontforum Atrament (2006): architectural lettering. Do not confuse with a Suitcase Type Foundry font from 2003 by the same name.
- Atze (2010): a comic book family.
- Behrensschrift D (2007): after the jugendstil typeface Behrens Schrift, 1902, by Peter Behrens.
- FontForum Bernhard Script (2005): after Bernhard Script from the 1920s.
- Bradley (2005): blackletter, after the original by William H. Bradley.
- Breite Kanzlei (2007).
- Breitkopf Fraktur (2003): after the original by Johann Gottlob Immanuel Breitkopf, done in 1793.
- Brocken (2011) is a signage typeface inspired by a design of Volker Küster (1960s).
- Profonts Bureau (2010, Profonts): a minimalist rounded sans family.
- FontForum Calypso (2005): a revival of Roger Excoffon's Calypso (1958).
- Card Pro (2006): a decorative display based on Ella Cursief (1916, Sjoerd Hendrik de Roos, Lettergieterij Amsterdam).
- Chaweng (2006, Profonts): an oriental all caps simulation face.
- Civilite URW (2005).
- Compliment (2004, casual script). Based on a 1965 script by Helmu Matheis for Ludwig & Mayer.
- Cranach (2007): a blackletter typeface modeled after Kuenstler Gotisch from the Krebs Foundry.
- Dominante (2007): a serif family based on Johannes Schweitzer's font by that name, 1959.
- Dominique (2010, profonts): an informal typeface.
- FontForum URW Ecsetiras (2005): revival of Ecsetirás (Zoltan Nagy, 1967, a brush face).
- Edda Pro (2008): an art nouveau face that revives a Heinrich Heinz Heune typeface from 1900.
- Energia Pro (2008, Profonts): connected monowidth script, based on Arno Drescher's Energos from 1932.
- Estro (2003, Western lettering). Seems close to Nebiolo's Estro from the 60s.
- Eurobrush Pro (2007, Profonts): handwriting.
- EuroSans (2008).
- Euroscript Pro (2006, Profonts): school script typeface based on his own handwriting.
- Flashes (2007): a revival of Crous-Vidal's Flash, 1953.
- Fox (2007): a brush script based on W. Rebhuhn's original from the 1950s.
- Gamundia (2010): a calligraphic copperplate script inspired by Excoffon's Diane.
- Ganz Grobe Gotisch (2006): a fat blackletter modeled after the original by F.H.E. Schneidler.
- Gmuender Elan Pro (2011) is a 1950s style script face.
- Gradl Nr 1 (2008): based on hand-drawn art nouveau upper case characters by M. J. Gradl, ca. 1900.
- Graphique Pro (2008): shadowed caps face, based on Graphique, which was originally created by Swiss designer Hermann Eidenbenz in 1945, and issued as hot metal font by Haas'sche Schriftgießerei. See also New Graphique Pro (2011).
- Handel Slab (2009): a 6-style extension of Trogram's 1980 typeface Handel Gothic.
- Hanseat (2010): a grotesque family done at Profonts. It was heavily inspired by Germany's official DIN 1451 Engschrift.
- Iova Nova (2007): based on Jowa Script, designed by J. Wagner in 1967.
- Profonts>Impression (2008): art deco.
- Jessen Schrift (2004): after the Rudolf Koch blackletter typeface by that name.
- FontForum URW Konzept Pro (2005): revival of Konzept (1968, Martin Wilke's handprinting face).
- Legende (2002): a script typeface based on the original typeface of Friedrich Hermann Ernst Schneidler (1937).
- Leipziger Antiqua. The original Leipziger Antiqua by Alfred Kapr at Typoart dates from 1971 until 1973. The digital version of Leipziger Antiqua was developed by Ralph M. Unger in 2005.
- Manuskript Antiqua (2005): after Oldrich Meinhart's Manuskript Antiqua.
- The Maszynysta family of heavy industrial sans typefaces (2010) have a textured style (Struktura), a Shadow, and a plain Roman.
- Maxim (2003, Profonts): The heavy brush typeface Maxim was originally designed by Peter Schneidler in 1956 for the Bauer foundry.
- New Bayreuth (2008): after Friedrich Hermann Ernst Schneidler's Bayreuth from 1932.
- Old Borders and Lines (2010). A free font.
- Ornella (2008): Jugendstil.
- Peter Schlemihl (2008, Profonts): a revival of a blackletter by Walter Tiemann.
- Pedell (2009): a casual script.
- Polo (2002): a brush face modeled after Carl Rudolph Pohl's Polo (1960).
- In 2012, Ivana Koudelkova codesigned the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts.
- Fontforum Rhapsody (2006): a revival of Ilse Schüle's rotunda face.
- Roberta (2003): art nouveau typeface after obert Trogman's typeface for FotoStar.
- FontForum Signs and Symbols (2006).
- Splendor (2009): a revival of a brush script typeface by Wilhelm Berg, Schriftguss, 1930. See also Splendor Pro (2014).
- Sportowy (2009): an outline face.
- Stanford (2011). A sports lettering face.
- Stiletto (2006): a medieval script.
- Fontforum Stripes (2007): a multistripe op art display typeface based on a Letraset font from 1973 by the same name.
- Fontforum Thalia (2006): retro font.
- Tintoretto (2006): shadow display face based on an origonal by Schelter & Giesecke.
- Tip Top Pro (2008): a Julius Klinkhardt art nouveau typeface revival.
- FontForum Unciala (2005): a revival of Oldrich Menhart's typeface Unciala (1953, Grafotechna).
- Unger Chancery (2005).
- Unger Script (2003): based on H. Matheis' Slogan typeface designed for Ludwig&Mayer in 1957.
- Veltro (2007): after a 1931 original by G. da Milano at Nebiolo.
- Profonts Woodpecker (2008).
- Amati Pro (2010): after Georg Trump's condensed didone face, Amati, 1951.
- Avus Pro (2012). A sans family that extends Gert Wunderlich's Maxima (1970).
- Behrens Kursiv (2013). After a 1906 original by Peter Behrens.
- Bernhard Cursive Extra Bold (2010).
- Borghese (2015). An art nouveau font after a Schelter & Giesecke oroginal from 1904.
- Borgis Pro (2012). A Clarendon-style text family.
- Boulette (2015, a fat creamy script).
- Bravura Pro (2013). After G.G. Lange's Publica.
- Bricklayers (2012). An original fat slab display face.
- Brillant (2009): art nouveau and ultra heavy.
- Butti (2011). A script family paterned after Fluidum (1951, Alessandro Butti, Nebiolo).
- Cable Condensed (2014). Based on Koch's Kabel.
- Caesar Pro (2011). A flared sans typeface after Caesar Schrift (1913, Georg Schiller, C.F. Rühl).
- Capitol Pro (2012). An art deco typeface based on Capitol (Karl Hermann Schaefer for Schriftguss, 1931).
- Carla Pro (2013). A broad-nibbed script modeled after Ballantines Script (Elsner & Flake, 1974; see also Ballantines Serial by SoftMaker).
- Caslon Gotisch (2009): after the original by William Caslon from 1763.
- Celebration (2009): blackletter.
- Claudius (2010): after a 1937 blackletter font at Klingspor.
- Constanze Pro (2012). A light cursive typeface based on Constanze (1954, Joachim Romann, Klingspor).
- Contact Pro (2010): after Contact, a 1963 font by Helmut Matheis.
- Diamant Pro (2012). A transitional serif face.
- Emilia (2016). Based on Weiss Antiqua (1928) by Emil Rudolf Weiss.
- Erler Titling (2015). After Erler Versalien (1953, Herbert Thannhaeuser for Typoart).
- Eurotech Pro (2011): a slabby techno family.
- Faulkner Pro (2011): a connected heavy signage script based on Alan Meeks's Kestrel.
- Fette Unger Fraktur (2010).
- Forelle Pro (2010): after the original Forelle script typeface by Erich Mollowitz, 1936.
- Frankenberg Pro (2012). An antique script face.
- Gabor Pro (2014). A connected copperplate script.
- Garamond Antiqua Pro (2015).
- Gillray Pro (2015). A copperplate script after Hogarth Script (by Harald Bröder for Typoart).
- Gmuender Gravur (2011). A 3d shadow face. Gmuender Antiqua Pro (2015) is influenced by the metal font Imprimatur (1952-1955, Konrad F. Bauer and Walter Baum).
- Haenel Fraktur (2011), after Haenel Fraktur, ca. 1840 (Haenel'sche Letterfoundry in Berlin).
- Impuls (2010): a brushy typeface based on Paul Zimmermann's Impuls (1945).
- Initials RMU One (2012) consists of revivals of Rudhardsche Initialen (Otto Eckmann, ca. 1900) and Walthari Initials (ca. 1900, Rudhardsche Giesserei). Initials RMU Two (2012) consists of revivals of Jubilaeumsinitialen (by Bauersche) and Augsburger Initialen (by Peter Schnorr, 1901).
- Jobs Gravure (2011). It had to happen---a few days after Steve Jobs' death, Unger released the beveled engraved typeface Jobs Gravure, which is an extension of Trump Gravur (1954, Weber).
- Jolly Polly (2012): a curly non-connected script face.
- Kleist Fraktur (2010): after Walter Tiemann's original.
- Kompress Pro (2013). Two compressed sans typefaces.
- Korpus Pro (2014). A text typeface family. Followed later in 2014 by Korpus Sans Pro.
- Leibniz Fraktur (2012) is modeled after the famous Genzsch & Heyse blackletter font.
- Liliom Pro (2012). A beautiful fat didone typeface based on an original from the Fonderie Française.
- Lipsia Pro (2011). An angular serif family.
- Literatura Pro Book (2012).
- Lutetia Nova (2014). A fresh two-style take on Jan van Krimpen's Lutetia (1924).
- Luxor Pro (2010): a Victorian/Western display face.
- Lyrica (2014). A revival of the informal blackletter typeface Lyrisch (1907, Georg Schiller).
- Manutius Pro (2012).
- Meister Antiqua (2011, +Bold, +Book). A Typoart original from 1951 in the tall flared ascender serif genre, revived and extended.
- Mobil Pro (2011). A semi-script typeface in the fifties style of Matheis.
- Monument (2010): a 3d shadow roman caps face created after Oldrich Menhart's Monument.
- Neue Kurier (2011). Typoart's popular signage script font in a new, completely remastered version.
- Neue Muenchner Fraktur (2010).
- Neue Thannhaeuser (2011).
- Old Towne Pro (2010): a Western font.
- Orbis Pro (2016). A revival of Walter Brudi's shadow typeface Orbis (1953, Stempel).
- Parcival Antiqua (2016). A revival of Parcival Antiqua (1926, Herbert Thannhaeuser).
- Parfum (2013). A low x-height script that was inspired by Howard Allen Trafton's Quick (1933, bauer).
- Parler Gotisch (2011). A blackletter face.
- Plastica Pro (2015, a chiseled typeface inspired by a J. Lehmann design).
- Post Fraktur (2014) and Postillon (2014). After Herbert Post, 1933-1937.
- Primana Pro (2012). A seductive geometric grotesk family.
- Prinzess Gravur (2010): a blackletter typeface modeled after Prinzeß Kupferstichschrift (1905, Berthold).
- Prisma Pro (2011). Revival and extension of Rudolf Koch's multiline typeface Prisma (1931).
- Reklame Fraktur (2016). After Reklame Fraktur by Albert Christoph Auspurg, 1914.
- Reznicek Pro (2011) is a post-Victorian pre-art nouveau typeface named after Ferdinand von Reznicek (1868-1909), one of the leading artists and illustrators of those times.
- Ridinger Std (2012). Based on Riedingerschrift (Franz Riedinger, 1906, for Benjamin Krebs Succ.).
- Ronde Pro (2011): roundhand script.
- Schmale Anzeigenfraktur (2009): based on Koch's Schmale Deutsche Anzeigenschrift, 1923, Klingspor.
- Schmuckinitialen (2009): an ornamental caps typeface in the art nouveau style based on Walthari Initials [Walthari (1899, Heinz König for the Rudhard'sche Giesserei) in the upper case and Eckmann Initials (ca. 1900, by Otto Eckmann, Germany's chief art nouveau type designer) in the lower case].
- Schwabacher Book (2013).
- Staxx Pro (2013). A prismatic typeface.
- Staufer Gotisch (2015). An engraved blackletter typeface modeled after Herbert Thannhaeuser's Hermann Gotisch (Schriftguss, 1934).
- Steinschrift Pro (2015). A single style condensed sans serif.
- Thannhaeuser Fraktur (2013) is a redesign of Typoart's Thannhaeuser Fraktur.
- Thomasschrift (2014). A rustic typeface that revives and extends Thomas-Schrift by Friedel Thomas (1957-1958, Typoart).
- Titanschrift (2011). A yummy soft and fat display face.
- Trocadero Pro (2010): an extension and revival of Trocadero Kursiv, 1927, Albert Auspurg, Trennert.
- Troubadour Pro (2010): In Medium and Engraved styles.
- Trump Deutsch (2011): a blackletter face, after the 1935 original by Georg Trump.
- Trybuna (2013). Based on Herbert Thannhaeuser's Liberta Antiqua (1958), but completely redrawn.
- Tyton Pro (2013). A brush script after Heinz Schumann's famous 1964 Stentor.
- Typoskript Pro (2010): a revival of Hildegard Korger's Typoskript, first done at TypoArt in 1968.
- Unger Fraktur (2010): after a 1793 design by Johann Friedrich Unger; includes fett and mager.
- Walbaum Antiqua Pro (2013). A revival of Justs Erich Walbaum's didone classic.
- Zentenar Fraktur (2010): mager and halbfett; after the 1937 workhorse by Ernst Schneidler at Bauer.
- Zierfraktur (2010): after Deutsche Zierschrift, an engraved blackletter font that was cut by Rudolf Koch between 1919 and 1921 for Klingspor.
Ralph made some typefaces outside URW/Profonts and RMU, such as Stripes (2014, a prismatic typeface puvlished by Thinkdust).
View Ralph M. Unger's typefaces. [Google]
Robert D. Anderson
[Lord Kyl's Medieval and Fantasy Fonts]
Dr. Robert Pfeffer (Giessen, Germany) specializes in old German and Germanic philology fonts. His mostly free typefaces include:
- The two Latin fonts Pfeffer Simpelgotisch and Pfeffer Mediaeval are typefaces of the European Middle Ages. Pfeffer Simpelgotisch is a textura typeface. Pfeffer Mediaeval depicts a Carolingian minuscule.
- Some gothic (Wulfilan) alphabet fonts: Silubr (based on the uncial script of the Codex Argenteus), Ulfilas (a serif font designed to satisfy the requirements of modern typography), Skeirs (a sans serif font intended above all for screen display), Midjungards (following the style of J.R. Tolkien's Elven script Tengwar), Pfeffer Mediaeval.
- Runic alphabets: see Skeirs and Pfeffer Mediaeval.
Fontspace link. 1001 Fonts link. [Google]
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]
Ross F. George
[Ross F. George: Speedball 10 (1927)]
Ross F. George: Speedball 10 (1927)
[Ross F. George]
Ross F. George's book Speedball 10, published by C. Howard Hunt Pen Co. in Camden, NJ in 1927, was scanned in 2014 by Lee Littlewood, a signpainter in Portland, OR, who runs Lee's Better Letters [2915 NE 21st A, Portland, OR 97212]. The PDF file [59 MB] is made available with his permission. I extracted some useful images from that file. For further information on Ross F. George, see here. [Google]
Great German type designer (b. Nürnberg, 1876; d. Frankfurt, 1934) who worked mainly at the Klingspor foundry. He founded the Offenbach Werkstatt in 1921.
Many of his typefaces can be classified as German expressionist. These include Kabel (a sans), and Neuland (an angular poster face). An early Nazi sympathizer and supporter, Koch's fonts were heavily used by the Nazi regime.
This page lists 158 royalty-free Christian symbols drawn by Rudolf Koch, a religious Lutheran, with the collaboration of Fritz Kredel (1900-1973) (see also here).
His typefaces, with notes on digitizations:
In 1984, Wolfgang Hendlmeier discussed the blackletter typefaces in Koch's oeuvre: A, B, C, D, E, F, G. Koch's involvement in handwriting education in Germany led to these Schreibschrift examples from 1930 (also called Deutsche Verkehrsschrift), and to the development by Martin Hermersdorf of the Deutsche Schreibschrift for fourth graders in Bavaria in 1950. His influences as a blackletter designer and illustrator are documented in this brief bio by Wolfgang Hindlmeier (1984). Wood engraving of Koch by Bernard Brussel-Smith.
- Claudius (1931-1934, 1937, D. Stempel AG): His son Paul Koch followed Rudolf's instructions to make one weight in 1931-1934. Klingspor completed it in 1937. Delbanco (as DS-Claudius) and Klaus Burkhardt (1991) digitized it. Based on the latter, Manfred Klein made ClaudiusImperator (2001). Dieter Steffmann made Claudius, ClaudiusAlternate, and ClaudiusHeadline in 2003. Ralph M. Unger published Claudius in 2010.
- Deutsche Anzeigenschrift (1913-1914), Deutsche Anzeigenschrift schmal (1916-1923, D. Stempel AG): See SchmaleAnzeigenschrift (2002) and SchmaleAnzeigenschriftZier (2002) by Dieter Steffmann, and Schmale Anzeigenfraktur (2009) by Ralph Unger.
- Deutsche Anzeigenschrift eng (1923)
- Deutsche Anzeigenschrift breit (1923, D. Stempel AG)
- Deutsche Anzeigen. schmalhf. (1934, D. Stempel AG)
- Deutsche Schrift mager (1918, Gebr. Klingspor)
- Deutsche Schrift halbfett (1912, Gebr. Klingspor): Deutsche Schrift (or: Koch-Fraktur) was revived by Gerhard Helzel as KochFrakturSchmaleHalbfette (2000), by Christian Richter as Rudolf Koch (2003), and by Delbanco as DS Koch Fraktur. It was a popular family, known in England as Oxford. For comparison, here is a phototype version.
- Deutsche Schrift fett (1910, Gebr. Klingspor): Fette Deutsche Schrift was revived by Dieter Steffmann in 2002 (as Fette Deutsche Schrift) and by Alter Littera in 2012 as Deutsche Schrift.
- Deutsche Schrift schmal (1913, Gebr. Klingspor)
- Deutsche Schrägschrift (1912, Gebr. Klingspor).
- Deutsche Werkschrift (1934, D. Stempel AG): This is really the "mager" version of Deutsche Anzeigenschrift. Delbanco revived it digitally as DS Deutsche Werkschrift.
- Deutsche Werkschrift hablfett (1934, D. Stempel AG).
- Deutsche Zierschrift (1921, Gebr. Klingspor): Revived as Zierinitialen by Dieter Steffmann in 2002. See also Delbanco's DS Deutsche Zierschrift (Delbanco).
- Frühling (1913-1917, Gebr. Klingspor) is a blackletter that seems to have been executed with a shaky hand---it is definitely one of Koch's weakest and ugliest designs. Incredibly, the revival gang was still eager to spring into action: it was revived and interpreted by Frantisek Storm in Monarchia. See also Delbanco's DS Frühling. For another revival, see Next Stringtime by Manfred Klein (2003). Frühling is sometimes called Kartenschrift.
- Grotesk Initialen (1933, Gebr. Klingspor): Paul Hayden Duensing made Koch Initials (metal).
- Holla (1932, Gebr. Klingspor): Digitized by Dieter Steffmann in 2001.
- Kabel (1927, Gebr. Klingspor): The most famous digitization of this Koch Sans family is by Victor Caruso in ITC Kabel (1976), and with its exaggerated x-height, much larger than the original, it is a poor bastard. The modern Bitstream version is called Geometric 231. Softmaker calls it Koblenz. Poster by Jorge Martinez.
- Kabel Kursiv (1929, Gebr. Klingspor)
- Kabel groß (1928, Gebr. Klingspor): LinotypeLibrary
- Kabel Kursiv groß (1930, Gebr. Klingspor)
- Norm Kabel (1930, Gebr. Klingspor): LinotypeLibrary
- Kabel fett (1929, Gebr. Klingspor): LinotypeLibrary
- Kabel schmal (1930, Gebr. Klingspor)
- Kabel schmalhalbfett (1929, Gebr. Klingspor)
- Koch Antiqua (or: Locarno) (1920-1922, Gebr. Klingspor): This gorgeous tall-legged typeface was designed in 1917, but cut in 1922. There exists a multiple master font AIKochAntiqua by Randall Jones (Alphabets Inc). See also LinotypeLibrary, and Astaire Pro (2004, Bergslund Design), as well as KochAltschrift (2004, Moorstation crew), and Locarno (1985, Alan Meeks for Letraset).
- Koch Kursiv (1923, Gebr. Klingspor): Kursiv version of Koch Antiqua.
- Koch Kursiv groß (1929, Gebr. Klingspor)
- Koch Antiqua fett (1926, Gebr. Klingspor). Some give the date 1923-1924. Digital versions include Eva Antiqua, Eva SG (Spiece Graphics), Eva (Monotype), Astaire Pro (Hackberry), Locarno (Letraset), Kuenstler 165 (Bitstream), Koch Antiqua (Adobe, Linotype), Evadare (David Nalle).
- Koch Kurrent (1933, Gebr. Klingspor): This is Koch's version of school scripts, a variant of his earlier proposal, Offenbacher Schrift (1927). It was only cut in 1935. See Rudolf Koch Kurrent at Delbanco
- Koch Schrift (1909) is a Schwabacher first known as Neudeutsch and later as Koch Schrift. It was used by the Deutsche Reichsbahn, ca. 1930. For a digital revival, see, e.g., Koch Schrift (1998, Ingo Zimmermann).
- Marathon (1930-1938, Gebr. Klingspor): Digitized by Linotype in 2003 as Marathon LT (by Ute Harder, aka Frau Jenson), and by Softmaker a bit earlier. The best digital version is by the Koch Memorial team of Petra Heidorn under the name Romantha (a permutation of the letters) in 2003 (it preserves the original x-height better, for example).
- Maximilian (Gotisch) (1914-1917, Gebr. Klingspor): Walden Font has a revival. See also Maximilian at Delbanco. Castletype made MaximilianCS. In 1995, Doug Olena revived it as Maximilian. Dieter Steffmann made Maximilian (2002) and Maximilian Zier (2002). Maximilian (2012) is due to Alter Littera. Drawings for Maximilian-Gotisch. Gerhard Helzel's revival from 1995. Stephen Miggas's revival called Gothicus (2006).
- Maximilian Antiqua (1913-1917, Gebr. Klingspor): Manfred Klein made Maximilian Antiqua (2003) and MaximilianAntiquaSmallCaps (2003). For an initial caps extension, see Typograf's Maximilian Antiqua Initialen (2015).
- Neuland (1923, Gebr. Klingspor): An all caps German expressionist typeface chiseled directly by Koch from metal. Copied by Monotype in 1929 as OthelloMT. Digitized by Linotype Library. Also digitized as Newland Black by Andrey Mel'man. In 1995, Doug Olena (Keystrokes) revived it as FFD Neuland (1995). A lower case and hair-serifed extension was created by Manfred Klein as OnKochsRoots (2002). He also made KochNeu-ExtraBlack (2003). Nick Curtis made Jungle Fever and Jungle Fever Shaded (2008) after Neuland. In 2010, Ian Lynam published yet another update, Neuerland. In 2013, Lazar Dimitrijevic created Cal Neuland Bold.
- Neuland licht (1928, Gebr. Klingspor): This is an outline version of Neuland.
- Neu Fraktur (1933-1934, Gebr. Klingspor): Koch's last Fraktur.
- Offenbach (1928-1934, Gebr. Klingspor): Made for display in church windows, Koch designed the "mager" weight (1931) and an uncial version. His student Hans Kühne finished the "halbfett" and the gothic after his death.
- Peter Jessen Schrift (1924-1929, Gebr. Klingspor): Koch called this his Bibelschrift. See DS-Jessen-Schrift (1998) by Christian Spremberg and Peter Jessen Schrift at Delbanco. For extrapolated interpretations, see JessicaPlus (2002) and JessicaSerif (2003) by Manfred Klein, Peter Jessen Schrift Pro (Softmaker, 2016), and Jessen Schrift (2004) by Ralph M. Unger.
- Prisma (1928-1931, Gebr. Klingspor): A four-lined art deco face. Revived by Dieter Steffmann (2003-2004) as Prisma, and by Ralph Unger as Prisma Pro (2011).
- Stahl (1933-1939): Done with H. Kühne. Revived by J.F.Y.Daniel Gauthier - GautFonts as StahlSteel (2003) and StahlSteelRiveted (2003).
- Wallau (1924-1932, Gebr. Klingspor): See Wallaby on the SoftMaker MegaFont XXL CD, 2002, or Wallau by Fraktur.de or DS Wallau by Delbanco, or Wallau (2012) by Alter Littera. Pictures by Dan Reynolds about Klingspor's Wallau speciman book (1939). Wallau, which comes in rotunda (Rundgotisch) and uncial, was named after Heinrich Wallau (1852-1925), a printer from Mainz. Originally, the typeface was going to be called Missale.
- Wallau halbfett (1930, Gebr. Klingspor): Revived by Dieter Steffmann as WallauDeutsch-Bold (2002), Wallau Rundgotisch Heavy (2002), Wallau Rundgotisch OsF Heavy (2002), WallauUnzial-Bold (2002) and WallauZierBold (2002). Also digitized by PrimaFont.
- Wallau fett (1935, Gebr. Klingspor)
- Wallau schmal (1934, Gebr. Klingspor).
- Wilhelm-Klingspor-Schrift. (1920-1926, Gebr. Klingspor): This was originally called Missal. To commemorate Wilhelm Klingspor, who died in 1925 from a war injury, it was renamed Wilhelm-Klingspor-Gotisch. Paul Hayden Duensing made a metal version under the latter name. Digitizations by Fraktur.de and Delbanco. See also Wilhelm-Klingspor-Schrift at LinotypeLibary, Wilhelm Klingspor Schrift (2012) by Alter Littera, Wilhelmschrift (2006) by Stephen Miggas, and Missal by Dieter Steffmann (2003). Matching decorative caps were made in 2004 by Paul Lloyd under the name Holzschnitt-Initialen.
- Zeppelin (1929, Gebr. Klingspor): This is a decorative (inline) version of Kabel. Revived as Zeppelin in 2003 by Dieter Steffmann. Imitations abound, see, e.g., Scriptorium's Evadare (1993).
Publications by Rudolf Koch: Die Schriftgießerei im Schattenbild, Offenbach 1918; Das Schreiben als Kunstfertigkeit, Leipzig 1921; Das ABC-Büchlein, Leipzig 1934; Das Schreibbüchlein, Kassel 1939.
References: Georg Haupt: Rudolf Koch der Schreiber, Leipzig 1936; Wilhelm H. Lange: Rudolf Koch, ein deutscher Schreibmeister, Berlin, Leipzig 1938; Oskar Beyer: Rudolf Koch. Mensch, Schriftgestalter und Erneuerer des Handwerks, Berlin 1949; Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein: Typography An Encyclopedic Survey of Type Design and Techniques Throughout History, Könemann Verlagsgesellschaft mbH.
FontShop link. Klingspor link. Biography by Nicholas Fabian. Bio at Linotype. Bio in German. For an English reference work on his life, check Gerald Cinamon's book Rudolf Koch: Letterer, Type Designer, Teacher (2000, Oak Knoll Press (USA) and The British Library (UK)). The Koch Memorial page offers historical notes and many free revivals of his typefaces.
View digital typefaces based on Rudolf Koch's work. [Google]
rzy-- SD Fonts
From Espoo, Finland, Ritzy Spacedweller's free fonts: Digeria-Normal, DJ-Gross, Donnie, Speedlearn-Normal, 02760, 3X3, 80's-Cyberpunk-Revival, AlSabro, Almanacques, Aranea, Bored-Schoolboy, Brainless-Thoughts, Clauderosa, Confusion, Coptica, Crying-Star, Daville, Dempsey-Modern-Uncial, Denial (this Exocet-related family from 2000 is also here), Empiric, End-of-Path, Fasttracker-II, Finnish-Rock-Paintings, Fire-Of-Ysgard, Ghis-Ghis, Glue-Klinging-Klan, Gothic-Bozo, Handshake, Helena-Script, Hic-Habitat-Minotaurus, Izolation, L'Elf Noir du Mal, Loving-Babes, Ludovicos, Metropoliz, Paganspace, Painfull-Misery, Paolo, Paternoster-AH, Professor-Mad, Progressiva, Reubalach, Rumble-Dumble, Sailor-'87, Scrawl, Scrypticali (2001), Seabreed, Silent-Hill-of-Cheryl, Slouch..., Swelled-Computer, Tagster, Times-UnXpected, Xenith, XenoArial, Dwarven-Stonecraft. Most fonts have only caps. Many have an "ancient" flavor.
Alternate URL. Could his real name be Kauko Mieli? Dafont link. [Google]
This company evolved in 1983 from Dr Boeger Photosatz GmbH (est. ca. 1934). The timeline:
- 1934: Marius Böger founded the first company to manufacture and market photocopying machines and reprographic devices.
- 1950: Dr. Böger Duplomat Apparate GmbH was founded. Its objective is the production of diazo (blue-printing) machines, equipment for diffusion transfer processing and photographic reproduction.
- 1955: One of the company's first innovative products comes onto the market, the first vertical reproduction camera.
- 1958: Intercop, a Dr. Böger subsidiary, started marketing a range of rapid processing machines, vertical repro cameras and processors for proofs and offset plates.
- 1969: Dr. Böger Photosatz was founded.
- 1976-81: Dr. Böger Photosatz develops its Copytronic phototypesetter. This machine worked on the basis of an opto-mechanical principle, and was set out to compete with Berthold's Diatronic. Hundreds of fonts from the headline library were reworked to meet the needs of the new machines. Although a small number of around 10 machines could be built and sold in Germany and Switzerland, many technical problems with the new equipment drained the financial resources. Thus the Copytronic machine is withdrawn from the market. The company survives by producing its succesful reproduction cameras for Agfa Gevaert. After a few difficult years, Dr. Böger Photosatz sets out to develop its digital typesetting system called Scantext. The output device is a CRT-machine with a resolution of 1000 lines per cm. The Copytronic type library is digitized using a video camera with a typical resolution of 512 x 512 pixels to the em quad. Bernd Holthusen proudly describes it as the fastest type digitizing system in the world. From 1971 until the mid 1980s, it designed and manufactured a family of photolettering machines for headline typesetting and offered a library of more that 1000 film fonts for that application. These were popular under the brand name VISUTEK in the UK (In the rest of Europe they were labelled and sold as Copytype, a trademark by Dr. Böger Photosatz GmbH). Additionally they were the creators and makers of a wide range of process cameras and film processing systems marketed worldwide under the Agfa brand
- 1981: The company produces the phototypesetting system Scantext 1000. By the beginning of 1985 around 750 Bodytypes were available for the Scantext system.
- 1983: The company evolves into Scangraphic. More than 2000 fonts were digitised by the Scangraphic company under the personal supervision of Bernd Holthusen, principally by Volker Küster (1984-1989), Jelle Bosma (1988-1991) and Albert-Jan Pool (1987-1991). These fonts were produced originally for the proprietary "Scantext" CRT digital output device and subsequently for the Scangraphic family of laser imagesetters. Quoting Pool: By the time we had completed the Ikarus Database in order to be able to convert our headline fonts to Postscript, URW had finished its Type1 converter. Our first PostScript product was a Macintosh-CD Rom with the complete library of headline fonts (those with Sh in the name) on it. The fonts were released in Type1 format for the Macintosh environment starting in 1991.
- 1984: Scangraphic starts working on its library of headline fonts, using a proprietary high resulution short vector format which enables output sizes up to 90 mm cap height. After developing its own digital outline font format, Scangraphic starts making use of URW's Ikarus technology to produce a library of headline fonts. As from 1989, Ikarus outlines were made to fit the metrics of the Scangraphic library of bodytype fonts in order to replace the proprietary pixel based font format by digital outlines. Thus the basis was laid for converting the complete library of headline and bodytype fonts into the PostScript Type1 format.
- 1989: The owner/partners sold the business to the large German company Mannesmann AG (and the font collection is sometimes referred to as the Mannesmann-Scangraphic collection), becoming Mannesmann Scangraphic GmbH in Wedel near Hamburg.
- 1994: Mannesmann breaks the umbilical chord and the company becomes Scangraphic Prepress Technology GmbH.
- 2004: the company moves from Wedel/Hamburg to Seligenstadt, Germany. The company still operates on the European mainland making and selling high resolution film and plate imaging systems. The font department is no longer in operation.
- End of 2004: Elsner&Flake buy the font collection, and start selling the fonts under the Elsner&Flake umbrella. The 2500-strong font collection has names that either have a suffix SB (for body types) or SH (for headline types, also called supertypes). Among the tens of examples, we find classics such as Jakob Erbar's Koloss SB.
- 2006: Ulrich Stiehl publishes a document in which he discusses the collection of fonts. He reports clear correspondences with known font families, examples including Ad Grotesk (=Akzidenz-Grotesk by Berthold), Artscript No 1 (=Künstlerschreibschrift fett by Stempel/Linotype), Black (=Block by Berthold), Chinchilla (=Concorde by Berthold), Cyklop (=City by Berthold), Esquire (=Excelsior by Linotype), Europa Grotesk (=Helvetica by Linotype), Europa Grotesk No. 2 (=Neue Helvetica by Linotype), Flash (=Okay by Berthold), Freeborn (=Frutiger by Linotype), Gentleman (=Glypha by Linotype), Grotesk S (=Neuzeit Buch by Stempel), Madame (=Madison by Stempel), Matrix (=Melior by Linotype), October (=Optima by Linotype), Parlament (=Palatino by Linotype), Paxim (=Palatino by Linotype), September (=Sabon by Linotype), Synchron (=Syntax by Stempel), Vega (=Volkswagen VAG Rundschrift). There are also originals like Volker Küster's Today Sans Serif and Neue Luthersche Fraktur, Zapf Renaissance by Hermann Zapf, and Forlane by Jelle Bosma. Küster, Pool, Zapf and Bosma have nothing to do with the non-original fonts in the collection. The typophile community shrugs Stiehl's complaints off.
- 2008: The Scangraphic collection can be bought at Elsner&Flake.
Examples of Scangraphic fonts: Pi Travel+Transportation, Pi Greek Maths, Pi Communication, Pi Signs+Symbols, Futura Round SB, Futura Round SH.
A technical discussion by Yves Peeters. MyFonts link. Link to Scangraphic PrePress Technology GmbH in Seligenstadt. Elsner&Flake shop. Home page.
View the Scangraphic typeface library. Another link to the Scangraphic typeface library. [Google]
Outfit which made many font families in 1990, including these: American-Classic, Artcraft, Auburn, Autopista, Avenue, Belwe, Bengel, Bengi, Bloom, Booty, Branding, Broadway, Brophy, Brush, CG-Bodoni, CG-California, CG-Century, CG-Clearface, CG-Cloister, CG-Frontiera, CG-Mellinza, CG-Nashville, CG-Omega, CG-Palacio, CG-Pontiflex, CG-Poster, CG-Trade, CG-Trade, CG-Triumvirate, CG-Trump, Callistyle, Camelot, Carolina, Carolina, Caslon-540, Ccrige, Charlotte, Circular, Claredon, Commercial, Compressed, Computer, Cooper, Copperplate, Crest, Deco, Dom, Domino, Doron, ETC, Egyptian, English, Estelle, Europa, Expo, Extend, Exway1, Exway2, Fancy, Fancy, Fleer, Forecast, Fortune, France1, France2, France3, Franklin, Frieze, Futura, Garamond, Garth, Gem, Gothic, Goudy, Highway, Hobo, Hotdog, Journal, Klass, Laddy, Lilt, Lubo, March, Microstyle, Mon_1, Mon_2, Mon_3, Mon_4, Mon_5, Mon_6, Mon_7, Mon_Block, Mon_BlockShadow, Mon_Gothic, Moon, Murray, Musketer, News, Nuevo, Old, OldEnglish, Park, Quill, Raphael, Roven, Sabon, Sans, Scene, Scripta, Shady, Shape, Shot, Signature, Stymie, Superior, Tarry, Transport, Tropez, Typewriter, Uncial, Velvet, Wide, Windsor, Yearbook, Zarana. The link has a full list of the font names. Download link. [Google]
The Scholars Press Fonts are public domain fonts that are designed to work on both Windows computers and Macs. Fonts for Hebrew, Greek, Syriac, Coptic, and Semitic-language transliteration. (Mac and Windows): SPEzra (fixed width Hebrew/Aramaic, 1998) and SPTiberian (Hebrew/Aramaic), SPIonic (Greek, see also here), SPEdessa (Syriac), SPDoric (1999, uncial Greek), SPAchmim (Coptic), SPDamascus (Hebrew, 1998), SPCaesarea (dingbats, 1998), and SPAtlantis (transliteration). All fonts by Jimmy Adair. He states: "Patrick Durusau, formerly my colleague in crime at Scholars Press and now with the Society of Biblical Literature, was instrumental in the design and disseminatation of the SP fonts." FTP access. Truetype archive. See also here. fontspace link. [Google]
Schriftklassifikation nach DIN 16 518
Type classification (in German) according to the DIN 16 518 system invented in 1964. Pages by Bernhard Schnelle. I will use his German nomenclature, and quote his examples of each style.
- I. Venezianische Renaissance-Antiqua: Amalthea, Ascot, Berkeley Old Style, Centaur, Concorde, Deepdene, Eusebius, Goudy Italian, Guardi, Horley Old Style, Jersey, Lutetia, Menhart-Antiqua, Normandy, Seneca, Schneidler-Mediaeval, Trajanus, Verona, Weidemann, Worcester Round.
- II. Französische Renaissance-Antiqua [garalde types]: Aeterna, Aldus-Buchschrift, Bembo, Berling, Charter, Comenius-Antiqua, Garamond, Granjon, Leipziger Antiqua, Meridien, Michelangelo, Octavian, Palatino, Perpetua, Plantin, Sabon-Antiqua, Trump-Mediaeval, Van Dijck, Vendome, Weiß-Antiqua.
- III. Barock-Antiqua [transitional types]: Baskerville, Bernhard Modern, Bookman, Caledonia, Caslon, Century, Century Schoolbook, Cheltenham, Cochin, Diotima, Ehrhardt, Imprimatur, Janson, Life, Nicolas Cochin, Poppl-Antiqua, Raleigh, Schoolbook, Scotch, Tiffany, Times.
- IV. Klassizistische Antiqua [modern or didone types]: Bauer Bodoni, Bodoni-Antiqua, Linotype Centennial, Corvinus, De Vinne, Linotype Didot, Ellington, Falstaff, Fat Face, Fenice, Madison-Antiqua (Amts-Antiqua), Normande, Tiemann-Antiqua, Torino, Walbaum-Antiqua.
- V. Serifenbetonte Linear-Antiqua [slab serif]: Aachen, Clarendon, Memphis, Old Towne, Pro Arte Schadow-Antiqua, Serifa, Volta.
- VI. Serifenlose Linear-Antiqua [sans]: Akzidenz-Grotesk, Antique Olive, Avant Garde Gothic, Cosmos, Delta, Erbar-Grotesk, Eurostile, Folio, Franklin Gothic, Frutiger, Futura, Gill, Helvetica, Univers.
- VII. Antiqua-Varianten: Abbot Old Style, Amelia, Americana, Arnold Böcklin, Banco, Calypso, Churchward, Cooper Black, Dynamo, Eckmann, Glaser Stencil, Hobo, Lasso, Mexico Olympic, Plastica, Profil, Souvenir, Stop, Superstar, Tintoretto, Traffic, Washington, Windsor, Zipper.
- VIII. Schreibschriften [scripts]: Arkona, Amazone, Bison, Boulevard, Brush Script, Caprice, Charme, Choc, Diskus, Englische Schreibschrift, Künstler-Schreibschrift, Lithographia, Mistral, Reiner Script, Rondo, Signal, Swing, Vivaldi.
- IX. Handschriftliche Antiqua: American Uncial, Antikva Margaret, Arcade, Codex, Delphin Dom Casual, Hadfield, Klang, Koch-Antiqua, Libra, Lydian, Ondine, Poetica, Post-Antiqua, Prima, Ritmo, Solemnis, Studio, Time Script.
- X. Gebrochene [Fraktur, blackletter], subdivided into Xa Gotisch, Xb Rundgotisch, Xc Schwabacher, Xd Fraktur, Xe Fraktur-Varianten.
- XI. Fremde Schriften [foreign types]: all non-Latin typefaces.
[Skyline Type Foundry]
Scriptorium (Ragnarok Press, Fontcraft)
[David Fleming Nalle]
Dave Nalle was born in Beirut in 1959, but lives and works in Texas. He is currently in Manor, TX. From his wiki page: Dave Nalle is a political writer, game author and font designer who was active in the early history of the development of the internet. He is Chairman of the Republican Liberty Caucus, a group that promotes libertarianism within the Republican Party and is Senior Politics Editor at Blogcritics online magazine and is the CEO of Scriptorium Fonts. A creative and prolific designer, he has made hundreds of beautiful (often historic) fonts. His outfit, Scriptorium (based near Austin, TX, est. 1989), also does custom font and logo design. At some points, Scriptorium was also known as Ragnarok Press and Fontcraft. It specializes in artsy and ancient typefaces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.
Images of his best selling fonts. Special subpages:
Some selected fonts: Finchley (psychedelic), Captain Kidd (2012, an original font design based on the title lettering from the classic pirate movie starring Charles Laughton), Aerobrush (2011), Fondry Ornament (2009), Atkinson Egyptian (2008, after the lettering of Frank Atkinson), Verne (2008), Goldwork (almost blackletter), BigBlok (2010), LetterpressGothic (2010), Plymouth (2010, in the style of Cooper Bold), Broadley (2008, an architecturally inspired script based on lettering by British architect and designer C.F.A. Voysey), Locksley (2004, medieval lettering), Tuscarora (curly lettering), Fiorenza (Renaissance calligraphy), Hesperides (old colonial calligraphic script), Angelus (beautifully printed monospaced script), Esperanza (1996, connected medieval handwriting), Ithuriel (2002), Alleghieri (2002), Hamilton (2002), Spiral Initials, Zothique (great font, based on hand lettering from a map of Clark Ashton Smith's fantasy world of Zothique), Reynard (semi-Celtic), Daresiel (elegant script), Caliph (1992, Arabic simulation), Bassackwards, Rosalinde (1999, handwriting), Arakne (2000, connected handwriting), Falconis (by Michael Scarpitti), Asrafel (semi-Celtic), Swithin (2004), Tyrfing (Art Nouveau/Fraktur, 1999), Waldeck (2008, blackletter), Woburn Initials, Stampwork, Draughtwork, Roughwork (a codex font derived from Nalle's own True Golden which is based on a=n earlier typeface by arts and crafts master William Morris), Melusine (gothic calligraphy), Corbei (uncial), Niederwald (hand lettering), Gjallarhorn (great uncial), Gaiseric (early medieval uncial), Taranis (1987, an uncial first drawn as a font for the cover of the old Ysgarth roleplaying system), De Bellis (roman era, by Michael Scarpitti), Engravers Gothic, Monimental Initials, Sanhedrin (Enemy of the State font), Vespasiano (roman capitals, by Michael Scarpitti), Bilitis, Hendrix (2002), Collins OE (old English), Samedi, Praitor, Evadare (1993, based on a character set which was hand calligraphed by Rudolf Koch), Koch Fantasie (1993), Black Cow (1998). Zothique, Ruritania, Mariner (2004, based on hand lettering originally done by Willy Pogany), Trinculo (a swinging cursive font), Texas Star (2002), Octavian (antique demi-serif font), Ruffian (antique type font), Ascelon (thin sans serif font), Munich (title lettering from Munchner Jugend magazine), Necromantic (bizarre bold titling font), Titania (romantic decorative lettering font), Oberon (bold romantic font), Knotwork, Guede (1993), Pullman, Purcell (Victorian circus poster style font), Allegheny, Carmilla, Malagua (1999-2013), Ardenwood, Platthand, Buccaneer, Cochin Archaic (2010), Boswell (1994), Guilford (based on lettering by artist and calligrapher Eric Sloane), Death Ray (2012, constructivist), Alecto (futuristic), Candlemas (2003), Bridgeport (2003, based on lettering by artist and calligrapher Eric Sloane), Medieval Tiles (2003), Linthicum (2003), Draughtwork (2003), Yngling (Fraktur, 2003), Rheingold (elaborate Fraktur: Music Hall Text elsewhere; see also Teuton Text, Cincinnati Type Foundry, 1877), Kidd (2003), Belgravia (2004), Peck Shields (2004), Albrecht Durer Gothic (2004), Orpheus (2004), InduXtrial (2004, a grunge face), Yoshitoshi (2003), Veronique (2004), Veneto (2006), Vidilex (1993, monospaced), Abelarde (2006), John Speed (1993), Furbelow (2006), Estoril (2006), Tangle, Aventine (sans), Texas Star (2002), Groningen (Bauhaus design), Nevins Hand, Scrapple (2011, Victorian, ornamental), Leodegar (2011, based on samples of 7th century Frankish hand lettering), Candlemass (2012).
- Three free fonts: Onuava (a mini-serifed hybrid fixed-width font), Divona (sans), Sirona (based on Lombardic calligraphy).
- Lombardic: Aneirin, Benevento (8th century Lombardic), Cymbeline, Fabliaux, Formidable, Locksley.
- Decorative initials such as the 20th century sign lettering initials set Pencraft Initials (2009), New Saxon Initials (2016, based on work by F.G. Delamotte), Holly Initials (2010, based on Real PenWork (1880s, Knowles and Maxim), Vyones (2010), Vergennes (2001), Cascade (2009), Bergling (2010; based on initials by John M. Bergling).
- Wild West fonts: Academy, Alcalde, Atkinson Boomtown (2009, after the lettering of Frank Atkinson), Atkinson Eccentric (2009), BigIron, Cibola, Del Norte, Lachesis, Perdido, Plowright, Primer, Riudoso, Niederwald, San Lorenzo (2011, with a Mexican and Tuscan look), Stonehouse, Manquo, Rochambeau, Purcell, Vaquero.
- Arabic simulation fonts: Samaritan is based on the poster lettering of Alphons Mucha from his poster for the play La Samaritan. Serendib and Waziri are based on the hand lettering of René Bull from his edition of the Arabian Nights. Caliph (1993) is derived from Ernst Schneidler's classic Legende font, with variant characters based on his original lettering. Also: Samarkand, Satampra, Jerash, Samarkand, Isfahan.
- Celtic fonts: the fonts include Constance, Durrow (1993, traditional rendering of Insular Minuscule calligraphy), Malvern, Glendower (based on the most common lettering in the Book of Kells), Knotwork (caps based on Celtic knots), Alba Text (modernized text font based on Celtic uncial lettering), Lindisfarne (based on a square uncial style), Stonecross (1997, derived from Celtic cross and gravestone inscriptions), Celtic Spirals (dingbats), Celtic Borders font (lets you combine key strokes to form decorative borders; many frames and borders are original Celtic designs by Arts&Crafts period artists like Evelyn Paul and Louis Rhead), Spiral Initials, Brigida (based on Rudolph Koch's interpretation of a squared uncial), Macteris Uncial, Coverack (heavy non-traditional uncial), Dahaut (modernized uncial), Dunsany, Glendower, Morgow (1999, spiral uncial), Teyrnon (elaborate spurred uncial), Padstow (heavy uncial), Vafthrudnir (2011, uncial), Sualtim and Columba (decorative initials based on characters found in the Book of Kells), Albemarle (2001).
- Oriental simulation fonts: Yoshitoshi (2003, based on the 1900-style writing by Yoshi Toshi.
- Gothic fonts, including Alt Gothic, Koch Gothic, Barnabas (2011), Sternhagen (2014), Montgisard (2010, roman capitals with blackletter lower case), Serenissima, Gelderland, Alcuin, Monumental, Goldwork, Waldeck, Roncesvalles, Montressor (2010, ornamental blackletter capitals), T4C Beaulieux (1998, a free copy here), Bastarda (2011), Burgundian, Cadeaulx, Collins Old English, Courtrai, Descant, Ereshkigal, Faustus, Franconian (1993, a Schwabacher), Froissart (2000), Ghost Gothic, Katisha, Koch Gothic, Ligeia, Magdeburg, Magdelena, Melusine, Pyle Gothic, Rheingold, Sanctum, Stuttgart Gothic (2010), Textura, Theodoric, Yngling (2002).
- German expressionist: Dromon.
- Renaissance fonts: Monumental Gothic, Caswallon (a Caslon family), humanist cursive (Palmieri, Castiglione and Hanes Italic), quirky Italian cursives (Fiorenza and Alleghieri), a Roman style hand-lettered font (Rudolfo and Rudolfo Swash), a Trajan-style Roman lettering (Hadrianus), a classic flourished cursive (Trinculo) and a set of floral intials from the Quattrocento (Fraticelli).
- Modern poster fonts: Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg (2002, based on Samuel Welo's posters), Fortinbras, Hamilton, Jambon, Oblivion, Posada (2008, based on the poster lettering of Mexican artist José Guadalupe Posada), Squiffy, Suspicion, Magnin (2003).
- Mapmaker fonts: building elements are available in Basilica; Ortelius is a map dingbat font; Queensland (based on lettering by artist and calligrapher Eric Sloane), is bold, hand-drawn and reminiscent of medieval writing on maps. There are also Brandywine, Daresiel, Hesperides, Longhorne, Windlass (1996), and Cityscape. Orford (2008) is based on samples of hand lettering from a 1693 manuscript collected by Lewis Day in his classic book on historical paleography, Alphabets Old and New.
- Calligraphic fonts: Albemarle (2001), Azariel, Moncrief (2011, based on the calligraphy of J.M. Bergling), Pavane, Rasael (2009), Abdiel (2005), Roncesvalles, Gazardiel (2003, connected script), Spoonbill (2003, arts and crafts), Macteris (Roman uncial font), Antioch Uncial (Roman uncial font), Burgundian (Classic black letter font), Franconian (993, a classic black letter font), Castiglione (Attractive Renaissance lettering), Cicero (Roman Rustica font), Formidable (1993, very bold late medieval / Lombardic style), Collins Old English (Classic Old English style gothic), Corbei Uncial (Roman uncial font), Cymbeline (late medieval lettering), Durrow (Standard insular minuscule uncial font), Theodoric (Classic black letter font), Gazardiel, Ghost Gothic (Unusual gothic font), Glendower (Uncial font based on Book of Kells), Gloriana (Interesting hand lettering style), Folkard (from the hand-lettering of Charles Folkard), Offenbach Chancery, Ranegund Merovingian Courthand, Benevento (8th century Lombardic), Hesperides.
- Art deco typefaces: Lyceum (2014), Borealis (2009), Criterion (2011), Illuminata, Madding (2009, a bold poster font that grew out of Aventine), Alexandrine (2009), art Deco Stencil (2009, based on samples of Art Deco stencil lettering by Pedro Lemos), Falmouth.
- Art nouveau typefaces: Acadian, Agravain (2009), Amphitryon (2009), Ariosto, Asphodel, Averoigne, Beaumains (2011, based on J.M. Bergling's lettering), Beauvoir, Belgravia (based on J.M. Bergling), Bernhardt (based upon the lettering of the Czech art-nouveau artist Alphonse Mucha), Bentham, Berenicia, Boetia (2003, based on J.M. Bergling's lettering), Bruges, Bucephalus (1993), Burd Ellen (2009), Butterfield, Curetana, Damariscotta, Elsene (2011, based on lettering by early 20th century illustrator Clara Elsene Peck), Elysian, Exotique, Flaubert, Gaheris, Ganelon, Gehenna, Goodfellow, Harbinger, Jugendstil Kunsthand (2003), Lysander, Maginot (1993; after Peter Schnorr, 1898), Munich (after the Munchner Jugend magazine), Norumbega, Odeon, Ormandine (2010), Pantagruel, Phaeton, Reggio, Rochmbeau, Rockne (2009), Rudolfo, Setebos, Sprite, Summerisle, Sylphide (2005), Undine, Valentin (2008), Vambrace (2010), Walhal, Wendingen (2016), Zeitschrift (2016, based on the Ver Sacrum magazine).
- Modern poster fonts: Field Day (2003), Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg (2002, based on Samuel Welo's posters), Fortinbras, Hamilton, Jambon, Oblivion, Squiffy.
- Constructivist fonts: Krasny Mir (2009), Vrubel, Structura (1997).
- Futuristic fonts: Alecto, Angelus, Circuit, Culdrose, Gearhead, Ironclaw, Parika, Sanhedrin, Semiramis (1997), Slither, Structuro, Yazata, Adastra (dings).
- Borders and ornaments. These include New Arets and Crafts Borders (20912, based on The Calendar of Golden Thoughts (Barse and Hopkins Publ, 1911).
- Boneyard fonts: Undertaker (2014), Antrobus (2010), Sepultura (2002), Halloweenies, Dementia, Boneyard, Skull and Bones, Malagua (1999-2013), Paleos (2002, from titling of B movies in the cave girl genre), Carmilla, Abaddon, Black Cow (1998), Valdemar, Cuede, Ligeia, Mayhem, Mephisto, Golgotha, Sanguinary, Ironworks, Moravia, Gehenna, Nosegrind (2005, graffiti), Corpus, Ghostly.
- School fonts: Schoolhand (2010).
- Arts and Crafts movement (late Victorian period, 19th century), based on work and lettering by Walter Crane, William Morris, Charles Rennie Mackintosh and Elbert Hubbard. The Arts&Crafts movement was enormously influential on the works of designers, artists and architects of the 20th century, and inspired the Art Nouveau and Art Deco movements. Fonts include William Morris' Kelmscott (based on Morris' Troy type), and True Golden, fonts from the Glasgow branch of the movement like Chelsea Studio (1997), which is based on Charles Rennie Mackintosh's lettering, fonts from the Roycrofters of New York like Semiramis and Ganelon, fonts based on Walter Crane's work such as Crane Gothic, Pencraft Initials (2009) and Walter Crane, and even fonts from the California Arts&Crafts period of the early 1900s like Coloma. Other typefaces: Jesse M. King (refreshed in 2015, and based on hand lettering from a frontispiece design by Glasgow-based Jessie King who was known for her lavish book covers), Aylward, Palmyra (based on work by the Roycrofters, a design community founded by Elbert Hubbard), Aylward (2010, Victorian), Hyacinth Initials, Spoonbill, Adresack (1996), Brandywine, Changeling (2009, based on lettering by fairy artist Fanny Railton), Goddard, and Advertising Gothic (2003), Valentin, Gaheris, Agravain (2009). Delaguerra (2001-2009) is based on a lettering style originating in the California Arts&Crafts period commonly associated with Mission Style. It is still in common usage in signage at historical sites in California.
- Victorian: Beaumarchais, Berenicia, Bilibin, Brandywine, Brigidis, Curetana, Durendal, Elphinstone, Flaubert, Folkard, Gjallarhorn, Gloriana, Hermia, Ironclaw, Magnus.
- Typewriter: Fontcraft Courier.
- Anthroposophic: Ekberg (2002, based on a sample of poster lettering by Samuel Welo).
- Medieval fonts of Scriptorium, critiqued by Marc Smith, page 65: Batwynge is based on lettre gffe by Geofroy Tory (1529), and not on an illuminated manuscript of the tenth century as claimed by Scriptorium.
Fonts from 2013: Doge (a Venetian font based on a J.M. Bergling revival), Original Django (after the titling font in Quentin Tarantino's movie Django Unchained).
Fonts from 2014: Highball, Carillon (based on a typeface by Samuel Welo), Edifice (based on lettering by J.M. Bergling).
Fonts from 2015: Gods of Mars (an inline sci-fi typeface), Rykov (based on a 1930s Ukrainian constructivist style; Latin and Cyrillic), Vie Moderne (French art deco), Dahlgren.
Fonts from 2016: Elizabethan Script (chancery style), Zeitschrift (an art nouveau font based on the Ver Sacrum magazine), Wendingen (Dutch deco), Memento Mori (Tuscan), Rounders (art deco).
Klingspor link. Abstract Fonts link. Dafont link.
View David Nalle's typefaces. [Google]
Serbian Orthodox Church
Links for Greek, Georgian and Greek polytonic fonts. They offer 60 Latinica fonts (Direct access) and 60 Cirilica fonts by Dino Art Corporation (1993) (Direct access). The font names: Cirilica60, Cirilica80, AmerigoYU, AmericanTypewriterBoldYU, AmericanTypewriterYU, AmericanUncialCirilica, ArabiaCirilica, AardvarkCirilicaBold, AardvarkCirilica, ArialCirilicaBold, ArialCirilicaItalic, Arial-Cirilica, ArialCirilicaBoldItalic, AristonCirilicaBoldItalic, AtletaCirilica, AvantGardeBoldYU, AvantGardeYU, AvantGardeBoldYU, AvantGardeLightYU, BahamasYU, BahamasCirilica, BahamasBoldYU, BahamasHeavyYU, BahamasLightYU, BangkokYU, BangkokBoldYU, BangkokCirilicaBold, BangkokCirilica, BarnumYU, BedrockCirilica, BekerCirilicaBold, BlippoBoldYU, BodnoffYU, BodoniYU, BodoniBoldYU, BodoniBoldItalicYU, BodoniItalicYU, BodoniCirilicaBold, BodoniCirilicaItalic, BodoniCirilica, BodoniRomanCirilica, BodoniCirilicaBoldItalic, BookCirilicaBold, BookCirilicaItalic, BookmanYU, BookmanBoldYU, BookmanBoldItalicYU, BookmanItalicYU, BookCirilica, BookCirilicaBoldItalic, BremenCirilica, BroadwayBoldYU, BroadwayCirilica, BrooklynBoldYU, BrooklynBoldItalicYU, BrooklynItalicYU, BrooklynYU, BrunswikBoldYU, BrunswikBoldItalicYU, BrunswikItalicYU, BrunswikYU, BrushScriptCirilica, CalligraphYU, CalligraphBoldYU, CalligraphBoldItalicYU, CalligraphItalicYU, CaligraphCirilica, CasablancaBoldYU, CasablancaBoldItalicYU, CasablancaItalicYU, CasablancaYU, CasperOpenFaceYU, CenturionOldBoldYU, CenturionOldYU, CenturionOldItalicYU, CenturyCirilicaItalic, CenturyCirilica, CharterYU, CharterBoldYU, CharterBoldItalicYU, CharterItalicYU, CheltenhamYU, CheltenhamBoldYU, CheltenhamBoldItalicYU, CheltenhamItalicYU, ChinaYU, ClarendonYU, ClarendonBoldYU, CloisterYU, CzarCirilicaBold, CzarCirilicaItalic, CzarCirilica, CzarCirilicaBoldItalic, GoliatCirilicaBold, Goliat-Cirilica, HelveticaCirilicaBold, HelveticaCirilicaItalic, HelveticaCirilica, HelveticaCirilicaBoldItalic, HippoCirilicaBold, Hippo-CirilicaOutline, Madrone-Cirilica, MemorandumCirilica, Miroslavljeva-Cirilica, MurmanskCirilica, OdessaScriptCirilica, RenfrewCirilica, SouthernCirilicaItalic, Southern-Cirilica, TimesCirilicaBold, TimesCirilicaItalic, Times-Cirilica, TimesRomanCirilicaItalic, TimesRomanCirilica, TimesRomanCirilicaBoldItalic, TimesCirilicaBoldItalic, UnicornCirilica. [Google]
SIAS (or: Signographical Institute Andreas Stötzner)
Andreas Stötzner (b. 1965, Leipzig) is a type designer who lives in Pegau, Saxony. Graduate from the Hochschule für Grafik und Buchkunst Leipzig and the Royal College of Art in London (1994). Since then, free-lance. Started making typefaces in 1997. He edits the sign and symbol magazine Signa. He spoke at Typo Berlin 2004 and at ATypI 2005 in Helsinki where his talk was entitled On the edges of the alphabet. Coauthor with Tilo Richter of Signographie : Entwurf einer Lehre des graphischen Zeichens. He set up SIAS in 2006-2007 and started selling fonts through MyFonts.
He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text typeface in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. He also created Andron 1 Monetary (2014), Andron 1 Alchemical and Andron 2 ABC (2014, for children's literature).
On or before 2006, he created a few typefaces for Elsner & Flake. These include EF Beautilities, EF Ornamental Rules, EF Squares, EF Topographicals, EF Typoflorals, EF Typographicals, EF Typomix, EF Typosigns, EF Typospecs, EF Typostuff.
Fonts from 2007-2010: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans).
Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans typeface with 400 pictograms.
Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements.
In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accompanying Arthur Ornaments and Arthur Sans. Meanwhile, Andron Mega grew to 14,700 unicode glyphs in 2013.
Typefaces from 2014: Behrens Ornaments (art nouveau ornaments based on Behrens Schuck by Peter Behrens, 1914), Fehlian (an open capitals typeface family with Plain, Gravur and Precious styles), Happy Maggie (a hand-drawn script based on Maggie's sketches when she was 13 years old), Abendschroth (for lullabies, girl's literature, murder poems, short stories and Christmas gift booksAlbyona English No. 1 (as Andreas writes, suitable for children's books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals), Lindau (a Venetian Jensonian typeface with considerable flaring in the ascenders), Grund (based on the 1924 art deco signage in Leipzig's Untergrundmesshalle Markt whose architect was Otto Droge), Leipziger Ornamente (based on variopus buildings in Gohlis, Leipzig, dating from the 1920s-1950s), Kaukasia Albanisch (ancient writing system of the Caucasus region, allegedly created by Mesrop who also invented the Armenian alphabet).
Commissioned fonts include Runes (commission by Ludwig Maximilian University Munich), Lapidaria Menotec, Old Albanian, Dania (a special notation for Danish dialectology. Font extension of Latin Modern Italic (Open source), commissioned by the Arnamagnanean Institute, Copenhagen Universit).
Typefaces from 2015: Andron 2 EIR Corpus (uncial, Gaeli), Artemis Sans (Greek version of Arthur Sans), Ardagh (a Gaelic / Irish version of Arthur Sans). Don Sans (a sturdy sans).
MyFonts. Behance link. Abstract Fonts link. Klingspor link.
Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google]
Silvio is the Toronto-based designer of ITC Napoleone Slab (2001) and the Greek simulation font family ITC Medea (2003). He also published FF Hydra (2002), an extensive family. He graduated from the Philadelphia College of Art in 1993, and is currently working at Crescent Design Consultants in Toronto. There is a slight question as to whether ITC Medea was based on the source code of UnciTronica (Manfred Klein, AI, 1994). [Google]
Sjoerd Hendrik de Roos
Dutch typographer and type designer, b. Drachten, 1877, d. Haarlem, 1962. He worked at Tetterode from 1907-1941. Catalog of some of his digitized typefaces. Designer of various typefaces:
- The uncial-like typeface Libra Uncial (1938, a pseudo-Gaelic font) at Tetterode in Amsterdam. Libra is now carried in digital form by Mecanorma and Bitstream.
- FB Nobel (1993, Tobias Frere-Jones at the Font Bureau) is a powerful 18-style sans family based on de Roos's alphabets. It ranges from Extra Light to Very Black, and includes a condensed sextet. See also DTL Nobel (Dutch Type Library) by Fred Smeijers and Andrea Fuchs.
- De Roos made Dutch (or Hollandse) Mediaeval (1912), an old style typeface with little contrast, arched slabs and serifs, and an atrocious lower case g, but that has many conservative workhorse qualities. Dutch (or Hollandse) Mediaeval was revived by Hans van Maanen in 2007 as Dutch Mediaeval, and by Hans van Maanen and Patrick Griffin in 2013 as Dutch Mediaeval Book ST. For other digitizations, see De Roos Mediaeval NF (2014, Nick Curtis) and Hoboken Serial (2010, SoftMaker).
- He designed the calligraphic typeface Meidoorn (1928) for De Heuvelpers (his own private press), which was active from 1926-1935. The Meidoorn materials (matrices, punches) are now in the hands of G. J. Randoe (Keizersgracht 89, 1015 Amsterdam). Laure Afchain was doing a revival of Meidoorn in 2008 as a student at KABK, Den Haag. And Joe Chang, still at KABK, did a revival of it in 2012 in van der Laan's class.
- Egmont (1933) is a serifed typeface done at Lettergieterij Amsterdam. Mac McGraw writes: Egmont is a modern interpretation of classic letter forms, designed by S. H. DeRoos for Amsterdam Typefoundry in the 1930s, and subsequently cut by Intertype. It is an elegant face, with long ascenders which have double serifs. There are three weights in roman and italic, all with three styles of figures as shown in the bold specimen. Italic swash letters are made for all three weights. Egmont Decorative Initials were added by George F. Trenholm in 1936; they are sometimes called Egmont Medium Italic, from which they are derived. Compare Bernhard Modern. A digital family was designed by Dennis Ortiz-Lopez in 2005 called OT Egmont. Castcraft's free font family OPTI-Eisen is also noteworthy. Open Egmont Kapitalen (2013) is a free openface designed by John Wollring based upon de Roos's known Egmont Inline (or Egmont Versalien) shown in a Lettergieterij Amsterdam specimen book of 1935.
- Erasmus (1992, A. Pat Hickson, ITF) is based on a design of de Roos, ca. 1923.
- Card Pro (2006, URW, Ralph M. Unger) is based on Ella Cursief (1916, Lettergieterij Amsterdam).
- Circulaire (2009, Hans Van Maanen, Canada Type) is based on a set of initial caps designed by Sjoerd Hendrik de Roos in 1926.
- His last typeface was De Roos Romein (and Cursief) about which Canada Type, which produced a magnificent 10-style digital revival, expansion and interpretation in 2009 simply called Roos, in a cooperative effort between Hans van Maanen and Patrick Griffin, writes: It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman typefaces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. Mac McGrew: De Roos is a handsome contemporary roman type designed by S. H. DeRoos in Amsterdam, Holland. Originally imported from a Dutch typefoundry, with additional weights and inline initials, this roman and italic were also cut by ATF about 1952, and by Intertype in 1954. A 1953 piece of ATF literature notes, "Cast at Elizabeth on Amsterdam line." Scans below are from the book First specimen book of De Roos Roman&Italic (Typefoundry Amsterdam).
- Zilvertype (1914-1916, with Jean-François van Royen). This was revived by Hans van Maanen as Zilvertype (2012-2014, Hans Van Maanen, Canada Type): Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean-François van Royen's publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, and lighter and more classic in colour.
- Nieuw Javaansch No. 1 (1909). A Javanese script done by Sjoerd de Roos at Lettergieterij Amsterdam. Revived in 2012 at the KABK by Troy Leinster under the same name.
Klingspor link. FontShop link. [Google]
Skyline Type Foundry
Metal font foundry in Kampsville, IL, est. 2004. Run by Schuyler (Sky) Shipley. As of 2010, their typefaces include Sans Serif Light w. Alts, Egmont Decorative Initials, Park Avenue, McMurtrie Title, Mercury Borders, Bewick Roman, Bradley, Cazxtonian, Cochin, Cooper Ted, Crayonette, Della Robbia, Extended Black, Fournier le Jeune, Glyptic, Hadriano Stone-Cut, Ben Franklin Decorative Initials, John Alden Decorative Initials, Massey Two-Color Initials, Iroquois Condensed, Keynote, Lexington, Narciss, Neon, Neuland, Neuland Inline, Othello, Othello Inline, Paramount, Playbill, Sans Serif Light, Sans Serif Light Italic, Schoeffer Old Style, Trocadero, Worrell Uncial. They also have quite a number of ornamental border fonts. [Google]
[Dan X. Solo]
Dover Press sold Oakland's Dan X. Solo's digitizations. Dan Solo (b. 1928, d. 2012) has collected over 13,000 sets of metal fonts, starting when he was 9 years old and growing up in Oakland, CA. Finally, in 2002, he stopped doing that and began converting all of his fonts to computer type. Solotype, his company, was established in Alameda, CA. He printed 30 books on fonts (with Dover), including The Solotype catalog of 4,147 display typefaces, and created hundreds of fonts. In 2007, Dan Solo retired from the font business. He died in 2012.
Robert Trogman writes: I know Dan X. Solo personally. He ran a typographic studio in Berkeley for over 30 years. He had a large collection of film fonts, including some of my own. He created thousands of fonts and is now retired and is an avocational prestigitator. Copyrights have run out on most of his fonts. He also protected himself by creating pseudonyms on the questionable font names. Stuart Sandler confirms that many of the fonts in Solo's Dover books are in fact from the Filmotype collection, which Stuart is digitizing right now.
Gene Gable writes: Dan Solo of Solotype in Berkeley was experimenting with photo type as early as 1945 and started doing optical special effects in the early '60s. And a number of the larger display-type shops developed their own techniques. But in terms of opening up new markets for display type (and giving designers more control over type setting), Visual Graphics and Letraset lead the way. These companies were proud of, and promoted, the fact that that their products could be used by non-typesetters with little training.
Bio. He wrote about himself: Dan X. Solo The Solotype Archive was begun in 1942 when I was 14. I was a kid printer for several years before that. At 16, after a quick three months of training, I dropped out of school and went to work full time as a radio actor and announcer in San Francisco. (Easy to get jobs in those days, due to the war-induced manpower shortage.) In 1949 and 1950, I created a magic show which played West Coast theatres with some success. After that, back to broadcasting. By 1962, I was completely burned out on radio, so I decided to see if I could make a living with my collection of antique types, which numbered about a thousand fonts at that time. In 1962, I sent out 4,000 catalogs showing the type to ad agencies all over the U.S. The timing was perfect (no thanks to me) because there was developing at that time a renewed interest in the old types. Business took off immediately. The Solotype collection was one of four commercial collections at the time, but I seemed to have been more aggressive in marketing than the other chaps. (Well, Morgan Press certainly knew how to market.) Two years into the business, I began to collect alphabets on paper for conversion to photo lettering, which was just becoming mainstream in the type business. We closed the shop for a month every year and went on a type hunt, mostly in Europe where there didn't seem to be much competition among collectors. Other typographers couldn't understand how we could do this, but I believe it made people appreciate the resource we offered even more. Over the years, the collection became quite large. When I closed Solotype a couple of years ago, I got rid of about half the archive (because the fonts were dull, or already digitized, or for a variety of other reasons) leaving me with about 6,000 fonts on paper or film. In 1974, I began to supply Dover Publications with mechanicals for books of 100 alphabets on a particular theme. I did 30 of these books over the years, and 30 more of printers' ornaments, borders, and so forth. Sometime in the 1990s, Dover asked me to digitize books of 24 fonts each, to be sold with a disk in the back. I did 12 of these. The Dover relationship came to an end when Hayward Cirker, the owner and my special friend, died and the company was sold to another publisher. Dover felt that they had covered the type field thoroughly. Now in my old age, my wife and I have a mindreading act that is great fun and good for the ego. Even so, when not traveling, I digitize type for relaxation and enjoyment, but have made no effort to sell it. Until now.
Solo's wood type/Western/ headline/ Victorian collection includes Acantha, Bindweed, Dime Museum (2004, a French Clarendon revived by ATF uin 1933 under the name P.T. Barnum), Egyptian Oldstyle, Excelsis, Extravaganza, Rigney, Assay, Baraboo Banner, Beijing, Brevet (after a Victorian typeface from 1887 by Ernst Lauschke), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dutch Treat, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade (1992, a Victorian face after an 1890 oroginal called Mural by Boston Type Foundry), Trixie, Valerie, Valjean, and Zorro. Alaska is based on an 1890 design of Marder, Luse and co. Arcade imitates an 1888 design of Barnhart Brothers&Spindler. Bamboo (oriental simulation face) is based on a 1889 creation of Barnhart Brothers&Spindler. Behrens Antiqua and Behrens schrift are revival of early 20th century typefaces by Peter Behrens. Eccentric is a digitization of a 1898 arts and crafts typeface by Kingsley/ATF. Hansard is a revival of a display type published in 1887 by MacKellar, Smiths,&Jordan. Pekin is a digitization of a face, first designed by Ernst Lauschke in 1888 and issued by Barnhart Bros.&Spindler foundry in Chicago under the name Dormer, and revived by them in 1923 under the name Pekin. Charles Henry Beeler made a condensed sans serif issued by Mackellar, Smiths&Jordan foundry in 1887: it was digitally revived as Roundhead. Monument is a revival of a 1893 typeface by the Boston Type Foundry, but was also cast at the Central Type Foundry. Vienna Light is a delicate early 1900s type originally created by the German foundry of Schelter&Gieseke. Other designs: Bareback, Campaign (ca. 1970), Cigar Label (1997), Estienne, Farringdon (a western face), Goodfellow (digitization of wood type from 1895 found at Hamilton and probably due to W.H. Page), Harlem Text (blackletter), Houdini (ca. 1992), Memorial, Quadrille 2 (a simplified Tuscan face), Sparticus, Vanities (a Victorian type), Whirligig.
In 2005, MyFonts added Seminary (after a Victorian font from 1885 by Bruce Type Foundry), Margie (formal script based on Marggraff Bold Script by the Dresden foundry vormalig Brüder Butter, 1920s), Fancy Dan, Bamberg (2005, after a condensed wood type from ca. 1850), Fat Face No. 20, French Ionic (quite ugly--based on an 1870 Clarendon derivative by the Cincinnati Type Foundry), Hearst Italic (based on a 1904 typeface by Carl Schraubstadter of the Inland Type Foundry), Hearst Roman (based on a typeface from the Inland Type Foundry allegedly stolen from a hand lettering job done by Goudy, acccording to Goudy himself), Tally Text (early photolettering type of the comic book style), Welcome 1 (based on Van Loey-Nouri's art nouveau typeface from 1900). A list of some digitized fonts:
- Art Deco: Advertisers Gothic Light, Alex, Beverly Hills, Boul Mich, Capone Light, Chic (after Morris Fuller Benton's Chic, 1927), Clyde, Eagle Bold, Eagle Narrow, Eden Bold, Eden Light, French Flash, Gallia, Graybar Book, Grock, Matra, Modernique (art deco), Parasol, Parisian, Phoenix American, Plaza Suite, Publicity Gothic, Salut, Stymie Obelisk, Zeppelin.
- Victorian: Anglo, Arboret, Campanile, Chorus Girl, Fancy Celtic, Ferdinand, Floral Latin, Glorietta, Grant Antique, Gutenberg, Hogarth, Jagged, Katherine Bold, Lafayette, Meisteringer, Olympian, Phidian, Ringlet (1998, a Victorian typeface after an 1882 original by Hermann Ihlenburg), Romanesque, Rubens, Stereopticon, Templar, Wedlock, Zinco.
- Script/Cursive: Amapola, Artists Script, Carpenters Script, Certificate Script, Commercial Script, Conway (an architectural script), Elegance, Engrossing Script, Figaro, Flare, Gloria Script, Hanover, Helvetica Cursive, Holly, Kunsteler Bold, Liberty, Manuscript, Orion Script, Pantagraph Script (+No2, +No3), Park Avenue, Romany Script, Trafton Script, Typo Upright, University Script, Virginia Antique.
- Art Nouveau: Ambrosia, Argus, Artistik, Auriol, Baldur, Bocklin, Cabaret (2003, as in Murder She Wrote), Carmen, Childs, Edda Black, Excelsior, Francomia, Giraldon, Harrington, Isadora, Metropolitan, Murillo, Oceana, Odessa, Orbit Antique, Palmetto (2005; an art nouveau typeface based on a 1887 typeface called Palm from the A.D. Farmer Foundry), Siegfried, Skjald, Spartana, Titania.
- Gothic/Medieval: Academy Text, American Uncial, Antique Black, Becker Bold, Bradley, Castlemar, Celebration Text Fancy, Church Text, Engravers Old English, Frederick Text, Freehand, Hingham Text, Initials-Bradley and Caxton, Kanzlei Light, Lautenbach, Lautenbach Fancy Caps, Libra, Morris Black, Nicholini Broadpen, Rhapsodie Swash Caps, Scottford Uncial, Solemnis, Washington Text, Wedding Text.
- Celtic: Anglo Text, Camden Text, Chappel Text, Cimbrian, Colchester Black, Durer Gothic, Durwent, Fenwick, Genzsch Initials, Gloucester Initials, Gutenberg Gothic, Hansa Gothic, Harrowgate, Kaiser Gothic, Kings Cross, Konisburg, Malvern, Medici Text, Middlesex, Progressive Text, Tudor Text, Warwick, Westminster Gothic, Yonkers.
- Special-Effects Display Fonts: Azteca Condensed, Buddha (oriental simulation face, after a Schelter&Giesecke type), Burst, Campaign (1970), Chinatown (oriental simulation), Cigar Label (1997-2002), Colonial Dame, Contract Banner (2004, a take on Mezzotint from 1880), Direction, Fillet, Filmstar (1999), Firebug, Headhunter, Hollywood Lights, Igloo Solid, Import, Lariat, Needlepoint, Old Glory, Protest, Rustic, Scimitar (Arabic simulation face), Scoreboard, Skyline, Starburst, Sundown Shadow, Tableau, Tonight, Xerxes.
- Other: Acantha, Assay, Baraboo Banner, Beijing, Bindweed, Brevet (after a Victorian original by Ernst Laushke, 1887), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dime Museum, Dutch Treat, Egyptian Oldstyle, Excelsis, Extravaganza, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade, Rigney, Trixie, Valerie, Zorro.
Images of selected typefaces: Agency Gothic, Alpha Midnight, Alpha Twilight, Anita Lightface (1977), Art Deco Display Alphabets, Ashley Crawford, Ashley Inline, Astur, Bamberg, Banco, Beans, Blackline, Bobo Bold, Braggadocio, Broadway Engraved, Busorama Bold, Busorama Light, Bust, Charger, Checkmate, Colonel Hoople, Corral, Dudley P Narrow, Dynamo, Earth 9a futuristic / prismatic typeface revived by nick Curtis in 2015 as Terranova NF), Eclipse, Empire, Ewie, Fat Cat, Fatso, Festival, Futura Black, Futura Inline, Gillies Gothic Bold, Greeting Monotone, Grooviest Gothic, Hess Neobold, Hotline, Huxley Vertical, Inkwell Black, Joanna Solotype, Joyce Black, Koloss, Lampoon, Mania, Mania Contour A, Mania Contour B, Margit, Mindy Highlight, Modernistic, Monograms Stencil, Mossman, Neon, Neuland (+Inline), Phosphor, Piccadilly, Pickfair, Polly, Prismania P, Quote, Rhythm Bold, Shady Deal, Sheet Steel, Sinaloa.
The Solotype Catalog is a file with information on Dan Solo's typefaces, annotated with remarks about name equivalences and digitizations. The original file was due to Thibaudeau, but typophiles on alt.binaries.fonts have added to it in 2010. PDF version. Excel version. Text version. See also here.
View Dan Solo's typefaces. Another page on Solotype. Dan Solo's typefaces listed in decreasing order of popularity. View Dan Solo's typefaces. View Dan Solo's typefaces. [Google]
Sparklefonts (est. 2005, England) showcases the work of founder Geoff Anderson, who wants to maintain legibility without compromising style. Chocolate (2005) is a flexible, monoline comic book family. Also: Obsidian (2005, bubblegum or oil slick font), Festival (2005, art nouveau), Dialog (2005, liquid, with stencil versions), Groundhog (2005), Tungsten (2005, futuristic).
Klingspor link. [Google]
Rochester Institute of Technology's School of Printing graduate who lived in California and in Holland, MI, and now resides in Louisville, Colorado. He was a disciple of Chuck Bigelow and Kris Holmes. MyFonts page on him. In 1990, he started work at Monotype in Palo Alto to create the Windows truetype core fonts Arial, Times New Roman and Courier New. He stayed with Monotype and then Agfa/Monotype until 2003 (when he was probably fired, but that is only an unreliable guess), directing type development from the design office in Palo Alto, CA. Bio at Agfa/Monotype. He has directed branding projects such as Agilent Technology's corporate sans serif and Microsoft's corporate font family 'Segoe'. At the same time, he was involved in producing bitmaps and outline fonts for cell phones and TV set top environments. He has worked extensively designing Greek, Cyrllic, Thai, Hebrew and Arabic alphabets to satisfy the requirements of customers such as IBM, Microsoft, Nokia, Sun and Sybase. In 2004, he co-founded Ascender Corporation in Northbrook, IL, where he remained Type Design Director until Ascender was bought by Monotype, where he now heads the type design team (12 people in all, as of 2013).
CBC interview in 2012. Fontspace link. FontShop link. At ATypI 2011 in Reykjavik, he spoke on typefaces for Android OS.
- Andale Mono (Monotype ), Andale Mono (Ascender). This is a monospace sans-serif typeface designed for terminal emulation and software development environments. It was originally created by Monotype. Andalé Mono was first distributed as an Internet Explorer 4.0 add-on under the name Monotype.com. In version 1.25 of the font, it was renamed to Andale Mono, distributed with Internet Explorer 5. It is often used by programmers, and is bundled with Mac OS X.
- Andy (Monotype ), his first face, a design based on a friend's lefty handwriting. Published at Agfa's Creative Alliance.
- Arimo (2010). A free sans family at Google Web Fonts that is metrically compatible with Arial.
- Ascender Sans Mono (2004-2008, Ascender). Metrically compatible with Courier New. Ascender Serif (2005, 4 styles) is metrically compatible with Times New Roman.
- Ascender Uni Duo is a fixed-width comprehensive Unicode-compatible font available with support for the Unicode Standard. Ascender Uni Duo is a 39MB TrueType font with approximately 53,000 glyphs. The Latin and related glyphs (designed by Steve Matteson) are Sans Serif, with Gothic ideographs drawn in Japanese style, and complementary styles for other scripts. There are also versions of Ascender Uni that provide localized support for Korean, Simplified Chinese and Traditional Chinese. OpenType layout support is included for Arabic (initial, medial, final, isolate, and required ligature forms, as well as basic mark positioning), and vertical writing for CJK locales (consisting mostly of Latin, symbol, punctuation, and kana glyph variants). Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish), Chinese, Japanese, Korean, Thai, Vietnamese, Hebrew, Arabic. Ashley Crawford.
- Ascender Sans (Ascender).
- Ascender Serif (Ascender).
- Ayita (2006, Ascender), a decorative sans family co-designed with Jim Ford.
- Bertham Pro (2009, Ascender). Four styles including Open, after Goudy's Bertham.
- Blueprint (1993).
- Binner Gothic (Monotype ).
- Blueprint (Monotype ).
- Cambria (Ascender).
- Chicory (2006, Ascender). A calligraphic script face.
- Cousine (2010). A free family at Google Code that is metrically compatible with Courier New. See also OFL.
- Creepy (Ascender Corporation): a Halloween font designed with Carl Crossgrove.
- Curlz (1995, Monotype ). Done with Carl Crossgrove, based on wrought iron on chairs.
- Droid Sans Mono Pro (Ascender), Droid Sans Pro (Ascender), Droid Serif Pro (Ascender). and Droid Sans Mono: a font family designed in 2006-2007 by Steve Matteson at Ascender for Google's Android project, mobile phone software for handsets. Free download at CTAN.
- Dujour (2005, Ascender): an art deco revival of the 1930's typeface Independant by Joan Collette and Jos Dufour for Plantin. Compare with the free Independant by Apostrophic Labs.
- Endurance Pro (2009, Ascender): neo-grotesque sans. Endurance Pro Cond (Ascender).
- Facade (Monotype ).
- Fineprint (Monotype ). A design loosely based on his own penmanship ("on a good day"). Another Creative Alliance face.
- Friar Pro (2009, Ascender): Friar Pro is a revival of Frederic W. Goudy's "Friar" typeface. Goudy described this typeface design as a 'typographic solecism' as it combines a lowercase of half-uncial forms from the 4th through 7th centuries with an uppercase of square capitals from the 4th century. Friar was originally designed in 1937 and used to print a Christmas keepsake produced by Goudy and printer Howard Coggeshall. The fire that burned Goudy's studio in 1939 destroyed the drawings and matrices before many metal fonts were cast. Of all that was lost in the fire, Goudy once said he missed Friar the most.
- Georgia Pro (Ascender).
- Gill Floriated Caps.
- Goudy Fleurons (2010, Ascender).
- Goudy Modern MT (Monotype ).
- Goudy Ornate (2002). Unsure if Matteson made this or Carl Crossgrove.
- Kennerley. Based on Goudy's Kennerley family.
- Kidprint (Monotype ).
- Kootenay (2006, Ascender), a sans family.
- LeBeau (Ascender): a signage font.
- Liberation Mono, Sans and Serif (2007-2009, Ascender). A set of free open source fonts done for Red Hat Inc.
- Lindsey Pro (2006, Ascender): a cursive script based on his niece's hand.
- Louisville Script (2008, Ascender): ordinary handwriting.
- Massif (2006-2011, Monotype ). Odd name, since Jean Joveneaux made a font called Massif in 1957. How can Monotype get away with a trademark for this is beyond me.
- Mayberry (2008, Ascender): a 14-font sans family with extremely large x-height and strange proportions. Mayberry semibold is free. Mayberry Pro (Ascender).
- McZee, a Microsoft symbols font.
- Miramonte Pro (2006, Ascender). A geometric-meets-humanist sans after the typeface Marsuv Grotesk by Stanislav Marso at Grafotechna, 1960.
- Open Sans. A free family.
- Overpass (2011). A free open source sans font created for Red Hat Inc that emulates the typeface used by the US Highway system.
- Newstyle. Based on Goudy's 1920 face, Newstyle.
- Pericles Pro (2005, Ascender): an Ascender typeface based on the work of Robert Foster who created the original for American Type Founders in 1934), a 433-glyph OpenType font for Greek simulation or stone cut looks.
- Pescadero Pro (2005, Ascender),
- Pescadero Pro: a serif face.
- Rockwell Team (Ascender): an athletic lettering face.
- Rebus Script (2009, Ascender): done with Terry Weinzierl.
- Scooter Script (2009, Ascender): comic book style face.
- Segoe Chess (Ascender), Segoe Mono (Ascender), Segoe TV (1997-2004, Ascender: done for MSNTV).
- Tinos (2010). A free serif family at Google Code, metrically compatible with Times New Roman.
- Titanium Motors (2012, Monotype ), Titanium (2006, Ascender): techno typefaces.
- Truesdell (Monotype ): a revival and extension of the "lost" Goudy types cut in 1931. Also at Creative Alliance. Also includes Truesdell Sorts.
- Tucker Script (2009, Ascender): ordinary handwriting face.
- Twentieth Century Poster (2002), an art deco display font straight from the late 1920s.
- Verdorgia (2010): an ugly duckling.
Klingspor link. Fontspace link. View Steve Matteson's typefaces. [Google]
Steven Skaggs lives in Louisville, Kentucky where he is Professor of Design at the Hite Art Institute, University of Louisville. He studied calligraphy and typography under Hermann Zapf. His typefaces, all part of Delve Fonts (Delve Withrington's foundry in Alameda, CA), include Rieven Uncial and Rieven Italic (2009), which were awarded a "Certificate of Excellence in Type Design" in the 2010 TDC2 competition.
In 2012, he designed Engine Nine (Delve Fonts), a copperplate-meets-war-propaganda-machine typeface.
In 2013, Rieven Roman was published. Included in the Rieven Roman package is Rieven Ornaments. [Google]
Stiggy & Sands
Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Sante Pro (2013, a tall upright connected script), Rum Raisin (2013, inspired by the lettering from a vintage Kellogg's Raisin Bran cereal box), Maiden Orange (2013), Luckiest Softie Pro (2013, a rounded comic book typeface that was inspired by hand-lettered vintage 1950s advertisement), Smokum Pro (2013, a Western typeface), Carioca Script Pro (2013, inspired by the lettering on the RCA Records Stereo Action Series in the 1960s), Uncial Antiqua Pro (2013), Spicy Rice Pro (2013: psychedelic or disco), Ultra Pro (2013: a Clarendon or wood style slab serif), Quintessential Pro (2013: calligraphic), Bruno Ace Pro (a techno/automoive font), Aclonica Pro (2013), Special Elite Pro (grungy typewriter), Audiowide Pro (2013: organic techno face), Peralta Pro (2013: a bouncy cartoon font), Englebert (2013: inspired by the title screen of the 1930s film Der Blaue Engel starring Marlene Dietrich), McLaren Pro (2013: comic book style), Galindo (2013: a comic book typeface with square counters), Margarine Pro (2013), Righteous Pro (2013), Mouse Memoirs Pro (2013, cartoonish), Risque Pro (2013, funky style), Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads), Original Surfer Pro (2013, an an offbeat sans serif font bursting at the seams with lively personality. Inspired by a vintage advertisement for the California Cliffs Caravan Park, this font exudes all of the fun of a summer vacation anytime of the year), and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).
Typefaces from 2014: Purple Purse Pro (an offbeat didone based on a vintage Ivory Soap ad from the fifties).
Typefaces from 2015: Shojumaru (an oriental simulation font inspired by a movie poster for the 1957 film titled Sayonara, starring Marlon Brando), Sacramento (connected script), Bazaruto (a decorative set of typefaces inspired by wrought iron, Letters and Lettering by Carlyle and Oring, and didones), Maiden Orange Inline Pro.
Typefaces from 2016: Ribeye Pro, Shojumaru Pro (oriental style), Freckle Face Pro.
MyFonts link. Creative Market link. [Google]
Stone Type Foundry
The Stone Type Foundry in Guinda (ex-Rumsey and ex-Palo Alto), CA, is Sumner Stone's outfit, which he founded in 1990. Born in Venice, Florida in 1945, Sumner Stone is a major designer, and creator of the Stone family. He studied calligraphy with Lloyd Reynolds at Reed College in Portland, Oregon, and then went to work for Hallmark cards as a lettering artist. In 1979, he became type director at Autologic , and in 1984, he became the Director of Typography at Adobe Systems (until 1989). His typefaces:
- Arepo (1995, a modern text family). This is related to his SFPL family developed for the San Francisco Public Library in 1999 and 2003.
- Basalt, which won an award at Bukvaraz 2001 and was first used for signage at the Cecil H. Green Library of Stanford University.
- Stone (1987, ITC), which comes in ITC Stone Sans, ITC Stone Serif, and ITC Stone Informal. Stone Humanist Sans appeared in 2005. In 2010, he published Stone Sans II (+Condensed). The ITC Stone family was co-designed by John Renner.
- Stone Print (1991), designed for Print: America's Graphic Design Magazine.
- Stone Phonetic (with John Renner, 1992).
- ITC Bodoni Six (1994), ITC Bodoni Twelve, ITC Bodoni 72 (1994-1995), ITC Bodoni Ornaments (1994), Bodoni Display Figures. Based on Bodoni's original designs, there are 6, 12 and 72-point optical sizes. The family was developed under Stone's guidance who was partially aided by Holly Goldsmith (Six Roman), Janice Prescorescott-Fishman (Seventy-two Roman) and Jim Parkinson (Six Italic).
- SFPL: part of a new identity of the San Francisco Public Library.
- Leaves&Straw (a leaves and straw dingbat font).
- Cycles (2004): this comes in 7 optical scales: 5, 7, 9, 11, 18, 24 and 36pt, each in numerous weights and figure styles.
- Magma (2004), Magma Halo (2004) and Magma Thin (2009) are extensive informal humanist sans text families that could be used as Greek simulation typefaces. In 2014, he added Magma II to this collection.
- Halo uses an interesting process to the base characters of a font.
- Munc (2005) is the uncial version of Magma. It has some Basque influences.
- Silica (1993) is a humanist slab serif.
- Scripps College commissioned his revival of Scripps College Old Style (1997, now at Agfa-Monotype), originally designed by Frederic Goudy [note: if you want to buy this, consider also Beatty's Goudy Claremont, another good revival of that family].
- Numa Titling is an Etruscan letterform used in centuries -7 through -3. While roman, it is runic and chiseled in appearance. See also Numaiota.
- Tuff (+Halo, +School, 2008-2009) started from his Magma. This flared informal typeface is slightly Greek in its vision, and has hints of Morris Fuller Benton's Souvenir, Stone's own ITC Stone Informal, and Dennis Pasternak's Maiandra.
- Popvlvs (2010), Davanti (2010) and Sator (1995), roman inscriptional typefaces.
- Dignitas (2011). Commissioned by Hallmark.
At ATypI 2007 in Brighton, he spoke about The foundation of the humanist sans serif. As of 2008, his entire collection can be licensed for 20 computers in an educational lab for just 300 dollars. Scripps College pages. CV at Agfa. Bio at Linotype. Page at Emodigi. His lecture in 2007 on W.A. Dwiggins. PDF file of his work. Signature. 2012 Newyear's card. Interview by MyFonts in 2014. FontShop link. Klingspor link.
View Sumner Stone's typefaces. [Google]
An orphaned Celtic / uncial face with a production date of 1993. Download site. [Google]
Storm Type Foundry
Storm Type is a major Czech foundry that offers the inspiring work of Frantisek Storm (b. 1966, Prague). Most typefaces are made by Storm himself. The typefaces:
This foundry cooperates in its revivals with experienced Czech designers Ottokar Karlas, Jan Solpera and Josef Týfa.
- Aaahoj: a ransom note font.
- Abald (2005): Abald adds to the number of "bad-taste" alphabets as seen on faded commercial inscriptions painted on neglected old houses.
- Academica: Josef Týfa first published Academia in 1967-68. It was the winning design in a competition for scientific typefaces, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes in plain, italic and semi-bold designs. In 2003 Josef Týfa and Frantisek Storm began to work on its digital version. The new name Academica distinguishes the digital execution (and modifications) from the original Academia.
- Aichel: originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelenà Hora). It has a stone-chiseled look.
- Alebrije (2015). A 42-cut exaggerated cocaine-driven typeface family with instantly recognizable v and w that have slabs on their baselines.
- Amor Sans and Amor Serif (2005).
- Andulka (2004): 24 weights for use in books, mags and newspapers
- Antique Ancienne, Moderne&Regent (2000): Baroque typefaces.
- Anselm Sans and Serif (2007): 20 styles about which Storm writes The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. It won an award for superfamily at TDC2 2008. It covers Greek as well.
- Areplos (2005): Based on Jan Solpera's 1982 typeface with serifs on top and serifless at the bottom.
- Bahnhof: poster typeface from the 1930s.
- Baskerville Original Pro (2010) comprising Baskerville 10 Pro, Baskerville 10 Cyr, JBaskerville, and JBaskerville Text. This is an important and thoroughly studied execution starting from photographs of prints from Baskerville's printing office, ca. 1760.
- Bhang (2011) is a flat brush signage family of exceptional balance.
- Biblon (2000; note: ITC Biblon is a watered down version of Biblon, so please go for the original, not the ITC version). Biblon Pro (2006) is even better; 6 weights.
- Briefmarken (2008): letters that look dented like postage stamps.
- Clara Sans and Clara Serif (2014). Based on sketches by Rotislav Vanek, and published at Signature Type Foundry.
- Cobra (2001)
- Comenia Script (Radana Lencov&acaute;), an upright script with a handwritten look for teaching writing.
- Comenia Text (2006): a serif family for school books. Also called Comenia Pro Serif.
- Compur (2000)
- Defender (2008): a heavy slab family.
- Digita (2004)
- Dynamo Grotesk (1995): Storm's 60-weight sans family going back to the early sans traditions. In 2009, this was updated to Dyna Grotesk Pro.
- Enamelplate (2011).
- Etelka (2005): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008.
- Excelsior Script (1995-1996)
- Farao (a great Egyptienne font in 3 weights)
- Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shadowed (Geist + Deko) variations.
- Gallus Konzept (2007, in many weights): Carolingian-Roman-Gaelic-Uncial script, or an exploration into how the Latin alphabet could look were the evolution of the Carolingian Minuscule to stop in the 8th century AD in Sankt Gallen.
- Genre: a modern face.
- Fenix 21 through 23 (2010): An elliptical sans family that includes a hairline (21).
- Header (2009): a magazine headline family.
- Hexenrunen (2006, + Reverb): a runic simulation face.
- Ideal Gothic
- Jannon (this is a formidable Garalde family). Jannon Pro appeared on MyFonts in 2010.
- Jannon Sans (2011).
- Jannon Text Moderne (2001): thicker hairlines and smaller x-height than Jannon Text, thus more generally useful
- JohnBaskerville (2000)
- JohnSans (2001, a 72-weight sans version of Baskerville)
- Josef Sans (2013, with Jan Solpera). A humanist sans family related to Josef Tyfa's Tyfa Roman (Tyfa Antikva).
- Juvenis (2003)
- Kompressor: techno typeface
- Lexicon Gothic: newspaper and magazine type family, created in 2000. Renamed Lexon Gothic.
- Libcziowes: based on the oldest lettering found in Bohemia, on a gravestone in Libceves dating from 1591
- LidoSTF (2001, free): a redrawn Times with lots of individuality, yet still a newspaper typeface
- Lokal Script (2009): a large hand-printed letter family.
- ITC Malstock (1996-1997), a condensed film poster face.
- Metron (2004, a digital version by F. Storm and Marek Pistora after a huge sans design from 1973 by Jiri Rathousky, which was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. In 1986, the metro started using Helvetica): this typeface is eminently readable!
- Modell: techno
- Monarchia [The Monarchia family, consisting of three designs, is a transcription of "Frühling" of the German type designer Rudolf Koch, enriched by a bold and text design]
- Moyenage (2008): a 25-style blackletter family for Latin and Cyrillic, almost an experiment in blackletter design and flexibility. Winning entry at Paratype K2009.
- Mramor (1988-2013). A roman caps typeface with lower case added. Storm: The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Even so, ten display styles are left.
- Ohrada: condensed upper case
- Ornaments 1+2
- Ozdoby 1+2 (great dingbats): The set includes heraldic figures, leaves, decorative endings, various skull forms, weather signs, borders and many more.
- Pentagraf: a slab serif
- Pepone and Pepone Stencil. Designed for setting belles-lettres, this serifed family defies classification.
- Pivo (2006), a connected diner script inspired by Bohemian beer labels.
- Plagwitz (2000, blackletter). Plagwitz poster by Lissa Simon (2012).
- Politic (2004): a clunky fat octagonal family made for billboards, flyers, posters, teabags, and matches for the green Party in the 2004 Czech elections. Caps only.
- Preissig Antikva + Ornaments: a 1998 digitization and interpretation of Preisig's polygonal type from 1925. The Pro version is from 2012.
- Preissig 1918: a typeface by Vojtech Preissig cut in linoleum
- Preissig Ozdoby
- Regent Pro (2015): a rustic Baroque typeface that oozes energy out of its semi-transitional semi-didone orifices.
- Quercus Whiteline, Quercus 10, Quercus Serif, and Quercus Sans (2015). Four large families, created for informational and magazine design, corporate identity and branding. The sans has a Gill flavor.
- Regula Text and Regula Old Face. Regula is named after the secular monastic order Regula Pragensis. Initially, the digitized font (regular old Face, which is now free) had jagged edges and a rather narrow range of applications until the summer of 2009, when Storm added text cuts. Regula was a baroque alphabet faithfully taken over from a historical model including its inaccuracies and uneven letter edges.
- Rondka (2001)
- Sebastian (2003, a sans with a funky italic), about which he writes: Sans-serif typefaces compensate for their basic handicap - an absence of serifs - with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. More# Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.
- Serapion (a Renaissance-Baroque Roman typeface with more contrast than Jannon)
- SerapionII (2002-2003): early Baroque
- Solpera (digitization of a type of Jan Solpera, 2000)
- SplendidOrnamenty (1998, a formal script font)
- Splendid Quartett: an Antiqua, a sans, a bold and a script. Stor writes: The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period.
- St Croce (2014). Based on worn-out lettering on tombstones in the St. Croce Basilica in Florence, this is a flared lightly stenciled typeface family.
- Technomat (2006): this typeface takes inspiration from matrix or thermal dot printers.
- Tenebra: a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols
- Teuton (2001): a severe sans family inspired by an inscription on one German tomb in the Sudetenland
- Trivia Sans (2012), Trivia Serif (2012, a didone), Trivia Serif 10 (2012), Trivia Grotesk (2012, 48 cuts), Trivia Gothic (2013), Trivia Slab (2012), and Trivia Humanist (2013, a strong wedge serif family: I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts).
- Tusar (2004): a digitization of a type family by Slavoboj Tusar from 1926
- Tyfa ITC + Tyfa Text: Designed by Josef Týfa in 1959, digitized by F. Storm in 1996.
- Vida Pro (2005), a big sans family designed for TV screens. Vida Stencil Demo is free.
- Walbaum Text (2002). Walbaum 10 Pro (2010) and Walbaum 120 Pro (2010) are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he offers Walbaum Grotesk Pro (2011).
- Wittingau (2016). A wonderful decorative blackletter typeface family, with a great set of Wittingau Symbols.
- Zeppelin (2000): a display grotesk
Alternate URL. Myfonts write-up.
At ATypI 2004 in Prague, he spoke about his own Czech typefaces, on his Czech Typeface Project, and on the life of Josef Týfa.
Linotype link. FontShop link. Klingspor link. [Google]
Sue Lang ("Zillah", "Moon in Aquarius") died on December 28, 2008. Under the alias Zillah, she made many free fonts at her now defunct Moon in Aquarius site, mostly made between 2001 and 2003: Zahstro Two, Zahstrology (handwriting; with astrological symbols), Zill O Wisp, Zill-O-Zynth, Zill Spills, ZillahModern (+Thin, Outline, Narrow, Expanded), Zillah Zoodles, Zillaroonies (runes and polyhedra), Zillgothex, Zilluncial. Her dingbat fonts were based on drawings by Last Horse (2003): Z-Most Critter, Z-Most Critter 2, Z-Most Devil, Z-Most Diva, Z-Most Eye 1, Z-Most Eye 2, Z-Most Foot, Z-Most Kachina 1, Z-Most Kachina 2, Z-Most Kachina 3, Z-Most Trickster, Z-Most Zimple. Postscriptum: I found a Sue Lang at the Zillah Library in Zillah, WA. Could that have been her? Can anyone help? Fontspace link. [Google]
[Stone Type Foundry]
[Celtic Fonts by the Celtic Lady]
Born in Lincoln, UK, in 1942, Ted Staunton now lives near Vancouver, and designs type. After serving a five-year apprenticeship as a hand compositor (1958-1963) with the Lincolnshire Publishing Co., he spent three years (1963-1966) at Leicester College of Art&Design, graduating in type design. After spending some time in London working for Penguin, Hamlyn and other book publishing houses, he emigrated to Canada in 1970, working for Mitchell Press and Hemlock Printers in Vancouver before opening his own design business and letterpress printing shop, Sherwood Graphics, in 1984. In 1991 he published a private press book, The Lincolnshire Poacher, illustrated with his own wood-engravings. He is lives in Surrey, BC. Some of his fonts were used privately on transfer lettering sheets and cast in metal for hand typesetting at his private press, Sherwood Letterpress.
At P22, he designed the semi-gothic font P22 Tyndale (2002) and Tyndale Extras (2002). In 2003, P22 launched Staunton's Sherwood Type Collection, a beautiful collection of revivals: Afton (2003), Albemarle (2008: connected script), Albion (2003), Albion Italic, Amelia (2003: ornamental caps in the style of William Morris), Aragon (2003), Avocet Light (2000: chancery script), Canterbury (2006, +Caps A, Caps B, Caps C, Pro), Elven (2003), Floriat (2003: floriated ornaments), Founders (2003), Freely (2002), Kaz (2008, between architecture and Comic Sans), P22 Kelly Pro (2009, Celtic style uncial), Latimer (2002), Lindum (2000), Mayflower (2002: medieval lettering), Mayflower Italic, Mayflower Smooth (2009), Mercian (2003), Phantasmagoria (2006: Celtic influences), Plymouth (2001), Roanoke Script (2002, a rough texture typeface; Albemarle is the smooth version), 1722 roman (2002), 1722 italic, Sherwood (2002), Sparrow (2001), Symphony (1995), Tyndale, and Tyndale Xtras.
In 2005, he published the Staunton Script family at P22. This package includes handwritten style typefaces that simulate the period spanning between the English Civil War (1640s) and the Victorian Era (1839-1901): Virginian, Royalist, Grosvenor, Grenville, Elizabethan, Broadwindsor, Chatham. In 2009, just in time for Halloween, he created P22 Spooky. P22 Ruffcut was designed in 2012.
In 2014, Ted Staunton finished P22 Amelia Jayne which has a classical roman, with several sets of initial caps.
Typefaces from 2015: Clementine (Sans, Curly: pure Victoriana), Regina, Ridley (spurred mediaeval typeface), Ringwell (Victorian).
View Ted Staunton's typefaces. [Google]
The Font Company
Dan Barthell's Phoenix, AZ-based foundry, was founded in 1988. It produced about 400 fonts that some call revivals and others call rip-offs. It was merged into Precision Type Foundry in 1993. Its fonts can now be bought via URW or Ascender, two unscrupulous companies that have no problem asking money for font collections with a doubtful "past".
Stuart Sandler (The Font Diner) explains: Dan Barthel was the owner of The Font Company out of Phoenix, AZ and now lives in Ft Myers, FL . . . I have his phone number if you wanted to REALLY get all the inside scoop . . . Generally speaking, he was among the first groups along with a handful of young employees he trained to scan and digitize fonts from filmstrips and did a number of conversions for Harry Brodjian of Alphatype typefaces in the late 1980s. Among those included were Parade and Contemporary Brush Bold which were eventually licensed by Robert Norton for Microsoft . . . I'm certain they used the Ikarus system to make their digitizations . . . The Font Company eventually went on to digitize a good amount of typefaces and nearly all of them were distributed by the Precision Type Company until it closed its doors in the mid-2000s . . . Get your hands on one of those catalogs to see the entire library they released . . . At some point in the 1990s Dan decided to close up shop and tossed all the assets digital or otherwise and start over in another business but walked away from the font business all together regardless . . .
The fonts: Abbey, Accolade, Adelon (patterned after Albertus MT), Adroit, Advertisers, Aggie, Amanda, Amber, American, Annual, Apache, April, Art Gothie, Artcraft, Ashley, Atrax, Avalon, Avon, Baker Signet, Ballantines, Balloon, Balzac, Baucher Gothic (a headline, tall and geometric typeface designed by URW Studio in 1995 according to some sources---unclear where it originated), Bauer Topic, Beacon, Beale, Bee, Benjamin, Bernhard, Bible, Bluejack, Boa Script, Brittany, Bulmer, California Grotesk, Cartel, Cartoon, Casablanca, FC Caslon, Century Expand, Charter Oak, Chevalier, Chinat, Cloister, Contemporary Brush, Continental, Cooper Old Style, Corporate, Corvinus Skyline, Craw Modern, Criterion, Danmark, FC Deepdene, Diamante, Didoni, Digital, Din 16, Disco, Egizio, Elaine, Erbar, Expressa, Fanfare, Firmin Didot, Florentine, Frency, Gatsby, Geshexport, Glamour, Glasgow, Globe, Gorden, Harem, FC Heldustry, Helenic, Helium, Helserif, FC Highway Gothic, Hildago, Hobo, Holly Script, Howland, Hudson, Huxley Vertical, Impact, Introspect, Inverserif, Japanette, Jay Gothic, Kelles, Kennerley, Kenneth, Koloss, Largo, Leasterix, Legothic, Lightline Gothic, Lucida Type, Marcato, Martin Gothic, Martinique, Mr Big, Napoli, Nashville, Newport Land, Novel Gothic, Neuland, Ondine, Organ Grinder, Ornitons Heavy, Paladin, Pandora Black, Parade, Pasadena, Pekin, Permanent Headline, Philly Sport, Pinnochio, Plakat, Polonaise, Precis, Pretoria, Promoter, Publicity, Quratz, Quint, Racer, Radiant, Regency, Reiner, Rochester, Roger, Rolling Stone, Roman Shaded, Roman Stylus, Roman Solid, Ronda, Roundest, San Serif, Scenario, Sevilla, Shotgun, Siegfried, Souvenir Gothic, Spire, Stanza, Stark, Thor, Ticonderoga, Timbre, Toledo, Torino, Umbra, Veracruz, Viant, Viking Gothic, Village, Vixon, Woodcut, Wordsworth, Yorkshire, Zanzibar and Zola. Other fonts: AGBuch, AGrotesk, Accent-Normal, Aggie-Normal, AlternateGothic, AmericanGothic, AntiqueOlive, Apache, BAVGarde, BOSGoudy, BakerSignet, Bauer Topic (1999-2002), BernhardModern, BrodyNormal, CaslonC224, CaslonC37, CaslonC637, Centaur, CenturyExpanded, Cochin, DisneyPrint, ECBGill, Exquisit, Flash, Folio, GaramondM, Grotesk, IceAge, ImpactCondensed, Imprint, Jenson, Latin, Laudatio, Lynton, MagicSymbols, MBrighton, Michelangelo (a roman caps typeface based on Hermann Zapf's Michelangelo from 1950), NewportLand, NovelGothic, Nueland, Panache, QuaySans, RealtyExecutives, Roman, SpiritCraw, Univers, Venus. In 2009, the elegant transitional---almost modern--- high-legged typefaces Roman Solid and Roman Stylus (outlines) are shown as part of the URW++ collection.
Ascender sells these fonts: Accent, Amber, Amber Italic, Amelia, American Text, American Uncial Regular, April, Artcraft Pro, Avon, Balloon Bold, Balzac, Baucher Gothic, Bernhard Gothic Light, BoaScript, Cartoon, Chinat, Contemporary Brush, Cowgirl, Devinne, Digital, N 16, Erbar, Expressa, Fanfare, Florentine, Geshexport, Glasgow ExtraBold, Handel Gothic, Hastings, Hobo, Hobo Bold, Holly Script, Hudson, Koloss, LeAsterix, Nashville, Novel Gothic, Nueland, Nueland Inline, Opportunity, Pasadena Family, Philly Sport, Pretoria, Quartz, Reiner, Resonance, Souvenir Gothic, Stanza, Thor, Ticonderoga, Umbra, Viant, Woodcut, Zanzibar, Zola. [Google]
The Gothic or Wulfilan alphabet
Quoting Dr. Robert Pfeffer: The Gothic or Wulfilan alphabet has nothing to do with the medieval gothic script. Rather, it is the script used by the ancient Goths and invented by Visigoth bishop Wulfila in the fourth century A.D. for the purpose of translating the Bible into Gothic. The Gothic fonts offered here [i.e., by Robert Pfeffer] are based on the younger model of the Gothic script (S-style) as it appears in the Codex Argenteus. The difference to the older variants (Sigma-style) lies in the younger model's S being equal to the Latin one, while the S of the older variants resembles the Greek sigma. [Google]
The Paris Irish type
Brendan Leen writes: "In 1732, an English Irish Dictionary, compiled by Conor O Begly, was printed by Jacques Guérin and the Paris type of its composition represented a major departure from preceding designs (it has been suggested that the type might have been modelled on a calligraphic sample supplied by O Begly). An unusual feature of the Paris type is its inclusion of an uncial, italic form of the letter a. With the exception of the Queen Elizabeth type, Irish character typography had to that point relied exclusively on the triangular or majuscule a." Shown here, it came about as the Moxon type of 1681 was strictly forbidden for religious literature, which had in the early 18th century been printed in roman characters. [Google]
The Private Press and Typefoundry
[Paul Hayden Duensing]
Paul Hayden Duensing (1928-2006) was a typographer and type designer who ran The Private Press and Typefoundry, in Vicksburg, MI. Designer of Sans Descender, Chancery Italic (1966), Rustica Sixteenth Century Roman, Quadrata II, Janson Open (experimental), Van Krimpen Open Capitals (numerals only; designed by Will Reuter and cut by Duensing), Octavian Caps, Unciala, and Dartmouth (designed by Will Carter, cut by Duensing). In 1990, he published a gorgeously hand-set booklet entitled "Deutsche Druckschriften", in which he says: "The present portfolio attempts no campaign for Fraktur; rather it makes only a quiet appeal for consideration of a great, if neglected, calligraphic typeface." The blackletter types shown there are, I presume, made by him: Heinzemann No99M, Heinzemann No100M, Dürer No.256, Wallau, Jessen, Kasseler No. 40 Teutonic Text, Theuerdank No. 392, Wilhelm-Klingspor-Schrift, Blücher No. 387 and Koch Initials. He was a generous man, who in the last year of his life donated his typefounding machines, matrices and effects to young people.
Mac McGrew explains Andromaque's genesis: Andromaque is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. Paul Baker did a digital version of Andromaque in 1995.
Duensing died on November 9, 2006.
Klingspor link. [Google]
Thomas Wood Stevens
Early 20th century designer of letters, who was associated with the Carnegie Institute of Technology, Pittsburgh. Author of Lettering (1916, The Prang Company, New York).
Alphabets from his 1916 book include Art Nouveau Capitals, Italic Capitals, Italic Lowercase, Modern Script Italics, Modern German Italic Capitals, Modern Round Gothic, Uncial (based on a 14th century manuscript), Venetian Modern Capitals, Roman Lowercase, Modern German.
PDF file of his 1916 book.
Digital remakes include Wood Stevens (2012, Intellecta).
In 2012 and 2013, Dick Pape digitized many of the typefaces discussed in Lettering (1916). They are freely downloadable from this site. The typefaces in Dick's collection are attributed as follows:
- No artist: TWS Brush Caps 31, TWS Capitals from Coins 15,
- Harry Lawrence Gage: TWS Heavy Capitals 49, TWS Italian Gothic Caps 80, TWS Renaissance Alphabet 39, TWS Robinson Caps 23, TWS Roman Caps 13, TWS Slab Capitals 22, TWS The Japanese 32 [note: see also Yoshi Toshi, 2003, by Da ABF Mafia, and Yoshitoshi, 2003, by David Nalle].
- Norman P. Hall: TWS Heavy Modern 30.
- Oswald Cooper: TWS Long Ascenders 36.
- Ned Hadley: TWS Modern Caps 24, TWS Modern French 25.
- Helen E. Hartford: TWS Modern German Capitals 28.
- Charles H. Barnard: TWS Modern Roman 05.
- F. G. Cooper: TWS Modern Roman Bold 37.
- William A. Dwiggins: TWS Modern Roman Caps 32, TWS Variation on Georgian.
- Guido Rosa: TWS Outline Caps 21.
- George W. Koch: TWS Roman Wide Pen 33.
[ABC Types (was: Absolutetype)]
Norwegian freelance graphic designer since the mid 1980s. He joined the P22 crew in 2008. His fonts there:
MyFonts link. [Google]
- Late November (2008) is a transitional Antiqua-inspired type design made for text and display.
- Hoy (2008) is a decorative semi-uncial font whose name derives from one of the Orkney Islands.
- Spiggie (2008) is an art deco sans-serif, named for a Shetland beach.
- P22 Mai Pro (2009) is a new transitional antiqua.
- P22 Coda Pro (2009) is a simple slightly artsy sans family.
- P22 Kirkwall Pro (2010) is a flared serif design.
- P22 Ornes Pro (2010) is inspired by the runic alphabet with ornamentation based on the woodcarvings of the Urnes Stave Church (Norway), an old wooden church dating back to 1150 CE.
- P22 Speyside (2010) is a round, curved and controlled sans serif with an additional set of decorated uppercase letters, initials and small caps. The font is inspired by the local handicraft at a small place in Tobago called Speyside, the batik in particular. The delightful P22 Speyside Light Initials typeface is for fish lovers. P22 Foxtrot and P22 Foxtrot Sans (2010) are large transitional families---the sans is really a hybrid with a serif, flared and all [not to be confused with any of the three older Foxtrot typefaces, by Ross Milne, Tom C. Lai or J. Marquez].
German designer of Linotype IrishText (1997), a Gaelic uncial. Fontshop link. [Google]
Typedia: Typeface classification
The classification from the Typedia community:
- Fraktur: A German form of Blackletter with broken strokes. Classic example: Fraktur.
- Old English: The English blackletter style. Classic example: Cloister Black.
- Rotunda: A Blackletter style featuring wider lowercase with more rounded strokes.
- Schwabacher: A German form of Blackletter with simplified, rounded strokes.
- Textura: A Blackletter style featuring tall, narrow lowercase made mostly of straight strokes.
- Chancery: A script style of calligraphy made with a broad-point pen with slightly sloping, narrow letters that are the basis for italics in serif typefaces. Capitals may or may not have flourishes. Originated during the Renaissance. Classic example: Zapf Chancery.
- Etruscan: An early Roman form of calligraphy drawn with a flat brush held at a steep angle. Caps only, as lowercase had not been invented yet. Classic example: Adobe Pompeii.
- Uncial: A Celtic style of calligraphic script with forms created by a broad-nibbed pen at an almost horizontal angle, but sometimes more tilted in later variants. Roman lowercase is derived from Uncial forms. There is only one case in pure Uncial designs. Used during the middle ages. Classic example: American Uncial.
- Inscriptional---Roman Inscriptional: Stone-cut serif style from the late Roman Empire. The basis of modern roman capitals. Classic example: Trajan.
- Ornamented, Novelty
- Art Deco: A geometric display typeface style popular in the 1920s and 1930s. Classic example: Broadway.
- Art Nouveau: Display typefaces with a flowing, organic style popular in the early 20th Century. Classic example: Arnold Bocklin.
- Comic Strip Lettering: A style meant to look like the hand-drawn letters associated with comics or cartoons. This style is usually san serif, often having a loose, informal structure and is sometimes based on brush lettering. Classic example: Balloon.
- Dot Matrix: A style whose characters are composed of a pattern of dots used mainly for low-resolution impact printers, or to simulate the look of the output of such printers. Classic example: FF Dot Matrix.
- Futuristic: A style meant to suggest a futuristic theme. Often cold, brutal and geometric with a machine aesthetic and simplified construction. Classic example: Stop.
- Machine Readable: A style designed to be read by machine. These fonts are usually san serif and often feature unusual character shapes to make them more distinguishable from one another. Classic example: OCR-B.
- Pixel: A style whose characters are composed of pixels (usually represented as squares) used mainly for low-resolution computer display. Outline fonts are sometimes made to look like Pixel Fonts. Classic example: Silkscreen.
- Pseudo Foreign Script: A style intended to mimic non-Western letters. For example, a font that looks like Chinese, but is actually composed of Latin characters. Faux Chinese/Arabic/Hebrew. Classic example: Bruce Makita.
- Victorian: A whimsical, eclectic display style popular in the late 19th Century. Classic example: Skjald.
- Sans Serif
- Gothic: A sans serif style with moderate stroke contrast and modern proportions particular to the U.S. Usually features a two-story lowercase g, angled strokes on C and S, and a sloped, non-cursive italic. Classic example: Franklin Gothic.
- Grotesque: A sans serif style with moderate stroke contrast and modern proportions particular to the U.K. Usually features a two-story lowercase g, closed strokes (usually curving in slightly) on C and S, and a sloped, non-cursive italic. Classic example: Bureau Grot.
- Geometric Sans: A sans serif style made with rigidly geometric forms and little to no stroke contrast. Classic example: Futura.
- Grotesk: A sans serif style with low stroke contrast and modern proportions. Usually features a one-story lowercase g, closed or angled strokes on C and S, and a sloped, non-cursive italic. Classic examples: Akzidenz Grotesk, Helvetica.
- Humanist Sans: A sans serif style with proportions modeled on old-style typefaces. Characterized by open strokes on characters like C and S. Italics of this style often are more cursive in appearance, rather than a simple slanted version of the roman. Often has more slightly stroke contrast than other sans serifs. Classic examples: Gill Sans, Frutiger.
- Square Gothic: A sans serif style composed mainly of straight or nearly straight lines and (often) curved corners. Stroke contrast is usually low. Classic example: Bank Gothic.
- Swiss Gothic: A sans serif style with noticeable stroke contrast, straight sides on round characters, modern proportions, and large x-height. Usually features a one-story lowercase g and closed strokes on C and S. Classic example: Jay Gothic.
- Brush Script: Typefaces modeled after lettering made with a brush. Strongly associated with advertising in the mid-20th Century on. Classic example: Brush Script.
- Casual Script: Typefaces based on a style of lettering characterized by informal appearance, somewhat like handwriting, but more refined. Similar to Brush Script or Sans Serif. Classic example: Murray Hill.
- English Roundhand: A connecting-script style of calligraphy made with a flexible tipped pen. The characters are usually steeply sloped and capitals are often very elaborate. Popular in the 18th and 19th Century. Sometimes called Copperplate Script. Classic example: Bickham Script.
- French Roundhand: A connected-script style of calligraphy, sometimes with upright characters, a high stroke contrast and decorative capitals. Used in France in the 17th through 19th Century. Also called Civilité. Classic example: Typo Upright.
- Handwriting: A script style based on ordinary handwriting. Characters may or may not be connected. Classic example: Felt Tip Roman.
- Rationalized Script: A script style with sans serif qualities, low stroke contrast, and a formal appearance. Characters may or may not connect. Associated with 20th Century commercial design. Classic example: Gillies Gothic.
- Grecian: A typically heavy display typeface with octagonal shapes where curves are normally used. Also known as Chamfered or Beveled. Popular in the 19th Century for wood types. Classic example: Acropolis.
- Latin: A serif style with large triangular or wedge-shaped serifs. Stroke contrast is medium to low. Popular in the 19th Century for wood types. Classic example: Latin.
- Modern: A serif style with high stroke contrast and vertical stress. Classic example: Modern No. 20.
- Didone: A serif style with high stroke contrast and vertical stress. Serifs are usually unbracketed. Classic examples: Bodoni (Italian), Didot (French).
- Scotch Modern: A serif style with medium to high stroke contrast and vertical stress, known for large serifs and tiny aperture. Serifs are usually bracketed. Classic examples: Modern No. 20, Scotch Modern.
- Old Style: A serif typeface with relatively low stroke contrast, angled stress, angled serifs. Classic example: Bembo.
- Antique: A serif style with moderate stroke contrast, bracketed serifs and usually vertical stress. Serifs are angled as in Old Style. Popular in the 19th Century. Classic example: Bookman.
- Dutch Old Style: A serif style with somewhat angled stress, bracketed serifs, and medium to high stroke contrast. Characteristic of Dutch and English types of the 18th Century. Classic examples: Caslon, Plantin, Times Roman.
- French Old Style: A serif style with angled stress on rounds; usually features a small eye on the lowercase e; soft, bracketed serifs and moderate stroke contrast. Classic example: Garamond.
- Spanish Old Style: A serif style with soft, bracketed serifs, medium to high stroke contrast, and often highly angled stress. Classic example: Rongel.
- Venetian Old Style: A serif style with angled stress on rounds; usually a tilted crossbar on the lowercase e; usually has somewhat low stroke contrast. Serifs are sometimes unbracketed. This style is associated with very early printing (Incunabula) in the West. Classic example: Jenson.
- Slab Serif: A serif style with serifs equal to or nearly the same thickness of the main strokes. Main strokes usually have low contrast. Classic example: Rockwell.
- Clarendon: A slab serif style with heavy, bracketed serifs, modern proportions and construction, low stroke contrast. Classic example: Clarendon.
- Egyptian: A serif style with heavy, unbracketed serifs, modern proportions, low stroke contrast. Basic construction is similar to Modern, but with low stroke contrast. Sometimes called Antique. Classic example: Egiziano.
- French Clarendon: A serif style with reverse stress (horizontal strokes thicker than vertical strokes) and slab serifs, sometimes bracketed, usually condensed. Popular in the 19th Century. Classic example: Playbill.
- Geometric Serif: A serif style made with rigidly geometric forms. Usually features slab serifs. Classic example: Stymie.
- Spur Serif: A serif style with very small serifs. Usually similar in design to san serif typefaces, except for the serifs. Usually very little stroke contrast. Classic example: Copperplate.
- Transitional: A serif style which, historically, bridges the gap between Old Style and Modern. Stroke contrast is stronger than old style, but less than modern. Bracketed serifs. Stress is mainly vertical. Characteristic mainly of English types around 1800. Classic example: Baskerville.
- Scotch Roman: A serif style with medium contrast and vertical stress, medium-sized bracketed serifs. Classic examples: Miller, Caledonia.
- Tuscan: A serif style with splayed or ornate serifs. Classic example: Thunderbird.
Typeoff was an Offenbach-based German type collective, est. 2004 by Daniel John Andrew Reynolds (b. 1979, Baltimore, MD), who blogs happily and frequently. Dan grew up in various cities in the USA, received a BFA in graphic design from the Rhode Island School of Design (RISD) in 2002, and moved to Offenbach, Germany, in 2003 to study typography with Professor Fritz Friedl. Dan was an intern at Linotype, and is still affiliated with Linotype. In 2004, he founded Typeoff.de. In 2007 he moved to the University of Reading for graduate studies. Afterwards, he returned to Germany and is presently based in Berlin.
Typefaces created by the collective include Argos, AT Stencil, Disco 3000, Ignaz Text, Ignaz Titling, India Gothic, Janus, Jeans, Pater Noster, Proportia, Sweet Pea, Teppic, Used to Love Her. The designers include the founder Dan Reynolds, and his collaborators David Borchers, Lara Glück, Till Hopstock, and Lukas Schneider.
Dan's own typefaces at TypeOff include Ignaz Text (2004, originally called Ignaz Textura, and based on letters he found on a sepulchral memorial outside of St. Ignaz church in Mainz (Germany)), Ignaz Lombard Caps (2004), Ignaz Titling (2004), Janus (2004, a pixel face), Pater Noster (2004-2009, an uncial), Proportia (2004, a geometric sans), Sweet Pea (2004, an octagonal face), and Used to Love Her (2004, experimental). He is working on a Lombard Capitals face (2004), Teutonia Serif (2005, based on Teutonia, a geometric display typeface that was cut in Offenbach by the Roos & Junge type foundry in 1902; this squarish family is released under the name Mountain at Volcano Type in 2006) and Farewell Street (2004, sans family). Working on this condensed didone (2007).
In 2007, he worked with Kobayashi at Linotype to produce a revival and extension of a 1930 sans family of Morris Fuller Benton, and named it Morris Sans (+Small Caps), which could be viewed as an organic version of Bank Gothic. Morris Sans was published in 2008 by Linotype.
In 2008, he designed the serif family Martel in partial fulfilment of the requirements for the MA in typeface design at the University of Reading---it covers Latin and Devanagari. Martel Sans was published in the (free) Google Fonts collection in 2015. It was finished in 2014 in cooperation with mathieu Réguer. Github link.
He is working on a Condensed Serif.
Malabar (2008) won an award at TDC2 2009. Malabar also won the German Design Prize in Gold 2010. See the Linotype version Malabar Etext (2013).
Codesigner with Matthew Carter in 2010 of Carter Sans (ITC), a flared lapidary typeface family.
With Mathieu Réguer, he created the libre a monolinear, geometric sans typeface family Biryani (2015, Google Web Fonts) for Latin and Devanagari.
Type events of 2008 reviewed by Dan. Volcano Type link. Sp